Bookbinder of the Month: Mark Cockram – Flash of the Hand Bound in 2010, this is just one binding of Lysistrata that Mark Cockram has bound. Grabbing illustrations from the text for both the cover design, doublures and endpapers; Mark transforms them into a visual experience rarely seen on a book. The cover mimics that of a fresco painting. The book was bound in fair goat which was hand-dyed and the design was initially blind tooled onto the leather. This binding is by far my most favorite from your portfolio. Though gold leaf and other metals are used in bookbinding, gold leaf and the like tend to be used in a static manner. With the 2010 Lysistrata I wanted to echo the illustrations in the text block. I do not think that I have to say that in some of my work I am spontaneous with the 2010 Lysistrata captureing some of that working style.
Les formats des papiers Les formats des pap i ers Accès direct liste de formats Introduction Le format du support est l'un des choix les plus important dans la composition d'un travail artistique. Or, un point qu'il est très facile d'appréhender avec les châssis de tableaux est beaucoup plus obscur en ce qui concerne les feuilles de papier. Voir aussi : Passage in La composition, éléments pour un débat Les nombres spéciaux Liste non exhaustive de formats de feuilles de papier : Le "sens de la fibre" est théoriquement le plus pratique pour le roulage. Le format moyen d'un papier est généralement assez allongé par rapport à celui des châssis . Retour début de page
Tutorial: Top Secret Belgian Binding – Flash of the Hand The Secret Belgian binding is just one of many structures on my long list models to make. With the aid of a tutorial posted on the BookArtsWeb tutorial and references page, I was on my way to checking this structure off my list. Unfortunately the link seems to be broken now. *This tutorial is for a modified version I’m calling the Top Secret Belgian. MATERIALS: – binder’s board for 2 covers and 1 spine piece– decorative paper– paper to line covers and spine piece (aka paste downs)– colored thread– text block (3-5 signatures, about 3-4 folios each)– PVA– wax TOOLS: – needle– bone folder– glue brush– scalpel (preferably with curved blade)– x-acto– scissors– pencil– triangle– awl– dividers (optional) STEP ONE: For this tutorial I bound a copy of The Yellow Wallpaper by Charlotte Perkins Gilman. From the text block, measure the height of the signature and add about 5-7mm. The height of the spine piece will be the same as the covers. cover height: 208mmcover width: 125mm Ta-da!
Reliure et Compagnie » Archive » Reliures de conservation Ces reliures sont spécifiquement utilisées pour « toucher » le moins possible au livre et lui offrir la meilleure protection, dans l’attente d’une autre réalisation, ou bien définitivement. Certains relieurs contemporains, comme ceux réunis sous l’appellation Tomorrow’s past, ont travaillé à faire évoluer les techniques traditionnelles de la reliure de conservation. Grâce à eux, et à d’autres, nous maîtrisons maintenant un bon éventail de possibilités, toutes à la fois efficaces et belles. Cette structure a été appliquée à un livre auquel on voulait toucher le moins possible. Jean PAULHAN. Ici, le principe est sensiblement le même : on a débroché le livre (sans découronner la tête), monté les couvertures et le dos, puis cousu l’ouvrage sur la couvrure.
Here’s looking at you kid: Under the microscope with leather - Collection Care blog We recently posted about parchment and how our conservators treat parchment collection items, but what is the difference between leather and parchment? Parchment and leather are both made from animal pelts, but parchment does not undergo tanning as leather does. The process of tanning traditionally used tannin which is an acidic chemical compound making material less prone to decomposition - including molting and holding odours. Good leather is waterproof and more durable than parchment. These properties have led to leather being used for clothing, footwear, upholstery, armour, and as a writing material. Due to the variety of material in our collections, we have samples of different animal leathers in our conservation studios. Calf The most frequently used tanned skin for binding was calfskin. Figure 1: Calf leather at 100x magnification Goat Microscopy of goat leather shows two rows of follicles of different sizes indicative of a two-coated fleece. Kid Sheep Bookbinding leather Red rot
JAGG Matieres pour la reliure, couvrure, accessoires et mécaniqu Bookbinding Technique of the Month | The American Bookbinders Museum It seems to me an interest in bookbinding is an interest that goes beyond the love of books and the act of reading: it’s really a preoccupation with how things come to be, an origin story for an object so ubiquitous we forget it had to be sewn and stitched together in the first place. It’s a desire to know where this amazing thing comes from. For me, it’s not only an aesthetic interest in the formal object but one that I know stems from wanting desperately to understand how those written words or printed images came into existence, in all senses, how they got on that page, how the ideas of another ended up in front of me. Big statement: Bookbinding (with a capital B) is an attempt to apprehend the genius of art through the mechanics of its physical production. Like if I break it down enough—if I can identify the correct execution of a Coptic stitch—all will become clear. We began, as all books do, with the page(s). This—compact, exposed 72-page assemblage—is the book block.
Paris 1900-2013 en photos : pilotez notre fabuleuse machine à remonter le temps | Rue89 Culture Dix autochromes, commandés par un riche banquier, de la capitale au siècle dernier... en face de dix photos, prises par nous cette année. Rue89 vous invite à sentir le temps passé. Mode d’emploi - Les flèches à droite et à gauche de l’image, pour changer de photos. - La poignée rouge, pour remonter le temps. Ces photos parisiennes du début du XXe siècle, que vous connaissez peut-être, nous ont fascinés. Albert Kahn a envoyé des photographes à travers le monde entier pour réaliser un fonds photographique qui comprendra au final plus de 60 pays et 72 000 plaques autochromes. Plusieurs photographes (ou « opérateurs ») ont réalisé ces autochromes parisiens au début du siècle dernier. Nous avons voulu revoir ces endroits, sentir le temps passé. Making of Audrey est partie avec son appareil et son pied. Nous interrogions de temps en temps des vieux du quartier, Pascal leur demandant de commenter les images que nous leur montrions.
Making an Islamic Binding | Current Projects Making an Islamic Binding Posted by hjones78 on September 25, 2014 · 3 Comments By Hillary Jones From the earliest surviving examples in the 9th century, Islamic binding represents not only the incredibly varied talents of centuries of artists, but also the historical influences of the Islamic culture, and the mixing of Islamic artistic traditions across both kingdoms and continents. In May 2014, the book conservation postgraduates faced the task of condensing this long-standing and rich tradition into three intensive but rewarding days. Under the leadership of Kristine Rose, Conservator of Manuscripts and Printed Books at the Fitzwilliam museum, we completed our own generalised Type-II Islamic binding models. A Bit of History: The Islamic codex was developed in part due to a need for a complete and tangible recording of the Qur’an that could be easily transported as Islam spread. So you want to make a model? One quire—made up of 2 folded sheets of A4 printer paper. To Create the Textblock: