My final post for the 2019 Booker Award.... I think...

My final post for the 2019 Booker Award.... I think...

Rusdie's Quichotte is inspired by the classic Quichotte by Cervantes. My binding for Rushdie's re-interpretation is inspired by the often surreal like images that he created in my minds eye.

We enter via a second tier writer of pulp thrillers, Sam DuChamp, who, whilst mid way through a midlife crisis, creates Quichotte, a mild mannered though slightly deranged and deluded traveling salesman of prescription drugs crisscrossing the hinter land of a contemporary USA. Our Quichotte falls in love with a day time TV star, fact and fiction become indiscernible from each other. Thus starts a road journey during which he encounters a series of situations and events that echo the changing plight of a USA as it topples into a vortex of despair and ultimate self imploding, space warping destruction. Along with green, suit wearing Mastodons and imagined characters and sidekicks our journey ends at the beginning.

This and more was my inspiration for the binding. By using contemporary material for the binding, to use the discarded, in particular Affiches lacérées, torn posters. A fall from grace, Selma R (one of the characters and the the love of Quicotte) originally from India, now based in New York (not the original in North Lincolnshire) once the poster girl for day time chat across a USA, reduced to torn and creased rubbish. A collaged jigsaw puzzle and mixed media, hand tooling to the front board.

The text block was specially printed with the sheets folded into sections, hand sewn. End papers are Flottage coloured with further hand printing. The construction is based on a Bradel Binding variant. Double boards, sewn-exposed-endbands, full-laminated linen board attachment with goat skin edges at the head and tail of the cover.

24.2cm x 16.5cm x 3.8cm. Housed in a two tray drop back box.

All six bindings that were made for the shortlisted Booker Prize authors are now on display in the foyer at Bonhams in Knightsbridge (Montpelier St, Knightsbridge, London SW7 1HH) through until Friday 1st November (9.00 – 17.30 weekdays; 11.00–15.00 Sundays. Closed Saturdays).
If you want a chance to see these wonderful bindings in person before they get whisked away by their authors go and take a look!
Also on display, will be some bindings by Philip Smith (1928-2018), including an enormous "book wall" tower of Dante's Inferno, and a number of bindings for Booker Prize shortlisted novels from previous years.

 The binding.

 Front and back Doublers.

 Front end paper.

 Back end paper.

 End band, text block edge and board edges.

 Laminated and collaged jigsaw detail.

'Beyond Coptic Sewing.. a bigger universe with no adhesive' (Please note, other opinions and views are available)

I have been asked to "Just do a workshop" ... "locally, so it need not be a special thing".. oh yes...and that 4 letter word beginning with F or f that professionals dread... "for free"! After all " its just bits pf paper isn't it".
To be working in the world of the book is a wonderful place to be. I realise I am lucky.. perhaps I have worked for the luck, but I am lucky in finding a creative direction.
One aspect of my working life that always gives me continued and renewable pleasure is the chance to try to pass on what little knowledge I have and to encourage others to have the chance to find the book as a creative vehicle, a place to explore the manifold delights of the book as the maker, viewer, participator etc.
Sadly, however, all to often when one is asked to teach or share in an educational establishment one is faced with the prospect of keen and eager students with no equipment save for many computers and printers. The permanent members of the staff, who, I find, have increasingly less and less in the way of working in the 3D expect miracles.... It can be so disappointing for all concerned. Other aspects, to name a few, are costs, availability of materials, hand tools and budget. Though I am passionate about my work I have bills to pay.
Of course it is possible to take various presses and such but what happens when one says goodbye and takes the equipment back... The students are left in a void, equipped with newly acquired knowledge but no way to make as there is no equipment.
There are many books, styles of binding and structures that one could teach but many of these require specialist hand tools, adhesives and environments. One has to remember that many structures only work with specific materials, again one can use compromise materials and substitutes but the work will always be a substitute and a compromise.
What is important is being able to teach what is relevant and achievable. What can enable and allow the student to go on if desired. It is not about the teacher... it is about the student, some teachers forget that.

I will go out on a limb now. A little rant...

The Coptic Stitch/sewn book. For many this style of book is a first step in the making of books. There are any number of sites on the internet that show how this ½ book is made (yes, I did write ½ book) It requires very little in the way of specialist equipment and is quickish to make. Many makers do not move on from this simple method of making. However, what many makers who use the Coptic Stitch may not know is that is only ½ the story. The basic structure is then bound in leather, sewn end bands are worked and numerous further operations are carried out before the book is completed. The tight back binding supports the sections and the sewing, it reinforces the complete book. In short ... the use of leather and the skills required cannot be taught in a morning workshop.... which may explain a lot. Please do not misunderstand me, as one of the first steps in the journey of the book, the Coptic stitch/sewn ½ book is ok but there is so much out there to be explored. Of course, if one chooses to concentrate on this singular style.. great... we all have our own thing. For those wishing to perhaps have a fuller introduction to a more complete picture of this binding style I have included a couple of images of a pamphlet I rate.
Perhaps a new workshop... 'Beyond Coptic Sewing.. a bigger universe with no adhesive' (Please note, other opinions and views are available)

Perhaps, if I may conclude. It is not easy to provide and teach a workshop. There is so much in preparation. The aims of the workshop, indicative content, rationale, assessment etc. To provide a coherent and understandable format that allows the student to further their abilities, that is inclusive whilst not going to the default of the lowest common denominator. One also has to make the most of the materials, environment, tool and equipment availability etc. Not to belittle for the lack of something - more it is to expand on what is available.
Thus much time is spent in developing structures and ways of working that are flexible, that can be taught and made either within the professional - equipped workspace/learning establishment or a table in a church hall in the middle of nowhere.
Please note there are other ways of doing things and opinions..... spelling and grammar. Please further note, the opinion of the author may change at any moment. This is due to having an open mind... of sorts.

Inspired by my Travels.

 Front Baord.

At last, a book I have been working on for a while... is finished. Starting with making the pages/panels to the final coat of varnish has been a long journey. Inspired by my travels and work in and around Manila. 190cm x 61cm x 10cm when closed.
Wood, paper mixed media.

 Detail Front board.

 First Spread.

 Detail.

 Detail.

 Second Spread.

 Detail.

 Detail.

 Detail.

 Back Board.

 Front and Back Boards.

 Detail.

At last, a book I have been working on for a while... is finished. Starting with making the pages/panels to the final coat of varnish has been a long journey. Inspired by my travels and work. 190cm x 61cm x 10cm when closed.
Wood, paper mixed media.