I am off travelling again this week. I made a smallish sketchbook from one sheet of Canaletto paper divided into twelve pieces. It is about 7 inches wide by six and a half high. It had to be this size to fit the Balinese fabric I made into book-cloth. I bought it in Ubud market some years ago. I made a purple one from similar fabric for my trip to Bali 18 months ago, but I didn’t complete filling it.
Again I will be travelling with a non-sketcher. This friend has not been to Bali before, and she has only ten days, so I think we will be busy seeing the sights. But the first day, and the last week I will be alone and will get some sketching done.
Not getting much sketching done on my first trip with a non-sketcher eighteen months ago gave me a chance to see what I could do better, and I filled sketchbooks on my two Europe trips (though they were much longer). This book has only six signatures, so fewer pages to fill. I must re- read my own advice from this post about travelling with a non-sketcher. I will be starting the way I mean to go on, by sketching at the airport, and on the aircraft. It doesn’t have to be good, it doesn’t even have to be finished, it just has to be on the page.
I had enough of the Balinese book-cloth left over to make two little note-books – one each. I have already put some Balinese phone numbers in mine. I hope I can find some more of this fabric, though Ubud market is so different now. We will be at the beach at Sanur for five days before going to Ubud. I haven’t been to Sanur for many years. Our hotel is right on the sea, so it will be lovely to sit and gaze at the water (and sketch).
I have been a bit slack about blogging recently. I have been making books more than sketching. These are two recent ones I made with a friend one rainy Sunday. She had looked at my travel sketchbooks a while ago, and although she doesn’t sketch, she decided she would love to have a book to keep all her souvenirs and to write.
We took a big plastic rubbish bag up to the art shop in the rain to keep the paper dry. We bought three sheets of Canaletto paper which made two books. I bound one and she bound the other. One is for a previous trip that she has kept a lot of collage bits from, and the other is for her next trip.
She had quite a selection of papers to work with. The one that looks black is dark navy and has leafy bits in it. It has this beautiful marbled paper for the endpapers (inside the covers).
So now she is ready to roll with her travel journals.
I had house guests for Christmas. Last time they stayed, they expressed a wish to make a Reverse Piano Hinge book. We had a full program during the few days they were here, so it was Christmas Day we made the book.
The reason they wanted to make this book is that you can remove pages and replace them (or not) without damaging the book. Each signature (section of pages) is held in place by paper pins that can be removed and replaced, as shown in the second photo. The ‘pins’ go through the green concertina which enters the book block through slots cut in the pages. The paper for our sketchbooks is Fabriano Hot Press, which was obtained with great difficulty, due to a shipping container being water damaged and none available. Well, almost none.
Unfortunately I forgot to photograph my guests’ books, but here is mine. The paste paper I used for this one was made in 2010. Annie and I made a huge batch of paste papers for the artists who were demonstrators at the Matisse Open Day that year. On the day prior to the Open Day, Rosemarie Jeffers-Palmer taught them all the Reverse Piano Hinge book. Everything was supplied by Matisse Derivan. There wasn’t time for the artists to make their own papers, so Annie and I made them all, and did a quick demo on the day. You can see the finished books with the paste paper covers here.
Out of all those papers, we kept one set each, and this is mine, unused till now. But I still love the colours. The book took us most of Christmas Day to make, so we had a quick nibble for lunch, and were not allowed to open a bottle until the books were all complete about 5 – 5.30 p.m.
Not the best photography you ever saw, but a combination of low light and a helper….didn’t help.
My nephew and a friend were staying with me a couple of weeks ago. They had bought their sketching materials and stools and we hoped to get out sketching. The weather was against us. A little bit rainy, very windy and very cold.
My nephew had made a coptic book before one other rainy day when he was here, but his friend had not made a book before.
The first damp windy day we made two coptic sketchbooks. The turquoise one is covered in my paste paper, and the tan one has Nepalese paper (more masculine). They each have a little laser-cut cog clued on the front, but we painted the one for the turquoise book silver, because there is also silver in the paste paper.
This is the inside of my nephew’s book. He used pages from an old atlas for the endpapers of his previous book, so I asked him if he wanted the atlas again. He did. But instead of a map, he cut one of the index pages diagonally. Very inventive!
For the turquoise book we used two different kinds of credit card papers for the endpapers. I did that recently in a book for myself. You never look at both the back and front inside covers at once, so what does it matter if you like them.
Another cold wet afternoon we were looking at Alisa Golden’s bookmaking books, and we decided to make a circle concertina. In fact, they made it, without much input from me at all. Apart from the coptic binding structure, many of the other book structures I make are from Alisa Golden’s books. That is how I learnt. I have made a few of this one for myself, and used to glue book reviews into them. There are random stencils throughout the book also, and the inside pages are orange. It has a soft cover and all the paper is Mi-Teintes Canson paper.
I made a book for myself from Fabriano paper for when I come home from my travels, because I am using more water when I paint recently and want to use more still. It takes five sheets to make two books this size. I made the red one for a friend, so this one is for me. I chose the Canaletto paper for my travels because it is so robust and served me well last time. But I think the watercolour moves better on the Fabriano paper. I will have to wait and see. The books are just under eight inches square, but the Canaletto is slightly longer in the portrait format and the Fabriano in the landscape format. A good size when you open it up to a full spread.
I chose this blue and green because it appeals to me even though it is so simple. It has only one coat of paste, then it was scraped with a cheap plastic scraper from the two dollar shop. You can see the brush marks, and now you know that with this most recent batch of paste paper I used a house-paint brush. Sometimes I use a one inch imitation sable, but you can cover the ground faster with a two or three inch brush. I like the brush strokes showing.
I am going to Italy well armed with sketchbooks. The first three weeks (in Sicily) will be a workshop including drawing, printmaking and bookmaking. I have already made my books. I liked the format I used on my last trip, and the Canaletto paper is very robust, so I decided to go that way again.
The red one with the medallion is not for me. It is for a gift for a friend, and it is Fabriano hot press paper, hence the slightly different format. I like the way the paint moves on this paper, so my next trip I will use Fabriano, though the paper is thinner…200gsm I think. Canaletto is 300gsm. The Fabriano makes a thinner book with the same amount of pages. Lighter too, I suppose.
The red paste paper (above) was made on one of the scarce sunny days we have had recently. I made a whole lot more paste papers, but I still need to photograph them.
You will have seen the stencilled papers before. So now the yellow one inspired by Sicilian ceramics is bound, and the other red is pierced, ready to bind. I will take my needle and thread with me, in case I decided to re-bind on my travels. I am taking print-making paper (BFK Rives), cut to size. I may decide to re-order my pages, so the binding of the yellow may be cut up and done again. Taking an unbound book also means I can take just some pages with me if that would be useful.
This red paper is recycled stencils from my Bologna artist’s book. This time I have decided to call it my Vasari book, as although I am going to Bologna, I will also be in Arezzo for a week, where there is Vasari’s house and arches as well.
As for endpapers, my two books are plain. But the one that is for a gift has amazing endpapers. I can’t show you. Something has to be a surprise.
Currently I am working on sketchbooks and notebooks for my trip to Sicily and Italy. I always like to take a notebook with me. It helps when I don’t remember what I did the day before yesterday, and I have still to write in my sketchbook. It holds the addresses and phone numbers of hotels, and the times of trains.
I found this piece of Gelli print for the cover. You can see a video of my demonstration of Gelli printing here, and maybe I even made this print while I was demonstrating that day. More also on the Gelli Arts blog. It is full of great ideas.
This notebook is A6 size. It has six signatures sewn into a concertina, then it has bands glued under the endpapers to hold it together. The Gelli cover is two layers, a lemon, and a mesh of onion bag. Colours are Matisse Emerald and Australian Red Violet. Both with Open Medium. The endpapers are Credit Card Papers. There’s another demo video of that (and paste papers).
Now I can start writing in it. I’m looking forward to filling it up on my travels.