Classes 2013

Ses­sion I



Turn­ing The Cor­ner, And other use­ful leather cov­er­ing tech­niques
Jeff Alte­peter

Ready to turn the cor­ner and work with leather? This class will be an intro­duc­tion for begin­ners or a refresher for stu­dents hop­ing to incor­po­rate tra­di­tional leather bind­ing tech­niques into their work. Stu­dents will have the oppor­tu­nity to prac­tice with a vari­ety of tools and types of skins while we focus on sev­eral fun­da­men­tal leather work­ing skills includ­ing par­ing, the for­ma­tion of head caps, and, of course, turn­ing cor­ners neatly.

Leather par­ing exer­cises will include fun­da­men­tals of tools and meth­ods. Stu­dents will also exper­i­ment with par­ing based dec­o­ra­tive tech­niques such as back-pared onlays. A vari­ety of knives and man­ual par­ing machines will be avail­able to stu­dents. Please bring your own knives and Scharf-fix or Brock­man style par­ing machines if you already own them. If you don’t already have these you will leave the class with an under­stand­ing of what you might want to acquire in the future.

*There is an addi­tional $20 lab fee for this course.

Jeff Alte­peter is a grad­u­ate of the Amer­i­can Acad­emy of Book­bind­ing and an alum­nus of North Ben­net Street School. After com­plet­ing the book­bind­ing pro­gram at NBSS in 1999 Jeff worked at Har­court Bindery in Boston and at Har­vard University’s Tozzer Library. Jeff also oper­ated a small bindery in Somerville, MA soon to reopen as “The Vil­lage Bindery.” Cur­rently the head of the book­bind­ing depart­ment at North Ben­net Street School, Jeff enjoys the fairly unique oppor­tu­nity to work with stu­dents of tra­di­tional hand book­bind­ing on a full-time basis.


Pres­sure Print­ing: A Painterly Approach to the Press
Sarah Bryant

Pres­sure print­ing is a tech­nique based on low relief col­lage or sten­cils using a press that cre­ates a painterly, spon­ta­neous image or tex­ture on the page. In this course, stu­dents will exper­i­ment with dif­fer­ent pres­sure print­ing meth­ods on the Van­der­cook proof press. Begin­ning with the basics of this tech­nique we will move onto more com­plex appli­ca­tions. As a group, we will har­ness the unex­pected pat­terns and imagery that we gen­er­ate and com­bine them with col­lage, sten­cil­ing, and type to cre­ate sim­ple books.

Sarah Bryant is a let­ter­press printer and book­binder spe­cial­iz­ing in the pro­duc­tion of edi­tioned artist books under her imprint, Big Jump Press. These books have been fea­tured in exhi­bi­tions around the United States and have been acquired by spe­cial col­lec­tions libraries inter­na­tion­ally, includ­ing The Yale Arts Library, The Houghton Library at Har­vard Uni­ver­sity, The New York Pub­lic Library and The Dar­ling Bio-medical Library at UCLA. Bryant has taught book arts courses for The Uni­ver­sity of Geor­gia, The Uni­ver­sity of Alabama MFA in the Book Arts Pro­gram, and Wells Col­lege, where she was the Vic­tor Ham­mer Fel­low from 2008–2011. She cur­rently lives in Brighton, United King­dom and teaches book­bind­ing and let­ter­press print­ing work­shops there and across the United States.


Page Design – It’s an Open Book
Paula Jull

As a book’s con­cept evolves so do the pages that con­vey that con­cept. Each page has the poten­tial for invi­ta­tion, infor­ma­tion and inspi­ra­tion. The page and the rela­tion­ship of pages is a fluid com­bi­na­tion of spaces, struc­tures and inter­ac­tions that don’t merely enhance con­cept but actively moti­vate it. Our goal in this course is to develop an under­stand­ing of how the page func­tions and can be for­mat­ted by exam­in­ing its rich his­tory and the cre­ative poten­tial within the design of each page as well as how page design can help stim­u­late solu­tions for future book projects.

We will begin with exam­ples of his­toric page pro­por­tions and for­mats; from Medieval books of hours through mid-20th cen­tury book design to present day design aes­thet­ics. The inves­ti­ga­tion will con­tinue with exam­ples of inno­va­tion and rule break­ing as applied to the page, page spreads, rhythms and pac­ing. Par­tic­i­pants will mea­sure, dia­gram and ana­lyze some of these strate­gies and will trans­late that infor­ma­tion into small projects using col­lage style mock­ups. Type will be inves­ti­gated as an his­tor­i­cal and com­po­si­tional ele­ment with regard to voice, shape and form in order to estab­lish an under­stand­ing of the part­ner­ship between type and page design.

Paula Jull stud­ied Asian art his­tory while com­plet­ing an MFA in print­mak­ing at Indi­ana Uni­ver­sity. Often uti­liz­ing print and mixed media, she began mak­ing artist’s books in 1992. Her work has been shown in regional and national exhibits, and is in pri­vate and pub­lic col­lec­tions. Her books are also fea­tured in 500 Hand­made Books and Hand­made Books, Stu­dio Series pub­lished by Lark Crafts. Her research and travel expe­ri­ences in the cul­tures of Asia often inspire the con­tent of her books. Cur­rently a Pro­fes­sor at Idaho State Uni­ver­sity, Paula teaches Book Art, Graphic Design and Pho­tog­ra­phy. She is a founder of the Pocatello Book Arts Group and is cur­rently the chair of the North­west Chap­ter of the Guild of Book­work­ers and Art Direc­tor of its Journal.


The Three Ls: Limp – Link – Long; or Explor­ing Tech­niques Hid­den In Libraries Across Europe.
Adam Lars­son

Stu­dents will be intro­duced to North­ern Euro­pean limp vel­lum bind­ing styles. The class will begin with a short lec­ture show­ing var­i­ous styles of bind­ings included in the col­lec­tion of the Car­olina Redi­viva Library at the Upp­sala Uni­ver­sity in Swe­den. We will focus on mate­ri­als and details, such as a rigid spine plate, weav­ing of the sewing thread, mark­ers, and clo­sures. Stu­dents will start by con­struct­ing a text block, shap­ing and prepar­ing the sup­port­ive spine plate from a vari­ety of mate­ri­als, cut­ting the vel­lum cover to size and finally attach­ing the cover and adding clo­sures. Dur­ing the class we will have time for deeper study and dis­cus­sions on some of the typ­i­cal fea­tures found on books bound with this tech­nique. We will then cre­ate two other bind­ings using these meth­ods more freely … col­or­ing and pat­tern­ing the vel­lum, using metal and other non-traditional mate­ri­als for spine sup­ports of var­i­ous shapes and sizes and work­ing with unusual sewing patterns.

*There is an addi­tional $20 lab fee for this course.

Adam Lars­son stud­ied book­bind­ing and book and paper con­ser­va­tion at Hantver­kets Folkhogskola School in Lek­sand, Swe­den. Since 1994 he has worked as a book con­ser­va­tor at the Car­olina Redi­viva (Upp­sala Uni­ver­sity Library) in Swe­den. In his work he has per­formed con­ser­va­tion treat­ments on a great vari­ety of dif­fer­ent mate­ri­als: 2000 year-old papyrus frag­ments, books from Coper­ni­cus’ own library, medieval man­u­scripts, fire and water dam­aged books and also mate­r­ial from the maps and prints depart­ment at the Library. Adam has lec­tured and con­ducted classes and work­shops at insti­tu­tions and book­bind­ing guilds in Swe­den, Fin­land, Eng­land, Italy, Jor­dan and the United States. He spent a month study­ing the tech­nique and con­ser­va­tion of Byzan­tine man­u­scripts in Greece, and has taken classes in book con­ser­va­tion with teach­ers Anthony Cains, Nicholas Had­craft, Jim Bloxam, Maria Fred­er­icks and many oth­ers. When not con­serv­ing books, Adam col­lects, restores and rides vin­tage motorcycles.


Finesse the Sheet
Bernie Vin­zani

Dur­ing the mak­ing of text weight sheets in hand paper­mak­ing, many vari­ables occur con­tribut­ing to the qual­ity of the dried sheet. Learn how to finesse the sheet through the for­ma­tion in the vat, the show through, the even­ness of color, the sur­face tex­ture, the dry­ing and the cur­ing. Many exam­ples, his­tor­i­cal and mod­ern, will be avail­able for viewing.

Bernie Vin­zani teaches let­ter­press print­ing and paper­mak­ing in the Book Arts Pro­gram at the Uni­ver­sity of Maine at Machias. For over thirty years he has been a pro­duc­tion paper­maker, first at Twin­rocker Paper in Indi­ana, then at his own paper mill in Whit­ing, Maine. He has col­lab­o­rated with the country’s lead­ing book artists, and he has taught paper­mak­ing and book arts at the Pen­land School of Crafts in North Car­olina, Uni­ver­sity of Alabama Cen­ter for the Book, Ander­son Ranch in Col­orado, and at Haystack Moun­tain School of Crafts in Maine. He has been fea­tured in such pub­li­ca­tions as Hand Paper­mak­ing , The Book of Fine Paper, Amer­i­can Craft Mag­a­zine, The Boston Globe, and Maine Pub­lic Television.



Ses­sion II



Ideas and Actions in Con­text and Con­struc­tion
Tim Ely

The mythol­o­gist Joseph Camp­bell once remarked that art can come from many moti­va­tions, but that high art comes only from high mind. If one makes a book strictly to sell or if mak­ing a book is done with divided atten­tion, the out­come is a com­mod­ity or merely a minor work. If one works with a goal of get­ting the self out of the way and allow­ing tran­scen­dent forms, ideas, and pat­terns to develop, an authen­tic art results that is vivid and present. This is art that breaks through to radiance.

The sketch­book is the vehi­cle on which we will ride toward devel­op­ing a higher mind. The sketch­book has a long and ven­er­a­ble his­tory, can serve as a plan­ner, record­ing device, car­rier of scrap, jour­nal, and muse. We will delve into eccen­tric aspects of bind­ing and design, of struc­ture and pur­pose, of a few, often over­looked, first prin­ci­pals of the craft of book­bind­ing, as well as the great need for peo­ple to record their lives in inter­est­ing and unique for­mats, pro­vid­ing a plat­form from which the par­tic­i­pant can merge the gen­er­a­tion of IDEA and OBSERVATION with the cre­ation of a hand­made book, where tech­nique and con­cept are fused. We will fab­ri­cate a ‘for­mal’ codex book with rigid cov­ers, fas­ci­nat­ing hybrids, com­bin­ing a sewn text block with my drum leaf bind­ing cover tech­niques. We will dis­cuss sur­face design processes on cover mate­ri­als, alter­nate his­to­ries, pos­si­ble vari­ants on for­mat, and engage with mark mak­ing mate­ri­als that form a foun­da­tion for excit­ing and durable archiv­ing. Some of this mate­r­ial is being revealed here for the first time.

Tim­o­thy Ely has been a stu­dent and scholar of the sketch­book form since the late 1960’s. He received an MFA in Design from the Uni­ver­sity of Wash­ing­ton in 1975 and since that time has made over 500 unique man­u­script books, sketch­books & archives and has been active in teach­ing the art of the book. His books are in pub­lic, pri­vate, and secret col­lec­tions planet-wide. He lives in Col­fax, Washington.


A Look at the World of Islamic Book­bind­ing
Yas­meen Khan

In this work­shop two Islamic books will be con­structed. One will be based on Islamic bind­ing struc­tures that were pro­duced through­out the Mus­lim world in the 18th cen­tury and defined as high-end deluxe bind­ings. The other will be a hybrid struc­ture designed by the stu­dent includ­ing a vari­ety of regional vari­a­tions that the instruc­tor will intro­duce in the work­shop. Class time will also be devoted to the prepa­ra­tion of deluxe gold-leaf dec­o­ra­tion end­pa­pers and dif­fer­ent styles of Islamic end­bands and head­cap con­struc­tions. Vari­a­tion and style in Islamic bind­ing and its dec­o­ra­tion will be cov­ered in the work­shop through short lec­tures, hand­outs that include his­tor­i­cal back­ground infor­ma­tion on Islamic bind­ing, a read­ing list, and class instruc­tions. The aim of the course is to intro­duce Islamic modes of dec­o­ra­tion and book con­struc­tion to the tech­ni­cal arse­nal of the con­tem­po­rary bookbinder.

*There is an addi­tional $30 lab fee for this course.

Yas­meen Khan is a Senior Book Con­ser­va­tor in the Con­ser­va­tion Divi­sion of the Library of Con­gress where she has worked since 1996. She has worked on var­i­ous projects in both paper and book con­ser­va­tion and, was, until recently, Con­ser­va­tion Liai­son for Dig­i­tal Projects. Her main area of inter­est is parch­ment con­ser­va­tion and Mid­dle East­ern book­bind­ing and its asso­ci­ated crafts. She has taught and trained con­ser­va­tors in the U.S. and Asia on con­ser­va­tion approaches and treat­ment tech­niques in gen­eral, and on the care of Islamic bind­ings in par­tic­u­lar. Prior to the Library of Con­gress, she worked and trained in con­ser­va­tion at the Smith­son­ian Libraries, the Harry Ran­som Human­i­ties Research Cen­ter, Bayarische Staast­bib­lio­thek in Munich, and the Staats­bib­lio­thek zu Berlin.


BigAss Paper­mak­ing
Julie McLaugh­lin

Expe­ri­ence the age-old craft of paper­mak­ing in a non-traditional way dur­ing this “hands-on, feet-in” work­shop cre­at­ing large 6’x9’ sheets of hand­made kozo paper. Every­one will expe­ri­ence the entire paper­mak­ing process from assem­bling the vat and screens to prepar­ing the fiber (cook­ing and beat­ing) and pulling the sheets. Fin­ished sheets can be used for 2-D or 3-D work and trans­formed in a vari­ety of ways. While the large sheets are dry­ing we will be work­ing with other molds and deck­les cre­at­ing smaller sheets in non-traditional ways.

Julie McLaugh­lin has been mak­ing paper and explor­ing its sculp­tural pos­si­bil­i­ties since the early 1990s. She shows her work, based on the corseted sil­hou­ette using hand­made papers and welded steel rod arma­tures, both nation­ally and inter­na­tion­ally. Hav­ing grad­u­ated with a degree in art from the Uni­ver­sity of North­ern Iowa, she main­tains a stu­dio in Dysart, IA.


An His­tor­i­cal, Per­sonal Almanac with a nod to Indi­vid­ual Cal­en­dar Books & Wood Leaf Books
Pam Spitz­mueller

This class will focus on a mak­ing a leather bound, wood board book model of a 1581 Eliz­a­bethan pocket almanac that includes erasable writ­ing pages with a metal­lic sty­lus tucked into the back board. There are two fore-edge brass clasps and blind stamp­ing of a Renais­sance, flour­ished design of a cen­tral dia­mond shaped panel and cor­ner pieces. As time per­mits, we will make other his­tor­i­cally based “pocket” books — cal­en­dars writ­ten and painted on folded vel­lum or an artic­u­lated wooden leaf pat­tern book with carved designs used by crafts­men to dec­o­rate other craft items.

*There is an addi­tional $30 lab fee for this course.

Pamela Spitz­mueller has worked full-time as a rare book con­ser­va­tor for more than 30 years, just hav­ing retired from her posi­tion as the Need­ham Chief Con­ser­va­tor in the Har­vard Library. Pam describes her­self as a stu­dent of book bind­ing his­tory, of books as old as the first books and as recent as yes­ter­day: engaged in the many, many branches that form the lin­eage of book­bind­ing and its struc­tural trav­els. She began her career in Chicago where she met Gary Frost, took his class and started work at the New­berry Library. Gary encour­aged study of his­tor­i­cal struc­tures, sewing struc­tures in par­tic­u­lar. She also began an extended tra­di­tional study with Bill Anthony, who pro­vided a solid foun­da­tion in craft bind­ing tech­niques of many tra­di­tional styles. She sim­mered and explored with the help of gen­er­ous con­ser­va­tors and binders. Work­ing in a con­ser­va­tion lab, she found she could con­serve rare books, study bind­ings, and form ideas about new books she wanted to cre­ate in a back and forth cross fer­til­iza­tion of these fields. She worked at the Library of Con­gress, and was Head Con­ser­va­tor at the Uni­ver­sity of Iowa Libraries before tak­ing her posi­tion at Har­vard. She is also a proud PBI co-director emeritus!


Dare­devil Let­ter­press
Jes­sica Spring

In this inten­sive work­shop par­tic­i­pants will focus on hand­set type com­po­si­tion with lead, wood and orna­ments, mov­ing beyond tra­di­tional straight lines and right angles. We’ll explore the use of cir­cu­lar and angle quads which were used for set­ting type in curves, cir­cles and angles to achieve the effects of late-nineteenth cen­tury highly embell­ished “artis­tic print­ing”. We’ll also accom­plish these effects using mate­ri­als found in a hard­ware or art sup­ply store, allow­ing par­tic­i­pants to read­ily con­tinue using these tech­niques. Ink mix­ing strate­gies will be covered–including the use of metal­lic and fluorescents–to cre­ate lay­ers of tex­ture and color. An exchange of dare­devil prints will com­plete this work­shop appro­pri­ate for those who want to expand their approach to hand type­set­ting and image mak­ing, sans computer.

Jes­sica Spring is the pro­pri­etor of Springtide Press where she designs, prints and binds artist books, broad­sides and ephemera incor­po­rat­ing hand­made paper and let­ter­press print­ing. Small finely-crafted edi­tions con­sider his­tor­i­cal top­ics and pop­u­lar cul­ture from a unique per­spec­tive. Jes­sica has an MFA from Colum­bia Col­lege Chicago Cen­ter for Book & Paper and teaches Book Art and Typog­ra­phy at Pacific Lutheran Uni­ver­sity. Springtide Press is located in Tacoma, Wash­ing­ton with work fea­tured in numer­ous col­lec­tions includ­ing The British Museum, Brown, The New­berry Library, North­west­ern, Savan­nah Col­lege of Art & Design, Swarth­more Col­lege, Uni­ver­sity of Utah and Yale. http://www.springtidepress.com