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I spent most of yesterday — I’m a slow learner when it comes to technology — figuring out how to scan images for the web and uploading them to my Flickr account. Now I’m determined to get one of those images on this blog. I’d hoped to show you photos of some of the books I’ve made, but that assumes that I’ve taken good photos of the books, which is not the case. So for now we must all be satisifed with an image of an ATC that I made recently to try out new techniques. OK… I’m ready to click on the “Add Image” button… Here goes… Drum roll… Success!
What’s the connection with books, you ask. Ah, I knew you’d ask that. Well, I used waxed linen thread for the stitching on the card, which as all good bookmeisters know, is used in bookmaking. Isn’t that enough? If not, I refer you to the subtitle of the blog, which allows me to muse randomly on pretty much anything that strikes my fancy. Arts ‘R Us, so to speak.
The criss-cross long-stitch (it may well have another name, but if it does, I don’t know it) is one of the easiest exposed-spine bindings around. All the more embarrassing for the Book Geeks, who met at my house last Friday and struggled mightily with it. In this long-stitch version, the linen threads form two (or more) sets of X’s. It’s a neat and attractive binding, and fairly intuitive, so why we developed this collective amnesia eludes me (a sugar glut from the cinnamon bun snack?). We finally finished the job, and learned a few things along the way, such as that a wider spine makes for easier stitching — more room to place the holes stabbed horizontally in the spine (which equal the number of signatures). With a narrower spine, the holes run the risk of merging into one big slot. We’ll give this stitch another go-round at another BG gathering later this month.
For me, most of these books are meant to be models, so I’m comfortable using copy paper for the text block. I made this book with a paper bag cover, which I gessoed today in advance of decorating it later.
Over the past couple of years I’ve become a little fanatical about collecting books about making books. Since I’ve always been pretty energetic about adding to my personal library, this new interest isn’t a departure from usual behavior; it’s just a new category. I’m an equal opportunity buyer: I frequent the local independent bookstore, the big chain bookseller, and the online purveyor, along with bookstores in any town I travel to, and, in a pinch, the airport storefront.
To kick off the year, I’ve decided to systematically start making prototypes of the books that catch my eye in these publications. A lifelong project, I expect. For the past couple of weeks, I’ve been looking through book artist Alisa Golden’s publications on creating handmade books. In her first, Creating Handmade Books (1998/2000), she relates that she always thought she’d have to choose between writing and art, both of which she loved. Then in college she discovered that she could merge words and images and make books. She goes on to describe what it’s like for her as she writes this book, fifteen years after she created her first book:
“I don’t think of merging writing and art anymore; I think: ‘book,’ and an organic, whole piece evolves. I think about the reader who will interact with my book. I think about how the pace sets a tone: how one page leads to another, briskly, with physical movement, or slowly and thoughtfully. The writing, the art, the paper and structure each add a layer to the book to create a mood or clarify a meaning. Sometimes what I thought I was making turns into something else, something ‘the book wanted.’”
I’d like to think that eventually I’ll start hearing “what the book wants.”
Golden’s other books are Unique Handmade Books (2001/2003) and Expressive Handmade Books (2006). The instructions in the first book are less clear than those in the subsequent ones, but all three are worth adding to a collection, particularly since she writes about book forms in the context of the book content.
