Fall is upon us

So I'm not exactly sure where summer went, but here in Seattle, it is decidedly autumn. From a light drizzle to sheets of rain, we've seen the whole spectrum over the last week. In addition, the blustery wind whips my hair around like I've taken a ride in a convertible with the top down. :)

In any case, here are a few of my new books that were made with fall colors.

The first is a book I made for my Auntie Cheryl for her birthday. I thought of all the paper that I had the large flowers on the green background was the most fitting for this particular relative. She is both vibrant, yet feminine which is reflected in this particular book. It is a cover bound book with green mohair book cloth from Talas (like all of my lovely book cloth) and the inside pages are a bright white 20lb text. I can't remember how many pages it was...:\ But I am pretty sure that the end pages were a bright yellow, also an aspect of my Auntie Cheryl.

So, like many of my purchases (much to the chagrin of my mother), this particular paper with goldfish on it was bought on a whim. And though I really like this paper that I got from fancy paper store de Medici Ming, I brought it home and saw that it was made by the conglomerate Paper Source. But how can you say no to bright goldfish? So I am resigned to really enjoy this paper (even if it is mass produced). This one was really to make for fun. I used a french knot for the binding in red, which I thought went particularly well with the gold--kind of Chinese color pair, I guess. It has 80 lb text on the inside and has red endpages. I'm currently thinking I might use this goldfish paper as endpages for a book with waves on the outside. :)


This last one is clearly fall-inspired, although I actually made it in very late August, as it dons a cover of gold and orange leaves that look like they may crunch if you hold the book too tight. This one was made to take with me to Bumbershoot, the annual music and arts festival in Seattle during Labor Day weekend. This books is 6 x 6 and filled with sketchbook pages because I knew that I'd be trying to draw a bit here and there while at the festival. It was bound using coptic binding, which I think is particularly fetching in this 3 x 3 configuration.

FYI, Bumbershoot is known for the music that's played there (this year Beck, Stone Temple Pilots, and Death Cab for Cutie headlined each of the days), but over the years I've been more and more impressed with the variety and quality of the other arts that are presented. This year I saw a panel of comic book artists (Adrian Tomine and the guy who did Ghost World), another panel of writers (Joshua Ferris who wrote How We Came to the End, and Chip Kidd--a renown graphic artist who specializes in book jackets--Jurassic Park or David Sedaris' Naked), a moving show of photographs (which is supposed to mean a show of photographs that was moving emotionally, not like moving pictures which I think are classified as movies), a poster show showcasing artists from Seattle and Tehran (the first of it's kind--last year it was Seattle and Havana), and of course Flatstock--one of the semi-annual conferences for poster artists (the other's at SXSW). Flatstock is one of my favorite happenings all year. For the last 4 years I've brought $100 in cash (to limit my purchases, otherwise I might go a little crazy) and taken home 4ish posters that really caught my fancy. When I get the chance, I'll take the posters out and photograph them so you can see too. They're pretty awesome. My two favorite poster artists in particular are Jay Ryan of Bird Machine (www.thebirdmachine.com) and Jason Munn of the Small Stakes (www.thesmallstakes.com). I've been following them for about 4 years and they are fantastic in their own right. The each have their very distinctive styles and I encourage you to look at their work--totally worth another minute of your day.