Chas Chaplin. Icon 2. The binding, so far. The boot is on the other foot.

My biblionautic chums and friends. Memories Lurk.
Chas Chaplin. Icon 2. The binding, so far.
One of C. Chaplin was in or made many extraordinary films. One that sticks in the mind is The Gold Rush. With the cooking and eating of the boot one of the most memorable episodes in film history.

Sooooo, it struck me this morning.. why not use a boot or at least part of a boot in the binding. It makes perfect sense, why not?
First was to find a boot, old and beyond repair. Tucked away, under the guillotine, I remembered I had 'stored' an old pair of studio boots some 15 years ago.... A case of never throwing stuff out that may be useful or I was just lazy... one or the other.
After choosing the part I would use, removing from the upper I pared down from about 2mm to 0.6mm using the old Schärf-fix (other paring machines are available) with the turn-ins to 0.4mm. This will be applied later today. A good mornings work. This will, of course, be no mean feat.
I amazed myself with being able to remember that I had an old pair of boots in the first place but I also considered where the idea had come from... First of course is the inspiration from the film and the fact that using recycled or up-cycled materials in book binding and book arts is not new. I am not going to go on about the historical side of things, there are many better versed in that area, however I would like to dwell upon a couple of bookbinders/book artists that first got me excited in the creative process of the contemporary book/binding. Perhaps two such people, along with so many others are Trevor Jones and Jiří Hadlač.
Perhaps better known to me is he work of Trevor Jones (b1931-d2012) Fellow of Designer Bookbinders amongst other things. Please, I would suggest that if you are not familiar with his work to take a few minutes to look him and is work up on line.
Jiří Hadlač (b1927-d1991) A prolific artist who continues to fire my imagination. When I first came across his work (at college) he rocked my boat. Again, please look him and his work. I think amazing, but that is only my opinion.
The first few images are of my boot with the last few images being from the publication Fine Bookbinding in the Twentieth Century by Roy Harley Lewis. David and Charles Publishers 1984. ISBN 0-7153-8586-0. A super book that captures a period of time and a number of binders/artists work so magically.
WIP. Paper, ink, print, various threads and cloths and a boot.
Stay Safe
Please note there are other ways of doing things and opinions..... spelling and grammar. Please further note, the opinion of the author may change at any moment. This is due to having an open mind... of sorts.

Chas Chaplin. Icon 2. The binding, so far.

My biblionautic chums and friends.

Chas Chaplin. Icon 2. The binding, so far. Concentrating on the demonic, anti establishment Tramp, my response is to create a worn, patched work, staying with a very limited palette of simple colours.. Black, white and red with the odd splash of something else creeping in. Small elements that tie in with the text black and, indeed, add to it.
This has not been a simple case of dipping in to a box full of bits of fabric and just chucking them together (I wish it was) it is more a series of placements, juxtaposition and tension. Balance and form.. all of that arty stuff. Perhaps a bit of improvisation too. All of this combined with the heavy sewing to produce a series of lines, marks if you will, to underscore the patch work. The combination is textured, the under cloth has not been disguised, more it is used to eccentuate the making process.

When I step back from the work, I look. Seeing the various layers, stitches and colours forming the complete (not yet!) view. I suppose it looks simple, a couple of bits of cloth, a little machine sewing, a little adhesive..... Just to put all of this in to perspective it has taken me the best part of 4 days to get this far.
I do not want to manufacture a 'nice' binding. Slick and fancy. For me, Chaplin's creation of the Tramp (not an over night thing by the way) the invisible, the out cast fallen through the cracks of society, life on the edge of society was not nice. Dregs not slick or fancy. Before I started work on this project I never asked myself what is this little tramps back story, how many of us do? Chaplin's character is a social comment on the plight of so many, as relevant today as yesterday. Of course his acting was slick, the practice and the number of takes to get a scene 'correct' testify to his sense of perfectionism. Not to say the patience of the cast and crew!
WIP. Paper, ink, print, various threads and cloths.
Stay Safe
Please note there are other ways of doing things and opinions..... spelling and grammar. Please further note, the opinion of the author may change at any moment. This is due to having an open mind... of sorts.

Thud.

My biblionautic chums and friends.











Thud.












noun
1. a dull, heavy sound, such as that made by an object falling to the ground or on to something: "it hit the custard with a thud"
verb
1. move, fall, or strike something with a dull, heavy sound: "the chocolate drops thudded into the custard"







That sound no creative wants to hear.





Where the mind is blank and the block, the creative block, drops with an  audible, ominous  thud.



Thud happens.



It can happen at any time and for any number of reasons. 

As a bookbinder/book artist I am able to make books. The mechanics of the construction along with  the application and manipulation of various materials are skills that I have learnt and teach. Yes, there can and is creativity in the forwarding (in simple terms, the making of the basics of a  book) however, it is, by and large, memory both in muscle and mind. Perhaps one could say, in the main, a remembered series of actions, some simple some not so simple. But actions that can be taught and learnt.

I, along with other contemporary bookbinders use the text block as their inspiration in much the same way that, lets say in general terms, a still-life artist would use an arrangement of objects. Of course how one sees or is able to abstract from/with the arrangement of objects or in the case of the contemporary bookbinder.. the text, imagery etc is open to individual interpretation. The completed work is  a combination of traditional formats and materials, canvas, pigments, board, cloth, leather etc. Along side the creativity of the realisation of those thoughts, abstractions and individual interpretations to produce a finished work that is balanced and coherent. For the contemporary bookbinder a designed binding if you will.
Of course, as a book artist I produce the text block along with the binding and, as often as not, an extended environment. In short the total book.

However, that creative block can still thud.


Many have said that I was ‘lucky’ to have gone to art college. Trust me, luck had nothing to do with it. It was a conscious decision. I just did not happen to find myself at art college, it was not a roll of the dice. As a child I was aware of artists and the reality of what an artists life could be like, I was under no illusion that either art college and my subsequent working life and further education would be easy. From my graduating year a fraction went on to University. (when a BA actually meant something and not uni which is now, in the main seen as a right. I of course write from the perspective of being in the UK, I realise that for many people even a basic education is something that is not available) Most of us got stuck into the real world, I went free lance, again not by ‘luck’ but a choice. Many of us found it impossible, the dream of being an ‘artist’ was too far away. Dreams and goals changed. The propagated reality of life became reality.. most became mainstream. Finding work in what is often described as ‘proper jobs’, following a defined career path with all the associated benefits. I realise there are down sides but from my perspective having the security of the wage packet made me so jealous. Likewise they were jealous of my perceived freedom.

However, whilst at art college I had the good fortune to have excellent teachers. Many were working professionals who taught part time. They were not institutionalised. They taught us for the real world, and given the desire and direction, how to get on with the job.

I remember much of what I was taught... Day one- how to sharpen a pencil and so forth. One lecture/talk that I can still recall was about the creative block. First we were informed that rarely does an  idea pop in to the head, it is usually worked and teased, chewed over and spat out etc. And in response to the thud...simple steps to help us work through the creative block.

Accept that blocks happen not only to you but everyone else. Don’t try to force an idea. Try coming in to the work from an oblique angle or narrow the brief to define to a new starting point.

Work on something completely different. Put the thud on a back burner and turn your mind to a new project. Forget any perceived rules, just go for it. The project can be simple, just to relax or get the juices moving. Often with the act of doing something, anything other than the thud engages the mind, can open up mind space.

Try talking the project through with a colleague or colleagues that are not yes people. People who you know will give you their honest opinion and help. Bouncing ideas around, having a different perspective often opens doors. It is difficult in the situation we all now face but with the chance for those of us that have access to the internet with the various forms of social interaction available, thoughts and opinions to questions are never too long in being put forward. Asking for help or thoughts is not a weakness it is an acknowledgement that you need input.. the all important third person who is able to see things differently. But, if I may add, do not go down the ‘design by committee’ road. In the end no one, most importantly you, is happy. One has only to look at the lack lustre public buildings that often pollute our urbanscape.

The Sherlock approach can also be considered. By moving on from what is definitely not of use will get you closer to what is of use. The process of elimination.

A simple way to combat thud is to change your working environment. Work at an other bench or change your view.  Re-arrange the books on the shelves or the pictures on the wall. Tidy the studio, I do this quite often.. It usually means that I and the students are unable to find anything for a while but it is very cathartic. It works for me!  Just ask my students how often things have moved or cannot be found.

One method I use is to look beyond my discipline. Study at how other artists, artisans, craft peoples and idea smiths use and interpret the materials they employ to realise their finished work. One thing can spark off a chain reaction.

For me being creative is the old 1% inspiration 99% perspiration cliche. Perhaps, the more I gain experience the more I am able to dig inspiration out of the tool bag.  Some of us make the creative appear to be so natural, that it is easy, effortless. This often belies the years of experience, practise and a very big tool bag to dig in to. Being able to work through the thud is a skill as much as walking the tight or slack rope of creativity. I am confident that many of us have had and will have thud in the future, just as many of us have our own ways of dealing with it.

In short do not let thud grind you down.

Please note there are other ways of doing things and opinions..... spelling and grammar. Please further note, the opinion of the author may change at any moment. This is due to having an open mind... of sorts.



Thud.

The importance of failure.

My biblionautic chums and friends.
I fail.
In the time that I now have to myself in the studio and in the old noggin that passes for my head.. which by default contains my brain and all that goes with that, I have time to question what I do and why I do it (amongst other things). The other day one tiny voice that popped into the uninterrupted cacophony of voices that jostle to be heard posed a simple question 'Is failure part of the creative process?' Well, after some time dwelling on this point.... I believe it is part of the creative process. And, if I am honest, I feel it is as important as the success of the creative process.
In the age we live, failure is talked less and less about. It has become a no no in education and in many spheres of daily life. Having said that, there is, of course, what I refer to as the negative success. For example, in short, and trust me I have witnessed this more than once... a tutor at the end of the session saying to the gathered students..' Of course none of you will ever be as good as me' This is bad in many ways, it is forces the tutors assumed success on the expected failure of the student, a negative success as it were. It is arrogant, belittling and says much about the skill of the tutor. I will not go on but I hope you get my point.
Many are told that failure in the process of making or creating should not happen. The sad reality is that in many aspects of our working lives we are conditioned to have an abhorrence to failure. So much so that this can (and does) lead to a stagnation in the creative process. Many stick with what they know and just produce variations on the basics, a slight change in colour or size but basically the same thing because they do not want to fail. We have become addicted to the culture of success, indeed craving the high of the 'like' or 'heart' on their posts. Expecting instant approval and success. I feel it is endemic in younger (and not so young) people... All that may happen in the long run is a culture of mediocrity and petulance. We are taught to fear the mistake or failure.
Yes I post on line. Yes I have a blog and yes, I go live and make the odd, appalling short film. For me it is not about the likes or hearts. Moreover, it is definitely not about the lovely comments I don't get, I get very few as it is and always try to answer... Lets be honest, if I wanted the posts to garner adulation I would always have a kitten, puppy or lavish dish of food in shot. For me it is about communication, to share (as it is with others) to let people see what I am up to. Perhaps an on line gallery or public face to the studio.. I hope you, my reader, understand.
Once I have understood a making or creative process, I practice, I experiment, I go out on a limb, I go down new paths. I fail. However, I look upon the failure as part of the process, I pick myself up and start again with the added knowledge of the failure, a step nearer success. Trust me, there can be many failures but they all lead, finally, to the one success, ask any skater!
Because I have taken the time to understand the rules I can begin to bend them, to break them..I ask myself what if I use a bigger brush and colour outside the lines. I fail, I start again. I begin to make my own rules, stretching to breaking point and beyond. This, and more is my creative process. I ask myself 'Is this the best I can do or as far as I can go?' I find answers to my questions.
Success is very, very rarely instant nor is it an entitlement, it is to be worked for. Success is a difficult thing to gauge in the creative world, it is often a personal thing. There is, of course, the confidence it can bring and the tangible rewards of others wishing to acquire your work or to learn from you. That could be thought of as a measure of success and paying the bills is important. For me, however, it is more of a stepping stone in the creative journey.
As much as I strive for success I embrace failure. Each is vital for learning and work, and it is part of my teaching ethos.
As final thought..... What is the measure of failure?
For those of us who are old enough.... and no peaking on a search engine.....
1988. Winter Olympics. The Jamaican Bobsled Team and Eddie 'The Eagle' Edwards-70m and 90m Ski Jump. Who won the Gold Medal in their respective events?
Both the Jamaican Bobsled Team and Eddie the Eagle failed in gaining awards and came last in their events, they failed. However both found success in their failure, they represented their countries in the most public of arenas. They gained the hearts of the public, the admiration of their fellow competitors and are still remembered today.
Also the gold medalists have not had films made about them!
Stay Safe
Please note there are other ways of doing things and opinions..... failures and successes, spelling and grammar. Please further note, the opinion of the author may change at any moment. This is due to having an open mind... of sorts.

Charlie Chaplin. Icon 2. The 3rd spread, the 4 wives.. and the husband.

My biblionautic chums and friends.
Chas Chaplin. Icon 2. The 3rd spread, the 4 wives..
The broken image of CC has been added. CC was done in a four stage print process... much fun
Collage, roll, hand colouring and soft plate off-set printing. Approx 50cm x 40cm (at the moment) Mixed media, paints, paper and ink. WIP

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Please note there are other ways of doing things and opinions..... spelling and grammar. Please further note, the opinion of the author may change at any moment. This is due to having an open mind... of sorts.

Chas Chaplin. Icon 2. The wives.

My biblionautic chums and friends.
Chas Chaplin. Icon 2. The 3rd spread, the 4 wives..
A broken image of CC will be added tomorrow or perhaps the next, as the ink may take a while to dry.
Collage, roll, hand colouring and soft plate off-set printing. Approx 50cm x 40cm (at the moment) Mixed media, paints, paper and ink. WIP

Stay Safe
Please note there are other ways of doing things and opinions..... spelling and grammar. Please further note, the opinion of the author may change at any moment. This is due to having an open mind... of sorts.

Icon 2. Charlie Chaplin.

My biblionautic chums and friends.
Chas Chaplin. Icon 2. The 2nd spread is now finished.. for now that is.
Collage, roll, hand colouring and soft plate off-set printing. Approx 50cm x 40cm (at the moment) Mixed media, paints, paper and ink. WIP

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Please note there are other ways of doing things and opinions..... spelling and grammar. Please further note, the opinion of the author may change at any moment. This is due to having an open mind... of sorts.

Icon 2. Charlie Chaplin. First spread sort of finished.

My biblionautic chums and friends.
Chas Chaplin. Icon 2. More prints. The first spread is sort of finished .. on to number 2! Chas's early life.
Collage, roll, hand colouring and soft plate off-set printing. Approx 50cm x 40cm (at the moment) Mixed media, paints, paper and ink. WIP
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Icon 2. Charlie Chaplin.

After what seems like an age... practical work has started on Charlie Chaplin (Icon 2)

The genius of Chaplin.

One aspect of this sort of work is the amount of research that one has to do (The internet can, at times, be a blessing) To date,on and off, I suppose I have spent the better part of two days finding material, going through pages of information, including a set of Encyclopaedia Britannica - 1950 and numerous other books and the like. I still much to do.

Having said that... I have the format and the basic design of the pages and the construction already designed... 3 days working out how to do something simple... it is always the way though.

If I may share the brief thoughts of a good friend of mine...

There was something (ever so slightly) demonic about the little tramp; something to do with his frighteningly irrepressible energy. You will know of course that it was Chaplin who founded United Artists, an attempt to take power from the big studios, and invest it in the actors and writers etc. who did the creative work.
 Best, Mel

We start with the early years.  Collage, roll, hand colouring and soft plate off-set printing.  approx 50cm x 40cm (at the moment) Mixed media, paints, paper and ink. WIP

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Please note there are other ways of doing things and opinions..... spelling and grammar. Please further note, the opinion of the author may change at any moment. This is due to having an open mind... of sorts.
A proof. (a technique I teach)

Flottage and all that Jazz.

My biblionautic chums and friends. I hope we are all well.

Yesterday, a glorious day of Flottage. Though I teach Flottage it is a very rare chance that I have time and the space to work on papers for myself. I produced, much to my amazement, 49 sheets of decorated paper. Many double and triple dipped, colour fields,swirls and blotches, enough for a year.
I really enjoy Flottage, perhaps a more modern, spontaneous, free form and full of action way of creating interesting contemporary, decorative papers.

Thankfully they are not everyone's taste ( I prefer to be an individual, making individual work for individual people) and unlike other, shall we say traditional ways of decorating paper, there are rarely, if ever, 'bad' papers. Each paper is unique, even if I wanted to reproduce or get near to a previous pattern it would be impossible. To be honest I would not want to reproduce...

I work with A1 paper, the size allows me not to just look at the paper but see the paper and the design, either as a whole or more specific areas that work on the book or box. Thus ensuring that there is always some parts (even on the not so hot papers) that is of use and attractive.

So, is marbling the same as Flottage?. 

I suppose it is down to interpretation. I would sort of consider traditional marbling, with all the moss, water temp etc Flottage and of course Flottage to be a form of marbling. However, having had some very one sided (Closed) ummm conversations...with more traditionally minded marblers that believe the work I do is the spit of satan and is therefor not marbling. I try to have an open mind about things. 
They mention the skill required to reproduce, the exactitude of the placing of the colours etc. I suppose it is like comparing Pollock (Not that I compare my work with Pollock) with a replica or copyist artist re-creating what is before. Yes, there is skill but it is a different set of skills or approach to the subject... different techniques of application and manipulation. 
There is so much snobbish-ness about it. I know there are marblers working with traditional methods and materials that do produce new work but in the main... rows and rows of of Dutch Spot or what ever does not light my candle. I suppose if one is doing historical binding then it is, of course applicable.. but for modern work, my work.. it just not right. There are many variations, Suminagashi a method of marbling in Japan (though I think the Chinese got there first) and, of course Ebru from Turkey. Each to their own. In short I produce the papers I want.. for my work. In a perverse way I am happy that there are reams of traditional marbled papers, they provide a balance or counter to what I do.... 

A selection now follows....

 Stay Safe Chums.

 

The last month or so.....

My biblionautic chums and friends....
With all that is happening in our world I have let slip my posts. Sorry. To make some form amends I thought I would post what I have been up to on the bench in Studio 5.

Workshops, talks and presentations have been cancelled or postponed so I have time to do all those things I have wanted to do but never had time.

First... Never Mind The eBooks Here's the Real Thing.... A note book.

 Never Mind the Ebooks... Well, after the Guy who runs the Record shop saw my post on facebook he asked to see the book. A little chat then followed.. The long and the short of it is that 'Never Mind' are now available to purchase from the record shop.

 Available at..Olympic Studios Records

 As it happened, a few days after Never Mind's debut .. it sold. So a few more bound. Different colour options and stuff keep them fresh and different.

 

 Along the usual bench work I am also asked to give workshops, now, of course postponed. However I thought I would give a preview sort of thing.
 Though the new series is intended to introduce fellow makers and creators in differing fields other than those already familiar with the book as a vehicle for expression and communication, it may be of interest to those who are taking their first steps on the grand tour of book binding, book arts and related subjects.
I have had, for a number of years, a small collection of glass negatives dating from the Edwardian era (UK London) For nearly as long as owning them I have wanted, in some way or another, to be able to expose the negatives to enable me to visit those captured seconds of light. Recently I managed to contrive, in a very Heath Robinson sort of way, apparatus that when combined with the old desk top has enabled those seconds of captured light be explored again.
One of the new series of workshops will explore a contemporary photograph album structure that allows for further development and, perhaps as important, requires little in the way of specialist bookbinding equipment.
So, my chums, a sneak preview of some of the images that may be included in the workshop.
1, 4 Young Men, 3 boaters, 2 Flat Caps, 1 boy and a dog. 2, Lady. 3, Girl and boy. 4, London Zoo-The lion Cage. 5, Finsbury Square. 6, well it was bound to happen!

 

The workshop Photo Album...For the Society of Bookbinders East Anglian Region. I really like the format, the images have a new life.

A Drum Leaf Structure. So versatile.

covid-19

My biblionautic chums and friends.
Due to the ongoing and rapidly changing situation, I would like to reassure you that Studio 5 is committed to the well-being of students and customers, so I have taken some actions to limit the impact of covid-19. Studio 5 will be closed until notice is given.
Work will continue on existing orders and commissions. However new orders for 'Never Mind' (for example) will be processed as soon as is possible. I will, however, not be able to give precise delivery dates.

I recognise that many of my students will continue to require help and advice throughout this period, so I will try to continue answering questions etc as normal.
I am striving to maintain the usual level of service, however due to the actions I have taken to abide by Government advice, I can no longer guarantee prompt answers or up-dates.
I appreciate your understanding with this.
Thank you for your continued support.
Stay Safe
Please note there are other ways of doing things and opinions..... spelling and grammar. Please further note, the opinion of the author may change at any moment. This is due to having an open mind... of sorts.