Airbrushed Cave paper over boards; tipped on Tiziano endsheets;
unsupported link stitch. Dimensions: 21.5 x 13.8 x .8 cm. In reading the text… I appreciated the discussion of the various kinds of decorated papers. It inspired me to create my own decorated cover paper for this book using a metal bonefolder to score a geometric pattern into the paper, which I then folded, airbrushed, flattened, and attached to the cover.
Amy wrote a short post on how she made the paper for Bonefolder Extras here. The second edition text of Ernst Collin's Bone Folder can also be freely downloaded laid out for binding using the link in the left sidebar.
Swatches of decorated papers and other materials were regular features of German bookbinding publications, whether books or journals. Below the swatches included with Paul Kersten's Der Exakte Bucheinband (1923), one of the iconic manuals focusing the Franzband (Extra binding with 90 degree joint and laced-on (usually) boards. The text appeared in multiple editions with the 1909 available in HathiTrust. Swatches there start on page 223.
Notice how the vendors for the papers are listed with/below the swatches, as well as what the paper the swatches are mounted on. This is allows the binder for whom the publications were written to know exactly where to procure them.
A short video of the testing process on my salmon parchment conducted recently by Tim Barrett at the University of Iowa Center for the Book Research and Production Paper Facility.
So, how did the tests go? Douglas Adams, author of The Hitchhiker's Guide to the Bookbinding Materials wrote, "salmon skin is strong. You just won't believe how vastly, hugely, mind-bogglingly strong it is."
TESTING REPORT
University of Iowa Center for the Book
Research and Production Paper Facility
October 17, 2019
P. Verheyen provided samples of goat skin parchment and fish skin parchment, both of about the same thickness. An MIT Folding Endurance tester and an Elmendorf Tear tester were used to gather the reported data, although both are designed for evaluating the mechanical properties of paper, not parchment. The two related TAPPI standard procedures used were T 511 and T 414. The following important exceptions to the specified steps occurred during the tests:
None of the specimens were pre-conditioned or conditioned nor was testing done in a temperature and humidity controlled room. RH varied between 30 and 42%.
Only two strips of both parchments were subjected to fold tests and 13mm wide strips were tested rather than the specified 15mm wide strips.
One ply of each parchment was used for the tear testing.
Three fish skin parchment tear tests were attempted and all were disqualified because the required tears across the full width of the specimen were not possible due to the strength of the material.
Below the test results:
Material
Test
Tests
Final Averages
Fish Parchment
Fold
2
79,338 folds
Tear
3, Disqualified
NA (Did not tear across full width due to strength)
Goat Parchment
Fold
2
12,015 folds
Tear
6
784 gr/cm
UICB Flax Papercase Paper,
circa 1992
Fold
60
4501 folds[1]
Tear
60
828 gr/cm[2]
[1] Average from test strips cut in both the chainline and the cross-chainline directions.
[2] Average from test strips cut in both the chainline and the cross-chainline directions.
Used my last piece of salmon parchment to have it tested for fold and tear strength, so had to make a new one. Note the translucency! So glad Wegman's has salmon fillets in a family size. Good to have Fritz Otto around to hold it up for photography...
Very glad to have had @bookbinderbarbie visit this summer – THE highlight in my studio.
Don't stop learning and binding, and keep in touch.
Honored to have won "Most bookbindery photo?" The NBSS knit hat will keep me toasty during our brutal Syracuse winters and in the slightly warmer studio.
Fritz Otto says a professional always makes sure their Kittel (lab coat) is clean and crisply ironed to start the week... This tacking iron is almost the right size, still need a proper ironing board though.
Fritz Otto washes, bleaches, and irons his lab coat every weekend, well almost every weekend.
Below, the workshop of the Kunstgewerbeschule Hamburg under the direction of Professor Kurt Londenberg, former student of Ignatz Wiemeler. From the December "Bilderbeilage" of the Allgemeiner Anzeiger für Buchbindereien, [after 1957]. Note the nice crisp lab coats.
