Books on Books: A Book Arts Apprenticeship

When I began learning book art skills 10 years ago, I also started collecting bookish books. Not only how-to manuals but such things as exhibition catalogues, design books, even a few books of fiction that feature books or bookbinders. I thought it would be fun to go through my shelf and share my collection on my blog. I’ve already written a few book reviews — see the books on books category — but now I’m making the reviews a bit more regular.
Soon after taking my first workshop at the San Francisco Center for the Book, I knew I wanted to make book arts more than just a hobby. But after nearly 20 years in the computer industry, it was daunting to map out a mid-life change in course — should I return to school for formal training? Where? Could I really put my life on hold for a few years and return to school full time? What did I want to concentrate on — fine binding, artist’s books, the content and design of the interiors?
A Degree of Mastery: A Journey through Book Arts Apprenticeship by Annie Tremmel WilcoxI’d like to report that I went about learning a new trade in an organized and logical manner. But I didn’t. Instead I made many starts and stops and detours along the way. One person who was much more linear in her approach to starting a new career is Annie Tremmel Wilcox. In her memoir, A Degree of Mastery: A Journey through Book Arts Apprenticeship (New Rivers Press, 1999), she alternates between her experience as the first woman apprentice to master bookbinder William Anthony at the University of Iowa and a lovingly detailed account of the restoration and conservation of a book she worked on. The long (5 year) apprenticeship program is rare today in the craft and trade world here in the US, but this throwback to the learning methods of an earlier time marries so perfectly with old books she learns to repair. I particularly appreciated and commiserated with Tremmel’s continual search for the right tool for each task — I’m forever devising new tools to make my editions more efficient to construct. It’s an easy read, made more interesting because it’s about a community I’m involved with and objects (books) that I care about deeply.

Who’s Got What?

Saturday Afternoons

I’ve sold many of my artist’s books by consignment because it’s been the most successful way to sell my more expensive books. When selling through a consiger, it’s often hard to keep track of who has bought copies of your books. Consigners don’t usually give you the names of private purchasers, which I understand, but I’d like to know which public libraries and museums have my books in their collections. I recently found out about WorldCat, a combined catalog of the Western world’s libraries and Artists Books Online (ABO), a project of the University of Virginia. I typed in my name as well as my press name into both catalogs, to see what would turn up. The best part was that my husband, who took the pictures for the book above (Saturday Afternoons, an out-of-print pop-up book I did about my husband’s cars and his car buddies), was quite impressed that he was listed as an author!

A Glue-y Mess

brush-construction.jpgRecently I forgot to clean my glue brush before I left the shop, rendering it a useless stiff mess by the next day. Running it under soapy warm water didn’t make it any more useable, so I started poking around on the web for another solution. But first I got sidetracked when I found the names for the parts of a brush — unrelated to my problem but I like the sound of the word “ferrule” (a metal ring or cap placed around a pole or shaft for reinforcement or to prevent splitting).
Eventually I did discover two suggestions for cleaning up my brush mess, both involving soaking it overnight (or longer), either in soapy water — using dish detergent — or rubbing alcohol. Since I had detergent at the shop, I tried that first. When that didn’t seem to make that much difference, I tried alcohol instead. By the next day, it had done the trick and with some rinsing under water the glue was gone and the brush back to normal.
Anyone else have a good method for cleaning up dried glue brushes?

Bagged

Dot Tote BagHank Bag

I’ve tried letterpress printing on lots of things — from the usual paper to thick coasters to book cloth to moleskine journals, and all the way to metal and wood. But I haven’t tried fabric yet. Piano Nobile over on Etsy makes these fabric totes, letterpress printed using wood type. My press doesn’t print a large enough area to cover fabric for a big tote, so I’ll just have to buy one of their bags! (But I’m also sure I’ll soon dream up a project that involves fabric!) You can see more of their textile prints on their website.

Knucklebuster Printing

Printer setup — Sarah WhorfThe Winter 2008 issue of Ampersand (the book arts journal I edit) is just out. In this issue, Sarah Whorf, who teaches printmaking at Humbolt State here in California, has written up a nifty method for printing on a modified credit card imprinter. The prints are tiny — just 2″x3″ — but it’s a great platform for learning printmaking. Marsha Shaw, a student of Sarah’s, teaches printmaking to both children and adults using these modified “knucklebusters.” She’s teaching a class for teachers at SFCB in June as part of their 2008 Summer Bookbinding Institute for K-8 Teachers and another for adults in July.

A Dos-à-dos Binding?

Thomas Keeley’s Hugs
Okay, the picture above isn’t a proper dos-à-dos binding, but that’s the first thing that came to mind when I saw the pictures. Take a look at more of Thomas Keeley’s amusing design work here.
But back to dos-à-dos (or back-to-back, in English) bindings. Two (usually related) books are bound back-to-back, so that they share the same back cover, and open in opposite directions. When the book is shelved upright, one spine faces the viewer while the other faces the back of the bookcase. To read books bound in this way, you read one text in the normal front to back manner, then to read the second text, you close the book and turn the volume over.