GALLERY
photos | crystal nykoluk, debra frances plett
The Stone Diary Project
T
houghts, words, ideas, and dreams; personal
journeys are chronicled through journalling.
The handwritten word takes something in-
tangible and allows it to exist physically to be picked
up, held, and contemplated. Writing is communica-
tion and the bound book serves as a means of pre-
serving and carrying messages forward.
The Stone Diary Project connected me, as a book-
binder, to 16 Manitoba ceramic artists who would
create stone vessels in which to practise personal
journalling. Precious and secure, yet ultimately frag-
ile, the resulting objects are meant to invoke connec-
tion, and foster a sense of contemplation.
The initial ideas for this project came together
the way great ideas usually do: a comment here,
a whisper there, thoughts allowed to simmer. You
let it sit for a while and then something indefinable
transforms it and you have something so powerful it
becomes hard to contain.
by Debra Frances Plett
The offhand comment from an instructor about
being open to new ways to explore unique materials
in bookbinding was the initial impetus. The idea per-
colated in my mind and the search for new, challeng-
ing materials began.
I experimented with commercial ceramic tiles, but
after attempting to drill holes, and burning through
a dozen diamond drill bits on my Dremel, it occurred
to me that a ceramicist or potter could make the cov-
ers from scratch with the holes built in.
With this in mind, I approached Winnipeg ceramic
artist Dawn Chaput and asked her to make a pair
of tiles to serve as book covers. And this is how the
Apple Blossom book, the catalyst for The Stone Diary
Project, came to be.
When I brought Dawns book to the Winnipeg Art
Gallerys CRAFTED Show and Sale, Crystal Nykoluk,
Above: Candace Ring: Floriferous.
book arts arts du livre canada 2017 vol.8 no.2 11
another Winnipeg ceramic artist, saw the book-and-
ceramic cover collaboration and was entranced. She
immediately realized the potential for a larger scale
collaborative project and, with her characteristic
energy and enthusiasm, began sharing the idea with
other talented ceramic artists in the building. The
project took root. Two months later the invitational
call was put out and the artists got to work.
While bookbinding and ceramics are very differ-
ent practices, we soon discovered that there were
several connecting points. Both practices are rooted
in ancient methods and both result in functional
Poster for the October 2017 exhibition.
objects that feed us in different ways: the book be-
ing a container for lifes meanings and a way to re-
cord, learn and remember; and ceramics, for the safe
storage of sustenance. Both fulfill spiritual as well as
physical needs.
However, as the two practices intermingled we dis-
covered that not everyone spoke the same language.
The 16 ceramic artists interpreted the project in dif-
ferent ways. A dialogue began between the ceramic
12 book arts arts du livre canada 2017 vol.8 no.2
artists who created the covers and me, the book-
binder, with the biggest challenge coming from the
need to understand each others craft.
How do ceramic artists create? How does a book-
binder bind? The key has been communication, ex-
perimentation, and trust in pursuing the unknown.
We needed to rid ourselves of the concept of perfec-
tion and allow the project to thrive on intuition, cu-
riosity, and the ability to think outside the box. This
sense of forging new territory sparked a bright flame
in everyone involved.
As a bookbinder, Im especially drawn to histori-
cal bindings. I am always looking for new ways to
bring historical structural and design elements to the
books I make today. All the books in the Stone Diary
Project are bound using the Coptic stitching method.
I initially chose this structure as a starting point
because of its ability to showcase the covers. Along
the way, I was surprised to discover how versatile
and resilient this binding is perfect for ceramic
covers since clay is not predictable and the result is
permanent.
The invitational call specified a size of four by
four inches, however, some fronts and backs were
completely different and challenged my idea of hav-
ing perfectly aligned pages. For Crystal Nykoluks
covers, I started by placing them back-to-back and
tracing them as one continuous unit, which I cut out
and folded. The resulting template was really inter-
esting and I realized that having the pages overlap
in this way could be a good design. However cutting
each page would have taken forever and had the po-
tential of just looking sloppy. I decided to outline a
basic shape onto each page with my awl and cut it out
with a generous border. I then took a lighter and be-
gan to burn the edges, allowing the flame to creep to-
wards the outline. I became fascinated with the edge
that the fire created. The pages became unique but
followed the basic shape of the front and back. When
folded together, the resulting effect was an exten-
sion of the richly textured surface that Crystal had
created on her covers.
Candice Rings book (previous page) provided me
with a further opportunity to stretch my concept of
Crystal Nykoluk: Protecting the Heartwood..

how to make a book. After toying with several ways

to cut the paper I realized that the best way would
again be to cut each page to match the outline of the
covers. However cutting around the curves looked
sloppy to me. To correct this, I used a narrow sanding
stick to create a smooth, rounded finish that compli-
mented the elegance of her covers.
Another challenge came with Jessica Hodgsons
book which had a very definite design aesthetic based
on work she had done in her Stratum series. I wanted
to incorporate her ideas into the overall design of the
book. The lower layer or stratum of her covers has a
rough, earthy texture and the top has a very smooth
porcelain finish so I created a lower stratum for each
of the six signatures using the richly-textured, wal-
nut Cave paper. Again, I used fire to help create the
uneven and seemingly random outlines. As I laid out
each of the stratum pieces I marked the central spot
where it would be visible on the spine so that, when
folded, the front cover would connect with the
back cover and create one continuous strata.
For aesthetic purposes I added linings to the
spines, using paper from St. Armand, Cave Paper,
and my own handmade kozo. In Chrystal Nyko
luks tiny book, I included original artwork by
Winnipeg-based artist Sue Gordon as well as im-
ages from an old book I found on my travels in South
America.
In some cases, where the holes in the covers were
quite large, I added a liner of thin Italian leather to
each signature. This added stability to the overall
binding as well as an opportunity to incorporate an-
other texture into the design.

book arts arts du livre canada 2017 vol.8 no.2 13

Jessica Hodgson: Stratum Diary.
For several of the diaries I found that aging the
paper with yellow onions, tea, or coffee would fit
the overall tone of the book. This was particularly
true of Chris Pancoes book Cher Ami. I immediately
sensed that there was a story behind the covers and
in researching Cher Ami was fascinated to learn
the story of this famous carrier pigeon used during
World War I to carry messages back and forth across
enemy lines. I aged the papers and included one of
the actual messages that Cher Ami carried.
All the diaries are filled with quality drawing
paper Strathmore 400 Series in 80 lb. and 100 lb.
weights, Nideggen, and Hahnemuhle Ingres. Adding
a folio of 130 lb., watercolour paper to each signa-
ture added strength to the overall text block and
helped to balance out the heft of the stone covers.
As time went on the design and creative processes
of both ceramics and bookbinding have undergone
changes; one example being the addition of two more
holes to allow for a Coptic endband to be added to
Kathryne Koops ceramic covers.
14 book arts arts du livre canada 2016 vol.8 no.2
Jessica Hodgson
With time, and further collaboration, the possi-
bilities are endless!
The Stone Diary Project has come to embody and
encourage connection through communication.
Creating a stone vessel which mirrors the power-
ful gesture of the handwritten word has opened up
doors to understanding the potential and beauty of
both bookbinding and ceramics. As we continue to
grow in our appreciation of each others practices we
are looking forward to continuing this process and
creating further installments of stone books.
This project would not have come together if it
were not for the energy and enthusiasm of Crystal
Nykoluk.
Crystal Nykoluk : Protecting the Heartwood.
Le projet Journal en pierre par Debra Frances Plett
P
enses, mots, ides et rves; le journal est la
chronique du devenir personnel. Lcriture
manuscrite confre lintangible une exis
tence physique qui lui permet dtre recueilli, saisi et
contempl. crire cest communiquer et le livre reli
sert prserver et transmettre des messages la
postrit.
Le projet Journal en pierre ma mise en contact,
en tant que relieuse, avec seize cramistes censs de
crer des vaisseaux en pierre qui accueillent la pra-
tique journalire. Prcieux et durables malgr leur
fragilit, les ouvrages ainsi obtenus invoquent la
connexit et incitent la contemplation.
Les ides initiales de ce projet sont apparues tel
que le font habituellement les grandes ides : un
commentaire ici, un chuchotement l, des penses
laisses mijoter. Tout cela est mis au repos pendant
un certain temps, et ensuite quelque chose dindfi-
nissable le transforme en quelque chose de puissant,
presque indomptable.
Limpulsion initiale est venue du commentaire
dsinvolte dun instructeur comme quoi il fallait tre
ouvert de nouvelles manires dexplorer des mat-
riels uniques dans la reliure. Lide est reste dans
Traduction : Mirela Parau
mon esprit et la qute de nouveaux matriels stimu-
lants a ainsi commenc.
Jai dabord expriment avec du carrelage cra-
mique commercial, mais aprs avoir ruin une dou-
zaine de pointes diamantes Dremel en essayant dy
percer des trous, jai eu la rvlation quun potier ou
cramiste serait tout fait en mesure de fabriquer
des plats trous.
Avec cette ide en tte, jai contact Dawn
Chaput, une cramiste de Winnipeg, lui demandant
de me faire une paire de carreaux qui puissent servir
de plats. Ainsi est n le livre Apple Blossom, le cataly-
seur du projet Journal en pierre.
En 2016, lors de la foire CRAFTED de la Galerie dart
de Winnipeg, Crystal Nykoluk, une autre cramiste
locale, a t ravie de dcouvrir que le livre de Dawn
mariait reliure et cramique. Elle a immdiatement
compris quil y avait du potentiel pour un projet
collaboratif grande chelle et a commenc pro-
mouvoir lide auprs dautres cramistes dans le
btiment. Le projet a pris forme. Deux mois plus tard
venait lappel collaboration et les artistes ont com-
menc travailler.
book arts arts du livre canada 2017 vol.8 no.2 15
 Bien que la reliure et la cramique soient des
pratiques trs diffrentes, nous avons vite dcouvert
quelles ont plusieurs traits en commun. Les deux
pratiques sont ancres dans des mthodes anciennes
et les deux produisent des objets fonctionnels qui
nous nourrissent de manires diffrentes: le livre est
un contenant pour le sens et un moyen denregistrer,
apprendre et se souvenir ; les objets en cramique
conservent les victuailles. Les deux comblent des n-
cessits physiques et spirituelles.
Pourtant, lors de linteraction de ces pratiques,
nous avons dcouvert que nous ne parlions pas tous
la mme langue. Les seize cramistes interprtaient
le projet de manires diffrentes. Tout un dialogue
sest amorc entre les cramistes qui craient les plats
Kathryne Koop : Layers.
et moi-mme, la relieuse, notre plus grand dfi prove-
nant de la ncessit que chacun comprenne le mtier
de lautre.
Comment les cramistes crent-ils? Comment le
relieur relie-t-il? La cl du problme a t la commu-
nication, lexprimentation et le dsir de poursuivre
linconnu. Il nous a fallu renoncer au concept de per-
fection afin de permettre au projet de se nourrir de
notre intuition, curiosit et capacit de penser diffr
emment. La dcouverte dun territoire entirement
nouveau a attis lenthousiasme de nous tous.
En tant que relieuse, je suis particulirement atti-
re par les reliures historiques. Je cherche sans arrt
de nouvelles manires dincorporer des lments his-
toriques de structure et design dans les livres que je
16 book arts arts du livre canada 2017 vol.8 no.2
ralise aujourdhui. Tous les livres du projet Journal
en pierre sont relis en style copte. Initialement, jai
choisi cette structure comme point de dpart cause
de sa capacit de mettre en valeur les plats. En cours
de route, jai t surprise de dcouvrir quel point
cette reliure est versatile et rsiliente; elle est par-
faite pour les plats en cramique, vu que largile est
imprvisible et le rsultat est permanent.
Lappel collaboration spcifiait des dimen-
sions de 4 x 4 po pour les plats ; pourtant, dans
certains cas, le plat avant et le plat arrire taient
compltement diffrents, ce qui dfiait mon ide
davoir les pages parfaitement alignes. Par exemple,
pour le livre de Crystal Nykoluk, jai trait les plats en
tant que forme unitaire: je les ai tals dos dos et
jai trac leur contour sur du papier que jai ensuite
coup et pli. Le gabarit ainsi obtenu tait trs int-
ressant et jai remarqu que le design tait avantag
par le fait que les pages ne se recouvraient que par-
tiellement. Pourtant, couper une page la fois aurait
pris une ternit et le produit final risquait davoir
lair peu soign. Jai donc dcid de tracer la forme
de chaque page au poinon et de prvoir une marge
extrieure gnreuse avant de la couper. Avec un bri-
quet jai ensuite brul ces marges, arrtant la flamme
tout juste au contour poinonn. Les tranches cres
par les flammes mont fascine. Chaque page deve-
nait unique tout en sencadrant dans la forme des
plats avant et arrire. Mises ensemble, ces pages
devenaient une extension de la surface richement
texture des plats de Crystal.
Le livre de Candice Ring ma donn une autre
occasion dlargir ma conception de la reliure. Aprs
avoir explor plusieurs modalits de couper le papier,
jai ralis que le mieux serait, de nouveau, de couper
chaque page de manire la faire correspondre aux
courbes des plats. Toutefois, jai trouv que dcou-
per le papier en suivant ces courbes donnait au corps
douvrage un air bcl. Pour corriger cela, jai utilis
un bton abrasif mince qui ma permis dobtenir un
fini doux et arrondi en complet accord avec ll-
gance des plats.
Le livre de Jessica Hodgson ma pos un autre dfi
cause de son esthtique trs prcise, base sur des
Chris Pancoe : Cher Ami.
uvres appartenant sa srie intitule Stratum. Jai
voulu incorporer ses ides dans le design gnral du
livre. La partie infrieure (ou strate) de ses plats a une
texture dure, terrienne, tandis que la partie sup-
rieure est paracheve dune couche trs fine de por-
celaine. Par consquent, jai cr une strate infrieure
pour chacun des six cahiers en utilisant du papier
Cave marron, surface richement texture. Jai de
nouveau utilis le feu pour crer des contours in-
gaux et dapparence alatoire. Sur le dos des cahiers,
le papier Cave est parfaitement align la strate des
plats, crant ainsi limpression que celle-ci se pro-
longe sur le dos du livre, dans un continuum.
Pour des raisons esthtiques, jai couvert le dos
des corps douvrage de papier St. Armand et Cave, et
de mon propre papier fait de fibre de kozo. Dans le
petit livre de Chrystal Nykoluk jai inclus une uvre
dart originale par lartiste Sue Gordon de Winnipeg,
ainsi que des images provenant dun vieux livre
que jai trouv pendant mes voyages en Amrique
du Sud.
Dans certains cas, l o les trous des plats taient
plutt grands, jai doubl chaque cahier de cuir italien
trs mince. Ceci a stabilis la reliure et ma donn loc-
casion dincorporer une autre texture dans le design.
Pour plusieurs journaux, jai cru bon de donner au
papier une apparence vieille avec des oignons jaunes,
du th ou du caf, pour quil se prte mieux au ton
gnral du livre. Cela tait particulirement vrai pour
le livre Cher Ami de Chris Pancoe. Jai eu immdiate-
ment lintuition quil y avait une histoire derrire les
plats et jai t fascine dapprendre quil sagissait de
lhistoire de ce fameux pigeon voyageur qui trans-
portait des messages travers les lignes ennemies
pendant la Premire Guerre mondiale. Jai vieilli le
papier du livre et jy ai inclus lun des messages que
Cher Ami avait transports.
Tous ces journaux sont faits de papier dessin de
haute qualit: Strathmore srie 400 de 80 lb et 100
lb, Nideggen et Hahnemuhle Ingres. Le folio de 130
lb ajout chaque cahier a confr de la solidit au
corps douvrage et a quilibr le poids des plats en
pierre.
Tout au long du projet, le design et les processus
cratifs de la cramique et de la reliure ont vu des
changements; par exemple, les tranchefiles coptes
choisies pour le livre de Kathryne Koop ont requis
linsertion de deux trous supplmentaires dans ses
plats en cramique.
Avec le temps et une collaboration continue, les
possibilits sont infinies!
Le projet Journal en pierre symbolise et encourage
les relations qui se tissent travers la communication.
La ralisation dun objet dart en pierre qui reflte le
geste puissant de lcriture manuscrite aide mieux
comprendre le potentiel et la beaut la fois de la re-
liure et de la cramique. Comme lapprciation rci-
proque de nos pratiques saccrot, nous envisageons
de continuer ce processus et de crer dautres livres
en pierre.
Ce projet naurait pas vu le jour sans lnergie et
lenthousiasme de Christal Nykoluk.
book arts arts du livre canada 2017 vol.8 no.2 17