We just uncovered these illustrations sent us by United States binder Ken Gilbert of his interpretation of our single section Owl & the Pussy Cat. You may remember that we chose to bind the book in a paste paper that reminded us of green peas. Although Ken has chosen a more elegant interpretation, it also uses paste paper for the cover. The book is sewn link stitch with a paste paper cover. The portfolio has a four-flap inside to store the book. The cover of the portfolio is bound in goat skin with a leather panel set into the cover and hand marbled paper. The panel is tooled in palladium with fair goat onlay for the moon and a green onlay for the boat.
Category Archives: Marbled paper
O.k., we admit it. We’ve been hopeless at keeping up this blog. You know the story: a book long past deadline, too many conflicting printerly commitments, chaos on the home front… Stuff, as they say, happens (or something like that). Months go by, and the blog slips farther and farther down the lengthening to-do list.
Then, last month, Nancy Nitzberg sent us this photo, and with one email reminded us why we are keeping this blog. Nancy’s design binding of Walking Around Cambridge with William Blake captures and enhances that blend of 19th and 21st-century poetry and place that Graham envisioned when he asked illustrator Rose Harries to take a copy of that poem with her as she brought her sketchbook and pencil to the streets of Cambridge.
My intention is to use tangible artifacts related to the original work to subtly connect the reader to the text and illustrations within, without overshadowing the literary content.
Dark blue goatskin with onlays comprised of a vintage English textile designed by William Morris (produced by Liberty of London). The textile is arranged to create a “Cambridge style” panel motif; gold-tooled design elements. Marbled endpapers (nonpareil pattern) made by Payhembury of Cambridgeshire, England. Leather joints, hand-sewn silk endbands. Gold-stamped spine label (with some tooling). The text block was sewn with linen thread on three cords that were laced into the boards. The choice of English materials reflects the English origin of the printed work (that of the author, illustrator and printer), and the colors of ink used for the images.
Nancy’s binding is part of the trienniel Helen Warren DeGolyer exhibition of design binding at Bridwell Library of Southern Methodist University this summer. An electronic version of this exhibition can be seen here.
A few copies of Cambridge are still available on our website
Designer binder Gerritt Vanderwerker has just bound a copy of A Line for us, and we are delighted with the result which we think excellently captures the spirit of Suyeon Kim’s book.
Vanderwerker tells us that this is a modified German millimeter binding. Goatskin and marbled paper over boards with onlays of goatskin and calf. Marbled paper by Iris Nevins, case lined with Strathmore charcoal paper. Slipcase of Strathmore charcoal paper over boards with onlaid goatskin lettering.
Stephen uses quarter pebble grain morocco with matching skiver onlays individually lettered and blind ruled. Hand-marbled paper sides and matching end papers add more colour to his copy of Cuts of Craftworkers. A matching slipcase protects the boards.
Ann Muir designed several special bindings for her autobiography Harvesting Colour (out of print), and she sent us this photograph of one of them. Gold and red are the dominant colours in this binding. A gold leather spine echoes the golden veins on her marbled paper, while red and gold Ebru fish swim across the front board. The red felt on the inside of the box picks up the red in the goldfish. (private collection.)