Tag Archives: creative bindings

‘WORDSCAPE’

UWE Bookmark

‘Wordscape’

This year’s limited Artist Edition bookmark for the University of the West of England’s Centre for Fine Print Research is inspired by the wonderfully graphic depictions of physical geography and the landmarks of local and regional identity.  The closer you look, the more there is to discover!  A book is a portal to another time and place creating wordscapes of our imagination.

 

New Bone Folders

SPECIALIST small folders

In polished bone and horn, these folders are perfect for delicate work, box making, small bindings and tight corners.  Hand tools of excellent craftsmanship for creating beautiful hand bound books, boxes, portfolios and all kinds of hand worked items where intricate detail and careful finishing are essential.

Bone FoldersBone Folders

 

 

 

 

 

Polished 4″ BONE Folder  £7.50

Polished 4″ HORN Folder  £8.00

SEE OUR STOCK OF BOOK ARTS & BOOKBINDING HAND TOOLS HERE   including our standard 6″ treated bone folders, Bookbinder Tool Kits, Materials, Bookcloth, Pre-cut project kits, hand marbled papers and more.

Standard 6″ Bone Folders, Treated  £9.00

Our standard size 6″ bone folders are treated to resist stains, adhesives and added strength for durability gradually acquiring a natural sheen and polish through normal use becoming more beautiful over time.  An essential hand tool for any bookbinder or artist whose work depends on craftsmanship and fine finishing.

 

Workshop with the National Trust at Hatchlands ParkHatchlands Park 2

We are very pleased to offer a SPECIAL SESSION in partnership with the National Trust this summer at beautiful Hatchlands Park .  This parkland is mentioned in the Domesday Book while the Georgian mansion, built in 1750 by Admiral Boscawen with architect Stiff Ledbetter, has been home to several interesting and historical families over the years.

See Shakespeare’s famous portrait, explore one of Europe’s largest collection of musical instruments, the Cobbe Collection, tour this beautiful and historical mansion and gardens while learning to make your own hand bound books.  A great day out with a well made, beautiful book of your own to take home!

National TrustWorkshop Date & Time:
Thursday, 16 July 2015, 9am – 1pm
Entry to the house and gardens, workshop tuition, materials and refreshments included.

“Learn the basics of bookbinding and create your own book. This session covers book boards, papers and cloths, grain, adhesives and pattern making as well as a range of specialist materials and tools to use.  Learn reliable techniques for measuring, cutting, aligning, folding, gluing and pressing to produce beautiful, hand-bound books of sound and lasting construction. Students will complete one multi-section, hard cover book making a perfect sketchbook, diary or gift, all under the guidance of expert tutor Meg Green. Tea, coffee and cake will be provided in the price of your ticket.”

After a devastating fire destroyed much of beautiful Clandon Park we will be holding our Summer Workshops at nearby Hatchlands Park. You can still book ONLINE with the Clandon Park site or contact Some Odd Pages studio or the National Trust to reserve your place.

Asahi Luxury Japanese Bookcloth

These paper-backed bookcloths are perfect for a rich and elegant finish.  Luxury archival material for books, boxes, portfolios, journals, albums and presentations.  Limited selection by the half or whole metre.

Japanese bookcloth

With a soft sheen and gently textured, these Japanese fabrics are easy to work adding a beautiful finish to artist editions, unique volumes and special projects.  Dye lots may vary, for exact match please order complete quantities at the outset.  Computer settings may effect colour perception.  Samples provided by request, special orders accepted.  ORDER ONLINE, UK Mainland Shipping

Workshop Book Arts:
Summer session developing content in Artists’ Books

‘City Scape:  Reimagining the Built Environment’ 

This special workshop focused on ways to inspire new content creating unique Artists’ Books in the studio.

In an open learning group, we first looked at various artists and the ways landscape and the built environment have been depicted in abstract forms.  Students then worked through the stages of creating their own interpretation using specific sites and styles for inspiration.  The works were then considered for composition and page layout and folded into book form.  Although we only had two and a half hours to work, some highly individual and very interesting works emerged!  Here’s the demo model from the day:

creative artists' book creative artists' book creative artists' book creative artists' book creative artists' book creative artists' book

UWE Bookmark 2015:  ‘Jove’s Brother’UWE Bookmark 2015

Just completed, this year’s SPECIAL EDITION BOOKMARK for the University of the West of England‘s Centre for Fine Print Research ‘Bookmarks’ project is about to be shipped!

Inspired by Meg Green’s work, ‘JOVE’S BROTHER’, this edition of 100 signed and numbered bookmarks includes the electronically readable QR CODE of Jove’s Brother, transparent text and a random slice of Herman Melville’s iconic ‘MOBY DICK’ riveted together in layers.

The UWE ‘Bookmarks’ project aims to encourage appreciation of artists’ books as works of art. Participating artists each produce an edition of 100 signed and numbered bookmarks to give away through distribution boxes at venues around the world.  Over the years these bookmarks have been distributed in more than 125 galleries, bookstores, workshops, centres, schools and libraries in Australia, Brazil, Canada, Croatia, Cyprus, Denmark, Egypt, France, Germany, Iceland, Ireland, Italy, Japan, The Netherlands, New Zealand, Norway, Poland, Singapore, Spain, South Korea, Switzerland, Turkey, the UK and USA.

Order your own 2015 signed, numbered limited artist edition bookmark ‘Jove’s Brother’ by Meg Green.


Jove's Brother UWE Bookmark 2015 (3)   Jove's Brother UWE Bookmark 2015 (2)

More about ‘Jove’s Brother’

An observation on our evolving relationship with books and reading in a digital age.  Get out your QR code reader to explore this new book on reading in the age of digital media.

“Why did the Greeks give it a separate deity and own brother of Jove?  It is the image of the ungraspable phantom of life; and this is the key to it all.”    –  Herman Melville, Moby Dick, 1851

Artist Book kindle e-reader

‘Jove’s Brother’ by Meg Green 2015

The discussion surrounding overtaking technologies isn’t new, it’s one we have every time a new technology redraws the ways in which we perceive and communicate ideas.  Photography was supposed to have killed painting, video was supposed to have killed film.  Once upon a time, books were the new ‘technology’ that threatened the practice of impressing pointy Cuneiform shapes into little clay tablets.

Clearly, digital books aren’t somehow ‘better‘ than conventional paper books, they’re simply a different medium of exchange.  We aren’t confused about it either, we see and feel the differences between a conventional book and an e-reader, a paper page and a digital screen.

We are physical creatures, our perceptions conceived and conducted within our organic brains and bodies.  We maintain physical immediacy with the objects through which we express ourselves, exchange experiences and communicate ideas.  Our methods continue to change and evolve but this helps refine our subtlety and depth of understanding, our relationship to ‘reading’, books, text, coded images and abstract perceptions.

The Codex and The Screen: Stating the ObviousOriginal Artist's Book by Meg Green

The book: a codex of turnable paper(?) pages assembled within covers comprising a set of material properties specific to its construction.  The illuminated screen, whether an e-reader, mobile phone, laptop or billboard, obviously behaves in ways specific to its own material properties.  The idea of Reading has traditionally implied a universality across all forms of media => Reading is reading, without regard to the format or context of the material.

However, the way we interact with different types of reading is now the pivot of change in digital media.  Reading is no longer a universal or uniform activity irrespective of the mediating device.  Marshall McLuhan taught us this decades ago with ‘The Medium is the Massage’.  We ‘read’ differently from a screen, a mobile, a roadside sign, or a paper codex.  It’s not just about absorbing information or finding things out, an activity well served by the internet.  The aesthetic experience of reading depends on the way we access it.  Memory, retention and depth depend on the material properties we select for different types of reading.

Research on the changing way we readOriginal Artist's Book by Meg Green

A new European study led by Anne Mangen of Norway’s Stavanger University documents differences in the immersion, recall and emotional responses based on whether material is presented in traditional paper book form or via digital e-reader.  Researchers found that digital reading is becoming more intermittent and fragmented.  They also found that the time invested in sustained reading strengthens our ability to maintain long term focus, improves our understanding of depth, complexity and layered meaning, and provides a more thoroughly immersive experience.  Sustained focus helps people, especially children at formative education levels, prepare for and negotiate complex life situations with more balanced references to deeper memory and cultural experiences.

Why Moby DickOriginal Artist's Book by Meg Green

I turned to Herman Melville’s ‘Moby Dick’ as an intuitive choice specifically appropriate to my vision for this work.

Moby Dick is famously debated as one of the few compositions in any language about which no one seems to agree on its content.  Ask any number of scholars, professors, casual readers or innocent bystanders what it’s ABOUT and you will get as many answers as there are questions.  There are central themes, of course, but there is no consensus on the subject of this book.  Is it about fishing?  About the sea?  A philosophical discussion about Savage Nature versus the Devine?  Yes.  And no.

The open, ongoing and seemingly timeless discussion on the nature of ‘Moby Dick’ embodies Melville’s intention with a stroke of ironic perfection.   Melville’s text is to reading what Ahab’s obsession is to life.  What ‘Moby Dick’ is about forms part of the profound mystery of the sea and ourselves, it is archetypal.Original Artist's Book by Meg Green

New Artist’s Book ‘Jove’s Brother’

Artist's Book Meg Green 2015

‘Jove’s Brother’ by Meg Green, 2015.
Ink, plastic, cord, Kindles.
H 165, W 115, D 65 mm

‘Jove’s Brother’ is an observation on our changing relationship with books and reading.

Seven non-functioning Kindle e-readers have been bound into one complete volume.  Each hand drawn ‘page’ constructs a series of images eventually forming a QR code which can be read by mobile, tablet or laptop.  The code links to the continuous text of one of the most iconic books ever written in the English language displayed down a single page of this non-commercial dedicated website JovesBrother.com.  The title of this artwork is revealed by searching the text.

See more about this unique concept book at Jove’s Brother.

Jove's Brother Original Artist's Book by Meg Green Original Artist's Book by Meg Green Original Artist's Book by Meg Green Original Artist's Book by Meg Green Original Artist's Book by Meg Green Original Artist's Book by Meg Green  Original Artist's Book by Meg Green Original Artist's Book by Meg GreenJove's Brother Original Artist's Book Meg Green 2015

The way we understand and absorb reading is changing

A new European study led by Anne Mangen of Norway’s Stavanger University, documents differences in the immersion, recall and emotional responses to a story based on whether the material is presented in traditional paper book form or via digital e-reader.  The researchers found that “the tactile experience of a Kindle does not provide the same support for mental reconstruction of a story as a print pocket book does”.

“When you read on paper it is a tactile experience,” says Mangen who also highlighted a paper published last year found that “students who read texts in print scored significantly better on the reading comprehension test than students who read the texts digitally.”

New European study into empirical effects of digitisation on text reading shows reading is becoming more intermittent and fragmented with “empirical evidence indicating screen devices might negatively impact cognitive and emotional aspects of reading”.

The fact that sustained reading takes time strengthens our ability to maintain long term focus, improves our understanding of depth, complexity and layered meaning, and provides a more thoroughly immersive experience of reading in general.  This level of sustained focus helps people, especially children at formative education levels, prepare for and negotiate complex life situations with more balanced references to deeper memory and cultural experiences.

Context is everything.  #RealPaperBooks.

National Trust Clandon Park, Surrey UK

We are very pleased to be invited to teach Book Arts with the National Trust this summer at Clandon Park in lovely, leafy Surrey, UK.

National Trust Clandon Park

Historic Clandon Park is one of the UK’s most beautiful Palladian mansions. Built by a Venetian architect for Lord Onslow in the 1720s, the estate has been passed down through generations of this well known family.  A wonderful place to visit while participating in the heritage of hand bound books.

Dates for SUMMER 2015 to be confirmed very soon!

Guildhall Library Artist-In-Residence ExhibitionGuildhall Library Artist

‘LondEnfold’ by 2014 Artist-In-Residence Meg Green features a series of works inspired by the special collections of Guildhall Library, the world’s largest collection devoted to the history of a single city.

Meg’s hand-bound books expand off the page and climb out of the covers depicting some of the more unusual aspects of London’s extraordinary sense of place.

Exhibition runs Tuesday, 18 November through 13 December.
Workshop 1-4pm, Thursday 4 December, Advance booking required 020 7606 3030.
Presentation and Evening Reception, 6-8pm, 11 December, no booking necessary.

Looking forward to seeing you there!

Guildhall Library: the Library of London History

Guildhall Library is a public reference library specialising in the history of London. The Library’s printed books collection comprises over 200,000 titles dating from the 15th to the 21st centuries and includes books, pamphlets, periodicals, trade directories and poll books. The collection covers all aspects of life in London, past and present, its trade, people and buildings. In addition, we hold extensive collections covering maritime history, business history, clocks and clockmakers, internationally renowned collections of books on wine and food, historic English law reports and British parliamentary papers and statutes.”

Book Artist makes The Guardian’s Unusual Jobs list

It’s official.  We’ve been added to The Guardian’s list of Unusual Jobs, #WaHey!

I am a Book Artist

Hand bound portfolio“I’ve been working as a Book Artist since 1996 making books as artworks, creating artist editions and collaborating with artists to create ideas in book form. Broadly speaking, ‘book form’ means some kind of moving pages between covers but my work very often expands to include all kinds of hand-held structures. I work a lot with artists whose have ideas to express as books.

I studied Printmaking as an undergrad but then completed my Master of Fine Arts degree as an independent study in Book Arts during a time when most people had never heard of this idea. I had to explain what I was doing quite a lot. By the time I graduated though some people were asking me to make books and teach sessions. I needed a job, so I just carried on making books with people who had bookish ideas. I now run my own Book Arts studio, Some Odd Pages. I also teach Book Arts and do a lot of book repairs as well as continuing to make my own book artworks. This year I have been selected as Artist-In-Residence to the Guildhall Library in the City of London. I’ll be creating a series of Artist Books for their archives this autumn.

Many of my own book works have been made while travelling so I’ve come to specialise in strong, reliable structures that don’t require a lot of heavy studio equipment. These sessions have been really popular with people who don’t want (or don’t have access to) conventional bindery equipment. Some of the most ancient and enduring books are entirely non-adhesive. I especially like the way non-adhesive books hold themselves together through their own structure.

You can see more about my books at SomeOddPages.com

https://witness.theguardian.com/assignment/5360e29ce4b044f45439b2cf/988706

 

Book Arts exhibition

BOUND online Book Arts exhibition 16 – 30 April 2014

Some Odd Pages celebrates UNESCO World Book Day 2014 with an online exhibition of Book Arts featuring work across a wide range of skills, interests and charmingly bookish eccentricities.

See the unique works of 12 Book Artists and Bookbinders

Many of these works are available for purchase.  Your purchase helps individual Book Artists making unique books unlike anything you’ll find in shops or online through big corporate retailers.  Support hand made books that are really special, a wonderfully intriguing addition to your own library or to give as one-of-a-kind gifts.

There are so many reasons to celebrate 23 APRIL as Books and Roses day.  Here are some of the best:
To promote universal access to reading, writing, literacy and education
To promote cultural diversity, exchange and understanding
To improve access to culturally relevant reading materials in local and regional languages
To celebrate books as the global archive of humanity

Irina Bokova, Director General of UNESCO: 
“Our relationship with books determines our relationship with culture.  In all formats books embody ideas and values considered worthy of pursuit and preservation.”

Happy World Book Day 2014!

What is ‘PERFECT’?

'Story Line' Artist Book, What is perfectIs it when the grid is straight?
When the edges line up?
When all the colour stays inside the lines?

Maybe.  But not necessarily.

Very often I watch students experience anxiety as they work through a new process, cut into new materials or make the first marks of a text or drawing onto a white page.  They say things like, ‘I’m so nervous – I want it to be PERFECT.’   What does this mean and why is it the cause of so much anxiety?

It is disturbing that ideas of ‘Perfect’ are increasingly being replaced by ideas of machine-made. This arbitrary exchange of one set of subjective aesthetics for another clouds our judgement and undervalues the meaning and intent of original artworks.  This is especially important in Book Arts as the commercial manufacture of books is at an all time peak.  If we want a hand made book to look like it came from Paperchase, why don’t we just go to Paperchase and buy one?  It would be far simpler and less expensive.  Forcing a hand bound book to impersonate a machined object only conceals and subverts the essential nature of the hand made thing as well as the artist’s intention in making.

Do we want our books to look machined? Do we want all the edges to line up? All the angles to be square?  Maybe, but that’s not the point.  The point is that Some Odd Pages is hereby redefining PERFECT, particularly in regard to Artists’ Books, original artworks, and indeed all objects made by hand.  So, here it is officially:

PERFECT is determined by how well the object
EMBODIES THE ARTIST’S INTENTION
.

So, if aligned edges are essential to your concept, if straight geometry enacts your idea, if colouring inside the lines realises your intention, then so they should be.  On the other hand, if a big splashy, splodgey tangle of lines, cords, shapes and textures substantiates your vision then clearly it is PERFECT on its own terms.

Artist's Book, original painting, Coptic bindingThis in no way compromises the value of excellence in craftsmanship.  Expertise in materials, techniques and skills comes with time and practice.  If you don’t want your Artist’s Books to have all those glue marks all over the spine and covers perhaps it’s time to rethink how you arrange your workspace.  If you like clean well-laid corners and insets as much a I do, spacious unmarked margins, tight strong bindings which really support the weight of the book block, then it’s important to explore and practice ways of achieving this through workshops, experimentation and experience.

A ‘connoisseur’ is literally ‘one who knows’.  This idea isn’t restricted to the highest levels of making and achievement.  One who knows is acquainted with a subject across a broad range of styles, methods, materials and outcomes embracing a vast range of effects and results, from the clean and pristine to the wild and woolly.  Through practice, vision, intent and connoisseurship does the artist achieve artworks of perfection.

Guildhall Library, City of London

Guildhall Library, City of London

We are really excited about being Artist In Residence with Guildhall Library in the City of London this year! First established in 1425, the Guildhall Library houses a number of specialist collections and is itself a cornerstone in London’s great history.  Can’t wait to get underway, new work for their archives, workshops, panel discussions and an exhibition. #WaHey!

Guildhall Library: the library of London History

Guildhall Library is a public reference library specialising in the history of London. The Library’s printed books collection comprises over 200,000 titles dating from the 15th to the 21st centuries and includes books, pamphlets, periodicals, trade directories and poll books. The collection covers all aspects of life in London, past and present, its trade, people and buildings.  The library also holds extensive collections covering maritime history, business history, clocks and clockmakers, internationally renowned collections of books on wine and food, historic English law reports and British parliamentary papers and statutes.  Some manuscript collections can also be consulted at Guildhall Library.

Special collections include those devoted to Samuel Pepys, John Wilkes and Thomas More, plus the libraries of the Clockmakers’, Gardeners’ and Fletchers’ Companies, the Antiquarian Horological Society, Gresham College, and the Charles Lamb Society.

Everyone is welcome to visit Guildhall Library and no appointment or membership is necessary.​

Wednesday Book Arts courses with RACC Twickenham

RACC book arts wednesdays

RACC Twickenham

Wednesday BOOK ARTS now open for enrolment with the RACC:

Intermediate Bookbinding Workshop, 9.30 – 12.30
Book Arts for Beginners, 13.30 – 16.30

These courses are an incredibly good value as they are supported through the RACC funding structures.  They are held in the beautiful Clifden House studios in Twickenham and focus on core skills, creative development and unique hand bound books. Places are limited, book in advance to avoid disappointment. www.racc.ac.uk/course/C00125-131401

Location:  Clifden House, Twickenham
Days/Times:  Wednesdays 9:30-12.30, 13.30-16.30

Course Overview:

This course explores book binding techniques, structures and projects of intermediate complexity. Projects establish progressive skills upon which you can build and reliably adapt.

Intermediate binding techniques, book structures, pattern making and prototyping, tools and materials will be covered as well as adapting materials, Artist Editions and exhibitions.

Develop your own personal project with tutored guidance. Projects draw upon western and eastern historical bindings as well as intermediate book concepts such as text and image, layering, fold-outs, non-adhesive bindings and the book as sculptural object.

Demonstrations and projects teach safe, reliable and adaptable techniques to produce beautiful, hand-bound books of sound construction and lasting beauty.

Course Content:

Develop creative content while progressing through a intermediate range of technical skills which can be combined and adapted to develop your own project. Then create your own Artist’s Book using techniques, materials and interests developed through the skills projects.

Binding methods combine western and eastern techniques, traditional and contemporary approaches to books and book structures. Learn safe and reliable techniques for measuring, cutting, aligning, folding, gluing and pressing in order to produce an Artist’s Book which embodies the artists’ intention.

Sessions include demonstrations, detailed handouts, step-by-step instructions & diagrams, one-to-one guidance, group discussion and group learning. Students of various levels work together enhancing an exchange of ideas, skills and mutual inspiration.