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Samuel Feinstein

@sfbookbinding

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Fine/design bookbinder. Socialist for the liberation of all peoples. Disabled from a TBI in ‘07. NBSS class of 2012. Commissions closed til 2027.
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This year, the inimitable David Lanning was presented with the prestigious Cobden-Sanderson Lifetime award from @societyofbookbinders for his immense contributions to the field, and Dominic Riley had me make a bow tie in the style of TJ Cobden-Sanderson as a token of gratitude and celebration. The leather is of course @hewits.leather over a walnut base tooled in moon-gold with cave paper lining on the back. Congratulations David! It’s so well deserved! by @sfbookbinding
22
2 months ago
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Here are a few finished and process photos of the label for my box for Ubu Roi. The in-set label is meant to bring into mind the dimensionality of the binding. The letters are box calf backed with 35gsm tissue, which were then cut out using acrylic letter templates, then edge-pared. The label was made with the covering leather backed with tissue, a template made, and impressions were made into the leather using the same acrylic templates used to cut the letters, the grain leather scraped and then I pressed again to make sure things were even before placing the letters. After the letters were glued in, I gently sanded the back a little bit and then glued out the label and placed it. I knew I wanted a bold appearance from the shelf, and these 50mm tall letters are indeed quite noticeable. by @sfbookbinding
15
7 months ago
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Finally getting around to posting this box, I got this book back from the Guild of Book Workers’s “Night Circus” exhibition and now the book can be reunited with the medal made by Claude Gondard it came with which did not join the book for the traveling exhibition. While the board cut out on the book also functioned as an aesthetic design decision, it also allows for a space where the medal is experienced as an integral part of the object. Here are some photos from the process which involved making up a stable board to work with, cutting out a circle, lining the inside and outer edges in box calf, preparing the inside to be lined with ultrasuede, preparing the outside to be lined in leather and a piece of the urushi panel that is inlaid in the binding, and then of course, coming up with a way to hinge this into the box. by @sfbookbinding
14
8 months ago
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Beauté, Mon Beau Souci…, by Valery Larbaud. “Illustré de trente-sept gravures au burin par J. E. Laboureur”. Stay til the end to see how i accommodated the onlays with the ultrasuede covered pads in the box. I was inspired by the linework that Laboureur, especially the shape of the sections of the fan in the illustration used on the cover, and was also taken by the sort of shading that is seen in much of the illustrations. Abstracting this and playing with layers and lines, as well as pulling inspiration from the architectural aspects of the illustrations, I ended up with a linear design, using the same angles of those sharp and delicate triangles. Different levels of dimension are seen in this binding, both by cutting into the board and removing it, as well as creating onlays with sharp edges and relief. We have the triangle inlays touching just a bit, which can be seen as the transient love that the main character pursues throughout the book. #book #books #bookbinding #bookbinder #bookstagram #maker #artsandcrafts #artisan #art #handmade #handbookbinding #finebookbinding #goldfinishing #goldtooling #gilding #design #craft #reliure #reliuredart #finishing #encuadernacion #gold #doreur #buchbinden #buchbinder #marbledpaper #marbling by @sfbookbinding
15
a year ago
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Beauté, Mon Beau Souci…, by Valery Larbaud. “Illustré de trente-sept gravures au burin par J. E. Laboureur” I was inspired by the linework that Laboureur, especially the shape of the sections of the fan in the illustration used on the cover, and was also taken by the sort of shading that is seen in much of the illustrations. Abstracting this and playing with layers and lines, as well as pulling inspiration from the architectural aspects of the illustrations, I ended up with a linear design, using the same angles of those sharp and delicate triangles. Different levels of dimension are seen in this binding, both by cutting into the board and removing it, as well as creating onlays with sharp edges and relief. We have the triangle inlays touching just a bit, which can be seen as the transient love that the main character pursues throughout the book. by @sfbookbinding
8
a year ago
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Detail shots of my binding on Beauté, Mon Beau Souci... by Valery Larbaud with illustrations by Jean Émile Laboureur. by @sfbookbinding
4
a year ago
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There's something exhilarating about making the first cuts into a binding. And in this book I used two different inlay techniques. The first inlays, flush with the covering leather, are a beautiful 2-tone coral colored leather from Pergamena that goes around the board and onto the turn-ins, so the paring must match exactly. I used an acrylic template which I cut and polished from an acrylic sheet. The second kind of inlays used are board-excision inlay where leather and board are cut into down to a specific level of the board make-up, the board removed, the walls of the cuts lined with leather, and then the inlay placed. The leather that lines the inlay walls is pared down as thin as possible, lined with 35gsm Japanese tissue using pva/paste mix because when working with veg-tanned leather the wall onlay gets applied with paste and you dont want the lining to delaminate; the leather is cut to the height of the wall at its tallest point, then edge-pared on one side, then material is removed from the bottom (unpared) part of the strip so that it matches with the board shaping, and applied with paste. The inlaid leather was surface gilt using shellac glaire and heat using gold and moon gold, then finished with a thin layer of urushi lacquer. It was cut to size, edge-pared where it terminates at the board edge, and then glued up and placed. by @sfbookbinding
12
a year ago
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A few more in-progress pictures of this book. The top edge is decorated with gold and moon gold over graphite, one of my favorite kinds of edge decoration, the first image is after taking it from the press, the second was one during gilding. This will match the surface gilt leather inlays which I will post about later. Next we have my bench clean, organized, and ready for covering. Corners are still done as though the turn-ins would stay visible, but this book does have edge-to-edge doublures. The final slide is the relief onlays which will go on the boards and spine, leather which has been glued to stiff paper and the edges sealed and painted with acrylic which will stay off the book until the final steps of finishing and will need accommodation in the trays of the box. #inprogress by @sfbookbinding
10
a year ago
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I'm a little late to post this binding as it was completed in 2023, but I'm catching up. First slide is a close-up of the rear marbled paper doublure showing how the marbled paper terminates at the edge of the board. The second and third slides are from the marbling session for this binding. Fourth is the inside of the board completely prepped for the doublure--the same preparation done for edge-to-edge leather doublures. The front doublure has leather from the same skin as the covering leather on the left side, using the same triangle as the inlays from the outer covers. The final slide is the drafted out cover design. When doing edge-to-edge paper doublures, I take a piece of the same paper, prepare it how I would for covering and make my best guess at how much the paper will stretch, then glue it off in the same way as I would with the actual doublure, and see down to the fraction of a millimeter how much it stretches. Then I can cut the actual doublure paper to the exact size it needs to be, taking into account how much it stretches when it is glued out, and place it without any worries. More to come soon! by @sfbookbinding
11
a year ago
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Titling by Hand, 5-day workshop at the @nbssboston August 18-22, 2025. Primarily working with type-holders and handle letters, students will learn the process of titling by hand with gold leaf. Titling is, in my opinion, the most important kind of tooling, not simply because it identifies what the book is, but also because acknowledges the work that others did in the creation of the book as an object. While titling need not only be done with type or handle letters, students will build a foundation for titling their books, and have the option to include a title as part of their designs. Follow the link in my bio for registration! by @sfbookbinding
7
a year ago
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Walnut bowtie covered in black leather with urushi-lacquered-and-gilt leather and red leather onlays; palladium tooled line on each side, backed with my marbled paper. Adjustable strap. $300 plus shipping by @sfbookbinding
4
2 years ago
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Quail egg over gold leaf with red leather accents, beige leather accents; gold tooling on the band and edges; the base of the bowtie is walnut wood. Adjustable strap. SOLD by @sfbookbinding
6
2 years ago
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