Th 13-Jan-05 Introduction to class. What is a book? From the Smithsonian Institution Libraries: "Artist's books" don't look like most volumes found in a library. They are art objects in the form of books. As with painting or sculpture, much of the "story" in these books is visual. An idea may be illustrated in the book's shape or binding, in the materials used, or in the artist's choice of images. Words may be used to reinforce a message, but they are not always essential to the book's meaning. • Discussion of the psychology of the book. • What does sequential mean? • What does serial mean? The Artist Book combines structure, image and in many cases text. The reader may take a book into his or her hand and turn a sequence of pages, adding an element of time to the experience. The book may be displayed as a piece of sculpture, emphasizing structure. The goal of the book artist is to integrate all these elements into a unified whole, to explore the intersection of two and three-dimensional space, and to engage the viewer/reader so as to experience the artist's vision. Go to web site and view the exhibitor’s http://www.philobiblon.com/ Additionally you need to examine look at the artists and works from these sites before next class 1. http://colophon.com/gallery/minsky/contem.htm 2. http://dmoz.org/Arts/Crafts/Book_Arts/

Tu 18-Jan-05 Computer Exposure (An Overview) 1. Photoshop http://napolitano.georgetown.edu/CUSTEN/ART160-f03/index.html http://www.sketchpad.net/photoshp.htm

2. Illustrator http://www.sketchpad.net/illustrator.htm file:///Applications/Graphic/Adobe%20Illustrator%20CS/Illustrator %20CS.app/Help/help.html 3. MS Word 4. In-Design What were your thoughts of the various book sites? Demo: Simple Binding- Binding a standard glue binding and cover. Continue to research the sites and write down any thoughts or questions that come to mind about image, sequence, serial text, and the book.

Have your Newly constructed Journals with you at all times and have notes and ideas jotted down they will be checked without notice, they should contain running ideas.

Th 20-Jan-05 Holiday Inauguration Day Tu 25-Jan-05 Continued Computer Exposure (An Overview) Next Class Demos • Xerox Transfers See Transfer Methods #1 • Diazo Wipe On See Transfer Methods #2 • Cyanotype See TransferMethods #3 • Polymer Collage Refer to your notes on all the above

Th 27-Jan-05 Structures of the book: Packaging, Cover, Pages, and content. The actual presentation of the book object what are the effects and how important are each. DEMOS: Methods of getting images transferred. 1. Xerox Transfers See Transfer Methods #1 2. Diazo Wipe On See Transfer Methods #2 3. Cyanotype See TransferMethods #3 4. Polymer Collage

Refer to your notes on all the above

Make several simple transfers due Thur. Feb 3 .

NOTE: These images should be done with a thought toward some narritive or sequence that will eventually be an idea for a book piece. Images Transfers due Feb 3rd. Finished Book due Tu Feb 8

Look at Bea Nettles work: • Refer to “Bea Nettles” in your resource index • And on the web at http://www.beanettles.com/

Tu 1-Feb-05 Class work on Images due Thursday Feb 3rd

Th 3-Feb-05 Class critique • Discussion on various methods and approaches. • Idea brainstorming • Presentation discussion

Tu 8-Feb-05 Class critique of First Book Using Images From previous Printings The Japanese Stab Binding and the Coptic Binding. Use of the cover materials, thread, and pages develop a cover that works well with the binding and uses effectively all materials you have selected. Think them through. DEMO: • Japanese Stab Binding and the Coptic Binding

Th 10-Feb-05 Accordion Books the most versatile of book formats. How the accordion works various ways of laying one out. Different ways of binding them. Examples of accordions DEMO: Accordion or Concertina Book

Tu 15-Feb-05 Visit to rare books 2nd Book Due Tu Feb. 22 Your choice of Bindings, Layout and Image Methods 1. Binding • Japanese Stab • Coptic • Accordion

2. Methods for images • Xerox Transfers • Polymer Collage • Diazo Wipe On • Cyanotype

Th 17-Feb-05 Working Classs

Tu 22-Feb-05 Critique & Discussion of 2nd book Choice of Binding Style & Methods

Th 24-Feb-05 Discussion of the tunnel book. Look at Tunnel Books In Reference Index Discussion of the found or appropriated word and image 3rd Books: Tunnel Book Due Tu March 15th at return of Break

Tu 1-Mar-05 Working Class

Th 3-Mar-05 Working Class

Tu 8-Mar-05 SPRING BREAK Th 10-Mar-05 SPRING BREAK Tu 15-Mar-05 Critique & Discussion of 3rd Book:Tunnel Booksbooks

Bring in Old Books (ones that you are not worried about destroying) Read The text PDF on Book Transformations in your reference index. Discussion of the found or appropriated word and image. Dealing with destruction and or reconstruction of the word and message. 4th Book : Deconstruct/Reconstruct due Tuesday March 22.

Th 17-Mar-05 Working Class

Tu 22-Mar-05 Critique & Discussion of 4th Book : Deconstruct/Reconstruct due

Th 24-Mar-05 EASTER BREAK

Tu 29-Mar-05 Open Discussion of Final Projects Th 31-Mar-05 Southern Graphics Conference

Tu 5-Apr-05 Final Projects Discussed Individually Th 7-Apr-05 Working Class

Tu 12-Apr-05 Working Class Th 14-Apr-05 Working Class

Tu 19-Apr-05 Working Class Th 21-Apr-05 Working Class

Tu 26-Apr-05 Fianl Books Due Th 28-Apr-05 All Work Due for completions any redos must be in by this date. QUICK SIMPLE BINDING

A quick, down-and-dirty technique for binding a book. The object of the exercise is to have a manual that will last a long time, and that will also lie flat when opened up. This technique has been used to bind many hundreds of books. All suggested actions are done at your own risk.

Tools Required

1. Knife, to trim the tape used to bind the book. 2. Straight Edge, to measure cut the heavy boards straight and the material 3. Binder Clips, (1" size), to hold the pages together while gluing. For larger books, or to bind multiple books in one go, use two, or three, cheap screw clamps. 4. Cardboard: Two pieces of thick card, to also help hold things together while gluing. For larger books, or when binding multiple books, use thin plywood.

Consumables

Ignoring the capital costs mentioned above, the cost of making a bound book (of say 100 pages) should work out to about $4.00 per item, almost all of which is spent on the paper and glue.

1. Paper for the pages 2. Chip Board or Other Heavy Stock, for the front and back covers. 3. Cloth or Some Other Cover Material, to use as a cover for the outside. 4. Glue, to bind the book. Many varieties of glue from the very cheap (and toxic) Rubber cement to slightly more expensive white glues (water base, much less toxic) to the expensive PVA (Poly Vinyl Acetate) types (much more flexible) 5. Cloth Tape, (2" wide) to bind the spine. Duct tape from a Home Depot or hardware store is fine. 6. Time: With practice, this process takes less than five minutes work per book.

Before you Start

If using rubber cement type glues make sure you have a well- ventilated space before gluing. Have a clean flat area to work and space to do all your gluing without having to be interrupted.

Instructions

1. Jog the pages, so that they are all lined up along the inside spine. Make sure that every page is perfectly aligned, otherwise some pages won't bind. Put a piece of thick cardboard on either side of the set of pages to be bound. These will hold the pages tight during the gluing process. 2. Place binder clips on the top and bottom edges of the book (near the spine), to hold everything in place while you glue. One can also put a couple on the outside edge to stop the pages from splaying out in the next step. If the pages tend to spread out in the middle of the spine, put one in the centre of the spine, then work around it when gluing. Make sure there are no gaps between leafs, where the glue might soak in. 3. Place the spine upwards or out over a flat edge. The objective here is to have a flat surface to apply the glue on. Lean the book against some thing if it does not stand up freely. 4. Put on globs of glue. Let it soak into the paper for a bit, then put on some more. 5. Let the glue dry for at least half an hour. A couple of hours should be plenty. 6. Remove the binder clips that are holding the book together. Be careful because the glue does not have much structural strength. 7. Separate the cardboard that was put on either side of the book pages. To do this, carefully open the cardboard pages up (as if reading their inside covers), then run the knife down the glue between each board and the rest of the book. 8. Lay the book flat with the front side facing up. Be careful here because the rubber cement is not very strong. 9. Cut the tape to a length that is a little longer that the height of the book. 10. Put the tape on the book, lining it up so that about one quarter of an inch (of the tape width) is on the front side of the book. Press the tape down firmly (on the front side only) so that it is properly attached to the cover. Make sure that a little bit of tape sticks out of both the bottom and top ends of the spine. 11. Turn the book over (gently) and, from the rear side, wrap the cloth tape around the spine of the book. Pull the tape tight so that it puts the spine under compression. 12. Trim excess tape at either end of the spine using a knife or pair of scissors. 13. Tap down the tape so that it is firmly attached to the book. 14. Let the book dry for a day. Then do the old "hold by a single leaf" test. Pick any page, and gently pull the page up into the air. The book should follow without separating from the page.

More Information

The binding technique that I have described above is fast and easy, but rather crude. It would not be suitable if one was printing books for sale. There are, however, other binding methods that take a little more skill and better gear that can be used to make "store- quality" books.

A good reference on the general subject of home publishing is Book-on-Demand Publishing (ISBN 1-881676-02-1) by Rupert Evans. The publisher is BlackLightning Publications Inc. They are on the web. Bind It Fast

Make or repair books with this easy technique.

Adapted from an article in Boys' Life (October 1991) by Brook West.

Does your "Boy Scout Handbook" look as though it has been read by a grizzly bear? Are pages falling out of your favorite novel? Has the cover come off of your copy of "The Hobbit?"

You don't have to buy new copies. It's easy to repair paperback books using Japanese bookbinding techniques. Just punch four holes through the book near the spine and lash it together with needle and thread. You can make sketch books, scrapbooks or blank books this way, too. To make smaller books, fold several sheets of paper paper carefully into halves or quarters, clamp the stack together and punch and bind it, then slit the pages apart with a sharp knife afterwards, being careful not to cut the binding threads.

To rebind a paperback you will need an awl or thin wire brads, heavy thread (eight times as long as the book 's height), a needle, pencil, and ruler. Use carpet thread, strong nylon thread, or waxed dental floss. If you use wire brads instead of an awl you'll want a small hammer. Binder clips are useful, too. For a scrapbook or blank book cut covers from card stock or a file folder.

Here's what you do:

1. Usinga ruler, draw a line from top to bottom of the front cover, about 1/4"from the spine. Make two marks on this line, one 1/4' down from the top of the book, the other 1/4" up from the bottom. Now divide the distance between these marks into thirds and mark the two middle points.

2. Even up the pages and clamp the book together with binder clips, or weight down the front edge to keep the pages from moving. Protect your work surface with a piece of scrap wood or an old phone book as you punch a hole at each of the marked points using the awl or wire brads.

Making these holes should not damage the text in the book. Most paperback books have an inner margin of 1/2" to 3/4", leaving plenty of room for rebinding.

3. Thread the needle and tie the ends together with an overhand knot. Open the book a few pages and, next to the lower middle hole, push the needle through about twenty pages. Pull the thread through until the knot is snug against the pages. Go back out to the front cover by pushing the needle up through the awl hole. This step anchors the thread.

4. Now sew the rest of the book as shown in the accompanying illustrations. Pull the thread tight each time you go through a hole. Go around the back and back up through the starting hole, then down through the other middle hole. Pull the thread tight after going through each hole.

Around the back again, then up through the top hole.

Around the back, then...

...around the top of the spine and up through the top hole again. Keep going, down through one middle hole, back up through the next, and down through the bottom hole. Keep the thread tight.

Around the back again and...

...around the bottom of the spine and back through the bottom hole. Go up through the starting hole again. To finish, tie off the thread so the binding won't come loose. Do this by slipping the needle under two of the top threads coming out of starting hole and back through the loop to form a tight knot.

Run the needle back down through the starting hole and cut the leftover thread flush with the back of the book.

The Book: an introduction

Everyone knows what a book is, right? Ha! A surefire argument starter in any roomful of book people is to ask for a definition of "Book", but there is usually a general understanding of the term and its meaning. Dr Johnson is supposed to have said that, though he could not define an elephant, he knew one very well when he saw it.

Webster's New School and Office Dictionary says a book is: "a collection of sheets of paper or other material, blank, written or printed, and bound together", which is fairly succinct. Webster's New Twentieth Century Dictionary adds that the word probably comes from the Anglo Saxon boc, plural bec, meaning a writing or record book, and possibly from the Norse bok meaning a book and a beech tree. Other languages have similar words. Whatever, when we use the term book today we usually mean the codex form of book. Codex, from the Latin meaning trunk of a tree, or something made from wood -- such as pugillares (see below), came to denote book in the modern sense of the word, the form usually associated with the Christian church, which was, in large part, responsible for its development and growth.

Precursors to the codex certainly include the inscribed clay tablets of Mesopotamia, and even rolled scrolls (still prescribed for use in Jewish synagogues), a well-known example being the Dead Sea scrolls. Papyrus, a very early writing material, had to be rolled as it would delaminate if folded.

The early Greco-Roman diptych consisted of two tablets, or pugillares hinged together. Each half consisted of wood, metal, or ivory shallow boxes filled with wax. Writing was scratched on the wax surface with a stylus and could easily be erased and written over. Other forms included triptychs, and even this octoptych, reconstructed from one found at Herculaneum.

The Chinese, who apparently invented paper in the second century AD, also invented printing shortly after. The earliest known printed book is an Oriental block-printed book of 868 AD, known as the Diamond Sutra, printed in Japan which was then under the control and influence of the Chinese. This book is in the form of a scroll; the Japanese developed a form of binding called Orihon, in which a lengthy sheet is accordion folded and then bound along one edge. Other civilizations, in other times and locations have used many different materials, natural and man-made, bound together in some fashion or not, but always to preserve and transmit records, teachings, etc. Books which, "in all their variety offer the means whereby civilization may be carried triumphantly forward." (Winston Churchill)

The next section deals with the physical properties of the codex. The Codex

The Latin word codex has come to mean the form of book we, in the Western world at least, are familiar with as a book. Because of the superiority of vellum over papyrus as a foldable writing material and the advantages for reading of folded pages hinged together rather than being rolled, the Christian church, in roughly the 2nd through 4th centuries, adopted and promoted the use of the codex for spreading their religious teachings. Eventually it became the standard form for all books, following the spread of Christianity.

For the codex, the vellum was cut into sheets which, after being ruled by the scribe with a blunt tool, were written on and were then folded and arranged in proper sequence. These folded sheets were gathered together in units of four, each gathering or section constituting a quaternion, from which our word "quire" is derived. The gathered quires were at first just stitched through the folds singly by the bibliopegus, or binder, but soon groups of quires began to be stitched one to another by winding the sewing threads around a strong strip of leather or vellum placed at right angles to the folds at the back of the book. They were then usually encased between two wooden boards, which were afterwards covered with roughly-cured skins. The codex in appearance and construction is surprisingly like our present-day hand-bound book.

The vellum flat book had numerous advantages over the book-roll. It was more convenient to handle, and since the text was written on both sides of the sheet, a codex manuscript occupied far less space on the shelf than the rolled book. Hence a single codex could hold the contents of a work which must be distributed through many volumes in roll form. Being more compact, it was much easier to read and convenient to carry.

The shape of the codex was square and the title was usually written at the end of the text, even down to the end of the 15th century. To the title was sometimes appended such items as the date, the name of the scribe, and other details concerning the manuscript. This matter was all in a sort of final paragraph called the colophon.

The reason for binding books is primarily to preserve them intact: to prevent damage to, or separation of, the text pages. That wooden boards were used as covers on early manuscripts was doubtless due to the fact that the vellum on which they were written had a strong tendency to curl, and could not be made to lie flat without some pressure. Even the weight of the heavy wooden boards wasn't enough, and the added pressure produced by placing metal clasps over the edges of the books was resorted to in order to keep these texts from yawning. A piece of leather was often pasted over the spine of the book and drawn over onto the sides of the boards far enough to cover the joint where the boards were hinged to the spine, leaving the front part of the boards without a leather covering. Thus we have the mediaeval "half-binding". Later, the leather was made to cover the boards entirely, developing the "full-binding", which of course offered an excellent opportunity for decorative designs. Transfer Method #1: Xerox Transfers

I'm talking about Xerox transfers.

You need a color or black-and-white photocopy of an image, some lacquer thinner or transparent base, a brayer or a spoon, a rag, gloves, and receiver paper. A silkscreen extender or transparent base chemical is the best solvent to use. Serascreen 174 w.w. is the cheapest and is available at silkscreen supply stores. You could also try Acetone or lacquer thinner, available in hardware stores like home depot Note: Lacquer thinner is very flammable and not a health chemical to breath or get on your skin, use a mask and gloves.

Here are the steps (remember to do this outside or in a well- ventilated area):

1. Tape your Xerox image face down onto the receiving paper so it stays in place (watercolor paper works well).

2. If you're using transparent base, then apply one teaspoon of transparent base onto the back of your image, spread it evenly, and leave it alone for two minutes. If you're using lacquer thinner, thoroughly squirt the back of your photocopy with the thinner and immediately start rubbing. It has a tendency to evaporate quickly, so you may need to reapply it.

3. Rub the back of the Xerox with a brayer, the back of a spoon, or a rag. Different rubbing tools will result in different "brush strokes" visible in the finished transfer.

4. Lift the edge of your copy to check the transfer progress. The image may start to bleed through the Xerox when it's finished. Remove the tape and Xerox and wipe off any excess chemicals.

5. Allow the transfer to air dry by a window or outside. SUPER WIPE-ON COATING Diazo Wipe-On Plate Coating for Long Runs 4010S

DESCRIPTION PRODUCT NEED AND USAGE SUPER WIPE-ON COATING contains a higher SUPER WIPE-ON COATING may be used for solids content than our standard WIPE-ON web offset newspapers, lithographic publications, COATING (Product #4010) and is specifically book and yearbook printers and all users of formulated for longer press runs and/or coarse- wipe-on plates. It can be used for hand grained metal such as ball grain or heavily application or in automatic plate coating anodized plates. DIRECTIONS FEATURES Prepare SUPER WIPE-ON COATING for use by • Longer press runs: strong image for runs of up fitting the diazo powder container into the neck to 150,000 impressions. of the base solution bottle.When all the powder • Economical - separate base solution and diazo is in the base solution, hold the two containers powder are supplied.Assures a long shelf life. firmly together and shake well until the powder is completely dissolved. • Unique packaging - diazo powder comes in a For automatic plate coating equipment: Fill plastic vial that fits into the neck of the base the tray with the coating and proceed to coat. solution. Eliminates exposure to light and For hand coating: saturate a fine-grain, spillage. photographic-type, cellulose sponge applicator • Easy to mix - the base solution and diazo vial with water, then wring it as dry as possible. Pour can be fitted together and shaken for some ready-to-use coating onto the center of thorough mixing. the plate. With the sponge, only using light pressure and straight strokes, first wipe • Good shelf life - mixed: 7 to 10 days (if kept horizontally across the plate until the whole plate cool and away from direct U.V. light). area is covered, then, wipe vertically. Turn the Unmixed: 6 months to 1 year (depending sponge over and repeat--horizontally and then upon storage conditions). Refrigeration is vertically. The coating should be smooth and recommended for the diazo powder. even. Repeat again if there appears to be an • No unpleasant odor. excessive amount of coating. Finally, fan the plate until it is completely dry. CAUTION: All coating operations, either by hand or with automatic equipment, should be carried out under subdued or yellow safe light.

10/6/00

FUJI HUNT PHOTOGRAPHIC CHEMICALS, INC. Headquarters Manufacturing Facility 40 Boroline Road 50 Industrial Loop North Allendale, NJ 07401 Orange Park, FL 32073 Tel: 201.995.2200 Tel: 904.264.3500 Brand of Pressroom Products Fax: 201.995.2299 Fax: 904.278.9697 www.fujihuntusa.com www.anchorlith.com The New Cyanotype Process

Introduction The cyanotype process is 153 years old. Can there really be anything new to say about it? You probably know something of its history: invented by Sir John Herschel in 1842, (1) cyanotype was the first successful non-silver photographic printing process. It was used for the first photographically illustrated book, (2) and later became popular with some pictorialists, for whom a commercial paper, called ferro-prussiate, was marketed. (3) Being simple, cheap and farily permanent, it also enjoyed an extended period of commercial success as the blueprint process for copying drawing-office plans, until it was made obsolete by the invention of dry, plain paper photocopying. The word 'blueprint' still persists in our language, however, with an expanded meaning. What of the cyanotype process today? It's certainly useful as an inexpensive, easy introduction to hand-coated alternative printing; in my experience, workshop participants feel a good deal more comfortable at the outset, knowing that the sensitizer they are wasting so freely does not cost an arm and a leg. When they've got it under control, they can proceed to platinotype at 20p per drop! If the growing number of cyanotypes now to be seen on gallery walls and in published commercial work (4) is anything to go by, the process is also providing a significant number of contemporary photographic artists with an expressive medium in its own right, in spite of (or maybe because of) its rather strident colour. The ability to coat this inexpensive sensitizer onto surfaces other than paper, such as wood or textiles, gives it added versatility. Now, after 150 years of use, you might think that there couldn't possibly be any scope for improving the process; the textbooks (5) commonly recommend essentially the same recipe for pictorial purposes - one that has remained unchanged since the day that Herschel devised it by mixing strong solutions of ammonium iron(III) citrate and potassium ferricyanide. Only the favoured concentrations vary a bit from practitioner to practitioner. There are many up-to-date, accessible accounts of the traditional method, for instance by Hope Kingsley (6) and Terry King (7), so I won't repeat their work here. What I hope to show in this article is that the process can even now be improved and made more user-friendly, at the cost of rather more chemical manipulation in preparing the sensitizer. But first, let's examine some of the properties of the image substance itself.

The Nature of Prussian Blue Prussian Blue was first made accidentally in 1704, from ox blood or other animal bits, by near-alchemical procedures (8) that defy my analytical powers. (Vegetarian photographers may be reassured that it is now made quite inorganically.) Although the substance has been studied for over 250 years, chemists have only recently achieved a full understanding of its complex and varied nature. Misconceptions in some older chemistry texts are still being perpetuated in the alternative photographic literature. Here beginneth the chemistry lesson. Prussian Blue is essentially ferric ferrocyanide, [or Iron(III) Hexacyanoferrate(II) in modern chemspeak] but there exists a whole range of such iron blues, having compositions depending on their precise method of preparation. (9) At the molecular level, they all have in common a characteristic cubic structure, but this lattice can accommodate variable amounts of water and metal ions within it, so formulae range from KFe[Fe(CN)6].5H2O (the so-called "soluble" Prussian Blue) to Fe4[Fe(CN)6]3 .15H2O ("insoluble" Prussian Blue). (10) In fact, all forms of Prussian Blue are highly insoluble in water; the "solubility" in the former case is an illusion caused by its easy dispersion as tiny (colloidal) particles which form a blue suspension in water, which looks like a true solution. Chemists call this process peptization, and it is responsible for some of the problems that beset the cyanotype process. By the way, the ability of the Prussian Blue lattice to act as host for relatively large amounts of impurity ions has recently been put to good use by 'locking up' the radioactivity that was deposited on the uplands of North Wales and Cumbria following the Chernobyl disaster. (11) Spreading Prussian Blue on the contaminated soil inhibited the uptake of Caesium 137 by grass; our lamb chops were thus safeguarded from radioactive contamination, but at the price, perhaps, of turning the green hills of Britain to navy blue! Here endeth the whimsical digression. Although the Prussian Blue pigment of commerce can be made in a form fairly resistant to peptization and destruction by alkalies, (12) the variety produced by the cyanotype process is unfortunately -and inevitably- the "soluble" form. It is therefore rather easily washed out of the paper and 'bleached' by strong alkali, which converts it to very weakly coloured salts of iron.

Disadvantages of the Traditional Process As an occasional user of cyanotype, I found that the traditional method seemed to suffer from some irksome features - or was it just my incompetence? If, gentle reader, you have already tried the process, see if you agree with me that:-

1. Printing can be rather slow compared with other iron-based processes such as the palladiotype; exposures of thirty minutes or more to a typical UV light source are not unusual. 2. The two ingredients have to be stored separately, and the solution of Ammonium Iron(III) Citrate provides an excellent nutrient for mould growth, so that after a month or two, it can come to resemble one of Prof. Quatermass's more bizarre experiments (13). 3. The sensitizer is often not well-absorbed by the paper and some tends to lie on the surface; being hygroscopic, it causes a tackiness which can wreck your negative. 4. It is disappointing to watch your picture gurgling down the sink as large amounts of the image substance, "soluble" Prussian Blue, wash out during the wet processing. Heavy overexposure is usually recommended as the only remedy for this drastic weakening of the image. 5. Stained highlights are quite common, due to inadequate clearing and 'bleeding' of the Prussian Blue; they may be difficult to wash out without losing gradation in the high values. If you agree with me about most of these disadvantages, then there is some point in your reading on. A Chemical Solution The first three disadvantages could be overcome by using Ammonium Iron(III) Oxalate instead of the citrate, because

1. It is more light sensitive. 2. It is not attacked by mould. 3. Its solution penetrates the paper fibres more readily (see my article on Paper). But Ammonium Iron(III) Oxalate also causes a chemical problem, because when it is mixed with Potassium Ferricyanide to prepare the sensitizer solution, the sparingly soluble salt, Potassium Iron(III) Oxalate, crystallises out. A 'gritty' sensitizer is useless, and if this happens within the sensitized paper it can cause quite pretty, but totally unwanted fern-like patterns. The answer to the problem would be to use Ammonium Ferricyanide instead of the Potassium salt, but this is unobtainable (so far as I know) and rather troublesome to make. Disadvantages (4) and (5) are due to the fact, already stated, that the cyanotype process produces the so-called "soluble" form of Prussian Blue. Substitution of ammonium ions for potassium ions in the structure would have the benefit of diminishing this tendency, yielding an "ammonium blue" of good colour, which is more resistant to peptization and alkalies. All these problems (1) to (5) can therefore be overcome by the simple trick of eliminating most of the potassium ions from the sensitizer; this is achieved by adding finely ground solid Potassium Ferricyanide to an appropriate excess of a very concentrated solution of Ammonium Iron(III) Oxalate, allowing it to crystallise then filtering off and rejecting the solid Potassium Iron(III) Oxalate that results. The biggest objection to this procedure is the present artificially high cost of Ammonium Iron(III) Oxalate, but cheaper sources of this chemical are now becoming available. The 'user friendly' sensitizer is a single solution with a very good shelf life, and it provides excellent image quality. The following recipe is not engraved on tablets of stone; it has given the author very satisfactory results so far, but deserves to be more extensively tested, and may yet allow room for improvement by fine-tuning the concentrations.

Sensitizer Chemicals needed

* Ammonium Iron(III) Oxalate (NH4)3[Fe(C2O4)3].3H2O .....30 g * Potassium Ferricyanide K3[Fe(CN)6] ...... 10 g * Ammonium Dichromate (NH4)2Cr2O7 (25% solution) ...... 0.5 cc * Distilled water to make ...... 100 cc GPR Grade (98-99%) purity is adequate. Preparation of Sensitizer The preparation of this sensitizer solution calls for a bit more experience in chemical manipulation than is required to make a traditional cyanotype sensitizer, so don't undertake it unless you are fairly confident. This work should be carried out under tungsten light, not fluorescent or daylight. Please note that all the chemicals are poisonous!

1. Using a pestle and mortar, finely powder 10 g Potassium Ferricyanide. Wear a dust mask, to avoid inhalation of the powder, and pay attention to thoroughly completing this step, which is indicated when all the red crystals are crushed to a yellow powder. 2. Heat ca. 30 cc distilled water to ca. 50 °C and dissolve in it 30 g Ammonium Iron(III) Oxalate. 3. Add 0.5 cc 25% Ammonium Dichromate solution, (previously prepared by dissolving 5 g of the solid in distilled water and making up to a final volume of 20 cc). Mix thoroughly. 4. To the solution, while it is still hot, add the 10 g of finely powdered Potassium Ferricyanide in small portions with vigorous stirring; few (or preferably no) red crystals should be seen, and green crystals will begin to appear. Set the solution aside in a dark place to cool and crystallise for about one hour. 5. Separate most of the liquid from the green crystals by filtration. The green solid (Potassium Iron(III) Oxalate) is disposed of safely (poisonous!). The volume of solution extracted should be ca. 30 to 33 cc. 6. Make up the olive-yellow coloured solution with distilled water to a final volume of 100 cc. The sensitizer can be made more dilute (e.g. up to 200 cc): it will be faster to print, but yield a less intense blue. 7. Filter the sensitizer solution and store it in a brown bottle kept in the dark; its shelf life should be at least a year.

Use of Wetting Agent With some papers the use of a wetting agent can greatly improve the ease of coating and the retention of Prussian Blue by the paper fibres. I prefer Tween 20 (polyoxyethylene sorbitan monolaurate - a non-ionic surfactant) which may be added to the sensitizer solution to produce a final concentration of ca. 0.1 to 0.5%. A stock solution of concentration 2% is useful for this: if you find it necessary, add one or two drops per cc of sensitizer and mix well just before coating. The appropriate amount will depend upon the paper, so it is better not to add it to the bulk of the stock sensitizer solution unless you're certain what paper is to be used: Tween 20 is very suitable for Silversafe and Buxton papers, but may interact unfavourably with gelatin-sized papers.

Choice of Papers The cyanotype sensitizer is a delicate test of paper quality - especially if the coated paper is left for some hours in the dark at normal relative humidity: any change of the bright yellow coating towards a green or, worse, blue colour is an indication of impurities or additives in the paper that are hostile to this process (and possibly to other processes as well). I recommend Atlantis Silversafe Photostore 200 gsm, Arches Platine 310 gsm, and Whatman Watercolour 290 gsm; but the best results (of course!) are obtained on Ruscombe Mill's handmade 'Buxton' paper, (see my article on paper).

Coating Techniques Coating by the rod method will require approximately 1.5 cc of sensitizer for a 10"x8"; brush coating consumes more, but try to avoid excess sensitizer which may puddle and crystallise. I have to remind you that this sensitizer solution is toxic if ingested (much more so than traditional cyanotype) and it will obviously stain skin, wood, clothes, textiles, household pets and any other absorbent surfaces.

Drying It is simplest to let the sensitized paper dry at room temperature in the dark for about one hour; but there will be no difference if you prefer heat-drying at about 40°C for 10 minutes. Expose the sensitized paper within a few hours of coating, if possible. Its storage life depends on the purity of the paper base, as mentioned above; it will keep longer in a desiccated enclosure. The coated side should remain light yellow: if it has turned green or blue reject it, because the highlights will be chemically fogged, and look for a better paper.

Negatives For a full tonal range in the print, the negative should have a long density range of at least 1.8, like those for platinum-palladium printing; i.e. extending from base+fog at around 0.2 to a Dmax of 2 or more. This is achieved by "overdeveloping" the negative to the extent of 70%-80%. The contrast of the sensitizer can be lessened by adding citric acid, so that it can even accommodate a negative density range of 2.6 or so. Conversely, the contrast can be increased by the addition of more ammonium dichromate solution. Unlike the traditional cyanotype sensitizer, I have not encountered any problems with this sensitizer damaging negatives during contact printing.

Exposure Whether the light source is the sun or a UV lamp, exposure is much shorter than that needed for the traditional Cyanotype recipes - this new sensitizer requires about five minutes exposure under an average light source. Since this is a print-out process, a traditional hinged-back contact printing frame should be used; the image can then be inspected without losing registration and the correct exposure reached without the need for preliminary test strips. The exposure is continued until the high values just appear green, the mid-tones are blue, and the shadow tones are substantially reversed to a pale grey-blue, giving the image a "solarised" look. If you do not mask your negative when printing (with ruby lith tape, for instance) but expose the entire coated area, then you will never know if the print is properly cleared. This is the disadvantage of 'showing the brushmarks' to prove it's a handmade print.

Wet Processing You can process the exposed paper most simply with nothing more than a few changes of water, but a better gradation with stronger shadow tones is obtained if it is treated initially in a bath of citric acid solution (strength1%to 2%) for 10 minutes. This bath should be replaced after a few prints have passed through it: typically, 1 litre will process ten 10"x8" prints. The yellow stain of sensitizer should clear completely from unexposed areas - it is worth holding the print up to a bluish light to check that no yellow stain remains in the interior of the paper; if the stain persists, use a second citric acid bath. Finally wash gently in running water for about 20 minutes. Unlike prints made by the traditional recipe, there should be very little loss of image substance during this procedure. The reversed shadow tones usually regain their full values quite rapidly during the wet processing, but if not they will do so during drying (24 hours). However, if you're anxious to see the final result immediately, then immerse the print in a bath of 0.3% hydrogen peroxide (50 cc of the 6% solution -so-called "20 volume"- diluted to 1 litre of water) for no more than half a minute. This treatment makes no difference to the final result. This is a fun book because it is so simple and so clever. You can make your book with more pages but the number of sheets of paper suggested here is at my limit of strength for punching the holes through all the layers at once. Because the punching can be difficult, I usually don't make it with large groups. I've suggested using 8 1/2 x 11 paper but any size will work.

You Need: 4 sheets 8 1/2" x 11" white paper 1 sheet 8 1/2" x 11" colored paper 1 elastic band (I used size 33. You don't have to have this exact size but it needs to be long enough to go through the holes and stretch around the stick.) 1 stick about 7 1/2" long or a plastic straw

Tools: Hole punch

Making the Book: 1. Tap all your sheets of paper together to make them even and fold the stack in half. The colored paper should be on the outside.

2. Punch two holes about 1/4" in from the folded edge of the paper through all the layers. They should be about 1 1/2" down from the top and up from the bottom.

3. From the back of the book, thread one end of the elastic through the top hole and insert the stick into the loop.

4. At the back of the book, pull the other end of the elastic down and put it through the bottom hole. Insert the other end of the stick into the loop.

© 1999-2004 Susan Kapuscinski Gaylord [email protected] www.makingbooks.com

Accordion books are probably the most versatile of all the hand made books. They aregreat cause you can stand them up and view all the pages at once. This makes them great for displays and exhibits. They are made all around the world in China, Japan, Korea, Thailand, India, and Burma. Because their versatility book artists frequentlyexperiment with the form.

You Need: 1 piece 6" x 18" paper* 2 pieces 6 1/4" x 4 3/4" posterboard, oaktag, or cardboard 1 piece 24' long ribbon or yarn Glue stick and scrap paper

*I chose this size assuming you'd start with 12" x 18" drawing or construction paper, but any long piece of paper will do. The cover should be 1/4" taller and 1/4" wider than the folded accordion.

1. Place the paper in front of you horizontally.

2. Fold it in half. 3. Fold the top page in half by folding it back to meet the fold.

4. Turn the paper over.

5. Fold the top page in half by bringing it back to meet the fold.

The accordion is made.

6. Open the first page of the accordion and slip a piece of scrap paper inside.

7. Cover the entire surface with a thin coat of glue. I start in the middle and then go in stripes up and then down the page. Go over the edges and onto the scrap paper.

8. Remove the scrap paper and fold it in half with the glue on the inside.

9. Hold the pages in your hands and center them on one of the cover pieces. Smooth to help the glue adhere.

10. Insert the scrap paper under the top page and cover it with glue. Remove the scrap paper and fold it in half.

11. Lay the ribbon across the back of the book. Adjust the ends so that they are even.

12. Wrap the ribbon around the front of the book and tie it in a bow.

The ribbon is glued into the back cover. When you write in your book, place the ribbon side on the table and stretch the pages out to the left. Accordion-style books

Three envelope books Bound in detchoso style by the author.

The accordion structure comprises a large group of books and variations, including orihon, sempuyo, nobiru gajo and nori- ire gajo, each of which is of such importance and versatility that it will be treated separately.

The scroll might be compared to a modern cassette tape – to find some particular passage the scroll must be spooled through until the required passage has been located, in much the same way that a cassette must be wound back and forth until the right track has been found. The development of the book, with its discrete pages, represents as much of an advance on the scroll as the Compact Disc on the cassette – one can immediately jump to whatever page one wants.

Orihon The orihon structure was developed during the Heian period (794–1185), and was traditionally used for Buddhist sutras. It is thought that if an orihon book inscribed with Buddhist sutras is 'cascaded' from hand-to-hand, the draught created by the falling pages has healing properties if directed to the affected part of the sufferer's body. In Japanese Buddhist monasteries it is still sometimes possible to receive this treatment.

The orihon structure developed out of the scroll simply by folding the scroll into an accordion-fold and pasting it between covers. In this form it was both easier to access and to store and, although not yet truly a 'book-shaped' book this was the vital step in its development. Structure The basic orihon book consists simply of an accordion-folded sheet of paper bound within soft or hard covers. The paper can be a single long strip, or several smaller strips pasted together. Traditionally, smaller sheets would be pasted into a long strip with little regard paid to where the joins fell; as the style developed, however, the joins were usually planned to fall at the page folds.

If the flaps all fall at the same (usually fore-) edge, the book will have greater thickness one side than the other; for this reason if there are to be a great number of joins they are sometimes placed at the back- and fore-edges alternately, even though the back-edge joins are more visible than the fore-edge joins. If an even number of pages is used, the book will have a definite 'front' and 'back'; if an odd number of pages is used, the concepts of 'frontness' and 'backness' may be more equivocal – either doubling the capacity of the book, or enabling a double book not dissimilar to the Western dos- ˆ-dos structure.

Alternative orihon page construction methods There may be no endpapers, the main pages may be attached to the covers by means of a narrow tab which is overlaid with a single sheet of decorative paper, or an extra page-pair of a decorative paper may be used.

Applications A common use in the West is in children's books; room friezes are often packaged orihon-fashion, and some board books are constructed in orihon form, occasionally with integral covers (see figure 4). The form is also frequently used in advertising leaflets which, although consisting of no more than a single sheet of folded paper, might properly be considered orihon books (see figure 5).

The book artist may find the orihon indispensable for two or three of its characteristics: • while it is possible to read each page or pair of pages individually, it is also possible to view all the pages at once, or in non-contiguous groups.

Non-contiguous arrangement of pages of an orihon alphabet book

This is a very useful attribute in the case of panoramic pictures, time-line diagrams, and some records of performance and conceptual art, for example, Horizon to Horizon and Alps Horizon by Hamish Fulton; the all-at-one-view property is exploited in various books by Sarah Jackson. In England orihon-form maps, showing the route between only two towns – stylised but showing landmarks and road junctions – were known as 'stagecoach maps'3. (See figure 6 The Northern Line for a modern equivalent of the stagecoach map by the present author.) • because of their compound action, orihon books can be very useful as scrapbooks. Guarding of the pages is unnecessary – however thick the scraps in the book, so long as they are not too close to the folds, the book will simply expand uniformly (see figure 7). • Sometimes the orihon is used for no apparent reason other than that it is attractive and unusual. Perhaps it is for no deeper reason than this that it is used for such books as Tony Hayward's Indian Sandwich series, 1994 (see figure 8). • When opened, the orihon book can assume a very sculptural form (see figure 9).

Album books

Nori-ire gajo An alternative construction is to paste the separate pieces of paper together at the fore-edges, album-style (nori-ire gajo). This results in no increase in thickness even though all the joins are at the fore edge, and also means that the fore edge can be guillotined for a uniform finish; however, it is not possible for the book to be opened flat to show more than a two-page spread.

Although similar in appearance to the orihon, album-style bindings are a separate development in that the pages are of individual pieces of paper assembled into a book rather than formed by folding a scroll.

Nori-ire gajo construction Since each two-page spread is composed of a separate piece of paper, if desired each could be of a completely different paper, or a series of pages not originally intended for binding, eg small posters. This useful property is shared with many Japanese book structures, eg nobiru gajo, detchoso, sempuyo.

Nobiru gajo The orihon book with double-leaved album pages (nobiru gajo). is similar in appearance to the nori-ire gajo but the separate pieces of paper, each twice the page width, are folded in half, text-side inward, and tipped together at both the fore and back edges. Nobiru gajo construction This results in a much stiffer page than the basic orihon, which may be useful if the book is to stand open self- supported for display. Moreover, since each page is now double, both sides of the page can be written on even with a fluid ink which would bleed through a single page.

Applications In general, the applications for both nobiru gajo and nori-ire gajo are the same as for orihon books, except that since the book is constructed of two-page spreads joined together, the problems of imposition (the conflict of 'readers' spreads' and 'printers' spreads') will not apply, making this a very convenient vehicle for home computer publishing. This is a major convenience, and one which applies to many Japanese bookforms. For a fuller discussion of this topic, see Appendix II: Imposition.

Moreover, each spread (pair of facing pages) could if required be of a completely different paper. Keith A Smith has described contertina books as offering, 'easily the most potential for variation of any bindings' (Non-adhesive bindings, Keith A Smith, 1992).

Sempuyo The sempuyo binding was developed during the Heian period, and was more popular in China than in Japan, where few examples are to be found.

Construction Sempuyo binding consists of an orihon book constrained at the back by a wrapper passing round the back edge, pasted to the fore edges and usually also the back edges of the endpapers. The joining of the fore edges may be by means of flaps, orihon-style or, more neatly, nori-ire gajo style which allows guillotining of the fore edge. Application of the sempuyo wrapper The 'wrapping' around the back of the book can be achieved in many creative ways in addition to the traditional sheet of paper. The covers are then attached to this wrapper instead of directly to the endpapers. This construction gives the orihon book a more familiar feel, as it opens and handles more- or-less like a normal Western book. The sempuyo is also known as the 'flutter book' because, although the pages are constrained at the back they are not attached, and if the book is read outdoors all the pages may flutter out of the covers in the breeze, causing some embarrassment to the reader and amusement to onlookers!

Applications This is an extremely useful bookform for the self-publisher and book artist: as well as being elegant and versatile, its pages do not need to be imposed (see Appendix II: Imposition) and if required each pair of pages could be of a different colour or type of paper, or indeed a completely different material altogether (see figure 10 and figure 11).

The sempuyo feels very comfortable when held open in the hand, but when opened and placed flat on a table some of the pages will tend to stick up in the air (see figure 11). This is because the two halves of the text block (the 'read'part and the 'unread' part) are held apart by the part of the wrapper which encloses the spine. This might be thought of as a disadvantage, but it has been cleverly exploited by the designer of a Compact Disc storage system – as one 'page' is pushed down, the next springs up, presenting one with another CD (see figure 12).

Illustrations for the Accordion Books page:

Figure 4: Orihon children's board book with integral cover

Figure 5: Orihon advertising leaflet Figure 6: 'The Northern Line' by the author, a modern version of the 'stagecoach map'

Figure 7: Because of their compound action, orihon books can be very useful as scrapbooks. Guarding of the pages is unnecessary Ð however thick the scraps in the book, so long as they are not too close to the folds, the book will simply expand uniformly

Figure 8: Sometimes the orihon is used for no apparent reason other than that it is attractive and unusual. Perhaps it is for no deeper reason than this that it is used for such books as Tony Hayward's Indian Sandwich series, 1994 Figure 9: When opened, the orihon book can assume a very sculptural form

Figure 10: If required each pair of pages could be of a different colour or type of paper, or indeed a completely different material altogether

Figure 11: The sempuyo feels very comfortable when held open in the hand, but when opened and placed flat on a table some of the pages will tend to stick up in the air Figure 12: A characteristic of the detchoso book which might be thought of as a disadvantage has been cleverly exploited by the designer of a Compact Disc storage system Ð as one 'page' is pushed down, the next springs up, presenting one with another CD

Page last updated: 12.10.2000 10:09 Greenwich Electronic Time Sewn styles

At long last, and following much procrastination, the Sewn styles section is now finished. Enjoy!

This section covers a number of very different styles: • pouchbooks, • ledgers and • multi-section

Yotsume toj Pouch books are so called because their pages, folded at the fore edge and sewn at the back edge, form pouches, but their Japanese name translates simply as 'four hole'. Most Japanese pouch books are four hole (Chinese style) or five hole (Korean style) bindings, each nation traditionally holding even or odd numbers respectively to be especially propitious.

The two styles existed side by side in Japan during the Edo period, and were commonly used for cheap novels and romances. The first style to be examined is the basic four- hole pouch book; several variations of the stitching procedure will be examined in subsequent sections, but the basic construction of the book is the same for all the variants.

Since its comprises quite a large group of books, and it is more complex than the previous books discussed, the structure of the yotsume toji will be described in some detail.

Structure The sheets of paper to be bound are folded in half text side out, and knocked-up at the fore edge.

The nakatoji (inner binding) is then applied – this is a technique unique to Japanese binding which is used to hold the book together while subsequent operations take place, and will support the book if the binding proper should fail. Western papers, because of their rigidity and hardness, are not ideally suited to this purpose; wherever possible, softer Japanese papers, with their great strength, should be used. Inner binding The inner binding is effected by punching or drilling two pairs of of knotted holes at such a distance from the back edge that they will not paper interfere with the binding proper; a 'string' of twisted paper is then passed through each pair of holes, tied in a square knot then hammered firmly with a mallet. This non-adhesive binding is surprisingly secure, and will keep the pages safely aligned during the later stages of binding.

A variant of the inner binding is known as the monk's binding. In this method only two inner binding holes are punched; a much shorter paper 'string' is passed through each hole, unravelled each side and hammered flat with a mallet.

The monk's binding is much less conspicuous than the usual inner binding; however, it is a little less secure so sometimes a smear of glue is applied to the flattened 'string'.

Monk's binding – photos above show the binding from both sides

When the pages are secured by the inner binding, the corner-pieces (kadogire) are applied. Each corner-piece consists of a scrap of paper or paper-backed cloth glued around the spine and across the top and bottom of the book in the area which will not open due to the sewing.

While it is attractive and lends authority to a book, the corner Kadogire piece appears to be a mainly decorative device. Rather than contributing to the structure of the book it can render it more liable to damage by preventing the circulation of air between the pages and, if vegetable-based glues have been used, encourages attack by insects. It does, however, serve to prevent the back corners of the book becoming dog-eared.

The next stage is the attachment of the covers. These are of paper and are initially fixed lightly to the book by two sparing dabs of glue on the outer pages; the edges are then scored and folded down to the same size as the book. It is important that the back edge fold is sufficiently narrow so as not to interfere with the stitching, and that the folds are made in the correct order: back edge first, followed by the head and foot edges, and the fore edge last of all. Failure to follow this folding order may cause problems when the excess paper at the corners is trimmed away with scissors. The fore edge flaps are glued and attached to the outer pages at the front and back of the book.

Finally, the book can be punched and sewn. The sewing is a simple process, and the order of sewing can be clearly seen by reference to the diagram. The thread enters the book not directly through one of the sewing holes but from the back of the book, between the pages at the spine; it then exits through the sewing hole (usually the second from bottom) and passes round the back of the book, through the sewing hole again and on to the next hole. When the thread finally arrives back at the starting hole it is tied off to itself then passed back through the hole exiting, as it entered, between the pages at the spine. The threads are then trimmed and the ends glued between the pages through which they pass, thus concealing and securing them. Although the thread is firmly anchored to itself at the exit point, at the entry point it is only lightly glued to the book.

A more secure solution is the Westernised one I was shown when I first bound a pouch book: the sewing is treated basically in the same way as a pamphlet binding, the two ends of the thread being knotted together as they leave the book. If the trimmed ends are then passed back through the sewing hole and out between the pages at the spine, this method is virtually indistinguishable from the traditional, less secure method. Or, if desired, the threads may be left long and treated as a decorative element.

This modified fastening of the sewing thread was used with the following of the books shown: four-hole with Chinese-style cover; four-hole with pouch cover; four- hole with single-thickness pages; a variant of this method was used for the tortoiseshell binding, since the threads could not be arranged to start and end conveniently for the basic modified method described above.

The final step in a traditional binding is to glue the titlestrip (daisen) in place. The titlestrip is usually 30-33mm wide (depending on the size of the book) and at least two-thirds the height of the book. It is usually attached about 3mm from the head- and fore-edges, although for some styles (eg Yamato toji) the traditional position is 3mm from the head but centrally between the spine and fore-edge. Since the sample books accompanying this dissertation are blank, the only indication of front or back is the titlestrip. All the sample books have been bound to suit Western readers: the front of the book is such that in reading the pages would be turned from right to left, rather than in the Japanese manner. However, it is possible to simulate the Japanese ÔreversedÕ style of layout, even including the vertical-running text, without compromising legibility. The author is currently in process of producing a book in this format.

Central title-strip applied to an Offset title-strip applied to a Asa-no-ha toji Kikko toji

Kangxi This variant of the basic yotsume toji was reputedly invented by the Qing dynasty emperor Kangxi, after whom it is named. It is also known as koki toji, the noble binding. It is constructed in exactly the same way as the basic four-hole pouchbook except for two extra holes near the corners. Apart from their decorative value, these extra stitching points give increased support at the corners, so this binding is frequently used for larger or fancier books.

Asa-no-ha toji

This style, hempleaf, is a development of the Kangxi. The basic structure is exactly the same, but the stitching pattern is much more elaborate which, apart from giving a more decorative effect, also offers a stronger binding due to the greater number of sewing points.

Kikko toji

This style, tortoiseshell, is a variant of the basic yotsume toji. It offers similar advantages as the asa-no-ha toji but without the extra corner stitching.

Chinese style

This is yet another variant of the basic yotsume toji, although it differs in a number of important respects. The stitching pattern is the basic four-hole method, but the two centre holes are positioned closer together than in the Japanese style, thus offering greater reinforcement to Chinese-style books which tend to be longer and narrower than Japanese books.

It is unusual for corner-pieces to be applied to Chinese-style four-hole books, but in later years (Meiji era) Kangxi-style stitching was sometimes applied to the corners.

The cover structure differs from its Japanese counterpart in that the cover is trimmed flush at all except the fore-edge. This gives an easier opening action. It is not usual for Chinese books to bear title-strips.

Summary The exposed stitching offers many decorative possibilities. It appears that the variations in sewing styles are mostly cosmetic, although some styles do provide more support to the pages than others.

The Japanese cover does not open as nicely as the Chinese or the pouch covers, the folded-in flaps at the head and foot preventing the cover curving smoothly. As an experiment, samples of four-hole books have been produced with modified covers; for example, a pouch-style cover has been used on a basic yotsume toji structure – the cover has exactly the same structure as the pages but is of a different paper. These sample variants are supplied to accompany this dissertation.

Applications As with many of the bookforms descriped previously, the four-hole book sits comfortably in the hand but will not lie open on a flat surface. Instead of being seen as a disadvantage, this might perhaps be thought of as an organic quality, joining the book to the reader's body during the reading experience.

Access to the gutter is very limited, so this book form is of little use where the printed matter runs across or into this area. Four-hole books with single (ie non- pouch) pages are very useful as notebooks; the form may be used as a binding for, for example, theses and reports, making a pleasant change from slip-in binding bars and plastic comb bindings.

A very common use of the four-hole style is as a photograph album. Instead of soft covers a hard cover, hinged on or near the stitching line, is used. The pages (single thickness, not pouch-form) are usually guarded by folding over the spine-edges to give a double thickness of paper within the sewn area only, allowing the book to accommodate the extra thickness of the photographs. Any of the sewing styles described here may be used, although the differences are mainly cosmetic. Frequently a thick, decorative cord with tasselled ends is used for this application.

Children's rag books, with their fabric pouch pages, are clearly a form of pouch book. Although usually sewn with a single or multiple lines of machine stitching, their structure and appearance is closely based on the four-hole binding, (see figure 14).

Printed pouch-books may easily be produced using a home computer. Once again, there will be no imposition problems, subject to the small modification of the basic method which is explained in Appendix II: Imposition. The pouch structure of the pages is sometimes useful to the book artist – RSKM No 9, by the author, utilises the pouch form to contain and conceal the text. The book of application forms for the University of Brighton 1996 Book Art Competition was produced with pouch pages, printed both on the outside and inside surfaces to increase the density of information.

Yamato toji

The structure of the pages of the Yamato toji are in many respects similar to the basic yotsume toji – pouch pages, corner pieces (longer than usual, to give strength to the otherwise unsupported corners), inner binding – but the method of stitching is different.

The pages are stitched through the side at two points, using flat cord or sometimes paper folded into a narrow strip, and tied in a square knot. Western papers, due to their hardness, are generally unsuitable for this; if a Japanese paper is not available, a fabric cord should probably be used. If a cord is used for binding, the sewing holes may be circular instead of the traditional slits, allowing a punch or paper drill to be used, but if paper strips are used the sewing holes really should be slits. If the book is not too thick, a woodworking chisel can be used, but for thicker books producing neat slits presents more of a problem. The slits cannot be punched in thin sections of the book since the inner Yamato toji binding binding is already in place. It might be possible to punch the slits in sections of the books before the inner binding is made; the sections could then be carefully aligned (perhaps by passing rigid strips through the slits) and secured while the inner binding holes are drilled.

The cover is usually brightly-patterned paper, which may be folded-in on all four sides, or trimmed flush at all but the fore-edge, Chinese style.

Applications The Yamato toji is still in use in Japan as a guest register at weddings and other celebrations. This style of binding is so simple that it could easily be accomplished by very young children for use as a scrapbook, note- or sketch-book. Ledgers, accountbooks and receiptbooks Japanese ledgers, account books, receipt books etc. are traditionally bound not by bookbinbders but by professional ledger binders.

Unusually for Japanese books, not all Japanese ledgers have double-thickness pages, thus making them more suitable for Western use without adaptation.

Flat cord bound

The flat cord bound ledger is basically a single-section pamphlet book except that flat, decorative cord is used in place of bookbindersÕ thread, and the knot is tied on the outside of the spine. A colourful, decorative paper is usually used for the covers.

Flat cord bound binding

Applications The flat cord bound ledger is an extremely easy style to bind – even young children could produce attractive books in this form. Such books would be useful as memo pads, sketchbooks, scrapbooks etc.

Yamato

Like the flat cord bound ledger described above, the Yamato binding is composed of single-thickness pages, although in the case of the Yamato the pages are completely separate, not folded at the spine. Once again, the sewing material is flat, decorative cord, although strips of paper are also sometimes used. An inner binding is applied to support the book during subsequent binding operations.

Yamato ledger binding

The decorative cord is threaded through sewing holes pierced 12mm from the spine and at one and two thirds the height of the book, tied in a square knot and beaten with a mallet to make it secure. In a variant of the this binding, Yamato toji, the book is sewn at two points. In this case, the pages are of pouch form, similar to the yotsume toji bindings and variants described above. The flat, decorative cords are threaded through sewing holes pierced 12mm from the spine, each tied in a square knot and beaten with a mallet to make secure. In this form it is popular in Japan as a guest register at weddings and other celebrations.

Yamato toji binding

Applications The Yamato binding is a very easy style to bind, and would make a simple but decorative notebook or diary. Its failure to open flat might limit its use as a sketchbook.

Three hole

This small ledger is sewn exactly the same as the yotsume toji bindings described above, but with three sewing holes instead of four. An inner binding is applied, but corner pieces, probably because of the book's small size, are not used. Unusually for a Japanese book, the pages are of single thickness, not double.

Applications The three-hole ledger is more difficult to make than the flat cord and Yamato styles described above, although its more elaborate stitching results in a more secure structure. It would make a simple but decorative notebook or diary, but again its failure to open flat might limit its use as a sketchbook.

Daifuko cho

The Daifuko cho ledger is rarely seen in modern Japan. In the Edo period it was very popular as a travel diary and as a guest register at inns, but most commonly as a merchants' account book. Daifuko means Ôgreat fortuneÕ, the characters for which merchants would often inscribe on the cover in the hope of encouraging the same in their business. Daifuko cho ledger spine showing the structure

Daifuko cho ledger Structure The construction of this book is very straightforward. The paper from which the pages are to be constructed is folded in half lengthwise, then in half again in the opposite direction. The folded pages are then stacked inside each other like the sections of a Western book, to make three sections, each of about 15 sheets.

Two sheets of laminated paper or thin pasteboard are cut to the same size as the folded pages to form the covers. Two holes are punched through the stacked pages and covers, at equal thirds of the height of the book and some 15 or 20mm from the spine. A length of hemp cord is threaded through the upper hole, passed round the head then threaded back through the hole and tied to itself around the spine; this procedure is repeated with another length of hemp through the lower hole. The four tails of hemp are then tied together along the spine, then separated into individual fibres to make a tassel or twisted together to make a single cord – traditionally, all of a merchant's account books would be tied together for security using these cords.

Applications The daifuko cho ledger is extremely useful as a notebook, sketchbook or diary – the author has used one for several years as a dream diary. Because of the side- stitching method, daifuko cho ledgers will not open flat; this might limit its usefulness as a sketchbook although it is traditionally often used as such.

The pages of this book are of double thickness, formed by folding the paper in half then in half again in the opposite direction. This means that one of these folds must be made against the natural grain of the paper. Traditional Japanese paper, like all hand-made papers, has no grain direction, so this would not have been a problem in the past; most modern papers, however, being machine-made, exhibit a greater flexibility and foldability in one direction (with the grain) than the other (against the grain).

Given a choice, books are always bound with the grain direction parallel to the spine, so that the pages turn easily and the structure is as durable as possible. If the daifuko cho is bound in this way, however, the pages will not turn easily because they will exhibit a resistance to curl because of the crease running along the foot of each double page (the folds are always placed at the foot of the book to facilitate page-turning from the bottom edge of the page).

To minimise this problem, the sample book accompanying this dissertation was bound using a paper which does not exhibit a very pronounced grain direction. The grain direction in the sample book is parallel to the spine – this gave a marginally easier turning action than a grain direction parallel to the foot of the page.

If a book was being produced for use in the West, it would probably be made with single-thickness pages; not only would the pages turn more easily, twice the usable number of pages would be available for a given thickness of book. In Japan, daifuko cho are not unknown in this format, being bound in the double-page manner then trimmed at head, foot and fore edges. Trimming of the foot of course removes the folds of the doubled pages. A daifuko cho modified in this way is supplied to accompany this dissertation.

Hantori cho

The hantori cho receipt book is sometimes known as the 'Shokusanjin receipt book' after Ota Shokusanjin, a late-18th century comedian who is known to have used a book of this type.

Structure In appearance, the hantori cho is very similar to the daifuko cho, although its construction is rather more complex. The paper from which the pages are to be made is folded in half crosswise and stacked in three sections as before, about 10 sheets to each section.

Hantori cho ledger spine showing the structure

Hantori cho ledger

A strip of the cover material (thin pasteboard or laminated paper) with a width of 30mm + the thickness of the section and the same length as the height of the book, is glued over the spine of the centre section. The spine is then pierced with two sewing holes spaced rather more widely than equal thirds of the height of the book.

A length of hemp cord is threaded into one hole and back out through the other, so that the tails are on the outside of the section. The cover material is attached to the outer sections: the covers should be the height of the book, and the length the same as the width of the book + the thickness of the section + 15mm. The excess length of the covers should be folded round the section, and attached to it with a little paste.

The middle section is then closed, the two outer sections opened up, and all three sections – the open front section, the closed middle section and the open back section – are all stacked as shown:

Two pairs of holes are punched through all three sections, about 3mm to the left of the spine, and all three sections are sewn together using short lengths of hemp cord tied in a square knot and trimmed. The outer sections are then closed and the two tails of the cord passing through the centre section tied together and twisted into a rope or separated into a tassel. Applications Due to its unusual compound structure, the hantori cho ledger book handles somewhat awkwardly in that the outer sections, being effectively pamphlet-sewn, can be fully opened while the inner section, being side-stitched, offers more restricted opening. While useful as a notebook or diary, its usefulness as a sketchbook is somewhat limited by the fact that not all of the sections can be fully opened.

Retchoso

Most Japanese bookforms have Chinese counterparts, but the retchoso multisection book is uniquely Japanese. Its basic structure is similar in some respects to a Western multisection book, although the sewing method is very different, and unlike Western books the spine is unenclosed. Unusually for a Japanese binding, the pages are single thickness.

The retchoso was developed during the Heian period, and was generally used for Japanese writing: Noh chants, poetry and stories. It does not appear to have been used for Chinese or Buddhist texts.

Structure Pages are folded into sections and perforated for sewing. Unlike a Western multisection book, the retchoso is stitched not through holes in the sections but through small, lateral slits; this has the effect of allowing the book to open even more easily than its Western counterpart, and the retchoso will easily lie flat when open.

Retchoso sewing scheme

Retchoso spine showing the structure The stitching procedure is too complex to describe here in detail, but examination of the diagram above should clarify the process. Sewing takes place through four pairs of slits, two near the head, two near the foot, but in two separate trails – one through the upper pair of slots, the other through the lower pair. Sewing commences at the centre section and the thread passes through intermediate sections to the back section. The thread then crosses its previous trail as it proceeds back to the centre section and thence to the front section, finally returning to the centre section where it is tied off. This is repeated with the lower pairs of slits. All four threads are finally tied together at the centre section.

In the completed book, the exposed stitching is similar in appearance to the archaic coptic binding style. The two threads each pass right through the book, without being tied-off between sections, for which reason it is quite difficult to maintain tension in the thread; the judicious use of masking tape can be quite halpful. When the threads are tied together at the centre, first each thread is tied to itself; then both pairs of ends are tied together; finally the original pairs of threads are tied together once again. Even when quite thin thread has been used, this process of repeated knotting, although very secure, does result in a somewhat unwieldy bundle of thread at the centre of the middle section.

The cover is traditionally soft, and it is in this form that the accompanying sample has been bound, but the structure lends itself well to hard covers, which is form the author usually uses.

Applications The retchoso is unusual among Japanese bindings in that it will lie open on a flat surface. It offers good access to the gutters, and is useful as a diary, notebook or sketchbook; however, since the pages are single thickness and are assembled in sections, producing printed retchoso books using a home computer presents exactly the same difficulties aw producing a Western section-based book. The author has discovered no intrinsic advantages of the retchoso binding. However, it would be possible for any Western section-bound book to be re-bound in a traditional Japanese style, which might be an appropriate way of rebinding, say, a translation of a Japanese novel. The author is working on such a project at present. Tiny Tunnel Book By Craig Hinshaw

Art specialist for Lamphere Schools in Madison Heights, Michigan.

Tunnel books, sometimes called telescope books, are three dimensional. Like their name implies, they are viewed by looking into a “tunnel” created by accordion folded expanding sides. See through pages with layered illustrations create a completed picture in an innovative book format. Tunnel books are an effective method for integrating art into other subject areas.

Although tunnel books can be constructed in any size or length, I like the following because of the ease and success I’ve had in presenting this project to students. These books can be completed in three class periods. In the first period, students construct the books. In the second and third classes they draw, cut and glue the illustrations onto the pages. These tunnel books can have three, four or five pages. The inside pages have “window” cut out of them; the last page is left uncut. The illustrations on the first page are glued low, toward the bottom. On the second page the illustrations are glued a little higher, toward the middle of the page. On the third page they are glued still higher, yet allowing some of the back page to show. Depending on the age of the students and the theme of the book, many variations to this approach are taken. Some of the themes I have presented with Tunnel Books include: The Rain Forest. Students are to depict different layers of the rainforest: the forest floor, the understory, the canopy and the emergent layer, each on a different page. For the plants, students use a variety of shares of green and brown construction paper. For the animals, students use rainforest stamps. Instead of using a stamp pad, the stamps are colored with markers, then stamped onto white paper, cut out and glued onto the plants.

Under the Sea. Students are to depict the three layers of the ocean including the plants and animals that inhabit them: the shallow waters, the mid-level waters and the deep waters with the Ocean floor.

Outer Space. Students are asked to include both information they know to be real about. space (planets, comets, moons, etc.), and imaginary things (aliens, futuristic space travel, space colonies).

Michigan. Students are to create a picture of Michigan that includes some or all of our state symbols: the robin, the white pine, the brown trout, the Petoskey stone and the apple blossom.

Land Forms. Third-grade teachers Joan Zarro and Debra McDowell had their students add another component of creating tunnel books-writing. As part of a unit on geography, their students made tunnel books showing different landforms: mountains, plateaus and valleys. Students then wrote information on small pieces of paper and glued them to the outside folds of the tunnel book next to the corresponding landforms.

GETTING BIG Carol Prysby and I decided tunnel books would be too difficult for her first-grade students to construct. Instead of abandoning the idea, we discussed with them the possibility of creating a walk-through tunnel book. Of course they were excited about making something bigger than themselves.

Each student first drew an ocean animal on 12" x 18" paper. Then, using an opaque projector, they helped me enlarge their drawings onto large sheets of white cardboard. After the students painted their animals, using fluorescent tempera colors, I cut them with a razor knife.

The supporting sides of our walkthrough were constructed from refrigerator box cardboard, which the first graders painted with sponges. The top of the cardboard was painted light blue gradating to dark blue at the bottom. The cardboard sides stood and were accordion folded in a similar fashion to their smaller counterparts. Finally, the animals were glued in place. We displayed the undersea walk through first in the school library and later at the district art show.

The charm of the first graders’ enlarged drawings and bright, cheerful colors were wonderful. Carol shared with me how much pride her students felt in having their work displayed in a public place. Getting into books took on a new meaning for the first graders in Carol Prysby’s classroom. Materials 2 pieces of 9” x 9” construction paper (side of the book) Glue 4 pieces of 6” by 9” white paper (pages of the book) Crayons or colored pencils Books, reference on subject, posters, pictures, other Scissors visuals Tunnel Book by Sally Hagy-Boyer General Description A tunnel book has accordion sides and no spine. Pages are attached to both sides of the accordion and set one behind the other. This book is a lot like the diorama made inside a shoebox except that the pages are made of paper cut outs so the reader can view through the holes, with an almost telescopic effect. The scene can be opened out for viewing or folded flat for storage. The finished size of the book shown is 3 3 4 /4 x 6 /8 inches. Materials • Accordion sides and covers: colored construction paper 3 • Back panel: One piece of colored construction paper, 6 x 4 /4 inches 3 • Front panel: One piece of colored construction paper, 6 x 4 /4 inches • Five Cut-out shapes for pages: colored construction paper and miscellaneous papers can be used for texture and color • Scissors • Double-sided tape or glue stick • Ruler • Bone folder or wooden craft stick Preparation Cut all construction paper Procedure 3 3 1. Measure and cut two pieces of construction paper 12 /4 x 4 /4 inches. 3 2. Mark and score each piece at 6 and 6 /4 inches. The 6 inch sections will be for the covers and the 3 6 /4 inch sections will be for the accordions.

3 6 inch 6 /4 inch section section inch 4

/ to be folded 3 for cover

4 into an accordion

3 12 /4 inch 3. Fold your two accordion sections. Refer to the folding directions for the Accordion Book found in this booklet, following steps 1 through 6.

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20 4. Cut out the shapes you will be using for your tunnel book. Remember that the reader will be peering into the book from the front and it’s a good idea to plan varying shapes and sizes and colors. (Tip: Plan your design so that when glued to the accordion one behind the other on alternating sides you could still see all the shapes.) 5. Take your folded accordions and mark on the front of the folds where you are going to place your shapes. Gluing on the front fold enables the reader to see the entire shape. Glue your shapes to one side of the accordion and glue the back panel to the front of the last fold on this accordion.

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6. Glue the rest of your shapes to the other accordion. 7. Bring both sides together and glue the back panel to the last fold on the other accordion.

back panel

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1 8. Take your front panel and measure and cut a 5 x 3 /4 inch rectangle out of the middle of this panel. Now you have a frame that you glue on both of the first folds of your accordions. 9. The covers on the front of your book close on top of each other and can be used for the title, more images, and text. back panel

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123456789012345678901234567 Tips: front panel • Using double-sided tape keeps fingers and books clean! • Instead of making a “frame” for your front panel, make a very small peep hole and the reader will get a very intimate view of your book. • Attach popsicle sticks to the front and back panels of your tunnel book. This hand held book can be opened and closed by the reader for an even greater telescopic effect. Idea Sources: Pick a drawing with a lot of images that are clearly defined or with perspective, and photocopy it 5 times. Save one for your back panel. Cut a large hole in the first image. You can vary the shape of the holes or cut out distinct objects in each layer. Cut holes of decreasing size into the other three images. Glue onto your accordions as directed above. 21