Delays… and the Help of a Page Folding Jig

Superstition Prototype.
Superstition prototype.

My anxiety has been rising over my two Book Art Object Edition 4 contributions. They should have been finished long ago. Every time I start making progress, something happens to slow everything down. Let’s just say, in terms of productivity, a couple of weeks of dizziness and vertigo, capped off by an ER visit for something else, isn’t the most efficient way to go. (The ER was two days ago, and, I’m happy to say, what prompted that is now back under control.)

Alas. Books do not get made when the maker is in bed.

However, I have managed to carve out a little studio time here and there. I’ve finished prototypes for both of my editions. Here is the first one, a board book called Superstition. It will be an edition of 13.

The first page spread is a foldout. The secret to these is that they do not get folded straight down the middle and across for both top and bottom portions. There won’t be enough room for the thickness of the paper and the page won’t fold together neatly if you don’t allow a bit of an offset. It’s easier to show a diagram than for my inarticulate brain to attempt an explanation. This is from a commercial book with a similar style page that folds out:

Foldout Diagram

In diagram form, it looks like this:

Foldout Diagram

For 13 books, it’s impractical to measure and fold each one without some kind of jig. But how to easily construct a jig with so many fussy score lines? There are different ways to do this, but the solution I like is to use a piece of Mylar. I marked the one large and one tiny cut lines and the three fold lines, then carefully cut or scored and folded them, just as I would for the finished page. The transparent material makes it easy to line it up correctly with the paper underneath.

Mylar Jig

As I score each section, I fold the Mylar down to reveal the next appropriate edge to score against.

Mylar Jig, First Score

Scoring against jig

I save the lines to be cut, rather than folded, for last. I carefully mark the end of each with a pin prick, and use a real straight edge for that. This works very well.

The platform/object you see me folding on is a corner jig a friend made for me. I have a small cutting mat that fits perfectly on top of it, if needed.

Corner Jig with Mat

However–at least with this mildly awkward foldout page–I’ve been experimenting with using my light box for the actual assembly (the part where it gets glued to the boards underneath).

Assembling page on lightbox

And now… to finish putting together the 13 books…!

Happy Web Discovery

The Miniature Book Society’s news page has a couple of links to videos of miniature movable books that dates from their Conclave last year in 2012 . I especially liked this one by Larry Seidman showcasing views of modern miniature artists’ books. Alas, it doesn’t say which book is whose, nor are all of the artists listed, which can be a bit frustrating. Even so, you’ll want to have a cup of tea in hand and settle in. 

Dang, I Love Photoshop


One of my favorite reads at the moment is Photoshop Masking and Compositing by Katrin Eismann et al. Partly, I want to improve my photos of books so they look professional for web and catalogues and that sort of thing. I also want to keep improving my photos and illustrations for use in my books. One of the things I love about Photoshop is that there is always something new to learn about Photoshop. Every time I start feeling a bit cocky, I realize I hardly know anything, really.

As one of those whose early design experiences date to before the computer era, I don’t think I’ll ever lose a vague sense of wonder as I watch my photos and digital art transform on the screen. And then to have the ability to do professional-level typesetting and layout in InDesign that can be printed out right here at home…! It’s just a part of life now, but when I think back to the world of pre-computer graphics and design, it’s like magic or science fiction or something. I know people just 10 years younger who barely remember film in cameras and don’t understand the lingering sense of amazement the computer brings, even now, to a middle-aged codger who finished her BA before the 90s (well, in 1990, to be precise).

I needed a picture of a clock for one of the BAO books I’m frantically trying to finish. I wanted it to look photographic and sort of old. I could have taken a photo of a clock or obtained a stock photo. But then I remembered the 60+ clock faces I’d put together for the Minute book earlier this year. However, they are flat, black and white and definitely not photographic-looking. But perhaps, I thought, with a little digital tinkering…? After a little fiddling, I began with this:Clock-first version

And after some playing around, I wound up with this:

Clock for Poison

I’m sure I could have done it with more authenticity, but for my tiny miniature, it works. Kids, I’m telling you, this is like sci-fi!

A Jig for Board Books

This is a belated P.S. for the post on making board books.

I knew as soon as I started making an edition of board books that I had to create a jig to keep the boards steady while gluing the page spreads on top. Even pushed up against a straight edge, the @#$% boards have a tendency to wiggle. This is not good. Accuracy is everything when making a board book. I also needed to speed up the gluing process.

The solution:

taped-in-place-with-boardsI began with my usual setup with an L-square taped to the table. Long ago at the hardware store, I found a thin metal bar that is exactly the width of my boards. The space between boards happens to be one board width, so I  taped the metal bar exactly in place between two boards. Then, to keep everything firmly in place, I taped a half-inch wide metal bar to the other side.

Here is what it looks like without the boards in place:

taped-in-place

After putting the boards in place, I trim the top of the page and line that up against the straight edge on top. I leave the other sides untrimmed for now. I line up the middle registration mark over the bar, so I know it’s centered right where it needs to be.

registration-mark

When it comes time to remove the freshly glued page spread, I tip up the bar on the side. The page spread easily pops out. (I loosened the tape over the bar just enough so that there’s room to do this.)
popping-out-of-jig

It becomes a little more tricky when it’s time to glue the double spreads to each other as the book progresses, but this arrangement still works. To make it easier, I taped two L-squares one on top of the other to create a space twice as deep.

The main thing to remember is that “removable” tape will cure after a while and become far less removable. So after a few days, it’s not a bad idea to pull up the tape and replace it, if necessary.

Happy New Year!

2013-Happy-Lucky-New-Year

This is the front of a postcard I concocted in Photoshop for a recent exchange with friends in my local book arts guild, NORBAG. The lucky black cat is Steve the kitten.

The actual item was inkjet printed on plain old Strathmore Bristol which, surprisingly to me, sometimes works quite well for this purpose. And the printouts don’t scratch easily, as they do with coated papers meant for inkjet. It’s not suitable for everything — graphic-type pieces like this tend to come out best.

Happy, lucky New Year everyone!

A Peek at the Mirror

Here’s a peek at one of the finished mirrors set in its board book page.

I’ve been discovering ways to make board books a little more efficiently. (One of the rewards of making an edition–by the time you’re done, you’ll really know how to make that structure! Not to mention you’ll also really know just about everything that can go wrong when making that structure. Alas.)

More on that soon… I’m going back to gluing pages. That is, assuming our electric stays on. We’re in the midst of a storm and the lights keep blinking. It might instead turn into a chilly night reading by flashlight. Ech.

(Lest anyone worry, we’re not in a flood zone.)

Minute

The latest We Love Your Books exhibition, Minute, is now up at the University of Northampton. It includes my flip book depicting one minute on the clock. This year the exhibit in Northampton was selected from a larger online show, and views of it can be seen here. A catalogue can be seen and bought here. “Minute” could be interpreted in any way desired, and there’s some genuinely fascinating work here.