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Garage Annex School for Book Arts 2001 Workshop Schedule



Daniel E. Kelm and Greta D. Sibley present
The Garage Annex School for Book Arts
Workshops for Spring, Summer, and Autumn 2001

If you would like to receive a printed copy of our class schedule please
phone Daniel at 413-527-8044.


Contents

April 21-22  Mold Making for Leather, Paper, & Resin Casting with Daniel E.
Kelm
May 5-6  The Book Restructured: Wire Edge Binding with Daniel E. Kelm
June 2-3  The Flatback Case Revisited with Daniel E. Kelm
June 23-24  Large Paper into Small Spaces: Creating Books with Foldouts with
Pamela Spitzmueller
July 7  The Chemistry & Poetry of Materials with Daniel E. Kelm
July 16-20  The Painted Book with Timothy C. Ely
August 4-5  Thin Metal Over Boards Meets the Gutter Wire with Daniel E. Kelm
August 6-10  Letterpress Printing & Composition with Art Larson
August 13-17  The Unbearable Beauty of Vellum with Mark Tomlinson
September 8-9  Leather Onlay & Inlay with Daniel E. Kelm
September 29-30  Books: Content, Form, Construction with Hedi Kyle
October 27-28  More Books Beyond the Rectangle: Pushing the Geometric
Envelope with Linda Lembke
November 10-11  Gold Tooling on Leather with Daniel E. Kelm
December 1-2  Holding the Edge: Jigs Without the Fiddling with Daniel E. Kelm
Archival Restoration (ongoing class) with Barry Spence & Daniel E. Kelm


Introduction

We’ve needed extra time to put this schedule together for you because our
offering of workshops and classes has expanded considerably from previous
years. Thank you for all your queries.

It is an honor to host guest instructors of the caliber of Timothy C. Ely,
Hedi Kyle, Art Larson, Linda Lembke, Pamela Spitzmueller, and Mark Tomlinson.
In addition, after Daniel spent upwards of 90 days on the road last year
teaching he is taking a break from traveling and is offering you instruction
here at the Annex that encompasses everything from traditional Leather Onlay
and Inlay and Gold Tooling on Leather to The Chemistry and Poetry of
Materials. In response to many requests to share information on how to
organize an efficient production of editions, Daniel is designing a new
workshop, Holding the Edge: Jigs Without the Fiddling.

Tim Ely is making a rare East coast appearance to offer his well-known
five-day intensive, The Painted Book. Pamela Spitzmueller graces the Annex
with her first visit, teaching Large Paper into Small Spaces: Creating Books
with Foldouts, and Art Larson is offering you a five-day intensive,
Letterpress Printing and Composition, in his studio in Hadley. By popular
demand Hedi Kyle and Linda Lembke are both returning to share their
particular talents in fashioning and teaching shaped books.

Mark Tomlinson has designed a new five-day intensive, The Unbearable Beauty
of Vellum, that is sure to inspire and satisfy those of you who share his
enthusiasm for this special material.

Last but not least, Barry Spence (a regular mechanic and teacher here) and
Daniel are teaching an ongoing class in Archival Restoration. This class
meets roughly every third Saturday. Please phone Daniel (413-527-8044) for
information.

Most of our workshops filled to capacity quickly last year, and we suspect
interest to be keen again this year given the instructors who are committed
to share their knowledge with you, and the number of inquiries we have
already received. Enrollment is limited, and registration is on a first-come,
first-serve basis so we encourage you to phone Daniel at 413-527-8044 to sign
up. Then send your deposit check promptly in order to secure your enrollment.
--Greta D. Sibley, Program Co-director


Mold Making for Leather, Paper, & Resin Casting
Instructor: Daniel E. Kelm
April 21-22 (Sat. & Sun.)   $145 plus $45 materials fee
Enrollment limited to twelve.

The casting of materials such as leather, paper and resin is a versatile and
eloquent method of creating 3-D surfaces for book covers, boxes and artwork.
Participants will learn details of mold making, as well as explore the
selection, preparation and handling of various materials for casting.
Successful mold making involves finding a mold material suitable for the
object's sculptural shape, desired level of detail in your casting, and the
number of castings you plan to make. Plaster, wax, and rubber will be
examined as mold materials. Casting requires a balancing of aesthetic
expression with functionality. We will explore these requirements and
determine the applications most suitable for leather, paper, and resin
casting. Various coatings will be examined for finishing the castings in
order to enhance their durability and appearance.


The Book Restructured: Wire Edge Binding
Instructor: Daniel E. Kelm
May 5-6 (Sat. & Sun.)   $145 plus $35 materials fee
Enrollment limited to twelve.

The range of books being produced today by artists is truly remarkable. Some
diverge wildly from what we recognize as traditional book form, others play
with slight variations. If you're interested in creating a nontraditional
book (e.g., a book with thick pages, or a book that is sculptural), the
achievement of your goal may require the use of a material or movement not
possible with conventional structures. Wire edge hinging grew out of just
such a challenge. This binding configuration utilizes a thin metal wire along
the spine edge of each page. The metal wire 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, and gives you the option
of producing unusual shapes. During the two days we will look at various
wire-edge structures useful for books, enclosures, and articulated sculpture.
You will produce both a simple codex, and an accordion model that forms a
tetrahedron.


The Flatback Case Revisited
Instructor: Daniel E. Kelm
June 2-3 (Sat. & Sun.)   $145 plus $40 materials fee
Enrollment limited to twelve.

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 covers. 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. It also 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
boards structure).
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  is common in commercial children’s books. This
structure 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.


Large Paper into Small Spaces: Creating Books with Foldouts
Instructor: Pamela Spitzmueller
June 23-24 (Sat. & Sun.)   $145 plus $20 materials fee
Enrollment limited to twelve.

Components of the atlas are the inspiration for this workshop on conceiving
and building books with foldout plates. We will explore this challenge
through three means: (1) hands on production of various page make-up options,
(2) examination and discussion of sample bindings from the instructor’s
collection, and (3) a slide show of historical atlases that demonstrate the
features of successful structures.
The problems a large, folded sheet (plate) create are solved by applying
sound principles of folding, guarding (adding a strip of paper to the spine
edge of a foldout), and spine compensation (bulking). The importance of
material selection will be emphasized, as each component requires a different
degree of strength, flexibility, and durability. Damaged plates will be
examined for insight on how to build foldouts that exemplify easy opening and
refolding without tearing. Each participant will create a sample set of
folded, guarded and compensated plates that can easily be bound afterwards if
desired.


The Chemistry & Poetry of Materials
Instructor: Daniel E. Kelm
July 7 (Saturday)   $50 (no materials fee)
Enrollment limited to twenty.

We learn the physical working properties of materials such as paper, cloth,
leather, metal and adhesives by handling them directly. This personal,
subjective interaction is often contrasted with the scientific, objective
approach found in chemistry. The strength of the chemical approach has been
clearly recognized in book and document conservation, while the physical,
intimate approach touches the very heart of artistic creation. Disconnecting
imagination from our interpretation of the physical environment (in an
attempt to become an objective observer) has just as far reaching
consequences for our lives as does disconnecting ourselves from the rational.
These two perspectives needn’t be exclusive of one another--ideally we bring
the two together. During the course of this day-long lecture demonstration we
will work to develop a basic foundation of chemistry for understanding a
range of book arts materials and processes. We will also explore the
mythological imagination inherent in traditional artists’ materials.
Participants are invited to contact the Daniel with questions concerning
specific materials and processes in advance of the session. 413-527-8044


The Painted Book
Instructor: Timothy C. Ely
July 16-20 (Mon.–Fri.)   $450 plus $25 materials fee
Enrollment limited to twelve.

The Painted Book is a metaphoric investigation and extension of structures
and technologies that emerged and became formalized in fine bookbinding
during the early part of the 20th century. The Painted Book endeavors to move
on by utilizing new spaces and images, refined techniques, and novel
materials in order to add the aesthetic experience of the visionary painter
to that of the poet or writer. In this intensive we will construct a basis
book structure and envelope it both inside and out with numerous materials so
as to investigate in some depth the nature of four dimensional sculpture.
Techniques of collage, assemblage, direct painting, and encrustation will be
demonstrated.


Thin Metal Over Boards Meets the Gutter Wire
Instructor: Daniel E. Kelm
August 4-5 (Sat. & Sun.)   $145 plus $45 materials fee
Enrollment limited to twelve.

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 coming to this workshop.)
The structure that we’ll investigate has a non-adhesive spine system that
uses an interior wire along the inside fold (gutter) of each signature of
pages. Openings punched through the signature folds expose the wire, and
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 text block.
Learn how to evaluate the appropriateness of metal as a possible substitute
for paper, cloth, or leather. Also, explore the decoration of
metals--including brass, copper, silver, lead, iron, tin, and aluminum--by
examining many examples 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.


Letterpress Printing & Composition
Instructor : Art Larson
special location: Hadley, MA
August 6-10 (Mon.-Fri.)
$450 plus $50 materials fee
Limited to six participants.

This one week intensive will explore elementary and advanced typesetting and
composition techniques. You will learn how to operate a Vandercook proof
press (there are two No. 4s and one 325 in the shop). Together we will set
and print a 16-page pamphlet, but if you are passionate about doing something
else please phone Art in order to discuss possibilities. 413-584-0783. No
previous typesetting or printing experience necessary. However, if you have
experience you will be challenged to explore advanced topics.
Art is especially adept in printing dampened, hand made paper. His shop is
set up to dampen and dry sheets in a variety of ways. Resources include a
large number of wood type fonts and a large number of metal display fonts.


The Unbearable Beauty of Vellum
Instructor: Mark Tomlinson
August 13-17 (Mon.-Fri.)   $375 plus $125 materials fee
Limited to twelve participants.

“Vellum is certainly one of the most seductive, over-the-top,
knock-dead-beautiful materials in all the history of bookmaking.” (Please f
orgive Mark’s understatement.) Remarkably, vellum is one of the most durable
materials as well. These two qualities--beauty and durability--contribute to
its vaunted status. In this introductory class, we will touch upon (1) the
history of vellum in bookmaking, (2) how it is made, and (3) where to acquire
it. Looking at examples--including a visit to the rare book room at Smith
College--we will discuss and study the many ways it can be creatively
manipulated.
There will be time for playful experimentation in this class--a great
antidote to any feelings of intimidation you may harbor around vellum. Though
emphasis will be placed on coloring vellum with dyes, we will also explore
simple techniques for punching, cutting, scarifying, embossing, painting, and
writing on vellum. No doubt, participation in this workshop will add
enormously to your vellum vocabulary.
The pieces of vellum that you dye and manipulate will be used to cover three
of your five books--which feature three different structures. (1) Our first
structure will be a quarter vellum long stitch with paste paper over board
covers. You will begin by making a copy with plain vellum, then graduate to
making a second copy using your dyed vellum. (2) The second structure will be
a true non-adhesive binding--featuring a full limp vellum cover cleverly
folded around the text, and exposed tapes on the front cover. Again, you will
begin by making a copy with plain vellum, and then practice your new-found
skills by making a second copy using your manipulated vellum. (3) Our final
book will be a full limp vellum with a unique, exposed sewing pattern on the
spine, a fore edge flap, and a clasp (this is the same binding Mark taught
two years ago in Limp Vellum: These Books Aren’t Hard, but the sewing pattern
and the dyeing technique are different).
A great deal of information will be shared in handouts, and the examination
of many examples will inspire new ideas. In the end, we fully expect you to
be as enamored with this remarkable material as is Mark.


Leather Onlay & Inlay
Instructor: Daniel E. Kelm
September 8-9 (Sat. & Sun.)
$145 plus $25 materials fee
Limited to twelve participants.

Participants will each produce five models: four variations of onlay, and one
inlay. Details of paste production, leather preparation using the Schärf-Fix
paring machine, knife selection, cutting surfaces, and onlay/inlay
application will be covered. The onlay/inlay cutting system that will be
demonstrated and practiced is applicable to untooled, hand-tooled, and
machine-stamped designs.
Prepare for the workshop by creating or acquiring a very simple design--no
more than two inches in height and width--that you will use for your models.

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