The Changing Book: Transitions in Design, Production, and Preservation

This book review was originally published in the Guild of Book Workers\u27 Newsletter, Vol 181, December, 2008. The Changing Book: Transitions in Design Production, and Preservation publishes the proceedings of the conference of the same name organized by and held at the University of Iowa July 22-25,2005. This conference tied together many threads, from an exhibition honoring the life\u27s work of William (Bill) Anthony, the first conservator at the University of Iowa and teacher to some of today\u27s best, to a tent show which gave the public the opportunity to learn about the book arts hands-on, to 19 formal presentations spanning from the evolution of the book, trends in book production, and the future of the physical book in the face of digital technology. Also covered were aspects ofthe craft of bookbinding, conservation, book arts, and education in the fields

Millimeter Binding / Edelpappband

What we call the “millimeter” binding in North America is a “nobler” version of the German “pappband,” or paper binding, hence the name “edelpappband.” The technique is based on the German case (Bradel) binding which is covered in paper. What distinguishes the technique is that cloth, leather, or vellum trim is added to the head and tail, foredges, and/or corners for greater durability, making the book more elegant at the same time. This article describes how to complete a binding using this technique

Special Formats, Innovative Preservation Storage Solutions

The presentation dealt with the tube storage system developed for architectural and other over-sized drawings at Syracuse University Library

Springback Ledger Bindings

During his introduction, Richard Baker described how, while Deputy Head of the Conservation Bindery of the Johns Hopkins University Library\u27he was introduced to the springback binding. The historical development of the springback, originally patented in Great Britain in 1799 by John and Joseph Williams, is described in Bernard Middleton\u27s History of English Craft Bookbinding, but Middleton does not detail the steps required to complete a binding. The springbackalso has a long history in the German binding tradition, where it continues to see regular use, especially for guestbooks. As a style, the springback is firmly rooted in the trade binding tradition. The springback\u27s robustness and ability to lie fiat and open for extended periods of time without stressing the spine unduly make the structure ideal for use as account and record books. These same qualities also make it suitable for guestbooks, lectern Bibles, and similarly used books. The structure has not see much use on fine bindings or in contemporary book art, regrettably so, especially as the structure would be a suitable platform for many elements of design bindings. Its thick boards would provide a canvas for more sculptural or inset designs. With some minor modification it could also serve as a means of presenting pop-up constructions

Planning for and Managing Digital Projects

Part of the Ready, Set, Digitize workshop series hosted by CLRC and SCLRC. Cortland, NY, September 10, 2007. The full-day workshop described types of digitization projects and discussed infrastructure, funding, standards for file formats and metadata, and the impact on public services /reference

Bookbinding & Conservation: A Sixty-year Odyssey of Art and Craft by Don Etherington

For those involved with bookbinding, book conservation, or with the Guild of Book Workers, Don Etherington needs no introduction – he has served as a teacher, mentor, and friend. Now, with Bookbinding & Conservation: A Sixty-year Odyssey of Art and Craft we can read about how he came to enter this field, was influenced by his teachers and mentors, and how he helped shape the world of bookbinding and conservation. Bookbinding & Conservation: A Sixty-year Odyssey of Art and Craft contains a forward by Bernard Middleton, another leader in the field, and one who needs little introduction himself. It is divided into the five main sections of his life: The First 30 Years, Florence, Library of Congress, Ransom Center at the University of Texas, and Greensboro. The book concludes with an extensive “gallery” depicting 52 bindings

Bookbinding & Conservation: A Sixty-year Odyssey of Art and Craft by Don Etherington

For those involved with bookbinding, book conservation, or with the Guild of Book Workers, Don Etherington needs no introduction – he has served as a teacher, mentor, and friend. Now, with Bookbinding & Conservation: A Sixty-year Odyssey of Art and Craft we can read about how he came to enter this field, was influenced by his teachers and mentors, and how he helped shape the world of bookbinding and conservation. Bookbinding & Conservation: A Sixty-year Odyssey of Art and Craft contains a forward by Bernard Middleton, another leader in the field, and one who needs little introduction himself. It is divided into the five main sections of his life: The First 30 Years, Florence, Library of Congress, Ransom Center at the University of Texas, and Greensboro. The book concludes with an extensive “gallery” depicting 52 bindings

Bringing us together / Getting us out

The past five years have seen an explosion in the use of the Internet by book artists both as a tool for communication and as a means of publicizing their work. Not quite as rapidly, but steadily nevertheless some formerly traditional book artists have left the confines and limitations of hot type on damp paper to explore the creation of books which can only exist in digital form. In this presentation, I will explore how both book artists and the book arts represent themselves using digital media and what I see as some of the implications for the ways in which they have traditionally communicated, learned, and worked. This will be based in large part on my experiences as a binder/conservator, listowner of Book_Arts-L, and webmaster of the Book Arts Web. An html version with clickable links is available at http://www.philobiblon.com/HotType.shtml

Pragmatism and Compromise in Conservation

I write this from the perspective of an apprentice-trained bookbinder and conservator who has spent most of his career working in academic research libraries in the US, work that has included working primarily with special collections, but also heavily used circulating collections and digitization. During this time I have also worked with many other conservators, interns from conservation/preservation programs and students of museum studies and librarianship. While the mission ensuring the long-term health of and continued access to the Library’s collections has not changed, how we do that work and prioritize activities has. This has been a result of changes in staffing, funding, and the priorities of the organization writ large

Digital Preservation: An Historical Perspective and Overview

Introduces the concepts of digital preservation to library school students beginning with various historic analog formats through current cooperative project such as LOCKSS, Fedora, ..