12-13-14-15 and Cover

Final post on the book. I suppose I have to move on to some 

new works. I realize I never showed the cover. It is a very

thick handmade paper that is heavily embossed with

symbols that at first resemble letters, but.. aren't.

Page 14 contains an ancient page element, a brief colophon and

The missing cut outs turned into dice from page 5. Page 15 

contains a final quote and an image I created from a dust

filter in Photoshop. There is a page 16, which contains the 

last of the embossed prime numbers 73,79,83. 

Page 12 comprises of a revisit to the Cage musical notation, river and 

two quotes. Page 13 reveals the rest of the picture that was hinted

at under the gutter at page 4. 

testing - testing

Trying to post from my iPhone. (Wow Dr. Watson, it really worked) Now I just have

to figure out the pix part. You see, K and I are going on vacation and I'm

afraid to go cold turkey on blogging for ten days. Yes, off to Ontario, Canada and 

Algonquin park at a quiet lodge for awhile to regenerate. Now if I can only figure 

out pictures on this mini marvel. Any suggestions?

pages8,9,10 and 11

Laura's recent post asked a question about how the progression

of the pages were thought out. My approach to this book was

one of accepting chance but also thinking about how the flow 

of the book would resolve. I think about how each page opens

and what the viewer will see. Will it mesh? Will it mesh with 

the overall feeling? Although this is a purely visual book, there

has to be a beginning, middle and end. Resolve.

Pages 8 and 9 form the center of the book. Very sparse, but intentional, 

to focus attention to the power of the randomly selected but powerful

phrases, the stream and transparent nature of the paper.

Pages 5,6 and 7

Page 7 is simply mirror/extended version of the John Cage notation.

Plus the little dots that compliment page 5. Yes, this complex in the 

explanation. Plus I realize that if you have to explain too much

you lose half your audience. Well this is not so much a book report

as a joy of creation explanation. 

Thanks to our instructor, Robin and Box Car Press. we had a 

series of images to work with, besides what was available

at Wesleyan. the images on this page are printed from

photopolymer plates that can be set type high using

a precision machined aluminum block. I like the river 

image-it transitions from the topo map nicely. The other

two images need a little explaining. In the gutter (fold area)

is a John Cage musical notation. So bizarre, that all I can do 

is appreciate its graphic nature. I've also got an upside shark

plate that was determined by blind toss.

Page 5 is actually printed onto a portion of a topographic map. An

etching from Wesleyans collection was set up type high and printed

I freehanded a swoop and cut through the paper and put dots on 

page 7 to reference the title, Chance in a Bowl.

page 4

I do love unveiling this work. On page four if you look closely you will see

that I am using embossing and creating a prime number sequence. The 

spacing of the numbers corresponds to the numbers missing in the

math problem. Also, peaking out of the gutter is a glimpse of a work to 

appear on a later page. I think I am enamored with with this art format

because it is touch, feel and even smell. It's not under glass; instead it's

meant to be enjoyed as an art object that one can hold, handle and enjoy

without the intrusion of a frame and glass. A little like mail art. I've been 

working on version two and three this week and may take the artist way

and throw something else in the mix. 

page 3

Page 3 and still none of "my work" other than I set the type

on page 1. A unique plate by Jean Arp sets the stage for a 

forward by Robin Price .

Page 2

Like so many posts, I try to examine the technique and the why of what 

I'm doing. I think that trying to describe making an artist book is next 

to impossible. You need to have personal contact to make any sense of 

it. This is page two. This is a collaboration of six people. Six people 

who are embracing chance in the creation of these books. 6 decide on

quotes derived from random books; 6 decide on images available at 

Wesleyan (via Robin, our tour guide) and 6 print four folios.  The four 

folios give us 16 possible pages to customize. Now bear in mind we have

 to learn a new measurement system and the upside down of the press.

We need to learn the art of the press. The machine that impresses our 

work. I think each one may have a unique temperament.  I did have the 

pleasure of setting type for the opening and the pleasure of inking and 

running the second page. I promise that the images will appear soon.

 

Letterpress

This turn of events, this new exploration will take several posts to

unravel. Like the onion, many layers exist. I've finished my three

week intensive of artists books. I'm encouraged by my toe dipping

into this world. What I learned was not able to measure. To show

something on a wall, under glass, is one thing; to hold and require

the receiver to respond is another. Don't touch when we visit a

museum, but artist books can be touched. They are made to be 

unfolded and unraveled. So to begin telling this art saga I will reveal 

title page - observe the ghost of type and image to come due to the

paper choice.

  

Letterpress

So this is our first project - collaborate with someone at random. One sorts

through the image selection of the Wesleyan collection and one sets type.

Words of our own choice. My collaboration with Carol. It took a long time 

to set the jump jumble, but the result was worth it. A nice call and response.

There are six more cards in this series. Plus the cover, which you have a

sense of from my last post. We are making individual covers. Our next project

will be much more complex now that some of us are taking advantage of 

open studio time on these presses. I'm a little sad that you can't feel the paper,

because it has a slight impression, so that there is a tactile feel not available 

to us computer people. Plus the choice of paper, etc. I'm making books!

So busy crazy until at least Friday. Best Love to all who post.

Letterpress

I've been taking an art course. A three week intensive starting 

last Monday. Robin Price is instructing and the course concerns

constructing artist books. We are also working with chance 

operations, think John Cage. Old fashioned letterpress

with plenty of quirks. Midway through the second week. I

have to admit that learning the fundamentals takes a bit, but 

the results are not only a feast for the eyes but a feast for touch.

For those of you coming of late to this blog, I have a master of 

arts but love to continue my learning curve at Wesleyan

University, because of the caliber of visiting professors.

Plus in the world of art why not think of ourselves as

beginners? We get stuck when we are too wrapped up in

our own world. Robin's course is breaking down that thinking

by requiring us to work not only in collaboration but with

chance as well. The pix above is a section of a cover I'm working

on for a series of cards that six of us have collaborated on.  More 

to follow on the unique world of artist books.