Plumb Autumn 2014 Catalogue by Abrams&ChronicleBooks

FALL 2014 Debut Release

GOODS FROM THE CREATIVE SALT MINES Welcome to Plumb, a new line of notebooks designed and illustrated by contemporary artists. Conceived in collaboration between Knock Knock, artist Tucker Nichols, and design firm MacFadden & Thorpe, Plumb notebooks are made by creative people for creative people. Each element is carefully considered, from inside to outside, paper to binding, size to function, with the aim of enhancing the creative process.

different environments, for varied applications, and about the meaning and utility of recording their ideas. Often they have been inspired by store-bought notebooks that they’ve altered and hacked to suit their unique purposes.

Every season, the Plumb team works with three selected artists to design the blank notebooks that they want to see in the world. The artists are asked to think about how they use notebooks in

Plumb originated out of the belief that creative people want more than blank or merely decorative repositories for their thoughts and ideas. Plumb’s highest goal is to make notebooks that not only look good but also serve as catalysts in the creative process. By offering notebooks envisioned by working artists, Plumb speaks to those who seek to live their most creative lives.

1 plumb

3 plumb

(14th century, Middle English, from Anglo-French plum, plomb, from Latin plumbum lead) noun : a lead weight attached to a line and used to indicate a vertical direction — out of plumb or off plumb : out of vertical or true

2 plumb

adverb : exactly straight down or up : in a perfectly vertical position : to a complete degree

transitive verb 1 : to weight with lead 2 a : to measure the depth of with a plumb b : to examine minutely and critically < plumbing the book’s complexities >

4 plumb

adjective : exactly vertical : standing perfectly straight and not leaning in any way

Definitions © Merriam-Webster

Tangle Notebook TUCKER NICHOLS Tucker Nichols is best known for his smartly funny drawings and large-scale gallery installations. Nichols often takes inspiration from found objects and from the surroundings of his studio in the San Francisco Bay Area. Nichols’s work has been featured in museums and galleries around the country and in Europe, and his drawings have been published in McSweeney’s, The Thing Quarterly, and the opinion pages of the New York Times. With Plumb, Nichols has explored his love of paper notebooks and the freedom and serendipity they offer, supporting his own spontaneous creative process. “I find my favorite drawings of the day are the ones that I make when it’s time to leave and there’s still some paint left,” he observes. “I might as well clean it up by just using a big brush and getting the paint onto some paper to see what comes out.” As long as paper and pens exist in the world, Nichols plans to keep on creating.

Interior (lined)

“ The notebook that I keep in my pocket— anything can happen in there. It feels like, ‘Yeah, you can be organized, you can do that here, but let’s not get too organized. You might miss something.’”

Interior (unlined)

The Tangle Notebook is a formal version of notebooks Nichols has hacked for himself—just the right size to work things out, with tabs for dedicated projects and vertical center lines to organize one’s mental space.

TUCKER NICHOLS Northern California artist Tucker Nichols is best known for his smartly funny drawings and large-scale gallery installations.

PLUMB: What do you most love about your studio? TUCKER: Well, its location at the Marin Headlands is sublime. And there’s not a lot of bandwidth here— it’s almost like dial-up—so I can’t spend too much time online, which can be super-frustrating for someone like me who really loves to consume content. Sometimes I’ll sit and wait it out to try to get something online to entertain me, but most of the time it just isn’t worth it, so I focus on other things, like drawing or walking. It forces real discipline. I’m lucky enough to have a studio in a place that’s very beautiful, so walking is a central part of my daily life here. PLUMB: Is there a community of artists around you? TUCKER: Yes. This is an ideal place because not only are there other resident artists with their own studios but also other artists coming to visit from all over the world. I’m the kind of person who likes to spend most of my

plumbgoods.com

days alone, but there are just enough people around so that you can have a great conversation while you’re making a cup of tea. PLUMB: When you have moments where you realize you’re doing too much consuming or interacting, how do you shift to focusing on creating? TUCKER: So much of what I do is project-based, with outside deadlines, which helps. But then it’s too easy to get into a period where it feels like all you’re supposed to do is whatever you have a deadline for. When there’s a day I don’t owe anything to anybody, I can convince myself that I don’t need to do any creating, but those are actually the days when I most need to be working because that’s the kind of creating that’s the most satisfying. I really want to be making things that don’t yet have a form or a home. If you don’t protect that type of creative work, it can be hard to grow into areas that you might otherwise have wandered into.

Photograph © Tucker Nichols Plumb products © Who’s There Inc.

No. 978-160106588-9 SRP: £12.95 Dimensions: 7.5 x 9.75 inches Specs: Soft-bound cloth cover with matte foil stamping, 160 pages (96 lined, 64 blank); headand tailbands; 5 waterfall-tabbed sections; bound-in postcard with artist interview and additional artwork

Postcard with artist interview

Tucker Nichols

Dot Notebook

Explorer Notebook

Tucker Nichols created this notebook as if he were making an existing notebook better—rounding the corners, dyeing the edges, plopping down big dots. It’s fun and open, so users can do with it whatever they want.

For Tucker Nichols, notebooks have never mattered more than during his travels. That usage inspired this unscripted notebook as a place to keep track of unusual experiences, sightings, and overheard snippets of conversation.

Interior (cream)

No. 978-160106589-6 Dimensions: 5.75 x 8.25 inches

TUCKER NICHOLS

Northern California artist Tucker Nichols is best known for his smartly funny drawings and large-scale gallery installations.

There’s something very odd about painting a life-sized carpet. You’re on the floor, walking and crawling and drawing on this thing, which makes it actually become a carpet in addition to being a picture of a carpet. I was intent on not sketching out what the design was going to be ahead of time, but I decided it had to be bilaterally symmetrical, which meant that if I made a single mark, I would actually be making four marks. You just start

Specs: Paperback with matte foil stamping, 160 pages in 2 colors (112 cream, 48 yellow), perforated for easy removal; dyed edges; lay-flat binding; bound-in postcard with artist interview and additional artwork

plumbgoods.com

Endpapers

Interior (unlined)

Interior (lined)

I was commission ed to do an art piece for the Denver Art Museum, which is in a building designed by the architect Daniel Libeskind. The walls are absurdly sloped, beautiful but difficult to hang artwork on, an odd choice for a museum. I liked the idea of making a piece that was a sort of hybrid between a rug and a painting to suit the wall-floor hybrid Libeskind created. Carpets are underfoot unless they’re really valuable and then they get hung on the wall where you’re not supposed to touch them.

SRP: £9.95

Interior (yellow)

working somewhere and suddenly the design spreads like a fungus until it’s finally achieved a certain density that feels finished. In this photo, I’m getting pretty close. My studio isn’t big enough to accommodate a project like this, so I worked in an old military gym with a lot of good mojo. It was January and the gym is unheated, so I spent most of the time in a winter hat and parka. The painting was spread out on the floor, and to look at it I climbed up a rickety ladder. As I worked, I thought about how every carpet is somebody’s solution to a design problem. I started wondering who’s actually designing so many of the carpets we see. I know many of them are made by children in freezing cold mountain villages in Afghanistan— does someone give them a sketch to follow, are they coming up with the designs on their own, or have they been making these designs for so long that it just happens over time somehow?

Photograph © Scott Thorpe Plumb products © Who’s There

Postcard with artist interview

These stairs are near my studio, at an old military complex outside San Francisco where a Nike missile site was maintained for many years. It’s open most afternoons so visitors can visit the giant weapons. You can descend in an elevator and then come rising up out of the ground with the missile, which is very weird and dramatic. These bright yellow stairs bring you up from the nuclear warhead loading zone into the outdoors. It’s a very ominous thing—hard but fun to try to get your mind around—to be making art when you’re just fifty yards away from this total destruction enterprise. I like to take photograp hs, but I’m not much of a technical photographer. I shoot almost exclusively with natural light but because I’m shooting digitally I can afford to try a few different things. My wife is a profession al photograp so I hesitate to call myself her, that because I see how many elements of decision-m aking go into producing substantial printed photographs. When she gets her camera out, it’s sort of sublime, but I’m informally in charge of documenti ng our household and our family. When we travel, her photograp come back from the lab hs and I see that we were looking at the same things and she pulled out images that I couldn’t have seen. I love that.

plumbgoods.com Inc.

Photograph © Tucker Nichols Plumb products © Who’s There

Inc.

No. 978-160106590-2 SRP: £9.95 Dimensions: 5 x 7 inches Specs: Chipboard cover with matte foil stamping, 128 pages (64 lined, 64 blank); 4 waterfalltabbed sections; elastic closure; gusseted pocket on inside back cover; bound-in postcard with artist interview and additional artwork

Postcard with artist interview

Tucker Nichols

Chunky Blue book

3 little NotebookS

Tucker Nichols’s father worked for a company that printed Bibles, so growing up Nichols used blank Bible dummies as sketchbooks. This portable jotter is a fantasy version of those early Bible blanks.

Tucker Nichols created these notebooks for pocket portability, each with graph paper of a unique grid size. For Nichols, the printed grids ground him so he can think in a more off-kilter way.

No. 978-160106591-9 SRP: £6.95 Dimensions: 3.25 x 4.75 inches Specs: Textured paperback, 192 pages in 2 colors (160 cream, 32 light blue); lay-flat binding; dyed edges; bound-in postcard with artist interview and additional artwork

Interior

Endpapers

Interior (green)

TUCKER NICHOLS

Northern California artist Tucker Nichols is best known for his smartly funny drawings and large-scale gallery installations.

This photo is from a project at Gallery 16 in San Francisco where we took a small watercolor of mine and blew it up to wall size. I wondered if it would keep the element s that appealed in its original form—but it became something else altogeth er. Sudden ly it was an environ ment you could walk into rather than a thing you could hold in your hand. I have total control in my studio. If something isn’t working , I just get rid of it. But with a transformative process , I give up a lot of that control. It’s only recently that I’ve been able to trust in that type of process. You can’t predict how you’re going to react to a new form of something you’ve made. You just have to have faith that there’s enough energy in the first iteration to ride through to the new form. plumbgoods.com

As an artist, you’re both puzzle- maker and solver, so you can constan tly bend the rules and the bounda ries of what you’re making and then solve whateve r you’ve put into play. When my friend Alex broke his wrist, I wanted to draw a completely useless map on his cast. It was about more than the map, though—I just think there’s someth ing compel ling about casts. When I was young I wanted a cast but, like most kids, I didn’t realize that in order to get one, you had to go through a lot of pain and hassle. It was a real honor to draw all over Alex’s cast. I felt like I was back in fourth grade again. But I inadver tently hijacked his cast narrativ e: the questio ns shifted from “What happened to your arm?” to “Who drew all over your cast?”

Photograph © Tucker Nichols Installation at Gallery 16, San Francisco Plumb products © Who’s There Inc.

Postcard with artist interview

Interior (orange)

plumbgoods.com

Interior (blue)

Photograph © Tucker Nichols Plumb products © Who’s There

Inc.

No. 978-160106592-6 SRP: £7.95 Dimensions: 3.25 x 4.75 inches Specs: Paperback 3-notebook set, 64 pages each, each with graph paper of different grid size; exposed stitched binding with colored thread; bound-in postcard with artist interview and additional artwork; shrinkwrapped with bellyband

Postcard with artist interview

SUMI Starter Pack Notebook interiors with starter drawings

SUMI INK CLUB Sumi Ink Club is a participatory drawing project established in 2005 by Los Angeles– based artists Sarah Rara and Luke Fischbeck. The club produces work collectively in open public meetings that can be organized by anyone, anytime. At these meetings, everyone comes together to draw: the young, the old, people who are considered good at drawing, and people who think they can’t draw at all. The result is art that feels as if one impossible person created it. Rara’s and Fischbeck’s work has been shown at venues including the Whitney Museum of American Art and London’s Institute of Contemporary Arts. Since 2000, they’ve also performed music as Lucky Dragons, an experimental band. Sumi Ink Club’s Plumb notebooks reflect the ways Rara and Fischbeck use notebooks as well as their participatory creative process. “I’d really like to make a notebook that somebody’s best friend would feel they can grab and leave something in,” says Rara. “It’s that kind of spirit where it can be for focus and deep thought, but it can also be something that is passed around and shared.”

For these notebooks, Sumi Ink Club was inspired by the simple construction and self-publishing of zines, and also by the idea that notebooks can be a place where something is made to be shared.

“ If you arrive and the paper already has something on it, what a relief! You already have something to react to and build on, so it’s more like other human interactions. But just approaching a field of white is very daunting.”

SUMI INK CLUB Sumi Ink Club is a collaborative drawing project started by Los Angeles–based artists Luke Fischbeck and Sarah Rara.

PLUMB: Can you describe what Sumi Ink Club is and how you guys work? SUMI: Sumi Ink Club holds collaborative drawing meetings that are open to the public. The result is a drawing that looks like one impossible person made it. Sumi ink itself is just charcoal dissolved in water, one of the most widely available and cheapest art materials. We use it because it’s either on or off, either black or nothing. It’s a nice way to organize a group drawing—ev eryone can add to the piece without the distinction of who drew what. PLUMB: What appeals to you about making group drawings? SUMI: We’ve always thought about what it means when someone says this person is creative or that person is not creative. Sumi Ink Club shares the belief that every single life form, not just human, is extremely creative. Sumi Ink Club has been about feeding the idea that drawing is something everyone can do. Drawing can be a conversatio nal activity, with plumbgoods.com

Zine interior

people drawing together as if they were just talking to each other. And the drawings themselves are more a way of taking notes than making something precious to be preserved. PLUMB: How do you explain the consistency in the drawings? The pieces done overseas versus in LA versus in New York all look like they’re a similar pattern, even though of course there is no pattern to it.

SUMI: Unlike with paint, with the ink there’s no layering. When you lay down ink and then draw more ink on top, it becomes one material without the sense of one drawing being on top of another. Because everyone is using the same materials and the same size brush, working from all sides of the drawing, the result is what a group of humans drawing for, say, two hours would generate. There’s a certain density. When you zoom in, there are fascinating micromoments of extreme difference, but when you zoom out you can see the similarity between drawings made by different people.

Photograph © Sumi Ink Club Plumb products © Who’s There

Inc.

No. 978-160106595-7 SRP: £12.95 Dimensions: 6 x 9 inches Specs: 3 paperback notebooks with starter drawings plus 1 Sumi Ink Club illustrated zine, 32 pages each; exposed stitched binding; bound-in postcard with artist interview and additional artwork; shrinkwrapped with bellyband

Postcard with artist interview

Sumi Ink Club

SUMI ART BOX: Make + Share + Keep

Day + Night Journals Sumi Ink Club designed these journals to allow people to have two parallel but opposite journals going at once, to accommodate the different sides of themselves.

Interior, Day Journal

Portfolio box

Interior, Night Journal

SUMI INK CLUB

Sumi Ink Club is a collaborative drawing project started by Los Angeles–based artists Luke Fischbeck and Sarah Rara.

No. 978-160106594-0

SUMI: We really treasure being able to walk to the studio or just feel close enough that it’s not a major inconvenience to go there. Our new studio is within walking distance of home, so that’s been the biggest change. We can easily come home and cook food. But the ideal place also has access to good food so we PLUMB: So despite the can continue many parts of working—our last studio your lives that are about was across collaborathe street from a great tion, you also have this Vietnamese binary way of restaurant. Definitely choose working. your studio based on proximity to good food! Other key things are a SUMI: We’ve come up strong Internet with multiple signal and a good table. channels of communicatio We finally n—actually got a solid table to replace holding meetings and the wonky emailing each piece of plywood we had other rather than just on two sawtalking about horses. It feels very everything all the time. real and really And having makes us want to sit the studio and house down to work! be separate is Simple physical things really important. For focus, that allow you it’s best to to enjoy being in your work at a place that’s studio are crudesignated as cial. We finally have enough work only, versus working room to at home, have a couch or reading on the road, or in a café. chair! Our last studio was shared, with people walking through and sometimes PLUMB: You just moved interto a new sturupting, but the new dio. What makes an studio is comideal creative pletely private. We’re curious environment for you? whether we’ll thrive in an environment without interruptions or miss the random visits. SUMI: We prefer to work alone in the studio, so we usually switch off, like different shifts. We’re rarely there together.

Dimensions: 6 x 9 inches Specs: Textured paperback 2-journal set, 80 pages each (one with white paper, one with black paper); titles debossed with clear foil; bound-in postcard with artist interview and additional artwork; shrinkwrapped with bellyband

plumbgoods.com

Endpapers

Sumi Ink Club is a collaborative drawing project started by Los Angeles–based artists Luke Fischbeck and Sarah Rara.

PLUMB: The two of you live together, work together, travel together. What is your studio life like?

SRP: £12.95

Pad with starter drawings

Sumi Ink Club designed this box as a special object for collecting and sharing things, a living scrapbook. To start the process, the box contains an illustrated pad and a special-edition two-sided red and purple poster.

Photograph © Sumi Ink Club Plumb products © Who’s There

Postcard with artist interview

PLUMB: The two of you have such diverse visual and music art careers. How can you handle so many activities? SUMI: We have faith in the strength of a few simple rules and good materials, and we believe in people coming together in good faith to make something. If you can agree on some like the general form things, it will all take and the way it will all happen, you’re getting closer and closer to making something that is beautiful. Just the agreement itself is beautiful. PLUMB: Over the years, what advice have you been given, good or bad? SUMI: We’ve been blessed with great mentors who have offered us advice throughout the years, and we try to stick to four principles: 1. Never say you are too busy for a studio visit even if you’re in the middle of working on something and it’s a mess. This is actually the best time for a studio visit. For us, this is also about embracing chance situations and projecting good vibes—you should respectfully welcome anyone who wants to visit you as a gracious host, open for anything. 2. Work with your friends and become friends with those you work with. get too bummed about 3. Don’t rejection—even if you only get one out of a million things you apply for, it is still worth the exercise of writing, thinking, proposing, sharing—all valuable activities themselves. 4. Be clean unto and strive to be organized. plumbgoods.com

Inc.

Art © Sumi Ink Club Plumb products © Who’s There

Inc.

No. 978-160106593-3 SRP: £19.95 Dimensions: 9.25 x 11.75 x 1 inches Specs: Clamshell box with gusseted front pocket; 50-sheet 8.5-x-11-inch pad with dyed edges; bound-in postcard with artist interview and additional artwork; 27-x-8-inch artist poster

Postcard with artist interview

TITANIC SKETCHBOOK KATHERINE BRADFORD Katherine Bradford is best known for her paintings of boats and of superheroes. She approaches these iconic images with a sense of playful adventure and tenderness. According to Bradford, “One thing that I really revere is awkwardness, because it implies a kind of vulnerability.” Bradford was a longtime teacher at the Pennsylvania Academy of Fine Arts and the Fashion Institute of Technology in New York, and her work has appeared in numerous solo and group gallery shows and museum exhibitions. Her paintings are held by many private and public collections including the Metropolitan Museum of Art and the Brooklyn Museum. For her work with Plumb, Bradford drew on her longtime practice of making her own calendars by hand. “I love the idiosyncratic mark a human hand can make,” she says. “Maybe it’s a way of going through your days, and your life, to let a little bit of mishap in.” Bradford currently works in both Brooklyn and Maine.

This volume is inspired by sketchbooks Katherine Bradford uses to organize her thoughts and store ideas. The colored, perforated pages encourage experimentation and break the tyranny of the big black sketchbook.

Interiors with and without perforation

“ Notebooks play a big role in a visual artist’s practice. The whole idea of making a painting or work of art causes people to fail. But if you think you’re doing something private, you relax a little more, and better things happen.”

KATHERINE BRADFO

Katherine Bradford works in Brooklyn and Maine. She is known for her paintings of recurring subjects that embrace mystery and whimsy.

PLUMB: Why do you return to painting similar images, such as the Titanic, again and again?

points of light, so maybe that’s how I came to the Titanic the first time. It’s also about survival. I love survival stories—quests and rituals KATHERINE: I think it’s and commuthe same reanities doing something son we have dreams ceremonious about the same together. things. As an artist, after a while you have access to your subconsciou s, PLUMB: It feels like so certain themes just a huge image keep coughfor a big journal where ing themselves up—thank anything can god! I like happen. cultural images. I’m rather obsessed with the Titanic, and fortunately it proKATHERINE: Well, Plumb vides a rather potent really metaphor for me thinking about notebooks. got man’s fragile place in I had the world. I’ve taken using notebooks reduced the imagery for granted. to a series of Once our collaboratio shapes. It’s iconic, a mighty n started, symbol— though, I realized it maybe it’s every ship. was a big part After the Titanic of how I learn and how sank, another ocean liner, I proceed the Carpafrom one step to another. thia, came to the rescue. I see a lot Maybe that’s of students doing their best work the ship, hopeful on in the horizon, notebooks and I always appearing just when you think it’s too need it. bad—if only they could work like that more publicly! Notebooks PLUMB: Does the story play a big of the Titanic role in a visual artist’s also appeal to you? practice. It’s sort of a scary prospect to do large work that’s public. The KATHERINE: Yes. The whole idea of sinking hapmaking a painting or pened at night, so you’ve work of art can got the cause people to fail, dark, open ocean, full but if you think of mystery and you’re doing something beauty. It was an ocean private, you liner, all lit relax and better things up under a starry sky. happen. I love dots and plumbgoods.com

Endpapers

Photograph © Katherine Bradford Plumb products © Who’s There Inc.

No. 978-160106597-1 SRP: £14.95 Dimensions: 8.25 x 10.5 inches Specs: Paperback, 240 pages in 3 colors, perforated for easy removal including 48 horizontally perforated pages; flexi-bound with rounded spine and head- and tailbands; bound-in postcard with artist interview and additional artwork

Postcard with artist interview

Katherine Bradford

Mini Superhero Notebook Katherine Bradford depicts superheroes because they are mystical, dress in bright colors, and appear totally free in midflight. She designed this portable notebook with colored pages to prompt grand, high-flying ideas.

Short Stack Journal

Interior (red)

Interior (blue)

Inside front cover

KATHERINE BRADFORD

Dimensions: 3.5 x 4.5 inches Specs: Paperback, 168 pages in 3 colors, perforated for easy removal; bound-in postcard with artist interview and additional artwork

plumbgoods.com

Interior (gray)

KATHERINE BRADFO

PLUMB: Why do you paint

One of my favorite times in the studio is when I don’t have what I need—I don’t have the color I need, I don’t have the size brush I need, and I don’t have anything to paint on. It’s then that I’m forced to be inventiv e and I have to pull in something new. The unplann ed is so much fun. In life, circumstances require you to give way to a lot of other forces. That’s not a bad way to make art—to be open, to invite the unexpected. I respond to work that has a playful quality. Artists in the past had to provide verisimilitude, exactness, likeness. But today what we need most is the life of the imagina tion. Informa l notebooks provide a space where you don’t feel intimida ted, where you can experim ent and vary your approac h from page to page.

SRP: £7.95

Postcard with artist interview

Interior with starter drawings

Katherine Bradford works in Brooklyn and Maine. She is known for her paintings of recurring subjects that embrace mystery and whimsy.

No. 978-160106598-8

This notebook was inspired by Katherine Bradford’s own handmade calendars. She likes everything in her appointment book to be something she draws, which allows her to connect her thought process with the act of making a handdrawn mark.

pancakes?

KATHERINE: Well, it’s not that I love pancakes. It’s something about the repetition, the horizontal lines on top of lines, and then those organic drips coming down vertically. It’s a stack of something, like a messed-up grid. PLUMB: You appear to have made peace with imperfection —it actually seems to fuel you. You let your studio and paintings be somewhat messy. KATHERINE: I wouldn’t use the “messy.” I revere awkwardnes word s because it implies a kind of vulnerability. When I go through my day, my life, I like to let in a little bit of mishap. PLUMB: Even your organization al tools seem to serve you better if they’re imperfect. KATHERINE : This notebook was influenced by the fact that I make my own calendars. I wanted everything in my appointmen t book to be something I drew myself—even the names of the days of the week. This helped me to think in terms of impromptu drawing, and I started to connect plumbgoods.com

Inc.

Interior with starter drawing

my own thought process with very direct mark-making. I’m a visual artist who comes down on the side of the handmade. I love the idiosyncratic mark that a human being makes. There are no right angles in my Maine house—it’s all very human made. And that’s the way I like to live. As a person, I’ve sort of created visual a world around me. PLUMB: You work both in Brooklyn and in Maine. Do you find you make different art in the two places? KATHERINE: In the summers, I bring a lot of unfinished work to Maine, so I’m working on the same things in the two places. My Maine studio is a barn and it’s just terrific—it actually is messy, so I feel very free to let the paint fly around. PLUMB: Sometimes a change of venue can make things come together in a way that would be impossible wherever you started. KATHERINE : Yes, that’s true. And sometimes just being away from your work for a while is good.

No. 978-160106596-4 SRP: £12.95 Dimensions: 7.5 x 8.5 inches Specs: Hardcover with Wire-O binding, 192 pages (145 blank, 47 with starter drawings); elastic closure; bound-in postcard with artist interview and additional artwork

Postcard with artist interview

Representation ORDER FULFILLMENT Littlehampton Book Services Ltd Order Department T: +44 (0) 1903 828501 F: +44 (0) 1903 828801 E: customerservices@lbsltd.co.uk www.lbsltd.co.uk SALES AND MARKETING Abrams & Chronicle Books Ltd 3rd Floor 161 Farringdon Road London EC1R 3AL T: +44 (0)20 7713 2060 F: +44 (0)20 7716 2061 E: info@abramsandchronicle.co.uk Margaret Byron Head of International Sales Abrams & Chronicle Books Ltd T: +44 (0) 207 713 2071 M: +44 (0) 7939 662 379 E: internationalsales@abramsandchronicle.co.uk GREAT BRITAIN Ewen Robertson Head of Publisher Sales Abrams & Chronicle Books Ltd T: +44 (0) 20 7713 2064 M: +44 (0) 7841 827 636 E: erobertson@abramsandchronicle.co.uk Graeme Eaves Head of UK Trade Abrams & Chronicle Books Ltd T: +44 (0)20 7713 2078 E: geaves@abramsandchronicle.co.uk

Andrew Whittaker London Sales Manager Abrams & Chronicle Books Ltd T: +44 (0) 20 7713 2069 M: +44 (0) 7804 420 839 E: awhittaker@abramsandchronicle.co.uk PUBLICITY INFORMATION Tina Mories Senior Publicity and Marketing Executive Abrams & Chronicle Books Ltd T: +44 (0) 207 713 2074 E: tmories@abramsandchronicle.co.uk

GERMANY, AUSTRIA, SWITZERLAND Gabriele Kern Publishers’ Services Ziegenhainer Strasse 169 D-60433 Frankfurt Germany T: +49 69 510 694 M: +49 17638806921 E: gabriele.kern@publishersservices.de GREECE, PORTUGAL & ITALY

SOUTH OF ENGLAND, SOUTH WALES, NORTH WALES, MIDLANDS, NORTH OF ENGLAND, SCOTLAND Publishers Group UK 63-66 Hatton Garden London EC1N 8LE T: +44 (0)20 7405 1105 F: +44 (0)20 7242 3725 E: deborah.dyson@pguk.co.uk sales@pguk.co.uk www.pguk.co.uk

enny Padovani P N A La Chiesa 9 52044 Pergo–Cortona (AR) Italy T/F: +39 0575 614 338 E: penny@padovanibooks.com

SPAIN Jenny Padovani Frias Passage Saladrigas 15, 2 -2 08005 Barcelona Spain T: +34 932 218 561 E: jenny@padovanibooks.com

IRELAND

EASTERN EUROPE & RUSSIA

John Fitzpatrick 58 New Vale Cottages Shankill County Dublin T: +353 12 720 020 E: fitzmullbooks@eircom.net

NORDIC COUNTRIES

ristian & Adriana Juncu C Str. Fabricii nr. 2B-A bl.15D, Ap.36 Bucharest 060823 Romania E: cristian@j4.ro E: adriana@j4.ro

Melanie Boesen Mediehuset Rubrik Vandkunsten 6, 2 DK-1467 Copenhagen Denmark T: +45 33 13 75 54 M: +45 20 27 75 48 E: melanie@post6.tele.dk

BELGIUM & SOUTH AMERICA

Acceptance of Terms and Conditions: Placement of order will confirm acceptance of the below terms and conditions.

upon approved credit. Past-due balances are subject to finance charges of 1.5% per month. Returned checks are assessed a $25 service charge.

of receipt of any incorrectly shipped orders or defective goods. A 15% restocking fee will be charged for returned merchandise.

Minimums: $200 for first orders and $100 for reorders. There is a $5 service charge for orders below minimums. Products must be ordered in inner pack quantities.

Delivery: Orders ship via ground service, Ex-Works Reno, NV, including back orders. Orders are shipped within 2 to 5 working days of their receipt for in-stock products.

Prices: Prices listed are wholesale and are subject to change without notice. All prices are in US dollars. Freight costs are the responsibility of the customer.

Back Orders: Back orders under $50 will be canceled.

Claims: Any damage or shortage claims must be received no later than 10 days from receipt of order. Notice of loss or damage must be given to the carrier immediately. All packing materials and receiving paperwork should be retained for carrier inspection.

Payment Terms: First orders are pro forma or credit card (Visa, MasterCard, AmEx, or Discover). For subsequent orders, please forward a credit application for approval, which can take up to two weeks. Net-30 terms granted

Returns: No return of merchandise will be accepted and no credits issued without Knock Knock’s previous consent. Knock Knock must be notified within 10 days

Tim Loynes Head of Special Sales Abrams & Chronicle Books Ltd T: +44 (0) 20 7713 2072 E: tloynes@abramsandchronicle.co.uk

uillaume Ferrand G Gunnar Lie & Associates LTD 3 Linkside New Malden Surrey KT3 4LA United Kingdom T: 02086051097 E: guillaume@gunnarlie.com

Terms & Conditions

Cancellations: Orders canceled after shipment are subject to freight fees.

Collection: Outstanding invoices may accrue finance, collection, court, and/or attorney’s fees. Legal actions may be brought in California courts using California laws to effect collection of past-due balances. Accounts turned over to collection are subject to a $75 reinstatement fee.

ART & PHOTOgraphY Credits Plumb products © 2014 Who’s There Inc. Original artwork on Plumb notebooks © the respective artists Page 2: All artwork from artist postcards; photo credits, left to right, top to bottom: Tucker Nichols, Katherine Bradford, Sumi Ink Club, Katherine Bradford, Sumi Ink Club, Scott Thorpe, Sumi Ink Club, Greg Irikura, Tucker Nichols Back cover: Tucker Nichols, postcard image for Chunky Blue Book Printed using soy-based inks. All dimensions listed are: W x H x D.

1635-B Electric Avenue Venice, CA 90291 800-656-5662