BernadetteThesisHx.pdf

 NEXT  STOP:  POP-UPS Te Influence of Paper Engineering on Visual Media  by Bernadette Puleo

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 NEXT STOP:  POP-UPS Te Influence of Paper Engineering on Visual Media 

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 NEXT STOP:  POP-UPS Te Influence of Paper Engineering on Visual Media by Bernadette Puleo In partial fulfillment of the requirements for the degree of: Master of Fine Arts: Visual Arts – Graphic Design Marywood University, Scranton, Pennsylvania  Copyright © 2011 by Bernadette Puleo  All rights reserved.

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Thanks I would like to thank all those who were so generous in taking time out of their busy schedules to answer my questions about paper engineering. Tese people ranged from paper engineers, artists, designers, collectors to curators. I found this community of movable paper lovers  were warm and enthusiastic. Tey embraced my interest, were very willing to share their enthusiasm with me and  welcomed me with open arms. Tis story  would not have been possible without them.

Contents FIRS SOP Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 PAR ONE Chap te ter 1 : A Brie f History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 0 Ch haa pt pt er er 2 : O f N at at io io na na l I mp mp or or ta ta nc nc e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 C ha hap te te r 3 : B oo oo ks ks , B oo ook s,s, Bo Boo ks ks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 6 Chap te ter 4 : It All Ads Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 2 Chap te ter 5 : Greeti ng ngs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 6 C ha hap te te r 6 : G oi oi ng ng to to th the Mo Mov ie ie s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 0 C ha hap te te r 7: 7: e e ac ach in in g an an d Le Le ar ar ni ni ng ng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 4 PAR WO C ha hap te te r 1 : El El ec ect ro ro ni ni c Pop ab ab le le s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 0 C ha hap te te r 2 : Aug me me nt nt ed ed Re Re al al itit y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 2 Chapter 3: Video-In-PrintM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 6 Chapter 4: 4: Ap Apps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 8 C ha hap te te r 5 : E -I-I nk nk a nd nd E -P -Pa pe pe r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 2 Chap te ter 6: 6: Co Conclusi on on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 4 LAS SOP Visual G lo lossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 57 Figures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 8 Endnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 3 Bibliography. Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 76

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Introduction

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e live in a time when the future of print is uncertain at best. It is a time  when media is combined, melded, and molded. What was printed in ink, can now be digitally transmitted with E-Ink. Yet, humans crave the tactile. People love hide and seek and the element of surprise. For generations paper engineering has been used to create the pop-up and other forms of movable books that have delighted readers of all ages. Tose very advances in technology that are diminishing the importance of print as a medium also allow products that employ the use of paper engineering to become more accessible in the commercial market. oday there are books and other print products that include sound chips and lights. omorrow, paper products will certainly become more integrated with digital content to create a multi-media experience. One example is augmented or mixed reality technology which has been developing since the mid–1990s. It is now starting to become more commercially viable. Tis technology enables a viewer, when opening a page of a book or greeting card, to see an actual 3D computer generated image pop out from the paper on a computer screen in front of them. Te viewer must have a  webcam in order to partake in the experience. Paper engineering today is also utilized in the design of promotional material. Philip Bell, a pop-up designer and engineer, produced a pop-up tour book for the Baltimore Chamber of Commerce. In Switzerland, a series of six souvenir books called Stand-Up Switzerland , promoting Switzerland and its wonders, is published in several languages. A high end pop-up brochure for the German Chancellor’s office was designed by Refeka, an award-winning German company that is a leader in paper engineered promotional products.  Another venue where movable paper is utilized is in advertising. When Fruit of the Loom’s Pop-Up Panties ad ran in several ladies magazines, it was met with great success. Pushing the boundaries of digital media and print, Structural

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Graphics, the producers of the ads, collaborated with E-Ink Corporation to produce the first digital magazine cover, the 75th Anniversary Issue of Esquire Magazine.

 PART ONE

 With new technology and the expansion of global trade today, the mass production of novelty books and other forms of engineered and interactive paper allows for accessibility on a much broader scale than ever imagined at an affordable price. Paper engineering and other novelty devices have long been used in the greeting card industry. oday, there is a proliferation of paper engine ered greeting cards, many of which include sound chips. Tese products are commanding high prices in the marketplace. Paper engineering in the form of the pop-up also influences other media, such as film. In 2009, nine students from two rival universities in Dundee, Scotland, created an animated film, Te Happy Duckling , that was set in an p op-up book environment. It has won many awards for its originality.  At the other end of the spectrum, book artist, Julie Chen, explores the moveable book form as part of her exquisite handmade books, such as “Panorama”. Her extraordinary books are printed on a letterpress. No study of paper engineering could be complete without acknowledging the achievements of the king of the contemporary pop-up book, Robert Sabuda. With the publication of his intricately detailed pop-up books such as “Alice’s Adventures in  Wonderland”, Robert Sabuda revived this art form and helped it reach the popularity it enjoys today.

There’s Nothing  Like the Present 8

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Chapter A Brief  A  1  History

lthough the focus of this paper is the present and future of movable books and  related print media, it would be remiss if it did not include a few historical facts. “Te earliest known book to use a movable part was produced in the 13th century by Catalan mystic and poet Ramon Llull of Majorca who used a re volving disc or volvelle to illustrate his theories.”1 Books with movable parts produced during this era, were made for the purpose of educating and conveying ideas to literate adults in a more precise way than could be achieved with a static i llustration. One of the earliest movable book that survives today is Peter Apian’s “Astronomicum caesareum” (Te Emperor’s Astronomy) printed in 1540. Its beautifully illustrated vovelles were designed to calculate astrological and astronomical data. 2 Movable books made exclusively for children weren’t produced on a large scale until the late 1 9th century and then only for e ducational purposes and to teach moral values. 3

FIGURE 1.1 Drawing of an early vovelle movable.

Te popularity of movable books ebbed and flowed through the centuries. Economics and leisure time along with literacy and labor costs had a direct impact on the number of books produced since its early beginnings.  When asked the question, “o what do you attribute the resurgence of the pop-up book’s popularity and the growth it enjoys today?”, several pop-up book artists, engineers and collectors will answer, Waldo Hunt. Hunt was an advertising man, who was captivated by the pop-up books made by Czech arti st and paper engineer, Vojtech Kubasta. Because of the complications of directly importing his books into the United States during the mid 20th century, Waldo Hunt decided to start his own company with the purpose of producing pop-up books and related print media such as advertising inserts, greeting cards and table decorations. Started in 1965, Graphics International became the leader of the new golden age of pop-up books. Waldo Hunt eventually sold Graphics International to Hallmark and started another company in the 1970s, Intervisual Books, Inc. Tis company continued to vanguard pop-up book design, production and packaging in the United States. One of the paper pivotal engi neers who came out of this company is David A. Carter, author of many pop-up books made for children and adults that we enjoy today. 4

FIGURE 1.2 Vovelle from “Astronomicum caesareum”, 1540

F IG UR E 1 .3 Pa pe r e ng in ee ri ng by Vo jt ec h K ub as ta , 1 96 0

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F IG UR E 1 .4 Pa pe r e ng in ee ri ng by Wa ld o H un t, Wr ig le y’ s G um Ad

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Chapter Of National  A  2 Importance

lthough there have been many exhibitions of pop-up books in major university   libraries, for the first time, from June 14, 2010 to September 30, 2011, the Smithsonian Institution Libraries at the Museum of American History in Washington, D.C. hosted an exhibit of the art and history of paper engineering entitled, Paper Engineering: Fold, Pull, Pop and urn. Curated by Stephen Van Dyk of the CooperHewitt, National Design Museum Library, the purpose of this exhibit was to showcase the history and diversity of movable books. He stated that the importance of this show was multi-faceted. It was to do a few things.

FIGURE 2.2 Paper engineering by Jan Pienkowski, 1981

“One, to indicate that the mechanisms are old. wo, to show that they are not only for children. In fact they  were originally made for adults. Tree, to show they have different purposes. Four, to show it was a way in  which people communicated. Five, to show they teach in creative ways. Tey are enticement to discovery. And six, to show that it is an art form.”1 Susan R. Frampton, Program Coordinator of the Smithsonian Institution Libraries added to the list of the exhibition’s purposes. She felt in addition to bringing public awareness to the genre of movable books, it also brought awareness to the existence of the Smithsonian Library itself. Te show demonstrated “that movable books were designed to illustrate complex subjects in ways that static books couldn’t.”2 She lastly added that the exhibit was meant to show the “fun side of the genre”. 3 In viewing the exhibit one could really get the sense that movable books have a long history, and that some very be autiful and complex movables were done as far back as the 1500s. Te accompanying video to the exhibit explaining how pop-ups books are made, was very successful in educating the viewers. People’s comments, as they viewed the books in the exhibition, all expressed amazement. In one instance a child said, “It’s made of paper!” to which the adult answered, “Tat’s  what’s so cool about it!” Te show was well organized and indeed educated the public as to how many different devices are used to make paper move. 12

FIGURE 2.3 Paper engineering by Vojtech Kubasta, 1961

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FIGURE 2.4 Paper engineering by Chuck Murphy, 1996

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FIGURE 2.5 Paper engineering by Marion Batille, 2008

FIGURE 2.6 Artist book by Edward H. Hutchens

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Te Movable Book Society was founded in 1993 and is directed by Ann Montanarro. Tis organization touts a membership of 450 people worldwide. It provides a forum for collectors, artists, curators, book sellers and book producers. Teir newsletter,  Movable Stationery  is published quarterly. Te organization sponsors biennial conferences and the Meggendorfer Prize for outstanding paper engineering.4 Te winner for the 2010 award went to “ABC3D” by Marion Bataille. Te Movable Book Society not only creates a social network for people who in one way or another are associated with this genre, but it also brings an awareness as to how many professionals there are making a living in this field. Te artists, whether they work commercially or produce limited edition books are extremely creative, skilled and devoted to their art/craft. When asked about the importance of the Smithsonian exhibition, Montanaro responded by telling about an email she received from a mother after she and her child went to see the exhibit. Te mother is now encouraged that people could make a living at paper engineering. Te reason being is that her 13 year old child is obsessed with making pop-ups.5

FIGURE 2.7 Spread from artist book, “Panorama” by Julie Chen

Tere have been many other exhibits of movable books in the recent years. One was hosted by the Grolier Club, an exclusive club to which only serious book collectors can belong. From March-May 2010, Beyond the ext: Artists’ Books from the Collection of Robert J. Ruben occupied the second floor of this institution. Tis exhibition goes beyond exemplifying how important movables are to the creative process. Of the 69 books exhibited, at least 23 of them had some kind of movable device. Most memorable  was Julie Chen’s “Panorama”. When asked about her use of pop-ups in this book, Chen responded that she didn’t “intend to use pop-ups or other technologies for their own sake. I consider the experience that I want the reader to have and use whatever means I feel will be effective.”6 Some past exhibitions of importance were: Te Pop-Up World of Ann Montanaro , April July, 1996 and the first World Wide Web exhibition created and maintained by the Rutger’s University Libraries; Pop Goes the Page: Movable and Mechanical Books from the Brenda Forman Collection , University of Virginia Library, May 12, 2000 – August 18, 2000 and Ideas in Motion: Te History of Pop-Up and Movable Books , State University at New Paltz, April 11-30, 2005.

FIGURE 2.8 Spread from artist book, “Panorama” by Julie Chen, Detail

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Chapter Books 3 Books Books

FIGURE 3.1 Spread from “Te Very Hungry Catterpillar”

FIGURE 3.2 Spread from “Brava, Strega Nona!”

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espite the fact that the first movable books were made for educated adults, today the majority of pop-up books published are for the children’s market. Movable Stationery, Movable Book Society’s quarterly newsletter always lists from 20 to 40 new titles in their new publications section. In addition to a plethora of new stories, many contemporary classic books such as “Te Very Hungry Caterpillar” by Eric Carle, that was originally published in 1969 with flat illustrations, was converted to a pop-up book in 2009, to celebrate its 40th Anniversary. Another extraordinary example, is “Brava, Strega Nona!”. Written and illustrated by omie dePaola in 1975, this heartwarming tale, which had won a Caldecott award was recently published as a pop-up by master paper engineers, Robert Sabuda and Matthew Reinhart. One of the most popular pop-up book artists/engineer for the younger set is David A. Carter. In his bug series, of which there are 28 titles to date, 19 employ many hide and seek movable mechanisms, such as pull tabs and flaps, along with traditional pop-ups. Tey are not only fun, but many are educational as well. In a recent interview Carter did say that because of the economic downturn since 2008, his publisher requested that he do “more books a year that will be less expensive”. 1

popularity it enjoys today. Robert Sabuda is a purist in that he uses only pop-ups and no other movable devices in his books. He also considers his books four dimensional art, as there is height, width, depth and the element of time involved in his paper engineering.4 Chuck Fischer has also published pop-up books for the cross-over market, because his classical illustration style lends itself to his Christmas and Biblical topics that are enjoyed both by adults and children. Some of his ti tles are “Angels”, “In Te Beginning” and “Christmas Around the World”. He envisions the pop-ups in illustration form but does not engineer them. Tat task is left to paper engineer, Bruce Foster who creates the pop-ups from Fischer’s illustrations. Even though these two collaborators are located in different states, modern technology allows them to easily work with each other through email. o illustrate the fact that contemporary paper-engineered books have become more complicated, Bruce Foster said in an interview that one of his more recently engineered books, “Big Frog Can’t Fit In”, “...was so complicated that I had to send a 20-page instruction PDF to the assembly plant to show how to glue it.” 5

Carter is not only is a master of cute pop-up books for young readers, where the text, pop-up and illustrations are of equal importance, 2 he is also a master pape r sculptor. He has designed and engineered a wonderful series of five pop-up books for all ages. Tey are called the “Red Dot Series”, which took him seven years to make. Tese books have a modern art style to them, with little or no text and mostly solid bold color paper sculptures that pop-up from the pages. “Here,” he says, “paper engineering i s king.”3

 And then, there are a number of pop-up books strictly for adults. Some of these border on soft porn, such as the  “ Pop-Up Book of Sex” and “Te Pop-Up Kama Sutra: Six PaperEngineered Variations”. And then, there are other books that are just meant to appeal to adults, such as, “Te Pop-Up Book of Phobias”, “Te Pop-Up Book of Celebrity Meltdowns”, “Te Spirit: A Pop-Up Graphic Novel”. Also, there are pop-up books of famous architecture and artist’s work. Tere is even a pop-up book of flower bouquets, “Paper Blossoms Pop-Up Book: A Book of Beautiful Bouquets for the able” by paper engineer Ray Marshall, that lays flat so that it may be used as a centerpiece.

In contrast, Robert Sabuda, many times starts with a beloved popular story, such as “Te welve Days of Christmas”, “Te Wonderful Wizard of Oz”, or “Alice’s Adventures in  Wonderland”, to name a few, and turns them into pop-up master pieces. Te complexity of his paper engineering along with his beautiful illustrations have attracted many adults to collect these books, which are also loved by children. With the support of Robin Corey, his publisher, Robert Sabuda’s work is instrumental to the growth of the pop-up book’s

On the more serious side, there are many book artists who employ pop-ups and other movable mechanisms in their limited edition, handmade books. Tese books are purchased by avid collectors as they can cost thousands of dollars each. wo of these artists  who are popular today are Julie Chen and Shawn Sheehy. Julie Chen has officially been making limited edition, letterpress books since 1987, when she established Flying Fish Press. “Often the reader must engage in unexpected physical actions such as the unfolding

FIGURE 3.3 Page from “Beach Bugs”

FIGURE 3.4 Page from “Beach Bugs”, Detail

FIGURE 3.5 Cover of Smithsonian Catalog 

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FIGURES 3.6 through 3.8 Spreads from “Alice’s Adventures in Wonderland, 2003. Robert Sabuda, illustrator and paper engineer.

FIGURE 3.6

FIGURE 3.7

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        .8     3          E          R           U              IG          F

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or sliding of pages, the t urning of a wheel, or the ti lting of a box in order to fully read/ view a piece.” states Chen in her Artist Statement. 6

FIGURE 3.9 Cover and spread from “Big Frog Can’t Fit In”

FIGURE 3.10 Spread from “Angels”

FIGURE 3.11 Spread from “Te Spirit: A Pop-up Graphic Novel”

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Shawn Sheehy’s books are a sculptural delight. He is “mostly attracted to creating popups” because he enjoys the “engineering challenge involved in developing intricate dimensional forms that fold flat”... “Making pop-up books for adults pe rmits playing in the borderlands between ‘youth culture’ and ‘adult culture’ and thus striking out into new artistic territory.”7 In a unique situation, Shawn Sheehy was asked to design pop-up books for American Girl. As companion books to their dolls, American Girl felt it was important to add interactivity to these books in order to add another layer of interest. Only two books were published at the time of the interview because of the current downturn in the economy. 8 Te technology exists today that allows sound and light to be added to the movable book experience. However, the consensus from the professionals, is that these extras shouldn’t be added gratuitously as they add to the cost of production. When asked if the idea to add blinking lights to his firefly spread in his “Beach Bugs” book was his or his publisher’s, David A. Carter replied that it was his. In fact, his publisher cringes when he wants to add a light or sound element. Adding lights costs $.75 in production costs for each book. 9  Also, for collectors this element could pose problems, since they are battery operated. Stephen Van Dyk, of the Cooper-Hewitt, National Design Museum Library, specifically mentioned three books where he feels light or sound is successful. Tey are: “Star Wars:  A Pop-Up Guide to the Galaxy” by Matthew Reinhart, where Darth Vader and Luke Skywalker’s light sabers actually glow; “Birdscapes: A Pop-Up Celebration of Bird Songs in Stereo Sound” by Miyoko Chu, where birds sing with the veiwing of pop-up illustrations of their habitats; and “Graceland: An Interactive Pop-Up our” by Chuck Murphy.10 oday’s production technology has not aided in the making of pop-up books. Pop-ups are still hand assembled and di e cutting is used over laser cutting because it is faster.  Although, the cutting is more precise with the laser. Some advances in printing and cutting technology do allow for more complex pop-up books to be produced more

efficiently. During the design process of paper engineering, cutting and gluing white paper with  white glue remains the method of choice. Because of advances in digital technology, virtual pop-up books are appearing. Although they are nice to look at on the computer screen and have a degree of interactivity, they do not have t o be engineered by the laws of physics. Tey also lack the tactile, 3D experience one has when actually holding a book. One very nice site from Japan is ecodazoo.com. By clicking and navigating, these virtual pop-up books teach conservation and lessons about the environment through imaginary animals. Tey were created in Papervision, a real-time 3D engine for Flash. 11  Another example is a virtual pop-up book from the Please ouch Museum in Philadelphia that explores selected exhibits at the museum. Te viewer can use his/her mouse to turn the popups so they can see them from all angles. Te question is, are these virtual books as visually exciting as the real thing?

FIGURE 3.12 through 3.14 Spreads from “Star Wars: A Pop-up Guide to the Galaxy”

FIGURE 3.13

FIGURE 3.12

FIGURE 3.14

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Chapter All 4 AdsIt Up

FIGURE 4.1  Jazz Diet Pepsi pop-up magazine insert ad by Americhip

 As early as the 1960s, pop-up ads were being used in magazines. Te Wrigley’s Gum ads, designed by Waldo Hunt’s Graphics International company, were inserted into Jack &  Jill Magazine .1 More recently, pop-up ad inserts have been appearin g in many magazines because design software and laser equipment have reduced the cost of producing this type of advertising. Te two big design and production firms behind most dimensional advertising today are Structural Graphics in Essex, Connecticut and Americhip in orrance, California. In 2008, Fruit of the Loom ran a series of pop-up insert ads in which the panties take on the forms of flowers and butterflies. When Mars was introducing their new 3 Musketeers® with Mint Bar, they wanted to deliver the experience of the new product in a print ad. Structural Graphics produced a magazine insert with photo of a girl with a pop-up arm holding an actual size wrapped 3 Musketeers® bar. Te viewer can then peel and sniff the image of the bar to get a scent of the candy. As a direct result of this ad, fourth quarter sales, projected at $8MM came in at $20MM. 2 On the other side of the country, Americhip has designed many 3D magazine insert ad s. Some standouts include a “Dancing with the Stars” ad in which they used a self-winding spinning device that enables the paper dancer to twirl around when the page is opened.3 In 2004, Americhip created a multi-sensory i nsert ad that not only included a pop-up, but also, music and scent. It was for the launch of a ne w diet Pepsi drink called Jazz.4

“...but we did duplicate a pop-up book that  was used in a Lexus commercial entitled “Te Safest Accident”. 7 oday, Structural Graphics stays true to its founding principal  which is to leverage the same whimsy, joy and excitement found in pop-up books and apply that to direct mail media kits and advertising.8 Tey currently produce about 1,300 different designs a year and own an assembly facility in Mexico. Tey have won many design awards through the years, which includes first place award at the NAMA Convention (National Ag Marketing Association) for the John Deere paper tractor project. Tis paper replica tractor, unfolds to reveal a USB drive that holds their style-guide. It is not only effective in it’s delivery system but also is a great keepsake.

FIGURE 4.3 Alex Bates, Creative Director of Structural Graphics

Paper engineered promotional collateral has worldwide appe al. Pop-ups and other movable elements are used in media kits, direct mail pieces and other promotional work. Refeka, a German design firm that also specializes in this genre. Teir purpose is to “Lead in the creative pulses of paper engineering - that is our aim. For us creativity is the merging of technique and art. For continually innovative services.” 5 FIGURE 4.2 Direct mail with pop-up cube by Refeka.

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Structural Graphics, patents many of their movable devices. Devices such as their Extendo® and Te Flapper® are registered. Still others are trademarked, such as their Book-CubeM, 4-Window Pull M, MagnaPopM and PopperM. Structural Graphics has a  Youube channel, where they broadcast their solution of the week. Alex Bates, Creative Director of Structural Graphics said that his company never worked on a V commercial,

FIGURE 4.4 Pop-up promotional mailer by Refeka 

FIGURE 4.5 Wall of promotional work at Structural Graphics

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FIGURE 4.6 Four page insert ad with pop-up by StructuralGraphics.

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FIGURE 4.7 Mailer featuring Bookcube M by  StructuralGraphics

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Chapter 5 Greetings

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ne of the first greeting card companies that exclusively produced pop-up cards in this country was PopShots, Inc., started in 1977. Teir small line of cards  were miniature paper engineered art forms. oday the company is known as Up With Paper, committed to continue making pop-up cards that “wow” their customers. Even though their cards represent only one tenth of one percent of the entire greeting card industry in America, they have won more t han 45 of the International Greeting Card  Association’s coveted LOUIE Awards honoring design excellence.1 When asked in an interview, if Up With Paper incorporates lights and sound in their cards, George White, President, responded that lights and sound were introduced in a 2010 test market. Te cards with sound “were a big success, the light cards much less so.” 2 As a result, they will be introducing an everyday pop-up card line with sound in January 2011. However, the clever paper engineering will always be the most important factor driving their business. Up with Paper also owns a pop-up book division, Jumping Jack Press. Bruce Foster, is the paper engineer for many of the company’s cards and books. Teir latest publication is “Snowflakes: A Pop-Up Book”, illustrated and eng ineered by Yevgeniya Yeretskaya.  Another company that produces unique pop-up cards is Santoro, a London-based company. Teir Swing Cards M, of which there are 83 de signs, open up to form a 3D image with movable parts that swing back and forth. Teir newest pop-up innovation is Popnrock M. Tese cards not only open up to amazing 3D paper engineered sculptures, but they rock back and forth when nudged because they are designed with a curved base. o add to the movement, some of the pop-up elements move in harmony with the rocking motion. o prove that these pop-up cards are more than just a greeting card, they  won the 2010 Gift of the Year award from Te Giftware Association.3

FIGURE 5.1 Pop-up card display by Up with Paper.

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Tere are many more small pop-up card companies all of which are unique in their own  way. Te Original Pop Ups is a subdivision of Second Nature, Ltd. of England. Teir unique cards pop-up to create a self-standing centerpiece. Tey are designed to be used as a floral arrangement, balloon weight or table decoration. Tey are spring loaded with an elastic band triggered to automatically open when removed from the envelope. 4 Paper Magic Group is another greeting card company which includes pop-ups as part of their

line. Graphic3, Inc., was the first to “pioneer the use of rubber band activated structural mechanisms that make greeting cards pop-up”5 on their own. Tey also produce pop-up polygon desk calendars. Teir cards are exclusively engineered by Lowell Hess. Robert Sabuda, produces an exclusive line of holiday cards for MOMA (Museum of Modern Art) in addition to his own holiday and everyday pop-up cards. He even designs pop-up Christmas centerpieces and ornaments.  American Greetings have been including many innovative cards  with movable paper devices in their Carlton Cards brand for a number of years. Tis brand is the traditional card using only paper engineering. InventionsM, on the other hand, includes cards “featuring electronic components and links to digital content”. 6 Some of these cards include movable paper, some do not. For Mother’s Day 2010, they introduced a line of pop-up cards with sound. Tese cards had elaborate pop-ups and were retailing for $9.99 each. Tey were displayed on an end cap in arget stores, in order to give full exposure to the consumer. More recently, InventionsM introduced a new line called Dance MachineM. Tese cards feature a character with a spring mounted head and have a body with movable parts that dances to music upon opening. Tey retail for $7.99 each.  American Greetings hired Shawn Sheehy, book artist, to conduct a week-long workshop with their designers. He said, “Pop-up and interactive cards are a hot product for them and they have to pump out a large volume of card designs.” 7 He enjoyed giving a workshop to students that have a professional interest in making pop-ups.8

FIGURE 5.2 Pop-up card display by American Greetings.

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FIGURE 5.4 Pop n rock M card by Santoro

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  o   r   o   t   n   a    S   y    3  .    b    5   d   r    E   a    R   c    U  g   n    i    G    I   w    F   S

FIGURE 5.6 Inventions Dance MachineM by American Greetings, 3 views

FIGURE 5.5 Te Original Pop-Ups by Russ

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Chapter to 6 theGoing Movies

FIGURE 6.1 Paper engineered model for castle, Enchanted 



he pop-up/movable paper phenomena has had a major influence on movies, V commercials and music videos in recent years. Te ge neral consensus among industry professionals is that there is a basic love for pop-ups by the people who direct and produce this other form of movable media. In 2007, movie director Kevin Lima “loved pop-up books so much that he wanted to incorporate a real pop-up book experience” 1 into his Disney movie, Enchanted . Bruce Foster, paper engineer, was hired for the task. He was able to engineer the p op-up just using the art guidelines for the movie. Image was applied after the engineering was completed. RealFX a CGI production company, then filmed Foster’s paper engineered dummy and used the digital pop-up pattern pieces to create the CGI of the pop-up. Te challenge was to factor in the weig ht of the paper since a computer has no sense of thickness. Because they were so successful in imaging the opening scene of the castle, director, Kevin Lima then wanted to add more pop-up scenes to the movie. Tese scenes  were more problematic for Bruce Foster to engineer, because he had to work with existing film clips. Te difficulty occurs because there is no background image behind the object you are cutting away to create the pop-up. “Also, another problem with working wi th film is that in a physical book a p op-up usually goes beyond the borders of the book. In film that is not possible. Te image can’t rise above the movie screen. Te big disappointment  was that there was no pop-up book published to be released with the movie.”2  A short animated film,Te Happy Duckling  (2008), entirely set and animated in a popup book environment was done by a group of students at two rival schools, School of Media Arts & Imaging, University of Dundee, Scotland and Computer Arts University of Abertay Dundee, Scotland. Tis charming, nine minute animated adventure, really has the look and feel of a p aper pop-up book, including pull tabs and other devices. It  won numerous awards including best animation at the Heart of Gold International Film Festival in 2010.3

FIGURE 6.2 CGI castle from model (above), Enchanted 

30

One television commercial that is set in a popup/movable paper environment is “Te Safest  Accident” by Lexus. For this commercial a “giant, full-sized book frame for green screen, with tabs and wheels that could be manipulated by actual stage hands. And the actual pop-up book with moving parts was a mere six feet high, which was then married to the green screen frame. 4 Te concept was the brainchild of eam One. It was directed by Oskar Holmedal of Stylewar, a directors’ collective and supervised by Andy Hall at “a52”, a high end visual effects company. 5 FIGURE 6.3 Set from “Te Safest Accident,” Lexus

Some other V spots that are set in a movable paper environment are “Mastercard’s Seven  Wonders”, illustrated by Stephen Knowles and directed by Christian Bevilacqua; “Sherwin Williams Bees and Paint Chips”, directed and produced by BuckNY; Coca-Cola mixing live action/pop-up by Direct2Brain, a visual FX Company; 3 mobile SkypePhone produced in Europe; and Ikea’s “Movable Catalog” commercial for Swedish audiences. Music videos that are set in a pop-up book environment are Fergie’s “Clumsy”, directed by Marc Webb with Rich Lee and Aesop Rock’s “Fast Cars”, directed by Asif Mian. In both cases a the live performer walks through and performs in a pop-up book environment.

FIGURE 6.4 Set from “Te Safest Accident,” Lexus

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The Happy  Duckling School of Media and Imaging University of Dundee

   5  .    6    E    R    U    G    I    F

Fergie’s Clumsy directed by  Marc Webb and   Rich Lee

   6  .    6    E    R    U    G    I    F

 Aesop Rock’s Fast Cars directed by  Asif Mian 32

   7  .    6    E    R    U    G    I    F

33

Chapter 7and Teaching Learning

FIGURE 7.1 Student work from Pratt Institute, NY 

FIGURE 7.2 Student work from Pratt Institute, NY 

34

M

any colleges and universities offer courses in paper engineering. Pratt Institute in Brooklyn, New York offers a full semester elective in introductory paper engineering, a course created by Robert Sabuda and now instructed by Kyle Olmon, one of Robert Sabuda’s protégés. When asked if he incorporates light and sound in his syllabus, Olmon responded by saying, “Te students that participate in my course come from various disciplines within the university and bring with them very unique and diverse skill sets. If they have a background in electronics or fiber or another relevant field I will always encourage them to incorporate their technical know-how as long as it is appropriate for the design.” 1  At Mills College in Oakland, California, Julie Chen, book artist teaches semester long classes in bookmaking which includes paper engineering. Undergraduate courses in book arts and a graduate degree in Creative Writing and Book Arts are offered. Tere, in addition, she teaches many workshops nationwide. Because Chen is such a proponent of movable parts as a means to convey an idea in her artist books, she shares that enthusiasm  with her students. Tere are a plethora of workshops that teach paper engineering to enthusiasts young and old all over the country. In 2010 the Ce nter for Book Arts in New York City offered  workshops in paper engineering, such as Animated Pop-Up Structures, Pop-Up Paper Engineering Basics and Beyond and Carousel Books. At the National Museum of Women in Washington, DC there is a year-long arts curriculum called ABC Art Books Creativity, in which fourth grade students develop visual literacy by creating an artist book. Tis course is taught by Carol Barton, who has authored and published instructional books on paper engine ering. “Te Pocket Paper Eng ineer Workbook, Volume 1 Basic Pop-Up Forms” and :Volume 2 Platforms and Props” are valuable teaching tools for anyone that is beginning to explore paper engineering. Her simple-to-make and understand, stepby-step projects offer a good foundation from which to spring board ideas. Barton is  working on Volume 3 which she will publish in the near future. She not only conducts  workshops for children and adults, but also for teachers. She feels that instructing teachers on teaching paper engineering to children “is the most incredible way to teach

several subjects such as trial and error, problem solving, 3D design, movement, mechanics and building processes.”2 In 2010, Leah Buechley, Director of MI’s High-Low ech Lab gave a workshop at the Fuller Craft Museum in Brockton, Massachusetts on how to create electronic paper structures. Tis is a cutting-edge approach in bridging electronics technology with paper craft. Buechley’s primary objective is to expose and engage diverse audiences to new technology through familiar craft processes. Tere are software programs that assist in designing pop-ups. One is Pop-Up Workshop.  With this software, a person creates a design for a pop-up card in the computer. After the design is finished, it can be printed out and physically made.3 A recently launched website, ZooBurst.com features a storytelling application that allows practically anyone, novice or experienced, to author a live digital pop-up book.4 Te author can use the library of clip art provided on the website or one’s original art. Te creator of this application is Craig Kapp, a Researcher in Residence at the Interactive elecommunications Program (IP) at NYU. Kapp’s application is to be used in the classroom where teachers help their students create books as a means to learn the art of storytelling. Te application was updated in 2010 to include multi-language features, links to outside websites within the talk bubbles in the book, sound effects and voice recordings. Tere is an extensive selection of published books on how to do pop-ups/paper engineering. David A. Carter with James Diaz wrote “Elements of Pop Up: A Pop-Up Book for Aspiring Paper Engineers”. Carter was e ncouraged to write this book because “everyone says, write what you know.”5 Tis book is designed to teach graphic designers about paper engineering and how they would work inside a book. Some other books include: “Te Pop-Up Book” by Paul Jackson,  “ Pop-Up!: A Manual of Paper Mechanisms” by D. Birmingham, “3D Pop-Up Greeting Cards” by Keiko Nakazawa, “Cards that Pop-Up, Flip & Slide” by Michael Jacobs and even a “Paper Engineering & Pop-Ups for Dummies” by Rob Ives.

FIGURE 7.3  Julie Chen’s workshop at Garage Annex School, MA 

FIGURE 7.4  Page from digital pop-up book, Zooburst.com

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FIGURE 7.5 PrintableElectronicsWorkshop,Leah Buechley,Instructor

FIGURE 7.8 Spread from Te Elements of Pop-Up

FIGURE 7.7 Printable Electronics Workshop, finished work.

FIGURE 7.6 Printable Electronics Workshop, Fuller Craft Museum, MA 

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FIGURE 7.9 Spread from “Te Elements of Pop-Up”

 p ”  o p - U  o f P  e n t s  E l e m  e  e r “ T  C o v  7. 1 0  U R  E  F I G

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 PART TWO The future is already here – it is just unevenly distributed. WILLIAM GIBSON 

Nobody can predict future trends with absolute accuracy, especially when it comes to technology. Today, e-readers are gaining in popularity and will possibly replace the book as we know it. But the hottest gadget we use today may be a dinosaur in two years. The following chapters showcase what is cutting edge at the time of this publication in the eld of movables and explain how it may affect the book or other printed media that have a 3D or movable component. Public acceptance of new scientic and technological breakthroughs that are yet to come are the key to what succeeds and what doesn’t.

The Crystal Ball 38

39

Chapter Electronic 1  Popables FIGURE 1.1 Jai Qi

I

magine paper that responds to t ouch without any physical wiring. Tat’s what designer/scientist Jai Qi created for her “Electronic Popables” book in the summer of 2009 at the MI High-Low ech Media Lab under the supervision of Dr. Leah Buechley. In her experimental book of paper-based computing, pop-up cities light up and pop-up venus fly traps close when one’s finger touches the center of the flower. All this is achieved using embedded circuitry made from copper tape, conductive fabric and paint, snap-on electronic sensors and actuators. Complex interactions are powered and programmed using a removable Arduino (a type of microcontroller). 1 Conductive paint seems to be the key, as “it enables a designer to p aint or sketch functioning circuitry just the way he/she  would sketch or paint an electrical schematic or a decorative drawing”.2 When the paint is fully dry, it becomes bonded to the paper.  Jai Qi’ s reason for this exploration is simple. “...while it would be difficult – perhaps impossible – to replicate a pop-up onscreen, physical books present compelling canvases for embedded computing....their three-dimensionality and mechanical interactivity – make them ideal for computational and electronic augmentation.” 2 Te difference between Jai Qi’s exploration and other integrated or mixed media we see appearing in the marketplace today is that her Electronic Popable is designed to be an “independent, interactive artifact.”3

FIGURE 1.4  A page from the book showing the pull tabs that activate the lights.

FIGURE 1.5  A page with embedded sensors responds to pressure in different locations.4

FIGURE 1.6  A page from the book depicting the New York City skyline. A bend sensor—the flap in the shape of a boat in the foreground—controls the lights in the skyscrapers.5

FIGURE 1.7 Capacitive sensors trigger nitinol-driven flytraps. A user touches a sensor.6

FIGURE 1.2 Cover “Electronic Popables”

FIGURE 1.3 Lily Pad Arduino

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41

Chapter 2 Augmented  Reality

FIGURE 2.1 Cover Te Search for Wondla 

FIGURE 2.2  Author demonstrating Augmented Reality page.

42

B

etween 2009 and 2010 the field of Augmented Reality (AR) has grown exponentially. One of the developers of Augmented Reality is MXR (Mixed Reality Lab), a spin-off research company owned by the National University of Singapore. 1 Originally the viewer needed to wear goggles to experience this technology which includes elements of the real  world and the virtual world that are interactive in real time.2 Since Augmented Reality is such a huge topic, only the effects it has on the book, greeting card and direct marketing business will be covered. All the aforementioned come under the umbrella, marker or markerless Augmented Reality. Te pop-ups in AR are viewed on the computer monitor  when a webcam “sees” the marker or other target on the physical book or other tangible paper object. oday the AR images may be viewed on a smart phone that has an webcam installed. In the future, this will help to keep the expense of paper movables down, while continuing to emulate the pop-up/3D experience. MXR, in 2008 was on the verge of creating virtual 3D pop-ups for children’s books. Tese are yet to be produced, but as recently as 2010 Simon & Schuster published a young adult book that incorporates  Augmented Reality. Te book is entitled, Te Search for Wondla , authored and illustrated ony Deerlizzi. Simon & Schuster coined the term Wondla-Vision for the required software needed to activate the AR for the book.3 Structural Graphics, a design firm that specializes in 3D direct mail and media kit s, is slowly beginning to use AR in some of its work. A piece designed for Stryker Diagnostics includes a removable “call-to-action” card with a AR marker printed on it. Te “call to action” instructs the recipient to bring the card to a trade show where, when the card is placed under the webcam, gives a 3D demo of a hip or knee replacement device which Stryker produces.4 In this stage, AR is still cost prohibitive to produce on a large-scale basis for such products. Tere are some other commercial applications for this technology emerging. One of the first AR marketing campaigns was done by General Electric with the purpose of promoting its smart grid campaign that shows how wind turbines and solar energy will fuel our future energy needs. 5 Another campaign that is using AR is the Calvin Klein’s

 X Mark Your Spot Underwear campaign. Launched in March, 2010, this ad campaign, that is running in 12 editions of GQ  magazine beginning with the April 2010 issue, has a marker printed on the ad page. When this ad is placed under the webcam, the monitor will show a cube popping up from the page which  will eventually navigate to videos of some well known actors modeling the underwear. 6 In January, 2010, Wallpaper*  magazine published its first issue that incorporates  AG. As the pages of this magazine are turned under a webcam, the pages will come to life with added dimension and images. Te purpose of this issue is to “showcase a series of other people’s work with AR – a quest to uncover the practical, creative and dynamic possibilities of this interactive technology”. 7  After seeing the work of Camille Scherrer, a 2008 graduate in media and interaction design at the ECAL/University of Art and Design at Lausanne, Switzerland, Louis Vuitton partnered with her to create AR animation for the new “Louis Vuitton: Art, Fashion and Architecture” book. 8 Tis book uses AR in a beautiful, artistic way, emulating movables which is the umbrella under which pop-ups reside. Her groundbreaking work uses “high-performance software that eliminates

FIGURE 2.3 Susie from Structural Graphics demonstrates Augmented Reality promotional piece.

FIGURE 2.4 General Electric’s Augmented Reality campaign.

FIGURE 2.5 Augmented Reality issue of W   allpaper*

FIGURE 2.6 Augmented Reality ad for Calvin Klein.

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F IG UR E 2 .7 C am il le S ch er re r

F IG URE 2. 9Pag e f ro m “L e Mo nde d e Mo nt ag ne s”

44

the need for typical AR markers“9, which gives the books more of an aesthetic appeal. In her own book, “Le Monde de Montagnes”, she enhances the story telling by adding an extra component, the AR animation, to produce a beautifully designed product. An earlier work of hers is “Te Haunted Book”. 10

Te biggest growth area today is AR greeting cards. Using otal Immersion software, Hallmark introduced a Valentine’s Day line of augmented reality greeting cards in January 2010. Starting with only six designs, they now offer 100 different cards for all occasions. Te cost of the card is only $2.99 as opposed to more expensive paper-engineered cards  which can cost $5.99 and up. Te user, who needs to have a webcam, can then enhance the experience of the card by seeing the AR component on their monitor. Not only do the characters pop-up from the card but they also talk. 11

F IG URE 2. 10 Aug men ted Re al it y

FI GU RE 2. 11 Ha l ma rk POP D is pl ay fo r l in e of Aug men te d Re al it y g re et in g c ar ds .

F IG UR E 2 .8 D em on st ra ti ng m ar ke rl es s A R  

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Chapter  Video3 In-Print

®

FIGURE 3.1 Discovery Channel direct mail promotion

V

ideo-In-Print® technology or HD4.1M VIPM, patented by a California design firm, Americhip embeds a screen into paper that can show video images. Tey first showcased this technology in a media kit p roduced to promote Discovery Channel’s new mini-series, Life. Te viewer could watch a video preview of the series by just opening up the hard cover book included in the media kit.1 In September, 2010 Entertainment Weekly , ran an ad produced by Americhip for CBS/Pepsi that was the first-ever, using Video-In-Print® technology. It plays over 25 minutes of video that showcased CBS’s Fall 2010 line-up. Tis technology not meant to b e thrown away, either. It can be reused. It uses a cell phone type screen that runs on a lithium battery. Te battery can be recharged through a USB. Tis also enables the viewer to download their own videos into this devise.2 Tis is cutting-edge technology that is still in its infancy. Americhip’s branding tagline is Multisensorize®. In an 2008 interview with Martin Lindstrom, branding expert, im Clegg, CEO of Americhip states the importance of “getting attention in a cluttered environment.”3 Tat’s what multi-dimensional and multi-sensory advertising is all about.

FIGURE 3.3 Hallmark in-store display 

Hallmark and American Greetings are also using this technology for their greeting cards. Hallmark launched Video Greetings in January 2010. By pushing a button, the recipient can watch a mini movie or animation that lasts between 30-60 seconds. 4 Available in limited quantities, these cards retail for $29.99. American Greetings introduced InventionsM, cards with embedded video displays. One card retailing for $12.99 has a slide show of generic art while “Over the Rainbow” plays in the background. Tis technology mixes paper with digital engineering technology rather than paper engineering for an enhanced user experience.

FIGURE 3.2 Embedded Video-In-Print® ad for CBS FIGURE 3.4 American Greetings Innovations video greeting card.

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47

Chapter for 4 Apps the iPad



he Apple iPad is a game changer. It is a portable tablet device in which media can be displayed and read with ease. Te look and feel of a paper book or magazine can now be displayed in digital media with the added feature of movement. Tis opens many new doors for picture books. By moving, shaking, and turning the iPad the illustrations on the screen come to life around the text. One of the most adventurous endeavors to date is “Alice for the iPad” – a 52-page version of Alice in Wonderland by a small company called Atomic Antelope. Reprinting Sir John enniel’s illustrations and Lewis Carroll’s text, both of which are in the public domain, this app retails for just $9.99 1. In comparison, Robert Sabuda’s “Alice’s Adventures in Wonderland”, a physical, paper engineered pop-up book, retails for $24.99.  Another pop-up book to appear as an app for the iPad is by Chuck Fischer. Fischer, is a traditional mural artist/decorative designer/illustrator who paints with latex and acrylic paint. He has illustrated many pop-up books with paper engineer, Bruce Foster. But, in 2010, for the first time in many years, he is not working on an actual paper pop-up book project. Instead, he’s working with software engineers to create a highly interactive version of his latest pop-up book, “A Christmas Carol” by Charles Dickens as an iPad app. It  will be released at the same time as the physical book. “Little, Brown and Company, my publisher, gave the rights to the digital media back to me, since they were not interested in pursuing digital media.”2 Te app enables him to provide a lot more visual imagery than the physical book allows as he is not limited to a certain number of pages. He is still, however, creating all his work by hand in his traditi onal techniques for this project. 3 David A. Carter, a popular and prolific paper engineer and illustrator who has published many pop-up books is currently working on a iPad app, 4 which at the time of this writing is yet to be released. Tis is, perhaps, the beginning of a major shift of how movable picture books will be read and enjoyed in the future.

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FIGURE 4.1 Scenes from “Alice for the iPad” App

49

FIGURE 4.1

50

OPPOSIE PAGE: FIGURE 4.2 Illustrator Chuck Fischer at Books of Wonder, NY 

FIGURE 4.3 Scenes from “A Christmas Carol” iPad App

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Chapter and 5 E-Ink E-Paper



o celebrate its 75th Anniversary, Esquire Magazine  published a limited edition issue unveiled on September 8, 2008 that featured E-Ink on it s cover.1 What is E-Ink? E-ink can be used on many of the same surfaces as regular ink but it is essentially a special type of electronic display. Because the ink contains white particles that have a negative charge, the electronic ink display can be changed on demand.2 oday it is best being utilized in the increasingly popular e-readers. Te advantage over a backlit digital display is that it uses less energy and is easier on the eyes of the reader. And because of its changeable attributes it’s the perfect vehicle for the future of periodicals. Te other key attribute is that the substrate is flexible and very thin.3 Te Apple iPad, because it’s a computing tablet in addition to being an e-reader does not use E-ink technology.  An offshoot of E-Ink is Ink-In-Motion,M a flashing electronic display that combines motion with the visual appeal of ink-on-paper. 4 Tis technology is becoming very popular as point-of-purchase displays because it adds the extra element of movement to the graphic. As Martin Lindstrom, author of “Brand Sense”, said, “Our eyes are attracted to movement.”5 Tat’s what makes this technology so effective in attracting customers.

FIGURE 5.1 E-Ink display in flexible material

Right now, E-Ink is being used in a limited way, but as the technology improves and becomes more affordable, it should grow in popularity.

FIGURE 5.3 E-Ink cover for Esquire  Magazine

FIGURE 5.2 Ink-In-Motion

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FIGURE 5.4 Ink-In-Motion in-store display.

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Chapter 6 Conclusion  W 

hen asked if paper engineering in the form of movable books and other printed items, such as direct mail, greeting cards and advertising, will prevail, many of the professionals in the field answer, “yes” or “I hope so.” Tere are many reasons for this. New technology, in most cases, adds another layer to the users’ experience, but doesn’t necessarily replace the old experience. Ground coffee survived after instant coffee was invented, radio survived after te levision came on the scene and movie houses survived after the invention of video tapes and DVDs. Nothing can replace the ”wow” factor and the unique experience of a good paper-engineered product. Tere are, however, many practical matters that effect the production of paper-engineered objects. Labor costs are crucial, since at the present all paper-engineered products must still be assembled by hand. Finding places in the world where cheap labor exists may become more difficult in the future. Te assembly of paper-engineered products used to be done in Columbia and other South American countries. Now, most assembly facilities are in China. It is David  A. Carter’s dream that robots will be programmed to assemble these paper-engineered  wonders.1 Also the declining availability of pape r affects its rising cost, as we are starting to witness today. Martin Lindstrom, branding expert said, “If we’re killing a tree, let’s get the best out of it.” 2 Paper-engineered products make an attempt to do so by transforming ordinary paper into something extraordinary.”  Alex Bates of Structural Graphics, feels that paper-engineered products will survive because “humans love to play with things they can hold,” and because they are drawn to their “fiddle factor.”3 It is becoming more important, however, that clever paper engineering is combined with a digital component in order to attract a customer’s attention. Structural Graphics recently registered a new service mark that reads, “Bridging the digital with the dimensionalSM” and also the reverse, “Bridging the dimensional with the digital.SM”4

 FIGURE 6.1 Robert Sabuda 

FIGURE 6.2 Bruce Foster

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FIGURE 6.3 David A. Carter

 Ann Montanaro, founder and president of the Movable Book Society feels that people  will always be “interested in the intricacy of the mechanical itself.”5 In fact, paperengineered products may become even more innovative “in order for them to compete

 with digital media,” says Bruce Foster, paper engineer.6 Paper-engineered products may, however, make up a smaller part of the market share as we move into the digital age. 7 Shawn Sheehy, book artist/paper engineer has many thoughts about the subject. “Popup books will remain relevant as a reaction to computers. People and cultures have always had sacred texts. So, there is a long history of regarding books as sacred. With the expansion of digital media, humans feel a sense of loss. Tis feeling of loss supports the idea that books have a greater sense of preciousness.” 8 FIGURE 6.4 Alex Bates

Steven Van Dyk explained, “In the folded paper realm, there’s still much to do.”9 He considers pop-up books an affordable and portable form of art – “. . .an art form of this time”.10 Robert Sabuda said, “I think that young people (and their parents and caregivers) are overwhelmed by our increasingly electronic world. A pop-up book is a nice break from that but still the offers interactivity and magic we associate with electronics.” 11  Although most paper engineers making a working today are self taught, there is a new crop of designers that are formally taught in schools of higher learning, not to mention the increase of interest by enthusiasts who take workshops with the pros. It seems plausible that an increasing number of paper engineers will mix traditional and electronic/ digital media in the future because it will become more available to them. But, there  will also be those paper engineers who will remain purists and only work with paper as their medium. Either way, paper engineering and its influence will continue on into the foreseeable future.

FIGURE 6.5  Ann Montanaro

FIGURE 6.6 Shawn Sheehy 

FIGURE 6.7 Stephen Van Dyk 

FIGURE 6.8 Ellen G. K. Rubin

In closing, a quote by Ellen G. K. Rubin,”Te Pop-Up Lady”, who is the premier collector and historian of all things movable, says it all. “A picture is worth a thousand words, but a pop-up is worth a million.” 12

55

 Visual Glossary

56



he photos in this section, illustrate some of the mechanisms used by paper engineers. Te spreads are selected pages from the study tour reports that were designed, engineered and hand assembled as a fulfillment of a class requirement for the Marywood MFA program. Tere are a variety of examples ranging from a vovelle, the earliest form of movables to scanamation, the most current innovation in movable paper.

57

 Movables. . .

FIGURE G.1 Study tour book, Fall 2008

Elements lie flat on the page – but don’t lie still.1 FLAPS

PULL ABS

Tis is one of the earliest and simplest form of movable devices.2 A illustration hides under a flap. When the flap is lifted the hidden illustration is revealed.

 A sliding paper tab, ribbon or string is pulled or pushed to reveal a new image.3 Or, they can be used to activate movement of the image. Shown here are examples of the first type.

FIGURE G.3 Study tour book, Fall 2009

FIGURE G.2 Study tour book, Fall 2008 FIGURE G.4 Study tour book, Fall 2009

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59

 Movables DISOLVING IMAGE

 WAERFALL

Pull the tab and an image changes into a completely different one.

 An embellishment of the pull-tab activated flap. Several flaps open onto each other sequentially as the single tab is pulled in the opposite direction.4

FIGURE G.5 Study tour book, Spring 2009

FIGURE G.7 Study tour book, Fall 2010

SCANAMAION/ILLUSIONARY MOVEMEN  As the page opens an image manually animates through the lined acetate.

VOVELLE or ROAING DISC Possibly the first type of movable to be used i n a book.  An illustrated paper disk is attached to a page using paper or grommets and revolves around a central pivot. When turned, images or information is revealed though the opening in the page.5

FIGURE G.6 Study tour book, Spring 2009

FIGURE G.8 Study tour book, Fall 2008

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61

 Pop-Ups. . .

spring to life in three demensions rising from the surface of the page.

V-FOLD

MULIPLE V-FOLDS

Tis versitile form is what most people think of  when they hear the term “pop-up”.6 Te folded paper unfolds as the page is opened, to give the illusion that it is popping up from the page. By adding on to the basic v-fold, a paper engineer can create very elaborate pop-ups. Many of these sometimes unbelievable popups are enjoyed in books produced today.

V-folds can become more complex by folding the paper in both directions to create a more dimensional look. Or more elements can be added to create more movement.

FIGURE G.9 Study tour book, Fall 2008 FIGURE G.11 Study tour book, Spring 2010

FIGURE G.12 Study tour book, Fall 2009 FIGURE G.10 Study tour book, Spring 2009

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63

 Pop-Ups OPPOSING ANGLES WIH A EN FLOAING LAYERS

Similar to a floating layer but more complex. Te mechanism that supports the tent is a double v-fold that allows the tent to twist when the page is opened.

Tis mechanism is best understood when seen from the side. When viewed from the underneath you will see that the open spaces from two parallelogrms and a trapezium. Hinged multi-tier paper supports lift an illustration off the page, creating the illustion that it is floating over the surface. 7 FIGURE G.15 Study tour book, Spring 2010 FIGURE G.13 Study tour book, Spring 2010

BOX & CYLINDER   A box-like cube or rounded cylinder rises from the center of the page spread as the book is opened.8 Shown here is a pop-up box with a parallel plane and some other add-ons.

FIGURE G.14 Study tour book, Spring 2010

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FIGURE G.16 Study tour book, Fall 2010

65

 Pop-Ups HINGED COIL or SPIRAL

Tis mechanism is constucted with two pieces of paper that are hinged together. It opens up as the page is opened. Tis spread also contains hidden elements.  A illustration on a card can be removed from the envelope that is adhered to the page.

Te spiral is cut from a single piece of paper. One end of the spiral is attached to the let side of the base page, the other end is attached to the right.9

FIGURE G.17 Study tour book, Spring 2010 FIGURE G.18 Study tour book, Fall 2008

DOUBLE LAYER  Tis technique is mostly used in carousel books, i n order to create the illusion of depth.

FIGURE G.19 Study tour book, Spring 2010

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67

Figures

Figures

PART ONE

CHAPER WO

COVER

FIG 2.1 Exhibition Entrance Location: National Museum of American History,  Washington, D.C., Paper Engineering, Fold, Pull, Pop & urn Exhibition, Aug. 18, 2010 Photo: Bernadette Puleo 2010

rain Illustration IR Division R-12 Car No. 5760 New York ransit Museum, New York City Subway rains – 12 classic punch-and-build trains , Gibbs Smith, Salt Lake City, 2003 Photo: Bernadette Puleo 2010

COVER PAGE Santoro of London, Swing Card “Plane” Location: RX Express, East Northport, NY Photo: Bernadette Puleo 2010

CHAPER ONE FIG. 1.1 Ramon Llull, Raimundus Lullus Ars  Magna, reehttp://commons.wikimedia.org/wiki/ File:Ramon_Llull_-_Ars_Magna_ree_and_Fig_1. png (accessed September 22, 2010) FIG 1.2 Peter Apian, Astronomicum caesareum (Te emperor’sastronomy), Ingolstadt, Germany, 1540 Location: National Museum of American History,  Washington, D.C., Paper Engineering, Fold, Pull, Pop & urn Exhibition, Aug. 18, 2010 Photo: Bernadette Puleo 2010 FIG 1.3 Vojtech Kubasta, How Columbus DiscoveredAmerica. London: Westminster Books,1960, .http://www.library.unt.edu/ rarebooks/exhibits/popup2/images/columbusbig.  jpg (accessed September 24, 2010) FIG 1.4 Waldo Hunt, Wrigley’s Gum Ad for  Wrigley Zoo Roo, http://popupstudionyc.blogspot. com/2009/08/wrigley-zoo-pop-up-ads.html (accessed September 22, 2010)

68

FIG 2.2 Jan Pienkowski, author and illustrator, Paper engineering by James Roger Diaz, Robot. New York: Delacorte Press, 1981 Location: National Museum of American History,  Washington, D.C., Paper Engineering, Fold, Pull, Pop & urn Exhibition, Aug. 18, 2010 Photo: Bernadette Puleo 2010 FIG 2.3 Vojtech Kubasta, Ricky the Rabbit London: Bancroft, 1961 Location: National Museum of American History,  Washington, D.C., Paper Engineering, Fold, Pull, Pop & urn Exhibition, Aug. 18, 2010 Photo: Bernadette Puleo 2010 FIG 2.4 Charles Kurts, author, Illustrations by Sonia R. Hillios, Nicholas Jainschigg and Clark Schaffer, Design and paper engineering by Chuck Murphy, Tese are the Voyages –: A TreeDimensional Star rek Album New York: Pocket Books, 1996 Location: National Museum of American History,  Washington, D.C., Paper Engineering, Fold, Pull, Pop & urn Exhibition, Aug. 18, 2010 Photo: Bernadette Puleo 2010 FIG 2.5 Marion Batille,  ABC3D , 2008 by Albin Michel Jeunesse, RoaringBrook Press, New York Photo: Bernadette Puleo 2010 FIG 2.6 Edward H. Hutchins; Spread from Flights of Fancy , (2002, 1/15)

Location: Grolier Club – Beyond the ext: Artists’ Books from the Collection of Robert J. Ruben Photo: Bernadette Puleo 2010 FIG 2.7 Julie Chen; Spread from Panorama , Flying Fish Press (2008, 9/100), Beyond the ext:  Artists’ Books from the Collection of Robert J. Ruben,  Yvonne Korshak and Robert J. Ruben, NY 2010 FIG 2.8 Julie Chen; Detail of spread from Panorama , Flying Fish Press (2008, 9/100) Location: Grolier Club – Beyond the ext: Artists’ Books from the Collection of Robert J. Ruben Photo: Bernadette Puleo 2010

cont.

Frog Can’t Fit In , Bruce Foster, Paper Engineer, Little, Hyperion Book CH; Pop Edition, New  York (2009) http://mowillemsdoodles.blogspot. com/2009_11_01_archive.html (accessed January 30, 2011) FIG 3.10 Chuck Fischer; Spread from Angels , Bruce Foster, Paper Engineer, Little, Brown and Company; Pop Edition, Massachusetts (2009),

Photo: Bernadette Puleo 2010 FIG 4.4 Refeka, Pop-up Promotional Mailer, http://www.refeka.de/index.php/products/hier1_ en/Effect%20cards/hier2_en/Pop+ups.html?page=2 (accessed January 30, 2011) FIG 4.5 Structural Graphics, Sample Wall Location: Structural Graphics Headquarters Photo: Bernadette Puleo 2010

http://www.amazon.com/Angels-Pop-Up-BookPop-Up/dp/0316039705/ref=sr_1_1?ie=UF8&s= books&qid=1286408905&sr=1-1 (accessed January 30, 2011)

FIG 4.6 Structural Graphics, 4 page Fruit of the Loom Ad, “Collect Tem All” Photo: Bernadette Puleo 2010

CHAPER HREE

FIG 3.11 Will Eisner; Spread from Te Spirit:  A Pop-up Graphic Novel , Bruce Foster, Paper

FIG 3.1 Eric Carle; Spread from Te Very Hungry Caterpiller Pop-Up Book , Philomel, New York, 2009 Photo: Bernadette Puleo 2010

Engineer, Insight Editions (2008), http://weblogs. variety.com/photos/uncategorized/2008/10/28/ spritpopup.jpg (accessed January 30, 2011)

FIG 4.7 Structural Graphics, Sun America Promotional Mailer, Using Bookcube M Photo: Bernadette Puleo 2010

FIG 3.2 omie dePaola; Spread from Brava, Strega Nona! A Heartwarming Pop-Up Book , Putnam  Juvenile; Pop edition, New York, 2008 Photo: Bernadette Puleo 2010 FIGS 3.3, 3.4 David A. Carter; Spread from Beach Bugs , Little Simon, New York, 2008 Photo: Bernadette Puleo 2010 FIG 3.5 David A. Carter; Spread from One Red Dot , Little Simon, New York, 2005 Smithsonian Catalog Holiday 2010 Cover

FIG 3.12 through FIG 3.14  Matthew Reinhart; Spreads from Star Wars: A Pop-Up Guide to the Galaxy  , Orchard Books; Pop Edition (2007) Photos: Bernadette Puleo (2010)

CHAPER FOUR  FIG 4.1 Americhip, Jazz Diet Pepsi PopUp Magazine Insert Ad, http://americhip. com/cgi-bin/complex2/proddisp. pl?db=americhip&catid=1&PRID=3 (accessed January 30, 2011)

FIGS 3.6 through 3.8  Robert Sabuda; Spreads from Alice’s Adventures inWonderland – A Pop-up  Adaptation of Lewis Carroll’s Original ale , Little Simon, New York, 2003 Photo: Bernadette Puleo 2010

FIG 4.2 Refeka, Pop-up cube in sleeve Promotional Mailer, http://www.refeka.de/index.php/products/ hier1_en/Pop+up+Elements.htm (accessed January 30, 2011)

FIG 3.9 Mo Willems; Cover and spread from Big

FIG 4.3 Alex Bates, Creative Director, Location: Structural Graphics Headquarters

CHAPER FIVE FIG 5.1 Up With Paper, reasures line of pop-up cards in store display Location: Barnes and Noble Book Store Photo: Bernadette Puleo (2010) FIG 5.2 American Greetings, Inventions Mothers Day Pop-Up and Sound Card end cap display Location: arget Photo: Bernadette Puleo 2010 FIG 5.3 Santoro of London, Swing Card Location: RX Express Photo: Bernadette Puleo 2010 FIG 5.4 Santoro, Popnrock M Card “Amour” Photo: Bernadette Puleo 2010 FIG 5.5 Russ, Te Original Pop-Ups, “30th Birthday” Photo: Bernadette Puleo 2010

FIG 5.6 American Greetings, Inventions, Dance MachineM Card Photos: Bernadette Puleo 2010

CHAPER SIX  FIG 6.1 Enchanted castle before. (c) Disney Enterprises Inc. All rights reserved. , “Houston artist contributes to fairy tale” November 23, 2007 http://blogs.chron.com/tmi/2007/11/ (accessed January 30, 2011) FIG 6.2 Enchanted castle after. (c) Disney Enterprises Inc. All rights reserved. , “Houston artist contributes to fairy tale” November 23, 2007 http://blogs.chron.com/tmi/2007/11/ (accessed January 30, 2011) FIG 6.3 , FIG 6.4 Lexus: “Te Safest Accident” Commercial, Screen Capture from Video http://www.a52.com/index.php?f=deta&n=239 (accessed January 30, 2011) FIG 6.5 Te Happy Duckling, (2008), School of Media Arts & Imaging, University of Dundee, Scotland and Computer Arts University of Abertay Dundee, Scotland Screen Capture from Video http://www.happyduckling.com/ (accessed January 30, 2011) FIG 6.6 “Clumsy” music video, Fergie, Screen capture from video, http://www.youtube.com/  watch?v=tf_gPZSDIxI&feature=channel (accessed  January 30, 2011) FIG 6.7 “Fast Cars” (2005) music video, Aesop Rock, screen capture from video, video direction by  Asif Mian http://www.evaq.com/ (accessed January 30, 2011)

69

Figures

Figures

cont.

CHAPER SEVEN

CHAPER ONE

reality (accessed January 30, 2011)

FIG 7.1, FIG 7.2 Student Work:Pratt Institute Pop-Up Classe, Professor Kyle Olmon, http:// robertsabuda.com/sneakpeek/snpk0109-pratt.asp (accessed January 30, 2011)

FIG 1.1 Jei Qi, http://web.mit.edu/~jieqi/Public/ DREU_Site/index.html (accessed January 30, 2011)

FIG 2.5 Wallpaper*  magazine Augmented Reality Issue, screen capture from video http://vimeo. com/8350503 (accessed January 30, 2011)

FIG 1.2 Cover Electronic Popables , Jei Qi, 2009, screen capture from video, http://www. atissuejournal.com/2009/11/27/electronic-popablebooks-from-mit/ (accessed January 30, 2011)

FIG 2.6 Calvin Kkein “X Mark Your Spot” underwear Augmented Reality campaign, screen capture from video http://xmarkyourspot.com/ augmented_x/ (accessed January 30, 2011)

FIG 1.3 Lily Pad Arduino, http://www.arduino.cc/ en/Guide/ArduinoLilyPad (accessed January 30, 2011)

FIG 2.7 through FIG 2.10, Various view of  Augmented Reality book, Le Monde de Montagnew,, Camille Scherrer 2008, screen capture from video http://www.chipchip.ch/2_frameset.html (accessed January 30, 2011)

FIG 7.3 “Te Secrets of the Magic ablet” Class given by Julie Chen at the Garage Annex School, MA, http://garageannexschool.com/index.php/ gas/workshops/secrets_of_the_magic_tablet2/ summer/141 (accessed January 30, 2011) FIG 7.4 Buffy, Adventures of BB ~Bk1Chp6: Something’sUp! Zooburst.com http://www.zooburst.com/gallery.php (accessed January 30, 2011) FIG 7.5 through FIG 7.7 Paintable Electronics  Workshop (Fuller Craft Museum, Brockton, MA)August 14, 2010, http://www.flickr.com/ photos/mellis/sets/72157624731357396/  with/4895153412/, Photos: © David Mellis (accessed January 30, 2011) FIG 7.8 through FIG 7.10 David A. Carter and  James Diaz, Te Elements of Pop-Up, Little Simon, NY 1999 Photos: Bernadette Puleo 2011

PART TWO COVER PAGE Pop-Up Snow Globe Greetings, “Holiday Snowflake”, Up with Paper, OH Photo: Bernadette Puleo 2011

FIG 1.4 through FIG 1.7 Spreads from Electronic Popables , Jei Qi, 2009, screen captu re from video, http://www.atissuejournal.com/2009/11/27/ electronic-popable-books-from-mit/ (accessed  January 30, 2011)

CHAPER WO FIG 2.1 Cover Te Search for Wondla, Deerlizzi, ony, Simon & Schuster Children’s Publishing, NY, 2010 http://www.amazon.com/Search WondLa-ony-Dierlizzi/dp/1416983104 FIG 2.2 AR demonstration by author Te Search  for Wondla, Deerlizzi, ony, Simon & Schuster Children’s Publishing, NY, 2010, screen captures fromvideo http://wondla.com/wondlavision.html (accessed January 30, 2011) FIG 2.3 Structural Graphics, Stryker Diagnostics  AR promotion,screen captures fromvideo, http://  www.structuralgraphics.com/work/index. (accessed January 30, 2011) FIG 2.4 GE Smart Grid Augmented Reality Campaign, screen capture from video http:// ge.ecomagination.com/smartgrid/#/augmented_

70

FIG 2.11 Point of purchase display for Hallmark “Webcam Greetings” cards, Hallmark Store, Huntington, NY Photo: Bernadette Puleo 2010

CHAPER HREE FIG 3.1 Discovery Channel “Life“ Mini Series Promotional Mailer, using Video In Print ® echnology by Americhip, screen capture from video, http://americhip.com/cgi-bin/complex2/ showPage.plx?pid=1 (accessed January 30, 2011) FIG 3.2 Entertainment Weekly  ad insert using Video In Print ® echnology by Americhip, screen capture from video, http://www.americhip.com/cgi-bin/ complex2/proddisp.pl?db=americh (accessed  January 30, 2011) FIG 3.3 Point of purchase display for Hallmark “Video Greetings” cards, Hallmark Store, Huntington, NY Photo: Bernadette Puleo 2010

cont.

FIG 3.4 Inventions video greetings card,  American Greetings Photos: Bernadette Puleo 2010

CHAPER FOUR  FIG 4.1 Alice for the iPad , Atomic Antelope, image capture from video, http://www. huffingtonpost.com/2010/04/14/alice-in wonderlandipad_n_537122.html (accessed January 30, 2011) FIG 4.2 Illustrator, Chuck Fischer at Books of  Wonder bookstore, November 20, 2010 Photo: Bernadette Puleo 2010 FIG 4.3 A Christmas Carol app for the iPad, ChuckFischer, 2010,http://www.youtube.com/  watch?v=ZlAGJzW5zdE (accessed January 30, 2011)

CHAPER FIVE FIG 5.1 Philips LCD E-Ink® flexibe tablet display, http://www.dirkweiss.com/?p=239 (accessed January 30, 2011) FIG 5.2 Ink-In_Motion devise, http://www. gearlog.com/2008/07/does_the_21st_century_ really_b.php (accessed January 30, 2011) FIG 5.3 Esquire  magazine, 75th Anniversary cover, 2008, image capture from video, http://  www.esquire.com/the-side/video/e-ink-cover-video (accessed January 30, 2011) FIG 5.4 Ink In Motion M point of purchase display, image capture from video, http://www. motiondisplay.com/, (accessed January 30, 2011)

CHAPER SIX  FIG 6.1 Robert Sabuda, http://www.csufresno.edu/  journal/vol8/02/news/arnenixon.shtml (accessed January 30, 2011) Photo by: Monika Graff  FIG 6.2 Bruce Foster. http:// howtobeachildrensbookillustrator.wordpress. com/2010/10/20/its-like-a-magic-trickperusingthe-pop-up-pages-of-bruce-foster/ (accessed January 30, 2011) FIG 6.3 David A. Carter, http://www.  justonemorebook.com/2009/01/12/conversation with-david-a-carter/, (accessed January 30, 2011) FIG 6.4 Alex Bates, Creative Director, Location: Structural Graphics Headquarters Photo: Bernadette Puleo 2010 FIG 6.5 Ann Montanaro, http://www.popuplady. com/mbs02-partisanpopups.shtml, (accessed January 30, 2011) FIG 6.6 Shawn Sheehy, http://morganconservatory. org/tabs4.html, (accessed January 30, 2011) FIG 6.7 Stephen Van Dyk, http:// smithsonianlibraries.si.edu/.a/6a00e54f95d5fc8833 011570008221970c-800wi, (accessed January 30, 2011) FIG 6.8 Ellen G. K. Rubin, http://www.amazon. com/Ellen-G.K.-Rubin/e/B003NWGEXY, (accessed January 30, 2011)

GLOSSARY  FIG G.1 Spread from study tour book, Fall 2008, Bernadette Puleo Te idea for the flaps was a natural after

photographing Open Studio’s wall of open signs. Photo: Bernadette Puleo 2008 FIG G.2 Spread from study tour book, Fall 2008,

Bernadette Puleo Te flap idea worked well for this transformation of speaker, Arlen Schumer, who spoke about iconic comic images. Photo: Bernadette Puleo 2008 FIG G.3 Spread from study tour book, Fall 2009, Bernadette Puleo Pull this tab up and it reveals the men behind the books, both literally and figuratively. Photo: Bernadette Puleo 2009 FIG G.4 Spread from study tour book, Fall 2009, Bernadette Puleo Te swirling ocean in Yuko Shimizu’s illustration lends itself to a pull-up spiral, revealing another of her illustrations. Photo: Bernadette Puleo 2009 FIG G.5 Spread from study tour book, Spring 2009, Bernadette Puleo Ray Cruz has designed so many typefaces that one  just disolves into another. Photo: Bernadette Puleo 2009 FIG G.6 Spread from study tour book, Spring 2009, Bernadette Puleo Because HBO would not let us take a single photo and because they deal with the moving image, I decided to create a scanamation of their logo in my rendering of one of their editing studios. Photo: Bernadette Puleo 2009 FIG G.7 Spread from study tour book, Fall 2010, Bernadette Puleo Te waterfall mechanism is a good way of showing

71

Figures

off the book covers designed by book designer, Laurie Dolphin. Photo: Bernadette Puleo 2010 FIG G.8 Spread from study tour book, Fall 2008, Bernadette Puleo  Alex W. White had so many point to make about typography that a wheel revealing one at a t ime was the perfect solution. Photo: Bernadette Puleo FIG G.9 Spread for study tour book, Fall 2008, Bernadette Puleo Tis V-fold is very effective in showing the work of & And Partners. Especially with David Crooks pointing right at it. Photo: Bernadette Puleo 2008 FIG G.10 Spread for study tour book, Spring 2009, Bernadette Puleo  An entirely different use of V-fold. Tis more like a tent style, showcasing the wonderful fashion illustrations at the Society of Illustrators. Photo: Bernadette Puleo 2009 FIG G.11 Spread for sudy tour book, Spring 2010, Bernadette Puleo  A more complex V-fold treatment for Elmo. Photo: Bernadette Puleo 2010 FIG G.12 Spread for study tour book, Fall 2009, Bernadette Puleo Tis movable employs multiple V-folds which creates a lot of movement when the viewer opens the page. Photo: Bernadette Puleo 2009 FIG G.13 Spread for study tour book, Spring 2010, Bernadette Puleo Mirko Ilic had many dioramas set up in a series of oranges cubes in his studio. Te floating frame

72

Endnotes

cont.  worked best to capture the real thing. Photo: Bernadette Puleo 2010 FIG G.14 Spread for study tour book, Spring 2010, Bernadette Puleo  A floating layer was the perfect solution to make the SPDR logo stand out. Photo: Bernadette Puleo 2010 FIG G.15 Spread for study tour book, Spring 2010, Bernadette Puleo Tis is a variation of the floating layer. Te supports twist as the page opens, making the floating layer rotate as it flattens out. Photo: Bernadette Puleo 2010 FIG G.16 Spread for study tour book, Fall 2010, Bernadette Puleo Kandinsky in 3D. What more can be said. Photo: Bernadette Puleo 2010 FIG G.17 Spread for study tour book, Spring 2010, Bernadette Puleo Tis is a hinged variation of a V-fold. Also, another mechanism of movables is displayed with the hidden image inside the envelope. Photo: Bernadette Puleo 2010 FIG G.18 Spread for study tour book, Fall 2008, Bernadette Puleo Te words of Joe Ciardiello inspired this spiral idea. “Just pick up the pen and start to draw.” Photo: Bernadette Puleo 2008 FIG G.19 Spread for study tour book, Spring 2010, Bernadette Puleo I’m not sure if there is a technical description of this mechanism. It is similar to the technique used in a carousel book. Photo: Bernadette Puleo

PART ONE CHAPER ONE 1. Montanaro, Ann, A Concise History of Pop-Up and Movable Books, http://www.libraries. rutgers.edu/rul/libs/scua/montanar/p-intro.htm (accessed September 22, 2010) 2. Exhibition Brochure, Paper Engineering: Fold, Pull, Pop & urn, (Smithsonian Institution Libraries, 2010), Pg. 6 3. Pop-Up and Movable Books – A our through Teir History from the Nineteenth Century to the Present Featuring examples from the Weaver Collection University of North exas, http://www.library.unt.edu/rarebooks/exhibits/ popup2/introduction.htm (accessed September 22, 2010) 4. Fox, Margalit, Waldo Hunt, King of the Pop-Up Book, Dies at 88, (New York imes, November 26, 2009), http://www.nytimes. com/2009/11/26/arts/26hunt.html (accessed September 22, 2010)

CHAPER WO 1. Van Dyk, Stephen. Phone Interview. 24 Aug. 2010 2. Frampton, Susan. In-Person Interview. 18 Aug. 2010 3. Frampton, Susan. In-Person Interview. 18 Aug. 2010 4. Movable Book Society http://www. movablebooksociety.org/index.html (Accessed September 24, 2010)

5. Montanaro, Ann. Phone Interview. 14 Sept. 2010 6. Chen, Julie. Email Interview. 1 Sept. 2010

CHAPER HREE 1. Carter, David A. Phone Interview. 30 July 2010 2. Carter, David A., Phone Interview, 30 July 2010 3. Carter, David A., Phone Interview, 30 July 2010 4. Sabuda, Robert, ravels in Space and ime, (DVD. NCCIL, 2003) 5. Fischer, Chuck, Phone Interview, 23 Aug. 2010 6. Flying Fish Press, http://www.flyingfishpress. com/about/index.html(Accessed September 26, 2010) 7. Shawn Sheehy. http:// wwwshawnshe ehy. com/Shawn_Sheehy/artists_statement.html (Accessed September 26, 2010) 8. Sheehy, Shawn, Phone Interview, 16 Aug 2010 9. Carter, David A., Phone Interview, 30 July 2010 10. Van Dyk, Stephen, Phone Interview, 24 Aug 2010 11. Mary, Sebastian (12 June 2008), Virtual Pop-Up Book In Papervision, http://www. futureofthebook.org/blog/archives/2008/06/ virtual_popup_book_in_papervis.html (Accessed Oct. 3, 2010)

CHAPER FOUR  1. 1967 Wrigley’s Chewing Gum Zoo Pop-Up  Advertising Wrigley, http://www.jodysattic.com/ product/1967-wrigleys-chewing-gum-zoo-popupadvertising-wrigley (Accessed September 27, 2010) 2. 3 Musketeers Mint Bar http://www. structuralgraphics.com/work/index.php? strWebAction=case_studies_detail&intResourceID =324&intCategoryID=457 (Accessed September 27, 2010) 3. Dancing with the Stars. http://americhip. com/cgi-bin/complex2/proddisp.pl? db=americhip&catid=1&PRID=7 (Accessed September 27, 2010) 4. Diet Pepsi. http://americhip. com/cgi-bin/complex2/proddisp.pl? db=americhip&catid=1&PRID=3 (Accessed September 27, 2010) 5. Refeka! http://www.refeka.de/index.php/ philosophy.html (Acessed January 23, 2011) 6. Bates, Alex, Personal Interview, 5 Aug 2010 7. odé, Chantal, Graphic Displays, Deliver:  A Magazine for Marketers  September 10, 2010 https://www.delivermagazine.com/themagazine/2010/09/10/graphic-displays/ (Accessed September 27, 2010)

CHAPER FIVE 1. Up With Paper, About Ushttp://www. upwithpaper.com/about-up-with-paper.php (Accessed September 27, 2010) 2. White, George, Phone Interview, 42 Aug. 2010

73

Endnotes

Endnotes

cont.

3. Santoro,http://www.santorographics.com/ shop/popnrock/ (Accessed September 27, 2010 4. Te Original Pop-Ups, http://www. theoriginalpopups.com/ (Accessed September 27, 2010) 5. Graphics3 Inc., http://www.graphics3inc. com/about_us/our_story (Accessed September 27, 2010) 6. Roguski, Randy. Amusing little e-cards have become a big production. (Cleveland.com,  January 31, 2008) http://blog.cleveland.com/ business/2008/01/dave_padrutt_and_mike_ murray.html (Accessed September 29, 2010)

CHAPER SEVEN 1. Olmon, Kyle, Email Interview, 14 Aug. 2010 2. Barton, Carol, Phone Interview, 7 Sept. 2010 3. Hendrix, Susan, Eisenberg, M. A., Computer-Assisted Pop-up Design for Children: Computationally-Enriched Paper Engineering. Paper 470-139. (International Journal for  Advanced echnology on Learning, Special Issue May/June 2006) http://l3d.cs.colorado. edu/~hendrixs/atl.pdf (Accessed Sept. 29, 2010) 4. Te Pixel Farm http://blog.craigkapp. com/?page_id=2 (Accessed Sept. 29, 2010)

7. Sheehy, Shawn, Phone Interview, 16 Aug 2010

5. Carter, David A., Phone Interview, 30 July 2010

8. Sheehy, Shawn, Phone Interview, 16 Aug 2010

PART TWO

CHAPER SIX  1. Foster, Bruce, Phone Interview, 23 Aug. 2010 2. Foster, Bruce, Phone Interview, 23 Aug. 2010 3. Te Happy Duckling http://www.happyduckling.com/ (Accessed September 29, 2010) 4. Lexus Pop-Up. Posted by Jon Saunders. http://motionographer.com/2007/10/23/lexuspop-up/ (Accessed September 29, 2010) 5. Lexus Pop-Up http://www.a52.com/index.php?f=deta&n=239 (Accessed September 29, 2010)

CHAPER ONE 1. Paper Computing, http://web.mit.edu/~jieqi/ Public/DREU_Site/project.html (Accessed Oct. 1. 2010) 2. Qi, Jie. Electronic Popables: exploring paperbased computing through an interactive pop-up book http://web.mit.edu/~jieqi/Public/DREU_ Site/Jie_Qi_DREU.pdf (Accessed 1 Oct. 2010) 3. Qi, Jie. Electronic Popables: exploring paperbased computing through an interactive pop-up book http://web.mit.edu/~jieqi/Public/DREU_ SiteJie_Qi_DREU.pdf (Accessed 1 Oct. 2010) 4. ibid 5. ibid 6. ibid

74

CHAPER WO

cont.

10. http://www.chipchip.ch/

1. Brigis, Alvis, Augmented Reality Pop-Up Books for the Kids. (December 01, 2008). http://memebox.com/futureblogger/show/1363augmented-reality-pop-up-books-for-the-kids (Accessed 1 Oct. 2010)

11. Products, Innovatitve Cards from Hallmark http://corporate.hallmark.com/Product/InnovativeCards-from-Hallmark (Accessed 1 Oct. 2010)

2. Hamilton, Karen E, Augmented Reality in Education http://wik.ed.uiuc.edu/index.php/  Augmented_Reality_in_Education (Accessed 1 Oct 2010)

1. Discovery Channel: LIFE http://americhip. com/cgi-bin/complex2/proddisp.pl?client=americh ip&catid=17&PRID=26 (Accessed September 27, 2010)

3. http://wondla.com/wondla-vision.html 4. Bates, Alex, Personal Interview, 5 Aug. 2010 5. http://ge.ecomagination.com/smartgrid/#/ augmented_reality (Accessed 1 Oct. 2010) 6. Calvin Klein Underwear and GQ Augmented Reality Campaign. March 30, 2010 http:// talkingmakeup.com/celebrity-beauty-style/calvinklein-underwear-and-gq-augmented-reality-adcampaign/ (Acessed 1Oct. 2010) 7. http://www.wallpaper.com/ar 8. Denis, odd, Augmented Books: Camille Scherrer Revives Print with Virtual Story Layers.  January 28, 2010 http://www.jawbone.tv/ featured/2-featured/381-augmented-books-camillescherrer-revives-print-with-virtual-story-layers.html (Accessed 1 Oct 2010) 9. Denis, odd, Augmented Books: Camille Scherrer Revives Print with Virtual Story Layers.  January 28, 2010 http://www.jawbone.tv/ featured/2-featured/381-augmented-books-camillescherrer-revives-print-with-virtual-story-layers.html (Accessed 1 Oct 2010)

CHAPER HREE

2. Americhip, Entertainment Weekly Video http://www.americhip.com/cgi-bin/complex2/ proddisp.pl?client=americhip&catid=17&PR  ID=82 (Accessed January 23, 2011) 3.Multisensorize, Americhip’s Lindstrom Interview 1 – Dancing with the Stars,  April 25, 2008 http://www.youtube.com/watch?v=YrfY8FoRIr8 (Accessed September 27, 2010)

4. Carter, David A. Phone Interview, 30 July 2010

8. Sheehy, Shawn, Phone Interview, 16 Aug 2010

CHAPER FIVE

9. Van Dyk, Stephen, Phone Interview, 24 Aug. 2010

1. Esquire’s E-Ink Cover. September 8, 2008 http://www.esquire.com/the-side/video/e-inkcover-video (Accessed 1 Oct 2008)

10. Van Dyk, Stephen, Phone Interview, 24 Aug. 2010

2. http://www.wisegeek.com/what-is-e-ink.htm 3. Wong, William, E Ink talks about EPaper, November 11, 2009 http://electronicdesign.com/ article/displays/e_ink_talks_about_epaper.aspx (Accessed 1 Oct 2010) 4. http://www.eink.com/products/ink_in_ motion.html 5. Lindstrom, Martin, Interview with im Clegg of Americhip, April 28, 2008 Minneapolis School of Art http://www.youtube.com/  watch?v=YrfY8FoRIr8 (Accessed 1 Oct 2010)

11. Sabuda, Robert, Email Interview, 13 Aug 2010 12. Rubin, Ellen G. K., Phone Interview, 23 Aug 2010

GLOSSARY  1. Paper Engineering: Fold, Pull, Pop & urn Exhibition Brochure, p. 19 Te Smithsonian Library, 2010 2. ibid p. 20 3. ibid p. 21

4. Products, Innovatitve Cards from Hallmark http://corporate.hallmark.com/Product/InnovativeCards-from-Hallmark (Accessed 1 Oct. 2010)

CHAPER SIX 

4. ibid p. 22

1. Carter, David A, Phone Interview, 30 July 2010

5. ibid p. 22

CHAPER FOUR 

2. Lindstrom, Martin, Interview with im Clegg of Americhip. April 28, 2008 Minneapolis School of Art http://www.youtube.com/  watch?v=YrfY8FoRIr8 (Accessed 1 Oct 2010)

7. ibid p. 20

1. Wingfield, Nick, Children’s Book Apps Get Curiouser and Curiouser. (Wall Street Journal – Personal echnology. June 17, 2010) http://online.  wsj.com/article/SB1000142405274870400980457 5308982549077428.html?mod=WSJ_Books_LS_ Books_2 (Accessed 1 Oct. 2010) 2. Fischer, Chuck. Phone Interview, 23 Aug. 2010 3. Fischer, Chuck. Phone Interview, 23 Aug. 2010

3. Bates, Alex, Personal Interview, 5 Aug 2010

6. ibid p. 21

8. ibid p. 19 9. Carter, David A. and Diaz, James, Te Elements of Pop-Up, A Pop-Up Book for Aspiring Paper Engineers, Little Simon; Pop edition, 1999

4. Bates, Alex, Personal Interview, 5 Aug 2010 5. Montanaro, Ann, Phone Interview, 14 Sept. 2010 6. Foster, Bruce, Phone Interview, 23 Aug. 2010 7. Foster, Bruce, Phone Interview, 23 Aug. 2010

75

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Bibliography  ABC: Art, Books, Creativity, Home Page. http://  www.artbookscreativity.org/ Barton, Carol Home Page Blog. http:// carolbartonstudio.wordpress.com/ Biba, Erin (24 May 2010) Backstory: Making the large Hadron Collider Pop-Up Book WiredMagazine. June 2010 http://www.  wired.com/magazine/2010/05/pl_backstory_ popupbook/ Bonsor, Kevin (Unknown) How Electronic Ink  Works How Stuff Works. A Discovery Company Online. http://electronics. howstuffworks.com/gadgets/high-techgadgets/e-ink.htm Buechley, Leah, et al. (Feb 16-18 2009) Paints,

Paper, and Programs: First Steps oward the Computational Sketchbook Proceedings of the Tird International Conference on angible and Embedded Interaction (EI’09), Cambridge, UK. http://hlt.media.mit.edu/publications/ buechley_EI_09.pdf Buechley, Leah (4 Nov 2008) Paper Computing Video. http://www.youtube.com/watch?v=LyKmaz_3uI Carter, David A., Home. Page http://www. popupbooks.com/ Carvajal, Doreen (27 Nov 2000) Boing! Pop-Up Books are Growing Up; Flaps, Foldouts and Complexities Attract Adult Eyes, New York imes / Books. http://www.nytimes. com/2000/11/27/books/boing-pop-up-booksare-growing-up-flaps-foldouts-complexitiesattract-adult-eyes.html?pagewanted=all Chen, Julie (8 Jan. 2010) alk at Collegiate Book

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cont.

Golia, Nathan (22 March 2010) Calvin Klein Underwear Runs Augmented Reality Ads in ‘GQ’, Direct Marketing News Online. http://www.dmnews.com/calvin-kleinunderwear-runs-augmented-reality-ads-in-gq/ article/166284/ Hendrix, Susan and Eisenberg, Michael A. (2005) Computer-Assisted Pop-Up Design for Children: Computationally-Enriched PaperEngineering, International Journal for  Advanced echnology on Learning , Special Issue May/June 2006. http://l3d.cs.colorado. edu/~hendrixs/atl.pdf Highsnobiety (14 Aug 2009) Louis Vuitton Book by Camille Scherrer Video. http://www. youtube.com/watch?v=9Mo1V-LdIs8 Hiner, Mark, Home Page. http://www.markhiner. co.uk/index.htm Hirasuna, Delphine (27 Nov 2009) Electronic Popable Books from MI, @Issue Online. http://www.atissuejournal.com/2009/11/27/ electronic-popable-books-from-mit/ Hosford, Christopher (12 April 2010) Interactive Print Bridges raditional-Digital Divide,

BtoB Online – Te Magazine for Marketing Strategists. http://www.btobonline.com/ apps/pbcs.dll/article?AID=/20100412/ FREE/304079996/1445/FREE#seenit Kinomotion Design (Unknown) An Interview  with Interactive Designer Camille Scherrer. http://kinomotion.net/an-interview-withinteractive-designer-camille-scherrer/ Kramer, Jennifer (3 Dec 2006) Publishers Launch Pop-Up Books for Grownups Te Syracuse

Post-Standard, Sunday Magazine Stars , NYU Live Ware Online http://journalism.nyu.edu/ pubzone/livewire/bestof/2006/publishers_ launch_pop-up_books/ Larngear echnology (5 Nov 2008) Mixed Reality Learning Media: Effects in the Classroom Education Video. http://www.youtube.com/  watch?v=i2ek8N0VlY&feature=related Macmillan Childrens (16 Aug 2010) It’s a Book – By Lane Smith Video. http://www.youtube. com/watch?v=x4BK_2VULCU&feature=pla  yer_embedded

com/2007/10/24/books-with-moving-partsare-popping-up-all-over/ Patch, Kimberly (4 Oct 2000) Pop-Up Books Meld Real with Virtual, NR Online . http://  www.trnmag.com/Stories/100400/Magic_ Book_100400.htm Paper Forest Blog Home Page http://paperforest. blogspot.com/

Maker Faire Home Page. http://makerfaire.com/

Orionwell (24 Oct 2007) Books with Moving Parts are Popping Up All Over, FuturePerfect Publishing. http://futureperfectpublishing. com/2007/10/24/books-with-moving-partsare-popping-up-all-over/

Mary, Sebastian (12 June 2008) Virtual PopUp Book in Papervision. http://www. futureofthebook.org/blog/archives/2008/06/ virtual_popup_book_in_papervis.html

Patch, Kimberly (4 Oct 2000) Pop-Up Books Meld Real with Virtual NR Online. http://  www.trnmag.com/Stories/100400/Magic_ Book_100400.htm

MechanicardsM Home Page. http://www. mechanicards.com/

Paper Forest Blog Home Page. http://paperforest. blogspot.com/

Moerbeek, Kees (25 Nov 2008) Neiman Marcus Pop-Up Book Video Pop-Up Kingdom. http://www.youtube.com/watch?v=7C4m8F mgZl4&feature=related

Pieñkowski, Jan, Home Page. ht tp://www.  janpienkowski.com/home.htm

Movable Book Society Home Page. http://www. movablebooksociety.org/index.html Motion Display Home Page. http://www. motiondisplay.com/ Olmon, Kyle, Home Page http://www.kyleolmon. com/index.html Orionwell (24 Oct 2007) Books with Moving Parts are Popping Up All Over, FuturePerfect Publishing. http://futureperfectpublishing.

Pop Goes Te Page, Home Page. http://www2.lib. virginia.edu/exhibits/popup/index.html Pop-Up Fan (2 Sept 2008) Botticelli’s Bed & BreakfastVideo. http://www.youtube.com/  watch?v=xuE-nrVKurM Popular Kinetics Home Page. http://www. popularkinetics.com/ PRNewswire (10 Aug 2010) American Greetings Introduces New Line of Cards Featuring Dancing Characters, New York imes http://markets.on.nytimes.com/

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Shlian, Matthew, Home Page Blog. http:// mattshlian.blogspot.com/ Simkin, M., emperley, R. (Unkown) Movables: Paper Engineering echniques and Teir Use and Development in Children’s Books Books for Keeps/ he Children’s Book  Magazine Online. http://www.booksforkeeps. co.uk/issue/180/childrens-books/articles/ other-articles/movables-paper-engineeringtechniques-and-their-us SKextileHome Page.http://www.sktextile.com/

Te Pop-Up World of Ann Montanaro Home Page .http://www.libraries.rutgers.edu/rul/libs/scua/ montanar/p-ex.htm otal Immersion, Home Page. http://www.timmersion.com/ (Uknown) Alice In Wonderland iPad App Reinvents Reading (14 April 2010) HuffingtonpostOnline. http://www. huffingtonpost.com/2010/04/14/alice-in wonderland-ipad_n_537122.html

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Unknown (2010) Paper Engineering: Fold, Pull, Pop & urn. http:/ /america nhistory. si.edu/exhibitions/exhibition. cfm?key=38&exkey=1508 Unknown (30 Jun 2010) Paper Engineering: Fold, Pull, Pop & urn Exhibit Installation Smithsonian Institution Office of Exhibits Central Blog. http://oecexhibits.si.edu/ blog/2010/06/paper-engineering-fold-pullpop-and-turn.html Unknown (12 Nov 2007) Robert Sabuda & Matthew Reinhart Interview, Video Etapes. com. http://www.youtube.com/watch?v=hODghn00-k&NR=1 Unknown (April – May 1999) Spring Surprises: Popular, Literary and Scientific Pop-Up Books. http://www.library.illinois.edu/rbx/ exhibitions/pop_up_books/popup.html Unknown ranscript from an interview with Robert Sabuda, Reading Rockets Online. http://www.readingrockets.org/books/ interviews/sabuda/transcript Up With Paper, Home Page. http://www. upwithpaper.com/

Unknown (2003) Interview with Robert Sabuda, Simon & Schuster Children’s Publishing, KidsReads Online. http://www.kidsreads.com/ authors/au-sabuda-robert.asp

Uria, Isabel (Unknown) Bruce Foster: Why He is a Paper Magic Master. http://paperpops.com/  wp-content/uploads/2010/05/Bruce-FosterMBS-interview.pdf

Unknown Pop-Up and Movable Books – A our through Teir History from the Nineteenth Century to the Present Featuring examples from the Weaver Collection University of North exas. http://www.library.unt.edu/ rarebooks/exhibits/popup2/introduction.htm

Velenta, Barbara (Aug. 1999) An Interview with Robert Sabuda, Part 1  Movable Stationery Vol.7 Number 3. http://robertsabuda.com/ interview_robt1.html Velenta, Barbara (Aug. 1999) An Interview with

Robert Sabuda, Part 2  Movable Stationery Vol.7 Number 3 http://www.robertsabuda. com/interview_robt2.html Venkatraman, Vijaysree (21 Jan. 2010) Embedded Electronics Bring Pop-Up Books to Life NewScientist Online.  http://www. newscientist.com/article/dn18422-embeddedelectronics-bring-popup-books-to-life.html Video: Esquire’s E-Ink Cover (8 Sept. 2008). http://www.esquire.com/the-side/video/e-inkcover-video  WordyWordman (8 Jan 2009) Inside the Pop-Up StudioVideo. http://www.youtube.com/watc h?v=ksOjjefCeRU&feature=related

Interviews

Kropp, Lisa. Personal Interview. 22 September 2010 Montanaro,Ann.elephoneInterview. 14 September 2010 Olmon, Kyle. E-mail Interview. 14 August 2010 Rubin, Ellen G. K. elephone Interview. 23 August 2010 Sabuda, Robert. E-mail Interview. 13 August 2010 Sheehy, Shawn. elephone Interview. 16 August 2010 Shlian, Matthew. Email Interview. 08 August 2010

Barton, Carol. elephone Interview. 07 September 2010

Van Dyk, Stephen. elephone Interview. 24 August 2010

Bates, Alex. Personal Interview. 05 August 2010

 White, George.elephone Interview. 24 August 2010

Buechley,Leah.elephoneInterview. 09 August 2010 Carter, David A. elephone Interview. 30 July 2010

Newsletters empeley, Rosemary (Feb 2011) Paper Engineering in Children’s Books.  Movable Stationery  Vol.19, No. 1

Chen, Julie. E-mail Interview. 01 September 2010

Magazine Articles

Fischer, Chuck. elephone Interview. 24 August 2010

Carothers, Martha (16 Nov 2000) Book Artist Shares Expertise on History of Pop-Up Books. UpDate Vol. 20, No. 6

Foster,Bruce. elephone Interview. 23 August 2010 Frampton, Susan. Personal Interview. 18 August 2010

Carter, Betty (Nov/Dec 2009) What Makes a Good Pop-Up Book? Horn Book Magazine  Vol. 85 Issue 6, p625-632, 8p

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Hansell, Mary P. (2 June 2005) Indiana U.: Indiana U. Library Exhibit Features Pop-Up Books for  All Ages. Te America’s Intelligence Wire  Reid, Dixie. Big Jump in Pop-Up Books. Te Sacramento Bee, (2 Mar. 2008) Calif  Smith, Stephanie D. Pop-Up Books: Publishers Increasingly are Running ricked-Out Ads to Help Keep Reader Attention. MediaWeek v15i46 (19 Dec. 2005) p2 Staff Section: echnology, News New Scientist   Vol. 205, Issue 2744, (23 Jan 2010) p17-17, 1p

Newspaper Articles Meeks, Flori. Faces in the Crowd; Cy-Fair Paper Engineer Creates Pop-Up Books; Bruce Foster’s Skill Enhances Artists’ Work. Te Houston Chronicle (24 Jan. 2008), Houston, x  Ong, Bao. Pop Culture Phenomenon Newsweek  (26 Sept 2005) p.9 Unknown. New Pop-Up Books Aiming for Adults (21 Dec 2006) UPI News rack , United Press International

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