The endpapers are set and leather joints in place. The next step is to work the doublures. Up to four layers of hand-dyed papers are layed on to the board and sanded. This simple step has taken me two days, I can not believe how long it takes to sand paper.
The lower colours of the various papers showing through the top layer, I hope to have created a sense of depth and movement. I have found that with some bookbinders they stick to one or two techniques when it comes to endpapers and doublures. I think that contemporary interpretive bookbinders need to be flexible, how can they produce work when they are limited in their technical approach ?
A close up of the lower front doublure.
The pattern of the sanded papers echos the turn-ins, emphasising the construction, the under layers that are often hidden, the construction becomes part of the overall look of the book without being contrived.
Work resumes on the cover.
Panels of leather have been removed awaiting a further application of dye.
I suppose that to many bookbinding purists I am breaking all the rules. First, I am work with the book in an interpretive way, I do not use much gold leaf, I did not serve an apprenticeship and with this binding I have finished the inside before I have completed all the work on the outside.
With this particular binding I have had to work inside out so that the design flows from the inside to the cover, working this way, I am sure that this flows with work in reverse.