1963 Israel POP UP BOOK Hebrew JUDAICA Bible SAMSON Jewish BIBLICAL Judaica RARE

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1963 Israel POP UP BOOK Hebrew JUDAICA Bible SAMSON Jewish BIBLICAL Judaica RARE:
$87.50

DESCRIPTION : This exceptionaly rare HEBREW POP UP book is an ORIGINAL Israeli creation . It was DESIGNED , MANUFACTURED and PUBLISHED in 1963 , Tel Aviv Israel by publisher A.Naor . Designed by Theora . It\'s important to emphasize - This is not an Israeli - Hebrew adoptation-translation of a foreign book . This is indeed a genuine ISRAELI - HEBREW POP UP BOOK . The Biblical story ofSHIMSHON HAGIBOR , The legendary \"SAMSON\" the hero ,was adopted to a shortened childrens\' book text. The book consists of FOUR POP UP scenes , Designed to the best ability of the Israeli pop up designers. All the pop up mechanical parts are intact and working. No part is missing . Original illustrated cardboard cover. Around 10 x 7\" . Four POP UP scenes ( 8 pp ) . Good condition. Slight cover wear . The sensitive spine was mended - reinforced by acid free archival transparent tape ( Can hardly be seen ). ( Pls look at scan for accurate AS IS images ). Will be sent in a special protective rigid package.

PAYMENTS : Payment method accepted : Paypal .SHIPPMENT : Shipp worldwide via registered airmail is $14 . Will be sent in a special protective rigid package. Handling within 3-5 days after payment. Estimated Int\'l duration around 14 days.

Samson, Shimshon (Hebrew): שמשון, Standard Šimšon Tiberian Šimšôn; meaning \"of the sun\" – perhaps proclaiming he was radiant and mighty, or \"[One who] Serves [God]\") or Shamshoun شمشون (Arabic) or Sampson Σαμψών (Greek) is the third to last of the Judges of the ancient Children of Israel mentioned in the Tanakh (the Hebrew bible), and the Talmud. He is described in the Book of Judges chapters 13 to 16.[1][2][3]The exploits of Samson also appear in Josephus\'s Antiquities of the Jews, written in the last decade of the 1st Century CE, as well as in works by Pseudo-Philo, written slightly earlier. Samson is a Herculean figure, who is granted tremendous strength by God to combat his enemies and perform heroic feats unachievable by ordinary humans:[4] wrestling a lion,[3][5][6][7] slaying an entire army with only a donkey jawbone,[2][3][6][7][8] and destroying a temple.[1][3][7]He is believed to have been buried in Tel Tzora in Israel overlooking the Sorek valley. There reside two large gravestones of Samson and his father Manoah. Nearby stands Manoach’s altar (Judges 13:19-24).[9] It is located between the cities of Zorah and EshtaolBiblical narrative Samson\'s activity takes place during a time when God was punishing the Israelites, by giving them \"into the hand of the Philistines\".[11] An angel appears to Manoah, an Israelite from the tribe of Dan, in the city of Zorah, and to his wife, who had been unable to conceive.[2][5][12] This angel proclaims that the couple will soon have a son who will begin to deliver the Israelites from the Philistines.[5] The wife believed the angel, but her husband wasn\'t present, at first, and wanted the heavenly messenger to return, asking that he himself could also receive instruction about the child that was going to be born. Requirements were set up by the angel that Manoah\'s wife (as well as the child himself) were to abstain from all alcoholic beverages, and her promised child was not to shave or cut his hair. He was to be a \"Nazirite\" from birth. In ancient Israel, those wanting to be especially dedicated to God for awhile could take a nazarite vow, which included things like the aforementioned as well as other stipulations. [2][5][12] After the angel returned, Manoah soon prepared a sacrifice, but the Messenger would only allow it to be for God, touching his staff to it, miraculously engulfing it in flames. The angel then ascended to heaven in the fire. This was such dramatic evidence as to the nature of the messenger, that Manoah feared for his life, as it has been said that no-one can live after seeing God; however, his wife soon convinced him that if God planned to slay them, he would never have revealed such things to them to begin with. In due time the son, Samson, is born; he is reared according to these provisions.When he becomes a young adult, Samson leaves the hills of his people to see the cities of the Philistines. While there, Samson falls in love with a Philistine woman from Timnah that, overcoming the objections of his parents who do not know that \"it is of the Lord\", he decides to marry her.[5][12][13] The intended marriage is actually part of God\'s plan to strike at the Philistines.[5] On the way to ask for the woman\'s hand in marriage, Samson is attacked by an Asiatic Lion and simply grabs it and rips it apart, as the spirit of God moves upon him, divinely empowering him. This so profoundly affects Samson that he just keeps it to himself as a secret. [5][6] He continues on to the Philistine\'s house, winning her hand in marriage. On his way to the wedding, Samson notices that bees have nested in the carcass of the lion and have made honey.[5][6] He eats a handful of the honey and gives some to his parents.[5] At the wedding-feast, Samson proposes that he tell a riddle to his thirty groomsmen (all Philistines); if they can solve it, he will give them thirty pieces of fine linen and garments.[5][12] The riddle (\"Out of the eater, something to eat; out of the strong, something sweet\") is a veiled account of his second encounter with the lion (at which only he was present).[5][6] The Philistines are infuriated by the riddle.[5] The thirty groomsmen tell Samson\'s new wife that they will burn her and her father\'s household if she does not discover the answer to the riddle and tell it to them.[5][6] At the urgent and tearful imploring of his bride, Samson tells her the solution, and she tells it to the thirty groomsmen.[5][12]Before sunset on the seventh day they said to him, \"What is sweeter than honey? and what is stronger than a lion?\" Samson said to them, \"If you had not plowed with my heifer, you would not have solved my riddle.\"[8][13]He flies into a rage and kills thirty Philistines of Ashkelon for their garments, which he gives his thirty groomsmen.[6][8][12] Still in a rage, he returns to his father\'s house, and his bride is given to the best man as his wife.[6][8][12] Her father refuses to allow him to see her, and wishes to give Samson the younger sister.[8][12] Samson attaches torches to the tails of three hundred foxes, leaving the panicked beasts to run through the fields of the Philistines, burning all in their wake.[6][8][12] The Philistines find out why Samson burned their crops, and they burn Samson\'s wife and father-in-law to death.[7][8][12] In revenge, Samson slaughters many more Philistines, smiting them \"hip and thigh\".[8][12]Samson then takes refuge in a cave in the rock of Etam.[8][12][14] An army of Philistines went up and demanded from 3000 men of Judah to deliver them Samson.[12][14] With Samson\'s consent, they tie him with two new ropes and are about to hand him over to the Philistines when he breaks free.[7][14] Using the jawbone of an ass, he slays one thousand Philistines.[3][7][14] At the conclusion of Judges 15 it is said that \"Samson led Israel for twenty years in the days of the Philistines\".[14]Later, Samson goes to Gaza, where he stays at a harlot\'s house.[8][15] His enemies wait at the gate of the city to ambush him, but he rips the gate up and carries it to \"the hill that is in front of Hebron\".[8][15]He then falls in love with a woman, Delilah, at the Brook of Sorek.[7][8][15][16] The Philistines approach Delilah and induce her (with 1100 silver coins each) to try to find the secret of Samson\'s strength.[8][15] Samson, not wanting to reveal the secret, teases her, telling her that he will lose his strength should he be bound with fresh bowstrings.[8][15] She does so while he sleeps, but when he wakes up he snaps the strings.[8][15] She persists, and he tells her he can be bound with new ropes. She ties him up with new ropes while he sleeps, and he snaps them, too.[8][15] She asks again, and he says he can be bound if his locks are woven together.[8][15] She weaves them together, but he undoes them when he wakes.[8][15] Eventually Samson tells Delilah that he will lose his strength with the loss of his hair.[7][8][15][16] Delilah calls for a servant to shave Samson\'s seven locks.[8][15][16] Since that breaks the Nazarite oath, God leaves him, and Samson is captured by the Philistines,[3][8][15] who stab out his eyes with their swords. After being blinded, Samson is brought to Gaza, imprisoned, and put to work grinding grain.[15]One day the Philistine leaders assemble in a temple for a religious sacrifice to Dagon, one of their most important deities, for having delivered Samson into their hands.[15][10] They summon Samson so women and men gather on the roof to watch.[15][16][10] Once inside the temple, Samson, his hair having grown long again, asks the servant who is leading him to the temple\'s central pillars if he may lean against them (referring to the pillars).[7][15][10]\"Then Samson prayed to God, \"remember me, I pray thee, and strengthen me, I pray thee, only this once, O God, that I may be at once avenged of the Philistines for my two eyes\" (Judges 16:28)\".[3][15][10] \"Samson said, \"Let me die with the Philistines!\" (Judges 16:30)[10][17] He pulled the two pillars together, and down came the temple on the rulers and all the people in it.[3][7][16][10][17] Thus he killed many more as he died than while he lived.\" (Judges 16:30).[7][17]After his death, Samson\'s family recovers his body from the rubble and buries him near the tomb of his father Manoah.[10]The fate of Delilah is never mentioned.[16]In rabbinic literature Rabbinical literature identifies Samson with Bedan;[12] Bedan was a Judge mentioned by Samuel in his farewell address (1 Samuel 12:11) among the Judges that delivered Israel from their enemies.[18] However, the name \"Bedan\" is not found in the Book of Judges.[18] The name \"Samson\" is derived from the Hebrew word \"shemesh\", which means the sun, so that Samson bore the name of God, who is called \"a sun and shield\" in Psalms 84:11; and as God protected Israel, so did Samson watch over it in his generation, judging the people even as did God.[12] Samson\'s strength was divinely derived (Talmud, Tractate Sotah 10a); and he further resembled God in requiring neither aid nor help.[19][12]Jewish legend records that Samson\'s shoulders were sixty cubits broad.[12] (Although many talmudic commentaries explain that this is not to be taken literally, for a person that size could not live normally in society. Rather it means he had the ability to carry a burden 60 cubits wide (approximately 30 meters) on his shoulders). [20] He was lame in both feet [21], but when the spirit of God came upon him he could step with one stride from Zorah to Eshtaol, while the hairs of his head arose and clashed against one another so that they could be heard for a like distance[22].[12] Samson was said to be so strong that he could uplift two mountains and rub them together like two clods of earth,[23] yet his superhuman strength, like Goliath\'s, brought woe upon its possessor.[24][12]In licentiousness he is compared with Amnon and Zimri, both of whom were punished for their sins.[25][12] Samson\'s eyes were put out because he had \"followed them\" too often.[26][12] It is said that in the twenty years during which Samson judged Israel he never required the least service from an Israelite [27], and he piously refrained from taking the name of God in vain.[12] Therefore, as soon as he told Delilah that he was a Nazarite of God she immediately knew that he had spoken the truth [26].[12] When he pulled down the temple of Dagon and killed himself and the Philistines the structure fell backward, so that he was not crushed, his family being thus enabled to find his body and to bury it in the tomb of his father.[28][12]In the Talmudic period, some seemed to have denied that Samson was a historic figure and was regarded by such individuals as a purely mythological personage. This was viewed as heretical by the rabbis of the Talmud, and they attempted to refute this. The named Hazelelponi as his mother in Numbers Rabbah Naso 10 and in Bava Batra 91a and stated that he had a sister named \"Nishyan\" or \"Nashyan\".[12]Opinions Some evidence suggests that Samson\'s home tribe of Dan might have been related to the Philistines themselves. \"Dan\" might be another name for the tribe of Sea Peoples otherwise known as the Denyen, Danuna, or Danaans. If so, then Samson\'s origin might be entirely Aegean.[29] These speculations are in stark contrast to the historical depictions expressed in the Bible and are therefore mutually exclusive. Joan Comay, co-author of Who\'s Who in the Bible:The Old Testament and the Apocrypha, The New Testament, believes that the biblical story of Samson is so specific concerning time and place that Samson was undoubtedly a real person who pitted his great strength against the oppressors of Israel.[1]In contrast, James King West finds that the hostilities between the Philistines and Hebrews appear to be of a \"purely personal and local sort\". He also finds that Samson stories have, in contrast to much of Judges, an \"almost total lack of a religious or moral tone\".[30]Some modern academics have interpreted Samson as a demi-god (such as Hercules or Enkidu) somehow enfolded into Jewish religious lore, or as an archetypical folklore hero, among others. Suggestions that he was a solar deity, popularized by nineteenth-century \"solar theorists\", no longer have wide academic support. [31] Samson in folk culture Samson parades are annual parades of a Samson figure in different villages in Lungau, Salzburg and two villages in the north-west Steiermark (Austria).[32]Samson is one of the giant figures at the \"Ducasse\" festivities, which takes place at Ath, Belgium. [33] and it is now a popular name today in our modern society Samson (spelled Sanson) plays a major role in many accounts of Basque mythology, where it is represented as a mighty giant capable of hurling heavy stones, often providing an explanation for the origin of mountains and megalithic monuments. In some places this role is played by a development of the character Roland (Errolan) In literature Ze\'ev Jabotinsky the Zionist Revisionist leader used the biblical story of Samson to espouse some of his political vision through his 1930 novel, Samson the Nazarite.[34] Samson also featured in Australian author, David Goransson\'s 1996 novel, Nazarite: Day of the Judge.[35]In Popular Culture Marvel Comics character Leonard Samson, who is frequently pitted against Hulk, is a psychologist who owes his super strength to gamma irradiated hair which appears long and green. ******* The epithet pop-up is often applied to any three-dimensional or movable book, although properly the umbrella term movable book covers pop-ups, transformations, tunnel books, volvelles, flaps, pull-tabs, pop-outs, pull-downs, and more, each of which performs in a different manner. Also included, because they employ the same techniques, are three-dimensional greeting cards. Pop-up types Design and creation of such books is known as paper engineering, a term not to be confused with the term for the science of paper making. It is akin to origami in so far as the two arts both employ folded paper. However, origami tends to be focused on creating objects, whereas pop-ups tend to remain essentially pictorial and mechanical in nature. Some examples follow. Transformations Transformations show a scene made up of vertical slats. By pulling a tab on the side, the slats slide under and over one another to \"transform\" into a totally different scene. Ernest Nister, one of the early English children\'s book authors, often produced books solely of transformations. Many of these have been reproduced by the Metropolitan Museum of Art.Volvelles Volvelles are paper constructions with rotating parts. An early example is the Astronomicum Caesareum, by Petrus Apianus, which was made for the Holy Roman Emperor Charles in 1540. The book is full of nested circular pieces revolving on grommets. Tunnel books Tunnel books (also called peepshow books) consist of a set of pages bound with two folded concertina strips on each side and viewed through a hole in the cover. Openings in each page allow the viewer to see through the entire book to the back, and images on each page work together to create a dimensional scene inside. This type of book dates from the mid-eighteenth century and was inspired by theatrical stage sets. Traditionally, these books were often created to commemorate special events or sold as souvenirs of tourist attractions. (The term \"tunnel book\" derives from the fact that many of these books were made to commemorate the building of the tunnel under the Thames River in London in the mid-1800s.) In the United States, tunnel books were made for such attractions as World Fairs and the New York Botanical Gardens. Recently the tunnel book format has been resurrected by book artist Carol Barton and others as a sculptural book form. Artists are interested not only in the book\'s interior views, but also in treating the side accordions and covers as informational and visual surfaces. History The audience for early movable books were adults, not children. It is believed that the first use of movable mechanics appeared in a manuscript for an astrological book in 1306. The Catalan mystic and poet Ramon Llull, of Majorca, used a revolving disc or volvelle to illustrate his theories. Throughout the centuries volvelles have been used for such diverse purposes as teaching anatomy, making astronomical predictions, creating secret code, and telling fortunes. By 1564 another movable astrological book titled Cosmographia Petri Apiani had been published. In the following years, the medical profession made use of this format, illustrating anatomical books with layers and flaps showing the human body. The English landscape designer Capability Brown made use of flaps to illustrate \"before and after\" views of his designs. While it can be documented that books with movable parts had been used for centuries, they were almost always used in scholarly works. It was not until the eighteenth century that these techniques were applied to books designed for entertainment, particularly for children. Notable works Some pop-up books receive attention as literary works for the degree of artistry or sophistication which they entail. One example is STAR WARS: A Pop-Up Guide to the Galaxy, by Matthew Reinhart. This book received literary attention for its elaborate pop-ups, and the skill of its imagery, with the New York Times saying that \"calling this sophisticated piece of engineering a \'pop-up book\' is like calling the Great Wall of China a partition\". References Further reading The Pocket Paper Engineer, Volume 1 by Carol Barton, 2005 The Pocket Paper Engineer, Volume 2 by Carol Barton, 2008 The Elements of Pop-Up by David A. Carter and James Diaz, 1999. Paper Engineering: 3D Design Techniques for a 2D Material by Natalie Avella. Rotovision, 2003. ********* A Concise History of Pop-up and Movable Books by Ann Montanaro \"Mechanical books should look like ordinary books. Their success is to be measured by the ingenuity with which their bookish format conceals unbookish characteristics.\" Because books are by design two-dimensional, it might seem impossible for a page to add motion or depth other than through illustrations with perspective and illusion. And yet, for more than 700 years, artists, philosophers, scientists, and book designers have tried to challenge the book\'s bibliographic boundaries. They have added flaps, revolving parts, and other movable pieces to enhance the text. It is not known who invented the first mechanical device in a book, but one of the earliest examples 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. Throughout the centuries volvelles have been used for such diverse purposes as teaching anatomy, making astronomical predictions, creating secret code, and telling fortunes. Yet, while it can be documented that movable parts had been used for centuries, they were almost always used in scholarly works. It was not until the 18th century that these techniques were applied to books designed for entertainment, particularly for children. F. J. Harvey Darton, English authority on childrens\' books, wrote that before 1770 there were virtually no books \"produced ostensibly to give children spontaneous pleasure, and not primarily to teach them, not solely to make them good, nor to keep them profitably quiet.\" London book publisher Robert Sayer changed that with the production of \"metamorphoses\" books. These books, which were also called \"turn-up\" books or \"harlequinades,\" afforded amusement, not so much through their printed contents, but through their illustrations that changed and kept pace with the story. \"Metamorphoses\" books were composed of single, printed sheets folded perpendicularly into four. Hinged at the top and bottom of each fold, the picture was cut through horizontally across the center to make two flaps that could be opened up or down. When raised, the pages disclosed another hidden picture underneath, each having a few lines of verse. Other early examples of movable books were the Paper Doll Books produced by London publisher S. & J. Fuller beginning in 1810; the \"toilet book,\" and an early example of a lift-the-flap book, first illustrated and published by the artist William Grimaldi in the 1820\'s; and peep-show books. Little or nothing is known of the origin of the peep-shows but they appear to have evolved from the traveling exhibits that showmen featured at fairs and festivals. They were often quite elaborate constructions depicting scenes from famous stories or topical events and were viewed through a small hole in the cover. The first true movable books published in any large quantity were those produced by Dean & Son, a publishing firm founded in London before 1800. By the 1860\'s the company claimed to be the \"originator of childrens\' movable books in which characters can be made to move and act in accordance with the incidents described in each story.\" From the mid-19th century Dean turned its attention to the production of movable books and between the 1860\'s and 1900 they produced about fifty titles. To construct movable books, Dean established a special department of skilled craftsmen who prepared the hand-made mechanicals. The designers used the peep-show principle of cut-out scenes aligned one behind the other to give a three-dimensional effect. Each layer was fixed to the next by a piece of ribbon that emerged behind the uppermost portion, and when this was pulled, the whole scene sprang up into perspective. Dean also introduced movable books with transformational plates based on the jalousie or venetian blind principle. The illustrations in these books had either a square or an oblong picture divided into four or five equal sections by corresponding horizontal or vertical slits. When a tab at the side or bottom of the illustration was pulled, the picture \"transformed\" into another picture. Read and Ward & Lock, Darton were two other London publishers of movable books, but Raphael Tuck was the first publisher to seriously challenge Dean & Son. In 1870 Tuck and his sons founded a publishing business in London that produced luxury paper items including scrapbook pictures, valentines, puzzles, paper dolls, and decorated papers. In the genre of movable books, Tuck published \"Father Tuck\'s \'Mechanical\' Series.\" The series included stand-up items with three-dimensional effects as well as movable books. To produce these books, Tuck, like Dean, formed editorial and design studios in London where volumes of high pictorial quality were produced. All of the printing, however, was done in Germany. The Germans developed a mastery of color printing in the second half of the 19th century and their equipment and techniques superbly reproduced the finest art work. Another 19th century publisher who specialized in movable books was Ernest Nister. His printing business, begun in 1877, was capable of producing works by all of the major processes of the time. However, despite his wide range of publishing endeavors, he is best known for his movable books that were published from 1890. Nister\'s works were similar to those produced by his contemporaries but Nister\'s illustrations stood up automatically. The books had figures that were die-cut and mounted within a three-dimensional peepshow framework. The figures were connected by paper guides so that as the pages were turned, the figures lifted away from the page within the perspective-like setting. Nister also produced movable books with dissolving and revolving transformational slats. The distribution of Nister titles was not limited to European markets, the New York firm of E.P. Dutton worked in conjunction with Ernest Nister to promote and sell the publisher\'s titles in the United States. The most original movable picture books of the 19th century were devised by Lothar Meggendorfer. The Munich artist had a rare comic vision that was transmitted both through his art and through ingenious mechanical devices. In contrast to his contemporaries, Meggendorfer was not satisfied with only one action on each page. He often had five parts of the illustration move simultaneously and in different directions. Meggendorfer devised intricate levers, hidden between pages, that gave his characters enormous possibilities for movement. He used tiny metal rivets, actually tight curls of thin copper wire, to attach the levers, so that a single pull-tab could activate all of them, often with several delayed actions as the tab was pulled further out. Some illustrations used more than a dozen rivets. McLoughlin Brothers of New York produced the first American movable books. Innovators of printing techniques, McLoughlin issued two separate \"Little Showman\'s Series\" in the 1880\'s each containing three-dimensional scenes. These large, colorful plates unfolded into multi-layered displays. Few movable books were produced once the first World War began. The manufacture of movable books was labor-intensive. Presumably, after 1914 the labor force in the German printing works was required for less frivolous tasks. However, in 1929 a new series of movable books was initiated. British book publisher S. Louis Giraud conceived, designed, and produced books with movable illustrations described as \"living models.\" While the term had yet to be used, these were authentic \"pop-up\" books. Each title contained at least five, double-page spreads that erected automatically when the book was opened and had illustrations that could be viewed from all four sides. Unlike his German precursors, Giraud\'s books were moderately priced. They were produced on coarse, absorbent paper, employing crude photolitho printing and color reproduction techniques, and were finished with inexpensive covers and bindings. Between 1929 and 1949 Giraud produced a series of 16 annuals, first for the Daily Express and later as an independent publisher using the trade names \"Strand Publications\" and \"Bookano Stories.\" Each annual included stories, verses, and illustrations as well as five or more pop-ups. Giraud\'s books reached a wide audience and were very popular. As the Depression years deepened, American book publishers sought ways to rekindle book buying. In the 1930\'s Blue Ribbon Publishing of New York hit upon a combination that proved successful. They animated Walt Disney characters and traditional fairy tales with pop-ups. Blue Ribbon was the first publisher to use the term \"pop-up\" to describe their movable illustrations. McLoughlin Brothers reentered the movable book market in 1939 with the publication of their first Jolly Jump-up title. The commercially successful Jolly Jump-up series included ten titles illustrated by Geraldine Clyne. A new group of artists and publishers entered the movable book market in the 1940\'s. The exciting adventures of Finnie the fiddler was the inaugural book of a series of titles featuring the animation of Julian Wehr. Wehr\'s illustrations were printed on lightweight paper and had tab-operated mechanicals. By moving the tab, which extended through the side or lower edge of the illustrated page, the various parts of the animation were put in motion. The action was transmitted to as many as five different parts of the picture. Beginning in the late 1950s a series of remarkably innovative pop-up books was produced by Artia in Prague, Czechoslovakia, a state-run import/export agency. Voitech Kubasta was their preeminent artist and the creator of dozens of pop-up books. Bancroft & Co. (Publishers) of London marketed the Czechoslovakian titles. In the mid-1960s American Waldo Hunt, President of Graphics International, a Los Angeles-based print brokerage company, was creating dimensional pop-up magazine inserts and premiums. Inspired by the Czechoslovakian works, and deterred in an attempt to market them in the U.S., he began to produce his own pop-up books. This decision led to the renaissance of pop-up books as we now know them. Graphics International moved to New York in 1964 and with the publication of Bennett Cerf\'s pop-up riddles in 1965, began producing books for Random House. Hallmark Cards purchased Graphics International at the end of the decade and the staff moved to Kansas City, Missouri. With more than forty successful titles produced for Hallmark, Hunt left in 1974 to return to California where he began a book packaging company, Intervisual Communications, Inc. Today there are a number of packaging companies such as Compass Productions, White Heat, Ltd., Van der Meer Paper Design, Sadie Fields Productions, and Designamation to name a few, and the number of pop-up books has grown tremendously. There are between 200 and 300 new pop-up books produced in English each year. The publication of pop-up books is production involving the skills of a number of individuals. The creation of the book begins with a concept, story line and situation. Once the basics are worked out, the project goes to the \"paper engineer\" who takes the ideas of the author and the illustrator and puts motion into the characters, and action into the scenes. They may even add sound, as in a book where the opening and closing of the pages cause the teeth of a saw to run across a log. The paper engineer\'s task is to be both imaginative and practical. The designer must determine how movable pieces attach to the page so they won\'t break, which points need glue and how much, how long pull tabs should be and how high a piece can pop up. The final step for the paper engineer is to lay out or \"nest\" all the pages and pieces so they fit onto the size sheet that will be run through the printing press. All contemporary pop-up books are assembled by hand most in Colombia, Mexico, or Singapore. After printing, the nesting pieces of a book are die-cut from the sheets and collated with their pages. Production lines are set up, with as many as 60 people involved in the handwork needed to complete one book. These people fold, insert paper tabs into slits, connect paper pivots, glue and tape. Alignment of tip-on pieces with the printed page must be exact and angles must be precise. The most complex books can require over 100 individual handwork procedures. The movable books of the last two decades have become increasingly complex with sophisticated pop-up illustrations and intricate mechanical devices. The addition of lights and music in some titles has contributed to the surprise of the mechanical illustrations. Pop-up and movable books are not ordinary books. For more than 100 years their ingenious mechanical devices have surprised and entertained readers of all ages.