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Detail uit accordeonboekje en verschillende manieren om bladgoud aan te brengen.
Detail from concertinabook and different ways of apllying goldleaf.
Detail from concertinabook and different ways of apllying goldleaf.
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Dit is een concertinaboekje dat ik maakte in 2015. Ik neem je mee door het werkproces. Zit je met vragen? Stel ze gerust. Ik antwoord met veel plezier! Onderaan vind je de tekst die me inspireerde om dit boekje te ik beginnen.
This is a concertinabook that I made in 2015. I will go through the working process with you. I'd be happy to answer any questions you have! At the bottom you 'll find the full text that inspired me for making this booklet.
This is a concertinabook that I made in 2015. I will go through the working process with you. I'd be happy to answer any questions you have! At the bottom you 'll find the full text that inspired me for making this booklet.
I found this beautiful text and started writing it in the left upper corner of my new concertina book. I think it was a good idea to save out a round space in the block and paint the pale blue dot that represents our big small world.
Then, I added a bigger illustration of the earth. In four concentric circles, I drew the names of well-known people of the world of music, science, arts and politics. I made a mixture of good and bad people because together they make our world.
After that, I drew the hand, a typical illustration from palmistry. I also filled in the small space between text block and the earth illustration with yellow lettering.
Now I needed something to put underneath the text block and I wanted some heavy letterforms in contrast with the light weight text block. I drew the first 6 letters of 'universe' and then put a big sideways S behind to fill in the remaining space. I used gouache in two different shades of grey.
There was still some space underneath 'univers', perfect for I looked for some lyrics with a connection to the whole: "I might be born too late, or in a country with different light, I always feel a little lost, though the mirror shows my face..." from a song by Ramses Shaffy, Dutch singer. The final touch was the date indication 'made in 2015'.
Pale Blue Dot: A Vision of the Human Future in Space by Carl Sagan.
“Look again at that dot. That's here. That's home. That's us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every "superstar," every "supreme leader," every saint and sinner in the history of our species lived there - on a mote of dust suspended in a sunbeam. The Earth is a very small stage in a vast cosmic arena. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot. Our posturings, our imagined self-importance, the delusion that we have some privileged position in the Universe, are challenged by this point of pale light. Our planet is a lonely speck in the great enveloping cosmic dark. In our obscurity, in all this vastness, there is no hint that help will come from elsewhere to save us from ourselves. The Earth is the only world known so far to harbor life. There is nowhere else, at least in the near future, to which our species could migrate. Visit, yes. Settle, not yet. Like it or not, for the moment the Earth is where we make our stand. It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we've ever known.”
“Look again at that dot. That's here. That's home. That's us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every "superstar," every "supreme leader," every saint and sinner in the history of our species lived there - on a mote of dust suspended in a sunbeam. The Earth is a very small stage in a vast cosmic arena. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot. Our posturings, our imagined self-importance, the delusion that we have some privileged position in the Universe, are challenged by this point of pale light. Our planet is a lonely speck in the great enveloping cosmic dark. In our obscurity, in all this vastness, there is no hint that help will come from elsewhere to save us from ourselves. The Earth is the only world known so far to harbor life. There is nowhere else, at least in the near future, to which our species could migrate. Visit, yes. Settle, not yet. Like it or not, for the moment the Earth is where we make our stand. It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we've ever known.”
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Ik krijg regelmatig de vraag hoe ik bij zo'n accordeonboekje te werk ga. Aan de hand van dit (nog niet afgewerkte) boekje kan ik dit aantonen, want het is niet zo lang geleden aangezet en ik kan alle stappen nog goed achterhalen. Om te beginnen neem ik op reis veel notities. Achtergrondinformatie zoek ik later op online. Hier ben ik begonnen met het schilderen van een detail uit een trompe-l'oeil uit de kathedraal Sainte-Cécile te Albi. Ik was werkelijk overdonderd door de vele muurschilderingen die ik daar zag. Aan de hand van de daar genomen foto's heb ik voor mijn boekje gekozen voor een eenvoudig ontwerp in grijstinten. Daarna tekende ik de tekst La Montagne noir en schilderde ik die in met gouache. Vervolgens kwamen de vuurwantsen aan de beurt. Daarvan had ik ter plaatse wat schetsen gemaakt: de hibiscussen bij ons vakantiehuisje zaten er vol van. Volgende stappen waren de naam van ons dorp bovenaan. de verklarende tekst over de muurschilderingen (gevonden online) en de namen van een aantal stadjes en dorpen die we bezochten. Ziezo, de eerste stappen zijn gezet, nog anderhalve bladzijde te gaan!
I frequently get asked how I proceed in making my concertina books. Well, using this new 'travel' booklet (not yet finished) I can demonstrate that because I started it recently and I can still figure out all of the steps. First of all, wherever I am, I take a lot of notes. When back home, I look up information online. For this book, I started painting a detail from a trompe-l'oeil from the Cathedral Sainte-Cécile in Albi (France). I was really overwhelmed by the many murals I saw there. Based on the pictures taken there, I chose a simple design in shades of gray. Then I drew the text La Montagne Noir and I painted it in with gouache. The firebugs came next. I had made some sketches on the spot: there were plenty of them on the hibiscus near our cottage. Next steps were the name of our village, the explanatory text about the murals (found online) and the names of some towns and villages that we visited. There, the first steps have been taken, one and a half page to go!
I frequently get asked how I proceed in making my concertina books. Well, using this new 'travel' booklet (not yet finished) I can demonstrate that because I started it recently and I can still figure out all of the steps. First of all, wherever I am, I take a lot of notes. When back home, I look up information online. For this book, I started painting a detail from a trompe-l'oeil from the Cathedral Sainte-Cécile in Albi (France). I was really overwhelmed by the many murals I saw there. Based on the pictures taken there, I chose a simple design in shades of gray. Then I drew the text La Montagne Noir and I painted it in with gouache. The firebugs came next. I had made some sketches on the spot: there were plenty of them on the hibiscus near our cottage. Next steps were the name of our village, the explanatory text about the murals (found online) and the names of some towns and villages that we visited. There, the first steps have been taken, one and a half page to go!
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Dit detail dateert uit een van mijn eerste accordeonboekjes uit 2001. Het waren toen nog echt 'oefen'boekjes waarin ik allerhande lettertypes en illustraties uitprobeerde. Je kan zien dat het mijn eerste pogingen waren om gotisch te schrijven. Maar ... ik ben trots op de illustratie van de glanzende kever!
This detail is from one of my first concertinabooks in 2001. They were really 'practice' books where I tried out different scripts and illustrations. You can see clearly that this was my first attempt to write gothic script. But ... I'm really proud of the illustration of the shiny beetle!
This detail is from one of my first concertinabooks in 2001. They were really 'practice' books where I tried out different scripts and illustrations. You can see clearly that this was my first attempt to write gothic script. But ... I'm really proud of the illustration of the shiny beetle!
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"What's in a name? That which we call a rose by any other name would smell as sweet..."
En toch, ik ben blij met al die mooie, poëtische, tot de verbeelding sprekende rozen namen. Wie zijn de mensen toch die deze namen verzinnen?
And yet, I am happy with all those beautiful, poetic, evocative names of roses. Who are the people who invent these names anyway?
En toch, ik ben blij met al die mooie, poëtische, tot de verbeelding sprekende rozen namen. Wie zijn de mensen toch die deze namen verzinnen?
And yet, I am happy with all those beautiful, poetic, evocative names of roses. Who are the people who invent these names anyway?
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Alles rondom mij geeft me inspiratie. Ik zoek het meestal niet verder dan het leven van elke dag. Hier gebruikte ik mijn Spaanse les als inspiratiebron: tellen van een tot dertig. Door het neer te schrijven in een traag, beheerst tempo kan ik het ook veel beter onthouden. En het is meteen ook een tijdsopname voor later.
I'm inspired by everything that surrounds me, usually not more than the everyday life. Here, my Spanish class was my source of inspiration: counting from one to thirty. By writing it down in a slow, controlled pace, I can remember it much better. And at the same time it is a snapshot for future time.
I'm inspired by everything that surrounds me, usually not more than the everyday life. Here, my Spanish class was my source of inspiration: counting from one to thirty. By writing it down in a slow, controlled pace, I can remember it much better. And at the same time it is a snapshot for future time.
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In "De Stille Kracht" van de Nederlandse schrijver Louis Couperus (1863 – 1923) wordt de ondergang van de Nederlandse resident Van Dyck veroorzaakt door zijn onvermogen om verder te kijken dan zijn eigen westerse rationalisme. Hij is blind en doof voor de sluimerende krachten van de Oost-Indische mensen en het platteland. De zwarte magie, vogelgeluiden, vegetatie, broeierige warmte en de mysterieuze, vijandige houding van de Javaanse bevolking blijken sterker dan de koele kracht van de kolonialen.
Dit detail uit één van mijn accordeonboekjes toont een kort fragment uit deze roman waar Couperus heel filmisch de natuur beschrijft, prachtig! Ik gebruikte de warme kleuren roodbruin en geel die me doen denken aan Nederlands Indië.
In "The Hidden Force", novel by the Dutch writer Louis Couperus (1863 – 1923), the decline and fall of the Dutch resident Van Oudyck is caused by his inability to see further than his own Western rationalism. He is blind and deaf to the slumbering powers of the East Indian people and countryside. The black magic, bird calls, vegetation, heat and the mysterious, hostile attitude of their Javanese subjects prove stronger than the cool power of the colonials.
This detail from one of my leporello books shows a short fragment from the novel where Couperus describes nature in a cinematic way, beautiful! I used the warm colours reddish-brown and yellow because they make me think of the Dutch East Indies.
Dit detail uit één van mijn accordeonboekjes toont een kort fragment uit deze roman waar Couperus heel filmisch de natuur beschrijft, prachtig! Ik gebruikte de warme kleuren roodbruin en geel die me doen denken aan Nederlands Indië.
In "The Hidden Force", novel by the Dutch writer Louis Couperus (1863 – 1923), the decline and fall of the Dutch resident Van Oudyck is caused by his inability to see further than his own Western rationalism. He is blind and deaf to the slumbering powers of the East Indian people and countryside. The black magic, bird calls, vegetation, heat and the mysterious, hostile attitude of their Javanese subjects prove stronger than the cool power of the colonials.
This detail from one of my leporello books shows a short fragment from the novel where Couperus describes nature in a cinematic way, beautiful! I used the warm colours reddish-brown and yellow because they make me think of the Dutch East Indies.
Bron: www.letterenfonds.nl/nl/boek/94/de-stille-kracht
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For those who don't speak Dutch: this is a short text, written by a wonderful Flemish writer. I'm really sorry, but I don't venture to translate this in English because I wouldn't do justice to it.
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Detail uit accordeonboekje nr. 8. Ik geloof dat ik binnenkort al aan mijn 50ste boekje begin. Ik startte met dit project in 2001 en ben dus bijna onafgebroken bezig met het maken van deze boekjes!
Detail of concertina booklet n° 8. I think I'm almost at my 50th one! I started in 2001, so that makes it 15 years of sustained bookmaking!
Detail of concertina booklet n° 8. I think I'm almost at my 50th one! I started in 2001, so that makes it 15 years of sustained bookmaking!
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Hier zijn enkele details uit een boekje over het Franse 'Musée du Sel'. Ik ben er nooit geweest maar zag ergens op foto het opvallende uithangbord. Dat was dan weer een aanleiding om een nieuw boekje te maken, dat verder niks met dat musée te maken heeft. Zo zie je maar: alles kan inspireren!
Here are some details from a book about the French 'Musée du Sel' (the Museum of Salt). I've never been there but saw a picture of this conspicuous sign. That was a reason to create a new booklet, which further has nothing to do with the Musée. You see: everything can inspire!
Here are some details from a book about the French 'Musée du Sel' (the Museum of Salt). I've never been there but saw a picture of this conspicuous sign. That was a reason to create a new booklet, which further has nothing to do with the Musée. You see: everything can inspire!
