In addition to presenting my printed images as individual pieces, I have created a series of artist books based on my letter forms and using my prints in a novel fashion. Through my fascination with the printed page, I have been able to explore combining different facets of my printed images together in a book format and further expanding upon my use of surface, transparency and accentuated form by physically cutting out areas of by prints. The result is a preview and recollection of my images and a physical overlapping and revealing of forms through my cut prints. Letter Recognition is bound in a quilted book format, with the remaining books using an accordion fold method. In all cases, one has the chance to see the pages as double-page spreads or as one complete piece.
Inspired by my Letter Recognition woodcuts, my artist book Calligraffiti #1 uses letter forms inspired by Islamic calligraphy in a serial format. The background of each page has the matrix for my woodcut Calligraffiti #6 printed on its surface with black ink on Arches Black paper. All of the smaller letter forms are printed on Butterscotch Lotka paper.
This book can be seen in a hand-held format and as a flat image due to its quilted-fold binding style. Images for this book were also used in my Letter Recognition woodcut and Calligraffiti #6 and Letter Recognition constructed prints.
Using the cut out forms found in Calligraffiti #6, my artist book Calligraffiti #3 takes this concept one step further by seeing the fronts and backs of each page through the accordion fold pages. The letter forms resemble metal Islamic gates, embellished with fanciful arabesque shapes. Pacing in the book is created by the alternating paper colors and the addition of corresponding Letter Recognition prints, that correspond to the cut out calligraphic letters. Although the book is extremely fragile, when standing and under directed lighting conditions, the shadows created by the cut out forms play an active role in it’s presentation.
Using woodblocks made for Letter Recognition: Alphabetic Order that have been printed on Haruki Unyru paper I physically remove the paper surrounding floating strands of kozo fibers embedded within this Japanese silk paper’s surface to physically connect all of my printed images. The paper areas around each of the strands, including the borders of the prints ,were meticulously cut out to emphasize the patterned lines found within the woodcut images. Impressions of my woodcut Mayaglyphs were used as background images to highlight the graphic quality of the black and white letter forms and the fluid lines surrounding them.