NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018 · generation, Josep Cambras, Carlos Vera and José Luis García Rubio. They all possess high levels of technical and artistic

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018

designer bookbinderscontemporary book arts

2 introductionFind out more at: www.designerbookbinders.org.uk


EditorialHello everyone,

I believe this is goodbye.

It has been an amazing year and a bit with you. I’ve learned so much! However, one of the things that this has really brought home to me is how much I’m a conservator and really not a bookbinder. I feel that it’s really where my passion and my skills lie.Additionally, this is the point in my career where I really need to be considering (and actually working on) my accreditation. That will likely take considerable time over the next two years. I don’t think I would be able to manage both editing the newsletter and working on my accreditation at the same time. I will still be taking bookbinding courses and I’m sure that you will see me around at events, chatting away to everyone, as per usual!

I hope you enjoy this newsletter. There are are some wonderful articles from Spain and Germany, loads of information on courses, a review of the recent miniature bookbinding course, and information about a bookbinding residency.

All the best and happy binding, Talitha

2018 MEETING DATES

Fellows and Licentiates, Saturday 22 September 2018.

DBPL and Executive Committee, Saturday 10 November 2018.

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

Page 4-5 for more info.

NEWSLETTER DEADLINES

WINTER ISSUE 1 November 2018

SPRING ISSUE 1 February 2019

Spring Spotlight 2018It’s been a scorcher of a summer and I’ve enjoyed the fine days and heat. It always makes the long, grey winter months more bearable.The Bookbinding Competition will soon be here and I hope that many of you have purchased a copy of the Illustrated Man for entry. Don’t be put off by the word ‘competition’ – it’s a chance to show alongside others and take part in a very worthwhile experience. Exhibitions provide a valuable platform for working to a time scale and within set parameters. Have a go! You’ll be glad you did.In closing, I’ll mention that the new digital version of the newsletter had mixed reactions. Be assured that we did not make this decision lightly, but it was necessitated by constraints on our budget. Some were unhappy not to have printed copies for various practical reasons, but they are able to request a black and white copy from our secretary. Others loved it and wish to have all their future copies sent this way. We will continue to have digital copies in Winter and Summer and hard copies in Spring and Autumn for the foreseeable future. It saves DB printing costs, postage and also trees.

Happy binding,

Lori

notices 3Find out more at: www.designerbookbinders.org.uk


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

Jeanette Koch

Well known to many DB members and binders worldwide, Jeanette has been a pillar of Designer Bookbinders for many years. She has worked tirelessly for the Society and sacrificed much of her time and energy organising exhibitions both home & abroad. She has organised the past three hugely successful International Competitions, bringing together binders from across the globe. Jeanette has sat on the Executive Committee for several terms and has a depth of knowledge and enthusiasm for bookbinding which has enabled the Society to raise its profile in many ways. She studied bookbinding with Romilly Saumarez Smith and is a longstanding participant in DB exhibitions.

Stuart Southall

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.

Faith Shannon

24 February 1938 24 August 2018

It is with great sadness that we have to report that Faith Shannon died on August 24th, after a long illness. She had been in and out of hospital throughout the summer, always hoping to get back to her bindery to continue her work.

Those of us who knew her or had the privilege of being taught by her will remember her as an inspired and dedicated binder, always expecting the highest standards of herself and her students. She was an ambassador for bookbinding as well as a staunch supporter of Designer Bookbinders, and will be sadly missed by her friends, colleagues and family. Faith was awarded an MBE in 1977 for services to bookbinding and was made an Honorary Fellow of Designer Bookbinders in 2013.

4 from afarFind out more at: www.designerbookbinders.org.uk


BOOKBINDING IN SPAINUntil the 20th century the greatest contribution by Spain to the art of Bookbinding was the Mudéjar style binding or Hispano-Árabe, which flourished during the period of the 13th to the 16th centuries. It merged the great Islamic tradition with certain specific elements of western bindings of the time thanks to the coexistence of Jewish, Christian and Muslim craftspeople. The copies preserved in the main national libraries are real masterpieces of unparalleled beauty.

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 books. 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 scholar. He published some essays of great importance both in our country and abroad.

From the 1980s this situation started to change. In this period, some bookbinders embraced external influenc-es, especially from France. These are, among others, Manuel Bueno, Ramón Gomez, and from the younger generation, Josep Cambras, Carlos Vera and José Luis García Rubio. They all possess high levels of technical and artistic skill.

In 1986, the Biblioteca Nacional de España (National Library of Spain) celebrated an important exhibition dedicated to Spanish design binding. It brought to-gether the most outstanding bookbinders of the time, which resulted in extensive exposure of this discipline to a wider audience. The creation of an Association for the Development of Artistic Bookbinding (AFEDA), the spread and growth of private schools and the organ-isation and programming of prizes and exhibitions of bookbinding helped to consolidate this phenomenon.

AFEDA was founded in 1992 in Madrid. It connected Spanish bookbinders for the first time and reached more than 700 affiliates. It carried out an extraordinary task by organising exhibitions, lectures, workshops

and competitions. It published the magazine Encuad-ernación de arte, with the intention of encouraging and promoting the art of bookbinding among binders, bibliophiles, antiquarian booksellers, students, col-lectors, and all other book lovers. One of these great exhibitions was Raros y preciosos (Rare and beautiful) in 1997, which introduced Spain to some leading Europe-an bookbinders such as Pierre-Lucien Martin, Monique Mathieu, Georges Leroux, Jean de Gonet, Sün Evrard, Liliane Gérard, Edgar Claes, François Brindeau, Philip Smith and Daniel Knoderer. Unfortunately, AFEDA dis-solved in 2012 and since then, no other associated ini-tiative has managed to achieve success in our country.

Surprisingly, Spain lacks an officially accredited centre to grant degrees as a professional bookbinder. Training in bookbinding is supported by some local, munici-pal schools like the Imprenta Artesanal (Craft Printing House) of the City Council of Madrid, the Escuela de Artes y Oficios (Arts and Crafts School) of Barcelona, etc., and above all in private schools run by profes-sional bookbinders, who, out of their usual working hours, teach bookbinding classes. The most prestigious of these schools is run by Ana Ruiz-Larrea. She is a Spanish bookbinder who received her training in La Cambre (Brussels). She opened her school Diseño y Encuadernación (Design and Bookbinding) in Madrid in 1991. She joins the most up-to-date tendencies in fine binding with technical accuracy and contemporary aes-thetic ideas. Today, she works and teaches in Paris, but she has left an important influence among her students. Some of them have carried on her legacy and have opened new schools with high-level training standards like the one owned by the bookbinder Dolores Baldó in Madrid.

An award for the Best Fine Binding was created in 1993 in order to promote the art of bookbinding. This is a national level annual competition created by the

Fina García Marruz, ¿De qué, silencio, eres tú silencio? Obradoiro Penumbra binding

from afar 5Find out more at: www.designerbookbinders.org.uk


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 literary award 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 collection of fine contemporary bookbindings. 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-guez, Zigor Anguiano, Susana Domínguez and Eduardo Giménez.

Today, there is scarce demand for design bindings from institutions or private collectors and professional bookbinders devote most of their time to working for libraries, doing conservation and restoration work, or teaching privately. One of the few public institutions that promotes contemporary bookbinding is the Real 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-ant activity of the restoration and promotion of our heritage. This huge institution exhibits its collections regularly, publishes good background documentation and runs two restoration and bookbinding workshops with highly qualified professionals. We must also high-light the work of the Imprenta Municipal-Artes del Libro (Arts of the Book-Municipal Printing House) in Ma-drid, a centre whose objective is the conservation and promotion of traditional techniques in the Book Arts. Its impressive rationalist building of the 1930s holds an interesting museum which exhibits the contents and materials related to the history of the book, printing and bookbinding. In 2014 the touring exhibition of the Second Designer Bookbinders International Com-petition (based on work by William Shakespeare) was located here. Since 2017 this institution has organised another Fine Binding competition with the same fea-tures and economic funding as the Ministry of Culture award.

Recently, a shop of bookbinding materials, Honorio y Anita, has become a meeting point for fine binding amateurs in the capital city of Spain. Besides their usual business, they have started a parallel activity that exhibits bookbindings by professionals and students alike.

Last but not least, we should mention the contributions of some good historians and scholars of bookbinding, in particular the remarkable work of the main histori-an of Spanish bookbinding, José Luis Cremades. He, along with others, analyses and documents the work of contemporary bookbinders for various publications.

Eduardo Giménez

Milan Kundera, La Plaisanterie. Ana Ruíz-Larrea binding

OPEN CALL BOOKBINDING RESIDENCY

Paid three month traditional arts residency in East London music company

Our residency is suitable for an artist looking to build a career around bookbinding and traditional arts, with plenty of ideas and enthusiasm

for experimenting and making things. Our small, smart team in Bethnal Green is changing the music industry for the better. If you

have the right skills and attitude, you could join us.

We offer a studio space in a beautiful old church hall with a warehouse on the ground floor. Part of our business is an

e-commerce platform called Greedbag and we ship out vinyl records, CDs, books and merch on behalf of some great indie labels and artists including Ghost Box, Lo Recordings, Heavenly, NOTON,

Strange Attractor Press, and others.

We want to do this for a few reasons - first, we want to learn about the making and selling of special, high quality pieces. Second, we want to expose our team to craft skills and high levels of creative

excellence. The objects themselves could be very varied; they could be a simple addition to a music product, like a one-off casing for a vinyl record, or something more abstract and indirectly related. We would need to build the studio space around your skills, which we

would do from scratch – but that’s part of the fun too.

Please contact [email protected] to arrange a chat.

INFOFull-time or Part-time | Starting Immediately or on agreement |

Competitive monthly stipend & studio equipment | Three months with possibility of extension | Studio space in a beautiful church hall,

Bethnal Green

guidance from Nesta and a huge variety of different structures were made. Some made further classically bound books with some decorative elements, others made concertina books with some content that Nesta had prepped for us. I don’t think anyone made anything quite as small as on the first day. Needless to say the quality of the books on the second day showed a significant improvement both in technique and imagination.

Each day we had a convivial picnic style lunch in Lori’s garden but everyone was keen to get back into the bindery (despite the heat!) to work on their projects. By the end of the weekend every one was keen

to continue their learning with Nesta, so if you didn’t manage to come to this Joint Workshop there will be another opportunity in early 2020.

Sarah Burnett-Moore

6 workshop reviewFind out more at: www.designerbookbinders.org.uk


Miniature Binding CourseThe last joint workshop of the season was held in Wiltshire at the end of June. It was a glorious summer day when we arrived at Lori Sauer’s fantastic new teaching bindery to do two days of miniatures with Nesta Davies.

Nesta started with some paper exercises to help us understand the peculiar constraints of working in miniature. The definition of miniature is any book that is

a maximum of 75mm in any dimension. It is a centuries old division of bookbinding, and the first one to be printed was back in 1475. We started by making a classic flat backed, cased-in leather bound book -

challenging our folding and paring skills to the limit.

The boards were made from boxboard and the spine from paper. Tiny books also have major constraints on sewing stations, so we had to learn a new stitching pattern using thread and needles much smaller 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.

We edge decorated the text block and some intrepid binders even added end bands, inlays and bookmarks. The largest of these teeny-tiny books measured 16x15mm, and some were considerably smaller.

We all had a good discussion around miniature books in general, and had a show and tell of some of the binders’ collections of books, as well as a laying press and plough made for miniature bindings. If anyone is interested in buying one there are links on the American Miniature Book Society’s website. The second day we were able to experiment under expert

Unbound copies of Emily Dickinson soughtHaein Song requests unbound copies of the 2017 competition set book, Emily Dickinson's Selected Poems. If anyone has bought the sheets, but doesn’t intend to bind their copy she would like to purchase them.

Please contact her directly:Haein Song [email protected]

competitions 7Find out more at: www.designerbookbinders.org.uk


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 - 6pmTuesday 27 November 12 - 4pmSaturday 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 HalleFind out more at: www.designerbookbinders.org.uk


Unus pro omnibus, omnes pro uno.

This is true for many a community, which means both the group and the individual take responsibility and support each other. The book artists Annegret 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, fine binding, etching, silkscreen, pochoir, leather and various papers are used. Since its foundation in 2014, the book art centre Halle has always put an emphasis on the uniqueness of their field as well as the uniqueness of its individual talents. It is a network in which the artists exchange ideas, collaborating in exhibitions and fairs as well as working together on projects, such as their annual calendar, all of which can be found on their website: www.bookartcenterhalle.de. In the coming months, they will be exhibiting at the ArtBookBerlin fair (16-18 November 2018), the CODEX fair in San Francisco (3-6 February 2019), in Hamburg (February) and at the book fair in Leipzig (21-24 March 2019).

Annegret Frauenob

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

recent works is the book Die Falle des Gargancjan (The First Sally, or, The Trap of Gargantius), which she produced in an edition 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 colourful material prints using a metal construction set from her childhood. The sound of the protagonists is enhanced by the type faces used, the Synthetic and Calluna Sans.http://www.annegretfrauenlob.de/

Friederike von Hellermann

In addition to artists’ books produced in limited editions, Friederike von Hellermann, who was born in Essen in 1984 and who grew up in Oxford, makes original prints in a pochoir technique developed by her.Making an artist’s book using a friend and colleague’s poem is something special on many levels. Friederike von Hellermann did just this in her book Ulysses Variation 1. The poem by K.A. Perryman was letterpress printed and accompanied by monochrome shapes of shells, snails, and sea plants. The images were dabbed onto very thin Japanese paper using luminous printing inks. The translucent paper turns the book into an under-water dream world in which the pages can be viewed one by one or simultaneously, with the images 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

bacH calendar 2018

Ulysses - Friederike von Hellermann

(b.a.c.H.) 9Find out more at: www.designerbookbinders.org.uk


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 forgets in the rush of everyday life. The book provides the space for thoughts, which is why there is no text. The title itself is the task for the viewer. The edition consists of three unique books which are bound in a half-linen binding with two sections each. Lass, who was born in Berlin in 1979 and who lives and works in Halle, creates artist’s books as well as prints, papers, and unique bindings.http://www.ritalass.de/

Petra Reichanbach

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

Das Schöne - Petra Reichenbach

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

The main focus of Claudia Richter’s work lies in the creation of fine bindings and artist’s books. Furthermore, she makes very aesthetic photo gravures by transferring images onto copper plates.In her book Raum I. (Space I.), Richter combines fragments of text by Rose Ausländer with a series of eight photographs, which show the wandering of light across a space. Because of the experimental binding, the captured light sequences can be seen together 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

Nur einen Moment innehalten - Rita Lass

Raum I - Claudia Richter

10 exhibitionsFind out more at: www.designerbookbinders.org.uk


Senate House Library

RIGHTS FOR WOMEN: LONDON’S PIONEERS IN THEIR OWN WORDS

until 15 December 2018

Senate House LibraryUniversity of LondonMalet StreetLondon WC1E 7HU

NY Center for Book Arts

LOOK, LOOK, LOOK...A PLAYFUL BOOK

OPULENCE: NOT EVERYTHING THAT GLITTERS IS GOLD

All exhibits open 11 July-22 September 2018

Mon-Fri 11am-6pmSat 10am-5pm

Weston Library

Bodleian LibraryBroad StreetOxfordOX1 3BG

TOLKIEN: MAKER OF MIDDLE EARTH1 June - 28 October 2018Free, booking required

SAPPHO TO SUFFRAGE: WOMEN WHO DARED

6 March 2018 - 3 February 2019

ArtBookBerlin fair 16-18 November 2018

CODEX fair in San Francisco 3-6 February 2019

Hamburg Book FairFebruary

Leipzig Book Fair21-24 March 2019

BOOK FAIRS

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, photographersor plastic artists.

They join their forces in order to publish a limited edition book. This exhibition highlights APPAR’s panel of publications since 2005 as well as first drafts of future projects.

23 Rue du Bemel1150 Woluwe-Saint-Pierre

Brussels

APPAR dans tous ses états, dix ans d’édition de livres d’Artistes.27 May - 16 September 2018

Bibliotheca Wittockiana

NEWSLETTER OF DESIGNER BOOKBINDERS NO 178 SUMMER 2017


courses 11Find out more at: www.designerbookbinders.org.uk

MASTERCLASSESPlaces are still available on the following DB Masterclasses which will be held at the St Bride Bindery in London in Autumn 2018.

To book a place please contact Wendy Hood, the Secretary.Email: [email protected]: 01225 342793Full details and Terms & Conditions can be found here:http://www.designerbookbinders.org.uk/teaching/dbmasterclasses/dbmasterclasses.html

Dominic Riley - ‘Knife Sharpening, Leather Paring and Covering’

29-30 September 2018This workshop will focus on several techniques for working with leather. First we will look at knife sharpening, comparing different approaches. Then we will practise paring leather using the machine, the spoke shave and the knife. We will produce thinly pared strips useful for joints and onlays, thin down a large piece of leather, and edge pare the turn-ins for a cover. We will finish by covering a panel, concentrating on accurate edges and neat corners.

Cost: £200 Materials cost: TBA

Andrew Brown - ‘Decorative and Creative Leatherworking’

20-21 October 2018Leather is a fantastic medium for creative expression and its qualities of subtle and ostentatious manipulation are boundless. In this Masterclass, we will sharpen our paring knives, make sure we have plenty of spare No.10A Swann-Morton scalpel blades, a Brockman/Scharf-Fix machine to the ready, spirit dyes and paste and plenty of sandpaper of variable grit - and determination. Please bring enthusiastic experimentation and excitement.

Cost: £200 Materials cost: TBA

BINDING re:DEFINEDEmily Martin – The Hand-painted Exquisite Corpse BookSeptember 12-14

One of the best-known book artists in the US once again travels to the UK bringing her unique style and quirky sense of humour to this class. Participants create individual pieces, in multiples, to be shared with one another and bound into a final narrative. The finished books are certain to have surprising results.

Kylin Lee Acherman – Innovative Album StructuresOctober 13-15

Albums can take on many forms and this class presents some very unique methods of construction. Kylin will demonstrate how to calibrate the amount of space required to accommodate album content and also how to build photos, prints or artworks directly into a page. Participants begin by making a flex-spine album that uses metal, wood and fibreglass as the ‘backbone’. A number of models will be made allowing participants to adapt their own ideas and materials.

For complete details please visit our website,www.bookbindingworkshops.com email [email protected] or ring Lori Sauer on 01672 851638. BINDING re:DEFINED aims to inspire a wider appreciation of book structures and how they make an intelligent contribution to the aesthetic of the finished work. The focus of our carefully selected programme remains firmly in the tradition of well-crafted pieces that exhibit the best in contemporary design. We are based in Wiltshire’s beautiful Vale of Pewsey and are easily reached by road or rail.

12 courses and moreFind out more at: www.designerbookbinders.org.


12 joint coursesFind out more at: www.designerbookbinders.org.uk

How to Gold Tool a Gestural Image on PaperTracey Rowledge15th - 16th September 2018Barnes, London Learn how to gold-tool an image with the spontaneity of a drawing.This is a great introduction to gold-tooling on paper and the creative use of the medium. If you have never gold-tooled before, this short structured course offers both the possibility to develop a practical grounding in the processes and techniques specific to tooling with gold leaf on paper, as opening up the creative potential of the medium. If you have gold-tooled before, this course is an opportunity to build on your knowledge by learning the technique of creating free flowing lines through the highly technical and process driven medium of gold-tooling.

For more information about Tracey go to www.traceyrowledge.comSuitable for all levels.

Oxford Pulp Board BindingArthur Green17th - 18th November 2018Hanley Swan, Worcester

The transition from wooden to paper-based boards towards the end of the 16th century marks a significant development in English bookbinding history. Pulp boards were thinner, lighter and better suited to the new fashion for gold tooling; importantly, they were also much cheaper, helping to maintain pace with increased demand for smaller and cheaper printed books. Those attending this workshop will make a facsimile based on an early 17th century Oxford pulp board binding. This workshop will focus on typical structural features including: stub endleaves with printed waste; tawed thong supports laced onto pulp boards; edges trimmed in-boards and coloured; hand-worked indigo endbands; and a plain leather covering with blind tooling. This will be a busy hands-on workshop, but also aims to provide an insight into the transitions happening within bookbinding in the early modern period.* Suitable for those with some bookbinding experience.

Cased in Drum Leaf Binding Artist’s BookMark Cockram2nd - 3rd February 2019Barnes, London The workshop will provide an introduction to the making of a unique and distinctly non-traditional artist’s or complete book. The structure will be based on a ‘Drum

Leaf’ variant and be hard bound. Students will have the chance to explore different mediums to first make a text block and then a full cloth binding. Participants will, again, be encouraged to hand colour, manipulate and further extend the bookcloth, each creating a unique book. * Suitable for all levels

Full Leather RebackFlora Ginn16th - 17th & 23rd - 24th March 2019South East London The workshop is to find the best possible approach in restoring pre-1800 bindings with detached boards whilst preserving original materials as much as possible.

Procedures covered:Spine lifting Endbands reinforced, repaired or resewn if missing Repair of board edges & cornersReattachment of endpapers & original boardsParing and staining new leather for spine RebackingPreserving & re-attaching original spine, if availableGold tooling where appropriate/necessaryFurbishing * Suitable for more experienced binders.

Moveable Book MagicPaul Johnson11th - 12th May 2019Derby Arboretum

The workshop begins with making a sixteen-page book with a detachable cover from a single sheet of paper. Each of the six spreads contains a different moveable structure – house, furnished room, Turkish map fold, secret box (with a message inside), sailing boat and palace. Japanese locked cards adorn the cover.

We will devise a narrative that links these forms and create a story that weaves its way through the pages from beginning to end. * Suitable for all levels

Stub BindingLori Sauer1st - 2nd June 2019Irvine, Scotland

Workshop participants make a small library of templates/models with various stub constructions for use as future reference. These are a mixture of basic methods and more complex, versatile and decorative techniques. The models show how to use a stub on a

db bursaries 13Find out more at: www.designerbookbinders.org.uk


single section, multiple sections and sections combined with plates or plates only.They make use of individual stubs and stubs made from concertinas.Various folding patterns are explained as well as how to attach boards and incorporate endpapers. If time allows, a multi section, rounded book will be made. This structure is very adaptable and some of its merits include: the text block opens flat; all spine styles are accommodated whether flat, rounded or rounded and backed; the creation of elegant bindings from single sections; narrow gutter margins no longer disappear in the spine; successfully backing books with thick paper; attaching plates with no sewing.There will be a materials charge of no more than £10 payable on the day.

TERMS AND CONDITIONS

1. Registration will only take place on receipt of full course fees of £175.00.2. The fee does not include local accommodation or travel.3. A charge for materials will be payable on the day.4. Participants from overseas. It is possible to pay online by PayPal. Please contact Sarah Burnett Moore first to confirm that a place is available on the workshop by emailing: [email protected]. Full details of the venue and a list of equipment and tools to bring will be sent out nearer the time.6. Cancellation policy. For cancellations received by the organiser more than one calendar month before the workshop, the refund will be the amount paid less a 10% administration charge.For cancellations received more than two weeks before the workshop, 50% refund of the amount paid.Cancellations received after that period cannot be refunded except in exceptional circumstances. In the event of a cancellation the first person on the waiting list for a given workshop will be offered a place.7. The organisers reserve the right to change the location and date of the workshop or to cancel the workshop, in which case you will be offered a full refund or, if you choose, a place on any re-scheduled workshop8. By registering, you accept that none of the Society of Bookbinders, Designer Bookbinders, the organisers, the landlords of the premises where the workshops take place, nor the workshop leaders accept any liability for loss, damage, personal injury or consequential damage.

DB BURSARIES 2018 Designer Bookbinders is pleased to have the opportunity to award bursaries to provide financial assistance towards the cost of the current programme of DB Masterclasses and Joint DB/SoB Workshops.

The bursaries are aimed at:• UK binders who need financial help to cover

the class fees.Bursaries of up tp £150 will be awarded to contribute to the cost of a DB Masterclass.Bursaries of up to £100 will be awarded to contribute to the cost of a Joint DB/SoB Workshop.

• Overseas binders who wish to travel to the UK to take part in the classes and need help with travel costs.

Bursaries of £200 will be awarded to contribute to the cost of a DB Masterclass or a Joint DB/SoB workshop.

The normal terms and conditions for bookings will apply to the Masterclass and Joint Workshop series.

The number of bursaries is limited and they are available to bookbinders and practitioners of the craft who are seriously and actively pursuing ways to extend their skills and learning.

Applications will be accepted anytime after classes are announced but MUST arrive no later than 3 weeks prior to the class date. Participants who have already booked for the remaining 2018 classes are eligible to apply immediately.

Anyone who wishes to take advantage of these bursaries is asked to email or write to the DB Secretary naming the Masterclass or Workshop of choice. They will then be asked to complete an application form to be considered before an award is made.

If you would like any further information please contact the Secretary, Wendy Hood at [email protected] , Tel: 01225 342793, or write to 24, Junction Road, Bath, Somerset, BA2 3NH.

PresidentLori SauerHazel BankWoodborough RdBeechingstoke, PewseyWiltshire SN9 6HJUnited [email protected]

Hon. TreasurerJack London10 Pattison RoadLondon NW2 2HHUnited [email protected]

Secretary and Membership SecretaryWendy Hood24 Junction RoadBathBA2 3NHUnited [email protected]

Designer Bookbinders PublicationsDB Publications Ltd.6 Queen SquareLondonWC1N 3ATUnited [email protected]

The New BookbinderDesigner Bookbinders6 Queen SquareLondonWC1N 3ATUnited [email protected]

14 courses and moreFind out more at: www.designerbookbinders.org.

NEWSLETTER OF DESIGNER BOOKBINDERS NO 178 SUMMER 2017

14 coursesFind out more at: www.designerbookbinders.org.uk


centro del bel libro asconaDieter KläyViale St. Franscini 30P.O. Box 2600CH-6501 BellinzonaSchweiz(+41) 91 825 11 [email protected]://www.cbl-ascona.ch/en

City LitKeeley Street, Covent Garden, London WC2B 4BA(+44) 20 7831 7831www.citylit.ac.uk

Dillington HouseIlminster, Somerset TA19 9DT(+44) 1460 258 648 [email protected]://www.dillington.com/categories/courses/7/

London Centre for Book ArtsBritannia Works, 56 Dace Road London E3 2NQ(+44) 20 8510 9810 [email protected]://londonbookarts.org/

Mark Cockram - Studio FiveFirst Floor The Mews46-52 Church RoadBarnes London SW13 0DQ(+44) 208 563 2158 [email protected]

The Montefiascone Conservation Projecthttp://monteproject.co.uk/en/study-programme/New York Center for Book Arts28 West 27th St, 3rd FlrNew York, NY 10001(+1) 212-481-0295http://centerforbookarts.org/

North Bennett Street School150 North Street, Boston, MA 02109(+1) [email protected] https://www.nbss.edu/

Penland School of CraftsPO Box 37 (street address: 67 Doras Trail) Penland, NC 28765(+1) [email protected]://penland.org/index.html

Professione LibroVia Angelo Del Bon,120158 MILANO - I

Tel/fax: (+39) 02 3944 [email protected]://www.professionelibro.it/

San Francisco Center for the Book375 Rhode Island StreetSan Francisco, CA 94103(+1) [email protected]://sfcb.org/

West DeanNr Chichester, West SussexPO18 0QZ(+44)1243 [email protected]://www.westdean.org.uk/

CONTACT

new members 15Find out more at: www.designerbookbinders.org.uk


Designer Bookbinders are pleased to welcome the following new members:

Peter BURGESSCoach HouseClyroHerefordHR3 5SET: 07803 929458E: [email protected]

Tracey BUSH24 Charlesbury AvenueGosportHampshirePO12 3TGT: 02393 118655E: [email protected]

Martin FROST2 Queen StreetWorthingWest SussexBN14 7BJT: 01903 209607E: [email protected]

Andrew HARRINGTON139 Thames Street 4LBrooklynNY 11237USAT: 00 1 860 810 0469E: [email protected]

Andrew HUOT6500 McDonough Dr NWSte C4NorcrossGA 30093USAT: 00 1 404-831-3849E: [email protected]

Elizabeth JAMES48 Sharnbrook House61 Marchbank RoadLondonW14 9PLT: 0207 942 2393E: [email protected]

Katherine LEVY30 Jay StreetSomervilleMA 02144USAT: 00 1 505 263 3209E: [email protected]

Spike MINOGUE1237 Carp RoadStittsvilleOntarioK2S 1B9CanadaT: 00 1 613 831 2236E: [email protected]

Emily PATCHIN415 O' Sullivan CtMarinaCA 93933USAT: 00 1 831 384 4018E: [email protected]

Jo PRESTONFlat 633 Wickham RoadLondonSE 4 1PWT: 07736 303802E: [email protected]

Jaye QUIINSanta Maria College18 Stoneham RoadAttadaleWA 6156AustraliaT: 00 61 618 633 00245E: [email protected]

Lauren SCHOTT165 Chestnut Avenue No. 1Jamaica PlainMA 01230USAT: +31 703 402 8511E: [email protected]

Gillian STEWART2/115 Bannatyne AvenueGlasgowG31 2UDT: 07704 964143E: [email protected]

Maria TENITSKAYA26 Sussex StreetLondonSW1V 4RLT:E: [email protected]

Marcus VERGARAAvenida del ferrol 21, 7 228029 MadridSpainT: 00 34 630 967043E: [email protected]

Martyn WAINWRIGHT9 Schoolhall LaneBury St EdmundsSuffolkIP33 1HAT: 01284 702964E: [email protected]

Matthew ZIMMERMAN124 Taylor RoadStowMA 01775 - 1617USAT: 00 1 504 577 0337E: [email protected]

Newsletter Editor and LayoutTalitha WachtelbornConservation StudioSenate House LibraryWC1E 7HUUnited [email protected]

Information on DB [email protected]@designerbookbinders.org.uk

CONTACT, cont.


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 RollerThe 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

SpecificationsWeight 2.2kg.

Roll ~7cm x 4.8cmHandle length 65 cm

Temperature up to 185°C

Price £650Introductory offer + ppOrder online or [email protected]

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

Documents

NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018 · generation, Josep Cambras, Carlos Vera and José Luis García Rubio. They all possess high levels of technical and artistic