Show and Sale this Weekend!

Hi Friends,

Sorry I have been totally AWOL. I promise that it is for the greater good.
I recently was offered a full-time job that I could not pass up. With a long commute every day and books to make after work, I have not prioritized my time as well as I could have.

However, if you are in the Vancouver area you should come visit me at the Roundhouse Urban Artisan's show and sale this weekend. Come see what I have been up to!

Location:

Roundhouse Community Centre
181 Roundhouse Mews
Vancouver, BC V6Z 2W3
Canada

HERE IS ALL THE Roundhouse INFO! 

I hope to see you there! 

Things I Miss From Days of Yore

Remember using card catalogues at the library? I cannot say that I miss that. I remember going to school with a girl who took extreme pleasure in messing up the order of the cards in our little library. I imagine she was the only kid who was ever banned from her elementary school library.
Looking back she was some kind of proto-anarchist who was probably trying to take down "the man". Or "the woman", as was actually the case. The thing is that our elementary school librarian was one of the meanest people I have ever met. I will just call her Mrs. V. She was a real pill. Nonetheless, my love of books persevered.

What I DO miss about libraries is the old due date cards. I am a nerd for ephemera, especially when it contains the handwriting of people I do not know. So I was very stoked to find this!

Property of the Miskatonic University Library Orne Special Collections

It got me thinking about how to incorporate this into my own home library. I have been bad with lending books and then losing track of them over the years. I want to stop that from happening again, and the solution hit me like a ton of books. (As I prefer books to bricks).

Why not use library sign-out / due date cards in my own books? Turns out they are not hard to find online. Bonus: They are totally cheap. Or even free!

You can use this free template from the lovely folks at Love vs. Design. It seems to have a little owl image embedded, but it seems that all the cool kids on Etsy are loosing their shit about owls these days. Impress your friends!
RIGHT HERE

Well what about those little envelopes? How do you get a hold of those? Look no further than Mel Stampz's blog where she provides the templates for OVER 100 KINDS OF ENVELOPES. FREE. Yeah, that's right. FREE.
RIGHT HERE

Have fun!
xo
Laura

False and True Medieval Bindings

Are you among the many who love the look of raised bands on book spines? This is usually a feature of Medieval books, although the technique is still used in contemporary bookbinding.

There are multiple ways to achieve this look.
The traditional method is called sewing on raised cords (or one of the many variations of that name, like pack-sewn bindings or double-pack when there are two cords creating each raised area on the spine. The photos below are of double-pack as there two cords side by side at each station that are sewn together.

When you look close up you can see something surprising - I had always assumed that with double-pack stitching it was necessary to loop around the two cords in a figure 8 to hold them securely. It appears that it is possible to bind this way by using a straight loop that encompasses both cords.

The point is, how the heck do you do that? This is one of the times when big league tools are handy. Particularly a sewing frame. This is a frame that allows you to stretch and hold the cords taught while adding and sewing the book sections.

The following 4 videos are in Italian (which I do not speak), but you can easily get the gist of the information. This is why I love well photographed or well-shot videos of masters at work - the craft transcends language.

First we fold and tear the paper into signatures. Then we set up the sewing frame using 'keys' that hold the string (cords) into place. Then add the signatures one at a time and start assembling the book. Note that this bookbinder is not using particularly heavy cord, and that a more pronounced banded profile can be achieved with thicker cord secured in the sewing frame.

       

Are you still there? Okay let's wrap this up and get on to finishing. 

Okay, now what? These steps leave you with a naked bookstack or textblock. How do you finish the binding? Beware, this uploader thought you may also like Thievery Corporation as much as he does. Prepare to hear his music in the background. 

In terms of sewing the cords, another variation is to saw deeper v-shaped channels into the bookspine, and lay the cords into the little troughs (also called kerfs, 'cause arts love synonyms). This creates a flat (or flatter- more like  a 1/4 round) profile on the spine. This allows for a very strong bind that will likely outlast the leather binding. As is the case with this sweet book below. Never look down your nose at a ruined binding, as this is one of the most valuable sources of binding information. How often do you get to see a great artwork with the technical steps exposed? Rarely. 

Sorry this next shot is mega blurry. I want to show you how different the profile is on this baby. Smooth!

So what about this false binding thing? It is a bit of a misnomer as the book really is bound, but does not actually need to be sewn on to cords. The raised bands are created on a separate spine piece and the book is assembled in more of a case bind style. 

For some reason I am not able to show this video on my blog. 

SO PLEASE CLICK HERE TO HAVE YOUR MIND BLOWN.

Have fun! 

xo

Laura 

WORD ON THE STREET FESTIVAL - Alison Woodward

While at the Word on the Street Festival last weekend I had the extreme pleasure of having my mind blown by Alison Woodward. She is an amazing young illustrator extraordinaire who was kicking ass and taking names all over the place in the Zines and Comics room. Actually Alison is a very polite person who was perfectly professional. It was her work that was blowing it up.


WATCH THIS VIDEO. SERIOUSLY. DO IT NOW.

And guess what? There just might be a collaboration between her illustrations and my books coming in the future. If it happens I will not be able to shut up about it. You will be the first to know.

Want to see more of her awesome work? CHECK OUT HER BLOG.

I have a new art crush! Do you?
xo
Laura                                                            

WORD ON THE STREET FESTIVAL - BC Canadian Bookbinders and Book Artist Guild (CBBAG) Demo review #2 - Letterpress with CHARLES MAYRS

Back at the Word on the Street event I had the pleasure of meeting the artist Charles Mayrs, who is a writer, illustrator and photographer whose books are letterpress printed. 

While it would not be possible to actually bring the machinery for letterpress and demonstrate the process, there was a nice variety work showing the results. Mayrs' work ranges from text to imagery and even maps. Viewers were encouraged to ask questions about the process and actually handle the work! This is an awesome and rare opportunity as these books are housed in the archives or rare book sections of libraries and require special permission for handling. Also they cost about $750-$1200 bucks a pop and are created in extremely limited editions. 

Here are a couple of good videos from YouTube. I do not own the rights to any of these videos and they remain the property of the individual artists. 

This first one is really informative about the whole process from making type to actually printing. However I do find the narration ill-fitting and overly intense. 

This next one shows more about how to set the paper in place and create a guide for accurate alignment. I am surprised how fast the paper gets changed out and replaced with a new one. 

One last video showing a much more heavily inked plate. 

Now that we have seen some of the process, take a look at Charles' work.

In this first photo we see a mix of text and an image, with the page printed in black, red and yellow. As we can see from the videos there is only one color printed at a time, so this page is the sum of three different runs through the press. At first glance I totally assumed that the black would have been the first color printed. It looks to me like the black would be a great way to create a guideline for the other colors. It turns out that it was actually printed in red first, then yellow, then black last. Charles pointed out that the large red letter S as well as the red hair were printed at the same time.

Imagine these pages coming out of the press between stages. The first one would be only the large letter I and the negative space in the face and neck, separated by white spaces. Next the three yellow details in the nose and shoulders. Finally the black text and all the black lines that unify the image. What a magical feeling it must be to see the work come to life in this way.

To make things more complex, this next page boasts four colors.

In another publication Mayrs includes his stunning landscape photography. The photos are beautifully printed in luminous color and add to the feeling that the books are something special.

One book even contained a map pertinent to the story. The black details are letterpress printed. Afterwards Charles added tea stains and burnt edges to add to the aged and used feel of the piece. I love to mix up your media and do a lot of finishing after the first stage is complete. I always admire the various stages of detailing in artwork.



In other volumes more complex imagery starts to appear.

I was told that these images are a combination of black letterpress details and hand-colored finishing using Prismacolor pencil crayons. That means that each edition is really one of a kind!

And then things just get crazy. I love these amazing pieces! Again we are looking at a combo of black letterpress and hand applied pencil crayon. These are not prints, each piece is a unique iteration of the work.

And for bonus points Charles has a beautiful, simple  business card that I totally love. Naturally, the business card is letterpress printed.

I have to say the portrait of Charles it is pretty true to life. Wouldn't you say? Here he is in the flesh.
I am not sure whether the striped shirt is a coincidence or some kind of trademark. I guess the goatee is a new addition.

Hope you have enjoyed this little ditty about letterpress. Google some images or search YouTube to learn more if you are feeling inclined. You may get hooked.

xo
Laura

WORD ON THE STREET FESTIVAL - BC Canadian Bookbinders and Book Artist Guild (CBBAG) Demo review #1 - Tunnel Books

While the Word on the Street Festival is not new to Vancouver, it is new to me as I am a recent transplant. Perhaps you noticed I was very excited about this. The good news is that the festival had a huge range of authors, book artists, comic artists and poets, all showing or reading their work. 

The bad news is that several of the CBBAG members who were on the original roster were not able to make it. I was truly heartbroken that the Fine French bookbinding and the fasteners & enclosures demos were cancelled. 

The remaining demos I attended were tunnel books, letterpress and coptic bookbinding. 

Let us start with tunnel books, shall we? 

Here are the samples that were waiting at the CBBAG table. I was surprised to see that this demo was geared to kids, but why not include them in a workshop? Yes I was the lone adult without a kid with me but I still enjoyed the process. 

Design Property of Edward H. Hutchins. Samples property of Gina Page. Used with permission. 

As the demo was designed to include kids, we were provided with pre-formed blanks and guidebooks.
Below is a photo of the guidebook, with lettered sections indicating how to overlap properly.

Design property of Edward H. Hutchins

Then we moved on to a pre-cut and pre-folded blank that had eight folded sections. Four of the sections had pre-cut windows. The other four sections were still solid for stamping or drawing designs to be cut out at a later stage. These solid and cut-out sections alternate to the end of the book.
Also notice that along the edges are tabs that are labelled and folded back. These tabs will be attached in a later step.

We were provided with stamp pads and markers for creating the images. 

For the first page, I selected a stamp I liked and applied it. I then cut out inside the image to create the first part of the tunnel. Notice that the second page is already cut as there will be no images added.

Now I placed my stamp in side the cutouts on the first and second pages, to stamp a design onto the third page.

Now cut around the design on the third page just as you did with the first page.

Please remember I work with my hands and I am too broke for a manicure. No comments about my hangnails will be considered. 

Stamp on to the fifth page (as the fourth page is already cut out and will not have images applied)

Cut around the image(s) on the fifth page.

I thought this looked cluttered so I took out the image on the right as I finished cutting.

Peek through the first four pages to see how your images are lining up.

Now stamp one more image on the seventh page. This will be the final visible page in the book, with the eighth page being folded down to become the back cover.

You do NOT need to cut out the image you draw or stamp onto the seventh page.

Now we can start to assemble the book. Taking a glue stick, apply glue to the tab section on the third page. 

Add glue to the tabs on both the left and right sides.

Repeat with the tabs from the second page.

Be sure to add glue to both the left and right hand tabs.

Now carefully fold the second and third pages together so that the tabs touch. Press firmly to set the join. 

Be sure to take the time to make the edges line up, as this cannot be changed later when the glue is dry.

Now glue the back side of the seventh and eighth pages together. This will make the back cover.

Repeat the last step for pages one and two to secure the first image to the rest of the bookstack. Keep in mind that there is no front cover. The first image is visible when the book is finished.

Credit is due to the esteemed American bookbinder Edward H. Hutchins who created and owns the rights to this particular design template.

Want to make it yourself? 

HERE IS THE LINK. RIGHT HERE.

Please note that all photos were taken by me (Laura Carey) and I own the images of the book being created. However, I do NOT own this design. Again, that is the property of Edward H. Hutchins. 

Today is the Day! BC CBBAG Demo Time!

Okay I am so totally exceptionally excited today!
Here is why:

Add caption

For more info check out the CBBAG website: http://vanbookarts.wordpress.com/
If you are in the Vancouver area, I hope you drop by! 
I will be back tomorrow with reviews of the workshops 

Hope you have a great day! 
xo
Laura 

Sweet Byzantine Dreams For You

First of all, THIS

I am here to haunt your dreams. 

It is with a huge boner that I present this 13th Century binding in the Byzantine style. Take a good look at those endbands. Seriously. And the way the leather is folded around the head and tail edges of the boards? Amazing.

So we can all agree that this binding makes the short list of hottest binds of all time. Also I imagine I am not the only person who wants to learn how to do this. Guess what I found?

THIS 

I plan to follow these instructions and then review or amend them as needed. I can see that there are handwritten notes in the margins but I have a hard time reading them. Most written instructions can use a little tweaking to make them clearer - and these ones are not clear to me without trying the project.

I have yet to find a tutorial on Greek endbands, which is apparently the style used here. Help a sister out if you find one!

Finally, THIS totally beautiful adaptation of Byzantine binding created by Perkolator Press.

Image Property of Perkolator Press 

Notice the use of straight up white thread for the endbands, letting the stitching take center stage. Some of the components of these endbands are similar to the first book, but there are some interesting differences.

For one thing, the two cores (the cord or rolled paper that thread is wrapped around to create the bands) used by Perkolator Press appear to be the same size. The 13th Century book uses cores of two different sizes.

Another difference is in the appearance of beading along the endbands. No, this has nothing to do with seed beads or other beads in the strict sense. Beading refers to an extra row of stitches in addition to the core or cores used to create endbands. This extra row is created by the repeating pattern of crossing the threads over each other as they are moved forward into different signatures of the book. There are methods that have no beading at all, as well as beads appearing on the front of the work (front beading = in front of the core) or on the back of the work (back beading = behind the core), depending on whether the needle is inserted first from the foreedge or the spine of the work.  Perkolator's endbands also have no front bead - meaning there either is no bead here or the stitches are back beaded. Beading is visible in the 13th Century book as the last row of stitches on the left of the bookspine - this is in front of the core, so it is front beaded. The center and far right rows of stitches are wrapped around cores.

Sweet dreams,
xo
Laura

Salutations and Endband Smut

 Do let's get started, shall we? I make books. Actually I make a lot of stuff but lately the focus has been on books. By lately I mean the least few years, but who is counting. When it comes to learning a craft well, it often takes far more than a few years. I am totally self-taught, which is not as awesome as it sounds. Although, did you ever notice that bookbinding workshops tend to be hundreds of dollars? Kind of a turn-off. I tend to rely on internet tutorials and books for reference and to learn new techniques. I will be sharing and reviewing a lot of these references for you.

Which leads me to the following complaint: where is a good tutorial on French endbands, ughhhh?Throw me a bone, or at least a rolled paper cone. That would be funny if you were also trying to learn French endbands. The photo above is an example of my latest attempt at French -style endbands with a double roll and front beading. The process for this is a modification of simple endbands but made on rolled paper cores rather than cord. The upside is that the threads move very cleanly along the core when you are wrapping, leading to a smooth finish. The downside is that paper lacks the flexibility of cords and therefore the endbands don't conform as well to the curvature of the book spine when it is closed. I still like how they look, but I want to learn more. Good old trial and error, here I come. Unless I do end up finding a good resource. You will be the first to know!

These pictures are of my latest book, available here https://www.etsy.com/listing/109725651/skeleton-hands-book-hardcover-leather