Special Stickers | Special Collections

Today, I’m sharing a brilliant initiative in Special Collections at Princeton University Library. It’s beautiful, mysterious, interesting, unusual, intriguing, delightful, random, fantastical, unique, surprising, and it fits on laptop cover! I’m speaking, of course, of “Decalcomania,” the brain child of library staff Adrienne Rusinko, Library Collections Specialist, and Emma Sarconi, Reference and Outreach Specialist.

Collaborating with Princeton University Library’s Makerspace, the department releases original stickers every month based on items in its special collections, cuing a stampede of campus fans. The stickers vary from centuries-old illuminations to modern styles.

For today’s post, I’m not only sharing some personal sticker favorites, I’m chatting with one of the co-creators to learn how this amazing project came to be…

Hi Adrienne, tell us a little about yourself!

Hello! My name is Adrienne Rusinko, and I’ve been at Princeton University Library’s Special Collections for about 6 years. I’m a part of the Public Services team, and my responsibilities include working with researchers to find and access the materials in our collection. We work with folks both in person and through remote reference services, which introduces me to tons of exciting items in our holdings I would otherwise not have stumbled upon.

How did this awesome sticker initiative get started?

My colleague Emma Sarconi, our Reference and Outreach Specialist, reached out to me after seeing the idea at a Makerspace conference. She knew I had some experience with Photoshop, and suggested we find a few cool designs to turn into stickers and put out for free in the lobby as an outreach project, making the space a bit more fun and inviting. This sounded like a great idea, and we immediately got to work. The reaction was incredibly positive from both staff and researchers, and I ended up continuing it into a monthly sticker release.

Please walk us through your research and selection process…

The selection process is the hardest part of stickers, for sure. I spend my downtime at the desk searching through a plethora of digitized material in our online catalog, finding aids, and Digital PUL (DPUL) site, looking at the thumbnails of every page of every item. If I come across something I think is cool, I add it to an ever-growing spreadsheet of potential stickers (the current count is 331 designs, 101 of which have become actual stickers.)

Each month, I pick three designs to turn into stickers. It’s usually a random assortment, but every once in a while I can pull together a theme. I have some wonderful (and patient) colleagues whom I go to to vibe-check a potential design. I almost passed over the “Here is a picture of a Narwhal.” sticker but was otherwise convinced, and it ended up being one of the most popular designs we’ve put out.

What’s the reaction to the stickers been like? I imagine some sets produce a bit of a mad rush!

The stickers come out every second Friday of the month, and I’ll say, I think the staff here are more excited than anyone! That being said, it’s always a fun reaction to see a group of students walk out of a class and realize we have stickers they can take. The entire point of the stickers is to make Special Collections a little more welcoming, and I think that’s been pretty successful!

What’s your personal favorite sticker, and why?

This is an incredibly tough question. I think I’m pretty partial to what I call “Baby Dragon”, who comes from the margins of a 13th-century French bible (Princeton MS. 82, fol. 42r). I spotted him before I started making stickers, and he immediately reminded me of my dog whenever he would beg for food. When Emma first brought the idea of stickers to me, I knew he would be my first pick.


Image References From Top to Bottom, Left to Right:
Peacock: Book of Hours, ca.1500 (Garrett MS. 59)
Reading Improves: The looking-glass for the mind (Cotsen Eng 18 / Newbery 7161)
Dog with Horn: Bible, ca. 1260 (Garrett MS. 27)
Bright Flowers: Primavera: New Designs and Colors (Graphic Arts 2004-0031E)
Ostrich DJ: Радио-Жираф [Radio Giraffe] (Cotsen 58164 Pams)
Moon Terrace: The Blessed Damozel (C0199 no. 923)
Curious Cat: Des chats (Cotsen, 21217 Folios)
Umbrella Fish: Putanitsa [A Muddle] (Cotsen, 91282 Pams)
Kirin: 神風倭国功 / 十返舎一九著 ; 歌川貞房画, (PL797 .J56 1829, East Asian Library) Snowy Scene: Snow at Kameyama, Station 47 (GA 2009.00719, Graphic Arts)
Block People: Russkiĭ plakat (Cotsen 153779 NR CyrillicQ)
Hand & Heart: Journal to Pikes Peak (C0199 no. 141, Manuscripts)
Three-headed creature: German report, 1791 (Ex 2012-0315N)
Narwhal: Stories About Whale Catching (GA Hamilton 298s)
Football Tiger: 1956 (Athletic Programs Collection (AC042), University Archives)
Bear with Heart: A Piano in the Children’s Room (Cotsen 103359 NR CyrillicQ)
Little Owl: American Ornithology (Graphic Arts, 2007.00515)
Adrienne’s Baby Dragon: French bible, 13th century (Princeton MS. 82)

Community & Literacy

Princeton University students are truly amazing, but every so often, you meet one whose intellectualism, compassion, and service to their community reaches a new stratosphere. Today, it is my great pleasure to introduce Eojin Park, class of 2028. As you will soon read, Eojin has a number of incredible initiatives, projects, and awards. But what stands out to me the most, admirably so, is her love of community and the incredible connections she forms with her young readers.

Hi Eojin! Please tell us a little bit about yourself!

I’m a rising junior at Princeton University from Seoul, South Korea, studying International Relations with minors in Spanish, Portuguese, and Creative Writing. Language has always been at the center of everything I do, not just as a communication tool, but as a way of understanding how people make meaning as well as build identity. That curiosity about the intersection of literature, politics, and human experience shapes most of my work.

On the policy side, I was the youngest winner of the NATO Youth Summit Challenge and currently serve as a 2026 Max Thabiso Edkins Ambassador appointed by the World Bank. This summer, I’m working with UNESCO’s South Asia Bureau supporting regional media and information literacy initiatives. But beyond formal policy spaces, I’m also the founder of CRISIS!, a strategy-based educational platform where students simulate geopolitical decision-making and explore how narrative and language shape international conflict. A lot of that work has focused specifically on expanding access to political education for multilingual and immigrant communities — because I believe that who gets to participate in these conversations matters as much as what’s being said in them.

Please tell us about your literacy work in South Korea!

Growing up in Seoul, I was shaped by a community that invested deeply in my education, and I felt early on a responsibility to give something back. That impulse became Letters For Us, an English learning program I founded in partnership with the regional education ministry. What started as tutoring sessions grew into something more lasting — we eventually established a small library with over 300 books, and the program was later recognized by the Prudential Spirit of Community Awards. But the recognition that meant most to me was simpler: watching students articulate their ambitions out loud, often for the first time, in a language that had previously felt closed off to them.

That same commitment carried into my work with VoiceUs, a club I co-founded in association with South Korea’s Ministry of Unification to support North Korean refugee communities. Over three years, we raised over $10,000 — much of which went toward scholarship funds and literacy resources for second-generation refugee children. I also had the privilege of presenting our research and teaching experiences directly to the Ministry of Unification, which grounded our advocacy in something tangible. We even collaborated on a cookbook of North Korean recipes — because food, like language, carries memory and identity in ways that policy documents rarely can.

Alongside this, I taught English at local kindergartens and, during COVID-19, directed orchestra performances broadcast to a Sakhalin nursing home, where elderly Korean diaspora residents were largely isolated. Across all of it, the thread has been consistent: using whatever skills I have — language, music, storytelling — in service of communities that gave me so much.

What has been the most unexpected part of this initiative?

Honestly, the children themselves. I went in thinking my role was to give something — structure, vocabulary, access. What I didn’t anticipate was how much I would receive in return. The creativity and originality that these kids brought to every session consistently surprised me. They weren’t passive recipients of a curriculum; they were reinterpreting everything we gave them through their own experiences, languages, and imaginations. It reminded me that literacy isn’t about filling an empty vessel — it’s about giving people the tools to articulate what’s already inside them. That realization has shaped how I think about education ever since.

Would you be willing to share a story or experience with this project that you found touching, and tell us why?

There was a child in one of my sessions who was very quiet and also struggled significantly with reading aloud. For weeks, she would follow along silently while others participated. Then one day, unprompted, she read an entire passage on her own. Afterward she looked up and said, matter-of-factly, “I practiced at home.”

That moment stayed with me because I was confronted with the gap between her determination and the opportunities she had access to. She had done something genuinely hard, largely alone, with very few of the resources I had taken for granted growing up. Her effort humbled me. It also clarified something about why this work matters: not because we can solve systemic inequality one reading session at a time, but because every child who feels seen and capable in a learning environment is being told that the world has room for them. That message, repeated enough, changes things.

We’ve talked about your work with children and literacy, but would you also be willing to name a book from your own childhood that was formative?

There are too many to count honestly, but if I had to choose: The Giver by Lois Lowry. I read it young enough that I didn’t yet have the vocabulary for what it was doing, but I felt it — the horror of a world where memory, color, and difference had been erased in the name of safety and order. It was my first encounter with the idea that language and story are not decorative, but essential — that when you strip them away, you strip away something irreplaceable about what it means to be human. That felt urgent to me then, and it still does.

Tiny Treasures

The Doll’s Library : Book [1-6] (1802). The Treasures of the Cotsen Children’s Library, Department of Special Collections, Princeton University

Last week, I blogged about “Miniature Worlds: An Artistic Collaboration of Tiny Libraries,” our beautiful exhibition of twelve original miniature libraries created by local artists. Today, I’ll be sharing the event and special collections we hosted in tandem with the exhibit, including some amazing kid-created book art.

As visitors entered, they first encountered the exhibit case with the miniature worlds libraries, which they were free to examine and enjoy. There were definitely lots of finger, chin, and nose prints on the glass after the event!

Image courtesy of Hope Van Cleaf

Inside the gallery, the theme continued with “teeny tiny reads” (i.e. several sets of ZURI Mini Brands Books with magnifying glasses) and a drawing to win one of four miniature goodie baskets – a tiny early reader library, a personal library stamp kit, a miniature bookshelf that doubles as an office supply holder, and a blank version of the diorama box we gave our local artists, so kids could have a go at creating their own miniature world (that last one was definitely the most popular)!

At the back of our gallery was mini book decorating, where kids received a 2.5″ x 4″ journal and then used various supplies (washi tape, gold stickers, glitter markers, stencils, star stickers, and more) to decorate the book. We also had bookmarks handy for decorating as well.

The creativity was definitely flowing as kids designed their books! One ingenious young man made his books even smaller by cutting the journal in half to make two smaller books. Brilliant!

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Scattered throughout the book decorating activity were exhibit signs featuring some of the amazing tiny historical treasures we have in Cotsen’s special collections. A big shout out to Katie for delving into the vaults and sharing!

The Doll’s Library : Book [1-6] (1802). The Treasures of the Cotsen Children’s Library, Department of Special Collections, Princeton University

Publisher John Marshall printed these miniature titles, typically around 50 mm (less than 2 inches) tall, in brightly colored cover boards. The various collections of books were often housed in doll-house-like bookcases, which became incredibly popular and spawned dozens of lackluster replicas.

Left: Bathing and Sleeping [洗澡和睡觉 Xi zao he shui jiao] (1961). Right: The Swallow and the Bumblebee [燕子和黄蜂 Yan zi he huang feng (1960). The Treasures of the Cotsen Children’s Library, Department of Special Collections, Princeton University

These tiny accordion style books were published for Chinese children during the 1950s and 60s. Measuring less than 3.5 inches tall, the book’s small size was a less expensive way to print multiple copies of the books in full color. The accordion fold was a clever way for a child’s hands to learn to separate the pages rather than a normal single page book. This unique printing approach also demonstrated an adult’s expectation that a child would be able to easily read the story entirely on their own.

Le bijou des enfans: pour l’année 1817. The Treasures of the Cotsen Children’s Library, Department of Special Collections, Princeton University

Cotsen’s copy of Le bijou des enfans (The Children’s Jewel) is accompanied by a real magnifying glass. Both are carefully housed together in a protective box designed to look like a leather bound book. Le bijou des enfans is just 28 mm (less than an inch) tall. Children may be able to hold and read this tiny book, but it is challenging for adult size fingers and hands!

 

 

 

Letters to Jack Ripley from Beatrix Potter (1909). The Treasures of the Cotsen Children’s Library, Department of Special Collections, Princeton University

Beatrix Potter often wrote letters, some illustrated, to children she knew. Many of the charming drawings and stories she told in the picture letters were the inspiration for her beloved children’s books, including The Tale of Peter Rabbit and The Tale of Mr. Jeremy Fisher. She also penned miniature letters to children using the voice of her animal characters. In 2020, Cotsen acquired this collection of little letters Potter wrote to Master Jack Ripley.

Tommy Thumb’s Pretty Song Book, Volume II (1744).
The Treasures of the Cotsen Children’s Library, Department of Special Collections, Princeton University

Tommy Thumb’s Pretty Song Book, Vol. II is the oldest collection of English nursery rhymes known to exist. It is a miniature book that measures just three inches tall, and it was the sequel to the now-lost first volume printed earlier that same year. There are just two known copies of Volume II: Cotsen has one in its special collection and the other is at the British Library in London, England. The super rare tiny book has 40 nursery rhymes printed on pages that alternate between red and black ink. Some of the nursery rhymes are still popular today, such as “Baa Baa Black Sheep” and “Hickory Dickory Dock”.

The Bronte Castle Alphabet (1981). The Treasures of the Cotsen Children’s Library, Department of Special Collections, Princeton University

At just 3 cm (1.18 inches) tall, this tiny book is small enough it can be stashed inside of a leather-hinged walnut shell! The Bronte Press, who published this and many other miniature books, has been in business since 1977.