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Re: Metal Binding Techniques

Hello Folks,

The other day Nicolas asked if I would share some of my secrets in workin=
with metal and bookbinding. Sorry not to have been able to respond sooner=

while the subject was being discussed.
I am glad to share what I can but don't know that I have any real secrets=
=2E =

Like probably most, I have no training in metalsmithing, I have learned i=
all by trial and error. (except for a welding class I took at John
somebody's Auto Welding School in S.F. 14 years ago in order to make larg=
scale metal books, which ended up to be a path I did not follow!) =

Patience and determination are the basic keys to working with copper and
brass for me.  Many times the limitation of the metal or my knowledge of
how to manipulate it has controlled the direction a book design will take=
which often has had postive results and opened up ideas that, had I been
able to dominate the metal, would never have occured to me.  =

Since trying to use metal like leather or paper, one of the most importan=
discoveries is that non annealed copper gives me a better result than
annealed.  Though the latter is easier to manipulate it is also more easi=
dents, breaks, and warps. Since Nicholas discovered the shellac trick
several years ago, I use it too, or cement glue or epoxy depending on wha=
getting glued.  =

The most useful technical book for me has been "The Complete Metalsmith" =
Tim McCreight.  It is handwritten and illustrated which makes it more
personal to use.  Most of my experiments with patinas and etching or
engraving have come from that source.  Although I have made many metal
books in different forms and formats I employ very simple techniques, eve=
if they take me weeks to elaborate, like cutting the brass doublures for
Agricultural Notation.  No secrets there, a good pair of shears and stron=
hands which usually develop naturally over years of art making. =

Simplicity, persistence, dedication, and determination, eventually it oug=
to work.  Good Luck!


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