HBC48: Hand Book Binders of California Annual Members' Exhibition Catalog by insiya dhatt

ARION PRESS

July 13 – September 25, 2020

HBC48: The Hand Bookbinders of California Annual Members’ Exhibition

ACKNOWLEDGMENTS

the hand bookbinders of california board of directors

arion press and the grabhorn institute

President: Juliayn Coleman

Rolph Blythe, Director of the Press

Vice-President: Gillian Boal

Blake Riley, Publications Director, Lead Printer

Secretary: Vanessa Hardy

Megan Gibes, Lead Bookbinder

Treasurer: Kathy Chin

Alice Lin, Marketing and Program Associate

Membership Chair: Megan Gibes Events Chair: Peggy Boston Exhibitions Chair: Beth Redmond Editor-at-Large: Bridget McGraw Digital Projects Chair: Insiya Dhatt Workshop Chair: Cheryl Ball hbc exhibitions team

Beth Redmond Servane Briand Paloma Lucas catalog design

Robin Brandes

Dear book lovers,

Letter from Arion Press and the Grabhorn Institute

Thank you for taking the time to engage with the works in this catalog. This is a tough time to be hosting a bookbinding exhibit. It is also a tough time for members of Hand Bookbinders of California (HBC) to engage with each other. However, challenging times like this show us the true value of gathering together as we can, revealing the depth of our commitment to our wonderful craft and those who practice it. Solitary though many of us may be, connecting with each other as bookbinders however we can is vital to our growth and development. In light of this vital connection, I thank all who submitted work for the exhibit this year. I hope that seeing your projects in a public context contributes to your growth. It is also my hope that this exhibit will help other bookbinders. Through it, ideas coagulate, conversations emerge, and our community evolves.

In the workshop of San Francisco’s Arion Press, designated an “irreplaceable cultural treasure” by the National Trust for Historic Preservation, the traditional craft of fine hand bookmaking continues into the 21st Century. Together with M&H Type, the Press is the last complete, fully integrated type foundry, letterpress workshop and book bindery in the United States, and one of the few remaining in the world.

One of my students commented that we are lucky to be dealing with the coronavirus pandemic when we are. The preponderance of the internet and the ubiquity of personal digital devices have made communicating with each other possible, whereas the possibilities would have been much more limited without these technological advances. HBC has been extremely fortunate recently in that a new board member, Insiya Dhatt, has already implemented several digital projects that connect us with the membership. Among them are a sliding fee scale on our renewals webpage for those financially impacted by COVID-19, and the uploading of several past exhibition catalogs and print issues of the Gold Leaf to our website for all members to peruse and enjoy. Our Editor-at-Large, Bridget McGraw, hosts a biweekly tool talk via Zoom video conferencing software, cleverly named by Megan Gibes, “If these tools could talk…” Peggy Boston, our Programs Chair, initiated and lead the Exquisite Corpse project, which brought together 21 of our members in a collaborative venture. Begun before we faced a global pandemic, but continued through this time of sheltering in place, this project has been a fun and creative way for members to participate in a collective project. It is exciting to find ways we can connect with members in spite of our inability to meet together in person, and I thank the entire HBC board for their consistent efforts. This year’s exhibit was made possible by our resolute and hard-working team headed up by Beth Redmond. Beth’s organizational abilities and passion for bringing all our work to light have been impressive. She has been helped by Servane Briand and Paloma Lucas, and I am constantly humbled by the team’s focus and ability to follow through with the exhibition this year in the face of the many challenges inherent in putting on a COVID-era event. We have a new catalog designer this year: Robin Brandes has bravely offered to lend us her formidable skills as a graphic designer to help create the catalog you see here. Thank you Robin!

Arion Press pairs the world’s leading contemporary artists with renowned literature to create extraordinary original artist books and print editions. Founded by Andrew Hoyem in 1974, the Press carries on the legacies of the British Arts & Crafts movement associated with William Morris and the French livres d’artistes tradition. Today the Press continues to collaborate with leading contemporary artists to create lasting, collectible works that are by turns relevant and challenging to the contemporary moment. The nonprofit Grabhorn Institute, named for the world-renowned printers Robert and Edwin Grabhorn, is dedicated to preserving the Press as a living museum of American bookmaking. The Institute inherited equipment and rare typefaces collected by the Grabhorns; the Press continues to employ these tools in crafting its own books today. The Institute hosts weekly public tours of the pressroom, free artistic and literary events, revolving gallery exhibitions, and a one-of-a-kind apprenticeship program. The skilled craftspeople of the Press and foundry are all graduates of the program. In recognition of its esteemed history and ongoing contributions to the city’s cultural landscape, the Institute was added to San Francisco’s Legacy Business Registry in 2019. We are enormously excited to host the Hand Bookbinders of California in our gallery space for a traditional and virtual exhibition of original artist books. We hope the exhibit brings greater exposure to the artists who graciously agreed to showcase their work, as well as greater appreciation for the art of fine print bookbinding.

Thanks also to Arion Press for allowing us to show our work in their gallery. I am hoping that conditions will have improved enough by September that we will all be able to converge in some fashion for the closing party. Megan Gibes, Alice Lin, and Sarah Lariviere have all been essential in making this year’s exhibit happen, so thank you! I am a strong believer in the South African concept of ubuntu, which means, “I am because we are.” Knowing all the talented, resilient people who are creating the Hand Bookbinders of California in this moment together, I see a strong organization here. And as you look at the beautiful work in this year’s exhibition, I think you will enjoy seeing who we are too. Juliayn Coleman, President Hand Bookbinders of California 2

THE HAND BOOKBINDERS OF CALIFORNIA gathered for the first time in 1972. A close-knit group of hand bookbinders, with shared interests in creating and collecting fine bindings, joined together to promote hand bookbinding and related book arts and to exchange information and ideas.

Rhiannon Alpers San Francisco, California Dwellings Poem by Susan Brind Morrow, Sculptural Paper Book and Cocoon by Rhiannon Alpers Gazelle and Goat Press, 2019 18.8 x 13 x 14 cm closed Rolled magnetic box enclosure with multiple tray design. When the box is completely unfolded, the floating Nepalese Lokta paper panel houses a sculptural overbeaten abaca cocoon made by the artist on one side and tray for the book on the other side. Box and book are bound in handmade silk cloth, with letterpress printed poem, colophon, and titling on overbeaten abaca paper. The interior book is a sculptural accordion fold of handmade paper and ink edging.

Rhiannon Alpers/Amy Lund San Francisco, California/Portland, Oregon Untitled: COVID Collaboration 2020 Box structure, Alpers 14.5 x 11 x 14.6 cm closed, 14.1 x 89 x 6.1 cm open Three nested boxes, Lund 13.1 x 19.6 x 4.5, 10.4 x 7.6 4.5, 15 x 4.5 x 9 Crocheted Rocks, Lund Alpers: Rolling box structure with magnetic closures. Inset sea urchin fossil on the front panel. Three trays covered in wheat straw handmade Hook Pottery paper with loose felting wool. Trays house three hand-crocheted rocks created by Amy Lund. The box is a collaboration project completed during the COVID-19 pandemic. Lund: Three nested boxesâ&#x20AC;&#x201D;collection of three telescoping lidded compartment boxes covered in handmade paper and handmade paste paper. Boxes house artistically crocheted rocks with compartments both full wall and tunnel style. The boxes are a collaboration project completed during the COVID-19 pandemic.

Cheryl Ball San Francisco, California Aliceâ&#x20AC;&#x2122;s Adventures in Wonderland Lewis Carroll Urbana, Illinois: Project Gutenberg, 2006. Retrieved from www.gutenberg.org/ebooks/19033. 19.6 x 11.5 x 1.7 cm Three-part Bradel binding using leather for the spine and handmade paste paper by Erin Fletcher. Endbands are leather with thread sewn over them for a decorative effect. The label was created by stamping with a KwikPrint using type found at the San Francisco Center for the Book.

Cheryl Ball San Francisco, California

Robin Brandes San Anselmo, California

Blank Book

Happy Abstract

21.3 x 14 x 1.7 cm

William Blake New York, NY, Russell Maret, 2019 22.8 x 16.2 x 1.3 cm

This is a Scandinavian version of a sprinkled half leather binding from the 1700s. The book is sewn on raised cords. The calfskin leather and paper for the covers are sprinkled.

Simplified binding. Freehand gold tooling by binder. Boards covered with paste paper painted by binder. Spine covered in Scarlett Harmatan goat leather. Endbands made with Dark Blue Harmatan goat leather. Flexi-end flyleaves. Hinges made from Scarlett Harmatan goat leather. Note: William Blake championed human imagination as the most important element of human existence!

Servane Briand Palo Alto, California Prise de Tête 50 x 50 x 45 cm From metaphors to metamorphoses, the idea-birds are transformed into mini storybooks emerging from the head of a benevolent Medusa who dreams, whose snakes are silky eels and whose gaze is an invitation to reading and binding.

The mini origami books and birds perch on silky stems with the help of tiny magnets; when books are ripe, they drop from branches inviting the audience to discover some of my favorite binding structures such as Carmencho Arregui’s cross bindings, Ben Elbel’s Tue-Mouches or Jan Peter Zimmerlich’s woven inventions. Created 2019.

Servane Briand Palo Alto, California Lettres Portugaises Marianna Alcoforado, illustrated by Modigliani France, Ed. Mermod, 1952 18 x 12 x 1.5 cm Pianel (Ben Elbel) binding. Clamshell box: Washi, elephant hide, and Cave paper. Archival digital printing.

Samantha Cairo-Toby San Francisco, California

Messengers

Par Avion

Content and illustration by the binder 2020 15.5 x 15.5 x 3 cm closed, 15.5 x 165.5 x 0.2 cm open

Content and illustration by the binder, 2018 14.5 x 14.5 x 12.5 cm

Messengers is a fanciful poem about solar wind traveling through space. It is an accordion fold book with 5 x 5-inch, 0.38 gauge copper sheets glued to each page. The text and illustrations were made by using a stylus and pressing into the copper sheet to get the desired results.

Par Avion is a poem based on the Welsh Medieval story of Branwen, who was punished by her husband for her brotherâ&#x20AC;&#x2122;s crime of mutilating his horses, and was forced to work the scullery with no companion but a starling. Eventually she tamed the starling and sent it to her other brother Bran, the King of Britain, who then rescued her from Ireland with his warriors. The book is made up of old maps, painted and collaged with white paper feathers, gold butterflies, and stamps. The text is written in blue and green gel pen over silver ink on white paper shaped like wind currents and stamped with silver ink. The color of the text correlates with each speaker in the poem. The pamphlet stitch binding is adorned with green, yellow, and blue ribbons and has small bells attached to some, reminiscent of wind chimes. It is bound in a pamphlet style to display 360 degrees open.

Juliayn Coleman Oakland, California

Papermakerâ&#x20AC;&#x2122;s Tears Volume 1

Historical Structure, Teaching Model

Tatiana Ginsberg, editor Ann Arbor, MI, Legacy Press, 2019 28 x 18 x 2.5 cm

16 x 12 x 2 cm

Historical structure. This binding uses hooked endsheets, sawn-in cords, and laced-on boards. It is fully covered in paste paper on 125 gsm Johannot paper made by the binder. The tooling is done with foil.

This model was made during the series of Bookbinding Core classes I teach at the San Francisco Center for the Book. It uses abaca paper for the cover made by Cave Paper and goatskin leather at full thickness for the sewing supports. It has goatskin onlays I added later for aesthetic effect. Created in 2019.

Laura De Anna Placerville, California Coleen Curry Muir Beach, California Touchez-voir Morina Mongin, Illustrated by Miloslav Moucha Paris, France, La Reliure Contemporaine, 2018 26 x 16 x 12 cm Semi limp binding in top-pared calf leather with incisions and paint. Hand tooled and painted title on recto with author and artist names blind tooled verso. Board edges painted. Manipulated suede doublures.

Designing a New Life Content and illustration by the artist Vocatio Mea Studio, 2015 16 x 15 x 2.5 cm Strathmore 500 Series illustration board, Fabriano watercolor paper, acrylic paint, oil pastel, archival ink, pencil and Italian script ephemera. This single edition book is written, illustrated and hand stamped by the artist. The binding is made of waxed linen. It is embellished with archeological dig beads from the artistâ&#x20AC;&#x2122;s private collection. Some beads date back to 2500 B.C.

Laura De Anna Placerville, California The Rehersal Content and illustration by the artist Vocatio Mea Studio, 2016 16 x 16 x 2.5 cm Strathmore 500 Series illustration board, Fabriano watercolor paper, acrylic paint, oil pastel, archival ink, pencil, and periodical manuscript text excerpts. This single edition book is written and illustrated by the artist. The autobiographical story emerges as the cutting and pasting letters, words, and phrases from various periodicals onto paper occurs.

Once this is completed, simple sketches are made. It is after these two processes that the book construction is considered and begins to take form. Each page is sketched on watercolor paper and painted, and the type is positioned to the page from the original text sheet. Binding is then completed. The simple binding is of waxed linen. It is embellished with archeological dig beads from the artistâ&#x20AC;&#x2122;s private collection. Some beads date back to 2500 B.C.

Judy Detrick Mendocino, California To Build A Fire Jack London, Calligraphy by the binder Attic Press, 2019 17 x 11 x 1 cm Case bound with boards covered with paper specially treated by the binder. Authorâ&#x20AC;&#x2122;s name appears as if he wrote it with a broad edge pen. He didnâ&#x20AC;&#x2122;t. His own signature was used as a model by the binder. Hand sewn linen headbands. Printed on Ingres Handmade paper. Content designed by the binder.

Insiya Dhatt San Francisco, California The Heart Longs Poem by Nasir Kazmi 14 x 14 x 3 cm The Heart Longs is a handmade book with interleaving pages, the left side is comprised of Islamic interlaced symmetrical patterns featuring the 8-pointed star and the opposing side features the ghazal (sonnet) “Dil Dhadakne Ka Sabab Yaad Aaya” by the late Pakistani poet Nazir Kazmi. This particular work is an interpretation of my experiences growing up as a Muslim girl in India. To escape Mumbai during summer, my family spent most of our summer vacations visiting hundreds of mosques that were full of intricate Islamic tiles of bright and vivid colors. Entry to these tranquil mosques required women to be covered by the burqa with our sight obscured and bodies hidden. 20

The book’s structure is to simulate that experience of being restricted and yet at the same time exposed to such wondrous beauty. The ghazal I chose, essentially a poem expressing longing for a time (or person) that was no longer part of the present, mirrors the feelings I have towards the life I left behind. These memories are bittersweet and warm but are always interleaved with the pain of being hidden and lesser as a woman. Created in 2020.

Insiya Dhatt San Francisco, California Illusions Content and illustration by the artist, 2019 25 x 25 x 2 cm Illusions examines the reality or elusiveness of basic qualities of life. By obscuring desirable qualities of life and placing them opposite optical illusions, Illusions demonstrates the varying internal and external views of one’s foundational needs. From a distance the book can be viewed as visually stimulating yet closer up the picture is more nuanced.

Lucia Farias V Garza Garcia, Nuevo Leon, Mexico 1977 - 2017 Oveja Verde 19 x 11.5 x 3.3 cm 1977 - 2017 is based on the Red String Theory. This hard cover book is one of Hedi Kyleâ&#x20AC;&#x2122;s storage book structures, a dyed TyvekÂŽ accordion with the pages attached to it, covered in black silk and foil stamped title. The text is xerox transferred and it is hand stitched with 40 meters of uncut red cotton thread.

Lucia Farias V Garza Garcia, Nuevo Leon, Mexico Ephemera Janine Vangool Calgary, Canada, Uppercase, 2019 21.5 x 17.8 x 3.6 cm Ephemera is a fine bound book in black calf leather with hand-sewn headbands in silk and foil stamped title in colored leather circles enclosed in a pop-up box.

Karen Hanmer Glenview, Illinois Karen Hanmer Glenview, Illinois Flats, Urban Houses and Cottage Homes; a companion volume to “The British home of to-day” Frank T Verity, Edwin Thomas Hall, Gerald C Horsley, and Walter Shaw Sparrow London, Hodder and Stoughton, 1906 29.5 x 22.5 x 3 cm

I labour incessantly: a William Blake to do list William Blake Karen Hanmer Book Arts 21.5 x 9 x 0.5 cm Finally, a realistic to do list. Each sheet is topped with a (non) motivational phrase by 18th-century poet William Blake excusing your inability to accomplish any task. The text is excerpted from a letter to Blake’s long-suffering patron Thomas Butts.

Pigment inkjet printing on Griffen Mill Akbar, steel brads, acrylic. Elevations and pans on boards and endpapers from the text. A vintage blueprint motif on an all-paper binding is most appropriate for this book of plans and elevations for turn of the century urban residential architecture. Likewise, the New Oriental Binding structure was chosen for its visible, linear structure and architectural feel. 24

Deborah Frase Hoyt Sausalito, California Shui Hu Chuan (All Men Are Brothers) Ascribed to Shi Nai’an and Lo Kuan-Chung; Translated by Pearl S. Buck Illustrated by Miguel Corarrubias New York, Heritage Press, 1948 29.5 x 21 x 6 cm This conservation project involved replacing the book binding and making a new slipcase. The book binding is a flat back cased-in codex binding. The book board is covered with Iris book cloth and has book cloth covered inlays. The handwritten Chinese calligraphy was done with gold India ink. The slipcase is also covered with Iris book cloth and lined with Japanese Chiyogami paper.

Lang Ingalls Crested Butte, Colorado Nouveaux exercices Frank André Jamme; Illustrated by François Bouillon Paris, Maeght Éditeur, 1999 Copy 39 of an edition of 100; signed by author and illustrator 10.5 x 8.4 x 1.5 cm Millimeter binding. Bound with tan calf on head and tail of book and filled with handmade paper. Hannemuhle Ingres hooked endsheets and Arches satin endpapers. Black goat endbands. Untitled. Bound in 2019.

Marie Kelzer Marina del Rey, California Marie Kelzer Marina Del Rey, California In the Age of Darkness Content and illustration by the binder, 2020 26.4 x 26.4 x 2.5 cm Completed in February, 2020 before COVID-19 was declared a worldwide pandemic as history was repeating itself again in this age of darkness. Things were bad already politically and ethically and the coronavirus and impending deaths were going to test any goodness or hope left. It would get worse before it got better. Darkness was all I could see. I could not see the light coming in yet. Paste paper pages, cover and endpapers with black pages in between, with #80 cover paper. Double layer folded sections are Coptic sewn with linen thread. Profound text printed on paste paper and adhered to black pages. Original paste papers by Marie Kelzer.

LIFE SIGNS Content and illustration by the binder, 2019 130.2 x 79.4 x 19 cm LIFE SIGNS is inspired by the moon and ocean. These vignettes are filled with fluid movements of playfulness and spontaneity. Paste papers inside are created with a monotype technique. A layer of heavy black acrylic paint mixed with methylcellulose is brushed all over a blank paper from left to right. Droplets of colored paint mixture are spaced sporadically on top of the painted black paper. A blank sheet of paper is placed over it and pressed down to create patterns once the paper is removed. Case binding. Hand sewn on tapes with stubbed pages. Neenah white and Speckletone black paper, 80# cover. Original one-of-a-kind paste papers tipped onto pages. Paste paper endpapers, cover and spine. Original paste papers by Marie Kelzer.

Mary Risala Laird Berkeley, California

Paloma Lucas San Francisco, California

Sequence Beginning with Tara

Just So Stories

Anita Barrows Illustration by Anita Barrow, Mary Risala Laird, and Ciel McKay Berkeley California, Quelquefois Press, 2020 25 x 17 x 1.25 cm

Rudyard Kipling, illustrated by Rudyard Kipling London, Macmillan and Co. Ltd., 1959 23.5 x 19 x 2.5 cm

Poem by Anita which she hand set in Dante. Collaborative drawings by Mary Risala Laird, Anita and her granddaughter Ciel, whose work appears on the covers. Baseballs hand colored, and other hand-colored pencil work on title page. Sewn boards binding with two colors of Japanese cloth: goldish tan on the front and reddish black on the back. Project took place over three-plus years. Anita participated in every aspect except during the last three monthsâ&#x20AC;&#x201D;the bindingâ&#x20AC;&#x201D;due to novel coronavirus, which has sequestered us all. 30

Full goatskin fine binding with design onlays, silver tooling and hand tilting. Cover and back cover designs from book illustrations. Three edges painted and decorated with acrylic ink. Hand sewn headbands and silk endpapers. Text disbound and re-sewn on cords laced-in boards. Housed in slipcase box covered with bookcloth and leather.

Bridget McGraw Oakland, California Fragment Book Art MicroInstallation 22.5 x 33.3 x 88.5 cm

Mary V. Marsh Oakland, California EXTRA EXTRA! Edition Content and illustration by the binder Quite Contrary Press, 2019 28 x 21.6 x 0.6 cm An artist’s book/exhibition catalog about reading and commuting in tabloid format, EXTRA EXTRA! Edition documents my research about the history of reading and changes in technology, and a print installation for the Kala Fellowship Award. A stack of these tabloids was included in the installation. Risograph on Cougar Natural, hand sewn with linen thread. Printed with Max Stadnik at Max’s Garage Press through the CSP 2019 Residency Award. 32

This installation is a wink and a nod to Marcel Duchamp. Duchamp: Passim: A Marcel Duchamp Anthology rests on a pair of austerely edged marble bookends and is propped open by a fragment of sea-worn marble. A littleBits™ microelectronic circuit, consisting of a tiny fan and modulated by a pulse actuator, is secured to a piece of book board. The fan blows aloft a tissue overlay page, which outlines the worn figure of a female warrior that had been etched into a marble basin about 2,500 years ago, in H.G. Spearing’s 1912 art history book, The Childhood of Art.

Bonnie Thompson Norman Seattle, Washington

Bonnie Thompson Norman Seattle, Washington Festschrift for Bill Stewart Quote from David Brooks as cited by Bill in one of his year-end newsletters. The Windowpane Press, 2020 25.2 x 20.3 x 20.3 cm open

Injustice anywhere is a threat to justice everywhere. Martin Luther King, J., illustrated by Bonnie Thompson Norman The Windowpane Press, 2019 25.5 x 38 cm Letterpress printed broadside from hand carved linoleum block, with collaged “protest signs” printed from handset metal type.

This is for Bill Stewart, thoughtful & terrific Tramp, who experienced the W O W ! of artists’ books and never looked back. With his vibrant & vital VAMP, Vicky (best of partners), he shared that W O W ! with many. Letterpress printed from handset metal and wood type in three colors. 34

Bettina Pauly San Francisco, California

Richard Pollock-Nelson Aurora, Colorado

California Poppies

Grimmâ&#x20AC;&#x2122;s Fairy Tales

Content and illustration by the artist, 2020 13 x 10 x 2.4 cm

Jakob and Wilhelm Grimm, Illustrated by Rie Cramer Urbana, Illinois: Project Gutenberg. 2016 Retrieved from http://www.gutenberg.org/ ebooks/52521 23.5 x 16 x 3 cm

California Poppies was written in January of 2020. It is set in 10 point Century Gothic, and printed on Lettra text weight with a laser printer. The cover of the book is bound in handmade Cave paper from Minneapolis. The design on the pages are made with different sized stencils. The pigment used is from an archival stamp pad. A few squares are cut out by hand. The text was fine-tuned by Alisa Golden. The book structure is an accordion that, when fully extended, is nearly three meters long. The book is housed in a half clamshell box. The decorative paper on the inside of the box is made by the artistâ&#x20AC;&#x201D;called Spachtelpapier. A form of decorating plain paper, similar to paste paper.

Book is a fine binding bound in goat leather in the Tudor style. Silk endbands. Paper is Mohawk Superfine 70 lb. Madeleine Durham paste paper endsheets. Book was downloaded from Project Gutenberg website and edited and typeset by Anna Pollock-Nelson. Printed by Richard Pollock-Nelson.

Beth Redmond San Jose, California

Randall Davies and his Books of Nonsense

Treasure Island

Oldham, England, Incline Press, 2014 23 x 18 x 2.6 cm

Robert Louis Stevenson, Illustrated by Louis Rhead Urbana, Illinois: Project Gutenberg, 1994. Retrieved from http://www.gutenberg.org/ebooks/120. 16 x 13 x 3.7 cm

Full leather binding sewn on raised bands with laced on boards, bound in blue goatskin with raised and sanded labyrinth design. Inked design on top edge. Paste downs and flyleaves of marbled paper. Hand sewn silk endbands. Untitled.

Full leather binding sewn on raised bands with laced on boards, Bound in goatskin. Hand drawn â&#x20AC;&#x153;treasureâ&#x20AC;? map loosely based on the area around Telluride, Colorado, with artistic license taken, set into raised and sanded areas on front and back covers. Paste downs and flyleaves of marbled paper. Hand sewn silk endbands. Untitled.

Kathleen Rydar San Francisco, California

Kae Sable Folsom, California

Dr. Faustus

Dime Show Review, Journal #5

Based on text by Christopher Marlowe Wolverhampton, England. Printed by J. SMART 18.5 x 11.5 x 1 cm

Kae Sable, Editor in Chief, Dime Show Review (Anthology compiled from the online journal, Dime Show Review) 88 Poets Press, 2019 22 x 14.7 x 3.4 cm

Pastiche 17th-century hand-dyed calfskin binding, sewn on raised cords with handwoven headbands and marbled end papers, housing a facsimile of a 1640 edition of Dr. Faustus. Red stained edges, fillet blind tooling, and red leather title label tooled in gold.

Dime Show Review is an anthology of authors and poets who were published on dimeshowreview.com. Journal #5 is laser printed on Mohawk Superfine paper and bound in red goat leather. The endbands include a primary endband sewn in linen; the secondary endband is sewn in silk. The creative dance initiated in print and bound in the book is represented by inlays and onlays of goat leather and encaustic monotype on paper. This book was compiled, published, printed, and bound by Kae Sable, Editor in Chief, Dime Show Review. 41

Lily Stevenson Berkeley, California Day by Day Journal 22.2 x 16 x 2.5 cm This buttonhole stitched book is constructed to be used as a daily diary that has sufficient pages for 6 months, the flatback binding makes it very easy to write in. The tabs that separate the months are cut-down file folders and the cover is handmade Japanese momigami paper.

Linda Turner Fort Bragg, California Custom Clamshell Box 17 x 10.5 x 3.2 cm This box was created to hold The Perfect Ready Reckoner and Log Book (The Trader, Farmer, and Mechanicâ&#x20AC;&#x2122;s Useful Assistant) New York, Hurst & Company, 1890. Custom measured, hinged clamshell box for Ready Reckoner. Book boards, Duo bookcloth.

Alice Vaughan Newburgh, New York

On Stage

The Quadragennial

Box of Box Structures 23 x 13 x 10 cm

52 x 33 cm

Using traditional binding materials, a stage and curtain doors to present a variety of clamshell boxes. The box is covered in Madelaine Durham’s paste paper and Bridget O’Malley’s Cave paper.

Map/Scroll of a 1979 Atlantic crossing using traditional bookbinding materials, stained-to-look antique map mounted to distressed leather.

Pamela Wood Tempe, Arizona Chemins de Traverse Luc Bureau, illustrated by Ghislaine Bureau Quebec, Canada, Edition Les Giboulées de Quebec 25.5 x 17.5 x 3 cm Case Binding with exposed sewing. Each signature is tacketed to the cover with the sewing exposed on the spine. Papers used: flysheet 1, Lokta herringbone pattern; flysheets 2 and 7, original tire print on translucent vellum. Binder’s handmade paste paper on book cover and clamshell box. The book cover inlays are also the original tire print sized to fit the design shapes.

Nina Eve Zeininger San Francisco, California A Photographic Exploration of Aliso and Wood Canyons Wilderness Park Content by the artist neon sprinkles studio, 2019 10 x 6.4 x 0.6 cm The photographs in this series were taken during a three-hour hike in Aliso & Wood Canyons Wilderness Park near Irvine, California. All photographs were captured digitally and were turned into a digitally printed zine.

The zine was bound in a tip-folio format allowing the pages to pop out of the cover in a circular shape. This references the nature of a hike where one begins and ends in the same spot. The book structure also allows viewers a sense of passing through the wilderness in a simulation of the hike the artist took. The zine was printed on Neenah Paper Company’s Moonrock paper, which is slightly grey and mimics the overcast weather on the day the images were captured.

Coleen Curry Muir Beach, California Emoji face in bright yellow snake skin, black box calf with bronze calf bow tie onlays.

CADAVRE EXQUIS (EXQUISITE CORPSE) is a collaborative approach to artmaking invented by Parisian Surrealists in 1925 to create bizarre and intuitive drawings. It is similar to the old parlor game Consequences, in which players write on a sheet of paper, then fold it to conceal what they have written, and pass it on to the next player. The name cadavre exquis was derived from a phrase that emerged during an early round of the surrealists’ game: “le cadavre exquis boira le vin nouveau” (“the exquisite corpse will drink the new wine”).

Pamela Wood Tempe, Arizona The inlays use various colors of Harmatan goatskin leather, original marbled book cloth, 14-carat gold thread, and wood veneers. Design influenced by her love for the Bauhaus design movement. The arms are an intentional posture from art history called “arms akimbo.”

DH Mayeron Berkeley, California The idea was to make the legs look mummified. Legs and feet of binder’s board. Mummy wrap in sewing tape. PVA adhesive. Problem to overcome was legs are tapered and sewing tape doesn’t stretch.

45.7 x 15.2 cm

Karen Hanmer Glenview, Illinois

Beth Redmond San Jose, California

Lightly sanded and laser-printed leather onlay.

A head borrowed from The Scream by Edvard Munch executed in acrylic paint on a silver leather onlay topped by cartoon hair of rainbow colored leather onlay.

Maged Salib San Jose, California

Lang Ingalls Crested Butte, Colorado

The World has Africa at its heart. Made with leather onlays.

The ribcage is in eggshell-colored, alum-tawed goat, hand pared for onlay use. I had decided to use a ribcage for the “body” part I made, but due to covid exploding while I was figuring out the central portion, I decided to make the ribs into a heart shape. I finished with tooling, a metallic light blue, that emphasizes the heart and uses dots. I liked it so much that I completely forgot to add the arms.

Emily Patchin Marina, California I used a Canson black-brown paper/stock I had on hand. Drew “roots” on thin mylar sheet, laid them over the top of the paper, and cut everything out with a scalpel.

Kae Sable Folsom, California The feet are dancing an Argentine Tango! Bright colors swirl as our figure dances on impossible shoes. No matter, the dance is the destination. Sanded and blind tooled leather onlays glide and swirl to timeless music.

45.7 x 15.2 cm

Bonnie Thompson Norman Seattle, Washington

Marlyn Bonaventure Orange, California

Head of pared leather onlays and foil stamped dingbats on a KwikPrint.

The head of the Exquisite Corpse is created with leather onlays and blind tooling. Lightened areas of the face were accomplished with light sanding and the gold in the hair is gold foil. Some shadow areas have a wash of thinned acrylic paint.

Richard Pollock-Nelson Aurora, Colorado I was responsible for the body. I did thin inlays for the outline of the body and tooling for the insides. I thought it would be interesting to portray the inside of the body. To get the outline of the body and arms, I pressed copper wire into the leather then filled the grooves with thin strings of goat leather. The hands, fingers and items in the body were hand tooled.

Servane Briand Palo Alto, California I got inspired by the original coinage of the exquisite corpse tradition. In French, the collaborative technique is called cadavre exquis so I made leather onlays of the letters E S K and I, and added gold leaf and carbon tooling details to create an ESKI/exquis body.

Nanette Wylde Redwood City, California

Peggy Boston San Francisco, California

When it was my turn and I opened the plaqette I saw the bottom of a belly begging to be buoyed up with a swish of tail. The lower third of this mer creature was created from lotka paper coated in sparkly nail polish. She tantalizes with a glass bead skirt. Give a little shake, her allure you will see.

Design inspired by Japanese dancers, multiple colors of goatskin onlays.

45.7 x 15.2 cm

Andy Rottner Vallejo, California

Laine Tammer Santa Clara, California

My part is leather collage with debossing.

Goatskin onlays. The texture in the dark green portion of the hat was created by pressing a plastic mesh onion bag into wet leather. Pewter leaf only created with a punch.

Juliayn Coleman Oakland, California Materials: mole fur, goat parchment, walnut ink, silver foil. Process: skinned and tanned wild mole skin.

Paloma Lucas San Francisco, California Snake created with leather pieces.

Gillian Boal Berkeley, California

Mary Risala Laird Berkeley, California

I was assigned the bottom third of my plaque. I wanted it to look like a clown. I made the trousers using a tartan calf leather that I have in the studio. I added quilt batting underneath to make them puffy and raised to touch. I used highly polished brown calf for the boots. I pared the leather and tooled the circles in blind on the boots. I used polyvinyl alcohol to adhere them all.

Ostrich skin, Niger goatskin and cow. Inlays and onlays. Dots blind stamped with hot tool and filled with Liquid Chrome paint.

45.7 x 15.2 cm

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