OPEN • SET Competition Winners

Nearly two years ago, I blogged excitedly about the announcement of OPEN • SET, a new international bookbinding competition.

Lots of bookbinding-related things happened between then and now: auctions, competitions, exhibitions, book fairs, awards, and even a few blogs posts. All that time, I was eagerly awaiting the results of the OPEN • SET competition judging. When the winners were announced, I tweeted and wrote about it on Facebook, but I failed to blog about the winners and exhibition locations and dates. Today I am correcting the omission. Read the rest of this entry »


Sofia Mendizabal Eye Candy

 

Gil Jouanard 2

Gil Jouanard – Savoir où Ediciones Fata Morgana Estructura francesa / encartonado Pleno cuero box beige. Decoración con técnica de mosaico. cuero impreso y lijado. 22,2 x 14,7 cm

My exposure to and familiarity with bookbinding did not happen very long ago. I majored in art history at UBA (Universidad de Buenos Aires), and I had always worked in the plastic arts. It was at the end of 2011 that, encouraged by a friend, I enrolled in an intensive course that art bookbinder Sol Rébora was giving in her studio. It was there that I discovered a world that I had absolutely known nothing about, that of artistic bookbinding. This combination of “savoir faire” of the profession, and the artistic design, captured me completely. Since then, I have devoted myself to my professional development: taking whatever course I could, attending all through 2012 the classes taught by Sol, and attending the regular workshops of Eduardo Tarrico as well. And then planning what was, for me, the most relevant experience I had in relation to my professional growth: my trip to Paris.

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What Makes a Binding Great?

Bookbinding is a difficult profession. It costs a lot of time and money to attain the level of craftsmanship necessary to do anything well. Being an obsessive perfectionist is not an absolute requirement, but it helps.

Then there are the artists who have chosen bookbinding as their preferred medium. It is a bit perverse of them. The level of craftsmanship, the depth and breadth of the knowledge of structures and materials that they must achieve before they can begin to create art in codex form is astounding. Combining all of that knowledge to imagine and create new tools, new structures, new techniques, and use unusual materials with which to express themselves is something few can do. Even then, not every binding is a success. This is true of art in any other medium.

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