Friday, March 28, 2014

The Rose Family Seder - 2004 to 2014






Well.....what can I say, but if you read the first part....here....I thought this would take a couple of weeks - I was wrong.

However, the book I was dreading is finally done. I say dreading because of the state of the pages i was given.

The previous temporary Rose Seder binding had been stuffed with pages, all glued in in-properly cockled, boards glued to pages, all of the margins ignored!, and just a bit of mess really.

First it had to be broken up, and those folds that could were sewn on stubbs. Pages that were not folds were gaurded, the boards were removed and some beautiful caligraphy was reframed using more appropriate paper and japanese tissue. Pages were joined into folds, and sewn onto stubbs, and some artwork that had been very poorly glued in were removed, carefully seperated and remounted on the appropriate paper.

All of this was rather nerve racking because all the artwork inside is completely original and irreplaceable, so...slowly slowly.

The signatures had to be individually gilded as there were many parts that needed gaurding compensation , were of different sizes, thickness, and as I mentioned before, some leaves were laminated to museum board , so doing it all at once was not an option....bad news for me, and for my gold.

We haven't even got to the binding yet.....a stubb binding, so all stubbs are sewn using an unsupported french link. Because of the size of the book(15x12x2) I knew I was probably going to have to split the binding up into 3 parts, as I wanted to use goat, and there aren't many skins about in a 1st quality large enough to do the whole thing in one go. Besides, I think it worked better that way.


Its backed in the normal way, lined,  it got a 3/4 hollow, a cartonnage spine, finished with a paper cape which runs along the spine and over each edge about 2 inches which I will use along with the leather to attach the boards.




 The spine was covered and head caps made in the normal manner, the boards made up, lined and covered , and only turned-in along the spine edge.

I made several designs on paper, all were variations on circular straight line tooled patterns, chose the simplest( and best i think!). Have it on hand and ready to go before you cover, that way your blind tooled lines will go a lot better.

The gold work took 2 days, 1 board a day, then they were attached and turned-in.

As you can see a leather joint was put in, in the french manner, and doublure of white calfskin could be inlaid.

Further tooling around the edges of the doublure was completed, and finally a goatskin suede laid down on the fly and trimmed.

After some simple tooling on the spine, a box was constructed with one my favorite additions of an outer wall along the trays.

The Rose Seder books will be on display at the NYPL from April 3rd to the 22nd for Passover, although possibly not this one, but they are worth a look - this is the forth.


All said and done....I like it....it was very hard to make ....took way too long, and came at a bad time .


But I'm back.......and badder than ever!
















Monday, February 3, 2014

Lens of Crystal




The first of many proper bookbindings, I hope, for 2014,




Ombre dyed Goat












Monoprinted ends with onlays












Frontispiece



Monday, September 16, 2013

Artist comission for Chris Ofili

Chris Ofili is a well known and internationally exhibited turner prize winning british artist, born in Manchester England. He might better be known  as... "that guy who paints with elephant dung", but more accurately he is well known for his intricately designed canvases infused with african motifs.....and his painting of the black Madonna.

I was honored to meet Chris and his family when they stopped by the bindery a couple of years ago, as I've long been a fan of his work, and of the fact that he manged to rattle Mayor Guilliani's cage all those years ago with his Madonna!
He was meeting to discuss the re-production of smaller artworks that he had created on a much larger scale and in goatskin. He had had some done before and I had seen them so I knew it was feasable, there were only two things that really concerened me.....the size of the skins(what animals), and the nature of the framing and base (warping etc.....)

Well, we shook hands said goodbye and I forgot about the whole thing until I got the call earlier in
april of this year - "....it's going ahead, and we need it by the beginning of june..." - nuts!!!

Then began a frantic set of calls to all known and unknown associates to research a warp free base that wouldn't be to heavy (MDF was out)....and some animals large enough to do the job. Also, this is not a one man job, I knew I was going to have to call on someone highly skilled to help me, or hold my hand, either or.....so who?

I called Nicky Oliver (Black Fox Bindery, London) or mentioned on facebook, would she want to come to New York to help me,  she stupidly agreed and was a little stunned when she arrived, as was I. I had known Nicky briefly when we past each other in the old binderies of LCP back in '99 to 2000, and we were I think aware of each other. To think that a decade or more later we'd be collaborating on a project in New york city as proprietors of our own binderies would have been ridiculous. We were to spend the next 30 or so days in each other's company
for most hours of the day. I also called Nicky not just because I thought we'd get along and work well together, but because of her prodigious skill as a colourist and dyer of animal skins, which will become apparent later.

So, Nicky's on the way, I got 2 weeks to get everything ready...the base, the skins, the dyes etc...and all the rest of it. I had been sent a scaled up version of the small A4 original artwork, which had been printed to 6ft high by 4 ft across, which would make dissecting the artwork into more manageable pieces a lot easier. Pinned to the wall I marked it up the distance on either side.

The base - after much conversation on the book-arts listserv(valuable resource), and with my friend and talented conservator working now in england Abigail Bainbridge,  I found that the notion of using Aluminum honey-comb core panels came up intriguingly a couple of times. The immediate advantage I was assured, by Abby especially was that the honey structure with an Aluminum skin on either side would prevent the expected warping produced by laminating skins and material on one side. It would also provide a solid base without unduly adding to the weight of the piece(20-40lbs max). The base was 1/2" thick, and the skins on either side of the honeycomb structure were approx 2mm thick.

Just one note - Abigail Bainbridge is an extremely knowledgeable conservator and part time instructor at Camberwell....I have long said that when she does end up running a major institution, that shes to give me a job...I am hoping that wont be too long.

The adhesive - what was I going to use to adhere the skins to the structure? Laminating the surface with a fabric using epoxy resin had been suggested, but upon discussion with a specialist art framer, I discovered that a piece of heavy watercolour paper could be successfully laminated the full length of the core using PVA. First I decided to laminate a layer of airplane linen to one side, and turning over the edges of the frame(which had been filled in with epoxy for a flush edge) so that the leather had a surface
to go over when being turned over the frame. The paper was laminated and cut flush...this then further provided a surface to draw the artwork over the frame, retrace then cut and paste the numerous inlays of goat and calf into place. The frame was filled in on the other side and left to dry on 1 of the 8ft by 4ft benches in the bindery with larger sized boards placed ontop with much labour, for pressing and to keep flat. This Nicky and I accomplished in the first half of the day.

Dissecting the Artwork - luckily for us denise
had found a massive light-box lying on the street in chelsea back in 2006, and its been with me ever since and vital to PDB operations. We were able to take the scaled-up print out and trace over it using sharpies...which in-turn enabled us to see the outlines when the print out was laid on the bench underneath an over-sized roll of tracing paper....job done.....The tracing then pressed onto the surface of the watercolour paper on the frame........
What we were left with was the artwork, broken up into pieces and outlines on the frame.

The skins - I had at our disposal several alum
tawed skins, and oversized un-dyed goat and calf skins big enough to tackle the larger pieces. The first problem was the size of the pieces needed. I did look into using buffalo skins, but they didn't prove adequate. I was able to secure large un-dyed goats up to 10ft sq and some even larger calf skins from stephen seigel of Seigel leathers USA, which proved ultimately very useful. We had to decide what skins we were going to use first. Here the genius of our division of labour served us very well.  Oversized templates were made from the seperate outlined pieces and labeled, then having worked out which skins were going where, the skins cut and Nicky's colouring could begin.

The colouring - an epic process mapped meticulously by Nicky, completed using tests colour charts, recipes, all posted on the wall, before the skins were cut. Nick decided to start
with the Pink, the loudest colour, and after some initial tests discovered that the neon of the pink yellow and oranges were best matched using the alum tawed goat, as it had a very bright white base and made the colour really pop......so thats that settled...the pinks were cut out oversized, and with enough room to turn over the fram at the edges. Once the colour had been acheived the skins were cut and dyed, then cut again and glued onto the surface of the frame.

In choosing a particular skin several things had to be considered; continuity (the same part of the same object had to be done using the same skin, ie the backround pink all alum tawed skin); the size needed and available in skin (the middle backround being the largest peice had to be cut out of the calf, then for continuity the other size was made in calf also), not least balancing these 2 with how the colour reacted to the different materials.....It was complicated.

So we were off, Nick was in the corner with her syringes like a mad scientist, and my job was to cut and paste it all together, sometimes bevelling on and off the board retracing and cutting.

Next we started on the figures, Nick dyeing an over sized piece of calf for the woman, then me re-cutting with the appropriate bevels and pasting it into place, and so it continued, with occasional breaks after major applications to stand it up and compare it to the print. Nick used this time to see what else she had to add by way of shading and colouring once the main pieces were on.

I think the hardest part for me was inlaying the large yellow and red calf backround in the middle between the figures, matching up the bevels etc...., just the size and awkwardnes of having to do it standing on the frame, insane!

If you had to ask, the hardest part for Nicky was the TROUSERS! such odd colours to match and capture in the right place that in the end she had to make a paper template for the colouring.

I think the most pleasing from a colour point of view and for how easy it went down are the pinks yellow and oranges of the alum tawed skins, there is a section there against the blue water and inset in a black backround that just looks like a massive candy sandwich....delicious! Nicky really surpassed any
reasonable expectation of matching the original.


In total there were approx 90-100 seperate pieces of calf goat and alum tawed goat all hand cut dyed and inlaid together.

The whole piece was finished a week early and we had time to take out pieces we weren't happy with and put them in again, turn the edges over the frame and touch it up at our leisure.



In the end the whole pieced was framed and hung.





Friday, September 13, 2013

The Box Challenge - End game....or is it?






Bless me father for I have sinned, it has been 6 months since my last confession.

This does not mean by any means that I have not been hard at work, and posts over the next few days will I hope illuminate.

But first......some news.

As many of you know, or may not (I'm not offended), for the past 7-8 years, before PDB existed, I have been working on a project making custom design boxes for first editions.

Today, I decided to stop for the time being and take a break. There are many reasons, but I think the most important was that I just ran out of steam. I went as far as I could with the project so far, learning many new techniques and applying them with some modicum of success....printing, painting, dyeing, inking etc...etc...

It has been one of the most important and influential jobs I have done to date, although I wouldn't like to say I am ever to do......but I called it quits, for the time being anyway...call it a temporary sabbatical...


The first 30-60 boxes were awful looking back, but when I started to experiment I really found my stride, and after 300 or more completed I have progressed as a binder a great deal.

I couldn't hand letter in leaf, now I can comfortably hand tool in gold in all kinds of ways.....I knew little of onlaying, now I don't think there is an onlay in existence that I haven't completed.

For this I am very grateful to the client in giving me the freedom to do what I liked, and to my middleman "A" who had my back the whole time.

A bookbinder has a choice at the beginning of their career. Work and get gainful employment and work in the trade.....or remain true to the original passion of what makes them want to be better. In my opinion the most successful binders choose the latter, and while they may not enjoy immediate success, they will enjoy much more deeper, gratifying and long-lasting victories.

I chose the first, and was all too eager to take on anything that came through the door......now I feel its time to step back, and hopefully re-discover just what it was that made me want to be a bookbinder in the first place.

This is not the end, but perhaps I can take a break and approach it anew with renewed pep later. Over the coming months, there may be even a restructuring of PDB that reflects this new outlook.


My next post will include a review of a project completed for the artist Chris Ofili.

As a wise woman once told me in the Wyvern bindery back in london...

"Theres more to life than money"

but then again, you gotta be rich to think like that...





































































Saturday, March 23, 2013

Babar and the The Rose family Seder


  
The news that Punxatawney Phil may be indicted on charges of making false proclamations came as no surprise to anyone braced by the bitter cold these past few days,  but Spring is here so the reliably predictable Gregorian calendar tells us.

As recent developments in the Vatican have shown, nothing is immune from fallibility, not even the gregorian calendar, and not everyone tears the days away in the same manner either.

The Assyrians, whilst having 12 months, and a lunar calendar will be celebrating the coming of the year 6763. The Persians a solar calendar, based on observable equinox's rather than set dates will be celebrating the year 1392. In the year of the Snake many east asian people use a calendar that is both lunar and solar, and im sure we were all relieved when the mayan long count calendar did not lead us all inexorably to oblivion as many had predicted.

So what then of the Jewish people. Well unlike many others in the middle-east celebrating new years, many Jews will be preparing to celebrate the Passover festival, culminating in a scene depicted opposite by Laurent de Brunhoff, who carried on his father's work, creating and illustrating the world of "Babar" the little elephant.
For the last 50-60 years the Rose family of New York has created or commissioned artists to illustrate several pages in a guest sign-in book for those attending the family's Seder, or passover meal. Over the decades the artist illustrations and sign-in sheets have been collated into volumes of permanent bindings, which are housed in the Dorot division of the NewYork Public Library. Which is where the bookbinder comes in.

I was first tasked with recreating the temporary binding produced by the previous bookbinder which had served well as a tough, decade-long interim binding. The large folios were sewn around a folded carton made up of a sandwich of card between airplane linen, which acts as a kind of non-adhesive spring-back when dry, and provides a tough but flexible core for the text block, allowing for a perfectly flat opening, whilst maintaining as evident from the previous binding a great deal of strength. The opening needs to be unrestricted to allow the artists to work unencumbered, and it also needs to be a strong binding due to its size and use, but without using adhesive so the volume can be taken apart and bound in a more permanent fashion.




The binding was housed in 1/4 leather case binding, with an open joint of course for ease of opening and as there was no need for joints on the text block. The spine of the book was not glued-in to the case also so as not to restrict the opening, making it even more imperative for a stronger  sewn core.

Only having time for a slipcase, and naturally concerned about possible sag of the text block and the strain this would put on the core flanges and ends both glued down onto the boards not to mention the weight of paper,  and also aesetically to its loss of shape which seems entirely expected over a decade of use, I made sure to include fabric coated pads on the horizontal planes of the walls, and a round bar at the back.(the horizontal ones had to be left unglued at the opening end in order to turn the skin underneath.) Of course it will be stored flat, but it certainly couldn't hurt.


 Because of the sheer size and weight of the volume, getting it out of the case could prove problematic, so aswell as the edges rounded to protect the caps, and bevelled to a pleasing finish, I decided to make my cut away quite large, and because it is a rather gradual or flat gradient or curve, it was very easy to turn in too. I detest using ribbons and avoid them when I can. A piece of bristol board the width of the leather was glued along the opening following the curve, so that the leather made a nice recess for the thickness of the substantial and tough buckram used to cover the rest.



The temporary binding was then finished with a favourite decorative roll in french pale leaf, and a label stamped in leaf and glued into a recess.




 As you can see it opens flat, which im sure all the artists will appreciate, and it holds........

Laurent de Brunhoffs watercolours of the story of the exodus, and Babar's family and friends sitting at seder are stunning, and I cant wait to get the chance to see it filled in 10 years time and put it in a permanent binding.

You can read more about the History and importance of the Rose family Seder book in a 2005 article written on PBS Religion and Ethics Newsweekly 

My great thanks to both Joanna Rose and barbara for including me in this project. Barbara Wolff is a supremely talented calligrapher, and I look forward to binding the permanent binding for the NYPL in a couple of weeks, which includes some of her fabulous illuminations.

Barbara has for some years now been working on a hand illuminated Haggadah on vellum and I am including a link to the video which explains her process.

You can see more of Barbara's fantastic work here


happy - new year, Norooz, Passover , Easter everybody

Saturday, October 20, 2012

box challenge - still going


yes ive been away from desk as it werefor quite some time........but work in the bindery has not stopped...
here are some of latest ...having fun with the stylus tool!

more later

Wednesday, May 23, 2012

Alaska.....the new PDB apprentice

Alaska McFadden started as the 2012 PDB apprentice, and in the first few weeks is already making an impact......A book Artist in her own rite aleady, she runs A Wrecked Tangle Press in Brooklyn with colleague Jessica Elsaesser.
Alaska is already proven to be a great asset to the bindery, and you can follow her progress at her blog :

anything with a spine

check it out and see what she's up to....

blog hiatus over soon...too many irons in the fire...more boxes...plus part 2 of the new york book fair....i know but the books are worth the wait.......

Wrecks divide...Tangles bind....quite!

Tuesday, May 1, 2012

New York Book Fair - parte deux



This will be a first for the PDB blog as I join the mile high club as it were posting as I am from 30,000 feet in the air over cowboy country, Texas. It is amazing the things technology affords us to do.
Please enjoy these French Book binding gems from the fair.............

parte deux...........

It wasnt all ancient manuscripts, incunabular, iconography and brass ornaments at the fair.







Modern design binding and book art, aswell as fine print were surprisingly well represented.
A real highlight for me was coming face-to-face with a fine number of french art-deco bindings, know only to me by thumbing through the pages of my copy of Alastair Duncan’s “art deco and art nouveau bookbindings".
There were pockets of modern french bookbinding from those periods throughout the many booths, but there was a heavy concentration in the booth of Dr.Fluhmann from Zurich. The good Dr. had some stunning and famous bindings from both the art nouveau and deco periods.

The two amazing bonets on display were immediately recognisable, and would jump out at any bookbinder. The size, the characteristic gold tooling, yes all that , and the fact that you’ve studied them in books for a long time...nothing beats seeing one in person. Some lucky person snapped up Bonet's binding of "FLORILEGE DES AMOURS"  that night for 25,000...a bargain! I congratulated the Dr. and he was assured that it had found a good home.....nae bother! as they say up north because he still had at least 2 more fine Bonet's, yet another spectacular binding with onlays, a very precisely completed gold work naturally, and studded with mother of pearl- “Bubu de montpartnasse by Charles Louis Phillipe”. 
The pieces of shell I have used in the past were rather thin, these were a good thickness, so i can appreciate the difficulty of cutting such exacting shapes.

The affable Dr’s collection was just getting started ......there were more bonets that were on display - most of which was instantly recogniseable to anyone who has studied french bookbinding from that period.
A very familiar binding by Francois Louis Schmied (les climats) with effortless gold tooling with each impression and line completed without any discernable deviation in heat pressure or dwell....a typical design mapped out using half circles, and intersected straight lines giving that characteristic schematic and architectural look that is so pleasing and familiar in almost all objects from that period.
The binding opposite by Francois Louis Schmied,  demonstrated a willingness to break from the more tradtional format...using appliques and surface gilding and colouring, The precision of the inlaid veneer was evident and of course impressive, but this binding was more notable for the abscence of a rigid architectural pattern. The calf skin was immaculate, not a scratch or a dimple in it!
The rest of the bindings on display struggled to compete for attention in Dr.fluhmann’s comparatively modest cases, but were no less interesting or famous for that matter. 









The art Nouveau bindings are distinct....the colours are darker, the designs much more figurative, often using floral patterns of onlays and tooling , though not always. This style was evident in an art nouveau style binding of Goethe’s Faust Charles Meunier. Instantly recognisable again, not least for the planed boards and cut-relief leather work.....techniques I covered at school when doing medieval binding...and have seldom used since.
Next to that was a copy of Faust bound much more to my taste by Bonet..great leather work, and tooling, and of course the powerful dot-tooled pattern work. You can see the wonderful large grain of the moroccan skin, sadly no longer around.
The Dr’s modest booth was made up of 2 cases housing a little over ten bindings, small and Qto sized, all of them stunners, all of them significant bindings from an important period of bookbinding, all of them historically significant pieces of art.



The fair was huge, wall to wall booths from dealers all over the world, with just an absolute cocophony of books and art, and you would have to go far to find more great french bookbinding from that period and later.









French dealer Jean-Baptiste de Proyart brought along a large and fine collection of books. Now its probably the Philistine in me but i am a sucker for larger bindings...i guess there is just more of it to love....never truer when facing Pierre-Lucien Martin’s binding of Stephanie Mallarme’s “Un coup de des jamais n’abolira le hasard” .
The design is so simple and maybe that’s why I like it so much...it appears to be an alphabet of handletters cut in outline, so that the letter can be tooled and an onlay placed within the outline and tooled again... definately envious of the handletters.





I suppose that by now we have been spoiled so much that we barely even notice the rather modest bindings by Jean de Gonet on the shelf below...three diminuitive bindings all in a row showing the characteristic 3-phase binding, sectioned hollow, and exposed sewing. One stood out from the others in that it appeared the leather covering material at the spine seemed to be made up using strips of a skin weaved together??!!




























Jean Baptiste also had another work by Stephanie Mallarme, bound by Bonet, which was very pleasant, and easy on the eye.....an embarrassment of riches by this time really..













One more then, by another famous french binder known for his adept finishing ...Henri Creutzevault..














The Brick Row Book Shop brought this very famous binding of “Le Grand Testament” by Francoys Villon bound by french binder Lucie Weill in 1948.
Again, although there was definately more historical bookbinding at the fair than anything else, there was a great deal of interesting finds and modern binding work, and we have barely scuffed the veneer.






Up next ...well bindings from Douglas Cockerell of course, not one , but 2 kelmscott Chaucers...and some great stuff from pirages, bromers, etc...etc...

descending over the Poconos on a sunny day....

the better part of leaving New York,  is coming home.