Sacred Poems

April is poetry month and I’ve been looking at artist’s books with a poetry theme. Carole Kunstadt has a series called “Sacred Poems” where she says

The primary element used in this series is paper: the pages are taken from a Parish Psalmody dated 1844 and 1849. These pages of psalms are manipulated and recombined, resulting in a presentation that evokes an ecumenical offering – poems of praise and gratitude. The disintegrating pages suggest the temporal quality of our lives and the vulnerability of memory and history. In working with this aged text, embracing its inherent qualities while transforming the book’s pages, the paper itself gains significance through the process and merges with a new intent.

Here are a few of her books, and you can see them all here.

Carole Kunstadt’s Sacred Poems series Carole Kunstadt’s Sacred Poems series Carole Kunstadt’s Sacred Poems series

Catching Up

I’m still catching up on remaking the books I sold out of over the holidays. This week it’s Catku, my miniature matchbox book with haiku & drawings about my cat. I’m in the process of making 20 of them, which is not just the book but the little box. I’ve got all the pieces cut and I’m about 1/2 done assembling them. The photo shows my progress—the box sleeves are in the foreground, the box trays are in the back.

Catku in progress

Monoline Italic

This past week-end I took Carol Pallesen’s Tiny Handwriting workshop. In two days she taught us 3 alphabets and we made 3 tiny books. I signed up ostensibly to work on my own handwriting but I got a lot more. Best of all I discovered my handwriting isn’t all that bad if I slow down and enjoy the task! The first alphabet she showed us was a style of monoline italic lettering—letters written with a regular pen or pencil and that don’t have thick and thin lines as a calligraphic script would. She went over each letter of the alphabet, both upper and lower case (or, as Carol called them, majuscule and minuscule), showing us how to make the strokes and emphasizing the similarities in the various letters and the proportions we should try to maintain. Here’s an example of Nautilus Monoline Italic, which is similar to her alphabet.

Nautilus Monoline Italic

Over lunch I wrote a page of pangrams, trying to mimic her letters. “s” was really hard. And getting my letters to slant (she said about 5 degrees) was even harder as my habit is to write letters as vertical as possible. Then we made a little 3/4″ square book and a tiny origami box to put it in. The book was dead simple to make—the spine was made out of a tiny brass ornamental hinge from Home Depot and the covers from 2 little pieces cut from a scrap of leather. The inside was an accordion-folded strip of paper. Below are the pieces, and you can see my attempt at the monoline letters (the words are far apart as I put one word per panel of the accordion). Following that are the finished book and box. (I’ll write about the rest of the workshop over the coming week.)

Materials for Carol Pallesen’s hinge book

hinge book from Carol Pallesen’s tinywriting workshop

hinge book and box from Carol Pallesen’s tinywriting workshop

Alchemic Calculations

This is Katherine Venturelli’s book “Alchemic Calculations”, which uses a Turkish Map Fold. She says it “integrates some of the archetypal symbols from my on-going series, “universal language”; the symbolic images are my text. I fused a friend’s beautiful mathematical notations with etched spirals at each of the folds of the traditional accordion structure. Inspired by the medieval science of alchemy, included is the metallic element of silver leaf- a symbol of power or process of transforming something common into something precious.” See more of her books here.

Katherine Venturelli’s book “Alchemic Calculations”

Katherine Venturelli’s book “Alchemic Calculations”