I printed tyre tracks on the endpapers and doublures using the “soft-plate offset” printing method. ~ The two sample boards pictured together
I chose two different, but overlapping, sections of the design so that they could be laid together to create a larger sample image of the whole binding design. The cover design of the book shows a bike chained to a lamppost on a New York Street, with three pigeons wandering around on the pavement (or should I say ‘sidewalk’?!). These sample boards are numbers 25 and 26 in my collection and measure approximately 125mm tall by 75mm wide. In this case, I had made two sample boards – one for the first maroon binding and the other that I have just finished covered in dark brown goatskin. I had even cut out and stuck down the onlays and pared the leather so the only thing that was holding me back was the embroidery! Earlier in 2020 the COVID-19 pandemic struck so I set myself the task to complete this binding, given we couldn’t go out anywhere it seemed like the perfect opportunity to attempt to finish it.Īs with all of my bindings, I create sample boards to test out ideas.
#Text blocks for bookbinding plus
I made the endpapers for both books at the same time so they were ready to go, plus the book had been forwarded and was ready to be covered. More detailed information about the book can be read on The Midnight Paper Sales website.Īs the first binding was made a long time ago, this second copy had been on my “to do” list for a very long while and sat dormant in my plan chest for much longer than I had intended. It is a very personal account that documents the process of one New Yorker, among 19 million, dealing with the World Trade Center tragedy: from the initial shock through the process of returning to some sense of normalcy. By chance it just so happened that I was in New York very shortly before I started to work on the first binding, perfect timing given the book is set in the city. I selected the text at the end of 2012 and began the first binding a year later. I had seen some of the woodcut prints Gaylord had done for the Bicycle Diaries when they were on show at The Schneideman Gallery in London a few years before and loved them and I had also previously bound a copy of his publication, ‘Mayflies from the Driftless Region’. I have always loved the woodcut prints done by Gaylord Schanilec at the Midnight Paper Sales Press, so for me that was my first choice when selecting which text to bind. ~ The first version of this text block I bound in 2014 The exhibition opened at the St Bride Foundation on 15th May 2014 and then toured venues in the USA through into 2015. The four UK presses that participated were Incline Press, The Old School Press, The Old Stile Press and The Whittington Press and the five from North America Arion Press, Barbarian Press, Midnight Paper Sales/Gaylord Schanilec, Shanty Bay Press and the Lone Oak Press. Four British and five North American private presses supplied a total of twenty-eight different texts. It was an exhibition of sixty-five contemporary bookbindings from thirty-four UK-based and twenty-five North American binders. Inside OUT celebrated the art and craft of contemporary bookbinding and printing. The first copy, covered in maroon goatskin, I completed at the very beginning of 2014 for the Designer Bookbinders exhibition, InsideOUT. This brown leather version was for the illustrator of the book, Gaylord Schanilec who owns the private press called Midnight Paper Sales Press.
This copy of ‘The Bicycle Diaries’, is the second of two bindings I have done for this text block and it was sent off to its new owner back in November of 2020.
~ The Bicycle Diaries: One New Yorker’s Journey Through September 11th, by Richard Goodman
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