Friday, December 28, 2012

Group 8 - Title #91

This book presents postcard imagery and scans from original letters in a book format developed by Hedi Kyle that she calls the panorama book. I like the structure for presenting images with what I call text snippets.

The title I selected, I make wallpaper from your postcards, relates well to one of my ongoing studio projects as I have been working with an inherited archive for many years. 

The archive includes  correspondence from throughout the 20th century, to and from people I do not know or barely remember from my childhood. A recurring theme throughout the correspondence is the question of what to do with old letters.  Evidently letters were sometimes returned to the original writer as my archive includes letters both to and from the same person. 

There are occasional concerns expressed about the content of the letters being too  personal to leave lying about;  one writer repeatedly writes about how difficult it is to decide which letters to keep and which to destroy. I selected snippets from those particular letters - letters from Mrs. M.W.Wylie of Manhattan, Kansas, to Mrs. Geo. C. Wheeler, of Denver, Colorado (and my paternal great-grandmother) - written in 1966 to use for my book.

The text block  is of Fabriano paper with photo reproductions of postcards from Manhattan, Kansas, and Denver, Colorado mounted to both the front and back panels. The text of the letters  and selected for this project is 

“The mail carrier came just now with no news from Denver. I’m thinking ‘no news is good news’ . . . Discovered dozens of your families’ letters. Too many to keep - so I’ll have to burn most of them”.

Selections from the letters were scanned and printed then transferred to the text block via solvent transfer.  The covers were attached with a split board technique. The covers are thin boards, the outer one wrapped with a watermark paper called Signature. The book is housed in a simple wrapper, the colophon  appears on the back page of the wrapper. Both book and wrapper have a recessed laser printed label.

 The title, I make my wallpaper from your postcards, gives one solution to the question of what to do with old correspondence. My project uses another.

The copies to everyone in Group 8 will be sent out in January.

Saturday, December 22, 2012

#43 Grains

A Grain of Brown Rice

by Janine Whitling 


Well, I know I've been super quiet in BookArt Object, but I have been quietly getting on with it in my studio. I'm relatively new to the book art medium so it has been challenging for me to find my voice within this context. I really like the medium of resin and have made a book art using resin before, so thought i'd extend that style within this group.

My word was GRAIN, so I came up with a grain of brown rice made out of resin. Its a capsule that is hinged on one side to open up and reveal three scrolls, each scroll with a recipe that is based on brown rice as the main ingredient. 

I have embedded the collophon into the inside base of the resin, you'd only see it if you took out the scrolls.

They took quite a bit of work getting the colors right then tweaking the shapes and polishing the resin, but I'm really pleased with the final result.

Two copies have gone out to the two Sarah's and I have the others finished and ready to send, but I was waiting for the crazy Christmas rush before sending them as I don't want them to get lost. So watch out group 11 for your copy after the silly season has finished :)

with love, Janine

ps yes, you can follow the recipes for some yummy treats too! but best to do it with gloves as the paper is delicate

Lights, Camera, Action!


I've borrowed a lighting kit and a light tent from TAFE (I may have mentioned this before), and this afternoon I spent a merry hour or two figuring out how to set it up without either experience or instructions.  The first task was to iron the pop-up light tent, which is approx. 120 x 100 x 100cm and therefore not easily fitted onto the average ironing board.  No matter.  Dearest husband took photos of me half in and half out of said tent while ironing, but since the image of me being swallowed by the tent isn't flattering, I'm not going to show you, so there.
Ironing over, I rearranged all the furniture in my studio to fit the darned thing in, worked out how to insert a box under the inner lining layers so that the books come up to a height that means I'm not going to kill my back while taking photos, positioned it all ready and... realised that I'd left a vital cable in one of the boxes the big lights came in, which I'd used to prop up the piece of board that raises the books to the optimum height... so I had to take it all apart, remove the cable and start again.  Oh well.  I'm now an expert in putting the whole kit together, natty umbrellas and diffusion sheets and everything.
I've only photographed two books so far (another twenty or so to go!), alternating between my portrait and macro lenses in order to get 'complete' shots and details.  It's fun!  And in the process I'm taking notes about book dimensions, construction, edition number, maker etc.  The idea is that we'll have a complete catalogue of this edition - hopefully - before the books are sent to Sarah Bodman.  That way, BAO will have an archive of its own work, I'll send the photos to the individual makers for their own use, and if we need pictures and information for exhibition catalogues, press or articles, for example, we'll have them.

#53 Protein

My little book has arrived safely at each destination so now my post on the process! 

I chose the title 'Protein' because I love science-y things. I started brainstorming, thought; 'protein, diet, nutrition, milk, building blocks, body builders, bodies, genes, genetic code. . .code. . .hey-I could do something fun with codes.' I went to the library and checked out every last book concerning 'Protein' (juvenile books of course-simplified language-pretty pictures). I eventually read my way into amino acids and voilĂ , my code! 

Here is my intro to the book:

"Just like words are made up of letters, linking subunits of amino acids creates proteins. Of the roughly 500 known amino acids, twenty are used to build proteins in the human body. You've been given a card with these essential amino acids listed as an alphabetic code. Use the code to decipher the protein message you've been sent!" 

The book and amino acid code card were really small (2.75" x 3.5" - ish) so I decided to include a little magnifying lens. I'll admit that this was inspired by romanticized images I have in my head of Sherlock Holmes. 

The code shows an amino acid name and structure with a designated letter underneath. The message for the reader to decipher is
"Protein comes from the Greek work proteios,
meaning. . ."

Following is an accordion like structure. Each page presents an amino acid with a place to write in the corresponding letter from the code.

The answer is 'first place.' 

The book closes with the colophon: "Sarah Bodman wrote 100 short stories and buried them in the woods. A group of book artists resurrected these story titles, breathing new life into them. I chose the title 'Protein' because proteins are essential to life. I made the paper out of old T-shirts. I thought that they might like a new life, too."

I'm glad to have found the Book Art Object group. This project was quite the learning experience for me. If I had it to do over again (and, you know, I probably will keep working with this idea) I would make it a bit larger, would use letterpress and would make a better pocket for the code card (on my mock-up I used tape to seal the pocket and on the edition the gluing process made the pocket too small so I had to keep it open on two ends - not my initial vision!). 

All in all, the result was a fun and interactive plaything that I hope proved entertaining to my group members. Now it's time to start work on the second book I signed up for. :)

I've enjoyed reading the posts from all of the other artists on this site and your books are truly fantastic. What a fun thing to be part of!

Happy Holidays to all.

Saturday, December 15, 2012

Finally Finished!

Well nearly.

Spurred on by Sara's post, earlier this week I managed to finish two copies of "Where the Dead Live" to parcel up and send to her, along with two copies of “Rapunzel”, hoping to meet the January deadline.

I finished Rapunzel in November, although I wasn’t organized enough to send it out into the wide world, and now, I have finally finished assembling the rest of the “Where the Dead Live”.

So for those of you in Group 2 and Group 10 there will be books on the way but I am going to wait until the New Year to send them out. I think they’ve more chance of not getting lost and arriving undamaged if I send them after the Christmas post. (I'll show more images when they arrive though if you want to see the work in progress its on my blog)

These two books have occupied me on and off for a year now and I can't quite believe they’re finished.

Thursday, December 13, 2012

One down, two to go.

Since few members of BAO read my blog it has been pointed out that I made a statement there that ought to be aired over here. 
So here is the post I wrote on my blog. As of today, Thursday 13th, I am working on the next title.

WORK IN PROGRESS     December 2012
With Sara’s latest announcement that she will be shipping Sarah Bodman’s copies in January I think several jaws dropped with a resounding bump!One of them was mine.
Yes, I could have completed the work several months ago. Probably should have! But, not being driven by a deadline [something I think MUST be addressed before any new rounds are opened], I have chosen to wind up several other projects before year’s end, thinking that the generally slow time over the Christmas-New Year break would be ideal for making my books.
Well, we all know what Mr. Burns had to say about well-laid plans!
I will be emailing the members of my 3 groups with an explanation of   grovelling apology for my tardiness and the decision I have come to.
In brief…I will try to have  Sara Bodman’s copies shipped to Sara Bowen in time, but the full editions will take a little longer.
For the moment, here are  some pictures of some of the work for ” The Daisy Chain.”
Below, Trial stages for “The Daisy Chain,” one of the titles I’m working on using The Turkish map fold.Why, yes! That is a remote control unit, along with box knife, pencils, eraser, cutting board…the usual book-y paraphernalia. The radio is my usual accompaniment/distraction, but I wanted the TV news update that day.
work in progressBAO work
Below, Attaching the chain
attaching the fastener

Further explanation of the construction once all parties have received their  books.

Tuesday, December 11, 2012


A very brief update! I have a short post on my blog here. No need to hog this one.

Sunday, December 9, 2012

#56 Unchartered Democracy, Group 10

Un Chartered Democracy takes the idea of a charter as an official written document of government as well as a contract executed between two parties - the US Government and soldiers serving on its behalf.  A small number of US soldiers in Afghanistan have committed atrocities whilst serving their country and its promotion of democracy.  Their actions were disrespectful, unethical, unacceptable, unauthorized, unchartered.
I intended to make a thought-provoking book about the insanity of war and needless killing, the effects on young soldiers working in intolerable and stressful circumstances and how these situations create an environment where codes of conduct are broken. I wanted to also reflect on the innocent citizens caught up in the mess.
To suggest a map location in the Middle East, I used the Turkish Map Fold structure along with Islamic patterns in soft pink on the back of the pages.
The music pattern of a pianola roll containing words from Stars and Stripes Forever has been printed onto the pages.
The drawings depict some of the atrocities committed by a few US soldiers in Afghanistan, and parts of the drawings have been hand coloured with watercolour pencil.
I have been reminded with this book that although the artist creates a piece constructing meaning by reflecting their own thoughts, opinions and feelings, once it arrives in the hand of the viewer, the whole thing is recontextualised by the opinions, beliefs and knowledge each viewer brings to their reading of the book.  I would like to thank the BAO members who have received the book and have written eloquent and thoughtful responses, which have been much appreciated.

Saturday, December 8, 2012


Goodness me, look at the time!

I came here to apologise to BAO for being pretty much absent for most of the year. To tell you the truth, I feel like I held my breath and put my head under the water in February, blacked out for a minute from holding my breath too long, and finally lifted my head to discover it's December. Or, it's a bit more like when you drive somewhere and then suddenly you're there, with no memory of any part of the journey, yet you did all the driving. I always get goosebumps when that happens.

So here we are, close to the deadline, and I haven't made my book yet. It's fully-formed in my head, and now I have to get it out of my head and into your hands. The last few days have been spent with paper swatches, sketch-books, a calculator and my trusty sidekick Padge. We've been back and forth on the phone with the lovely James of Magnani Paper in Melbourne, making an order and then changing it, discovering that the paper I didn't know I wanted but was forced to think about as an alternative and now I really really want it is actually out of stock. However, I remembered that I have a small stash of the paper I originally wanted, and that combined with what is left in James' stockroom should be enough. Phew!

I had researched my ideas at the beginning of the year, but the intervening months have shifted them slightly. I knew I wanted to make a dos-a-dos type of book, with two stories in the one volume, but the stories are now much more interesting than they were earlier. So maybe that lapse in time was a good thing.

 I've enjoyed getting books from my two groups over the year (and major apologies if I forgot to acknowledge you, I'm going to write nice letters when I send my book), but there haven't been that many, so I'm guessing that a lot of us are in the same boat. I've put out the word to my family that Christmas is very very low-key this year. Open a bottle of something nice, pull out a bucket of prawns, and presents to be kept very simple. Why run around for weeks fussing about one single day when there is book fun to be had and a deadline to meet? Luckily they are all fine with the idea.

So ready, steady, go. I'm hoping to be in that parcel to the UK, time to get printing. Watch this space!

Friday, December 7, 2012

“counting” completed!

#64 title “counting” from Sarah Bodman's An Exercise for Kurt Johannessen appealed to me right away and I could not but select it as my first choice. Here is my completed edition and some details associated with it.

The image comes from a photograph of my mother, the structure follows the traditional format of traveling icons from my heritage, and the faded number 10 in a repeat pattern on the right panel carries the significance of beginning and completion, reflecting my mother’s birthday and also the day of the month she completed her life cycle.
For the covers I used pages from an old book that subsequently I turned into trace monotypes (markings achieved through pressure from the back of paper positioned on rolled inks).

My  “association” to counting explained in the verses I wrote appears on the left panel:
Counting the steps from here to there, Counting the folds and then invert them, Counting the hours until that deadline, Counting the minutes for sun exposure, Counting the years since I last saw you.
Counting, counting and recounting, just to make sure not to lose count…

Bamboo paper, old book pages, mat board, PVA.
Archival pigment print, ink trace monotype; structure inspired by the Byzantine traveling icons’ strong presence in my heritage.

Sunday, December 2, 2012

Books Posted, Group 3

Signatures Typed and Stamped

Dear Lovely Book Art People :-) I posted my books on Friday one day ahead of my self-imposed deadline.

Here is a little sneak preview.  This is a picture of all the signatures lined up ready to stamp and also one of the stamps printed. All books are typed on my lovely Silver-Reed Silverette typewriter and the images are printed with rubber stamps.

Hope they arrive soon.

Signatures Typed

Tuesday, November 27, 2012

Impact 8 news & deadlines

Fingers crossed, folks, because I just sent two submissions off to the conference organisers at Duncan of Jordanstone College of Art and Design in Dundee, Scotland, for next year's Impact 8 conference!  Those of you who have been following the progress of Edition Four - or indeed taking part in Edition Four! - will know that it was kicked off at the Impact 7 conference in Melbourne in September 2011, so it would be fitting if all our hard work manifested as a conference paper and/or exhibition at Impact 8.  I've sent off abstracts for both an exhibition and a conference paper (provisionally titled Conversations: the artists' books of BookArtObject Edition Four), and at some point when I'm feeling braver I might put up the abstract so you can take a look at what I'm saying about the project.

So what does this mean about deadlines?  Well, you already know that you need to send me a copy of your book to give to Sarah Bodman.  I will be sending Sarah a big box of books early in the New Year so this is a sort-of deadline!  If you can get your book to me before January 1st 2013 I will be able to send it off in that box.  This pretty much guarantees that your book will be exhibited at the University of the West of England in March, when Sarah has kindly organised a BAO exhibition.  I will probably send off another box of books to Sarah a month or two later, to round upstragglers - this is the last deadline for me sending books off to Sarah in the UK.

What do you need to do?  If you want to be in Sarah's exhibition in the UK, please try and get your book to me by the New Year.  If that doesn't happen, it's OK, but please get your book to me ASAP after that so that I can send it off to Sarah in the second parcel.  I hope that Sarah will allow the books we send to her to be used for any exhibition I manage to pull off at Impact 8 in Dundee so you DON'T need to send me a second book for the Impact 8 exhibition.

I won't hear about either the conference paper or the exhibition proposal until early January, but as soon as I know anything I'll post it up on this blog!

Thursday, November 15, 2012

group one, title 64: "counting"...

Tomorrow "counting" will start its journey to all members of group 1, via US mail.
I had a great time designing and assembling it, mixed with a few emotional moments related to my personal associations with the theme and the elements I used to complete it.
Caren, Celeste, Jack, Anne, Ama, Anne, Rachel, Sara I hope it reaches you all in one piece!

Saturday, November 10, 2012

GROUP 1 "Transparent" Details

It is now a few months  since I posted my little book "Transparent" off around the globe - and as far as I know they have all arrived safely.(Mind you there are a few for which I would like a confirmation that this is so, - no replies or acknowledgments yet) 

So for those of you who have been waiting for some explanation, here goes.

“Transparentis an  A5 book of transparent drawings about  the different aspects, the sum of many individual bits that keep changing continually and are impossible to pin down, a shifting, impermanent persona.

The covers of the book are all slightly different in the way the waxy surfaces have been gently scratched and marked. This hints at how we all rub up against the world and are affected differently. Only gentle scrapes were made and certainly no evidence of being rubbed up the wrong way (that would be a whole new area to explore). The torso, a symbol of the person used throughout the book, is empty but a Ned Kelly visor gives an Australian glimpse of the facial features made by individual dots. The title “Transparent” is transparent and emerges from a scratching made on the reverse side in mirror image.

The misty writing on the interleaving transparent pages is about some of the problems of being transparent but is not meant to be read in a consecutive, sequential, rational way. This would imply that the unravelling process is easy and well understood. Rather the pages are meant to give confusing hints and glimpses of possible meanings.

The different mugshots are filled and surrounded by with ideas and symbols which are all part of my persona. Using transparent paper allows the separate images to interrelate, layer and confuse the final snapshot. The transparent pages also allow us to look both ways, to the future but also the past.

Although the outside shape of the form is always the same, the different contents reflect some of the various layers that together go to make me who I am. The contents and backgrounds include x-rays, drawings, collaged text, maps, stamps and other symbols referring to my world. The book is an attempt to promote understanding by being transparent.

It was a great experience and very enjoyable solving all the various processes and have made a few great like minded BAO  artists. Looking forward to see what evolves next year.

Pre- Christmas Opportunity at Hand Held Gallery

Megan at Hand Held is offering an opportunity to sell some book works before Christmas, so if you can help her out while helping yourself at the same time, get in touch with her. 

Hello everyone., We've had a cancellation at the gallery in December and I'm hoping you might be able to help out. The plan is a book andzine exhibition to fill the shelves and hopefully make some Christmas sales. So... If you have an artist book, art based zine or small publication that you are keen to 
exhibit (or re-exhibit - work doesn't need to be brand new) let me know if 
you're keen to participate. (let me know if you have other paper based 
work that you think might be appropriate - my definition of 'book' is 
pretty flexible)

There will be a gallery fee of $10 per entry for a book/series/edition. 
Entries are unlimited. 

The timing is good for Christmas sales with an opening night Thursday 20 
December. (keep this in mind if you are looking for some unique gifts or 
stocking fillers too!)

I'd need work by December 17th at the latest. 

If you are keen to help Hand Held stay on its feet over summer then please 
let me know you are keen to participate ASAP. 

Please pass this email on to anyone you know who may also be keen to 


Hand Held Gallery

Sunday, November 4, 2012

Book Received, Group 3 - Now I'm A Cowboy

Rebecca Chamlee (USA) - #93 Now I'm a Cowboy

I received Rebecca's beautiful book this week. This year instead of having books posted to my home address I have asked for them to be posted to work. It saves me the arduous trip to the post office to collect them if they are too big for the letterbox. However, I have found an added bonus. It is lovely to get an email from Reception saying there is a parcel for me and going to collect it to find it is a beautiful book. It really makes my day at work.

I didn't want to reveal too much here in case others have not received the book. It is beautifully printed with letterpress and exquisitely made. Thanks again Rebecca.

Exhibition Opportunity (London, UK)

Just thought I would post about this book art exhibition opportunity I have heard about; I've added full details to the Opportunities page so please check it out. 

Deadline is soon so be quick!

Tuesday, October 30, 2012

Curtains [Group 9]

Curtains, my second work for BookArtObject Edition 4, is done! It is a reflection on the nature of BookArtObject, shaped by four questions I set myself at the start of the project::

1.  The logistics (and cost) of posting parcels around the world means that the works we produce are mostly small in size. Is this inevitable or is it possible to produce a larger scaled work?
2.  The splitting of a large number of artists into sub-groups means that the work we each produce is mostly shared only with the others in our sub-group. Is it possible to produce a work that is equally accessible to all?
3.  One of the defining features of Sarah Bodman's An Exercise for Kurt Johannessen was its ephemeral nature - it ceased to exist almost as soon as it was created. Should (and if so how should) this be acknowledged?
4.  Editioning can be tedious. Is there a way of making the end point seem more than the satisfactory execution of a multitude of repetitive tasks?

The result is an installation that existed for the time it took for a record to be made of its existence.

The component parts of the installation are now with Alicia, Angie, Anna, Fiona, Gillian, Lis, Lisa and Sara.

Monday, October 29, 2012

Unchartered Democracy, Helen Malone, Group 10

My second edition of books for BAO is finished and the books have just been posted out to members of Group 10.

I decided to work with the idea of a charter as an official written document of government as well as a contract executed between two parties - the US Government and soldiers serving on its behalf.

I will post images and talk about the making of the book after the members of Group 10 have received their books in the mail.

Friday, October 26, 2012


Just so you know...I am not entirely slacking-off!

Yes, I did set things aside when I went swanning off to Europe and, since my return, one or two little personal flies have managed to stick themselves in my ointment.

But I am getting on with my books.

Some of you, I know, enjoy the luxury of high-end printers and can guarantee longer-lasting results. I am restricted to an A4 non-archival ink jet model. Now, while I am quite happy with the inks it uses, they are water-based, which can be a problem if I want to work back into pages. Did I hear someone say "do the artwork first, then allow for printing." Hmm...this precludes a greater grasp than mine of  the mathematics!

So the typist me takes a back seat while the artist me gets on with the illustrations. Hand-made, indeed.

But while I'm here...I did try to construct a Jacob's Ladder (like this one), but not based on a square or rectangle. The "fall" resulted in a ghastly tangle so I scratched that idea for the moment! There is another version of a Jacob's Ladder and bits of paper litter my desk...

... and my third book is not even beyond sketches yet.But I am working!

Tuesday, October 23, 2012


 Recently I sent out a survey to BookArtObject members, asking for some insight into why they have participated in BAO Editions, what they've got out of the experience (or not!) and any suggestions they might have.  So far I've received 29 responses: thank you!  If you haven't yet responded to the survey you can either go back to the email I sent you or access the survey HERE.
I don't want to do in-depth analysis of the results, but I thought you might all be interested in some general things that popped out at me once I'd had the chance to read the responses in full.  As you know, BookArtObject started small - 8 members in the first Edition, and roughly twice that for the second and third Editions - and has ballooned into something much larger with over 80 artists around the world working on Sarah Bodman's An Exercise for Kurt Johannessen with 100 story titles to choose from...  There's no doubt about the fact that the landscape of BookArtObject has changed significantly between Editions One and Four!
So what does the survey tell us? 
Overall I found the comments to be positive (thank you very much!), but there is definitely conflicting opinion about the size of Edition Four as compared to earlier Editions.  For some, the vastly increased numbers of participants has been an opportunity to connect with artists making artists' books in their own geographical area, but for others what was previously an intimate group has become unwieldy and impersonal.
There's no doubt that the size of the group now is a challenge, both in terms of managing the practical aspects of a large project and in terms of keeping the community going: it is easier to misunderstand a comment from someone you don't know from a distance, and inevitably some people find that blogging and long-distance communication suit them more than others.
Deadlines are also a sticky issue: with such a large group it is likely that a few won't finish their books, so perhaps we will end up with unfortunate situations in which a participant receives books from other members in their group but for some reason isn't able to complete their own contribution to the Edition, which would leave everyone feeling disappointed.  I really hope that doesn't happen: if you think this might happen to you, please contact your group co-ordinator ASAP and discuss the matter!  The nominal deadline for completion is the end of 2012, and I really would like to wrap things up in January and let everyone have a short break before we decide where to go next.
Of course Edition Four is only so large because of the nature of the 'text' we're working from!  I doubt if we'll be working from 100 story titles again...  But I don't want BookArtObject to fracture into little pieces either.  I imagine that some of you have enjoyed your participation this time around but might not join up for the next Edition, so there may be fewer participants for Edition Five.
Generally, you have all made very positive comments about BookArtObject and the overall quality of the project and its organisation.  Several people commented about how it has enabled them to make contact with other artists who share their interest in artists' books, as well as providing the impetus to make them.  The blog and the group contacts have also given participants a resource for help and information about making a limited edition of books, and has helped you to push yourselves further - all of which is very gratifying.
I think there are genuine concerns about how BookArtObject will develop from here, given the challenges of working with so many artists.  Who knows how it will turn out?  If you haven't completed the survey yet, I really would love to hear from you!  Click on the link above and take a few minutes to let me know what you think.  Meanwhile, I hope this blog will continue to function as a meeting point, a place to ask questions as well as show off your work, and a forum to discuss artists' books generally and the future of BookArtObject in particular.  If you have particular issues/comments/difficulties don't forget that you can contact your group co-ordinator or me directly via email.
Meanwhile, keep the books coming!  I am in the luxurious position of seeing your work before it goes off to Sarah Bodman, and I am so impressed by the books I've seen so far.  I'm going to photograph everything before I send it off, and I'm having fun!
Many thanks indeed,

P.S. the question has been asked about deadlines for previous Editions, as there are some that are not completely "closed off" - are they also to be finished by the end of this year if possible?  Well, really, it's not for me to say: we've always worked on the basis that there are no hard and fast deadlines and I don't expect every participant in Edition Four to be finished by the end of this year...  In case you are worrying about deadlines, please don't!  I am myself a guilty party because I still haven't finished my contribution to Edition Two, "Paper Wrestling".  I am STILL trying to get hold of old bridles/stirrup leathers (a saga in itself!) in order to finish my books, and I do still intend to finish them.  But I think it is inevitable that at some stage individuals will find themselves unable to complete their own contribution to their group.  So what happens then?  Well, I think that out of courtesy to those who have sent you their contributions, if you find yourself in that position you should contact the other members of your group and your group co-ordinator and offer to send the books you have received back to their creator: some people will  be grateful to have their contribution back; some might be happy for you to keep their book anyway.  As for me, I'm still plodding along but if anyone in Australia knows where I can get some bridles please contact me off-list!

Wednesday, October 17, 2012

Postal Clerk Helps With Edition

Hi - It's Genevieve from group 4 reporting that my little book #53 Protein is on its way. I was debating how to mail the books and then thought to empty all of my teabags on the counter and use the boxes. Now what to do with all of that tea?!

At the post office I had to fill out a customs form for six of the eight boxes I was mailing. I chatted with the clerk as he entered the addresses and contents of each box into the computer, stamped each of the three customs sheets for each package, tore off one of the three sheets and affixed it to each package, weighed each package, printed and attached the stamps and finally sent the packages to the mailroom. In the middle of it all he said, "well, this is quite the process!" All I could do was smile and say 'yes,  yes it is.'

Once the books arrive I will post more pictures!

Tuesday, October 16, 2012

LCBA - London Centre for Book Arts

Hello all, its Abigail here from the UK. Since graduating from my MA in Book Arts at Camberwell College in London, things have been hectic! But most excitingly, in the past week I have been helping Simon Goode set up the brand new and very very exciting London Centre for Book Arts. Lots of dirty, hard work has gone into this amazing and long overdue venture. Simon has had lots of help from excited and interested volunteers with varied backgrounds, and on Sunday the doors opened for the first Open Day.
The studio is not completely finished, but in just under 3 weeks the space has been transformed, and the machinery and equipment is slowly being de-rusted and put back together after long months in storage.

The Centre’s mission is to keep book-making skills alive, through teaching and community outreach in bookbinding, letterpress printing, papermaking, and related disciplines. And LCBA is the UK's first and only open-access educational book arts centre. How amazing is that?! I know alot of you bookie people are from Australia and the US; and from what I hear are quite spoilt for these kind of centres.. or am I wrong? Here in the UK there is simply nothing like this, which is what makes this studio so exciting for everyone, the potential is huge. 

I will keep you posted on the developments of this place. And soon I will do a post on some work I've been thinking about making for the BAO project. My titles are #16 Turn Left in Group 6 & #54 Motorway Services in Group 11. Now there is potential space & equipment to be used at the LCBA I can hopefully get cracking on these two editions soon!