I have played a bit recently with some very simple linoleum block prints, like the one above and the chair posted on September 9th. As with any new interest, I looked to a book for a little guidance. Simple Printmaking by Gwen Diehn provided a good high level introduction to making relief prints.
A fresh perspective can generate new ideas. While working on my first book, in the summer of 2008, I learned about and used the formal canon. This principle uses lines drawn to divide the page indicating where text and design should be located, based on the principles from the golden mean. After preparing 128 pages this way, I became enamored not just with the technique but the lines and intersection of points it created as a design in itself. This showed up very quickly in fused glass pieces like the one auctioned on behalf of SaySi, last February.
10x10" footed sushi plate made of soda lime glass
I recently read, a book checked out from the San Antonio Calligraphy Guild Library, titled A Degree of Mastery written by Annie Tremmell Wilcox. After participating in a few bookbinding workshops, I was open and amazed at the story this book told of a journey through a book arts apprenticeship and a life long pursuit of mastery. As I am just becoming familiar with the tools and techniques, I found it an amazing experience to swim in the language of this skill set. It was like being dropped in the middle of a Latin American country after taking only one semester of Spanish. It all sounds familiar and beautiful but your not really grasping it all. Then before you know it you begin to understand and even contribute to the conversation. This is how I would describe my relationship to this book. 
To assist me with my new learning, I sought out a simple entry level book on the subject of bookbinding. You know, one with easy to understand language, pretty pictures and vibrant colors. I'll get to the more technical ones later. What I need right now is something to help me understand the lingo, learn the very basic tools and encourage my budding interest, without overwhelming me. I found The Bookbinding Handbook: Simple Techniques and Step-by-Step Projects at my neighborhood mega-bookstore, and it does the job nicely. 
My Place Bar & Grille 
The text block was made from individual sheets of 22x30" paper torn down, folded, punched and sewn together. To this codex I added five linen cords and custom headbands at each end. 
After the text block is prepared, the spine of the book is strengthened by applying a series of wheat paste and long fiber papers, including Kozo and Kitikata. 
After significant measuring and remeasuring, Davey Board was cut to the appropriate size, wholes wear drilled for the linen cords and the boards where tentatively placed on the text block. The design for the leather and decorative paper where sketched on the board's surface.
The leather was cut, prepared and applied to the spine and corners of the book. A heavy weight conservation quality paper was then used to fill the space between the leather before applying the decorative paper. As a final touch a doublure was cut from the leather and applied inside between the cover and text block (very fancy).
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Thank you Maggie and Leslie. You are wonderful educators. I am looking forward to contining my book arts education with you in the winter.
