b bookbinding The Black Diamond Copenhagen, Denmark 2 October - 2 November 2013 Päivälehti Museum Helsinki, Finland 5 January - 31 January 2014 National Library Oslo, Norway 5 March - 5 April 2014 National and University Library of Iceland Reykjavik Iceland, 5 May - 9 June 2014 The Nordic House in the Faroe Islands TÓrshavn Faroe Islands, 15 July - 30 August 2014 Röhsska Museum Gothenburg, Sweden 1 October - 1 November 2014 7 Nordi ske Bogb ind 2 01 3 9 Nordic Bookbinding 2013 11 Forord 13 Foreword 18 Udvalgte og hæ d re d e b øge r Select ed a n d ho n o u re d bo o ks 52 Tradi ti onen ho l d e s i h æ v d me d f e minint t wist – M al e ne L e rage r 55 A t ra d it ion cont in u e d … with a f e min in e twist – m a l e ne l e r age r 60 Enestående op gav e r ans p ore r t il f orny e l s e – L ars H e d e gaard Un iq u e a ssign me n ts le ad to re n e wal – l a r s h e de ga a r d 65 68 Boghåndværk int e gre re s i and re d e s ignd is c ip l ine r – S e l ma L amai 7 1 Book cra ft in t egrate d in to o th e r de sign discip lin e s – se l m a l a m a i 76 øvri ge udsti ll e d e b øge r O t her submissio n s 111 Dansk Rubowbind Da n ish R ubow bin din g 1 2 3 Ordforklari ng Glossa r y 1 24 Bi ndt yper Types of bin d in gs Udstillingskataloget er udgivet af Foreningen Danske Design Bogbindere i samarbejde med Det Kongelige Bibliotek. Ud over at præsentere de udstillede værker foldes bogbinderfaget ud gennem interviews og visuelle fortællinger for at belyse værdien af den håndindbundne bog og dens muligheder for at overleve i en digitaliseret verden. Nordiske Bogbind 2013 Danmark står i år som værtsland for udstillingen Nordiske Bogbind 2013, der finder sted i Den Sorte Diamant på Det Kongelige Bibliotek i København hele oktober måned. Bag udstillingen står Det Kongelige Bibliotek i samarbejde med Foreningen Danske Design Bogbindere. Med udstillingen ønsker arrangørerne at vise den stærke håndværksmæssige tradition i Norden, der vidner om bogbinderfagets helt unikke kvaliteter, som ikke på nogen måde kan videreføres i digitale bogudgivelser. Nordiske Bogbind 2013 viser glæden ved bogen i alle dens aspekter og demonstrerer med al tydelighed, at håndværket stadig eksisterer blandt bogelskere, der med stor passion, ekspertise, kreativitet og sans for sammenhængen mellem form og indhold, håndindbinder bøger i en tid, hvor de gamle bogbinderuddannelser og arbejdsområder er så godt som forsvundet. Samarbejdet inden for bogbinderfaget i de nordiske lande har en lang tradition bag sig. Fra 1956 og frem til 1990 blev der gennemført mange konkurrencer med stor deltagelse i forskellige kategorier. I 2001 blev repræsentanter for de nordiske bogbindere enige om at genoptage dysten. I dag arrangerer man i stedet en fælles udstilling, uden konkurrencer, men med mulighed for at give særligt udvalgte bøger en hædrende omtale. Værtskabet for Nordiske Bogbind går på skift lan deneimellem hvert fjerde år, sidst med Island som værtsland. Nu er turen kommet til Danmark med et deltagerantal på 80 bogbindere – professionelle som ikke-professionelle fra de nordiske lande. Som noget nyt deltager også Færøerne. Udstillingen har hver eneste gang været en kæmpe succes. Nordiske Bogbind 2009 sluttede overraskende positivt med en ekstra udstilling i Moskva på Biblioteket for Udenlandsk Litteratur, sat i værk af de nordiske ambassader. En komité fra Danmark bestående af museums inspektør Ulla Houkjær, designer Selma Lamai, grafisk designer Maria Lundén, grafonom Henning Mortensen og bogbinder Per Svendsen har i fællesskab udvalgt i alt 16 af de udstillede bogbind på Nordiske Bogbind 2013, der hædres ved at få særlig opmærksomhed i udstillingskataloget. Hvert enkelt bogbind er vurderet og bedømt ud fra helheden; det vil sige samspillet mellem indhold og design, specielle designløsninger, den gennemgående tekniske kvalitet og udførelse i al almindelighed, ikke ud fra de enkelte discipliner i fremstillingen af bogbindet. Efter udstillingen i København bliver værkerne vist på skift og kan således opleves på Päivälehden Museo i Helsinki, Nasjonalbiblioteket i Oslo, Universitetsbiblioteket i Reykjavik, Nordens Hus i Thorshavn og Röhsska Museet i Göteborg frem til november 2014. nordiske bogbind 2013 7 The exhibition catalogue is published by the Association of Danish Designer Bookbinders in collaboration with the Royal Library. As well as presenting the works on display, the art of bookbinding is also displayed by means of interviews and visual narratives illustrating the value of the hand-bound book and examining the chances of its survival in a digital world. Nordic Bookbinding 2013 Denmark is this year’s host nation for the Nordic Bookbinding 2013 exhibition, which takes place at the Royal Danish Library in Copenhagen’s Black Diamond throughout October. The organisers of the exhibition are the Royal Library in collaboration with the Association of Danish Designer Bookbinders. With this exhibition, the organisers intend to showcase the strength of the craft tradition in the Nordic region, bearing witness to the unique qualities of the bookbinding branch, which can in no way be extended into digital publications. Nordic Bookbinding 2013 exhibits the wonder of the book form in all its aspects and demonstrates as clearly as possible the fact that craftsmanship continues to exist among book lovers who bind books by hand with tremendous passion, expertise, creativity and a sense of the relationship between form and content at a time when old teaching methods and working areas within the field of bookbinding have all but disappeared. Collaboration between the Nordic countries within the field of bookbinding has a long tradition. From 1956 until 1990 numerous competitions were held, attracting many competitors within a range of different categories. In 2001, representatives of Nordic bookbinders agreed to resurrect the contest. Today this takes the form, not of a competition, but of a joint exhibition which nonetheless provides the possibility for specially selected book bindings to receive an honourable mention. The right to host the Nordic Bookbinding exhibi- tion rotates between the countries every four years, with Iceland as the most recent host. It is now Denmark’s turn, with 80 participating bookbinders – both professional and non-professional – from the Nordic countries. For the first time, the Faroe Islands are also participating. Every exhibition has been a major success. Nordic Bookbinding 2009 ended with an unexpected high in the form of an extra exhibition, at the instigation of Nordic ambassadors, at Moscow’s Library of Foreign Literature. A committee from Denmark, consisting of curator Ulla Houkjær, designer Selma Lamai, graphic designer Maria Lunden, graphonomist Henning Mortensen and bookbinder Per Svendsen, has collectively chosen a total of 16 of the book bindings exhibited at Nordic Bookbinding 2013 to be honoured with a special commendation in the exhibition catalogue. Every single example is evaluated and judged holistically, that is, in the interaction between content and design, special design solutions, the overall technical quality and its execution in all its aspects, not simply the individual skills involved in the bookbinding process. Following the exhibition in Copenhagen, the works can still be enjoyed as they will continue to be displayed until November 2014 at Päivälethi Museum in Helsinki, the National Library in Oslo, the National and University Library in Reykjavik, the Nordic House in TÓrshavn and Röhsska Museum in Gothenburg. nordic bookbinding 2013 9 Forord Bogbinding er igennem tiden udviklet til perfektion af såvel professionelle håndværkere og kunstnere som dedikerede ikke-professionelle, hvad Nordiske Bogbind 2013 til fulde viser. Karakteristisk for den gode håndindbundne bog er, at indbindingen tilgodeser bindets primære formål med at beskytte bogens indhold, selve bogblokken, samtidig med, at det håndværksmæssige og kunstneriske går op i en højere enhed, og at bogbindet afspejler bogens indhold og værdi i øvrigt. Den oprindelige mening med indbindingen var jo at give bogen en længere levetid, så flere kunne læse den, før den var slidt op. At dette over tid har udviklet sig til decideret kunsthåndværk med vægt på den æstetiske udformning er måske ikke så underligt, da det giver bogen en ekstra dimension i forhold til læseoplevelsen. Bogbinderi blev tidligt betragtet som en del af kunstindustrien og blev da også i Danmark kanoniseret af det tidligere Kunstindustrimuseet, nu Designmuseum Danmark, ud fra en erkendelse af, at det var et af de håndværk, der af gode grunde blev ofret mange design kræfter på. Den industrielle kvalitetsindbinding er på vej til at forsvinde. De typer af publikationer og litteratur, primært håndbøger og leksika, der tidligere blev indbundet, bliver i stigende grad produceret og distribueret digitalt. Denne gren af håndværket vil formodentlig kun overleve i form af reparationer og særindbindinger på ganske få institutioner. I Danmark først og fremmest på Det Kongelige Bibliotek, hvor vi vil have håndbogssamlinger mindst et par generationer endnu på læsesalene. Vi har da også stadig en stor bevaringsafdeling -- og en enkelt elevplads – da bogbinderi stadig har sin berettigelse i vores regi i tilknytning til bredere og betydningsfulde bevaringsforanstaltninger. Et andet stort område, som også er på hastigt tilbagetog, er biblioteksindbindingen for folkebibliotekerne. Det udgjorde førhen et stort marked for bogbinderne, der sikrede, at bøgerne kunne holde til mange udlån. I dag benyttes ofte en indbinding, som ikke er særlig stærk, hvilket betyder, at bøgerne kasseres efter forholdsvis færre udlån end tidligere. Det klassiske bogbinderi er således ramt af samme skæbne som en række andre historiske håndværk, der er blevet udkonkurreret af industrialiseringen. Men Nordiske Bogbind 2013 repræsenterer et tredje område, som man kan håbe holder skansen, fordi det har interesse for bogelskere, designinteresserede og kreative. Jeg tror, at de smukt udførte bogbind, i traditionelle såvel som utraditionelle materialer, altid vil appellere til disse segmenter, og oplysningsforbundene har da også over de sidste årtier meldt om stor interesse blandt private for at lære at indbinde bøger. At skabe e ller købe en håndindbunden bog svarer til at kreere eller anskaffe andre kunstindustrielle ting eller klenodier. Man kan frygte, at en del unge slet ikke får nogen fornemmelse for den fysiske bogs særlige kvaliteter, fordi de får præsenteret alt digitalt. De trykte bøger forsvinder i mange sammenhænge, hvor de tidligere blev betragtet som en naturlig del af omgivelserne, ikke forord 11 mindst i skolerne og i de private hjem. De forsvinder ikke i samme takt fra bibliotekerne, men folkebibliotekerne er i øjeblikket inde i en stor genopfindelsesproces, fordi de har vanskeligt ved at håndtere det digitale medium. Bogen mister også terræn i folks almindelige omgivelser, men den håndindbundne bog kan jo noget helt andet end den digitale bog. Det digitale format er glimrende til de brugsbøger, der tages med overalt på tablet eller smartphone. Men den flot specialindbundne bog er et stykke funktionelt design, der inviterer til udforskning, nydelse eller forundring. Jeg har en passion for bøger, primært som en del af historien. Det at være chef for Det Kongelige Bibliotek går ud på både at bevare det, der allerede er skabt og sørge for, at det der bliver skabt i nutiden også bliver indsamlet med henblik på fremtiden. Det gælder både på det det fysiske og det digitale område. Jeg har derfor også i min tid opprioriteret Det Kongelige Biblioteks funktion som Danmarks Bogmuseum inden for den fysiske bogs klassiske felter: papir, tryktyper, design, billeder og illustrationer samt naturligvis bogbind. På den ene side er jeg pessimist, hvad angår bogbindererhvervets fremtidige betydning, når man ser bort fra helt specielle sammenhænge. På den anden side ser jeg med Nordiske Bogbind 2013 et levedygtigt håndværk præget af en særdeles personlig og kunstnerisk interesse, der forhåbentlig også i fremtiden vil appellere til de bog- og designinteresserede. Nordiske Bogbind 2013 har således en vigtig formidlingsmæssig funktion som øjenåbner til en verden, der er helt sin egen og kombinerer århundreders håndværksmæssige kunnen med nutidigt form- og billedsprog. Køb e n h a v n , s e p t e m be r 201 3 erland kolding nielsen D irekt ø r , D e t K o n ge l i ge B i bl i o t e k La n d sfor ma n d , Fo re n i n g f o r B o gh a a n d vær k Foreword Through time,bookbinding has perfected itself through the efforts of professional craftspeople and artists as well as dedicated non-professionals, as Nordic Bookbinding 2013 demonstrates to the full. What characterises a good hand-bound book is that the binding achieves its primary objective by protecting the contents of the book, the textblock itself, whilst successfully combining craftsmanship and artistry, and that the binding also reflects the contents and values of the book it contains. The original idea behind binding was of course to extend the life of the book, enabling more people to read it before it wore out. The fact that this intention has evolved over time, taking a decidedly art/craft orientation with an emphasis upon the aesthetic in its design, is perhaps not so strange, given that it lends the book an extra dimension in terms of the reading experience. From an early stage, bookbinding was regarded as a part of the art industry; indeed in Denmark it was canonised by the former Art and Design Museum (now Design Museum Denmark) in recognition of the fact that a great deal of design work was, with good reason, invested in it. Industrial quality binding is on the verge of disapp earing. The kinds of publications and works of literature, primarily reference books and encyclopaedias, that were once bound, are, to an ever-greater extent, being produced and distributed digitally. This branch of the craft will probably survive only in the form of repairs and special bindings at a very limited number of institutions – in Denmark, first and foremost at the Royal Library, where we will continue to have reference collections in the reading rooms for at least a couple of generations. We also still have a large conservation department – and a single trainee position – because bookbinding continues to justify its place within our framework as this relates to the provision of a broader range of important conservation measures. Another major area in rapid retreat is the provision of binding services for public libraries. This formerly constituted a large market for bookbinders, who ensured that the books could survive a great many loans. Today, binding is frequently used, which is not particularly strong, meaning that books are discarded after fewer loans than was previously the case. Classic bookbinding is thus suffering the same fate as many other historic crafts that have been out-competed by industrialisation. However, Nordic Bookbinding 2013 represents a third area which, one hopes, can hold the fort because it is of interest to book lovers, design enthusiasts and the creative people. I believe that beautifully crafted examples of bookbinding, in traditional as well as non-traditional materials, will always appeal to these segments, and educational organisations have also, in recent decades, reported considerable interest among private citizens in learning how to bind books. To create or to buy a handbound book is equivalent to the creation or acquisition of other industrial art and design objects or gems. It is a concern that some young people get absolutely foreword 13 no sense of the special qualities of the physical book because everything is presented to them digitally. In many of the places in which they were once regarded as a natural part of the surroundings, not least within schools and private homes, printed books are disappearing. They are not disappearing at the same rate from libraries, but public libraries are currently undergoing a major process of reinvention because of the difficulties they face in dealing with the digital medium. The book is also losing ground in people’s everyday lives, yet the hand-bound book can indeed offer a completely different alternative to the digital book. The digital format is superb for user’s manuals that can be carried anywhere with tablet or smartphone. But the beautiful specially bound book is a piece of functional design that invites further exploration, enjoyment or wonderment. I have a passion for books, mainly for their part in history. It is the responsibility of the head of the Royal Library both to preserve what has already been created and to ensure that what is being created in the present is also collected for posterity. This applies to both physical and digital forms. During my tenure I have therefore prioritised the Royal Library’s role as the Danish Book Museum within the classic fields of the physical book: paper, typography, design, pictures and illustrations, and, of course, bookbinding. On the one hand, I am a pessimist with regard to the future significance of the art of bookbinding, apart from extremely specific contexts. On the other hand, I see in Nordic Bookbinding 2013 a viable craft characterised by a highly personal and artistic passion, which will hopefully continue to appeal to those with a love of books and design into the future. Nordic Bookbinding 2013 has, therefore, an important disseminative role as an eye-opener to a world that is all its own, combining centuries of craftsmanship with contemporary design and imagery. Cope n h a ge n , Se p t e m be r 201 3 erland kolding nielsen D irect or , t h e R o y a l L i bra r y, C o p e n h a ge n Na t i on a l Ch a i rm a n , t h e D a n i s h B o o k C ra f t So c i e t y 15 16 b book Hrefna Ársælsdóttir island / iceland Ti tel LjÓð ungra skálda, 1944-54 20 forskellige St ørrels e 21,8 cm x 14,5 cm T it l e Forfatt e r Au t h or sort skindryg dekoreret med hvide skindstrimler flettet ind i den sorte ryg, hvidt overtrækspapir dekoreret med sort farve. Sort og hvid forsats, hvide skindkapitælbånd. Titel trykt i hvidt folie. Materi ale r sort og hvidt skind, overtrækspapir, forsats, hvidt folie T y p e of b ind ing black leather spine decorated with braided white leather strips, white cover paper decorated with black. Black and white endpapers. Head bands of white leather. White metallic blocked foil. M at e rial s black and white leather, cover paper, black endpaper, white metallic foil Bi ndt ype Beskri vel s e af b ogb ind e t “Min idé var at give bogen et enkelt udtryk og at følge det originale design i sorte og hvide farver. Designet af bogens ryg dukkede op samtidig med udtænkningen af farvekombinationen. På det originale omslag har forfatterne skrevet deres navne med sort blæk. Ud fra det fremstillede jeg overtrækspapiret – sort blæk på hvidt papir.” Hrefna Ársælsdóttir [email protected] Bogbi nder LjÓð ungra skálda, 1944-54 20 different S iz e 21,8 cm x 14,5 cm De s c ript ion of t h e b ind ing “My idea for the look of the book was to keep it simple and to follow the style of the original design, which was in black and white. The idea for the spine came to me as I was considering black and white colours. On the original cover the authors signed their names with black ink, and from that image I produced the cover paper – black ink on white paper.” Hrefna Ársælsdóttir [email protected] B ook b ind e r 18 selected and honoured book Nordic Bookbinding 2013 19 Kerstin Axelsson sverige / sweden Ti tel Alberte och Jakob Cora Sandel St ørrels e 18,8 cm x 12,4 cm T it l e Forfatt e r Au t h or lavfalset med hvid skindryg dekoreret med sort fiskenet, overtræk af gråt filtet uld. Blindtryk på hvidt skind på forsiden. Materi al e r hvidt skind, sort fiskenet, gråt filtet uld T y p e of b ind ing hollow back binding with white leather spine decorated with a black fishing net, grey woollen material on the cover. Blind tooling on white leather on the front cover. M at e rial s white leather, black fishing net, grey wool Bi ndt ype Beskri vel s e af b ogb ind e t “Min intention var at fremstille et bind, der afspejler hovedpersonen Albertes personlighed og det miljø, hun lever i. Det marmorerede papir inde i æsken minder om landskabet i Nordnorge. Ved at overtrække bindet med gråt uldent filt har jeg prøvet på at beskytte Alberte, som altid fryser. Fiskenettet på bogryggen er symbol for fiskeindustrien i Tromsö, men frem for alt for Albertes følelse af indespærring. Blindtrykket er valgt for at beskrive hendes følelse af usynlighed, og den hvide farve hendes håb.” Kerstin Axelsson [email protected] Alberte och Jakob Cora Sandel S iz e 18,8 cm x 12,4 cm De s c ript ion of t h e b ind ing “My intention was to make a book, which reflects the personality of the main character, Alberte, and the environment she lives in. The marbled paper inside the box is meant to recall the landscape of Northern Norway. By covering the boards with wool felt, I tried to take care of Alberte, who is always freezing. The fishing net on the spine is a symbol of the fishing industry in Tromsö, but initially reflects Alberte’s feeling of confinement. Finally, the blind tooling is there to reflect her sense of invisibility and the white for her hope.” Bookbi nd e r 20 Kerstin Axelsson [email protected] B ook b ind e r selected and honoured book Nordic Bookbinding 2013 21 Annika Baudry sverige / sweden Ti tel Codex Argenteus, Silverbibeln i Uppsala Forfatt e r Tönnes Kleberg St ørrels e 21 cm x 15 cm T it l e helbind i skind med forskellige farver, dekoreret med detaljer fra bogen, titel trykt i sølvfolie Materi al e r skind i forskellige farver, ruskind, sølvfolie T y p e of b ind ing full leather binding in different colours, decorated with details from the book, title in silver metallic blocked foil M at e rial s leather in different colours, suede, silver metallic foil Bi ndt ype Beskri vel s e af b ogb ind e t “Kleberg’s bog beskriver historien om manuskriptet Codex Argenteus fra det 6. århundrede. Nederst på siderne i denne bibel er der fire sølvarkader med monogrammer af evangelisterne. Jeg besluttede at bruge arkadernes detaljer i mit grafiske udtryk i indbindingen ved at trykke det på forskellige måder på skind og lærred.” Bogbi nder Annika Baudry [email protected] www.ateljeb.fr 22 Codex Argenteus, Silverbibeln i Uppsala Au t h or Tönnes Kleberg S iz e 21 cm x 15 cm De s c ript ion of t h e b ind ing “Kleberg’s book describes the history of the manuscript Codex Argenteus (from the 6th century). On the bottom of the pages in this Bible are four silver arcades, enclosing the monograms of the Evangelists. I decided to use the arcade detail as my graphic expression for the binding by printing it in different ways on the leather and on the cloth.” Annika Baudry [email protected] www.ateljeb.fr B ook b ind e r selected and honoured book Nordic Bookbinding 2013 23 Hanna Munch Christensen danmark / denmark Ti tel Sommerfugledalen Inger Christensen St ørrels e 17,0 cm x 12,5 cm T it l e Forfatt er Au t h or Bi ndt ype helbind i skind, Fransk Bradel, ruskindsforsats, titel trykt i guld på forsiden Materi ale r skind, ruskind, papir T y p e of b ind ing S iz e Sommerfugledalen Inger Christensen 17,0 cm x 12,5 cm full leather, French Bradel binding, endpapers of suede, gold tooling on the front cover M at e rial s leather, suede, paper De s c ript ion of t h e b ind ing Beskri vel s e af b ogb ind e “Jeg er blevet inspireret af sommerfuglenes forunderlige bevægelser.” “I was inspired by the wonderful and fluid movement of the butterfly.” Hanna Munch Christensen [email protected] B ogb ind e r Hanna Munch Christensen [email protected] Bogbi nder 24 selected and honoured book Nordic Bookbinding 2013 25 Ragnar Gylfi Einarsson Ti tel KennslubŌk í bÓkbandi og Smíðum Guðmundur Frímann St ørrels e 21,4 cm x 14,2 cm T it l e Forfatt e r Au t h or Rubowbind med hvide skindkanter, overtrækspapir dekoreret med forskellige farver folie, forgyldte snit. Overtrækspapir og forsats er ét langt stykke papir. Titel trykt med sort, guld-, sølv-, hvidt og grønt folie. Materi al e r hvidt skind, dekoreret p apir, guld-, sølv-, rødt, hvidt og grønt folie T y p e of b ind ing Danish Rubow binding with white leather on the top and bottom edges of the boards, cover paper decorated with foil. Gilded edges. The cover paper and endpaper are in one sheet. The title is black, gold, silver, white and green blocked foil. M at e rial s white leather, decorated paper, gold, silver, red, white and green foil Bi ndt ype Beskri ve l s e af b ogb ind e t “JJeg har haft denne idé i lang tid, men først da jeg havde øvet teknikken med de lange papirformater, kunne jeg kombinere den med et Rubowbind.” Ragnar Gylfi Einarsson [email protected] www.boklist.is Bogbi nde r 26 island / iceland KennslubŌk í bÓkbandi og Smíðum Guðmundur Frímann S iz e 21,4 cm x 14,2 cm De s c ript ion of t h e b ind ing “I’d had this idea in my head for a long time, but I wouldn’t use it on books, until I had practised the decoration technique on long strips of paper, so I could combine it with the Danish Rubow Binding.” Ragnar Gylfi Einarsson [email protected] www.boklist.is B ook b ind e r selected and honoured book Nordic Bookbinding 2013 27 Lars Hedegaard danmark / denmark Himmelbegravelse Ib Michael St ørrels e 19,8 cm x 15,2 cm Himmelbegravelse Ib Michael S iz e 19,8 cm x 15,2 cm Ti tel T it l e Forfatt e r Au t h or Bi ndt ype helbind i skind i orange og gule farver Materi al e r gedeskind (oasis), papir T y p e of b ind ing full leather binding in orange and yellow M at e rial s goat leather (oasis), paper Beskri vel s e af b ogb ind e t De s c ript ion of t h e b ind ing “Mit bidrag til Nordiske Bogbind 2013 er først og fremmest inspireret af farverne i kunstværket på bogomslaget: orange, blå, rød og gul. I begyndelsen ville jeg have fremstillet et helbind i gult skind med en masse skindpålægning, men så tænkte jeg, at digtene fortjente et mindre dekoreret bind og besluttede derfor blot at benytte den orange og gule farve. For nogle år siden købte jeg i Mongoliet en gammel håndskåret trykblok med en original religiøs tibetansk tekst, som jeg har brugt som dekoration på forsatsen.” “My contribution to Nordic Bookbindings 2013 was first of all inspired by the colour in the artwork of the book cover, orange, blue, red and yellow. At first I wanted to make a full yellow binding with lots of leather onlays, but I thought that the poems deserved a little less wild binding and decided just to use the colours. A few years ago I bought an old, hand carved printing block in Mongolia. I used it for the prints on the endpapers. It’s an original Tibetan religious text.” Lars Hedegaard [email protected] www.bogbinderietaarhus.dk B ogb ind e r Lars Hedegaard [email protected] www.bogbinderietaarhus.dk Bogbi nder 28 selected and honoured book Nordic Bookbinding 2013 29 Terhi Hursti finland / finland Staden – Kaupunki Bo Carpelan, Pentti Sammallahti St ørrels e 15,6 cm x 15,6 cm Staden – Kaupunki Bo Carpelan, Pentti Sammallahti S iz e 15,6 cm x 15,6 cm long stitch med ekstra omslag, akrylmaleri med pensel og kalligrafiy Materi al e r Rensdyrskind, akrylfarvet T y p e of b ind ing Ti tel Forfatt e r Bi ndt ype Beskri vel s e af b ogb ind e t “Jeg valgte bogen om Helsinki-Staden, fordi billederne i bogen af Pentti Sammallahti og digtene af Bo Carpelan påvirker hinanden på en fascinerende måde. Helsinki har som andre byer sine bløde og hårde sider. Det er det, jeg har ønsket at udtrykke i mit arbejde; den sammenhængende skønhed i bindet med malerierne og den udvendige hårdhed fra det sorte rensdyrskinds glatte tekstur, der bliver forenelige dele.” T it l e Au t h ors long stitch binding with extra covers, acrylic painting with brush calligraphy M at e rial s reindeer leather, acrylic paint De s c ript ion of t h e b ind ing Bogbi nder Terhi Hursti “I chose the book about Helsinki-Staden, because the photos by Pentti Sammallahti and the poems by Bo Carpelan interact in an intriguing way. Helsinki, like all cities, has its sensitive, as well as its rough sides. That is what I wanted to express in my work: the contextual beauty of the paintings and the external roughness of the plain form of black reindeer leather, yet both being perfectly compatible components.” [email protected] www.bookart.fi B ook b ind e r Terhi Hursti [email protected] www.bookart.fi 30 selected and honoured book Nordic Bookbinding 2013 31 Erik Haagensen N o r g e / n o r way Ti tel Trinn for trinn (Step by Step) Erik Haagensen St ørrels e 19,0 cm x 13,5 cm T it l e : Forfatt e r Au t h or: Materi al e r tredelt bind papir (skivertex), bogblok 100 g Lessebo Ivory triple binding paper (skivertex), textblock 100 g Lessebo Ivory Bi ndt ype T y p e of b ind ing M at e rial s Beskri ve l s e af b ogb ind e t De s c ript ion of t h e b ind ing “Jeg har ønsket at lave en bog med et ydre, der ikke lignede nogen andre bøger, jeg har set, dog på en sådan måde, at når man ser den, skal der ikke være nogen tvivl om, at det er en bog med et bind og et indhold. Det udvendige skal signalere bogens indhold - men også omvendt. Indholdet er en håndskreven beskrivelse med tegninger og billeder, der sammenfatter den skabende proces med fremstillingen af bindet på bogen – trinn for trinn: Idéer, praktisk øvelse og fejlrettelser, færdig montage.” “I wanted to make a book that has an exterior not like any other book that I have seen, yet in such a way that seeing it should leave no doubt that it is a book, with its cover and content. Not only should the exterior give a hint about the text content, but also vice versa. Thus the content is a handwritten description, including sketches and images, summarising the creation process of the exterior, step by step: Ideas, practical trial & error correction, final assembly.” Erik Haagensen [email protected] www.bokbinding.no B ook b ind e r Bogbi nde r 32 Trinn for trinn (Step by Step) Erik Haagensen S iz e : 19,0 cm x 13,5 cm Erik Haagensen [email protected] www.bokbinding.no selected and honoured book Nordic Bookbinding 2013 33 Anni Elkjær Jensen danmark / denmark Ti tel Bjørn Nørgaard. Re-Modelling the World Birgitte Anderberg St ørrels e 30,5 cm x 24,5 cm T it l e Forfatt e r Au t h or helbind i hvidt lærred, titel i støbte blyskrifter klæbet på forsiden af bindet Materi al e r hvidt lærred, bly, papir T y p e of b ind ing Beskri vel s e af b ogb ind e t “In binding the book about the artist Bjørn Nørgaard, I found inspiration in the materials, which Bjørn Nørgaard works with. The cover is white fabric (Iris), as a reference to the plaster. The title is lead letters cast in moulds. The box is made from raw wood, with a lid in glass and silver thread, which illustrates barbed wire.” Bi ndt ype “Inspirationen er fundet i de materialer, kunstneren Bjørn Nørgaard arbejder med. Omslaget er fremstillet som helbind i hvidt lærred (Iris) som en reference til gips. Titlen er støbte blyskrifter, der er klæbet på forsiden. Æsken er fremstillet i ubehandlet træ med et låg i glas med sølvtråde, som skal illustrere pigtråd.” Bjørn Nørgaard. Re-Modelling the World Birgitte Anderberg S iz e 30,5 cm x 24,5 cm full white cloth binding, title in cast lead letters M at e rial s white cloth, lead, paper De s c ript ion of t h e b ind ing Anni Elkjær Jensen [email protected] www.haandbogbinderen.dk B ook b ind e r Anni Elkjær Jensen [email protected] www.haandbogbinderen.dk Bogbi nder 34 selected and honoured book Nordic Bookbinding 2013 35 Monica Langwe Sverige / Sweden Ti tel Ungut & Stanislaus, Secimen Typomaniae sive Typorum Forfatt er Richard Årlin St ørrels e 24,2 cm x 18,5 cm Bi ndt ype papirbind papir, sort folie T it l e Ungut & Stanislaus, Secimen Typomaniae sive Typorum Au t h or Richard Årlin S iz e 24,2 cm x 18,5 cm paper binding paper, black foil T y p e of b ind ing Materi al e r M at e rial s Beskri vel s e af b ogb ind e t De s c ript ion of t h e b ind ing “Jeg har valgt en historisk indbindingsteknik, der kaldes “blødt bind”. Teknikken blev udviklet, dengang der, modsat i dag, ikke var mange materialer at vælge imellem, men der var incitament til at udvikle kreative hæftemetoder. Konstruktionen ses tydeligt, en støtte er hæftet fast på ryggen for at give bindet stabilitet.” “I chose a historical paper limp binding t echnique, called soft binding. The technique was developed at a time when, unlike today, there was no great choice of materials. Instead, there were incentives to develop ingenious stitching methods. The construction can clearly be seen: a support is fastened to the book block for increased stability.” Monica Langwe [email protected] www.langwe.se Bogbi nder 36 Monica Langwe [email protected] www.langwe.se B ook b ind e r selected and honoured book Nordic Bookbinding 2013 37 Malene Lerager danmark / denmark Ti tel En mand uden fædreland Kurt Vonnegut St ørrels e 21 cm x 15 cm T it l e Forfatt e r Au t h or lavfalset med brun skindryg, brune skindkanter på forkanten af permerne. Sort overtrækspapir dekoreret med guld fremstillet af Anne Nowak. Forgyldt topsnit, kapitælbånd af sort skind. Materi al e r brunt og sort gedeskind, sort papir med gulddekoration, lærred, sort folie T y p e of b ind ing hollow back binding with brown leather spine and leather strips on the front edges of the cover. Black cover paper with decorations in gold made by Anne Nowak. Top edge decorated with gold. Black leather headbands. M at e rial s brown and black goat leather, black paper with gold decoration, cloth, black foil Bi ndt ype Beskri vel s e af b ogb ind e t “At læse Kurt Vonnegut er som at være i selskab med en gammel klog og lidt excentrisk ven. Et traditionelt bind med et anderledes papir passede i dette tilfælde, og som altid har jeg bestræbt mig på at få harmoni mellem farver og materialer.” Malene Lerager [email protected] www.colibri-bindery.dk S iz e En mand uden fædreland Kurt Vonnegut 21 cm x 15 cm De s c ript ion of t h e b ind ing “Reading Kurt Vonnegut is like being in the company of an old and wise friend with an eccentric twist. A traditional binding with an offbeat paper seemed right and, as always, I have striven towards a harmonious combination of colours and materials.” Bogbi nder 38 Malene Lerager [email protected] www.colibri-bindery.dk B ook b ind e r selected and honoured book Nordic Bookbinding 2013 39 Mogens Dichow Lund danmark / denmark Ti tel “Roman” Per Kirkeby St ørrels e 28 cm x 23 cm T it l e Forfatt e r Au t h or Bi ndt ype helbind i skind med dekoration i forskellige farver skind, guld- og sølvfolie. Forgyldt topsnit Materi al e r gedeskind, guld- og sølvfolie T y p e of b ind ing full leather binding with decoration in different coloured leather, gold and silver foil. Gilded top edge M at e rial s goat leather, gold and silver foil Beskri vel s e af b ogb ind e t De s c ript ion of t h e b ind ing “Inspirationen til dekorationen er hentet fra bogens illustrationer og min egen oplevelse af bogens indhold.” “I drew my Inspiration for the decorations from the illustrations inside the book and my own experience of the contents of the book.” Mogens Dichow Lund [email protected] “Roman” Per Kirkeby S iz e 28 cm x 23 cm Bogbi nder B ook b ind e r [email protected] 40 Mogens Dichow Lund selected and honoured book Nordic Bookbinding 2013 41 Hans Meyer danmark / denmark Ti tel Rejser og Streger Ebbe Sadolin St ørrels e 25 cm x 18 cm T it l e Forfatt e r Au t h or Dybfalset vælskbind med mørkebrun skindryg og skindrammer rundt på permkanterne, marmoreret overtrækspapir. Håndstukne kapitælbånd. Materi ale r mørkebrunt gedeskind, marmoreret papir, silketråd T y p e of b ind ing tight joint binding with dark brown leather spine and frame around the edges of the boards. Marbled paper on the covers. Handmade headbands. M at e rial s dark brown goat leather, marbled paper, silk thread Bi ndt ype Beskri vel s e af b ogb ind e t “De brune nuancer i skind, overtrækspapir, kapitælbånd samt dekorationen på skindryggen er fint afstemt med bogens indhold.” Hans Meyer [email protected] S iz e Rejser og Streger Ebbe Sadolin 25 cm x 18 cm De s c ript ion of t h e b ind ing “The brown colour of the leather, the marbled paper, the colours of the headbands and the decoration of the spine all match the contents of the book.” Bogbi nder 42 Hans Meyer [email protected] B ook b ind e r selected and honoured book Nordic Bookbinding 2013 43 Marianne Lund Petersen danmark / denmark Pantomimeteatret Annett Ahrends & Henrik Lyding St ørrels e 25,5 cm x 22,0 cm Pantomimeteatret Annett Ahrends & Henrik Lyding S iz e 25,5 cm x 22,0 cm Bi ndt ype Rubowbind med røde skindkanter, blå skindkapitælbånd, dekoreret overtrækspapir dekoreret med rød, grøn, gul og blå akrylfarve, grøn forsats. Titlen trykt i guld og rød folie. Materi al e r Rødt og blåt gedeskind (chargrain), hvidt og grønt papir, akryl farver, guld og rød folie Danish Rubow binding with red leather strips on the top and bottom edges of the boards, headbands in blue leather and decorated cover paper in red, green, yellow and blue acrylic colours. Green endpapers. Gold and red metallic blocked foil. M at e rial s red and blue goat leather (chargrain), white and green paper, acrylic colours, gold and red foil Ti tle Forfatt e r Beskri vel s e af b ogb ind e t “Farverne fra Harlekins dragt er brugt i dekoration af overtrækspapiret med inspiration fra fyrværkeriet i Tivoli.” Marianne Lund Petersen [email protected] T it l e Au t h ors T y p e of b ind ing De s c ript ion of t h e b ind ing “The colours of Harlequin’s costume inspired me, like a Tivoli firework.” Bogbi nder 44 Marianne Lund Petersen [email protected] B ook b ind e r selected and honoured book Nordic Bookbinding 2013 45 Johanna Röjgård Sjöberg Ti tle Dikter och prosa 1954-2004 Forfatt er Tomas Tranströmer St ørrels e 20,5 cm x 16,0 cm helskind med lav fals Kalveskind, papir = materiale fra et hvepsebo Bi ndt ype Materi al e r Beskri vel s e af b ogb ind e t “Helskind med dekoration af materiale fra hvepsebo fra Runmarö, hvor jeg bor. Runmarö, i Stockholms skærgård, er øen hvor Tomas Tranströmer bor om sommeren, og hvor mange af hans digte er fra. Tranströmer samlede biller på øen da han var barn, før musik og digtning blev hans liv, og han har nogle hvepse i sin samling. Tomas Tranströmer modtog Nobelprisen i litteratur i 2011.” Johanna Röjgård Sjöberg [email protected] www.rojgardbok.se Bogbi nder 46 sverige / sweden T it l e Dikter och prosa 1954-2004 Au t h or Tomas Tranströmer S iz e 20,5 cm x 16,0 cm T y p e of b ind ing full leather binding with open joint M at e rial s box calf leather, paper = material from a wasps nest De s c ript ion of t h e b ind ing “Leather binding with paper made by wasps from where I live in Runmarö. Runmarö, in the archipelago of Stockholm, is the island, where Tomas Tranströmer lives in the summertime and a lot of his poems are from here. Trantrömer collected beetles on the island, when he was a child, before music and writing became his life. His collection contains some wasps. Tomas Tranströmer was awarded with the Nobel Prize for Literature in 2011.” Johanna Röjgård Sjöberg [email protected] www.rojgardbok.se B ook b ind e r selected and honoured book Nordic Bookbinding 2013 47 Martin Trnka danmark / denmark Ti tle Corpus Corpus HC Ericson S iz e 36,0 cm x 18,7 cm T it l e Forfatt er HC Ericson St ørrels e 36,0 cm x 18,7 cm Au t h or lavfalset helbind i skind, “Angezest Deckle” Materi al e r orange gedeskind (chargrain), plexiglasperme og acetatfilms- løsryg, Indian Ink, grafit tillader, at man ser bogens konstruktion gennem “dekorationen”, dobbelt skindkapitæl, matteret tusch/grafitsnit, skindfalse. T y p e of b ind ing full leather, “Angezest Deckle” M at e rial s orange goat leather (chargrain), plexiglass, hollow spine of acetate film, Indian ink, graphite that allows you to see the construction through the “decoration”, double leather headbands, edges coloured with Indian ink in matt finish, inner joints of leather. Bi ndt ype Beskri ve l s e af b ogb ind e t “Indbinding og farvevalg tager direkte afsæt i bogens grafisk kraftfulde omslag. Stilen er respektfuldt overført til både indbindingsmetoden og bogdekorationen. HC Ericson har en livslang passion for bogstaverne i alfabetet samt afledte ord og sætninger. Han er optaget af, hvordan de kan præsenteres anderledes, hvad de i disse forskellige situationer kan formidle, samt hvad de eventuelt skjuler og lader op til os at afdække. Dette sidste er tilgodeset ved at lade hans initialer, og bogtitlen blive vinduer ind i selve bogens normalt gemte konstruktion.” Martin Trnka [email protected] Bogbi nde r De s c ript ion of t h e b ind ing “The binding and choice of colour is a direct consequence of the book covers strong graphical appearance. The style is respectfully carried over to encompass the binding method as well as the decoration. HC Ericson has a lifelong passion for the letters of the alphabet and subsequently words and sentences. He is deeply interested in how they can be presented alternatively, what they in these different situations can convey, and what they might hide and leave up to us to uncover. The latter is reflected by letting his initials, as well as the book title, become windows into the normally hidden construction of the bookbinding itself.” Martin Trnka [email protected] B ook b ind e r 48 selected and honoured book Nordic Bookbinding 2013 49 50 b binding 51 Traditionen holdes i hævd med feminint twist Håndbogbinderiet Co’libri i København er grundlagt af Ole Olsen i 1972. Værkstedet drives i dag af bogbinder Malene Lerager, der er udlært af Ole Olsen og deler sin læremesters respekt for håndværket og passion for skabelsesprocessen. M al ene L er age r fo r tæ lle r : Jeg nåede kun at være udlært i et halvt år, før jeg overtog værkstedet i 2009, da min mester, Ole Olsen, blev alvorligt syg. Det var selvfølgelig overvældende. På den anden side var det også fantastisk, at hans plan lykkedes. Ole nåede at få ro i sindet, inden han døde, fordi alt var overdraget. Jeg var jo allerede hjemmevant her, så jeg tænkte, at det nok skulle gå, for jeg var virkelig faldet fuldstændig for faget. Efterhånden fandt jeg ud af, hvor vigtigt det er, at alle processer spiller sammen. Ole havde en kæmpe erfaring og vidste præcis, hvordan hans arbejde fik flow og blev udført mest effektivt. Når jeg gør, som jeg har lært af Ole, så kører det bare, og det er en fantastisk oplevelse. D en dagl i ge gl æ d e v e d h å n dvæ r k e t Det er selve håndværket, jeg elsker, og det er min egen 52 bogbinder malene lerager passion og daglige glæde, jeg gerne vil give videre. Jeg ser ikke mig selv som designer eller opfinder. Der er selvfølgelig nogen, der foreslår, at jeg lige laver et iPad cover, men det er ikke det, jeg brænder for. Det er hele processen i skabelsen af en bog. Min fascination ligger i at behandle forskellige lækre materialer som gedeskind og hårdt bogbinderpap. Med mine hænder at skabe et smukt og funktionelt tredimensionelt bogværk. Jeg kan vildt godt lide at lave guldtryk, men jeg ville ikke undvære alt det andet, for det er også fantastisk at komponere bindet eller sidde en hel dag og skille bøger ad. Det er balancen mellem det traditionelle håndværk og det kreative, der er fed. Jeg er Kongelig Hofleverandør og har for nylig lavet et smykkeskrin til Kronprinsesse Mary for smykkedesigneren Marianne Dulong, en helt unik opgave, tilpasset P h otogr ap h y © S h az ia Kh an 53 bogbinder malene lerager et specielt projekt og en stor glæde for mig at udføre. Men til daglig laver jeg primært mere traditionelle opgaver på bestilling. Når jeg så en gang imellem skal lave et smykkeskrin eller et særligt bind, så er det nogle andre hjerneceller, der kommer i sving, og det elsker jeg. Men hvis det var mit daglige arbejde, ville jeg blive drænet. Flere måneder før bogen udkommer, sender jeg et nyhedsbrev ud, og så har medlemmerne en lille måned til at tilkendegive, om de er interesserede i bogen, så jeg kan nå at få den i løsark fra forlaget. Når bogen først går i trykken, er den nærmest falset og indbundet, for i dag er det jo én maskine, der laver det hele, så her er det industri og håndværk, der kæmper mod hinanden. B ogen s kal l i g g e g o dt i h å n d e n Hå n d- bo ld- hva d- fo r- n o get- bin der For at forstå, hvad den håndindbundne bog kan, skal man selvfølgelig prøve at have den i hånden. Vi har glemt, hvor vigtig følesansen er for fodringen af vores intellekt. Følesansen er en kæmpe gave, og det er netop det taktile, der gør, at jeg elsker mit arbejde. Bogen skal være lækker at røre ved, den skal være god at læse i og ikke klappe sammen, når man er godt i gang -- om det så er i sengen eller i øreklapstolen -- og så skal den selvfølgelig være smuk på hylden. Men jeg har også kunder, der kommer med en stak A4 sider, de selv har printet ud og insisterer på, at den skal indbindes i helskindsbind med guldtryk, og så gør jeg det, selvom æstetik og funktionalitet i det tilfælde ikke går op i en højere enhed. Jeg er meget social, selvom jeg står her på værkstedet og kukkelurer alene hver dag, så det er fedt, når folk stikker hovedet ind og er nysgerrige på, hvad jeg laver. Mange af kunderne kender jeg, fordi de er stamkunder, der synes, at det er hyggeligt at komme her. Det er både danskere, udlændinge og udenlandsdanskere. Heldigvis er jeg sådan en, der godt kan lide at tale med Gud og hvermand, så jeg kommer også rundt og møder mange forskellige mennesker. I starten blev jeg mødt med ’du er håndbold-hvad-for-noget-binder?’, men nu er omgangskredsen med på, hvad jeg laver, så det er blevet nemmere for mig at tale om mit fag. Det er en udfordring, at det er næsten umuligt at få nogen til at hjælpe med selve produktionen, når jeg har travlt. De skal ikke alene være bogbindere, de skal også være oplært her, for jeg gør jo ting på en anden måde end andre. For mig handler det om at bevare kvaliteten, i den måde jeg hæfter på, bygger en bogblok op på, og i det papir jeg bruger. Der skal selvfølgelig være nogen, der driver faget videre på den måde, og en gang i fremtiden skal jeg sikkert også have en lærling, for Co’libri er ikke noget, man bare lige går ind og tager over. B ogb i nd er klub fo r fe i n s c h m e c k e r e Bogbinderklubben er jo også et produkt af Ole, men jeg driver den videre på min egen måde. Tit udvælger jeg bøgerne til bogklubben med inspiration fra andre og får titlerne vurderet hos folk med litterær viden. Nogle som både kender til Co’libris profil og er med på, at jeg tager både helt ny litteratur, ikke nulevende forfattere, udenlandske værker og nyoversættelser af klassikere ind. Bogbinderklubben har i de senere år både lavet et dobbeltbind med Villy Sørensens Samlede Værker og Helle Helles Dette burde skrives i nutid, men også titler, som jeg bare synes er så interessante, at jeg er nødt til at tage dem, selvom de måske har et snævert publikum, som for eksempel Friedrich Hölderlins Hyperion med Per Kirkebys raderinger. (s. 58) Men det materiale jeg skal lave mine bogklubbøger på er desværre ikke længere af særlig god kvalitet. Det er en udfordring at arbejde med sådan nogle store 32 siders ark, som er lavet lynhurtigt på elendigt papir og få et lækkert produkt ud af det. Jeg håber derfor, at flere med tiden vil hive fat i det old school og lave super lækre bøger, så kvaliteten af det, jeg skal indbinde, bliver højere. Selve processen med en bogklubbog er meget lang. 54 bogbinder malene lerager Ma len e laver Ma len e- bø ger Man kan godt se forskel på en Ole-bog og en Malene-bog. Jeg har selvfølgelig min egen signatur på en eller anden måde, selvom jeg hele min læretid har forsøgt at efterligne det, Ole Olsen gjorde. Mine bind er lidt mere feminine, men jeg har ikke haft nogen ambitioner om at gøre det anderledes end Ole, da jeg synes, hans arbejder gav så god mening. Jeg ser sådan på det, at jeg i sin tid blev taget under Oles vinger, fordi han så noget i mig, og at jeg nu viderefører håndværkertraditionen og kulturarven, Oles gode håndværk og hans gode lune. Det ser jeg som en vigtig opgave, og hvis folk får den følelse af at komme herind i værkstedet og samtidig kan fornemme hele historien, så er det fint. Det er hele min ambition. P h otogr ap h y © S h az ia Kh an A t r a d i t i o n c o n t i n u e d … with a feminine twist Manual bookbinders Co’libri in Copenhagen were founded by Ole Olsen in 1972. Today, the workshop is run by bookbinder Malene Lerager, who was trained by Ole Olsen, and who shares her mentor’s respect for the craft and his passion for the creative process. M al ene L er ager says : I had only managed six months’ training before I took over the workshop in 2009, when my mentor, Ole Olsen, became seriously ill. It was, of course, overwhelming. On the other hand, it was also fantastic that his plans were working out. Ole achieved peace of mind before he died because everything he had done was taken up by someone else. Indeed, I was already at home here, so I believed that everything would work out fine, given that I had completely fallen for the discipline. I had gradually discovered how important it was that all the processes work together. Ole had considerable experience and knew precisely how his work should ‘flow’ bookbinder malene lerager 55 56 bogbinder malene lerager P h otogr ap h y © S h az ia Kh an 57 bookbinder malene lerager and how it should be carried out most efficiently. When I do as I was taught by Ole, everything runs smoothly and it is a wonderful experience. J ob sat i s fac t i o n fr o m c r a ft wo r k It is craftwork itself that I love and it is my own passion and the satisfaction I get from it that I wish to pass on. I do not see myself as a designer or inventor. There are of course some who asks if I would please just make an iPad cover, but that is not my passion. It is the whole process involved in the creation of a book. My fascination lies in working with a range of delightful materials such as goatskin and hard bookbinding material; to use my hands in the creation of beautiful and functional three-dimensional bookcraft. I love creating gold imprints, but I would not do without everything else, because it is also marvellous to construct bindings or to spend a whole day disassembling books. What is great is the balance between traditional craftwork and creativity. I have a Royal Warrant of Appointment to the Danish Court and have recently made a jewellery case for Crown Princess Mary on behalf of the jewellery designer Marianne Dulong – a totally unique assignment, customised for a special project and a great pleasure to undertake. However, on a daily basis I generally carry out more traditional assignments to order. So when I occasionally have a commission to make a jewellery case or a special binding, different brain cells come into play – and I love this. But if this constituted my regular work, I would be exhausted. T he bo o k mu st sit in the ha n d co mfo rta bly To understand the impact of a hand-bound book, it is of course necessary to take it in hand. We have forgotten how important the sense of touch is in feeding our intellect. The sense of touch is a great gift and it is exactly this tactility that I love about my work. The book should be delightful to the touch, it should be good to read and it should not fall to pieces when one is half-way through reading it – whether in bed or in an armchair – and it must of course look beautiful on the shelf. But I also have customers arriving with a stack of A4 pages which they have printed out themselves insisting that they should be bound in leather with gold print, and so I do this, even if the result does not form an aesthetical and functional synthesis. B o o k- bin din g clu b fo r co n n o isseu rs The book-binding club was another of Ole’s initiatives, Photograp hy © jens juul 58 bookbinder malene lerager P h otogr ap h y © martin Dau gaar d but I am taking it forward in my own way. I frequently choose books for the club with inspiration from others and get them evaluated by people with literary know ledge – people who are both aware of Co’libris profile and are supportive of the fact that I accept brand new literature, deceased writers, foreign works and newly-translated classics. In recent years, the book-binding club has created a twin-binding of Villy Sørensen’s Samlede Værker and Helle Helle’s Dette burde skrives i nutid, but also titles that I just think are so interesting that I simply decided to make them even though they might have a limited audience, such as Friedrich Hölderlin’s Hyperion featuring Per Kirkeby’s sketches. (p. 58) Unfortunately, however, the material with which I have to make my books for the book club is no longer of particularly good quality. It is quite a challenge to get a great product working with large sheets of poor-quality paper containing 32 pages made at lightning speed. I therefore hope that more people will, in time, take up the ‘old school’ methods and create beautiful books so that the quality of the material I have to bind will be improved. The process of producing a book club book is certainly extremely lengthy. Several months before the book is published, I send out a newsletter, giving the members just under a month to indicate whether they are interested in receiving the book so I can get the book in loose-leaf form from the publisher. When the book goes to press, it is almost seamed and bound, as today there is just one machine that does the whole job: here, industry and craftsmanship battle against each other. W h at ki nd of b in d e r ? I am very sociable, even though I stand here alone crouched over my work every day, so it is great when people pop in, curious to know what I’m doing. I know many of our customers, because they are regulars who think it is cosy to come here. Some are Danes, some are foreigners and some are immigrants. Fortunately, I am the type that enjoys talking to all and sundry, so I also get around to meeting many different people. In the beginning, I was met with bafflement: ‘What kind of binder did you say you are?’ Today these acquaintances are well aware of what I do, so it has become easier to talk about my profession. One major challenge is that it is almost impossible to get someone to help with the production process when I am busy. An assistant should not only be a bookbinder, but also be trained here, for I do things rather differently to others. For me it is all about maintaining quality in the way that I attach the pages together, the way I build up the textblock and in the quality of the paper I use. There must of course be someone to move the discipline forward in this way and at some point in the future I will also probably need an apprentice, because Co’libri is not just something that one can walk into and take over. Ma len e ma kes Ma len e bo o ks One can see the difference between an Ole book and a Malene book. Naturally, I have my own signature in one way or another, even though during the whole of my own apprenticeship I tried to copy whatever Ole Olsen did. My binding is a little more feminine, but I have had no ambition to do things differently to Ole, as I believe that his work made such perfect sense. I look at it in this way: I was taken under Ole’s wing during his time because he saw something in me, and I am now taking this craft tradition forward along with its cultural heritage and Ole’s craftsmanship and good humour. I see this as an important task, and if by visiting this workshop people get a sense of this and of its history, all well and good. That is my ambition. bookbinder malene lerager 59 Enestående opgaver ansporer til fornyelse Bogbindermester Lars Hedegaard har siden 1992 været manden bag Bogbinderiet Aarhus, der ad flere omgange er flyttet til større lokaler for at kunne følge med efterspørgslen. Indbindinger til biblioteker og arkiver veksler med specialindbindinger og konkurrenceprojekter, hvor hver enkelt bog er et lille kunstværk. L ar s H ed egaar d fo r tæ lle r : Det giver sig selv. Jeg er nødt til at nytænke for at finde nye kunder. Jeg har haft bogbinderi i 21 år og lagde ud med indbinding af bøger og tidsskrifter for biblioteker, advokater og private. Det er stadig kernen i mit og mine to ansattes arbejde, men alle steder er indbindingsbudgetterne skåret ned, og tingene bliver primært publiceret digitalt. Og folk tror jo, vi er døde for længst. Men i og med at jeg næsten er den eneste af min art i Jylland og har et meget stort netværk, får jeg en del opgaver på bøger og brochurer, som stadig skal laves i hånden. Jeg har desuden en stor digital trykmaskine, der laver fantastisk flotte print, som for eksempel er ideelle til arkitektfirmaer og designbureauers præsentationer. V er d ens st ør st e b o g Vi får heldigvis også en del enestående opgaver. Sidste 60 bogbinder lars hedegaard sommer færdiggjorde vi arbejdet med at indbinde et print af flere af ordbogen.coms digitale ordbøger i ét samlet værk. Det blev til næsten 90.000 sider og dermed verdens største bog. Det var en rigtig sjov og udfordrende opgave, der jo ikke mindede om noget, jeg har lavet tidligere. Vi var otte mand om at løfte bogblokken fra et bord til et andet. Bogen er næsten seks meter lang og vejer cirka 250 kg. Den er indbundet i lærredshelbind, da det er det eneste materiale, man kan få langt nok, og den er præget med guld. Værket er nu udstillet på ordbogen.coms kontor i Odense. (s. 61-62) No belprisvin der i lepo rello fo rmat Jeg har deltaget i konkurrencen om at indbinde en bog af årets Nobelprisvinder i litteratur. Konkurrencen har deltagere fra hele verden og er speciel, fordi man skal P h otogr ap h y © L ar s h e d e gaar d P h otogr ap h y © M i ch a el B rø sch indbinde et værk efter eget valg af en bestemt forfatter. I 2011 var det den svenske digter Tomas Tranströmer, der fik Nobelprisen i litteratur. Jeg valgte at indbinde en særlig håndsat og bogtrykt udgave af samlingen I Fängelse -- nio haikudikter, en ganske lille bog, der var udkommet som et fint lille hæfte. Jeg lavede en leporellobog med for- og bagsider i skind og bandt bogen sammen, så den godt kan læses, men også kan stilles op som et lille kunstværk. Omslaget er af kalveskind, forsats og overtræk til kassetten har jeg lavet selv. Min løsning blev udvalgt med hædrende omtale sammen med ni andre. (s. 65) Alle heste a f sta lden Jeg har i alt deltaget i fem konkurrencer i år og fået udvalgt værker i fire af dem. Yderligere havde jeg den bogbinder lars hedegaard 61 62 bogbinder lars hedegaard P h otogr ap h y © M ich ae l B r øs ch 63 bookbinder lars hedegaard store glæde at få Forening for Boghaandværks æresdiplom. Det ansporer mig selvfølgelig alt sammen til at videreudvikle min håndværksmæssige kunnen og deltage i nye konkurrencer, selvom jeg egentlig har alt for lidt tid til den slags. Den seneste bog færdiggjorde jeg klokken halv fem om morgenen den dag, jeg skulle sende den. Det kræver ret megen tid og ro at skabe noget, der er en lille smule anderledes. Alle heste kommer af stalden, og man skal yde det sublime. Jeg prøver at holde fast i at lave de specielle ting, fordi det nærer mig fagligt. At kaste mig ud i alle de spændende projekter holder mig i gang, så jeg ikke bare gror til. Til konkurrencen Society of Bookbinders i England har jeg i år indbundet Årets Ring af kunstneren og ornitologen Jens Gregersen og vundet en pris. Jeg har udført den som et skindbind med påsatte permer og søgt at skabe et gennemført og harmonisk udtryk, der både er klassisk og moderne. På forsatsen, i guldtryk på ryggen og i blindpræget på permerne har jeg gengivet Jens Gregersens vignet. D e l ev end e b og b i n d e r e s k lu b Jeg har en lille klub, hvor vi igennem mange år har mødtes hver uge for at eksperimentere og lave specielle bøger. Der får jeg inspiration, og der kan jeg udvikle og udfolde mit eget lille kunstnergen. Det er vigtigt for mig, fordi jeg har lavet rigtig mange bøger i rigtig lang tid og har brug for at udfordre mig selv og blive udfordret af andre. Danmark er jo et meget lille land. Vi ved, hvem der laver hvad. Derfor er det godt også at samarbejde med andre og komme ud og etablere internationale samarbejder. Jeg kunne selvfølgelig godt tænke mig at tage arbejdsfri i en periode for at lære nye teknikker i Schweiz, men det kan jo være vanskeligt at realisere. D en d i s kr et e da n s k e st i l Den specielle danske stil kan være meget enkel og diskret i forhold til andre lande i Europa, hvor bindene nogle gange kan virke meget overlæssede med masser af guldtryk. Det er måske derfor, at Millimeterbind er så populært her. En enkel indbindingstype, der består af en meget smal ryg og usynlige hjørner. Den er oprindelig dansk og opfundet i 40’erne, da man manglede materialer. De fleste bogbindere har et særkende, men det var tydeligere før i tiden, blandt andet fordi der var mange, og de lavede mange flere bøger. Nogle kan formodent lig genkende en Lars Hedegaard-bog. Jeg bruger ofte 64 bogbinder lars hedegaard asisged og en indbinding med skindryg og løse pero mer, men prøver hele tiden nye muligheder af. Skø n litterære yn dlin gsbø ger Det er ikke de private samleres indbindinger, jeg lever af, for det er endnu ikke lykkedes at få det gjort rigtig funky at samle på bøger. Det er p.t. en gammelmandssport, fordi det jo ikke har nogen synlig signalværdi at samle på håndindbundne bøger. Men det er alligevel her min egen passion ligger. Jeg kan godt lide at lave bøger af aktuelle skønlitterære forfattere, og det er der næsten ingen andre herhjemme, der gør. Jeg har for eksempel bundet mange af Svend Åge Madsens bøger ind, fordi han er en af mine favoritter. (s. 67) Jeg har mange yndlingsindbindinger, og der kommer jo hele tiden nye til. Mig skal intet fattes med Palle Nielsens små tegninger til Salmernes Bog er en af dem. Inspirationen til dette bind udsprang af en drøm. Det er altid hundrede procent mig selv, der beslutter, hvordan jeg skaber en af mine egne bøger. (s. 61) Et andet projekt, jeg har nydt at kaste mig over, er en bog med kunstneren Poul Pedersens Det Stjålne Alfabet, der består af 25 malerier med bogstaver, kopieret efter bogstaver fra kendte malerier. Malerierne er nu i Statsbibliotekets varetægt. Jeg har indbundet bogen i leporelloformat, og den kan blandt andet købes hos Bogbinderiet eller hos Vangsgaards i Aarhus. (s. 66) En n y gen eratio n ska l tage over I samarbejde med Det Kongelige Bibliotek er jeg ved at uddanne en bogbinder. Hun har været her hos mig halvdelen af sin læretid og er nu i bevaringsafdelingen på Det Kongelige Bibliotek. I et samarbejde med Teknisk Skole i København og Det Kongelige Bibliotek har vi lavet en ordning med et individuelt uddannelsesforløb. Vores lærling får på den måde sammenstykket sin uddannelse som bogbinder. Hun er den eneste lærling i Danmark i øjeblikket, men jeg håber jo på, at det kan føre flere med sig. Mit overordnede mål er at have noget arbejde og en løn, der er til at leve af, men jeg forventer ikke blive millionær. Jeg har stor glæde ved mit arbejde og ved ind imellem at skabe noget enestående. Der er stadig behov for det, vi bogbindere kan, og på længere sigt kunne det være fint at få en lærling, som kunne have lyst til at føre bogbinderiet videre, når jeg beslutter mig for at holde. Værkstedet her er specielt og forener fortid og nutid på smukkeste vis, synes jeg. P h otogr ap h y © L ar s h e d e gaar d Unique assignments lead to renewal Since 1992, bookbinder Lars Hedegaard has been the man behind Bogbinderiet Aarhus (Aarhus Bookbindery), which has relocated to larger premises on several occasions to keep pace with demand. From bindings for libraries and archives to special bindings and competition projects, every single book is a small work of art. L ar s H ed egaar d says : It goes without saying. I have to innovate to find new customers. I have had the bookbindery for 21 years and started out by binding books and periodicals for libraries, legal firms and private customers. This still forms the core of the work for myself and my two employees, but today budgets for binding are being cut everywhere and material is primarily published digitally. And, indeed, people believe that we perished a long time ago. bookbinder lars hedegaard 65 But, given that I am more-or-less one of a kind in Jutland and have an extensive network, I do get my fair share of assignments for books and brochures that still need to be made by hand. Moreover, I have a big digital printing machine that produces fantastically beautiful print, which is ideally suited to, for example, presentations on behalf of architectural firms or design bureaux. Th e wor l d ’ s b ig g e st b o o k Fortunately, we also receive a number of unique assignments. Last summer we completed the work to bind a print of several of ordbog.com’s digital dictionaries in one collected work. This amounted to almost 90,000 pages and was, as such, the world’s biggest book. It was great fun and a challenging task that reminded me of absolutely nothing I had done before. It took eight of us to carry the textblock from one table to another. The book is almost six metres long, weighs around 250kg and is bound in a single textile bind, as this is the only material that can be stretched far enough, and it is embossed with gold. The work is now on display at ordbogen.com’s office in Odense. (p. 61, 62) No bel P riz e win n er in the lepo rello fo rmat Photo graphy © Lars hedegaard I have taken part in a competition to bind a book written by the year’s Nobel Prize winner in Literature. The competition attracts participants from all over the world and is special because you get to bind a work according to your own design by a particular writer. In 2011, the Nobel Prize winner was the Swedish poet Tomas Tranströmer. I chose to bind a special handblock printed edition of the collection entitled I Fängelse -- nio haikudikter (published in English as Prison), a rather small piece that had been published as a fine little booklet. I made a leporello book with leather front and back covers, binding the book in such a way that it can be read easily, but can also be set up as a small work of art. The jacket is made of calfskin, while I made the endsheet and the cover for the cassette myself. My work received an commendation along with nine others. (p. 65) All the wea po n s in the a rmo u ry I have participated in a total of five competitions this year and had works selected in four of them. I was also delighted to receive an honorary diploma from the Danish Book Craft Society. This of course encourages me all the more to develop my craftsmanship further and participate in new competitions, even though I have far too little time for such things. I completed my latest book at 4:30 am on the morning it was due to be submitted. It requires a great deal of time and mental calmness to create something that is a bit different. I use all the weapons in my armoury to produce the most sublime result. I try to stick to such special pieces, because they nourish me from a professional point of view. To throw myself into all these exciting projects keeps me going, ensuring that I do not simply suffocate. For the competition held by the Society of Bookbinders in England this year, I won a prize for my binding of Årets Ring by artist and ornithologist Jens Gregersen. For this I made a leather binding with covers attached and tried to create a holistic and harmonious look that is both classic and modern. On the inside cover, in gold print on the spine and for the inlay on the covers, I reproduced Jens Gregersen’s vignette. 66 bookbinder lars hedegaard T h e l i v i ng b ook b i n d e r s c lu b T h e d i s c r et e Da n i s h st y le The special Danish style can be extremely simple and discrete compared to that of other European countries, where bindings can sometimes seem to be greatly overburdened with gold print. This is perhaps why Millimeter binding, a simple kind of binding consisting of a very narrow spine and invisible corners, is so popular here. This form of binding was originally Danish and invented in the 1940s, when materials were in short supply. Most bookbinders have a hallmark, but this was most apparent in the past, not least because there were many more of them making many more books. Some might perhaps recognise a Lars Hedegaard book. I often use goatskin and a binding with a leather spine and hollow front and back covers, but am always trying out new possibilities. Favour i t e f i c t i o n a l b o o ks I do not make my living from binding private collections, as it has not yet become truly funky to collect books. For the time being, it is an old man’s sport because, after all, to collect hand-bound books does not visibly indicate any attractive values. Yet it is here that my own passion lies anyway. I enjoy making books by current fiction writers and almost no-one else in Denmark does this. I have, for example, bound many of Svend Åge Madsen’s books because he is one of my favourites. (p. 67) And I have many favourite bindings, and others are being added all the time. Mig skal intet fattes (I Shall not Want), with Palle Nielsen’s small drawings accompany- P h otogr ap h y © L ar s h e d e gaar d I have a little club where, for many years, we have met on a weekly basis to experiment and make special books. I am gaining inspiration there and the place enables my artistic gene to develop and unfold. It is important for me because I have made very many books over a very long period of time and need to challenge myself and to be challenged by others. Denmark is a very small country. We know who does what. It is therefore good to collaborate with others and indeed to get out and establish international collaborative projects. I could certainly imagine myself taking some time off work to learn new techniques in Switzerland, but such a plan can be difficult indeed to put into operation. ing verses from the Book of Psalms, is one of them. My inspiration for this binding sprang from a dream. It is always one hundred per cent myself that decides how I create one of my own books. (p. 61) Another project I have enjoyed throwing myself into is a book with artist Poul Pedersen’s Det Stjålne Alfabet (The Stolen Alphabet), which consists of 25 paintings with alphabetic characters, copied from alphabetic characters in famous paintings. The paintings are now in the care of the National Library. The book, which I bound in the leporello format, can be purchased from Bogbinderiet Aarhus or Vangsgaards in Aarhus. (p. 66) A n ew gen eratio n mu st ta ke over I am about to take on a trainee bookbinder in collaboration with the Royal Library. She has been with me for half of her training period and is now at the conservation department at the Royal Library. Working alongside the Technical School in Copenhagen and the Royal Library, we have created a system for an individual training program. In this way, our trainee will receive a comprehensive education as a bookbinder. She is the only trainee in Denmark at the moment, although I hope that others will be able to follow in her footsteps. My overall objective is to have some work and a salary sufficient to live from, but I don’t expect to be a millionaire. I take great satisfaction from my work and from creating something unique from time to time. There is still a need for the things we bookbinders can do and in the long term it would be nice to have a trainee with the desire to take the bookbindery forward when I decide to stop. The workshop is special and, in my view, unites past and present in the most exquisite way. bookbinder lars hedegaard 67 Boghåndværk integreres i andre designdiscipliner Et tværkulturelt bogprojekt, et studieophold i Wien med udforskning af avancerede bogbindingstekniker og et afgangsprojekt om bogens væsen har givet designeren Selma Lamai en forkærlighed for boghåndværk, som afspejles i alt, hvad hun laver. S el m a L am ai f o r tæ lle r : Mit første møde med den håndindbundne bog var som studerende på Visuel Kommunikation på Danmarks Designskole i projektet Global Book Bounce. Vi samarbejdede med en skole i Sydkina om parvis at udvikle en bog på tværs af fag og på tværs af jordkloden. Jeg arbejdede på at skabe en bog ud fra nogle givne temaer og byttede så midtvejs med en kinesisk studerende. Jeg overtog en halv bog med løse ark for resten. Siderne bestod af meget fine udskæringer i tematiske scenografier, som foldede sig tredimensionelt ud, når man åbnede bogen. Tilgangen til bogen var meget disciplineret og må have været enormt tidskrævende. Jeg arbejdede videre med de foldede sider og med en instruktion i, hvordan man skulle gå om bord i bogen. Jeg tilføjede en pandelygte, fordi jeg syntes, det var meget spændende med den der forgrund og baggrund, og så 68 designer selma lamai lavede jeg nogle polaroidbilleder af, hvordan man skulle tage pandelygten på, slukke lyset, bladre i bogen og lyse gennem udskæringerne i siderne. Min makker lavede samtidig en fortsættelse af mit værk og skabte noget, som var meget mere umiddelbart, humoristisk og løssluppent, end den bog hun selv havde påbegyndt. Projektet fik os begge til at komme steder hen, vi ikke havde været med vores egne projekter, og for mig var det anslaget til at komme i gang med boghåndværk. Syv meter la n g Lepo rello Et udvekslingsophold på Universität für angewandte Kunst i Wien gav mig mulighed for at afprøve de lidt mere avancerede bogbindingsteknikker. Mit ærinde var at fortolke det visuelle udtryk i Wiener Werkstätte-be- P h otogr ap h y © J onas B ie vægelsen gennem en tøjkollektion. Dokumentationen af processen var en del af slutproduktet og spændte fra tekstilprint og tilskæring til bogbinding, bundet sammen af en grafisk rød tråd. Jeg lavede tekstilbøger med labels inspireret af den måde, man arkiverede arbejdsprocesser på i Wiener Werkstätte-bevægelsen og skabte en syv meter lang Leporello, som viste den omstændelige og tidskrævende proces. Fi l er f år i kke æ s e lø r e r Efter erfaringerne fra Wien var det naturligt, at mit afgangsprojekt blev en undersøgelse af den fysiske bogs kvaliteter, menneskets forhold til den og den tilstand vi kommer i, når vi sidder med en bog. Mit indtryk var helt klart, at vi slet ikke er på vej imod et papirløst samfund, trods den heftige udvikling af den digitale bog, men at vi har to retninger, der udvikler sig parallelt. Jeg synes, at det er fantastisk med alt det, der sker teknologisk, men en bogsamling kan have en kæmpe affektionsværdi som en samling minder, man ikke kan lagre på samme måde på en harddisk. Filer bliver jo ikke gullige, får æselører eller har en række navne på første opslag, som minder en om noget eller nogen, man måske slet ikke kender og kan gøre sig forestillinger om. Men den digitale udvikling stiller nogle krav til den fysiske bog, og en masse overflødigt bliver renset væk. 69 P h otogr ap h y © S e lma L amai Knaldromanerne i paperback med lillebitte skrift er måske ikke noget, man fremover vil bruge penge og plads på. Dem kan man læse på sin tablet, mens de bøger man vælger at investere i og bevare, skal give en oplevelse af det taktile, papirkvalitet, tryk og indbinding. Man skal kunne mærke, at der er tænkt over iscenesættelsen af indholdet og bogens udtryk. Sø ren Kierkegaa rd i n y in dpa kn in g Som en del af mit afgangsprojekt indbandt jeg Søren Kierkegaards samlede værker, der i min undersøgelse blev omtalt som noget af det mest centrale i folks bogsamlinger. Men værkerne var kedeligt udformet med ens blå covere. Der er jo sådan en varme fra en væg fyldt med bøger, og man føler sig godt tilpas, når man er i selskab med dem, men her var en modsætning mellem den ydre fremtoning af Kierkegaards værker, og den betydning teksterne har, så det besluttede jeg at gøre noget ved. Jeg valgte et naturkalveskind til indbindingen, så indpakningen bedre kunne afspejle indholdet. Kalveskind bliver påvirket af tid og lys, og allerede efter halvandet år har de ændret karakter. Bindet er egentlig kraftigere, end det en bogbinder ville vælge, så min mangel på en ordentlig faguddannelse og optimisme om, hvad der kunne lade sig gøre, var nok en fordel. Da jeg begyndte at læse mere indgående på lektien, fandt jeg et sted, hvor Kierkegaard som barn har udtalt, at hvis han skulle vælge at være et redskab, så skulle det være en gaffel, fordi han så kunne gafle maden fra sine ældre søskende eller lige stikke dem, hvis de drillede. Så jeg indgraverede en sølvgaffel med en indbydende form hen over bogryggene, så bøgerne blev forskellige fra hinanden, og det ikke kun var et tal, der viste, hvilken rækkefølge, de skulle stå i. Jeg graverede skindet med en laser cutter i stedet for at lave præg, så på den måde fik jeg inddraget noget temmelig high tech i processen. Faget bu rde være tilgæn geligt fo r flere Jeg møder mange i mit miljø, der er interesserede i at integrere boghåndværket i andre discipliner, så jeg ville ønske, at faget blev mere tilgængeligt. Jeg har fået mange forespørgsler om, hvor og hvordan jeg har lært det jeg kan. På Konservatorskolen i København står der et fuldstændig fantastisk værksted. Jeg ville have været på en lyserød sky, hvis jeg havde haft adgang til det i min studietid, men jeg anede ikke, at det eksisterede. Jeg 70 designer selma lamai mener derfor, at man skal være meget bedre til at bygge bro mellem de kreative uddannelser. Tas kekol l ekt i o n m e d m a r m o r e r e t fo r Jeg har lige designet en taskekollektion for Adax. Ideen til foret udspringer af mønsteret på traditionelt marmoreret papir. Taskerne har et temmelig enkelt ydre, men indeni er der en såkaldt rapport af marmoreringer, som er en klar reference til bogbinderfaget. Marmoreringen er scannet ind og lagt i seks forskellige farvefelter, valgt tilfældigt til hver taske. Der er ikke to tasker, der er ens. Taskeprojektet er et eksempel på, hvordan man kan bruge bogbindertraditionen i nye kontekster. Jeg opfatter ikke mig selv som bogbinder, men som sådan en nørd, der bare har en kæmpe forkærlighed for håndværket og for at kombinere materialer af forskellig karakter -- papir, tekstil og skind -- med håndværksmæssige teknikker. Jeg har altid boghåndværkerfaget baghovedet, uanset om jeg arbejder som art director eller tekstildesigner. Det er en vigtig del af min faglige identitet. Bookcraft integrated into other design disciplines A cross-cultural book project, a study trip to Vienna researching advanced bookbinding techniques and a final-year student project on the nature of the book have given the designer Selma Lamai a penchant for bookcraft which is reflected in everything she does. S el m a L am ai says : My first encounter with the hand-bound book was as a student of Visual Communication involved in the Global Book Bounce project at Denmark’s Design School. In collaboration with a school in Southern China, we worked in pairs to develop a book transcending disciplines and transcending the globe. I worked to create a book based on a few given themes and then swapped with a Chinese student half-way through. I received in return half a book, with the remainder being loose sheets. The pages consisted of very fine carvings in thematic set designs, which unfolded three-dimensionally when the book was opened. The approach to the book was extremely disciplined and must have been enormously time-consuming. I continued to work on the folded pages and the instructions as to how to use the book. I added a lamp, because I thought it was very exciting with such a foreground and background, and then I took some polaroid pictures of how to turn the lamp on, turn it off again, browse through the book and shine the light through the carvings on the pages. Meanwhile, my friend had taken up my work and created something that was much more immediate, humorous and comic than the book she herself had designer selma lamai 71 P h otogr ap h y © N ilas and e r s e n started. The project led us to places neither of us had been able to reach with our own works and provided the inspiration for me to take up bookcraft. Seven - metre- lo n g Lepo rello A student exchange trip to Universität für angewandte Kunst in Vienna gave me the opportunity to try out rather more advanced bookbinding techniques. My task was to interpret the visual expression of the Wiener Werkstätte movement by means of a clothing collection. The final product had to include the documentation of this process, and ranged from textile printing and cutting to bookbinding, connected by a graphic leitmotif. I made textile books with labels in- 72 designer selma lamai spired the working processes as recorded by the Wiener Werkstätte movement and created a seven-metre-long Leporello, revealing the laborious and time-consuming process. Fi l es d o not ge t d o g - e a r e d Following my Vienna experience, it was natural that my final-year project should be a study of the qualities of the physical book, the relationship of people to it, and the condition we find ourselves in when we sit with a book. My clear impression was that we are by no means heading towards a paperless society, despite the rapid development of the digital book, but that we are moving in two directions which are evolving in parallel. I think that all the technological developments are fantastic, but a book collection can have tremendous sentimental value as a collection of memories that cannot be stored in the same way on a hard disc. Files certainly do not become yellowed, get dog-eared or give you a list of names on the opening page, reminding you of something, or someone you maybe don’t know at all and can work into your imagination. But digital developments are placing demands on the physical book, and a great deal of superficiality is being washed away. Thrillers in paperback with tiny print are perhaps not something we will continue to use our time and space on. They can be read on a tablet, while the books that we choose to invest in and to preserve will have to provide a sense of their tactility, of the quality of their paper, print and binding. We will want to feel that some thought has gone into the staging of book’s content and to its voice. Sør en K i er kegaa r d i n n e w pac kag i n g As part of my final-year project, I bound Søren Kierke gaard’s collected works, which, according to my research, are regarded as among the most important in many people’s book collections. However, the works have a boring design with uniform blue covers. Sure, there is a certain warmth to a wall full of books and one feels comfortable in their company, but here was a contrast between the outward appearance of Kierkegaard’s works and the importance of the texts themselves, so I decided to do something about it. I chose natural calf leather for the binding so that the packaging could better reflect the content. Calfskin is affected by light and the passage of time and within just six months, its character had changed. The binding is actually stronger than anything a bookbinder would use, so my lack of professional training, combined with my optimism as to what could be achieved, was probably to my advantage. Having carried out a little more research, I discovered the fact that, as a child, Kierkegaard said that if he could have chosen to be an implement he would have chosen a fork because he could then have scooped food from his older siblings, or simply poked them if they teased him. So I engraved an attractive silver fork on the spines of the books, so they could be distinguished from each other and it would not only be numbers that would show which order they should be in. I engraved the skin with a laser cutter instead of embossing it, hence making use of some pretty hi-tech tools in the process. A su bject that sho u ld be accessible to mo re peo ple I meet many people in my milieu who are interested in integrating bookcraft with other disciplines, so I would like the subject to be more accessible. I have received many enquiries about where I have learned the things I can do. At the School of Conservation in Copenhagen there is an absolutely fantastic workshop. I would have been floating on air if I had had access to this place during my course, but I did not know of its existence. I therefore believe that we should be much better at building bridges between different fields of creative education. Ha n dbag co llectio n with ma rbled lin in g I have just designed a bag collection for Adax. The idea for the lining emerged from the patterns on traditional marbled paper. The bags have a relatively simple exterior, but inside is a repeat of marbling, a clear reference to the bookbinding craft. The marbling is scanned and layered in six different colour fields, chosen randomly for each back. No two bags are alike. The bag project is an example of how the bookbinding tradition can be used in new contexts. I do not regard myself as a bookbinder, but as the type of nerd who simply has a great passion for craft and of combining materials of different qualities – paper, textile and leather – using craft techniques. I always have the art of bookcraft in the back of my mind, whether I am working as an art director or as a textile designer. It is an important part of my professional identity. designer selma lamai 73 b book No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Iben Andersen Copenhagen, Denmark [email protected] T i tle: Mesteren og Margarita Ty p e o f bi n d i n g: open joint Ma teri a ls : goat leather (oasis) and paper decorated with acrylic colours Elisabet Arnadóttir Reykjavik, Iceland [email protected] T i tl e : Brennu-Njáls saga Ty p e o f b i n d i n g : closed joint M at e r i a l s : grey leather (catfish), grey covers and grey leather headbands (catfish) 76 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Hans Becker Växjö, Sweden [email protected] www.becker-ab.se T i tle: Lagerlöf studier 1958 Ty p e o f bi n d i n g : closed joint Ma teri a ls : green leather and printed textile on the covers Peter Becker Växjö, Sweden [email protected] www.becker-ab.se T i tl e : Från Bismarck till tredje världskriget Ty p e o f b i n d i n g : full leather M a t e r i a l s : Leather, paper and printed endpaper 77 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Anni Bentsen Gentofte, Denmark [email protected] T i tle: Fabula Ty p e o f bi n d i n g : full leather Ma teri a ls : leather, painted leather and leather decoration Mona Bergman Härnösand, Sweden [email protected] T i tl e : Hemslöjd i Sverige Typ e o f b i n d i n g : open joint M at e r i a l s : black leather (reindeer), red woolen fabric and wool yarn for the handmade bookmark and headbands 78 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Tone Goborg Kolbotn, Norway [email protected] www.bokstaven.net T i tle: Terve Vigen Ty p e o f bi n d i n g : “Tounge’n slot” with leather and paper collage, transfer of photocopy on the leather, handmade headbands and coloured edges Ma teri a ls : leather, handmade paper, marbled paper and small bits of fishing equipment Mihiro Burman Årsta, Sweden [email protected] www.burmanform.com T i t l e : A BE SE Ty p e o f b i n d i n g : single section M a t e r i a l s : black textile and cardboard 79 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Lisa Birgitta Bøthun Tønsberg, Norway [email protected] www.bokverkstedet.no T i tle: Frank Brunner – Malerier Ty p e o f bi n d i n g : full parchment, open joint Ma teri a ls : parchment, red parchment strips, red silk and paste marbled endpapers Lena Debove Stockholm, Sweden [email protected] T i t l e : Familjen bra Ty p e o f b i n d i n g : open joint M a t e r i a l s : leather and decorated paper 80 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Martin Degn Pedersen Skanderborg, Denmark [email protected] www.mdp.dk T i tle: Japanske Klip Ty p e o f bi n d i n g : new oriental binding (Falzbuch) Ma teri a ls : paper, goat leather in black and red, decorated paper and gold metallic blocked foil Ingeir Djurvik Stavanger, Norway [email protected] T i t l e : The Collected Stories Typ e o f b i n d i n g : full leather, closed joint M a t e r i a l s : goat leather, acrylic paint, paper, silk tread for handmade headbands and blind tooling 81 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Eva M. Eriksson [email protected] www.malmonyabokbinderi.com T i tle: Sticka Ty p e o f bi n d i n g: “quadruplets” Ma teri a ls : leather and decorated paper Christina Finnberg Malmö, Sweden [email protected] T i tle : Den Uopslidelige Søren Kierkegaard Ty p e o f b i n d i n g : full leather, open joint M a t e r i a l s : paper, leather and blind tooling 82 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Guðlaug Friðriksdóttir Mos, Iceland [email protected] www.boklist.is T i tle: Innreið Nútímans Ty p e o f bi n d i n g: Danish Rubow binding Ma teri a ls : leather and handmade paper Birna Geirfinnsðóttir Reykjavik, Iceland [email protected] www.birnageirfinns.com T i tl e : Hávamál Ty p e o f b i n d i n g : full paper, open joint M at e r i a l s : handmade decorated Indian paper, coloured edges and handmade headbands 83 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Lone Gertz Klampenborg, Denmark [email protected] T i tle: Dansk Overtrækspapir Ty p e o f bi n d i n g: full paper, open joint Ma teri a ls : paper and small pieces of decorated cover paper Mari Thørud Granmorken Ottestad, Norway [email protected] T i tl e : Hoel – en storgård på Hedmarken Typ e o f b i n d i n g : open joint M a t e r i a l s : black textile (buchram) and decorated metal covers 84 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Kristin Thora Guðbjartsdóttir Reykjavik, Iceland [email protected] T i tle: My family Ty p e o f bi n d i n g : concertina style Ma teri a ls : textile, decorated paper and handmade paper Páll Halldórsson Kópavogur, Iceland [email protected] T i tle : Njáls saga Ty p e o f b i n d i n g : full leather, closed joint M a t e r i a l s : brown and black goat leather 85 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Gert Hansen Kongens Lyngby, Denmark [email protected] www.ghgcph.dk T i tle: Familiealbum, portrætter fra Ungeren Ty p e o f bi n d i n g : coptic binding Ma teri a ls : blue plexiglass and black tread Juhani Harviainen Sysmä, Finland [email protected] www.artnikkari.com T i tl e : Ivan Denisovitšin päivä Ty p e o f b i n d i n g : full leather, Italian techniquee M a t e r i a l s : leather and paper 86 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Shemah Hassan Märsta, Sweden [email protected] T i tle: Dikter och Prosa Ty p e o f bi n d i n g: full leather, French technique Ma teri a ls : goat leather (oasis), golden headbands, gold and platinum tooling Jens Hinborg Hemmingsen Herfølge, Denmark [email protected] T i tl e : Slavernes Øer Ty p e o f b i n d i n g : closed joint, Italian technique M a t e r i a l s : leather and cover paper dyed with batik technique 87 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Pe r -A n d e r s H ü b n e r Halmstad, Sweden [email protected] www.hubnerbokform.se T i tle: Stormen Ty p e o f bi n d i n g: full leather, closed joint Ma teri a ls : dark green goat leather (chargrain), paper, silk and suede Eggert Isolfsson Reykjavik, Iceland [email protected] www.steinegg.is/bokband T i tl e : Optical Illusions Ty p e of b i nd i ng : full leather, closed joint M a t e r i a l s : leather (oasis) and transparent parchment 88 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Hanne Jensen Copenhagen, Denmark [email protected] www.bogbind.nu T i tle: Worstward Ho Ty p e o f bi n d i n g: open joint, front edges covered with leather strips Ma teri a ls : black leather (oasis), cover paper made by Jakob Lund, black leather headbands and silver metallic blocked foil Hilður JÓnsdóttir Reykjavik, Iceland [email protected] T i t l e : Nordæla Typ e o f b i n d i n g : open joint M a t e r i a l s : leather, marbled paper, leather headbands and pink metallic blocked foil 89 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Sóleyg Kjæbæk Kollafjørður, Faroe Islands [email protected] www.flb.fo T i tle: Bábelstornið Ty p e o f bi n d i n g : open joint Ma teri a ls : leather, marbled paper and gold metallic blocked foil Peter Kronborg Herlev, Denmark [email protected] T i tl e : Kassoq – Blå is – Blue ice Ty p e o f b i n d i n g : full paper, open joint M at e r i a l s : white paper, tipped on leather corners and blue metallic blocked foil 90 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Tuula Kähkönen Savonlinna, Finland [email protected] www.taidekirjansitomo.com T i tle: African Safari Living Ty p e o f bi n d i n g : box book Ma teri a ls : canvas textile dyed with batik technique, handmade paper, brown paper, leather and brass Klara Kölqvist Copenhagen, Denmark [email protected] www.klarak.dk T i tl e : Dansk porno Ty p e o f b i n d i n g : full canvas, open joint M a t e r i a l s : textile with leopard spots, top edge in gold and red suede 91 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Anne-Mette Lehrskov-Schmidt Tæbring, Denmark [email protected] www.amlehrskov.dk T i tle: Tykke damer i en fedtfattig fitnesstid Ty p e o f bi n d i n g : pages on a cord Ma teri a ls : cardboard, paint and cord Lisbeth Lund London, United Kingdom [email protected] www.lisbethlund.com T i tl e : En mindebog Ty p e o f b i n d i n g : full leather, closed joint with onlay and inlay M a t e r i a l s : leather, silk tread and decorated endpapers 92 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Elina Lundahl Narva, Finland [email protected] www.veterok.net T i tle: Rewound Ty p e o f bi n d i n g: palm leaf structure Ma teri a ls : flax paper, water colours, birch twigs, linen tread, cotton tread, dyed gauze, Indian ink and white pencil Dalia López Madrona Lerberget, Sweden [email protected] T i tl e : Bogbinderen Ole Olsen, hans håndværk og Co’libri Ty p e of b i n d i n g : full leather, French technique M a t e r i a l s : leather and hand made paper 93 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Hanne Mahler Risskov, Denmark [email protected] T i tle: Sælsomme Fortællinger, Sælkvinden og Gråling Ty p e o f bi n d i n g: half leather, open joint Ma teri a ls : leather, fur, stone, handmade paper from lyme grass, sand and cotton Inger Mønster Marker Herstedvester, Denmark [email protected] www.bogform-ingerm.dk T i tl e : Gejrfuglen Ty p e o f b i n d i n g : full cloth, open joint M a t e r i a l s : decorated textile, hand made headbands and turquoise metallic blocked foil 94 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Sandra Merten Leksand, Sweden [email protected] T i tle: Dikter om ljus och mörker Ty p e o f bi n d i n g : Danish millimeter Ma teri a ls : black leather, marbled paper, leather headbands and grey metallic blocked foil Julia Mordvinova Hafrsfjord, Norway [email protected] www.juliam.no T i t l e : De Gyldne Mytene fra Antikkens Hellas Ty p e o f b i n d i n g : full leather, closed joint M at e r i a l s : leather, brass, paper (Somerseth velvet black) and silk fabric 95 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Hannah Morrissey Farsta, Sweden [email protected] T i tle: Minnena Ser Mig Ty p e o f bi n d i n g : Danish Rubow Ma teri a ls : white decorated paper and green leather Ditte Højgaard Nielsen Klippinge, Denmark [email protected] T i tle : Leopardernes hus Ty p e o f b i n d i n g : half leather, open joint M a t e r i a l s : leather and decorated fabric 96 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Åsa Norén-Pettersson Karlstad, Sweden [email protected] T i tle: 1880-tal i nordiskt måleri Ty p e o f bi n d i n g: full patchwork Ma teri a ls : textile Bargello Quilts Soffia G. Olafsdóttir Reykjavik, Island [email protected] T i tl e : Vefnaður Ty p e o f b i n d i n g : full leather, closed joint M a t e r i a l s : goat leather, blind tooling 97 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Anna-Karin Oleschak [email protected] www.oleschak.se T i tle: Sagor Ty p e o f bi n d i n g : full leather, closed joint Ma teri a ls : green leather (oasis), decorated with white and blue leather, hand made headbands and gold metallic blocked foil Hanne O’Rouke Dublin, Ireland [email protected] T i tle : Complete Nonsense Ty p e o f b i n d i n g : full leather, closed joint M a t e r i a l s : blue leather, small bits of leather in different colours and paper 98 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Janine Pope Towcester, United Kingdom [email protected] T i tle: I Was Just Thinking Ty p e o f bi n d i n g: concertina style binding Ma teri a ls : paper stitch fabric Einar Sveinn Ragnarsson Reykjavik, Island [email protected] T i t l e: Jór Ty p e o f b i n d i n g : full leather, closed joint M a t e r i a l s : leather, horsehair, paper and gilt edge 99 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Tarja Rajakangas Sastamala, Finland [email protected] www.kirjartar.fi T i tle: All Nordens Lyrik Ty p e o f bi n d i n g: long stitch Ma teri a ls : translucent reindeer parchment, hand printed paper, cotton and silver embroidery thread and PVC Sari Randén Espoo, Finland [email protected] T i tl e : Väinö Hämäläinen Ty p e o f b i n d i n g : full leather, closed joint M a t e r i a l s : brown reindeer leather, paper and blind tooling 100 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Peter Reinhardt Humlebæk, Denmark [email protected] T i tle: Lykkelige Christoffer Ty p e o f bi n d i n g : closed joint, Italian technique Ma teri a ls : goat leather (oasis) and decorated cover paper Maarit Salonen Turku, Finland [email protected] T i tl e : The Secret Code Ty p e o f b i n d i n g : long stitch M a t e r i a l s : transparent paper 101 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Sven Seger Esbo, Finland [email protected] T i tle: Dagmar, Prinsessa av Danmark, Kejsarinna av Ryssland Ty p e o f bi n d i n g: half leather, open joint Ma teri a ls : black leather, red velvet, headbands and bookmark Torbjörn Segner Lund, Sweden [email protected] T i t l e : Mejan Ty p e o f b i n d i n g : full leather, closed joint M at e r i a l s : grey goat leather, silk tread and endpapers (elefantenhaut) 102 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Helga Sigurðardóttir Kópavogur, Iceland [email protected] T i tle: Ný Kvæðabók Ty p e o f bi n d i n g: open joint Ma teri a ls : spotted catfish, paste marbled paper and handmade leather headbands Stefán Jón Sigurðasson Island [email protected] T i tl e : Vísabókin Ty p e o f b i n d i n g : Danish Rubow binding M a t e r i a l s : red goat leather, marbled paper and silk tread 103 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Karl Sjöblom Stjärnsund, Sweden [email protected] T i tle: Skinn över sten Ty p e o f bi n d i n g : full paper, open joint Ma teri a ls : marbled paper Rudolf Sommer Espoo, Finland [email protected] T i t l e : Mikael Akricolan teosten painoasu ja kuvitus Typ e o f b i n d i n g : full leather, closed joint, spine with raised bands M a t e r i a l s : brown goat leather (oasis) and paper 104 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Arne Stephansen Sorø, Denmark [email protected] T i tle: Kejseren af Portugalien Ty p e o f bi n d i n g : full textile, open joint Ma teri a ls : decorated textile Kristine Novika Svensson Härnösand, Sweden [email protected] T i tl e : Jag brinner Ty p e o f b i n d i n g : long stitch M a t e r i a l s : red tread, textile and paper 105 No r dic B o o k bin di ng 2013 o t h e r s u b m i s s i o n s Ruhi Tyson Bromma, Sweden [email protected] T i tle: Hafis Ty p e o f bi n d i n g: full leather, closed joint Ma teri a ls : leather, gold, silk tread and decorated paper Jette Vilstrup Charlottenlund, Denmark [email protected] T i tle : Den dobbelte lykke Ty p e of b i nd i n g : full textile, open joint M a t e r i a l s : textile, different colours and paper 106 N ord ic B ook b ind ing 2 01 3 o t h e r s u b m i s s i o n s Mira Ylönen Helsinki, Finland [email protected] T i tle: Ne tulevat takaisin Ty p e o f bi n d i n g : long stitch Ma teri a ls : parchment, cotton yarn and recycled year rings Jakob H. Zeuthen Haslev, Denmark [email protected] T i tl e : Kejseren af Portugalien Ty p e o f b i n d i n g : half leather, open joint M at e r i a l s : leather, cotton fabric paper dyed with batik technique and handmade headbands 107 108 b binding 109 110 dansk rubowbind Dansk Rubowbind Danish Rubow binding Rubowbindet blev opfundet i Danmark i 1940’erne i en tid, hvor man søgte at skabe et moderne bogbind med et enkelt design. Selve skindet er mindre betydningsfuldt end på de ældre bindtyper, fordi man kun ser 1-2 mm af det på bindets permkanter, hvor det udgør en slidstærk skinne. Det vigtige er papiret, der dekoreres og fuldstændig bestemmer bogens udtryk. Rubowbind egner sig især til tyndere og mindre bøger, da papiret skal kunne nå rundt om bindet i ét stykke. Bag fremstillingen ligger et tidskrævende forarbejde, teknisk kunnen og stor akkuratesse. Billedserien viser bogbinder Marianne Lund Petersens arbejde med indbindingen af Hamlet’s Castle and Shakespeare’s Elsinore. For at illustrere det dramatiske, royale og Kronborgs placering tæt ved vandet er valgt et kongeblåt papir med guldstøv, sorte stænk og et irgrønt topsnit. Rubow binding was invented in Denmark at a time when attempts were being made to create a modern form of bookbinding with a simple design. The skin itself is less important than is the case for older types of binding, because only 1-2mm of it can be seen on the covers of the binding where it forms a durable edge. What is important is the decorative paper, which is decisive in determining the book’s character. Rubow binding is particularly well-suited to thinner and smaller books as the paper must be capable of encompassing the binding in one single piece. The product requires time-consuming preparatory work, technical skills and great accuracy. The pictures show bookbinder Marianne Lund Petersen’s work with the binding of Hamlet’s Castle and Shakespeare’s Elsinore. To capture the drama of Kronborg Castle, its royal character and its placement close to the water, a royal blue paper has been chosen, with gold dust, a sprinkling of black and a green copper top edge. danish rubow binding 111 112 dansk rubowbind danish rubow binding 113 114 dansk rubowbind danish rubow binding 115 116 dansk rubowbind danish rubow binding 117 118 dansk rubowbind danish rubow binding 119 120 dansk rubowbind danish rubow binding 121 f orsats topsni t / en d p a p er / top edge b ogb lok ka pitæ l bå n d / tex tblo c k / headband ov e rt ræ k Ryg / spine fals 122 ordforklaring / jo i n t p e rm / c o ver / c o ver m a teri a l Ordforklaring titel, eller dekoration, trykt direkte på materialet med varmt værktøj uden nogen form for guld eller farve. Blin dt ry k en slags skulder, der er banket på bogblokkens ryg svarende til permens tykkelse. Fa l s det farvede materiale man bruger til at trykke titler med. Kap itæ l b ånd et falset ark papir, der sidder forrest og bagerst i bogen, hvor det ene blad er klæbet fast på indersiden af permen. Ov e rt ræ k Foli e Forsats det farvede bånd, der sidder øverst og nederst ved bogryggen. materiale der klæbes på for-og bagsiden af permerne. P e rm bindets for- og bagside. helbind i kalveskind efter speciel fransk teknik. Fransk Bradel uld vasket i for varmt vand. F ilte t Glossary the title, or decorative feature, impressed directly into the surface with heated tools without any form of gold or colouration. Blin d to o l in g a groove hammered into the body of the book’s spine corresponding to the thickness of the cover. J o in t F e lte d wo o l wool washed the pigmented material used to imprint titles. Foi l a folded sheet of paper at the front and back of the book such that one leaf is adhered to the inside of the cover. Endpaper a full leather binding in calfskin using a special French technique. French Bradel the pigmented strip that is adhered to the top and bottom of the book’s spine. H e adband the material applied to the front and back covers of the book. Cov e r mat e rial the protective cover at the front and back of the book. Cov e r in hot water. g lo ss a ry 123 Bindtyper er uden pap og bindet kan være af karton, pergament eller kraftigt papir. L av fal s e t b ind på bogblokken er banket en fals og permerne er påsat uden mellemrum mellem ryg og perm. Oprindelig lavet med lyst, ufarvet fåreskind, der lignede italiensk (“vælsk”) pergament. L æ rre ds b ind Blødt bi nd Dybfalset vælskbi nd ryg og hjørner kan være af skind, lærred etc. Som overtræk på permerne sættes et stykke dekoreret papir eller lærred i en passende farve i et andet materiale end ryg og hjørner. Halvbi nd materialet dækker hele bogen og er lavet i ét materiale, der for eksempel kan være skind, pergament, lærred, eller papir. har en synlig fals på ydersiden af bindet. Forekommer både i hel- og halvbind. lærredet dækker hele bindet og er slået ind over alle permkanter. ryggen er af skind og rygmaterialet går 1 mm ind på permkanterne. Der kan påsættes overtræksmateriale af papir, lærred osv. på permerne. Hjørnerne er næsten skjult af overtrækspapiret. Millimeterbindet forekommer dog både med og uden skjulte hjørner. Bindtypen er opfundet i Danmark i 1940’ere af bogbinderen Henrik Park. M il l ime t e rb ind Helbi nd 124 bindtyper papiret dækker hele bindet og er slået ind over alle permkanter. Pap irb ind papirbind med “åben ryg”, permerne er af tyndt pap eller sammenklæbede papirlag med synlig hæftning, der indgår som dekoration af bogen. s kal b ind R u b owb ind , et helbind i papir, hvor skindstrimler er påsat på begge permkanter samt over ryggen øverst og nederst. Bindtypen er opfundet i Danmark i 1940’erne af kunsthistoriker Jørn Rubow og bogbinder Henrik Park. Types of bindings is without board and can be made from thin cardboard, parchment or heavy paper. L im p bin din g C lose d jo in t bindi ng (Italian tecnique) a groove is hammered into the textblock and the covers are attached without any space between the spine and cover. Originally constructed from pale, non-dyed sheepskin resembling Italian (“vælsk”) parchment. spine and c orners can be made of leather, textile etc. A sheet of decorated paper or textilein a matching colour, but made of a different material to the spine and corners, overlays the covers. Ha lf bin din g the material covers the whole book and is made of a single material, which can be, for example, leather, parchment, textile or paper. F ul l le athe r bindi ng has a visible hinge (a groove enabling the book to be opened and closed) on the outer side of the binding. Found in both full and half bindings. Op en joi nt bi ndi ng the textile covers the entire case and envelops all the edges of the covers. Texti le bi ndi ng the spine is made of leather and is worked 1mm into the covers. The covers themselves can be overlaid with material such as paper, textile etc. The corners are almost hidden by this overlaid material. However, millimetre binding occurs both with and without hidden corners. This type of binding was invented in Denmark in the 1940s by bookbinder Henrik Park. Mi lli meter bi ndi ng paper covers the whole binding and envelops all the edges of the covers. Pap e r b ind ing Pap e r b ind ing wit h op e n the covers are made of thin cardboard or sheets of paper overlaying each other with a visible stitching on the spine that constitutes the book’s decoration. s p ine a full binding in paper in which leather strips are attached to both front and back covers as well as over the top and bottom of the spine. This type of binding was invented in Denmark in the 1940s by art historian Jørn Rubow and bookbinder Henrik Park. R u b ow b ind ing Types of bindings 125 Thank you Denmark: Dronning Margrethes og Prins Henriks Fond, De Grafiske Fags Legatfond, Den Ingwersenske Fond, Det Kongelige Bibliotek, Frimodt-Heineke Fonden, Grafisk Almenvelgørende Fond, Paula og Axel Nissens Legat Nordic fundations: Letterstedska Föreningen, Nordisk Grafisk Union Faroe Island: Bókadeild Føroya Lærarafelags, Føroyaprent, Mentanargrunnur Landsins, Starvmannafelagið, Tórshavnar kommuna Norway: Grafisk Utdanningsfond Nordic Bookbinding 2013 organizing committee Marianne Lund Petersen, Maria Lundén, Pia Jønsson, Henning Mortensen and Peter Reinhardt Editors Pia Jønsson, Maria Lundén, Marianne Lund Petersen Project management graphic Design Maria Lundén Grafisk Design Pia Jønsson, metafor Text English Translation Photography Typeface Printing Åse Bergqvist, Bok & Box, Sweden Enigma & Gotham Narayana Press, Denmark bookbinder Paper Culturebites and Janine Pope, United Kingdom Annemette Kuhlmann Bo o ks, Maria Lundén D ani sh Rubo w bi ndi ng cover marble paper Jysk Bogbind K/S, Holstebro Arctic Matt 150 g & Arctic Volume White 300 g Copies ISBN Marianne Lund Petersen 2.500 978-87-7023-118-3 Published by the Association of Danish Designer Bookbinders in collaboration with the Royal Library, Copenhagen 126 127 128
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