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STOP: 

POP-UPS 

The Influence of Paper Engineering 

on Visual Media 

by Bernadette Puleo 

1

NEXT STOP: 


The Influence of Paper Engineering 

on Visual Media 

2 3

NEXT STOP: 


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. 

2 3

Thanks Contents 

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. 

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 

4 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 

6 7

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. 

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. 

PART ONE 

There’s Nothing 

Like the Present 

8 9

Chapter 

1 

A Brief 

History 

FIGURE 1.1 Drawing of an early vovelle movable. 

A 

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 

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 

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 

10 11

Chapter 

2 

Of National 

Importance 

A 

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 Cooper- 

Hewitt, 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. 

FIGURE 2.2 Paper engineering by Jan Pienkowski, 1981 

FIGURE 2.3 Paper engineering by Vojtech Kubasta, 1961 

FIGURE 2.4 Paper engineering by Chuck Murphy, 1996 

12 13 

FIGURE 2.1 Exhibition entrance.

FIGURE 2.5 Paper engineering by Marion Batille, 2008 

FIGURE 2.6 Artist book by Edward H. Hutchens 

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 

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, April- 

July, 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 2.7 Spread from artist book, “Panorama” by Julie Chen 

FIGURE 2.8 Spread from artist book, “Panorama” by Julie Chen, Detail 

14 15

Chapter 

3 

Books 

Books 

Books 

FIGURE 3.1 Spread from “The Very Hungry Catterpillar” 

FIGURE 3.2 Spread from “Brava, Strega Nona!” 

D 

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 

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 

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 

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 

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 Paper- 

Engineered 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. 

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 

16 17

FIGURE 3.6 

FIGURE 3.7 

FIGURES 3.6 through 3.8 

Spreads from “Alice’s Adventures in Wonderland, 2003. Robert 

Sabuda, illustrator and paper engineer. 

FIGURE 3.8 

18 19

FIGURE 3.9 Cover and spread from “Big Frog Can’t Fit In” 

FIGURE 3.10 Spread from “Angels” 

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 

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 3.11 

FIGURE 3.12 through 3.14 

Spread from “The Spirit: A Pop-up Graphic Novel” 

Spreads from “Star Wars: A Pop-up 

20 

Guide to the Galaxy” 

FIGURE 3.13 FIGURE 3.14 

21 

FIGURE 3.12

Chapter 

It All 

4 Ads Up 

FIGURE 4.1 

Jazz Diet Pepsi pop-up magazine insert ad by Americhip 

FIGURE 4.2 

Direct mail with pop-up cube by Refeka. 

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 

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 

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, 

“...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 4.4 Pop-up promotional mailer by Refeka 

FIGURE 4.3 Alex Bates, Creative Director of Structural Graphics 

FIGURE 4.5 Wall of promotional work at Structural Graphics 

22 23

FIGURE 4.6 

Four page insert ad with pop-up by 

Structural Graphics. 

FIGURE 4.7 

Mailer featuring Bookcube TM by 

Structural Graphics 

24 25

Chapter 

5 

Greetings 

FIGURE 5.1 

Pop-up card display by Up with Paper. 

O 

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 

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. 

26 27

FIGURE 5.3 

Swing card by Santoro 

FIGURE 5.4 

Pop n rock TM card by Santoro 

FIGURE 5.5 

The Original Pop-Ups by Russ 

28 

FIGURE 5.6 

Inventions Dance Machine 29 

TM by American Greetings, 3 views

Chapter 

6 

Going to 

the Movies 

FIGURE 6.1 

Paper engineered model for castle, Enchanted 

FIGURE 6.2 

CGI castle from model (above), Enchanted 

T 

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. 

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 

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; “Sherwin- 

Williams 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 6.3 Set from “The Safest Accident,” Lexus 

FIGURE 6.4 Set from “The Safest Accident,” Lexus 

30 31

The Happy 

Duckling 

School of Media 

and Imaging 

University of Dundee 

Fergie’s 

Clumsy 

directed by 

Marc Webb and 

Rich Lee 

Aesop Rock’s 

Fast Cars 

directed by 

Asif Mian 

32 33 

FIGURE 6.5 

FIGURE 6.6 

FIGURE 6.7

Chapter 

7 

Teaching 

and Learning 

FIGURE 7.1 Student work from Pratt Institute, NY 

FIGURE 7.2 Student work from Pratt Institute, NY 

M 

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 

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 

34 35

FIGURE 7.5 

Printable Electronics Workshop, Leah Buechley, Instructor 

FIGURE 7.6 

Printable Electronics Workshop, Fuller Craft Museum, MA 

FIGURE 7.7 

Printable Electronics Workshop, finished work. 

FIGURE 7.8 Spread from The Elements of Pop-Up 

FIGURE 7.9 Spread from “The Elements of Pop-Up” 

FIGURE 7.10 Cover “The Elements of Pop-Up” 

36 37

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. 

PART TWO 

The Crystal Ball 

38 39

Chapter 

1 

Electronic 

Popables 

FIGURE 1.1 Jai Qi 

FIGURE 1.2 Cover “Electronic Popables” 

I 

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 1.3 Lily Pad Arduino 

FIGURE 1.4 

A page from the book showing the pull tabs that activate the lights. 

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 1.5 

A page with embedded sensors responds to pressure in different locations. 4 

FIGURE 1.7 

Capacitive sensors trigger nitinol-driven flytraps. A user touches a sensor. 6 

40 41

Chapter 

Augmented 

2 

Reality 

FIGURE 2.1 

Cover The Search for Wondla 

FIGURE 2.2 

Author demonstrating Augmented Reality page. 

Between 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 

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. 

42 43

FIGURE 2.7 Camille Scherrer FIGURE 2.8 Demonstrating markerless AR 

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 2.9 Page from “Le Monde de Montagnes” FIGURE 2.10 Augmented Reality FIGURE 2.11 Hallmark POP Display for line of Augmented Reality greeting cards. 

44 45

Chapter 

3 

Video- 

In-Print ® 

FIGURE 3.1 Discovery Channel direct mail promotion 

FIGURE 3.2 Embedded Video-In-Print® ad for CBS 

V 

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. 

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 3.3 Hallmark in-store display 

FIGURE 3.4 American Greetings Innovations video greeting card. 

46 47

Chapter 

Apps for 

4 

the iPad 

The 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

50 FIGURE 4.3 Scenes from “A Christmas Carol” iPad App 

51 

OPPOSITE PAGE: FIGURE 4.2 Illustrator Chuck Fischer at Books of Wonder, NY 

FIGURE 4.1

Chapter 

E-Ink and 

5 

E-Paper 

FIGURE 5.1 E-Ink display in flexible material 

FIGURE 5.2 Ink-In-Motion 

To 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. 

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 5.4 Ink-In-Motion in-store display. 

52 53

Chapter 

6 

Conclusion 

FIGURE 6.1 Robert Sabuda 

FIGURE 6.2 Bruce Foster FIGURE 6.3 

David A. Carter 

W 

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 

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. 

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 

FIGURE 6.4 Alex Bates 

54 55 

FIGURE 6.5 

Ann Montanaro 

FIGURE 6.7 

Stephen Van Dyk 

FIGURE 6.6 

Shawn Sheehy 

FIGURE 6.8 

Ellen G. K. Rubin

Visual 

Glossary 

The 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. 

56 57

Movables. . . 

FIGURE G.1 Study tour book, Fall 2008 


Elements lie flat on the page – but don’t lie still. 1 

FLAPS 

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. 



58 59 

PULL TABS 

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.

Movables 

DISOLVING IMAGE 

Pull the tab and an image changes into a completely 

different one. 

FIGURE G.5 Study tour book, Spring 2009 FIGURE G.7 Study tour book, Fall 2010 

FIGURE G.6 Study tour book, Spring 2009 

SCANAMATION/ILLUSIONARY MOVEMENT 

As the page opens an image manually animates 

through the lined acetate. 


60 61 

WATERFALL 

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 

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

Pop-Ups. . . spring to life in three demensions rising from the surface of the page. 

FIGURE G.9 

Study tour book, Fall 2008 


V-FOLD 

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. 



MULTIPLE V-FOLDS 

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. 

62 63

Pop-Ups 



FLOATING LAYERS 

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 



OPPOSING ANGLES WITH A TENT 

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. 

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 

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. 


DOUBLE LAYER 

This technique is mostly used in carousel books, in 

order to create the illusion of depth. 


COIL or SPIRAL 

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 

66 67

Figures Figures cont. 

PART ONE 

COVER 

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 

Photo: Bernadette Puleo 2010 

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 

Location: National Museum of American History, 

Washington, D.C., Paper Engineering, Fold, Pull, 

Pop & Turn Exhibition, Aug. 18, 2010 


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) 

CHAPTER TWO 

FIG 2.1 Exhibition Entrance 





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 Three- 

Dimensional 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 


CHAPTER THREE 

FIG 3.1 Eric Carle; Spread from The Very Hungry 

Caterpiller Pop-Up Book, Philomel, New York, 2009 


FIG 3.2 Tomie dePaola; Spread from Brava, Strega 

Nona! A Heartwarming Pop-Up Book, Putnam 

Juvenile; Pop edition, New York, 2008 


FIGS 3.3, 3.4 David A. Carter; Spread from Beach 

Bugs, Little Simon, New York, 2008 


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 

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-Book- 

Pop-Up/dp/0316039705/ref=sr_1_1?ie=UTF8&s= 

books&qid=1286408905&sr=1-1 

(accessed January 30, 2011) 

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 3.12 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) 

CHAPTER FOUR 

FIG 4.1 Americhip, Jazz Diet Pepsi Pop- 

Up 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 

Machine TM 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/ 


68 69

Figures cont. 

CHAPTER SEVEN 

FIG 7.1, FIG 7.2 Student Work: Pratt Institute 

Pop-Up Classe, Professor Kyle Olmon, http:// 

robertsabuda.com/sneakpeek/snpk0109-pratt.asp 


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 


CHAPTER ONE 

FIG 1.1 Jei Qi, http://web.mit.edu/~jieqi/Public/ 

DREU_Site/index.html 


FIG 1.2 Cover Electronic Popables, Jei Qi, 

2009, screen capture from video, http://www. 

atissuejournal.com/2009/11/27/electronic-popablebooks-from-mit/ 


FIG 1.3 Lily Pad Arduino, http://www.arduino.cc/ 

en/Guide/ArduinoLilyPad 


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/Search- 

WondLa-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_ 

reality (accessed January 30, 2011) 

FIG 2.5 Wallpaper* magazine Augmented Reality 

Issue, screen capture from video http://vimeo. 

com/8350503 (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 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 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 


Figures 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/, 


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, 


70 71 

GLOSSARY 

FIG G.1 Spread from study tour book, Fall 2008, 


The idea for the flaps was a natural after 

photographing Open Studio’s wall of open signs. 




The flap idea worked well for this transformation of 

speaker, Arlen Schumer, who spoke about iconic 

comic images. 




Pull this tab up and it reveals the men behind the 

books, both literally and figuratively. 




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. 




The waterfall mechanism is a good way of showing

Figures cont. 

off the book covers designed by book designer, 

Laurie Dolphin. 




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, 


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, 


A more complex V-fold treatment for Elmo. 




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 

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. 




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. 




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 

Endnotes 

72 73 

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 


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 


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 


CHAPTER FIVE 

1. Up With Paper, About Ushttp://www. 

upwithpaper.com/about-up-with-paper.php 


2. White, George, Phone Interview, 

42 Aug. 2010

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/ 


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) 


30 July 2010 

PART TWO 

CHAPTER ONE 

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 

5. ibid 

6. ibid 

CHAPTER TWO 

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) 

2. Hamilton, Karen E, Augmented Reality in 

Education http://wik.ed.uiuc.edu/index.php/ 

Augmented_Reality_in_Education (Accessed 1 Oct 

2010) 

3. http://wondla.com/wondla-vision.html 

4. Bates, Alex, Personal Interview, 5 Aug. 2010 

5. http://ge.ecomagination.com/smartgrid/#/ 

augmented_reality (Accessed 1 Oct. 2010) 

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) 

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 


Endnotes cont. 

10. http://www.chipchip.ch/ 

11. Products, Innovatitve Cards from Hallmark 

http://corporate.hallmark.com/Product/Innovative- 

Cards-from-Hallmark (Accessed 1 Oct. 2010) 

CHAPTER THREE 

1. Discovery Channel: LIFE http://americhip. 

com/cgi-bin/complex2/proddisp.pl?client=americh 

ip&catid=17&PRID=26 (Accessed September 27, 

2010) 

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. Products, Innovatitve Cards from Hallmark 

http://corporate.hallmark.com/Product/Innovative- 

Cards-from-Hallmark (Accessed 1 Oct. 2010) 

CHAPTER FOUR 

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 

4. Carter, David A. Phone Interview, 

30 July 2010 

CHAPTER FIVE 

1. Esquire’s E-Ink Cover. September 8, 2008 

http://www.esquire.com/the-side/video/e-inkcover-video 


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) 

CHAPTER SIX 

1. Carter, David A, Phone Interview, 

30 July 2010 

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) 



5. Montanaro, Ann, Phone Interview, 

14 Sept. 2010 




16 Aug 2010 


24 Aug. 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 

74 75 

2. ibid p. 20 

3. ibid p. 21 

4. ibid p. 22 

5. ibid p. 22 

6. ibid p. 21 

7. ibid p. 20 

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

Bibliography 

Abstracts 

Tare, Medha, et al. Less is more: How Manipulative 

Features Affect Children’s Learning 

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 

Internet 

3D Paper Graphics Home Page. http:// 

www.3dpapergraphics.com/ 

a52 Lexus Pop-Up Video. http://www.a52.com/ 

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05 August 2010 

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Chen, Julie. E-mail Interview. 


Fischer, Chuck. Telephone Interview. 


Foster, Bruce. Telephone Interview. 


Frampton, Susan. Personal Interview. 


Kropp, Lisa. Personal Interview. 


Montanaro, Ann. Telephone Interview. 


Olmon, Kyle. E-mail Interview. 


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Tempeley, Rosemary (Feb 2011) Paper 

Engineering in Children’s Books. Movable 

Stationery Vol.19, No. 1 

Magazine Articles 

Carothers, Martha (16 Nov 2000) Book Artist 

Shares Expertise on History of Pop-Up 

Books. UpDate Vol. 20, No. 6 

Carter, Betty (Nov/Dec 2009) What Makes a 

Good Pop-Up Book? Horn Book Magazine 

Vol. 85 Issue 6, p625-632, 8p


Hansell, Mary P. (2 June 2005) Indiana U.: Indiana 

U. Library Exhibit Features Pop-Up Books for 

All Ages. The America’s Intelligence Wire 

Reid, Dixie. Big Jump in Pop-Up Books. The 

Sacramento Bee, (2 Mar. 2008) Calif 

Smith, Stephanie D. Pop-Up Books: Publishers 

Increasingly are Running Tricked-Out Ads 

to Help Keep Reader Attention. MediaWeek 

v15i46 (19 Dec. 2005) p2 

Staff Section: Technology, News New Scientist Vol. 

205, Issue 2744, (23 Jan 2010) p17-17, 1p 

Newspaper Articles 

Meeks, Flori. Faces in the Crowd; Cy-Fair Paper 

Engineer Creates Pop-Up Books; Bruce 

Foster’s Skill Enhances Artists’ Work. The 

Houston Chronicle (24 Jan. 2008), 

Houston, Tx 

Ong, Bao. Pop Culture Phenomenon Newsweek 

(26 Sept 2005) p.9 

Unknown. New Pop-Up Books Aiming for Adults 

(21 Dec 2006) UPI News Track, 

United Press International 

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