The last few weeks have been a little busy. First there was the first Studio 5 Artist in Residence.. Kaitlin Barbour. Kaitlin produced some really very nice work, completing a commission and exploring new techniques. It was great to be in the studio with her. Kaitlin is a recent graduate from North Bennet Street School . I have a suspicion that Kaitlin is going to give the Bookbinding and book arts world a bit of Rock n Roll. Turn it up to 11......
Then for the last 2 weeks I had the fab Erin Fletcher from Boston Massachusetts, in for a series of rolling workshops exploring many wonderful decorative techniques. I find it still a buzz to be able to share what and how I do things.
This weekend just gone I had a workshop in ... Introduction to print making for the bookbinder/book artist. We had great fun with serious results.
Today has been a day of working on a miniature... more about that later and planing a new poster and new work for forthcoming exhibitions. There is never enough time....
Monday 21 November 2016
Wednesday 16 November 2016
Wines in my Garden....
For Wines in my Garden I wanted to use use tomatoes.
In particular... Tomatoes on the vine. I wanted to simplify and to narrow the colour printing down to just 2 colours per end paper. First I mixed my inks and rolled out the base colours. A rich red and acid green/yellow. I then made a simple lino cut of the stem and leaves of a tomato vine and over printed. The end papers were then allowed to dry.
I have been sharing with Erin Fletcher, a book binder from Boston, Massachusetts, some of my decorative techniques. this has been very cool as I have been able to use the woskshop demonstrations as a test for the design for the outer boards. The "Swiss Roll" technique (above) will provide stylized flowers.
Whilst the "Dicated" work (below) will provide the wine....
Wines in my Garden is a miniature book printed by the Whittington Press.
Labels:
book arts,
bookbinding,
garden,
leather,
lino print,
wine,
workshop
Tuesday 30 August 2016
Nor The Towering Dead. Sullen Art. Collaberative Book Art with Marshall Weber.
I think that I am lucky in many aspects of my life. Towards the top of the list is being involved in the creative world. I suppose, that for many readers, I am perhaps best known for bookbinding. However, my first love was and continues to be for the arts in general. Book binding is just one of the mediums with which I try to explore the expressive vein in my being.
The joy of looking at other peoples work and sharing is never to be underestimated. Never. Which is why I delight in being able to collaborate with artists and maker working in similar and dissimilar mediums. Bookbinding and book arts is a curious area of the applied and fine arts, always changing and in constant flux. One such artist is Marshall Weber
How nice it is to get things in the post that excite and elicit response. The size of the text block is not so big, one can get a rough idea by looking at the small one cm squares on the cutting mat just visible around the left hand side of some of the posted images.
The pages invite our gaze to linger and caress. The longer we look into the pages, the swirling lines and heavy blocks of worked wax begin to release the text contained. With this particular text block the page content is from the streets of Manhattan (USA) as Marshall uses coloured wax blocks much in the same way I used to. Mine rubbings were somewhat more archaic as I used to rub monumental brasses in churches and later in the Lincoln Brass Rubbing Centre... Perhaps more about that another time.
It is often the case, that from the unforced or natural elements of my work I feel more at ease. Aspects of the unexpected and happen-chance, to be able to go with the flow as it were. So, you ask, where do I come into all of this ?... well this is a true collaboration, though Marshall has done nearly all the text block he is encouraging me to work on the page surface, to integrate my thoughts etc so that the work I do with bringing the work together is not just en papers and binding.
There is so much more to this than meets the first casual flirtation.
The joy of looking at other peoples work and sharing is never to be underestimated. Never. Which is why I delight in being able to collaborate with artists and maker working in similar and dissimilar mediums. Bookbinding and book arts is a curious area of the applied and fine arts, always changing and in constant flux. One such artist is Marshall Weber
How nice it is to get things in the post that excite and elicit response. The size of the text block is not so big, one can get a rough idea by looking at the small one cm squares on the cutting mat just visible around the left hand side of some of the posted images.
The pages invite our gaze to linger and caress. The longer we look into the pages, the swirling lines and heavy blocks of worked wax begin to release the text contained. With this particular text block the page content is from the streets of Manhattan (USA) as Marshall uses coloured wax blocks much in the same way I used to. Mine rubbings were somewhat more archaic as I used to rub monumental brasses in churches and later in the Lincoln Brass Rubbing Centre... Perhaps more about that another time.
It is often the case, that from the unforced or natural elements of my work I feel more at ease. Aspects of the unexpected and happen-chance, to be able to go with the flow as it were. So, you ask, where do I come into all of this ?... well this is a true collaboration, though Marshall has done nearly all the text block he is encouraging me to work on the page surface, to integrate my thoughts etc so that the work I do with bringing the work together is not just en papers and binding.
There is so much more to this than meets the first casual flirtation.
Friday 8 July 2016
The Maureen Duke Educational Award. Manila Bound.
The Maureen Duke Educational Award. Manila Bound.
I left London Heathrow Airport in early March at 10pm. London was locked in
a chilling, sleet-ridden darkness. Heathrow being almost devoid of passengers
with those who had braved the time and weather huddled in small, quiet groups.
Wrapped in dark, generous winter clothing, looking for the entire world like
slow moving standing stones.
Landing at Ninoy Aquino International Airport
some 14 hours later (8pm local time), the heat of the day that had been
absorbed in the fabric of the pavement and buildings radiated into the still
night air. And as a foretaste of Manila, Ninoy Aquino was a pageant, a circus
of colour and noise. The 30-minute taxi journey to my digs offered further
glimpses into Metro Manila. Huge advertising hoardings hemming in the multi
lane express ways. Construction sites vying with apartment blocks and shopping
malls to snag the sky. People, people everywhere, eating, working and living. Occupying
every available space.
Construction sites vying with apartment blocks and shopping malls to
snag the sky.
After a day to acclimatise and with a bag
slung over my shoulder containing my tool kit and umbrella I walked the short
distance from my digs to the Ortigas Building. Even first thing in the morning
the reflected glare from the sun warranted the use of sunglasses. It was then I
noticed that much of the usual street furniture, street signs, advertising
hoardings, graffiti and traffic signage etc appeared bleached out and after
only a few minutes away from my air conditioned building, the humidity and heat
became alto apparent.
My arrival at the Ortigas Building was met
with little, if any fanfare. After negotiating the metal detector and
successfully explaining to the security guards what I was doing with numerous
sharp metal objects I was shown to the lift, given a demonstration of which
button to press (second floor) and left to it.
The doors slid open into a functional, marble
and wood clad reception area. The receptionist, who I quickly learnt was called
Peter, explained that the conservation team had yet to arrive. In my desire not
to be late I had arrived early. I was ushered to a comfortable chair in the
library to wait, having left my bag with Peter (for security reasons). This gave
me an ideal chance to see some of the collection.
The Ortigas Foundation Library (OFL) has a web site (www.ortigasfoundationlibrary.com.ph)
Containing much information, however, briefly, the OFL is composed around the
collection of the libraries founder Attorney (Lawyer) Rafael Ortigas Jr and the
collections of Jock Netzorg and Professor Gregorio F. Zaide. The OFL houses
nearly 21,000 Philippine-related books from the 17th century to the present
day. In addition to antiquarian and rare books, the OFL collection also
includes17th to 20th century publications, rare maps, botanical prints and
objects. The library also houses over 3000 photographs, prints, postcards,
stereo views and illustrated material dating from the 1860’s to after the 2nd
world war. Subjects include early views of Manila along with other cities and
towns, the countryside, architecture, anthological studies, transportation,
landscapes, trade, events etc.
The Reception area and Peter from the stairwell. I
soon learnt that the 2nd floor
was in fact the first floor and it was quicker to take
the stairs.
The meeting area of the
library set the tone. Informative, yet relaxed
The reading room. Much
of the OFL collection is accessible via computer. Recent and more robust acquisitions are
available for research.
The core of the collection
is housed in a controlled environment within the public area. Tinted glass
allows for viewing whilst offering UV and sticky fingers Protection
The conservation area consists of two rooms, one for wet
work and one for dry work.
The conservation team in the wet room. L to R; Loreto D. Apilado,
Mariano T. Alcantara, Olivia C. Ongoco and Mildred O.
Apilado.
The dry room. It would appear that the problem of
never having enough
Space is world wide.
|
Keeping the previous paragraph in mind, it is widely accepted that ideal conditions to store books and related materials are as follows;
Books should be stored away from direct sunlight, which can bleach spines and paper and can lead to an increase in the acid content of paper.
It is important to have constant temperature and humidity within the book storage area with circulation of air. If the room is too hot and dry, leather bindings can dry out and crack; books should therefore be kept as far away as possible from heat sources such as radiators and fires. However, a low temperature in itself does not hamper the growth of mould. It is important therefore to avoid storing books in damp conditions to prevent spores of fungi (mould and mildew), which are always present in the atmosphere, from blooming on books, papers etc. Wherever possible try and keep the room temperature within the range of 16°C to 19°C (60-66°F); with relative humidity within the range of 45% to 60%.
It is easy to understand that the Philippine climate is not ideal for the long term preservation of books and paper. It is not only the environment that conspires against the book. Neglect and over zealous use of self-adhesive pressure tapes such as Selotape used by well meaning people also add to the mix. However, the conservation team have and continue to not only conserve the expanding collection but also take in outside work. The work is diverse, from the manual cleaning of printed material to the restoration of books. The only work that is not carried out in-house is the finishing (titling etc) though at the time of my stay plans were being made to acquire simple finishing equipment.
Ortigas Foundation Library.
Answers to expensive questions.
As with any specialist tools and materials, bookbinding, conservation and restoration equipment can be very expensive. However it is not only the expense that has to be considered. For example, a Leaf Caster can cost more than £5000, plus taxes and shipping. Then there is the space where it will reside, the training of the members of staff, repair and maintenance. Also to be considered is how often will the equipment be used. To be short, no matter how desirable it would be to have a Leaf Caster there may not be the funds and space available.
The OFL answer is simplicity itself. A food blender.
The food blender can be seen on the extreme right of the image with the paper making frames on top of the blue water canisters. |
Using the food blender to make pulp that corresponds with the page or material fiber and tone that requires repairing, single or multiple sheets of paper can then be made. The resulting sheets of paper can either be used wet or dry. The wet paper in-fills can be teased out of the sheet and tweaked into the area that requires in-filling. Basically leaf casting without the leaf caster. The dry paper can then be wet or dry cut as and when required. A very elegant solution.
The original document was backed on to an unsuitable paper. Along with pressure sensitive self adhesive tape there is evidence of insect damage and bleaching. |
Pressure sensitive self adhesive tape is gently removed using a modified soldering iron. Though solvents can be used to remove tape some printing inks can reactivate when solvents are applied. |
Because of inconsistencies with the water quality, bottled
water is used. The document is being washed and de-acidified with distilled
water and calcium hydroxide using a hand pressurised garden sprayer. The
document is sandwiched between non-woven polyester sheets.
Even in the controlled controlled environment of the central collection many of the books, maps etc are still encapsulated.
The clear Mylar makes for easy examination of the material inside, thus making
the detection of any insect activity or mould ingress easy. Perhaps in the UK
this form of encapsulation would not be a first choice action. However, it is a
perfect solution when faced with an environment such as Manila, small details
like this, become more and more important and obvious when explained or seen.
Though some bookbinding, restoration and conservation
materials such as basic bookbinders board and some papers are available in the
Philippines much has to be ordered in from abroad. With some orders taking 3
months to arrive forward planning has to be a priority. It is not only the cost
of the materials, as already pointed out there are the additional costs such as
import tax. The conservation teams answer to some of the issues they face have
made me question a lot about how I and perhaps others take so much for granted
and how we could perhaps make better use of what we have.
The specialist materials the equipment used in bookbinding
is either expensive or very difficult to obtain. To this end most of the
bookbinding equipment has been made by Mr Loreto Apilado or fabricated to his
specifications. The various press being made from local wood and materials have
far less chance of warping than imported wooden equipment and are considerable
more cost effective. This idea of using what is local not only applies to major
pieces of bookbinding equipment but also the simplest and perhaps most used
tool. The Folder.
The Final Few Days.
One very important aspect I soon grasped when I was doing my
initial research about bookbinding, restoration and conservation in the
Philippines was the lack of learning opportunities. To this end it was
suggested that as a skill exchange I could deliver a two day course in case
binding.
The short course was booked out well in advance with
students coming from various arts, crafts, libraries and
bookbinding/restoration and conservation backgrounds. One point that I found
very generous of the OFL was that there was at least one assisted place (free
place) this going to a taxi driver who loved books and wanted to learn how to
make one. This gentleman along with the other students showed so much passion,
skill and very genuine desire to learn. I have to say I was touched.
One very important aspect of my work is teaching bookbinding
and related subjects including restoration and some aspects of conservation. I
consider myself very lucky to be able to teach and over the years I have worked
with some very gifted people from all over the world with ever-increasing
numbers of students coming from S E Asia, the Middle East, South America and
Africa. For many of these students returning to their home countries, they face
the prospect of starting their professional working life with limited equipment
and materials. However, their situation can be far more problematic. Because
there has been, in the last 20 or so years, a gradual decline in commercial
hand binderies with the traditional skills being lost or watered down, these
students often find themselves working in near isolation and in some cases with
no recognised suppliers in their country. But by far the biggest differences
are the climate and resources.
The Maureen Duke Educational Award (MDEA) offered me the
chance to learn and work alongside conservators and bookbinders at the OFL. To
have that all important guiding hand, to gain valuable experience of what the
reality of working with limited equipment, space and facilities is, and to
realise what is and is not important. Perhaps as important is a new, flexible
way of thinking. Since returning to the U.K. I have begun to teach my students
what I learnt, for example; all the students on the beginners modules now have
to learn to cut board with just a straight edge and knife, to use minimum
equipment and economy of materials and space. Little things like using methyl
cellulose because it is easier to store as it requires no refrigeration, will
not break down in humid / hot conditions and does not use a preservative will
be taught to students who will benefit.
In addition to the above changes, from August 2016 all
students who start the beginners modules will make their own folder. As I gain
more practical skills I will encourage my students to make other simple hand
tools, to have a working knowledge of how to make and adapt should the need
arise. I have also instigated work on designing a small nipping press that can
be made from minimal and widely available materials.
I realise that these are all small steps but I hope to be
able to improve and to share more with my students the skills and knowledge
that I gained whilst at the OFL.
In Conclusion.
I conclude with the future. After some discussion with the
OFL Conservation team and Mr John Silva (Executive Director OFL) it was agreed
that if possible a teaching programme be started at the OFL. Also, that if
funding was available through tuition fees and other avenues of funding that I
return to the OFL to give an extended programme of courses in 2017, to continue
what has been started.
I would like to thank
The Maureen Duke Educational Award, Peter, Loreto
D. Apilado,
Mariano T. Alcantara, Olivia C. Ongoco and Mildred O.
Apilado, John Silva and all at the Ortigas Foundation Library for their
generosity, help and warmth.
Thank you, Mark Cockram. June 2016.
Friday 24 June 2016
The A B A, Big Books and some teaching and Frankenstein...
Then the image... Frankenstein........
Text and image..
This year found me again at the ABA International Olympia London.
LIVE
Not only was I doing my thing with workshops but I was also working on a huge book... A Tryptich some 6 feet high. The theme of this years ABA Fair was the Gothic.......
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