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© Andrew Brown
© Andrew Brown
© Andrew Brown
© Andrew Brown
© Andrew Brown

Andrew Brown

Andrew Brown Bookbinder
© Andrew Brown

Binding history

  • • Andrew preserves history as well as knowledge
  • • An encounter with another bookbinder influenced his craft
  • • A royal commission is a highlight of his career

Whilst working for a picture framer for an art gallery in Chester, Andrew Brown became acquainted with a bookbinder, whose bindery workshop he would visit whilst delivering the post. The unique scent of leather and wood, with top notes of coffee, would greet him on these visits, together with a relaxed and passionate craftsman, ultimately influencing his choice of taking up bookbinding as a profession. Working with his hands comes naturally to Andrew, who is most comfortable when creating and working three dimensionally. Drawing his inspiration from Philip Smith CBE, an artistic Bookbinder based in the UK, Andrew has honed his skills at sewing silk double end bands, also known as headbands, that sit at the head and tail of the spine as a decorative element, as well as the sanded leather technique known as ‘Lacunose’.

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Works

  • © Andrew Brown
  • © Andrew Brown
  • © Andrew Brown
  • © Andrew Brown
  • © Andrew Brown
Photo: © Andrew Brown
1984 by George Orwell

With this binding, Andrew suggests the fear and oppression which pervades the novel, onto the design using abstract imagery. Inlaid light and dark grey leathers, along with different grains of black and crimson red goatskins merge into a Lacunose (sanded area) which is the swirl of the protagonist Winston's emotions, which are being sandwiched between the oppression of the grey reality of his life and the black fear of 'The Party'.

Photo: © Andrew Brown
Sundrie Pieces by George Herbert

This book is a selection of poetry and prose by George Herbert. The design is based on one of his stanzas, a butterfly, to represent growth and transformation. If the design is turned 90 degrees anti-clockwise the shape becomes that of an hourglass embodying time and its fleeting nature. The front cover is lacunose inlay, working to another lacunose inlay of brighter colours. The grey piece of leather on the rear cover is on-lay with blind tooling, with a white on-lay to the front which is foil tooled in various colours and purple dyed.

Photo: © Andrew Brown
Water

This book was bound for the first ever Designer Bookbinders International Competition in 2009, the set book being based on the theme ‘Water’. It was bound in various blue, turquoise and grey goatskins, which were then sanded (Lacunose) to merge in a painterly fashion, like watercolours. The top edge of the binding has a very angular shape giving the work a sculptural quality.

Photo: © Andrew Brown
Book of Remembrance

This book, 'One Million Trees for Israel' is bound in a traditional style, and honours those who have donated towards the planting of trees in Israel. The method of binding used was the tongue-in-slot method of board attachment. The spine is covered with a piece of goatskin over raised bands separately from the front and rear boards, but with a protruding ‘tongue’ that is then slotted into a channel that runs along the spine edge of the covering boards.

Photo: © Andrew Brown
Alice in Wonderland by Lewis Carroll

This design for this binding incorporates the silhouettes of Alice and the White Rabbit which were illustrated by Sir John Tenniel. The use of playing cards echoes the Queen of Hearts and her Soldiers. The design, whilst being contemporary has traditional decorative tooling in vivid yellow, harking back to the mid-Victorian era in which it was written.

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