I have had such a wonderful time working on this book. The project uses materials that are visually and texturally so rich they were a joy to work with.
There are 18 copies in the edition, plus one A/P. It measures 5 x 3 x 2 3/4 inches (closed) and weighs 24 ounces. It is priced at $540.
It takes the text and imagery from my 2009 artists’ book of the same title. I wrote the original text; the original illustrations were oil-paintings, re-created as line illustrations for this project.
The book pages are transparent, and thus allow sections of several pages to be viewed at once. The pages are rigid and thick, designed to display well both flat or upright. When displayed upright, lighting can be adjusted for increased interplay between the line illustrations and the shadows they cast.
text selection from the book:
there is one who touches me so it burns
my hands open
at their feeling of
the length of me
Peltogyne (Purpleheart) is a tree native to Central and South America, growing in the tropical rainforests, This beautiful wood is a light brown when freshly cut that then shifts towards a deep reddish-violet as it is exposed more to UV rays. As a hardwood, it sands down to a smooth hard surface and once waxed feels wonderful to touch. Purpleheart is an exotic lumber, this batch acquired from a US company that insists its suppliers follow Responsible Forestry Practices.
Copper is one of my favorite metals and this book uses both copper leaf and thin copper tape of the sort used in stained glass. When the book is closed, it is possible to see down through several layers. A reality of working with transparent materials and text is that portions of the text will inevitably be reversed. This I find distracting so my solution for this book was to block the bottom inch or so of each page with an opaque (in this case copper leaf) material. I also needed something to help hold the pages together. I had first tried drilling holes in all 4 corners of each page and using copper wire as rivets but the task was fussy, time consuming with the end result visually dissatisfying.
The solution I settled on was creating shapes of copper leaf with PMA mounted on each side. The PMA faces the acrylic pages and holds them in place until the copper tape can be wrapped around the outer perimeter of each page.
How we did it:
The rigid pages that make up the text block are constructed of several layers, a sandwich (from the bottom up) of etched cast acrylic, copper leaf with PMA on both sides facing outward and a second piece of etched acrylic. This creates pages that are 3/16 inch thick, their edges are sealed with copper tape.
The covers were planed to 3/8 inch thick, the cover image laser etched in, the title area chiseled out, then sanded and waxed.
The recessed title label is laser printed copper leaf mounted on museum board. The book is coptic sewn across the spine with dyed and waxed 4 ply linen thread, using yet another variation from Keith Smith’s well worn Sewing Single Sheets (Non-Adhesive Binding Volume IV).
My thanks go to Shannon Perry, who created the illustrator files from a series of oil paintings I produced in 2007 and my studio assistants Stefanie Cornish and Jonathan Wiley. Without their help this project might still be in the idea stage
Copies of this book are available for purchase from Abecedarian Gallery.