Week 63: 25th November – 1st December
Although the focus of my work is artists’ books, and I have been creating and exhibiting this type of work since 2007, I’ve never really done any formal training in bookbinding. Artists books and book objects, although akin to traditional bound codices, tend towards expressing the idea of a book and the concepts, materials and format implicit within those ideas. Therefore, I had not felt the need to explore more traditional methods of binding.
However, I did have a general understanding of the kinds of techniques and materials involved, having learnt through books and one-off workshops, so I decided to take a traditional bookbinding course in order to consolidate my previous knowledge and to see if there was more that I could utilise within my practice.
Single section bindings
There were two courses available; Bookbinding 1 & 2, and although I felt as if the first level might be too easy for me, I decided to take it anyway so I could make sure I’d accessed all of the available information. As it turned out, there was still a lot for me to learn. We created single and multiple section bindings, and although I was familiar with most of the sewing techniques involved, it was useful to confirm that my knowledge was correct by an experienced industry bookbinder.
We covered a number of techniques including pamphlet stitch (a simple sewing technique used to create single section bindings or to attach sections to a concertina spine), French sewn, and coptic. We also learned how to determine grain direction, which is something that I’ve always been aware of but never paid much attention to before. However, the thing that was most interesting about these sessions was learning about the different book coverings and casings.
Book coverings and bindings
There are three main styles of binding on a traditional Western codex: quarter bound, half bound, and full bound. The quarter bound book is bound in two different types of material – one on the spine and part of the sides, and another (less expensive) one on the remainder of the sides. The half bound book is bound in a similar way, although this time, the corners are also covered in the same material used for the spine. The full bound, as the name might suggest, is where the book is covered in only one piece of material, such as leather.
These different styles can also be finished in three different ways: cut flush, cut flush turned in, and squares. Cut flush indicates that the book is assembled with boards and covering materials before it is trimmed. This means that the covers are the same size as the text block and the board material can be seen at the sides of the covers. Cut flush turned in, on the other hand, is where the boards are fastened loosely to the text block and trimmed to size, before being covered in material which is then folded over the edges of the boards. Squares is the most expensive finishing technique, and means that the text block has been trimmed to size before the boards are attached. The boards are then cut slightly bigger to protrude over the edges of the text block.
Equipment and tools
Whenever I make artist books I always try to use basic materials that will be available to me outside of a specialist workshop environment. However, I was still keen to learn more about the different types of equipment available, and how I could add to the tools currently at my disposal.
Equipment included the different types of presses, such as the nipping and lying press, sewing frame, bone folder, awl and cobblers knives, to name a few. Although all of the equipment is useful when producing traditional fine binding work, I felt that most of the larger equipment wouldn’t be essential in producing my small edition artists’ books. However, after using the foil blocking press, I realised that certain tools would be quite useful and I resolved to find these facilities at university.
Further reading:
http://angelasutton.eu/techniques/index.html
http://www.keithsmithbooks.com/
http://travelingscriptorium.files.wordpress.com/2013/07/bookbinding-booklet.pdf