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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
Jennifer Rosner
Miniature Medieval binding
with clasps made from
dollhouse door hinges by
Christina Amato

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
Jennifer Rosner
Chapter Chair
Alice Austin
Vice Chair, Treasurer
Rosae Reeder
Denise Carbone
Programs Coordinator
Becky Koch
Jackie Manni
Newsletter Editors
Valeria Kremser
Ruth Scott Blackson
Madeline Lambelet
Exhibitions Co-chairs

Lindsey Hobbs
Princeton, NJ
Dorothy Haldeman
Silver Spring, MD

Page 2 Delaware Valley Guild of Bookworkers


Spring 2015

6 Questions Sharon Fickeissen

How long have you been a
member of the GBW?

Since 2009?

Where are you from


Im a Jersey girl, born and raised in

Ocean County, NJ.

When did you realize you

wanted to learn

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. Im still at that job. Im also pursuing a diploma in Book
Conservation from the American Academy of Bookbinding.

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. Its
beautiful and less awkward to use.

What are you working on right now?

Im 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 Im the
Mid-Atlantic Super Series Cat 2 Womens 40+ Champ. Also, people are always surprised Im from
New Jersey.

Page 3 Delaware Valley Guild of Bookworkers


Spring 2015

6 Questions Melissa Tedone

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.

Where are you from


Im a born and raised New Englander, but

for the past six years I was living and
working in Iowa.

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 childrens 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 thats when my love affair with bookbinding really took off.

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. Im
likewise interested in creative applications of structural endbands.

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.

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


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 youre interested in further information on letterlocking, visit:

Page 5 Delaware Valley Guild of Bookworkers


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!

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


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

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 Tai 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
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.
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

Page 7 Delaware Valley Guild of Bookworkers


Spring 2015

Save the Dates!


Saturday, February 20 , 2016

10am to 5pm

M arbling Class w ith Chena River M arblers

w w w .chenariverm
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


Spring 2015

Latitude Exhibit

By Tara OBrien

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 OBrien,
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 OBrien 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 Paulsons 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 Schulzes 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.

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