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[BKARTS] Rifodero



Hello, I usually simply lurk, but recently came across a process of adhering paper to cloth as a mounting technique:
"Rifodero".
Does anyone have any information on this?
When I do a cursory search on the internet, there seems to be one Italian artist who comes up.
I learned of it via the KALA printmaking school in the Bay Area of California. 
Just thought I'd ask my book arts group.

I would also like to know any techniques I can use to adhere my monotypes to fabric for alternative mounting/display.
Not framing. Also I'd like to learn how to protect the surface of a print

So, summing up. My artist questions:
~Does anyone know anything about Rifodero.
~How can I mount paper to fabric.
~How to protect paper/topical archival protection of paper print (to be wrapped or moulded into it's next form...)

Sincere thanks,
Chriistina Carroll

-----Original Message-----
>From: BOOK_ARTS-L automatic digest system <LISTSERV@xxxxxxxxxxxxxxxx>
>Sent: Feb 1, 2006 9:00 PM
>To: BOOK_ARTS-L@xxxxxxxxxxxxxxxx
>Subject: BOOK_ARTS-L Digest - 31 Jan 2006 to 1 Feb 2006 (#2006-33)
>
>There are 7 messages totalling 441 lines in this issue.
>
>Topics of the day:
>
>  1. Dremel Block Carving Workshop with Patricia Smith
>  2. Opening for "Photo Books Now" (San Francisco)
>  3. Montefiascone Project 2006
>  4. Fiber and the Book Artist
>  5. February Workshops at Studio on the Square, Union Square NYC
>  6. Jim Crofts' 2006 classes, Santa, Idaho
>  7. Fw: Real show
>
>             ***********************************************
>Now Online - The Bonefolder, Vol. 2, No. 1 at <http://www.philobiblon.com/bonefolder>
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>----------------------------------------------------------------------
>
>Date:    Wed, 1 Feb 2006 08:20:42 -0500
>From:    Raymond Nichols <rnichols@xxxxxxxx>
>Subject: Re: Dremel Block Carving Workshop with Patricia Smith
>
>This might be worth doing. It would allow us to do some large images  
>like the Howes' 'Q' perhaps.
>
>Want to take it?
>
>Ray
>
>
>On Jan 31, 2006, at 9:36 AM, Michelle Wilson wrote:
>
>> On February 26, the Philadelphia Center for the  Book offers  
>> "Dremel Block Carving" with Patricia M. Smith. Participants  will  
>> learn how to use a dremel for woodblock carving, and will design,   
>> carve, and print a one page book. This printing method can be  
>> printed  with or without a press. For more information, or to  
>> participate in the  workshop, please contact Patricia M. Smith at  
>> psmith@xxxxxxxxx
>>
>>   Patricia M. Smith received her BA in Art, Immaculata  
>> College;                 MA in Art Education, Philadelphia College  
>> of Art.She is assistant professor in the Book Arts/Printmaking  
>> Program                 at The University of the Arts. She has also  
>> studied Japanese woodblock                 at the Yoshida Hanga  
>> Academy in Japan and is both a printmaker and                 a  
>> book artist.
>>
>>
>>
>> www.phillyart.net/michellewilson
>> 		
>> ---------------------------------
>> Bring words and photos together (easily) with
>>  PhotoMail  - it's free and works with Yahoo! Mail.
>>
>>              ***********************************************
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>>
>>              For all your subscription questions, go to the
>>                       Book_Arts-L FAQ and Archive.
>>
>>           See <http://www.philobiblon.com> for full information
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>Now Online - The Bonefolder, Vol. 2, No. 1 at <http://www.philobiblon.com/bonefolder>
>                                    
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>
>------------------------------
>
>Date:    Wed, 1 Feb 2006 08:10:19 -0800
>From:    Susan Angebranndt <susan@xxxxxxxx>
>Subject: Opening for "Photo Books Now" (San Francisco)
>
>Join us for the opening reception of the exhibition "Photo Books Now" at
>the San Francisco Center for the Book on Friday Feb 3, 2006, 6-8 pm
>
>In the 21st century, photography is being reexamined and reinvented as
>perhaps never before, and the photographic book is a primary manifestation
>of these changes. Breaking free of the constraints of traditional book
>publishing, artists, photographers and fine-art photo presses are producing
>exciting documents with new approaches to sequence, multiplicity and
>production. From the immediacy of street photography, to cutting-edge
>digital manipulation, to the timeless quality of early processes, photo
>artists are imagining myriad new possibilities for the book.
>
>Directions to the Center are available at
>http://www.sfcb.org/html/location.html
>More information is available on the SFCB website http://www.sfcb.org
>
>             ***********************************************
>Now Online - The Bonefolder, Vol. 2, No. 1 at <http://www.philobiblon.com/bonefolder>
>                                    
>             For all your subscription questions, go to the
>                      Book_Arts-L FAQ and Archive.
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>
>------------------------------
>
>Date:    Wed, 1 Feb 2006 16:18:38 -0500
>From:    Maria Fredericks <mariafredericks@xxxxxxx>
>Subject: Montefiascone Project 2006
>
>Posted on behalf of Cheryl Porter, chezzaporter@xxxxxxxxx
>
>MONTEFIASCONE PROJECT
>
> 
>
>Montefiascone is a medieval walled city situated on a huge lake about half way between Rome and Siena. Each summer, conservators, archivists, art historians, librarians and others interested in the history and the structure of the book, meet to participate in classes which are held within the city walls. There are four week-long courses with different themes. Participants may come for one week or more.
>
> 
>
> 
>
>SUMMER SCHOOL PROGRAMME 2006 
>
> 
>
> 31 July - 4 August
>
>Re-creating the medieval Palette
>
>Participants will study the history, chemistry and significance of the pigments used by the medieval artist. Rocks and minerals, plants and animal material will be studied and each of the colours will be made according to original recipes and painted out in traditional binding materials.
>
>No previous experience is necessary to do this course.
>
>Course Tutor: Cheryl Porter (Freelance Conservator, England)
>
> 
>
>7 - 11 August
>
>Medieval Limp Vellum Book Structures: A North European Style
>
>This style of limp vellum binding is sewn through the cover with a rigid spine support, made from horn, wood or leather. The sewing is either link stitch or long stitch. Participants will make historical models, focusing on specific details - e.g. the use of a spine plate, signature make up, vellum guards and weaving over sewing thread - and study how these differentiate this structure and make it more durable than the more common limp structure with no spine support. 
>
>Participants will need some basic bookbinding tools and some knowledge of binding would be helpful, but is not essential.
>
>Course Tutor: Adam Larsson (Book Conservator at Uppsala University Library, Sweden)
>
> 
>
>14 - 17 August
>
>Archival and Account Book Bindings: History, structure, materials and decoration
>
>Participants will make an historic model, studying the sewing of the text-block, endbands preparation, parchment cover, cover decoration with alum tawed strips and samples of decorated edges.
>
>Included in the week will be illustrated lectures on the Vatican Archives: a short historical introduction, main collections, binding styles etc.
>
>Some bookbinding experience is desirable, though not essential.
>
>Course Tutor: Enrico Flaiani (Head of the Conservation Workshop of the Vatican Secret Archives)
>
> 
>
>21 -25 August
>
>Syriac Bookbinding
>
>Syriac is the dialect of Eastern Aramaic, spoken in the early centuries of the Christian era in the area of Edessa, present day Northern Syria and Iraq and Southern Turkey. The week-long course is an introduction to the history of the Syriac book. Through a series of lectures with slides and practical demonstrations, the student will gain an understanding of the construction of a Syriac binding including sewing, board preparation, endbanding and covering. All the necessary material required for making the book will be provided in order for participants to then re-create the structure during the week. Participants will be required to bring some basic bookbinding equipment (to be specified). Some knowledge of the history of bookbinding is desirable, but is not essential. The course will be of interest to book binders, conservators, design binders and those interested in the history of the book. A pre-course reading list is available.
>
>Course Tutors: John Mumford (Head of Book Conservation at the British Library), Caroline Checkley-Scott (Senior Conservator at the Wellcome Trust Library) and Nigel Allan (Wellcome Trust)
>
> 
>
> 
>
>COURSE TUTORS:
>
> 
>
>Cheryl Porter set up the Montefiascone Project in 1994 and has been Director of the programme since its inception. She is a freelance conservator, teacher and researcher and has conducted workshops and lectured widely in Australia, Canada, the USA and Europe.
>
> 
>
>Adam Larsson studied contemporary and historic book binding and book and paper conservation at the FolkHogSKola in Sweden and has since worked at the Uppsala University Library in book conservation.  He has lectured and conducted workshops throughout Sweden, the USA and Europe, and is a regular teacher at the North Bennet Street School in Boston, FHSK in Sweden and other European and North American centres. He is also interested in contemporary creative bookbinding and exhibits regularly in Europe and the USA. 
>
> 
>
>Enrico Flaiani is the Head of the Conservation Workshop at the Vatican Secret Archives, where his duties include the coordination of staff and the training of interns. He studied Medieval History in Rome and trained in conservation in Italy, Germany and Switzerland. He has also completed archive courses at the Vatican School of Palaeography and Diplomatics.
>
> 
>
>John Mumford served a five year apprenticeship at the British Museum and subsequently helped establish the Rare and Early Book Conservation Studio at the British Library. In 1992 he was appointed manager of the Oriental and India Office Book Conservation Studio, furthering his study of early Oriental and Eastern binding structures. In 1998 he became manager of the Oriental and Eastern Book Conservation Studio at the new British Library at St Pancras. John is currently the Head of Book Conservation at the British Library. He has taught at the London College of Printing, The Colchester Institute, as well as undertaking many workshops in the UK and abroad.
>
> 
>
>Caroline Checkley-Scott studied printing and bookbinding in Dublin, Ireland. She was appointed trainee book conservator at the British Library, London in 1991, where she worked at the House of Lords in the Palace of Westminster, and the Oriental and India Office Library and Records. Here she specialised in the conservation of early Christian manuscripts from the Middle East. In February 2001 Caroline started work at the Wellcome Library in the Preservation and Conservation Department with Tony Bish. In this year she became an accredited member of the Institute of Paper Conservation. She is now the Senior Conservator at the Wellcome Trust Library. She has lectured both nationally and internationally in Slovenia, Argentina and Brazil.
>
> 
>
>Nigel Allan is the former Curator of the Oriental Collection of the Wellcome Library in London.
>
> 
>
> 
>
> 
>
>Maida Vale, London W9 1SD, England.
>
> 
>
> 
>
>             ***********************************************
>Now Online - The Bonefolder, Vol. 2, No. 1 at <http://www.philobiblon.com/bonefolder>
>                                    
>             For all your subscription questions, go to the
>                      Book_Arts-L FAQ and Archive.
>                                    
>          See <http://www.philobiblon.com> for full information
>             ***********************************************
>
>------------------------------
>
>Date:    Thu, 2 Feb 2006 07:33:45 +1000
>From:    jessica syme <jessica.syme@xxxxxxxxxxx>
>Subject: Re: Fiber and the Book Artist
>
>Dear Sharon
>Is there a way to see some of these works on-line?
>Thanks
>Jessica S.
>
>www.casbahmagazine.com
>
>> From:   Sharon McCartney, curator
>> Re:   Fiber and the Book Artist Exhibition at the Fiber Art Center, 
>> Amherst,
>> Massachusetts
>
>             ***********************************************
>Now Online - The Bonefolder, Vol. 2, No. 1 at <http://www.philobiblon.com/bonefolder>
>                                    
>             For all your subscription questions, go to the
>                      Book_Arts-L FAQ and Archive.
>                                    
>          See <http://www.philobiblon.com> for full information
>             ***********************************************
>
>------------------------------
>
>Date:    Wed, 1 Feb 2006 14:03:49 -0800
>From:    Intima Press <intimapress@xxxxxxxxx>
>Subject: February Workshops at Studio on the Square, Union Square NYC
>
>Greetings from the Studio!
>
>New Book Arts, Printing, & Printmaking workshops are
>posted on our website through mid-April 2006.  Here
>are upcoming classes you will not want to miss!  Our
>classes are limited enrollment (4-6 students) so
>sign-up now to reserve your place.=20
>=20
>FEBRUARY
>=20
>RELIEF PRINT EDITION
>Saturday 10AM-4PM, February 11
>Create a print edition in one day! Using linoleum
>relief blocks, design & transfer your image, learn
>secrets for carving your block, & print 1 or 2-color
>impressions in perfect registration on our vintage
>Vandercook letterpress.
>($125 plus $20 materials fee)
>=20
>NON-TOXIC INTAGLIO PRINTMAKING
>Sunday 10AM-4PM, February 12
>Learn printmaking and create drypoint prints on an
>etching press (without the use of acid). This is the
>most immediate intaglio method. It's ease of use and
>dramatic effects made it a favorite of masters such as
>Rebrandt and Goya. In one day, you will transfer your
>images and draw directly on the plate to create unique
>images specific to this printmaking process. Learn
>plate preparation, hand inking methods & printing
>techniques while creating working proofs and prints.
>($125 plus $20 materials fee)
>
>MINIATURE BOOK EDITION: TEXT & IMAGE
>Fri 6-8PM, Sat & Sun 10AM-4PM, Feb. 24, 25, 26
>Letterpress print 10 awesome books, including text and
>images, in one weekend!  In this awesome intensive,
>you will print a series of 3 images and 3 pages of
>text. Learn all phases of creating & printing an image
>and will set your text in metal foundry type.  Print
>your images and text   all in letterpress, making
>beautiful impressions and completing an edition of 10
>printed books in just one weekend!
>($285 plus $20 materials fee)
>=20
>MARCH
>
>INTRODUCTION TO LETTERPRESS
>Wednesday eve 6:30-9:30PM, March 1
>
>A BOX IN A DAY
>Saturday, 10AM-4PM, March 4
>
>A BOOK IN A DAY: PRINTING WITHOUT A PRESS
>Sunday, 10AM-4PM, March 5
>
>INTRODUCTION TO ARTIST=92S BOOKS
>UNDERSTANDING AND PLANNING YOUR EDITION
>Sat & Sun 10AM-4PM, March 11 & 12
>
>POP-UP & STRUCTURAL BOOKS
>Saturday, 10AM-4PM, March 18
>
>APRIL
>
>BOOKBINDING INTENSIVE
>Sat & Sun 10AM-4PM, April 15 & 16
>
>Instructors:  Mindy Belloff, Steven Daiber,
>Joseph Osina, Maddy Rosenberg
>
>For more information and images of student work please
>go to=20
>www.StudioOnTheSq.com or call 917-412-4134
>=20
>STUDIO-ON-THE-SQUARE
>An Intimate Setting for Learning
>Book Arts, Printing, & Printmaking Workshops
>32 Union Square East, #310, NYC
>Subway:  4, 5, 6, L, R to Union Square
>Ph: 917-412-4134=20
>www.StudioOnTheSq.com=20
>www.IntimaPress.com
>
>
>__________________________________________________
>Do You Yahoo!?
>Tired of spam?  Yahoo! Mail has the best spam protection around=20
>http://mail.yahoo.com=20
>
>             ***********************************************
>Now Online - The Bonefolder, Vol. 2, No. 1 at <http://www.philobiblon.com/bonefolder>
>                                   =20
>             For all your subscription questions, go to the
>                      Book_Arts-L FAQ and Archive.
>                                   =20
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>             ***********************************************
>
>------------------------------
>
>Date:    Wed, 1 Feb 2006 17:26:37 -0500
>From:    "Peter D. Verheyen" <verheyen@xxxxxxxxxxxxxxx>
>Subject: Jim Crofts' 2006 classes, Santa, Idaho
>
>Jim Croft has posted his Oldways Bookarts Tools and Workshop schedule for 
>the summer online at <http://www.geocities.com/oldways_id/>
>
>Classes include:
>
>WOODEN BOARD AND CLASP INTENSIVE
>June 11, 2006 - June 21, 2006
>
>OLD WAYS OF MAKING BOOKS FROM RAW MATERIALS
>July 1, 2006 - July 16, 2006
>
>See his site for full information.
>
>             ***********************************************
>Now Online - The Bonefolder, Vol. 2, No. 1 at <http://www.philobiblon.com/bonefolder>
>                                    
>             For all your subscription questions, go to the
>                      Book_Arts-L FAQ and Archive.
>                                    
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>             ***********************************************
>
>------------------------------
>
>Date:    Wed, 1 Feb 2006 22:57:25 -0500
>From:    jcpratt <jcpratt@xxxxxxx>
>Subject: Fw: Real show
>
>------_NextPart_5C1DF455_59175B09.16737D7F
>From: "jcpratt" <jcpratt@xxxxxxx>
>To: <BOOK_ARTS-L@xxxxxxxxxxxxxxxx>
>Subject: Fw: Real show
>MIME-Version: 1.0
>Content-Type: multipart/mixed; boundary="----=_NextPart_9.15924489498138E-02"
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>
>Note: forwarded message attached.
>
>
>
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>------------------------------
>
>End of BOOK_ARTS-L Digest - 31 Jan 2006 to 1 Feb 2006 (#2006-33)
>****************************************************************

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Now Online - The Bonefolder, Vol. 2, No. 1 at <http://www.philobiblon.com/bonefolder>
                                    
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