Workshop Addendum

My Handmade Folded Books workshop at Origin Design Lab in Eureka is being rescheduled. It is now on June 2, 3-7 pm. In the meantime, I've been having fun constructing models and writing instructions.

Workshop at Origin Design Lab

I'm teaching a workshop at the very nice Origin Design Lab in Eureka on Thursday, 19th May from 4-8pm. From the official description:

We will build upon the simple accordion fold to create various book forms. Learn the secret to making a perfectly folded book along with other tips and helpful tricks. You will leave the class with finished models and ideas for plenty more. The material fee will provide a basic kit to get you started, papers and printed instructions. No prior experience is necessary. These books require no special equipment aside from a few easily obtained tools and materials.

Fee: $70.00 + 15.00 materials fee ($5 for Book Arts Guild Members)

Level: Beginning

They're at 426 3rd St in Eureka. 

Books in Capsules

I've long liked the idea of books in vending machine capsules. I've been hoping to incorporate this into my next show, which will be in the fall. Acquiring an actual vending machine is probably more investment than I care to put in (although, to be honest, I was surprised to discover one can be had for not much more than, say, framing a largish piece of 2D art).

However, I also thought it would be appropriate to have the "vending machine" be a handmade piece of the art. I have built a box that would be the perfect size, although, through trial and error, the dispensing mechanism has become increasingly simple until, in the latest incarnation, it is not more than a sloped drop down to a hole with a swinging door on it. The problem is, the @#$%! capsules tend to get stuck on the way down. I'm imagining the visiting public having to shake the box and shove their fingers up into the chute to unjam the capsules. Not quite the right idea. Alas.

By last night I was ripping out most of the innards of the thing and growing panicky over the time I've let go by on this. (Due to the usual health considerations, I've already lost much precious preparation time.) Sigh... I'll also need to complete about 50 tiny books to go into the capsules, in addition to the rest of the show. I have some one-of-a-kinds so far, and have some multiples in the making. They are actually kind of fun to do. Several have included found word texts. We'll see....

By the way, miniature books in toy-style vending machines are not a new idea. After I started on this, I discovered they have them in Japan, where miniature books are popular. And there are places in the US with a similar idea.

(Thanks to artist Scott Blake for sending the last link. He, incidentally, helped bring an Art-o-mat vending machine to Omaha, Nebraska.)

Paste-painted Dura-lar Book

I discovered that the paste-painted Wet Media Dura-lar that I mentioned in the last post can be cut, folded and stitched. I made a miniature book with it. The only problem was that it didn't stay shut. The pages insisted on staying open.

However, magnets in the covers solved that problem.

And the magnets can keep the book open in a circle too. (My favorite source for these is K&J Magnetics.)

The bits of colored plastic visible in the top picture are vending machine capsules. They will be explained soon.

Volvelle Tutorial

My stats say that a few people landed here recently after Googling "how to make a volvelle." I guess volvelles are gaining in popularity. I've mentioned them before, but not how to make them.

However, I have taught a workshop on how to make one without using a brad or other hardware. Google suggests, and I will offer.

It looks long and intimidating, but this is actually pretty easy once you get the idea. I'm just wordy.

You'll need:

• Heavy paper or card stock.
• A compass.
• Pencil.
• X-acto knife or scalpel with sharp blade and cutting mat.
• Optional: tracing paper, large hole punch or circle template, Tyvek. A ruler or straight edge can be helpful.

1. Fold your paper.

For our example, we'll use a piece of heavy paper or card stock folded into 3 panels to make a card, and a separate piece of card stock for the wheel and turning mechanism.

2. Make your wheel.

Open the card. Using a compass, measure a circle that will be just a bit smaller than the width of the page (one of the sections)--but don't draw a circle here. Lift up your compass and draw this circle on the piece of card stock that you would like to use for your turning wheel.

Now shorten the distance between the legs on the compass so that you can make another circle that will be roughly around .75" (2 cm) or so in diameter. This doesn't have to be an exact measurement and can be smaller or larger (when this circle is too small, it's more difficult to work with, but if it's too big, it leaves less room for your outside window and the pictures or text that you will put on the wheel.)

Place the point of the compass in the indentation left in the middle from making the bigger circle and draw a smaller circle in the center. You are making a small circle centered inside a big circle--a donut shape.

If you'd like you can use something like decorative edge scissors around the outer edge of your donut/wheel. This will make the wheel easier to grasp when your are trying to turn it. 

3. Make the turning mechanism/hub.

Keeping the compass measurement exactly the same as from the inner, small circle on the donut, draw another little circle elsewhere on another sheet of card stock. (Or, cheater's method: simply trace the small hole from your wheel.)

Now increase the compass size to make another circle roughly .5" larger than the little circle you just made. Draw this around the smaller circle. You should wind up with two nested circles.

Cut out around the outside edge of the larger, outside circle.

What you are creating is the hub that is going to hold your turning wheel in place and allow it to spin--sort of a big paper version of a brad.

Now make an X across your nested circles to create a guide. Cut 4 slits from the outside circle just to the inner circle (see photo at left). This will allow you to form two tabs on either side. If the slits you cut are too big, your volvelle will wobble. If too tight, it won't spin.

Now fold up two opposite ends to make tabs, as shown. Rolling these tabs a bit as needed, slip them through the hole in the center of the wheel, then flatten down.

4. Make a space at the edge of your card so you can turn the wheel.

You need to make a little space at the edge of the card (or page) for your fingers. You can use the edge of a large circle punch or stencil. Or you can center a little cut out section at the edge of the card. The photo at left is the idea. Don't make the opening too deep, or the pictures or text that you add to the wheel will be visible in this opening as you turn it. You want enough room to allow you to grasp the wheel, but no more. 

5. Position the wheel.

Position the wheel on your card stock. It won't be exactly centered, but will overlap the edge a bit, matching up inside the slit/opening you made. Lightly mark around the wheel so you will know where it will be attached. Now remove it and put a small amount of PVA or strong double-sided tape on the back of the hub only (don't get glue on the wheel itself or it won't turn). Position into place. 

6. Make the window on the front of the card.

There are many ways to make a window. You can use a stencil or a hole punch, measure an opening where you'd like it, or even make an irregularly shaped window. You just want to make sure--very important--that the hub tabs or edge of the wheel won't show through where you make your opening.

Keep in mind that this can also be a two-sided structure if you also put a window (or windows) on the other side of the card or book page. 

Here is a method for making an arched window. Take a piece of tracing paper the size of your card. Open the card and place the tracing paper on the wheel, carefully lining it up with card edges, like this:

Keeping in mind the position of the wheel and hub and tabs (so you can be careful to avoid having them show through), mark where you'd like your window. Follow the contour of the wheel edge as a guide. You can use the compass as an aid.

Remember doing this in school? Turn the tracing paper over and trace in pencil over the window you just made. Turn this back over onto the front of the card and rub with a pencil or burnisher to transfer the markings.

With the card open, cut out the window.

7. Finish.

It helps a lot if you lightly trace around the window opening onto your blank wheel as you turn it, showing where you'd like to add your pictures or text. 

Once completed, seal the card using a small amount of glue or double-sided tape along the edges. Be very careful not to get any glue or tape on the wheel. If you do, you will have a stationary wheel, rather than a turning one.

If I was planning to make anything fancier than a casual card, I'd lay out the wheel pictures on the computer and print them out directly on the wheel. Even when doing this, it sometimes makes it easier to use a wheel with window tracings as a template to scan and work over. You can erase the window markings in your photo or graphics program before printing.

The dotted lines show
where you can add adhesive.

This was solely a mock-up for demo purposes. Which was a good thing. When I was done sealing up my 2-sided wheel, I realized the side with the writing displays through the window upside down (if you just opened the card and didn't turn it around, like I did here for the photo). But that's why we make mock-ups, no? (And why I consider coffee an art supply.)

8. Variations.

If you'd like a volvelle that is simply a turning disk (or other shape) on top of a page, without a window, simply make a hole the size of the "donut hole" in the card front. Thread the tabs of a hub through, and glue your disk or shape onto the tabs, on top of the card. 

The hub mechanism forms the basis for many animated paper engineering structures. Books and websites on paper engineering can lead you to more.

Alisa Golden shows a similar volvelle in her new Making Handmade Books. She suggests using Tyvek for the hub. I haven't tried this yet. She also uses a much smaller hole. I can see how Tyvek, being stronger and more pliable than heavy paper, would make using a smaller hole feasible. This sounds like something to experiment with.

Couldn't Leave Well Enough Alone...

I couldn't keep my hands off the sharks. The bottom just didn't look quite right. So in a fit of industrious exuberance I added more. The next morning, I wished I hadn't. It's not awful. I just preferred the other version.

Alas.

Be Careful What You Take to Bed With You

Nearing completion.

How ironic that I started this book/object before the situation I mentioned in my last post. Next time I get the urge to portray sharks circling something, I will take note.

Before I go further, I want to thank, from the bottom of my heart, my legitimate readers and friends for their support and encouragement. I've been deeply moved by the kind comments, messages and emails that I've received since I last posted. It's been a bright spot during an otherwise dark time, and has meant a lot to me.

Not to turn this into a medical novel, but I also have an endocrine disorder that makes stress potentially dangerous. What's been going on made me pretty ill, and at one point nearly landed me in the ER. I hesitate to mention this, after bringing up my M.S. diagnosis earlier made me a target for psychosis and cruelty. But the kind people in my life have been fantastic. In addition to great filtering, a trustworthy friend has taken over monitoring and moderating my comments for me. On the off chance something inappropriate gets through, I won't see it. Thank you.

Lovely washi.

On a happier note, I have a book project to share. I've finally been able to get back in the studio a bit, and have been on a Japanese paper binge. If you dip pieces of it into paste (in this case, rice starch paste) and remove the excess, you can form the  paper into almost anything. Leave it on waxed paper to dry, and you can have, for instance, miniature billowing drapes.

And what's especially lovely is that it is non-toxic. I wouldn't want to dip my bare hands in acrylic medium or PVA, but rice starch and distilled water? I feel like a kindergartner with something really cool and slimy.

Sticky slime! Dip into the paste, then run the paper
through fingers to remove the excess. Then shape.

After drying.

Curtains!

Arranging. 

Be Careful What You Take to Bed With You.

Bed Book Project

I've had an idea for a sculptural book running through my head. "Be careful what you take to bed with you" will be the only text it will contain.

I've also been looking at books about miniatures and dolls' houses. So I built a miniature bed. Or rather, half a bed. It's going to sit on the open book, looking as if it were sticking out of it. Or at least that's the idea.

Here's the bed frame, which is made from book board, paste and Washi:

Here's the bed after a mattress, pillow and blanket molded from Washi, foam, quilt batting, thread and paste was added. It has a stiff, papier maché-like texture:

The book block has been sewn and is waiting to be cased in. The plan is to make a little paper sculpture monster or swimming sharks or something to put under the bed. I might also add walls or flooring from folded pieces of paper. I am allowing it to develop and let it suggest things to me.

How an Artist's Book is Not Like a Picture

I've been pondering ways of conveying the progression of time and movement in books. I was recently re-skimming parts of Keith Smith's Structure of the Visual Book. He talks about how the structures of artists' books relate to those in "music, poetry, story-telling and cinema." He then cautions:

Carryover of past concepts is often inappropriate... Revolutionary ideas must be realized when starting to work in a new medium. The basic problem in making books is approaching it as if it were many single pictures, and it is not. 

This error comes from working in one medium, and carrying over principles to a new process, rather than discovering what is unique about the new medium.

As someone who used to work largely in single pictures, this is something that I've found to be both exhilarating and vexing about making artist's books.

I was listening to a talk that Bea Nettles gave at Duke University (thanks to a link posted on the Book Arts List). She mentioned how in one of her books she partly conveyed the slow, subtle process of aging by gradually transforming the background color of the book's pages. As the book progresses and the subject grows older, each page becomes ever so subtly more purple. By the end, the viewer realizes that the pages have become deep purple, hinting at how a person almost imperceptibly ages from day to day, slowly evolving into an older person. Now that's the sort of thing that makes a book unlike a painting.

New Issue of Book Arts Newsletter

I thought I'd post a link to the ever-informative Book Arts Newsletter, which is edited by Sarah Bodman at the Centre for Fine Print Research at UWE in Bristol. A new issue appears every 4 to 6 weeks. Here's the one for November 2010 (PDF) that just came out. And this is the index page with background info and links to the archive.

Making Book Cloth

Book cloth making time! I first did a few sheets following the directions I learned a long time ago from a book, using rice starch paste. Then I experimented a bit.

[Please be patient and try not to get confused, since I took pictures at various times when I was doing different cloths. We might jump around from florals to squirrels without notice.]

First, you need a smooth flat surface to work on. I've saved my old worn-out cutting mats and use the back sides of those. Spritz the cloth with water--get it good and damp. Smooth it out with the right side of the fabric facing down:

On a piece of scrap paper (here, newsprint), brush an even layer of paste onto the backing paper, which should be just a bit larger than your piece of cloth. Always brush from the center out to the edges and be sure not to miss any spots. I'm using basic Japanese kozo:

Smooth backing paper, paste side down, over the fabric:

Using a dry brush helps smooth the paper:

As does using a rolled up towel to tamp down the paper onto the fabric. This also, especially, helps create a better bond between fabric and paper:

I also use another method to smooth down the paper onto the fabric, but almost hesitate mentioning it. This could potentially stretch your fabric and push too much glue onto the side of the fabric you don't want it on. That said, I've discovered that carefully using a roller (going, as you always should, from center outward towards the edges) will give you incredibly smooth and well-bonded book cloth (you might not even want it that smooth--this could partly be a matter of what you desire):

The original method I was taught was that one should now carefully turn and smooth the book cloth over onto a new, clean surface, right-side up, then paste around the edges to hold it down flat as it dries:

From recent experience, I can report that this is also an excellent way to drop your wet, newly-made cloth and ruin it. (I did not take a pic for posterity.)

So what I started to do was just leave the cloths in place--don't 

touch!--right-side down to dry, without an extra turning step. (Do you know why we are supposed to turn over the cloth? Does not turning increase the likelihood of paste getting onto the side of the fabric you don't want it on?) Regardless, I've found that, at least for the dropping-prone, the leave it alone method works:

When dry, peel it off, trim off the extra paper edging and voilà--book cloth: