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MESSAGE FROM THE CHAPTER CHAIR
       

I  just  got  back  from  the  Standards  seminar  in  Cleveland  and  came  away  impressed  and  
stimulated.    Do  any  of  you  ever  wonder  whether  you  would  enjoy  Standards  even  
though  not  all  of  the  presentations  are  pertinent  to  your  work?    The  answer  to  this  
question  is  YES  you  would!      
 
For  example,  although  I  really  love  handmade  paper,  I  
have  very  little  interest  in  making  it  myself.  But  the  talk  by  
Andrea  Peterson  on  how  she  makes  paper  using  materials  
from  her  small  farm  using  safe  environmental  practices  
was  fascinating!    At  one  point  she  showed  a  photo  of  her  
goat  eating  the  leaves  off  the  stalk  of  a  plant  that  she  
wanted  to  use  to  make  paper.  She  needed  the  leaves  
stripped  off  and  the  goat  obliged.  Christina  Amato  showed  
us  how  she  makes  miniature  books  that  open  nicely  and  
have  a  greater  attention  to  some  of  the  tiny  details.    She  
also  shared  her  “clasp  hack”  using  dollhouse  door  hinges  
and  told  us  that  she  sometimes  uses  dollhouse  wallpaper  
for  endpapers.  Bill  Minter  gave  an  in  depth  talk  about  the  
meeting  guard,  using  both  historic  examples  and  the  
method  he  currently  uses.    I  always  wondered  about  those  
guards.    Now  I  wonder  a  little  less!      
 
This  year  we  tried  something  new  at  Standards.    We  had  some  smaller  breakout  
sessions  that  were  organized  around  three  topics:    bookbinding,  books  arts,  and  
conservation.    I  attended  the  conservation  session  which  was  a  panel  discussion  lead  by  
Todd  Pattison.    It  was  very  interesting;  I  really  enjoyed  having  an  opportunity  to  engage  
with  a  smaller  group  and  talk  about  how  the  Guild  can  support  book  conservators.  
 
By  the  way,  all  of  these  presentations  will  be  available  DVDs  to  rent  from  the  Guild,  as  
are  many  presentations  from  past  Standards.  
 
So,  when  you  add  to  this  the  vendor's  room  with  all  the  wonderful  supplies  and  tools,  
the  reception  at  the  awesome  Loganberry  Books,  and  a  visit  to  the  fantastic  Cleveland  
Museum  of  Art  with  another  reception  at  the  wonderful  Morgan  Art  of  Papermaking  
Conservatory,  the  seminar  had  much  to  enjoy.    If  you  haven't  been,  you  might  want  to  
think  about  going.    Next  year?    Charleston  South  Carolina,  September  15-­‐17.    Mark  your  
calendars!  
                                                                                                                                                                                                           Jennifer  Rosner  
Miniature  Medieval  binding  
with  clasps  made  from  
dollhouse  door  hinges  by  
Christina  Amato  

 

IN THIS ISSUE
Six questions
Pages 2-3
Letterlocking Workshop
Page 4
Upcycled Opening
Page 5-6
Notable News
Page 6
Upcoming Workshops
Page 7
Latitude Exhibit
Page 8
DELAWARE VALLEY
CHAPTER OFFICERS
Jennifer Rosner
Chapter Chair
Alice Austin
Vice Chair, Treasurer
Rosae Reeder
Secretary
Denise Carbone
Programs Coordinator
Becky Koch
Jackie Manni
Newsletter Editors
Valeria Kremser
Webmaster
Ruth Scott Blackson
Madeline Lambelet
Exhibitions Co-chairs

NEW MEMBERS
Lindsey Hobbs
Princeton, NJ
Dorothy Haldeman
Silver Spring, MD

Page  2                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Spring 2015

6  Questions  –  Sharon  Fickeissen  
 

   
 

1      

   
   How  long  have  you  been  a  
member  of  the  GBW?    
 
    Since  2009?  
 

         

2  

Where  are  you  from    
 originally?  
   

     

   
 

I’m  a  Jersey  girl,  born  and  raised  in    
   Ocean  County,  NJ.
           

 

3  

When  did  you  realize  you    
 wanted  to  learn    
 bookbinding?  

 

     

Bookbinding  happened  to  me.  I  started  working  in  the  library  conservation  lab  as  an  intern  
interested  in  photograph  conservation  and  looking  for  pre-­‐program  experience.  Following  the  
internship,  I  was  hired  on  as  the  technician.  As  I  continued  to  learn  book  repair,  I  realized  how  
much  I  enjoyed  it  and  stuck  with  it.  I’m  still  at  that  job.  I’m  also  pursuing  a  diploma  in  Book  
Conservation  from  the  American  Academy  of  Bookbinding.  

4

 What  is  your  favorite  tool  these  days?  

My  brand  new  English  style  Gingher  offset  paring  knife,  
purchased  directly  from  the  man  himself,  Rick  Gingher,  while  
I  was  in  Summerfield  studying  with  Don  Etherington.  It’s  
beautiful  and  less  awkward  to  use.  

5

   
   

6  
     

     

 

 

 What  are  you  working  on  right  now?  

I’m  humidifying  and  flattening  fabric  swatches  that  comprise  
a  Textile  Color  Card  Association  scrapbook.  The  fabrics  are  
swatches  from  Paris  fashions  of  the  day  (1925-­‐1930),  and  
were  sent  to  America  so  designers  and  fashion  houses  were  
               aware  of  Parisian  trends.  

 

Tell  us  something  about  yourself  that  might  surprise  us.  
 
 

Well,  I  just  wrapped  up  my  second  season  of  mountain  bike  racing  and  am  delighted  to  say  I’m  the  
Mid-­‐Atlantic  Super  Series  Cat  2  Women’s  40+  Champ.  Also,  people  are  always  surprised  I’m  from  
New  Jersey.  

Page  3                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Spring 2015

6  Questions  –  Melissa  Tedone  
       

1      

   
   How  long  have  you  been  a  member  
of  the  GBW?        
   
     

I  joined  the  GBW  DVC  Chapter  just  a  few  
months  ago,  when  I  relocated  to  
Wilmington,  DE.    
 

2  

Where  are  you  from    
 originally?  
 

 
 
 
 

I’m  a  born  and  raised  New  Englander,  but  
for  the  past  six  years  I  was  living  and  
working  in  Iowa.      

3  

 
When  did  you  realize  you  wanted  to  learn  bookbinding?  
 

My  first  exposure  to  bookbinding  was  in  the  6th  grade,  when  my  French  teacher  gave  our  class  an  
assignment  to  write  and  illustrate  a  children’s  book,  and  then  taught  us  to  bind  our  homemade  
books  in  a  simple  case  binding.  Years  later,  I  started  working  part-­‐time  in  a  university  book  
conservation  lab,  and  that’s  when  my  love  affair  with  bookbinding  really  took  off.  

  4

 What  is  your  favorite  book  structure  these  days?  

Lately  I  have  been  interested  in  sewn  structures  that  allow  a  flat  opening,  as  for  sketch  books.  I’m  
likewise  interested  in  creative  applications  of  structural  endbands.      

  5

 What  are  you  working  on  right  now?  

I  recently  started  teaching  the  library  and  archives  major  in  the  Winterthur/University  of  
Delaware  Program  in  Art  Conservation,  so  most  of  my  time  is  directed  toward  understanding  
historic  book  structures  and  the  application  of  this  knowledge  in  book  conservation.  

6  

 
 
Tell  us  something  about  yourself  that  might  surprise  us.  

     
I  was  an  Iowa  Master  Gardener,  and  I  am  always  on  the  lookout  for  ways  to  combine  my  love  of  
gardening  with  my  love  of  bookbinding.      
       
       

Page  4                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Spring 2015

           

Letterlocking  Workshop  with  Jana  Dambrogio  
By  Jackie  Manni  
Cleverly  folded  letters.  Sealing  wax.  Secretaries.  These  phrases  
may  bring  to  mind  nostalgic  missives,  wedding  invitations,  or  
power  structures  of  old,  but  for  Jana  Dambrogio,  MIT  Libraries’  
Thomas  F.  Peterson  Conservator,  they  became  the  entry  into  a  
new  way  of  viewing  the  contents  of  an  archive.  She  realized  
during  her  time  working  in  the  Vatican  Secret  Archives  that  the  
way  letters  were  folded,  sealed,  and  opened  contained  untapped  
knowledge  about  their  contents,  the  senders,  the  receivers,  and  
history.  Whether  you  call  it  an  exploration  of  material  culture  or  
the  social  life  of  the  object,  it's  bringing  a  whole  new  way  of  
looking  at  archival  materials  to  scholars  and  conservators  alike.  
She  has  coined  the  term  Letterlocking,  and  describes  it  as  a  
"10,000  year-­‐old  information  security  tradition."  
On  June  20,  2015  members  of  our  Guild  spent  the  day  
with  Jana  learning  about  letterlocking,  and  locking  letters  
of  our  own.  Participants  first  wrote  a  letter  to  a  chosen  
recipient  with  quill  
pen  and  ink  Jana  
made  from  oak  galls.  
Then,  she  introduced  
the  concept  of  
letterlocking  through  
a  brief  slideshow.  
Next,  we  unlocked  
models  of  10  pre-­‐
locked  letters  so  we  
could  experience  what  
opening  various  styles  
of  locks  felt  like:  secure,  intimidating,  flimsy,  too  pretty  to  open,  how  
do  I  do  this?  Then,  we  were  able  to  practice  locking  the  10  models  
ourselves.  Sandalwood  scented  sealing  wax,  embroidery  floss  to  
wind  around  intricate  folds,  seals  with  roses  or  bees,  a  replica  of  
John  Donne's  very  seal,  and  even  a  wafer  made  with  wheat  that  we  
had  to  moisten  in  our  mouths  completed  the  locks.  Finally,  we  chose  
our  favorite  lock,  and  locked  our  handwritten  letter,  stamped,  and  
addressed  it.  I  was  brave  and  popped  mine  in  the  mail  -­‐-­‐  it  arrived  
much  to  the  pleasure  and  confusion  of  the  recipient.  I  got  to  watch  
him  struggle  with  the  same  things  we  did  when  unlocking  our  model  
letters:  "It's  too  precious,  too  pretty.  How  do  I  open  it?"    
I  couldn't  wait  to  tell  him.  
  If  you’re  interested  in  further  information  on  letterlocking,  visit:              
                         http://techtv.mit.edu/collections/letterlocking  

 
 
 

Page  5                      Delaware Valley Guild of Bookworkers
 

PRESSING MATTER

Spring 2015

Upcycled:  Bound  Journals  Transformed  
 

 
Earlier  this  year,  The  Scott  Memorial  Library  offered  the  
Delaware  Valley  Chapter  of  the  Guild  of  Book  Workers  some  
deaccessioned  bound  journals  in  hopes  that  members  would  
use  them  to  make  artists’  books.  
The  chapter  participants  used  Hygeia  1929  -­‐  1949  and  
Scientific  American  1950  –  1979  to  create  artwork  that  
adhered  to  some  very  loose  guidelines.    They  could:  
 



make  copies  or  cut  the  pages  up  and  then  reassemble  them  
as  another  book.  
alter  a  volume.  
make  something  inspired  by  an  article  in  the  volume.  
make  something  sculptural  or  two  dimensional.  
 

 
DVC  members  gathered  on  Friday,  October  9th  to  celebrate  the  
opening  of  “Upcycled:  Bound  Journals  Transformed.”        The  exhibit  
will  be  on  display  at  the  Scott  Memorial  Library,  1020  Walnut  St,  
until  December  18th.    Visiting  hours  are  Monday  –  Friday  9-­‐5,  and  
weekends  11-­‐5.      
 
This  exhibit  is  also  online!    http://dvc-­‐gbw.org/upcycled-­‐bound-­‐
journals-­‐transformed-­‐gallery/  
 
 
       

Alicia  Bailey            

 

               
 
 
         

 
 
 
 
Frances  Osugi  

 
 
 
 
 
 
 

 
 

Val  Kremser  

 

 
 
 

Frances  Osugi  

 
Sharon  Hildebrand  

 

 

Participating  members:  
       
Alice  Austin  
Alicia  Bailey  
Ruth  Scott  Blackson  
Amanda  Bock  
Lisa  Scarpello  
 

 
 
Denise  Carbone  
Sharon  Hildebrand  
Becky  Koch  
Val  Kremser  
Adrienne  Stalek  
 

 
 
Jacqueline  Manni  
Frances  Osugi  
Mary  Phelan  
Rosae  Reeder  
Jennifer  Rosner  
Thomas  Parker  Williams  
 

Page  6                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Spring 2015

       

Notable  News  
     

As  of  September,  member  Meg  Kennedy  is  represented  
by  the  Cove  Gallery  in  Wellfleet,  MA  (Cape  Cod)  with  a  
selection  of  her  white-­‐line  woodcut  prints,  also  known  as  
Provincetown  prints.  
 
During  the  next  few  months  Meg  will  also  be  selling  her  
books  at  the  following  craft  shows:    Main  Line  Art  Center  
in  Haverford  PA  (Nov.  12-­‐22),  Book  Paper  Scissors  at  the  
Free  Library  (Nov.  14),  Community  Arts  Center  in  
Wallingford  PA  (Dec.  4-­‐12),  and  the  Delaware  Art  
Museum  (Dec.  11-­‐12).  
 
 
In  September  Maria  G.  Pisano  had  three  books  in  the  
exhibit  “Architectural  Innovations:  Celebrating  the  
structures  of  Hedi  Kyle”  at  the  University  of  the  Arts.    In  
this  show  was  her  new  book  Under  Cover:  ABC  of  Banned  
Books,  A  flag  book  that  showcases  examples  of  words  and  
methods  used  to  censoring  works,  as  well  as  highlighting  
the  continuation  of  these  practices  today.    This  book  is  
now  available  from  Memory  Press.      
 

Linda  Rossi  had  two  of  her  books  in  the  Student  
Exhibit  in  the  Wayne  Art  Center  after  her  studies  with  
Mary  Elizabeth  Nelson.    The  two  books  were  Born  to  
Dance,  an  accordion  book,  and  Friend's  Album,  a  photo  
album.    
 

                           
 

 

                             
 
 
 
This  summer  Thomas  Parker  Williams  had  his  work  
on  exhibit  at  the  Center  for  Book  Arts  in  NYC  in  the  
show  “Source  Materials  Visualized,”  he  also  
participated  in  a  panel  discussion  about  his  work  at  the  
center  in  September.      
 
In  August  through  October  Thomas  and  his  wife,  Mary  
Agnes  Williams,  are  exhibiting  a  collaborative  artist  
book  entitled  Trees,  A  Meditation  Inspired  by  T’ai  Chi  in  
the  exhibit  “Pairings:  Collaborative  Works  by  Two  or  
                           
 
More  Artists”  at  the  Healdsburg  Center  for  the  Arts  in  
Maria  has  also  had  two  monotypes  and  one  intaglio  print   Healdsburg,  CA.      
 
entitled  Reflecting  Pool,  Line  of  Vision  and  Palazzo  Croce,  
accepted  to  be  part  of  the  exhibit  “Impressions:  The  Art  of   Thomas  and  Mary  Agnes  also  exhibited  at  The  
the  Print”  at  the  Trenton  City  Museum  in  Trenton,  NJ.    The   Lancaster  Letterpress  Printers  Fair  on  Sunday,  October  
11.      
exhibit  will  be  on  display  between  November  14th  and  
 
January  3rd,  2016.      
 
 
During  September,  Dee  Collins  had  a  piece  in  the  show  
 
Alice  Austin  was  a  visiting  artist  for  one  week  at  the  Hall   “Creative  Imprints”  with  The  Printmakers  Society  of  
the  Lehigh  Valley  at  the  Bethlehem  Rotunda  Gallery  in  
of  Awa  Japanese  Handmade  Paper  in  Tokushima,  Japan  
Bethlehem,  PA.      
this  summer.  It  was  a  fabulous  experience!  She  learned  
how  to  make  kozo  and  gampi  paper  and  also  made  indigo    
Todd  Pattison  has  an  artist  book  in  the  show  
dyed  paper.  Here  is  a  short  video,  made  by  Jon  Snyder,  
“Unhinged:  Book  Arts  on  the  Cutting  Edge”  at  the  
about  indigo  dying.  https://youtu.be/QqAHebIC01o  
Whatcom  Museum  in  Bellingham,  WA.      

 
 
 

Have you given a talk, published a paper, participated in an exhibit, or just bound a really great book? Or
maybe you had a baby, got married, adopted a dog, or done absolutely anything else you want to share?
We want to hear about it! If you have news to share please send it to: Becky Koch at blyne80@gmail.com

Page  7                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Spring 2015

Save  the  Dates!  

 
th

Saturday, February 20 , 2016
10am to 5pm
       

M arbling Class w ith Chena River M arblers
w w w .chenariverm arblers.com
Marbling with Chena River Marblers is a basic introduction to paper marbling using acrylic
paints. Students will be shown how to prepare their own marbling size, how to prepare
papers for marbling and how to make simple combs for independent future use. Students
will learn many traditional combed marbled patterns and will be introduced to the beautiful
Spanish Moire style of marbling. Book edge-marbling will be demonstrated and at the
conclusion of the class students will make their own leather wrapped, edge-marbled journal.
All materials will be supplied for this class and students may expect to complete from 25-35
papers during the two-day class.
Dates: January 16 and 17, 2016

 

Page  8                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Spring 2015

       

Latitude  Exhibit    

By  Tara  O’Brien  

 
In  August,  the  conservation  department  of  the  Historical  Society  of  Pennsylvania  had  an  exhibit  at  PRESS!  
LetterPRESS  as  a  Public  Art  Project  in  North  Adams,  MA.  The  show,  “Latitude,”  was  inspired  by  a  1763  
mathematics  manuscript  describing  instructions  for  
setting  up  a  sundial.    Erin  Malkowski,  Tara  O’Brien,  
Erin  Paulson,  and  Charissa  Schulze  made  work  in  
response  to  the  drawing  of  the  sundial.  The  artists  
worked  with  their  own  themes  and  interests  to  
comment  on  time  in  relation  to  the  cosmos,  family,  
documentation  and  historical  vs.  contemporary  
technology.  Using  technology  equally  as  obsolete  as  
a  sundial,  the  work  ranged  from  books  (both  
traditional  reproductions  to  artist  books),  pressure  
prints,  letterpress,  and  fiber  arts.    
 
 
Erin  Malkowski  extrapolated  graphic  elements  from  the  original  drawing,  
manipulated  them  in  Adobe  Illustrator  and  returned  them  to  her  series  of  “dust”  
prints  by  stitching  the  line  drawings  directly  onto  the  prints.  Also  on  display  was  her  
book  We  Float  Like  Dust.    
 
 
Tara  O’Brien  created  a  facsimile  of  Salomon  de  Caus’  work  La  Pratique  et  
Demonstration  des  Horloges  Solaires,  or  The  Practice  and  Demonstration  of  Solar  
Clocks,  printed  in  1624.  The  book  contains  10  moveable  pieces  demonstrating  how  
to  set  up  a  sundial.  A  second  piece  created  for  this  exhibit  questions  the  proximity  of  
heavenly  bodies  and  is  produced  entirely  with  sun  prints.    
 
 
Erin  Paulson’s  pressure  print  animations  of  comets  and  space  debris,  Once  
the  wondrous  vastness  filled  us  (Comet  of  Coggia,  1874);  Now  we  fill  the  
wondrous  vastness  (Space  Debris,  2012),  were  exhibited  for  the  first  time  
in  North  Adams  along  with  new  work  in  which  Erin  contemplates  the  
universe  through  the  lens  of  past  scholarship.    For  her  piece  In  Times  Past  
she  described  time  passing  (Tycho  Brahe,  16th  Century),  she  translated  an  
historical  model  of  the  solar  system  by  stitching  into  materials  used  in  
traditional  book  making.  
 
Charissa  Schulze’s  Tempus  Florae  is  based  on  a  clock  of  flowers  first  devised  by  Carl  
Linnaeus  in  1751;  a  complex  and  impractical  clock  that  is  based  on  the  circadian  
regularity  with  which  certain  species  of  flowers  open  and  close  their  petals.    Through  
her  further  research  of  sundials,  she  learned  that  they  are  often  inscribed  with  verses  
that  served  as  a  reminder  that  time  is  fleeting,  and  life  precious.    Her  interactive  How  
Slow  the  Shadow…  uses  the  18th  Century  device  of  a  peepshow  to  illuminate  different  
halves  of  one  such  phrase  with  ambient  light.      
 
Gallery  owner,  Melanie  Mowinski  said,  “This  was  one  of  the  best  shows  we  ever  had.  The  work  was  amazing.”