I like Drum Leaf and similar types of bindings. I’ve read as much as I could find about making them, and I’ve seen a video of Tim Ely making one, but mine sometimes have bumps where I don’t want them and other unintentional features that displease me. When I saw that John DeMerritt was going to be teaching a Drum Leaf workshop the week I was going to be at the San Francisco Center for the Book anyway, I jumped at the chance.
John turned out to be funny and nice, and made the class a delight. By this day, I was so tired I glued some of the wrong pages together and even managed to … ugh … slice a finger and drip on my book. Fortunately, it was on the end page and was not going to be visible once the book was finished. But my classmates were going to see it. I was embarrassed. But John turned this into a light-hearted moment too. (Among other things, he told us he used to have a sign in his bindery that advised, “Don’t bleed on the work.”)
It was such an educational class. There were a few times when John would show us something or share a tip, and that one thing alone was, to me, worth the tuition in itself.
We made the spines out of Cave paper. John had us pare the paper along the sides, using our scalpels and sanding blocks. I must say, it had never occurred to me to pare paper before. He also taught us a handy trick for turning-in the cover papers over the board edges using a little squeegee tool, which creates a neater edge when gluing.
We also were given nice materials — aside from the Cave paper, we also got handmade Saint-Armand papers for the covers, and enough materials to make two books. Yum.
Immediately after the workshop, Paul Johnson was back to give a talk about his work. He showed us his amazing, big and long accordion-style sketchbook, which he invited people to spread out around the room (alas, I didn’t get any photos of it). He talked about his father, who’d been a talented amateur artist, and showed us slides of some of his father’s drawings. He talked about his own work and about how the environment in which he’d grown up — in the shadow of the nearby cathedral — had influenced his work throughout life. Afterwards, we were invited to go up to a display of his magnificent sculptural books. I did get a few snaps of these, but they barely convey the complexity and size of his wild, multi-layered creations (for one thing, most were so big when opened out that it was impossible to get more than detail shots in that crowded space). I noticed later, after downloading the pictures, the childlike looks of wonder and joy in the faces of my fellow adult attendees as they circled the display. As I say, the photos don’t do them justice.
PS: Twenty years ago, John DeMerritt and Dominic Riley made a video about the history of bookbinding that was shown on San Francisco’s Public Broadcasting Station. I thought I’d post a link in case you haven’t seen it. It’s a half-hour long, but is much fun. Around the six minute mark they transition into historical costume…
