Hello and welcome to my (much delayed) third blog post.
As I’ve previously mentioned, one of the core motivations for applying for a professional development bursary was improving my limited technical skills in bookmaking.
Despite my worryingly intense appreciation for the physicality of printed material – from paper pamphlets to thick hardback tomes – I’ve never ‘properly’ made a book form; and until recently, I’ve always been more of a ‘brutal sculptural form’ kinda guy.
This shift in my artistic thinking has seen me become more interested in the entire processes of production; I’ve definitely given myself a headache mulling how I can get from InDesign to an edition of 25 self-printed books in the last few months.
So, my plan to move up the gears consisted of two initial steps.
I bought a Bookbinders Starter Pack from renowned bookbinding supplier Ratchford’s. When the gigantic parcel arrived, I opened the box to be greeted by an arsenal of tools. Admittedly, there was more than one tool I didn’t know how to use…
In order to find out my ‘Bookbinders Bodkin’ from my greyboard, my second step was to sign up to Hot Bed Press ‘Book Building’ workshop.
Hot Bed is the largest open access print workshop in the North West and is located a stones throw from my former stomping ground Islington Mill. While I’ve only visited Hot Bed for open studios or to visit friends I’ve always been impressed by its community and facilities.
The weekend course was led by artist Elizabeth Willow. Willow is inspired by found objects, brief glimpses and overlooked details. I’ve come across Willow’s artist books many times over the years and knew we were in safe hands.
I met my other 11 course mates over a brew and biscuits in the Hot Bed kitchen space. They ranged from artists wanting to pursue new lines enquiry in their work to photographers aiming to self-distribute their work.
It was a pleasant surprise to be greeted at the workbench by the same bookbinding kit I’d ordered from Ratchford’s.
The workshop started with a welcome discussion of what an artist book actually constituted. Willow then introduced us to bookbinding basics including paper grain, workable forms, different examples of using paper to create works and the uttermost importance of maintaining a clear workspace – keep that bloody glue clear!
Over the weekend we made several different forms in paper books; simple stitch to Turkish Map folds which often challenged my natural aversion to needlework. Before you accuse me of holding a dated association between femininity and needlecraft, it’s because I shattered my left thumb a decade ago and struggle for dexterity with intricate tasks (e.g. needlework). I wasn’t as bad as I initially feared; moving out of your comfort zone is always rewarding.
On reflection, the course was the practical entry point I had been lacking. While I’m still finding my way in the technical side, I do hold a crystal clear vision of I want from self publishing; I have little time for making decorative or sculptural book forms – it’s the conceptual rationale that motivates me. If the form of the book reinforces this, then great. Ideas first.
I’m looking forward to heading back to Hot Bed later in the year for a course on making hardback books. Until then, I have my bookbinding kit to play around with.
