Downsize or Expand

No, matter how tough things may feel,

there’s always something good waiting around the corner.

Karen Salmansohn

© 2019 Louise Levergneux. Texas Paintbrush in the south of Texas, my backyard in April, not bad for inspiration!

© 2019 Louise Levergneux. Texas Paintbrush in the south of Texas, my backyard in April, not bad for inspiration!

Last January, when a certain practical side of life interrupted art, I cancelled a few visits in Florida. Since then, I re-communicated with Dorothy Simpson Krause, a local artist and book maker from Ft. Lauderdale, whom I had planned on visiting. In response, Dorothy was generous in emailing me images of her atelier and art work to share with all of you.

In my creative world, a zone, a sacred space is missing — a studio. I identified with my last workroom in Boise, Idaho, as 1/2 Measure Studio, since my space was a third of the square footage of my studio in Utah, but it was comfortable. Now, my atelier has shrunk again! Should I call it 1/16 Measure Studio?

© 2017 Louise Levergneux. Working on my artists’ book “Shadow Me” in my 1/2 Measure Studio in Boise, Idaho.

© 2017 Louise Levergneux. Working on my artists’ book “Shadow Me” in my 1/2 Measure Studio in Boise, Idaho.

© 2019 Louise Levergneux. Without a physical space to call my own, here I’m working on my artists’ book “Surveillance” in Natalie Freed’s studio in Austin, Texas.

© 2019 Louise Levergneux. Without a physical space to call my own, here I’m working on my artists’ book “Surveillance” in Natalie Freed’s studio in Austin, Texas.

As artists, we learn how to downsize or expand our space depending on our situation. In 2013 Dorothy sold her home of 35 years and gave up her 3,200 square foot studio in New England to move full-time into a condo in South Florida.

© 2019 Dorothy Simpson Krause. Dorothy’s studio in Ft Lauderdale, Florida.

© 2019 Dorothy Simpson Krause. Dorothy’s studio in Ft Lauderdale, Florida.

Dorothy explains her space and how it has not prevented her from creating wonderful large scale mixed media pieces, artist books and book-like objects that bridge between these two forms.

I occupy a compact office/studio. It has adequate counter and storage for minor projects, an Apple Power Tower Pro with 30″ monitor, a 17″ MacBook Pro, an Epson RX680 duplex printer and a 13″ Epson Stylus Pro 3880.

The condo has a considerable storage space for necessary supplies and ephemera and an outside storage unit for larger art.

I use the counter/bar in the kitchen when I need to spread out. For larger projects, I am fortunate to have access to the workspaces at the Jaffe Center for Book Arts http://www.library.fau.edu/depts/spc/jaffe.htm at Florida Atlantic University in Boca Raton. It is a excellent resource for inspiration and support.

© 2019 Dorothy Simpson Krause. Dorothy’s many filing cabinets.

© 2019 Dorothy Simpson Krause. Dorothy’s many filing cabinets.

© 2019 Dorothy Simpson Krause. Making a book for her Alaska trip.

© 2019 Dorothy Simpson Krause. Making a book for her Alaska trip.

Although my art background is traditional, the computer has become a primary art-making media, a repository of my records and my lifeline to the world.

My work embeds archetypal symbols and fragments of image and text in multiple layers of texture and meaning. It combines the humblest of materials, plaster, tar, wax and pigment, with the latest in technology to evoke the past and herald the future. My art-making is an integrated mode of inquiry that links concept and media in an ongoing dialogue — a visible means of exploring meaning.

© 2010 Dorothy Simpson Krause.  Ancient Mysteries , a pyramid shaped structure was created after Dorothy had an opportunity to work with  Karen Hanmer .  Ancient Mysteries  can be folded in a virtually infinite number of ways, and is housed in a leather slipcase embellished with two triangular pieces of metal.6''x6''x1.5'' 36 pages

© 2010 Dorothy Simpson Krause. Ancient Mysteries, a pyramid shaped structure was created after Dorothy had an opportunity to work with Karen Hanmer. Ancient Mysteries can be folded in a virtually infinite number of ways, and is housed in a leather slipcase embellished with two triangular pieces of metal.6''x6''x1.5'' 36 pages

© 2010 Dorothy Simpson Krause.  Explorations  was created during a trip to Egypt in 2010. Dorothy carried with her, a small book made with paper aged by crumpling and staining with tea, coffee and walnut ink. 6"x5.5", 24 pages.

© 2010 Dorothy Simpson Krause. Explorations was created during a trip to Egypt in 2010. Dorothy carried with her, a small book made with paper aged by crumpling and staining with tea, coffee and walnut ink. 6"x5.5", 24 pages.

© 2010 Dorothy Simpson Krause.  Explorations  was bound with a heavy paper, embossed with symbols resembling heiroglyphics, and was pamphlet stitched with three beads in the spine.

© 2010 Dorothy Simpson Krause. Explorations was bound with a heavy paper, embossed with symbols resembling heiroglyphics, and was pamphlet stitched with three beads in the spine.

© 2010 Dorothy Simpson Krause. Vintage photographs of Egypt were collaged into the pages of  Explorations .

© 2010 Dorothy Simpson Krause. Vintage photographs of Egypt were collaged into the pages of Explorations.

© 2018 Dorothy Simpson Krause.  Apache  began on a trip to Arizona, this small book explores our appalling treatment of Native Americans. Vintage photos of Apache Indians are collaged onto small eco printed tags which are placed into a pocket accordion, designed to fit into a well-worn leather pouch. Closed 5.5″x 3.75″x 1.75″, opened (5.5″x 28″).

© 2018 Dorothy Simpson Krause. Apache began on a trip to Arizona, this small book explores our appalling treatment of Native Americans. Vintage photos of Apache Indians are collaged onto small eco printed tags which are placed into a pocket accordion, designed to fit into a well-worn leather pouch. Closed 5.5″x 3.75″x 1.75″, opened (5.5″x 28″).

© 2012 Dorothy Simpson Krause.  River of Grass  created as part of the Helen M. Salzberg Inaugural Artist in Residence at the Jaffe Center for Book Arts, Wimberly Library, Florida Atlantic University.

© 2012 Dorothy Simpson Krause. River of Grass created as part of the Helen M. Salzberg Inaugural Artist in Residence at the Jaffe Center for Book Arts, Wimberly Library, Florida Atlantic University.

© 2012 Dorothy Simpson Krause.  River of Grass.

© 2012 Dorothy Simpson Krause. River of Grass.

© 2012 Dorothy Simpson Krause.  River of Grass.

© 2012 Dorothy Simpson Krause. River of Grass.

© 2012 Dorothy Simpson Krause.  River of Grass.

© 2012 Dorothy Simpson Krause. River of Grass.

Dorothy eloquently explains her proposal for this prestigious residency and how her production paid homage to Marjory Stoneman Douglas’ seminal book, “The Everglades: River of Grass.


Through our mutual communication and after viewing Dorothy’s website, I’m looking forward to a visit, when life’s magnificent path escorts me back in that corner of the world.

Meanwhile, I’m dreaming of a new set-up in our travel trailer to work anytime a wave of creativity comes along. I have a picture of what is needed using a lift-top with an adjustable lift platform for under our bed. If anyone knows of someone that is handy with tools that can build me an under the bed worktable, please let me know. I will be spending another two weeks in the Phoenix, Tucson, Gila Bend area of Arizona.

I would love to visit some artists’ book makers in the area, if anyone is interested in meeting with me, please email me at louiselevergneux (at) gmail (dot) com. Looking forward in meeting you!

Example of my dream workstation!! but under the bed storage area instead of a pouf!

Example of my dream workstation!! but under the bed storage area instead of a pouf!


Works In Progress

It has already been a month since my last blog post. Short but sweet, this period has given me time to progress with my artists’ book Surveillance, a tunnel book structure. I’m absolutely thrilled with the results and look forward to meeting with Natalie Freed in Austin in April for integrating the electronics part of the book. It did require some patience and time to get back into detail work for this publication and applying glue again! The month gave me pause for reflection and the time spent on the creation of new publications was fantastic. You know who you are when you are creating what you love. 

© 2019 Louise Levergneux. Prints of the cover for Surveillance.

© 2019 Louise Levergneux. Prints of the cover for Surveillance.

© 2019 Louise Levergneux. Prints of the pages for Surveillance.

© 2019 Louise Levergneux. Prints of the pages for Surveillance.

© 2019 Louise Levergneux. Remembering registration on an Epson R3000.

© 2019 Louise Levergneux. Remembering registration on an Epson R3000.

© 2019 Louise Levergneux. Back page for Surveillance.

© 2019 Louise Levergneux. Back page for Surveillance.

© 2019 Louise Levergneux. Cutting details for the cover for Surveillance.

© 2019 Louise Levergneux. Cutting details for the cover for Surveillance.

© 2019 Louise Levergneux. Measuring for the accordion side for Surveillance.

© 2019 Louise Levergneux. Measuring for the accordion side for Surveillance.


Last January, in Florida, I meticulously planned a few studio and contact visits. When a problem with our travel trailer arose, another disappointment interrupted art. As plans changed, I could no longer meet with John Cutrone, at the Jaffe Center and a studio visit with Dorothy Krause had to be cancelled. I also proposed to meet Merike van Zanten during her residency at The Arthur & Mata Jaffe Center for Book Arts. With Le Château’s problem, this stopover was also annulled.

Back in September 2017, I wrote a post entitled Pennsylvania. This post featured artists’ books with the theme of war after touring Gettysburg. One of the artists’ book featured in this post was A Soldier of the Second World War by Merike van Zanten. So, knowing I would be in Florida, I arranged a get together. Unable to view Merike’s creative work in person, I thought you might join me and look at what Merike is accomplishing during her time at the JCBA’s as part of the Helen M. Salzberg Artist in Residence for the 2018/2019 academic year. 

© 2019 Merike van Zanten. John1, eco print on paper.

© 2019 Merike van Zanten. John1, eco print on paper.

© 2019 Merike van Zanten. Hibiscus and fern print on paper from Merike’s residency.

© 2019 Merike van Zanten. Hibiscus and fern print on paper from Merike’s residency.

Merike, a book artist, comes to the residency from the Netherlands, where she founded Double Dutch Design. Her artists' books focus on nature among other things and she incorporates found materials, utilizing a variety of techniques. Some of her books are quite sculptural. 

Merike’s proposed Salzberg Residency creative project begins with substantive research and experiments in eco printing, a technique of extracting color and images from plants and metals through steam, without the use of inks. She uses paper, fabric, and leather as substrates, and these experiments will be bound into an artists’ book unified by technique.

© 2019 Merike van Zanten. Gerbera Daisy, coptic bound notebook with eco printed leather cover from Merike’s residency,

© 2019 Merike van Zanten. Gerbera Daisy, coptic bound notebook with eco printed leather cover from Merike’s residency,

© 2019 Merike van Zanten. John8, eco print eucalyptus on silk.

© 2019 Merike van Zanten. John8, eco print eucalyptus on silk.

During the residency Merike also conducted a series of workshops on eco printing at The Jaffe Center, as well as at outside venues.

Merike van Zanten is getting lots of publicity for her residency. Here is a link to an article by Judith Klau, Reflections from the Jaffe Center: Wednesdays with Arthur #7 who explains Merike’s work in progress.

© 2019 Helen Edmunds. Merike at work at the Jaffe Center during her residency.

© 2019 Helen Edmunds. Merike at work at the Jaffe Center during her residency.

The South of Florida is one stop I wish I had not missed, but as Carre Otis said “Life inevitably throws us curve balls, unexpected circumstances that remind us to expect the unexpected”. 

Talk to you in May!

Austin.6

I wish you all a Happy New Year—create and be prosperous.

I’m in Florida at the moment, trying to catch up on organizing my databases, going through photos to make room on my external hard drives... You know the new year cleansing!

Will talk about clearing and cleansing later... For now let’s get back to business after a couple of weeks off for the holidays! Last Fall while in Texas, I visited Flatbed Press with Mary Braughman from Austin Book Arts Center.

© Louise Levergneux. I enjoyed the four legged creates of Texas.

© Louise Levergneux. I enjoyed the four legged creates of Texas.

Flatbed is located on Boggy Creek, near the University of Texas. This Spring, Flatbed will be moving to 3701 Drossett Drive in Austin. Flatbed is comprised of two divisions, the Flatbed Press, a publishing workshop collaborating with artists to produce limited editions of original etchings, lithographs, woodcuts and monoprints. And the second division is Flatbed Gallery—a private art gallery, which specializes in original prints.

I had the privilege of meeting Annalise Natasha Gratovich who was working diligently on her own new series, her largest series to date. The Villagers, Carrying Things From Home, is co-published by Flatbed Press. The remarkable series includes eight 3 x 5.5 foot hand-dyed chine collé woodcuts.

© Louise Levergneux. Annalise Natasha Gratovich working on her new series, The Villagers, Carrying Things From Home.

© Louise Levergneux. Annalise Natasha Gratovich working on her new series, The Villagers, Carrying Things From Home.

© Louise Levergneux. © Louise Levergneux. Annalise Natasha Gratovich at Flatbed Press.

© Louise Levergneux. © Louise Levergneux. Annalise Natasha Gratovich at Flatbed Press.

So, what does “chine collé woodcuts” mean, you ask? Chine-collé roughly translates from French as “chine” meaning tissue, and “collé” is glue or paste. The paper, usually in pre-cut shapes, is actually bonded to the heavier support paper of the print in the printmaking process. The over-all effect of collé is that the paper is actually bonded, not just glued, to the print. It can, at times, look like it is embossed. The word chine was adopted because the thin paper traditionally used was imported into Europe from China, India and Japan. One of the commonly applied techniques includes dampening the thin paper and placing it on the inked plate. What makes collé different from collage is that it is then run through a printing press where the pressure of the press adheres and bonds the collé paper to the print.

This process is how Annalise applies the colour to her work and she carefully hand dyes the coloured papers.

© Louise Levergneux. Annalise Natasha Gratovich’s chine collé woodcuts drying at Flatbed Press.

© Louise Levergneux. Annalise Natasha Gratovich’s chine collé woodcuts drying at Flatbed Press.

Annalise says thoughtfully of her creative work —

“The Journey. Searching. Longing/Belonging. Home identity. Personhood… Where are you? Where am I? Can we, will we, be together? My work explores themes of displacement, self and cultural identity, intention and accountability as well as burden and regret. The figures are based on matryoshka dolls (Russian stacking dolls) and the textile patterns are derived from Ukrainian embroidery, either in patterning or stylistic outline. This nod to the traditional and folk arts of the lands of my heritage, Ukraine and the American South, is important and used to invoke feelings of nostalgia- memories or fantasies of far away places lost or cannot be returned to. I consider my work most successful when a viewer is compelled to dream of these memories and places, when they relate to my characters, and in that way I consider my work a visual continuation of what is shared through the rich and important art of storytelling.”

© 2018 Annalise Natasha Gratovich. The Builder, part of The Villagers, Carrying Things From Home by Annalise Natasha Gratovich.

© 2018 Annalise Natasha Gratovich. The Builder, part of The Villagers, Carrying Things From Home by Annalise Natasha Gratovich.

© 2018 Annalise Natasha Gratovich. The Musician, part of The Villagers, Carrying Things From Home by Annalise Natasha Gratovich.

© 2018 Annalise Natasha Gratovich. The Musician, part of The Villagers, Carrying Things From Home by Annalise Natasha Gratovich.

Gratovich is the Associate Gallery Director of the fine art print publisher Flatbed Press and a member of the Board of Directors of PrintAustin, a month-long, city-wide printmaking event for which she has helped organize exhibitions and special events, curate the PrintAustin Invitational, and has participated in artist and curator talks, and panel discussions.

© 2018 Annalise Natasha Gratovich. To Awaken In Paradise an etching with hand dyed chine collé by Annalise Natasha Gratovich.

© 2018 Annalise Natasha Gratovich. To Awaken In Paradise an etching with hand dyed chine collé by Annalise Natasha Gratovich.


I’m around the Tampa area of Florida for the next 3 weeks, then I’m visiting The Florida Atlantic University Wimberly Library and the Jaffe Collection at the end of January in Boca Raton. If you are interested in a visit to your studio, please, let me know. I would love to be introduced to your artists’ books.

Austin.5

There is a considerable amount of art to see and visit in Austin, Texas. A few weeks ago I was at the Austin Book Arts Center located in studio #114 in Flatbed Press building. While I was meeting with Linda Anderson, Mary Baughman stopped by to say hello. We met last year, when she created introduction opportunities to other artists in the area.

© 2018 Linda Anderson. Michael Sutton, Louise Levergneux, Mary Baughman, outside the Austin Book Art Center, Austin, Texas.

© 2018 Linda Anderson. Michael Sutton, Louise Levergneux, Mary Baughman, outside the Austin Book Art Center, Austin, Texas.

Mary’s career spanned 40 years at the University of Texas, most of that time caring for unique books at the Ransom Center. Teaching book arts for children has convinced her that children who learn to love books continue to treasure reading and writing, and will support the libraries of the future. Mary is additionally a associate of the Lone Star chapter of the Guild of Book Workers, a founding member of Austin Book Workers, and one of the originators of the Book Arts Fair held for 20+ years at Laguna Gloria Art Museum.

If you are a conservator you might be interested in reading on how Mary spearheaded the effort at the Ransom Center by creating insect ID flashcards.

After my time with Linda, Mary accompanied me around Flatbeb Press, founded in 1989 by Katherine Brimberry and Mark L. Smith. The facility includes not only Flatbeb’s shop, offices, and galleries, but also eleven tenants. The mix of visual-arts professionals provides a "24/7" creative synergy in the building.

Gallery Shoal Creek, CAMIBA Art,

Austin Book Arts Center,

L_A_N D Architects,

Hubbard Birchler Studio,

Daniel Arredondo Studio,

Smith and Hawley, NJ Weaver Studio,

Recspec Design Studio,

Jacqueline May Studio and Troy Brauntuch Studio.


© 2018 Louise Levergneux. Ericka Walker, exhibition of lithographs and screen prints.

© 2018 Louise Levergneux. Ericka Walker, exhibition of lithographs and screen prints.

While walking around the galleries, I witnessed Influence an exhibition of recent works by Nova Scotia based artist Ericka Walker, who was born in Hartford, Wisconsin, US.

Her large-scale multi-color lithographs draw on the vibrant history of propaganda, printed ephemera, and advertising from twentieth century Europe and North America. Ericka's work exposes nostalgia as an ongoing rhetorical device in a contemporary sociopolitical climate that clings savagely to destructive birthrights and colonial residues. As a self described “Daughter of Colonialism,” Walker considers the history of her parent nation, her host country, and to her own family’s involvement in settlement, agriculture, industry, and military service as enterprises that are far more complex than any slogan or advertisement can acclaim.

© 2018 Louise Levergneux. Ericka Walker, lithograph and screen print.

© 2018 Louise Levergneux. Ericka Walker, lithograph and screen print.

© 2018 Ericka Walker, lithograph and screen print.

© 2018 Ericka Walker, lithograph and screen print.

© 2018 Ericka Walker, lithograph and screen print.

© 2018 Ericka Walker, lithograph and screen print.

© 2018 Ericka Walker, lithograph and screen print.

© 2018 Ericka Walker, lithograph and screen print.


As I roamed the hallways the exhibition Language of Flowers engaged my eye. This show presents Brooklyn based, West Virginia native, Martin Mazorra’s botanical woodcut and letterpress prints that maintain the Victorian tradition of the language of flowers. Historically, flowers were a means to send coded messages that were otherwise unspoken in public. Specific flowers communicated distinct postures or sentiments. In Mazorra’s Language of Flowers, the choices of particular flowers or bouquets, along with provocative text are a contemporary interpretation to this tradition of cautious exchange.

© 2018 Louise Levergneux. Martin Mazorra, woodcut with movable type.

© 2018 Louise Levergneux. Martin Mazorra, woodcut with movable type.

© 2018 Martin Mazorra, woodcut with movable type.

© 2018 Martin Mazorra, woodcut with movable type.

© 2018 Martin Mazorra, woodcut with movable type.

© 2018 Martin Mazorra, woodcut with movable type.

© 2018 Martin Mazorra, woodcut with movable type.

© 2018 Martin Mazorra, woodcut with movable type.

Martin Mazorra is a Brooklyn based artist originally from West Virginia. He works chiefly in the medium of woodcut and letterpress, in a range of scales from small books, prints on paper, and on canvas, to site specific print-based installations.

© 2018 Martin Mazorra, woodcut with movable type.

© 2018 Martin Mazorra, woodcut with movable type.

Whenever you can, join me in visiting exhibition in your area.


Papers, papers and more papers!

What variety of papers do you resort to for your printing job — artists’ books, prints, photography? 

Do you own an inkjet printer, a laser printer or a letterpress?

These questions are often asked by other artists or blog readers on the substrate I use to produce my artists’ books. I find papers tactile and love their different textures, whether smooth, rough, lightweight or thick. It's a pleasure to receive a visual signal of the tactile experience a paper communicates.

When I first started producing artists' books, finding papers that would impart the meaning of my publications demanded lots of research. In the end, the potential of papers designed for inkjet printers offered my books their clear, precise, vivid colours, and the contemporary look I enjoy.

© 2016 Louise Levergneux, City Shields manhole covers printed on Generations Quad

© 2016 Louise Levergneux, City Shields manhole covers printed on Generations Quad

Generations Quad (10 mil-260 gsm) was the first inkjet paper I purchased. This is a lustre photographic paper that produces a consistent image with instant dry-time allowing prints to be handled immediately without fingerprints or scuffing. It’s available in different sizes, 13 x 19 inches works well for my template in which I print images of manhole covers for my on-going project City Shields. I can still purchase it after 18 years.

I have used Aspen paper for many book projects, as in the insert for City Shields, the pages for Equinox, 26NOV2006, and Ambivalence. Unfortunately Aspen paper is no longer available.

Using I have printed Parade, Outside the Studio, 6:45, Decades Apart, and obsession. This paper is excellent for folded pages, since it does not seem to break

Papers for inkjet printers are coated and the fibres break when folded even on the proper grain direction. After looking for various types of papers, I identified a couple that work well for the production process of the accordion, fold out, gatefold,

Moab Papers by Legion Papers continue to be some of my favourites. Moab produces fine art, photographic, and specialty papers. Each paper is explained in detail on their website. Moab offers free downloadable profiles for your printer and for each and every paper they sell. Utilizing their profiles will deliver the most satisfactory results. 

Moab page describing profiles to start  downloading  and install

Moab page describing profiles to start downloading and install

Legion Papers offers a selection of papers by its application, category, or by name. The Legion Papers website presents the opportunity to select the perfect paper for the proper printing job by responding to a few questions.

 

Legion Papers website page, most of the choices of paper by  applications

Legion Papers website page, most of the choices of paper by applications

Moab Entrada and Lasal Photo papers

Moab Entrada and Lasal Photo papers

After conversations with contacts at Moab Papers, Lasal Photo Matte, a double-sided paper which prints with sharp and vivid images, and Entrada Rag a 100% cotton fine art paper were wonderful finds. Entrada Rag is archival acid, and lignin-free with superb handling and sharpness. It also has an expanded colour gamut, natural contrast, and high ink load. It is compatible with both dye and pigment inks. I chose Entrada Rag for Perception, Guadalupe, and the flags of my flag-book Faux-pas.

© 2018 Louise Levergneux, detail printed page of Perception on Estrada Rag

© 2018 Louise Levergneux, detail printed page of Perception on Estrada Rag

A Day Filled with Onomatopoeias was printed on Kodak Bright White Matte Inkjet Paper. This paper can be purchased from Office Depot, and produces crisp text, vivid colours and is designed for use with most inkjet printers. It can also be used with laser printers. It was ideal for the comic book look I was focused on creating.colours and is designed for use with most inkjet printers. It can also be used with laser printers. It was ideal for the comic book look I was focused on creating.

© 2018 Louise Levergneux, detail of the turkish map fold page of Finding Home on Kodak Bright White Matte Paper, great paper for folds

© 2018 Louise Levergneux, detail of the turkish map fold page of Finding Home on Kodak Bright White Matte Paper, great paper for folds

Presently, I use primarily Lasal Photo Matte Paper from Moab for my books. It has given me outstanding results for Shadow Me, Finding Home, Conversation, Xtraction, Traverse, and Entre deux. If you're looking for the ideal paper for limited edition books where the prints encounter frequent handling, Lasal Photo is for you. 

© 2018 Louise Levergneux, box of Lasal Photo by Moab in the 12 x 13 inches 

© 2018 Louise Levergneux, box of Lasal Photo by Moab in the 12 x 13 inches 

© 2018 Louise Levergneux, detail printed page of Shadow Me on Lasal Photo from Moab Papers

© 2018 Louise Levergneux, detail printed page of Shadow Me on Lasal Photo from Moab Papers

© 2018 Louise Levergneux, detail printed page of Finding Home on Lasal Photo from Moab Papers

© 2018 Louise Levergneux, detail printed page of Finding Home on Lasal Photo from Moab Papers

I order Moab and Inkpress papers from ITSupplies in Meadows, Illinois and order the Generations Quad from Ink2Image in Glenview, Illinois.

Try these papers and have fun with the results! Let me know what you think.

Book Arts Program, Marriott Library

Before leaving Salt Lake City, I printed all the pages and the cover of my book Shadow Me. I was having so much fun I continued to print the pages and images for Finding Home. The books are ready to cut, fold, and assemble. It is difficult to keep a working schedule on the road. First, I don’t have much space and often the everyday activities take precedence. That’s life when it interferes with art!

© 2018 Louise Levergneux, printed pages of Shadow Me

© 2018 Louise Levergneux, printed pages of Shadow Me

© 2018 Louise Levergneux, printed pages of Finding Home

© 2018 Louise Levergneux, printed pages of Finding Home


Last week, at the Book Arts Program Studio of the Marriott Library, I met with Emily Tipps, Program Manager, and Marnie Powers-Torrey, Head of the Book Arts Program and Managing Director of the Red Butte Press.

© 2018 Louise Levergneux, Marnie Powers-Torrey at the University of Utah

© 2018 Louise Levergneux, Marnie Powers-Torrey at the University of Utah

I had the pleasure of seeing some of Emily and Marnie's artists’ books, produced during the last few years. They also demonstrated some of the books produced by the Red Butte Press. The conversation continued by sharing thoughts on structures and techniques chosen, favourite binding methods, typestyle and fine press. The type of substrate of various books was stimulating as I’m constantly looking to print on new papers.

The feel of paper for the fourth imprint of the Book Arts Program (In)visible Shores by Danielle Dubrasky was very tactile, sensual to the touch. BAP imprints are designed, printed, and bound in-house.

© 2018 Louise Levergneux,  (In)visible Shores  by Danielle Dubrasky

© 2018 Louise Levergneux, (In)visible Shores by Danielle Dubrasky

© 2018 Louise Levergneux,  Stranger and Stranger  by Katharine Coles The book  Stranger and Stranger  by Katharine Coles with images translated from the paintings of Maureen O-Hara Ure

© 2018 Louise Levergneux, Stranger and Stranger by Katharine Coles The book Stranger and Stranger by Katharine Coles with images translated from the paintings of Maureen O-Hara Ure

Marnie shared three of her own artists’ books. It was delightful to see Marnie enjoying the feeling of renewal through production.

© 2018 Louise Levergneux, Cities & Justice by Marnie Powers-Torrey

© 2018 Louise Levergneux, Cities & Justice by Marnie Powers-Torrey

© 2018 Louise Levergneux, Nuts, Seeds & Heavier Fare (left) and Mama Self (right) by Marnie Powers-Torrey

© 2018 Louise Levergneux, Nuts, Seeds & Heavier Fare (left) and Mama Self (right) by Marnie Powers-Torrey

Mama Self is an edition of 32, the age of the artist when she became pregnant and gave birth to her second child, realizing that she'd never be the same again.
Work on this book began in 2006 in a workshop with the brilliant Julie Leonard, just after the birth of the artist's third and last child. After nine years of gestation, the book was finally released into the world. Imagery is derived from circular ink washes suggesting the cyclical nature of being, the constancy of motion, revolving planets, ripe ovum and lactating breasts. The text is experimental and broken, collected in haste throughout the early years of motherhood. Stripped of formality and exposing raw, maternal femininity, the words string together a visual poem of primal and authentic language.

A short exposure with Marnie Powers-Torrey by KUEDCHANNEL7. "The visual book, as I like to call it, can be a mode of creative expression."


Emily Tipps is the founder of High5 Press. At the moment Emily has a new visual book in production with the working title of Amoral. I enjoyed the visual aspect, design, and composition of its pages. 

© 2018 Louise Levergneux, Amoral, work in progress by Emily Tipps

© 2018 Louise Levergneux, Amoral, work in progress by Emily Tipps

I aim to provoke energetic reader interaction with innovative texts, using letterpress printing, hand paper-making, and bookbinding to create limited-editions whose content and form are conceptually and interestingly related. Says Emily.

The most enjoyable part of traveling is meeting old friends and artists. I’m looking forward to having a space to create and express myself through these travels. Visiting artists and getting to know the productions behind the studios are absolutely invigorating! I welcome the next encounter.

Southwest School of Art, San Antonio

Opening one's self to different possibilities does help to open doors. After my visit with Mary Baughman from the Austin Book Arts Center, I received a few emails from interested parties. 

© 2017 Louise Levergneux, San Fernando Cathedral, San Antonio, Texas

© 2017 Louise Levergneux, San Fernando Cathedral, San Antonio, Texas

I responded to an email from Beck Whitehead, an advisory member of the Austin Book Arts Center to meet with her and Eleonore Lee, the Program Coordinator of the Southwest School of Art in San Antonio, Texas. 

On Monday the 27th of November, after an hour trip to San Antonio, I met with both Beck and Léo (as Eleonore likes to be called) at the Paper-making and Book Arts Lab. At the end of my visit, Léo invited me to come next year and work in the lab using my equipment. Space would be nice—an actual space or studio time!

The Southwest School of Art is known for its visual arts education. It offers a Bachelor of Fine Arts degree, and studio art programs for adults, children, and teens. Graduates from the Southwest School of Art’s BFA degree program gain business, critical thinking, and studio skills necessary for careers as working artists and engaged citizens.

© 2017 Louise Levergneux, Southwest School of Art, printmaking lab

© 2017 Louise Levergneux, Southwest School of Art, printmaking lab

© 2017 Louise Levergneux, Southwest School of Art, printmaking lab

© 2017 Louise Levergneux, Southwest School of Art, printmaking lab

© 2017 Louise Levergneux, Southwest School of Art, printmaking lab

© 2017 Louise Levergneux, Southwest School of Art, printmaking lab

© 2017 Louise Levergneux, Southwest School of Art, printmaking lab, one of us Canadians has been there before! 

© 2017 Louise Levergneux, Southwest School of Art, printmaking lab, one of us Canadians has been there before! 

© 2017 Louise Levergneux, Southwest School of Art, paper-making lab

© 2017 Louise Levergneux, Southwest School of Art, paper-making lab

© 2017 Louise Levergneux, Southwest School of Art, paper-making lab

© 2017 Louise Levergneux, Southwest School of Art, paper-making lab

© 2017 Louise Levergneux, Southwest School of Art, paper-making lab

© 2017 Louise Levergneux, Southwest School of Art, paper-making lab

© 2017 Louise Levergneux, Southwest School of Art, papers made by students

© 2017 Louise Levergneux, Southwest School of Art, papers made by students

Léo received her BFA from The School of Art Institute of Chicago and earned a MA and MFA degree in Printmaking from the University of Iowa. Her areas of specialization include printmaking, book arts (binding, typography, paper-making) and collaboration. Léo has exhibited, both nationally and internationally. Her work is included in numerous publications and permanent collections.

© 2017 Louise Levergneux, Southwest School of Art, Léo demonstrating one of the presses

© 2017 Louise Levergneux, Southwest School of Art, Léo demonstrating one of the presses

Beck Whitehead received a BA from Trinity University and a MFA from the University of Texas at San Antonio. She retired after 30 years of teaching at the Southwest School of Art. In addition, Beck taught workshops in paper-making around the US and Canada. She creates paper paintings and one-of-a-kind books.

© 2016 Marvin Pfeiffer, San Antonio Express-News, Beck Whitehead with “Column I,” “Column II,” and “Column III” in her exhibit titled “Beck Whitehead & Pulparazzi,” handmade paper and pulp painting

© 2016 Marvin Pfeiffer, San Antonio Express-News, Beck Whitehead with “Column I,” “Column II,” and “Column III” in her exhibit titled “Beck Whitehead & Pulparazzi,” handmade paper and pulp painting

Thank you, Beck and Léo for showing me around the labs. Another Texan welcome!


Ontario

My holiday back home has come to an end. It's difficult to say goodbye but time to leave and find a more temperate climate for the winter. Our small trailer is not four seasons and not suited for the coldest season of the year in Ottawa.

© 2017 Louise Levergneux

© 2017 Louise Levergneux

Before leaving Canada, I wanted to pay a visit to Marlene MacCallum’s studio in the south-west part of Ontario.

Marlene and her husband, David Morrish prepared a wonderful meal before taking the time to show us their studio still being built by David. After we visited the different rooms that comprise the full working area in their new home, Marlene brought some of her wonderful artists’ books for me to view and handle. What a privilege!

© 2017 Louise Levergneux, the room where Marlene binds her books

© 2017 Louise Levergneux, the room where Marlene binds her books

© 2017 Louise Levergneux, Marlene and David share this room where all the digital and printing is done, the red cover protects a really big printer, NICE!

© 2017 Louise Levergneux, Marlene and David share this room where all the digital and printing is done, the red cover protects a really big printer, NICE!

© 2017 Louise Levergneux, press room is in the works

© 2017 Louise Levergneux, press room is in the works

© 2017 Louise Levergneux, David showing drawers of many typesets while Marlene talks about her artists' book "Nine Elevated Views". You can  view this book  on my post dated May 21st.

© 2017 Louise Levergneux, David showing drawers of many typesets while Marlene talks about her artists' book "Nine Elevated Views". You can view this book on my post dated May 21st.

© 2017 Louise Levergneux, one of the press studios

© 2017 Louise Levergneux, one of the press studios

Marlene uses photogravure, a historical photo/intaglio process that dates from 1879. Marlene’s chosen media plays a large role both in the way it translates the subject and in the effect of the presentation.

The interaction of ink and paper with its tactile and physical presence bring to mind a state of photographic memory which can be felt in Marlene’s books and subjects.

The visual interpretation of personal domestic space and the ordinary stuff of daily life has been the consistent pursuit of my practice. I am fascinated by our relationship with the spaces that frame and objects that fill the majority of daily lives, and yet, are overlooked as we move through our daily routines in a state of inattentional blindness.
I begin by making photographic records. A visual occurrence that startles me out of my routine relationship with objects and spaces prompts the image choice. The gathering of images results in a visual archive of the ephemeral moments linked by a sense of the uncanny or a spatial déjà vu. Drawing on this source, I then build suites of prints or artist’s books that offer the viewer a sense of the strangely familiar.
The artist’s book affords me the opportunity to integrate a variety of printing methodologies and sequential structures in a form that provides the viewer with intimate interaction with the work.
© 2016 M. MacCallum, Tea Ceremonies, (text by Matthew Hollett), hand-bound accordion artists' book with folded paper cover and wrapper, images printed in photogravure and lithography, text printed in letterpress 

© 2016 M. MacCallum, Tea Ceremonies, (text by Matthew Hollett), hand-bound accordion artists' book with folded paper cover and wrapper, images printed in photogravure and lithography, text printed in letterpress 

© 2016 M. MacCallum, Tea Ceremonies, view of the third-page spread, 19.5 x 13.1 x 1.5 cm (closed dimension), 19 x 25.4 cm (page spread)

© 2016 M. MacCallum, Tea Ceremonies, view of the third-page spread, 19.5 x 13.1 x 1.5 cm (closed dimension), 19 x 25.4 cm (page spread)

© 2016 M. MacCallum, Tea Ceremonies, view of the ninth page spread

© 2016 M. MacCallum, Tea Ceremonies, view of the ninth page spread

Tea Ceremonies is a collaboration with Newfoundland artist and writer, Matthew Hollett. The piece began with Matthew’s text and I created an image response and designed the book layout and structure. 
This work celebrates everyday rituals and small ceremonies. The piece explores repetition and sequence in its use of layered text paralleling the way everyday activities leave residue. Text, photogravure images and lithographic tea stains interact in counterpoint throughout the sequence of the book. residue. Text, photogravure images and lithographic tea stains interact in counterpoint throughout the sequence of the book.
© 2014  M. MacCallum, Wall Stories, (text by Jessica Grant), hand-bound accordion book work, view of installation at The Unfolding Narrative at the Parrott Art Gallery in Belleville, Ontario

© 2014  M. MacCallum, Wall Stories, (text by Jessica Grant), hand-bound accordion book work, view of installation at The Unfolding Narrative at the Parrott Art Gallery in Belleville, Ontario

© 2014  M. MacCallum, Wall Stories, dust jacket, inkjet on Digital Aya paper, view of title page, 26 x 20 x 1.2 cm (closed dimension)

© 2014  M. MacCallum, Wall Stories, dust jacket, inkjet on Digital Aya paper, view of title page, 26 x 20 x 1.2 cm (closed dimension)

© 2014  M. MacCallum, Wall Stories, view of second-page spread, 25.6 x 39.3 cm

© 2014  M. MacCallum, Wall Stories, view of second-page spread, 25.6 x 39.3 cm

Wall Stories is a collaboration with Newfoundland writer Jessica Grant. This piece brings a different perspective to my examination of everyday spaces. Jessica’s text, The Great Indoors, and my Townsite home images interact to create a celebration of interior life with special attention to the collection of objects and the adornment of surfaces. Elements of the external world are miniaturized and nested within living spaces inverting the inside out logic of homes. The first iteration of this collaboration was published by the Journal of Artists’ Books as part of the artists’ project Switching Places.
© 2013  M. MacCallum, Corner a handbound accordion book with slipcase, the structure is held closed into a codex form by sewing across the spine into the end pages. 26.1 x 13.2 x 2.4 cm (closed dimension)

© 2013  M. MacCallum, Corner a handbound accordion book with slipcase, the structure is held closed into a codex form by sewing across the spine into the end pages. 26.1 x 13.2 x 2.4 cm (closed dimension)

© 2013  M. MacCallum, Corner, front and back end pages slip into the cover pockets, the book block is printed in photogravure on Somerset paper and the cover is inkjet on coated Tyvek

© 2013  M. MacCallum, Corner, front and back end pages slip into the cover pockets, the book block is printed in photogravure on Somerset paper and the cover is inkjet on coated Tyvek

© 2013  M. MacCallum, Corner

© 2013  M. MacCallum, Corner

© 2012   M. MacCallum, Theme and Permutation, hand sewn pamphlet, images custom-printed in offset lithography on Mohawk Superfine, text printed in inkjet, covers are inkjets printed on translucent Glama, 23.5 x 21.6 x .6 cm (closed dimension)

© 2012   M. MacCallum, Theme and Permutation, hand sewn pamphlet, images custom-printed in offset lithography on Mohawk Superfine, text printed in inkjet, covers are inkjets printed on translucent Glama, 23.5 x 21.6 x .6 cm (closed dimension)

© 2012   M. MacCallum, Theme and Permutation

© 2012   M. MacCallum, Theme and Permutation

Theme and Permutation is one of a series of artist’s books inspired by the experience of living in Corner Brook’s Townsite area on the west coast of the island of Newfoundland. 
Between 1924-34 the pulp mill built 150 homes to house the mill management and skilled or to highly renovated. This project gave me the rare opportunity to record the evolution of interior aspects of these homes. It has been the context to explore the paradoxical phenomena of conformity and individualization that occurs in a company town. Having grown up in a suburban housing development, my earliest memories of home is that of living in a space that is reminiscent of my neighbors’. Each artist’s book explores a distinct facet of image memory, multiplicity, sequence and offers the viewer a visual equivalence of the uncanny.
Theme and Permutation is a response to the permutations and variations of the type-4 Townsite House. Digital tools were used to translate the original film source of eight different window images from five houses. The sixteen offset lithographic plates were custom printed in twenty-nine separate press runs. Each image is the result of a different combination of plates. The structure is a sewn pamphlet with translucent covers. The viewer enters the body of the book with a tritone image of a single Townsite window. As one moves into the piece, new window images appear and layer over each other. The images become darker and more heavily layered towards the mid-point. The center spread has an inkjet layer of two text blocks printed over the offset litho images. The text speaks of the history of the homes, the architectural permutations and economic shifts within the Townsite area. The ensuing pages continue to provide new combinations of window layers, gradually lightening in tonality and allowing the individual windows to become more distinct. A third text block provides a personal narrative. The piece concludes with a tritone image of one of the Townsite windows in original condition. 

I don’t have time or space to create these days being on the road, but this time in my life is wonderful, I enjoy meeting and reading first-hand amazing works by artists’ bookmakers around the country.

I will be in Austin, Texas for most of the month of November. If you know about my new my journey and would like to introduce me to your work.

Let me know, I would love to visit your studio !