ARTISTS’ BOOKS BOOKBINDING $8.50 Volume 6, Number 3

Volume 6, Number 3
$8.50
ARTISTS’ BOOKSBOOKBINDINGPAPERCRAFTCALLIGRAPHY
Volume 6, Number 3
2
4
8
10
12
14
16
17
20
24
26
30
32
33
34
38
39
40
41
42
43
Mary’s Star Book. Mary Conley
We Love Your Books: ABC Exhibition 2007. Emma Powell with Melanie Bush
Works on Paper. John Cutrone and Seth Thompson
Ruling Pen Basics. Matthew Coffin
On Your Own Terms.
Mobile Books. Florence Miller
Hidden Bookbinding Cloths. Catherine Burkhard
Calligraphy and Handmade Paper: Equally Beautiful
American Fine Bindings: Book of Origins
Eugenie Torgerson: Thinking Outside the Box. Eugenie Torgerson
Exchange of Ideas. Julie Gray
Small Books, Large Talent: Miniature Metal Books. Yana Safronova
Quilted Books? John Cutrone
Pocket Full of Surprises. Pat Pleacher
WWC Painted Books. Annie Cicale
First Class Mail. Debra Glanz
Teeny Tiny Cards. Jane LaFerla. BOOK REVIEW by Rona Chumbook
The Monument to Ephemeral Facts. Douglas Holleley
Subscription information
Magazine information
Contributors / Credits
Bound & Lettered exists
thanks to its readers and subscribers. What makes Bound &
Lettered different from many
other magazines, however, is its
reliance on its readers for article
ideas and submissions. We want
to hear from you! If you have
developed a how-to project,
organized an exhibition, or created a piece that you feel deserves
recognition in Bound & Lettered,
send me an e-mail at
[email protected]
We are always looking for new
ideas from expert and novice
bookbinders, book artists, and
calligraphers. Bound & Lettered
is a partnership between its
editors and its readers. Let’s work
together to make sure talented
artists gain the recognition that
they deserve.
–Paul McNeill, editor
CORRECTIONS.
Eugenie Togerson’s name is misspelled on
the caption for Year of Days, on the
inside back cover of 6.2.
In the previous issue, (6.2) we neglected
to mention that Victoria Lee was the
photographer for the “Kalligraphia” article.You can contact her through e-mail
at [email protected]
FRONT COVER
Clockwise, from top left:
Miniature Metal Book. Gennady Safronov.
His miniature metal books are solely
handcrafted; a skill that requires incredible
patitence and attention to detail.
Photo by Evgeny Abramenko.
“Small Books, Large Talent:
Miniature Metal Books,” page 30.
When Sea Laps Land. Ann Alaia Woods.
Charcoal/graphite pencil on handmade
paper. Suminagashi on Asian brush
calligraphy paper embedded in handmade
abaca paper. 2007. 8" x 10".
“Calligraphy and Handmade Paper:
Equally Beautiful,” page 17.
Tool Room Box and Journal.
Eugenie Torgerson. Lidded box holds artist’s
journal. Binder’s board, cloth, paper, glass,
hardware, original digital illustrations.
13" x 10" x 4".
Photo by Bukva Imaging Group.
“Eugenue Torgerson:
Thinking Outside the Box,” page 24.
BACK COVER
Top to bottom:
Dolmades. Ashley Ioakamides. watercolor
and graphite on Lanaquarelle 90# CP, Pilot
Parallel pen. Photo by Annie Cicale.
“WWC Painted Books,” page 34.
Sit at Cafes. Annie Cicale. Photo by Annie
Cicale. “Exchange of Ideas,” page 26.
RULING
PEN
BASICS
BY MATTHEW COFFIN
Traditionally, drafting ruling pens have been used to rule
lines of varying thickness on
mechanical drawings or illustrations. In the 20th century,
lettering artists discovered
these ruling pens while exploring options for creating expressive lettering. Artists soon
learned that they could create
dramatic letterforms with the
pens. These drafting and traditional ruling pens were not well
suited for calligraphic lettering,
therefore they needed to be
redesigned for calligraphic purposes. The shape of the ruling
pen changed dramatically,
quickly taking the form that we
find today. Gottfried Pott, a
German calligrapher, was instrumental in this transformation.
Calligraphic ruling pens
create thick or thin strokes by
tilting the nib relative to the
writing surface. Thin strokes
are written with the pointed tip
of the nib, while thick strokes
come from the wide edge. How
you hold the pen is important
because it determines how easily the pen can be tilted, and
the ease of tilting determines
the ease of changing the
stroke’s width. In addition,
hand and finger muscles must
be relaxed; otherwise tension
creeps in and restricts hand
and arm movement. If you like
to create very rough-edged
lines, the pen must be extremely tilted on its edge close to
where the blades separate.
10
BOUND
&
LETTERED
Adjusting your
ruling pen
blade gap
Hold the pen so
that your index finger
presses against the
mechanical screw
Holding the pen with the barrel above the palm of the hand.
head (bottom of the
viscous inks require a much
almost up to the thumb screw.
nib), while the thumb and finwider blade gap. Experiment with This depth allows ink to flow
gers grasp the pen barrel. Make
pen and ink and you’ll discover between the blades (where they
sure you can clearly see the
all you’ll need to know about
separate) and fill the reservoir.
blade gap. With the opposite
proper blade gap adjustment.
Once the ink fills the reservoir,
hand turn the adjustment nut
remove the nib and dab clean
either clockwise or counterFilling your ruling pen the top and bottom nib surclockwise to close or open the
There are two main ways to
faces. I use paper towels or toiblade gap. The appropriate
fill the pens: 1) dipping
let paper to clean nib surfaces.
blade gap depends on the
thickness or viscosity of the ink 2) eyedropper or syringe filling. Another simple way of removDipping is simple and easy.
ing excess ink from the nib surthat you want to use. Thinner,
You’ll need an inkwell with a
faces is to touch the surface of
free-flowing inks work best
mouth wide enough to fit the
the nib to the mouth of the
with narrow blade gaps
nib and thumbscrew. The
inkwell. Even though the nib
(approximately the thickness of
inkwell also must be deep
surfaces may still have ink on
a piece of standard writing
enough for the nib to submerge them, this will remove excess
paper), while thicker, more
that could drip off during normal lettering.A gentle touch will
do the job. Please be sure to not
touch the writing edge when
removing excess ink!
Eyedropper or syringe filling keeps ink from getting on
the nib surfaces, but this technique requires extra equipment
and cleanup. Squeeze ink into
the space where the nibs separate until ink is visible in the
pen reservoir. If the blade gap is
set correctly for the type of ink
you are using, ink should not
drip from the pen as the pen is
filled. Overfilling can cause the
ink to spill onto the outer surface. If this happens, clean the
nib surfaces.
Showing the proper hand position to adjust the blade gap.
It is possible to achieve
Rotate clockwise to close. Rotate counterclockwise to open.
EXCHANGE OF IDEAS
BY JULIE GRAY
PHOTOS BY ANNIE CICALE
In November 2006, Virginia
Meltzer served as host to a creative and exciting idea. Nine
book artists from different
backgrounds exchanged handmade books. The idea seems
simple on the surface, but the
variances of the artists’ experiences, training, talents, and
modes of expression made for
wonderful interactions & resulted in handmade books that the
artists will always treasure.
There was no theme to the
books, adding great diversity to
the pieces. Some of the artists
never met in person. Some,
however, were very close
friends. What they all have in
common is a love of bookmaking. This passion will keep
them tightly bound forever.
The Journey by Elizabeth Simmonds. “Text is very important to me, so I chose to make a T.S. Eliot quote
as the central theme of the book. I ran the quote across all the pages of my accordion text. I decided on gel
pens and a simple monoline hand to help with the text’s readability.”
Linocut Printmaking by Arlene Lane. Leather spine and binding make up the structure. Pages made from Davey board mounted with hand
printed Linocuts printed on handmade paper with inclusions using Speedball water-soluble green ink.
26
BOUND
&
LETTERED