Prompt Challenge: Embroider

The word for my prompt challenge group this month is “embroider.” I knew immediately I wanted to use embroider in the “add fictitious or exaggerated details to make something more interesting” sense of the word. Then I saw Carol Blinn’s fabric book and I knew I wanted to try something with hand sewing and fabric. The pleasure (and challenge) of these prompts is making a book combining things I know with some skill I’m not as comfortable with. Sometimes the balance is off though, and this month I fumbled around a lot with too much of what I didn’t know!
My first step seemed safe enough—I investigated embroidery stitches and decided I could probably safely do cross-stitching. Then I went to the fancy fabric store in town and got completely overwhelmed, over-awed and side-tracked. I came home with this:

Embroider: Starting materials

If you sew, you’ll know that I should have bought something linen-y, not something meshy. I spent several days trying to make the fabric work with my limited embroidery skills until I noticed that Carol had used french knots in her book. French knots don’t work at all on meshy fabric, they just fall through the holes, but with the proper (tighter weave) fabric I could use the knots to make what I hoped would be interesting patterns. So back to the fabric store for an embroidery hoop and some new fabric.
As I practiced making french knots, I realized I could use them to write words in braille—the dot patterns would meet my criteria of “interesting” and if the words were synonyms of “embroider,” I’d be working in the meaning of embroider I was looking for. Here’s “puff up”

Embroider: French knot practice

The words I chose: misrepresent, ornament, make much of, embellish, disguise, upgrade. I made 5×7″ “pages” out of my fabric and sewed the words onto them, then bound them into a book using Claire Van Vliet’s single sheet woven method.

Embroider: first book try

I knew the others in my group would like this book because it was so not me! The binding is loose. The edges are frayed. It’s messy. It does feel nice in the hand and I really like the verso pages because you can see where the sewing comes through. It was also a novelty using an iron to make folds rather than a bone folder.
I meant to stop at this point and declare victory, but the book idea kept gnawing at me. Not to mention that I had enjoyed mastering the french knot! It dawned on me to incorporate more of what I was comfortable with into the book, so I tried sewing french knots into paper. The more fabric-y paper I pulled out first—rives BFK—didn’t work. But thicker, crisper 80# French paper did very well.
After I’d sewn a few pages, I thought “why not blind stamp the word above the embroidery.” So I set some type and used my letterpress to do just that. Here’s the cover, a spread, and then a close up of one of the pages. Now I was ready to stop—this book kept what I liked about the fabric book but is much more of my neat and tidy style.

Embroider: cover

Embroider: spread

Embroider: close up

In the Studio: Designing a tunnel book

In my bookmaking, I keep coming back to this poem by Emily Dickinson

Bee! I’m expecting you!
Was saying Yesterday
To Somebody you know
That you were due—

The Frogs got Home last Week—
Are settled, and at work—
Birds, mostly back—
The Clover warm and thick—

You’ll get my Letter by
The seventeenth; Reply
Or better, be with me—
Yours, Fly.

Last year I started to make a tunnel book based on the poem, but didn’t get very far. Recently I revisited the book. Here’s the first version. It’s constructed by placing 5 panels between 2 accordion-folded strips (instructions here). The strips make up the sides of the book. It’s a matchbox book, so it’s small—1-3/8″ wide by 2″ tall.
bee-tunnel_0009_01.jpg
I put the poem on the sides, in the accordion folds.
Bee tunnel book
Two problems with this version. First, the poem is hard to read. Second, I printed the side accordion on white paper, which cracked when I folded it, showing the white core. So I tried using blue paper.
Bee tunnel book
The blue is a lot darker, almost a gray blue, so the printing colors are dull (it’s printed on my Epson inkjet). There’s not as much light inside the tunnel because the paper is blue on both sides. For the poem, I tried turning it 90 degrees and made the type darker…
Bee tunnel book
But now only every other line of the poem is visible, with the odd lines hidden in the accordion fold, so that didn’t work! Next I looked for a brighter blue paper. I found one, and used it for the accordion sides. I printed the panels inside the tunnel on white paper, hoping the blues wouldn’t be too different. This would keep some white on the paper facing the inside of the tunnel, to provide more light. I also added slits in the accordion sides. I put just half the poem on the sides—on the folds facing the viewer.
Bee tunnel book
Here’s another shot of this test. The poem placement is better, if I used a different font it might really be readable (that’s an 19th century handwriting font in this test)
Bee tunnel book
But where to put the rest of the poem? Only half of it fits on the 2 sides. I tried putting it on the top of the matchbox sleeve. Then I showed the book to several people who all said the poem actually wasn’t readable on the sides. So I tried the back of the book
Bee tunnel book
That allowed me to put an envelope on the matchbox sleeve, since the poem is a letter. And I changed the sides to have clover. (I tried putting the the poem in the envelope, but it’s awfully tiny and hard to get the sheet out of the envelope.)
Bee tunnel book
Here’s the current state of the tunnel—the fly and bee need work (with prototypes, sloppy cutting is allowed!). And how will the viewer know the poem is on the back of the book? That’s when I realized that the poem can go in the bottom of the matchbox, so the viewer sees it when she removes the tunnel book. So that’s what I’m going to try next.Bee tunnel book

Making a shadowbox for a miniature book

Shadow box for a miniature book, green chair pressFor my latest miniature book, I wanted to have a shadowbox at the end. To match the size of the “secrets” at the end of my other miniature season-themed books, it needed to be 3/16″ deep, 2-3/4″ square and I would have to be able to successfully make 20 or so of them.
I tried cutting the frame out of foam core first, but getting a good cut wasn’t really possible, the cut edges were ragged even with a new xacto blade. I tried a mat cutter, but the dimensions were too small. On top of that the edges are white and ugly, so I would have to cover them with paper. So I tried covering the foam core with a paper that matched my cover paper. But when I looked inside the window, I could see the paper, however obliquely, and I didn’t like that either.
I showed my husband what I was doing, and he suggested I try balsa wood, since it comes in 3/16″ square lengths. I bought a length at the hobby store and gave it a try. My idea was to cut pieces, glue them together with super glue to make the frame, and then cover with paper, but leave the inside edges uncovered. The wood is soft and I couldn’t get a clean cut with my xacto knife, so the super glue didn’t adhere. My husband to the rescue again — he suggested I use his band saw, which let me set up a jig to make perfect cuts of the correct length. I’ve made about 10 already (super-glued, covered in paper, with the photo and window frame attached as shown in the photo above), and they’ve all come out quite nicely. Mission accomplished!

Making an Edition, Part 7 — cleanup

All the bookmaking for my new edition is done. I’ve got 25 books to sell and 3 for myself (to display at book fairs and — very importantly — for my bookshelf). They are all numbered and in their slipcases. Next I’ll clean up my studio. Then I’m on to the final step — taking pictures and writing copy for my website and Etsy shop.

Summer in Vermont: book and slipcase