THE DICTIONARY OF LIGHT & SHADE
Context: Most publications I've made have been bound by someone, or something, else. Sewn binding is something I would like to incorporate in future publications – fancier than staples, more natural than glue.
Aim: To test an unfamiliar, hand sewn bookbinding technique.
Method: Deciding to use a list of words I had already compiled, I consulted a 1978 edition of The Thames and Hudson Manual of Bookbinding, looking for a section sewn method — I settled on French sewing, also known as “sewing without tapes, the sections are linked together by passing thread under the loop of the preceding section.”
I used a bone folder to fold eight pieces of card in half, which would yield thirty-two pages to work with. The page count could easily be increased if each piece of card was substituted for four pieces of paper, or more than eight sections added.
After folding, I clamped the pages, folded edges together, and marked with a pencil (my current favourite tool) where the holes should be. While I could have used a four hole configuration (on such a small book), I thought six holes would be more aesthetically pleasing. Using a coping saw, I sawed the folded edges to make holes in the same place on each section.
I chose black thread to contrast the binding with the pages, rather than allowing it to blend in, with a needle I attempted to follow a single, unannotated, small diagram of French sewing.
Result: The binding is secure, yet a little lose and a little messy. It was simple, yet slow, although with practice I could be more efficient.
This dictionary is one devoid of definitions. I love printed dictionaries, but in an age of Google I also love the convenience of finding a definition for anything at almost any time. Instead, I introduce an alphabet of words, with meanings to be discovered only by the proactively curious.
Significance: I do not plan to use this style of binding again, however, I would like to explore sewn binding on a single section publication (not one that requires hand stamping each page), perhaps in time for the 2018 MCA Zine Fair.
This is a good start to experiments, but it's more a technical experiment – teaching yourself a new skill – than a critical practice. I'm going to send you some articles on what 'critical practice' is – the purpose is not to learn new skills, but to question or disturb conventions through things you make.
May 01, 2018 by Zoe