The Ace up a Designer's Sleeve: Cloth Color part 1
Tue, 21 Feb 2017 19:25:00 +0000
For our next two posts, let’s talk about color. Cloth color. It’s one of the three inescapable features of trade bindings from their beginnings in 1820s England through the 1920s, and one of two that continue to this day. The other two are cloth graining, which was seldom done after the 1910s (I’d say never but there might be some holdovers), and stamping, which today is almost completely reduced to title, author and publisher lettering on the spine. Stamping on the covers is a topic which comes up in every post; cloth graining has made appearances in past posts and is will be covered in more detail in the future. I’ll be breaking down my remarks on color into two parts: in this first I’ll be considering it in the context of designs on several individual titles and how color alone can vary the impact of a design. In a later post we’ll look at the use of cloth color in designs for “series” or “editions,” that is, series of books by individual authors with different designs on each volume, as well as series with identical designs for different titles. In both, most examples will be taken from the work of Margaret Armstrong (1867-1944) who frequently appears in this blog.(1) She is one of the best (many would say the best) cover designer of the late 19th and early 20th century, and is certainly one of the most collected, thanks to the work of Charles Gullans and John Espey. (2) Let’s start with a probably long-overdue glance at the term “trade binding.” Trade binding is another term for edition binding, in which the bindings are identical, made by or for a publisher or distributor, are generally in hard covers, and produced using automation (3). You might encounter a number of variations of “trade binding” which appears in the title of our blog: case binding, edition binding, and wholesale trade binding. If you’d like to explore short definitions of these terms I wholeheartedly recommend Matt Roberts and Don Etherington’s Bookbinding and the Conservation of Books: a Dictionary of Descriptive Terminology, which is available online. For our purposes, an understanding of the term “case binding” is sufficient. Case binding is a method of bookbinding where the case (the book covers) are made separately from the text block. The text block is then glued to the book’s cover using the endpapers to attach the two. Paperbacks are made in a similar way, except the back edges of the text block are glued to the spine of the paper covers, called “adhesive binding.” Case binding materials can be almost anything: paper, wood, leather, flexible or stiff cardboard, or cloth. Several critical factors in the rise and continued use of case binding are 1) they are made separately from the “book” (i.e. text); 2) they can be made very quickly through mechanization of the various processes involved; 3) they can be made in large quantities; 4) they are identical. All of these factors bring down the cost of book production and enable attractive products (sometimes) to be made quickly and in large numbers, critical to meeting the increasing demand for reading materials in the 19th century and after.(4)
|Embossing press used to stamp designs on case bindings|
|Cutaway view of the Harper establishment in the third quarter of the 19th century|
|The binding operation on the 6th floor at Harpers, with detail below|
Now that we’re all case binding masters let’s get back to color.
We’ve looked at cloth color in the past:
in December 2016, with Drifted In
In all three cases the choice of cloth color was not random (“we’ve got a lot of this yellowish-brown cloth on hand; let’s use some of that up”). Rather, the cloth color was a conscious choice which served several purposes. The color helps to establish a mood on each of these covers, whether it’s a feeling of cold and oppressive weather for Drifted In, the dramatic darkness of The Legatee, or the dry, open western desert on Heart’s Desire. The cloth color is also incorporated as part of the design. We can see this in the snowflakes and window details on Drifted In’s cover, The Legatee’s silhouetted branches, and the desert ground the stagecoach crosses on Heart’s Desire. The color was also used to grab a shopper’s attention, even if a bookseller shelved his wares spine out (although one suspects that many, if not most, covers were not visible as most books were issued with dust jackets).
After our long detour we return to Margaret Armstrong. Armstrong's total output was at least 314 covers according to Gullans and Espey's checklist (more have been discovered since its publication), of which nearly half, 145 titles, were designed for Scribner, with Putnam coming in a distant second with 42 titles. Only three Armstrong designs were for Houghton, Mifflin, which is not surprising as Sarah Wyman Whitman provided most of their cover designs until 1899. Nevertheless, it is one of these three that we’ll feature: John Greenleaf Whittier’s The Tent on the Beach (1899). It is one of Margaret Armstrong’s many masterpieces, and is ideal as an exemplar of what can be done with only one color, gold, in addition to the color of the cloth.
Gullans and Espey devote a full page to this design and describe it in this way
“Between side panels, each with marine ornaments of a crab at the base and cockle shells alongside the stem of an iris in full bloom, the design is strongly banded in recessive parallel lines, thick and widely spaced at the bottom, and diminishing in height and distance between them as they rise toward the top. The illusion which is created of recession and distance from the front to the back by the incoming waves of the tide is powerful and is achieved without invoking the rules of perspective; consequently the flat surface of the cover is not broken. The device is one well known from Impressionist paintings and graphic works, both in Europe and America, and is in keeping with the aesthetic that regarded the flatness of the canvas surface as inviolable.”
Indeed. They also reference Laurie W. Crichton’s Book Decoration in America, 1890-1910, the catalog of an important exhibition at Williams College in 1979, and her “impenetrable discussion” of the cover:
“Armstrong’s binding decoration for The Tent on the Beach … is a study in geometric progression and mathematical ratios, a blending of disparate natural forms whose curved and horizontal lines form bands that gradually change in weight from bottom to top and in color from bright gold to dark blue. Unlike most of her decorations, this essentially asymmetrical binding was designed to be viewed along a vertical rather than a horizontal line, though the balanced, nearly identical side panels may be the first element noticed. Below the title lettering wavy, widening horizontal bands of gold against a dark blue cloth ground subtly evoke the rolling tide. In the side panels, crabs and scallop shells flank the waves to complete the reference to the seashore.” (5)
Impenetrably true. The cover also appeared in an influential exhibition at Harvard’s Houghton Library. The author of the exhibition catalog, Nancy Finlay, considers Armstrong’s design to be
“… one of her most striking and beautiful compositions. The almost hieratic pattern of symmetrically placed irises with little crabs at their roots and a stylized wave motif between them is stamped in low relief in gold on green cloth. The color combination is typical of the publications of Houghton Mifflin and Company and particularly characteristic of their favorite designer, Sarah Wyman Whitman.” (6)
What can I add to that? We can quibble with some of the description, such as whether the shells are cockles or scallops (I think the latter), or just how hieratic the design is, or what is in high relief and what is not (the cloth between the gold waves is actually in relief; the only gold features in relief are the embossed crabs). And are the gold “waves” (or tops of waves) “diminishing in height and distance between them as they rise toward the top,” or is the distance between them growing? But there’s no question that the design produces strong and favorable reactions. Gullans and Espey mention that the title was issued in four cloth colors in their description, and five in the checklist entry: brown, blue, dark blue-green, olive green, or red. The design is not illustrated in their checklist, however, and both Crighton and Finlay, alas, reproduce the design only in black and white. I have not seen a copy in “blue” cloth and don’t know if it’s dark, medium, or light blue (booksellers’ descriptions are certainly not clear on this), but we can take a look at the other colors.
Gullans and Espey presumably saw all color variations and pronounced the book “astonishing.” Nancy Finlay described the design on green cloth as “one of her most striking and beautiful compositions.” Laurie Crichton considered a copy on dark blue cloth to be “a study in geometric progression and mathematical ratios.” The subtlety and complexity of the design are enhanced by Armstrong’s use of three kinds of gold stamping: gloss, matte, and embossed, with the background all in matte, the flowers, shells, and lettering in gloss, and the two embossed crabs. I find myself most attracted to the greenish blue cloth copy in the lower right, but I also very much like the brown and red cloth copies and am not at all adverse to the green. Do you have a favorite?--that’s what comments are for! The point being that they are all attractive and that different purchasers might be drawn to one over another, with their opinion perhaps changing over time. Publishers knew this, of course, and could issue a book in a variety of formats (paper wrappers, cloth, leather) or cloth colors.
Or perhaps there is a deeper bibliographical significance to variant cloth colors; perhaps they indicate a conscious decision on the publisher’s part to re-issue a title in new dress while retaining a familiar design. A third possibility is that cloth color could simply indicate that the publisher/bookbinder was temporarily or permanently out of a certain cloth color. A complete edition of a book was usually bound over time, it being easier and cheaper to store printed sheets than bound books. So if 1,000 copies of a novel were printed, the publisher might only bind 500 books for the initial issue. As stock diminished more copies could be bound, usually in the same color, but the cloth could come from a later lot with minor variations in color. Books could be kept in print indefinitely in the later 1800s and into the 20th century by the use of electrotyping. As type had always been the principle cost to a printer, this completely changed the economics of printing, as there was no need to keep a book in “standing type”; rather, electrotyped plates could be used many times, were easily stored, and allowed type to be reused immediately.(8)
|Workers electrotyping "pages" of type|
Although any of these three possibilities could explain the multiple cloth colors for this title, one is far more likely than the others. John Carter (1905-1975), author and bibliographer, gave a cautionary note on using cloth color to try and establish primacy in issues or states of books:
“It is well known that certain books were issued in different colours at the same time. And where two bindings are identical in every respect save this, it is generally safe to assume (in default of some specific external evidence) that the variation was a deliberate one.
This practice flourished far more extensively in the United States ... A claim for priority on difference of colour only must be effectively substantiated to be acceptable.” (8)
Margaret Armstrong’s name and cover designs were by this time well known to publishers and to the public. She began using her distinctive monogram in 1895, and by 1899 it appeared on virtually all of her books. Its presence on a cover was a mark of distinction, and books were advertised as having a “cover design by Miss Armstrong.” We can be almost certain that the four (or five) color variants of The Tent on the Beach were issued at the same time. This is supported by another example of a Houghton, Mifflin publication by another classic American author: Last Poems, by James Russell Lowell, published in 1895.
Sarah de St. Prix Wyman Whitman (1842-1904), the designer of the cover, was a Boston artist and socialite whose binding designs, chiefly for Houghton Mifflin, revolutionized the field.(9) The bindings of the 1870s and 1880s were generally cluttered, awash in mixed styles, lettering, images, and ornamentation. The following images contrast a typical binding from the period with Sarah Whitman's first known design from 1881, published a year before the first book.
Whitman, who began her career as a cover designer in the early 1880s, eliminated all of this excess and replaced it with simple, elegant designs, often floral, on carefully chosen cloth. Her distinct lettering is usually rustic and calligraphic and as recognizable as Margaret Armstrong’s. A generation older than Armstrong and other prominent designers of the 1890s, she pioneered the role of “artist-designer” in book cover design. She was the house designer for Houghton, Mifflin for around two decades and infrequently signed her work with the letters SW within a heart or flaming heart.
|Sarah Wyman Whitman|
|The Queen's Twin. Houghton, Mifflin, 1899|
Turning back to Lowell’s Last Poems, we can see all of the hallmarks of Whitman’s aesthetic. A simple floral device in the form of a flowering bush or tree with leaves and flower petals drifting down—not a lot but more than enough to suggest the last blossoms and leaves from a beloved poet that we will have. A dove is placed discretely in the branches and the tree seems to be rooted in a heart, a common Whitman motif. This is also a subtle reminder that the cover is Whitman's work, as it echoes the heart in her monogram.
The stylized heart shape at the root of a floral element appears far more often than a monogram in Whitman’s designs, but it just as surely identifies her as the designer. Another characteristic that Whitman often used is acknowledging and emphasizing the shape and structure of the book, in this case by putting a thin rule border on the cover with the rules extending to the edges of the cover and the resulting squares filled with gold. Finally, the cover is lettered in her distinctive rustic font. All three covers are restrained, elegant, pleasing to the eye, and eminently sellable.
We’ll end with another Margaret Armstrong design, this time for the publisher G.P. Putnam’s Sons. From 1896 to 1899 Armstrong created one design a year for a holiday edition of a work by Washington Irving. In 1896 it was the two volume “Surrey edition” of Bracebridge Hall, followed in 1897 by the two volume “Tacoma edition” of Astoria. The next year brought the “Pawnee edition” of The Adventures of Captain Bonneville, also in two volumes. The series concluded in 1899 with Rip van Winkle and The Legend of Sleepy Hollow which shared a single design and were advertised as a set. Bracebridge Hall was issued in either dark blue or cream cloth; Astoria on cream, red, or white cloth; Captain Bonneville in either cream or dark blue cloth; and Rip van Winkle in white or red cloth, or “ooze” leather (a soft calfskin with a finish like suede). Pictured is the Rip van Winkle, in both colors, from 1899.
The cloth used on both copies is a coarse buckram. On the red cloth, only the line die was used, giving us an opportunity to study the outlines of the design, with its twenty-one swirling stylized tulips, two clay pipes with their fantastically long stems intertwined with the tulip stems, lettering which takes "whimsical" to a new level, and a border of dots and rectangles. Six tulips above and six below form an irregular cartouche for the lettering, pipes, and nine remaining tulips. The delicacy of the lines used for the tulips contrast sharply with the much heavier lettering, pipe bowls, and border.
|A closer look at the lettering.|
When we turn to the copy in white buckram the design is, at first, almost unrecognizable. The gold fades back, the tulip flowers move front and center, almost leaping out of the design, whereas on the red cloth they appeared more as a hidden picture (“how many tulips can you find?”) There seems to be more than three colors used, and in combination with the gold, the book has a lavish appearance. The red cloth copy looks like an engraving (as it is), whereas the white cloth copy looks like a painting. Central to all of these impressions is the switch from red cloth to white.
Cloth color is the cover designer’s ace up the sleeve. It’s the designer’s not-so-secret weapon. It can provide variety for the book purchaser; it can be subtly integrated into a design; it can make a, I won’t say cheap but thrifty publisher’s provision that only black and one color of ink can be used on a cover less of an artistic burden by allowing the designer to incorporate the cloth color into her design. Color can establish a mood, catch and hold the eye, or show that the book’s owner is quite the sober and thoughtful fellow. Long live colored bookcloths, in all their varied hues.
1) If you need to refresh your memory on Armstrong, Wikipedia has a short article on her under the title “Margaret Neilson Armstrong.”
2) Gullans, Charles and John Espey. Margaret Armstrong and American Trade Bindings: With a Checklist of her Designed Bindings and Covers. Los Angeles: UCLA, Department of Special Collections, University Research Library, 1991. Available online. The cover of The Tent on the Beach is not reproduced in this checklist.
3) Roberts and Etherington. Bookbinding and the Conservation of Books. “Edition binding.”
4) Images from “Visitors’ Guide to Harper & Brothers’ Establishment,” in Harper & Brothers’ Descriptive List of Their Publications, with Trade-list Prices. New York: Harper, 1880. P. ix (establishment) p. xiii (the bindery) p. xiv (embossing press). Viewed online
5) Crichton, Laurie W. Book Decoration in America, 1890-1910: a Guide to an Exhibition. Williamstown, Mass.: Chapin Library, Williams College, 1979, p. 55.
6) Finlay, Nancy. Artists of the Book in Boston, 1890-1910. Cambridge, Mass.: Department of Printing and Graphic Arts, The Houghton Library, Harvard College Library, 1985, p. 57.
7) “Visitors’ Guide to Harper,” p. vii-viii.
8) Carter, John. Binding variants in English publishing, 1820-1900. London: Constable, 1932 (reprinted by Oak Knoll Books, 1989), p. 82. Carter also wrote the very useful, gently sarcastic, and quite funny ABC for Book Collectors (1951, now in its 8th edition), and, with Graham Pollard, An Enquiry into the Nature of Certain Nineteenth Century Pamphlets, a devastatingly polite and scientific exposure of the famous book collector and bibliographer, Thomas James Wise (1859-1937), as the co-forger of numerous fake literary “rarities.”
Digital Library on American Slavery Presentation at the High Point Museum
Sat, 18 Feb 2017 01:42:00 +0000
Richard Cox, University Libraries' Digital Technology Consultant, will give a presentation at the High Point Museum about the Digital Library on American Slavery (DLAS) on February 25, 2017 at 1 p.m. The DLAS contains unique, detailed information extracted from legislative and county court petitions, runaway slave ads, slavery-era insurance registries, slave deeds and slave trade voyages. Buried in these documents are names and other data on more than 200,000 individuals. In his presentation, Cox will demonstrate how to search the database and review what can be found within the collection, as well as answer any questions participants may have about the contents and use of the database.
Conservation Storage Boxes
Wed, 18 Jan 2017 19:26:00 +0000
Libraries and archives make use of protective enclosures to safeguard their collections. We are not different from any other library or archive. Through the years the Preservation Services has custom created several different types of storage boxes for a large array of items in our collections.
Going from a simple phase box:
To an artistic designed clamshell box, integrating conservation principles, design and the item format.
Size and format is not a barrier to our creativity:
These archival storage are supposed to work as a barrier against acidic materials and to add extra support against further damage. Before buying your archival storage, carefully do research on their components. Make sure they meet conservation standards for the specific materials you will store. This will reinforce the durability and protection of your collection.
For more information on how to do your own conservation boxes, check our tutorials, in three different languages - English, Spanish and Portuguese, at:
LGBTQ+ Lunch & Learn Series
Wed, 15 Feb 2017 20:47:00 +0000
The Office of Intercultural Engagement would like to invite you to attend the LGBTQ+ Lunch and Learn Series this Spring. Bring a lunch and settle in for presentations and lively discussion. More info below:
The Friends of the UNCG Libraries are advocates and supporters of the Libraries. Our Friends make a real difference in our ability to serve the campus and the local community.
Students Add to Digital Library of American Slavery
Wed, 22 Feb 2017 14:52:00 +0000
UNCG has outstanding digital archives. What you might not know is that, through coursework and internships, students have the opportunity to contribute to them.
This spring, several history courses are interacting with one of UNCG Libraries’ most valuable resources – the extensive Digital Library of American Slavery, created by professor emeritus Loren Schweninger over more than 20 years, and currently managed by Digital Technology Consultant Richard Cox.
Dr. Lisa Tolbert’s undergraduate history research methods course and Dr. Joey Fink’s graduate history course are using, and adding to, the DLAS’s Runaway Slave Advertisement Database. The advertisement database is managed by University Libraries’ Digital Projects Coordinator David Gwynn, who is helping to facilitate the students’ contributions. A recently awarded Strategic Seed grant will fund student interns to help digitize advertisements and work with classes in adding to the database.
Since the Runaway Slave Advertisement Database presently includes ads up to 1840, the students from Tolbert’s class are adding content from the 1850s and 1860s. To find this content, they’re reading newspapers on microfilm to find runaway slave ads, and later creating transcriptions and metadata that will make it easier for researchers to locate patterns within the ads. When they finish the data collecting portion of the assignment, they will develop research projects that will contextualize the slave ads. Their projects will include different areas of research—they may include looking at social networks of runaways, how advertisements document the skills of runaways or the distinct experience of women runaways.
“I am particularly excited that these students will get an opportunity to see how a primary source database is created,” says Tolbert. “More and more, historical documents are being digitized and students are regularly using sources on the web, but they don’t often get to see how many choices go into digitizing those documents and how those choices affect the way we interpret a source.”
With Tolbert’s guidance the classes are discussing the way that newspaper readers of the nineteenth century may have seen the advertisements on newspaper pages, compared to the way we see the scans of the ads today.
The DLAS is one of the most used digital collections in the UNCG libraries, and, as Tolbert has said, shows the outstanding commitment to a teaching mission demonstrated by the University Libraries’ staff, beyond their work as collection managers, curators and preservationists.
Tolbert has been working closely with David Gwynn and Sarah Prescott to integrate the DLAS into coursework. Gwynn and Prescott have led a class workshop that instructs students in filling out the metadata spreadsheet and shows them techniques for transcribing the ads. Data Services and Government Information Librarian Lynda Kellam has trained the students in using microfilm readers and will lead workshops on bibliographic development as the students embark on their research this spring.
“This project offers them unique opportunities to develop more sophisticated digital and information literacies, says Tolbert. “I feel incredibly lucky to have the instructional support we enjoy from the library staff here at UNCG.”
The initial phase of the Runaway Slave Advertisements Database was supported by a federal Library Services and Technology Act grant administered by the State Library of North Carolina. The database contains more than 2,300 items published in North Carolina newspapers from 1751 to 1840. The NCRSA website includes digital scans of the ads, contextual essays to address their historical research value, full text transcripts, an annotated bibliography to aid researchers and a searchable database. In the fall, a library information science class will also use and contribute to the DLAS.
Check-in to see which new DVDs are hitting the shelves in Jackson Library!
Sun, 12 Feb 2017 19:38:00 +0000
NC Jazz Connections
Thu, 16 Feb 2017 15:51:00 +0000
John Coltrane. Thelonius Monk. Billy Taylor. What did all of these jazz artists have in common? They were all from North Carolina.John Coltrane
grew up in High Point and was a highly influential jazz saxophonist. For more on his life, please read the aptly-titled "John Coltrane: His Life and Music" by Lewis Porter
. Thelonius Monk, Billy Taylor, and dozens of other jazz, gospel, blues, and rap artists are studied in the extensive "The African American Music Trails of Eastern North Carolina
" by Sarah Bryan and Beverly Patterson.
Interested in learning more about the influence of this state on jazz and blues musicians? Then please check out these books at your local library or bookstore! Happy reading (and listening)!
SCUA collects, preserves, and makes accessible rare, unique, or otherwise significant materials outside the scope of the general UNCG library collection. We also deliver presentations, classes, tours, and exhibits.
Our collections include official records, personal manuscripts, rare books, textiles, A/V materials and artifacts. Subject strengths include women's history, literature, theatre, music, and dance.
Hop into History!: Guilford County, Slavery, and Freedom recap
Fri, 17 Feb 2017 14:42:00 +0000
On Thursday, February 16th, archivists from UNCG, Guilford College, and Wake Forest came together to create a display for Hop into History!: Guilford County, Slavery, and Freedom. David Gwynn and Richard Cox, both members of the UNCG Libraries' Electronic Resources and Information Technology department, were on hand to discuss their work in digitizing runaway slave ads and in building the Digital Library on American Slavery (DLAS)
. The Digital Library on American Slavery is an expanding resource compiling various independent online collections focused upon race and slavery in the American South, made searchable through a single, simple interface.
The exhibit is part of an ongoing series of Hop into History outreach events organized by UNCG's Special Collections and University Archives. These events take archival materials of the library and into the community, allowing more and more people to learn about local history and interact with these important and interesting documents.
Thank you to everyone who attended! The next Hop into History event is scheduled for Thursday, March 23rd from 5-7pm at Gibb's Hundred Brewing Company in downtown Greensboro. Hope to see you then!
Photos and other fun stuff from The University of North Carolina at Greensboro’s Martha Blakeney Hodges Special Collections and University Archives in the University Libraries.
You can also follow us on Twitter: @UNCGArchives!
Photograph of a man on a bulldozer working on tearing up the...
Wed, 22 Feb 2017 10:00:30 -0500
Photograph of a man on a bulldozer working on tearing up the road. Walker Avenue divided the campus until 1948. It was closed in 1948 from Forest Street to McIver Street to provide space for Walter Clinton Jackson Library and Stone Building (Home Economics). Bridge over Walker Ave. in background was demolished 1949.
Tales from the University Archives at the University of North Carolina at Greensboro
Dr. Joseph Himes "It is the mind that sees"
Mon, 20 Feb 2017 14:00:00 +0000
Dr. Joseph Himes taught at UNCG from 1969-1977 as Excellence Foundation Professor in the Department of Sociology.
"It is the mind that sees." It was a personal motto that Dr. Joseph Himes carried with him and guided him throughout his life, from the time he lost his sight in a chemistry experiment in his early high school days.
Himes' parents (his mother was a public school teacher and his father, a college teacher) were committed to his education even before the accident, home schooling him in his elementary school years. After he lost his sight, they increased their efforts even further, and moved a number of times to be nearer to schools that offered the very best education for the blind. With much effort, they enrolled him in the all-white Missouri School for the Blind, where he was able to attend only in a subordinate position. It was there he learned to read braille. Later, Himes' parents moved to Cleveland so that he could attend East High, which had an outstanding program for blind students. Himes' mother read his assignments to him, and he excelled to such an extent that he received one of 15 scholarships awarded nationally by the American Foundation for the Blind. He attended Oberlin College and excelled there as well, and was very involved in organizations, and extracurricular and social functions at the school.
Himes developed a near photographic memory during this time, since almost no course materials were printed in braille and Joseph had to memorize his assignments which were read to him. Unsure of what major to undertake, one of his sociology professors signed him up as a sociology major and he graduated with a bachelor's degree in 1931 Magna cum laude and a member of Phi Betta Kappa. he quickly earned a master's degree in sociology and economics in the following year.
Himes next taught at Houston College for two years before attending Ohio State University where he completed his Ph.D. in sociology and economics in 1938. He worked as a research director, writer, and aircraft assembly worker (during WWII) from 1936-1946, but he made a name for himself as a Professor of Sociology at North Carolina Central University from 1946-1969. In 1969, he was offered a job at his alma mater, Ohio State University, but he chose to come to UNCG.
He would author six books in his lifetime, and well over 100 articles (the first published in 1936). He also served his discipline at the local, national, and international levels. He was the founder and first president of the North Carolina Sociological Society and he held, at times, visiting professorships at Duke, Chapel Hill, and Syracuse University, as well as serving as a Fullbright Lecturer at Helsinki University, Finland, and Madras University, India. Indeed, he was a worldwide traveler, having also served as Project Director and Chief Investigator on a NSF Grant-funded study of "the Recruitment and Socialization of Social Movement Leaders" in Rhodesia in 1976. Dr. Himes was also the recipient of many awards including the DuBois-Johnson_Frazier Award (from the American Sociological Association), the Irwin V. Sperry Award (N.C. Family Life Council), and the Martin Luther King, Jr. Service Award (UNCG). Dr. Himes' accomplishments would be considerable for anyone and are all the more impressive considering he was both blind and, being African-American, a minority.
UNCG's land of data releases, new data sources, fun stats information, and much more!
Name and website changes at IPUMS
Fri, 17 Feb 2017 19:24:00 +0000
The IPUMS Team has some upcoming changes!
Exciting changes are coming to IPUMS. Over the next week, we will launch updated websites for all our data projects as well as new features on our portal, ipums.org.
Along with the new look of these sites, some of our projects have new names. Now all our projects are IPUMS projects: they deliver census and survey data from around the world integrated across time and space.
Don’t be confused by the new names and the new look: we’re still offering the same free data and data tools. Website navigation and extraction remain the same. We recommend you visit the new ipums.org. We have made it easier to access all our data projects and to find video tutorials, online learning modules, and assistance from IPUMS staff. You will also find information on events and workshops, a blog feed, and social links to make it easier for you to stay connected with IPUMS.
Digital collections news from UNCG University Libraries
Good Medicine Project Update
Wed, 01 Feb 2017 17:53:00 +0000
Wesley Long moved to its current site in 1961 and was greatly expanded in 1976
. It because part of the Cone Health system in 1997. The digital collection will eventually document all these events,
More to come!