NEW BOOK ON THE BLOCK

Next to be bound is BEYOND GIVING poems, by Robert Graves.

The text block is in good condition but being only a few sections I have decided to make it an Ultra Flat Back Binding. The text block is sewn on a link stitch with secondary sewing to Fray Not. End papers are hooked on and sewn. The spine is left flat with shaped boards taking up the swell. All of this will be explained a bit later when I get my act together.

Both Finished

Kyffin number 1



A full calf binding with multiple leather inlays. The calf has been hand dyed with lines cut out and filled in with hundreds of small pieces of leather. The shapes echo the forms that Kyffin used in his work,the leather inlays represent the paint, thick and full of texture (impasto) landscapes, sleeping forms etc can be found in the binding.



Front leather jointed end paper and doubler. Hand printed using an soft plate off-set technique.



A rather sad view of Kyffin number one in its box.

Kyffin number 2



Full leather and vellum double hollow binding. All the leather has been hand dyed and the vellum printed with the soft plate off-set technique.



Detail of the gold tooling (real gold leaf) and the soft plate off-set printing.



Detail of the leather jointed end paper and doublure.
The end papers are hand printed, soft plate off-set again. The doublure has been worked to show the working structure of the binding, the gold tooling has been carried over from the outside of the binding to the inside.



part of kyffin number 2 and the box.




Finally both finished bindings....

Kfffin up date.

Both the bindings for the Kyffin project are finished. Boxes made, gold tooling done, things checked over. I hope to be able to take some images of the finished works.

The next projects on the bench are an artists book and a binding for 'Beyond Giving' Poems by Robert Graves. Privately printed in 1969 at The Stellar Press, Hatfield by Bill Hummerstone. The edition was limited to 536 copies of which 500 were signed and numbered by the author. My copy is signed but not numbered. A clean copy, un-cut.

The design is to be graphic with an extended board structure and I hope some moving bits.

Not only but also. THE PURPLE POPE BOOK OF ICONS.

So, I have a friend who is a thesp (actor) and I am led to believe good. Anyway, for the next production she is going to be a Pope who gives birth..... some of the characters in the production are based on what are believed to have been real people, including a pope who may have been a woman, may have been of African origin and gave birth, there I have said it again.
The ironic point is that she is Catholic, black and a mum. I love her. The posters are up in our very straight laced town, stating that there are scenes, language and images that may offend, this is one production I may see.

My small part in all of this is to make a Pope style book.
All chintz, bells, campness and whistles.

It gives me great pleasure is presenting the PURPLE POPE BOOK OF ICONS.






Non of this would have been possible without the support of others and I would like to thank Bill Dallas of Ratchfords who supplied the board and the purple crushed velvet bookcloth, it did come in useful. Sewing thread and adhesives by J. Hewitt and Son. Paper supplied by John Purcell Paper and the Studio 5 members for turning a blind eye.

News flash the up-date

Towards the end of 2007 I made application to become a member of the Society of Designer Craftsmen. It is with pleasure that I am able to say that my application was successful and have been granted full membership. I am happy.

NEWS FLASH

I am going to open a bottle of cheap wine, let it breath for about....well for as short a time as possible, pour a glass, put my feet up, take a sip of the said wine and smile. I have news, not big news but news all the same. It will have to wait till the morning for me to tell you.





Okay, perhaps a little more than a sip..........



......and perhaps more than one glass.

Kyffin is covered

I am amazed at how quickly this 2nd Kyffin is coming on.



The colours work, the composition is NOT traditional and why should it be ?. Though graphic, the colours are subtle and will reflect the end papers.



Detail of the double hollow at work.

Kyffin moves on.

The 2nd Kyffin is to be a double hollow binding. The vellum has dried out, the leather pared and dyed.



The vellum is semi transparent and I hope that the colours on the leather will add depth to the finished work.

kyffin on Vellum

Kyffin number two, soft plate off-set on Vellum.

KYFFIN WILLIAMS tooling finished.

I am getting old, there was a time when I could work through the night. Oh well.
Any way, the design has realised now it is just in-filling,leather joints, doublures and a box.....

Kyffin, work in progress.

Blind tooling to the front cover. Just one of the techniques used on this particular binding. As the binding nears completion so does the pressure as I remember that I will have another Kyffin binding to finish. Both will be auctioned (more details later) both must be photograph ready for the 24th of this month (Feb)

Still someway to go but i feel the end is in site. A full Calf (hand dyed) binding with multiple inlays. Perhaps it is difficult to see in this image but there are sleeping dragons, landscapes, artists pallet and much more hidden within the decorative areas. Fun so far.

However, the studio still functions with the day to day.

Trap Door Tapes. A method of board attachment using tapes that are hidden within the board, creating a smooth surface on the inside of the board ...........

........and on the outside.

At Work in Studio 5

Books, bones,bike seats and pulleys. A small selection of some of the research material that one studio member was using to work on a project. I am sure that it was all worthwhile.



Studio members. Design and making.


Infilling and pulling the boards. Time is spent to ensure that the inside of the binding is as good as the outside. Patience and practise.


Part of the Standing Press.


The Board Chopper.



A general shot of the studio, previous students will notice the amount of space and the new work surfaces. I have to thank everyone who helped.

Studio 5 is open

Yes, with only the floor left to paint (this will be done over a number of nights) the studio is open. There is more floor space more that will make working a lot easier. A new blocking machine and the laying press has wheels !

It is just as well as studio members will be coming in at the weekend and I have a visitor from Japan coming in tomorrow (Thursday). Things are so organised, I even have a list of projects that I have to do, it is a little scary.

Images will follow soon as will details of new courses.

Studio 5 up-date

The studio is in chaos, bin bags have been leaving the studio with alarming regularity, new shelves have been put up and taken down, only to be put up again.
One of the outcomes is space. Not lots of space but more space.
New equipment has been brought in and existing equipment checked over and re-positioned. I trust that the arrival of the new work surfaces will begin to bring things together.

I am looking forward to the 15th January when Studio 5 will be open with a new set of workshops, opening times and structured courses.
Of course, the open studio sessions will continue.

Forthcoming Events

Saturday the 26th of January.

A day of lectures at The Art Workers Guild by Designer Bookbinders.

The lectures will cover many topics to do with the book given by
the good and the great.




The day starts at 10.30 am with David Penton (Studio 5 Member),
Mark Cockram (me) and M Kunikata-Cockram
(Fellow of Designer Bookbinders and my better half)
The lecture will be an account of the genesis, setting up and impact of the 'Beautiful British Books' exhibition held in Japan in 2006. This exhibition toured three venues and featured the work of the Fellows and Licentiates of Designer Bookbinders.

There will be other speakers and this promises to be an interesting day for all who work or live with the book.

For more information please visit: http://www.designerbookbinders.org.uk/

Venue: The Art Workers Guild,6 Queen Square,London,WC1

Nearest Underground stations are Holborn and
Russell Square.

New Year

Studio 5 would like to wish everyone a good New Year.

Not only blue but red also

Slightly bigger and red



I promise to get back to books and stuff soon.

As Promised

As my camera and mac have now been joined together I am able to give you (as promised) something that is horny and a little blue.

In frozen Lincoln

Back up to my home city, tourist free Lincoln.

No work, no more running around, rest for a few days.

The Burning question, did I have the Horse meat ? YES and I have to say that I liked it. For all of us with delicate stomachs please do not read the following words...... it was raw, it was top.
Regular readers will be pleased to know that my camera has returned from India and when I get the thing hooked up to the mac I will be able to share with you some very horny images.... some of them a little blue.

The main reason why I was in Japan was to give a two day workshop in Arts and Crafts style, limp vellum binding. First I Had to print the text block.



First, as much of the work I do, was the research. As the work shop was to coincide with an exhibition of the work of William Morris and the Kelmscott Press, I wanted the finished work to have the flavour of the Arts and craft movement, not to slavishly copy it.



Once I had decided on the feel and the look I began to set the type, organise the pagination. This may sound simple but it can take some time, each individual letter has to be placed in the correct place, plenty of proofs to ensure that the balance is correct, I could go on but you may find it a little tiresome.



The Forme is loaded into the Adana ready for a final proof.



Okay so far. I had wanted to include a Lino cut for the frontispiece, an image of Morris. This is where I had to imagine if Morris, were he alive today, if he would have used the computer to aid his work ? I would like to think that he would have, not to manipulate or to use directly, more as part of the creative process.



After pulling an image from the Internet and bunging some software at it, I reversed the image and ran it through my trusty photo copier.



By rubbing cellulose thinners on the back of the photo copy I transfered the image onto a sheet of lino.



I was then able to start to cut away the lino. There is something very reassuring about the lino cut. The direct nature of the work, where you are in control, that every mark you make will be reproduced.I used the transfered image as a guide, however I chose what to leave, what to take away. This was the fun part.



Making the lino Type High would enable me to put it into the Adana, thus speeding up the print run. Again proofs had to be taken.



Once happy, the paper was cut and the graft began.







In total 31 copies were printed, There was more printing than shown here, a lot more.
There is much to be said for type set and simple printing techniques. The control, the smell of the ink, the skill in getting the pressure of the press correct, the ink mix, the choice of paper. All of this and more has to come together at the same time.

I am not a printer, but I love it so much (it is also a bit addictive).

Back in the studio for a few hours

Having just got back from Japan I must apologise for not being in touch. The last few days were spent in the most charming Ryokan with no opportunity to update the Studio 5 Blog. If I am to be honest with you I did not really feel in the mood as I am now just learning to relax.

Peripheral vision or when food looks back

Feeling much refreshed I feel that I am now able to describe my meal for you.

After wandering around the centre of Fukuoka looking for a suitable place to eat, we happened upon a sushi restaurant. We had been unable to find anywhere we liked the look of as any likely eating venues were full. We entered and asked if there was any room....Yes (in Japanese) but only at the counter, we agreed readily.

Now, let me explain some of the subtle nature of a good sushi restaurant. For groups of people who wish to talk with each other and have their food delivered on beautiful platters by Kimono wearing waitresses and have their drinks poured for them, two styles of room are made available.
The first is the western style, sit at a table affair with wonderful decor, full air con, flowers and you get to keep your shoes on. The second is the more traditional approach, tatami mats (which one must de-shoe to walk on), exquisitely thin cushions,sublimely simple decor and a low table of about12 inches, 30.5 cm for our metric friends, high. For those who have travelled with British Airways this will pose no problem. (I must learn to let go) Again there is table service.
The third option is the counter. The counter is best described as the Bar in an English pub. It is were the locals eat sitting on high chairs, enter into meaningful discourse after a drink or two. The Chefs hold court, passing on the wisdom of the sages of old, deftly preparing fresh food with knives that are outlawed in many countries.

One of my favourite foods is Squid. I love the taste and the texture. I asked if the chef if he had any squid as I was unable to see any in the chilled display cabinets that sit on the counter top, one is able to see the chef choose the best cut of sushi for you, you as the diner can also see what is available and have the benefit of being able to see true artists at work. The chef said he would check on the situation for me. I found this strange as I was sure that the chef would have been able to check the availability with a brief glance. He reappeared and said that he had one left and would I like it ? silly man, of course I wanted it.

There followed what I will only be able to remember as a Tommy Cooper moment. Sporting gloves and a bright orange, children's fishing net, he removed the top of a huge fish tank that I had failed to notice. The squid had seen all of its friends disappear in said fishing net and was having non of it. After a hunt that was a little one sided the chef eventually bagged my squid, much to the delight of the well versed and appreciative audience.

There then followed much knife wielding and artistic display with sea weed and choice of plate and with little fan fare (the true artist needs little or no fan fare) my squid was placed in front of me.

As I began to savour the freshness of the meat, the subtle tastes and textures, I perceived a movement on the outer limits of my peripheral vision.

The squid was still alive or at least the nervous system was in operation. The tentacles moved in automatic response to being touched,the part of the squid I had been eating was skillfully detached from the 'live' bit. This brings a whole new meaning to the words 'Fresh Fish'.
Now some may find this sort of thing bad, forgive me, I enjoy my food and would rather buy my food thus, than from some super market chiller, wrapped in plastic with god knows how many chemicals pumped into it, to give it a longer shelf life and enhance its colour.

I asked the chef if I could eat the moving bits. Much to his credit he gave me the sort of look that any good UK barman would give a tourist if said tourist asked if he could have a cherry with his pint of award winning ale, but refrained from using the same sort of language.
The chef, slowly, replied that he he would cook the 'moving' bits when I had finished the 'non moving' bits. I must point out that this conversation was performed in Japlish with much assistance from the whole counter area, to all of whom I am much indebted

It was the best squid I have had to date. The same restaurant has horse on the menu, that should be interesting.