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The Garage Annex School for Book Arts Workshops for Spring, Summer, Autumn 2002 - Easthampton, MA

           See The Exhibition Online, And Order Your Catalog.

Daniel E. Kelm and Greta D. Sibley
The Garage Annex School for Book Arts
Workshops for Spring, Summer, Autumn 2002

For information, registration, or to request a printed copy of our=20
schedule, please contact:

Daniel E. Kelm
The Garage Annex School for Book Arts
One Cottage Street #5
Easthampton, MA 01027

Basic schedule (details below):

1. Paste Paper Production with Daniel E. Kelm, April 13-14

2. Stick It!-Adhesives with Daniel E. Kelm, May 4-5

3. Prints (from Photopolymer Plates), and a Place to Put Them with=20
Amaryllis Siniossoglou, June 1-2 and 8-9

4. Thin Metal Over Boards Meets the Gutter Wire with Daniel E. Kelm, June=

5. Letterpress Printing & Composition with Art Larson, July 15-19

6. Monoprinting with Cutouts: Exploring Mirror Images with Leni Fried, July=

7. Wire Edge Albums with Daniel E. Kelm, August 10-11

8. Pop-Up Paper Structures with Carol Barton, August 24-25

9. Gold Tooling on Leather with Daniel E. Kelm, September 14-15

10. Rediscovering the Scroll with Hedi Kyle, September 28-29

11. Full Metal Binding with Daniel E. Kelm, October 19-20

12. Asian Bookbinding with Barbara Mauriello, November 2-3

13. Exploring Paper Through Science & Art with Linda Lembke, November 16-17

14. The Flatback Case Revisited with Daniel E. Kelm, December 7-8

Note About Enrollment

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=20
already received. Enrollment is limited, and registration is on a=20
first-come, first-serve basis so we encourage you to phone Daniel at=20
413-527-8044 to sign up. Then send your deposit check promptly in order to=
secure your enrollment. See below for more information on registration.

Daniel shares his production techniques . . .
1. Paste Paper Production
April 13-14 (Sat. & Sun.)
$145 plus $25 materials fee, plus paint
Instructor: Daniel E. Kelm (see biographical information below)
Enrollment limited to twelve

Yes, Daniel has taught paste papers before. What makes this workshop=20
special is that he will share the method he has developed which requires=20
much less water (i.e., mess) than normal paste paper production. Though one=
can enjoy making unique papers with this method, it is especially valuable=
for the quick production of multiples.

In addition to mixing acrylics with paste and exploring various techniques=
for applying them to paper, you will learn how to make the combs and long=20
sponges that are the essential tools for this style of paste paper=20
production. And if you wish to acquire the set up for holding paper, it=20
will be available for purchase.

2. Stick It!-Adhesives
May 4-5 (Sat. & Sun.)
$145 plus $15 materials fee
Instructor: Daniel E. Kelm (see biographical information below)
Enrollment limited to twelve.

What is an adhesive? How can we choose adhesives wisely? Why are pH and=20
reversibility important? What=92s the difference between aqueous and=20
non-aqueous systems? How do you choose the correct adhesive for a=20
restoration? We=92ll answer these questions=97and more=97through exercises=
designed to test various combinations of materials appropriate to both new=
work and conservation. If you have materials you=92d like us to examine,=20
bring them along with your questions.

3. Prints (from Photopolymer Plates), and a Place to Put Them
June 1-2 and 8-9 (two weekends)
$290 plus $80 materials fee
Instructor: Amaryllis Siniossoglou (see biographical information below)
Enrollment limited to twelve special location: one weekend in Amherst at=

Would you like to explore printmaking using the latest=20
development--photopolymer plates? And then, gather the fruits of your labor=
into an attractive portfolio? If so, this two-weekend class is designed for=

The first weekend you will work at the Garage Annex School, constructing a=
cloth-covered portfolio. Naturally, the portfolio you produce the first=20
weekend is sized to fit the prints you=92ll make the second weekend (11 x=
paper size). Amaryllis will prepare you for the second weekend=92s=20
printmaking session by explaining processes and your options for=20
printmaking. That way, you=92ll have a chance to think about your imagery=20
during the intervening week.

The second weekend you will have the opportunity to work in the printshop=20
at the University of Massachusetts, where all equipment and materials will=
be provided (plates, etching press, ink, paper). You may opt to do drawings=
on mylar. And/or, you may choose to work with photographs altered and=20
manipulated with Adobe Photoshop, and printed on transparent film. In=20
either case, your art will be transferred as mirror images to delicate=20
photosensitive polymer plates by exposing it to UV light. The art is=20
photoetched onto the plate, you ink the plate, and run it through the=20
press. Images will be printed with permanent inks on archival papers.

No previous printmaking or computer experience required.

Add metal to your book arts vocabulary.

4. Thin Metal Over Boards Meets the Gutter Wire
June 22-23 (Sat. & Sun.)
$145 plus $50 materials fee
Instructor: Daniel E. Kelm (see biographical information below)
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=20
patinated copper foil wrapped around a core board. This foil-wrapped core=20
is then adhered to a carrier board that is designed with a spine wire for=20
attachment to the text block. In and of itself, utilizing the concept of a=
carrier board is worth participation in this workshop.

The structure that we=92ll investigate has a non-adhesive spine system that=
uses an interior wire along the inside fold (gutter) of each signature of=20
pages. Openings punched through the signature folds expose the wire, and=20
allow you to use thread to anchor one signature to the next--thereby=20
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=20
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=20
can expect to (1) become acquainted with metals, (2) learn an interesting=20
wire edge structure, and (3) complete the binding shown below.

5. Letterpress Printing & Composition
July 15-19 (Mon.-Fri.)
$450 plus $50 materials fee
Instructor : Art Larson (see biographical information below)
Enrollment limited to seven special location: Horton Tank Graphics, Hadley,=

This one week intensive will explore elementary and advanced typesetting=20
and composition techniques. You will learn how to operate a Vandercook=20
proof press (there are two No. 4s and one 325 in the shop). Together we=20
will set and print a 32-page pamphlet, but if you are passionate about=20
doing something else please phone Art in order to discuss possibilities.=20
413-584-0783. No previous typesetting or printing experience necessary.=20
However, if you have experience you will be challenged to explore advanced=

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. Other resources=20
include a large number of wood type fonts and a large number of metal=20
display fonts.

6. Monoprinting with Cutouts: Exploring Mirror Images
July 27-28 (Sat. & Sun.)
$160 plus $40 materials fee
Instructor: Leni Fried  (see biographical information below)
Enrollment limited to eight special location: Leni Fried=92s Studio,=20
Easthampton, MA

Warm, cool. Transparent, opaque. Positive, negative. These are basic=20
concepts that you=92ll explore intimately through the monoprint process.

Printmaking inks are as dense as fudge, but can be made as luminous as=20
gemstones. We will spend time learning to mix these versatile inks, and=20
then move on to the platemaking process.

Images will be made from cutouts of thin materials and found objects, e.g.,=
mylar, string, wire. These movable pieces are inked and layered onto a=20
piece of plexiglass=97creating a printing plate. Dampened archival paper is=
placed on top, and the plates are printed with just one pass through an=20
etching press. This creates a unique print that is a mirror image of your=20
plate. More prints will be made with the ghost image that remains on the=20
plate, and by reusing and repositioning the cutouts. No two prints are=20
exactly alike, but a related series of images can be created=97an added=20
benefit of the monoprint technique.

Each person will make eight to twelve prints during the course of the=20
weekend. This printing process is excellent both for producing images used=
in books, and for making single prints that can be hung or gathered in a=20

A new wire edge workshop
7. Wire Edge Albums
August 10-11 (Sat. & Sun.)
$145 plus $40 materials fee
Instructor: Daniel E. Kelm (see biographical information below)
Enrollment limited to twelve

The range of books being produced today by artists is truly remarkable.=20
Some diverge wildly from what we recognize as traditional book form, others=
play with slight variations. If you=92re interested in creating a=20
nontraditional book (e.g., a book with thick pages, or a book that is=20
sculptural), the achievement of your goal may require the use of a material=
or movement not possible with conventional structures. Wire edge hinging=20
grew out of just such a challenge. This binding configuration utilizes a=20
thin metal wire along the spine edge of each page. The metal wire is=20
exposed at regular intervals creating knotting stations where thread=20
attaches one page to the next. The result is a binding that opens=20
exceptionally well, and gives you the option of producing unusual shapes.

During this two-day workshop we will focus on page structures that hold an=
image--and hold it archivally. You can expect to produce a number of pages=
(featuring your own images), and then bind them together with simple covers=
into a codex structure. The front cover of your album will have a window=20
through which your first image will be visible. Daniel will introduce you=20
to the dry mount press and heat-sensitive adhesive.

Try your hand at paper engineering
8. Pop-Up Paper Structures
August 24-25 (Sat. & Sun.)
$160 plus $20 materials fee
Instructor: Carol Barton (see biographical information below)
Enrollment limited to twelve

A special kind of creative magic awaits you in this workshop. You will=20
learn basic on-the-fold pop-up structures, then progress through a series=20
of more complicated three-dimensional constructions. Emphasis will be on=20
developing an understanding of the simple mechanics involved in this art of=
paper engineering.

A slide show on the history of pop-up and movable books will be included.=20
This is an ideal class for artists, teachers, graphic designers, and anyone=
who loves to play with paper. No prerequisite.

French varnish and English egg glaire techniques
9. Gold Tooling on Leather
September 14-15 (Sat. & Sun.)
$145 plus $25 materials fee, plus gold
Instructor: Daniel E. Kelm (see biographical information below)
Limited to twelve participants

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=20
demand perfect placement, others require speed. In this workshop two=20
systems of traditional gold leaf handling and leather tooling will be=20
demonstrated and practiced. One gives you control, the other is fast. You=20
will produce models using both the French varnish technique and the more=20
production-oriented English egg glaire technique. The material fee covers=20
everything except gold leaf, which will be available for purchase by the=20
leaf or book.

10. Rediscovering the Scroll
September 28-29 (Sat. & Sun.)
$160 plus $25 materials fee
Instructor: Hedi Kyle (see biographical information below)
Limited to twelve participants

The scroll was the first flexible volume in the evolution of the book.=20
Today it has lost ground, and is rarely appreciated as a suitable book form.

Come rediscover this ancient and fine forerunner of the book. Rolled=20
tightly it springs like a coil and extends like a telescope. When handling=
a scroll, we experience sensual pleasure, and a moment of surprise as its=20
secrets are revealed. After strings are untied, closures opened, and layers=
of strange and unusual materials peeled away, the innermost content is=20
exposed. Packaging the scroll as the core will be a focus of this workshop.=
We will explore the scroll=92s relationship to the codex and accordion=20
book--the scroll can be seen as an element integrated into these structures.

A wide variety of precious and very ordinary materials will inspire unusual=
combinations and, without a doubt, lead you to great creations.

11. Full Metal Binding
October 19-20 (Sat. & Sun.)
$145 plus $50 materials fee
Instructor: Daniel E. Kelm (see biographical information below)
Enrollment limited to twelve

A beautifully articulated binding is achieved through the complete=20
integration of all its parts. Most metal bindings with paper text fail at=20
this for one of two reasons. If a traditional structure is used to carry=20
the metal covers, the weight breaks the binding apart. Conversely, if the=20
metal covers are supported by a rigid spine structure the flexibility of=20
the book is compromised. My approach to integrating metal covers with paper=
text is to look for models outside the tradition of book arts.=20
Surprisingly, the structures that have inspired me as having=20
characteristics most appropriate for metal binding are those found in=20
crustaceans and insects--entities with flexibly hinged, rigid exoskeletons=
supporting the soft material within.

During this two-day workshop we=92ll explore the requirements of combining=
metal with paper, and you will construct a multi-signature codex binding=20
with full metal covers.

12. Asian Bookbinding
November 2-3 (Sat. & Sun.)
$160 plus $30 materials fee
Instructor: Barbara Mauriello (see biographical information below)
Limited to twelve participants

The beauty of these bindings is in their materials. Strong, flexible,=20
richly dyed and printed papers, combined with decorative sewing patterns,=20
yield books of incredible sweetness and charm. We will make five small,=20
chunky books--both side-sewn and through-the-centerfold-sewn bindings--and=
a box (or two!) to hold our models. Along with the basic bookbinding=20
techniques of folding, measuring, cutting, pasting and gluing, some more=20
unusual processes--such as transforming ordinary fabrics into=20
bookcloth--will be taught. This workshop, ideal for beginners, is a joyous=
celebration of color, texture, and design.

13. Exploring Paper Through Science & Art
November 16-17 (Sat. & Sun.)
$145 plus $20 materials fee
Instructor: Linda Lembke (see biographical information below)
Limited to twelve participants

Paper is a material central to bookmaking. In this workshop, we will=20
briefly review the history of paper, examine its physical properties and=20
play with its creative possibilities. Our workshop activities are designed=
to develop a deeper understanding and appreciation of paper, and to build=20
awareness of its working properties and its potential in bookmaking.

We will begin by using our own senses and experiences to examine and=20
identify paper. Daniel Kelm will spend part of the first morning with us,=20
setting up his collection of microscopes for viewing of paper fibers. He=20
will also give us an introduction to paper chemistry and explain the use of=
a few scientific tools (including the micrometer and pH strips).

We will then investigate the inherent qualities of paper by altering its=20
surface, changing its edges, and shifting its plane. We will experiment=20
with techniques for tearing, cutting, folding, scoring, embossing,=20
slotting, weaving, and other kinds of paper alterations, building a=20
collection of paper manipulations for future reference.

On the second day we will look carefully at a wide variety of contemporary=
Western papers. From handmade to machine made papers, from European to=20
North American papers, from art papers to printing papers, we will attempt=
to understand how each serves the artist and the bookmaker. Each=20
participant will make a collection of sample papers, accompanied by a=20
printed guide to their use and a glossary of paper terms. Finally, we will=
play with the creative possibilities of paper without the use of other art=
materials. Using an accordion book format with framed pages and hard=20
covers, we will work on individual sample books, each a small gallery of=20
paper techniques intended to serve as inspiration for other bookmaking=20

An ideal structure for artist=92s books
14. The Flatback Case Revisited
December 7-8 (Sat. & Sun.)
$145 plus $40 materials fee
Instructor: Daniel E. Kelm (see biographical information below)
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=20
rigid spine board inhibits opening by restricting the movement of the=20
covers. The flatback case structure that we=92ll do in this workshop was=20
inspired by Gary Frost=92s 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=20
continuous cloth for the cover (rather than the quarter-binding=20
configuration necessitated by the sewn boards structure).

These covers can accommodate a sewn text, but for our models we=92ll produce=
a glued-folio text block. Known as board binding, this text configuration=20
of single folios glued together is common in commercial children=92s books.=
This structure works splendidly in artist=92s books requiring spreads=20
uninterrupted through the spine fold (gutter). Each participant will finish=
one binding, and explore variations on full and quarter-cloth cases.

Registration--the details

Enrollment is limited as listed with each course description. We suggest=20
you phone Daniel with your preliminary registration, but please understand=
that in order to secure your space we must receive your deposit of $50 for=
each 2-day workshop, $100 for the 2-weekend workshop, and $150 for the=20
5-day workshop. Mail your check, payable to Daniel E. Kelm, to:

Daniel E. Kelm
One Cottage Street #5
Easthampton, MA 01027

You will be invoiced for the balance of your payment (due two weeks prior=20
to the workshop). We will mail you a list of tools and any other=20
information you need for each class.

Lodging should be arranged on an individual basis. If you need=20
recommendations, we will be glad to help you. Public transportation is=20
available, but limited. While not strictly necessary, a car will make=20
getting around easier.

If you have any questions, please contact Daniel at 413-527-8044,=20

More about the Garage Annex School, The Wide Awake Garage, and you . . .

In addition to the creation of artist=92s books, interpretive fine bindings,=
and alchemical explorations, Daniel and the mechanics (our crew) work on=20
special commissions and editions here in our studios. If you would like=20
expert help on your project, you may arrange consultations with Daniel.=20
Artists and publishers come to the Garage for a negotiated period of time=20
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=20
instruction in the morning, then use the Garage facilities for the=20
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=20
instruction on general techniques, or techniques specific to the=20
requirements of proposed projects.


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=92s=
experience with books began over twenty years ago with employment in=20
various production studios where he learned progressively more specialized=
traditional bookbinding techniques. In 1983 he opened his own studio, now=20
called The Wide Awake Garage, where he designs and produces artist=92s=
interpretive fine bindings, and book sculptures. He is known for his=20
innovative structures and extensive knowledge of materials. Daniel founded=
the Garage Annex School for Book Arts in 1990.

Amaryllis Siniossoglou
Amaryllis Siniossoglou studied drawing and painting in Athens, Greece,=20
sculpture at the Ecole Nationale Superieure des Beaux Arts in Paris,=20
France, and received an MFA in Sculpture and Printmaking from the=20
University of Massachusetts in  Amherst. She has been trained in=20
traditional book binding at Kaereios Library in Andros, Greece. During the=
last decade, Amaryllis has taught a broad range of art classes and=20
workshops including book arts. Currently she is teaching at the University=
of Massachusetts and Holyoke Community College. In her personal work, she=20
creates sculpture in bronze and terra cotta, prints, and artist=92s books.=
She has a strong record of national and international exhibitions and=20

Art Larson
In 1979 Art began his book art career by working at the Hampshire=20
Typothetae with Harold McGrath and Barry Moser. From 1983 to 1987 Art=20
furthered his typesetting and printing skills working with Dan Keleher at=20
Wild Carrot Letterpress. In 1987 Art opened his own shop, Horton Tank=20
Graphics, which specializes in fine letterpress book printing and edition=20
printing of woodcuts and wood engravings. During this period he=92s worked=
collaboration with many publishers and artists, including Leonard Baskin=20
(Gehenna Press), Alan Robinson (Press of the Sea Turtle), Ben Shiff (Osiris=
Editions), and Claire Owen (Turtle Island Press).

Leni Fried
Leni Fried graduated from The Pratt Institute in 1980 where she specialized=
in both monoprint and collagraph printmaking techniques in classes with=20
Clare Romano. During the 80s she worked at Bob Blackburn=92s printmaking=20
workshop=97a breeding ground for emerging artists worldwide. At that time=20
monoprints were an unaccepted printmaking technique, and were not even=20
allowed in juried competitions. When people would ask Leni why she was so=20
enamored of this technique--that produces only one print--she would reply,=
=93I love monoprinting because the approach to color is very=
that respect it=92s much closer to painting than other printmaking=20
techniques. In addition, as soon as I realized I could cut shapes out with=
a scissors and print from them, I was hooked.=94 Leni=92s work is in over 20=
collections in the U.S., including The Library of Congress, The Museum of=20
Modern Art, The National Institutes of Health, and The Walker Art Center.=20
Numerous private commissions include a hand-painted bicycle for Connie=20
Young=97for the 1992 Olympics. Leni maintains her own studio in Easthampton,=
MA--right next door to the Garage Annex School for Book Arts.

Carol Barton
Carol Barton is a book artist, curator, and arts administrator who has=20
published several editions and has organized both local and national shows=
of artists=92 books. She has conducted workshops at art centers across the=
country, including Penland School of Crafts; the Virginia Museum of Fine=20
Arts (Richmond); Center for Book Arts, The International Center for=20
Photography, and The Metropolitan Museum of Art (New York City). She is on=
the faculty at the University of the Arts in Philadelphia, where she=20
teaches a book structures course. Her work is exhibited internationally and=
is in numerous c ollections, including the Library of Congress, the Museum=
of Modern Art, and the Victoria and Albert Museum in London. Most recently=
she was awarded the Bogliosco Fellowship for a residency in Italy in the=20
fall of 2000, during which time she worked on a book of pop-up Italian=20
towers lighted by a small electric bulb embedded in the book=92s spine. This=
edition was recently published at the University of the Arts.

Hedi Kyle
Hedi Kyle is Head Conservator at the American Philosophical Society and=20
Adjunct Professor at the University of the Arts, both in Philadelphia. At=20
the University she teaches book structures to MFA students of the Graduate=
Program in Book Arts and Printmaking. Hedi Kyle graduated from the=20
Werk-Kunst Schule in Wiesbaden, Germany. After a brief career as a graphic=
designer, her interest turned to book arts and book conservation. Her=20
one-of-a-kind constructions have been exhibited internationally, and are in=
private and public collections. She is co-founder of Paper and Book=20
Intensive (PBI), and h as given workshops in the U.S., Canada, and=20
Switzerland for the past twenty years.

Barbara Mauriello
Barbara Mauriello is an artist and conservator who has a bookbinding studio=
in Hoboken, NJ. She teaches bookbinding and boxmaking at The Center for=20
Book Arts, the International Center of Photography, and Penland School of=20
Crafts. In 2000, Barbara published a book, Making Memory Boxes (Rockport=20

Linda Lembke
Linda is the sole proprietor of Green River Bindery in Guilford, Vermont,=20
where she incorporates both traditional and experimental approaches to her=
limited edition binding, fine binding, and boxmaking. Linda is also an=20
artist on the Vermont Arts Council=92s education roster, and works=
on bookmaking projects with teachers, students, and artists. She has been=20
leading bookbinding workshops for many years and is known for her=20
thoughtful instruction and her thoroughness. Participants always leave=20
Linda=92s workshops with many useful designs and models.


Daniel E. Kelm
The Garage Annex School for Book Arts
One Cottage Street #5
Easthampton, MA 01027

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