DOCSLIB.ORG

American Academy of Bookbinding Celebrating 20 Years of Excellence 2014 TELLURIDE CAMPUS 2 the Americanacademy Ofbookbinding

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American Academy of Bookbinding Celebrating 20 Years of Excellence 2014 TELLURIDE CAMPUS 2 the Americanacademy Ofbookbinding AMERICAN ACADEMY of BOOKBINDING Celebrating 20 Years of Excellence 2014 Since 1993, Telluride, Colorado has been home to the American Academy of Bookbinding. The historic Old Stone Building in downtown Telluride houses the bookbinding studio. Built in 1909 and constructed of native stone and indigenous red limestone mortar, the building was first used as a livery stable and assay office, and then by old Step-and-a-Half Adams, the local undertaker, for his trade. Completely gutted and remodeled in 2009 and 2010, the beautifully renovated facility consists of a well lit, 1,400 square foot bookbinding studio and a comfortable student lounge, where books are available for further study, and students may relax before and after class. Students have access to the building 24-hours a day. Telluride is a spectacular backdrop for this intensive program. In addition to being a designated national historic district, the town is surrounded by 13,000-foot peaks. Out of class, students can hike in wilderness areas, watch top-notch theater and films, listen to visiting musicians, or fish the San Miguel River. With cool nights and warm days, nothing beats the Colorado Rocky Mountains as a perfect setting for the American Academy of Bookbinding. TELLURIDE CAMPUS 2 WWW.BOOKBINDINGACADEMY.ORG | 970.728.8649 A SCHOOL OF EXCELLENCE Founded in 1993 by Tini Miura, Einen Miura and Daniel Tucker, the American Academy of Bookbinding is an internationally known degree- oriented bookbinding school that offers book enthusiasts of all levels the opportunity to initiate and improve their skills in a generous and supportive learning environment. The Academy conducts intensive courses in the fine art of leather binding, book restoration, repair and preservation practices as well as related subjects. The goal of the Academy is to graduate professional-level binders who have the knowledge and skills to produce the highest quality work and the ability to pass on these skills to the next generation. The Academy is unique in the United States in its ability to offer a comprehensive diploma granting program in the study of bookbinding and book conservation, taught by some of the most experienced and highly regarded book artists and conservators in the world. Our main campus is in Telluride, Colorado, and in 2014 we are continuing to offer workshops at the Lallier/Etherington studio Selective in Summerfield, North Carolina. Admission Policy There are many introductory classes offered and Classes are limited to eight students may attend some classes with little or no or ten participants (three or experience. Some students pursue their studies further four in Summerfield), and and enter a program that culminates with a diploma each student must apply to in Fine Binding or the Integrated Study Program. the Academy for acceptance Some students pursue both tracks of the curriculum. into the AAB. Students are Your training and practice at the American Academy required to submit a resume of Bookbinding will give you a strong foundation and written statement in bookbinding and book conservation that will about why they would like complement whatever path you choose to follow. to attend the Academy. The application process is rolling admission (Summerfield excepted), and students are encouraged to apply early before classes fill. WWW.BOOKBINDINGACADEMY.ORG | 970.728.8649 3 Welcome to our 2014 catalog of courses – the culmi- nation of twenty years of excellence in bookbinding education. The American Academy of Bookbinding has had its struggles and its successes and we are proud of the history behind us and eager to continue our offer- ings of quality programs and courses moving forward. What a history! As a relative newcomer to AAB (three years already!), I found its history fascinating and I be- lieve you will too as you read the first half of our an- niversary book Imagine a Beautiful Book. I believe you’ll also enjoy the second half which documents a comparative study of the differences and similarities of our two illustrious design binders, Monique Lallier and Don Glaister. Producing this book was a tremendous undertaking and I thank every one of the team spearheaded by Susan Hulme of Blue Marigold Press for creating such a fine commemoration. Looking to the future, AAB is in the development stage of an exciting new diploma program – a comprehensive study of bookbinding encompassing a broad spectrum of courses from fine binding to conservation. We are pleased and honored that Peter Geraty has accepted the directorship of this program. Look for detailed infor- mation and requirements on our website in January of 2014. DEB STEVENS – ADMINISTRATIVE DIRECTOR ADMINISTRATIVE DEB STEVENS – Though Don Etherington no longer wishes to teach in Telluride, we’re excited about his vital role in Summerfield as we extend his course offerings there. I had the pleasure of visiting Don and Monique in their home studio in 2013 and know our students will have the experience of a lifetime when attending courses there. I thank them both for their enduring commitment to the profession and to the academy. Our “umbrella” organization, the Ah Haa School for the Arts, welcomes Judy Ko- hin back as its executive director! For most of our twenty years, Judy’s life and passion was intricately entwined with Ah Haa and AAB as she was a major influ- ence in the growth of both schools. She’s back from a sabbatical and once again contributing her wonderful energy to the benefit of the arts and I feel very fortunate to be working with her again. 2013 has been a year of excitement to be sure! We’ve had wonderful instructors, great classes and motivated students. We look forward to 2014 as we continue to respond to and work with, you, the students. Deb Stevens, administrative director, AAB DON ETHERINGTON MONIQUE LALLIER SUMMERFIELD STUDIO For Don and Monique, teaching from their home studio gives them great pleasure. They are gracious hosts and giving instructors. Look for their courses on page 19. FROM OUR DIRECTORS FROM 4 WWW.BOOKBINDINGACADEMY.ORG | 970.728.8649 FROM OUR DIRECTORS FROM The American Academy of Bookbinding begins its third decade this year. Amaz- ing, really! We begin this decade vital, flexible, improved, improving, respectful and respected. 2013 has seen two major developments in the evolution of AAB. The first is the publication of a beautiful book appropriately titled Imagine A Beautiful Book which honors the founding and development of AAB. It also includes the documentation of a three day session in October of 2012 just prior to the Guild of Book Workers’ Standards of Excellence Seminar in Salt Lake City where Monique Lallier and I bound identical books side by side. The book is lovely, lavishly illustrated with color photographs and beautifully designed. The second important development for AAB is the forming of a new diploma pro- gram called the Integrated Study program. Its purpose is to offer a wide scope of binding related classes that will give the graduate a broad bookbinding base. The DON GLAISTER – FINE BINDING result will be a course of study that includes elements of the Conservation and Fine Binding programs. The Fine Binding Program will remain much unchanged while many aspects of the Conservation Program will be incorporated into the Integrated Study program. I am extremely fortunate to have had my friend Don Etherington as a fellow director and colleague since my coming to AAB as director of Fine Binding. I look forward to continuing our close relationship as he offers AAB classes and guidance in book conservation from his studio in Summerfield, North Carolina. I am also looking for- ward to a close and productive relationship with the first director of the Integrated Study Program, Peter Geraty. Peter and I have been friends for a long time and I welcome him to AAB. Please look at the course descriptions found in this catalog. You will find some fa- miliar offerings and some brand new ones. I hope you will like what you see and that you will join us in Telluride in 2014. Don Glaister, director - Fine Binding program I am pleased to have been named as director for the new American Academy of Bookbinding program - The Integrated Study program. It is a program built to give a thorough grounding in the skills and techniques of bookbinding in all of its aspects. The classes will revolve around traditional techniques, but will bring into the craft innovative methods, materials and points of view. This will enable students to lay down a firm base of knowledge and hand skills which will support their deeper explorations into every facet of bookbinding such as: fine binding, edition binding, conservation, artists books or wherever their curiosity and creativity take them. The classes will be taught by some of the most experienced and knowledgable pro- fessionals in the field. History, ethics and an understanding of materials used in the classes will be integrated along with the techniques giving a more rounded context for the student. As director of this exciting new program, I look forward to working with you as you build your skills, confidence and mastery in a truly wonderful field. Come and join others at the AAB and discover your talents. PETER GERATY – INTEGRATED STUDY – INTEGRATED PETER GERATY Peter Geraty, director - Integrated Study program WWW.BOOKBINDINGACADEMY.ORG | 970.728.8649 5 COLEEN CURRY Coleen Curry bound her first book in 2003 in Colorado and was hooked. She then became a student of Monique Lallier at the American Academy of Bookbinding (AAB) and graduated in 2009 with a diploma in Fine Bind- ing. She has studied with Eleanore Ramsey, Dominic Riley and Hélène Jolis. Coleen assists Don Glaister teaching fine binding at AAB.
Load more

Recommended publications
  • Special Catalogue 21
    Special Catalogue 21 Marbling OAK KNOLL BOOKS www.oakknoll.com 310 Delaware Street, New Castle, DE 19720 Special Catalogue 21 includes 54 items covering the history, traditions, methods, and extraordinary variety of the art of marbling. From its early origins in China and Japan to its migration to Turkey in the 15th century and Europe in the late 16th and early 17th centuries, marbling is the most colorful and fanciful aspect of book design. It is usually created without regard to the content of the book it decorates, but sometimes, as in the glorious work of Nedim Sönmez (items 39-44), it IS the book. I invite you to luxuriate in the wonderful examples and fascinating writings about marbling contained in these pages. As always, please feel free to browse our inventory online at www.oakknoll.com. Oak Knoll Books was founded in 1976 by Bob Fleck, a chemical engineer by training, who let his hobby get the best of him. Somehow, making oil refineries more efficient using mathematics and computers paled in comparison to the joy of handling books. Oak Knoll Press, the second part of the business, was established in 1978 as a logical extension of Oak Knoll Books. Today, Oak Knoll Books is a thriving company that maintains an inventory of about 25,000 titles. Our main specialties continue to be books about bibliography, book collecting, book design, book illustration, book selling, bookbinding, bookplates, children’s books, Delaware books, fine press books, forgery, graphic arts, libraries, literary criticism, marbling, papermaking, printing history, publishing, typography & type specimens, and writing & calligraphy — plus books about the history of all of these fields.
    [Show full text]
  • The Bookbinding Workshop: Making As Collaborative Pedagogical Practice
    International Journal of Art and Design Education Conference, 2014 Elizabeth Kealy-Morris Collaborative Practices in Arts Education University of Chester Liverpool Tate, 24 & 25 October, 2014 [email protected] The Bookbinding Workshop: making as collaborative pedagogical practice “The value of Engagement is no longer questioned” (Trowler & Trowler, 2010, p.9) “Art education is a dynamic expression of eagerness, total intellectual energy, and inquisitiveness…” (Buckley & Conomos, 2009) “The difficult and the incomplete should be positive events in our understanding; they should stimulate us as simulation and facile manipulation of complete objects cannot” (Sennett, 2008:44). “(C)raft’s inferiority might be the most productive thing about it” (Adamson, 2007, p.4). Introduction Trowler & Trowler, in their 2010 report for the HEA’s Student Engagement Project, note that studies have consistently shown associations between student engagement and improvements in identified desired outcomes, including cognitive development, critical thinking skills, practical competence, and skills transferability. They also note that there are specific features of engagement which improve outcomes, including student-staff contact, active learning, and cooperation amongst students such as group work and peer support. Trowler & Trowler found that interacting with staff has been shown to have a powerful impact on learning, especially when it takes place outside the classroom and responds to individual student needs. The NUS 2012 Student Experience Survey supports Trowler & Trowler’s findings. The purpose of the study was to understand student expectations of a university experience. Teaching quality was cited as the most important factor in what makes a good learning experience. Students want more engaging teaching styles that are interactive, use technology & props to make the subject more accessible and interesting.
    [Show full text]
  • Viola Frey……………………………………………...6
    Dear Educator, We are delighted that you have scheduled a visit to Bigger, Better, More: The Art of Vila Frey. When you and your students visit the Museum of Arts and Design, you will be given an informative tour of the exhibition with a museum educator, followed by an inspiring hands-on project, which students can then take home with them. To make your museum experience more enriching and meaningful, we strongly encourage you to use this packet as a resource, and work with your students in the classroom before and after your museum visit. This packet includes topics for discussion and activities intended to introduce the key themes and concepts of the exhibition. Writing, storytelling and art projects have been suggested so that you can explore ideas from the exhibition in ways that relate directly to students’ lives and experiences. Please feel free to adapt and build on these materials and to use this packet in any way that you wish. We look forward to welcoming you and your students to the Museum of Arts and Design. Sincerely, Cathleen Lewis Molly MacFadden Manager of School, Youth School Visit Coordinator And Family Programs Kate Fauvell, Dess Kelley, Petra Pankow, Catherine Rosamond Artist Educators 2 COLUMBUS CIRCLE NEW YORK, NEW YORK 10019 P 212.299.7777 F 212.299.7701 MADMUSEUM.ORG Table of Contents Introduction The Museum of Arts and Design………………………………………………..............3 Helpful Hints for your Museum Visit………………………………………….................4 Bigger, Better, More: The Art of Viola Frey……………………………………………...6 Featured Works • Group Series: Questioning Woman I……………………………………………………1 • Family Portrait……………………………………………………………………………..8 • Double Self ……………………………………………………………………...............11 • Western Civilization Fountain…………………………………………………………..13 • Studio View – Man In Doorway ……………………………………………………….
    [Show full text]
  • Resurrecting the Art of China's Dragon Scale Bookbinding
    AiA Art News-service Resurrecting the art of China's dragon scale bookbinding Updated 2nd April 2018 Resurrecting the art of China's dragon scale bookbinding Written by Stella Ko, CNN ContributorsNanlin Fang, CNN, Justin Robertson, CNN At his studio in Beijing, artist Zhang Xiaodong layers hundreds of sheets of thin paper on top of one another until they form a complete and impeccable image. When the chapters of his elaborate books are unfolded, the pages move like the bellows of an accordion. This ancient Chinese art, known as dragon scale bookbinding, stretches back more than 1,000 years to the Tang dynasty. Passed down between generations of royals and literate upper class families, the finished works were thought to resemble dragons, each page appearing like a "scale." Content by Rado Rado True Designers' Series - Sam Amoia With few of the books surviving to the present day, the bookbinding technique was at risk of becoming obsolete before Zhang decided to research and revive it. Using the Forbidden City Palace Museum's one existing dragon scale book for reference, he spent four years printing and binding his latest work, which was exhibited at the recent Art Central fair in Hong Kong. 1/7 – "Dream of The Red Chamber" (2017) Beijing-based artist Zhang Xiaodong practices the art of dragon scale bookbinding that stretches back more than 1,000 years to the Tang dynasty. Credit: Courtesy of Sin Sin Fine Art Zhang is the first artist to practice this forgotten art in the modern age, according to the exhibition's curator, Ying Kwok.
    [Show full text]
  • A Demonstration Project in Art Education for Deaf and Hard of Hearing Children and Adults
    R EPO'R T R ESUMES ED 013 009 EC 001 177 A DEMONSTRATION PROJECTIN ART EDUCATION FOR DEAFAND HARD OF HEARING CHILDREN AND ADULTS. BY SILVER, RAWLEY A. NEW YORK SOCIETY FORTHE DEAF, N.Y. REPORT NUMBER DR.-G-8590 PUB DATE JUL 67 GRANT 0E0...1-.7008596-.2038 (DRS PRICE MP=50.50 HC -$2.64 68P. a DESCRIPTORS-. *DEAF, *HARDOF HEARING, *HANDICRAFTS,*ART EDUCATION, *EMPLOYMENTOPPORTUNITIES, AURALLY HANDICAPPED, CHILDREN, ADOLESCENTS,ADULTS, APTITUDE, INTERESTS, DEMONSTRATION PROJECTS, TORRANCETEST OF CREATIVE THINKING THIS PROJECT WAS DESIGNEDTO ASSESS APTITUDES:INTEREST, AND VOCATIONAL OPPORTUNITIESFOR THE HEARING IMPAIREDIN THE VISUAL ARTS AND TO IDENTIFYEFFECTIVE METHODS OF TEACHING ART. A GROUP OF 54 DEAF ANDHARD OF HEARING CHILDREN AND ADULTS ATTENDED EXPERIMENTALART CLASSES. THREE RATINGSCALES AND THE TORRANCE TEST OFCREATIVE THINKING WERE THE INSTRUMENTS USED TO ASSESSAPTITUDE. STUDENT INTERESTWAS MEASURED BY QUESTIONNAIRES.CRAFTSMEN, EMPLOYERS, AND ART SCHOOL ADMINISTRATORS COMPLETEDQUESTIONNAIRES DESIGNED TO MEASURE VOCATIONAL OPPORTUNITIES. CONCLUSIONSWERE-.-.(1) APTITUDE AND INTEREST INTHE VISUAL ARTS IS AS HIGHFOR THE DEAF AS FOR THE HEARING,IV A TALENTED DEAF PERSONCAN SUCCEED AS A CRAFTSMAN, (3)SOME PEOPLE WORKING WITHTHE DEAF TEND TO UNDERESTIMATE THE APTITUDES, INTERESTS,AND VOCATIONAL OPPORTUNITIES FORTHE DEAF IN THE VISUALARTS, AND (4) ART TECHNIQUES ANDCONCEPTS CAN OE CONVEYEDTO DEAF STUDENTS WITHOUT THE USE OFLANGUAGE. QUESTIONNAIRERESPONSE TASULATIONS ARE PRESENTEDALONG WITH SAMPLE QUESTIONNAIRES AND RESPONSES. ELEVENREFERENCES ARE CITED. (MW) Cr% FINAL REPORT Project No. 6-8598 teN Grant No. OEG-1-7-008598-2038 r--f A DEMONSTRATION PROJECT IN ART EDUCATION FOR DEAF AND HARD OF HEARING CHILDREN AND ADULTS July 1967 U.S. DEPARTMENT OF HEALTH, EDUCATION, AND WELFARE Office of Education Bureauof Research A DEMONSTRATION PROJECT IN ARTEDUCATION FOR 0I1 DEAF AND HARD OF HEARING CHILDRENAND ADULTS I8 1 I q Project No.
    [Show full text]
  • Artists' Books Bookbinding Papercraft Calligraphy
    Volume 6, Numb er 3 $8.50 ARTISTS’ BOOKSBOOKBINDINGPAPERCRAFTCALLIGRAPHY Volume 6, Number 3 2 Mary’s Star Book. Mary Conley FRONT COVER 4 We Love Your Books: ABC Exhibition 2007. Emma Powell with Melanie Bush Clockwise, from top left: Miniature Metal Book. Gennady Safronov. 8 Works on Paper. John Cutrone and Seth Thompson His miniature metal books are solely 10 Ruling Pen Basics. Matthew Coffin handcrafted; a skill that requires incredible patitence and attention to detail. 12 On Your Own Terms. Photo by Evgeny Abramenko. 14 Mobile Books. Florence Miller “Small Books, Large Talent: Miniature Metal Books,”page 30. 16 Hidden Bookbinding Cloths. Catherine Burkhard 17 Calligraphy and Handmade Paper: Equally Beautiful When Sea Laps Land. Ann Alaia Woods. Charcoal/graphite pencil on handmade 20 American Fine Bindings: Book of Origins paper. Suminagashi on Asian brush 24 Eugenie Torgerson: Thinking Outside the Box. Eugenie Torgerson calligraphy paper embedded in handmade abaca paper. 2007. 8" x 10". 26 Exchange of Ideas. Julie Gray “Calligraphy and Handmade Paper: 30 Small Books, Large Talent: Miniature Metal Books. Yana Safronova Equally Beautiful,”page 17. 32 Quilted Books? John Cutrone Tool Room Box and Journal. 33 Pocket Full of Surprises. Pat Pleacher Eugenie Torgerson. Lidded box holds artist’s journal. Binder’s board, cloth, paper, glass, 34 WWC Painted Books. Annie Cicale hardware, original digital illustrations. 38 First Class Mail. Debra Glanz 13" x 10" x 4". Photo by Bukva Imaging Group. 39 Teeny Tiny Cards. Jane LaFerla. BOOK REVIEW by Rona Chumbook “Eugenue Torgerson: 40 The Monument to Ephemeral Facts. Douglas Holleley Thinking Outside the Box,”page 24.
    [Show full text]
  • DIY-No3-Bookbinding-Spreads.Pdf
    AN INTRODUCTION TO: BOOKBINDING CONTENTS Introduction 4 The art of bindery 4 A Brief History 5 Bookbinding roots 5 Power of the written word 6 Binding 101 8 Anatomy of the book 8 Binding systems 10 Paper selection 12 Handling paper 13 Types of paper 14 Folding techniques 14 Cover ideas 16 Planning Ahead 18 Choosing a bookbinding style for you 18 The Public is an activist design studio specializing in Worksheet: project management 20 changing the world. Step-by-step guide 22 This zine, a part of our Creative Resistance How-to Saddlestitch 22 Series, is designed to make our skill sets accessible Hardcover accordion fold 24 to the communities with whom we work. We Hardcover fanbook with stud 27 encourage you to copy, share, and adapt it to fit your needs as you change the world for the better, and to Additional folding techniques 30 share your work with us along the way. Last words 31 Special thanks to Mandy K Yu from the York-Sheridan Design Program in Toronto, for developing this zine What’s Out There 32 on behalf of The Public. Materials, tools, equipment 32 Printing services 32 For more information, please visit thepublicstudio.ca. Workshops 33 This work is licensed under the Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. To view a copy of this Selected Resources 34 license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/. Online tutorials 34 Books & videos 34 About our internship program Introduction Bookbinding enhances the A brief history presentation of your creative project. You can use it to THE ART OF BINDERY BOOKBINDING ROOTS Today, bookbinding can assemble a professional portfolio, be used for: Bookbinding is a means for a collection of photographs or Long before ESS/ producing, sharing and circulating recipes, decorative guestbook, R the modern • portfolios • menus independent and community or volume of literature such as G-P Latin alphabet • photo albums • short stories • poetry books • much more work for artistic, personal or a personal journal or collection RINTIN was conceived, • journals commercial purposes.
    [Show full text]
  • Supply List for Beginning Bookbinding Craft Guild of Dallas Laura Easterling
    Supply List for Beginning Bookbinding Craft Guild of Dallas Laura Easterling Hello and thank you for enrolling in a Beginning bookbinding class at The Craft Guild ● Following are suggested items to buy for Bookbinding. While The Craft Guild has basic tools and some supplies , it is always nice to have some of your own! Thank you again. ● Xacto Knife, or a box cutter’ knife you can “snap off” the blades example: Hardware stores carry these. ● A Ruler 1 inch wide. 1 Foot to 18 inches long. Can be found at Asel Art, and Hobby Lobby, True Value Hardware Store, Harbor Freight. ● A ½ inch wide Ruler 6 inches or 12 inches long. ( Hobby Lobby, True Value Hardware Store, Harbor Freight.) ● 1 Gum Eraser… ● A Bookbinders Awl. You want a small awl (not a Leather Awl) Can be found at most Asel Arts locations. Awls seem to be one of the harder items to find so I am listing some places online to find them too. Examples: Online: http://www.hollanders.com/index.php/catalogsearch/result/?q=awl Any of these will work. http://apps.webcreate.com/ecom/catalog/product_specific.cfm?ClientID=15 &ProductID=23971 The Student or Bookbinder awl. Also you can find awls on Amazon. ● 3/16 square rod about 1 foot long. These seem to be next to impossible to find so you can buy them from me for $4.00. ● If you want to work with leather you will need: Double Edge Stainless Steel Razor Blades. Find at CVS, Walgreens and most drug stores. ● ● Note of Bone Folders.
    [Show full text]
  • Medieval & Early Modern Manuscripts: Bookbinding Terms, Materials, Methods, and Models
    Medieval & Early Modern Manuscripts BOOKBINDING TERMS, MATERIALS, METHODS, AND MODELS Medieval & Early Modern Manuscripts BOOKBINDING TERMS, MATERIALS, METHODS, AND MODELS This booklet was compiled by the Special Collections Conservation Unit of the Preservation Department of Yale University Library. If you have any comments or questions, please email Karen Jutzi at [email protected]. A NOTE ON DATES & TERMINOLOGY: The terms ‘Carolingian’, ‘Romanesque’, and ‘Gothic’ are used in this booklet to describe a method of board attachment as recognized by J.A. Szirmai in The Ar- chaeology of Medieval Bookbinding (Aldershot: Ashgate, 1999), and are often used by others to describe medi- eval binding structures. While a convenient method of categorization, using the name of the historical period to describe a style of binding can be misleading. Many other styles of binding existed concurrently; it should not be as- sumed that all bindings of a certain historical period were bound the same way. Furthermore, changes in bookbinding did not happen overnight. Methods co- existed; styles overlapped; older structures continued to be used well into the next historical period. Many thanks to Professor Nicholas Pickwoad, Uni- versity College, London, for his helpful comments, suggestions, and corrections on terminology. kaj 1/2015 Table of Contents MATERIALS OF MEDIEVAL & EARLY MODERN BOOKBINDING Wood 8 Leather 9 Alum-tawed skin 10 Parchment & vellum 11 TERMINOLOGY Parts of a medieval book 14 Outside structure 15 Inside structure 16 Bindery tools & equipment
    [Show full text]
  • September 2003 Vol
    American Institute for Conservation of Historic & Artistic Works September 2003 Vol. 28, No. 5 Inside OSHA: A Dual Role in American From the Executive Workplaces Director 3 WILLIAM COULEHAN AIC’s Round Table 3 wide variety of hazards can be found cuts through cord’s protective insulation and Aat American workplaces. Compliance becomes energized, waiting for the touch of officers from the Occupational Safety and an unexpecting laborer. A touch that com- From the President Health Administration (OSHA) frequently pletes a “path to ground” eventually occurs 4 share information about the more notable and the electric circuit is completed. Death hazards encountered during their inspections. by electrocution is almost instantaneous. Grant Deadlines Some inspections suggest a high level of dis- Scenarios such as these are usually identi- 12 regard for the safety of employees, but many fied with the manufacturing and construction hazards are only identified, often tragically, industries most often associated with OSHA’s after a series of events reveal their true rules and regulations. However, the Occupa- EMG Receives potential: a misaligned valve directs incom- tional Safety and Health Act covers a wide Grant patible chemicals into a vessel. The unin- spectrum of workplaces. When hazards are 13 tended reaction generates hydrogen sulfide identified at workplaces where employees are that fells a nearby operator. A scaffold is generally not thought to be at risk, it must be repositioned, and placed on an ungrounded determined how OSHA’s rules and
    [Show full text]
  • 'Bound up and Clasped Together': Bookbinding As Metaphor for Marriage in Richard Brome's the Love-Sick Court
    Early Theatre 16.1 (2013), 75–95 doi: http://dx.doi.org/10.12745/et.16.1.5 Eleanor Lowe ‘Bound up and clasped together’: Bookbinding as Metaphor for Marriage in Richard Brome’s The Love-Sick Court Analytical studies of book production in dramatic metaphors most commonly make reference to printing technologies and book replication and dissemination. This essay reconsiders the new bibliography by extending its scope to include book- binding, with especial attention paid to Richard Brome’s 1638 play The Love- Sick Court. In act 4, Doris the maid rejects Geron’s advances: ‘We are not yet one volume, both bound up / And clasped together’. I consider this claim in the light of courtship and marriage with particular analysis of the process of bookbinding (from personal practical experience) in relation to the sacrament of marriage. The essay pays additional attention to the close synergies between paper and clothing, and the trope of book/woman. Act 4, scene 1 of The Love-Sick Court (1638) develops the common early modern trope of book/woman by peppering the pedant Geron’s wooing of Doris with pedagogical and bibliographical references.1 Other literary instan- ces link metaphorically the opening of a book and a woman’s legs, perhaps in an attempt to theorize in gendered terms the relatively recent introduction of printing technologies. This example from Richard Brome extends the trope by likening marriage — often referred to in marriage tracts as ‘binding’ — to the process of bookbinding. Amongst other marital binding metaphors, the Brome example is rare: Sid Ray’s study discusses various forms, includ- ing glue, knots, grafting, yoking, fetters, and knitting, but not bookbind- ing.2 Thus Brome’s usage is doubly important in imaginatively exploring two tropes: marriage/binding and woman/book.
    [Show full text]
  • Book Binding Ideas Over the Past 5 Months
    CAREERS We have been exploring career Book Binding ideas over the past 5 months. If you missed those issues, you Beautiful Journals Dr. Barbara J. Shaw can find activities 38 through 42 located here: http://tra.extension.colostate. edu/stem-resources/. How did your project go? Did you enjoy it? What aspects were the easiest? What were the hardest? Write down your thoughts and add them to your journal. Now is the time you compile all your information about you. Spend some time looking at everything you have done (the interest test, the 2 projects, and your journal) exploring your interests, skills, and talents. What are the common themes BACKGROUND you find running through Information everything you have done? Bookbinding probably originated in India, What came to you easily? where sutras were copied on to palm leaves What parts were most fun? with a metal stylus. The leaves were dried and rubbed with ink, which would form a stain in Unfortunately, every job has the wound. Long twine was threaded through something that is hard for us. each leaf and wooden boards made the palm-leaf book. When the book For me, it is paperwork. I am was closed, the twine was wrapped around the boards to protect it. so grateful to Kellie Clark, A codex (plural codices) is a book constructed of a number of sheets of paper, vellum, papyrus, or similar materials. The term is now usually because she helps me with my paperwork. (Kellie is Colorado only used of manuscript books, with hand-written contents, but describes State University Extension the format that is now near-universal for printed books in the Western Western Region Program world.
    [Show full text]