Paper & Book Intensive 2004

June 7–18, Camp Collins
Sandy River Gorge
outside Portland, Oregon

Now celebrating its twenty-first year, Paper & Book Intensive is a working sabbatical for practitioners and serious students in the book arts, papermaking, and conservation. Daily class sessions are combined with lectures, discussions, and shared meals, to promote unusual levels of exchange and inspiration. PBI 2004 is our opportunity to revisit the Western United States and some of the wonderful book and paper people who inhabit its rugged terrain. The lineup of instructors is stunning.

This year, PBI will be held at the end of the Oregon Trail just 20 miles east of downtown Portland, Oregon. We will be in the amazingly beautiful Sandy River Gorge at YMCA's Camp Collins. This camp is in a beautiful location, right on the Sandy River in Oregon's Oxbow Park with comfortable, heated cabins, walking trails and plenty of space for our exciting paper and book workshops. Although the river swimming will only be for the brave as it is cold snow runoff, there is also a swimming pool and campfire locations for some play between classes. Our taste testers have sampled the camp's food and reported an enthousiastic two thumbs up!

The program consists of two sessions. During the first four-day session participants will take two classes – one meeting in the morning and the other in the afternoon. The second session classes will meet 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 are provided as part of the program.

Session One, June 8 -11

This class is an introduction to the techniques of papercutting from various cultures. Participants will create paper images to use as shadows and collage and explore ways to illustrate books and decorative covers, cards and lamps. Specific skills for making cutouts will be learned as well as techniques for stenciling, pochoir, and starting on pop-ups and 3-D papercutting. Tips, tricks and resources will be provided.

Beatrice Coron is an artist specialized in papercuttings used in artist books, illustrations, and sculptures. Her works have been exhibited internationally and are held in major collections worldwide.

Miniature format books present difficult design and structural challenges to the bookbinder. A true miniature is less than three inches tall, and during this course, students will construct books of diminishing size. The course will contrast case binding and non-adhesive structures, explore sewing, board fabrication and attachment, and covering with paper and leather. We will analyze materials and structures suitable for small format books, with a concentration on flexibility, book action and openability. The limitations inherent in small-scale work will present students with the artistic challenge of creating a clear and expressive design suitable to the smallest books. Our goal will be the precise execution of finely detailed work.

James Reid-Cunningham studied history and art history at Johns Hopkins University and Tufts University before beginning his career in book conservation at Harvard University. He learned bookbinding with Mark Esser at the North Bennett Street School in Boston, and is a past President of the New England Chapter of the Guild of Bookworkers. Formerly the Conservator of the Graduate School of Graphic Design, Harvard University, he is currently the Chief Conservator of the Boston Athenaeum. In addition to his conservation work, is also the creator of design bindings and book objects that explore traditional bookbinding structures in conjunction with modern materials such as rubber and Formica. He has exhibited his books internationally.

In this workshop, participants will create a variety of paper structures that lend themselves to lighting and we'll experiment with ways to enhance papers for illuminations. We'll start with simple paper folding and advance to more complex structures involving armatures of balsa wood, reed and other natural materials. Structures will range from traditional forms to organic shapes — each participant will create a set of unique objects. We'll talk about various natural and electric options for working with paper and light and look at other illuminated paper projects, such as screens and window treatments.

Helen Hiebert is the author of Paper Illuminated (15 projects for making handcrafted luminaria, lanterns, screens, lampshades and window treatments) and proprietor of Enlightened Papers, which produces paper lamps, cards, and ornaments. She teaches workshops in papermaking and lamp making around the country. Her studio is in Portland, OR.

According to author and papermaker Lilian Bell, "The Maya are said to have developed amate sometime in the 5th century AD, possibly as a substitute surface for their large stone monoliths on which they carved hieroglyphic symbols. Amate has its origins in the tapa clothing made in Central and South America." Our exploration of this ancient material will begin with the different bark fibers and basic methods used to form sheets. As the class continues, we will embark on a deeper investigation of the low-tech possibilities for creating work with paper in both two and three dimensions. This will become a form of meditation and transformation in mind and process. No previous experience is necessary.

Rudy Kovacs is a Professor of Art at Idaho State University since 1980 and serves as Vice President for Annual Meetings for the Friends of Dard Hunter (2001-2004). He has exhibited, lectured, and taught nationally. His research has taken him to Montreal Centre for Contemporary Textiles, Fondazione Arte Dalla Seta Lisio and the Singapore Tyler Print Institute. He has received two Visual Arts Fellowships from the Idaho Commission on the Arts (1992 and 2002).

The study of the components and structures used in historical photo albums can inspire contemporary methods of adding materials to the book format. Participants will make models of three album structures: side attached ("Japanese style"), guarded leaf used for carte-de-visite photographs, and a sewn structure with removable leaves. The way the paper flexes, the way the photos or other additions are attached to a page, and the technique used for attachment of the leaves will be studied to see how these factors influence the display of contents in the various models.

Olivia Primanis is the Senior Book Conservator at the Harry Ransom Humanities Research Center, Austin, TX. She began her training in hand bookbinding and book conservation with Jean Gunner in Pittsburgh, PA and founded "The Bookbinder" (1976-1984), which offered artists' supplies and bookbinding services. In 1984 she moved to Los Angeles, CA and continued teaching and conservation bookbinding in a private practice.  At the Ransom Center since 1990, she performs conservation treatments, teaches, and specializes in the study and treatment of 19th century photo albums.

Break Day, June 12th
Session Two, June 13 -16

We all imagine book pages are made of paper. However, there are historical and cultural traditions using other substances; some have been palm leaves, bamboo, copper, jade and ivory. Consider the multitude of materials available today. In this workshop, we will explore making non-traditional book pages and enclosing them within unusual book covers. The interplay between materials, structure, and content will be considered. We will fold, bend, stitch, weave, wrap and layer unexpected materials in innovative configurations. We are not bound by convention.

Jan Baker received an MFA in Graphic Design from Yale University and BA's in printmaking and Aesthetic Studies from the University of California, Santa Cruz. Jan has been a professor at the Rhode Island School of Design for the past 24 years. Her areas of specialization in the Graphic Design Department are courses related to the book arts: visual communication, typography, letterpress printing, papermaking and bookbinding. Jan often travels to Asia, where she has taught bookbinding in India as a Fulbright Scholar and has taught craftsmen across Asia in Vietnam with UNESCO.

Face it; we all have some unusual little collection of ephemeral or treasured objects that could use a suitable enclosure to keep it together. Whether it is flat or 3-dimensional, the container should somehow enhance the material and preserve it. This workshop will address book formats and box structures that could fit these needs. Storage books utilize page formats incorporating attachments for two or slightly 3-dimensional assortments. Box structures covered will be variations on the standard slipcase and clamshell box with inset chambers that can accommodate odd little tidbits as well as small books. Working models executed in class will be inspiration for you to create a storage solution for a collection of your own.

Denise Carbone received her MFA in Book Arts/Printmaking at the University of the Arts in Philadelphia. She currently teaches book methods and printmaking processes at The University of the Arts and is a book conservator at The American Philosophical Society Library. Her personal work challenges traditional methods of printmaking and book structures by incorporating mixed media, found material, letterpress and alternative processes. She has exhibited her books and prints nationally.

Are you nostalgic for the old printing processes that offered satisfyingly simple technology and that "new copy" smell? Want to be ready to print to your heart's content during the next blackout? Using a range of vintage printing machines and building a couple of your own, we will explore various techniques for making multiple copies, including stencil duplication, spirit duplication and hectography. We will use traditional materials and also experiment with more durable alternatives. Participants will explore ingenious "old style" techniques for adding lettering, drawing, shading and other design elements to printed pieces, as well as working with their own artwork, and will develop a portfolio of two-dimensional print samples, small artist's books and a collaborative Zine.

Roberta Lavadour is a papermaker and book artist who lives and works at the foothills of the Blue Mountains of eastern Oregon. Her artist's books and sculptural pieces have been exhibited across the country and internationally and reside in many public and private collections. She owns and operates Mission Creek Press where she publishes her own artist's books, collaborates with other artist's on projects and creates unique books for a limited number of commercial clients.

Using traditional metal working techniques and readily available tools and materials, we will fabricate metal clasps, fasteners, and decorations for books or boxes. We will make simple metal book closures and more complex hinged clasps out of copper and brass by using rivets and cold joints (no soldering). Using traditional methods, you will have the opportunity to attach the clasps to a model book you bring. We will learn some easy metal embellishment techniques and try some metal patinas. Be prepared to experiment and innovate. We will also learn about methods you might use to replace, repair or refurbish existing or missing clasps. I will provide you with the basic information and techniques, and you will go home with some very practical and useful skills.

Joycelyn Merchant has had a 25-year career as an artist, metalsmith, production jewelry designer, and gallery owner. In yet another incarnation if her artistic life, she brings her accumulated skills to the book arts. While learning about bookbinding and conservation, she realized that there was no readily available information or source for book closures, so she did the research, and made her own. She hopes this new venture into the book arts world will eventually provide a small but important contribution to a neglected area.

In this class we will make a variety of shas using various techniques such as painted stencils, iron-on fabric, cut mylar, tapes and photographic emulsion to create patterns for papermaking. Participants will learn the basics of fiber preparation and forming techniques for Japanese papermaking, with the emphasis on making images or designs in the sheets. We will also use colored fiber and multiple laminations to develop images in the paper.

Jana Pullman is a bookbinder and papermaker living in Minneapolis, MN, where she teaches at the Minnesota Center for Book Arts and the University of Minnesota. In 1997, she completed a 4-year apprenticeship with Timothy Barrett at the University of Iowa Center for the Book Paper Facility.


SCOTT SAMUELSONPBI Writer-in-Residence
Scott Samuelson is Professor of English at Brigham Young University - Idaho. He has taught writing and literature for 30 years and has published poetry both in traditional publications as well as in handmade and self-published books. He has received awards for his teaching and is vice-chair of the Idaho Humanities Council. Besides teaching poetry, he is a BYU-I Art Department faculty member teaching ceramics, sculpture and book arts. His artists books have toured and been exhibited regionally.

Show & Tell, Scholarship Auction & Grand Banquet, June 17
departure June 18th

To Apply For PBI

It is assumed that applicants will have special interest and experience in book arts, bookbinding, conservation, papermaking or associated areas. However, PBI welcomes applications from all interested individuals. Space is limited so early application is encouraged. Applications will be accepted through March 15th. Upon acceptance, a $562.50 deposit* is required to reserve your place, with the balance due at registration upon arrival at Camp Collins. A PBI Co-director will be happy to supply a letter of support to applicants seeking funding and/or time away from employers.

Tuition for the PBI 2004 program, including room & board, workshops, class supplies and materials is $1,125.00. Detailed travel arrangements will be made after acceptance. Participants should plan to arrive before 5pm on the afternoon of Monday, June 7th, and depart on the morning of Friday, June 18th. Housing will be in dormitory style cottage buildings.

To apply for PBI please send the following information to Steve Miller via email or on a single 8.5 x11" sheet of paper:

• Your name, address, all telephone numbers, and e-mail address

• A brief description of your background and areas of expertise/interest

• Your reasons for wanting to attend PBI 2004

• A list, by instructor name, of your first through last choices of ALL workshops for each session, 1-5. We cannot process applications that do not have prioritized class selections made. Every effort is made to give participants reservations in their preferred classes. Upon acceptance, you will be notified of class placements.

• Please note that after application, and upon acceptance, participants will send a deposit of $562.50 (half the tuition) no more than three weeks after the date of the acceptance letter. The deposit is non-refundable if a participant withdraws after May 7th.

The Nell Meldahl Work-Study Scholarship
Nell Meldahl was an inspiring PBI instructor and conservator of Far-Eastern art who passed away far too early in her career. Her family and friends, friends of PBI, and the PBI auction have set up a scholarship fund in her honor to aid those who cannot afford PBI tuition. These awards are based on financial need and merit/motivation. This year we are able to award two Nell Meldahl half-tuition work-study scholarships. To apply for a work-study scholarship: In addition to the regular application materials please send a current resume, a paragraph of why you want to attend PBI, samples of your work (slides, prints, treatment reports-enclose a SASE if you want them returned), and explanation of financial need. Deadline for work/study application is March 15th. Scholarship applicants will be notified by March 30th.

Please send all regular & scholarship application materials to:
Steve Miller, PBI Co-director,
The University of Alabama/School of Library & Information Studies
Box 870252, Tuscaloosa, AL 35487-0252

This Event's PBI Co-directors

William Drendel is a Chicago book artist and designer. His work, while based on traditional forms and techniques, tends to be very non-traditional. He is the Director of the Columbia College Chicago's Center for Book & Paper Arts. His work has been exhibited widely, and is in many collections both here and abroad.

Maria Fredericks is Head of Conservation at Columbia University Libraries in New York City. She has been a professional rare book and library conservator since 1986, and has also worked at the Library of Congress, the Conservation Center for Art and Historic Artifacts, the Winterthur Library and the Huntington Library. She is active in teaching students and interns in both binding and conservation, and has been involved with PBI since 1983 when she attended as a participant for the first time.

Cathy Hunt is Clinical Assistant Professor of Printmaking and Graduate Advisor at the University of Houston. She teaches classes and workshops on all aspects of printmaking as well as the book arts, with an emphasis on artists books. She has collaborated with artists and authors on artists books and chapbooks – most recently for a chapbook of The Whore’s Child by Richard Russo. She serves on the Board of Governors of the Arrowmont School of Arts and Crafts.

Steve Miller is an associate professor at The University of Alabama, where he is Coordinator of the MFA in the Book Arts Program and teaches letterpress printing and hand papermaking. He is chair of the Advisory Board of The Robert C. Williams American Museum of Papermaking in Atlanta. His most recent Red Hydra Press publication is Voyage, a poem broadside by Billy Collins, created for the Library of Congress Centers for the Book, 2003.

Pamela Spitzmueller
is the Chief Conservator for Special Collections in the Harvard University College Libraries where she directs the Special Collections Conservation Lab in the Weissman Preservation Center. Pam previously has worked in Rare Book Conservation at the University of Iowa Libraries, the Library of Congress, and the Newberry Library in Chicago. Her special interests are book structures and book sewing in particular. She makes one of a kind books, has exhibited widely, and sometimes finds time to teach workshops.

Eileen Wallace recently spent two semesters teaching for the University of Georgia in Cortona, Italy and currently teaches at the Columbus College of Art & Design in Columbus, OH. Eileen previously worked at Penland School of Crafts in Penland, NC and was a Resident Artist there in 1999. She specializes in bookbinding and boxmaking.

This Event's Co-site hosts

Inge Bruggeman has been making and publishing limited edition fine press artist’s books under her imprint INK-A! Press for over ten years. She received her MFA from the University of Alabama Book Arts Program and went on to become artist-in-residence at the Minnesota Center for Book Arts. She taught for four years at the University of California at Santa Barbara before moving to Portland where she now runs a letterpress and design business called Textura. Inge teaches at the Oregon College of Art & Craft and the Pacific Northwest College of Art and she continues to work on her own book art and print projects, which are shown and collected internationally.

Andrew Huot has been making artist books in the Portland area for the last ten years and regularly teaches book arts and bookbinding workshops in the region. He is currently the Chair of the Northwest Chapter of the Guild of Book Workers and will be site host for the Guild's annual Conference in Portland in 2005.


The M.F.A. in the Book Arts Program, School of Library and Information Studies, College of Communication and Information Sciences at The University of Alabama, is the administrative sponsor of Paper & Book Intensive. The creation of this and all PBI events is the responsibility and inspiration of its Co-directors. This event was planned by PBI Co-directors Bill Drendel, Maria Fredericks, Cathy Hunt, Steve Miller, Pamela Spitzmueller, and Eileen Wallace.

The following website are relevant, as they address specific class issues:

See Joycelyn Merchant's fasteners and clasps at for examples of items similar to those that will be made in class.

Beatrice Coron's work may be found at