Monday, 16 November 2009

Lucy Schofield bookbinding workshop 13.11

Paper has a memory.
As professional designer's we can't just work on the screen then send it off, have to consider stock.
The correct way of folding is important otherwise you get 'creep', when the pages begin to skew like a block of cheese.
Grayboard is good to use for covers.

Double saddle stitch is the same as a pamphlet stitch.

Perfect bind is when you knock the paper up and glue across the end.

Check out an Australian company called 'Third Drawer Down', they do artists one off books and small runs. They did Louise Bourgeois' handkerchief piece.

A book is a great way of expressing a journey, pacing the reader. In a gallery or online it is difficult to estimate how the visitor is going to navigate the material. Lucy says she likes the way that the designer can control how the reader interacts with a book.

Also look at Bracket Press in Rochdale.

They did a book for Alice Smith, it begins pacing the viewer from the start by having a lace you must untie to open it. The images are lightly glue tipped inside which adds to the delicate intimacy of the piece. The stock is A4 joined together with a lap joint.

Nick Morley's beard book is another great example.

It is lighthearted and fun, and the simple, springiness of the concertina reflects this appropriately.

At this point I'm beginning to get a sense of where the Silence brief could go for me. I've been considering the fragility of personal memory and a collective memory, much like the theme expressed in Nineteen Eighty Four. I could source some materials, folding techniques and bindings that reflect this in a sympathising way.

A piece by Emmanuel Wecker was done by ironing wallpaper for three hours straight.
She illustrated a map of her domestic life then printed it onto the wallpaper through her inkjet printer. A great example of form and content in harmony.

The Mermaid Turbulence is a small print shop in Ireland.

The Society of Revisionist Typographers, London.


Every machine made paper has a grain, just like wood, whereas home-made paper does not. Knowing this can effect how long your book will last under humidity and time.

The grain of the paper must run from head to tail to be correct.

To find out the grain of the paper, roll it lightly under your finger, the side of least resistance is the natural grain.

short side = short grain
long side = long grain

Sometimes you can tell by holding the paper up to light.
Also another method is to lick the edges, if it stays firm it is the right way, if it doppels it is the wrong way.
How many times have you seen christmas cards do this on the fireplace or window sill. This is because the manufacturer has not considered the direction of the grain beforehand.

When folding large paper down to make a pamphlet, cut two thirds of the way up the page to allow breathing space for your pages. Otherwise you will get clumpy crease marks in the corners. This is referred to as 'knocking up the book'.

GOOD TIP: Always measure twice, fold once.

It is common knowledge that any size piece of paper can be folded up to a maximum of seven times, no more.

When making a pamphlet the opposite page numbers should always add up to one more than the total number of pages. i.e. if it is a 16 page pamphlet, every two pages should add up to seventeen.

A good way of preparing to sew is to thread your cotton through the eye, then pierce it with tip and bring it down the needle, it will form its own knot at the bottom.



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