Dorothy Simpson Krause - Book + Art: Handcrafting Artists Books

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Table of Contents

Book + Art. Copyright 2009 by Dorothy Simpson Krause. Manufactured in China.

All rights reserved. The patterns and drawings in the book are for personal use of reader. By permission of the author and publisher, they may be either hand-traced or photocopied to make single copies, but under no circumstances may they be resold or republished. It is permissible for the purchaser to make the projects contained herein and sell them at fairs, bazaars and craft shows. No other part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer, who may quote a brief passage in review. Published by North Light Books, an imprint of F+W Media, Inc., 4700 East Galbraith Road, Cincinnati, Ohio 45236. (800) 289-0963. First edition.

13 12 11 10 09 5 4 3 2 1

Distributed in Canada by Fraser Direct
100 Armstrong Avenue
Georgetown, ON, Canada L7G 5S4
Tel: (905) 877-4411

Distributed in the U.K. and Europe by David & Charles Brunel House, Newton Abbot, Devon, TQ12 4PU, England Tel: (+44) 1626 323200, Fax: (+44) 1626 323319 E-mail: postmaster@davidandcharles.co.uk

Distributed in Australia by Capricorn Link
P.O. Box 704, S. Windsor, NSW 2756 Australia
Tel: (02) 4577-3555

Library of Congress Cataloging-in-Publication Data

Krause, Dorothy Simpson.

Book + art : handcrafting artists books / Dorothy Simpson Krause.

p. cm.

Includes index.

ISBN-13: 978-1-60061-154-4 (pbk. : alk. paper) ISBN-10: 1-60061-154-0 (pbk. : alk. paper)

1. Bookbinding--Handbooks, manuals, etc. 2. Books--Format. 3. Artists books. I. Title. II. Title: Book plus art. III. Title: Book art.

Z271.K755 2009

686.3--dc22

2008050258

Editor: Tonia Davenport
Designer: Corrie Schaffeld
Production Coordinator: Greg Nock
Photographer: Mary Taylor

FOREWORD

Artists have an enviable reaction to paper, ink, stone, thread and images, making works of art that I still would like to label bookworks. At the outset, I always say that every artist has an innate desire to make a book. It involves sequencing, craftsmanship, finesse, but most of all it reflects content and context. No book should just be beautiful. It should say something. It should mean something. And it should cast a wide circle.

I envision that future libraries will contain the very essence of artist books, where a streak of nostalgia will bring viewers and readers into the rare book library to see what artists have been doing for centuries, making bookworks that genuinely move the spirit, capture the imagination, and impart visual and verbal information that changes ones mind about many things and concepts.

In Book + Art, artists are challenged to focus on meaningful content and to extend the definition of book from the physical to the virtualto create those unique objects we will treasure for posterity.

Judith A. Hoffberg
1934-2009
Editor and Publisher of Umbrella

ACKNOWLEDGMENTS

Although formally trained as a painter, I gained my knowledge of the book arts through workshops, sharing information and techniques with colleagues, research, reading, and trial and error. Through the years, I have worked with a number of book artists whose contributions I greatly appreciate. They include: Tim Ely, Shanna Leino, Bob Ebendorf, Laura Wait, Wendy Hale Davis, Keith Smith, Scott McCarney, Julia Miller, Peter Madden, James Reid-Cunningham, Marcia Ciro, Stephanie Stigliano, Sharon McCartney, Karen Gorst, Maureen Cummins, Suzanne Moore, Don Glaister, Janine Wong, Theresa Airey, Danny Conant, Sing Hanson, Catherine Steinman, Esther Maschio, Ana Cordiero, Katherine McCanless Ruffin and Mary Taylor.

Colleagues who have read the drafts of this manuscript and made invaluable suggestions for changes include: Sharon McCartney, Janine Wong, Mary McCarthy, Viola Kumlen, Bonny Lhotka and Karin Schminke.

Tonia Davenport, North Lights craft acquisition editor, encouraged me to undertake this book and made valuable organizational suggestions. Corrie Schaffeld is responsible for the understated, classic design.

I am especially indebted to my husband, Richard, for his continuing support and encouragement, and to my studio manager, Mary Taylor, an artist and teacher, whose insights and assistance are invaluable components in the creative process.

Dorothy Simpson Krause, 2009

Sicily, 2008, 56 pages, Images collaged in Sicily into a pre-made blank book (see pages 114-115)

A FORMAT FOR ARTISTIC EXPRESSION

S ome of our museums greatest treasures are early bookshieroglyphics on papyrus, illuminated manuscripts on vellum and oriental scrolls on silkpresenting content with images and words. Beginning in the late 1800s, presses brought together artists and writers and published their collaborations in elegant editions. In the 1960s and 1970s, that tradition expanded to define books by artists as unique works of art. Today, hundreds of colleges, universities and art centers offer book-arts programs. Interest in book arts continues to grow largely due to the fact that it can encompass virtually any other art form, providing the opportunity to create added meaning in an intimate structure.

While some books may have an artist, writer, editor, designer, papermaker, typographer, printer and binder involved in the production, in artist books, the artist often does it all. And thats what you will be doing in this book. You will explore a variety of books and book-like forms, and learn processes and techniques that will allow you to make books as an expression of your art. For the most part, these unique books will be one-of-a-kind.

Vietnam Journal, 1998, 54 pages,

6 6 (16cm 17cm) collaged journal

My involvement with making books began in 1998 on a trip to Vietnam. The blank journal I purchased had pages that were glued into a deep spine and a paper cover that wrapped around and closed with a strip of bamboo. Before I left home, I glued an irregularly shaped envelope inside the front cover. The structure allowed extra pages to be slipped within the deep spine and the envelope held scraps of cloth, gold-washed joss paper, medals and other found ephemera, until I incorporated them into the book.

When I returned, I scanned the pages of the journal into the computer, combined them with photographs, printed them on film and transferred them to handmade paper. The journal served both as a work of art in its own right and as a source of imagery for this series of unique digital monoprints.

A painter by training and collage-maker by nature, my primary focus has been large-scale work combining traditional and digital media. My early books allowed me to explore repetition and variation in a small format, and they provided a welcome escape from trouble-shooting computer problems. As books have become an increasingly important part of my work, I have focused on learning traditional book-making processes and adapting them to meet my needs as an artist. I have also begun to incorporate digital processes where appropriate and useful.

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