Gillian Stewart
  • The Illustrated Man
    by Ray Bradbury
    The Folio Society
    bound 2018

    Taking as a starting point the speed of technological progress at the expense of our humanity, the design works with the motif of the circle as metaphor for wholeness, becoming fragmented and disjointed. With colours lifted partially from the plates inside the text and then saturated to bring to mind nuclear sunsets and endless space.

    Full leather binding with linen joint. Hand-dyed Hewit's fair goat on covering leather and doublure. Hand-dyed, tooled and printed back-pared onlays on covering leather and doublure. All edge gradient decoration of acrylic ink, then tooled blind and with foil. Hand sewn silk endbands, with colours hand-dyed. Leather-jointed endpapers, hand painted with acrylic ink and tooled.

    Awarded the Folio Society 2nd Prize, DB Annual Competition 2018
  • Graphic Sayings
    by David Kindersley

    This design references the technical guides used in letter carving and type design, which underpinned Kindersley's playful and curious work. The symbols on the board titling are abstractions of guides used in hand lettering, and the hand tooled designs on the doublure and flyleaf are taken directly from letter guides. The most difficult part of this binding was matching up the brush stroke across the flyleaf and paper doublure, with gold applied to the leather joint to continue the brushstroke. The application of dye and blind tooling takes the look of carved stone, referencing Kindersley's background as a letter carver, and giving a basis for playful gold decoration.

    Bradel structure. Blind and gold tooling and gold leaf on hand-dyed leather. Leather-jointed endpapers and paper doublure, inked and gold tooled. Hand-painted and tooled leather endbands. Rough-edge decoration in gold and ink, decorated as loose sheets.
  • Introduced to bookbinding whilst studying Illustration at Glasgow School of Art.
  • A few years after graduation, she began a traineeship in a small commercial bindery, working on books for the Houses of Parliament, the British Library and various other book and box projects.
  • In 2018 she became a QEST Craft Scholar in bookbinding, attending courses in Ascona, Professione Libro and, most influentially, a year of training with DB Fellow Tom McEwan.
  • Now runs her own bookbinding business full-time from a studio in the East of Glasgow, with the majority of clients being artists, designers and photographers in Scotland.
  • Also teaches workshops regularly, most recently to students at Glasgow School of Art.

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