Ευκαιρία – χειροποίητες μαρμαρόκολλες σε προσφορά

Tags

, ,

Καλωσήρθατε σε ένα ακόμη άρθρο με marbling-θεματική!

Εάν θέλετε να δειτε απευθείας τη λίστα με τις διαθέσιμες μαρμαρόκολλες ανατρέξτε στο τέλος του άρθρου.

Έχω εκφράσει πολλές φορές την αδυναμία μου για μαρμαρόκολλες… Πέρα από την ομορφιά που έχουν αυτά καθαυτά τα χαρτιά που έχουν διακοσμηθεί με την τεχνική του ebru/marbling είναι αδιαμφισβήτη η χάρη που προσφέρουν σε μια βιβλιοδεσία, είτε πρόκειται μονάχα για εσώφυλλα είτε κοσμούν το κάλυμμα σε μια βιβλιοδεσία τριών-τετάρτων.

Επειδή ακριβώς λατρεύω τις μαρμαρόκολλες τόσο ήθελα να μπορώ να προσφέρω στους μαθητές μου κάτι παραπάνω από μονόχρωμα χαρτιά ή μαρμαρόκολλες εκτύπωσης με μουντά χρώματα.

Μίλησα λοιπόν με την Natalia Lanza.
Η Natalia ζει στην Ιταλία και προσφέρει μια μεγάλη ποικιλία σε μαρμαρόκολλες, από απλούς τόνους και μοτίβα μέχρι μοναδικά κομμάτια με ζωηρά χρώματα και σχέδια.
Κατόπιν συνεννόησης μαζί της προμηθεύτηκα ένα αριθμό από “seconds”, δηλαδή κομμάτια που έχουν μικρές ατέλειες, ώστε οι συμμετέχοντες να μπορούν να δέσουν τα βιβλία τους με μαρμαρόκολλες που θα τα αναδείξουν ακόμη περισσότερο.

Ιδού οι μαρμαρόκολλες που μου έστειλε η Natalia.

Και εδώ είναι το απογευματινό τμήμα -σε βαθιά περισυλλογή!- καθώς διαλέγουν τα χαρτιά τους.

Ωστόσο πέραν των χαρτιών που προορίζονται για τα σεμινάρια η Natalia δέχτηκε να μου στείλει ένα μικρό αριθμό από τα χαρτιά που διαθέτει προς πώληση σε έκπτωση γνωριμίας για το ελληνικό κοινό.
Η τιμή τους κινείται κανονικά στα 8-10 ευρώ (συν τα έξοδα αποστολής εάν τα παραγγείλει κανείς από την ίδια). Μπορείτε όμως να τα προμηθευτείτε από το εργαστήριο μου προς 6 ευρώ το κομμάτι.

Εάν σας ενδιαφέρει κάποιο κομμάτι/α επικοινωνήστε μαζί μου αποστέλλοντας μήνυμα στο koutsipetsidis@gmail.com και βεβαίως είστε ευπρόσδεκτοι να περάσετε να τα δείτε από κοντά στο εργαστήριο κατόπιν συνεννόησης.

Ακολουθεί η λίστα με τα διαθέσιμα χαρτιά. Υπάρχει μονάχα 1 κομμάτι από κάθε σχέδιο.

Advertisements

Interview with Jemma Lewis – Techniton Politeia

Tags

, , , , ,

Welcome back for another Techniton Politeia interview!

I have a deep affection for marbling papers and consider myself quite the hoarder. My personal collection, though perhaps not the most extensive, is amongst my most prized possessions and I always hesitate to use the papers (“this is not the right commission for this paper, think I’ll save it…” anyone?!?)

Marbling may appear very simple on the surface -pun intended- but is actually a big fascinating world on its own once you get to know it.
So, in order to get an insight into this mesmerizing craft we visit the studio of Jemma Lewis and talk with her about marbling.
Jemma Lewis Marbling and Design was started in 2009. Initially it was run by Jemma and her father David. However when he retired her husband Craig came to work with her full time. 

The studio produces hand marbled papers in the Traditional way using a substance called ‘Carragheen Moss’ and Gouache Paints. The paints are floated onto the viscous substance and using tools and stylus’ we can create a huge amount of different patterns, both traditional and modern. Jemma and Craig work from a log cabin studio at the bottom of their garden in the County of Wiltshire in the U.K. They produce marbled papers for bookbinders, interior designers, furniture restorers and retail outlets who stock the designs. 

On to the interview then!

 I initially planned of describing what marbling is in the interview’s intro but I believe you are far more qualified to properly introduce our readers to this peculiar art!
 To make it even more interesting; could you give us a strictly technical definition and then a purely personal description based on your own perception of marbling?
‘Marbling’ is the name given to the creation of decorative papers by floating paints onto a viscous surface (‘size’) made using an Irish Seaweed called ‘Carragheen’. Patterns are then created using tools and intricate combs. 
 A sheet of paper (treated with a watery substance called ‘Alum’ which acts as a mordant; making the paint ‘stick’ to the surface) is then laid onto the surface of the ‘size’ then gently lifted off to reveal the pattern – now transferred to the paper. 
 Part of the charm of creating marbled papers is that each application of paint to the surface produces only one sheet of marbled paper – so the same processes have to be carried out multiple times to create sheets that are similar, though never exactly matching. 

One of my favourite books in my marbling library is ‘The Art of Marbled Paper’ by Einen Miura’. His description of marbling is much more eloquent and reads as follows, and I quote…
“In the 16th century, a new way of decorating paper was introduced to Europe from the Middle and Far East – designs that resembled the veins in marble. This effect was created by throwing or dripping inks on to a size (a mucilaginous solution), where they were allowed to float freely or were sculpted into patterns. A sheet of paper was carefully placed onto the surface of the size and the design lifted off. The general term for this process is marbling”

So how did you become a marbler? It must be quite something whenever you have to introduce yourself to someone new – god knows I’m having trouble explaining bookbinding and it is considered far less obscure!

 Trying to explain to people what I do ‘for work’ or what paper marbling is always a challenge, although with an increasing trend in the marbled look within fashion and interiors I am noticing more people becoming aware of it as a craft. 
 When I first came into contact with marbled papers, seeing them as endpapers within antique books at the bookbinders I worked at, it never really occurred to me that making these would be someones job, or indeed that anyone even made them these days! 
 After working at a bookbinders (Chivers-Period, based in Bath then Trowbridge) for several years I was given the opportunity to go along and learn marbling from a local lady, Ann Muir who was looking to retire. After 7 months of learning in her studio, mostly under the tutelage of her colleague Julie a series of unfortunate events happened that led me to where I am today. 
 Sadly Ann passed away and the bookbinders went into administration within a couple of months of each other and I found myself un-employed. It was my Father who suggested we set up a marbling studio so that I could carry on learning and making. 

Marbling; Art or Craft? If “both” wasn’t a possible answer, which of the two would you choose and why?

 In my opinion I think that Paper Marbling is considered to be more of a craft than an Art Form. 
 I would personally actually put it into the category of ‘Decorative Arts’ though! 
Decorative Arts are arts or crafts whose object is the design and manufacture of objects that are both beautiful and functional – and I think marbled papers fit perfectly into this.

Marbling has a certain allure that is difficult to define. According to you which is the element that sets marbling apart from other arts and crafts?

 I think one of the big draws with marbling is that it has an air of mystery surrounding it. 
 There are not many people that still practice marbling and until you actually see it being done its hard to envisage how these designs are created.

Marbling, especially if practiced for a living, involves a lot of repetitiveness. Although the end result is never quite the same a certain degree of similarity is required when producing a specific pattern. Furthermore the process is more or less the same across most patterns as far as the maker is concerned and it can be repeated dozens of times in a single productive day.
Some people would find this relaxing while to others it might feel suffocating. What is your view on this aspect of marbling and how does it affect you?

  A day or even several days producing the same pattern (especially for very large orders) can become very repetitive and the body has a certain degree of muscle memory so our arms carry out the same movements over and over again. 
 It is more relaxing though as we don’t need to keep re-mixing paints or concern ourselves with the challenge of constantly swapping from one pattern to another which can be very time consuming. 
 After doing the same pattern for more than 50 sheets i’m always desperate to see a change of colour and pattern!

Would you give us an insight into a marbler’s day?
Besides standing above the marbling tray and actually making the papers what other tasks are there for the marbler to tackle?

  Our days generally form the same structure. 
 Craig takes down the previous days marbled papers from the drying racks and gives them a light iron before putting them under the press. During this time i’m usually catching up on admin and emails. We then both have a coffee break and catch up on enquiries, discuss what we need to do that day and maybe do some filing, invoicing or accounts work. Afterwards we pack up any Marbled Papers or products that are ready to go and this can often take a couple of hours if we have a lot of papers to ship. We start marbling just before lunch, when we return its full on marbling until we either fill the drying racks or complete what we need to do that day. Its easy to forget that a creative business is still a business and although I would like to spend all my time producing there are still all the other elements that make up running a business.

Could you share with us the most demanding aspect of being a marbler and also the most enticing and rewarding?

 The most demanding aspect of marbling is usually getting all the materials to work together correctly and achieve the correct result required. paints / ‘size’ / Alum / and other materials just not co-operating with one another can be frustrating. Producing certain designs are always more tricky such as those that use oils or other compounds which can take a lot of time, trial and error to get them co-operating with the “size’ and paints.
Most rewarding is hearing the lovely feedback we get from our wonderful customers who always spur us on to keep creating and coming up with new ideas and products.
We also love working with clients who wish to Licence our designs as it means we get to see our designs gracing album covers, packaging, fashion and even cruise ship restaurants (not always in the flesh though!) 

Bookbinding and marbling go a long way back. Marbling has been the standard for endpapers, and in many cases covers (quarter bindings for example), for a few centuries and the symbiotic relationship continues to flourish.
 What is it that makes marbling so fitting for bindings and books in general? Is it just a visual habit, relic of the long pre-modern era of bookbinding, that has cemented itself in our subconscious regarding how we expect the “archetypal” binding to look like, or is it something beyond that?

Working for a bookbinders was where I first became properly aware of marbled papers and was amazed at the variety of colours and patterns. It was also interesting to see that although the outsides of the books, often gilded leather bindings, were very worn, the endpapers inside looked fresh and bright. I always love opening up an antique book to see whether it might have marbled endpapers!
 
I think we have now long associated books as having marbled endpapers or sides though these days it is seen as more of a luxury to add marbled papers. 
Frequently publishers and bookbinders are looking for custom marbled papers that fit in with the title or theme of a book so for example we have produced papers that look like a glistening river for Wind in the Willows and papers that look like sandy dunes for Lawrence of Arabia. 

Last question.
What is the status of marbling in our days? Is it a fading practice or is it being rediscovered? Where does it fit in the modern age?

 When I started marbling it still felt very much like the domain of the bookbinder and I felt this would be my sole customer base. 
 Over time marbling has seen an increased popularity thanks in part to practitioners being able to share what they create through social media and other designers using the concept of marbling within their work which in turn brings it into the public eye, increasing its popularity. Traditional crafts have themselves seen a resurgence so those that were once seemed a rather outdated and old fashioned are gathering more interest. We have found that our papers are being used now for many varied uses, book binding is still a key area of use but we have produced papers more recently for a very broad spectrum of uses including; fashion, packaging, interior products, stationary, gift items, the music industry, branding, social media, and for other arts and crafts producers to use on products. Most recently one of our designs was used on edible paper!

Hope you enjoyed the interview!
If you’re interested in Jemma’s papers you can visit her shop; Jemma Lewis Marbling and Design

Yoy can read more interviews by visiting the blog’s page Techniton Politeia.

Till next time!

 

 

Σεμινάριο Χειροποίητης Ραφτής Βιβλιοδεσίας – Φθινόπωρο 18

Tags

, , , , , ,

Sewing watership down
Ελάτε να γνωριστείτε με την τέχνη της βιβλιοδεσίας δένοντας ένα βιβλίο στο χέρι!

Το σεμινάριο αυτό αποτελεί μια εισαγωγή στην παραδοσιακή βιβλιοδεσία με την τεχνική του καλύμματος (case binding – ραφτή πανόδετη βιβλιοδεσία). Με την ολοκλήρωση των μαθημάτων θα έχετε στα χέρια σας ένα δεμένο βιβλίο και τις γνώσεις για να δένετε βιβλία με απλά υλικά και εργαλεία.

Κόστος σεμιναρίου: 200 ευρώ (συμπεριλαμβανομένης της προκαταβολής για κατοχύρωση θέσης, παρέχονται όλα τα υλικά και εργαλεία), τα οποία θα καταβληθούν σε δόσεις.

Δήλωση συμμετοχών: έως 24 Σεπτεμβρίου

Έναρξη μαθημάτων: 28 ή 29 Σεπτεμβρίου
Αριθμός μαθημάτων: 7
Διάρκεια μαθήματος: 3-4 ώρες (αναλόγως τον αριθμό συμμετεχόντων και το περιεχόμενο έκαστου μαθήματος).
Μέρες και ώρες: απόγευμα Παρασκευής ή Σάββατο (πρωί με μεσημέρι ή απόγευμα με βραδάκι). Ακριβής ώρα και μέρα θα καθοριστεί κατόπιν συνεννόησις με τους ενδιαφερόμενους.

Κατοχύρωση Θέσης
Εάν θέλετε να συμμετάσχετε
α) αφήστε ένα σχόλιο εδώ

β) στείλετε μου ένα mail στο koutsipetsidis@gmail.com
γ) καλέστε με στο 6936474123 (απογευματινές ώρες).

Η κατοχύρωση θέσης γίνεται με μια προκαταβολή των 50 ευρώ (το οποίο αφαιρείται από το συνολικό κόστος του σεμιναρίου).
Σημείωση: Το ποσό αυτό δεν επιστρέφεται σε περίπτωση ακύρωσης 1 εβδομάδα πριν την έναρξη του σεμιναρίου ή λιγότερο.

Συνοπτικά τα στάδια που θα δουμε:
1) Ξύλωμα του βιβλίου και ενίσχυση των τυπογραφικών
2) Πριόνισμα των τυπογραφικών για το ράψιμο
3) Ράψιμο του βιβλίου σε τεζάκι
4) Ψαροκόλλημα ράχης
5) Στρογγύλεμα ράχης
6) Πέρασμα εσωφύλλων
7) Κατασκευή κεφαλαριού από ύφασμα
8) Ενίσχυση ράχης
9) Κατασκευή καλύμματος
10) Ντύσιμο καλύμματος με ύφασμα και διακοσμητικό χαρτί
11) Πέρασμα καλύμματος και ολοκλήρωση της βιβλιοδεσίας
12) Μοστράρουμε το βιβλίο μας σε κάθε συγγενή, φίλο και γνωστό! 😀

Θα χαρώ να σας υποδεχτώ!

Inspiring Bindings II

Tags

, , , , , , , ,

Welcome to another post about Inspiring Bindings, a series devoted to bindings I consider unique examples of our our craft, on the basis of technical excellence, originality of design and overall creative approach.

If you are new to this series I recommend visiting the initial post as well, which features even more wonderful bindings.

Please keep in mind that the selection of binders represents only personal taste, it is in no way a criticism or exclusive towards other bookbinders. On the same note, the order by which they are presented is random. Last but not least, the bindings included in the post aren’t necessarily my personal favorites from those binders but simply works I consider representative of their creators.

Hope that you’ll enjoy these wonderful bindings as much as I do and feel encouraged to learn more about the selected artisans.
Feel free to share your thoughts and favorites as well!

Rene Leys, bound by Louise Bescond
http://www.louisebescond.eu/

Bescond’s bindings are a sensational combination of creative surface gilding, bold exploration of the color spectrum and intense textures that one can almost feel through the pictures.

The Indomitable Servant – bound by Mel Jefferson
http://www.meljefferson.com/TheIndomitableServant/index.html

The visual simplicity of this binding is just brilliant. For what is more its clamshell box is one of the prettiest I’ve ever seen.

Whistler, bound by Haein Song
http://haeinsong.com/

Haein’s work has a strong focus on minimal and elegant designs. Another interesting aspect is her creativeness with endleaves, which play an integral role in the visual character of her bindings.

Water – bound by George Kirkpatrick
http://georgekirkpatrick.co.uk/

One of the most ingenious bindings I’ve ever seen.

The Monkey King – bound by Huhu Hu

Jin Hu or, as most people have come to know her, Huhu Hu, is a fellow binder located in the far east. She is self-taught to a great extent and her work has been continuously evolving over the years, presenting us with wonderful creations along the way.
Visit her interview at the blog’s Techniton Politeia section for a more comprehensive look at her work.

Kelmscott Chaucer – bound by Hannah brown
http://han-made-bookbinding.tumblr.com/

Binding a copy of the Chaucer, considered by some the most beautiful book ever printed, is a privilege only a precious few binders will experience. Hannah is now amongst them.
Visit the link to see the steps involved in the creation of her marvelous copy, layed out in 8 image-rich posts.The Wasteland – bound by Philip Smith
http://www.philipsmithbookart.com/

Philip Smith is the Hieronymus Bosch of bookbinders!
His bindings often feature spectacular sculpted/3D covers, extensive and intricate onlay compositions and haunting imagery.
Amongst his work are impressive sets of bindings designed to function as one continuous piece of art. He has also cotributed to the craft through various innovations.La Fontaine – Bound by Juan A. Fernandez Argenta.
http://juanfdezargenta.blogspot.com/

One of my favorite bookbinders!
Structurally inventive and endlessly creative, Juan seems to me like the Pied Piper of Hamelin, only instead of children he lures letters: they dance playfully on his covers or arrange themselves in robust lines and structures, adopting colors and shapes in a way that looks effortless and natural – as if they were always so.

Voyage towards the North Pole – Bound by Robert Wu
https://www.studiorobertwu.com/

Apart from impressive reliure d’art, Wu also specialises in marbling and adorable miniature bindings.
I am a hopeless romantic. To me, LESS IS LESS and it’s BORING!
In the recent interview Wu shares his thoughts on the many facets of Reliure d’Art, and more, in a bold and charming fashion!

Revelation by Thomas Parker Williams
https://www.thomasparkerwilliams.com/artist_books.htm

Not usually into artist books but Parker’s Rotary Structure is quite the treat; smart, elegant and beautiful! Have a look at the rest of his work, lots of interesting ideas wonderfully executed.

Till next time!

What I’ve been up to

Tags

, , , , , , ,

Though it might not be well reflected by the blog’s posts, this year (and by year I mean summer-to-summer – duh!) has been very busy. Like, way-too-many-irons-in-the-fire busy.

Here are some highlights from finished and ongoing commissions alike.

A Memoir
This was a commission for 6 quarter leather bindings of the Memoirs of a passed away relative.

The client wanted something very simple with a classic look, that would perhaps be reminiscent of old ledgers. She also asked specifically for something plain but with a bit of character to it instead of marbled paper on the covers. The specific paper is
Elephantide from Shepherds (London); it’s not visible in the photos but it has a discreet but quite pleasant veined pattern.

I’m also quite proud of the titles. I tool titles by hand, each letter individually, and this kind of horizontal title is my bane; it’s almost impossible to keep it straight! Fortunately I thought of using a jig I saw from Jana Pullman. Worked great – almost 100% success with the exception of a couple of letters!

Watership Down
 For those of you unfamiliar with the book, Watership Down follows the adventures of a band of wild rabbits seeking a home. Originally rejected by several publishers it is now a classic and, although considered a “children’s book” (close to 500 pages!), I cannot think of a tale-loving reader that would not find it enjoyable. If you like good writing, adorable characters and are fond of the order of lagomorpha then do yourself a favor and “silflay” in the pages of this epic tale!

Being the owner’s most beloved book she and I have discussed a lot on the design.
 I really want to do the story justice while also ensuring a warm smile on the owner’s face when she receives her binding. Taking her ideas into consideration I teamed up with Petite Marianna who created a lovely concept for the covers.
 The design is not a finished art, rather a rough layout to see how all the elements and colors fit together. It has had a few small changes but the end result will be more or less the same as here.

I’ve been doing many tests with an airbrush, trying to achieve a smooth gradient effect similar to that of the concept art.
For the sake of this binding I purchased a compressor. If only I knew sooner; I can’t fathom how I managed to do the occasional airbrushing before this!

Silmarillion
Have you ever seen a binding naked?
I suppose not, bindings are really shy things and you wouldn’t want to disrespect to their feelings. This one however has agreed to pose for us – for educational purposes of course…!

In the picture above you can see it with its spine covered, banded and then dressed only in quarter leather (such a tease!).

Amalie & Peter
A trio of guest books for a wedding. Each to be opened when so many years have passed as indicated by the corresponding number at the bottom.

The clients wanted a specific color palette for each binding. They also requested a simple decoration with Big Dipper included on the cover of the purple wish-book.

Had a lot of fun tooling the letters for the spines with this one!

Book laundry!
This book, bought from a book-dealer by the client, arrived quite smelly – probably from spending many years in a basement or so. Not that “old-book” aroma many people talk about but rather on the stinky side! After two months like this, with a fan constantly airing it, the smell has finally dissipated almost entirely.

Shakespeare
Another lengthy project, in large due to its complex and difficult design which has required a lot of testing. There are still a few changes to be made but this will be it for the most part…

I’ve designed the crown drawing inspiration from historical examples. There are a lot of symbolisms going on in this, eager to see how it will turn out.

Techniton Politeia – Interview with Robert Wu

Tags

, , , , , , , , , , , ,

Welcome to another Techniton Politeia interview!
This time we get to talk with Robert Wu about his Reliure d’Art, marbled papers and miniature bindings.
Wu is a Taiwanese-Canadian bookbinder and paper marbler located in Toronto. He makes one-off or small editions of books, presentation boxes, leather fine art bindings or jewellery boxes and decorative papers for individual collectors, libraries or institutions.

He holds a Masters degree in Architecture and also a Bachelor degree in Architectural science. He has also studied classical painting techniques for 3 years at Toronto Academy of Realist Art.

Wu Started bookbinding in 1990s through CBBAG in Toronto with Don Taylor, Betsy Palmer Elderidge and furthered his training in bookbinding with Masterbinder Monique Lallier & Don Etherington at AAB (American Academy of Bookbinding) in Colorado USA, where he was awarded the “Tini Miura Scholarship”, selected by the masterbinder herself. Later on he received full-time intensive private training in French reliure d’art technique with Tini for more than a month. He also attended a workshop at the Center for the Bookarts in NYC with Masterbinder Luigi Castiglioni of Italy.

He has taught several workshops at CBBAG and participated in Designer Bookbinders International Competitions UK twice, with his submitted bindings  chosen for the touring exhibitions. In 2012, he had the honour of being invited to participate in Album Amicorum – an International marbling exhibition in Turkey, USA and Europe.
Collections of Wu’s marbling art and bindings can be found worldwide in private collections or libraries.

Last but not least in his own words:
Besides bookbinding and marbling, I also occasionally do letterpress printing with a floor model antique Gordon treadle press and an antique Sigwalt tabletop press for printing stationery, invitations or business cards. In my spare time, I enjoy playing the piano and the cello with a local orchestra. Phew! Where do I find the time to do all these!

 We live in an age in which speed and efficiency matter a lot, often in expense of quality. Almost anything can be instantly found and bought from a shelf, be it a garment, a furniture or appliance, a car. Custom handmade objects on the other hand take a lot of time to be made. Bookbinding is definitely a good example of this; a book may take weeks, months and some times years to be finished.
  Can you explain to us why a binding may take so long to be completed? Which was the longest time you had to work on a binding? What are the requirements of such lengthy commissions and what are the problems a binder could encounter?

It’s true a lot of things are made to be disposable nowadays. I prefer the care and quality of things made in the past, where they were made to last. I made a clear decision at the beginning of my career to focus on the French design art bookbinding technique. So I went to study at AAB (American Acadmey of Bookbinding) in USA to further my training in the French technique with masters who studied in Paris.

A full fledged French art binding has about 100 steps to complete and design takes time to nurture. I would work on a bunch of books at the same time up to the same stage. But when it comes time to do finishing/design, I prefer to focus on just one binding at a time. I usually give my clients about 1 to 2 years of waiting time to complete a commission.

 Bindings can be works of art. However, unlike most art objects which will sit safely on display high on a wall or behind a piece of glass, bindings have moving parts, must function properly and must endure the wear and tear of handling for a long time. That’s quite a lot to ask from an artisan and people tend to forget about these aspects of bookbinding. I believe one reason is because most don’t often -if ever- get the chance to handle a fine binding. We’re used in seeing still-pictures of them and therefor lack the sense of their “materialness”.
 You often accompany your bindings’ photos with videos where you take them out of their protective cases, display them from various angles, open and page through them. I’ve seen this done by a few other binders as well. I believe such videos are important because they highlight the material nature of a binding, its volume and tangibility.
 Please share a few thoughts on this aspect of our craft; the demand to produce a sound and long lasting and yet pleasing, both to they eye and touch, object. How can a binder balance between functionality and aesthetics? How does this dual task affect you personally as an artisan?

Art bookbinding is considered as a fine craft rather than fine art because it is essentially a book that needs to be read in the end. Unfortunately we couldn’t compare our work to fine paintings or charge our work accordingly even though a design binding might take just as long to complete as a fine painting! But I still think book-art is more interesting and rewarding than a painting or sculpture as you can touch, feel and smell a binding and enjoy reading the text and images. A book engages all senses and it tells you a story in many ways!

I also think that music is an important aspect of my work. So whenever I create or design a binding, I want the viewer to experience that aspect when they handle my bindings. Videos are a good way to include that and show all details of a binding that you couldn’t see in pictures. And off course, handling a fine binding in person is a totally different experience! I became hooked on fine binding after I first held my teacher Tini Miura’s binding in my hand. It was a magical experience. A binding like that has soul.

  Your work is often characterized by sumptuous covers and it is evident that you don’t shy away from combining various decorative techniques on a single binding.
 If you could only pick one what would you say is the most important element of a design (any design) – the defining characteristic? Something which always plays a key role during the initial stages of planning and comes to bind -pun intended- everything together afterwards.
Furthermore, once you’ve settled on an idea about the design how do you choose which decorative techniques to use? Can you give a few advices on how to make different elements and techniques come together for a design without it looking “noisy” or “overdone”?

Good question! Personality wise, I am a hopeless romantic. To me, LESS IS LESS and it’s BORING. I love a complex design. At the same time a complex design doesn’t have to look busy. It’s a fine balance. I admire the designs of Frank Lloyd Wright, Carlo Scarpa, George Barbier, FL Schmied, the music of Chopin. They are all masters of composition and details. God is in the details. I want my designs to look spontanious and dynamic. Since I am trained as a designer (architecture), I can usually work out my designs or ideas down on paper very fast, within the hour, and I wouldn’t change a thing. I would refine and change minor things but I believe in the importance of trusting your vision or intuition or inspiration – whatever you call it!

Let’s focus on a particular piece from your work. I was absolutely enamored with your binding of “A Voyage towards the North Pole”, I couldn’t find something I don’t like about it, even if I tried. More specifically, although the “Faux Ammolite” emulating the northern lights is particularly impressive, the eggshell panel for the ice-covered mountains stole the show for me – so fitting!
Please share with us some behind-the-scenes stories about its making; why did the pages require such an extensive treatment and what did it include? How did you come up with its design? What was the most difficult part of making the decoration? Can you tell a few things about your “Faux Ammolite”?

  The Arctic binding was a commission from a library. I was given the task to create a design binding on a 17th century book. First, it was a very moldy and dirty book. I advised the client that I had to wash the book before I could make an expensive design binding. It was a neccesity.
The design was inpired by the beautiful etching images in the book. I wanted to capture the grandeur of the North pole and came up with a new idea of creating my “Faux Ammolite” panels to represent the mysterious northern lights! I was very happy with the effect and overall design of this binding with eggshell panels. I love Art Deco. So I enjoy incorporating materials like my creations of “Faux Ivoire” or “Faux Ammolite”. It’s necessary to push the boundaries, to get out of the comfort zone and try out something new! It’s rewarding.

  One of the things that stands out amongst your work is miniature bindings. You’ve made quite a few of them and they boast a dazzling variety. Some are slightly larger than a big coin, yet they have almost all of the characteristics that can be found on a normal-sized binding.
 Why miniature bindings, what makes them so fascinating to you? Can you explain to the readers the intricacies and difficulties of making such a small, often tiny, binding?

I started getting interested in bookbinding via origami. I was folding little origami books out of one sheet of paper. But I couldn’t really write much in it so I came across a little bookbinding manual in a bookstore to see if I could make my own journals. At the beginning it looked so difficult with all the tools one would need to make a properly bound book. So I started making a tiny properly bound blank book by following the instructions in the manual and used whatever simple craft tools I had. After that, I was hooked on bookbinding and wanted to learn more so I started taking workshops with CBBAG.
So just like anything in life, one starts small and your interest grows, and you start to have bigger ambitions. It’s just a natural process. Miniature bindings are a great way to learn all aspects of bookbinding in a smaller scale so it’s more managable for beginners. But a masterpiece in miniature requires the reverse process and it’s definitely more difficult to do than its large counterparts.

  On to another topic; it is obvious that marbling holds an important place when it comes to your creative identity. Your marbled papers have a distinct character and almost all of your bindings feature them.
 How were you initially drawn to marbling and what kept you to it? How did you go about learning it? And finally how has such an asset -being able to make your own marbled papers that is- affected your creative approach when it comes to binding books?

I am mostly self-taught in marbling. I did take a beginner course in marbling with CBBAG. But it was very basic. I started to marble because I could use my own marbled paper for my own bindings. Like anything, the more you do, the better you get. I experimented for a long time and it eventually evolved into marbling art which I call “Marbled Graphics”™. I love compositions, regular marbled papers don’t satifsy me, so I started creating marbling art with my own compositions. The general public appreciate my marbling as art but most people are not that creative so they don’t know what to do with regular full patterned marbled paper for bookbinding or craft. They think they are just fancy wrapping papers, lol!


 Many of your marbled papers -especially those used as endpapers in your bindings- seem to be inspired by classic western marbling, yet they veer off in a very different, very personal, direction. They are often abstract, sometimes almost free of pattern, but instead of looking like “mistakes” or failed patterns they have an air of confidence. As if having crossed some boundary and being bold but at the same time relaxed about it.
 Does this come naturally to you when marbling or is it a result of meticulous care? Can you define the elements that contribute to the uniqueness of your marbled papers?

I love details and compositions. My marbled paper or marbling art also reflect that. I like finess in everything I do. Doing regular marbled paper for store orders is very difficult because if I make a mistake or get an air bubble in my paper, I can’t sell them to the store. Doing edition marbling for store orders is a challenge because consistency is hard to achieve and when you have to do a couple of hundreds of sheets at a time for a couple of months, it takes the fun out of marbling. Being meticulous is a must for doing professional marbling or fine binding and it’s not easy!

 No matter how talented a binder is, or any artisan, he/she can only learn and become adept in certain aspects of a craft. Our time is limited and, since our skill-tree translates itself into the identity of our creations, we must choose wisely which skills to learn and improve along the way. Many, I’d even dare to say most – given the immensity of our craft, will be left out or acquired at a very basic level.
 Is there some particular skill or technique/s, within the vast horizon of bookbinding, that you’d like to try your hand at or feel you haven’t explored as much as you’d like?

I guess I am lucky to have discovered the art of French Design Art bindings at the very beginning. I was pretty focused to seek out training in the French techniques after I had read my alma mater, Tini Miura’s book “My World of Bibliophile Binding”, where she talked about the French technique being the most perfect and sublime. Finesse is everything in reliure d’art. I share that sentiment. We were lucky to have Tini in USA and teaching at AAB because one gets to learn the best technique from one person without having to travel to many different places and study with many different masters in Europe. Tini told me that when she was stuyding in Paris in the 60’s, the best master binders worked behind closed doors. But being a female, she was not deemed as a competitor to them so she was never refused or denied lessons. Her male counterparts were not so lucky.

I believe that if you possess good techniques, perfected through centuries and passed down from masters, you really don’t need gimmicks to stand out. I try to focus on good designs and develop my own style and still keep an open mind to new techniques to compliment my work.

You can see more of Wu’s work at Studio Robert Wu.
If you enjoyed this interview there are more you can read at my blog section Techniton Politeia.
Till next time!

 

Σεμινάρια Καλλιγραφίας

Tags

, , , , , ,

Το εργαστήρι βιβλιοδεσίας Dimitri’s Bookbinding Corner έχει την χαρά να φιλοξενήσει 2 σεμινάρια καλλιγραφίας από την Μαριάννα Γκαλένη και τον Αριστοτέλη Γιαπράκα!

Για μέρα και ώρες των σεμιναρίων καθώς και πως να δηλώσετε συμμετοχή ανατρέξτε στο τέλος του άρθρου.
Παρακαλούμε όσους ενδιαφέρονται να διαβάσουν προσεκτικά τη λίστα με τα υλικά που πρέπει να προμηθευτούν!

Ακολουθούν λεπτομέρειες σχετικά με τα σεμινάρια.

Σεμινάριο Gothic Calligraphy – Textura Quadrata Workshop
Παραδίδει η Μαριάννα Γκαλένη

gothic_calligraphyΗ textura quadrata, γνωστή και ως blackletter, είναι η βάση των γοτθικών γραφών. Η χρήση της στην Ευρώπη του 12ου – 15ου αιώνα οδήγησε στη δημιουργία αξιοθαύμαστων χειρόγραφων βιβλίων. Στο σεμινάριο αυτό θα μάθουμε τα βασικά δομικά στοιχεία της και θα εξασκηθούμε στο λατινικό αλφάβητο με την πένα parallel pen.

Πιο συγκεκριμένα, το σεμινάριο περιλαμβάνει:

– Σύντομη θεωρητική εισαγωγή στη γοτθική καλλιγραφία.
– Βασικά στοιχεία της καλλιγραφίας: προετοιμασία του χώρου εξάσκησης, σωστή στάση σώματος, υλικά.
– Χρήση της πένας parallel pen.
– Βασικές αρχές της γραφής textura: δομικά στοιχεία, ύψος γραμμάτων, κλίση, υπολογισμός του μεγέθους των γραμμάτων με βάση το πλάτος της πένας.
– Σχεδιασμός των πεζών γραμμάτων του λατινικού αλφάβητου βήμα-βήμα, με χρήση φύλλων – οδηγών.
– Εισαγωγή στον σχεδιασμό των κεφαλαίων γραμμάτων του λατινικού αλφάβητου.
– Αναλόγα με την πορεία του εργαστηρίου, μπορούμε να δούμε και τεχνικές για δημιουργία κειμένου: οδηγοί, υπολογισμός αποστάσεων μεταξύ των λέξεων και των γραμμών.

ΥΛΙΚΑ

Χρειάζονται (προμηθευτείτε):
– Ένα Pilot parallel pen 3.8mm (περιλαμβάνει 2 αμπούλες μελανιού)

– Ένα Τετράδιο καλλιγραφίας (φύλλα seyès) ιδανικά ή ένα τετράδιο καρέ κατάλληλο για μελάνι
– Ένα Χάρακα – τρίγωνο των 45 μοιρών ή απλό χάρακα
– Ένα Μολύβι και μια γόμα
– Χαρτομάντηλα ή υγρά μαντηλάκια σε περίπτωση που λερωθούμε

Παρέχονται:
– Το αλφάβητο της γραφής (πεζά και κεφαλαία)

– Διαγραμμισμένα φύλλα-οδηγοί για εξάσκηση
– Φύλλα χαρτιού Α4
– Μελάνι (κάσσια) για όποιον χρειαστεί επιπλέον
– Ψηφιακό βοηθητικό υλικό για να συνεχίσετε την εξάσκηση

Που θα τα βρείτε τα υλικά:

Pilot parallel pen 3.8mm:
– Ματαλων – Πραξιτέλους 14, Αθήνα – τιμή: 8.60€
http://www.pilotpen.gr/Page/319/Katastima-Athinas

– Paper1 – Εμμανουήλ Μπενάκη 25, Αθήνα – τιμή 9.68€
http://www.paper1.gr/index.php/contact-us

– The Paper Place – Κολοκοτρώνη 27, Αθήνα – τιμή 10.50€
https://el-gr.facebook.com/thepaperplace.gr/

– Lichnari.gr – Τιμή: 10.52€ (με τα έξοδα αποστολής)
https://www.lichnari.gr/index.php?page=product&product_code=4902505192388

Τετράδια κατάλληλα για το σεμινάριο:
– Τετράδια καλλιγραφίας Clairfontaine: Lea Books – Σίνα 60, Αθήνα – Τιμή 1.51€
http://www.lea-books.gr/index.php?route=product/product&product_id=2029

– Τετράδια καρέ: Πλαίσιο: 0.86€
https://www.plaisio.gr/xartopoleio/tetradio-block/block/Q-Connect-Notepad-A4-50Sh-60Gr-5M-Cover-KF05613.htm

Τα υπόλοιπα υλικά, εάν δεν τα διαθέτετε ήδη, μπορείτε να τα προμηθευτείτε από οποιοδήποτε βιβλιοπωλείο / χαρτοπωλείο.
Πριν επισκεφτείτε κάποιο κατάστημα, συνιστούμε να ενημερωθείτε τηλεφωνικά για τη διαθεσιμότητα των προϊόντων.

Σεμινάριο Carioca/Tombow Calligraphy
Παραδίδει ο Αριστοτέλης Γιαπράκας

tombow1
Είναι εύκολο να θεωρήσει κανείς, με τόσα εξειδικευμένα σκεύη γραφής που κυκλοφορούν στην αγορά, πως χρειάζεται να κάτι πολυτελές και ακριβό για να δημιουργήσει όμορφα γράμματα. Ωστόσο η καλλιγραφία που βασίζεται σε πιο απλά μέσα, τείνει να διαφέρει! Στο σεμινάριο αυτό θα διδαχθείτε πώς να καλλιγραφείτε με ένα πολύ προσιτό υλικό-εργαλείο.

Πιο συγκεκριμένα, το σεμινάριο περιλαμβάνει:

– Σύντομη θεωρητική εισαγωγή στη Σύγχρονη Καλλιγραφία.
– Βασικά στοιχεία της καλλιγραφίας: προετοιμασία του χώρου εξάσκησης, σωστή στάση σώματος, υλικά.
– Χρήση των μαρκαδόρων.
– Βασικές αρχές της σύγχρονης καλλιγραφίας:  πάχη, ύψη και κλίση γραμμάτων.
– Σχεδιασμός των πεζών γραμμάτων του λατινικού αλφάβητου βήμα-βήμα, με χρήση φύλλων – οδηγών.
– Εισαγωγή στον σχεδιασμό των κεφαλαίων γραμμάτων του λατινικού αλφάβητου.

Αναλόγως την ροή του εργαστηρίου, μπορούμε να δούμε και τεχνικές για δημιουργία κειμένου: οδηγοί, υπολογισμός αποστάσεων μεταξύ των λέξεων και των γραμμών.

Υλικά

crayola2Χρειάζονται:
– Carioca Markers (ένα πακετάκι)

– Tombow Brush Pens ( ένα ή 2 διαφορετικά)
– Χάρακα – τρίγωνο των 45 μοιρών ή απλό χάρακα
– Μολύβι και γόμα
– Χαρτομάντηλα ή υγρά μαντηλάκια σε περίπτωση που λερωθούμε

Παρέχονται:
– Το αλφάβητο της γραφής (πεζά και κεφαλαία)

– Διαγραμμισμένα φύλλα-οδηγοί για εξάσκηση
– Φύλλα χαρτιού Α4
– Ψηφιακό βοηθητικό υλικό για να συνεχίσετε την εξάσκηση

Που θα βρείτε τα υλικά:

Μαρκαδόροι Carioca Birello Double Nib (Χοντροί ή Λεπτοί):
– JUMBO Τιμή: 2.5 με 5€ (ανάλογα τη ποσότητα και το μέγεθος):
https://www.e-jumbo.gr/scholika/zografiki/markadoroi-leptoi/markadoroi-leptoi-plenomenoi/leptoi-markadoroi-plenomenoi-carioca-12-tmch_70388/

Μαρκαδόροι Tombow (2):
– Πλαίσιο Τιμή: 2.69€
https://www.plaisio.gr/zografiki-diy/zografiki/markadoros/Tombow-Dual-Brush-Pen-AB-T.htm

Τα υπόλοιπα υλικά, εάν δεν τα διαθέτετε ήδη, μπορείτε να τα προμηθευτείτε από οποιοδήποτε βιβλιοπωλείο / χαρτοπωλείο.
Πριν επισκεφτείτε κάποιο κατάστημα, ενημερωθείτε τηλεφωνικά για τη διαθεσιμότητα των προϊόντων.

 BΙΟΓΡΑΦΙΚΟ

Μαριάννα Γκαλένη

Η Μαριάννα Γκαλένη γεννήθηκε το 1991 στην Αθήνα και είναι απόφοιτη του τμήματος γραφιστικής του Α.Τ.Ε.Ι. Αθήνας. Από το 2014 εργάζεται σε δημιουργικά γραφεία και τα τελευταία 3 χρόνια δραστηριοποιείται στον τομέα του web design ως γραφίστρια στην εταιρεία Radical Elements.


Η συνεχής επαφή της με την τυπογραφία λόγω της φύσης του επαγγέλματος και το ενδιαφέρον της για τα γράμματα, την οδήγησε στην καλλιγραφία, με την οποία ασχολείται από το 2016. Έχει παρακολουθήσει σεμινάρια λατινικής καλλιγραφίας με την εικαστικό Ειρήνη Γκόνου στο Μουσείο Ισλαμικής Τέχνης στα πλαίσια του προγράμματος του Μουσείου Μπενάκη. Έχει ασχοληθεί με διάφορες γραφές, όπως: uncial, caroline, cancellaresca, textura, fraktur & copperplate, αλλά την αγάπη της κέρδισαν οι γοτθικές γραφές, στις οποίες επικεντρώνεται η δουλειά της. Επιπλέον, έχει παρακολουθήσει σεμινάριο καλλιγραφίας και lettering με τον Vladimir Radibratovic και συνεχίζει την εκπαίδευσή της πάνω στο αντικείμενο με workshops στο εξωτερικό. Ασχολείται παράλληλα με την ψηφιακή καλλιγραφία και τον σχεδιασμό γραμματοσειρών.

Έργα της έχουν βραβευτεί στο Μουσείο Μπενάκη και στο Εθνικό Μουσείο Σύγχρονης Τέχνης, στα πλαίσια του διαγωνισμού “Αγώνες Νέων Σχεδιαστών” για τις χρονιές 2017 – 2018, με πιο πρόσφατη τη διάκριση για την συμμετοχή της στο project “36 Days of Type”. Θέμα του συγκεκριμένου έργου αποτέλεσε ο σχεδιασμός γοτθικών γραμμάτων και αριθμών του λατινικού αλφάβητου.

Δείγματα δουλειάς:
https://www.instagram.com/marianna_gkaleni
https://www.behance.net/mariannagkaleni

Αριστοτέλης Γιαπράκας

Ο Αριστοτέλης Γιαπράκας γεννήθηκε το 1993 στην Αθήνα και είναι απόφοιτος του τμήματος γραφιστικής του ΙΕΚ Intergraphics. Από το 2016 εργάζεται ως Graphic Designer στη 4WiseMonkeys.

Όντας από παιδί λάτρης της ωραίας γραφής, ανακάλυψε το 2016 το κόσμο της Καλλιγραφίας. Έχει παρακολουθήσει σεμινάρια γραφών Uncial, Textura, Fraktur, Cancellaresca, Vyaz και Copperplate με την Ειρήνη Γκόνου, Italics και Expressive Lettering με τον Vladimir Radibratovic, Sign Painting Lettering με τον Jeff Marshal, Δυτικής Καλλιγραφίας με τη Λένα Σεπτέμβρη και Κορεάτικης Καλλιγραφίας με τον Jeon Chan Duk.
Ασχολείται παράλληλα με το Custom Digital Lettering σε εφαρμογές όπως λογότυπα, αφίσες, καταχωρήσεις και banners.


Έχει εργαστεί ως Καλλιγράφος στο Ίδρυμα Σταύρος Νιάρχος στα πλαίσια εορταστικών δράσεων.

Δείγματα δουλειάς:
https://www.instagram.com/aristoteles_y
https://www.behance.net/aristoteles_yaprakas

ΜΕΡΑ ΚΑΙ ΩΡΕΣ ΣΕΜΙΝΑΡΙΩΝ – ΔΗΛΩΣΗ ΣΥΜΜΕΤΟΧΗΣ

Ημερομηνία σεμιναρίων: Κυριακή 17/6
Διάρκεια κάθε σεμιναρίου: 4 ώρες
Ώρες σεμιναρίων: Γοτθική καλλιγραφία 12:00 – 16:00 και Carioca calligraphy 17:00 – 21:00.
Κόστος σεμιναρίων: το κόστος συμμετοχής για το κάθε σεμινάριο είναι 35 ευρώ και το κόστος υλικών είναι, αναλόγως το σεμινάριο, έως 10 ευρώ.

Τα υλικά δεν παρέχονται, παρακαλούνται οι ενδιαφερόμενοι να τα προμηθευτούν και να προσέλθουν με αυτά.

Για να δηλώσετε συμμετοχή:
1) Στείλετε mail στο koutsipetsidis@gmail.com
2) Καλέστε στο 6936474123 (απογευματινές ώρες)

ΛΑΒΕΤΕ ΥΠΟΨΙΝ
– Ο αριθμός θέσεων για κάθε σεμινάριο είναι περιορισμένος: 7 θέσεις. Θα τηρηθεί σειρά προτεραιότητας.
– Σε περίπτωση ελλιπούς συμμετοχής ενδέχεται να υπάρξει ακύρωση σεμιναρίου. Σε περίπτωση μεγάλου ενδιαφέροντος θα γίνει προσπάθεια να σχηματιστούν 2 τμήματα και το μάθημα θα επαναληφθεί. Και στις 2 περιπτώσεις θα υπάρξει σχετική ενημέρωση των ενδιαφερομένων.

Παρακαλούνται θερμά οι ενδιαφερόμενοι να σταθούν συνεπείς ως προς την δήλωση συμμετοχής και σε περίπτωση ακύρωσης ή αδυναμίας προσέλευσης να ενημερώσουν αρκετές μέρες πριν ή έστω το νωρίτερο δυνατόν.
– Παρακαλούνται επίσης για την έγκαιρη προσέλευση τους την ημέρα και ώρα του σεμιναρίου.

Θα χαρούμε να σας υποδεχτούμε!

 

Σεμινάριο Κατασκευής Χειροποίητου Χαρτιού

Tags

, , ,

Στο Εργαστήριο παρουσιάζεται η διαδικασία κατασκευής χειροποίητου χαρτιού με
την παραδοσιακή δυτική μέθοδο και περιλαμβάνει:

1. Θεωρητική παρουσίαση, με αναφορά στην Ιστορία του Χαρτιού, τη δομή
και τα χαρακτηριστικά του, τις τεχνικές κατασκευής του, καθώς και τις
εφαρμογές και χρήσεις του.
2. Πρακτικό μέρος – εργαστήριο, όπου οι συμμετέχοντες έρχονται σε επαφή
με τη διαδικασία κατασκευής και δημιουργούν οι ίδιοι τα δικά τους φύλλα.

Συνοπτικά, η δομή της παρουσίασης είναι η εξής:
Θεωρητική παρουσίαση ( ~1 ώρα )
1. Ιστορία του Χαρτιού,
2. Περιγραφή της δομής του Χαρτιού,
3. Πρώτες ύλες και διαδικασία παρασκευής χαρτοπολτού,
4. Τεχνικές Χαρτοποιητικής (Ανατολικές τεχνικές, Δυτική τεχνική),
5. Εφαρμογές και χρήσεις του χειροποίητου χαρτιού.

Πρακτικό μέρος – Εργαστήριο ( ~3 ώρες )
1. Περιγραφή και εξοικείωση με τον απαραίτητο εξοπλισμό (χαρτοποιητικό
καλούπι, υφάσματα κατάκλισης, πρέσα, κ.λπ),
2. Παρασκευή χαρτοπολτού,
3. Κατασκευή φύλλων Α5 (14,8εκ. x 21εκ.) ακολουθώντας τα παρακάτω στάδια:
– Αραίωση χαρτοπολτού
– Εμβάπτιση χαρτοποιητικού καλουπιού στο χαρτοπολτό
– Στράγγιση
– Κατάκλιση
– Χρήση πρέσας
– Στέγνωμα

Οι συμμετέχοντες θα έχουν τη δυνατότητα να γνωρίσουν τεχνικές διακόσμησης
χειροποίητου χαρτιού και να τις εφαρμόσουν κατά τη διαδικασία κατασκευής των
φύλλων.

Με την ολοκλήρωση του Εργαστηρίου, οι συμμετέχοντες θα λάβουν τα χειροποίητα
φύλλα που οι ίδιοι δημιούργησαν καθώς και έντυπο πληροφοριακό υλικό για το
Χαρτί (για περισσότερες πληροφορίες βλ. http://www.xeiropoiito-xarti.gr).

Το Εργαστήριο απευθύνεται σε όσους ενδιαφέρονται για το χαρτί ως υπόστρωμα
αποτύπωσης (για γραφή, ζωγραφική κ.λπ), αλλά κι ως αυτούσια πρώτη ύλη για
καλλιτεχνική δημιουργία.

Ημερομηνία σεμιναρίου: Κυριακή 15/4, 29/4, 6/5 και 27/5
Διάρκεια σεμιναρίου: 4 ώρες
Ώρα έναρξης: 12:00
Κόστος σεμιναρίου: 40 ευρώ (παρέχονται όλα τα υλικα και εργαλεία)

Για να δηλώσετε συμμετοχή:
1) Στείλετε mail στο koutsipetsidis@gmail.com
2) Καλέστε στο 6936474123 (απογευματινές ώρες)

ΣΗΜΕΙΩΣΗ – Υπάρχουν 3 θέσεις για Κυριακή 27 Μαίου.

ΛΑΒΕΤΕ ΥΠΟΨΙΝ
– Ο αριθμός θέσεων είναι περιορισμένος: 8 θέσεις. Θα τηρηθεί σειρά προτεραιότητας.
– Σε περίπτωση ελλιπούς συμμετοχής ενδέχεται να υπάρξει ακύρωση του σεμιναρίου. Σε περίπτωση μεγάλου ενδιαφέροντος θα σχηματιστούν 2 τμήματα και το μάθημα θα επαναληφθεί. Και στις 2 περιπτώσεις θα υπάρξει σχετική ενημέρωση των ενδιαφερομένων.

– Παρακαλούνται οι ενδιαφερόμενοι για την έγκαιρη προσέλευση τους την ημέρα και ώρα του σεμιναρίου.
– Σε περίπτωση ακύρωσης ή αδυναμίας προσέλευσης παρακαλούνται να ενημερώσουν αρκετές μέρες πριν ή έστω το νωρίτερο δυνατόν.

Θα χαρούμε να σας υποδεχτούμε!

Βιογραφικό σημείωμα εισηγητή

Ο Κώστας Μπουντούρης γεννήθηκε στην Αθήνα το 1976 και είναι απόφοιτος του τμήματος Στατιστικής του Παν/μίου Πειραιώς.
Η αγάπη του για το χαρτί και την Καλλιτεχνική Βιβλιοδεσία τον οδήγησε το 2001 στο Εργαστήριο Βιβλιοδεσίας και Συντήρησης Αρχειακού υλικού της δασκάλας του Ευαγγελίας Μπίζα όπου, αρχικά ως εκπαιδευόμενος και στη συνέχεια ως βοηθός βιβλιοδέτη, διδάχτηκε την τέχνη της Βιβλιοδεσίας κι εργάστηκε ως το 2007.

Την περίοδο 2011-2012 εργάστηκε ως βιβλιοδέτης στο Καλλιτεχνικό Βιβλιοδετείο της Θεοδώρας Αργυροπούλου ενώ από το 2013 έως το 2015 εργάστηκε στην εταιρία Ψηφιακών Εφαρμογών Iconnet ως υπεύθυνος τμήματος Βιβλιοδεσίας-Εξωφύλλου και Δημιουργικού.

Έκτοτε, εργάζεται ως ελεύθερος επαγγελματίας – βιβλιοδέτης ενώ παράλληλα ασχολείται με την κατασκευή χειροποίητου χαρτιού έχοντας μαθητεύσει δίπλα στους Μαρία Μαλακού και Μαρίνο Βλέσσα (www.xeiropoiito-xarti.gr).

Έχει πραγματοποιήσει σεμινάρια Βιβλιοδεσίας και κατασκευής χειροποίητου χαρτιού σε Πολιτιστικά Ιδρύματα κι Εργαστήρια Τέχνης (ΠΙΟΠ, Μικρό Πολυτεχνείο, Το Σπίρτο, Εργαστήριο Ζωγραφικής Ρουμπίνας Σαρελάκου κ.α). Συνεργάζεται με τη ζωγράφο-χαράκτρια Ρουμπίνα Σαρελάκου σε ειδικές εφαρμογές παρουσίασης ζωγραφικών έργων, χαρακτικών και χειροποίητων κοσμημάτων (gallery
Zoumboulaki – 2017). Βιβλιοδετικές εφαρμογές και χειροποίητα χαρτιά κατασκευής
του έχουν εκτεθεί σε διάφορους χώρους και art shops (gallery ALMA, Ιn.key shop κ.α)

Techniton Politeia – Interview with Jin Hu

Tags

, , , , , , ,

Huhu Hu - The Monkey King 1Jin Hu or, as most people have come to know her, “Huhu Hu” is a bookbinder based in Quzhou, China. I have been watching her work continuously evolve and forming a distinct personality through the years, with impressive results. She has been self-taught to a great extent, something which I admire and speaks to me on a personal level, but also managed to learn a lot and improve next to renown binders. Last but not least her handcrafting extends beyond binding books into some quite interesting leather sculpting…
  For all the reasons mentioned above I believe she is definitely an artisan to keep an eye on and so invited her for a talk about her work, the experience she’s gained so far and her next steps.


Jin Hu started as a self taught bookbinder, practicing on her own for several years with Kaija Rantakari (Paperiaarre)helping her through the internet. During that time (2007-2013) she tried and practiced several techniques through online videos and articles as well as books on bookbinding.
  She learned various leather decoration techniques from Sol Rebora and then travelled abroad to attend seminars by Monique Lallier, Luigi Castiglioni, Susana Dominguez and Zigor Anguiano Calzada.
  From 2015 to 2017 she has also taken part in 5 exhibitions:
-Nobel Museum Bookbinding Exhibition featuring the novel by MoYan.
-5thWorld EBRU day
-’Open.Set’–design binding exhibition by American Academy of Bookbinding
-‘International Copetition Heroic Works 2017’—by DB UK
-Xtra small Miniatuurboekjes in Museum Meermanno


Many aspiring bookbinders do not have the precious opportunity to attend courses and learn from established craftsmen and institutions. That is usually for two reasons: absence of skilled binders or craft-academies within travel distance or the very high cost of participating in seminars abroad. Thus, in many cases they have to learn the craft on their own, through trial and error.
 Things have changed for the better in that aspect, with the rise of the internet and the abundance of educational material available through it. Still, it is nowhere near as efficient as the experience and knowledge provided first-hand by an experienced binder.
 You’ve been trying to learn bookbinding on your own for several years. Being self taught can be extremely demanding but at the same time very rewarding and offering a unique sense of accomplishment, hardly found elsewhere.
  Could you describe your personal experience on being self-taught: Did you go about a certain way in learning bookbinding, or was it more random? Did you set specific goals and then went on completing them or did you follow some other course? Which where the best and which the worst parts of being self-taught?

  At the very beginning self-learning was more of a random process. I would look into everything I could find: books, online tutorials , videos, and then I practiced a lot. Being a novice I knew little about the elements and functions of a binding’s structure. As I gained enough knowledge I managed to form a more complete understanding of what there is to learn. I made a detailed list writing down all the skills I needed to have or structures I wanted to master, f.e. such as bradel binding, clamshell box, marbling, byzantine binding, etc. I then made a schedule which I followed strictly.

  
 The best part of self-learning is that I am able to understand the process more comprehensively, my approach is not restricted in some fashion and that allows me to invent new methods. To give you an example: I have learnt at least 4 ways to cover the corners and I am now using one that I created by myself, which is easy to do and produces a very fine result.

Jin Hu – earlier work

 The worst part would be how painstaking it is as there is much more time spent in making mistakes. When it comes to the higher level of bookbinding, such as a full leather fine binding or French binding, one can never accomplish a really fine result simply by self-learning. That’s why I travelled abroad to learn from master binders.

Textures

Your bindings are full of personality and already exhibit a distinct identity, something which many artists and artisans (myself  included) strive to accomplish for a long time – if ever.
 Is this a result of conscious effort? How do you approach the creation of a design binding? Do you as an artisan rely on good planning and preparation or is your creative process guided more by instinct and chance?

Thank you so much for your encouragement! Although I believe I still need practice to improve my bindings, as I am not satisfied with all of them.
 I am very conscious regarding my approach and efforts when it comes to design bindings. For my early bindings I didn’t really make very detailed designs, sometimes I just drew a simple sketch. Back then I would refer to the process as ”randomness under certain control”. Recently however, I started to improve my design process: I do a very thorough planning before starting the binding, such as making sample boards or drawing the covers, editing the color combinations with a pc. This can take many hours up to days or even months.

Huhu Hu - Binding 5Minimalism, harmony, and inventive use of colors and textures – these are often present in your work, gracefully representing the Asian Culture’s core aesthetics.
Given the very long history of Chinese art and its distinct style how would you describe your culture’s influence on your work? Has it affected you and if so which of its elements appeal to you the most? Is their presence on your bindings on purpose -an homage to your culture- or is it more of a subconscious source of inspiration?

 I think that Chinese culture did not play a significant role in my bindings up till now. I designed the books according to some basic guidelines of graphic design. However I came to realize that Chinese Art has affected me in a more subconscious way. 
 I recently read a book series on Chinese Painting wrote by James Cahill, which totally changed my mind about Chinese art. Before reading these books I thought Chinese painting is similar with Ukiyoe art from Japan. Instead Chinese painting is a very abstract art, but one needs to learn its “language” to admire the paintings, otherwise you can only see mountains, hills ,rivers and rocks repeating themselves, you won’t be able to feel the emotions within the lines. That is one reason why Chinese painting is not as popular as Japanese painting, which is less abstract and more decorative. I realized this is an asset for me as a Chinese, so I am now making some trials in combining features found in Chinese painting with design binding.

  China is a world on its own and so we don’t often get the chance to talk with a bookbinder situated there… Can you please tell us a few things regarding the Chinese bookbinding scene:
What is the bookbinding community there like?

 There isn’t currently a bookbinding community in China, most Chinese people view bookbinding as “book cover graphic design” or similar to industrial made books…

What kind of work do the professionals focus on?
The bookbinders mainly focus on Chinese thread binding.

Is the public familiar with bookbinding as a craft/art?
Not really, but people are slowly getting more and more familiar with western-style bindings. They can appreciate bookbinding as a craft but not art.

What kind of opportunities are there for someone interested in becoming a bookbinder?

 There are some craft schools which teach Chinese style binding, but if someone wants to be a well rounded bookbinder he/she has to go abroad as I did.
 In recent years there are few studios which provide simple western binding courses but not in a very professional way – at least in my opinion. So I believe workshops for bookbinding or stores selling bookbinding materials and tools will be popular in China in the near future.


Who would you say are your main customers? Have you followed some particular course to acquire your clientele or has it simply grown over time?

My main customers are book collectors of western-style bindings. Since they have some knowledge on bookbinding they are willing to order from me. Many people also find me through articles I write at an online column, where I try to introduce the aspects of bookbinding to the public.

  Apart from bookbinding you make some amazing leather sculptures, for example scarabs and that extremely cute Minotaur. I must admit I’d hardly ever notice the black scarab isn’t real just by looking at the photo you’ve sent me – it’s so lifelike!
Has this been an old fascination or is it something you’ve discovered recently?

I know that some artists make bugs out of metal but I haven’t seen anyone making leather beetles so far, so it is basically an invention of my own. Each part of the bug is build separately and then put together. I’ve spent a great amount of time developing it and I still need to make many more leather bugs to improve the whole process.

What is the story behind the Minotaur? 

  The Minotaur is a collaboration with my husband and it is also a test product for our new leather sculpture brand named “HG Art”. While the leather bugs are made with thin vegetable-tanned leather which can be shaped easily the Minotaur was build with thick and hard leather which required very accurate shaping, just like when making clothes but in a more complicated way. We also designed the Minotaur with movable hands and legs.

And finally, what other ideas do you have in store when it comes to this kind of leathercrafting?

Apart from leather bugs we are now in the process of making an owl and a whale. We plan to design more sculptures this year, not only  animals but imaginary species as well – such as those found in ancient Chinese fairy tales.


Last but not least, would you like to share your future goals, both short and long term, regarding bookbinding?

In short term, I plan to finish some fine bindings in 2018, which involve trying new design styles and new methods of decoration. 
 In long term, I wish I could exhibit more of my bindings internationally. Also, to make books which are more like art pieces and not just craft work. I am also planning to develop more methods on leather decoration and dyeing and, hopefully, teach these in workshops around the world.

You can see more of Jin Hu’s work at her FB page.
If you enjoyed this interview there are more you can read at my blog section Techniton Politeia.

 

Seminars of 2017

Tags

, , , , , , , , , ,

It’s been a little over a year since the bindery has moved to a new location. Many things have changed, but most of all the capability to invite more people to my working space. You see, for the past 9 years or so the bindery has been located within a ghetto, in possibly the most decayed urban area of Athens. I actually also grew up there, and I love that neighborhood, but it was quite difficult working in such a place. And bookbinding is already somewhat “hermetic” as a trade by nature…


The new space has enabled me to openly invite people and also give seminars to more than one person at a time. On the same note I had the wonderful opportunity to work with Katerina Momitsa and hold a seminar on Ebru-Marbling, which proved to be a great success!

Holding these seminars has also been quite challenging. As participants we usually just go to a place and have a good time but there is a lot of preparation and organizing to be done in advance, which can overall amount to many days and often weeks for the few hours the seminar lasts.
It is all worth it though when you see people smilling and being excited while learning something new and being creative!

As 2017 is nearing its end I would like to thank Katerina and all those who attended the seminars for the wonderful and creative evenings at my bindery. Hopefully the future will bring even more chances to share what I do and love and also more such collaborations!
Wishing everyone merry christmas and a happy new year!