I realize that I’ve never shared the variable edition of 12 manuscript books that I made last fall. Here are photos of the three verses of The Water is Wide. 5 x 8 in, Bister and sumi inks on Arches Text Wove, lettering done with a no. 2 round sable brush. Book cloth over hard cover.
These books were the “comfort food” of the studio this past fall. The melody that goes with these traditional lyrics is the kind of tune that sticks in your brain, but it’s soothing.
If you’ve been reading this blog, you’ll know something about How to Be in the World: An Abecedarian Commonplace for Living. This is a portfolio of 26 sheets that each contain an illuminated letter, a verb, and a favorite quotation relating to that verb. Written and drawn all in pencil, these pages were developed over a number years. It was featured in Letter Arts Review earlier this year, and I also made a clamshell box to hold the stack of original sheets.
As of the end of May, these are all sold out. Thank you to everyone who purchased one!
I just finished making this clamshell box for my abecedarian pencil portfolio, “How To Be In The World”. Except that it’s about 1/16″ too shallow to fit all the pages! Simply checking the fit after I made the inner tray — the first of three components to be made — would have made all clear. But I didn’t.
So now I have a beautiful clamshell box that needs a content. And a stack of pages that still need a box. Ah, well, I had planned to make three clamshell boxes this week, to solidify what I learned in the online bookbinding class through the University of Utah. Looks like the second and third ones will be virtually identical!
It’s been that kind of day. I wrote a letter to my niece using sumi ink and a 1/2mm Brause dip pen. It looked quite nice, if I say it myself, except that I discovered a huge, wet splotch of sumi ink on the back of the letter when I began to fold it for mailing. I mailed it anyway. Sometimes you’ve just got to move on. (The scroll-point red marker on the envelope went a little better.)
On Monday, I was thrilled to receive my copy of the current issue of Letter Arts Review. It’s always a good day when the LAR arrives, but especially so this time: my ABC pencil portfolio, How to Be In The World, was featured in it — all 28 pages! If you follow this blog, you’ve read about the portfolio several times here. The final product is definitely a ship of Theseus: every single page has been redone at least once.
Although I’m understandably infatuated with those particular pages, the entire issue is an excellent one. It includes an interview with the inimitable Julie Wildman, a book project by Louise Grunewald, Anna Pinto on pastels and pochoir, and more. Get your own copy here.
(In a few weeks, I may be letting up on the exclamation points. Maybe.)
The first of a variable edition of 3 manuscript books is complete and available for sale. Can’t Not Look: Democracy in America is a collection of quotations from our presidents in three sections: “Civility & Comity”, “Ethics & Equality”, and “Dangers to Democracy”. Each section contains at its center a fold-out quadruple truck of our present leader’s tweets on the same subject.
I have nearly completed the second and third books, and am still working on the camera-ready images for a short-run print version.
This book is difficult to photograph, I’m afraid. The paper is vintage handmade John Green: “Dover Castle”. Here are a few images.
I am so pleased that I have finally finished the last of Scintillate, Scintillate, a variable edition of 12 manuscript books. I finished the first nine back in October. You can see a photo of one of the books, open, here.
Long time no post! We’ve been traveling, and I’ve been Instagramming, and … well, honestly, inspiration has been sparse on the ground. Anyway, remember this artist book I was working on? I mostly finished it shortly thereafter, but never posted any photos. I had a few binding chores left on the last couple in the edition, and I worked on that recently … which reminded me that I had never properly photographed it. Here are some images from the book.
A variable edition of 12 manuscript books; 4 are still available. The books are small at 1-5/8 in x 3 in x 1/2 in, and lettered in gouache with a metal pen.
The structure is a modified version of a flat-piano-hinge non-adhesive book described by Keith Smith in Non-Adhesive Bindings.
The clean, strong imagery of this text appeals to me. Indeed, the visuals were so strong that I endeavored to make the letters themselves illustrate the poem, which describes so beautifully the preciousness of words as well as our tenuous hold on them.
I’ve been steadily working on a new edition of 12 little books. Fun stuff! And I can’t believe I mailed off 7 of them today without taking photos. Hmph. When I know they’ve arrived safely, I’ll post some in-process photos and as well as photos of the books I have here. In the meanwhile, a couple of details …
Isn’t this simply luscious? One of the frustrations/pleasures of working on an edition is seeing scraps like this come — and go. This sheets appeared when I pasted up scraps of painted Arches Text Wove onto another scrap of ATW to make closure loops for the wrappers. It was so beautiful on its own, I hated to cut it down into 1/4″-inch strips.
One day I’m going to finish the paper mosaics I’ve begun with all the irresistibly beautiful little bits of paper that I can never bear to throw out.
Even though I’m not going to show the book today, I will show one in-process photo. The structure is a flat-piano-hinge binding from Keith Smith’s, Non-Adhesive Binding. Threading a flat strip of Canson Mi-Tientes through the folded tabs was driving me bonkers, until I located this loop turner in my sewing supplies. I finally worked out a method of guiding the strip through the loops with the aid of the loop turner and a micro-spatula. The structure requires that this be done three times for each book, so I’ve gotten pretty good at it by now.
In case you’re wondering about the scale … the book is 3 inches tall and 1-5/8″ wide. (See how I mostly got rid of the lime green cutting mat that clashed with this little book? But you can still see the 1-inch grid in places.)