The possibility of being able to bind the wood corner to corner like in the image to the left is greatly reduced by the size of my finished book. As I have 26 images, and plan on using a 2 page spread for each image and its annotation, I doubt that the thickness of my text block will allow me to do such a thing.
This is a prime example of what I would like my finished specimen to look similar to; it features the use of wood (without a spine) and laser etching.
The use of a this stained wood exudes a certain sense of exclusivity and quality. Something of which I would like my own publication to communicate through its aesthetic.
It's binding technique, something of which is unknown to me looks like a great way to bind my own as it will probably be about the same thickness, and will still encompass a sense of overall thickness whilst still having a slight amount of portability and convenience.
As you can also tell, the thickness of the wood used does not effect the way the book opens by any means. However, I am baffled as to how the author of this publication has binded the text block to the thick string which is wrapped around the wood and inserted onto the front and back of each side of the casing, but there is no hole on the other side of the front cover, so whether he has simply drilled a hole halfway through the wood and hot glued the string into place is somewhat of a mystery to me.
To answer my question on the binding technique used within the book I will have to go to the bookbinding workshop and ask someone with a bit more experience that will possibly know who it's done.
The following three examples are portfolios which have been blinded using piano hinges and three small screws. This could be something I could use for my own final publication to attach the thicker string (Shown above) to the wood using a shallow screw with a large head, rather than using any glue? or drilling any holes.
Using screws would give me the leeway of being able to fine tune the tightness of the bind, being able to adjust it will allow me to ensure that when the book is opened it wouldn't be putting too much strain on the stitch.
Notably focusing on the etch within this piece, I really like how the author has made the lighter wood contrast between the burned logo.
This book made on the Helly Hansen annual report is a fantastic example of using wood and maintaining that 'perfect bound' feel of a book.
I particularly like the staining of the wood on this one the etched logo really compliments the darkness of the wood and emphasises the important aspects of the front cover, that being, the logo.
The binding technique used looks to simply be perfect bound, the bind I used for my mockup, however, unlike all of the other examples in this post, it uses fabric to keep the case together. Something of which I could do to keep things as simple as possible yet still have the wood exposed. However, having said this, I feel a coptic stitch would look more relevant to the concept, that being industrial.
This notebook is to another extreme compared to the other examples, I hadn't really thought of using thicker wood before seeing this example. I think it really compliments the simplicity of the bind, which looks extremely complicated in the image below of the book opened were the spine is exposed.
I feel that this will only over-complicate it for me. As I am still fairly new to binding, I would rather not run the risk of my publication not working out the way I wanted it to purely for aesthetic reasons, and not try justifiable ones at that.
To sum up, I have discovered a new binding technique I wish to execute: The coptic stitch bind. I think this will be the best idea as it more forgiving on the wood. Although this is subject to change and development if I can eventually find out what stitch the 0.01% book used and go for that finish instead.
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