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polar-stars · 5 years ago

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Some Notes on what the grown-ups are up to...(Part 1 | SnKimiko Related)

So hey, I am not quite tired yet but too tired to draw so welp, I guess we’re doing this instead.

Honestly, recently I’ve realized that I haven’t really explored the careers the canon characters pursue within in my Next Gen Fanfic. Which is mainly because I honestly haven’t thought that much about it but rather only ever held some rough ideas. There’s reasoning to that but that mainly has to do with myself but I don’t have to get into that in detail now. It’s a lot about the fact that I’m still a pretty young person with not the best understanding of how the world works yet...but I’m working on it!

So meep, I thought I could write down some actual notes for some info regarding what the canon characters are up to when “Shokugeki no Kimiko” takes place. I’m still a little unsure about them (so don’t be surprised if I eventually change things up later), so I’d gladly appreciate feedback honestly!

Anyway, that lengthy intro aside...let’s get into it, I guess ; 7 ;

Megumi

Megumi Aldini-Tadokoro, formerly just Tadokoro, lives in her hometown in Tohoku and took over the position as it’s head-chef after her mother retired. The news that a Totsuki graduate, and not just any graduate but a former Elite 10 member, took over the Ryokan certainly drove a lot of people to the place.

Megumi’s wisdom regarding hospitality and her outstanding talents in the culinary field ultimately improved the tourism of the region immensely. The Ryokan is praised for the traditional Japanese atmosphere, exquisite food and, of course, the welcoming atmosphere and the warmth with which the guests are welcomed with.

Given that her priorities are certainly the customers and building a relationship with them even if it is for only one day, Megumi always resigned off from opening another restaurant. She can’t be at all at the same time after all and in her mind it would make everything less personal. However it’s at a time where Megumi already earned a name for herself and instead of mocking her decision as “too limited” or “not enough vision”, she’s respected by the culinary world.

Despite the fact though that the Ryokan is her prime focus, she does help out her husband Isami with new recipe ideas or other advice for the Trattoria-Aldini-Branch whenever he asks her. She does help out in the restaurants themselves as well, once or twice a year. Which is always made out to be a great deal.

She often gets invited to various hotels throughout a year and occassionally, she’ll take the offer and arranges a special banquet for one night for the hotel’s guests to enjoy. It’s certainly always an event to behold and something that every hotel, she’s served so far, wears with pride.

She’s mother to three children, two sons and one daughter. The oldest son, Hiroshi Aldini-Tadokoro, is a current higschool first year in Totsuki and a member of the 115th Generation. Her two twin-children Nino and Maja Aldini-Tadokoro still visit a primary school in the local area. They will be part of the future 119th Generation of Totsuki.

Takumi

Takumi Aldini lives in Tuscany and is the head-chef of the original “Trattoria Aldini” where he grew up in. But it’s not just that...

With the help of his business-knowledgeable wife Ikumi and of course his loyal brother Isami, Takumi build a successful brand out of the Trattoria which expands all over the world, having restaurants in almost every noteworthy city. It’s, additionally, kept affordable. It’s not something that the normal middle-class man can eat in each and everyday but it certainly is something he can go to once in a while.

Takumi is managing the restaurants within the West, so mainly Europe and America. (Isami is taking care of the restaurants in the East)

At the same time, the original Trattoria keeps him busy as well given that as the first and original Trattoria it has a bit of a cult-status and is on every tourist’s To-Do list that comes into the area. Whenever Isami and his family come over to Tscany, things become even more lively as many foodies would kill for the opportunity to see the infamous Aldine-Family and especially the Mezzaluna-Siblings in action.

Takumi has one daughter with Ikumi: Mika Aldini, a student of Totsuki’s 115th Generation.

Alice

After her cousin Erina vanished alongside Soma, the Totsuki-Empire was eventually laid into the hands of the so-often-overlooked Alice Nakiri, making her the new headmistress of Totsuki once Senzaemon retired.

There were a few doubtful voices regarding Alice’s Election as new head of this enormous branch, as so many had always pictured Erina in that position. But over time, these voice where shut down as Alice managed to fulfill her job pretty well. Some of her strategies or ideas might sound eccentric or unconditional at first, but there’s always logic and a certain wisdom to them. Also, Alice always had a great understanding of what she wants and how to get it which does make her a solid, cunning and to-beware negotiator.

She also does a lot for the intellectual part of Totsuki by expanding it’s library, funding research projects in fields other than strictly cooking, diversify the range of languages taught on Totsuki...etc.

As her profession as Totsuki’s headmistress consumes her quite a bit, Alice was only able to open two restaurants: one in Tokyo, called “Snestorm” and one in Copenhagen, called “Yukidoke”. Both are reservation-only places where she serves her experimental and unique culinary ideas. Snestorm is more focused on Western ideas, so to speak, while Yukidoke is more Eastern-orientated.

She has two twin-daughters with her husband Ryo: Lola Nakiri and Mona Nakiri, both members of the 115th Generation of Totsuki. She and her family definitely remain the apex of Japan’s culinary landscape. They host a yearly Summer-Ball which is one of the grandest, biggest and most anticipated events for any person worth their salt within the culinary industry.

Akira

With the reputation of having survived Totsuki and ending up amongst the 10 best students backing him up, Akira opens four highly-successful restaurants over the years between his graduation from Totsuki and the current timeline of “Shokugeki no Kimiko”. Currently, he’s outlining plans for a restaurant in the US.

His first is called “Sona” and is located in Tokyo and also known as Akira’s “main restaurant” so to speak. Over the years it has grown into a small palace and its one of pricey but also praised restaurants within the city. Quite a few rich ladies would die to have their wedding taking place there, as one certainly feels like some sort-off Mid-East royal stepping into the place.

The second is called “Signum” and is located in Singapore. What’s special about this restaurant is that the menu changes drastically every year. The concept is basically that each year, Signum serves a different kind of cuisine. One year it’s Thai, the other it’s Indian, then it’s Turkish, then Malaysian and so on. Akira announces this year’s menu on each New Years Party hosted by the Hayamas in Sona.

The third is called “Solaris” and is located in Kairo. Akira got inspired to open it, because of his son’s enthusiasm regarding travels to Egypt. It serves mainly all different sorts of curry but also various specialities of Mid-Eastern cuisines.

The fourth is called “Lilac Garden” and it’s the first one to not start with an “S” and this one is more dedicated to his daughter. It’s located in Herakleion on Kreta. It’s honestly a bit more of a café and has a truly beautiful pavilion that offers an enchanting look on the sea. What’s noteworthy is that the entire place is decorated with all sorts of flowers.

Aside from being busy with restaurants, Akira does actually time to time support Alice’s more academic advances in Totsuki by teaching seminars. It’s a rare occurrence but whenever he does, a broad number of students come rushing.

He also found himself a little hobby in a little side-business as perfumer. Originally, he only wanted to construct a perfume for his wife Hisako as a little surprise for an anniversary and ended up thinking: “Why not make some money out of this?” While the perfume for Hisako of course is a Hisako-Only-Creation that will never make it into the public hands, he did bring 3 other perfumes to the market that sell pretty well.

Akira has two children with Hisako, a son and a daughter. The son, Akio Hayama, is part of the 114th Generation and a member of Totsuki’s current Elite 10. The daughter, Kaori Hayama, is part of the 115th Generation as well as it’s valedictorian.

#meep I tried ovo;;#I also wanted to do Hisako and Ryo...but now I did end up tired #but it would mean the world to me if any of you gave it a read ; 7 ;#I really hope I did okay #Shokugeki no Soma #Shokugeki no Kimiko Stuffz #Megumi Tadokoro #IsaMegu #Takumi Aldini #TakuIku #Alice Nakiri #RyoAli #Akira Hayama #AkiSako

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hipmamajenn · 7 years ago

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The goal: Give local kids the opportunity to learn about, design, and build their own skateboard. Introduce them to the library, the skate park and other kids in the area and to give them a safe comfortable means to exercise.

The backstory: I work at the Aldine Public Library in Houston. This is an area of the city known as Greenspoint (which has the hideous nickname, Gunspoint). Crime is rampant, homelessness is an issue, the schools are among the worst in the state and there are no advantages for these kids and library patrons. We try to make up for this by providing a fun, safe environment and keeping our programs engaging and interactive in hopes to give kids something to look forward to.

The beginning: When I started in May, there was a skeletal beginning to a program by my predecessor, Ruby Robinson. She had been in touch with an organization called the Greater Greenspoint Redevelopment Authority and they offered to provide the funds for kids to be given brand new high-end skateboards, helmets, and training to use at the North Houston Skate Park which just happens to be in our part of town.

The kids on a tour of the Skate Park.

For many kids this was their first time seeing a skate bowl.

The format: Day one, come to the library and learn about our services, meet each other, fill out paperwork, ask questions, learn about what to expect for the rest of the week.

The players: Greater Greenspoint Redevelopment Authority: Sponsor, Trenna Dockery: Manager of North Houston Skate Park, John and Michelle Mayes: Owners of Clouds and Tricks Skate Shop, ordered/delivered materials, taught building boards and skating, Myself: Youth Services Librarian at Aldine Branch Library in the Harris County Library System pulling all of the strings together.

The early attempts: We ran the program twice in the summer. Both were successful in that we served the number of kids that we hoped to, ten in the first session, twelve in the second but the catch was that we weren’t serving the kids in our neighborhood. The two-pronged obstacle that we were facing was that most of our participants found out about the program from the skatepark or from the internet, but most of our patrons don’t have access to the internet at home and most couldn’t get a ride to the skatepark to participate.

John Mayes working with the kids.

There is a lot for new skaters to learn!

Safety is a big concern and all the kids learn how to fall first.

Dreaming bigger: Treena, John, Michelle and I began discussing how we could make a bigger and more successful December program. We wanted to serve more kids, serve kids in our own community and maybe even provide them with a commemorative T-shirt.

Highlight: When the transportation component was secure I was able to go up to one of our regular kids (who I’ll call James) who was hanging with his friends. He had wanted to be in the program since it began but never could because he couldn’t get to the skate park.

Me: “Hey, do you guys know anyone interested in the skate program?”

Kids: “Yeah, James wants to.”

James: “No way to get there,” arms crossed, slides further down in seat.

Me: “We have a bus this time…”

James: shoots up to his feet, “How do I sign up?”

Throwing hope into the air: Thanks to a colleague I was connected with the local YMCA. They were more than willing to provide transportation and extra assistance at the skate park which meant that some of the kids whose only obstacle to attending could now safely and efficiently attend the program. I also posted a public plea on Facebook to see if anyone could suggest a fairly priced T-shirt company with quality work. That is when Ann Brooks and her Black Swan Screen Printing company joined us and improved our program tenfold.

https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fblackswanscreenprinting%2Fvideos%2F10155997609774158%2F&show_text=0&width=476

Black Swan Screen Printing: Ann Brooks is a highly respected Houston businesswoman. She has been an essential figure in the art and music industries. She saw my plea and messaged me offering to meet to discuss our needs for the program and see what she could do to help us provide not only the current students but the past students with a commemorative shirt. She found an incredible designer, Huls Design and he made an original design for us. She then created a video of each shirt being hand pulled on a silkscreen in her workshop. *The shirts can be ordered for $20 and all proceeds will go to sustaining the program. If interested please email me at [email protected] for more info.* Ann also introduced me to artist Jake Eshelman who owns the company Side Project Skateboards.

Adding an art component: For the first couple of sessions, our art component of the program was incredibly simplistic. We showed some pictures of what skateboards could look like and provided the kids with pens and simple paints. For the latest session, Jake came out and talked to the kids. He told his story of what skateboards and skateboarding mean to him, how art is infused in his life and how the two can be combined. His words of warmth and knowledge made a marked improvement in the kid’s creativity and confidence. He walked around from child to child giving tips, advice, and encouragement. We all agree that this session the boards were more vibrant, cohesive and inspired. Jake loved the concept and has agreed to become a regular partner to the program. He already has more ideas of how to introduce art to the kids and has offered to supply better paints and supplies.

Well thought images can make an impressive design.

A unicorn in the process.

A hot fog skate board.

Jake helping to inspire design.

The future: In this last session we were able to provide transportation to North America’s largest skateboard park, skateboards and helmets and the lessons to build them, T-shirts, art instruction, snacks every day, pizza the final day and an introduction to the library. We have plans to continue this event quarterly and would love to continue to expand and improve the event for all involved. Questions? Comments? Ideas? All are welcome.

How a Community Got Together to Give Skateboards to Kids – a Houston Story The goal: Give local kids the opportunity to learn about, design, and build their own skateboard. Introduce them to the library, the skate park and other kids in the area and to give them a safe comfortable means to exercise.

#Aldine Branch Library #Black Swan #Clouds and Tricks Skate Shop #Greater Greenspoint Redevelopment Authority #Huls Design #Jake Eshelman #North Houston Skate Park #Side Project Skateboards

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leanbanana · 3 years ago

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What is the history of the bembo typeface

In France, his work inspired many French printers and punchcutters such as Robert Estienne and Claude Garamond from 1530 onwards, even though the typeface of De Aetna with its original capitals was apparently used in only about twelve books between 14. The type is sometimes known as the "Aldine roman" after Manutius' name. Modern font designer Robert Slimbach has described Griffo's work as a breakthrough leading to an "ideal balance of beauty and functionality", as earlier has Harry Carter. One of the main characteristics that distinguished Griffo's work from most of the earlier "Venetian" tradition of roman type by Nicolas Jenson and others is the now-normal horizontal cross-stroke of the "e", a letterform which Manutius popularised. Griffo was one of the first punchcutters to fully express the character of the humanist hand that contemporaries preferred for manuscripts of classics and literary texts, in distinction to the book hand humanists dismissed as a gothic hand or the everyday chancery hand. This book, usually now called De Aetna, was a short 60-page text about a journey to Mount Etna, written by the young Italian humanist poet Pietro Bembo, who would later become a Cardinal, secretary to Pope Leo X and lover of Lucrezia Borgia. His first printing in the Latin alphabet, in February 1496 (1495 by the Venetian calendar), was a book entitled Petri Bembi de Aetna Angelum Chabrielem liber. Manutius at first printed works only in Greek. These were used as a master to stamp matrices, the moulds used to cast metal type. Griffo, sometimes called Francesco da Bologna (of Bologna), was an engraver who created designs by cutting punches in steel. The regular (roman) style of Bembo is based on Griffo's typeface for Manutius. This section is engraved as a simulation of Tagliente's handwriting other parts were set in a typeface of similar design. Giovanni Antonio Tagliente's 1524 writing manual, which inspired Bembo's italic. Bembo has been released in versions for phototypesetting and in several revivals as digital fonts by Monotype and other companies. Prominent users of Bembo have included Penguin Books, the Everyman's Library series, Oxford University Press, Cambridge University Press, the National Gallery, Yale University Press and Edward Tufte. Since its creation, Bembo has enjoyed continuing popularity as an attractive, legible book typeface. Monotype also created a second, much more eccentric italic for it to the design of calligrapher Alfred Fairbank, which also did not receive the same attention as the normal version of Bembo. It followed a previous more faithful revival of Manutius's work, Poliphilus, whose reputation it largely eclipsed. Monotype created Bembo during a period of renewed interest in the printing of the Italian Renaissance, under the influence of Monotype executive and printing historian Stanley Morison. The italic is based on work by Giovanni Antonio Tagliente, a calligrapher who worked as a printer in the 1520s, after the time of Manutius and Griffo. Bembo is named for Manutius's first publication with it, a small 1496 book by the poet and cleric Pietro Bembo. It is a member of the " old-style" of serif fonts, with its regular or roman style based on a design cut around 1495 by Francesco Griffo for Venetian printer Aldus Manutius, sometimes generically called the "Aldine roman". Bembo is a serif typeface created by the British branch of the Monotype Corporation in 1928–1929 and most commonly used for body text.

#What is the history of the bembo typeface

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esmaeelalsafeenposts · 4 years ago

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📷 > About Houston > Education

Educational opportunities play a key role in Houston's quality of life. Houston is a City known to be rich with distinguished school districts and prominent colleges and universities.

Newcomers with families and those wishing to pursue higher education are amazed at the City's countless educational opportunities.

Houston-area independent school districts operate with the basic premise that every child can and should learn.

Houston educators and the community as a whole are working toward creating a high-quality educational environment to serve the needs of an increasingly diverse student population.

The Houston Independent School District (HISD) is the largest school district in the Houston area. Ranked as the nation's seventh largest district, HISD serves 312 square miles with 288 schools, 13,000 teachers and more than 210,000 students.

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The City of Houston Public Library, a department of the City of Houston, consists of a Central Library complex in downtown Houston, and a genealogical research library. It also offers 35 neighborhood branches, services for children and parents at the Children's Museum of Houston and for patients at M.D. Anderson Hospital, and a book-by-mail service for the homebound. It serves the seventh largest service population in the country and has more than 300 public computer terminals. These terminals offer access to the library's catalog, the Internet, and extensive electronic databases.

Houston boasts more than 40 colleges, university and institutions - offering higher education options to suit all interests.

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ana-yanka · 5 years ago

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Book Binding Styles

AIC Wiki: BPG Book Decoration

https://www.conservation-wiki.com/wiki/BPG_Book_Decoration

Styles of Book Decoration

Ajoure

"A style of bookbinding executed during the last third of the 15th century in Venice. Ajoure bindings were embellished with pierced or translucent patterns, in a manner referred to as 'letting in the daylight.' They generally featured openwork designs of foliage, angels' heads, satyr-masks, birds, baskets of fruits, etc." (Roberts & Etherington 1982, 7)

Aldine (Italian) style

"A style of bookbinding originated by Aldus Mantius but not restricted to the books printed by Aldus or his family. Aldine bindings, which were produced during the late 15th and early 16th centuries, were characterized by the use of brown or red morocco; by solid-faced ornaments with no shading (which were similar to those used in printing the text); and by title or author in simple panels in the center of the upper cover, which could be read while the book lay on a shelf or table. Early examples of the Aldine style were tooled in blind with an outer frame and a center ornament. "Possibly because of the Greek binders Aldus employed, as well as the fact that gold tooling (probably) originated in the Near East, Aldine tools display definite signs of Eastern origin. Early Italian bindings convey a consistent feeling of the shape and proportion of the book, which is demonstrated by: 1) the use of border and panel as schemes of design; 2) a remarkable sense of the value accorded ornamentation; 3) the areas of leather left undecorated; and 4) restraint in the decorative detail with the result that it was always in proper subordination to the overall effect of the embellishment." (Roberts & Etherington 1982, 8)

All over design

"1. A style of finishing in which the entire cover, as distinct from the corners, center or borders, is decorated by a single motif, multiple motifs, or a decorative roll. 2. Any pattern in a book cloth which runs both across and down the roll. " (Roberts & Etherington 1982, 8)

"A binding decorated so profusely that it is literally covered 'allover' with ornamentation." (Miller 2014, 434)

Azured or hatched motifs

Bindings decorated with an azured tool, which has "closely spaced parallel lines cut diagonally across its surface". (Roberts & Etherington 1982, 13)

"An obsolete term for a decorative tool with parallel lines cut across the face to create a shaded or hatched effect; in heraldic designs, the azured areas represent 'blue'." (Miller 2014, 436)

Cameo

"A style of Italian binding of the first half of the 16th century, which was imitated by French binders and also by Roger Payne at a later date. The style consisted of designs in relief made from dies cut intaglio, somewhat in imitation of gems or metals. Leather was the medium most often used, although vellum was also used, being pressed while wet on the die, and with the cavities being filled with a composition of lacquered paste to preserve the shape of the figures. After being attached to the center of the leather cover, they were sometimes gilt and painted. Cameo bindings were a development of the antiquarian interest in classical coins and gems, actual examples of which at first provided the sources of the molds. French examples executed for Henri II and Jean Grolier bore a central medallion stamped with an intaglio cut die. The design was embossed on a gilded and colored background". (Roberts & Etherington, 45)

"Cameo bindings originated in Italy in the sixteenth century and reflected the Renaissance interest in classical antiquities, particularly coins and carved gems. Actual cameos were sometimes inlaid into leather covers, but usually, the cameo was cut into a stamp and pressed in relief into leather or vellum pieces that were then inlaid, sometimes painted or gilded. [...] Notable early cameo bindings include the Apollo and Pegasus bindings of the sixteenth century, bound for Giovanni Battista Grimaldi." (Miller 2014, 441)

Canterbury

"A group of 15th century bindings (of which some ten survive) probably made in the monastery of Canterbury. The main decorative feature of the front panel was a circle, or two interlaced squares, filled with repetitions of a small tool; a feature probably deriving from Italy." ( Glaister, 82)

Carolingian

"The earliest surviving Carolingian bindings are German and French with a few survivals in other European countries. They date from the eighth century and are distinguished by the universal use of sewing supports in conjunction with herringbone sewing. Other features include wooden boards, usually oak and often quarter sawn, the edges cut square or sometimes slightly beveled, with tunnel and channel board preparation to receive the lacing of the ends of sewing supports. The books often have vellum pastedowns. The endbands are sewn in a simple linking style, without a support core, across the head and tail of the spine." (Miller 2014, 442)

Center and Corner binding

“A style consisting of an abstract center piece - either oval, circle, or lozenge shaped - made of one stamp and four corner pieces - large ornaments that sat at the corners of the frame. The designs are always symmetrical both vertically and horizontally and the stamps were often arabesque and intricate. This design is derived from early Islamic and Eastern styles. Roberts and Etherington note that the style was popular in England and on the Continent from 1580 to 1620.” (Roberts & Etherington, 50)

Chapbook

"A name given to small pamphlets, which dates from at least the fifteenth century. Chapbooks often relied on woodcut images more than words to transmit ideas and are associated with religious and political themes, as well as being a popular format for fairytales, ballads, and moral self-improvement stories intended for children. Chapbooks were sold by chapmen (colporteurs) who carried all sorts of notions in addition to booklets." (Miller 2014, 444)

Diaper

"1. A gold- or blind-tooled decorative pattern, consisting of a motif constantly repeated in geometric form. The pattern may consist of figures such as diamonds, lozenges, or flowers, separated only by background, or by constantly repeating compartments, each filled with designs." (Roberts & Etherington, 76)

"An allover, diamond-shaped pattern, small or large, that forms part of a binding design. Diaper patterns have adorned bindings from the middle of the first millennium." (Miller 2014, 449)

Duodo

"A style of binding that carries an allover design of small, leafy ovals with flowers in the center and, sometimes, a coat of arms in the central oval of the group. It was a style favored by and named for Pietro Duodo, Venetian ambassador to Henry IV of France, who had a number of the bindings made for him by Parisian binders from 1594 to 1597." (Miller 2014, 450)

Fanfare

"An elaborate style of decoration consisting generally of geometrically formed compartments of varying sizes, each bounded by a ribbon consisting of a single fillet on one side and a double fillet on the other, each of which, with the exception of the center compartment (which is larger or otherwise distinguished), being filled with leafy spirals, branches of laurel, and other sprays, floral tools, rare in the last fifty years or so. See and the like. Fanfare was a rich and luxurious style and called for the greatest skill on the part of the bookbinder. It was imitated, with varying degrees of fidelity, throughout Europe from about 1570 until well into the 17th century, although its elements were largely imitative of previous styles of embellishment. Originally, the style was attributed exclusively to Nicholas and Clovis Ève, but it is more likely that a number of Parisian finishers executed many of these binding." (Roberts & Etherington, 96-97)

Girdle book

"A book which has an extra protective covering of soft leather made in such a manner that the book can be hung from the girdle or habit cord of a cleric and swung upward for reading while still attached to the girdle or cord. Doeskin and deerskin were frequently employed for this type of binding, which was used in the middle ages and early Renaissance, especially in Germany. Devotional books or didactic works, or professional reference books, e.g., law books, were most often bound in this manner, and the bindings were almost quite unpretentious. Very elegant bindings, however, were produced in velvet and brocade, to protect illuminated prayer books. Few intact girdle books have survived, as the overlapping leather was usually cut off for reuse when the need for protection had passed. Also called 'utilitarian protective bindings.' " (Roberts & Etherington, 116)

Gothic

"A term to describe the dominant binding style in the West from the thirteenth century until the seventeenth century, and in some countries, even later. Elements of the bindings include: parchment or paper text blocks sewn on raised supports laced over into beveled wooden boards that are often covered in alum-tawed skin and decorated with blind tooling and panel stamping." (Miller 2014, 459)

Greek style

"The style is descended from Coptic binding structure and style, and in turn spread into areas that fell under Byzantine rule. Greek binding incorporated the following elements: notched sections, recessed unsupported-link sewing, flush wooden boards that often had grooved edges, rounded, smooth spines lined with cloth, chevron endbands that continued onto the board shoulders, red or brown goatskin of calf, tongue-style corner turn-ins, blind tooled, braid and pin fastenings, bosses, and decorated edges." (Miller 2014, 459)

Grolier and Grolieresque

"The 16th century bibliophile, Jean Grolier de Servin, vicomte d'aquisy. Although Jean Grolier is regarded correctly as a French bibliophile, the bindings executed for him were essentially Italian in their principles of design. Grolier possessed one of the finest private libraries of his time (and possibly any other time), consisting of some 3,000 volumes contained within bindings of superlative richness and beauty.

Grolier lived in Italy, with only a few interruptions, between 1510 and about 1525, and, while there, became the friend of the celebrated printer, Aldus Manutius. It is said that in appreciation of Grolier's friendship and financial assistance, Aldus printed several copies on vellum or large paper for Grolier, several of which were dedicated to him. / Grolier is believed to have patronized several binders over the years he collected, including Claude de Picques, and the so-called fleur-de-lis and cupid's bow binders.

The books which Grolier acquired in his early years (including many of his Aldine volumes) possess the distinguishing characteristics of Italian binding of the time he lived in Italy. [...] The designs generally consist of a geometrical pattern, occasionally colored, combined with arabesque work, which is solid, azured, or only outlined.” (Roberts & Etherington, 123)

Macabre, funerary motifs

“A somber style of binding made for Henri III decorated with symbols of mortality such as skeletons, skulls, and crossbones. Similar bindings were made for adherents of a society founded by Henri III are called penitential bindings.” (Miller 2014, 469)

Monastic

“Broadly, in terms of early bindings, any of the sturdy plain bindings made in a monastery from the sixth to the twelfth century. The term is also used to refer to some blind-tooled bindings in northern Europe in the fifteenth century.” (Miller 2014, 471)

Mudéjar

"Bindings produced in Spain by Muslim binders who remained there after the Christian re-conquest of the thirteenth century. The bindings have wooden boards or pasteboards, and are covered in Cordovan leather, a non-porous, dense leather with good wearing characteristics made from horse butt. The early bindings are decorated in blind with rope interlacing and a background fill of dots and small tools; later bindings combined blind and gold tooling. A variation on the style, called gótico-mudéjar, was made in northern Spain with a decorative layout based on Gothic binding decorations but executed with mudéjar-style tools." (Miller 2014, 472)

Panel stamped

"A binding decorated with a large panel stamp. The use of panel stamps succeeded the earlier use of smaller, individual stamps that were time consuming to use." (Miller 2014, 476)

Pastiche

"A term used for a binding that is decorated in a style that imitates an earlier style. See retrospective binding. (Miller 2014, 478)

Pointillé

"Another term for a binding decorated with fine dots or dotted stamps. See pinhead binding." (Miller 2014, 479)

Romanesque

"A binding dating from the twelfth or thirteenth century, often bound in brown leather and decorated with metal stamps often engraved with images of beasts. Approximately one hundred of these bindings are known to have survived. They are believed to have been produced by a small number of monasteries in France, England, and Germany." (Miller 2014, 483)

Royal binding

"A binding that carried a sovereign's coat of arms on the cover(s). The presence of such arms does not relate to any link to a royal collection since it was the habit of English bookbinders from at least the sixteenth century and until well into the nineteenth century to use royal arms as decoration." (Miller 2014, 484)

Sacred-monogram

"Another term for a Masonic binding or other devotional binding bearing the abbreviation for the monogram of Jesus in Greek, 'I.H.S.' " (Miller 2014, 485)

Semis

"An heraldic term indicating a form of decoration consisting of a scattered (sown) pattern of diminutive figures—flowers, leaves, sprays, etc., often repeated at regular intervals by means of one, two, or three small tools, resulting in a sort of powdered effect. Sometimes a coat of arms, or other vignette, is added in the center of the cover, or at the corners. There may also be a tooled fillet around the edges of the cover. Early examples of this style date from 1560 on books bound for Charles IX of France." (Roberts & Etherington, 228)

Strapwork

"A binding decorated with a pattern of interlaced double lines, usually in a geometrical design." (Miller 2014, 492)

Tease binding

"The English term of puzzle books in decorated bindings made from the sixteenth century onwards. The puzzle lay in the proper opening of the binding. There are examples of six-fold, rectangular, backless bindings containing six texts accessed by different openings of the text block. The style was also made with round or heart-shaped text blocks. The dos-á-dos bindings were also considered puzzle or tease books. The German term for the style is Vexierbücher, and the French is reliuer à surprise." (Miller 2014, 495)

Trade binding

"The term used for plain bindings, usually unlettered, made with limp vellum, calf, or sheepskin, and bound before being sold retail or wholesale by booksellers from the fifteenth through the eighteenth centuries." (Miller 2014, 496)

Treasure

"Early luxury bindings decorated in precious metals, enamel, ivory, and precious or semi-precious stones. Such bindings were usually created for expensive liturgical manuscripts and were usually the production of the gold- and silversmiths and the jeweler than the bookbinder." (Miller 2014, 496)

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