Tag: worthing

Posted on

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.

  • Treasure Island cleaning the spine
    Cleaning up the spine
  • Treasure Island sections in press
    Flattening the sections
  • Treasure Island flattened sections
    Cleaned sections
  • Treasure Island guarded sections
    Ready for sewing
  • Sewing onto linen threads
  • Sewn up.
  • Gold and red endbands
  • Tooling the cover

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.
  • Treasure Island Original
    BEFORE
  • AFTER
Posted on

David Barber’s Sketchbook | Fine Binding

David Barber's Sketchbook
  • Different paper for each section
    Different paper for each section
  • The book cover
    The book cover
  • Opening well to allow access to the gutter
    Opening well to allow access to the gutter
  • Sewn onto five cords
    Sewn onto five cords

David Barber’s Sketchbook is a fine binding and was designed with specific requirements from the artist. The landscape layout allowed the artist to draw across the double page spread, it was also imperative that the binding opened well when completed giving access to the gutter of the book. The texblock was created from two different types of paper alternating between each section, one more appropriate for watercolour, the other for drawing in ink.

The text block was sewn onto five cords, which were then laced into the boards. The boards are lined to allow for the pull of the leather on the front and the leather left plain for the artist to decorate. The endpapers were made from the Surrey Cartridge paper, again, designed for use from the artist.

For more examples of fine bindings and newly bound volumes, have a look at bookbinding. For more information on the Artist, have a look at his interview on Worthing Art.
For information on purchasing a copy of the full sketchbook, go to David’s Facebook page.

David’s first drawing in his sketchbook

TREATMENT

  • c.2014
  • Flexible binding in full tan goatskin.
  • Sewn landscape onto five cords and trimmed
  • Handsewn endbands in beige and green silk.
  • Paper alternated between Surrey Cartridge and Windsor & Newton Sketching & Drawing Paper.
  • 276×207 (WH), 15 sections, 3 bifolios per sections
David Barber with his sketchbook
David Barber with his sketchbook