Posts Tagged ‘works on paper’

Honesty Mo 17
Honesty pod, indigo dyed paper, vintage leather, indigo dyed cotton & silk, thread, gouache and ink
Honesty in process
and a new one in process will be adding to this post each day until Saturday when it will be ready to take along to the Bookwerke artist book group at the NSW Guild of Craft Bookbinders
playing with the blues in ink, silk and raw cotton & replaced the moon with some rotted silk and indigo dyed linen
more indigo ink & white gouache backed with watercolour paper to settle the wrinkles
9 passionfruit vine tendrils stitched to the moon with indigo dyed silk, a bit more gouache and ink and 3 vintage white glass beads to define the shoreline, it’s very close to done will have another look tomorrow morning

Book  of Honesty Mo17
27cm H x 22cm W x 2cm D
bradel binding, relief sculpted spine, Moulin de Larroque handmade watercolour paper over boards
illustrations graphite and ink on Moulin de Larroque handmade watercolour paper, stitched Lunaria pods
this book has given me so much…

The Book of Honesty Mo17
27cm H x 22cm W x 2cm D
bradel binding, relief sculpted spine, Moulin de Laroqque handmade watercolour paper over boards
it’s almost finished!
here’s a link to see all the double page spreads of Honesty
I love making books, this is the most elegant one yet!
here’s how it went together
each double page spread was first sewn onto 5 linen tapes
a paper stitching pattern with an arrow indicating the top of the page
the spine is strengthened with acid free PVA & muslin between the tapes, then gently rounded with a hammer
the tapes are frayed and glued down to make a smooth interface then cut the text for the spine casing
preparing the covers
the front cover attached, inside edges need trimming and sanding before lining
(those red marks on the white lining are the bit of blood that all my work seems to require)
back cover attached ready for trimming and sanding
front & back covers are lined
there’s still some finishing to do, will post the finale when it’s ready!

Book of Honesty XIII Mk2 Mo17 (DOA)
graphite and ink on Moulin de Larroque handmade watercolour paper, stitched Lunaria pods
feeling that yesterday’s effort didn’t really work, I carefully worked on XIII mk2 early this morning but tried too hard, played too safe…
it was DOA
Here’s a link to all the Book of Honesty pages
time to let the drawings rest & make some samples for the covers!

Book of Honesty XIII

Posted: March 24, 2017 by Mo Crow in It's Crow Time
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Book of Honesty XIII Mo17
graphite and ink on Moulin de Larroque handmade watercolour paper, stitched Lunaria pods
13 double spread pages for the 13 moons of the year
time to sort out what the covers will look like, the sewing stations for the text block & how it will be bound

Book of Honesty XII

Posted: March 23, 2017 by Mo Crow in It's Crow Time
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Book of Honesty XII Mo17
graphite and ink on Moulin de Larroque handmade watercolour paper, stitched Lunaria pods

Book of Honesty XI

Posted: March 22, 2017 by Mo Crow in It's Crow Time
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Book of Honesty XI Mo17
graphite and ink on Moulin de Larroque handmade watercolour paper, stitched Lunaria pods
my favourite so far
Jorge Luis Borges wrote about the eleventh variation in “Tlön, Uqbar and Orbis Tertius”
“Centuries and centuries of idealism have not failed to influence reality. In the most ancient regions of Tlön, the duplication of lost objects is not infrequent. Two persons look for a pencil; the first finds it and says nothing; the second finds a second pencil, no less real, but closer to his expectations. These secondary objects are called hrönir and are, though awkward in form, somewhat longer. Until recently, the hrönir were the accidental products of distraction and forgetfulness. It seems unbelievable that their methodical production dates back scarcely a hundred years, but this is what the Eleventh Volume tells us. The first efforts were unsuccessful. However, the modus operandi merits description. The director of one of the state prisons told his inmates that there were certain tombs in an ancient river bed and promised freedom to whoever might make an important discovery. During the months preceding the excavation the inmates were shown photographs of what they were to find. This first effort proved that expectation and anxiety can be inhibitory; a week’s work with pick and shovel did not mange to unearth anything in the way of a hrön except a rusty wheel of a period posterior to the experiment. But this was kept in secret and the process was repeated later in four schools. In three of them failure was almost complete; in a fourth (whose director died accidentally during the first excavations) the students unearthed – or produced – a gold mask, an archaic sword, two or three clay urns and the moldy and mutilated torso of a king whose chest bore an inscription which it has not yet been possible to decipher. Thus was discovered the unreliability of witnesses who knew of the experimental nature of the search… Mass investigations produce contradictory objects; now individual and almost improvised jobs are preferred. The methodical fabrication of hrönir (says the Eleventh Volume) has performed prodigious services for archaeologists. It has made possible the interrogation and even the modification of the past, which is now no less plastic and docile than the future. Curiously, the hrönir of second and third degree – the hrönir derived from another hrön, those derived from the hrön of a hrön – exaggerate the aberrations of the initial one; those of fifth degree are almost uniform; those of ninth degree become confused with those of the second; in those of the eleventh there is a purity of line not found in the original. The process is cyclical: the hrön of the twelfth degree begins to fall off in quality. Stranger and more pure than any hrön is, at times, the ur: the object produced through suggestion, educed by hope. The great golden mask I have mentioned is an illustrious example.”