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Daniel E. Kelm Workshops for Autumn 1998

Daniel E. Kelm and=20
The Garage Annex School for Book Arts
Workshops for Autumn 1998=20

Schedule of new workshops and instructors at-a-glance

September 19=9620  Lay It On: Exploring Surface and Color For Bookworks
Suzanne Moore =20
October 3  Holding The Edge: Jigs Without The Fiddling with Daniel E. Kelm =
October 17=9618  Limp Vellum: These Books Aren=92t Hard with Mark Tomlinson =
October 31=96November 1  Off The Wall! Fresco For Book Artists with Irene=
November 14=9615  Taming Vellum/Parchment: Binding Over Boards with Peter=
December 5=966  Books Beyond The Rectangle: Pushing The Geometric Envelope
Linda Lembke =20

Ongoing class with Daniel E. Kelm, independent projects, Thursday
beginning September 3 (see page 3)

Lay It On: Exploring Surface and Color For Bookworks  September 19=9620
(Sat. &
Sun.)  $125 plus $15 materials fee

Learn to use wet and dry media, layered on a variety of surfaces to
unexpected textures and designs for book pages and covers. Using
letterforms or designs of your invention, we will render them in
gouache, graphite, and colored pencils applied in progression on
many papers.
Resists, stencils, drawing and painting techniques will be explored as
develop a series of rich, colorful, and distinct surfaces. This is
opportunity to experiment with a variety of tools and materials as you
your repertoire and develop new ways of using color, texture and
design. The product of our experiments=97a series of 6" x 6" studies
explorations=97will be enclosed in a simple wrapper.

Instructor: Suzanne Moore =20
Suzanne is a lettering artist and designer who combines contemporary
with traditional scribal techniques, painting, and drawing in
books, broadsides, graphic design, and interior decorative
Writing about one of Moore=92s books in Calligraphy Review, Betty Bright
=93Like Matisse, Moore invents her own architecture of the book whose
seem to build upon and down into the page=92s surface, capturing the
poem within
the creative timeline of paint.=94
Suzanne=92s work is exhibited widely, and her books have been acquired
various collections including the Pierpont Morgan Library, New York;
Library of Congress; and the Houghton Library, Harvard.

Holding The Edge: Jigs Without The Fiddling  October 3  (Sat.)  $65 plus
materials fee

Whether you are making a single copy or hundreds of something, you need
position and hold materials at each step of the process. Cutting,
folding, gluing, covering, and stamping are just a few of the
operations in
which it is necessary to fix or control the relationship
among the materials
joined. How do you place and register parts accurately
and easily? This one-
day workshop will systematically explore techniques
for jigging and
positioning, and classify them in such a way as to allow
easy solutions to
handling materials.

Instructor: Daniel E. Kelm =20
Before Daniel settled into his career in the book arts, he received
training in chemistry and taught at the University of Minnesota.
experience with books began twenty years ago with employment in
production studios where he learned progressively more specialized
bookbinding techniques. In 1983 he opened his own studio, now
called The Wide
Awake Garage, where he designs and produces artist=92s books,
interpretive fine
bindings, and book sculptures. He is known for his
innovative structures and
extensive knowledge of materials.=20

Limp Vellum: These Books Aren=92t Hard  October 17=9618  (Sat. & Sun.)  $125
$50 materials fee

Two goals of this workshop are to celebrate the organic beauty of vellum,
to make a book that might look at home in The Museum of Natural
History. You
will make a limp vellum book with a dyed cover, a fore edge
flap, and a unique
pattern of sewing exposed on the spine.
We will begin by playing. Using a few simple techniques, you will dye a
of vellum to a color of your choosing. While the vellum is drying, we
move on to practice sewing=97a more precise activity. The sewing is a
of the traditional long stitch, and allows for a number of
different patterns.
Examples will be shown, and you will make a simplified
prototype. At the end
of the first day, the instructor will hand out three
examples of sewing
patterns from which to choose. These can be pondered
overnight. You may opt to
invent your own pattern.
On day two, when the vellum is dry, you will (1) cut your pattern in
vellum, (2) fold and punch holes in your textblock, and (3) sew the
book. Time
permitting, some blind tooling may be added and/or a =93hood
There will be ample discussions, examples, handouts, and demonstrations.
When the books are finished, they will embody a successful mix of play
precision=97a natural goal of most book arts adventures.
Some experience recommended.

Instructor: Mark Tomlinson =20
Mark studied painting and holds a degree from the University of Wisconsin.
career in the book arts began eight years ago when he moved to the
Valley to study with Bill Streeter. Since then he has worked and
studied with
several binders in the Valley. He currently works in
Easthampton with Claudia
Cohen whose bindery specializes in artist=92s book
and letterpress editions.=20
Mark is sole proprietor of the Ten Thousand Clouds Bindery in
Massachusetts where he produces limited edition bindings as
well as his own
artist=92s books. For inspiration Mark frequently visits The
Museum of Natural
History.  The organic beauty of the objects found there
is a quality he
strives to incorporate into his own work.

Off The Wall! Fresco For Book Artists  October 31=96November 1 (Sat. &
$125 plus $40 materials fee

Discover this ancient form of wall painting as a viable medium for
contemporary book artist. This unique weekend workshop is designed to
you true fresco painting on a range of supports appropriate for
books. Learn
the craft of mixing the final coat of plaster (intonaco) and
applying it to
the prepared materials, as well as the art of painting in
the authentic fresco
We will employ traditional colors as well as new contemporary
pigments only recently available to the fresco artist. You will
have the
opportunity to mix your own colors and paint on the wet plaster of
your own
panel. You are encouraged to paint original work or to draw from
images. You will have the opportunity to complete at least one
piece in this
intensive weekend.
Fresco has always been the medium chosen to monumentalize and commemorate
spiritual and cultural messages of the past. Spiritual, artistic, and
issues are conveyed simultaneously and magnificently in the form of
Highlights from some of these great ages will be presented. Today
have a new vitality. They are contemporary, portable, collectible
and off the

Instructor: Irene Clark =20
Irene is known internationally through the paintings and prints she has
to the United States embassies in Egypt, Panama, Qatar, and
Ethiopia, as well
as works in private collections throughout Europe. Her
frescoes were viewed in
Beijing at the 1995 United Nations Fourth World
Conference on Women. That
exhibition, The World=92s Women in Art is currently
accessible via the Internet.
Irene is represented by works in the Jane
Vorhees Zimmerli Art Museum at
Rutgers University, as well as corporate
collections, and in private
collections in Boston, San Francisco, Los
Angeles, Washington DC and New York.
Recent exhibitions include Pleiades
Gallery, Smith Barney, the Interchurch
Center in New York, and The Silo in
New Milford, Connecticut.
Educated at Hunter College, New York University, and Schumacher College
England, Irene, a committed environmentalist, has completed course work
Environmental Sciences as well as Archaeology, Anthropology, and
She has studied painting, drawing, and printmaking at the
National Academy of
Arts and The Arts Students League in New York, and
paper making at Dieu Donne
Papermill. Irene is an active gardner and a
Irene has created several artist=92s books on topics such as the saving of
Connecticut River, fresh water issues in Eastern Europe, and wetlands
of North
America. Her books include both scholarly research and monotypes
especially for each subject.

Taming Vellum/Parchment: Binding Over Boards  November 14=9615  (Sat. &
$125 plus $30 materials fee

Do you suffer from fear of vellum? Come to this workshop to learn how to
vellum over boards successfully. We will explore two configurations of
boards, and how to apply the vellum.=20
For your participation prior experience is necessary because you must
and bring one or two textblocks of vertical format measuring 215 mm
x 140 mm x
approximately 15 mm thick. Sew the textblocks onto flattened
cords or tapes,
and reinforce the endsections. After rounding and backing,
use Japanese tissue
and paste (only) to line out the spine. We will
construct hollows in the
workshop. (Depending on how quickly you work you
might be able to get two
books done in the course of the workshop.)
Related materials on vellum will be presented including the history of
manufacture, and the histology of skins.
Feel free to phone Daniel to discuss your prior experience, and whether or
this workshop is for you. (413) 527-8044

Instructor: Peter Geraty =20
In 1975 Peter began his book arts career by working at Unicorn Press
Greensboro, NC, typesetting, printing, and binding. After moving to
Boston he
worked at various binderies including New England Bookbinding
Company, and the
Museum of Comparative Zoology at Harvard University. After
more than four
years at The Harcourt Bindery, Peter established his own
business. Since 1984
his company, Praxis Bookbindery, has specialized in
edition binding, portfolios, and fine binding.

Books Beyond The Rectangle: Pushing The Geometric Envelope  December
(Sat.=96Sun.)  $125 plus $15 materials fee

Bookmaking provides many opportunities to explore geometric principles
elements=97measuring, organizing space, creating geometric shapes and
and designing with lines and shapes. In turn, an understanding of
informs bookmaking. Do books always have to be rectangular in
shape and linear
in format? Can geometric shapes be used to link the
structural elements of a
book? In this workshop, designed for beginning and
experienced bookmakers, we
will work through several exercises applicable
to book construction and
design. Then, we will make six to eight simple
models=97books with triangular
and circular pages, books that open into
circles and squares, and books which
use geometric design in their

Instructor: Linda Lembke =20
Linda is the sole proprietor of Green River Bindery in Guilford,
where she incorporates both traditional and experimental
approaches to her
limited edition binding, fine binding, and boxmaking.=20
Linda is also an artist on the Vermont Arts Council=92s education roster,
works frequently on bookmaking projects with teachers, students, and
She has been leading bookbinding workshops for several years and
is known for
her thoughtful instruction and her thoroughness. Participants
always leave
Linda=92s workshops with many useful designs and models.

Join our ongoing class

Much can be gained by seeing how other artists grapple with the challenges
responding to their own creative imperative. Join this class and work on
own project, at your own pace, in an environment that is both
supportive and
stimulating. Gain access to the facilities and equipment in
our studio, and
receive instruction specific to your interests. Class is
scheduled for
Thursday evenings, 6:30=969:00. The cost is $25 per session. We
ask you to
commit to a minimum of four consecutive sessions payable in
advance by the
month. Please phone Daniel if you are interested. (413)

Educational Opportunities at The Garage Annex Schoolfor Book Arts

The Garage Annex School provides a wide range of educational opportunities
the book arts. Internships, weekend workshops, and longer intensives
offered year round. Individuals or groups are invited to request
on general techniques, or techniques specific to the
requirements of proposed


Enrollment is limited to twelve per class. Please see workshop
for any recommendations of prior experience.=20

To secure a space, please send a deposit of $25 for the 1-day workshop,
$50 for each 2-day workshop:=20

Daniel E. Kelm
One Cottage Street #5
Easthampton, MA 01027

If you have any questions, or if you are interested in the ongoing
please phone Daniel at (413) 527-8044.

A list of tools you need to bring will be sent prior to the workshop.
should be arranged on an individual basis. If you require
recommendations, we
will be glad to help you. Public transportation is
available, but limited.
While not strictly necessary, a car will make
getting around easier.


Sewn Boards and Beyond  (5-day)
You will begin by constructing a sewn boards binding in the tradition of
Frost. Using his unique wrap around spine structure as a departure
point we
will then produce variations on the theme. For example, you will
make a full
leather case without wet glue that wraps around a textblock
without sewing!=20

Folders  (2-day)
Sometimes you feel like a box, sometimes you don=92t. We will focus on
conceptualization of both simple and complex book enclosures as
protective and
decorative devices that open to a flat surface. Various
systems=97including magnetic=97will be shown.

The Book Restructured: Wire-Edge Hinging  (2-day)
Wire-edge binding utilizes a thin metal rod along the spine edge of each
The metal rod is exposed at regular intervals creating knotting
stations where
thread attaches one page to the next. The result is a
binding that opens
exceptionally well. You will produce both a codex and an
accordion model.

Full Metal Binding  (2-day)
During this workshop explore the requirements of combining rigid metal
paper. You will construct a multi-signature codex binding with full

Manipulating Metal Surfaces  (2-day)
Learn how metal is marked, colored, and protected by chemical patinas,
treatments, photo etching, sandblasting, laser marking, and
pyrotechnics. Both
freehand and photographic techniques will be used.

Thin Metal Over Boards  (2-day)
Thin metal is an exciting alternative to traditional covering materials
many book structures. Learn how to evaluate the appropriateness of
metal as a
possible substitute for cloth, leather, or paper.

Gold Tooling on Leather  (2-day)
Traditional techniques of gold leaf handling and leather tooling will
demonstrated and practiced. You will produce models using both the
varnish technique and the more production-oriented English egg

More About the Wide Awake Garage and You

In addition to the creation of artist=92s books, interpretive fine bindings,
alchemical explorations, Daniel and the mechanics (our crew) work on
commissions and editions here in our studios. If you would like
expert help on
your project, you may arrange consultations with Daniel.
Artists and
publishers come to the Garage for a negotiated period of time
in order to gain
the support of our personnel and access to our facilities.
A popular
arrangement is to have two or three hours of consultation and
instruction in
the morning, then use the Garage facilities for the
remainder of the day to
work on production of your project. You may wish to
do the entire production
yourself, or if your time is limited you may want
the help of our crew. Phone
Daniel at (413) 527-8044.

>>    In schoen gebundenen Buechern blaettert man gern.   <<

Peter D. Verheyen   =20
<Email>                               mailto:pdverhey@dreamscape.com
<Webmaster>              http://www.dreamscape.com/pdverhey
<Listowner>   Mailto:Book_Arts-L-request@listserv.syr.edu

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