On January 13 we release Volume 8, 2012, the largest (and regrettably last) issue of The Bonefolder. What started as an experiment in open-access online-only publishing “way back” in 2004 grew into perhaps the most widely read publication in the book arts with over a quarter million downloads for all issues combined since we began with a global readership. Listing of the The Bonefolder in the Directory of Open Access Journals (DOAJ) placed us in just about every research library’s online catalog, and participation in LOCKSS will ensure long-term access to all issues (as do Syracuse University Library’s and the Internet Archive’s servers). This growth, however, also brought with it ever increasing workloads for the small and incredibly dedicated editorial staff who solicited articles, worked with authors, and much more. With the 2011 issue we switched to an annual format (something catalogers curse publishers for) in the hopes that it would allow us to streamline processes and spread the work out as it came in. Alas, that did not happen in the way we had hoped and the process became unsustainable… When we began we knew it would be a challenge, albeit a fun one inspired by other independent publications such as Fine Print and Bookways, but also membership publications such as The New Bookbinder and The Guild of Book Workers Journal. Since we started other publications in the book arts other sprung up but ours remains the only freely accessible journal in the field.
Looking back, I think we more than surpassed our initial goals, and while I have deep regrets about “closing the book” I feel it is far better to leave the field at the zenith when we all still have energy for other pursuits (that we all know will come) rather than forcing ourselves to continue. So, it is with an intense sense of pride that I thank all those who have worked to make this publication the success it became – Donia Conn who encouraged me to start things in 2004, Pamela Barrios, Chela Metzger and Don Rash who formed the original core, Karen Hanmer who soon joined the team, and finally Ann Carroll Kearney who was a very welcome addition with this issue. To Samantha Quell, a long-time student of mine, our thanks for indexing our 14 issues thereby enhancing access. All of you contributed greatly to our success. Finally though, we would have not been able to exist at all if not for our authors, some established, some new, who filled our issues with articles that covered the full spectrum of the book arts.
To all thank you!
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Table of contents:
- Publisher’s Note
- Evolution of an Artist’s Book – Sarah Bryant
- John DePol Digital Archive at The University of Alabama – Amanda Haldy, Sara Parkel, & Dan Albertson
- Reinventing the Flag Book – Jeff Tong
- Bookbinding in Estonia – Illu Erma, translated by Silja Oja
- Modern Portuguese Bookbindings – Sam Ellenport
- A Tale of Two Boards: A Study of A Bookbinding – Sidney F. Huttner
- Book Conservation at West Dean College – Abigail Uhteg
- “How Do I Make It Stick?” Adhesives For Use In Conservation and Book Arts – Tish Brewer
- A Bookbinder’s Gamble – Gavin Dovey
- Reliquary for a Book – Florian Wolper
- Towards practice: The Art of Bookbinding Used to Instill Craft in Graphic Design – Law Alsobrook
- Durante and Wallace-Crabbe: LIMES – Perle Besserman
- Of the Bookbinder (London, 1761)
- Bind-O-Rama 2011– Artistically Reversible: Where Conservation and Art Meet
- Book Reviews
- Abbott, Kathy. Bookbinding: A Step by Step Guide. Review by Anna Embree
- Banik, Gerhard and Brückle, Irene. Paper and Water: A Guide for Conservators.
Review by Abigail Uhteg
- Marks, PJM. Beautiful Bookbindings, A Thousand Years of the Bookbinder’s Art. Review by Beth Doyle.
- Miller, Julia. Books Will Speak Plain: A Handbook for Identifying and Describing Historical Bindings. Review by Chela Metzger
- Minsky, Richard. The Book Art of Richard Minsky. Review by Miriam Schaer
- Starling, Belinda. The Journal of Dora Damage. Review by John Nove
- Wallace, Eileen. Masters: Book Arts. Review by Jules Siegel