ALL COURSES
Book repair
Book repair for the home library
This course is a basic introduction to repairing broken books. It is not a conservation or restoration course: rather, the focus is on making much-loved case bound books usable and readable again. Removing sticky tape, bookplates and other add-ins will be covered, as well as how to repair tears and damaged edges of papers and boards. You will learn how to tip in pages, replace endpapers and fit hinges in situ, and repair or replace damaged spines. Your old books can be given a whole new lease of life!
Paper repair clinic
This course is an introduction to conservation paper repair with an emphasis on how easy it is to set up in your own home with very little equipment. A variety of techniques of simple paper repair will be demonstrated. Starting from a conservation perspective you will be using wheat starch paste and Japanese repair tissue, which will be supplied. You will learn how to make re-moistenable repair tissue which can make your repairs almost invisible. This repair tissue can even be made ahead of time so it can be ready when you need it. Two wheat starch pastemaking techniques will be demonstrated and you will learn how and when to use them. Tips on basic flat paper repair and folded paper (such as maps in books) will be taught so you can apply the best method for your items. The course is tailored around what participants bring along for repair.
Book conservation
The Guild regularly invites Karen Vidler (FIIC, PMAICCM) from Book Conservation Services, based in Adelaide, to teach at the bindery. Karen is a validated teacher with the Society of Bookbinders, UK and Fellow of the International Institute for Conservation (IIC). She has specialist knowledge in the conservation of leather, and teaches in-depth book conservation courses including board reattachment techniques, repair of leather bindings and advanced paper repair.
The Alchemy of Bookbinding
Level 1: Bookbinding for beginners
This course is suitable for those who are starting from scratch and also for those wanting to refresh half-remembered skills learned previously. You will learn key bookbinding terminology and be instructed in bench skills – the important core skills of accurate measuring and cutting, paper handling, folding, glueing and stitching. These skills form the basis of most bookmaking. You will be introduced to specialist tools as well as simpler homemade devices. Just bring your creativity, curiosity and passion. Bookings are through Sydney Community College.
Level 2: Flat back case binding
In this course we will make two cased in books, plus a slipcase for one of the books. Bookbinding begins with folding the sections and sewing the bookblock, which is our focus on the first day. Using two different sewing styles, we sew two bookblocks. On the second day we learn two cover techniques. One book will have a cloth cover, the other a decorated paper cover. Students have a choice of cloths and papers. In this course we will make two cased in books, plus a slipcase for one of the books. Bookbinding begins with folding the sections and sewing the bookblock, which is our focus on the first day. Using two different sewing styles, we sew two bookblocks. On the second day we learn two cover techniques. One book will have a cloth cover, the other a decorated paper cover. Students have a choice of cloths and papers.
Level 3: Rounded and backed case binding
The adventure continues. This course builds on the flat back case binding course, taking your binding skills to the next level. We will be sewing one substantial bookblock. The sewn bookblock will be rounded and backed to give it the form of the classic codex. As with the flat back case binding, the case is made separately from the bookblock. You will learn to put a hollow on the spine to which the case will be attached prior to pasting down the endpapers. You will able to choose your covering materials; full cloth, cloth and decorated paper, leather and decorated paper, leather and cloth.
Level 4: Letterpress binding
This three-day course builds on Levels 2 and 3. Three days allows the time to complete the binding satisfactorily without rushing or cutting corners. You will sew the bookblock on sunken cords, lace on the boards, create a hollow and false raised bands. In this binding the boards are attached to the bookblock before covering. You will learn how to work leather onto the spine, form head caps and paste down endpapers. Students are offered a choice of a quarter or half leather covering with decorated paper.
Advanced bookbinding
Library-style binding
The library-style binding was developed to withstand heavy use of books in public libraries. During the nineteenth century binding standards had dropped, and binders, while cutting costs on materials, were more concerned with appearance than durability. This focus of fashion over substance, with its consequent thin boards and elegant finishing, was unable to withstand constant and heavy use through the public libraries. To overcome the problem a style of binding was developed using many of the features of the binding of account books, and became known as the library style. Features of the library style are: sewing on linen tapes, reinforced endpapers, the flange and the split board. Leather over the joint is not pared and a French groove is introduced to allow the book to open well.
Bookarts
Exploring endpapers
Endpapers are a crucial component of a book's binding. Although we think of the binding as the cover, the endpapers are an important part of the binder's remit. Endpapers can be highly decorative and very beautiful or simply plain, but more importantly they have a functional role, forming the connection between bookblock and cover. Traditionally, the binding style selected for a bookblock was contingent on its size and use, and different bindings had different endpaper structures. In this class you will learn nine different endpaper structures. The class was originally part of the NSW TAFE Book Restoration Course, taught by Ted Chapman, and we are thrilled he will teach it at the Guild.
Introduction to tooling
In this introduction to tooling you will explore the use of a number of tools and techniques used for the lettering and finishing of book covers. You will use metallic and pigment foils, carbon and blind impressions. In order to gain practice and learn about pressure, dwell and heat, you will work on sample blocks rather than completed books.
Decorated papers
Historically, endpapers were often blank pieces of scrap paper, parchment or vellum that were used to keep the text safe from wear and tear, but have you ever opened a book and discovered the inside of the cover had a beautiful pattern, illustration, or colour? Paper for both covers and endpapers can be decorated using many different techniques. When paper is decorated by hand, no two papers will ever be the same. Though decorated papers are increasingly machine made, we often hanker to tailor make patterns to suit our own project.
Watercolour marbling
This two-day workshop covers the basics of marbling technique, providing participants with the skills and knowledge needed to create beautiful and unique watercolour marbled patterns. It includes: an introduction to watercolour marbling and its history; materials and tools; preparation of the marbling bath; colour mixing techniques; floating paint on the bath; manipulating paint; transferring patterns to paper; drying and finishing. The course also covers troubleshooting, tips, creative applications and more. Throughout the workshop, hands-on practice and experimentation is encouraged, allowing participants to explore their creativity and gain confidence in the watercolour marbling technique.
Watercolour marbling revisited
This is an additional day open to students who have completed a two-day marbling workshop with the tutor. It is an opportunity to revisit and refresh your skills. Paper is not included in the cost but some will be available for sale on the day, or bring your own.
Suminagashi
Suminagashi, 墨 流 し or ‘floating ink’, is the process of marbling plain paper with water and ink. It originated in Japan as early as the twelfth century. Spend a day exploring this ancient art of Japanese marbling and transform blank or printed sheets of paper and/or cloth into something beautiful.
Making bookcloth
It is rewarding making your own books but even more exciting if you can cover them with your own bookcloth. The range of colours, designs and textiles are amazing, taking you way beyond the limits of commercially available bookcloth. Almost any cloth can be transformed into bookcloth. In this class you will be taken through the process of backing cloth with rice paper to make it useable for binding. You will spend the day making bookcloth, up to A3 size, which you can later use to cover your books. All materials are supplied but you are also welcome to bring your own cloth samples.
Creative bookbinding
Millimetre binding
English master bookbinder Dominic Riley writes: ‘The millimetre binding is an elegant, strong, quarter-leather binding which is ingenious in construction and fairly straightforward to make.’ Developed by Danish master binder, John Haltoft, the binding is named for the sparing use of leather: only a millimetre of leather creeps onto the board. Although it is classed as a case binding, the attachment of the cover, or case, is very different to the traditional method which you learn in Level 2 and Level 3. The millimetre binding is a great introduction to the use of leather, which is used on the spine of the book.
Flexible sketchbook
Not happy with the sketchbooks from art supply shops? In this one-day course you will make a sketchbook which has the flexibility of a notepad with the strength and solidity of a hard cover bound, stitched book. Starting with several full sheets of quality art paper you will fold them down into sections then proceed with the binding. A varied and eclectic choice of covering materials will be offered so you can artistically personalise your book. The selection of paper, which is supplied, is Fabriano Accademia 160 gsm, Fabriano Rosaspina Bianco 220 gsm, or similar, depending on the paper the Guild is able to source.
Drum-leaf binding
The drum-leaf binding was developed by American artist Timothy Ely. It is a binding without stitching, held together completely with adhesive, making it perfectly suited to artists who wish to bind images into a book but do not want to have stitching breaking through the centre of their image. The codex structure is maintained but images don't have to be split to achieve the correct page sequence. The nature of the binding allows gatefolds and other folding variations without the actual binding becoming difficult. There are several different methods for finishing the spine and you will have a choice of the design you prefer. This book structure is less suitable as a blank book so you will be binding a printed bookblock, The Songs of Innocence and Experience by William Blake.
Coptic binding
Coptic binding is a style of binding a book with an exposed spine sewing and has been used for hundreds of years. In coptic binding, the sewing is done across the spine, sections are linked together using chain stitch, and the book is able to open flat, which makes it an excellent choice of binding for sketchbooks and journals. There are many variations and methods used to make a coptic book, and the combination of stitching and paper can be extremely decorative and appealing. In this workshop you will learn a one-needle sewing method and a four-needle method.
Stab binding – traditional and modern
This course is an exploration of stab binding using both traditional and modern techniques. We will begin by looking at traditional Japanese binding techniques and make one (or two) traditionally bound books. Then we will explore the application of stab binding to modern book making. You will have a chance to design your own stab-binding pattern and make a book with that. This will allow you to make patterns that reflect the book’s content and other features of cover design. Course notes and binding patterns will be supplied, as will basic materials.
Longstitch binding
The longstitch binding is a stationary binding from the early modern period of European history. Many of Leonardo da Vinci's notebooks were longstitch bindings. It is a simple stitched, non-adhesive method. The leather cover we make to protect and enclose the book is constructed as a slip-on cover so the notebook itself can be replaced when filled. You will have the choice of lined or blank paper.
Simple leather binding
In this class we focus on leather. You will learn how to use a leather paring tool. With this tool you can thin leather down to a thickness which can be easily turned in around boards. This is a stress-free introduction to leather paring! The binding itself will be a single section or long-stitch binding. This allows time to concentrate on the paring.
Introduction to letterpress printing
The printing courses are held at the Penrith Museum of Printing.
Poster printing with wood type
Do you love a beautifully crafted poster? Letterpress is an excellent medium for making a statement with words on paper. This workshop will cover the basics of letterpress printing with large hand set wooden and metal type. You will learn how to hand set type in a metal chase, design basics, inking up the press, printing and clean up. Experience how posters and banners were hand printed on an antique Albion press. Limit four people per workshop.
Introduction to the Adana press
Despite our increased reliance on technology for everything from work to getting groceries to meeting people, we are seeing the use of print in increasingly meaningful ways. The power of print breaks through all the digital noise. In this course you will be introduced to the Adana printing/proofing press. You will also see the Linotype machine up and running. You will type your name using the Linotype and then print it with the Adana press. Limit of four people per workshop.
Boxes and enclosures
Portfolio box
This classic portfolio style box is a versatile structure which can be adapted to house books (or other special objects or papers) which need protection. In this class you will be making a box to fit an A5-sized book or pages. Alternatively you can bring your content and measure the box to fit. The beauty of the box is enhanced by decorative papers and cloth. You will have a wide range of materials to choose from.
Lidded box
Boxes can be both beautiful and functional. A box can protect and extend the life of a book or artwork, form part of the overall creative concept, or it can be made for easy storage of prints, paper and objects. In this workshop you will learn these techniques and make an elegant (yet sturdy) double-walled, lidded and lined A5-sized box. Alternatively you can bring your content and measure the box to fit. Once you have made your first box it will be an easy step to customise the dimensions of your boxes to any size and even to other styles of box. If time allows, you will make a slipcase using the same construction techniques.
Clamshell box
Do you have a book which is valuable, precious or fragile and desperately needs protection? A bespoke box is what you need! In this class you will learn how to make a simple clamshell box. The skill of making good boxes lies in accurate measurement, so the end result is a box which fits the book snugly and closes well. To ensure you are learning the important details, you will have the opportunity to bring your own book and make the box specifically to fit.
