Day 20 - July 27

I wasn't feeling really inspired today and decided to use paper as inspiration. This structure is based on Smith's Non-Adhesive Bindings. I decided to use some scrap booking paper. For some reason, the kooky pink pages were calling to me. The patterns are schmaltzy, but I think the book turned out fine. Not the best, but not the worst...

Book 21: concertina spine with pleated double folios - 'pink petals'
{paper} scrap booking paper for the spine and interior pages; translucent paper for the outer pages
{binding} pages glued to the spine, with ribbon running through the spine to close or open the structure

This structure, when tied open, looks terribly floral. The floral pattern on the pages also adds to the motif. So, here you have a very pink, very feminine book.

Days 18 and 19 - July 26

I didn't make a book on the 25th; I just wasn't 'feeling' the bookmaking. So, I put it off until Thursday and made two on the 26th. These two bindings are from Keith A. Smith's Non-Adhesive Binding.

Book 19: dos-a-dos-a-dos or the wedding cake book
{paper} translucent paper and cream text-weight paper
{binding} I used a modified butterfly (pamphlet) stitch to both sew the sections and bind them to the smaller sections

I saw this binding, and I thought that it would be appropriate to make the 'wedding cake book' look like a cake. With cream paper and ribbon contrasting the blue white of the translucent paper makes this book simply edible. Yum!




























Book 20: french doors
{paper} text: cream text-weight; cover: origami paper
{binding} hinged case cover; signatures sewn to the end papers and glued in

The example in Smith's book didn't have a hinged case, but I thought that it would make a supportive cover. I added the pearl buttons in a sort of ad-hoc way. They aren't adhered as best they could, and as a result the buttons are a bit weak. I also learned, by making this book, that flat buttons work best for this type of closure. And so the learning continues...

Day 17 - July 24

This binding is based on examples I spied in a borrowed copy of Shereen LaPlatntz's Cover to Cover. I am particularly happy with the use of color. The covers are printed blue with a varnish on the interior, and 4C process on the outside. The image of the fruit (peaches?) is borrowed from Owen Jones' A Grammar of Ornament. I have this small version - who doesn't love a tiny Grammar of Ornament?

Book 18: piano binding with concertina spine
{paper} pages: yellow text-weight paper; spine: translucent paper; covers: 4/2 color offset litho printed with a design of my creation
{binding} pages sewn to the peaks of the concertina spine; hinges cut and glued; bamboo skewer used for post

A few notes on my process

Until this point I haven't truly taken a look at the way that I decide on a structure and materials, because, quite plainly, it isn't all that complex. I travel where my mind takes me. Influenced by the books I'm learning from, I browse the pages of the texts, looking at pictures and imagining how my materials might work in the form.

I keep a running inventory of the materials I have to work with, like I keep a mental inventory of the food in our fridge and cupboard. And, as I cook, check the mail, and rummage through boxes of 'stuff' stored away, I consider if any of the items I run across could be used for bookmaking. In fact, we made some sushi the other night and used the last of our little tin of wasabi powder. The tin is small and cute, with interesting Japanese/English packaging. I saved it, and I know it will be part of one of the books I make. I haven't decided on a form yet, so stay tuned. I'll come up with something. (The photo is of shrimp steaming for the sushi; great radial shape to the skewers!)

I addition to considering materials, I also think about the types of structures (accordion, edge-sewn, case bound, non-traditional) that I have made thus far. I'd like to avoid repeating more structures, because there are so many extant binding styles to explore, and many more that are yet to be created! To avoid forgetting, here is a list of books I'd like to try: a larger multiple-signature case-bound book; an altered book; a book with pop-ups; a book with non-adhesive bindings (e.g. fancy interlocking pages!); and... The materials, books, and discussions with friends and colleagues are all mixing together in my intellectual slow cooker. It's set to low, and simmering away! If you'd like to suggest a book structure, please do so! :)

Finally, a note on the abysmal photography on this blog. I have to admit that I never did read the directions for our little point-and-shoot digital camera. As a result, the images that I take of my own work (and my students) is generally piss-poor. I haven't quite figured out how to get the camera to color balance. As a result, some of the pics I shoot don't need any color correcting, and others need lots. To automate the image sizing and color balancing I've started using Adobe Photoshop's 'actions.' I've now got a '50 Books Resize' script recorded to automate the resizing, and have a couple color balancing scripts ready to help fix the images. However, the color outcomes are not nearly perfect (which bothers me!), and the color is pretty awful. I'm hoping that at the end of this project I can devote some time to shooting the books with a black background to help color balance the images.

Day 16 - July 23

I spied today’s binding in Books, Boxes, & Wraps yesterday. I thought the style seemed interesting, as well as easier than a case binding. However, getting the measurements just right (never a strong skill of mine!) proved harder than expected. Also, making the text block, which measures 3/8ths inch, was rather difficult. This is the largest block I’ve made yet, and punching the holes for the binding with my small awl was hard. I think I need a new, construction grade awl. That’s one new tool for the wish list!

In retrospect, I think a modified hinged case that would tuck like a matchbook cover would be ideal. It would take some very precise measuring, but the cover would be thicker and feel more durable.

Book 17: sewn binding with one-piece match book cover

{paper} text block: cream paper; cover: silk screened print
{binding} edge sewn

Day 15 - July 22

Today I made up all of my lost ground. I tried some new structures, and got a little crazy. Take a look.

Book 13: tortoise shell edge sewn binding
{paper} book block: cream text weight paper; cover: handmade paper (a gift from my sister) and Japanese paper
{binding} sewn using directions from Books, Boxes, & Wraps by Marilyn Webberley and JoAn Forsyth

The cover used on this binding was a very thoughtful gift from my sister about, um, 4 years ago! I have been moving around the about five sheets of paper for years, trying to figure out how to use them. Today they finally found a purpose! The red stamp was made by the paper maker, and I decided to use it as a focal point on the cover, off-setting the ink with the red binding thread.

Book 14: Japanese ledger book
{paper} text block: circles of origami paper encased in plastic sleeves (for selling cards, I believe); covers: packaging covered on one side with origami paper
{binding} sewn using Webberley and Forsyth’s directions

I got a bit crazy here. I had a package of plastic sleeves and have wanted to use it. I found these circles of paper leftover from another project and decided using the two together was kismet. The only snafu I hit, was that after I found the book I realized that I had sewn the closed ends together, not the open edges, as I had wanted. Oh well. Now I can mix the origami circles or change out the content… Maybe I’ll change the edges sometime later and sew them up.

Book 15: scroll
{paper} silkscreen print cannibalized, trimmed, and glued to make a long, thin single sheet
{binding} glued to a ribbon spool; ribbon remnant used to hold the scroll closed

As I worked on the Japanese ledger book I used the last of a spool of think, cream ribbon. I thought, this is the perfect opportunity to make a scroll book! I adhered origami paper to the two sides of the spool, cut the ‘page,’ glued it together, attached it to the spool, and sought about figuring out how to ‘close’ the structure. Some leftover beads, the hole puncher, and some ribbon later, ta-da!

Book 16: pleat accordion
{paper} text pages: origami paper; cover: packaging covered with self-adhesive craft foam
{binding} origami paper folded into an accordion; pages glued in

This little book was fun and easy. I was deciding which paper to use for the covers, and remembered that I had a stash of self-adhesive craft foam and felt. These materials were remnants from my job search. I don’t know what came over me when I was putting my application materials together. For some unknown reason foam and felt seemed appropriate when I was at the craft store. Hmmm. I think it’s best that I didn’t end up using them. This use is much, much better.

Day 14 - July 21

I have always been a bit afraid of case-bound book structures, mostly because I have never tried them. And, I should add, that I saw my friend Craig’s amazing case binding and was totally intimidated. His attention to craft and detail are impeccable, and something that I can aspire to. However, I know that sort of skill and thoughtfulness are very hard for me to achieve. So, I decided to start small…

Book 12: miniature multi-section (signature) case binding
{paper} signatures: cream text-weight paper; covers: cover board is old packaging covered with origami paper; end sheets are origami paper
{binding} sewn according to the fantastic directions in Making Books By Hand by Peter and Dana Thomas.

Using the great directions of the Thomas’, I used library corners when covering the case. I did get the spine a bit too big (by about 1/8th inch I think), but for a first try, it’s awfully cute. That’s the nice think about working small: you’ve got the ‘cute factor’ in your favor.
I should also mention that I am including the penny in my photos to provide a sense of scale. My ratty cutting mat should help do that, as well.