Artists' books in libraries
A set of teaching models of popular bookbinding structures is an invaluable resource for students, library staff and faculty in institutions with artists' book collections. In addition to demonstrating various bindings, teaching models inspire ideas by helping students visualize possibilities for integrating concept, content and form.
In Structure of the Visual Book (see Annotated Bibliography) book artist/author Keith Smith describes the process of "Getting acquainted with a book": Pick up a book, hold it. Feel it. Look at it, then examine it, not routinely or mechanically by habit but make a conscious effort to see at every step in the process, every movement of the eyes or hand...I use a blank book so that I am not seduced by this picture or distracted by that composition or those words...The procedure I am describing can't be learned by reading. It must be experienced. (p. 22)
Models demonstrating structure have a secondary but no less important purpose, inspired by a common concern in those libraries that use any special collections as teaching tools: finding a balance between access and preservation. In the case of artists' books, librarians find that students (and other artists and patrons) most frequently search holdings for examples and inspiration according to binding type. Models showing binding type allow for handling and close examination, have the advantage of being blank as Smith advocates above, and easily can be repaired or replaced if they fall apart. In short, they save wear and tear on library materials, thus making an incidental but vital contribution to special collections conservation.
A well-conceived collection of teaching models has public relations value, as well, both inside the home institution and out in the community. It encourages the use of artists' books by nontraditional users--students outside art and design disciplines, for example, who are drawn to the cultural, political, scientific and social roots of the modern artists' book movement--by demystifying the medium and making it more approachable. Teaching models can be incorporated into lectures about the history and theory of artists' books. They can be the basis for book arts workshops in the community; they're also good PR when used in exhibitions, displays and corollary materials such as brochures and Web sites.
Collectively, the three books below make a logical start to a set of teaching models. They represent popular, basic binding types--Pamphlet Stitch, Concertina and Stab Binding--that frequently are found in artists' book collections, and are made with materials and equipment readily available at hardware, art- and office-supply stores. The construction techniques are simple and clearly explained in all of the books listed in the "Technique" section of the Annotated Bibliography. Each structure has myriad variations, and together they offer students, artists and other library patrons many opportunities to explore the concepts of time and space through text, image and form--fundamental concerns of artists'-book makers.
The University of Iowa Libraries maintains a collection of historical Bookbinding Models to use as a teaching resource. Although they represent a vastly different genre--historical hand bookbinding--like artists' book models they "permit direct visual and tactile inspection of combinations of materials and structures." UIL's Web site includes statements of purpose and admirable plans for bibliographic management, "deliberate collection development" and formal documentation of the models.
A pamphlet stitch binding is a non-adhesive binding accomplished by sewing with needle and thread through folded sheets of paper nested one inside the other. Stitching done through the fold effectively sews pages and cover together. Pamphlet stitch refers to the line of long stitches evident along the spine of the book, created as the thread passes in a planned sequence in and out of an odd number of tiny holes punched with an awl. The example at right is a five-hole binding.
Specifications: The model is a 32-page book made from eight sheets of 8-1/2 x 11" Permalife text-weight paper folded in half to make a 5-1/2 x 8-1/2" text. The cover is heavier Canson Mi-Teintes paper, window cut so that a title rubber stamped on contrast-color endpapers shows through. Sewing thread is dyed, waxed linen.
Specifications: The model is a six-page book (12 counting the reverse side) made from a 26"-long strip of Rives Lightweight drawing paper. The covers measure 3-1/2 x 6-1/4" and are made from museum board (a type of mat board) covered with Canson Mi-Teintes paper. The title is hand stamped on a label made from text paper. The closure is dyed, waxed linen thread that wraps around the book and ties in the front.
Specifications: The model is a 10-page book made from Rives Lightweight drawing paper. It measures 9 x 5". The slightly heavier cover is Canson Mi-Teintes. The book is sewn ledger-style with four strands of dyed linen held together and embellished with glass beads at the ends. The title is hand stamped on paper to match the text.
