Mayfly endbands...

 End banding and end banding silks. Part of the palette.

 End banding... the start. A simple, single core end band.

End banding. Unlike the more traditional approach to the sewn end band... 3 white 3 red 3white etc the contemporary end band can form part of design narrative. With the colour palette I have for this book I am looking for a multi coloured or banded look. The colours will jump and flow across the end band. Threads are added and taken away, grouped and spread. I work from the front of the book with the view of the finished end band in my eye and I tie down at each section. Please note, I am aware of other end band techniques and methods of working. I am using this particular technique because it is in keeping with my current approach to contemporary bookbinding. Please also note, I am aware of other contemporary methods etc.

BookArts. Lincolnshire College of Art and Design.

Back to college. Back to the beginning of many things. NOW and other books by the wonderful students on the foundation course (Arts) Lincolnshire College of Art and Design. For all but one of the students (the average age was about 18 with one mature student) this was the first book they made. All miniatures, all complete books and all done in an afternoon. We started the day with an introduction, then an illustrated lecture about the book.. past, now and possible futures. Just before lunch I showed some of my books to the students... all employing the same or similar techniques to the ones we were to explore in the afternoon... Enjoy. Please note, not all the students work is shown and there is no particular order to the work.

A new commission... Mayflies of the Driftless Region.

A new commission... Mayflies of the Driftless Region.

Mayflies of the Driftless Region. Wood engravings by Gaylord Schanilec. Identifications by Clarke Garry.   Midnight Paper Sales 2005.

Limited edition of 400. This being number 3 of 13 in sheets.

A wonderful book.

After a lot of thought of the design and colours, work begins on the endpapers. The endpapers are produced using a Flottage technique, colours are floated on water and transferred to paper. Similar to marbled paper, however the Flottage technique uses oil based inks and is far looser in the patterns formed.

Front end paper and possible Doubler

Back end paper and possible Doubler.


The end papers are "Made" and will be leather jointed. I have chosen to use these for a number of reason.  I think they work well with the theme, the colours being spring, light and full of undulations, waves and rivulets. the tiny spots a reflection of the myriad, the clouds of Mayflies that dance and delight the eye with a cacophony of colour.

A Must do in the center of London.. London Crafts Week.

London Crafts Week

Make your own wonderful books.

Set of six miniature artists books.

It is with great pleasure that I am able to announce that the set of six miniatures will remain a set. They have been acquired by a private collector in London.

Flatford Mill, Constable and bookbinding.

 Last week I embarked on a new aspect of my teaching and sharing bookbinding and book arts. A good friend of mine and a very nice chap, who we shall call Mr X (that is not George's real name, I have made up the Mr X bit) decided to see other pastures afresh. In doing so he vacated an Associate - Residential Teaching Post in beginners and improver's bookbinding. It came as a surprise to be asked if I would be interested in the post. I was reluctant but decided to go and see the place.....

 After traversing the transport hell that is London I found myself on a train... countryside bound.. destination Suffolk. In more detail, perhaps one of the most recognisable of all English countryside tea towels, jigsaws, cake tin lids and the like.

 I of course mean ... the Hay Wain.  Constable's painting is based on a site in Suffolk, near Flatford on the River Stour. the Hay Wain, a type of horse-drawn cart, stands in the water in the foreground.

No Bull !!!

 Behind the camera view finder is Flatford Mill, charming. That is the venue. In short, I agreed to take the post, to carry on the work of Mr X.

 

My usual journey to work, though inspirational, usually involves the bus and walking with the usual orchestra of police and other emergency vehicles, the irate and the frustrated worker or flustered self-important road user whilst dodging  the pavement mafia... Cyclists  - Lycra bullies who constantly break the law and endanger not only pedestrians lives but their own... why?,  because unlike other road users they do not have to pass a test or have a license, in other words.. untraceable. Please note, I used to cycle a lot, both in the countryside and in London, I still have a cycle which I still use, not all cyclists are F**************************ds, only the ones who feel they are above the petty nature of the highway code, politeness and safety. I also have a driving license.

I digress...

 Peace and calm, the walk to breakfast...

 The breakfast... please note other breakfasts are available, some with cereal and fruit !!!????

 The view once again...

 And with a mini finishing press by the very gifted Louis Kwok of Singapore.

The calm before the storm, the Constable Room. Though there is not much in the way of equipment... yet.. much is done by hand. A refreshing change. For those interested.. there are 4 courses a year.

 https://field-studies-council.org/media/4985949/course-details-cockram-feb-bookbinding-and-book-repairs-for-beginners-and-improvers.pdf

Weekend Workshop.

Behind the scenes. As my reader may be aware... I am to host a DB/SoB joint workshop this weekend coming. During the weekend we are going to be exploring an approach to artists books. I hope it will be fun. With any workshop or lesson there is a lot of planning. Planning not just in the publicity.. after all, what is the point of putting a workshop on when no one knows about it. The fees go towards the venue and incidentals, things and people need to be paid. In total I have spent a number of days working towards the smooth running of the weekend. Fingers crossed etc..

Introduction to Restoration of Cloth Case Bindings and Leather Bindings. With classic and contemporary practise.

Studio 5 is pleased to announce a new course - Introduction to Restoration of Cloth Case Bindings and Leather bindings. The course focuses on classic, minimal intrusion techniques and 'Kinsugi' style repairs - contemporary 'visible' repairs.

The Introduction course in Restoration is broken down into 4 separate modules.

Module 1. Introduction To Book Structure.

Rationale

This module introduces the student to basic book structures and construction techniques, sewing styles and materials. such as cloth and a number of machine made papers. It will allow students the opportunity to explore differing approaches and  techniques in the production books.

Aims

To develop hand skills related to book making and material use

To enhance professional skills, awareness and responsibility

To stimulate an awareness of the book

Learning Outcome

On completion the student will be able to:

Understand styles of various books and material use

Be familiar with various forwarding and sewing techniques

Forward a full cloth and ¼ Leather bound book

Assessment Strategy

Assessment will be in line with the STUDIO 5 criteria and will be evident through examination and discussion of finished items of work. The student will demonstrate an ability to apply the techniques to a good standard and understand the reasons for their use.

The Module is delivered over 6 days with all materials included.

Fee £700

Module 2. Introduction to Cloth Repair/Rebacking, Case Binding.

Rationale.

This module develops an awareness of the integrity of the original covering materials in a historical context. The student will have the opportunity to create  sensitive and conservation centered repairs to existing case bindings.

Aims.

To understand the correct methods of repair.

To indentify the appropriate materials.

To apply the techniques for rebacking and repair in cloth and other materials.

To appreciate the difference between styles of historical case bindings.

Learning Outcome.

On completion the student will be able to:

Recognise the extent and feasibility of repair.

Apply the techniques of conserving as much of the original materials as possible.

Apply the techniques of staining new repair materials for use in repair.

Reback in cloth and replace saved materials.

Indicative Content.

Books selected suitable for repair.

Text block examined and any damage assessed: appropriate repairs carried out

Books repaired retaining maximum amount of original binding

New materials treated for classical techniques.

Assessment Strategy

Assessment will be in line with the STUDIO 5 criteria and will be evident through examination and discussion of 2 finished items of work. The student will demonstrate an ability to apply the techniques to a high standard and understand the reasons for their use. The student will be expected to be able to demonstrate and rationalise working processes.
The Module is delivered over 6 days with materials and books if the student has no access to suitable books included.

Fee £700

Module 3. Introduction to Leather Repair/Leather Rebacking.

This module develops an awareness of the integrity of leather as an original covering material in a historical context, relating to
Module 2. Introduction to Cloth Repair/Rebacking, Case Binding, and developing further into leather work. The student will have the opportunity to work with leather bindings.

Aims.

To recognise the extent and feasibility of repair required.

To apply the type of repair/reback necessary based on the period and style of the original binding.

To assess existing and repair or resew as necessary.

To prepare the original binding in a suitable manner.

To repair or replace the original bords.

To apply techniques for attaching suitably prepared stained leathers or repair materials.

To replace all saved original materials and apply in a suitable manner.

Learning Outcome.

On completion the student will be able to:

Assess the extent to which the book can be repaired and understand the limitations involved.

Appreciate the value of keeping original materials

Prepare with minimum damage the original bookbinding.

Assess the materials required and reback in a new suitably stained leather.

Replace lifted areas and harmonise repairs with an understanding of dyes and paints.

Repair, reback and refurbish leather bindings with minimum intervention to the original, and with minimum evidence or of repair.

Understand the implications of different structures and make decisions for restoration based on period, style and use of book.

Assessment Strategy

Assessment will be in line with the STUDIO 5 criteria and will be evident through examination and discussion of 2 finished items of work. The student will demonstrate an ability to apply the techniques to a high standard and understand the reasons for their use. The student will be expected to be able to demonstrate and rationalise working processes.
The Module is delivered over 10 days with materials included. The student will be expected to supply the books for this module.

Fee £1,100.

Module 4. Contemporary Practice and Kinsugi Repairs. 

Rationale

This module introduces the student contemporary techniques in the repair of books.  It will allow students the opportunity to explore and experiment with  differing approaches and  techniques in the repair of books.

Aims

To develop an understanding of material manipulation

To enhance professional skills, awareness and responsibility when undertaking contemporary repair techniques

To stimulate an awareness of fusion and alternative methods of repair

Learning Outcome

Assess the extent to which the book can be repaired and understand the limitations involved.

Prepare with minimum damage the original bookbinding.

Resew etc if required.

Assess the materials required and reback in a contemporary/fusion fashion.

Replace lifted areas and repair with an Kinsugi style .

Repair, reback and refurbish leather bindings with minimum intervention to the original, and with evidence of the repair whilst still being considerate to the original.

Understand the implications of different structures and make decisions for restoration based on period, style and use of book.

Assessment Strategy

Assessment will be in line with the STUDIO 5 criteria and will be evident through examination and discussion of 2 finished items of work. The student will demonstrate an ability to apply the techniques to a good standard and understand the reasons for their use.

The Module is delivered over 10 days with some materials included. The student will be expected to supply the books for this module.

Fee £1,100.

THE SMALL PRINT.

The STUDIO 5 Introduction to Restoration of Cloth Case Bindings and Leather Bindings. With classic and contemporary practise, is delivered in modules. The modules are intended to be completed in succession. Upon successful completion of each module the student will be issued with a Studio 5 Certificate.  However, for students with prior knowledge, individual modules can be taken as stand alone short courses/workshops.
The complete course is 32 days, the fee is £3,600.00. The fee covers all tuition, hand tool use, workshop equipment as required and materials as outlined in the module information.
A 50% non returnable deposit is required to confirm booking full payment being made no less than 2 weeks prior to the beginning of the course or module. The modules can be delivered in a block or days to suit the individual student.
Once the course or module has begun no refunds are available.

To book a place or for more information please contact us.
Mark Cockram
Studio Five First Floor The Mews 46-52 Church Road Barnes London SW13 0DQ
Tel: 0208 563 2158 e-mail: studio5bookarts@aol.co.uk

Livre d' Heures. Stubs on, ready for trimming.

A wonderful Book of Hours.