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9636Summer book arts workshops at Oregon College of Art & Craft

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  • barb tetenbaum
    Apr 2, 2008
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      Dear Colleagues,

      Oregon College of Art & Craft will host 4 exciting
      workshops given by Dominic Riley from England,
      Jeanette McGrath from Germany, Walter Tisdale from
      Bangor Maine and the ever-inspiring Julie Chen from
      Berkeley, CA. For more info. or to register, call
      503-297-5544 or go to www.ocac.edu.

      Here are the classes:

      Monday – Friday 9am -4pm
      June 23 – 27, 2008
      Studio fee: $40

      An essential activity during the beginning stages of
      creating a handmade book is making the book “dummy” or
      mock-up. It is the container and super-structure for
      all the ideas, images, and materials you intend to
      use. The book dummy is more than an assemblage of
      blank pages in book form. It is an energetic gathering
      of ideas and page spreads. During the folding, sewing
      and gathering of papers together into a book dummy,
      ideas are given a vital spark. Most of the clues for
      choices of materials, page sizes and text flow are
      right there at the beginning. Like any
      work-in-progress, the book dummy is a starting point,
      but its physical presence, there at your side as you
      make the book, can be an invigorating resource.

      We will accelerate from discussions & approaches to
      making book dummies, to creating a set of five binding
      models. These models are based on editioned books from
      the instructor’s own publications. The techniques are
      combinations of sewing & folding with suitable papers.
      Students should bring book ideas they might want to
      work on during the class. We will combine work
      sessions with discussions and plenty of hands-on with
      books from the instructor’s extensive collection.
      Prerequisite: familiarity with simple binding
      techniques Location: Calligraphy studio Maximum
      enrollment is 12
      Instructor: Walter Tisdale

      Walter Tisdale prints and publishes handmade books in
      collaboration with writers & artists. His imprints are
      Tatlin Books & the Landlocked Press since 1979. He
      enjoys the serendipity of collaborating, where
      fortunate discoveries often occur accidentally. This
      quality contributes to his books being lively places
      for the eye & mind, in devotion to the words & images
      in hand. He received his BS in Fine Art at the
      University of Wisconsin-Madison.

      Wednesday – Sunday 9am – 4pm
      July 16 – 20, 2008
      Studio fee: $50.00.
      Explore elegant and unusual possibilities to present
      and store photographs. The aesthetics of the design of
      these mostly non-adhesive bindings or boxes is due to
      the combination of their basic functional elements and
      their chosen materials. We will be utilizing a variety
      of materials to suit our needs including; Tetra-Pak,
      Astralon, metal wire, parchment, and an array of
      papers. Participants will each end up with at least
      six finished photo presentation/storage structures and
      some smaller models for future inspiration.
      Prerequisite: good hand coordination
      Location: Calligraphy studio Maximum enrollment: 14 +

      Instructor: Jeanette McGrath

      Jeanette McGrath lives and works in Aachen, Germany.
      After studying Printmaking at the Philadelphia College
      of Art, Jeanette assisted Mary Phelan at the Irish Pig
      Press and in the mid 80's became Hedi Kyle's first
      assistant at the American Philosophical Society
      Library conservation lab where they developed
      non-adhesive structures for conservation purposes.
      Hedi remains Jeanette's mentor, friend, and source of
      inspiration on many levels. Before moving to Germany,
      she taught “Book Concepts” at the University of the
      Arts in Philadelphia. In Germany she taught at Der
      Akademie für Gestaltende Handwerker in Aachen and
      gives workshops in non-adhesive binding techniques
      throughout Germany. She exhibits her bookwork and
      pinhole photography in the U.S. and Germany.

      August 4 – 8, 2008
      9am – 4pm Monday – Friday
      Studio fee: $50.00

      The potential of the box form as an expressive medium
      goes far beyond that of simple container. The box,
      through its design and function, can create an
      experience of discovery and wonder for the viewer, and
      can itself become a vital element of content. This
      class will take the art and craft of box making to a
      new level of complexity, both technically and
      conceptually. We will explore the potential of the box
      form both as housing and as an integral conceptual
      element in artists’ book projects. Students will learn
      how to create complex hybrid box structures with
      drawers, multiple levels, and compartments. We will
      also look at strategies for incorporating text, image,
      and object into the box.

      Prerequisite: Some previous bookmaking experience,
      including a basic familiarity with the tools and
      techniques of bookbinding and/or box making is
      strongly recommended for this workshop. Location:
      Calligraphy Studio.
      Max. enrollment: 12

      Julie Chen
      (use same bio as last summer)

      August 11 – 15, 2008
      Monday - Friday, 9am – 4pm
      Studio Fee: $20 + cost of leather (discussed on supply

      The fire-proof box is the ultimate in Victorian
      bookbinding craftsmanship. First made by Joseph
      Zaehnsdorf for Quaritch, the London bookseller, its
      fire-resistant qualities became legendary after the
      great fire at Riviere's when those bindings already
      put into their boxes survived the blaze, while those
      waiting to be boxed perished.

      The structure is fairly straightforward and comes out
      of the fancy leather goods trade, resembling cigar and
      spectacles cases. Good quality paper is wrapped around
      a form made to the exact shape of the book. When the
      desired thickness is achieved, this first case is cut
      to size and covered in leather. A second form is made
      around the first, cut to size, capped head and tail
      and cut in half. After covering, the lower portion is
      stuck around the inner case, the upper part forms the
      'lid'. The whole may then be tooled.
      Since it is a time consuming structure, it is not
      often made nowadays except for special books.

      Prerequisite: Students must be comfortable paring and
      covering with leather.
      Location: Calligraphy studio Max. enrollment: 12
      Dominic Riley studied bookbinding with Paul Delrue,
      and at the London College of Printing. He moved to New
      York in 1990 and then to Berkeley, California, where
      he worked for Taurus Bindery and helped establish the
      bindery at the San Francisco Center for the Book. With
      John Demerritt, he co-hosted what is believed to be
      the only TV talk show on bookbinding. Dominic is a
      Licentiate of Designer Bookbinders, and the recipient
      of numerous prizes for his bindings; his work is in
      public and private collections, including the British
      Library. He currently serves as Vice-Chairman of the
      Society of Bookbinders, and is a past president of the
      Hand Bookbinders of California. He and Michael Burke
      have lived in England’s Lake District since 2001, and
      have started a bookbinding community at the Brewery
      Arts Centre in Kendal. Dominic teaches extensively
      throughout the United States and Europe, and recently
      co-founded Collective Workshops, inspired by PBI, a
      new event offering intensive residential courses
      celebrating the whole art of the book.