December Tests, January Decisions

basilvos
Jan 20
4 min read

Updated: 7 days ago

Prototypes 2 and 3 completed the development phase and confirmed overall construction while identifying remaining constraints. Material selection, template dimensions, and sourcing were validated through testing. The primary unresolved variable is pen reliability on black paper, which currently limits release readiness.

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Into the Thick of It

Prototypes 2 and 3, the final test builds in the development stage, were produced in December. Both prototypes use archival materials throughout, except the leather. In an earlier post, I discuss my intention to use a paper stock cover which I did in fact produce for practice. I didn't intend to move into leather so quickly, so I purchased practice-appropriate leather for the prototypes rather than committing early to archival stock. At the time of writing this, a consistent supply of leather meeting my specifications has not yet been secured, and sourcing remains ongoing across both local and online suppliers. More on this soon.

The rest of the materials were chosen over time with practice, experience, mistakes, and analysis every single step of the way. The signatures are made from Classic Crest Smooth 80T (118gsm) in Epic Black produced by Neenah Paper, and bound to the soft leather cover with archival quality thread by Ets Toulemonde Lin Câble #432 (.63 mm). Lin Câble is produced in France and has been in continuous manufacture for over 150 years. It carries a softer, more natural surface quality that pairs well with handmade work. This specific size was selected after testing to provide adequate strength without overwhelming the stitch pattern or the leather itself. As I recall, this was a particularly long process for me to refine.

Prototype 3, pictured above, in particular validated the overall direction of the build. The book opens well, lays flat enough to be written in comfortably, and carries the tactile qualities I was aiming for when I started learning bookbinding in September, 2025. At the same time, it surfaced a specific and measurable issue in Template #2. The leather wrap width was slightly underestimated relative to the swell of the signatures. Structurally, this is not catastrophic but practically, it matters. The correction is: the next template will increase leather width by 2.5 millimeters and height by 1.5 millimeters. That adjustment alone requires a new final template before producing the first public run.

Material sourcing remains one of the more stubborn constraints. According to research, Goat and Calf leather continue to be the preferred archival option for flexibility and durability, but not all samples behave the same in use. Some leathers meet basic durability requirements yet feel too thin or overly processed, losing the tactile honesty that matters to this series. Others crease too easily under normal handling (I'm looking at you, Prototype 2). The current plan is to source two leathers locally that meet thickness, stability, and aging criteria. If suitable leather cannot be sourced locally, ordering online remains the fallback, but it introduces clear drawbacks, including delays, uncertainty, and material waste when samples fail to meet requirements.

The largest unresolved issue is not paper or leather. It's the pen.

Writing on black paper requires white ink, and white pens introduce a reliability problem that cannot be ignored. Multiple brands and models were tested, including Uni-ball Signo UM 153 (1.0 mm), Pentel Milky Pop (0.8mm), and Sakura Jelly Roll (Assortment: 0.5 mm, 0.8 mm, and 1.0 mm). The results were inconsistent. Some pens failed outright. Others worked intermittently depending on pressure, writing angle, or speed. In two cases, only one pen in a multi-pack functioned reliably. That level of variability is incompatible with a product intended for regular use by others.

A book that cannot be written in comfortably is incomplete. If the writing experience is frustrating, the book becomes an object rather than a tool. That outcome defeats the purpose of making it in the first place.

From this first round of testing, the ideal line thickness appears to fall between 0.7 and 0.8 millimeters, but no tested pen consistently meets that target across different writing styles. This was a late-discovered constraint, and its impact is nontrivial given how central writing is to the purpose of the book. Ideally, each book would include a pen that works reliably across common use cases, alongside a vetted list of alternatives users could source themselves. Until a reliable solution exists, this issue alone is sufficient to pause a public release.

One potential path forward is to decouple the series slightly through a paired approach: a larger black-paper journal alongside a smaller companion notebook using white paper. This would reduce dependency on white ink while preserving the core design language. I consider this a structural compromise that avoids the core problem rather than solving it. Conceptually, however, a paired set has merit if the underlying issues are resolved: a smaller notebook for everyday carry alongside a larger volume intended for deeper synthesis.

Another path involves deeper research into pen construction itself, including whether sourcing or assembling a custom solution is feasible. That is not a simple problem, and it may not be practical, but it warrants investigation.

In hands, not on shelves

The intent remains unchanged. These books are meant to be used, filled, and eventually archived as records of experience; lived evidence. They are not display objects. They are not meant to sit untouched on a shelf. Wear, writing, and the patina of use are the point. A book that survives entropy by avoiding interaction has missed the assignment categorically.

The goal is to have three to four books available by the end of February, pending resolution of leather sourcing and the pen issue. Prototypes 2 and 3 did their job. The following public-facing series needs to do the same.