Handmade paper

Watercolor on 100% cotton paper. Bar-loop binding

I took a paper making class last fall where I experimented with all kinds of handmade papers using cotton, jeans, celery, beet leaves, and various pigments.

Celery fiber and cotton paper. Wrapped caterpillar binding.

Beet leaf fiber and cotton paper. Woven caterpillar binding.

Detail of caterpillar weave.

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star books

I just love making star books.  They are beautiful little books which open into five pointed stars you can write notes on or hang in windows. The covers of these are handmade paper, some cotton fiber, some celery and beet fiber mixed with cotton, and watercolor pencil.


More printmaking and bookmaking

Portrait of Sarah. The text is a poem of mine, "These Afternoons." Silkscreen print, double needle coptic binding. Fall 2009.

Birds. The print is a paper litho print from spring 2009. Double needle coptic binding. Fall 2009.

Beet love. The paper litho print is down from a topagraphical map of the farm in Vermont that I wrote my "beet love" poem about. Doulbe needle coptic binding.


2010 Calendars

I only made a few 2010 calendars, but they were a lot of fun anyway.

Right to left: Beet calendar with double caterpillar binding decoration, bar-loop binding; resistance of the heart calendar with modified long stitch binding; red silk calendar.

Basil calendar. Woven caterpillar binding; paper bag cover, recycled paper lining.

Standard caterpillar binding. The endpapers are tea-dyed.


resistance of the heart

is not enough.

Self portrait. The text reads "resistance of the heart is not enough, put your hands to work." paper lithography and handmade jeans paper (from Michelle Wilson). Coptic binding.

“Resistance of the heart is not enough” was my response to the Bread & Puppet poster, “Resistance of the heart to business as usual (their website is: http://breadandpuppet.org/).  I love the poster, but I always find myself thinking, resistance of the heart really isn’t enough.  It’s a crucial start.  But alone, it means nothing get done and lots of people talk about how important it is to resist.  Resist like the very thought is enough to excuse them from action.

This self-portrait is my response: you have to get to work, you have to take action and change the world, remake and break through what is already there.

The endpaper is my own handmade beet fiber paper.


luna moth

A few books using luna moth images.  Some are stenciled, some printed with a silkscreen.

These three are all done with my a stencil of a luna moth. left to right they are two long-stitch bindings and one three signature binding on handmade paper.

Double three signature binding. The paper is my own handmade celery fiber paper.

There two books, recycled paper backs and recycled color paper, are done with a coptic binding (left) and a long-stitch variation.


New books, Old Books

Since starting my work in mending at the library, I’ve been collecting the shreds of books which I have to remove: bits of book cloth, old spines, occasionally old check-out cards (my oldest is from the 1890s). I’ve been using these pieces of old, old books to make new ones. I’ve been using the long stitch a lot with this group partly because the long stitch is the most standard binding method for the books I’ve been mending.  Photo credit: Teresa Silva (http://mongoosenamedt.blogspot.com/)

Here they are:

afterall 2

Afterall.  This one is made with wine dyed and tea dyed paper and the text "after all and you find it will be gone tomorrow" is typed onto the outer pages by the spine.  Botton hole stitch.

Afterall. This one is made with wine dyed and tea dyed paper and the text "after all and you find it will be gone tomorrow" is typed onto the outer pages by the spine. Botton hole stitch.

Dictionary of Printers and Booksellers.  The piece of spine on this book came from a book we have here that were printed in 1910 which I mended.  Modified long stitch binding.

Dictionary of Printers and Booksellers. The piece of spine on this book came from a book we have here that was printed in 1910. Modified long stitch binding.

Each signature sits inside one sheet of yellow tea dyed paper.

Each signature has one sheet of tea dyed paper.

Old Lines.  The strips of cloth on this book were scraps I removed while preparing a book for a spine reconstruction.  Tea dyed and modified long stitch binding.

Old Lines. The strips of cloth on this book were scraps I removed while preparing a book for a spine reconstruction. Tea dyed and modified long stitch binding.

Old Lines. Back inside cover has an old library card pocket to keep things in.

Old Lines. Back inside cover has an old library card pocket to keep things in.

Revolution and Culture.  The spine is covered with scraps from a book my friend mended.  Book cloth and three signature binding underneath the spine.

Evolution and Culture. The spine is covered with scraps from a book my friend mended. Book cloth and three signature binding underneath the spine.

This book has pieces of several different books on it's cover and tea dyed inside pages.  The scraps on this book are mostly from the lining between the signatures and the spine.  Modified long stitch.

This book has pieces of several different books on its cover and tea dyed inside pages. The scraps on this book are mostly from the lining between the signatures and the spine. Modified long stitch.

tea dyed pages.

tea dyed pages.

This book is made with tea dyed tracing paper, a modified long stitch binding, and colored inside pages.  Underneath the tracing paper is the beginning text of a story I have been working on and shapes cut out of scrap pages from a book are glued to the first page of each signature.

This book is made with tea dyed tracing paper, a modified long stitch binding, and colored inside pages. Underneath the tracing paper is the beginning text of a story I have been working on and shapes cut out of scrap pages from a book are glued to the first page of each signature.

Colored inside pages.

Colored inside pages.