Cardboard bound

cardboard bound 1 “The streets are no longer paved with gold. Pizza boxes and delivery boxes from a well river in South America, crunch underfoot like beige snow” – London-based book artist Mark Cockram.

He calls them Rubbish Books, and they are bound from the pulp of abandoned cardboard boxes that litter the streets of his neighborhood.

carboard bound

And why turn cardboard into paper?  Cockram says because it is “simple stuff.” he immerses the side of a packing box in a vat of water for 15 minutes, then he is able to de-laminate the corrugations leaving him with a number of sheets of paper. No mashing, no pulping etc.

carboard bound 2

Will a cardboard edition be far behind?

Studio 5 Book Arts: Rubbish books

Paper and The Pleasure of Pattern

Claudia Cohen is one of the better bookbinders around. She has done work for the likes of the Houghton Library, the Museum of Modern Art, the New York Public Library, Pennyroyal Press, Heavenly Monkey Press and the Whitney Museum among others. She is currently in the midst of a stunning multi-book collaboration with noted author Barbara Hodgson.

Cohen also collects paper. Really cool decorated paper from all across the globe. Cohen then uses them to create covers, endsheets and box linings for her bindings and boxes.

For the month of May, the Paper Hammer Gallery in Seattle has transformed itself in a giant paper sample book featuring examples from Cohen’s collection.

The paper dates from the nineteenth century to the present and exhibits a variety of techniques, including lithography, offset and block printing, marbling, stenciling, and paste paper.

Now imagine a whole room cover in this kind of decorated paper. I asked if I could spend the night.

The Pleasure of Pattern runs thru May 31st. All images courtesy of the Paper Hammer Gallery.
If you were wondering what one of her bindings might look like here is a beauty she did for a limited edition of the Haruki Murakami short story Sleep, which original appeared in The New Yorker, and was published by Kat Ran Press in 2004:

Bound by Tuttle: The Amazing Bindings of Richard Tuttle

The Raven 10” x 12”

One of Richard Tuttle’s latest magical bindings is aptly called “The Raven.” For it Tuttle takes a copy of the 1995 Folio Society edition of Poe’s classic poem and binds it in some black goat leather boards. The boards and endpapers are then “feathered” to give binding  the impression of flight. The book is able to stand alone for display.

Here is a sampling of some of his other recent astounding creations:

A copy of Aldous Huxley’s Brave New World bound in lamb skin over boards that feature a drug dispensary motif with the titles and commentary printed on vinyl. The endpapers were created by Richard Tuttle for this book.

George Orwell’s Animal Farm bound in full pig skin over sculpted boards with original endpapers. The sculpting of the boards is about an eighth of an inch deep showing the imprint of actual pig’s feet.
A copy of the two volume Heritage Press edition of Gone With The Wind by Margaret Mitchell  in a combination of green velvet and cowhide sale leather covered boards with “Tara 1 and Tara 2” on a paper label affixed to the spine.Tuttle’s also built a spectacular case/sculpture made of various woods that serve as a beautiful display piece for the books. The book measures 11.5” x 8”
A large print edition of The Catcher in The Rye bound in pig leather covered boards with elaborate tooling to the front board and spine expressing views from the book The front endpapers are an elaborate combination of a detective magazine similar to one Holden took on the train with him and other period memorabilia he might not want his mother to see. The final touch is a padlock. 2012. 11” x 9”
For The Henry Miller Trilogy Tuttle designed a custom valise/suitcase. He also created all the travel stickers that adorn the suitcase. The inside lid of the case includes the history of the books publication, censorship and eventual distribution.
All of the bindings are unique and available at Franklin Books