I’ve been busy. I usually work on two or more books at any time. Frequently I will need more information or another image or just waiting for glue to dry. So this isn’t unusual. I was in Washington, D. C. in Spring and took pictures at the Burning Man exhibit at the Renwick.
This huge sculpture of a woman dancing in freedom was the highlight for me. I took many pictures and I liked this explanation about the sculpture.
I wanted to use the photos in a book but they weren’t wonderful. So the problem was how to express the same theme using my not wonderful photos. I looked online for an interesting binding (always a good way to add involvement) and found something that really worked for me.
I added ‘equal’ to the statement because women will never be safe unless they are equal. The book is small: 2 3/4″ by 5 1/4″ and opens to about 13 inches. It’s kind of an origami fold or modified Turkish map fold that begins with a square. The whole thing works best with relatively thin sheets of paper. My paper was 20″ wide; I wanted to make four squares, so each had to be five inches. The translucent vellum was really too thick but I couldn’t get thinner stuff through the printer. After much gnashing of teeth and three iterations I got what I wanted.
I began the second book before I started any of the other three. This is my redesign of Aunt Flo’s Memoir published as a page on this website. I could have printed out the pdf and bound it as a single page stab binding but I haven’t been happy with that binding. I went from 8 1/2 x 11″ single pages to 8 1/2 x 14″ folded pages creating four signatures of five folded sheets, twenty pages in each signature. It’s hard to figure out how many sheets you will end up with when images are involved and you should have an even multiple. Very tricky. I think it was more work that when I originally entered the material from the handwritten copy. After I printed it out to my satisfaction I spent a lot of time on a cover. Fancy paper by itself doesn’t do it for me. My aunt spent much of her life as a milliner, so I created a purple felt hat and stitched in onto a handmade paper with some plant inclusions.
When I returned from the workshop in Scotland last year I made this book using photos of an installation by Sophie Cave in the Kelvingrove Museum in Glasgow. Structure of the book is based on a design created, I believe, by Hedi Kyle and known as a panel book. It is a simple accordion with a panel cut in each page so images rotate forward as the book is opened.
Covers are a light mat board with possibly handmade paper with botanic inclusions and a side strip of tan paper. Accordion is made of eight pieces of 100# Accent Opaque cover tabbed together. For the inside cover I enlarged two of the heads. Book is 8 5/8″ by 5 5/8″ and opens to 44 inches.
My book-making group liked this so much they asked me to teach it. This time I wanted an image over the entire page with the interest popping on the panel. I had some colorful, but unfocused images I shot of the puppet parade at First Night and used them for the background. Serendipitously, Eli took us to a House (music) festival at Millennium Park as I was thinking about this project. I took photos of people dancing, cut them out of their backgrounds in Photoshop, made silhouettes and put them on the panels, creating my House book.
Although the book is simple there are many opportunities for errors, and I made all of them. So the letters on the cover were cut from pages I printed and couldn’t use. Then they were machine stitched to handmade paper I picked up years ago in the Himalayan store, possibly from Nepal. This time I used a thin book board that remained flat where the mat board curled.
I wanted something on the back of each panel and found a poem about House music online. Additionally I added the entire poem on the inside of the front cover and a discussion about the origin of the poem inside the back cover. The book is 9 inches high by six inches wide and opens to 40 inches. Two pieces of Stonehenge Student make up the accordion with only one tab needed.
I had an entire post written and it disappeared when I published. I am not happy. I’m also seldom happy with my finished books. There is always something I forgot or should have done better. I decided to try this one again. Content is the same. I made two changes in the structure going from a finished size of 5×8 inches to 5×7. Using a 30-inch wide Stonehenge print paper I was able to make the accordion with only 3 tabs instead of the tabs on each folded spread. Binding paper remains the same, but the curl is made with gold thread instead of rattail.
The curl has been infinitely frustrating to me. Fitting, since frustrations with curls is the point of the book. But I wanted the curl on the cover to look like the one printed under Never Shirley.
Never Shirley is the story of my childhood desire to have curls like Shirley Temple. My hair was dark, almost black, coarse and completely unmanageable. Like many young girls I wanted something I couldn’t have: blond curls.
The book is a tabbed accordion-fold with covers of shiny bubbly paper, a stitched rat-tail curl and a flower barrette.
Last June I decided to recreate my father’s and my Aunt Flo’s memoirs as bound books instead of the PDF format I used for their original publication. The PDFs are on 8.5×11 inch paper, 2 columns landscape. In order to make a good bound book I decided to redesign each. Needless to say, I kept putting it off. Then I started, hit a snag and let it sit while I concentrated on other projects. I finally finished Aunt Flo’s memoir. It is comprised of 7 signatures, 12 pages printed on both sides (3 sheets folded in half) on 8.5x 14 inch paper and awaiting binding. I have an idea for the cover design but haven’t begun working on it.
I finished most of the formatting on my father’s book and decided to proof read it. I did the original transcribing many years ago and occasionally found typos. About 2/3 of the way through I realized the stories were mixed up and didn’t read properly. So I’ve gone back to his original writing to edit the continuity. He filled all of these composition books with stories and a lot of rants. Fortunately his writing is legible. I don’t intend to transcribe the rants and complaints. After I finish this time I intend to throw it all out.
I am enough intrigued by flag books to have made several of them, but have yet to do the one that interests me the most: where the image coherently stretches from one flag to the next. Maybe that will be my next project, after two or three others I already have in mind. So this is the most recent flag book completed several years ago.
It is the fore runner of a series of “Dead Fish” books I will talk about later.
One of the first flag books I made used images from Japan. For the flags, I removed the background from photos I took at a parade in Kyoto, Japan, in 2007. Then I made backs for each image; not great, but passable. They look like paper dolls, or almost like baseball cards. From an atlas printed in Japan that I bought for a dollar I used pages to make the covers.
The other book was for a birthday gift. The cover looks like this:
The outside is a light card stock with an embossed metallic finish. Inside endpapers are tie die paper I made in the book workshop. You can see the accordion at the bottom; the fold is only about half an inch. It should have been more like one and a quarter inches. Some of the words I put on the flags don’t show up unless you move them. Below are several of the flag books, and other books made in a workshop.
Last Saturday and Sunday I was at a popup book workshop. I love popup books and always wanted to make them. This is the third popup workshop I’ve taken and finally I think I understand how to incorporate my own images into a popup framework. In the past, I’ve made all the structures but never understood what to do next. Here is my first popup:
In another workshop I made a flag book using papers and flags previously prepared by the instructor. Subsequently I made a number of flag books I’ll post about later.
I think the same workshop also included paste papers. This is a tunnel book using the paste papers. Again, I’ll have more to say about tunnel books. I don’t think I ever made more paste papers.
Pam Susan taught a week-long workshop at the Society for Contemporary Crafts. I loved it, was totally wiped out at the end of the week, but very productive. It was all about binding techniques and even included box making.