Laurel Parker Book is a studio that designs and makes bespoke books, presentation objects, and conservation  objects. Since 2008, we have collaborated with artists, publishers, institutions, and luxury goods houses. Our work is artisanal and entirely handmade at our studio in Paris.

We work on custom-made projects, from the conception of the design, through to the fabrication. We use a mix of traditional techniques from classical bookbinding and of new technologies normally reserved for industrial production. We collaborate with other artisans, notably printers (offset, etching, lithography, digital printing), guilders (classical and machine hot stamping), leather parers, cabinet-makers, paper mills, book and print restorers, and digital and laser cutting studios.

For ten years, the studio has worked with artists and book publishers on artist book projects. Collaborations with publishers such as Christophe Daviet-Thery, mfc Michèle Didier, Éditions Xavier Barral, and Toluca Editions have been with internationally known artists.

The studio's clients are artists and photographers, as well as luxury goods houses, agencies, publishers, and public institutions.


Laurel Parker, founder and artistic director, studied painting, printmaking, and film of the School of the Museum of Fine Arts, Boston, where she received her four-year diploma in 1992 as well as a BFA from Tufts University in 1993. She continued her studies with classes in bookbinding and letterpress printing at the Center for Book Arts in New York. She gives workshops and conferences in different art and design schools in France and abroad. 

Paul Chamard, studio production manager, studied etching at École Estienne in Paris where he received his Diplôme des métiers d'arts in 2007. He received a Master of Fine Arts in the book-object at the HEAR in Strasbourg in 2011. He is responsible for the daily fabrication of projects, as well as for the technicians who work with our studio on large jobs.


Article dans le magazine Côté Paris de février-mars 2015

Article dans la revue The Shelf Journal, N°5