Inspiration log: Designer Bookbinders
In this blogpost, I note the bookbinders I enjoy the work of that I found through the Designer Bookbinders Society, on their website. Here it says;
"The Designer Bookbinders society evolved from The Hampstead Guild of Scribes and Bookbinders, which was founded in 1951. Its name was changed in 1955 to The Guild of Contemporary Bookbinders.
Initially, the Guild was an informal group of about a dozen practicing bookbinders, but gradually an increasing number of people with an interest in bookbinding wished to be associated with the Guild’s activities and so, in 1968, a formal constitution was drawn up and the present name, Designer Bookbinders, was adopted. In 1981 the society was accorded charitable status."
Initially, the Guild was an informal group of about a dozen practicing bookbinders, but gradually an increasing number of people with an interest in bookbinding wished to be associated with the Guild’s activities and so, in 1968, a formal constitution was drawn up and the present name, Designer Bookbinders, was adopted. In 1981 the society was accorded charitable status."
There are a large number of fellows, as well as honorary fellows and others, who are bookbinders who have earned the title through the success of their work through exhibitions, competitions, etc.
Deborah Evetts, designer bookbinder & book conservator
Trained in England, now an American citizen. Career of conservation and bookbinding for a library, caring for a "varied collection of Coptic manuscripts and bindings, medieval illuminated manuscripts, early printed books, music manuscripts, autograph manuscripts and documents, and children’s books."
Taught in England and New York, and is now in private practice, working for a wide range of clients and institutions.
The Four Gospels by Eric Gill
Bound in 1982
The Great Gatsby by F. Scott Fitzgerald
Bound in 1980
Milton’s Poems – in 2 volumes: Paradise Lost / Miscellaneous by John Milton
Bound in 2010
The Four Gospels by Eric Gill
Bound in 1982
The Great Gatsby by F. Scott Fitzgerald
Bound in 1980
Milton’s Poems – in 2 volumes: Paradise Lost / Miscellaneous by John Milton
Bound in 2010
Mark Cockram, designer bookbinder & book artist
Trained in Paris, England and Tokyo, now with a Studio in London where he works in fine contemporary bookbinding, book arts, printing, box art, installation work and collaborative works. He also teaches predominantly in the UK, but also around the world.
"His work is eclectic – once described as the Christian Lacroix of bookbinding! The work usually combines traditional and contemporary techniques and materials, modifying or manipulating, developing and creating new approaches to realise the final piece."
"His work is eclectic – once described as the Christian Lacroix of bookbinding! The work usually combines traditional and contemporary techniques and materials, modifying or manipulating, developing and creating new approaches to realise the final piece."
Writing about Mark by David Penton in BOOKBINDER SoB Journal, Vol. 21:
For his teaching and learning environment, which is his main vocation as he enjoys it so, he chooses individuals "with a desire to produce and an open mind. Far too many people, he maintains, are content to just do what they are told without asking questions or thinking about what they are doing and why."
Mark has strong views on the state of UK bookbinding; "while he has great respect for what has gone before, he wishes to see the book arts move forward."
He has the opinion that more needs to be done to attract new and younger people to the book arts. Penton writes, "Mark believes it is important for students on art and design courses to become involved with the book and to appreciate the opportunities it offers as a vehicle for extending their work."
He endeavours to make a difference with this by getting involved in community opportunities, such as stalls at fairs, where he facilitates the public to make their own books and show the possibilities of bookbinding. He also looks to 'raise the profile of contemporary British fine binding' by working with others to curate and promote exhibitions.
“Being a bookbinder and book artist, I make, work and live with books. For me, my work is my passion. Of course, I am aware of other formats, where the words or the illustrations of an author or artist can be seen and read. But for me, the allure of the traditionally made book is magical. Once in the hand, the tactile qualities of the book are transmitted, creating a sense of object and form. The function of opening the cover, turning the page becomes an extension of the process of the book. We are close to the page, we see and feel the type, the illustrations in the paper. The book is what we make of it and how we interact with the book depends on how we choose to define what the book is or could be.”
- Mark Cockram, from If I Survive You
Lincoln in the Bardo by George Saunders
Bound in 2017
Edition: 1 of 1
Bound in 2017
Edition: 1 of 1
"A double board and double hollow Bradel binding in parchment and leather. Artwork and hand collaged images taken from The Illustrated London News of 1862.
My Intention is to highlight three voices/characters who form part of the kaleidoscopic narrative in Lincoln in the Bardo: Roger Bevins III, the Reverend Everly Thomas and Mrs Elizabeth Crawford. The various colours hint at flaming hair and a yellow swimming costume. The parchment, waxy, blanched like lifeless skin at first glance, is however, marred with small cuts, creases and blemishes that corrupt the surface of the book.. much as the characters deceased, in limbo slowly decay."
Bound in 2017
Limited edition of 300 of which 60 contain proofs and a signed proof.
"Hand dyed leather and cloth collage over sculptured boards and spine. Hand-coloured, multi-layered edge- to-edge doublures. Based on the Yamato Toji (Japanese) style binding with the addition and development of an enclosed spine. The text block (fore edge folded) is sewn into the binding with single binder’s cord using the original binding/sewing stations.
Inspired by the wonderful wood cuts by Weissenborn of a dark war-torn London during World War Two. I wanted to create an architectural binding that gave layers and glimpses of London. Arches, doorways, windows and shoring up posts move over the surfaces giving a unified fragmentation. Depending on the light source, subtle colour changes occur, weave and grain playing their part in the overall effect."
Duplicity: Coleridge and a Cup of Tea
Unknown when bound
Depicted in the BOOKBINDER SoB Journal, Vol. 21
Mark designed endpapers for this book created from a ‘twentieth century French gentleman’s magazine which refers to the ‘English rose’ as a symbol for the female. The illustrations are manipulated using a soft plate offset printing to interpret Coleridge's poem The Rose.''
"Sewn with a link stitch, secondary sewing and a full linen board attachment, the cover is of grey leather underpaid so the lines match those of the printed image across both boards and within the book. It is displayed with dried yellow roses within a wall-mounted glass-fronted box lined with yellow and black floral paper."
I really enjoyed watching this video where Mark talks about the design and process of making The Telephone Call, which uses a lot of linocut printing. He discusses his love for this printing method, noting how it is useful in its ease of process and for layering, which he was able to achieve "a montage effect" he intended for the visual design.
Marks description; "Recurring images and confusion, telephone calls jumble from page to page in a manifestation of the subconscious of the half heard and half remembered. Colours, lines, shapes and forms become shadows as they are covered by the darkness of the forgotten only to be rediscovered in a different place and time. What and how do we remember?"
Notes from this interview
The act of bookbinding; you are naturally collaborating with all these different people, "the author, the illustrator, with the people that make the paper..." There could be a physical distance or a timeline difference, but you are always collaborating.
Lori Sauer, designer bookbinder & book artist
From the USA, now in London where she has worked in publishing and practices as a designer bookbinder as well as teaches in the UK and abroad.
Tallis’s London Street Views
Bound in 2022
"A facsimile edition of many maps and prints of 19 th century London compiled by John Tallis originally printed as a series of booklets.
The structure has a double cover and set back board attachment. Bound in stone veneer, vellum and fish skin. The boards are impressed with raised rectangles and textured vellum. The spine is vellum with leather endcaps. The composition mirrors the layout of the text pages."
A Quartet of Contracts
Bound in 2021
"This is a simplified binding structure; the text is sewn to a stub. It is covered in vellum with a snakeskin spine, eel skin details and gold tooling."
Shaman by Alice M Cornell
Bound in 2009
"A miniature book in suede, silk detail with a separate map holder and carrying pouch. The book has secondary sewing to attach paper boards that support the covering material."
Bound in 2021
"This is a simplified binding structure; the text is sewn to a stub. It is covered in vellum with a snakeskin spine, eel skin details and gold tooling."
Shaman by Alice M Cornell
Bound in 2009
"A miniature book in suede, silk detail with a separate map holder and carrying pouch. The book has secondary sewing to attach paper boards that support the covering material."
