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Re: Professional Recommendations (was: Cigar Afficiando Binding Article)



>Regarding Don Pollock's post below:
>As a member of the Board of the Canadian Bookbinders and Book Artists
>Guild, may I suggest that the GBW may have felt the same way our own Guild
>does. That is, unless we are going to have professional accreditation of
>our members, we cannot accept responsibility for their professional
>abilities. Just because a member declares him or herself to be a bookbinder
>does not mean that they are (in fact, we know from experience that some of
>them are not, although s/he may have taken some workshops and bound a
>couple of books).
>Our Guild gets many requests from members of the public to recommend
>binders/restorers who could repair or rebind their old books and family
>treasures; if we recommend someone we have to be sure that person will do a
>proper job, or the Guild's reputation will suffer, and we may, in fact, be
>liable for damages. If we only recommend those of our members who we know
>for a fact are capable, we get accused of favouritism. Instead, we supply
>the names of our members in the relevant geographic locale, with the caveat
>that it is up to the client to determine the competence and ability of
>whomever they choose to do the job. Hence, "not necessarily recommended".
>If anyone has a solution to this problem I, for one, would like to hear
>about it, and I suspect other organizations which have similar liability
>concerns would like to as well.
>
>>Anyone see the article on hand bookbinding in the current issue of CIGAR
>>AFFICIANADO? I was amused by the size of some egos in the report... but
>>was also
>>surprised by the infelicitous comment that the Guild of Book Workers "does not
>>necessarily recommend" it members. The use of "necessarily" transforms a
>>perfectly common policy of professional organizations into a kind of
>>no-confidence statement. Anyone else get that impression?
>>
>>Don Pollock
>
>Richard Miller
>Abraxas/Peppermint Press
>Editor, CBBAG Newsletter
>**CBBAG now on the Web**
><http://knet.flemingc.on.ca/~rmiller/cbbag/CBBAGhome.html>
>
>Collegues,
we have had a similar situation in Europe, (Germany and Switzerland) than
Ilived and worked there.
In  general:  Beeing a membe of...  only means that one shares a similar
interest as it is represented by that Guild.
Therefore, if you had been a guildmember (which is a requirement if you are
a craftsman),the right given to you to display the Guild ( or innungs; which
means the specified trade guild) sign only demonstrated your membership. On
top of that the local Handwerkskammer, Chamber of Crafts,which regulates the
laws of the guilds and is a sort of federal institution: maintained special
lists, which listed absolutly the qualification of every member. You there
asked for your special qualifications, which had to be confirmd by the
testimony of an expert wittnes, who would visit the shop and inspect the
work done and provided (I had that position back in germany), or through the
reference of customers etc.
If you entered that list, the Kammer (Chamber ) would by request or inquiry
refer from that list. As beeing simply a member of an guild only meant that
you acomplished an average level of craftsmanship.
Here in the U.S,we do not even have that, and the Guild of Bookworkers is a
loose collection from interested ,to artist, proffesional etc.
Therefore,beeing simply a memberdoesn't mean much.
It is more important to look at ones individual qulification, and not
neccasarly it is given,that after you acomplished a number of courses, that
you know the trade to the full extend. It is quite often overlooked in the
U.S., that a Masterdegree in a Trade in Europe requires an average of 8
years to accomplish
(3 years aprenticeship, 4 years work as jouneyman in the trade,one year
Master school.), which means you have the basic requirements, and you still
ahve to study, train and improve to get anywhere close to the height of your
trade.

charles
L.A. Book Arts, Inc. d.b.a. The Custom Bindery
Custom Fine Binding in Traditional French and German Techniques, in Leather,
Parchment, Cloth, Paper. Custom Design for Boxes and Portfolios, Development
of Artist Book Structures and Portfolios, Restoration of Books and related
Objects from 900 B.C to contemporary Bindings, Marbled Papers, Individual
Instructions in Bookbinding.

We also import fine papers, parchments and Brasscorners and clasps for the
restoratioan of medivael  to renaissance bindings.

1650 South Sawtelle Boulevard
Los Angeles, CA 90025
Phone/Fax 310-473-5874
E-mail: libros@netvoyage.net


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