Day 20 - July 27

I wasn't feeling really inspired today and decided to use paper as inspiration. This structure is based on Smith's Non-Adhesive Bindings. I decided to use some scrap booking paper. For some reason, the kooky pink pages were calling to me. The patterns are schmaltzy, but I think the book turned out fine. Not the best, but not the worst...

Book 21: concertina spine with pleated double folios - 'pink petals'
{paper} scrap booking paper for the spine and interior pages; translucent paper for the outer pages
{binding} pages glued to the spine, with ribbon running through the spine to close or open the structure

This structure, when tied open, looks terribly floral. The floral pattern on the pages also adds to the motif. So, here you have a very pink, very feminine book.

Days 18 and 19 - July 26

I didn't make a book on the 25th; I just wasn't 'feeling' the bookmaking. So, I put it off until Thursday and made two on the 26th. These two bindings are from Keith A. Smith's Non-Adhesive Binding.

Book 19: dos-a-dos-a-dos or the wedding cake book
{paper} translucent paper and cream text-weight paper
{binding} I used a modified butterfly (pamphlet) stitch to both sew the sections and bind them to the smaller sections

I saw this binding, and I thought that it would be appropriate to make the 'wedding cake book' look like a cake. With cream paper and ribbon contrasting the blue white of the translucent paper makes this book simply edible. Yum!




























Book 20: french doors
{paper} text: cream text-weight; cover: origami paper
{binding} hinged case cover; signatures sewn to the end papers and glued in

The example in Smith's book didn't have a hinged case, but I thought that it would make a supportive cover. I added the pearl buttons in a sort of ad-hoc way. They aren't adhered as best they could, and as a result the buttons are a bit weak. I also learned, by making this book, that flat buttons work best for this type of closure. And so the learning continues...

Day 17 - July 24

This binding is based on examples I spied in a borrowed copy of Shereen LaPlatntz's Cover to Cover. I am particularly happy with the use of color. The covers are printed blue with a varnish on the interior, and 4C process on the outside. The image of the fruit (peaches?) is borrowed from Owen Jones' A Grammar of Ornament. I have this small version - who doesn't love a tiny Grammar of Ornament?

Book 18: piano binding with concertina spine
{paper} pages: yellow text-weight paper; spine: translucent paper; covers: 4/2 color offset litho printed with a design of my creation
{binding} pages sewn to the peaks of the concertina spine; hinges cut and glued; bamboo skewer used for post

A few notes on my process

Until this point I haven't truly taken a look at the way that I decide on a structure and materials, because, quite plainly, it isn't all that complex. I travel where my mind takes me. Influenced by the books I'm learning from, I browse the pages of the texts, looking at pictures and imagining how my materials might work in the form.

I keep a running inventory of the materials I have to work with, like I keep a mental inventory of the food in our fridge and cupboard. And, as I cook, check the mail, and rummage through boxes of 'stuff' stored away, I consider if any of the items I run across could be used for bookmaking. In fact, we made some sushi the other night and used the last of our little tin of wasabi powder. The tin is small and cute, with interesting Japanese/English packaging. I saved it, and I know it will be part of one of the books I make. I haven't decided on a form yet, so stay tuned. I'll come up with something. (The photo is of shrimp steaming for the sushi; great radial shape to the skewers!)

I addition to considering materials, I also think about the types of structures (accordion, edge-sewn, case bound, non-traditional) that I have made thus far. I'd like to avoid repeating more structures, because there are so many extant binding styles to explore, and many more that are yet to be created! To avoid forgetting, here is a list of books I'd like to try: a larger multiple-signature case-bound book; an altered book; a book with pop-ups; a book with non-adhesive bindings (e.g. fancy interlocking pages!); and... The materials, books, and discussions with friends and colleagues are all mixing together in my intellectual slow cooker. It's set to low, and simmering away! If you'd like to suggest a book structure, please do so! :)

Finally, a note on the abysmal photography on this blog. I have to admit that I never did read the directions for our little point-and-shoot digital camera. As a result, the images that I take of my own work (and my students) is generally piss-poor. I haven't quite figured out how to get the camera to color balance. As a result, some of the pics I shoot don't need any color correcting, and others need lots. To automate the image sizing and color balancing I've started using Adobe Photoshop's 'actions.' I've now got a '50 Books Resize' script recorded to automate the resizing, and have a couple color balancing scripts ready to help fix the images. However, the color outcomes are not nearly perfect (which bothers me!), and the color is pretty awful. I'm hoping that at the end of this project I can devote some time to shooting the books with a black background to help color balance the images.

Day 16 - July 23

I spied today’s binding in Books, Boxes, & Wraps yesterday. I thought the style seemed interesting, as well as easier than a case binding. However, getting the measurements just right (never a strong skill of mine!) proved harder than expected. Also, making the text block, which measures 3/8ths inch, was rather difficult. This is the largest block I’ve made yet, and punching the holes for the binding with my small awl was hard. I think I need a new, construction grade awl. That’s one new tool for the wish list!

In retrospect, I think a modified hinged case that would tuck like a matchbook cover would be ideal. It would take some very precise measuring, but the cover would be thicker and feel more durable.

Book 17: sewn binding with one-piece match book cover

{paper} text block: cream paper; cover: silk screened print
{binding} edge sewn

Day 15 - July 22

Today I made up all of my lost ground. I tried some new structures, and got a little crazy. Take a look.

Book 13: tortoise shell edge sewn binding
{paper} book block: cream text weight paper; cover: handmade paper (a gift from my sister) and Japanese paper
{binding} sewn using directions from Books, Boxes, & Wraps by Marilyn Webberley and JoAn Forsyth

The cover used on this binding was a very thoughtful gift from my sister about, um, 4 years ago! I have been moving around the about five sheets of paper for years, trying to figure out how to use them. Today they finally found a purpose! The red stamp was made by the paper maker, and I decided to use it as a focal point on the cover, off-setting the ink with the red binding thread.

Book 14: Japanese ledger book
{paper} text block: circles of origami paper encased in plastic sleeves (for selling cards, I believe); covers: packaging covered on one side with origami paper
{binding} sewn using Webberley and Forsyth’s directions

I got a bit crazy here. I had a package of plastic sleeves and have wanted to use it. I found these circles of paper leftover from another project and decided using the two together was kismet. The only snafu I hit, was that after I found the book I realized that I had sewn the closed ends together, not the open edges, as I had wanted. Oh well. Now I can mix the origami circles or change out the content… Maybe I’ll change the edges sometime later and sew them up.

Book 15: scroll
{paper} silkscreen print cannibalized, trimmed, and glued to make a long, thin single sheet
{binding} glued to a ribbon spool; ribbon remnant used to hold the scroll closed

As I worked on the Japanese ledger book I used the last of a spool of think, cream ribbon. I thought, this is the perfect opportunity to make a scroll book! I adhered origami paper to the two sides of the spool, cut the ‘page,’ glued it together, attached it to the spool, and sought about figuring out how to ‘close’ the structure. Some leftover beads, the hole puncher, and some ribbon later, ta-da!

Book 16: pleat accordion
{paper} text pages: origami paper; cover: packaging covered with self-adhesive craft foam
{binding} origami paper folded into an accordion; pages glued in

This little book was fun and easy. I was deciding which paper to use for the covers, and remembered that I had a stash of self-adhesive craft foam and felt. These materials were remnants from my job search. I don’t know what came over me when I was putting my application materials together. For some unknown reason foam and felt seemed appropriate when I was at the craft store. Hmmm. I think it’s best that I didn’t end up using them. This use is much, much better.

Day 14 - July 21

I have always been a bit afraid of case-bound book structures, mostly because I have never tried them. And, I should add, that I saw my friend Craig’s amazing case binding and was totally intimidated. His attention to craft and detail are impeccable, and something that I can aspire to. However, I know that sort of skill and thoughtfulness are very hard for me to achieve. So, I decided to start small…

Book 12: miniature multi-section (signature) case binding
{paper} signatures: cream text-weight paper; covers: cover board is old packaging covered with origami paper; end sheets are origami paper
{binding} sewn according to the fantastic directions in Making Books By Hand by Peter and Dana Thomas.

Using the great directions of the Thomas’, I used library corners when covering the case. I did get the spine a bit too big (by about 1/8th inch I think), but for a first try, it’s awfully cute. That’s the nice think about working small: you’ve got the ‘cute factor’ in your favor.
I should also mention that I am including the penny in my photos to provide a sense of scale. My ratty cutting mat should help do that, as well.

Days 12 and 13 - July 20

Thursday was a fine day. It was surprisingly busy, in particularly because our modem died. This is the THIRD modem from our local phone (DSL) service. The skinny on the situation is that whenever there is a thunderstorm the generation of modem that we have dies. The manufacturer received bad parts that make it generally a piece of crap. So, right now, no wi-fi signal. If I do manage to get this posted Sunday eve it will be a miracle, but we’ll see… In terms of bookmaking, I did manage to squeak out two books, not falling any more behind. Here they are.

Book 10: 'leaf' edge sewn binding
{paper} text block: French Paper Co. text-weight yellow paper; cover: translucent paper
{binding} sewn in a variation of traditional edge sewn bindings that looks a bit like a leaf

I saw an example of an edge sewn binding somewhere recently that was made in a similar patter but sewn with pipe cleaners. This example was really intriguing because of the sewing materials, and because the designer used interesting binding to page size proportions. The binding occupied more than half of the overall width of the book, leaving a relatively small page size. The result of this inspiration is this book. The front binding looks good, but back is a bit messier. The next time, it will improve.

Book 11: junk mail pamphlet
{paper} junk mail from a credit card offer
{binding} basic butterfly stitch for a pamphlet

This book felt like a bit of a cheat, because I have used this binding before. I got the idea for the junk-mail pamphlet after going through our daily selection of direct-mail credit offers. This was the only offer to avoid the paper shredder. Simply trimming the entire envelope yielded an easy little pamphlet. The interplay of text and credit card logos is sort of fun on the interior.

Days 6 to 11 - July 18

[in the voice of Joe Peschi from Die Hard] Okay, okay, okay… On Friday, July 13th, I traveled up to Alexandria, Virginia, to visit my father and his wife. I had the best intentions for making books the entire time we were visiting. However, I managed to whittle away the weekend watching the Orioles play in Camden Yard, visiting the Corcoran for an amazing exhibition on Modernism, and eating way too much yummy food and pie. We returned on Tuesday 17th, and I didn’t get back into a ‘book making way’ until Wednesday the 18th. On the 18th I made up a bit of ground, making the three following books.

book 7: long stitch binding (modernism)
{paper} text block and covers: two cannibalized brochures from the V&A’s and The Corcoran’s exhibition, Modernism; covers: also used black creased scrap booking paper
{binding} sewn with assistance from Books, Boxes, & Wraps by Marilyn Webberley and JoAn Forsyth. I have to admit that the basic idea of the book is understandable, however the instruction were a bit opaque. Through some trial and error I arrived at this final product. The idea to use the brochure (the size of the book is the width of the brochure, and 1/3rd the height) came when I realized that it would make easy miniature signatures. And, this small book makes an interesting little memento of my visit to the exhibition. The cropped copy and images from the brochure document some of the best work of the early 20th century. What better content could there be?!

book 8: isosceles triangle accordion
{paper} trimmed silk-screened print
{binding} accordion fold with ribbon and beads for a closure

This binding came about as a quick and dirty book to make. The ribbon and bead were a happy accident. The paper wouldn’t stay closed, and I thought the ribbon and bead would be a good way to provide some tension to keep the structure shut.

book 9: sewn dots
{paper} black creased scrap booking paper
{binding} red thread

I had this idea for a book after using the hole punch for one of the earlier books. I thought that attaching the dots along a thread could provide an interesting contrast form and size. I also wanted to explore a non-traditional structure. The result is this strange hanging ‘book.’

Day 5 - July 12

Today was a double book day. I don't think, however, that I'll forget again. Part of the purpose of this exercise is to create good habits, as well as to explore repetition as design/artistic process. So, if I routinely forget, then all is lost. But, fear not. Today's book is here.

book 6: accordion book with pockets and wrap-around cover
{paper} cover weight duplex sheet/tan on one side, dark brown on the other
{binding} folded from a single sheet

I had this box of sale hang tags and had the idea to use them as hanging attachments to put in the pockets. The hole punched on the outside of the wrap around cover highlights the two-tone paper and serves as a means for attaching the tags. Hmmm. This structure begs for content, perhaps later.

Day 4 - July 11

DOH! I rolled over this morning and remembered that I forgot to make my book yesterday! I think it was a combination of a weird sleeping schedule and hitting the elliptical at the gym two days in a row that did me in. Regardless, I am now all caught up...

So, I made this structure on July 12th, but am counting it as book 5.

book 5: single signature book with pleated spine and decorative beads
{paper} text block: text-weight cream paper; fly papers: handmade cream paper; cover: silkscreen print
{binding} butterfly stitch sewn signature; butterfly stitch on the covers for the added beads


This binding was challenging, but fun to make. The instructions I had were a bit off with the measurements, but I worked it out. The silkscreened image on the cover is of a door. I created a series of silkscreen prints in high school, and this is one of them. I just found them in my closet and decided they needed to be re-purposed. Clearly, however, the book needs to be pressed. The signature wasn't pressed, and the prints were rolled up. I'll press them now...

Day 3 - July 10

Today I went off to a ceramics class and then came home to make my daily book. I am heading out to the airport at midnight to pick up a friend (our airport is 1.25 hours away), so I had plenty of time to explore forms and make a structure that was entirely new to me. Yesterday's book was familiar, even if my last use of that structure was with balsa wood and linen hinging tape, not a single sheet of paper. Here's today's book:

book four: nested accordion pop-up-fold book
{paper} canary yellow cover-weight (remnant from wedding invitations); muffin package cover; remnant Japanese origami paper
{binding} folding, plus some glue to adhere the nested accordion and covers

I think this lil' guy turned out quite nicely. Pop-ups are an interesting form, and a quite difficult one, too. This book is a good entry into the format, however. Color/paper choices were kismet; wanted to use the canary yellow and remembered that I had the extra strip of origami paper. My pack-rat tendencies are paying off!

Day 2 - July 9

Day two came and went, but I did (I swear!) make a book. It was a rather lame book, but a book still.

book three: boustrophedon accordion book
{paper} text-weight cream paper

Made quickly with scissors, sans ruler, this little booklet is done. Honestly, I chose the style because it was easy.

Day 1 - July 8

I am the queen of procrastination. I wait until the last minute, work diligently to get things done, then call it good. The idea for 50 books/50 days came during the Spring 2007 semester. I was eager to start but overwhelmed by the planning I thought needed to be done before I began. I was also in the throws of my second semester as a tenure-track prof, and was up to my eyes in all kinds of fun ivory tower stuff. The summer, I told myself, would be the ideal time to start and finish 50 books...

The summer is quickly slipping away, and I had not yet started my book project. And as usually happens, when I get busy with other things in my life I get more productive. I had been away from home helping my little brother and his wife move from Charlottesville, VA, to Gainesville, FL. Then, my mother and her husband and my lil sis stopped by in the 35-foot catamaran during their first year of the 'crusing lifestyle.' (Mom and hubby are retired - lil sis is taking the chance to rethink things.)

I'm busy now. And, as my friend Heather says, I'm getting my 'poop in a group.' I've got items on my calendar, and now books to make.

Since my mother is trained as an architect and an artist in her spare time, I took the weekend to get my supplies together and start talking about books, and finally just simply make one (well, two!).

So, here are the specs on the books.

Book one: post binding with a cover

{paper} text block: remnants from my wedding invitations (yellow paper with color laser printed color bars)/cover: box from muffin packaging
{binding} remnant post; paper punctured with hold punch




Book two: three signature, exposed chain-sewn binding with covers

{paper} text block: left-over cream colored paper from my job search; remnants from wedding invitations (see above)/ cover: box from muffin packaging
{binding} sewn with linen binding thread

Today was a good start. Inspired by conversations with my mother and her work I created two tiny books, neither of which structures, or sizes, I'd made before. My mother works on her book, surrounded by materials. Orange kitty ChaChi has taken on the title 'book kitty.' Notice the two tiny books in the lower left corner; the book with the red/pink yarn is by mom, the books with the white ribbon, by me.

introduction

Fifty books/50 days is project in creativity, book design, and artistic production. It is inspired by the AIGA's 50 books/50 cover awards (and subsequent show). I am a novice book artist, a tenure-track graphic design educator, and a design research. Book arts comprise the creative discovery aspect of my work in the School of Art and Design, at East Carolina University, where I teach.

I have deep love and passion for the book, from highly-refined, beautifully-designed books that are mass manufactured and involve hordes of editors, designers, and pressmen, to those books that are made lovingly by hand by a singular artist. As one interested in the form of the book but yet inexperienced in creating many structures, I decided that I needed to focus intently on simply creating and generating work. The result is 50 books/50 days.

This is my plan: to create one book a day for 50 consecutive days. I will focus on exploring structure rather than content. All books will be created using existing materials and found objects. I will not buy any new materials for the project. Each day I will document my work via photography, and this blog will serve as a chronicle of my experiences.

I had originally intended to perhaps explore 5 structures 10 ways, or 10 structures 5 ways, or some such form, but as I began to surf through my books on book making, I discovered that there were easily at least 50 structures that I had not explored, or were worthy of a day or two of work.

And so, let the project begin.