Sewn Boards Binding

These are images from the first sewn boards binding I completed a few years ago. Gary Frost developed this structure and it is incredibly beautiful both in the way it functions and its clean aesthetic. The boards are made from a stiffer, 20 pt card that are folded and sewn on just like another signature in the book (this is what you see as tan in the above photos). Once the textblock is completely sewn, you can insert another stiff card in the folio (this is the black area inserted between the tan sections). These three layers act as the boards for the book, which is then covered with three separate pieces of either paper/cloth/leather.

I believe the original structure was developed as a conservation binding, to re-sew and preserve older books. But Gary Frost also mentions that it is a good structure for edition binding. You can read more about this binding at Gary Frost's website.

Miniature Gardens Redux

This is an artist's book that I recently rebound. The drawings inside are my own. My training previous to working as a bookbinder is as a painter and printmaker and books were a natural progression for me from printmaking. This was one of the first artist's books I created of my own work circa 2001. Recently, I became dissatisfied with the craftsmanship and decided to rebind it. The pages are all graphite on tracing paper. As you lift one page, imagery may appear or disappear, depending on the layering of the tracing paper pages. It is a simple pamphlet stitch sewn onto a cloth hinge that then gets glued into the case. The case is based on the cover construction of Gary Frost's sewn boards binding. The covers are paste paper, created by me, over boards. The pastedowns are this amazing mustard yellow japanese paper that I drummed on. Label is from the same paper. Title letterpress printed in 18pt Univers.


An incredible article from 1977 in which Richard Minsky and his assistant, Peter Seidler, detail the process of making one of the most well known non-codex book structures, Buckminster Fuller's Tetrascroll. I am drawn to the elaborate descriptions of the process from initial prototypes and material testing to the final piece, finished the day it was to be shown (!) at MOMA. It also reminds me (fondly) of the work that occurs at Daniel Kelm's studio in Easthampton, MA, where I worked for two years--new structures, new materials, contemporary books.