RSS Feed

Posts Tagged ‘arion press’

  1. Catching Up With Lori Sauer // No. 3

    August 13, 2017 by Erin Fletcher

    Lori Sauer bound The Moonstone by Wilkie Collins in 2015, just three years after it was published by Arion Press. This limited edition includes illustrations by Stan Washburn. As Lori mentions below, she split the text into two volumes, creating two fine bindings that compliment each other beautifully. Each binding is covered with calfskin and decorative handmade paper.

    Can you talk about your use of materials and how they connect to the text? Which elements are paper and why use paper over another type of material?
    Relating a material to a text is not something that I ever find myself mulling over. In rare cases one might pick wood for a book about wood, etc., but in the majority of cases leather is used, as convention. I’ve moved away from leather and now mainly bind in vellum because it’s so beautiful. Just to break out from my habit I bound this one in calfskin and paper. The calfskin because it has no grain and paper because I’ve always wanted to use it as major material for a design binding. I’ve always had the feeling (perhaps I’m wrong here) that paper is not considered appropriate for serious work. But it has a longer shelf life than leather, is open to a wide range of decorative treatments and I haven’t met a binder yet who isn’t besotted with it.

    The circular shapes are paper and the area around the circles is calfskin. The paper is a heavy weight Griffen Mill, specially made for a commission I did and these are some of the off-cuts. The pieces have been tinted with watercolour to achieve a range of neutral shades. The leather has been sanded over the top of a pimply surface to create texture.

    This is a very long novel with many characters and lots of narrative layers. There were a number of key scenes set on some shifting sands, a metaphor for the quasi-surreal nature of the plot. My colour choice came from this and also why I wanted to use a variety of textures/materials.

    This is a single volume production (Arion Press) but I decided to split it in to two bindings because I find very thick books rather clumsy. It worked out well to divide it because of how Collins had structured the story into two sections. I liked doing a pair of complimentary bindings, as I was able to use more than just one of the many compositions I had played around with.

    Shown below are the two interior views of each volume. 


  2. Catching Up With Lori Sauer // No. 2

    August 6, 2017 by Erin Fletcher

    Lori Sauer bound this Arion Press edition of Robert Louis Stevenson’s The Silverado Squatters in 2014. The book is bound in vellum with decorative elements in Japanese paper.

    I really love your use of materials on this binding. It offers a peaceful and calming interpretation of the Napa Valley landscape portrayed in this classic travel memoir. Can you speak about how you covered the book in vellum? Is the division created by using two separate pieces of vellum or through a decorative application?
    R.L. Stevenson is in the top five of my favourite authors and I’ve bound quite a few of his works. This one from Arion Press has sepia toned photographs from central California as illustrations. Bindings for books with images present a particular set of challenges. I never attempt to reproduce an illustrator’s work in a design but will do my best to capture the tone or mood. With this piece I used both the serene quality of the photos along with Stevenson’s literary style to guide me. Stevenson’s prose reads with such ease and grace, something that is incredibly hard to do. I’m pleased that you’ve picked up on this!

    Each piece of vellum (two on each board) is lined with a slightly different shade of backing paper in order to give a very subtle shift in colouration. The pieces are turned in on their meeting edges so that the line between them is clean and soft.

    The vertical lines are Japanese paper, onlaid in to pressed grooves.

    What technique did you use for the decoration on the doublures?
    I did an iPad ‘painting’ to create the doublures and inkjet printed them on to hand-made paper. (I like this technique very much and need to remember to do it more often). I then applied small pieces of Japanese paper and these were back sanded before I stuck down the doublure. Very subtle marks are made by the onlays on the suede flyleaves.


  • 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.
    Take a WorkshopNewsletter SignupSubscribe to Blog
  • Categories
  • Archives