Using a technique that Martha Kearsley taught me, which I believe was conceived of by Don Etherington, I toned tissue until I saw stars, filled losses and repaired the cover to this thin and rare gem. The biggest challenge was toning as the cloth on the spine and cover boards changed in color so drastically.
CAITLYN THOMPSON ORIGINAL BOOKBINDING, BOX MAKING, AND PHOTOGRAPHY
Wednesday, July 20, 2011
Haverford Reback Number One
Welcome to Haverford College - Treat This, Please.
This summer I am a Conservation Intern at Haverford College. I hit the ground running a few weeks ago and have loved the fast environment. I was worried I wouldn't be able to apply my speedy ways to conservation, but I was wrong. While mending can be slow at times, I find the entire process of treatment exciting and oddly spunky. Never know what attitude a book will throw at me. Studying the objects, planning treatments and being in complete control of execution has been rock solid. Below, I share with you my first project here at the Magill Library in hot and humid Haverford, PA.
Love and Truth, by Luke Howard, a rare Quaker book from Special Collections needed a complete conservation treatment which included washing, de-acidifying, re-sizing, paper mending, re-sewing, rounding, and re-casing. Below are some photos from the epic process.
Spalted Maple Wood: A Gothic Binding Story
I fell in love with spalted maple last year. Those gorgeous dark segments are caused by fungi. Rotting wood. Delicious. Click here for more on spalting.
I had a special pen made for my dad which featured spalted maple but never thought I would get a chance to work with the splintery substance myself. Wrong. So wrong.
North Bennet Street School is a great school. A great school with many different departments. Two floors up from bookbinding sits the entire Cabinet and Furniture Making department. Did some awesome dude mention he had scraps of spalted maple for yours truly? Not until I asked him. And bam. My adventure began. The magnificent cabinet and furniture maker cut the scraps down to my specific size and to work I went.
First I had to sew my text block. Double-flexible sewing on thick cords. Sweet. After plowing the edges smooth it was back to the spalted maple boards. Time to bevel the edges. Most folks in my class used oak boards, which they shaped and beveled with rasps and files. Not me. The spalted maple split too easily. The wood needed a delicate touch. Sandpaper on a block. So I perspired a bit and after an hour or two (maybe more) my boards were shaped. Enter Dremel. Holes were drilled, cords were threaded and hammered and wedged. More sanding happened. Yada yada.
Leather time. Most classmates used alum tawed pig skin which I thought would be a little thick for my binding. I also wanted the cords to show through the leather quite prominently. I used alum tawed goat skin which was a bit thinner and stretchier than the pig skin we ordered. On the goat skin went and dried.
The braided kangaroo leather headbands are a wild story summed up short -- I made a total of five headbands. Yes the book only has two. Yeah.
This gothic model is not a historical model. The sewing is accurate but the design is more modern and totally rad. Taste is taste.
I know the explanation might be vague and the commentary a little silly but I can't help it. Even discussing the beauty of spalted maple puts me somewhere else. On a different plane. Made of spalted maple. I love it. And that's fine.
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