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ARA-Couleur du vent

Caroline Carrichon-Lerraillé France Reliure à plats rapportés en cuir de veau blanc et bleu avec couture apparente. Décor composé de mosaïque en creux dont le fond est animé de papiers froissés et teintés. Des bandes de cuir rouge rythment la composition des deux plats. Titrage au film rouge. Exemplaire : 34/75 Promotion : 2013 Photo : Michèle Garrec

Atelier Patricia Veras: CURSOS - all different types of long stitch bookbinding on colorful covers

Joseph Zaehnsdorf blue full leather bookbinding

Kraft envelop pocket for Midori traveler's notebook

Josee Dessureault // Nobel Museum Bookbinding Exhibition 2013 - Tomas Tranströmer

Artes+Manuais+com+Kika+Florence:+Tutorial+encadernação+dos-à-dos

Binding by Mary Reynolds. Le Vrai visage du Marquis de Sade (The True Face of the Marquis de Sade) by Jean Desbordes. 1939. Red morocco goatskin, black calfskin, & gold stamping. Reynolds coyly alluded to Sade's salient characteristic by placing binding in bondage. Black calfskin-covered boards suggest darkness & perversion of Sade's erotic ideals. Red morocco diagonal bands tie up the book and suggest welts that result from some of Sade's favored activities.

Joëlle Bocel br France brbr Laced-in binding. Full alum tawed calfskin. Decor of snake skin and oasis inlays. Gilder : Stéphane Gangloff br Copy: 12/75 br Class of 2007 brbr iPhoto : Michèle Garrec/i

Bound by Jean de Gonet. An example of one of de Gonet's "revorim" bindings, with a gray leather spine and 3 "open" cut outs to expose the structure of thick, black sewing thread, & blue textured bands. The cover design features de Gonet's signature blindstamped geometric patterns of circles, squares (both larger & smaller) in black with red, cream, & blue, geometric inlay with "DE GONET ARTEFACTS" in blind. Silver gilt titles. Fine in a protective black paper covered chemise & matching…

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