Cambridge panel binding - Georgian trade bookbinding
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- Опубліковано 16 жов 2024
- In this video our bookbinder is working on a new book, which he is binding in the manner of a late seventeenth or early eighteenth century trade binding. This form of binding has interconnecting panels and is usually known as a 'Cambridge panel' binding. First you will see our binder dyeing the calf skin and then reserving parts of the binding and sprinkling with a darker dye. The dye used are authentic vegetable based dyes and these are fixed with a coat of tallow and beeswax. The final part of the process is the tooling, modern fillets and pallets are used in combination with antique centre tools. The final product is a beautiful, rich and decorative.
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What a beautiful job you made of that book. Such craftsmanship.
Beautiful
Always interesting to see how another binder works. It's true that many bindings of the period do have lines running past their end point, but not quite as much as in this case, to be honest. Also, the decorative frame around the inner panel would have been made with a roll, not a pallet, so the pattern is continuous and can end neatly at a corner. Again, the initial painting of the leather with dye overall did not happen - the dyed panels were applied on to the plain leather (except where the initial plain binding was sprinkled all over with a fine mist of dye). The dark background colour of these bindings today is the result of age and dirt not a coat of dye. Finally, a tip for getting the proportions of the panels right - divide the width of the cover into eleven parts and make the outer frame 2 parts wide all round, the inner frame 2 parts wide all round which leaves three parts for the width of the inner panel. These proportions always look right, on any size book.
Thank you for your very kind and helpful comments Christ. This video was recorded in 2012 and I do rather bristle myself now when I watch it - I have rather progressed in my technical skill and in my knowledge since then and also in my collection of tools! I only use rolls for gold tooling and when I do a Cambridge panel, I tend to add flourishes along the edges of the fillets with gouges. Keeping it simple! Perhaps it is time to upload another video of where I am now. Rather than applying the stain to the undyed leather as in this video, I now use full dyed skins for this kind of work. I dye fair skins with the vegetable dye, then dress it with olive oil and tallow. Once the skins have been staked and have rested for a month they are useable. I bind with this stained leather and then use iron gall ink (or copperas) to sprinkle the panels. Just one question, are you suggesting that the panels were onlays? That's not quite correct they were sprinkled solid or even sponged or brushed on in all the many original examples I have handled. I agree the eleven-part proportion is a handy tip and it does work. I tend to use that in my work (see below), but a study of original examples makes it clear that this was not a universal practice in the period that these bindings were prevalent, and the vast majority were I suspect simply tooled by eye. Out of interest below is a link to an image of the Cambridge panel I completed just last week, a rather different beast to the one in this video in 2012. The thing I love most about this wonderful craft is that one is always learning. instagram.com/p/BsqmSY2gJv7/?
@@theguildoftheophilus5069 You are quite right that many (if not most) Cambridge panel bindings were originally set out by eye rather than to any set proportions. I did not mean to suggest the sprinkled panels were onlaid - just sprinkled direct onto the leather with a mask where needed. As regards dyes, I use spirit dyes either sprinkled or if all-over applied with a sponge. I look forward to your next video clip.
Great technique ideas, thanks for posting. A little more information about what and how would sure help.
Great project and lovely music!
This video was delightful to watch, thank you
Very fine work, like the originals, or better. He was just trying to get a Handel on it...
Eventually to become a Bach binder.
Damn! That's beautiful. Thank you.
I'm glad you like it.
A lot of the lines of the decorative inner pattern seem to go well beyond their intended place, should they have used a thicker cardboard to protect from the heat of the tool?
Would a silicone rubber be a better option for protecting other parts from heat?
The intention here was to create tooling and explore original methods not striving for something produced with sterile modern exactitude. If you look carefully at original bindings of these era, which were more or less mass produced, they are similarly inexact with the lines running beyond their intended place.
For most small Bibles, what would one feel a need too redesign one? Text back within these next ten minutes.
Amazing Craft ,how can i get the pattern Stamps any recommendation or suggestion
what is the name of the tools that you use to make books? have you any list of that? please :3
Wow!
old binding nice
Fascinating. Just curious: How long of a project is something like this from when you start until when you end?
About seven or eight hours.
What page size is this?
BarNunn: 👍🏻😜
Umm Georgian is 18th century, gorgeous work though
Yes, this binding style was popular until about 1740.
Ужас 🤦🏻♀️🙈 как не аккуратно. Обложка вздулась. Вся в отпечатках пальцев и бороздах...
Thanks for your post, but I'm not entirely sure what you are critical of. While I am tooling the leather is still covered in tallow and beeswax which pick up fingerprints as you work, but they are all removed once the tooling is done and the binding is polished. The furrows I don't understand, you can see the sewing attachments under the leather, is that what you mean? As for being swollen, I don't know what you mean at all by that. The pastedowns haven't been stuck down yet, that is the next process, so there is a little bowing in the boards as you would expect at this stage, but the pastedowns rectify that. I suppose it is not to everyone's taste, but what I am trying to evoke is an early 18th century trade binding, not a modern fine binding. They are very different things with different processes.