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Our achievments | PBI – Event Architecture
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Over the past few years, I have been in the habit of posting here on my blog about the various classes offered at Paper and Book Intensive. Each participant at PBI takes three classes (out of 10). So I can report first-hand on the three classes that I took. I have asked a few other participants to be guest bloggers for me, so that they can share details about some of the classes that I didn't take. Since we are already into July, I really should get started with these reports. So, dear readers, you have all of this to look forward to over the summer! One of the classes that I took was "Three Case Styles for Three Bookbindings" taught by Priscilla Spitler. Three Bookbindings is a text, written by Gary Frost. It was originally written twenty years ago and at that time it was handbound in an edition at PBI, also in a class taught by Priscilla. So, twenty years later, the text was revised and a new edition was produced. In four days, we learned Priscilla's tips, tricks, and techniques for edition binding. We all made three books for ourselves, using three different case binding techniques: full cloth, quarter cloth, and half cloth with a rounded and backed spine. We also worked together to produce the edition of Gary's book, and honestly I have no idea how many books were made in total. Besides the books kepy by the students, I think there were 25 copies in each of the three binding styles - which would be 75. Added to that would be the personal copies made by each student (3 each and about 25 students), so that's another 75. So maybe there were 150 books produced in the end. I do know that we didn't finish them during class time and Priscilla finished them in her room in the evenings! Thank you Priscilla for all that work and for sharing so much knowledge with us. Everyone in the class made their own three copies, but as time permitted we worked on the edition. Here's a small stack of sewn textblocks that I was working on. Sewn with the French link (and we did discuss how that isn't a very good name for this sewing as it doesn't seem to have any French connection really) and with endpapers attached. Here's another stack that I was working on. Endbands attached and spines lined. We made our own false endbands, using coordinating bookcloth. A nice finishing touch on the textblocks before casing in. As Priscilla would say, you charge extra for that. The official edition copies were all made with the same papers and cloths. These beautiful paste papers were made by Priscilla herself. Some of the students' personal copies were made with different papers, so you can see here a variety of decorative papers on some of the finished books. So, here are the three books that I made for myself during this class. Starting on the left, my copy of the text in a quarter cloth binding, then the half cloth with a rounded spine, and the full cloth binding in dark blue.
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Alison Kurke is today's guest blogger. She is a maker of gorgeous books and fabulous collages; she lives in Italy and is always on the lookout for good red wine. She has very kindly shared her thoughts here about Tim Ely's PBI class (Tim's website www.timothyely.com). Alison also has a blog, which you can visit at kurberry.typepad.com/eccleccticca and you can view some of Alison's work on Flickr. Check out her book making projects and her collages. Thank you, Alison. I signed up for Tim Ely's class at PBI 2013 (Ideas and Actions in Context and Construction) for all the wrong reasons, believing it to be the course I'd missed last summer, taught by someone else entirely. Enormous brain fart, but also a stroke of luck, since it seems to have been the hot-ticket class that everyone wanted to take. The title and description were enigmatic. So enigmatic that I had no idea what would be covered. I knew only that I was stuck in a rut churning out blank, and "almost-blank" books to delight other people, and spending most of my time fabricating collages or assemblages for their covers. Those were the elements that interested me most, rather than the sea of blank pages. A selection of books made in this class The materials list was vague, but curiously extensive, especially for someone not in the habit of drawing ("Bring your existing sketchbook"…"What do you seek to understand more deeply?" Where to begin?). After hearing Tim deliver a lecture the first evening about his work I was actively worried. This was a man, a rather unusual man, it appeared, who invented languages, sciences, and entire solar systems in beautifully made books. Self-contained, obsessed, clearly highly intelligent, productive, ingenious. His natural curiosity and endless capacity to invent and record was manifest in his books. He reassured me that I'd be fine despite my anxieties about being found wanting and incapable. And I was fine, despite enduring the ridicule of fellow PBIers for lugging my too voluminous (and mostly unnecessary) supplies to and from class in a conspicuous, wheelie carry-on bag. I am so satisfied with what I learned from Tim. Not only a new book form or two, but books that open flat - a revelation for someone like me who is allergic to coptic bindings. Who knew how adaptable drumming on could be? Who even knew what it was before Tim's class? Perhaps everyone present but me. Tim Ely inspecting hollow-back spine construction Who knew that perfect mitered corners were possible, reproducible and sort of easy to attain? Who knew that fabric, mine an 1830s cotton print acquired 100 years ago in the UK, could be turned into amazing and versatile book cloth though the application of a wheat paste made from Swan's Down Cake Flour? That this very paste could be mixed with some medium and some acrylic to make actual paste paper? Now I know. A new world has opened up before me. Perfectly mitered corners, in progress He unselfishly shared with us his wisdom acquired over decades - tools, tips, tweaks. Although Tim's intention had been to teach us and help us model three variations of this hollow-backed/drum-leaf binding, we managed only two, but almost all of us with variations and quirks of our own. Tim's well-advised system of starting a sketchbook involved adding some decoration or drawing to the folios before binding them delayed us, but everyone in the class enjoyed the time dedicated to making some marks and the results were varied and interesting. Alison's first hollow-back book made in this class His books are "sketchbookthinkingvehicles" - diaries, idea books, repositories of concepts both fully-formed and stimulative. His books are precisely measured, expertly trimmed, lovingly planned. Mine, are perhaps none of those things, but I love them all. They can be commemorations, springboards, friends, to be added to and referred to forever. They are the histories of ourselves that we leave as monuments to our creativity. Taking the class has challenged me to try to put my best self there. I am hoping to rise to that challenge. - Alison Kurke
I've already written here about two of the three classes that I took at PBI this year. The third class was the most removed from my comfort zone. Although I work with leather a lot, I don't use leather for fine binding so everything related to that is still mostly unexplored territory. This class was an introduction to gold tooling, taught by Samuel Feinstein. Over the course of four days, we practiced making lines on leather plaquettes. That's all, just lines. A few dots at the end if you had time! But it quickly became quite clear that all elements of gold tooling require extensive practice so I focused on the lines. Tooling samples from the class. We were working with real gold, I believe it was 22k. It comes in micro-thin sheets in little booklets and it is ridiculously delicate and difficult. In fact, the tooling was the easy part of the class. Manipulating the gold leaf was much harder for me! Removing the gold from the booklet, lying it flat and slicing it, etc was painful - and expensive if sheets of gold are constantly being ruined. Every breath, every air current would lift the gold leaf off the cushion or flap a corner of it around and leave it torn or a mess of wrinkles. Thanks to Sam for constantly fixing my gold throughout the classes! There are several methods of tooling lines and Sam taught us one way of doing it. We began by blind tooling with a cold line pallet tool. Then we re-tooled the same line with a heated tool. Third, we added moisture and blind tooled again with a cold tool. We added moisture again and blind tooled with a heated tool. Those four steps just create the blind impression. The impression is then coated with glaire. When the glaire is dry, then finally the gold is added. The gold is picked up with the heated line pallet and then applied to the line, adding enough layers to cover the impression so there are no breaks in the line. Working the gold into the impression with the line pallet. The following picture shows my practice work from the first couple days of this class. If you view this image full-size, you can see that the lines are covered unevenly and there are little breaks in the gold lines. The next image shows my second plaquette - which was supposed to be our finished project, more refined and polished. I did get better results, but don't look too closely. I am still surprised at the amount of work that was required to produce these seemingly "simple" designs. Someday, I really would like to do some gold tooling in my own studio. But it will have to wait until I can get all the tools. Then I can practice, practice, practice...
Hi, I'm Dr. Gene Kim (UC Berkeley & PBI). I am the pastor of Bible Baptist Church in both the Silicon Valley and San Francisco Bay Area. My channel publishes...
