RSS Feed

‘feature book of the week’ Category

  1. Bookbinder of the Month: Lang Ingalls

    March 16, 2014 by Erin Fletcher

    FantasyAndNonsense-LangIngalls

    The exhibition showcasing design bindings of the Tryst Press edition of Fantasy & Nonsense has been mentioned a few times on the blog. I first discussed the exhibition with my own submission, then again when I featured the work of Coleen Curry and Mary Uthuppuru. The book itself is a compilation of works by the American poet James Whitcomb Riley paired with beautiful wood engravings by Berrot H. Hubrecht. Each of the exhibitors really captured the whimsy of the poems and illustrations, transforming each binding into a unique object.

    Lang Ingalls‘ binding of Fantasy & Nonsense is no different in this respect. Her simple yet elegant design extracts the illustrations and complies them to form an intriguing landscape across the open binding. Lang created the binding in 2012 for the exhibition which was hosted by the Rocky Mountain Chapter of the Guild of Book Workers and displayed at the J. Willard Marriott Library at the University of Utah. Bound in the French technique in full light blue goatskin. The linear design was painted with acrylic inside a pulled leather line. Other design elements include colored head edge, custom paste paper endsheets and hand tooled title in blind on the spine.

    I love the color palette on this binding. Even though I had the opportunity to view this binding in person, I was stumped by how you created such a fine line of color in the leather. Can you talk about the technique you employed in this binding?
    This is one of the techniques I learned form Hélène Jolis — it is called an incision line. You actually cut the two sides of the line with a scalpel, remove the leather and paint with acrylics (yes, you need a paintbrush with only three bristles!) inside the line. I advise an optivisor for the work…

  2. Bookbinder of the Month: Lang Ingalls

    March 9, 2014 by Erin Fletcher

    GoTellItOnTheMountain2-LangIngalls

    In 2011, Lang Ingalls won the Best Binding Award from the Chicago Public Library’s One Book Many Interpretations exhibition for her binding of Go Tell It on the Mountain by James Baldwin. It was during the reception for this exhibition that I met Lang. I was drawn to her binding because of the stark contrast between the rich purple leather and bright white onlays.

    Bound in the French technique and covered in purple goatskin. Spanning across the covers and spine are white eel onlays.  Other design details along with the title are hand tooled blind.

    This is the binding that led to our being introduced during an exhibit in Chicago. I am so attracted to the brilliant contrast between the vivid purple leather and the bright white eel skin onlays. I have little experience using exotic leathers, how does eel skin compare to traditional bookbinding leathers?
    This eel skin is really really thin, perfect for onlays, and not difficult to execute. I had fun deciding which way the spine parts would go to complement the design.

  3. Bookbinder of the Month: Haein Song

    February 23, 2014 by Erin Fletcher

    RomeoAndJuliet1-HaeinSong

    In 2012, Haein Song bound this copy of Shakespeare’s Romeo and Juliet in full leather maroon goatskin. The delicate linear design was created by applying a series of natural goatskin onlays. The endpapers are monprinted in gold with suede doublures. 

    RomeoAndJuliet3-HaeinSong RomeoAndJuliet2-HaeinSong

    At first glance, the decorative elements appear to be hand tooled, but those thin lines are actually several onlays. Did you find it difficult to manipulate such delicate and thin pieces of leather?
    Leather pieces are paired down very thin (0.2.mm) and I cut them into long lines of a width of 1mm. It isn’t easy to glue the pieces so I put pva and paste mix on the glass surface then lay the piece on top so it can catch the adhesives. Then with a help of scalpel and tweezers I lay them on the the cover of the book based on my design. I think the idea of doing it seems more challenging than actually executing it. Once you are used to the thinness and longness of the piece it become a little bit like a drawing tool. And when I was laying down the pieces I had a feeling that I was drawing with a leather.

    RomeoAndJulietOnlays-HaeinSong

  4. Bookbinder of the Month: Haein Song

    February 16, 2014 by Erin Fletcher

    TheTrial1-HaeinSong

    The striking design on this fine binding of The Trial by Franz Kafka was created by the talented Haein Song in 2011. This Folio Society edition is covered in full black goatskin with reverse pared natural goatskin onlays. Keeping in fashion with her other bindings, the endpapers are hand printed and sit opposite a leather joint. 

    TheTrial2-HaeinSong

    The head edge and tail edge of the text block are decorated with black acrylic, leaving the whiteness of the paper on the fore edge exposed. Breaking up the edge decoration like this can be very interesting for the overall concept of the design and I think Haein is really playful in this area of the book. 

    TheTrial4-HaeinSong TheTrial3-HaeinSong

    You’ve created design bindings for some prominent authors such as Camus, Kafka and Kipling. Do you have an affinity for these authors? Do you plan to bind more of their works?
    I’m an admirer of few authors, which include Beckett, Camus, Kafka, Borges, Pessoa, Calvino, Kundera, Perec, Hesse and Carroll. I’m also very fond of playwriters associated with The Theatre of the Absurd. Whenever I have an urge and space I look for some of those authors’ books and I have few waiting to be bound. How I came to bookbinding is from the love of reading and interest in language. I don’t think it was easy for me to acquire a second language after being a grown-up so my love is mixed with the frustration I had to go through. And some of the authors I mentioned above express what I want to say through their books eloquently, articulately and poetically.

  5. Bookbinder of the Month: Haein Song

    February 9, 2014 by Erin Fletcher

    JustSoStories-HaeinSong

    This Folio Society edition of Just So Stories by Rudyard Kipling was bound by Haein Song in 2010. Bound in the Bradel binding structure, the spine is covered in reverse goatskin. The front and back boards are covered in hand dyed goatskin. The geometric pattern is tooled in white. The monoprinted endpapers sit opposite a leather joint. 

    JustSoStories3-HaeinSong JustSoStories-Tooling-HaeinSong

    Haein shared this image showing the the tooling in-progress. I love how clean and organized her space looks, a perfect calm environment for tooling.

    JustSoStories4-HaeinSong

    I choose to feature this binding because I’m such a proponent of using a single color to create sublty in design. Sometimes the simplest ideas can create the most extraordinary pieces of art. Using reverse goatskin for the spine creates not only a deeper red, but introduces a change in texture. For this binding, you utilize the Bradel binding, which allows you to create the exterior in three parts. Is there a fondess to this structure that you find supports your design sense more than a full leather binding?
    I like what Bill Evans, an American pianist and composer, said about that – “The simple things, the essences, are the great things, but our way of expressing them can be incredibly complex.” I’m attracted to the very essential and elemental quality of seemingly simple forms like dots, lines, squares and circles.

    When it comes to the structure I don’t think I prefer a bradel binding to a full leather binding – both have different qualities and attractions. But as you’ve mentioned a bradel bindings can provide simple design solution by changing materials or colours and there is a something architectural about that. I used a bradel binding for this book precisely because of that reason.

  6. Bookbinder of the Month: Haein Song

    February 2, 2014 by Erin Fletcher

    Whistler-HaeinSong

    The design on this full leather binding from Haein Song really transforms the material to mimic a textured painted canvas. Haein bound this copy of Whistler by Haldane Macfall in 2009. Sprinkled on top of the hand colored natural goatskin are flecks of gold leaf. The title is also tooled in gold on the front cover. If you click on the image above, you can see the title on the front cover toward the tail. I spotted the “H” first. Happy hunting. 

    The endpaper and matching panel doublures are monoprinted and sit opposite a leather joint. The edges are decorated with blue and brown acrylic pigment and sprinkled with gold leaf. 

    Whistler2-HaeinSongWhistler3-HaeinSong

    There seems to be quite an influence from Mark Cockram in the design of this binding. I can tell you were a student of his. The decoration on the leather has such a painterly quality to it, can you talk about your technique for achieving this affect?
    Do you think so? That is quite interesting as I haven’t thought in that way. Mark’s teaching involved structures, materials, tools and many tips from his experience except aesthetics. He thought, I believe, everyone has different aesthetics. But I suppose what you see influences how you express.

    Few Whistler’s paintings were on display at Tate Britain when I started this book. I remember walking around feeling his paintings titled Nocturne. I wanted to convey that feeling to the cover. Back then I was trying simple but different dyeing and printing technique. How it was achieved was simply rolling few different chosen (or mixed) relief inks onto the glass surface then lay the leather on top and rub it. Endpapers were made in similar way. There is a little bit of trial and error until you get the desirable outcomes. Also depending on the amount of inks and pressure you can achieve a very different look. Whistler was very much interested in Japanese prints. To finish I used a technique called Sunago (Japanese technique in woodblock printmaking, which involves sprinkled or scattered gold leaf) to reflect that.

     

  7. Bonus // Bookbinder of the Month: Karen Hanmer

    December 29, 2013 by Erin Fletcher

    OverTheEdge-KarenHanmerIt was so hard to narrow down just 5 pieces from Karen Hanmer’s portfolio to feature during the month of December. So I present this bonus post, which includes 2 additional bindings, to wrap up both Karen’s feature and the interview segment for 2013.

    Over the Edge: Death in Grand Canyon (by Thomas M. Myers and Michael P. Ghiglieri) may be the reason why I first began to admire Karen Hanmer’s work and how I fell in love with the lacunose technique. This French-style fine binding is covered in full goatskin and features two large goatskin lacunose onlays. The tumbling figures are tooled in gold using custom brass tools, both on the covers, spine and edge-to-edge doublures, which have left a mirrored impression on the suede flyleaves (which you can see here). 

    RightStuff-KarenHanmer

    After visiting with Karen in her home bindery, I attended the One Book, Many Interpretations exhibit at the Chicago Public Library in 2011. I had just been treated to handling some of Karen’s earlier works, that I was so awed by her recent fine binding of The Right Stuff by Tom Wolfe. Karen employs so many techniques on this binding, but every part is flawlessly executed into a harmonious composition.

    Bound as a French-style fine binding in full goatskin with back-pared and cushioned onlays; some laser-printed. Sprinkled gold leaf creates a cosmic stream across the boards. The edges are decorated with graphite and sprinkled with gold leaf.

    These two bindings are amongst my favorites within your portfolio. The techniques you employed made for quite striking designs. Can you discuss the lacunose technique and using laser-printed onlays?
    I don’t draw, paint, airbrush, or do any kind of traditional printmaking, so to get imagery into my designs, I use the computer, or in the case of lacunose, brute force.

    OverTheEdgedetail-KarenHanmer

    I saw Paul Delrue present the lacunose technique at the Guild of Book Workers meeting in 2005. Thin bits of leather are adhered to a substrate or directly to the book, sanded, a PVA wash is applied and dried, and the leather is sanded again. More bits of leather can be applied, tooling can add additional texture, and color can be added to the wash to alter the tone. This process is repeated numerous times with finer and finer sandpaper, then finished with beeswax on a cloth.

    RigthStufffront-KarenHanmer

    Laser-printing on leather is a technique I learned from Peter Verheyen. Pare leather to onlay thickness, paste it to tissue, dry flat. Print the desired image first onto paper so you can properly position the leather. Place the leather over the image just printed on the paper, and tape down the leading edge. Make a second laser print, this time on the leather. After the print is cool, fix the image with a protective coating. I use Cellugel. Krylon spray will also work, and SC6000 or Renaissance wax will probably work also, but be careful not to rub the toner off the surface as you rub on the protective coating. Then remove the leather from the copier paper and proceed to use the printed leather as an onlay or inlay.

    – – – – – – – – – –

    I want to thank Karen again for such a wonderful and thoughtful interview!

  8. Bookbinder of the Month: Karen Hanmer

    December 29, 2013 by Erin Fletcher

    LaCouleurDuVent-KarenHanmerLa Couleur du Vent is an exhibition featuring 50 bindings interpreting text of the same title. I previously posted about this exhibition in Sonya Sheat’s interview this past June. ARA-Canada in partnership with the École Estienne in Paris, organized an international exhibition of bookbinding to be held in both Paris and Canada during 2013 and 2014. I found Karen Hanmer’s design for the text to be quite striking and unusual from her other fine bindings. The overall design is simplistic, but the arrangement of fine, short lines creates a beautiful texture against the grain of the vibrant yellow leather. 

    Bound in full goatskin as a traditional French-style fine binding, Karen’s copy of La Couleur du Vent was sewn on flattened cords and the boards are laced-on. The red teardrop is a back-pared onlay, while the other teardrops are tooled using black, gold and red foils. The title is hand tooled using the same colored foils. 

    How did you come to participate in this exhibition? Are you a member of ARA Canada?
    Yes, I am a member of ARA Canada, and this is the third time I have exhibited with them. Their exhibitions travel in Canada and sometimes in France, and they still produce printed catalogs.

    Prior to a family vacation I posted on the Book_Arts-l asking for suggestions of things to see in Montreal. Cécile Côté invited us to visit her studio, and I was able to see the text block for this set book exhibit, which was designed, illustrated and printed by an intern under Cécile’s direction. [From the ARA-Canada website: This is a collection of poems by Gilles Vigneault, illustrated and designed by Nastassja Imiolek under the artistic direction of Cécile Côté.] I unable to find a translation of the text, so my design is based on the illustrations, borrowing often-used colors and the repeated teardrop shape and cross-hatching.

  9. Bookbinder of the Month: Karen Hanmer

    December 22, 2013 by Erin Fletcher

    fragmentsofcapri2-karenhanmer

    A painting that hung above the sofa in the childhood home of Karen Hanmer became the inspiration and source material for Fragments of Capri. Taking an object that had become so engrained in the landscape of her surroundings, Karen reproduced the painting full size as several inkjet prints then proceeded to trim the painting down to postcard size pieces.

    fragmentsofcapri1-karenhanmer

    Bound within the pages of this drum leaf structure the viewer is given a disjointed look at the painting. Although each spread creates an appealing and what appears to be finished painting, a sense of belonging quickly creeps into the narrative. Created in 2011, Fragments of Capri, is an unnumbered edition of 100. Each book is unique in the variation to covers and interior pages. The spine piece is vellum stamped with gold foil.

    Horizons… Capri is a similar edition where Karen continues to deconstruct and reformat this familiar painting, further fragmenting our memories of the past.  

    horizons1-karenhanmer

    Bound in the drum leaf structure with a stamped vellum spine piece, Horizons… Capri was also created in 2011 in an unnumbered edition of 30. This artist book is currently on display as part of the Guild of Book Workers traveling exhibition: Horizon. 

    horizons3-karenhanmer horizons2-karenhanmer

    I love these two books. The soft edges and pastel colors of the painting are beautifully paired with vellum and a touch of gold foil. Did your initial concept include both books or did one stem from the other?
    Before I began binding, I photographed my husband’s family painting hanging above the sofa it was commissioned to match. Ever since, I’d wanted to make something with my family’s painting. I was invited to make a piece for an exhibit where the works would be assembled by the viewer. I thought of a puzzle or maybe a cube constructed from a photo of the painting. That fell through, but then a friend asked for a set of 50 of something to include in his Fluxus-inspired journal. I photographed the painting, color-corrected the file to match the original, inkjet-printed several copies life-size, then cut them into postcard-size pieces.

    Working with these small prints gave me the idea to use the photograph of the painting for books also. I liked the idea of a fragmented walk through the dreamy landscape, and my first idea was to reference a pocket-sized travel-guide. The Guild of Book Workers had announced the theme “Horizon” for their next traveling exhibit, and I realized if I cut the full-size printed photo of the painting into eight long rectangles, each piece would contain an obvious horizon line. I’d been hoping for a chance to use vellum as a spine for a drum leaf or sewn boards edition, and I think the gold stamped title makes the vellum look particularly luminous.

  10. Bookbinder of the Month: Karen Hanmer

    December 15, 2013 by Erin Fletcher

    nevermoredeluxeandstandard-karenhanmer

    Nevermore Again: Poe Exhumed is an artist book from Karen Hanmer presented in multiple bound formats. The content of the work mirrors the tales of Edgar Allen Poe to contemporary economic and political stories. Pictured above on the left is the Deluxe edition which is presented as an early 19th century style publisher’s binding covered in marbled paper by Pamela Smith. The endpapers incorporate the design of the wrapper from the Standard edition, which is pictured above on the right.

    Nevermore Again: Poe Exhumed is offered for purchase in several different formats. Why have you chosen to produce this piece in various editions? Have you found one edition to be more successful over another?
    Nevermore, Again is an artists’ book exploring how current events mirror stories written by Edgar Allan Poe. I could not decide between two structures for the binding, so for the first time, I produced a book in several editions.

    The deluxe edition uses the publishers’ boarded binding I learned from Jeff Peachey. It is historically appropriate for Poe’s era, and I was eager to use this interesting cusp-of-the-industrial-revolution structure in an edition. But as I researched Poe’s bibliography, I became fascinated by Tamerlane and Other Poems, the rare first edition of Poe’s first published work. To make my book more conceptually sound, I decided that in typography, size, and structure the standard edition should be a facsimile of Tamerlane, which was presented in a simple paper wrapper. Olivia Primanis at the Harry Ransom Center sent me detailed measurements of their copy of Tamerlane, and I went to the University of Chicago to examine another in person. The only change I made was sewing through the fold instead of stabbing adjacent to the spine. I wanted my book to open well.

    nevermoredeluxe-karenhanmer nevermorestandard-karenhanmer

    I’m very pleased with the text I wrote for Nevermore, and I wanted it to have readership extending beyond those with a collector’s budget, so I made a laser-printed chapbook version also.

    I’ve sold many chapbook versions, all but one to individuals. The deluxe edition at $450 has sold significantly more copies than the standard at $275. This surprises me, especially because of pressures on institutional budgets, but I realize that Pam Smith’s marbled paper on the deluxe is hard to resist.

Older Entries
Newer Entries
  • My name is Erin Fletcher, owner and bookbinder of Herringbone Bindery in Boston. Flash of the Hand is a space where I share my process and inspirations.
    The StudioNewsletterInstagramEmail me
  • Archives