Ken Gilbert binds Lear

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.

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Marie Celeste Day at Incline Press

Earlier this year, performance poet Claire Robertson, visiting to discuss a new book project, took a 360 degree turn around Incline Press with camera in hand.  The press is on, the radio is playing, we must have been out walking the dogs! The dramatic synchronized music is just one of those bits of serendipity that take us all by surprise on occasion.  Sheets and tip-ins from our new book on E. R. Weiss by Gerald Cinamon can be seen front and centre, so we must have been hard at work before we saw the camera!

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Nancy Nitzberg works her magic on Blake

Walking Round Cambridge with William Blake

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.

Nancy writes:
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

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Gerritt Vanderwerker binds A Line

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.

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Another binding by Nicky Oliver

Binding Most of the binders who work with us are binding books, but Nicky Oliver’s latest Incline Press binding starts with a single broadsheet.  This beautiful blue folder encases an oversize broadsheet featuring a stanza on the Thames River from William Dunbar’s 16th-century poem To the City of London and illustrated with three wood engravings by Hellmuth Weissenborn.

Oliver describes her work on this binding as ‘an experiment, playing with dyes on the leather and seeing what happened when I distressed it.’ We love the way she managed to incorporate our single sheet into her folding vision of the river.   Continue reading

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Workshop photos

Ali O’Brien a keen local photographer, and part-time lecturer in Photography at Bradford College, visited the workshop last Spring. She was particularly taken with the Arab, and the interrelationship between the work we do, and the prints on the walls–our inspiration! We have added some of the photos she took  to our flickr site.

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Karen Hanmer

Designer binding for Water

Karen Hanmer sent us this photo of the binding she designed for our book Water based on multiple water molecules. In Bound for Success, the catalogue accompanying the exhibition, she describes her work as: full blue goatskin, with inlays and onlays executed in a variety of techniques, and tooling in white gold leaf.

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Merry Christmas!

The view from the workshop window shows the transformation of Oldham’s rainy streets into a winter wonderland. It is chilly at the press– the perfect day to sit upstairs in the warmth and begin working on our traditional booklet to greet the New Year.

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Nicky Oliver

Cuts of Craftworkers

Another one of Saturday’s Designer Binder Prize winners (winning for her beautiful binding of Le Grand Meaulnes), Nicki Oliver sent us these photos of her interpretation of Cuts of Craftworkers last Summer.

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Jeanette Koch

Urban Birds

Winner of the J Hewitt & Sons Prize at the Designer Binders 2009 Competition. Jeanette’s book will be exhibited At John Rylands Library, 150 Deansgate, Manchester from 5 December 2009-31 January 2010 along with the other bindings in the competition.

Jeanette Koch, a Licentiate of Designer Binders, enjoys using exotic skins in her bindings.  Her design for Urban Birds (out of print) uses black ostrich skin and natural goatskin, with multicoloured leather underlays, blind tooling, and multicoloured leather headbands. The top edge has been coloured with gouache. Inside the book has brown paper doublures, and speckled paper flyleaves decorated with coloured strips.

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