There’s something special about a hand-bound book – the feel of it in your hands, the care that’s gone into making it, and the simple satisfaction of seeing it come together. For Ruth McCann, bookbinding isn’t just a craft, it’s been a central part of her life for over 25 years.
Ruth brings a wealth of experience to her teaching, along with a practical, thoughtful approach. We spoke to her about how she first got started, the projects that have shaped her career, and the advice she gives to people beginning their own bookbinding journey.
1) How long have you been practising bookbinding?
I’ve been practising bookbinding since my Fine Art degree at Northumbria University (1999–2002), so roughly 25 years now.
2) What first drew you to bookbinding, and how did you get started in the craft?
What first drew me in was the physicality of it, being able to handle and touch art. I loved that aspect of my degree. There was something grounding about making something tactile and functional, not just visual.
Professionally, I got started almost by chance – or maybe fate. After finishing my degree, I moved to Cork in Ireland without a clear career plan. I went into the local job centre and spotted a small handwritten card pinned to the board:
“Bookbinders apprentice required.”
I applied, and that little card changed everything. I worked full time for three years at Hubert’s Hand Bindery in Cork, learning the craft from the ground up. It was an invaluable foundation.
3) Was there a particular book, experience, or mentor that inspired you?
While working in Cork, I met another apprentice, Ina Baumeister, who had studied bookbinding in Germany. She was full of creativity and ideas and incredibly generous with her knowledge.
She taught me so much, not just technically, but creatively. Seeing someone approach the craft with that level of imagination was hugely inspiring. That experience really shaped the way I think about bookbinding.
4) What are some of your favourite binding structures or techniques, and why?
One of my favourite binding structures is Coptic binding.
I love the beauty of the visible stitching, because it’s exposed, it has to be incredibly accurate and neat. There’s nowhere to hide! I enjoy selecting coloured threads that complement the book cloth and paper, making the spine part of the design.
It also lies beautifully flat when open, which makes it perfect for sketchbooks. It’s both elegant and practical, which I think is a lovely combination.
5) How do you choose materials for different projects?
Wow – that’s a big question!
Take thread, for example. It’s usually linen, and it comes in different thicknesses, waxed or unwaxed. Choosing the right one depends on so many factors:
-How many sections the book has
-The overall size
-Whether it will be rounded and backed
-The thickness of the cover board
-The structure and intended use of the book
And that’s just the thread!
The same thought process applies to paper, leather, cloth and adhesives. Every material has to suit both the structure and the purpose of the book. When I’m teaching, I try to weave these considerations into each step, so students understand not just how to bind something, but why certain materials are chosen.
6) What’s the most challenging project you’ve ever worked on?
During my time at Book Works in London, we worked on some incredibly ambitious commissions for artists, designers, photographers and architects.
One of the most challenging projects was a series of leather-covered plan chests created for Damien Hirst. Each drawer held a hand-bound folio of his prints, and the top housed sculptures supported in silk.
The real challenge was the scale, they were very large pieces to work on!
7) What project are you especially proud of?
I’m particularly proud of a leather binding with a slipcase of a work by Shakespeare.
It’s one of those pieces where everything came together – craftsmanship, proportion, material choice and finish. There’s a quiet satisfaction in creating something that feels complete in every detail.
8) What one piece of advice would you give someone starting out?
If someone wanted to get started in bookbinding today the one piece of advice I would give them (apart from coming on one of your courses!) is to get started… make lots of books… practice makes perfect! Try to stay open to criticism. I’m so grateful for the time people took to look at my bindings and point out what could be done differently and how I could improve!
With decades of hands-on experience, from apprenticeships to large-scale artistic commissions, Ruth brings both technical precision and creative insight to her teaching. Whether you’re brand new to bookbinding or looking to refine your skills, you’ll be learning from someone who truly understands the craft from spine to slipcase.
Do go check out her bookbinding workshops!
