As a professional bookbinder, trained in gold tooling, I’m interested in developing new approaches to bookbinding. Using nylon thread to sew a book with a flexible cover, creating a binding that is both attractive and functional, is the main aim of my research: this is the “à la ligne”binding.
My work as a bookbinder is focused on book conservation, on the pleasure of reading, and on creating attractive, personalised bindings.
+One key aspect of creating this binding is that the cover is kept as an independent element until the final stage, the sewing. This is what I call “starting with a blank sheet of paper” – an approach that gives me a great deal of freedom. Dyeing, printing and cut-out work can all be done on a flat surface without any risk of damage to the book.
Removing technical constraints opens the doors to creativity.
For a binding to be beautiful and pleasant to use, the technique – even if it is a simple one – needs to be perfect. This quest for perfection goes back to my training at La Cambre.
One key aspect of creating this binding is that the cover is kept as an independent element until the final stage, the sewing. This is what I call “starting with a blank sheet of paper” – an approach that gives me a great deal of freedom. Dyeing, printing and cut-out work can all be done on a flat surface without any risk of damage to the book.
Removing technical constraints opens the doors to creativity.
For a binding to be beautiful and pleasant to use, the technique – even if it is a simple one – needs to be perfect. This quest for perfection goes back to my training at La Cambre.
One key aspect of creating this binding is that the cover is kept as an independent element until the final stage, the sewing. This is what I call “starting with a blank sheet of paper” – an approach that gives me a great deal of freedom. Dyeing, printing and cut-out work can all be done on a flat surface without any risk of damage to the book.
Removing technical constraints opens the doors to creativity.
For a binding to be beautiful and pleasant to use, the technique – even if it is a simple one – needs to be perfect. This quest for perfection goes back to my training at La Cambre.
At first I called it “nylon sewing on a semi-rigid cover” – but then I decided to call it “à la ligne” after the French term for angling, pêche à la ligne, referencing the fishing line I use as sewing thread. This is a reversible technique: sections can be freed from the cover and restored to their original state simply by cutting the thread with scissors. This is ideal both for conservation purposes and for viewing the book itself.
+I undertook intensive research, testing materials and structures, the sewing and its anchor points. The binding concept evolved through a process of aesthetic and technical development assisted by the use of software, printers and cutting machines.
I undertook intensive research, testing materials and structures, the sewing and its anchor points. The binding concept evolved through a process of aesthetic and technical development assisted by the use of software, printers and cutting machines.
I undertook intensive research, testing materials and structures, the sewing and its anchor points. The binding concept evolved through a process of aesthetic and technical development assisted by the use of software, printers and cutting machines.
In connection with the publication, a model template (Adobe Illustrator) is available for downloading and I suggest viewing the tutorial — you can copy and paste from this template as a quick and easy way to make your own.
Each section is sewn independently, directly to the cover spine. This sewing becomes an integral element of the cover design, the transparent thread blending with its colour scheme in a way that can be subtle or more prominent in effect.
Denis Grégoire was awarded the second bookbinding design research grant offered by the Mariemont Atelier du Livre ; "À LA LIGNE" BINDING / The invisible is published by the L’Atelier du Livre de Mariemont and Éditions Esperluète
