esigner ookbinders d b contemporary arts

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018 2 introduction Find out more at: www.designerbookbinders.org.uk

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018

Editorial Spring Spotlight 2018 It’s been a scorcher of a summer and I’ve enjoyed the Hello everyone, fine days and heat. It always makes the long, grey winter months more bearable. I believe this is goodbye. The Competition will soon be here and I hope that many of you have purchased a copy of It has been an amazing year and a bit with you. I’ve the Illustrated Man for entry. Don’t be put off by the learned so much! However, one of the things that word ‘competition’ – it’s a chance to show alongside this has really brought home to me is how much others and take part in a very worthwhile experience. I’m a conservator and really not a bookbinder. Exhibitions provide a valuable platform for working to a I feel that it’s really where my passion and my time scale and within set parameters. Have a go! You’ll skills lie.Additionally, this is the point in my career be glad you did. where I really need to be considering (and actually In closing, I’ll mention that the new digital version working on) my accreditation. That will likely take of the newsletter had mixed reactions. Be assured considerable time over the next two years. I don’t that we did not make this decision lightly, but it was think I would be able to manage both the necessitated by constraints on our budget. Some newsletter and working on my accreditation at the were unhappy not to have printed copies for various same time. I will still be taking bookbinding courses practical reasons, but they are able to request a black and I’m sure that you will see me around at events, and white copy from our secretary. Others loved it chatting away to everyone, as per usual! and wish to have all their future copies sent this way. We will continue to have digital copies in Winter and I hope you enjoy this newsletter. There are are some Summer and hard copies in Spring and Autumn for the wonderful articles from Spain and , loads foreseeable future. It saves DB costs, postage of information on courses, a review of the recent and also trees. miniature bookbinding course, and information about a bookbinding residency. Happy binding,

All the best and happy binding, Lori

Talitha

NEWSLETTER DEADLINES 2018 MEETING DATES

WINTER ISSUE 1 November 2018 Fellows and Licentiates, Saturday 22 September 2018. SPRING ISSUE 1 February 2019 DBPL and Executive Committee, Saturday 10 November 2018.

ON THE FRONT COVER Milan Kundera, La Plaisanterie. Ana Ruíz-Larrea binding

Page 4-5 for more info. notices 3 Find out more at: www.designerbookbinders.org.uk

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018

Faith Honorary Fellowships Shannon It was with great pleasure that DB awarded Honorary Fellowships to Jeanette Koch and Stuart Southall at the DB AGM this year.

24 February 1938 Jeanette Koch 24 August 2018 Well known to many DB members and binders worldwide, Jeanette has been a pillar of Designer Bookbinders for many years. She has worked It is with great sadness that we have to report that tirelessly for the Society Faith Shannon died on August 24th, after a long illness. and sacrificed much of She had been in and out of hospital throughout the her time and energy summer, always hoping to get back to her bindery to organising exhibitions continue her work. both home & abroad. She has organised the past three hugely successful International Competitions, bringing Those of us who knew her or had the privilege of together binders from across the globe. Jeanette has being taught by her will remember her as an inspired sat on the Executive Committee for several terms and dedicated binder, always expecting the highest and has a depth of knowledge and enthusiasm for standards of herself and her students. She was an bookbinding which has enabled the Society to raise ambassador for bookbinding as well as a staunch its profile in many ways. She studied bookbinding supporter of Designer Bookbinders, and will be sadly with Romilly Saumarez Smith and is a longstanding missed by her friends, colleagues and family. Faith was participant in DB exhibitions. awarded an MBE in 1977 for services to bookbinding and was made an Honorary Fellow of Designer Stuart Southall Bookbinders in 2013. Stuart has been a longstanding supporter of Designer Bookbinders. He has consistently commissioned bindings from Fellows and Licentiates and for a long time never missed the opportunity to buy bindings from our exhibitions.

Stuart always responds positively when approached to help sponsor projects and he generously supported the International Competitions. 4 from afar Find out more at: www.designerbookbinders.org.uk

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018

and competitions. It published the magazine Encuad- BOOKBINDING IN SPAIN ernación de arte, with the intention of encouraging and promoting the art of bookbinding among binders, Until the 20th century the greatest contribution by bibliophiles, antiquarian booksellers, students, col- Spain to the art of Bookbinding was the Mudéjar style lectors, and all other book lovers. One of these great binding or Hispano-Árabe, which flourished during the exhibitions was Raros y preciosos (Rare and beautiful) in period of the 13th to the 16th centuries. It merged the 1997, which introduced Spain to some leading Europe- great Islamic tradition with certain specific elements of an bookbinders such as Pierre-Lucien Martin, Monique western bindings of the time thanks to the coexistence Mathieu, Georges Leroux, Jean de Gonet, Sün Evrard, of Jewish, Christian and Muslim craftspeople. The Liliane Gérard, Edgar Claes, François Brindeau, Philip copies preserved in the main national are real Smith and Daniel Knoderer. Unfortunately, AFEDA dis- masterpieces of unparalleled beauty. solved in 2012 and since then, no other associated ini- tiative has managed to achieve success in our country. Every art period has its own features and this is true for bookbinding as well. Today, the ways of understanding this art come from the beginning of the 20th century when it went through a transformation that ran paral- lel to the revolutionary rhythm of our contemporary culture. It has continued to evolve and grow during the 21st century.

Until relatively recently, hand bookbinding in Spain has not had any special recognition; it was just another sec- tion in the world of . Only a few isolated masters were able to go beyond common craftsmanship and create highly skilled artistic pieces for a market which has never been large compared to other European countries. Three pioneering bookbinders stand out: Emilio Brugalla (1901-1987) in Barcelona, José Galván (1905-1989) in Cádiz and Antolín Palomino (1909-1995) in Madrid. The first was also a prominent bookbinding Fina García Marruz, ¿De qué, silencio, eres tú silencio? Obradoiro Penumbra binding scholar. He published some essays of great importance both in our country and abroad. Surprisingly, Spain lacks an officially accredited centre to grant degrees as a professional bookbinder. Training From the 1980s this situation started to change. In this in bookbinding is supported by some local, munici- period, some bookbinders embraced external influenc- pal schools like the Imprenta Artesanal (Craft Printing es, especially from France. These are, among others, House) of the City Council of Madrid, the Escuela de Manuel Bueno, Ramón Gomez, and from the younger Artes y Oficios (Arts and Crafts School) of Barcelona, generation, Josep Cambras, Carlos Vera and José Luis etc., and above all in private schools run by profes- García Rubio. They all possess high levels of technical sional bookbinders, who, out of their usual working and artistic skill. hours, teach bookbinding classes. The most prestigious of these schools is run by Ana Ruiz-Larrea. She is a In 1986, the Biblioteca Nacional de España (National Spanish bookbinder who received her training in La of Spain) celebrated an important exhibition Cambre (Brussels). She opened her school Diseño y dedicated to Spanish design binding. It brought to- Encuadernación (Design and Bookbinding) in Madrid in gether the most outstanding bookbinders of the time, 1991. She joins the most up-to-date tendencies in fine which resulted in extensive exposure of this discipline binding with technical accuracy and contemporary aes- to a wider audience. The creation of an Association for thetic ideas. Today, she works and teaches in Paris, but the Development of Artistic Bookbinding (AFEDA), the she has left an important influence among her students. spread and growth of private schools and the organ- Some of them have carried on her legacy and have isation and programming of prizes and exhibitions of opened new schools with high-level training standards bookbinding helped to consolidate this phenomenon. like the one owned by the bookbinder Dolores Baldó in AFEDA was founded in 1992 in Madrid. It connected Madrid. Spanish bookbinders for the first time and reached An award for the Best Fine Binding was created in more than 700 affiliates. It carried out an extraordinary 1993 in order to promote the art of bookbinding. This task by organising exhibitions, lectures, workshops is a national level annual competition created by the from afar 5 Find out more at: www.designerbookbinders.org.uk

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018

Spanish Ministry of Culture and has a good reputation in the world of bookbinding in our country. It consists of binding a book by the award-winning author of the Cervantes Prize, the most important in Spanish. A large jury of experts grants three awards and selects these and other works for exhibitions. The winning entries remain the property of the National Library which, in this way, increases its of fine contemporary . Most of the compe- tition winners, who live in all parts of Spain, work as professionals in their private workshops. They include: Ángel Gómez Pinto, Mª José Pita Gherardi, Antonio Pérez-Noriega, Marielle Zarraluqui, Carlos Sánchez-Ála- mo, Juan A. Fernández-Argenta, Obradoiro Penumbra,

Andrés Pérez Sierra, Guadalupe Roldán, Luis A. Mín- Milan Kundera, La Plaisanterie. Ana Ruíz-Larrea binding guez, Zigor Anguiano, Susana Domínguez and Eduardo Giménez. Last but not least, we should mention the contributions of some good historians and scholars of bookbinding, Today, there is scarce demand for design bindings in particular the remarkable work of the main histori- from institutions or private collectors and professional an of Spanish bookbinding, José Luis Cremades. He, bookbinders devote most of their time to working for along with others, analyses and documents the work of libraries, doing conservation and restoration work, or contemporary bookbinders for various publications. teaching privately. One of the few public institutions that promotes contemporary bookbinding is the Real Eduardo Giménez Biblioteca of the Royal Palace of Madrid, which has an important collection of 18th and 19th century fine bind- ings. Every year it commissions a recognised Spanish bookbinder to bind the Reina Sofía Prize for the corre- sponding Ibero-American Poetry’s award.

Our National Library in Madrid carries out the import- OPEN CALL BOOKBINDING RESIDENCY ant activity of the restoration and promotion of our Paid three month traditional arts residency in East London music heritage. This huge institution exhibits its collections company regularly, publishes good background documentation and runs two restoration and bookbinding workshops Our residency is suitable for an artist looking to build a career around bookbinding and traditional arts, with plenty of ideas and enthusiasm with highly qualified professionals. We must also high- for experimenting and making things. Our small, smart team in light the work of the Imprenta Municipal-Artes del Libro Bethnal Green is changing the music industry for the better. If you (Arts of the Book-Municipal Printing House) in Ma- have the right skills and attitude, you could join us. drid, a centre whose objective is the conservation and We offer a studio space in a beautiful old church hall with promotion of traditional techniques in the Book Arts. a warehouse on the ground floor. Part of our business is an Its impressive rationalist building of the 1930s holds e-commerce platform called Greedbag and we ship out vinyl records, an interesting museum which exhibits the contents and CDs, books and merch on behalf of some great indie labels and materials related to the history of the book, printing artists including Ghost Box, Lo Recordings, Heavenly, NOTON, and bookbinding. In 2014 the touring exhibition of Strange Attractor Press, and others. the Second Designer Bookbinders International Com- We want to do this for a few reasons - first, we want to learn about petition (based on work by William Shakespeare) was the making and selling of special, high quality pieces. Second, we located here. Since 2017 this institution has organised want to expose our team to craft skills and high levels of creative excellence. The objects themselves could be very varied; they could another Fine Binding competition with the same fea- be a simple addition to a music product, like a one-off casing for a tures and economic funding as the Ministry of Culture vinyl record, or something more abstract and indirectly related. We award. would need to build the studio space around your skills, which we would do from scratch – but that’s part of the fun too. Recently, a shop of bookbinding materials, Honorio Please contact [email protected] to arrange a chat. y Anita, has become a meeting point for fine binding amateurs in the capital city of Spain. Besides their INFO usual business, they have started a parallel activity that Full-time or Part-time | Starting Immediately or on agreement | exhibits bookbindings by professionals and students Competitive monthly stipend & studio equipment | Three months with possibility of extension | Studio space in a beautiful church hall, alike. Bethnal Green workshop review Find6 out more at: www.designerbookbinders.org.uk

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018 Miniature Binding Course

The last joint workshop guidance from of the season was held Nesta and a huge in Wiltshire at the end of variety of different June. It was a glorious structures were summer day when we made. Some made arrived at Lori Sauer’s further classically fantastic new teaching bound books with bindery to do two days some decorative of miniatures with Nesta elements, others Davies. made concertina books with some content that Nesta had prepped for us. I don’t think anyone made Nesta started with some paper exercises to help us anything quite as small as on the first day. Needless to understand the peculiar constraints of working in say the quality of the books on the second day showed miniature. The definition of miniature is any book that is a significant improvement both in technique and a maximum of 75mm imagination. in any dimension. It is a centuries old division Each day we had a of bookbinding, and convivial picnic style the first one to be lunch in Lori’s garden printed was back in but everyone was 1475. We started keen to get back into by making a classic the bindery (despite flat backed, cased-in the heat!) to work on leather bound book - their projects. By the challenging our folding and paring skills to the limit. end of the weekend every one was keen The boards were made from boxboard and the spine to continue their learning with Nesta, so if you didn’t from paper. Tiny books also have major constraints manage to come to this Joint Workshop there will be on sewing stations, so we had to learn a new stitching another opportunity in early 2020. pattern using thread and needles much smaller Sarah Burnett-Moore than we are used to using. Traditional bookbinding equipment can be a challenge to use - so we were introduced to Nesta’s Nippers, basically a multipurpose sprung gripper. Coupled with an old adhesive tape spool we made our own Little Laying presses. Unbound copies of Emily We edge decorated the text block and some intrepid Dickinson sought binders even added end bands, inlays and . The largest of these teeny-tiny books measured Haein Song requests unbound copies of the 2017 16x15mm, and some were considerably smaller. competition set book, Emily Dickinson's Selected Poems. If anyone has bought the sheets, but We all had a good discussion around miniature books doesn’t intend to bind their copy she would like to in general, and had a show and tell of some of the purchase them. binders’ collections of books, as well as a laying press and plough made for miniature bindings. If Please contact her directly: anyone is interested in buying one there are links on Haein Song the American Society’s website. The [email protected] second day we were able to experiment under expert 07748451230 competitions 7 Find out more at: www.designerbookbinders.org.uk

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018 Annual UK Bookbinding Competition and Exhibition 2018

There are a limited number of copies of ‘The Illustrated Man’ remaining, so copies will now be available only to those eligible to enter the compe- tition. Please see: www.designerbookbinders.org.uk/annual_competition/ current_competition.html

We look forward to receiving your entries for the 2018 competition. Postal entries must arrive by Friday, 12 October 2018; entries may be delivered by hand on Friday 12 October and Saturday 13 October between 10-6pm, or by arrangement. This year you will be able to have your books returned by post if you send a pre-paid jiffy bag with your entry. All those who have ordered the set book will receive full details and entry forms from the competition committee via email or by post.

The Exhibition will take place in the Layton Room, St Bride Foundation, Bride Lane, Fleet Street, London EC4Y 8EQ from 15 November - 27 No- vember 2018.

Monday - Friday 12 - 6pm Tuesday 27 November 12 - 4pm Saturday 24 November 12 - 4pm

A DB Lecture Day will take place on Saturday 17 November in the Layton Room during the exhibition and the books will be on show for those at- tending.

FOR SALE

Dave Perry is selling a large selection of gold finishing tools, including sets of Devon 10, 12, 16, 30 point, and 30 point lower case brass hand letters; decorative hand tools; decorative and lined fillets; polishing iron and burnishing tools for edge gilding.

In addition, he has binding equipment: a professional heavy-duty bench finishing press and vice; marble papers, band former and band nippers; sewing frame, sewing cord and tape and goatskin.

Please contact Dave: 0208 866 8254 or [email protected]. 8 book art centre Halle Find out more at: www.designerbookbinders.org.uk

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018

recent works is the book Die Falle des Gargancjan (The First Sally, or, The Trap of Gargantius), which she produced in an of five copies, presented in a solander box and accompanied by a metal object. The story about robots and the constructors Klapauzius and Truro was written by the Polish philosopher and author Stanislaw Lem and is part of the Cyberiada series. Frauenlob created a wonderful artist’s book with bacH calendar 2018 colourful material prints using a metal construction set from her childhood. The sound of the protagonists is Unus pro omnibus, omnes pro uno. enhanced by the type faces used, the Synthetic and Calluna Sans. This is true for many a community, which means http://www.annegretfrauenlob.de/ both the group and the individual take responsibility and support each other. The book artists Annegret Friederike von Hellermann Frauenlob, Friederike von Hellermann, Rita Lass, Petra Reichenbach and Claudia Richter benefit from working together while at the same time strengthening their individuality. They all excel in finding an individual way of encasing their ideas in a book form. These ideas can take shape in a variety of forms, from a more graphic design to more precious bindings, which is what makes artist’s books so unique. An extensive variety of techniques and materials such as letterpress, Ulysses - Friederike von Hellermann fine binding, etching, silkscreen, pochoir, leather and various papers are used. Since its foundation in In addition to artists’ books produced in limited 2014, the book art centre Halle has always put an editions, Friederike von Hellermann, who was born emphasis on the uniqueness of their field as well as in Essen in 1984 and who grew up in Oxford, makes the uniqueness of its individual talents. It is a network original prints in a pochoir technique developed by her. in which the artists exchange ideas, collaborating in Making an artist’s book using a friend and colleague’s exhibitions and fairs as well as working together on poem is something special on many levels. Friederike projects, such as their annual calendar, all of which can von Hellermann did just this in her book Ulysses be found on their website: www.bookartcenterhalle. Variation 1. The poem by K.A. Perryman was letterpress de. In the coming months, they will be exhibiting at the printed and accompanied by monochrome shapes of ArtBookBerlin fair (16-18 November 2018), the CODEX shells, snails, and sea plants. The images were dabbed fair in San Francisco (3-6 February 2019), in Hamburg onto very thin Japanese paper using luminous printing (February) and at the book fair in (21-24 March inks. The translucent paper turns the book into an 2019). under-water dream world in which the pages can be viewed one by one or simultaneously, with the images Annegret Frauenob blurring into one another, emphasising the state of mind of the poem’s protagonist. http://friederike-von-hellermann.com/

Lem Buch - Annegret Frauenlob Foto: M Ritzmann SW

Annegret Frauenob, who was born near Berlin in 1986, has placed her focus on creating artist’s books and prints, mostly using lino and woodcut. One of her more (b.a.c.H.) 9 Find out more at: www.designerbookbinders.org.uk

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018

Rita Lass Sartre with delicately coloured prints created directly from spring branches. The reader can discover these as well as the words ‘…about spring is that it always comes when it is needed the most’ within the concertina binding which is wonderful to behold. The artist’s book was created in a series of 16 unique copies. http://www.petrareichenbach.de/

Claudia Richter

Nur einen Moment innehalten - Rita Lass

The artist’s book Nur einen Moment innehalten…. (Just Take a Moment…) was created during a three-month residency. The viewer is taken into a sphere of painted views of misty clouds, with their delicate and meditative atmosphere. The images are brought onto the paper in layers upon layers of extremely thin inks, conveying a true feel of the sky, which Lass studied during her residency and which gave her the space to leave all other things behind and focus on her creativity. It does not take much to “just take a moment” but one often Raum I - Claudia Richter forgets in the rush of everyday life. The book provides the space for thoughts, which is why there is no text. The main focus of Claudia Richter’s work lies in The title itself is the task for the viewer. The edition the creation of fine bindings and artist’s books. consists of three unique books which are bound in a Furthermore, she makes very aesthetic photo gravures half-linen binding with two sections each. Lass, who by transferring images onto copper plates. was born in Berlin in 1979 and who lives and works in In her book Raum I. (Space I.), Richter combines Halle, creates artist’s books as well as prints, papers, fragments of text by Rose Ausländer with a series of and unique bindings. eight photographs, which show the wandering of light http://www.ritalass.de/ across a space. Because of the experimental binding, the captured light sequences can be seen together Petra Reichanbach or individually. At one point, the book features words which almost describe itself ‘I flew on the beam through a dark space, which gradually grew lighter.’ Claudia Richter scheint alles den zarten Nuancen in Wort und Bild gewidmet zu haben. http://buchkunst-claudiarichter.de/

Book art centre Halle (b.a.c.H.) The group of book artists Annegret Frauenlob, Friederike von Hellermann, Rita Lass, Petra Reichenbach and Claudia Richter

Das Schöne - Petra Reichenbach

For her artist’s books, Petra Reichanbach uses letterpress and a variety of printing techniques, namely silkscreen, woodcut, and material prints. As well as creating book arts, Reichenbach, who was born in Aachen in 1963, also works as a graphic designer. In the book Das Schöne (What is Beautiful…), Reichenbach captures on paper her fascination and gratefulness for the annual return of spring. She skillfully combines the aphorism of the author Paul 10 exhibitions Find out more at: www.designerbookbinders.org.uk

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018

NY Center for Book Arts Weston Library

LOOK, LOOK, LOOK...A PLAYFUL BOOK Bodleian Library Broad Street OPULENCE: NOT EVERYTHING THAT GLITTERS IS Oxford GOLD OX1 3BG

All exhibits open 11 July-22 September 2018 TOLKIEN: MAKER OF MIDDLE EARTH Mon-Fri 11am-6pm 1 June - 28 October 2018 Sat 10am-5pm Free, booking required

Senate House Library

RIGHTS FOR WOMEN: LONDON’S PIONEERS IN SAPPHO TO SUFFRAGE: THEIR OWN WORDS WOMEN WHO DARED

until 15 December 2018 6 March 2018 - 3 February 2019

Senate House Library University of London Malet Street London WC1E 7HU

APPAR dans tous ses états, dix ans d’édition de livres d’Artistes. 27 May - 16 September 2018 Bibliotheca Wittockiana APPAR is an organisation that counts as members bookbinders as well as bibliophiles, collectors, booksellers and artists. APPAR publishes every two years artists’ books, aimed at its members.

These books connect writers with illustrators, engravers, photographers or plastic artists.

They join their forces in order to publish a limited edition book. This exhibition highlights APPAR’s panel 23 Rue du Bemel of publications since 2005 as well as first drafts of future 1150 Woluwe-Saint-Pierre projects. Brussels

BOOK FAIRS ArtBookBerlin fair Hamburg Book Fair 16-18 November 2018 February

CODEX fair in San Francisco Leipzig Book Fair 3-6 February 2019 21-24 March 2019 courses 11

Find outNEWSLETTER more at:OF DESIGNERwww.designerbookbinders.org.uk BOOKBINDERS NO 178 SUMMER 2017

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018

MASTERCLASSES BINDING re:DEFINED

Places are still available on the following DB Emily Martin – The Hand-painted Exquisite Masterclasses which will be held at the St Bride Corpse Book Bindery in London in Autumn 2018. September 12-14 To book a place please contact Wendy Hood, the Secretary. One of the best-known book artists in the US Email: [email protected] once again travels to the UK bringing her unique Tel: 01225 342793 style and quirky sense of humour to this class. Full details and Terms & Conditions can be found Participants create individual pieces, in multiples, here: to be shared with one another and bound into a http://www.designerbookbinders.org.uk/teaching/ final narrative. The finished books are certain to dbmasterclasses/dbmasterclasses.html have surprising results.

Kylin Lee Acherman – Innovative Album Dominic Riley - ‘Knife Sharpening, Leather Structures Paring and Covering’ October 13-15

29-30 September 2018 Albums can take on many forms and this This workshop will focus on several techniques class presents some very unique methods for working with leather. First we will look at knife of construction. Kylin will demonstrate how sharpening, comparing different approaches. Then to calibrate the amount of space required to we will practise paring leather using the machine, the accommodate album content and also how to spoke shave and the knife. We will produce thinly build photos, prints or artworks directly into a pared strips useful for joints and onlays, thin down page. Participants begin by making a flex-spine a large piece of leather, and edge pare the turn- album that uses metal, wood and fibreglass as ins for a cover. We will finish by covering a panel, the ‘backbone’. A number of models will be concentrating on accurate edges and neat corners. made allowing participants to adapt their own ideas and materials. Cost: £200 Materials cost: TBA

For complete details please visit our website, Andrew Brown - ‘Decorative and Creative www.bookbindingworkshops.com Leatherworking’ email [email protected] or ring Lori Sauer on 01672 851638. 20-21 October 2018 Leather is a fantastic medium for creative expression BINDING re:DEFINED aims to inspire a wider and its qualities of subtle and ostentatious appreciation of book structures and how they manipulation are boundless. In this Masterclass, we make an intelligent contribution to the aesthetic will sharpen our paring knives, make sure we have of the finished work. The focus of our carefully plenty of spare No.10A Swann-Morton scalpel blades, selected programme remains firmly in the a Brockman/Scharf-Fix machine to the ready, spirit tradition of well-crafted pieces that exhibit the dyes and paste and plenty of sandpaper of variable best in contemporary design. We are based in grit - and determination. Please bring enthusiastic Wiltshire’s beautiful Vale of Pewsey and are easily experimentation and excitement. reached by road or rail. Cost: £200 Materials cost: TBA 12 jointcourses courses and more Find out more at: www.designerbookbinders.org.ukwww.designerbookbinders.org.

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018

How to Gold Tool a Gestural Image on Paper Leaf’ variant and be hard bound. Students will have Tracey Rowledge the chance to explore different mediums to first make 15th - 16th September 2018 a text block and then a full cloth binding. Participants Barnes, London will, again, be encouraged to hand colour, manipulate and further extend the bookcloth, each creating a Learn how to gold-tool an image with the spontaneity of unique book. a drawing. * Suitable for all levels This is a great introduction to gold-tooling on paper and the creative use of the medium. If you have never Full Leather Reback gold-tooled before, this short structured course offers Flora Ginn both the possibility to develop a practical grounding in 16th - 17th & 23rd - 24th March 2019 the processes and techniques specific to tooling with South East London gold leaf on paper, as opening up the creative potential of the medium. If you have gold-tooled before, this The workshop is to find the best possible approach course is an opportunity to build on your knowledge in restoring pre-1800 bindings with detached boards by learning the technique of creating free flowing lines whilst preserving original materials as much as possible. through the highly technical and process driven medium of gold-tooling. Procedures covered: Spine lifting For more information about Tracey go to Endbands reinforced, repaired or resewn if missing www.traceyrowledge.com Repair of board edges & corners Suitable for all levels. Reattachment of endpapers & original boards Paring and staining new leather for spine Oxford Pulp Board Binding Rebacking Arthur Green Preserving & re-attaching original spine, if available 17th - 18th November 2018 Gold tooling where appropriate/necessary Hanley Swan, Worcester Furbishing * Suitable for more experienced binders. The transition from wooden to paper-based boards towards the end of the 16th century marks a significant Moveable Book Magic development in English bookbinding history. Pulp Paul Johnson boards were thinner, lighter and better suited to the 11th - 12th May 2019 new fashion for gold tooling; importantly, they were also Derby Arboretum much cheaper, helping to maintain pace with increased demand for smaller and cheaper printed books. Those The workshop begins with making a sixteen-page book attending this workshop will make a facsimile based with a detachable cover from a single sheet of paper. on an early 17th century Oxford pulp board binding. Each of the six spreads contains a different moveable This workshop will focus on typical structural features structure – house, furnished room, Turkish map fold, including: stub endleaves with printed waste; tawed secret box (with a message inside), sailing boat and thong supports laced onto pulp boards; edges trimmed palace. Japanese locked cards adorn the cover. in-boards and coloured; hand-worked indigo endbands; and a plain leather covering with blind tooling. This We will devise a narrative that links these forms and will be a busy hands-on workshop, but also aims to create a story that weaves its way through the pages provide an insight into the transitions happening within from beginning to end. bookbinding in the early modern period. * Suitable for all levels * Suitable for those with some bookbinding experience. Stub Binding Lori Sauer Cased in Drum Leaf Binding Artist’s Book 1st - 2nd June 2019 Mark Cockram Irvine, Scotland 2nd - 3rd February 2019 Barnes, London Workshop participants make a small library of templates/models with various stub constructions for The workshop will provide an introduction to the making use as future reference. These are a mixture of basic of a unique and distinctly non-traditional artist’s or methods and more complex, versatile and decorative complete book. The structure will be based on a ‘Drum techniques. The models show how to use a stub on a db bursaries 13 Find out more at: www.designerbookbinders.org.uk

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018 single section, multiple sections and sections combined with plates or plates only. They make use of individual stubs and stubs made from DB BURSARIES 2018 concertinas. Various folding patterns are explained as well as how Designer Bookbinders is pleased to have the to attach boards and incorporate endpapers. If time opportunity to award bursaries to provide allows, a multi section, rounded book will be made. financial assistance towards the cost of the current This structure is very adaptable and some of its merits programme of DB Masterclasses and Joint DB/SoB include: the text block opens flat; all spine styles are Workshops. accommodated whether flat, rounded or rounded and backed; the creation of elegant bindings from single The bursaries are aimed at: sections; narrow gutter margins no longer disappear in • UK binders who need financial help to cover the spine; successfully backing books with thick paper; the class fees. attaching plates with no sewing. Bursaries of up tp £150 will be awarded to There will be a materials charge of no more than £10 contribute to the cost of a DB Masterclass. payable on the day. Bursaries of up to £100 will be awarded to contribute to the cost of a Joint DB/SoB Workshop. TERMS AND CONDITIONS • Overseas binders who wish to travel to the UK 1. Registration will only take place on receipt of full to take part in the classes and need help with course fees of £175.00. travel costs. 2. The fee does not include local accommodation or Bursaries of £200 will be awarded to contribute travel. to the cost of a DB Masterclass or a Joint DB/SoB 3. A charge for materials will be payable on the day. workshop. 4. Participants from overseas. It is possible to pay online by PayPal. Please contact Sarah Burnett The normal terms and conditions for bookings will Moore first to confirm that a place is available on the apply to the Masterclass and Joint Workshop series. workshop by emailing: [email protected]. 5. Full details of the venue and a list of equipment and The number of bursaries is limited and they are tools to bring will be sent out nearer the time. available to bookbinders and practitioners of the 6. Cancellation policy. For cancellations received by the craft who are seriously and actively pursuing ways organiser more than one calendar month before the to extend their skills and learning. workshop, the refund will be the amount paid less a 10% administration charge. Applications will be accepted anytime after classes For cancellations received more than two weeks before are announced but MUST arrive no later than 3 the workshop, 50% refund of the amount paid. weeks prior to the class date. Participants who have Cancellations received after that period cannot be already booked for the remaining 2018 classes are refunded except in exceptional circumstances. In the eligible to apply immediately. event of a cancellation the first person on the waiting list for a given workshop will be offered a place. Anyone who wishes to take advantage of these 7. The organisers reserve the right to change the bursaries is asked to email or write to the DB location and date of the workshop or to cancel the Secretary naming the Masterclass or Workshop of workshop, in which case you will be offered a full choice. They will then be asked to complete an refund or, if you choose, a place on any re-scheduled application form to be considered before an award workshop is made. 8. By registering, you accept that none of the Society of Bookbinders, Designer Bookbinders, the If you would like any further information please organisers, the landlords of the premises where the contact the Secretary, Wendy Hood at secretary@ workshops take place, nor the workshop leaders designerbookbinders.org.uk , Tel: 01225 342793, accept any liability for loss, damage, personal injury or or write to 24, Junction Road, Bath, Somerset, BA2 consequential damage. 3NH. 14 courses and more Find out more at: www.designerbookbinders.org.ukwww.designerbookbinders.org.

NEWSLETTER OF DESIGNER BOOKBINDERS NO 178183 SUMMER AUTUMN 2017 2018 centro del bel libro ascona Tel/fax: (+39) 02 3944 5640 Dieter Kläy [email protected] Viale St. Franscini 30 https://www.professionelibro.it/ P.O. Box 2600 CH-6501 Bellinzona San Francisco Center for the Book Schweiz 375 Rhode Island Street (+41) 91 825 11 62 San Francisco, CA 94103 [email protected] (+1) 415-565-0545 https://www.cbl-ascona.ch/en [email protected] https://sfcb.org/ City Lit Keeley Street, Covent Garden, London WC2B 4BA West Dean (+44) 20 7831 7831 Nr Chichester, West Sussex www.citylit.ac.uk PO18 0QZ (+44)1243 811301 Dillington House [email protected] Ilminster, Somerset https://www.westdean.org.uk/ TA19 9DT (+44) 1460 258 648 CONTACT [email protected] http://www.dillington.com/categories/courses/7/ President London Centre for Book Arts Lori Sauer Britannia Works, 56 Dace Road Hazel Bank London E3 2NQ Woodborough Rd (+44) 20 8510 9810 Beechingstoke, Pewsey [email protected] Wiltshire SN9 6HJ http://londonbookarts.org/ United Kingdom [email protected] Mark Cockram - Studio Five First Floor The Mews Hon. Treasurer 46-52 Church Road Jack London Barnes 10 Pattison Road London London SW13 0DQ NW2 2HH (+44) 208 563 2158 United Kingdom [email protected] [email protected]

The Montefiascone Conservation Project http://monteproject.co.uk/en/study-programme/ Secretary and Membership Secretary New York Center for Book Arts Wendy Hood 28 West 27th St, 3rd Flr 24 Junction Road New York, NY 10001 Bath (+1) 212-481-0295 BA2 3NH http://centerforbookarts.org/ United Kingdom [email protected] North Bennett Street School 150 North Street, Boston, MA 02109 Designer Bookbinders Publications (+1) 617-227-0155 DB Publications Ltd. [email protected] 6 Queen Square https://www.nbss.edu/ London WC1N 3AT United Kingdom Penland School of Crafts [email protected] PO Box 37 (street address: 67 Doras Trail) Penland, NC 28765 The New Bookbinder (+1) 828-765-2359 Designer Bookbinders [email protected] 6 Queen Square http://penland.org/index.html London WC1N 3AT Professione Libro United Kingdom Via Angelo Del Bon,1 [email protected] 20158 MILANO - I new members 15 Find out more at: www.designerbookbinders.org.uk

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018

Designer Bookbinders are pleased to welcome the following new members:

Peter BURGESS Katherine LEVY Gillian STEWART Coach House 30 Jay Street 2/1 Clyro Somerville 15 Bannatyne Avenue Hereford MA 02144 Glasgow HR3 5SE USA G31 2UD T: 07803 929458 T: 00 1 505 263 3209 T: 07704 964143 E: [email protected] E: [email protected] E: [email protected]

Tracey BUSH Spike MINOGUE Maria TENITSKAYA 24 Charlesbury Avenue 1237 Carp Road 26 Sussex Street Gosport Stittsville London Hampshire Ontario SW1V 4RL PO12 3TG K2S 1B9 T: T: 02393 118655 Canada E: [email protected] E: [email protected] T: 00 1 613 831 2236 E: [email protected] Marcus VERGARA Martin FROST Avenida del ferrol 21, 7 2 2 Queen Street Emily PATCHIN 28029 Madrid Worthing 415 O' Sullivan Ct Spain West Sussex Marina T: 00 34 630 967043 BN14 7BJ CA 93933 E: [email protected] T: 01903 209607 USA E: [email protected] T: 00 1 831 384 4018 Martyn WAINWRIGHT E: [email protected] 9 Schoolhall Lane Andrew HARRINGTON Bury St Edmunds 139 Thames Street 4L Jo PRESTON Suffolk Brooklyn Flat 6 IP33 1HA NY 11237 33 Wickham Road T: 01284 702964 USA London E: [email protected] T: 00 1 860 810 0469 SE 4 1PW E: [email protected] T: 07736 303802 Matthew ZIMMERMAN E: [email protected] 124 Taylor Road Andrew HUOT Stow 6500 McDonough Dr NW Jaye QUIIN MA 01775 - 1617 Ste C4 Santa Maria College USA Norcross 18 Stoneham Road T: 00 1 504 577 0337 GA 30093 Attadale E: [email protected] USA WA 6156 T: 00 1 404-831-3849 Australia E: [email protected] T: 00 61 618 633 00245 E: [email protected] Elizabeth JAMES 48 Sharnbrook House Lauren SCHOTT 61 Marchbank Road 165 Chestnut Avenue No. 1 London Jamaica Plain W14 9PL MA 01230 T: 0207 942 2393 USA E: [email protected] T: +31 703 402 8511 E: [email protected]

CONTACT, cont.

Newsletter Editor and Layout Information on DB Lectures Talitha Wachtelborn [email protected] Conservation Studio Website Senate House Library [email protected] WC1E 7HU United Kingdom [email protected] NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018

BY APPOINTMENT TO HER MAJESTY THE QUEEN MANUFACTURERS OF LEATHER J. HEWIT & SONS LTD. EDINBURGH J Hewit & Sons Ltd LEATHER MANUFACTURERS

The 'One-Stop' shop for Fine Leather, Equipment, Tools, Materials & Sundries for all Craft Bookbinding requirements.

12 Nettlehill Road - Houstoun Industrial Estate Livingston - West Lothian - EH54 5DL - Scotland

email - [email protected] tel - +44 (0)1506 444160 fax - +44 (0)1506 437749

Heated Gilding Roller The Heated Gilding Ruler is a high quality temperature controlled silicone covered brass roll with an ergonomic handle to enable the comfortable application of real gold foil or leaf, or other matrices such as hot stamping foils to book edges, book covers, leather or other applications. Supplied with silicone heat protection mat, power controller, instructions & 3 metre heat resitant cable. CE Tested and Made in the UK. Uses: - Edgegilding with gold foil or decorative foils - Decoration of covers or endpapers -decoration of papers or leather - Edgegilding with gold leaf

Price £650 Specifications Introductory offer + pp Weight 2.2kg. Order online or email Roll ~7cm x 4.8cm www.edgegilding.co.uk Handle length 65 cm [email protected] Temperature up to 185°C

Published by Designer Bookbinders, 6 Queen Square, London, WC1N 3AT. Printed by TU ink, London