The National Organization For All The Book Arts

The Guild of Book Workers promotes interest in and awareness of the tradition of the book and paper arts by maintaining high standards of workmanship, hosting educational opportunities, and sponsoring exhibits.

[guildofbookworkers-blog]

Off the Shelf: Modern & Contemporary Artists' Books

A charming collection of books are available for view at the Baltimore Museum of Art. A free museum in the creative city of Baltimore, Maryland. The show, which is set up in a multi-room format, comes with a special Guild of Bookworkers connection! Potomac Chapter Chair, Vicky Lee was involved in the informational signage in the library room of the exhibit. The information on the structure of the book was well received and the subject of many conversations as the exhibit patrons were exposed to the process of bookbinding, some for the first time. When asked to comment on her involvement in the project, Ms. Lee gave a lighthearted and insightful response: "I was surprised to be contacted about creating a display and pleased that they wanted an educational display at the museum - that wasn't just for children!  I tried to get materials that already existed and instead of making a book from scratch I purchased one at a used book store.That way it had a decorative binding, gilt edge pages and type/print that could engage the viewer on many levels and highlighted (I hope) how all the different parts make and influence each other - even in an "ordinary book" - as well as in the case of the "artist book". -Vicky Lee There were a few iconic pieces (Gordon Matta-Clark), and many interesting text blocks to view, from such artists as Pablo Picasso and Joan Miró, but as a bookworker, there was not as much binding emphasis as I would usually like in a book show; I'll just be brief, I enjoy some extravagant gold tooling. But this isn't just a book show, it is an art show. It is great opportunity for understanding that connection. There are places where the finely made book can go that only a particular artist's mind will take it. The show is great for viewing the capabilities of using books, especially expensive show catalogs,  as a venue for interesting takes on the traditionally manufactured case bound book. The items had a variety of binding styles; accordion bindings, loose plates in a paper cover, pamphlet books, to simple yet traditionally forwarded fine bindings. I wish I had taken better notes at the show, but honestly, I didn't realize I was going to be writing a blog post on the subject when I went, and so I will 'silver lining' my inability to properly caption the attached photos by saying; "I enjoyed the use of textures and colors and international artist inclusion and lovely images and attempting to read some German. It was fun. You should go." It's open for another month. The museum is FREE. Also, you can park at the museum if you want to be close and pay $7, or you can park across the street for free and take a nice walk. ---Shannon Kerner for GBW 2017---

[guildofbookworkers-blog]

Now Available: Guild of Book Workers Journal

The long-awaited Guild of Book Workers Journal has been published and mailed to members of the Guild. Not a member?  Click here to order a copy - - or, better yet, HERE to join, and see what you're missing.

Table of Contents

Pamela Smith: The Making of An Edition Paper Marbler

“Taken by surprise, smitten by the magic of  this centuries-old process,” is how Pamela  Smith describes her entry into paper marbling, but editioning, she has learned, takes more than magic. “The work of a production marbler is a painstaking process of matching color and pattern and then repeating it all over and over again…. A quest for perfection, perhaps, always one step away…. Marbling is a study in movement, one in which technical know-how becomes as important as artistic sense. And even then there are few guarantees.”

 *Aimee Lee: Hanji in the Hands: Korean Papermaking Methods and Creative Uses

Handmade Korean paper, or hanji, has slowly been gaining attention in the wider art, craft, and conservation worlds. Lee’s studies have led her to an understanding of the methods, history, and uses of this luminous and resilient paper, and a deep appreciation of the contemporary artists who use hanji with innovative, impressive, and always beautiful results. Here she introduces us to the world of hanji and offers a gallery of hanji artists’ work.

Nancy Jacobi: Chiyogami and Katazome-shi: The Hand-printed Papers of Japan

The current worldwide popularity of the decorative papers of Japan—chiyogami and katazome-shi—would suggest that they are designs hot off the contemporary press. Stripes, dots, checkerboards, multiple lines of geometric shapes, and flowers—these patterns fit perfectly into the current mode for simplicity, repetition, and graphic order. In fact, the origins of the patterns printed today on paper by both silkscreen and stencil often go back 1300 years, following the religious, political, and social history of Japan through its motifs and symbols, and even further back to their roots in China.

Tim Barrett: Recommendations for Establishing a Paper Mill, Tomaso of Pinerolo, 1407 (A fictionalized proposal)

Tomaso, a skilled, if fictional, Italian papermaker learned the craft of papermaking as a young person and eventually became well established a paper mill foreman, renowned for his knowledge of the intricacies of the craft. Through his eyes, Barrett gives us a glimpse into what the process of papermaking very likely was in the fifteenth century, and along the way draws attention to those ingredients and processes that result in a truly fine sheet of paper that will stand the test of time.

*Katie Smith: An In-boards Paper Binding: P. Cornelii Taciti

In the special collections department of the David O. McKay library at Brigham Young University–Idaho, Smith found an apparently unique in-boards paper binding structure on the book P. Cornelii Taciti. Here she discusses the scant history of this binding—determined by structural components and uncovered manuscript writing—as well as some of the more noteworthy structural elements of the binding itself. She also provides a step-by-step guide, based on her conservation of the book, to making a model or artistic rendering of the binding.

 *Barbara Rhodes: Reading Between the Lines: The Colorful History of Invisible Ink

Not just for spies and schoolchildren, sympathetic inks—invisible inks—have been around since at least the fifteenth century. Chemically, many sympathetic inks are related to the materials of early photography, document copying, and dyeing, and also to the so-called security or safety inks and papers used to prevent forgery and counterfeiting. In this essay, Rhodes traces the history of invisible inks and discusses the practicalities of using them (such as choice of papers and writing utensils), and the detection of invisible writing.

Mindell Dubansky: Blooks: Things that Look Like Books, But Aren’t

Book-shaped objects act very much like true books, in that they are portable objects designed to protect their contentsand also are concerned with the use of beautiful materials and ornaments, as well as the need to educate and amuse the reader for their resemblance to true books and their inventive designs. Dubansky explores the history and structures of these objects, which date from the nineteenth and twentieth centuries.

*All articles in the issue were reviewed and accepted by the editorial board as meeting our standards of excellence.  Those marked with an asterisk also meet academic peer-review standards.

[guildofbookworkers-blog]

Now Available: Guild of Book Workers Journal

The long-awaited Guild of Book Workers Journal has been published and mailed to members of the Guild. Not a member?  Click here to order a copy - - or, better yet, HERE to join, and see what you're missing.

Table of Contents

Pamela Smith: The Making of An Edition Paper Marbler

“Taken by surprise, smitten by the magic of  this centuries-old process,” is how Pamela  Smith describes her entry into paper marbling, but editioning, she has learned, takes more than magic. “The work of a production marbler is a painstaking process of matching color and pattern and then repeating it all over and over again…. A quest for perfection, perhaps, always one step away…. Marbling is a study in movement, one in which technical know-how becomes as important as artistic sense. And even then there are few guarantees.”

 *Aimee Lee: Hanji in the Hands: Korean Papermaking Methods and Creative Uses

Handmade Korean paper, or hanji, has slowly been gaining attention in the wider art, craft, and conservation worlds. Lee’s studies have led her to an understanding of the methods, history, and uses of this luminous and resilient paper, and a deep appreciation of the contemporary artists who use hanji with innovative, impressive, and always beautiful results. Here she introduces us to the world of hanji and offers a gallery of hanji artists’ work.

Nancy Jacobi: Chiyogami and Katazome-shi: The Hand-printed Papers of Japan

The current worldwide popularity of the decorative papers of Japan—chiyogami and katazome-shi—would suggest that they are designs hot off the contemporary press. Stripes, dots, checkerboards, multiple lines of geometric shapes, and flowers—these patterns fit perfectly into the current mode for simplicity, repetition, and graphic order. In fact, the origins of the patterns printed today on paper by both silkscreen and stencil often go back 1300 years, following the religious, political, and social history of Japan through its motifs and symbols, and even further back to their roots in China.

Tim Barrett: Recommendations for Establishing a Paper Mill, Tomaso of Pinerolo, 1407 (A fictionalized proposal)

Tomaso, a skilled, if fictional, Italian papermaker learned the craft of papermaking as a young person and eventually became well established a paper mill foreman, renowned for his knowledge of the intricacies of the craft. Through his eyes, Barrett gives us a glimpse into what the process of papermaking very likely was in the fifteenth century, and along the way draws attention to those ingredients and processes that result in a truly fine sheet of paper that will stand the test of time.

*Katie Smith: An In-boards Paper Binding: P. Cornelii Taciti

In the special collections department of the David O. McKay library at Brigham Young University–Idaho, Smith found an apparently unique in-boards paper binding structure on the book P. Cornelii Taciti. Here she discusses the scant history of this binding—determined by structural components and uncovered manuscript writing—as well as some of the more noteworthy structural elements of the binding itself. She also provides a step-by-step guide, based on her conservation of the book, to making a model or artistic rendering of the binding.

 *Barbara Rhodes: Reading Between the Lines: The Colorful History of Invisible Ink

Not just for spies and schoolchildren, sympathetic inks—invisible inks—have been around since at least the fifteenth century. Chemically, many sympathetic inks are related to the materials of early photography, document copying, and dyeing, and also to the so-called security or safety inks and papers used to prevent forgery and counterfeiting. In this essay, Rhodes traces the history of invisible inks and discusses the practicalities of using them (such as choice of papers and writing utensils), and the detection of invisible writing.

Mindell Dubansky: Blooks: Things that Look Like Books, But Aren’t

Book-shaped objects act very much like true books, in that they are portable objects designed to protect their contentsand also are concerned with the use of beautiful materials and ornaments, as well as the need to educate and amuse the reader for their resemblance to true books and their inventive designs. Dubansky explores the history and structures of these objects, which date from the nineteenth and twentieth centuries.

*All articles in the issue were reviewed and accepted by the editorial board as meeting our standards of excellence.  Those marked with an asterisk also meet academic peer-review standards.

[guildofbookworkers-blog]

Now Available: Guild of Book Workers Journal

The long-awaited Guild of Book Workers Journal has been published and mailed to members of the Guild. Not a member?  Click here to order a copy - - or, better yet, HERE to join, and see what you're missing.

Table of Contents

Pamela Smith: The Making of An Edition Paper Marbler

“Taken by surprise, smitten by the magic of  this centuries-old process,” is how Pamela  Smith describes her entry into paper marbling, but editioning, she has learned, takes more than magic. “The work of a production marbler is a painstaking process of matching color and pattern and then repeating it all over and over again…. A quest for perfection, perhaps, always one step away…. Marbling is a study in movement, one in which technical know-how becomes as important as artistic sense. And even then there are few guarantees.”

 *Aimee Lee: Hanji in the Hands: Korean Papermaking Methods and Creative Uses

Handmade Korean paper, or hanji, has slowly been gaining attention in the wider art, craft, and conservation worlds. Lee’s studies have led her to an understanding of the methods, history, and uses of this luminous and resilient paper, and a deep appreciation of the contemporary artists who use hanji with innovative, impressive, and always beautiful results. Here she introduces us to the world of hanji and offers a gallery of hanji artists’ work.

Nancy Jacobi: Chiyogami and Katazome-shi: The Hand-printed Papers of Japan

The current worldwide popularity of the decorative papers of Japan—chiyogami and katazome-shi—would suggest that they are designs hot off the contemporary press. Stripes, dots, checkerboards, multiple lines of geometric shapes, and flowers—these patterns fit perfectly into the current mode for simplicity, repetition, and graphic order. In fact, the origins of the patterns printed today on paper by both silkscreen and stencil often go back 1300 years, following the religious, political, and social history of Japan through its motifs and symbols, and even further back to their roots in China.

Tim Barrett: Recommendations for Establishing a Paper Mill, Tomaso of Pinerolo, 1407 (A fictionalized proposal)

Tomaso, a skilled, if fictional, Italian papermaker learned the craft of papermaking as a young person and eventually became well established a paper mill foreman, renowned for his knowledge of the intricacies of the craft. Through his eyes, Barrett gives us a glimpse into what the process of papermaking very likely was in the fifteenth century, and along the way draws attention to those ingredients and processes that result in a truly fine sheet of paper that will stand the test of time.

*Katie Smith: An In-boards Paper Binding: P. Cornelii Taciti

In the special collections department of the David O. McKay library at Brigham Young University–Idaho, Smith found an apparently unique in-boards paper binding structure on the book P. Cornelii Taciti. Here she discusses the scant history of this binding—determined by structural components and uncovered manuscript writing—as well as some of the more noteworthy structural elements of the binding itself. She also provides a step-by-step guide, based on her conservation of the book, to making a model or artistic rendering of the binding.

 *Barbara Rhodes: Reading Between the Lines: The Colorful History of Invisible Ink

Not just for spies and schoolchildren, sympathetic inks—invisible inks—have been around since at least the fifteenth century. Chemically, many sympathetic inks are related to the materials of early photography, document copying, and dyeing, and also to the so-called security or safety inks and papers used to prevent forgery and counterfeiting. In this essay, Rhodes traces the history of invisible inks and discusses the practicalities of using them (such as choice of papers and writing utensils), and the detection of invisible writing.

Mindell Dubansky: Blooks: Things that Look Like Books, But Aren’t

Book-shaped objects act very much like true books, in that they are portable objects designed to protect their contentsand also are concerned with the use of beautiful materials and ornaments, as well as the need to educate and amuse the reader for their resemblance to true books and their inventive designs. Dubansky explores the history and structures of these objects, which date from the nineteenth and twentieth centuries.

*All articles in the issue were reviewed and accepted by the editorial board as meeting our standards of excellence.  Those marked with an asterisk also meet academic peer-review standards.

[guildofbookworkers-blog]

Review of My First Time at Standards

By Jackie Scott 

The Standards of Excellence Seminar took place in Las Vegas this year, from October 9-11. It was my first time attending, and as a second year student at the North Bennet Street School, it was an invaluable opportunity to network and absorb inspiration to take back with me to my last year of school.

I arrived to the Excalibur hotel, where the conference was held, on Thursday afternoon. The vendor room was open when I arrived, so after registering I headed over to check out the many treasures that were for sale. In addition to the leather vendors (Hewit, Harmatan, Pergamena, and Steve Siegel), there were tools and papers for sale from vendors such as Talas, the Japanese Paper Place, and Jim Croft, among many others. The American Academy of Bookbinding and the North Bennet Street School were also represented. I took a quick stock of the items I was most excited about and made a mental note of what to buy the next day.

On Thursday evening, a reception was held at University of Las Vegas. It was a great opportunity to see some old friends and meet new ones. I’m constantly amazed by how well connected the bookbinding community is, and how much everyone seems to enjoy reconnecting. As far as professional conferences go, Standards must be among one of the friendliest.  

My Friday morning began with a real shopping trip to the vendor room. Armed with my mental list from the day before, I hit up various vendors and purchased many wonderful bookbinding materials including leather, a miniature book in sheets from Rebecca Press, and some small tools. I tried hard to remember that both my pocketbook and luggage were limited, but with so many wonderful papers and the ability to see skins of leather in person, it was difficult to hold back.

The first session of the day was led by Emily Martin, proprietor of Naughty Dog Press and teacher at the University of Iowa Center for the Book. She demonstrated how to construct a carousel book using an abbreviated version of her artist book The Tragedy of Romeo and Juliet as a model. I was particularly interested in this demo, as I have wanted to make a carousel book for a long time. Emily’s demonstration was very clear, and even included instruction on how to use the ink transfer mono-printing technique that she used to create the images in Romeo and Juliet. As a former printmaker, this was particularly interesting! For those who were unable to attend the conference but are interested in more in-depth overviews of the four sessions, keep an eye out for the next Guild newsletter. Write-ups of each of the sessions will be included!

After a mid-day snack of cookies and tea and some light bookish conversation, the day continued with Peter Geraty’s demonstration of the parchment over boards binding. Peter is the owner of Praxis Bindery in Westhampton, MA and has had a long career working for various binders and conservation labs in MA. An impressive undertaking for the allotted 90 minutes, Peter masterfully demonstrated how to work with a material that usually makes many bookbinders’ palms sweat.

While he wasn’t able to finish the binding for us, he was determined that the audience leave with a solid understanding of the structure, working untiringly past the 5:00 end time in order to take the book through the most crucial stages. The finished books he had on display were stunning, and I left the demonstration with lofty goal of using the parchment under my bench to attempt my own model.

Following the final session was a meet and greet, where attendees were encouraged to bring examples of their work. There was a huge range of books on show, from miniatures to fine bindings to big fat gothic and Coptic bindings.

My second night in Vegas consisted of what seemed like a ten-mile walk down the strip to the Bellagio (someone said during the trip that there is probably a circle of Hell where you are forced to do nothing but walk the Vegas strip forever), where we were greeted by one of the most ornate lobbies I’ve ever seen, complete with Chihuly sculptures and talking trees. The famous water fountain show was beautiful, but completely out-done by the fire show we saw the next night at the Mirage. I will spare you all the finer details of the rest of my walk down the strip. In short: lights, dance tunes, and scantily clad ladies wherever we turned. It was a truly strange and entertaining place for the Guild of Book Workers’ conference to be held.

Saturday morning’s session was given by Jana D'ambrogio, the Thomas F. Peterson Conservator for the Massachusetts Institute of Technology Libraries. Jana presented on historical letterlocking, a passion project of hers that has taken her as far as the Vatican to study how human kind has tried to keep their correspondence secret throughout history. She showed us many different anti-tampering devices including wax balls and paper daggers, and provided her own letters for us to both unlock and lock. Her fondness for the subject was infectious and I am looking forward to educating my faraway friends with my next correspondence!

Our final session was on the medieval girdle book structure, given by Renate Mesmer, Head of Conservation at the Folger Shakespeare Library. An entertaining end to the day, we were treated to an opening trombone fanfare from Jim Croft, who was decked out in medieval-style garb. Renate and her assistant were also dressed appropriately for the subject matter.

The session began with a brief history of the structure and then Renate took us through the making of the book, with side notes on materials and working methods from Jim Croft throughout. I purchased a goat split from Pergamena and look forward to working on my own girdle book model back in Boston.

After a power nap Saturday afternoon (Vegas’s non-stop energy really took it’s toll on me!), I made my way back to the conference rooms for the closing banquet. Everyone was dressed to the nines in some sort of creative medieval-inspired costume. Chela Metzger’s hand crafted shield was a highlight, as were the knit crowns that Colin Urbina brought for the North Bennet Street School gang to wear (lovingly knitted by Caitlyn Thompson). The banquet was certainly a high point of the trip for me. It was a joy to see the American Academy of Bookbinding graduates honored, as well as the Sam Ellenport and Julia Miller for their dedication to the craft of bookbinding. The bookbinding world is full of smart, creative and hard-working people, and many of them were together in one room that night. After dinner and awards, the live auction began. As a scholarship recipient, I was required to act as one of the “Vanas,” trying my hardest to make each auction item look as tantalizing as possible. The job was not too difficult, because there were some amazing things up for bid including one of Renate’s girdle books, the abbreviated Romeo and Juliet carousel book from Emily Martin, and a book that opens up into a rechargeable LED lamp. It seems as though we did well with our Vana task, because the Guild raised a great amount of money for the Standards scholarship fund.  

All-in-all, my trip to Vegas for Standards was well worth it. I was able to re-connect with former colleagues and teachers, make many new connections, and left with inspiration and goals for the remainder of my time at the North Bennet Street School. I am thankful that I was able to attend during my last year as a student, and plan on returning to many more conferences in future years.

[guildofbookworkers-blog]

Review of My First Time at Standards

By Jackie Scott 

The Standards of Excellence Seminar took place in Las Vegas this year, from October 9-11. It was my first time attending, and as a second year student at the North Bennet Street School, it was an invaluable opportunity to network and absorb inspiration to take back with me to my last year of school.

I arrived to the Excalibur hotel, where the conference was held, on Thursday afternoon. The vendor room was open when I arrived, so after registering I headed over to check out the many treasures that were for sale. In addition to the leather vendors (Hewit, Harmatan, Pergamena, and Steve Siegel), there were tools and papers for sale from vendors such as Talas, the Japanese Paper Place, and Jim Croft, among many others. The American Academy of Bookbinding and the North Bennet Street School were also represented. I took a quick stock of the items I was most excited about and made a mental note of what to buy the next day.

On Thursday evening, a reception was held at University of Las Vegas. It was a great opportunity to see some old friends and meet new ones. I’m constantly amazed by how well connected the bookbinding community is, and how much everyone seems to enjoy reconnecting. As far as professional conferences go, Standards must be among one of the friendliest.  

My Friday morning began with a real shopping trip to the vendor room. Armed with my mental list from the day before, I hit up various vendors and purchased many wonderful bookbinding materials including leather, a miniature book in sheets from Rebecca Press, and some small tools. I tried hard to remember that both my pocketbook and luggage were limited, but with so many wonderful papers and the ability to see skins of leather in person, it was difficult to hold back.

The first session of the day was led by Emily Martin, proprietor of Naughty Dog Press and teacher at the University of Iowa Center for the Book. She demonstrated how to construct a carousel book using an abbreviated version of her artist book The Tragedy of Romeo and Juliet as a model. I was particularly interested in this demo, as I have wanted to make a carousel book for a long time. Emily’s demonstration was very clear, and even included instruction on how to use the ink transfer mono-printing technique that she used to create the images in Romeo and Juliet. As a former printmaker, this was particularly interesting! For those who were unable to attend the conference but are interested in more in-depth overviews of the four sessions, keep an eye out for the next Guild newsletter. Write-ups of each of the sessions will be included!

After a mid-day snack of cookies and tea and some light bookish conversation, the day continued with Peter Geraty’s demonstration of the parchment over boards binding. Peter is the owner of Praxis Bindery in Westhampton, MA and has had a long career working for various binders and conservation labs in MA. An impressive undertaking for the allotted 90 minutes, Peter masterfully demonstrated how to work with a material that usually makes many bookbinders’ palms sweat.

While he wasn’t able to finish the binding for us, he was determined that the audience leave with a solid understanding of the structure, working untiringly past the 5:00 end time in order to take the book through the most crucial stages. The finished books he had on display were stunning, and I left the demonstration with lofty goal of using the parchment under my bench to attempt my own model.

Following the final session was a meet and greet, where attendees were encouraged to bring examples of their work. There was a huge range of books on show, from miniatures to fine bindings to big fat gothic and Coptic bindings.

My second night in Vegas consisted of what seemed like a ten-mile walk down the strip to the Bellagio (someone said during the trip that there is probably a circle of Hell where you are forced to do nothing but walk the Vegas strip forever), where we were greeted by one of the most ornate lobbies I’ve ever seen, complete with Chihuly sculptures and talking trees. The famous water fountain show was beautiful, but completely out-done by the fire show we saw the next night at the Mirage. I will spare you all the finer details of the rest of my walk down the strip. In short: lights, dance tunes, and scantily clad ladies wherever we turned. It was a truly strange and entertaining place for the Guild of Book Workers’ conference to be held.

Saturday morning’s session was given by Jana D'ambrogio, the Thomas F. Peterson Conservator for the Massachusetts Institute of Technology Libraries. Jana presented on historical letterlocking, a passion project of hers that has taken her as far as the Vatican to study how human kind has tried to keep their correspondence secret throughout history. She showed us many different anti-tampering devices including wax balls and paper daggers, and provided her own letters for us to both unlock and lock. Her fondness for the subject was infectious and I am looking forward to educating my faraway friends with my next correspondence!

Our final session was on the medieval girdle book structure, given by Renate Mesmer, Head of Conservation at the Folger Shakespeare Library. An entertaining end to the day, we were treated to an opening trombone fanfare from Jim Croft, who was decked out in medieval-style garb. Renate and her assistant were also dressed appropriately for the subject matter.

The session began with a brief history of the structure and then Renate took us through the making of the book, with side notes on materials and working methods from Jim Croft throughout. I purchased a goat split from Pergamena and look forward to working on my own girdle book model back in Boston.

After a power nap Saturday afternoon (Vegas’s non-stop energy really took it’s toll on me!), I made my way back to the conference rooms for the closing banquet. Everyone was dressed to the nines in some sort of creative medieval-inspired costume. Chela Metzger’s hand crafted shield was a highlight, as were the knit crowns that Colin Urbina brought for the North Bennet Street School gang to wear (lovingly knitted by Caitlyn Thompson). The banquet was certainly a high point of the trip for me. It was a joy to see the American Academy of Bookbinding graduates honored, as well as the Sam Ellenport and Julia Miller for their dedication to the craft of bookbinding. The bookbinding world is full of smart, creative and hard-working people, and many of them were together in one room that night. After dinner and awards, the live auction began. As a scholarship recipient, I was required to act as one of the “Vanas,” trying my hardest to make each auction item look as tantalizing as possible. The job was not too difficult, because there were some amazing things up for bid including one of Renate’s girdle books, the abbreviated Romeo and Juliet carousel book from Emily Martin, and a book that opens up into a rechargeable LED lamp. It seems as though we did well with our Vana task, because the Guild raised a great amount of money for the Standards scholarship fund.  

All-in-all, my trip to Vegas for Standards was well worth it. I was able to re-connect with former colleagues and teachers, make many new connections, and left with inspiration and goals for the remainder of my time at the North Bennet Street School. I am thankful that I was able to attend during my last year as a student, and plan on returning to many more conferences in future years.

[guildofbookworkers-blog]

Review of My First Time at Standards

By Jackie Scott 

The Standards of Excellence Seminar took place in Las Vegas this year, from October 9-11. It was my first time attending, and as a second year student at the North Bennet Street School, it was an invaluable opportunity to network and absorb inspiration to take back with me to my last year of school.

I arrived to the Excalibur hotel, where the conference was held, on Thursday afternoon. The vendor room was open when I arrived, so after registering I headed over to check out the many treasures that were for sale. In addition to the leather vendors (Hewit, Harmatan, Pergamena, and Steve Siegel), there were tools and papers for sale from vendors such as Talas, the Japanese Paper Place, and Jim Croft, among many others. The American Academy of Bookbinding and the North Bennet Street School were also represented. I took a quick stock of the items I was most excited about and made a mental note of what to buy the next day.

On Thursday evening, a reception was held at University of Las Vegas. It was a great opportunity to see some old friends and meet new ones. I’m constantly amazed by how well connected the bookbinding community is, and how much everyone seems to enjoy reconnecting. As far as professional conferences go, Standards must be among one of the friendliest.  

My Friday morning began with a real shopping trip to the vendor room. Armed with my mental list from the day before, I hit up various vendors and purchased many wonderful bookbinding materials including leather, a miniature book in sheets from Rebecca Press, and some small tools. I tried hard to remember that both my pocketbook and luggage were limited, but with so many wonderful papers and the ability to see skins of leather in person, it was difficult to hold back.

The first session of the day was led by Emily Martin, proprietor of Naughty Dog Press and teacher at the University of Iowa Center for the Book. She demonstrated how to construct a carousel book using an abbreviated version of her artist book The Tragedy of Romeo and Juliet as a model. I was particularly interested in this demo, as I have wanted to make a carousel book for a long time. Emily’s demonstration was very clear, and even included instruction on how to use the ink transfer mono-printing technique that she used to create the images in Romeo and Juliet. As a former printmaker, this was particularly interesting! For those who were unable to attend the conference but are interested in more in-depth overviews of the four sessions, keep an eye out for the next Guild newsletter. Write-ups of each of the sessions will be included!

After a mid-day snack of cookies and tea and some light bookish conversation, the day continued with Peter Geraty’s demonstration of the parchment over boards binding. Peter is the owner of Praxis Bindery in Westhampton, MA and has had a long career working for various binders and conservation labs in MA. An impressive undertaking for the allotted 90 minutes, Peter masterfully demonstrated how to work with a material that usually makes many bookbinders’ palms sweat.

While he wasn’t able to finish the binding for us, he was determined that the audience leave with a solid understanding of the structure, working untiringly past the 5:00 end time in order to take the book through the most crucial stages. The finished books he had on display were stunning, and I left the demonstration with lofty goal of using the parchment under my bench to attempt my own model.

Following the final session was a meet and greet, where attendees were encouraged to bring examples of their work. There was a huge range of books on show, from miniatures to fine bindings to big fat gothic and Coptic bindings.

My second night in Vegas consisted of what seemed like a ten-mile walk down the strip to the Bellagio (someone said during the trip that there is probably a circle of Hell where you are forced to do nothing but walk the Vegas strip forever), where we were greeted by one of the most ornate lobbies I’ve ever seen, complete with Chihuly sculptures and talking trees. The famous water fountain show was beautiful, but completely out-done by the fire show we saw the next night at the Mirage. I will spare you all the finer details of the rest of my walk down the strip. In short: lights, dance tunes, and scantily clad ladies wherever we turned. It was a truly strange and entertaining place for the Guild of Book Workers’ conference to be held.

Saturday morning’s session was given by Jana D'ambrogio, the Thomas F. Peterson Conservator for the Massachusetts Institute of Technology Libraries. Jana presented on historical letterlocking, a passion project of hers that has taken her as far as the Vatican to study how human kind has tried to keep their correspondence secret throughout history. She showed us many different anti-tampering devices including wax balls and paper daggers, and provided her own letters for us to both unlock and lock. Her fondness for the subject was infectious and I am looking forward to educating my faraway friends with my next correspondence!

Our final session was on the medieval girdle book structure, given by Renate Mesmer, Head of Conservation at the Folger Shakespeare Library. An entertaining end to the day, we were treated to an opening trombone fanfare from Jim Croft, who was decked out in medieval-style garb. Renate and her assistant were also dressed appropriately for the subject matter.

The session began with a brief history of the structure and then Renate took us through the making of the book, with side notes on materials and working methods from Jim Croft throughout. I purchased a goat split from Pergamena and look forward to working on my own girdle book model back in Boston.

After a power nap Saturday afternoon (Vegas’s non-stop energy really took it’s toll on me!), I made my way back to the conference rooms for the closing banquet. Everyone was dressed to the nines in some sort of creative medieval-inspired costume. Chela Metzger’s hand crafted shield was a highlight, as were the knit crowns that Colin Urbina brought for the North Bennet Street School gang to wear (lovingly knitted by Caitlyn Thompson). The banquet was certainly a high point of the trip for me. It was a joy to see the American Academy of Bookbinding graduates honored, as well as the Sam Ellenport and Julia Miller for their dedication to the craft of bookbinding. The bookbinding world is full of smart, creative and hard-working people, and many of them were together in one room that night. After dinner and awards, the live auction began. As a scholarship recipient, I was required to act as one of the “Vanas,” trying my hardest to make each auction item look as tantalizing as possible. The job was not too difficult, because there were some amazing things up for bid including one of Renate’s girdle books, the abbreviated Romeo and Juliet carousel book from Emily Martin, and a book that opens up into a rechargeable LED lamp. It seems as though we did well with our Vana task, because the Guild raised a great amount of money for the Standards scholarship fund.  

All-in-all, my trip to Vegas for Standards was well worth it. I was able to re-connect with former colleagues and teachers, make many new connections, and left with inspiration and goals for the remainder of my time at the North Bennet Street School. I am thankful that I was able to attend during my last year as a student, and plan on returning to many more conferences in future years.

[guildofbookworkers-blog]

30th Anniversary Benefit Auction at University of Iowa Libraries

In 1984 Conservator Bill Anthony established a conservation program to address the physical needs of the collections at the University of Iowa Libraries, from stabilization and simple repairs to complex rebinding projects. In 1987 the Lab merged with the newly formed Preservation Department to provide treatment to circulating and non-circulating materials in all the University Libraries. With funding from the Mellon Foundation, Anthony created conservation apprenticeships that mirrored his traditional training as a bookbinder. Today that teaching legacy continues with preservation and conservation classes, mentorships, and student positions in the Conservation Lab. In partnership with the University of Iowa Center for the Book, students involved in bookbinding, papermaking and printing can further their study of the book through conservation treatment.

In celebration of Bill Anthony's legacy, the Conservation Lab is hosting an auction to benefit the William Anthony Conservation Fund, which supports ongoing conservation activities and special projects. The Auction will feature fine bindings from “alumni” and friends of the Conservation Lab, including Mark Esser, Pamela Spitzmueller, Gary Frost, Penny McKean, Anna Embree, Julie Leonard, Emily Martin, William Minter, Lawrence Yerkes, Bill Voss, Caitlin Moore, and handmade tools from Shanna Leino. Please visit our blog: http://blog.lib.uiowa.edu/preservation/ for images of the bindings and profiles of the amazing artists who have contributed their work.

The auction will be held in Special Collections, 3rd floor of the Main Library, on November 13th from 6-8pm, however it is possible to bid online. More details are available at http://www.lib.uiowa.edu/preservation/30years/.

[guildofbookworkers-blog]

30th Anniversary Benefit Auction at University of Iowa Libraries

In 1984 Conservator Bill Anthony established a conservation program to address the physical needs of the collections at the University of Iowa Libraries, from stabilization and simple repairs to complex rebinding projects. In 1987 the Lab merged with the newly formed Preservation Department to provide treatment to circulating and non-circulating materials in all the University Libraries. With funding from the Mellon Foundation, Anthony created conservation apprenticeships that mirrored his traditional training as a bookbinder. Today that teaching legacy continues with preservation and conservation classes, mentorships, and student positions in the Conservation Lab. In partnership with the University of Iowa Center for the Book, students involved in bookbinding, papermaking and printing can further their study of the book through conservation treatment.

In celebration of Bill Anthony's legacy, the Conservation Lab is hosting an auction to benefit the William Anthony Conservation Fund, which supports ongoing conservation activities and special projects. The Auction will feature fine bindings from “alumni” and friends of the Conservation Lab, including Mark Esser, Pamela Spitzmueller, Gary Frost, Penny McKean, Anna Embree, Julie Leonard, Emily Martin, William Minter, Lawrence Yerkes, Bill Voss, Caitlin Moore, and handmade tools from Shanna Leino. Please visit our blog: http://blog.lib.uiowa.edu/preservation/ for images of the bindings and profiles of the amazing artists who have contributed their work.

The auction will be held in Special Collections, 3rd floor of the Main Library, on November 13th from 6-8pm, however it is possible to bid online. More details are available at http://www.lib.uiowa.edu/preservation/30years/.

[guildofbookworkers-blog]

30th Anniversary Benefit Auction at University of Iowa Libraries

In 1984 Conservator Bill Anthony established a conservation program to address the physical needs of the collections at the University of Iowa Libraries, from stabilization and simple repairs to complex rebinding projects. In 1987 the Lab merged with the newly formed Preservation Department to provide treatment to circulating and non-circulating materials in all the University Libraries. With funding from the Mellon Foundation, Anthony created conservation apprenticeships that mirrored his traditional training as a bookbinder. Today that teaching legacy continues with preservation and conservation classes, mentorships, and student positions in the Conservation Lab. In partnership with the University of Iowa Center for the Book, students involved in bookbinding, papermaking and printing can further their study of the book through conservation treatment.

In celebration of Bill Anthony's legacy, the Conservation Lab is hosting an auction to benefit the William Anthony Conservation Fund, which supports ongoing conservation activities and special projects. The Auction will feature fine bindings from “alumni” and friends of the Conservation Lab, including Mark Esser, Pamela Spitzmueller, Gary Frost, Penny McKean, Anna Embree, Julie Leonard, Emily Martin, William Minter, Lawrence Yerkes, Bill Voss, Caitlin Moore, and handmade tools from Shanna Leino. Please visit our blog: http://blog.lib.uiowa.edu/preservation/ for images of the bindings and profiles of the amazing artists who have contributed their work.

The auction will be held in Special Collections, 3rd floor of the Main Library, on November 13th from 6-8pm, however it is possible to bid online. More details are available at http://www.lib.uiowa.edu/preservation/30years/.

[guildofbookworkers-blog]

Plan to eat in Vegas!

With Standards less than a month away, I'm sure that just like me, all of the attendees are beginning to plan their extracurricular activities. There are plenty of intriguing and unusual museums, fabulous shops, theatrical shows and oh, right gambling to keep you entertained outside of Guild events. The GBW information page for Standards has been updated to offer some helpful ideas for nearby eateries to Excalibur, a map of the Las Vegas Strip, ways to move around the city and more. 

Vegas has a lot of variety to offer, but if you feel like indulging yourself with some superb cuisine. Check out this article sent to me by Jeff Peachey from The New York Times titled Las Vegas, Off the Eaten Path. If a drum of coconut panna cotta in a wine glass surrounded by buttons of mango mousse, balls of cantaloupe sorbet and caramelized bananas sounds tantalizing to you, then check out Sweets Raku. But if you have more of a meat and potatoes type of appetite then Carson Kitchen might be the place for you. Check out the article and don't forget to indulge in something other than leather when in Vegas. 

[guildofbookworkers-blog]

Don't Forget to Submit // Intent to Enter for Vessel

The Guild of Book Workers invites all members to participate in its 2015-2017 traveling juried exhibition, Vessel. The book as vessel inspires beautiful metaphor - a craft for traveling, a container, a holder, a receiver, a transporter. Across time and culture, the vessel is a the center of many ceremonies and rites of passage. Native American cultures regarded the vessel as a portal to a sacred realm. The book as craft is our vessel to sail the high seas, to hold our dearest memories, and to indicate the pulse of life.

Guild of Book Worker members are invited to interpret 'vessel' as broadly or as narrowly as the wish.

So whether you are about to place the last piece of gold leaf or are still searching for the perfect book to bind, you still have enough time to submit your Intent to Enter form. Please submit your form by October 17, 2014. Several types of work are eligible for this exhibit, which include Fine/Edition bindings, Artist Books, Broadsides and Conservation Treatments or Historical Structures. If you have more than one idea, good for you, feel free to submit up to two objects.

Get your Intent to Enter form in now! You should have also received a paper copy of the form in your last GBW newsletter, if you need to send it in as a paper form. 

The Jury panel will include Sarah Bryant, Timothy Ely and Deborah Howe. You can read more about each juror here. 

Good luck and I can't wait to see how our creative and talented members intrepret such an ambiguous theme. 

[guildofbookworkers-blog]

Plan to eat in Vegas!

With Standards less than a month away, I'm sure that just like me, all of the attendees are beginning to plan their extracurricular activities. There are plenty of intriguing and unusual museums, fabulous shops, theatrical shows and oh, right gambling to keep you entertained outside of Guild events. The GBW information page for Standards has been updated to offer some helpful ideas for nearby eateries to Excalibur, a map of the Las Vegas Strip, ways to move around the city and more. 

Vegas has a lot of variety to offer, but if you feel like indulging yourself with some superb cuisine. Check out this article sent to me by Jeff Peachey from The New York Times titled Las Vegas, Off the Eaten Path. If a drum of coconut panna cotta in a wine glass surrounded by buttons of mango mousse, balls of cantaloupe sorbet and caramelized bananas sounds tantalizing to you, then check out Sweets Raku. But if you have more of a meat and potatoes type of appetite then Carson Kitchen might be the place for you. Check out the article and don't forget to indulge in something other than leather when in Vegas. 

[guildofbookworkers-blog]

Don't Forget to Submit // Intent to Enter for Vessel

The Guild of Book Workers invites all members to participate in its 2015-2017 traveling juried exhibition, Vessel. The book as vessel inspires beautiful metaphor - a craft for traveling, a container, a holder, a receiver, a transporter. Across time and culture, the vessel is a the center of many ceremonies and rites of passage. Native American cultures regarded the vessel as a portal to a sacred realm. The book as craft is our vessel to sail the high seas, to hold our dearest memories, and to indicate the pulse of life.

Guild of Book Worker members are invited to interpret 'vessel' as broadly or as narrowly as the wish.

So whether you are about to place the last piece of gold leaf or are still searching for the perfect book to bind, you still have enough time to submit your Intent to Enter form. Please submit your form by October 17, 2014. Several types of work are eligible for this exhibit, which include Fine/Edition bindings, Artist Books, Broadsides and Conservation Treatments or Historical Structures. If you have more than one idea, good for you, feel free to submit up to two objects.

Get your Intent to Enter form in now! You should have also received a paper copy of the form in your last GBW newsletter, if you need to send it in as a paper form. 

The Jury panel will include Sarah Bryant, Timothy Ely and Deborah Howe. You can read more about each juror here. 

Good luck and I can't wait to see how our creative and talented members intrepret such an ambiguous theme. 

[guildofbookworkers-blog]

Plan to eat in Vegas!

With Standards less than a month away, I'm sure that just like me, all of the attendees are beginning to plan their extracurricular activities. There are plenty of intriguing and unusual museums, fabulous shops, theatrical shows and oh, right gambling to keep you entertained outside of Guild events. The GBW information page for Standards has been updated to offer some helpful ideas for nearby eateries to Excalibur, a map of the Las Vegas Strip, ways to move around the city and more. 

Vegas has a lot of variety to offer, but if you feel like indulging yourself with some superb cuisine. Check out this article sent to me by Jeff Peachey from The New York Times titled Las Vegas, Off the Eaten Path. If a drum of coconut panna cotta in a wine glass surrounded by buttons of mango mousse, balls of cantaloupe sorbet and caramelized bananas sounds tantalizing to you, then check out Sweets Raku. But if you have more of a meat and potatoes type of appetite then Carson Kitchen might be the place for you. Check out the article and don't forget to indulge in something other than leather when in Vegas. 

[guildofbookworkers-blog]

Don't Forget to Submit // Intent to Enter for Vessel

The Guild of Book Workers invites all members to participate in its 2015-2017 traveling juried exhibition, Vessel. The book as vessel inspires beautiful metaphor - a craft for traveling, a container, a holder, a receiver, a transporter. Across time and culture, the vessel is a the center of many ceremonies and rites of passage. Native American cultures regarded the vessel as a portal to a sacred realm. The book as craft is our vessel to sail the high seas, to hold our dearest memories, and to indicate the pulse of life.

Guild of Book Worker members are invited to interpret 'vessel' as broadly or as narrowly as the wish.

So whether you are about to place the last piece of gold leaf or are still searching for the perfect book to bind, you still have enough time to submit your Intent to Enter form. Please submit your form by October 17, 2014. Several types of work are eligible for this exhibit, which include Fine/Edition bindings, Artist Books, Broadsides and Conservation Treatments or Historical Structures. If you have more than one idea, good for you, feel free to submit up to two objects.

Get your Intent to Enter form in now! You should have also received a paper copy of the form in your last GBW newsletter, if you need to send it in as a paper form. 

The Jury panel will include Sarah Bryant, Timothy Ely and Deborah Howe. You can read more about each juror here. 

Good luck and I can't wait to see how our creative and talented members intrepret such an ambiguous theme. 

[guildofbookworkers-blog]

Vessel - The Guild of Book Workers 2015-2017 Traveling Exhibition

The Guild of Book Workers invites all members to participate in its 2015-2017 traveling juried exhibition, Vessel. The book as vessel inspires beautiful metaphor - a craft for traveling, a container, a holder, a receiver, a transporter. Across time and culture, the vessel is at the center of many ceremonies and rites of passage. Native American cultures regarded the vessel as a portal to a sacred realm. The book as craft is our vessel to sail the high seas, to hold our dearest memories, and to indicate the pulse of life. Guild of Book Workers members are invited to interpret “vessel” as broadly or as narrowly as they wish.

SCOPE OF EXHIBIT

This exhibition will feature approximately 50 works by Guild members. Opening in the spring of 2015, the Vessel exhibition will travel to between six and nine venues across the U.S., closing in the spring of 2017. Selected works will include fine and edition bindings, artist’s books, broadsides (letterpress printing, calligraphy, and decorative papermaking), and historical binding models. Works will be selected by a jury to ensure that they are of excellent quality.

ELIGIBILITY

All entrants must be members in good standing of the Guild of Book Workers at the time of submission and carry a current membership throughout the entire run of the exhibition. Member registration may accompany entry, along with entry fee. Entrants may submit a total of two works. An Intent to Enter form must be submitted online by October 17, 2014 in order to be notified of exhibitions updates and a link to the online entry form. Works will be juried from digital images.

ENTRY PROCESS & TIMELINE (exact dates subject to change)

• INTENT TO ENTER: SEPTEMBER 1, 2014 – OCTOBER 17, 2014

• OPEN CALL FOR ENTRY: JANUARY 15, 2015 – MARCH 1, 2015

• NOTIFICATION OF ACCEPTANCE: APRIL 1, 2015

• WORK DUE TO RECEIVING VENUE: MAY 05, 2015

CATALOG

A full color printed catalog will be produced by GBW and made available for sale online and at the exhibition locations. The catalog will depict all 50 works, plus binding descriptions and biographical statements by each binder.

Click here for a printable flyer.