‘Once Upon a Good Time’
Story by John B. Jaeger
Illustrations by Emily Cunningham

A BOOK FOR PROPOSING MARRIAGE

Background

In November 2008, I received an email from a man named John B. Jaeger in Chicago. He described an idea he had, a way he would propose to his girlfriend. This fabulously inventive idea certainly needed a bespoke treatment, a very tailor-made solution. It was to be a book for Lauren who adored reading and for whom books had always been an important part of life.

John said he would write a story about the trails and adventures of the two of them, about how they got to the point in life where they are now. And at the very end of the story, within the book, there would be a ring box hidden – like in the days of past when a book might have hidden a gun in a secret compartment cut into the pages.

What an exciting concept for a book artist – a wonderful challenge both technically and creatively as well as a beautiful thought to contribute to a special moment in these people’s lives.

At the time of the initial request, I was about to close the studio for a while due to shortly commencing maternity leave. Conscious of not wanting Lauren to have to wait for a proposal too long, I suggested other binders who might be able to help in my absence. But as John said, having waited long enough for the person to propose to, a little more waiting for the book would do no harm.  So we agreed to pick up the commission in a few months’ time.

Collecting Details, Shaping the Book

In the meanwhile, John wrote the story that I would eventually print out to be bound into a book form, and he also asked illustrator Emily Cunningham to illustrate his story.

As with worldwide commissions usually, we exchanged a few emails discussing what’s possible – structurally, technically and creatively. I also received a description about Lauren, something which is of utmost importance when planning to make a book for someone I’ve never met. I need to form an understanding of the person the book is for, in order to translate all such personal aspects into a very individual visual symbolism in book form. From what I was told, I knew if I ever met Lauren, we would get on wonderfully. It would be a pleasure making a book for her. And it must have been difficult for John to keep all these plans secret from her!

During 2009 we were in occasional email contact, collecting the various details that would build up to the final production. John also listed a few bookbindings which he particularly liked in my online gallery – something that is very useful for me in terms of an overall visual feel that a client connects with. This is only a sentient guideline as all my bookbindings will always be tailor-made to the minutest detail and addressed to the recipient individually.

We also confirmed the size of the book which would help the illustrator too. There was a case for the book to be chunky enough to hide a secret compartment and give it a feel of a proper book, yet it should be easy to handle and feel intimate and personal. The story was to be much in a fairytale format, and John chose a very fitting font to be used to print the text in.

Book Content

In October 2009 I received the final illustrations to complement the story that John had written by this time. The story was just perfect, both witty and poetic. It read really well. A lot was said in not many words and the story would work beautifully in a fairytale format. The ten delightful illustrations by Emily Cunningham fitted in superbly, sensitively complementing the story. Not often does a book artist get such unique material from a client to work on. I was very excited indeed.

Illustrations by © Emily Cunningham

Choosing the right paper for printing the story and illustrations on required taking into consideration many various issues. The paper obviously needed to be archival as this book would become a family heirloom. But it also needed to be thin enough to fold for into sewable sections, as well as thick enough to present the printed contents well. Luckily I was able to source some now discontinued double-sided art rag paper that fitted the requirements. Still, to achieve the best possible ease of opening for the pages of the final binding, a few structural modifications were needed at the binding stage.

The Making Process

Finishing off another book project, I started delving into this one deeper. While pondering the more physical aspects of printing the book for binding, I continued developing the creative concept, something that I had been doing already on thought-level from our very first initial emails.

The more time a project like this is allowed, the deeper and more holistic grasp I’m able to get of all the tacit aspects involved. Therein lies the magic – the way I navigate towards the final look and feel of the binding and its symbolism is a synthesis of every little detail I’ve been given about the recipient, and this being a book of partnership, involving also aspects of the client. The theme of the Great Plains was to be prevalent, as well as using Lauren’s favourite colour purple. The varying paths of fate that finally brought the hero and heroine together, were certainly material for the bookbinding’s abstract symbolism. There was also a case for the binding to evoke the spirit of a traditional leather book, yet with a contemporary feel. When I work on a commission, it is never a personal creative indulgence. Everything I do is for the recipient and done for a reason. Therefore, although my personal work in the recent past has invariably always included black in some form or another, I wanted to keep this binding entirely free of it. In this joyous book, I didn’t want to include any hint of symbolic darkness of any kind, this is purely a play and balance of two colours.

As my way of working is very organic and deeply immersive, there is no sketching involved. Making a book from a sketch would be a logical process involving linear thinking, which would not allow for such surprising creative discoveries that always shape my work. It would be safe to sketch and then follow the sketch to the end. But I work in continuous dialogue with the book and the materials, maintaining a connection to the energy of whom the book is for. I feel my way through the details of the binding – it is risky but rewarding: without risks, there would be no creative discoveries, nothing that would elevate a piece of work from standard to something different. Working in this way the book will always end up being something better than I could have ever created knowingly, such as by sketching beforehand. I have never accepted a commission where I’m required to provide interim sketches. It would be completely counter-productive for me and result in a mere shadow of what the final result would be if it was allowed to take creative flight and soar freely.

Therefore, because I don’t provide sketches, anyone who has ever commissioned me really has a lot of courage. In fact they could even be called adventurous, certainly willing to take risks. It is a brave thing to do to commission a binding and not seeing any sketches before the work starts or before it is completed. There is a lot of trust involved from the client that I have completely understood what they’re after and that I will deliver to their expectations.  So I am humbled to have been trusted with making a bookbinding for the purpose of this marriage proposal.

A Happy Ending

I launched fully into the binding process at the beginning of 2010 and after a total of approximately 160 working hours was ready to send the book to Chicago.

For the first time when working on a commission, I took photographs of the various stages in the making process. I thought it might be of interest to the client to see these while waiting for the completed binding, and to compensate somewhat the lack of sketches! Photographing working stages often disrupts my flow so the trail of images shows only those moments when I’ve remembered to reach for the camera. All in all I emailed about 60 quick process snaps to the client along the way.

When the binding was completed, I took the final photographs and emailed them for approval. Sending a completed book on its way is always scary. Leaving such an unrepeatable artefact into the hands of a postal courier fills me with trepidation. I can only relax when knowing the parcel has reached its destination safely. It was therefore a huge relief to hear the important contents arrived intact.

And most importantly, I have since heard, the heroine of the story loved her book, read her way to the end of the story, found the hidden ring, and the answer was a resounding “Yes!”

So a happy ending indeed for the story that concluded in words “To be continued?”
From now on John and Lauren will be writing their story together, happily ever after.

“Thank you again. It exceeded my lofty expectations
and we now have a treasure for all time to remember this event.”
John B. Jaeger
~

The Making of the Book ~ Process Imagery