Friday, 30 October 2009

Finally¡ A decorated papers guide.

**************************

Susanne Krause is one of the paper decorators,
the technique she uses is paste papers,
more known nowadays.

I have obtained a photo of her in the fair of bookbinding of Cologne,
where she was with her papers
and with her books.

Because Susanne is versatile,she does not limit herself to paint papers,
but also she writes and publish her own books.

One of Susanne's phrases that more attracted my attention
was that one in which she mentions that
every generation loses some secret of some technique of paper decoration.
With every master who disappears
it disappears also some formidable trick that only he knew.

That's why it is so important not only to maintain the production of decorated papers,
but to spread the decorative techniques with teaching and, why not,
with the publication of works that are
the archive that we bequeath to future generations.



Susanne's first book, in collaboration with Ilona Hesse,
was a small review of the different paper decoration techniques:
On handmade decorated papers (ISBN 9783938423158),
with two editions, the first one in 2000 and the second one in 2007.



The second one a specific work on her technique:
More on paste papers (ISBN 3-938423-07-2),
published on 2005.



The third one, in 2007,
International decorated papers: beyond the sample book
(ISBN 9783938423202).
A luxurious compilation with original samples of 25 international artists.



And the fourth one …
...the fourth one is the one that I want to present to you now
and the reason of this article.

Susanne's last book,
newly published
was presented in the past Frankfurt bookfair,
a couple of weeks ago.

Decorated paper: a guide book. (ISBN 978-3-938423-17-2)


Under this simple title appears a fundamental book
for the recognition and appreciation of decorated papers,
of its diverse achievement techniques,
traditional ones and modern ones are included,
and of its designs.


The decorative techniques are not described
but the question is to recognize to which of them must belong
the paper that is possessed which could be identified
with this valuable help.

It is a field guide.

Just as a butterfly is seen in the field
and it’s made the research to identify its specie
with the help of a lepidopterous’ guide,
a decorated paper appears in the endleaves of a book,
or in another place,
that will be identified
with Susanne's new book.




The descriptions are simple and clear
and the illustrations, 113 full colored,
come from the funds of the collection of decorated papers
of the Royal Library of The Hague;
of the German Museum of the Book and Writing (Leipzig);
of the Library of the princess Ann Amalia (Weimar)
and of private collections
and artists.

The text appears in three languages:
German, Dutch and English
and was written by specialists of the mentioned institutions:
Henk Porck, Julia Rinck, Frieder Schmidt and Ida Schrijver.

Any more guarantees cannot be asked.

Nothing more than to wish an enormous success to this publication
that confirms the great interest that exists at present in this topic.

A work that should be present in any library,
private or public.

I hope that soon there could be the second edition,
with even more illustrations...

... and with the text also in Spanish,
something really easy to solve.

Sunday, 18 October 2009

The world's most expensive book.

*****************

Some time ago I asked you to send to me photos of your works with my papers,
and there have just come to me some of them:
a wonderful work that hides a sad story.



The authors of this binding are a craftsmen's couple
living in a famous Spanish city,
one of those four or five that were more
of what they are today.


They have a small and beautiful workshop,

with a wall covered with old brick,

that enhance moreover their work.


They live of an ancient craft.

They make folders, books, diaries, agendas,

all kind of stationery objects.


Only with his hands

and with a very few things more:

paintbrushes, glue, paper, pasteboard...


They make all these objects during the year

and then they recover the investment

and slightly more to keep on living,

in the traditional Craft’s Fair

that is celebrated in its city,

as in so many others of Spain,

during Christmas.


They are doing this for years,

but every time

it is necessary to present a representative work of what they do,

and wait for the admission

and the places' draw.


This year they presented the book that you have seen,

which they protected with a coordinated box.



I love it because I know the good taste that they have,

and because I'm very proud that they were choosing one of my papers

to make this "piece".



I am sure they are artists.

Perhaps his hands, could be her inspiration.


Look at the wide band of red cloth of the box.


It is in one of the sides of the case...

... but not in the other.

Why?

Very easy.

There was no paper for any more.

Although they did not say this to me, I am sure.



So much,
as that the way of solving the problem
was a brilliant idea.

It happens many times...

the weakest point turns

into the most elegant detail.



You still ask where the sad story is
.


The sad story is that they could not enter the Fair,

because the admission jury stated that...

... this book with his box is not a "craft" work.


Can you can understand this?...

No.

Certainly not.

You think the same than me.

There is no justice.

***

The craftsmen of this history, which only,

and neither more nor less than craftsmen it is what they are,

they have to look now for another city that receives them,

and where its bread could be gained.


In the following photo you can see one of its folders,

and a good heap of the agendas

that provides its sustenance.



I wish them to find soon the solution to its quandary.

Very happy will be the inhabitants of the city that admits them,

because they will be able to enjoy the objects of its craft.



But, if any thing twists
,

and bad destiny appears,

these craftsmen will have to close its workshop.


And its book and box,

the work that they presented as

the better one that could go out of its hands,

will have turned for them into


THE WORLD'S MOST EXPENSIVE BOOK.


Thursday, 15 October 2009

For Diane Maurer, the origin of the universe.

****************************************

A very simple idea:
to throw only one drop of ox gall in the center of a tray full of colors and...
see what happens.

The drop is transformed, stretches up and down, and the result, frankly,
is not especially attractive.



But after doing the previous paper, I remembered at once the book of Diane Maurer:


(ISBN: 0823055752 / 0-8230-5575-2)
It is a fabulous book on marbling and its diverse techniques and also a guide for the achievement of diverse patterns. It is very much known in the United States, but also here, a student took it to one of my classes and asked me if it knew it.

Yes, of course, and not only I knew it, but, I must confess it and ask for excuses to Diane, for whom I wait that she should not bother for what I am going to say, I was distributing to my pupils photocopies of two pages that have me fascinated since I saw them.

Diane tells there how to turn a round drop of paint into diverse figures.
A butterfly, a fish, a hummingbird, stars and plants.
Step by step, like a cooking recipe.

I do not dare to repeat here my misconduct, but I include a sample so that you see of what I am speaking of.



This is what I wanted to do.
To throw a few drops of paint and to turn them into stars.
But with my ox gall instead of black.
I proposed myself to repeat all the forms that were appearing on these two pages and then to show them to Diane.

The star was not very complicated to make.


**



But when I tried the fish... what a pity.
The fact is that these things do not go out for me even with the drawing ahead.



What it went out for me looks like a stuck-up beetle.
An armoured monster.
Anything, except a fish.




You can laugh. It was what I did.
And also, after my "fish" I abandoned my photocopies.

But I kept on doing. Marbling is addictive. One cannot stop.
And better that one cannot stop, because far away from the diagrams,
figures began to appear.

A few variations on the spiral movement.






Up to arrive to something similar to a sun emerging from a blue horizon.




Of course, I went crazy with the spirals.


**

**


**

I couldn’t stop doing them until galaxies were appearing.

Big ones...






... little ones...


... or doubles.

**

Now it was to my taste.
As a "fish" in the water.

I then tried with the typical concentric circles of the marbling "test".

My wife calls this paper "the kiss", she will know why.


**

Spirals also can be done with this technique.

**

But, when one get a move on, everything is possible.
I tried with my trees, my version of the "Art Nouveau " design, now different.

**


**

And, making experiments, a tree and a spiral.


I am interested in the ox gall, I like playing with it.
It was necessary to try to paint the background that fascinates me in white,
because it could be that a soft background will heightening the figures.





Yes, it is like the magma where life floats.
Amoebae and protozoan.
Natural sciences of primary school. Almost I do not even remember.


**

As everything goes and comes, I kept on painting strange figures.


**



Combining the first model with which I began this text with figures in its interior...



... I realized how could be the origin of the universe...



... everything was born from floating colors...



... !marbling is the origin of the universe¡




Wednesday, 14 October 2009

For Joan Ajala, the modification of a design.

***************

Joan Ajala is an Australian companion, and only for her, I would like that Australia was closer to Spain, so that I could treat her in person and talk with her for a long time.

When I presented my version of the “Art Nouveau” design, which seems to be originally a German design of the thirties of the XXth century, Joan said to me:
- Very nice paper, but: what is it for?

Here again, I add the photo of the original design and one of my first versions, so you can see the matter of the question.





I did not realize it at first, so I answered her that I was painting papers for binding and that it would be the bookbinder who should decide how to cut the paper.

Then it was when she attacked thoroughly. Have you studied design?, she asked me again, and recommended to me the reading of this book.



- No, I did not study design.
And that by mixing blue and yellow one obtains green
is something that I learned yesterday, more or less.
There are certain things, I believe, that came or not came, and it is not necessary to think more.

- Then, you guide yourself by inspiration: truth?

- Certainly, and for the steadfastness on work.

- It is not enough, it is necessary to know where one goes. It is necessary to study.

I applied myself with the book and saw the big reason that she had.
If I wanted that the paper was used in bookbinding the design should be functional.
I had to keep on working and transform it,
adapt it so that the person who was going to use it could use it evenly,
I should not hope that another inspiration,
this time that one of the bookbinder,
will guid his hand to cut the paper properly.

So I transformed it. In the following photos you can see the results.
Models thought to obtain two similar end leaves;






or four, which are more convenient for small formats.







I could marble also branches in black, and add colors to the feathers.


Mercedes, my wife, gave me the tip on the original model:

- It is a double paper.

- Yes, it is a double paper,
on a drop background there is placed the branch,
which must be made itself isolated,
in a second marbling of the same paper.





But I like my own version, more easily to make for me.
The most similar thing to the original would be this.
Black branch and red feathers.
But with my combs.
Always with my combs.





The last thing has been to paint papers coordinated with the Art Nouveau paper.
Because: what happen if someone wants to make a box for the book?






You had great reason Joan,
it is necessary to do things the best that one could,
and to study design is never wasted time.

Thank you very much for the advice, for your friendship.

Saturday, 26 September 2009

Don Antolín Palomino Olalla centenary.

****************************************************************************

This September we celebrate the centenary of the birth of the great bookbinder

Don Antolín Palomino Olalla.

He was one of the best bookbinders of our most recent past,
it will be enough with one of his works to be able to appreciate his virtuosity.

Book of hours or "Missale"


I met Don Antolín in his last years, which he spent in the security of his flaming workshop in the Handmade Printing of the Town hall of Madrid.

In a visit to him he presented to me his autobiography with a dedication that I have
recorded in my brain for more than twenty years,
hoping that some day should be fulfilled.



"To Antonio Vélez, great lover of the book and of the bookbinding, that with his firmness will become a great master. With affection of his good friend… Antolín Palomino"


The master enjoyed showing his irons and his works to anyone who asked for it.



Don Antolín enjoyed.
Enjoyed his work and enjoyed life.
He did not stop doing it for one moment.

I have preferred to include here this caricature rather than any photo,
because it is a portrait of his soul more faithful than any camera might take.



His cigarets, his works
and his satisfaction for living,
for living as a bookbinder.…
or simply for breathing.


Wheat

Don Antolín painted papers.
Double reason to celebrate.
But, curious thing, he did not like exhibiting him in the making.
He hid himself behind a door that was carefully closed
and worked almost in darkness without allowing anybody to discover his secret.


Platero and Me

He painted paste papers.
According to what dictated to him his heart...
or the angels
as was believed by another great bookbinder, Don Emilio Brugalla, his friend.



Tulips


¡Wow! A great bookbinder, one of the best, being a painter.
He could not do any more than art works,
without remedy,
his expert hand would not consent any less.


Roses


They say that Don Antolín was presenting his papers,
that he was presenting them without hesitation,
I wasn’t one of the lucky ones.

I cannot even realize how finished the request of one of
the more well-known international collectors, Tatiana Schmoller,
who wrote to him !in spanish! on February 24, 1973:

"Distinguido señor: soy coleccionista de papeles y estoy admirada de uno suyo.
(...) Espero su envío y Ud. pone el precio que quiera.

Salúdale con mucho agradecimiento...
Tatiana Schmoller"


"Distinguished Sir: I am a paper collector and I admire one of yours. (...) I wait for your mailing and you put the price that you want. I greet you with very much gratitude. Tatiana Schmoller"


Stubble


When I read the titles with which he baptized them
I know that Don Antolín was very proud of them,
that they were a very special present which he was giving to his most close friends.


Bullring


Contemplate them carefully.
Am I right or not?



The scholars to the violet


Each one is a work of art.



Valencian garden


Sea froth


The jungle’s book


The Greco


Cemetery


Lands of Castile


Forest


He was painting also marbled papers,
in his book “My painted papers”
he calls them “under the water”,
and although he does not describe his technique
he attributes to himself a special procedure that only he knows …

another one of his jokes.


Harlequins


A wonder of binding,
an artist of decorated papers and…
a great pleasure seeker.


All this was Don Antolín. And he continues being.
Because if life is a dream, how does not be death a dream?
The person who is remembered is still alive.
This centenary of the birth of Don Antolín
it’s a good occasion to know more of his work
and of his personality full of joviality and delight.


And to be with him another moment and to drink for life.
This way he will always continue with us.


¡To your health, master!


*********

His books:
-Autobiografía, conocimientos y recuerdos sobre el arte de la encuadernación. Madrid,1986, Imprenta Artesanal del Ayuntamiento de Madrid.
- Mis papeles pintados. Madrid, 1990, Artes Gráficas Municipales.

To know more:
Aitor Quinney: Antolín Palomino Olalla, en el centenario de su nacimiento. Una semblanza biográfica al desuso. Encuadernación de Arte, Núm. 33, Madrid, 2009, AFEDA.

Rights:
All the images proceed from the
Town hall of Madrid. Government Area of The Arts. Handmade printing.

The Missale, the dedication and the caricature belong to the book "Autobiography..." just as the letter of Mrs. Schmoller; the papers to "My painted papers"; and the photos of the irons belong to the records of the Handmade Printing, that conserve complete the collection of the master.
My gratitude to the Town hall of Madrid for giving permission for the publication on this page.

***********************************************************************************

Thursday, 24 September 2009

Biennial world cup of art bookbinding at Saint-Rémy-lès-Chreveuses. 1: The spanish participation.

*********************************************************************

The tenth biennial world cup of binding of Art at Saint-Rémy-lès-Chevreuse has had an excellent Spanish participation. 33 books, these are my accounts, of a whole of 353, almost 10 % of the presented bindings. But also they have gathered two awards, which speak by themselves of the quality of our representation.

The first award inter-schools, was granted to six bindings of the school of Beatriz Moreno.







And the second award of the General Council of Yvelines, granted toFrancisca Consuegra Ortega.




Perhaps the authors of these bookbindings might like to see how they were exhibited, in the center of the room, in upholstered tables, along with the rest of prize-winning bookbindings, which are shown in:



The rest of the Spanish participation was exhibited in two shelves that I show next, an exhibition of good taste and exceptional technical details.


























Checking the catalog and comparing it with the pictures that I took I saw that five bookbindings were missed, they undoubtedly were exhibited very close, but my chronic absent-mindedness prevented me from photographing them. With the help of photoshop I completed the collection of the Spanish participation, and added entire a bookbinding that only by half I took with my camera.


We must understand this competition as a bookbinding’s feast, as says Mrs. Périssaguet, head of the biennial, in the catalog, nothing we know of the technical capacities or merely economic ones of every participant, of his possibilities. That's why each one of these bookbindings is a pleasure for the person who realized it, for having taken part; and a pleasure for the person who contemplates it, that verifies every day the absence of limits in bookbinding.

My congratulations to all the participants, and my best desires for this feast to be reproduced each time with better success.


Biennial world cup of art bookbinding at Saint-Rémy-lès-Chreveuses. 2: Dulce María Luna and her beginners.

************************************************************************


Dulce María Luna is a well-known Mexican binder rewarded in one of the previous editions of the biennial. This year she also presented her work, a decoration based on the masks of the Greek theater, that one which smiles and the one that frowns, although she only exhibits, always, the first one of these faces.



She takes time developing a fantastic project to bring the binding over to the young people. In only one hour she is capable of achieving than up to fifty! 50¡, young people to complete a small agenda: their first bookbinding. At this tenth biennial she has been working with several groups of pleased youngsters.


When they come they will find everything prepared, a little "kit" will lead Dulce, always with her smile, to help them up to turning it into a beautiful book.



The first thing is to paint a few endleaves to adorn the interior. It is the first thing, because while they bind the book it passes the precise time to dry these papers.





The bookbinding "really" begins soon, with Dulce stand in a chair giving the explanations that must be followed with attention by the beginners.


It is necessary to be applied in the work.


Both girls and boys.




To arrive at the end to be all able to pose happy with their completed works.




There is not only a beautiful project what realizes Dulce with her children, because in addition to a few first basic bookbinding notions, she teaches them the love of working with their hands and the love for a well made work. Then it will come the time to begin the work so that they could open their books and read what it is written inside. It is the first step, complementary to many other first steps that must happen, to get that these children turn into intelligent persons and lovers of their fellows.

The love to the book is the love to many loves. The one who teaches this deserves everything our respect, admiration and help.

With a sweet smile, Dulce teaches bookbinding; a thousand smiles would I wish that bookbinding returns to her.

Biennial world cup of art bookbinding at Saint-Rémy-lès-Chreveuses. 3: Paper decorators.

******************************************************************


When we open an ancient book the most frequent thing is that find it adorned with decorated papers as endleaves. Several different techniques were used to realize them, but there is something common to all of them: we do not know who his makers were, except in any exceptional cases.

Today everything changes quickly. We know the name of every artist who makes also decorated papers for bookbinding...

and we can even know them personally.

In the list of links on the left you can meet many of them, less than I should want, because I would like to have a link of all of them. But you must look up to find his photo, and some of them do not have it.
In the biennial, I could take these photos of the paper decorators who embellished the exhibitors' lounge that was celebrated owing to this occasion.




Brigitte Chardome,

you can admire her work in

http://www.nith-haya.be/vault/bchardome/index.html


Brigitte has developed a new technique for paper decoration, her turpentine papers have the whole delight that she possesses herself.




Marie-Anne Hamaide,

one of the marbled paper decorators more acquaintances in France,

http://mahamaide.blogspot.com/




Katalyn Perry, established in France and married with a Frenchman but Hungarian from Budapest, as my much loved Josef Halfer.

The silk work of Katalyn is...

! there are no words to describe it¡

http://www.katalinperry.com/




And Marie Pignon, the newest face, because she has just begin her journey.

http://www.becherel-autour-du-livre.com/pages/Atelier_du_TEMPS_COMPTE-1017472.html

! Good luck, Marie¡


They are some visible faces of paper decoration at present. With luck I will be able to add more, I hope that I could add all.

I already said that it is a miracle to know only the name of the ancient paper decorators, and simply impossibly to meet them. But, with these photos, my admiration and respect goes for all of them. Without his work there might not be paper decoration at present. And without the work of people shown in this comment, as well as all other who devote themselves to this work, these techniques would not have any future as they are displaced today by the industrial production.


Fortunately we have the art work.

! Because we will always be able to hang on our home one of these wonderful papers¡




Sunday, 30 August 2009

A conservation case from Mexico.

*******************************

There is very good to say goodbye to the holidays with a desire made reality.

I wanted to be able to share some photos of binding works using my papers, and I asked for them privately to a pair of friends.

These are the first ones. Diana sent them to me, from Mexico. A beautiful conservation box thought by her and Tania who was who realized it.



Case, box and book...

... and later, six more images of the box.









Thank you very much, Diana and Tania, I really love your work.

And, if you allow me, I want use this entry to request to everyone who want it, to send to me photos of his work. I would like very much being able to publish them and share with everybody the enjoyment that bookbinding provides to me.


Thursday, 30 July 2009

Paste papers and young people.

*****************************




Before August starts I want to remember a “little workshop” on paste papers that I did at the end of June in a bookstore specialized in infantile and juvenile topics “Kirikú and the witch”, in Madrid, on number 17, Rafael Salazar Alonso street.

Here Olga Espartero and Lourdes Sobrino teach every Saturday an introductory course on bookbinding, helping with this activity to develop the children’s imagination and its love and appreciation for the book. They invited me to do a workshop one of these Saturdays, and we think about the last one of the course to celebrate somehow his end with colors’ games. I chose the technique of paste papers, because it does not need so many means as marbling and because, as they say... it is a children's game.

I knew that it is not so since I learned to paint these papers with Susanne Krause, perhaps the best teacher of this technique that can be found today in the world; certainly, she teaches with so much professionalism and rigor that the less one can think is that it’s a technique as complicated and fantastic as any other one could be. But going to the matter: they say that it’s a children's game, and although I am sure it isn’t, I was thinking that perhaps it was the more indicated technique to spend a pair of hours "playing" at painting papers. Paste papers. I didn’t know where I was coming…


The arrangements are not great, but people always look with expectancy.

My first intention was, naturally, to teach how to make some models which my students could adapt to its binding projects.


One of the typical rhomboid designs of this technique.

They followed me a little bit… at first. They learned to dye the paste, to extend it on a dampened paper, to draw with combs of diverse materials...



The principal thing on paste papers is that designs are not obtained adding painting with brushes or paintbrushes, but"taken it away" of the paper. With anything, fortune instruments, a sponge, clothing tweezers, the handle of a brush, or the fingers of the artist…

...and here finished the “academic” education because...

...when I said this Gonzalo went red in his face...

... and rapidly he interpreted "fingers" as "hands"...

... to end it up by trying... with his nose.


They all followed Gonzalo’s lead, and I devoted myself to admire the wastefulness of creativity of the group.





The effect was contagious equally on parents...





We all learned and enjoyed. Young people remained well satisfied with its paste papers that they will use next year in one of its books...



...or: perhaps its satisfaction was because the course was finishing?...

...Yes, for sure it was because they were beginning its holidays.