As my Christmas didn’t work out quite as calm as serene I was hoping, I dedicated yesterday to something totally different to get my mind off of things. So instead I played a puzzle game called “What would be the best way to insert odd pages in Luain?”
It was quite an interesting game apparently, because after I finally made a small model of the signature variations, I was quite pleased how they turned out – not heavy on one side or the other, but equally distributed with “normal” (that’s Nr. 1) pages in between. Making smaller models of big projects is a must-have – this one showed me where I could add a bit more and where I needed to take something off. Altogether I ended up with 9 different versions of signature models for 13 signatures.
Why I’m so obsessed making models of Luain and how it turns out, is because I have quite a lot of information, but limited supply for paper (though one would see the roll and say I have great deal of it) and smaller size of notebook to put it all in.
13 signatures isn’t much. Though the old version of the notebook had only 5, they were big, robust and made of thick paper. So instead I’m making 13 thin paper ones. If I would make it with normal pages, Nr. 1, it would allow me to press in 15 of them at least. Buuut I’m not normal and if I get to do it my way, I have the opportunity to kick the normal and go with insane!
I opted not to add the odd pages by gluing them in. Though it would give me the “put them in as the need comes for it” option, it also reminds me my old Book of Shadows, which have a lot of glued pictures in them – glues don’t last. I have at least 8 different versions used in them in the past 8 to 10 years and in the past year I’ve had to re-glue almost all of them. Except the most natural flour glue ones, but I am finding difficult to get that flour and well, if to make something, better get it done in one turn rather than repairing the consequences.
Which brought me to another problem. I only have one opportunity to add them. So why be scrimp? Extra space in my notebooks never are unused – there’s always some small 3-4 ingredient spice mix, spell mix, oil mix one can scribble there. Or just go nuts on one free moment and illustrate the whole thing.
So! To solve that problem, I want them to last, right? So instead of designing one page at a time, I need to look at bigger picture – the whole 6 page signature and design it so they would work together. It doesn’t mean crazy assigning on how many pages something needs and designing keeping the topic in mind (though, I have already a bit done that as I know most of the info I need in there), but simply that the odd pages work together with each other so it would in the end look like it was meant that way.
Ok, so with such introduction, I proudly present you the set of my odd pages:
I would like to point out that what you see here is just an example. In reality, you can play around all of them in any way you like and get any results you want.
You need to look at them sort of like signature examples – 1 row = 1 signature with 6 being the middle page. If you open up sewn signature, this means the blue is left side pages, the green is right side pages and the yellow is the additional paper added to the page. The numbers inside the yellow indicate proportions compared with 1 page, so 1 means actually 1:1, 1/2 is half of the page, and so on. The circles and squares in corners will be folded in using double triangle fold from origami. The ones that have red circle around mean they are meant to go in pair in order for them to work.
By the idea, it should go like this: cut out the pages with some extra space around the yellow aditions, sew the middles together, fold the odd pages, cut them smaller-bigger as needed. The folding should be done secondly, because if for some reason the signature doesn’t seem to work with that particular odd page, you can still cut the odd page into simple page and you don’t need to redo the entire thing. Plus this way you can still fix the size if you got it a bit off and it will be easier to see, which side you need to fold the side door so it would work as pair to the other one. After binding it all – THEN begins the writing and painting part.
1. The normal page.
2. and 3 is inside-signature version of nr 18. If to add them like this to the signature, they open up like “doors” of nr 18. The same principle works on 8-9, 19-20 and 20-21 pairs.
6, 12, 18, 24 and 30 are the middle pages of signature, which meant they could be designed as one page. I wanted to use Turkish map fold there, but that proved to be too thick if I want to keep the book from opening up on that place by itself. But basically it can be played around any way you want.
14 is just a show-off how different you can make the side door. The side doors or the wrap-ins should be slightly smaller than the actual page for better folding.
25 is the square version of the circle, but the principle is the same. I do add a lot of circles in, because if to look at divination part alone, there are many charts that are circular in shape. Also nice place to draw some maze or perhaps rose circle or where to add odd symbols and write around them their meaning. In short – there are tons of uses to such strange shaped pages for things you could simply push there, adding space for general talk and descriptions.
the glory of that particular addition doesn’t come out from the image – it must be seen. And if I manage to pull it off as I plan, it will be awesome!
Nr 19, 20 and 21 shows how it is possible to design one side of the signature completely unconnected with the style you use on the other side. The only thing that needs to unite in style is the middle page. The grey hole indicates a window cut into the page. Medieval manuscripts often had holes in parchment and the artists would make peep-holes to the next page, where they would then add a dragon or something to look out of that hole. I liked them.
16 and 11 are open pockets. Nr. 11 is what my grandmother used to do in the notebooks if she wanted to keep something there that would otherwise fall out – seeds, beads, dried herb. It is done by folding in the ends from both end of the rectangular page like you would when you are making square piece in origami. I found later visual aid how it is done. But it can be done other ways too :). For nr 16, you fold in the sides and then on top of them the bottom strip, gluing the squares together. The reason this pocket goes through the signature is that it steadies it better. Plus you can use minimum glue which in 10 years you are very happy about.
Nr. 26 shows stripped page. We all have those tiny recipes that look weird written on big page. My solution is this – cut one side of the signature page and leave the other side complete. This will assure that they break off less. I hope. This can be done with side doors as well. I’m opting this to be technique I’ll try to keep minimum – the less smaller parts that can break off, the better.
Nr. 13. There are always small lists, alphabets that also don’t need much space. So you don’t need large side doors everywhere. Sometimes it will be enough if you just have a strip.
Nr 27, 28 and 29. In some cases I saw possibility to especially nuts :D. Like this case! Nr 28 acts like a switch page for two different charts. I have two divination systems that ask for something like this, so it looked like a cool thing – two running tracks next to each other. Or you can simply do something like that to present Circle of Moon and Circle of Year next to each other in comparable results.
Yup, this was what I was up to on the Second Yule Day. I just wanted to share as I know there are many, who are currently making their book of shadows and are in planning stage. Why not mess around a bit? It’s our book after all :). I do give open license to use this chart for your BoS and for ideas. No point of just copying them – unless you think it through first, the results are probably not working. No permission given to commercial uses.
odd pages plan for a book