The Printmaking Studio: an excellent source for Heavy Things.
The Printmaking Studio: an excellent source for Heavy Things.
Yay! Clamshell box bits fit together! I wish I’d done as good a job on the bottom box as I did on the top…
Coil by Timothy Ely, 2005
Drum leaf binding with black leather spine; pastepaper endleaves; text in ink on paper. This unique manuscript was drawn between New York City, Colorado Springs, and Colfax, and tracks the labs, events, and cycles of Nikola Tesla. 36 x 24 x 2 centimeters.
Finished the binding today.
It’s also the start of our intensive 2-week professional practice course. We’ve been encouraged to keep a sketchbook over the next fortnight to show on the last day. This will be mine.
First part of crazy exposed binding is complete.
It’s far from perfect, but I love it anyway.
Making my first hardcover book in a long time. I’m planning on sewing the pages with a fancy visible stitch that goes through the cover.
The outside of the cover is book cloth, the inner is part of an old linocut reduction print.
Another Yojimbo laserdisc cover sketchbook. This one is bound using the “pinched p’s” stitch from the Keith Smith book I mentioned last week.
Another alternate stab binding. The stitch doesn’t go over the top or base of the book, making it easier for the pages to sit flat. Apparently.
I tried this one with tiger tail (coated beading wire) instead of thread.
A lightning bolt binding that took me an embarrassingly long time to figure out.
Moar experimental bookbinding.
This is an alternate Japanese stab stitch. The paper inside is a lightweight but strong Japanese handmade variety so the pages sit quite flat. The cover is made from the remnant silk offcuts I’ve mentioned here before.
Experimenting with sewn bindings today by making some new sketchbooks from paper offcuts and obsolete film technology packaging.
This one uses the ‘Waterfall’ stitch from Keith A. Smith’s book, Non-Adhesive Binding Volume II: 1— 2— & 3—Section Sewings.
Current reading.
