Sorry about the lack of posts lately, but there just isn't much to say about binding once you're into it, until you can say Done. And it's taking longer than I'd wanted, which means I don't have time to trawl around for interesting post content. Up there's a picture of how the bench looks today, and below are some recent experiments for the paper to be used binding the Collector's edition (which I hope to start next week, which means I have to finish the Deluxe ones this week...). Hope someone out there's having fun.
p.s. Harold, Jane & Brad will be performing Aurora Teardrops at Harrison House in Joshua Tree on October 29!
Churning through binding copies of Aurora Teardrops, despite constant distractions around here (the most recent, & most distracting of all, is shown at bottom; wasn't my idea). It's a little difficult to get a photo that shows off the interplay of the Deluxe binding's acrylic boards and the vellum prints beneath, but here are a couple of attempts.
Despite being a basic case binding, there are some fussy aspects that have made the first few copies slow work. It's all to do with how acrylic boards are attached to the Japanese paper spine, and then how the textblock is attached to the case (since there isn't a traditional pastedown). Everything hinges on the hinge.
Although I won't be doing the Collector's copies until after the Deluxe, I did one up just to ensure my plan was correct. The cover paper is Guarro laid decorated with a sort-of "direct marbling" technique: a sheet is soaked in water, and then oil paint is dripped on to the surface, diffusing above the water. The sheet is dried, soaked again, and a second application (different color) is added, and then again for a third color. Thus, each copy will be cased in a unique sheet.
Each of the Deluxe copies includes an original watercolor frontis by Jane Maru (with a sewn-in tissue guard). The frontis in the Collector's copies will be one of the two cover prints used in the Deluxe copies (i.e. either the front or rear print, it'll be a coin toss which you get).
The copies shown here haven't had their spine labels added yet. Also, the Deluxe copy will be protected in a slipcase covered in a lovely green Guarro sheet. The first batch should be going out by the end of this week.
AND ANOTHER THING
HM's new VP Security & Assoc. Dir. Fun. (Nothing's worse than when you have to hire family...)
Today I picked up what I'm calling the limitation page for the deluxe copies of Aurora Teardrops, from calligrapher Martin Jackson. (This page appears at the front of the book, stating the edition size & the copy's letter within the edition, above the signatures of Harold Budd, Jane Maru & David Sylvian. There also is a colophon, at the back of the book, with the usual details about printing, materials, etc.) Martin is THE calligrapher in western Canada, has been for ages. He previously helped HM on the deluxe copies of Good & Evil in the Garden (he did the titles on the spines of the 10 vellum-bound deluxe copies), and also on Charles van Sandwyk's The Mouse & The Lizard (titles and initial letters). The scope and depth of his talent are incredible, plus he's a prince of a guy. Having him edition the deluxe copies of Aurora Teardrops is just the finishing touch they needed.
It's Labor Day, I shouldn't have to be posting. But here are two things...
The HM studio isn't the only magical place in this neighborhood: a sign found on a new building a few blocks down the street...
Went for a walk in a nearby (non-magical) neighborhood, found this outside someone's house. A perfectly good, working rock, just being given away.
Come back tomorrow, I'll have something kool from Aurora Teardrops to show.
Labels: Cool stuff