Table Of Contentre-bound
creating handmade books from recycled and repurposed materials
JEANNINE STEIN
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CONTENTS
Introduction /6
CHAPTER 1 Getting Started /8
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Stitch Glossary /141
ASbuopuptl itehse a Anudt Rhoesr o/u14rc4es /142
Acknowledgments /144
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INTRODUCTION
Making a book is one of the most satisfying artistic pursuits. Books offer limitless
possibilities—they can be functional, sculptural, or both. From concept to design to
construction, each step offers challenges and opportunities.
Most functional handmade books—journals and photo albums—are made from some
combination of book board, paper, bookcloth, and leather. In over a decade of creating
books out of these materials, I’ve never tired of learning new techniques and perfecting
old ones.
But book artists are always looking for more. After years of using traditional elements,
I found myself inspired by unorthodox items—nineteenth-century photographs, rusty hard-
ware, textiles, roof fl ashing, and cracker boxes. I was excited at the prospect of working
with unconventional materials, and I discovered a different kind of satisfaction in taking an
item intended for a specifi c function and recycling it into a one-of-a-kind book.
A recycled book’s theme or function can match the materials—or not. An empty pasta
box could house recipes, or bingo cards could become a baby book. There are no rules
or limits.
An added bonus to using recycled materials is that it’s eco-friendly and keeps trash out
of landfi lls. It also reminds us that although we live in a throwaway culture, things can, and
should, be repurposed whenever possible to live another life.
6 RE-BOUND
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The projects in this book incorporate a wide variety of materials that, while familiar,
may not be in every book artist’s repertoire. For those who have made books before, I
encourage you to embrace potato-chip bags and window screens and take your artistry
to a new level.
For those who are venturing into completely new territory, this is a great way to start
making books. Materials are as close as your kitchen cabinet, and the basic tools
needed are few and inexpensive.
Also use these projects as inspiration for further endeavors. Devise creative
challenges with yourself and friends to see what kinds of books can be made
from automotive supplies, toys, or old clothes.
So dive in. Any day you can make a book is a good day.
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CHAPTER 1
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Unfamiliar materials present creative challenges that Bindings add another exciting element to books.
start ideas fl owing. The best way to start working with new Most traditional bindings can be applied to recycled
supplies is to handle them and see what they can do. Can items—cabinet cards are made of chipboard, so they can
they fl ex enough to wrap around a text block? Are they be bound with a simple accordion structure or a link stitch.
easily cut with a craft or utility knife? Which adhesives But don’t stop there—recycled items also lend themselves
work best? Does an object lose or gain appeal if it’s pared to developing new bindings. Take advantage of elements
down? Potato-chip bags, for example, don’t suffer at all such as metal mesh and rubber to produce innovative
when cropped, since their bold, iconic images are so easily stitching patterns.
recognizable. Set aside time to experiment.
Some materials may need shoring up before they reach
book status. Extremely lightweight items such as potato-
chip bags can be reinforced with Tyvek, a high-density
polyethylene that’s used for home building and overnight
shipping envelopes. Fabric gains heft by fusing it to inter-
facing. Even brown paper grocery bags make sturdy linings.
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Parts of a Book
Text block
Head
Bookbinding has its own terminology, and it helps to know
the anatomy of a book:
Head: Top of the book
Tail: Bottom of the book Spine Fore edge
Spine: Edge where signatures are sewn or pages are
bound; may be open or closed
Fore edge: Where pages open
Tail
Hinge: Material that connects parts of the cover so the
book can open Hinge
Text block: Inside pages of the book
Folio: Single piece of folded paper
Signature: Several folios nested together. Nesting several
folios causes the fore edge to push out; this is called the
fore-edge creep, or just creep. The heavier the paper, the Folio
bigger the creep will be. The creep can be left as is as a
mark of a handmade book, trimmed off with a heavy-duty Signature
paper cutter, or removed by holding a metal ruler fi rmly
on top of the signature and slicing off the edges with a
craft or utility knife. The creep is important to keep in
mind when measuring a book because it will add to the
signature’s width.
Fore-edge
creep
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