Erased, a collaboration of Büchertiger Studio & Press and Rucni uvez Zoranoske

Version 1: Parchment with gesso ground on one side and acrylic wash on the other side, acrylics and ink

I mentioned before that I am working on a piece that is supposed to end up as a book collaboration between Zoran an me. The text is “erased” a poem that I wrote earlier this year. Since I started to work on it, I made countless trial versions, and now have 5 versions I dare count as actual outcome. Two of them – those that I like best, of course – are now on their way to Zoran, who will make a cover and binding for them. Not an easy task: How do you bind 7, 5 or 3 single pages?
Three versions are still here, and I wonder whether I should have a go at a binding, too.

Version 2: parchment, ink and acrylics, – no gesso or acrylic wash

Ich habe schon in einem vorherigen Blogpost meine Zusammenarbeit mit Zoran erwähnt. Seit ich zuerst daran gearbeitet habe, habe ich jetzt einen Haufen Probe-Exemplare und auch 5 fertige Exemplare von Erased fertig. Das ist ein Gedicht, das ich Anfang des Jahres geschrieben habe. Zwei von den fünfen – natürlich die, die mir selbst am besten gefallen – sind nun auf dem Weg zu Zoran. Er macht dann einen Einband und die Bindung. Das ist keine so leichte Aufgabe: Wie bindet man drei, fünf oder sieben Einzelblätter? – Drei Versionen habe ich noch hier, und ich überlege, ob ich selbst mich auch mal an Ihnen versuchen sollte.

Version 3: Parchment, gesso ground on one side, acrylics wash on the other, ink and metal leaf

Version 4: paper, ink, acrylics, – no gesso or acrylic wash

paper, gesso ground on one side, acrylic wash on the other, ink and acrylics

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Swap – Cheryl Penn, “Where I am at – Book 4″

You might remember that when I first finished “absences“, I offered to swap it. Some people agreed to a swap, and it is time that I show off some of what I received in return. Cheryl received my first book for her encyclopaedia of everything but her book was the second that reached me. – It had to travel far, coming from South Africa. The structure is that of an accordion book with a little booklet sewed into the first valley fold with a three hole pamphlet stitch. The pages feature different letters on several levels. I can make out a lot of “bbbb”‘s and “B”‘s, but there is also some writing, of which I have not figured out whether it is asemic. Also other glyphs can be made out and different writing is layered over each other.

According to the booklet, she explores here glyphs from the Bhubezi writing system. The borders between decorative strokes, letters from the latin alphabet and these glyphs is flowing and not always clear to me.

detail of some B’s

Those of you who have read this blog for a while know that I am very interested in writing systems as such, and I am intruiged by this skript. Cheryl’s explanation in the booklet raises more questions than it explains. What is that skript? Who are these people? So I asked her, and she told me:

the Bhubezi writing system is one I have devised myself as part of an ongoing mythology – The Women Who Hold Up the World

On her website I found out a bit more. If I understand correctly (and it is all – suposedly deliberately – mysterious), she invented these Bhubezi women, and made several books about their culture, their stories and also invented a writing system for them. They are magical, mysterious and powerful women. – But all there is is just fragments, and I find it hard to understand what she made up and other’s picked up on, or the other way around. The whole makeup is really beautiful to me, enriched with mystery, and she manages to manufacture a genuine atmosphere of old.

another details – maybe showing some Bhubezi glyphs

Apart from raising my interest in this skript on an intellectual level, the book as such is also a valued addition to my collection. I find this layering of different skripts visually interesting, and it is funny to think that some lines might or might not carry meaning.

Thank you very much for swapping, Cheryl!

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Swap – Origami Case and Book

You might remember that when I first finished “absences“, I offered to swap it. Some people agreed to a swap, and it is time that I show off some of what I received in return. The first book to reach me whas this little origami piece by Bernhild Knichel. It is just about 3.5cm cubed in size.

Vielleicht erinnerst du dich ja daran, dass ich mein Buch “absences” zum Tausch angeboten habe. Einige haben dieses Angebot angenommen, und es ist Zeit, mal einiges von dem, was ich im Tausch bekommen habe, vorzuzeigen. Der erste Buch, das mich erreicht hat, ist von Bernhild Knichel. Es ist nur 3.5cm breit, hoch, und tief.

I cannot say for sure what kind of text has been used for the top and the book inside, but it looks like the paper has been taken from a book, and I would guess at a novel. The pieces used here seem to feature a part of the story that is set in a hospital or some medical doctor’s surgery.

I guess that the cover is put together from 4 seperate pieces of origami, but I am not sure. I love this decorative piece on top. I have not seen it anywhere before.

Ich vermute, dass sie Seiten aus einem Roman für den Deckel und auch für das Büchlein in der Schachtel benutzt hat, aber ich kann das nicht mit Sicherheit sagen. Die Textfetzen, die ich lesen kann, beinhalten medizinisches, also vielleicht ein Buch über einen Arzt? – Vielleicht ist der Protagonist auch nur gerade im Krankanhaus?

Der Deckel der Schachtel scheint aus vier Stücken zusammengesetzt zu sein, aber auch darüber bin ich nicht sicher. Ich finde diesen Deckel besonders reizvoll, mit diesem dekorativen Aufbau.

The book inside features more folding technique. At first glance I thought it was a collection of what I got to know as an ATC card holder (way back, at the very end of this rather long blog post.) But closer inspection shows it isn’t: They are all individual origami envelopes, like they can be seen for example in Origami Craft by Karen Elaine Thomas. Then she bound these individual pockets in a French stitch pattern onto this slim ribbon that then serves as a closure.

Das Büchlein in der Schachtel besteht aus vielen einzelnen Täschchen – ebenfalls Origami. Diese einzelnen Täschchen sind mit einem französischen Stich zusammengehalten und auf dieses schmale Band gebunden, das als Verschluss dient. Beides gefällt mir außerordentlich gut, die Idee zum Verschluss, und die Bindung dieser Täschchen.

The pockets hold small treasures, mostly stamps but also a label of a tea bag. The handwritten text says: “everything in the world exists to end up in a book”

Thank you very much, Bernhild!

Die Täschchen beinhalten kleine Schätze – meist Briefmarken, aber auch ein Teebeutel-Zettelchen. Der handgeschriebene Text auf den Seiten lautet: “everything in the world exitsts to end up in a book”

Vielen lieben Dank, Bernhild!

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Exercises

In my last post I mentioned these small little exercises I was going to make into a contribution for We Love Your Books: “Home”. I was going to make a traditional wrap around case for them, and print onto the covering fabric. My idea was, that there would be motion on there, a wirlwind of children’s mouths opening in laughter and for crying, running feet, spilled something, and in the centre, these small exercises with brush and ink, just black lines. On the inside panels there are paste downs, on one of which I was going to put a brief explanation like: my studio is in the centre of my home, providing calm in the middle of a storm. – Or something along these lines.

As you can see, that is not what happened.

Making the graphics for the case is what really kept me from doing that. I spend 6 or maybe even 8 hours, trying to lay out this cover. Failing so completely that I did not even think about giving it a try. I thought I had the look of the image, or rather collage, pretty much figured out, but everything that I put on the screen looks cheesy, and just didn’t produce the atmosphere I was looking for. Man, graphic design IS difficult.

I still wanted to make the wrap around case, though, and then decided to rather drop back to the simplicity the books have. So I printed a scan of a brush line onto the white fabric, and built the case, again according to the instructions I found in Kojiro Ikegami’s “Japanese Bookbinding: Instructions From A Master Craftsman”.

In meinem letzten Blogpost habe ich diese 5 kleinen Büchlein erwähnt, die im Bild oben zu sehen sind. Ich hatte eigentlich vor, sie zu meinem Beitrag zu “We love your books: Home” zu machen. Dafür hatte ich vor, ein Wickelcover wie oben zu machen, und mit selbstbedrucktem Stoff zu beziehen. Allerdings schwebte mir ein ganz anderes Einbandmotif vor, als da jetzt draus geworden ist. Ich hatt die Idee, dass da viel Bewegung rein sollte, rennende Kinderfüße, Gesichter, lachende und brüllende Münder, und fliegendes Spielzeug. Aber daraus ist nicht geworden.

Ich dachte, ich hätte ein klares Bild vor Augen, wie ich diese Collage zusammensetze, aber das stellte sich als ziemlich schwierig heraus, und keiner der Ansätze, die ich in 6-8 Stunden produziert habe, sah auch nur so vielversprechend aus, dass ich ihn wirklich zu Ende geführt hätte. – Grafikdesign ist im Detail doch ganz schön schwierig!

Da habe ich mich dann also besonnen, und eben einfach einen Einband für 5 einfache Minibücher gemacht. Auf dem Einband ist jetzt ein Scan einer der vielen Linien aus Tinte gedruckt, die auch in den Büchlein zu finden sind.

Diesen Wickeleinband habe ich, genau wie die Büchlein, nach der Anleitung in Kojiro Ikegamis “Japanese Bookbinding: Instructions From A Master Craftsman” gemacht. – Naja, oder fast. Für solch kleine Formate, muss man immer das eine oder andere ein wenig anpassen. Zum Beispiel hat mein Einband eine, und nicht zwei Halterungen aus Bein.

Ich bin nicht so sehr glücklich mit der Wahl des Einbandgewebes: Es ist ziemlich steif, und ist für so ein kleines Format nicht optimal. Also denke ich darüber nach, nochmal ein neuen Einband zu machen. Andererseits gefällt mir dieser aufgedruckte Tintestrich sehr gut.

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Studio Week

the first version of “erased”

This past week was my “studio week”. It had been marked in my calendar for weeks. – One week in which the responsibility for the kids, for organizing childcare, and generally everything that regarded the kids, as well as household chores did not rest on me. It would
I have been looking forward to this week for a long time. Other mothers might choose to spend such a time with sleep and some good books, but it probably does not come as a surprise to you that I spend the biggest chunk of that time in my studio. I climbed up the stairs to my refugium rather early on most days, and on one day I even started there, still in my nightwear at 5 am.

It was a good week but also exhausting. Now I feel like I need some vacation. And while a Sunday and bank holiday Monday are coming up, there is also the tax form that I have to return by June 1st…

Of course I did not manage to do all I hoped to do. M. says that has partly to do with the fundamental fact that one never manages to do all one wants to do, no matter how much time there is, and partly to my poor planning. Probably he is right. But I can show off some results.

a first version of “erased”

A while ago, Zoran Vidakovic asked me to participate in a project of his. He is working on a series of books, for which he either contributes the content or the binding, and befrieneded artists and bookbinders contribute the other part.
I was happy to be asked and said “yes”. – And then did nothing for a while because so much else was going on. So it was one of my first priorities to produce something for him this week. I had decided to contribute contents, and more specifically, I wanted to use my poem “erased”. I wrote it this year in January and used it before before for a message in a bottle. Since the text and with it the general concept was already there, I expected this to go straight forward. Unfortunately that was not the case. I made a lot of paper versions before I finally finished a first copy on parchment of which you can see a couple of pages in the photos above.

detail of the newest ruled world

I also worked on my new version of ruled worlds, and made a first world “world” from all the pages in one of the Victorian Geometry for Artists books that I purchased for this project. Unfortunately I finished it just tonight, and I have not managed to make better photos of it. There is definitely still room for improvement, but I think I am on a good path there.

Shortly before my studio week started, I purchased an ink stick, a new brush, and an ink stone as well as a packet of Japanese Kanji practise paper. So between, before and during much of the above, I played with the new toys. I had used Chinese ink before but only that which comes ready made.
Liz Davidson posted throughout April pictures of lines in ink on her blog, and maybe that sparked my interest in it again. Since I had no idea whatsoever how to use inkstick and -stone, I looked for tutorials in that regard, and found this video on youtube with the title “how to make your own strokes in sumi-e”. The presented exercise looked interesting, and I thought I’d have a go with that.
I filled page after page with strokes and pattern, trying out various brushed I have. It was great fun! The first thing I needed to learn was makeing the ink. It is not hard as such, but I found it hard to decide when I was done rubbing. The first few trials produced rather faint strokes. I played almost every day and still feel much room for play. The image above is from tonight, when I was tidying up and found a brush that I had not tried before.

I even made some mini books from it. It was an opportunity to pull out Kojiro Ikegami (“Japanese Bookbinding: Instructions From A Master Craftsman”, the book about japanese bookbinding) and practise the real thing: The mini books are complete with an inner binding and fabric corner pieces.

 

I also made the odd job here and there and am all in all rather satisfied with the week. The mini books were meant to end up as a contribution to the year’s we love your books with the theme “home”. For this to happen, I’ll have to finish the box and pick up the last loose ends for it, though. But even if this won’t happen, I am really happy with the little books.

 

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Testing Gesso

Lefranc & Bourgeois Gesso

The first time I used gesso was with what I then still called bloodsong. I don’t remember clearly but I don’t think I bought it especially for this project; I don’t remember using it for anything else, though. Before I tried it, I thought gesso was essentially white acrylic paint. What I bought to try it out was a comparably cheap one from Lefranc & Bourgois, which was explicitly suitable for paper. It was not the cheapest I could get, but definitely on the cheaper end. From the moment I first tried it on paper, I was in love with it. I love the heavy feel of the covered paper and the rough surface texture. The gesso I had was firm enough so that the brush left clearly visible strokes, and dries in about 30 minutes. Since then I have used it for almost everything I made: I paint with it in my big sketchbook that you can see above, I used it for chasing infinity, I am using it for soulsong, used it for ruled worlds, for absences, and for another project (erased) that I have not yet talked about here.  And last week my 1l jar was used up. Empty. Easy, I thought, I’ll just buy a new one.

That turned out harder than expected, though, since I couldn’t find it here. I was willing to order it in Germany, but couldn’t find it there, either. Not knowing anything about gesso in general, I feared that my purchase might have been a lucky one, and other gesso might be totally different. And what do you do in times of despair? – Right, ask the internet. The internet told me that I was right to fear: many people swearing on one and only one gesso – but of course they couldn’t agree on which one. Also, I found out not all types of gesso are suitable for use on paper. And I found the opion repeated that cheaper ones are essentially white acrylic paint and one should settle for expensive brands. For many of those I was not sure they would be suitable for paper, though, and it would have hurt to pay for them and then find out they don’t work.

In the end I just settled again for comparably cheap: Windson & Newton. Galeria Acrylic Mediums. White Gesso Primer.

new gesso tried

And I am rather happy with it. At first I thought I liked the other one better. Well, I still miss it. But I am getting more and more the feeling I might be imagining a difference where there is none. It also yields a nice, rough surface, and the same, heavy feel on the paper. I think I notice that it is a little less opaque and needs longer to dry, but as I said, I might be imagining it.

While I was trying out gesso, I also ordered a very, very cheap jar of black gesso by pebeo – just to try it.

black gesso trial

Now I know what people mean when they say cheap gesso has a plasticy feel to it, and is more like acrylic paint than like plaster: The page painted with the black gesso feels kind of smooth. The whole thing reminds me a lot of chalkboard paint. Which is not necessarily bad, I am rather happy with both purchases. Yay! Worries and freaking unnecessary :-)

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News on “Ruled Worlds”

In my small studio I have a table by now as I mentioned some time before. It stands directly in front of the stairs that lead down to the next floor, the only exit, so that I have to crawl under the table to get in or out. But there is still the other workplace on the floor in front of the window that I used before I had the idea of putting a table there. I like to call it my non-working workplace. I still sit there to draw, try out small things, and to think.

Below you see the current state of my non-working workplace and the state ruled worlds was in until this morning:

Two boxes with things right in the centre of my workplace and thus of everything. You see there the shapes I made in the lower box some with the figures attached, and more material in the upper box. In the lower box you also see an opened book with ghastly colours painted on. Which is the reason for the stalemate I and this work are in: After I formed shapes from woven bamboo mats i.e. “the ruled worlds”, I inhabited them with small people. I had the idea that these people should have thoughts about these walls, about threat and protection, about weapons and soldiers… some of those thoughts I have written down, other still only exist in a foggy state in the nebula of my mind.
Then I had the idea of altering a math book, covering the math pages with drawings and these thoughts. That worked out well enough until that page above happened, which is so awful that I couldn’t bring myself to touch it anymore, not even to turn this page. So every time I thought of working on this project, I turned away again. But the ruled worlds had not been forgotten…

Today I started with altering a new book (I bought several, because I wanted to read some before I decided which one to use, and also because I already thought that I might have to start over at some point).

I took it all apart. Among the books I had purchased, it was the one which was in worst shape. It stank, it was damp when it reached me, and the cover is pretty much destroyed. Cutting it open, I was surprised to find that the binding itself was in perfect shape. That didn’t stop me to take out all the pages and make this:

Not quite what I initially had in mind but a fresh start. The rolled pages are supposed to replace the bamboo sticks in the old worlds. The mat above is curling due to faults I made while weaving it together. Well, I’ll see how that works out, and then I’ll talk a bit more about what else I have in mind for them.

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Absences – Editioning has begun

Well, right in the first sentence I have to take back what I said in the title. I did make 6 abscenes books, but I wouldn’t call it editioning, not really, since I just made 6 copies without really changing anything about my process. But yes, the first copies are done and can be purchased through my Etsy shop. After much thought I decided against any form of text reproduction. Anything that would have been mechanized would have brought with it the problem of registration, and the therefore the need to mechanize the reproduction of the background images (because the writing sits directly on it and margins are small). These considerations confirmed me in the throught that screen printing would be the right thing. And checked out my options for accession a screenprinting studio. (I did not want to let others print it for me.) And I actually found some, which I will keep in mind for the future.

But then I realized I just loved the raw look of the pencil lines on the gesso, and I decided that I would just write every single copy by hand. – After all, the story is not so awfully long.

Have I talked about the story yet? – I don’t think so. I don’t want to give too much away in hope that some of you might still have the change to read it yourselves. This short story really is just a dialogue. A woman talks to a police officer about stranges disappearances of objects in her appartment. “Mostly small things of everyday life that might have been gone for a long time or maybe vanished just before I noticed they are missing. For most of them I couldn’t say when I last saw them.” In the end she finds out what happened. I hope the resolution is surprising and a little bit funny. It is a story about the importance of paying attention to details for not to miss the big things in your life.

This is an open varying edition. Wich means I might make more, and not two copies are exactly the same. – The position of the stencils varies, the paper used, and sometimes even the text: While the story is always the same, I sometimes changed the wording a little, and leave out or add small notes like “[sighs]“.

I am happy to swap this book for another artist book or zine. If you are interested, contact me! Three are already gone, but the number 4 could be yours.

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Good News: Die Stadt/The City will be on display in Liverpool this Summer

Die Stadt / The City

Good news: I recently received notice that Die Stadt/The City has been selected for the artists’ book exhibition leading up to and accompaning the first Liverpool Artists’ Book Fair. The exhibition can be seen in the Liverpool Central Library. Based in the Horby Library, the exhibition will open on 2nd June and continue until 6th July 2014. The exhibition is available to view during library opening hours and entry is free. There will be books by artists who responded to their open call for art and do not participate in the book arts fair (like me), work of artists who will also be present with a stall at the fair, and they also display items from their rare book exhibition. I expect this will be a colourful and interesting exhibition.

Es gibt gute Nachrichten: Ich habe vor einigen Tagen die Nachricht erhalten, dass Die Stadt/The City für eine Ausstellung in Liverpool akzeptiert wurde. Vom 2. Juni bis zum 6. Juli wird es neben einer bunten Vielfalt anderer Künstlerbücher in der Liverpool Central Library zu sehen sein. Der Eintritt ist frei während der üblichen Öffnungszeiten der Bibliothek. Neben Büchern von Künstlern, die sich mit Büchern auf ihre Ausschreibung hin beworben haben, werden auch Stücke aus Ihrer Sammlung zu sehen sein. – Ich bin gespannt!

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New Book Taking Form

abscences making ofI am going to make a book for Cheryl Penn’s Encyclopaedia of Everything. If I understand correctly, this is essentially a small book/mail art collection. Well, the collection seems rather ambitious and not small at all, but the books that are in it are.
When I read about what she is looking for, I immediately thought that I should send her a copy of “absences”, a book that at that time only existed in my mind. I think I mentioned it before: I had the idea for this while making “pots”, the book inspired by a video interview with Edmund de Waal. “absences” is made with stencils, such that the images live in the negative space, are absent, so to say: I covered brown Kraft paper with gesso, but where the paper stencils lay, the brown paper is still visible.

Over the last weeks, more and more stencils accumulated on my worktable, and today I started to put it together. Above you see the prepared surface, next came the text:

abscences making ofThere is a lot of room of improvement here. The text is essentially a dialogue, and I choose different writing for the two persons to make it easier to see who is speaking. This is not very convincing to me, though, and I am pondering using two slightly different colours or not distinguish the writing at all. Also the distribution of the text over the page could be much improved.

But I am not unhappy with how it turned out, on a grander scale, and I guess I will keep it as a first artist copy for now, and give it some covers.

My current setup for this book is not very smart: I will even have to redo the stencils for the next copy (paper was not a smart choice), and the writing is done by hand. The plan is to make more durable stencils from acetone this time. When I first thought of this book, I thought it would end up an edition. But other than making better stencils, I am not sure how I would want to improve the reproduction. And there is still a lot of handwork in there that make an edition look unreasonable. The fact that I am working with stencils, screams “screenprint!” to me, probably because I have been wanting to use screenprint for a while now. However, I am pretty sure that it won’t work with my auxiliary setup that I tried last year. (I thought, I had written a post showing the setup, but all I could find was this article which at least features an image of one of the results.) The problems I see are multitude but just to name one: I don’t know how to reproduce the text which is currently handwritten. I guess to reproduce the text via screenprinting, I would have to invest in more elaborate screenprinting equipment, and I completely lack the enthusiasm of setting up a darkroom in our small house.

I am curious: How do you put text in your books?

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