This gallery contains 6 photos.
Art imitates tea.
This gallery contains 6 photos.
Art imitates tea.
I’m gearing up for art fairs, and looking through my current book inventory. Here is a collection of sketchbooks and journals of different sizes and bindings. I have themes other than cats, but I’ve offered images for feline-lovers for awhile. I’m trying to think of some fresher ways to approach the work, including making the whole collection look more cohesive.
On a recent trip to the Art Institute of Chicago, I encountered a few pieces that, while very different stylistically, employ color palettes that are similar.
I love how these artists use the primary colors in muted tones and variation to create a cohesive looks. So, I was thinking I would try to emulate some of these colors in my book covers for spring and summer. I particularly love the gray-blues and gold tones interspersed with pink. I also want some patterns that are more intricate, and viewable from multiple angles without seeming “upside down.” My current cat designs, for example, only face one way, so I’m thinking of incorporating rotational symmetry, and adding other images and shapes to make them more dynamic. Other possible themes include birds, tea, and geometry.
How do you find inspiration for your art work? What resources to you use? How do you keep your work interesting and fresh? I’d love your feedback!
In the meantime, the books above are still available to a good home. You can check them out here on my Etsy site.
Directly after Drawlloween, I turned all of my attention to production for the Holiday Art Market where I sold my handmade paper goods. Namely, journals and sketchbooks that I bind by hand, with covers of original design. In preparation for the show, I completed 90 books and orbs in just fourteen days! I’ve been blogging about my progress and describe one bookmaking process here, give an update here, and then discuss my paper orbs in a later post.
I had a successful showing this weekend and visitors to the market seemed to really like my work. Since this was the first full-on beta test for Attack Cat Studio, I feel pretty good about the results. It was especially interesting to watch people interact with the displays. For example, some of the book stands are a little tippy. But, the flow of traffic through my booth seemed to work well. I also collected a few contacts who are interested in taking a bookmaking class with me in the winter.
Now, I prepare for another show, this one in December, at the Merry Maker’s Marketplace. I have new images to print for book covers, larger sketchbooks to create, and lots of pocket-sized journals to replace. If you’re interested in seeing some more of my work, you can check meow-t on Etsy.
Today, in an attempt to catch up from being totally distracted by Drawlloween (see this you don’t know what I’m talking about,) I sewed together 45, yes, f-o-r-t-y-f-i-v-e, books just waiting for covers. I have an art show the second weekend in November, and I’m a little behind on production as I was having too much fun drawing kitties the entire month of October. Aside from being tired from sitting for 15 hours, I did binge watch about 8 episodes of Grimm, season one. And, while I was flanked by cats both on the couch and in the studio, sadly, there are no felines in the photo of today’s efforts.
I hope you’ll forgive me. I have a case of blog posting procrastination. Not only have I been remodeling the basement, a.k.a. The Mole Level, the weather has been pristine. Clear blue skies, crisp in the morning, yet warm enough in the afternoon for me to be lured away from responsibilities.
The cats have been in hiding during while the workmen are here, so it’s hard to get good cat portraits. And for some reason, I’ve been avoiding my camera, unaware that I should be documenting all of the changes. I must be having an identity crisis. Or, maybe I feel the shift from the mostly carefree days of summer to the seriousness brought on by the ever-so-slight hint of color on the maples.
Whatever it is, the cats are constant in their cat-ness, anchoring me to the earth, lest I float away with the first falling leaf. I have, despite the distractions, managed to make some new books in anticipation of a busy (and not-far-away) holiday season.
Today, the waves on Lake Michigan are supposed to be seven feet high. Maybe I’ll take a drive out to see them…. Ah, but that’s the wistful, wish-it-was-summer me. More likely that I will get back to my blogging and book arts, do some housework, and make a quick run up the road to the vegetable stand for some fresh tomatoes to go with dinner.
It’s been a long time since I made a flat-back, case bound book. This one is not flashy, just a hard cover with black book cloth and decorative end sheets. I enjoy the process of craft, the kind that requires attention to detail, with every step considered and executed with great care. This book is for my math teacher/artist husband, who likes the elegance of simplicity, and deserves a new book to start the school year.
Book making is a sequential process, each step requiring it’s own precision. It starts with measuring, cutting and folding multiple pages, then sewing them together into an organized stack. Boards have to be cut with lovely right angles, front and back, with one narrow piece for the spine that matches the thickness of the sewn block of pages. If one measurement is just a little off, it can skew the next in a way that throws off the whole in the end. Plus, there’s gluing. Too much, and your paper wrinkles and there are unwanted spurts of glue ooze. Too little, and things don’t hold together properly.
All of this exactness feeds into my desire for orderliness as the proper recipe of ingredients results in a well-made object. When it’s working, it’s a thing of beauty! In addition, the making of a book has meaning beyond the labor. A book is a personal object, carried in a pocket close to the body, opened by hand. The pages, turned one-by-one, become filled with the thoughts of the recipient. It is in this use that the maker and the owner become collaborators. As the book becomes imbued with life and wear, it becomes an even more beautiful and priceless object.
It’s been an interesting transition for me from teaching in a school setting where there are requirements, grades, and some continuity from one class period to the next, to workshop teaching where the time is limited to a few hours, and the class is more about acquiring an experience based on a single skill. Believe me, this is a BIG adjustment for me. I’m used to having multiple class periods to introduce, reinforce, and direct an in-depth project or skill set. Instead of thinking long-term, I have to focus more on teaching something that can be accomplished in a short period of time, yet still be a challenging, rewarding experience for the participants.
I recently guided students in a bookmaking class, keeping in mind the shift to one-time experience-style instruction. The participants were determined, yet nervous, in their intention to make a book, so I went step by step through the process, which included:
The class was scheduled to meet for two hours, but ran over by about thirty minutes, as I underestimated how long it would take the group to finish. (Every time I teach, I learn something new about my process and how I might do things differently.) Despite the extra time, I think all the participants were amazed with their creations and left proud of their new books!
You may (or may not) have noticed the intermittent, yet ongoing, production from my studio. There was the fabric dyeing day, followed by multiple screen printing sessions using my old thermofax machine to burn screens. Now, I’m finally turning the printed and dyed fabric into blank journals and sketchbooks.
The books have soft covers that I create by attaching the fabrics to Pellon Fuse-n-Shape, a thick, iron on interfacing that gives the covers some thickness without making them too thick. The binding is a variation of the coptic stitch and sewing over tapes. I like this binding because it leaves the spine exposed, and allows the visible stitches to become part of the aesthetics of the finished book. This binding is also sturdy and allows the book to lie completely flat when opened, a desirable quality when writing or drawing.
I have fun coordinating the cords, threads, and fabrics to individualize every book– no two are identical. Sometimes, I choose contrasting fabrics for the front and back of the book to add visual interest. So far, I have constructed six of these soft cover books and, with each one I complete, I learn a little more about the small things I’d like to finesse.