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Observez les usages et fonctions du codex dans la société médiévale, et découvrez comment l'introduction d'un nouveau support d'écriture mod
New post about reading and readers in the Middle-Age. In this work i study how a new writing material changes how people consider writing and reading. Have a look !
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Découvrez cette reliure à composer issue d'un ensemble de reliure réalisées avec la collective bind bend bond dans le cadre d'une exposition
From 01.11.25 to 30.11.25 is exhibited one of my binding among others at the Musée des Métiers d’Art du Québec (MUMAQ), Montréal. The exhibition is gathering a hundred miniatures fine bookbinding.
My book is part of a collection created by Bind Bend Bond, which is a team, that I co-created, of european bookbindinders specialised in creative binding.
We made a book for the exhibition, « Absence de témoins », and 5 of us bound their copy.
Follow the link to see the bindings !
Photos ©️ Elise Sinz for Bind Bend Bond
Hi, visited a tannery today specialised in giant skins (bull, buffalo and calf). Leather is tainted and colored and coated in their workshop in Vosges Mountains, east France.
It was a super cool moment !
”I have this artistic idea but not the skills to achieve it to the standard I want.”
congrats! Now you have a motif! A recurring theme! A focus for your art! Something to haunt you!
Seventeen still lives of dandelions? Three hundred poems about grief? A sketchbook dedicated to your grandmother’s house? Two books trying to unravel the complexities of familial relationships?
Don’t let the fear of it not being perfect on the first try stop you from being Weird About It!
Please view Hokusai's gradual working towards The Great Wave Off Kanagawa, over a period of 39 years.
An early exploration of the themes Hokusai would keep coming back to is Spring in Enoshima, done in 1793 when he was 33. The wave is small and there are no boats, but Mt Fuji is clear in the background, and Enoshima is in Kanagawa, so we are clearly beginning to work towards something here.
A second pass, eleven years later in 1803 when he was 44. The title of this one begins to get more familiar: The View of Honmoku Off Kanazawa. It has a towering wave over a smaller boat, but Mt Fuji is not present, and the boat is considerably larger and has a sail. But the feeling of danger in the wave and the smallness of the boat are here, and of course the general composition is definitely recognizable.
This is A View Of Express Delivery Boats, done in 1805, merely two years later at age 46. Here we find the wave and the boats almost exactly as we'll find them in The Great Wave Off Kanagawa, though Mt Fuji isn't present, and the location is uncertain. And it's a good picture! The wave is threatening, the boats are small -- but the feeling of "ocean" isn't really there yet, is it? It's unlikely this picture would have become a classic for the ages. But that's okay, there's still time.
And here we have it, a full 26 years later, done by Hokusai in 1831 at the age of 72. The Great Wave Off Kanagawa, one of the most recognizable pieces of art in the world. The boats are there, the mountain is there, the wave is there, and the FEELING is there. He did it! He reached the apex of his ongoing motif and theme!
Or did he? Because the whole point of a motif is not that you're striving to get to the perfect version of it, the one idealized image you carried in your head all along, and when it is done, you are also done. Hokusai is on record at the age of 73 saying he'd only just begun to feel like he was learning how to draw things properly, and that "if I keep up my efforts, I will have even a better understanding when I was 80 and by 90 will have penetrated to the heart of things. At 100, I may reach a level of divine understanding, and if I live decades beyond that, everything I paint — dot and line — will be alive." He had drawn The Great Wave, but he didn't believe he was finished -- he thought that he was still just beginning to get started.
And he wasn't finished with his ocean motif, either. Please check out his Mt Fuji At Sea, done in 1834 at the age of 75.
It's all there; Mt Fuji, the ocean, the wave. The boats are gone, but replaced with birds, flying with the wave instead of fighting against it. It's not as famous as The Great Wave Off Kanagawa, but that's not what motifs are for -- each successive work does not have to surpass the previous in terms of success, especially in terms of external success. They're there for you to keep playing with, keep remixing and re-experiencing, for as long as you think you have something to say.
Compte-rendu de visite de l'exposition consacrée au célèbre manuscrit enluminé, ainsi qu'à la collection de Jean de Berry, visible jusqu'au
New post about my visit of the exhibition dedicated to Les Très Riches Heures du duc de Berry.
The exhibition shows the famous manuscrit, which has only been exhibited twice since it was acquired in 1856 by the « duc d’Aumale ». It is marvellous to see !
The exhibition also ferrures a lot of medevial manuscrits also owned by the « duc de Berry » in the late 14th century / early 15th.
It goes beyond Les Très Riches Heures as it looks into the heritage of this late medieval art.
In my article, I placed links to the digital copy of the book (and others too) in free access. Enjoy !
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Not bookbinding related, but I thought it important to share.
Voici une chronologie détaillée et illustrée des grandes étapes nécessaires à la confection d'une reliure classique "à la française" ou "pas
Here is my new post about binding a book « à la française ». I explain the steps to perform this difficult kind of binding.
Have a good read (still un french !)
Explorez les reliures contemporaines d'Héléna Frere. Découvrez ses services sur-mesure adaptés aux institutions, aux bibliophiles, aux artis
I just made an update on my web site : it’s a brand new design ! (And still a lot of text in french, sorry to english speakers)
Work in progress :
I covered this book on improvisation. I took scraps of leather from my workshop, cut it and glued it one by one. My picture is created in the process, I just don’t know what it will look like. I like this exercise more and more.
For now it looks like that but I have this feeling that this work is not over.
The text is Triste Tigre, from french author Neige Sinno. It deals with the multiple rapes she endured as a child from her stepfather, and how she grew and lives with it.
It is a text about the limits of litterature, and communication. The author claims clearly that her story cannot be narrated. She’s only drawing a picture that is not reality, and this picture can’t save her from her wounds : she only has to live with it. It is also a text that deals with the vulnerability and the strongness : both are intricated.
I chose blue as my main color for now because I can’t think of anything but bruises. I will add some more level to this picture, and colors too. I will explain my work when it’s over !
Découvrez mon deuxième article consacré à l'anatomie du livre relié, détaillant le cahier des charges d'une reliure et les endroits clés pou
Here’s my latest post about bookbinding. It explains how binding technics designed to protect books create an aesthetic.
I wrote it mostly about french binding, but the general idea is that conservation (is this term appropriate ? ) forces bookbinders to develop a design different from industrial design.
Have a good read !
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Last week I made a simple book with a biographer.
It is for the family of a man who can only communicate with facial expressions.
I was happy to produce this unique book about his life. It is illustrated and the original drawings are in the book !
Découvrez cette reliure unique réalisée pour l'œuvre signée Le Clézio. Travail de mosaïques contemporaines en cuir avec incrustation de pas
Reviewing a binding I made two years ago for a rare edition of Le Clézio’s Alma.
Découvrez la terminologie utilisée en atelier de reliure classique et contemporaine pour décrire les éléments structurels composant le livre
Here is my new text (in french, still) about Bookbinding vocabulary and structures. I wrote about :
- how paperback books structure come from bound books (but without conservation caracteristics)
- which elements of structure make a bound book so distinctive
I haven’t wrote about how it’s not all esthetics but I guess it’s between lines
Have a good read!
Découvrez mon guide pour différencier les différentes formes de livres contemporains et apprenez à reconnaître un livre industriel d'un livr
I wrote an article to explain the difference between industrial bookmaking and artisanal bookbinding.
It’s in french because hey it’s my native language, but maybe some of you could be interested?
New post on Bind Bend Bond!
3 fast bindings made by Juliette Amigues.
600 € / reliure Ces reliures sont proposées à la vente par Juliette Amigues. Il s’agit de trois exemplaires uniques livrés, sauf cas excepti
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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2400 euros Cette pleine reliure aux cuirs mosaïqués est proposée à la vente par Héléna Frere. Il s’agit d’un exemplaire unique et de sa boît
New on our collective website, a binding I made on 2022.
Reasons i choose binding for my living activity, and didn’t flee with difficulties (mostly a note for myself):
- handwork, handcraft that cannot be imitate by the industry and its machines: perpetuating knowledge
- loads of steps and many techniques super challenging for the brain
- access to rare books, rare document that i can not afford nor see elsewhere
- possibility to train me to be always learning; learn to be learning as a way of living
- working with my body as a fuel and be resilient on environnement standard
- learn to diminish my needs as i don’t make a lot of money, ascèse-like training
- possibility to listen to podcast/ Watch movies while working: boost knowledge and analyzing skills
- possibility to get lost in work, and travelling through a rabbit’s hole
- possibility to work following my rythm, to slow my process and not trying to compete with capitalism economy
- books everywhere / beautiful wooden tools
