Spring 2019
TA B L E O F C O N T E N T S Spring 2019
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CoLAB: The New Innovation Hub
Digitizing the Ryan Collection
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Pushing the Boundaries of Paper Engineering
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Our Donors
ABOUT THE COVER “Table, Lay Yourself!” (1960s) by Vojtěch Kubašta Czechoslovakian-born Vojtěch Kubašta, like Meggendorfer, is one of the biggest names in the history and evolution of moveable books. His books, which date back to the 1960s, demonstrate the bold and vivid colors that he used for his illustrations and popups, said Miriam Intrator, special collections librarian. “You may not even notice the text because you are so drawn to the images.” Photo by Tyler Stabile/Ohio University Libraries
Credits Interim dean of Libraries: Janet Hulm Editor: Kate Mason, coordinator of communications and assistant to the dean Co-editor: Haadiza Ogwude, graduate communications assistant Design: University Communications and Marketing
Photography: Tyler Stabile, graduate photography assistant Delia Palmisano, graduate photography assistant Stephen Zenner, graduate photography assistant Contributing Writers: Haadiza Ogwude and Kate Mason With special help from Rob Dakin and Amanda Delong Carter
Farewell Scott Seaman, who served as dean of University Libraries for over a decade, retired Dec. 31, 2018. Under his distinguished leadership, in a Library that dates back more than 200 years, Seaman collaboratively transformed the Libraries’ culture from a book-centered to a student-centered library. When asked what advice he offers to new leadership, he said: ”You need to be extremely passionate about this work… [and] exceptionally flexible, because the vison you come in with will need to be modified along the way… to facilitate our [OHIO’s] student and faculty success.”
Welcome Neil Romanosky has been named the new dean of Ohio University Libraries effective Sept. 1, 2019. He comes to OHIO from the University of Toronto, where he has served as the associate chief librarian for science research & information since 2015. “I am thrilled to be joining OHIO at this exciting time for higher education and libraries,” Romanosky notes. “I am looking forward to getting to know the people at the Libraries, University, and community in the coming year.” Romanosky is experienced in helping libraries to navigate change in support of academic excellence in teaching, learning and research.
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(Photo by Stephen Zenner/Ohio University Libraries)
(Left to right) Sophomores Brittany Bateman, in marketing; Mikey Lochr, in marketing; Taylor Keller, in accounting; and Amanda Lessman, junior in marketing; Megan Christenson, sophomore in analytics; and Levi Triplett, junior in management information systems and analytics, work together on a presentation in CoLab, February 18, 2019.
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CoLab, the new student innovation hub formerly
“The most impressive part, for me, is seeing the space
known as C-Suite, officially opened on the third floor
open,” Thomson said. “It’s been awesome to see this
of Alden Library during a ribbon-cutting ceremony
project come to fruition. I think something that is very
with President Nellis and the OHIO Board of Trustees
unique about this project, is that this is a student-led
on Oct. 18, 2018. The mission of CoLab is to enable
initiative. This was not an idea started by a faculty
and empower students to live
member, staff member, or
and grow through creativity,
University leadership, this
entrepreneurship and
was completely created out
innovation.
of student wants and student desires.”
“CoLab is one of several innovative spaces now
CoLab was founded in
in Alden Library merging
2015 by alumni Alex Kneier
information technology
and Lori Bentz, who had
with spaces to encourage
recently completed their
creativity. CoLab will help
training as innovation fellows
broaden the culture of entrepreneurship at Ohio
By Haadiza Ogwude
at Stanford University. According to Kneier, they
University by providing a distinct location and services
started CoLab because they recognized a lack of
that will help our students bring their ideas to fruition,”
structure for student business startups, and believed
said Scott Seaman, former dean of
the University needed a support team for students to
University Libraries.
start businesses and other entrepreneurial projects.
According to Matthew Thomson, program manager, he
“CoLab is all about students from all over the campus
was a part of the C-Suite project for the last year and
coming together and forming teams and starting
half, while working in University Advancement, and
businesses, but not only businesses but initiatives
said that he had met some of the students involved in
that are all about change… Creating a world students
the project throughout that process.
want to live in,” Kneier said.
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(Photo by Stephen Zenner/Ohio University Libraries)
Chaden Djalali, executive vice president and provost; Duane Nellis, Ohio University president; David Pidwell, national trustee; and Dave Scholl, Board of Trustees chair; participated in the ribbon-cutting ceremony at the grand opening for the new student-led innovation center, CoLab, on October 18, 2018.
Since its conception, CoLab has added a team of four
innovation and entrepreneurship into their own lives,
students, including University innovation fellows,
because it is possible for anyone to do that… [CoLab
who have been working tirelessly to make the new
is] a place where you can turn your passions into
innovation center a success. Among these group
reality,” Stroud stated.
members are student leaders Faith Voinovich, a senior studying chemical engineering, and Drew Stroud, a
The CoLab team believes the new cross-disciplinary,
senior studying mechanical engineering.
student center adds another layer of depth to their project.
“I hope CoLab is renowned for being a place where students from all over come and explore [the center for] themselves and find how to incorporate 4.
“The Library is a fantastic space for learning, reading, studying, and working on your homework and projects; CoLab is a really interesting, fascinating addition [to the Library] where you take everything you’re learning and apply it,” said Winter Wilson, junior in the Honors Tutorial College studying environmental studies and journalism and current Stanford University innovation fellow. The physical space has five main components: the ideation room, where students can brainstorm ideas for future projects; five incubation pods, where students bring their ideas to fruition by starting and running businesses of their own; the materialization lab, where students are given materials and resources (Photo by Stephen Zenner/Ohio University Libraries)
to make product prototypes; the collaboration lounge, which is the main space that can be used in any way students see fit; and finally, the Center for Entrepreneurship, which houses the offices of Paul Mass, entrepreneur in residence and senior lecturer of management systems, and Paul Benedict, lecturer of management systems. According to the student team, the future of CoLab
Henry Pham, a junior in specialized studies, presents his team’s business model to Paul Benedict, a lecturer in the College of Business, during the CoLab Student Trade Show Exhibition on the third floor of the Vernon Alden Library, October 24, 2018.
includes filling these spaces with students from every college on campus. They said CoLab isn’t just a physical place, but it’s a support structure and a bridge that connects students to existing resources all over campus.
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RARE BOOK COLLECTION
Bookano Stories: With Pictures That Spring Up in Model Form (circa 1944) Designed by Louis Giraud for Strand Publications’ Bookano Stories, this series is one of 16 annuals produced between 1929 and 1949. Pictured here is Kikikoolah the Sea Monster, one of five whimsical double-page pop-ups featured in this book.
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(Photo by Tyler Stabile/Ohio University Libraries)
By Haadiza Ogwude
Miriam Intrator, special collections librarian, unfolds “Tulips: A Valentine” (2004) by Teresa Pankratz inside the Voinovich Room on October 31, 2018.
(Photo by Stephen Zenner/Ohio University Libraries)
Pop-up books are often regarded as a form of entertainment that allow children to grasp concepts and information in a unique way that bridges the gap between learning, literacy and leisure. However, this style of literature is more than its kid-friendly 3D illustrations. These books have a long and rich history that spans generations and genres. Several original examples and reproductions of historical moveable books can be found in the Libraries’ Rare Book Collection in the Mahn Center.
According to an article written by Allie Townsend, a contributor at Time Magazine, the word “pop-up” is a broad term used to refer to threedimensional and moveable books, greeting cards and more. These works date back to the 13th century when volvelles, or revolving discs, were the dominant moveable structure. Mechanical designs incorporating tabs, slots, wheels, flaps and more would arrive during, and persist beyond, the 14th century.
“I think that some people would be surprised to know that the history of moveable books goes back as far as it does, into the manuscript period with volvelles… We are used to pop-up books, so we do not necessarily think about how old the history might be and how many steps there were to creating a book that would actually ‘pop-up’ when you opened it. That’s an advancement that took a long time to develop,” said Miriam Intrator, special collections librarian.
Before moveable books became synonymous with children’s literature, they had practical applications. Although moveable books can be found in various cultures throughout history, in the Western world they were originally used in the fields of science, philosophy and astronomy. According to Intrator, from the mid-to-late 1800s, the evolution of moveable books accelerated and the shift to interactive and creative learning tools for children began to take
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place. However, it wasn’t until after WWI that pop-up books, as we know them today, began to be produced. It was also then that moveable books became an integral part of children’s literature.
According to the exhibit “World Treasures: Beginnings” curated by the Library of Congress, “Astronomicum Caesareum” depicts the cosmos and heavens according to the Ptolemaic system that believed that the sun revolved around the earth, and illustrates this point using volvelles, one of the oldest moveable structures.
“Like many people, I have owned moveable books, enjoyed paging through them in bookstores, and have gifted them to family and friends. My interest only increased when I began working in special collections. I learned more about the history of moveable books and was excited to find examples scattered throughout our collection,” Intrator explained.
“A Pop-Up Field Guide to North American Wildflowers” by Shawn Sheehy is an example of a modernday moveable book, as well as an artists’ book, housed in the Rare Book Collection. As a renowned contemporary artist, bookmaker and paper engineer,
One of the oldest examples of a moveable book contained in special collections is “Astronomicum Caesareum” by Petrus Apian. This book, which was originally published in 1540, is a facsimile, or a reproduction of the original text that upholds the authenticity of the book’s size and colors and even includes the damage from the original book.
(Photo by Delia Palmisano/Ohio University Libraries)
The Libraries’ Rare Book Collection features a variety of moveable book structures and noteworthy time periods; everything from original versions of historical texts to contemporary reprints can be found within the collection.
“A Pop-Up Field Guide to North American Wildflowers” (2011) by Shawn Sheehy Pictured is Shawn Sheehy’s beautiful hand-constructed “pop-up” flowers from one of his original artists’ books. “When you read the descriptions of the flowers in the back, you can see there is a political and contemporary relevance that you would not see in a historical field guide to wildflowers,” said Intrator. 8.
“The Story of the String and How it Grew� (1916) by Sam Plank This light-hearted book features a piece of string that is threaded from the front of the book to the center of each page. As you flip through the pages, the string appears in various situations depending upon the illustrations and becomes an integral part of the story.
Here is a sampling of some pages. Photos by Stephen Zenner/Ohio University Libraries
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Pictured is a reproduction of one of the early examples of a volvelle, or a movable revolving disc, that would have been constructed by hand in the original book from 1540. Although this book is a reproduction, it is faithful to the original in terms of size, color and even the damage that has occurred over time. This image is a table tracking the stars and the astrological signs.
Shawn Sheehy constructs by hand and uses his pop-up designs to illustrate ecological and societal concepts.
Meggendorfer, “Robinson Crusoe” by Merrimack Publishing Corporation, “Table, Lay Yourself!” by Vojtěch Kubašta and more. An eight-video series on these books can be found on the Libraries’ social media accounts, including Facebook, Twitter and Instagram.
Other moveable books included in the Rare Book Collection are “A Series of Amusing Transformation Scenes: The Tricks of Naughty Boys” by Lothar 1 7.
(Photo by Stephen Zenner/Ohio University Libraries)
“Astronomicum Caesareum,” (1540-1967 facsimile) by Petrus Apian
(Photo by Stephen Zenner/Ohio University Libraries)
As an esteemed faculty member here at OHIO, Haviland is also an artist-printmaker. She was trained in the art of making books at the Women’s Studio Workshop, one of the largest producers of artist’s books in the country in Rosendale, New York, and has been actively making blank books ever since. “I have a deep love for most printed objects, but I especially love two-dimensional things that become three-dimensional… Though I doubt I will ever make a full pop-up book, I am endlessly inspired by the technology and the play,” she explained. Michele Jennings, art librarian, examines the artist book, “Popped Art” (2005) by Elizabeth Murray, in the Mahn Center for Archives and Special Collections on the fifth floor of the Alden Library on November 15, 2018.
However, printmaking is more than just a pastime for Haviland. She also uses moveable books, as well as artists’ books, in her courses. She often has her students view artists’ books in the Mahn Center and in the Fine Arts Library. In her freshman foundations courses, students even learn to design pop-ups of their own.
According to Melissa Haviland, a professor of printmaking, moveable books provide a playful and creative way to deliver a story. They’re whimsical, pretty hard to find and they have a significant value, she said. Haviland also believes these books provide opportunities for curricular integration.
“They usually create a pop-up spread depicting an environment familiar to them, and adding paper dolls and objects to interact with the space. Paper engineering helps to teach design, paper cutting and folding techniques, and helps hone a student’s craft. Plus, they are silly and joyful to make and critique,” Haviland explained.
“There are rules to [using] paper as a material and ways that it does, and does not, work. Pop-up books are basically where play, art and math meet. A ton of lessons can be learned [by] producing popups,” she stated.
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Like Haviland, Michele Jennings, fine arts librarian, uses moveable books in her information literacy sessions.
Moveable books are just one example of the fascinating materials contained in the Rare Book Collection of the Mahn Center for Archives & Special Collections. Intrator said, that since their creation moveable books have allowed for more complex storytelling to occur. She hopes to continue collecting examples from the evolution of moveable books. She hopes that viewing these materials will challenge people to think about the many forms that books can take, their many uses and functions over time and their creative and interactive potential.
“I’ve used them in information literacy sessions, and I think there’s a big opportunity there for teaching the relationship between structure and content… I think that the easiest thing to teach with moveable books is the relationship between form and narrative, and thinking of form and structure as other ways of creating knowledge,” Jennings said.
(Photo by Stephen Zenner/Ohio University Libraries)
She added that teaching information literacy sessions with moveable books sparks inquiry amongst the students and returns a sense of excitement and wonder to the art of bookmaking. She said that interacting with a moveable book harkens back to that moment when we are children, and we are opening pop-up books and the book reaches out toward you. This sentiment resonates with Intrator as well, in that she too believes that moveable books can be impactful to anyone regardless of age. “Moveable books help bring stories to life. They add dimensionality and can expand our understanding of how a book can be constructed,” Intrator remarked.
Callie Smith, a sophomore studying studio art, analyzes the unique, hexagonal form of “Cinderella: A Peepshow Book,” (1950) by Roland Pym inside the Voinovich Room on October 31, 2018.
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Digitizing the Ryan Collection Looking at World War II through the stories of individual service men By Kate Mason
Doug Peterson, a 2007 OHIO graduate in commercial photography and head of Research, Design and Products at Digital Transitions, poses for a portrait with the recently installed DT Element (copy stand) in the digital initiatives & preservations workspace at Alden Library, June 26, 2018.
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Digitizing the Ryan Collection
(Photo by Stephen Zenner/Ohio University Libraries)
Since its earliest days, Ohio University Libraries has been a leader of innovative initiatives such as being the first academic library in the Old Northwest Territory (1814); the first in the world to generate an online library record (1971)—the predecessor to WorldCat; and the first online manuscript collection hosted by a digital platform in Ohio (OhioLINK’s Digital Media Commons) for the sharing of historic special collections and creative materials (1998).
stubble on [a photograph of] the ball player’s face—not really even the stubble, the pores where the whiskers come out. You could see the stitches on his uniform, the weave in the fabric of the ballplayer’s uniform— you could see the blades of grass,” said Janet Carleton, digital initiatives coordinator, who was in on the earliest years of the Libraries’ initiative to digitize special collections.
One of the collections that is of most interest to people around the world is the Cornelius Ryan Collection, which Janet Carleton, digital initiatives coordinator, Today, with the Libraries’ merging features primary source material sits in her office, November 8, 2018. of digital initiatives and preservation, including original correspondence, the newly formed department continues University interviews, photographs and manuscripts used by Ryan Libraries’ reputation with the $45,000 purchase of a for writing “The Longest Day,” “The Last Battle,” high-resolution, medium format digital camera—and and “A Bridge Too Far,” as well as other World War II all its accessories— to photograph and preserve historic documents and audio tapes. objects. The result: a high-quality camera that captures the smallest of details using technology only recently “We regularly filled requests from filmmakers, available. including Ken Burns for his well-known World War II documentary, of images in the [Ryan] Collection which “Right off the bat, we started playing with the did not have [copy] right issues because they new camera, and with the 120 mm. [photographic were [United States Army] Signal Corps photos,” negatives]. I could not believe it. You could see the said Carleton.
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Digitizing the Ryan Collection
“Particularly from Europe, a lot of the records they were looking for were unavailable because they were blown up or burned [during the war],” said Carleton. “There was information in the Ryan Collection that people from the Netherlands and England were all looking [to find].”
librarian for the Mahn Center and curator of the collection. Until recently, the Libraries’ process for requested information was that the material was scanned and then sent directly to only that particular person. (Photo by Stephen Zenner/Ohio University Libraries)
Additionally, there has been international interest in the digitized collection by people looking for information about World War II.
According to Lavender, the number of people needing digital information from the collection has increased substantially. “It is hard to tell how much of it is from seeing the questionnaires online—but I [do] mention they are online anytime I can—to anyone I can,” said Lavender.
Carleton continued by saying, in the pre-digital age, “tons and tons of “We do full corrected transcriptions by photocopying was being done [by student workers [of the Ryan Collection papers],” said Karmen Beecroft, digital the Libraries],” and shipped to the projects librarian. “…And [we work on] person requesting the information. Although most people refer to the figuring out a unifying theory of military organization, [to ensure a more granular Then about a year-and-a-half ago, the collection as just “Ryan,” many search] so people who were only interested in this regiment, or battalion can find just Mahn Center and digital initiatives people represented in the collection those things.” started putting those requested were employed by Readers Digest, materials online in a pilot program, where they can now which at the time, also employed Ryan. be searched and found in CONTENTdm under the heading, the Cornelius Ryan Collection of World War “Ryan was working for the Readers Digest when II Papers Questionnaires. he was doing all the original research, so Readers Digest gave him a research department,” explained “It is still largely request-driven what we are putting Karmen Beecroft, digital projects librarian. “So when online, “said Stacey Lavender, special collections
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Digitizing the Ryan Collection
we say Ryan [Collection], it is really a whole team of people who are doing this research, sending out the questionnaires, scheduling the interviews, and conducting the interviews.” Beecroft described how Ryan worked with the research team to advertise for interviews in the Readers Digest for all three of his books, which began in the 1950s and continued for about 10 to 15 years. If people had either promising stories or were influential figures, they would be contacted for an interview—and sometimes a photographer was invited to come along to photograph the individual and/or their personal materials. Now, almost 75 years later since Ryan’s best-seller, “The Longest Day,” was published, the Libraries has had encouraging reactions to these digitization efforts, which not only includes the digital copy but also the transcription of the written text. “D-Day Dress Platoon Leader,” is the title of this digitized drawing, which describes exactly how a soldier should be outfitted in clothing and equipment, such as: a “helmet with net and camouflage—strap up;” “life-preserver 1/3 inflated, under all other equipment;” and “map-case, water-proofed—tied to leg with thong.”
“Since we started putting these things online, the response has been so overwhelmingly positive that I’ve gotten from patrons,” said Lavender. “They are really excited that they can request more [material] and that they are publicly available—it has just been really great to see.”
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University Libraries
THEN & NOW Chubb Library 1960s
Alden Library 2018
C O N TA C T I N F O R M A T I O N Gatherings is a publication of the Friends of the Libraries of Ohio University. For more information please contact: Kate Mason, 509 Alden Library, 30 Park Place, Athens, Ohio 45701 740.593.2702