I’m looking to collaborate with a writer. I’d like to produce a limited edition of fiction, poetry, or nonfiction – something intriguing or gripping or beautiful, by a person I can develop an equally expressive book design with. I have many varied techniques to draw on in creating a wholly unique design, and I’m looking for a challenge. So please submit your work!
- Any type of writing, so long as it will fit in one volume.
- You will be responsible for paying for the edition. The design and edition size will be developed within your budget.
- You must possess the rights to reproduce the writing.
- A sample of your writing
- A little about yourself
- Please use the contact form here, with the subject line ‘writing submission’
Please send in submissions by October 15, 2014, and I will be touch with potential collaborators shortly thereafter!
I am delighted to be profiled in the Little Book of Book Making:Timeless Techniques and Fresh Ideas for Beautiful Handmade Books by Charlotte Rivers, just released by Potter Craft. I have just excitedly thumbed through my copy, and it is brimming with inspiring work from bookbinders, including some new even to me. This is not a beginner’s instructional guide, but rather a journey through beautiful stitches, folds, and paper treatments. Tutorials in these techniques are contributed by the profiled artists, including a guide to naturally dyeing paper with fresh plants from me!
Update: Published in the UK by Jacqui Small under the title I Love Handmade Books
I was recently interviewed by For the Makers, Brooklyn’s inspiring resource for DIY projects. This month’s Veritas collection is focused on academia and old-school techniques – as you know, right up my alley! Check it out here.
The kettle stitch, which holds the tension along each signature and acts as the change-over for many bindings, is a persnickety little stitch until you get the hang of it. When learning the coptic or sewn-to-tape bindings a common problem is an incorrect kettle stitch that does not ‘lock’ the tension, or a kettle so successful it cinches the head and tail while the center of the spine bows outward. These diagrams illustrate how I execute the kettle stitch, along with a trick for regulating the sewing tension both along the spine and between the signatures.
On reaching the head or tail of a signature, I exit the last sewing station, make certain the thread is nicely taught, then clamp down with a forefinger on the fold about 1/2″ inside the last sewing station. The thread (and tension) is held firmly by this finger, and the end of the signature pops up just a bit. That tiny bit of extra space will prevent the kettle from cinching too tightly. I hold this position until the kettle stitch is completed with my other hand, locking the thread in place.
To execute the kettle stitch while holding this posture may seem acrobatic at first, but it can be easily done using the technique recommended in Non-Adhesive Binding, Volume III by Keith Smith. Having made certain to place the sewing stations a distance from the head and tail that is shorter than the length of your needle, its point will emerge from between the signatures and can be pulled through the loop in one easy motion. To tighten the kettle stitch keeping that extra iota of space, pull the thread straight upwards. And finally, release the finger that has been clamping your signature down all this while.
Another helpful technique is the french link stitch, which regulates the tension across the spine (between the signatures) by linking each stitch spanning a tape to its neighbor. The french link stitch is an extra step, but the herringbone-like pattern it creates can be a lovely addition to an exposed spine.
Just a quick note to say that you can now find me on Instagram, where I’ll be sharing a more informal look at work in progress, workshops, and other inspirations.
And I’ll be needing to collect lots of inspiring folks to follow, so drop me a line with any suggestions!
A guest book made of linen and antique crinoline fabric, dyed with walnut, black cherry bark, and indigo. Sympathy between fibers and colors.
This year the Natural Dyeing for Book Artists workshop I’ll be teaching at the Center for Book Arts has been expanded to a 2-day long intensive! We will be dyeing a variety of samples and exploring mark- and pattern-making on both paper and fabric, while learning the fundamentals of materials, mordants, and permanence. Natural dyes have so many applications in both fine binding and artist books, and a wealth of cultural history to consider. The weekend will be full to the brim, and I hope to see you there!
Natural Dyeing for Book Artists
Center for Book Arts
28 W 27th Street, Manhattan
Saturday, June 21 & Sunday, June 22
10:00 – 4:00
Sewing Seeds will be hosting STAINED, an event of sensory experiences through natural dyes, on Thursday, May 22. This fundraiser to support Sewing Seeds programs promises to be amazing! Read more about the incredible artists participating and purchase tickets here. Sewing Seeds just keeps getting better.
The program is also accepting applications for its summer residency now!
I will be teaching a few natural dye workshops at the Textile Arts Center in the coming months, the perfect time to learn the basics of mordanting, extracting, and dyeing as dye plants begin to sprout!
Book Arts 101 will be starting up on Sundays in May, and it’s a red hot staff pick this month. We’ll be covering bookbinding tools, terminology, and fundamental techniques, but also explore the opportunities for book and fiber arts to connect and inform one another. Check out all the upcoming workshops here, or visit TAC to sign up.
Yes, bad form to have so much pigment falling. But it is pretty anyway.