Bertie Franke

This session delved into the anatomy of a book, laying the groundwork for our next project: personal notebooks. We meticulously cut, folded, and punched the signatures, and crafted elegant eco-leather covers lined with soft velvet, which were then set aside to let the glue dry. The anticipation for next week’s binding process, where we’ll unite cover and signatures, was palpable.    To round out our creative endeavors, we each contributed individual illustrations to our collaborative fairytale book, adding vibrant layers to our shared narrative.

We explored the traditional art of bookbinding by crafting soft cover notebooks with two signatures. Beginning with sixteen folded A4 sheets, we assembled two eight-sheet signatures. After creating binding holes with an awl, we moved on to the covers. Selecting from Bertie’s curated collection of beautiful papers, we precisely cut and scored each cover to fit our signatures. Finally, we bound the notebooks using a visible cross-stitch, yielding stunning results. In the latter part of the session, we contributed individual illustrations to our collaborative fairytale book, further enriching our shared creative project.

The bookbinding adventure of the second group also began with a deep dive into paper formats. We meticulously folded and measured an A3 sheet, observing how it diminished in size with each fold, all the way down to the minuscule A9. After diligently recording the dimensions of each format, we embarked on our first project: a miniature A9 notebook. Bertie showed us how a professional cutting machine can cut a pile of A4 paper into A8 sheets. We gave all the measurements during the cutting of the paper according to our previously made example. With patience, we then folded 24 A8 sized papers in half to create three “signatures” for our notebook. We were then free to select a cover paper and adorn it with a little charm. The only thing left to do was unite both the cover and the signatures to create a tiny treasure.   In the second half of the lesson we worked on the fairytale book that the first group had already started. Each of us added a nice illustration on one of the pages, becoming part of a shared creative endeavor.

We continued work on our fairytale book project in the last session of our bookbinding course. We focused on illustrating the ceramics-themed story and creating the cover. Red fabric was used to cover the greyboard, forming a rich backdrop for the cover design. Fabian created a striking image, which was then cut from gold foil and heat-pressed onto the cover. The result is truly captivating. We ended the lesson by signing the book as real authors and illustrators. The second group taking the bookbinding course in March will complete the illustrations and bind the book.

This week, we visited the Palazzo Farnese in Gradoli to explore the municipality archives and learn about medieval bookbinding. We examined a 16th-century book severely damaged by mold. Its crumbling pages and hole-ridden cover emphasized its age. Our guide, Mario, explained the abundance of such books in Italy, many housed in local archives and containing administrative information of limited historical significance. Restoring this particular book would cost over €5,000 and take a year, resources unfortunately unavailable for such less-historically-important volumes. Within the archive, we examined numerous other books, most bound using a Coptic stitch. The covers were primarily made of leather or sheepskin parchment, reflecting the prevalence of sheep farming in the region. Following this fascinating glimpse into the past, we returned to our workshop to complete the sketchbooks we began last week. Our process involved covering greyboard with fabric and then adhering the book block to the cover.   And finally we started on drawing the illustrations of our fairytale book about ceramics.

Today, we delved into the ancient art of bookbinding by learning the Coptic stitch, one of the earliest and most enduring methods. We meticulously bound our carefully cut signatures using a single, long thread. This process demanded our full attention, but the satisfaction of creating a complete book with our own hands was immense. Following the tradition of illuminated manuscripts, we designed and crafted our own unique initials for the first page of our journals. Just as in historic books, these initials serve as a captivating introduction to each chapter. We carefully considered the design of our initials, ensuring they complemented the chosen cover cloth.   Next week, we will finish our journals by creating their covers, adding the final touch to these handcrafted treasures.

In our second lesson, we delved into the fascinating world of bookmaking, exploring the intricate components that come together to create a tangible story. We dissected the anatomy of a book, from the robust spine and the elegant cover to the delicate endpapers and the often-overlooked headbands. A highlight was examining authentic 18th-century paper, bearing the watermark of the illustrious Farnese family – a local historical touch that brought the past to life. We also learned about the meticulous art of traditional bookbinding, specifically the French stitch, where each signature is securely anchored with a kettle stitch.   Inspired by this journey through bookmaking history, we embarked on a project to create our own unique journals. We selected high-quality materials – faux leather for a touch of luxury and substantial 120gsm paper to provide a smooth writing surface. The process began by lining the inside of the leather with a soft, tactile paper. While this dried, we meticulously folded the seven signatures destined for our journals. After carefully punching holes in both the signatures and the cover, we began the intricate process of sewing them together using a beautiful cross-stitch pattern. This hands-on experience allowed us to truly appreciate the craftsmanship involved in creating a lasting record.”

Our bookbinding adventure began with a deep dive into paper formats. We meticulously folded and measured an A3 sheet, observing how it diminished in size with each fold, all the way down to the minuscule A9. After diligently recording the dimensions of each format, we embarked on our first project: a miniature A9 notebook. Bertie expertly guided us in cutting A4 paper into A8 sheets using our carefully measured A3 guide. With patience, we transformed 1.5 sheets of A4 into 24 tiny A8 papers, which we then folded in half to create three “signatures” for our notebook. We were then free to select a cover paper and adorn it with a little charm. At the end of the lesson, we proudly carried home our handcrafted treasures.   To culminate our learning, we discussed how to bring our fairytale stories (written during ceramics class) to life in a tangible form. We collectively decided to create a single, grand book, brimming with illustrations, a collaborative testament to our creativity.