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Sheryl Oring sets up her “IWish to Say” ofice on the Belmont University campus in Nashville, Oct. 2008. Photo by Dhanraj Emanuel
Volume 7, 2011
The Bonefolder: an e-journal for the bookbinder and book artist
Table of Contents
Cuban Book Arts Collaborations By Steven Daiber
4
[Una versión en español de este artículo aparece a partir de la página 12. Las imágenes
de la versión en Inglés tienen subtítulos en Inglés y Español]
Colaboración Cubana en el Libro de las Artes por Daiber Steven
12
Capturing the Quotidian: Book Arists Explore New Tools by Miriam Schaer
16
Evening Conversations of the Booklover Rubricius and the Printer Tympanus by Oldrich Menhart
22
The New Oriental Binding Structure described by Monique Lallier and Pamela Barrios
36
2
Eyes Wide Open and Fingers Crossed: Production and Distribution Problems with
Large-Editioned Artists’ Books by Phil Zimmermann
42
Tomorrow’s Past by Charles Gledhill
48
A Non-Adhesive Externally-Sewn Binding Solution to a 14
th
Century Vellum Manuscript
by Scott Kellar
54
Focus On Artists’ Books V: Artspace Mackay by Doug Spowart
58
Reading by Space and Time in Building by the Book by Mary Tasillo
63
Open Book: An International Survey of Experimental Books by Grant Mandarino
66
Bonefolder Bind-O-Rama 2010:The Thread That Binds
68
Book Reviews
Baker, Cathleen A. . From the Hand to the Machine. Nineteenth-century American paper
and mediums: technologies, materials and conservation. Review by Jeffrey S. Peachey
77
Carlisle, Kate Homicide in Hardcover, If Books Could Kill, and The Lies That Bind.
Review by Marieka Kaye
80
Etherington, Don. Bookbinding & Conservation: A Sixty-year Odyssey of Art and Craft.
Review by Peter D. Verheyen
82
Submission Guidelines
85
This work is licensed under a Creative Commons License.
The Book Arts Web / Philobiblon.com© 2004
The Bonefolder (online) ISSN 1555-6565
Volume 7, 2011
 The Bonefolder: an e-journal for the bookbinder and book artist
Publisher’s Note
Welcome to Volume 7 of The Bonefolder, our 13
th
issue and the irst iteration of this publication as an annual. In the 7 years
of this publication since fall of 2004, readership as measured by downloads has grown exponentially so that we can easily (and
arguably) say that we are the most widely read publication in the book arts with over 205,071 downloads recorded since we
could start recording counts in December of 2006. Committed to the Open Access movement since inception, The Bonefolder
has been freely available online and listed in the Directory of Open Access Journals (DOAJ) placing it into just about every
larger library’s online catalog, worldwide. Increasing numbers of readers also share their impressions of issues and articles via
their blogs, Facebook, and Twitter further spreading the news. Statistics can be wonderfully revealing.
With this success come concerns about sustainability – how can a small staff keep the publication going without
compromising on quality. One way we hope to do this is to produce a single larger, yet more selective annual issue. As potential
authors we hope that you will keep us in mind as we continue to seek a broad range of articles on book arts related projects,
structures and techniques, exhibition and publication reviews, thought provoking opinion pieces, and more. The Bind-O-Ramas
will also continue, of course.
3
In order to provide better access to more time sensitive pieces, a blog called Bonefolder Extras will provide a pre-publication
venue for such things as exhibition and book reviews. Publication guidelines and selection criteria will remain the same,
and selected articles will also appear in the next issue of The Bonefolder ensuring that they become part of the permanent
record of the publication. This will also enable us spread the work of producing an issue out over the course of the year. More
information about Bonefolder Extras will be shared via Book_Arts-L and other lists/media in the spring. The site will be
available via the Bonefolder site at <
.
Finally, I invite self-nominations for no more than two new members of the Editorial Team. Individuals should be: self-
starters; connected to various aspects of the book arts community; observant and aware of new developments; comfortable
soliciting articles and working with authors to get articles “publication” ready in accordance with the submission guidelines;
able to work to deadlines and be responsive to the Team; luent in working with common desktop applications such as Word,
Google Docs, email. Geographic location is irrelevant. Hybrid backgrounds a plus. Appointments will be for two years and
can be renewable. If you are interested, please send a statement of interest that expresses what attracts you to this opportunity,
what qualities you would bring to The Bonefolder, your book arts interests and background, and include a brief resume. A
writing sample and other illustrative examples are also welcome. Please send to the Publisher at <bonefolder@philobiblon.
com>. Nominations received before March 15 will receive irst consideration.
Thank you to all our readers and contributors. We wouldn’t be here without you.
Editorial Board:
Karen Hanmer: Book Artist, Chicago, IL.
Chela Metzger:Conservator of Library Collections,
Winterthur Museum, Garden and Library, Winterthur, DE.
Publisher & Editor/Reviewer:
Peter D. Verheyen: Bookbinder & Conservator / Head,
Preservation and Conservation, Syracuse University Library,
Syracuse, NY.
Full information on the Bonefolder, subscribing,
contributing articles, and advertising, can be found at:
<
Editors / Reviewers:
To contact the editors, write to:
Donia Conn: Workshop Program and Reference
Cooordinator, Northeast Document Conservation Center,
Andover, MA.
<
>
The masthead design is by Don Rash
Volume 7, 2011
The Bonefolder: an e-journal for the bookbinder and book artist
Cuban Book Arts Collaborations
in the US where one is irst asked, “What are you working
on?” Cuba is a society based on generosity and equality. One
day, the printer I was working with,Yordi, who was doing all
the physical labor of inking and running the press offered me
half of his lunch. That day, what I had in my wallet equaled 6
months of his yearly salary. I felt instantly humbled.
By Steven Daiber
[A Spanish version of this article appears begin-
ning on page 12. Images in the English version
are captioned in English and Spanish
I have a deep respect and admiration for the artists with
whom I collaborate. My goal with all the collaborative book
projects I’ve made in Cuba is to share a perspective on life
with which I am unfamiliar but have been fortunate enough to
experience.
Una versión en español de este artículo aparece
a partir de la página 12. Las imágenes de la
versión en Inglés tienen subtítulos en Inglés y
Español]
4
An Observation on the Print Shops of La Habana
My collaborations with artists from Communists countries
have been fortuitous. In the 1960’s I remember standing in
school hallways with sirens blaring—we’d protect the backs
of our necks from the possibility of lying glass once the bomb
hit. Cuba- Russia- China- Vietnam –these were evil countries.
During my trips to Cuba and Vietnam, I was lucky enough to
realize that the citizens of these countries are just like us. They
are proud of their country, they work hard, laugh, eat, show
off their children, worry about health care, world politics,
cost of living, the next job and how to craft a meaningful body
of art.
My family and I irst visited Cuba in 2001. Our longest
annual stay was ten months in 2003 and our shortest visit,
three weeks. This adventure began when my wife, Jacqueline
Hayden, a Professor of Film and Photography at Hampshire
College and a founding faculty member of Hampshire’s study
abroad program in Havana asked me if I wanted to go to
Cuba. My irst questions were simple and based on a very
limited knowledge of the island--What is Cuba? Where is
the Bay of Pigs? Who Is Fidel Castro? What do I really know
about Cuba and can I buy cigars? All these questions and more
continue to be explored.
Since 2003 I have worked in eight different print shops in
Havana and offered book arts and printmaking workshops
at individual studios and universities. These print shops are
typically Cuban- one foot in the past, one in the present and
one looking to the future. The process of creating an aquatint
looks more like a Santería ceremony, shaking the rosin dust
over a plate and heating it with an oily lame.
Taller Experimental de la Gráica director Luis Lara Cabaña
applying rosin to an etching plate.
Taller Experimental de la Gráica, director Luis Lara Cabaña
aplicando resina a una plancha de metal.
With my very poor Spanish I ind myself in situations where
I am not only unable to communicate but also unable to fully
assimilate to a society so different from my own. Still, I enjoy
these wonderful cultural differences. When greeting a friend
in Cuba, the irst questions asked are about the family. “How is
your child, your spouse?” One offers a kiss or handshake upon
greeting a friend. A refreshing change from the norm here
The presses in these shops are old, aged with a history
of hard labor and some are handmade from salvaged iron.
The curved ends of the etching press beds remind one of
the waves crashing into the Malécon. The history of printing
Volume 7, 2011
The Bonefolder: an e-journal for the bookbinder and book artist
in Cuba is still visible with the litho stones from the turn of
the 20
th
century laying about the shop. Because they are still
printable, they provide me with an interesting resource for
my own prints.
of total frustration. One day I was completely lost when I
realized I had the prints from all the artists except one. No
one knew where this artist was and I had to leave for the U.S.
in less than 24 hours. Six hours later, in the middle of dinner
with friends, he showed up with the prints- only shy by ive.
But not to worry, I got them when I returned a year later.
These print shops are not a scene for the politically correct
or anyone with a chemical sensitivity. Music and salutations
are at full volume, gasoline is a great solvent and used with
abandon and smoking – well the cigars are great! The work
produced in these shops is amazing and as soon as possible
every Cuban I’ve worked with would adopt a chemical free
work environment.
These scenarios unravel in a thousand different ways in
Cuba, always teaching me that there are vast differences in
culture, work ethic, artistic vision and negotiation. To live
where innovation is a means of survival, conversation is an
integral part of every day, transportation is sketchy at best
and crisis a daily occurrence; I have learned that time has very
little to do with the clock.
5
The Collaborations
Almendrones
El muro: The Wall
El muro was born in a moment of eureka. In May 2007 we
met with the artist Eduardo Hernández Santos to exchange
prints with my wife Jacqueline Hayden. Long conversations
about the project ensued and were highlighted with examples
of 20 years of etchings, lithos; photo collages displaying
Eduardo’s focus on fractured bodies. At the end of two hours
Eduardo brought out one last collection of photographs. El
muro is thirty images, ten triptychs of the Malecón seawall,
letterset type and the most amazing portraits of Cuban LGBT
nightlife.
The initial effort for Almendrones, a collaboration of ten
Cuban artists, involved multiple meetings with and without
a translator, a leap of faith and trust between artists. Because
there is such a need for supplies in Havana, I provided the
paper and dictated the format and size of the images. The
prompt required Cuban artists to tell the compelling reality
about living with pre-revolution American cars. The intention
behind this project was to dispel the romantic myth foreigners
have about riding in Havana in old American cars. The cars are
beautifully restored and you, the foreigner pay serious money
for the ride. Cubans who can afford an option other than
the bus choose an Almendron, a peso taxi. These ingeniously
hobbled together 1930’s to 50’s American cars can pick up
6 or more passengers for ten pesos along prescribed routes.
These rides are hot and crowded, not to mention an assault
on the lungs from the leaky exhaust. They have no interior
door panels or window cranks, and you can watch the street
pass by under your feet. Most of my friends only use the
Almendrones for special occasions preferring to save money
by walking or taking the bus.
When making the Almendrones book there were moments
Volume 7, 2011
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