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Crafting a fine book

Each book is unique. Decisions on binding design, material or typeface will be made to reflect and complement its content, but each is designed to last for generations.


Beautiful illustration Image

Elegant Typography

‘Typography is the craft of endowing human language with a durable visual form’ ROBERT BRINGHURST

The heart of any book is its words, and reading them should be a pleasure, aided by a clarity and elegance of layout that is pleasing to the eye without being obtrusive. ‘Good typography is invisible’ is an excellent maxim, and one you recognise the truth of only when you realise how much poor typographic design jars on the eye.

In Folio books you will find a generous type-size, spacing and margins, embellished where appropriate by attractive display type and a restrained use of ornaments. A wide variety of typefaces, both traditional and contemporary, is employed. Each one is carefully chosen to suit the character of the book.

For our Letterpress Shakespeare, typography has become the jewel of the volume. Set in ‘Monotype’ Baskerville, the type has been cast in hot metal by the craftsman Stan Lane and then printed by the traditional printing workshop Hand & Eye Letterpress.


Paper that lasts

Folio books are printed on wood and acid free paper so they won’t go brown or brittle. The quality of the paper produced by these traditional European mills is obvious from the moment you touch the pages, but you can also be sure that this paper will last, staying supple and pristine, just like the books printed over 50 years ago by The Folio Society.

Different papers are chosen for different books – some are creamy, other pure white, some ‘laid’ or ‘woven’, others picked to complement the artworks. Our Letterpress Shakespeare books are printed on mould-made paper with a high rag content, giving the traditional soft-edge deckle only seen on hand-made papers.


Luxurious and varied bindings
Crafting Fine books

Buckram, cloth, leather (goat, sheep or calf), silk (crushed or moiré), cotton, printed or hand-marbled paper, gold blocking, coloured blocking, gilded or coloured edges … these varied and costly fabrics and finishes are the foundation for the designers to work with. Each binding design is unique, bringing together the talents of artists and designers with printers and craftsmen.


Slipcases

Dust-jackets don’t protect fine bindings and were originally invented as a marketing ploy in crowded bookshops, so Folio Society books are presented in slipcases. These are the traditional coverings for fine editions and a sturdy protector against light and dust.


The process of printing and binding

After the care lavished on every aspect of designing a book, executing the design requires an equal dedication and attention to detail. From scrutinising numerous proofs of every page to ensure colours and ink-weights are exactly rendered to checking individual pages for print quality this is a time-intensive process. These are books designed for reading, to be handled and used and still retain their beauty and perfect form. This requires an exceptional manufacturing process, and we insist on traditional operations and standards which are used today only in ‘art’ or private presses.

• Book spines are sewn, not glued, for lasting strength.

• Pages are sewn in sections of 16. Not only is this stronger, but it also   allows a book to open flat.

• The spines are lined with muslin, not card, a traditional material which lasts    far longer.

• Decorated head and tail bands in colours carefully selected to match the   designs form a finishing touch.

• Quality design boards and heavy-weight endpapers case the books in for   excellent stability.


Limited Editions

All the works selected by The Folio Society to recreate as limited edition fine books are landmarks in publishing and book creation. Read more

 
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