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June:
Single Signature Variations
June 23 – 29 (Sunday – Saturday)
Maine Media Workshops + College
Rockport, ME

There are still a few spots left! Books come in all shapes and sizes. Some may span only a single signature, while others become a thick tome. In this workshop, we’ll explore the former as we create a multitude of models with both soft and hardcovers.

Students will begin this workshop by making a series of simple softcover pamphlets using a variety of sewing patterns before moving on to hardcover structures. Finally, we will create a modified version of the Bradel binding using a stub at the spine. This will give our books an elegant rounded spine, which will be covered in leather and sided up with decorative paper. All of these structures allow the book to lay flat and are perfect for chapbooks, presentation pamphlets or short stories.

July:
Fundamentals of Bookbinding I
July 15 – 19 (Monday – Friday)
North Bennet Street School
Boston, MA

This workshop is sold out. Students will learn the foundations of bookbinding by combining hands-on exercises and discussion. The class starts by exploring non-adhesive structures: soft cover pamphlet, Coptic, historical longstitch and link stitch. The class ends with a look at case bindings, with the creation of two hardcover flatback bindings. Students also learn different structural elements, sewing variations, covering and cutting techniques using various materials, tools and equipment. Throughout the course discussions will cover terminology, paper grain and folding, selecting proper materials and tools, and adhesives and their properties.

The Shrigley
July 20 – 21 (Saturday – Sunday)
North Bennet Street School
Boston, MA

The Shrigley is an innovative way to house loose ephemera, postcards, photographs and more. The pages are folded into frames, allowing you to easily add or remove pieces from the book. In this workshop, students will learn the folding technique to create the frames with various corner styles. Once the pages are assembled and sewn, students will finish their project by making a hardcover case with a ribbon tie.

Embroidery on Leather
August 17 – 18 (Saturday – Sunday)
Pattison Paperworks
Otisfield, ME

In this workshop, students will learn a few basic embroidery techniques that are best for decorating leather, ways to transfer a design and prep the leather for covering. In addition to these simple embroidery stitches, demonstrations will also cover ways of creating texture and depth to a design by incorporating onlays and other decorative techniques. Students will use these techniques to design and embroider a simple cover for a miniature blank book.

To register please click the contact me button to the right. ->

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In my previous post, I went through the various enclosures crafted to hold my binding of 2001: A Space Odyssey and how they represented different parts of the Clarke’s text and Kubrick’s film. This post will focus on the binding itself, the inspiration and the process.

Sitting inside the clamshell box is a binding decorated with a burst of color that plays homage to one of the most iconic scenes from Kubrick’s film. It is at this point, that the protagonist Dave flees the now inhospitable spaceship that was intended to carry him and his crew safely to Saturn. To recreate these star streaks, I bound the book in black buffalo skin with a range of back-pared onlays in goatskin, suede and handmade kozo paper. Additional embellishment is created through hand embroidery. Many times I create a template for my embroidery work. For this design I worked more spontaneously.

Each stitched line was first marked out by scoring with a thin bone folder against a ruler in the desired spot. Then I pre-punch holes along this line in preparation for the embroidery. You can see my progression below as I was building up the design with both the onlays and the embroidery.

Click to view slideshow.

Tucked in between the section of pink onlays is a segment from Verdi’s Requiem Mass (Dies Irae) which is achieved with couching the embroidery floss and French knots for the notes. After narrowly escaping Hal’s attempt to kill him, Dave dismantled the computer and spent time in the ship contemplating his next move. He played a range of music to combat the silence. Verdi was blasted across the ship at the height of his loneliness and despair.

Dave finally flees the empty ship and enters the final stages of his evolution. This is communicated by the interior side of the boards, flyleaves, edge decoration and endpapers. In his escape pod, Dave enters a space with gaping black shafts filled with squares, triangles and polygons before emerging into a white space peppered with a myriad of tiny black specks overhead.

Dave ends this portion of his journey in a room where the objects seem familiar but at closer inspection deemed poor replicas. Dave calls out how two paintings hung on the walls are quite blurry yet recognizable. These two paintings are Van Gogh’s Bridge of Arles and Wyeth’s Christina’s World. I altered and cropped these paintings for the endpapers to be the final visual representation of the book before getting to the actual text.

And that’s my rendition of this iconic science fiction story. You can see more images of the binding and boxes at my website.

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I am thrilled once again to be writing up this post after interviewing the graduating class from the North Bennet Street School’s Bookbinding Department. To catch up those who are new to the blog, every year I interview the second year students about their design bindings which go on display in the annual Student & Alumni Exhibit. And it’s my favorite time of year, I love sitting down one-on-one with each of the students to chat about their experience crafting a design binding and how their individual backgrounds tie into their work. That latter half was ever more present with this year’s set book: Rewarding Work: A History of Boston’s North Bennet Street School by Christine Compston, Stephen Senge and Walter McDonald.

In this comprehensive examination of the School’s history, Rewarding Work, outlines the school’s impact within the local community and how it has evolved over the years to expand that community without compromising its initial mission “to bring about meaningful lives and livelihoods for its students, who come from across the country and around the world.” You can read a more about Rewarding Work at the school’s shop page, where you can purchase a copy for yourself.

During the interviews, I discussed with each binder how their personal history with the school may have impacted their design choices. Every binding felt perfectly unique to the student who created it, which speaks volumes to their ability to reflect upon their two years and explore it in a visually creative way. If you happen to be in the Boston area, please check out the Student & Alumni Exhibit, which will be on display at the North Bennet Street School from May 1st through June 29th. The exhibit is free and open to the public, you can find out more information on the website.

Séphora Bergiste

The North Bennet Street Industrial School (the original name of the school) was established as an institution to better the lives of newly arrived immigrants through training programs to develop hand skills. Séphora Bergiste really latched onto this part of the school’s history. Séphora is also an immigrant having grown up in Haiti before moving to Rhode Island at age nine. Already her design decisions felt very personal, even before she talks about her art practice outside of bookbinding and its connection to dealing with and measuring time. The design mimics the face of a clock with the numbers replaced by symbols that represent the eight departments at NBSS.

Séphora chose a color palette which represents the school’s unofficial colors: navy blue and golden yellow. The binding is covered in a beautifully hand-dyed goatskin. Séphora applied the spirit dyes using a wet on wet method in two ways: diluting the dye with an initial layer of alcohol and by continually saturating the same areas with dye. This application of dye created a dynamic and textured effect on the leather.

The symbols are created through either tooling or surface gilding using florentine gold leaf. Séphora represents the Bookbinding department twice through the backing hammer on the back cover and the threaded needle on the spine. Below are the symbols for the Jewelry, Violin and Locksmithing Departments. The title fits within the needle/clock hand on the spine; Séphora used Gill Sans handle letters tooled in florentine gold leaf for the title.

Séphora used a handmade Japanese paper that she purchased during a trip to Japan for the paste down and flyleaves. The paper has a subtle striped pattern in olive green and gold. She used the same dyed leather for the hinges, so there is a lovely pop of color between the two paper pieces. The elaborately hand-sewn French double core endbands include alternating bands of green, yellow, light blue and white threads.

I love that Séphora chose to dye her own skin; that she took a chance to make her binding unique. The mottled effect she was able to achieve creates a beautiful contrast to the precision of the gold tooling. And I love that it is subtle, only in a well lit room can you see the true brilliance of the leather dyeing. I interviewed Séphora in a dimly lit room and it wasn’t until I photographed the binding could I truly see the variation in color. It was a lovely surprise.

You can follow Séphora on Instagram: @somedays.bindery or check out more of her work at her website. Séphora will continue in her position working on an extensive housing project at the W. Van Alan Clark, Jr. Library at the School for Museum of Fine Arts at Tufts University after graduation.

Rachel Campbell

Reading through Rewarding Work, its apparent that the accord between NBSS and the North End neighborhood allowed both to flourish. Inspired by this idea and the surrounding architecture, Rachel Campbell gleaned elements from the neighborhood to build her design. Brick and concrete are common building materials throughout the neighborhood. The brick, in particular, felt so unique to Rachel as it presents itself more than in the architecture from her home state of Oregon. Her regular visits to St. Leonard’s Church also began to inspire aspects of her design, specifically the columns and stained glass windows. This draw to building structures and decor comes from a background in interior design.

Rachel knew that she wanted to use a frame for the basic layout of the design. After sharing several iterations with me, I saw how she worked through her design and pared it down to it’s final stage. The shape of the columns changed from a classic Corinthian style, the detailed window design was reduced to simple line work and the overall design was reworked to be symmetrically balanced from fore edge to fore edge.

The binding is covered in a grass green goatskin with over a 100 onlays used for the bricks and columns. The bricks are carbon tooled onlays in three shades of red goatskin: terracotta, crimson and maroon. Rachel carefully planned the arrangement of bricks to feel naturally random. The columns are also carbon tooled onlays; the grey goatskin is subtly marbled with black ink to resemble concrete. The windows are tooled in dukaten leaf. The title is laid out beautifully down the spine with hand tools to mimic an Art Deco typeface.

A hand marbled paper made by Rachel is used for the paste down and flyleaf and has a color palette that perfectly pairs with the design on the cover. The marbling is irregular, but controlled within a linear frame which works well with the brick layout. Rachel also cleverly wrapped the bricks around the fore edge and over the marbled paper paste down. This is such a unique treatment and something I haven’t seen before. The text block edges are sprinkled with a brick red acrylic. The endbands are hand sewn around a single core in alternating bands of bright red and brick red.

It is evident that Rachel put in so much thought and consideration into the design and execution of her binding. It’s clear to me that she worked very methodically and with precision as she laid in each of the onlays. Her carbon and gold tooling is so clean and so exact.

In the recent NBSS exhibit, Bound Together, Rachel was awarded 2nd place for her binding of Emma by Jane Austen. She is incredibly talented and I can’t wait to see what binding she makes next. You can find more of Rachel’s work at her website here.

Yi Bin Liang

During the 2006 graduation ceremony, speaker Barry Moser, is quoted saying the following:

The most important advice I can give you all–and forgive me if this seems glib–is to work. Work. Work. Work. Everyday. At the same time every day, for as long as you can take it. Work. Work. Work.

You can’t depend on talent. Talent is as common as house dust…So remember that..

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If you ask a binder what book they would love to bind, I’m sure they would have a list of titles at the ready. I’ve had 2001: A Space Odyssey by Arthur C. Clarke on my list for sometime now. After working on the binding on and off for over a year, I can finally check it off my list.

I was first enchanted by this story not by reading the science fiction novel by Clarke, but through the film by Stanley Kubrick. It’s one of my favorite films and I see it on the big screen any chance I can. It wasn’t until after I read Clarke’s telling of 2001, that I began to investigate the unusual collaboration that produced both the film and the novel. Kubrick and Clarke wrote the story together, yet parts of the story don’t appear in the film and vice versa. Each respective storyteller put their own unique spin on the tale.

The film actually debuted before the novel, which makes me feel better about not reading the book before watching the movie. In fact, I think the novel enriches the film, expanding on the story in a way that could not be visualized in the film.

When I embarked on binding a copy of 2001, I had all of this history in the back of my mind. I read the novel again, this time through the lens of a designer, pulling out segments and phrases I found inspirational. Unconsciously, I was also visualizing imagery from the film; scenes that were so impactful and had influence on my design. I could not separate the two when working on the design.

One other hurdle I came upon, was the sheer volume of inspiration from the novel and film. There were too many significant moments; which do I highlight? So, I came to the conclusion that I needed to create a design that would represent each major moment of the story.

In this multi-part post, I will describe each aspect of the piece, going into detail about the inspiration for the design and how I chose to execute it through various materials and techniques.

Let’s start with the outermost enclosure: the storage box. The entire collection of enclosures and binding are housed in a standard full cloth clamshell box. I don’t really view this box as part of the overall concept, it merely serves the purpose of storing the contents safely. However, this is the only piece where the title appears as a label on the spine. The title is embroidered in a futuristic font on handmade paper from Hook Pottery Paper.

Sitting inside the storage box is a paper wrapper, which is meant to represent Part I: Primeval Night. The story begins at the dawn of humankind, witnessing the moment that our primitive ancestors develop tools to be used for killing animals for consumption, but soon this same tool becomes a weapon against an enemy tribe as it is used to murder the leader of a neighboring group. The 4-flap wrapper is made from yellow ochre St. Armand paper, which is a nod to the vast desert setting for this incident. A coyote foot bone aids in opening the wrapper and is an obvious cue to this significant part of the story.

Unfolding the wrapper reveals the interior clamshell box, which includes the elusive monolith. A symbol that appears throughout the novel. This transition from wrapper to clamshell is referencing two moments: the monolith first appears to the primitive humans at the precise moment described above and then not seen again for centuries until it is unearthed on the moon. So the action of unfolding the paper wrapper to reveal the monolith underneath speaks to these two moments in the story and moves into Part II: TMA-1 and Part III: Between Planets.

The monolith onlay is constructed according to the 1:4:9 ratio described in the book. I used black calf skin wrapped around 20pt. museum board. After attaching the leather, I pressed the piece with mylar to create a shiny surface on the leather. Depth is created through the simple addition of three blind tooled lines at the left side and bottom edge.

The monolith is surrounded by a frame of handmade moon paper from Hook Pottery Paper and paper from Moth Designs with a scribble design.

The case is covered with black buffalo skin and the same moon paper is used to cover the trays. The purple paper, which I used for the label on the storage box lines the interior of the box.

That covers all of the enclosures for the binding. In my next post I will go into detail about the concept and construction of the binding and how I worked in the remaining portion of the story.

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APRIL:
Focus on Case Binding
April 8 – 12 (Monday – Friday)
North Bennet Street School
Boston, MA

Explore case binding structures through repetition while experimenting with minor changes in technique with each book. The course covers structural elements, sewing variations, covering, and cutting techniques using various tools and equipment. Discussions cover terminology, paper grain and folding, selecting proper materials and tools, and adhesives and their properties. Students have ample time to repeat each technique in order to achieve precision and accuracy. This course is suitable for beginners or those who want to refresh their skills.

Personal projects: Time will be dedicated to working on personal projects during the latter half of the workshop. Projects should be suitable for the case binding structure. While some materials can be supplied, students should bring the bulk of the materials required for their work.

Bookbinding 101
April 27 – 28 (Saturday – Sunday)
North Bennet Street School
Boston, MA

This workshop is sold out. In this two day class, students get a quick introduction to various bookbinding techniques by exploring three different book structures. The class begins with a simple pamphlet and continues with constructing two multi-signature books known as a flatback case binding and link stitch binding. Finally, students construct a box to house all of their creations. This class is a great way to familiarize yourself with bookbinding and is perfect for those who are curious about the craft. Please bring a notebook and pencil to class.

MAY:
Fundamentals of Bookbinding II
May 6 – 10 (Monday – Friday)
North Bennet Street School
Boston, MA

This course will focus on hardcover structures. Students will continue with rounded back case bindings and end the course with a book with words. Throughout the course students will fine-tune their skills through repetition and develop a focus to details such as, endpapers structures and headband variations. Topics of discussion will include an overview of bindery equipment such as stamping on the Kwikprint and trimming with the plough.

Secret Belgian Binding
May 11 – 12 (Saturday – Sunday)
North Bennet Street School
Boston, MA

This workshop is sold out. This workshop explores the Secret Belgian structure and ways to modify it. On day one, students put together two variations of this non-adhesive structure: one with exposed stitches and one with hidden stitches. On day two, students explore modified versions of the Secret Belgian binding developed by book artist, Anne Goy by playing with the length of stitching and incorporating Tyvek. The Secret Belgian binding can be constructed quickly with few tools and virtually no equipment. It opens flat and works best with thinner text blocks.

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With Annette Friedrich’s binding of Between the Acts we wind up both the series and the interview. Bound in 2018 in blue goatskin, the binding also has hand sewn endbands in green silk with champagne (with a purple tint) paper edge-to-edge doublures and yellow fly leaves.

The design on Between the Acts is made up of an impressive number of foils and might be my favorite out of the bunch. There are three metallic foils in two shades of silver and gunmetal with an additional twenty-three pigmented foils in the following colors: white, four shades of grey, purple, three shades of blue, two shades of yellow, five shades of red, four shades of green and three shades of brown. Also making an appearance are the special guest foils: transparent pearl and transparent neon yellow.

The chemise is inlaid with green and purple hand-dyed papers with blue goatskin across the spine. The title is tooled in green and purple foil. The slipcase is covered in the same green paper and lined with an equally green Alcantara. Tooling on the binding is done by Claude Ribal.

The final binding in the series, Between the Acts is so playful in both the design and color palette. The design is explosive and feels like a celebration; it contains more pigment colored foils than the preceding eight. Did you incorporate every tool that had been used prior?
Thank you! Gosh, it feels as if I might just have used all of them, but I do not know for sure? Actually, no. There are no dots and only very few lines. But it does not matter, it had not been my intention anyhow.

In the last post, we discussed the choices you made regarding the titling. In this binding and Mrs. Dalloway, you chose not to include Woolf’s name. Is there any significance to this?
Same answer as above: artistic license. The need to come up with the best possible design for titling over-rides the rules of accuracy and correctness. So there!

You embarked on this project in the hopes to find change and freedom outside of safety nets. You choose Virginia Woolf as your guide. I imagine you’ve developed a unique bond to Virginia; that the two of you have now walked a similar journey to discover your voices. I think the depth of what you’ve achieved is so incredible. Some binders may revisit the same title or author throughout their career; one can’t help the lure of an exceptional book. In fact, you’ve bound The Years at least three times and Mrs. Dalloway twice. Do you think you will revisit Virginia again at some point in your career?
Thank you Erin! It is wonderful to share the results and even better to observe, via your perceptive quizzing, that the things I tried to achieve seem to communicate themselves. It was the first time that I tackled such a vast project and loved digging in as deep and all immersive as that. YES! I think it is highly likely that I will revisit her books at some point in the future. There is just so much in there and I bet that each time something else will surface at my end. But for now… I will give it a little break. Phew! New things to come!

A beautiful documentation has now been published, that traces the development of this project, which, as it turns out, took seven years to complete. WOOLF I – IX ! 98pp, with an introductory essay and 1:1 reproductions of the bindings, background information, and text excerpts.

Text: Annette Friedrich, Virginia Woolf
Design: BUCHmacher, Germany
Photo: Shannon Tofts, Scotland

£30 + postage / reserve your copy at www.annette-friedrich.com

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In this post, you get two for one with a discussion on the seventh and eighth book in the series. Starting with The Waves, which Annette Friedrich bound in 2017. The binding is covered in a dusk-rose goatskin with blue silk hand sewn endbands, dark green edge-to-edge doublures and light green flyleaves.

The number of foils is ever increasing with each design. On The Waves, Annette incorporated two metallic foils in gunmetal and matte silver with nineteen pigmented foils in the following colors: two shades of white, four shades of grey, purple, two shades of brown, two shades of yellow, five shades of red and three shades of green. Special guest foils include neon yellow, transparent pearl and iridescent silver.

The chemise is covered in two shades of hand-dyed bluish-silver paper and dusk-rose goatskin. The title is tooled in the matte silver foil. The slipcase is covered in mauve paper with an equally mauve Alcantara. The design on the binding was executed by Claude Ribal.

I noticed the introduction of a “V” tool on The Waves. It made me wonder, is there any significance to the shape and the novel?
Yes, you are picking up on the fact that I am expanding my range of tools, adding to them as I find fit. I mostly do this by filing ‘blanks’ into the shapes I need. There is no real significance to the “V” shape as such, except that it is distinct and weighted. I actually cut three ever so slightly different “V” tools, all of which are on the book! Sometimes on their own, sometimes in conjunction with others, creating more complex figures.

I also began to wonder more about your design process. At the very beginning of the design stage, how are you selecting your tools? Do you pull a combination from the cabinet and force yourself to develop a design with only those tools? Or do you allow yourself to swap out tools that don’t quite work?
To begin with, I pull out the ones that I think I will want to work with. However, if I feel the need for others I just go and have a look if something else fits the bill, or, if I cannot find what I need, I just go and cut the shape(s) that I am missing. For example, I noticed that when I work within a cluster that a variation within size is crucial to give it ‘life’. One can observe that my toolbox has expanded steadily over the duration of the project. I have now two sizes of the ‘3’, four variants in different sizes of the “(” and three “o” etc.! Only two books earlier I would have only been working with a single shape for each… All part of the learning curve, right?

As I mentioned in a previous post, the bindings visually appear to be part of a series, that they follow a formula. We discussed this topic with the chemise already, but I wanted to bring up another element that ties the work together: the use of hand-dyed papers. Can you speak about the reasons for using hand-dyed papers for the enclosures, doublures and fly leaves? Were these papers dyed by you and if, so what is your process?
The reason for me to hand dye my papers is that I seem to be a complete nerd who needs to be in control of everything, down to the exact shade of color for within the bigger scheme. The process is easy, I use offset printers ink and dilute them down with turpentine. I have the four CMYK at my command, as well as screaming signal yellow and signal red, as well as silver. That’s all I need. The rest is just mixing it to the shade that you want and then use a cloth to soak up the color and apply it to the sheet of paper with circular movements from one edge to the other. The beauty of this process is that there is no visible brushstroke etcetera, just one smooth surface.

Also bound in 2017, Annette used a grey goatskin for her binding of The Years. The binding also has hand sewn endbands using grey silk with silver edge-to-edge doublures and matching flyleaves.

The number of foils is dialed back significantly on this binding with five shades of metallic foils, which include four shades of silver and blue. Seven pigmented foils were chosen, which include the following colors: two shades of red, grey, blue, two shades of yellow and green. Special guest foils are present with transparent pearl and transparent iridescent.

The chemise is covered in silvery-green and silvery-blue hand-dyed papers with grey goatskin on the spine. The title is tooled in matte silver and silver foils. The slipcase is covered in the same silvery-blue paper and lined with red Alcantara. The design on the binding was tooled by Claude Ribal.

Up until this point we’ve mainly discussed the design of the binding, I want to get into the way the books are titled. The spacing varies with each title, with The Years the spacing speaks to the agony Woolf encountered when writing this novel. For the bindings you chose to title, did you chose a layout to reflect the text or the design in some way?
No, the titling does not reflect the text in any shape or form (but if you see a connection, feel free to do so). Neither does it reflect the design, but is rather part of the design. The title links the two sides of a book and I find it fascinating to find different ways to do this. It is only since Orlando that I cottoned on that it might be helpful for me to start taking basic typographic variants into consideration. They are spacing, direction/placement and the size of the font. Coming up with sexy titling solutions is my new hobby-horse. Thank you for noticing!

Virginia appears as V. on The Years. This treatment is unique to this binding. Is there any reason for this?
Yes. The trouble with titling is that you are stuck with the title and the author and that you have to work with what you’ve got. I usually design the titling after the design is executed, and normally I only work on one book/design at a time. In this instance though, for reasons of timing, the last three books of the project had gone to Claude together and, after having picked them up again, I worked on the titling for all three books at the same time. The Waves and The Years have a very similar appearance, and I think I just wanted to get some leeway by at least tightening up the length of the authors name a bit. So ahem… the answer is artistic license! I have actually done this before within the project, not with V. Woolf’s name, but for Night and Day where I exchanged the ‘and’ with a ‘+’ to get a more distinct change within the length of lines.

The tone for The Years has darkened. The palette is heavy and moody with minimal colored foils. You mention reading Woolf’s diaries and letters in addition to biographies written about her during this project. How did Woolf’s own practice as a writer and creator inform your approach? Were you pulling influences from her thoughts as well as the novels?
I have a whole bookshelf dedicated to Virginia Woolf, her books, her letters, her diaries, her essays… as well as the mind-blowing and insightful biography by Hermione Lee. It was wonderful to sort of get-to-know the person behind those fairly dense and abstract novels. And there are many parallels between her quest as a writer and me as a maker. The looking around, the searching, the time when one feels super apprehensive and down, as well as those where one jumps up and down with excitement and glee when one thinks that one finally has clocked something. I loved that!

I don’t think though, that reading about her life and delving into her thoughts influenced my approach as such (the novels did!). Maybe I have just not yet noticed though? Who knows.

A beautiful documentation has now been published, that traces the development of this project, which, as it turns out, took seven years to complete. WOOLF I – IX ! 98pp, with an introductory essay and 1:1 reproductions of the bindings, background information, and text excerpts.

Text: Annette Friedrich, Virginia Woolf
Design: BUCHmacher, Germany
Photo: Shannon Tofts, Scotland

£30 + postage / reserve your copy at www.annette-friedrich.com

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FEBRUARY:
Japanese Stab Binding
February 16 (Saturday)
North Bennet Street School
Boston, MA

In this workshop, students will construct a Japanese Stab binding model, more traditionally referred to as 4-Hole binding or yotsume toji. We will build the model in a traditional manner, while incorporating Western tools and equipment. This workshop will provide a better understanding of the structure and the foundation for which to alter the number of holes and sewing pattern.

Fundamentals of Bookbinding I
February 25 – March 1 (Monday – Friday)
North Bennet Street School
Boston, MA

Students will learn the foundations of bookbinding by combining hands-on exercises and discussion. The class starts by exploring non-adhesive structures: soft cover pamphlet, Coptic, historical longstitch and link stitch. The class ends with a look at case bindings, with the creation of two hardcover flatback bindings. Students also learn different structural elements, sewing variations, covering and cutting techniques using various materials, tools and equipment. Throughout the course discussions will cover terminology, paper grain and folding, selecting proper materials and tools, and adhesives and their properties.

MARCH:
Fundamentals of Bookbinding II – This class is sold out
March 4 – 8 (Monday – Friday)
North Bennet Street School
Boston, MA

This course will focus on hardcover structures. Students will continue with rounded back case bindings and end the course with a book with words. Throughout the course students will fine-tune their skills through repetition and develop a focus to details such as, endpapers structures and headband variations. Topics of discussion will include an overview of bindery equipment such as stamping on the Kwikprint and trimming with the plough.

Due to the popularity of this class another workshop will be offered from May 6 – 10 (Monday – Friday). You can find registration for that class here.

APRIL:
Focus on Case Binding
April 8 – 12 (Monday – Friday)
North Bennet Street School
Boston, MA

Explore case binding structures through repetition while experimenting with minor changes in technique with each book. The course covers structural elements, sewing variations, covering, and cutting techniques using various tools and equipment. Discussions cover terminology, paper grain and folding, selecting proper materials and tools, and adhesives and their properties. Students have ample time to repeat each technique in order to achieve precision and accuracy. This course is suitable for beginners or those who want to refresh their skills.

Personal projects: Time will be dedicated to working on personal projects during the latter half of the workshop. Projects should be suitable for the case binding structure. While some materials can be supplied, students should bring the bulk of the materials required for their work.

Bookbinding 101
April 27 – 28 (Saturday – Sunday)
North Bennet Street School
Boston, MA

In this two day class, students get a quick introduction to various bookbinding techniques by exploring three different book structures. The class begins with a simple pamphlet and continues with constructing two multi-signature books known as a flatback case binding and link stitch binding. Finally, students construct a box to house all of their creations. This class is a great way to familiarize yourself with bookbinding and is perfect for those who are curious about the craft. Please bring a notebook and pencil to class.

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Orlando is the sixth book in the series and was bound by Annette Friedrich in 2016. The binding is covered in a bright red goatskin with grey hand sewn endbands and green paper edge-to-edge doublures and matching flyleaves. The tooling is made up of four shades of metallic foils which include silver, champagne, purple and green. The design has an additional seventeen shades of pigmented foils in white, grey, two shades of purple, two shades of blue, three shades of yellow, three shades of red and five shades of green. Transparent pearl and iridescent silver foils are added as accents throughout the design.

The chemise is inlaid with light and dark green paper at the sides and red goatskin across the spine. The title is tooled in iridescent and silver pearl foil. The slipcase is covered in the same hand-dyed dark green paper used on both the slipcase and flyleaves and lined with a green Alcantara. The design was tooled by Claude Ribal.

During the design process, you describe creating around 50 versions per binding. I wondered if you could speak more specifically about this. Are you reinventing the design each time or pulling elements from previous iterations to make your final layout. I imagine you might flip the design in all directions or look at it in reverse.
Yes, there are many versions of a design before it is ‘just so’. It’s a little bit of everything that you just mentioned. At first I start out though and cut white sheets of paper to the exact size of the boards and get my handtools and the inkpad out. I will have read the book at that point, but normally I do not go in with a preconceived idea for a design as such. However, this book is actually an exception, as I did know that I wanted to work with a distinct historic tool as a stand-alone player. But to begin with it is just plain old doodling and letting things flow. After a while something will have perked my interest, and I will start looking at this with a more inquisitive mind. I try to understand what exactly has caught my attention, how it worked and why, and then, how the hell to develop this into a full-blown design. During all of this I will continue to dip in and out of the book. Reading the authors voice, sensing the rhythm, feeds back into my design process. So at first the steps are big, then they get smaller and smaller. And yes, sometimes I look at a sheet from the reverse or flip it into a different angle, but unless I don’t actually use it for the next sheet, I would not count this as ‘a’ step. I have a light-box that helps me to carry forward the elements that I like, but there is no real telling what will stay in the game until the very end. Once I am happy with the design in black and white, I then go out in search to find the colors that build up the atmosphere.

Woolf wrote Orlando more quickly then her previous novels. Were you aware of this as you were designing the binding? Did you try to quicken your pace as well?
Yes I was aware of it, but it had no influence on my own process. It takes as long as it takes to get it right.

The design for Orlando is very playful. I love how you used the historic tool in a more atypical manner, it really evokes the feeling of the novel as it floats and dances through the design.
You make me very happy with the words you just chose. Floating and dancing: excellent! That was exactly what I was after, and it is fabulous that you mirror this back to me. Thank you!

A beautiful documentation has now been published, that traces the development of this project, which, as it turns out, took seven years to complete. WOOLF I – IX ! 98pp, with an introductory essay and 1:1 reproductions of the bindings, background information, and text excerpts.

Text: Annette Friedrich, Virginia Woolf
Design: BUCHmacher, Germany
Photo: Shannon Tofts, Scotland

£30 + postage / reserve your copy at www.annette-friedrich.com

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