current studio projects
Come say hi! I'll be at booth B-17.
In addition to the four editions of artist's books currently available for sale, there will be a selection of books for writers, artists, and doodlers, as well.
Browse a range of leather, cloth, and paper blank books, with blank, lined, or grid-line pages; as well as diaries and bullet-journals; or choose from the line of greeting cards.
If you want to just stop by and chat, that'd be swell, too.
When: Saturday, October 14, 2017.
Where: International Printing Museum, 315 W Torrance Blvd, Carson, CA
One of the most common inquiries in the studio is for information about having scripts and theses bound into hard cover books. In an effort to provide clarity about specifications and the process, a PDF document has been prepared. The specifications also appear below.
• Any quantity of books can be custom bound in cloth or leather.
• Printed documents or PDF files can be provided to Gibbs Bookbinding.
• Author and title will be gold stamped on either the cover or the spine. Custom cover artwork can be provided.
• Standard turnaround time is 2 weeks; rush service is available.
• Fee chart listed at the end of this document.
Set the top, right, and bottom margins at 1”, and the left margin at 1.5”. If the left margin is insufficient, text may be lost within the gutter (spine) of the book. For double-sided printing, use the “mirror margins” setting.
Typesetting and layout services are available, and are billed hourly.
If printed pages are not provided, Gibbs Bookbinding will use CopyMat Hollywood for printing. They may be contacted directly for pricing information. A handling surcharge will apply.
Titles, Author, Artwork.
It is standard for the author and title to be gold stamped on either the front cover or the spine; custom cover artwork may be provided.
Custom artwork can be a maximum size of 6.75” x 3.75”.
File specifications: B&W file, 1200 dpi , 100% (actual) size, all fonts embedded, in PSD, TIFF, or PDF format.
Example of acceptable artwork, with strong lines.
Example of unacceptable artwork, with sketchy gray areas.
Bookcloth in a limited range is stocked by Gibbs Bookbinding; other colors are available by special order. All leather is by special order.
For samples of available cloth and leather, please see:
Cloth: Hiromi Paper, “Bookcloth” section, Culver City, CA. http://store.hiromipaper.com/
Cloth: Talas, “Iris” bookcloth, “Asahi” bookcloth. Ships from NYC.
http://www.talasonline.com/Iris-Bookcloth | http://www.talasonline.com/Asahi-Bookcloth
Leather: Talas, “Harmatan” goatskin, ships from NYC. http://www.talasonline.com/Harmatan-Goatskin
all pricing subject to change, and special orders will incur shipping fees
Standard turnaround time, 2 weeks.
For rush services, 1 week (in Monday, out Friday), + 100% | 3 days, + 300%
Cloth binding, $ 150 each. Using in stock material, title / author stamped on spine or cover.
Additional: cost of special order material, as billed (approx. $75 for 10 books).
Leather binding, $ 225 each. Includes title / author stamped on spine or cover.
Additional: cost of special order leather, as billed (approx. $125 per book).
Custom artwork is billed by the quarter-square-inch.
The maximum artwork size of 6.75” x 3.75” is $ 150. per order.
Page layout, formatting, and design work, $75 hourly fee, billed per quarter-hour.
A slideshow of some recent work from the studio.
A book taken from a buckram library binding, resewn, bound in full green goatskin leather, with a plate from the text used for a full front-cover gold-stamped illustration. Bibliographic information stamped on spine.
A heavily self-repaired (i.e., tape, packing tape, bits of paper) broadside about the use of a microscope. Tape removal, repairing of document, linen portfolio case with foredge ties and stamped leather label.
Full goatskin leather binding, decorated to appear aged, for prop purposes. Artwork stamped in gold on front cover.
Six Memos For The Next Millennium
. . . When the human realm seems doomed to heaviness, I feel the need to fly like Perseus into some other space. I am not talking about escaping into dreams or into the irrational. I mean that I feel the need to change my approach, to look at the world from a different angle, with different logic, different methods of knowing and proving. The images of lightness I’m looking for shouldn’t let themselves dissolve as dreams do in the reality of the present and future . . .
In the infinite universe of literature there are always other avenues to explore, some brand-new and some exceedingly ancient, styles and forms that can change our image of the world. And when literature fails to assure me that I’m not merely chasing dreams, I look to science to sustain my visions in which all heaviness dissolves . . .
Happy New Year!
This is quite the latest that my holiday edition has ever been completed. There are events a-plenty, on the world stage, and in the studio, that caused the delay. The files were designed and printed back in December — I picked up the completed stack on the same day that the pages for Family Style were ready.
Then the Family Style edition construction began, and it had some slowdowns related to margins and covering material, then I needed to finish the Amissa Anima ouiji boards, because I had postponed figuring out how to make the plinth-and-planchette window, then there were the deluxe versions.
And there was politics, which resulted in a certain amount of hiding under the bed.
Also there was / is making a living. Conserving books, binding some editions. That’s pretty much ongoing, which makes my landlord happy.
Many people advised me to simply postpone or cancel the 2016 / 2017 holiday edition.
I knew I wouldn’t make my traditional January 1 mailing date; and the Chinese New Year came and went; then Valentine’s Day, then President’s Day, and I swore, oh, I swore, that I’d get them finished for the first day of Spring, or, at the latest, Easter. Then May Day came and went.
Oh, and I moved my studio down the hall. Pallet jacks being fit into the trunks of Honda Civics happened.
You know what, though? I BEAT my last deadline, which was the summer solstice. Perhaps this is the first time that Memorial Day can be considered “close” to New Year’s Day. Whatever. I’ll take it.
Announcing the 2016-2017 Holiday Edition!
Last autumn, I was working on a vintage copy of Mary Poppins, which always makes various show tunes lodge themselves inside my head. “Let’s go fly a kite / Up to the highest height / Up where the air is clear / And send it soaring ..”
Also last autumn, Hiromi Paper held an afternoon kite making workshop, which I didn’t attend, but I wanted to attend, and I should have attended, and I still kind of hate myself for not attending. But I was already taking the Tim Ely workshop at the Getty, and so the learning-calendar was full.
My first website results provided kite templates that were definitely simple, but also, well, uninspired:
So then I went to the library, and found some lovely books, but they didn’t really have instructions, and a lot of the text was in Japanese. The best of these was Kites: paper wings over Japan by Scott Skinner and Ali Fujino, but, once again, there wasn’t much on How To.
What this book did provide was (a) the Italo Calvino quote that made it onto the wrapper; (b) proof that miniature kites were completely legitimate; (c) good outlines for the different shapes of kites. So many shapes! It also provided insight into the content that appears on the face of kites, and information about kites being particularly associated with the New Year celebrations (concept confirmation!).
Thinking about visual metaphors in Japan associated with the New Year, the Rabbit and the Wave most closely aligned with my own aesthetic interests, and combined two of my experiences from the previous summer: bunny tiles (bunny tiles!!!) at the Hearst Castle, and the beach. The wave itself I shamelessly stole and tweaked from a maybe famous woodcut series.
Yet more internet research provided a wealth of information about the shapes and patterns of different kites, but quite a few of the articles were in German. This didn’t matter, too much. I knew the name of the kite (rokkaku) would be the same regardless of language, and I didn’t need the text: just some decent diagrams!
These answered my basic layout, proportions, and materials questions — originally, I was going to use bamboo skewers, but, after realizing how large a 1/8” diameter skewer was in relation to a very small kite, I decided to find something thinner and less bulky, and bought polyester boning, as used in textiles and costuming. I knew that it was specifically designed to be sewn through, and wouldn’t need to be notched or drilled like the dowels.
However, I was still having problems with the bridle — these are the strings that connect the spool of thread one holds on the ground, to the piece of paper flying up there in the sky. Where does one tie the cords? What knots does one use? How much slack or tension?
There are lots of online resources for rokkaku kites, but by far the best is Larry Green’s PDF from 2004. I wish I could find the page where I originally downloaded the file, but here’s the closest I can get:
also at: http://arch.ced.berkeley.edu/kap/discuss/index.php?p=/discussion/2651/rokkaku-tipping-and-diving (this is probably where I found it)
However, even this compendium of information left me somewhat baffled. I took a field trip to visit Dave at the Kite Connection on Huntington Beach Pier, and he gave me confirmation about how to balance a kite so that it would actually take flight, and not just spin on the ground.
It was back to Larry Green’s knot diagrams (neither a Boy Scout nor a sailor am I), but they finally worked.
Lift off! We have lift off!