Volume 7, Number 1

$8.50

ARTISTS’ BOOKSBOOKBINDINGPAPERCRAFTCALLIGRAPHY

Volume 7, Number 1, August 2008.

2 Paper Butterflies by Tracey Bush 6 Neuland: The Gentle Giant by Eliza Holliday 9 Quick Project by Carol Walls 10 From Start To Finish: Copper Paint to Completed Book by Sherrie Lovler 16 Holland Paper Biennial 22 The Making of Star Spell by Cari Ferraro 26 Gifted Artist by Brian Ferrabee 30 Inspired Design: The Mentoring Stamp by Barbara Adams Hebard 34 Architectural Origami by Ronald Sawyer 38 Rubber Band Bound Book with Pocketed Covers by Paula Beardell Krieg 40 Calligraphy and Illumination: Beginner’s Guide by Cari Ferraro. Review by Alice Koeth 41 Contributors / credits 42 Subscription information

front cover Back page of Star Spell book by Cari Ferraro. “The Making of Star Spell,” page 22. The First Writing – Praise (detail) by Cari Ferraro. “The Making of Star Spell,” page 22.

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Bound & Lettered wants to hear from you, our readers. We want to know what you like and what you do not like about the magazine. What kinds of things are we doing right? What kinds of things are we doing wrong? What kinds of articles do you want to appear in a future issue? Send your suggestions, questions, complaints, criticisms, and praises to [email protected]. We look forward to hearing from you! – Paul McNeill

Bound by Nancy Ruth Leavitt and Joelle Leavitt Webber. Accordion-folded text pages with signatures sewn at the foreedge into colorful pastepaper binding. Designing the Mentoring Stamp by Lance Hidy. 9” x 5-7/8”. Photograph by Stephen Petegorsky. “Inspired Design: The Mentoring Stamp,” page 30.

back cover Inside of gift box by Brian Ferrabee. “Gifted Artist,” page 26.

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NEULAND: Gentle Giant BY ELIZA HOLLIDAY

Caveman Fun by Eliza Holliday.

Brush and pen Neuland.

teristic is a lack of Neuland is calligraphic thick the elephant of the calligraphic and thin points. world: powerful, The tool is held in heavy, gentle, a position to make and accessible. its full width in evNeuland has a ery direction – verunique presence tically, horizontally, in the world of diagonally, even around curves – so type. Its density all lines have the and blackness maximum width. I made it ideal The typeface Neuland. call it the “Flintfor posters and stone Alphabet” movie titling because it can look whimsical in the 1930s and 1940s, providing and handhewn, giving the student a forceful legibility and serving as incentive to play with the mass and a contrast to lighter calligraphic texture of this friendly giant. alphabets and fonts. Neuland was the invention of The typeface rests on a baseline; the handlettered alphabet is casual Rudolph Koch, a master calligrapher and type designer. The typefont was enough to relax and play, and can be made without guidelines with first made as a metal-cut plate in 1923 (as seen in Koch’s Little Book a variety of tools. Its main charac-

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of Alphabets). It was later made into a typeface for the Klingspor foundry, where Koch was employed. Though hardly considered popular in its time, Neuland has endured and is still being used today, although it has many clones and variations (Lithos, Pompei Inline). Koch was a Renaissance man with interests in poetry, illustration, book crafts, and tapestry design. He developed numerous typefonts for the Klingspor foundry, including Kabel, which is still widely used today. He was always a calligrapher and made handlettered manuscript books. He said about his work, “Lettering gives me the purest and greatest pleasure, and on countless occasions in my life it has been to me what song is to the singer, painting to the painter; a cheer to the joyous and a sigh to the afflicted.

To me it is the happiest and most perfect expression of my life.” Neuland’s rather roughhewn look lends itself well to being reinterpreted into calligraphy. Each person who learns and uses Neuland gives it his or her own distinctive style. It can be made with crude tools, like slabs of balsa, cardboard, bamboo, or tongue depressors. Neuland is wonderful for backgrounds, working with texture and/or drawing with colored pencil, graphic, or marker, or as a grid for watercolor. The solid strength of the letters makes Neuland ideal for three-dimensional work and sculpture. Neuland is traditionally made at a short body height. Three pen widths plus a little more will allow you to turn the pen to 90 degrees for the horizontal strokes of the letter

THE MAKING OF STAR SPELL TEXT & PHOTOS BY CARI FERRARO

Folds.

Star Spell is a limited edition (53 copies) book with both a standard and deluxe version. The book contains 16 pages. Closed, the book is 4-5/8 inches high and 3-5/8 inches wide.

Title page.

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RUBBER BAND BOUND BOOK WITH POCKETED COVERS TEXT AND PHOTOS BY PAULA BEARDELL KRIEG

The Great Moon Hoax of 1835. 5-1/2" x 4-1/4". Cover: Hammermill 20-pound Inkjet paper. #19 rubber band. Pages: Inkjet copies on Hammermill 28-pound color copy paper. Alphabet Drawings. 4-1/4" x 5-1/2". Cover: Mohawk BriteHue semivellum 24-pound text paper. #19 rubber band. Pages: Staples 24-pound printing paper. Two (open edition) books sitting on a copy of the uncut, unfolded paper that make up the pages of the book.

Student work. Third graders at Greenfield Elementary School, Greenfield Center, N.Y. 5-1/2" x 4-1/4". Cover: Mohawk 24-pound BriteHue semivellum text paper. #19 rubber band. Pages: 15-pound lined glue top pad paper. File card in pocket. Three students created books that contain information regarding the climate, plants, and animals of the country that they were researching. The file card in the pocket is the “what to bring” list when visiting the country.

This project is great to teach to children, but we grown-ups can enjoy it, too. Knowing how to make small, simple books can be quite useful, especially when teaching bookbinding and the related arts to children. When children learn an accessible binding technique, it helps to nurture their artist/author instinct. Uncomplicated book structures have also been known to revolutionize the world. For instance, when Benjamin Franklin wanted to make big changes, such as initiating the first free library and the first fire department in America, he would introduce his proposals by printing and distributing simple pamphlets. While Franklin did not bind paper with a rubber band that attached to a cover with two pockets, this version of the pamphlet is so easily assembled that it lends itself well to printing for the populous. Makerfriendly, it is also well suited for unique creations.

2. Fold the top left and top right corners down toward the center fold line, forming two, back-to-back triangles. This fold is identical to the fold used when starting most paper airplanes. The paper now resembles a house with a pointed roof.

Supplies  Two pieces of regular copy paper (8-1/2" x 11")  Scissors  One skinny rubber band (#19)

5. Fold the paper in half, short edge to short edge. I call this a book fold because, when folded, the paper takes on proportions that are generThe Pocketed Cover ally recognized as a book shape. Use one sheet of regular 3. Bring the pointed tip of the “roof ” Whether the pockets are on the 8-1/2" x 11" copy paper. down to the opposite edge of the inside or outside of the cover will 1. Fold paper in half, long ways. The paper, lining up the roof tip with the depend on the direction that the folded paper should resemble a hot fold line at the bottom of the paper. paper is folded. Either way is fine. dog bun. Unfold. Paper is opened, flat. Press flat. The pocketed cover is complete. 1

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Variation – landscape orientation. The steps are the same except you skip #4.

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4. Rotate the paper so that the triangle is pointing up.

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