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Book Arts Program
Workshops
Drawing
Instructor: Eric Hopkins
Through group and one-on-one instruction, students will explore the dynamics of mark-making, composition and visual expression. While the focus will be on process, the finished product is also important, as this course will be weighted more toward content than technique.
With broad strokes and bright colors, Eric Hopkins captures the dynamic forces and patterns of nature in watercolors, oils, blown glass, and photography. His vision focuses on the natural world, geological and geographical forms, and the exchange of energy between Earth, Water, and Sky. From this intimate study of nature, Eric has developed a keen awareness of light and color which is reflected in all of his work.
Poetry and Paper: Supporting Structures
Instructor: Dennis Gilbert
This workshop views the book as a four-dimensional analogue to the stanza and the paragraph, the story and the poem. Students will explore ways to create innovative interactions between original or borrowed texts and the pages they are printed on through exercises focusing on various traditional relationships between form and content: spatial/temporal; metaphorical; referential; sequential; and proximate.
A Book Artist's Way with Found Objects
Instructor: Anne-Claude Cotty
What serendipity a book artist can find in a found object! A fallen leaf, a scrap of metal, a few lines of text can spark a concept, serve as content or become an integral part of a work. We will consider our humble treasures with drawings, rubbings, transfers, collage and writing. We'll then examine a number of innovative structures in order to design individual projects.
Image Traffic
Instructor: Elizabeth Jabar
Students will work with the concepts of theme and variation and create double-sided prints, experimenting with altering and layering repeating motifs. The finished prints can be used in simple book structures including scrolls, accordions, and pamphlets. Students will work from a collection of personal images (drawings, pattern, found imagery, photographs) and expand both graphic vocabulary and visual language by altering/revising/rebuilding a series of images through a range of printmaking techniques, including trace monotype, Styrofoam drypoint, silkscreen, stamping, and Xerox transfer.
Long Stitch Binding and Slip Case
Instructor: Marnie Cobbs
Based on bindings made in the 15th century, the many variations of long stitch bindings rely on sewing instead of adhesive. They can be made as albums into which things can be mounted, or as regular books. Make a long-stitch binding using vellum for the spine, cloth over boards for the cover, and machine made paper for the text. In the afternoon make a slip case to hold the binding. The inside of the slip case boards will be lined with paper, and the outside covered in cloth.
Victorian Photographs
Instructor: Brenton Hamilton
This day will be filled with the exploration of the 19th C. British photographic process of cyanotype. This lush blue print process is a wonderful printmaking vehicle for exploring nature, and natural patterns from organics. Flora and botanicals and collage onto luxe artist papers will be our work for the day with the anticipation of these 'pages' being book ready in the future. We'll collect, coat paper, expose in the sunlight and make cyanotype photographs. These works on paper are the perfect starting point for hand applied color and collage. We'll make small exquisite renderings of the natural world around us......a large cyanotype mural on cloth as a group project is also planned.
Handsome, Sturdy, Flexible - Coptic Options
Instructor: Peter Madden
Adaptable to an endless array of options for covers and an infinite number of signatures and pages, Coptic binding is one of the oldest codex structures developed in Egypt by the Copts, and used from as early as the 2nd century AD to the 11th century.
Handsome - sewn with a linking stitch that creates an elegant, exposed, interlocking pattern along the spine, these are beautiful books that look much more complicated than they actually are.
Sturdy – these are solid strong structures and have an appealing weight to them particularly when a formidable material is used for the covers. Wood-covered examples have survived from the 2nd century!!
Flexible – with an ability to open 360 degrees the book opens flat at each page, making it an excellent choice for journals, sketchbooks, travelogues and artists’ books.
Tricky Structures
Instructor: Rebecca Goodale
The Woven Flexagon, the Magic Wallet, and Jacob’s Ladder are structures that fascinate reader and bookmaker alike. Their surfaces undulate in unexpected ways, revealing and concealing information both textual and visual. You will learn to make all of these forms and then puzzle over when to use them and why. Patterning papers and binding techniques will be part of the day’s excitement.
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