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From the Garage Annex School for Book Arts, Easthampton, MA - Workshop spaces still available.

 From the Garage Annex School for Book Arts, Easthampton, MA

There are a few spots left in the following workshops. Please phone Daniel
Kelm if you are interested: 413-527-8044. Email: <Foliotrope@aol.com>

Thin Metal Over Boards Meets the Gutter Wire
Instructor: Daniel E. Kelm
August 4-5 (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 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.

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

"Vellum is certainly one of the most seductive, over-the-top,
knock-dead-beautiful materials in all the history of bookmaking." (Please
forgive 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

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

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.

Philobiblon: Book Arts, Different By Design
Hand Binding, Conservation, and Project Websites
Peter D. Verheyen

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