Rot a Prints
Peter Schmidt
1968
Rot a Prints
Rot a Prints
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This handmade book by Peter Schmidt comprises 50 colour-printed sheets produced on the Rotaprint press, acquired by Watford School of Art in the late 1960s during a formative period in its printmaking programme. Schmidt, then ...
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Rot a Prints
Peter Schmidt
1968
Stuttgart and London: Edition Hansjörg Mayer
Unpaginated [166 pages]
21 × 29.5 cm
Edition of 36; signed and numbered X/36

This handmade book by Peter Schmidt comprises 50 colour-printed sheets produced on the Rotaprint press, acquired by Watford School of Art in the late 1960s during a formative period in its printmaking programme. Schmidt, then one of the school’s most influential professors, used the machine as a tool to develop systematic investigations into colour and compositional structure. Across its sequence, the work articulates a sustained inquiry into abstraction as process. Colour and form unfold through accumulation and variation, generating a rhythm of shifting visual propositions. The result is a structured yet fluid progression in which drawings and printed images interweave, evoking imaginary landscapes while fixing the material logic of print.


 


The publication includes a title page and two printed text pages that situate the work within a collaborative environment shaped by experimentation and exchange. In a dedication acknowledging the parallel presence of Dieter Roth at the school and his engagement with the Rotaprint press, Schmidt writes: “In January 1968 a new person and a new machine appeared at Watford. Both worked badly (well). I learned some new words: beauties, refreshing, verfänglichkeit [meaning something like ‘trickiness’ or ‘awkwardness/precariousness’], and was advised not to worry. This book is the result of these new acquaintances. PS.”


 


Hansjorg Mayer was also invited as a visiting professor, working directly with the Rotaprint process and extending its experimental possibilities. The publication was issued by Mayer himself in a very limited edition of 36 copies.

Stuttgart and London: Edition Hansjörg Mayer
Unpaginated [166 pages]
21 × 29.5 cm
Edition of 36; signed and numbered X/36

This handmade book by Peter Schmidt comprises 50 colour-printed sheets produced on the Rotaprint press, acquired by Watford School of Art in the late 1960s during a formative period in its printmaking programme. Schmidt, then one of the school’s most influential professors, used the machine as a tool to develop systematic investigations into colour and compositional structure. Across its sequence, the work articulates a sustained inquiry into abstraction as process. Colour and form unfold through accumulation and variation, generating a rhythm of shifting visual propositions. The result is a structured yet fluid progression in which drawings and printed images interweave, evoking imaginary landscapes while fixing the material logic of print.

 

The publication includes a title page and two printed text pages that situate the work within a collaborative environment shaped by experimentation and exchange. In a dedication acknowledging the parallel presence of Dieter Roth at the school and his engagement with the Rotaprint press, Schmidt writes: “In January 1968 a new person and a new machine appeared at Watford. Both worked badly (well). I learned some new words: beauties, refreshing, verfänglichkeit [meaning something like ‘trickiness’ or ‘awkwardness/precariousness’], and was advised not to worry. This book is the result of these new acquaintances. PS.”

 

Hansjorg Mayer was also invited as a visiting professor, working directly with the Rotaprint process and extending its experimental possibilities. The publication was issued by Mayer himself in a very limited edition of 36 copies.

DESCRIPTION

This handmade book by Peter Schmidt comprises 50 colour-printed sheets produced on the Rotaprint press, acquired by Watford School of Art in the late 1960s during a formative period in its printmaking programme. Schmidt, then one of the school’s most influential professors, used the machine as a tool to develop systematic investigations into colour and compositional structure. Across its sequence, the work articulates a sustained inquiry into abstraction as process. Colour and form unfold through accumulation and variation, generating a rhythm of shifting visual propositions. The result is a structured yet fluid progression in which drawings and printed images interweave, evoking imaginary landscapes while fixing the material logic of print.

 

The publication includes a title page and two printed text pages that situate the work within a collaborative environment shaped by experimentation and exchange. In a dedication acknowledging the parallel presence of Dieter Roth at the school and his engagement with the Rotaprint press, Schmidt writes: “In January 1968 a new person and a new machine appeared at Watford. Both worked badly (well). I learned some new words: beauties, refreshing, verfänglichkeit [meaning something like ‘trickiness’ or ‘awkwardness/precariousness’], and was advised not to worry. This book is the result of these new acquaintances. PS.”

 

Hansjorg Mayer was also invited as a visiting professor, working directly with the Rotaprint process and extending its experimental possibilities. The publication was issued by Mayer himself in a very limited edition of 36 copies.

Stuttgart and London: Edition Hansjörg Mayer
Unpaginated [166 pages]
21 × 29.5 cm
Edition of 36; signed and numbered X/36

This handmade book by Peter Schmidt comprises 50 colour-printed sheets produced on the Rotaprint press, acquired by Watford School of Art in the late 1960s during a formative period in its printmaking programme. Schmidt, then one of the school’s most influential professors, used the machine as a tool to develop systematic investigations into colour and compositional structure. Across its sequence, the work articulates a sustained inquiry into abstraction as process. Colour and form unfold through accumulation and variation, generating a rhythm of shifting visual propositions. The result is a structured yet fluid progression in which drawings and printed images interweave, evoking imaginary landscapes while fixing the material logic of print.

 

The publication includes a title page and two printed text pages that situate the work within a collaborative environment shaped by experimentation and exchange. In a dedication acknowledging the parallel presence of Dieter Roth at the school and his engagement with the Rotaprint press, Schmidt writes: “In January 1968 a new person and a new machine appeared at Watford. Both worked badly (well). I learned some new words: beauties, refreshing, verfänglichkeit [meaning something like ‘trickiness’ or ‘awkwardness/precariousness’], and was advised not to worry. This book is the result of these new acquaintances. PS.”

 

Hansjorg Mayer was also invited as a visiting professor, working directly with the Rotaprint process and extending its experimental possibilities. The publication was issued by Mayer himself in a very limited edition of 36 copies.

MORE BOOKS

This handmade book by Peter Schmidt comprises 50 colour-printed sheets produced on the Rotaprint press, acquired by Watford School of Art in the late 1960s during a formative period in its printmaking programme. Schmidt, then one of the school’s most influential professors, used the machine as a tool to develop systematic investigations into colour and compositional structure. Across its sequence, the work articulates a sustained inquiry into abstraction as process. Colour and form unfold through accumulation and variation, generating a rhythm of shifting visual propositions. The result is a structured yet fluid progression in which drawings and printed images interweave, evoking imaginary landscapes while fixing the material logic of print.

 

The publication includes a title page and two printed text pages that situate the work within a collaborative environment shaped by experimentation and exchange. In a dedication acknowledging the parallel presence of Dieter Roth at the school and his engagement with the Rotaprint press, Schmidt writes: “In January 1968 a new person and a new machine appeared at Watford. Both worked badly (well). I learned some new words: beauties, refreshing, verfänglichkeit [meaning something like ‘trickiness’ or ‘awkwardness/precariousness’], and was advised not to worry. This book is the result of these new acquaintances. PS.”

 

Hansjorg Mayer was also invited as a visiting professor, working directly with the Rotaprint process and extending its experimental possibilities. The publication was issued by Mayer himself in a very limited edition of 36 copies.

MORE BOOKS