NEXT STOP: POP-UPS - The Pop

Transcription

NEXT
STOP:
POP-UPS
The Influence of Paper Engineering
on Visual Media
by Bernadette Puleo
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NEXT STOP:
POP-UPS
The Influence of Paper Engineering
on Visual Media
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NEXT STOP:
POP-UPS
The 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. These people
ranged from paper engineers, artists,
designers, collectors to curators. I found
this community of movable paper lovers
were warm and enthusiastic. They
embraced my interest, were very willing
to share their enthusiasm with me and
welcomed me with open arms. This story
would not have been possible without
them.
Contents
FIRST STOP
Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
PART ONE
Chapter 1: A Brief History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Chapter 2: Of National Importance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Chapter 3: Books, Books, Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Chapter 4: It All Ads Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Chapter 5: Greetings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Chapter 6: Going to the Movies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Chapter 7: Teaching and Learning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
PART TWO
Chapter 1: Electronic Popables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Chapter 2: Augmented Reality. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Chapter 3: Video-In-PrintTM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Chapter 4: Apps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Chapter 5: E-Ink and E-Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Chapter 6: Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
LAST STOP
Visual Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Figures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Endnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
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5
Introduction
W
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. Those 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. Today there are books and other print
products that include sound chips and lights. Tomorrow, 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. This 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. The 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. Today, there
is a proliferation of paper engineered greeting cards, many of which include sound chips.
These 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, The Happy Duckling, that was set in an pop-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
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9
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.
“The 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 revolving 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 illustration. One of the earliest movable book that
survives today is Peter Apian’s “Astronomicum caesareum” (The 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 19th century and then only for educational purposes and to teach
moral values.3
FIGURE 1.1 Drawing of an early vovelle movable.
The 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, “To 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 artist 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. This company
continued to vanguard pop-up book design, production and packaging in the United
States. One of the paper pivotal engineers 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
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FIGURE 1.2 Vovelle from “Astronomicum caesareum”, 1540
FIGURE 1.3 Paper engineering by Vojtech Kubasta, 1960
FIGURE 1.4 Paper engineering by Waldo Hunt, Wrigley’s Gum 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 Turn. 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.
“One, to indicate that the mechanisms are old. Two, to
show that they are not only for children. In fact they
were originally made for adults. Three, 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. They 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. The 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 beautiful and complex
movables were done as far back as the 1500s. The 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, “That’s
what’s so cool about it!” The show was well organized and indeed educated the public as
to how many different devices are used to make paper move.
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FIGURE 2.3 Paper engineering by Vojtech Kubasta, 1961
FIGURE 2.1 Exhibition entrance.
FIGURE 2.2 Paper engineering by Jan Pienkowski, 1981
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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The Movable Book Society was founded in 1993 and is directed by Ann Montanarro.
This organization touts a membership of 450 people worldwide. It provides a forum for
collectors, artists, curators, book sellers and book producers. Their newsletter, Movable
Stationery is published quarterly. The organization sponsors biennial conferences and
the Meggendorfer Prize for outstanding paper engineering.4 The winner for the 2010
award went to “ABC3D” by Marion Bataille. The 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. The 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. The
mother is now encouraged that people could make a living at paper engineering. The
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
There 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 Text: Artists’ Books from the Collection
of Robert J. Ruben occupied the second floor of this institution. This 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: The Pop-Up World of Ann Montanaro, AprilJuly, 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: The 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 D
3
Books
Books
FIGURE 3.1 Spread from “The 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 “The 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 Tomie 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.
They 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 titles are “Angels”, “In The Beginning” and
“Christmas Around the World”. He envisions the pop-ups in illustration form but does
not engineer them. That 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. To 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 paper sculptor.
He has designed and engineered a wonderful series of five pop-up books for all ages.
They are called the “Red Dot Series”, which took him seven years to make. These 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 is 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 “The Pop-Up Kama Sutra: Six PaperEngineered Variations”. And then, there are other books that are just meant to appeal
to adults, such as, “The Pop-Up Book of Phobias”, “The Pop-Up Book of Celebrity
Meltdowns”, “The Spirit: A Pop-Up Graphic Novel”. Also, there are pop-up books of
famous architecture and artist’s work. There is even a pop-up book of flower bouquets,
“Paper Blossoms Pop-Up Book: A Book of Beautiful Bouquets for the Table” 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 “The
Twelve Days of Christmas”, “The Wonderful Wizard of Oz”, or “Alice’s Adventures in
Wonderland”, to name a few, and turns them into pop-up master pieces. The 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. These books are
purchased by avid collectors as they can cost thousands of dollars each. Two 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 3.7
18
FIGU
RE 3
.8
FIGURE 3.6
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or sliding of pages, the turning of a wheel, or the tilting 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 “The 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 permits 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
The 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. They 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 Tour” by Chuck Murphy.10
Today’s production technology has not aided in the making of pop-up books. Pop-ups
are still hand assembled and die 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 to
be engineered by the laws of physics. They 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. They were created
in Papervision, a real-time 3D engine for Flash.11
Another example is a virtual pop-up book from
the Please Touch Museum in Philadelphia that
explores selected exhibits at the museum. The
viewer can use his/her mouse to turn the popups so they can see them from all angles. The
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
It All
4
Ads 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. The 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 appearing in many magazines
because design software and laser equipment have reduced the cost of producing this
type of advertising. The two big design and production firms behind most dimensional
advertising today are Structural Graphics in Essex, Connecticut and Americhip in
Torrance, 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. The
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 ads.
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 insert ad that not only included a pop-up,
but also, music and scent. It was for the launch of a new diet Pepsi drink called Jazz.4
“...but we did duplicate a pop-up book that
was used in a Lexus commercial entitled
“The Safest Accident”.7 Today, 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 They currently produce
about 1,300 different designs a year and
own an assembly facility in Mexico. They
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. This 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 appeal. 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. Their 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 The Flapper® are registered. Still others are trademarked, such as their
Book-CubeTM, 4-Window PullTM, MagnaPopTM and PopperTM. Structural Graphics has a
YouTube channel, where they broadcast their solution of the week. Alex Bates, Creative
Director of Structural Graphics said that his company never worked on a TV 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
Structural Graphics.
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FIGURE 4.7
Mailer featuring BookcubeTM by
Structural Graphics
25
Chapter
Greetings O
5
ne of the first greeting card companies that exclusively produced pop-up cards
in this country was PopShots, Inc., started in 1977. Their small line of cards
were miniature paper engineered art forms. Today 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 than 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. The
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. Their latest publication is
“Snowflakes: A Pop-Up Book”, illustrated and engineered by Yevgeniya Yeretskaya.
Another company that produces unique pop-up cards is Santoro, a London-based
company. Their Swing CardsTM, of which there are 83 designs, open up to form a 3D
image with movable parts that swing back and forth. Their newest pop-up innovation is
PopnrockTM. These 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. To add to the movement, some of the pop-up elements move in harmony with the
rocking motion. To prove that these pop-up cards are more than just a greeting card, they
won the 2010 Gift of the Year award from The Giftware Association.3
FIGURE 5.1
Pop-up card display by Up with Paper.
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There are many more small pop-up card companies all of which are unique in their own
way. The Original Pop Ups is a subdivision of Second Nature, Ltd. of England. Their
unique cards pop-up to create a self-standing centerpiece. They are designed to be used
as a floral arrangement, balloon weight or table decoration. They 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. They also produce pop-up polygon desk
calendars. Their 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. This brand is the traditional card using only
paper engineering. InventionsTM, 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. These cards had elaborate pop-ups and were retailing for
$9.99 each. They were displayed on an end cap in Target stores,
in order to give full exposure to the consumer. More recently,
InventionsTM introduced a new line called Dance MachineTM.
These cards feature a character with a spring mounted head
and have a body with movable parts that dances to music upon
opening. They 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.
27
28
FIGURE 5.3
Swing card by Santoro
FIGURE 5.4
Pop n rockTM card by Santoro
FIGURE 5.6
Inventions Dance MachineTM by American Greetings, 3 views
FIGURE 5.5
The Original Pop-Ups by Russ
29
Chapter
Going to T
6 the Movies
he pop-up/movable paper phenomena has had a major influence on movies, TV
commercials and music videos in recent years. The general 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.
FIGURE 6.1
Paper engineered model for castle, Enchanted
FIGURE 6.2
CGI castle from model (above), Enchanted
30
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 pop-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.
The challenge was to factor in the weight 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. These scenes
were more problematic for Bruce Foster to engineer, because he had to work with existing
film clips. The 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 with film
is that in a physical book a pop-up usually goes beyond the borders of the book. In film
that is not possible. The image can’t rise above the movie screen. The big disappointment
was that there was no pop-up book published to be released with the movie.”2
A short animated film,The 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. This charming, nine minute animated adventure, really
has the look and feel of a paper 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
One television commercial that is set in a popup/movable paper environment is “The 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 The concept was
the brainchild of Team 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 “The Safest Accident,” Lexus
Some other TV spots that are set in a movable
paper environment are “Mastercard’s Seven
Wonders”, illustrated by Stephen Knowles and
directed by Christian Bevilacqua; “SherwinWilliams 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 “The Safest Accident,” Lexus
31
The Happy
Duckling
FIGURE 6.5
School of Media
and Imaging
University of Dundee
Fergie’s
Clumsy
FIGURE 6.6
directed by
Marc Webb and
Rich Lee
Aesop Rock’s
Fast Cars
32
FIGURE 6.7
directed by
Asif Mian
33
Chapter
Teaching M
7and Learning
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, “The 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
FIGURE 7.1 Student work from Pratt Institute, NY
FIGURE 7.2 Student work from Pratt Institute, NY
34
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. There, 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.
There are a plethora of workshops that teach paper engineering to enthusiasts young and
old all over the country. In 2010 the Center 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. This
course is taught by Carol Barton, who has authored and published instructional books
on paper engineering. “The Pocket Paper Engineer 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 MIT’s High-Low Tech
Lab gave a workshop at the Fuller Craft Museum in Brockton, Massachusetts on how to
create electronic paper structures. This 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.
There 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 The author can use the library of clip
art provided on the website or one’s original art. The creator of this application is Craig
Kapp, a Researcher in Residence at the Interactive Telecommunications Program (ITP) 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. The 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.
There 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 encouraged to write this book because
“everyone says, write what you know.”5 This book is designed to teach graphic designers
about paper engineering and how they would work inside a book. Some other books
include: “The 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
35
FIGURE 7.5
Printable Electronics Workshop, Leah Buechley, Instructor
FIGURE 7.8 Spread from The Elements of Pop-Up
FIGURE 7.7
Printable Electronics Workshop, finished work.
FIGURE 7.6
Printable Electronics Workshop, Fuller Craft Museum, MA
36
FIGURE 7.9 Spread from “The Elements of Pop-Up”
The
RE
U
FIG
7.10
er “
Cov
of
ents
Up”
Pop
Elem
37
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
field 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 scientific 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 I
1 Popables
FIGURE 1.1 Jai Qi
magine paper that responds to touch without any physical wiring. That’s what
designer/scientist Jai Qi created for her “Electronic Popables” book in the summer of
2009 at the MIT High-Low Tech 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 paint 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 The 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
40
41
Chapter
Augmented B
2
Reality
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. The 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. Today 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. These are yet to be produced, but as
recently as 2010 Simon & Schuster published a young adult book that incorporates
Augmented Reality. The book is entitled, The Search for Wondla, authored and illustrated
Tony DeTerlizzi. Simon & Schuster coined the term Wondla-Vision for the required
software needed to activate the AR for the book.3
FIGURE 2.1
Cover The Search for Wondla
FIGURE 2.2
Author demonstrating Augmented Reality page.
42
Structural Graphics, a design firm that specializes in 3D direct mail and media kits, 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. The “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.
There 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. The
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 This 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 Wallpaper*
FIGURE 2.6 Augmented Reality ad for Calvin Klein.
43
FIGURE 2.7 Camille Scherrer
FIGURE 2.9 Page from “Le Monde de Montagnes”
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 “The Haunted Book”.10
The biggest growth area today is AR greeting cards. Using Total 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.
The cost of the card is only $2.99 as opposed to more expensive paper-engineered cards
which can cost $5.99 and up. The 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
FIGURE 2.10 Augmented Reality
FIGURE 2.11 Hallmark POP Display for line of Augmented Reality greeting cards.
FIGURE 2.8 Demonstrating markerless AR
45
Chapter
Video- V
3
In-Print
®
FIGURE 3.1 Discovery Channel direct mail promotion
ideo-In-Print® technology or HD4.1TM VIPTM, patented by a California design
firm, Americhip embeds a screen into paper that can show video images. They first
showcased this technology in a media kit produced to promote Discovery Channel’s new
mini-series, Life. The 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. This technology not meant to be thrown away, either. It can be reused. It
uses a cell phone type screen that runs on a lithium battery. The battery can be recharged
through a USB. This also enables the viewer to download their own videos into this
devise.2 This 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,
Tim Clegg, CEO of Americhip states the importance of “getting attention in a cluttered
environment.”3 That’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
InventionsTM, 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. This
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.
46
47
Chapter
Apps for T
4 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. The look and feel of a paper book or magazine can
now be displayed in digital media with the added feature of movement. This 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 Tenniel’s illustrations and Lewis
Carroll’s text, both of which are in the public domain, this app retails for just $9.991.
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 The 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 traditional 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. This is, perhaps, the beginning of a major shift of how movable
picture books will be read and enjoyed in the future.
48
FIGURE 4.1 Scenes from “Alice for the iPad” App
49
FIGURE 4.1
50
OPPOSITE PAGE: FIGURE 4.2 Illustrator Chuck Fischer at Books of Wonder, NY
FIGURE 4.3 Scenes from “A Christmas Carol” iPad App
51
Chapter
E-Ink and T
5 E-Paper
o celebrate its 75th Anniversary, Esquire Magazine published a limited edition
issue unveiled on September 8, 2008 that featured E-Ink on its 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 Today it is best
being utilized in the increasingly popular e-readers. The 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. The other
key attribute is that the substrate is flexible and very thin.3 The 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,TM a flashing electronic display that combines
motion with the visual appeal of ink-on-paper.4 This 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 That’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
52
FIGURE 5.4 Ink-In-Motion in-store display.
53
Chapter
Conclusion W
6
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.” There 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 television 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. There 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. The 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 paper 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
54
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. This feeling of loss supports the
idea that books have a greater sense of preciousness.”8
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 6.4 Alex Bates
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,”The 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
T
he photos in this section, illustrate some of the mechanisms used by paper
engineers. The 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. There 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 TABS
This 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.
58
59
Movables
DISOLVING IMAGE
WATERFALL
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
SCANAMATION/ILLUSIONARY MOVEMENT
As the page opens an image manually animates
through the lined acetate.
VOVELLE or ROTATING DISC
Possibly the first type of movable to be used in 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
60
61
Pop-Ups. . . spring to life in three demensions rising from the surface of the page.
V-FOLD
MULTIPLE V-FOLDS
This versitile form is what most people think of
when they hear the term “pop-up”.6 The 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
62
63
Pop-Ups
OPPOSING ANGLES WITH A TENT
FLOATING LAYERS
Similar to a floating layer but more complex. The
mechanism that supports the tent is a double
v-fold that allows the tent to twist when the page is
opened.
This 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
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.
64
65
Pop-Ups
HINGED
COIL or SPIRAL
This mechanism is constucted with two pieces of paper
that are hinged together. It opens up as the page is
opened. This spread also contains hidden elements.
A illustration on a card can be removed from the
envelope that is adhered to the page.
The 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
DOUBLE LAYER
This technique is mostly used in carousel books, in
order to create the illusion of depth.
66
67
Figures
Figures
PART ONE
CHAPTER TWO
COVER
FIG 2.1 Exhibition Entrance
Location: National Museum of American History,
Washington, D.C., Paper Engineering, Fold, Pull,
Pop & Turn Exhibition, Aug. 18, 2010
Photo: Bernadette Puleo 2010
Train Illustration IRT Division R-12 Car No. 5760
New York Transit Museum, New York City Subway
Trains – 12 classic punch-and-build trains, Gibbs
Smith, Salt Lake City, 2003
COVER PAGE
Santoro of London, Swing Card “Plane”
Location: RX Express, East Northport, NY
CHAPTER ONE
FIG. 1.1 Ramon Llull, Raimundus Lullus Ars
Magna, Treehttp://commons.wikimedia.org/wiki/
File:Ramon_Llull_-_Ars_Magna_Tree_and_Fig_1.
png (accessed September 22, 2010)
FIG 1.2 Peter Apian, Astronomicum caesareum (The
emperor’s astronomy), Ingolstadt, Germany, 1540
FIG 1.3 Vojtech Kubasta, How Columbus
Discovered America. 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
FIG 2.3 Vojtech Kubasta, Ricky the Rabbit
London: Bancroft, 1961
FIG 2.4 Charles Kurts, author, Illustrations
by Sonia R. Hillios, Nicholas Jainschigg and
Clark Schaffer, Design and paper engineering by
Chuck Murphy, These are the Voyages –: A ThreeDimensional Star Trek Album New York: Pocket
Books, 1996
FIG 2.5 Marion Batille, ABC3D, 2008 by Albin
Michel Jeunesse, RoaringBrook Press, New York
FIG 2.6 Edward H. Hutchins; Spread from Flights
of Fancy, (2002, 1/15)
Location: Grolier Club – Beyond the Text: Artists’
Books from the Collection of Robert J. Ruben
FIG 2.7 Julie Chen; Spread from Panorama,
Flying Fish Press (2008, 9/100), Beyond the Text:
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 Text: Artists’
Books from the Collection of Robert J. Ruben
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),
http://www.amazon.com/Angels-Pop-Up-BookPop-Up/dp/0316039705/ref=sr_1_1?ie=UTF8&s=
books&qid=1286408905&sr=1-1
(accessed January 30, 2011)
FIG 3.1 Eric Carle; Spread from The Very Hungry
Caterpiller Pop-Up Book, Philomel, New York, 2009
FIG 3.11 Will Eisner; Spread from The Spirit:
A Pop-up Graphic Novel, Bruce Foster, Paper
Engineer, Insight Editions (2008), http://weblogs.
variety.com/photos/uncategorized/2008/10/28/
spritpopup.jpg (accessed January 30, 2011)
FIG 3.2 Tomie dePaola; Spread from Brava, Strega
Nona! A Heartwarming Pop-Up Book, Putnam
Juvenile; Pop edition, New York, 2008
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)
FIGS 3.3, 3.4 David A. Carter; Spread from Beach
Bugs, Little Simon, New York, 2008
CHAPTER FOUR
CHAPTER THREE
FIG 3.5 David A. Carter; Spread from One Red
Dot, Little Simon, New York, 2005
Smithsonian Catalog Holiday 2010 Cover
FIGS 3.6 through 3.8 Robert Sabuda; Spreads
from Alice’s Adventures in Wonderland – A Pop-up
Adaptation of Lewis Carroll’s Original Tale, Little
Simon, New York, 2003
FIG 3.9 Mo Willems; Cover and spread from Big
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
FIG 4.2 Refeka, Pop-up cube in sleeve Promotional
Mailer, http://www.refeka.de/index.php/products/
hier1_en/Pop+up+Elements.htm
FIG 4.3 Alex Bates, Creative Director,
Location: Structural Graphics Headquarters
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
FIG 4.5 Structural Graphics, Sample Wall
FIG 4.6 Structural Graphics, 4 page Fruit of the
Loom Ad, “Collect Them All”
FIG 4.7 Structural Graphics, Sun America
Promotional Mailer, Using Bookcube TM
CHAPTER FIVE
FIG 5.1 Up With Paper, Treasures 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: Target
FIG 5.3 Santoro of London, Swing Card
Location: RX Express
FIG 5.4 Santoro, PopnrockTM Card “Amour”
FIG 5.5 Russ, The Original Pop-Ups, “30th
Birthday”
FIG 5.6 American Greetings, Inventions, Dance
MachineTM Card
Photos: Bernadette Puleo 2010
CHAPTER 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/
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/
FIG 6.3 , FIG 6.4 Lexus: “The Safest Accident”
Commercial, Screen Capture from Video
http://www.a52.com/index.php?f=deta&n=239
FIG 6.5 The 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/
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/
69
Figures
Figures
cont.
CHAPTER SEVEN
CHAPTER 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
FIG 1.1 Jei Qi, http://web.mit.edu/~jieqi/Public/
DREU_Site/index.html
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
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
FIG 7.3 “The Secrets of the Magic Tablet” 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’s Up! Zooburst.com
http://www.zooburst.com/gallery.php
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
FIG 7.8 through FIG 7.10 David A. Carter and
James Diaz, The Elements of Pop-Up, Little Simon,
NY 1999
PART TWO
COVER PAGE
Pop-Up Snow Globe Greetings, “Holiday
Snowflake”, Up with Paper, OH
FIG 1.4 through FIG 1.7 Spreads from Electronic
Popables, Jei Qi, 2009, screen capture from video,
http://www.atissuejournal.com/2009/11/27/
electronic-popable-books-from-mit/ (accessed
January 30, 2011)
CHAPTER TWO
FIG 2.1 Cover The Search for Wondla, DeTerlizzi,
Tony, Simon & Schuster Children’s Publishing,
NY, 2010 http://www.amazon.com/SearchWondLa-Tony-DiTerlizzi/dp/1416983104
FIG 2.2 AR demonstration by author The Search
for Wondla, DeTerlizzi, Tony, Simon & Schuster
Children’s Publishing, NY, 2010, screen captures
from video http://wondla.com/wondlavision.html
FIG 2.3 Structural Graphics, Stryker Diagnostics
AR promotion, screen captures fromvideo, http://
www.structuralgraphics.com/work/index.
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
CHAPTER THREE
FIG 3.1 Discovery Channel “Life“ Mini Series
Promotional Mailer, using Video In Print ®
Technology 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 ® Technology 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
cont.
FIG 3.4 Inventions video greetings card,
American Greetings
CHAPTER FOUR
FIG 4.1 Alice for the iPad, Atomic Antelope,
image capture from video, http://www.
huffingtonpost.com/2010/04/14/alice-inwonderlandipad_n_537122.html
FIG 4.2 Illustrator, Chuck Fischer at Books of
Wonder bookstore, November 20, 2010
FIG 4.3 A Christmas Carol app for the iPad,
Chuck Fischer, 2010, http://www.youtube.com/
watch?v=ZlAGJzW5zdE
CHAPTER FIVE
FIG 5.1 Philips LCD E-Ink® flexibe tablet display,
http://www.dirkweiss.com/?p=239
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
FIG 5.4 Ink In MotionTM point of purchase
display, image capture from video, http://www.
motiondisplay.com/, (accessed January 30, 2011)
CHAPTER SIX
FIG 6.1 Robert Sabuda, http://www.csufresno.edu/
journal/vol8/02/news/arnenixon.shtml
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/
FIG 6.3 David A. Carter, http://www.
justonemorebook.com/2009/01/12/conversationwith-david-a-carter/, (accessed January 30, 2011)
FIG 6.4 Alex Bates, Creative Director,
FIG 6.5 Ann Montanaro, http://www.popuplady.
com/mbs02-partisanpopups.shtml,
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,
FIG 6.8 Ellen G. K. Rubin, http://www.amazon.
com/Ellen-G.K.-Rubin/e/B003NWGEXY,
GLOSSARY
FIG G.1 Spread from study tour book, Fall 2008,
Bernadette Puleo
The idea for the flaps was a natural after
photographing Open Studio’s wall of open signs.
Bernadette Puleo
The flap idea worked well for this transformation of
speaker, Arlen Schumer, who spoke about iconic
comic images.
Bernadette Puleo
Pull this tab up and it reveals the men behind the
books, both literally and figuratively.
Bernadette Puleo
The swirling ocean in Yuko Shimizu’s illustration
lends itself to a pull-up spiral, revealing another of
her illustrations.
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.
FIG G.6 Spread from study tour book, Spring
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.
Bernadette Puleo
The waterfall mechanism is a good way of showing
71
Figures
off the book covers designed by book designer,
Laurie Dolphin.
Bernadette Puleo
Alex W. White had so many point to make about
typography that a wheel revealing one at a time was
the perfect solution.
Photo: Bernadette Puleo
FIG G.9 Spread for study tour book, Fall 2008,
Bernadette Puleo
This V-fold is very effective in showing the work
of & And Partners. Especially with David Crooks
pointing right at it.
FIG G.10 Spread for study tour book, Spring
An entirely different use of V-fold. This more like
a tent style, showcasing the wonderful fashion
illustrations at the Society of Illustrators.
FIG G.11 Spread for sudy tour book, Spring 2010,
Bernadette Puleo
A more complex V-fold treatment for Elmo.
Bernadette Puleo
This movable employs multiple V-folds which
creates a lot of movement when the viewer opens
the page.
Mirko Ilic had many dioramas set up in a series
of oranges cubes in his studio. The floating frame
72
Endnotes
cont.
worked best to capture the real thing.
A floating layer was the perfect solution to make
the SPDR logo stand out.
This is a variation of the floating layer. The supports
twist as the page opens, making the floating layer
rotate as it flattens out.
Bernadette Puleo
Kandinsky in 3D. What more can be said.
This is a hinged variation of a V-fold. Also, another
mechanism of movables is displayed with the
hidden image inside the envelope.
Bernadette Puleo
The words of Joe Ciardiello inspired this spiral idea.
“Just pick up the pen and start to draw.”
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
CHAPTER 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
2. Exhibition Brochure, Paper Engineering:
Fold, Pull, Pop & Turn, (Smithsonian Institution
Libraries, 2010), Pg. 6
3. Pop-Up and Movable Books – A Tour
through Their History from the Nineteenth
Century to the Present Featuring examples from
the Weaver Collection University of North Texas,
http://www.library.unt.edu/rarebooks/exhibits/
popup2/introduction.htm
4. Fox, Margalit, Waldo Hunt, King of the
Pop-Up Book, Dies at 88, (New York Times, November 26, 2009), http://www.nytimes.
com/2009/11/26/arts/26hunt.html
CHAPTER TWO
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
CHAPTER THREE
1. Carter, David A. Phone Interview.
30 July 2010
2. Carter, David A., Phone Interview,
30 July 2010
30 July 2010
4. Sabuda, Robert, Travels in Space and Time,
(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://wwwshawnsheehy.
com/Shawn_Sheehy/artists_statement.html
(Accessed September 26, 2010)
8. Sheehy, Shawn, Phone Interview,
16 Aug 2010
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)
CHAPTER 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
3. Dancing with the Stars. http://americhip.
com/cgi-bin/complex2/proddisp.pl?
db=americhip&catid=1&PRID=7
4. Diet Pepsi. http://americhip.
com/cgi-bin/complex2/proddisp.pl?
db=americhip&catid=1&PRID=3
5. Refeka! http://www.refeka.de/index.php/
philosophy.html (Acessed January 23, 2011)
6. Bates, Alex, Personal Interview, 5 Aug 2010
7. Todé, 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)
CHAPTER FIVE
1. Up With Paper, About Ushttp://www.
upwithpaper.com/about-up-with-paper.php
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. The Original Pop-Ups, http://www.
theoriginalpopups.com/
5. Graphics3 Inc., http://www.graphics3inc.
com/about_us/our_story
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)
16 Aug 2010
16 Aug 2010
CHAPTER SIX
1. Foster, Bruce, Phone Interview, 23 Aug. 2010
3. The Happy Duckling
http://www.happyduckling.com/
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
CHAPTER 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 Technology on Learning, Special
Issue May/June 2006) http://l3d.cs.colorado.
edu/~hendrixs/atl.pdf (Accessed Sept. 29, 2010)
4. The Pixel Farm http://blog.craigkapp.
com/?page_id=2 (Accessed Sept. 29, 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
PART TWO
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)
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
6. ibid
11. Products, Innovatitve Cards from Hallmark
http://corporate.hallmark.com/Product/InnovativeCards-from-Hallmark (Accessed 1 Oct. 2010)
CHAPTER THREE
5. http://ge.ecomagination.com/smartgrid/#/
augmented_reality (Accessed 1 Oct. 2010)
CHAPTER ONE
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)
30 July 2010
5. ibid
74
CHAPTER TWO
cont.
7. http://www.wallpaper.com/ar
8. Denis, Todd, 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, Todd, 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
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
4. Carter, David A. Phone Interview,
30 July 2010
16 Aug 2010
CHAPTER FIVE
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)
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
4. http://www.eink.com/products/ink_in_
motion.html
5. Lindstrom, Martin, Interview with Tim
Clegg of Americhip, April 28, 2008 Minneapolis
School of Art http://www.youtube.com/
watch?v=YrfY8FoRIr8 (Accessed 1 Oct 2010)
24 Aug. 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 & Turn
Exhibition Brochure, p. 19 The 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)
CHAPTER SIX
4. ibid p. 22
1. Carter, David A, Phone Interview,
30 July 2010
5. ibid p. 22
CHAPTER FOUR
2. Lindstrom, Martin, Interview with Tim
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 Technology. 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
6. ibid p. 21
8. ibid p. 19
9. Carter, David A. and Diaz, James, The
Elements of Pop-Up, A Pop-Up Book for Aspiring
Paper Engineers, Little Simon; Pop edition, 1999
5. Montanaro, Ann, Phone Interview,
14 Sept. 2010
75
Bibliography
Abstracts
Tare, Medha, et al. Less is more: How Manipulative
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from Picture Books Journal of Applied
Developmental Psychology Sep2010, Vol. 31
Issue5, p395-300, 6p Abstract
Books
Barton, Carol. The Pocket Paper Engineer, How to
Make Pop-Ups Step-by-Step Volume 2: Platforms
and Props. Maryland:
Popular Kinetics Press, 2008
Carter, David A. and Diaz, James. The Elements
of Pop-Up, A Pop-Up Book for Aspiring Paper
Engineers. New York: Little Simon;
Pop edition, 1999
Lindstrom, Martin. Brand Sense. New York:
Free Press, 2005
Exhibition Catalogs
Korshak, Yvonne and Ruben, Robert J. An
Exhibition at the Grolier Club, Beyond the Text:
Artists’ Books from the Collection of Robert J.
Ruben. New York, 2010
Unknown, Paper Engineering: Fold, Pull, Pop
& Turn. Washington D.C.: Smithsonian
Institution Libraries, 2010
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01 September 2010
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24 August 2010
Foster, Bruce. Telephone Interview.
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80
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