Thoughtful, Well-Crafted Miniature Books
Aredian Press Publications
All books designed and created by me. While miniature book editions are the primary output for Aredian Press, I also create one-of-a-kind and larger format books. Please contact me for price and availability.
The Chinese Zodiac reproduces at reduced scale printmaker Terri Thoman’s series. The book and its enclosure designs were inspired by the artist’s east-meets-west approach to the subject matter. Created as a star binding with exposed stitch spine, the prints are showcased in a gallery format. Together with its accordion-folded text ‘wings’, the overall presentation is meant to subtly evoke a Chinese parade dragon or fireworks.
Text printed in 7 pt Candara and display in Lucinda Handright on Epson watercolor. Book also features Indian rag-painted, Lama Li Lokta, and Shinriku papers along with slubbed silk book cloth are employed. Dimensions without cover: 2 3/4" x 2 3/8". An edition of ten was created. SOLD OUT
Perhaps your shopping list is not so private. RNDM TXT is an exploration of personal information made public.
Letter-pressed by Small Fires Press of New Orleans on Crane Lettra in 6 pt Calibri. Endsheets of chiyogami with a vintage green and white floral pattern. The book is case bound in black alligator- patterned goat skin, much like an old-fashioned pocket address book. The enclosure is styled as a smart phone encased, with the title foil stamped on a shimmering paper. Dimensions: 2 15/16" x 2" without case. An edition of twenty books is planned.
Overwrought by grade-schoolers and wanna-be poets, the haiku has been abused unintentionally for far too long. First attempted to distract themselves during an excruciating flight, the authors acknowledge that the haiku in its purest expression is both lyrical and majestic. These are neither, but offer commentary on modern life.
Printed in 9 pt Tempus Sans ITC on mulberry paper. Two black and gold chiyogami papers are cover papers; its traditional stab binding was accomplished with gold metallic thread. Dimensions: 2 1/4" x 3". An edition of twenty is planned.
This Edgar Allan Poe title gets a cheeky treatment. Digitally printed in 7 pt Centaur on Neenah Southworth, the edition is bound in red goatskin, features a tooled electrocardiogram across the covers, and rests in a paper and goat skin-covered box, complete with beating heart. Sitting on four inset feet, the box appears to float. From an edition of five. SOLD OUT
The Marshes of Glynn is a long poem about the Golden Isles off the coast of Georgia. The book contains the poem itself, a short biography of the author, Sidney Lanier, and a US postage stamp issued to honor him.
This moveable book is constructed in three sections: the poem, in a perfect-bound matchbook style, the bio/stamp in a trifold within its own covers, and the central accordion tunnel comprised of vintage postcard images of the Glynn marshes. A band of natural straw slips off to open the volume.
Digitally printed in 8 pt Poor Richard on pale blue ribbed vellum paper in brown, green, and blue inks. All interior cover papers are layered unryu. The outer paper covers were painted with ink and watercolor by the binder/ publisher and each is unique. Dimensions: 2 3/4" x 3", closed. An edition of ten, with two out-of-series, has been created.
A one-of- kind piece, Elemental is comprised of an explosion box covered in a large scale marbled paper from India. Its bright colors are echoed in the covers of the four removable miniature books within, each featuring hand-lettered quotations associated with its respective classical element: fire, water, earth, or air. Underlays are used to convey the respective elemental symbol for each paper-covered book. The taupe-colored bookcloth spines have been marked with gold ink to reflect the gold of the marbled box exterior. Interior text calligraphy is also multi-colored. A wax-resist painted paper of orange with yellow dots appears as endsheets for all four miniature books and the box lid lining.
Edward Gorey House Rebinding Project
Fascinated with the works of Edward Gorey since high school, my binding efforts led me to embark on the challenge of rebinding (or binding) all 100+ titles authored by him, with the occasional distraction of books featuring his illustrations only. The “Edward Gorey Binding Project,” I expect, will take me another five years to complete. The books are currently located within a rotating display at the Edward Gorey House, and as such, are not for sale. Please see "Rebindings for Sale" for information about my small editions of Gorey rebindings for sale. Editions rebound are stated in individual title descriptions.
This flag book features the Gorey text and illustrations cut from an Edward Gorey House poster. The text was mounted to red, blue, or green textured cardstock, which, in turn, was affixed to a red lotka-backed accordion. Black background yuzen paper with dots of bright blue, red, and green covered the boards. After this book was created, an edition of three (nfs) was made in a smaller version, using predominately the same materials.
Pastel cardstocks that recreated the original book’s palette were chosen for this accordion/stub binding with paper wrapped, non-adhered covers and a pale aqua ribbon tie closure. The edition of three copies (nfs) includes a pop-up depicting the children’s fate at the end of the story.
Sumptuous in tufted red cotton velvet with covered buttons. The title appears on a silver foil-stamped spine of black Italian book cloth. A near miniature version of the rebinding (not pictured) was made as an edition of four (nfs). Red velvet paper was substituted for the covers; the other materials are the same.
In honor of Gorey’s dedicatee, Violet ‘Bunny’ Lang, the flat-back binding‘s front and back covers are a predominately purple yuzen floral, with a foil-stamped title on the goatskin spine. Endpapers are a screen-printed Indian cotton paper featuring a modern, post-war-reminiscent motif, a nod to the era of their friendship. The book’s enclosure is a clamshell box of blue faux suede, the same floral, and an interior lining of lavender mulberry paper. The styling of this rebinding was replicated at less than three inches square; three copies (nfs) were made using the same material palette.
Never before printed as a stand-alone work, this edition of four (nfs) includes the title, text, and colophon in a six-paneled page, with Gorey’s illustration on the opposite side. The folded piece is kept closed with a green ribbon band. The title is affixed to a paper ‘bun’ on the ribbon.
Although not on the “A” list, the book, authored by John Updike and illustrated by Gorey, proved irresistible for a new binding treatment. Silk-screened Indian cotton rag papers were used for the cover and endsheets. The cover features red and green goatskin overlays depicting a Gorey holly sprig.
Gorey's first book gets an unexpected treatment, with vintage gold brocade bookcloth covers topped with an overlay of burgundy goat, hand cut to resemble the concert hall drapery of the original cover image. With matching burgundy leather hinges, the interior features endsheets of charcoal grey rag paper printed with gold, silver and burgundy geometric shapes - a very 50s look to salute the 1953 publication of the original.
Rebindings of the first printing of the 1980 Dodd, Mead first hardback edition of Gorey’s 1963 book. The front cover is of a sumptuous red cotton velvet with covered buttons, while the back cover is of an ivy patterned lokta. Endsheets are a black and white silkscreen-printed lotka paper. An edition of five is planned.
The Iron Tonic
Rebindings of the first printing of the Harcourt edition, the work’s first edition has been recast in a Braedel binding with black goatskin at the spine and with black suede ‘branches’ on covers adjacent to the spine, Nepalese silkscreen paper covers, and poison label endsheets. An edition of five.