Creative Process: IDEATION

IDEATION

Ideate

Explore and illuminate the idea. Arrange thoughts, ready the experience, and preserve the idea. Organize photos, text, songs, sequence… for the book. Muse over the final look of the book.

© 2022 Louise Levergneux

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This is the phase Edison was referring to when he said that creativity consists of 1 percent inspiration and 99 percent perspiration.”

This is the stage where the hands-on work begins; this is the phase when the abstract takes shape to give way to the concrete. It would be nice to just idle in the inspiration phase for a while longer but now is the time to discover the solution and make it clear.

This stage is usually relatively brief and involves a strong rush of insight in a short span of time. This time, my idea to gel, seemed to take an eternity! As an artist, one uses a ton of day-to-day reality or events to express themselves and their environment… I appreciate simple moments portraying our lives, whether sensational or monotonous... When an idea strikes me for an artists’ book, it’s because the life experience is fresh and the emotions are in the now. Since our minds manipulate our feelings and the fantasy angst to be portrayed happened 50 years ago, the challenge was to recapture the emotion or experience which was retrospective. The need to relive that teenage crush from afar created moments of self-awareness. The challenge was to relive how I really felt as a teenager and what I believed I experienced back 1968.

© 2022 Louise Levergneux. Sample of photos from personal albums.

© 2022 Louise Levergneux. Sample still images from streaming Lancer episodes.

As a result, I started to arrange my thoughts by organizing photos, text (lyrics of songs) and the potential sequence of the pages from chosen photos. The fundamental design had to represent fun, innocence, a sense of closeness, sensuality, and the complicated sentiments of an adolescent girl. You're just watching TV, minding your own business, when you suddenly identify someone on the screen who scrambles your brain and makes your heart drop to your knees — how to represent this experience? The conclusion is a narration on infatuation, a time of foolish love.

I started with words that to me defined the project: infatuation, dream, fantasy, reality, passion, desire, fascination, captivation, puppy love, celebrity crush, charismatic, attractiveness, allure-ment, enchantment, enthrallment…

While streaming the Lancer TV show, I captured appropriated images, I recreated blissful fiction scenarios utilizing my tool of choice — Photoshop. I wanted to rekindle my ability to implement Photoshop features by creating a new photograph with juxtaposed photos to re-frame my own subject-position and enter into the desires that celebrity crush can evoke in a young adolescent — her dream world.

© 2022 Louise Levergneux. I needed a font that would look like hand writing, after careful search I chose Modernline.

I experimented with text which included mixed lyrics — language of the soul — accompanying the images to prompt us on how memory coexists in dreams.

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Prototype

Research content versus binding. Create maquettes of binding and structure. Choosing paper and material to complete the book.

“Infatuation” corresponds to a fiction — journal — and obsessively persistent romantic fantasy of a young female with the actor James Stacy’s persona of “Johnny.” It was a subconscious struggle to determine the proper and most effective design, structure and binding to represent this fantasy world. I was looking forward for all the puzzle pieces to fall into place.

© 2022 Louise Levergneux. The many phases of designing pages.

© 2022 Louise Levergneux. The many phases of designing pages.

© 2022 Louise Levergneux.

The page layout is the first step; it usually helps define the binding structure. I wanted the book to retain an innocent sensual feel. To bring this feeling into effect, adding red organza and strands of red thread became more poignant.

The threads could easily be part of a sewn book, the strands cut long to hang below the bottom edge. Black and white photos or coloured? Maybe add a colour LUT (known as Look-Up Tables in Photoshop to bring a cohesiveness to the pages) LUT's are used in order to apply specific and distinctive effects and style to photos. What about texture?

As for the structure, the first one of interest was the Accordion Binding for its playful pagination as seen below by Annwyn Dean, Alice Simpson or as in my artists’ book Conversation below.

© 2017 Alice Simpson. DANCING ! Unique double-fold, accordion. Original hand-painted paste papers, watercolor, shagreen paper, thread and beads. Against a double layered, paste-paper background; Isadora Duncan, Martha Graham, Vaslav Nijinsky, Bo Jangles, Josephine Baker, Fred Astaire, Cyd Charisse, Gene Kelley, and Michael Jackson dance with joyous abandon in an homage to iconic performers I have always admired on stage and screen.

© 2017 Alice Simpson. DANCING ! Unique double-fold, accordion. © 2017 Alice Simpson. DANCING ! 17”H x 11”W x 1”D x approx. 9’. 5 open

© 2018 Annwyn Dean.

© 2016 Louise Levergneux. Conversation.

© 2022 Louise Levergneux

Then the Drum Leaf binding which I enjoyed when creating my artists’ book “Shadow Me” also spring to mind.

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Verification

Transfer the overall idea to the substrate, test the prototype, and evaluate the project, paper, presentation, sketches, and notes. Critique and seek feedback/opinions on already planned prototype options.

I thought the fun aspect of the accordion would present the project’s subject of infatuation in a delightful and colourful way. The narration could be seen in single pages or its entirety. But, after trying a few accordion models, I was unable to settle on any page layout design.

I created a sewn book layout template using InDesign. It was overly rigid of a structure and not useful for some of the images that acquired a need to spread along two pages. The fun was eliminated!

Coming back to the Drum Leaf binding, the structure offered me the opportunity to capitalize on spreads without any visual interruption and gave access to pages for reflection.

© 2022 Louise Levergneux. I thought this little sample was interesting, I could make in a drumleaf structure with an accordion. Great!

With more reflection, I knew that a mixture of structures would pop-up in my mind’s eye. Next month I will share my Storytelling Development and Option Development. “Let ‘er buck”!

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On my side, I started a book for the monthly #areyoubookenough challenge on Instagram. This month I was inspired by the "sprout" theme.

This kind of short challenge is perfect for trying new techniques. I don't have too many thoughts or readings for this book. I'm taking the opportunity to try out pop-up folding, which has intrigued me for a while now. At first I tried to figure out the folds, made some, watched some, and see how to get inspired. Beautiful exploration.

© 2022 Guylaine Couture

© 2022 Guylaine Couture

In my photos, I show you the roots I would like to print, calligraphy words and a piece of pop-up model.

I too am in the layout stage right now. Each background of the double-page spreads will be inspired by the explorers' notebooks with drawings and texts, as they used to do back then. I am just beginning the realization of the book. Next month, I will be able to present it to you because it will be finished. One month is really fast. — Guylaine Couture

Tools and Equipment

May was an extremely active month with ideas for a new book and the completion of a couple of editions for recent orders. After four years on the road, having access to a workbench even in a tiny-winy studio is great. Space is still at a premium, and after selling most of my STUFF back in 2017, I need to re-examine what is needed to work productively?

In the mid-1990’s, I allowed myself time to figure out if I enjoyed the making of artists’ books before spending extensively on equipment. Bigger equipment, (like a Jacques Shear, or a guillotine), was never in the cards. Through the years, I purchased more and more tools as I developed my production of artists’ books.

While living in Utah, having a spacious studio was fantastic. With the help of my brother Henri, the top of my workbench was designed to cut binders board manually. A small bindery in Salt Lake City used to cut boards of 20 in x 12 inches for me, which made cutting easier on my workbench, but inventory is getting low!

© 2021 Louise Levergneux. I still have the same system, and it consists of a cutting mat, a ruler screwed in on the right for alignment, and an aluminum angle bar at the bottom.

© 2021 Louise Levergneux. A Logan straight handheld cutter with a carpenter’s square is what I utilize for the making of book covers and boxes. It’s doable, but it takes longer and more effort to manage squaring.

A Kutrimmer 1058 tabletop — (not sure if it’s the best for boards) — was repeatedly on my list of investments. In 2016 I was close to owning one, but then our lifestyle changed. As for a guillotine, I have always been fortunate to borrow one. Has anyone tried the guillotines below?

Guillotine Desktop Stack Paper Cutter COME-5770EZ - 17" Cutting Width

TEXALAN 17'' Blade A3 Heavy Duty Guillotine Paper Cutter A3-17'' Paper Cutter Black

© 2021 Louise Levergneux. This list represents some of my basic tools of the trade at the moment.

Awl, hole punchers, stylus; bone folder; brushes (flat, bridled paste, various sizes); carpenter’s square; divider; knives (Olfa, X-acto), razor blades, cutting mat; Logan straight handheld mat cutter; measuring and precision tools; right-angle brackets; rotary cutter; rulers (stainless steel, Incra, rule set in 1/8", 1/4", 1/2", 3/4" and 1" strips); triangles (Sage magic triangle, aluminum); scissors; squares (machinist, T, corner); long stapler; tape/adhesive (3M, PVA); weights. Other tools not picture here are: press (still in Canada); sand papers; thread and needles.

© 2021 Louise Levergneux. Binders boards; book cloth (not shown); numerous types of paper, depending on the publications at hand; wastepaper.

© 2021 El Libro. Glueing remains a significant part of binding. Do you have tricks to manage adhesives? I found this glueing compass from El Libro Rojo on Etsy but the shipping cost from Barcelona, Spain ($26.72) was expensive.

Are there any glueing compass sold in Canada or the US? Maybe you have invented one!

© 2021 iBookBindingStore. Some other interesting small tools made with a 3D printer from iBookBindingStore on Etsy seemed very useful. It might be time for a new gig for corner cutting. Their box making tools were equally fascinating.

Completing the inventory of my tools triggered research on artists and their studio set-up. I found an article by Transient Books “Bookbinding Tools: The Good, the Great, and the Beautiful” from 2015 describing their studio tools.

You are probably all familiar with Jeff Peachey who designs, makes, and sells tools for bookbinders, conservators, and leatherworkers. Jeff’s tools were exquisite and I’m certain they are outstanding to work with.

I would love to hear about your tools and equipment. Where do you purchase your tools? Where or how do you cut your binders board? How creative are you with finding interesting objects for weights, or do you prefer store bought?

If one does not have the means for bigger equipment, there’s always the opportunity to rent or borrow. The artists’ book community is a friendly and helpful group. More on this in the upcoming month.

Have a great productive month of June!

Surveillance

I have noticed through emails and blog posts the amount of work being done by artists during these unusual times. Congrats to all! I admire those of you who have discovered ways to keep your art world/business going. It is fantastic to feel connected every morning as I tune into my emails  and read about everyone’s creative process. As artists, we need many concentrated hours to create. The last eight months gave my husband and I the opportunity to produce while being isolated at home.

© 2020 Louise Levergneux. The accordion sides of Surveillance being cut.

Last April, as full time RV’ers, Michael and I decided to acquire a reliable place to stay. Our travels where put on hold while Covid dictated our lives. These days, weeks, months gave us the opportunity to write and produce in our incredibly compact space. Finally, cabin fever set in and with the virus still very much around; we required more room. In September we moved our studio spaces into a small, modest home (399 square feet) for our creativity to continue to blossom. 

© 2020 Louise Levergneux. Getting ready to work on Surveillance.

© 2020 Louise Levergneux. Freshly cut pages for Surveillance.

With a major publication completed, I need to concentrate and get the next artists’ book — Surveillance — done. How to get back into this complicated book after so many months since my last review?

A blog post I read back in 2016 by Big Jump Press came to mind, while sitting here in front of all the various parts to assemble for Surveillance. The subject was on how to get organized for completing a project after a long break. The article is a fun read written by Sarah Bryant entitled “Ok, where was I?” and is very impressive.

For months, I kept Surveillance on the forefront of my mind, thinking of better ideas, solutions, materials... even while conceptualizing other ideas. It never dawned on me to put into place Sarah’s method. Once I got absorbed by manhole covers, Surveillance was put aside in safe containers and disappeared from my thoughts. Even though Sarah’s article is a terrific read, it’s a bit late for me.

© 2020 Louise Levergneux. The different parts to put together.

At the moment, the plan of action is to start recalling how I developed the model, folded paper, cut, glued and assembled the book... !!! My brain hurts just thinking about it all as I prepare to get started again.

© 2019 Louise Levergneux. The first page/cover template of Surveillance once the binding is opened.

© 2019 Louise Levergneux. View through the first page/ cover of Surveillance.

In the mean time, if you intend to take a break from a book project for whatever reason, please read Sarah’s post. My suggestion is to plan for the future.

© 2015 Louise Levergneux. I wish you all a great holiday season this month and hope you will be able to celebrate with loved ones.

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New Mexico

Two years ago while visiting Craig Jensen in Texas, I was recommended a visit to Priscilla Spitler’s studio located in Truth or Consequences, New Mexico. With my itinerary already planned for the forthcoming year, it was impossible to drive to the cool desert climate at that specific time.

Last October, after an exchange of emails with Craig, I was introduced to Priscilla remotely and prepared my way from Texas to the one town that changed its name from Hot Springs to Truth or Consequences as the result of a radio show contest in 1950.

© 2019 Louise Levergneux. Making my way to Truth or Consequences, New Mexico.

I relished standing outside and viewing Priscilla’s private studio, a beautiful structure reminiscent of a tiny home. Priscilla has downsized in her creative space, which reflects her production binding projects. I was welcomed by Priscilla and we spoke about her thirty years of experience in hand bookbinding and how this challenging craft provided her the freedom to express her artistic design.

© 2019 Louise Levergneux. Priscilla’s studio.

© 2019 Louise Levergneux. Priscilla’s studio filled with the tools of the trade and cloth of all colours.

© 2019 Louise Levergneux. Priscilla’s studio with an Adobe style structure.

© 2019 Louise Levergneux. Priscilla sharing her current binding edition work.

“As a collaborator of book production, my hands have sewn, bound, and assembled thousands of edition books and boxes. It has exposed me to extraordinary people and students who share the love of the handmade book.” Priscilla Spitler

While we sat at ease talking, I was intrigued by an exhibition catalogue entitled “Drop Dead Gorgeous - Fine Bindings for La prose du Transsibérien Re-Creation” on her worktable. Priscilla showed me the catalogue with an explanation of the exhibition of the same name. She continued to accurately explain her book structure and the work load it took to finish an entry piece for the show. The traveling exhibition titled DROP DEAD GORGEOUS: Fine Bindings of La Prose du Transsibérien Re-creation, opened at the UCLA Library Special Collections last October 2019. The organized exhibition featured the work of twenty-two design binders, including Priscilla Spitler, Don Glaister, Monique Lallier, Midori Kunikata-Cockram and Patricia Owen. 

© 2019 Louise Levergneux. Priscilla’s studio and home have a very distinct personality that is felt throughout her work.

After an informative tour of Priscilla’s studio space, we moved to the room where she traditionally focuses on her own art bindings. Priscilla’s extensive work incorporates goatskin onlays recessed on leather panels, gold and blind tooling, paint and stenciled acrylic, pastepaper décor, cut foil stamping technique, and endpapers personally decorated.

© 2019 Louise Levergneux. This is one of Priscilla’s unmistakable designs incorporating collage, print, and colours.

© 2019 Louise Levergneux. Priscilla’s exploration of alternative book structures.

© 2019 Louise Levergneux. “Remembering Jan Sobota” by Priscilla Spitler. Honoring Ladislav R. Hanka, Remembering Jan Bohuslav Sobota, this book contains original fish etchings; bound in two colors of gray Hewit and Harmatan goatskin leathers in a laminate case; decorated with three fish designs made with stamped, cut foils and a silver stamped title. Paste papers by Priscilla.

© 2019 Louise Levergneux. “The Eagle Jaguar and the Serpent” by Priscilla Spitler.

© 2019 Louise Levergneux. “Anatomy” by Priscilla Spitler.

© 2019 Louise Levergneux. Pricilla explaining the work involved in her book “In the Garden”.

The ease and beauty of Priscilla’s work is inspiring. Her workshops are available throughout the year. A great experience talking and knowing Priscilla — many thanks for a wonderful afternoon.

Texas, Y'all!

Next stop over Austin, Texas. Since 2018, during my first visitation to the Austin Book Arts Center, the key members have been very welcoming and invited me to join in any event happening throughout while staying in the city.

Approaching Austin, I instantly communicated with Olivia Primanis and Mary Baughman, letting them know of my plans. A prompt response was received with pertinent information on the Third Thursday Series of ABAC for the month of November. Olivia Primanis presented “How will I bind this artists’ book? I couldn’t miss this guest artist talk!

© 2019 Louise Levergneux. The cloth corner of the Austin Book Arts Center in Austin, Texas.

© 2019 Louise Levergneux. The Austin Book Arts Center is filled with interesting equipment..

The email naturally included a kind invitation for me to participate in the conversation and present my own artists’ books. I happily brought two books and took part in the discussion. The overall session was a hands-on exploration of a variety of materials and structures that were used through the centuries and how they affect how a book handles. Carefully choosing a particular structure for your specific project remains a key element for success of the « raison d’être » of the artists’ book.

This was a terrific evening enjoying the camaraderie of people who appreciate bindings and artists’ books. An incredibly popular session provided me the opportunity to encounter other members of the ABAC.

© 2019 Louise Levergneux. (from left) Bob Bryant enjoys the enviable reputation of being a treasure for the center, Bob collects old books, and in 2017 decided to take classes, which permits him to repair his own collection; Mary Baughman, Olivia Primanis, Linda Anderson; Margaret Tenney is documenting the event and is as a board member; Sigrid Nama and Christopher Hynes an artist who creates assemblage art and paintings.

© 2019 Louise Levergneux. One of Olivia Primanis' great pleasures is experiencing the way each binding structure effects how a book’s “mechanics’ work!”; Linda Anderson instructs book-arts classes for teachers at ABAC; Kathryn Cooksey Pew and Sigrid Nama.

© 2019 Louise Levergneux. Linda Anderson, Christopher Hynes, Mathew De La Cruz, Beatrice Baldwin, Suzan O’Connor, and Mary Dines.

© 2019 Louise Levergneux. Exploration of a remarkable variety of structures.

© 2019 Margaret Tenney. Myself, Bob Bryant, and Christopher Hynes’ artists' book “Threads of Life: Of Birds and Clouds.”

© 2019 Louise Levergneux. Kathryn Cooksey Pew, Sigrid Nama, Christopher Hynes, and Beatrice Baldwin. The accordion structure in the forefront is Christopher Hynes’ artist's book which was part of Olivia’s question for the talk, “which binding will create physical qualities that flow with the narrative of “Threads of Life: Of Birds and Clouds.”

© 2019 Margaret Tenney. Alan Stearman, myself, and Bob Bryant; Laura Agnew a wonderful volunteer; Olivia Primanis, Linda Anderson, Kathryn Cooksey Pew, Sigrid Nama, Beatrice Baldwin, and Suzan O’Connor.

© 2019 Margaret Tenney. (from center to left around the table back to the right) Kathryn Cooksey Pew, Sigrid Nama, Christopher Hynes, Beatrice Baldwin, and Barbara Brown; Mary Baughman a board member; Lena Rogy, trained in book binding in Germany is currently teaching workshops at ABAC; Andrew; Amanda Stevenson, Executive Director of ABAC; Alan Stearman an engineer who followed a couple of workshops, then helped to repair or improve equipment at ABAC; myself and Bob Bryant.

© 2019 Margaret Tenney. The talk brought me back to my books and their structure. My turn to talk about my books and the reason for structure; Mathew De La Cruz in the background.

© 2019 Louise Levergneux. Alan walking by some of the equipment in the studio. He has devised a solution for the board shear of ABAC. The replacement counter weight was unbalanced and the board shear was a bit unsafe to use. Alan drilled into the replacement counter weight to attach a threaded rod. He found a weight for a telescope that fits the threaded rod. This current rod allows the new weight to be placed where it balances the blade of the board shear. Alan equally found magnets that can be turned on and off. These magnets are used to secure the "fence" on the board shear.

If any of you are in the Austin area, visiting the Austin Book Arts Center it is worth the effort to properly engage with creative people experienced in book arts. If you have time, join a workshop in letterpress printing, bookbinding, papermaking, typography, or book history.

North Carolina, Part 2

While in the state of North Carolina, I reached out to Josh Hockensmith, Art Library Assistant for the Joseph C. Sloane Art Library of the University of North Carolina in Chapel Hill for the presentation of my artists’ books.

Prior to my visit, Josh asked if perusing the collection would be of interest, if so, he would be delighted to pull a selection of books for me. Enthusiastically looking through their collection in the Artstor image database, I chose several books. The artists' books that interested me where the ones relating to subject matters in my own or future books. I was also interested in researching different interpretations of similar themes or innovative concept while at Hanes Art Center. 

I presented my artists’ books to Josh Hockensmith and Alice Whiteside, the head of the art library. After our session, Joshua talked about Angela Lorenz’s artists’ book called Soap Story. As, I washed my hands with one of the last six tiny bars of soap, I found myself instrumental in helping an artist realize her goal by releasing a little more of the text, silk-screened on linen pages placed inside the soap.

© 2019 Louise Levergneux. A selection of books that were pulled for me to peruse at the Joseph C. Sloane Art Library of the University of North Carolina in Chapel Hill.

Afterwards, I was guided to a table full of artists’ books for me to genuinely enjoy. It was thrilling to be able to properly view artists’ books included on my short list. Some were seen online, others discovered through conversations, without having the unique experience of reading them first hand.

© 2019 Louise Levergneux. High Tension: Montage by Philip Zimmermann. Paperback machine-sewn, offset printing, unpaged.

© 2019 Louise Levergneux. High Tension: Montage by Philip Zimmermann. “I wanted to create a book that investigated stress and perhaps even looked into ways of relieving it.” — PhilipZimmerman.

© 2019 Louise Levergneux. Sanctus Sonorensisby Philip Zimmermann, Spaceheater Editions. Board book, offset printing, 90 unnumbered pages, color illustrations, 28 cm.

© 2019 Louise Levergneux. Sanctus Sonorensis by Philip Zimmermann. “The cover image is part of the Sonoran desert in Southern Arizona about 50 miles from Lukeville and just a couple of miles from the Mexican border. It is one of the most heavily trafficked and dangerous entry points for illegal Mexican immigrants entering the United States. Many die there each year from exposure and lack of water. The skyscapes are all photographed in New Mexico and Arizona during 2003 and 2004.”

© 2019 Louise Levergneux. The fortune teller by Malini Gupta. Digitally printed, Japanese Stab binding, waxed paper infused with the smell of incense; 17 unnumbered leaves-color illustrations in a box + 1 folded sheet.

© 2019 Louise Levergneux. Mutually Exclusive by Emily Martin, Naughty Dog Press. Magic wallet, letterpress printing, 12x17 cm, unpaged.

© 2019 Louise Levergneux. Mutually Exclusive by Emily Martin.

© 2019 Louise Levergneux. Anything from Anywhere by Emily Tipps, RG Brian Dickson, Jon Pierce, and Jennifer Moore. Single-fold pamphlet in a clamshell box, letterpress printing, handmade papers, 21 x 14 cm; 1 box (4 volumes of 16 or 20 pages each.

© 2019 Louise Levergneux. Sidewalk Salon by Manar Moursi, Cairo Al Kotob Khan for Publishing. Smyth sewing, offset printing.

© 2019 Louise Levergneux. Sidewalk Salonby Manar Moursi. 214 pages illustrations, 26 cm + 3 maps.

© 2019 Louise Levergneux. Sidewalk Salon by Manar Moursi.

© 2019 Louise Levergneux. The Sundown Salon unfolding archive: a project by Fritz Haeg.

© 2019 Louise Levergneux. The Sundown Salon unfolding archive: a project by Fritz Haeg.

After naturally viewing my web site Josh added quite a few more artists’ books that might peek a mutual interest. I enjoyed Josh’s excellent selection.

© 2019 Louise Levergneux. Age Specific by Dennis Marsico. Accordion fold, letterpress printing, digital prints, 13 sequences in one box.

© 2019 Louise Levergneux. Age Specific by Dennis Marsico.

© 2019 Louise Levergneux. Atlas of Punctuation by Heidi Neilson. Case binding, letterpress printing, 29 pages.

© 2019 Louise Levergneux. Atlas of Punctuation by Heidi Neilson.

© 2019 Louise Levergneux. Atlas of Punctuation by Heidi Neilson.

© 2019 Louise Levergneux. Descendant by Jennifer Brook. Artist improvised structure, coptic binding, letterpress printing, wooden bindings, 12 pages, 20 x 10 x 11 cm.

© 2019 Louise Levergneux. Descendant by Jennifer Brook.

© 2019 Louise Levergneux. Transplant by Jennifer Brook, Tree House Press. Coptic binding, letterpress printing, unpaged, 17 cm.

© 2019 Louise Levergneux. Transplant by Jennifer Brook.

© 2019 Louise Levergneux. Intrusion by Ellen Knudson, Crooked Letter Press. 18 double leaves color illustrations wood cuts in slipcase.

© 2019 Louise Levergneux. Intrusion by Ellen Knudson. Illustrations 29 x 19 cm in slipcase 30 x 19 cm.

© 2019 Louise Levergneux. Intrusion by Ellen Knudson.

© 2019 Louise Levergneux. The square by Islam Aly. Coptic binding, laser cut, 160 unnumbered pages, chiefly illustrations, 12 cm.

© 2019 Louise Levergneux. The square by Islam Aly. “Tahrir Square in Cairo became the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. Cairo’s map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to demonstrate the streets of Cairo.”

© 2019 Louise Levergneux. The square by Islam Aly.

I also viewed Fragments from the stacked deck by Judy Anderson, Nexus Press. Loose-leaf in enclosure, offset printing."This book began in outrage, a response to the increasing reports of violence against women in the world. Text fragments were taken from the daily news, juxtaposed with one woman's voice." A deck of cards offset printed in color on one side and black-and-white on the opposite side, with silhouettes of women and "feminine" forms such as vases and floral/botanical imagery cut out from surrounding fields of text.

Panorama by Julie Chen; took two people to handle for viewing, so, Josh helped me to experience the book opened as it revealed various panoramic views. Panorama contains two main sections, each with layered pop-ups. Each page contains relief and pressure print images and texts. When completely opened the book measures 5 feet wide. Housed in a cloth-covered, drop-spine box.

My books and I were well received, and I enjoyed viewing some incredible creations from some talented artists. Later onI will provide feedback on the results of my visit.

I hope you enjoyed reading of my visit at the Joseph C. Sloane Art Library. I wish you all a great year 2020.

North Carolina

On our way back to the States from Canada, a trip to North Carolina was a detour long in coming. For the past three years, because of unpredictable climate, a séjour to North Carolina was cancelled. This year, I reached out to Monique Lallier for a studio visit, since weather was good in Summerfield, North Carolina, where she practices her craft full time.

This visitation has been on my mind since crossing path with Monique in 2012, during a Book Arts Program workshop at the J Willard Marriott Library in Salt Lake City, Utah.

Summerfield was an exciting stopover, since I was also going to see Don Etherington’s studio. Monique Lallier & Don Etherington have been working together for over 30 years. It was an impressive three days of conversations and thought sharing. I indeed enjoyed an impromptu Drum Leaf binding session during an afternoon. 

© 2019 Louise Levergneux. Monique and Don at their studio in Summerfield, North Carolina.

© 2019 Louise Levergneux. The entrance to Monique and Don’s studio in their art-filled Summerfield home.

As most of you know Monique Lallier is an internationally recognized book binder. She began her studies in the 1960s in Montréal, Canada at Cotnoir Cappone School of Fashion. Monique was tutored at L’Art de la Reliure book binding school by Simone B Roy, also in Montréal. In Paris, she studied gold tooling and onlays with Roger Arnoult. Monique studied basic raised cords French technique binding with Edwin Heim at the Centro Del Bel Libro in Ascona in Switzerland. Afterwards, she learned limp vellum binding, paper binding, twin binding (dos-a-dos), and boxes with Hugo Peller in Solothurn. Her craft has evolved and demonstrates one of the many original approaches to binding for which she is known.

© 2019 Louise Levergneux. It was is awe-inspiring to see all the equipment in Monique and Don’s studio.

© 2019 Louise Levergneux. Monique’s corner where I spent an afternoon learning the drum leaf binding under Monique’s guidance.

© 2019 Louise Levergneux. Another corner filled with materials, tools and presses.

© 2019 Louise Levergneux. Tools and equipment… for all types of binding.

© 2019 Louise Levergneux. Fascinating tools abound in Monique’s corner representing some of the countries she has visited.

© 2019 Louise Levergneux. A custom red leather box by Monique Lallier. Back in 1972, Monique walked into a bookbinding studio in her native Montréal and fell in love. More than 46 years later, the same love is shown in her own craft of bookbinding.

© 2019 Louise Levergneux. A drum leaf binding by Monique Lallier.

© 2019 Louise Levergneux. Chemins de Traverse, binding by Monique Lallier, written by Luc Bureau and illustrated by Ghislaine Bureau Editions Les Giboulées, Québec, 2017. Full leather binding in grey buffalo with cut out on the front and back covers. Onlays of stone veneer and red leather. Edge to edge doublures with grey buffalo and fly leaves with silver leather.

After extensive training in England, Don Etherington established a four-year program in bookbinding and design at the Southampton College of Art. Don also conducted workshops and seminars for colleges, universities and the Guild of Bookworkers. President of the Etherington Conservation Services in Greensboro, NC, Don additionally holds the position of Fellow in both the American Institute for Conservation and the International Institute for Conservation. Don has re-entered the world of private practice as a design binder and teacher. His knowledge of bookbinding, conservation, restoration and fine binding are unmatched across the world. Don is nationally and internationally recognized for innovative design and implementation of state-of-the-art conservation procedures, including phased preservation programs for libraries and institutions.

© 2019 Louise Levergneux. A close up of Don’s corner.

© 2019 Louise Levergneux. Don was creating a box for “The Pikes Peak Rush by Edwin L Sabin”.

© 2019 Louise Levergneux. Monique Lallier teaching me the drum leaf binding with her sense of creativity and high level of confidence

© 2019 Louise Levergneux. Monique has fingers of dexterity and precision, with demonstrated ease.

© 2019 Louise Levergneux. Monique showing how to glue the fly leaves.

© 2019 Louise Levergneux. Here, Monique is gluing the spine.

© 2019 Louise Levergneux. Measuring the thickness of the spine.

© 2019 Louise Levergneux. It was fantastic to spend time absorbing the vast knowledge Monique holds.

© 2019 Louise Levergneux. The finished binding.

It was an honour to be invited to sign Monique and Don’s beautiful bound guest book before they left on a five-week trip to China. This studio visit will be fondly remembered.