Book Arts News

Enjoy the new look of my Email Campaigns!

How are you all doing, after such a scorching summer (especially here in Arizona)? I’m looking forward to Fall with its cooler weather. I have been busy nesting more than producing artists’ books. My mind is cogitating on new ideas while my body is recovering from heat intolerance!

2021 © Louise Levergneux. Fishhook Barrel Cactus photographed in the resort where I live in Apache Junction, Arizona. It is a very prevalent in Arizona. Barrel Cactus (different types) are round, squat cacti that can live as long as 130 years. The most interesting fact about this cactus is that is often leans towards the southwest, so it can be used as a compass of sorts if you’re stranded in the middle of the desert.

The last few weeks I re-evaluated internet services, softwares, hours spent preparing posts, writing... This administrivia will make work flow better and less time consumed on managing different accounts and passwords. Those little tasks take so much time, but need to be done.

So, with all the nesting in our tiny home/studio, painting walls, cabinets, doors... I was able to achieve a home like feel to our small abode. This type of work which I have not done in long time triggered many memories. I enjoyed it, and I’m sure it will bring a fresh point of view and creativity for my next book with the working title “Secrets,” after the frenzy settles down.

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Receiving news (links below) from galleries and museums through the month is uplifting. Many thanks, great work!

How can you not be excited by shows at 23 Sandy Gallery. The last exhibition through November 20, 2021, had many fantastic works. The International Juried Exhibition of Book Arts is entitled UNSEEN and is on view at the gallery form & concept. When imperceptible phenomena burst into view, revolutionary changes may follow. We learned this in 2020, as an invisible but deadly virus spread across the world, an urgent racial justice movement illuminated dark societal realities, and humanity’s long-simmering crimes against the environment unleashed fires and floods. Unseen forces can shape our lives and surface in unexpected ways, often altering our behaviors and worldviews if and when we are made aware of them. This exhibition explores the idea of the “unseen”—physically, psychologically, and philosophically.

Artist's Books Unshelved is an ongoing video series exploring selected pieces from the Cynthia Sears Artist’s Books Collection at the Bainbridge Island Museum of Art.

I love seeing emails from Robert Bolick in my inbox — it typically means goodies for the eyes and mind. Robert Bolick curates Books On Books Collection.

John Cutrone, Director of the Jaffe Center for Book Arts at Florida Atlantic University Libraries, is curator of the Jaffe Collection, and host for Book Arts 101 : Home Edition. John unpacks new items for the JCBA's permanent collection on each episode. These episodes can also be viewed at JCBA's Vimeo Channel.

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I love reading blog posts written by artists. I equally enjoy receiving news on newly produced works.

If you are looking for a bit of humour, Big Jump Press blog written by Sarah Bryant is always encouraging.

I enjoy receiving news from Magog, Québec, through the blog of Guylaine Couture. You can also view her most recent book “Interest & exchange in the dirt,“ part of the exhibition UNSEEN.

Check out Cathryn Miller’s blog to follow what Byopia Press is teaching us these days.

2021 © Amandine Nabarra. The last Breath

Amandine Nabarra’s blog presents us with her sensitive, well designed artists’ books.

2021 © Thomas Parker Williams. Two Moons, published by Thomas; text and poetry selection by Mary Agnes Williams.

If conceptual sources from the theme of mathematics, music, literature, theology, philosophy, astronomy, history, natural sciences, architecture, and Eastern thought are of interest, view Thomas Parker Williams artists’ books.

Read more on Philip Zimmermann’s recent artists’ book Delirium and watch this short video.

Let's not forget Helen Hiebert and her superbly, well-informed posts on papermaking. Helen Hiebert video — All About Helen Hiebert Studio.

And last but no least, reading information coming from the BOOK_ARTS-L@LISTSERV.SYR.EDU can be eye opening. Sara Halpert, Museum Manager at The Printing Museum in Carson, California, compiled THE ULTIMATE PRINTING MAP where you can examine local places of interest in your corner of the world.

Videos that are part of this post are viewable only on my website!

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Need to get back to work and read more news coming via email. Thanks for keeping me informed. Oh! By the way, Let me say that working with Squarespace’s Email Campaign feature is so much easier than Mailchimp. What has been your experience?

Surveillance

I’m delighted to announce the release of my recent artists’ book that considers our privacy and freedom in a social and democratic world.

© 2021 Louise Levergneux. Surveillance, a tunnel book, 7 x 5.25 x 1.5 inches (18 x 13 x 4cm).

« Surveillance » presents the direct result of a three-year collection of security warning sign photos. The key concept started in the summer of 2017 while traversing the US from Boise, Idaho, to Gatineau, Québec. I felt my every move being watched, while travelling across the country. I became more sensitive and aware of the level of surveillance forced upon me. It wasn't that the surveillance was personal, but universal, that presented a dilemma for me. However, it became apparent Google was tracking my digital journey as I researched online. I noticed advertisements from my latest searches as Google kept tabs with bread crumbs history and presented personalized promotional links on the screen. Who’s watching?

© 2017 Louise Levergneux. Original warning sign photo.

Generally, my book ideas come after being blitzed by a subject matter or a visual stimulus. I surprise myself by photographing a similar subject over and over again, till the collection of photos provide the incentive to research in depth what captured my attention.

© 2019 Louise Levergneux. Original warning sign photo taken in San Antonio, Texas.

Next, various scenarios are played by writing or reviewing photos. I operate with the five principal questions of strategy, which helps to clarify the idea. Habitually these questions are resolved through my thought processes in the early hours of the morning. Once the idea has permeated through, I gather all my photos into Photoshop and the fun begins. This is my tool to design. The software provides to me the freedom to experiment and photography as a medium inspires me.

Next comes the planning of content, size of the page, composition, colours, the materials, structure and binding of the book... It takes a while to digest all these components and start publishing. For me, the structure is what takes the longest to decide and implement.

© 2019 Louise Levergneux. Figuring out the binding and electronics in Natalie Freed’s studio in Austin, Texas.

© 2019 Louise Levergneux. A copy of the front cover for the tunnel book, laser cut by Sarah Pike from Free Fall Laser in Adams, Massachusetts.

« Surveillance » was one of the most complicated projects I created. I needed the help of other artists who were knowledgeable in their fields for the book to come together. While visiting Olivia Primanis at The Harry Ransom Center in 2018, the idea of adding electronics to the book came to mind. Olivia suggested Natalie Freed as a contact, who was giving a workshop at the Austin Book Arts Center at the time. Working with Natalie remained a delightful experience, and our meetings brought many possibilities to the forefront and solidified the type of binding. Another conversation during a studio visit with Thomas Parker Williams in Philadelphia, provided me the opportunity to communicate with Sarah Pike from Free Fall Laser in North Adams, Massachusetts. I could not fathom the idea of cutting the windows of the cover page and holes necessary to attach the camera and wires on the book board. Oh, I tried! But this job was better executed by a laser cutter.

© 2020 Louise Levergneux. The pages of the tunnel book printed and ready to assemble.

Once the components and structure were in place, I concentrated on the five pages of the tunnel book. The fun continued in the world of Photoshop. Printing double sided layouts remain a lengthy process. Registration needs to be checked at least twice before printing the actual image. The printer settings, printer profiles, and the colour handling should be correctly chosen for the type paper used; printers are relatively complex, and they don’t always cooperate. When my Epson works smoothly, the images that roll out are beautiful with crisp and bright colours. I enjoy printing with an Epson Stylus Photo R3000; what you see is what you get — meaning — my images print exactly as they are perceived on the computer screen.

© 2019 Louise Levergneux. Cutting to size the book board for the binding of Surveillance.

The least fun of my projects is using glue! It's is all over the place. I’m lucky a book is completed without any glue on the cloth! Once the binding, the switch, the colophon, the cover image, the structure were all in place, the end was near. The pleasure of seeing all the components come together is fantastic. Now, I can invite the viewer into a world where personal freedom is infringed by the bombardment of warning signs. Once inside, the viewer’s privacy is usurped once more by a photo captured without permission.

When an artists’ book comes to completion in an effective way, the feeling of accomplishment is tremendous. I can say, done, and it feels great!

Since the project is complete my focus is now on promoting and distributing « Surveillance ». I hope you can take pleasure in the finished product. Enjoy!

As always, thanks for your interest by reading my blog posts.

© 2019 Louise Levergneux. Inside view.

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.

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!

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.

© 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.

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. 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. 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. 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″).

© 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.

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.”

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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!

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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 pages for Surveillance.

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

© 2019 Louise Levergneux. Back page for Surveillance.

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

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

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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. 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. 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.

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.

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. © 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.

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 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.

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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.

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.

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© 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 Ericka Walker, lithograph and screen print.

© 2018 Ericka Walker, lithograph and screen print.

© 2018 Ericka Walker, lithograph and screen print.

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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 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.

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

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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

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

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

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

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

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, 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

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.