To be held in Saugatuck, Michigan, from June 3-13, 1997
To be held in Saugatuck, Michigan, from June 3-13, 1997
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in its fourteenth 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.
The program consists of one four-day session, during which participants
will take two classes, one meeting in the morning and one in the afternoon,
followed by one four-day session meeting all day for three days, for a
total of three classes during the event. Specialized class supplies as well
as appropriate equipment and working environments are provided as part of
the program. Presentations from each class will be given to the entire group.
Ox-Bow, Inc. 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. From the earliest days of its history, artists
have flocked to Ox-Bow in search of artistic freedom and permission to pursue
their ideas. In an unparalleled natural setting, Ox-Bow is host to beginning
and experienced artists. Life at Ox-Bow is simple and rustic with the Inn
as the hub for all activity. The studios are situated at the edge of the
woods and overlook the Ox-Bow lagoon.
Monotypes: The Total Happiness Package - Georgia
Deal
Everything you ever wanted to know about oil and water-based
monotype techniques! By using printing inks and plexi plates,
multi-drop registration and reduction monotype methods will be demonstrated.
Approaches incorporating collage, xerox transfer and chine collé
techniques will also be shown. A variety of drawing & wet media processes
including multi-plate registration using mylar plates will be investigated.
These techniques, enhanced by the use of handmade papers, will be examined
for possible use in books.
Song Without Words: Untraditional Tools for Untraditional Expressions
- Glen Epstein
This workshop has less to do with paper and books and everything to do with
the tools and mediums that charge paper with emotion and motion. Though
taught by a calligrapher, this is not a calligraphy workshop...we will not
deal with letter structure. In transferring feeling from the heart to marks
on paper, the less intrusive the tool the better. You will be introduced
to the Ruling Writer (a modified ruling pen), the "folded" pen,
and found tools. Along the way, participants will "find" and adapt
their own tools and share these findings. We will work with watercolor,
gouache, ink, foil, stencils, and a wide variety of machine and handmade
papers.
Back To Book Action - Cecilia & Gary Frost
Back to the future. Participants will experience an historical bookbinding
journey beginning with the future; a transfer tape waterless binding. We
will continue with a sewn-board edition binding and end with one of the
earliest known bindings, the Ethiopian codex binding. Our materials will
range from Tyvek to wooden boards. Four intensive days, three outstanding
take-home bindings, and more information and discussion than you thought
possible. Bound to inspire!
Ox-Bow Imposition - Richard Hungerford
Find the place surrounded by a natural setting and then put the edge of
the lagoon to work in developing a series of single sheet, pulp painted,
folded folios that examine imposition, placement, sheet formation, transition,
and development. Guided by as few rules as possible, each artist will work
from an 18" x 24" base paper and examine the idea of "imposition'"
and "structure" in creating one-of-a-kind and multiple edition
books. Issues involving sheet formation, color, manipulative stages, pressing,
drying, and folding will be covered. The outcome will be 4-8 one sheet multi-folded
books based on color, abstracted imagery and the mechanical structure.
The Chemistry & Poetry of Book Art Materials - Daniel Kelm
Chemistry offers us an understanding of the world that has been clearly
recognized in book and document conservation. It objectifies and quantifies
the properties of materials in a way that allows us to manipulate them very
skillfully. These qualities can be understood in a variety of ways, however.
The direct and repetitive handling of paper, cloth, leather, metal, plastic,
etc. teaches as much about their personalities as it does their physical
properties. This workshop will explore materials through the development
of a basic chemical understanding and by trying to get inside them during
their transformations. Back to the top of
the page.
Bleaching Pulp & Paper
- Cathleen Baker
This class will feature theoretical information and practical experimentation
using a number of bleaching solutions which the papermaker or conservator
can apply to either pulp or sheet to reduce
natural color and/or staining. Emphasis will be on selecting the safest
bleach for specific problems and for the conditions under which the participants
work. Participants are encouraged to bring samples for experiments. The
potential use of bleach as an artistic medium will also be explored.
It's All in the Sheet - Helen Hiebert
During this workshop, participants will learn a variety of techniques performed
during the papermaking process which will allow them to explore the composition
of a handmade sheet of paper. We will create simple watermarks using strapping
tape and more complex ones using contact paper, gesso and puff paint. The
class will also make low-relief embossed images using styrofoam and bound
objects; twist designs in wire and fire stamp the image into handmade sheets.
We will experiment in the making of vegetable papyrus with sliced, dried
and grated vegetables and fruits.
Animating the Scroll - Hedi Kyle
The scroll was the first flexible volume in the evolution of the book. Today
it has lost ground and is rarely considered a suitable book form. Let us
discover the scroll as the voluminous page! Rolled tightly, it can spring
like a spiral and extend like a telescope. We can use the scroll as end
band core, as sewing support, as a pin for hinges. Squashing and creasing
it results, of course, in an accordion fold. To animate the scroll will
be our aim; to explore it's structural and mechanical qualities in combination
with codex and leporello will be our work; to conceive the scroll as a book
concept in it's own right is our fantasy.
Paper Marbling: The Process & Beyond - Pamela Smith
Once know as "Cloud Painting," the ancient art of paper marbling
still captivates one and all with the magic of its process. But what of
the finished product, the artful use of these decorated papers in the world
of the book? This class will guide both beginning and experienced students
through the marbling process, as well as explore its potential as a design
element. Focus will be on a wide range of techniqueswater and oil color
marbling, suminagashi, masks and resists, overmarbling, and additives for
creating texturesand the possibilities of each, specifically in the vocabulary
of book design.
Dimensional Books: Lessons in Moveable Magic - Bonnie Stahlecker
During this workshop, participants will concentrate on making books that
have transforming structures and changing images. We will focus on pop-up
and dimensional bookmaking techniques. In addition, we will explore non-acid
printing, paper decorating, rubber stamping, transfers and other image making
skills. We will then combine all this wizardry to create wonderful unique
or limited edition books that change from the second dimension to the third.
Back to the top of the page.
Alice Austin
(PBI 97 Journalist) is a book artist, printmaker, and sculptor currently
working as an assistant book conservator at the Winterthur Museum in Delaware.
Previously she worked at the Conservation Center for Art & Historic
Artifacts in Philadelphia, PA.
Cathleen Baker will soon assist Steve Miller in hand printing her
book, By His Own LaborThe Biography of Dard Hunter . Prior to work on the
book, she was professor of paper conservation at SUNY's Art Conservation
Department. She has taught previous PBI classes and has taught papermaking
and conservation courses for an international organization (ICCROM) since
1987. She is past president of the Friends of Dard Hunter and currently
serves on the board of directors of Hand Papermaking, Inc.
Georgia Deal is chairman of the Printmaking Department at The Corcoran
School of Art, Washington D.C. She held the position of Resident Printmaker
at The National Museum of American Art, Smithsonian Institution. Her work
is in many collections both public and private, and she holds numerous awards
including D.C. Commission on The Arts, Philadelphia Art Alliance and NY
State Council on The Arts.
William Drendel (PBI Co-director) is a Chicago-based designer and
book artist who began his training at the School of the Art Institute of
Chicago. His interest in books led him to the study of traditional bookbinding
from which he has taken the traditional, put a spin on it, and taken books
to a high level of the non-traditional.
Glen Epstein is an Adjunct Professor in the School of Art & Art
History at the University of Iowa, where he also serves on the faculty of
the UI Center for the Book. His calligraphy has appeared in over 70 juried
and invitational exhibitions in the U.S. & Europe. He has lectured and
taught throughout the U.S. and at several International Calligraphy Conferences.
His work has been represented in Letter Arts Review Annuals, and is in the
Harrison Collection of Contemporary Calligraphy at the San Francisco Public
Library.
Cecilia & Gary Frost are founders of the Dry Frio Bindery in
Utopia, TX. Gary is an instructor in the Preservation/Conservation Studies
program at the University of TX (Austin) and partner at BookLab, Inc., which
serves research library preservation programs. He was a founding Co-director
of PBI.
Helen Hiebert is an artist and papermaking instructor living in Brooklyn,
NY. She teaches papermaking to adults and children in the NYC metropolitan
area. She is currently Program Director at Dieu Donné Papermill,
and author of the upcoming "Paper Shade Book."
Richard Hungerford has taught, developed and directed papermaking
workshops at Ox-Bow since 1976. He taught papermaking for four years at
The School of the Art Institute of Chicago, and is an adjunct lecturer at
the University of Northern Iowa. He has developed innovative methods to
manipulate, to color, and create with pulp for pulp painting, relief prints,
books, and sculpture. His work is exhibited nationally and internationally
and represented in private and corporate collections. He currently operates
a papermaking facility for creative development in Keswick, IA.
Daniel Kelm received formal training in chemistry at the University
of Minnesota, where he spent five years in various teaching and research
positions. In 1978 he moved from the chemistry and philosophy departments
to the library bindery on campus. This marked the beginning of an involvement
with books that led to employment in four production studios where he learned
progressively more specialized bookbinding techniques. In 1983 he started
his own business, The Wide Awake Garage.
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.
Julia Miller (PBI 97 Site Host) is a book conservator in private
practice in Ann Arbor, MI. She is a book artist of trash journals, the Odalisque
Series, and other collaborations. Her latest endeavor was the design and
binding of a book of poetry by Gary Snyder (Finding the Space) with the
Black Rock Press. Her latest unintentional pun: "I don't mind living
in the past as long as I am not arrested for it."
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 Smith launched her book career as a writer thirty years ago.
She is the founder and presently the proprietress/curator of The Press of
the Palace of the Governors (living museum) in Santa Fe, NM where she has
been designing and printing limited edition letterpress books for more than
twenty years. Her editioned marbled papers, MarbleSmith Papers, are used
by book artists throughout the country.
Bonnie Stahlecker has been making books since 1979 and has utilized
dimensional structures in her work for more than nine years. Her background
is in typography, papermaking, letterpress printing and binding. Her work
has been exhibited in numerous national and international exhibitions including
the International Biennial of Paper in Düren, Germany.
Eileen Wallace (PBI Co-director) is the coordinator for the Books
& Paper studios and works on publications at Penland School of Crafts
in Penland, NC. Her background is in letterpress printing and traditional
bookbinding. She is the proprietor of Mile Wide Press. Back
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