Baltimore Sonnets

If at first you don't succeed, try, try again. This has been my mantra for the past two weeks.  It began when my original Exodus carving (and design) didn't work out.   It wasn't the first time I had to destroy my work, however it was the first time I had to destroy work without a backup.   This whole project has been the most delicate and fragile project I have ever undertaken.  At any time, the whole project can be destroyed, and at times, this is exhilarating.  At other times, it is very scary. I had some linoleum left over (from the large roll I began this project with) and I was able to create an entirely new cover for Exodus.   The new image looks much better than the original, and  if I didn't try, try again, I would have never created it.

Linocuts.  Why I love them!  The challenge of the carving.  Experimenting with ink colors and viscosity. Capturing the mood.

Every book needs a Cover One of the trickiest parts of making this 12 volume series of unique books has been the design of the covers. I knew from the beginning that I wanted the covers to be created from wood.  The inspiration for my designs were the beauty of antique violins and guitars.  Wood, a material that comes from our soil and has a previous life, also offers symbolic connotations. Each piece of wood is unique, even if it is cut from the same tree.  I chose the woods that have lots of life and character.  I wanted to tap into the temperament of their grain, luster, and imperfections. Like the unique pieces of vintage and rare African textiles, the unique grain of each piece of wood has guided my creative process and inspired my linoleum block designs. Each mixed media fiber art book is unique, with its own poem, set of images, and textile designs.  However, the covers have the same width, depth, and overall construction.  Perhaps...

Behind the Seams This week I want to give you a peek behind the seams. Show you what the fabric looks like on the backside.  It is important to have even seams, no more than a 1/4 inch.  This allows for a smooth book page when I am binding. Before printing on the textiles, I always do a lot of sewing.   The more time I take at this stage, the better control I have of the printmaking process later on.