Books On Books Collection – Jane Paterson

Blue Whale (2015)

Blue Whale (2015)
Jane Paterson
Self-covering accordion book. H140 x W155 x D10 mm (closed); W750 mm (open). Unique. Acquired from the artist, 15 April 2015. Photos: Books On Books Collection.

An acquisition early in the early days of this collection, Blue Whale forged the way for later acquisitions that painted with paper. At the time, the artist was asked how Blue Whale was created:

In answer to your questions about the processes I use, I should explain that I have a background in textile design and a great love for indigo dye.  Since starting making books I have experimented with dyeing paper in an indigo vat.  I use khadi and various mulberry papers that have excellent wet strength and allow me to use many of the decorative processes that I use with textiles.  I also dye card board from boxes and have exciting results tearing the wet layers apart. I made the sea in the Blue Whale book from fine paper that had partly disintegrated in the vat.  The cover was made by clamping khadi paper between 2 square blocks so that the dye seeped underneath in interesting ways.  The whales are made from dyed khadi. Artist’s correspondence, 9 April 2015.

Paterson’s technique in Blue Whale occupies a middle ground between collage and pulp painting. The way the artist has manipulated the nearly disintegrated, indigo-dyed fine paper to evoke the depth, surface and spray of the sea is remarkable. Additional examples of her work with indigo dye as well as other book art techniques can be found in the Artists Book Club Dove (ABCD) site.

Khadi is also the name of a papermaking company founded in the 1980s in India. Based outside the village of Tarihal near Hubli, in Karnataka, South India, Khadi runs a mill that manufactures the 100% cotton-rag paper. The company also works with suppliers in Nepal (GET Paper) and Bhutan (Jungshi). The process is described here and demonstrated here.

Further Reading

The First Seven Books of the Rijswijk Paper Biennial“, Books On Books Collection, 10 October 2019. A wide variety of art with paper and the form of the book.

Pat Gentenaar-Torley“, Books On Books Collection, 8 October 2020. Examples of pulp painting.

John Gerard“, Books On Books Collection, 13 August 2020. Book art and pulp painting.

Claire Van Vliet“, Books On Books Collection, 8 August 2019. Book art and pulp painting.

Maria Welch“, Books On Books Collection, 18 September 2020. Book art and pulp painting.

Books On Books Collection – Julie Johnstone

a book of tears (2006)

a book of tears (2006)
Julie Johnstone
Handbound with black linen thread, 5 sheets torn at both ends, card cover printed inkjet. Acquired from the artist, 12 December 2015. Photos: Courtesy of the artist.

This work and Point of View (below) were the first of three Julie Johnstone bookworks in the Books On Books Collection. Like much book art, these two depend on the interaction of verbal and visual puns.

Less: 1: Samuel Menashe (2009)

Less: 1: Samuel Menashe (2009)
Julie Johnstone; text © Samuel Menashe
Handbound with linen thread, 6 sheets, white cover with black lettering, black card sheet, white center sheet with poem in black lettering on recto, printed inkjet. H180 x W150mm. Acquired from the artist, 26 September 2017. Photos: Courtesy of the artist.

Johnstone’s un-improvable selection of Samuel Menashe to inaugurate her Less series in 2009 made that work a required item for the Books On Books Collection. Samuel Menashe was unmistakeable — in speech and on the page. Having heard his recorded poems, I knew the voice from the sofa behind me at the West Chester conference in 2006 was his. I can hear that voice every time these white, black, black-threaded, and black on white pages open.

The wordplay in Menashe’s poem is more complex than it seems at first glance — something which may have influenced Johnstone’s later visual play with tints, for example, 3% (2015).

Material|Immaterial (2012)

Material|Immaterial (2012)
Julie Johnstone
Handbound with linen thread, 12 pages, including cover. Eleven images, photographs of the shadows of trees and shrubs on city paving taken during the summer of 2012 and
printed inkjet on Bockingford watercolour paper 300gsm. H130mm x w175mm. Acquired from the artist, 12 December 2015. Photos: Courtesy of the artist.

Johnstone’s tint-based works (see further below) evoke a half-tone world so much that it is strange to find that Material|Immaterial is one of her few (only?) photograph-based bookworks.

Point of View: skyline tideline (2012)

Point of View: skyline tideline (2012)
Julie Johnstone
Single folded book designed to be read forwards and then upside down and backwards; made from two pieces of card, inner sheet of card torn to create wavy line. skyline: front cover title in cyan blue; tideline: back cover title in cyan blue. Printed inkjet on Bockingford watercolour paper 300gsm. Closed: H120 x W190 mm; open: H120 x W380 mm. Edition of 35, of which this is #35. Acquired from the artist, 12 December 2015.
Photos: Courtesy of the artist.

The shadows cast by the meticulous tears recall the larger-scale works to be found in the Rijswijk Papier Biënnale and Coda Apeldoorn.

1-16% (2013)

1-16% (2013)
Julie Johnstone
Handbound with linen thread, 16 pages, including cover; each page printed to edge with a tint of black, starting on the front cover with 1% and increasing by 1% with each page, through to 16% on the back cover; Bockingford watercolor paper 300gsm. H160 x W170 mm. Edition of 16, of which this is #10. Acquired from the artist, 26 September 2017. Photos: Books On Books Collection.

In the collection, this is the first work to use progression of tint, Johnstone’s signature technique.

10%|15% (2013)

10%|15% (2013)
Julie Johnstone
Created for the AMBruno Lines project on the occasion of the Whitechapel Art Book Fair 2013. Handbound with linen thread, 12 pages, including covers; each facing page, including cover, printed to edge with two blocks of a tint of black, one 10% and the other 15%. The size of blocks changes progressively as the pages turn, moving the unprinted ‘line’ up the page in 2.5 cm increments. Printed inkjet on Bockingford watercolor paper 300gsm. H190 x W180 mm. Edition of 25, of which this is #20. Acquired from the artist, 26 September 2017. Photos: Books On Books Collection.

In this work, the tints hold steady, and the technique of progression shifts to changing the print area. The unprinted line that rises up the page recalls Bodil Rosenberg’s Vandstand (2019), where the water level in acrylic rises page after page. Vandstand and 10%|15% display well together.

2-20%|20-2CM (2014)

2-20%|20-2CM (2014)
Julie Johnstone
Handbound with linen thread, 20 pages, including the cover; printed inkjet on Bockingford watercolor paper 300gsm. H240 x W280 mm. Edition of 10, of which this is #5. Acquired from the artist, 26 September 2017. Photos: Books On Books Collection.

With this work, the technique becomes one of dual progression — both tint and printing area. Starting with the front cover, the tint is 2% black in a block of 20cm height. With each recto page, the tint increases by 2%, and the height reduces by 2cm. On the last recto page, the block of 2% black is 2cm in height.

With each new work varying tint and/or print space, Johnstone recalls the creative approaches of the OuLiPo movement. Its authors such as Italo Calvino, Raymond Queneau and Georges Perec set themselves strange writing constraints, such as write a novel without the letter “e”. Johnstone may rightly claim the visual artist’s crown in the movement (still ongoing) with this next work.

3% [1-5] (2015)

3% [1-5] (2015)
Julie Johnstone
Set of 5 booklets in folder; each booklet handbound with linen thread, 16 pages including cover, printed inkjet on Hahnemuhle Sumi-e paper 80gsm. H150 x W120 mm. Edition of 20, of which this is #10. Acquired from the artist, 26 September 2017. Photos: Books On Books Collection.

As noted above, this work recalls the “simple complexity” of the wordplay in Samuel Menashe’s short poem. Just as the pouring pot “fulfills” its spout, so Johnstone’s working of tint and semi-transparent paper fills and fools the hungry eye.

3% [1]
Photos: Books On Books Collection

Booklet [1] serves as the baseline for the other four booklets. Each facing page (excluding cover and next page) is printed with a 3% black tinted rectangle (90 x 60 mm). As the semi-transparent page turns, the tint seems to vary. The precision of registration and sureness of touch across the pages amazes.

3% [1]
The effect changes with the light. Photos: Books On Books Collection

At first, Booklet [2] seems not to vary from [1], encouraging careful reading and looking to discover that every other page is blank in Booklet [2]. The choice of paper and tint as well as the “persistence of vision” combine to create the illusion that pages are printed when they are not.

3% [2]
Photos: Books On Books Collection

Booklet [3] extends the play of book [2] with an empty 3pt frame printed in 3% black on every other page to create the illusion that the next page’s block appears to fill it. Booklet [4] also extends the play of book [2] with a half block printed in 3% black on every other page to create the illusion of a darker or lighter block next to it due to show-through. This play within the boundary of the 90 x 60 mm rectangle takes a leap in Booklet [5].

3% [5]
The slight curving in the rectangles is due to how the booklet is being held. Photos: Books On Books.

Here in Booklet [5], the 3% block appears once on each facing page but shifts diagonally by 1cm either to the top and left or to the bottom and right. Now the eye is fooled into perceiving two differently tinted blocks printed off center one over the other. The pleasure in these works of book art lies in contemplating each page and the movement from page to page, back and forth.

Field (2014)

Field (2014)
Julie Johnstone
Handbound with linen thread, 16 pages, including cover, printed inkjet on Bockingford watercolor paper 300gsm.
H160 x W160 mm. Edition of 25, of which this is #14. Acquired from the artist, 26 September 2017. Photos: Books On Books Collection.

Like 10%|15% and 2-20%|20-2CM, this work proceeds by dual progression, but the print area changes horizontally rather than vertically. Each facing page (including cover) is printed with a tint of black in a block flush along its fore-edge. The tint begins on the cover at 2% in a 2cm block. On each page after, the tint increases by 2% and the block by 2cm. The final page presents a 16% tint and 16cm block.

red (2015)

red (2015)
Julie Johnstone
Created for the AMBruno RED project. Handbound with linen thread, two sheets printed with three images (including cover image); printed inkjet on Bockingford inkjet watercolor paper 190gsm. H190 x W180 mm. Acquired from the artist, 26 September 2017. Photos: Books On Books Collection.

In most of Johnstone’s work, the color blue appears most frequently as the alternative to tints of black. This work, created for an AMBruno project, proves the exception, albeit continuing with the technique of dual progression — here, around the still point of a vertical red bar. The barely perceptible tint of black on the cover deepens on the first facing page to such an extent that the red bar seems to shorten (it doesn’t). Then on the next facing page, the tint remains the same, but the blocks turn perpendicular to the red bar and do truncate it.

To paraphrase from her book below: “To read Julie Johnstone’s artist books is to become attentive”.

Further Reading

Bodman, Sarah. “Artists’ Books #34: The Book of the Sky – An Infinity of Pages“, A-N, 10 October 2018. Accessed 10 June 2020.

Johnstone, Julie. “Formations: A research residency in artists’ books at the Edinburgh College of Art Library“, The Blue Notebook, Volume 9, No.1, October 2014.

Johnstone, Julie. Zen and the art of artists’ books (Edinburgh: Essence Press, 2017).

Widger, Eleanore. “Julie Johnstone“, Scottish Poetry Library, 2019. Accessed 10 June 2020.