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

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

© 2018 Louise Levergneux, White Sands National Monument

© 2018 Louise Levergneux, Old Faithful in Yellowstone National Park

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

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

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

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

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

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

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

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

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

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.