Phase Two

It’s a memorable summer, and this is the period to travel. Oh! Wait! I am traveling. 

It’s difficult to schedule work time, especially with the significant heat wave and our much-needed change of “home” from putt-putt to château. Even with the pleasant distraction of all the wonderful National Parks, the planning phase for the page's template of my ABC book has begun. In addition, the research on binding structures to enhance the content is on the way. 

© 2018 Louise Levergneux, White Sands National Monument

© 2018 Louise Levergneux, White Sands National Monument

© 2018 Louise Levergneux, Old Faithful in Yellowstone National Park

© 2018 Louise Levergneux, Old Faithful in Yellowstone National Park

The key theme is the alphabet via a sprained foot, properly introducing this subject matter by implementing elements and design that complement the content is important.

I’m favorably inclined or should I say having a penchant towards metal for parts of the binding, maybe Wire-O referencing the crutches. Should I use cloth covered boards or a printed photo to illustrate the cover? The big black boot remains an integral feature of the book on the cover—right—perhaps? 

© 2018 Louise Levergneux, ABC book's image/photo for content

© 2018 Louise Levergneux, ABC book's image/photo for content

© 2018 Louise Levergneux, ABC book's image/photo for content

© 2018 Louise Levergneux, ABC book's image/photo for content

For the substrate, could I apply various types of paper representing the phases of healing—differences in skin colour and texture. This might work since my inventory is filled with many types of papers. Using these soon would be good, because of the length of time since their purchase.

I would like to interject a distinction between the typefaces for the alphabet and the text. Naturally, there are 26 pages to think of and thick papers! I’m concerned about the weight of paper, double-sided pages will help but sheet registration can be monotonous. The gutter has to be calculated for facing-pages, details, details, details! What size? What orientation? Maybe the use of transparencies. Where to place the text or words that accompany the alphabet? Planning is the fun part or at least the beginning!

© 2018 Louise Levergneux, ABC book's image/photo for content

© 2018 Louise Levergneux, ABC book's image/photo for content

Varied structural types of binding for my published books include the accordion, perfect binding, spiral, supple binding sewn in Japanese style, screw post, hard-cover case-binding, saddle-stitched, French doors, Turkish Map folds, the new oriental binding, wrap-around case with a tray, explosion box,

© 2018 Louise Levergneux, ABC book's image/photo for content

© 2018 Louise Levergneux, ABC book's image/photo for content

The accordion is enjoyable and many alphabet books utilize the form, but because of the type of paper and the number of pages, I need a structure that would harmonize with its design, form, and content, in this creative expression of an unpleasant event. I want to take the time and pay attention to materials and their interactions on the subject. Once all these aspects are figured out, the path of production will be clearer.

© 2018 Louise Levergneux, ABC book's video for content

I am so looking forward to the actual creation, being on the computer for the express purpose of an artists’ book instead of administrivia or other activities. How do you find time to undoubtedly create? How many hours in the day are spent in the studio? What phase do you prefer or do you enjoy all phases of producing your book?

Abecedaries

It feels tremendous to be on the brink of creating an artists’ book. Hopefully, I will have time to start the design process before we embark on our next trek. My traveling studio leaves Salt Lake City to go Eastbound at the end of May. 

For the present, I’m looking forward to stand or sit; and think, plan, and print. How will it feel to handle tools again? Especially the glue!!! I may choose a non-glue method of binding.

Through my research, I discovered many published alphabet/ABC artists’ books in different binding formats depending on the meaning behind the work. Some of the types of bindings used for abecedaries are the flip book, cards, tunnel book, accordion, codex, panorama concertina... to name a few.

Karen Hanmer has used different bindings for her alphabet books. In The Spectrum A to Z the letters of the alphabet are colored to run through the spectrum and back within a tunnel book format.

© 2003 Karen Hanmer, The Spectrum A to Z, pigment inkjet prints, 5 x 5 x 18", edition of 20

© 2003 Karen Hanmer, The Spectrum A to Z, pigment inkjet prints, 5 x 5 x 18", edition of 20

Another alphabet book inspired by the U.S. Patriot Act is in an accordion style binding. Patriot Alphabet incorporates words or phrases taken from the vocabulary of terrorism, homeland security, and the Iraq war.

© 2004 Karen Hanmer, Patriot Alphabet, pigment inkjet prints, open 5.75 x 66 x 3.5", closed 5.75 x 4.5x.5"

© 2004 Karen Hanmer, Patriot Alphabet, pigment inkjet prints, open 5.75 x 66 x 3.5", closed 5.75 x 4.5x.5"

© 2004 Karen Hanmer, Patriot Alphabet, pigment inkjet prints, open 5.75 x 66 x 3.5", closed 5.75 x 4.5x.5"

© 2004 Karen Hanmer, Patriot Alphabet, pigment inkjet prints, open 5.75 x 66 x 3.5", closed 5.75 x 4.5x.5"

Karen’s last alphabet book A2Z is in a flip book style. I had a chance to view A2Z personally at the University of Utah’s library while living in South Jordan.

© 2013 Karen Hanmer, inkjet prints, double-fan adhesive binding, 2 x 4.75 x 2”

© 2013 Karen Hanmer, inkjet prints, double-fan adhesive binding, 2 x 4.75 x 2”


Another artist’s work that delighted my eyes was Shu-Ju Wang. Her theme is Belly Dancers in a pull-out accordion structure.

Alphabet for a Belly Dancer captures the essence of belly dance through wordplay and a rhythmic pattern that mimics the dance itself.

© 2003, Shu-Ju Wang, Alphabet for a Belly Dancer, wrap-around cover in Japanese Masa Unwaxed and French handmade paper finished with hand-dyed rayon ribbon, coins, and beads, the protective envelope is made with a shimmering cover stock.

© 2003, Shu-Ju Wang, Alphabet for a Belly Dancer, wrap-around cover in Japanese Masa Unwaxed and French handmade paper finished with hand-dyed rayon ribbon, coins, and beads, the protective envelope is made with a shimmering cover stock.

© 2003, Shu-Ju Wang, Alphabet for a Belly Dancer

© 2003, Shu-Ju Wang, Alphabet for a Belly Dancer

© 2003, Shu-Ju Wang, Alphabet for a Belly Dancer

© 2003, Shu-Ju Wang, Alphabet for a Belly Dancer

In Shu-Ju’s unique nonlatin character set Da(3)Pai(2), we find a full deck of 54 cards trace the evolution of 52 Chinese characters from their original pictographs to their contemporary forms. The heart and diamond suits illustrate the evolution of 26 radicals, and the spade and club suits show these radicals used in complex, combinatorial characters. Based on the book Chinese Calligraphy by Edoardo Fassioli and Guo Yu Ri Bao Zi Dian, a Chinese dictionary.

© 2003 Shu-Ju Wang, Da(3)Pai(2), wrap-around cover, cards in Evergreen Cover Aspen and Astroparche Antique Gold

© 2003 Shu-Ju Wang, Da(3)Pai(2), wrap-around cover, cards in Evergreen Cover Aspen and Astroparche Antique Gold

Many other artists have been inspired by the theme of consonances and vowels of our language and there’s too many to show in this post. Tune in next week for more fun abecedaries.