I mentioned a while ago that I’d had to rethink the way I was going to attach the pages of this mixed media book, since they are all 8″ square and so don’t have any kind of gutter or margin along the bound edge. There are a few ways of fixing this, one of which is to simply leave all the pages loose, and keep them together in some sort of wallet-type-thing. I decided, however, that I did want the pages to turn, so I added a strip of denim layered with a strip of felt between each pair of pages:
You can see the pen marks that show where they’ll be sewn together. The easiest way of marking where the binding stitches will go is to use a strip of masking tape, with holes punched along its length for a pen to poke through. The tape can then be easily removed and repositioned for all the signatures. The layer of felt is to add bulk in the binding margin so that the spine isn’t so tight that the pages fan out.
Once I’d stitched through the marks with some strong linen thread, it was pretty much finished. I thought about making some wrapped cords to tie the whole outer case together, but then I found a strip of openweave that was already exactly the right width and length, so I went with the serendipity and used that.
The thing holding it all together is a brooch pin blank, wrapped in thread, with beads suspended through the three holes in the brooch pin.
And there it is, finished. I started this project in April, so it’s been around four months in the making. Most of that time was spent thinking, and this is probably true of most art forms: most works of art (and I mean art in all its forms, like writing, music, drama, visual art, sculpture, textiles, etc) are probably something like 80% thinking and 20% doing.
Now I’m going to be thinking about the second (and third) mixed media books in this series, which will be based on the textile fragments found in the Oseberg ship burial. Endings and beginnings; so often part of the same thing.