FOUR QUARTETS

TS Eliot, published by Rampant Lions Press

There is much music in Eliot’s work. My thoughts began with a musical journey, which travels through this design.  This takes place within the two half circles, that on the front cover being predominately green indicating youth and beginning.  The music travels through this, from the doublures and onto the back cover where the half circle is predominately red, life’s experiences and a fleshing out with maturity, the place we return to with fresh eyes at a later stage of our development. The half-circles meet at the foredges of the boards, an obvious way to bring the full circle together.

My visual interpretation of contemporary musical notation moves from the doublures, via the half circles and point to a maze which is a particular interest of mine. I have used the maze often in my work, it is an obvious metaphor but, none the less potent for that. Life, and the choices we make – going up dead ends, the paths not chosen etc., and, of course the hope that we will hopefully find the right path.  In the centre of the maze, where we are in the poems, is the title.



Genesis, bound 2013
Published by The Nonesuch Press, Soho, London 1924, Illustrated by Paul Nash. Spine covered with Nigerian goatskin, sides with tie-dyed pigskin. Convex, recessed discs on front and rear boards. Front disc of coloured vellum, rear of tie-dyed suede, offset printed.


 
The Perfect Book, bound 2008



The History of Trade Unionism 

by Sidney & Beatrice Webb, Longmans, Green & Co, London 1896

My design is a celebration of the trade union movement, The rise, the glory days, the marching, the banners, A time when the working man could feel a sense of pride, a sense of being worthwhile, contributing to the forward movement of Great Britain.   

Working man marches across the book – suminagashi marbled outlines flowing across the boards, the union banners embedded within.

Bound in full grey goatskin, leather joints, recessed, inlaid panels of  multi coloured leathers framed with metallic foils, raised onlay, gold and black tooling.  Marbled endpapers, doublures of handmade paper, edges coloured with pencils and graphite.  

 

 

A Shepherd's Life, WH Hudson, Illustrated by Reynolds Stone,
Compton Press, Tisbury, 11x7x1.5in

 

Without deep meanderings, Hudson is very direct in his writing and thinking, an exploration of place, Wiltshire, and life. I felt that his exploration of the people and place spoke for itself and any embellishment from me would be unnecessary.  This gave me the freedom to create a binding extolling the joy of the English landscape and I was further moved in this direction by the images of Reynolds Stone which I felt were in accordance with the text.

 

My musings are apparent within the design in the idea of the brightness of day and the luminosity of moonlight, a glimpse of the cycle of life, complemented by the dialogue between the stone of sheep folds and the landscape. The cover skin is Harmatan goat enhanced with dyes, raised onlaid panels of collaged goatskin sanded and buffed with recessed inlaid circles of resist dyed goatskin and vellum.

 

Brush Up Your Shakespeare Cole Porter, edition of 50, New York 2009
3x3x.5in
 
It is always a challenge to create an imposing statement in a small space - the great American Songbook, more than one song, more than one composer or period and I wanted to encompass the context of this particular period which for me is the Art Deco architecture of America. This binding ties in with a sequence of music related designed bindings I have made. In this instance I wanted to  place the music within the Art Deco theme.  The materials chosen, textures and colours reflect this.

Spine of variegated morocco goatskin, reversed pigskin sides, onlays of goat and frogskin, tooling in black, coloured edges.

  


Sea, Sky & Down, bound 2011,
Richard Jefferies, Tern Press 1989,
illustrated by Nicholas Parry
 


 
Yeates' Selected Poems, bound 2001

Taliesin and the Mockers, bound 2007

The size and shape of this book is technically exacting but artistically exiting and the poem too on a favourite theme - the genesis of mankind facing who and what he is and how he grows to know the answers.

I designed the binding using much more of the illustrator’s approach than I normally do, drawing on my own materials such as paper pulp, a difficult medium to work with but stimulating and tactile, inlaid into the boards, plus the use of collaged onlays.

The idea was to take the floating heads the illustrator had conceived, taking them from the dark to the light, facing ultimately the organic growth of the earth and our awe at its majesty.

 

 


Kyffin, Gwasg Gregynog, bound 2008

Primary sewing on tapes, secondary sewing with coloured linen thread around craquelle leather, spine made up of five individual hollows. The sharpness of the lines around the bands, the colours and shapes of the panels and the colours within the crevices contribute to a visual manipulation of 
a carved linocut.
 
Coltraine's Horn, bound 2011, 

Spine covered in dyed goatskin, boards of coloured vellum. Raised horizontal panel enclosing recessed discs of tie-dyed goatskin and leather. Raised arcs on edge of each board.  Graphic musical notation tooled in black across each board.
 
Songs of the Gardens, bound 2010, Nonesuch Press

Full goatskin binding, inlaid with transfer printed, relief discs and onlaid quarters of transfer printed pigskin. 
The inlaid circles have floral motifs transferred from marbled paper, the onlaid leathers have offset printed images of garden designs of the period. My own graphic musical notation is tooled across both boards and spine.