Tuesday, July 29, 2008

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. 

Friday, July 25, 2008

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?

Thursday, July 24, 2008

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.

Monday, July 21, 2008

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.

Wednesday, July 16, 2008

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. 

Sunday, July 13, 2008

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 .

Saturday, July 12, 2008

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.


Thursday, July 10, 2008


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.

Sunday, July 6, 2008


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.

Wednesday, July 2, 2008


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.