As I was last December, I’m swamped in bookmaking details.
Being swamped is both exciting and terrifying. It’s always a more doable feeling in the morning, when anything is possible.
I’ve got seemingly hundreds of pieces still to add to my layout for CGB, Volume II, and with them come seemingly hundreds of scraps of paper, emails, or Facebook comments I’ve saved with bead colours or maker’s notes to add to the layout pages. I’m organized, in fact I’m stunningly organized, but it’s still a daunting amount of information to cram into the pages.
In concert with the new layout, I’m revising Volume I before it is reprinted, so that it properly behaves as the first of a two-volume set, and I’m going to add a little more information in some places, now that we have a full year of research and experiment under our belts.
I’m also replacing the outdated “Coming in Volume II” section with an absolutely glorious gallery of global explorations of some Volume I pieces; this will help solve the space problem in Volume II and make sure I can include everything wonderful. When I started the project, I didn’t really know where it would go.
There will certainly be more beadwork to come, but I’m not thinking of a third volume. My plan is just to continue to add to the eBook, and the online galleries. If we have new patterns to add to the mix, we’ll just add them to the App and eBook as updates.
One thing that has really engaged me in the last year is a study of which tailoring moves in what styles of glass bead make what dimensions, and how small design details affect sizing and fit.
When I realized that our Horns were acting just as darts in fabric (darts that can’t be ironed flat, but perform the same action of taking a “tuck” in the work) I was very engaged; small moves make for significant effect. Cath Thomas is compiling a really nice set of data on Rick-Rack points, and I’ve made a serious study of Wings and Horns.
The idea of the two-volume set has to address the potential concerns of people who have an original Volume I. I’ve been thinking about that. Amusingly, although I opened the book on Amazon and encouraged people to sell their used copies, not one person has put their first edition up for sale. But the option is open, and when the new edition of Volume I comes out, I’ll be sure to have a link up to any original editions listed for sale. And I expect that by press time, all of the original editions of the first book will be sold out.
I’m also going to offer the option for anyone who’s ordered Volume II to receive the revised edition of the first volume at half price (just click the link if that’s you and you’d like one) and have the two-volume set ship to them together, with no extra shipping cost. Even for foreign orders!
I’ll also be publishing the new Volume I content for free, on the book blog, where anyone can see it, so no one should feel as if they need to have the new edition just to be current. So, hopefully, with all of that in place, the spanky new blue-coils will be welcomed by all. (I’ll be doing the coil binds on the new set in blue, to differentiate it from the first edition Gloss copies (red) and the first edition Matte copies (black).
Before I get busy finishing all of that, though, I’ll release the CGB Calendar (which I have held back, so that it could reflect both volumes, and have a fresh new pre-release pattern, and a lot of neat hand-drawn stuff) and, even before that, next week, I’ll be assembling and shipping the three beautiful, intricate bead kits that we have in the Shop now. I just have a few left of each one- if you’ve been meaning to get one, now is surely the time. Click here!
Everything will go in order, but it’s rather a terrifying mountain of minutiae, and of course the business of life marches on no matter what; cats and children and schoolwork and house and garden and the business of earning a living, the email, three web hives, and most of all, keeping a positive and playful mindset, so that good and fun things can happen.
After a pretty serious study of my workload, and my production schedule, I expect to ship the bead kits on schedule on December 16th, the calendar in January 2014 (it begins counting human time in March of 2014) and the two sparkly new books in early February of 2014- my goal is to have them in hand for the Tucson shows. Of course, that was my goal last year as well at this time, and I didn’t make it, but I have a good feeling about this one.
I was thrilled this morning to open my email and see Rob Brezsny remind me of a particularly useful bit of Jung this morning, which is that we don’t so much solve our challenges as we outgrow them. We add capacities and experiences that eventually make us bigger than the work we are staring down.
I’m so lucky to have cultivated a group of collaborators and readers and supporters who love the process as much as the finished product… it’s made every part of this journey an exploration, and I’m so grateful.
Beadwork, from top, by Emma Malan (Teller of the Tides), Veena Chugani (Pagoda Bangle) Laurel Kubby (purple Zig-Wing Bangle), Mariella Boschetti and Nathalie DeLesse (Fortuneteller variations, original pattern by Christina Vandervlist) and myself (Layers).