Criss Cross Binding

I decided to make a Criss Cross Binding as a gift and since it had been a while since my last efforts, I needed to refresh my memory at to the process.  

I seemed to recall that when I made my last book, I made the cover and then bound the signatures into it one at a time.  Since that time, I've read that it is more stable, and was originally designed, to be added to a sewn text block, so that is what I decided to do for this book.

I researched on the internet and came up with a set of instructions by Emily Martin found here.  There are no pictures showing how to sew the text block to the cover, though the instructions are quite clear. There are pictures showing how the covers need to be stitched together and detailed instructions for doing so.   I did find a picture heavy tutorial by UArts MFA Book Arts blog here.  Between the two of them, I had the clear instructions and the picture I  needed of how to place the Tyvek tapes so I could slip my needle between the tape and my stitching to secure my signatures to the spine of my book.

I used 140lb watercolour paper for my signatures.  I wanted it to be used for pen and ink and watercolour wash drawings.  I had some stamped leather that I'd come across at a thrift shop years ago.  It was almost a full skin.  I don't think they knew what it was because it was ridiculously inexpensive.  I've been saving it for years waiting for the right project and now was the time.

Green Felt Longstitch Fabric Book

I am a big fan of Francis Pickering's work but I am woefully poor at drawing so I thought I would try to work around that deficit by using appliques where she would draw her botanicals.  While I was out at my favourite thrift store, I came across a silky shower curtain (outer curtain, I suppose) that had the watercolour style of flowers that I most admire and it didn't take but a moment to have it in my cart.  Add to that, the senior's day discount, and there was no question that I was going to be able to use those flowers for some purpose.

I had been planning to try my hand at a content filled book for some time.  Most of my books are just fabric covered with blank pages when they are long stitch bindings. This book, filled with appliques, stitches and quotes was going to be a first for me.

I was going to start the book at the London ON Canadian Embroiderer's Guild Winter Retreat, so I needed to try and anticipate all the materials I might want to use for the book and pack them up since the retreat location was about 2.5 hours away from my home and I would be away for 3 days and 3 nights.  It was also my first time at the retreat so I wasn't too sure what to expect.  Needless to say, I packed everything but the kitchen sink,  I tried to prepare some of the materials ahead of time, but brought extra things just in case I changed my mind because there is nothing worse than knowing you have something sitting at home when you could use it now.

I didn't think to take pictures of the process.  I was too deeply involved enjoying the space and the lack of feline helpers.  I do have pictures of the finished pages though.

The process went as follows:

I used natural unbleached cotton for my pages and made the decision to sew my pages together so that I wouldn't have to worry about stitching showing on the back.  I tore my pages to size about 10" x 15" for a double spread. I had 10 of those which would be sewn together in pairs when all the decorating was complete.  Each set would then be folded and treated like a signature when the time came to bind them.

I began by tea dyeing them.  Rather than dipping them in the tea, I sponged it on so that I could get a dappled coverage.  I wanted to soften the lightness of the natural cotton. The next step was to add colour by using dye based watercolours.  I used Koh-I-noor stackables that I got from Art Van Go.  I sponged those on as well.  The results were just what I wanted. The colours blended so well.  The pages were left to dry.

I had already prepared the flower material with Wonder Under and I fussy cut them (not the first one I applied, but I soon changed my mind).  I dry placed them until I was satisfied and them fused them.  I stitched as necessary because it was a nice crinkly material.  I loved the look of it.  I enhanced the appliques with Derwent Inktense watercolour pencils. 

At this point I tentatively matched up fronts and backs and tried folding them into signatures to see how they looked  together.  The reason for this was to make sure that I didn't have the same flowers sitting side by side (there were a finite number of different flowers to work with).  I was able to make sure that didn't happen on each double spread but when the pages were folded the back of one would be beside the front of another.  I had to find an arrangement that worked.  When I had that, I put a bit of masking tape (numbered 1a, 1b, 2a, 2b etc)  on back of each one to keep things straight.  You'll see what I mean when you see the pictures. 

The next step was to add my favourite nature and inspirational quotes with fabric markers. I collect them in a journal so I had a wide range of quotes to choose from.  When that was done, I gave everything a light coat of acrylic wax and buffed off any excess with a soft cloth.  The wax did interact a bit with the Inktense pencils in a place or two (note for future) but for the most the highlighting wasn't affected.

The wax left the cloth supple but a little firmer.  It was still easy to and hand stitching.  I used No. 8 perle cotton for my favourite stitches and just free stitched around the appliques and quotes. I made it up as I went along.

The cover is a heavy weight green felt cotton treated in the same manner as the book pages appliqued to the surface.  The closure is a button and a small hair elastic.

While the book pages were begun during the Winter Retreat, only the background preparation and applique work was accomplished during that time.  The rest of the work was done over several more weeks.

A New Accordion Book with a Twist

While I was on Winter Retreat with the Canadian Embroiderer's Guild of London, ON, CEG for short, I was able to work on ideas that I didn't have the uninterrupted time or space for at home.  

I had several book ideas percolating in my brain for a while but the cat was too helpful, my desk was too messy and life just kept getting in the way.  Three days and three nights away were perfect for getting things sorted out.  I prepared the supplies I thought I might want for two major projects and several smaller ones, took everything I thought I might even possibly want and away I went.  It was creative heaven.

This accordion book was one of those projects.  I chose to work on 140lb watercolour paper.  I tore the paper into 5.5" strips and pieced them together until I had enough panels for my book. Each panel is 7.25" long.  I cut a 2.5" diameter circle out of the center of each panel being careful to make sure that the circles lined up exactly in each panel.

I didn't take a camera with me so I don't have steps of the process, just the finished product. The next step was to make a template where I divided the circle into even segments.  I used this to prick holes in the watercolour paper for stitching.  

My hope was to create a progression of stitches from simple to complex, that could stand alone in the accordion, but could be cumulative when viewed as a codex.  If everything aligned properly, the stitches should overlay and created a complex pattern.

It worked.  Unfortunately, my photography doesn't do the final overlay justice (without my fingers being in the picture I can't hold it flat and let the light shine through so the final iris doesn't quite centre as it should)

Cover in cork cloth

a sample of panels showing progression

Showing the panels lined up. (the final iris would be centred if I'd held the panel tighter)

The following are the panels in order: