This article, written by Shelagh Smith, first appeared in the Canadian Bookbinders and Book Artists Guild Newsletter, Summer 2001, Vol. 19, No.2.

Bookbinding Semantics

In talking quite extensively with Quebec bookbinders and book artists I have found that there is a distinct difference in the use of certain terms in French and in English. I don't want to imply that there is any unanimity of opinion on the definition of terms in English, which certainly would be untrue, but there is a broad difference in the French and English definitions.

In the French tradition 'bookbinder' is 'relieur' and is distinct from 'book artist', who is one making artists' books. 'Artists books' are close to what we call private press, books published by and controlled in all aspects by one person whom they call 'editeur'. The conception, the thinking and research, and the realisation are his according to Jacques Fournier as is the choice of the materials, printer, typeface, illustrations, artist, binding decisions and/or production.

Illustrated handmade books are according to Sylvie Alix of the Bibliotheque nationale 'livre de graveur'.

My own definitions are:

• The book arts consist of those artifacts/objects based on or incorporating the arts and crafts traditionally associated with the book, that is fine printing, papermaking, calligraphy, hand binding, boxmaking, and paper decorating. The object may or may not utilize traditional book structures.
  
  
• Livres d'artiste are books having as their core component illustrations by the artist. Techniques associated with the illustrations have been wood engravings, etchings, lithographs, pochoir/stencil, serigraph/silkscreen, lino etc. There may or may not be text. However these are distinct from suites of prints since they are in book format in some manner.
  
  
• Artists' books are in their totality works of art utilizing one or more of the arts and crafts of the book. The essential factor is that every aspect is required to make up the object. One facet may be dominant but all must contribute to the experience of the finished product. There may or may not be text and/or traditional book structures.
  
  
• A design binding is one where the design and creation of the binding contributes significantly to the experience of the text.
  
  
• A private press is a printing enterprise in which all aspects of its production, from the writing or selection of the text to the final binding of the book, are either done by, or are done under the direct and exclusive control of the proprietor.

I would stress that these are my definitions only. However they are used as the basis of the charge to the jury for the CBBAG juried exhibitions. There are certainly many issues not addressed in these definitions. For example, does fine printing consist of letterpress only, or letterpress and offset, or letterpress, offset, and rubber stamp, or ......? In which case should we be changing the name of that category in exhibitions to recognize the wide use of new technologies.

Where does small press publication fit in these definitions? It is clearly an important and popular aspect of the book, now, but is it "book arts"? It is not fine printing or private press, is often rougly produced and the text is the major point. It perhaps is a continuation of the clandestine presses which have for centuries acted as gadflys and helped create religious, political or other change.

We would be very interested in your reactions to these definitions which we are publishing in the name of clarity and in the hope that they don't muddy the waters even further.