I learnt how to make books at the British Library and it was such a revelation; it rekindled not only my love of making things – the stitching, crafting, gluing and putting things together – but also the many other skills that are so closely linked with bookbinding – the painting, calligraphy and illumination to name a few.
I hadn’t realised what a rabbit hole I was about to fall into.
It awakened the urge to research into the history of book making and how it has influenced and evolved along side human development.
One of the styles of book I love making is the Coptic, which naturally lead me to learn more about how and where this evolved, and the associated stories that those books tell.
Each book is unique and entirely handmade from start to finish. This process can take a number of days – from measuring and cutting pages, glueing covers, sewing the signatures and then finally pressing.
I am frequently asked if I can repair books and this has become another avenue of discovery. Knowing how books are put together definitely helps when taking them apart! Having an understanding of a book’s internal structure is fundamental for the careful handling, gradual dismantling, removing of materials and rebuilding.
If I feel that a book needs skills greater than mine I will happily redirect a customer to other agencies.
Having said that, I have seen an increasing number of people with emotional connections to much loved books that have seen better days, that they would like to give new life to. It has been my privilege to restore them so they can be passed on within the family or to friends and have a longer useful life. Wherever possible, and when requested by the owner, I use materials that are reversible so that my can be undone if needed in the future.
I have always painted, but recently I have developed new interests in watercolours and gouache. Gouache in particular is closest to the materials used in medieval illustrations.
I have been learning the almost extinct skills of marbling (I use some of my papers in my books) and paper making (also in some of my books).
But perhaps I am most proud of the progress I have made with illumination and gilding.
I have been learning the art of illumination – that is the applying of gold leaf to illustrations – from master illuminator, Toni Watts. She is an inspiration and one of the few remaining professional illuminators now practicing this endangered craft in the UK. I have learned with her, not only how to use modern materials and sizes but also ancient traditional methods for making gesso. These can be applied to both medieval and modern designs.
I hope you will find something of interest here and enjoy my books and work as much as I’ve enjoyed making them. Thanks for taking time to stop by.
