Dienstag 27 Februar 2024

Podcast-Serie von iBookbinding.com startet mit erster Ausgabe: Fachgespräch mit Benjamin Elbel

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  • Stepan Chizhov von ibookbinding.com hat auf seiner Webseite die erste Ausgabe seiner neuen Podcast-Serie "iBB Podcast" veröffentlicht. In der Serie führt er Gespräche mit Buchbindern aus verschiedenen Regionen, angefangen mit Benjamin Elbel von Elbel Libro in Haarlem, Niederlande:

    Ben Elbel from Elbel Libro. Part 1 – Path to Bookbinding and Workshop Tour


    Das Gespräch ist als Audio- und Video-Podcast verfügbar, auch ein Inhaltsverzeichnis mit Laufzeit-Register ist aufgeführt:

    00:35 – How to pronounce Ben Elbel’s name properly

    02:10 – Our first meeting in 2015

    04:18 – Ben’s Path to bookbinding

    07:03 – Father’s suggestion to study bookbinding and a year at Centro del bel libro Ascona


    13:33 – Looking for an apprenticeship

    14:56 – Apprenticeship in Germany at Die Buchmanufaktur

    15:38 – Learning to make things fast

    16:03 – Usage of PVA

    18:09 – Moving to London

    19:20 – German traveling apprentices

    22:20 – On taking apprentices at Elbel Libro

    23:48 – Starting a career in bookbinding with or without education

    26:00 – On the importance of learning French binding

    Workshop tour

    29:02 – Workshop tour at Elbel Libro

    31:03 – Showroom / Visitor area

    35:00 – Ground floor / Workroom / Storage

    36:33 – Leather splitting machine in action

    40:40 – Storage corner: leather, cloth, cardboard, etc.

    44:34 – All the sorts of cardboard Ben has in his studio

    45:50 – Superior board: Presspahn and Green Millboard by Conservation By Design (see the links below)

    48:05 – Workbench

    49:26 – Different heights of mine and Ben’s workbenches

    Das Gespräch ist in gut verständlichem Englisch geführt, ergänzend zum Gesagten gibt es auf der Seite zahlreiche weiterführende Links.

    Als nächster Gesprächspartner ist Todd Davis von der Middlesex Bindery in Massachusetts, USA angekündigt.

    Bildquelle des angehängten Podcast-Titelbildes (Bildzitat): https://www.ibookbinding.com/b…inding-and-workshop-tour/

  • Bookbinding as a Third Career, Lockdown, Q&A - Interview mit Todd Davis von der Middlesex Bindery in Lowell, Maryland, USA

    Todd Davis ist Quereinsteiger und hat die Buchbinderei als dritten Karriereweg eingeschlagen. Er lernte Buchbinderei an der North Bennet Street School in Boston und betreibt sein eigenes Studio in Lowell, Maryland.


    Inhalt des Podcasts mit Zeitstempel

    Todd’s Path to Bookbinding

    00:26 – Beginning of Todd’s career in history and software engineering

    04:20 – Making a decision to get a real job

    06:00 – North Bennet Street School in Boston

    06:41 – Getting all bookbindery equipment in one lot

    08:45 – Four years in the studio doing bookbinding

    09:11 – Sliding into being a full-time bookbinder / Being a student-worker at the North Bennet

    10:25 – Having a second source of income as a cushion while shifting to becoming a full-time bookbinder

    11:15 – Getting the first large orders for the bindery

    11:55 – The lockdown

    17:57 – Doing bindery at least some business from home

    20:07 – How do the clients react to the delays due to the lockdown

    24:16 – Todd’s plans on moving forward after the lockdown is lifted

    A Bit of Show & Tell

    31:09 – Making round wooden spines for boxes using basswood – tips & tricks

    36:26 – 3d-printing round spines with plastic – iBookBinding experience

    41:15 – My everlasting internal battle because of producing more plastic tools with 3d-printing

    41:43 – 3d-printed papermaking molds from iBookBinding

    42:10 – How is the shop doing during the lockdown?

    44:00 – Tools for boxmaking and prices on the brass tools

    47:46 – Having beer and pizza video chats with co-workers and fellow artisans


    50:07 – Q&A begins!

    50:56 – Question from Sofia: Which was the hardest restoration Todd has made, and why?

    51:16 – Wedding album with laminated pages and masking tape repairs

    53:44 – Duct tape Bible

    55:44 – Books that Todd wasn’t able to repair

    57:12 – Question from Sofia: Which materials Todd likes to work with?

    57:21 – Back pared onlays

    1:01:31 – Question from Justine about the irreversible mistakes

    1:06:29 – Book repair, restoration, and conservation

    1:08:29 – Being a bookbinder in Lowell vs being bookbinder in Boston

    1:10:00 – Safety measures and super-sharp bookbinding tools

    1:16:25 – Who would Tood like to see as future guests of the podcast

    Und hier - ganz speziell für Carsten ;) - das eingebettete Video:

  • What is book restoration? Studio tour, leasure, study, work-life balance - Interview mit Eliane Gomes von der Nautilus Boekbinderij in Haarlem, Niederlande

    Eliane Gomes ist eine brasilianisch-niederländische Buchbinderin und Restauratorin und betreibt die Nautilus Boekbinderij in Haarlem (NL).

    Video 1 (2020, 48:24 Min., Webseite: https://www.ibookbinding.com/b…on-3x4-meter-studio-tour/)


    01:55 – Eliane’s path to bookbinding

    05:02 – Choosing between conservation and restoration

    06:31 – Genesis of conservation as a profession after the 1966 flood in Florence

    08:08 – Having a “restoration buddy”/mentor

    08:40 – Importance of knowing your limits

    10:03 – Book repair is not book restoration

    10:29 – One of Eliane’s restoration exam’s projects

    11:09 – Using reversible materials

    12:59 – Eliane’s clientele and the regional distribution

    15:18 – What are the boring and routine parts of being a book restorer?

    16:33 – Preparing a report and having a plan

    18:38 – Fixing a mistake

    19:02 – Importance of not underevaluating your work

    19:26 – Keeping spreadsheets for calculating your prices

    22:29 – Including all expenses into the final price of your work

    25:29 – Recording and photographing your projects

    Workshop Tour

    30:38 – Workshop Tour

    30:48 – 3×4-meter atelier

    32:00 – Skylight

    32:13 – Drawers and cabinets

    33:17 – Boxes and stuff under the workbench

    34:25 – Having everything within arm’s reach in a small studio

    35:18 – Swivel jointed finishing stand by Geert van Daal

    36:04 – Using a whiteboard for thoughts and drawings

    36:19 – Humidity control, sterilization, and fire safety

    Some of the Projects

    37:28 – 16th-century book with doodles and cut-out decorated initials in restoration

    39:05 – Company archive / several volumes of corporate scrapbooks

    40:02 – Punching cradle from iBookBinding and its place on the wall

    41:31 – Large format Dutch limp binding – cash register book

    Video 2 (2020, 01:18:06 Min., Webseite: https://www.ibookbinding.com/b…work-life-balance-and-qa/)

    Moving On from the Workshop Tour

    03:14 – Importance of staying up-to-date and continuing your education

    05:54 – There no better time to learn something than now!

    17:01 – Extra time is for extraordinary things


    19:30 – Sotheby’s offering a full collection of ВС comics from 1934 to 2014

    20:18 – Collecting ephemera vs collecting books

    21:14 – Value and fragility of old comic books

    22:15 – The craft is connected to the trade. The balance between the price of materials and the price of work. Dr. Nicholas Pickwoad – Language of Bookbinding course

    23:32 – Paper clinic in NL, Marchelma van Breugel: snipper.eu/


    27:45 – Question from paperetceteras: Working with glues and paper, is it tricky?

    30:36 – Using dry or liquified glues and paste depending on materials and other conditions

    33:24 – Question from Elin Dalstål: What is the most unusual/unexpected material or tool you like to use for bookbinding or book restoration?

    33:38 – Using the airbrush for book restoration projects

    34:25 – Tacking iron

    34:36 – Using all sorts of unusual leathers

    37:31 – Experimenting with different materials in bookbinding: metal, plastic, wood, etc.

    38:03 – Gluing and attaching translucent plastic materials to book covers

    40:07 – Sharing experience with other bookbinders and book professionals

    42:14 – Question from Lynne: What exactly is a waste sheet used for in binding, either in a new book or a repair?

    46:31 – Unfinished projects

    47:30 – Question from Vinícius Rennó: How can I study book restoration coming from Brazil? If not here, where is the most affordable place to study abroad?

    51:32 – The difference between a book restorer and conservator

    53:16 – Question from Peter Triska: A question is about headbands. How do you get the ends to hide, so you don’t see them when you open a book?

    55:04 – Perfection in bookbinding is relatively new

    55:47 – Question from Janet Mente: What is the most satisfying part of your job as a binder/restorer?

    57:46 – Question from Janet Mente: How do you or would you use the 3D-Printed Spine Rounding Tool?

    1:02:33 – Question from Tzvi J. Liberman: What methods are used for restoring the physical page of a book if a piece is missing? Is there any way to mix up the new matching paper pulp and fill in the gaps?

    1:03:18 – “Cutting” Japanese paper with a watercolor pencil

    1:06:11 – Using a paper casting machine and working without it

    1:05:51 – Question from Tzvi J. Liberman: How do you prevent the endpaper wrinkling when gluing in the text block?

    The books I have bound all end up with a crease in the endpaper on the cover side, usually near the fold?

  • Paper and Book Conservation, Studio Tour, and Q&A - Interview mit Rita Udina, Restauratorin aus Barcelona

    Video (2020, 1:12:28 Min. Webseite: https://www.ibookbinding.com/b…ation-studio-tour-and-qa/)

    Table of Contents

    02:08 – Beginning of the career

    Studio Tour and Current Projects

    03:12 – Beginning of the tour

    06:01 – It’s good to have lower and higher tables for sitting and standing work

    06:49 – Lying presses and a plough

    07:35 – Folded map in repair

    09:30 – Pencil drawing after restoration

    10:21 – Wet area

    12:13 – Dry area

    12:20 – Ledgers in restoration

    14:14 – Book with a folded map that was restored

    16:18 – Working on vintage and antique books with cheap paper covers

    18:37 – Older spine found under a newer spine

    19:39 – A way to reattach fragile paper covers to that type of books with Japanese tissue

    20:56 – Covers waiting for paper pulp filling

    21:49 – Vellum cover book with sever insect damage after restoration

    24:56 – Making a book accessible for future use and research

    26:01 – New cover with a cat’s paw pattern inspired by an old cover and ethical issues that come with that project


    30:47 – Question from Janet L. Mente: Do private clients ever ask you to “restore” a rare book in a way that is against the modern philosophy of restoration?

    33:38 – Question from Tzvi J. Liberman: How do you restore gaps in pages using paper pulp?

    34:18 – A bit of demonstration

    38:13 – Leaf casting machine

    40:13 – Japanese paper

    41:40 – Balancing conservation, restoration, and introduction of new elements

    44:04 – Routine and repetitive aspects of conservator’s work

    46:39 – Maintaining ritaudina.com in three languages

    48:34 – On English words replacing terms and professional language in local languages

    51:27 – Question from Piotr Wieteska: What are the proper ways of paper mending in restoration of torn pages?

    I’m especially curious about the „state-of-the-art” methods for mending and the ways for determining the paper type for filling the losses (I’m just assuming that filmoplast R is not the only method and it’s also not the best one 😉

    53:37 – Question from Hans Christoph Ruber: I’m pretty allergic to it (breathing) & I often run into books that are slightly mouldy at the spine, just barely noticeable from a slight smell. Reading them at home is impossible, I have to go to a park. Is there anything I can do?

    55:41 – Always test before using solutions on your materials

    56:37 – Question from Hans Christoph Ruber: Our National Library in Vienna uses a recent technology, non-invasive, with vacuum bags with humidity indicator, wherein the book is placed for a few weeks. Unfortunately, they refused to tell me about the system, respectively, where to get the bags from. Is this already a known technique?

    1:00:32 – Question from Ivan Gulkov: I have a relatively new book (about 5 years old) that has started developing some serious molding, that sticks pages together and shows as multiple yellowish spots. Is there anything that can be done to stop the spread?

    1:04:07 – Question from Boris Horemans: Often with old books on history or geography, you find elaborate maps that are bound with the rest of the signatures, often resulting in torn and damaged maps. When rebinding these books, how would you incorporate these maps?

    1:06:01 – Keeping and storing books that are not going to be repaired

    1:07:52 – Cancelled courses and events and plans for the future

  • Becoming a Marbler / Marbling Demonstration / Paper Marbling Q&A - Interview mit Katy Savelyeva von KatyEbru in Sankt Petersburg, Russland

    Video 1 (2020, 51:38 Min., Webseite: https://www.ibookbinding.com/b…r-marbling-demonstration/)

    Table of Contents

    01:09 – Katy’s path to paper marbling

    02:31 – Ebru vs marbling

    03:43 – Ebru courses at the Turkish Cultural Center in Saint Petersburg

    06:58 – Transitioning from being a hobbyist marbler to being a professional

    Marbling Demonstration

    08:43 – Stone marbling

    15:21 – Chevron marbling and its variations

    18:53 – Using a comb

    22:31 – Better ways to remove the sheets of marbled paper from a basin

    23:44 – Drying marbled paper

    24:36 – Spanish wave pattern

    25:25 – How long it takes to make a sheet of marbled paper on average?

    30:30 – Ebru tulip

    31:18 – On concentration of pigments

    35:45 – The oldest marbling patterns

    37:31 – Aesthetics of stone marbling

    39:18 – Ebru rose

    46:37 – Natural pigments

    Video 2 (2020, 24:27 Min., Webseite: https://www.ibookbinding.com/b…tyebru-paper-marbling-qa/)


    00:18 – Working with major Russian libraries

    01:28 – Recreating existing patterns

    03:17 – Question from Karen @indigo_craftroom: Katy’s favorite paper to work with

    04:33 – On the thickness of the paper

    07:35 – Question from Eva and John Baines: Do you ever do tiger eye or sunspot patterns? What recipe do you use to get it?

    10:53 – Question from Eva: Do you use oil or turpentine for certain patterns? How does that work?

    11:16 – Question from Shannon O’Blenes: I would like to know what type and brand of paint the professionals use to get such bright colours.

    11:44 – Making tiger eye pattern with acrylics

    13:26 – Some differences between Turkish and Western marbling

    14:16 – Marbling objects different from paper / Marbling fabrics

    15:14 – Books covered with marbled cloth

    16:03 – Question from Itzmalli Coca: How to fix color once printed?

    18:21 – Question from Susan Burrows @susie_kitchens: Have pretty much tried every size and type of paint and just can’t get a satisfactory result. Really wish I could get it right!

    19:07 – Video tutorials and other videos from Katy

    20:10 – Question from Janet Mente: Some days when I am marbling, things just do not work. I know there is a German book by a 19th-century marbler entitled in translation “My struggle with Oxgall,” so I know these things happen.