Julie Baugnet ~ Wisconsin
(Bluestem Cottage Press)

They Say That Fate is in the Stars and
That Nothing Can Change Destiny
Design & Printed by Julie Baugnet
St. Paul, Minnesota: Bluestem Cottage Press, 2024. Edition of 13.

10” x 5.5” closed, opens to 10" x 11"; 13 pages with a Drum Leaf binding. Experimental print techniques include screen printed imagery, ink drawdowns, stencils, and Tetra Pak impressions. Imitation gold leaf added. Typography with Trebuchet MS, main text 11/24. Printed letterpress, using polymer plates. Papers of Rives BFK, white, tan, and grey. Endsheets Revere black, interleaf of Pergamenta, an Italian-made parchment paper. House in slipcase of Duo bookcloth—Briquette, Rives BFK paper with screen printed imagery.

They Say That Fate is in the Stars and That Nothing Can Change Destiny is an overview of the three Fates of Greek mythology. Related themes are Women's Studies, Greek Myth, and Poetry. A fold out page features a William Stafford poem, The Way It Is. Stafford was Poet Laureate of Oregon from 1975-1990.

Julie Baugnet: "In his poem, ‘The Way It Is’, William Stafford talks about the thread. What is the thread? This book presents the Greek myth of three goddesses of fate: Clotho, Lachesis, and Atropos suggesting that the thread is the cycle of life and death. They assigned individual destinies to mortals at birth. The myth and the poem generate one to inquire: what are my passions, and how can I weave my own thread into a meaningful life?

“Illustrations are abstract, using color and texture to convey the emotive qualities of the theme. A limited color palette is used to create unity and interest depicting the mystery of the three goddesses. To give a feel of weaving, I created three patterns and wove them into images to complement the text. I added gold leaf—to signify the fragility and importance of a life .”
$725

Collaborative adventures by husband and wife, Carter Clapsadle and Julie Baugnet.

“Over the many years we have both made art, design, writing and traveling our lifestyle. These interests have informed our perspective, aesthetic, and approach to life.”

I killed a Dog. Or Two.
A Humoristic dark daydream
Poetry by Carter Clapsadle
Design, Binding & Printing by Julie Baugnet
St. Paul, Minnesota: Bluestem Cottage Press, 2023. Edition of 9.

5.5" x 11" closed, extends to 33”; six panels. Accordion structure. Printed on Rives BFK buff, and grey. Images include a variety of alternative print techniques such as ink drawdowns, stencils, pochoir, and Tetra Pak printing to simulate intaglio. Letterpress printed on the Vandercook Universal 1 using polymer plates. Housed in a Japanese linen paper envelope. Signed and numbered by the artist.

Julie Baugnet: “Concept: Often when we think about dreams we think about the dreams of sleep or the daydreams of our aspirations. We think of dreams in more or less a positive light. But what about the dark dreams? The dreams or visions about revenge, doing something wrong, or even killing? We’ve all said or heard the phrase, ‘I could just kill you!’ Such is the case with this poem. Barking dogs interrupt a writer’s train of thought and in turn those thoughts plot out methods of disposing the dogs. Tinged with dark humor and irony, the author doesn’t enact upon his vision but is caught in a cyclic event.”

I have this recurring dream. I kill a dog.
My neighbor’s dog. I’m trying to write a
poem and it keeps barking. Piercing yaps really;
it disturbs my concentration.
I imagine how do I kill it? …

Ruminating on the methods
Like Agatha Christie,
I put a voodoo curse on them; they
Mysteriously become ill and die.
The vets are confounded …

$425

Staying the Winter
Poetry by Carter Clapsadle
Design & Printing by Julie Baugnet
St. Paul, Minnesota: Bluestem Cottage Press, 2023. Edition of 11.

Gatefold format with two spines. Size: 4.75" x 12" folds out to 24". Paper: Rives BFK white and grey. Type: Source Sans Pro. 11/19. Techniques: Alternative print techniques such as ink drawdowns, erasers prints, and stencils. 7 screenprinted images. Housed in a linen dual-colored case. Printed at Minnesota Center for Book Arts. Numbered. Signed by Clapsadle and Baugnet.

Julie Baugnet: "’Staying the Winter’ is bound in a unique gatefold format, with 2 spines. On the left, a small book with 7 tercet poems are letterpress printed on Rives BFK grey. The right-hand pages open to reveal a variety of abstract images of winter printed on Rives BFK white.

"Illustrations are abstract, using color and texture to convey the emotive qualities of the poems. A family of 5 colors is used to create unity and interest depicting the colors of winter. By making 2 books, I was able to create landscape images that are separate from the narrative. I chose to use abstract imagery—leaving the short poems to evoke imagery for the reader to imagine."

Bluestem Press: "This book is a collaborative venture and is a reflection of our countless years staying the winters in Alaska and Minnesota. Clapsadle/Baugnet lead a quiet life—printing, designing, writing, and making books. Our interests inform our perspective, aesthetic, and approach to creativity.

“Carter Clapsadle is a landscape architect, writer, and poet. He is an environmental educator and consultant based in St. Paul, MN. His garden designs promote and feature indigenous plants of the Midwest. In his spare time he writes, and writes, and writes.”

listen to falling snow
a ceremony begins –
it’s reindeer time …

$725

Elsewhere: notes from a travelogue
Poems by Carter Clapsadle
Book design & printing by Julie Baugnet
St. Paul, Minnesota: Bluestem Cottage Press, 2021. Edition of 13.

24 pages. Designed, bound, and letterpress printed using polymer plates. Artwork on verso pages include ink drawdowns for the first layer. Screen printed textures are superimposed. Typography: Minion Pro, main text is 10/14, letterpress using polymer plates. Paper: Rives BFK, white and grey. Slipcase: Cave paper, Duo bookcloth, endpapers are Neenah Metallic, gun metal grey. Numbered.

Carter Clapsadle: "All together this collaborative book is comprised of 10 poems on the recto pages, and 10 screen printed images on the verso pages. These poems are part of an ongoing body of work inspired by travel. They are about experiences, observations, and memories that are triggered from traveling, eating, driving, swimming, and taking part in cultural exchanges.

“Travel takes us from our routines and familiarities while at the same time reveals similarities we have with those places. Some poems are about a particular place while others are about being at a place and yet being elsewhere."
$625

(Covid II Book)
By Julie Baugnet
poetry by Carter Clapsadle
St. Paul, Minnesota: Bluestem Cottage Press, 2021. Edition of 8.

Two pieces housed in a slipcase with titles tipped on the sides. Book: “We’ve Been Here Before” (Edition of 8)

10 x 5.5” with 17 pages including front pastedown. Concertina format extends from front pastedown, folds out to just over 7 feet. Techniques include drawdowns and screenprint. Trebuchet MS typography. Printed on Rives BFK paper. Poem by Carter Clapsadle. Design and printing by Julie Baugnet. Signed and numbered by Baugnet.

Gatefold piece: “On-again, Off again- a timeline of year two of COVID-19” (Edition of 12) with 4 interior panels. Paper is Rives BFK. Techniques include screen print, drawdowns, and pochoir. Typography is Trebuchet. Signed and numbered by Baugnet.

Julie Baugnet: "As in my first book, ‘When the World Was Asked to Shelter’, I am trying to make sense out of these chaotic times. In ‘We've Been Here Before’, the poem, written by Carter Clapsadle reminds us of the many plagues in history. In the introduction he says:

Looking at pestilences and plagues throughout history, patterns emerge-people's behaviors, scapegoating, ‘medical cures’, misunderstanding, confusion, etcetera. Plagues ‘know’ no global boundaries, political states, ethnicities, or classes of people. In March 2021 people seemed hopeful that the new mRNA vaccine would enable them to return to the lives they are accustomed to living. But the pandemic continues-it has become political, people are angry and mistrust each other. Leaders have not been forthcoming. Some deny that there is a pandemic. Others blame doctors. Historical accounts reveal, as the poem reminds us, that we've been here before.

“The accompanying timeline, ‘On-again, Off-again’ takes statements from my daily sketch journals. As we go into our third year of the pandemic, this virus has left the world exhausted and exasperated."

This is, above all, a human crisis that calls for solidarity.
              Secretary-General of the United Nations Antonio Guterres, March 19,2020

$1,500 (Last Copy)

On-again, Off-again: Timeline
By Julie Baugnet
St. Paul, Minnesota: Bluestem Cottage Press, 2022. Edition of 12.

Gatefold piece with 4 interior panels. Paper is Rives BFK. Techniques include screen print, drawdowns, and pochoir. Typography is Trebuchet. In paper slipcase with title. Signed and numbered by Baugnet.

Julie Baugnet, introduction: "As in my first book, 'When the World was Asked to Shelter', I am trying to make sense out of these chaotic times. This writing is taken from statements in my sketch journals. As we go into our third year, this virus has left the world exhausted and exasperated."

Each month beginning March 2021 and ending February 2022 has brief statements from Baugnet that captures the world's landscape as the virus continues.

March 2021 Vaccine rollout
                        Hope is contagious ....

November     Out of the blue – Omicron
                        Yikes! ...

$300 (Last 3 copies)

Resolution, Oh Seven
By Carter Clapsadle
St. Paul, Minnesota: Julie Baugnet, 2015. Edition of 5.

5.5 x 9" closed, extends to 88"; 16 pages. Accordion structure. Screen printed in Rockwell bold 30/32 on Rives BFK. Mediums: graphite, color pencil, acrylic, and ink. In slipcase. Signed, dated, numbered by the artist and poet.

Colophon: "Asked once too many times about new year resolutions and goals, Carter challenged the traditional list of promises for 2007."

$475 (Last 3 copies)

Leaving Without Maps
By Carter Clapsadle
St. Paul, Minnesota: Julie Baugnet, 2017. Edition of 10.

5.75" x 8.5" (closed). Typography is Trebuchet. Nine pages, traditional codex except for a 3-page foldout at the end. Screen printed text and image on Rives BFK paper. Signed and numbered by the artist and poet. Housed in a die cut wrapper made from French Speckletone paper.

Julie Baugnet: "How is it that small worlds, swallowed by the big, endure the departure from what is known? This last sentence of the poem intrigued me. I set out to create a very sparse book, but ended up using many transparent layers to create a sense of mystery and wonder. If these birds can find their way through their long migratory route, then I can too. I'm done with GPS, I want to follow my instincts. This is also what the creative process is about. There is no road map — we just begin."
(SOLD/Out of Print)

Passage of Birds
By Carter Clapsadle
St. Paul, Minnesota: Julie Baugnet, 2015. Edition of 3.

6 x 11.25"; 16 pages including pastedowns. Screen printed in Avenir medium on Rives BFK. In slipcase. Signed, dated, numbered by the artist and poet.

Colophon: "This poem came about after experiencing the Sandhill Crane migration on Nebraska's Platte River. … Passage of Birds was created while in residence at Minnesota Center for Book Arts summer of 2015."

(SOLD)

Sarabande
painting by Julie Baugnet
pressure prints by Lin Lacy
poetry by Felip Costaglioli
St. Paul, Minnesota: Julie Baugnet, 2009. Unique edition.

6 x 7.25" closed, 23.5 x 7.25" opened; 4 pages. Double-sided accordion. Oil on paper with pressure prints. Slipped into illustrated matching vertical case.

Julie Baugnet and Felip Costaglioli, both professors at St. Cloud State University, she in Design and he in International Cinema and Aesthetics, have collaborated on several artists' books (see Through the Window and Trees, both 2007). Here they are joined by Lin Lacy, Lin Lacy a fiber artist, who studied design at Reitveld Academie in Amsterdam, Holland.

Julie Baugnet: "Sarabande— traditionally meaning a stately court dance in slow triple time, was the inspiration for this poem. Felip uses meter as his foundation for writing poetry, and here you will find the rhythm of 6 syllables for the first stanza, then another 6, then 7, and then 3, then 6 and 6. So this is a modern poem with the idea of meter if one is inclined to break down the syllables. This way of working was important for many French poets of the 18th and 19th centuries.

"As far as the meaning of the poem and the juxtaposition of images, we see the work as somewhat abstract, allowing the viewer to create their own meaning. But ostensibly, the shattered wing and burning strip of lace signify vulnerability. Perhaps 'love' is the key. Hence, the vulnerability of 'loving' I choose to use images of nature. We see life, but of course the impossibility of love – a feeling that is only possible in human beings. The last 2 stanzas,

translate faraway lands
that we have never left.

gives a dream-like quality, it is magical-realism; a narrative technique that blurs the distinction between fantasy and reality. It’s hard to translate, and I would say that it is like 'love' itself."
(Out of Print)

By Julie Baugnet
St. Paul, Minnesota: Bluestem Cottage Press, 2021. Edition of 8.

38 x 11.5”; 6 pages. Screen print on Rives BFK paper. Inside pages are white, the cover is Rives grey. Techniques include screen print, drawdowns, intaglio and pochoir. Typography is Fira Sans Regular. The book is housed in a slip case with title on the outside. Signed and numbered by the artist.

Julie Baugnet: "On March 11th, 2020, the World Health Organization declared the novel coronavirus (COVID-19) outbreak a global pandemic. With more questions than answers, I began to sketch, adding a written narrative while sheltering in St. Paul, Minnesota. During the first year I filled 3 sketch journals.

“For this book I've taken key statements from that work and made a 'list poem' of the first 365 days. The list poem is grouped into 3 lines on each verso page. On each recto page I printed a grid of dots representing each month. I used a stencil to add stippled pochoir to each of dots, I left the days blank without numbering or naming them - symbolizing an exasperating year of very few appointments, cancelled holidays, and gatherings, along with office and school closures. "

Colophon: “As of September 2021, we still live with this pandemic. Without a map or a plan, the world navigates this virus and its variants. Globally this pandemic has made a profound and enduring impact on our lives. We cope with a hidden fear to seek normalcy.”
(SOLD/Out of Print)