You are on page 1of 12

 

 
MESSAGE FROM THE CHAPTER CHAIR
       

 
 
 
         Our  election  and  Annual  Meeting  took  place  this  past  July  without  a  hitch.    I  am  
very  happy  to  say  that  we  now  have  an  official  treasurer!    Lisa  Scarpello  was  
nominated,  agreed  to  run,  and  was  elected.    We  are  very  happy  to  have  her  take  
over  this  important  job.    Our  chapter  is  very  busy,  so  there  is  a  lot  of  activity  in  our  
bank  account  and  we  need  someone  to  oversee  all  those  pesky  details.      
 
         The  rest  of  our  current  officers  have  agreed  to  continue  for  another  two  years.    I  
want  to  take  this  moment  to  thank  them.    I  know  for  sure  that  our  chapter  would  
not  have  anywhere  near  as  many  fun  activities  if  not  for  this  loyal  bunch  of  
volunteers.    If  you  look  to  the  right  on  this  page  you  can  see  the  list  of  our  dedicated  
officers.    I  really  appreciate  the  time  and  effort  they  have  given  over  the  years.  
 
         I  will  be  heading  Charleston  to  attend  the  Standards  Seminar  in  a  couple  weeks.    
You  may  find  this  odd,  but  one  of  my  favorite  events  is  the  chapter  chair  meeting.    I  
love  hearing  what  other  chapters  are  doing  and  having  the  opportunity  to  share  
what  has  been  successful  with  our  chapter.    I  am  also  going  to  make  a  pitch  to  get  
Standards  to  Philadelphia!    Though  many  of  you  are  too  young  to  remember,  I  
organized  the  Standards  Seminar  in  1985  when  it  was  only  a  few  years  old.    I  think  
it  is  high  time  we  had  it  here  again.    I  will  keep  you  posted!  
 

IN THIS ISSUE
Six questions
Pages 2-3
Islamic Binding
Page 4-5
Movables
Page 6
Cloth Reback Workshop
Page 7-8
The Farm
Page 9
Fast Friendly Free
Page 9
Annual Report
Page 10
Notable News
Page 11
Workshop Announcement
Page 12
DELAWARE VALLEY
CHAPTER OFFICERS
Jennifer Rosner
Chapter Chair
Alice Austin
Vice Chair
Lisa Scarpello
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

 
 
 
 
 
 

Page  2                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

6  Questions:  The  Philadelphia  Edition    
Lisa  Scarpello  

Fall 2016

           

1      
2  

     

How  long  have  you  been  a  member  of  the  GBW?  
Just  over  two  years,  I  joined  the  Guild  in  July  2014.  
 
   
Where  are  you  from  originally?  
I  was  born  in  Utica,  New  York  and  lived  there  until  I  was  10  years  old.  Even  though  I  love  living  
in  Philadelphia,  I  still  miss  the  beautiful,  quiet  snows  in  the  wintertime  and  swimming  in  the  
lakes  of  the  Adirondacks  in  the  summertime.  New  York  State’s  nighttime  sky  is  pretty  amazing  
too.      
 
 
When  did  you  realize  you  wanted  to  learn  bookbinding?  
I  have  been  making  artists’  books  and  sketchbooks  since  1997  out  of  pure  love  for  the  process.  
My  very  first  attempt  at  binding  was  a  leather  bound  drawing  journal  for  my  honeymoon.  
Although  I  have  learned  so  much  since  that  first  attempt,  I  still  treasure  the  naiveté  of  that  
journal.  Also,  I  have  found  that  Book  Arts  compliment  my  training  in  oil  painting.  But  I  have  
gravitated  more  and  more  towards  the  book  as  my  art  form.  My  first  official  class  in  book  
binding  was  with  Rosae  Reeder,  at  The  University  of  the  Arts.  Her  clear  instruction  gave  me  a  
solid  foundation  to  move  forward.  Professor  Susan  Viguers  opened  my  eyes  to  the  bigger  
world  of  artists’  books,  contemporary  and  historical.  These  two  women  are  so  important  to  
me.  
 
 
What  is  your  favorite  book  structure  these  days?  
The  Crisscross  Binding,  also  known  as  the  Secret  Belgian  Binding,  that  I  learned  from  Denise  
Carbone  at  UArts.  I  love  the  fact  that  it  opens  perfectly  flat.  
   
What  are  you  working  on  right  now?  
A  few  things.  The  first  is  a  memorial  of  
my  father  in  a  modified  accordion  fold.  I  
did  the  first  draft  of  the  book  about  my  
dad  in  that  class  with  Denise.  You  know,  
Sean  Connery,  who  played  a  writer  in  the  
movie  Finding  Forrester,  said  “the  first  
draft  is  from  the  heart  and  the  second  
one  is  from  the  head.”  I  really  believe  
that.  You  have  to  get  all  those  emotions    
 
   and  feelings  out,  to  give  art  its  soul.  But  organizing  all  that  stuff  is  where  your  training  as  an        
   artist/craftsman  comes  in.  That’s  the  hard  part.  The  second  book  is  much  lighter.  That  project    
   is  in  the  very  beginning  draft  stages  of  my  summer  travel  adventures.  Also,  I  plan  to  print    
   some  Christmas  cards  on  one  of  the  Vandercook  Presses  at  Uarts  soon.  
 
 
Tell  us  something  about  yourself  that  might  surprise  us.  
In  high  school,  I  played  on  an  all-­‐boys  soccer  team  for  one  year,  threw  the  discus  in  Track  &  
Field  and  lettered  in  swimming.  How  about  that?  
   

3  
4  
5  

6  
 

 

Page  3                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Fall 2016

       

David  Donahue  

1      

2  

How  did  you  get  started  in  the  book  repair  and  restoration  business?  
I  sort  of  backed  into  it.    I  left  the  corporate  world  after  running  a  
couple  of  mid-­‐size  companies.    I  started  a  successful  furniture  
repair  business,  because  I  wanted  to  work  with  my  hands,  but  it  
turned  out  to  be  soulless  work  and  I  didn't  really  like  it.    One  day  
I  stumbled  into  a  book  auction  and  decided  to  become  a  rare  
book  seller.  Very  quickly  I  ran  into  a  problem  all  used  
booksellers  encounter;  I  had  many  potentially  valuable  books  
that  I  couldn't  sell  at  any  price  because  they  were  falling  apart  
and  I  couldn't  find  anybody  to  repair  the  books.  I  found  a  woman  
named  Jill  Deiss  who  offered  to  teach  me  how  to  restore  books.  I  
spent  almost  four  years  taking  
 
lessons  from  her  and  practicing  on  old  books.    When  I  felt  I  had  the  required  skills  it  took  me  another  
three  years  to  acquire  all  the  major  pieces  of  equipment  you  need  if  you  want  to  be  able  to  handle  
anything  that  comes  in  the  door,  and  once  I  had  them  I  started  taking  in  business.      
 
 
What  is  the  hardest  thing  to  learn  as  a  book  restorer?    
Without  a  doubt,  finishing,  the  art  of  putting  gold  leaf  designs  and  titles  on  a  book.    Fortunately,  in  
restoration  work  we  are  rarely  required  to  produce  a  full  gild  fine  binding  spine.  Most  of  our  work  is  
to  replace  the  gilding  in  such  a  way  that  the  finished  repair  still  looks  old,  so  it  is  actually  preferable  to  
have  little  pieces  of  the  gilding  not  quite  right.    The  other  high  skill  needed  in  book  restoration  is  the  
ability  to  artistically  finish  the  repair  in  such  a  way  that  the  casual  person  handling  the  book  would  be  
hard  pressed  to  see  it  was  restored.    
 
 
Do  you  teach  or  take  on  apprentices?    
I  have  taken  on  apprentices  in  the  past,  and  I  have  had  a  few  successes  with  that,  but  the  need  to  run  a  
profitable  business  stops  me  from  any  future  apprenticeships,  at  least  for  now.  I've  thought  about  
having  open  shop  time  once  a  month  where  a  budding  binder  came  come  in  and  rent  the  use  of  all  my  
shop  equipment  at  an  flat  low  hourly  rate  and  I  might  combine  that  with  some  hands  on  teaching.        

3  

   

4  

What  type  restoration  jobs  do  you  do?  
We  do  anything  that  comes  in  the  door.    We  do  a  lot  of  large  family  bible  restorations  and  make  a  lot  of  
double  wall  clamshell  boxes  for  them.  Part  of  the  restoration  business  comes  from  rare  used  book  
dealers,  and  we  have  a  fair  number  of  customers  who  are  book  collectors.  We  do  a  lot  books  for  one  
time  customers  that  could  be  replaced  for  a  fraction  of  the  cost  of  our  repairs;  cook  books,  children's  
books,  old  dictionaries,  and  photo  albums,  but  the  sentimental  value  is  so  great  the  people  want  that  
specific  book  and  not  a  replacement.  Our  tag  line  on  the  web  site  is  that  we  restored  knowledge  and  
memories  and  I  think  that  is  pretty  accurate.        
   
What  is  happening  for  you  in  the  next  year?  
The  big  news  here  is  that  Madeline  Lambelet,  who  currently  works  with  me  is  starting  her  own  
business  this  fall,  so  I  am  trying  to  support  her  in  that  venture.    Once  that  is  up  and  running,  the  shop  
is  due  for  a  remodel,  something  I  try  to  do  every  few  years  to  improve  efficiency.    After  that  I  have  a  
whole  series  of  unique  Harry  Potter  Bindings  and  cases  I  need  to  start  marketing.      
 
 
Tell  us  something  about  yourself  that  might  surprise  us.  
Back  in  the  1990's,  for  about  12  years,  I  use  to  run  a  dog  rescue  non-­‐profit  with  my  wife.  Our  rescue  
was  for  Chow  Chows.    Over  the  years  I  guess  we  help  get  adopted  more  than  1000  dogs.  
Eventually  career  and  home  demands  forced  me  out  of  it,  but  that  was  probably  the  single  most  
rewarding  thing  I  have  ever  done  as  a  human  being.    
 
 

5  
6  
 

Page  4                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Fall 2016

 

Islamic  Binding  in  Mexico  
By  Rosae  Reeder  

In  December  of  2015,  I  learned  from  Lucia  Farias  Villarreal,  a  former  student  and  colleague,  that  she  was  organizing  
a  six-­‐day  bookbinding  intensive  in  Mexico  City,  Mexico.  The  binding  of  discussion  was  the  Islamic  Binding:  a  
historical  binding  that  dates  from  the  7th  to  the  19th  centuries.  Islamic  bindings  were  crafted  in  all  regions  where  
the  Islamic  religion  was  practiced  and  were  created  specifically  to  house  the  teachings  of  the  prophet  Muhammad,  
and  the  religious  texts  of  the  Qu'ran.  
 
 
 
 
 
 
 
 
 
 
 
I  had  always  wanted  to  take  more  workshops  in  the  way  of  historical  bindings  and  thought  that  this  would  be  the  
perfect  opportunity.  Additionally,  a  secondary  part  of  the  trip  was  to  go  to  San  Pablito  for  an  Amate'  Paper  making  
workshop.  Amate'  Paper  is  an  indigenous  paper  made  from  "Amate,"  a  type  of  bark  that  is  cooked  and  then  pounded  
into  large  sheets  that  are  dried  in  the  sun.  I  have  made  paper  many  times  but  never  in  this  way,  and  was  eager  to  
learn  this  process  to  include  in  my  final  project.    
 
So  the  question  was,  how  was  I  going  to  organize  going  on  this  trip?  In  February  of  2016,  I  decided  to  apply  for  a  
Faculty  Development  Grant  from  the  University  of  the  Arts,  and  was  honored  and  excited  to  receive  this  grant.  My  
grant  proposal  outlined  my  interest  in  historical  bindings,  described  my  practice  as  a  Book  Artist,  Printmaker,  and  
Educator,  and  introduced  the  book  project  ("Herstory  revisited")  that  would  be  created  from  the  knowledge  and  
inspiration  gained  from  the  workshop  and  trip.    
 
The  workshop  taken  with  Rodriqo  Ortega  of  Umbligo  del  Libro,  a  very  busy  Bookbinding  studio  in  Mexico  City  
Mexico,  was  amazing.  I  haven't  made  many  leather  books  in  all  of  my  years  as  a  Book  Artist  and  Binder,  but  lately  I  
have  been  very  interested  in  learning  more  about  leather  and  historical  bindings.  Rodrigo  was  practicing  his  English  
and  was  a  bit  shy  about  it,  so  Lucia  acted  as  our  translator.  There  is  so  much  terminology  that  is  different  in  Spanish  
than  in  English  in  regard  to  making  books,  and  Lucia  did  a  wonderful  job  of  explaining  it  all  to  us.  There  were  a  total  
of  six  of  us  who  took  the  workshop  and  what  a  diverse  group  we  were.  We  had  many  different  professions  but  were  
brought  together  by  our  love  and  interest  in  bookbinding.  It  took  a  total  of  six  days  to  complete  the  binding  from  
start  to  finish  which  included  sewing  the  traditional  chevron  headbands,  to  cutting  out  our  filigree'  patterns  for  the  
end  flap,  to  finally  pressing  a  design  into  the  front,  back,  and  flap  of  our  books.  We  also  visited  a  leather  shop  where  
we  were  able  to  purchase  leather  at  cost  as  well  as  have  the  leather  separated  for  best  use.  This  means  that  the  suede  
is  removed  from  the  leather  to  change  the  thickness  and  make  the  leather  easier  to  use  for  making  books.  
 
I  was  in  Mexico  for  10  days,  and  six  of  those  days  were  spent  in  the  workshop  every  day.  They  were  long  days  but  for  
me,  but  the  time  flew,  as  I  was  so  engrossed  in  the  process.  We  took  lunch  breaks  most  days  for  local  treats  such  as  
street  tacos,  of  which  the  blue  corn  with  chicken  and  zucchini  flowers  were  my  favorite.  We  ate  some  delicious  
Huaraches,  with  Chicken,  Black  Beans  and  Avocado.  There  was  delicious  food  every  day.    
 
 

Page  5                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Fall 2016

 

 
Boiling  bark  for  Amate’  paper  

       
The  first  weekend  before  the  workshop  we  took  a  trip  to  the  mountains  of  Mexico  to  a  
little  town  called  San  Pablito  to  learn  about  how  Amate'  Paper  is  made.  The  Amate'  paper  
makers  were  a  family  who  had  been  making  this  paper  for  many  generations.  Trees  are  
planted  and  cultivated  to  shade  the  coffee  plants  that  are  grown.  The  bark  then  is  
harvested  and  then  boiled,  sometimes  with  additives  to  soften  it  up  and  make  it  supple  
enough  to  pound  into  the  large  sheets  of  paper  that  are  then  laid  out  and  dried  in  the  sun.  

 
The  paper  makers  of  San  Pablito  Puebla  believe  that  Amate'  paper  has  mystical  powers  
and  will  sometimes  include  paper  cut  outs  of  Gods  as  decoration  to  honor  them  and  bring  
good  luck.  I  chose  to  ask  for  the  Tamarind  God  because  Tamarind  is  one  of  my  favorite  
flavors.  If  you  haven't  tried  it,  you  should!  The  skill  with  which  these  cut  outs  were  done  
was  amazing;  there  was  no  guide  or  pattern  used,  just  a  colored  piece  of  paper  and  
scissors.  We  also  got  to  make  a  couple  of  sheets  ourselves.  Pounding  and  pounding  and  
pounding  all  day  long  is  what  it  takes  to  make  a  few  very  large  sheets  of  this  paper.  It  was  
surely  a  family  affair.  
 

Cutting  a  god  from  Amate’  paper  

 
After  our  visit  to  San  Pablito,  we  stopped  off  at  Teotihuacan,  to  see  the  ruins  of  the  
pyramids  of  Mexico.  I  have  been  to  many  archeological  sites  before  but  this  one  was  
so  vast  and  just  plain  huge!  We  arrived  back  in  Mexico  City  on  Sunday,  just  in  time  
for  our  first  day  of  the  workshop.  
 
 
Although  I  was  only  there  for  10  days  and  six  of  those  were  spent  in  the  studio,  we  saw  so  much.  Lucia  arranged  for  
us  to  see  the  rare  book  collection  at  Biblioteca  Nacional  de  Mexico  at  UNAM.  We  also  visited  the  Museo  Universario  
de  Arte  Contemporaneo,  The  Frida  Kahlo  Museum  in  Coyoacan,  Pahuatlan,  the  little  puebla  before  San  Pablito,  the  
Palacio  de  Bellas  Artes,  which  is  the  first  museum  in  Mexico  with  Murals  by  Jose  Clemente  Orozco  and  Diego  Rivera,  
and  finally  the  Franz  Mayer  Museum  of  Decorative  Arts  and  Design.  We  even  went  to  an  Artist  Book  fair  that  was  
being  held  by  a  group  of  local  Bookbinders.  
     

The  trip  was  packed  with  art,  books  and  food!  We  ate  at  one  of  the  most  popular  restaurants  in  
Mexico  City  proper,  Azul  y  Oro  and  was  visited  by  the  Chef  Ricardo  Munoz  Zurita.  The  food  was  
delicious,  and  I  was  in  heaven  (it  also  helps  that  Mexican  is  one  of  my  most  favorite  types  of  cuisine).  
We  tasted  a  Mexican  delicacy,  “Chapulines”  which  are  fried  Grasshoppers  -­‐  we  had  them  on  top  of  
the  creamiest  Guacomole'  ever.    I  however  did  not  like  them,  but  I  can  always  say  that  I  tried  them.  
What  could  be  better  than  mixing  great  bookbinding  with  great  food  and  culture?  

                           Chapulines  with              
                         guacamole  

As  part  of  the  grant,  I  was  required  to  create  a  piece  of  art  in  response  to  my  experience.  The  one  of  a  kind  Artist  
Book  Project  "Herstory  revisited”  will  be  my  response  to  the  knowledge  gained  while  making  the  Islamic  binding.  
“Herstory  revisited”  is  a  response  to  the  passing  of  my  mother  last  May.  I  thought  a  Historical  binding  would  be  the  
proper  vehicle  to  express  the  culmination  of  that  experience.  I  am  currently  working  on  the  completion  of  “Herstory”  
and  hope  to  be  finished  by  the  end  of  October.  
 
Overall,  this  trip  was  inspiring,  fulfilling,  cathartic,  rejuvenating,  energizing,  interesting,  satisfying,  and  just  plain  
great.  Many  thanks  to  Lucia  for  organizing  this  trip  and  introducing  us  to  such  an  amazing  binder  in  Rodrigo.  I  hope  
to  visit  Mexico  again  soon,  and  have  the  opportunity  to  take  another  workshop  with  Rodrigo,  and  not  to  mention  eat  
some  more  delicious  food!
 
 
 

 

Page  6                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Fall 2016

       

 
Movables  in  a  Book  Format  –  A  Workshop  with  Emily  Martin  for  the  DVC  
 

By  Kristin  Balmer  
 

Movables  in  the  book  arts  have  great  potential  for  visual  interplay  of  ideas  
that  engage  participation  with  the  reader.    They  are  an  exciting,  interactive  
way  of  sharing  information.  The  DVC  offered  a  movables  workshop  with  
book  artist  Emily  Martin  in  a  one-­‐day  workshop  on  June  4.  
Emily  Martin  teaches  at  the  University  of  Iowa  Center  for  the  Book  and  runs  
Naughty  Dog  Press.    When  asked  which  is  her  favorite  movable  form,  Emily  
says,  “Volvelle,  because  it  is  the  most  versatile.    I’ve  always  been  interested  in  
movables  and  their  sculptural  aspect  and  potential  for  added  elements,  
added  surprises.    Movables  are  a  way  to  get  
people  to  interact  with  a  book  beyond  
passive  reading.”    She  adds,    “I  started  out  as  
a  painter,  no  big  plan  of  becoming  a  book  maker.    I  just  wanted  to  make  a  
sketchbook  that  wouldn’t  fall  apart.”  
Emily  Martin’s  workshop  started  with  an  introduction  to  historical  
examples  and  uses  of  the  volvelle,  a  wheel-­‐like  structure.    Next  we  looked  
at  artist  interpretations  of  various  
movables;  volvelles,  turning  wheels,  
Victorian  wheels,  slides,  and  
dissolves.    One  especially  intriguing  
piece  had  a  magic  window  that  made  
various  transformations,  like  water  
into  wine.    
Emily  provided  card  stock  templates  of  the  multiple  moving  paper  
pieces  we  had  to  assemble.    The  structures  were  so  complex  that  
written  instructions  were  not  enough  for  assembly,  so  Emily  showed  
us  by  doing  a  sleight  of  hand  jive,  a  “now  you  see  it,  now  you  don’t”  
carnie  trick,  a  magician’s  abracadabra  “ta-­‐da”!  Please  do  it  again,  
Emily!  Show  us  again!  
Please  visit  her  website  www.emilymartin.com  for  information  on  
future  classes  with  this  fantastic  instructor.      
 
 
 
 
 
 
 

Page  7                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Fall 2016

19th  Century  Cloth  Reback  with  Board  Reattachment    
or  The  Cloth  Reback  Reimagined  
By  Mary  Wootton  

This  was  a  workshop  given  at  the  Library  Company  of  
Philadelphia  on  April  23rd,  2016  by  Todd  Pattison,  
Book  Conservator  from  the  Northeast  Document  
Conservation  Center  in  Andover,  Massachusetts.    Todd  
has  long  had  an  interest  in  19th  century  publishers'  
bindings  and  he  adapted  this  approach  to  make  their  
repair  simple  and  efficient.    His  view  is  that  simplifying  
the  repair  of  these  bindings  makes  their  repair  a  viable  
option  for  production-­‐oriented  general  collections  
conservation  labs.  This  approach  can  be  used  on  books  
that  have  one  or  both  detached  boards.    And  it  can  be  
done  with  books  bound  with  leather  or  paper  as  well  as  
cloth.  
The  initial  steps  are  to  remove  the  spine  material  and  clean  off  the  old  linings.    Todd  demonstrated  
separating  the  spine,  then  he  used  methyl  cellulose  to  loosen  the  old  spine  linings  and  glue.  After  cleaning,  
while  the  spine  was  soft  with  the  methyl  cellulose,  he  gently  shaped  it,  with  his  fingers  and  a  bone  folder  to  
reinforce  the  round.    For  the  purposes  of  this  workshop  the  participants  had  brought  books  to  repair  that  
had  in  tact  sewing.    However,  if  a  book  would  require  paper  repair  and  sewing,  this  could  all  be  done  prior  
to  repairing  the  binding.      
Once  he  had  the  spine  cleaned  and  rounded,  
Todd  proceeded  to  prepare  the  covers.  The  
volume  Todd  was  repairing  had  one  detached  
cover  and  one  cover  that  was  still  attached.    He  
did  not  separate  the  detached  cover.  Using  a  
lifting  knife  he  lifted  the  cloth  on  the  outside  of  
both  covers.    He  saved  all  of  the  cloth  material  
including  all  of  the  material  in  the  joint.    He  
recommended  lifting  the  cloth  as  far  back  as  
possible  so  that  the  lifted  cloth  would  not  crease  
in  the  process  of  repair.    Todd  did  not  add  any  
interior  joint  or  lift  the  paper  on  the  inside  of  the  
covers.    He  feels  that  it  is  often  difficult  and  
damaging  to  try  to  lift  the  pastedown  to  insert  a  
joint  and  he  has  determined  that  for  this  repair  it  
is  not  necessary.  However  he  did  lift  enough  of  
the  cloth  and  paper  on  the  inside  of  the  covers  to  allow  for  turn-­‐ins.    
With  the  volume  in  a  press  and  the  boards  positioned  in  place  Todd  
attached  a  Japanese  paper  lining  which  would  serve  to  reinforce  the  
spine  and  act  as  a  primary  board  attachment.    This  lining,  which  was  
cut  slightly  shorter  than  the  height  of  the  book,  was  attached  with  
wheat  paste,  across  the  spine  and  onto  the  boards  approximately  one  
inch  on  each  board.  The  weight  of  the  Japanese  paper  used  for  this  
lining  is  determined  by  what  is  required  for  the  book,  but  Todd  used  a  
medium  Japanese  paper.      
 

Page  8                      Delaware Valley Guild of Bookworkers
 

PRESSING MATTER

Fall 2016

Once  the  initial  spine  was  dry  another  spine  lining  was  then  cut,  using  Western  handmade  paper  that  was  
the  width  of  the  spine  and  the  height  of  the  boards.    This  spine  piece  would  ultimately  create  the  hollow  
and  was  not  intended  to  be  adhered,  but  for  now,  was  adhered  by  small  spots  of  PVA  near  the  head  and  tail    
of  the  book.    
After  this,  one  more  lining,  similar  to  the  first  lining,  except  
longer  at  the  head  and  tail  to  allow  for  turn-­‐ins,  was  adhered  
over  the  Western  paper  spine  and  onto  the  boards.    For  this  
Todd  used  a  heavy  Japanese  paper.    It  is  important  that  the  two  
Japanese  paper  linings  that  come  onto  the  boards  are  graduated  
so  that  they  don't  make  for  a  bump  once  the  cloth  is  readhered  
to  the  boards.  This  lining  was  attached  with  PVA  and  the  head  
and  tail  were  turned  in,  under  the  Western  paper  spine  piece  
and  the  lifted  areas  of  the  interiors  of  the  boards.  
Once  the  coverings  were  dry  Todd  readhered  the  cloth  that  he  
had  lifted  on  the  boards  including  all  of  the  joint  material.    He  
adhered    the  cloth  sides  by  gluing  off  a  strip  of  mylar,  inserting  it  
under  the  lifted  area  of  the  cloth,  pressing  the  cloth  down  to  
come  in  contact  with  the  PVA,  then  carefully  pulling  out  the  
mylar  strip  and  pressing  down  the  side.    By  gluing  this  way  he  
got  a  light,  even  coat  of  glue.    He  reattached  the  spine  piece  (that  
he  had  cleaned,  removing  previous  spine  lining  material).      
Todd  used  acrylic  paints  to  tone  the  areas  where  the  previous  materials  did  not  cover  the  Japanese  paper.    
He  usually  doesn't  tone  the  Japanese  paper  before  he  covers,  but  he  said  that  we  could  do  that  if  we  
preferred.    In  some  cases  Todd  says  that  he  repairs  the  interior  hinges  with  a  strip  of  thin,  toned,  Japanese  
paper.    He  demonstrated  this  also.  
The  workshop  gave  all  
participants  a  fresh  look  at  the  
process  of  cloth  rebacking.    We  
were  each  able  to  complete  two  
rebacks  in  this  one-­‐day  
workshop.  It  was  a  very  
worhwhile  day.    I  know  I  will  
be  incorporating  Todd's  
techniques  into  my  work.  
For  additional  images  of  books  
in  the  process  of  repair  Todd  
has  photos  on  Flickr  and  they  
can  be  found  at:  
http://www.flickr.com/photos
/bookandtile/sets/721576081
02976879/    
 
 
 

Page  9                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Fall 2016

 

The  Farm  DVG  Exhibit  Opening  
By  Lisa  Scarpello  

In  the  Spring  of  2016,  Jennifer  Rosner,  the  President  of  the  Delaware  Valley  Chapter  of  
the  Guild  of  Book  Workers,  arranged  for  purchase  by  DVC  members  unbound  
signatures  of  Wendell  Berry’s  “The  Farm”  from  Larkspur  Press.  In  response,  twenty-­‐
four  artists  created  new  and  innovative  artists’  bindings  and  altered  books  for  the  
poem,  now  on  view  outside  the  Art  and  Literature  Department  at  the  Free  Library  of  
Philadelphia.  
Some  of  the  artists  in  the  exhibition  explore  the  notion  of  place,  landscape  and  
environment  using  materials  associated  with  farming,  such  as  vintage  tools,  dried  
flowers,  hay  and  composted  matter.  These  treatments  beautifully  correspond  to  Berry’s  
idea  of  the  economy  of  farming,  using  everything  available  and  wasting  nothing.  Also  on  
display  are  masterfully  crafted  book  covers  with  gold  tooling,  soldered  metal  and  
carved  wood.  Images  of  farm  animals,  landscapes  or  the  seasons  are  illustrated  through  
intricate  inlayed  and  onlayed  leather.  Several  artists  explore  memory  in  which  the  book  
is  a  keepsake  to  be  safeguarded  from  time.  Augmenting  the  exhibition  are  books  about  and  by  Wendell  Berry,  
provided  by  the  Library  Staff.  
DVC’s  exhibition  has  been  very  well  received,  as  evident  in  the  glowing  observations  recorded  in  the  guest  book.  
Images  can  be  found  at  https://dvc-­‐gbw.org/the-­‐farm-­‐exhibit/    The  Farm  is  on  view  from  June  11  through  
September  9,  2016,  2nd  floor  hallway,  Parkway  Central  Branch,  Free  Library  of  Philadelphia,  1901  Vine  Street.  
 
       

Fast,  Friendly  Free  Workshop  with  Rosae  Reeder  

 By  Becky  Koch  
 

 
On  April  2,  2016  a  group  of  DVG  members  came  together  at  the  Library  
Company  for  coffee,  snacks,  and  a  Fast,  Friendly,  Free  workshop  with  Rosae  
Reeder.  Rosae  shared  with  us  how  to  make  an  Amazing  Expandable  Album.  
This  structure,  in  brief,  is  a  combination  of  an  accordion  and  a  pamphlet  
stitch  binding.  It  lends  itself  not  only  to  photographs,  as  the  title  "album"  
might  suggest,  but  its  versatility  is  
suitable  for  artist’s  books  as  well  as  
for  housing  a  variety  of  unique  
additions.    
 
The  most  appealing  thing  about  the  expandable  album  is  its  adaptability.  It's  
easy  to  add  different  papers  and  materials  into  the  structure.  During  the  
workshop  Rosae  even  showed  us  how  to  create  our  own  envelopes,  which  we  
incorporated  into  our  bindings.  
 
The  album  itself  is  also  
exceptionally  beautiful.  Not  only  does  the  structure  allow  for  the  use  of  a  
variety  of  decorative  papers,  but  Rosae  pointed  out  that  flipping  the  
album  upside  down  makes  for  an  interesting,  sculptural  piece.    
 
 
Thank  you,  Rosae,  for  teaching  us  this  appealing  and  ingenious  structure!  
 
 

Page  10                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Fall 2016

 

Annual  Report  -­  Delaware  Valley  Chapter  of  the  Guild  of  Book  Workers  –  
July  1  2015  -­  June  30,  2016  
 
General  -­  Chapter  Officers  were:    Jennifer  Rosner,  Chair;  Alice  Austin,  Vice  Chair  and  Treasurer;  Denise  Carbone,  
Programs  Chair;  Ruth  Scott  Blackson  and  Madeline  Lambelet,  Exhibition  Co-­‐Chairs;  Rosae  Reeder,  Secretary;  Becky  
Koch  and  Jackie  Manni,  Newsletter,  Val  Kremser,  Webmaster.    At  the  time  of  this  report  we  have  83  members.      
In  order  to  have  better  access  to  files  and  to  make  the  transition  of  new  officers  more  streamlined,  the  DVC  set  up  its  
own  Dropbox  account.    We  have  also  set  up  a  DVC  gmail  account  that  we  will  begin  using  sometime  soon.    Members  
will  get  lots  of  warning  when  that  happens.  
We  are  going  to  have  online  registration  for  workshops  this  coming  year.    We  have  had  online  registration  for  
exhibits  and  it  has  been  very  successful.    It  is  a  much  more  efficient  way  to  gather  the  information  needed  for  the  
online  exhibits  and  also  to  make  exhibition  labels.  
Workshops  –  Lots  of  interesting  workshops  this  past  year!    
July  2015:  Historical  Paper  Bindings  with  Bill  Hanscom  
January  2016:  Paper  Marbling  with  Chena  River  Marblers  
February  2016:  Tunnel  Books  with  Alice  Austin  
April  2016:  Conservation  of  19th  Century  Cloth  Publishers'  Bindings  with  Todd  Pattison  
April  2016:    Amazing  Expandable  Album  Structure  with  Rosae  Reeder  (Fast,  Friendly  Free  Workshop)  
June  2016:  Movables  in  a  Book  Format  with  Emily  Martin.  
Newsletter  -­  We  sent  out  three  newsletters  this  year.  The  Spring  2016  issue  was  printed  and  mailed  to  members.    
We  may  continue  this  because  it  was  so  well  received.    
Exhibitions/Projects    
Upcycled:  Bound  Journals  Transformed  opened  at  the  Scott  Memorial  Library  at  Thomas  Jefferson  University.    The  
Library  contacted  the  DVC  and  offered  some  journals  –  Hygeia  and  Scientific  American  –  that  we  could  take  and  make  
into  books  and  other  artworks.    We  had  15  participants  and  the  exhibit  was  at  the  Scott  Memorial  Library  from  
October  to  December  2015.      
During  Fall  2015,  thirty-­‐seven  members  purchase  The  Farm,  by  Wendell  Berry  in  sheets.    Twenty-­‐four  members  
finished  binding  the  book  and  the  exhibit  opened  at  the  Free  Library  of  Philadelphia  on  June  11.    This  exhibit  will  be  
up  until  September  9,  2016.  
We  had  a  valentine  mail  art  exchange  in  February.    Twenty  members  participated  and  it  was  a  lot  of  fun!    We  plan  to  
do  this  again  next  year.  
Web  –  Both  of  the  exhibits  listed  above  can  also  be  seen  as  online  exhibits  on  our  website.  www.dvc-­‐gbw.org  
Fun  –  In  January,  2016,  we  hosted  our  third  bowling  party  in  South  Philadelphia.      
 
A  busy  year!  Many  thanks  to  everyone  who  contributed  their  time  and  energy  to  our  chapter.  
Respectfully  submitted,  
Jennifer  Rosner  
Chapter  Chair  
Delaware  Valley  Chapter  
Guild  of  Book  Workers  
 
     

Page  11                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Fall 2016

Notable  News  
Andrea  Krupp  has  an  upcoming  exhibition  of  drawings  and  collages  made  during  
her  recent  residency  at  the  Snorrastofa  Library  and  Museum  in  Iceland.    To  learn  
more  about  her  residency,  you  can  visit  her  blog:  
http://www.andreakrupp.com/day-­‐to-­‐day/2016/7/11/gettingtoknowsnorri  
 
 

 

 

Thomas  Parker  Williams’  work  is  featured  in  the  exhibit  Making  Sense  of  the  
Senses,  which  can  be  seen  at  The  Center  For  Book  Arts,  28  W  27th  St,  NYC  until  
September  24th.      Mary  Agnes  Williams  has  a  solo  exhibition,  Pinhole  Photographs,  
running  until  September  28th  at  Center  on  the  Hill,  8855  Germantown  Avenue,  
Philadelphia,  PA,  19118.    Hours  are  Monday  through  Friday  9am  –  4:30pm,  or  by  
appointment  (by  contacting  mawpinhole@gmail.com).      
Luminice  Press,  owned  by  Thomas  and  Mary  Agnes,  will  be  participating  in  the  
Lancaster  Letterpress  Printer’s  Fair  on  September  18th  in  Lancaster  PA,  as  well  as  
Oak  Knoll  Fest  XIX  between  September  30  –  October  2  in  New  Castle,  DE.      

The  Art  Department  of  the  Free  
Library  of  Philadelphia  and  the  
Philadelphia  Center  for  the  Book  are  
co-­‐sponsoring  a  series  of  monthly  
book  and  paper  workshops  for  
adults,  September  through  May,  at  
the  Parkway  Central  Library.  Each  
workshop  will  be  announced  
through  Eventbrite.com  and  signups  
will  be  through  that  site.  If  you  
would  like  to  be  put  on  the  Art  
Department  mailing  list  to  be  
informed  when  each  announcement  
goes  live,  please  contact  Karen  
Lightner  
at  Lightnerk@freelibrary.org.  
 
 
 
Ruth  Scott  Blackson,  (co  exhibition  
coordinator)  has  had  a  busy  
Spring/Summer.  In  April  she  
welcomed  a  baby  girl,  (Betsy)  into  
her  family.  Betsy  is  now  4  months  
and  doing  well.    
In  July  Ruth  launched  her  new  book  
restoration  
website;  www.thebookrestorer.com.  
Over  the  last  year  Ruth  has  been  
doing  freelance  book  restoration  
work  for  a  number  of  institutions  in  
Philadelphia.  Check  out  the  website  
for  the  range  of  work  she  has  done.    
 
 
 
Madeline  Lambelet  has  opened  her  
own  book  restoration  in  South  
Philadelphia  named  Vellum  and  
Twine.  The  studio  is  adjacent  to  
David  Donahue  Restorations  at  13th  
and  Carpenter,  where  she  was  
bench-­‐trained.  Visit  her  website  at  
www.vellumandtwine.com.    She  
handles  restoration  work,  archival  
box  requests,  and  new  bindings.  
 

Page  12                      Delaware Valley Guild of Bookworkers

PRESSING MATTER

Fall 2016

 

 

Related Interests