Jeff Clements
  • by Aleksis Rannit
    The Elizabethan Press, New Rochelle, 1977
    bound 2015


    Covered in native-dyed yellow and grey goatskin over sculptured boards; onlays of feathered black and white goatskin; free-form tooling of one blue line on the front board, two grey lines and two horizontal black lines, one on each board.
  • by William Shakespeare
    Edited by Gwyn Jones
    The Golden Cockerel Press, 1960
    325 x 225 x 40mm
    bound 2016


    The binding is sewn on five braided tapes and the sculptured boards are covered; inlays and onlays in various goatskin colours. Vertical linear tooling in black and grey. Endbands of grey and red linen thread. Edges left untrimmed. Endleaves of Guido Reni marrone paper and hand-printed board papers. Flyleaves lined with red suede leather.

    The design begins at the head with two unarmed roman generals and close friends, Tarquinius and Collatinus discussing their wives' chastity, including reference to the unfortunate Lucretia; anticlockwise the design follows the warm and sunny welcoming of Lucretia to Tarquinius, her husband's friend, leading towards the complex dark spine and an almost endless night of difficulties, indecision, doubt, lust, and guilt, leading to the inevitable tragedy.

    The compositional circle is completed with the dying Lucretia reaching out to her husband Collatinus. This unusual design visually combines abstract rationalization with the continuing drama.
  • The Old School Press, 2009
    bound in 2013


    Full leather binding in grey, tan and dark green goatskin over sculptured boards. Yellow and brick red onlays, with grey and black rectilinear tooling.

    The design echoes the tranquillity of Palladio's buildings, using a static, rectilinear composition, whilst the colours reflect the warmth of the Mediterranean.
  • by Vernon Watkins
    Old Stile Press, Monmouthshire, 2004
    bound 2011

    Full leather binding in scarf-jointed black and grey goatskin over sculptured boards. Blue feathered onlays and tooled rectilinear lines, traversing both boards and spine.

    Vernon Watkins was steadfastly religious yet sensitive to the archaic atmosphere of his native Wales. The white onlay crossing the grey line depicts the isolation of Taliesin within the evolutionary image of creation and the aggressiveness of the mockers.
 
  • Fellow of the Society since 1957. President 1981-83.
  • Lived and worked in England to 1988, since in Amsterdam.
  • Artist bookbinder, painter, graphic designer; Art and Design Educationist 1961-1988 and examiner to 2006.
  • Fine bindings usually bound in goatskin with inlays and more recently making extensive use of feathered onlays.
  • The designs grow out of the text but invariably retain a strong vertical/horizontal and oblique stress relationship, sculptured boards can play an important role in the composition.
  • Has exhibited regularly with Designer Bookbinders and in Europe, America and Japan. Bindings are in major public and private collections throughout the European Union and the USA.