Message From The Chapter Chair: in This Issue

Page 16 Delaware Valley Chapter of the Guild of Book Workers PRESSING MATTER Spring 2018
Philadelphia, PA 19107
1314 Locust Street
Library Company
Jennifer Rosner
MESSAGE FROM THE CHAPTER CHAIR IN THIS ISSUE
Six questions
Pages 2-3
As many of you know, the Philadelphia Museum
My favorite tool
of Art has an excellent exhibition currently on Page 4
display, “Keith Smith at Home”. It is a
Valentine Mail Art
retrospective of his work as a photographer and Page 5
book artist and we are very fortunate to have it Rigid Page Book
right here in Philadelphia. This seemed like a Pages 6 -8
perfect opportunity to honor his contribution to Pierced Vellum
Pages 9-11
the book arts, so the DVC has put up an Caterpillar Stitch
exhibition of our own. We asked DVC members Pages 12-13
to make a book using any structure found in any Notable Member News
one of Keith Smith’s five-volume instructional Pages 13-15
manuals on non-adhesive bookbinding. So much
to choose from! As always, we got a strong
turnout. Twenty-six members contributed books
that currently fill the cases outside the Art DELAWARE VALLEY
Department at the Free Library. The books are CHAPTER OFFICERS
very diverse, a nod to Smith’s wide-ranging Jennifer Rosner
Chapter Chair
bookbinding interests, particularly in respect to Alice Austin
sewing. Happily, Keith Smith himself stopped by Vice Chair
to see the exhibit when he was in town recently. Lisa Scarpello
I want to thank Ruth Scott Blackson, our Treasurer
Exhibition Co-chair, who lead the project from Rosae Reeder
Secretary
start to finish, and Christopher Brown, who Denise Carbone
hosted the reception. Be sure to go see our Workshop Coordinator
exhibit (through July 6) and then just walk up the Jackie Manni
Parkway to see “Keith Smith at Home” (through Newsletter Editor
July 8). Sounds like a fun afternoon! (Check the Valeria Kremser
Webmaster
PMA and Free Library websites for the hours.) If Ruth Scott Blackson
you can’t do that, take a look are our website. Kristin Balmer
Val Kremser, our webmaster, has put our exhibit Exhibitions Co-chairs
online.
-Jennifer Rosner
Page 2 Delaware Valley Chapter of the Guild of Book Workers PRESSING MATTER Spring 2018 Page 15 Delaware Valley Chapter of the Guild of Book Workers PRESSING MATTER Spring 2018
6 Questions: Sophy DiPinto More with Maria Pisano:
1. How long have you been a member of the GBW? Invitational exhibit:
Ensemble: Inspiration and the Artist’s Book – June- August 2018 - Laramie
I joined the Guild in 2016. I have been a bookbinder on and off County Library, Cheyenne, Wyoming
since college (PCA class of 1990). In the summer of 2016 I took a
Workshops:
trip with my family to visit some old school friends. They are friends
The Eighth Helen Warren Degolyer Triennial Competition and Conference for
with Paul Vogel of Vogel Bindery and we went to visit his studio. As
American Bookbinding, Bridwell Library, Dallas Texas – June 8, 2018 – Tunnel
we were talking about his studio setup and tools, I mentioned it was
Book Workshop – Maria G Pisano
nice to have someone to talk to about bookbinding. I was so used
https://www.smu.edu/Bridwell/About/DeGolyer/2018DeGolyerConference/2018
to being the only bookbinder in the room. Paul suggested that I get
DeGolyerWorkshops
more involved. So I did!
Center for Book Arts – New York, NY – www.centerforbookarts.org
2. Where are you from originally? Carousel Books – August 25-26 – 10 -4
Paste Papers: Make your Mark – August 4-5 – 10-4
Lancaster County, PA.
3. When did you realize you wanted to learn bookbinding?

CLOSING SOON!
I was a printmaking major in college, so bookbinding was one of the
classes in my curriculum. My dad had been a bookbinder. He
started off for practical reasons. Back when he was a broke college
student it was worthwhile to repair books, so he started off in an
effort to save money on books and earn a little extra on the side. He
kept on doing it as a hobby once he was settled down. He was a
Guild member back in the 60's. When I was little he had a
workbench set up in the basement, and I remember sitting on the
washing machine and watching him work. So when it came time for
me to take my book binding classes it just clicked, I remember
thinking ‘oh, I know how to do this.’
4. What is your favorite book structure these days?
I just recently took a workshop on drum leaf binding and so I’m

doing a lot of those. I am also obsessed with trying to make the
perfect slipcase, I realize I am a long way off.....
’s artist book and broadside were both accepted into the GBW
exhibition Formation that will travel around the US and culminate with an exhibit
at the University of the Arts in 2019.
From Andrea: Images are fundamental to how we form our concept of the
world, our cultural imaginary. My book 71'N 23'E, and the broadside that
accompanies it, brings an unseen thing into our field of vision, into our
consciousness. Coordinates hint at a location on Earth, while invented words
express something otherwise inexpressible about the unseen thing. The QR
code promises a glimpse of the formation. The large lettering and images,
including the paper-covered case, are hand-cut stencils printed by hand. The
end matter and colophon are laser printed. Edition of 15.
Andrea Krupp is a visual artist with

a BFA in Printmaking (University of
the Arts). She is a 2017
Independence Foundation Visual
Arts Fellow. Her current visual art 5. What are you working on right now?
project is called Northland: works
on paper, artist’s books and I am really into tiny things. I make a lot of notepad covers and desk
writings springing from a series of accessories that I sell at craft shows, and I’ve been making these
Arctic residencies in 2017 and little (3”X5”) tablet covers that are super cute.
2018.
I am also working on a series of books (tiny, of course) made
entirely from old textbooks and elementary readers that highlight the
The book was on display in my inherent gender bias in those books.
current solo exhibition called
Northland, at Twenty-two Gallery in 6. Tell us something about yourself that might surprise us.
Philadelphia, shown alongside works
on paper. The exhibit was based on I am the intersection of bookbinding and rock and roll that you never
September and October 2017 visual knew existed. I have played in a few different rock & heavy metal
arts residencies in Iceland and bands over the years, and for my day job, I am a co-owner of
Norway. DiPinto Guitars, which is a boutique guitar brand, and guitar shop in
Fishtown.
’s article “Mark To Impress” was just published in The
California Printmaker’s Journal of The California Society of Printmakers 2018, Check out Sophy’s website: www.book-grrl.com
The New Print: Marriage of Technology and Tradition. The article focuses on
Instagram: @bookgrrlbindery.
two recent books, published by Memory Press, Colors of Memory and Caudex
Folium. Both works use the new media of laser cut wood and Plexiglas plates
alongside collagraphs and stencil plates to actualize the text and designs of the
pages. To read more about these books please visit web site:
www.mariagpisano.com
My Favorite Tool Denise is a fantastic and passionate instructor. She makes learning this
crazy stitch inevitable. First we sewed on cards, then on a text block.
By Eriko Takahashi All attempts are examined and reviewed, because once upon a stitch, a
struggling student invented a new sewing pattern, now known as the B-
One of my (many) favorite tools is the Mini Brass Triangle, a good all-purpose factor. Who knows! It could happen again.
tool for cutting 90 and 45-degree angles. It is handmade with amazing details,
and comes with a printed cotton storage bag and instructions for care. It’s so
tiny (2.75") but easy to use with the little nob, and it saves me a lot of time and
works beautifully. I am so happy to own this little jewel (thanks to Dee Collins
for this gift!). I recommend it to anyone who works in bookbinding, box making
or conservation. It’s available on Etsy:
https://www.etsy.com/shop/wrenhaventools?ref=l2-shopheader-name#items
Another of my favorite tiny tools is the Mini Handmade Bone Folder, uniquely
shaped 3" bone folder made from deer bone, by Jim Croft. It functions superbly
and is wonderful for delicate and miniature work, such as origami jewelry
making. I purchased it from Jim at his workshop in 2013, and his bone folders
are available from Talas.
Notable Member News

DVC-GBW member Alice Austin recently
returned from a 3-week artist residency at the
American Academy in Rome in April,
accompanied by her muse / Sherpa /
husband and fellow GBW member Jon
Snyder. Her research in Rome centered
around exploring forced perspectives and
sight lines, including architectural examples
that utilize the sun for timekeeping, such as
obelisks used as gnomons, and meridian
lines used to chart the seasons. Site visits
included; Santa Maria degli Angeli, the
cloisters at Trinita dei Monti, the Pantheon
These tiny tools are a wonderful addition to any craftsman’s tool kit. and many other churches. We also were
fortunate to secure special permission to visit the Torre dei Venti, a meridian
room constructed for Pope Gregory VIII (of Gregorian calendar fame) and now
part of the Vatican Secret Archives. We also managed to make it home with a
few pounds of old books liberated from the Porta Portese flea market.
-Jon Snyder
Caterpillar Stitch Workshop Valentine Mail Art

By Kristin Balmer By Jackie Manni
The Delaware Valley Chapter of the Guild of Book Workers held a
Caterpillar Stitch Workshop at the Library Company of Philadelphia on I polled my friends far and wide to ask them if they receive dozens of
February 24, 2018, taught by Denise Carbone. wildly creative, funny, beautiful, inspiring, original Valentine Mail Art
every year. Not a single, solitary one of them does. We have something
Denise has been involved with the Delaware Valley Chapter since its really special here at the Delaware Valley Chapter of the Guild of Book
inception. She teaches bookbinding at The University of the Arts. She Workers! Here is to creating and maintaining meaningful new traditions,
learned the caterpillar stitch in 1991 from Betsy Palmer Eldridge and spreading love around, and always, ART! I hope you will join us next
became obsessed with its unusual coiled structure at a single sewing year.
station. Denise’s obsession lead to experimentation and eventually to a
venture grant from UArts to create the how-to book “Observations on the
Caterpillar Stitch.”
The stitch is distinctive in

several ways and its
advantages are
significant. Each station
is sewn by itself,
vertically, so there are as
many threads spiraling
through the signatures as
there are sewing stations.
There are no kettle
stitches. The repetitive
looping of the thread
creates structure, so
binders can chose to add
cord, leather or tape Many thanks to:
supports (or not). A stitch can be “packed,” (extra wrapping,) either for
strength or to increase the space between stations on fat signatures. Cindy Au-Kramer, Kristin Balmer, Christopher Brown, Norman Brown,
Books sewn this way open easily. Binders can continue the stitch onto Sophy DiPinto, James Engelbart, Sharon Hildebrand, Andrew Huot,
the covers for added strength or amusement, and Denise passed Becky Koch, Valeria Kremser, Karen Lightner, Jacqueline Manni,
around many examples of inspired sewing and cleverly made books. Emma Meetz, Todd Pattison, Mary Phelan, Jennifer Rosner, Ruth Scott-
Blackson, Emma Sovich, Eriko Takahashi, Kristin Ziegler
suited to allow one to spend time working on fun and decorative

patterns. While we all enjoyed the process of getting our text blocks
and cases up to a certain point (preparing the sections, sewing them,
rounding and lining them, etc.) as soon as the truly creative process
By Lisa Scarpello began, where we determined designs and patterns for our covers, and
began to execute our designs, the chatty room became silent with
On January 8, 2018, The Delaware Valley Chapter of the Guild of Book earnest artists delving into our creative cores. We all saw great potential
Workers hosted a Rigid Page Book & Rotating Panels Workshop with in the techniques that Jim was sharing with us.
Alicia Bailey at the Library Company of Philadelphia. Alicia was in town
for the 2018 College Book Arts Association Conference at The
University of the Arts.
The scope of the

workshop was to make
one, undecorated 3” x
5” rigid panel book with
three pages of rotating
panels. 13 members of
the DVC attended.
A Rigid Panel Book is a

very sculptural object Thanks so much to Jim Reid-Cunningham for an extremely informative
and draws attention to and enjoyable workshop. And thank you to Jennifer Rosner, Alice
its three dimensionality Austin and the Library Company for so graciously hosting us.
by incorporating moving
internal panels of
various shapes. It has a
sturdy construction with
rigid pages made from book board and a design that allows a 360-
degree rotation of the interior forms. These rotating panels are hinged
with 14-gauge wire, nestled in a carved groove in between two glued
boards. Bailey prepared 3” x 5” laser cut book board shapes and panels
for the workshop.
This structure has an adhesive binding, not sewn. In Bailey’s workshop,

there was no internal reinforcement inside the gutter. Using PVA, the
book cloth or leather is adhered to the spine, the head and tail of each
board page and the front & back boards. The stability of the binding is
1630. Most are small format books, such as octavos, and some are dependent upon the amount of surface area the book cloth or leather is
quarto sized. They are primarily stiff-board vellum bindings. attached to.
Participants had prepared text blocks before coming, according to his The interior rotating panels do not have to be constructed from book
instructions. The text blocks were small (6"x 4.5") and consisted of 10 board. Alicia mentioned that she enjoys using flat collectables. However,
sections, of 4 folios each, and flyleaf sections of two folios. Jim made a if an artist wants to use book board and paint on imagery, Bailey
point of expressing that stiff-board vellum bindings, notoriously, do not provided a number of details for success:
open well.
He said that in the past the spines were lined too heavily making them
stiff. So he had adapted this structure to ensure that our bindings would 1) Imagery and/or collage can be attached to the boards via a coat
be flexible and open easily. Thanks to the sleuthing of one of our of shellac, as opposed to gesso, because shellac won’t warp the
boards. It is possible to paint on top of the shellac with oil paint.
participants, Eriko Takahashi, wonderfully detailed instructions on 2) Acrylic can be used, but Bailey suggests coating the acrylic paint
executing this binding were found to be available on a blog by Xiaoping with wax prior to putting the book in the press, since the plastic
Cai who took Jim's workshop in February 2017 at the Folger Library: polymers will begin to bond under the pressure and facing pages
https://www.cai-conservation.com/single-post/2017/03/07/Pierced- may stick together.
Vellum-Binding-with-James-Reid-Cunningham. Anyone wishing to 3) She also suggests careful planning & timing of the painting
make one of these books should check out this blog for step-by step process. It will be tricky to paint the inside of the cut out shape,
once with the wired panel is glued in.
instructions. Thank you Xiaoping Cai!
The bindings are case bindings. The case is made off of the book and
is laced on after it is completed. This structure is therefore perfectly
The workshop was a great success and we would like to send many Pierced Vellum Binding Workshop
thanks to our fellow DVC member, Alice Austin who generously
provided homemade ginger cookies for refreshment. By Mary Wootton
On the weekend of March 24-25, 2018 a dozen members of the

Delaware Valley Chapter of the Guild of Book Workers convened at the
Library Company of Philadelphia for a workshop presented by Jim Reid-
Cunningham on making vellum bindings with pierced decoration.
In this binding the vellum cover is pierced and cutouts are made to
reveal the stiff board beneath, which has been colored. Jim began the
workshop by showing us images of historical examples of books bound
using this technique. The wonderful examples he showed us can be
seen on Jim's website. Take a look:
http://www.reid-cunningham.com/piercedvellumbin.html
Some of the early examples he showed us were books with very

complex designs although
the bindings themselves are
quite simple in construction.
He explained that this kind of
decoration has historical
roots that date back to Coptic
binding. There was a rise in
the popularity of this
decorative technique in the
Please join us! late 16th century lasting into
*DVC ANNUAL MEETING* the 1st quarter of the 17th
century although there are so
Tuesday, June 26, 5:30 - 7 pm few examples of bindings
using this technique that we
The Cassatt House - 1320 Locust Street cannot assume that it was
commonly practiced.
(Next door to the Library Company) Examples of these bindings
are, however, found from various areas throughout Europe. The
examples he showed were German (or possibly Dutch) and English.
The technique seems to have been very rarely practiced after about
The workshop was a great success and we would like to send many
thanks to our fellow DVC member, Alice Austin who generously
provided homemade ginger cookies for refreshment. By Mary Wootton
On the weekend of March 24-25, 2018 a dozen members of the

Delaware Valley Chapter of the Guild of Book Workers convened at the
Library Company of Philadelphia for a workshop presented by Jim Reid-
Cunningham on making vellum bindings with pierced decoration.
In this binding the vellum cover is pierced and cutouts are made to
reveal the stiff board beneath, which has been colored. Jim began the
workshop by showing us images of historical examples of books bound
using this technique. The wonderful examples he showed us can be
seen on Jim's website. Take a look:
http://www.reid-cunningham.com/piercedvellumbin.html
Some of the early examples he showed us were books with very

complex designs although
the bindings themselves are
quite simple in construction.
He explained that this kind of
decoration has historical
roots that date back to Coptic
binding. There was a rise in
the popularity of this
decorative technique in the
late 16th century lasting into
the 1st quarter of the 17th
century although there are so
Tuesday, June 26, 5:30 - 7 pm few examples of bindings
using this technique that we
The Cassatt House - 1320 Locust Street cannot assume that it was
commonly practiced.
(Next door to the Library Company) Examples of these bindings
are, however, found from various areas throughout Europe. The
examples he showed were German (or possibly Dutch) and English.
The technique seems to have been very rarely practiced after about
1630. Most are small format books, such as octavos, and some are dependent upon the amount of surface area the book cloth or leather is
quarto sized. They are primarily stiff-board vellum bindings. attached to.
Participants had prepared text blocks before coming, according to his The interior rotating panels do not have to be constructed from book
instructions. The text blocks were small (6"x 4.5") and consisted of 10 board. Alicia mentioned that she enjoys using flat collectables. However,
sections, of 4 folios each, and flyleaf sections of two folios. Jim made a if an artist wants to use book board and paint on imagery, Bailey
point of expressing that stiff-board vellum bindings, notoriously, do not provided a number of details for success:
open well.
He said that in the past the spines were lined too heavily making them
stiff. So he had adapted this structure to ensure that our bindings would 1) Imagery and/or collage can be attached to the boards via a coat
be flexible and open easily. Thanks to the sleuthing of one of our of shellac, as opposed to gesso, because shellac won’t warp the
boards. It is possible to paint on top of the shellac with oil paint.
participants, Eriko Takahashi, wonderfully detailed instructions on 2) Acrylic can be used, but Bailey suggests coating the acrylic paint
executing this binding were found to be available on a blog by Xiaoping with wax prior to putting the book in the press, since the plastic
Cai who took Jim's workshop in February 2017 at the Folger Library: polymers will begin to bond under the pressure and facing pages
https://www.cai-conservation.com/single-post/2017/03/07/Pierced- may stick together.
Vellum-Binding-with-James-Reid-Cunningham. Anyone wishing to 3) She also suggests careful planning & timing of the painting
make one of these books should check out this blog for step-by step process. It will be tricky to paint the inside of the cut out shape,
once with the wired panel is glued in.
instructions. Thank you Xiaoping Cai!
The bindings are case bindings. The case is made off of the book and
is laced on after it is completed. This structure is therefore perfectly
suited to allow one to spend time working on fun and decorative

patterns. While we all enjoyed the process of getting our text blocks
and cases up to a certain point (preparing the sections, sewing them,
rounding and lining them, etc.) as soon as the truly creative process
By Lisa Scarpello began, where we determined designs and patterns for our covers, and
began to execute our designs, the chatty room became silent with
On January 8, 2018, The Delaware Valley Chapter of the Guild of Book earnest artists delving into our creative cores. We all saw great potential
Workers hosted a Rigid Page Book & Rotating Panels Workshop with in the techniques that Jim was sharing with us.
Alicia Bailey at the Library Company of Philadelphia. Alicia was in town
for the 2018 College Book Arts Association Conference at The
University of the Arts.
The scope of the

workshop was to make
one, undecorated 3” x
5” rigid panel book with
three pages of rotating
panels. 13 members of
the DVC attended.
A Rigid Panel Book is a

very sculptural object Thanks so much to Jim Reid-Cunningham for an extremely informative
and draws attention to and enjoyable workshop. And thank you to Jennifer Rosner, Alice
its three dimensionality Austin and the Library Company for so graciously hosting us.
by incorporating moving
internal panels of
various shapes. It has a
sturdy construction with
rigid pages made from book board and a design that allows a 360-
degree rotation of the interior forms. These rotating panels are hinged
with 14-gauge wire, nestled in a carved groove in between two glued
boards. Bailey prepared 3” x 5” laser cut book board shapes and panels
for the workshop.
This structure has an adhesive binding, not sewn. In Bailey’s workshop,

there was no internal reinforcement inside the gutter. Using PVA, the
book cloth or leather is adhered to the spine, the head and tail of each
board page and the front & back boards. The stability of the binding is
Caterpillar Stitch Workshop Valentine Mail Art

By Kristin Balmer By Jackie Manni
The Delaware Valley Chapter of the Guild of Book Workers held a
Caterpillar Stitch Workshop at the Library Company of Philadelphia on I polled my friends far and wide to ask them if they receive dozens of
February 24, 2018, taught by Denise Carbone. wildly creative, funny, beautiful, inspiring, original Valentine Mail Art
every year. Not a single, solitary one of them does. We have something
Denise has been involved with the Delaware Valley Chapter since its really special here at the Delaware Valley Chapter of the Guild of Book
inception. She teaches bookbinding at The University of the Arts. She Workers! Here is to creating and maintaining meaningful new traditions,
learned the caterpillar stitch in 1991 from Betsy Palmer Eldridge and spreading love around, and always, ART! I hope you will join us next
became obsessed with its unusual coiled structure at a single sewing year.
station. Denise’s obsession lead to experimentation and eventually to a
venture grant from UArts to create the how-to book “Observations on the
Caterpillar Stitch.”
The stitch is distinctive in

several ways and its
advantages are
significant. Each station
is sewn by itself,
vertically, so there are as
many threads spiraling
through the signatures as
there are sewing stations.
There are no kettle
stitches. The repetitive
looping of the thread
creates structure, so
binders can chose to add
cord, leather or tape Many thanks to:
supports (or not). A stitch can be “packed,” (extra wrapping,) either for
strength or to increase the space between stations on fat signatures. Cindy Au-Kramer, Kristin Balmer, Christopher Brown, Norman Brown,
Books sewn this way open easily. Binders can continue the stitch onto Sophy DiPinto, James Engelbart, Sharon Hildebrand, Andrew Huot,
the covers for added strength or amusement, and Denise passed Becky Koch, Valeria Kremser, Karen Lightner, Jacqueline Manni,
around many examples of inspired sewing and cleverly made books. Emma Meetz, Todd Pattison, Mary Phelan, Jennifer Rosner, Ruth Scott-
Blackson, Emma Sovich, Eriko Takahashi, Kristin Ziegler
My Favorite Tool Denise is a fantastic and passionate instructor. She makes learning this
crazy stitch inevitable. First we sewed on cards, then on a text block.
By Eriko Takahashi All attempts are examined and reviewed, because once upon a stitch, a
struggling student invented a new sewing pattern, now known as the B-
One of my (many) favorite tools is the Mini Brass Triangle, a good all-purpose factor. Who knows! It could happen again.
tool for cutting 90 and 45-degree angles. It is handmade with amazing details,
and comes with a printed cotton storage bag and instructions for care. It’s so
tiny (2.75") but easy to use with the little nob, and it saves me a lot of time and
works beautifully. I am so happy to own this little jewel (thanks to Dee Collins
for this gift!). I recommend it to anyone who works in bookbinding, box making
or conservation. It’s available on Etsy:
https://www.etsy.com/shop/wrenhaventools?ref=l2-shopheader-name#items
Another of my favorite tiny tools is the Mini Handmade Bone Folder, uniquely
shaped 3" bone folder made from deer bone, by Jim Croft. It functions superbly
and is wonderful for delicate and miniature work, such as origami jewelry
making. I purchased it from Jim at his workshop in 2013, and his bone folders
are available from Talas.
Notable Member News

DVC-GBW member Alice Austin recently
returned from a 3-week artist residency at the
American Academy in Rome in April,
accompanied by her muse / Sherpa /
husband and fellow GBW member Jon
Snyder. Her research in Rome centered
around exploring forced perspectives and
sight lines, including architectural examples
that utilize the sun for timekeeping, such as
obelisks used as gnomons, and meridian
lines used to chart the seasons. Site visits
included; Santa Maria degli Angeli, the
cloisters at Trinita dei Monti, the Pantheon
These tiny tools are a wonderful addition to any craftsman’s tool kit. and many other churches. We also were
fortunate to secure special permission to visit the Torre dei Venti, a meridian
room constructed for Pope Gregory VIII (of Gregorian calendar fame) and now
part of the Vatican Secret Archives. We also managed to make it home with a
few pounds of old books liberated from the Porta Portese flea market.
-Jon Snyder
’s artist book and broadside were both accepted into the GBW
exhibition Formation that will travel around the US and culminate with an exhibit
at the University of the Arts in 2019.
From Andrea: Images are fundamental to how we form our concept of the
world, our cultural imaginary. My book 71'N 23'E, and the broadside that
accompanies it, brings an unseen thing into our field of vision, into our
consciousness. Coordinates hint at a location on Earth, while invented words
express something otherwise inexpressible about the unseen thing. The QR
code promises a glimpse of the formation. The large lettering and images,
including the paper-covered case, are hand-cut stencils printed by hand. The
end matter and colophon are laser printed. Edition of 15.
Andrea Krupp is a visual artist with

a BFA in Printmaking (University of
the Arts). She is a 2017
Independence Foundation Visual
Arts Fellow. Her current visual art 5. What are you working on right now?
project is called Northland: works
on paper, artist’s books and I am really into tiny things. I make a lot of notepad covers and desk
writings springing from a series of accessories that I sell at craft shows, and I’ve been making these
Arctic residencies in 2017 and little (3”X5”) tablet covers that are super cute.
2018.
I am also working on a series of books (tiny, of course) made
entirely from old textbooks and elementary readers that highlight the
The book was on display in my inherent gender bias in those books.
current solo exhibition called
Northland, at Twenty-two Gallery in 6. Tell us something about yourself that might surprise us.
Philadelphia, shown alongside works
on paper. The exhibit was based on I am the intersection of bookbinding and rock and roll that you never
September and October 2017 visual knew existed. I have played in a few different rock & heavy metal
arts residencies in Iceland and bands over the years, and for my day job, I am a co-owner of
Norway. DiPinto Guitars, which is a boutique guitar brand, and guitar shop in
Fishtown.
’s article “Mark To Impress” was just published in The
California Printmaker’s Journal of The California Society of Printmakers 2018, Check out Sophy’s website: www.book-grrl.com
The New Print: Marriage of Technology and Tradition. The article focuses on
Instagram: @bookgrrlbindery.
two recent books, published by Memory Press, Colors of Memory and Caudex
Folium. Both works use the new media of laser cut wood and Plexiglas plates
alongside collagraphs and stencil plates to actualize the text and designs of the
pages. To read more about these books please visit web site:
www.mariagpisano.com
6 Questions: Sophy DiPinto More with Maria Pisano:
1. How long have you been a member of the GBW? Invitational exhibit:
Ensemble: Inspiration and the Artist’s Book – June- August 2018 - Laramie
I joined the Guild in 2016. I have been a bookbinder on and off County Library, Cheyenne, Wyoming
since college (PCA class of 1990). In the summer of 2016 I took a
Workshops:
trip with my family to visit some old school friends. They are friends
The Eighth Helen Warren Degolyer Triennial Competition and Conference for
with Paul Vogel of Vogel Bindery and we went to visit his studio. As
American Bookbinding, Bridwell Library, Dallas Texas – June 8, 2018 – Tunnel
we were talking about his studio setup and tools, I mentioned it was
Book Workshop – Maria G Pisano
nice to have someone to talk to about bookbinding. I was so used
https://www.smu.edu/Bridwell/About/DeGolyer/2018DeGolyerConference/2018
to being the only bookbinder in the room. Paul suggested that I get
DeGolyerWorkshops
more involved. So I did!
Center for Book Arts – New York, NY – www.centerforbookarts.org
2. Where are you from originally? Carousel Books – August 25-26 – 10 -4
Paste Papers: Make your Mark – August 4-5 – 10-4
Lancaster County, PA.
3. When did you realize you wanted to learn bookbinding?

CLOSING SOON!
I was a printmaking major in college, so bookbinding was one of the
classes in my curriculum. My dad had been a bookbinder. He
started off for practical reasons. Back when he was a broke college
student it was worthwhile to repair books, so he started off in an
effort to save money on books and earn a little extra on the side. He
kept on doing it as a hobby once he was settled down. He was a
Guild member back in the 60's. When I was little he had a
workbench set up in the basement, and I remember sitting on the
washing machine and watching him work. So when it came time for
me to take my book binding classes it just clicked, I remember
thinking ‘oh, I know how to do this.’
4. What is your favorite book structure these days?
I just recently took a workshop on drum leaf binding and so I’m

doing a lot of those. I am also obsessed with trying to make the
perfect slipcase, I realize I am a long way off.....

Message From The Chapter Chair: in This Issue

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Page 16 Delaware Valley Chapter of the Guild of Book Workers PRESSING MATTER Spring 2018

6 Questions: Sophy DiPinto More with Maria Pisano:

3. When did you realize you wanted to learn bookbinding?

4. What is your favorite book structure these days?

I just recently took a workshop on drum leaf binding and so I’m

Andrea Krupp is a visual artist with

Notable Member News

Caterpillar Stitch Workshop Valentine Mail Art

The stitch is distinctive in

suited to allow one to spend time working on fun and decorative

The scope of the

A Rigid Panel Book is a

This structure has an adhesive binding, not sewn. In Bailey’s workshop,

On the weekend of March 24-25, 2018 a dozen members of the

Some of the early examples he showed us were books with very

On the weekend of March 24-25, 2018 a dozen members of the

Some of the early examples he showed us were books with very

suited to allow one to spend time working on fun and decorative

The scope of the

A Rigid Panel Book is a

This structure has an adhesive binding, not sewn. In Bailey’s workshop,

Caterpillar Stitch Workshop Valentine Mail Art

The stitch is distinctive in

Notable Member News

Andrea Krupp is a visual artist with

6 Questions: Sophy DiPinto More with Maria Pisano:

3. When did you realize you wanted to learn bookbinding?

4. What is your favorite book structure these days?

I just recently took a workshop on drum leaf binding and so I’m

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