Thursday, November 27, 2014

Finishing in Hand Bookbinding, a new edition

Finishing in Hand Bookbinding, by Herbert and Peter Fahey. A reprint in facsimile of the 1951 edition with a new Introduction by Alan Isaac and Foreword by Maureen Duke. Oxford: Published by Alan Isaac Rare Books with Maureen Duke, 2014.

Edition limited to 500 copies. Hardbound, purple cloth, gilt. 227 x 152mm, portraits frontis, xviii, 82p, vi.5  mono. plates. 2 additional color plates.  £29. To order go to Alan Isaac Rare Books, or for those outside the UK via email at info@aibooks.co.uk.

Reviewed by Samuel Feinstein

Those interested in the book arts, especially bookbinders, will be grateful for the reprinting of Finishing in Hand Bookbinding this new edition, and each time at a different stage in my development of finishing skills. I was fortunate that this book was available to me for two years during my training at the North Bennet Street School in Boston. Now, with an affordable edition available, the knowledge contained within is much more accessible to those interested in learning, those wanting to review, and those wanting to further broaden their finishing practices. Regardless, these writings are useful for almost all levels of finishing. I would love to see this reprinting be the catalyst of a renewed conversation about hand-tooling, or, more than that, a rallying call inspiring enthusiasm for the use of this decorative technique.

The Faheys make an argument, carried throughout the book, as to why hand tooling is best in finishing. Unlike flat stamping, usually by machine, or even foil tooling, hand tooling using gold leaf is the most reflective and lively type of decoration; this is quintessential to everything that follows. Hand tooling imparts “life”, as the Faheys say, “by various tools reflecting the light and gold at slightly different angles and planes,” as opposed to the monotonous effect given by plate-stamped designs (Fahey 19). To those that see and handle them, hand-tooled bindings have an inherent allure created not only by the sumptuousness of the materials, but by the play of light reflecting off of the gold and the wonder it provokes. Dr. Marianne Tidcombe in the introduction to Twenty-Five Gold-Tooled Bindings wrote, “Gold-tooling is the most visible and striking of all the traditional techniques, but it has been less in evidence with each passing decade” (Tidcombe 5). Although written in 1997, it is hard to deny that gold-tooled bindings are much less prevalent than they once were.

The reprinted edition is a flat back case binding in full purple cloth, sewn, with plain endpapers. “FINISHING” appears on the front cover in gold foil stamping, a subtle tip of the hat to the Faheys’ belief that the covers should have a conceptual correlation to the title page. There is also an image of a hand holding a decorative finishing tool, while the spine has the name of the name of the book and authors’ last name foil-stamped in a sans-serif type-face. This facsimile of the 1951 edition is slightly smaller than the original printing. There is a new frontispiece showing Herbert and Peter Fahey at work, two new color plates and, best of all, a new Introduction and Foreword.

Alan Isaac’s Introduction to the new edition acquaints one with a brief background of the Faheys. For me, having only known about the Faheys from the first edition of this book, Isaac really brings them to life: their beginnings, their first forays into the world of bookbinding, their development of skills, the many places they studied in and people they studied with, and their legacy.

Maureen Duke’s Foreword focuses on updating some of the aspects of the processes the Faheys used. She says it beautifully: “Our knowledge concerning the deterioration of bindings has been advanced by those studying book conservation, and which has added considerately to the breadth of our understanding and affected the way in which certain procedures are done” (Duke xv). A few of the items she addresses are the advantages of brass type, the use of toxic solvents in neutralizing the oil used to hold the gold leaf in place on the leather, and the use of asbestos in tool handles. She also notes the development of shellac-based glaire, which is better suited to beginners than egg glaire.

The Faheys’ manual of 1951 is, in part, a response to what they felt to be a lack of more “modern” style finishing instruction the English manuals of the time, which had sections on finishing. The manuals in use focused mainly on period style tooling, and many were superficial in their instructions. The Faheys’ manual not only is much clearer about the process, but also incorporates their personal styles in design and concept.

The act of finishing is meditative. Losing a sense of self while tooling for days, weeks, or months, when all that exists is the design, the gold, the book, and the tool, is such a difficult thing to describe. This book articulates well many of the “feelings” experienced with finishing that are not easily translatable into words. The Faheys take their time in explaining the processes in depth, and will sometimes come back to an idea another place in the book to further expound upon it.

I would be remiss if I didn’t mention their first instructor, Ignatz Wiemeler of Germany (1895 – 1952). Wiemeler helped in the development of their own philosophy, in both appearance and concept. His influence on the Faheys’ style is readily apparent, especially in the use of line. Wiemeler was in harmony with the Arts and Crafts Movement, the belief in using the best materials, sewing on raised cords when the paper suited that technique, having the binding’s decoration harmonize with the content, and taking the best of centuries-old techniques to improve the bookbinding of his time. This excerpt from his article Bookbinding, Old and New gives a general feeling of his philosophy:
A well-made book must be beautiful, in each stage of its development, if the finished book should be convincing. The natural beauty of the whole and of each single part cannot be premeditated and executed, but must be borne in mind along with the work. It cannot be seen alone, but more than that, it must be felt by touch of hand. It is the sum total of exactitude and care for every detail, of the harmony of the size of the book and the thickness of its covers with the width of its edges; in short, it is the result of inspired work (Wiemeler 159).

Weimeler had an ardent belief that the use of lettering was not simply for identification of the book, but an integral part of the design. This is something that the Faheys incorporated into their own philosophy, and it is easily noted when looking at their bindings.

The Faheys explain what is meant by “finishing” in their Introduction: “The term “finishing” is applied to all work done after the book has been forwarded. The finisher must decide what lettering and decoration are to be put on the book. This includes tooling of the patterns in blind or with metal, onlay and inlay work, polishing and varnishing” (Fahey 7). They prefer simple designs rather than complex. Not necessarily “less is more”, as is seen in some of their designs with large amounts of tooling, but rather using finishing tools in a way that is not exceedingly complex. They are practical about this, both from a design standpoint and craftsman standpoint. As they say, "A finisher must make things easy for himself" (Fahey 12).

The Faheys describe at length the tools used in finishing. I can only speak from my own standpoint, but some of the terminology when referring to the different types of tools may be a product of the book being, as Maureen Duke says it in the Foreword, “of its time” (Duke xv). One such possible example would be the use of the term “straight line tool” (Fahey 40) when referring to a line tool for tooling on a spine. The difficulty with that term is that there is a distinction between straight line tools (or pallets) used across the spine, what I would call a “flat-faced pallet”, and straight line tools used on the boards, which have a slight curve to it, to ensure even pressure throughout the impression. I would suggest John Mitchell’s An Introduction to Gold Finishing, pages 77-91, as a wonderful source explaining the different kinds of tools and their usage. One other marvelous source on finishing tools is Tom Conroy’s Bookbinders’ Finishing Tool Makers 1780-1965, which, in addition to the wealth of information on finishing tool makers, has an in depth Introduction that identifies the different parts of finishing tools and discusses how they were made.

The Faheys’ finishing process is straightforward and explained clearly. In addition to the order of operations, they write at length about the “why” for each step. The basic procedure involves the following steps: making up a template on strong, thin paper using tools and a stamp pad; securing the template in place on the leather and tooling through it; removing the template and tooling again; building up a blind impression with several strikes of the tool until the impression has been tooled with a heated tool and moisture in the leather (but surface-dry). The leather is then given a vinegar wash, and tooled with a warm tool when surface-dry; the impressions are penciled in with vinegar, then given a first coat of glaire before the vinegar has completely dried, and a second coat of glaire is applied after the first has dried. While the glaire is drying, the leaf is made ready, cut to the size necessary for the given tool; the tool is heated to the correct temperature, is given a slight amount of oil with which the gold is picked up, and the impression is tooled with the leaf. “In the finest bindings, gold is put on several times to be sure it is solid and brilliant” (Fahey 51). This order of operations can be applied to most gold/leaf tooling, with the exception of water impervious leathers. Variants for different kinds of leather, such as calf, are explained.

Although their preference in transferring the leaf into the impression is to pick it up on the tool, they also explain the process of all-over tooling: glairing the entire area to be tooled, laying leaf onto the leather with grease or oil on the leather to keep the gold in place, tooling through the gold, and removing the excess gold with a solvent. There should be no extraneous movements, as these lead to mistakes. Every time the tool is picked up, it should with intention and with purpose. “Tooling should be done firmly and decisively—any additional pressure and prolonged dwelling beyond the first impression does not help and may harm through too much depth, twisting of tool, and breaking the gold” (Fahey 51).

The gilding size the Faheys use is egg glaire. In 1951 Fixor was already being used in France, and shellac-based glaire was being developed and used in England during and after the Second World War, when eggs were a limited resource. But the Faheys are writing about their particular practice. Nowadays there are proponents of each: shellac-glaire for its ease of use and convenience (especially helpful on water-impervious leathers, as well as in developing skills since it eliminates the complications of “open-time” with egg glaire), egg glaire for its brilliance and ease in cleaning impressions. In addition to blind tooling and tooling with leaf, they also have a chapter on inlay and onlay, and give several different onlaying practices other than their preferred method. Tooling on different materials is also discussed, including parchment and cloth.

Five black-and-white plates of Fahey bindings are included at the back of the book along with a small description of each; these were present in the original printing. The unifying concept between book and binding is explained, revealing more of their philosophy. Their use of line is prevalent in each plate, as is their use of the book’s title, but both in different ways. The two new color plates in the front do not have descriptions from the authors, but are higher quality printings and showcase the beauty of gold on leather, and the effect of Fahey bindings.

The Faheys wrote this book to help enrich the binding community by contributing their particular finishing processes. No doubt, other finishing manuals and books describe more modern designs from the time period. One is Jules Fache’s La Dorure et la Decoration des Reliures, published in 1954. He was an absolute master, and though many might not know his name, almost everyone knows one of the designers for whom he worked: Paul Bonet. And there are others, such as Emilio Brugalla’s Tres Ensayos sobre el Arte de la Encuadernacion (1945), that talk about tooling in a more modern manner, in addition to traditional designs. The problem with these other texts for us is often the language barrier.

The use of hand-tooling in bookbinding captures and illustrates the magnificence of the materials. The Faheys continued to explore such tooling, which became an expression of their own artistry. They, here, have written a manual based on their extensive knowledge attained through fastidious work and discipline. When practiced, it provides an excellent framework for one’s finishing methods. It also is a great fount from which from which one can apply certain aspects of the Faheys’ process. This book stands as a treatise of utilizing hand-tooling to make beautiful and creative bindings.



Bibliography:
  • Brugalla, Emilio. Tres Ensayos Sobre el Arte de la Ecuadernacion. Madrid: Ollero & Ramos, 2000. (Originally published: 1945)
  • Conroy, Tom. Bookbinders’ Finishing Tool Makers 1780-1965. New Castle, DE: The Oak Knoll Press, The Plough Press, 2002.
  • Duke, Maureen. Foreward to Finishing in Hand Bookbinding.
  • Fache, Jules. La Dorure et la Decoration des Reliures. Paris: Chez L’Auteur,1954.
  • Fahey, Herbert and Peter. Finishing In Hand Bookbinding. Alan Isaac Rare Books with Maureen Duke. Oxford, 2014
  • Isaac, Alan. Introduction to Finishing in Hand Bookbinding.
  • Mitchell, John. An Introduction to Gold Finishing. Edited and Designed by Nolan Watts. Worthing, Sussex, UK: The Standing Press 1995 and 2005.
  • Tidcombe, Marianne. Introduction to Twenty-Five Gold-Tooled Bindings, An International Tribute to Bernard Middleton’s Recollections. Edited by Marianne Tidcombe, with an essay on “The Use of Gold in Bookbinding” by Bernard C. Middleton. New Castle, DE: Oak Knoll Press 1997.
  • Wiemeler, Ignatz. “Bookbinding, Old and New”. Translated from the German by Peter Mueller-Munk and Hellmut Lehmann-Haupt. The Dolphin, A Journal of the Making of Books. New York: Limited Editions Club, 1933: 146-160.



Samuel Feinstein trained formally at the North Bennet Street School program where he studied under Jeff Altepeter and Martha Kearsley. Since graduating in 2012 he has been in private practice creating fine bindings, luxury clamshell boxes, new bindings in period style, and gold finishing for other binders. He is an avid proponent of tooled-bookbindings, and he teaches occasionally. His work can be seen on his website www.SamuelFeinsteinBookbinding.com or in more detail on his blog: www.SamuelFeinstein.wordpress.com

Wednesday, September 10, 2014

InsideOUT, an exhibition of contemporary bindings of private press books

InsideOUT, contemporary bindings of private press books. Jeanette Koch (ed) with photographs by Paul David Ellis. Designer Bookbinders, 2014. 80 pp with full color throughout. GBP15.00 + sh.

An exhibition catalog review by Amy Borezo 

The recent exhibit InsideOUT, organized by Designer Bookbinders, showcases the work of 59 binders from the UK and the US each of whom completed a design binding of a text published by one of nine fine presses. The culminating works are an instance of eating one's cake and having it, too. These are one-of-a-kind pieces of art that illustrate the collaborative nature of the field of book art, with years of mastering one's craft on display on both the inside and outside of the book. Designer Bookbinders does a great service to the field as a whole in creating exhibitions like this one.

The 80pp full color catalog for the exhibition is expertly designed and organized, with images of the fine press texts acting as a subtle backdrop to the images of each binding. The bindings are artfully arranged on the white of the page, without a visual bounding box, only a slight shadow at the very bottom of the cover to indicate its three dimensionality. Detail shots of the books highlight a particular structural or design element. Bindings are grouped according to press, which allows for bindings of the same title to be shown alongside one another, giving the viewer insight into the quality of the writing and illustrations contained within, as well as the creative process of the binders.

A successful design binding should interpret the text to be bound in an original and visually compelling way while showing the style and technical skill of the individual binder. There are too many examples of successful design bindings in this catalog and exhibit to call out each one individually. However, there are a few here that directly illustrate the project of the exhibition and which display other characteristics that are of interest to me personally.

The three bindings for the Arion Press Journey Round My Room by Xavier de Maistre, are compelling in their similarity of interpretation, which speaks to the strength of the writing in conveying its message and to the publisher in communicating this message in its choice of layout, typeface, color, and accompanying imagery. The text, originally written in 1790, is an autobiographical account of a young officer imprisoned in a single room and who takes to describing in specific detail the voyages he takes in this confined space, both in body and mind. In the Arion edition, the text is accompanied by hazy photographs of objects in a room by architect Ross Anderson.

Journey Round My Room, binding by Annette Friedrich


All three binders of this text—Annette Friedrich, Jo Bird, and Haein Song—chose to represent the work with abstract imagery. The colors on all three design bindings are very similar, in the rose and tan color range, communicating to the viewer that these hues must be referenced in the writing itself. Annette Friedrich's book is bound in a light tan goatskin with tooling of precise and subtle markings in a variety of pigmented and metallic foils. The scale, color, and placement of the delicate dots, dashes, crosses, and arcs seem both improvisational and studied, representing the physical and mental wanderings of the main character. The outer bounds of the book cover smartly act as the visual boundaries of the room. Haein Song's binding is comparable in design using tan goatskin and similar markings, yet instead of tooling, these markings are thinly pared, irregularly shaped, feathered pieces of off-white leather onlay. They read as ghosts of footsteps in a room, yet are described as being reflections of light. The subtle shift in scale from foreground to background of these pieces creates a sense of depth, which is pleasing to the eye. Jo Bird's binding is covered with a series of small, carbon-tooled, irregular spirals arranged in a grid to illustrate the confined yet varying path of the main character about the room. In all three of these bindings, the bookbinder truly responded to the text and created a work that adds to the perception of a reader/viewer.

Steel Horizon, binding by Stephen Conway


Stephen Conway created two bindings for the texts of different presses. These bindings both used simple yet bold design elements and the inherent beauty of the covering materials to great effect. The design for Steel Horizon, a collection of poems by Jonathan Wonham about his time on a North Sea oil rig, published by Incline Press, is a checkerboard grid of panels alternating in dark grey goatskin and figured vellum. While a viewer may expect to see a binding with a long horizontal line as a design element for any text that contains the word “horizon”, Conway goes one step further, evoking an ominous feeling appropriate to the poems contained within. The dark grey goatskin panels are arranged to create a sense of enclosure as both horizontal and vertical lines visually lock into one another creating a cross, cross-hair, compass, bars, a window. He reinforces this effect by tooling horizontal and vertical lines in silver onto the goatskin panels. The mottled off-white vellum panels read like a leaden sky as they alternate with the dark grey. The corners of the panels are riveted into place, an industrial element that creates another subtle visual cue giving the reader/viewer a very real sense of place.

His other binding for Britten's Aldeburgh, published by Whittington Press, uses the same design elements of goat skin panels and figured vellum. The figured vellum is the off-white backdrop to a series of horizontal rectangular black goatskin onlays, stretching across the spine from back to front cover. The horizontal panels are tooled with gold horizontal lines. Conway uses visual repetition to great effect as the black and gold lines repeat down the cover from head to tail, calling to mind waves or a somewhat bleak landscape that is seen again and again. These lines also reference musical notation and the work of the composer Benjamin Britten, on whose walks around the Suffolk coastline this book is based. The natural isolated areas of darker pigmentation on the figured vellum are used expertly on the front and back covers at the very edges of the boards, again evoking the sky and gathering clouds. Conway has a very strong individual style and his technical skill is impeccable, but he does not allow his visual sensibility to overshadow the text—he honors it with his interpretation.

Bicycle Diaries, binding by Hannah Brown


Two exuberant bindings by Hannah Brown and Nicky Oliver show a less formal approach to design binding, yet are both successful. Embroidery on bindings dates back many centuries and lends a warmth and intimacy to books that is evident in Brown's work. In her design binding for the Bicycle Diaries, published by Midnight Paper Sales, the viewer is invited to look down on a city sidewalk scene of pigeons and a bicycle. This pictorial rendering has a three dimensional, hyperreal quality that completely transforms the materials she is working with. The three dimensionality is enhanced by a wash of acrylic paint used underneath the embroidery. The text is about the author Richard Goodman's journey through New York City on the day of September 11th.

Lost and Found, binding by Nicky Oliver

Hannah Brown's interpretation of the text places us there with the author, unable to look at the most common city scene in quite the same way ever again. Nicky Oliver uses a painterly, unconventional approach to design binding. Her binding for Lost and Found published by Whittington Press is an expressive burst of color, line, and motion. She has a distinct style that shows layers and layers of work with leather dyes and decorative tooling. Her dynamic use of the entire cover as her canvas creates a visually compelling composition that draws the viewer in.

Circus, binding by Donald Glaister

Another binding of note is Donald Glaister's interpretation of Circus by Shanty Bay Press. His masterful technique combines a number of traditional and non-traditional materials to illustrate the larger-than-life experience of the circus. The tent on the cover appears to bust open and overtake the binding, partially covering the exquisitely tooled title on the spine of the book. His work shows humor, skill, and an artful engagement with the conventions of design binding.

All of the other bindings not mentioned here are worthy of their own examination and I only wish time and space allowed for me to write about them. I am honored to take this tour through the exhibition, courtesy of the fantastic accompanying catalog. I highly recommend this catalog to anyone interested in design binding.

The Exhibition was on display in the Layton Room Gallery at St Bride Foundation, London, 15 May to 22 August 2014.

Venues in the United States are:
Houghton Library, Harvard, MA: 11 September - 13 December 2014
Minnesota Center for Book Arts, Minneapolis: 10 January - 28 March 2015
Bonhams, New York: 10-19 April 2015
San Francisco Center for the Book, California: 6 June - 5 July 2015

The exhibition was organized by Lester Capon, Stephen Conway, Simon Eccles, Sayaka Fukuda, Peter Jones, and Jeanette Koch. 

For more information and to order a catalog visit Designer Bookbinders' website.



Amy Borezo Amy is an artist, bookbinder, and the proprietor of Shelter Bookworks,  a bookbinding studio in Western Massachusetts.

Friday, August 29, 2014

Methods of Presenting e-Publications

The Bonefolder ceased publication as an e-journal over a year-and-a-half ago, but is still seeing heavy regular access via a wide variety of websites or online databases. It's great to see the level of use steady. Since 2004, 554,133 page views, 385,738 unique page views for all issues combined.

The past issues are made available as downloadable PDFs from Syracuse University Libraries' digital collections server. Other journals hosted from there are also on that server as well as in our institutional repository (IR), SURFACE. While fully accessible as downloadable PDFs, that format is not interactive, i.e. does not facilitate discussion around topics in the issue via social media, embedding in other websites, nor does it have lots of "pretty" bells and whistles like page-turning...

The use of digital collections, multimedia, interactivity is a big topic in academic library circles and some of us realize that there is a lot more we can do to facilitate use (and reuse) materials of our collections. Here some really interesting articles on the issues and challenges:

There are a lot more of  those kinds of articles in the library/academic literature.

In order to experiment and gather feedback from users, a group of us at Syracuse University are going to be trying out different platforms to see how they work and how we might integrate them into other tools and workflows we are using.

Here our first, ISSUU, all bundled together in a "stack" that hopefully looks better than most of our desks...

And here, embedded, our last and perhaps best issue...



So, what do you think of this mode of publication? What are advantages, disadvantages, ...? How you you like being able to share directly to social media? Use the comment form below and let us know what you think.

As we try other platforms, we'll share and gather your feedback - thank you.

Then again, there's this...

Student Reading Practices in Print and Electronic Media
By  Nancy M. Foasberg
From College & Research Libraries, September 2014

Conclusions
“Despite the ever-increasing popularity of new ways of reading, the study participants read in a fairly traditional way. Most of them preferred to use print for long-form and academic reading, at least partly because they felt more comfortable annotating docu¬ments in a print environment. They read electronically a great deal, but this reading consisted primarily of brief, nonacademic materials.

Their dislike of electronic textbooks was especially striking… The University of Minnesota provides an Open Textbook Catalog, which identifies open textbooks and allows reviews; notably, the designers of the catalog offer inexpensive print on demand options for each work, acknowledging that many students dislike online textbooks.  In the midst of this attention to the digital, it is worth noting that students in the pres¬ent study were less comfortable using textbooks in an electronic format, and some of them said they usually print out the sections they use, thus negating any savings.”

http://crl.acrl.org/content/75/5/705.full.pdf+html

Saturday, August 9, 2014

Playing with Pop-ups: The Art of Dimensional, Moving Paper Designs

Helen Hiebert. Playing with Pop-ups: The Art of Dimensional, Moving Paper Designs.  Beverly, MA: Quarry Books, 2014. ISBN 1592539084. 144 pages. $24.99.

Reviewed by Suzy Morgan

I love pop-up books. I collect pop-up books:  my family still gives them to me as birthday and holiday presents, even though I am a grown adult. I work in a library with a substantial collection of pop-up books, and I am quick to tell anyone who will listen that I have gotten to hold and play with an original Meggendorfer pop-up book. Therefore, I wasn’t surprised when I was asked to review Helen Hiebert’s new book, Playing With Pop-Ups. A passing observer would probably remark that I was “elated” at the prospect of doing such a review.

Teaching the art of the pop-up is difficult, just like any how-to book about bookbinding, because it challenges the author to describe 3-D concepts in a 2-D format. Many pop-up structures function with a front-end and a back-end structure, just like a website: the viewer almost always only sees the front-end result, and the back-end support is not very apparent except to the experienced reader. I’ve looked at many a damaged pop-up book and wondered, “How on EARTH did they make this?” while trying to fit two parts of a broken whole back together unsuccessfully.  Helen Hiebert’s approach to this essential problem with teaching these complicated structures is a combination of providing templates to practice on, and a wealth of concisely illustrated instructions.



The book begins with a very brief history of pop-ups, a commentary on the state of pop-up arts today, an interesting glimpse into the production of a commercially published pop-up book, and overview of the basic pop-up terminology, tools, and tricks of the trade. I particularly enjoyed the description of the production line process of a commercially published pop-up, myself. Each different kind of fold and cut used in the following project instructions was clearly illustrated with a nice photograph and a well-written description. Hiebert also provides a list of recommended tools, as well as alternatives for some tools – like using a paperclip or the back of a knife instead of a bone folder to fold or score paper. This is a nice touch that makes the craft more accessible and promotes the kind of “creative reuse” so endemic to bookbinding.



However, in my opinion, the real genius of Hiebert’s book is the templates she provides for each project. These are pages in the book that are meant to be photocopied onto the paper of your choice, and then you just follow the dotted, dashed, and solid lines with bonefolder, knife, and glue, to create the pop-up. The first three projects are termed “Pop-up Warm-ups,” and are meant to familiarize the budding paper-engineer with the basic tenants of pop-up structure. The projects that follow increase in difficulty, but provide a nicely diverse range of different types of structures and themes.  These include a pop-up city skyline, a Valentine’s card, paper earrings, a tunnel book, and a volvelle with six slots. Our conservation lab intern and I spent a happy afternoon completing one of the projects using the templates. It’s really a no-brainer way of teaching the structure, as it removes the risk of beginner mistakes such as mis-measuring; each part of the template is clearly labeled with different lines for cuts, mountain folds, or valley folds. The other wonderful thing about the templates is that many of them are blank or simple enough that you could easily customize them or slightly modify them to create an original work. In my opinion, the templates get the point across very effectively and leave very little confusion about how they should work.



The final section of the book is devoted to a beautifully photographed gallery of current-day pop-up book artists and their work. Seeing these artist’s amazing work serves as inspiration to think creatively about your own future projects, as well as a visual bibliography of pop-up books to seek out in your local library or bookstore. As a collector of pop-up books, it was reaffirming to see books from my own library represented and to feel that kindred spark of passion for the art. In other words, “We like the same pop-up books!” Hiebert’s book is a solid addition to the library of any beginner or intermediate paper engineer, and is a welcome complement to other pop-up book manuals, such as Carol Barton’s The Pocket Paper Engineer series or David Carter and James Diaz’s The Elements of Pop-Up.



Suzy Morgan is a 2009 graduate of the School of Information at the University of Texas at Austin, where she received a certificate in advanced studies in conservation from the Kilgarlin Center for the Preservation of the Historic Record. She has had internships at Northwestern University, Syracuse University, the Cincinnati Art Museum and the Ringling Museum of Art. After working as the web developer at the Newberry Library and working in private practice as a book conservator and preservation consultant, she is now Preservation Specialist for the Arizona State Library.She is also the creator of The Multi-lingual Bookbinding/Conservation Dictionary Project: The goal of this project is to combine, in one place, all the known bookbinding and book conservation terminology, in as many languages as possible.

Tuesday, June 24, 2014

20th Book_Arts-L Anniversary Bind-O-Rama Now Online


The 20th Book_Arts-L Anniversary Bind-O-Rama is now online at <http://www.philobiblon.com/bindorama14>.


With this Bind-O-Rama we celebrate the 20th anniversary of this list (we went online June 23rd 1994) and thank everyone for being a part of the Book_Arts-L community, whether active poster or lurker. Never thought it would go on this long (the crazy part).

What started as an antidote to my professional isolation in the wilderness that was Central New York quickly grew into the most active book arts community, a placed where seasoned professionals, students, and anyone in-between talked shop and shared generously via their questions and answers. Back in 1998 I was invited to speak about the growth of the "Internet" as a tool for book artists at the 25th anniversary of the Silver Buckle Press in Madison, Wisconsin by Tracy Honn... That was 4 years into this adventure, and the talk is online at <http://www.philobiblon.com/HotType.shtml>. While the growth in numbers of those online has exploded, much else remains the same. Some of my "fondest" memories include teaching folks how to use email... Looking at the list interface (subscription, posting, ...) it seems very dated, Web 0.5ish... Still, it works and is as active as ever, with many who joined in the first days and weeks still active today.

Listserv archives continue to be accessible and capture those 20 years while serving as a resource for all. Some discussions, like "what is a book" remain popular. Google searches and statistics point to uses in school papers of all levels including theses and dissertations...

The works shown below were submitted by subscribers and represent their best effort from the past 3 or so years. Given the demographics of the list I expected more artist's books than traditional bindings, but a very nice range of work non-the-less.

Enjoy,

Peter

Monday, May 12, 2014

The 2014 Bind-O-Rama is Here

Entry Deadline is June 15, with publication date of June 25.

Entry period now closed, exhibit online June 25 or sooner.

Thank you for your interest and participation.


 

Tuesday, May 6, 2014

Open Access: A Model for Sharing Published Conservation Research (AIC News)

It's not just for conservation research...

While The Bonefolder is no more, Open Access is as important as ever. For those unfamiliar the article below explains the key concepts. Remember as authors we need to informed about AND CAN exert our rights so that our research and creative output reaches the widest audience possible...

_____________________________


Exerpt below from “Open Access: A Model for Sharing Published Conservation Research.” AIC News, vol. 39, no. 3. May 1, 2014. pp. 1-6.
Article written by Priscilla Anderson, Whitney Baker, Beth Doyle, and Peter Verheyen.

The conservation field has articulated the importance of publishing our research to disseminate information and further the aims of conservation. Article X of AIC’s Code of Ethics states that conservators should “contribute to the evolution and growth of the profession, a field of study that encompasses the liberal arts and the natural sciences” in part by “sharing of information and experience with colleagues, adding to the profession’s written body of knowledge.” Our Guidelines for Practice state “the conservation professional should recognize the importance of published information that has undergone formal peer review,” because, as Commentary 2.1 indicates, “publication in peer-reviewed literature lends credence to the disclosed information.” Furthermore, our Guidelines for Practice state that the “open exchange of ideas and information is a fundamental characteristic of a profession.” In publishing our research, we can increase awareness of conservation and confidence in our research methods among allied professionals as well as the general public.

However, current publication models limit the free flow of information by making access expensive and re-use complicated. An alternative to traditional subscription publishing is the Open Access movement, which strives to remove barriers to access and re-use of published information by reducing the costs of publishing and rethinking permissions issues.

To synthesize growing interest in professional publishing and spark discussion, this article proposes to:
  • Define Open Access and how it differs from traditional publishing in its approach to access and re-use of peer-reviewed publications
  • Discuss the implications of Open Access for the conservation field including interdisciplinary research, outreach opportunities, preferred medium for consuming professional publications, perspective of the Journal of the American Institute for Conservation (JAIC), and author impact.
  • Outline issues related to funding models, copyright, and licenses
  • Raise questions about current and future publication practices
Click here to  read the article from AIC News.