This isn't an instruction manual for making a book, but a description and illustration of a few of the steps. If you're interested in learning book-binding, nothing is better than a class taught by an experienced book-binder. There are many good books that teach the craft, but if I had to buy only one book as a beginning book-binder, it would be Handmade Books: An Introduction to Bookbinding, by Rob Shepherd (order it at Amazon). Instructions are well-written and easy to follow, and are accompanied by high quality color illustrations. The author provides a good overview of definitions, tools, glues, and basic construction techniques.

It all starts with a sheet of paper: Some of my books are made from standard 8.5x11 paper, but most involve custom cutting. A sheet of paper (in this case, 19"x24" Strathmore medium-weight acid free drawing paper) is cut to the desired size.

Cutting tools: For cutting, I use a self-healing cutting mat , a rotary cutter similar to that used for quilting, and a paper-cutting knife. Any not-very-sharp knife will do, but I like to use a fettling knife. The not-too-sharp edge of the fettling knife creates a slightly rough edge to the paper, which I find appealing in a hand-bound book.

The importance of the grain: The cutting is done in a way that has the spine fold parallel with the grain of the paper. This is critical, since the grain of the paper must match the grain of the book board to be added later, or the board will warp.

Creating a folio: Each single sheet is folded, and becomes a folio. A bone folder is used to make a crisp fold.

Creating a signature: Several sheets are put together to create a signature. Depending on the weight of the paper, I use 3-6 folios to create a signature. With this medium weight, 4 folios are used, since more would create a bulky look at the spine.

Binding choices: For case-bound books, I primarily do flat-binding (rather than rounded-spine binding, a skill I've never mastered). Books with rounded spines can be somewhat thicker, but with flat binding I keep the book to about ½ - ¾" at the spine edge. This example has eight signatures and measures just under ¾".

Creating the text block: The signatures are stacked and carefully aligned so that they are even on all sides, and then marked for sewing. In this case, I am using a white linen book-binding thread and linen tape, and a book-binding needle. I run the needle through a block of beeswax to strengthen the thread and reduce knotting. The number of tapes used varies with the size of the book. At 8 ½", three tapes are sufficient. . Once the last signature is attached, the text block is ready for the final step.

 

Preparing the spine: The spine is reinforced in a four-step process. First, the book is placed in a book press, and a layer of glue is brushed onto the compressed spine.

Then two layers of paper are added: A strong but light-weight "eastern paper" such as rice paper is tamped in with a stiff-bristled brush (in this case, a retired toothbrush). A "western paper" - any medium-weight acid-free bond will do - is added over the rice paper.

The final stage is the addition of a cloth that will create the structure that allows me to attach the text block to its case I sometimes use a lightweight muslin. In this case, I'm using mull, also known as "super".

Once the signatures have been sewn together and the spine prepared, we have a finished text block.

Cutting the board: With the right tools, practice, and patience, it is possible to transform a large piece of board into a book of any size. In this case, I am using a sheet of acid-free Davey board The boards are carefully marked using a carpenter's square. Cutting is started with a straight mat cutter, with the rotary cutter finishing the job if necessary. This is one place I've learned not to skimp: I've laid in a good stock of mat blades, since a dull blade doubles the work and makes a messy edge.

Paper and book cloth: The paper is a piece of Japanese yuzen that I picked up in Japantown in San Francisco. The book cloth in this piece is Japanese silk from Hollanders. When ordering book cloth by the yard, I usually use Talas in New York. Hollanders and Talas offer sample books of their paper and cloth at a small cost.

Pieces of the case: The case is made of three pieces: The front and back board, and the spine.

Finishing the case: The finished case is now ready for the text block.

 

Attachment of the book block at the spine edge: After positioning the text block to the case, the book block is glued to the spine edge of the case, and then put into the book press for about half an hour. This bonds the text block and case, and also creates the crease in the hinge between the spine and the boards.

Weighting and waiting: There are different methods for finishing the book. I glue the first and last page of the text block to the front and back of the case. A smaller book can go back into the book press. For a book this size, any heavy weight will do. The book stays under the weights for several hours until the glue is dry.

A word about perfection:

Did you notice the mistake? It is said that Persian rug makers, Navajo weavers, Amish quilters, and other master artisans include at least one mistake in their work to underscore that they are mere humans. No problem here for me, in either the mistake department or the mere human department. Mistakes seem to find their way into my work, and there's a big one in this one, easily visible. My granddaughter noticed it. That's her in the background saying "Oy vey, grandma, you really goofed this time."

If you don't notice it, then I think I've invented a new design element. I think I'll name it the Morgaine Variation, after the new graduate for whom the work was commissioned.

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