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Workshops for Summer 1999 at the Garage Annex School for Book Art, Easthampton, MA

Daniel E. Kelm and The Garage Annex School for Book Arts present Workshops
for Spring and Summer 1999 and announcements for autumn

Contact Information Daniel Kelm , One Cottage Street #5, Easthampton, MA
01027 413-527-8044  Foliotrope@aol.com

Schedule of workshops and instructors at-a-glance:

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

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.

Instructor Linda Lembke 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:

Folder Techniques 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.

Instructor 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 conclusion.

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 messages.

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.

instructor Suzanne Moore 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 projects.

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 applications.

Additional Paper And Book Conservation workshops with Peter Geraty  (2-days
each) 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.

REGISTRATION 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 to: Daniel Kelm One Cottage Street #5 Easthampton, MA
01027 413-527-8044 Foliotrope@aol.com

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

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