Here is an image of the invitation designed by Brian Rees.
Join us if you can.
Here is an image of the invitation designed by Brian Rees.
Join us if you can.
Denim, paper, waxed linen, stainless steel, collage, and acrylic
This is a basic Coptic bound book but I made a soft cover using some old denim. I was going for a lighter feel overall.
The little silver thing at the bottom of the image is a heart charm and it is attached to a waxed linen cord to serve as a bookmark.
Wood, paper, kitchen twine, collage, and acrylic
This book is an accordion fold. I placed an envelope on every other page. The idea is that you can collect things, scraps of paper, buttons, clues, etc… then on the opposite page you can write about what’s in the envelope.
My goal was to come up with a form that echoed the purpose of the book.
Here's the cover.
Here's an image of one of the pages.
Wood, paper, button, waxed linen, collage, and acrylic
Here is the second in the map series. It is a lighter approach to the subject.
The clasp for this book uses two cords from the binding and an old button. You can see the two clasp cords coming from the back of the book. The cords go on opposite sides of the book. One has the button attached to it. The other cord can be wrapped around the button to secure the book.
Here's a picture of the cover.
Here's a closeup on the clasp.
wood, paper, waxed linen, collage, and acrylic
This journal is the first in a series of books that ponder the question “Where am I going?” I use maps as a metaphor for broader more metaphysical questions.
I've been making these clasps based on a Japanese technique. In most cases I use one of the cords from the binding so the clasp is structurally integral to the book, not just an attached piece.
Cover
View image
Clasp Detail
got her jaws around the Mendelssohn book. Below are photo's of the remains.
Emily and I worked on this little book together. I chose Mendelssohn for the cover because I wanted a historical image that had a musical connection. Also, Mendelssohn’s music isn’t raucous or rebellious and I wanted the book to be a safe little treasure.
Both of these books were experiments in Japanese style book binding.
I enjoyed the simplicity of the binding and the Japanese influence led to a very simple composition for each cover. They are essentially a single patch of color on a monochromatic ground. There’s always more detail to be seen but that simplicity is the foundation of the design.
Book 1
Book 2
This book is rated for ages 9-12 but it's an enjoyable read for anyone who likes a good story.
Jacques' plots are very effective. Each action is motivated so he doesn't need to resort to deus ex machina.
There is a strong spiritual undercurrent to the book and Jacques heroes don't pull punches. Despite a strong moral tone the book is far from dull or preachy. It's a rollercoaster adventure packed with perilous hares and bickering shews.
One warning though, Jacques spends a lot of words describing food. This doesn't make the read slow but it may make the reader hungry so I wouldn't recommend this book for folks who are on a strict diet.
]]>I made this book for my wife. She is a professional harpist so I wanted to create a playful image reminiscent of music in general and harps in particular.
The cover of this blank book s a subtle exercise of tone and finish. As with much that lies on the art/craft border it’s hard to get a real sense of the pleasure of a piece like this without holing it and feeling the weight and texture of it. Still the two details give a little sense of the direction of the book.
Not a whole lot to explain. I made this book to use for sketching ideas and tracking progress. The numbers are the first 10000 decimal places after pi (or maybe only the first 7500). They were printed using a font generated from my handwriting. The palate swatches were from a bad print of something for a costume design project I’m working on. The head is intended to make people think of a Mozart-like musician and there’s a little cut out from some catalog that continues the musical theme.
The colors and images were meant to be compelling but not necessarily comfortable. That’s what the drawing process is like for me.
The details showcase the numbers and the waxed linen that holds the signatures in place.
As a bonus, here’s an image and detail of the sketch book it replaces.
Yesterdays wine is an edgy work that examines the influence that comic books have had on my art work. When I was first introduced to Comic books they were a kind of rubiyat for me – a joyful expression of the relationship between text and image.
I’m not as optimistic about the potential of comic books as I used to be and that comes through in the work. There’s also a little cautionary theme about the attractiveness of violence in this work.
