Fortified Text: A Writing Workshop - Sherry Antonini
A work-out for your words: This class is for those interested in incorporating original text with book-making projects. The focus of the workshop is to ensure that the creative writing is as strong as all other elements of a piece. Participants will have the opportunity to bring in writing-in-progress and/or begin to consider text generated from in-class writing exercises. In the tradition of the writing workshop format, each student will present writing for feedback and discussion concerning a range of issues such as content, clarity, poetic and fictional devices, and how the text appears and is working on the "page". There will be time for development of written pieces and revision. Following that, there will be further discussion until, ultimately, the writing will be appropriately fine-tuned for a specific project.

Making Tools by Hand - Jim Croft
Working with bone, wood, bamboo and steel, participants will make variously shaped folders, spatulas and knives. Inherent in this will be the sharpening, care, use and repair of the above tools, as well as crafting tools to meet specific needs. The processing will be hand-powered, though the use of bench grinders and belt sanders will also be discussed.

Japanese Block Printing - Richard Flavin
This course will teach participants the steps in creating a color wood-block print, from transferring an image onto a block, cutting the block and finally printing with watercolors using the traditional hand-held baren. Each member of the course will complete an edition in enough copies so that a portfolio can be exchanged.

Future of the Book dot OxBow - Gary Frost
New reading modes are disrupting the future of the book. This interaction will be considered from the perspectives of book preservation, book conservation craft and book arts invention. Model structures that bridge reading modes and shift aesthetic attention downstream to the reader will be produced.

Dreaming in Color: With Flax - Lynn Sures
A fiber that makes beautiful paper "au naturel", flax can be colored with pigments and used as a versatile pulp-painting or even stenciling medium. Forming sheets thin or pouring them thick, drying them in diverse ways, we will pulp-paint pages and covers, editioned or unique, with hues and textures specific to this fiber. Incorporating personal or narrative images, we will dream up flax paintings and make them come true. Pulp inclusions, drawing and transfer processes, simple print techniques will be examined to enhance the sequence of works, so a portfolio or book of paintings can be made by each student.

Sherry Antonini holds an MFA in photography and an MFA in writing. Her work involves a combination of still photography, video, sound/music, performance, written and spoken text. She is co-founder, lyricist and vocalist of a post-alternative rock group and is currently at work on a mixed-media novel. She teaches in the Interdisciplinary Arts Graduate Program at Columbia College, Chicago, and at the School of the Art Institute of Chicago.

Jim Croft and his wife Melody have practiced traditional hand technologies, especially those used in working with wood and fiber, since 1970. Jim's attempt to sustain and rediscover the best historic structures and materials, focusing on recycling and using local and homegrown materials, naturally led to toolmaking. Jim and Melody have hosted, and Jim has co-taught the Technology of the Medieval Book and Old Ways seminars.

Amanda Degener rotates between teaching Introduction to Sculpture, Papermaking, 3D and 2D Foundation, and Artist's Books, at Minneapolis College of Art and Design. She has taught classes at Minnesota Center for Book Arts since it opened and was its first Artistic Director and Artist in Residence. Degener has been making sculpture with paper for twenty years and consistently exhibits her work nationally and more recently in Japan, Korea, and Tawian. She is co-proprietor of Cave Paper, a production paper mill making high quality flax papers.

William Drendel (PBI Co-director) is a designer and book artist whose work tends towards the very non traditional. He is the Director of the Columbia College's Book & Paper Arts Center in Chicago. He teaches workshops throughout the country and his work is in many important collections both here and abroad.

Richard Flavin has been living and working in Japan for the past 27 years. Initially he studied wood-block printing for two years at Tokyo University of Fine Arts. He developed an interest in Japanese papermaking, which brought him to Ogawamachi, where he now lives producing hand-made paper and art works.

Maria Fredericks (Co-director) is the Head of Conservation at Columbia University Libraries in New York City. She has been a binder and conservator since 1981, and has worked at the Newberry Library, the Library of Congress, the Winterthur Museum Library, and the Huntington Library.

Gary Frost is an educator in book arts and book conservation craft. He has taught at the School of the Art Institute of Chicago, Columbia University in New York and the University of Texas at Austin. He is currently the Conservator for the libraries at the University of Iowa.

Helen Hiebert Helen Hiebert is an artist and a papermaker who lives in Portland, Oregon. She is the author of Papermaking with Plants and The Papermakerês Companion and is currently working on a how-to book about paper lampshades. She creates one-of-a-kind and production lamps for clients and stores and teaches papermaking around the country.

J. Chadwick Johnson (brochure and web designer) is a Book Technician at the Conservation Center in Philadelphia, where he also received an MFA from The University of the Arts Book Art/Printmaking program.

Hedi Kyle is Head Conservator at the American Philosophical Society and Assistant Adjunct Professor at the University of the Arts, both in Philadelphia. She was a founding Co-director of PBI. A well-known book artist, she has taught many workshops in the United States, Canada and Switzerland and exhibited her books worldwide.

Steve Miller (PBI Co-director) teaches letterpress printing, typography, and hand papermaking at the University of Alabama's MFA in the Book Arts Program. He is the proprietor of Red Hydra Press. He is past president of the Friends of Dard Hunter, and currently on the Advisory Board of the American Museum of Papermaking in Atlanta, GA.

Pamela Spitzmueller is Chief Conservator for Special Collections in the Harvard Library System. Previously Pam was Head of Conservation at the University of Iowa Libraries and faculty member of the UI Center for the Book where she taught many courses and workshops in book structure, history and bookbinding. She served as Guild of Book Workers Librarian for nine years. She was a Rare Book Conservator at the Library of Congress and also worked at the Newberry Library in Chicago. She has been a PBI Co-director for many years.

Lynn Sures is a paper and book artist who teaches at the Corcoran College of Art and Design in Washington, DC. She has exhibited her flax paintings at the American Museum of Papermaking in Atlanta, GA in 1999, and at Gallery K in Washington and the Southwest School of Art and Craft this spring. She co-founded the National Juried Collegiate Handmade Paper Art Show. Hand Papermaking and Fiberarts have written about her work.

Barbara Tetenbaum is a printer and book artist who has produced limited edition books under the imprint Triangular Press since 1979. She is currently head of the Book Arts Department at the Oregon College of Art and Craft in Portland, Oregon.

Eileen Wallace (PBI Co-director) is the proprietor of Mile Wide Press and is currently Artist in Residence at Penland School of Crafts in Penland, North Carolina. She was also publications designer for Penland School after recieving her MFA from the University of Alabama's Book Arts program.

Paper & Book Intensive, now in its 17th year, is a concentrated working session for practitioners and serious students in conservation, papermaking, and the book arts. Daily class sessions are combined with shared meals, lectures, and discussions to provide high levels of creative exchange and inspiration.

PBI classes will consist of two sessions: one four day session in which participants will take two classes, one meeting in the morning and the other in the afternoon, followed by a second session, meeting all day for four days, making a total of three classes for the event. Specialized class supplies as well as appropriate equipment and working environments will be provided as part of the program. The handouts from each class will be made available to all PBI participants.

Monday, June 12th, will be a free day for participants to explore the local surroundings or to relax at the Ox-Bow campus. The Annual PBI Auction and Banquet will be held on the last day of the event, June 16th.

Ox-Bow is a summer artists' colony and summer school of the arts that was founded in 1910 and now operates in association with the School of the Art Institute of Chicago. Life at Ox-Bow is simple and rustic. Located near Lake Michigan, Ox-Bow resides within a natural setting that allows total immersion in art far away from civilization. The Inn, which provides housing, the dining hall, gallery, screened porches, and a lecture room, is the hub for most activity at Ox-Bow. The studio facilities, situated at the edge of the woods, overlook the beautiful Ox-Bow Lagoon, an inspirational sight for all onlookers.