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.

---

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.

---

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!

---

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?

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. .

---

© 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.

---

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.

---

© 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...

Doing Business

I have discussed the subject of doing business a few times on my blog since 2016. In a changing world and reaching retirement age (I dare to talk about it!), revisiting the impact of producing artists’ books and continuing business during this period of my life seemed important. Warning! If you don’t like reading, this post is a long one, but its content might elevate your spirit.

With the unset of the pandemic, most of us were hibernating and deciding to head into our studios and focus on producing new work. For me, the lockdown allowed peaceful time to produce and enjoy my teeny weeny studio in our travel trailer while confined in Arizona at the end of March 2020. After a summer of 55 plus days in 46°C (115°F) and Covid’s long-term existence, we decided to purchase a modest home. This current phase assists my husband and I to be safe, execute our work, and not worry about baking in the sun!

© 2021 Louise Levergneux. Tools of the trade.

Covid presented many economic challenges for us all. Understanding the dilemma of maintaining a profitable business during these tumultuous times was insightful. I asked myself many questions — Why do I produce artists' books? — Is it the desire to express my thoughts, produce something of value, establish a business, or is it absolute joy? Can I manage the necessary materials? Am I destined to accumulate an inventory instead of a sellable product? How do I continue the promotion and distribution of artists' books? How will the libraries actively collect, while closed? Do I stop publishing? Is this a wake-up-call, flagging the end of a career? ...

I was surprised to receive an email through the BookListServ with the subject: Keeping Business Going by John Cutrone. I appreciated someone bringing this matter to the forefront. I responded directly to John’s query as we contemplated the subject together. We both waited for some feedback from other artists on sharing their dilemmas of doing business on the BookListServ. We were both fascinated with the lack of reaction.

In my email to John, I mentioned my struggle to send a prospectus to library contacts at this time. Ultimately, with an optimistic attitude I emailed contacts identifying the sensitivity in which I was sending my prospectus of recent artists’ books created in 2020-2021.

After a couple of days, John responded to my struggle through the BookListServ:

Thank you to Louise Levergneux for the artist-as-businessperson perspective; I appreciate that! I'm going to switch hats from Convivio Bookworks proprietor to Jaffe Center for Book Arts director and say that I don't think that book artists need feel guilty about sending out prospectuses and sales attempts during this pandemic time. For us at the Jaffe Center, we never get an acquisitions budget––we are part of a state university system that is constantly dealing with budget cuts handed down from the state legislature and one of the things to go, back in 2008 or so, was the annual acquisitions budget for Special Collections. Once gone, it never came back. And that's why we have an annual pie sale and other fundraisers.

Thanks to that pie sale and workshops and other perhaps unorthodox methods we've developed to raise money, I am able to buy books and prints from book artists (including many of you on this list), and I was able to do so even when things were looking bleak last spring and summer. I can't ever buy expensive pieces, but I can afford to purchase pieces that are up to a few hundred dollars, and I think supporting artists on a transactional basis like this makes an impact.

So how do you get attention from library collections without in-person events like CODEX these days? Direct mail to collections may not be the best way to go right now. Many, like the Jaffe, are not currently open, so a prospectus sent to a physical library address may go unanswered for weeks or even months. At the same time, emails are easily lost in the avalanche of emails received daily.

I think you have to be persistent if you want to sell your work to collections right now. Emails should be short and sweet, something that can be easily grasped in a few seconds. And while I don't have time to keep up with every contact I follow on Instagram and Facebook, I have made purchases for the Jaffe Collection through these means if something catches my eye there and the moment is right.

Again, I don't know if talking Book Arts as Business is helping anyone on this list (perhaps Louise Levergneux––again, thank you for your response, Louise) but I am hoping it provides some help to some.

Consequently, with no reaction to John’s messages, I wanted to grasp how my colleagues were continuing doing business. I decided to communicate directly with them and find out for myself.

Here is what emerged from my query: in the past year, many artists remained hard at work, creating books or trying to redefine their careers to survive by focusing on professional development instead of marketing and promotion. Like me, some took time to investigate their own careers and rethink how best to distribute their work. Others contemplated their future by wanting to do less production work, and set aside more time for their own art or binding.

The current world situation had a huge effect on everyone, but I found most of them experienced a surprisingly reasonably good financial year in terms of sales, productivity, and online teaching. On the subject of promotion and distribution, a few confessed being terrible at it and use dealers to promote their artists’ books and were fortunate to be able to focus on the creative side. For some, it was time to organize their studio and find pleasure in writing.

Others had to establish life changing decisions such as Yamandu Ploskonka in Texas:

Overload causes burnout. In 2015, I had a business, successful Kickstarter, with many orders, even wholesale purchases. Becoming a papermaker in 2016 was healing, sinking wholeheartedly into pulp and creativity. But, 2020? Yes, I had a couple to five big fabulous projects. For me, that’s nothing, eight is about normal, yeah! But the emotional overload of day by day things seemed to get worse, even scarier. Stupid divisiveness all around, people acting nasty totally on purpose. Everything I did was slow-motion, if at all... It took me until this April to complete projects and finish reporting on cancelled ones because I just wasn’t able to cope, to focus, to admit failure. My response? Take a break, before I break... I sold my paper studio; key-in-hand, et « bon débarras »! Yes, I did cry. Not much, don’t worry. Then, stiff upper lip, new life. I’m keeping the wife and dog.

© 2021 Yamanda Ploskonka. Yama’s paper studio in Austin, Texas.

The lockdowns affected the research and writing of Robert Bolick, collector/writer of Books On Books. Robert was no longer able to go into the Oxford and London libraries’ and museums’ reading rooms to examine book art. Not being able to travel to exhibitions, he became a bit more adept at online research but found the process didn’t replace examining and handling works on site. At least delivery services allowed his collection to continue growing. Good luck in your endeavours Robert!

© 2021 Karen Hanmer. Karen’s online teaching set-up in her Glenview, Illinois studio.

Karen Hanmer took a different approach to continue her strong art business with online options:

Like many of us, my studio practice is varied, including small editions of artists’ books, larger editions of inexpensive multiples, design binding, bookbinding instructional materials, workshops and private instruction on a wide variety of book arts topics, and maintaining numerous informal mentoring relationships. Last March, I could have told you what I’d be doing every week of the year, and was even doing some preliminary planning for 2021. A month later all these plans had evaporated.

I'd finished an editioned artists' book in the fall of 2019, and had just completed the first phase of promoting it: emails to current collectors. Normally in the fall I'd send fliers and a follow-up email to a larger group of librarians and practitioners. Since many of those individuals are working from home I made the decision to postpone that a year. I would have to draw income from a different aspect of my practice.

By April conservator friends were contacting me for instructional materials for professional development projects for themselves and their labmates during the stay-at-home. It became obvious that there was demand for resources to keep both professionals and hobbyists occupied under lockdown.

A venue where I was scheduled to teach in person in June 2020 asked if I would be willing to move the workshop online. It was something I had not done before, and neither had they, so we shared in the research and figured how to do it together. This gave me the confidence to plan a full schedule of online workshops that I'd host myself from my studio. I was fortunate to get started several months earlier than many book arts centers began offering online instruction. Since May I've hosted over 200 students from four continents and nine countries for workshops and private instruction.

I've revised and expanded many of my handouts to make them more usable without the workshop sessions, and posted them for sale in my online store. I was already offering some of my workshop demo books on Etsy, but I moved them over to the Square store so all my instructional materials would be grouped together. I have turned one of my workshops into a self-guided tutorial plus supply kit, and am considering developing additional offerings.

© 2019 Helen Hiebert. Helen teaching in her Red Cliff Studio in Colorado.

Helen Hiebert was able to continue her activities during the pandemic and maintain her business successfully through her actions and decision making:

I launched my first in person Master Class in October 2019. Four spots filled immediately, so I opened and filled a second session. My in person Red Cliff Paper Retreat was also well on its way to being full. All three events were scheduled for summer/fall 2020 and had to be cancelled when Covid-19 struck.

I feel fortunate, because I’ve been teaching online since 2017. I pivoted quickly and set up a new 8-week online class for the summer. The timing was good, since my clientele were stuck at home and looking for things to do, and I already had an online following. I had a great turnout and was able to recoup a good part of that lost income. I also received Pandemic Unemployment Insurance. I was already planning on turning a printed calendar that features a how-to paper project each month called The Paper Year into a membership club, which I launched in January 2021. That went well and my annual Weave Through Winter (30 days of paper weaving) online class had a record number of students in Feb/Mar 2021.

Artist book sales have been slow. I have relied on dealers for the past few years and my last sale through a dealer was in March 2020. I have my own list of collectors and have sold to books myself when traveling. I sent an e-mail in the fall and made one sale of two higher priced books. I also started working with a new dealer recently and she just sold two higher priced books. I also reached out to one collector who had expressed interest in a particular book and she purchased it. And recently two new collectors have purchased books they saw on my website. Still, my artist book sales are about 25% of what they’ve been in the past.

I send a monthly newsletter, write a weekly blog, produce a monthly podcast featuring paper artists, and am active on Facebook and Instagram. I recently started something called The Paper Advisor, which is like a free mini-class, which is a lovely community and has resulted in newsletter subscribers.

© 2017 Sarah Connors. Andrew Huot teaching at the Campbell Center for Historic Preservation Studies in Illinois.

Andrew Huot kept his business afloat during the past year by concentrating on one part of his practice:

My book arts practice, and my living, is split amongst three interests. I make Artists’ Books and sell them to libraries and individuals, I own Big River Bindery, a conservation and bookbinding business, and I teach, both at the university level and in workshops. When everything closed down in March of last year, I was actually out of town teaching a workshop in Idaho. In the past year making and editioning artwork has fallen to the back, so that I could concentrate on keeping my business and family afloat. I closed the doors for three months, as I tried to complete projects already in the shop and to plan to keep things going. I shouldn’t have worried, as I kept getting calls from those stuck at home, finding old family treasures deciding that they needed repair. I opened the doors again in June and have had a steady stream of new projects coming in. One piece of work that stopped altogether was prop work for the local movie industry. Once the filming stopped, the need for custom books for the movies came to a halt. Just this last week the calls started coming back in. My 2020 classes at book arts centers were cancelled as most of the venues closed their doors. I decided to explore the opportunities from afar, and came together with some colleagues to form bookpaperthread.com, an online format for book and paper arts instruction, relying on recorded lessons and live meetings to allow students to work at their own schedule, while staying safe at home. The interest and registrations have been building over the last six months, and we hope to continue in the future. I hope as things settle down, and we’re able to travel more, my in-person teaching will come back, the conservation work will go back to a reasonable level, and I can get back to making artwork and visiting libraries to sell it.

© 2019 Louise Levergneux. Monique Lallier teaching me how to execute a Drumleaf binding at her studio in North Carolina.

The pandemic didn’t change Monique Lallier and Don Etherington’s schedule with a prosperous studio space at home:

We had commissions that kept coming, and we had more quiet time to work, being undisturbed by visitors. But we missed seeing friends and family as I was, and still not able to go to Montréal. I maintain a website, but most of my clients are collectors and they choose the binder in relation to the book that they want to be bound. Both of us are approaching the end of our careers, so we didn’t have the urgency to find new customers.

© 2019 Louise Levergneux. Thomas Parker Williams in his studio in Philadelphia.

Thomas Parker Williams and Mary Agnes Williams who live in the Manayunk section of Philadelphia took the last year to create:

During 2020 we certainly missed seeing collectors and fellow book artists at the various book fairs where we usually show our work. We would have shown at three book fairs last year, but were able to do only the Manhattan Fine Press Book Fair in March, right before everything shut down. Because people were starting to be concerned, there were fewer potential customers at that fair, and we sold only one work. Shortly before that fair we had produced a brochure with descriptions and images of work currently available, and mailed it to librarians and previous collectors. We received some interest via email from this mailing. We are fortunate that our studio is in our house. We have used this time to make a major unique book with sixty-eight original drawings, as well as an editioned one, and are now working on a third. We have sold a few books through our dealers and we are hoping that the two fairs planned for the fall of 2021 will take place.

© 2019 Louise Levergneux. Sarah Pike at FreeFall Laser, discussing the details for my book Surveillance.

As artists, we often need the support of various services to complete our work. How did they adapt during these strange times? Sarah Pike from FreeFall Laser was able to stay positive and find new opportunities:

As an artist and owner of FreeFall Laser, a laser-cutting service for artists and bookbinders, this past year has found me bouncing back and forth between feeling like nothing has changed, and needing to be proactive about adapting to continual change. My day-to-day looks much the same as it did before the pandemic. I’m grateful to have chosen a business model that’s not reliant on local business. I’ve been able to keep going because I was already working remotely with many clients.

That said, one of my important revenue streams, Laser Cutting Boot Camp — an in-person laser cutting training — was in jeopardy due to the pandemic. It was painful to refund all that tuition when I had to cancel the in-person training. But I’ve adapted by creating an online version that actually has many benefits over the in-person model. Not only can people who can’t afford the time or travel costs participate in the online class; but the new online five-week course, versus the condensed in-person four-day course, gives people time to better absorb the information.

I’ve also had to adapt to not being able to connect with future clients through conferences and studio visits. This has led me to step up my email campaigns and stay consistent with my monthly newsletter. I’m seeing how my marketing efforts of the past few years are paying off.

Pandemic or no-pandemic, I’ve found that owning a creative business requires a combination of being proactive, adaptable, and having faith. My efforts don’t always reap immediate results or take the exact form I was expecting, but I’ve learned that opportunities arise when I’m willing to try new things and stay open to positive outcomes.

I reached out to Vicky Stewart in Alabama to see how Vamp & Tramp, Booksellers, LLC was fairing:

Like all businesses, we have been affected by the pandemic shutdown. Most of this was due to collection budgets being cut or put on hold because of costs related to COVID. We were fortunate because due to long-time relationships with collections we continued to get purchase orders. We do maintain a web site, and try to take advantage of social media such as tik-tok and Instagram. We began zoom meetings in the fall as an alternative to on-site visits. We continue to represent artists as best we can through these different media. No matter the method, the best way to sell work is to know your audience. We try to understand the collecting criteria of our customers and show the work that best fits that collection – whether in a zoom call, an on-site visit, or a furnished list.

As for me, appreciating the many obstacles that stood in the way of libraries collecting artists’ books, I sold six artists’ books, some at the beginning of 2020 before the pandemic and some at the end of the year. Last February, leaving guilt aside, I made the plunge and emailed a prospectus of my recent book « Surveillance » . To my surprise, two days after sending off the email, the first four copies of « Surveillance » found new homes. Thank you to the Miller Library of Colby College; the Baylor Book Arts Collection of Baylor University Libraries; the Bruce Peel Special Collections of the University of Alberta; and the Martha Blakeney Hodges Special Collections, Walter Clinton Jackson Library of The University of North Carolina at Greensboro for their support.

© 2021 Louise Levergneux. The inside of my tunnel book Surveillance.

With all that said, people expressed an interest in the topic of keeping afloat with a business during the pandemic and were most appreciative of John’s exchange on sharing strategies. While the world may be upside-down at the moment, artists found a way to pursue their passion. Now, libraries are opening their doors; collectors are seeking artists to commission special bindings, and exhibition deadlines are on the rise. I guess, one might say we are back in business!

© 2021 Louise Levergneux. Cactus in bloom in Apache Junction bringing a positive view on life.

Thanks for all the encouraging messages and pointing out that my career may be shifting toward a different emphasis instead of ending. There is hope!

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.

Still in Casa Grande, Arizona

After ten weeks of sheltering in place, I'm experiencing the pressure of the unknown. I do humbly admit the effect of teleconferencing is beneficial. My artists’ book entitled “Finding Home” which I created in 2016 comes to mind at this key moment. I feel the need to properly nourish my sense of belonging. I dream of the day when a hug isn’t an imminent threat, and I can visit family, friends and artists studios in real time.

© 2020 Louise Levergneux. In the last month, I’ve continued working on my 20th anniversary volume of City Shields. This is a blast!

The remarkable beauty of the flowering cacti, the forever lasting sunny days and the dry heat of Arizona, is no longer nourishing my creative soul. As a nomad without being able to travel, I’m increasingly feeling trapped in the vehicle meant to liberate me.

© 2020 Louise Levergneux. A Senita Cactus in the heat of Casa Grande, Arizona.

Most of the time it’s peaceful here in Casa Grande. While I’m content to work on my recent artists’ book, creating, researching... Sitting for too long can gnaw at the imaginative mind even if busy with activities one loves.

Covid-19 has undoubtedly affected our humble lives. Artists currently possess extended periods of time to be creative, but our minds are on the uncertainty. We are trying to work and live through these hard times. Ultimately, the crisis has forced its way into our creative work.

Thomas Parker Williams from Pennsylvania has emailed me information on his recent unique artists’ book entitled Pestilence.

Thomas’ conceptual sources include mathematics, music, literature, theology, design, philosophy, astronomy, history, natural sciences, architecture, and Eastern thought. 

© Thomas Parker Williams. Pestilence by Thomas Parker Williams, 12” x 24" x .875” closed.

© Thomas Parker Williams. Pestilence by Thomas Parker Williams, original drawings with dry pigments in alkyd medium, stains, ink and coloured pencil.

© Thomas Parker Williams. Page one of Pestilence by Thomas Parker Williams.

© Thomas Parker Williams. Page three of Pestilence by Thomas Parker Williams.

“Pestilence was drawn during the week of April 13-20, 2020. It is a metaphor for the worsening COVID-19 crisis and the rejection of reality by some in our country. This crisis will change life as we see it. My hope is we will be able to accept the cooperative action needed to survive it.” Thomas Parker Williams

---

Another artist — Guylaine Couture — who juggles with the specific ideas she wants to powerfully convey, recently completed a zine entitled “Mes indispensables, pandémie 2020”.

© 2020 Guylaine Couture. My Indispensable, Pandemic 2020, drawings and texts by Guylaine Couture. The zine is folded and cut manually; 16 pages.

© 2020 Louise Levergneux. I received an actual, physical wild pink coloured envelope in my mail box last week, inside I found a copy of “My indispensable.” This little zine brought a smile to my face.

© 2020 Louise Levergneux. Surprise! included in the envelope were a set of three small cards printed manually on recycled paper by Guylaine.

Guylaine enjoys working on subjects that challenge us like cancer, ecology, mourning or the landscape. These subjects depend upon introspection. It is critical for Guylaine to produce each book differently, that the form changes, evolves and adapts to its point of view.

© 2020 Louise Levergneux. Mes indispensables, pandémie 2020 by Guylaine Couture is a single sheet format. 2 ¾ inches x 4 ¼ inches when closed.

© 2020 Louise Levergneux. Mes indispensables, pandémie 2020 by Guylaine Couture is 2 ¾ inches x 4 ¼ inches when closed.

© 2020 Louise Levergneux. Mes indispensables, pandémie 2020 by Guylaine Couture is also available in English.

“Vivre ce moment historique est toute une aventure. Elle est différente pour chacun de nous. Pour ma part, j'ai voulu en témoigner par ce zine sur le sujet. J'y parle de mes (nouvelles) expériences et découvertes.” Guylaine Couture

“Living this historic moment is quite an adventure. It varies for each of us. For my part, I wanted to bear witness to this complex issue with a zine. I talk about my (new) experiences and discoveries.” Guylaine Couture

---

On another note, James G. Jenkins’ sculpture provides a theme for both intellectual and visual curiosity. Jim’s work reflects an eclectic and deep understanding of philosophy, spirituality, history, physics and other sciences, and our current societal state. “COST-O-TOM(B), You will feel a slight pressure” presages the current health crisis.

© J. Jenkins 2018. The creation of COST-O-TOM(B), You will feel a slight pressure by Jim Jenkins.

“There are several instruments normally associated with the practice of medicine or health care displayed. Combined in this way it becomes a hyper-anachronistic-allegorical-metaphysicalperplexing-conundrum.

Please note specifically there are no bodily fluids in any sort of suspension. The suspension of disbelief has been removed as well. Perhaps consider that the system has already been sucked dry, the life blood removed with nothing remaining. 

A cast trooper marches steadfastly along a very short plank. Soldiering on without complaint, silent, noble but encouraged to Bite the Bullet should anything untoward happen. The .45 caliber bullet suggests this and is labelled as such. 

A country in distress is symbolically displayed. The parties responsible might be discovered by examining the white paper with words provided with impact. A scalene triangulation suggesting unequal influence is fabricated with a surgical suture suggesting perhaps that we have been stitched up.

The Elephant in the Room remains in a carefully folded origami display concealing what is right in front of our face.” J. Jenkins

© J. Jenkins 2018. “COST-O-TOM(B), You will feel a slight pressure” by Jim Jenkins. Materials: Costotome, hypodermic syringe, distillation glassware, surgical tubing, surgical sutures, test tube, an American flag, sealing wax, peacock feather, gilt frame, aristocratic purple velvet fabric, a .45 caliber bullet, cast trooper, white paper with words typed, brass nameplate, stainless steel angle, flat bar, rod, discs, shredded money, and glass tubing.

---

Congratulations to everyoe who is being resourceful in continuing their teachings during these strange times. With many hours, to create, how is your art work progressing?

Pennsylvania

My plans for the end of September were to present my artists’ books to libraries in Pennsylvania. 

The first visit was to the Special Collections Research Center of the Charles Library of Temple University in Philadelphia. The library had completely been reconstructed by the AD100 architectural firm Snøhetta. This space echoes Snøhetta’s completed work at the Calgary Library in Alberta, Canada. The Charles Library is filled with a variety of specialized and innovative spaces providing a gateway to Temple’s campus.

© 2019 Michael Grimm. Outside the Charles Library, Temple University, Philadelphia, Pennsylvania.

Standing in front of the Charles Library, I was amazed at the soaring cedar-clad roof that continues throughout the inner atriums. The unique architecture made me pause at the information desk. I was gobsmacked at the building’s unique structure and the number of students engaged in flexible multipurpose rooms, reading areas, and study spaces giving them access to knowledge and technology.

© 2019 Michael Grimm. Inside view of the Charles Library, Temple University.

I was escorted through the « pièce de résistance » — the grand entrance, a three-story, domed atrium to the Special Collection Research Center on the first floor — an inspirational environment. Special Collection Research Center collects, preserves, and makes accessible primary resources and rare or unique materials, to stimulate, enrich, and support research, teaching, learning, and administration at Temple University.

Before entering enthusiastically into my appointment with Margery N. Sly, the librarian in charge of acquiring artists’ books, I spotted an exhibition filled with book arts reflecting the theme of architecture, celebrating the current facilities. I viewed books by Julie Chen, Brian Dettmer, Colette Fu, Malini Gupta, Guy Himber, Emily Martin, Carol Schwartzott, Jana Sim, and Thomas Parker Williams. 

© 2019 Louise Levergneux. Exhibition at the Special Collection Research Center of the Charles Library, Temple University.

© 2019 Louise Levergneux. Ashima by Colette Fu part of the exhibition at the Special Collection Research Center.

© 2019 Louise Levergneux. left: The Gist of Romeo and Julier by Emily Martin, right: A Brief History of the Fan by Carol Schwartzott at the Special Collection Research Center.

© 2019 Louise Levergneux. Language Möbius by Jana Sim at the Special Collection Research Center.

© 2019 Louise Levergneux. Spiral Dome Sculpture in Paper and Steel by Thomas Parker Williams at the Special Collection Research Center.

© 2019 Louise Levergneux. [Material in the tissue spaces] by Brian Dettmer at the Special Collection Research Center.

© 2019 Louise Levergneux. Clock Work Fish by Guy Himber part of the exhibition at the Special Collection Research Center.

© 2019 Louise Levergneux. The Fortune Teller by Malini Gupta at the Special Collection Research Center.

© 2019 Louise Levergneux. Chrysalis by Julie Chen at the Special Collection Research Center.

My experience went beyond my interaction and presentation to Margery; I felt enveloped by art. Margery was a very approachable librarian who expressed considerable interest in artists’ books. I’m thrilled to announce that Finding Home, A Day Filled with Onomatopoeias, and Earth.15 (Outside the Studio) are now part of Special Collections Research Center of the Charles Library of Temple University.

© 2016 Louise Levergneux. Finding Home, a visual narrative on being unsettled in an environment— to find a sense of place, a sense of belonging.

© 2013 Louise Levergneux. A Day Filled with Onomatopoeias (book and audio), is an interactive book based on the word onomatopoeia and it’s definition.

© 2012 Louise Levergneux. Earth.15 part of the series Outside the Studio, a photographic documentation and a study in movement and time featuring the four basic elements published in a weekly edition.

---

My subsequent visit was the McCabe Library of Swarthmore College in Swarthmore. Amy McColl, Head of Collections provided explicit instructions to the library making it a pleasant introduction to the campus. Most librarians I have encountered provide a visual characterization of the library; Amy’s description was a fun and surprising one “the building looks sort of like a fortress” she naturally added in her email. At my arrival I was delightfully surprised by the architecture, it does look like a Medieval Castle outside and inside. With great astonishment the building is referred to as “The Cage,” McCabe Library inspires a wide range of feelings among the student body, many of which are far from positive. Though, I enjoyed the cozy feeling of the atrium, its stone walls and dim lighting seemed to set a claustrophobic mood, but the atmosphere does not transfer to the librarians.

© 2019 Louise Levergneux. McCabe Library, Swarthmore College in Swarthmore, Pennsylvania.

© 2019 Louise Levergneux. The main lobby of the McCabe Library, Swarthmore College.

Swarthmore College is home to a vibrant and continually growing collection of contemporary artists' books. The Book Arts and Private Press Collection is committed to the acquisition of fine printing and artists' books and endeavours to represent all aspects of the physical book including bookbinding, typography, letterpress and offset printing, hand paper-making, illustration, and book design.

After a very up-beat dialogue with both Amy and Susan Dreher, my artists’ books Traverse, Parade, and City Shields (Pennsylvania volume) have fortunately found a new home in the Special Collection of the Rare Book Room in McCabe Library. These join four flip books: Air.10, Earth 16, Fire.3, H2O.11 (Outside the Studio) already collected through Vamp and Tramp in 2018.

© 2015 Louise Levergneux. Traverse, a documentation on the artist’s annual trip across the country to her home town of Gatineau, Québec, Canada.

© 2014 Louise Levergneux. Parade, presents the strange and intriguing scene of empty chairs waiting for the owner that will be curb side when the parade begins.

© 2008 Louise Levergneux. City Shields, Pennsylvania Vol US6: No 1. A photographic documentation using manhole covers to depict exploration of geographical locations along the artist's life journey.

---

This brings me to a sad moment for the community, as I convey my sincere condolences for the profound loss of Bill Stewart of Vamp & Tramp, Booksellers at the beginning of November. Bill, with his wife Vicky, were very instrumental in introducing my artists’ books to Special Collections of university libraries in the United States. I will always be appreciative for his demanding work, dedication, and professionalism. Bill will be sorely missed.

Philadelphia, Pennsylvania

While driving down the East Coast, the plan was naturally to stop over and meet artists’ book makers and binders. For the last few years, I have looked forward to this intended trip.

Finding myself in Philadelphia, Pennsylvania, I promptly seized this unique opportunity to visit Thomas Parker Williams. Every artist’s meet-up is a terrific experience and Thomas' studio visitation did not disappoint. My husband and I were welcomed in Thomas and Mary Agnes’ home and studio with great hospitality. This was invariably a fantastic visit! I immensely enjoyed viewing works that have inspired me online over the years.

© 2019 Louise Levergneux. Mary Agnes Williams and Thomas Parker Williams in their home in Philadelphia, Pennsylvania.

© 2019 Louise Levergneux. Thomas’ studio.

© 2019 Louise Levergneux. Thomas has a wonderful recording studio.

Thomas Parker Williams of Luminice Press has efficiently created almost 100 artists' book editions and unique book works since 1998. He is inspired by different sources including mathematics, music, literature, theology, design, philosophy, astronomy, history, natural sciences, architecture, and Eastern thought.

His working processes include reduction linocut printing, etching, letterpress printing with hand-set metal type and hand-cut and polymer plates. He equally enjoys digital printing, paper cutting, laser cutting, and painting with oil and aqueous media. Music and sound are elements found in many of his pieces usually composed, performed, and recorded by Thomas, himself. In addition to music CDs, some of his publications have companion videos. Thomas has developed a unique structure, appropriately entitled the cascading rotary structure, which can be seen in his book “Revelation.”

© 2019 Louise Levergneux. Revelation by Thomas Parker Williams, edition of 5; seven sided wood case, laser-cut face plate, copper panels with patina and laser transfer design; 10 printed laser-cut (by FreeFall Laser); panels with mechanical parts for actuation.

© 2019 Louise Levergneux. Thomas Parker Williams designed and built a hand press with electronic gauges, also called the Luminice Press.

In 2009 Thomas started collaborating with his wife Mary Agnes Williams, a pinhole photographer. And, in 2013, Thomas and Mary Agnes started Luminice Press, incorporating letterpress printing in artists’ books and broadsides.

© 2019 Louise Levergneux. Corinna’s Going a Maying, edition of 10, poem by British lyric poet Robert Herrick, published in 1648; eighteen pages on Twinrocker hand-made paper; pochoir images; text is hand-set in Park Avenue ATF, letterpress printed; bound with ribbon; silkscreened hand-made paper; concept, design, typesetting, and printing by Mary Agnes Williams; design, illustrations, printing and binding by Thomas Parker Williams.

Pinhole photography is apparently simple and direct, but it can yield complex images. With no lens or viewfinder, the pinhole camera allows me to explore and create mystery and ambiguity — in many of my photographs, the images appear to be emerging from, or about to enter, another time or place — Mary Agnes Williams.

Like Thomas, Mary Agnes has a constant source of creative inspiration and distinct pleasure—the iconic bridge over the Schuylkill River in her local Philadelphia neighborhood of Manayunk. 

Mary Agnes shoots with film, black and white and colour, using her pinhole cameras above: clockwise from top right: a 4 x 5 “Santa Barbara” made by the Lensless Camera Mfg. Company of Santa Barbara; a 35mm converted Mamiya/Sekor camera; a 120 format “Zero 2000” handmade by Zero Image, Hong Kong; a 120 format “Zero 2000 – Zone Plate Version” handmade by Zero Image, Hong Kong; and a 120 format handmade by Thomas Parker Williams.

© 2019 Louise Levergneux. Venice: A Gallery of Pinhole Photographs by Mary Agnes Williams, a 44-page book featuring 45 color and black and white pinhole photographs of Venice, Italy. This signed digital copy 68/75 was gifted to me by Mary Agnes.

© 2019 Louise Levergneux. Paradise Lost, a unique book, accordion bound; original ink drawings on 20 sheets of Twinrocker Da Vinci Heavy Text handmade paper; custom wood container with a copper nameplate; original music composition was composed, performed and recorded by Thomas Parker Williams.

© 2019 Louise Levergneux. Soundings, unique book, 40 original ink and wash drawings on Twinrocker handmade paper; three eccentric volvelles, each with three parts in case with cover (original painting done with dry pigments in oil medium on aluminum panel); the music is a composition in three movements, composed, performed and recorded by Thomas Parker Williams.

© 2019 Louise Levergneux. Vessel of Secrets, edition of 2; structure: No. 1: binding board and Tyvek; No. 2 aluminum and Tyvek; exterior panels: embossed copper sheet with patina.

© 2019 Louise Levergneux. Vessel of Secrets, edition of 2; twelve paintings in alkyd medium and dry pigments on paper structures outlined with Venetian marbled paper; digital printed text.

© 2019 Louise Levergneux. Vessel of Secrets by Thomas Parker Williams, unique book; twelve original drawings in acrylic ink on handmade paper; binding is copper sheet with patina and letterpress image over binders board; printed and hand-set text by Mary Agnes on Not Quite White paper by Twinrocker and Mowhawk Via for interleaving and endpapers.

© 2019 Louise Levergneux. Voyage by Thomas Parker Williams, edition of 3, No. 1, 2 & 3 - original scroll water colour and ink paintings on tyvek; scroll dimensions 5" x 120" enclosed in a wood container with brass handwheel, panel and mechanical parts.

All my studio calls have presented me with very generous artists who love sharing their work space, processes, and their insightful artists’ books or bindings. It’s fantastic to observe their work in person and take in these creations in an intimate setting—their studio.

© 2019 Louise Levergneux.

I left with my hands filled with gifts, a digital copy of Venice, A Gallery of Pinhole Photographs (previous photo above) by Mary Agnes Williams; 12 Artist Books, Vista da Santa Maria della Salute, Vessel of Secrets Universal Principles Twelve Drawings, and Icarus by Thomas Parker Williams—did I mention the generosity of these artists?

Laser Cutting in Massachusetts

As mentioned in a previous post, I collaborated with FreeFall Laser located in the Berkshires of Western Massachusetts for the cover page of Surveillance—my tunnel book project. 

Sarah Pike of FreeFall Laser was great to work with and efficient as she typically focuses on each specific customer with a personalized service. 

Our initial communication started with a brief consultation by email describing the project from which Sarah asked for samples of the page with printed images on the exact substrate chosen for material testing.

© 2019 Louise Levergneux. Inside my artists’ book Surveillance—a mock-up.

My images for this project were reproduced on Moab Entrada Rag Bright paper. This is a double-sided archival acid and lignin-free, 100% cotton fine art paper. My question was “would this fibrous paper be a problem for the CO2 laser cutter”?

Double sided images need to be precisely registered for the desired effect to be successful. After figuring out the perfect registration, I sent a package with ten double-sided printed copies, hoping no difficulties would arise during the laser-cutting process.

© 2019 Louise Levergneux. Consulting with Sarah Pike for the cover of Surveillance FreeFall Laser in Massachusetts.

When the work for Surveillance was completed, I promptly decided that picking up the work directly from the studio would naturally give me the unique chance to socially meet with Sarah in person. The plan for the first phase of my journey was to visit FreeFall Laser after I crossed back into the US following my two month stay in Canada. 

© 2019 Louise Levergneux. Sarah Pike showing me around FreeFall Laser.

Sarah’s approach combines artistic experimentation with technological experience to create exceptional work for fine artists, designers, conservators, bookbinders, artisans, woodworkers, and museums. It was a tremendous experience to see Sarah’s studio and her state-of-the-art CO2 laser cutter.

© 2019 Louise Levergneux. Sarah’s studio and her state-of-the-art CO2 laser cutter.

I was so excited when I picked up my precision cut covers that we discussed the distinct possibility of laser-cutting the binding for my creative project. I could not fathom cutting the exact holes for the electronics and faux camera another 8 times through binders board. What a life saver!

Visiting FreeFall Laser provided me the opportunity to observe some of Sarah’s own art work—what a treat! A lot of her art work is laser cut marquetry in wood veneer. Sarah also designed a beautiful sample book to demonstrate her CO2 laser cutter capabilities.

© 2019 Louise Levergneux. Sarah’s sample book demonstrating the capabilities of her state-of-the-art CO2 laser cutter.

© 2019 Louise Levergneux. Sarah’s art work using laser cut marquetry in wood veneer.

On my initial contact with Sarah, with due diligence, I wanted to view some samples of artists’ books or bindings created with the help of FreeFall Laser. 

© 2019 Sarah Pike. Laser cutting of the The Radiant Republic by Sarah Bryant at FreeFall Laser.

© 2019 Sarah Pike. Laser cutting of the The Radiant Republic by Sarah Bryant at FreeFall Laser.

© 2019 Sarah Bryant. The Radiant Republic by Sarah Bryant, built entirely out of language found in Plato’s Republic and Le Corbusier’s The Radiant City.

© 2019 Louise Levergneux. Reason Belief Truth by Thomas Parker Williams, binding, French split goat skin, laser-cut binder's boards; edition of 12.

© 2019 Louise Levergneux. Reason Belief Truth by Thomas Parker Williams; laser cut painted with ink and watercolor; letterpress printing (hand-set type, polymer plates) by Mary Agnes Williams; marbled paper.

Wynn Bullock images © 2019 Bullock Family Photography LLC. All rights reserved. Wynn Bullock: Relativity: Wynn Bullock and Albert Einstein, edition of 15; published by 21st Editions; binding by Peter Geraty and Julia Rabin with production assistance by Tim Faner.

Wynn Bullock images © 2019 Bullock Family Photography LLC. All rights reserved. Wynn Bullock: Relativity, 9 bound and 9 loose, platinum estate prints, 1 signed vintage silver print.

I was content to get back to work, after my informative conversation with Sarah. Next phase—prepare the boards by covering them with Canapetta bookcloth, measure all the positions of the holes... so Sarah could make my vision a reality...