Renate Mesmer Speaks About Her Apprenticeship and Path

Though registered, I missed Renate Mesmer's presentation at the William Anthony Conservation Lecture Series on Halloween 2024. Thank you to the friendly colleagues at Iowa for putting it online recently.

In her lecture, Renate spoke about her path in From an Apprenticeship in Traditional Hand Bookbinding to Conservation, a path that started with her apprenticeship in Germany after leaving school after the 10th grade (at 16 years old), the more traditional path, and alternative to university [qualification (Gymnasium)] or after. Her description of those experiences also reminded me of what could have been in the case of my apprenticeship. The biggest takeaways for me – repetition and then more repetition, life-long learning, and giving back.

The works and daily/weekly journal (Berichtsheft) of an apprentice.
Bonus image at center of a Sprungrücken.

View the lecture on YouTube here.

 

A History of the Edelpappband ("Millimeter Binding")

Three volumes of the Buchbinderlehrling showing variations in 
reinforcement placement. All bindings presumably by apprentices.
From left: 1930, 1938, 1941.

The German Edelpappband (known commonly as the “millimeter” binding, and not to be confused with the “Danish millimeter”) is a “nobler” version of the quintessential German Pappband (paper-covered binding). The Edelpappband features parchment reinforcements at the head and tail of the spine, minimally on the boards, as well as “invisible” corners. The modern versions of this structure were described by Renate Mesmer (adhered boards)[1] and Peter Verheyen (case binding). [2] Both Mark Andersson’s GBW Journal article about August Sandgren, and his later PBI binding workshop on this structure led to discussions about its origins, and to this author diving into the German trade binding literature. Nuances of binding structures were not always described, much less illustrated, in these manuals; they were written to accompany apprenticeships and trade school, so some things were left unwritten and transmitted in the shop and school. Techniques are also often broken into discrete sections, such as end sheets, sewing, and forwarding. Details, like those that distinguish the Pappband from the Edelpappband, might be “hidden” in a section toward the end of the manual. As a result, the reader often flips between sections, learning that not every technique is distinct, and that there are many commonalities between the different styles.

Variations on reinforcement placement on the Edelpappband.
The one at bottom right is the original, with invisible corners.

The origins of the Pappband are rooted in the German tradition. It has been foundational and fundamental to the German bookbinding tradition since the second half of the 18th century, with numerous variant structures based on it. In the US and elsewhere, it is referred to as the Bradel, lapped component, bonnet binding, and by other names. I trace this varied terminology in a three-part series on my Pressbengel Project blog, including an extensive review of the German bookbinding literature.[3]  A 1906 article in Archiv für Buchbinderei “justifying” the Pappband places its beginnings in the Seven Years’ War (1756-1763). At that time, it was viewed as an austerity Ersatz for parchment bindings, with similar forwarding techniques for the construction of the spine and cover. The article also mentioned the parchment reinforcements at head/tail and corners as having been an option from the beginning. The Napoleonic wars that followed had an even greater impact on the availability of parchment and leather, so that the Pappband became the German all-purpose binding structure for books and libraries.[4] 

With industrialization, the structure was also adapted for case bindings, evolving with changes to the trade, the industrial revolution, and the needs of customers. Increasing discussions of the Pappband and its future began to appear in the trade journals in the early years of the 20th century. These discussions, largely between Paul Adam (Teacher, author, and editorial voice of the Archiv für Buchbinderei) and Paul Kersten (perhaps the leading binder and author of the time) continued across numerous articles. Was the Pappband still relevant? Among the concerns were its “archaic” structure and “lack of durability”. These were accompanied by calls to go back to its roots, i.e. covering in parchment[5] or cloth, even if just as half-bindings to take advantage of all the new and innovative decorated papers being developed.[6] But, is a quarter-cloth or quarter-leather binding still a Pappband?

Forwarding these bindings would have been largely similar: hooked endsheets, later tipped-on, with or without a guard or waste sheet; sewing on recessed cords or tapes, frayed out, or stapled through mull or similar; square or rounded spine backed to 45°; stuck on or sewn endbands … As always, there were variations in these details, based on the binder’s preferences, habit, or the nature of the book …

The first mention of what is now referred to as the Edelpappband can be found in L[udwig] Brades’ Illustriertes Buchbinderbuch (1904), with the suggestion to reinforce the head and tail of the spine as well as corners with parchment, especially on heavier books. The paper covering was cut to expose 3 mm or less of the parchment reinforcement.[7]  In 1909, Paul Kersten described this structure, addressing the concerns about its durability. He described reinforcing the Pappband’s most vulnerable areas at head and tail and the corners with parchment, while still covering the case overall with paper. The paper would be cut out at the head and tail so that only a millimeter of the parchment showed, and the corners would be invisible on the outside of the boards. The result was a binding that had a better “marketing value” and was worth the extra cost.

An editorial rebuttal of Kersten’s article took issue with the increased inefficiencies and cost of this “reinforced” Pappband, also stating that the structure was behind the times. What would English binders think of this structure when handling an example?[8]  This sentiment was also expressed in other articles. At this time, German binding was considered not on par with French and English binding, something that was acknowledged by the German Court bookbinder W. Collin.[9]

Binders began to show greater interest in both this “reinforced” Pappband and the fully-paper-covered Pappband (also referred to as a Papierband), especially during the First World War and during the economic and political chaos that followed, something reflected in the literature . In bookbinding, wartime austerity measures meant shortages, including fewer skins for leather and parchment, but an increase in the variety of decorated papers and their use. “Good” conditions for the Pappband. It is during this time that Sandgren was working as a binder and studying in Berlin. 

The book trade periodicals with advertisements for books in publishers’ bindings are an additional source in the quest to trace the name and properties of book structures, and it was no different when tracing the term Edelpappband. These periodicals provided both the term itself and a description of its defining characteristics. It should be noted, however, that Edelpappband as a term was not used consistently, but the structure was often described instead as a modification to the Pappband. This was the case in Ernst Collin’s Pressbengel where it was described simply as a Pappband with reinforcements.[10] What differentiated these publishers’ bindings from their hand bindery counterparts was that they were case bindings rather than adhered boards, making them appropriate for high-volume production and keeping costs down. The difference is the sequence of steps, but the component parts are the same.

Ad for the New Testament as an Edelpappband describing reinforcement
at head/tail and corners. In Zwiebelfisch, vol 10, 1919.

Extract from an article in the Börsenblatt für den deutschen Buchhandel,
19 April, 1919, urging book purchasers to examine the items in person,
especially in this time of the Edelpappband and other Ersatz products.
Quality was a concern around publishers' bindings ...

So, where did the term Edelpappband, loosely translated as “noble” paper binding, originate? In his memoirs, Hermann Nitz describes coining the term to describe a “reinforced” trade paper-covered binding during the First World War. Nitz was a fine binder who was promoted to operations manager at Spamer, one of the largest trade binderies in Leipzig. This case binding had strips of parchment at the head and tail of the spine (as well as invisible corners), as was common in craft-/hand-bookbinding versions. The decorated paper was die-cut. For larger editions, or when parchment and leather became unavailable, book cloth and other materials came into use. To Nitz, Edelpappband was an appropriate term because of the structure’s combination of reinforcement and the ability to show off the new and innovative decorated papers that were created during that time.[11] An essay by the Fritzsche A.G., another large trade bindery, described how the Edelpappband was an outgrowth of the increasingly symbiotic relationship between the extra- and publishers binding departments of these large binderies. The greater strength of the Edelpappband, and its attractiveness as a platform for the new decorated papers, justified its increased cost. It was not designed to replace traditional quarter-, half-, or full-leather trade bindings, or compete with hand-bindings.[12] 

Descriptions of binding types from the Börsenblatt für den
deutschen Buchhandel, 17 March, 1938.
In regards to the Edelpappband  it writes that the most vulnerable
parts of the binding, i.e. head and tail as well as corners are
reinforced with parchment, leather, or bookcloth.
These are not just a technical improvement,
but also aesthetic details that enhance the binding.

Whether or not it was referred to as Edelpappband, the structure evolved aesthetically, too. It was included in every comprehensive bookbinding manual, in articles, and was learned by apprentices everywhere in their binderies and/or trade schools. The reinforcement placement became much more varied as well, with, for example,  the material extending fully along the top and bottom edges, or along the fore-edge instead of just the corners. It also became a regular part of journeymans’ and masters’ exams. While the Edelpappband is a comparatively simple structure, that simplicity can be challenging to master.

Variety in reinforcement placement from Rhein (1953).
See below for more.

Three Edelpappbände ("millimeter" bindings) by the author.
Note the leather and parchment details.

So how should we refer to it in English? What other nuances are there to discuss?

Thank you to Mark Andersson for starting all this, my early "readers" Kyle Clark and Jay Tanner, as well as Emily Bell at the GBW Newsletter for her thoughtful edits. Thanks also to Renate Mesmer for the great conversation around this topic (and shared binding tradition) that helped me refine this topic.

The article above originally appeared in the Guild of Book Workers Newsletter, no. 283, December 2025. 

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Endnotes:

1. Mesmer, Renate. “Edelpappband“. Handout from Standards presentation. Portland October 26th-30th 2005.
2. Verheyen, Peter D. “Millimeter Binding / Edelpappband”. The Bonefolder: an e-journal for the bookbinder and book artist. Vol. 1, No. 2 (2005).
3. Verheyen, Peter D. “Disbinding Bradel“. Pressbengel Project Blog. Three parts series including “who was Bradel?”, tracing the technique via the German literature, tutorial for early 19th century style.  
4. “Die Berechtigung des Pappbandes“, in Archiv für Buchbinderei. Halle a. S. : W. Knapp, Vol. 6 1906-1907 (pp. 131-133)
5. Ibid
6. “Der Pappband im Gewande unserer Zeit“. Archiv für Buchbinderei, Halle a. S. : W. Knapp, Vol. 9 1909-1910 (pg. 86-89)
7. Brade, L[udwig]. Illustriertes Buchbinderbuch ... . Halle a. S. : W. Knapp, 1904 (pg. 157)
8. Kersten, Paul. "Der Pappband ..." Archiv für Buchbinderei, Halle a. S. : W. Knapp, Vol. 9. 1909-1910 (pp. 109-111) 
9. Growoll, A. The Profession Of Bookselling: A Handbook of Practical Hints for the Apprentice and Bookseller. New York: The Office of Publishers’ Weekly, 1895. (pg 107) 
10. Collin, Ernst. Der Pressbengel. Berlin: Euphorion Verlag, 1922. (pp. 20-21) Translated as The Bone Folder by Peter D. Verheyen in various editions 2009 - 2017. See all in left sidebar here on the Pressbengel Project. 
11. Nitz, Hermann. Aus einem reichen Buchbinderleben, [Berlin]: [Graefe], [1951]. (pp 36-37) Nitz was one of the most technically innovative binders in Germany, blurring the lines between hand- and trade binding. For more on one of his innovations, see the Kombinationseinband here. 
12. Schramm, Albert (ed). Taschenbuch für Büchersammler. Munich: Verlag der Münchner Drucke, 1927. (pg. 113)

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Pressbengel Project blog posts on the topic:

Millimeter Binding (Edelpappband): Cutaway maquettes and binding images, with links to tutorials.

Bradel According To Denninger: Step-by-step description of completing an Edelpappband per instructions by Denninger.

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Tracing the literature:

The Edelpappband is structurally a Pappband (paper [covered] binding), the development of which I traced here.

Brade, L[udwig]. Illustriertes Buchbinderbuch ... . Halle a. S. : W. Knapp, 1904 (pg. 157)

The first mention found in a manual for what is now referred to as the Edelpappband can be found in L[udwig] Brades’ Illustriertes Buchbinderbuch (1904) where it is suggested to reinforce the head and tail of the spine as well as corners with parchment, especially on heavier books. The paper covering was cut to expose 3 mm or less of the parchment reinforcement.

Parchment reinforcements at head/tail and corners
are described in the second paragraph.

"Die Berechtigung des Pappbandes". Archiv für Buchbinderei, Halle a. S. : W. Knapp, v.6 1906-1907 (pp. 131-133)

"A Justification for the Pappband”. [Paul Adam, editorial voice of AfB]: Describes the development of the Pappband as sort of an austerity binding that was developed out of the Seven Years War with the structure based on that of the parchment binding; but instead of lacing slips through, these were frayed out and pasted to the inside of the [adhered] boards. Notes that “back then” binders reinforced at head/tail/corners with parchment, and made cutouts for these at the head/tail turn-ins by the spine. Describes how binders made their own decorated papers. Robustness of structures if gebrochene Rücken made of good folder stock, but also notes development of 3-piece ands case bindings.

Also, "in recent times there have been increased efforts to create an artistic Pappband, but says that these are an aesthetic diversion as the bindings are doomed to fail due to inherent vices, and while straightforward, only robust when covered in cloth on the spine. Therefore, a call to go back to the roots and cover the Pappband [structure] in parchment, also because the increasingly [expensive] decorated papers deserve better …"

Page from article describing reinforced Pappband.
Note: Image goes with another article.

"Der Pappband im Gewande unserer Zeit". Archiv für Buchbinderei, Halle a. S. : W. Knapp, v.9, 1909-1910 (pg. 86-89) [Paul Adam, editorial voice of AfB]

Sort of continuation of previous article: Against paper covered, for cloth covered (still a Pappband structurally). also mentioned cartonnage Bradel. Structure foundational to several adaptations and variants. Covering head/tail at spine and corners with parchment not logical and technically sound … Historically grounded in gebrochener Rücken, ‘ur-form’ creation described (with diagrams) with evolution to spine stiffener on strong paper ... Describes backing, spine and adhered boards or case creation, Covering. Also covering spine in cloth; taking strip out of the covering paper middle, trimming minimally at both sides to account for grooves; adhering sides; then strip from center in width of spine. It's not really an Edelpappband, is it? Let the debate continue.

Not really a Pappband..., covering spine in cloth;
taking strip out of the covering paper middle,
trimming minimally at both sides to account for grooves;
adhering sides; then strip from center in width of spine.
Let the debate continue.
Note: Images go with another article.

Advertisement from the Börsenblatt (June 12, 1926)
for an Edelpappband with cloth reinforcements are
described in the above image.

Kersten, Paul. "Der Pappband". Archiv für Buchbinderei, Halle a. S. : W. Knapp, v.9 1909-1910 (pp. 109-111)

A "reply“ to previous article; described Bradel as a "luxurious" half-cloth binding in France, not something more than a broshure; Pappband with cloth spine not a Pappband, instead half-cloth; Pappband not durable [bindings in many libraries beg to differ]; describes how head/tail; spine and corner reinforcements of parchment [or cloth/leather] are logical and sound; visibility of parchment in areas of highest wear/vulnerability has marketing value demonstrating that stronger and worth extra cost. Acknowledges case-binding easier and more efficient, but with adhered boards the spine piece fits tighter to spine of book, better for tooling title. Concludes by saying that he is not trying to be difficult, but …

Editorial rebuttal (probably by Adam) follows article: More on Bradel, term only in use since 1870 [wrong, see le Normand) but since Alscace and Lorraine were taken in 1870/71 … ok], a cloth covered Pappband no longer a Pappband; extra cost in labor vis-à-vis even half-cloth still hard to justify; better fit of adhered-boards dependent on binder’s skill, not structure; a “modernized” Pappband still behind the times, “what would English binders think when they saw/handled them and read this debate.

Excerpt from "Der Pappband ...." with part of [Adam's] rebuttal.
Note: Image goes with another article.

Bogeng, G.A.E. "Der Pappband als Phantasieeinband". Archiv für Buchbinderei, v.16-18 1916-1918. (pp. 2-4)

Lots about decorative papers and “luxury” Pappbände, and the economics thereof. Nothing on topic otherwise.

Collin, Ernst. Der Pressbengel. Berlin: Euphorion Verlag, 1922. (pp. 20-21) Links to English Translation

Under Pappband (Wednesday): BIBLIOPHILE: "I’m looking at this paper binding and can’t help but notice these narrow white vellum strips—see, I’m paying attention. I really like them and imagine they add more interest to some of the more monotone bindings."

BOOKBINDER: "We call those “vellum headcaps” (Pergamentkapital). The headcap helps reinforce the otherwise paper-covered book at its most vulnerable spot. We can also add invisible vellum tips on the corners."

The Pappband, and by extension Edelpappband in
Der Pressbengel.

Kersten, Paul. Der Buchbinderlehrling: Praktischer Ratgeber für die Lehrzeit nebst Anleitung zur Gesellen-Prüfung. Leipzig: Bernh. Friedr Voigt, 1923 (pg. 23)

Pappband described as a "full-binding" covered in paper, but durability can be increased by addition of parchment strups at head/tail; reinforcements suggested as default; cover in decorated paper of choice; no mention re. adhered boards vs case.

The Pappband in Kersten's Buchbinderlehrling,  1923.

Keilig, Gustav. "Lehrlingsarbeiten-Ausstellung in Danzig 1929. Der Buchbinderlehrling, v.3, 1929. (pp. 2-3)

Pappband mentioned in reference to selecting appropriate bindings for the [annual apprentice competition] and challenging oneself while playing to ones' personal strengths as a binder.

Mention of Edelpappband in second paragraph,
left column.

Morf, Friethold. Der Bucheinband, [1926] and Papparbeit und Bucheinband, 1930, 1951. Ravensburg: Verlag Otto Maier ...

Referred to Pappband; although illustrations appear to show a case binding, the text describes it as being worked as adhered boards; reinforce head/tail at spine and corners with parchment; make cutouts to covering paper. Alternatively, just cover in full-paper.

Morf (1930, 1951. [1926] identical).

Hoffmann, Willi. "Der Pappband". Archiv für Buchbinderei, v.31, 1931. (pp. 24-25)

Under "4." recommends head/tail and corner reinforcements of parchment, and to keep these as delicate as possible.

Detail with "4."

Wiese, Fritz. Werkzeichnen für Buchbinder. Stuttgart: Verlag das deutsche Buchbinderhandwerk, 1937. (pg 29)

"Die Edelpappbanddecke" for case binding as labeled diagram.

Edelpappbanddecke in Wiese. The first
illustration as a case, not adhered-boards.

Luers, Heinrich. Fachwissen des Buchbinders, Stuttgart: Max Hettler Verlag, [1943]. (pp. 199-203)

Technique described as part of the Pappband (full paper) worked as adhered boards with option for case; describes that if working as Edelpappband with parchment reinforcements, these can be applied in such a way that the parchment at the head can also serve as an area for titling, i.e. making it larger; note how parchment is first adhered to inside before being turned-in to outside; make cutouts to covering paper; cover from back to front; before turning-in, cut these per diagram so that they are only narrowly visible on inside of boards …

The Edelpappband in Luers.

Fröde, Otto. Die Handbuchbinderei. Leipzig: Fachbuchverlag Leipzig, 1953. (pg. 87)

Called Edelpappband; technique described as case binding; reinforcement in cloth, parchment, or leather.

The Edelpappband in Fröde.

Rhein, Adolf. Das Buchbinderbuch. Halle (Saale): VEB Wilhelm Knapp Verlag, 1953. (pp. 191-194)

Der angesetzte Pappband mit Kapitalen: technique described as adhered-boards; parchment reinforcement at head and tail of spine, corners applied first; then paper covering cut with cutouts at head/tail; cover from back to front; suggests a wide variety of ideas for combining reinforcement and covering…

Rhein (1953). 

Encouragement to experiment with placement
of the reinforcements. Rhein (1953).

Henningsen, Thorwald. Handbuch für den Buchbinder. St Gallen: Rudolf Hostettler Verlag, 1969.

The Swiss counterpart to Luers and Wiese. Described as cased Pappband with reinforcements made of cloth, leather, or parchment. 

Pappband reinforcements in Henningsen.

Büge, Siegfried. Der Pappband. Hamburg: Hans Christians Verlag, [1973].

(First serialized in Das Falzbein, vol 6, 1953-54)

Described as adhered-boards; parchment reinforcement at head and tail of spine, corners applied first; cut covering paper to size and apply; before turning in, make cuts to the board edge along the spine, then cut out piece flush to board edge with scissors (paper flush to top of board, reinforcement not visible from outside of cover). Includes photo of a binding with Lederschienen (continuous leather reinforcement at head/tail) by Jens E. Hansen, Aarhus, DK, bound 1967. Not described as Rubow.

Text above image describes making the
turn-in cuts at head and tail of spine.

Wiese, Fritz. Der Bucheinband: Eine Arbeitskunde mit Werkszeichnungen. Hannover: Schlüterische Verlagsanstalt und Druckerei, 1983. (7th ed). (pp. 212-215)

With section for Edelpappband: Described in context of adhered-boards/case binding; recommends applying reinforcements before attaching cover to textblock for covering in paper. Notes that the Edelpappband is the least cost-effective binding style when time and effort combined with materials are considered. Also asks if binders can be blamed for wanting to cover in three pieces before attaching to textblock. Finally suggests continuous head/tail reinforcements (like Rubow) as being easier …

Edelpappband from Wiese, pp. 214-215.

Moessner, Gustav. Die täglichen Buchbinderarbeiten: Eine Unterweisung in den einfachen Arbeiten der Buchbinderei. Stuttgart: Max Hettler Verlag, 1986. (pp. 158-160)
First serialized in Das Falzbein, 1949-56. 

Described as Papierband mit Kapitalverstärkung: Section shares history of the Pappband, here referred to as Papierband; worked as case-binding; discusses traditional (head/tail at spine and corners, but also mentions continuous head/tail reinforcement or head/tail and fore-edges; Notes that the Edelpappband is the least cost-effective binding style when time and effort combined with materials are considered.

"Reinforced" Pappband from Moessner.

Zahn, Gerhard. Grundwissen für Buchbinder: Schwerpunkt Einzelfertigung. Itzehoe: Verlag Beruf + Schule, 1990. (pp. 184-185)

Shares the Edelpappband as a case binding. Suggests using finer book cloths for reinforcement rather than leather or parchment - "too much of a good thing". Amount of reinforcing material visible should equal squares, not more than 2mm along top and bottom, or if along fore-edge not more than 3-4mm.

Edelpappband in Zahn.

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English language tutorials:

Rosenberg, Barbara. “Millimeter Binding: A report on John Hyltoft’s [GBW Standards] workshop. Guild of Book Workers Journal. Vol. XXXIV, 1995. (pp. 29-37) 

Describes the Edelpappband (called millimeter binding) with hooked endsheets, sewn on cords, with adhered boards, and parchment reinforcement along head and tail. Structure and steps as with those described in the German literature.

"The millimeter binding was created by Henrik Park around the time of the Second World War. Park was influenced by the William Morris movement and by Cobden-Sanderson. The aesthetics were beauty and character and the tooling was in harmony to give a complete and whole appearance. Small, thin sewn paperbacks are ideal for this style of binding. The shortage of materials during the war resulted in the millimeter use of leather and vellum. In Denmark, John was the first chairman of the Henrik Park or H.P. Group for Danish design binders and bookbinders."

Mesmer, Renate. “Edelpappband“. Handout from Standards presentation. Portland October 26th-30th 2005.

Instructions for adhered-boards variant.

Verheyen, Peter D. “Millimeter Binding / Edelpappband”. The Bonefolder: an e-journal for the bookbinder and book artist. Vol. 1, No. 2 (2005).

Instructions for case-bound variant.

Minerva Shows Her Books

After Minerva* left Fritz Otto's studio, he was finally able to clean up and close the studio for the night, but not before agreeing to meet again …

Finally finding a time to meet, Minerva arrived with her books – a nice assortment of structures, and she was clearly proud of talking about them and how they were taught.

"So, brought books I made during that class. When we came in, the librarian had arranged numerous examples for us to look at. They were grouped by structure and then historical and 'modern' interpretations. It was really interesting to see them laid out that way."

"Why's that?" Fritz Otto asked.

"Ummm, okay, they had a clay tablet literally thousands of years old paired with a simple notepad and an old Palm Pilot. After describing what they knew about the tablet's contents, they made us think about parallels to the modern items. Then, they asked us if these were books. I never really thought about what a book was and what made it one – also wondered about the point of the lesson, but it went on and on. Towards the end, I started to see the connections between the objects. My favorite part was feeling how these books felt in my hands."

"Yes, I've heard about these classes from 'the Boss' who presented many, hosted exhibits of the students' works, and even hired some. "But", said Fritz Otto, "let's look at what you brought, and you can tell me about them, including making them. Much more fun, for now."

Minerva plops down her backpack and pulls out her books ...  

"Let's start with the scroll, perhaps the simplest one", said Minerva. "The librarian provided the materials and what they called a 'bone folder,' but we had to share things like scissors. Also, no glue – too messy – so instead, double-sided tape and glue sticks. They also provided an assortment of materials like old magazines and larger scraps from 'preservation.' Since it was also described on the syllabus, I got a few materials of my own too."

"Looking at the scroll in the library, an 'artist's book,' I saw that it was attached to a stick, and then the paper was rolled on. At the end, it was reinforced to go around completely with a string to tie it closed. I used some marbled paper and a dowel I had."

"Next, I made this accordion thing from some of the same paper. I attached it to a simple cover. What I liked was that you could read it like a normal book, turning the pages, but also stretch it out to view the whole book. I dislike seeing books on display where they often can show only one spread. I could see exploring this one some more, and found examples online with cutting to create pop-ups or little pamphlets sewn in. The librarian described it as a gateway to 'freaky-foldies.'"

 

"Here is a simple pamphlet I made from a magazine article with lots of pictures of old papers from books. I kind of randomly folded them into folios (new word I learned) so that each page was different, even if from the same image. I titled it Codex.”

 

"Finally, I made this Asian stab-sewn book. I know it's not as good as the others, but it was hard stabbing that needle through all that paper. I used some Japanese paper I ordered for the pages, rough cut them, then folded into folios, like for the pamphlet. But, with this book, each folio was stacked so the folds all became the fore-edge. I then looped some thread through the text to hold it together before punching even more holes, this time with simple paper covers too. I love how soft the paper is and how easily it opens. Thinking back to the scroll, I could see cutting it up and then binding it this way. I just need to make sure the text and images are the same size and in the same place, so things line up. Easier than taking this really big sheet that then gets folded in so that the 16 or so pages appear in order when bound."

"In the class, they also gave us a list of websites, people to follow, and books that were more like manuals in case we wanted to learn more. That's how I found out about you," Minerva said.

"I'm really glad that you showed me your books and told me more about what you learned and how you made them", Fritz Otto said. "You clearly gave them thought, and your work is pretty neat, especially given your experience and the workshop setting. It can be really hard to do good work with the wrong or bad tools, no supplies, and the chaos of the classroom. Lots of distractions, but it's a fantastic way to understand the history of 'books' and how they're made. Thank you for all this."

Breaking the "fourth wall", Fritz Otto turns to you, the reader of this to ask whether anyone had any experiences like Minerva's when they were in high school, college, or other learning opportunities? What did you see and learn about that left an impression?

Minerva looking around the studio then asked, "so what have you been working on since, and how did those massive books turn out?"

"Well then, let's go to the press and take them out ..." said Fritz Otto.

That will be a topic for our next installment here ...

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* About Minerva: Inspired by Bookbinder Barbie (her Insta here) who came to visit during the summer of 2019, Fritz Otto Buchbinder has been a “fixture” on the Pressbengel Project blog since August of 2019, and later on Instagram. The benefactor of the other doll, Minerva, is unknown. She arrived in May from an eBay seller, I did not order her, and it was not something I was considering adding. The eBay seller was in Indiana, and a note just said “gift from a fan”. Reached out, but did not receive a response back. The doll was clearly not new, no box …, was wearing little black dress, had no shoes, piercing holes in ears, but no earrings, and her hair was a mess. Still kind of is. That said, all her joints work, she is poseable, and can stand on her own. Not one to not take advantage of a gift and opportunity like this, I ordered some clothes and shoes. We’ll see how often she appears on @fritzottobuchbinder outside of this story. Of course, she needed a name … After a good deal of thinking, I arrived at Minerva Conciatore. Both name and surname are references to living individuals … 😉

Her "personality" will be drawn from the interactions I had with students, interns, colleagues. and others during my career, They had a profound impact on me, for which I am grateful. We’ll see where the story goes – feel free to suggest directions in the comments ...

Fritz Otto's Visitor

Fritz Otto was in his studio, exhausted after a long day of bookbinding. He was distracted by his phone and didn't even notice the soft knock on his open studio door.

"Hey, I know it's late, and you probably want to go home, but can I come in?"

Sigh ... "I was closing up, but sure, come in" Fritz Otto said. "What can I do for you?"

"Well, my name is Minerva Conciatore *, and I just graduated from college. I'm still figuring out what to do with my life, but I learned about bookbinding in a 'history of the book' class at the library's special collections. It was amazing, and we even made some simple books. Anyway, I live in town and found you while searching for things to do. I can come back another time if that's better..."

"That's okay. We can talk a bit, but I need to get going soon. 'Minerva,' right?"

"Yeah, my parents are hardcore bookworms, so I grew up with a lot of books, but I never thought of them as something to make. You have some cool stuff on your bench. What's that fish-like thing?"

"That? It's actually fish parchment. I'm obsessed with it. I can't show you the big books on the bench because they're still drying and need to set in that position."

"Listen, I'm tired and need to get home, but feel free to come another time. I'd be happy to show you more and chat. Just drop me a line, so I know you're coming.  You seem to have my contact info already."

"Okay, sounds good. I'll bring the books I made in that class, and something else I was experimenting with."

Minerva left, and Fritz Otto quickly finished sweeping up and headed out, almost forgetting to lock up. Reflecting on this chance meeting, he wondered about Minerva and her interests. Her experiences learning about books and their history made him curious to learn more about what they teach, and he was especially interested in seeing the "books" she made. Bookbinding is a small field, and it's important to encourage each other. He hadn't done much teaching himself, but wasn't shy about sharing his work and bookish experiences. The next day, he received a message from Minerva asking to set up a time to meet again. Fritz Otto checked his calendar since the studio was his personal space, and he still worked with "the boss." He also wanted to make sure he could show her more, but it was more important to see her work and let her describe what she learned and what her interests are.

To part 2, where Minerva shows us her books.

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* Inspired by Bookbinder Barbie (her Insta here) who came to visit during the summer of 2019, Fritz Otto Buchbinder has been a “fixture” on the Pressbengel Project blog since August of 2019, and later on Instagram. The benefactor of the other doll, Minerva, is unknown. She arrived in May from an eBay seller, I did not order her, and it was not something I was considering adding. The eBay seller was in Indiana, and a note just said “gift from a fan”. Reached out, but did not receive a response back. The doll was clearly not new, no box …, was wearing little black dress, had no shoes, piercing holes in ears, but no earrings, and her hair was a mess. Still kind of is. That said, all her joints work, she is poseable, and can stand on her own. Not one to not take advantage of a gift and opportunity like this, I ordered some clothes and shoes. We’ll see how often she appears on @fritzottobuchbinder outside of this story. Of course, she needed a name … After a good deal of thinking, I arrived at Minerva Conciatore. Both name and surname are references to living individuals … 😉

Her "personality" will be drawn from the interactions I had with students, interns, colleagues. and others during my career, They had a profound impact on me, for which I am grateful. We’ll see where the story goes – feel free to suggest directions in the comments ...

Fritz Otto Finishes His Springbacks

And here we finish these springbacks / Sprungrücken started in the previous post, and the three others that were "dropped in". Whew! That was a lot of "malochen", aka hard labor ...

Full instructions (without me) can be viewed on the Book Arts Web at https://www.philobiblon.com/springback/. View the color images for the post on Insta.

Last check on spring foundation/spine stiffener.

Gluing out the spring foundation/spine stiffener from the outer edges
to the first crease.

Positioning the spring foundation/spine stiffener and then rubbing
down onto the thin boards.

Gluing out the fill that evens out the transition from
the spring foundation/spine stiffener.

Gluing down the fill.

Checking the layers of the spring foundation/spine stiffener.
In the German tradition the spine is built up in layers with the
width lining up with the inside creases.

Gluing down the thick boards. The thickness of the spring equals
the thickness of the thick boards.

Wetting out the leather.

Pasting out the leather.

Folding the outer sides of the leather with only the spine exposed
to make it easier to position on the binding.

Positioning the leather on the spine.

Working the leather into the groove and across the boards.

Turning in the leather in the area of the spine.

Making sure the turn-ins are nice and precise.

Putting down the pastedown.

It's been a busy few weeks with three more springbacks added
to the batch, as a rush job, of course. 

Here, the cutaway springback open ...
It springs!

Full instructions (without me) can be viewed on the Book Arts Web at https://www.philobiblon.com/springback/. View the color images for the post on Insta.

So, what should I work on next?