New York, New York
Starting with an internship at the Center for Book Arts in New York in 2002, Ana Cordeiro quickly became involved with bookbinding and with the bookbinding community. Her training includes classical book-binding classes taught by Barbara Mauriello, Susan Mills, Shanna Leino, Pamela Spitzmuller, among others. Also trained in letterpress printing, Cordeiro has coordinated limited editions productions of books and portfolios for the Center for Book Arts and currently is binding the Center’s 30th anniversary edition of Hedi Kyle’s design for Robert Bringhurst’s New World Suite Number 3.
The cover design represents a library of all the stories yet to be told. The spines provide the design for the cover flap, raised to suggest books which could be removed and read. The rounded spines would be leather, with gold and blind-tooled cords and labels. An embossed recessed labyrinth on mahogany or cherry red French Chagrin would weave from the back cover to the front cover, enveloping the book and itself with flaps in a folding box style. Within would be letterpress printed heavy watercolor paper with the labyrinth pattern and the title. A slanted spine with a slanted fore edge would suggest the frontal perspective of a bookshelf seen. The design also suggests Borges’ hexagonal nightmares. An Islamic binding structure allows for the cover flap, for the flat spine to be eventually formed into a slant, and for the quasi-flat headband to be incorporated with the bookshelf head and tail.
William Shakespeare. Hamlet, Prince of Denmark. Edited by Deanne Bean. Project Gutenberg etext number 1524. Salt Lake City: Project Gutenberg Literary Archive Foundation, 1998.
Green chagrin leather over boards with raised profile and ear motif, with various tan leather inlays; two raised bands; top and bottom edges speckled.