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Robert Wu is an upcoming designer bookbinder and marbler. He holds a Master's degree in Architecture from University of Toronto, Canada. Robert studied bookbinding with Tini Miura, Monique Lallier and Besty Elderidge and experimenting marbling on his own.
Iris Nevins has been a professional marbler since 1978. She marbles in the traditional water based manner in use for many centuries. Her specialty is recreating early papers. She has written four instructional manuals on the art of marbling: Traditional Marbling, Fabric Marbling, 105 Helpful Marbling Hints and Varieties of Spanish Marbling. She has also published a reprint (now sold out) of James B. Nicholson’s A Manual Of The Art Of Bookbinding, containing 18 original speciments of her own hand-marbled paper. She has written for The Guild Of Bookworkers Journal, Ink & Gall and Marbling Bath. Iris Nevins has taught marbling at Peters Valley, The Center For Book Arts, The Montclair Historical Society and The Newark Museum. Iris Nevins works primarily as a supplier of restoration style papers for hand bookbinders throughout the country and some overseas. Iris also runs a marbling supply business, supplying traditional watercolor marbling colors, tools and other marbling supplies. The waterbased marbling are made in her studio and based on marbling colors used centuries ago. They are formulated to recreate the feel of early papers, and have been compared to marbling what Williamsburg paints are to house paints, antique in their effect. Her website is www.marblingpaper.com and she lives in Northwest New Jersey. In addition to being a marbler, she is also a jeweler and Irish musician and plays guitar and harp and has a solo guitar CD out called Celtic Guitar Dreams. She also builds her own guitars.
Brigitte Chardome first of all studied at university and then following the course of events decided to set herself up as a self-employed artist in an area which beforehand had simply been a hobby: creating artists’ books and PAPER. The book workshop at Mariemont and various courses with bookbinders or calligraphers provided the basis for her training. There then followed a time of searching and research concerning the use of paper. She searched a lot, she is still searching a lot but she has also found a lot! The original paper is torn, cut up, crumpled, tinted, coloured, restructured … sometimes to become a picture, but more usually the pages of a book or a book cover.
Tom Leech became the Director of the Press at the Palace of the Governors in 2001. He is a printer, papermaker, marbler and author.
Leech was Project Director for Lasting Impressions: The Private Presses of New Mexico (2005), and was the curator of a number of book art related exhibits at the Palace of the Governors. They include Rebirth of a Craft: Paper Marbling in New Mexico (2003), Making History: Contemporary Handmade Books on New Mexico History (2004), and On the Road: Jack Kerouac and the Writer’s Life (2007). In an effort to research and revive the ancient art of hand papermaking in Tibet, Leech co-founded the Paper Road/Tibet organization. He demonstrated marbling at the 2002 Smithsonian Folk Life Festival in Washington, DC. His books, printed by private presses, are Haiku Bridge, Lhasa Blues and The Palace Presses. He has been a contributor to Ink & Gall and Hand Papermaking magazines. He earned a Bachelor of Fine Arts degree in painting and sculpture from Aquinas College in Grand Rapids, Michigan.
Lucie Lapierre has practiced the marbling art since 1987. In 1991, under a grant from the Ministry of Cultural Affairs, she learned the history and traditional technique of paper marbling in the United-States with the master marbler Don Guyot. In 1996, she developed figurative marbling similar to the experimental ebru techniques of India in the mid-sixteenth century. In 2002, the journal of Cambrai, France, called Lucie Lapierre "the goldsmith of the marbling art."
The special collection of the Library of the University of Montreal acquired her marbled papers for research that was presented in 2000. The National Archive of Canada, as well as the most demanding conservators and bookbinders worldwide, seek her services and papers for conservation.
In 2004, the review Art et Metiers du Livre showed her work with sixteen contemporary decorators of paper. In November, 2004, she participated in "General State of Decorated Paper" with 25 decorators from all around the world organize by Marie-Ange Doizy and AIR neuf international binders association.
In 2006, as president of The Association of Book binders of Quebec, Lucie Lapierre presented an international exposition, Montreal in Book and Decorated Papers, at the occasion of Montreal, World Book Capital.
For the Centennial Anniversary of the Guild of Book Workers, Lucie presented her avant garde papers under the title, the Colours of the Mind. With the help of scientific reviews that explain the forms found in nature, her colors become the textures of three-dimensional living matter.
In 2007, Lucie Lapierre created a catalogue with the collaboration of Sodec. More than 100 motifs are listed in 3 categories: avant garde design, traditional motifs with the creation of colors, and conservation papers. A chromatic and historical study accompanies the photos of each motif.
In 2007-2008, Lucie Lapierre collaborated with binders and publishers to produce an important series of marbled end papers. The motif and colors were chosen to economically visualize the harmony between the essence of the text, the title and the book’s binding. The marbler plays with colors of the spirit at the modern request of the binder, to present the book by its first impression. Lucie also produces marbled paper for the restoration of political works from the XIX century from the Library and Ancient Books of the University of Montreal.
1962 geboren in Düsseldorf
born in Düsseldorf
German high-school diploma
1983-85 Buchbindelehre bei Heinz Petersen in Düsseldorf-Kaiserswerth
Bookbinding apprenticeship with Heinz Petersen in Düsseldorf-Kaiserswerth
Registration as master bookbinder
Mai 1991 Heinz Petersen stirbt und vermacht mir seine Werkstatt und seine Sammlung zur Geschichte des Bucheinbands.
May 1991 Heinz Petersen dies and bequeathes his workshop and his collection of artifacts about the history of bookbindery to me.
1997 Gründung des Atelierhofs SCHOLEN 53 mit der Keramikerin Sabine Kratzer
Formation of the Atelierhof, SCHOLEN 53, an art and craft studio cooperative, with ceramist Sabine Kratzer
1998 Aufnahme in die AKB - Angewandte Kunst Bremen
Admission to the AKB - Angewandte Kunst Bremen, the official professional organization of the artisans of Bremen, Germany
seit 1991 Teilnahme an nationalen und internationalen Wettbewerben und Ausstellungen
since 1991 Participation in national and international exhibitions and competitions
seit 1997 Buntpapiermacherin in eigener Werkstatt HAMBURGER BUNTPAPIER
2004 Gründung von BUNTPAPIERVERLAG für bibliophile Bücher und handgemachtes Buntpapier
Dies Papier wurde in einer Mischtechnik hergestellt; durchgefärbtes Trägerpapier gefärbt mit drei Blautönen, zwei Weiβtönen und Sprenkeln in Türkis. Es symbolisiert den Wind, der alle Grenzen überquert.
Buntpapier war über Jahrhunderte ein Massenartikel. Buntpapier als künstlerisches Einzelblatt ist im Westen eine Erfindung des frühen 20. Jahrhunderts. Ich interessiere mich besonders für Buntpapiermacherei im historischen Sinne, d. h. für Serienfertigung, und für Rekonstruktionen. Alle meine Buntpapiere sind im Rahmen der technischen Möglichkeiten in beliebiger Anzahl reproduzierbar, sie sind gleichzeitig Unikate und keine Unikate. Ob ich nun ein einzelnes, vielleicht nach einem Fragment von 1720 rekonstruiertes Blatt oder aber eine Partie von mehreren Dutzend oder mehreren hundert Standardpapieren ausliefere, beides macht mich gleichermaβen zufrieden und stolz.
Ich unterrichte regelmäβig am Museum der Arbeit, Hamburg (Deutschland) und bin Gastlehrerin am Centro del bel libro Ascona (Switzerland), Instituut Collectië Amsterdam (The Netherlands) and West Dean College, Sussex (England).
Paper restorer, paper decorator
1997: founded HAMBURGER BUNTPAPIER, my own studio for decorated papers
2004: founded BUNTPAPIERVERLAG, the publishers for fine books on and with decorated papers and hand made decorated papers
This sheet has been made in a mixed-media technique; dyed base paper decorated with three blues, two shades of white and turquoise speckles. It is meant to symbolize wind crossing the borders.
Decorated papers have been an article of mass production for centuries. Pieces of art made in paper decorating techniques (that is, single sheets) are, in the West, a development of the early twentieth century. I am especially interested in the historical way of work, that is serial production, and in reconstructions. All of my papers are reproducible in any number within the technical limits, they are unique and not unique at the same time. Whether delivering a single sheet reconstructed from a, say, 1720 model, or a pack of several dozen or several hundred sheets of catalogue paper, I am proud and satisfied.
I teach regular courses at Museum der Arbeit, Hamburg, and I am a guest teacher at Centro del bel libro Ascona (Switzerland), Instituut Collectië Amsterdam (The Netherlands) and West Dean College, Sussex (England).
Hikmet Barutcugil's work can be found in the British Museum, London, England; the Basel Paper Museum, located in Switzerland; Brooks Museum and Gallery, Memphis, Tennessee; and private collections worldwide. Hikmet has published several articles and 6 books, called "Infinity of Colours", "Colours Dancing on Water", "The Dream of Water", "Ebristanbul", "Efsun Flower", "Black White".
Click Here to view an online exhibit
of marbled and other decorated papers.