Derek Hood
  • by Adrian Seville
    The Grolier Club, New York
    bound 2017


    Covered in black goatskin and inlaid leather. The design reflects the oldest known board game held in the Metropolitan Museum combined with a more contemporary Italian board game from 1598. Palladium and white gold were used to add to the sense of movement and to echo the spinning of the dice during play.
  • Catalogue Raisonné
    Librairie Auguste Blaizot, 1981
    bound 2014


    The design was abstracted from a pencil landscape drawing by Germaine de Coster. The finished piece is intended to convey sunlight and shadow bouncing off multiple planes whilst crossing a vast landscape.
  • Catalogue RaisonnÉ
    Librairie Auguste Blaizot, 1981
    bound 2014


    The design was abstracted from a pencil landscape drawing by Germaine de Coster. The finished piece is intended to convey sunlight and shadow bouncing off multiple planes whilst crossing a vast landscape.
  • William Shakespeare
    Benjamin Blom, New York 1929
    Cranach Press collotype
    Woodcuts by Edward Gordon Craig
    Font by Edward Johnson
    Frontispiece by Eric Gill
    bound 2015


    Covered in grey goatskin with white recessed onlays over sanded panels. The simple tones of grey and black were used as a colour palette to reflect Craigs' beautifully printed woodcuts.
 
  • Derek began working with books at St.Andrews University Library in 1984, where he later completed an apprenticeship after seeing bindings by Edgar Mansfield and The Doves Press in the Library’s special collection. Inspired with what could be achieved, he then studied Printing, Publishing and bookbinding at Napier University in Edinburgh before returning to St.Andrews Uni Library to work as a bookbinder.
  • In 1990, he had a break from bookbinding to pursue a creative career in music, recording and touring with All About Eve and The Auteurs. He later returned to fine binding working at Shepherds in London before moving to Bath in 2003 where he worked at George Bayntun.
  • He was elected a fellow of DB in 2006 and in 2010 he set up his own fine bookbinding business, working to commission for private collectors and institutions.
  • Music remains a constant source of inspiration and is reflected in the colour and movement evident in his work.
  • Being an avid reader, he always responds directly to the text and works mainly in the abstract. “I read the book thoroughly and then forget about it. What I can’t forget is then used as the catalyst for the design.” His books have been exhibited in the Victoria & Albert Museum, The House of Lords, and the Grolier Club in New York. They are held in many public and private collections throughout the world.
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