Thanks for another great video. The most exciting part about experiencing a new technical narrative is understanding the logic of the individual steps. In this case, the initial skipping of the link stitches at the leather plates and how that decision interacts with doubling up the long stitch was a lot of fun.
This particular video has cleared up a heck of a lot for me. I'd been interested in the concept of limp vellum style bindings since watching/reading some of the links you provided in one of your videos about conservation/enclosures but was struggling to get my head around things. I've got a small project I want to do as a present for a friends daughter and I think this will be an excellent binding to try out on it. Need to source a suitable material for the cover and order one of those screw punches. Even without the embellishments coming in the next video it is a lovely looking book but the quick preview of the stitching of the closure has got me really looking forward to that one as well.
I'm not a fan of the description limp vellum binding. It covers so many different styles. Usually the context gives it away. This project is often described as a limp vellum binding too. But the famous one is the specific conservation binding developed by Clarkson, which is a bit too complex for most people, mainly the endpaper design. Since Clarkson some slightly simpler versions have become popular with conservators.
@@DASBookbinding I agree - from the limited number of descriptions I've been able to find it seems that a lot of people found it too complex so came up with their own variations. Yours is the only one I've been able to follow/understand. I put that down mainly to your excellent description alongside the video which shows exactly what you're doing.
This is a type of limp vellum binding. But over many hundreds of years there are many variations going well past the medieval times. I'm guessing you mean the famous Clarkson conservation binding he developed after the flood of the Arno. There are also many variations of this, and while I'm a huge fan of Clarkson, his standard version is a bit overly complex, especially the endpaper design. It is on the list, but maybe next year.
@@DASBookbinding Yes, that's the one! However, as I understand it, he didn't develop that binding technique. He revived it after noticing that the books that fared the best in the flood were those with the limp vellum bindings. This binding goes back to the 14th century. Anyway, I'll tune in to all of your bindings! 😄👍
Very comprehensive, the longstitch is my go to binding for softcover journals. May I ask how you would prevent the paper material near the slits from tearing or chaffing due to sewing or prolonged use? I typically use a 300 gsm cotton watercolour/khadi paper for the cover, but even if I use a fabric cover I still can't to get the slits perfectly neat and free from tears or ugly chaffing (not sure I'm explaining myself well). Does it have to do with just practicing neat and careful sewing, or should I be lining the cover or spine with some protectant (like the leather one you used in part 1)? Or does it have to do with the amount of wax on the thread, or the type of paper/board used for the cover? I would really appreciate your help because this is vexing me.
I’m learning so much from your videos. I wonder if I might comment on a few details that I have noticed over time and get your response. I noticed that, when you are glueing a sheet, you mostly dab at the paper rather than wipe it with your brush. I’ve started imitating this and I find that it helps to keep from pushing the paper over the glue on the scrap sheet underneath. There is nonetheless still the difficulty of holding the paper and inevitably having to put your fingers on a glued area. I try to watch what you do with that hand after you lift it from the glue to keep it from spreading glue around. Advice? Also with respect to glueing, I noticed how carefully you work with the the scrap sheet you use under the sheet you are glueing. At first I thought you were folding the sheet afterwards so that you could use it again, and so did so myself. But the more carefully I looked, I saw that this was mostly just extra care you take, as you lay it aside, not to start spreading the glue around on the table. Am I right about this? I can also see generally how much cleaner you keep your workspace. In my own usual too impatient rush, I tend to get glue everywhere and of course the glue then gets on the work and spoils it. Do it right the second time, I always say! I noticed that you keep your well manicured fingernails slightly longer, as a guitar player might. I’m wondering if you find this handy (handy!) as a way of making very precise creases without the bone folder. I’ve begun doing this myself. Allbest to you .,,
Paper I brush, usually radially from the centre of the sheet. Board and cloth I usual stipple. Jeff Peachey has a very good blog post on how trade binders were taught to paste out paper. Worth a look. Yes, I fold the paper over so there is no glued surface hanging around the bench. I do try and reuse pieces if the folded piece is large enough. I also sometimes move across a single sheet of waste if I am doing something repetitive and I can keep track of the used section. Bookbinders around the world have used this approach forever. Not something I invented. I have strong nails and don't bite them. I have become very aware of getting my hands dirty before doing video work. If I'm doing metal work I will schedule it for the evening. I do grow out my left thumb nail so I can use it to steady hot finishing tools. And I treat my aprons as disposables. I constantly wipe glue off my hands on my apron and maybe every year I get a new apron and I keep a couple of cleaner aprons for teaching courses. What funny questions:) DAS
i haven't watched all 3 parts yet but what i can tell is that those 14th century monks (because the people who made these were probably monks) had a _lot_ of time on their hands.
Vellum , or parchment substitute. Not the real thing. This is some old tympan paper I was given. I would recommend a buff/manilla 10pt or 300gsm card stock.
Perfect binding is a commercial machine binding system. But the is a way to use a semi-circle piece of tube to shape the spine of a pile of single sheets into a round before doing a double-fan on Lumbeck on them. I think iBookbind sells them and even has a video demonstrating this. The other way is to use brute force. This is the usual way for oversewn books too. Just best not to I think.
Hello Darryn! Apologies in advance,i have a question that has nothing to do with this project of yours. I realised the printing paper im buying and use to sow my journals the past 6 months has probably its grain 'wrong'. Im buying regular yellowed A4 sheets(80gr) whom i then proceed to fold in half(parallel to the width) to make signatures. Their grain though runs the length of the A4,and i only realised it today,after some 10 journals..! Where could i buy A4 with their grain parallel to the width and not the length,so the folding be smooth?
In Australia I sell it (price list on my webpage store). Elsewhere, sorry I'm not sure. Hollanders sells short grain US letter size, but since you are using A4 I assume you are not in North America. DAS
@@DASBookbinding aah right,short grain! Yeah unfortunately im in Greece.. I suppose you dont do international orders? Or,maybe,if i manage to bulk buy..?! Anyhow,i thank you for the time spent answering me!
Yes, same size, the smallest I have 1mm. I did swap to the 1.2mm to add the thread used for the closure in the third video which should come out next week.
I m watching hours of your videos without getting bored. Thank you.
The love heart to hold the section open makes me happy.
I’m watching some back videos as I find them so interesting. It s good of you to share your expertise.
Beautiful look with this binding and stitching
Thanks for another great video. The most exciting part about experiencing a new technical narrative is understanding the logic of the individual steps. In this case, the initial skipping of the link stitches at the leather plates and how that decision interacts with doubling up the long stitch was a lot of fun.
Wonderful stuff as always - I'll be trying to get my head round the stitching tonight!
Excellent! So detailed. Thank you!
Excellent vid!
Such a lovely book, thank you as always.
I love the look of this stitching - it's now definitely on my "to do"... well, "to try"... list! Thank you!
This particular video has cleared up a heck of a lot for me. I'd been interested in the concept of limp vellum style bindings since watching/reading some of the links you provided in one of your videos about conservation/enclosures but was struggling to get my head around things. I've got a small project I want to do as a present for a friends daughter and I think this will be an excellent binding to try out on it. Need to source a suitable material for the cover and order one of those screw punches.
Even without the embellishments coming in the next video it is a lovely looking book but the quick preview of the stitching of the closure has got me really looking forward to that one as well.
I'm not a fan of the description limp vellum binding. It covers so many different styles. Usually the context gives it away. This project is often described as a limp vellum binding too. But the famous one is the specific conservation binding developed by Clarkson, which is a bit too complex for most people, mainly the endpaper design. Since Clarkson some slightly simpler versions have become popular with conservators.
@@DASBookbinding I agree - from the limited number of descriptions I've been able to find it seems that a lot of people found it too complex so came up with their own variations. Yours is the only one I've been able to follow/understand. I put that down mainly to your excellent description alongside the video which shows exactly what you're doing.
I loved this and can't wait to see the final part!
Marvelous! Will have to try it out before the spring semester begins 🤩
Maravilhoso seu trabalho, adoro, obrigada por compartilhar tanta sabedoria.
Excellent!
Do you think you might do a limp vellum binding some day?
This is a type of limp vellum binding. But over many hundreds of years there are many variations going well past the medieval times. I'm guessing you mean the famous Clarkson conservation binding he developed after the flood of the Arno. There are also many variations of this, and while I'm a huge fan of Clarkson, his standard version is a bit overly complex, especially the endpaper design. It is on the list, but maybe next year.
@@DASBookbinding Yes, that's the one! However, as I understand it, he didn't develop that binding technique. He revived it after noticing that the books that fared the best in the flood were those with the limp vellum bindings. This binding goes back to the 14th century. Anyway, I'll tune in to all of your bindings! 😄👍
Very comprehensive, the longstitch is my go to binding for softcover journals. May I ask how you would prevent the paper material near the slits from tearing or chaffing due to sewing or prolonged use? I typically use a 300 gsm cotton watercolour/khadi paper for the cover, but even if I use a fabric cover I still can't to get the slits perfectly neat and free from tears or ugly chaffing (not sure I'm explaining myself well). Does it have to do with just practicing neat and careful sewing, or should I be lining the cover or spine with some protectant (like the leather one you used in part 1)? Or does it have to do with the amount of wax on the thread, or the type of paper/board used for the cover?
I would really appreciate your help because this is vexing me.
I’m learning so much from your videos. I wonder if I might comment on a few details that I have noticed over time and get your response.
I noticed that, when you are glueing a sheet, you mostly dab at the paper rather than wipe it with your brush. I’ve started imitating this and I find that it helps to keep from pushing the paper over the glue on the scrap sheet underneath.
There is nonetheless still the difficulty of holding the paper and inevitably having to put your fingers on a glued area. I try to watch what you do with that hand after you lift it from the glue to keep it from spreading glue around. Advice?
Also with respect to glueing, I noticed how carefully you work with the the scrap sheet you use under the sheet you are glueing. At first I thought you were folding the sheet afterwards so that you could use it again, and so did so myself. But the more carefully I looked, I saw that this was mostly just extra care you take, as you lay it aside, not to start spreading the glue around on the table. Am I right about this?
I can also see generally how much cleaner you keep your workspace. In my own usual too impatient rush, I tend to get glue everywhere and of course the glue then gets on the work and spoils it. Do it right the second time, I always say!
I noticed that you keep your well manicured fingernails slightly longer, as a guitar player might. I’m wondering if you find this handy (handy!) as a way of making very precise creases without the bone folder. I’ve begun doing this myself.
Allbest to you .,,
Paper I brush, usually radially from the centre of the sheet. Board and cloth I usual stipple. Jeff Peachey has a very good blog post on how trade binders were taught to paste out paper. Worth a look. Yes, I fold the paper over so there is no glued surface hanging around the bench. I do try and reuse pieces if the folded piece is large enough. I also sometimes move across a single sheet of waste if I am doing something repetitive and I can keep track of the used section. Bookbinders around the world have used this approach forever. Not something I invented. I have strong nails and don't bite them. I have become very aware of getting my hands dirty before doing video work. If I'm doing metal work I will schedule it for the evening. I do grow out my left thumb nail so I can use it to steady hot finishing tools. And I treat my aprons as disposables. I constantly wipe glue off my hands on my apron and maybe every year I get a new apron and I keep a couple of cleaner aprons for teaching courses. What funny questions:) DAS
i haven't watched all 3 parts yet but what i can tell is that those 14th century monks (because the people who made these were probably monks) had a _lot_ of time on their hands.
Before the internet and kids I had a lot more time on my hands.
Very interesting work. Can you tell me what is the cover material.? Is it vellum or something that looks like vellum. Tks. Linda
Vellum , or parchment substitute. Not the real thing. This is some old tympan paper I was given. I would recommend a buff/manilla 10pt or 300gsm card stock.
This question is off topic to the content of the video but i wanted to know how do you round the spine of a perfect bound book and an oversewn book?
Perfect binding is a commercial machine binding system. But the is a way to use a semi-circle piece of tube to shape the spine of a pile of single sheets into a round before doing a double-fan on Lumbeck on them. I think iBookbind sells them and even has a video demonstrating this. The other way is to use brute force. This is the usual way for oversewn books too. Just best not to I think.
Hello Darryn!
Apologies in advance,i have a question that has nothing to do with this project of yours.
I realised the printing paper im buying and use to sow my journals the past 6 months has probably its grain 'wrong'.
Im buying regular yellowed A4 sheets(80gr) whom i then proceed to fold in half(parallel to the width) to make signatures. Their grain though runs the length of the A4,and i only realised it today,after some 10 journals..!
Where could i buy A4 with their grain parallel to the width and not the length,so the folding be smooth?
In Australia I sell it (price list on my webpage store). Elsewhere, sorry I'm not sure. Hollanders sells short grain US letter size, but since you are using A4 I assume you are not in North America. DAS
@@DASBookbinding aah right,short grain!
Yeah unfortunately im in Greece.. I suppose you dont do international orders? Or,maybe,if i manage to bulk buy..?!
Anyhow,i thank you for the time spent answering me!
What size bit is in your screw punch?
He used 1mm on the covering, so assuming it is the same?
Yes, same size, the smallest I have 1mm. I did swap to the 1.2mm to add the thread used for the closure in the third video which should come out next week.
@@DASBookbinding thank you