1) How useful were the pre-course readings?

1: Gascoigne is a marvelous resource, but is tough going in areas where the reader has not previously seen examples of the work described. Mayor is a pretty quirky writer, but I enjoy reading him. I liked starting the course with two very different sorts of readings and, overall, found the reading very valuable. 2: B. Gascoigne is not an easy read - it assumes the reader has a knowledge of the subject, especially process prints. It is not enough of a primer on process. Its organization is helpful and I can see why it is (somewhat) followed in the course. 3: Very good. Gascoigne is an excellent reference, especially when you are puzzled by a printing process or combination of processes used in the same printed illustration. 4: The reading was in fact essential. Without at least giving it a good look over before class, the material discussed in lecture would be very difficult to grasp. 5: Some help, but very confusing. 6: Very useful. It was essential reading to keep up with the pace of the course. 7: Essential. 8: Very. 9: OK - it was helpful having actual examples to compare to the Gascoigne written description. 10: Very useful. Also very technical for a person new to the subject. 11: The background reading was useful and a valuable point of reference for the course lectures.

2) Were the course syllabus and other materials distributed in class useful (or will they be so in the future, after you return home)?

1: They are and will be useful to me, especially the time line and the list of all the illustrations we saw. I appreciate all the work that goes into managing and making this material available to students. 2: Excellent! It could not be better, except to provide some post-course reading on process prints. I have tried to read books written on process publishing in the 20's, etc., but they become technical and wordy . Process prints are the most difficult and an absolute necessity for describing and selling books, prints, maps. 3: Yes, appropriate. The list to take home will be very useful. 4: We certainly are going to leave with more paper than we arrived with. I think it will all prove useful to me as I continue to look at prints and look for further information. 5: It was appropriate and should be some help after my return, especially the time line. 6: Yes. 7: The syllabus could have been more detailed. 8: Although the material was somewhat useful in class, I don't think that it will be after I return home. 9: For the most part. I will use the time line often, but probably will not use the list of prints used in class. 10: Yes. 11: Yes, particularly the reading list for pursuing additional background material on the subject.

3) Was the intellectual level of the course content appropriate?

1: Yes. However, my background in illustrations is extremely limited, so I wasn't sure that I was up to the level of instruction! 2: Excellent! Just right. 3: For an introductory course, yes. 4: Yes. The various backgrounds of the students in the class added to the interesting discussions that we had. Many people had a thorough knowledge of history, illustrators, writers, and book collecting. It would have been very different if everyone came from the same kind of education and experience. 5-6: Yes. 7: High level: wonderful integration of publishing and printing history, techniques, art history, and a bit of connoisseurship. 8-11: Yes.

4) Did the actual course content correspond to its RBS brochure description and Expanded Course Description (ECD)? Did the course in general meet your expectations?

1: Yes. 2: Yes! 3: Yes, for the most part. 4-6: Yes. 7: There was more on later c19-20 processes than expected. 8-10: Yes. 11: Yes, and then some, because print processes after 1890 were also covered - even up to the latest developments.

5) What did you like best about the course?

1: I liked the enormous range of materials made available to us and TB's expertise. I also appreciate the fact that we were able to look closely (with the proper equipment) and handle items ourselves. 2: Verbal walk through history, comparisons, stories. Perfect examples. Organization. Instructor's knowledge of the subject. Resources. Easy-to-refer-to references. 3: Being able to look at the examples of the printed materials and making actual prints using relief and intaglio processes. If it were possible to see a lithograph made, either stone or plate, it would be an additional experience that would clarify the planographic printing processes. 4: I enjoyed the challenge of testing our knowledge of print identification, both in our tests and when looking at prints during lectures. It was particular fun to try to startle TB with oddities in the examples. 6: Learning by looking. 7: TB's ability to adapt to questions and interests away from the set agenda, producing discussions and examples not planned. 8: The opportunity to view hundreds of prints and books. 9: Hands-on aspect. 10: The opportunity to see many examples of the processes we were discussing. The BAP has an outstanding teaching collection. 11: The opportunity to handle and examine prints from earlier periods that normally one would see only under glass in a museum.

6) How could the course have been improved? 1: The room is pretty crowded with people, prints, equipment, etc. The chairs are very uncomfortable! (Could you provide cushions?) 2: An addition to the syllabus on the mechanical process. I felt I was the only person who lacked basic knowledge of the photo process. 3: The physical space for viewing the prints was far too small for the number of participants, so a larger room with two people per table would have been better. Also, the packets were a bit cumbersome to handle; the mylar made things slip and slide around in a big heap. Need I say more? 4: A different system for storing our examples after viewing would help with the cramped conditions. erhaps a video describing or showing some more complicated printing techniques would help those unfamiliar with printmaking, eg, lithography, photo processes. It would have helped if we got out of class on time. My bladder would have appreciated it. 6: My preference would be to keep this course to 1850/60, with later illustration processes to be dealt with in a separate course. 7: Doing away with the cumbersome packets (two to a table) that were added to throughout the week. They were little consulted and took up too much space. One sample for the entire group would have sufficed. 8: Less reliance on Gascoigne (no index). More space (particularly at table ends) for materials. More opportunity for input from attendees (they aren't dolts) - question time, though planned, never happened. 9: I would like to have had comparison sessions as the course progressed, eg, here is a copper engraving, sitting next to a steel, so that the differences could be seen and compared. 10: Almost packed too much into too short a time. Perhaps break it up into two courses? 11: Find an alternate lighting source for direct light. The diffuse fluorescent lights distort everything.

7) We are always concerned about the physical well-being of our teaching collections. What suggestions to you have for the improved classroom handling of materials used in your course?

1: I really appreciate being able to handle the prints (as I've just written). That has not always been the case in RBS courses (especially in European Bookbinding). I would never expect to handle material in Special Collections, but I've seen this week just how critical it is to be able to examine the teaching materials. 3: I would make archival paper mats with a window cut in each with the window having the mylar. It would be expensive to house the materials in four-ply mat board, but if that were possible, I'd do that. I'd store things hinged in standard-size mats, ie 14x18, 20x24, 22x28, etc., because these are standard sizes for print boxes. And put them in storage horizontally in map cases or slotted cases. You could use the tops of the cases to view the prints. 4: See no.5, above. 5: Leaving the packets of prints on the tables takes up room; few of them were referred to again. (Perhaps have a place off the tables for storage.) 6: None. 7: See above: provide more surface space for handling material. 8: See above. 9: This has already been addressed by TB (that fat envelope that grew during the course). 10: Remind people to be careful about pens around the prints. Better storage for the prints throughout the week. 11: The study packets - instead of folders, put the prints in boxes with dividers so that they can stand up. To get them out of visual range, mount them on brackets attached to the bookshelves behind or to the side of the tables so one would not have to stand up to retrieve the materials.

8) Please comment on the quality/enjoyability of the various RBS activities in which you took part outside of class, eg Sunday afternoon tour, Sunday night dinner and videos, evening lectures, Bookseller Night, tour of the Alderman digital/electronic centers, printing demonstrations, &c.

2: Everything was just right. I enjoyed the coziness of small groups. There were good dynamics, despite the smaller size of the group. I'm always willing to hear stories and history behind RBS - makes me feel more connected; makes me appreciate the effort and energies. My admiration grows with each new piece of knowledge about RBS. Greer Allen's lecture/reading was a delight! 3: Good. 4: I absolutely loved GA's lecture! The other activities such as Bookseller Night was useful for exploring the area and meeting other people in RBS and in the field. Perhaps arrangements for transportation into town would make it even better. 5: Sunday dinner was very nice. The videos could be better placed (we are all tired on arrival). The evening lectures were nice. Bookseller Night was good. Study night was okay. 6: They were fine. Bookseller Night could have been a somewhat more organized affair. 7: All was enjoyable, except for the videos; the space was awkward and it got too late. 8: The videos need to be new and better. Evening lectures were valuable. You should notify booksellers you are going to have Bookseller Night and when you are going to have it. I did not attend Study night. 9: I enjoyed them all and recommend that they continue. 10: I always enjoy the evening lectures very much. 11: They were enjoyable. Monday's lecture gave a perspective on a type of literature I was unfamiliar with. Meeting and talking with booksellers was useful.

9) Any final thoughts? Did you get your money's worth?

1: Please, TB, stop class at noon (sharp) if you expect students to return at 1:30 sharp!! 2: I am once again thrilled with RBS. I have waited four years for this course and it was well worth it. I got what I needed. It was worth more than I paid. 3: It was definitely worth the money, very enjoyable in an excellent learning environment. 4: Yes, I would recommend this course. However, I would suggest reading the suggested text carefully or visiting a printmaking studio ahead of time. 5: I think so. I'll know better after I return and try to identify parts of my collections. 6: Money's worth, and more. 7: The best. 8: Yes, I did get my money's worth. 9: Got my money's worth! Thanks! 10: Absolutely got my money's worth. Be prepared for a long, intensive week. 11: Having different types of prints constantly thrown at one was overwhelming but useful for comparison. The best way to learn is by handling as many examples as possible; this experience certainly proves this, so it was worth the price of admission.

The following statistical summary is derived from the responses of the seven students with instititonal affiliations.

Number of respondents: 11

There were eleven students: five (45%) were rare book librarians, three (28%) were antiquarian booksellers, and one each (9% each) was a collector, a conservator/binder/preservation librarian, and a general librarian with some rare book duties.