So That Up Is Up

In a world that is verSPINnert, ahem spinning, it's important to tell up from down, right from wrong, ... So too in bookbinding. That's why I, @FritzOttoBuchbinder, always put an up arrow on the end sheet indicating up, and a "V" for vorne (front). Helps prevent confusion and casing-in upsidedown. Of course, that NEVER happens to me. 🤔🙄😮‍💨

Dog Chew Cod Parchment

As many will know, fish skin for bookbinding, whether as parchment and tanned has long been an area of interest for me. This interest was sparked by several articles on the subject by Ernst Collin and others largely during Germany's Weimar era. The 2020 Fish Skin Bind-O-Rama was a sort of culmination of my efforts to bring attention to this material, but more so I am very pleased to see binders and book artists still working in the material, in particular Karen Hanmer and Debra Frances.

Some time ago I was given a package of Icelandic cod doggie chew snacks by a friend. Those chews looked gnarly and I wondered if they could be processed into parchment or leather, you know, as an experiment and proof of concept.

Dentley's "Exotics" Icelandic Cod Skins

These things are big at 18 inches, so I needed some help holding
them upright. Note how they are folded/rolled up. 

The third skin in the pack. Keeping this "as is" as a sample and control.
Side "A"

Side "B"

So, as one can see, they're big and folded/rolled up lengthwise. Also rock-hard and in need of serious cleaning and scaling.

First step was to [re]hydrate so I could unfold ... and get them into a quart-sized Mason jar. Plugged the kitchen sink and into the first bath of COLD water with isopropyl and strong dish detergent. Surprisingly, that worked so that after about an hour they could be pulled flat and pushed into the jar. 

Soaking in isopropyl, dish detergent, and COLD water.
This went into the fridge with several changes of water and
dish detergent, accompanied by massaging to help loosen the fibers,
and starting to scrape away flesh, fat, and other stuff. Lots to do there ...

Next was descaling. "Shinies" EVERYWHERE in the kitchen.
"Shinies" was coined by one of the youngest fish skin binders.
In the end I didn't do as good a job as I thought. 🙄

Finally, the skins were stretched out to dry.

Evident on the lower one are parallel lines from something between being caught and dried for packaging. Both skins also have areas where the skin was chewed up. This makes for very gnarly look. I may well use the top one. Would be a shame not to after all that work.

As I was going through all this I googled for these fishy dog chews. Cod and haddock seem most common, with both available in different sizes and shapes, e.g. dainty rolls for that favorite "tea cup" dog. The steps are essentially the same as with fresh caught fish, but this is much easier to store. Maybe these could be good for more basic workshops where skinning a fish, or cleaning a fresh skin is to messy and gross in the eyes of the participants. Simply soak and rehydrate first, then let they have fun scaping and stretching out or tanning.

Though he said he was sick of this fishy business, Fritz Otto snuck off and processed his own cod too ... Probably won't use it, but makes a splendid Dekoobjekt / objet décoratif.

Presentation Stand and Box - A reintroduction to paring, stamping, and creativity

In the beginning, there was a library conservation lecture series. I led that series for the first 8 years, something that was a terrific opportunity to introduce leaders in the field to Syracuse to present a lecture and lead a workshop. April 2nd marked the 20th event, so time to give a special gift to the donor. As a metaphor for the series, a beautiful hand-crafted and decorated bone folder made by Shanna Leino was selected. My part of the gift was a custom display stand and box.

For me, the scale of this project and the tools and techniques applied were in many respects the ideal re-entry to creative bench work, something I haven't really done any of in over 2 years for a variety of reasons. As a recent retiree, this will [hopefully] be a start to much more of this kind of work.

The materials and initial idea.

Fritz Otto documenting my first efforts paring leather and
reacquainting myself with my first "Schärf-fix, purchased
1987 in Ascona, CH. Haven't used it almost 2 decades as
I had a new one, now sold to a NBSS alum.
Note to self: the hind quarters of old leather are not the best 
re-entry into paring. 🙄

The closed box.

The box opened showing folder and label.
Also my first time using my Quikprint in a l.o.n.g. time.
I can live with it, but there's room for improvement.
My body works differently now, time to adapt to it ... 🙄

The folder is held in place with parchment tackets and sits
on a raised, stained wood pedestal.

Zooming in ...

And, zooming in some more to show the pedestal.

And here at the presentation with
Joan Brodsky and Syracuse University's Chancellor, Kent Syverud.

Studio Maintenance

It's scary when the hired help has a tidier studio than the "Meister" ... I better clean up my own studio before I start any projects, it's not like I don't have any spare time in retirement. 😂

Yikes!

It's important to know what can be found where ...

The "Meister des Besens"
(Master of the broom, aka sweeping ...)

Sweeping well was a skill best learned early in ones apprenticeship,
and one that would pay a lifetime of dividends.

(Carpentry apprentice being shown door in case there
were complaints. Outside, "replacements" looking for an apprenticeship.)

3 + 25 Years and 7 Months - Retirement from Syracuse University Libraries

On July 1st, 1995, I began my career at Syracuse University Libraries. To me, it began as the ultimate work-study job because, 1) I was hired as a librarian while working on my degree at the university's School of Information Studies, and 2) I was able to establish the library's first conservation lab for special collections materials on a two-year grant. That worked out well, because it would take me 2 years to complete my degree. My long term goal was to become a preservation librarian/administrator somewhere, something that would allow me to combine my experiences with both circulating and special collections, as well the then still semi-nascent digitization. I became fascinated with the possibilities of digitization while working at Yale and Cornell. 

Conservation work was centered on the Library's Leopold von Ranke Collection. 400 unidentified books to conserve and 1000 enclosures to make. Coming from a background of item-level collection conservation treatment surveys and having nothing to go on, I got to work identifying treatment needs. the collection was an interesting one as was gathered by Leopold von Ranke, [the] father of modern history, included all subjects, and was brought to Syracuse as the University's first library. It only became a special collection later. So, much to do, to which were added heavily used items from class presentations, and other sources.

Although classed as a librarian, I was not eligible for the "promotion and tenure process" as I was grant funded. Not really an issue for two or three years, but long term I wanted more. The "labor" associated with that process – publication, presentation, service, ... – were things I enjoyed anyway.

1997 Preservation Staff

Two years became three when I was moved to year-to-year funding, but then there were questions about where the money would come from. This was not exactly what one wants to hear after purchasing a house and having a child ... So, time to think fast. Fortunately, I had developed contacts and relationships with people at Gaylord Brothers, a large library and archival supplier, based here in Syracuse. I was grateful that they hired me as the archival product manager in July of 1998. I had never worked in a corporate environment, but also rarely turned down a challenge. My experiences and contacts in the conservation and preservation fields that provided me with a certain credibility at Gaylord so I was able to develop several new products and modify others to better meet the needs of the field. I was also able to see where Gaylord's competitors aligned and diverged from "us" in terms of products. As a bonus, I was also the face and voice of the Gaylord Help Line, a service that anyone could call into to ask questions about caring for their artifacts ... That was eye-opening. Ultimately the corporate environment was not something I was interested in remaining in for a number of reasons, and when I saw my old job at Syracuse reposted I applied, successfully. Over time, however, I realized how much I learned in that year at Gaylord. On my first day back, I removed the thick layer of dust that was everywhere, turned on my computer, and logged in to find everything like I had never left a year earlier.

A 1994ish box-making [and more] workshop shortly before my arrival.
The gentleman watching was the Director of the library, David Stam
who was a past director of the Newberry where he hired John Dean,
my first mentor, then Director at Johns Hopkins where I met John Dean
who had followed him there. John was also my manager at Cornell. Marty Hanson
was Head of Preservation at Syracuse, and we met when she was a preservation intern
at Cornell.

Another view from the same workshop.

I was able to bring the Guild of Book Workers' New England Chapter
Created Space exhibition to Syracuse in 1995.
Here I am holding one of my 3 bindings from the exhibition.

When I came back in July 1999, Peter Graham was the new Director and my reporting line had changed from Preservation to Special Collections. I still loved working at the bench and continued my involvements, including in the wider field. Here some articles from the university's publications:

• Interviewed for the "Staff Matters" section of the Syracuse Record in an article entitled "PV keeps SU Library's Books in Good Shape." April 16, 2001.
• Interviewed for the "Staff Circle" section of the Syracuse University Alumni Magazine in an article entitled "Preserving Special Collections." Spring 2000.

My staff continued to consist of work-study students largely drawn from the 1st year art foundation courses I gave book arts instruction sessions too Even if not working in the lab, students would visit to consult on projects and make use of equipment and supplies. They loved the offcuts. Among the students working in the lab, standouts were Alex who helped me treat the Nuremberg Chronicle and didn't panic when I had to tend to a donor while she continued the washing process, Ken who loved making clamshell boxes and was incredibly fast, and good, Greg who was interested in the book as an object, was curious, experimental, and engaged in his printmaking community. There were many others as well. Ultimately, I needed experienced help. That person was Donia Conn, a U Texas trained conservator. Though I had to "fight" to be able to hire her, she was hands down the best person I ever worked with, something that was acknowledged by the Director when she moved on - we couldn't offer her the librarian rank, and promotion process eligibility she more than deserved.

During a discussion with the director who had become my manager, I was asked about frustrations ... I mentioned not being eligible for the promotion process as I was still on grant funds. The outcome of that meeting was: done, you are now a senior assistant librarian, you will stand for promotion in 3 years (the up or out kind), don't mess it up. Confident, I was not too concerned ... The biggest hurdle came when I asked for some guidance on the process and was told that "no one knows what you do around here ..." They were serious, and I was gob smacked I was sometimes chastised for "over sharing" the work done in the lab and via exhibits... Oh well, through the book at them, starting with when I entered the profession as a work study student. Keep clippings ... in folders, and updating one's CV made that easier. As seemed appropriate for a trained bookbinder, I bound it all as one volume not knowing how difficult that made it to review. However, it worked... Donia quickly "took over" the lab and I focused on complex treatments and the library's first digitization projects. This gradual shift in responsibilities allowed me to accommodate my increasing mobility issues in a proactive way.

In 2008, I was promoted to Head of Preservation and Conservation. This involved merging the circulating and special collections repair and conservation efforts (though still separated by 6 floors), managing the budget and state grant. I also expanded preservation efforts to expand audio reformatting. I was also promoted to full librarian, the highest rank, a nice honor. 

Sewing a book during a "promotional" photo shoot in 2001.

Demonstrating binding and showing decorated papers at an open house.
I really enjoyed sharing what we do.

Two times I even got to be a book in the Library's Human Library event.
A nice way to meet new people and talk the work I do.

Significant highlights were creating and managing the Brodsky Series for the Advancement of Library Conservation, a series that brought noted speakers and workshop presenters to the Syracuse University Library. I did this from 2005 to 2012, was very proud to have John Dean start and frame the scope of the series, and I am glad the series is still ongoing. Significant to the series were sharing the recordings of the lecture online before that was "a thing" and offering 2- and 1-day that attracted not only conservation and preservation professionals, but also students at the University. 

With John Dean at the inaugural Brodsky Series lecture.

The series, and later Gaylord Brothers (I maintained good relations with people there, and they provided us with a lot of preservation materials) also helped fund internships, independent studies, and work-study opportunities for students in all areas of its operations including reference services, bookbinding, conservation, book arts, and collection surveys. I was also able to fill in for a colleague in the College of Visual and Performing Arts by teaching her book arts class while she was on leave. Teaching, hosting, and mentoring interns was one of the most rewarding things I was able to do.

Occasionally, we'd even make it into the student paper. Here is an excerpt from "Beyond the bookshelves: Syracuse library staff works hard at Bird Library with and without books" posted in The Daily Orange in 2010:

Peter Verheyen does not fit the image of a stereotypical librarian. Besides the fact that he is not an old, bespectacled, gray-haired lady, Verheyen wears a full-length lab coat to work,

considers razor-sharp knives to be common tools of the trade and on some days does not even pick up a book.

 

As head of Bird Library's department of preservation and conservation at Syracuse University, Verheyen is to books what doctors are to wounded soldiers on the battlefield. He and his

team of preservationists are the frontline of care to library materials in need of an emergency repair and fixing.

 "Preservation is an essential part of making sure collections continue to be used," Verheyen said. "It's not just people sitting in front of a computer."

In February 2013 my responsibilities with preservation ended abruptly, and I became an analyst, the focus of my work becoming "data" in various forms. A shock to the system, I vowed that I would not allow that event to define who I was and my interests and involvements. I was grateful that because of the resources I had acquired over decades, that I had everything I needed to continue binding, conservation, and writing at home. A random email about a certain Ernst Collin "saved" me and led me to at times gut-wrenching, yet wonderfully sustaining project that continues. In December 2021, I received the library's Distinguished Service Award, a peer recognition. While very honored, it was also heavily based on work I did pre-2013, something that ended up putting me into a tailspin of burnout and depression of sorts, so that I did very little since. 

January 31st is my last day in "the Bird" as the library is named. Giving notice that I was retiring, seems to have lifted that dark cloud, so that I am finding my way back to enjoying my projects and rediscovering my creative side. Now to make it sustainable. I feel positive about this next phase, and look back on many incredibly rewarding experiences.

Last early morning Call-A-Bus pickup. If I was taking the big city buses,
I would have left the house an hour earlier, aka 5:45am. 

Dropoff at Bird Library. In a wonderful twist, I had the same
driver as the one who helped me navigate the big city buses
9 years earlier, after I gave up my driver's license.

Turning off the lights one last time ...

The official notice in the Libraries' Staff News

I would not have become involved in this beautiful profession and life without support, encouragement, and goading of many:

My parents who ignited the spark; John Dean, Martha Edgerton, Joanna Mankowski, and many others at Johns Hopkins; Georg Reinwald at the Germanisches Nationalmuseum; Dietmar and Regina Klein where I apprenticed; Julia Puissant at the Centro del bel Libro in Ascona; Frank Mowery at the Folger Shakespeare Library; Heinke Pensky Adam at Monastery Hill Bindery; William Minter and Robin Howell; Giesela Noack at Yale, John Dean, Mark Dimunation, Anne Kenney, Christian Boissonnas, Barber Eden Berger, Joan Brink, Pat Fox, and Samantha Couture at Cornell; David Stam. Marty Hanson, Mark Weimer, Peter Graham, Nicolette Dobrowolski, Donia Conn, Patrick Midtlyng, the Brodsky's, Christian Dupont, Sean Quimby, Marianne Hanley, Gail Hoffman, Holly Greenberg, and many others at Syracuse. Then there are the work-study students and interns that stood out to me including Alexandra Penuela, Ken Cronk, Sarah Provoncha, Greg Santos, Terez Iacovino, Sarah Kim, Marieka Kaye, Suzy Morgan, Hannah Stevens, and many others. It wasn't always easy, but I would not have accomplished all I did without you. For that I am grateful.

More about me in my Selected Works and CV. I don't think I'm done yet ... Books to bind, things to write on my blog here and elsewhere, Fritz Otto, aka mini-me, trains, the garden ... Then, perhaps other things like getting involved.

Above the last spread of my "biography" by Greg Santos.
Completed "on-the-clock", of course. 😉

Fritz Otto [Almost] Ready for Binding

Been a rather busy and tense few months since "the Meister" decided to retire from his "day-job" at a large library effective 31 January 2025! In addition to working out the finances, thinking about how he is going to spend his time, and the holidays, it's been a bit bit anxious for me ... What will happen with me when he can [re]focus his energies on his books and related interests. I've seen him start organizing his bench, bring home what little "papers" he still had at work, and start going through what he has here. 

So, time to channel some of that nervous energy into various projects like building myself a "me-sized" workbench, some tools and presses I can use, and some accessories to make it feel like a place I want to work. Also made some sheaths for my paring knives. Those Peachey knives are the best and need to be treated with care. It's also been fun to see @bookbinderbarbie is back too! The more of "us",  the merrier.

My new bench with some of the presses I got and/or made
as well as some of my tools. Note all the flat storage underneath
that I will need to fill

Below, me assembling my casing-in press... Check out all the other posts on my @Insta.

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Below my bindery in one of its configurations. Everything rolls, so I can change as needed. Note that I have lots of storage, including 2 red library book carts. The boss says "you can take the librarian/conservator out of the library, but you can't take the library out of them". Great to have free wi-fi too so I can surf the Book Arts Web.

What kinds of projects would you like to see me share?

German-style Springback translated Into Spanish in Códice

So very glad to see the tutorial on the German-style springback, "Encuadernación de Libros (Contables) con Resorte (Springback)", appear in Códice 33, the journal of EARA - Encuadernadores Artesanales de la República Argentina. The article was written by me and Donia Conn in 2003, and published in Designer Bookbinders UK's The New Bookbinder.

 
Many, many thanks to María Ángela Silvetti for asking, the translation, and her team for making it happen. This was also a perfect excuse to update all the images. 21+ years is a long time in imaging technology ...

The original English version with the new images can be viewed at here.