The Bonefolder


The Bonefolder ­ Volume 5, No. 2, Spring 2009

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Table of contents:

Biblio Bullrushes, Biblio Briarpatch: The Search
for Carl Maria Seyppel  – Tom Trusky
An Artist’s Journey into Bookmaking – Nancy Steele-Makasci
Making Your Own Finishing Tools – Jana Pullman
Gold Tooling Without Fear – Jamie Kamph
The Artist as Paper Engineer – Carol Barton
A Woodworker Makes Bookbinding Tools – Robert Walp
Interpreting Deluge: A Story of Collections and
Response from the 2008 Iowa Floods – Kristin Baum
Art, Fact, Artifact: College Book Arts
Association Inaugural Conference – Katy Govan
Skin, Surfaces and Shadows, a review – Joe D’Ambrosio
Preservation and Conservation for Libraries and
Archives, a review – Colyn Wohlmut
Grant Supports Research on Letterpress Art & Craft – Betty Bright
2009 Bind-O-Rama: An open virtual exhibition

Supporters of this issue are:
J. Hewit & Sons, Ltd: Suppliers of all your bookbinding needs.
School for Formal Bookbinding
The MFA in the Book Arts Program at the University of Alabama
The Wells College Book Arts Center
Otter Pond Bindery

The Bonefolder (online) ISSN 1555-6565

This work is licensed under a Creative Commons License.

More Pastepaper

We pass on the following information from the Garage Annex School in Easthampton, MA:

Would you like to gain skill at mixing colors? Julia Rabin will share her extensive experience with paste papers, decorative painting and conservation when she teaches her paste papers workshop at the Garage Annex School for Book Arts in Easthampton, MA. This workshop is an excellent opportunity for conservators to learn how to match colors for repairs. Please see the workshop details below, and visit our web site in order to see samples of Julia’s papers.

Paste Papers: Color Theory, Production, and Matching Colors for Repair with Julia Rabin

May 30–31, Saturday–Sunday
Tuition: $190 plus $30 for materials

Here is a paste paper workshop with a focus on color.  Our emphasis will be on having fun while learning about color mixing and painting beautiful papers.

After a brief presentation on the history of paste papers, methods of production, and traditional materials used, we will go on to create our own paste papers.

Discussion of color theory, the practice of color mixing, and how to color match to make repairs on old books will be interwoven throughout the two days.

You will mix various kinds of paste—building a sample packet that illustrates the range of finishes that can be achieved when a single color is mixed with different kinds of paste. Simultaneous to working on this useful reference packet you will create paste papers implementing a wide range of effects.

You can expect to leave with at least ten painted sheets and your sample packet.

The material fee includes ten sheets of paper, and a few colors of acrylics. You are encouraged to bring additional favorite papers and acrylic colors.