Paper and Book Intensive 2012
I’m in a total state of shock.
On Sunday morning, I’ll be flying out to Michigan for the Paper and Book Intensive. I’m actually going.
I had convinced myself that I was never going to go. I applied two years ago and wasn’t accepted – that’s the kind of thing that sets the Brain of Doom in motion. The Brain of Doom sucks.
But I’m actually going. To Ox-Bow.
I’m attending the following workshops:
Album Alternatives with Betsy Palmer Eldridge:
The recent popularity of albums has led to an increased interest in the variety of album structures available and in the different ways materials can be attached to the album leaves. This session will introduce and show examples of many of the historical methods. In addition, it will show two lesser-known but useful methods. The first is how to include folio material without a thread interruption in the gutter margin: the second is how to bind stiff leaf material using the 1865 Philadelphia Patented method. The advantages and disadvantages of each will be discussed. Participants will make take-home models of as many of these methods as the time allows and their interest dictates.
I received an Email from Betsy a week ago that said “Just found your name on my PBI participants list and look forward to having you in my class.” [insert Elissa’s faint here] Yes. I’m a geek.
Custom Bone and Steel Tools for Book Working with Shanna Leino:
During this class you will be working with two very handy and versatile materials: elk bone and steel. First, students will be introduced to the tools and techniques needed to form and finish bone folders of ones own design. Smooth, polished to a shine, and fitting perfectly in your hand—there is nothing like the feel of a bone folder you’ve made yourself. You will then cross over to steel, learn to make a chasing tool and a stamp for making an impression into most metals and useful for adding ornamentation on your book covers. Simple methods of adding adornment to your tools will be demonstrated. No previous experience is necessary, however this class is demanding on the hands and arms. Expect to leave with two or three bone folders and one chasing tool that will be beautiful to look at and wonderful to use!
I’m psyched to meet Shanna for many reasons, one of them being that she’s from New Hampshire. It’s great to have such a wonderful resource close to home and I plan to talk to her about doing a workshop for the Book Arts Guild of Vermont.
Using a Catalyst for Artist Book Creation with John Carrera:
The Pictorial Webster’s was always intended to be used as a catalyst for creative writing. Students’ main instructional assignment will be to write a story based on one page of images. Using Pictorial Webster’s as a source for creative input in a class will be exciting, as what one makes from the book is never about the book, but what is inside each person. Because each student is using a common reference, understanding what has transpired within the creative engine of each student’s mind can be more readily understood and discussed. The goal will be to find new methods for inspiring the creative process. An intense four days will begin with creating three books in an hour. You will then be given three different methods for using Pictorial Webster’s as a source for your own new artist book. Each participant will create at least one workable dummy for a future edition of your own or a finished one-of-a-kind. Students will make use of additional sections from the offset version of the book.
John’s Pictorial Webster’s was the set book for the New England Chapter of the Guild of Book Workers‘ juried exhibition deFINEd BINDINGS: 26 Bindings of the Pictorial Webster’s Dictionary. So cool.
There’s internet access at Ox-Bow, but I don’t know how accessible the access is. I hope to blog at the end of each day so you can see what I’m up to at PBI. One way or another (if not daily), I’ll blog about the workshops.