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Posts Tagged ‘abigail rorer’

  1. Catching up with Coleen Curry // No. 1

    January 1, 2018 by Erin Fletcher

    The first time I interviewed Coleen Curry was back in 2013. I am continuously inspired by Coleen’s work. She skillfully brings layers of color and texture to her work in new and interesting ways. So let’s start off the year feeling inspired to challenge and improve upon our own work with this updated interview with Coleen. We are starting off with Coleen’s binding of Of Woodland Pools, Spring-holes & Ditches.

    Of Woodland Pools, Spring-holes & Ditches was design and printed by Michael Russem of Kat Ran Press and includes 28 engravings by Abigail Rorer of Lone Oak Press. The prints are accompanied by selected entries from Henry David Thoreau’s journals from the months of March, April and May. These passages elegantly describe the early springtime landscape in New England. The woodland pools, spring-holes and ditches were all terms Thoreau used to describe the breeding grounds of wildlife as the fauna awoke from the winter season.

    Coleen’s binding is covered in a hand-dyed goatskin with edge-to-edge leather doublures. The design includes inlays of cat-tails and green calfskin with additional onlays of bronzy calfskin. The author and printer’s last name were hand-tooled in golf leaf. The leather doublures are distressed and paired with a leather split flyleaf. Coleen bound this copy for the Designer Bookbinders InsideOUT Exhibition in 2014.

    When I saw this binding for the first time, I felt that you had created a style that was uniquely yours. The most striking element of this binding is the hand-dyed leather. The dark veins flow across the book like water making the pieces of inlaid cat-tails and leather almost appear to float on the surface. Can you talk about the dying process for the leather and why you choose to have the accented pieces both sunken on the board and jutting outward?
    I would walk my dogs in a coastal woodland area by my home that has ponds and pools as described by Thoreau. With my tall wellingtons protecting me from the water, I would spend a few hours at various times of the day and peer down into the pools observing the multiple layers of life and plants teeming within. This murky layering was the inspiration for my design. I am deeply attracted to texture and color, and during my design process, I spend a lot of time choosing materials and found objects, mixing and matching, in an attempt to try to visually create the emotions I experience while reading a text and enjoying the art. I find stuff, constantly experiment, and keep everything. I want my designs to introduce the text by appealing to all 5 senses. This binding captured that essence and perhaps that is why you feel it is my own style.

    Working with undyed ‘fair’ goatskin, I applied several paste resists using liquid acrylics, a technique called ‘Craquele’. Thick layers of wheat paste are applied directly to the leather, allowed to dry, and then ‘cracked’ intentionally. The acrylic is then applied and is absorbed in the paste cracks; the paste is then removed. Several resists in various colors were applied to achieve depth and layers I desired. Hewits’ aniline dyes were applied to create the ruddy brown color, along with various embossing and debossing with inks.

    The leather became my water, and now I needed to create movement. First, I gold tooled dotted lines to create the glints of light that appear when sunlight hits water at certain angles. I used a special roulette, that I designed and Pascal Alivon crafted, of uneven dots that roll out crooked. Next, I added a few bright green inlays and onlays for the color of new plant life in the spring. I collected cat-tails from the ponds and dried them. After many experimentations with finishes to seal and protect the cat-tail, I settled on layers of black bison wax – a fine wood finishing wax that has an aroma of wood. To create the feeling of floating layers of intertwined cat-tail leaves, I created two inlay pieces off the book and these needed to be a variety of thicknesses to accommodate effective layering. At this point I had what Suzanne Moore and Don Glaister call ‘the eleventh hour blues’, this is when I experience the ‘my design sucks, it needs something else, it is ruined…”. And yes, this happens with almost every binding I create. At this point, I sift through all my materials and usually find that ‘one thing’ to add. For Pools it was some bronzy calf. I placed thin strips over the cat-tail leaves and inlaid only the tips so the mid portion has air.

    I’m also curious about the treatment of Thoreau and Rorer, their names appear in a sort of V-shape on the spine. It’s quite an unusual layout, does this reference the text in some way?
    The title is quite long ‘Of Woodland Pools, Spring-holes and Ditches’ – I toyed with a variety of shortened versions and settled on ‘Woodland Pools Spring-holes Ditches’ tooled in gold each on its own line meandering line on the front upper right in tiny type.

    I decided to highlight both the prominent author and artist on the spine. I enjoy incorporating letters as part of the design to add interest and intrigue. The ‘O’ in each name lines up with the cat-tails on both front and back covers and the gold letters add that glint on water and adds some continuity between the front and back covers.


  2. Book Artist of the Month: Amy Borezo

    May 22, 2016 by Erin Fletcher

    ToddWebb-AmyBorezo

    So far this month, the focus has been on Amy Borezo‘s artist books. Beyond that work, Amy is also a talented edition binder working with several fine presses and the level of craftsmanship she brings to this facet of her work is not to go unnoticed. She has worked with 21st Editions on variety of projects including the binding shown above. Todd Webb: New York 1946 was published by 21st Editions in an edition of 37. The spine and fore edge are covered with alum-tawed goatskin with a letterpress printed graphic that reflects the photography of Todd Webb.

    What is the creative process like when working with an artist or printer on an edition project? Do you often work collaboratively when developing the binding?
    It is usually a collaborative process to varying degrees. My goal is always to elevate and further the content of the work through the binding. To that end, I first take in as much information about the project as I can including looking at imagery and reading the text of the work if there is one. With some clients I will then come up with two or three options, usually as a digital sketch that I create in Indesign. We’ll have a meeting, look at material samples, and they will choose which direction to go in. Then we will make refinements or edits of the design together. With other clients, they pretty much have the design/vision and just need someone to execute it.

    SouthernLandscape-AmyBorezo

    Southern Landscape showcases the photography of Sally Mann with text by John Stauffer, another publication from 21st Editions. This edition of 58 is bound in the modified Bradel structure. The spine is goatskin and the boards are covered in a beautifully textured silk. The book is housed in a full buffalo skin presentation box that opens with a gatefold. The two halves meet together in the center and overlap slightly to make a seamless and secure closure.

    AberrationOfLight-AmyBorezo

    Sedimental Records approached Amy to create housing for a DVD of Aberration of Light: Dark Chamber Disclosure, a site-specific live projection performance at the 36th Toronto International Film Festival. The project was performed by Brooklyn-based artist Sandra Gibson and Luis Recoder with audio composed by Olivia Block. Amy created two styles of packaging, an edition of 30 clamshell boxes covered in linen with a four-color relief print and an edition of 30 cases covered in paper with the same four-color print.

    Do you tend to work within a limited number of structures for edition work?
    Yes and no. Budget constraints, client desires, and intended audience limit the structures to a large extent. I am open to making anything from highly experimental to very traditional (and labor intensive) structures, according to what is right for the project. For fine press clients, it is mostly a modified Bradel structure with an Oxford hollow, sewn on tapes or cords. For artists, the needs are more variable. I’ve done editions of drum leaf books, sewn board bindings, accordion books, and others.

    TheKingOfTheAlps-AmyBorezo

    Amy has also worked with Abigail Rorer of The Lone Oak Press on several projects. Shown above is On the Hunt for the King of the Alps, which Amy bound in both a regular and deluxe edition. The regular edition is shown in the image on the left-hand side and is bound as a quarter leather binding with a faux stone paper covering the boards. The deluxe edition includes the book with an extra suite of prints housed in a 4-flap, an original watercolor of the plant, a herbarium specimens sheet and a short essay about attempting to grow the plant. Everything is housed in a black clamshell box.

    Extinction-AmyBorezo

    Extinction memorializes five animals that have unfortunately ceased to exist or are nearly extinct. Another work from Abigail Rorer, Amy bound this edition of 100 as a Sewn-Board binding. Vellum is used to cover the spine, which is stamped with the title and airbrushed with a bright, blood-like red towards the tail. A subtle addition that makes Amy’s work truly unique. The boards are covered in a handmade Spanish Arpa paper and stamped with the project’s logo (and X within a circle). You can view the inside of the book here at Abigail’s website.


  • Visit My Bindery
    My name is Erin Fletcher, owner and bookbinder of Herringbone Bindery in Boston. Flash of the Hand is a space where I share my process and inspirations.
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