A novel sewing frame in a box

Per Cullhed
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引用次数: 0

Abstract

z Clarkson, Christopher, 'Thoughts on sewing frame design for the book conservator', The Paper Conservator 19 (1995) 41-54. See also: Smith, Philip, New Directions in Bookbinding (London: Studio Vista, 1974) 130. The sewing of books is a main interest for hand bookbinders as well as for book conservators. Those knowledgeable in bookbinding techniques will typically take an extra look before buying a book to see if it is adhesive bound, or sewn. Sewing has always been synonymous with high quality. Historically, sewing through the fold signals the shift from the book roll to the codex. Also, sewing structures have often been instructive when distinguishing between different binding styles. It is probable that since before the tenth century in western European bookbinding practice, sewing has been executed on the sewing frame. The sewing frames we buy today look very much the same as they did in these early medieval times. The earliest depiction of a sewing frame comes from the twelfth-century Ambrosius MS in Bamberg.' One may assume that there is nothing to add to a successful design that has stood the test of a thousand years (Fig. I). However, anyone who has used the traditional sewing frame knows that there are some disadvantages to it, the foremost perhaps being the binder's inability to see the inside of the quire. Strategies to overcome this disadvantage are many: turning the head in awkward positions to be able to look behind the sheet, using mirrors or sitting in a sideways sewing position are just a few of the tricks. Also, the threaded uprights tend to restrict free movement of the arms and the traditional frame will only unwillingly receive an alternative sewing support material, for example a textile support. Moreover, the slot for the cords is traditionally placed a few centimetres from the edge of the sewing surface, which makes it difficult to insert a needle in the correct angle. Of course, a problem like this can be solved by adding a pressing board under the book. Nevertheless this is one detail where improvements are called fQr. The above mentioned factors, and the difficulties in a cramped workshop of finding a good storage place for the traditional frame, set me on the path to try to make a new design for a sewing frame. During the last two or three decades, in order to overcome the problems with the traditional sewing frame, other bookbinders and conservators have also been engaged in the construction of alternative sewing frames2 Sewing frame is called hiifftlida in Swedish, which literally means sewing-box. It is in fact quite an incomprehensible technical term if you are not familiar with its etymology. Along with many other Swedish bookbinding terms, it comes from Germany. The German word for a sewing frame is Heffladen, which means sewing-shelf, an expression that makes more sense. Perhaps it was this incomprehensible Swedish word that led me to try to contain an alternative sewing frame in a box. Ten years ago, I started experimenting and looking for a new design and the aims I set myself can be summarized as follows: in a new sewing frame it should be possible to see the sewing from the inside of the fold and to use different kinds of sewing supports; the frame should be fairly easy to take down, store and carry around; and there should be no 'slot distance'. The most important quality of the design was to make it possible to see the actual sewing action from inside the folded quires. This aspect is crucial when resewing old books as it should be possible to use the original holes without any risk of puncturing the area close to the holes, and thereby inadvertently enlarging them. To sew through a tightly woven support, as is sometimes done in conservation bindings, is also difficult on a traditional sewing frame as the support
一个装在盒子里的新颖的缝纫架
z Clarkson, Christopher,“关于书籍保存器的缝纫框架设计的思考”,the Paper conservator 19(1995) 41-54。参见:史密斯,菲利普,《装订新方向》(伦敦:Studio Vista, 1974) 130。书的缝纫是手工装订工和图书管理员的主要兴趣。那些熟悉装帧技术的人在买书之前通常会多看一看,看它是粘合剂装帧还是缝纫装帧。缝纫一直是高质量的代名词。从历史上看,缝制折页标志着从书卷到手抄本的转变。此外,缝纫结构在区分不同的装订风格时经常具有指导意义。很可能在10世纪之前的西欧装订实践中,缝纫已经在缝纫框上进行了。我们今天买的缝纫框架看起来和中世纪早期的缝纫框架非常相似。最早的缝纫框架的描述来自12世纪班贝格的Ambrosius MS。”有人可能会认为一个成功的设计已经经受了一千年的考验(图1)。然而,任何使用过传统缝纫框架的人都知道它有一些缺点,最重要的可能是装订者无法看到针线的内部。克服这一缺点的策略有很多:以尴尬的姿势转头以便能够看到床单后面,使用镜子或侧身坐在缝纫位置只是其中的一些技巧。此外,螺纹支架往往会限制手臂的自由运动,而传统框架只会不情愿地接受替代缝纫支撑材料,例如纺织品支撑。此外,传统的线槽距离缝纫表面的边缘几厘米,这使得很难以正确的角度插入针。当然,这样的问题可以通过在书下面加一块压板来解决。然而,这是一个被称为fQr改进的细节。考虑到上述因素,再加上在狭小的车间里很难找到一个适合存放传统框架的地方,这让我开始尝试设计一种新的缝纫框架。在过去的二三十年里,为了克服传统缝纫框的问题,其他装订商和保护人员也在从事替代缝纫框的建造。缝纫框在瑞典语中被称为hifftlida,字面意思是缝纫盒。如果你不熟悉它的词源,它实际上是一个相当难以理解的技术术语。和许多其他瑞典书籍装订术语一样,它也来自德国。缝纫架的德语单词是Heffladen,意思是缝纫架,这个表达更有意义。也许正是这个难以理解的瑞典词,促使我尝试在一个盒子里装上另一种缝纫框架。十年前,我开始尝试和寻找一种新的设计,我为自己设定的目标可以总结如下:在一个新的缝纫框架中,应该可以从褶皱内部看到缝纫,并使用不同种类的缝纫支撑;框架应该是相当容易取下,存储和携带;而且不应该存在“槽距”。这种设计最重要的品质是可以从折叠的褶里看到实际的缝纫过程。在重新缝制旧书时,这一点是至关重要的,因为它应该可以使用原来的孔,而不会有刺破孔附近区域的风险,从而无意中扩大了它们。缝纫通过一个紧密编织的支持,有时是在保护装订,也很难在传统的缝纫框架作为支持
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