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.

Pennsylvania

My plans for the end of September were to present my artists’ books to libraries in Pennsylvania. 

The first visit was to the Special Collections Research Center of the Charles Library of Temple University in Philadelphia. The library had completely been reconstructed by the AD100 architectural firm Snøhetta. This space echoes Snøhetta’s completed work at the Calgary Library in Alberta, Canada. The Charles Library is filled with a variety of specialized and innovative spaces providing a gateway to Temple’s campus.

© 2019 Michael Grimm. Outside the Charles Library, Temple University, Philadelphia, Pennsylvania.

Standing in front of the Charles Library, I was amazed at the soaring cedar-clad roof that continues throughout the inner atriums. The unique architecture made me pause at the information desk. I was gobsmacked at the building’s unique structure and the number of students engaged in flexible multipurpose rooms, reading areas, and study spaces giving them access to knowledge and technology.

© 2019 Michael Grimm. Inside view of the Charles Library, Temple University.

I was escorted through the « pièce de résistance » — the grand entrance, a three-story, domed atrium to the Special Collection Research Center on the first floor — an inspirational environment. Special Collection Research Center collects, preserves, and makes accessible primary resources and rare or unique materials, to stimulate, enrich, and support research, teaching, learning, and administration at Temple University.

Before entering enthusiastically into my appointment with Margery N. Sly, the librarian in charge of acquiring artists’ books, I spotted an exhibition filled with book arts reflecting the theme of architecture, celebrating the current facilities. I viewed books by Julie Chen, Brian Dettmer, Colette Fu, Malini Gupta, Guy Himber, Emily Martin, Carol Schwartzott, Jana Sim, and Thomas Parker Williams. 

© 2019 Louise Levergneux. Exhibition at the Special Collection Research Center of the Charles Library, Temple University.

© 2019 Louise Levergneux. Ashima by Colette Fu part of the exhibition at the Special Collection Research Center.

© 2019 Louise Levergneux. left: The Gist of Romeo and Julier by Emily Martin, right: A Brief History of the Fan by Carol Schwartzott at the Special Collection Research Center.

© 2019 Louise Levergneux. Language Möbius by Jana Sim at the Special Collection Research Center.

© 2019 Louise Levergneux. Spiral Dome Sculpture in Paper and Steel by Thomas Parker Williams at the Special Collection Research Center.

© 2019 Louise Levergneux. [Material in the tissue spaces] by Brian Dettmer at the Special Collection Research Center.

© 2019 Louise Levergneux. Clock Work Fish by Guy Himber part of the exhibition at the Special Collection Research Center.

© 2019 Louise Levergneux. The Fortune Teller by Malini Gupta at the Special Collection Research Center.

© 2019 Louise Levergneux. Chrysalis by Julie Chen at the Special Collection Research Center.

My experience went beyond my interaction and presentation to Margery; I felt enveloped by art. Margery was a very approachable librarian who expressed considerable interest in artists’ books. I’m thrilled to announce that Finding Home, A Day Filled with Onomatopoeias, and Earth.15 (Outside the Studio) are now part of Special Collections Research Center of the Charles Library of Temple University.

© 2016 Louise Levergneux. Finding Home, a visual narrative on being unsettled in an environment— to find a sense of place, a sense of belonging.

© 2013 Louise Levergneux. A Day Filled with Onomatopoeias (book and audio), is an interactive book based on the word onomatopoeia and it’s definition.

© 2012 Louise Levergneux. Earth.15 part of the series Outside the Studio, a photographic documentation and a study in movement and time featuring the four basic elements published in a weekly edition.

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My subsequent visit was the McCabe Library of Swarthmore College in Swarthmore. Amy McColl, Head of Collections provided explicit instructions to the library making it a pleasant introduction to the campus. Most librarians I have encountered provide a visual characterization of the library; Amy’s description was a fun and surprising one “the building looks sort of like a fortress” she naturally added in her email. At my arrival I was delightfully surprised by the architecture, it does look like a Medieval Castle outside and inside. With great astonishment the building is referred to as “The Cage,” McCabe Library inspires a wide range of feelings among the student body, many of which are far from positive. Though, I enjoyed the cozy feeling of the atrium, its stone walls and dim lighting seemed to set a claustrophobic mood, but the atmosphere does not transfer to the librarians.

© 2019 Louise Levergneux. McCabe Library, Swarthmore College in Swarthmore, Pennsylvania.

© 2019 Louise Levergneux. The main lobby of the McCabe Library, Swarthmore College.

Swarthmore College is home to a vibrant and continually growing collection of contemporary artists' books. The Book Arts and Private Press Collection is committed to the acquisition of fine printing and artists' books and endeavours to represent all aspects of the physical book including bookbinding, typography, letterpress and offset printing, hand paper-making, illustration, and book design.

After a very up-beat dialogue with both Amy and Susan Dreher, my artists’ books Traverse, Parade, and City Shields (Pennsylvania volume) have fortunately found a new home in the Special Collection of the Rare Book Room in McCabe Library. These join four flip books: Air.10, Earth 16, Fire.3, H2O.11 (Outside the Studio) already collected through Vamp and Tramp in 2018.

© 2015 Louise Levergneux. Traverse, a documentation on the artist’s annual trip across the country to her home town of Gatineau, Québec, Canada.

© 2014 Louise Levergneux. Parade, presents the strange and intriguing scene of empty chairs waiting for the owner that will be curb side when the parade begins.

© 2008 Louise Levergneux. City Shields, Pennsylvania Vol US6: No 1. A photographic documentation using manhole covers to depict exploration of geographical locations along the artist's life journey.

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This brings me to a sad moment for the community, as I convey my sincere condolences for the profound loss of Bill Stewart of Vamp & Tramp, Booksellers at the beginning of November. Bill, with his wife Vicky, were very instrumental in introducing my artists’ books to Special Collections of university libraries in the United States. I will always be appreciative for his demanding work, dedication, and professionalism. Bill will be sorely missed.

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...

Williamstown, Massachusetts

After two months holiday back home in Ottawa/Gatineau, Canada, we got back on the road and entered the US on September 25th. Knowing the route we would follow, I communicated with libraries of universities and colleges for an artist visit to Special Collections and present my artists’ books. 

My first stop was at The Sterling and Francine Clark Art Institute commonly referred to as The Clark in Williamstown, Massachusetts. The Clark is one of a small number of institutions that is both an art museum and a center for research, critical discussion, and higher education in the visual arts. The Artists' Books collection includes over 4,400 titles that represent a wide range of creative activity dating from the 1960s to the present.

© 2019 Louise Levergneux. Sterling and Francine Clark Art Institute in Williamstown, MA.

As I walked in The Clark, I noticed an installation of books. Allan Sekula, a thoughtful and thought-provoking artist, photographer, filmmaker, writer, and teacher amassed over decades a library that informed his prolific body of work and reflected his wide-ranging personal and professional interests. In 2015, the Clark library acquired the 15,000-volume library through the generous gift of the artist’s widow, art historian and professor Sally Stein. The collection, as shelved in the Manton Research Center Reading Room, is both an archive that maintains Sekula’s organization of the material in his personal and work spaces and a visually stunning art installation that allows varying levels of interpretation of format and content.

© 2019 Louise Levergneux. The Allan Sekula Library by Allan Sekula is an archival and research collection of volumes, which is held in the Library of the Clark Art Institute in Williamstown, MA.

© 2019 Louise Levergneux. The Allan Sekula Library by Allan Sekula.

I met Susan Roeper, Director of the Library, in the lobby of this wonderful mid-century designed building. I presented to the library my artists’ books  and with great pleasure, my book Ambivalence is joining City Shields (acquired in 2002) and Faux-pas (acquired in 2011) as part of the artists’ book collection.

I got the chance to see a remarkable exhibition entitled Ida O’Keeffe: Escaping Georgia’s Shadow while visiting The Clark. This exhibition organized by the Dallas Museum of Art and curated by Sue Canterbury, The Pauline Gill Sullivan Associate Curator of American Art, investigates the little-known work of Ida Ten Eyck O’Keeffe (1889-1961).

© 2019 Louise Levergneux. Ida O’Keeffe: Escaping Georgia’s Shadow at The Clark.

© 2019 Louise Levergneux. Photo of Ida as part of the Ida O’Keeffe: Escaping Georgia’s Shadow Exhibition.

© 2019 Louise Levergneux. Still life with Fruit, oil on canvas 1926 by Ida Ten Eyck O’Keeffe.

The angst of unfulfilled promise infuses the exhibition while the thirty-five paintings, prints, and photographs give insight into Ida O’Keeffe’s life and reveal the artist’s mastery of color and composition. Despite numerous challenges, the talented modernist explored realism and abstraction from the 1920s through the 1940s. As the sister of the renowned artist Georgia O’Keeffe (1887–1986), Ida dealt with sibling rivalry that resulted in a family rift and the effect it had on her life and professional aspirations.

© 2019 Louise Levergneux. Ozark Lime Kiln, 1938, oil on canvas by Ida Ten Eyck O’Keeffe.

© 2019 Louise Levergneux. Star Gazing in Texas 1938, oil on canvas by Ida Ten Eyck O’Keeffe.

© 2019 Louise Levergneux. My favourite painting by da Ten Eyck O’Keeffe Variation on a Lighthouse Theme VII, 1931-32, oil on canvas.

After viewing the Ida O’Keeffe exhibition, I meandered outside to get a sense of the buildings and landscape of The Clark. The white marble Museum Building opened on May 17, 1955, after a three-year construction period.

© 2019 Louise Levergneux. The Museum Building re-conceived by Selldorf Architects in 2014; executive architect Gensler oversaw implementation of the renovations. Improvements included the addition of more than 2,200 square feet of new gallery space; a thoughtful renovation of the existing galleries; and installation of new lighting and environmental controls

The Clark's 140-acre campus encompasses a landscape of expansive lawns, meadows, and walking trails. The sweeping redesign of the Clark’s 140-acre grounds by the landscape architecture firm Reed Hilderbrand included creation of a three-tiered reflecting pool; upgrades to and expansion of walking trails; green roof systems; planting of some 1,000 new trees; and creation of a new entry drive and landscaped parking areas with water-permeable surfaces that feed into a rainwater and snowmelt collection system.

© 2019 Louise Levergneux. The landscape at The Clark.

This was an incredible day and a feast for the eyes and mind. My day started by a visit to FreeFall Laser cutting service in North Adams, Massachusetts which I will talk about in my next blog post.

On my way to Philadelphia, PA to see more artists and collections.

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.

Salt Lake City, Utah

Sorry for the delay on this post, I was literally in the woods of The Uinta Mountains in Utah, for a week with no connection to the outside world. Slowing down and resting, was good!

© 2019 Louise Levergneux. Quakin Aspens in the Uinta Mountains.

During my stay in Salt Lake City, I reached out to local artists working in book arts for a studio visit.

Victoria Birth, Book Repair Supervisor at the Material Acquisitions Department of Brigham Young University, was keenly interested in meeting. Instead of a rendez-vous at her private studio, Victoria invited me to visit the Harold B. Lee Library for a tour and get together with some colleagues.

© 2019 Louise Levergneux. The Harold B. Lee Library at Brigham Young University.

© 2019 Louise Levergneux. Inside the Harold B. Lee Library.

© 2019 Louise Levergneux. Meeting with (left) Christina Thomas Maloy, Conservator, of Rare Books and Manuscripts, (middle) Chris McAfee, Head Conservator of Rare Books and Manuscripts, (right) Victoria Birth, Binding Supervisor at the Material Acquisitions Department.

The Harold B. Lee Library is a research library containing slightly more than three million volumes located in the arid Intermountain West. The library consists of a main library, as well as separate business, museum and learning resource center libraries. All repair work is properly handled by the Harold B. Lee Library’s Book Repair Unit located in the main library. The library additionally has a Conservation Lab responsible for the treatment of its special collections material. While separated physically within the main library the Lab collaborates with the Book Repair Unit as needed to help establish and improve treatment standards, order specific supplies, and provide advanced training.

© 2019 Louise Levergneux. The Harold B. Lee Library’s Book Repair Unit.

© 2019 Louise Levergneux. Victoria Birth, Binding Supervisor in front of her desk at the Harold B. Lee Library’s Book Repair Unit.

The Book Repair Unit where some of the Harold B. Lee Library’s 6,000,000 volume collection gets repaired, is overseen by Victoria Birth and faithfully executed by competent, part-time staff of students.

Victoria equally creates book arts: Evenings Wasted and Pigeons Poisoned was produced in 2018 to meet the thesis requirements for her MFA Book Arts degree at The University of Alabama. 

Evenings Wasted and Pigeons Poisoned is a tribute to the work of Tom Lehrer, a musical satirist whose work came to light in the 1950s. This book showcases ten of his songs, paired with illustrations representing the juxtaposition of lovely music and disturbing subject matter. The introduction is a comprehensive account of Lehrer’s life up to and during his performance career giving context to his calling. This book is intended to show the viewer how multi-faceted Lehrer and his work is while bringing a guilty and uncomfortable smile to your face.

© 2018 Victoria Birth. Evenings Wasted and Pigeons Poisoned cover and slipcase.

© 2018 Victoria Birth. Detail of Evenings Wasted and Pigeons Poisoned.

© 2018 Victoria Birth. Detail of Evenings Wasted and Pigeons Poisoned.© 2018 Victoria Birth. Detail of Evenings Wasted and Pigeons Poisoned.

© 2018 Victoria Birth. Detail of Evenings Wasted and Pigeons Poisoned.

© 2018 Victoria Birth. Detail of Evenings Wasted and Pigeons Poisoned.

While at the Harold B. Lee Library, Victoria and I met with Christopher McAfee, the library's Head Conservator of Rare Books and Manuscripts.

© 2019 Louise Levergneux. Chris at his work station in the conservation lab of the Harold B. Lee Library.

© 2019 Louise Levergneux. Staff hard at work at the conservation lab at the Harold B. Lee Library.

© 2019 Louise Levergneux. Work space and paper storage at the conservation lab.

I met Chris McAfee, in 2010, then an instructor in bookbinding and artists books of the Marriott Library Books Arts Program at the University of Utah.

Chris received a BFA in printmaking in 1993 from Brigham Young University where he began learning to bind books. Subsequently in 1995, Chris was awarded an MFA in bookbinding from the University of Alabama, where he began learning book conservation. He has spent the last 20 years conserving and preserving books, documents, photographs, and other artifacts.

As a bookbinder, book artist, and book and paper conservator, Chris is knowledgeable and experienced with archival materials, examinations, and treatments. 

© 2018 Christopher McAfee. Frankenstein

© 2018 Christopher McAfee. Frankenstein, seemed to Chris like an obvious choice for his following book after City of Saints.

City of Saints is the first Mormon steampunk novel, an action-packed story with clockwork mechanisms, steam-coaches, and a futuristic vision of the 1859 west. Gears, pipes, and moving parts combine to share a glimpse into the story’s inner workings.

I am intrigued that the formation of such a work is not executed by the book artist alone, but by the combination of writer, artist, and reader. The writer gathers a narrative and the artist forms a design, but the book is not complete until the reader forms a vision as they react to the design and recite the story.

© 2018 Christopher McAfee. City of Saints, click here to view the mechanism at work.

© 2018 Christopher McAfee. City of Saints.

© 2012 Christopher McAfee. I was delighted to be introduced to Fantasy and Nonsense or “Tim” by Chris. A wonderful book presentation.

Christina Thomas Maloy, Conservator, of Rare Books and Manuscripts was also present and talked about the plans for the library and presented some of her most recent work. While conservation dominates Christina’s work, she finds time in her busy life to let her bookbinding imagination run wild.

© 2018 Christina Thomas Maloy. The Country Diary of An Edwardian Lady by Edith Holden, a facsimile publication (1977) of her 1906 naturalist’s diary.

Christina was first trained as a book repair technician while a Brigham Young University student from 2000–2004. She later completed the two-year bookbinding program at the North Bennet Street School in Boston from 2006-2008. She joined the Harold B. Lee Library staff in 2009 as the Book Repair Assistant, and in July 2013 was welcomed as a full time book conservator.

I enjoyed observing the consistencies and changes in the Conservation Lab since my last visit at the Harold B. Lee Library back in 2015. I was also fascinated by the intense commitment to the field and the creative elements of these conservator's work.

© 2019 Louise Levergneux. Kanarraville’s countryside in Utah.

During the month of July, I will be passing through Wyoming, Nebraska, Iowa, Minnesota, Wisconsin, and Michigan before crossing the border into Canada.