Accomplishments and More Tools and Equipment

I completed another milestone in my studio — I think it’s now an 1/8 Measure Studio. But even in this compact space, I ultimately completed the edition of eight copies of my project Surveillance. This with the help of two very conscientious artists.

© 2021 Louise Levergneux. The last three copies of Surveillance available.

© 2021 Louise Levergneux. Surveillance.

It was quite the process! Natalie Freed, electronics expert in Texas, was responsible for the realization of my creative thoughts back in 2018. Unable to work on the electronics to finish the last four copies due to other priorities, Natalie passed on the assembly documentation and purchased all the necessary materials to be completed by another artist. The materials, included: microcontrollers, amplifiers, tiny potentiometers to adjust the audio volume, mini speakers, sliding switches, silicone wires, breadboards, cameras, circuit boards, and a LED lights. I’m glad someone else was doing the electronics. The list above is a world of unknown to me and I’m thankful Natalie was able to see what I was dreaming of.

Once the materials were purchased, coded and programmed, all was shipped to me in Arizona. At this point my part was to drill bigger holes in the cameras to receive longer screws for securing the cameras to the covers. Once again the bindings, cameras, and all the materials, were shipped this time to Thomas Parker Williams in Pennsylvania — who responded to my query for help with the project. He took responsibility for completing the electronics with excellent assembly documentation from Natalie. Since Thomas was extremely fast and efficient, my books were shipped one last time to me; then came the phase of me positioning the tunnel book, the cover image, and the colophon in each binding. Presently, three copies are ready for a new home.

© 2021 Louise Levergneux. One copy of Surveillance was on order from the University of Nebraska at Omaha, since last April. .

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© 2021 Louise Levergneux. Hazel & Violet Letterpress Printers located in the renovated Braggs Pie Factory building on Historic Grand Avenue of Phoenix has a whimsical facade. Grand Avenue has never lost its genuine appeal due to the many interesting vintage buildings that create a gritty boulevard, connecting the edge of downtown with points west.

Since my last post I have re-examined my equipment to work productively. I pride myself in keeping a smaller footprint in life and decided I should also keep my tools at a minimum. I will be able to produce my books through my manual methods and when bigger equipment is needed I can communicate with contacts and artists I have met virtually or in person.

Philip Zimmermann suggested I contact Nancy Hill of Hazel & Violet Letterpress Printers in Phoenix for the use of a cutter.

© 2021 Louise Levergneux. Hazel & Violet Letterpress Printers in Phoenix, many metal and wood type cabinets.

© 2021 Louise Levergneux. Nancy Hill demontrating a press at Hazel & Violet Letterpress Printers.

I took the opportunity to visit with Nancy and tour the letterpress studio in June. Hazel & Violet — a letterpress studio, teaching facility, and commercial print shop on Historic Grand Avenue is open-to-the-public. Nancy Hill prints custom stationery, business cards, coasters, invitations, and broadsides. Eric Lindquist (runs the Heidelberg) and Michael C. Leeder both print mostly the commercial work. Michael is also involved in Forest and Third Friday nights Showing folks how to print and make free posters.

© 2021 Louise Levergneux. Some of the work printed at Hazel & Violet Letterpress Printers.

In addition they have a print-time rental space for a nominal fee — $20.00 per person with a two-hour minimum. The space is furnished with wonderful equipment (not all available for rent) a Chandler & Price (10 X15 NS – 1922), a Heidelberg T-Platen Windmill (1967), a Potter Proof Press (1925), a Reprex (1965), and a Long-Master Showcard Press (1980).

© 2021 Louise Levergneux. Quality handmade work, Hazel & Violet Letterpress Printers.

© 2021 Louise Levergneux. Nancy has an interest in ampersands.

In the artists’ book community, one can invariably discover someone who is invaluable and friendly.

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If you missed Mark Wangberg comment on my post “Tools and Equipment,” I think you will find his creative tools and equipment making interesting.

I am in a remote area of Peru (Iquitos) with very limited access to equipment easily obtained in the USA. I brought a small Kutrimmer (14" cut) from the US and use it to cut board and papers. I also do some cutting by hand and appreciated seeing your setup for that! I rarely do editions these days, so I'm not usually cutting a lot of board by hand. I'd LOVE to have a larger Kutrimmer or board shear but have not found any available here. I may end up having a machine shop make one for me! For now, I know some printers who will cut paper to precise sizes with big electric cutters — if I need real precision. A trick I learned for cutting paper to larger sizes accurately was folding the paper into quarters and then cutting with the Kutrimmer — good for some of the origami type folds I use in making books.

For my own marbling & teaching I have made most of my tools (combs and rakes) using wood, stiff corrugated plastic and T-pins and nails or screws. I push the T-pins at regular 1/4" intervals through the stiff plastic and then duct tape over the top of the T. These make a lightweight and waterproof comb for nonpareil. The combs are made with lengths of 1" x 2" wood with screws usually spaced two" apart. Thin plywood can also be used. These tools can be made to fit whatever size tank I'm using. I usually marble paper that is 12"x18" and use tanks that are a few inches wider and longer. These tanks are flexible plastic storage boxes usually sold in hardware stores (used to store clothing, etc.). Most have convenient lids when leaving the carrageenan or methyl cellulose bath sitting overnight, thus preventing dust from getting into the bath. I like using the clear plastic tanks because I can put a piece of white paper under them so the marbling colors show accurately. Dark tanks make it hard to see the colors as they float on the surface. Some people use glass tanks too. My plastic ones are usually about three or 4 inches deep, but I only put about one inch of the liquid bath in the tanks. For traveling to remote locations, I make "tanks" using four pieces of 2x2" wood, 20x14" in length, then drape heavy clear plastic (like a table covering) so that the plastic lowers into the rectangle. The wooden rectangle doesn't need to be attached like a frame with screws or nails, though it will steady the setup for rowdy kids! Sometimes I use pushpins to hold the plastic in place while working.

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© 2021 Louise Levergneux. Over 100 DVD’s to copy to a 1TB LaCie SDD Drive. My New drive is the little gray box on the bottom left!

Like many hats an artist wears, the administrivia part is the worst! This is what I’m dealing with for the next week. Again smaller footprint, smaller space, less DVD’s. I purchased a 1TB LaCie SDD Drive for storing all photos and artists’ book information, work template, statements...

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.

Ottawa, Ontario

My up-coming publication Surveillance underwent many design sessions before its creation. The theme being on surveillance, I wanted to produce an artists’ book that would involve the reader in an alternative way. 

First, the thought process of finding the correct binding to properly present my artists’ book. After an active year of collecting images that would bring home the fundamental idea behind the project, I was ready for its conception. I chose, collated, sized and ultimately transferred the images into a layout in Photoshop. This step is always painstaking, since the choices are endless but results matter to bring to fruition the imagined piece. Once the book has been thought out, the essential work of deciding on size of the book, its presentation, the layout, placement... Then the printing phase follows. 

© 2019 Louise Levergneux. Printed pages for Surveillance.

© 2019 Louise Levergneux. Folding the accordion pages of Surveillance.

A double sided printing job is never easy, registration is a whole other world, as you know. One has to remember that paper sizes are never perfect. I have typically found that 8.5” means 8 3/8”. This naturally means that all images and text on the verso need to be moved to the right at least 1/8” or more depending on your printer. It takes a while, but once the images and text are ideally placed on the verso, the work is done! But don’t forget to check your registration marks for every sheet or page to be printed so not to waste ink and paper. 

© 2019 Louise Levergneux. Cutting boards for the binding of Surveillance.

Once more, my creative thinking wants new experiences and working with a new binding. After deliberation my choice was the tunnel book binding. But, how will it work with the content and the electronics. How to bind with electronics? ...

© 2019 Louise Levergneux. Figuring out the binding cut-outs to fit the electronics.

When in Austin, last Fall, I met with Natalie Freed and presented my idea and needs for Surveillance. Natalie was excited and open to all the requisites for the book, keeping in mind the possibilities and limitations of the materials involved. This was a great experience and Natalie was fantastic and knowledgable.

© 2019 Louise Levergneux. Natalie Freed’s sample of the possibilities of electronics in artists’ books.

© 2019 Louise Levergneux. Solving other dilemmas to fit size of the fake security camera as part of the binding.

© 2019 Louise Levergneux. Natalie Freed working on the electronics.

© 2019 Louise Levergneux. Natalie Freed’s finished work for Surveillance.

Natalie Freed works at the intersection of education, hands-on making and technology. Natalie was incredibly excited about coming up with ways to teach challenging STEM concepts through expressive crafts, especially textiles and the book arts. Natalie graduated with an M.S. from the MIT Media Lab in 2012, received her B.S. and M.S. in Computer Science with a concentration in Arts, Media and Engineering from Arizona State University, in 2009/2010. Freed moved to San Francisco in 2012 for a fellowship in the New Media Studio at the San Francisco Exploratorium. Then joined Lick-Wilmerding High School’s Technical Arts program, where she started the new Computing track and taught computer science and digital fabrication.

At this pivotal point after months of travel and other activities between our meetings, Natalie and I dovetailed our separate deliverables and the book is ready to be assembled. Oh! Wait, it’s a tunnel book binding and I require seeing through the cover to the inside pages!

© 2019 Louise Levergneux. Mock-up of cover cutting for Surveillance.

By pushing the boundaries of my work and creating a tunnel book, I had to meticulously cut all the little windows in the cover page. Another process that would take an eternity. Unable to carefully cut to my OCD standards, I researched for a creative company or artist that could precisely cut the front page, which was my next step, since smaller laser cutters would tear into the fibrous paper. 

© 2019 Louise Levergneux. Third mock-up of the cover and inside pages for Surveillance.

I fortunately found Sarah Pike from FreeFall Laser, who works remotely with clients across the country on custom laser-cutting projects. Her approach combines artistic experimentation with technological experience to conceive exceptional work and always looks forward to becoming a part of the creative team. Collaborating with Sarah was another outstanding experience. Sarah uses a state-of-the-art CO2 laser cutter to precision cut and engrave wood, paper, acrylic, fabric, and much more, up to 1/4 inch thick, to convey one's unique vision into a reality. Sarah, used custom settings that optimized my selected substrate and helped develop the finished look for Surveillance.

© 2019 Louise Levergneux. Sarah Pike’s laser cutting result after trial run.

After 2 weeks, the job was done, and it’s waiting for pickup. Traveling in Canada at the moment and shipping the pages back to me in Ottawa, Ontario, would be astronomical in cost. Therefore, a visit to Berkshires in Massachusetts in the Fall is in the works.

FreeFall Laser was born when Sarah Pike left the safety and security of a successful academic career and jumped off the proverbial cliff to start her own business. Sarah is a practicing artist with years of experience in bridging technology and the artistry of the hand.

I’m looking forward to finishing the first copy of Surveillance in its entirety and presenting it to Library Collections.

If you have projects you are having difficulties encompassing electronics and/or precision cutting situations, I suggest working with both Natalie Freed and Sarah Pike. For me it was a genuine pleasure!

© 2019 Dale Rogers. The hatching of small Hummingbirds in my friend Dale’s backyard, Avimor, Idaho.

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!