Gabrielle Fox, No Land Where I Have Traveled

by Logan English, published by Larkspur Press,

bound in full leather with leather doublures using

onlays and gold and palladium tooling, 9-1/2 x 7 x 1 in.

Gabrielle Fox - How Small Is Small?

A miniature book is defined as a book that does not exceed three inches in any direction; some measure the page size while others feel that the entire creation, including the box, must come in under that magic number. We will make many bindings and containers with different structures and materials, exploring what works in books scaled down in size and how their containers can add another dimension in design and protection. Basic bookbinding skills required. Code 01b

Bookbinder, conservator, restorer; teaching: Croydon College of Art & Design (England), College of Mount St. Joseph (OH), Chatfield College (OH); work in private and public collections in U.S. and abroad.

gabriellefox.com

Session 2

June 13 - June 25

Emily Martin - Sculptural & Movable Books

Students will explore four movable and/or sculptural book forms: flexagons, magic wallets, tunnel books, and carousel books. While making these binding structures, we will examine the different characteristics of these formats. We will consider the relationship of the intended book content to how the structure functions, its action, and its general appearance. All levels.
Code 02b

Teacher at University of Iowa Center for the Book and in workshops nationally; collections: Metropolitan Museum of Art (NYC), Victoria and Albert Museum (London), University of Otago (New Zealand).

emilymartin.com

Session 3

June 27 - July 9

Andrea Peterson - Unlimited Papermaking Possibilities

The potential for creating intriguing paper surfaces through texture, color, and/or image has unlimited possibilities. This class will use many fibers, including wheat straw, cattails, cotton, and abaca. We will process fibers by cooking with various agents and create finished sheets with a range of qualities and fiber lengths. We will use many different additives and explore pigmented pulps, free-form pulp drawing, sprayed fibers, hand-cut stencils, and photographic stenciling. All levels. Code 03b

Artist, papermaker, educator; teaching: Steyermuhl Paper Museum (Austria), Paper and Book Intensive, Ox-Bow (MI), School of the Art Institute of Chicago; exhibitions: Fort Wayne Museum (IN), Deggendorf Museum (Germany), Scuola di Grafica (Venice).

hookpotterypaper.com

Session 4

July 11 - July 23

Meg Peterson - Noticing What’s Going On

“You should send students outside with their journals to notice what is going on,” advised third grader Dorian when asked what teachers could do to improve the next year’s class. We will follow Dorian’s advice, first by assembling a few book structures with proven classroom applications. But more important will be the ways we find to inhabit our books, increasing our interaction with the living world, following our questions, and embodying classroom studies. Throughout, we will maintain a conversation about teaching. Open to teachers of all disciplines. All levels. Code 04b

Penland’s teaching artist in the schools; former Penland resident artist.

Session 5

July 25 - August 10

Sara Langworthy - Elemental Books: Solid Foundations

This class will cover the fundamental techniques and materials of bookbinding. Using a variety of papers, threads, and covering materials, students will explore a number of book structures, gaining an understanding of how the materials affect the function of the book. We will then draw on these skills, merging structure and material with image and content. We will also cover simple low-tech methods for incorporating image and text into books. All levels. Code 05b

Studio artist; faculty at University of Iowa; workshops: Wells College (NY), University of Utah (Salt Lake City), Minnesota Center for Book Arts (MN), Women’s Studio Workshop (NY); collections: Library of Congress (DC), Walker Art Center (Minneapolis), Yale University (CT).

Session 6

August 15 - August 27

Paul Wong - Pulp Dyna-Matrix

This class will focus on pulp imaging techniques developed at Dieu Donné. We will cover cotton, abaca, and linen rag pulps and their preparations, along with coloring and mixing pulps, hand-cut mylar stenciling, blow-outs, simple to sophisticated watermarks, and pulp-painting techniques using stencils. Each student will create an edition of paper that will be part of a group portfolio. All levels. Code 06b

Artistic director at Dieu Donné, a nonprofit artist workspace for hand papermaking (NYC); has collaborated with many artists including Chuck Close, Kiki Smith, Jim Dine, and Louise Bourgeois; New York Foundation for the Arts and Joan Mitchell Foundation grants; exhibitions: Plains Museum (ND), Neuberger Museum (NY).

Session 7

August 29 - September 4

Yukari Hayashida - Japanese Binding & More

We will explore various Japanese book structures and decorative paper techniques as well as structures inspired by traditional binding styles. Students will also make fabric suitable for bookcloth and a folded book case with a bone clasp. Decorative paper techniques will include suminagashi (floating ink), orizome (folded and dyed), momi (crumpled), and paste paper. We will finish the class by making books incorporating your paper and cloth designs. All levels. Code 07b

Bookbinder, book conservator, instructor, artist; teaching: The Center for Book Arts (NYC), The Ink Shop (NYC), Princeton University (NJ).

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These two Fifth-Session classes are for artists working in any media

 

Session 5

July 25 - August 10

Stephen Sidelinger - Repeat Pattern Design for All Craftspeople

All crafts at some point are easier with an understanding of pattern structures and methods—being able to see and think in repeats. This class will provide hands-on methods for creating 15 kinds of patterns. We will start with basic patterns: from block, brick, diamond, and step to geometric structures and free-form repeats. Then we will draw from the past: primitive ornament, Egyptian, Greek, and Asian patterns, manuscript illumination, William Morris, and Art Deco. No previous knowledge of pattern design needed. All levels.
Code 05ta
Third-floor textiles studio.

Faculty at Ringling College of Art (FL); author of Visual Language: A Guide to Finding Personal Style, and A Color Manual. stephensidelinger.com The second-floor textiles studio will be used this session for an exploratory workshop for artists in any media, titled All About the Why.

Christina Shmigel - All About the Why

This is a workshop for makers in any medium who want to deepen their understanding of the wellsprings of their work. Through a series of riddles and explorations, using images, 3D sketching, book- and model-making, and materials different from, but parallel to, our customary ones, we will investigate what makes our work uniquely ours. With play and curiosity, we will explore ways of opening up our future work. All levels. Code 05tb
Second-floor textiles studio.

Studio artist in sculptural installation; former professor of sculpture at Webster University (St. Louis); solo exhibitions: St. Louis Art Museum, Laumeier Sculpture Park (St. Louis), Duolun Museum of Art (Shanghai).

shmigel.com