TableofContentsTitlePageCopyrightPageForewordAcknowledgementsAFORMATFORARTISTICEXPRESSIONTOOLSANDMATERIALSSURFACES,IMAGESANDWORDS

PAPERANDOTHERSURFACESIMAGESWORDS

BLANKBOOKSANDALTEREDBOOKS

BLANKBOOKSALTEREDBOOKS

SINGLE-FOLD,BI-FOLDANDBOOKSFOLDEDFROMONESHEET

SINGLE-FOLDANDBI-FOLDBOOKSBOOKSFOLDEDFROMONESHEET

ACCORDIONBOOKSANDSCROLLS

ACCORDIONBOOKSEDITIONINGSCROLLS

PERFECTBINDINGS,DRUMLEAFBINDINGSANDBOARDBOOKS

PERFECTBINDINGSDRUMLEAFBINDINGSANDBOARDBOOKS

DRUMLEAFBINDINGSIDE-SEWN,SINGLE-SIGNATUREANDMULTIPLE-SIGNATUREBOOKS

SEWNBOOKSSIDE-SEWNBOOKSSINGLE-SIGNATUREBOOKSMULTIPLE-SIGNATUREBOOKS

COVERS,BOXESANDUNBOUNDCOLLECTIONS

COVERSBOXESUNBOUNDCOLLECTIONS

GLOSSARYRESOURCESINDEXDOROTHYSIMPSONKRAUSE

Book+Art.Copyright©2009byDorothySimpsonKrause.ManufacturedinChina.Allrightsreserved.Thepatternsanddrawingsinthebookareforpersonaluseofreader.Bypermissionoftheauthorandpublisher,theymaybeeitherhand-tracedorphotocopiedtomakesinglecopies,butundernocircumstancesmaytheyberesoldorrepublished.Itis

permissibleforthepurchasertomaketheprojectscontainedhereinandsellthematfairs,bazaarsandcraftshows.Nootherpartofthisbookmaybereproducedinanyformorbyanyelectronicormechanicalmeansincludinginformationstorageandretrievalsystems

withoutpermissioninwritingfromthepublisher,exceptbyareviewer,whomayquoteabriefpassageinreview.PublishedbyNorthLightBooks,animprintofF+WMedia,Inc.,4700EastGalbraithRoad,Cincinnati,Ohio45236.(800)289-0963.Firstedition.

131211100954321

DistributedinCanadabyFraserDirect100ArmstrongAvenue

Georgetown,ON,CanadaL7G5S4Tel:(905)877-4411

DistributedintheU.K.andEuropebyDavid&CharlesBrunelHouse,NewtonAbbot,Devon,TQ124PU,EnglandTel:(+44)1626

323200,Fax:(+44)1626323319E-mail:postmaster@davidandcharles.co.uk

DistributedinAustraliabyCapricornLinkP.O.Box704,S.Windsor,NSW2756Australia

Tel:(02)4577-3555

LibraryofCongressCataloging-in-PublicationData

Krause,DorothySimpson.Book+art:handcraftingartists’books/DorothySimpsonKrause.

p.cm.Includesindex.

ISBN-13:978-1-60061-154-4(pbk.:alk.paper)ISBN-10:1-60061-154-0(pbk.:alk.paper)1.Bookbinding--Handbooks,manuals,etc.2.Books--Format.3.Artists’books.I.Title.II.Title:Bookplusart.III.Title:Bookart.

Z271.K7552009686.3--dc222008050258

Editor:ToniaDavenportDesigner:CorrieSchaffeld

ProductionCoordinator:GregNockPhotographer:MaryTaylor

FOREWORD

Artistshaveanenviablereactiontopaper,ink,stone,threadandimages,makingworksofartthatIstillwould like to label “bookworks.”At theoutset, I always say that everyartisthas an innatedesire tomake a book. It involves sequencing, craftsmanship, finesse, but most of all it reflects content andcontext.Nobookshouldjustbe“beautiful.”Itshouldsaysomething.Itshouldmeansomething.Anditshouldcastawidecircle.I envision that future libraries will contain the very essence of artist books, where a streak of

nostalgiawillbringviewersandreadersintothe“rarebooklibrary”toseewhatartistshavebeendoingfor centuries,makingbookworks that genuinelymove the spirit, capture the imagination, and impartvisualandverbalinformationthatchangesone’smindaboutmanythingsandconcepts.InBook+Art,artistsarechallengedtofocusonmeaningfulcontentandtoextendthedefinitionof

bookfromthephysicaltothevirtual—tocreatethoseuniqueobjectswewilltreasureforposterity.JudithA.Hoffberg1934-2009EditorandPublisherofUmbrella

ACKNOWLEDGMENTS

Although formally trained as a painter, I gainedmyknowledgeof the book arts throughworkshops,sharinginformationandtechniqueswithcolleagues,research,reading,andtrialanderror.Throughtheyears, I have worked with a number of book artists whose contributions I greatly appreciate. Theyinclude: TimEly, Shanna Leino, BobEbendorf, LauraWait,WendyHaleDavis,Keith Smith, ScottMcCarney, Julia Miller, Peter Madden, James Reid-Cunningham, Marcia Ciro, Stephanie Stigliano,Sharon McCartney, Karen Gorst, Maureen Cummins, Suzanne Moore, Don Glaister, Janine Wong,Theresa Airey, Danny Conant, Sing Hanson, Catherine Steinman, Esther Maschio, Ana Cordiero,KatherineMcCanlessRuffinandMaryTaylor.Colleagueswhohave read thedraftsof thismanuscriptandmade invaluablesuggestions forchangesinclude:SharonMcCartney,JanineWong,MaryMcCarthy,ViolaKäumlen,BonnyLhotkaandKarinSchminke.ToniaDavenport,NorthLight’scraftacquisitioneditor,encouragedmetoundertakethisbookandmadevaluableorganizationalsuggestions.CorrieSchaffeldisresponsiblefortheunderstated,classicdesign.Iamespeciallyindebtedtomyhusband,Richard,forhiscontinuingsupportandencouragement,andtomy studiomanager,MaryTaylor, an artist and teacher,whose insights and assistance are invaluablecomponentsinthecreativeprocess.DorothySimpsonKrause,2009

Sicily,2008,56pages,ImagescollagedinSicilyintoapre-madeblankbook(seepages114-115)

AFORMATFORARTISTICEXPRESSION

Some of our museums’ greatest treasures are early books—hieroglyphics on papyrus, illuminatedmanuscripts on vellum and oriental scrolls on silk—presenting content with images and words.Beginning in the late 1800s, presses brought together artists and writers and published theircollaborations ineleganteditions.In the1960sand1970s, that traditionexpandedtodefinebooksbyartistsasuniqueworksofart.Today,hundredsofcolleges,universitiesandartcentersofferbook-artsprograms.Interestinbookartscontinuestogrowlargelyduetothefactthatitcanencompassvirtuallyanyotherartform,providingtheopportunitytocreateaddedmeaninginanintimatestructure.Whilesomebooksmayhaveanartist,writer,editor,designer,papermaker,typographer,printerand

binderinvolvedintheproduction,inartistbooks,theartistoftendoesitall.Andthat’swhatyouwillbedoingin thisbook.Youwillexploreavarietyofbooksandbook-likeforms,andlearnprocessesandtechniques thatwill allow you tomake books as an expression of your art. For themost part, theseuniquebookswillbeone-of-a-kind.

VietnamJournal,1998,54pages,6⅜“×6½”(16cm×17cm)collagedjournal

My involvement with making books began in 1998 on a trip to Vietnam. The blank journal I

purchased had pages thatwere glued into a deep spine and a paper cover thatwrapped around andclosedwith a stripof bamboo.Before I left home, I glued an irregularly shaped envelope inside thefrontcover.Thestructureallowedextrapagestobeslippedwithinthedeepspineandtheenvelopeheldscrapsof cloth,gold-washed josspaper,medals andother foundephemera,until I incorporated themintothebook.When I returned, I scanned the pages of the journal into the computer, combined them with

photographs,printedthemonfilmandtransferredthemtohandmadepaper.Thejournalservedbothasaworkofartinitsownrightandasasourceofimageryforthisseriesofuniquedigitalmonoprints.A painter by training and collage-maker by nature, my primary focus has been large-scale work

combiningtraditionalanddigitalmedia.Myearlybooksallowedmetoexplorerepetitionandvariationinasmallformat,andtheyprovidedawelcomeescapefromtrouble-shootingcomputerproblems.Asbookshavebecomeanincreasinglyimportantpartofmywork,Ihavefocusedonlearningtraditionalbook-making processes and adapting them to meet my needs as an artist. I have also begun toincorporatedigitalprocesseswhereappropriateanduseful.ThisbookisdesignedtosharewhatIhavelearnedandtogiveyourelativelysimpleandelegantways

ofpresentingyour concepts and ideas.Demonstrationswill present theprocesses, andTipswill giveyouadditionalinformation.CreativeExplorationswillchallengeyoutoconsiderotheroptionsandwillprovide alternative insights. If you encounter a term that’s new to you, look for its definition in theGlossary,andusetheResourcessectiontolocatethepeople,placesandthingsImaymention.

VietnamJournalinsidecoverandBananasforBreakfast,1998,22”×30”(56cm×76cm)digitaltransfer

WhatIsanArtistBook?

We generally think of books as those things that sit on bookshelves with pages, covers, words andimages.Butbooksmayvaryconsiderablyfromthatdescription.Abookcanbelooselydefinedasanoriginalworkofartthatprovideslinksandmeetingpointsbetweenartdisciplinesinabook-likeformat.Although a book can be enormous or tiny andmade from almost anymaterial imaginable,most aremade tobeheld,openedandclosed,and,perhaps,viewed inasequentialmanner.Mostare intimate,requiringadegreeofattentionandcontemplationtoexperiencethecondensedemotionorobservationtheycontain.Whatmakesabookinterestingistherelationshipbetweenthecontentandform,andhowitfunctions

toenticeandengage.AlthoughIbeganmyinvolvementwithmakingbooksbypurchasingplainblankbooksthatcouldbepersonalized,Inowprefertomakemyown.Itallowsmetochoosethesize,paper(or other surface), binding style and covermaterial thatwill work together to enhance the conceptspresentedbytheimagesandwords—conceptschosenfromsubjectmatterrangingfromthepersonaltothepolitical,thesacredtothemundane.InBook+Art,we’llbe referring to the individualpartsofabook—covers,endpapers,bookblock

andsoon.We’lllookatthebasics—surfaces,imagesandwords.Thenwe’lllookatalteringpre-madebooks and a variety ofways tomake simple and elegant book structures to house your images andwords.Becausethisbookis,ofnecessityandbydesign,limitedinscope,youmaywanttoexploreparticular

threads in depth. One of the best sources of information on educational opportunities, professionalorganizations,tutorials,referencematerialsandgalleriesisTheBookArtsWebwww.philobiblon.com.Maintained since 1994 by Peter Verheyen, it is also the home of Book_Arts-L, an active electronicmeetingplace,andTheBonefolder,ane-journalfor thebookbinderandartist.LookintheResourcessectionatthebackofthisbookforothersuggestions.

InspirationandPerspiration

Thomas Edison’s quote, “Success is ten percent inspiration and ninety percent perspiration,” issignificantinthathelistsinspirationfirst.Itistheimpetustocreatethatdrivesthecreativeprocess,andwhileinspirationcancomefrommanysources,ifwealwayswaitedforabrilliantideatoemerge,wewouldprobablydolittlework.It isusuallyintheprocessofworking—theperspiration—thatwefindtheinspiration.Asyousearchfor inspiration,consider takingaworkshop,going toaplaceyou thinkwouldbeof

interest,applyingtobeanartist-in-residenceorputtingtogetheragroupofartistswithsimilarinterestswhocanbeaproductivesupportgroup.Manyartistsfindtheyneedanexhibitiondeadlinetospurtheirproductivity.Alloftheseoptionsputyouinsituationswhereyoucanexploreideaswhileworking.Dowhatever you can to give yourself the time towork.Don’twait for inspiration to strike. Start

lookingforvisualornarrativecomponentsthatrelatetoanissueofimportancetoyou.Thinkaboutthemessageyouwantyourworktocommunicateandhowyoucancommunicateitsimplyandeffectively.

TOOLSANDMATERIALS

Whilebeingable toworkuninterruptedly is ideal, formostpeople, it isanunrealisticexpectation. Ifyou can find a spacewhere yourwork can be left in process, it will bemuch easier to return to itwheneveryoucan,evenifonlyforabriefperiod.Ifyouhavetoputyourthingsawayattheendofeachsession,setupasystemthatwillallowyoutostart,stopandcleanupasquicklyaspossibletogiveyoumaximumworking time.Clearplasticbagsandboxesmakeorganizationeasierandallowyou toseethroughthemtofindwhatyouneed.Toolsandmaterialsareintegraltoeverystepoftheprocess,andthereisconsiderableoverlapinthose

used for making art and making books. Although the following list is long, few of the items areabsolutelynecessaryandwillvaryaccordingtothewayyouchoosetowork.Ifyouareafiberartist,you may choose to work with fabrics and trims, and use machine or hand sewing. If you are aprintmaker,youretchings,etchingplatesandinksmaybecomeyourmaterialsofchoice.Whateveryourmedia,youcertainlywon’tincludeallofthematerialsandtoolslisted.Whilemostofthesesuppliesarefoundinartstores,myfavoriteshoppingplacesareyardsales,flea

markets,recyclecenters,dumpsandsecondhandstores.Inusedbookshops,youcanfindwonderfuloldbooks to alter, as well as book covers, illustrations, text pages, letters, maps, documents, photos,postcardsandstamps. Inhardwarestores, there isnonwoven fabric,wire, screening,aluminum, lead,copperandwood.Craftandfabricstoreshavefabric,interfacing,lace,thread,twine,wire,raffia,yarn,string,ribbon,buttons,beads,woodandtinshapes,andwoodenandpapiermâchéboxes.Inthefollowinglists,feelfreetosubstitutewhereverpossible.Generalinformationisgivenhere,and

specifics are discussed in the various chapters. Items or brands are occasionally suggested by name.Usuallythereareacceptablesubstitutes,butifthereisnoalternativeforanitem,itisnoted.

Artmaking

Sincethebooksyoumakemayincorporateyourartaswellasbeingartobjects in theirownright,

youshouldbeginwiththeartmaterialsandtoolsyounormallyuseandaddothermediaastheyseemtoexpandwhatyouaretryingtoaccomplish.

Basic

ApronChoppingmat,thinandlightweighthardsurfaceCraftsticksGlovesMixingbowls,measuringcups,spoonsPansPaperandothersubstratesformakingartandbooksPaperorpolypropylenebagsorsheetingtocoverworksurfacePapertowelsPaper,scrapforgluing—newsprint,oldphonebookorcatalogPushpinsSponge,largehouseholdSpoon,spatulaStaplegun,heavy-dutystaples

DryMedia

Pastels,oilpastelsPencils,graphite,colored,water-solublePigmentsWaxcrayons,water-solublecrayons

WetMedia

AcrylicpaintsAlcoholBlenderBrushes,avarietyofsizes1/2”(13mm)to4”(10cm)forpaint,pasteandglue,bristle,foam,toothbrush,roller,cottonswabsFauxfinishes,crackleglaze,rustInk,acrylic,pearlescent,metallic,black,walnutOilpaintsPens,metalnibs,markers,gel,metallicTurpentineorsubstituteWatercolor,gouache

Printmaking

Brayer,4”(10cm)or6”(15cm)softrubberCollagraphplatesCuttingandcarvingtoolsGelatin,KnoxunflavoredInkpadPaletteforinking,nonabsorbentPrintinginks,water-solubleRubberstamps,commercial,winecorks,erasers,softrubber,craftfoamwithadhesivebackStencils

Encaustic

CheapbristlebrushesColdwaxmediumColdwaxmetallicpigment,likeRub’nBuffEncausticmedium(beeswaxandresin)Heatsurfaceforencaustic:smallcrockpot,electricfrypan,metalbowlorcanonsmallwarmingtrayHotairorheatgunTackingironorhouseholdiron

Mediums,TexturingMaterials,PrecoatsandPostcoats

Acrylicmediums,liquidorgel,gloss,satin,matteCalciumcarbonate,whitingorathleticfieldmarkerGesso,whiteandblackInkjetprecoats,likeGoldenDigitalGroundsModeling(ormolding)pasteSpacklingcompoundSpreaders,creditcardsorpiecesofplasticVarnishorpostcoat,likeGoldenGelTopcoatorKrylonCrystalClear

TransferMaterials

Acrylicgelmedium(handsanitizer,likePurell)Citra-solvClearpackingtapeorcontactpaperTransferfilm,likeDASSLazertran,inkjetorsilkRub-onlettersSafe-releasemaskingtape

Bookmaking

There aremany pieces of equipment that bookbinders use tomake life easier, but for the artistwhomakes one-of-a-kind books, the investment inmoney and studio spacemakes finding alternatives orwork-aroundsareasonableoption.Forexample,asubstituteforapresscanbeimprovisedwithaboardoneachsideofthebookandspringclampsoraweightontop.Thetasksdonebyaguillotineorboardshearfor trimmingtheedgesofbooksorcuttingbookbinder’sboardcanbeaccomplishedwithmanythincutsofasharpsnap-bladeknife.Thesetechniquesandmanyothersarediscussedatvariouspointsthroughoutthebook.

Basic

AwlorneedlepunchBoard,binder’s,book,mat,woodBrush,pasteandglueCalipersChoppingmat,thin,lightweight,hardsurfaceClamps,springorsimilar,clips,paperclipsCloth,leatherorpaperforpagesandcoversCuttingmat,self-healing,largeandsmallDentalflossthreader,likeEez-ThruEraser,whiteandblack,likeFactisFolder,boneorTeflonKnife,snap-blade,X-Acto(craft),heavyutilityorscalpelwithextrabladesMicrospatulaMull,muslinorlong-grainedricepaperNeedle-nosepliersNeedlesPencilandsharpenerPickup,naturalrubberPiercingcradleRubberbandsRulers,metal,preferablywithcorkbackSandingblock,fineScissors,large,smalllikeEasyKutminiScrewpunchorpaperdrillStraightedgeStripsofwood,plasticormetalT-square,long,metalThread,linenorotherstrong,cordTriangle,metal,90°and45°,6”(15cm)TweezersWaxorsubstitute,likeThreadHeavenWaxedpaperWeights,small

Adhesives

Severaladhesivesareusefulinmakingbooks.Forthemostpart,Iuseacrylicgelmediumbecauseitisthick and introduces littlemoisture. Ifmore saturation or a longer drying time is needed, PVA or amixtureofPVAandwheatpasteworkswell.Ifinddouble-sticktapeandadhesivelaminateespeciallyuseful, and I like theportability of glue stickswhen traveling.Theproperties of some adhesives arediscussedbelow.Wheneverpossible,choosebrandsthatclaimtobearchival.

•Polyvinylacetate(PVA)glueisoneofthemostcommonadhesives.Itisathick,stickyandfast-dryingwhiteglue.PVAmaybemixedwithwheatpasteormethylcellulosetogiveitadditionalworkingtime.JadeandSoboarehigh-qualityandreadilyavailablebrands.

•Methylcellulose,aplant-basedstarch,ispreparedbyaddingwatertoit.• Acrylic mediums are good as adhesives (and also for inkjet transfers and surface texturing).Thickergelmediumshave themostbindingpropertiesandare least likely tomigrate throughpapersandcauseproblemsonthesurface.Allacrylicmediumsarearchival.

•Double-stick tapeandadhesive laminate in clear sheetsmaybeused toglue together any twosurfaces,buttheyareespeciallyusefultoinvisiblyadheretwotransparentsurfaceslikePlexiglasandclearfilm.Tapes, like3MScotch969or924,arereferredtoas“adhesive transfer” tapes.They are designed for use in an applicator but can also be applied by hand. MACtacmanufacturescrystal-clearsheetsofadhesivefilmformounting.Aswithalllaminates,theyarebestappliedunderpressure.Gaffer’stape,amatteblackversionofducttape,isoftenuseful.

•Gluesticks,pasteinasolidform,aregreatfortraveling.Theyareneatandquickdrying,andtheywon’tcausepapertowrinkle,butthequalityfromonebrandtoanothervariesconsiderably.

•Craftadhesiveisaclearcompoundthatbondstowood,metal,fabric,leather,glass,ceramicandfound objects. Clear Liquid Nails and E-6000 are readily available brands. UGlu makes anindustrial-strengthbondingadhesiveinstrips.

•Spray adhesive is tempting to use, but itmay releaseover time andmay also turnbrownandmigratethroughthepapersincemostarenotpHneutral.Toavoidmessyoverspray,sprayintoaboxoroutdoors.

•Hide glues are a traditional component in paper sizing, canvas preparation and themaking offrescosurfaces.Rabbit-skingluecrystalsareprobablythemostcommon.

•Wheat paste, commonly referred to as “paste,”maybemade fromavariety of products,withprecipitatedwheatstarchorricestarchbeingthepreferredproductsofmanybookbinders.Therecipeincludedbelowisgeneralizedandcanbeadaptedeasily.

Ifyouarenotcareful,glueorpastecanleaveunwantedmarksonyourbook.Placeacleansheetof

scrappaperunderyourworkeachtimeyouglue.Pagesfromaphonebookorcatalogworkwell.

RecipesforWheatPasteCookedMix3tablespoonswhitewheatflourwithjustenoughcoldwatertomakeitwetandliquidenoughtopour.Bringtoaboil1cupofwater.Pourthecoldwheatflourmixtureslowlyintothehotwater,stirringconstantly.Bringtoaboil.Cookwhilestirringuntilthick.Allowthepastetocoolbeforeusing.Storeinrefrigerator.Precooked

Talaswheatpasteisaprecookedpowderthatdissolvesincoldwaterwithhandbeatingorablender.Itrequiresnoheatsourceandisquicktomake.Sprinkle¼cupprecookedwheatpasteinto1cupofwater.Blenduntilalllumpsaresmoothandthemixtureistheconsistencyofheavycream.Ifyoupreferaslightlythickermixture(thetextureofpudding),thatyoucandraworwriteinto,addanadditional1tablespoonofwheatpaste.Storeinrefrigerator.

Digital

Althoughmostofmybookmakingisdonewithtraditionalmedia,Ialsouseadigitalcamera,scanner,computer,inkjetprinterandAdobePhotoshop.Sincethesearebecomingmorecommontoolsinartiststudios, some of the demonstrations show how I use them in making books. If you don’t have acomputerinyourstudio,thereareotherwaystoaccomplishmanyofthesetechniques.In choosing a printer, it is helpful to have pigment inks for longevity (see Permanence below), a

straight paper path to accommodate rigid materials and as much head clearance as possible. Somedesktopprinterscanprintonmaterials “ (1.5mm) thick,whichwillallowyou to textureorcollagesurfacesbeforeprinting.Most desktop inkjet printers have ejection rollers or “pizzawheels” that come in contactwith the

imageimmediatelyafteritisprinted.Thiscreatesnoproblemonaporousmediumlikepaper,butifyouwanttoprintonanonporoussurfacelikemetalorfilmfortransferring,theejectionrollersmaytrackordragonthesurfaceanddamagetheprint.Themechanismholdingthe“pizzawheels”canberaisedor“shimmed”onsomedesktopprinters,andthewheelscanberemovedonothers.SearchontheWebtoseewhatartistshavefoundapplicableforyourprinter.TheprinterusedinthesedemonstrationsisanEpsonStylusPro3800,a17”(43cm)wideprinterthatmeetsallofthecriterialistedabove.In2004,Ico-authored Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional ArtMaterialswithKarinSchminkeandBonnyLhotka.Itcontainsadditionalinformationyoumayfindofinterest.

Permanence

Theterms“permanent”and“archival”lackagreed-upondefinitions.Theygenerallyrefertothestabilityorresistanceofamaterialtochangesoveranextendedperiodoftime.Whileweallwantourworktolastaslongaspossible,thereareintriguingwaysofworkingandinterestingitemstobefoundalmosteverywhere—andthereisnosubstituteforthepatinaacquiredwithage.Yourchoiceofmaterialsmayaffectthelifeofyourartwork,especiallyifyouareamixed-mediaartistusingfoundcollagematerialssuchasnewspaperclippingsandrustymetal.Withtheadventofpigmentedinks,thefadingofinkjetprintsisnolongertheproblemitoncewas,

andinbooksthatarelargelyclosedandtheimagesprotectedfromlight,dyeinksshouldalsoworkwell.Wilhelm Imaging Research, Inc. conducts accelerated aging tests, primarily for printer and inkmanufacturers,todeterminethecomparativelifeexpectancyofinkjetandotherdigitallyprintedimageswithvariousinksetandpapercombinationsandpoststheresultsontheirWebsite.GoldenArtistColorsisanexcellentresourcefortechnicalandconservationinformationonacrylicpaints,grounds,mediumsandspecialtyproducts.

Safety

Whilealloftheprocessesdescribedinthisbook,ifusedasdirected,presentnoknownhealthhazards,itisalwaysgoodtotakeproperprecautionsandfollowinstructionsrelatedtothematerialsyouchoosetouse.MaterialSafetyDataSheets(MSDS),which list the ingredientsandanywarningsaboutuse,areavailablefrommostmanufacturers.Ifyoufindyouarebotheredbythefumesfromsomeproducts,usethemsparinglyoroutdoors.Paycloseattentiontothedirectionsforsafelyusingencausticandpolymerclay,andcarefullymonitorthemaximumtemperaturesatwhichtheyareheated.Ifyouhaveconcernsabout a particular product, request information. Art Materials Information and Education Network(AMIEN)providesinformationregardingthequality,durabilityandhealthhazardsofartistmaterials.Someprocessesusehouseholdtools.Oneexample isusingablender tomakesmoothwheatpaste.

Althoughinthiscasetherewouldbenoharminreusingtheblenderforcooking,asthewheatpasteisedible, it is a good idea to segregate all studio tools to avoid potential health problems. And, as aprecaution,keepyourmaterialsclosedandawayfromfood,childrenandanimals.

Copyright

Copyright is designed to protect original expression fromunauthorizeduse. It begins at the time thework is created in fixed, tangible form. In most cases, the artist who created the work holds thecopyright.Aworkthatisnolongercopyrightprotectedisconsideredtobe“inthepublicdomain”andcanbeusedwithoutpermissionorpayment. Ifyou incorporate images,wordsorobjects thatmaybeundercopyright,andyouanticipatethatyourworkwillbeshown,soldorpublished,youwillneedtodeterminehowtobestproceed.WebsitesrelatedtocopyrightissuesarelinkedthroughTheBookArtsWeb.Wheneveryouuseotherpeople’sworks,givethemappropriatecreditinthetext,afootnoteorthecolophon.

Colophon

Acolophon is anote,usually locatedat theendof abook,givingpublicationdetails. Itmay list thepapers and typefaces used, date of completion and number of copies printed, and, in the case of alimitededition,itwillcitethecopynumber.Italsomayidentifytheauthor,artist,designer,illustrator,printerandpublisher.Whilenotanecessity,acolophonisaniceadditiontoahandcraftedbook.

What’sNext

Inthefirstsectionofthisbook,we’llexplorepaperandothersubstrates,imagesandwords.Thenwe’llworkwithpre-madeblankbooksandalteringexistingbooks.Next,we’llmakeavarietyofhandmadebook structures basedon folded sheets, adhesive and sewn structures. Finally,we’ll consider covers,boxesandunboundcollections.There are endless variations on everything covered in this book. Feel free to adapt any of the

processestomeetyourtalentsandyourneeds.And,mostofall,justenjoycreating!

ScrapofCloth,1998,22”×30”(56cm×76cm)

HelpfulHints

•Usetheartandbooktoolsandmaterialsyouhave,substitutingwherepossible.•Coveryourworksurfaceswithplasticbags,plasticsheeting,paperorchoppingmatstomakeclean-upsimple.Ihave4’×8’(1m×2m)sheetsofpolypropylene,aplasticnothingsticksto,onmyworktables.

•Checkwithaframerorcommercialprintertoseeifyoucangetscrapsofmatboardorpaperstrimmedfromtheirprojects.Piecesthataretoosmallforthemtouseareoften

perfectforbookpagesandcovers,andlargequantitiescanbehadforlittleornocost.Awoodworkermaybeagoodsourceofinterestingwoods.

•Acraftsmanwhoworkswithleather,makinghandbagsorclothing,mayalsohavescrapslargeenoughforspines,separatefrontandbackcovers,inlaysandonlays.Althoughyouwillprobablyhavetopayanominalcharge,itwillbemuchlessthanifyouwerebuyingskins,andyouwillhaveavarietyofcolorsandtextures.Clothingleatheristhinandsoftand,itdoesn’trequireparingtowraparoundboards.

•Aweight,whichcanactasasubstituteforabookpress,canbemadefromaflat-bottomedpanfilledwithbricks.

•Springclampscanalsoactasasubstitutebookpress.Besuretoputyourbookbetweenrigidboardssothattheclampswon’tleavemarks.

•Asmallweight,especiallyusefulforholdingyourbookopenwhensewing,canbemadebycoveringabrick,buckshotorotherheavyitemwithfabric,orbyusingapieceofmetalorpolishedstonescrap.Ifyoucanfindone,anantiqueflatironisbothfunctionalandaestheticallypleasing.

•Abonefolderwillmakemarksonpaperandfabric;aTeflonfolderismoreexpensivebutleavesnomarks.Youcancleanabonefolderbysanding,butsandingaTeflonfolderreleasesparticlesthatarehazardoustoyourhealth.

•Acannailedorscrewedtotheedgeofyourworktableisahandyandsafeplaceforahotairgun.

•Apiercingcradle,usedtomakeevenholesforsewing,canbesimplymadefrombinder’sboard(seepage102).

•SomeofthesuppliesIfindmostusefulare:Double-sticktape,whentravelingorwheremoisturefrompasteorgluewouldcreateaproblem.Ablackeraserdoesn’tmarkonblackpaperandseemstoalsoerasewhatothererasersdon’t.Anaturalrubberpickupliftsgluesmears.Minispring-actionscissorsaresmallandsharp,andtheycanbecarriedaboardplanes.Calipersallowmetomeasureandmakedivisionswithoutdealingwithnumbers.Amicrospatulaisgreatformakingsharpfoldsandapplyingpasteintightspaces.Choppingmatsareinexpensive,thinandlightweight,andtheyprovideaneasilycleaned,reusable,hardsurfacebetweenbookpagesforrubbingatransferorkeepingdampnessfrommigratingtoadjacentpages.

TravelSuppliesWhenItravel,Icarrya9”×12”(23cm×31cm)clearexpandableplasticenvelopethatholdsmybookandafewsheetsofpapersIthinkmaybeuseful.Ialsohaveapencilcasethatcontainsalimitedselectionofpencilsandfelt-tipmarkers,smalltubesofwatercolororgouache,abrush,aTeflonfolder,minispring-actionscissors,aruler,aneraser,apencilsharpener,rubberbands,double-sticktapeandgluesticks.Thescissors,whichresembletweezers,haveneverbeenquestionedbyairlinesecurity.IfIthinkIwillneedthem,Ialsocarryasnap-bladeknifeandasmallself-healingcuttingmatinmysuitcase.Alongtheway,Igathercollagematerialsthatareaddedtomyenvelopeandusedincreatingthebookpages.Mostofmytraveljournalsarecreated

withthislimitedselection.TheselectionshownwasusedinthecreationofLandoftheIncaandSol.

SURFACES,IMAGESANDWORDS

Althoughabookmaynothave all threeof thebasic components, itwould, at thevery least, have asurface.And the surfacewouldmost likely contain images,words or both—the book’s content. Themostcommonsurfacesarepaper,inallitsvariety,butmanyothersubstratesarepossible.We’llbeginby exploring surfaces that you can use for pages and for covers, including synthetics and unusualoptions.Thenwe’llconsiderwaysofworkingwithimagesandwords,andlookathowthecomponentsworktogether.

NagHammadi,2006,72pages5”×3½”(13cm×9cm)NagHammadiisasinglequiremadeofsheetsofmudpapyrus.Thebrownleathercoverisattachedtoasinglesignaturewithtwoblackleathertackets.Atieofthesamebrownleatherisattachedtothecoverwiththreevisiblestitchesofblackleatherandataillefthanging.Theblackleatherisalsousedtomaketiesattheheadandtailofthewrappedcovertosecurethebookwhenitisclosed.

PAPERANDOTHERSURFACES

Althoughmanymaterialscanbeorderedonlineor fromacatalog, there isnosubstitute for feelingasheetofpaperwhendecidingwhichonetochooseforaproject.Fine-artpapers,printmakingpapersandpapersmade for the offset and lasermarketsmay have different nomenclature, but in all cases, thecharacteristicsofpaperincludethe:

•weight—expressedingramspersquaremeter(gsm)inthefine-artsworldandinpounds(lb.)fortheoffset/lasermarket—withthelowestnumbersforverylightweightandthehighestforpapersheavyenoughtostandalone

• surface/texture, which may be decorative, as with embossed papers, or utilitarian, as withwatercolororpastelspapers,whosetexturesaredesignedtoholdthemedia

•opacity,whichrangesfromsee-throughsheertocompletelyopaque•processbywhichitismade—handmade,mouldmadeormachine-made•material(s)fromwhichitismade,withoptionsincludingbananabark,mulberrypapyrus,cottonandsynthetics

•sizing—thewayapaperiscoated—rangingfromheavysizinginwatercolorpaperstoanabsenceofsizingtoincreaseabsorbency,likeawaterleafedblotterpaper

•thicknessorcaliper,oftenmeasuredinmillimeters(mm)•brightnessorwhiteness,sometimesexpressedasanumberfrom1to100,withthehighernumberbeingthebrightest

•color,whichmaybesubtleorneonbright,madefromnaturalorsyntheticdyes,andbefugitiveorcolorfast

•optimizationforvariousmedia,includingwatercolor,pastel,printmakinganddigital• acidity or pH factor, with acid free or a pH factor of neutral (7 or slightly greater) beingpreferable

•wetstrength,referringtotheabilitytoholdtogetherandnotdissolvewhenwetSomeofthepapersthatworkwellastheunderlyingsubstrateforbothmakingartandmakingbooks

include drawing and printmaking papers and, if you are printing from a computer, digital “fine art”papers.SmoothhotpresspaperslikeArchesCover(whiteandblack),HahnemühleBiblioorSchiller,Rives BFK, Moab and Fabriano Roma are some book artist favorites. They stand up to layeringmultiple applicationsofmedia.Lighterweightpapers, likeCansonMi-Teintes, aregood forworkingwith collage anddrymedia.Very sheer, lightweightoriental papers canbeusedwithdrawingmediawhen a delicate surface is appropriate or collaged onto other surfaces. There are also very opaquepapersthatareprecoatedonbothsides,designedforinkjetprintingofbooks.Usingcolored,decorated,textured,patternedorpreprintedpaperscangiveyourbookaheadstartand

provideanadditionalinteresttothesurface.InplanningabooktotakeonatriptoSantaFe,Ichoseavarietyofroughtexturedpapersinbeigeandturquoise,thecolorofsandandsky,andacomplementaryacrylicpastepaper.Collage,graphite,coloredpencilandcopperfoilwereusedinthisbook,exploringthesettlingoftheWest.

West,2005,24pages,7½”×6¾”(19cm×17cm)GrainPapergrainisthedirectioninwhichmostofthefibersofmachine-madepaperlie,duetothemotion

of the machine during manufacture. Handmade and mouldmade papers have less apparent graindirection,ornoneat all.Paper tearsmoreeasilywith thegrain thanagainst thegrain, and, for sometypes of paper, foldsmadeparallel to the grainwill cause less damage to the paper andwill be lessbulky.Whenpaperismoistened,thefibersexpandmoreacrossthegrain,sowhenpastingtogethertwosurfaces,thegrainofbothshouldbealignedtopreventonefromexpandingmorethantheother,thuspreventingwrinkles.Inbooks,thegrainofeverypageshouldbeparalleltothespine.

Oneofthebestwaysofdeterminingthedirectionofthepapergrainisbyplacingtwopiecesofthesamepaper,oneorientedhorizontallyandonevertically,ontheedgeofatablesothatapproximately6”(15cm)hangsovertheedge.Thedirectionthatshowsthegreatestdroophasthegrainalignedwiththetableedge. If this isn’tclear, anothermoredestructivemethod fordetermining thedirectionofpapergrainistocuta2”(5cm)squareofpaper,markingtheorientationofthepaperfromwhichitwascut.Layitflat,andwetonesidewithawetspongeorpapertowel.Thepaperwillcurlwiththevalleyofthecurl in the grain direction sincemost of the expansion is cross-grain.Othermethods I’ve found lessusefulinclude:holdingthepaperbyonecornerandsprayingtheoppositecorner—itwillcurlwiththegrain;bendingthepaperverticallyandhorizontally—the“springier”directionisagainstthegrain;andtearingthepaperineachdirection—thestraighteredgeiswiththegrain.

Whenpaperislistedbythedealer,thesecondnumberissupposedtobethelonggrain.So22”×30”(56cm × 76cm) indicates that the grain on the 30” (76cm) direction is long. Some dealers use anunderlineforthedimensiontoindicatethegraindirection.Sincethisisnotuniversallypracticed,itisusuallygoodtocheckforyourself.DecklesSheetsofhandmadepaperwillhavefournatural, irregularedges, referred toasdeckles,whichare

createdinthepapermakingprocess.Mouldmadepapersusuallyhavetwoactualdeckleedgesandtwotornor cut edges.Youcancreate thehandmadeeffectof adeckle edgebycareful tearing.Althoughsome book-makers feel that deckle edges are used to cover poor skills, I find them appealing andincorporateoneormoredeckleedgeswhereverappropriate.

SyntheticsandOtherOptionsMostpapersmadefromnaturalfiberswillwarpandwrinklewhenglueorwetmediapenetratesthe

surface. Some papers, films and fabrics made of synthetic materials are dimensionally stable (theywon’t buckle, swell or shrink). Although they are very different in texture and weight, StrathmoreAquarius II watercolor paper, Sheer Heaven, Yupo, Dura-Lar and nonwoven fabrics made withspunbonded polyester, polyethylene and polypropylenethe are all dimensionally stable syntheticproducts.Leather, vellum, cloth, acetate,Plexiglas,metal,metal foils,wood,woodveneer, glass, aluminum,

clayandpolymerclayarepossiblematerialsthatcanbeusedinmakingpagesandbookcovers.Forinkjetprinting,virtuallyanythingthatwillgothroughyourprintercanbecoatedwithaninkjet

precoat.(Seethesidebaronpage20.)

Syntheticsandotheroptions:muslin,AquariusII,vellum,Tyvek,leather,Yupo,aluminum,Plexiglas,wood,clay,polymerclay

Texturemaybegiventoasyntheticsurfacewithacrylicmoldingpaste(aheavierformofacrylicgelmedium)orothermaterialsandtools.Someofthewiderangeofsubstratesyoucanuseareshownbelowandthroughouttheremainderofthisbook.Beawareofthepossibilities,andconsiderusinginterestingsurfacesininventiveways.

Folio,2001,5”×7”×2”(13cm×18cm×5cm)closedMadefromahandmadeantiqueleatherfoliothatafarmerortravelermighthaveusedattheturnofthecentury.Theinsidepocketswereusedtohousebitsofephemerarelatingtothattime.

NegativeMemory,2006,4pages,5”×7”(13cm×18cm)closedGlass“pages”wrappedincopperfoilwithheavytapehingesbecameNegativeMemory.Apositiveimagefromoneofthenegativeswastransferredtopatinaedcopperfoilforthecover.Thefoilwasnailedaroundtheedgesofwoodanda

smallcrossandrub-onletterswereadded.

Entombed,2001,7”×7”×1½”(18cm×18cm×4cm)MadefromanantiqueleadboxwithencausticcoatedimagesfromPompeii.AlteringtheSurfaceSurfacescanbealteredforpracticalandforexpressiveeffects.Processesmaybeappliedunderthe

imageandwords,ortheymaybeappliedontopofallorpartoftheimageandwords.Theseprocessesmaybetransparent,translucentoropaque.Singleormultiplepagescanbecut,tornorfoldedforedgeeffects, tomakeroomforcollagedmaterialsor tocreateopeningsfromonepagetoanother.Sewing,abrading,punchingholesandembossingwillalsocreatesurfaceeffects,aswilltheadditionoftexturingmaterials such as encaustic, molding paste, pumice, gesso, sand, calcium carbonate and powderedmarbledust.Aclearcrackleglazewipedwithburntumberacrylicsothatpaintisleftinthecrackswillagesurfaceslikeprimedcanvasandpaintedwood.You can change the surface of Plexiglas, clear film or other plastics by sanding, which will also

providearoughnesstowhichacrylicpaintcanadhere.Bothsidesofthesheetcanbepaintedtoyielddimensionalqualities,orothermaterialscanbeplacedbehindtoshowthrough.Sandingleathercanalsocreateinterestingdimensionality.Thesubliminalqualityofthepagesurfaces,includingtheedgesandthebacksofthepages,unused

butvisible,arefrequentlyunderestimated,andthereforeunderutilized.

PiecedTogether,2002,10pages,inatinbox6¼”×4¾”×2¼”(16cm×12cm×6cm)Aconcertinabook,withcollagedpaperquiltblocksand text fromearlydocuments,wasmade in theAmishcountrynearLancaster,Pennsylvania,andhousedinaboxfoundonthetrip.Tofurtherreferencea sewnquilt, PiecedTogether has stitching-likepatternsmadewith a largeneedle.Whenopen, lightpasses through the small holes in the collaged pages. Encausticwas used to tie texture the collagedsurface.

InkjetPrecoatsInkjetprecoatsareproductsdesignedtocoatsubstratespriortoinkjetprinting.Theseprecoatsallowyoutoprintonanyporous/absorbentornonporous/non-absorbentsurfacethatwillgothroughyourprinter.Plasticsandmetalsshouldbecleanedwithalcoholordilutedvinegarthenwashedinhotwaterbeforepre-coating.Ifyouhave“pizzawheels”(seeDigitalonpage11),theclearprecoatsmayshowtrackmarksonnon-poroussurfaces,butmattewhitewillcreateanabsorbentsurfacethatthewheelswon’tmark.Iridescentpre-coatsareavailable,ormetallicpigmentmaybeaddedtoclearprecoatstocreateinterestingeffects.

FlatteningPaperMoisturefrommediaorgluemaycauseyourpapertocurlafterithasbeenpainted,texturedorprecoated.Tryoneormoreofthefollowingmethodsforflatteningthepaper:

•Whilestilldamp,hangitfromonecornerandletitcontinuedrying.•Rollitinalooserollinthedirectionoppositethecurl.•Placeitunderaheavyboardovernight.•Putitthroughanetchingpressorcoldlaminator.

Ifyouhavewrinklesinpaperthathasdried,protectthepapersurfacewithasiliconsheetanduseanironoraheatpresstointroducewarmthandpressure.

AgingPaper

Ifitisappropriateforyourbook,givingpaperanappearanceofagecanbeveryeffective.Differentpaperswillgiveverydifferentresults,andvariationfrompagetopagecanbevisuallyadvantageous.Inthefallof2006IfoundasmalltileoftheshipMayflowerwhileinMoravianPottery&TileWorksinDoylestown, Pennsylvania. I had Nathaniel Philbrick’s bookMayflower with me on the trip, and Ithought itwasan interestingcoincidence, so Ibought the tile.As I read, Iwas struckbyPhilbrick’saccounts of the slavery of Native Americans. When I returned home, I downloaded maps of NewEngland in the early1600s, spent adayphotographing the replicaof theMayflower,visitedPlimothPlantationandboughtseveralparchmentfacsimiledocumentsintheirgiftshop.Agedpapersseemedanappropriatepossibilityonwhichtoprintthephotographs.

MaterialsPapertoageWaterStrongsolutionofblackteaorcoffeeWalnut,brownorblackinkInstantcoffeegranules,walnutinkcrystalsorsaltInexpensivebristlebrushortoothbrushSpongeorpapertowelsOptional:inkjetprecoat

AgedpagesoverprintedforMayflower,2008

1.Wetthesurfaceofthepaperandaddblacktea,coffeeordilutedink,allowingthecolortoflowirregularly.Shakeoninstantcoffeegranulesorwalnutinkcrystalstoadddarkspots,andsalttoirregularlyabsorbthewater.Useabrushtofeatheroutsomeofthedarkercolor,andaspongeorpapertoweltosoftenandblotthesurface.Crumplethewetpapertocreatecracks.Ifbothsidesofthebookpageswillbeseen,alsoworkonthebackofthepaper.

2.Analternative tousingdarkeningstains toagedocuments, is towash themwithwhite.Here,instead of using paint, I mixed white matte inkjet precoat with clear precoat to make ittranslucentandgivethepaperasurfaceforinkjetprinting.

IMAGES

Ifyou’relikeme,thecontentforabooktypicallyveersheavilyontheimagesideandmaybesuggestedby a series of photographs, paintings, collages or found objects. Youmay be inspired by a book, amovie, an article or an event, and over a period of time, you acquire imagery that reflects thisinspiration.A single image per page is rarely adequate to convey the complexity of a concept, so Iusuallylayerimages,orimagesandwords,usingbothtraditionalanddigitalmediaapplications.There are three characteristics that seem to recur in my work, regardless of my chosen imagery:

reflectivity,apatinaofageandacolorpaletteinshadesofblack,brown,redandgold.Ihavealwaysbeendrawn tobrownpaperbags, fadedphotographs,oxidizedmetal, crumblingwalls,peelingpaint,ravelingfabric,foxedpaper,antiquemirrors,stainedleatherandotherwornsurfaces.Thinkaboutwhatelementsaremostfavorabletoyou,andtrytoincorporatethesecomponentsintoyourworkwheneveryoucan.There are many ways of incorporating images into your book, including collage and a range of

printmaking,paintinganddrawing techniques.Under thegeneric term“mixedmedia,”youcancrosstheboundaries,combiningand layering theprocesses intoanunlimitednumberofpossibilities.Let’slookatthebasicsfirst.

MagdaleneLaundries,2003,72pages,6×4½”(15cm×11cm)collageinleathercopticbindingoverpapyrus(seethecoveronpage119)

CollageThetermcollageisderivedfromtheFrench“coller,”meaning“toglue.”Itusuallyreferstoaworkof

artcreatedbypastingbitsofephemera—photographs,clothandsmallobjects—toaflatsurface.Withtheadventofscanners,digitalcamerasandcomputers,thepossibilitiesforcombiningdiverseelementshasexponentiallyincreased.Youcanpreservetheoriginalcomponentswhilechangingtheirscale,colorandtransparency,thenprintthemasindividualpiecesorcombinetheminthecomputertocreatedigitalcollages.Yourcomponentsandcollagescanbeprintedontoa rangeofdiversemedia for layeringortransferring.

“150Years”fromMagdaleneLaundriesMostofmybooksmadewhiletravelingarecollagedfrommaterialscollectedonthejourney.Iwasin

IrelandwhenPeterMullan’smovieTheMagdaleneSisterswas released. It told the true story of theunmarkedgravesof133women,discoveredin1993whenoneofthelaundriesheldbytheSistersofCharityinDublinwastobesold.Overthe150-yearhistoryofthelaundries,30,000womenwereheldinservitude.ThatshamefulhistorybecametheimpetusforthebookMagdaleneLaundries.Thecoverisshownononpage119.

“Penitent”fromMagdaleneLaundriesPrintmakingInprintmaking,inkistransferredfromapreparedsurfacetoareceiversurface,usuallypaper.Some

of the simpleprintmaking supplies andprocesses that canbeusedwithout apress are stamps, blockprints,collagraphs,stencilsandmonoprints(includingdigitaltransfers).Thetermsmonoprintandmonotypeareoftenusedinterchangeably,butamonotypecan’tberepeated,

and amonoprint has at least part of the image on a fixed surface that is potentially repeatable. Forsimplicity,weareusingthetermmonoprintforbothofthesetransferprocesses.Tomakeamonoprint,inkispaintedorrolledontoasurfacesuchasfilm,Plexiglasorgelatin.Paper

isplacedagainsttheinkedsurface,andtheimageistransferredthroughabsorptionorpressurebyhandrubbing,burnishingorrollingwithabrayerorrollingpin.Theprocesspermitsonlyoneprint,thoughifinkremainsontheplate,averyfaint,or“ghost,”printmayalsobemade.

StampsStamps(whicharenotalwaysrubber)canbepurchased,orcarvedfromwinebottlecorks,erasersorsoftrubbersheets,usingyourowndrawings.Stampsaregenerallypressedagainstinkpads,whichvarytremendously in quality and composition, then pressed against the paper onto which the image istransferred.Blockprints—cutfromrubber,linoleumorwood—maybeprintedeitherwithinkrolledonthesurfaceoftheblockorwithinkforcedintotheareasthathavebeencutawayandthesurfacewipedclean.Oldetchingplatesmayalsomakeinterestingprints.Embossing powder, especially used clear over clear ink, is an effective and subtle touch to providedimensionality.

CollagraphsCollagraphsaredimensionalcollagescomposedfromawidevarietyofmaterials—includingcardboard,spacklingcompound,thinfoamsheetsandtexturedmaterials—thatareinkedandprinted.Theymaybesimple and used alone, or combined with other collagraphs and image-making techniques into acompleximage.

StencilsA stencil is a template made by removing sections from paper, cardboard or acetate to create thenegative form of an image or text. Pigment is applied through the removed sections, leaving areproductionofthestencilontheunderlyingsurface.

SignsandSymbols,2006,40pages,10½”×5½”(27cm×14cm)collagraphprints,stencilsandstampsoveracrylicpastepaint

PaintingandDrawingWatercolor,acrylicandoilpaintseachhaveverydifferentproperties.Traditionally,watercoloruses

transparent, water-soluble pigments mixed with a binder, such as gum arabic, that is washed ontorelatively rough-surfaced, absorbent paper. Acrylic paints may also be thinned with water, but usesyntheticresinasthebinder,whichformsatough,flexiblefilmthatisimpervioustowaterwhendry.Oilpaintsholdthepigmentsinabinderlikelinseedoil.Itdriesmuchmoreslowlythanwatercolororacrylicandmustbecleanedwithturpentineorotherspirit.Thepaper,canvasorboard,whichserveasthe substrate, should be sealed with acrylic to prevent the oil from penetrating and damaging thesurface.

There are other variationsof paint, includingwater-mixable oils, gouache (a heavy-bodiedopaquewatercolor),eggtempera(averyquick-dryingpaintusingeggyolkasabinder),casein(apaintusingmilkasabinder)andencaustic(pigmentinbeeswax).Drawing isusually thought tobe themakingofmarksona two-dimensional surfacewhere line is

moredominant thanmass. Itmaybe a sketch,plan,diagramormodel created todevelopan idea inanothermedium,oritmaybeafinishedworkofart.Drawingscanbedonewithawiderangeoftools,traditionally includingpencil, charcoal, pen andbrush.Thedifferencebetweenpainting anddrawingmaylieonlyintheartist’sdefinitionofhisorherowncreation.

CommonGround,2008,60pages,7¾”×6”(20cm×15cm)CommonGround focuseson the land thatwehold incommon—sanctuaries,preservesandprotectedareas. It includesprints,paintingsanddrawingsonavarietyofpapers, includingMylar andaheavyblackhandmadepaperwithembeddedgoldthreads.Ithasapaintedandlaser-engravedwoodcoverandleatherspinesewnovertapesshownonpages116∙117.EncausticEncaustic,amediummadefrombeeswaxwithresinaddedtohardenandstabilizethewax,isbotha

paintingmediumandaninterestingwaytotexturesurfaces.Meltedoverlowheatandappliedthickly,itismilkyandcanbeironedsmoothortexturedwithbrushstrokesortools.Appliedthinly,itcanbefusedintothepaperwithanironorhotairguntocreateatranslucentsurface.Mixedwithpigment,itcanbeappliedlikepaint.Beforeworkingwithencaustic,researchthemanywaysinwhichitcanbeused.Donotexceedtherecommendedtemperaturesformeltingwax,handlehottoolswithcareandbesuretohaveadequateventilation.

AmicrocrystallinecoldwaxmediumisavailablecommerciallyfrommanufacturerslikeDorlandandRenaissance.Rub’nBuffisasimilarproductwithmetallicpigment.Youcanmakeyourowncoldwaxmediumbyputtingbeeswaxshavingsorwaxpastillesintoajar,coveringthemwithmineralspiritsorturpentineandallowingittositovernight.Coldwaxmediumisespeciallyusefulovermediathatmightsmearortransfertoanothersurfacesinceitfunctionsasasealer.Encaustic can be used over any other media, but only oil paint can be used over encaustic. Use

inexpensivebrushesanddedicatethemforusewithwax.

Ginkgo,2004,6pages,7”×5”(18cm×13cm)closed,concertinaonArchesblackcoverwithginkgoleaves,encaustic,goldleaf,silverleaf,pigmentsandgraphite

MixedMediaBy combining traditional artmaterialswith digital printmaking techniques, you can create unique

workthattakesadvantageofthebestofeachprocess.Youcanbeginbyprintingadigitalimage,thenadding collaged elements or virtually any traditional art media, including paint, pastel and colored

pencil.Thisisagreatwaytoproduceaseriesofimageswithanumberofvariationscreatedbytreatingeachprintinadifferentmanner.Translucent,metallicandinterferencepaintsareespeciallyinterestingoverdigitalprints.Youcanalsoreverse theprocessbybeginningwithapainting,collageorpieceofprintedmaterial

thatcanbeputthroughtheinkjetprintertoaddadigital layer.Sinceinkjetinksaretranslucentwhenprinted,theyareagoodwayofaddingoverlaysthatintegrateunderlyingimagery.Some of the most interesting works use traditional media in nontraditional ways—for example,

makingacrylicpastepaintbycombiningacrylicpaintandwheatpastetomakeathick,smooth,semi-transparentpaintthatcanbemarkedandwritteninto.Applyingwhateverpaintyouchoosewithsticks,ragsorairbrushisanotherexample.In the following demonstration, we’ll bemaking paintings that wewill scan and combine, in the

computer,withphotographs.Thedigitalfileswillbeprintedontopoftheoriginalpaintedpages.

OverprintingAcrylicPastePaintings

MaterialsPaper,largesheet,approximately22”×30”(56cm×76cm)Wheatpaste(seerecipeonpage10)AcrylicpaintsBrushesCraftstickFolderAluminumrulerorstraightedgeOptional:digitalfilesofimages,scanner,computer,imagingsoftware,printer,whitepaperforcarriersheetifneeded

Acrylic paste paint, a mixture of acrylic paint and wheat paste, is quick to make and keeps in therefrigerator for severaldays.Youcanvary theopacitybychanging thepaint-to-paste ratio; themorepaintthereis,themoreopaquethecolorwillbe.Youcanalsomakethepaintthickerbyusinglesswaterinthewheatpaste.Bypaintingonalargesheetofpaperthencuttingortearingitintosmallersizes,youcan create interesting and unexpected compositions on the resulting pieces. Use of the computer inSteps3and4isoptional.Youcanalsooverprintwithoneoftheotherprintmakingprocessesifdesired.Consider the sizeof thepaper, itsgrainandhowyoucanmaximize thenumberofpageswith the

spineofthebookparalleltothegrain.(Seepages17-18formoreinformationonpapergrain.)Inthisproject,a22”×30”(56cm×76cm)sheetwastornintotwo22”×15”(56cm×38cm)pieces,thenfour11”×15”(28cm×38cm)pieces.Finally,itwastornintoeight7½“×11”(19cm×28cm)piecesandfoldedtoeight7½”×5½“(19cm×14cm)folios.

Inkjetprintsoveracrylicpastepainting

1.Mixasmallamountofwheatpastewithasmallamountofacrylicpaint.Painttheacrylicpastepaint over the entire sheet of paper.Draw,write or texture into the thick surfaceof thepastepaint.Letthesheetsdrythoroughly.

2.Fold thesheet inhalf,alongthegrain,andsmooth thefoldwithafolder.Usinganaluminumrulerorstraightedgeasaguidealongthefold,cutorcarefullypullthepaperata45°angle.Fold

andtearthosetwopiecesintotwopieceseach,andthenfoldandtearthosefourpiecesintotwopieceseach.

3. Scan the painted pages into Photoshop or a similar photo-editing program, and choosephotographsorotherimagestocombinewiththem.Workwithlayersandthevariousadjustmentoptions to create unusual combinations. Size your image file to print (bleed) over the deckleedges.Asafinalstep,turnoffthelayerwiththescanned,printedpage,sothatitwon’tprint.

4. Print onto the painted pages. Overcome the problem some printers havewith seeing deckle,paintedorclearedgesbyplacingyourpaintedpageonalargersheetofwhitepaper,leavingamarginon the leadingedgeand the side for theprinter to readandprint.Fold theprints intodouble-pagespreads(folios)andtonetheraw,tornedgeswithpaintifyoulike.

GelatinMonoprints

MaterialsPanformakinggelatinplate(smooth-bottomedifyouareunmolding)Mixingbowl(ormixinpan)MeasuringcupSpoonorspatulaforstirringMixedgelatintofillyourpantoalevelofatleast1”(3cm)RefrigeratorPieceofnewspaperorothersoftpaperOptional:flexiblechoppingmat(orsimilar)forunmoldinggelatinplatePapers,smoothMaterialsfortexturingorprintingWater-solubleblockprintinginkSoftrubberbrayerPaletteforinkingbrayer(choppingmatorothernonabsorbenthardsurface)

TheprocessdescribedherewasoriginallydevelopedbyFranMerritt,foundingdirectoroftheHaystackMountain School ofCrafts, and then refined bySharonMcCartney.With thismethod,water-solubleprinting ink isworkedonto the surfaceof a “plate”of firmgelatin.This is aquick andeasyway tomakeaprint;youjustneedtoplanaheadsincethegelatinneedsseveralhourstobecomesolid.Thegelatinplatemaybeleftinthepanorunmolded.Unmoldingtheplateallowsyoutousealarger

papersizethanthesizeofyourplateandcreatesaninterestingedgepattern.Withoutthesupportofapan,athickerblockiseasiertohandle.

GelatinRecipeThebasicrecipeis2envelopesKnoxUnflavoredGelatinper1cupwater.Fora6-cuppan,use12envelopesgelatinand6cupswater—threehotandthreecold.

GelatinPrintsinCopper,2000,88pages,8½”×7¼”(22cm×18cm)mixed-mediacollagewithgelatinprints

1.Decideontheamountofgelatinneededforyourpanandadjusttherecipe.Ifthegelatinistobeleftinthepan,theblockcanbe½”(13mm)thick.Ifit’sbeingunmolded,theblockshouldbe¾”-1”(20mm-25mm)thickforeasierhandling.Placethepanonalevelsurfaceandaddthecoldwater. Sprinkle the gelatin over thewater in the pan. Let the gelatin swell until it looks likeapplesauce.Addthehotwaterandstirgentlytocompletelydissolvethegelatin.

2.Gentlydragapieceofnewspaperorothersoftpaperacrossthesurfaceofthegelatintoremoveanybubbles.

3.Leave thegelatinon the tableuntil itbegins togel, thenmove thepan to the refrigerator forseveralhoursuntilthegelatinissolid.Removethegelatinfromthepan,ifdesired.Separatetheedgesofthegelatinfromthepanedgesbypullingwithfingertips.Unmoldtheblockbyplacingachoppingmatacrossthetopofthepanandturningitover.Allowthegelatinblocktostandatleastanhouratroomtemperaturetodryoutabit.

4.Placetheinkontoapalette,andspreaditbyrollingwithabrayer.Whenthebrayer isevenlycoated,rolltheinkontothegelatinplate.Thecoatingofinkshouldbeslightlytransparentoverthegelatin.Toomuchinkwillcreateablurry,wateryprint.

5.Tomakeanegativeprint,lightlypressobjectsontothesurfaceoftheinkedgelatin.Lightlypresssmoothpaperovertheobjects.Burnishfirmly,rubbingbyhand.(Youareonlypressingintotheinkandnotthegelatin,sobegentle.)Removethenegativeprint.

6.Tomake a positive print, following the negative print, carefully remove the objects from thegelatinplate.Inkwillremainwheretheobjectswere.Placepaperontothegelatinplatetopickup this remaining ink.Burnish firmly, rubbing briskly (but still gently) by hand.Remove the

positiveprint.

InkjetTransfers

MaterialsPaper,smoothprintmakingInkjetprintofahorizontallyflippedimageonDASSTransferFilmAlcoholgelhandsanitizer,likePurellSpreader,creditcard,pieceofplastic,foambrushorbrayerRubberbrayerFolder

Therearefourcomponentsinthetransferringofinkjet-printedimagesfromonesurfacetoanother:thefilmonwhich the image isprinted for transferring, theprinterand ink, the transfermedium,and thepaperorreceivingsurfaceontowhichtheimageistransferred.Allinkjettransferfilmhasaprecoatthatallowsthewater-basedinkjetdyesorpigmentstoadhereto

itssurface.(SeeInkjetPrecoatsonpage20.)Whilemostprecoatsonthesefilmsaredesignedtoholdtheinkstably,bychance,afewfilmshaveaprecoatthatallowstheinktobereleasedwhenitcomesincontactwith a transfermedium.Themediumcreates a bond to a receiving surface stronger than theprecoatbondtothefilm,andtheinkismovedtothereceivingsurface.Designedespeciallyforinkjettransfers,DASSTransferFilmisavailableinbothrollsand8½”×14”

(22 cm × 36cm) sheets. It’s clear so placement is easy, it prints on desktop printers without “pizzawheel”trackingandittransferswithawiderangeofmediums,includingalcoholgel.Ihavetriedmanytransfermediums,includingwater,methylcellulose,wheatpaste,gelatin,various

acrylicmediumsandalcohol.Nonecomparetoalcoholgelhandsanitizer, likePurell.TheuseofthisproductformakingtransferswasdiscoveredbyBonnyLhotkaanddemonstratedinherDVD.Ifyou’retransferringintoaboundbook,alcoholgelintroducesverylittlemoistureanddriesquicklywithlittleornowrinklingofthepaper.Asmoothprintmakingpapermakesthebestreceiver.Inkjettransfersmayalsobecalleddigitalmonoprints.Theyhaveanirregularity,depthandcharacter

not found in straight inkjet prints, and they are a simplewayof incorporating photographic or otherdigitalimageryintobooks.Images shouldbe flippedhorizontallybeforeprinting so thatwhen theyare transferred, facedown,

theyarecorrectlyoriented;thisstepisespeciallyimportantwithtext.

HelpfulHints

•Ifyouaretransferringinkjetprintsintoaboundbook,placeaflexiblechoppingmatbeneaththereceiverpagetoprovideahardsurfaceforburnishing.

•Ifyouareprintingonunboundsheetsandhaveaccesstoapress,youcansoakyourreceiverpaperinwater,blotandputitthroughapresstotransfertheimageunderpressureoruseawaterleafpaperlikeArches88andtransferbyhand.

•Ifyouareprintingonatransparencyfilmandtrackmarksappear,youneedtoaddresstheproblemof“pizzawheels.”(Seepage11)

•Purellalcoholgelhandsanitizercanbefoundingroceryanddrugstores.Otherbrandsmayhavedifferentlevelsofeffectivenessastransfermediums.

•Sometransferartistsmisttheirprintedfilmwithisopropylalcoholinaspraybottle.Itisahazardoussubstanceifinhaledandshouldbeusedwithextremecare.

1.Evenlyspreadalcoholgelonsmoothpaper.Youshouldbeabletoseethegelonthepaperbuthavenonestandingonthesurface.

2.Placetheprintedfilmfacedownonthecoatedpaperandrollwithabrayer,orsmoothwithyourhand,toremoveairbubbles.

3.Waitoneminute,thenliftacornertochecktheprocessofthetransfer.4.Carefullyreplacethefilmandrubwithafoldertomoveanypartsnottransferredcompletely.5. Remove the film and let the transfer dry thoroughly. The image used in this project is“IndependenceDay,”oneofaseriesoftwelvelargemixed-mediapiecesinspiredbyagroupofpoemsaboutthefamilyofoneoftheearlysettlersofthePlymouthColony,“MacomberHouse,”byRayAmorosi.

CreativeExplorations

•Toaddanotherdimensiontoyourtransfers,drawontoyourtransferfilmusingcoloredpencil,marker,crayonoroilstick.Youcanworkontopofinkjetprintsoronunprintedorscrapfilm.Remember,ifyouaddwrittentext,itwilltransferinreverse.

•Beforetransferringyourinkjetprint,usewaterto“move”theink,orsandpapertoabradethesurfaceandgiveittexture.

•ExploresomeofthemanyothertransfertechniquesdiscussedontheInternet.•Toner-basedtransfersfromaphotocopieralsohavepotential.OneprocessfortransferringtextisdiscussedinWords.(Seepages38-39)

•AcrylicgelmediumisalsoshownbeingusedfortransferringtexttoacrylicpaintinWords.(Seepage39)

•InkjetprintsontoLazertranwaterslidedecalsworkwellformanyprojects.OneisshowninUnboundCollections.(Seepages134-135)

•Ifyouareinterestedinfurtherexploringnontoxicprintmaking,lookintopolymerandpolyesterplateprinting.

WORDS

Alongwithimages,theotherelementsthatcancarryabook’scontentarewords.Inmanybooks,textistheprimaryvehicleforconveyingthemessage;theremaybenoimages,ortheymaysimplyillustratethetext.Conversely,inmanyartistbooks,imagesmaycarrythemessage,andtheremaybelittleornotext.Where there is a combinationof text and image, theways inwhich theymaybe combined areinfinite.

In this section,we lookatwhatyouare trying to saywithyourwords, andhowyouare saying itvisually.Yourwordsmaybesomethingyoucomposeorsomethingyoufind,includingphrases,essays,narratives,storiesorpoems.Wordsmaytakeyourreaderonanexternalorinternaljourney,recordyourdreamsandaspirations,

providehealingandinsight,serveasaconfessionalorachronicleforfuturegenerationsorbeacatalystforcreativeexpression.Youmayusetechniqueslikefree-association,automaticwritingorlistmaking.Whatyouchoosetosaywill,inmostcases,determinehowyouchoosetosayit.Becausewhat I’m trying tosay is frequentlybeingdefined in theprocessofmaking thebook,my

wordsareoftenincorporatedinafragmented,brokenstyleusingdifferenttypefaces,sizesandmethodsofapplication,includingfoundtext,writing,transfers,stencils,rubberstampsandcomputerprints.InVietnam,Iboughtarubber-stampalphabet,tapedtogetherintoasmallrectanglewiththelettersoutoforderandupsidedown,andaredstamppad.Thealphabethasbecomearecurringmotifinmanyofmybooks,symbolizingformeourdifficultiesinunderstandingoneanother.

Copper,2000,88pages,8½”×7¼”(22cm×18cm)mixed-mediacollageThiswasahandwritten,collagedjournalthatrecordedwhateverIchosetoincorporateintoitduringthecourseofayear. It includedthe inaneandthe insignificantandwasn’t intendedforothers tovieworread.Onthepagesshown,mywritingfollowsthelinesofsuminagashimarblingonbrownkraftpapertorn from a bag, while the opposite page incorporates a “perishable” rubber stamp, bottle label andfragmentofcorrugatedcardboard.

NagHammadi,2006,72pages,5”×3”(13cm×8cm)acrylicpastepaint,collagraphprintsandcollageonmudpapyrusThetextinthispiececamefromanarrativepoeminoneofthethirteensinglequirecodices,ormanuscripts,datingfromthefourthcentury,foundin1945neartheEgyptiantownofNagHammadi,buriedinanearthenjar.Itwasanappropriatetextsincethebookwasaquarter-scale

replicaofoneofthemanuscripts.Writteninthevoiceofawoman,itseekstouniteopposites.Throughoutthebook,I’vecombinedimagerywithpassagesfromthetext,writtenandprintedinblack,

white,goldandsilverink.

manytruths20042pages4¾”×10½”×5¼”×(12cm×27cm×13cm)woodenbookstandandmetalbookwithprintedpaperinsetcoatedwithencaustic

The simple text usedhere references themultiplicityof religiousbeliefs in India,where thewoodenbookstand andhingedmetal “book”wereboth found.The insideof themetalwasmeasured and, inPhotoshop, fontswereusedagainstablackbackground toappearas if the“one” in theoriginal text,“one truth,” had been roughly crossed outwith red and “truth”made pluralwith the addition of theword“many”andan“s.”Thetwopieces,printedonpaper,weregluedintothemetalandcoatedwithencaustictotiethemphysicallyandvisuallytothebookform.Writing,TypeandFoundTextCalligraphy often merges written word with image. But unless you have mastered this art form,

varying your handwritingmay be a preferableway of adding text.Consider elongating your cursivewritingwithextendedconnectorsbetweenletters,makingeachletterextremelytallorextremelysmall,or turningyourpaperso thatyouarewritingonthevertical, thediagonaloraroundobjects.Youcanvarythelookofthesetechniquesbyyourchoiceofwritingimplement.Youcanchoosepencil,coloredpencil,marker,penorbrushandinkorpaint,rulingpen,pastelorcrayon.Orimproviseatoolfromaquill,stick,pieceofcardboardorwhateveryouthinkmaywork.Varythesizeof the implement’s tipandchangecolors—evenwithinwords—tocreatevarietyand special effects.Youcan fill the spacesaround andwithin letterswith color, or, if you arewritingwithwax crayon, you can paint over theletterstoaddcolor.Youcanalsowriteintothick,wetsurfaceslikeacrylicpastepaint,gelmediumorgesso,usingapainteraser,stickorotherimplement.Writingmayalsobeincisedintoencausticworks.Letterpress, a printing technique that transfers ink by pressing raised type onto paper, is themost

elegantanddistinctivewayofputtingtextonapage,especiallyinthehandsofaprinterwholovestypeandisattunedtothenuancesofleadingandkerning.Forthoseofuswithoutaccesstoaletterpressoracute sensitivities, there are alternatives that, depending on your aesthetic, may even be preferable.Rubberstamping,embossing,transferring,stencilingandusingrub-onlettersaresomeofthewaystoadd type. If your pages are unbound, the computer and printer are another alternative. There arethousands of computer fonts available online, ranging from elegant and classic to distressed anddegradedtoperiod-appropriatehandwriting.Manyarefreeorrelativelyinexpensive.

Foundtextcanincludevirtuallyanywordsonvirtuallyanysurface,anditcanbeusedascontentorasagraphicelement.

LabelingWomen,2005,40pages,6”×5”(15cm×13cm)mixed-mediacollagecoveredwithmarbledpaperandsilkspine

WomenfromRomanartareglimpsedthroughwindowanddoorframescutfromapieceofdecorativepaper and “labeled,” correctly and incorrectly, with terms used to refer to women, including sister,mother,mistressanddame.

OneLife,2003,43pages,5¾”×4½”(15cm×11cm)glassphotographicplateonclothkeyholebinding,paper,collage

ThebookOneLifebeganwithacollectionofturn-of-the-centurylettersanddocumentsfoundatafleamarket—all related to James Ward of Longmeadow, Massachusetts. Black and brown papers werechosenasbackgroundsforthecollagedpages.(Seethecoveronpage109.)

Cuba:HistoryRewritten,2001,53pages,6¼”×6¼”(16cm×16cm)mixed-mediacollagerecoveredinbrownpaperwithexpandedblackclothspineandhandfishingline

InCuba,IfoundahistorybookpublishedinHavanain1925,priortoCastro.Ibegantofocusonthediffering perspectives authors bring to their accounts, and how time and political persuasion affect,counteractandobliterateviewpoints.Thepagesfromthisandotherbooksandperiodicals,Communistmanifestoes,publishedletters,StateDepartmentbrochures,poemsandnewspaperclippingsbecametheprimarycomponentsinmyjournal.Thispalimpsest—written,drawn,erased,crossedoutandreworked

repeatedlywithremnantsoferasuresstillvisible—becameCuba:HistoryRewritten.

CreativeExplorations

•Lookatvariousplacementsofwordsandimagesonyourpages.Considerhowthesize,shapeandrelationshipbetweenthemaffectyourconcept.

•Makewritingimplementsfromknittingneedles,chopsticks,skewersandtwigs.•Considerunconventionalmaterialsforyourwriting,likeroofingtarandambershellac.•Exploreaformof“automatic”writinginwhichyouwriteastream-of-consciousnessflowofwordsrelatedtoyourcontent,combinedwithletter-likeformsthatdon’tmakewordsbutcarrytheflow.

•Makeacollectionoffreeandinexpensivefontsfromonlinesources.

TransferringText

MaterialsPaperorbookasreceiverBlack-and-whitefreshtonerphotocopyofhorizontallyflippedtypeCitra-solv(anaturalall-purposecleanerfoundinhardwareandhealthfoodstores)Q-tipsPapertowelsSpraybottleSafe-releasemaskingtapeorrepositionabletapeFolderChoppingmatorothernonabsorbenthardsurfaceOptional:digitalfilesofimages,scanner,computer,imagingsoftware,printer,whitepaperforcarriersheetifneeded

It’s often useful to be able to transfer text into your books. If black text is adequate, this method,requiringonlyacopymachineandasolvent,providesasimplemeans.Ifyouwanttocarefullyplantheplacementofyour text, scan thepage intoPhotoshopandplace the type in a separate layerover thescannedpage todeterminewhere itbest fits.Youcanchange the typeface,sizeandweightuntilyoudecidewhatismostsatisfactory.Whenthelayoutoftextoneachpageiscomplete,youcanselectthetextandplaceitontoitsownpage,eitheraloneorcombinedwithgroupsoftext.Thenflipthetextpagehorizontally (so itwill read correctly after the transfer), print and photocopywith a toner copier.ToemphasizesomeofthetextinApologia(seepages50-51),Ifollowedthesesteps.

1.Whenyouhavecutthetextpieceyouwanttotransferfromthefreshtonercopy,therearetwowaystoapplyCitra-solv:youcandipaQ-tipintothesolution,blotlightlyonapapertoweranddampenthetextarea,oryoucancoverthetextwithapieceofpapertowelandspritzitlightly.

2.Placeanonabsorbentsurface,likeaflexiblechoppingmatorsiliconecraftmat,underthepagetoprotect thepagesbelowfrommigratingsolvent.Tapethedampenedtextontheappropriatepageusingasafe-releaseorrepositionabletape.Withafolder,burnishwithheavy,evenpressureinonedirection.Thetransferprocessiseasyonsomepapers,likehotpress,andislessperfectonotherpapers,suchasthosewithatexture.

3. On paper that has texture, like the handmade paper in Apologia, transfers are a bit moreunpredictable, but that imperfect lookmay be desired and is often appropriate, depending onyoursubject.

HelpfulHints

•InkjetprintsontoLazertranwaterslidedecalsworkwellonmanysurfaces.Atransfertoametalcaseisshownonpages134-135.

•Ifyouusewaterslidedecalstotransfertextintoyourbook,Citra-solvcanbeusedtodissolvethedecaledges,givingtheappearanceofintegrationwiththesurface.

•Textprintedonsheersilktissuecanoftenbemadetomeldintothebookpagebycoatingwithacrylicmediumorencaustic.

•Rub-onorvinyllettersinavarietyoffontscanbeboughtinsheetsandeasilytransferredtoothersurfacesbyrubbinggently.Sinceeachletterisseparate,youmustalignthemcarefully.

•ExploresomeofthemanyotherinkjettransfertechniquesdiscussedontheInternet.Inone,theimageisprintedonpaper,thesurfaceoftheimageandthereceiversheetarecoatedwithacrylicmediumandtheimageisplacedfacedownonthereceiverencapsulatingtheimagebetweenlayersofmediumandgluingthetwosheetsofpapertogether.Toexposetheimage,thebackofthecarrierpaperiswetandcarefullyremovedbyrubbing.

•Textfromseveralpagescanbecombinedontoonepageforprinting.Justbesuretoflipthefilehorizontallybeforeprinting.

•Textprintedwithlightcolorsorinalightweightorsmallsizedtypefacemaybedifficulttoreadwhentransferred.Keepyourchoiceoffontrelativelylarge,heavyanddark—itwillbemorelegibleandpartsthatbreakordon’ttransferwellwillbelessofaproblem.

Twosimpletransfertechniques,whichcanbedonewithcoloredtext,areinkjet-printedLazertranwaterslidedecals(seepages134-135)andgel-mediumtransfers.

PlacingText

MaterialsPaper,sheettobefoldedintodoublepagespreadTextImagePencilRuler

Whendecidingwhere toplaceyour texton thepage,youcoulduse thesame judgmentyouapply tootheraestheticelementsandcomponents,orfollowacommoncontemporaryconventionthatoneachpagethegutterandbottommarginwillbeslightlywiderthanthetopandsidemargins.Oryoucoulduse an approximation of the golden section, a ratio found in medieval manuscripts. In thisdemonstration,we’llusethegoldensectiontoplacetextand,ifyouchoose,toplaceimagesaswell.OneoftheclassicpageproportionguidesfortheplacementoftextistheVandeGraafcanon.The

proportionsvarywithpagesize,but thisadapted illustrationworkswithbookpageswitha2:3 ratio,such as 5” × 7½” (13cm × 19cm) (2½ × 2 = 5 and 2½ × 3 = 7½). Themargins on the pages areproportional,2:3:4:6(inner:top:outer:bottom)—basedon¼”(6mm)increments.Sotheinsidemarginis½” (13mm), the topmargin¾” (19mm), the outsidemargin 1” (25mm) and the bottommargin 1½”(38mm).Theheightofthetextareaisequaltothepagewidth.BecauseI’mprimarilyavisualpersonandhavedifficultywithmathematicalratios,Iprefertodrawa

diagramthatworkswithallsizesandshapesofpaper.

1.Using this illustration,make a sample or fold your sheet of paper into twopages and lightlydraw all of the black guidelines, except the circle. The first line defining your placementrectangleshouldbedrawnparalleltothetopedgefromtheVpointontheupperright-handpagetotheouterdiagonal.Yoursecondlinewillbeparalleltothesideedgeuntilitreachesthenextguideline.Withthesetwolines,youcancompletetheplacementofthegoldensection.

2.Selectyour textand, ifyouwish,animage.TheimageI’vechosen,InHisOwnAcre,usesascanfromahandwrittendraftof thepoem“AutumnatMacomberHouse”byRayAmorosi,aphotographofmygrandfather and a photographofmarshgrasses.Placeyour text and imageinto thegoldensections.As Iplacedmycomponents, I realized thatmy textwas toobrief tooccupythespacewell,andthatmyimagewasconsiderablywiderthantheseidealproportions.(Theareaextendingbeyondthesectionisgrayedout.)

3.Consideralternatives.IcanusethislayoutifIcropmyimagetotheproportionsofthesectionorchange the proportions to suit the image and text.Alternatively, I can cover the pagewith alargercroppedimageandcanusetheright,leftorbothsectionsasguidesfortheplacementofthetext.Ifindthisoptionlessrestrictiveandmoreinkeepingwithmyaestheticchoices.

CreativeExplorations

•Explorevariousbrandsofwater-solubleprintmakinginks.Theviscosityvariesfrombrandtobrandandevenfromcolortocolorwithinbrands.Youcanmixbrandsandalsotoneinkcolorswithtubewatercolorsorgouache.

•Usemultiplecolorsofinklikepaintanddrawwithtoolsintothesurfaceoftheink,using

brushes,feathers,stencils,rubberstampsorstring.•Experimentwithavarietyofpapersandfabricsindifferentcolors,texturesandweights.Smoothpapersandtightlywovenfabricstendtoworkbest.

•Sincelight-coloredprintmakinginksareopaque,experimentwithusingthemoverdarkpapersorpaperswithpatterns.Trywhite,silverandgoldoverinkjetprints.

•Ifyou’renothappywithaprint,buildupthesurfaces.Useitasalayerandprintontopofitwithanotherinkcolororanotherimage.

•Cutagelatinplateintoshapes,separatingthemslightlytocreateinterestingedges.•Makeafreeformgelatinplatebyrollingaropeofclayandpressingitontoaglasssheettoformacompleteframeorwell.Pourthewarmgelatinintothewellandwhenitissolid,removetheclayrope.Thisalternativecreatesinterestingedgesandiseasytohandlebecauseyoudon’thavetounmoldthegelatin.

•Grouptogetherpapersandothersurfacesthatmayworkforaparticularconceptyouwanttoexplore.Justtheprocessofmakingmaterialchoicessometimestriggersnewideas.Considerincludingmaterialslikecorrugatedcardboard,metalfoilandwrappingpaper.Someofthesurfaceswillworkaspages,coversorcollagematerialsandsomecanevenbeusedforallthree.

BLANKBOOKSANDALTEREDBOOKS

Fromthewiderangeofcommerciallyavailableblankbooksandjournals,inthischapter,wewilllookatselectingabookandaddingcontentwithimagesandwords.We’ll also look at altering an existing book.This approach gives you a ready-made starting point

sincethebookwillsuggest thecontentandapproach,andthepagesalreadyhaveimagesorwordstowhichyoucanrespond.Withanalteredbook,we’llbelookingatrepetition,variationandsequencing.

Bennington,2000,100pages,8¼”×5¼”(21cm•13cm)pastelandpencilinpurchasedblankbookwithbrownpaperandcorrugatedcover.

BLANKBOOKS

Apurchasedblankbook,whichisplainenoughforyoutopersonalizeandfill,isagoodwaytostart.Sinceyouhavefewstructuraldecisionstomake,youcanfocusonthecontent.Ifyouwanttoworkoveralongperiodoftime—forexample,makingadiaryorsketchbookfortheseasonortheyear—chooseabookthatthathasasufficientnumberofpagestomeetyourneeds.Ifyouwanttocelebrateavisitoreventofshorterduration,athickbookmightbeoverwhelming,andonewithfewerpages,orpagesthatcanberemoved,maybepreferable.Therearemanyblankbooksavailableinbookandstationerystoresthataregoodchoices.Thesize,

shape,covermaterial,paper typeandbindingstyleareallconsiderations.For travel journals, I likeasizesimilartoapostcardsothatIcancompletethepageswithrelativelysmallcollagematerials.Ialsoprefer awrapped binding style, like those used inPromised Land andPlanned Environment, whichallowsfortheinclusionofephemerawithoutstretchingthebookoutofshape.

PromisedLand,2001,32pages,6½”×5”(17cm×13cm)mixed-mediacollageinblankbookOnSeptember11,2001,whenterroristshijackedplanesandflewintotheWorldTradeCenterandthePentagon,IwasintheMiddleEast tryingtounderstandthis territorialandreligiousconflict. Ikeptacollaged journal inapurchasedblankbookwitha soft leatherbinding towhich Igluedadecorativefoundmetal object.After the 11th, everything turned upside down, and the journal combined foundmaterialswithimagesfromtheworldnews.

ReViewingthePlannedEnvironment,2002,76pages,5¼”×4½”(13cm×11cm)mixed-mediacollageinblankbook

While inFortMyers,Florida, foranexhibitionofmyworkatFloridaGulfCoastUniversity, I foundcity-planning documents with environmentally impacting grid-like plans—which I contrasted withnaturalmaterials—handmadebananaleafpaperonthefrontandbackcoversandawoodclosurewithhempcordandclayties.

India,2004,124pages,7¼”×4¾”(18cm×12cm)mixed-mediacollageinblankbookre-coveredwithunryupaper;foundmaterialsoncoverandclosingfromIndia

During threeweeks in India I kept a visual journal that incorporated ephemera collected duringmytravelstoBombay,Jaipur,Agra,Delhi,ChennaiandGoa.ThejournalwassodistendedbythecollagematerialsthatwhenIreturned,ithadtoberebound.Ialsofoundthecomponentsforthreeotherbooks,Guardians(seepage69),manytruths(seepage35)andlawandcustom(seepage101).

HelpfulHints

•Ifyouareusingawetmediumlikewatercolororacrylic,besuretochooseabookwithheavypaper;otherwise,thepagesmaywrinklebadly.

•Ifyouplantoaddcollagematerialsintoyourbook,besurethebindingwillaccommodatethethicknessoftheaddedmaterials.Asoft,wrappedleatherbindingwithatiethatcanexpandisagoodchoice.

•Takingapartandre-sewingabookisoftenmoresimplethantryingtoworkwithinabound

structure.Don’tworryaboutfancystitchesorknots;justmakesureyoursewingholdsthebooktogetherandtheknotsaretightlytied.

•Workinginapre-boundbookstretchesitoutofshapeattheforeedgeasephemeraisadded.Ifyoucanplanaheadtoaccommodatetheadditionalthicknessofthesecollagematerials,removeanequaldepthofexistingpages.Ifyouareworkingwithasewnbook,thecenterpageofeachsignaturemayberemovedbycarefullycuttingortearingthepaperoneachsideofthestitchesandslippingitout.

•Ifyouhavealreadydoneworkonthefirsthalfofthefolio,tearorcutawaythepage,leavingenoughdecorativeedgeforthethreadtocontinueholdingtheremainderofthesheet.

•Whenyouarecollaging,ifanedgelooks“raw”againstthesurfaceonwhichitisbeingplaced,tonetheedgetomatchwithmarker,crayonorpaint.

•Ifyourglued-togetherpagesarewrinkledafterdrying,useaheatsourcetosoftenthegluewhileyouapplypressuretoflatten.Aheatpressisideal,butyoucanalsouseanironorholdahotairguninonehandwhilepressingoutthewrinkleswithabonefolderheldintheotherhand.

•Coattherawedgesofarecesswithgelmediumiftheyseemtobeseparating.

WORKINGINABOUNFBLANKBOOK

MaterialsAblankbookthatwillworkwiththeconceptandmaterialsyouwishtoincorporateintoitCollage,painting,drawingandwritingmaterialsofyourchoiceDecorativematerialsforthecover,ifdesired

1.Selectartmaterialsthatworkwiththebookandconcept,andcompletethebookwithimagesandwords.

2.Placeasmallpieceofartworkonthecover,similartowhatyouhavedoneinthebook.Orglueasmallobjectorbitofephemeratothesurfacewithaheavy-bodiedcraftadhesive.ThecorrugatedcoverofBenningtonwasembellishedwithascrapofrustedmetalandabottletopfoundintheworkshopparkinglot.

The blank book that became Bennington was completed during a workshop with Julie Graham, amixed-mediaartist.DuringthedayIworkedwithplaster,tarandmetal,andintheeveningIworkedinthisinexpensiveside-sewnbookwithcorrugatedcover.

Bennington,2000,100pages,8¼”×5¼”(21cm×13cm)Pastelandpencilinpurchasedblankbookwithbrownpaperandcorrugatedcover

The pages in this book had the quality of brown paper bags. They had a nice texture but were toolightweight for watercolors or acrylics, so I chose to work with pastels and colored pencils. I usedalcoholonapapertoweltorubthepastelsintothesurfaceofthepaper.BecauseofthematerialsIhadchosen,Icouldworkwithintheboundbookwithouttoomuchtrouble.

WORKINGINANUNBOUNDBLANKBOOK

Fallwasmadeusingablankbookwithseedpodsonthecoverandaroughyellowpaper,whichseemedappropriateforhousingautumnleavesIgatheredinMaine.Ifitiseasiertoworkwithpagesoutofthebookthanboundtogether,considertakingitapartandre-sewing.Whenthepagesareremoved,youcandecidetoworkwithfewerpages,oraddadditionalpagesofotherpapers.

MaterialsAblankbookthatwillworkwiththeconceptandmaterialsyouwishtoincorporateintoitCollage,painting,drawingandwritingmaterialsofyourchoiceDecorativematerialsforthecover,ifdesired

Fall,2007,20pages,9”×8”(23cm×20cm)mixed-mediacollageinpurchasedblankbookwithseedpodcover

1.Decideon the artmaterials youwill use to completeyourblankbook.ForFall, I decided toincorporateadditionalpapersbothascollagematerialsandassubstitutepageswithavarietyofleaves and gelatin prints of leaves. (See GelatinMonoprints on pages 30-31.) I also used acollectionofrubber-stampedwords,includingFragileandPerishable.

2.Selectartmaterialsthatworkwithyourbook’sconcept,andcompletethepageswithimagesandwords. In a small metal bowl on a plate warmer, I melted encaustic medium (a mixture ofbeeswax and resin). I used a cheap bristle brush to cover the surface of a collage with themedium.Sincethewaxcuresalmostimmediately,Ire-melteditwithahotairguntosaturatethecollageelementsandthepaper.

3.Whenyourpagesarecomplete,reassemblethebook,punchingholesinanynewpapersbyusing

theoldorexistingonesasaguide.Straightenedpaperclipscanbeputthroughtheholestoaidyouinholdingeverythingtogether.Alignthepageswiththecoverandre-sew.Here,mybookwassimplyre-sewnaroundtwigsthatrelatetothebookcontent.

ALTEREDBOOKS

Attheoppositeendofthespectrumfromtheblankbookisabookthathasalreadybeencompleted—aturn-of-the-century romancenovel,a family recipebook,abookyou readasachild,abankbookorledger,anautographbook,adiary,apassportoraphotographalbum.Whateveryourchoice,itshouldbeabookyouarewillingtotransformoradaptforanotherpurpose.Alteringanexistingbookgivesyouaready-madestartingpointsincethebookyouchoosewillsuggestthecontentandapproach.

MostbooksIbuycomefromsecondhandbook-stores,librarybooksalesoryardsales,andtheyareverycheapsinceI’mneversurewhatI’lldowiththem.Foryears,IhavehadtatteredcopiesofUncleTom’sCabinandAlice inWonderlandwaiting forme todecidehow to take them toanother levelofmeaning.

ManuscriptsIlluminated,2002,52pages,6¾”×5”(17cm×13cm)Alteredbookinremovableleatherpaperbackcover.MadefromatextbookfoundinIrelandandslippedintoa tooled leathercoverdesigned toholdapaperbacknovel, thepageswerecollagedas I traveledwithimagesextractedfromreproductionsofilluminatedmanuscriptsandaboxofCelticrubberstamps.

DaytoDay,2000,17pages,9½”x×6¾”(24cm×17cm)alteredbookwithmixedmediaDay toDay began as a badly deteriorated daybookwith “new thoughts.” It was alteredwithmixedmediaandreboundwiththeoriginalsoftleathercovergluedtolinen-coveredboard.

CreativeExplorations

•Buildasmallcollectionofpurchasedblankbookssothatyouwillalwayshaveonetotakewithyouonanimpromptujourneyortousetoexpressanidea.

•Considerphotographalbumsforuseasblankbooks,especiallythosewithhigh-qualitypaperinside.Theyareperfectforcollagingsincetheyaredesignedtoaccommodatetheadditionofmaterialatleastthethicknessofphotos.

•Foradditionalinterest,incorporatefold-outpages,envelopestohousesmallitemsandrelativelyflatobjectsofclay,cardboard,metalornaturalmaterials.

•Whenyoutakeaworkshopandmakeablankbook,choosecolors,covermaterialsorpaperthatrelatetotopicsyoumaywanttoexplore.Addittoyourcollectionofpossibilities.

•Considerunifyingdiversematerialswithacoatofgelmediumorencaustic.•Lookforsmallitemstoembedintoglued-togetherpages.

EmbeddedhandfromPromisedLand,2001,32pages,6¾”×5”(17cm×13cm)

ANALTEREDBOOK

MaterialsAbookthatwillworkwiththeconceptandmaterialsyouwishtoincorporateintoitCollage,painting,drawingandwritingmaterialsofyourchoiceDecorativematerialsforthecover,ifdesiredGlueoradhesiveasneededScissorsFolderTitletoaddtocover,ifdesiredOptional:scanner,computer,imagingsoftware,printer

Forthisexample,I’vechosentoalterRespectabilitybyElbertHubbard,whobeganRoycroftPressin1895 to make beautiful books. Roycroft grew into a utopian craft community with 500 craftsmenmakingpaper,printing,bindingbooksandproducingotheritemsofthearts-and-craftsmovement.Thisleather-boundbook, letterpress-printedonhandmadepaper,wasfoundinausedbookstore.Thespinehaddeterioratedandwascomingapart.Becausethebookdealt largelywiththeplaceofwomenat that time,Idecidedtoalter it insucha

way as to only retain the references to women. The first page had an “Apologia,” whichMaureenCumminssuggestedshouldbecomethetitleofthisalteredbook.

Apologia,2007,74pages,8”×5¾”(20cm×15cm)alteredbookwithmixedmediabasedonRespectability,leathercover

1.Considerhowyoucanchangeyourbookandstillrelatetoitscharacter.Becausethisbookwasmade around the turn of the century, I decided to incorporate images related to theNationalWomanSuffrageAssociation,begunbySusanB.AnthonyandElizabethCadyStanton,aswellas images fromGodey’s Lady’s Book. I chose towork in rust, brown, beige and blackwithcollagematerials,pastels,coloredpencilsandoilcrayons.Atapemeasurebecamearecurringicon.

2. Begin to work through the pages, placing your images so that there is both repetition andvariation.Idecidedtoleaveonlythepassagesrelatedtowomenreadable,andcoveredoverorcoloredoutalltheothertext.Iftherewerefacingpagesthathadnoreferencetowomen,Ipastedthem together.Wherewomenweren’tmentioned formultiple pages, I tore themout tomakespacefortheadditionalthicknessoftheaddedcollagematerials.Theilluminatedcapitalswerecutfromthediscardedpagesandusedasdecorativeelements.Itriedtomakethebookcoherentandflowingfrompagetopage.If you paste together pages, consider doing something to indicate to the reader that this is

deliberateand thepagesarenotmeant tobeunstuck.A tabaround theedge,aclipor, in thiscase,awrappedcordwillgetthemessageacross.

3.Ifyou’dlike,changethetitleonyouralteredbook.Imeasuredtheinsetonthecoverwheretheleather titlehadbeendebossedand, inPhotoshop,madeasmall titleplate tocover it.SinceIcouldn’t find an appropriate font, I scanned the word “Apologia” from the frontpiece andcolored it deep rust against a black-brownbackground. I colored the edgeof theprintwith ablackmarkerandpasteditdownwithgelmedium.

ANALTEREDBOOKSCULPTURE

MaterialsAbookthatwillworkwiththeconceptandmaterialsyouwishtoincorporateintoitCollage,painting,drawingandwritingmaterialsofyourchoiceItemtoembedRulerGelmediumHeavy-bodiedclearadhesive,likeE-6000orGoop,ifneededSnap-bladeorcraftknife90°triangleFolderWeight

Youcanturnanalteredbookintoasimplesculpturalpiecebygluingpagestogether.Intheprocess,youarecreatingathicknessthatcanaccommodateaninlaiditeminacutoutrecess.Thebookbeingalteredinthisdemonstrationwas“aschoolandfamilyprimer”publishedinthemid-

1800s.Itheldlittleinterestforme,exceptfortheonedouble-pagespreadIdecidedtouse,soitwasanidealcandidatewithwhichtomakeadouble-pagesculpturalformthatwouldremainpermanentlyopen.

Vanity,2007,7½”×9½”(19cm×24cm)alteredbooksculpturewithembeddedmirror

1.Chooseadouble-pagespreadforasculpturalform.ThepageIchoseshowsapictureofayoungwomanliftinganearringtoherearasshelooksintoamirrorwhilethetextasks,“Issheavaingirl?Ifsheisvain,isshegood?”

2.Coat the inside front coverwith gelmediumandpress the first page against it, smoothing itdownevenlyandburnishingfromthespinetotheedgeswithyourfolder.Glueeachofthepages

insuccessionuntilyouhaveasolidblockwithyourleft-handchosenpageontop.Movingtotheinsidebackcover,repeattheprocessuntilthebackhalfofthebookisalsoablock.Drythebookunderweight.

3. Select collage, painting or drawingmaterials to help you take your chosen pages to anotherlevel.Withgelmedium,I’vegluedapieceofsilverjosspaperovertheunrelatedtextontheleftsideandgluedapieceofblackpapertocovertextandimageontheright.Ifyouhaveanitemtoembed,measuretheheight,width,depthandplacementforanembeddeditem. Use a 90º triangle to draw straight angles for a square or rectangular recess, or drawaround a shaped item for an irregular recess. Cut the recess by making many shallow cutsthroughthepageswithacraftknifewithapointedbladeifasnap-bladeknifeistoolarge.Toembedathinmirrorintothisrelativelyslimbook,Icutthroughtothebackcoverwitha

snap-blade knife.An itemwithmore depthwould have required a thicker book.Remove thepagesfromthecenterareatocreatetherecessbyliftingwiththetipofyourknife.

4.Ifyouareembeddingarelativelyflat-bottomedandlight item,itcanbeadheredtotherecesswithgelmedium;otherwise,useaheavy-bodiedcraftadhesive.At the lastminute, IdecidedIpreferred thegold-tonedbackof themirrorandembedded it

facedown.Itwasn’tquitesymmetrical,soIhadtotrimoutabitmoretomaketherightsidefitandcolorabitofexposedpaperwithblackmarker.You can also add other elements to complete the composition. Themetal letters that spell

“vanity”wereslippedoverablackribbonandadheredtothesurfaceofthemirrorbottomwithdouble-sticktape.Ahatpinwithalargepearlwasskeweredthroughthepages.

SINGLE-FOLD,BI-FOLDANDBOOKSFOLDEDFROMONESHEET

Someof the simplest structures for artist books are constructed froma single sheet, or from smallersheetsthathavebeenassembledtofunctionasasinglesheet.Theycanbefoldedintointerestingmap-likeororigami-likeforms.Theorderanddirectioninwhichthefoldsaremadedeterminetheorderofthesmallerfoldedpagesandservetocompactand“close”thebook.Usingasubstratethatworkswithyourchosenstructure,youcanquicklyandeasilyassembleyourimagesandwordsintobookforms.Inthe next chapters, we’ll work with single-fold and bi-fold books, books folded from a single sheet,concertinaoraccordion-foldbooksandscrolls,andwe’llmakeaninterestingassortmentofstructures.

PatriotAct,2007,2pages,5½”×3½”×1½”(14cm×9cm×4cm)

SINGLE-FOLDANDBI-FOLDBOOKS

Single-fold andbi-fold books are extremely simple structureswith great potential.A single fold is asheet foldedonce to create two inside and twooutside pages—a folio.And a bi-fold sheet is foldedtwicetocreatethreeinsideandthreeoutsidepages—analtar-like,three-panelform.Becausetheycanstandandbeviewedfromall sides,we’llalsoexplore the impactof that formofpresentation in thischapter.And,sincetherearewonderfulfoundobjectslikefoldersandboxesthatlendthemselvestothisformat,we’llalsolookatsomesubstratesotherthanpaper.

playingaround,2001,2pages,5½”×4½”(13cm×11cm)mixed-mediafolioAsingle-foldbookwithmetal feetmade fromvintagephotoalbumpages, antiqueplayingcardsandpiecesofanErectorsetbecameplayingaround.Thecoverismadefromblackunryupaperrubbedwithsilverpigment,trimmedwiththinredribbonandasilverfoundmetalobject.

Arabesque, 2008, 2pages, 4¾”× 4¾”( 12cm×12cm) cast iron andpolymer claywithmetallicpigmentArabesque was a found, hinged, cast-iron piece with a repeating geometric form. A thin sheet ofpolymerclaywaspressedagainsttheinsidesurface,bakedandrubbedwithmetallicpigmenttofillintheopenspacesandenhancetheabstractdesign.

Hundt,2006,2folios,21”×30”(53cm×76cm)inkjetprintonhandmadelamalipapertransparentizedwithencaustic

Hundt was produced during my artist-in-residence at Harvard Medical School’s Countway Library.Printedonlargesheetsofhandmadepaper,itwasheavilysoakedwithwaxtomakeittranslucent,andeachfoliohungwithdecorativepinspushedthroughaleatherspine.

tistheseason,2006,2pages,7¾”×6”(20cm×15cm)mixed-mediainleatheretteboxTworustymetalfolkornaments,areindeerandanangel,were takenapartso theycouldbeflattenedandgluedintoafoundleatherettebox.Abitofredraffiaandasquareofsilverorientaljosspaperwereadded.AtitleembossedwithalabelmakerintoaredplasticstripwascoloredwithagoldmarkerandhighlightedwithsilverRub‘nBuff.

Weaver,2004,2pages,7”×5¾”(18cm×15cm)mixed-mediawithahandwovenclothcoverWeaverwasmadefromavintagewoodcutoutofMahatmaGandhiandworldleadersfoundinIndia.It

wascollagedontoboardcoveredwithhandwovenfabric.

Arles,2006,3pages,9½”×6½”(24cm×17cm)closed,9½”×13”(24cm×33cm)open,editionof40

ArleswascompletedinProvencein2006.Thestructurewasapurchasedlamalifolderwithabambooclosureandaduplexpaperofrichorangeontheoutsideandblackontheinside.ThemapsoftheareacamefromaBaedeker’sSouthernFranceguidebookpublishedin1914,andthecarrotwasthesymbolofthe2006ArlesInternationalPhotoFestival.Afteritwascompleted,Idecidedtoeditionitasathankyou to many of the participants in the event that prompted the trip. The original was scanned andprinted,backandfront,onheavyfine-artpaper.

Altar,2001,3pages,7½”×4½”(19cm×11cm)mixed-mediaonwoodAltarbeganwithaninexpensiveItalianhingedwoodentriptych.Collageelementswereadded,thentheentirepiecewasdarkenedandagedbyrubbingwithburntumberoilpaintandwax.

lamentations,2002,3pages,6¾”×6”(17cm×15cm)closed,6¾”×12”(17cm×30cm)open,

editionof20Thecoveroflamentationsisaphotographofa4’(1m)tallcopperdiptych,IntheNameoftheMother.Whentheoriginalideawasconceived,Imadeimagestotransfertoboththeoutsideandtheinsideofthesesurfaces,butbecausetheinsideneededcross-bracing,theinteriorimageswereneverused.SoIdecidedtomakeabookusingthethreeimages.Theimagesweregluedtobookboard,whichfunctionedastheoutsideandinsideofdoors.Hingedwithstripsofblackgaffer’stape,thedoorsopentorevealablack centerpiece with a lead symbol of Pisces, referencing the twin performance artists in thephotographs,EmilyandAbigailTaylor.

InteriorLandscapes,2001,3ofaseriesof6,each5¼×4¼”(13cm×11cm)closed,5¼”×8½”(13cm×22cm)openBi-foldcollagesonblackmatboard,designedtostand.Theywereheavily

texturedwithencausticandrubbedwithmetallicpigment.

HelpfulHints

•Whenyouarescoringtofoldabi-fold,takeintoaccountthethicknessofthefoldandmakesuretheouterpageswillmeetinthecenter.

•Ifyouareusingthickitemsinyourfoliobook,allowextraboardtomakeaspinewithadequatethicknesstoaccommodatethecollageditems.

•Ifyouwantyourbooktostand,considerthesizeofyourpagesandtheweightofthematerialswhenmakingsingle-andbi-foldstructures.Largepagesoflightweightmaterialsmaybetoofloppytoremainupright.

•Ifyouaregoingtoprintimagesortextonyoursheetbeforefolding,makeasamplefirsttoensurethattheorientationiscorrectandyourprintedpageswon’tbeupsidedown.

•Whenprintingthefrontandbackofpages,firstprintalightgrayoutlineonaninexpensivesheetofpaper,andthenturnitoverandprintthebacksidetocheckforalignment.Someprintersalignperfectlyeverytime,whileothersneverseemtobeginatthesamepointtwice.Tryfeedingthepaperfromthepapertrayorthefrontorrearflatfeed,ifyourprinterhasone,toseewhichalignsbest.

•Ifalignmentisdifficultwhenprintingonthefrontandback,useanimagethatisdifferentoneachside.

SINGLE-FOLDFOLIO

MaterialsPaper,heavysheetormatboardCollage,painting,drawingandwritingmaterialsofyourchoiceGlueoradhesiveasneededPencilFolderRulerSnap-bladeorcraftknife

Oneofthesimpleststructuresthatcanbecalledbook-likeisatwo-pagesingle-fold,orfolio.Itcanbehung,ormadeofpaperorboardheavyenoughtostand,anditcanalsofunctionasanobject.

1.Choose imagesor items that tellastoryormakeacomment. Idecided tousepieces fromanunfinishedprintandafewcollagesusingoldphotographsandquiltsquares.IcalledthepieceRemnants.

2.Decideonasize,determinethecenteroftheboard,scorewithafolderandmakeafoldthatwillfunctionasthespineorhinge.Sincemycollagewassymmetrical,Ifoldeditinhalfand,usingacraftknife, trimmed it to a size I feltwouldworkas a standingorhangingbook. Iglued thecollagetoaheavybackingsheetwithgelmedium.

3.Ontheoutside,addrelatedimagesoritemsforthecover.Idecidedtolayeranotherpieceofthesilveredprinttothecovertogiveasenseofdimensionality.Iusedasilvergelpentodrawintostencilletters,andaddatitle.

BI-FOLDBOOK

Withanadditionalfold,abi-foldbookmayrevealitscontentsonesectionatatime.Itmayalsohavemore substance as a standing object since its three-part base ismore secure. Since I had additionalpiecesfromtheconstructionofthesingle-foldRemnants,Idecidedtomakeacompanionpieceasabi-fold and call itRemains. I oftenworkwith series of images using relatedmaterials and letting eachpiecesuggestthenext.

MaterialsPaper,heavysheetormatboardCollage,painting,drawingandwritingmaterialsofyourchoiceGlueoradhesiveasneededPencilFolderRuler

1.Chooseimagesoritemsthattellastoryormakeacomment.Decideonasize.Dividethewidthofyourpieceby four.Scoreonly the left and right sectionswith a folder.Make foldson thescoredlinesthatwillfunctionashinges.Closetheoutsidesectionstowardthemiddleandpressthefolds.

2. I decided to use a 12” × 18” (30cm× 46cm) sheetmade by gluing the silver paper (for theinside) tobrownpaper (for theoutside)with acrylic gelmedium. Imeasured the18” (46cm)widthintofour4½”(11cm)divisions.Iscoredthealongeachoftheoutsidemeasurementswithafolderandfoldedthe4½”(11cm)piecestowardthecenter.Acollagedquiltsquare,similartotheoneused inRemnants,wasglued to the insidecenter,andstencil letterswereusedon theoutsidecover.

BOOKSFOLDEDFROMONESHEET

Therearemanyvariationsonbooksfoldedfromasinglesheet.Intheseexamples,theyarerelativelylargesheetsthat,whenopenedflat,couldhangonawallor,iffoldedintoacompactstructure,couldbeeasilytransported.Oneofthesimplestexampleswouldbeamap.Ifyoumakeoneormorecutsintothesheet,itcantakeonadifferent,morebook-likeconfiguration.Byworkingwithimagesonthefrontorthebackofyoursheet,differentfoldpatternsanddifferentcutplacements,youcancreateawidevarietyof structures.Because of the number of folds, grain is irrelevant and, unless youwant it to stand, alightweight, uncoated paperworks best.What is covered in this section is just the beginning. If youbegintothinkoforigami,thereareendlessthree-dimensionalpossibilities.Paperartistsareusingthree-dimensionaltessellationstructures,boxpleatingandstretchedpleatstocreateamazingpieceswiththepotentialtorelatetobookforms.The illustrations here showdiagramswith page numbers printed on the bottomof each sheet, red

linesindicatingcutstobemadeandexamplesofthefoldedbookform.Inthefinishedpieces,thesizeoftheoriginalsheetislistedinparentheses.If your sheet has images or text with an orientation, like the landscape inCooks Straight or the

writinginDeclaration, takeit intoconsiderationwhenplanningyourlayout.Imagesthatcanworkinanydirectionmakeyourtasksimpler.

Movement,2007,16pages,3”×4¼”(7cm×11cm)closed,3”×46¼”(7cm×117cm)open,singlesheetfoldedmusicscore(12”×18½”[30cm×47cm])

CooksStraight,2007,6pages,5¼”×4”(13cm×10cm)singlesheetfoldedpainting(10½”×16”[27cm×41cm])CooksStraight,asix-pagepamphlet,wasmadefromafoldedandsandedreproduction

ofapaintingbyWilliamHodgesthatrecordedthevoyagesofCaptainCookinthelate1700s.

Declaration,2007,12pages,5¼”×3½”(13cm×9cm)closed,5¼”×27¾”(13cm×70cm)open,singlesheetfolded(15¾”×13¾”[40cm×35cm])A facsimile of theDeclaration of Independencewith a facsimile ofMassachusetts currency becameDeclaration,atwelve-pageoxplow.

SIX-PAGEFOLDANDTWELVE-PAGEFOLD

MaterialsPaper,anysizeorshape,withorwithoutimagesandtextRulerPinFolderSnap-bladeorcraftknifeCuttingmat

Yourbookscanbemadewithblankpaperandthencompletedwithcontent,oryoucanusepaperwithimageryand texteitherplaced in suchaway that theorientationof the foldedpages is irrelevant,orplanforthecontenttofitthefoldedpages.Aquicklymadesamplewillmakeiteasiertoseesomeofthepossibilities.Theimagesinthesetwodemonstrationscanworkinanydirection.Inthesix-pagedemo,Starbright, thecover,backandall thevisiblepagesareonthesamesurface.

ThepaperwasaChristmaspartyfavor—acompositesheetofstardrawingsbythechildrenofresidentsattheAmericanAcademyinRome.In the twelve-page demo,Landsquares, the cover and back are on the reverse surface. The same

imagewasprintedonbothsidesofa13”.16¼”(33cm.41cm)sheet,fullbleed.Togetthestraightest,sharpestfolds,remembertopresseachfoldwithyourfolderandopenthesheetflatbeforegoingontothenextstep.SIX-PAGEFOLD

1.Foldthesheetofpaperinhalflengthwise,pressthefoldwithafolderandopenthesheetflat.Fold thesheetofpaper inhalfcrosswise,press the foldwitha folderandopen thesheet flat.Foldeachcrosswisehalfofthesheettowardthemiddletodivideitintofourths,pressthefoldswithafolderandopenthesheetflat.

2.Openthepageflatandcutalongthelengthwisefoldbetweentheoutertwopagesasshowninredonthesix-pagediagram.Theendsofthecuthavebeenmarkedwithpinpricks.

3.Foldthesheetinhalflengthwise.Withthecutsideup,pushthetwoendstowardthemiddletomakeaplus-signshape.Pushthecentersectionstotherighttoenclosetherightsection.Bringthesingleremainingsectionaroundtotherighttoformthefrontcoverofyourbook.Flattenallthefoldswithafolder.

Starbright,2008,6pages,5½”×4¼”(14cm×11cm)pamphletfoldedfromasinglesheet(11”×17”[28cm×43cm])TWELVE-PAGEFOLD

1.Fold thesheetofpaper inhalfcrosswise,press thefoldwitha folderandopen thesheet flat.Foldeachcrosswisehalfofthesheettowardthemiddletodivideitintofourths,pressthefoldswithafolderandopenthesheetflat.Measurethewidthofthesheetanddivideintothirds.Foldthesheetintothreelengthwisestrips,presseachfoldwithafolderandopenthepageflat.Markthetwolengthwisefoldsfromtheouteredgetothebeginningofthepageontheoppositeside.Cutalongthefolds, leavingtheouterpagesuncutateachendasshowninredonthe twelve-pagediagram.

2.Whileyoucanworkoutwhichpageswillbeupandwhichwillbedowninadvanceandplanyourillustrationsandtexttoorientintheproperdirection,it’softeneasiertouseimagerythat

canbeviewedinanydirectionandaddfinaltouchesafterthebookisfolded.3.Beginningatoneend,foldeachpageconsecutively,turningfromonerowtothenextasifyouwereanoxplowingthefield.Flattenallthefoldswithafolder.

Landsquares,2007,3¼”×3¼”(8cm×8cm)closed,3¼”×26”(8cm×66cm)open,inkjetprintonbothsidesofpaper(13”×16¼”[33cm×41cm])

ACCORDIONBOOKSANDSCROLLS

The accordion-fold book is made from a piece of paper longer than wide and folded into pages toresembletheinstrumentforwhichit isnamed.Afavoriteofmanyvisualartists,myself included, theaccordioncanbedesignedtostandorhangsothattheentirebookcanbeseenatonce, increasingitsvisual impact. It’s a good structure for telling a story or presenting a related collection of images orobjects.Avariationoftheaccordion,theconcertina,mayhavefoliosattachedtothepeaksorvalleysofthefolds.It isalsousedasthebasisforavarietyofotherstructures, includingflagbooksandtunnelbooks. Pop-ups, cutouts, fold-outs and irregular top edges are some of the many variations of bothaccordionandconcertinabooks.Traditionally, scrolls were divided into pages often made from separate sheets glued together.

Papyrus,whichgivesusourword“paper,”wasusedinancientEgyptandparchment,thetreatedskinofanimals, or vellum, the skin of younger animals,was used in parts of theMediterranean. In ancientAsia,calligraphyandimageswerepaintedonsilk.If the scrolls were horizontal, they were unrolled to expose a single page in sequence, with the

remainingpagesrolledtotheleftandrightofthevisiblepage.Whilesomescrollsweresimplyrolledpages, others had rollers on one or both ends. Scrolls were also designed to hang vertically and tofunction as decorative hangings with images and no text. Eventually, the Romans found scrolls toocumbersomeforlongworksanddevelopedthecodex,aboundbookwithpages.Once you begin to think about scrolls, you will find concepts that lend themselves to this

presentation,andpaper,fabricandsyntheticsthatlendthemselvestobeingrolled.

Bingo,2005,6pages,5½”×4½”(14cm×11cm)closed,5½”×27½”(14cm×70cm)open,inbox5¼”×6”×1¼”(14cm×15cm×3cm)Thegamecardsfromavintagebingosetwerehingedtogetherwithtapeandalteredwithsilverleaf,metal,redandblackpaper,paintandbingochips.Thisaccordion,madeonatriptoLasVegas,ishousedinaleatherette-coveredtravelingbox,whichalsocontainsthe

spinner.

ACCORDIONBOOKS

The accordion is a simple structure tomake.Theheight,width andnumberof pagesmakingup thelengthoftheoverallpiecewillbegovernedbyyourcontent,althoughyouwillneedanevennumberofpages to make the covers function properly. Score and fold your pages with the first page comingforwardandthenextgoingback,alternatinguntilyouhavemadeallofthefolds.Presseachfoldwithyourfoldertomakethemstraightandsharp.DuringaparticularlyproductivemonthasavisitingartistattheAmericanAcademyinRome,Imade

ninebooks,fourofwhichwereconcertinaformats:Tiber,Trastevere,OneSquareMileandPalladio.Arches black cover is a heavyweight paper I oftenuse for accordionbooks, as seen inMilagros,

JerusalemandGuardians.Althoughheavypapercanstandwithoutacover(aswithOneSquareMile),it is often helpful to have the additional support of mat board, binder’s board, wood or other rigidmaterial.Youmayuseacoloredorpaintedboard(aswithTrastevere),orcoveritwithanothermaterial(aswithTiber in leatherorVengeance isMine in lead).Youmayalsohouse them inboxes (aswithPalladio,MilagrosandGuardians).

Tiber,2005,6pages,5”×5”(13cm×13cm)closed,5”×25”(13cm×64cm)openApiece of hand-marbled paper reminiscent of the river flowing throughRome becameTiber. It hasadditionalmarbledpaperontheback,andametallicleathercoverwitharub-ontypetitle.

OneSquareMile,2005,5pages,4½”×4”(11cm×10cm)closed,4½”×20”(11cm×51cm)open,imagesonbackandfront

OneSquareMilewasbasedonapresentationat theAmericanAcademybyAllanB.Jacobs,“PublicBenefit:PlacesforLife.”Itcomparesthenumberof“intersections”inmajorcitiesinonesquaremile.Itisamodifiedconcertinaform,arrangedtostandinasemi-circularshapedesignedtoenclosethespaceitdescribes.

Trastevere,2005,16pages,6½”×4¾”(17cm×12cm)closed,6½”×38”(17cm×97cm)open,imagesonbackandfront

A book on Trastevere, found at the Porta Portese fleamarket, served as the source for architecturaldrawings,mapsandetchings.Theblack-and-whiteimages,incorporatedintothisconcertinabookmadeofArchesblackcover,weretonedandemphasizedwithcopperleafandcopperfoil.Thecoverisblackmatboard.

Palladio,2005,15pages,2¾”×2¾”×1½”(7cm×7cm×4cm)closed,1¾”×26”(4cm×66cm)open,imagesonbackandfront

AsmallwoodenboxrubbedwithcopperpigmentbecameanhomagetoarchitectAndreaPalladio.Asheet of paper with Latin text was used as the background for vignettes of his architecturalmasterpieces.Thereisatransfertofrescoontheboxlid,leatherinsidetheboxandacoppermedalliononthebookcover.

Milagros,2005,3”×2”×1½”(7cn×5cm×4cm)closed,3”×24”(7cm×61cm)openInSpanish,milagromeans“miracle,”andthesmallmetalobjectscalledbythatnameareoftennailedtocrossesorplacedinchurchesasrequestsorofferings.AmirroredmetalboxfoundinSantaFebecamethecontainerforacollectionofoldmilagrosthatwereattachedwithglue,wireandstringtoastructureofheavyblackpaper.

Jerusalem,20034½”×4½”(11cm×11cm)closed,4½”×27”(11cm×69cm)openJerusalemusescutouts,pop-ups,translucentredMylarandobjectsIgatheredinIsrael.Thecomponentsareallrelatedtothisdividedcityclaimedasthebirthplaceoftwooftheworld’smajorreligions.ThelightthroughtheMylargivestheeffectofstainedglass.

Guardians,2004,10pages,6¼”×5”(16cm×13cm)closed,6¼”×28”(16cm×71cm)openIn Bombay, I found a wood andmetal box and a series of embossedmetal “household guardians,”whichcametogetherquicklyasGuardians.

SIMPLEACCORDION

MaterialsPaper,longenoughtoaccommodateyourimagesandheavyenoughtostand,thatwillbefoldedintoeightpagesFolderCollage,painting,drawingandwritingmaterialsofyourchoiceMaterialsforthecover,ifdesiredGlueoradhesiveasneeded

HeartswasmadeasaValentine’sDaygift formyhusband.The ideabeganwithagroupof slightlyirregularhand-cutmetalheartsfoundinaconsignmentshop.Forthecovers,Iembeddedtwoheartsandacrossedchainintoathinlayeroftexturedpolymerclay

wrappedaroundplywood.Itwasbakedtoharden.

1.Choosetheimagesandtextyouwanttouseonbothsidesofthefoldedpaper.Alongwithacollectionofhearts,Iusedasmalltintype,handwrittenvintagetextandheartscutfrompaper.Foldyouraccordioninto an even number of pages. I began by folding my 7½” × 30” (19cm × 76cm) sheet in halflengthwise,thenpressedeachfoldwithmyfolder.Inextfoldedeachofthehalvesintotwo7½”(19cm)sections, then folded each of those in half, for a total of eight pages.Add images andwords to theindividual pages. All elements were glued onto the inside of my book with gel medium and craftadhesive.Ilefttheoppositesideofthepaperblank.

Hearts,2007,8pages,7½”×3¾”(19cm×10cm)closed,7½”×30”(19cm×76cm)open,mixed-mediaaccordion

EXTENDEDACCORDION

IdecidedtomakeanaccordionbookfromatarotcarddeckImadeadecadeago.Sincethedeckhastwenty-two major arcana, or trump cards, I needed more pages than a single sheet of paper wouldaccommodate.Toenhancethepresentation,Iusedthesamebaginwhichthedeckofcardswassold.Itwaslarge

enoughtoalsoholdasmallbookletdescribingthehistoryofthetarotandthemeaningofthecards.

MaterialsPaper,twoormoresheetslongenoughtoaccommodateyourimagesandheavyenoughtostand,thatwillbefoldedintoanevennumberofpagesRulerSnap-bladeorcraftknifeCuttingmatGlueoradhesiveasneededPaper,waxedPaper,scraporothercleanwastepaperWeightClampsorpaperclipsFolderCollage,painting,drawingandwritingmaterialsofyourchoiceMaterialsforthecover,ifdesiredBag,boxorothercontainer,ifdesired

1. Fold your accordion into an even number of pages. Knowing howmany pages I needed toaccommodate the tarotcards,I foldedtwolengthsofpaperandnumberedeachsheetwith thecorrespondingnumberof thecard.Toglue the two lengths together, Ioverlapped them in themiddle,asshown,withpaperclips.Theoverlapleftmewithanunevennumberofpages,soIdecided to glue together the front two sheets tomake the covermore substantial.The foldedcover,ontheleft-handside,isalsoindicatedwithapaperclip.

2. Add your images and text. Here, the back of each card was covered with gel medium andpositionedonitscorrespondingpage.Whenonesidewascompleted,itwasfoldedtogetherwithwaxedpaperbetweeneachpageandleftunderaweightovernight.Thebacksidewascompletedthefollowingday.Thefoldedfrontcoverwasdouble-thickpaper,andthebackcoverstoodwellonitsown.

Millennium,Tarot,2008,28pages,6½”×3¾”(17cm×10cm)closed,6½”×52½”(17cm×133cm)open,collagedconcertinawithaccompanyingbookletinbag8”×5½”(20cm×14cm)

EDITIONING

Many artist books are one-of-a-kind, but if youwant tomakeduplicates of your book to sharewithothers,youarecreatinganedition.Alimitededitionstatesafixednumber thatwillnotbeexceeded,whiletheunlimitededitionhasnopresetlimit.Bookartistswhospendayearormoreconceivingofandproducingabookmaychoosetoeditionit,especiallyiftheyareworkingwithletterpressandprintingprocessesthatarerelativelyeasytoreplicate.Itmakesthelengthyproductiontimemorecost-effectiveforsales.MyeditionedworkissoldthroughViewpointEditions.SinceImuchprefertospendmytimemakinganewbookoverreplicatingone,Ihaveeditionedvery

fewbooks.However,VengeanceisMineisbasedonaseriesofmixed-mediapieces,body+soul,whichbeganwithphotographsoftwinperformanceartistsEmilyandAbigailTaylor.Severalgroupsofwork,indifferentmedia,weresuggestedbytheirvariouscostumechanges.AsIworkedontheart,someofthephotographs,printedonalaserprinter,layonmydesk.Afterlookingatthemforaverylongtime,Icutaway thebackgroundsandput themontoastripofblackArchescover. Ipaintedover themwithencaustic,andspatteredthemwithblackink.Lead,bothbeautifulanddangerous,waswrappedaroundwoodtobecomethefrontandbackcovers.Afoundmetalobjectwasplacedonthefrontcover,ribbonwasusedtotietheaccordionformattogetherandasinglecopyofVengeanceisMinewascompleted.

VengeanceisMine,prototype,2002,8pages,4½”×4½”(11cm×11cm)closed,4½”×29”(11cm×74cm)open,leadoverwoodcover

Butbecause therewereanumberofpeople involved in thephoto shoot, Idecided to replicate the

bookasagiftforalltheparticipants.IscannedeachofthepagesandputthemtogetherinPhotoshop.Afterlisteningtoaninterviewofmotherswhosesonshadbeensuicidebombers,Idecidedtoaddtext—conceivedindeception,preciouscargo,stalkedbyhateandsacrificedtoavengefulgod.Twoadditionalpagestoincorporateatitleandacolophonwereaddedtothefinalfile,whichwasprintedonaninkjetprinter. Onto the lead covers, I nailed inexpensive coppermedallions of lilies that I had found at ajewelrysupplyoutletandpatinaedwithammonia.Itseemedappropriatethatliliesreferencelife.

VengeanceisMine,2002,10pages,4½”×4½”(11cm×11cm)closed,4½”×45”(11cm×114cm)open,leadoverwoodcover,editionof20

EDITIONEDACCORDION

LittleRedwas inspired by aLittleRedRidingHood doll I had as a child.Her skirt flipped over torevealawolf,andanembeddedmusicboxplayed“Who’sAfraidoftheBigBadWolf.”OnthefrontsideofLittleRed,IusedthreeGustaveDoréetchingsandaphrasefromapoembyEllen

Steiber,“SilverandGold.”Fortheback,Ichosetousealongerportionofherpoemandapictureofthedoll.Inpart,thepoemreads:Sometimes,Iexplain,it’shardtotellthedifferencebetweentheoneswholoveyouandtheoneswhowilleatyoualive.

MaterialsPaper,longenoughtoaccommodateyourimagesandheavyenoughtostand,thatwillbefoldedintoanevennumberofpagesRulerSnap-bladeorcraftknifeCuttingmatFolderCollage,painting,drawingandwritingmaterialsofyourchoiceMaterialsforthecover,ifdesiredGlueoradhesiveasneededOptional:scanner,computer,imagingsoftware,printer

LittleRed,2007,4pages,6½”×5”(17cm.13cm)closed,6½”×20”(17cm×51cm)open,editionof6

1.Decideon the size andnumberof pagesneeded to accommodate your images and text.Thisbookwasdesignedat6½” (17cm) tall and20” (51cm) longwith four5” (13cm)pages.Foldyouraccordionintoanevennumberofpages.ThelargeillustrationinLittleRedwasfoldedinthemiddletocreateadouble-pagespread.

2. If you are adding a cover,make the board¼” (6mm) larger than the pages. I printed inkjetcanvas1”(3cm)largertowrapmyboard,andscoredtofoldaroundtheedges.Thecornersweremitered,andthebackofthecanvaswascoatedwithacrylicgelmedium.Theboardwasplacedontheglue-coveredcanvas,andtheexcesswasfoldedaroundtothebackandburnishedwithafolder.

3.Theredinkontheprintedcanvascrackedwhenfolded,soIrubbedbrownshoepolishintotheexposedwhitefiberstocoverthemupandalsotocreatetheeffectofanold,worncover.Ifyouareaddingcovers,gluethemtothefrontandbackpageswithPVAorgelmedium.

SCROLLS

Scrolls are an interestingway topresentwork that’s been createdon avarietyof surfaces, includingparchment,papyrus,paper,fabricorsyntheticmaterial.Likealteredbooks,foundscroll-likeobjectscanalsobeusedasthebasisforscrolls.Intheaccompanyingillustrations,youseeacollectionofobjectsthat have the potential for becoming scrolls, including a souvenir from India, a player piano roll, asnakeskininaclearplasticbrushholderandarollofbrownpaperwithwireintheedgesusedonlargeChristmaswreaths.

HelpfulHints

•Ifyouareusingimagesorwordsfromotherartistsandwriters,besuretheyareinthepublicdomain,orgetpermissiontoincorporatethemintoyourwork.

•Thebottomoftheaccordionpagesandthebottomofthecoversshouldsitevenlyonthetablesothatthebookstandslevelanddoesn’ttilt.

•Anaccordionattachedwithinaboxmaytendtogodownhillwhenopenediftheinsideoftheboxishigherthanthetableorshelfonwhichtheboxsits.

•Althoughmanyaccordionshavenothingonthebackside,extendingyourconceptcanaddsignificantlytothepresentation.AfterIthoughtIwasfinishedwithViewpoint,Idecidedtorelatetotheinkjetprintonthefrontsidewithapastelandcoloredpencillandscapeontheback.

•Inadditiontobeingdimensionallystable,mostsyntheticmaterialsdon’tfrayandrequirenohemming,makingthemidealforbannersandscrolls.

•Remember,manydesktopprinterscanprintupto44”(112cm)inlength—goodfor

accordionsorscrolls.•Totearanorientalpaperwithvisiblefibers,useasmall,wetbrushtodrawdowntheedgeoftheruler.Thiswillwetthefiberandweakenittomaketearingeasier.Holdtherulerfirmlyinplaceasyoutear.

•Youcanusealmostanyslicksurfaceforsizingfabric.Glass,polypropyleneandFormicaallworkwelland,ifyou’rewillingtocleanthemafterward,ashowerdoororglasssliderisusuallyhandy.

•Editioningcanbelaborintensiveandboring.Anytemplatesyoucanmaketospeedtheprocessofmarking,cuttingandfolding.willbehelpful.Also,insteadofcompletingeachbookbeforegoingontothenext,consideranassemblylinewhereyoudoallthemarking,allthecutting,allthefolding.Attheoppositeextreme,someartistschoosetomakeonebook,then,asitissold,makeanothertoreplaceit.

MonkeyGrip,2004,4½”×16½”(11cm×42cm)papercollagescrollinbox4½”×2”(11cm×5cm)diameterYear-of-the-monkeylasercutoutsweregluedontoseparatesheetsoforientaljosspaperthenpastedtoacontinuousbacking.AfterspendingtimeinacylindricalMonkeyGriptirepatchcan,the

scrolltookonaninterestingscallopedeffect.

Fragile,2007,5½”×32”(14cm×81cm)hangingscrolloffabricandnaturalmaterialForahangingscroll,leavesweresewnintoahollowribbonwithgoldthread.Astheleavesdried,theybecame fragile. If this scroll were rolled, the leaves would disintegrate. The ribbon is wrapped andsecuredwithbrassbradstoasmallsquaredowelwithgold-paintedends.

Holga,2007,2¼”×32”(6cm×81cm)inclearacryliccontainerwithblackends2½”×7½”(6cm×19cm)scrolloffilm,printedcopperfoilandtape

DevelopedfilmtakenwithaninexpensiveHolgacamerawastransformedintoascrollwiththeadditionof black tape and printed copper adhesive-backed foil. A clear plastic tube became the transparenthousingforthissmallscrollthatislooselyrolledsothelightwillstillpassthroughitwhenclosed.

FromtheTree,2007,1½”×12”(4cm×30cm)paperscrollincarvedbox3¾”×3”(10cm×8cm)diameter

AsmallscrollwasmadeinSeattletofitintoawoodpurchasedboxmadefromahollowed-outpieceoftree.Thetoppivotsopenonapintorevealtheinnerspace.

ToDo,2008,5½”×3½”×1¾”(14cm×9cm×4cm)paperscroll(unknownlength)onmetalhangingstand

A vintage metal stand with a roll of paper for making grocery lists became ToDo. Rub-on letters,crossed out, were added across the bottom of the paper roll as both the title and a commentary onmakinglists.

SCROLLONFABRIC

MaterialsSubstratethatcanberolledSizingmaterial,ifneededCollage,painting,drawingandwritingmaterialsofyourchoiceGlueoradhesiveasneededBrushFolderBoxorotherhousing

Asyoubegintothinkaboutmakingascroll,considerthevariousshapes,widths,lengthsandrangeofmaterials youmight use.You can design it to roll or hang vertically or horizontally, to stand, to beunfurledonasurfaceortoremaininitshousing.Ifyouchoosetocloseyourscroll,youmayattachoneorbothendsaroundacore,rodorbatonforsupport,andyoumayrollitallinonedirectionorrolleachendtowardthecenter.Foranotherproject,Ihadplacedrustingmetalonapieceofmuslin.Idecidedtousealeftoverpiece

thatresembledfadedwriting.

1.Choose a substrate for your scroll that can be rolled.Because the rustedmuslin I chosewasweak, I laid it against a full-sized mirror, coated it heavily with wheat paste and let it dryovernight.Thewheatpaste,likestarchorsizing,gavethefabricbody.Inthiscase,becausethefabricedgeshadbeentorn,itlefttherawedgebutstoppedanypotentialfraying.

2.Considerhowyouwillpresentyourscroll.Abox,thesamelengthasthewidthofmyscroll,hadsome shapes on the cover, left by a torn-off paper label, that looked a bit like islands orcontinents. I decided to enhance them by brushing over the surface with a gold watercolorpigment.Itouchedastiffbrushintocoldwaxmediumthenintothepigmentandlightlyrubbeditontothecrackledsurface.Iusedawovenfabrictrimtowraparoundthescrollandtie,tocovertheinsideedgeoftheboxandtooutlinethe“lands”ontheboxlid.

Longagoandfaraway,2008,19½”(50cm).unknownlength,fabricscrollinwoodenbox3½”×20¼”×2½”(9cm×51cm×6cm)

SCROLLONNONWOVENFABRIC

ThisscrollbeganwithstripsofUV-curedinkthatweresalvagedfromthecleaningofaflatbedprinter,usedprimarilyforsign-making.BonnyLhotkathoughtImightfindtheminteresting,andmailedthesefragilepaintskinstomerolledaroundapapertowelcoreandinterleavedwithpapertowels.

SubstratethatcanberolledCollage,painting,drawingandwritingmaterialsofyourchoiceNailsorstaplegunandheavy-dutystaplesGlueoradhesiveasneededBrushFolderEndrods,ifdesiredBoxorotherhousing

Signs,2008,9”×35”(23cm×89cm)fabricscrollinbox3¾”×12¼”×3¾”(10cm×31cm×10cm)

1.Chooseasubstrate foryourscroll thatcanberolled. Ichoseapieceof texturedspun-bondedpolyester.Ipaintedpearlmetalliconthefrontandblackgessoontheback.Iaddedabrightredribbonandglueditandtheskinstothepolyesterwithgelmedium,rubbinglightlywithafoldertoadherethefragileskinstothesurface.

2.Decidehowyouwillrollyourscroll.TheboxIwantedtousetohousethisscrollwaslongerthanthescrollwaswide,soIdecidedtoadjustthelengthoftworodstomakeupthedifference.Icut twopieces fromabroomhandle, sanded thecutendsandpainted themwith redacrylicpaint.Imeasuredandalignedthemidpointsandstapledthescrolltotherodssothattheywouldrolltowardthecenter.Icoatedtherodswellwithcraftadhesiveandturnedthemuntilthestapleswerehiddeninsidetheroll.

3.Considerhowyouwillpresentyourscroll.Recognizingthatsignagewasprobablythesourceofmycollagematerials,Iaddedthetitle“Signs”tothepasteboardboxwithawhitepencilandastencil.Iunderlinedthetitlewithastripofthesameredribboncollagedontothescroll.Whentherolledscrollisplacedinthebox,witheachrodrolledtowardthecenter,onlytheendsoftherodsandtheblackoutsideofthescrollarevisible.Opened,Signsrevealscolorfulreferencesto

itsformerlife.

PERFECTBINDINGS,DRUMLEAFBINDINGSANDBOARDBOOKS

In this chapter, we’ll explore adhesive bindings that have great potential for your books. The mostcommon adhesive bindings are commercial paperbacks: single sheets of inexpensive paper heldtogetherwithagluethatisnotelasticenoughforthebooktoopeneasilyand,withheavyuse,allowsthepagestofallout.Typicallyreferredtoasperfectbinding,thisoptionissometimesavailableatcopycenters or can be ordered on the Internet in varying qualities.Handmade adhesive-bound books canalleviate someof theseproblemsbymaking structural changes in theprocess andusinghigh-qualitypaperandglue.Ifthebindingismadeusinghotglue,itisreferredtoasathermalbinding.Achild’s board book ismade from images printed on one side of a heavy paper or card stock to

produce a double-page spread. Each spread is adhered to the following spread to create a structuredesignedtotaketheabuseofhandlingbysmallchildren.Asimilarbutmoreelegantstructurecanbemade using flexible pages.We’ll look at a simplified “board” book and at a variation, thedrumleafbinding,atermcoinedbyTimothyElyforthebindinghedeveloped.Inmakingbooks,tapeisoftenagoodalternativetoliquidadhesives.

ClimateChange,2007,24pages,7”×5½”(18cm×14cm)(Seepages122-123.)

PERFECTBINDINGS

If you need a single copyor a small number of commercially produced books or catalogs, there arecompaniesthatletyou“printondemand.”Dependingonthecompany,youeitherusetheirsoftwaretolayoutyourbook,oryoucreateaPDFfile.Mostcompaniesofferlimitedchoicesinthepaper,sheetsize,numberofpagesandbindingmaterial,but ifyouwant toproducemultiplecopiesofabookorcatalogforanexhibitofyourwork,itmaybea“perfect”solution.

Perfect-stylebindings requirenosewingand littleglue.Theyare typicallycomprisedofastackofrelativelyabsorbentsinglesheets,gluedtogetheratthespinewithahotorcoldadhesive.We’lllookattwo possibilities for printing and binding your own materials in a perfect-style, thermal-adhesivebinding,usinghotglue.Thefirstisaninexpensive,commerciallyavailablethermalbindingsystemthatusescoverswithaglue-impregnatedbindingstrip.Thesecondbindingusesaspineyoucanmakewithhot-meltglueanduseonyourowncoverwithanelectricfryingpanastheheatsource.Perfectbindingscanbeasimpleandunobtrusivemeansofholdingtogethercollectionsofpostcards,

photographsorsketches.

Scituate,2008,14postcards,28pages,3½”×5½”(9cm×14cm)Acollectionofvintagepostcardsheldtogetherwithblackgaffer’stape.Cuttoextendjustbeyondthewidthofthespine,theglue-impregnatedtapewasheatedinanelectricfryingpantomelttheglueintothepostcardspine.

HelpfulHints

•Hard,coatedpapersdon’tabsorbgluewell.Tomakethemmoreabsorbent,roughenthespineedgeofthepaperswithsandpaper.Ifyou’rehavingyourbindingdoneatacopycenter,thismightbeahelpfulstep.

•Ifyou’vemadeamistakeorlaterwanttochangepages,youcanputthebookbackintothewarmbinderorelectricfryingpantosoftentheglue,takeouttheoldpagesandputinothers.

•Ifthebottomofyourelectricfryingpanleavesmarksonyourbook’sspine,putapieceofaluminumfoilinthebottomofthepantoprovideacleansurface.

EggMoney,2008,80pages,7½”×4¾”(19cm×12cm)Traditionally,oneofthefewwaysafarmwifehadtomakemoneywascaringforchickensandsellingtheireggs.Asmallaccountbookthatrecordsfifteenyearsofincomeandexpendituresinthe1920sand1930swasplacedwithinasoftcovercreatedwithnonwovenfabric,texturedwithHydrocalandpaintandinkjetprinted.Withahot-meltgluestrip in thespine, thecoverwaswrappedaroundtheaccountbookandheatedinanelectricfryingpatoadherethetwotogether.

CreativeExploration

•Usecoldgluetomakeaperfectbinding.Thistechnique,usingPVA,issometimesreferredtoas“doublefan”gluing.Alignyourpagessothatthespineedgeissquare.Clampthepagesbetweentwoboards,withthespineedgeextendingabout¼”(6mm).PushthepagestoonesideanduseadrybristlebrushandthickPVAtopaintglueabout⅛”(3mm)intothespineedge.Besuretheglueisthickenoughsothatitdoesn’tseepdownbetweenthepages.Pushthepagestotheoppositesideandrepeattheprocess.Squareupthebookblock,rubtheglueintothespinewithyourfingerandwipeoffanyexcess.Strengthenthespinewithmuslinormullifdesired,andletthebookdryovernightunderweightbeforeaddingyourcover.

•Makebooksofphotographsforspecialoccasions.Dependingonthemethodyouchoose,it’srelativelyinexpensiveandfasttocreateperfect-boundbooksforaspecialbirthday,graduationorretirementcelebration.Ifyou’remakinginkjetprintsorcolorcopies,onceyouhavethepageslaidout,printenoughforallthepeopleyouknowwouldwantone,orhavethemprintedandboundbyanonlineservice.

THERMALBINDING

MaterialsDesktopthermalbindingsystem,likePhotoBookCreatorCoverwithspinethethicknessofyournumberofpagesandglueembedded(includedwiththebindingsystem)Singlepages,thedimensionsofthecover,withorwithoutimagesandtextCollage,painting,drawingandwritingmaterialsofyourchoiceScissorsGlueoradhesiveasneeded

Desktopthermalbindingsystems,suchasPhotoBookCreator,holdthepagesuprightinapre-existingcoverwhileyouapplyheatthatmeltsalayerofglueembeddedinthespine.Thegluefusestheedgesoftheloosesheetstothespine.Anintroductorykit typicallyincludesthebindingmachine, twotothreehardcoversandsoftwaretocreatetheappropriate-sizedpagelayoutsforapproximately$100.Althoughyouarelimitedinthetrimsizesofthesebooks,youcanchoosethethicknessofthespineto

accommodatevaryingnumbersofpages,andyoucanusethepaperofyourchoice,includingpagesthathavealreadybeencompletedwithimageandtext.

failedrose,2007,10pages,8¾”×11¼”(22cm×29cm)

1.Completeyourpages.Withpenandgoldacrylicink,IcopiedanEmilyDickinsonpoemaroundtheedgesofinkjet-printedimagesthathadbeenenhancedwithcoloredpencil.

2.Embellishthecover,ifdesired.Here,IusedPhotoshoptoaddthetitleofthebooktooneoftheimages,printeditontothesamepaperasthepages,cuttheexcesspaperawayandgluedittotheblacklinencoverwithgelmedium.Ienhancedthetitlebyaddinggoldleaf.

3.Igluedaribbonaroundthebook,slippingthegluededgesundertheendpapers.4.Tobindthepagesintothecover,beginbypreheatingthebinder.Collateandalignthepagesandplace themtightlyagainst theglue-impregnatedcoverspine.Place thebook,spinedown, intothebinderpermanufacturer’sinstructionsfortheheattomelttheglueembeddedinthespine.Removethebook,turnoffthebinderandletcool.

DIYTHERMALBINDING

Ifyoudon’twanttoinvestinabindingmachine,youcanmakeyourowngluestripswithhotmeltglue,put them in your own covers and use an electric griddle or frying pan as your heat source. Glue-impregnatedspinesheetscanbestoredindefinitely,andyoucancutaspinelengthfromoneasneeded.Crossed uses single sheetswith acrylic paste paintings and collagraphprints.A coverof the same

paperwrapsaroundthespineinasinglesheet.

MaterialsPieceofgauze,mullornylonnetSiliconreleasesheetorTefloncookiesheetHot-meltgluegunandgluePapercovertowrapGluestripRulerPencilFolderScissorsSinglepages,thedimensionsofthecover,withorwithoutimagesandtextCollage,painting,drawingandwritingmaterialsofyourchoiceElectricgriddleorfryingpan

Crossed,2008,38pages,5½”×5½”(13cm×15cm)

1.Tocreateaglue-impregnatedspinesheet,beginbyplacingapieceofgauze,mullornylonnetona siliconsheetorTefloncookie sheet.Drawparallel stripsofhotglueacross thematerial,about½”(13mm)apart,usingagluegun.

2.Measuretheheightofthecovermaterialtobe¼”(6mm)tallerthanthebook—⅛”(3mm)attheheadandthetail.Measurethewidthofthecoverpapertowraparoundtheblockofpages,plusextendabit.Cutor tear thecover tosize,andmark thecenterof thecoverwidth.Center thepageblockonthemarkandmarkthecoverateachsideoftheblock.Scorelinesdownthecoveratthesepointsandfoldsharply.Cutapiecefromthegluesheetthelengthandwidthofyourspine,withtheparallelstripsof

glue running horizontally across the spine. Place the glue strip between the two folded lines.Collateandalignthepagesandplacethemtightlyagainstthegluestripinthecoverspineandclampitalltogether.

3. Preheat an electric frying pan to 350 degrees. Place the spine flat against the bottom of thefryingpanforaboutninetysecondsfortheheattomelttheglueembeddedinthespine.Removethebook(turnoffthefryingpan)andletthebookcool.

DRUMLEAFBINDINGSANDBOARDBOOKS

“Drumming”referstothefabricationofvellumbookswhereadhesivesareusedsparinglytoavoidtheexpansionandcontractionoftheskins.Insteadofgluingtheentiresurface,theskinisattachedtotheboard along an edge.Drumleaf binding uses this sameprinciplewith one-sided double-page spreads(folios).Withthefoldededgesatthespine,thefoliosareplacednexttoeachotherinsuccession,andthe spine isglued together from theoutside.Then thebackof each folio is adhered to the followingfoliowithalineofadhesiveagainstthespineandanotherontheforeedge.Inthisexceptionallystrongbinding,theimagesflowuninterruptedandthebookopensperfectlyflat.

The“board”bookismadeevenmoresimplybyusingtapetoadherethespineandforeedgeofeachfoliotothenextfolioinsuccession.We’lllookatvariationsofthe“board”bookandthedrumleafasoptionsformakingadhesive-bound

books by hand. They are particularly appropriate bindings for displaying a group of paintings orphotographs that extend across a two-page spread, as nothing gets lost in the gutter and no threadsinterrupttheimage.

9/11+5,2006,26pages,5¾”×5½”×2”(15cm×14cm×5cm)On the fifth anniversary of the attack on the World Trade Center, I made 9/11 + 5. Acrylic pastepaintingsandcollagraphprintswereboundintoadrumleafstructurewithunglazedclaycoverspaintedwithredacrylicandaredkangarooleatherspine.Decidingthatthebookneededwords,IscannedthepagesandplacedtextovertheminPhotoshop.Ithenprintedthetextandtransferreditontothebookpageswithgelmedium.

State/Religion,2006,18pages,7”×5”(18cm×13cm)The text in State/Religion refers to the separation of church and state in this country and abroad. It

beganwith acrylic paste paintings and collographprints on two22”x 30” (56cmx76cm) sheets ofArchesblackcover.Thepaintingswerecut to the sizeofacoverofpolymerclayoverwoodwithawoodandmetalcollage.Thepageswerescanned,and imagesand textwerepositionedoverselectedpagesusingPhotoshop.Thecomputerimagesandtextwereprintedontopofthepaintedpagespriortobinding.Thepageswerecompiledandboundusingadrumleafbindingwithagoldhandmadepaperspine.

MoralValues,2006,18pages,6¾”×4½”×½”(17cm×11cm×13mm)MoralValueswasmadewhenIwastryingtounderstandwhysomepeoplefindvaluesdifferentfromtheonestheyholdtobeunacceptableandtrytochangethem,sometimesbyforce.Thisdrumleafhascollograph-printedpagesandsilver-paintedunglazedclaycoverswithasilverleatherspine.

CircleSquareCross,2006,20pages,9½”×5½”(24cm×14cm)CircleSquareCross,anotherdrumleafbinding, isanexplorationof theabstractqualitiesofuniversalsignsandsymbols.Ithasacrylicpastepaintings,acoverofpaperoverboardandabookclothspinewithstuds.

DRUMLEAFBINDING

MaterialsDouble-pagespreads(folios),withorwithoutimages,cuttosizeFolderClamps,springorsimilarStripsofrigidmaterial,metalrulersorwoodpaintstirrersGlueordouble-sticktapeGluebrushOptional:thinpaperwithgoodwetstrengthPaper,waxedPaper,scraporothercleanwastepaperPapertowelWeightChoppingmatorothernonabsorbenthardsurfaceSnap-bladeorcraftknifeCuttingmat90˚triangleSandingblock,finePaintingordrawingmaterialforcoloringedges,ifdesired

Thisvariationofdrumleafbindingusestheimagesthatwerepaintedandprintedonpages28and29toproduceabookmadeentirelyofdouble-pagespreads.Isequencedmyspreadsandnumberedthemonthebackinthebottomright-handcornerforassembling.Astripalongthetopandbottomedgesofthespreadswaspaintedonthebacksothatnowhitepaperwouldbeseenwhenthebookisopen.

1.Fold the foliosandpresseachspinewitha folder.Stack the foliosandsmack the spineedge

sharplyagainstthetablesothatitisperfectlysquare.Putclampsonthetopandbottomedgesandcoat the spinewithglue.Useabrush toget slightlybetween the folded spineedges, andthenrubtheglueintothespinewithyourfingertoensurethatyouhaveasmooth,evencoating.

2.Putastripofrigidmaterial,suchasametalrulerorwoodpaintstirrer,oneachsideofthespinetodistributethepressureandkeeptheclampsfromindentingthepages.Holdthespinetogetherwithseveralevenlyspacedsmallclampsuntildry.

3.Givethespineadditionalstrengthbyusinggluetoadherealayerofthinpaperthathasgoodwetstrength,likeKitakataorTyvek.

4.Placeapieceofscrappaperundertheseconddouble-pagespreadandopenthepagebetweenthefirstandsecondimage.Painta1”(3cm)stripofgluealongthelengthofthespineandasecond1” (3cm) strip along the fore edge. Press the edges together and burnish both spine and foreedgeswithafolder.Wipewithpapertowelifnecessary.Throwawaythewastepaperandgetacleansheetforthenextpage.Repeatuntilallpagesaregluedatthespineandforeedges.Putasheetofwaxedpaperbetweeneachdouble-pagespreadandpressunderachoppingmatandheavy,evenweightovernightoruntildry.

5.Placea90ºtriangleparallelwiththespineandagainsttheedgetobetrimmed.Clampthebookand triangle to theedgeofa tablewithacuttingmatunderneath.Cut through thepageswithmultiplelightstrokesofasnap-bladeknife,cuttingawayapageortwoatatimeandextendingthebladeasnecessarytoreachtothebottomofthestack.Youcanchoosetotrimone,twoorallofyouredges.Inthiscase,Itrimmedonlythetopedge.

6. Rub over the edge lightlywith a fine sandpaper block to remove any irregularities or roughspots.Tonetheedgeswithartmaterialsifneeded.Youcanusepastels,graphite,acrylicpaint,goldleaforotherappropriatematerial.

7. Soften or blend drymaterials. To tone the white edges, I rubbed oil crayons into the papersurfacewithablendingstump.Thebookblockisnowreadyforacover,whichwewillapplyonpages122-123.

TAPE-BINDINGBOARDBOOK

MaterialsDouble-pagespreads(folios),withorwithoutimages,cuttosizeFolderTape,Scotch969orsimilardouble-facedtapeScissorsPapercovertowrapRulerorcalipersPencil

Becauseyouarestartingwith folios thatonlyhave imageryprintedononeside,you’llbe taping theblankbacksidesofthefoliopagestogether.Usingtapeisfastandrequireslittlematerial,sothisisagreatmethodtousewhiletravelingorwheninahurry.ThecoastalareasouthofBostonwhereIliveisknownasthe“SouthShore.”Thissmallbookfocuses

onthenaturalbeautyofthisarea.

SouthShore,2008,12pages,7½”×8”(19cm×20cm)

1.Foldthefoliosandpressthespineswithafolder.Placeastripoftapealongthespineedgeandanotheralongtheforeedgeoftheblankbacksideofyourfirstfolio.

2.Remove the protective carrier paper from the tape to expose the adhesive on the spine edge.Alignthespineedgeofthefirstfoliowiththespineedgeofthesecondfolioandpressthetwotogether.Removetheprotectivecarrierpaperontheforeedgeandpressittotheforeedgeoftheadjacentfolio.Continueaddingtapeuntilallthepagesarejoinedatthespineedgeandtheforeedge.

3.Finishthebookwithapapercover.Measuretheheightofthecoverpapertobe¼”(6mm)tallerthanthebook—anextensionof⅛”(3mm)attheheadandtail.Measurethewidthofthecoverpapertobethewidthofthefrontplusthebackofthebook,plusthewidthofthespine,plus¼”(6mm)—anextensionof⅛”(3mm)atthespineedgeandtheforeedge.

Cutortearthecovertosize.Markthecenterofthecoverwidth.Centerthespineonthemarkand

score along each side of the spine. Hold a ruler against one of the scored lines and fold the coversharply.Dothesameagainsttheotherscoredlinetocreateanindentation.Openthecoverandplacethebookblockagainstthebackinsidecoveralignedwiththeindentation.

Placetapeadjacenttothespineedgeofthefrontpageoftheblock.Placetapeadjacenttotheforeedgeofthefrontpageoftheblock.Removebothpiecesofcarrierpaperandclosethecoveragainstthetape.Repeattheprocesstojoin

thebookblocktothebackcover.

HelpfulHints

•Variousartmaterialscanbeusedtocolorrawedges.Pastelscanbeblendedwithapapertoweldampenedwithalcohol.Ifyouuseacrylicpaint,workwithaverydrybrushtocontroltheamountofmoisturebeingintroducedsothatitdoesn’tmigrateontoyourimagesorcausethepapertowrinkle.

•Ifyoudon’thavea90ºtriangle,useacarpenter’ssquare.

•Makeasandingblockbywrappingapieceoffinesandpaperaroundasmallrectangleofwood.

•Ifyouknowyouaregoingtotrimedgesaftergluing,considerwhatyoumaybecuttingawayandplanyourmargins,textandimageplacementtoaccommodatetheloss.

•A3MATGgunforapplyingtapewillmaketheprocessfasterandneater.•Itissometimesdifficulttoalignpageswhengluingthespinefirst.Youcanaddglueandstiffeningtothespineafteryourpagesaregluedtogether,or,ifyoufeelitisunnecessary,youcanomitthatstepaltogether,aswiththe“board”book.

•Anotherwaytomeasurethespineformakinglinesforscoringisbyusingcalipersorapieceofpaper.

•Insteadofafolder,useamicrospatulaortableknifetomakeasharperscoredlineforfolding.

CreativeExplorations

•Searchthroughyourrejectedpaintingsandprints,findoneyoucanseehavingasecondlife,cutitintodouble-pagespreadsandusethemasbackgroundsforthepagesinyouradhesivebindings.Useadditionalartmaterials—collage,painting,drawing,printmaking,digitaltransfersorinkjetprints—toaddimagesandwordsthatwillcompleteyourconcept.

Pagefromfailedrose.(SeeDemonstrationonpage82.)

SIDE-SEWN,SINGLE-SIGNATUREANDMULTIPLE-SIGNATUREBOOKS

Books may be sewn with almost any material that can be threaded through a hole and tied. Aheavyweight linen thread thatwon’t break easily is themost common choice, but cord, twine, yarn,stripsofleatherandribbonareamongthemanyotherpossibilities.Thecolorofthesewingmaterials,whatissewnandhowitissewncanalsocoverawiderangeofoptionsandmaybecomeanintegralpartof thestructure.Because thischapter relates tosewing,somegeneral informationonsewing tipsandknotsarepresentedhere.Side-sewnbindingissometimesreferredtoasalbumorstabbinding.Ithasasomewhatinformalfeel

thatIfindreminiscentofoldphotoalbumsandautographbooks.Aswellasbeingsewnalongtheside,thisbindingcanbe sewnacross the topandcanalso includeother typesof fasteners.The side-sewnbookhasgreatpotential.Don’tunderestimateitbecauseit’ssoeasy.Youcanexpendyourenergyonthecreativeaspectsinsteadofthestructure.Whatwewillrefertoasasignature,whetherabookhasoneorseveral,isusuallyboundbysewing

throughholespiercedinthespinefold.Instructionsformakingapiercingcradleareincluded,andthereareinstructionsformakingtemplatesforpiercingholesinsignaturesandspines.

PagesfromSolarCross,2007,28pages13¾”×13¼”(35cm×34cm)Incorporatingiconicimagesofthecrossedcircle,SolarCrosswassewnwithafive-holepamphletstitchusingblacklinenthread.Itwascreatedon90lb.(190gsm)printmakingpaper,tornacrossthegrainintothreefoliospersheetwithaddedpastepaintingsonMylar.Thecover,aninkjetprintontoacollageof

nonporousmaterialsonaluminumwithapatinaedsilvertapespine,isshownonpage119.

SEWNBOOKS

Sewnbindingsbeginwithholes thathavebeenpre-piercedwithanawl,preferablyanawl thathasashaftconsistentindiametersothattheholesareallthesamesize.Pre-piercedholesareanecessity,astheyensurethatthepageswillbewellalignedandhelptoavoidsplittingortearingduringthesewingprocess.NeedlesBecauseholesarepre-pierced,mostbindersusebluntneedles.Youcanbuybluntneedles,orbluntthepointsonsharpneedlesbyrubbingthemacrossfinesandpaper.Ifyoupreferasharpneedle,useasharpneedle.When choosing a needle, select an eye as small as will allow your thread to pass through. A

bookbinder’s#18isagoodgeneral-purposeneedlethatcanbepurchasedbluntorsharp.Thepiercedholes—sometimescalledsewingstations—shouldbeequal to,orslightlysmaller than,

thediameteroftheneedle,sothatthethreadisheldassnuglyaspossible.Todeterminethelengthofthreadyouwillneed,allowonelengthofthread,equaltothespinelength,

foreachsignatureandacoupleofextralengthsforsewing.It’sbettertohaveyourthreadtoolongthantocomeupshortandneedtoaddadditionalthread.ThreadThreadismadeupofmultiplestrandstwistedtogether.Ifyoucanbreakthethreadbyholdingapieceateachendandpullingsharply,it’snotstrongenoughforsewingabook.Puttheendthatcomesoffthespoolfirstthroughtheeyeofyourneedle,thenpullandcuttheamountofthreadyouwanttouseandtieaknot.Thiswillkeepthestrandsgoinginthesamedirectionthattheyaretwistedonthespoolandhelpyouavoidtangles.Toreducetanglingandhelpstitchesandknotshold,dragyourthreadquickly,severaltimes,acrossa

blockofbeeswax.

Needlesplittingthreadfibers

ThreadlockedwithoutknotTokeepyourthreadfromslippingoutofyourneedle,passthethreadedneedlethroughtheshortend

of the thread, splitting the fibers. Pull it tight. Itwill hold the thread in placewithout a knot. (Thisshouldbetheonlytimeyousplityourthread.Whensewingthroughaholeasecondtime,becarefulnottosplit,andweaken,yourfirstthread.)KnotsYoucanuseanyknotthatholdswhenmakingbooks,buttherearethreethatworkespeciallywellandareworthknowing:theweaver’sknot,theoverhandknotandthesquareknot.They’rerelativelysimple,butifyou’veevertriedtoexplaininwordshowtotieapairofshoes,youknowthatit’smucheasiertodothantodescribe.Asyoureadthefollowingdescriptions,practicemakingtheknotwithtwodifferentcolorsoffatcordoryarnsothatyoucanseewhat’shappening.Togiveextraholdingpowertoaknot,putasmallamountofPVAorgelmediumonatoothpickandrubitintotheknot.Weaver’sKnotAweaver’sknotisusedtoaddtoapieceofthreadthatcontinuesinthesamedirectionastheoriginal,sothatyoucancontinuesewing.Besurethatitwillbeinaninconspicuousplace,usuallyintheinsideofasignature.Beginbymakinga loopwith thethreadyouwant toadd(in the illustration, theblackthread).Makeasecondloop,andpullit throughthefirst loop.Puttheendofyourold(white)threadthrough thesecond loop.Pullbothendsof thenew(black) threaduntil theyare snugaround theold(white)thread,thentightentheknotbypullingthethreadbeingaddedinthedirectionawayfromthetoo-short thread.Pull tightlyuntil the threadssnap inplace. If the threadsdon’t snap, theknotwon’thold.Ifyouhaveproblemswiththeweaver’sknot,usethesquareknotinstead.OverhandKnotTheoverhandknotisthefirsthalfofasquareknot.Itisusedtotieoffasinglethreadwhenfinishingsewing.Withtwocolorsofthread,youcaneasilyseewhatgoesoverandwhatgoesunder.Makealoopwiththethread,thenbringthelooseendthroughtheloopandpulltotighten.Ifyouthinkyouwillneedmoreholdingpower,makeasecondknotascloseaspossible to thefirst.Whentheoverhandknot istiedaroundastitch,andbothendsarepulledinthesamedirection,itmaybereferredtoasahalf-hitch.SquareKnotTo tie two threads together, use a square knot.Youmay have heard it described as “right over left,under; left over right, under and through.” Take the right-hand thread (in the illustration, the blackthread)andpassitovertheleft-handthreadandtotheback,or“under.”Youwillhavecreatedthetophalfof the illustration.Thencontinuewith thesame(black) thread—nowonthe left—goingover theright(white)threadandunder,throughtheloopnowbeingcreatedtoformtheknot.Theendofeachthreadwillgooppositetotheother.

Weaver’sknot

Overhandknot

Squareknot

SIDE-SEWNBOOKS

Purchasedside-sewnbookscomeinmanyvariations.Photoalbums,oftenwithbeautifulpaper,maybetiedwith cord or ribbon or have screwposts, sometimes covered by a folding flap.Other side-sewnbooksmay have spiral bindings, or be sewnwith decorative stitching patterns.Whilemost have thesignaturesexposed,side-sewnbooksmayalsohavecoversthatwrapthespine,andsomehavestitchingthatextendsovertheedgesoftheheadandtail.Evenmorevariationsarepossiblewhenyoucreateyourownbooks.Theymaybemadeupofsingle

sheets,sheetsfoldedat thespineor theforeedge,orconcertinafoldsheldtogethersotheynolongeropenintotheirfulllength.Asianside-sewnbookstypicallyuseverylightweightpaperfoldedattheforeedgewiththecutedgesatthespine.Thefoldedpagesandtwosoftcoversarestitchedtogether,oftenwithcomplexsewingpatterns,throughholespunchedabout¼”(6mm)fromthespine.

Inaddition tobeingheld togetherwithbraid, leather thong, ribbon,yarn, raffiaorother interestingsewingmaterialinarangeoftexturesandcolors,split-pins,brassfastenersthathavetwolegs,canbeinsertedintopunchedholesandopenedtoholdthesheetstogether.Anotherholdingdeviceisthescrewpost,a threaded lengthofmetal—typically¼”(6mm) indiameter—withdecorativenutsateachend.They are available in different lengths and sometimeswith extensions to accommodate even thickerblocks.An especially useful tool formaking large holes inmat board, leather or other surfaces is ascrewpunch.Ithasashaftthatrotatesasyoupressdown,cuttingacleanholeanywhereonyoursheet.Mostpunchescomewithmultiplebitsformakingholesinseveralsizes.Theymakeaniceadditiontoyourtoolbox.Generallyspeaking,side-sewnbooksdon’ttendtolieflatandhavetobeheldopenwhileinuse.A

linescoredalongthespinecreatesafoldthatmayhelptolessenthestrainonthepagesattheholesandhelp the pages lie flatter.A two-piece cover, hingedon the front or onboth the front andback,willprovideevengreaterflexibility.

Biology,2003,28pages,8¾”×6”(22cm×15cm)Biologyutilizesalteredpagesfromasixth-gradebiologytextbook.Althoughthestitchingoverthespineedgesisvisible,thestitchingbetweenthethreeholesiscoveredbyaleatherstrip.Thebookclothoverbinder’s board cover has a two-piece hinged front. Polymer clay, ametal heart, leather, ribbons andmilagrosembellishthecover.

timeXposure,1999,21pages,8”×9”(20cm×23cm)A small catalog of inkjet prints of work from the series of the same name, timeXposure has singlesheets,side-sewnthrough threeholes, ina two-piececoverhingedat thefrontandback.Watchpartsweregluedintoarustedmetalcircleattachedtothebookcloth-coveredboardandalsohungfromblackcordstitching,whichgoesaroundapieceofheavyrope.Thatsamerope isused tomakea loop thatgoesoverthecentercircletoholdthebookclosed.

AYearReviewed,1999,88pages,7”×7½”(18cm×19cm)Eighthoursonthetrain,goingfromBostontoNewYorkandreturning,wasanopportunityformetoconsiderwhat had happenedduring the previous twelvemonths.More of a personal journal than anartist book, it incorporated small images ofwork I had completed andmusings onwhat I hoped toaccomplish in the coming year. Some pages were removed, others were added and the two-piece,hingedcoverofthispurchasedbookwasembellishedwithfoundmetal.

SIDE-SEWNALBUM,REBOUND

MaterialsSinglepages,withorwithoutimagesandtextPaperforcoverRulerorcalipersTemplateforpunchingholesClampsorpaperclipsCuttingmatScrewpunchorpaperdrillNeedlewithaneyelargeenoughtoaccommodateyoursewingmaterial,oradentalflossthreaderMaterialfortyingbooktogetherScissors

From1914to1918,WorldWarI,“TheGreatWar,”wasfoughtbetweentheAlliedPowersofFrance,theUnitedKingdom,Russia,ItalyandtheUnitedStatesandtheCentralPowersofGermany,Austria-Hungary, the Ottoman Empire and Bulgaria. The Western Front utilized a system of trenches andfortificationsthatstretchedmorethan475miles.Forthefirsttime,planeswereusedinwarfare.Inasecondhandbookstore,Iboughtaphotographalbumcontainingsnapshotsasoldiertookduring

thisconflict.Becausethephotographsweresobadlyfaded,Iscannedallthepagesathighresolution,selected someof the images, croppeddetails to the sizeof the albumandadded text from thepoem“Back”byWilfredGibson.The imagesand textwereprintedonsheervellumpaperonacolor laserprinter and interleaved between the albumpages. I chose vellumboth because of its ghost-like, see-throughqualityandbecausethecoverIwasreusingwouldtakeverylittleadditionalthickness.Theone-piececoverwrapsaroundthefrontandbackandisscoredforthethicknessofthespineand

the bends in the pages. I transferred one of the images to the coverwith alcohol gel.The followingillustrationsshowpagesbeforeandafterrebinding.

BackfromtheWar,2008,23pages,6½“×9½”(16cm×24cm)

1.Cutasheetofpaperthelengthofthespine,oruseanextrabookpageforthetemplate.Foldthepaperinhalfcrosswisetomarkthepositionwherethemiddleholeforsewingwillbepunched.Markapproximately1”(3cm)fromthetopand1”(3cm),orslightlymore,fromthebottomforthreeholes.Alignthepages,placethetemplateatleast¼”(6mm)fromthespineedge,clamporclipthemtogetherandplaceonacuttingmat.Holdascrewpunchorpaperdrillatrightanglestothesurfaceandpunchholes,goingstraight

throughthetemplateandpages.SinceIreboundanexistingalbum,mycoverwaspre-punchedwiththreeholes,andIusedoneof thealbumpagesasatemplatetopunchthroughtheaddedsheer vellum interleaving pages. The vellum paper is a much lighter weight than the albumpagesandhasatendencytoslip,soclippingthemtogetherisanecessity.

2.Cut twopiecesofpaper thesamesizeas thebookorslightly larger,onefor thefrontandtheotherforthebackcover.Orcutaone-piececoverlongenoughtowraparoundthespine.Useapunchedpageasa template tomark theholes’placementon thecover,andpunchordrill theholes.Placethepagesinsidethecoverandaligntheholes.Chooseamaterialwithwhichtosewand

choose a stitching pattern. Sew the book together and tie the ends of the sewing material.Althoughitwasoriginallytiedwithpinkribbon,Ichoseablackbraid,almostthesamediameterastheholes,thatseemedmoreinkeepingwiththesubjectmatterandthecolorofthecoverandimages.Thebraidwastoothickformyneedlesandalmostimpossibletogetthroughtheholeswithoutaneedlebecause it isheavyand floppy.Topull thebraid through theholes, Iusedadentalflossthreaderasaneedlesubstitute.ThisneattoolwasdiscoveredbyCherrylMoote,anditsuseisdescribedinBooksWithGirth.AlthoughImighthavechosentodoastitchingpatternaroundthespineandtheheadandtail

edges,inkeepingwiththecharacterofthisalbum,Iseweditwithasimplethree-holepamphletstitch (which isdescribed indetailonpages105-106).Thecordendsare tied togetheron thecoverwithasquareknot.

TWO-PIECEHINGEDCOVER

MaterialsSinglepages,withorwithoutimagesandtextBoardsforcoverRulerorcalipersPencilTemplateforpunchingholesScrewpunch,paperdrillorotherdrillforboardSnap-bladeorcraftknifeCuttingmatHingematerial,paperorfabricforcoveringFolderGlueoradhesiveasneededBrushGlueClampsorpaperclipsNeedlewithaneyelargeenoughtoaccommodateyoursewingmaterialThread,cordorothermaterialfortyingbooktogetherScissors

Iwantedabooktocarryonadrawingexpedition,soIgatheredavarietyofsinglesheetsofhandmadepapers,andSketchbookwastheresult.Whileitdoesn’tlieperfectlyflat,thehingesinthefrontandbackcoversgiveitflexibilityandmakeitreasonablygoodtoworkin.And,becausethestitchingisrelativelyeasytotakeoutandre-stitch,Icanaddorremovepagesasneeded.

Sketchbook,2008,28pages,8”×9”(20cm×23cm)

1.Cutasheetofpaperthelengthofthespine,oruseanextrabookpageforthetemplate.Foldthepaperinhalfcrosswisetomarkthepositionwherethemiddleholeforsewingwillbepunched.Markapproximately1”(3cm)fromthetopand1”(3cm),orslightlymore,fromthebottomforthreeholes.Addtwoadditionalholes,foratotaloffive,byfoldingfromeachoftheoutermarkstothemiddlemarkandaddingnewmarksatthefolds.Alignthepages,placethetemplateatleast¼”(6mm)fromthespineedge,clamporclipthem

together and place on a cuttingmat.Hold a screwpunch or paper drill at right angles to thesurfaceandpunchholes,goingstraightthroughthetemplateandpages.Usingascrewpunch,IpunchedfiveholeswiththelargestsizepunchIhavetoaccommodate

aheavywaxedcord.2.Cuttwopiecesofboard½”(13mm)tallerand¼”(6mm)widerthanthesizeofyourpages.Cut1”(3cm)offthewidthofthefrontcoverboardtomakeahinge.Cutapieceofstrongpaperorfabricforthehingematerial,andplacethehingematerialfacedown.Brushglueover theentirebackof thehingematerial.Place the1”(3cm)widehingeboard

with the outside edge in the center of thematerial.Create the hingegapbyplacing the frontcover board facedown on the glued surfacewith the distance of the board thickness betweenthem.

3.Turninthetopandbottommarginsofthehingematerialandpresswithafolder.Makeagoodcreaseintothehingematerialatthehingegap.

4.Addgluetotheremainderofthematerialandwrapittotheinsidefrontcover.Pressandcreasethematerialwell into thehingegapwitha folder. If thebackcover isalsohinged, repeat theprocess.Useapageasatemplatetomarktheholesinthecoversandpunchordrillholes.Alignthepagesandcoverandholdthemtogetherwithclampsorclips.Begin sewing in themiddlehole.Leave a3” (8cm) tail andpass the thread through to the

secondholefromthehead.Goaroundthespine,comingback throughthesecondhole,beingcarefulnottosplitthethread.Movetothemiddleholeandpassthethreadthroughtotheotherside.Goaroundthespine,comingbackthroughthemiddlehole.

5.Continuesewingin,outandarounduntilyoureachthetail.Sewaroundthetailofthebookandback through the outermost hole. Stitch in and out through the holes, back to the head. Sewaroundtheheadofthebook,aroundthespineandbackthroughthemiddleofyoursignaturestotheplaceyoubegansewing.Tieyourtwothreadstogetherwithasquareknotandtrimtheendsofthethreads.

SCOREDCOVER

MaterialsSinglepages,withorwithoutimagesandtextBackandfrontcoversofpaperthesizeofyoursheets,or¼”(6mm)tallerandwiderRulerorcalipersPencilTemplateforpunchingholesClampsorpaperclipsCuttingmatAwl,screwpunch,paperdrillorotherdrillNeedlewithaneyelargeenoughtoaccommodateyoursewingmaterialThread,cordorothermaterialfortyingbooktogetherScissorsFolder,microspatulaortableknife

WillcombinesahandwrittenlastwillandtestamentwithinterleavedprintsofninephotographstakenbyViola Käumlen of the Capuchin Catacombs in Palermo, Sicily. The author of this handwritten willleavestohiswifea“rightofdower”and“duringherlife”theuseofasumofmoney“heldintrust.”

Will,2008,18pages,12”×7”(31cm×20cm)

1.Foratemplate,eithercutasheetofpaperthelengthofthespineoruseanextrabookpage.Foldthe paper in half crosswise to mark the position where the middle hole for sewing will bepunched.Markadditionalholesfromtheleftandrightedgesabout1”(3cm)apart,asdesired.Alignthepages,placethetemplateatleast¼”(6mm)fromthespineedge,clamporclipthem

togetherandplaceonacuttingmat.Holdanawlorpaperdrillatrightanglestothesurfaceandpunchholes,goingstraightthroughthetemplateandallofthepages.

2.Beginninginthemiddlefront,andleavinga3”(8cm)tail,sewinandoutoftheholesfromthecenter to theouter edge.Goaround the edgeand sew in andout comingback to themiddle.Continue sewing in,out andaround theoppositeedge, and returning to themiddle.Slipyourneedleunderthefirststitchandtietheendstogetherwithasquareknot.

3.Placearulerapproximatelythesamedistancebelowtheholesasthedistanceaboveandscoreagainsttheruler.Openthecoverandpresswithafolderagainsttheruleredge.Foldeachpageagainsttheopencoverandpresswithafoldertocreaselightly.

SINGLE-SIGNATUREBOOKS

Theformofsewnbookmostcommontousisthecodex.Theearliestcodexwasasinglegatheringofpapyruspagesfoldedonewithintheother,astructureoftenreferredtoasaquire.Itwasprobablyheldtogether with one or two tackets—single stitchesmadewith a thin strip of leather. Today, themostcommonsingle-signaturestructuresarereferredtoaspamphletsorbooklets,but these termsdon’tdojustice to their potential.The following three examples illustrate someof the variety that is possiblewithfoldedsheetsorfolios,gatheredintoasinglesectionorsignatureandsewnthroughtheirfolds.In sewing a single signature, the paper is cut to its final size, folded in half along the spine and

pressed with a folder. Each folded sheet is collated with other folios, one inside the other, into asignatureof adesignatednumberofpages.SequencingFolioPagesonpage104provides additionalinformation.

NagHammadi,2006,72pages,5”×3½”(13cm×9cm)TwosingleknotswereusedtosewNagHammadi,a¼scalevariationofafourth-centurysinglequirecodex.Anawlwasusedtopunchtwoholesforeachknotortacketthroughthecover,theseventy-twopages(eighteenfolios)ofmudpapyrusandastay,asmall,soft,blackleatherreinforcementplacedinthe center of the quire to help keep the thong from damaging the brittle pages. A large needlewasthreadedwithaleatherthongand,leavingataillongenoughtotieattheend,thethongwasdrawnfromtheoutsidetothecenter.Theneedlewasthenmovedabout½”(13mm)totheleft,andtheleatherthongwas taken back to the outside of the bookwhere the two endswere tied together and trimmed.Thesecondtacketwassewninthesameway.

lawandcustom,2004,6pages,8¾”×11”(22cm×28cm)closed,8¾”×22”(22cm×26cm)openAknot,astitchandanotherknotsewedthesinglefoliosintolawandcustom,abi-foldbookwithfabricinterior. Beginning inside the folded sheet, near the bottom, the black waxed thread, tied with anoverhandknot,waspassedthroughtotheoutsideoftheblackcoverandthenbackthroughtotheinsidetoo,whereitwastiedoffwithanotheroverhandknot,cutandsecuredwithadropofPVA.Twoknotsappear inside the folio,while one long black stitch is against the black cover.The second foliowassewninthesameway.Thetwosheetsof laser-printedtextrelatetothediscrepancybetweenlawandcustominIndia,withfactsrelatedto theDowryProhibitionAct(relatedtobrideburning)onthe leftside,and theSuppressionof ImmoralTraffic inWomenandGirlsAct (related toprostitution)on theright.

MAKINGAPIERCINGCRADLE

MaterialsScrappiecesofsturdyboard,bindersorwoodRulerPencilKnife,heavyutilityCuttingboardDucttape,ifdesired

Apiercingcradle isauseful tool tohelpyoualignyourholesdirectlyalong the fold lineandpiercetheminthesameplaceineachofyoursignatures.Thisexample,designedtocomeapartsothatitcanbeeasilytransportedandstored,canbemadefromthreescrapsofsturdyboard.Thiscradlewasmade10”(25cm)longby6½”(17cm)wide,withtwolegs4½”(11cm)wideby2¾”(7cm)tall.

1.Cutapieceofsturdyboardforthecradle.Itshouldbelongenoughfortheheightofyourbooksanddeepenoughtosupporttheopensignatures.Cuttwopiecesofsturdyboardforthesupportpieces (legs).Thewidth shouldbe2” (5cm) less than thewidthof the cradle, and theheightshouldbeabout3”(8cm)formostbooks.With a knife, carefully score down the center length of the cradle board, front and back,

withoutpenetrating through theboard.Place thecradle facedown,measure1” (3cm) fromtheend,centeryourlegboardanddrawalinearoundthethicknessoftheboard.Cutinsidethelineswithautilityknifetocreateaslotslightlysmallerthanthethicknessofthelegboard.Repeatattheoppositeendofthecradlefortheremainingleg.

2.Bend thecradle intoaVshape, andplace the legs inside the slots.Placeduct tapealong thelengthofthefoldonthebottomifreinforcingseemsnecessary.

CREATINGSIGNATUREANDSPINETEMPLATES

The first templatehere is a guide for the accurateplacementof a single columnofholes for sewingsignatures. Itcanhaveanynumberofholes,anydistanceapart.Thesecond is foraccuratelyplacingmultiplecolumnsofholeswhensewingsignaturesintothespinesofcovers.Modifyeachexampletofityourownneeds.

MaterialsSignaturesPaperfortemplateRulerPencilAwlSignaturesPiercingcradle

SpinesPaperfortemplateClipsFoamcoreormatboardRulerPencilAwl90°triangleCovermaterial

1.Cutasheetofpaperthelengthofthespine,oruseanextrabookpage.Foldthepaperinhalfcrosswisetomarkthepositionwherethemiddleholeforsewingwillbepiercedorpunched.

2.Markapproximately1”(3cm)fromthetopand1”(3cm),orslightlymore,fromthebottomforthreeholes.Addadditionalholesbymeasuringorbyfoldingfromeachoftheoutermarkstothemiddlemarkandmakingnewmarksatthefolds.

3.Fold the template lengthwise toalign themarkswith the foldof thecradle.Place theopenedsignaturetobepiercedsnuglyagainstoneendofthecradle.Placethetemplateintothecenterofthesignature,beingsurethatthespinesarealignedandstraightinthecradle.

4.Holdanawlat rightangles to thefoldandpierceholeswhere therearemarks,goingstraightthroughthetemplateandallpagesofthesignature.

5.PutanarroworXintheupperright-handcorneronthetemplateandoneachsignaturetokeeptheorientationconsistentwhensewing.

1.Determine thewidth of the spine template by pressing together themultiple signatures to beboundandmeasuringthecompactedwidththattheycreate.Releasethesignaturesandmeasurethe releasedwidth of the spine. Thewidth of the templatewill be halfway between the twomeasurements.Forexample,ifthewidthcompactedis½”(13mm)andthewidthreleasedis1”(3cm),thespinetemplateshouldbe¾”(19mm).

2.Onastripofpaper thesameheightas thespine,measureandmark thewidthof thespineasdeterminedinStep1.Todeterminethespacingbetweenthesignatures,dividethewidthofthespinebythenumberofsignaturesinthebook.Drawparallellinestoindicatewheretheholesfor

thesignatureswillbeplaced.3.Positionthetemplateusedforpiercingthesignaturesalongthefirst lineandmarkthesewingholes.Repeattheprocessforeachsignature.Arulerand90°trianglecanbeusedasguidesforalignment.Forexample,ifyouhavefivesignaturesandaspinewidthof¾”(19mm),youwillhavefiveparallellines.15”(4mm)apart(.75/5).Eachlinewillhavethenumberandplacementofsewingholesinyoursignatures.

4.Clipthetemplatetothespineorcovermaterial.Placethetemplateandmaterialonascrapoffoam core ormat board as support.Using an awl, pierce the holes through the template andmaterialintothesupport.Arulerand90°trianglecanbeusedasguidesforpiercingstraightupanddown.

5.PutanarroworXin theupperright-handcorneron the template tomatch thesignaturesandkeeptheorientationconsistentwhensewing.

SEQUENCINGFOLIOPAGESWhenyouarecollatingfoliosintosignatures,youneedtobeawareofthesequenceofpages.Inthisexample,therearefourfolios,foratotalofsixteenpages,includingthefrontandbackcovers.Thefrontandbackcoversarepages1and16.Insidethecoverispage2andoppositeit,onthesamesheet,ispage15ontheinsideofthebackcover.Makingamock-upishelpfulinseeinghowthefolioswillbeassembled.Inprinting,theprocessofarrangingpagespriortoprintingisreferredtoasimposition.(See

pages64-65forprintingonasinglesheet.)Somepagelayoutprogramscanrearrangeyoursinglepagesforvariousprintingoptions.Forexample,“PrintBooklet”isoneofthe“print”choicesinthesoftwareprogramInDesign.Youcansequencevariousnumbersofpagestomakesignaturesofdifferentsizes.IfyouarelayingoutyourpagesinthecomputerforprintinginanimagingprogramlikePhotoshop,youcanplaceimagessidebyside,asshownonpage110.Ifyouareworkingwithaligningpagesthatarecollagedorpainted,youmayhavetoadd

elementstotiethepagestogether.

Fourfolios(16pages),sequenced

PAMPHLETANDBUTTERFLYSTITCHTwosimplestitchesareusedforsewingsinglesignatures:thepamphletstitchandthebutterflystitch.Thepamphletstitchbeginsinthecenter,leavingatailandpassingthroughtotheotherside.Ina

three-holeversion,itthengoestooneoftheouterholesandpassesthroughtothesidewherethestitchingbegan.Skippingthemiddlehole,itgoestotheoppositeholeatthefarend,passesthroughthatholeandreturnstothecenter,goingbacktothesidewherethebeginningtailwasleft.Thetwoendsaretiedtogetheracrossthemiddlelongstitchwithasquareknot.Thelongstitchskippingthemiddleholeischaracteristicofthepamphletstitch.

Thebutterflystitchisaslightvariation.Insteadofcarryingthethreadfromthetopholetothebottomhole,yousewbackthroughthecenterhole,beingcarefulnottosplitthethread.Gothroughthebottomhole,makeafigure8,andreturntothecenter.Passyourthreadunderthefirststitch,andtietheendstogether.Theillustrationshowsboththepamphletandbutterflystitchesbeforetheyhavebeenpulledtauntandtiedwithasquareknot.

THREE-HOLEPAMPHLETANDFIVE-HOLEBUTTERFLYSTITCH

Shadow Words is made with a three-hole pamphlet stitch. It uses pages of various textures andthicknesses made with gelatin printmaking techniques, collaged lace paper and a handmade rubberstamp.The text is addedwith inkjet alcohol gel transfers. It has ten folios and a cover of embossedpaperslightlylargerthanthepages,designedtowrapwitha1¼”(3cm)overlapontheforeedge.Numbers ismadewith a five-hole butterfly stitch. It is a slight book, a single signature of seven

folios,utilizingsheerhandmadepaperwithstencilednumbersmadeusinghandmadebrassstencilsandmetalstamps.Both thepamphletandbutterfly stitchbegin in themiddleholeof thecover, sewing inandoutof

each hole in succession. Unlike the three-hole butterfly stitch described previously, the five-holebutterflystitchmakesafigure8abovethemiddleholeandanotherfigure8belowthemiddlehole.Bothofthestitchesusethesamesetofmaterials.Thedifferencesinthetwostitchpatternsarenotedonthefollowingpages.

MaterialsFolios,withorwithoutimagesandtextPapercover,ifdesiredFolderRulerPencilPiercingcradleTemplateforpiercingholesinsignaturesAwlClampsorpaperclipsNeedlewithaneyelargeenoughtoaccommodateyourthreadThread,preferablyheavylinenScissorsClosure,ifdesired

ShadowWords,2008,40pages7¼”×5¼”(18cm×13cm)

Numbers,2008,28pages7¾”×5½”(20cm×14cm)THREE-HOLEPAMPHLETSTITCH

1.Cut folios to their finalsize, foldeach inhalfandpresswitha folder.Collateeachfolio,oneinsidetheother,intoasignatureandmarkthetopcorner.Addacoverofheavierpaper,orusetheouter folio as a cover.Align the folios and cover andhold togetherwith clampsor paperclips.Makeatemplate,andpiercethedesirednumberofholesinthesignature(seepage103).

2.Passtheneedlefromtheinsidemiddletotheoutside,leavinga3”(8cm)tail.Atthetophole,pass theneedlefromtheoutside to the inside.Carry the thread to thebottomholeandpass itthroughtotheoutside.

3.Beingcarefulnottosplitthethread,passtheneedlethroughthecenterholefromtheoutsidetotheinside.

4.Makecertainthattheoriginaltailandtheneedleareonoppositesidesofthelongcenterstitch.5.Pullthethreadtaunt,tietheendsinasquareknotacrossthelongcenterstitchandtrimexcessthread.

6.Makeor findanappropriateclosure, ifdesired.For thisbook, I found thefaceplateofanoldlockwithaholeforakeyandthreeholesfornailsorscrews.Toattachittothecoverwrap,Isewedthroughthetwoparallelnailholeswithblacklinenthread.Iloopedalight-coloredleatherthong through the remaining nail hole,wrapped the two thongs around the book and slippedthemthroughthekeyholetoholdthebookclosed.

Numbers,2008,28pages,7¾”×5½”(20cm×14cm)FIVE-HOLEBUTTERFLYSTITCH

1.Cut folios to their finalsize, foldeach inhalfandpresswitha folder.Collateeachfolio,oneinsidetheother,intoasignatureandmarkthetopcorner.Addacoverofheavierpaper,orusetheouterfolioasacover.

2.Alignthefoliosandcoverandholdtogetherwithclampsorpaperclips.3.Makeatemplateandpiercethedesirednumberofholesinthesignature(seepage103).4.Passtheneedlefromtheoutsidemiddletotheinside,leavingthetailabout3”(8cm)long.5.Movingtowardthetop,passtheneedlefromtheinsidetotheoutsideatthenexthole.Atthetophole,passtheneedlefromtheoutsidetotheinside.

6.Fromthetophole,movedownonehole,passingtheneedlefromtheinsidetotheoutside,beingcarefulnottosplitthethread.(Thiscompletesthetopfigure8.)

7.Gobackthroughthemiddleholefromoutsidetoinside.Gothroughtheholenexttothebottomfrominsidetooutside.Gothroughthebottomholefromoutsidetoinside.Gotothenextholeupfrominsidetooutside.

8.Finishthesecondfigure8bygoingthroughthestitchabovethemiddlehole.9.Pullthethreadtauntandtietheendsinasquareknot.Trimexcessthread,orleaveitlongasadecorativeelement.

MULTIPLE-SIGNATUREBOOKS

Inadvancedcodexstructures,multiplesignaturesareattachedtoformabook“block”bysewingeachsignature, insuccession, to theadjacentsignatureor toasupport thatholdsthesignatures together.Ifthe sewing is tobeexposedon the spine, thechoiceof threadandpatternof sewingwillbecomeanintegralpartofthebook.Inbookblockswherethespinewillbecoveredwithpaper,fabricorleather,thespinemaybesmoothedandstabilizedwithglueandathinpaperwithgoodwetstrength.Intheseprojects,we’llbeusingalongstitch,asimplein-and-outrunningstitchthatlinkssignatures

intothespine,creatingastructurethatliesflatwhenopen.Thesewingisdonethroughholespiercedinthesignaturesandeitherholesorslotsalignedinthespine.Ifthesignatureshavefewpages,therowsofstitcheswillbeclose togetherand thespinenarrow; if thesignaturesare fatoryouanticipateaddingcollage elements, the rows of stitching can be spaced farther apart, making a wider spine. Whenstitching through slots, be careful not tomake the slot longer than the semi-compactedwidth of thesignatures,or thestitcheswill tend tomisalign.Directions forcreatinga template for spinesonpage103willhelpyoumakequickandeasylongstitchbooks.Ideally,abookshouldbethesamethicknessatthespineedgeandattheforeedge.Ifeitheredgeis

larger,itisreferredtoasswell.Swellcanbecausedonthespineedgeifthesewingholesaretoofarapartorifthethreadistoothick.InMayflower,thisworkedtomyadvantage,asthespine-edgeswellwasovercomebyaddingcollagematerialstothepages.

Fasnacht,2005,24pages,7½”×6”(20cm×15cm)(3folios,4signatures)Fasnacht was made with ephemera gathered during the Basel (Switzerland) Fasnacht celebration, aProtestantcarnivalsimilartoMardiGras.Themultiplesignaturesweresewnusingalongstitchthroughtheblackleathercoverwithredlinenthread.For me, swell on the fore edge, caused by added collage materials, is much more common. In

purchasedblankbooks,Ihaveoftenfoundmyselftearingoutfoliostohelpretaintheshapeor,inthecaseof India (seepage45) andCuba (seepage37), having to rebindwhen I returnedhome. If youremovepages,doitcarefullysothatyoudon’tdamagethestructuralintegrityofyourbook.Ifyouaresewingalongstitchbook,youcananticipatefore-edgeexpansionbyspacingyourrowsof

stitches fartherapart, sewingwithaveryheavy threador sewing in relativelynarrowstripsofheavypaper the length of the spine to serve as spacers between the folios. If appropriate to your book,consider colored or decorative paper spacers for adding interest while helping to solve a potentialproblem.Barcelona,Wishes,Lies,Dreams,Fasnacht andWest are examples of the longstitch sewn through

holes punched in leather. In Fasnacht, the spine and cover are a single piece of leather, while inBarcelona,WishesandWest,thespineisleatherandthecoversareothermaterials.Thesestructuresareespeciallynicetoworkinwhenyoutravelsinceyoucansewseveralsignaturesintoapieceofleatherlong enough to accommodate additional signatures if needed, and trim it to a final size when thesignaturesarecompleted.OneLifeisakeyholevariation.Inthefollowingprojects,we’llusethelongstitchtosewthroughaleatherspineandthroughafull

leathercover.

Barcelona,2006,48pages,7¼”×5½”×½”(18cm×14cm×1cm)(variablenumberoffolios,fivesignatures)

Barcelona is an exampleof a longstitchbook sewn through slots thatwasmade in aworkshopwithKeithSmith.Thefivesignaturesaresewnwith tan linen thread inastaggeredstitchpatternover theheadand tail througheightslotscut intoa redkangaroo leatherspine.Thecover isblackpaperoverboard.

OneLife,2003,43pages,5¾”×4½”(15cm×11cm)(fourfolios,sevensignatures)ThespineofOneLife ismadeofblackbookclothwithasectioninthemiddlecutinanXshapeandgluedopentocreatea“keyhole.”Thenaturallinenstitchesgoovertheblackbookclothattheheadandtailandintotheblack,beigeandwhitesignaturesthatarerevealedintheopenspaceatthemiddleofthespine.Blackribboncoversthetransitionandfinishesthespine.Gluedontothenaturallinencoverisanantiqueglassphotographicplate.(Seepagesfromthebookonpage37.)

West200524pages,7½”×6¾”(20cm×17cm)(fourfolios,threesignatures)WestwasmadeinSantaFe,NewMexico,whileIwasteachingaworkshopforArches.ThesignaturesofCansonMi-Teintesandacrylicpastepaperwerecompletedwithcollage,graphite,coloredpencilandcopper foil. The cover is patinaed copper and leather. The signatures are attached with an exposedlongstitch.Because the stitching seemed too light for the heavy leather andmetal, Iwove crosswisebetweentheverticalstitcheswithaheavycordandaddedasinglefoundearring.Thetitlewasaddedwithrubber-stampletters,clearinkandembossingpowder.(Seepagesfromthebookonpage17.)

Wishes,Lies,Dreams,1999,120pages,4”×3½”(10cm×9cm)(fivefolios,sixsignatures)Wishes,Lies,Dreamsisasmall,fatbookwithsixsignaturesoffivefolioseach.Itissewntogetherwitha longstitch throughfourholes inaheavybrown leatherspineattached topiecesofsheetmetal.Thestitching,usingdarkgreencord,beginswithanoverhandknotabout2”(5cm)fromtheendofthecord,leaving a piece hanging at the bottom. Instead of going over the head and the tail of the book, thisstitchingpatterngoes inandoutup the spine, thenacross to thenext signatureon the surfaceof theleathersothatthereisacombinationofverticalandhorizontalstitches.Thefinalstitchistiedwithanoverhandknotandapieceofcord lefthanging.Metalbeadsareattached to theendswithknotsandglue. The same cord is used for a tie that wraps around a metal closure. The title was added withpunchedlettersrubbedwithblackpaint.

LONGSTITCHBOOKWITHALEATHERSPINE

MaterialsFolios,withorwithoutimagesandtext,assembledintosignaturesLeatherforaspineSpineliningmaterial:nonwovenfabric,TyvekorpaperRulerPencilFolderGlueoradhesiveasneededGluebrushSnap-bladeorX-ActoknifeCuttingboardClampsorpaperclipsPiercingcradleTemplateforpiercingholesinsignaturesTemplateforpiercingholesincoverScrapoffoamcoreormatboardAwlNeedlewithaneyelargeenoughtoaccommodateyourthreadThread,preferablyheavylinenScissors

In this project, we’re using papers that were aged in chapter one to complete the book block forMayflower;inthefollowingchapter,we’llmakeacoverforthebook.Toassemblemysignaturesandincorporate images and text, I began by using a template to cut all of the pieces of aged paper andwhitewasheddocumentsandmapsintoconsistentfolios5¾”×11½”(15cm×29cm).

InPhotoshop, Imadeallmyphotographs5¾”×5¾”(15cm×15cm) tocovereachpagefull-bleed. Itonedandtexturedtheimages,andthenbegantheprocessofsequencingthepages.ImadeaPhotoshoptemplatethesizeofthefolio,decidedwhichimageswouldbeprintedandaddedthemtothelayout.Youcanseealloftheindividualimagesinthelayersontherightsideofthescreen.Thescreenshotofthetemplatelayoutshowsthefirstandlastpageofthefinalsignature(seepage21).

Onasheetof13”×20”(33cm×51cm)carrierpaper,Iprintedagrayoutlineexactlythesizeofmyfolio.Iuseddouble-sticktapeacrossthetopedgetoholdthetexturedfoliosinplace.Thephotographshowstheimagesthatappearonpage2and11comingofftheprinter.Thetexturedpaperworkswellwiththeimages.Therearelistsofpassengers,supplies,mapsandmyhandwrittenwordsandphrasesthroughout,buttheprimary text used in the book is a Nathaniel Philbrick quotation: “One people’s quest for freedomresultedintheconquestandenslavementofanother.”

1.Makea templateandpierceholes in thesignatures (seepage103).Cutapieceof leather thewidthofthespineplus2”(5cm)andtheheightofthesignaturesplus1”(3cm).Marktheheadandtailturn-insatslightlylessthan½”(13mm)andscorethemarkwithafolder.Coattheturn-inswithglue.Foldalongthescoreontheturn-insandpresswithafolder.Cutliningmaterialthewidthofthespineandthelengthminustheturn-ins.Centertheliningandglueittotheleather.Whilemanyspinesdon’tneedlining,softmaterialsandleathersthatcaneasilystretchbenefit

frombeingreinforced.2.Makea template andpierceholes in the leather spine (seepage103).Measureone lengthofthreadtheheightofeachsignatureplusanadditionallength.Begininsidethefirstsignatureatthebottomhole, leavinga3”(8cm) tail.Sewaround the tailof thesignatureand tieasquareknottosecurethethread.Continuetothenextholeinsidethesignature.Passthethreadtotheoutside.Continue sewing inandout theholesuntil theheadon theoutside is reached.Comeovertheheadandaddasecondsignature.Passtheneedleintotheinsidetopholeofthesecondsignature.

3.Passtheneedletotheoutsideandcontinueinandout,addingsignaturesalternatelyattheheadandtail,untiltheendofthelastsignatureisreached.Goaround theheadandmakeanoverhandknot into the last stitch to secure thesewing.ThestaggeredstitchpatterninMayflower’sspineshowsfivesignatureseachwithsixsetsofholesspaced½”(13mm)fromtheheadandtailand.15”(4mm)apart.

Mayflower,bookblocktobecovered.(Seepages124-125.)

LONGSTITCHBOOKWITHALEATHERCOVER

MaterialsFolios,withorwithoutimagesandtext,assembledintosignaturesMaterialforacoverSnap-bladeorcraftknifeCuttingboardRuler90°trianglePencilPiercingcradleTemplateforpiercingholesinsignaturesTemplateforpiercingholesincoverAwlScrapoffoamcoreormatboardGlueoradhesiveasneededGluebrushNeedlewithaneyelargeenoughtoaccommodateyourthreadThread,preferablyheavylinenScissorsCordorribbonasadecorativeelementortie,ifdesired

Ona trip toCuzco,MachuPicchuand theSacredValley inPeru, Igatheredephemera related to theculture,historyandcurrenteventsofthearea.Iworkedintwopamphlet-sewnsignaturesIhadcarriedwithme.WhenIgothome,Ichoseapieceof leather for thecover,untied the twosignatures,addedholesandusedalongstitchtosewthemintothecover.

LandoftheInca,2008,48pages,8”×5¼”(20cm×13cm)

1.Makeatemplateandpierceholesinsignatures(seepage103),thenmakeaspinetemplateandpierceholesinthecover(seepage103).Imeasuredandmarkedmyleathercoverontheinside.

2.Measureone lengthof thread theheightof thespine times thenumberofsignaturesplusoneadditionallength.Beginningatthefirstbottomholeontheoutsideofthecover,leavea3”(8cm)tailandpasstheneedlethroughtotheinside.Goinandoutuntiltheneedleisontheoutsideofthetophole.Stitchhorizontallyacrosstothesecondsetofholes.Passyourneedlethroughtotheinside of the second signature. Go in and out, repeating the steps, until the needle is on theoutsideofthelasthole.Tieyourthreadandcutofftheexcess.BecauseLandoftheIncahasonlytwosignaturesandsixholes,Idecidedtogivethespine

moreinterestbyincorporatingalengthofwovencordfromPeru.IputPVAbetweenthespineholesandgluedthecordinplace.

3.I’messentiallyoutliningthecordwiththread,goingoverthehead,throughtheinsidetopholeintothesecondsignatureandreturningtothebottom,butinsteadoftyingoff,I’mgoingaroundthetailandsewingupanddownthespinetofill in thealternatestitchessothat the threadonbothsideswillappearcontinuous.Thesecondtimearound,Ipositionedthecordsothatthestitchesattheheadwouldforman

X.WhenIreturnedtothebeginning,Itiedoffthethreadswithasquareknot.4.Since thecordwas longenoughtocarry into thecenterof thebook, Iglued it into thegutterbetweenthetwosignatures,seweditinplace,trimmedandgluedbothendsandtiedanXovertheendstomakethebottomofthespinematchthetop.

5. If desired, add a tie of cord, ribbon, raffia, string or other material. I overlapped my tworemainingpiecesofcordandsewedthemtogethertomakeatie.Tocoverthesewingandmakeitmoresecure,Ihammeredasmallpieceoflead,wrappeditaroundthesewingonthespineandsqueezeditwithneedle-nosepliers.IsecuredittothespinewithPVAandsewing.Ialsomadeleadcrimpsaroundtheendsofthecordstokeepthemfromraveling.

CreativeExplorations

•Createmorecomplexstitchingpatterns.Placeyourholesinvaryingarrangements,someclosertogetherandothersfartherapart,orsomeclosertothespineandothersdeeperintothecover.Alsoconsiderstitchingbackintosomeholesmorethanonce.

•Ifyou’redoingamorecomplexstitchingpattern,usemorethanonecolorofthread.•Makeacollectionofvariouscolorsandweightsofthread,twine,ribbonandleatherthongssoyouwillalwayshaveoptions.Usemorethanoneiftheyworkwelltogether.

•Folded,adhesive-boundandsewnbindingscanbecombinedinvariousways.Forexample,pamphletscanbesewnintothedepthsofconcertinafoldsorontotheirouterpoints.InVietnamJournal(seepage6)andGoinHome(seepage118),eachsinglesheetisgluedinsuccessionwithawidebandofadhesive.Theyeachhavesoftfrontcoversandtwo-piecehingedbackcoversthatfunctionasiftheywereside-sewn.Considerwaysyoucancombinestructurestocreatebooksthatworkforyou.

•Beginacollectionofbeads,charmsorotherdecorativeelementsyoucanaddtotheendsofyourthreadsifyoubeginyourstitchingontheoutsideofyourbook.

•Asyouworkdon’thesitatetochangeyouroriginalplanifabetterideaemerges.Figureitoutasyougo.

•Inasignatureeachfoliocanbeadifferentcolor,weightandtexture.Justmakesurethereisagoodflowanditallworkswelltogether.

HelpfulHints

•Whenplanningthepagesforaside-sewnbook,measurethewidthfromthespineedgeneededforthefasteningdevice,anddon’tputtextorimportantcontentinthatarea.Apostandscrewwilltakeconsiderablymorespacethanthread.Ifworkingwithpaper,don’tplaceyourholessoclosetothespinethatitmighttear.

•Inexpensivedentalflossthreaderscanbepurchasedatalocaldrugstore.•Ifyouneedtohaveyourknotclosetothebeginningorendingofastitch,putanawlthroughtheloopofthethreadandholdittightagainstthepointwhereyouwanttheknot.Asyoutightenyourthread,itwillslideagainsttheawl.

•Whendecidinghowfaraparttheholeswillbeplaced,howfarintheywillbefromthespineedgeandhowlargeindiametertheyneedtobe,considerthethicknessofthethreadorsewingmaterialandthesizeofthebook.

•Tokeeptheforeedgesofthepagesatthesamelevel,mostsignaturesaremadeupofthreeorfourfolios(twelveorsixteenpages).However,yoursignaturescanbemadeofwhatevernumberoffoliosyouchoose.

•Becauseaquireisusuallyratherfat,thefoliosmaygivetheappearanceofdecreasinginwidthsince,astheyareaddedtotheoutsidesignature,theincreasingthicknessofthespinemakesthemfanoutward.Youhavethreeoptions:youcandecideyoulikethisshape,youcanaddprogressivelylongerfoliostothequiretomaketheforeedgesquare,or,ifthereisnocontentthatwouldbedamaged,youcantrimthefoliossothatthefore-edgeissquare.

•Youmayusewhatevernumberofholesyouwant,butanunevennumberwillallowthesewingpatterntobeginandendatthesameplacetobetiedoff.

•Youcanbeginyoursewingontheinsideortheoutsideofyoursignature.Ifyoubeginandendontheoutside,youcanmakeyourtiedendsafeaturewithaddedbeadsanddecorativeelements.

•Youcanmakeanawlbyputtingastrong,sharpneedleintoacraftknifehandle.•Becarefultokeepyourawlorpiercingneedlestraightupanddown,perpendiculartothepages.Piercingatananglewillcreateholesthatmisalignthepageswhensewn.

•Holestooclosetotheheadandtailmayweakenthepaperandcauseittotear.Holestoofarawaywon’tprovideadequatesupport.Ahalfinchtoaninchusuallyworkswell.

•Asalesselegantsubstituteforsewing,along-neckedsaddle-stitchstapleroranofficestapler,openedflat,maybeusedtoinsertstaplesintoasignaturesspine.

•Punchingholesinsomefabriccausesthethreadstofray.Usingleather,anonwovenfabric,polyester(ultra)suedeorfeltavoidstheproblemoffraying.

•Whenjoiningsignatures,itisoftenusefultohaveyourneedlebentveryslightly.Holdeachendofastraightneedlewithapairofpliers,placeitagainstahotplateortackingironandbendgently.

•Ifyoudon’twantyourstitchingexposed,youcancoverthespinewithpaper,fabricorleather.Youcanalsoaddaspineliner,asinMayflower,or,ifyoupreferahardspine,youcansewthroughastripofboard.

Oppositeandabove:Sicily,2008,56pages,8”×7”(20cm×18cm)redkangaroobindingwithgoldleaf,imagescollagedinSicilyintoapre-madeblankbook

COVERS,BOXESANDUNBOUNDCOLLECTIONS

Up to thispoint, therehasbeena lotof focusonabook’s interior, includingmuchdiscussionaboutindividual pages, folios and signatures. Because we’ve alreadymade several covers throughout thisbook,theplacementofthischaptermaymakethetopicseemlikeicingonthecake.Don’tbetemptedtotreat the cover of your book as an afterthought. It is the first thing that the viewer encounters, andthereforegivesanindicationoftheintentandofthecontentofthebookbyvirtueofitsweight,color,textureandhowitfeels.Itdefinesthebook’sform.Afterexploringsomeoftheoptionsavailableforcovers,we’llgobeyondwhat’sthoughtofastypical

bookformandlookatunboundcollections,boxesandbookformsthatbecomesculptural.Beopentointeresting objects; look past their original use to consider how they might be transformed. And,althoughIammostlikelytousefoundobjectsinmywork,usewhateverskillsyouhavetomakeboxesandsculpturalformstoexpressyourconcepts.

CommonGround,2008,60pages,7¾”×6”(20cm×15cm)apaintedandlaser-engravedwoodcoverandleatherspinesewnovertapes(Pagesfromthebookcanbeseenonpage26)

Asanartist-in-residenceatUniversalLaserSystemsinPhoenix,Iengravedintopaintedandunpaintedwood, leather, glass, acrylic mirror, Plexiglas, fabric, painted metal, lead and marble. Laser is afascinatingtoolwithgreatcreativepotential.

COVERS

Mass-produced books are typically categorized as either softcover or hardcover.A softcover book isdescribedashavingacovermadeofflexiblecardboardorpaper that isglueddirectlyonto thespine,andahardcoverbookismadeoftwocoverboardsofinflexiblematerialseparatedbyaspine.Butthosecategorizationsblurcompletelywhenyouattempttoapplythemtoartistbooks.We’llbelookingatsoftandhardcoversmadefromawiderangeofmaterials,andatasimplewayofattachingthemtoabookblock.Thesimplestkindsofcoversarecreatedintwoorthreepiecesthenattachedtothebook.Thisallows

for an almost infinite choice of cover materials, including found objects, wood, clay, polymer clay,heavyleather,copperandbinder’sboard.Ifdesired,theboardsandspinescanbecoveredanddecoratedwithleather,cloth,paper(Unryuisespeciallyforgiving)ormetalfoilbeforebeingattached.SomeofthepossibilitiesforfuturecoversthatIhavefoundormadeincludeaplaster“head-stone,”

the printing block for a game board, smallwooden cutting boards, awooden bookendwith a smallmetal imageofPegasus, dove-tailedboards, squaremetal pieces, a carvedwoodblock for printing, acastresinplaqueresemblingivory,ablackpaintedclaysquarewiththetitle“witch”embossedintoitandtwopolymerclaycoverswrappedoverwoodwithobjectsembedded.

Inacoupleofdemonstrationscomingup,thebackandfrontcoversaremadeindependentlyfromthebook block, then attached. In the first demonstration, the fabric-covered boards are attached to anaccordionbookthathasnospine.In theseconddemonstration,a leatherspine isgluedtoadrumleaf

structure, andprinted copper foil overwoodcovers areglued to the first and last foliopages,whichserveasendpapers.In the thirddemonstration, a leather cover, incorporating an inset tile, is glued to a bookblockof

signaturessewnthroughaleatherspine.

GoinHome,1999,52pages,7”×6¼”(18cm×16cm)After being away for a number of years, I returned to the area ofmy childhood, theGulf Coast ofAlabama,MississippiandLouisiana.ThebookIcollagedwhilevisitingwasacommercialblankbook,similar toVietnamJournal (seepage6).Thepaper coverwaswrappedwith avintagequilt piece.Aclosurewasmadefromametalornamentwithanimagedetailgluedintothecircularsectionabovethegargoylehead.Theornamentwasgluedtoextendbeyondtheflap,ametalplatewasgluedtothefrontcoverundertheornamentoverlap,andamagnetstripwasattachedtothebackoftheornamenttoholdthecoverclosed.Thetitlewaswrittenwithsilvermarker.

MagdaleneLaundries,2003,72pages,6”×4½”(15cm×11cm)(Seemoreimagesonpages22.23andanotherviewofcoverpage)

ThebookusedforMagdaleneLaundrieshasabinding in the lateCopticstyle,whichwasmade inaworkshopwithShannaLeino.Historicallyaccurate instructure, theboardsweremadewith layersoflaminatedpapyrusthatwerewrappedwithblackleatherforthecover.WorkingfromadrawingImade,thedecorationforboththefrontandbackcoverswascompletedbeforetheleatherwasattachedtothebook.Itincludedblindtoolingthedrawingintotheleatherwithafolder,sectionscutorpunchedouttoexposeredleathergluedunderneath,stitchingwithredthreadandasmallsquareofgoldleaf.Aloopofleatherthongwassecuredinthebackcovertowraparoundahandmadebrasspegheldintothefrontcoverwitharivet.

SolarCross,2007,28pages,13¾”×13¼”(35cm×34cm)Aninkjetprintoveracollageconstructedofgoldmoiréfilm,aluminumfoiltapeandsilverleafgluedtoprecoatedaluminumbecamethecoverforSolarCross.TheprintedcoverwasadheredwithasheetofMACtac clear adhesive to the paper cover of a book originally made in a workshop with SuzanneMoore. (See page 91.) A spine of crumpled, sanded aluminum foil tape was added to cover thealuminumedges.Blackoilpaintwasrubbedintothecreasesandabrasionstotonethesilver.

MAKINGANDATTACHINGINDEPENDENTCOVERS

MaterialsBookblockBoardstobecoveredMaterialtocoverboardsPencilSnap-bladeorcraftknifeCuttingboardRulerorstraightedgeScissorsGlueoradhesiveasneededGluebrushFolderPaper,waxedPaper,scraporothercleanwastepaperWeightChoppingmatsorothernonabsorbenthardsurface

Aconcertinabookisfeaturedinthisdemo,andthistypeofbindingistypicallyleftwithoutaspinesothatitcanexpandandstandforviewing.Paper-backed fabric designed for bookmaking is ideal for inkjet printing, but you can also choose

otherfabricforprinting—itjustneedstobeironedtoastiffbacking,suchasfreezerpaper,first.StepsA1,A2 andA3 show additional alternative steps. Iwrapped a piece of badlyworn antique

fabricasasecondlayeraroundasetofcoversinthesameolivegreenbookcloth.Iinkjetprintedthetitle,“Viewpoint,”ontotheantiquefabric.

1.Toprepareyourpaper forcovering the firstboard,place theboardon thecovermaterial andtracearoundit,addinga1”(3cm)margintobetheturn-in(theportionthatiswrappedaround)oneachside.Trimtheexcesscovermaterial.Settheboardagainsteachcornerand,usingtheboard’sthicknessasaguide,drawadiagonal

lineacrossthecorners.2.Trimthecornertrianglesawaytoremovebulk.Coatthebackofthecovermaterialandthefrontoftheboardwithglue,coveringtheedgescompletely.

3.Place theboardon thecovermaterial.Wrap the turn-insof twooppositeedgesaround to thebackoftheboardandsmooth.Crimptheallowancethathadbeenlefttocoverthecornersandburnishwithafolder.Repeattheprocessfortheremainingtwoedgesandfortheothercover.

4. Insteadof justwrapping thecovermaterial turn-insaroundwithyour fingers,youcan lift theedgeofthecoverthatisawayfromyouandrollitforwardontheedgeremainingonthetabletoachieveasmoothturn-in.

5.Toattachthecoverstothebookblock,orientthefront,back,topandbottomofthebookandhavethecoversorientedtomatch.Placeasheetofscrappaperunderthefirstpageofthebook,andapplyacoatofglueontheoutsidefrontofthebookblock.

6.Alignthebookblockwiththecoversothatthemarginsarevisible,andcarefullypressitontothecover.Repeatthestepswiththelastpageandthebackcover.Pressunderweightuntildry.

A1.Becausemyfabricinthisalternativeprocessisthinanddelicatewithtearsandholes,I’mgluingitoverasetofboards,aspreparedinSteps1-4.Icoatedtheboardwithaheavylayerofgelmedium.A2.Irepeatedthewrappingprocessbygluingtheprintedfabricontothepre-wrappedboard.A3. Instead of rolling the board forward, as described in the previous demonstration to achieve thesmoothturn-inoftheflap,youcanusewaxedpaperasyourscrappaperandpull itaroundtheboardedgetopushthefabricmarginsmoothlyontothebackofthecover.

Viewpoint,2007,6”×4½”(15cm×11cm)closed,6”×36”(15cm×91cm)open

FOILOVERWOOD

MaterialsBookblockBoardstobecoveredMaterialtocoverboards(foil)GlueoradhesiveasneededGluebrushFolderMaterialforspineOilpastels,pigmentorpainttocolorleatherWeightOptional:digitalfileofcover,computer,imagingsoftware,inkjetprinter,whitepaperforcarriersheetifneeded,inkjetprecoatandabrushforapplyingprecoat

Aspineisincludedinthisdemo,thoughjustlikethecoverinthepreviousdemo,thepiecesarecoveredindependently.Thespineisattachedtothebookblock,andthecoversattachedtothespine.Thespinewrapcanalsobeadesignelementthatnotonlyhidespartsofthebinding,butalsoprotectsthebackofthebook.ThecoverforClimateChangeusesinkjet-printedcopperfoiloverwoodandaleatherspine,butyou

coulduseheavyaluminumfoilandfabric.(Ifyourprinterhas“pizzawheels”thattrackonnonporoussurfaces, reread the informationonpage11.)Anyheavyboardwouldbesuitable,butmodelairplaneplywoodisbecomingoneofmyfavoriteboardsforitslightweightstrengthandeaseofuse.Theimagesforthisprojectwerecreatedonpages28-29andthebookblockconstructedonpages86-87.

ClimateChange,2007,24pages,7”×5½”(18cm×14cm)

1.Designthecoveronpaperormakethecoverimageinthecomputer.Thisimage,amediumgraysilhouette,was designed to allow the copper to show through and extended to carry onto thewrapped edges.The cut lines, shown in red,wereprintedon apaper templatebut not on thecopper.

2.Applytwocoatsofprecoattothefoil,allowingeachcoattodrythoroughly,andbrushingonecoatinonedirectionandthesecondcoatinaperpendiculardirection.Tapethecoppertoapieceofcarrierpaperandprintthecoverdesignwithaninkjetprinterontotheprecoatedfoil.

3.Attachthefoiltoyourcoverboardsinthesamemannerasthefabriconpages120-121.Ifyourfoilhappens tobeadhesive-backedmaterial,youwon’tneed toaddglue.LeaveanallowanceforwrappingthecornersbymeasuringwiththethicknessoftheboardasdescribedinStep1onpage 120. Because I wanted the copper to really cover well, I made a patternwith an extraextensionforwrappingaroundthesideofthecorneranduseditforcuttingallfourcorners.

4.Cutapieceofleather,paperorfabric1”(3cm)tallerand1”(3cm)widerthanthebookblockspine.Score½”(13mm)turn-insattheheadandtailedgesofthespinematerialwithafolder.Brush glue over the turn-ins on the back of thematerial and fold them flat, pressingwith afolder.Brushglueonthebackofthespinematerialandonthespineofthebookblock.Centerthe spinematerial over the spine of the book block,wrapping the excess over onto the bookblock,andburnisheverythingwell.

5. FollowingSteps 5 and 6 on page 121, apply a coat of glue on the outside front of the bookblock.Alignthebookblockwiththecoversothatthemarginsarevisible,andcarefullypressthebookblockontothecover.

LEATHERCOVERWITHINSET

BookblockwithattachedspinematerialItemtoinsertBoardstobecoveredMaterialtocoverboardsCuttingboardRulerPencilorpen90°triangleSnap-bladeorcraftknifePaper,scrapPaper,waxedVinylspackleSpreaders,creditcardsorpiecesofplasticPieceofnonwovenfabricorpaperforfillerWheatpastePastebrushGlueorotheradhesiveGluebrushes,smallandlargeScissorsFolderPaperforcoveringtheinsideofthecoversChoppingmatsorothernonabsorbenthardsurfacesWeight

Havingagedthepaperonpage21andsewnthebooksignaturesintoaleatherspineonpages110-111,we’re ready tomakeacover forMayflowerandattach it to thespine.Except forbeingcoveredwithleatherandhavingan inset, this three-piececover ismadeusing thesame techniquesas thepreviouscover.Becausethereisathickglazedtiletobeincorporatedintothefrontcover,I’musingapieceofGatorfoam, a dimensionally stable archival board, about the same thickness as the tile, but binder’sboard, wood or plywood cut to size and sanded are also good choices. Glue works well withmostmaterials,butitcanstainleather;wheatpasteispreferred.

Mayflower,2008,60pages,6”×6”×1½”(15cm×15cm×4cm)leatheroverGatorfoamwithglazedtileinset

1.CutthecovermaterialasdescribedinStep1onpage120.A90°triangleparalleltothetracededgeoftheboardwillhelptodrawaperfectdiagonallineacrossthecornerofthecovermaterialfortheboardcornerallowance.NotethespaceleftforthethicknessoftheGatorfoamboard.

2.Positiontheitemtobeincorporatedonthecovermaterialandtracearoundit.Makeseveralcutsfromthecentertothetracededges.Coatthebackofthecutedgeswithwheatpaste,turnthemunderandpresstheminplacewithafolder.Positionthecutmaterialonthecoverboardandusethe hole as a template for tracing on the board. Cut the hole in the board deep enough toaccommodatetheitemandplacetheitemintothehole,withglueifneeded.Becausemy shapewas square and centeredon the cover, itwas easy to position and trace

around.IcutanXfromcornertocorneracrossthecenterofthetracedshapetoopentheleather.Insteadofcuttingandturningundertheedges,youmaywanttostretchthecovermaterialintothespace ifyour itemis relativelyshallow.Wheatpasterubbed into leatherhelps it tostretchwell.Coattheentirebackofthecovermaterialwithwheatpaste.Placethecovermaterialonthe

board,aroundtheembeddeditem,wraptheboardedgeswiththeexcessmaterialandpressintoplacewithafolder.

3.Fillanygapsonthebackofthefrontcoverwithvinylspackleandletdry.4.Wraptheboardforthebackcover.Filltheindentationcreatedbythewrappedleatheredgesonboth coverswith amaterial the thickness of the leather and glue in place, using PVA or gelmedium.(PVAisamediumwetterthangelandwillgointothefibersofheavyfabric,ifthatis

whatyouareusingtoevenoutthesurface.)5.Onyourpre-madebookblock,trimtheedgesofthespinematerialonadiagonalattheheadandtailofthebookblocksothattheywon’tbeseenwhenthecoversareattached.Withscrappaperunderthetrimmedspinematerial,coatwithglue.Presstheappropriatecoveragainstthegluedspinematerial.Repeatwith theremainingcover.Becausethiscover isgluedonly to thespinematerial,theprocessisslightlydifferentthanthepreviousexamples.I’musingthebookblockmadeonpages110-111.

6.Cuttwopiecesofpaper,slightlysmallerthanthebookcovers,andcoatthemwithglue.Pressoneagainsttheinsidefrontcoverandtheotheragainsttheinsidebackcover.Placewaxedpaperbetween thebookblock and the cover.Place thebookbetween twochoppingmats andpressunderweightuntildry.Thebrownhandmadepaper I chose for the insidecovers is similar incolorandtexturetomyleather.

BOXES

Foundboxescomeinallshapes,sizesandmaterials,andtheymayormaynotinitiallyresemblebooksin theirappearanceor function.Theymaybeopenorhave lids thatare removableorattached.Theymay immediately suggest a topic, suchas theLuckyStrikecigaretteboxes Ibought tomakeabookrelatedtomyparents,whobothsmoked“Luckies”anddiedofsmoking-relatedillnesses.

During an artist-in-residency atHarvardMedical School’sCountwayLibrary, I produced a series ofworkcalledArsLonga—VitaBrevis.Itincorporatesphotographsofthelibrary’sanatomicalspecimens,medicalartifacts,rarebooksandmanuscripts.Theworkproducedwasaswidelyvariedasthesourcematerialandincludedseveralboxesandbook-likeforms,includingTabulaandBraunBox.

Tabula,2006,7¼”×13¾”×4¼”(18cm×35cm×11cm)inkjetprintonshapedwoodbox

BraunBox,2006,7¼”×7¼”×2¾”(18cm×18cm×7cm)inkjetprintwithencaustic

Reserve,2004,14”×11”×1”(36cm×28cm×3cm)Reserveisawall-hangingboxthatcontainsaminiaturebookversionoftwomuralsIproducedfortheFederalReserveBankofBoston.TheArticlesofConfederation,whichauthorizesthefederalbankingsystem,providesthebackgroundforawoodenpedestalwithabrasseagle,onwhichthebookisplaced.

IncendiaryDevices,2008,fivepiecesofvariablesizes,approximately6”×6”(15cm×15cm)eachAfter an Independence Day celebration, I found a group of empty fireworks casings on the beach.Becausetheyshareasimilarhistoryandtechnologywithmilitaryrocketsandotherexplosives,Iusedthem to house discriminatory, insulting and hostile words. The words, which may be the mostincendiaryandinflammatoryofdevices,werewritten,printedormadewithalabelmakeronacetate,paperorpencilsandplacedonorintotheemptypapercasings.

LasMourtasdeJuarez,2007,14”×4¼”×2”(36cm×11cm×5cm)Since 1993, there have been hundreds of unsolved homicides in Ciudad Juarez,Mexico, across theborderfromElPaso,Texas.Mosthavebeenyoungwomen,agefifteentotwenty-two,whoareworkersinJuarezfactories.Thiscarvedwooden“santos,”traditionaltoMexico,holdsawoodenbook,towhichIaddedanaccordionfoldcommemoratingtheloss.

Boxedin,Ledger,IndebtedandBookofRuth,4of48fromtheseriesSacred andMundane, 2001, 12” × 12” (30cm × 30cm) each Hung in a quilt-like grid at the ArtComplexMuseum,thesepiecesusethehumblestofmaterials—plaster,tarandwax—totransformthediscardedbitsandpiecesofawoman’slifeintointimateandpowerfulcollages.

GulfCoast,2005,3pages,14½”×9½”×3½”(37cm×24cm×9cm)closed,14½”×19”×2½”(37cm×48cm×6cm)open

In2005,HurricaneKatrina’sdevastationoftheGulfCoast,whereIgrewup,wasinmythoughtsasIcreatedthisportablebifold“altar.”Constructedinablackpaintedwoodenboxoriginallyusedtohouseachemistryset,itwasdeepenoughtoaccommodateitemsmorethree-dimensionalthanusuallyfoundinbooks.

SafeHouse,2006,12”×22¾”×2”(30cm×58cm×5cm)In2006,thinkingofterroristattacks,IconstructedSafeHousefromadiscardedpieceofwoodshelving,children’stoysandelectricalcomponents.CLOSURESANDTITLESIdeally,youshouldplanyourbookinadvance,includinghowyouwillhandleyourclosuresandtitles.RarelyamIsothoughtful.Forme,everythingtendstoevolve,andcomponentsareaddedasIfindthemorneed them.Butpayingattention to these importantdetails canaddmuch to theoverall successofyourbook.Shownherearedetailsfromsixteenofthebookswehavediscussed.Readinglefttoright,toptobottomtheyare:ShadowWords(page105),Bingo(page67),PatriotAct(page55),Sicily(page115)NagHammadi(page15),Barcelona(page109),GoinHome(page118),VietnamJournal(page6)Fasnacht(page108),Cuba(page37),9/11+5(page84),timeXposure(page95)PromisedLand(page44),failedrose(page82),Copper(page34),West(page109)

MaterialsHingedfoldingpictureframewithglassandbackingremovedPlexiglasorotherlightweightplasticTransparentortranslucentimagesRulerPlasticscoringtoolorsnap-bladeknifeCuttingboardStraightedgeClampsGlueoradhesiveasneededHeavy-bodiedclearadhesivelikeE-6000orGoopWeight

Lightpassingthroughtwoormoretransparentortranslucentimagescreatesarelationshipbetweentheimages.Iftheyareseparatedbyaspace,therelationshipislessdefinedandtheedgesmayblurorshiftwith movement. You can create an intriguing visual experience by choosing related or contrastingimagesortext.Forthisproject,youwillwantahingedpictureframe,withtheoutsideasattractiveastheinside,and

fourpiecesofclearplastictoreplacetheglassandbackingmaterial.Translucentortransparentimageswillbelayeredandgluedtotheplastictocreatethefrontcover,insidefrontandbackpagesandbackcover.

Stonehenge,withlightpassingthroughI found a print, “Stonehenge,” from a 1999 series called “timeXposure.” It was laminated to atranslucentplasticlenticularlens,anditwaslargeenoughtoyieldfourpiecesforthisproject.

SacredMegaliths,2007,11”×18”(28cm×46cm)open,11”×9”×2½”(28cm×46cm×6cm)closed

CREATINGASEE-THROUGHBOX

1.Findormakefourormoretransparentortranslucentimagesforthecover,backandtwoinsidepages.Placetheimagesbetweentwolayersofplasticforthefrontcoverandfirstpage.Besurethattheimagesworktogetherwhenviewedfrombothsides,andthatthelightcancontinuetopassthrough.Measureeachopeningcarefully,orusetheglassfromtheframeasatemplate.Drawaround

the template on the four pieces of plastic. My frame had thin wood spacers that I used formeasuring.

2.Placetheplasticonacuttingmat.Placeastraightedgealongthecuttinglineandclampittotheedgeofthetable.Scoretheplasticwithmanyshallowcutsusingaplasticscoringtool.Sincemyimagewasalreadygluedtotheplastic,Icutbothimageandplasticatthesametime.

3.Align thescoreof theplasticwith theedgeof the table.Hold thepiece flaton the table,andpushdownagainstthepiecethatextendsoffthetableedgeuntilitbreaksaway.Cutthroughanypaperbackingthatmaybeontheplastic.Repeattheprocessfortheremainingpieces.

4.Todeterminethebestfont,sizeandplacementforatitle,IscannedthecoverintoPhotoshopandfitadiagramoftheStonehengesiteplanintothecircle.

5.Useadhesivelaminateinclearsheetstoinvisiblygluetransparentimagestotheplastic,oruseother adhesives or tape if they are not visible or don’t detract. Make sure none of thecomponentswillmoveorfalloutfrombetweenthelayersofplastic.Repeattheprocessforthesecondpageandbackcover.Thetitleanddiagramwereprintedontransparentfilm,sprayedwithScotchSuper77,pressedagainst theplasticandputunderpressure todry.Sincemyimageswere translucent, theslightspraypatternofthegluewasn’tnoticeable.

6.Checkthegluedpiecestobesurethattheyfitintotheframeproperly.Onthebackoftheplastic,placeathinlineofheavy-bodiedclearadhesivearoundtheouteredges.Keepthegluewithinthemarginthatwillbecoveredbytheframeedge.Placethepiecesintotheframe,pressfirmlyintoplaceanddryunderweight,ifneeded.

UNBOUNDCOLLECTIONS

Unboundbooksareoftencollectionsofmaterials that, forvariousreasons,shouldn’tbebound.We’lllookatanumberofexamplesofunboundbooks,andI’msureyoucanthinkofmanyothercollectionsthatcanbecontainedwithinwrappings,boxesorportfolios.Thepieceswithinthecollectionmaybethesamesizeandshape,ortheymaybeatotallyvariedgroupofitems.Occasionally,collectionscomeinpackagingthatmakesuitablecontainers,buttherearetimeswhenyouneedtofindawayofholdingagroupofobjectstogether.In1997,Icompletedaseriesof imagescalledEnnobling theOrdinary.Someyears later, Iprinted

miniature versions of the images and glued them to small pieces of wood. Finding them on mybookshelf, I decided tomake ahousing for them. Insteadof just dropping them into abagorbox, Idecided on a wrapped pouch with pockets to hold each board, similar to a wrap for silverware orjewelry.The collectionwas placed along the horizontal center of a piece of leather. The bottom edgewas

turnedup,andpocketsweresewnintotheleather.Aflapwasleftonthetoptofoldoverandenclosethecollection.Aleatherthongwassewntothewrapwithaloopatoneendtoslipoverabeadandactasaclosure.The finished piece has the feel of something thatmight have held precious objects in theMiddle

Ages.

FamousArtist,1955-2008,40pagesinbox12⅜”×15⅛”×1”(31cm×38cm×3cm)FamousArtisthousesacollectionofninemail-orderlessonsIcompletedasafifteen-year-oldstudentof

theFamousArtistSchool.Itishousedinthecorrugatedcardboardboxthatwassentbackandforthwithlessonscompletedandcorrectedwithtissueoverlays.

EnnoblingtheOrdinary,2008,6woodimages2¾”×1⅝”(7cm×4cm)inwrappedpouch3”×2¾”×1¾”(8cm×7cm×4cm)closed,6¼”×19¾”(16cm×50cm)open

Rations,2008,9books4¼”×5¾”(11cm×15cm)eachinacase5¼”×6¾”(13cm×17cm)Rations isa leather folderholdingWarRationBooks issued in the1940sby theU.S.OfficeofPriceAdministration to ensure the “right to buy your fair share of certain goods made scarce by war.”Commentsrelatedtoourconspicuousconsumptionandresultingobesityproblemshavebeenadded.

Terme,2006,12pieces6½”×4”(17cm×10cm)eachinaprintedpaperwrapperTermebeganwithacopperprintingplateofthebaths(terme)ofCaracalla.FromasmallbookontheancienttermeofRome,foundinastreetvendor’sbookstall,ItookamapoflocationsofallthebathsanddrawingsanddiagramsofCaracalla’sbaths.AttheCapitolineMuseum,Ifoundreproductioncoinsof the heads of some of the emperors who had built baths, including Nero and Constantine, whichcompletedthebook.Theindividualcollageswerewrappedinthepapershowingtheprintofthecopperplate.

VietnamJournalPortfolio,1998,16pieces22”×30”(56cm×76cm)eachinacase23”×31”(58cm×79cm)

If you are a visual artist whoworks on paper in a series, youmight find a portfolio cover to be afinishingtouch.WhentheVietnamJournalserieswasacquiredbytheBostonMuseumofFineArts,Imadeaportfoliocover tohouse thecollection,withoneof the imagesat50%opacityprintedon thefoldedcover.

FaultLines,2006sixfolios(24pagesbackandfront)8¾”×9¼”(22cm×24cm)each,unboundwithmetalbindingstrap

Fault Lines was created of folios cut from a single large sheet of crinkled paper painted likecamouflage, sold in Rome’s Piazza Navona to be used as the “ground” beneath creche displays.RemindedofLandsatphotographs,Ienhancedtheindividualpageswithmetallicpigmentandlettering.Themetalbindingstrapthatholdsthemtogetherandthetitle,addedwithalabelmaker,havealsobeencoloredwithmetallicpigment.

ADAPTINGACONTAINER

CollectionofitemsContainertoholdcollectionCoverimagewithorwithouttextWater-resistantdrawingandpaintingmaterialsofyourchoiceLazertraninkjetwaterslidedecalPanofwaterGlueoradhesiveasneededGluebrushPapertowelSolvent-basedvarnish,thinnedwithturpentineormineralspiritsBrush,bristleEmbellishments,ifdesiredOptional:digitalfileofcover,computer,imagingsoftware,inkjetprinter,whitepaperforcarriersheetifneeded

Idecidedtoturnthiscollectionintoagamecalled“Empire”andonthecoverputaworldmapshowingtheextentoftheBritishEmpirein1921andaddedthestatisticsthatatthattime458millionpeople—onequarteroftheworld’spopulation—wereapartoftheBritishEmpire,aswere14.2millionsquaremiles—one quarter of the Earth’s land. The instructions say, “With paper soldiers play ‘Empire,’conquerterritories,overthrowgovernmentsandexploitresources.”At a flea market, I found a vintage collection of what appeared to be British boy paper dolls withmilitaryclothingfromaroundtheworld.Theyweredesignedsothatyoucouldseeboththefrontandbackofthepapersoldiers.Itseemedashametogluethemtoanothersurface,soIdecidedtokeepthemlooseandfindaboxtohousethem.Forthepapersoldiers,atinbox,whichmighthavebeenaWorldWarImapcase,seemedappropriateandwastherightsize.

1.Chooseacontainerrelated to thecharacterandsizeof thecollection.Selectacover imageortext and design the decal. Print the design face up on a Lazertran waterslide inkjet decal,followingmanufacturer’sinstructions.Lettheinkdry,thenplacethedecalinapanofwater.

2.When the decal releases from the backing paper, remove it carefully from the water. If thesurface is nonporous, (suchas the tinmapcontainer I amusing), use theglue alreadyon theLazertrandecal. If the surface is porous, likeboardorwood, coat the surfacewith additionalglue.

3.Whenthedecalisintherightposition,patitgentlywithapapertoweltohelpitadhereandtoabsorbmoisture.

4.Thedecal goes on clear but becomesopaquewhite as it dries.When it is completely dry, tomakeittransparentagain,brushonacoatofasolvent-basedvarnish,likeGoldenMSAvarnish,thinnedwithturpentinetomakeitspreadeasily.Asmydecalbecametransparent,Irealizedthatthewaterhadcausedthetintobegintorustin

spotsalloverthesurface.Itgaveanimpressionofdecaythatsuitedtheconcept.

Empire,2007,collectionofpaperdollsofvariablesizesintincontainer9”×4¼”×1”(23cm×11cm×3cm)

Becauseitseemedthesoldierswouldbedifficulttoremovefromthetin,Imadeanenvelopeoutofasheetofacetateandgluedapieceofribbonaroundtheenvelopelengthwise,leavingitlooseasitcameoverthetop.Iprintedtheword“empire”ontoanothersheetofacetate,cutitintoastriplongenoughtowraparoundtheenvelopecrosswiseandgluedtheoverlappingendstogetherintheback.Thestripaddsadecorativetitleandalsoslidesupanddowntoholdtheribboninplace.

HelpfulHints

•Ifyou’reusingahardspinelineronyourdrumleafbook,toallowthebooktoopenflat,onlygluethematerialcoveringthespinetothefrontandbackcovers,nottothespineofthe

book.•Ifyouhavecutyourrecesstoolargeforwhatyouareembedding,oriftheedgesoftheobjectaretoolight,coloranyexposedareawithblackmarkeranditwillblendintotheshadow.

•Youcansizeleathertokeepitfromstretchingandalsomakeitsoftandpliableforwrapping.Mixasmallamountofwheatpaste(seepage10).Coatyourleather,backandfront,withthewheatpasteandletitrestfor½hour.ScrapethepasteoutoftheleatherwithaTeflonfolder-otherimplements,includingfingernails,canleavemarksintheleather.Wraporshapetheleatherwhileit’sstilldamp.

•Remembertoreplacescrappaperunderyourworkeachtimeyougluetohelpavoidunwantedgluemarks.

•Boxesandothercontainerscanbefoundalmosteverywhereyoulook,someforlittleornomoney.Beginacollectionthatyoucanchoosefromwhenyouneedinspiration.

•Ifaboxdoesn’tseemtoworkasabook,thinkaboutusingittoholdabook.•Makeyourcontainersappropriatetothecollectionstheyhouse.Makethemasimportantastheircontents.

•InadditiontoinkjetprintingyoucandraworwriteonLazertranwaterslidedecalwithmaterialsthatarewaterresistant.

Viewpoint,2007,6”×4½”(15cm×11cm)closed,6”×36”(15cm×91cm)open(Seepages120-121.)

CreativeExplorations

•Beopentoworkingwithmaterialslikealuminum,Plexiglas,mirror,polymerclay,ceramicandfoundmaterials.

•Trymakingyourownbookclothwithoneofthefusibleheatbondingmaterialsavailableinfabricstoresandonline.Followingtheirdirections,placealayerofyourfabric,heatbondingmaterialandarchivaltissuebackingbetweensheetsofparchmentorTeflonandfusethemtogetherwithamediumhotiron.

•Considertexturingandpaintingwoodcovers.•Paringleatherwithaknifeoramachineisausefulskilltolearnifyouexpecttoworkoftenwiththismaterial.Itwillenableyoutoremoveexcessthicknesssothatoverlappingedgesbecomeinvisible.

•Rememberthatyourcoverhasabackaswellasafront.Considercarryingyourconcepttobothsurfaces.Ifyourfrontcoverdoesn’thaveamatchingback,makeoneinasimilarsize,shapeandcolor.

•Experimentwithcombiningmaterialsonyourcovers.Justremembertostartwithabasethatwon’twarpwiththeadditionofheavyitemsortheintroductionofmoisture.

•Clothorsizedleathercanbestretchedintoshallowindentationsoroverthinformstocreatedecorativeshapesorhouseitemsonyourcover.

•Thinkaboutcontainersthatsuggestcontent:emptypillbottles,filmcartridges,heart-shapedcandyboxes.Eachofthemcouldbeusedtotellavarietyofstories.

WHAT’SLEFT?Inthisbook,wefocusedonrelativelysimpleandelegantwaystopresentcontent,butweonlybegantoscratchthesurfaceofallthethingsthatarepossibleintheworldofartistbooks.Youwillwanttolookattheworksofmanyotherbookartists,exploreinnovativesurfacesanduniquewaysofincorporatingimagesandwords,workwithnewmedia,trymorecomplexbindingsandalwayskeepyoureyesopenforinterestingobjectsthatcanbetransformed.Mymostimmediategoalsaretoworkonbecomingmoreskillfulwithhandlingleather,tolearn

thebarestrudimentsofusingaletterpress,tolookathowImightadapthistoricalbookmodelsincontemporarywaysandtobecomemoreproficientwithlenticularandtime-basedmedia.Ialsowanttobegintoeditionandsellmybooks—alargenewlearningcurveforme.

Man,2006,11½”×10½”×10½”(29cm×27cm×27cm)(6images6”×4½”[15cm×11cm]each)fromtheseriesArsLonga

Thefollowingpagescontainaglossaryoftermsandresourceinformationthatyoucanuseto

exploreadditionaloptionsasyoucontinuemakinginnovativeartistbooks,but,likethisbook,theyarelimitedinscope.Joingroups,searchonline,readbooks,takeworkshops,askquestionsandgatherinformationwhereveryoucan.Becauseartistbookscanencompassvirtuallyanyotherartform,therewillalwaysbesomethingexcitingtolearn.

GLOSSARY

ACCORDIONAlongsheetofpaper,foldedbackandforthonitselfthatmimicsthepeaksandvalleysofanaccordion.ARCHIVALAgeswellwithanticipatedlongevity.AWLSharpenedmetalrodusedtopunchholes.BINDINGThemethodandmaterialsusedtoholdabooktogether.BOARDBinder’sboard,bookboard,woodorothercovermaterial.BRAYERRollerforflattening,transferringandadheringsurfaces.BURNISHTosmoothandpolishasurfaceorhelpadhereittoanother.CALIPERSAhingeddevicethatcanbeadjustedtothesizeoftheobjectorspacebeingmeasuredandtheneithershowthedimensionsonascaleordial.CALLIGRAPHYTheartofbeautifulwriting.CALCIUM CARBONATE Natural compound used as whitening or thickening agent. Chalk andlimestoneareexamplesofcalciumcarbonate.CHINE-COLLÉPaperadheredtoasecond,oftenlarger,piecetomakeasinglesheet.CHOPPINGMATThin,lightweight,inexpensiveplasticsurfacefoundinkitchensupplystores.CODEXAbookwithfoliossewntogetherwithacover.COLDWAXMEDIUMAmixtureofbeeswaxand spirits.Microcrystallinewax, apetroleum-basedproduct,mayalsobereferredtoascoldwax.COLLAGEAcompositionmadefromfragmentsofdiverseelementsgluedtogether.COLLAGRAPHAprintwithsomesurfacetexturemadefromacollagedplate.COLOPHONInformationontheproductionofthebook,usuallyintheback.CONCERTINASeeaccordion.DAMARA natural resin that,when dissolved in turpentine, yields a varnish, thickened stand oil orglazingmedium.Alsousedinmakingencausticmedium.

DEBOSSToindentadesignorletteringintoasurface.DECKLEAframeusedinhandpapermaking,andthenatural,irregularedgesthatitproduces.DRUMLEAFBINDINGAmethodofbuildingabookblockby joiningfoldedpages togetherat thespineedgeandtheforeedge.EDITIONThenumberofcopiesproducedofabookorotherworkofart.A limitededitionstatesafixednumberthatwillnotbeexceeded.EMBOSSToraiseadesignorletteringontoasurface.ENCAUSTICMeltedbeeswaxmediumusedforpainting.EPHEMERA Printed matter not intended for preservation, frequently discarded odds and ends ofprintedmaterials.FINE PRESS A press that makes handcrafted printed books with the highest standards ofcraftsmanshipandattentiontodetail.FOLDER Toolmade from bone, plastic or Teflon, used to score, fold and smooth paper and othermaterials.FOLIOA sheet of paper, or othermaterial, folded in half tomake the two-leaf, four-page unit of abook.FOXINGStains,spots,blotchesandbrowninginoldpaper.FULL-BLEEDBorderlessimageprintedtotheedgesofpaperorothersurface.GAFFER’STAPEAmatteblackducttape.GESSOPaintwithcalciumcarbonateaddedtogivegreaterbodyandthickness.Frequentlyusedtosizecanvas.GOLDLEAFThinsheetsofgoldappliedtosurfaceswithadhesive.GRAINThedirectioninwhichthemajorityofthefibersinapieceofpaperorboardarealigned.GUTTERThespaceformedbythetwoinnermarginsoffacingpages.HEATPRESSMachineusedprimarily for transferring images.Mayalsoexertheatandpressure forpressingmaterialssmoothorsofteningglue.IMPOSITION Laying out ofmultiple pages for printing so that theywill read consecutivelywhenfolded,cutandbound.

KERNINGThespacebetweenletters,ortheprocessofadjustingthem.LAMINATORRollerdevicethatadherestwoitemstogether;alsousedasapresstotransferimages.LEADINGThespacingbetweenlinesoftext.LETTERPRESSPrintingfromaraised inkedsurfacepressedonpaper, resulting in lightlydebossedtype.LONGSTITCHBindingthatattachesthesignaturesdirectlytothespineinsteadoftoeachotherwithasimplein-and-outstitching;alsowrittenaslong-stitchorlongstitch.MEDIAArtistmaterialsor,indigitalprinting,thesurfaceorsubstrate,onwhichtheimageisprintedonto.MICROSPATULAAthinflexibletoolwithtaperedflatorroundedends.Itisusefulforplacingsmallamountsofglueorpaste,scoringorreachingintotightspaces.MONOPRINTTransferprintinwhichatleastpartoftheimageismadeonafixedmatrixthatallowsrepeatableprints.MONOTYPEPaintorinkonaflatsurfacetransferredtopaperasauniqueprint.MOULDA flat screen used to align an even layer of fibers to form a sheet of handmade paper. InWesternpapermaking,itisaccompaniedbyawoodenframecalledadeckle.MULLAstiff,muslin-likefabricwithopenweave.PARINGThethinningofleatheredges.PASTILLESSmall,flatballsofbeeswaxthatmeltquickly.Usedinencaustic.PASTEPAPERPaperpaintedwithamixtureofwheatpasteandacrylicpaint.PIERCINGCRADLEAV-shapeddevicedesignedtoholdalignedsignatureswhilepiercingholesforsewing.PIGMENTINK For inkjet printing, offersmore permanence than dye ink, butwithmore restrictedcolorgamut.PIZZAWHEELS Serrated-edgedwheels thatmove paper through printers. If positioned after printheads,theymaytrackthroughwetink,damagingtheprintorprinter.POLYPROPYLENE Translucent or white plastic that almost nothing will adhere to; sold in rigidsheets1/16”orthicker.Plastictrashbagsanddropclothsareformsofflexiblepolypropylene.POSTCOATClearliquidorsprayappliedasfinalcoattoprotectwork.

PRECOATIninkjetprinting,areceptorcoatingappliedtoasubstratetoimprovecolorandclarityofaprintandtoallowwater-basedinktoadheretononporoussubstrates.QUIREHistoricallyreferstoagatheringofmanyleavesofparchmentorpaper,foldedonewithintheother,inamanuscriptorbook.REGISTRATIONThealignmentofanimageforaparticularplacement.SAFE-RELEASETAPEAmasking tape that holds and releaseswith no damage to the underlyingpaper.SCREWPUNCHApaperdrillinwhichtheshaftrotatesasyoupressdown,cuttingacleanhole.SCOREAsharpindentationmadetoinduceafold.SIGNATUREAgroupoffoliosplacedoneinsidetheothertobesewnintoabook.SIZINGMaterialsuchasglue,gelatinorstarchaddedtopaperpulporappliedtothesurfaceofpapertoprovideresistancetothepenetrationofliquid.SPACERSStripsofpapertheheightofthebooksewnintothespinetoprovideforadditionalmaterials.Sometimesreferredtoasguards.SPREADFacingpages,leftandright,sometimesreferredtoasadouble-pagespread.STAYApieceofmaterialthroughwhichatacketisstitchedtohelpkeepitfromtearing.STRAIGHTEDGEA long piece of heavy steelwith a beveled edge. Similar to a ruler butwithoutmarkings,itsweightandlengthmakeitidealtocutagainst.SUBSTRATEUnderlyingsurfaceforpaint,printortransfer.SWELLWhenthespineedgeorforeedgeofabookisthickerthantheoppositeedge.TACKETAsinglestitchmadewithathinstripofleather,usuallythroughastay.TACKING IRON A small nonstick heat surface with a curved sole used in dry mounting, gluingcollagesorothertaskswheretheapplicationofheatisneeded.TEMPLATEApreciselymadeguide,oftenofpaperorcardboard,usedtotransferapattern.TORTILLONArolledstickofpapershapedtoapointatoneorbothendsthat isusedtoblendandsmudgepencil,pastelandcharcoal;alsocalledablendingstump.TRANSFERTomoveanimageortextfromonesurfacetoanotherusingvariousmethods,includingwater,gelmedium,Citra-solv,alcoholgelandcommerciallyavailableproducts.

TURN-INTheextraboardcoveringmaterial(leather,fabric,paper),ormargin,foldedovertheboardedges.VELLUMAnuntannedanimalskinthathasbeenscrapedverythinandpreservedwithalum.Stifferthanleather,itisusuallyoff-white.WATERLEAFPAPERPapermadewithlittleornosizing.

RESOURCES

AUTHORCONTACTDorothySimpsonKrausewww.dotkrause.comdotkrause@dotkrause.comKrause’seditionedbooksmaybepurchasedat:www.viewpointeditions.comSOURCESOFINFORMATIONTheBookArtsWebwww.philobiblon.comInformationoneducationalopportunities,professionalorganizations,tutorials,referencematerialsandgalleries. Source of TheBonefolder and the home of theBook_Arts-L listserv.Maintained by PeterD.Verheyen,SyracuseUniversity.WilhelmImagingResearchwww.wilhelm-research.comInformationoninklongevity.AMIEN:ArtMaterialsInformationandEducationNetworkwww.amien.orgAresourceforartistsdedicatedtoprovidingthemostcomprehensive,up-to-date,accurateandunbiasedinformationaboutartistmaterials.ARTANDBOOKMAKINGMATERIALSForgeneralandspecializedartsuppliesnotfoundatlocaldealers:DanielSmith(800)426-7923www.danielsmith.comManufacturesandsellsawideselectionofartistmaterials,includingdigitalfine-artpapers.GoldenArtistColors(800)959-6543www.goldenpaints.comManufactureshigh-quality,widelydistributedacrylicpaints andmediums, includinggelmediumanddigitalgrounds,andisanexcellentsourceoftechnicalinformation.Talas(212)219-0770www.talasonline.comManufacturesandsellsawideselectionofbookmakingsupplies.PhotoBookCreator

(800)864-2463www.myphotobookcreator.comIsaninexpensivethermaladhesivebinderbyUnibind.GLUESANDADHESIVESForfindingmoreaboutglues:www.thistothat.comwww.amazinggoop.comMACtac(866)262-2822www.mactac.comManufactures crystal-clear adhesive film for mounting and UGlu, an industrial-strength bondingadhesiveinstrips.PAPERSInnovaArt(856)456-3200www.innovaart.comManufacturesinkjetprecoatedbookartpapers,dualsidedwithconsistentgraindirection.Arches(CansonUSA)(800)628-9283www.canson-us.comMakeswidelydistributedfine-artpapers.Convert-all,Inc.(800)SYN-PAPERwww.protect-allpm.comMakesseveralsyntheticsurfaces,includingYupo.TwinrockerHandmadePaper(800)757-8946www.twinrocker.comMakesarchivalinkjethandmadepapers,andcarriesrelateditems.PLASTICSForrolledandsheetplasticsnotfoundatlocalhardwarestoresorotheroutletsspecializinginplastics:RegalPlastics(800)441-1553www.regal-plastics.comSheetplastics;aminimumorderof$25andwillcutandshipanywhereintheU.S.PRECOATSANDPOSTCOATSGoldenArtistColors(800)959-6543

www.goldenpaints.comUniversalinkjetprecoatsandpostcoats.inkAid(888)424-8167www.inkaid.comTRANSFERMATERIALSDASSTransferFilm(303)494-5631www.digitalartstudioseminars.comLazertran(800)245-7547www.lazertran.comCitra-solv(800)343-6588www.citra-solv.comSOFTWAREAdobeCreativeSuite(IncludingPhotoshopandInDesign)(800)833-6687www.adobe.comPRINTERSEpson(800)922-8911www.epson.comHewlett-Packard(800)BUY-MYHPwww.hp.comRECOMMENDEDBOOKSDigitalArtStudio:TechniquesforCombiningInkjetPrintingwithTraditionalArtMaterialsbyKarinSchminke,DorothySimpsonKrauseandBonnyLhotka,publishedin2004byWatson-Guptill,containsadditionalinformationondigitalprocesses.NoLongerInnocent:BookArtinAmerica1960-1980byBettyBright,GranaryBooks,2005Speaking of Book Art: Interviews With British & American Book Artists by Cathy Courtney,Anderson-LovelacePublishers,1999TheCenturyofArtists’BooksbyJohannaDrucker,GranaryBooks,2004

TheCuttingEdgeofReading:Artists’BooksbyJuddD.HubertandRenéeRieseHubert,GranaryBooks,1999Artists’Books:ACriticalAnthology&SourcebookbyJoanLyons,GibbsSmithPublishers,1985500 Handmade Books: Inspiring Interpretations of a Timeless Form by Steve Miller, Juror, LarkBooks,2008The Book as Art: Artists’ Books from the National Museum of Women in the Arts by KrystynaWasserman,et.al,PrincetonArchitecturalPress,2006ARTISTSMENTIONEDINTHEBOOKRayAmorosiisoroma@adelphia.netMaureenCumminsmaureencummins@earthlink.netWendyHaleDaviswww.home.earthlink.net/~worldbridgerTimElywww.timothyely.comJulieGrahamwww.smfa.edu/Programs_Faculty/Faculty/G/Graham_Julie.aspViolaKäumlenwww.violakaumlen.comShannaLeinowww.shannaleino.comBonnyLhotkawww.lhotka.comMiller,Juliajuvam@aol.comSuzanneMoorescarletandmaeve@yahoo.comCherrylMootewww.mootepoints.com

DonGlaisterwww.foolsgoldstudio.comKarinSchminkewww.schminke.comKeithSmithwww.keithsmithbooks.comEllenSteiberwww.ellensteiber.comMaryTaylorwww.marytaylorart.comLauraWaitwww.laurawait.com

INDEX

accordionbooksacrylicpastepaintadhesivebindingsadhesivesagingalbumbindingalteredbooksartmakingmaterialsawl

beeswaxbi-foldbooksbindingsblankbooksblockprintsboardbooksbookmakingmaterialsbooks accordion altered binding blank covers foldedfromonesheet, multiple-signature sewing side-sewn single-foldandbi-fold, single-signatureboxesbutterflystitch

closurescodexcollagecollagraphscolophonconcertinabookscopyrightcovers

decalsdecklesdentalflossthreaderdigitaltoolsdrawingdrumleafbindingsdrymedia

edgeseditioningelectricfryingpanembossingpowderencaustic

fabricflatteningfoilfolio sequencingpagesfore-edgeexpansionfrayingfusibleheatbondingmaterials

gelatinmonoprintsglue-impregnatedspinesheetgrain

hot-meltgluebinding

imagesindependentcoversinkjetprecoatsinkjettransferinksinset

knots

leatherletterpresslongstitch

materialsandtoolsmediumsmixedmediamonoprintmultiple-signaturebooks,

needlesnonwovenfabric

overhandknotoverprinting

paintingpamphletstitchpaper aging characteristics edges flattening grain wrinklingperfectbindingpiercingcradleplywood,modelairplanepre-andpostcoatsprintersprintmakingPurellhandsanitizerPVA(polyvinylacetate)glue,10

quire

safetyscoredcoverscrewpostscrollssculpturesewingside-sewnbindingsignaturesingle-foldbookssingle-sheetbookssingle-signaturebookssix-pagefoldbooksizingspine.Seealsobindingssquareknotstabbindingstampsstencilsstitchessurfaces alteringswellsyntheticmaterials

text found placing transferringtexturingmaterialsthermalbindingthreadtitlestoningtoolsandmaterialstransfers inkjet texttwelve-pagefoldbooktwo-piecehingedcover

unboundcollections

waterslidedecalsweaver’sknotwheatpastewordswrinkleswritingimplements

DOROTHYSIMPSONKRAUSE

Dorothy Simpson Krause is a painter, collage artist and printmaker who incorporates digital mixedmediaintoherart.Herworkisexhibitedregularlyingalleriesandmuseumsandfeaturedinnumerouscurrentperiodicalsandbooks.Krause isprofessoremeritusatMassachusettsCollegeofArt,where she founded theComputerArtsCenter,andsheisamemberofDigitalAtelier,anartists‘collaborative,withBonnyLhotkaandKarinSchminke.Sheisafrequentspeakeratconferencesandsymposiumsandaconsultantformanufacturersanddistributorsofproductsthatareusedbyfineartists.In 1997, Krause organized “Digital Atelier: A printmaking studio for the 21st century” at theSmithsonianAmericanArtMuseumandwasanartist-in-residencetherefortwenty-onedays.Forthat

work, she andher colleagues received aSmithsonian/ComputerworldTechnology in theArtsAward.That same year, she worked with a group of curators to help them envision the potential of digitalprintmakingin“MediafortheNewMillennium,”awork-tank/think-shoporganizedbytheVinalhavenGraphicArtsFoundation.In2000,KrausereceivedaKodakInnovatorAwardandin2001,withDigitalAtelier,shedemonstrateddigital printmaking techniques at the opening of the BrooklynMuseum of Art 27th Print National,Digital: PrintmakingNow. In 2005 shewas a visiting artist at theAmericanAcademy inRome andartist-in-residence at Harvard Medical School’s Countway Library. In 2007, she was the von HessVisitingArtistattheUniversityoftheArtsinPhiladelphia.Krauseisco-author,withLhotkaandSchminke,ofDigitalArtStudio:TechniquesforCombiningInkjetPrintingwithTraditionalArtMaterials,publishedbyWatson-Guptillin2004.Ofherwork,Krausesays:Iamapainterbytrainingandcollage-makerbynaturewhobeganmyexperimentalprintmakingwithreprographicmachines. Since being introduced to computers in the late 1960swhenworking onmydoctorateatPennState, Ihavecombined traditionalanddigitalmedia.Mywork includes large-scalemixed-mediapieces,artistbooksandbook-likeobjectsthatbridgebetweenthesetwoforms.Itembedsarchetypal symbols and fragments of image and text in multiple layers of texture and meaning. Itcombines the humblest ofmaterials—plaster, tar,wax and pigment—with the latest in technology toevokethepastandheraldthefuture.Myart-makingisanintegratedmodeofinquirythatlinksconceptandmediainanongoingdialogue—avisiblemeansofexploringmeaning.