Tuesday, September 22, 2015
In the world of lettering patches, this is a rather colorful collection. Normally, there is more accord in an edition. But in this case, it seemed appropriate. The client provided me with the entire collection of Tintin books, some 23 in all. The covers were stripped, they were each disbound and then were resewn in four separate volumes. They were resewn so that I could physically attach the book covers to the pages using the cords each signature was sewn onto. Whenever possible, I avoid cased bindings where the cover is built off the book and then simply glued onto the textblock. I prefer the more robust and long-lasting laced binding, especially with a collection like this that will likely be read for generations.
Thursday, August 27, 2015
Oversized books are fun, but they are a chore to make. Crafting them becomes something of a workout as they are moved about the shop for various operations. The client wanted a three and a half inch thick text block in a size slightly larger than my typical books. None of the boards and endpaper sections that I prepare when times are slow would do. Everything had to be made from scratch. The signatures were folded down from large press sheets and sewn on extra thick cords. The covers were made up of laminated board stock I then shaped with a hand plane and much sanding. The client was inspired by ancient books she had seen in Spain, so I dyed the calfskin leather binding in a style once popular in Spain and then blind tooled it. The central medallion was embossed with a hand carved wooden block given me by my teacher in Morocco.
Just as a father's love is increased by the struggle to mold his child into the best person possible, the extra effort involved in making a big book tends to increase my affection for the oversized lout. I was sad to send it off.
Wednesday, August 19, 2015
The reback is a bookbinding staple: keep the boards but replace the spine with as little intrusion into the textblock as necessary. The owner of this book is a reader and wants functional copies that open well and look good on the shelf. Often times I am able to retain the original spine and reattach it over the new leather, but in this case it was necessary to blend in a new one, including the labels. The leather was hand dyed and the labels done in imitation of the original using handle letters.
Friday, August 14, 2015
Something about Sherlock Holmes calls out for a leather binding, so when a client inquired about binding his set, I thought it would be a good idea to bind my copy as well. This is his, mine being a single, larger volume. The endpapers are made of maps of London featuring Baker Street. Reading these next to the fire on a rainy day feels rather Victorian, and I half expect a knock on the door by some fellow in a top hat and morning coat.
Tuesday, August 4, 2015
A local scientist wanted one of his many contributions to the study of moths to be leather bound. We decided to do a facsimile of the original paper cover in Siegel's fair goat. The front was fairly straightforward (if time consuming) work on the stamping press using a variety of foils and fonts. The spine was more difficult. I build the majority of my covers on the book which means all spine work must be done by hand. I printed out the text and then used my handle letters warm to impress each individual letter through the paper onto the spine. I then went over these impressions with the foil. I had to be gentle with the tool, using a light hand to allow the tool to nestle into the impression before applying the pressure necessary to print. I quite liked the final result which reminded me of old French paperbacks.
Monday, August 3, 2015
A potential client wrote in to see if I was still in business. He'd noticed that my last blog entry was in 2012. Thankfully, his inquiry has at last pushed me to begin working on this blog again. I'd prefer to be at my bench working with my hands, but hey, typing is manual labor too, right?
So, in the weeks to come I plan to add photos, descriptions of interesting projects, and occasional essays on bookbinding. All this in an effort to develop a digital habit and let my clients, both future and former, know that I'm still here, happily producing books at the bench in my basement at the end of a cul-de-sac.