DIY Screen Printing with Natural Dyes and Materials
The screen-printing process offers artists a way to produce multiples without the investment of a press and other large equipment. This workshop will present a truly democratic printing process by which you will be able to reproduce images made from materials found at the local grocery or in your backyard. You will learn the basic process of photo screen-printing and experimenting with your own inks made from plants. Participants will leave with the knowledge of how to set up a photo-based screen-printing studio in their own spaces, and make inks from their local resources. Print ON!
Denise Bookwalter works in a range of print media including traditional and digital processes, artist’s books, and dimensional prints. She received her BA from Northwestern University and her MFA from Indiana University in Printmaking. Denise currently lives in Tallahassee, Florida and is an Assistant Professor of Art at Florida State University where she teaches printmaking and is Area Head of the Printmaking Department. She is the director and a founding member of Florida State University’s artists’ book press, Small Craft Advisory Press. Her work has been exhibited in a variety of venues nationally as well as internationally. http://denisebookwalter.com/home.html
In Emulation of Books: The History of Objects in Book Form
Artists, bookbinders and manufacturers have been making objects in book form for over five hundred years. Students will learn about the historic use of the book form in art, craft and design, and create new book-shaped objects that examine concepts such as the book as metaphor and as container. You will use traditional bookbinding and box-making skills and materials, together with other techniques and unusual materials to design and create book-objects that reflect our understanding and love of books and ourselves. (There is an additional $20 materials fee for this course).
Mindy Dubansky is head of preservation and book conservation for Museum libraries at The Metropolitan Museum of Art. Mindy received her early training as a printmaker and studied bookbinding at Carnegie-Mellon University and The Center for Book Arts in New York. She later studied at the Camberwell School of Arts and Craft in London and received a MLS and certificate in library preservation from Columbia University. In addition to her work at the Museum, Mindy is an artist, collector, author and lecturer, focusing on book-related subjects. Her publications include The Proper Decoration of Book Covers: The Life and Work of Alice C. Morse (2008), a biography and catalogue of book covers designed by Morse; and an autobiographical book of short stories, Guess Who Died: Memories of Baltimore with Recipes (1999).
The recent popularity of albums has led to an increased interest in the variety of album structures available and in the different ways materials can be attached to the album leaves. This session will introduce and show examples of many of the historical methods. In addition, it will show two lesser-known but useful methods. The first is how to include folio material without a thread interruption in the gutter margin: the second is how to bind stiff leaf material using the 1865 Philadelphia Patented method. The advantages and disadvantages of each will be discussed. Participants will make take-home models of as many of these methods as the time allows and their interest dictates.
Betsy Palmer Eldridge has over 50 years of experience as a bookbinder and book conservator. In the ‘60s she apprenticed as a bookbinder in the Metz bindery in Hamburg, studied finishing with Jules Fache in Paris, and worked in conservation with Caroline Horton & Associates in New York. She has had her own studio in Toronto since 1975, and has taught courses in bookbinding and conservation since 1984. She has been active in professional organizations both nationally and internationally. Recently she has received Lifetime Achievement Awards from both the Guild of Book Workers and the Canadian Bookbinders and Book Artists Guild. Last year she was awarded the Keck Award, recognizing excellence in the education and training of conservation professionals, from the American Institute for Conservation of Historic and Artistic Works.
Custom Bone and Steel Tools for Book Working
During this class you will be working with two very handy and versatile materials: elk bone and steel. First, students will be introduced to the tools and techniques needed to form and finish bone folders of ones own design. Smooth, polished to a shine, and fitting perfectly in your hand—there is nothing like the feel of a bone folder you’ve made yourself. You will then cross over to steel, learn to make a chasing tool and a stamp for making an impression into most metals and useful for adding ornamentation on your book covers. Simple methods of adding adornment to your tools will be demonstrated. No previous experience is necessary, however this class is demanding on the hands and arms. Expect to leave with two or three bone folders and one chasing tool that will be beautiful to look at and wonderful to use!
Shanna Leino is a studio artist working in her hometown of Harrisville, New Hampshire, where she builds books based on historic methods. She manufactures a small line of hand tools for bookbinders and craftspeople, and travels throughout the U.S. and Italy teaching bookmaking workshops. http://www.shannaleino.com/
Paper Marbling: That’s a Moiré!
In this class, students will start from the beginning to gain a good understanding of the tools and materials necessary for beautiful marbling. Both watercolor and acrylic paints will be used, along with full size tanks and paper. Many patterns will be introduced, including the stunning Spanish moiré. Students will receive detailed written instructions to use when marbling at home. Be prepared to make beautiful paper and a lot of it. All materials provided, sunglasses optional.
Steve Pittelkow is a paper marbler and bookbinder. He teaches bookbinding and decorative paper techniques extensively in the United States and occasionally in Europe. He especially enjoys revealing the mysteries of marbling with tips and tricks for students, thereby providing a rich, colorful, and successful marbling experience. Steve’s work appears wherever fine fish are wrapped.
Using a Catalyst for Artist Book Creation
The Pictorial Webster’s was always intended to be used as a catalyst for creative writing. Students’ main instructional assignment will be to write a story based on one page of images. Using Pictorial Webster’s as a source for creative input in a class will be exciting, as what one makes from the book is never about the book, but what is inside each person. Because each student is using a common reference, understanding what has transpired within the creative engine of each student’s mind can be more readily understood and discussed. The goal will be to find new methods for inspiring the creative process. An intense four days will begin with creating three books in an hour. You will then be given three different methods for using Pictorial Webster’s as a source for your own new artist book. Each participant will create at least one workable dummy for a future edition of your own or a finished one-of-a-kind. Students will make use of additional sections from the offset version of the book. See the Making of Pictorial Webster’s video here.
John Carrera began making artists’ books while a student at Oberlin College. In 1992 he co-taught his first artists’ book class. After on-the-job training as a book repair technician and then conservator at the Oberlin College Library he interned at the Silver Buckle Press. He then entered the North Bennet Street School bookbinding program in 1994 and did work for Harvard’s Houghten Library and The New England Historic Genealogical Society. He established Quercus Press in 1996 and moved to a loft in Waltham, MA, where he began work on Pictorial Webster’s, a book printed from 4000 wood engravings borrowed from Yale University. He completed the printing of the project in 2006. Because of a desire of his publisher, Chronicle Books, to repackage the book in another form he has begun two new books for Chronicle and is making a new artists’ book using the images for Quercus Press. John has been an instructor at The School of the Museum of Fine Arts, Montserrat College of Art; and has enjoyed teaching workshops at the North Bennet Street School, Whitman College, for numerous elementary and high schools, and privately in his studio.http://www.quercuspress.com/
Handmade Paper Sculpture
In this workshop students will explore handmade paper as a material for constructing sculptural work. Handmade paper is uniquely suited to sculpture because it can be light and translucent as well as strong and leather-like. Through a series of brief readings, slide lectures, in-class presentations and group experiments, students will learn to manipulate handmade paper and pulp. We will use direct casting, plaster molds, wood and wire armatures, and fabric molds. Some decorative surface techniques will also be explored. This class will emphasize contemporary art practices in handmade paper and sculpture.
Lee Emma Running received her MFA and a Graduate Certificate in Book Studies from the University of Iowa in 2005. She is currently an Associate Professor of Art at Grinnell College where she teaches Sculpture and Drawing, and has a specialization in hand papermaking. Professor Running was the recipient of a grant from the Jentel Foundation in 2010 and has exhibited her work nationally at venues including: The Des Moines Art Center, The Charlotte Street Foundation, Kansas City, MO, Tacoma Contemporary, Tacoma WA, and Pyramid Atlantic Gallery. She is represented by Olsen Larsen Gallery, in Des Moines, IA. Running’s installations exist between drawing and sculpture. Her work is an investigation of form and pattern found in the natural world. Recent projects look at systems and structures that are similar in micro and macroscopic scale, such as the way the veins in a leaf mimic those in our bodies as well as a river system seen from space.http://leeemmarunning.org/
Italian Paper Covered Bindings, 1500–1800
Paper bindings had appeared in Italy and other parts of Europe by the late fifteenth century as publishers quickly began to seek economical ways to get printed books into the marketplace. This class will provide a brief historical overview of European paper bindings, from 1494 through the early nineteenth century, focusing on Italian examples in the Barbarigo Seminary Library in Montefiascone, Italy, and the Morgan Library & Museum in New York. Students will examine the materials, structural details, and decorative features of both long-stitch and supported-sewn laced-case bindings, which co-existed in Italy throughout this period. We will then move on to discuss ways in which these historical models can be modified for modern conservation use. We will also look at the properties of various handmade cover papers. Our goal will be the completion of at least three bindings, two historical models and one structure adapted for conservation. Sewing diagrams and other documentation of historical sewing and covering variations will be distributed. (There will be an additional $20 materials fee for this course).
Maria Fredericks is Drue Heinz Book Conservator in the Morgan Library & Museum’s Thaw Conservation Center, and is currently a teaching partner in New York University’s Mellon-funded graduate curriculum in library and archives conservation. From 1998–2005 she was Head of Conservation at Columbia University Libraries, and has also worked as a rare book conservator at the Huntington Library, the Winterthur Library and the Library of Congress. She has recently participated in survey projects for the Thesaurus Islamicus Foundation and the Coptic Museum Archive, both in Cairo. She has taught workshops on book conservation and historic binding structures for the Guild of Book Workers, the Montefiascone Conservation Project, and the Paper and Book Intensive, of which she was a co-director from 1988–2010.
Photopolymer Plates: Uses in Printing and Bookbinding
Wilber “Chip” Schilling
A photopolymer plate is generally used for letterpress printing, but can be used for so much more. The ability to produce a high quality plate opens up a new world of options for printmakers, bookbinders and book artists. A bookbinder might use them for book covers to which paint and materials can be applied. A photopolymer plate can also be used as a tool for printmaking. Through demonstration and hands on practice, participants will learn everything they need to know about producing a perfect plate for both letterpress printing and bookbinding applications. This workshop will include the production of plates using low tech and low budget means. The high tech production aspects of using Adobe software on a computer for plate production will be demonstrated. The nuances of printing type and illustration on a Vandercook press will also be covered. The potential of photopolymer plates as both a binding tool and substrate will be explored. This class is open to all, with or without printing experience. Participants will take home a folio of prints that could be finished art or useful educational ephemera.
Wilber H. Schilling (aka Chip Schilling) creates fine press books, artists’ books, broadsides and prints—specializing in design, photography, and letterpress printing and binding. Since 1992, he has worked under the imprint of Indulgence Press. Schilling earned a BA in history and photography from Clark University (Worcester, MA) and an MFA in book arts and printmaking from The University of the Arts in Philadelphia. He is an adjunct faculty member at the College of Visual Arts, the Minnesota Center for Book Arts and the Minneapolis College of Art and Design. His work is collected and exhibited internationally and is represented in the collections of the British Library, Labyrinth Botkyrka Konsthall, Getty Center, Library of Congress, Harvard, Yale, Wellesley, the Minneapolis Institute of Arts and the Whitney Museum of American Art. Schilling has served as president of the Ampersand Club (Minnesota’s bibliophilic society) and was a member of the Artist Advisory Committee for the Minnesota Center for Book Arts. His work is featured in recent publications including Masters: Book Arts, Major works by leading Artists (Sterling Publishing), 500 Handmade Books (Lark Books). In 2010, Schilling won the Minnesota Book Artist of the Year Award. He lives and works in Minneapolis, Minnesota. http://www.indulgencepress.com/Studio/Studio.html
The Springback Account Book
The nineteenth-century springback account book is a magical thing, like a Jack-in-the-box. When it opens, it elicits Fourth-of-July oohs and smiles. It is a complex binding with more special features than most bindings; having split boards, re-enforced sewing supports, re-enforced endpapers and caps, and the springback itself. Basically it is a re-enforced hollow-back book designed to open flat so that one can easily write in accounts or records and to snap shut at the end of the business day. We will make a standard half-leather springback binding with index tabs, and look at, discuss, and if time permits, make variations of the model. (There will be an additional $20 materials fee for this course).
Larry Yerkes is a book conservator who has been in private practice in Iowa City since 1991. His first book arts teacher at Iowa was Kay Amert. In her “Introduction to Typography” class he both printed and bound his first book – that little case bound edition of 30 books literally changed his life. He was a student and later, apprentice to Bill Anthony at The University of Iowa Center for the Book from 1985 to February 1989. After Bill’s death, he completed his apprenticeship under Pam Spitzmueller in the University of Iowa Conservation Lab.