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Posts Tagged ‘ingela dierick’

  1. Client Work // Ye Sette of Odd Volumes

    October 15, 2015 by Erin Fletcher

    SetteOddVolumes-ErinFletcher

    It’s been a while since I’ve posted on my own work due to having a crazy summer, but I recently completed this binding of the 1904 Inaugural Address of his Oddship, Brother Silvanus P. Thompson, Magnetizer for Ye Sette of Odd Volumes. I’m sharing this particular project because it has a really great back story and is the slimmest book I’ve ever bound in leather.

    SetteOddVolumes2-ErinFletcher

    My client who presented me with this project is a member of the Club of Odd Volumes, a private social club founded in 1887 and is a society of bibliophiles with the following mission statement:

    The objects shall be to promote an interest in, and a love for whatever will tend to make literature attractive as given in the form of printed and illustrated volumes, to mutally assist in making researches and collections of first and rare editions, and to promote elegance in the production of Odd Volumes.

    The club’s headquarters is located at the former home of Sarah Wyman Whitman in the neighborhood of Beacon Hill in Boston, Massachusetts. The Club of Odd Volumes is a direct influence of Ye Sette of Odd Volumes, an English bibliophile dining-club formed in 1878.

    As I mentioned above, this particular pamphlet is the inaugural address of Brother Silvanus P. Thompson. During the planning phase for the binding, I did some investigative work on dear old Silvanus. At the age of 27, Thompson was appointed to professor of Physics at the City and Guilds Technical College in Finsbury, England. He had a talent for communicating complicated scientific concepts in a clear and interesting manner. He is best known for this work as an electrical engineer and his most enduring publication, Calculus Made Easy, a 1910 book that teaches the fundamentals of infinitesimal calculus.

    What really spurred my curiosity was the descriptor of Magnetizer added to the end of Thompson’s name in the pamphlet’s title. In 1910, Thompson was involved in early attempts to stimulate the brain using a magnetic field. After this death this technique would eventually be recognized as Transcranial Magnetic Stimulation. This story really inspired me to use a sheet of the hand marbled paper that I made while I was a student at the North Bennet Street School.

    The stone pattern of the marbling has a very organic, almost cellular feel to it. The movement of the yellow veins reminded me of electric currents flowing through the brain. What a perfect fit!

    The structure of the binding is inspired by Ingela Dierick’s article Single Section Bradel Binding in The New Bookbinder (Volume 32, 2012). I’ve created a binding from this tutorial before and even posted about it on the blog. If you want to see/read more about the process, check out this prior post.

    SetteOddVolumes4-ErinFletcher

    The single signature pamphlet is sewn on a stub of equal thickness. This stub is then shaped to create a false round, which allows you to continue with a binding suitable for a leather covering. In the image above you can see the finished binding. Below you can see the book right after I’ve shaped the spine with the help of hemp cord that create false shoulders (in the image on the right, you can see that I also painted the cord to blend in with the grey colored paper used for the stub).

    SetteOddVolumes5-ErinFletcher

    Other details of the binding include leather wrapped headbands in mauve buffalo skin that add a small pop of color. The paste down and flyleaf are Cave Paper in granite. I also hand tooled in blind an abbreviated title onto the spine: S.O.V. INAUGURAL ADDRESS 1904.

    SetteOddVolumes3-ErinFletcher

    I find these single signature bindings to be just as challenging as a multiple signature book. But it offers a certain level of satisfaction to turn something so thin and simple into a substantial leather binding.


  2. Client Work: Single Section Full Leather Binding // Part One

    July 30, 2013 by Erin Fletcher

    STORY OF THE TEXT: For his 50th birthday, my client, commissioned two pieces of music to be played during his celebration in Kenya. Each piece is inspired by two distinct features of Kenya, the Talek river and the nyatitis, an eight-stringed lyre instrument. As a commemoration of this event, he approached me to bind the sheet music into a full leather binding.

    ABOUT THE BINDING: The sheet music came to me as 17 individual loose sheets. At the same time, the most recent The New Bookbinder (Volume 32) from the Designer Bookbinders appeared at our bindery. The journal contains an excellent and detailed article by Ingela Dierick titled Single Section Bradel Binding.

    Using this article as a guide, I decided to guard the scores as a single signature. A single sheet of light green/gray Hahnemühle ingres was used to divide the two compositions. A single folio of the same ingres and a folio of pool blue handmade paper from Katie MacGregor was wrapped around the single signature to act as endpapers. 

    musicalscorebinding1-erinfletcher

    Once the signature was ready, I prepared a stub out of the same pool blue handmade paper to the thickness of the signature. The signature was pamphlet sewn to the stub, the layers of the stub were glued together using PVA and then put under weight until the next day. After trimming the text block and stub to size, I was ready to attach my final endpaper. A single sheet of waste paper was tipped onto the stub at the height of my shoulder. The waste sheet is then folded back and the endpaper is tipped onto the same position. The waste paper is then wrapped back around the fold of the endpaper. This creates a zig-zag and leaves a pocket for the false shoulder. This final endpaper will also act as the paste down and is a handmade paste paper designed by Deena Schnitman

    musicalscorebinding3-erinfletcher

    A false shoulder made from cord of appropriate thickness is tipped into the pocket between the waste paper that is tipped to the stub and where it wraps around the endpaper. The book is then placed into a press or job backer and the stub is rounded to create the shape of the spine and the shoulder. This is done with a bone folder and some force. From here I added the leather wrapped headbands and six layers of spine linings, which extend beyond the head and tail. Once the spine is dry, it is then sanded down smooth.  

    musicalscorebinding4-erinfletcher

    At this point, I attached a bonnet to the spine. The bonnet included a spine stiffener and was then slit to allow for the leather turn-in at the headcaps. Boards were laminated from 1.5 mm millboard and 20 pt. and attached to the waste sheet. The waste sheet was then torn off and smoothed down. Lastly, the boards were sanded to have a subtle chamfered shape. 

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  • Visit My Bindery
    My name is Erin Fletcher and I live in Boston working as a Bookbinder.  This blog is an extension of Herringbone Bindery where I can share my inspirations with you.
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