La Couleur du Vent was bound in 2013 by Monique Lallier for the ARA-Canada exhibition that I may have mentioned just once or twice (even thrice) in the past. I brought up the window element in Monique’s work during the interview on the first of the month with her binding The Drawings of Caravaggio. When I saw Monique’s binding of Interpreter of Maladies at an exhibition in Chicago, I was awed and intrigued by its construction. With this binding Monique began experimenting with laser cutting technology to create detailed and intricate work.
I want to further the discussion from last week on the progression of the window element in your designs. Except this time I would like to focus on technique. The covers of La Colouer du Vent and Interpreter of Maladies were laser cut to achieve the intricacies of the design. Do you approach the structure differently on a fine binding when including laser cut elements?
When I choose to use laser cutting I have to do a “case” binding as I have to finish the inside doublures before the laser cutting and the cover has to be flat on the table of the laser cutter. I still consider it a fine binding.
Did you have to alter anything about the process from your first attempt to the most recent one?
I think I figured it out right on the first time and it worked well, so I repeated the same technique.
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In addition, during the interview, I included a sneak peek of one of Monique’s recent bindings of Les Sonnets by Shakespeare. The complexity of the design is literally jaw-dropping. Two layers of board have been cut and sandwiched between the covering leather and leather doublures, which have also been laser cut.