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News From The Chapter Chair: Spring 2020
News From The Chapter Chair: Spring 2020
Also, there was the DVC children's book exhibit, and several oth-
er exhibits for the tour at the Free Library. Chris
Brown spearheaded all of this, installing 4 exhibits in a very
short period - all this with a broken ankle. (What was with all the
broken bones? An odd coincidence, for sure.)
The tours had a lot of moving parts and there were many people working Kislak Center at UPenn
behind the scenes to make them a success. Alice Austin and Andrea
Krupp kept everyone on track for the tours to the new Charles Library
at Temple and the Wagner Free Institute. James Engelbart and Eriko
Takahashi led a group up the Ben Franklin Parkway to the Free Library
with Eriko giving great tour guide commentary along the way! Once
they got there Chris and James lead one group around and Eriko led
the other. A whole bunch of volunteers led a group on the subway over
to Penn for a tour: Val Kremser, Kristin Balmer, Eriko Takahashi,
James Engelbart, and Stephanie Westerland. I especially appreciate
that some of them offered to help at the very last minute to make sure
that everyone got on and off the subway safely.
There were also people who helped the presenters: Alice, Andrea, and
Kristin sat up front and did all kinds of behind-the-scenes tasks to help Elkins Room in Rare Books at FLP
our presenters. Beth Curren brought her tiny etching press from Wash-
ington, DC so that Rebecca had one for her nature printing demonstra-
tions.
Jennifer Rosner
Opening reception at UArts. Viewing Formation at Uarts. Viewing Once Upon A Book at FLP
Pressing Matter Spring 2020 p. 3
Andrew Huot, Hedi Kyle & Kristin Balmer, Val Kremser &
The vendor room
Rosae Reeder Eriko Takahashi
Don Glaister & Peter Geraty James Engelbart & Brien Beidler & Bexx Caswell-Olson
Eriko Takahashi
Snapshots from Standards. Thanks to Eriko Takahashi, Val Kremser, Jennifer Rosner and Karen Lightner for the photos.
Lisa Scarpello
Kristin Balmer
I’ve had a hard time lately focusing on the some of the more pressing tasks in the bindery. Instead, I’ve been
doing some “comfort binding” inspired by my entry for the GBW DVC Encyclopedia Britannica Project.
Scholarly Slinky was a binding stripped down to its ancient, elemental structure: paper, linen, wood. Packed
sewing on double cords and basic medieval bead on the spine endbands produced a binding that was strong,
flexible, and sculptural. My volume of the encyclopedia yielded enough paper to make a binding a little over 6
inches wide.
I wanted to make an even wider binding to really showcase the strength and support of this sewing structure.
One entire plus about a third of a second Random House Unabridged Dictionary yielded enough paper for Un-
abridged, which is 15 inches wide. I’ve also made smaller bindings with a friend to see how much sewing
someone might be able to complete if limited to a workshop weekend (about 4.5 inches, depending on skill lev-
el); and the pair Supported and Unsupported, one sewn like the others mentioned above and the other a chain
linking stitch with Coptic endbands. This pair uses one unabridged dictionary apiece, and each binding is about
12 inches wide.
I’ve been asked to teach a workshop on this binding later this year. The structure is quite basic, but I’ve come
up with some tips to make it more functional and elegant, and its construction more efficient:
Test carefully for grain direction before cutting down a dictionary. The paper in most of the books I’ve repur-
posed is short grain, but one College Edition was long grain. To cut the dictionaries down, I remove the case,
clean off the old spine lining, stand the book up at the tail on the bench and slice through the spine into roughly
half inch chunks, then guillotine those to size. (continued on p. 11)
My sections are about 20 sheets of paper. It took too long to count these out, and then I found that this was
about the same thickness as a piece of 60 pt board, so I now use that as a guide instead of counting.
When marking up, keep the kettle stitches well away from both head and tail, as a portion of the spine will be
cut away here to accommodate the endbands. A corresponding cut is required from the spine edge of the wood
boards.
Since the signatures are thick, there is a lot of creep at the fore edges. I’ve experimented with trimming the
sections before sewing. The text block still never lines up anywhere near brick-like at the fore edge, but the
sewn text block is too unwieldy to trim after sewing, so this is the only opportunity for trimming.
I add hooked endsheets of parchment to the first and last sections. A budget option is Pergamenata Parchment
Paper, 230 gsm. It keeps the first and last few pages safe during the binding process.
Sewing
The thread size will also manage swell, but don’t go too thin since there will be no covering or spine linings to
supplement the sewing. I have used #18/3 and also some very strong #16/2 linen intended for weaving
(Bockens brand made in Sweden, availa-
ble in many online stores). These bind-
ings use a lot of thread, and the 16/2
comes in spools of 600+ yards.
Lacing on
If I’m vigilant about managing swell through my choice of materials and while sewing, there is no problematic
shoulder. To help keep the boards from flopping open far from the text block, I lace the cords (including end-
band supports), through diagonal holes in the board edge. The cords exit on the outside of the boards, then lace
to the inside through a second set of holes. The cords sit flush with the face of the boards in shallow channels
between the holes made with a sharp chisel (inexpensive hardware store chisels often do not come sharp and
likely need to be touched up before first use). I anchor the cords into the second holes firmly with triangles of
leather instead of the traditional wood pegs. I cut off the excess leather inside and out, and the cords at the in-
side. Take care not to lace the boards on too tightly or they will splay open.
This completes the binding. Enjoy your creation!
http://www.karenhanmer.com/teaching/Medieval_Slinky.MOV