Online Workshop – How to Make Longstitch Bindings

Join our new live online workshop and make longstitch bindings

This online workshop in longstitch binding teaches a traditional method of bookbinding that originates from Germany and dates back to the late 14th century. In this method, sections of paper are sewn directly through holes in the covering material, giving support to the spine, and flexibility to the book. It is a simple and extremely rewarding process and one that can be easily adapted once practiced, to include more complex designs and decorations.

We will provide materials in advance, as listed below, so that we all have the same items at the start of the workshop. We cannot provide tools, as we do at in-person workshops. The list of tools required is also below, some of these can be replaced with tools that you have at home, others may need to be purchased. When booking the course, you will also receive a 15% discount to the shop so that you can buy the tools direct from us if you choose.

We will cover:

  • the importance of grain direction
  • preparing a textblock
  • folding and trimming paper
  • preparing sections for sewing
  • preparing covering material
  • sewing the textblock
  • finishing the cover

You will come away with:

  • one beautiful A6 hand-made longstitch binding in leather
  • a template to continue to make your own bindings at home
  • an introduction into bookbinding
  • a basic understanding of the structure of bindings

The materials pack

We will send you:

  • Textblock paper
  • Covering material
  • Metal button for cover
  • Template to cut and prepare the leather
  • Complimentary needle and linen thread

You will need:

  • A cutting mat
  • A sharp knife – Stanley knife or a scalpel
  • An awl (aka bradawl / pricker)
  • A cobblers knife (a sharp medium sized kitchen knife may be used, at your own risk)
  • A bonefolder
  • A piece of waste cardboard
  • A metal ruler
  • Paper weight
  • Pencil
  • Scrap paper

How it works

Once you book you will receive an email containing a link to a zoom meeting and instructions on how to join that meeting. You will also receive a code for a discount in the the shop, if you would like to buy tools from us.

Online Workshop – How to Make Basic Pamphlet Bindings

decorative pamphlet bindings

Join our new live online workshop and make basic pamphlet bindings

This online workshop in basic pamphlet binding is the first stage of learning bookbinding, and is essential in understanding how a book is created. It allows the binder to gain experience in working with the grain of the paper, the importance of accurate hand-skills, understanding the terminology of a book and putting it into practice. It is a simple and extremely rewarding process and one that can be easily adapted once practiced, to include more complex designs and decorations.

We will provide materials in advance, as listed below, so that we all have the same items at the start of the workshop. We cannot provide tools, as we do at in-person workshops. The list of tools required is also below, some of these can be replaced with tools that you have at home, others may need to be purchased. When booking the course, you will also receive a 15% discount to the shop so that you can buy the tools direct from us if you choose.

We will cover:

  • the importance of grain direction
  • preparing a textblock
  • folding and trimming paper
  • creating end papers
  • sewing a single section textblock
  • finishing the covering
Foredge of basic pamphlet binding

You will come away with:

  • two A6 hand-made pamphlet bindings with two sewing styles
  • an introduction into the hand-skills required for bookbinding
  • a basic understanding of the structure of bindings

The materials pack

We will send you:

  • Textblock paper
  • Covering material
  • Decorative paper
  • Endpapers
  • Complimentary needle and linen thread

You will need:

  • A cutting mat
  • A sharp knife – Stanley knife or a scalpel
  • An awl (aka bradawl / pricker)
  • A cobblers knife (a sharp medium sized kitchen knife may be used, at your own risk)
  • A bonefolder
  • A piece of waste cardboard
  • A metal ruler
  • Paper weight
  • Pencil
  • Scrap paper

How it works

Once you book you will receive an email containing a link to a zoom meeting and instructions on how to join that meeting. You will also receive a code for a discount in the the shop, if you would like to buy tools from us.

Encyclopedia Britannica

Encyclopedia Britannica Map Volume

This volume had substantial self-adhesive tape damage, having been kept in one piece by taping the spine back onto the boards, and taping the first section back together. Some of the tape had become brittle, stained and lifted from the paper, however the majority remained tacky and still adhered. Once the tape and tackiness had been removed, I was able to go about repairing the textblock, attaching the boards and creating a new spine. The brief from the client was to retain as much of its originality, wear and age as possible.

CONDITION

  • Substantial tape damage to endpapers, first and last sections.
  • Sewing is deteriorated and sections are loose at front and back.
  • The bulk of the sewing is still in tact.
  • First fly leaves and contents pages are damaged and detached.
  • Foxing throughout – to leave as is.
  • Endpapers are loose, buckram guttering is damaged at the back, front is loose, tape damaged, but still in tact.
  • Leather spine has become detached and re-adhered using self adhesive tape to the leather edges of boards.
  • Boards and corners are deteriorated at edges.
  • Spine lining is brittle and deteriorated.

TREATMENT

  • Remove self-adhesive tape from cover, spine, endpapers, first and last sections.
  • Repair first pages and recreate first and second sections.
  • Remove spine lining.
  • Extend sewing supports.
  • Sew loose sections back onto textblock
  • Repair endpapers and create new buckram gutter on back end paper.
  • Line spine with aerocotton and manilla.
  • Create hollow and false raised bands.
  • Split boards, lift board edges and neaten.
  • Reattach boards to textblock.
  • Create new spine piece from toned goatskin.
  • Reback volume.
  • Reattach original spine piece and consolidate.
  • Consolidate board edges and corners.

If you have a damaged book that you would like to discuss, please do get in touch.

Online Workshop – How to Make Japanese Stab Bindings

Japanese Stab Binding
Japanese Stab Binding 2

Join our live online workshop and make Japanese stab bindings

In this online workshop, we will be creating Japanese Stab Bindings. This binding is often associated with decorative books and hand bindings due to their attractive sewing techniques, that once practised, can be adapted to incorporate more complex designs. It is a useful method for binding single leaves, such as artwork, as there is no need for adhesive, allowing sheets to be quickly bound after they have been created.

The Japanese Stab Binding actually originates from the Chinese ‘butterfly binding’, one of the earliest paper bookbinding techniques in Asia where single sheets were pasted together, surrounded in a wraparound cover and stitched along the edge.

We will provide materials in advance, as listed below, so that we all have the same items at the start of the workshop. We cannot provide tools, as we do at in-person workshops. The list of tools required is also below, some of these can be replaced with tools that you have at home, others may need to be purchased. When booking the course, you will also receive a 15% discount to the shop so that you can buy the tools direct from us if you choose.

Japanese Stab Binding 3

We will cover:

  • the importance of grain direction
  • preparing a textblock
  • folding and trimming paper
  • creating sewing guides
  • sewing Japanese stab style
  • additional sewing patterns
Japanese Stab Binding 5

You will come away with:

  • two A5 hand-made Japanese stab bindings with two sewing styles
  • an introduction into the hand-skills required for bookbinding
  • a basic understanding of the structure of bindings

The materials pack

We will send you:

  • Textblock paper
  • Covering material
  • Decorative paper
  • Complimentary needle
  • Linen thread

You will need:

  • A cutting mat
  • A sharp knife – Stanley knife or a scalpel
  • An awl (aka bradawl / pricker)
  • A cobblers knife (a sharp medium sized kitchen knife may be used, at your own risk)
  • A bonefolder
  • A piece of waste cardboard
  • A metal ruler
  • Paper weight
  • Pencil
  • Scrap paper

How it works

Once you book you will receive an email containing a link to a zoom meeting and instructions on how to join that meeting. You will also receive a code for a discount in the the shop, if you would like to buy tools from us.

Turning a Paperback into a Hardback

Unofficial History
1970, by Field Marshal Sir William Slim, Corgi Books

This binding was not a valuable book financially, but one whose owner was extremely fond of it. Being a late twentieth century paperback, it was not made to last. The paper is brittle and the binding was in a perfect style, which, ironically, is so far from perfect that one must think the term was made in jest.

A perfect binding implies that loose sheets are stacked and adhered at the spine edge with a thick layer of PVA or similar adhesive. This is then covered with a paper cover, which is adhered over the heavy spine, and tada! You have the modern paperback. Note the lack of sewing, spine lining or any form of reinforcement to keep the book from falling apart. This makes a very clear case as to why your regular paperback will often fall apart on you when reading. If, by some miracle, you can keep the book free from dog ears and spine breakages, it won’t be long before the adhesive gives up the ghost all on its own and falls apart anyway – as mentioned, decidedly less than “perfect”.

In order to create a hardback, as requested by this client, I treated this book quite similarly to a thesis binding – stab-sewn and covered as a quarter-bound flat back. The result was very pleasing, and with a simple cover design and title on the spine, it now has a new lease of life that should last for years to come.

If you have a similar book that you would like to preserve for the future in this way, please do get in touch to discuss the particulars.

CONDITION

TEXTBLOCK has brittle paper, which is discolouring at the edges.
BINDING is perfect bound and still in tact at present.

TREATMENT

TEXTBLOCK
– Keep original cover as first page.
– Create holes adjacent to the spine and sew as thesis binding.
– Adhere plain black endpapers.
– Line spine with cloth and manilla lining.
BINDING
– Create new cover – flat back and quater-bound with black cloth spine and printed cover in the style of the original.
– Case-in and finish.

Treasure Island | A Fine Binding

June 2016 will see the return of the Worthing Artists Open Houses to our seaside town. As a craftsperson, I have previously enjoyed the increased members of the public coming to say hello at The Book Hut, but never directly taken part. This year, however,  I will be much more involved, with two projects on display and a workshop at the Worthing Library, it’s all go at this end. The first, and key project, is that which is introduced here – Treasure Island – a fine binding of my own creating, that will be on display at StudioFreer in June. It is the first fine binding I have made for approximately four years, and the very first which will be available to buy.

TREATMENT

  • Initially the cover was removed from the binding and kept for future use in the design process.
  • The textblock was then placed in the press and the spine lining and adhesive (animal glue) was removed manually with a spatular, having been previously softened with a wheat starch paste poultice.
  • The sections were then cleaned individually and put in the press for flattening.
  • The outer folio of each section was then guarded at the spine with a 12gsm tengujo tissue to reinforce them, and placed back in the press.
  • Made endpapers were created using gold leaf and paint and sewn along with the textblock.
  • Following pressing, it was sewn onto three tapes.
  • All three edges were paired and gilded in gold leaf.
  • Endbands were sewn in gold and black silk.
  • The spine was lined with fray not and manilla.
  • The boards were laced in and covered in a smooth cartridge paper and sanded.
  • The binding was then covered in a light green goatskin.
  • The cover decoration consisted of the first chapter of the book blind tooled onto the cover, and the title brought out in gold leaf.