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Workshops for Spring and Summer 1999 at the Garage Annex School for Book Art, Easthampton, MA
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- Subject: Workshops for Spring and Summer 1999 at the Garage Annex School for Book Art, Easthampton, MA
- From: "Peter D. Verheyen" <pdverhey@DREAMSCAPE.COM>
- Date: Wed, 14 Apr 1999 17:51:04 -0400
- Message-Id: <199904142233.PAA16184@palimpsest.Stanford.EDU>
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Daniel E. Kelm and
The Garage Annex School for Book Arts present
Workshops for Spring and Summer 1999
and announcements for autumn
Daniel Kelm , One Cottage Street #5, Easthampton, MA 01027
Schedule of workshops and instructors at-a-glance:
May 12 Paper Conservation for Books with Peter Geraty
June 56 Rebacking of Cloth, Paper, and Leather Books with Peter Geraty
June 2627 Folder Techniques with Daniel Kelm
July 1718 A Time To Sew with Linda Lembke
July 31August 1 The Book Restructured: Wire-Edge Hinging with Daniel Kelm
August 2122 Gold Tooling on Leather with Daniel Kelm
Ongoing class with Daniel Kelm—independent projects—Thursday evenings
Our new series begins with two special workshops in conservation by Peter
Paper Conservation for Books
May 12 (Sat. & Sun.) $135 plus $30 materials fee
Do you have a book waiting to be rebound because it is in need of paper
repair? This workshop will cover the basics for getting that disbound book
ready for resewing. We will do gutter repairs, mending of tears, and infills.
Washing and alkalinization will be discussed (pros and cons, when and when
not to). Please bring a book that has been completely disbound, or some flat
paper that needs to be repaired. Other items to bring are a small flat brush
about one centimeter wide, a pair of fine tweezers, a small pair of scissors,
a long flexible folder (one leg of a bamboo toaster tong that has been shaped
works very well), a teflon folder, and a tacking iron. If you have a portable
light table please bring it along too. Japanese tissue will be provided, but
feel free to bring some of your own for evaluation. All other materials will
be provided. If you have questions please call Peter at 413-527-7275.
Rebacking of Cloth, Paper, and Leather Books
June 56 (Sat. & Sun.) $135 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.
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.
Back by popular demand: Linda Lembke
A Time To Sew
July 1718 (Sat. & Sun.) $135 plus $25 materials fee
Have you bought Keith Smith’s book Non-Adhesive Binding, Volume II (1, 2
and 3Section Sewing) thinking that one day you’ll sit down and work through
some of those sewing patterns? Does the book sit idle, still on your list of
‘things I want to do’? If so, join us for a weekend of sewing. We will work
through 3 or 4 patterns in the book, discuss procedures for adapting them to
varying sizes and materials, and invent one or more patterns of our own. In
addition, we will make three different case constructions that work well with
these sewing structures.
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 several years and is known for
her thoughtful instruction and her thoroughness. Participants always leave
Linda’s workshops with many useful designs and models.
Three offerings from Dan Kelm:
June 2627 (Sat. & Sun.) $135 plus $40 materials fee
Sometimes you feel like a box, sometimes you don’t. When you don’t, a
folder may be just the right thing—potentially lighter in weight, more
options for movement, and it may open out flat. During this workshop we’ll
focus on creative conceptualization of both simple and complex book
enclosures as protective and decorative devices. We won’t complete finished
folders, but rather we will make models of the numerous elements used in
folders, with an emphasis on evaluating the strengths and weaknesses of a
range of materials and structures. Various clasping systems—including
magnetic—will be explored.
The Book Restructured: Wire-Edge Hinging
July 31Aug. 1 (Sat. & Sun.) $135 plus $30 materials fee
If you’re interested in creating a nontraditional book (e.g., a book with
thick pages, or a book that is sculptural), the challenge of achieving that
expression 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. During the two days we will look at various
wire-edge structures useful for books, enclosures, and articulated sculpture.
You will produce both a codex and an accordion model.
Gold Tooling on Leather
August 2122 (Sat. & Sun.) $135 plus $20 materials fee
Often in life a desired goal can be achieved by moving along more than one
path. The gold tooling of leather books is no exception. Some projects demand
perfect placement, others require speed. In this workshop two systems of
traditional gold leaf handling and leather tooling will be demonstrated and
practiced. One gives you control, the other is fast. You will produce models
using both the French varnish technique and the more production-oriented
English egg glaire technique. The material fee covers everything except gold
leaf, which will be available for purchase by the leaf. You may also feel
free to bring your own leaf.
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.
Book Design: Tradition and Exploration
Extended Study with Suzanne Moore
This three-weekend series provides an opportunity to concentrate on book
design, considering its tradition and its rich possibilities. The series is
designed to address key questions of bookmaking—design, technique, and
concept—and to prepare students to continue independent work.
For maximum benefit, students are encouraged to plan for and spend as much
time as possible working independently between classes (a minimum of 24
hours per week). The more experience, ideas, problems, solutions etc. brought
to class, the more that can be learned during each session. Interim
assignments are designed to be useful to students who have limited time as
well as those who can devote more time.
Images—photographs, painting, drawing or prints—and writing/lettering as
texture and illustration will be incorporated into books according to each
student’s skill, interest, vision and focus.
Fees and details to be announced in our summer mailing. suzanne’s workshops
fill up fast. if you are interested, we suggest you phone daniel in order to
get on the list. 413-527-8044
session one / October 910 (Sat. & Sun.)
Tradition as Foundation: Classical Page Design
Traditional page design provides an essential foundation on which artists,
designers and calligraphers can design successful books. Using letters forms
and images of their choice, participants will address the challenges of book
design and fabrication. They will work to develop texture and balance on each
page spread and consider rhythm and pattern as the book moves to its
session two / November 1314 (Sat. & Sun.)
The Unfolding Story: Content, Format, and Rhythm in Book Design
The written and visual content to be presented in a book directs and
informs our choices as designers, painters, lettering artists, and makers.
Working with a subject of one’s choice, students will consider and make books
that explore the shape and scale, the materials and techniques, the pattern
and rhythm of books as dynamic forces in conveying simple and complex
session three / December 45 (Sat. & Sun.)
Beyond the Book: Pushing the Limits of the Book Form
By altering one aspect of a book—shape, scale, materials, structure—subtly
or dramatically, what might happen? A miniature or room divider? A chicken
wire book or a book made of fine silk? Building on the principles of the
first two sessions and applying the skills and interests of individual
students, we will reconsider the book form—exploring lettering, illustration,
materials, technique and design to create books unique to each maker.
Suzanne is a lettering artist and designer who combines contemporary vision
with traditional scribal techniques, painting, and drawing in manuscript
books, broadsides, graphic design, and interior decorative painting.
Writing about one of Moore’s books in Calligraphy Review, Betty Bright
states: “Like Matisse, Moore invents her own architecture of the book whose
levels seem to build upon and down into the page’s surface, capturing the
poem within the creative timeline of paint.”
Suzanne’s work is exhibited widely, and her books have been acquired for
various collections including the Pierpont Morgan Library, New York; The
Library of Congress; and the Houghton Library, Harvard.
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
Announcement of Workshops Proposed for Autumn 1999
Manipulating Metal Surfaces with Daniel Kelm (2-day)
Learn how metal is marked, colored, and protected by chemical patinas, heat
treatments, photo etching, sandblasting, laser marking, and pyrotechnics.
Both freehand and photographic techniques will be discussed.
Thin Metal Over Boards with Daniel Kelm (2-day)
Thin metal is an exciting alternative to traditional covering materials for
many book structures. Learn how to evaluate the appropriateness of metal as a
possible substitute for cloth, leather, or paper.
Exploring Paper with Linda Lembke (2-day)
Given a sheet of paper, what are the possibilities? How can we work with
its inherent qualities to alter the surface, change the edges, or shift the
plane? In this workshop we will tear and twist, fold and flex, emboss and
impress, slit and slot, and weave and wonder. Our efforts will result in
individual sample books of paper techniques which are intriguing in
themselves, but which also serve as useful information for other bookmaking
Additional Paper And Book Conservation workshops with Peter Geraty (2-days
If response is good for Peter’s workshops in May and June, I think we’ll be
able to convince him to do others. Let us know what you’d like to see covered
in a workshop.
Join our ongoing class
Much can be gained by seeing how other artists grapple with the challenges
of responding to their own creative imperative. Join this class and work on
your 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
alternate Thursday evenings, 6:309:00 through June 10th. The cost is $25 per
session. Please phone Daniel at 413-527-8044.
Enrollment is limited to twelve per class. To secure a space please send a
deposit of $50 for each 2-day workshop, check payable to Foliotrope LLC. Mail
One Cottage Street #5
Easthampton, MA 01027
The balance of your payment will be due prior to the workshop. We will mail
you a list of tools you need to bring with you.
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.