These books began as large sheets with paintings or drawings, a common approach in my work.
They were then cut down to page size with further drawing and text added.
Title page for Midway, Life After Fifty. The book was made from a large sheet of watercolor paper, painted on both sides, then cut to make the pages, with added watercolor and gouache. Private collection.
Some of the pages are vibrant, some are more muted. Since the painting was so chaotic and the windows were so random, I used a more traditional grid to lay out the text, possibly imposing some order on my life.
A series of texts about reaching middle age, fifty or so. The windows were cut to solve a design problem I was having, but became a metaphor for time. Each double page spread is the present. We look through windows to see the past, but we never remember it all, and the windows on the right give us only glimpses of what might happen in the future.
Is it possible to have a unified life?
The cover is leather over boards, with embossed and debossed little squares and a wavy line, platinum hot foil stamping. I found a matching paper for the spine.
The book is made from one large sheet of watercolor paper, painted on one side with bright colors and the other side with a more muted palette. This pages alternate a color contrast as you read the book.
The other side of the sheet has a more muted color scheme and a different approach to line quality.
This book structure, signatures sewn onto an accordion, allows many of the pages to be seen at once, even if the book is in a case on exhibit.
Based on a book by Henry Petrowski, this book alternates between text and image, all done with pencil
One of the spreads from the drawing side of the pages.
