Having successfully made a case-bound book (French link stitching, sewn-in endpapers) under the eye of a teacher, I thought I'd better practice on my own. It occurred to me that the hand-made paper that I did in the March 8 class at Pyramid Atlantic would be well used here, so I took the smaller size sheets and and folded them into signatures. All went well until the final casing. I had made the end paper out of paste paper made from a page of a broken book, and it turned out not to be strong enough. I also didn't glue it in correctly. Oops. Well, that's why we practice. The rear end paper did better, and I like my line printed face looking out from the musical score. Unfortunately, the book just doesn't open hardly at all. It looks OK, but doesn't function.
I clearly needed to try again, so I checked out some internet tutorials and figured out what I was doing wrong. This time I used the stack of larger size paper I made at Pyramid. Not as pretty and uniform as the smaller ones, but just fine for this project. I didn't try to get fancy with the end papers -- just used some Hahnemuhle Ingres paper. Things went much better this time and, except for the squares being not quite even, the book was a success. This one also features my own paste paper on the 1/4 cloth cover. Looks pretty good, I think. Here are some photos of the two books:
The latest project in Kathy Steinsberger's Monday evening class is a case-bound book. I think mine turned out quite well.
Brian Allen offered a letterpress class last weekend and six of us spent a day delving into the mysteries of printing. Brian is a master printer and his studio is equipped with several presses, an extensive library, endless cases of type as well as various strange and wonderful machines. Along with the actual instruction that culminated in student projects, Brian kept us fascinated with ongoing commentary that encompassed print shop vocabulary, the history of printing and type design, the state of printing and book arts today, what to expect if you want to buy a press, as well as learning opportunities in the triangle and beyond.
We each set up and printed a short piece of our choosing. Since we could only print one at a time , Brian encouraged us to get playful and set up and print some wooden type. You see my effort above. I'm pleased with it.
I chose to print the two-line refrain from Yeats' poem, "The Long-legged Fly". I have been coming back to this poem over and over in the last few months and I'm glad to do a little homage by printing these lines. It was pure chance that Brian handed me a case with a Celtic typeface. It might have been a bit of an affectation to choose it for Yeats, but since the Irish poet and the Celtic typeface were paired randomly, I will credit a fortunate happenstance and enjoy the effect. Here's what my effort produced:
I printed five sheets -- that is, I produced an edition of five. Three are on heavy stock, but two are on slightly lighter weight paper. I folded one into a Turkish map fold and made a little book for it. I found an image of a long-legged fly from a nineteenth century garden book and inkjet printed it to the cover and the back of the mapfold. It turned out to be a nice little book.