Standards Presentation Videos

Streaming Video of Standards Presentations

Video recordings of past Standards of Excellence Seminar presentations are now available to rent or buy online as streaming video content through Vimeo. You can find the full list of available presentations below or on our Video on Demand page on Vimeo.
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Videos are available as streaming content only and cannot be downloaded.

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If you are having trouble logging into your account on the GBW website, please contact our Communications Chair at communications@guildofbookworkers.org for assistance.

DVDs of past presentations are no longer available for purchase, but will continue to be available to borrow through the GBW Library as long as there is a demand.

Presentations filmed after 2017 will be available as streaming content only.
Please direct any questions or comments to GBW President Bexx Caswell at president@guildofbookworkers.org

 

2014 - Renate Mesmer - Traditional Medieval Girdle Book – Making a Model
The traditional medieval girdle book has an extended covering of soft leather often ending with a Turk’s Head knot. The book was bound in this way so the knot could be tucked under a girdle or belt and the book swung up for reading. Renate’s presentation starts with a brief introduction into the history and variations of the girdle book. Her demonstration includes how to prepare a textblock for this binding, sewing endbands, preparing and attaching the wooden boards, paring the skin for covering, making the Turk’s Head knot as a finish on the extended covering and attaching a pair of simple brass clasps.

 

2014 - Peter Geraty - Parchment Over Boards
Peter Geraty of Praxis Bindery explores the binding of books in parchment over boards. Because of its reputation, people tend to shy away from parchment as a binding material; the focus of this presentation is to dispel some of that anxiety. Peter demonstrates and discusses techniques that will enable you to work successfully with parchment. You may not be able to completely control the material but you can learn to work with it to achieve excellent results.

 

2013 - Karen Hanmer - Variations on the Sewn Boards and Drum Leaf Bindings
Sewn Boards binding incorporates stiffened outer signatures sewn along with the text block which then function as a book's cover boards. Drum Leaf binding is composed of single folios, not signatures, where the sewing thread is hidden and the complexities of text imposition are eliminated. Many variations are demonstrated and models, including cutaways, are shown of both successful and less-successful examples. Discussion ranges from principles of working with materials, the importance of models, and co-opting tools from other disciplines to tips for editioning books.

 

2013 - James Reid-Cunningham - Leather Rebacking
Traditional leather rebacking techniques for both tight and hollow back books are demonstrated. Leather rebacking utilizes thinned and colored leather to repair broken joints and reattach loose boards and spines. Facing and lifting an original tight back spine, adding a new spine lining, paring, coloring and application of repair leathers are all shown. Topics of discussion include various adhesives, leather dyes, surface coatings, and tools. Reid-Cunningham also provided as his 'hand-out' a comprehensive description of the process, as well as an extensive bibliography available here.

 

2013 - Eric Alstrom - Traditional Bindings, Untraditional Books: Japanese Manuscript Bindings and Boxes
The Japanese tradition of binding departs from the Western tradition in many ways, including materials, methodology and functionality. These differences lend themselves to a fresh approach when used in modern artists' books. Traditional techniques for binding, sewing pattern variations, and wrap-around style box with bone clasps are demonstrated. Examples of using this tradition applied to modern artists' books are shown.

 

2013 - Don Glaister - Covering a Book in Full Leather, Applying Leather Hinges, and Board Lining
The full process of covering a book with goatskins - from the initial pasting out of the leather to the final tweaking of the mitered corners is demonstrated in the first half of the presentation. The second half shows applying pared leather as hinges and cover board linings (paste downs). Throughout the presentation, discussion includes Glaister's tips and techniques.

 

2012 - Steve Miller - The Sandragraph Approach
Sandragraph low-relief printing plates are simple to make, varied, and exciting to print. They result in letterpress-printed shapes and images that stand alone or can provide a background to other content layers. The Sandragraph is also a creative way to produce unique end sheets and printed papers for bookbinding purposes. In this session the process of plate making is demonstrated, and Steve examines all the various elements of letterpress printing that effect the printed outcome. He also looks at examples of work that have been printed using this technique, and talks about possibilities for employing the Sandragraph in your work.

 

2012 - Pamela Smith - Marbling: Traditional and More
Demonstration of marbling techniques for both adhering to tradition (where patterns and color palettes are strictly dictated) and breaking free of its limitations. The demonstration moves step by step through the making of 18th century gold-veined French Shell, oak leaf, and zebra patterns and then focuses on the use of historic techniques to create non-traditional patterns – delicate floral designs infused with mica powers, unusual background textures, double marbles making use of resist methods. The idea is to push the edges, and to bring marbling into the realm of 21st century book design.

 

2012 - Daniel Kelm - Binding Structures Featuring Removable Pages
Demonstration of the mechanics of various binding systems that allow for removable and interchangeable pages. Some structures utilize Daniel’s wire edge binding system and others modify existing technologies, such as the Chicago screw post, for use in large and heavy books. Includes discussion relating to the making of various types of structures illustrated with models showing the production steps, and with images of finished work.

 

2011-Todd Pattison - Conservation of 19th Century Publisher’s Bindings
Although 19th century cloth Publishers’ Bindings were typically produced in multiples, many of these bindings are just as rare or historically important as leather bindings from the same time period. This presentation focuses on techniques for quickly and sympathetically repairing cloth bindings of artifactual value. Although these techniques were developed for a production approach to treating circulating collections, they can also be appropriate for the treatment of special collections materials and for use by conservators working in private practice.

 

2011 - Katherine Beaty - Islamic Bookbinding
Demonstration of the construction of an Islamic style bookbinding from start to finish. Islamic bindings are often elaborately decorated, as the binding is covered and decorated off the book. Islamic bindings are best recognized by the chevron endbands and foredge flap. While incredibly intricate and time-consuming to produce, the Islamic chevron endband is also an integral component of the binding structure. This presentation shows how the various components of the structure are a product of use within a cultural context and play an important role in their conservation.

 

2011 - John DeMerritt - Edition Binding – A Hybrid Approach
One of the most compelling components of edition binding is the “ensemble” aspect of its practice. The edition binder collaborates out of necessity; combining technical, aesthetic and practical skills and considerations to conceive a piece that is larger than the sum of its parts. This presentation focuses on using a hybrid approach, looking at some of the particular methods, techniques and approaches utilized in John’s studio – mostly tried and true trade skills. He also discusses and demonstrates his forays into the use of laser cutters, digital mat cutting and digital printing on fabric and leather.

 

2011 - Daniel Essig - Scratching the Surface – Disguising and Embellishing Wood
Wood, when painted, burned and stained has a sensuous patina, and it is a versatile and forgiving material. Through demonstration and example Daniel shares the tricks and techniques he uses to create a time-softened feel of antiquity in his sculptural books and wooden journals. He also demonstrates his version of the Caterpillar Binding, which he redesigned to be sewn as an embellishment rather than as a structural element, opening a new range of binding possibilities.

 

2010 - Nancy Ruth Leavitt - In Search of Content – The Joys and Challenges of Creating in the Book Form
Like an engineering project, a book is a complex 3-dimensional design made up of many parts. Our goal as book makers is to intentionally integrate all aspects of the design to strengthen the structure, form, and content of the book. These challenges may be solved like any engineering problem – by the practical application of a series of considerations and techniques. That said, it is the idea, the thought, and the imagination that is at the heart of a well-made book.

 

2010 - Michael Burke - Byzantine Binding
Byzantine structure encompass many methods of binding but typically have features which remained in use for over a thousand years across great areas of Europe. Asia, and North Africa. Those countries that were influenced by the Byzantine Empire, the Era of the Eastern Roman Empire. maintained their traditions of binding for many centuries. Byzantine structures are typically sewn with unsupported link-stitch sewing on thickish thread. This gives direct mechanical attachment of the signatures to the wooden board covers. The text block is flush with the boards, and is sewn in two halves to give a rounded spine, which prevents the book from sagging in its boards. The spine is lined with a coarse weave cloth that extends onto the outer faces of the wooden boards. The book is covered with leather, and can have one or more ties to keep the book closed. Leather covered boards were often decorated with patterns of blind tooling and metal furniture.

 

2010 - Michael Burke - Byzantine Binding
Byzantine structure encompass many methods of binding but typically have features which remained in use for over a thousand years across great areas of Europe. Asia, and North Africa. Those countries that were influenced by the Byzantine Empire, the Era of the Eastern Roman Empire. maintained their traditions of binding for many centuries. Byzantine structures are typically sewn with unsupported link-stitch sewing on thickish thread. This gives direct mechanical attachment of the signatures to the wooden board covers. The text block is flush with the boards, and is sewn in two halves to give a rounded spine, which prevents the book from sagging in its boards. The spine is lined with a coarse weave cloth that extends onto the outer faces of the wooden boards. The book is covered with leather, and can have one or more ties to keep the book closed. Leather covered boards were often decorated with patterns of blind tooling and metal furniture.

 

2010 - Martha Little - Book Forensics – Interpreting Evidence of Structure
Any detail, no matter how revealing it seems, can be misleading or simply insignificant. It seldom can bear much meaning on its own. Below are some things that are useful to look for, since they may direct your attention in fruitful directions and help you ask questions you might not otherwise have thought of. However, any conclusions should be supported by a variety of evidence. Remember that anything you notice on a binding may be the result of mistakes, inconsistency, lack of skill, whim or innovation. A binder doesn’t always do things that make sense to a future observer or accord with prevalent practice.

 

2010 - Jeffrey S Peachey - Late 18th Century French Binding Structures
In this presentation, Peachey discusses and demonstrates a number of aspects of late 18th century French bookbinding structures, mainly focusing on the ubiquitous stained, full calf binding style. This time period is important because it represents the end of inboards full leather as a vernacular binding style; soon afterward, cloth case binding begins to predominate. This transitional time is also unique because it is the first time that the techniques, workshops, materials and tools of bookbinders were extremely well documented by multiple contemporaneous sources: Diderot, Dudin and Gauffencourt. Because of this documentation, it is possible to reconstruct rare or nonexistent tools, learn about fabrication techniques not visible when examining the books themselves, and understand more about the materials that constitute these bindings. By studying these aspects, we can appreciate how these somewhat minor points begin to relate to larger questions concerning the history of material culture, conservation and preservation issues, the history of craft, the transmission of textual information, and, of course, the history of bookbinding.

 

2009 - Tom Conroy - Tool Repair
Examines the repair of small tools and benchtop equipment, showing many useful techniques for maintaining tools as well as discussion about their repair. Conroy is a book restorer, binding historian, toolmaker and fine binder. He is affiliated with the Museum of the American Bookbinder in San Francisco.

 

2009- Tatiana Ginsberg- Dyeing Japanese Paper with Natural Dyes
The steps involved in extracting and applying natural dyes and pigments to handmade paper, to achieve a rainbow of colors. Ginsburg spent two years in Japan on a Fulbright grant learning traditional methods of dyeing Japanese paper.

 

2009 - Dominc Riley - The Art and Science of Cloth Rebacking: Some Useful Techniques Shared
The restoration of Victorian cloth bindings using techniques that ensure an invisible repair yet maintain the structural integrity of the original binding, including cover repair with paper and cloth, and rebacking with cotton. Riley is a bookbinder, teacher and occasional filmmaker. He is a Fellow of the Designer Bookbinders.

 

2009 - Carolee Campbell - Methods of Approach
Slides and demonstration of the methods of approach that lead to the creation of an edition, from how concepts take shape to use of jigs and models, and simple methods used to add color and texture to both boards and text sheets. Campbell is the proprietor of Ninja Press, editions of which are held nationally and internationally. All Ninja Press books are designed, printed letterpress and hand bound in limited editions by Campbell.

 

2008 - Michael Wilcox - Finishing Tools
Explains how Wilcox makes finishing tools and blocks by hand and incorporates them into his creative work. Wilcox apprenticed in bookbinding in England and studied at Bristol College and West of England college of Art. He creates design bindings in Ontario.

 

2008 - Martha Cole - Contemporary Applications of Wheat Paste on Cloth
Custom designed cloths using contemporary applications of wheat paste by integrating colored pencils, paints and ink & oil & chalk pastels as well as acrylic mediums. Examples also include stenciling, stamping and collage. Cole is a fabric artist who creates one-of-a-kind artist’s books and limited editions.

 

2008 - Don Etherington - Alum Tawed Bindings
Full alum tawed binding reveals specific and interesting differences when compared to other structures. Etherington apprenticed in bookbinding in England before studying at the London School of Printing; since the 1960’s, has developed conservation programs, taught, and established the HF Group, LLC.

 

2008 - Claire Van Vliet - In Love with Paper
Several versions of the paper strip bindings developed for recent Janus Press books.Van Vliet is the proprietor of the Janus Press.

 

2008 - Betsy Palmer Eldridge - Sixty Sewing Structures
A compendium of sewing techniques from different bookbinding traditions, evaluated for their particular strengths and weaknesses and their suitability for various applications. Eldridge studied Book Arts at Wellesley College, in Germany, France, and with Carolyn Horton in New York.

 

2007 - Stuart Brockman - Gold Leaf Tooling on Leather
Methods and skills for gold leaf tooling of labels on goatskin, use of line fillets and patterned rolls on boards and board edges, lettering a convex spine and use of pallets and center tools. Brockman trained with his father James in the UK; has led workshops and lectured in the UK, Canada, Finland, and the USA.

 

2007 - Roberta Lavadour - Original Binding Structures and Decorations
Focus on original binding structures and book decoration inspired by the cowboy and Native American heritage of Eastern Oregon. Lavadour publishes her artist’s .books at the Mission Creek Press.

 

2007 - Priscilla Spitler - Behind the Design
Designer binding process of overall cover design, from concept to thumbnail sketch to laying out a final blueprint for leather onlay. Spitler studied printmaking at CA College of Arts and Crafts, bookbinding at London College of Printing and design binding at University of Texas. An edition binder, owns Hands On Bookbinding, Truth or Consequences, NM.

 

2007 - Kitty Maryatt - Practical Strategies for Editions
Designing a student letterpress edition of 100 copies demonstrates a variety of traditional and non-traditional materials and use of jigs for repetitive tasks. Maryatt directs the Scripps College Press and owns Two Hands Press in Playa Vista, CA.

 

2007 - Keith Owens - Design Principles and the Book
Foundational design and color prin­ciples and their use in innovative book design. Visuals illustrate the application of these principles in book design. Owens is assistant professor of communication design at the University of North Texas School of Visual Arts and teaches at Texas Tech. He designs custom books, albums and boxes; Education chair of AIGA Dallas-Ft. Worth chapter.

 

2007 - Chela Metzger - Creating Medieval Stationer’s Binding Structures: Lacing Patterns, Tacketing Methods, and Leather
Stationers’ bindings with visible lacing and ticketing; closures with loops, ties or buttons; history and conservation of blank books.

 

2007 - Catherine Burkhard - Plain-Jane Restoration: Making Books Functional
Basic, cost-effective, yet quality restoration techniques for books with personal value. Burkhard is a bookbinder and calligrapher and has been an instructor in both fields. Owns Books’n Let­ters Studio in Dallas.

 

2005 - Timothy Ely - The Drumleaf Binding
The drumleaf system is compounded from a variety of structures, and can be used to assemble books of one-sided folio spreads or single leaves formed into folios. Timothy Ely earned an MFA in design from the University of Washington and spent 1982 in the UK studying bookbinding methods and techniques. He lives and practices his craft in the Palouse Empire near the Idaho/Washington Border. His books can be found in collections worldwide.

 

2005 - Renate Mesmer - Edelpappband
This paper binding structure requires precise execution to function properly. The presentation includes a history of Edelpappband and shows examples. A demonstration covers sewing on frayed cords, spine lining, board attachment, and covering. Renate Mesmer is the Assistant Head of Conservation at the Folger Shakespeare Library, and the former director of the Book and Paper Conservation Program at the Centro del bel Libro in Ascona, Switzerland. She has a Masters in bookbinding from the Chamber of Crafts of Palatinate in Germany.

 

2005 - Peggy Skycraft - Traditional Marbling
A demonstration, using modern materials, of traditional marbled patterns on cloth, paper and leather. The use of ground pigments is covered as well as techniques for lining cloth and protecting leather after marbling. Peggy Skycraft has been a self-employed decorative paper producer for 30 years. She studied at the Chicago Art Institute. Skycraft Papers offers marbled and hand-decorated papers, and supplies.

 

2005 - Paul Delrue - Lacunose (An Artistic Invention)
A demonstrations of a technique developed to achieve a style of working with leather for fine bindings. Lacunose means furrowed, or pitted, and the leather is applied in pieces and sanded to reveal colors, shapes and textures within the skin. Slides of Lacunose bindings are shown. Paul Delrue has been in private practice since 1971 in England and has completed over 300 special bindings. He has won many bookbinding awards and medals, and is a Fellow of Designer Bookbinders and Honorary Fellow of the Society of Bookbinders.

 

2005 - Inge Bruggeman - Foundations Session: Letterpress Printing
An overview of letterpress printing using handset lead type and photopolymer plates. The uses and strengths of each media is discussed, and participants print their own test plates on a Vandercook proof press. Inge Bruggeman earned an MFA from the University of Alabama Book Arts Program and then was artist-in-residence at the Minnesota Center for Book Arts. She runs a letterpress and design business called Textura, and teaches in the Portland area.

 

2005 - Hedi Kyle - Wunderkabinette
Inspired by renaissance curiosity cabinets, Hedi creates architectural book environments of moveable nooks and crannies to hoard treasures of three-dimensional curiosities and self-made concoctions. Hedi Kyle recently retired as Head Conservator at the American Philosophical Society. She is Adjunct Professor at the University of the Arts in Philadelphia and has taught workshops for 20 yrs. Hedi’s one-of-a-kind constructions have been exhibited and collected internationally.

 

2004 - Kiyoshi Imai - Japanese Pouch/Four Hole Binding
A demonstration of the binding style featuring a text block folded at the fore-edge forming pouch-like pages. Lining the cover material, preparation of the sewing thread and decorative sewing techniques are shown. Kiyoshi Imai is a book conservator at Northeast Document Conservation Center and teaches workshops at the North Bennet Street School and in Vietnam.

 

2004 - Mark Andersson - Half-Leather Trade Binding
A demonstration of a trade binding popular in mid 20th century Sweden, used primarily on sewn paperbound volumes produced to be taken to a binder by the buyer. This structure featured hooked endsheets and was sewn on recessed cords. Mark Andersson graduated from the North Bennet Street School in 1992, worked at the University of Washington and received a Fulbright Scholarship for the study of Scandinavian bookbinding and conservation practices. He currently teaches at Boston’s North Bennett School.

 

2004 - P.J. Saine - Foundation Session: Photographing Your Artwork
This Foundations Session reviews the basics of digital imaging and the principles of studio lighting for photography. A working studio is created and books provided by participants are digitally photographed. P. J. Saine writes, lectures internationally and exhibits his photography in galleries and museums. His latest book is New Hampshire Rock Portraits.

 

2004 - Peter Geraty - Edge Decoration Techniques
A demonstration of several techniques including solid edge gilding and edge coloring. Different methods and their importance or superfluity are presented to provide participants a basis for making gilding decisions. Peter Geraty has been a bookbinder since 1975 and currently runs Praxis Bindery providing conservation, edition binding and fine binding.

 

2004 - Adam Larsson - Medieval Limp Vellum/Leather Structure
Originating 600 years ago, the elements of this structure are guards of vellum, spine plates of wood, horn or leather, and the “over” weaving of the exposed spine. Ways of decorating vellum are demonstrated and slides are shown from the Uppsala University library. Adam Larsson has trained in Scandinavian and French binding techniques. He has been a book conservator at Uppsala University since 1994 and lectures on historical Scandinavian bookbinding techniques.

 

2004 - Nancy Southworth - Conservation of Historic Bindings Using Adhesive and Non-adhesive Methods
An examination of conservation methods used on limp and hard board parchment bindings. Topics include cleaning, flattening, and mending covers on and off the text block. Mending or repairing endbands, pastedowns, spine liners and sewing slips is addressed as well as toning all materials used. Housings designed for parchment bindings are shown. Nancy Southworth is a book conservator in private practice in New Hampshire. She interned at the Folger Library and worked with Abigail Quandt and the late Barbara Giuffrida.
 

2003 - Tini Miura - Incorporating 3-Dimensional Objects into Cover Design
A demonstration of several techniques to fix pyrite, a think slice of agate, semi-precious stones and mother of pearl into and onto the covers of books. Tini Miura teaches design binders at the school for graphic professions in Stockholm, and Meisie University in Tokyo.

 

2003 - Richard Baker - Spring Back Ledger Binding
A demonstration of the construction of a traditional, spring back ledger syle binding. This style of binding is ideal for financial ledgers, journals, diaries, and guest books or other books which need to open fully to allow writing near the gutter margins. Details are giving on the endsheets, board attachement, and spring back structures. Richard Baker has been binding books since 1973, when he started taking classes with the late Bill Anthony. He has worked at Johns Hopkins University, the Smithsonian Institution and the American Antiquarian Society. Since 1989, he had his own book and paper conservation studio in St. Louis, where he also teaches students in bookbinding.

 

2003 - Julie Chen - Presentation Considerations in the Design and Creation of Artists’ Books
Ms. Chen shows slides and examples of elaborate book and box constructions. She demonstrates the use of magnets in both boxes and book covers. Julie Chen is a book artist and book arts instructor at Mills College as well as various summer workshops. She has published limited edition artist’s books under the Flying Fish Press for 15 years.
 

2002 - Dennis Ruud - Illumination
A construction of an illuminated page on vellum, using tools and techniques of modern calligraphers. Dennis demonstrates quill cutting, knife making, vellum preparation, writing, glilding on gesso and color application, resulting in a finished illuminated folio. Dennis Ruud has studied and taught calligraphy for 25 years and has been a book conservator in private practice in Minneapolis for 19 years.

 

2002 - Bridget O’Malley - Papermaking: Before and After, Pulp, Paper and Beyond
This presentation addresses choices made before the sheet is formed and after. Appearance, feel and performance of the sheet are determined by selection of raw materials, processes used during formation and afterward by surface dyes, gelatin size, burnishing and calendaring. Ms. O’Malley is co-proprietor of Cave Paper in Minneapolis and teaches throughout the country. She completed a 5 year apprenticeship with Tim Barrett at the University of Iowa Center for the Book.

 

2002 - Olivia Primanis - Historical & Contemporary Album Structure
Different types of historical album structures are demonstrated, and their various advantages and dis-advantages are addressed. How nineteenth and twentieth century albums are constructed offers inspiration for the design of contemporary albums. Olivia Primanis is a Book Conservator at the Harry Ransom Humanities Research Center in Austin TX. She was an apprentice of Jean Gunner at Hunt Institute, Carnegie Mellon University in Pittsburgh.

 

2002 - Monique Lallier - Chemise and Slipcase
This presentation focusses on the making of a chemise and a slipcase over a book already bound. The French “chemise” wraps around the book with narrow flaps at the foredge. The slipcase fits over the chemise and follows the roundness of the spine. They can be lined with suede leather, felt or paper. Monique Lallier studied French techniques at Líart de la Reliure in Montreal, with Edwin Heim and with Hugo Peller in Switzerland. She has over 30 years experience in book making and her work has been exhibited internationally.

 

2001 - Jiri Vnoucek - Romanesque Bindings
A look at 10th-13th century bindings, including parchment making, and a demonstration of practical examples of binding construction such as sewing, spine treatment and covering. Jiri Vnoucek is head of the conservation department in the National Library in Prague, and teaches book conservation at the School of Conservation in Litomyol.

 

2001 - Suzanne Moore - Traditional Foundations of Non-Traditional Artwork
This presentation focuses on the adaptation of classical page design, concepts, and techniques to contemporary book design. Included is a hands-on demonstration showing many of the inventive paste paper techniques she has developed and a slide talk discussing how they can be utilized in modern book arts design. Suzanne Moore received a BFA in Printmaking and then pursued lettering study and book arts in San Francisco. Her painted and lettered books have been exhibited and acquired widely. She currently lives in Cleveland where she is the art director of the lettering design group at American Greetings.

 

2001 - Christine Smith - Mending Paper
A review of materials and techniques that fine art conservators use to mend tears and fill losses. Topics include adhesives, choice of papers and their treatment, tools and surface finishes. Christine Smith is President and Chief Conservator at Conservation of Art on Paper, Inc. She has an M.S. in Art Conservation from Winterthur Museum and was previously Paper Conservator for the Smithsonian’s CAL and National Portrait Gallery.

 

2001 - Peter Verheyen - Vellum Binding
In this presentation, participants learn about covering a book in vellum using a technique based on the German Bradel binding, of constructing a case which reduces the pull created by the expansion and contraction of vellum. Variants include laced vellum sewing slips, full and quarter vellum, making corners and molding headcaps. Peter Verheyen studied book conservation in Germany and book restoration at Ascona Switzerland. He was a Mellon intern at the Folger, worked with Heinke Pensky-Adam, with Bill Minter and at Yale.

 

2000 - Gabrielle Fox - Miniature Bindings from Guild of Book Workers on Vimeo.
An examination of various possibilities in the structure and design of miniatures, and how it can apply to cased-in and fine binding, as well as restoring or conserving miniature bindings. Gabrielle Fox received her diploma in Fine Binding and Restoration at Guildford College. She has worked and taught in both the U.S. and England.

 

2000 - Bill Minter - Examination of the Jacques Board Shear
A presentation on servicing and maintaining Board Shears, especially the Jacques Board Shear. Bill Minter is a bookbinder and conservator in private practice. He has developed several tools used in the preservation of books and paper.

 

2000 - Karen Zukor - Introduction to Adhesives
How natural and synthetic adhesives are classified and formulated, their working properties, aging characteristics and other useful information for conservation and bookbinding. Karen Zukor is a professional paper conservator in private practice. She teaches conservation program interns and lectures widely.

 

2000 - Terry Buckley - Medieval Binding Technique
A demonstration of how to bind a structure based on a 500-year-old German binding, but adapted to allow for more modern day aesthetics. Terry Buckley is a Senior Lecturer in Bookbinding at the London College of Printing.

 

1999 - Scott Kellar - Rounded Spine Boxes
Step-by-step instructions on making a rounded spine box. Scott Kellar is a bookbinder in private practice in Chicago and former Collections Conservator at Northwestern University Library.

 

1999 - Maureen Duke - Action on the Case
A demonstration and explanation of case binding to show how skill is used to vary the method used and style of case with regard to the given use and materials. Maureen Duke has been a self-employed bookbinder and restorer, and a teacher of bookbinding since 1949. She is currently a tutor at Guildford College and Urchfont Manor in England.

 

1999 - Daniel Kelm - Wire Edge Binding
This presentation explores both the theoretical and practical concerns for integrating movement with materials in constructing a wire-edged binding, a binding where each “binding unit” (either a signature or single page) has wire attached to all edges that are to be joined to all adjacent units.Daniel Kelm is proprieter of the Wide Awake Garage and Garage Annex School of book arts. He majored in chemistry, philosophy and education at the University of Minnesota. He taught chemistry for five years before shifting his focus to arts and crafts. Over the years he has wored at a number of binderies and has taught and lectured extensively.

 

1999 - Terry Boone, Jesse Munn and Mary Wootton - Know Your Endpapers
In this presentation three senior rare book conservators at the Library of Congress conduct a series of exercises designed to increase awareness of characteristics of handmade papers. Their work with hand papermakers to develop papers for use with a wide range of books includes consideration of relationships of new materials with old, including working properties and visual and tactual sympathy.

 

1998 - Linda Blaser and Frank Mowery - English and German Style Leather Paring
Demonstration and discussion on two different styles of paring leather. Linda Blaser studied Crafts in college and worked as a draftsman/illustrator before taking the opportunity of being trained at the Library of Congress. She studied with Peter Waters, Don Etherington and Christopher Clarkson. Frank Mowery is head of Conservation at Folger Shakespeare Library. He studied bookbinding in Hamburg, Germany, at at the Staatliche Hochschule fur Bildende Kunste.

 

1998 - Anthony Cains - On the Ellesmere Manuscript
A demonstration of the open-boarded covering of beech wood and paste-boarded models of typical 16th century bindings in the Trinity College, Dublin collections. Anthony Cains has had a distinguished career in Europe as a bookbinder and conservator. He designed and established a workshop and laboratory in the Library of Trinity College Dublin. He has published, taught and lectured extensively.

 

1998 - Linda Hohneke - Decorative Papers
A look at historic decorative papers used in bookbinding and some of the techniques used in their manufacture. Linda Hohneke began working in book conservation as a volunteer with the Smithsonian Institution Book Conservation Lab and has worked in the Folger Shakespeare Library Conservation Lab since 1992.

 

1998 - Carol Barton - Paper Engineering and Pop-ups
This presentation demonstrates five basic paper engineering pop-up structures and explains the mechanical principles that allow them to function with the motion of the turning page. Also discusses is the creation of a simple mat board jig to allow for production for a small edition of pop-ups, and the process of die-cutting for larger editions. Carol Barton is a book artist, curator, and arts administrator who has published several editions and organized local and national shows of artists’ books. She has taught around the country, including at Penland School of Crafts, Virginia Museum of Fine Arts, and the Center for Book Arts in New York City.

 

1997 - Pamela Spitzmueller - Long and Link Stitch Binding
An historic look at materials and techniques of this non-adhesive sewing. Models, diagrams and slides show the underlying structure and its component parts. Includes a look at contempory expressions of long and link stitch. Pamela Spitzmueller is Chief Conservator for Special Collections at Harvard Libraries, and formerly head of conservation at the University of Iowa Libraries. Pam also makes artists books.

 

1997 - Donald Glaister - Gold Tooling
Demystifying some of the elements of gold tooling using both type and line tools, and a demonstration of a step-by-step plan for successful hand tooling. Don Glaister began his career as a design binder and teacher, then worked as a book conservator at NEDCC.

 

1997 - Donald Etherington and Nancy Jacobi - Japanese Papers
Nancy clarifies the confusion around washi with a hands-on examination of a variety of samples, and a look at ongoing changes affecting papermaking in Japan today. Don shows various ways in which Japanese paper is used in bookbinding and conservation, including guarding, mending, lining and reinforcement. Nancy Jacobi operates The Japanese Paper Place in Toronto Canada where she researches and sells fine quality Japanese papers. Don Etherington runs the Etherington Conservation Center. He was previously Chief Conservation Officer at the Harry Ransom Humanities Research Center, and was instrumental in developing the conservation program at the Library of Congress.

 

1997 - Dag-Ernst Petersen - How to Treat Wooden Boards
A demonstration in 2 parts showing how to Make wooden boards for a 16th century German book, and how to restore wooden boards. Dag-Ernst Petersen is head conservator of the Herzog August Library in Wolfenbuettel, Germany and a Master Bookbinder.

 

1996 - Louise Genest - Exposed Spine Binding
This presentation foces on the binder’s approach to the exposed spine bnding of a multiple-section textblock, demonstrating from beginning to completion, the step-by-step process for a full leather binding. Louise Genest studied bookbinding in Montreal with Monique Lallier, served an apprenticeship in book conservation at Carolyn Horton and Assoc., and took courses with Deborah Evetts and Laura Young.

 

1996 - Richard Horton - Opening Up Photo Album Possibilities
A short history of album production, materials and tools, photo mounting and stubbing, historical and recent models: advantages and disadvantages. Demonstrations of different styles of album pages. Richard Horton attended Columbia U. and U. of Texas, Austin. He studied hand binding with Craig Jensen and has written many articles on album and box making.

 

1996 - Terry Buckley - Dyeing and Staining Leather
Using both spirit and water stains, Terry Buckley discusses the importance of leather colors and decorations, methods he has tried for dyeing and staining leathers, and what he considers best for a particular book: modern design binding, traditional gilt style, or restoration project. Terry Buckley is a specialist of Gold Finishing, Islamic Bindings, and Restoration. He served a six-year apprenticeship with W.T. Morrels, forwarding and finishing, and trained at the Central School of Arts and Crafts in London. He is presently Senior Lecturer (Bookbinding) at the London College of Printing.

 

1996 - Jan Sobota - Cuir Cisele or Leather Schnitt
This technique of cut leather decoration was used in Central Europe from 1350 through 1500, and can be a striking way to decorate a leather bookbinding. Jan Sobota attended the School of Applied Arts in Prague in 1957, received his Master of Applied Arts, majoring in Bookbinding in 1969. He was received the title of Meister des Einbandkunst by the MDE in 1979.

 

1995 - Elaine Schlefer - Rx for Sick Books
Book conservation techniques are demonstrated, many of which were developed while working with Carolyn Horton. These include vellum stretching, post binding, paper humidification, board attachment, pulp mending and sewing methods. Elaine Schlefer is Preservation Administrator/Conservator at the Gladys Brooks Book and Paper Conservation Laboratory, New York Academy of Medicine.

 

1995 - John Hyltoft - Danish Millimeter Binding
A demonstration resulting in a well-constructed binding that combines the elements of good design, elegance, and an economic use of costly materials, including a short history of this binding style. John Hyltoft is the former Head of Conservation for the Smithsonian Institute Libraries, and is currently established as an independent contractor in Virginia.

 

1995 - John Mitchell - Edge Gilding
This presentation covers the necessary equipment, the types of liquid adhesives that are available, the most effective gold leaf to use, and the most efficient techniques required to produce solid gilt edges. John Mitchell has taught at the London College of Printing, and was Senior Lecturer in charge of bookbinding. As Chief Examiner for the City & Guilds of London Institute, John is a silver medallist and author of two books on Edge Decoration and Gold Finishing.

 

1995 - Mindell Dubansky and Priscilla Spitler - Contemporary Edition Binding
Ms. Dubansky’s slide lecture covered the many ways that books and art objects can be bound, with an explanation of the pragmatics of what makes a binding successful or unsuccessful and the differences in approach between library and edition binders. Ms. Spitler demonstrated her innovative time saving tips for cost-effective, edition case binding, including innovative jig designs, and discussion of supply sources and job bidding. Mindell Dubansky is head of Book Conservation at the Metropolitan Museum Library in New York. Priscilla Spitler is a teacher and hand bookbinder in her Smithville Texas studio, Hands On Bookbinding.

 

1994 - Robert Espinosa - Modified Limp Vellum Binding
A demonstration of a binding with a three-component cover and an alum-tawed fitted spine piece combined with sides of limp vellum. This binding is an alternative to traditional limp vellum bindings for use in conservation treatments and creative binding. Robert Espinosa is Preservation Librarian at the Harold B. Lee Library of Brigham Young University, where he was previously head of conservation.

 

1994 - Frank Mowery - Mending Vellum Bindings
A look at vellum production, and a demonstration of cleaning and repairing vellum with Japanese paper. How to flatten vellum and tips on storage and mounting techniques. Frank Mowery is the head conservator and preservation officer at the Folger Shakespeare Library in Washington D.C.

 

1994 - Eleanore Ramsey - In Search of Elegance: Board Edges Redefined
Slides, discussion and demonstration of techniques for covering complicated shapes, focusing on elegant finishing. Eleanore Ramsey teaches fine binding in San Francisco. Her bindings are in major exhibitions both in the U.S. and abroad.

 

1994 - Tim Ely - Design Applications and Possibilities
Imaging and visual projection techniques and their employment on the triptych book surface. Unusual materials and technical methods are presented, as well as a history of symbolism and its usage on the book surface. Tim Ely is a book artist with training in traditional binding. He studies philosophical as well as technical and innovative approaches to designing bindings. Presented at the 1994 Standards of Excellence Seminar held in Dallas, TX