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‘binder of the month’ Category

  1. April // Bookbinder of the Month: Derek Hood

    April 1, 2013 by Erin Fletcher

    dumasanddecoster-derekhood

    Dumas/de Coster is a beautiful collection of photographs of bookbindings from 1935-1980. It was published in a limited edition of 100 in Paris for the Librarie Auguste Blaizot in 1981. The catalogue is printed on tinted Romana paper, with 14 color and 19 black and white photographs, signed by both artists.

    Commissioned by a collector, Derek Hood bound this book as a laced-in boards binding sewn on pleister tapes. (I’m not familiar with this term, but Derek describes them as the French type that you can then fray and lace into the boards after sewing.) The individual pages were guarded before sewing. The spine was covered in three separate parts and the boards were attached using the leather over boards technique (also referred to as a Bradel binding), once completed. The top edge is hand gilt in 24kt leaf and the headbands sewn with silk thread.

    dumasdoublure-derekhood

    The endpapers are leather jointed with leather doublures, which are decorated with onlays and gold tooling in a similar manner as the cover design. The book is housed in a quarter leather chemise and a leather entry slipcase. 

    I always look forward to the moment when my inbox receives material for the next interview. As I opened the folder containing images of Derek Hood’s more recent bindings I was struck by the image of this binding. I’m greatly inspired by Derek’s work and was so pleased he agreed to be interviewed on my blog.

    The design of this binding is incredibly complex. The linear and triangular forms along with the range of colors offers intrigue and depth. Derek shares his inspiration and process behind the design.
    The design was abstracted from a pencil landscape drawing by Germaine de Coster. Initially, the whole image was traced in simplistic linear form, outlining the buildings, mountains and sunrays, so that every pencil stroke was essentially accounted for. Areas of interest were then honed and focused on until the main triangular form was realized. The finished piece has only an essence of the original drawing, but it is intended to convey the same idea of sunlight and shadow bouncing off multiple planes whilst crossing a vast landscape.

    In 2006, Derek was elected a Licentiate member of the Designer Bookbinders and assigned Paul Delrue and Lori Sauer as mentors. Derek never formally visited either of them during his licentiateship, but discussed the topics of art and books regularly on the telephone. “I like them and their work a lot. It was nice to have two strong, but totally different perspectives on life within the realms of Designer Bookbinders.” Derek now holds the position of a Fellow in the Designer Bookbinders.

    Read the interview after the jump and come back each Sunday in the month of April for more of Derek’s work.

    read more >

  2. Bookbinder of the Month: Lori Sauer

    March 31, 2013 by Erin Fletcher

    topiary-lorisauer

    Topiary by Cecil Stewart is about the art of clipping and sculpting foliage to maintain a clearly defined shape, like a geometric design or animal. In 1936, Topiary was published by Golden Cockerel Press in a limited letterpress edition on handmade paper with whimsical illustrations by Peter Baker Mill.

    topiary illustration

    In 2011, Lori Sauer completed a binding of Topiary in the dos rapporté structure. The binding is covered in reverse vellum dyed with leather dye. The spine is made up of 3 pieces covered in lizard skin and reverse goat. The boards have inlays of wire wrapped in silk and the spine has colured wire coils placed in cutout holes. The doublures and flyleaves are Japanese paper; the flyleaves have cutouts and ink decoration.

    The design is based around the layout of the text and the colours used in the illustrations.

    topiarydetail-lorisauer

  3. Bookbinder of the Month: Lori Sauer

    March 24, 2013 by Erin Fletcher

    glassroom-lorisauer

    The Glass Room by Simon Mawer is a novel about a Jewish family and the house they built in Czechoslovakia prior to WWII. The house is based on the Villa Tugendhat, designed by the architect Mies van der Rohe in Brno in the late 1920s. The building was inscribed on the National List of Cultural Heritage in 1969 and after renovations is open to the public. The story in the novel details the plight of the family as they are forced to leave the country and the subsequent uses their house was put to.

    In 2009, Lori Sauer bound The Glass Room for the Man Booker Prize. The binding is a dos rapporté structure and is covered in two shades of vellum. The Perspex (also known as Plexiglass) inlays have dyed Tyvek underneath to simulate onyx. Lori had wanted to use real onyx as it was a major feature in the house, but the cost of having it thinly sliced for inlays was too high. The onyx wall is located in the living room of the house and is partially translucent, changing its appearance with the evening sun. The doublures are dyed Tyvek made to look similar to veins in onyx.

    The house and its design dominate the novel. It is a very modern building with large rooms and lots of glass. Built when art deco was at its peak, Lori chose to design a binding around the motifs and in the spirit of the architecture.

  4. Bookbinder of the Month: Lori Sauer

    March 17, 2013 by Erin Fletcher

    brothergiles-lorisauer

    This book was bound in 2009 by Lori Sauer as a modified sewn-board binding with a wooden spine. The boards are covered in natural vellum and the spine is attached with threads and vellum strips that are laced into the boards. I find the unusual pattern of the vellum to be quite alluring; it adds a great amount of depth and texture. The doublures are Japanese paper with suede flyleaves. The doublures are embroidered with silk in a crosshatch motif, inspired by the method used in the illustrations.

    brother giles illustrations

    The Life and Chapters of Sundry Goodly, Sayings of the Teachings of Brother Giles was printed by the City of Birmingham School of Printing in 1941 with illustrations by Neil Leitch MacCuaig. The book is comprised of wise words and sayings by a companion of St Francis, Brother Giles. 

  5. Bookbinder of the Month: Lori Sauer

    March 10, 2013 by Erin Fletcher

    water-lorisauer

    The first Designer Bookbinders International Competition was organized in conjunction with the Bodleian Library in 2009. Each binder involved submitted a binding of the set book Water, which is a collection of poems and illustrations based on the theme of water. The set book was published by Incline Press in a limited, letterpress edition.

    In 2008, Lori Sauer bound a copy of Water as a stub binding covered in three stages: the spine attached first with the covers stuck on afterwards. The binding is covered in white vellum and the surfaces are decorated with impressions of circles that sit on a graphite grid. The rear board has pairs of circles and the front has single, larger circles. Onlaid colored circles run down the length of the front board. The spine has a pattern of plus symbols. The doublures are Fabriano Roma.

    Lori describes the text as being filled with a myriad of styles of illustrations and poems from different writers, adding to its broad theme. The circles of her design are simply the symbols for the chemical composition of water, two hydrogen atoms plus one oxygen. The onlaid colored circles on the front cover were added a couple of years after completing the binding as Lori felt a focus was needed to the design. I certainly think the addition of the circles offers a focal point to the viewer, then you slowly begin to realize the complex pattern of lines and circles underneath. 

  6. Bookbinder of the Month: Lori Sauer

    March 3, 2013 by Erin Fletcher

    kyffin1-lorisauer

    Kyffin: A Celebration is a collection of essays about the Welsh artist Kyffin Williams. This book was published and letterpress printed by Gwas Gregynog Press (2007) in a limited edition containing linocut prints from the artist. Production began with the artist’s collaboration, but Kyffin died before its completion. In 2008, Lori Sauer bound a copy of this book as a modified sewn-board binding. 

    The boards are covered in embossed vellum that is drummed on and the spine is shaped from black African hardwood. Doublures and flyleaves are Fabriano Roma in black and blue/grey, the colours of the linocuts.

    Lori wrote me a few words regarding her concept for the cover design.
    Illustrated books present the challenge of how to design the cover, especially this one with such strong images. I never want to imitate the artist or transfer their work to the outside. My aim is to be complimentary and pick up on ideas of tone and intent. In this case the binding uses the colours of the text and the texture of author’s medium.

  7. March // Bookbinder of the Month: Lori Sauer

    March 1, 2013 by Erin Fletcher

    garden1-lorisauer

    The Garden of Evening Mists by Tan Twan Eng was bound for the Man Booker Prize in 2012 by Lori Sauer. This copy was published by Mrymidon Books Ltd. and is a story about a Malaysian woman who reflects on her apprenticeship with a Japanese gardener during her younger years. This takes place during The Malaysian Emergency, a time of civil war after WWII. Political and personal struggles dominate a narrative that is set against the backdrop of the creation of a garden in the highlands of Malaysia.

    I asked Lori to provide a description of the binding, along with her concept for the design.
    The binding is covered in reverse vellum dyed with acrylic ink and embossed with blind lines. The structure is a simplified binding that is made in 3 pieces. It has under lays of paste paper on the fore-edges and Japanese paper doublures and flyleaves.

    I used many shades of green on the binding, for obvious reasons. The design happened as I worked while I kept in mind the idea of ‘borrowed scenery’ an axiom of Japanese garden design.

    garden2-lorisauer

    Lori works both independently as a bookbinder and as an instructor, teaching her innovative structures to students with a wide range of artistic backgrounds. Check out the interview after the jump to find out how Lori got into bookbinding and come back every Sunday this month for more work by Lori.

    For a number of years you worked in publishing before studying bookbinding at The City Lit in London. Can you talk about your path into bookbinding and the training you received through The City Lit.
    I was working in London at The Poetry Society when I decided I needed a change in direction – back to doing something creative with my hands. I had always drawn and painted and ‘made’ things. A writer friend made a casual remark about having some things bound by the local bookbinder and the idea was planted in my head to find out more about this subject. My job was just 4 days a week so on my free day I enrolled for an adult ed. class at the City Lit. By the second class I was hooked and in time added evening classes and a second day at the then London College of Printing.

    My tutors were Sally Lou Smith and David Sellars, who was himself taught by Lou. I couldn’t have wished for better teachers and the exacting standards they required. I attended for three or four years before feeling I was ready to set up on my own. I continued to receive tuition in specialised workshops and by pestering established binders with many questions.

    In retrospect I can see that the things I had done since I was a small child all pointed to the place I’m in now. Apart from constantly making marks on paper, I loved to build things, from a split-level house for my trolls (with all the furniture) to forts in the woods. I studied architecture for a short time in university before switching disciplines to painting and photography. Binding books has turned out to be a perfect medium where I can combine my love of literature, visual interests and building 3D objects. I used to feel I lacked focus and couldn’t settle on what I wanted to do. Now I understand I was doing related and intertwined activities all along.

    I’ve noticed that you frequently use vellum as the covering material for your bindings. What are your reasons for favoring this material and can you talk about the struggles or favorable techniques you’ve encountered from working with what can sometimes be a tricky material.
    Leather is wonderful to work with and I enjoyed using it on my earlier bindings. Gradually it lost its appeal as a material to cover the entire book, it didn’t posses the surface I wanted. I don’t remember exactly when or how I decided to start using vellum but I quickly became very fond of it. The skins’ markings are all different and I find myself endlessly drawn to their variations. I now often begin with a white skin and colour it to suit. I enjoy experimenting with dyes and get some surprising and interesting results.

    I have never found it difficult to work with and I put this down to the vellum itself. My supplier is based in The Netherlands and his vellum is lovely, not too much pull and he has a big stock to choose from. By using different structures or covering the boards off the book I can avoid the large joint needed for a full vellum binding (I don’t like the way it looks).

    I have used reversed vellum on my last few pieces, which gives the benefit of the slightly fuzzy underside, making the book very tactile. Along with the superior strength of vellum, as opposed to leather, it has a historic record of lasting for centuries and maintaining its beautiful characteristics.

    Your minimal designs yield a sense of thoughtfulness to the text and materials. In addition to your individualistic design is your unique binding style. I’m particularly attracted to the rigid, shaped spine of Kyffin: A Celebration and The Life and Chapters of Sundry Goodly Sayings and the Techniques of Brother Giles, Companion of Saint Francis. Is this a structure you developed? What are the features of its construction that you find appealing?
    Both of these bindings use a structure I developed and although each is done with slight variations they are similar. It’s a modification of the sewn board binding that originates with Gary Frost; it also has parallels to the construction of some medieval books that use a sewn-on vellum flange to sandwich the boards.  I like it because it opens flat, something I strive for in all my work, and has good board movement. The shaped wooden spine came about because I wanted to make the flat back of this structure more sophisticated in appearance. I had to figure out a way to attach it securely while not letting it impede the opening. These particular bindings have small holes drilled in the wood and threads from the sewn text pass through the holes to secure everything together.

    You’ve founded BINDING re:DEFINED, an organization offering specialized workshops taught by professional bookbinders including yourself, Benjamin Elbel and Emily Martin. As an instructor myself, I can understand the passion for teaching such a significant trade. What led you teach bookbinding? Could you describe your typical student and what aspects of teaching you enjoy most?
    I fell into teaching by accident. A local college asked me to take over from a retiring tutor and it built up from there. What I have discovered after a very nervous beginning is that I enjoy it. As my own work has developed I have become more committed to passing on my interest in structures and to illustrate how they are a viable alternative to the norm.

    About half of my teaching is repair and restoration (I run a weekend class for this during the academic year) and the other half is focused on new work. Whatever path a student chooses to follow in binding I am adamant that they all have a solid grounding in how a book is put together. If they don’t understand their tools or materials then the finished product will be a disaster.

    Many people have come from other disciplines: calligraphy, textile art, photography and architecture. It’s lovely to see them get the bug for binding and add it to their other skills. Opening someone’s eyes to the possibilities in making books is very gratifying. I am on a gentle campaign to inform students that modern texts are unsuitable for Victorian pastiche and that we owe it to the craft to move it into the future.

    And to top it all, teaching is one of the best ways to learn. The information and ideas that I have received from students is invaluable and inspiring. I’d be worse off for not running classes.

    In addition to teaching, you also work as a self-employed bookbinder. Can you describe your workspace and the type of work you specialize in.
    I have a separate studio in my house with big picture windows that overlook very beautiful English countryside. The first thing anyone says when they visit is ‘what an amazing view’. My room is stuffed full of materials and equipment and my working space grows smaller every year. While working I listen to BBC radio 4, a wonderful non-music station that I learn something from every day.

    I have discovered that running the workshops for BINDING re:Defined takes an enormous amount of time in admin, maintaining the website, etc. It’s a new venture that’s only been going for 2 years and one I am convinced has a place in the binding canon. As it grows and evolves my hope is that it will become an important resource for the study of structures.

    Bench time is spent on a steady trickle of repair work, commissions for various projects and making bindings for exhibitions. I have a project list for sculptural pieces that I fit in between the other things.

    studio-lorisauer

    My dog, Sev, is with me always and has a dedicated chair in my studio where he snoozes most of the day. He comes to all workshops and has made many friends. Binding is a very solitary occupation and I couldn’t do what I do without his company. Our daily walks together are a great time for me to clear my head and solve design problems. I’d recommend it.

    sev-lorisauer

  8. Bonus // Bookbinder of the Month: Hannah Brown

    February 24, 2013 by Erin Fletcher

    thesonglines_hannahbrown1The Songlines by Bruce Chatwin with illustrations by Simon Pemberton is a Folio Society edition published in 2010. Hannah Brown bound this copy in 2011 as a full leather binding in yellow goatskin with black back-pared leather onlays. Embroidery is done over the onlays with silk and metallic threads in gold, orange, purple, brown, white, black and rust. Frosted acrylic ‘windows’ were lathe-turned, hand-pierced and drilled then set into the front and back boards. The larger ant’s eyes are gold-plated, hand-shaped and patterned brass pieces, inserted through the book covers. The smaller ant’s eyes are tooled with gold, additional tooling in both carbon and gold using handmade finishing tools. 

    Edges are painted with acrylic and tooled with carbon and gold foil. Endpapers and doublures are soft-plate off-set printed with a design of walking ants, appearing to move around the acrylic ‘windows’. Both elements are tooled with gold foils.

    thesonglines_hannahbrown2 thesonglines_hannahbrown3

    I’m completely blown away by the design on this book. Can you talk more about your initial concept and how you approached making it a reality?
    The book is a direct account of the author’s travels in Australia. In the book there are references to honey ants, which is what I decided to base my design on. Honey ants (or ‘repletes’, as they are also known) are ants that are gorged with food so that their abdomens swell enormously. Other ants then extract nourishment from them, they function essentially as living larders. They are found deep underground and are valued highly during time of little food and water.

    I was amazed by these insects and wanted to draw attention to the fact that they have peculiarly large abdomens. I had by chance recently ordered some samples of frosted, coloured acrylic and this seemed a perfect material to use to illustrate their bodies. I used a metal working lathe to turn the frosted acrylic into discs, and cut corresponding holes into the boards before insetting the acrylic in. I really liked that fact that the bodies seemed to light up when the covers of the book were opened.  

  9. Bookbinder of the Month: Hannah Brown

    February 24, 2013 by Erin Fletcher

    locksoftheoxfordcanal_hannahbrown1The Locks of the Oxford Canal: A Journey from Oxford to Coventry was published by The Whittington Press in 1984 and includes fifty wood engravings by John Craig. In 2011, Hannah Brown bound a copy for the Designer Bookbinders Annual Competition, receiving the Mansfield Medal for Best Book. The binding is full leather in a turquoise goatskin with various leather onlays and inlays of pink eel skin, turquoise shagreen and yellow, grey and cream goatskin. All embroidery is done over the onlays with colored silk and metallic threads. Two gold-plated, hand-shaped brass pieces were inserted through the covers and recessed into the boards. Tooling in carbon and gold.

    Doublures have been soft-plate off-set printed to include two images taken from the book and are hand-embroidered and tooled with gold foils. The book is housed in an oak box stained black with suede dyes. The front and back include recessed frosted acrylic panels with cut out sections, brass wire, gold foil tooling and sewn details. 
    locksoftheoxfordcanal_hannahbrown2 locksoftheoxfordcanal_hannahbrown4

    Can you go over the process of embroidering onto leather, when did you first introduce this technique into your fine bindings? How do you decide between machine-sewn to hand-sewn embroidery?
    Ever since my first design binding, ‘The Somme: A Eyewitness History’, I have added sewn detail to the leather. During the first couple of years of making fine bindings, the sewn detail was always done using my sewing machine. This method could however be a little hit and miss with fear of the sewing machine foot leaving marks on the leather.

    The first book that I decided to hand embroider was in 2010, ‘Wildlife in a Southern County’, as I felt the design would appear stronger with hand-sewn outlines. From this point on I have largely chosen to embroider the leather by hand as it gives me more control.

    My most ambitious embroidered binding to date has been on my Shakespeare competition entry, ‘Flowers From Shakespeare’s Garden’, the embroidery alone taking me over one hundred hours to complete. I love the way that it is possible to build up depth of colour and different textures by using a variety of embroidery stitches. I have had no formal embroidery training but have taught myself by experimenting on sample boards.

    I begin by creating a base colour on the covering leather by adding coloured leather onlays. I then back pare these and build up the design by adding silk threads in a variety of colours.

  10. Bookbinder of the Month: Hannah Brown

    February 17, 2013 by Erin Fletcher

    wordstoliveby_hannahbrown1Words to Live By was bound by Hannah Brown in 2009 in a cream alum-tawed goatskin with various leather onlays in green, black, grey and turquoise. Additional leaf pieces of acid-etched stainless steel are hand-sewn onto covers with metallic thread; leaf outlines are machine-sewn. Various hand-pierced leaves and plant details in brass and silver are scattered throughout the design. Hand-tooling in carbon and Moon gold with hand-made finishing tools. Head edge of text block is painted with turquoise acrylic. 

    wordstoliveby_hannahbrown2

    glimpsesofnature_hannahbrown1In 2009, Hannah Brown bound Glimpses of Nature by Andrew Wilson in a mustard-yellow goatskin with various leather onlays in dark brown, black and grey. Each dandelion seed head was hand-sewn with white and metallic thread. The binding also includes three hand-pierced and drilled brass dandelions. Hand-tooling in carbon and gold with hand-made finishing tools.

    glimpsesofnature_hannahbrown2More dialogue after the jump…

    read more >

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  • 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.
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