Guidelines and General Information for Students
in the CBBAG Home Study Bookbinding Courses
THE CANADIAN BOOKBINDERS AND BOOK ARTISTS GUILD is an incorporated (not-for-profit) charitable, international association of over 500 members, dedicated to the support and promotion of the book arts. CBBAG has been teaching workshops (one, two, and three days) and courses (five or six days) since 1983, a total of over 400 to an estimated 1000 students. In 2002 over 30 In-Studio workshops and courses were offered. Instructors are recognized professionals in their fields and have included among others: Betsy Palmer Eldridge, Donald Taylor, Reg Beatty, Joe Landry, and Kate Murdoch, and guest instructors such as Louise Genest, James Brockman, Hedi Kyle, Deborah Evetts, Carol Barton, Claire Van Vliet, Daniel Kelm, Don Guyot, Christopher Clarkson, and many others.
The Canadian Bookbinders and Book Artists Guild offers Bookbinding I, II, and III as In-Studio workshops of five or six consecutive Saturdays or Sundays, as six-day intensives, and as Home Study courses. It is the intention of CBBAG that Home Study and In-Studio instruction be used to reinforce and supplement each other.
The following information is a guide for students who have enrolled or plan to enroll in a course. It is an outline of requirements.
It is possible to use a Home Study Course as a pre-requisite for enrolling in a CBBAG In-Studio workshop or course by enrolling in the Monitoring Stream and completing all Submissions satisfactorily. The Resource and Reference Stream is not acceptable as pre-requisite for In-Studio courses.
The CBBAG Home Study Programme consists of five segments: Bookbinding I, II, III, Finishing, and Restoration and Repair. A segment on Endpapers is included with Bookbinding II and one on Leather is included with Bookbinding III. Endpapers and Leather are also available individually. All courses are divided into Units for Monitoring stream critiquing purposes.
Bookbinding I consists of approximately 12 hours of DVDs/videos, a manual, a Lexicon, and a bone folder. The Manual includes a short Recommended Reading List and Suppliers List.
Bookbinding II consists of a manual, approximately 8 hours of DVDs/videos, and an Endpaper enrichment segment of two videos. The Lexicon is available on request.
Bookbinding III consists of approximately 8 hours of DVDs/videos and a manual, plus the Introduction to Leather segment of two videos and a manual, plus the CBBAG publication, in sheets: Bookbinding, Material and Techniques 1700-1920 by Margaret Lock, designed by Roy Nicol.
Restoration and Repair consists of approximately 10 hours of DVDs/videos including one DVD/video each by Martha Cole (Colour Theory) and Don Etherington (The Use of Japanese Paper in Book Conservation) and two manuals.
Finishing consists of approximately three hours of DVDs/videoss and a manual.
Marbling consists of a 160 page manual (including 63 colour and 43 B+W illustrations) and three instructional DVDs.
The audio-visual material is provided in DVD format. Video tapes are also available in VHS format.
Programme Options:
There are two streams available to those interested in the CBBAG Home Study Programmes.
All courses are available in DVD or VHS format video.
The stream chosen must be indicated on the application form.
1) Resource and Reference Stream: The participants in this stream receive all of the material in the course package and use these as they require, but do not apply for comment or critique from CBBAG Instructors. There are no pre-requisite requirements for Resource and Reference Stream Courses.
The fee for this stream is less than the fee for the Monitoring Stream.
2) Monitoring Stream: The participants in this stream submit projects and models for comment or critique. The dates for submissions of projects are January 31, May 31, and October 31.
Submissions are not to be sent more than ten days before these dates.
The fee for this stream is higher than that for the Resource and Reference Stream since it requires a time allotment by the instructors.
Monitoring Stream Pre-requisites:
Students must be CBBAG members during every Monitoring Stream Unit.
Students may transfer from CBBAG pre-requisite In-Studio courses to Home Study.
Students may transfer from satisfactorily completed Home Study Monitoring Stream Courses to CBBAG In-Studio workshops and courses; Bookbinding I is pre-requisite for Bookbinding II; Bookbinding II is pre-requisite for Bookbinding III; Bookbinding I, II, and III are all required for Repair and Restoration and for Finishing (or permission of instructor).
The Resource and Reference Home Study Stream courses may not be used as pre-requisites for In-Studio courses.
Submission Dates Monitoring Stream:
Due dates for the CBBAG Home Study Programme are January 31, May 31, and October 31 in the 12 months following commencement of the programme. Assignments should not arrive earlier than 10 days prior to these due dates.
Students may commence the Programme at any of these dates and should inform the Home Study Director of which of these dates will be used for their first critique.
Students will be informed by the instructor of any address or date change before assignments are due.
Students must inform the Home Study Director of any delay in submission of the assignments well in advance. The expectation is that the Course undertaken will be completed within one year of commencement.
Late Submissions:
If no unit is handed in for critique within six months, the student will be contacted. After commencement of submissions, it will be assumed that all three submission dates will be met.
If nothing is handed in within one year of enrolment, the student will be automatically dropped and forfeit the fee paid for critiques. Exceptions may be made under extraordinary circumstances, explained in writing only.
Critique:
Monitoring Stream students will receive a critique indicating whether projects and/or units are acceptable or should be done over.
Each unit will be critiqued by an instructor/evaluator on: the skill/technical ability demonstrated, the suitability of the materials used, the accuracy of the models and comprehension of their requirements, and overall presentation.
Critiques will utilize CBBAG standards established over the past 15 years, based on recognized criteria for excellence in any technique.
Instructors will critique the assignments in a timely manner. Assignments should be returned to the student within six weeks of their receipt, by the same packing and shipping method that the student used.
A letter indicating completion of the Bookbinding I Home Study Course will be presented at the following Annual General Meeting. If the student cannot attend the AGM, the letter will be mailed.
After all six core courses: Bookbinding I, II, III, Finishing, Repair and Restoration, and Paper Treatments for Binders (currently offered In-Studio only) are completed, either through Home Study or In-Studio, a Certificate of Completion will be awarded.
Manual:
Each Home Study Manual includes a Course Outline, Objectives, detailed descriptions of the projects and models required, and directions in written form with diagrams and/or on DVD/video, of techniques to be used. The location of the subjects in the DVDs/videos is indicated in the manual.
All material is copyrighted and not to be duplicated. Please respect the CBBAG copyright and do not duplicate these notes or DVDs/videos except for your own personal use. Violations of copyright will be prosecuted.
DVDs/Videos:
It is recommended that DVDs/videos be viewed in their entirety at least once. The material in the DVDs/videos will be used in parts, with the written material, while the practical work is in progress. It is extremely useful to review these DVD/video segments as required. DVD/video indexing is included in the Manual.
Fees:
Fees for the individual courses are set by the Stream selected and by the length of the course, that is, how many DVDs/videos are included and the length of the Manual. These are not necessarily related to In-Studio course fees.
The fee for the Bookbinding I Monitoring Stream has been set currently at $400. CDN but may be revised as necessary. The fee for the Resource and Reference Stream is $250.00 CDN.
Postage and handling charges are in addition to the above fees.
Students must pay for all materials used in models and projects, and for shipping completed assignments to and from the instructor.
Refunds:
Purchases of either the Monitoring Stream or the Resource and Reference Stream are final, with no refunds available.
Support:
After registration in the Monitoring Stream, you will be assigned an instructor and supplied with their postal address, fax, and/or e-mail address, For clarification of course content or problem areas concerning projects, models, or supplies, contact the instructor by one of these means.
The instructor undertakes to respond as quickly and as fully as they can possible do so.
Equipment:
Home Study Bookbinding I has been designed so that little equipment is required, and suggestions are made as to how any required equipment may be improvised or obtained. Bookbinding II and III require some equipment. Information accompanies the course indicating how this equipment may be made or acquired.
Mailing the Finished Units:
The completed Units are to be sent to the instructor so as to arrive by an agreed upon submission date (see Submission Dates above). The package has to be trusted to the parcel services and requires a sturdy reusable container. Flimsy cardboard boxes and lots of packaging tape does not make for easy opening or easy re-sealing! Courier services, some stationery stores, and post offices offer sturdy boxes. HINT: If a re-sealable Baggie is attached to the top of the package, the mailing labels can be changed easily.
Each project must have the student’s name and address with it. The package should contain the return address label and fees to cover the return of the package.
Pack your projects to arrive safely and in good condition.
U.S. and Foreign Students:
If at all possible arrange to send your package from within Canada. This makes everything much easier.
If sending your parcel from outside Canada, you will need to state on your
export declaration, that this package needs an A29B form and that it is
covered under item DB-1-1, Item 17, goods to be tested. It should then
qualify for duty and tax exempt status or refundable duty. Do not use the
word SAMPLES under any circumstances. If for some reason your package is not
duty and tax exempt, then any duty or taxes would be charged back to you by
CBBAG. Do not send by UPS. They charge a hefty brokerage fee which we will
charge back to you.
Remember, the insurance value is used as the declared value of the goods. A
package of declared value of $20.00 CDN or less is exempt. We suggest that
you mark on the parcel "no commercial value".
Resource Material:
Books, journals, and monographs contain much useful material. Books may be obtained through inter-library loan (ILL) from many local libraries. There may be a fee charged for ILL service by your local library. CBBAG has a small but useful library which may only be used at the bindery in Toronto. If you are planning on visiting Toronto at any time, contact the Guild office well in advance to arrange a time to browse through the library.
As a member of CBBAG you will have received a copy of the Video Loan catalogue which gives details on how to borrow other videos from CBBAG. The A Catalogue of Book Arts Videos is also available on the CBBAG web site.
A Suppliers List, Recommended Reading List and Lexicon accompany Bookbinding I .
After the third submission has been completed, the student will be sent a short Home Study questionnaire. We would welcome your input. The information is valuable to CBBAG in revising as necessary and in planning fur future segments of the programme. Home Study is an ongoing programme of CBBAG and any comments received will be of great assistance.
General Outline of Course Content for Bookbinding I:
Basic Terminology
Materials, Tools, and Basic Bench Technique
Single Section Pamphlet
Two-Section Pamphlet
Picture Frame
Four-Needle, Two-Thread, Four Station Sewing, Soft Cover
Four-Needle, Two-Thread, Four Station Sewing, with Full Cloth Covered German Case
All-Along Sewn Unsupported, Quarter Cloth and Paper Covered German Case
Tape Sewn, Half Cloth and Paper covered German Case
Concept of Grain
Concepts of Warp and Pull
Concept of Swell
Concept of the Joint
General Outline of Course Content for Bookbinding II:
Recessed Cord Lap Stitch Sewing, Review of Tape Lap Stitch Sewing
Invisible Hinge and Visible Hinge Hooked Endpaper
Simple Edge Trimming
Simple Edge Treatments
Traditional Two-Stripe Endband
Rounding and Backing to a 45 deg. Shoulder
Hollow Tube
Bradel Attachment of Boards to Textblock
Covering-in On the Book
Concept of the Natural Shoulder
Concept of Expansion and Contraction
General Outline of Course Content for Bookbinding III:
Raised Cord Loop Stitch Sewing
German Zigzag Endpaper
Chris Clarkson Endband
Backing to a 90 Deg. Shoulder
Tight Back Sanding and Lining of the Spine
Lacing-in of Boards
Back-Cornering of Boards
Leather Paring
Formation of the Headcap and Leather Corners, Raised Bands
Opening of the book with Tight Back Covering Material
Concept of Tight Shoulder
Concept of Front and Back Tiedowns of Endbands
Concept of Natural Round
Concept of Extension and Compression
Concept of Inside and Outside Pivot Points
Concept of Tight Back
General Outline of Course Content for Repair and Restoration:
Collation
Photographic Documentation
Written documentation:
Condition Report
Treatment Proposal
Treatment Report
Time Records
Chemical Deterioration
Mechanical Deterioration: Structural Problems
Some Solutions - Case Binding
Board Re-attachments
Corner Repair
Simple Pressure Sensitive Tape Removal
Guarding Folds of Sections
Paper Repair
Plates
Rounding and Backing
Headbands
Spine Linings
Rehinge and Reback
General Outline of Course Content for Finishing:
Variables Impacting on the Quality of Tooling
Leather
Tools: Rolls, Palettes, Individual tools, Gouges
General Information on Tools
Care of Tools
Heat Sources
Heat Levels
Cadence Count
Moisture
Dwell
Protecting the book
Position of the Book in Relation to the body
Traditional Approaches to Tooling
Use of Tools Circles, Squares, Triangles; pallete, Roll, Handle Letters
General Information on Multi-Step Tooling
Steps in Tooling
Blind Toolingv
Gold Tooling
Gold Cushion, Gold Knife, Gold Leaf
Burnishing
One Step Methods of Tooling
Bone Folder Tooling
Foil Tooling
Spine Titling
Inlay and Onlay
General Outline of Course Content for Marbling: A guide to the craft of watercolour marbling:
Art HazardsWhat is Marbling?
Suminigashi
Ebru
Conditions Affecting Marbling
Record Keeping
Marbling Basics: technical outline, set-up, tools & equipment
Alum
Size: types, carragheenan, life span, cleaning off
Other Sizes: methyl cellulose, etc.
Water
Surfactant
Paper
Other Substrates
Colour: definitions, colour harmony, contrast, theory
Types of marbling divided by media: watercolour, acrylic, oil, gouache, pigments, permanence, etc.
Colour as it Relates to Marbling: bias, proportion, neutralizing, etc.
Mixing and Applying Colours for Marbling
Variables affecting Combing or Raking
Patterns: basic patterns and variable
Problems and Flaws
CHART OF UNITS FOR MONITORING STREAM SUBMISSION:
Any number of Units may be submitted at a submission date, but they must be submitted in order, e.g. Units 1,2,3.
Submissions for the Bookbinding I Monitoring Stream are:
Submission 1 includes Units 1,2,3, and 4. Unit 5 may be included with this submission if desired.
Submission 2 includes Unit 5 if not already submitted, plus Units 6 and 7, and optionally Unit 8.
Submission 3 includes Unit 8 if not already submitted and Unit 9.
Bookbinding I |
|
Evaluation/Critique |
Unit 1 |
Project 1: Single Section Pamphlet |
Correct sewing pattern; folding and slitting |
Unit 2 |
Project 2: Two-Section Pamphlet |
Correct attachment of sections |
Unit 3 |
Project 2A: Two-Section Pamphlet with W Concertina used as either a soft cover or endpaper |
Correct use of W concertina |
Unit 4 |
Project 3: Four-needle, two-station, butterfly stitch sewn flatback with soft cover and joint Model of textblock, spine unglued |
Sewing pattern; Concept of joint |
Unit 5 |
Project 4: Picture Frame Model of board cut by hand, square, sanded |
Cutting board; squaring; sanding; covering; controlling warp |
Unit 6 |
Project 5: Completed project, full cloth Model of hanging-together strip with boards attached (German case) |
Correct fit of case to textblock Joint well formed Casing-in technique |
Unit 7 |
Sample of sized cloth Sample of sized and backed cloth Sample of backed cloth |
Consistent appearance |
Unit 8 |
Project 6: All-along sewn textblock with quarter cloth covered case, cased-in Models of unsupported French- sewn and of tape-sewn textblock, spine unlined |
Correct sewing; German case; Joint/shoulder position |
Unit 9 |
Project 7: Tape sewn textblock; half cloth covered German case; hung-in Models of hooked and historical endpaper Sample of lined board |
Board stabilized Correct sewing Corners Casing-in |
Bookbinding II
Submission 1 includes Units 1,2,3, and 4.
Submission 2 includes Units 5,6, and optionally, 7.
Submission 3 includes Unit 7, if not previously submitted, and Unit 8.
Bookbinding II |
|
Evaluation/Critique |
Unit 1 |
Model of visible-hinge, hooked endpaper with protection packet Model of invisible-hinge, hooked endpaper |
Correct construction |
Unit 2 |
Model of lap-stitch tape sewn textblock, rounded and backed to 45º shoulder, with endbands |
Correct sewing Rounding and backing Endbands |
Unit 3 |
Model of recessed cord sewn textblock with
endpaper, rounded and backed to 45º shoulder,
spine not lined; with two-stripe endband Edge treatment |
Correct sewing Rounding and backing Endbands |
Unit 4 |
Model of off-the-book hollow |
Correct construction |
Unit 5 |
Textblock with hollow Model of German case with corners or foredge strips, boards infilled |
Hollow attachment German case construction |
Unit 6 |
Model of textblock with bradel attachment of boards |
Attachment |
Unit 7 |
Book 1 completed |
Complete critique |
Unit 8 |
Book 2 completed |
Complete critique |
Bookbinding III
Submission 1 includes Units 1,2,and 3.
Submission 2 includes Units 4 and 5.
Submission 3 includes Units 5 and 6
Bookbinding III |
|
Evaluation/Critique |
Unit 1 |
Textblock recessed cord or tape sewn Raised single cord sewing Raised double cord sewing Packed raised cord sewing Both textblocks with endpapers, at least one German zigzag, with a choice of one exposed visible hinge |
Correct sewing Correct endpaper construction |
Unit 2 |
Model of German zigzag endpaper |
Correct construction |
Unit 3 |
Two textblocks rounded and backed, spine pasted up, one lined, one unlined, tape or recessed cord marked on waste sheet as Book 1 and raised cord sewn as Book 2 Endbands - at least one being Chris Clarkson endband Model of laminated/lined boards of the correct thickness for the shoulders, marked Book 1 and Book 2 |
Rounding and backing Endbands Board appropriate to shoulder Lining technique |
Unit 4 |
Tape or recessed cord sewn model (Book 1) with spine pasted up and lined, sanded, with hollow on; bradel attachment of boards or laced-on; may include false raised bands if so desired Raised cord sewn model (Book 2) with pasted up spine, linings on and sanded, boards laced-on Model of leather, edge pared and pared for headcaps |
Sanding Hollow Attachment of boards False raised bands if applicable Paring |
Unit 5 |
Models covered-in in leather or Headcaps and bands formed Boards infilled and stabilized |
Leather attachment Turn-ins Headcaps BandsI Infilling |
Unit 6 |
Models with cover paper on, endpaper hinges attached, board sheets on, both books correctly opened |
Cover paper Hinges Board sheets Opening Final critique |
Finishing
It is necessary for Finishing Monitoring Stream students to have available to them, as a minimum, a line tool and a decorative tool. Gouge(s) and roll optional
Submission 1 includes Units 1 and 2.
Submission 2 includes Units 3, 4, and 5.
Submission 3 includes Units 6 and 7.
Finishing Evaluation/Critique
Unit 1 |
Test series for heat on a practice board on goatskin and/or calf; showing the progression from too high heat to too low, too wet to too dry Series 1 Blind tooled impressions, with both straight line and decorative tool, including: i) trace impressions ii) blind tooled impressions, not burnished iii) blind tooled impressions, burnished |
show progression from too high to too low trace no colour change, pores open well defined impressions blind even colour burnished even appearance of shine |
Unit 2 |
Series 2, as with series 1 but carbon blind tooled impressions (may be smoked or carbon) i) trace impressions ii) blind impressions, not burnished iii) blind impressions, burnished |
as above blind even colour even depth |
Unit 3 |
Test series for heat - gold tooling i) trace impressions ii) gilt impressions, not burnished iii) gilt impressions, burnished |
even appearance of gold even appearance of burnishing even depth |
Unit 4 |
An inlay |
flush to base leather no flesh visible at seams |
Unit 5 |
An onlay |
flush to base leather |
Unit 6 |
A tooled bone folder line |
well defined |
Unit 7 |
A plaquette in a design of your choice, using line(s) and decorative tool(s); using inlay and onlay and blind, smoked, and gilt impressions |
overall impression of the whole design no one image predominating |
Canadian Bookbinders and Book Artists Guild Home Study Programme Policy