Sunday, January 29, 2012

More Lazy Dog than Quick Brown Fox

"The Missing Typewriter Key"

A lot of thought processes going on
but not a lot of activity, yet.

Very hard to play with paper when everything
is sooooooo damp.
It tears instead of cuts and is all limp instead
of nice and pert and glue just will not dry.
No illustration yet.
Have been experimenting with different
thicknesses of paper, different kinds of text
and flag folds, but don't know if this is
where I will end up.
As I am new to making book editions, 
I'm being mindful that what I do will be 
achievable as an edition,and also something that 
I will be proud for others have in their possession.


...just not much progress!
But I am looking at various ideas that will still be true to my intention.

We all made daisy chains. Didn't we? Well, I did! We made them for each other, for parents, for sweethearts, for teachers... they were a child's love token.

For obvious reasons, I can't use real daisies (yes, more than 60 years on, I do still make flower chains!) so I am playing with paper...

Just one picture for now, but rather a lot of daisies floating about  our house. The cats have very helpfully been doing Daisy Strength Tests.

Monday, January 23, 2012

Work In Progress, Angela Callanan, Group 3

When IAm AnOld Lady - 1st Mock Up

To those who don't know me I suppose I better introduce myself before I start rambling ;-) I am Angela Callanan (Blog) and I have been part of Book Art Object since the beginning when I first found this post on Sara Bowen's Blog. I am in Group 3 and have chosen - There Was an Old Lady

When I Am An Old Lady - 1st Mock Up

Last weekend I finalised the text for my book and made my first mock-up. I have a good idea what the images are going to be but have yet to make them. I am afraid I totally jumped the gun with this one. Not long after Sara first posted the suggestion that we may use Sarah Bodman's book [Sept 2011?] I started on ideas for the book. Again with BAO this book has consolidated ideas that have been 'floating' for months perhaps even years. When I have finalised the text I usually make a small mock up of the signature on rubbish paper as I call it. This gives me an idea of imposition and layout [left of picture]. I try to get the text flowing as I want with a nice balance of images and text. The text for this book (as for the last one) was originally scrawled on a notebook I keep by my bed. It came to me gradually and some of it is a bit illegible because if I think of something in the middle of the night I don't bother turning on the light - I just write it and hope I can make sense of it in the morning [Arzigogolare - aka Lisa McGarry has posted a brilliant poem about this on my Blog]. Well last weekend I took the scrawls written down at various dates and put them together. This paper mock up of the signature says final because I have finalised the text. This scruffy signature is always really important. I number the pages in pencil even though there will be no numbers in the final book and it really helps me with imposition and when printing.

It probably looks like I am well underway but I have a long way to go. I am not going to use the format I made in the mock up. So format wise I am back at square one. The next part of the process may take a long time. I  had a complete 'cover crisis' on the last project which lasted about a month when I was totally lost. I have been experimenting a lot with covers. I did the same on the last project and have yet to post pictures and details of my 'crisis' from that project.

When I Am An Old Lady - 1st Mock Up

For this mock up I did all the text on my trusty Silver-Reed Silverette and am considering perhaps typing the whole edition, but there are problems  - specifically bad marks on the paper from the metal bit that holds the paper tight against the roller (not sure what its called). I know you can 'butcher' your typewriter to loosen this and prevent the marks but I am not going to do this to my 'precious'. I was told about a Book Typewriter by someone in the Yahoo Typewriter Group but they are like hen's teeth apparently.

I made the cover by gluing bookcloth to grey card - pressing it and then cutting it to size. I used a corner cutter to get the round edges.  I used Lambeth drawing cartridge for the signature. It took the typed text quite well - not all papers do. The stitch I used was one I was going to use on the last project but didn't [picture below]. Anyway,  I don't like the the cover - its a bit flimsy and I can't get a good finish. Even with a lot of tweaking and refining I am not sure I will with this format. So its back to the drawing board. The images will be done with rubber stamps again. I just have to decide how I will do the text.  So you know what the title is and you know what I'm 'toying' with ;-)

Friday, January 20, 2012

Ama Bolton - Edition 4 Group 1

I live in England, not far from Bristol. My title is “Paradise Lost”. It leapt out at me from the list.
The first house, according to a book of that title, was built in a forest glade. The forest provided shelter, food and fuel. When we make a garden, we are perhaps unconsciously trying to recreate that long-lost Eden, the forest glade in which our distant ancestors lived. I’ve worked for many years as a gardener, and I still feel driven by the search for a lost paradise.
This is my first experience of participating in a BookArtObject edition and I’m becoming so immersed in it that it’s getting into my dreams. I have taken part in one other group project, the Al-Mutanabbi Street Coalition, for which I made a letterpress broadside and a book in an edition of 26.
Text is important to me: reading it, finding it, writing it and composing it in a chase to print on my Adana 8x5” tabletop press. I’m still very much a beginner at this printing lark and am constantly frustrated by not having enough letters – or being “out of sorts”.
For seven – or maybe eight - years I’ve been a member of Bron Bradshaw’s weekly Book Class at The Dove Studios near Glastonbury. Now the class has metamorphosed into ABCD: Artists’ Book Club at the Dove, and we meet once a month to share information, ideas, skills and wonderful food.
For the last three years I’ve had the immense privilege of joining The Travelling Bookbinder (Rachel Hazell) for a weekend workshop at Bressay Lighthouse. This is in Shetland, a 36-hour journey from my home and a place I love for its austere beauty and for the good friends I’ve made there.
I’m very much looking forward to this adventure!

Wednesday, January 18, 2012

Mona Lisa

I am a very active mail artist and currently have a call out for YOUR version of Mona Lisa. I will return one of course. This is a joint work with Moya Evans (South Africa). The concept behind the call was - an OLD question - what constitutes an ORIGINAL image? This is called:
The authentic massacre of the innocent image.
This will be part of my work for AUTHENTIC for Group 8.

SKETCHBOOK DAYS - Julie - Edition 4, Group 5

I never imagined sitting down to reveal my sketchbook ideas in the early, fragile days of an artwork. But I have come to think of this opportunity to interact with book artists of a like and not so like mind as having a place to go, to become connected, inspired, driven. I also have appreciated seeing all the starts going on that people have taken the time to document. I think that we are adding value to the work by showing how much thought, experimentation and refining goes into a bookwork. Taking the plunge . . .

My title Throwaway, while first bringing to mind all the possible materials I might use, such as the cereal boxes I have been collecting, and the concept of recycling, also has a sad feeling to it. Perhaps what is thrown away is not so much an object but a less quantified something. Perhaps we throw away our time in an obvious correlation, or perhaps we throw away our attention to things that don't deserve it, and ignore more important things that are right in front of us. These sad castoffs affect quality of life for somebody. Political undertones suggest themselves with the middle class in the USA feeling disenfranchised, their retirement funds thrown away by risky lending by the big banks. Worldwide, I am sure there are whole nations, treated cavalierly by the superpowers, whose concerns for a better life are just thrown away. How easy it is to get overwhelmed by this concept!

I am including my sketches for the possible structure here. I hope they are readable. You may see that I am intrigued with the idea of making a cube box that has the appearance of compacted trash. Other artists has used this concept before and done environmental sculpture. Quite striking. One of the things that calls out is the idea of using crumpled paper. I cannot believe I am actually contemplating printing letterpress words and images, then crumpling my work. The very act sounds horribly painful, yet the power of such a message, the feeling of seeing artwork of potential value in this state ought to impact the viewer, don't you think?
The crumpled paper has to be a little bit flattened out to make an accordion fold book that folds up inside the cube. One of the good things about this structure is that it can be displayed standing up and be readable in its entirety. I don't like the thought of doing a book and showing it where you cannot access all the pages because it is under glass. Kind of one of my beefs.

I let those thoughts sit for a few days, while life went on. We are making room for a new (old) double wide type cabinet to come into the shop area, so I was cleaning up and organizing, and yes, throwing away. You know, throwing away anything these days is awfully tough. You feel guilty about adding to the landfill, but you also realize you cannot live in clutter. Why is there so much clutter in out lives? Maybe it is just me, but even beyond the junk mail, the packaging that can be recycled, there just exists too much cheaply made stuff that is liable to break and become obsolete. Planned obsolescence, capitalism, consumerism, ugh. We are adrift in a sea of wasted resources. Not only that, but all the mental clutter that exists because we are super-connected. Back in the 90s ? we used to talk about information overload, It's not going away. We are adapting, somehow. What is getting lost? All these thoughts roamed through my head as I picked up stuff and decided to keep or to throw away. Finally I wrote out my thoughts there on a cleared space:

It seems that there is yet another approach to Throwaway. Will all this get complied into one book? I think I have several books here. Perhaps a series. Possibly the only way to deal with the clutter of ideas and conflicts (structural/visual) this produces in my brain!
Well, thank you for listening. It will be interesting to accomplish this process in such a public way. I sincerely hope this was appropriate and not TMI (Too Much Information.) That could be a pun in a sort of roundabout way.

Julie Russell-Steuart, Iowa, USA

Saturday, January 14, 2012

Making a start - Jac (2)

Not quite sure how 'Rapunzel' is going to develop yet

Part of me is responding quite literally to the fairy story connotations of the title. This is the bit of me that collects children’s books (though I usually prefer Shaun Tan and Dave KcKean to the more traditional approach.)

This part isdeveloping drawings and experimenting with reproducing them – so far using photocopy litho printing. I like this way of introducing text within the image (spot the not so deliberate mistake).

Another bit of me thinks I should be responding more to themes contained within the original fairy story, Ideas such as imprisonment, isolation, unsuccessful protection from loss of innocence. Probably using a more structural, less literal approach using motifs associated with the story.

So far it seems to be developing into tall and thin. I’m giving myself time to play for a while.

Friday, January 13, 2012

Possible solution for IE users?

I came across a possible solution for us IE users(Internet Explorer) concerning not being able to use the comment-field anymore.
I have tested it out on my own blog to see what happens.
If administrator on BAO goes into settings and changes how the comment-field is located, is might solve the problem.
BAO now has the comment-field "embedded", which should be changed to "full page" under "Settings" (posts and comments).(Comment Location).

As having two different browsers downloaded on my computor slows it down considerable, I hope administrator of this blog is willing to try this solution?

Elisabeth Omdahl(group six)

Guidelines for posts

May I please beg that we observe a couple of guidelines with regard to posting? I guess we haven't needed to think about creating guidelines for posts until now because there were fewer "authors" on the blog, but now there are close to 50 authors and suddenly there is a need!

Suggested guidelines:

Use labels/tags! At the bottom right of the window in which you create a new post is a long blank box with the title "Labels for this post". Labels, or tags, are a way of indexing posts so a blog reader can search on different labels to go straight to the posts in which they are interested. Please use at least one tag on each post you make! You will see a link next to the labels box which says "Show all". If you click on it, a list of all the tags used so far comes up.

Please try to use an existing tag! New tags are great if you need one (it will be added to the list) but often you will find an existing tag that says what you want to say. If you don't look and see what tags/labels are already in existence it is very easy to create a new tag/label that is just slightly different... which may not come up when a reader searches the blog.

Think about whether you want to make a post - or make a comment or send an email instead! As we have so many authors it is easy to get into a 'conversation' between posts. This can mean lots of posts about one subject - it might be clearer to carry on the conversation by way of comments on the initial post rather than making separate posts. If you want to send an email instead - because you want to say something that relates specifically to one person, for example - you probably have that person's email address already if they're in your group, and if not, you can always drop me a line.

It goes without saying that we're all lovely polite people and would never put up anything rude or discriminatory!

Can anyone else think of any guidelines we should use now we're so grown up? If so, let me know and I'll edit this post and add them!


I thought I'd write a short piece about this as some of the newcomers may not be aware of the conditions of entry.

The Libris Awards, while a wonderful opportunity for book artists across many genres, is open only to residents of Australia.

What this means, in terms of a BAO group submission, is that the overseas players would miss out and it would not be a true group exhibit. But individual submissions of work from one of the groups, provided  the artist is a resident of at least 12 months  here, would be accepted.

And the next point is a bit of a "blank stare" as a date has not been set! This is from an email sent from Artspace last week in response to my query about submission dates:

We have decided to move the dates of the next Libris Awards.
We are awaiting the arrival of our next Director to set the dates for sure.  But to stay up to date with any news, please keep an eye on our

September seems likely.

dinahmow group #4

Thursday, January 12, 2012

My Introduction - Penny Peckham - and a discovery about saving a draft!

Well, I just posted my Introduction, but it's down the list at 3 January, because that's when I began the draft...I didn't expect that to happen! So my Intro's there, if you'd like to scroll down. To cut to the chase...Group Six and my title is A girl waiting....and I'm VERY happy to be involved. Thanks Sara!


Hi, everyone,
I'm excited to be participating in edition four. I'm a painter and book artist in Newfoundland, out in the North Atlantic. Originally from the U.S., I came to visit a friend and fell in love with this rugged island.
"Making Bread" is my title, and I'm just starting to think about the possibilities- I'll send news when I'm making progress.
In the mean time, Happy Year of the Dragon to you all!

Another introduction: Lisa McGarry/Group 7

Hello to everyone! I'm very excited to be part of Edition Four (my first time participating in a BookArtObject project). I love the premise of using another artist's story titles—and even more so because they were in turn inspired by yet another artist. I am in group 7, using the title 'Mise en place' as the starting point for my edition. I have always been fascinated by the appeal of titles—how they can conjure up all sorts of possibilities. There are many book titles that I would love to build a book upon, though they wouldn't necessarily bear much resemblance to the original book.

It's not just the premise of this project that excites me though. Joining this group of artist has made me feel as though my world has suddenly grown's been wonderful to see not just the support, but also the suggestions & ideas that artists are offering one another. Although I enjoy (and seem to need) a lot of solitude, I have also been feeling the need to connect with others who spend their days and nights creating/making. I have already begun visiting some of your blogs and websites, and look forward to returning often—and continuing to discover others.

And here's a little background on me ~I'm an American living in Florence, Italy. In 2004, a research trip for a book I was writing brought me here for what was supposed to four months; I have been here ever since. I adore this city...its human scale, the architecture, the piazzas, the noise, the food, being able to survive without a car... Every time I walk out the front door I find new inspiration.

My degree is in Architecture, but I realized after graduating that I am much more comfortable with smaller-scale projects I can create with my own two hands. Since my book about Florence's piazzas was published, I have been able to put more time into making art again—painting, photography and working with paper (and all of the possibilities that entails). More than anything, I love books as a medium. I feel like I am just beginning to scratch the surface with artist books, and am really enjoying the journey so far.

Thank you to Sara Bowen for bringing everyone will be wonderful to see how Edition Four unfolds.

Lisa/Group 7/#67 Mise en place

Ideas for 'Mise en place' are still percolating, so I don't have any images to share yet. The photo above shows one of my recent artist books (Venice: Where Sea & Sky Meet)

Wednesday, January 11, 2012


Trace Willans from Soewn Earth edition 4 Group 5
I live in the Great Southern Region of Western Australia.
Up till now I have only made one of a kind books
So an edition is going to be a real challenge
At the moment I have no idea how I am going to do it
And anyone who knows me or my work will not be suprised
that I have chosen The Earth as my theme
I did try tyo add photos but blogger wouldn't let me

A fork in the road ......

Hello to everyone and thank you to Sara for allowing me into this fab project.

I'm not very good at talking about myself so I just thought I'd throw out a few lines to let you all know how I'm thinking about my chosen title.

'A fork in the road'

I was it a fork in the road or a place where three roads meet?

Oh and a few lines from an ancient song.

'lie down now True Thomas
I'll show you wonders three

See you not that narrow narrow way
beset with thorns and briars?
That is the path of righteousness
Tho after it few inquires.

And see ye not that broad broad way
That lies across the lily leven?
That is the path of wickedness
tho some teach it is the road to heaven.

And see you not the bonny bonny way
that winds about the fern'd hillside?
Oh that is the path to fair Elfland
where you and I this night must ride.

(Ballad of True Thomas)


Introduction: Kophieps, 4th edition Group 4

Dear all, I'm Kophieps. My real name is Bertie van der Meij and I'm Dutch. Perhaps I should add that I am female - English-speaking people are usually surprised when they meet me and hear my name, but in the Netherlands 'Bertie' is not an unusual name for women.

After having worked as a librarian and as a translator for many years I recently started a small letterpress studio. I'm working on digital and paper editions of illustrated alphabets, poetry books, short stories, and more. The Book Art Object edition is an inspiring project for me. I'm in Group 4 and my title is Dust. On the morning of the day Sara emailed me the 100 titles to choose from, I was vacuum cleaning the bedroom. This was in no way a depressing activity. The December sun was beaming into the room and thousands of dust particles were dancing in the light. It was amazing and beautiful. I played with them, letting them stream into the vacuum cleaner's nozzle. Reading my mail later that day, it was immediately clear that I should choose Dust as the title for my book art object.

It's not impossible that the design of my book will involve a vacuum cleaner bag. As for the contents (of the book, not of the bag), right now I'm doing some research on the ethics and metaphysics of dust ;-).

I really enjoy being part of this project and I will love to read about the experiences and results of all participants.

On the web you can find me here: Kophieps (in Dutch) and Falstaff & Fakir (in English).

Tuesday, January 10, 2012

another starter

Hello, I'm also new to this blog but want to give it a shot at helping me get some information from such an impressive group of artists. I've just joined a group for Edition 4 and had a bit of a look around at some of the members' blogs or sites and on flikr. The amazing professional printing set up that some of you have makes me wonder if I can do this project justice.
Most of my previous artist books have been one offs which would not satisfy the requirements of the brief. I was hoping to use the humble photocopier or my ink jet printer to enable me to make an edition. I hope this is acceptable.
I am currently putting ideas together, my theme is "Transparent" and have been trying to use tracing paper as a paper for the book but have had mixed results on my ink jet. I'm sure there are transparent parchment or vellum type papers around, I notice someone using polyester sheeting. How do you source this type of paper? If you have some experience and information that might help me choose a nice transparent (or even translucent) paper, I would be very thankful.
Hi, I am just accessing the blog for the first time. I am excited about participating in this project. I hope I can pull together an interesting book for Edition 4.

Monday, January 9, 2012

Introduction, Celeste in Group 1

I have followed BAO for the last several years and decided this year to participate. I am a fiber artist who fell in love with bookbinding several years ago. I tend to make mostly blank journals and love to try out different techniques and stitches. I am in group 1 and my title is number 65, To see what he could see. It is a great choice for the options and my challenge will be to focus and pull it off with my limited drawing and painting skills. I'll attach a few photos of some long stitch leather journals I made over the holiday vacation. My blog is Creative Gallimaufry and is truly an assortment of whatever I happen to be involved in.

Sunday, January 8, 2012

Researching wolf mythology.

Reminded of the story about the Fenrir Wolf in norse mythology, I came across some useful links .The rope they finally bound Fenrir with was called Gleipner.
Gleipner was made of six elements, and was strong enough to hold the gigantic wolf down.
The six elements were:
1.The fish`s breath
2.A womans beard
3.A Birds spit
4.A Mountains roots
5.The sound of Cat-paws
6.A Bears tendons(sinews)

All elements being of a supposedly non-excitent nature,all the same it had the power to tie the wolf down..

The story is interesting on many levels, so I certainly can recommend some googling on it.

Here are two trial-proofs I made of hybrid Wolves, tied with ropes.I am testing out techniques like lithography mixed with Moku Hanga woodblock. I am also researching what paper to use, and this ones are printed on a rather thin watercolour-paper.Probably not what I wil be landing on in the end.

Opportunities - a new blog page - Sara Bowen

Hello, hello. I just wanted to tell you that I've put up a new 'page' on the blog called "Opportunities", which you will find just below the banner on the right hand side. If you hear of an exhibition or residency opportunity that you think would be of interest either to the whole group (i.e. where we could submit a group entry to a juried exhibition) or individual members, you might like to post the details on the "Opportunities" page. I was going to write a blog post about Alicia Bailey's upcoming exhibition Transparent/Opaque 2 which she recently emailed to me, but thought it might be better to put it under a tab so it's easier to find! If you're interested in this exhibition, please contact Alicia directly.

Saturday, January 7, 2012

Locating Important Info - Amanda (4)

It's wonderful to see how vibrant and active this blog is at present with the current edition starting off.
When this post goes up, we will have seven posts in seven days!

So I wondered whether it might be a good idea to copy and paste posts where key decisions are made onto the Edition Four page for easier reference?

So you can see how this looks, I've gone ahead and done it for the colophon post. If anyone can think of  a reason why it's not a good idea, please speak up - I won't be offended! I just remember trawling through numerous posts labelled "colophon" for the last edition until I found exactly what I was after!

Sara's Beautiful Book - Thank You

I had a lovely surprise in the post today. Sara Bowen's beautiful book. Exquisitely made. The construction, simple yet at the same time extremely complex . I love the way the connection was made with Athene (the patron Goddess of the Library of Alexandria) and her symbol the owl. Gorgeous, thank you Sara :-)

Thursday, January 5, 2012

Another Introduction: Ellen Golla, Group 6

I live in the isolated redwoods of Humboldt County in Northwestern California, about a 6 hour drive north of San Francisco. I used to work largely in detailed cut paper collage, but nowadays mostly make books. These have included a few small editions in addition to unique books and book-based sculptural pieces.

The Literary Cure from a few years ago is an example of one of my editions (5 copies). I thought the way we read books is changing. So why not just take them as pills? 

I'm another first-timer in BAO. I've been following this blog, as well as those of several of the longtime participants, for quite a while. I'm excited to now be a part of it myself. It seemed fitting to be joining for this particular edition, since I've also taken part a few times in the Bookmarks project that Sarah Bodman runs. (I was in Bookmarks VVI and VII.) I liked the idea of using her work as our inspiration, and that she would be getting copies of the books.

My website is at (my longtime studio name is Zebra Crossing Picture Factory) and I blog at (The Paper Chipmunk Press is my bookmaking imprint). I also have some (very) miscellaneous pictures of projects (and cats, etc.) on Flickr.
A Cat's ABC (small open edition)
Speaking of cats, I have three, including two black ones. I picked Superstition for my title, because when I saw it, the line "one should not dance around ladders nor sleep with black cats" popped into my head. I have no idea why. Then it later occurred to me that while black cats are considered bad luck in the U.S., they are good luck in some other places. So if I actually used that, it might not make as much sense in some of the places the book will wind up. Hmm... I'm curious--what sort of luck do black cats bring to Australians? Norwegians?

The Great Colophon Debate continued - Sara Bowen

Um, just to add to the debate, how about the following for a colophon? You can keep it short and sweet or expand it, but I am suggesting that all of our colophons follow this basic format. What do you think?

BookArtObject Edition Four, Group [insert your group number HERE]

Title taken from An Exercise for Kurt Johannessen (2010), by permission of the author, Sarah Bodman.

[your own long or short explanation about Sarah Bodman's book, your book and how it is made HERE]

[your own version of copy number and signature HERE]

Wednesday, January 4, 2012

Groups - an update; by Sara Bowen

There are now 52 artists working in 7 groups on Edition Four! Wow - I am quite amazed (and pleased) by the responses we've received for this project. I've heard from a few more people, but as is the way of things, they may not get back to me with their choice of title, for whatever reason, so I expect we'll hover around this number of participants. I emailed Sarah Bodman and it is safe to say that she was stunned... I don't think she can quite believe she'll be getting in excess of 50 books mailed to her in around a year's time!

All participants have the opportunity to post to the blog and will have received an email from Blogger requesting them to follow a link, create a user name and become an author. There are a few outstanding invitations so if you think you should have received an author invite and you've accidentally deleted it because it came into your Junk email, or if you have no idea what to do with the email you received, please let me know and I'll try and help. It's lovely to see people introducing themselves on the blog. I know several of your names from having read about your work, followed your blog or been in exhibitions with you, but I don't "know" you so it's great to get more insight into what you do. Even if you feel too shy to post an introduction please feel free to comment - taking part in the on-line conversation on the blog is a great way to find your bearings as part of the collective.

On the subject of posting, as there are now many more posts it can be difficult to keep track of names and groups! I know a couple of other people have suggested this already, but it would be great if you could identify yourself in your blog posts - either in the title (as I've done with this one) or maybe sign off at the end.

Lastly - deadlines. Several people have asked me to provide one! It is one of the central tenets of the BookArtObject project that no-one should feel under pressure (least of all me!), but if having a deadline helps you produce your work then you might like to bear in mind June 1st 2012 as an arbitrary line in the sand: if you can get your book finished and a copy posted to me by that date then there's a good chance I'll be able to include it in a BookArtObject group entry to the Libris Awards, one of Australia's premier jusried artists' books exhibitions. The date for this show has changed and although entry forms are not yet available it is widely expected to happen in September, which suggests a June deadline for entries.


A couple of days ago, Ronnie posted a comment about the need for an edition colophon. Coincidentally, I'd been working on a colophon for my own contribution to the edition and am happy to put this forward as a discussion starter for others to consider, although those working with letterpress or in miniature will probably throw up their hands in horror. Here it is:

Kurt Johannessen’s Exercises (1994) is a handbook of tasks that individually seem quirky and harmless but, when taken as a whole, are a gently subversive prompt to readers to reflect upon their world.
One of Kurt’s exercises, “write 100 stories and bury them in the forest”, inspired British book artist Sarah Bodman to do just that. Her 100 stories, collected as
An Exercise for Kurt Johannessen (2010), are quietly decomposing in a forest in northern Denmark.
The titles of Sarah’s stories have, with her permission, been taken as the starting point for BookArtObject Edition 4.
#41 It's beginning to hurt is a single section pamphlet binding with laminated paper boards and oasis spine piece. The text paper is 118gsm Superfine Eggshell Soft White and the font is Palatino Linotype.
Fifteen copies have been printed of which this is copy number:


Terence Uren
Canberra, Australia
June 2012

Introduction: Alicia Griswold Group 7

What an exciting project this is going to be! I'm looking forward to reading this blog regularly and using it to share the process of making a new book. I'm in group 7 and my title is "Rowing Boats." I have no idea why I picked it; I just liked the sound of the words and perhaps the feeling of heat and splintering wood. I love working with random word combinations and often use them in teaching.

I'm in Atlanta, Georgia where I teach English at the Art Institute, freelance as a business writer and make books. This lets me combine two passions: art and writing. Lately, I've been assigning simple artist books to my students as a way to showcase basic rules of writing, grammar and punctuation. We all love working in color and ink!

A couple of us at the Art Institute are curating a book arts show called "Wallbound." We've finished selecting the pieces and are looking forward to receiving the books, all of which must be able to hang from a wall or the ceiling. The origins of this caveat are prosaic (We have no pedestals!) but the response has been great.

Here's one example of my work: a prose poem of my own and drawings printed using solar plates, then distressed with watercolor, ink and acrylic medium.

My blog is Sending Pages Out to Dry.

Looking forward to this year's project.

Tuesday, January 3, 2012

Introduction - Penny Peckham, Edition Four, Group 6

With These Hands 2010

I discovered Book Art Object through Ampersand Duck's blog, which I've been following (quietly) since I encountered her in 2008 at Mackay's Artist's Book Forum. (We were both staying at Gecko, though I'm not sure that you'll remember me...the quiet one of the breakfast group.) At that stage I had become interested in artist's books but had made only one or two. I have had a desire to be involved in Book Art Object because art and text come together (notice the title of my blog and a 2011 solo exhibition - Word & Image!!) A lot of my work uses text as I love reading and writing as much as I love making art. I have a background in Art History (could never decide between English or Art History, between making art or writing about it) and so some of my work makes reference to Art History, particularly as it relates to women - as both subject and artist. I work primarily with linocuts, as well as monoprints, hand-cut rubber stamps, collagraphs...generally very hand-made and low-tech. I'm planning to try kitchen-sink lithography's amazing what you can learn to do on the internet! I don't have a press at home so often print linocuts by hand on light handmade papers such as Unryushi, but I do also work at the Australian Print Workshop access studio. I live in the inner northern suburbs of Melbourne and am in Group Six. The title I'll be working with is A girl waiting.

With These Hands 2010

A couple of images of a book of linocuts.

Monday, January 2, 2012

Happy New Year BAO'ers!

Firstly Happy New Year to you all and secondly welcome to all the new influx, I hope you are all finding your feet gradually, just as I am very gradually trying to keep up with all the new posts! I'm Abigail, came on board for the last edition and have very much enjoyed myself here at BookArtObject. I'm based in London and you can find out more about me and my work on my blog which is linked to in the side bar also. To be honest I haven't posted much for a while, Christmas and my MA took over, but I am endeavouring to get on top of things like posts in the next week or so. So for now it is hello 2012 and goodbye 2011 and I'm looking forward to all that might happen here in the next year.

Abigail Thomas
Group Six
#16 Turn Left

Sunday, January 1, 2012

Pictures are always Good

And with that in mind, I wanted to share a few. First, I could not agree more that it is a very important consideration what you choose to edition. My experience with editions is some fine press books of poetry in numbers of 125 to 230, with sewn binding (pamphlet) that is pretty simple. However, my first artist's book edition of 250 is still in the process of being bound.

Although I have made probably 2/3 of them, this 1995 book The Last Portrait, is on the back burner (unless I turn up the heat.) The reason is the concertina binding I chose. While I love the way the pages open out, and the physical sense of it, I do not love the precise folding aspect and how easy it is to get off-kilter in the folds. I certainly do not love it to the point of doing nothing else till the books are done. I may have gotten better at folding over the years; time to make another run at it, perhaps.

A few years ago, I enlisted my dad's help getting some of them made, but even he grew tired. Helen, you mentioned that you are a stained glass window maker. My parents were stained glass artists in the 1970s in the historic town of Frederick, Maryland USA. I'm sure this was influential in my awareness of craft and art in general. I remember those being the best years of my childhood, going to craft shows, hanging out in the shop, etc. I am including a picture of my absolute favorite window by my dad, James Russell, called "New Beginnings." I have quite a few pieces in my home and this is one of them.

I realized in my introduction post that I completely forgot to mention my location, group and title. I hail from the middle of the USA. I am a part of Group 5, and my title is Throwaway. Recently, I have been working with recycled materials and thinking about our "throwaway culture." You can see some use of materials over my website (, at this point it is mainly an altered book that is a "pocketbook."

I have been collecting cereal boxes, which started when I saved them for a fellow letterpress printer who makes greeting cards. As I packed them up, I thought why not keep collecting and use these for one of my own projects?

There is the consideration of archival materials. This material would not be, and I have to think about that and what it means to work with such "throwaway" materials. So much to ruminate over!