Summary

At State Library Victoria we have close to 1000 pop-up and movable books, ranging from the mid-1600s to present day. These items represent one of few three-dimensional, interactive mediums in history that has enduring appeal. However, with great ingenuity come considerable conservation challenges. Learn about the factors that make pop-up and movable books so captivating, yet uniquely susceptible to physical wear and tear.

At State Library Victoria we have close to 1000 pop-up and movable books (and counting), including examples from as early as the mid-17^th century. The Library also holds numerous non-fiction volumes on the subject.

These enthralling objects are commonly associated with the realm of children’s literature. However, people might be surprised to learn that movable illustrations were not used in works of fiction until the 18^th century, hitting the children’s market nearer the end of the century.  

Yet artists, philosophers, scientists, and book designers have been using movable illustrations to great effect for over seven centuries.¹ Today we refer to the makers of pop-up and movable illustrations as Paper Engineers. Read about the early history of movable books in the Library blog here.

Movable vs pop-up: what is the difference?

At the Library we divide these materials into two categories: ‘toy and movable books’ and ‘pop-up books.’ But what exactly is the difference?

The ‘movable book’ is commonly defined as containing movable illustrations that are operated by such triggers as levers, rotating discs, flaps, pull-tabs, and so on.² These devices are typically two-dimensional, are manipulated directly by the viewer, and do not cross the page fold.³ This covers a vast landscape of interactive devices from the 13^th century to the present day.

In contrast, the ‘pop-up book’ typically employs hinged paper sections attached to a folded sheet in such a way as to spontaneously rise to three-dimensions when a fold is opened and collapse flat when it is closed.⁴ The pop-up arrived on the scene in the early 1700s as “a simplified variation of its predecessors.”⁵

Despite these basic principles, no strict rules exist regarding the two categories. This allows for great ingenuity but also some unique conservation challenges!

Unique format, unique challenges

Pop-up and movable books are particularly vulnerable materials due to several interlinked factors. This includes the experimental nature of their design and the precision required in hand-assembly, the fragility of paper, the physical demands of movable mechanisms, and the particularly enthusiastic juvenile end user! As Peter Haining warns: “the movable, with its delicate cardboard machinery, could be irretrievably damaged by being handled carelessly only once.”⁶

The sum of these factors means that pop-up and movable books are particularly susceptible to physical wear and tear. It can be useful to classify such damage into three categories: design or assembly faults, known mechanical stresses, or inappropriate or overzealous handling practices. Many items are affected by all the above. It is this inherent vulnerability that led to the Library’s decision to move a portion of the pop-up and movable books to the Rare Books Collection in 2019.

A case study: Peeps into fairyland

This important work brought to light some wonderful books in need of treatment in the Library’s conservation lab; a prime example being Peeps into fairyland : a panorama picture book of fairy stories published by Ernest Nister, New York, c.1896 (RAREJEF 398.4 P34).

Peeps into fairyland contains six pop-up mechanisms that open into three-dimensional scenes in the style of the ‘tunnel book.’ Each pop-up consists of two colour-illustrations that are die-cut to the shape of the illustration, spaced one behind the other, and supported by side-panels. When the left page is opened, two textile tabs pull the die-cut illustrations upright until they ‘pop-up’. The uppermost die-cut illustration (foreground) frames the second die-cut illustration (middle ground), which in turn frames the page illustration (background), creating a wonderful sense of depth. 

Design or assembly faults

It is common to find damage relating to imperfections in design or assembly. The paper engineering field is one of trial and error, and assembly is completed by hand. Misalignment of a component by even just a few millimetres will impact on the working properties of a movable illustration and may ultimately lead to damage. On the other hand, some “damage” may be considered an interesting marker of the book’s unique production. 

For example, in ‘Jack running away from the Giant’ (page 19), the right side-panel was not folded correctly to create a base tab for page attachment. Instead, the assembler folded 4-5 mm to the right of the pre-serrated fold line. This has resulted in significant restriction of the pop-up’s range of motion, pulling the fore-edge of the page back into a strong curl.

Known mechanical stresses 

The ingenuity of turning two-dimensional paper sheets into three-dimensional paper structures and movable mechanisms comes with the expectation of damage at sites of mechanical stress. This can include splitting, tears, abrasion, and loss of material, particularly at working folds and joins.  

In Peeps into fairyland, every pop-up shows evidence of damage caused by mechanical stress. One example is ‘The Procession of Nursery Rhymes’ (page 7), which includes splitting along most folded card components, along with the loss of the reinforcing tab at the lower centre causing the pop-up to slump in the middle.

Inappropriate or overzealous handling practices

Pop-up and movable illustrations are designed to be used in a specific way, and any deviation has the potential for damage. This might include opening a pop-up or movable mechanism too quickly, too far, too vigorously, at the wrong angle, or while multi-tasking.

Given the simple structure of the pop-ups in Peeps into fairyland, there are few examples of inappropriate or overzealous interaction. However, a good example is found in ‘The Procession of Nursery Rhymes’ (page 7) where one of the textile tabs has a large tear at the point of attachment. This was likely the result of the pop-up being over-extended, placing stress on a site that was already under tension.

Handle with care 

There is no doubt that pop-up and movable books are culturally, historically and aesthetically significant objects, representing one of few three-dimensional, interactive mediums in history that has enduring appeal in this digital era. They are also particularly vulnerable! So, let’s take care of them and ensure these unique items endure for many more generations to enjoy. 

Further reading

For tips on caring for your own collections, check out the Library’s conservation guides.  

1. Montanaro AR 1993, Pop-up and Movable Books: A Bibliography, Scarecrow Press Inc., Metuchen, New Jersey (S 016.741642 M76P), p. xiii
2. Johnson, P 1992, Pop-Up Paper Engineering: Cross-Curricular Activities in Design Technology, English and Art, RoutledgeFalmer, Oxford, UK, p. viii
3. Barton, C 2005, The Pocket Paper Engineer: How to Make Pop-Ups Step-by-Step, Volume 2: Platforms and Props, Popular Kinetics Press, Glen Echo, MD, p. 8
4. Johnson, P 1992, Pop-Up Paper Engineering: Cross-Curricular Activities in Design Technology, English and Art, RoutledgeFalmer, Oxford, UK, p. viii
5. Haining, P 1979, Movable Books: An Illustrated History: Pages & Pictures of Folding, Revolving, Dissolving, Mechanical, Scenic, Panoramic, Dimensional, Changing, Pop-Up and other Novelty Books from the Collection of David and Briar Phillips, New English Library, London (SF 099 M86), p. 138
6. Haining, P 1979, Movable Books: An Illustrated History: Pages & Pictures of Folding, Revolving, Dissolving, Mechanical, Scenic, Panoramic, Dimensional, Changing, Pop-Up and other Novelty Books from the Collection of David and Briar Phillips, New English Library, London (SF 099 M86), p. 9