The WELKIN Collection. A set of three books, tooled in blind and gold.

Structure and freedom

The last time I made a book on double cords was about two or three years ago. The thread came and went back through the same one hole in the signature, making an 8-like trajectory around the cores. I found this method a bit lacking as proper tightening was a bit of a problem.

I recently found another type of stitch, using three holes, rather than one. Once again, coming and going through the middle one, but this time with the opportunity to tighten the thread around the cores nicely. The result is a much more rugged book body, with strong supports on the spine. 

I’ve also began backing more often and experimenting with cover shapes. Mostly, where to add grooves and ridges. 

Decoratively speaking, the look on the leather when a book is sewn on double cords is sublime. I found great joy to add an additional marker between the two cores in the tying up process. 

The process of decoration went through several stages. Initially, all the lines were tooled for the shaping of the spaces in which the decorative motifs will be present. Again, I’m developing the idea of ​​complicating the decoration inherent in much of the preserved binding of our handwritten monuments. Especially through the strong presence of a rhombus as a figure in the outlines.

These three notebooks are actually my third step in this direction, the first one is the collection of “PILLARS” and the second is the book for the international competition in England, which I won’t be able to show until September.

I wanted to achieve a classic appearance, to have a strong, recognizable foundation on which I can, in the absence of a better term – go wild.

In the collection “RIDDLES” there is only wilderness, and although it was very uplifting to make them that way, I came to the conclusion that it is difficult to develop and build in that direction. I find it much better to strive to create synergy between order and mess.

There is a lot of symmetry in the gold tooling, although the forms themselves are filled with irregularities and are rather “spilled” in their assigned places rather than being sealed there, but they will be shown in more detail in the forthcoming publications.

The spine of the book, as well as the grid parts of the cover, are combinations of blind and gold tooling, the most used is a 24-carat gold leaf.

The large golden parts are made of mosaic from the 24-carat and slightly reddish 23.5 carat gold leaf. The individual pieces are hardly seen in the picture, but on the finished decoration, this difference creates a special gloss of the individual stamps

My dad did his best to design and create the silver fittings and clasps. The circle is a prevalent motif in all of the elements and really make the book “flow” through all of its decorative additions.

I’m very proud how this collection turned out and most of all how my and my father managed to develop our skills in the process. Big or small, these three books are another step forward for us honing our skills and we’re impatient to start work on our next projects.

Please feel welcome to watch the latest video, which covers a large part of the making process. It’s available on my channel here:

They’re available for sale on my website SHOP.


  • October 17, 2019

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