I covered this book on improvisation. I took scraps of leather from my workshop, cut it and glued it one by one. My picture is created in the process, I just don’t know what it will look like. I like this exercise more and more.
For now it looks like that but I have this feeling that this work is not over.
The text is Triste Tigre, from french author Neige Sinno. It deals with the multiple rapes she endured as a child from her stepfather, and how she grew and lives with it.
It is a text about the limits of litterature, and communication. The author claims clearly that her story cannot be narrated. She’s only drawing a picture that is not reality, and this picture can’t save her from her wounds : she only has to live with it. It is also a text that deals with the vulnerability and the strongness : both are intricated.
I chose blue as my main color for now because I can’t think of anything but bruises. I will add some more level to this picture, and colors too. I will explain my work when it’s over !
You Can Judge a Book By Its Cover: a brief survey of materials
Bernard C. Middleton, author; Kerstin Tini Miura, binder.; David Pankow, editor.; Mel Kavin, introduction, publisher.; Ward Ritchie, book designer.; John DePol, engraver.; Patrick Reagh compositor.; Henry Morris, printer.
With the semester starting, we will be sharing a few books about books to get those in school back in the scholarly mood.
Today's offering disagrees about the popular saying "You can't judge a book by its cover", countering that there is a lot that a book's cover can tell you.
Special Collections & Archives has three copies of this book, and all are beautifully bound by Tini Miura in black morocco; spine and covers decorated with gilt, metal foil tooled, and multicolored leather circles; leather doublures with multicolored onlays and tooling; silk headbands; gilt edges; in a marbled-paper chemise and slipcase.
So go ahead and judge! This cover does tell you something about how much work went into making this item!
"500 copies of this book were produced with 400 numbered copies for sale. Ward Ritchie designed the book, illustrated by John de Pol, set in type by Patrick Reagh, printed by Henry Morris ..."--Colophon.
Individual copies are bound to one of 33 designs each by a different designer bookbinder. All Special Collections copies are signed by author, illustrator, binder, and others.--Catalog
“La Charrue D'Érable” (The Maplewood Plough) Part Four: Embroidery and Covering
Finally the time had come for me to do the bit that I like the most - decorating the covering leather! The first step in the process was to cut out all of the leather onlays I needed to complete the design, including lots of lots of little leaves. On a couple of occasions I brushed past these loose leaves sitting on one of my benches and dislodged a few and it was a rather frustrating game trying to find their correct positions again!
When it came to the apples, I cut out a multitude of discs in different tones of leather and tried to spread the colours out as evenly as possible over the front cover.
Once all of the onlays were down, I went through my box of threads and pulled out a selection of greens, reds and oranges with which to start sewing the detail onto the cover.
Firstly I concentrated on sewing all of the ‘branches’ using a dark green thread. This also helped to secure each of the leaves onto the leather. Each leaf in turn was then further embroidered with little stitches all the way up in a contrasting green to the colour of the onlay. As the leaves on the front and back covers were mirror images of each other, I made sure to sew the corresponding leaves in the same coloured thread.
The apple blossom was attached to the leather using a double criss-cross stitch to look like the stamens of the flowers. I pricked the holes first with a needle pricker as the vellum inlays were tough to push a needle through.
Onto the end of each of the criss-cross stitched (eight in total for each flower) I tied a small French knot. These were done in a variety of different coloured threads to add variety.
The apples on the front cover were also embellished with a variety of coloured threads, enhancing the colour whilst also securing the onlays down.
The back of the leather looked like this once the embroidery was complete - a random scattering of coloured threads!
So, the time had come to cover the book, always a daunting task after spending so much time embroidering the leather beforehand. I laid a few layers of newsprint down onto my bench and got together all the tools I needed for the process: sharp scissors, teflon folder, scalpel, fine metal tools for forming the head caps and some cord, also for forming the head caps.
The front of the leather was spritzed with some water to prevent marks from forming on the front of the leather once it dried. The back was pasted out three times using flour paste, with time left in between each application to allow for it to absorb into the leather.
The covering of the binding requires all the hands and nerves I have so I often don’t get many photos of this part of the process! The leather went down well and the book was left to dry under weights between blotting paper for 24 hours, with the blotters changed regularly. The following day, I dampened the joints with a water pen and carefully opened up the boards. The leather joints were stuck down into position with PVA whilst both of the book boards were open.
I bought some 18 carat yellow gold sheet in order to add one gold apple to the front cover. This was pierced into shape using a jeweller’s piercing saw and holes drilled through it. One of the criss-crosses was sewn with metallic gold thread, the other had gold wire passed across it to physically attach the gold apple to the book board through small holes that had been drilled using my Dremel..
Small channels were cut out of the reverse of the board and the ends of the gold wire were bent into these to permanently fix the gold apple in its place. The insides of both the front and back boards were then infilled and sanded. The first layer was some watercolour paper, which was the same thickness as the turn-ins and the leather joint. The second layer was a piece or Zerkall, cut a few millimetres smaller than the size of the boards. This was then sanded completely flush to get rid of any lumps and bumps.
It was then time to stick the paper doublure down to the front and back boards. All of the pierced shapes had been filled with gold leaf backed onto Japanese tissue.
Once stuck down, I wanted to add extra detail to the endpapers and doublures. For the apples inside the front board, I cut out tiny criss-crosses from black paper.
These were then stuck down onto the gold using PVA glue.
For the blossom inside the back board, I used black acrylic paint on the end of a needle pricker and applied paint to each of the flower centres.
Finally, I wanted to add a little of the cover leather to the endpapers and doublures. I cut out small shapes from thinly pared cover leather and stuck them randomly amongst the branches.
The next, and final, blog post in this series shows images of the completed binding and wooden box that was made for the binding.
SO. COOL. This history of the Crusades just arrived from France this afternoon. “Beautés de l’Histoire des Croisades et des Ordres Religieux et Militaires Qui Ont Sont Nés”. 1855. #rarebooks #crusades #historybooks #frenchbooks #finebinding #cartonnage #croisades #bookcollecting #treatyourshelf https://www.instagram.com/p/CEnXiDuh-qC/?igshid=lr7kd6aobgni
An 18th century almanac for women, both covers with silk medallions embroidered with metallic thread and sequins, different colors and designs on each side... #18thcenturysequins #rarebooks #finebinding #nyabf2019 (at New York International Antiquarian Book Fair) https://www.instagram.com/p/Buysxfog2Xh/?utm_source=ig_tumblr_share&igshid=34722htilqwt
