So I started off with a piece of buff card from packaging and stitched in paper from the inside of envelopes and cartridge paper
Having already glued some black fabric to the cover
And finally added an embossed wrap.....amazing, I just held the damp somerset paper over a plastic alphabet letter stencil and forced the paper to emboss with my fingers and then gently with the end of a rounded paintbrush.
We have now all finished our page for the book.......
and now we have almost decided on the binding, just waiting for Quebec now to have confirmation. It is exciting, I would have never made this using the subject/object matter we have worked with and it has expanded my thinking somewhat.
Hopefully have some images of final book to show by the weekend
Here is the paper pulp glove...apologies for the weird pink and green glow to this image, I tried it in grey scale and felt it did not work...it has been raining for ever here in Glasgow so the light has been really bad for taking photos.
and here are the pebbles in pulp.....more tinges of pink and green.......I will replace photos if the weather ever finally stops raining.
I now need a spanner to open the solid pulp objects....watch this space!
demonstrating lots of basic skills and a few need to know points like
paper grain direction everyone created some wonderful experimental small
Inspired by the artist Jenny Smith I
have been making 30 minute books as part of my practice. We decided to
incorporate this within the workshop. Although this was initially met
with some protest of pressure I explained that this was like a mini
deadline and the pressure encourages a dive into creation and an
immediate engagement with process and materials that blocks out too much
is continuing with our book collaboration and I am amazed, given our non inspiring (to us) objects, at the prints we have created from a spoon and a glove.We have designed the cover for the book which will flip
open, to reveal an image of the two objects that have inspired the
Madeleines' print evolved through consideration of the absence of the objects
Moira embossed and monoprinted the objects, still work in progress....
And I have been busy with the cover images ...more photos to follow
We are now in the process of creating the cover and spine and hopefully will get most of it finished before Madeleines' return to Quebec
and I have just completed facilitating our first polyester lithographic
workshop together.This was an
introduction to the wonderful world of lithography without stones.You can even print the plates without a
press using a baren or spoon.Everyone enjoyed the immediacy of this direct process..
Paper Casting with Master Paper Maker Alison Newman http://www.paperartsworkshop.co.uk/
later and we have moulded cotton linters pulp into our casts.Madeleines box plaster cast was a huge
challenge to open but we all took part in its separation and eventually prised
it apart.We spent the whole day tapping,
slapping and sponging and now have to wait one or two weeks for the moulds and
paper to thoroughly dry out before we see the results.
opening the box mould
the box mould still refusing to open
the box mould open
A sheet of pulp teased into shape ready to lay in the mould
The pulp has been pressed into each of these moulds and is now ready to be bolted together to create the final object
The six stone mould covered with pulp which now has to be gently pressed into the cavities
This is now complete and ready to be left to dry
The object moulds all bolted together for fusing. All we have to do now is wait!
Making with Master Caster Stephanie Spindler
stones, shells and boxes in plaster at Pulp Studios run by Alison Newman.
wanted to learn paper casting to develop and extend her practice within book
making, including objects and moulded boxes.For myself the challenge is to find ways of taking my
practice outside in nature and I see the paper casting process has great
potential for this
So now the plaster casts are ready for us to use tomorrow, I love the cast of the six stones above and can't wait to see what the sheet of paper moulded in this will look like.
It is an
exciting time for me I am collaborating with the wonderful visual artist
Madeleine Samson from Quebec City.She is here staying with me for 5 weeks.We are now in our 4th week and we have been
gathering source material from the beach at Dunure and Glasgow city in order to
create some artists books and making small maquettes for our books
been taking raw image photographs using Madeleine’s close up lens on her Nikon
camera which unfortunately my Mac does not have the software to recognise … so
whilst we sort out that hitch I will carry on regardless.
last week in Wales continuing our search for imagery on Conwy Morfa and West
shore Llanduno and the amazingly spooky quarry at Nantlle in Snowdonia.The car was full to the brim on our
return to Glasgow
The quarry at Nantlle
have a very full two weeks work ahead.Yesterday we started a book collaboration with another Glasgow artist,
Moira Buchanan.So far it has been
a very democratic experience.We
decided as time was precious that we would choose objects in my studio as a
starting point and inspiration for our book.
We all agreed that we needed to work outside our comfort
zone to make it a challenging experience.So we each selected two objects, one that we would naturally been drawn
to work with and one that we would not dream of working with.
narrowed down the choice with a vote of 1st 2nd and 3rd
choice and ended up with this.
Although we took it very seriously I have to say that this was quite an
hilarious part of the process.We
have ended up with two items that we all find extremely challenging to work
with and is really going to push the boundaries.
In between all this we managed to visit the exhibition 'The First Cut' at Manchester City Art Gallery, what a fabulous show of international work
Nicola Dale's work
We were at Manchester Artists Book Fair and the conference, Collaboration and the Democracy of Bookarts