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New schedule of classes by Daniel E. Kelm and The Garage Annex School for Book Arts. Spring - Autumn 2000
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- Subject: New schedule of classes by Daniel E. Kelm and The Garage Annex School for Book Arts. Spring - Autumn 2000
- From: "Peter D. Verheyen" <verheyen@PHILOBIBLON.COM>
- Date: Mon, 20 Mar 2000 21:45:03 -0500
- Message-Id: <200003210245.SAA17606@palimpsest.Stanford.EDU>
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Daniel E. Kelm and The Garage Annex School for Book Arts
Workshops for Spring, Summer, and Autumn 2000
(Our class brochure includes several line drawings of structures that will be
taught. If you would like to receive our class brochure please contact us at
413-527-8044. Email: Foliotrop@aol.com)
We are excited that so many talented instructors expert in the tradition of
(as well as innovations in) the book arts make it possible for us to offer
you this varied program of workshops. We will welcome Hedi Kyle to the Garage
for the first time when she teaches her popular Books—Content, Form,
Construction this autumn. Daniel Kelm is ready to share his expertise in
traditional leather binding in his week-long Leather Intensive as well as to
reveal two brand new weekend workshops introducing structures and cover/case
innovations. Some of our favorite guest instructors are returning this season
too—Peter Geraty, Linda Lembke, and Mark Tomlinson. Peter, Linda, and Mark
are teaching workshops we haven't offered before: Edge Gilding, Introductory
Boxmaking, Japanese Bookbinding, and World Beat Bookbinding. Peter will also
share his phenomenal restoration skills in Rebacking Leather Books. We are
also most pleased to introduce our colleague, Michael Richardson, who will
help you present your work to the world in his one-day Image to Album
May 67, Thin Metal Over Boards Meets the Gutter Wire with Daniel Kelm
June 1718, Rebacking Leather Books with Peter Geraty
July 8, Edge Gilding with Peter Geraty
July 2223, Japanese Bookbinding with Mark Tomlinson
August 711, World Beat Bookbinding with Mark Tomlinson
August 1418, Leather Intensive with Daniel Kelm
September 16, Image to Album with Michael Richardson
September 30October 1, Books: Content, Form, Construction with Hedi Kyle
October 2122, The Flatback Case Revisited with Daniel Kelm
November 1112, Introductory Boxmaking with Linda Lembke
Ongoing class, Poetic Chemistry for Artists with Daniel Kelm
For the first time anywhere…
Thin Metal Over Boards Meets the Gutter Wire
Instructor: Daniel Kelm
May 67 (Sat. & Sun.) $145 plus $45 materials fee
Metal foil is an exciting alternative to the traditional covering materials
used in books.
Your book covers will be built with an outer layer of patinated copper foil
wrapped around a core board. This foil-wrapped core is then adhered to a
carrier board that is designed with a spine wire for attachment to the text
block. (In and of itself utilizing the concept of a carrier board is worth
your participation in this workshop.)
The structure that we'll explore in this workshop has a non-adhesive spine
system that uses an interior wire (gutter wire) along the inside fold of each
signature of pages. You will punch openings through the signature folds,
exposing the wire. This will allow you to use thread to anchor one signature
to the next—thereby creating a text block. As noted above, covers will be
adhered to a carrier board utilizing a spine edge wire for attachment to the
Learn how to evaluate the appropriateness of metal as a possible substitute
for paper, cloth, or leather by examining and discussing many examples of
metals—including brass, copper, silver, lead, iron, tin, and aluminum—that
have been patinated using chemical and/or heat treatments, debossed,
sandblasted, cut, drilled, incised or abraded.
You can expect to (1) become acquainted with metals, (2) learn an interesting
new wire edge structure, and (3) complete one binding.
Previous experience helpful but not required.
Rebacking Leather Books
Instructor: Peter Geraty
June 1718 (Sat. & Sun.) $145 plus $30 materials fee
Gain experience exploring each of the steps involved in rebacking
books—removal of the original spine covering, cleaning off the old lining,
rebuilding the spine lining, dying new material to match the old, and
applying the new spine covering. We will look at the ins and outs of lifting
fragile spines, and evaluate our repairs in terms of strength and
compatibility with the original structure. Replacement of missing tooling
will be discussed. Please bring several books—Peter will help you decide
which one to choose for your project. All materials will be provided. If you
have questions call Peter at 413-527-7275.
Learn edge gilding from an expert…
Instructor: Peter Geraty
July 8 (Sat.) $75 plus $25 materials fee includes gold
The traditional art of applying gold leaf to the text edges of a book was
once a commonly practiced technique. Today, however, it lies shrouded in
mystery. During this one-day session Peter will reveal the secrets of using
gilding boards for pressing, preparing the book edges, and laying on the
gold. He will also demonstrate the decorative techniques of colored edges and
Each participant needs to provide a text block to gild. This can be as simple
as bringing along a paperback book, or as involved as preparing a sewn,
rounded and backed text block or a text block with laced-in boards for
in-board gilding. If you have questions call Peter at 413-527-7275.
Instructor: Mark Tomlinson
July 2223 (Sat. & Sun.) $145 plus $35 materials fee
Mark Tomlinson writes, "The tradition of the Japanese book is one of my
favorites. I like the simple design, endless colors and patterns, and the way
the books seem to float in my hands. They remind me of wild flowers—small,
beautiful, seemingly fragile yet hardy and enduring."
In this workshop you will make two books whose different characteristics will
introduce you to many techniques and materials. The first will be a
limp-paper binding made completely of traditional materials, and housed in a
two-flap cloth folder with a single bone-clasp. The second binding will
include some western materials, but be styled in a Japanese manner. It will
have cloth-covered boards. You will protect this book by making a simple slip
If inspired, please bring an image (no larger than 5x4) for possible use on
the cover of your second book. Phone Mark at 413-529-2019 for more
There will be ample discussions (in Japanese—just kidding), examples, and
No previous experience necessary.
For the first time anywhere…
World Beat Bookbinding
Instructor: Mark Tomlinson
August 711 (Mon.Fri.) $375 plus $75 materials fee
This class is a celebration of the diversity of bookmaking traditions from
around the world—emphasizing playfulness and learning, exploration and
You can expect to make at least six books. The bindings vary in complexity
from quite simple to less so, but each exhibits a unique quality and provides
a potential starting point for individual experimentation. If you are
interested in learning these traditional forms so that you may adapt them
later for your own artist books you won't be disappointed! This is a rich
offering of treasures from around the world.
This workshop will be stimulating and enjoyable for persons familiar with the
book arts, but is also ideal for a newcomer who would like to cover a lot of
ground (literally) in a fun-packed week. You will progress from the simple
to the more complex. Time permitting we will visit the rare book room at
Smith College for ideas and inspiration.
Note: Mark can provide you with information (e.g., dimensions of the books
and colors of the materials) before the workshop so that you have the option
of bringing cover images or titles that you will use to personalize your work.
from India: This binding features a fore-edge flap, limp cloth covers, and
side-sewing. The book is folded in half and tied with a string for storage.
from Japan: A multisection book from the 9th c. called, retchoso, used
traditionally for literature, noh chants, and poetry. Features include a
decorated limp cover. This book is sewn with two needles. You will construct
a two-flap cloth folder with bone clasps to enclose it. (Note: This Japanese
binding is different from the two that will be introduced in the Japanese
from China: We will make two structures. First, a traditional accordion
(leporello style) with two opposing bone clasps.
Second, a binding from 8th c. Tang China. This book is a scroll, but instead
of pages pasted end to end, the pages are stacked and bound along one edge,
rolled and tied with a string. It has a great name: the whirlwind.
from Ethiopia: This Coptic binding opens completely flat, and is great for
artist's books. The style is over one thousand years old. It is sturdy and
features beautiful exposed sewing.
from Nepal: Variation on a folk binding.
Please note: We've scheduled the Leather Intensive and World Beat Bookbinding
back-to-back during August for those of you who might like a two-week book
extravaganza this summer. Begin with Mark's workshop August 711 (see page 3)
and then delve into the world of traditional leather binding August 1418
under Daniel's expert guidance. Come enjoy the Pioneer Valley—a hotbed for
the book arts.
Instructor: Daniel Kelm
August 1418 (Mon.Fri.) $375 plus $75 materials fee
During this five-day intensive each participant will produce a full-leather
binding using techniques traditional to English and French construction.
Variations in structure and the characteristics of materials will be
discussed extensively. Endsheet configuration, text sewing, rounding and
backing, hand-sewn endbanding, spine lining, leather paring (both with knife
and manual paring machine), covering, and leather joint application will be
explored. For information phone Daniel at 413-527-8044. Email:
Books—Content, Form, Construction
Instructor: Hedi Kyle
September 30October 1 (Sat. & Sun.) $145 plus $20 materials fee
As versatile containers and packaging devices books accommodate all sorts of
texts, images, and even objects. Their intriguing mechanical function arouses
our curiosity to explore form and construction of the book. This workshop is
all about that. With many samples on hand we will examine why some structural
features work better than others, and evaluate essential techniques. Our goal
will be to arrive at book structures that are suitable to display, protect,
and enhance a variety of materials and objects. You are encouraged to collect
and bring such contents which inspire book works. As a group we will generate
ideas and, consequently, unique books.
Image to Album
Instructor: Michael Richardson
September 16 (Sat.) $75 plus $10 materials fee
Witness the power of the frame! Watch a slew of loose images become a
sequence, a story, an essay of contextualized images. We'll crop and frame
each image and consider its place on the page/in the frame according to the
golden mean of page design. Over the course of one day we'll build an elegant
album for ten of your photographs (or drawings, or any flat artwork) that can
be either an accordion, or a codex book (bound at one spine edge).
You will need to bring ten of your own images, croppable down to no larger
than 5x5 inches.
For the first time anywhere…
The Flatback Case Revisited
Instructor: Daniel Kelm
October 2122 (Sat. & Sun.) $145 plus $30 materials fee
Traditional flatback bindings rely on large case joints (the French groove)
and thin text paper to achieve flexibility. Without these features the rigid
spine board inhibits opening by restricting the movement of the cover boards.
The flatback case structure that we'll do in this workshop was inspired by
Gary Frost's sewn boards binding. In that binding the outside folios, sewn on
with the text signatures, become the core supports for the front and back
cover boards. Our case version utilizes the same wrap around spine with
offset, open hollow, thus giving it the same great flexibility, but allows
the possibility of using a one-piece construction of continuous cloth for the
cover (rather than the quarter-binding configuration necessitated by the sewn
These covers can accommodate a sewn text, but for our models we'll produce a
glued-folio text block. Known as "board binding," this text configuration of
single folios glued together at spine and fore-edge is common in commercial
children's books. This structure, however, also works splendidly in artist's
books requiring spreads uninterrupted through the spine fold (gutter). Each
participant will finish one binding, and explore variations of full and
quarter cloth cases.
Instructor: Linda Lembke
November 1112 (Sat. & Sun.) $145 plus $35 materials fee
Clamshell boxes serve as protective storage containers for fragile, rare, or
special books or works of art on paper. They can also become an integral part
of the book or object contained. In this workshop you will work through the
construction of a single-wall clamshell box using pre-cut materials. You will
then work with the instructor to measure and cut materials for a clamshell
box built to contain an object you bring to the workshop. As a follow-up to
this work, you will also construct a simple cloth-covered slipcase and one or
two origami boxes.
Poetic Chemistry for Artists
Instructor: Daniel Kelm
Class is scheduled first and third Thursday evenings most months, 6:008:00
p.m. Please phone Daniel at 413-527-8044. Email: Foliotrop@aol.com
Science and the arts are complementary expressions of human curiosity—flip
sides of the same coin. Together they provide an opportunity for rich and
deep experience of the material environment, and our intimate connection to
If you ran away from the abstractness of science but now find yourself
interested in its practical nature, poetic chemistry may be just what you're
In 1975 Peter began his book arts career by working at Unicorn Press in
Greensboro, North Carolina, 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
conservation/restoration, edition binding, portfolios, and fine binding.
Daniel E. Kelm
Before Daniel settled into his career in the book arts, he received formal
training in chemistry and taught at the University of Minnesota. Daniel's
experience with books began over twenty years ago with employment in various
production studios where he learned progressively more specialized
traditional bookbinding techniques. In 1983 he opened his own studio, now
called The Wide Awake Garage, where he designs and produces artist's books,
interpretive fine bindings, and book sculptures. He is known for his
innovative structures and extensive knowledge of materials.
Hedi Kyle is Head Conservator at the American Philosophical Society and
Adjunct Professor at the University of the Arts, both in Philadelphia. At the
University she teaches book structures to MFA students of the Graduate
Program in Book Arts and Printmaking. Hedi Kyle graduated from the Werk-Kunst
Schule in Wiesbaden, Germany. After a brief career as a graphic designer, her
interest turned to book arts and book conservation. Her one-of-a-kind
constructions have been exhibited internationally, and are in private and
public collections. She is co-founder of Paper and Book Intensive (PBI), and
has given workshops in the U.S., Canada, and Switzerland for the past twenty
Linda is the sole proprietor of Green River Bindery in Guilford, Vermont,
where she incorporates both traditional and experimental approaches to her
limited edition binding, fine binding, and boxmaking.
Linda is also an artist on the Vermont Arts Council's education roster, and
works frequently on bookmaking projects with teachers, students, and artists.
She has been leading bookbinding workshops for many years and is known for
her thoughtful instruction and her thoroughness. Participants always leave
Linda's workshops with many useful designs and models.
Graphic designer, writer, and book artist, Michael Richardson has been
working as one of the mechanics at the Wide Awake Garage for more than two
years. Raised in Vermont, he has also worked as a furniture maker, jeweler,
and granola baker. He's almost finished writing his novel, The Googleplex
Mark studied painting and holds a degree from the University of Wisconsin.
His career in the book arts began ten years ago when he moved to the Pioneer
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's book and letterpress editions.
Mark is sole proprietor of the Ten Thousand Clouds Bindery in Easthampton,
Massachusetts where he produces limited edition bindings as well as his own
artist's 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.
More about the Garage Annex School, The Wide Awake Garage, and you…
In addition to the creation of artist's books, interpretive fine bindings,
and alchemical explorations, Daniel and the mechanics (our crew) work on
special 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.
The Garage Annex School provides a wide range of educational opportunities in
the book arts. Internships, weekend workshops, and longer intensives are
offered year round. Individuals or groups are invited to request instruction
on general techniques, or techniques specific to the requirements of proposed
Enrollment is limited to twelve per class. To secure a space please send a
deposit of $25 for each 1-day workshop, $50 for each 2-day workshop, $150 for
each 5-day workshop, check payable to Daniel E. Kelm. Mail to: Daniel Kelm,
One Cottage Street #5, Easthampton, MA 01027
You will be invoiced for the balance of your payment (due two weeks prior to
the workshop). We will mail you a list of tools needed for each class.
Lodging 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
If you have any questions, or if you are interested in the ongoing class,
please phone Daniel at 413-527-8044. Email: Foliotrop@aol.com
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