Prepare the Covers 1. To make an accurate measurement for the spine, assemble the following in order: one cabinet-card cover, sketchbook sleeve, sketchbook, notebook, notebook sleeve, and cabinet card cover. The width between the cabinet cards equals the spine width. Cut the remaining cabinet card to the determined width by 1 2˝ (16.5 cm) tall. 6 ⁄ 2. Decide which cabinet card will be the front and back cover. Use the coverpunching template on page 1 8˝ (3 mm) 130 to punch ⁄ holes on each cover along the edge to be joined to the spine. Use the spinepunching template on page 1 8˝ (3 mm) 130 to punch ⁄ holes along both long sides of the spine. 3. Sew the covers to the spine using two tapestry needles, or simply thread the ribbon through the holes. For the latter, trim the ribbon ends at an angle to help ease them through the holes, and coat with a thin layer of glue; let dry. Sew the front cover to the spine by bringing both ends of the 42˝ (12.8 cm) ribbon through the top two holes from the inside; pull the ribbon ends even. Cross the ribbons and enter the next two holes from the outside. Cross the ribbons and exit out the same holes with the opposite ribbons (E). Make sure the ribbons lie flat. 48 RE-BOUND
(As you join the sections, make sure the cabinet-card edges are just touching. If the cards overlap, the covers won’t close properly, and if they’re too far apart, the covers will be loose.) Cross the ribbons and enter the next two holes from the outside, cross the ribbons, and then exit the same two holes. Continue in this pattern until the last cross has been made on the outside, and both ribbon ends are inside the cover. Tie the ends in a square 1 4˝ (6 mm), and knot, trim to ⁄ secure with a drop of super glue. Repeat to sew the back cover to the spine. When finished, there should be a neat row of Xs down both sides of the spine (F). 4. With a craft knife cut a 1 2˝ (1.3 cm) from and slit ⁄ centered along the fore edge of the front and back covers. Make the slit equal to the closure-ribbon width. 1 2˝ (1.3 cm) Push the ribbon ⁄ through the slit to the inside; secure the end with PVA (G).
Outside front cover
Begin sewing binding from inside covers.
Ribbons form X’s on spine
1 2˝ (1.3 cm) ⁄
Inside front cover
Cut slits and insert ribbons.
re-bound creating handmade books from recycled recycled and and repurposed repurposed materials materials
JEANNINE STEIN
re-bound creating handmade books from recycled recycled and and repurposed repurposed materials materials
JEANNINE STEIN
CONT EN T S I nt r oduc t i on / 6 C HAP TE R 1 C HAP TE R 2
G e t t i ng S t ar t e d / 8
T he r e ’s N o P lac e Li k e H ome — H o t -W at e To M ak e r Bo t t le J o a Book / 1 ur nal / 21 8 Bat h R ug I dea J o ur nal / 25 P o t at o -C h i p Bag Do uble-S ided N o t ebo o k C HAP TE R 3 / 31 H unt i ng B ur i e d T r e asur e : F le V int ag e A a M ar k e t s lbum-C ov and T hr i f er P o r t f t S t or e s / o lio / 37 F elt ed S w 34 eat er J o ur n al / 41 C a binet -C ar d S k et ch bo o k / 45 C HAP TE R 4 F r om M u ndane t o M ar ve lous: H and O f f i c ar dw ar e, e -S u p ply H ome S u S t or e s / 5 p ply , P aint -S am 0 ple P ho t o A lb u m / 53 W indo w -S cr een Ar t J o u r nal / 57 T we lv e-M o nt h O r g an iz e r / 63 W ov en-T ick et M ini Bo o k / 69 C HAP TE R 5 D i ve I n: T he Ar t of D u m pst e r D G ame-Bo a i v i ng / 75 r d T r av el J o ur nal / 77 P aint -by -N umber G u est Bo o k / R o ll-U 83 p F ield J o ur nal / 87 C HAP TE R 6 T he Be st T hi ng s i n Book bi nd P o ck et G if i ng Ar e F t -C ar d Bo r e e / 90 o k / 9 3 C o ast er C o ck t ail-R e c ipe Bo o k P at t er n-Bo / 97 o k P ur se J o ur nal / 1 0 1 C HAP TE R 7 G alle r y / 10 4 T e m plat e s, P at t e r n s, and G u i de s / 124 C ont r i but or s / 140 S t it c h G lo ssar y / 14 1 S u p pli e s and R e so ur c e s / 14 2 About t he Aut hor / 1 44 Ac k now le dg me nt s / 14 4
INTRODUCTION
Making a book is one of the most satisfying artistic pursuits. Books offer limitless possibilities—they can be functional, sculptural, or both. From concept to design to construction, each step offers challenges and opportunities. Most functional handmade books—journals and photo albums—are made from some combination of book board, paper, bookcloth, and leather. In over a decade of creating books out of these materials, I’ve never tired of learni ng new techniques and perfecting old ones. But book artists are always looking for more. After years of using traditional elements, I found myself inspired by unorthodox items—nineteenth-century photographs, rusty hardware, textiles, roof flashing, and cracker boxes. I was excited at the prospect of working with unconventional materials, and I discovered a different kind of satisfaction in taking an item intended for a specific function and recycling it into a one-of-a-kind book. A recycled book’s theme or function can match the materials—or not. An empty pasta box could house recipes, or bingo cards could become a baby book. There ar e no rules or limits. An added bonus to using r ecycled materials is that it’s eco-friendly and keeps trash out of landfills. It also reminds us that although we live in a throwaway culture, things can, and should, be repurposed whenever possible to live another life.
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RE-BOUND
The projects in this book incorporate a wide variety of materials that, while familiar, may not be in every book artist’s repertoire. For those who have made books before, I encourage you to embrace potato-chip bags and window screens and take your artistry to a new level. For those who are venturing into completely new territory, this is a great way to start making books. Materials are as close as your kitchen cabinet, and the basic tools needed are few and inexpensive. Also use these projects as inspiration for further endeavors. Devise creative challenges with yourself and friends to see what kinds of books can be made from automotive supplies, toys, or old clothes. So dive in. Any day you can make a book is a good day.
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1 T E R P A H C
d e t r a t S g n i t t G e d a n d
c l e y c e r f f u n, o t o t u n o i r in g o o k s u b t n g e s, n v e i l t s t i o s l M a k b t e r e r ia t a a w m t o r e o s e d y. H a r p r s o t u g i r p u r r r e d t e e t r o o m r h a t a r e h a s c b k n o d u o n y e t h b s, a c e i l h p w m s a o f f e w f a f u d t n s p a i n t e a c i c a l n p a y t d i e h f - a g u t o e y l l e t t d n i r l o h a n g, t h a i i n w n t u t u b m e s o c m a d e, e m s. b u b n l a a c e y a n d h t s l , s a p n i r t u k i n d j o
Unfamiliar materials present creative challenges that
Bindings add another exciting element to books.
start ideas flowing. The best way to start working with new
Most traditional bindings can be applied to recycled
supplies is to handle them and see what they can do. Can
items—cabinet cards are made of chipboard, so they can
they flex enough to wrap around a text block? Are they
be bound with a simple accordion structure or a link stitch.
easily cut with a craft or utility knife? Which adhesives
But don’t stop there—recycled items also lend themselves
work best? Does an object lose or gain appeal if it’s pared
to developing new bindings. Take advantage of ele ments
down? Potato-chip bags, for example, don’t suffer at all
such as metal mesh and rubber to produce innovative
when cropped, since their bold, iconic images are so easily
stitching patterns.
recognizable. Set aside time to experiment. Some materials may need shoring up before they reach book status. Extremely li ghtweight items such as potatochip bags can be reinforced with Tyvek, a high-density polyethylene that’s used for home building and overnight shipping envelopes. Fabric gains heft by fusing it to interfacing. Even brown paper grocery bags make sturdy linings.
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Parts of a Book
Text block Head
Bookbinding has its own terminology, and it helps to know the anatomy of a book:
Head: Top of the book Tail: Bottom of the book
Spine
Fore edge
Spine: Edge where signatures are sewn or pages are bound; may be open or closed
Fore edge: Where pages open Tail
Hinge: Material that connects parts of the cover so the book can open
Hinge
Text block: Inside pages of the book Folio: Single piece of folded paper Signature: Several folios nested together. Nesting several folios causes the fore edge to push out; this is called the fore-edge creep, or just creep. The heavier the paper, the
Folio
bigger the creep will be. The creep can be left as is as a mark of a handmade book, trimmed off with a heavy-duty
Signature
paper cutter, or removed by holding a metal ruler firmly on top of the signature and slicing off the edges with a craft or utility knife. The creep is important to keep in mind when measuring a book because it will add to the signature’s width. Fore-edge creep
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Tools CUTTING TOOLS
NEEDLES AND THREAD
A craft knife is best for making straight, clean cuts on
Needles made specifically for binding books have slightly
paper and cardstock. Heavier materials require a utility
blunted points, but darning needles found in fabric stores
knife, which has a stronger blade, and is best for chipboard,
work just as well. Look for needles with eyes that can ac-
heavier weight book board, and even some lightweight
commodate waxed linen thread, but are thin enough to
metal. Replace blades at the first sign of dulling.
go through small signature holes. Tapestry needles have
Scissors are handy for almost every project, and a small pair is perfect for detail work. Teflon-coated scissors are nonstick and good for cutting tape. Rotary cutters create clean, straight lines on fabric
blunted points and larger eyes th at can accommodate wider ribbons and hemp cord. Waxed linen thread in standard 4-cord size is used for most projects in this book; it’s extremely strong and comes
and leather and are used i n combination with a quilting
in a variety of colors. Other materials suitable for binding
ruler and cutting mat. A cutting mat is also essential when
include unwaxed linen thread, strong woven ribbon, and
trimming with a craft knife or utility blade, since it protects
hemp cord. Other threads can be used, but test for strength
the surface underneath and allows for clean cuts. Cutting
by pulling; if it breaks or stretches, don’t use it.
paper and cardstock into smaller pieces can be done with a
Coat unwaxed threads such as hemp cord with beeswax
paper trimmer, found at office supply, art, and craft stores.
so they’ll slide easily through signatures and covers and to
The paper may also be cut by hand, using a craft knife and
help get the kinks out. Pull thread through the wax two or
a metal ruler. To measure the size needed, make two marks
three times before sewing.
at the top and bottom of the paper and line up the metal ruler with the marks, and then cut. Use this hand-cutting
AWLS AND DRILLS
method to cut larger pieces of paper that won’t fit inside a
Use awls for punching holes in signatures and covers.
paper trimmer.
Heavy-duty awls, found in hardware stores, can punch
For projects requiring several pieces, label each piece as
larger holes in paper, board, and fabric. Hand drills quickly
it is cut by marking lightly with a pencil, or by writing on a
make uniform and neat holes. Use an “anywhere” punch
piece of repositionable tape and affixing it to the piece.
with a hammer to punch holes in cardstock or heavy book board.
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