#embroideredbinding

This series of boards was inspired by a collection of full size boards which Neale Albert was shown during a trip to George Bayntuns in Bath in 2018. The boards he saw had all been made by members of Designer Bookbinders for a separate project on the theme of Architecture. This project gave Neale the idea for a new project: a series of miniature designer bound boards on the theme of music, three inches (7.62 centimetres) square in size. In early 2019 myself and a number of other binders were asked to participate in this project. Each binder was given total control of the design of their piece (as usual for Neale's commissions) the only common ground between them was to be the size and the musical theme.

Neale started collecting dolls house miniatures in the mid-1980's, which then progressed to commissioning miniature reproductions of his favourite things leading eventually to having entire miniature rooms made for him. But of course miniature rooms need miniature things to go into them, and naturally when Neale's second room project was going to be the library at Cliveden House in the UK he needed miniature books for the shelves! Initially these were blank books purchased at doll house shows until he discovered the world of real miniature books with real type and real illustrations. 

I believe that this was the start of Neale's passion for collecting miniature bindings, commissioning bookbinders from around the world to create miniature books for him. Over 250 of Neale's bindings are illustrated in the 2008 publication, “The Neale M. Albert Collection of Miniature Designer Bindings: A Catalogue of an Exhibition Held at the John Rylands Library 4 June – 18 October 2008”, and he has commissioned many more since then too.

When I considered the theme my thoughts naturally turned to cellos as I played the cello up until the age of 20. I made it all the way up to Grade 8 (which seems unbelievable to me now as I can barely remember how to read music anymore!) and was a member of both the orchestra at my secondary school as well as a local music centre. I started learning the cello when I was at primary school - here I am on the far right!

I was also part of a record breaking attempt in 1998 and made it into the local paper (below on the right!). Nearly 4000 young musicians got together at the National Indoor Arena in Birmingham along with the City of Birmingham Symphony Orchestra and the conductor Sir Simon Rattle to perform Sir Malcolm Arnold’s Suite No.2, along with school children from all over the country - we successfully broke the previous record of 2212 musicians! 

Sadly leaving home to go to university was the end of my cello playing as I decided I didn't want to take such a large instrument away with me. It sat in the cupboard at my parents house for many years however I am pleased to say that it has finally gone to a new owner and is being played again. 

As luck would have it a neighbour of mine is a luthier, based in Somerset and specialising in cellos. Kai-Thomas Roth was born in Germany. From the age of eight he knew he wanted to become a violinmaker and made his first instrument at the age of thirteen. After training as a cabinetmaker in Switzerland he came to England to study at the Newark School of Violin Making. Following work experience in the trade he established with his wife Caroline Crowley their business as makers of fine instruments of the violin family in 1990.

Below: Head of Baroque cello, No 103, after Guadagnini (Photo Credit: Kai-Thomas Roth Instgram account @kaithomasrothcellos)

Specialising exclusively in making bowed stringed instruments all experience and expertise gained since 1986 are concentrated on the manufacture of these intricate complex artefacts. For that reason Kai-Thomas neither has a shop nor employees and he does not deal in old instruments or undertake repairs. This puts him amongst the few makers who immerse themselves completely in creating instruments but amazingly he's never played the instrument he so lovingly creates!

I approached Kai to ask whether he had any technical drawings of cellos that I might borrow to base the design of my board on. What he lent me was a drawing of a “Violoncello Piccolo” made by Johann Christian Hoffmann in Leipzig in 1732. This instrument belongs to the Museum of Musical Instruments of Leipzig University and the maker was in Leipzig at the same time as Johann Sebastian Bach. This violoncello is a small cello that would be played braced against the shoulder rather than between the legs. This instrument is also a five-string version of the instrument, standard cellos have just four strings.

The inner board was made up as I would make up the board for a binding. Two 1mm think squares of Gemini board were glued together, with a piece of kraft paper glued on the inner side of the board and two layers of 145gsm water colour paper to the outside. Once dry the outside face of the board was bevelled using sandpaper.

The front of the board is covered in “Colvert” coloured bull skin from the Remy Carriat Tannerie in France, this was edge pared for the turn-ins using my Brockman paring machine and then further pared with a rounded scalpel blade. The bull skin is very stretchy and difficult to pare with a conventional paring knife so I have found through experimenting that I get the best result using a scalpel with a size 23 Swan Morton blade in it.

I traced the scroll section of the cello, including the top peg, onto some paper and transferred this onto the back of the leather I chose to use for the board. I then embroidered a series of individual short lines in a variety of colours of cotton thread to break up the uniform blue of the leather. These stitches were done around the outline of where the scroll was going to sit on the board.

The leather was then pasted to the board, turned in and left to dry. I then cut out the outline of the cello scroll (within the line of stitches) and peeled this away to leave a void. I used two varieties of veneer (Rosewood and Elm), which I backed onto card to give extra thickness and strength, cutting them out very carefully with a sharp scalpel so that they exactly matched the void that they needed to fill.

They were glued in place using PVA glue and held with small clips whilst the glue dried to ensure that they dried flat. Where the veneer met the edge of the board I bevelled the veneer to match the profile of the leather as it thinned towards the edges.

I forgot to take too many photos of how I built up the detail on the veneered sections of the board (I was enjoying this part too much and forgot!), but I drilled small holes right through the board using a fine drill bit in my Dremel and added outlines using thread sewn through these holes. I also added a thin wash of acrylic paint to some areas of the veneer to add an appearance of shading and depth to the surface, plus I also included some detail in gold leaf to jolly up the design!

Finally, I used thin gold wire that was also passed through more small holes drilled in the board to depict the cello string wound round the topmost peg. The wire was passed through the board and embedded into the reverse before being covered with the infill on the back of the board.

Once the back of the board had been infilled and built up it was time to work on the design for the back of the board. I cut a small piece of vellum to 3 inches square and traced another part of the cello technical drawing onto the reverse of it using a light box. This section included part of the F hole and the bridge that supports the strings. 

I was then able to use these lines as a guide for embroidering the design using the same colours of thread as used on the front of the board. 

I also used some gold leaf and small elements of the “Colvert” bull skin to match what I had used on the front of the board. 

The back of the board was built up with a couple of layers of Zerkall paper and sanded flat. Once the vellum was complete I stuck it down to the back of the board and left it to dry, making sure I rubbed it down all over to ensure it stuck down properly.

And so we had a completed board! All that was left to do was to add my signature and a small number annotation to the vellum back of the board then it was photographed and posted over to join the other boards in New York. This was a very pleasurable little project to work in in amongst other commissions and I was pleased to reminisce back to my more musical days!

The bindings were to be covered in a neutral linen bookcloth that I ordered from Winter & CO, “WICOTEX® - Natuurlinnen 2041 - Tamar Cream Natuurlinnen”. 

I decided the best method was going to be to work on the leopard cut-out off the book. As the bindings were going to be quite large, the linen book cloth was going to be difficult to embroider onto so this was to aid this part of the process to make it more manageable.

I cut out the leopard outlines from thinly pared pale yellow leather. The onlays were then painted with acrylic paint to build up a background colour.

I then selected a range of orange, yellow, cream and white threads and began to embroider the leopard cut outs.

I used tiny stitches, overlapping the colours to blend them together.

I worked little by little across the two leopards, working one colour at a time so that they were as similar as possible in appearance. I left the very edge of the leopard outline free of stitches, knowing that I would add these in once the leather cut-out was stuck to the linen covering cloth.

In order to make sure that I was going to sew the leopards black spots in the same pattern on both of the cut-outs I punched a series of holes through the paper leopard template where I wanted each to be. This was then placed on the reverse of the sewn leather onlay, and I marked through each hole with a marker pen.  

I was then able to create the leopard’s black spots using the black spots I had marked on the reverse as a guide.

These spots were built up using a series of knots, creating clusters of dots to form a pattern all over the body of the leopard.

As with the base threads, the spots were also embroidered within the outer edge of the leopard shape, with the outer stitches to be completed once the onlay was stuck onto the covering linen cloth.

To correctly place the title onto the linen cloth for embroidering, the paper template was stuck down with masking tape in the correct position and the lines of the title letters were pricked through with a needle pricker. This marked where the stitches needed to go.

I matched the colours on the initial design to thread colours. The lines were then embroidered with a running stitch, and then I used a whipping stitch to consolidate the running stitch.

On the back of the linen cloth, the end of the threads were woven behind the stitches, and once I had done all of the stitching these were trimmed so no loose threads were present.

At this point I was able to stick the embroidered leopard cut-outs onto the linen cloth using PVA glue. I then finished off the tiny base stitches in the orange, yellow, white and cream threads and also finished the black dots around the circumference.

The back of the linen below shows what it looked like once all of the embroidery was complete.

I next moved onto the construction of the outer cover. A case was made, sticking laminated boards and a spine piece to the linen cloth. The cloth was turned in and the inside of the boards were infilled and sanded flush. The back and front boards were then finished with a mandarin orange coloured paper stuck down as a doublure.

The plan was to sew each of the seventeen sections into the book using linen threads. I therefore needed to drill a series of holes through the spine section of the case to allow me to attach each section directly through it.

I made a template from card, with lines marked in the corresponding thread colour order.

This was then clipped to the spine section using bulldog clips and I marked a point at each of the holes using a bodkin. I then removed the template, and using a 0.8mm drill bit, drilled a hole at each of the points using my Dremel.

Section by section I then attached them onto the spine, making sure I pulled the threads as tightly as possible to keep the sections taught against the spine of the case.

The threads were ordered from Hilke Kurzke at Büchertiger. To get a good match for the five colours I largely ordered Crawford Threads (Orange Crush, Fuchsia , Autumn Yellow and Turquoise) with the final length being Lin Cable (Vert Clair).

The following images show the completed book...

COVER AND SPINE DETAIL

THE BINDINGS OPENED NICE A FLAT USIGN THIS METHOD OF BINDING, ALLOWING THE PAGES OF THIS LARGE BOOK TO BE VIEWED WITH EASE

THE TWO IDENTICAL BINDINGS SIDE BY SIDE

DETAIL OF THE PAGES, WITH THE COLOURED THREAD TIED ON THE INNER FOLD OF EACH OF THE SECTIONS

In the words of Brooke Crutchley, `”Bridges on the Backs is unique - it opens like a lady's handbag; unique in other ways too and, I think, my favourite of the larger books, perhaps of them all. David Gentleman's drawings are delightfully reminiscent of youthful Cambridge in summertime. Peter Eden in his text and captions carries his erudition with consummate grace, and the overlapping illustrations, a la Humphrey Repton, never fail to surprise.”

The nine illustrated drawings depict all the nine Bridges on The Backs, a picturesque area to the east of Queen's Road in the city of Cambridge, England where several colleges of the University of Cambridge back onto the River Cam. The name "The Backs" refers to the backs of the colleges. Historically, much of the land was used by the colleges for grazing livestock or growing fruit. Cattle can still be found grazing behind King's College. The river was also an important commercial thoroughfare to the mill at Silver Street.

I wanted all of the bridges to appear in the binding and box in some way. I began by looking at images of each of the bridges online (unfortunately time didn’t permit me to visit Cambridge in person as I would have liked to do). The bridges are as follows: 

Great Bridge (now known as “Magdalene Bridge”)

St Johns New Bridge (otherwise known as The Bridge of Sighs)

St Johns Old Bridge 

Trinity College Bridge

The beautiful bridge which crosses the River Cam at Trinity College dates from 1764 and was built by James Essex, a builder and architect who worked at many of the Cambridge colleges. It replaced a stone bridge built in 1651.

Garret Hostel Bridge

Clare Bridge

Kings College Bridge

Queens Bridge (otherwise known at the “Mathematical Bridge)

Silver Street Bridge

The Silver Street bridge, designed by Sir Edwin Lutyens in 1932 built in 1958-9, it is an arch bridge that carries both vehicular and pedestrian traffic across the River Cam in Cambridge. It is a site of bridges dating back to the 14th century.

I had never bound a book in this format before, with the spine edge at the top of the text block - this led to some interesting design challenges. Because the book was an unusual structure, and the illustrated pages had additional flaps revealing how the bridges looked in previous incarnations behind each one, I wanted to make sure that the pages would open well to facilitate the opening of these flaps.  I therefore chose to bind this as a stub binding.

I chose papers to match the colours and tones of the illustrated drawings: grey and mustard yellow. As there was more bulk at the front edge of the book due to the tipped in flaps I had to compensate for this at the spine. I folded up stubs for each of the sections but also had extras in between these to make up for the difference in thickness. Initially the stubs were sewn to their relevant sections using linen thread.

These stubs were then sewn together onto four tapes to create the text block. 

Once the text block was sewn up I started to work on my ideas for the cover design, endpapers and doublures. For each of my bindings I make a small sample board to test out ideas ahead of making the actual binding.

I looked at images of all the bridges, for the endpapers and doublures I wanted to “mirror” two bridges on each, so I paired up the bridges that best matched each other - for example Clare Bridge and St John’s Old Bridge each had three arches, and Silver Street Bridge and Kings College Bridge had one each so they were natural choices to go with one another.

I drew line drawings of these bridges and then cut the silhouette of each out of paper that I had textured using a roller with black ink on top of a textured surface.

Further detail was added to these papers through the application of suede onlays, black paper cut-outs (for the pillars) and gold leaf that had been adhered to Japanese paper. In the below picture you see part of the doublure for the sample board being made. 

Lines were also embroidered through the paper. These holes were pre-pricked with a needle pricker through the front and then carefully embroidered using a running stitch. Care must always be taken when embroidering paper as it is prone to tearing. The thread was then whipped around with an additional thread on the front face of the doublure.

Once I had worked out which bridges to put on the endpapers and doublures I was able to choose which to have on the front and back covers of the binding. This was a binding of two halves, more so than any other I have ever done. The different format of this text block meant that the front and the back cover played different parts in the design, therefore I chose the two most contrasting bridges for on the front and back covers: St John's New Bridge (The Bridge of Sighs) and The Great Bridge.

I thought that the Great Brdge would work well with the gold on black against the more ornate look The Bridge of Sighs. I started by using my light box to help draw the outline of the bridges.

  I then pieced these together into a full cover design. At the time of drawing this design I wasn’t sure if I might want to join up the front and back covers across the spine in some way. With this in mind I scaled up the front and back images so that the lines of each, if carried across the spine, would meet with each other. 

For the sample board I chose to trial the Bridge of Sighs part of the design. This particular bridge was built in 1831 and it named after the Bridge of Sighs in Venice. The design was built up using a variety of leather onlays, machine embroidery, hand embroidery and also onlays made by sticking gold leaf to Japanese paper.

This sample board is number 52 in my series.

Back to the text block, the endpapers were made up by laminating the illustrated bridge paper sheet to a plain bi-folded sheet, capturing a long, thinly pared, piece of leather (0.4mm) between the sheets at the edge - this would later get stuck down and become the leather joint. 

A waste sheet and compensation guard were also added this endpaper unit to protect the endpapers during the rest of the forwarding and covering process. This endpaper could then be sewn to the text block.

The book block was then rounded with a backing hammer. I drew the thickness of the boards onto the outer waste sheet, plus a little extra (as seen below indicated by the thin black pen line). I then placed the book block into my backing boards to this line in order to make sure the shoulders were made at the correct place to allow the boards to sit perfectly within them. 

The top and bottom text block edges were then sanded flat, and the foredge sanded into a round by wrapping some sandpaper around a piece of dowel of the correct diameter. Double-core end bands were sewn, the boards attached and bevelled at the edges. I was then ready to proceed with the leather work!

Given my choice of using two contrasting bridges on the cover design, this meant that I needed to scarf-joint two contrasting leathers together: black goat skin for The Great Bridge and fair calf for The Bridge of Sighs.

Onlays, and plenty of them! I don't like to throw anything away so even the edge parings that come off the back of the leather after running it through my Brockman paring machine get kept. I back them into lens tissue and use them as onlays - it gives a whole new colour palette in addition to conventional onlays.

This book mainly used greens and greys, I adapted the colours I had used on the sample board (one reason i do the sample boards - to test colours out in advance!). I cut all of the shapes out using a scalpel and fine scissors.

The onlays were glued down in place using PVA through a tracing paper template, using a ruler for extra accuracy.

I find my fine-pointed tweezers one of the most useful pieces of kit I own, perfect for picking up small pieces and getting then stuck down exactly where you need them to go!

After the onlays and backparing came the embroidery, the bit I enjoy the most! For this binding I machine-stitched the multiple linear border lines to speed up the process and then whipped over the top of them with cotton threads.

Tiny flecks of different green threads were hand-sewn to break up the colour of the green onlays beneath. 

When embroidering a large piece of leather, it is not possible to use an embroidery hoop as the leather is too thick so I coil up the leather and hold it in place with bulldog clips at the top and bottom. This makes it much easier to handle.

As well as using cotton threads I also used slightly thicker skeins for the larger patches of detail.

Plus you can't beat a bit of metallic thread! This was embroidered over the onlays that were made from gold leaf stuck to Japanese paper.

I always love to capture what the back of the leather looks like post-embroidery, after all this won’t be seen ever again!

The same process applied to the Great Bridge side of the cover. The onlays were stuck down, back-pared and embroidered. I used a tracing paper template to prick where I needed to sew the metallic thread lines that would lie alongside the gold onlays - I was going to wait to glue these down once the book was covered (I will cover the reason for this later).

The actual Great Bridge has gold elements on a painted black behind so I naturally chose to depict these gold elements using gold leaf. The gold leaf was stuck to Japanese paper squares using PVA glue. I then cut out the required onlays and put them to one side until the book had been covered.

Because it is necessary to dampen the leather when covering the book, I decided to stick on the gold onlays after the book had been covered, to avoid damaging the gold.

So, with all of the embroidery complete it was time for covering!

The text block had been bevelled and back-cornered in preparation. The text block was capped up with paper and cling film to avoid moisture getting to the text block during the covering process.

The leather was dampened with a water atomiser ahead of pasting the back out with home made paste. The dampening was done to prevent any marks on the front of the leather due to the paste being drawn through unevenly.

The book was left to dry between blotters overnight, changing the blotters regularly to draw out the moisture. The following day I was able to open the book up and lay down the leather joints. Once these were down the back of the boards was infilled with watercolour paper, then a layer of Zerkall paper. This was then sanded flush. The surface was then ready to have the decorated paper doublures stuck down onto it. 

I then added some blind tooling detail in between the sewn lines using a hand-made finishing tools.

Plus I also added more detail using carbon tooling within the window spaces of The Bridge of Sighs.

Once the binding was dry it was also time to add the gold detail onto the Great Bridge section of the book. I first gold-tooled some circles directly onto the leather. The decorative gold onlays were then stuck down within the metallic thread lines I had sewn previously before the book was covered.

Here shows the sample board on top of the covered book - the differences in the colour of the leather onlays and sewing threads are apparent.

The final part of the tooling process was to tool each of the bridges names on a coloured leather to correspond with the appropriate part of the book or box.

A title was also carbon tooled to go onto the lid of the oak box the book was to be housed in. This was then embroidered with small flecks of different green threads, like on the book cover.

It was then time for photography! I take all of my own photos now in the conservatory of our house as the light is by far the best there than anywhere else in the house.

With a “standard” binding I would take a photo of the book with both covers open, however it doesn’t really work for this book as the orientation is wrong!

FRONT OF BOOK: St John’s New Bridge

BACK OF BOOK ALONGSIDE OAK BOX: The railings of the Great Bridge were carried over onto the spine of the book, with the ends feathered out using little carbon-tooled lines. the box was made from oak with the title strip stuck to the front.

THE HEADBANDS:

THE BOX: The box was made so that the book could sit open for display within grooves in the box lid. There are six of the nine bridges illustrated on the binding. Images of the three bridges I couldn't fit in sit in the box creating the grooves for the book to stand upright in!

DETAIL OF THE FRONT ENDPAPERS AND DOUBURES: With rather unexpected luck, this commission was being gifted as a wedding present. The couple met at Cambridge University and so happened to be at Clare College and St John’s College respectively - the two bridges I had mirrored inside the front cover!!