Paper

Kay Söderlund will talk about paper, how it is made, Western and Japanese/Chinese paper, and their different characteristics and uses.  She will also discuss what can and can’t be done to conserve paper, different adhesives and treatments –  bringing her extensive experience as a conservator to deepen our knowledge of this core element of the book

Kay Söderlund

KSoderlundKay Soderlund, Director of Preservation Australia, has worked as a conservator for over 35 years. With a Bachelor of Applied Science in the Conservation of Cultural Materials (1982) from the University of Canberra, she has worked at various institutions in NSW including The Australian Museum, the Powerhouse Museum, and the State Library of New South Wales where she headed the project to conserve several journals of the First Fleet. Kay has worked primarily in private practice since 1986, as well as working for some time with Museums Australia (NSW) – firstly as a conservator, then as Director. Preservation Australia is a boutique conservation business that specialises in paper conservation – including large format, works on paper, books, and photographs – as well as preventive conservation consulting, including Disaster Preparedness.  It also runs workshops in conservation areas throughout Australia and SE Asia, and has an archival products side of the business – Conservation Resources.

Isabelle Ting-McGowan

profile picIsabelle Ting McGowan has a background in Fine Arts and trained as a bookbinder in Florence, and at the bench of various fine bookbinders in Italy, France and UK.

In 2006 she set up her own Bindery in Edinburgh, Scotland and worked for public and private institutions and individual clients.

She provides bookbinding services to museums, galleries and libraries, heritage archives, bibliophiles as well as antiquarian book dealers.

Tomorrow’s Past

Kathy Abbott

The history and the work of Tomorrow’s Past: to share about how and why the group formed, to show examples of historical paper and vellum structures in perfect condition (despite being roughly handled) and how this has influenced our work and working methods. To talk about the slow acceptance and appreciation of this slightly controversial group’s work and to bring actual examples of work made by the group for handling and examining.

A Remarkable Journey

Julie Sommerfeldt

Over 17 years training and working as a binder/restorer/framer/conservator in Australia and Europe – notable people, institutions and collections I have had the fortune to be involved with – from working in a Coptic Christian Monastery in the Egyptian desert to a trade bindery in London’s East End; Shakespeare’s First Folio and everything in between!

 

Things to consider when rebacking a cloth or leather binding: Honoring the Bookbinder

Karen Vidler

This talk focuses on some technical considerations when deciding to repair or reback a cloth or leather covered binding. This will include options for: board reattachment; spine treatments; and the selection and preparation of repair materials. These are options that will affect the final appearance and movement of the book. The final options chosen should be underpinned by honouring the intentions of the original bookbinder as much as client expectations.
Karen Vidler (PM, AICCM)

 

An exploration of 18th century French binding techniques according to Diderot

Isabelle Ting-McGowan

Diderot’s Encyclopédie as it’s commonly referred to, offers a record of how bindings were done in France and Europe during this time period. This binding was one of the last trade hand-binding made on a commercial scale in the late 18th century. Soon the binding trade would become an increasingly mechanised industry and binding techniques considerably changed. The style is easily recognisable. This talk and demonstration will cover these aspects.