At ‘one’…

I was in the kitchen making my lunch at the time. The dog barked, then the familiar noise of the postman pushing something through the letter box, I wasn’t expecting anything. Then, again, a second time, though perhaps something larger, pushing against the edges of the box…


Curious I ventured to the front door and amongst the usual bills and junk mail a larger brown envelope, the shade of all letters I receive from Canada, a more mustard tinge than our brown paper and on closer inspection my good friend Chris’s fountain pen inscribed address. It’s here! It’s early! 

In my excitement the sandwich stayed un-eaten as I tore open the envelope, carefully removed the contents and stood, still, glued to the spot flicking through its pages. Absorbing not just first impressions but fuel, energy, inspiration and a sense of my friends achievement. You see here was not another magazine, nor a book. It is a self published love letter to his experience of the hobby, it is personal, original, a mix of craft, prototype and ideas gathered and choreographed by his passion for model railways.

 

Lunch beckoned but afterward, a coffee made and the sun coming in through the lounge window invited me to take a longer break. As I began to read more deeply I found its voice and collection of familiar material, but here presented in a new and more tactile way, edited and redrawn for the form, to be enjoyed without screen, without distraction. The approach is a series of articles not connected by subject, as you’d expect in a traditional magazine which means the whole thing has a ‘pick up put down’ feel. I keep coming back to it, re-enjoying pre-read material and finding new things to absorb. 

Pausing to think about a message, idea or prototype and then diving off into my own thinking - it’s a catalyst.

I have always enjoyed our friendship for that catalytic effect on my own work, our conversations and ideas, our joint pieces that fuel both new and enjoyment of old material. In these pages I hope others can find that same sense of energy, as if Chris has distilled the very essence of Prince Street. In a world where there are many who are quick to share their opinions but slow to act on them it is refreshing and not entirely surprising that it is Chris who has created a magazine in a new form, perhaps a one man manifesto at this stage but the idea that if we want something, if we’re dissatisfied with what already exists than there is nothing stopping us creating our own thing is powerful. ‘one’ is encouraging, in Chris’s gentle, self effacing and almost poetic prose he makes it all feel so wonderfully achievable. In this way, as well as standing alone as Prince Street on paper, I selfishly hope ‘one’ becomes a statement of the art of the possible. All that said, I’m afraid if you don’t have a copy you can’t get one as this print run has already sold out.

In a final act of mutual admiration, I’ll end with this…

Thank you Chris.




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Comments

  1. I always thought Iain Rice's thoughts belonged more on paper than on the web.I know Chris Ford has been sparking some debate about the future of books and magazines, but I would argue some books are carefully curated journeys. I won't say that experience can't be replicated digitally, but examples are few and far between.

    I suppose for me the paradigm example are some of my hideously expensive photo books. The book itself is part of the artwork. This gets meta when I consider that two of the most expensive books on the shelves are photobooks about photobooks.

    Incidentally, for brilliant cheap but important photobooks, also very useful for modelling, look at Cafe Royal Books.

    A good model somehow relates to this. There is a narrative. Not one made up of twee cameos or a preposterous fictional history.An unfolding, a discovery of what is in front of us. We have been guided by a gentle hand, without knowing it is there.

    When you walk away from one of those layouts, Buckingham, perhaps, or Pendon, or..., you feel life is still going on there.

    If I'm going to wax lyrical I might as well talk about music. Great music makes us wait for the resolution, it builds a mood, expectations. It doesn't lead us by the hand, but again there is that feeling we have to go this way. The layouts that work for me do that. I think it is why many layouts that draw the crowds at shows leave me cold.

    And now I think about it, a key factor is the personality of the builder isn't important when it comes to those crowd pleasers. Dare I say, they could almost be an AI creation:

    - A 1980s MPD
    - A busy urban scene at the end of steam with oddly clean buildings
    - A quirky dock scene that makes no sense to anyone who knows about docks and shipping, OMG another Clyde Puffer on the South coast.
    -

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    Replies
    1. So now I'm thinking about the concept of resolution. In musical terms, and literature, it is quite definable, That chord progression we all know must be coming.

      In model terms it can be, for example:

      - a sense trains are arriving somewhere, or going to an off scene destination
      - an operating sequence with a natural beginning and end
      - a reading of the scene from one side to the other
      - following an industrial process from raw goods to manufactured items
      -the scene itself either having natural boundaries, or part of the countryside stretching out beyond

      And perhaps there is a place for unresolved questions.

      -What is the future for this branchline/industry
      - what world will those young train spotters inherit
      - how will the coming of diesels impact this scene?
      -Just how timeless is this "timeless" scene


      -a sense of the closing of the day

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    2. This is a train of thought that requires more headspace than I have right now, but I like it and thank you for the comments. Oh, and sorry for the terrible pun!

      Delete
  2. Darn, I missed out! Your two shared images of Chris' magazine provide wonderfully simple and deep concepts that stopped me in my tracks, offering great breadth for expansion--not in size but in location, time or scale. The 16mm could be fantastic as a basis for a British Columbia cameo I've been considering, hauling old waste ore below to a shipping point for re-processing in the Slocan Mountains. Wright's Cove might transform nicely into a cameo of a mill powerhouse as found on the old 3' narrow gauge South Park in the 1880s, loading in coal and supplies and pulling out ore/concentrates. These two teaser images do absolutely have me wanting to see more of Chris' fertile imagination! I understand that probably won't happen but am pleased to have seen two fantastic ideas to add to my stash of inspirational layouts.

    ReplyDelete
    Replies
    1. Dave I'm glad the tease had helped - the story too of Chris's journey with this book. Let us hope it's reception encourages more in this manner and I look forward to future Hilton and Mears collaborations - perhaps even in a new media in 2024.

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