The Wooden Book from wemakebooks.co.uk check out their gallery - very mmmm
http://edicioneslabahia.com/pdf/que-es-un-libro-de-artista.pdf
Per fare un libro ci vuole "un insieme di fogli di carta (o altro materiale) della stessa dimensione, cuciti e forniti di copertina, che contengono un testo manoscritto o stampato [...] e rilegato. (da Dir, dizionario italiano ragionato). Un libro può essere fatto solo con le pagine di carta? Le pagine devono sempre avere lo stesso formato? Normalmente quando si pensa ad un libro lo si immagina con dei testi o magari con testi e immagini abbinate. Un libro può non avere entrambe le cose? In quanti modi si può rilegare un libro? Bruno Munari tutte queste cose ce le insegna attraverso i suoi libri per bambini. Nel 1945 Munari si avvicina al mondo del libro per l'infanzia grazie a suo figlio Alberto allora cinquenne. Il mercato librario non offriva nulla di interessante così progetta una serie di libri per bambini innovativi e moderni. Nei libri troviamo dei buchi nei quali i bambini possono guardare attraverso, ci sono finestre pop-up da aprire dove all'interno se ne trovano delle altre... È una collana di libri nei quali i bambini sono protagonisti attivi davanti a quel libro fonte di conoscenza e grande comunicatore visivo. A partire da quel momento l'idea "classica" del libro cambia e l'interesse per il libro come oggetto assume un valore importante, rivoluzionario. "Normalmente quando si pensa ai libri si pensa a dei testi, di vario genere: letterario, filosofico, storico, saggistico ecc., da stampare sulle pagine. Poco interesse viene portato alla carta e alla rilegatura del libro e al colore dell'inchiostro, tutti quegli elementi con i quali si realizza il libro come oggetto. Poco interesse viene dedicato ai caratteri da stampa e ancora meno agli spazi bianchi, ai margini, alla numerazione delle pagine, e tutto il resto." Bruno Munari in "Da cosa nasce cosa" Sperimentare l'oggetto libro in un laboratorio Metodo Bruno Munari® significa ricercare e sperimentare i differenti modi con i quali si può costruire un libro. Un esempio molto importante che amo portare nei laboratori per aiutare la comprensione dell'oggetto libro sono i Prelibri che Bruno Munari ha progettato nei primi anni '80. I Prelibri sono una piccola galleria d'arte nel quale il bambino o l'adulto si trova confrontato di fronte alle molteplici possibilità di concepire il libro come oggetto. Dapprima pubblicati da Danese ora ristampati per la quinta volta da Corraini. Sono dodici piccoli libri per bambini che, ancora non sanno leggere, tutti differenti per materiali, messaggio e rilegatura. Immagini tratte da http://www.corraini.com/it/catalogo/scheda_libro/31/I-prelibri Ogni libro è stato progettato in maniera che in qualunque modo sia preso in mano risulti sempre dritto. C'è un libro di legno che oltre ad avere un messaggio tattile suona. Uno invece è di panno che come suggerisce Bruno Munari si può utilizzare come la coperta di Linus. Uno in plastica trasparente per imparare a contare. Uno di biologia, uno sui colori primari e secondari. Un altro, il mio preferito, nel quale un filo rosso si diverte a cambiare sempre direzione... Ogni libro comunica un messaggio, ogni libro ha un materiale diverso e una diversa rilegatura. Il bambino riceve stimoli e conoscenze diverse da ognuno di questi dodici libri. Proprio dai Prelibri nasce l'osservazione, l'analisi e la sperimentazione per giocare con il Metodo. Ecco che siamo partiti da semplici fogli di carta di differenti formati e grazie alla sperimentazione fatta precedentemente sulla manipolazione della carta, per esempio questa, nasce un'altra sperimentazione questa volta finalizzata a ricercare le varie possibilità, attraverso il taglio e la piega, per costruire un libro senza rilegatura. Si può partire dal semplice leporello fino ad arrivare a forme più complesse con pieghe e tagli obliqui. Dopo la sperimentazione delle varie forme del libro si arriva alla progettazione di un vero libro. Un libro illeggibile. Ma cos'è un libro illeggibile? È un libro sempre ideato da Bruno Munari a partire dagli anni '50 nel quale la comunicazione e il messaggio parlano, non attraverso le parole o le immagini, ma attraverso il materiale con il quale si costruisce il libro, ovvero la carta. Si può utilizzare il materiale con il quale si costruire il libro per comunicare? Il libro indipendentemente dalle parole può comunicare qualcosa? E cosa? Questa sperimentazione viene condotta secondo alcuni criteri e regole. L'utilizzo al massimo di tre colori con una ricerca sulla forma del libro, i suoi contrasti, il ritmo, le pause, il rapporto tra fronte e retro, i tagli e le pieghe e i formati. E infine anche con i fili... Laboratori per adulti – Rovio 2016
Come promesso, avrei lavorato ad un piccolo libretto per accogliere il nuovo anno… poi l’influenza ha ritardat
[di Diletta Colombo] «Tu quando prendi in mano un libro da dove inizi a leggerlo?» mi chiede Loredana Farina, co-fondatrice de La Coccinella editrice, che ha prodotto i libri con i buchi che tanto adoravo da piccola. «Ehm... dall’inizio», rispondo. «Si vede che non conosci i libri! Bisogna leggerli dalla fine!» e apre RVM, una rivista indipendente di fotografia appena uscita che le ho portato per mostrarle la cura grafica, la qualità di stampa e dei materiali.
Hanno qualcosa di funereo, le opere di Vito Drago . Sono i forni di un cimitero dei libri, strade piene di solitudine dove si viene sp...
La muestra reúne ediciones que provienen de colecciones privadas, como las de Ben Brown (Reino Unido), Jean-Claude Meyer (Francia), Thaddaeus Ropac (Francia/Austria), Norman y Elena Foster (Suiza/EE. UU.), Archivo Lafuente (España) e Ivorypress (España), entre otras; estudios de artistas, como los de Olafur Eliasson (Alemania), Roni Horn (EE.UU.), Jenny Holzer (EE. UU.), Miquel Barceló (Francia) […]
Título:”Poemario visual” Técnica: Collage y letterpress Autor: Stella Rubio. Bcn. Año realización: diciembre 2013 Libro-poemario para el festival Internaional de Libros Ilustrados “Como Pedro por mi casa” 1ª edición: 10 reproducciones originales (diciembre 2013) 2ª edición: 10 reproducciones orginales (marzo 2014) Más información: Festival Libros ilustrados El festival es una de esos momentos que espero durante todo el año. Creo que tanto la iniciativa de Julia Pelletier y su impecable organización y amor a su trabajo, como la oportunidad de trabajar en otros formatos hace que sea un festival único. Cada año me esfuerzo en pensar no solo que hacer, sino como presentarlo, elaborarlo.... parirlo! me encamta esta palabra! parir! y es que desde la idea inicial.... hasta su elaboración .... puede llover mucho. El tiempo va pasando y la idea va madurando de tal manera que el proyecto adquiere nuevas formas inesperadas. Elejir la técnica, el formato... para poder explicar tu historia es la parte desperante pero gratificante a la vez. La técnica del letterpress, además del collage, esta vez, ha sido todo un descubrimiento, grácias a Domingos Recreativos, que me han prestado su tiempo, su pasión y su gran y auténtica máquina para poder llevar a cabo la parte de presentación tanto de la caja, como la carpeta contenedora de las postales. Grácias Brigit y Ferrán! (siento no poder tener fotos de ese momento, aquella máquina con solera era preciosa!) Sea como sea... el libro este año ha resultado todo un reto... este ha sido el resultado. Para poema Mariano Martínez Para poema Pepe Maiques Para poema Óscar Solsona Para poema Miriam Reyes Para poema Ventura Camacho Para poema Jesús Ge Para poema Carmen Camacho Para poema Anay Sala Este poemario surge de la necesidad de dar voz a aquellos poetas que me han influeciado, está conformado como diario, por lo que dicha influencia es además personal. Con todos ellos hay una forma u otra de relación, donde además de poesía, hemos compartido cotidianidades, conversaciones, cafés, cervezas, tardes, mañanas, noches... Espero os guste! Si alguien desea una reproducción orginal de este poemario, solo tiene que escribirme a [email protected].
William Cobbett's A French Grammar, published in 1829. Artist Kyra Clegg took this sad, battered old book and turned it from thi...
Make room for fantasy, poetry and modern takes on being a young adult today.
Following two of our most popular ‘Top 10 lists’ posts (Top 10 Japanese Stab Binding Tutorials on the Internet & Top 10 Coptic Stitch Binding Tutorials on the Internet), we’ve been asked to find some resources for the rare, and ever so secret, Secret Belgian Binding technique. We have also prepared several other bookbinding tutorial collections: Top 10 Long Stitch Bookbinding Tutorials Top 10 Endband Tutorials Top 10 Box Making Tutorials The Belgian Binding (aka crisscross binding) is a bookbinding technique/method which produces a beautiful and distinct, semi-exposed stitched spine as a result of a dual sewing process (initial sewing for the book covers and a later sewing process used to attach the text block to the covers). Originally invented in the mid-1980’s by Belgian bookbinder, Anne Goy (and her book: Reliure crisscross : The secret belgian binding), who was looking for an alternative binding technique to the Japanese Stab Binding method that would allow the book to open flat whilst also remaining simple to make. The secret Belgian Binding type of binding is relatively rare in the bookbinding community and is mostly used in specialised bindings. This technique is often referred to as the ‘Secret’ Belgian Binding mainly due to the fact that much of the thread used for binding the cover to the text block is hidden behind the spinal board but, other interesting and slightly unexpected explanations of how the name of this technique was derived can be found here, here and here! Which one is correct? You decide! An interesting feature of the Secret Belgian Binding is that the spinal board (or spine piece) is only held together in tension by the cord that is woven above and below it. Click the ‘Follow us on Pinterest!’ button above to view more photos of this binding method on our Pinterest! page. The signatures of a Belgian Bound book are sewn directly to the cord that is threaded behind the spinal board, as a result the signatures can become ‘loose’ and thus wear if correct tension is not applied during the signature sewing process. There are however many benefits to a Belgian bound book over many other binding techniques, these can include: The book will lay completely flat when opened Book covers can be easily transferred from one book to another Repairs are relatively simple and straight forward No glue or adhesives are used during the binding process #1 Secret Belgian Binding – Intermediate In Erin’s tutorial she leads us through the tools, materials and different steps required to make a beautiful ‘top secret’ Belgian bound book, her own mix on the traditional Secret Belgian Bind. Assuming you have all the necessary materials you should be able to complete this tutorial in under an hour. Thanks Erin! View tutorial on Herringbone Bindery Tutorial Contents Measuring your book boards Covering your book boards Trimming the inside edges Punching holes in the cover boards Marking down the endsheet position Cutting out channels for thread Sewing the spine piece Tying off the last stitch Pasting down the endsheets Punching your signatures Sewing in the text block #2 Hollanders – Secret Belgian Binding A great Secret Belgian Binding tutorial by Hollanders. Contains some good tips and techniques to make the sewing process a little easier (as it can be fiddly to get the tension just right when making the cover also when sewing the signatures to the cover). The tutorial takes you through the materials needed, punching your boards, sewing the spine piece, tying off the last stitch, making the text block, sewing the text block onto the book cover using the kettle stitch. View tutorial on Hollanders.com Join our mailing list [wysija_form id=”1″] Take a break! Watch our video tutorial playlist Don't forget to subscribe to our YouTube channel to get access to HD videos of hundreds of Book Binding tutorials and reviews! #3 Emily Martin – Secret Belgian (PDF) A printable PDF Belgian Binding tutorial from Emily Martin, a good resource to hand out to your students or to take into your workshop. There are no photographs in the PDF but some excellent hand-drawn images which really help to guide the user through the process and explain the techniques as a whole. View PDF tutorial from Emily Martin Here Emily covers the following topics in her 5 page PDF tutorial: A little history on the Secret Belgian Binding technique Creating a hole punching template Preparing to sew the text block Sewing pattern for the text block Calculating the spine thickness Calculating the thread length Pattern for sewing the covers onto the text block Book cover weaving pattern with numbers #4 UArts MFA Book Arts – Secret Belgian Binding Tutorial A great tutorial by MFA Bookarts covers the entire binding process and introduces some VERY useful tips and techniques using tapes which will help you get a little more enjoyment from binding in this method. The process used in this tutorial is actually in reverse to the above tutorials where by the signatures are sewn together first, then the cover boards and spine are sewn directly to them which is actually a lot easier to do. View Secret Belgian Binding Tutorial on MFA Book Arts Tutorial Contents Tools and Materials needed Marking up your cover boards Punching your signatures Cutting your tapes Stitching your signatures Stitching your cover boards to the signatures Help Support the Bookarts Community [support-website] #5 – A Criss-cross Binding Technique A short post on the ‘criss-cross’ binding. A couple of good photographs show what the bind should look like if completed successfully. View technique on Conservation and Cats #6 Cai Lun – Secret Belgian Binding Cai Lun has put together a small post about the Secret Belgian Binding, whilst it’s not a full tutorial it does highlight the correct methods to bind a cover in this method. A good resource with some fantastic photos which should be read in conjunction with other tutorials listed on this page. View tutorial from Cai Lun Get the Equipment You Need to do the Job Properly! (Click image for more product details) Xacto Knife Set Silk Thread Curved Needles Leather Punch See More Related Materials & Equipment #7 – Secret Belgian Binding – The Crafted Life Rachel @ the Krafted Life has uploaded some nice and probably very helpful photos of her secret Belgian bound book. Not a full tutorial though unfortunately but have included as will likely be of use to a few of you out there. View tutorial on The Crafted Life Bonus: 5 1/2 Tutorial (Some good photos) Some examples of a Secret Belgian Bound book with some good photographs of the process. Lacking further instruction but worth checking out for some inspiration. View page on Gatzbcn Additional Resources Belgian Binding examples on Pinterest! Anne Goy’s Website Some good comments on the history of the Crisscross Binding Secret Belgian Binding Gallery Secret Belgian Binding in Ribbons Criss-Cross Binding Instructional Class Please Support us on Patreon! The minimum level of contribution is only $1 per month. Pledges received from our patrons cover the editing services for our bookish podcast! Moreover, starting with the pledge level of $3, you will get a digitized vintage book about bookbinding, book history, or book arts each month from us! These pledges help iBookBinding to continue its work and bring more information about bookbinding and book arts to you! Share this page:
“¡Buenos días! #FelizLunes y disfruta de una gran semana lectora. Ilustración: Pawel Kuczynski”
Standard Folds. (via capitol press)
This is the second book made for Nick, inspired by a single sentence from a book of his choice. Just pictures this time…
“https://t.co/gzW1XhrBTt”
laura soto
“ネルヴァルと、ニーチェの、ノート。 パソコンで原稿を書くようになると線形の表象空間に塑型されがちになる。それは各センテンスの〈意味〉を累積的に伝えていくけれど、最初にフリースケッチがある文章においては、その〈星座〉が構造として伝わってくる。手稿では自らの立体的な思考空間が表れる。”
I will be presenting some of my books and launching the start of a new project based on Wainwright’s Scottish Mountain Drawings at the FRUITMARKET GALLERY ARTIST’S BOOK FAIR in Edinbur…
Avid reader Jodi Harvey-Brown painstakingly crafts her favourite book characters into these unique pieces of art.
“El otoño empieza a acercarse y nada mejor que una buena taza de libros para calentar el espíritu.”
Here it is - the 23rd challenge for the Compendium of Curiosities III - the Collection Folio found on Page 34 of Tim's third book! I will confess I was a bit nervous about taking on this challenge on as it looked like quite the task! However, it has turned out to be one of the most rewarding challenges I have done! I decided I would use my maternal grandmother, Eunice Blanch Wood, as my inspiration as she was truly one of the strongest people I have ever known. She was also kind, loving, faithful and patient, attributes that I will always remember. I was also blessed to be the granddaughter she wanted to have her photos, so I have lots of wonderful photos to work with. It was hard to fit them all in! Here is the cover of the folio: I originally resisted using Tim's Wallflower Stash as I use it quite frequently, however, it is truly my all-time favorite paper and I couldn't bear not to use it for this project! Don't ever discontinue it, Tim! I removed the elastic closure and covered the entire folio with the paper with the exception of a few of the "fold-over" areas. I then cut out my favorite picture of my grandmother with an oval die and oval scalloped die and mounted it on green and brown card stock. I used Tim's Alterations Typeset die to cut the letters for her name. After this was done, I reattached the elastic closure through the designated holes, adding a Word Band to the top before threading it through the last hole. Now it's time for another confession! I tend to generally "play it safe" with colors and textures. However, I finally decided I needed to step out of my comfort zone and go crazy! I did this with the inside piece of the folio that the photos and ephemera are attached to. Here is what it looked like when I started: I used Tim's Frameworks Trellis Die as well as the Latticework stencil along with Peeled Paint, Antique Linen, Forest Moss and Gathered Twigs Paint. The fun then began! I have to admit that it took me two full days to put this together, however, I wanted it to be extra special. I also had lots of photos I wanted to incorporate. You certainly don't have to put as much as I did into this project - just select a theme you like and go for it! For the inside cover of the folio I used one of Tim's Mini Cabinet Cards and placed my grandmothers baby's picture in it! I always laugh when I see it as she looks so startled. I used this photo for the first challenge and turned the photo into a birthday card. I die cut a banner from Tim's Sizzix Alterations Tattered Banners strip and hand wrote her birthdate. To finish this cover I added two photos of the farm where she was born in Alva, Oklahoma. On the right side I sandwiched two new Elementary Flashcards, one that said "family" and the other "story" over the first cascading flap. These Flashcards have such wonderful words on them! Love them! On the right hand side of the second cascading flap I attached two photos of my grandmother's family. I used an Industrious Frame from the new Gallery set to frame her parents' wedding picture. Some photo corners from the same set were used in all four corners of the family photo. I used the Alpha Parts: Newsprint letters to spell out the word "Family" at the top of the photo. For the back of the second cascading flap I added two more photos which I adhered to not only the flap, but also the reverse side of the photos on the opposite side. I used the Life Quotes Remnant Rubs to add some words. The right side of the third flap features my Great-Grandmother Mamie. I used a library pocket I had in my stash. I laid it on its side and covered part of it with paper from the Wallflower Stash. After placing the photo on a brown mat, I adhered it over the paper and added some Alpha Tiles to spell out her name. I tucked in a tag I colored with Antique Linen and Vintage Photo Distress Inks and stamped with a B-Line Designs Gorgeous Fabric background. I added another Elementary Flash Card and then a Remnant Rub from the Botanical set to the card. I finished the front of the flap die by cutting and adding a Tim Alterations Distressed Doily die cut and fussy cutting a rose image from the Wallflower Stash paper (one of my favorite things to do). The last touch was the addition of an ephemera piece from the Emporium Ephemera Pack. Close up of the tag: I used the reverse side of the third flap for one photo plus another Flash Card and some fussy cut images from the Wallflower Stash paper to create a nature collage. I also stamped the tag on the reverse side with a stamp from Wendy Vecchi's The Beauty of Art stamp set. Here's a close up of the reverse side of the tag: On the right side of the fourth flap I used two large #10 tags. I adhered a reduced size copy of my grandmother's graduation certificate to the top tag. I used two B Line Designs stamps for the bottom tag, Women are like Buttons and Button Collage that I stamped lightly with Antique Linen Distress Ink. Another photo was placed on this tag along with a Life Quotes Remnant Rub, Stencil Mark and Chit-Chat sticker. Both tags were finished with a strip from the Industrious Gallery Stickers, two bows made from Crinkled Ribbon, a Ring Fastener and a Graphic 45 Shabby Chic key. Another Flash Card with an image from the Botanical Remnant Rubs can be found in the center of the flap. The left side of the fourth flap features two #8 tags to which have been added Antique Linen and Vintage Photo Distress inks and adhered to the larger #10 tags on the opposite side. I decorated the tags with another photo, my grandmother's wedding announcement, a flower from the new Emporium Ephemera pack, two bows made from burgundy seam binding that was crinkled, an photo is an oval frame from the Industrious Gallery Stickers with a photo, a Flash Card with a Botanical Remnant Rub and a metal key (sorry - not sure where this is from) and a floral stem from Nature Adornments. The left side of the fifth flap was adorned with photos of my mother and uncle in Industrious Gallery Frames and finished with words from Chit-Chat stickers. The back of the library pocket on the opposite side was decorated with another photo and Label Letters spelling my mother's name. I also attached a gingham ribbon bow by Creative Impressions to the tag front. Here's a close up of the tag front: Finally the back of the tag was stamped with a border from Wendy Vecchi's The Beauty of Art set and a stamp from Wendy's new Art and You set. Close up of the reverse side of the tag: Finally, the last flap was adhered to the back of the folio and a large photo of my grandparents on their honeymoon was placed on top. A later photo of my grandmother was adhered to the top inside flap and a photo with me in it was adhered to the inside bottom flap and a fussy cut image from the Paper Stash was glued over the photo and onto the paper. I had to move from my small studio to the dining room table to spread everything out for this project. Here is what it looked like (I'm embarrassed to say): I would bet that many of you can confess to the same thing! Am I right? Wow, that was a much longer post than I had intended, however, there are so many details I wanted to share with you. Now it's your turn to create something beautiful with this wonderful Collection Folio and share it with us. As usual, head on over to the lovely Linda Ledbetter's site, read the rules for the challenge and start creating! For this 23rd Challenge, Inspiration Emporium is sponsoring a shopping spree in the amount of $50.00 for one randomly chosen winner. Tim and Mario have a fabulous prize package for the winner of the Curiosity Crew Choice. Good luck to everyone and have fun! Susan
