An Opening and an Ending

This year has been one of celebration for Elbow Room. It was our fifth birthday, and you all helped us celebrated with style. September was the release of our 18th volume and our last Elbow Room Live of the year.

Sometime during the year I came to a realisation. It is time to bring Elbow Room to a close. This is not a decision I came to lightly but it is the right choice. Elbow Room has been an incredible experience from the start and it has changed my life but it is time to start making space for new opportunities. However that does not mean this wonderful journey has to end today. Elbow Room means too much to me to simply stop, and so the plan is this…

Two more volumes.

Two more live nights.

One more year of sharing art in all guises.

One year to say goodbye to Elbow Room.

It is with this in mind that I open submissions for volumes 19 and 20. If you have ever wanted to submit to Elbow Room before, now is the time. If you have submitted before but always wanted to again, now is the time. Submissions will be accepted until midnight GMT on January 31st and the full guidelines are HERE.

2018 is going to be an amazing final year and your work is going to be the highlight. I cannot wait to see it.

As Yet Untitled is thrilled to announce our next collaborative book.

I’ve been keeping it a secret for months but the time is finally right to reveal that As Yet Untitled is collaborating with musician Tom Hyatt on the creation of our next title. I met Tom years ago and since then he has become something of a regular with As Yet Untitled. He has taken to the Elbow Room stage multiple times and played at the launch of Moonrise. It was at one of these events that I approached him about making a book together. His music is incredible and I fell in love with it the first time I heard it. When I had the idea of collaborating with a musician on the creation of an artists’ book Tom immediately came to mind. His lyrics are so visual and so evocative that I knew anything we made together would be exciting and unusual. So far, even in these very early stages, this project is proving me right.

And so, it is with great joy and pleasure that I announce Lost in a Dream.

After many conversations and much planning between Tom and I we have found ourselves (in true As Yet Untitled fashion and keeping with our ethos to create artists book that go beyond expectations of the book form) spearheading a project that is more than a limited edition book; a project that truly reflects the multifaceted nature and potential of book art, photography and music. Lost in a Dream will celebrate the works of musicians whilst emphasising the transitory nature of their existence, and the scenes in which they operate.

I am truly excited about this project, and Tom and I look forward to sharing details, sneak peaks, and further details with you all as we move forward. For now though, allow me to give you this little offering- Tom Hyatt performing for his live album Live at Spiritual, and a portrait from early practise rolls...

Pentax 6x7 Test 6.jpg

Moonrise a year on... Ella Chappell

Moonrise one year on

Moonrise was written between 2014 and early 2016, and it catalogued my life in London during that time, north of the river in Hackney and South of the river in Stockwell. The centrefold poem, Donald Trump vs my childhood joy was written before Trump was even elected as a nominee for the Republican Party, let alone before the nightmare reality of him being President of the United States of America. Around a month after publication, the citizens of Britain voted to leave the European Union. Essentially, then, this collection was written in a youthful bubble of a vivid present that I partly believed at the time would continue forever, a present that found me excited, enamoured with life in all the ways it's possible to be, prolifically creative, and in love. I find myself a year later, moving to Crystal Palace, seeking relative calm and breathable air, from the "G-grade, 2V ball of loud light and fear" that is central London.

I've never been very good at stemming my own misplaced nostalgia, but the moments reported in Moonrise included some of the grandest moments of my life so far: becoming financially independent for the first time, twice daily crossing the Millennium bridge between St Paul's and Shakespeare's globe to my dream job, standing in a midnight pool of meadow scent and supermoon light, dancing in the moat of an ancient Serbian fort with my best friend, ending my longest and most serious relationship. All these moments are real, but their retellings in poems makes them unreal, too. That's something I've learnt. The moments become enormous, branching and flowering and becoming strangled by ivy and bindweed of other ideas and memories and new associations.

I guess what I'm trying to say is: thank you so much for your support and for your time if you have read Moonrise. It means a heck of a lot to me. Sometimes I worry that I am being misunderstood, or that I have written the wrong types of things. But, if anything, reflecting on Moonrise has made me realise that poetry can be an antidote to nostalgia. It is honest, always. It rarely resists pulling the punches. Among the numbness, the sexual assault on dance floors, the latent knowledge of fascism and rage rippling below the apparent civilisation we live in, there were childhood memories, the friendships so strong they make your eyes water, the flowers, and the calm moon in the sky who rises despite everything.


The Future of Book Publishing.

I couple of weeks ago I was asked to give a 10 minute presentation on the future of book publishing. As Yet Untitled, what we make, the people we work with and our audience were the inspiration behind my every word and so i wanted to share it with you all.



The future of book publishing is limited only by our imaginations. As a creative industry its place in the world depends upon our ideas, questions, visions and experiments.


Throughout the history of the industry technological advancements, from movable type through mass paperback publishing to the e-book have triggered conversations and fears about the future of book publishing. Just one example of this was the conviction from mainstream publishing that Allen Lane (Quote) “messing about, would bring the whole structure of British publishing tumbling into ruins”, as Desmond Flower remembered in 1960. These conversations became particularly prevalent once again among academics, journalists, readers and industry professionals alike with the most recent of these advancements, the affordable e-reader. Articles were written and conferences held as experts put forward their opinions on the future of our industry. Many of these opinions expressed the belief that e-books were a death knell for paper book publishing and perhaps even the industry at large.

I read the articles and I attended the conferences and I quickly became bored. As I looked around I came to a realization. This conversation wasn’t new, the fear wasn’t new and neither were the sole property of the publishing industry.

When photography was first invented people said it would be the death of painting. Instead painting from freed from the literal, and we got impressionism, cubism and abstract expressionism.

When digital photography was invented people said it would be the end of film. Yet film photography is still here, holding strong and interest is even increasing once more as students and professionals turn back to it for that unique something it offers.

The music industry has undergone sweeping changes over the last decade. Yet last year vinyl sales reached a 25-year high and in November even outstripped digital downloads.

What came before is not always swept away by what’s new. Instead they can free each other, co-exist, intermingle and provide creators with more tools than ever before.

I come to publishing as an artist, with an arts education and an artists’ eye.

As a sculptor I work with bronze and wax. As a photographer I have stuck steadfastly to film. As a publisher I hand-bind every book I make.

Yet this year I proposed using 3D laser cutting to create a sculpture that was recently long listed for the National Sculpture Prize. I scan and digitally finish all my photographs and every book I publish is designed on InDesign. Because why wouldn’t I? Why not use every tool at my disposal to realize what I am imagining.

As a book artist every aspect of the books design is integral to the creation and expression of meaning. If you make a book that fits into the palm of your hand, with thin delicate pages, it immediately seems precious and jewel like. If you make a book that’s 6 foot tall it is immediately overwhelming and awkward. If the book is unbound, with loose-leaf pages, it spirals out, able to shift unendingly. Before your audience has even gotten to the content they have started imagining what the book is about.

As an artist and publisher it is important to me that my own books look and feel right, that the paper choice and the typeface convey meaning to the eye and to the hand. When we read we read more than the words on a page, we read the object. We read with our hands, with our expectations, and with our imagination. I believe it is our job as publishers to enliven as many senses as we can in our mission to engage with our audience. Whether this is achieved through swiping or turning a page, through augmented reality or traditional cloth cover binding and end paper doesn’t matter. All of these things have a home in the future of publishing.

We face an audience today that is inundated by choice, by self-published books, new imprints, new magazines and endless online publications. But we also have an audience that is, as far as I can see, more aware and more engaged with books than ever before. The same people that are buying vinyl and using film are buying book art, supporting independent publishers and frequenting bookshops. They have an appreciation and thirst for the object, its beauty, its variety and its potential.

The responsibility of engaging this growing appreciation is in the hands of the publishing industry. It is up to us to give ALL books the attention they deserve. It could be producing beautiful editions like Erin Morgenstern’s Night Circus (published by Harvill Secker) of Katie Holten’s About Trees (from Broken Damanche Press). And it could be by experimenting with how the books design can affect narrative as with all of Visual Editions catalogue. However we go about it engaging with this growing and discerning audience can only lead somewhere exciting as they demand more from the industry and we ask for more from them.

I look around at small publishers fairs and I see poetry collections, photo-books, humorous pieces about installation proposals that will never make it to the turbine hall at Tate and illustrated pop up books beyond the wildest imaginings of my childhood.

I go to conferences and I hear talks on books about water pollution where the paper is made using water from the very same river the book is about, I hear talks on screen printing, on archives, on live publishing and books that change, coming alive with a simple app.

I frequent crowd funding websites like Kickstarter and Patreon, supporting my contemporaries and embracing the idea of the public as arts patron, commissioning editor, test audience and gatekeepers all rolled into one.

I go to artists’ book fairs and I have conversations with librarians, private collectors and the public about their responses to the sculptural or limited edition, handmade, etched, risograph or digitally printed books before them.

I go to bookshops and search through novels, comics, and non-fiction in the hopes of finding words that will transport me somewhere new.

I do all this and I find myself thrilled, excited, even jubilant about the future of the book publishing. Whatever the book, whoever published and however they made it the ideal result is the same. We want books to express ideas, ask questions, offer answers and tell stories.

One of my favorite theorists Roland Barthes states in an essay that, “The narratives of the world are numberless…” For the publishing industry to remain not only relevant but cutting edge we must find, invent and embrace as many forms of Bookness as there are narratives.

Leading the charge in this are the students, the artists, the designers and the indie publishers. The readers who don’t take the book for granted. The mainstream publisher whose cover design stops you in your tracks. Those willing and able to take risks and make glorious mistakes. Those who work tirelessly to make something new, to revive something old, to reach out and engage their own and others imaginations.

It is here that the future is found. The future is those people that are driven to explore. Those for whom books mean something special, who will let their imaginations run wild and exist without limit. And it is in limitless imagination that the future of book publishing finds fertile ground.








The Ellentree review by Eleanor Stewart

Earlier this autumn, before the dark mornings and early sunsets, a review of The Ellentree was published in the Book Arts Newsletter.

The review can be found here (on pg.61) for you can read it below...

Review of The Ellentree by Rosie Sherwood written by Eleanor Stewart

Observant visitors to the Turn the Page Artists’ Book Fair in the Forum in Norwich may have spied a curious tree occupying the airy expanse beneath the atrium roof; copper-tendrilled, with a host of bright and fluttering leaves which, on closer inspection, would be revealed as delicate origami cranes. This was the ‘Ellentree’, a mysterious presence at the heart of book artist Rosie Sherwood’s book of the same name. The Ellentree is a short fantasy story told through text and image which follows the enigmatic character Evelyn on his quest to find the tree. The quietly compelling poetry is interwoven with stunning photographs of the ‘Ellentree’ and its vivid leaves in a series of natural landscapes, which seem at once familiar and otherworldly. This duality of vision – of words and image – is explored throughout the book, which raises questions about perception, reality, memory and forms of knowing. There is a shifting, even unsettling, quality to the story; ultimately, no answers are provided to the subjects it raises, indeed, the work does well to resist any easy conclusions by finishing with a question.

As a physical object, the book is beautiful to look at but also to handle. Minute attention has been given to detail; from the subtle variations in the font and the precise weight of the paper to the thoughtful use of blank space and the bright darts of multi-coloured thread which weave through the spine and pages. ‘If “Seeing is Believing” ’ (to quote a line from the book) then The Ellentree certainly warrants more than a glancing look. 

We would like to offer huge thanks to Eleanor for her thoughtful words and for taking the time to review our book. 

Testing Our New Toy

Thanks to the wonderful people who backed our Kickstarter we are the proud owners of a new camera. This means decent photographs of our books, it means no more blurred event photos, it even means the occasional video. It is a truly incredible thing to have been able to buy and we couldn't have afforded it without you all.

Any new camera needs testing and with the sunshine finally out it was the perfect moment to take a hike through Epping Forest and field test the camera.

What a celebration...

We want to say a huge and heart felt thank you to everyone who came to celebrate the release of Moonrise on Saturday night. It was a wonderful evening and we had so, so, so much fun with you all.

A few (slightly) blurred photographs for your viewing pleasure.

If you would like a copy of the book you can find it in our shop. We are incredibly proud of it and would love to send many, many copies of to new, loving homes.

Thank you all again, truly and deeply

Rosie, Zelda and Ella

Moonrise, release date and launch party.

‘These pods swollen by a marvellous logic

which this margin is too narrow to contain’

Moonrise by Ella Chappell

As Yet Untitled is delighted to announce the release of our first new title: Moonrise by Ella Chappell. This is our first collaborative artists’ book and the first title to be made with the support of our Kickstarter backers. It marks a whole new chapter for the press and we could not be more excited.

Moonrise is a poetry collection preoccupied with themes including scientific theory, love, cosmology and feminism. Tracking the moon through the skies, the poems propose theories and thought experiments, accompanied by night photography that traces through the trajectory of the collection.

Moonrise is available to pre-order now and will be released on May 21st. If you would like to come and join the celebrations the book launch is open to all, Saturday May 21st at The Harrison in Kings Cross. Doors open at 7.30 and the night will include readings from Harry Man, Nicholas Herrmann and Ella Chappell along with live music from Michel Garrett and Chums and Tom Hyatt.

Pre-order your signed copy here:

Moonrise by Ella Chappell
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Pastry, Paper and Other Vital Elements

There are a few vital elements (or ingredients if you will) that go into a successful day book designing.

A few of them are listed below:





Baked Goods

More Baked Goods



A Computer

A Printer

More Paper

More Baked Goods


Today we had the perfect selection of these things and Moonrise is now closer than ever to being a real, physical, BOOK.



Moonrise- A Collaborative Artists’ Book Part One: Rosie Sherwood

There is a blank unpainted wall in my kitchen that I use to pin up images, ideas, research-anything I am currently working on. The wall has a door in the middle, dividing the space. Left and right often get used for different stages or aspects of a project. It’s the perfect place to put the work as it means I see it over and over again, I live with it, and I have the chance to make notes, to edit, to add to as I go along. At this moment in time the right hand side of the wall has images, notes and ideas for Moonrise by Ella Chappell pinned all over it. This is the first time the wall has been dedicated to someone else’s book, someone else’s work. But then, this is the first time I have worked collaboratively on publishing an artists’ book.

Moonrise marks the start of a new chapter for As Yet Untitled. A chapter supported and enabled by our Kickstarter backers and made not only possible but huge amounts of fun by Ella herself. Ella is a poet and publisher (she co-founded the wonderful Observatory Press). When I first proposed the idea of our making an artists’ book with her poetry I had to start by explaining what exactly an artists’ book is. This might seem like a frustrating start but it was exactly what I wanted. My aim with As Yet Untitled is to make book art with people who might otherwise never conceive of their work in this way. Ella came to the project with knowledge of publishing, of books and of poetry but without pre-conceptions in regards to the artists’ book. From that first conversation onwards the entire collaborative process has been not only a pleasure but an honour.

Having someone trust me their half formed ideas and half finished work; discussing a sense of shape and design; creating something from nothing, something that wouldn’t have every come into existence without all of the people involved is exciting and intoxicating. Collaborating with Ella to create Moonrise hasn’t been about some grand ideal of creativity. Rather, to me, the success and joy of this process has come from the seemingly smaller, easily overlooked moments and details- a line in an early draft of a poem that has survived to our final book, an image that has grown into a theme, the visit to a shop.

Take one of my favourite moments throughout this entire process, one single, pivotal afternoon. It started at one of the most beautiful shops in London, Shepherds in Victoria. It was here, among the high top counters and floor to ceiling shelves that Moonrise started to take physical shape. Paper, thread- the things that make a book where compared, discussed, considered and eventually chosen. Paper samples in hand we made our way to the café at Tate Britain. What followed was hours of conversation (over cake) spent writing notes, doodling, and dreaming up not only possible book designs but also ideas for its release. This single afternoon was the moment the book became real to me. It probably didn’t look like much from to the outside world but from within the bubble of our conversation this was the day I knew, really truly knew, that the experiment of collaboration was going to pay off and the Moonrise was going to really, truly happen.

In the coming weeks we have the mad, thrilling scramble of printing, binding and releasing our book. We have a million more conversations to have, emails to send, plans to make, ideas to consider and hours upon hours to find in already busy days. I have complete faith that we will manage it all and I cannot wait to find out exactly how.

Screen Printing

As some of you know I work as a technician in a secondary school in North London. It’s a wonderful place to work, with fantastic teachers and brilliant students. I was organizing some of the art supply cupboards the other day, going through stock, working out what equipment we have and I found all the tools and materials required to screen print. It’s an amazing resource to have in a school and one I didn’t know how to use.

Didn’t being the key word.

I got permission to go on an introduction to screen-printing course at the London Print Studio to learn how to do it. It was suggested we bring a design or some images with us to print from and while casting around for an idea Ella Chappells book popped into my mind.

We have been discussing visuals, graphics and design recently and I thought I would use this amazing opportunity to experiment with some of our ideas. Wonderfully these ideas lent themselves to learning both key screen-printing techniques: paper stencils and light sensitive emulsion. 

After two days of hard work and a huge amount of fun I have ink under my nails, all the important information I need to introduce screen-printing at my school and an initial idea for the cover of Ella’s book.

I also have an overwhelming desire to return to the London Print Centre again and again. A desire I am going to fulfill.

Winter planning is complete... It is finally time for some announcements.

Winter: cold, wet, and dark with glimpses of sunshine. This time of year is traditionally when As Yet Untitled retreats from the world, not to hibernate (much as we might want to) but to do some catching up, take a breath and make a year long plan. Throughout the year there are emails that aren’t unsent, admin that isn’t done, print runs with errors that we don’t have time to fix. From December to March we hide away and pick up all these pieces so that we can start again with a clean slate. This winter taking that catch up time was particularly important. 2015 was a roller coaster ride of joy and wonder that left us with even more threads to tie up and even more plans to make.

The huge success of our Kickstarter means that 2016 is a year of potential and change for us. We have dedicated the last few months to taking the first steps in laying the foundations we will need for the coming year. None of what we’ve done is particularly exciting nor does it make for interesting storytelling but it was all completely vital to the success of the press. However, just last week things started to feel exciting again and so we thought we would open to doors and windows to the press once more and continue to share our story, our plans and our progress…

Firstly a Kickstarter update: The first set of rewards went out before Xmas, with back issues finding new homes. It was such a pleasure putting them in the post! We have been researching the other rewards and they will be coming (very) soon. The digital proof just came back for the tote bags today and we cannot wait to get our hands on the real thing. And it isn’t only the rewards we have been working on. Ella Chappell’s book, the first to be released this year, is well underway. It is a truly exciting project and we will share more about it in the next few weeks. Perhaps most excitingly we are ready to start shopping and filling our studio with the amazing tools and equipment you have supported us to get. We will let you know when our parcels start arriving!

Elbow Room: The first Elbow Room of 2016 is due out on March 18th. We will be releasing it at Elbow Room Live at The Harrison in Kings Cross. Much to our joy Late Arrivals Club will be returning to the Elbow Room stage for the first time in over a year, helping to ensure we kick the year off with a bang. It worth coming for just them but as always our line-up will be packed with poetry, fiction and short films. We will confirm the full line-up shortly so keep an eye on the Facebook page for details, tickets and further announcements as we confirm who is reading with us.

And that’s not all where Elbow Room is concerned. We opened submissions during Jan and Feb and found ourselves positively swamped by more incredible work that we could possibly fit between the covers of the journal. So we have decided to stretch beyond the pamphlet and publish a new, twice yearly Elbow Room Broadsheet. Free to subscribers and sold at selected book fairs the broadsheet will be released to accompany our June and December volumes. It is going to be full of glorious poetry and prose that we cannot wait to share it with the world. Our recommendation- subscribe now and don’t miss a single line. We will even send you a free back issue if you subscribe on or before the 18th of March.

And last but in no way least As Yet Untitled will be at Pages in Leeds on the first weekend in March. Hopefully we will see some of you there.

Here to a brilliant year full of new books. We will keep you updated so watch this space.

Rosie and Zelda