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Colophon
Book Arts
Supply 1 9 9 8 Dear Customer,
It is time once again to reprint Colophon's catalog
and time, therefore, to tell you how much we appreciate the comments you have
sent us. Every one we receive reconfirms that our business practices have the
approval of those whom we serve. We work very hard to keep our stock as current as
possible and available at the time it is ordered. This is not always possible.
I am at the mercy of the company delays, shipping, and sometimes customs.
Although my goal is to try as much as possible not to inconvenience you with
back‑orders, this will not always be possible. We consider it very important to be here for
technical support on the prod‑ ucts
that we sell. Please feel free to contact us; we enjoy hearing from you and
consider it a very important part of our service to you. We stand behind the
products that we sell. COLOPHON
BOOK ARTS SUPPLY 3611
RYAN STREET S.E. LACEY,
WA 98503 Phone
(360) 459‑2940 Fax
(360) 459‑2945 Web
Site home.earthlink.net/~colophon We
at Colophon extend to you all a heartfelt thank you for supporting our efforts
to deliver what you order in a timely manner and at a price you needn't
mortgage your souls to afford. Nancy Morains TRADITIONAL
PAPER MARBLING (''EBRU'') ORIENTAL
MARBLING ("SUMINAGASHI") HAND BOOKBINDING Contents
Page Ordering Information ..................................................................... i-ii Paper Marbling ............................................................................. 1-6 Suminagashi
...............................................................................
7-11 Hand
Bookbinding ......................................................................
12-17 Books
/ Videos ..........................................................................
18-22 Shipping
Charts .........................................................................
23-24 How
to Order Order
Form 1. Total the shipping weights given with the price
for each item ordered. Please note that one pound of alum, for example, weighs
20 ounces when figuring shipping weights, not 16 ounces. Packing materials
account for the difference. Remember: the weights you should total are those
in parentheses next to the price of the item. 2. Use the charts provided to find your UPS Zone and
the Shipping Charges. For example: if your zip code is 83866, then the UPS
Zone is 3. Now find the weight range (in pounds) in which your order falls.
Example: the charge to ship say 142 ounces to Zone 3 is $5.20. (142 divided by
16 is 8.8, or 9 pounds, rounded to the next full pound.) 3. Total the cost of the items ordered and the
shipping charge. Washington state residents must add 8% sales tax to the total
cost of the order (including shipping) if shipped to a Washington
address.‑‑Wash. State law. .4. Indicate
method of payment: check, money order, Master Card, Visa, or purchase order.
When using your credit card, please check the numbers carefully and be certain
to include the last group of numbers in the hologram and the expiration date,
otherwise your order will be delayed. 5. Please use a street
address. UPS will not deliver to a Post Office Box. Telephone
Orders (360) 459-2940
1. The best time to call (so you can speak to a warm
body) is from 9:00 to 3:00 (Pacific Time), Monday through Friday. 2. When placing a charge card order on our answering
machine, please leave your card number, expiration date and day telephone
number. If you wish to talk to a real person, leave a day number and someone
will call you back. Fax
Orders (360) 459-2945
1. Prepare a legible list of the items you are
ordering and fax it to us anytime. Be sure to include a street address and a
daytime telephone number. 2. Follow instructions #4 above for payment
options. Shipping
Damages Your order leaves Colophon in sound condition. If you
have any questions regarding damaged goods, save the packing materials and
call your local UPS office for instructions. International
Orders (Except Canada) We will send a pro forma invoice to you which will
have to be paid in US funds before we send your order. A Visa or Master Card
can also be used. You will be given a choice between US Air Parcel Post and US
Surface Parcel Post on the invoice. If you want a quote on another shipping
method, please specify with your order. Shipments to
Canada Please note that UPS is now placing a customs
brokerage fee on all shipments to Canadian points, collected at the time of
delivery Colophon has no control over this surcharge. Check with UPS Canada
for details. Because of this charge, we ordinarily ship by US Air Parcel Post
to Canada., Payments from Canada must be in US funds but can be by check,
money Price Changes Colophon's
prices are subject to change without prior notification. We
ask that you confirm current prices when you call to place an order. Or,
confirm prices by phone before placing a mail order, if you require certitude.
Our policy is to call before sending your order when costs you quote are
incorrect and the difference is substantial. Otherwise, we will go ahead and
bill you for the difference, or automatically charge it to your credit card if
that is how you are paying. On purchase orders, we follow the directions
printed on the form, if any. Method of
Payment‑U.S. Funds Only Authorized purchase orders will be billed. Others
will be asked to prepay the cost of their order, unless they have a credit
account. Colophon accepts Visa, Master Card, bank and postal money orders and
personal checks. Checks returned for
insufficient funds will be charged a reprocessing fee of $15.00.
PAPER MARBLING EQUIPMENT AND SUPPLIES The materials offered here for paper marbling
represent the culmination of Don Guyot's experience (19 years worth) as both a
producer of traditionally marbled paper and as a teacher of the craft. As a
customer you may call on our technical expertise to help you solve problems
which may arise with anything you purchase from the catalog. New customers may
be interested to learn that the goods in the catalog have become widely
accepted in marbling studios everywhere. The reason for this is simple: the
stuff works. A final note. Please understand that some of the
materials encountered in artistic projects can be toxic. Marbling is no
exception. The problem is acknowledged by including appropriate notes on the
safe use of the products offered for sale. If you follow these guidelines, you
should be able to enjoy marbling without worrying about your health. DISCLAIMER Colophon Book Arts Supply, LLC. has no control over
the end use of its products. It disclaims, therefore, any and all liability
for unforeseen results. Further, it advises that care be exercised to protect
one's health against possible harmful effects arising form exposure to toxic
chemicals contained in some of the products, as for example, but not limited
to, the Chromium and Cadmium colors. Rubber gloves or an adequate barrier
cream should be worn when handling colors. Use other precautions as needed. Alum (Aluminum
Sulfate) Marblers use alum as a mordant to hold their inks to
the paper. SAFETY NOTE.
Protect the skin when applying alum solutions, using rubber gloves or an
adequate barrier cream. Can cause skin irritation or dermatitis. Applicator
Bottles For Colors Provided for marblers who wish more control (or less
mess) in applying color to the marbling bath. A four ounce plastic bottle with
a resealable snout‑type cap and a glass marble. Shake bottle during
application to keep pigment mixed. Atomizers,
Mouth Used
to apply Spirits of Soap or color to the marbling bath when a fine mist is
required. May also be used to apply protective coatings (fixatives) to the
completed sheets. Sent with instructions for use. SAFETY
NOTE: Take care not to inhale the misted materials, as some of them may
contain toxic solvents. Books See separate listing beginning on page 18 Broom Corn For
marblers who wish to make whisks for applying color. Length may occasionally
vary. Supplied with instructions. From a 1/2 pound of broom corn, you can make
8‑12 whisks. Carragheenan
(Size‑‑Irish Moss) This is a food product that is the dried extract from
Irish Moss, not the moss plant itself. It is mixed in a blender and requires
no boiling or straining. One pound will make approximately 27 gallons of size.
In powdered' form, the shelf‑life is about 4 years if kept tightly
sealed. Colophon
Marbling Tanks The Colophon Marbling Tank is a vacuum formed high
impact ABS plastic, the same material used to make such things as the crisper
drawers for refrigerators. The tank is designed with a self‑draining
"slop trough" to receive the skimmed size and comes with a cover/rinseboard
and skimmer. Several accessories used for manipulating the colors are
available separately See tank accessories below. A brochure illustrating the
tank and accessories is available upon request. Large
20 1/4" X 25
1/2" (inside measurement) Capacity: about 2 1/2 gallons Small
15" X 19"
(inside measurement) Capacity: about 2, gallons Colophon
Marbling Tank Accessories Type 1 Comb for
Nonpareil Patterns Solid
brass was chosen because of its proven durability in water. It will not
corrode in marbling liquids. Because the interval between the teeth
(1/4") is regular, and the teeth themselves are absolutely parallel, the
resultant pattern is highly uniform. Large
20 1/8"
wide (fits large tank) Small
14 7/8"
wide (fits small tank) Brass
strip only
you make the comb. For
those interested in making their own combs, the brass strip used for the combs
is available separately. Brass Strip 20
1/4" wide A
customizing fee of $5.00 per comb will be charged for any comb made smaller
than the two standard sizes. For combs longer than 20 1/4 inches, please
inquire. PLEASE PROVIDE INSIDE MEASUREMENTS OF TANK FOR CUSTOMIZED COMBS. Type 2 Comb for
Bouquet/Peacock Patterns Made
following a design published in the Diderot Encyclopedia (1789), the comb
features two sets of offset teeth which intersect each other when the entire
comb is moved in a gentle "S"‑Iike motion along the long axis
of the tank. Uses solid brass pins for its teeth. Large 23"
wide (fits large tank) Small 17
7/8" wide (fits small tank) Rakes Used
for the initial manipulation of the color on the size, our rakes are wood with
brass teeth spaced at 3 inch intervals. Large 32"
wide (fits large tank) Small 26"
wide (fits small tank) Colophon Water
Based Marbling Colors Colophon marbling colors are stone ground in water.
Pigments are concentrated, sold in 4 ounce jars and include instructions for
mixing with oxgall. The colors are intermixable to obtain other shades. Colors denoted with an asterisk (*) are transparent
and should be used as tints. Shelf‑life is indefinite (but varies by
pigment), unless allowed to dry out. Colors that are bold
are the suggested beginning colors available in the Basic Set. NOTE: Prussian Blue is sensitive to cold weather. It
is shipped weather permitting. Also, Indigo Blue is affected by excessive
calcium in the water. It may not work satisfactorily in areas where the water
is very "hard". Use spring water or soft water instead. GROUP 1
GROUP 2
GROUP 3 Burnt
Sienna
Cobalt Blue
Black Burnt Umber
*Forest
Green
Cadmium Red Chrome Green
Prussian
Blue
Cadmium Orange Russet
Steel Grey
Cadmium Yellow Titanium White
Terre
Verte
Chrome Green Light *Van
Dyke Brown
Titanium Yellow
Deep Red
Ultramarine Blue
Indigo
Ultramarine
Violet
Ultramarine Pink
Yellow Ochre "NOTE: Viridian is now a Group 4 color. See
price sheet. Color Wheels Color wheels are valuable to anyone interested in
color relationships. One side relates traditional color theory while the other
shows a method of obtaining a desired shade by mixing colors. Davey Board for
Pressing Alumned Papers Pressing boards are used for restraining
alum‑dampened papers before they have cured sufficiently for marbling;
number 18 is recommended. New boards are too absorbent, so spray them
lightly with a cheap varnish. Eyedroppers Useful for dispensing drops of liquid (color, oxgall,
Sumifactant) with precision. Made of glass, they can be cleaned easily with a
pipe‑cleaner. Frisket Film Used
for blocking out or resisting areas on the paper that one wishes left
unmarbled. Small roll (10" X 144") Large roll (15" X 1440) Irish Moss (see
Carragheenan) Oxgall
Bovine
gall, collected, prepared and aged at least nine months. Preserved in alcohol.
Sent with directions for use. Shelf‑life: indefinite. It actually
improves with age. Keep tightly capped when not in use. 2 or 16 oz. bottles. Protective
Barrier Cream
'Paper
marblers are exposed to harmful metals in their colors. This cream, which is
approved by the Federal Occupational Safety and Health Administration,
provides adequate protection against absorbing these chemicals through the skin. Highly recommended. Contains
lanolin (woolfat). 6 oz. tube. Pritt Glue
Stick Ideal product for adhering paper to paper. It will
not yellow or crystallize. It is formulated from a synthetic resin which
produces a nearly dry glue, so it won't pucker or wrinkle the paper. Alkaline,
its pH is 10. Suitable for most archival applications. However, it is not
recommended for some types of textiles or for mounting photographs. Made in
Germany in accordance with strict archival standards. Spirits of Soap Used to produce both finely veined and Italian
marbles. May be applied either with an atomizer or with a whisk. 2 or 16 oz.
bottles. SAFETY NOTE. Avoid
inhaling the vapors when applying material with an atomizer. Stylus A steel needle held firmly in a plastic handle.
Used in free‑style marbling. Workshops in
Western Marbling These classes are conducted in the studio of Nancy
Morains in Lacey, Washington. They are small classes limited to no more than
four students. It lasts a full day and covers preparation of alum, size,
papers, inks, and brushes. We spend most of the time in the tank and cover
many paterns, problems, and the history of marbling. You can call or write to
have your name added to the "class list". You will be notified of
proposed class schedules.
SUMINAGASHI Suminigashi is an oriental method of decorating paper
which is similar to western paper marbling. One floats ink on unthickened
water and then urges the spots of color into concentric bands using a
spreading agent. The bands of color thus made are teased into images using
either a hairstylus, a breath of air, or a hand‑held fan. Finally, the
image is transferred onto an absorbent paper and allowed to dry Because it requires fewer materials and therefore
less time in adjusting things, suminagashi is ideal for individuals interested
in decorating paper‑or silk‑‑but who have a limited amount
of time and space to devote to it. Excepting the spreading agent (Sumifactant) which was
developed by Don Guyot to simulate the oriental product, and a few obviously
domestic items, all of the items offered here are imported from the Orient and
are of the highest quality obtainable for the price asked. Marbling Colors
(Boku Undo) for Suminagashi "In the past, in both the Occident and Orient,
marbling required specialized knowledge, tools and techniques. But this
revolutionary 'marbling set' enables anyone to enjoy the endless variation of
marbling using ordinary household utensils. The method is simple. Just put
marbling inks on the surface of water and transfer the pattern on the water
surface to a desired materials such as paper or
cloth."‑‑Manufacturer's description. Introductory set of 6
colors come in 12 ml plastic applicator bottles. Colors: red, orange, yellow,
green, blue and black. Instructions in English and Japanese. Brush Mats
(Fudemaki) A Fudemaki is
made of bamboo and rolls up around the brushes, protecting the brush and its precious point
from ruin. Brushes (Fude) #1 Traditional
Sumi brushes take a keen point and are the best
implement to use for suminagashi since the amount of color can be controlled
carefully only if the brush is long‑bristled and capable of keeping a
point when fully charged with ink or spreading liquid (surfactant). The
brushes offered here are imported by us from Japan. They are of the highest
quality, made by combining two kinds of animal hair for retention of ink and
for stability of point. Sent with instructions for care. Black lacquered
handles are 8" long. Brushes (Fude) #2 Generic
This brush has similar characteristics as the
Traditional brush but is made from one type of hair. It is less expensive and
works well with beginner or student applications. Chinese
Watercolor Chips These little chips of watercolor can be reconstituted
in water. Add a little Sumifactant and you have a useful alternative to
grinding sumi sticks. Imported from China. Sent with instructions for use.
Colors: Deep Red, Indigo, Rouge, Sky Blue and Red (Crimson). Davey
Board for Supporting Wet Suminagashi Sheets Davey board which has been lightly varnished provides
a useful support for the wet sheets of suminagashi just removed from the vat.
Varnishing will reduce the board's absorbency and decrease its warping. Fan
A folding fan made of wood and paper used to create a
current of air across" the image on the water's surface, thus breaking up
the concentric bands into jagged lines. Assorted colors. Ink
Sticks (Sum!) Sumi sticks provide the colors used in suminagashi.
The sticks are ground on the ink stone with a little Sumifactant and some
water. Then the colors are applied to the water with sumi brushes. Sumi sticks
vary greatly in quality depending on their source of pigment and on the binder
used in their manufacture. A relatively high quality of stick is required for
good results in suminagashi because the pigment film is so thin. Sent with
instructions for care. Colors: Black (Boku), Grey Black (Boku), Indigo, Red
Ocher, Green, Red (Not mercuric vermillion) and Yellow. Ink Stones
(Suzuri) This tool provides the traditional surface for
grinding the ink sticks into usable ink fluid. Made in Japan from natural
slate, it has an ink well handcut into one end and a grinding area
hand‑cut into the other. Sent with instructions for care. Approximately
3" X 5" Lotus Bowls These small, 3
1/2" porcelain bowls have fluted rims mimicking the lotus blossom. They
hold the ink used for suminagashi and the flutes provide a good means of
pointing the brush once charged with ink. The rim makes a good brush rest,
too. Paper (Washi) This paper is
ideal for beginning ones experience with suminagashi because it is absorbent
yet strong enough when wet to enable one to withdraw it from the vat without
tearing it apart. 48 sheets per pad, 12" X 18" Sumifactant Sumifactant is
used for two things in suminagashi. First, it is added to make the inks float.
Second, it is applied full strength to the ink‑circles to make them
spread into bands. Not an animal product, so it does not foul the vat. Sent
with instructions for use. Shelf‑life: indefinite when kept tightly
capped. 2 and 16 oz. bottles. "Suminagashi:
an Introduction to Japanese Paper Marbling," written by Don Guyot See description
in section on Books. Vat (Fune) Made of high
impact plastic, the vat is large enough to hold the paper offered in this
catalog. Does not have a skimming trough, so it is not meant for use in
Western paper marbling. White plastic, 19 3/4" X 20 1/2". Workshops in
Suminagashi These classes
are conducted in the studio of Nancy Morains in Lacey, Washington. First we
cover a more traditional method using watercolor ink sticks and ink chips. We
will cover preparing these inks. Then we also explore a more modern method
using the liquid "Boku Undo" colors. These classes are kept small
and are for beginning students. The
Colophon Kit for Making Suminagash Papers Colophon
has assembled into 2 kits the equipment and materials needed to practice
suminagashi. Field tested during workshops conducted over the course of the
past several years in many American and Canadian cities, the kit is now ready
for those people interested in experiencing the excitement of a craft which,
until recently, was enjoyed by only a few. Packed in a carton which is used as
a storage box, each kit contains the following items: SUMINAGASHI KIT
#1 (Traditional) 1 vat 1 ink stone for grinding colors 1 black ink stick deep red and indigo paint chips 2 oz. bottle of Surnifactant 4 lotus bowls for holding the inks and Sumifactant 1 eyedropper 4 Japanese sumi brushes #1 (Traditional) 1 brush mat for storing brushes 1 folding fan 1 pad of rice paper (12" X 18") 1 stick for lifting the finished paper 2 bookboards for supporting wet papers 1
24 page booklet: Suminagash: An
introduction to Japanese Marbling, by Don Guyot. SUMINAGASHI KIT
#2 (Boku Undo Colors) This
kit includes everything needed to practice suminagashi with six liquid colors
made by Boku Undo. With these colors there is no set‑up just pour a
little into a lotus bowl and get started. 1 vat 1 box Boku Undo colors (set of 6) 2 oz. bottle of Sumifactant 7 lotus bowls for holding inks and Sumifactant 7 sumi brushes #2 (Generic) 1 brush mat for storing brushes I folding fan 1 pad of rice paper (1 2" X 18") 1 stick for lifting the finished paper 2 bookboards for supporting wet paper 1
24 page booklet: Suminagashi: An
introduction to Japanese Marbling, by Don Guyot. HAND BOOKBINDING SUNDRIES AND SUPPLIES Many, many people have found enjoyment binding books
by hand. Perhaps it is simply because the more one learns about the craft, the
more he or she wants to learn. The supplies offered here have been chosen for
quality and usefulness. I hope that you enjoy the selection. Adhesives See under name of various material: Pritt Glue Stick,
page 6; PVA (Poly Vinyl Acetate), page 15; Wheat Starch, page 17. Applicator Bottles for Glue Flexible plastic with a resealable snout‑cap.
Holds 4 ounces. Ideal for laying down a line of adhesive as when attaching
illustrations. May be used with PVA as well as with thinned wheat starch
paste. Awl, Marking Its large point makes this awl perfect for making
holes in book board when lacing‑in cords. The point is fixed permanently
into its oak handle with a metal ferrule. Overall length: 5 1/2" (shank:
2 1/2") Awl, Piercing its small point makes this awl ideal for making holes
for side‑sewen bindings. The point is fixed permanently to its oak
handle with a brass ferrule. Overall length: 3 3/4" (Shank: 1 1/4") Beeswax A ten gram cake of
unbleached beeswax for treating sewing thread and for lubricating needles,
bodkins, and styluses. Binder's Board See Davey Board Bone Clasps
(Tsume) These fasteners
for oriental hinged books are made in Japan from cow's bone (not ivory). We offer them in
four sizes [#6 (5/8" long), #8 (1" long), #10 (1 1/4" long),
and #12 (13/8* long)], in support of Japanese
Bookbinding by Ikegami. (See section on books, page 19). Bone Folders An essential tool for the binder. Two shapes of two
different lengths are available: small at 6" and large at 8". One
shape is pointed on one end and rounded on the other, while the other shape is
rounded on both ends. Either type may be reshaped by filing and sanding. Please
specify length and shape when ordering. Brushes, Glue Made in England from pure pig bristle with metal
ferrule. Available in 4 sizes: Small #04 (3/8" diameter), Medium #10
(3/4" diameter), Large #14 (1" diameter), Extra‑Large #24 (1
1/4" diameter). Clarkson Linen
Cord for Bookbinding Made in England of 15.5 pound unbleached line linen
to specifications developed by Chris Clarkson, formerly Chief Conservation
Binder at Bodlean Library, Oxford. Single ply yarn is given a "Z"
twist with approximately 3.34 turns per inch, then made into cord by giving
various plies of yarn an "S" twist. Available in spools or 20 yard
balls in 6, 8, and 10 ply. Samples and informational brochure available on
request. Compass
(Circle) Cutter This tool allows one to cut accurate circles from
about 3/8" to 6 inches in diameter through such materials as leather,
paper and thin films of vinyl, plastic and rubber. Invaluable for making
inlays and popup structures. Comes with 6 blades. Replacement blades
available. Davey Board Red Label. Stocked in 2 thicknesses: #18, approx.
1/8" (.082") and #25, approx. 1/16" (.060"). Shipped UPS
as half sheets (19" X 27") in a carton for protection. Minimum mail
order is 10 half sheets, mixed or matched. Glue See under name of various material: Pritt Stick, page
6; PVA (Polyvinyl Acetate), page 15; Wheat Starch, page 17. Headbands Machine made with a cotton core. Minimum order is one
yard. Sample care sent upon request. Available in the following colors: White
Red/White
Black/White
Blue/White Green/Yellow
Brown/Yellow
Red/Yellow
Hole Punch with 7 Assorted Bits (imported From Japan) Pushing down on the shaped wooden handle of this
ingenious tool causes the selected bit to turn, thus creating a hole in any
soft material such as paper, parchment, vellum, Mylar, Tyvek, or leather.
Ideal for placing "burless" holes accurately, as when doing
paper‑case structures, exposed stitching and tacketing. Assorted bits
for holes ranging from 1.2 to 4.0 mm in diameter. Replacement bits in stock. Knife, Paring Made in England of shefield steel, these knives have
either a left running or a right running edge. Please specify left or right
edge when ordering. (Right handed persons generally use right running knives
for paring and left running knives for lifting old endsheets or leather). Museum Dressing This cream is compounded from chemically pure
neatsfoot oil (60%) and from anhydrous lanolin (40%), the two animal fats most
often cited by conservators for treating dry leathers. No waxes or solvents
are used in its formulation. When applied lightly, this material will prolong
the life of sound leather. It should not be used at all on vellum, parchment,
or deteriorated leather. Four ounce jar. Needles:
Sewing, Curved Curved needles are almost indispensable for Ethiopian
and Coptic book stitches. Other applications will suggest themselves to you
once you have the needle in hand. The curve of the needle makes about a half
circle. Polished eyes with round shanks and points. Large ‑ 3";
Medium ‑ 2 1/2"; Small ‑ 2". Set contains one of each
size. Made in Germany Needles:
Sewing, Straight Made by John James (England). The eye is polished to
reduce wear on the sewing thread. Six per package. Sizes: #18 sharp; #18
blunt; #15 large sharp. Assorted pack: 6 needles of your choice. Nipping Shears Any binder who has ever disbound a multiple signature
book will recognize this tool as a Godsend. A pair of scissors small enough to
be kept out of the way inside the palm of one's hand, held there by the little
finger which keeps the tool always ready whenever a sewing stitch needs to be
cut. Eminently practical. Made in America of stainless steel. Replacement
parts available. PVA (Polyvinyl
Acetate) A binder's all‑purpose adhesive. Films well and
has high clarity and flexibility. Shipped, weather permitting, between April
and October only, and during Winter at customer's risk. Keep from freezing.
Reversible in water. Comes in Pint, 1/2 Gallon or 5 Gallon Pail. Scalpel Blades Nothing does better than a scalpel when a precision
cut is required. We offer two shapes in two sizes to fit the two standard
sizes of handles. #10 & 11 for Small Handle. #23 & 25 for Large
Handle. Sold by the single blade. Scalpel Handles Handles for blades as above. Small size fits blades
numbered in the 1 O's. Large size fits blades numbered in the 20's. The
difference is the size of the lug which holds the blade onto the handle. Sold
singly It is a good idea to have one of each size. Stylus Sharpened needle mounted in a plastic handle. Very
useful for prepunching holes in signatures prior to sewing and for scoring
repair tissue. Used in place of a bodkin if you do not have one. Inexpensive,
but practical. Tapes, Sewing Manufactured in England by the Bole Hall Mill
Company, which has specialized in the weaving of linen tapes for well over 100
years. Our Dutch Linen range is still woven on traditional shuttle looms,
while our second range, the Gray Linen Stay Tapes, are woven on shuttless
looms. All the tapes are woven with linen warp to give stability, and cotton
weft to give flexibility. Unbleached flax is used in all grades, which
accounts for their natural flaxen color. Grey Linen Stay
Tapes An economically priced tape. Woven from combed Tow
yarns on modern high‑speed shuttleless looms, they incorporate all the
advantages of linen yarn. They are well constructed tapes and will give
excellent service. Natural linen color. 36 yard rolls. 1/4", 3/8",
1/2" and 3/4" widths. Fine Dutch Linen
Tape A high quality tape. These tapes are woven from Line
yarns on traditional shuttle looms and incorporate the fineness and closeness
of weave permitted by this method. They are of beautiful appearance and
quality and to the best of our knowledge are not woven elsewhere in the world.
The tapes are given a special glazed finish which further consolidates the
weave and improves finish. Natural linen color. 36 yard rolls. 1/4",
3/8", 1/2" and 3/4" widths. Brown Linen Web This linen twill weave webbing is woven on
traditional shuttle looms. Robust and very strong, it is supplied in unsized
finish. Natural linen color. 36 yard rolls. 3/4" wide. Not manufactured
anymore. Supply limited to current stock. P.O. Linen Tape This is a softly woven tape made on traditional
shuttle looms and is useful for general support and binding. Natural linen
color. 36 yard rolls. 2" wide. Thread, Sewing,
Linen (Colophon's Best) Linen (flax) is the traditional fiber for
bookbinder's thread because of its great strength. We offer genuine linen
thread made for us in Lisburn, Northern Ireland. It is identical in every
respect to "Barbour's Best", and it may be used with complete
confidence in any application where the finest linen thread available is
needed. 50 gram cops. Colophon Best
Machine Threads Machine threads are made by plying yarns of different
gauges. For example, the 25/3 Machine is a thread of 3 yarns each which is 25
lea in diameter. The yarn for machine thread is boiled. Available in 16/3,
18/3, 25/3, 30/3, 35/3 and 40/3 cops. Colophon Best
Blake Threads Blake threads are made by plying different numbers of
yarns of 18 lea. So 18/5 Blake has 5 plies of 18 lea yarn in it, while the
18/6 has 6 plies. Blake yarn is unbleached so it has a natural linen
color, light tan. Available in 18/5, 18/6 and 18/8 cops. Tweezers,
Precision (Surgeon's) Made in Switzerland to exacting standards, these
tweezers are of the highest quality. Paper makers use them for removing
unwanted particles from the surface of newly formed sheets. Marblers use them
to remove dust and other debris from the surface of the size. Binders find
them useful in removing imperfectly laid gold in blind impressions. Wheat Starch
for Paste (Imported from China) Cooked past made from starch has many applications in
the bindery: tissue repairing, attaching leather to covers or paper to boards.
Mixed with polyvinyl acetate (PVA), it makes an admirable adhesive for leather
onlays. Wheat is gaining wide acceptance as the source of the best starch for
making ‑paste. It does not yellow over time and it seems resistant to
hydrolysis once it has set. Safe for the most rigorous archival applications.
Available by the pound or in 5 pound units.
With even more
listings than in its two predecessors, the Directory is an ideal sourcebook
for papermakers and paper decorators, calligraphers, printmakers, fine
printers and bookbinders. This handy guidebook also includes schools,
suppliers, organizations and dealers.
Out of print.
First issued in
1946 (in two volumes) Dover has reprinted the book as a one volume paperback,
complete but corrected. It remains the best sourceavailable on American hand
binding practice. Volume 1 deals with the craft's history while volume 2 is
concerned with its technique. An excellent addition to any craft library
Don Guyot wrote
this booklet with the same deep commitment to the wider subject of decorated
paper which he has applied to his work with Western paper marbling ever since
he began studying that craft 15 years ago. Following a brief Preface and an
Introduction, other sections in the booklet (Tools; Technique; Paper; Problems
and Solutions; Bibliography; Suppliers) provide the reader with all of the
practical knowledge needed to produce actual traditional suminagashi.
"Here for the first time in English, are easy to
follow instructions for making all the major, historically important styles of
Japanese bindings and traditional bookcases‑‑the custom‑made
folding boxes that afford handsome protection for Japan's exquisite books.
Starting with the stitched four‑hole book as a model, the basic
procedures are presented step by step ... Some eighteen styles
follow‑‑five variations on the four‑hole book, four types of
accordion book, six kinds of ledger or memo pad, the handscroll, all clearly
illustrated with approximately 400 photographs and drawings.
"‑‑ Publishers announcement.
Out of Print.
An excellent, inexpensive introduction to marbling
paper. It contains a wealth of technical information, bridges history and
chemistry well and reprints Dard Hunter's bibliography on marbling paper as
well. Highly recommended.
"Tons of color, including two‑page
spreads, make this a sumptuous and seductive book. It entices readers to make books. The clear step‑by‑step
illustrations are easy to follow. Artist's books and models are coupled with
each technique providing examples and possibilities. [LaPlantz] writes simple
directions for complex techniques. Plus, she encourages experimentation
through abundant examples from her own work and from others.
"‑‑Publisher's Notice.
Basic
Bookbinding has
been in print continuously since 1957 because it performs its job so well of
introducing bookbinding on a beginning level. Adequately illustrated, the book
also has a helpful appendix which enumerates the sequence of operations for
various types of bindings described in the text. Inexpensive, yet invaluable
as a first book for anyone beginning to learn the craft.
Out of print.
In the compass of its 24 pages, Maurer's booklet
provides an excellent introduction to watercolor marbling. Prints a set of
diagrams for construct‑v ing standard patterns.
This book encourages paper artists to experiment with
many new techniques.
This unique book traces the history of marbled paper
from its origins to the present day. Drawing on his collection of over 5000
original marbled papers, Einen Miura not only provides the reader with a
comprehensive source of inspiration, but also gives specific and clear
descriptions of how each paper was created and how they can be produced today.
"The book is a companion volume to Traditional
Marbling. [It] focuses on the use of acrylics, although other fabric prints
can be used ... It gives step by step instructions in the art of marbling
fabric. Included in the book are photographs to show how to lay both small and
large pieces of cloth, a step by step guide to‑marbling cloth,
traditional patterns and instructions, a problem solving guide, care and
cleaning of finished items, and sources of supply "‑‑Author's
announcement.
The second edition expands Iris's original text by
adding three new chapters which discuss, respectively, choosing paper for
marbling, making marbling colors with gouaches, and working in the marbler's
environment. A handy reference even though it is admittedly incomplete.
A compilation of many years of scribbling solutions
to many stubborn problems while marbling. As she says, she cannot guarantee
that her solutions will work for you, but they will provide you with a
starting point. Helpful text prepared by a consummate marbler. Schleicher, Mimi & Patty The Magic of Marbling Ashville, North Carolina. Self produced. 1995.
60 Minutes in stereo. "This is a complete workshop on video. In the
first half of the video you will learn to: 1. Make or find tools, equipment
and supplies. 2. Prepare the paper. 3. Prepare the marbling bath and paints.
4. Create free form or intricate patterns and finally, 5. Transfer the
floating image onto paper. The second half ... is dedicated to demonstrating
how to create the four basic patterns and a number of variations." Jacket
notes.
Out of print. Limited to stock on hand.
Out of print.
First published in 1963, this Dover book reprints the
expanded Macmillan edition of 1986 and preserves the best features of both
previous editions: excellent illustrations by a professional illustrator and
amateur bookbinder; explicit, informed descriptions of binding processes and
procedures; and a very useful edition which gives plans and instructions for
making binding tools and equipment.
Within these covers are easy‑to‑follow
directions, as well as historical exemplars, to help you enjoy making palm
leaf, accordian, and edge‑sewn bindings, single and multiple signature
books, and a variety of wrappings, and boxes. Complements Zeier's book by its
choice of projects and techniques.
"in this book, Mr. Zeier guides readers
step‑by‑step through projects for making a variety of boxes,
portfolios, book covers, photograph albums, mats and sewn and
adhesive‑bound books. The projects require no previous experience or
special equipment, and they are sequenced to teach fundamental skills such as
proper handling of tools and use of adhesives. Technical information is
presented in an accessible way, free of jargon."‑Publisher's note.
OH NO
THE FABRIC WASN'T PUT
INTO THE CATALOG SO:
BOOK FABRIC: sold in full yards only
ROHHALBLEINEN #402
(39.4." wide).
German tissue backed book fabric
made from a blend of cotton, viscose,
and linen. Natural color. WT. 13 oz./Yd. BRILLIANTA (54" wide) A Rayon tissue
backed Fabric. Available in Black, White, Gray, Royal Blue, Dark Green, and
Dark Red (Maroon).. MINIMUM
ORDER: ONE
YARD PACKING FEE FOR ORDERS UNDER % YARDS:
$3.75 FABRIC
SAMPLE BOOK: $2.00
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