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About Bonefolder Extras The Bonefolder Issues
One of my great pleasures in hosting the Bind-O-Ramas is to to see binders and book artists challenge themselves to try new techniques and often create something truly special. In this case the standout for me is Amy's decorated paper. Below her description of how she created it. Thank you Amy. View all entries featuring bindings of "The Bone Folder" in the 2012 Bind-O-Rama here. Our guest blogger today is Amy Borezo, book artist and edition binder. For the Bind-o-rama exhibit featuring the set book The Bone Folder by Ernst Collin (translated by Peter D. Verheyen), I was inspired to create a version of the German Stiffened Paper Binding. The portion of the text itself which most interested me was the section on decorative papers. While the binding style is modest, I wanted the decorative paper used for the covering material to be inventive having both a modern feel to echo the graphics of the time period in which the book was written, and a contemporary, process-oriented sensibility. To accomplish this, I used a bone folder (in keeping with the title of the book) to score a pattern on paper, which I then folded and airbrushed to create a unique geometric design. To begin, I first scored a hexagonal grid onto a piece of Cave paper using a metal bonefolder. Next, I folded the paper into a concertina in one direction (horizontal) along the scored lines. Leaving the mountain and valley folds intact, I aimed the airbrush so that the paint would only hit one side of the mountain fold with red paint.
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Book Review (8) Bind-ORama (6) News and Events (5) Tomorrow's Past (4) Issues (3)
Miriam Schaer (3) Australia (2) Bind-ORama 2012 (2) Brisbane (2) John Nove (2) Miscellaneous (2) Pressbengel (2) The Bone Folder (2) bookbinding trade (2) Amy Borezo (1) Anna Embree (1) Beth
Doyle (1) Bibliophile Mysteries (1) Bill Anthony (1) Bill Minter (1) Bookbinding Now (1) Bookbinding and Conservation (1) Cathleen Baker (1) Chela Metzger (1) Concave Spine (1) Don Etherington (1) Editorial Team (1) I Wish To Say (1) Index (1) Jan Sobota (1) Jeffrey S. Peachey (1) Julia Miller (1) Karen Hanmer (1) Kate Carlisle (1) Kathy Abbott (1) Le Petit Parisien (1) Person of the Week. (1) Peter Jennings (1) Peter Verheyen (1) Sheryl Oring (1) University of Iowa (1) Volume 7 (1) Welcome (1) Yale University Library (1) care and handling (1) decorated paper (1) obituary (1) preservation (1) tutorial (1)
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I then turned the paper around 180 degrees and painted the other side of the mountain folds with the airbrush in yellow. The color dries fairly quickly and I was able to now flatten the paper and begin folding along the diagonal scored lines. I changed to white paint and repeated the process of aiming the airbrush to only hit one side of the mountain fold with the white paint. I decided I liked the variation of having heavier coverage of white near one corner with a gradual fade to the other corner. This effect
BLOG ARCHIVE
2012 (14) October (2) Airbrushed Decorated Paper By Amy Borezo Bind-O-Rama 2012 Now
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I flattened the paper again and folded along the opposing diagonal for the final application of white paint. I debated whether to continue along more folds, but felt like the resulting pattern was visually strong. I particularly like that the final design has a strong Art Deco look and that the paint was used to capture the physical process of the pattern being made through folding. I finished the binding by adding a subtle color fade to the book cloth on the spine with the airbrush in red.
FOLLOWERS
Click to enlarge.
Amy Borezo received an MFA in Painting and Printmaking from RISD in 2000. After graduating, she worked both as a bookbinder in a production bindery and as a book mechanic at Daniel Kelm's Wide Awake Garage where she learned that you can reinvent the book each time you make it. Amy is now a contemporary book artist and the proprietor of Shelter Bookworks, an edition binding studio in Western Massachusetts.
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Though often cursed as constraining choice, set book exhibits can also be fun as exemplified by the entries that largely stayed true to the Germanic nature of the text. High-points for me were the decorated papers and the adoption of more basic structures, including the stiffened paper binding. Sometimes less is more. We hope you will enjoy this exhibition featuring the work of established and nascent binders.
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Recommend this on Google Labels: Bind-O-Rama 2012, Pressbengel, The Bone Folder
Bind-O-Rama 2012
Recommend this on Google Labels: Bind-O-Rama 2012, Pressbengel, The Bone Folder
Long story short, the opportunity was too good to pass up. With the permission of Bobbi Pilette, Director of Preservation at Yale I had our audio engineer digitize the audio cassette (still in very good condition after all these years) including the pulses to
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advance the projector and had the slides digitized as well. The result is now available on YouTube in all its glory. Processing of images was minimal so the full retro effect is there. View direct at YouTube here.
The script is linked to in PDF form under "bullet 3" when one clicks on show more below the video at YouTube or direct here. The presentation was prepared at the Yale University Library under a grant from the National Endowment for the Humanities by Anne Dutlinger, Peggy Madison, Jan MerrillOldham, Pamela Spitzmueller. Jane Greenfield and Gay Walker were project directors, . While the fashions and hair are (still) vintage, the information is as relevant as ever and worth sharing more widely. Enjoy,
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Recommend this on Google Labels: care and handling, preservation, Yale University Library
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The image is from the collection of Charlene Matthews of Bindery in Hollywood, California.
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Calculated Bookbinding
From
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The Book Arts Web annual online exhibition on The Bone Folder, by Ernst Collin
We are pleased to present The Bone Folder, by Ernst Collin as the 2012 Book Arts Web Bind-O-Rama. This year's event will be a set book affair with participants being asked to bind the same text.
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Translated by Peter D. Verheyen as The Bone Folder, er Pressbengel (1922), is Collins best-known work, and first republished in 1984 by the Mandragora Verlag and later translated into Italian as al Religatore d Arte (1996). Conceived as a dialogue between a bibliophile and a master bookbinder on all aspects of the bookbinding craft as well as specific techniques, the original German has a charming if somewhat pedantically formal school primer tone, in keeping with the time in which it was written. The question-and-answer format has long history in pedagogical texts, whether for religious catechisms or trades, as in Friedrich Frieses Ceremoniel der Buchbinder (1712), which introduces the reader to all aspects of the bookbinding trade and its traditions. Throughout the work, Collin himself is very frank in addressing the conflicts between quality and cost, as well as the positive and negative impacts of machines throughout the work. In his introduction to the 1984 reprint of er Pressbengel, Gustav Moessner, author of and contributor to several German bookbinding texts, states that he sees the Collins work in part as a reaction to the growing industrialization of the bookbinding trade and the loss of the skills and techniques connected with this industrialization. In many respects this trajectory continues today, accelerated by the decrease in formal bookbinding apprenticeship opportunities, the increasing simplification of structures, changing aesthetics, and ultimately changes in the perceived value of books and the general economic climate of Weimar Germany. The text can be downloaded in PDF form, laid out in 7 signatures of 8 pages (sample pages below) each from the Pressbengel Pro ect from the left menu on that page. Bindings can reflect the typical German trade and fine binding styles described in the text, those of other national traditions, or innovative interpretations of these traditional styles. Tutorials to structures in the German tradition can be found here. More information and page samples can be found here.
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