Thursday, September 26, 2019

Paper Preparation

1. For the simple accordion, determine the type of paper you wish to use e.g. watercolour paper, handmade paper, Japanese paper, painted or stitched paper

2. Determine the number of sections or folds in the accordion that you require

3. Determine dimensions of the paper, the height and the length of the paper required to produce those sections (sometimes paper will need to be pieced together to get a long enough strip for the accordion to have the grain of the paper running in the proper direction)

4. The grain of the paper should run parallel to the folds in the paper

5. To fold a strip into 8 even sections:

a. fold the strip in half

b. open the fold and bring each outer edge up to the middle crease and press the fold with the bone folder

c. flip the paper over and bring the newly folded edges to the middle one at a time and press with the bone folder

d. bring the last edges to the middle and press with the bone folder (Note: if you are using a thick paper, scoring it first will make it easier to fold) This will give you your accordion.

Spine Variation

1. The considerations for steps 1-4 are the same for this spine variation. The sections are not of equal size however. The first and last sections of the accordion are full size sections and the middle sections are usually ¾” to 1” sections.

2. The first and last section are attached to the covers and the remaining sections of the accordion simply act as the spine of the book and are sewn to single signatures using the pamphlet stitch.

3. The signatures can be sewn in the mountain fold or in the valley fold. It is a matter of personal preference.

4. The size of the signature will differ depending upon which fold is used for the sewing. The signature may be larger if the valley fold is used and would be smaller if the mountain fold is used.

Signature Preparation

1. Determine the size of the paper that you plan to use. This will depend upon the spine height of the accordion you have created and the maximum width of the accordion book you are making. For example. If your accordion book dimensions are a spine height of 4½” and a total width of 6” and the accordion folded spine is ¾ “ then dimensions of the folded signatures to be sewn on the mountain folds should be 4½ “ x 5 ¼”.

2. Since there are three mountain folds, you would need three sets of signatures with the grain running parallel to the spine

3. You must determine how many pages are in each signature and whether you are using a three or five hole pamphlet stitch.

Sewing the Signatures

1. Determine whether you are using a three or five hole pamphlet stitch.

2. Prepare a stitching template for the appropriate number of sewing stations.

3. Use a phone book or large book as a punching cradle and punch sewing stations into mountain folds. Mark an H to indicate the Head of the book.

4. Use the template to punch the sewing stations into the signatures. Mark the Head on each signature.

5. Use the appropriate pamphlet stitch to sew the signatures to the mountain folds of the accordion spine.

Cover Preparation

1. Determine the dimensions of your cover. Take your folded accordion and measure the length and width of the end sections. (just one will do because they should both be the same). Add no more than ½” to the width and 3/8 ” to the spine length to determine the cover measurements. This will give you enough substrate to make a cover for the accordion book. You will need to cut two of these. One for the front cover and one for the back.

2. The cover of an accordion book is slightly different from covers of more traditional books. Because an accordion book is a more decorative, artistic form, it is often displayed in an open style. For this reason, an accordion book must be able to balance when open. The cover, therefore, has less of a square or overhang on the bottom edge. Usually this is kept to about 1/8”, just enough to make sure that the paper does not show. The square on the top and sides can be larger, up to ¼”.

3. Decide how you will edge your cover. i.e. wrapped edges or decorative stitching on the edges. This will determine the dimensions of your fabric. Refer back the General Rules of Thumb in the overview section to determine the measurements of your fabric.

4. Decorate your cover as you wish. An accordion book expands so there is no fixed spine. This makes a difference when choosing a book closure. The closure must complete circle the book to keep it closed but must also be able to be removed or allow the book to expand for display purposes. Keep this in mind if you plan to fix your closure to your cover.

Wrapping the Cover in Fabric

1. Refer back to the General Rules of Thumb to review the technique for wrapping the cover in fabric, if necessary.

Attaching the Cover

1. Use a light coat of PVA or fabric glue to attach accordion to cover. Spread glue lightly with a brush or credit card. A strong glue stick could be used.

2. Put wastepaper / wax paper between the cover and text block and place under weight to dry.

Tuesday, September 17, 2019

CEG Class 1

Overview:

This course will show you how to create 5 distinct book structures that you can use for journals, sketch books, purse sized to-do lists, and finally, a bound set of class notes.

Materials you will want to gather from your stash:

· A selection of fabrics for book covers and for your design work and embellishments

o Stiff denim can be used in fused layers for your cover

o Cotton duck or canvas can be used as a cover material or as “fabric pages”

o Cottons can be used for covers and as applique embellishments

o Laces, doilies, scraps for decorative purposes

o Your personal favourites for decorative work

· A selection of threads or fibres to:

o Embroider or embellish your cover fabric

o Use as a binding thread when sewing your book together

§ Examples: pearl cotton, fine crochet thread, heavy top stitching thread, embroidery floss, waxed linen thread (some will be available for the Coptic Book)

· Embellishments:

o Beads, buttons, fibres, appliques, charms, embroidery, ribbons, trim,

· Parchment paper for ironing your fabric and Wonder-Under fusible web

· Paper:

o Copy paper can be used folded into 5½ x 8½ “ booklets or cut down into two 4¼ x 5½” booklets (these smaller booklets will have the grain of the paper running in the correct direction -parallel to the spine of the book)

o Decorative papers: scrapbook paper, mulberry paper, handmade paper

o Card stock

o Watercolour paper

o Drawing weight paper

o Mixed media paper

· Cover boards can be made from a variety of materials:

o Flexi-firm

o Peltex

o Layers of stiff fabric fused together

o Stiff cardboard or pages from a discarded children’s board book

o Artist canvas boards (from the $ store)

· Adhesives to adhere fabric to cover boards:

o Wonder-Under fusible web can be ironed to wrong side of fabric and then ironed to the board material

o Misty Fuse

o Aileen’s Fabric Glue

o Aileen’s Tacky Glue

o Welbond adhesive

o Elmer’s Extreme glue stick (large size) - I’ve had success with that on artist canvas boards and with chipboard and binder’s board.

o Fabric Glue Sticks

· Closures for books:

o Clasps, buckles, ribbons, inexpensive elastic hair bands (think $ store)

· Tools:

o Something to make folds - a bone folder, side of a pair of scissors, bowl of a spoon

o Cutting tools: scissors, exacto knife or utility knife for cutting board or pages, rotary cutter for fabric

o Cutting Mat: for fabric and paper cutting.

o Hole punching tools: awl (or tapestry needle in a cork, paper piercer, large push pin) to make holes in page signatures; Japanese screw punch (or small eyelet punch, cropodile) to make holes in cover for Coptic Book

o Binder clips to hold pages of signature together for punching holes and sewing.

o Punching cradle - a phone book makes an excellent cradle

o Weights – wrapped brick, fabric bag of rice, heavy books -- to press signatures and reduce swell of spine

o Iron – should be available on site

o Needles: bookbinder’s needle or tapestry needle for sewing signatures, embroidery needles for embellishments, circular needle for sewing Coptic book

o Sewing machine: if desired for home use in preparing cover fabric or sewing satin stitch or decorative edging for fabric cover

General Rules of Thumb

1. Your cover should be at least ¼” wider and taller than your pages -- be sure to add in the width of the spine for your final measurement. For example: a booklet with 8 ½ x 5 ½ “ pages with a 1” wide spine would require flexi-firm or peltex that is 8 ¾“ tall and 12 ¼ “ wide (5 ½ + ¼ + 5 ½ + 1) Note: Covers for the Accordion and Star Books will be exceptions

2. The fabric for the exterior of the hard cover should be1 ½” wider and taller than the cover dimensions (¾” on each side) so that it may comfortably wrap around to the interior side.

3. The fabric or paper for the interior of the cover should be ¼” smaller than the cover dimensions. This will leave a small margin around the interior cover so that the edges of the endpapers or fabrics will not receive wear and tear through use.

4. If you are using a satin stitch or decorative edging for your cover, both the flexi-firm and interior and exterior fabrics will be the same size – ¼ “wider and taller than the measurement of your pages and the spine width.

Note: The covers for the Accordion and Star Book will be exceptions

Book Structures:

Class 1: Pamphlet binding - 3 or 5 hole stitch, one signature

Class 2: Accordion book – folded pages and accordion spine variation with pamphlet stitch signatures

Class 3: Long Stitch binding - fold over cover with closure, Long stitch on spine, multi-signature book

Class 4: Star Book – French link stitched exposed spine with 5 decorative nested paper signatures. A sculptural artist book

Class 5: Coptic Stitch binding - kettle stitch, multi-signature book of printed class notes

Class 6: Show and Tell - time to finish up projects and show final results

Class 1: Pamphlet Books: single signature book

Paper Preparation

1. Determine the size of the paper you plan to use. i.e. 8 ½ x 11” or 8 ½ x 5 ½ “ (standard sheet cut in half).

2. Determine the number of pages in the signature.

3. Fold the papers in half. Ideally, the grain should run parallel to the spine of the book.

4. Nest the papers inside each other and align the folds.

Punching Holes in Signature

1. Open your phone book to the middle to use as your punching cradle.

2. Place your aligned pages into the fold of the phone book.

3. Make a stitching template using a 2” strip of paper that is the same height as your pages. Fold the strip in half lengthwise and mark the stitching holes on the inside of the fold line. For the smaller book, 3 holes will be sufficient; for the larger book, 5 holes would be more appropriate. Place one hole in the middle of the template fold and the remaining holes evenly spaced on either side of the middle hole. The top and bottom holes should be at least ½ “ from the edge of the paper. Mark the top of your paper with an H for Head.

4. Place the template into the centre fold of your pages in the cradle. Align edges carefully with the H at the top.

5. Use your awl or piercing tool to punch the holes indicated on the stitching template. Hold your piercing tool perpendicular to the paper to make sure the holes go through the folds of the signature.

note that paper strip is folded in half lengthwise and the holes are in the fold

Cover Preparation

1. Determine the dimensions of your cover. Remember the rule of thumb: Your cover should be at least ¼” wider and taller than your pages -- be sure to add in the width of the spine for your final measurement if you are using a lot of pages in your signature.

2. Decide how you will edge your cover. i.e. wrapped edges or decorative stitching on the edges. This will determine the dimensions of your fabric. Refer back the General Rules of Thumb in the overview section to determine the measurements of your fabric.

3. Decorate your cover as you wish. Keep embellishments away from the spine area. You will need space for stitching the signature to the spine.

Punching Holes in Cover

1. Fold your decorated cover in half.

2. Place cover in punching cradle if it will fit. If not, simply fold the cover in half on a flat surface.

3. Place stitching template into the centre fold with the H at the top. Make sure the template is centred in the fold. i.e. 1/8 “ from top and bottom of cover.

4. Use your piercing tool to punch holes through the template and through the spine of the cover. Make sure the holes go completely through the cover’s spine.

Stitching the Pamphlet

1. Use binder clips to hold pages of signature together for sewing.

Three hole pamphlet

1. Use a length of thread at least 3 times the height of the book.

2. Start with the middle hole. If you start on the outside of the cover, the finishing knot will be on the outside and you can use beads to decorate the tails of the thread. If you start inside the signature, the finishing knot will be inside the book, leaving a clean stitching line on the outside. The choice is yours.

3. Go out one end hole.

4. Skip the middle hole and go to the other end hole.

5. Come back through the middle, pull the thread tight and tie a square knot around the long stitch in the middle. Be careful not to stitch through the thread when re-entering the middle hole.

Five hole pamphlet (or any uneven number of holes)

1. Use a length of thread at least 3 times the height of the book.

2. Start with the middle hole.

3. Sew a running stitch down to the bottom hole.

4. Continue sewing a running stitch back up to the top but skip the middle hole.

5. Sew back down to the middle and use the thread tail to tie a square knot around the long middle stitch.

6. Be careful not to stitch through the thread when re-entering a stitch hole. That will prevent you from being able to pull the threads tight.

Tuesday, July 30, 2019

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.

Saturday, July 13, 2019

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.

Friday, July 12, 2019

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)