![]() Once all of the embroidery had been done I wasĪble to stick the leather onto the book using paste. Knew which of the hexagons were going to be tooled and cut out through the boards. The back of the leather was marked to ensure I I used a variety of different stitches to build up the design. The whole covering leather was then back-pared and was ready for the embroidery. I chose to use Japanese paper rather than leather for the wings of the bees to create a look of transparency. Once these hexagons had been applied, I glued down the leather onlays for the bees’ bodies and the chosen hexagons. A lino tile was cut to do this with and repeated in the four quarters of the covering material. The first step was to press the hexagons into the dampened leather. I thought that a good way of creating the hexagonal honeycomb behind the bees would be using a variety of different techniques including: pressing into the leather, leather onlays and inlays, embroidered outlines, cutting through the boards and also tooled (either blind, with gold leaf, or carbon). This was extended onto the endpapers too by printing small trophies using hand-cut lino stamps stuck onto bottle corks. To better illustrate the riddle I decided to “award” some of the bees prizes by giving them a variety of medals around their necks, rosettes on their backs or trophies in their hands. I designed the cover with the same hexagonal pattern on it, with a variety of bees buzzing around on the cover. TheĮndpapers and doublures were printed so that the pattern would line up when the book was opened. In the end I chose to use a smooth, pale grey Zerkall Ingres paper. Test the best combination of ink and background colour. To try and stay in keeping with the woodcut prints in the text block I decided to print the endpapers and doublures from a lino tile.įirst lino prints were made on papers of different colours in order to Hexagonal pattern of honeycomb so set about designing endpapers with Knew from the beginning that I wanted to base the design on the Me (and the fact that I have family from Perth in Scotland!)… Through the text block the following riddle was a natural choice for Have long wanted to do a binding with bees on it so when reading Historian Paul W Nash, no mean versifier himself, and past master of With their limericks, and a twelve-page introduction by book We’veĬombined both books in one handsome volume that includes all the cuts Tweeting amusing captions below early book illustrations took holdĪmongst the historians and librarians of our acquaintance. Woodcuts with a thoroughly modern twist long before the craze for Davies re-captions his extensive collection of Nonsense’ that inspired us to follow suit with this classic and Philip Sainsbury’s beautiful Cayme Press production 'A Little More Nonsense’ was first published in 1912, and is a classic of the form. In the words of Graham Moss from The InclineĬharm of Randall Davies and his Books of Nonsense is a gentle, dare The content of the text block is made up of 140 woodcut prints, each Title of the book doesn’t immediately conjure up images of bees, but Recent completed binding commission which kept me occupied during myįinal months in France and on my return to the UK.Īre not so many bees around in the garden now the weather has turnedīut they continue to buzz away on the cover of my most recentīinding, “Randall Davies and His Books of Nonsense”, published by However been able to steal a few moments away to reflect upon my most “spare” time have been keeping me very busy of late! I have Text blocks for bookbinding plus#London, catching up with friends and family, plus bookbinding in my Being a mother, moving back from France, setting up my studio back in ![]()
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