Arizona in the midst of the Pandemic

Most days are clear, sunny and warm in Arizona. Here, one might forget that the world is experiencing a crisis and it’s affecting how we live and work. I sit here, as a nomad in a 24 foot travel trailer in Picacho Peak — a hidden gem of Arizona, reflecting on what to write for my April blog post. 

My husband, Michael, and I are fortunate to be able to hike every day in the desert behind the resort. As two people living 24/7 in 181 square feet, we need to naturally take some air. With the Covid-19 pandemic it’s important for us to be settled where we can still safely walk or hike everyday. Having an excellent MIFI allows us virtual contact with others while sheltering in place. To keep busy, we are attending online classes, carefully searching the web for information, getting news... For me it’s important to talk every day with my aging mom back in Canada and keep her spirits up while she is self-isolating in Gatineau.

Apart from conversation and long hikes in the desert, I have time to catch up on artwork and our own personal Incessant Journey blog. Even as full-time travelers, like most people life has undoubtedly changed. Being in Arizona, I had prepared months ahead on visiting artists studios. From a pragmatic point of view, the artists mutually agreed self-isolation was the best policy. Therefore, planned meetings with five binders and book makers in the Tucson area were postponed. Till next year!

In the meantime, staying at home gives me the opportunity to think of the concept for a 20th-anniversary package for my artist book project City Shields. I have over 80 new photos of manhole covers to go through plus text and information from the last 20 years to compile. Hoping to have most of the package done by the Fall.

© 2020 Louise Levergneux. The new package for the 20th anniversary of my project CIty Shields.

Earlier in the year, Barbara Grygutis and I had been in contact for our annual get together. That visit was also differed. At the beginning of March, just before the health crisis, I had time to view Barbara’s new installation in Phoenix, Arizona — A Path For Water.

© 2020 Louise Levergneux. A Path for Water by Barbara Grygutis, at the corner of 6th & Butler in Phoenix, Arizona.

© 2020 Louise Levergneux. A closer look at A Path for Water by Barbara Grygutis.

© 2020 Louise Levergneux. Looking inside A Path for Water by Barbara Grygutis.

“Conceptually, the sculpture is the funnel through which the water is collected for the site. The sculpture was developed for the tip of the site. The ribbon style walkway, commencing at the top of the sculpture, makes its way down the sculpture, and becomes the walkway, which ends at the fence. My approach to creating a work of art for the 6th and Butler site is to look at the entire site as the canvas for the artwork. Most importantly, the landscape development is integral to the sculptural elements. The entire site will ultimately be the work of art.” Barbara Grygutis

© 2020 Louise Levergneux. A Path for Water by Barbara Grygutis.

© 2020 Louise Levergneux. A Path for Water in its environment.

© 2020 Louise Levergneux. I’m appreciative for all of your continued virtual news and posts while we are self-isolating. Be safe. To give back here is a Cactus in bloom with spectacular flowers..

New Mexico

Two years ago while visiting Craig Jensen in Texas, I was recommended a visit to Priscilla Spitler’s studio located in Truth or Consequences, New Mexico. With my itinerary already planned for the forthcoming year, it was impossible to drive to the cool desert climate at that specific time.

Last October, after an exchange of emails with Craig, I was introduced to Priscilla remotely and prepared my way from Texas to the one town that changed its name from Hot Springs to Truth or Consequences as the result of a radio show contest in 1950.

© 2019 Louise Levergneux. Making my way to Truth or Consequences, New Mexico.

I relished standing outside and viewing Priscilla’s private studio, a beautiful structure reminiscent of a tiny home. Priscilla has downsized in her creative space, which reflects her production binding projects. I was welcomed by Priscilla and we spoke about her thirty years of experience in hand bookbinding and how this challenging craft provided her the freedom to express her artistic design.

© 2019 Louise Levergneux. Priscilla’s studio.

© 2019 Louise Levergneux. Priscilla’s studio filled with the tools of the trade and cloth of all colours.

© 2019 Louise Levergneux. Priscilla’s studio with an Adobe style structure.

© 2019 Louise Levergneux. Priscilla sharing her current binding edition work.

“As a collaborator of book production, my hands have sewn, bound, and assembled thousands of edition books and boxes. It has exposed me to extraordinary people and students who share the love of the handmade book.” Priscilla Spitler

While we sat at ease talking, I was intrigued by an exhibition catalogue entitled “Drop Dead Gorgeous - Fine Bindings for La prose du Transsibérien Re-Creation” on her worktable. Priscilla showed me the catalogue with an explanation of the exhibition of the same name. She continued to accurately explain her book structure and the work load it took to finish an entry piece for the show. The traveling exhibition titled DROP DEAD GORGEOUS: Fine Bindings of La Prose du Transsibérien Re-creation, opened at the UCLA Library Special Collections last October 2019. The organized exhibition featured the work of twenty-two design binders, including Priscilla Spitler, Don Glaister, Monique Lallier, Midori Kunikata-Cockram and Patricia Owen. 

© 2019 Louise Levergneux. Priscilla’s studio and home have a very distinct personality that is felt throughout her work.

After an informative tour of Priscilla’s studio space, we moved to the room where she traditionally focuses on her own art bindings. Priscilla’s extensive work incorporates goatskin onlays recessed on leather panels, gold and blind tooling, paint and stenciled acrylic, pastepaper décor, cut foil stamping technique, and endpapers personally decorated.

© 2019 Louise Levergneux. This is one of Priscilla’s unmistakable designs incorporating collage, print, and colours.

© 2019 Louise Levergneux. Priscilla’s exploration of alternative book structures.

© 2019 Louise Levergneux. “Remembering Jan Sobota” by Priscilla Spitler. Honoring Ladislav R. Hanka, Remembering Jan Bohuslav Sobota, this book contains original fish etchings; bound in two colors of gray Hewit and Harmatan goatskin leathers in a laminate case; decorated with three fish designs made with stamped, cut foils and a silver stamped title. Paste papers by Priscilla.

© 2019 Louise Levergneux. “The Eagle Jaguar and the Serpent” by Priscilla Spitler.

© 2019 Louise Levergneux. “Anatomy” by Priscilla Spitler.

© 2019 Louise Levergneux. Pricilla explaining the work involved in her book “In the Garden”.

The ease and beauty of Priscilla’s work is inspiring. Her workshops are available throughout the year. A great experience talking and knowing Priscilla — many thanks for a wonderful afternoon.

North Carolina, Part 2

While in the state of North Carolina, I reached out to Josh Hockensmith, Art Library Assistant for the Joseph C. Sloane Art Library of the University of North Carolina in Chapel Hill for the presentation of my artists’ books.

Prior to my visit, Josh asked if perusing the collection would be of interest, if so, he would be delighted to pull a selection of books for me. Enthusiastically looking through their collection in the Artstor image database, I chose several books. The artists' books that interested me where the ones relating to subject matters in my own or future books. I was also interested in researching different interpretations of similar themes or innovative concept while at Hanes Art Center. 

I presented my artists’ books to Josh Hockensmith and Alice Whiteside, the head of the art library. After our session, Joshua talked about Angela Lorenz’s artists’ book called Soap Story. As, I washed my hands with one of the last six tiny bars of soap, I found myself instrumental in helping an artist realize her goal by releasing a little more of the text, silk-screened on linen pages placed inside the soap.

© 2019 Louise Levergneux. A selection of books that were pulled for me to peruse at the Joseph C. Sloane Art Library of the University of North Carolina in Chapel Hill.

Afterwards, I was guided to a table full of artists’ books for me to genuinely enjoy. It was thrilling to be able to properly view artists’ books included on my short list. Some were seen online, others discovered through conversations, without having the unique experience of reading them first hand.

© 2019 Louise Levergneux. High Tension: Montage by Philip Zimmermann. Paperback machine-sewn, offset printing, unpaged.

© 2019 Louise Levergneux. High Tension: Montage by Philip Zimmermann. “I wanted to create a book that investigated stress and perhaps even looked into ways of relieving it.” — PhilipZimmerman.

© 2019 Louise Levergneux. Sanctus Sonorensisby Philip Zimmermann, Spaceheater Editions. Board book, offset printing, 90 unnumbered pages, color illustrations, 28 cm.

© 2019 Louise Levergneux. Sanctus Sonorensis by Philip Zimmermann. “The cover image is part of the Sonoran desert in Southern Arizona about 50 miles from Lukeville and just a couple of miles from the Mexican border. It is one of the most heavily trafficked and dangerous entry points for illegal Mexican immigrants entering the United States. Many die there each year from exposure and lack of water. The skyscapes are all photographed in New Mexico and Arizona during 2003 and 2004.”

© 2019 Louise Levergneux. The fortune teller by Malini Gupta. Digitally printed, Japanese Stab binding, waxed paper infused with the smell of incense; 17 unnumbered leaves-color illustrations in a box + 1 folded sheet.

© 2019 Louise Levergneux. Mutually Exclusive by Emily Martin, Naughty Dog Press. Magic wallet, letterpress printing, 12x17 cm, unpaged.

© 2019 Louise Levergneux. Mutually Exclusive by Emily Martin.

© 2019 Louise Levergneux. Anything from Anywhere by Emily Tipps, RG Brian Dickson, Jon Pierce, and Jennifer Moore. Single-fold pamphlet in a clamshell box, letterpress printing, handmade papers, 21 x 14 cm; 1 box (4 volumes of 16 or 20 pages each.

© 2019 Louise Levergneux. Sidewalk Salon by Manar Moursi, Cairo Al Kotob Khan for Publishing. Smyth sewing, offset printing.

© 2019 Louise Levergneux. Sidewalk Salonby Manar Moursi. 214 pages illustrations, 26 cm + 3 maps.

© 2019 Louise Levergneux. Sidewalk Salon by Manar Moursi.

© 2019 Louise Levergneux. The Sundown Salon unfolding archive: a project by Fritz Haeg.

© 2019 Louise Levergneux. The Sundown Salon unfolding archive: a project by Fritz Haeg.

After naturally viewing my web site Josh added quite a few more artists’ books that might peek a mutual interest. I enjoyed Josh’s excellent selection.

© 2019 Louise Levergneux. Age Specific by Dennis Marsico. Accordion fold, letterpress printing, digital prints, 13 sequences in one box.

© 2019 Louise Levergneux. Age Specific by Dennis Marsico.

© 2019 Louise Levergneux. Atlas of Punctuation by Heidi Neilson. Case binding, letterpress printing, 29 pages.

© 2019 Louise Levergneux. Atlas of Punctuation by Heidi Neilson.

© 2019 Louise Levergneux. Atlas of Punctuation by Heidi Neilson.

© 2019 Louise Levergneux. Descendant by Jennifer Brook. Artist improvised structure, coptic binding, letterpress printing, wooden bindings, 12 pages, 20 x 10 x 11 cm.

© 2019 Louise Levergneux. Descendant by Jennifer Brook.

© 2019 Louise Levergneux. Transplant by Jennifer Brook, Tree House Press. Coptic binding, letterpress printing, unpaged, 17 cm.

© 2019 Louise Levergneux. Transplant by Jennifer Brook.

© 2019 Louise Levergneux. Intrusion by Ellen Knudson, Crooked Letter Press. 18 double leaves color illustrations wood cuts in slipcase.

© 2019 Louise Levergneux. Intrusion by Ellen Knudson. Illustrations 29 x 19 cm in slipcase 30 x 19 cm.

© 2019 Louise Levergneux. Intrusion by Ellen Knudson.

© 2019 Louise Levergneux. The square by Islam Aly. Coptic binding, laser cut, 160 unnumbered pages, chiefly illustrations, 12 cm.

© 2019 Louise Levergneux. The square by Islam Aly. “Tahrir Square in Cairo became the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. Cairo’s map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to demonstrate the streets of Cairo.”

© 2019 Louise Levergneux. The square by Islam Aly.

I also viewed Fragments from the stacked deck by Judy Anderson, Nexus Press. Loose-leaf in enclosure, offset printing."This book began in outrage, a response to the increasing reports of violence against women in the world. Text fragments were taken from the daily news, juxtaposed with one woman's voice." A deck of cards offset printed in color on one side and black-and-white on the opposite side, with silhouettes of women and "feminine" forms such as vases and floral/botanical imagery cut out from surrounding fields of text.

Panorama by Julie Chen; took two people to handle for viewing, so, Josh helped me to experience the book opened as it revealed various panoramic views. Panorama contains two main sections, each with layered pop-ups. Each page contains relief and pressure print images and texts. When completely opened the book measures 5 feet wide. Housed in a cloth-covered, drop-spine box.

My books and I were well received, and I enjoyed viewing some incredible creations from some talented artists. Later onI will provide feedback on the results of my visit.

I hope you enjoyed reading of my visit at the Joseph C. Sloane Art Library. I wish you all a great year 2020.

North Carolina

On our way back to the States from Canada, a trip to North Carolina was a detour long in coming. For the past three years, because of unpredictable climate, a séjour to North Carolina was cancelled. This year, I reached out to Monique Lallier for a studio visit, since weather was good in Summerfield, North Carolina, where she practices her craft full time.

This visitation has been on my mind since crossing path with Monique in 2012, during a Book Arts Program workshop at the J Willard Marriott Library in Salt Lake City, Utah.

Summerfield was an exciting stopover, since I was also going to see Don Etherington’s studio. Monique Lallier & Don Etherington have been working together for over 30 years. It was an impressive three days of conversations and thought sharing. I indeed enjoyed an impromptu Drum Leaf binding session during an afternoon. 

© 2019 Louise Levergneux. Monique and Don at their studio in Summerfield, North Carolina.

© 2019 Louise Levergneux. The entrance to Monique and Don’s studio in their art-filled Summerfield home.

As most of you know Monique Lallier is an internationally recognized book binder. She began her studies in the 1960s in Montréal, Canada at Cotnoir Cappone School of Fashion. Monique was tutored at L’Art de la Reliure book binding school by Simone B Roy, also in Montréal. In Paris, she studied gold tooling and onlays with Roger Arnoult. Monique studied basic raised cords French technique binding with Edwin Heim at the Centro Del Bel Libro in Ascona in Switzerland. Afterwards, she learned limp vellum binding, paper binding, twin binding (dos-a-dos), and boxes with Hugo Peller in Solothurn. Her craft has evolved and demonstrates one of the many original approaches to binding for which she is known.

© 2019 Louise Levergneux. It was is awe-inspiring to see all the equipment in Monique and Don’s studio.

© 2019 Louise Levergneux. Monique’s corner where I spent an afternoon learning the drum leaf binding under Monique’s guidance.

© 2019 Louise Levergneux. Another corner filled with materials, tools and presses.

© 2019 Louise Levergneux. Tools and equipment… for all types of binding.

© 2019 Louise Levergneux. Fascinating tools abound in Monique’s corner representing some of the countries she has visited.

© 2019 Louise Levergneux. A custom red leather box by Monique Lallier. Back in 1972, Monique walked into a bookbinding studio in her native Montréal and fell in love. More than 46 years later, the same love is shown in her own craft of bookbinding.

© 2019 Louise Levergneux. A drum leaf binding by Monique Lallier.

© 2019 Louise Levergneux. Chemins de Traverse, binding by Monique Lallier, written by Luc Bureau and illustrated by Ghislaine Bureau Editions Les Giboulées, Québec, 2017. Full leather binding in grey buffalo with cut out on the front and back covers. Onlays of stone veneer and red leather. Edge to edge doublures with grey buffalo and fly leaves with silver leather.

After extensive training in England, Don Etherington established a four-year program in bookbinding and design at the Southampton College of Art. Don also conducted workshops and seminars for colleges, universities and the Guild of Bookworkers. President of the Etherington Conservation Services in Greensboro, NC, Don additionally holds the position of Fellow in both the American Institute for Conservation and the International Institute for Conservation. Don has re-entered the world of private practice as a design binder and teacher. His knowledge of bookbinding, conservation, restoration and fine binding are unmatched across the world. Don is nationally and internationally recognized for innovative design and implementation of state-of-the-art conservation procedures, including phased preservation programs for libraries and institutions.

© 2019 Louise Levergneux. A close up of Don’s corner.

© 2019 Louise Levergneux. Don was creating a box for “The Pikes Peak Rush by Edwin L Sabin”.

© 2019 Louise Levergneux. Monique Lallier teaching me the drum leaf binding with her sense of creativity and high level of confidence

© 2019 Louise Levergneux. Monique has fingers of dexterity and precision, with demonstrated ease.

© 2019 Louise Levergneux. Monique showing how to glue the fly leaves.

© 2019 Louise Levergneux. Here, Monique is gluing the spine.

© 2019 Louise Levergneux. Measuring the thickness of the spine.

© 2019 Louise Levergneux. It was fantastic to spend time absorbing the vast knowledge Monique holds.

© 2019 Louise Levergneux. The finished binding.

It was an honour to be invited to sign Monique and Don’s beautiful bound guest book before they left on a five-week trip to China. This studio visit will be fondly remembered.

Philadelphia, Pennsylvania

While driving down the East Coast, the plan was naturally to stop over and meet artists’ book makers and binders. For the last few years, I have looked forward to this intended trip.

Finding myself in Philadelphia, Pennsylvania, I promptly seized this unique opportunity to visit Thomas Parker Williams. Every artist’s meet-up is a terrific experience and Thomas' studio visitation did not disappoint. My husband and I were welcomed in Thomas and Mary Agnes’ home and studio with great hospitality. This was invariably a fantastic visit! I immensely enjoyed viewing works that have inspired me online over the years.

© 2019 Louise Levergneux. Mary Agnes Williams and Thomas Parker Williams in their home in Philadelphia, Pennsylvania.

© 2019 Louise Levergneux. Thomas’ studio.

© 2019 Louise Levergneux. Thomas has a wonderful recording studio.

Thomas Parker Williams of Luminice Press has efficiently created almost 100 artists' book editions and unique book works since 1998. He is inspired by different sources including mathematics, music, literature, theology, design, philosophy, astronomy, history, natural sciences, architecture, and Eastern thought.

His working processes include reduction linocut printing, etching, letterpress printing with hand-set metal type and hand-cut and polymer plates. He equally enjoys digital printing, paper cutting, laser cutting, and painting with oil and aqueous media. Music and sound are elements found in many of his pieces usually composed, performed, and recorded by Thomas, himself. In addition to music CDs, some of his publications have companion videos. Thomas has developed a unique structure, appropriately entitled the cascading rotary structure, which can be seen in his book “Revelation.”

© 2019 Louise Levergneux. Revelation by Thomas Parker Williams, edition of 5; seven sided wood case, laser-cut face plate, copper panels with patina and laser transfer design; 10 printed laser-cut (by FreeFall Laser); panels with mechanical parts for actuation.

© 2019 Louise Levergneux. Thomas Parker Williams designed and built a hand press with electronic gauges, also called the Luminice Press.

In 2009 Thomas started collaborating with his wife Mary Agnes Williams, a pinhole photographer. And, in 2013, Thomas and Mary Agnes started Luminice Press, incorporating letterpress printing in artists’ books and broadsides.

© 2019 Louise Levergneux. Corinna’s Going a Maying, edition of 10, poem by British lyric poet Robert Herrick, published in 1648; eighteen pages on Twinrocker hand-made paper; pochoir images; text is hand-set in Park Avenue ATF, letterpress printed; bound with ribbon; silkscreened hand-made paper; concept, design, typesetting, and printing by Mary Agnes Williams; design, illustrations, printing and binding by Thomas Parker Williams.

Pinhole photography is apparently simple and direct, but it can yield complex images. With no lens or viewfinder, the pinhole camera allows me to explore and create mystery and ambiguity — in many of my photographs, the images appear to be emerging from, or about to enter, another time or place — Mary Agnes Williams.

Like Thomas, Mary Agnes has a constant source of creative inspiration and distinct pleasure—the iconic bridge over the Schuylkill River in her local Philadelphia neighborhood of Manayunk. 

Mary Agnes shoots with film, black and white and colour, using her pinhole cameras above: clockwise from top right: a 4 x 5 “Santa Barbara” made by the Lensless Camera Mfg. Company of Santa Barbara; a 35mm converted Mamiya/Sekor camera; a 120 format “Zero 2000” handmade by Zero Image, Hong Kong; a 120 format “Zero 2000 – Zone Plate Version” handmade by Zero Image, Hong Kong; and a 120 format handmade by Thomas Parker Williams.

© 2019 Louise Levergneux. Venice: A Gallery of Pinhole Photographs by Mary Agnes Williams, a 44-page book featuring 45 color and black and white pinhole photographs of Venice, Italy. This signed digital copy 68/75 was gifted to me by Mary Agnes.

© 2019 Louise Levergneux. Paradise Lost, a unique book, accordion bound; original ink drawings on 20 sheets of Twinrocker Da Vinci Heavy Text handmade paper; custom wood container with a copper nameplate; original music composition was composed, performed and recorded by Thomas Parker Williams.

© 2019 Louise Levergneux. Soundings, unique book, 40 original ink and wash drawings on Twinrocker handmade paper; three eccentric volvelles, each with three parts in case with cover (original painting done with dry pigments in oil medium on aluminum panel); the music is a composition in three movements, composed, performed and recorded by Thomas Parker Williams.

© 2019 Louise Levergneux. Vessel of Secrets, edition of 2; structure: No. 1: binding board and Tyvek; No. 2 aluminum and Tyvek; exterior panels: embossed copper sheet with patina.

© 2019 Louise Levergneux. Vessel of Secrets, edition of 2; twelve paintings in alkyd medium and dry pigments on paper structures outlined with Venetian marbled paper; digital printed text.

© 2019 Louise Levergneux. Vessel of Secrets by Thomas Parker Williams, unique book; twelve original drawings in acrylic ink on handmade paper; binding is copper sheet with patina and letterpress image over binders board; printed and hand-set text by Mary Agnes on Not Quite White paper by Twinrocker and Mowhawk Via for interleaving and endpapers.

© 2019 Louise Levergneux. Voyage by Thomas Parker Williams, edition of 3, No. 1, 2 & 3 - original scroll water colour and ink paintings on tyvek; scroll dimensions 5" x 120" enclosed in a wood container with brass handwheel, panel and mechanical parts.

All my studio calls have presented me with very generous artists who love sharing their work space, processes, and their insightful artists’ books or bindings. It’s fantastic to observe their work in person and take in these creations in an intimate setting—their studio.

© 2019 Louise Levergneux.

I left with my hands filled with gifts, a digital copy of Venice, A Gallery of Pinhole Photographs (previous photo above) by Mary Agnes Williams; 12 Artist Books, Vista da Santa Maria della Salute, Vessel of Secrets Universal Principles Twelve Drawings, and Icarus by Thomas Parker Williams—did I mention the generosity of these artists?

Laser Cutting in Massachusetts

As mentioned in a previous post, I collaborated with FreeFall Laser located in the Berkshires of Western Massachusetts for the cover page of Surveillance—my tunnel book project. 

Sarah Pike of FreeFall Laser was great to work with and efficient as she typically focuses on each specific customer with a personalized service. 

Our initial communication started with a brief consultation by email describing the project from which Sarah asked for samples of the page with printed images on the exact substrate chosen for material testing.

© 2019 Louise Levergneux. Inside my artists’ book Surveillance—a mock-up.

My images for this project were reproduced on Moab Entrada Rag Bright paper. This is a double-sided archival acid and lignin-free, 100% cotton fine art paper. My question was “would this fibrous paper be a problem for the CO2 laser cutter”?

Double sided images need to be precisely registered for the desired effect to be successful. After figuring out the perfect registration, I sent a package with ten double-sided printed copies, hoping no difficulties would arise during the laser-cutting process.

© 2019 Louise Levergneux. Consulting with Sarah Pike for the cover of Surveillance FreeFall Laser in Massachusetts.

When the work for Surveillance was completed, I promptly decided that picking up the work directly from the studio would naturally give me the unique chance to socially meet with Sarah in person. The plan for the first phase of my journey was to visit FreeFall Laser after I crossed back into the US following my two month stay in Canada. 

© 2019 Louise Levergneux. Sarah Pike showing me around FreeFall Laser.

Sarah’s approach combines artistic experimentation with technological experience to create exceptional work for fine artists, designers, conservators, bookbinders, artisans, woodworkers, and museums. It was a tremendous experience to see Sarah’s studio and her state-of-the-art CO2 laser cutter.

© 2019 Louise Levergneux. Sarah’s studio and her state-of-the-art CO2 laser cutter.

I was so excited when I picked up my precision cut covers that we discussed the distinct possibility of laser-cutting the binding for my creative project. I could not fathom cutting the exact holes for the electronics and faux camera another 8 times through binders board. What a life saver!

Visiting FreeFall Laser provided me the opportunity to observe some of Sarah’s own art work—what a treat! A lot of her art work is laser cut marquetry in wood veneer. Sarah also designed a beautiful sample book to demonstrate her CO2 laser cutter capabilities.

© 2019 Louise Levergneux. Sarah’s sample book demonstrating the capabilities of her state-of-the-art CO2 laser cutter.

© 2019 Louise Levergneux. Sarah’s art work using laser cut marquetry in wood veneer.

On my initial contact with Sarah, with due diligence, I wanted to view some samples of artists’ books or bindings created with the help of FreeFall Laser. 

© 2019 Sarah Pike. Laser cutting of the The Radiant Republic by Sarah Bryant at FreeFall Laser.

© 2019 Sarah Pike. Laser cutting of the The Radiant Republic by Sarah Bryant at FreeFall Laser.

© 2019 Sarah Bryant. The Radiant Republic by Sarah Bryant, built entirely out of language found in Plato’s Republic and Le Corbusier’s The Radiant City.

© 2019 Louise Levergneux. Reason Belief Truth by Thomas Parker Williams, binding, French split goat skin, laser-cut binder's boards; edition of 12.

© 2019 Louise Levergneux. Reason Belief Truth by Thomas Parker Williams; laser cut painted with ink and watercolor; letterpress printing (hand-set type, polymer plates) by Mary Agnes Williams; marbled paper.

Wynn Bullock images © 2019 Bullock Family Photography LLC. All rights reserved. Wynn Bullock: Relativity: Wynn Bullock and Albert Einstein, edition of 15; published by 21st Editions; binding by Peter Geraty and Julia Rabin with production assistance by Tim Faner.

Wynn Bullock images © 2019 Bullock Family Photography LLC. All rights reserved. Wynn Bullock: Relativity, 9 bound and 9 loose, platinum estate prints, 1 signed vintage silver print.

I was content to get back to work, after my informative conversation with Sarah. Next phase—prepare the boards by covering them with Canapetta bookcloth, measure all the positions of the holes... so Sarah could make my vision a reality...

Montréal, Québec

While in Canada for the month of August, I planned a trip to the Eastern Townships in Québec. This was naturally a delightful week of visiting longtime friends and talented artists. 

© 2019 Louise Levergneux. Conteurs d’eau exhibition by François Chamberland at Galerie Art Plus in Sutton, Québec.

I could not pass through Montréal, on my way back to Ottawa, without a stop to visit Guylaine Couture and an introduction to a fantastic book binder, Cécile Côté. 

What a lovely day of touring Cécile’s independent studio. Cécile recently moved her studio in her home on the Island of Montréal. Her new studio space consist of three substantial rooms full of equipment and tools for producing her exquisite work. The congenial atmosphere is one of a dedicated artist to her outstanding craftsmanship.

© 2019 Louise Levergneux. Details of Cécile Côté’s studio in Montréal.

As I entered her home, the aroma of freshly baked quiche was in the air. Guylaine Couture dropped by to spend time sharing ideas and recent work with me and Cécile. The three of us conversed about artists’ books and binding as we enjoyed « nous avons dégusté » a marvelous quiche, corn on the cob and a salad prepared by Cécile.

Guylaine Couture has been producing artist's book for several years. This artistic form allows her to create works in which the content and structure merge to make the message more powerful.

After years of creating drawings, gouache and collages, a short binding workshop positioned her on the trail of artist's book. The latter has become her main discipline although Guylaine continues to generate works on paper.

Guylaine is obsessed with reusing printed documents. Her work attempts to divert this abundant material too easily discarded. The artist reflects at length on the visitor's reaction to the book and develops her work so that emotions are present at first sight. For Guylaine, the "reader" must live an experience.

© 2019 Louise Levergneux. Guylaine Couture’s new artists’ books in the form of Zines.

© 2019 Louise Levergneux. Guylaine Couture in Cécile’s Studio.

Cécile Côté works diligently under the imprint Relieur at Atelier de reliure Cécile Côté. As a binder Cécile includes: binding of art, accordion albums, notepads, greeting cards, and ex-libris in her production.

© 2019 Louise Levergneux. Cécile demonstrates her taste for colour and design in the staircase leading to the garage, another filled studio space.

© 2019 Louise Levergneux. Cécile’s studio situated in the garage of her home. This space is for types and heavy equipment.

It's Cécile’s passion to design and manufacture unique art bindings whose execution follows the language of the words they carry. In love with typography, the artist allows words to guide her choice of materials, styles, textures, and sensations to be created. "Meaning and matter, tradition and modernity, merge into an original expression where the sight, the touch, the sense of smell and the meaning of words converge."

On her blog, Cécile shows us her craft as she gives life to a damaged bible.

© 2010 Cécile Côté. One of the great pleasures of book repair is that there is a "before" and an "after". And these phases are even more remarkable when the book is significantly damaged. / « Un des grands plaisirs de la réparation de livres, c'est qu'il y a un "avant" et il y a un "après." Et c'est d'autant plus remarquable quand le livre est très abimé. »

© 2019 Louise Levergneux. Cécile reading the poem from her book T for Trouchie , full goatskin leather binding with doublures of the same leather and suede flyleaves. Decorated inlay. Original text is letterpress printed from polymer plates by binder. / T for Trouchie, reliure plein chevre avec garde bord à bord du même cuir et gardes volantes en daim. Textes originaux imprimés sur papier BFK Rives et papier japon Iwami sur une presse manuelle avec plaques en polymère.

© 2011 Cécile Côté. T for Trouchie by Cécile Côté.

After a pleasant inspiring afternoon, I was invited to rejoin them next year for a week filled with ideas and tips on artists’ books and binding. What a treat, looking forward to absorb knowledge from these wonderful women artists.

Ottawa, Ontario

My up-coming publication Surveillance underwent many design sessions before its creation. The theme being on surveillance, I wanted to produce an artists’ book that would involve the reader in an alternative way. 

First, the thought process of finding the correct binding to properly present my artists’ book. After an active year of collecting images that would bring home the fundamental idea behind the project, I was ready for its conception. I chose, collated, sized and ultimately transferred the images into a layout in Photoshop. This step is always painstaking, since the choices are endless but results matter to bring to fruition the imagined piece. Once the book has been thought out, the essential work of deciding on size of the book, its presentation, the layout, placement... Then the printing phase follows. 

© 2019 Louise Levergneux. Printed pages for Surveillance.

© 2019 Louise Levergneux. Folding the accordion pages of Surveillance.

A double sided printing job is never easy, registration is a whole other world, as you know. One has to remember that paper sizes are never perfect. I have typically found that 8.5” means 8 3/8”. This naturally means that all images and text on the verso need to be moved to the right at least 1/8” or more depending on your printer. It takes a while, but once the images and text are ideally placed on the verso, the work is done! But don’t forget to check your registration marks for every sheet or page to be printed so not to waste ink and paper. 

© 2019 Louise Levergneux. Cutting boards for the binding of Surveillance.

Once more, my creative thinking wants new experiences and working with a new binding. After deliberation my choice was the tunnel book binding. But, how will it work with the content and the electronics. How to bind with electronics? ...

© 2019 Louise Levergneux. Figuring out the binding cut-outs to fit the electronics.

When in Austin, last Fall, I met with Natalie Freed and presented my idea and needs for Surveillance. Natalie was excited and open to all the requisites for the book, keeping in mind the possibilities and limitations of the materials involved. This was a great experience and Natalie was fantastic and knowledgable.

© 2019 Louise Levergneux. Natalie Freed’s sample of the possibilities of electronics in artists’ books.

© 2019 Louise Levergneux. Solving other dilemmas to fit size of the fake security camera as part of the binding.

© 2019 Louise Levergneux. Natalie Freed working on the electronics.

© 2019 Louise Levergneux. Natalie Freed’s finished work for Surveillance.

Natalie Freed works at the intersection of education, hands-on making and technology. Natalie was incredibly excited about coming up with ways to teach challenging STEM concepts through expressive crafts, especially textiles and the book arts. Natalie graduated with an M.S. from the MIT Media Lab in 2012, received her B.S. and M.S. in Computer Science with a concentration in Arts, Media and Engineering from Arizona State University, in 2009/2010. Freed moved to San Francisco in 2012 for a fellowship in the New Media Studio at the San Francisco Exploratorium. Then joined Lick-Wilmerding High School’s Technical Arts program, where she started the new Computing track and taught computer science and digital fabrication.

At this pivotal point after months of travel and other activities between our meetings, Natalie and I dovetailed our separate deliverables and the book is ready to be assembled. Oh! Wait, it’s a tunnel book binding and I require seeing through the cover to the inside pages!

© 2019 Louise Levergneux. Mock-up of cover cutting for Surveillance.

By pushing the boundaries of my work and creating a tunnel book, I had to meticulously cut all the little windows in the cover page. Another process that would take an eternity. Unable to carefully cut to my OCD standards, I researched for a creative company or artist that could precisely cut the front page, which was my next step, since smaller laser cutters would tear into the fibrous paper. 

© 2019 Louise Levergneux. Third mock-up of the cover and inside pages for Surveillance.

I fortunately found Sarah Pike from FreeFall Laser, who works remotely with clients across the country on custom laser-cutting projects. Her approach combines artistic experimentation with technological experience to conceive exceptional work and always looks forward to becoming a part of the creative team. Collaborating with Sarah was another outstanding experience. Sarah uses a state-of-the-art CO2 laser cutter to precision cut and engrave wood, paper, acrylic, fabric, and much more, up to 1/4 inch thick, to convey one's unique vision into a reality. Sarah, used custom settings that optimized my selected substrate and helped develop the finished look for Surveillance.

© 2019 Louise Levergneux. Sarah Pike’s laser cutting result after trial run.

After 2 weeks, the job was done, and it’s waiting for pickup. Traveling in Canada at the moment and shipping the pages back to me in Ottawa, Ontario, would be astronomical in cost. Therefore, a visit to Berkshires in Massachusetts in the Fall is in the works.

FreeFall Laser was born when Sarah Pike left the safety and security of a successful academic career and jumped off the proverbial cliff to start her own business. Sarah is a practicing artist with years of experience in bridging technology and the artistry of the hand.

I’m looking forward to finishing the first copy of Surveillance in its entirety and presenting it to Library Collections.

If you have projects you are having difficulties encompassing electronics and/or precision cutting situations, I suggest working with both Natalie Freed and Sarah Pike. For me it was a genuine pleasure!

© 2019 Dale Rogers. The hatching of small Hummingbirds in my friend Dale’s backyard, Avimor, Idaho.