Jenni Grey
  • Translated by Desmond Post
    Old School Press, 1996
    bound 2017

    Covered in maroon suede, with wire work, miyuki delica beads, goldwork thread and cordé. Airbrushed paper doublures with gold tooling. Bubinga wood box with complementary veneer onlays and hand-made brass fixtures.

    The binding design, enhanced by the use of soft and hard materials, conveys the brutal events described in the text.
  • By Richard Goodman
    Midnight Paper Sales, 2011
    bound 2014

    Bound in velvet with hand-stitched cordé and beads; paste-wash doublures; sycamore and laser etched acrylic box with aged brass fixtures. The book is about the aftermath of the terrorist attack on the Twin Towers. The binding design, which extends onto the box, focuses on what was there before; what has been left behind; and what was, and is, still missing.
  • By George Bernard Shaw
    Constable & C0 1032
    bound 2014

    Bound in Velvet with goldwork embroidery and seed beads, pastewash doublures and wooden box.

    The designs on the front and back boards are of simplified generic pine leaves, but when the book is opened it reveals the shape of a female waist.
  • by William Shakespeare
    bound 2006

    This small book is bound in suede with twisted silver wire, seed beads,freshwater pearls and twisted wore clasp. The book is shown standing on its sycamore box.

    The design aims to show the feeling of the spirit of the shrew in the play trying to break free from the traditions that were supressing her; a person who in contemporary terms could be viewed as a feisty heroine.
  • Studied at the University of Brighton gaining a BA (Hons) in Graphic Design and Illustration in 1984, and an MA in Sequential Design in 1991. Senior Lecturer (part-time) in Illustration and Book Arts since 1987 at the University of Brighton. Elected onto the Crafts Council Selected Index in 1986. Elected Fellow of Designer Bookbinders in 1989, President from 1996-98.
  • Work in many public collections such as The British Library, The National Poetry Library, The John Rylands Library and Winchester Cathedral (UK), The Library of Congress (USA), The Koninklijke Bibliotheek (Holland) and the Bibliotheca Wittockiana, (Belgium), as well as private collections in the UK and abroad.
  • "Bookbinding provides a constant source of ideas and challenges for me. I am continually developing and simplifying the structures I use to maximise the time I spend on the creative element of my work, and to enable me to work with materials such as wood and metal or techniques such as embroidery. My ideas always stem from the text, but I find I can have a variety of different responses dependant on the book itself. Sometimes an interpretive angle is called for, at other times a more personal approach seems appropriate. The concept should also be sympathetic to the design and illustrations of the text, the challenge being to combine a collection of ideas and materials into a visually complete object."