tag:blogger.com,1999:blog-4546107216380334012024-03-05T02:38:36.129-05:00Book Arts Web and Bonefolder ExtrasReviews and other time sensitive content brought you as we receive it.Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.comBlogger70125tag:blogger.com,1999:blog-454610721638033401.post-20087611043414539252022-02-08T09:08:00.005-05:002022-02-08T15:44:32.052-05:00A Crafted Typology of the Codex: Book Modelmaking as an Approach to Material Book Study by Gary FrostFrost, Gary. <a href="http://www.thelegacypress.com/crafted-typology.html">A Crafted Typology of the Codex: Book Modelmaking as an Approach to Material Book Study</a>. Ann Arbor, Michigan: The Legacy Press, 2021. 97 pages, 10 x 7 inches, paperback, ISBN 9781953421067. $17.50.<div><br /></div><div>Reviewed by Chela Metzger<div><br /></div><div><div class="separator" style="clear: both; text-align: left;"><a href="http://www.thelegacypress.com/crafted-typology.html" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="208" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEgnFF4Vxx2JHIF8SniN5XPf4eAjREyT70GQ3RwAmSRtoZKo9SkZsIVUptbgb6xJne54szuXHhM3d3FLzDLcjqYK8SpqYkIqphx7-wwZcdq1OtX8eannTe2ks-hfsyaKWr6lS6-OPLIp5abFpdZJt_uG5tVCHOMV_lrYiHueiO1BRya_zowM5NSHa19R" width="208" /></a> I started bookbinding seriously in 1991, and I now have over 100 bookbinding models on my shelf. How many do you have? Do you have complex feelings about them? Pride? Frustration? Weariness? Curiosity about what to DO with them all as they accumulate? Gary Frost, bookbinder, conservator, and codex philosopher, has given us a whole book about bookbinding models. At ninety-six well-illustrated pages, the book is not long, but it brings together a lifetime of thinking about books and making book models. After reading Frost’s <i>Crafted Typology of the Codex: Book Modelmaking as an Approach to Material Book Study</i>, you may look at your own bookbinding models with new eyes.</div><br />Frost covers the book modeling territory in seven chapters. He moves from history, artisanal intuition, and typology, to the uses of model collections, several case studies involving model making, models that generate more models, and finally, not surprisingly, models during the current pandemic. This book is enriched by quotes from practitioners like Craig Jensen (Book Lab), and Karen Hanmer (Karen Hanmer Book Arts) who have their own take on models and the teaching of model making. The book includes an introduction by Julia Miller, a glossary, and a bibliography that does not include enough of Gary’s writings. <br /><br />My own background, as I approach Frost’s book, is multi-layered. I am a librarian, I am a North Bennet Street School bookbinding program graduate, I am a book conservator, and I taught book conservation at the graduate level for almost 15 years. I even taught in the book lab classroom at University of Texas that was filled with many book models Gary left when he went to the University of Iowa. I have made many book models, I have taught model making, and I have graded other people’s models in an academic setting. I still love making models, and I certainly believe in them for practical reasons, and enjoy them for aesthetic reasons. <br /><br />Why write a book about bookbinding model making? Why read such a book? As I counted my over 100 book models, I tried to imagine an archeologist scratching their head in one thousand years, wondering what in the world this activity was about. Hopefully that archeologist will have read Gary’s book. We need someone to write about book modelmaking because tens of thousands of book models exist. They exist because we somehow believe in them. Let’s meditate for one minute on some things most bookbinding models have in common. They have no words, nor were they really created for the purpose of filling them with words. They can be based on bookbinding styles from all over the world, from any time period, but they are always made in a particular cultural context—a context rarely discussed or encoded into the final product. No matter how old the bookbinding method you are following, most bookbinding models are made from modern materials and modern adhesives for arguably modern reasons. How in the world to classify these objects? <br /><br />Frost’s typology of models is clear and sensible: edition dummies; historical book prototypes; comparative performance testing models; Conservation treatment models; instructional and workshop aids; weird or erratic models. Save for the last category, these are all arguably self-evident reasons to make book models. <br /><br />Since I am not an edition binder, I am not going to address this avenue of model making. Craig Jenson addresses this type of model beautifully in Chapter 3. I am also not going to discuss the comparative performance testing model, though I could not help but notice Gary focused his comparative testing section on library binding issues, and like many if you I recently attended the American Library Association sponsored “Future of Library Binding” event, so who know the future of testing related to library binding will bring. I will discuss models made as historical prototypes, instructional aids, conservation treatment models, and of course weird or erratic models. <br /><br />As a graduate of North Bennet street school I immediately started making models to put bookbinding principles into action. We always cut all our own materials for the models, with the instruction to not waste materials. The few book arts type workshops I had taken before North Bennet did not really discuss the products of our half day endeavors as models. My very first workshops focused on using the results of our time as journals, or scrapbooks, or creation for artistic effect. When my North Bennet Street School instructor Mark Esser called our work products models, I understood that each would exist on its own, and like my airplane models as kid, it should bear close inspection and hopefully activate admiration, not give rise to negative comments about errant glue spots and ignorant placements of the parts. <br /><br />At North Bennet we started with the Ethiopic Model, then made two Japanese style models, then focused on case bindings of various complexities while learning to work with paper, cloth, and leather. We made a split-board binding as well, while exploring various sewing structures throughout the year. The second year we worked on in-boards structures, wooded-boarded bindings, parchment laced-case structures, and ironically, several of Gary’s sewn board explorations. We also made plaquettes to practice tooling and leather decoration. I never questioned model making as a way to practice and build the bookbinding skills we were learning. We also did rebinding and other conservation intervention work on “real books”, as well as a small edition project. These projects all felt related to me at the time, though I have never really sat down and thought about why. I graduated with two drop-spine boxes full of quite small identically sized book models, and went out to try and become a book conservator. <br /><br />At my conservation internship at Library of Congress I was surrounded by bookbinding models. Many were very interesting non-adhesive binding conservation prototypes. It was 1993 and Clarkson and others had made it clear the animal glue and spine linings I sometimes had to chisel off the spine of textblocks in my work had not always been a great thing for the health of books. In my attempts to keep all adhesive off the textblock spine AND to avoid a concertina guard AND to avoid a hollow tube, I occasionally performed incredible, even silly bookbinding contortions. I will be forever grateful for a supervisor after I left the Library of Congress who finally said, “Chela — this rebinding is just weird. Bind this like a normal book.” With my North Bennet Street training, I knew how to do normal books well, and since the weird binding I made was non-adhesive, it was a snap to start over. Most likely any of us of a certain age who work as book conservators have complex feelings about adhesive on the spine of a text we rebind. Resewing in particular brings out my own non-adhesive odd-ball conservation solution demons. I very rarely rebind as a conservation treatment these days. However, I do enjoy thinking through all the interesting ways I could solve a book problem, and I may even make a model of my solution, which is a model-making category Gary addresses well. <br /><br />Quite reasonably, the section on conservation binding models focuses on Chris Clarkson and his work on Italian limp-vellum bindings, as well as referencing Roger Powell with his rebinding work on the early Irish manuscripts like the <i>Book of Kells</i>. Clarkson was really moving toward exploring the larger theme of book conservation in his influential limp parchment study. Powell was solving very specific parchment manuscript problems in his conservation work, and did not spend a lot of time claiming his solutions went beyond the needs of his particular projects. Clarkson was careful, as Frost notes, not to call any of his ideas a blueprint for “conservation bindings”. There are conservation principles in his work, not conservation bindings. It’s an important distinction, and I have an indelible memory of an incredulous curator indulging in a long outburst at a lecture I attended in 1992 on the stupidity (as he saw it) of all these limp vellum bindings in the 80’s and early 90’s being placed on special collections materials inappropriately. He did not claim they were hurting anything, just that they were wrong. I see his point. <br /><br />Gary Frost is a teacher, and has been so a long time. Thus, the section of book models as instructional and workshop aids is especially accurate. When I bring a pile of book models as well as some “real” books to introduce library science students to book conservation, I know it is vastly more effective than a slide show. Bringing in books people can manipulate by hand is also a boon in the special collections classroom, where students are generally not allowed to touch the special collections material outside the reading room. Of course purchasing sacrificial books off of eBay also works very well for teaching. But Gary is right, touch matters, moving books in your hands is instructive in a way no other activity can provide. Frost’s investigations of “haptics”, which is learning through touch, is essential to so much of his work. <br /><br />Gary spends a significant amount of time in his “Models in the Pandemic” chapter investigating teaching book model making remotely. His particular focus here is on “kits” which provide students with pre-prepared materials for creating a particular model. Gary has taught with kits, as have many others in the field. He includes a fascinating set of correspondence with Book Artist and teacher Karen Hanmer about teaching with kits, and teaching using remote learning tools during the pandemic. Just like the moccasin kit I received as a child from Tandy Leather, there is no doubt kits are ubiquitous in helping introduce people to a new craft. As a teacher, I know I have felt the tension between the task of teaching people foundational bookbinding skills aimed at creating bookbinders who can solve bookbinding problems at multiple levels, and the task of helping students complete a functional and pleasing model in a short-term workshop setting. This is a tension I am sure many of us have felt as teachers and as students in book binding and book arts workshops. The field has long casually used the terms “apprentice trained”, “workshop trained”, “self-taught”, “formally trained”, “university trained”, and I am sure there are other categories. By including conversations with a binder and book artist like Karen Hanmer in this book, the work of teaching with models before, and during the COVID pandemic, comes alive. <br /><br />Finally the weird or erratic model category bears mentioning. I have a model given as a gift in which the creators tried to make a book with every possible bookbinding mistake. It actually is amazing, if difficult, to handle. Heidi Kyle’s flag book is mentioned as a weird or erratic model, though perhaps models of artist books should have their own category. Frost ends this section by mentioning Keith Smith’s many books, and the great unending abstract life of book action Smith’s publications represents. Frost is clear that more book model categories may need to be added to the typology. <br /><br />After creating his typology and describing it, Frost spends the rest of the book interspersing case studies with philosophical jumps into the future of books and reading. Those familiar with Frosts writings and drawing will not be surprised to find a focus on sewn-boards bindings, tight joint wooden-boarded bindings, and German and American case bindings. His section on creating “Silk Road” models based on the books found in the Dunhuang Project is beneficial new territory. Another fascinating section involves using models as part of a study of bookbinding practice at the Inspirationist Amana colony in Iowa. <br /><br />Frost’s case study involving industrial, commercial, and library binding structure is unique. I know of no other writer in bookbinding practice who is currently and competently addressing the industrial side of bookbinding. Certainly it is hard to find voices applying ideas from the book arts in intriguing ways to industrial practices. I wish there had been a diagram with labels in this section. I may understand what a “fold bound flange end” is, but I may not. I particularly appreciate discussion of the “provocation” of paperback failure and I admit to being “haunted by fractured opening” in these materials. As he notes, current use of polyurethane adhesives is likely changing the old paperback problems to new ones. I remain grateful and amazed that Frost happily moves from papyrus book action to modern industrialized bookmaking adhesives. <br /><br />The fluid, interdisciplinary curiosity, humor, and smarts about books and reading Gary Frost shares here are part of a lifetime of publishing, lecturing, teaching, and making. Julia Miller’s short introduction to the book gives an excellent summary of Gary Frost’s influence and ongoing work. Do yourself a favor, read Frost, make models, enjoy yourself, and pass it on. Agree or disagree with his categories and conclusion, just remember, when you make book models you are part of a particular stream of book thought, and Gary’s thinking has likely been part of that stream you swim in. <br /><br /><b>Further Reading: </b><br /><br />Gary has done a great deal of publishing. I am not aware of any one place to find his complete bibliography, but starting with his recent essay in <i>Suave Mechanicals</i> is not a bad way to go.</div><div><br />Frost, Gary. “Book Interventions: Books Remade by Use.” In <i>Suave Mechanicals: Essays on the History of Bookbinding</i>. Vol. 4. Ed Julia Miller, 156-180. Ann Arbor, Mich.: The Legacy Press, 2017.<br />[Note: This volume is out of print and will not be reprinted]<br /><br /><div><hr align="left" width="50%" /></div><br />Chela Metzger started her official association with books by working as a library assistant at the age of 9. She graduated from Simmons College as a card-carrying librarian in 1990, and began her more intimate association with the craft of bookbinding at the North Bennet Street School in 1991, working 2 years with Mark Esser. She followed that with an internship in rare-book conservation at the Library of Congress in 1993, and began her paid conservation career as a project conservator at the Huntington Library in 1994. She began teaching book conservation to visiting Latin American interns in 1999, and moved into full-time lecturer work in 2001 at the University of Texas at Austin. From 2011 until 2014 she was Conservator of Library Collections at the Winterthur Museum, Garden and Library in Winterthur, DE. Since 2014 she has been at the University of California Los Angeles Libraries, first as Head of the Library Conservation Center, and since 2020, Head of Preservation & Conservation. Having been the recipient of amazingly generous teaching in the past, she hopes to help carry on the tradition, integrity and discipline of bookwork in all its facets. On-going bookish research interests include: history of the book, binding in Spain and Latin America, future of books and libraries, the binding of archival materials historically, how books are depicted in art, social life of books. She was also a member of the <a href="http://www.philobiblon.com/bonefolder/editors.htm#metzger">Editorial Board</a> of The Bonefolder.</div></div>Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-7876710450961691852021-12-19T11:32:00.008-05:002021-12-19T15:52:01.201-05:00Making Fish Parchment at St. Lawrence University<p>Shared by Velma Bolyard</p><p>On October 5th, 2021, a beautiful mild autumn day, St Lawrence University’s Sustainable Papermaking class taught by <a href="https://www.stlawu.edu/people/melissa-schulenberg">Melissa Schulenberg</a> and <a href="https://www.velmabolyard.com/">Velma Bolyard</a> met with an eager group of 12 students. They met at the Sustainability Farm, home base for that program, to experiment with parchment making. </p><p>Melissa who is an avid fisher was given the skins of fish that did not survive from a catch and release competition, the skins were waste after the flesh was removed for eating by the organizers. Velma froze the skins until she could thaw and process 20 skins. When discussing the history of papermaking and writing materials including parchment and describing what parchment is, and the thought of those fish skins sparked, and they decided to teach making fish parchment. Velma had made three haddock parchment skins prior to this, and with that “expertise”, a big table, spoons for scraping and lots of soapy water, students scraped scales, flensed skins, and pinned them to dry on plastic covered foam core. </p><p>The group was quite engaged in the process despite the yuck factor, and each went away with one or two skins for future use. Our class was rewarded with fish skin badges from Peter Verheyen's <a href="https://www.philobiblon.com/bindorama20/index.html">Fish Skin Bind-O-Rama 2020</a>.</p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhwibW9PrvSgdMrhkw9WTojr3Y00L2ZvLlTHls_ycaUVpJY3J1PS9sCAymyQWDeLELrvmAkGI90ocwaQTvBWbGOsAPE7pBMQuI7zwggHFQwVhGDL73xQVjTZMov5B0EINDmmpF3GgUQwdC8gbLVkryO_WMP2dXIfIzecpOFSf-H-ONGMeWCnXv7nNey=s640" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEhwibW9PrvSgdMrhkw9WTojr3Y00L2ZvLlTHls_ycaUVpJY3J1PS9sCAymyQWDeLELrvmAkGI90ocwaQTvBWbGOsAPE7pBMQuI7zwggHFQwVhGDL73xQVjTZMov5B0EINDmmpF3GgUQwdC8gbLVkryO_WMP2dXIfIzecpOFSf-H-ONGMeWCnXv7nNey=w480-h640" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The frozen skins.</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgQ-ABT0uuW-PKEZJjZCXCN3nW-DRIku2mIdiTifsTKHCSmU8YEy4xhTwsxvLZ_x6t123rvzVXfFRn__0mrErWs5Y-bDev6q1SAFHB_lH5kW2Jnz1GfoI5RMlZCrEs-kXddPUYdDZnTrIrBl5935jDwrxiMTDWxmIC1pfQ40K8xm2JHYZjWmxF-7KnN=s640" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEgQ-ABT0uuW-PKEZJjZCXCN3nW-DRIku2mIdiTifsTKHCSmU8YEy4xhTwsxvLZ_x6t123rvzVXfFRn__0mrErWs5Y-bDev6q1SAFHB_lH5kW2Jnz1GfoI5RMlZCrEs-kXddPUYdDZnTrIrBl5935jDwrxiMTDWxmIC1pfQ40K8xm2JHYZjWmxF-7KnN=w480-h640" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Scraping scales and remaining meat off.</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhDMeqGA9Uq8jp-TDgNCee4P6i-F_IMIuNVH95t-jU61bjLvexAZXe9do0wVAfn_rnpZwZUr4DQVL-Ii1IsuFJooagPIDrkpOVaCUw7sKhsPJn1S4vB9NhHTnq7DDkJKrT_KmYJF9Zh6EFWiSOi_dmr4SVViQcUwmHTACUXsC0Qd-cpTe3Rt7jKcYSY=s640" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEhDMeqGA9Uq8jp-TDgNCee4P6i-F_IMIuNVH95t-jU61bjLvexAZXe9do0wVAfn_rnpZwZUr4DQVL-Ii1IsuFJooagPIDrkpOVaCUw7sKhsPJn1S4vB9NhHTnq7DDkJKrT_KmYJF9Zh6EFWiSOi_dmr4SVViQcUwmHTACUXsC0Qd-cpTe3Rt7jKcYSY=w480-h640" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Scraping scales and remaining meat off.</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhOPmZ0CD544slcJxIdh_mmENtm-zJ7BA3V_BFnYrphVE1YQudzx1H31TxM7yQkn3ZeQrOe3EzoZO5tTXStjdyZqbFG_DxNyzqmP5jnJaz1RmIefLVPBBJucUvThO1DAU41m335e82_PySJyPIZRy49ZepGbGCUHmjaqyv1kSuz0zXwVM98KcZOmcM7=s640" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEhOPmZ0CD544slcJxIdh_mmENtm-zJ7BA3V_BFnYrphVE1YQudzx1H31TxM7yQkn3ZeQrOe3EzoZO5tTXStjdyZqbFG_DxNyzqmP5jnJaz1RmIefLVPBBJucUvThO1DAU41m335e82_PySJyPIZRy49ZepGbGCUHmjaqyv1kSuz0zXwVM98KcZOmcM7=w480-h640" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Scraping off the scales.</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj0KwCMiAoq8yFi4Wi0HAjx8vpaJoTiZLrhFI98hyF7WsXHrX_W1PnOVChr9W5LPSUS8al9WeBzvbqz_1UJV84-I0dbmnpQfO40rHgNcoPncsQuNTLC9IC9hdGfIZu94qBS9iNfnCoY9uXmlhWQiJ_O-h0KO6si_8q_UGf6JHGWdMCXjcWP4Q6PunwO=s640" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEj0KwCMiAoq8yFi4Wi0HAjx8vpaJoTiZLrhFI98hyF7WsXHrX_W1PnOVChr9W5LPSUS8al9WeBzvbqz_1UJV84-I0dbmnpQfO40rHgNcoPncsQuNTLC9IC9hdGfIZu94qBS9iNfnCoY9uXmlhWQiJ_O-h0KO6si_8q_UGf6JHGWdMCXjcWP4Q6PunwO=w480-h640" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pinning the skins out to dry under tension.</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhk0Ei-DBAMbk9b0wzxoBebf9CISfi-ovTbCI35EfQuTg1hHtQc0sVuDLkZTIT9uZPQoglzWu8KHp5aCVFX0P2qDgiER2uTBqzb-QEq3NFmE_3x86ikQrXQ4Hrb0oicbFCcfS54FUFirB4nXjAsjOhqf_wmyFLbPvu_aIpf3Ou_oiIfO-Uq4KGxDd6n=s640" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEhk0Ei-DBAMbk9b0wzxoBebf9CISfi-ovTbCI35EfQuTg1hHtQc0sVuDLkZTIT9uZPQoglzWu8KHp5aCVFX0P2qDgiER2uTBqzb-QEq3NFmE_3x86ikQrXQ4Hrb0oicbFCcfS54FUFirB4nXjAsjOhqf_wmyFLbPvu_aIpf3Ou_oiIfO-Uq4KGxDd6n=w480-h640" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pinning the skins out to dry under tension.</td></tr></tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEit8xaz83xS91BjUhcxY9MwSYWAnOuAgO3rIy31TMsk1y8K2eHPd-W_YcPgFINqFPjVvg1as4-LdNW5tMaNUxIzY1jmQQdTT_ytgt6C3RvFW2E0gRR4t9tlMfPNnsHQsMLt43Owy-18lXAIAPELK7D4YkZ2GCYpktPPix6bUJxZrk4dV26h-XIxR3sW=s640" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEit8xaz83xS91BjUhcxY9MwSYWAnOuAgO3rIy31TMsk1y8K2eHPd-W_YcPgFINqFPjVvg1as4-LdNW5tMaNUxIzY1jmQQdTT_ytgt6C3RvFW2E0gRR4t9tlMfPNnsHQsMLt43Owy-18lXAIAPELK7D4YkZ2GCYpktPPix6bUJxZrk4dV26h-XIxR3sW=w480-h640" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The skins drying and soon to be parchment that can be used to cover books...</td></tr></tbody></table><p>
</p>Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-3254816873879249182020-12-07T09:48:00.004-05:002020-12-08T10:06:40.266-05:00A Brief History of the Book by Steven K. Galbraith<p><a href="https://www.rit.edu/carycollection/directory/skgtwc-steven-galbraith">Galbraith, Steven K</a>. <i><a href="https://www.amazon.com/Brief-History-Book-Tablet/dp/1440869391/">A Brief History of the Book: From Tablet to Tablet</a>.</i> Santa Barbara, California : Libraries Unlimited, 2020. 164 pages, 6 x 9 inches, paperback. ISBN 978-1440869396. $50.00.</p><p>Reviewed by Sebastian Modrow</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-SvxmYaDKDAU/X52sIwNkAFI/AAAAAAAAQeU/5atTG7xR62U4I_PXeMW89R6Y-RrtHLcegCLcBGAsYHQ/s303/BriefHistoryOfTheBook.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="303" data-original-width="201" src="https://1.bp.blogspot.com/-SvxmYaDKDAU/X52sIwNkAFI/AAAAAAAAQeU/5atTG7xR62U4I_PXeMW89R6Y-RrtHLcegCLcBGAsYHQ/s0/BriefHistoryOfTheBook.jpg" /></a></div><p><a href="https://www.rit.edu/carycollection/directory/skgtwc-steven-galbraith">Steven Galbraith</a>, Curator of the <a href="Melbert B. Cary, Jr. Graphic Arts Collection">Melbert B. Cary, Jr. Graphic Arts Collection</a>, has a new book. After various publications on particular holdings of the Rochester Institute of Technology’s Cary Graphic Arts Collection as well as his <em><a href="https://www.amazon.com/Rare-Book-Librarianship-Introduction-Guide/dp/1591588812">Rare Book Librarianship: An Introduction and Guide</a></em> (together with Geoffrey D. Smith; Libraries Unlimited, 2012) he is now out with another introductory text. Reflecting the latest trends in book history, it is the ambitious agenda of Galbraith’s libellum to extend the field beyond the focus on the Western codex perceiving “the term ‘book’ […] in its most inclusive way, expanding its definition to a variety of technologies that present texts and images to readers” [p. xi] and all that in a short and accessible introduction/textbook format. “Five thousand years in one brief book? How is this possible? It is not” [xii] to quote the author himself. And yet the same dictum might still apply to much lengthier edited volumes on the topic such as Simon Eliot and Jonathan Rose’s <em><a href="https://www.amazon.com/Companion-History-Book-Simon-Eliot/dp/140519278X">A Companion to the History of the Book</a></em> (Blackwell, 2009) or even Michael F. Suarez and H. H. Woudhuysen’s two volume edition <em><a href="https://www.amazon.com/Oxford-Companion-Book-Michael-Suarez/dp/0198606532">The Oxford Companion to the Book</a></em> (Oxford University Press, 2010). </p><p>
Named closely after the course he is teaching at the Rochester Institute of Technology, Galbraith’s <em>A Brief History of the Book</em> is drawing almost exclusively on the holdings of his home institution for its historic examples and is explicitly “written for courses in fields such as library science, English literature, and history” [xii]. It is an educational tool in the fullest sense featuring informational, recapitulation, and activity segments. One segment recurring in every chapter is what Galbraith calls “Modern Ads for Early Technology” which in their visual appearance recall the style and design of early magazine ads. Due to their fixed sub-categories, these ‘ads’ not only recapitulate the most important information covered in a chapter in a quick and digestible form (ad!) but also connect the four chapters of the book as common threads and thereby “help in analyzing important themes, as well as similarities in technologies from ancient to modern” [p. xiii]. These sub-categories are called <em>memory</em> (information storage capacity), <em>readable/writable</em> (writing properties of the medium), <em>recyclability</em> and <em>durability</em> (of the material), <em>security</em> (of the encoded information), <em>access</em> (how information can be accessed) and <em>costs</em> (of the book technology). The book’s four chapters are titled “The Ancient World,” “Early Printing and Medieval Manuscripts,” “Printing with Movable Type,” and “Digital Books.” </p><p>“The Ancient World” covers the major text media used in ancient Mesopotamia and all around the ancient Mediterranean before the rise of the parchment codex while also paying a short tribute to the palm leaf manuscript traditions of Southeast Asia. The reader is introduced to the writing techniques and various properties of the clay tablet, of the papyrus and leather scroll as well as of the wax tablet, properties, as Galbraith can show, that will have a come back in later centuries or millennia in other types of text media. Random (clay tablet, wax tablet) vs. linear access (scroll) is one of the great themes running through the entire book, as is the mutual impact of user and medium: “On the one hand, part of this evolution is owed to humans adapting the technology. On the other hand, part is owed to humans adapting <em>to</em> the technology” [p. 3]. One of his earliest examples of such a mutual impact is that of the evolution of cuneiform script from linear to ever more wedged and abstract shapes as a direct response to the writing properties of a stylus on clay, which he demonstrates with the case of the symbol for barley. In the framework of his thoughtful didactic design Galbraith will use this example again in Activity 1 of the first chapter in which students are asked to form their own writing tablets from clay and reproduce the evolution of that symbol hands-on, a form of experiential learning that repeats important information covered earlier in the chapter and will leave, I am sure, a lasting impression (pun fully intended!) with the students. It is this hands-on and special collections-supported textbook approach that clearly distinguishes Galbraith’s take from traditional introductions to the history of the book. </p><p>The title of the second chapter, may cause some initial confusion in the chronological mindset of the western reader who will soon discover, however, that this chapter does not start with Gutenberg in some sort of chronological inversion but rather with the true firsts of this technique – the woodblock printers of China. We will also learn about China’s invention of paper in the early 2nd century CE, about the first truly mass-produced book, the Buddhist <em>Hyakumanto Darani</em> produced c. 770 CE in Japan, and much more. </p><p>Before diving into the production of medieval manuscripts, Galbraith spends some time on the transition from the scroll (the dominant text medium of Egypt and Classical Antiquity) to the codex (the dominant format from the 4th to the 20th century in the West) stressing the latter’s greater capacity and practicability over the former. The comparison of this transition to that from the linear access of the VHS to the random one of CD and DVD [p. 42] is another great example how Galbraith manages to ‘translate’ his rather unfamiliar subject matter for a modern student audience. </p><p>The great majority of “Early Printing and Medieval Manuscripts” is then devoted to the European medieval manuscript tradition providing a clearly written introduction to most aspects of this book format. It provides a great overview of the whole production process from parchment production to illumination, from writing styles to medieval binding techniques and from palimpsests and other forms of parchment recycling, to the evolution of book storage.</p><p>Chapter three covers “Printing with Movable Type” from its earliest beginnings (again not in Europe but in 11th century China and later in Korea!) all the way up to modern phototypesetting – though it pays its due respect to Gutenberg and the Incunabula Period as a whole. It is again remarkable how Galbraith manages to squeeze into a few pages a plethora of information amply illustrated with images of historic typefounding equipment and modern depictions of historic printing and papermaking workshops. Besides typefounding, the chapter also covers the process of papermaking, book formats, bindings and provenance as well as developments in storage.</p><p>The last part of the chapter focuses on the book in the industrial age, covering developments such as the transition from the wooden hand press to the iron press and from there to mechanized printing presses as well as the transition from laid paper to wove paper (both made from linen rags) and then ultimately to industrially produced wood pulp paper. An overview of the advances in typesetting (Stereotype, Linotype, Monotype, Phototype), the Fine Press Movement (as part of the Arts and Crafts Movement’s reaction to industrial production), and the rise of the typewriter are closing out Galbraith’s third chapter.</p><p>Making good on the second part of its title, <em>From Tablet to Tablet</em>, <em>Galbraith’s Brief History of the Book</em> devotes its last chapter to “Digital Books.” Galbraith can show how in the same way as early printed books continued certain features of their manuscript predecessors, so, too, did digital devices with respect to the printed book, with other forms of digital reading and writing exhibiting features of even older ancestors: Early websites were literally a page “and resembled a [clay] tablet or perhaps a parchment or paper leaf” [p. 136] before the reader was able to ‘scroll’ through them. The e-book flipped virtual pages just like a physical codex and apart from its general handheld book-like shape, users are even given the option to purchase a leather cover to round out the book feel. In order to tell this (for now) last chapter of the book’s history, the author takes the necessary detour through the rise of the computer and the short life of the PDA (personal digital assistant) such as the Apple Newton MessagePad or the Palm Pilot (operated with a ‘pen’ functioning as a digital stylus!) all of which were put to use in ways that were later absorbed by tablets and smartphones tapping also into the seemingly endless information storage and access possibilities of the World Wide Web. Hypertext as well as augmented and virtual reality are now beginning to write a new chapter of the history of the book, according to Galbraith, pushing its capabilities and information access realities beyond those of the book’s traditional formats. </p>
<p>To sum up: Steven Galbraith’s is a concise, insightful, and well written introduction to the millennia-old evolution of mankind’s ways to store and access textual information. Written by a special collections curator, it makes extensive use of the primary sources at his disposal from highlights in the Cary collections to contemporary texts which he analyses and from which he distills the information relevant for his book history. A second edition could benefit, however, from more consistency in the shortened footnotes which appear sometimes as ‘last name author, shortened title, page number’ and sometimes just as ‘author, page number’ (e.g. chapter 1, fn. 40 “Roemer, 86” vs. fn. 48 “Roemer, ‘Papyrus Roll,’ 86” or fn. 46 “Bülow-Jacobsen, ‘Writing Materials,’ 3” vs. fn. 66 “Bülow-Jacobsen, 12” et passim). I would also like to note that <em>sillyboi</em> (title label on a papyrus scroll) is a masculine plural which is why p. 23 should probably read “Hanging from the ends of the roll is a <em>sillybos</em>…” (or a <em>sillybon</em> if one were to use the better attested neuter form). These minutiae should not distract us, however, from Galbraith’s achievement of having written a book that can be put to great instructional use in all kinds of humanities and special collections settings. I, for my part, intend to assign <em>A Brief History of the Book: From Tablet to Tablet</em> as the required textbook for my upcoming one-week intensive book history class. </p>
<p>Sebastian Modrow</p>
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</div><div><br /></div><a href="mailto:smodrow@syr.edu">Sebastian Modrow</a> is Curator of Rare Books and Manuscripts in the <a href="https://library.syr.edu/scrc/">Special Collections Research Center</a> at Syracuse University Libraries. He received his Masters level degree in Latin and History from the University of Greifswald (Germany), a doctorate in Ancient History from the University of Rostock, and a Master of Library and Information Science from Syracuse University. His main focus is on primary source teaching as well as on collection development. In the last few years he published in book and article length on ancient and indigenous collective memory matters as well as on ancient record keeping. His current research focuses on the history of classical libraries and archives. In addition to frequent presentations to classes coming to the Special Collections Research center, he also teaches "The History of Libraries and Archives in the Western World" at Syracuse University's iSchool. He also teaches "Introduction to Cultural Heritage Preservation" in the Museum Studies Program.Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-40424228736754817552020-07-04T20:33:00.002-04:002021-02-04T13:50:25.877-05:00Fish Skin Bind-O-Rama 2020 - Piscatorial bindings of a different kind<h2 style="text-align: center;"><font color="#d52c1f"><i>BIND-O-RAMA 2020 IS NOW ONLINE!</i></font></h2><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://www.philobiblon.com/bindorama20/index.html" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="900" height="400" src="https://1.bp.blogspot.com/-SPSI37b_I1A/XvyHfuE9cJI/AAAAAAAAPLA/Bcx00kMCb8kYVR_FeW4h9pWoMmMRo_GMQCK4BGAsYHg/w400-h400/FishSkinBind-O2020%2BInsta.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Click image to view the Bind-O-Rama.<br /></td></tr></tbody></table><div><br /></div><div><br /></div>I've been sharing my love (some may call it an obsession worthy of an intervention) with fish skin, specifically parchment, in bookbinding since 2014, making my own since 2017. The result, curiosity, fascination, but also disgust and revulsion. I get it, sort of, but bookbinders and students of the same, including conservators love to learn about new materials, including making their own. <div><br /></div><div>Back in early April I was challenged by two colleagues, one asking will I ever host another <i>Bind-O-Rama</i>. Sure, why not. Fish skin it is and the call for entries was posted. I had been sharing the <a href="https://pressbengel.blogspot.com/search/label/fish%20leather">historical literature, and my experiments and uses ad nauseam</a> for years using the "fish leather" tag, also publishing an article on the process in <i><a href="https://works.bepress.com/peter_verheyen/52/download/">Book Arts arts du livre Canada</a></i> (Vol 10., Nr. 2, 2019). The other colleague challenged me to host a <a href="https://pressbengel.blogspot.com/2020/04/making-parchment-from-fish-webinar.html">webinar on the process of making parchment.</a> Due to COVID we were all working from home, looking to keep our skills sharp, and also for things we could do at home. So, 2 weeks later there was the webinar. The rest is history.<br /><br />I'm deeply impressed by the number of people who rose to my bait of trying to make their own parchment or tanned leather from fish, and then make something using the material. The 21 participants (including one avatar in this Bind-O-Rama come from Australia, Canada, Sweden, the United Kingdom, and the United States. Their backgrounds vary and include bookbinders, artists, and conservators with lots of overlap between them. Not content to leave it with one skin, many dove in to make more and from a variety of species, and/or tried other methods of processing their skins. These experiments were widely shared by most on social media, even encouraging others to jump in.</div><div><br /><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-UBE9UkTPUDw/XvN9CJgMrAI/AAAAAAAAPB0/LO7RdJyKTx8wwSgJdacxqUGZt6-RN4fywCK4BGAsYHg/s939/Fips%2Bund%2Bdie%2BAalhaut%2B%2528Fischleder%2BFish%2529-%2BDer%2BBuchbinderlehrling%252C%2BVo%2B10%252C%2BNr%2B10%252C%2B1937.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="939" data-original-width="900" height="320" src="https://1.bp.blogspot.com/-UBE9UkTPUDw/XvN9CJgMrAI/AAAAAAAAPB0/LO7RdJyKTx8wwSgJdacxqUGZt6-RN4fywCK4BGAsYHg/s320/Fips%2Bund%2Bdie%2BAalhaut%2B%2528Fischleder%2BFish%2529-%2BDer%2BBuchbinderlehrling%252C%2BVo%2B10%252C%2BNr%2B10%252C%2B1937.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Fips" and his eels<br /></td></tr></tbody></table> <div></div></div></div><div><div><div></div></div><div><br /></div><div style="text-align: center;"><font size="5"><a href="https://www.philobiblon.com/bindorama20">View the Bind-O-Rama and get hooked <span style="text-align: center;">like 'Fips'<br />to join the Fish Skin Binders.</span></a></font></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://www.philobiblon.com/bindorama20/index.html" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="340" data-original-width="340" height="205" src="https://1.bp.blogspot.com/-is6dJ_jG0I0/XvN_30-xaeI/AAAAAAAAPCA/jFSFESD-5IQg_rqhxJIxbukIFgwINyG_ACK4BGAsYHg/w205-h205/Patch.jpg" width="205" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Click on patch earned by participants<br />to view the exhibit.<br /><a href="https://www.philobiblon.com/bindorama20/index.html">https://www.philobiblon.com/bindorama20/index.html</a></td></tr></tbody></table><div><br /></div></div><h2 style="text-align: left;">Selected Resources</h2><div>Historical Overview:</div><a href="https://works.bepress.com/peter_verheyen/52/download/"></a><ul style="text-align: left;"><a href="https://works.bepress.com/peter_verheyen/52/download/"></a><li><a href="https://works.bepress.com/peter_verheyen/52/download/"></a><a href="https://works.bepress.com/peter_verheyen/52/download/">"Fips" and His Eels: Fish Skin in Bookbinding</a> in <i>Book Arts arts du livre Canada</i> (Vol 10., Nr. 2, 2019)</li><li><a href="https://works.bepress.com/peter_verheyen/59/download/">"Fish Tales, experiments with fish skin for bookbinding</a>. <i>The New Bookbinder</i>: Journal of Designer Bookbinders (2020)</li><li><a href="https://pressbengel.blogspot.com/search/label/fish%20leather">Fish Skin Posts on the <i>Pressbengel Project</i> blog</a></li></ul><div><br /></div><div>Tanning workshops:<br /><ul><li><a href="https://linktr.ee/JaneyChangArt">Janey Chang</a> in Vancouver has also been offering terrific online tanning workshops.</li><li><a href="https://www.janeychang.ca/shop/fish-leather-tanning-amp-sewing-by-lotta-rahme-and-dag-hartman"><i>Fish Leather: Tanning + Sewing</i></a> by Lotta Rahme and Dag Hartman. Available in North American from Janey Change and elsewhere.</li><li><a href="https://www.instagram.com/ambsandy/">Amber Sandy's Instagram feed</a>: several wonderful posts about tanning fish (among other species). In the Toronto area and happy to give workshops.</li></ul><ul><br /></ul> </div></div>Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-29490587517914117582020-04-12T16:50:00.012-04:002020-07-03T13:57:30.685-04:00A New, Fishy, Bind-O-Rama<div><br /></div><div>With everyone on lockdown, going stir crazy, worried, and looking for something positive to do, I am inviting all to participate in this rebirth of the Bind-O-Ramas, a regular feature here from 2004 until 2015. View the galleries from all on the <a href="https://www.philobiblon.com/bindos.shtml">Book Arts Web</a>. Below a webinar introduction I recorded to help demystify.</div>
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/r_7iIhp7QOE" width="560"></iframe></div>
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Steps to getting started:<br />
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<li>Get some nice fresh fish. Skin it yourself, or ask at your better fish counter or sushi restaurant. Salmon is very forgiving. <span style="color: red;"><b>NO commercially tanned/prepared skins will be accepted. I can smell those a mile away, even if beautiful.</b></span></li>
<li>Clean the skin and make parchment or tan some other way. ALWAYS use COLD water otherwise the skin turns gelatinous. <br />For more information. watch the video above, see <a href="https://works.bepress.com/peter_verheyen/52/download/">"Fips" and His Eels: Fish Skin in Bookbinding</a> in Book Arts arts du livre Canada (Vol 10., Nr. 2, 2019), and under the <a href="https://pressbengel.blogspot.com/search/label/fish%20leather">“fish leather” tag</a> at the Pressbengel Project blog (23 posts worth at this point). My bindings using fish parchment (and commercial leathers) <a href="https://www.philobiblon.com/pdvgal/pdvgal.htm">can be found among my other work here</a>.</li>
<li>When done, use as the primary material on a binding (not just for onlays…), a box, other objet d’art. "Limp" structures are great - parchment is parchment. </li>
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Complete the entry form below. You'll also need to upload 1 skin preparation image, 1 of the finished product, and a detail of either. Images should be taken with good lighting, a neutralish background, in focus, and sent at full size (not reduced). Name files with your name and number..., e.g. verheyen1.jpg, verheyen2.jpg, verheyen3.jpg.</b><br />
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<b>In the form you'll be asked to provide name, where you are, species of fish, technique to prepare, impressions, a description of your finished book or object, and a few sentences about yourself.</b></div>
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<b>After submitting the form, email images to <a href="mailto:verheyen@philobiblon.com">verheyen@philobiblon.com</a>. Alternatively, request a link to upload to my Google Drive.<br /></b><br /><div style="text-align: center;"><b><font size="5"><a href="https://docs.google.com/forms/d/e/1FAIpQLSff7P2Z9eWF73bP5u2qGRISGdC2_IxS_i-p0UoYguGPGSchCg/viewform">Click here to enter the Fish Skin Bind-o-Rama</a>, and to be like "Fips.</font></b></div><div><div style="text-align: center;"><b><span style="font-size: medium;"><br /></span></b></div>
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<tr><td style="text-align: center;"><img border="0" data-original-height="939" data-original-width="900" height="320" src="https://1.bp.blogspot.com/-X5NiIiU-3ds/XtUD9vBhMpI/AAAAAAAAOcU/2sJYRqgh-40T_80FYbthg-GSdYEma_uawCK4BGAsYHg/s320/Fips%2Bund%2Bdie%2BAalhaut%2B%2528Fischleder%2BFish%2529-%2BDer%2BBuchbinderlehrling%252C%2BVo%2B10%252C%2BNr%2B10%252C%2B1937.jpg" style="color: #0000ee; margin-left: auto; margin-right: auto; text-align: center;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Fips" and his Eels</td></tr>
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<span style="font-size: medium;">I can't wait to see all the entries. Thank you to all those who have been sharing their experiences on social media and elsewhere.</span></div>
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<span style="font-size: medium;">So, what do you all say. Let's have some fun! Questions, just ask. </span></div>
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Also, check out <a href="https://www.instagram.com/ambsandy/">Amber Sandy's Instagram feed</a> where she has several wonderful posts about tanning fish (among other species). She's in the Toronto area and would be happy to give workshops. <a href="https://linktr.ee/JaneyChangArt">Janey Chang</a> in Vancouver has also been offering terrific online tanning workshops. (CBBAG, are you listening 😀 )</div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-UzPT3Gl6w_o/XpN-dSNbFQI/AAAAAAAANUE/HOzcmaTqZ7o1i0rkxPncEQTPof5ptDyPgCLcBGAsYHQ/s1600/13.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://1.bp.blogspot.com/-UzPT3Gl6w_o/XpN-dSNbFQI/AAAAAAAANUE/HOzcmaTqZ7o1i0rkxPncEQTPof5ptDyPgCLcBGAsYHQ/s400/13.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Fritz Otto with a box he made from salmon parchment.</td></tr>
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<span style="font-size: large;">Samples of various parchments made from fish.</span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-UZDZZf3JwGY/XqGL7uKX54I/AAAAAAAANiQ/BmDMXG7qILwP-3J3RPPnxpBPJ_nJaqoVwCLcBGAsYHQ/s1600/Parchment%2BSwatches.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="674" height="640" src="https://1.bp.blogspot.com/-UZDZZf3JwGY/XqGL7uKX54I/AAAAAAAANiQ/BmDMXG7qILwP-3J3RPPnxpBPJ_nJaqoVwCLcBGAsYHQ/s640/Parchment%2BSwatches.jpg" width="478" /></a></td></tr>
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A sampler of all the fish I've made parchment from.</div>
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From top: mackerel, sea bass, lane snapper, haddock, Arctic char, Atlantic salmon.</div>
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Underbellies are lighter than tops.</div>
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Note: except for the mackerel, the skins are highly translucent.</div>
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Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-62754924600160451152019-04-11T12:47:00.000-04:002020-01-14T10:36:35.960-05:00 Book Restoration Unveiled by Sophia S.W. BogleSophia S.W. Bogle. <i>Book Restoration Unveiled: An Essential Guide for Bibliophiles</i>. Ashland, Oregon: First Editions Press, 2019. ISBN: 978-1-7324317-3-7. 273 pp. Order from <a href="https://www.saveyourbooks.com/product/pre-orders-for-book-restoration-unveiled/">https://www.saveyourbooks.com/product/pre-orders-for-book-restoration-unveiled/</a>. Download, print, and bind as well as e-book options are also available. $26.99 (pre-order at $19.95 until June 2019).<br />
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Reviewed by Peter D. Verheyen<br />
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In <i>Book Restoration Unveiled</i>, Sophia S.W. Bogle sets out “to provide the tools to spot restorations so that everyone can make more informed decisions when buying or selling books.” The second reason was her realization that “instead of a simple list of clear terminology, [there] was a distressing lack of agreement and even confusion about the most basic of book repair terms. It became apparent to me that the world of book collectors and the world of book workers were not in communication with one another.” Finally, there was her passionate desire to keep books out of landfills; while passionate, the author is also pragmatic.<br />
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The introduction presents the author and her experiences: how she entered the profession (beginning, as many seem to have, as a work-study student in preservation/binding at their college library), progressed to an apprenticeship with an antiquarian where started learning what makes books valuable, training with the book restorer David Weinstein as a binder, opened her own studio, and attended the American Academy of Bookbinding among numerous other experiences. In describing her studio she cracks open the door to the real text in the form of a dialog with a book on her bench. Bogle enumerates her professional associations and her efforts to share her knowledge with her audience. Although she never became the antiquarian she thought she might become, she did specialize in the repair of books for individuals and antiquarians who in many respects are the main audience for this book. This is not, however, a “how-to” manual. Rather, it is a “guide to help you understand the world of restoration, to recognize restorations, and to choose the right professional to do those restorations. Further, “this book [is] a bridge between the world of collecting, buying, and selling books, and that of book repair, restoration, and conservation.”<br />
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<i>Book Restoration Unveiled</i> is divided into eight chapters: A Brief History of Book Collecting and Restoration; Is It Worth It? The Value of Book Restoration; Book Lovers, Book Collectors, and Book Dealers; Bookbinders, Book Restorers, and Book Conservators; How to Identify Book Restorations; Book Damage and Treatment Options; Facsimiles, Sophistications, and Fraud; and Buying and Selling Restored Books. In addition to these main chapters, the book also features a broad and deep list of resources including a glossary and color plates for more richness than the black and white images found throughout the book.<br />
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These chapters work a reader, bibliophile, antiquarian, restorer, etc. through a logical progression. The brief "History" is broken into eight “eras,” defined by the author beginning in ancient Mesopotamia. For each, she shares information relating to production, the value of the object in its context, preservation, repair, and threats. Included are mentions of significant persons and works from that period such as de Bury, Cockerell, Diehl, Middleton, and many others. <br />
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“Is it Worth It” describes the various criteria one might use in deciding whether it is worth treating a book, leaving as is, or discarding it. These are considerations that are at the heart of conversations between the various sets of antiquarians, collectors, curators, and those being asked to treat a given item. Bogle describes some of her reasons for making a particular decision, but then demonstrates how these are applied sharing an appraiser’s insight and a case study.<br />
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Interviews in which “Book Lovers, Book Collectors, and Book Dealers” describe their connections to their books, why they select what they do, value considerations, condition, when and whether to treat. are featured in this chapter. While there are many similarities in their responses, there are also subtle differences making a closer reading very interesting. After defining “Bookbinders, Book Restorers, and Book Conservators,” the author discusses how these approach their work and provides the bibliophile with considerations and questions to ask in working to select someone to treat their books. Whether the practitioner has the necessary holistic skill, training, and background appropriate for the book in question is a particular concern. Questions include the types of materials and structures they might apply. This is informed by the author's experiences as a practitioner which is woven throughout the chapter and the book; as well as those of selected colleagues.<br />
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“How to Identify Book Restorations” is a deep yet very accessible dive into the physical properties of book structure and materials and how to identify repairs and other potential problems with them. Repairs when not well done are easy to discover. It can quickly get murkier if the repairs are skilled, and it is here that the author includes the “perpetual caveat:” when in doubt, go for the most conservative option – preservation. The question of whether a collectible item has been repaired or restored is increasingly becoming a criteria for collectors, not just of books. Repair, however, can be critical for ensuring the book can be used, nevermind fall apart. This chapter has descriptions of repairs and their impact, and is richly illustrated with very clear diagrams and photos of treatments, good/bad, before/after that provide valuable context. <br />
<br />
“Book Damage and Treatment Options” takes the material from the previous chapter and builds on it by preparing the book's owner to speak to the practitioner, whether a skilled bookbinder who performs repairs or a conservator. Bogle defines what is meant by the different categories of repair, restoration, preservation, and conservation lab. To support the definitions, she compares and contrasts these, also citing the American Institute for Conservation’s definitions. Next, she defines many of the terms binders and conservators use to describe various treatment steps and techniques, again in very clear language. Because people want to help, to do something, the author includes the necessary “warning” to the "do it yourselfer" about dated and wrong information that can be found online and in print (even if such treatments were once state-of-the-art), also acknowledging that there is also good information to be found. After this, Bogle provides instruction for some very basic treatments such as freezing to kill insects, using soot sponges for surface cleaning, and drying wet books. Dust jackets are discussed before taking on structural repairs to the book, almost all with three options for a particular problem such as textblock that has come out of the cover. Again, the text is accompanied by clear photographs illustrating the problems and treatments. This and the previous chapter are well worth the price of the book and provide the bibliophile with sound and pragmatic information in clear language.<br />
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“Facsimiles, Sophistications, and Fraud” “includes tips to help you avoid inadvertently buying books that have been touched by the dark side,” i.e. those employing deceptive practices to increase perceived value. As in past chapters Bogle then proceeds to define many of the types of techniques that can be used for good when done well and documented or more nefarious purposes, all in clear and understandable language. The author also includes interviews with book sellers, binders, and restorers, as well as case studies of books where facsimiles, sophistications, and fraud come into play. <br />
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Finally, in “Buying and Selling Restored Books” the author comes back to antiquarians who will employ binders, restorers, or conservators when needed. Bogle asks: what are their criteria for acquiring books to resell, what options do they have, and why chose the option they did? This is done in interviews with booksellers through a series of case studies that make these questions come alive in language that collectors will find in for-sale announcements, catalog descriptions, and elsewhere. The chapter concludes with links to reputable bookselling associations and sales portals.<br />
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Appendices provide links to many of the resources mentioned in the book: bookselling portals, educational opportunities, individual book sellers, book restorers, commercial binders, conservation labs that accept work from the public, professional associations, and vendors for tools and archival supplies. There are also a well-done glossary of terms and bibliography, most mentioned in the text, but even more useful in this form. The appendices are rounded out by acknowledgements, notes, and color plates of problems and treatments that could not be included in-line in the main text due to book production processes.<br />
<br />
To conclude, <i>Book Restoration Unveiled</i> fills a niche in the literature that “lifts the veil” on books, the repair trades including restoration and conservation, and bookselling in a way that is very clear and understandable. It pragmatically explains the nuances, provides many examples of why something might be treated, or not, and provides much needed context. Fears of effusive “every book is sacred” were quickly put to rest as the author systematically worked her way through the process, greatly enhancing it with interviews and case studies that are not often found in books of this nature. Some of these topics could quickly become contentious in discussions between the practitioners, but the author handles this deftly by providing context, caveats, and options, making this a book that collectors, practitioners, and sellers should have in their reference collections.<br />
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[Note: This review was subsequently republished in <a href="https://www.cbbag.ca/publications"><i>Book Arts Arts du Livre Canada</i></a>, 10 (1) and in abridged form in the <a href="https://guildofbookworkers.org/newsletter"><i>Guild of Book Workers Newsletter</i></a>, 244.]<br />
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<a href="http://www.philobiblon.com/vita.shtml">Peter D. Verheyen's</a> career path began much the same as the author's, beginning as a work-study student in conservation and preservation, apprenticing in hand bookbinding, and working in private practice and research library conservation labs before establishing Syracuse University Library's lab. He continues to bind and exhibit book for pleasure, maintains the <a href="http://www.philobiblon.com/"><i>Book Arts Web</i></a> and <a href="http://www.philobiblon.com/book_arts-l.shtml"><i>Book_Arts-L</i></a> listserv, and blogs here and on his <a href="http://pressbengel.blogspot.com/">Pressbengel Project</a>. He is also an excessively avid collector of bookbinding and related literature, especially early 20th century German, and translated Ernst Collin's <i>Pressbengel</i> in English as <a href="http://pressbengel.blogspot.com/2016/06/the-bone-folder-preorder-prospectus.html"><i>The Bone Folder</i></a>, published 2017 in a fine press edition by the Boss Dog Press.Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-74510635816591955352018-04-24T12:59:00.001-04:002018-04-24T14:33:53.714-04:00The Medieval Girdle Book by Margit J. SmithSmith, Margit. <a href="https://www.oakknoll.com/pages/books/129111/margit-smith/medieval-girdle-book-the"><i>The Medieval Girdle Book</i></a>. New Castle, Delaware: Oak Knoll Press, 2017.<br />
384 pages, 7.375 x 10.5 inches, hardcover, dust jacket. ISBN: 1584563680 / 9781584563686. $95.00.<br />
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Reviewed by Nicholas Yeager<br />
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Girdle books are mysterious, almost mythical structures, designed to
allow the owner to “wear” the book, hanging from a long tail attached to
one’s belt (girdle). That there are only 26 known survivors of this
structure makes them a rare item even to binding historians. Margit J.
Smith gives a thorough description of these known examples in <i>The
Medieval Girdle Book</i>, having visited libraries in Europe and the United
States to research them first hand.<br />
<br />
By shedding light on the
development and use of girdle books, Margit J. Smith focuses on their
construction and materials employed. She isolates the girdle book from
other structures and places it in the medieval world as a separate and
short-lived use. One wonders why personal, portable books didn’t last
and whether the advent of small, portable printed books had some
influence in the demise of wearable bibliographic accessories.<br />
<br />
Margit J. Smith was an academic cataloging and preservation librarian at
the University of San Diego when she attended the Montefiasconi Library
Project in 2003 where she took a class on the girdle book, igniting a
fourteen year study of this structure.<br />
<br />
The mechanical challenges
of how to make girdle books have been elusive to most binders as there
has been very little published. Pamela Spitzmueller <a href="https://guildofbookworkers.org/sites/guildofbookworkers.org/files/standards/2000-Spitzmueller_Pamela.pdf">gave a presentation discussing the girdle book</a> at the Guild of Book Workers Standards
conference in 2000. Her handout describes briefly the two versions of a
girdle book binding that Ms. Smith calls primary and secondary covering
styles. All but 2 books are laced onto wooden boards, making the basic
structure of the girdle book the same as wooden board bindings of the
14th - 16th centuries. Forwarding a girdle book is no different than
contemporary bindings. Even the 2 paper board bindings are forwarded in
the same way.<br />
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<i>The Medieval Girdle Book</i> reviews the 26 bindings
by dividing them into 4 chapters according to each book’s contents:
Religious (19); legal (5); philosophical (2); and possible girdle books
(8). The thirty-three page introduction gives a thorough description of
the 2 types of coverings employed and where and when these bindings were
made. Table 1 shows books by location and whether manuscript (20) or
printed (6). Table 2 dates and places the the books and again indicates
manuscript or print while Table 3 covers the possible girdle books
examined. Tables 4 & 5 indicate books that have protective flaps in
addition to the extension to hang the book from a belt. An overall
survey describes each book in its historical context, the interior or
the book, the construction and exterior of the book.<br />
<br />
The
photography is of a high quality and the overall information is well
done, whetting one’s curiosity about each book. The design, typography
and printing are well done, making for ease in reading. However there
are no indicators within the book to aid the reader in knowing what
section or chapter one is in. By sorting the books by subject, one has
reason to flip between sections to look at images for comparison. The
addition of headers would make for a better reading experience.
Lacing-on patterns, paste-downs and images of all sides of a book would
have been helpful to discern manufacturing clues.<br />
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<i>The Medieval
Girdle Book</i> is a well-written book, for the interested binder that will
further one’s understanding of the structural and covering solutions
employed in making girdle books. While the specifics of all aspects of
making a girdle book are hinted at, a conscientious practitioner can
infer enough to make one’s own girdle book. Reading this after having
read (or along side) of J.A. Szirmai’s <i>The Archaeology of Medieval
Bookbinding</i> (1999) gives the serious binding student a lot of
information to help navigate their education in the era of wooden-board
binding structures.<br />
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<a href="https://motoscribendi.com/">Nicholas Yeager</a> is a rare books librarian/historian of the book, scribe and motorcyclist. He is also the creator of <a href="http://www.zorbix.info/">Zorbix</a>.Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-45950398068014668592018-03-17T15:31:00.000-04:002018-03-18T13:20:04.918-04:00Meeting by Accident: Selected Historical Bindings by Julia Miller<br />
Miller, Julia. <i><a href="http://www.thelegacypress.com/meeting-by-accident.html">Meeting by Accident: Selected Historical Bindings</a></i>. The Legacy Press, Ann Arbor, MI, 2018. 707 pp., features 717 full-color images, with an accompanying DVD an additional 650 images and a short video. $125.00.<br />
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Reviewed by Barbara Adams Hebard<br />
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Julia Miller embarked on an ambitious journey when she set out to write Meeting by accident: selected historical bindings. Book conservators, indeed book lovers in general, should be grateful for her diligence. Miller could have rested on her laurels after producing the acclaimed Books Will Speak Plain, instead choosing to elaborate on books that previously had received brief mention in that publication. Readers should not be intimidated by the high page count—707 pages of densely packed text—not only because the text is rich with information, but also it is complemented by 717 full-color images. The colored illustrations clarify Miller’s detailed focus on the bindings’ characteristics in a way that black and white or gray scale images would fail to do. Legacy Press is to be commended for committing to include so many full-color images, a costly production. The six chapters within Meeting by accident: selected historical bindings each could each could have merited a separate book; making this $125.00 volume a bargain. <br />
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Miller’s chosen topics for the first four chapters are binding styles that have not always received ample attention in binding structure or book history publications, in part because they are not generally considered to be the most glamorous styles and/or are lacking exciting ownership associations, for example. In those chapters she looks at: bindings decorated by staining, canvas bindings, over-covers, and books made for scholars. Miller clearly is fascinated by the techniques used by bookbinders of the past and, indeed, in these pages the structure of those books has become more interesting because of the questions that she poses and answers about them. Add to that, likely many an institution has examples of these styles either incorrectly, incompletely, or not identified because of the lack of readily available language with which to describe them. Miller has changed that, Meeting by accident has given catalogers and conservators precise terms to use for records or reports. The footnotes offer a wealth of information and their tone is conversational. Miller, recognizing that other conservators and bookbinders are in her reading audience, uses the footnotes to: explain her reasons for choosing a particular descriptive word, assiduously credit others either for their workshops or publications that further illuminate the topics, and offer links to on-line data-bases with additional visual aids to educate the viewer. <br />
<br />
Chapter five, “A Gift from the Desert: A Report on the Nag Hammadi Codices”, can be summarized by Miller’s own words, “The purpose of this chapter is to give the reader an idea of what the Nag Hammadi bindings look like and how they were put together, and what they represent to the history of the codex and the history of hand bookbinding”. She completely delivers on those words and, as with the four prior chapters, has packed the numerous footnotes with more information and with the same painstaking effort to honor the research of others. <br />
<br />
In “A Model Approach”, the final chapter in this pithy volume, Miller is, “urging the reader to engage with historical bindings by creating models of structures interesting to you. The rewards are great: you gain a better understanding of historical binding developments and you soon comprehend the possibilities (and limitations) of modern materials”. The models, she points out, have value beyond that given to creating a bookbinding—when used in a teaching setting, they offer cultural and historical importance. Seeing and interacting with a physical object engages a student beyond the knowledge gained by merely reading about its existence. <br />
<br />
Julia Miller’s Meeting by Accident: Selected Historical Bindings, can be interpreted as a quiet yet persuasive call to preservation action, within the volume she is: asking conservators and curators to look at under-appreciated structures with new eyes; teaching them in great detail how to study book structure, thereby tempering decisions regarding the care and custody of historic materials; and fostering an appreciation of the value of historic models both for instructing the professionals as well as students. <br />
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Barbara Adams Hebard was trained in bookbinding at the North
Bennet Street School. She was Book Conservator at the Boston Athenaeum for 18 ½
years and became the Conservator of the John J. Burns Library at Boston College
in 2009. Ms. Hebard writes book related articles and book reviews, gives talks
and presentations, exhibits her bookbindings nationally and internationally,
and teaches book history classes. She is a Fellow of IIC, a Professional
Associate of AIC, a board member of the New England Conservation Association,
and has served several terms as an Overseer of the North Bennet Street School.<o:p></o:p></div>
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<br />Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-44096684562709554102017-12-08T19:00:00.001-05:002017-12-08T19:05:34.604-05:00Heroic Works, Designers Bookbinders International Competition 2017<em>Heroic Works, Designers Bookbinders International Competition 2017,</em> edited by Jeanette Koch, photography by Greg Smolonski: Bodleian Library, University of Oxford, UK: available at the <a href="http://www.designerbookbinders.org.uk/online_shop/index.html">Designer Bookbinders Online Shop</a>, £30.00 + s/h.<br />
<br />
Reviewed by Barbara Adams Hebard<br />
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<em>Heroic Works, Designers Bookbinders International Competition 2017</em> catalogue, was produced to accompany a travelling exhibition of the same title that first ran from July 18 through August 20, 2017, in Weston Library at the University of Oxford. The exhibition could later be seen through September 28, 2017 at the Library of Birmingham, followed by a showing in London at St Bride Foundation until October 24, 2017, and then, in a final venue, at the North Bennet Street School in Boston, Massachusetts, November 3, 2017 through December 22, 2017. If you missed the show in the United Kingdom and will not be travelling to Boston to view the 28 prizewinners and a selection of American entries, do purchase this catalogue, which has completely captured the bookbindings exhibited in the four venues as well as all those entered in the competition.<br />
<br />
The Designer Bookbinders and their impressive roster of supporters should be very proud of the ambitious travelling exhibition and catalogue. The catalogue, beginning with its cover, conveys excitement and motion through the dynamic dragon motif lunging toward the viewer. Played out against a rich red background highlighted by glittering gold-toned titling, it serves as a theatrical introduction to the international themed contents within.<br />
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<tr><td class="tr-caption" style="text-align: center;">Heroic Works at North Bennet Street School<br />
Photo © The North Bennet Street School</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Heroic Works</i> at North Bennet Street School <br />Photo © The North Bennet Street School</td></tr>
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Since not all bookbinders and other followers of the book arts will be able to see the exhibition in any of the venues, it is commendable that the catalogue begins with descriptions of the four hosting institutions. Instead of just listing the exhibition dates, this informative catalogue gives brief paragraphs about the locations and provides their contact addresses. Readers will note that three of the four venues recently underwent extensive renovations and, although not mentioned, the North Bennet Street School is in a newly acquired and renovated building. It is comforting to know that books and related crafts, and the buildings that house them, are well cared for on both sides of the Atlantic.<br />
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The competition judges, Harri Aaltonen, Sue Doggett, and Sophie Schneideman, must have had a challenging time selecting the 28 books for the Sir Paul Getty Bodleian Prizes. The catalogue is filled with some breathtakingly beautiful books, created with outstanding technical skills. This review will only highlight fourteen books, although there are many, many more worthy of attention. Bookbinders and bibliophiles need to see the catalogue for themselves and savor the styles that appeal to them. The bookbindings, made using multiple techniques and materials, with finely honed skills, and keenly developed design consciousness, reveal that members of <em>Designer Bookbinders</em> merit their international reputation.<br />
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This reviewer had the good fortune to see the exhibition at the Windgate Gallery in the North Bennet Street School (NBSS). This venue may have influenced the choice of several books discussed here. Full disclosure: I am an American, graduated from the Bookbinding Program at NBSS, was taught by Mark Esser, and have served as a NBSS overseer for some years. That being said, the binding by Mark Esser is mesmerizing, in part because of the boldly repetitive design. It was courageous to undertake a regular and symmetrical pattern, since the eye tends to focus on any flaws or inconsistencies in this style. Mark, well known for his commitment to craftsmanship, has accomplished a work that stuns in its perfection.<br />
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<i>All images of bindings © Designer Bookbinders. Photos by Greg Smolonski.</i></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-P3xKbMpS8YM/WisbZKYg7II/AAAAAAAAH7Y/1s9iXnjz-_MFp5FCdSwjQHXY1sIFLRAYwCLcBGAs/s1600/Esser_Mark-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="455" data-original-width="900" height="201" src="https://1.bp.blogspot.com/-P3xKbMpS8YM/WisbZKYg7II/AAAAAAAAH7Y/1s9iXnjz-_MFp5FCdSwjQHXY1sIFLRAYwCLcBGAs/s400/Esser_Mark-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mark Esser (USA): <i>Blind Date</i></td></tr>
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The gorgeously crafted, wooden-board book, designed by Fabrizio Bertolotti fit perfectly into the NBSS Windgate Gallery setting. The school, with programs involving wooden structures, such as Cabinet & Furniture Making, Violin Making, Carpentry, and Piano Restoration, has an appreciative audience ready to admire the precise woodworking mastery that went into the making of Bertolotti’s <em>H</em><em>éracl</em><em>ès</em>.<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-CIfCBOWL6lU/WisbkO-kCGI/AAAAAAAAH7c/1OXu88lscGUuTMTN0KzQxI_woRa1H34PACLcBGAs/s1600/Fabrizio_Bertolotti_Italy_SilverPrizewinner-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="566" data-original-width="900" height="251" src="https://4.bp.blogspot.com/-CIfCBOWL6lU/WisbkO-kCGI/AAAAAAAAH7c/1OXu88lscGUuTMTN0KzQxI_woRa1H34PACLcBGAs/s400/Fabrizio_Bertolotti_Italy_SilverPrizewinner-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fabrizio Bertolotti (Italy): <i>Héraclès</i></td></tr>
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Priscilla Spitler’s cover, arrayed with brayer-printed leaves so vibrantly accenting the goatskin, was a delight to view on a bright New England day—the sky was filled with similar multi-hued leaves. One regrets that in an exhibition of bindings, interior features such as Spitler’s pochoir page illustrations cannot always be on display.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-lZUJtF7aEP8/WisbpFXojxI/AAAAAAAAH7g/aAxiFQPFFSo76JCWCRIGv6FUZu1h7AuEwCLcBGAs/s1600/Spitler_Priscilla-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="629" data-original-width="900" height="278" src="https://1.bp.blogspot.com/-lZUJtF7aEP8/WisbpFXojxI/AAAAAAAAH7g/aAxiFQPFFSo76JCWCRIGv6FUZu1h7AuEwCLcBGAs/s400/Spitler_Priscilla-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Priscilla Spitler (USA): <i>In the Garden</i></td></tr>
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In contrast to the flamboyant covers of Esser and Spitler, the prize-winning bindings by Keiko Fujii and Gavin Dovey have subtle tones and ornaments. Fujii’s book has a soothing appearance because of the soft hues; pale blue calf accented with white and cream-colored onlays and inlays. The continuous elliptical configurations of the decorative elements blend harmoniously with the curve-modeled boards.<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-rY4X2y0yAiM/WiscPUh43II/AAAAAAAAH7s/J7l0flaDtZUeqsYAIWF64Eqw_i8XXaqwgCLcBGAs/s1600/Keiko%2BFujii_Japan_SilverPrizewinner-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="652" data-original-width="900" height="288" src="https://3.bp.blogspot.com/-rY4X2y0yAiM/WiscPUh43II/AAAAAAAAH7s/J7l0flaDtZUeqsYAIWF64Eqw_i8XXaqwgCLcBGAs/s400/Keiko%2BFujii_Japan_SilverPrizewinner-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Keiko Fujii (Japan): <i>Légendes Japonaises</i></td></tr>
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Gavin Dovey has elegantly airbrushed the surface of the goatskin cover in a manner that brings to mind surface gilding. The tooled organic lines on the covers suggest veined butterfly wings, with the onlays and gold leaf resembling ocellus: considering the movement of the boards in relation to the spine, this also could imply the fluttering of wings.<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-6uc3vBw-tmo/WiscUFwEPzI/AAAAAAAAH7w/U03XuJWTdUE93jMd8VRU1KoOc3HFJ4w5ACLcBGAs/s1600/Dovey_Gavin-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="581" data-original-width="900" height="257" src="https://4.bp.blogspot.com/-6uc3vBw-tmo/WiscUFwEPzI/AAAAAAAAH7w/U03XuJWTdUE93jMd8VRU1KoOc3HFJ4w5ACLcBGAs/s400/Dovey_Gavin-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gavin Dovey (USA): <i>Metamorphoses</i></td></tr>
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The Windgate Gallery, as indicated above, featured the 28 prizewinners and a selection of American entries. The catalogue includes all the bindings entered in the competition. Photographer Greg Smolonski did a fine job imaging the books, so those seen in the catalogue are eye-catching, as well.<br />
Architectural designs benefitted several bookbinders well in portraying the “heroic” on a grand scale. For instance, Sylwester Pacura illuminated his black Morocco binding of <em>The Golden Legend</em> with multi-colored leather onlays fashioning a glowing rose window, very pleasing in proportion.<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-jm1n2Bf4pZc/WiscbX9p2OI/AAAAAAAAH70/pSiOdjIo8zYNIVhlxKLcvKNXXxBUDA7SwCLcBGAs/s1600/Pacura_Sylwester-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="742" data-original-width="900" height="328" src="https://4.bp.blogspot.com/-jm1n2Bf4pZc/WiscbX9p2OI/AAAAAAAAH70/pSiOdjIo8zYNIVhlxKLcvKNXXxBUDA7SwCLcBGAs/s400/Pacura_Sylwester-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sylwester Pacura (Poland): <em>The Golden Legend</em></td></tr>
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Eliška Čabalová deftly sculpted and cut out the boards of her binding, creating the illusion of the gothic-windowed St. Vitus Cathedral, a fittingly dramatic symbol for<em> Prague in Legends</em>. The book seems to be an actual edifice, because Čabalová cleverly created the impression of shadows by uncovering the decorated flyleaves inside the cut out windows.<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-ahgrdkku5J8/Wisc6uVik7I/AAAAAAAAH78/GN50Ff5jQRoAZbvhX1TwKSDCeH0spueRQCLcBGAs/s1600/Cabalova_Eliska-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="719" data-original-width="900" height="318" src="https://4.bp.blogspot.com/-ahgrdkku5J8/Wisc6uVik7I/AAAAAAAAH78/GN50Ff5jQRoAZbvhX1TwKSDCeH0spueRQCLcBGAs/s400/Cabalova_Eliska-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Eliška Čabalová (Czech Republic): <i>Prague in Legends</i></td></tr>
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Elements from nature also figured in a number of bindings and helped to accentuate the timeless quality of “the heroic.” Alain Taral’s walnut wood binding, with its strong grain and burls, bears the gravity of an object that has survived centuries of trial and strife. The binder wisely chose to allow the wood alone to make a statement, the resulting cover embodying beauty, unadorned.<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-rf1J_7pHhOc/Wisc-52_2zI/AAAAAAAAH8A/y7Dp4Rpkm40HPcTylabPHQ7XOJOv13TKQCLcBGAs/s1600/Taral_Alain-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="642" data-original-width="900" height="285" src="https://4.bp.blogspot.com/-rf1J_7pHhOc/Wisc-52_2zI/AAAAAAAAH8A/y7Dp4Rpkm40HPcTylabPHQ7XOJOv13TKQCLcBGAs/s400/Taral_Alain-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alain Taral (France): <i>La Nuit des Fantômes</i></td></tr>
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Dace Pāže adeptly attached Icelandic stones to metallic-toned leather covered boards so to suitably bind the <em>Codex Regius</em>. The placement and quantity, five stones on the upper and one on the lower board, combined with the size and sheen of the stones attractively symbolize Iceland.<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-6RcvRuiHE40/WisdDlh_UZI/AAAAAAAAH8E/UiQXWX8PtBQSjQuI9qykGBrN8Q0j-hbSgCLcBGAs/s1600/Paze_Dace-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="607" data-original-width="900" height="268" src="https://4.bp.blogspot.com/-6RcvRuiHE40/WisdDlh_UZI/AAAAAAAAH8E/UiQXWX8PtBQSjQuI9qykGBrN8Q0j-hbSgCLcBGAs/s400/Paze_Dace-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dace Pāže (Latvia): <i>Codex Regius</i></td></tr>
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Mythical beings from different cultures take formation on the book covers as well. Maria Ruzaykina used two striking creatures, a dragon and a human-faced bird, as metaphoric elements for her chosen title, <em>Epic</em>. The creatures, themselves lavishly tooled, are backlit by wonderfully gilt concentric circles.<br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-_6jbhuC6fuU/WiseUK7nDJI/AAAAAAAAH8g/DyY4Wyv10S4hQY0hvcKnNDoOhOJc-toEQCLcBGAs/s1600/Ruzaikina_Maria-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="694" data-original-width="900" height="307" src="https://2.bp.blogspot.com/-_6jbhuC6fuU/WiseUK7nDJI/AAAAAAAAH8g/DyY4Wyv10S4hQY0hvcKnNDoOhOJc-toEQCLcBGAs/s400/Ruzaikina_Maria-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Maria Ruzaykina (Russia): <i>Epic</i></td></tr>
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Karol Wilczynska selected to show a cave painting design on the upper cover of <em>The Boy and the Taniwha</em>. The painting, of wheel-like and circular forms evoking Taniwha, the unseen being, stands out because of the blocks of contrasting color with which Wilczynska framed it.<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-rW2vAEY9Pdk/WiseMUU006I/AAAAAAAAH8c/TDt6dIAVQVEdP4nXXLLvjSUCDNuDT67zgCLcBGAs/s1600/Wilczynska_Karol-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="424" data-original-width="900" height="187" src="https://3.bp.blogspot.com/-rW2vAEY9Pdk/WiseMUU006I/AAAAAAAAH8c/TDt6dIAVQVEdP4nXXLLvjSUCDNuDT67zgCLcBGAs/s400/Wilczynska_Karol-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Karol Wilczynska (New Zealand): <i>The Boy and the Taniwha</i></td></tr>
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The human heroes show-up in the cover designs, both in figurative examples as well as in subjects picked to represent them. Given the theme of this exhibition, not surprisingly, there are a plenty of lovely samples to touch upon; three such books are looked at here. Patricia Richmond took the opportunity to showcase her tooling skills by decorating her <em>Folk Tales and Fairy Tales from India</em> with nicely rendered images of people. The variety of tools used together with the abundance of gold add intensity to the visually complex cover.<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-VslB_UxvOpw/WiseHA4QhqI/AAAAAAAAH8Y/ox9BhPSdFuE_rQ7VuVSPD498gFonNGFgwCLcBGAs/s1600/Richmond_Pamela-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="703" data-original-width="900" height="311" src="https://4.bp.blogspot.com/-VslB_UxvOpw/WiseHA4QhqI/AAAAAAAAH8Y/ox9BhPSdFuE_rQ7VuVSPD498gFonNGFgwCLcBGAs/s400/Richmond_Pamela-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: start;">Patricia Richmond (United Kingdom): <i>Folk Tales and Fairy Tales from India</i></td></tr>
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Jamie Kamph employed hunting motifs to represent the actions of humans in the book <em>Sir Gawain and the Green Knight</em>. The black silhouette hound and boar shaped onlays laid in a diagonal line balance out the red axe and holly sprig onlays. The binder cunningly avoided the use of the color green to stand for the mysterious knight.<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-hpCxEo67_sQ/Wisd_ZmWitI/AAAAAAAAH8U/MsNtQxebousJxj3bif67BcexoHgDJkbtgCLcBGAs/s1600/Kamph_Jamie-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="670" data-original-width="900" height="297" src="https://3.bp.blogspot.com/-hpCxEo67_sQ/Wisd_ZmWitI/AAAAAAAAH8U/MsNtQxebousJxj3bif67BcexoHgDJkbtgCLcBGAs/s400/Kamph_Jamie-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jamie Kamph (USA): <i>Sir Gawain and the Green Knight</i></td></tr>
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Ido Agassi focused on the chainmail traditionally worn by knights of old to embellish the cover of <em>Don Quixote Visiting a Printing Shop</em>, reminding viewers of Quixote’s vivid conviction to revive chivalry. Tooling a circle more than 12,000 times on the cover mirrors Quixote’s multiple efforts in attempting to achieve his goal; heroic efforts on both the part of the binder and the protagonist!<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-ZGEzLwiNVFQ/Wisd7PeJCKI/AAAAAAAAH8Q/zSEcs4Hqg5wi3Rk49n0JT79S5R5kP_Y9wCLcBGAs/s1600/Agassi_Ido-sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="745" data-original-width="900" height="330" src="https://4.bp.blogspot.com/-ZGEzLwiNVFQ/Wisd7PeJCKI/AAAAAAAAH8Q/zSEcs4Hqg5wi3Rk49n0JT79S5R5kP_Y9wCLcBGAs/s400/Agassi_Ido-sm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ido Agassi (Israel): <i>Don Quixote Visiting a Printing Shop</i></td></tr>
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<em>Heroic Works, Designers Bookbinders International Competition 2017</em> catalogue provides a lasting record of the travelling exhibition by describing the venues, showing all the books entered in the competition, and by giving a contact list of the international group of bookbinders associated with their organization, highlighted by country. The foreword, preface, and introduction offer valuable background information and set the tone for the illustrations that follow. As Lori Sauer points out in her introduction, there remains a universal fascination with fine bindings, and people are collaborating on an international scale to preserve and foster the craft of bookbinding. Exhibitions, coupled with catalogues such as this, accentuate the effort exerted by groups like Designer Bookbinders, who heroically take on the herculean tasks of setting standards and acting as role models for the next generation of fine binders.<br />
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Barbara Adams Hebard was trained in bookbinding at the North Bennet Street School. She was Book Conservator at the Boston Athenaeum for 18 ½ years and became the Conservator of the John J. Burns Library at Boston College in 2009. Ms. Hebard writes book related articles and book reviews, gives talks and presentations, exhibits her bookbindings nationally and internationally, and teaches book history classes. She is a Fellow of IIC, a Professional Associate of AIC, a board member of the New England Conservation Association, and an Overseer of the North Bennet Street School.<br />
<br />Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-52032084868087495032017-04-22T15:08:00.003-04:002017-04-22T15:10:05.450-04:00più da vicino (Closer) by Luigi CastiglioniCastiglioni, Luigi.<i> più da vicino.</i> Rimini, Italie: Relié par Legatoria Anonima, 2014. 76 pp. Photographs by Alessandro Costa. €100 + s/h. For more information: <a href="http://www.luigicastiglioni.it/">www.luigicastiglioni.it</a> and <a href="mailto:info@luigicastiglioni.it">info@luigicastiglioni.it</a>.<br />
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Reviewed by Barbara Adams Hebard<br />
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“Who could ever harbour doubts about bookbinding being a major art form once one discovers the art of Luigi Castiglioni?” asks French bookbinder, Morina Mongin, in the preface to this catalog showcasing the work of Luigi Castiglioni. When you see the books, gorgeously photographed by Alessandro Costa, you will immediately respond to Ms. Mongin’s question with an emphatic “No one.” The catalog, with introductory material shown in black and white, acquaints the reader with Castiglioni and his bindery and then, with a glowing burst of color, displays the stunning books made by him.<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-9J-10tzHb64/WPuluU3RbKI/AAAAAAAAHWo/5a1bG_x9hvI5p_Q3nnD1z9eQ8lJmddlxgCLcB/s1600/Luigi%2BCastiglioni.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://3.bp.blogspot.com/-9J-10tzHb64/WPuluU3RbKI/AAAAAAAAHWo/5a1bG_x9hvI5p_Q3nnD1z9eQ8lJmddlxgCLcB/s400/Luigi%2BCastiglioni.jpg" width="302" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Luigi Castiglioni</td></tr>
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A first glance through the catalog importantly reveals that Castiglioni has mastered the art of bookbinding. The bindings, rendered with an enviable precision and control of technique, leave no doubts regarding his skill as a binder. The artistic use of leather onlays and inlays and the tooling in his designs is enhanced by the sheer dexterity with which they were executed. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-Qgt9KgZFOjs/WPunsTr0cYI/AAAAAAAAHW0/cI8OFLkoMCgia_ZE7yO_q-byPRXE6EhjgCLcB/s1600/Luigi%2BCastiglioni%2Bdetail%2B1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://2.bp.blogspot.com/-Qgt9KgZFOjs/WPunsTr0cYI/AAAAAAAAHW0/cI8OFLkoMCgia_ZE7yO_q-byPRXE6EhjgCLcB/s400/Luigi%2BCastiglioni%2Bdetail%2B1.jpg" width="370" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail, onlaid, inlaid, and tooled cover</td></tr>
</tbody></table>
<br />
The textured and color-toned leather seen on the pictorial-style covers has a unique painterly appearance, a result of a printing and stamping process developed by Castiglioni. The colors are more subtle and variegated than can usually be found in leather, giving a three-dimensional quality to the surface of the book covers. The texture adds an interest, absorbing and reflecting the light in a way that deepens the form of the illustration. Those books with covers depicting mountains, orchards, or seascapes are a pleasure to look at because of this rich detail.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-FK0HXbyWVck/WPun5XZyAhI/AAAAAAAAHW4/TO2WiJXn6rgBah2mTq9ak6cAWVlBDcmiwCLcB/s1600/Luigi%2BCastiglioni%2Bdetail%2B2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://4.bp.blogspot.com/-FK0HXbyWVck/WPun5XZyAhI/AAAAAAAAHW4/TO2WiJXn6rgBah2mTq9ak6cAWVlBDcmiwCLcB/s320/Luigi%2BCastiglioni%2Bdetail%2B2.jpg" width="296" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail, pictorial-style cover</td></tr>
</tbody></table>
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The decorative gauffering, featured in the catalog on the heads of some text blocks, beautifully produces a modern appearance while paying tribute to historic patterns of the past. Here Castiglioni uses elements that evoke Rococo, Art Deco, Art Nouveau, and Islamic design, all the while manifesting his own creative style. These patterns also draw the eye to the endbands, a playful motif in Castiglioni’s book art. The asymmetrical color configuration seen on some of his endbands is at odds with the traditionally sewn endband, yet is clearly an intentional component in his vision of the book’s composition. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Pf8EJJGUXrg/WPuoAhowchI/AAAAAAAAHW8/YvPG-Xi1WAsWkVm1xhjaG1v-KsG6bSUcgCLcB/s1600/Luigi%2BCastiglioni%2Bgauffering.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://1.bp.blogspot.com/-Pf8EJJGUXrg/WPuoAhowchI/AAAAAAAAHW8/YvPG-Xi1WAsWkVm1xhjaG1v-KsG6bSUcgCLcB/s400/Luigi%2BCastiglioni%2Bgauffering.jpg" width="370" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gauffered head with asymmetrical colored endband</td></tr>
</tbody></table>
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Luigi Castiglioni’s signature also is an integrated part of the overall book design. The three bold, unabashed examples seen in the catalog rightly declare pride in the fine work that he has accomplished while forming a complementary ingredient to the volumes. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-nMhKx0QmWwk/WPuoLmXstII/AAAAAAAAHXA/hRDafQjjCf4kp6_Vog88kAoiF2eFvj3jgCLcB/s1600/Luigi%2BCastiglioni%2Bsignature.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://2.bp.blogspot.com/-nMhKx0QmWwk/WPuoLmXstII/AAAAAAAAHXA/hRDafQjjCf4kp6_Vog88kAoiF2eFvj3jgCLcB/s400/Luigi%2BCastiglioni%2Bsignature.png" width="372" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Castiglioni signature</td></tr>
</tbody></table>
<br />
The catalog is wonderfully formatted to give the reader not only an introduction to the bookbinder, but also to lay out the details of his design sensitivity and to exhibit his technical skill. Other bookbinders could use this catalog as an inspirational resource for their own work, in addition to viewing it as a stellar example of how to promote design bookbindings to potential collectors.<br />
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<br />
Barbara Adams Hebard was trained in bookbinding at the North Bennet Street School. She was Book Conservator at the Boston Athenaeum for 18½ years and became the Conservator of the John J. Burns Library at Boston College in 2009. Ms. Hebard writes book related articles and book reviews, gives talks and presentations, exhibits her bookbindings nationally and internationally, and teaches book history classes. She is a Fellow of IIC, a Professional Associate of AIC, Board member of the New England Conservation Association, and an Overseer of the North Bennet Street School.Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-244662688659082442016-12-17T16:12:00.001-05:002016-12-17T16:12:37.115-05:00Contemporary Paper Bindings - A Guide to Bookbinding Techniques, Tools, and MaterialsHanmer, Karen. <i><a href="http://www.karenhanmer.com/gallery/piece.php?p=PaperCase_inst">Contemporary Paper Bindings: A Guide to Bookbinding Techniques, Tools, and Materials</a>. </i>Glenview, IL: Karen Hanmer Book Arts, 2016. 130 pages, 11 x 8.5". $55 + s/h from <a href="http://www.lulu.com/shop/karen-hanmer/contemporary-paper-bindings/paperback/product-22848409.html">Lulu</a>.<br />
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Reviewed by Abigail Bainbridge<br />
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I’d been watching Karen Hanmer post images online for some time: a square carefully lined up to mark sewing stations on a spine, each step of tying a weaver’s knot, folding paper for yapp edges. When she eventually started posting images of a book cover, and then links to the self-published book, I realized what they were for. <i>Contemporary Paper Bindings: A Guide to Bookbinding Techniques, Tools, and Materials</i> (self-published through Lulu) goes through bookbinding fundamentals before giving step-by-step instructions for ten paper case bindings. Photographs and occasional diagrams throughout the book illustrate the text. The cover’s white-on-green grid references the ubiquitous green cutting mat.<br />
<br />
The first sections (“Parts of a Book,” “Studio Essentials,” “Sewing Fundamentals”) explain everything to the novice, so that someone with enough motivation and hand skills but no experience at all could understand the basics. In fact, although the introduction bills the book as appropriate for all range of experiences, I’d say that it’s mainly aimed at this inexperienced bookbinder given the vocabulary and how much of it focuses on concepts like the names of parts of the book, how to use tools and set up a work station, and so on. There are some nice tips here, like flattening a thread with a folder to make it easier to pierce when locking the thread onto a needle, or the use of a thick catalogue as a makeshift support when piercing sewing stations in gatherings.<br />
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<br />
Instructions for the ten bindings follow, beginning about halfway through the book. A sentence or two of introduction and a few finished photos provide context that I wish was a little more detailed in terms of history and use. It would be nice to have more images here that show the full character of each binding, although some of the in-progress images in the instructions help construct a picture of what the book would look like. Instructions for the binding follow, with step-by-step text and photos to guide the binder through making the book; I would imagine this would be really helpful particularly to beginners and easier to understand in many cases than diagrams.<br />
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<br />
The structures themselves are mainly based on the idea of a multi-section textblock with limp covers made of heavyweight handmade paper, although there are variations such as paper over very thin boards, or thin paper wrappers around a thin volume. Some are more appropriate for decorative or artists’ books, while others could be useful as conservation structures. <br />
<br />
The book would appear to be drawn from a compilation of workshop handouts, expanded and fleshed out to form a coherent and cohesive text. With this context the book makes more sense (the US letter paper size, Word-style formatting, credits on the bottom of every page) and I have to say, as class notes, they’re the most amazing I’ve ever seen. Assuming it to be a standard bookbinding manual written and designed as a complete book, however, might lead to some confusion, as it misses some of the polish one might expect in editing and photo quality—generally they’re a little dark and low on contrast, and there are typographical errors throughout. Long lines of text the entire width of the page are difficult to follow in general but particular in a scenario like this and could have been broken up into columns or otherwise made more easy on the eye. In terms of content, I think it’s great; my one quibble is with the vocabulary, which I wish followed a standard lexicon such as <a href="http://cool.conservation-us.org/don/don.html"><i>A Dictionary of Descriptive Terminology</i></a> (Etherington & Roberts) or Ligatus’ <a href="http://www.ligatus.org.uk/lob/"><i>Language of Bookbindings</i></a>, particularly if beginners will use the book. Otherwise I find it a useful resource and would recommend it to my students.<br />
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<hr align="center" br="" width="50%" />
<br />
Abigail Bainbridge is a book & paper conservator at Bainbridge Conservation in London. She is the conservation science lecturer for the MA Conservation program at Camberwell College of Arts and is Associate Tutor (Books) at West Dean College. She also teaches short courses at the London Center for Book Arts and Women's Studio Workshop (US). Abigail is a member of IADA and the treasurer of the Icon Book & Paper Group. She can be found online at <a href="http://www.bainbridgeconservation.com/">http://www.bainbridgeconservation.com</a>.Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-54677811099146170782015-11-23T10:26:00.000-05:002016-12-17T13:21:36.005-05:00A Bookbinder’s MiscellanyMiddleton, Bernard. <i>A Bookbinder’s Miscellany</i>. Alan Isaac Rare Books: Oxford, England, 2015. Octavo, 114 pp, 225 x 158mm, illustrated, colour plates and line drawings by the author, blue cloth, gilt. Edition of 500. Essays on Fine Binding, with an Introduction by Sam Ellenport. £27 + £9 s/h from <a href="http://aibooks.co.uk/product/a-bookbinders-miscellany/">Alan Isaac Rare Books</a>. <br />
<br />
Reviewed by Abigail Bainbridge<br />
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When <i>A Bookbinder’s Miscellany</i> by Bernard Middleton (Alan Isaac Rare Books: Oxford, England, 2015) came in the mail I was surprised to see that inside the little limited-edition blue cloth binding was a selection of articles that Middleton wrote between 1951 and 1976. I had assumed the “miscellany” in the title referred to a collection of recent reflections on his long and distinguished career as a bookbinder rather than a collection of articles mostly written in his mid-20s, just at the beginning.<br />
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One or two were familiar to me but for the most part these articles were new, and the overriding impression in reading the book is that of listening to a conversation that started without you. The themes are familiar—amateur vs. trade binders, English vs. French styles, the decline of skills and loss of the big bookbinding firms, worry over the future of the craft. But it’s quite interesting to hear them as they happened in the moment rather than, as I had assumed, in the form of present-day recollections. There’s no editing for hindsight nor, much to my delight, the youthful bravado and brashness of young Bernard compared to the unassuming politeness of present-day Bernard. I started writing down passages that made me laugh (from the page of the first article, on the subject of a badly-bound book: “If I had been so unwise as to exert myself in opening the book there is no doubt that I should have done it (or myself!) an injury…”) and in the end stopped because I was virtually copying down the whole book.<br />
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As I worked my way through the articles, fully intending to skim read but ending up lingering on each one, I kept an eye on the dates given at the beginning for when the article was first published. We were on 1951 for so long that I eventually went back to count up and saw that there were seven published that year – in <i>Paper & Print and British Colonial Printer</i> – and the pace doesn’t seem to slow in 1952; presumably there were others that didn’t make the cut for the book. Bernard was 27 then, and though they’re not generally very lengthy articles, one has the impression of a prolific early career in writing as well as bookbinding that set the stage for his later books, <a href="http://www.oakknoll.com/pages/books/75328/bernard-c-middleton/restoration-of-leather-bindings-the"><i>The Restoration of Leather Bindings</i></a> (American Library Association: 1972), <a href="http://www.oakknoll.com/pages/books/44862/bernard-c-middleton/history-of-english-craft-bookbinding-technique-a"><i>A History of English Craft Bookbinding Technique</i></a> (Hafner: 1963), and <a href="http://www.oakknoll.com/pages/books/58340/bernard-c-middleton/recollections-a-life-in-bookbinding"><i>Recollections: My Life in Bookbinding</i></a> (Bird & Bull Press: 1995).<br />
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An introduction by Middleton and Alan Isaac gives an overview of the profession and the process of bookbinding, illustrated with a few pages of color photos taken by Isaac that do help illustrate the points despite sometimes unhelpful angles (eg. from the side when trying to show an unevenly rounded spine, so that the unevenness is not very apparent) and distracting backgrounds. The introduction was a helpful orientation to someone who hasn’t trained as a trade binder or has limited experience, although one would probably need to have a certain level of experience to get much out of this book as a base level of knowledge on the part of the reader is assumed. Some interesting changes in perspective are visible here; when describing squares 2015 Middleton indicates that “Taste has historically dictated the dimensions of the squares… they should be proportionate, neither excessively large or mincingly small,” (5) though 1954 Middleton cautions that “Small square are neat and impart an air of refinement, whereas large ones give the binding a heavy ledger-like appearance” (71).<br />
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The articles that follow are in no particular subject order but one can nevertheless group them into a few categories. There are, of course, notes on technique: “The Supported French Groove,” “The Art of Covering with Leather,” “Notes on the Hand Sewing of Books,” “Facsimile Printing.” These are practical but still filled with notes that help explain why things might be done a certain way, or that give context to the style of the times, often with a nod towards how things used to be done either in terms of fashion or to lament a loss of skill or market for such objects. There are quite a few that focus on the differences between binding in England and elsewhere: “Notes on Craft Bookbinding in Paris,” “Two Bookbinding Exhibitions: Abstract Motif in Irish Work,” “Book Review: American Bindings of the Finest Quality.” In these, and in parts of other articles, Middleton studiously compares technique, aesthetic, and practice, often to comedic effect as in this description of a French binder using their typical paring knife rather than a spokeshave to reduce a whole skin, “The girl I watched … was working on it when I arrived and was still prodding away at it when I left the bindery 20 minutes later. … [The spokeshave] has come into general use in England only during the last 30 years, or so, and there are still a few members of the old school who prefer French knives and look capable of slicing human skin if it is suggested that they are out-dated” (49).<br />
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In “Controversial Thoughts on the Decoration of Fine Binding” as well as throughout other articles, Middleton argues for book design to follow all other household objects in becoming sleek, smooth, and modern. I was interested to see him advocate for a smooth spine, because raised bands lead one to decorate in the old-fashioned styles. There is much lamenting throughout that those with the money to pay for fine bindings tend to be older, thus (understandably, he says) tend towards old-fashioned styles, and this combined with poor education in design leads to books made with little imagination. I would have quite liked to see images of his bindings from the time, compared to those he does not prefer, and I wonder what he thinks now about the ideal style for a binding.<br />
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Other articles give portraits of great names in bookbinding, such as Sydney Cockerell, Thomas Harrison, Roger Powell, and Arthur Johnson: “Fine Binding: A Craft and its Craftsmen,” and “He Was a Good Man and a Friend to All (Thomas Harrison)”. One name that appears quite a few times throughout with a lot of respect is William Matthews, who I knew only as the “Mr Matthews” who taught Maureen Duke, who in turn taught me. In the way that when I now teach, my students hear Maureen’s familiar refrains (“Give it a bit of lick!”), I heard Mr. Matthews’ through her, like stories of my parents’ grandparents that I never knew. An inevitable positive aspect to working in such a small field is the persistence of ghosts, the passing of not only knowledge from generation to generation, but of people.<br />
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The best way to experience this book must be to sit with it and Bernard at the same time, so that after every other sentence one could look up and pepper him with questions. One has the feeling, especially in the concluding piece written for the book by Bernard, that there are still so many stories there wasn’t room to print.<br />
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<br />
Abigail Bainbridge is a book & paper conservator. She is the conservation
science lecturer for the MA in book & paper conservation
program at Camberwell College of Arts (London) and is Associate Tutor in
the book conservation department at West Dean College. She is also
occasional short course tutor at the London Center for Book Arts and
Women's Studio Workshop (US). Abigail is a member of ICON and the
treasurer of its Book & Paper Group. She can be found online at <a href="http://www.bainbridgeconservation.com/">http://www.bainbridgeconservation.com</a>.Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-60376897185737969202015-11-17T18:19:00.002-05:002015-11-18T07:45:41.050-05:00Bind-O-Rama 2015 - Celebrating the Art of the Blook<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-_9KTFUav8CQ/Vku1ZYGBFkI/AAAAAAAAGV8/F7U_Knu2Ry8/s1600/krause-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://1.bp.blogspot.com/-_9KTFUav8CQ/Vku1ZYGBFkI/AAAAAAAAGV8/F7U_Knu2Ry8/s400/krause-1.jpg" width="237" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Hanging Out</i> by Dorothy Krause, Ft. Lauderdale, FL</td></tr>
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<br />
From the Introduction by Mindell Dubansky<br />
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"... The thirteen entries in the blook-themed Bind-O-Rama are a diverse group of objects inspired by personal stories, real and imagined texts and historic book objects. While some are closely related to known book objects, others take a more abstract approach, reminding me of how artists see a single challenge from many perspectives. Some of the entries are more blookish than others. Barbara Hebard and Jana Pullman’s entries are traditional blooks modeled on the leather-bound rare book boxes made since the nineteenth century to protect precious bindings. Jana’s boxes are empty, awaiting something precious to protect worthy of the their beauty. Barbara’s box has a specific function as a reliquary in honor of St. Anthony, patron saint of bookbinders. Paula Krieg’s <i>Phone Book</i> is modeled on the traditional book safe. Her work carries a strong emotional and social message, as well as performing the traditional roles of protection, containment and secrecy.<br />
<br />
Some of the works have been inspired by traditional multi-functional book objects. Anita Balkun’s blooks are shrine-like pieces reminiscent of cumdachs, medieval book-style reliquaries. Both contain relics and reminiscences of the men she honors in these sculptures. Two works emulate traditional book-style board and card games. Carolyn Leigh’s piece <i>Al-quirq/Checkers and Draughts</i> is an intriguing cross-cultural variation of the classic faux two-volume book-style game board, usually made for playing chess, checkers and backgammon; Charlene Matthews' <i>Traveling Dominos</i> is an elegant version of a traditional book-style card game enclosure and Dorothy Krause’s wearable book <i>Hanging Out</i>, a souvenir of her trip to Rome is reminiscent of many souvenir books, wearable and otherwise..."<br />
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See all the entries at <a href="http://www.philobiblon.com/bindorama15">www.philobiblon.com/bindorama15</a>.Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-61866595705675972202015-11-15T12:13:00.001-05:002016-02-16T08:06:08.423-05:00Society of Bookbinders International Bookbinding Competition 2015<i><i>The Society of Bookbinders International Bookbinding Competition 2015, </i></i>Edited
by Arthur Green and Hannah Brown, Dorchester, UK: printed by Henry
Ling, Ltd.; published by The Society of Bookbinders, 2015. GBP 22.50,
available from the <a href="http://www.societyofbookbinders.com/shop/public/index.html">Society of Bookbinders</a>.<br />
<br />
Reviewed by Barbara Adams Hebard<br />
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In
the age of electronic devices, on-line exhibitions have frequently
become the chosen venue for displays of bookbindings. While I completely
understand the usefulness of this mode – wider audience, less cost,
global curators and exhibitors, possibility of showing large numbers and
multiple views of books, running the exhibit for an extended period of
time, and so forth – I still appreciate seeing images of books in print
form. <a href="http://www.societyofbookbinders.com/events/competition/2015/2015.html"><i><i>The Society of Bookbinders International Bookbinding Competition 2015</i></i></a>
catalogue, printed to accompany a physical exhibit of the same title
which ran from August 20-23, 2015, is a lasting legacy of that show held
at Keele University. The award-winning books could later be seen
through November 5, 2015 at George Bayntun, Fine Bindings and Rare
Books, Bath, and then, in a final venue, at Shepherds, London, November
14, 2015 through January 8, 2016. If you missed the show in August and
will not be travelling to London in the near future, all is not lost;
this catalogue beautifully captured the eighty-five bookbindings in the
exhibit. [Publisher's note: The online version of the catalog linked to above only shows the competition's award winners]<br />
<br />
Since I am a bookbinder, I immediately began
my investigation of the catalogue by poring over the pages containing
the book images. Right off, I was delighted to find that prize-winning
entries in all five entrance categories were shown with good-sized whole
book images and a second, closer view of a detail of the book. At least
one book in each of the entrance categories was given two images as
well. The fact that there were five categories is marvelous, including
fine binding, complete book, case binding, restoration, and historical
binding. The judges must have had a challenging time choosing the
prize-winning entries; the catalogue is filled with fantastic bindings. I
have to say, though, that <a href="http://www.andrewsims.co.uk/">Andrew Sims</a>’s sumptuous Harleian-style
binding in Morocco covering the <i><i>Book of Common Prayer</i></i> stands out as a masterful example of hand-tooling, and so expertly resembles 18<sup>th</sup> century style that it is not surprising as the selection for the <i><i>Fine Cut International Award for Finishing</i></i>. This is the sort of binding that inspires the admiration of fellow bookbinders as well as book collectors.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-o-wf0vnG9m0/VkiyXcollTI/AAAAAAAAGVA/dFF6rspgpsU/s1600/Sims%2BCommon%2BPrayer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="273" src="https://1.bp.blogspot.com/-o-wf0vnG9m0/VkiyXcollTI/AAAAAAAAGVA/dFF6rspgpsU/s400/Sims%2BCommon%2BPrayer.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Book of Common Prayer by Andrew Sims</i></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-G5eOW04bY0U/Vki44F6Ms3I/AAAAAAAAGVg/NMAbz8_ZsHI/s1600/Dierick%2BVisite%2Bau%2Bpetit%2Bmatin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="280" src="https://1.bp.blogspot.com/-G5eOW04bY0U/Vki44F6Ms3I/AAAAAAAAGVg/NMAbz8_ZsHI/s400/Dierick%2BVisite%2Bau%2Bpetit%2Bmatin.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><i>Visite au Petit Matin by Ingela Dierick</i></i></td></tr>
</tbody></table>
<br />
<br />
Sims’s
binding featured a number of floral decorative motifs; several other
books also had floral themes, albeit very different in style. <a href="http://www.ingeladierick.com/">Ingela Dierick</a> created a lovely, delicate bouquet of onlaid leather flowers in a
design that charmingly sweeps from the front board to the back,
suggestive of a guest handing flowers to a hostess, as in the theme of
the book, <i><i>Visite au Petit Matin</i></i>. Abigail Bainbridge’s journal, <a href="http://www.bainbridgeconservation.com/blog/?tag=Herbarium"><i><i>Herbarium</i></i></a>, covered in a vellum binding entrapping pressed flowers and foliage, dramatically evokes lavishly illuminated 15<sup>th</sup> century manuscript leaves or early embroidered bindings.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-mO8z-Jtsdbo/VkiwQFeF6mI/AAAAAAAAGUo/dS2_a9pVXwg/s1600/Bainbridge%2BHerbarium.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://1.bp.blogspot.com/-mO8z-Jtsdbo/VkiwQFeF6mI/AAAAAAAAGUo/dS2_a9pVXwg/s400/Bainbridge%2BHerbarium.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Herbarium by Abigail Bainbridge</i></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-koU5IFkYeKw/Vki2xQxrnnI/AAAAAAAAGVU/DxOgakGy8Dw/s1600/Pan-1a%2B.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="307" src="https://1.bp.blogspot.com/-koU5IFkYeKw/Vki2xQxrnnI/AAAAAAAAGVU/DxOgakGy8Dw/s400/Pan-1a%2B.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Pan by Peter D. Verheyen</i></td></tr>
</tbody></table>
<br />
<br />
Bainbridge
was not the only one who imaginatively used vellum to convey a theme in
deceptively simple-appearing binding style. Peter Verheyen, whom I have
long considered a master of subtle, elegant bindings, has achieved this
with the natural-toned vellum covering <a href="http://www.philobiblon.com/pdvgal/pdvgal.htm#pan"><i>Eight Wood Engravings on a Theme of Pan</i></a>.
The variation of color on the surface of the vellum reveals the
markings of the fur originally attached to that skin, quickly reminding
an observer that Pan, the subject of the engravings, has the
hindquarters, legs, and horns of a goat. Additionally, the use of
snakeskin with a pattern boldly resembling vertebrae on the spine of the
binding, and the placement of the sewing supports, make this a
pleasingly proportioned design. Karen Hanmer, too, exploits the
character of vellum in a limp binding used to encase <a href="http://karenhanmer.com/gallery/piece.php?gallery=newwork&p=Harvey"><i><i>The Anatomical Exercises of Doctor William Harvey: Concerning the Motion of the Heart and Blood</i></i></a>.
While she used only four illustrations from the text to embellish the
cover (arms with accentuated veins), the prominent veining on the vellum
surface completes the message.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-jyewPQItWrk/VkixoaAwwyI/AAAAAAAAGU4/eUlkv6wbbyM/s1600/Hanmer%2BHarvey.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="378" src="https://2.bp.blogspot.com/-jyewPQItWrk/VkixoaAwwyI/AAAAAAAAGU4/eUlkv6wbbyM/s400/Hanmer%2BHarvey.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><i>The Anatomical Exercises of Doctor William Harvey by Karen Hanmer</i></i></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-HC0AqfpNVpM/VkizHD_t-yI/AAAAAAAAGVI/YmX9yF6dkiM/s1600/Riley%2BA%2BMidsommer%2BNights%2BDreame.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="256" src="https://4.bp.blogspot.com/-HC0AqfpNVpM/VkizHD_t-yI/AAAAAAAAGVI/YmX9yF6dkiM/s400/Riley%2BA%2BMidsommer%2BNights%2BDreame.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>A Midsommer Nights Dreame by Dominic Riley</i></td></tr>
</tbody></table>
<br />
<br />
In bright contrast to
the vellum bindings, books in variegated hues are represented in this
catalogue as well. Using black goatskin with multicolor onlays and gold
tooling for the cover of <i><i>A Midsommer Nights Dreame</i></i>, <a href="http://www.designerbookbinders.org.uk/members/fellows/dr.html">Dominic Riley</a> skillfully put together a bookbinding which is both
eye-catching and displays admirable control of technique. The
gold-tooled lines forming the shape of the palace arches introduce depth
to the flat plane of the boards, causing the bright colors of the trees
and banner to appear to hover dreamily over the surface. <a href="http://www.herringbonebindery.com/">Erin Fletcher</a>,
the only North Bennet Street School Bookbinding Program graduate whose
work was in the exhibit, did her school proud with a nicely executed
binding for <i><i>The Nightingale and the Rose</i></i>. An inlaid
scarlet goatskin line visually pierces the book’s spine, and the
embroidered feathers of the bird onlaid to the upper board add dimension
to the cover. <a href="http://www.herringbonebindery.com/blog/2016/02/16/my-hand-the-nightingale-and-the-rose/">You can read about it being bound here</a>.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-2mqnrD1EZmM/Vki7IX3hGzI/AAAAAAAAGVs/PZDgFqyuK30/s1600/Fletcher%2BNightingale%2Band%2Bthe%2BRose.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="257" src="https://4.bp.blogspot.com/-2mqnrD1EZmM/Vki7IX3hGzI/AAAAAAAAGVs/PZDgFqyuK30/s400/Fletcher%2BNightingale%2Band%2Bthe%2BRose.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The <i>Nightingale and the Rose by Erin Fletcher</i></i></td></tr>
</tbody></table>
<br />
One could go on describing other
excellent books, but the truth is, bookbinders need to see the catalogue
for themselves. The bookbindings, made using multiple techniques and
materials, signal that this is not a dying craft and that binders are
still experimenting/experiencing new ways to use their skills and design
arts to create unique books.<br />
<br />
Once I had savored the
books, I returned to the beginning of the catalogue to discover that, in
addition to the beautiful images of books, there are other enjoyable
features to this catalogue. The warm-hearted tone of the introduction
draws the reader in, and the brief history of the society will be useful
to those who are not bookbinders. Listing sponsors up front is a good
move and having the entrance categories spelled out is very helpful. The
images of the tools of the trade tucked in the gutters and margins of
the introductory pages nicely balance out the text. I had a couple of
minor quibbles: the Contents page repeats the case binding
category and the names of the bookbinders in that category, which is
confusing; and the countries of origin of the binders are printed in
faint grey tone—since it was an international exhibit, I thought that
should be emphasized more.<br />
<br />
The Society of Bookbinders
has produced a great catalogue to accompany their 2015 international
bookbinding competition. It will remain a record of that show and those
who enjoy bookbindings or books about bookbinding should consider adding
this volume to their collection.<br />
<br />
<hr align="center" width="50%" />
<br />
Barbara Adams Hebard was trained in bookbinding at the North Bennet Street
School. She was Book Conservator at the Boston Athenaeum for 18 ½ years
and became the Conservator of the John J. Burns Library at Boston
College in 2009. Ms. Hebard writes book related articles and book
reviews, gives talks and presentations, exhibits her bookbindings
nationally and internationally, and teaches book history classes. She is
a Fellow of IIC, a Professional Associate of AIC, and an Overseer of
the North Bennet Street School.Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com2tag:blogger.com,1999:blog-454610721638033401.post-53335210052354152742015-10-17T11:01:00.000-04:002016-05-24T14:10:07.421-04:00Book_Arts-L and Book Arts Web Demographics and UsageEvery once in a while I wonder how many postings and members <a href="http://www.philobiblon.com/book_arts-l.shtml">Book_Arts-L</a> has, and love to look at <a href="http://www.philobiblon.com/">Book Arts Web</a> usage in Google Analytics. It's a sick habit, but someone needs to have it and do it.<br />
<br />
Book_Arts-L was founded in June of 1994 and quickly grew in subscribers and posting activity. The Book Arts Web started about a year later and was also the list "homepage" with links to the archive and the FAQ. With VERY few exceptions the archive(s) hold all postings since 1994, and they continue to be a valued resource. Unfortunately, there are no usage statistics for those.<br />
<br />
So, the past few nights (rather than working on my Ernst Collin bibliography) I downloaded the basic metadata (A word with eight letters) from the Archives (<a href="http://cool.conservation-us.org/byform/mailing-lists/bookarts/">1994-2009</a>) and (<a href="http://listserv.syr.edu/archives/book_arts-l.html">2009-present</a>). These included message subject, poster, date, lines/message (since 2009). Total number of subscribers shot over 1000 quickly, and then grew to the 2400+ we have now with dips and spikes along the way. <br />
<br />
<div style="text-align: center;">
Below some (messy) graphics... As always click to enlarge.</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-NyOlzc_wuDs/ViGHpd1u3JI/AAAAAAAAGMw/PVNTPO7ATg0/s1600/BkArtsTotalPostings.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="222" src="https://3.bp.blogspot.com/-NyOlzc_wuDs/ViGHpd1u3JI/AAAAAAAAGMw/PVNTPO7ATg0/s400/BkArtsTotalPostings.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Since 2010, an overall decline in number of postings to list...</td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-aCcC25TZFu0/ViGH1dMnzXI/AAAAAAAAGL4/McgtngT3MS4/s1600/BkArtsTotalPostingsPerMonthyear.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://4.bp.blogspot.com/-aCcC25TZFu0/ViGH1dMnzXI/AAAAAAAAGL4/McgtngT3MS4/s400/BkArtsTotalPostingsPerMonthyear.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Posting activity varies greatly from month to months with summers and New Years low(er) points...</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-XXvbN8L-ej0/ViJhN5qbqqI/AAAAAAAAGOQ/PDoKC5TCP9U/s1600/BkArtsTotalPostingsPerMonthYear2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://1.bp.blogspot.com/-XXvbN8L-ej0/ViJhN5qbqqI/AAAAAAAAGOQ/PDoKC5TCP9U/s400/BkArtsTotalPostingsPerMonthYear2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here a different way to view same data, very similar patterns month by month, year by year.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-iky93QwJGT0/ViJR9krRxRI/AAAAAAAAGM4/2Z3D3ElKjVw/s1600/BkArtsTotalPostingsPerMonthYearData.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="76" src="https://4.bp.blogspot.com/-iky93QwJGT0/ViJR9krRxRI/AAAAAAAAGM4/2Z3D3ElKjVw/s400/BkArtsTotalPostingsPerMonthYearData.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">And here the data for both of the above...</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-uNV0TD3mfTs/ViGH9jgJkeI/AAAAAAAAGMA/ooXsi4RfKG4/s1600/BkArtsTotalPostingsPerDayYear.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="247" src="https://1.bp.blogspot.com/-uNV0TD3mfTs/ViGH9jgJkeI/AAAAAAAAGMA/ooXsi4RfKG4/s400/BkArtsTotalPostingsPerDayYear.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">We tend to post more messages Monday-Tuesday & Thursday-Friday than on Wednesday and weekends...</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-qa3AEy0FqH4/ViGIF8RgYKI/AAAAAAAAGMI/xVg4YLLznnM/s1600/BkArtsTotalPostingsPerDayMonth.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://4.bp.blogspot.com/-qa3AEy0FqH4/ViGIF8RgYKI/AAAAAAAAGMI/xVg4YLLznnM/s400/BkArtsTotalPostingsPerDayMonth.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wednesdays in March seem busiest, Mondays in December quietest...</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-75jD5Wo1WV8/ViGITFutwxI/AAAAAAAAGMQ/8Ng8OgFzv1c/s1600/BkArtsTop15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="302" src="https://4.bp.blogspot.com/-75jD5Wo1WV8/ViGITFutwxI/AAAAAAAAGMQ/8Ng8OgFzv1c/s400/BkArtsTop15.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The list "hall of fame" (or shame) of top-15 posters. Ignore Peter D. Verheyen, he's the listowner. <br />
Reviewing all subscribers by postings was like a walk down memory lane. Some are still very active, others no longer subscribed (or posting).</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-IGF8anwvtWE/ViGIZhH_yaI/AAAAAAAAGMY/aIlfrDRE1Ik/s1600/BkArtsTop15Names.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="297" src="https://3.bp.blogspot.com/-IGF8anwvtWE/ViGIZhH_yaI/AAAAAAAAGMY/aIlfrDRE1Ik/s320/BkArtsTop15Names.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Names, years active, and total postings. We hit 200 total postings in the list with subscribers #43, 100 with #108, 50 with #268, and 10 with #1270... There are 74521 postings total in the archives.</td>
</tr>
</tbody></table>
<br />
Here some Book_Arts-L demographics from 2004, showing where the 1789 subscribers came from. Important to note in the below charts, a Gmail user in Germany, Australia, ... will show up as being in the US due to the .com... <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-v7IzmvLAK-k/ViJUJCejuCI/AAAAAAAAGNE/rFh3jRFnXwI/s1600/Where%2Bwe%2Bare%2B-%2BSubscriber%2Bdistribution%2B2004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-v7IzmvLAK-k/ViJUJCejuCI/AAAAAAAAGNE/rFh3jRFnXwI/s320/Where%2Bwe%2Bare%2B-%2BSubscriber%2Bdistribution%2B2004.jpg" width="220" /></a></div>
<br />
<br />
And, here from 2006... with 1922 of us.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-315MfW0Zdo8/ViJUSzCqabI/AAAAAAAAGNM/tPa0ELPJnW0/s1600/Where%2Bwe%2Bare%2B-%2BSubscriber%2Bdistribution%2B2006.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="333" src="https://1.bp.blogspot.com/-315MfW0Zdo8/ViJUSzCqabI/AAAAAAAAGNM/tPa0ELPJnW0/s400/Where%2Bwe%2Bare%2B-%2BSubscriber%2Bdistribution%2B2006.jpg" width="400" /></a></div>
<br />
And here from today (10/17/15), 2451 subscribers from 22 countries. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-hBSku3L-mBg/ViJVCO-ndNI/AAAAAAAAGNY/6OT6dVL0pUM/s1600/Where%2Bwe%2Bare%2B-%2BSubscriber%2Bdistribution%2B2015.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-hBSku3L-mBg/ViJVCO-ndNI/AAAAAAAAGNY/6OT6dVL0pUM/s320/Where%2Bwe%2Bare%2B-%2BSubscriber%2Bdistribution%2B2015.jpg" width="286" /></a></div>
<br />
So, we have less posting from an increasing number of subscribers... Postings are often substantive though, certainly more so than on Web 2.0 "social media," we're still Web 1.0 here. <br />
<br />
Google Analytics captures usage of the Book Arts Web since 2007.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-f4wilqPR6-A/ViGIgLijPcI/AAAAAAAAGMg/3b147sRvqi8/s1600/BkArtsTotalPostings%2528ListVsWeb%2529.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="237" src="https://2.bp.blogspot.com/-f4wilqPR6-A/ViGIgLijPcI/AAAAAAAAGMg/3b147sRvqi8/s400/BkArtsTotalPostings%2528ListVsWeb%2529.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I started using
Google Analytics in December 2006. Just as the number of overall number
of listserv postings is declining, so is the amount of traffic to the website...</td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-czcLDSmiIac/ViJoeb4Yr7I/AAAAAAAAGOg/ROt22RdgOOo/s1600/BkArtsWebGoogleTotal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="220" src="https://1.bp.blogspot.com/-czcLDSmiIac/ViJoeb4Yr7I/AAAAAAAAGOg/ROt22RdgOOo/s400/BkArtsWebGoogleTotal.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A little spikier than the graph above where Book_Arts-L postings are overlaid as I am also showing monthly data...</td></tr>
</tbody></table>
<br />
<br />
Here the demographics by top 10 countries for the Book Arts Web.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-OE2OHVoKWXk/ViJZmRZyCPI/AAAAAAAAGNs/bhEQgtNy5Kg/s1600/BkArtsWeb2007-15-Country.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="171" src="https://4.bp.blogspot.com/-OE2OHVoKWXk/ViJZmRZyCPI/AAAAAAAAGNs/bhEQgtNy5Kg/s400/BkArtsWeb2007-15-Country.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(2007 - 10/1/2015)<br />
Click to enlarge</td></tr>
</tbody></table>
<br />
<br />
Below, some statistics for the Book Arts Web. Though no longer in publication, <a href="http://www.philobiblon.com/bonefolder/index.htm"><i>The Bonefolder</i></a> (2004-2012) continues to be downloaded at a very high rate with regular citations of articles in other publications whether print, blogs, email postings, twitter, tumblr, ...<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-7z8v4sUaeCU/ViJYxeN8WlI/AAAAAAAAGNk/vv1ytCFFjDs/s1600/BkArtsWeb2007-15-Top25Pages.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://1.bp.blogspot.com/-7z8v4sUaeCU/ViJYxeN8WlI/AAAAAAAAGNk/vv1ytCFFjDs/s400/BkArtsWeb2007-15-Top25Pages.jpg" width="345" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Top 25 pages overall (2007 - 10/1/2015)<br />
Click to enlarge</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-pSk3mQ2rbFU/VjESZ-ZosBI/AAAAAAAAGQo/B6wTTAbVuQ0/s1600/BookArtsWeb-Social07-15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="283" src="https://1.bp.blogspot.com/-pSk3mQ2rbFU/VjESZ-ZosBI/AAAAAAAAGQo/B6wTTAbVuQ0/s400/BookArtsWeb-Social07-15.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Top 25 social media referrals (2007 - 10/1/2015)<br />
Click to enlarge</td></tr>
</tbody></table>
<br />
And finally some pictures of the tech people use to access the Book Arts Web, and presumably our Book_Arts-L subscribers as well.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-EzCpiQ34JpU/ViJZ6dmfF_I/AAAAAAAAGN4/g43WVX9ni-w/s1600/BkArtsWeb2007-15-OS.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="172" src="https://3.bp.blogspot.com/-EzCpiQ34JpU/ViJZ6dmfF_I/AAAAAAAAGN4/g43WVX9ni-w/s400/BkArtsWeb2007-15-OS.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Operating system (2007 - 10/1/2015)<br />
Click to enlarge</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-brZQC7x1uUc/ViJZ6UMYQEI/AAAAAAAAGN8/nmIdJUn9_Po/s1600/BkArtsWeb2007-15-Browser.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="177" src="https://2.bp.blogspot.com/-brZQC7x1uUc/ViJZ6UMYQEI/AAAAAAAAGN8/nmIdJUn9_Po/s400/BkArtsWeb2007-15-Browser.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Browser (2007 - 10/1/2015)<br />
Click to enlarge</td></tr>
</tbody></table>
<br />
So, despite what we may think about the artsy crowd being largely Mac users, ahem... Also interesting the low number of mobile users. The site does work on a mobile...<br />
<br />
What does all this tell me (us)? That there are more subscribers but less postings to the list, esp since about 2008 when Google Analytics became available. These declines seem also to affect usage of other platforms such as <a href="http://bookbindingforum.com/">Bookbinding</a> (formerly an <a href="https://groups.yahoo.com/neo/groups/bookbinding">active list on Yahoo</a>, now a forum), the <a href="http://www.bookartsforum.com/forum/">Book Arts Forum</a>, various other similar sites. The Guild of Book Workers listserv I started in 1997-8 is also very low volume. I also like to participate on some German sites, and have seen similar declines, an example being <a href="https://de.groups.yahoo.com/neo/groups/buecher_binden">Bücher Binden</a>, a list started by <a href="http://www.papierdesign.de/">Peter Baumgartner</a> who was active here as well, and is the author of several books on binding. Since then we have however also seen an "explosion" of other media such as Facebook, Tumblr, Pinterest, Twitter. So we have more choices in where we find our information.<br />
<br />
Some time in the future, I'll rework my <i><a href="http://www.philobiblon.com/HotType.shtml">Getting us out / Bringing us together</a>:
How listservs and the Web have changed the way in which book artists
work and communicate</i>. I presented this at "Hot
Type in a Cold World," a symposium celebrating the 25th anniversary
of the Silver Buckle Press at the University of Wisconsin, Madison.
November 20, 1998. That was 4 years after the Book_Arts-L started, and 3 after the <a href="http://www.philobiblon.com/idaho/">University of Idaho Bookarts</a>, <a href="http://www.minsky.com/">Richard Minsky</a>, and I/the <a href="http://www.philobiblon.com/bookartsweb-birth.pdf">Book Arts Web</a> went online (<a href="http://www.philobiblon.com/site.shtml">more here</a>).<br />
<br />
The Book Arts Web at the <a href="http://www.waybackmachine.org/">Wayback
Machine</a> of the Internet Archive.
<br />
<ul>
<li>URL #1: no records.</li>
<li>URL #2: <a href="http://web.archive.org/web/*/http://www.dreamscape.com/pdverhey">http://www.dreamscape.com/pdverhey</a></li>
<li>URL #3: <a href="http://web.archive.org/web/*/http://www.philobiblon.com">http://www.philobiblon.com</a></li>
</ul>
Regardless, what we have here is an incredibly robust community that has been sustained over 20 years, having also been very stable in terms of web presence as well. Some URLS have changed, but not as many as one might think.<br />
<br />
Thank you!<br />
<br />
ps: I'd love to find some way to determine a list of subjects discussed based on volume of responses... Anyone? <br />
<br />Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com1tag:blogger.com,1999:blog-454610721638033401.post-89772387873184928822015-08-18T17:24:00.000-04:002015-08-20T09:02:57.884-04:00The Bindings of Trevor JonesJones, Trevor, Angela James and Colin Hamilton (editors). <a href="http://www.oakknoll.com/pages/books/124455/trevor-jones-angela-james-colin-hamilton"><i>The Bindings of Trevor Jones</i></a>. Foss: Duval & Hamilton, 2015. 9.5 x 11 inches. ISBN 9780950135519. 160 pages. Hardcover, dust jacket, $75.00. For orders outside of the Americas, cost is £45+ postage outside of UK. Please contact the publisher, <a href="mailto:duvalandhamilton@gmail.com">duvalandhamilton@gmail.com</a> to order. <br />
<br />
Reviewed by Amy Borezo<br />
<br />
<a href="http://3.bp.blogspot.com/-SzoIASBzuD0/Vcy48Vqk_lI/AAAAAAAAFUg/gXAbKJpsqUc/s1600/TrevorJones.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-SzoIASBzuD0/Vcy48Vqk_lI/AAAAAAAAFUg/gXAbKJpsqUc/s320/TrevorJones.jpg" width="275" /></a>“I consistently design beyond what I know I am capable of doing, and have to discover or invent the means as I go along.” – Trevor Jones (<a href="http://www.societyofbookbinders.com/gallery/tj/tj.html">1931-2012</a>) <br />
<br />
<i>The Bindings of Trevor Jones</i> catalogs over 140 works by this eclectic bookbinder who sought experimentation with materials and a connection with fine art in his designs. In this impressive collection spanning nearly fifty years, his legacy in the history of bookbinding is made more than apparent. As one of the founding members of Designer Bookbinders, he and his colleagues helped revive the art and craft of bookbinding in Britain during the second half of the 20<sup>th</sup> century. The images in the catalog are supplemented by detailed sketches and notes from the binder, as well as articles he wrote in the 1980s and 90s that are as informative and enlightening today as they undoubtedly were then.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-NXIZiQC0IzU/Vc0QoNN2X1I/AAAAAAAAFU0/u6sdK3gdPHA/s1600/TrevorJones-Cat49.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="285" src="http://2.bp.blogspot.com/-NXIZiQC0IzU/Vc0QoNN2X1I/AAAAAAAAFU0/u6sdK3gdPHA/s400/TrevorJones-Cat49.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cat 49, Ivor Bannet, <i>The Amazons</i> </td></tr>
</tbody></table>
<br />
The full color images of the bindings are arranged in chronological order, from Jones' first experiments as a student to the fully formed, complex and expertly executed designs of later years. His early work was influenced by his first binding instructor, Arthur Johnson, who displayed a modern design aesthetic that echoed the fine art of the middle of the 20<sup>th</sup> century. Jones' early bindings, in their asymmetrical compositions, amorphous color onlays and fluid black tooled lines, call to mind the bindings of Johnson and Edgar Mansfield, as well as painters like Miro and Picasso. At that time and in the years to come, Jones was inspired by the work of his peers and teachers rather than the purely decorative or overly restrained bindings of the past.<br />
<br />
This forward looking approach to binding led to a great sense of experimentation. The catalog contains an informative essay on the use of spirit dyes, which is one of the many inventive techniques Jones utilized in his work. The freedom which the use of these dyes gave him was essential to his artistic development and allowed him to incorporate his training as an illustrator into his bindings. Jones often used the cover of a book as a painter would a canvas, filling it completely with pictorial, painterly representations, frequently of the human form. In his design of James Joyce's <i>Pomes Penyeach</i>, the binder made an innovative structural decision based on the need to have a long horizontal surface on which to depict a reclining nude. He doubled the amount of board surface by hinging another board to both the front and back covers. These inner covers are hidden when the book is fully closed, revealing only a portion of the female nude figure on the exterior. He used this cover structure many times throughout his work to increase the surface area on which to construct a design while simultaneously creating a cinematic effect of a long horizontal image fully revealed only through manipulation by a reader/viewer.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-_m0W4zNIwaY/Vc0Q-cw9lkI/AAAAAAAAFU8/5HHoLvEjY_g/s1600/TrevorJones-Cat64.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://3.bp.blogspot.com/-_m0W4zNIwaY/Vc0Q-cw9lkI/AAAAAAAAFU8/5HHoLvEjY_g/s400/TrevorJones-Cat64.jpg" width="311" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cat 64, James Joyce, <i>Pomes Penyeach</i></td></tr>
</tbody></table>
<br />
During the 1970s, many binders responded to new movements in visual art and architecture that exposed the function of an object and incorporated it into its design. During the same time period, the massive flooding of libraries in Italy brought to light many examples of historical binding structures which complimented the new functionalist art movements. Jones took note of these developments and made use of the sewing support as a design element in several of his best bindings. Dark cords and lacings snake across covers showing themselves in unexpected places. In the description for his binding of Edgar Mansfield's <i>11.2.80 On Creation</i> he reveals that he used a method of chance to determine the composition of the cover, lifting the long cords up and letting them drop repeatedly, tracing the results. This method of discovery and openness to process is indicative of much of his work. The design for this same binding continues on the inside of the covers where the laces from the exterior appear again, embedded in the doublures of grey goatskin, having emerged through eyelet holes or wrapped around edges.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-GA_ur9VWrHA/VdSQfuz_uiI/AAAAAAAAFWA/LjbTKr1u_G4/s1600/TrevorJones-Cat80.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://4.bp.blogspot.com/-GA_ur9VWrHA/VdSQfuz_uiI/AAAAAAAAFWA/LjbTKr1u_G4/s400/TrevorJones-Cat80.jpg" width="310" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cat. 80, Edgar Mansfield, <i>11.2.80 On Creation</i></td></tr>
</tbody></table>
<br />
One of Jones' most ambitious projects is his first binding of George Orwell's <i>Nineteen Eighty-Four</i>. The structure of the book and its casing is artfully complex and captures the ominous mood of the text. The binder uses old leather gloves to create onlays in dark browns and reds, cutting and spreading single gloves out to construct seemingly monstrous hands that appear to be reaching, flailing, or grasping. Three sewing tapes are exposed on the spine and ten dark leather thongs trail across the front and back covers, gathering at each corner and spilling over the covers as loose ties. The closed book sits in the chest area of a large straight-jacketed, simplified human form sewn from canvas in muted colors. The human form wraps around the book, snapping closed, revealing the roughly stenciled title of the book. The whole is contained in a hinged, wooden box. Every detail of this work, including the custom paste paper flyleaves, evokes a powerful and haunting image of the human soul, psychologically bound and oppressed.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8sThv6AG8zdURm0jwGt7g3e7iMGp1i6GbAbxSLjAjBdC5PSVDwjpR2wOONWBoAH81QOK6kiCo03tUVsHp7PFENXQVA1ENe4kL3PP1WNsfQ7psWRZ_b6ExIaSEJXZYXCJZtddMD1xUT3A/s1600/TrevorJones-Cat75a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8sThv6AG8zdURm0jwGt7g3e7iMGp1i6GbAbxSLjAjBdC5PSVDwjpR2wOONWBoAH81QOK6kiCo03tUVsHp7PFENXQVA1ENe4kL3PP1WNsfQ7psWRZ_b6ExIaSEJXZYXCJZtddMD1xUT3A/s640/TrevorJones-Cat75a.jpg" width="312" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cat. 75, George Orwell, <i>Nineteen Eighty-Four</i></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-ybMZ8WRCxvY/Vc0R4cLOMOI/AAAAAAAAFVc/5b0M-Tn4wwc/s1600/TrevorJones-Cat75b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="301" src="http://3.bp.blogspot.com/-ybMZ8WRCxvY/Vc0R4cLOMOI/AAAAAAAAFVc/5b0M-Tn4wwc/s400/TrevorJones-Cat75b.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cat. 75, George Orwell, <i>Nineteen Eighty-Four</i></td></tr>
</tbody></table>
<br />
In <i>Nineteen Eighty-Four</i> and other work, Jones incorporated found materials in his designs, such as leather gloves, scraps of clothing, fur, handbags, wallets, and lacings. The found materials seem to share a connection to the human body, with the marks of time and use celebrated and highlighted by the binder. Jones also integrated into his designs the raw edges of the animal skins he worked with and would reinforce the grain of the leather and purposefully pucker and manipulate the skins, creating texture and dimension.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-7vLo18HG9JQ/Vc0RibF1tZI/AAAAAAAAFVM/0NsfyYTzOCs/s1600/TrevorJones-Cat118a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://1.bp.blogspot.com/-7vLo18HG9JQ/Vc0RibF1tZI/AAAAAAAAFVM/0NsfyYTzOCs/s400/TrevorJones-Cat118a.jpg" width="310" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cat.118, Arthur Miller, <i>Death of a Salesman</i></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-kjdI2OtF1bY/Vc0RjPO44aI/AAAAAAAAFVU/0HPdNM8eVLg/s1600/TrevorJones-Cat118b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-kjdI2OtF1bY/Vc0RjPO44aI/AAAAAAAAFVU/0HPdNM8eVLg/s400/TrevorJones-Cat118b.jpg" width="315" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cat.118, Arthur Miller, <i>Death of a Salesman</i></td></tr>
</tbody></table>
<br />
Jones had a deep connection with much of the work he chose to bind. He states in one of the catalog's essays that “[E]ven when I am binding a book for someone else I am at the time making it for myself.” The texts he worked with have a distinctly modern character, including those by James Joyce (of which there are many examples), George Mackay Brown, George Orwell, Arthur Miller, and David Jones. For the binding of Arthur Miller's, <i>Death of a Salesman</i>, Jones used onlays, inlays, cracquelle work, and stenciled spirit dyes to create two gripping, large scale self-portraits on front and back covers. The perspective and scale of the faces allow the viewer to connect with the deeply flawed everyman at the center of Miller's story. The tone and color of the portraits is dark and beautiful, ranging from a warm honeyed brown, like an aged photograph, where the cracks and fissures of the cracquelle work are most apparent, to the deep complimentary blue and purple-blacks. These are not just book covers, they are compelling paintings as well.<br />
<br />
Trevor Jones created deeply personal work, unique in the history of bookbinding. The craftsmanship and art-making on display in this collection is informative and inspiring for anyone interested in the art of design binding, while the essays and historical context for the work advance and enrich the field of bookbinding on an international scale.<br />
<br />
An excerpt from the introduction can be read on <a href="http://www.oakknoll.com/resources/bookexcerpts/124455.pdf">Oak Knoll Books</a>' site. <br />
<br />
<hr align="center" width="50%" />
<br />
Amy Borezo Amy is an artist, bookbinder, and the proprietor of <a href="http://www.shelterbookworks.com/">Shelter Bookworks</a>, a bookbinding studio in Western Massachusetts.Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-47515024454583244892015-08-08T09:00:00.001-04:002015-11-01T16:00:58.841-05:00BLOOKS: Bind-O-Rama 2015 Entry Form Now Online<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-AvxqU60cTbw/VcS6BZ6QYzI/AAAAAAAAFUI/1d9qGVzlnhM/s1600/blooks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="85" src="http://4.bp.blogspot.com/-AvxqU60cTbw/VcS6BZ6QYzI/AAAAAAAAFUI/1d9qGVzlnhM/s400/blooks.jpg" width="400" /></a></div>
<br />
<h1 align="center">
<span style="color: #990000;">Deadline Passed<br />Online Exhibit Coming Soon</span></h1>
<br />
The 2015 Bind-O-Rama is devoted to the subject of BLOOKS, objects made in the emulation of books. This is an opportunity for blook artists of ALL creeds (binders, printer, papermakers, decorated paper makers, …) to apply your creative energy and bookbinding talents to making a book object that examines and expresses your relationship with the book. Around the world, for hundreds of years, people have been making book-objects that reflect their devotion and respect for books and for each other. There are countless examples; they include bars, cameras, radios, banks, toys, memorials, food tins, desk accessories, book safes and boxes, vases, musical instruments, magic tricks, furniture, jewelry and artworks. Blooks embody the same characteristics as books and many take the form of specific titles and book formats. They signify knowledge, education, taste, power, wealth and more. They have been treasured and passed down through the generations, and many thousands reside in private homes, public and private businesses and in museums and libraries around the world. Blooks have been used to celebrate and memorialize important occasions and personal losses and successes. They serve as reminders of memorable visits to important places, as receptacles to hold valuable and practical objects and are the source of great amusement. Start making your heirloom now and let your imagination run wild!<br />
<br />
If you are interested in participating in the Bind-o-rama but need some inspiration or challenge for an idea, or want to base your design on an historical object, contact <a href="mailto:Mindell.Dubansky@metmuseum.org">Mindell Dubansky</a> or see her blog <a href="http://aboutblooks.blogspot.com/">About Blooks</a><br />
<br />
The exhibition <i>Blooks: The Art of Books That Aren't </i> (book objects from the collection of Mindell Dubansky) will be on view at the <a href="http://www.grolierclub.org/">Grolier Club</a> in New York City from January 28-March 12, 2016. A full-color, 9 x 11 inches, 96 page, paperback catalog will be available. For a limited time, Mindell is taking orders for unbound copies for hand binders. The price is $45 plus shipping, pre-payment is required for books in sheets. If you are interested the exhibition, it's programs, reserving an unbound copy or pre-ordering a bound copy, contact <a href="mailto:Mindell.Dubansky@metmuseum.org">Mindell</a> and visit the <a href="http://www.grolierclub.org/">Grolier Club</a> website later this year.Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-88002650736025870362015-07-28T18:05:00.000-04:002015-07-28T19:49:33.216-04:00Tricks of the Trade, Confessions of a BookbinderJamie Kamph. <i>Tricks of the Trade: Confessions of a Bookbinder</i>.
New Castle, DE: Oak Knoll Press, 2015. 6 x 9 inches. ISBN 9781584563341. 144 pages. <a href="http://www.oakknoll.com/pages/books/122161/jamie-kamph/tricks-of-the-trade-confessions-of-a-bookbinder">Hardcover</a> $39.95, <a href="http://www.oakknoll.com/pages/books/122913/jamie-kamph/tricks-of-the-trade-confessions-of-a-bookbinder">softcover</a> $24.95.<br />
<br />
Reviewed by Karen Hanmer<a href="#karen">*</a> <br />
<br />
<div class="separator" style="clear: both; text-align: left;">
<a href="http://4.bp.blogspot.com/-5JUOQNF8ejw/Vbf2jZkszGI/AAAAAAAAFSU/fSSnSixVDRI/s1600/TRICKS%2BOF%2BTHE%2BTRADE_%2BCONFESSIONS%2BOF%2BA%2BBOOKBINDER%2B_%2BJamie%2BKamph.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-5JUOQNF8ejw/Vbf2jZkszGI/AAAAAAAAFSU/fSSnSixVDRI/s320/TRICKS%2BOF%2BTHE%2BTRADE_%2BCONFESSIONS%2BOF%2BA%2BBOOKBINDER%2B_%2BJamie%2BKamph.jpg" width="212" /></a></div>
<i>Cherish each step along the way and perform it as completely and gracefully as possible</i>.<br />
<br />
Jamie Kamph’s <i>Tricks of the Trade: Confessions of a Bookbinder</i> is part memoir, part how-to, and part a collection of essays on the engineering aspects of binding, all gleaned from this design binder/conservator’s forty years of experience.
<br />
<br />
Kamph clearly and generously shares her process, though this is not intended to be a step-by-step manual, and the book is written with the experienced practitioner in mind. Binding, repair, design, and finishing are all addressed. Well-illustrated with diagrams and in-process photos, plus images of forty of her completed design bindings, the book also serves as a catalog of Kamph’s work.<br />
<br />
An introduction provides Kamph’s philosophy of binding. Her process is one of both prudence and decisiveness: “At each step of a binding or rebinding I evaluate my work and decide if it is good enough to continue.” Throughout the book she echoes a sensible rule-of-thumb to bind by and to live by: “Don’t do anything you can’t undo.” She ends with a reading list of her go-to sources for binding history and technique.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-toh0jnk1xx0/Vbf24VN-WoI/AAAAAAAAFSc/MX7exb7C-Do/s1600/2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="http://1.bp.blogspot.com/-toh0jnk1xx0/Vbf24VN-WoI/AAAAAAAAFSc/MX7exb7C-Do/s400/2.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">M.F.K. Fischer, <i>Deux Cuisines en Provence</i> </td></tr>
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The book proceeds with Kamph’s career transition from publishing to bookbinding after writing an article on hand bookbinding in New York City. Kamph had an ulterior motive in accepting the assignment: a book collector since her college days, she hoped to find a local source for repair of her own collection. Interviews with numerous binders led to an invitation to a one-evening “try-out” class with Deborah Evetts to determine if she had potential as a binder, then weekly lessons with Hope Weil, and finally establishment of her own <a href="http://www.stonehousebindery.com/">Stonehouse Bindery</a>.<br />
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Kamph continued her study independently, offering to examine every binding in nearby Princeton University’s rare book collections, and to report to the curator on bindings of note. The objective of her survey was twofold: research not only historical finishing design but also how various binding methods had withstood centuries of use. Kamph was seeking a structure that would support the designs that have become her trademark: elaborate tooling and onlays on the spine extending across the joints and onto the boards. A tight back spine might not be smooth enough to take gold tooling well, and the flexing from opening could cause the gold to flake off. The opening of a hollow back can exert enough pressure on the joints to cause the boards to detach over time. She found the engineering solution she was seeking in a 16th century Swiss binding: a tight back with a leather spine lining. With further refinements, this is the structure she still uses today.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-aUkVEU9CPz4/Vbf3ICj5jyI/AAAAAAAAFSk/XpDUl5oyDsI/s1600/3.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="http://1.bp.blogspot.com/-aUkVEU9CPz4/Vbf3ICj5jyI/AAAAAAAAFSk/XpDUl5oyDsI/s400/3.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Giorgio Vasari, <i>Lives of the Most Eminent Painters</i>, vol. 1</td></tr>
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Kamph next address her signature design style, illustrated by photographs of her completed bindings, sometimes shown alongside the period works she used for reference or inspiration. Her broad design vocabulary draws on a variety of mediums: visual and decorative arts, maps, architecture, and garden and textile design. Typography and decorative elements from the text often inspire a pattern which might be repeated, rotated, reversed, exploded. She also draws on historical book decoration, fragmenting or exaggerating elements to provide a more contemporary, often playful feel.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-ggr7sEhqwjo/Vbf3a51UpDI/AAAAAAAAFSs/d-bQzC-YYJw/s1600/4.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="http://4.bp.blogspot.com/-ggr7sEhqwjo/Vbf3a51UpDI/AAAAAAAAFSs/d-bQzC-YYJw/s400/4.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thornton Wilder, <i>The Bridge of San Luis Rey</i></td></tr>
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She gives us a window into her design process, whether searching for just the right antiquarian image of an angel, finding an astrological map for the night Captain Ahab’s ship left Nantucket, or borrowing watercolor techniques to capture the play of light on a tableau of fruit.<br />
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This introduction to Kamph and her work is followed by twenty-some brief chapters, arranged roughly in the order a book is bound or by complexity of repair, followed by finishing techniques and tips on developing a design. Though <i>Tricks of the Trade</i> is not a step-by-step manual, much how-to information is provided in the narrative. Each chapter is a stand-alone essay on one step in the binding process, peppered with tips and anecdotes. The feel is that of the conversations binders have following a lecture or demonstration: colleagues swapping their personal techniques and the tribulations that got them there.<br />
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Topics covered include humidity in the studio, useful bindery items borrowed from the medicine cabinet and toolbox, adhesives, paper repair, board attachment, zig-zag endsheets, backing, spine lining, the inseparable actions of sharpening and paring, headbanding, headcaps, and corners. Later chapters address repair: inner and outer joints, cloth cases, rebacking. A chapter is devoted to the repair of a set of three nineteenth century novels in their original but very damaged paper bindings. Before and after photos show new bindings that retain the spirit of the modestly elegant originals.<br />
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Throughout, Kamph shares her preferred materials and suppliers, and describes equipment of her own design: a brass-edged recasing press, her tool-polishing set-up, a holder for rolls of gold leaf. I found numerous tips I may or may not have ever arrived at on my own: using tweezers when I might have reached for a thin folder, substituting thin Reemay where I would have used Japanese tissue, using book cloth matching the case for a hollow where I would have used paper, application of glair with a refillable water brush when I would have used a brush or the much more difficult to maintain technical pan, silicone release paper when I would have used Mylar.<br />
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She offers a multitude of possibilities for altering new plain or decorated paper to match old. She addresses making endband cores and reveals a clever method for anchoring the core to the text block to ease the awkward initial wraps before the first tie-downs.<br />
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Particularly welcome are chapters addressing the dual nemesis of many fine binders: headcaps and corners. She notes that a well-formed headcap is in fact the convergence of numerous steps properly executed: not just covering but also spine lining, leather paring, headbanding, and attention to the appropriate historical style for that particular book. Kamph provides three options for forming corners, all illustrated with step-by-step diagrams. The most interesting, borrowed from Swiss binder Gerard Charrière, oddly resembles the historical tongue corner but with a shorter tongue pared very thin and folded beneath the two side flaps, which meet seamlessly above it.<br />
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A chapter on repair of the brawny, brittle family bible acknowledges this quotidian mission that binders love to hate. Kamph describes her method of washing and drying the text pages in “clumps,” repairing pages, and resewing to control swell, followed by backing to fit the old boards, or if new boards must be selected, the luxury of selecting a thicker pair to comfortably fit a generous shoulder.<br />
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Another chapter is devoted to a case study of Kamph’s treatment of a dilapidated first edition of Samuel Johnson’s <i>Dictionary of the English Language</i>. The two volumes bought at auction by a long-time client came with detached boards, some missing pages, and no leather remaining on the spines. However, the sewing was mostly intact, and rubbings of the spine reveled that the old glue still held impressions of the original tooling. Scans of the missing pages were acquired, printed onto paper toned to match the text and sewn on, new cords were attached to the old and the boards reattached, the books were rebacked. Using the spine rubbings as her guide, Kamph drew a design for a decorative tool to be made to match the original and purchased the 24-point Times Roman Condensed that was a reasonable match for the original titling font.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-vae0ETBi-Us/Vbf3w5a6uHI/AAAAAAAAFS0/tT-_LPs7WXI/s1600/5.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="237" src="http://4.bp.blogspot.com/-vae0ETBi-Us/Vbf3w5a6uHI/AAAAAAAAFS0/tT-_LPs7WXI/s400/5.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">First edition of Samuel Johnson’s <i>Dictionary of the English Language</i>, before treatment</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-KVv0mdpffJg/Vbf3xBonQwI/AAAAAAAAFS4/ymyO5GmuN10/s1600/6.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://1.bp.blogspot.com/-KVv0mdpffJg/Vbf3xBonQwI/AAAAAAAAFS4/ymyO5GmuN10/s400/6.JPG" width="252" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">First edition of Samuel Johnson’s <i>Dictionary of the English Language</i>, after treatment</td></tr>
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The greatest strength of <i>Tricks of the Trade</i> may lie in the final chapters on finishing techniques and generating design ideas. First Kamph describes the process of transferring the design of onlays, gold lines and titling to the binding by tooling through a pattern on translucent graph paper. This process is illustrated with photographs of a full pattern, a close-up of the pattern showing the numerous line segments marked to designate each tools that makes up each segment of the design, and the completed binding. Further instructions are given for cutting onlays to the precise size and shape required and setting them in place.<br />
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In just fourteen, highly-efficient pages, Kamph presents design possibilities, tools, and techniques for gold tooling. She discusses the optimal binding structure and choice of leather to lay the foundation for tooling, how to form an intricate design using just a few tools, how to modify tools to build the desired pattern, and when blind tooling might be a better design choice than gold. She outlines each step of the process: blinding-in, applying glair, polishing the tool, applying the gold, cleaning the impression, applying additional gold as needed and troubleshooting. Kamph uses ribbon gold, a roll of gold wound on a spool, interleaved with thin tissue. Ribbon gold is not applied directly to the book like leaf; instead it is picked up with a greased, heated tool which is then applied to the blind impression. The chapter concludes with a very useful matrix laying out methods for managing the interactions of leather, gold, glair, heat and pressure, tools, patterns, humidity and boards when conditions are “bad,” better,” or “best.”<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-bi91WQ1r6G4/Vbf4LsYhxtI/AAAAAAAAFTE/YiAnXPU2uLA/s1600/7.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="306" src="http://1.bp.blogspot.com/-bi91WQ1r6G4/Vbf4LsYhxtI/AAAAAAAAFTE/YiAnXPU2uLA/s400/7.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">H.G. Wells, <i>The Time Machine </i></td></tr>
</tbody></table>
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In “How to Cheat at Gold Tooling,” Kamph offers suggestions for replacing missing tooling or refreshing damaged tooling on the fragile leather of antiquarian bindings, or adding tooling to a reback that will be a reasonable match to that on the remnants of the original spine.<br />
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The final chapter addresses generating design ideas. First, look to the book itself: read the text, look at the images. What is it about, where and when does it take place, what are the larger themes, and what items might be associated with any of this? A quick Web search will yield numerous possibilities, which can spur many additional ideas.<br />
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Kamph presents multiple techniques for onlays, some unconventional. She often repeats an onlay shape as a frieze extending across the spine from foredge to foredge. Instead of using these leather shapes themselves as onlays, she sometimes applies the strip of thinned leather they were cut from to the book, with the negative space making shapes appear in the leather the book is bound in. Kamph ends with a reminder to include the title in the design process. Freedom from traditional placement and content can reinforce themes in the text while enhancing the design.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-nLV62vf2O4w/Vbf4d35yTQI/AAAAAAAAFTM/6uiuC7DhcOY/s1600/8.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="283" src="http://1.bp.blogspot.com/-nLV62vf2O4w/Vbf4d35yTQI/AAAAAAAAFTM/6uiuC7DhcOY/s400/8.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Walt Whitman, <i>The Half-Breed and Other Stories</i>
</td></tr>
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A photograph of Kamph’s Stonehouse Bindery wraps from the back to front cover of <i>Tricks of the Trade</i>. Her New Jersey farm is visible through bench-to-ceiling windows on two sides of the studio. This scene completes the profile of the binder, her methods, and her work.<br />
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<a name="karen"></a>* Karen Hanmer was an early reader of this book.<br />
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Karen Hanmer’s artist-made books are physical manifestations of personal essays intertwining history, culture, politics, technology and arid wit. Her work is included in collections ranging from The Getty Museum and the Library of Congress to Yale University and Graceland. She is winner of the Jury Prize for Binding in the 2009 Helen Warren DeGolyer American Bookbinding Competition and is one of only eight graduates of the American Academy of Bookbinding’s Fine Binding program. Hanmer is a leader in the book arts community, having served on the editorial board of <i>The Bonefolder</i>, as Exhibitions Chair for the Guild of Book Workers, and as frequent exhibition curator and juror. She offers workshops and private instruction focusing on a solid foundation in basic binding skills. <a href="http://www.karenhanmer.com/">www.karenhanmer.com</a>
Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-75007617264990365382015-06-27T17:55:00.000-04:002015-11-15T14:32:57.856-05:00Upcoming Posts and Other MusingsIt's summer and things have been rather slow. While we wait for some excellent reviews of<i> <a href="http://www.oakknoll.com/pages/books/124455/trevor-jones/bindings-of-trevor-jones-the">The Bindings of Trevor Jones</a>, <a href="http://www.oakknoll.com/pages/books/122161/jamie-kamph/tricks-of-the-trade-confessions-of-a-bookbinder">Tricks of the Trade</a></i> by Jamie Kamph, and the catalog to <a href="http://23sandy.com/works/product-category/current-show/hellohedi"><i>Hello Hedi</i></a> at 23 Sandy Gallery I offer this diversion.<br />
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<a href="http://3.bp.blogspot.com/-jEMTVGMOSjI/VY8OqSngmNI/AAAAAAAAFO4/UzKt1iJkEpE/s1600/HelloHedi.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-jEMTVGMOSjI/VY8OqSngmNI/AAAAAAAAFO4/UzKt1iJkEpE/s320/HelloHedi.JPG" width="316" /></a></div>
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It's summer, and what can be more seasonal than enjoying an excellent fermented beverage, in this case beer, especially when the label is designed by a well known graphic artist whose work some of us have had the honor to bind.<br />
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<a href="http://1.bp.blogspot.com/-qO8IawWnf4s/VY8Pih3hDAI/AAAAAAAAFPU/tHOV_FvJqaQ/s1600/Hanks%252C%2BLadislav%2B-%2Bbeer%2Blabel-sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="390" src="http://1.bp.blogspot.com/-qO8IawWnf4s/VY8Pih3hDAI/AAAAAAAAFPU/tHOV_FvJqaQ/s400/Hanks%252C%2BLadislav%2B-%2Bbeer%2Blabel-sm.jpg" width="400" /></a></div>
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The beer, Bell's Two Hearted Ale, a nice play on the short story be Hemingway... The artist...? <a href="http://ladislavhanka.com/Ladislav_Hanka_Etchings/Welcome_2.html">Ladislav Hanka</a>, a friend of Jan Sobota and many others. His books<i> <a href="http://ladislavhanka.com/Ladislav_Hanka_Etchings/Corn.html">Corn</a>, <a href="http://ladislavhanka.com/Ladislav_Hanka_Etchings/County_Survey.html">County Survey</a>, <a href="http://ladislavhanka.com/Ladislav_Hanka_Etchings/Scripta_Naturae.html">Scripta Naturae</a>, and <a href="http://ladislavhanka.com/Ladislav_Hanka_Etchings/Opus_Salvelinus.html">Opus Salvelinus</a></i> were all bound for the <i>50 x 25</i> exhibit held at Southern Methodist University's Bridwell Library. Most recently Hanka published a memorial book, <a href="http://ladislavhanka.com/Ladislav_Hanka_Etchings/Sobota_Book.html"><i>Remembering Jan Bohuslav Sobota</i></a>, about his friend Jan Sobota that was bound by many of the same binders as in <i>50 x 25</i>. You can see some of the bindings <a href="http://ladislavhanka.com/Ladislav_Hanka_Etchings/Sobota_Book_Show.html">here</a>. Hanka's <a href="http://web.library.wmich.edu/archon/index.php?p=collections/controlcard&id=52">archive is housed at Western Michigan University</a>, also home to half of the 50 bindings in <i>50 x 25</i> - each binder bound two of the same title, with one going back to the artist...<br />
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Fishing is a large part of Hanka's life, often featured in his prints, and beautifully bound. So, open a <a href="http://www.bellsbeer.com/brands/info/2">Bell's Two Hearted Ale</a> (if available in your area), crank up <a href="https://alapoupeechinecolles.bandcamp.com/">À la Poupée & the Chine-Collé's</a> music, and take a look at this man's etchings.
Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-55955646590986638962015-04-18T08:52:00.001-04:002015-04-18T10:45:31.966-04:00Bookmaking of a different kind<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
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<span style="font-family: Calibri; font-size: x-small;"><span style="font-size: 11.0pt;"><span style="mso-bidi-font-size: 10.5pt;">Hey, we made <i>The New Yorker</i> this week... </span></span></span></div>
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<tr><td style="text-align: center;"><a href="http://www.newyorker.com/wp-content/uploads/2015/04/150420_a18969-600.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.newyorker.com/wp-content/uploads/2015/04/150420_a18969-600.jpg" height="280" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>“Vinnie, we gotta talk about what ‘bookmaking’ means.”</i></td></tr>
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<span style="font-family: Calibri; font-size: x-small;"><span style="font-size: 11.0pt;"><span style="mso-bidi-font-size: 10.5pt;">From this week's issue of <a href="http://www.newyorker.com/cartoons/issue-cartoons/cartoons-from-the-april-20-2015-issue"><i>The New Yorker</i></a>.</span></span></span></div>
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<span style="font-family: Calibri; font-size: x-small;"><span style="font-size: 11.0pt;"><span style="mso-bidi-font-size: 10.5pt;">You have no idea how many bookies are out there wanting to learn about making books, at least based on my my referring URLs... This opens possibilities for further workshop
venues - metaphor as material anyone?</span></span></span></div>
Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-30424552859610537532015-02-02T09:38:00.000-05:002015-02-03T10:01:18.224-05:00The Spirit Books of Susan K. GaylordSusan Kapuscinski Gaylord. <i>The Spirit Books</i>. Newburyport, MA: Self-published, 2014. <a href="https://www.etsy.com/listing/193921103/the-spirit-books">Available at Etsy</a> for $20.<br />
<br />
Reviewed by Velma Bolyard<br />
<br />
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<a href="http://4.bp.blogspot.com/-D998zHELKrU/VM6m0t1eYcI/AAAAAAAAEro/6a_Psvck-Bg/s1600/Gaylord-SpiritBooks.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-D998zHELKrU/VM6m0t1eYcI/AAAAAAAAEro/6a_Psvck-Bg/s1600/Gaylord-SpiritBooks.jpg" height="184" width="320" /></a></div>
The rich world of artists’ books encompasses so much work, from peculiar and fascinating ‘zines to amazing unique books, and all sorts of work in between. Each book made has purpose, each book is read in some way, each maker presents something to experience. As a maker and reader, I revel in the current variety and am always curious about seeing work that is new to me. Last April at the University of Southern Maine, Portland’s Book Arts Bazaar I had the pleasure of meeting Susan Kapuscinski Gaylord and spending a tiny bit of time looking a Spirit Book that she was showing. What I saw was stunning and made me want to spend more time with these pieces. Nothing had prepared me for the impact of “meeting” a Spirit Book. And this is why her new book <i>The Spirit Books</i> about this series is so generous, it gets you very close to these books the way you need to actually experience them. She’s added text that explains more about the making of each piece.<br />
<br />
<i>The Spirit Books</i> begins with a sensitive and reflective introduction by Rosemary Noon. Noon writes, “The series claims mastery of a whole realm of knowledge outside language.” This rings true to me. Gaylord, a calligrapher, seems at ease with making wordless books, or rather books without words to frame experience while “reading” the piece. Marks on the pages are etched or sewn in a variety of ways, still missing are words. But the presence of many sorts of markings evokes meaning, feeling, contemplation, examination. <i>The Spirit Books</i> give the reader an insight into Gaylord’s thinking and process answering some questions while stimulating more.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-qpBrQ-mV-Ho/VM-J7MhzFOI/AAAAAAAAEss/vFWgqUDnndg/s1600/SpiritBook13-HopeOffering.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-qpBrQ-mV-Ho/VM-J7MhzFOI/AAAAAAAAEss/vFWgqUDnndg/s1600/SpiritBook13-HopeOffering.jpg" height="248" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spirit Book #13: Hope Offering</td></tr>
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<br />
In a brief and cogent artists statement about the body of work Gaylord writes: “Each page is a meditation that echoes nature with both repetition and variety.” I think she is completely correct here. Each book is intended to be a contemplative experience. I was surprised by the complex and at times subtle layers of meaning in the Spirit Books. Each Spirit Book is made from textural and earthy papers, with marks evolving from a variety of means; sewn beads, bits of twigs, seeds, plants, threads, wires, and patterns carefully composed for careful looking. They are meant to be displayed opened for viewing each in its own cradle or nest. This supporting structure is designed to fully compliment the book it supports. Further, the books appear as small alters of contemplation, meditations in fact. Gaylord achieves this by presenting each book as an important artifact, elevated to viewing by each one’s unique stage. <i>The Spirit Books</i> serves as a catalog of the series and is the next best thing to seeing a piece, you can get very close. The photography is clear and intimate, one sees the fibers lifting off the edges of pages, the gleam of an amber bead, the carefully placed stitches, or trimmed twigs delineating pages.<br />
<br />
This modest book cataloging <i>The Spirit Books</i> series presents a grouping of 35 from the total of at least 73 books. Gaylord explains that the series remains fluid, sometimes she disbinds a book and re-composes it into another piece. Each Spirit Book is presented as a discrete contemplation placed in its own unique cradle, or nest, or one might even say alter built specifically to present and contain its book. On the verso page Gaylord names the book photographed on the recto. She describes the book including a few words about the making and naming of it. Gaylord wisely lets the photos present the books as singular objects. Her descriptions are sparse, but there is enough information to prompt thinking. Book number 1 is called Sewn Prayer and “it was named for the act of sewing which is considered a symbol of life and its temporal nature.” What <i>The Spirit Books</i> does so well is present a hint of the breadth of the series. It suggests how rich the visual and emotive experience of the Spirit Books series must be. In that busy, energetic marketplace of the Book Arts Bazaar, I wanted to stop and think about what was being offered. This book reminds me of stopping and looking.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-CpeXW-kiLOA/VM-KOtGGjJI/AAAAAAAAEs0/sbHxTOv8o38/s1600/SpiritBook43-RenewedWisdom.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-CpeXW-kiLOA/VM-KOtGGjJI/AAAAAAAAEs0/sbHxTOv8o38/s1600/SpiritBook43-RenewedWisdom.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SpiritBook #43: RenewedWisdom</td></tr>
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I can imagine hiking in my own northern woods and coming upon a granite ridge face with a naturally occurring mossy niche, surprisingly holding a Spirit Book. I can imagine pausing, looking carefully, reading, and thinking this most appropriate. I can see that each page, each leaf, might echo the experience Gaylord is seeking to prompt. Alternatively, I can see an installation of many Spirit Books, in a space that is conducive to contemplation, with the books elevated and accessible so that you could look deeply into the architectural environments of each one while moving around them. Lacking the opportunity to see these books in person, or to act as a memento of this singular series, <i>The Spirit Books</i> by Susan Kapuscinski Gaylord is a fine alternative.<br />
<br />
[Note: to view more of the Spirit Books online <a href="http://www.susangaylord.com/the-spirit-books.html">visit Susan K. Gaylord's site online</a>] <br />
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<br />
Velma Bolyard teaches emotionally disturbed children in Potsdam, NY. She also teaches papermaking, book arts, and fiber arts workshops, often at her mill, Wake Robin Papers. She holds a BS Design, MS Teaching, with elementary, art, and special education certifications, and has studied fiber, paper and book arts in the US and Canada. In 2000 she received the Nell Mendell Scholarship for PBI (Paper and Book Intensive). She has shown her work in fiber, paper, and books for many years.Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-85875573778443106382015-01-10T12:27:00.000-05:002015-01-12T10:22:16.390-05:00Émigrés, The Transformation of Art Publishing in BritainAnna Nyburg. <i><a href="http://www.phaidon.com/store/general-non-fiction/emigres-9780714867021/">Émigrés: The Transformation of Art Publishing in Britain</a>.</i> London: Phaidon Press, 2014. ISBN 0714867020. 288 pages. <br />
<br />
Reviewed by Elizabeth Morris<br />
<br />
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<a href="http://4.bp.blogspot.com/-WeYyefq7i9U/VLFeZdb_r5I/AAAAAAAAEmY/axq0h5uqFWE/s1600/Emigres.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-WeYyefq7i9U/VLFeZdb_r5I/AAAAAAAAEmY/axq0h5uqFWE/s1600/Emigres.jpg" height="320" width="206" /></a></div>
Drawing upon her previous publication, <i>From Leipzig to London: The Life and Work of the Émigré Artist Hellmuth Weissenborn</i>,
Anna Nyburg presents a broader view of the impact of émigré publishers,
artists, and art historians upon the cultural landscape of Britain in <i>Émigrés: The Transformation of Art Publishing in Britain</i>. Although <i>Émigrés</i>
contains a good deal of interesting information about the cultural
background of émigrés, as well as deeply personal characterizations of
these important figures, it should not be viewed as a thorough and
scholarly publication.<br />
<br />
The main purpose of the text serves
to highlight the role of three publishing houses with Viennese roots,
Phaidon, Adprint, and Thames & Hudson, and the paths of their
founders through personal accounts and portrayals, with a heavy emphasis
on the personal lives of Phaidon’s Béla Horovitz and Ludwig
Goldscheider. While the first half of the text focuses on providing
biographical information of noteworthy individuals in publishing from
the first half of the 20<sup>th</sup> century, the latter half explores
the outcome of publishing houses Phaidon and Thames & Hudson
post-1950, with a brief chapter on Adprint, founded by Wolfgang Foges,
and the concept of ‘book packaging.’<br />
<br />
Interspersed within
the first chapter of character ‘portraits’, the reader will find
fundamental information about the developmental elements and genius of
émigré book design and production; however, the sparseness and
organization of this material is such that it might easily be missed.
Even when Nyburg makes key points about book design, the reader is left
without an image to illustrate an example of these transformative
interior layouts. For example, Nyburg writes “He was particularly
skilled at choosing details: selecting and highlighting a corner from a
painting or sculpture and cropping the photograph, producing a fresh and
different image with a technique that was unusual at the time” (p.15),
but fails to provide an example and does not give a date or time-frame
for when this ‘new’ approach was employed.<br />
<br />
Moving onwards,
Nyburg provides some cultural background for the émigrés of
Mitteleurope, and how their education and immersion in the Classics,
Literature, and Art aided in their natural abilities for design and
publishing; the emphasis is again placed on Phaidon’s Horovitz and
Goldscheider, along with Walter and Eva Neurath of Thames & Hudson.
Additionally, there is more contextual information of what life as a
Jewish person in Nazi Germany was like through personal accounts of the
countless difficult decisions and hardships that were encountered during
the late 1930s.<br />
<br />
Chapters 4 and 5, ‘Arrival and War:
Publishing Émigrés in Britain’ and ‘A New Start: Phaidon and Art
Publishing after the War’ add value and necessary context as the book
becomes more descriptive and focused on the specific elements for the
arrival of émigrés in Britain: how they were able to assimilate into
British culture, the processes in place for registering as aliens and
the tribunals, and the creative relationships that arose from being
placed within internment camps, such as the Isle of Man. There were also
personal anecdotes from émigrés on the discrimination they encountered
from British citizens who were unemployed or unsure of their alliance to
Germany, but also how they were able to assist in war efforts from
creating ‘black’ propaganda to fire-watching duties.<br />
<br />
Nyburg also discusses the influence and guidance that was provided by<i> Zwemmer’s Bookshop and Gallery</i>
in London to both émigré and British publishers and citizens, as they
created a physical and intellectual place for art education and
connoisseurship. She also discusses the role of Teddy Schüller, who
moved to London in 1932 and was a lifelong Anglophile, and his work in
creating the <i>Oxford Companion to Art</i>, published by Oxford University Press. He relied on his network of German-speaking art historians, including E.H. Gombrich (<i>The Story of Art</i>
published by Phaidon), to complete this work that was realized in the
1930s and finally published by 1970. The text, however, begins to take a
more negative approach to discussing the difficulties in the
relationship between Phaidon’s Horovitz and Sir Stanley Unwin, when
Phaidon moved to independent ownership, resulting in severed ties
between the two parties. Continuous personal instances of uncited and
biased information detract greatly from the main mission of the book in
providing a narrative of this much underrepresented topic.<br />
<br />
Moving
on to Chapter 6, ‘Between the Pages: Typography, Design and
Illustration’, the reader is able to find the necessary and much-needed
historical context of the publishing and book arts landscape pre-WWI
that illuminates the cooperative and collaborative relationships between
English and German publishers and artists. Nyburg describes the
influential relationships of great artists and typographers such as
William Morris, Eric Gill, Stanley Morison and Thomas James
Cobden-Sanderson on key German artists and publishers like Anton
Kippenberg, Rudolf Koch, and Karl Ernst Poeschel. Although this chapter
illustrates key elements in the transformation of British publishing,
Nyburg writes with a biased voice about how German contributions to the
book arts outweigh those of the British. In doing so, Nyburg presents
contradictory information, as British publishers did in fact work for
and employ German typographers and designers before WWII, and continued
to do so throughout the 20th century (p.109). She also notes several
British publishers that were knowledgeable and trained in German book
production and design, such as Oliver Simon, Sir Francis Meynell,
Stanley Morison and Abram Games, despite also noting the lack of
professional training in publishing and exposure to fine art for British
culture; additionally, British publishing giant Penguin Books, headed
by Allen Lane, is briefly discussed.<br />
<br />
Nyburg writes that
typography and overall book design became ever increasingly important
and ‘essential’ for all German publishers and book designers throughout
the first three decades of the 20th century, but that it was only
bibliophiles and collectors who were concerned with these aspects in
Britain; however, earlier in the same chapter (Chapter 6) Nyburg
discusses the start and influence of art nouveau movements in each
country at the end of the 19th century that led into the early 20th
century, which drew upon the exchange of education and influence between
key British figures with German counterparts, such as Anton Kippenberg,
owner of Insel Verlag. In 1905, Kippenberg “was so determined to keep
his books free from the over-the-top Germanic style that he employed
English book designers and typographers such as Eric Gill” (p.102). Such
contradictory statements, confused further by jumping continuously
across periods of time, create an unclear narrative that leaves the
reader with more questions than answers.<br />
<br />
One of the more
interesting portions of the book comes from Chapter 8, ‘The Rise and
Fall of Adprint’ since it discusses the extremely innovative practice of
‘book packaging’ as it transformed the practice of art book publishing
in Europe. Further, it explores advances in publishing with color
images, collaborative work with Penguin Books, the significant <i>Britain in Picture</i>
series, the diminishing power of Adprint, and in particular on the
personal career of Wolfgang Foges and the bitter rivalry between Foges
and Neurath. The final chapters move on to discuss the Neuraths of
Thames & Hudson and touches upon many others of importance for image
reproduction such as Jarrold of Norwich Printers. However, there is
some confusion to be found within the personal narratives of second,
third, and even fourth generational émigré family members from
publishing giants on their cultural background and training. While some
individuals, including Eva Neurath, believe that the advancements of the
émigré publishers would have achieved notoriety regardless of
geographical location, Nyburg argues that the success of Phaidon and
Thames & Hudson in the latter half of the 20<sup>th</sup> century is
due largely to the cultural values passed on from the émigrés as
second, third and fourth generations acquired, operated and continued in
the world of art book publishing in Britain. Richard Schlagman, who
acquired Phaidon books, is described as saying, “…he questioned any
notion of Phaidon’s Jewishness, saying that the tradition of culture
often attributed to the Jews of ‘Mitteleuropa’ was more likely a product
of central Europe itself’ (p. 187).<br />
<br />
The most confusing
aspects of the book lie within Nyburg’s negative stance on British
culture, education and artistic efforts, as well as with the complete
lack of design elements that are noted as being the transformational
elements of art publishing (note: this book is published by Phaidon).
Nyburg makes a series of criticisms of British culture and art, such as
on p. 37, “In the visual arts, the only modernists who made their mark
were Henry Moore and Ben Nicholson, in sculpture and painting
respectively,” and education on p.211, ‘…the English working-class
teenagers. Not only were they technically incompetent, unable to use a
pencil or a brush correctly, but they were also embarrassed by the very
notion of art other than as a form of technical reproduction.”
Furthermore, she gives a disparaging portrayal of Sir Stanley Unwin
throughout the latter portion of the book, who assisted Horovitz and
Goldscheider in their personal and professional migration to England,
despite Unwin taking on the responsibility for the personal safety and
well-being of the émigrés for at least a decade (p.61-62).<br />
<br />
What's
more, the book is written in a manner that suggests the reader should
have some prior knowledge of the subject, as well as with key figures of
émigré publishing, writing and book design. Herman Ullstein, Jan
Tschichold, Dr. Franz Leppmann, Ruth Rosenberg, Fritz Landshoff, Walter
Landauer, Henrich Hauser, Bermann Fischer, and Peter Suhrkamp… are all
mentioned within two pages (p.52-53) without any clarification as to how
these individuals fit within the overall narrative, a common approach
found throughout the text. Although they may provide singular, tangible
examples of a point Nyburg is trying to convey, it only adds further
confusion as to whom they are and the role they played within the
transformation of British art publishing. Short biographical information
as an added appendix would have been particularly helpful for readers
to refer to as they navigate and conceptualize the turbulence of these
times and events.<br />
<br />
In terms of book design, the text is
extremely limited in images and illustrative examples of the
transformation of art publishing; the majority of color images included
are of book covers and very few page spreads. Other images interspersed
within the text are black and white photographic reproductions of the
émigrés and their family members, serving more as an archival
exploration of the families instead of art publishing. Nyburg ironically
groups together the core color illustrations of art books in the middle
of the text using color plates, a common practice in art books before
the evolutionary practices of Phaidon, Adprint, and Thames and Hudson
(p.151). What Nyburg praises for the transformation of art book
publishing by the émigrés is completely contradicted by the design and
layout of this text, which is meant to detail and explore this specific
topic. One highlight of the text is the appendices, which provide
published books by Phaidon by year from 1932-55 and a list of books
published by Thames & Hudson from 1950-1959. Additionally, the book
boasts a rich bibliography of resources that will aid anyone in further
research on this topic.<br />
<br />
Ultimately, there is not enough
information on the actual transformation of publishing in technical
terms, particularly for image and photographic reproduction which played
an immense role in the art publishing landscape, and an overabundance
of information about the personal lives of the émigrés, including that
of second and third generational émigré family members. The book would
have been a richer resource had the technical processes and design
elements been described in greater detail, and if Nyburg would have
defined what constitutes an ‘art book’ in the transformation of the
publishing landscape from the onset, the overall goal of the text may
have been more clearly elucidated to the reader.<br />
<br />
It could
be argued that rather than the émigré publishers transforming the
landscape of British publishing for art books, that the transformation
lies within the collaborative relationships and exchanges between émigré
and British art historians, publishers, artists and designers that were
in place pre-WWI, and continue to the present day. Due to the <i>Anschluss</i>,
many citizens of Central Europe were forced to leave their homes and
find refuge in other countries, Britain being one of the most central.
It was these circumstances which have led to the creation and foundation
of British art publishing in the 20<sup>th</sup> century, and the ability for these relationships to prosper for over a century should be applauded.<br />
<br />
<hr align="center" width="50%" />
<br />
<br />
Beth Morris is Assistant Librarian at the Yale Center for British Art, Reference Library and Archives, where she started a preservation program with in-house book repairs for the collection. She holds an MLIS from the University of North Carolina at Chapel Hill where she completed her thesis on artists' book collections. Additionally she holds a BA in Fine Art from Elon University. Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-73792435828858718412014-11-27T10:51:00.000-05:002015-02-02T09:38:08.926-05:00Finishing in Hand Bookbinding, a new edition<i>Herbert and Peter Fahey. Finishing in Hand Bookbinding</i>: A
reprint in facsimile of the 1951 edition with a new Introduction by Alan
Isaac and Foreword by Maureen Duke. Oxford: Published by <a href="http://aibooks.co.uk/">Alan Isaac Rare Books</a> with Maureen Duke, 2014.<br />
<br />
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 <a href="http://aibooks.co.uk/">Alan Isaac Rare Books,</a> or for those outside the UK via <a href="mailto:alan@aibooks.co.uk">email at info@aibooks.co.uk.</a> <br />
<br />
Reviewed by Samuel Feinstein<br />
<br />
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Those interested in the book arts, especially bookbinders, will be grateful for the reprinting of <i>Finishing in Hand Bookbinding</i>
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.<br />
<br />
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 <i>Twenty-Five Gold-Tooled Bindings</i> 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
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 <i>Bookbinding, Old and New</i> gives a general feeling of his philosophy:<br />
<blockquote class="tr_bq">
<i>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 </i>(Wiemeler 159).</blockquote>
<br />
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.<br />
<br />
The Faheys explain what is meant by “finishing” in their Introduction: “<i>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” </i>(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).<br />
<br />
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 <i>An Introduction to Gold Finishing, </i>pages 77-91,<i> </i>as
a wonderful source explaining the different kinds of tools and their
usage. One other marvelous source on finishing tools is Tom Conroy’s <i>Bookbinders’ Finishing Tool Makers 1780-1965, </i>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.<br />
<br />
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.<br />
<br />
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).<br />
<br />
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.<br />
<br />
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.<br />
<br />
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 <i>La Dorure et
la Decoration des Reliures</i>, 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 <i>Tres Ensayos sobre el Arte de la
Encuadernacion</i> (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.<br />
<br />
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.<br />
<br />
<hr style="margin-left: 0px; margin-right: auto;" width="50%" />
<br />
Bibliography:<br />
<ul>
<li>Brugalla, Emilio. <i>Tres Ensayos Sobre el Arte de la Ecuadernacion. </i>Madrid: Ollero & Ramos, 2000. (Originally published: 1945)</li>
<li>Conroy, Tom. <i>Bookbinders’ Finishing Tool Makers 1780-1965. </i>New Castle, DE: The Oak Knoll Press, The Plough Press, 2002.</li>
<li>Duke, Maureen. Foreward to <i>Finishing in Hand Bookbinding.</i></li>
<li>Fache, Jules. <i>La Dorure et la Decoration des Reliures. </i>Paris:<i> </i>Chez L’Auteur,1954.</li>
<li>Fahey, Herbert and Peter. <i>Finishing In Hand Bookbinding. </i>Alan Isaac Rare Books <i>with </i>Maureen Duke. Oxford, 2014</li>
<li>Isaac, Alan. Introduction to <i>Finishing in Hand Bookbinding.</i></li>
<li>Mitchell, John. <i>An Introduction to Gold Finishing. </i>Edited and Designed by Nolan Watts. Worthing, Sussex, UK: The Standing Press 1995 and 2005.</li>
<li>Tidcombe, Marianne. Introduction to <i>Twenty-Five Gold-Tooled Bindings, An International Tribute to Bernard Middleton’s </i>Recollections<i>. </i>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.</li>
<li>Wiemeler,
Ignatz. “Bookbinding, Old and New”. Translated from the German by
Peter Mueller-Munk and Hellmut Lehmann-Haupt. <i>The Dolphin, A Journal of
the Making of Books</i>. New York: Limited Editions Club, 1933: 146-160.</li>
</ul>
<div style="text-align: left;">
<br /></div>
<hr style="margin-left: 0px; margin-right: auto;" width="50%" />
<br />
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 <a data-mce-href="http://www.samuelfeinsteinbookbinding.com/" href="http://www.samuelfeinsteinbookbinding.com/" target="_blank">www.SamuelFeinsteinBookbinding.com</a> or in more detail on his blog: <a data-mce-href="http://www.samuelfeinstein.wordpress.com/" href="http://www.samuelfeinstein.wordpress.com/" target="_blank">www.SamuelFeinstein.wordpress.com</a>Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com0tag:blogger.com,1999:blog-454610721638033401.post-57892848209116367702014-09-10T09:24:00.000-04:002014-09-10T13:19:59.202-04:00InsideOUT, an exhibition of contemporary bindings of private press books<a href="http://www.designerbookbinders.org.uk/exhib/InsideOUT/InsideOUT.html"><i>InsideOUT, contemporary bindings of private press books</i></a>. Jeanette Koch (ed) with photographs by Paul David Ellis. Designer Bookbinders, 2014. 80 pp with full color throughout. GBP15.00 + sh.<br />
<br />
An exhibition catalog review by Amy Borezo <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-PGLAt9B4vHs/VAR20Supd9I/AAAAAAAAEX8/LtiXJ9_dYi4/s1600/InsideOUT.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-PGLAt9B4vHs/VAR20Supd9I/AAAAAAAAEX8/LtiXJ9_dYi4/s1600/InsideOUT.jpg" height="320" width="245" /></a></div>
The recent exhibit <i>InsideOUT</i>, 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.<br />
<br />
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.<br />
<br />
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.<br />
<br />
The three bindings for the Arion Press <i>Journey Round My Room</i> 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.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-1Qy_Roe3zXo/VBBPqxDEdDI/AAAAAAAAEaE/wCYfeEWgm6g/s1600/AnnetteFriedrich-JourneyRoundMyRoom.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-1Qy_Roe3zXo/VBBPqxDEdDI/AAAAAAAAEaE/wCYfeEWgm6g/s1600/AnnetteFriedrich-JourneyRoundMyRoom.jpg" height="298" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Journey Round My Room, </i>binding by Annette
Friedrich</td></tr>
</tbody></table>
<br />
<br />
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.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-Y9UB-d-n9-c/VBBP-cdB5hI/AAAAAAAAEaM/34c-A-u45Pk/s1600/StephenConway-SteelHorizon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-Y9UB-d-n9-c/VBBP-cdB5hI/AAAAAAAAEaM/34c-A-u45Pk/s1600/StephenConway-SteelHorizon.jpg" height="310" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Steel Horizon</i>, binding by Stephen Conway</td></tr>
</tbody></table>
<br />
<br />
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 <i>Steel Horizon</i>, 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. <br />
<br />
His other binding for <i>Britten's Aldeburgh</i>, 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.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-XMMBzZ-cwm4/VBBQTEOcmLI/AAAAAAAAEaU/8Qm-9wr4iLk/s1600/HannahBrown-TheBicycleDiaries.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-XMMBzZ-cwm4/VBBQTEOcmLI/AAAAAAAAEaU/8Qm-9wr4iLk/s1600/HannahBrown-TheBicycleDiaries.jpg" height="370" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Bicycle Diaries</i>, binding by Hannah Brown</td></tr>
</tbody></table>
<br />
<br />
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 <i>Bicycle Diaries</i>,
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 11<sup>th</sup>.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-i5JCim2J47E/VBBQh9xsAiI/AAAAAAAAEac/7in6OFGTwFE/s1600/NickyOliver-LostAndFound.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-i5JCim2J47E/VBBQh9xsAiI/AAAAAAAAEac/7in6OFGTwFE/s1600/NickyOliver-LostAndFound.jpg" height="305" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Lost and Found</i>, binding by Nicky Oliver</td></tr>
</tbody></table>
<br />
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 <i>Lost and Found</i>
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.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-yC4KjPsIm5o/VBBQuan1DyI/AAAAAAAAEak/dFe_Z2BEu9A/s1600/DonaldGlaister-CIRCUS.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-yC4KjPsIm5o/VBBQuan1DyI/AAAAAAAAEak/dFe_Z2BEu9A/s1600/DonaldGlaister-CIRCUS.jpg" height="295" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Circus</i>, binding by Donald Glaister</td></tr>
</tbody></table>
<br />
Another binding of note is Donald Glaister's interpretation of <i>Circus</i> 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.<br />
<br />
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.<br />
<br />
The Exhibition was on display in the Layton Room Gallery at St Bride Foundation, London, 15 May to 22 August 2014.<br />
<br />
Venues in the United States are: <br />
<div class="bookmarcbody">
<a href="http://hcl.harvard.edu/info/exhibitions/index.cfm">Houghton Library</a>, Harvard, MA: 11 September - 13 December 2014<br />
<a href="http://www.mnbookarts.org/">Minnesota Center for Book Arts</a>, Minneapolis: 10 January - 28 March 2015<br />
<a href="http://www.bonhams.com/locations/NYS/">Bonhams</a>, New York: 10-19 April 2015<br />
<a href="https://sfcb.org/">San Francisco Center for the Book</a>, California: 6 June - 5 July 2015</div>
<div class="bookmarcbody">
<br /></div>
<div class="bookmarcbody">
The exhibition was organized by Lester Capon, Stephen Conway, Simon Eccles, Sayaka Fukuda, Peter Jones, and Jeanette<b></b> Koch. </div>
<div class="bookmarcbody">
<br /></div>
For more information and to order a catalog visit <a href="http://www.designerbookbinders.org.uk/exhib/InsideOUT/InsideOUT.html">Designer Bookbinders' website</a>.<br />
<br />
<hr align="left" width="50%" />
<br />
Amy Borezo Amy is an artist, bookbinder, and the proprietor of <a href="http://www.shelterbookworks.com/">Shelter Bookworks</a>, a bookbinding studio in Western Massachusetts. Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com10tag:blogger.com,1999:blog-454610721638033401.post-4026642354539058312014-08-29T14:16:00.000-04:002014-08-29T15:37:36.482-04:00Methods of Presenting e-PublicationsThe <i>Bonefolder</i> 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.<br />
<br />
The past issues are made available as downloadable PDFs from Syracuse University Libraries' <a href="http://digilib.syr.edu/cdm4/browse.php?CISOROOT=/bonefolder">digital collections server</a>. Other journals hosted from there are also on that server as well as in our institutional repository (IR), <a href="http://surface.syr.edu/">SURFACE</a>. 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...<br />
<br />
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:<br />
<ul>
<li><i><a href="https://medium.com/code-words-technology-and-theory-in-the-museum/dark-matter-a6c7430d84d1">Dark Matter: The dark matter of the Internet is open, social, peer-to-peer and read/write—and it’s the future of museums</a></i></li>
<ul>
<li>More at <a href="https://medium.com/code-words-technology-and-theory-in-the-museum">Code | Words</a></li>
</ul>
<li><a href="http://www.oclc.org/content/dam/research/publications/library/2014/oclcresearch-evolving-scholarly-record-2014.pdf" target="_blank"><i>The Evolving Scholarly Record</i></a>, an OCLC Research publication</li>
<ul>
<li>See also: <a href="http://hangingtogether.org/?p=3937">A modern day equivalent of Leonardo’s notebooks? Bringing an “archival mind” to the evolving scholarly record</a></li>
</ul>
</ul>
<br />
There are a lot more of those kinds of articles in the library/academic literature.<br />
<br />
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.<br />
<br />
Here our first, <a href="http://issuu.com/susurface/stacks/d532274dbd994b1c9281d5709ef1d8f5">ISSUU</a>, all bundled together in a "stack" that hopefully looks better than most of our desks...<br />
<br />
And here, embedded, our last and perhaps best issue...<br />
<br />
<div style="text-align: center;">
<br />
<iframe align="middle" allowfullscreen="" frameborder="0" height="340" src="//e.issuu.com/embed.html#13330404/9114989" width="525"></iframe>
</div>
<br />
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.<br />
<br />
As we try other platforms, we'll share and gather your feedback - thank you.<br />
<br />
Then again, there's this...<br />
<br />
<i>Student Reading Practices in Print and Electronic Media</i> <br />By Nancy M. Foasberg<br />From <i>College & Research Libraries</i>, September 2014<br /><br />Conclusions<br />“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. <br /><br />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.”<br /><br /><a href="https://www.blogger.com/Student%20Reading%20Practices%20in%20Print%20and%20Electronic%20Media%20%20By%20%20Nancy%20M.%20Foasberg%20From%20College%20&%20Research%20Libraries,%20September%202014%20%20%E2%80%9CThis%20paper%20reports%20a%20diary-based%20qualitative%20study%20on%20college%20students%E2%80%99%20read%C2%ACing%20habits%20with%20regard%20to%20print%20and%20electronic%20media.%20Students%20used%20a%20form%20to%20record%20information%20about%20their%20reading%20practices%20for%20twelve%20days,%20including%20length%20of%20reading%20event,%20location,%20format%20used,%20and%20the%20purpose%20of%20reading.%20Students%20tended%20to%20use%20print%20for%20academic%20and%20long-form%20reading%20and%20to%20engage%20with%20it%20more%20deeply.%20Although%20electronic%20resources%20were%20sometimes%20used%20for%20academic%20purposes,%20students%20often%20used%20them%20for%20shorter%20and%20non%C2%ACacademic%20reading.%20Students%20found%20electronic%20media%20convenient,%20but%20most%20of%20them%20did%20not%20wish%20to%20switch%20to%20electronic%20media%20for%20their%20academic%20reading.%E2%80%9D%20Conclusions%20%E2%80%9CDespite%20the%20ever-increasing%20popularity%20of%20new%20ways%20of%20reading,%20the%20study%20participants%20read%20in%20a%20fairly%20traditional%20way.%20Most%20of%20them%20preferred%20to%20use%20print%20for%20long-form%20and%20academic%20reading,%20at%20least%20partly%20because%20they%20felt%20more%20comfortable%20annotating%20docu%C2%ACments%20in%20a%20print%20environment.%20They%20read%20electronically%20a%20great%20deal,%20but%20this%20reading%20consisted%20primarily%20of%20brief,%20nonacademic%20materials.%20%20%20Their%20dislike%20of%20electronic%20textbooks%20was%20especially%20striking%E2%80%A6%20The%20University%20of%20Minnesota%20provides%20an%20Open%20Textbook%20Catalog,%20which%20identifies%20open%20textbooks%20and%20allows%20reviews;%20notably,%20the%20designers%20of%20the%20catalog%20offer%20inexpensive%20print%20on%20demand%20options%20for%20each%20work,%20acknowledging%20that%20many%20students%20dislike%20online%20textbooks.%20%20In%20the%20midst%20of%20this%20attention%20to%20the%20digital,%20it%20is%20worth%20noting%20that%20students%20in%20the%20pres%C2%ACent%20study%20were%20less%20comfortable%20using%20textbooks%20in%20an%20electronic%20format,%20and%20some%20of%20them%20said%20they%20usually%20print%20out%20the%20sections%20they%20use,%20thus%20negating%20any%20savings.%E2%80%9D%20%20http://crl.acrl.org/content/75/5/705.full.pdf+html">http://crl.acrl.org/content/75/5/705.full.pdf+html </a><br />
Peter D. Verheyenhttp://www.blogger.com/profile/06756409905035122124noreply@blogger.com2