As I bring this project to a close I’m struck by how much I’ve learned on this journey.
My first decision was to create a duplicate of every component as this was totally experimental. What I see in my head isn’t always what works in reality, although as a very visual person I’m usually not far off the mark.
The brief I set myself was:
- No outside sources to be referenced
- Double articulation, i.e. internal and external joints
- Add an inclusion to the exterior
- All colour and design to be my own
- Trial new paper not used in my work before
- Build 2 variations on a theme
I can confidently tick all the above as well as the criteria I preset when designing the linocut.
The top image was the first to be completed and I like the idea of the black separation but feel the stitching lets it down. I used a single thread, alternating between wrapping to the front or back of the black strip as I traveled down the length of the front. In hindsight I should have used 2 threads through each hole and simultaneously wrapped front and back. The stitching would have been closer, tighter and more uniform.
Having realised that, that’s exactly what I did with book 2. Two threads were passed through each bead, in opposite directions, before moving down the length of the cover to the next hole and so on. This has held the two half-covers together much more robustly and produced a more professional finish.
I’m pleased I decided to extend the image from the outer covers right through to the first signature, and the same on the back inside cover.
A better look at the inside front design.
The back of the book with the front covers folded back at the mid-point.
Covers and concertina: 200gsm Magnani Pescia Editions paper
Signatures, black strip insert & back panels: 130gsm Magnani Pescia Editions paper
Acrylic paint, including metallic gold, Gamblin oil-based printing ink + extender
Linen thread 16/2
No 6 glass beads
The result is all I hoped it would be and I’m ready to start something new.
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