30 Paper Weavings in 30 Days

I recently completed a 30 day online class run by Helen Hiebert called Weaving Through Winter. The class had a very open structure, Helen did a 30 minute video introduction each week on a theme and workshop participants could take the concept and run with it. We posted pictures of what we made and offered comments and suggestions to each other. It was a wonderful daily practice and meditation. If you want to see all 30 of my pieces check out my Instagram posts at @gina_pisello. I will show you my favorites below and tell you a bit about what inspired them.

Enjoy!

This is one of the last pieces I made in class. I was inspired by weaver Kay Sekimachi and light streaming onto the red paper before sunset.

This weaving went through several stages before becoming the piece at the bottom. I tried folding an origami bowl with it, but the shape and size of the weave was wrong for this particular origami piece. I would like to try again with a different weaving pattern.

I wove abaca paper strips together then folded it into a Tomoko Fuse spiral. I love the way this turned out.

A simple weave around a silhouette.

I didn't know what to weave on this day but found inspiration in torn paper torsos I made years ago that sit framed on my desk. This one was hard to weave, but I really like the results.

This is a Danish heart basket, commonly made at Christmas time. I used folded paper and wove a love letter with a Japanese paper bag for this simple weaving. There are many more designs for this if you search Pinterest.

One week of the course was about weaving shapes. I wanted to do a simple circle and the tension of the weaving caused this to curve nicely off the page.

I experimented with hexagonal weaving trying to work out the formula for doing so. Turns out quilters have a way of doing this called triaxial weaving. I liked building this out from the center, but want to try doing it the "right" way sometime soon.

The completed hexagon weaving.

Another hexagon weaving.

I remembered that Claire Van Vliet and Hedi Kyle invented ways to weave books together in the excellent book Woven and Interlocking Book Structures. This one is my favorite with its crossing shapes and locking structures. I created the pages with eco-dyed paper.

This was an early weaving from the class. I wanted to explore strips that were angled. I like the optical illusion of it.

This is one of the later weavings. I cut warp strips around the leaves on the eco-dyed paper. Then I cut weft strips one at a time to bend around the leaves. I wanted to enhance this central image. 

Nesting Blizzard Boxes

Hedi Kyle and Ulla Warchol have written a wonderful book called The Art of the Fold.  My last blog post was about samples I made from the book. Today, I want to present a modified version of one book that I have come up with. I will introduce other works I have made using Hedi's structures as a jumping off point in a later post. I am including a diagram of measurements, divisions and how I folded this new work. You will need lightweight, but sturdy paper that measures 6 x 18 3/8 inches. You will also need to score many of the divisions between sections. Do so accurately and you can fold this project. I used Hedi's directions for folding the boxes and added the extra "bridge" section between boxed so that they can fold inside each other. Each box gets slightly wider to accommodate the precious one.

I hope you try it and let me know in the comments what you think.

Enjoy!

Diagram showing how to divide the paper before folding. Each 3 square division represents 1 inch. The first 8 divisions are exactly 1 inch each. The next 2 are 1 1/16 each followed by three 1 inch sections ( labeled side, bridge, side). Finally there are two 1 1/8 sections followed by three 1 inch sections. I made a model of this on graph paper to make it easier to score the lines. Then I moved on to decorative paper.

Here is the structure folded and ready to pop into boxes with bridges between them.

Here are the boxes from the back showing the extra section between them. This extra paper is necessary to act as a hinge to allow each box to fold inside the next one.

The boxes beginning to be nested.

All the boxed are nested inside the largest one. You can make this with more box sections by increasing the width of each box by 1/8 inch. Good luck.

The Art of the Fold

Hedi Kyle

was my favorite book artist before I even knew her name. I learned several of her structures early on in my book making career and loved them for their versatility. You can imagine how excited I was when I heard she was writing a book with her daughter Ulla Warchol that I could peruse at my leisure. I was also hoping there would be new structures to try. The book arrived on October 2 and I got busy making samples and experimenting with structures right away. I was enthralled by the easy to follow diagrams and the paper suggestions as well as information on changing dimensions. Below are pictures of samples I made using my stash of papers and book cloth.

Enjoy!

My samples so far from this amazing book!

My variation on the tree fold introduces a long leaf followed by a short one and then a long one. That way half of the leaves (pages) are hidden from view. The possibilities for a book are endless.

The same book open.

The Blizzard Box invented by Bill Hanscom and Hedi Kyle. I also make a square version (in blue).

The Blizzard boxes nested and holding some of my sea glass.

The Star Box is very satisfying to make as Hedi's dimensions give you a perfectly nested box and cover all in one.

Three variations of the School Book Wrapper, 2 with pleats and one without. I used book cloth to make these as it is sturdy and folds nicely around journal inserts.

This structure was new to me and I loved playing with the pop-up. I ended up creating a shape that I could fold into cranes.

I love the simplicity and creativity of this book. The triangle structure is unusual, but it fits so nicely into the covers. I can't wait to use it for an actual artist's book.

Another simple, but effective book structure is this Pocket Accordion with Separate Cover. I had fun coming up with the cat closure.

The Crown Greeting Card is lovely and easy to make.

I have made many Blizzard Books over the years; it was one of the first Hedi Kyle structures I learned. I never thought to create this kind of structure though. Thank goodness for Hedi and this book!

The Telescoping Ziggurat was a new structure to me and I enjoyed folding it and creating two pieces from one structure by cutting the very long strip of paper on the diagonal so that it rises up like a tower.

TInception: or Binding a Tin into a Book

I ordered some beautiful eco-dyed silk noil from Tierney Barden last week and she sent some extra goodies along in the package. One of them was a little yellow tea tin and when I saw it I knew that I wanted to try binding it into a book. I got the idea from Andrea Matus DeMeng in her Propsero's Books class last month. When she was teaching us the coptic stitch she said she had bound a mint tin into a book. I was intrigued and wanted to try it myself.

My daughter Lila saw the first book and joked that I should bind a tin book that fits inside another larger tin and so on, hence the title of this blog and the title of the book she inspired: TInception.

I hope you like the pictures.

-Gina

Mica and Tintype photo cover for my first tea tin bound book.

Coptic stitch is used to sew the signatures and tin together.

Book parts ready to be sewn.

The finished book. I actually resewed this book (not shown) as I made some adjustments on the second one that I wanted to incorporate in this one as well.

Signature on left and tin on right.

Back of the tin and the next signature.

The tin contains some bits Tierney sent me and 3 pamphlet stitched booklets.

Tin contents.

Another signature in the book. I like using vintage papers and photos to give books a sense of time and place.

More book pages/signatures.

TInception; for each book level you descend it becomes an order of magnitude harder to bind! The top level book measures 4 x 2.5 x 1.5 inches.

The bound tin (right).

Book two inside book one. This book measures 2 3/8 x 1 5/8 x 3/4 inches.

The tin bound in book two (right).

Tin book three measures 1 3/8 x 1 3/4 x 1/2 inches. I could only put on a front and back cover before running out of room in the larger tin. It was still the hardest one to bind.

All three books showing their relative sizes.

The 3 little books bound and nestled inside the final tin.

All 3 books showing the photos and mica covers.

The binding of each book.

I used mica and antique writing from autograph books or inscriptions from old books as the back covers. I love the way the natural mica has inclusions that look like ink spots.

How to Cut and Fold a Weekend

I spent a hot and fun weekend with a wonderful group of fellow artists and my dear friend Bhavna Mehta cutting, folding and playing with paper. Bhavna is a patient teacher who always takes this everyday item to new heights with her cutting techniques. The workshop focused on cutting and folding paper which created some lovely effects. Everyone made the same cube, frame and cuff projects, but the diversity of results was stunning and inspiring. Please check her Instagram feed for pictures of other people's projects and see mine below. I am off to cut some more!

-Gina

The completed planetary system cut box piece.

The cube unfolded and partly cut.

The finished cube,

Beginning to cut the ring and cuff piece.

Many erasures lead to a design I am happy with.

What remains.

The cut cuff.

Wearable art.

My framed insert so far. (Front)

All the cutting left to do. (Back)

Late day sun creating interesting shadows behind this piece.

Another view with different shadow effect.

Prospero's Books

I recently spent 5 days in Idyllwild, CA at their Art Center taking a class from Andrea Matus DeMeng , intriguingly titled Prospero's Books. We had an ambitious plan to make 4 different books and decorate a wooden box to hold them all in just 4 days! It was a busy and creative time and I didn't finish everything there. I am still not really finished, but here is my version of Prospero's Books so far.

Enjoy!

-Gina

Prospero's Books: The Book of Harsh Geometry, The Book of Mirrors, The Primer of Small Stars, and The Book of Architecture and other Music.

A different arrangement of the books.

The Book of Mirrors, coptic stitched with folded signatures and single sheets bound together.

A page spread in the Book of Mirrors.

The Canadian binding was used for the Book of Architecture and other Music.

A page spread from the same book.

The Primer of Small Stars is of course a small book bound using long stitch.

The case bound Book of Harsh Geometry resonates with me as Geometry was my most difficult class in high school. I barely passed. I also find case binding difficult so they work well together.

Page spread from Harsh Geometry.

The Book of Water, long stitch binding.

I used plastic sheets to create this book's pages as I wanted the contents to look like water.

Mica Book

Making a book with mica pages presents some challenges. If you use natural mica, you can't glue or tape it as the top layer will simply pull away and leave the rest of the mica sheet unattached.  There is also the issue of binding a single piece of mica without a center crease to sew into. One solution is to use Keith Smith's Sewing Single Sheets method, but I don't like sewing if I can fold instead. So, to make my book I used Beauty in Use's slot binding method shown in Claire Van Vliet and Elizabeth Steiner's  Woven and Interlocking Book Structures. The pages vary in size and width, with the bound edge and bottom squared up. This gives the book an irregular top and fore edge, which I like.

Hope you enjoy!

-Gina

Preparing the binding strip.

Mica ready to have the corners cut.

In the middle of adding the mica to the binding. This method uses slits cut into the paper as well as the corners of each page. They go in opposite directions and make a perfect fit when bound.

The finished book. I love this kind of mica with red, blue and black inclusions. It looks like ancient writing or a secret star map.

A top view of the book.

The end.

Shows to See in SD

I am honored to be included in the Mesa College Gallery juried show "Art That Cuts" opening April 12. There was a write-up in the San Diego Union Tribune that you can read here. I created a new piece for the show that went through some revision before making the cut. Below you can see some of the missteps I took along the way to the finished piece.

And now for a bit of art philosophy... When I make a piece of art, especially something new, I have to make lots of decisions about size, color, structure, etc. Yesterday I finally started working on a book structure that I have been putting off. It occurred to me that the decisions I made were probably not the same decisions I would have made had I worked on it sooner or later. In other words, the art I make is time and place dependent. I make certain decisions today that I may not make tomorrow or yesterday. Making a specific piece of art is temporal as well as physical. Okay enough philosophy. Onto pictures...

Enjoy!

My first idea was the branches at the top of this image. Then I tried the curving shapes in the foreground. I didn't like either one.

Next I tried the curve running across the folds instead of being defined by the folds. I didn't like this either.

Next I sketched ideas for cutting the triangular sections above. I finally decided on the shape on the left that looks kind of like a dragonfly wing. This is a cut out that I have used before on a different spiral and I was trying to avoid repeating myself, but I couldn't come up with a better way to fill the space.

My final cut paper has the wing shapes cut out along the central spine of the piece.

Here is the finished folded and sewn piece titled "What Remains."

It looks best in motion.

Sculpting Dyed and Painted Papers

I have been eco-dyeing paper for a few weeks. I also played around with another Leslie Marsh technique which uses paint to print leaves onto black paper. With lots of paper piling up on my work table I decided to turn some of them into a paper sculpture. Here are the results.

Enjoy!

Some of the painted leaf papers. Mom and I used Ranger Dylusions paints and a gel press plate to make these. Roll paint on the leaves, brayer a contrasting color on the gel plate, apply the leaves, place black paper on top and press. This technique is so fun and fast that I made about 20 pages in one sitting. 

I used the painted leaf papers to make the book spine. In my other blog post about this structure I used a single sheet of paper cut and folded to make the spine. Here I used a different sheet for each section then used leftover painted paper as hinges to hold them together.

I used the pale Texoprint paper from week 2 ago for the folded inserts. 

I like the contrast of the dark and light papers.

This is the finished sculpture. I love the shapes and colors and subtle leaf patterns everywhere.

Still Eco-Dyeing: Week 3

I am still playing around with eco-dyeing a month after taking Leslie Marsh's workshop. I usually get distracted by a shiny new technique, but I think this one appeals to my science brain. I am experimenting with different papers, plant materials and water baths. I just want to keep trying out new combinations. Here are the results from this week's batch.

Enjoy!

I used Arches Textwove and Somerset Book paper for this week's project. I cut the large sheets (20 x 26) into 3 long strips, sprinkled leaves on top and rolled them onto my copper tubes. They were tied with twine and boiled for 1.5 hours in water, vinegar and Ranger Distress dye (Vintage Photo). 

1. Spanish moss, onion skin and eucalyptus leaves sprinkled on Arches Textwove.

2. Liquid amber, spanish moss and eucalyptus leaves on Somerset Book paper.

3. Onion skin and liquid amber on Arches Textwove.

The papers still wet from dyeing are number 3, 2, and 1 from left to right. The Arches came out the best again with the Somerset looking pretty, but pale in comparison. The onion skin surprised me with its orange-brown color. I was hoping for purple. The edges of the papers did come out purple so that may be where the color went. The liquid amber seems to be very yellow in the recent batches I have made. I continue to enjoy the process and the results.

Here are the finished papers, cut down and folded to fit in my journal.

 Please check out my next blog to see what I made with some of last week's papers.

Adventures in Eco-Dyeing: Week 2

I am still fascinated with eco-dyeing and spent time making two different batches of paper. I am playing with paper types and ways of dyeing. Here are the results so far.

Enjoy!

Method 1

This dyeing process involved placing leaves and flowers between folded sheets of watercolor paper. They were sandwiched between two ceramic tiles and boiled in water and vinegar for 1.5 hours. RIT dye (Jeans color) was added 10 minutes into the steep time. 

Issues with this method: 1. The color faded quite a bit after the sheets dried so I used Distress Micro Glaze to bring up the color and seal the pages. 2. The center folds on the pages were weakened by the boiling process. Several pages tore either while wet or after drying. 

Conclusions: I like this method of dyeing, both with the addition of the blue dye and sandwiching the paper flat instead of rolling it. There are no string marks and both sides of each page have good coverage with leaf shapes. Also the open pages are mirror images which makes interesting patterns.

The journal I made from the blue and eco-dyed papers.

Method 2

This trial was more like the way we dyed our papers in Leslie Marsh's class. I made cooper tubes from some cooper sheeting I had lying around and stacked paper with leaves then rolled them up around the cooper. I placed a large leaf on the outside of each bundle before rolling so that there would be vegetation on the outside instead of just string. I used 3 kinds of paper in this experiment to see how each would take the tannin and color from the vat. I used Liquitex Muted Pink dye to color this pot as well as eucalyptus bark.

Issues with this method: 1. Rolling the thicker, cover weight paper caused it to wrinkle and tear. 

2. Some of the paper took the dye and tannin well and some didn't. 

Conclusions: I like this method for the thinner paper and I can use a smaller pot and still dye large sheets of paper without creasing them before boiling. 

Dyed paper while still wet. 

These strong colors are on Arches Textwove and cover weight Neenah paper.

These very pale papers were dyed at the same time as those above, but this is Texoprint paper and it didn't take the colors as well. I kind of like the ghost-like prints though.

Cover weight paper dry.

Arches Textwove paper dry.

Texoprint paper dry.

Dyeing Paper and Workshop Pictures

I took a workshop last weekend with Leslie Marsh and she taught us how to eco-dye paper using leaves, onion skin and water dyed with walnut shells. I have wanted to try this for some time and it was so easy and thrilling to see the results that I wanted to try it at home. I looked up ways to make dye from natural materials and found this site. I made 3 dyes: avocado skin, avocado pit, and pomegranate skin. My favorite is the avocado pit as it makes a delicate pink dye. The pomegranate skin was supposed to be maroon, but came out yellow instead. Here are some of the dyeing effects I got from the three dyes.

Enjoy!

Avocado pit dyed papers. The small one was stamped and clear embossed before dyeing.

Avocado skin dyed papers.

Pomegranate skin dyed papers.

Some of the ephemera I dyed using the three dyes.

Trying out different techniques. This one was dipped in a puddle of dye, dried and dipped again. I repeated this 3 times, drying between each application of dye. I like the details and pooling this produces.

This paper was dyed with avocado pit dye then dried. Then I used a spray bottle with the same dye to get droplets on the paper. I dried the paper immediately with a heat gun so the drops wouldn't spread out and disappear.

This paper was dyed with avocado pit dye, dried, stamped and embossed then dyed again with avocado skin dye. I think this one is my favorite. I like the way the embossed part resists the second layer of dye and shines while the non-embossed paper is dull. It's a nice contrast.

Eco-dyed papers from Leslie Marsh's workshop: Stamped Nature Bound.

My workshop book in pieces before I coptic stitched it together.

Making Leather Journals and Handmade Inserts

I have been beguiled by the journal keeping craze that is everywhere currently. Why not? I love making books and I have all kinds of papers appropriate for journal pages. Now I just need to put something in them...

Here are picture of my process for making a leather bound journal (8.5 x 5 inches) and inserts using things I have in my studio. Enjoy!

Supplies to make a leather journal. (Leather, elastic, inserts, washi tape on acetate sheet)

Some notebooks I already made with different kinds of paper inserts.

Notebook cover with pockets made from Graphic 45 cardstock

Cut the paper to 8.75" x 12". Fold up the bottom part at 8.25 inches. This creates a pocket that is 3.75 inches deep. Cut a V notch in the middle as shown.

I got this piece of 8.5 x 11 inch leather at Michaels. It is the perfect size for this journal.

Cut paper inserts (I used 12 sheets as this Tomoe River Paper is very thin) to 8.25 x 8.25 inches and fold in half with the grain. If you are using thicker paper like watercolor paper you may want to limit it to 8 sheets, which folded in half gives you 32 pages.

Make a template to create sewing holes in the inserts and cover paper. For this project, I measured in 1.25 inches from the top and bottom and made a center hole at 4 1/8 inches. Then I used an awl to poke the holes.

Place the template in the center fold of the pages and poke holes.

Use double stick tape to tape up the sides of the folders in the insert cover. 

Pockets are complete.

Put holes in the cover the same way you made them for the pages and cut a piece of waxed linen twice the length of the pages (16.5 inches)

Sew the pages and cover together using the

Pamphlet stitch.

The insert is complete.

To finish the cover you need to make holes in the leather spine using a screw punch. I used a 2.5mm bit and placed three holes at the top and bottom and one hole in the center. The Center hole is located 5.5 inches in from the left and  4 1/8 inches down from the top.  The top and bottom holes are 1/4 inch up or down from the edge of the leather and placed at 5, 5.5, and 6 inches from the left edge. This creates a 1 inch spine with plenty of room for 4 inserts.

Screw punch and leather.

I used elastic from the craft store to bind my inserts. Start at the top left hole and come in from the outside of the cover. Leave a tale and run the long end through the adjacent center hole to the right. Then go down to the bottom of the cover and go out through the center hole and into the hole on the right. Go to the top and out the right hole and back through the center hole. Then go down to the bottom of the cover and out the center hole and in the left side hole. Tie the two ends of the elastic together in a square knot. Trim the excess elastic. You will need about 36 inches of elastic for this and you want to pull it taut. It should buckle the leather

slightly

so that there is some tension when you place the inserts inside.

Use ~14 inches of elastic for the center hole loop that will keep your journal closed. Tie a knot in the ends and insert the loop from the inside to the outside so that the knot is inside the cover.

The finished journal with inserts.

My three handmade journals!

Penland and Paper

I have been away from the blog and home for a while, but I am newly inspired thanks to an amazing trip to Penland School of Crafts. I was encouraged to take this trip by two good friends and it was worth every second and every aching muscle. I am back home and more inspired than ever by paper and its possibilities when it comes to folding, cutting and shaping it. A huge thank you to Matt Shlian our teacher and all the wonderful people in the Paper Sculpture class.

Here's a look at some of the things I played with over the two weeks. Enjoy!

-Gina

Experiments with pleat folds that radiate out from the corners.

Finished Class group project. Matt's design.

The gem shapes I cut out for our group project.

Dramatic lighting on the class project.

Preparing to fold a spiral. I wonder how the gold will turn out?

Spiral with gilding.

Another spiral with sewn edge.

A foggy morning before class.

A small bit of 4 sided pleat folding with a twist in the center.

Tomoko Fuse spiral from Mel's book.

Matt's sample radial fold. I am still working out how to do this.

The Fibonacci spiral using Matt's technique for creating a curve. Translate it to a large sheet and fold the pleats.

Alternating angles create an arch.

The Books classroom at Penland. We were lucky to be on the ground floor where it was relatively cool most days.

A deer welcomed me on the first evening.

Space Dynamics Altered Book

I have been playing all weekend with pages for my latest altered math book. This one is titled Space Dynamics. I used some of the ideas I developed recently for folding curves and spirals on page spreads. I think the results are dynamic, just like the title says.

Enjoy!

-Gina

New page design folded on the diagonal.

Nesting pages to see how they interact.

More nested page samples.

Space Dynamics altered book finished.

Side view of the five nested pages.

Space Dynamics with her sister Vector Analysis.

Altering Old Math Books

If you follow my blog, you know that I have been working with spirals recently (okay, obsessively). I took a break to clean out the studio, but now I am back to work on altering a set of math textbooks using spirals. Yesterday I played with some new ideas for keeping the spirals attached to a two page spread. I plan to alter the pages, nest them into 2-3 page signatures, and sew them on tapes. Then I can glue the tapes back into the covers and create dynamic books. The pictures below show my experiments so far.

Enjoy!

-Gina

Three pages nested into a signature.

Spiral Play

The more spirals I make the more ideas I have for modifying Tomoko Fuse's original designs. Here are a few samples I recently created and my notes on them.

Enjoy!

-Gina

Lots of sample spirals.

Variation #8 and a dress idea.

Variation #9. I really like this one.

I haven't made #10 yet, just described it. #11 has two forms shown here. One is flat (11b) and one pops up (11a) depending on how I treat the center of the spiral.

Cut and Fold in Black

I have wanted to try cutting a design in paper before folding it into a spiral and today I finally had the time to sit down and do it. I will let the pictures speak for themselves, except to say thank you Bhavna for teaching me to think about cutting as positive and negative space. Your teaching made this what it is!

Enjoy.

-Gina

The finished spiral.

Cutting the first panel with the tools of the trade.

All the cutting is done.

Partly folded spiral

Finished spiral. The paper is black on one side and silver on the other. It makes a nice contrast.

Playing with Spirals

I enjoyed making Vector Analysis so much that I decided to play with the basic spiral from Tomoko Fuse's book and see what kinds of variations I could create. I also wanted to make some spirals from large sheets of paper. Here are some of the results.

Enjoy!

-Gina

Many spirals folded on graph paper. The straight lines make folding easier and the paper is inexpensive as a test surface.

Notes on variations of the trapezoid spiral.

Good quality, thin Japanese paper ~ 24 x 36 inches being forded.

The paper was so large and thin that I had to fold differently than for the small 8 x 12 samples.

The finished spiral. I invented the turn in that gives it a leaf shape at the top of the picture. It was a happy accident. The finished spiral is 11 x 12 inches.

"Vector Analysis" Altered Book: part 2

After consulting with a couple of artist friends (Thanks Mom and Bhavna for the advice.) I decided the altered book I blogged about two weeks ago needed something more to make it complete. First, I added paper from one of the original book pages to the spine area to cover up the dark brown. Then I had an epiphany one night and realized I could make a spiral to fit into the spine. I worked on a prototype and it fit! So I made a few more using strips from the book's pages. In the end I needed 7 pages or 56 inches of length to make a spiral that measured 9 inches long. Below are pictures of the strips being folded with before and after pictures of the altered book.

Enjoy!

-Gina

The strip on the left was the prototype. I unfolded it so I could repeat all the measurements and scoring in the correct orientation.

Here are the first 5 strips creased.

Before the spine was decorated.

How the spine looks now. The center spiral is really 7 small spirals joined together.

Before the spiral.

After the spiral was added.

More views showing how all the spirals interact.

Before the spiral.

After the spiral was added.