November 8, 2010

Workshop Review--Exploring Himalayan Papers and Books

Emily Marks
Sonoma, California

A couple of years ago I discovered a wonderful paper for bookbinding and art projects called Lokta. I researched Lokta and found that the paper is made from the Daphne plant, found principally in Nepal, growing luxuriously in the foothills of the Himalayans, 6500 feet above sea level. I immediately fell in love with this wonderful stuff and planned to go to Nepal to learn to make the paper. I found a site on the Internet that offers classes for the novice. (I have to admit that once I checked on airfare to that distant land, I was a bit daunted by the idea.)

Imagine my delight when I heard of a workshop in Portland, OR, taught by Jim Canary, who would lead his class in the making of the paper, dyeing it with natural dyes, and making a Tibetan prayer book using Lokta. I contacted Shu Ju Wang, the organizer of the Book Workers Guild workshop immediately.

Jim Canary, I found out, has a long-standing interest in Tibet and Nepal, stemming from his undergraduate days at Indiana University, where he concentrated on Inner Asian Studies. He also completed graduate studies at Indiana in Major Classical Tibetan and for three years received a Department of Education Foreign Language and Area Studies Fellowship in Tibetan. Since 1994, he has been a project member of Paper Road/Tibet, an organization that provides research, technical expertise, and development of hand papermaking operations in Tibet. He is also a board member of the International Tibetan Archives Preservation Project, responsible for coordinating cooperative conservation work in Lhasa, Tibet.

Jim has been Head of the Conservation Department at Indiana University's Lilly Library in Bloomington since 1993. He has lectured widely on Tibetan themes, as well as on various aspects of conservation and the book arts.

The workshop with Jim took place October 23-24, 2010. The night before we were to meet as a class, Jim showed digital pictures of his travels in Tibet and Nepal researching the practice of book art in those countries and the making of the paper itself. This free lecture was an inspiring introduction to this handmade art.

Our workshop was held in the wonderful studio space of William Park, who graciously let us use this large and light warehouse for the two days. We met at 10 am, ready to work and to learn.

First, Jim talked about the plant, Daphne Paparacea. This plant is a relative of our Daphne but grows into a tree in Nepal. The root is the source of the paper. The papermaker strips the outer bark off and exposes the inside fiber. (Photos by Emily Marks except as noted.)

The inner bast fibers are then cooked in water with an alkali substance like soda ash. Jim cooked about one pound up for us to use.

Jim then went on to explain that the Tibetan prayer book usually has a soft cover, often made of silk on front and back. The interior pages have beautiful written chants, often applied as wood block prints. If the calligraphy is written, it is applied by an ink made of burned resinous pine ground with yak-skin glue.

The picture below shows the dried bast fibers, the silk-covered prayer book, an ink bottle, handmade pen, with its wooden container.

While the fiber was continuing to cook, we each built a frame for papermaking out of four heavy wooden pieces that Jim provided. These fit together and were made tighter at the joins with little pieces of wood that swell when wet. Then we cut simple cheesecloth and pinned this to our frames.

Once the fiber was cooked, it was sweet-smelling and slightly gelatinous, reminding me in feel of cooked okra. We divided up the fiber in small amounts and pounded it with wooden mallets. This was a long process because as we beat the fiber, we removed small specks of dark matter to keep our paper as pure as possible.

When all the fibers were beaten enough, we combined them together in a big basin with a lot of water. Jim showed us how to float our frames in the water and to add about 2 cups of the pulp to the screen. Then we were to swish the pulp around so that it lay evenly on the cheesecloth. Raising it straight up, the water drained out, leaving wet pulp to cling to the cheesecloth. (Group photo below by Elizabeth Uhlig.)

Once our papers were stacked up against the walls to dry, we worked on the inner and outer papers for our Tibetan style prayer book. Jim had brought some cream-colored paper-backed canvas for our covers which we could dye in natural dyes he provided. We were also encouraged us to dye our papers, and most of us chose to dip the edges into the brown, yellow or blue dyes.

The next day we arrived back to find our handmade paper was ready to pull from the screen. This was a satisfying process as the paper came off in one sheet, and made a good sound as it was pulled.

The book we were to assemble in the afternoon typically has writing and images in it. To give us the full experience of the Tibetan prayer book, Jim had brought wooden printing blocks of Tibetan images. The class had a great time inking up these blocks and printing them on our pages and covers for our books to come. (Photos below are all by Elizabeth Uhlig.)

Assembling the book was fun. Jim taught us the construction of the chain-link sewing, using three “stations.” Our books were each different and very pleasing.

Our two-day workshop had come to end and we had learned a lot! Hugs were exchanged; e-mails circulated; and we went back to our individual lives, newly enriched.

September 5, 2010

Exploring Himalayan Papers and Books

Instructor: Jim Canary
Time: Oct 23, 24, 10am-5pm
Location: 2637 NE MLK Blvd, Portland, Oregon

This workshop will introduce the participants to the methods of making daphne paper and we will use a variety of natural materials and techniques to dye these papers. We will have the chance to print Tibetan buddhist woodblocks and will learn a rainbow stitched binding structure.

In short, participants will go from papermaking to printmaking and bookbinding over the course of this two-day workshop!

Workshop Fees

GBW members: $160 + $20 for materials
Non-GBW members: $190 + $20 for materials

Register for This Class

Contact Shu-Ju Wang,, 503-245-8177.

GBW members have priority registration through September 30; after that, registration is open to all.

About the Instructor

Jim Canary has studied the languages and cultures of the Himalayan region at Indiana University and travelled many times to Tibet India and Nepal studying and documenting the traditions of buddhist manuscript and book production. He has been the conservator at the Lilly Library, Indiana University for the past 25 years.

About the Workshop Location

William Park, Portland painter and printmaker, has generously offered the use of his very spacious print studio for this workshop. It is close to many lunch options and there's plenty of street parking.

August 11, 2010

Welcome to the August 2010 Newsletter!

This edition of the GBW Northwest finds us looking both ahead and back to significant chapter events. We're looking forward—always the most important direction—to a 2-day October workshop with Jim Canary. We're also looking back on a fabulous workshop taught in April by Don Etherington, which was so popular among guild members we had to ask him to do it twice. 2010 is a good year for us!

Upcoming Workshop with Jim Canary!

Our workshop coordinators are fine-tuning the details of a fall workshop sponsored by the Northwest Chapter of the GBW, to be held in Portland over the weekend of October 23 and 24. This will be an opportunity to learn the history and craft of making a book from start to finish the Himalayan way. Jim Canary will take you from papermaking to printmaking and bookbinding over the course of the two-day workshop. We will announce additional details when they're available--this is your official first notice to get excited and mark your calendar. Jim will also give a talk on Friday evening, Oct 22, at 23 Sandy Gallery.

Jim Canary is the head of conservation of Indiana University Bloomington's Lilly Library. He completed graduate studies in Tibetan and has traveled extensively in the Himalayas studying papermaking, calligraphy and printing. He has been a project member of the organization Paper Road/Tibet since 1994, and coordinates conservation work in Lhasa as part of the International Tibetan Archives Preservation Project. Those who have attended his workshops give them rave reviews.

Northwest Chapter News

Susan Collard
Portland, Oregon

First of all, belated thanks to those were able to attend the Northwest Chapter meeting held in Portland in January. Paula Jull, our chapter chair, was in town from Pocatello, Sophia Bogle came up from Ashland, and we had good representation from those of us in the Willamette Valley as well. We all agreed it was great to get together, as this has been one of the challenges of our far-flung chapter.

There was a spirited consensus at the meeting that we would all like to see more guild-sponsored workshops. In 2010 that has really started to happen. Marilyn Mohr did a fabulous job of putting together a workshop with Don Etherington in April. The limp vellum binding workshop was so popular that Don arranged to stay in Eugene an extra day in order to teach two sessions. There are a couple of brief reviews of the workshop following.

Our workshop chairs, Shu-Ju Wang and Katherine Shiver Pomeroy, have arranged with Jim Canary to teach a two-day workshop this fall. Basic info is posted above, with more to follow as details are finalized. I’d like to encourage you all to mark your calendars, and to sign up when registration becomes available!

Of course there is also the Standards of Excellence Seminar in Hand Bookbinding coming up in Tucson, October 14-16. For the past couple of years I’ve announced Standards with a feeling of envy for those who would be attending. Not this year, since I’ll be there myself. I look forward to spending time with other Northwest Chapter members while I’m there. I was a grad student at the University of Arizona in the early 1990’s, so I’m kind of excited at the chance to see what has and hasn’t changed in Tucson in the intervening years. If anyone is interested in out-of-date travel advice, I’d be happy to oblige.

Outside the GBW umbrella, this newsletter includes notices of upcoming book arts events in the region. For one thing, it's the season to celebrate letterpress printing, with big gatherings coming right up in both Portland and Seattle. Patricia Grass, an accomplished and popular teacher who for years has made Forest Grove an "accidental" mecca for book arts, has shared her schedule of fall classes. Janice Healy has a review of an OCAC workshop she took recently with Daniel Kelm.

Laura Russell has given us a sneak preview of book arts shows coming up at 23 Sandy Gallery. I know she is especially excited by the quality of entries received for the Pop Up Now! show, so please don't miss that one. And, while I pause for a moment to reflect on how fortunate I feel to have this extraordinary gallery about a mile and a half from my house (please don't be resentful if you have to travel further), I need to mention a couple of standout shows from earlier in the year. The first was Karen Hanmer's show, Deja Vu: History, Memory, Place in March. The second was Roberta Lavadour's show, Finding Home in May. It's one thing to admire a book in a juried show, but it's even more wonderful to be able to interact with a whole room full of a book artist's work. For me, it's akin to the difference to running across a poem in an anthology and being able to sit down with a book-length collection of a poet's work. One finds connections and resonances among the individual pieces; experiments stand out; one starts to get a real sense of what the artist is up to. And since both Karen and Roberta were able to come to Portland and give gallery talks, that was a marvelous chance to meet them and hear their perspectives. Congratulations and thanks to both these chapter members for sharing their work with us this year.

Some Notes on Limp Vellum

Susan Collard
Portland, Oregon

Janice Healy, who just joined our chapter last year and is the collection conservator at the Conner-Bishop Historical Research Center, was kind enough to provide these photos from Don Etherington’s workshop on Limp Vellum Binding, as well as the review in the post that follows. Since I attended the Saturday session, I thought I should make some comments about my workshop experience as well.

Don Etherington Demonstrates Rounding a Spine

I should confess to something off the bat: as a book artist who uses mainly non-traditional methods and materials, I was easily the least experienced bookbinder in the room during Don’s workshop. I decided to take the class partly because of his stellar reputation, partly to stretch my skills doing something I don’t have all that much practice in. At the January meeting, when we discussed the possibility of Don teaching a workshop as part of his visit to Eugene in April, the first assumption was that he would be teaching conservation techniques. I’m pretty sure it was Sophia Bogle, who has taken classes with him at the American Academy of Binding, who said, “Oh, he should teach limp vellum binding!” This was greeted with considerable enthusiasm from the group--even from me, though I had only a sketchy idea of what a limp vellum binding was, since it certainly sounded cool.

Limp vellum, it turns out, is a historical binding style (at its most popular in the 16th century) that is not only quick and informal, but also extremely durable. Introducing us to examples of the binding, Don mentioned that after the 1966 flood in Florence, conservators were surprised to find that limp vellum generally survived better, and did a better job of protecting the text block, than heavier leather-over-board covers. The books had a nice feel to them—the vellum a bit springy, especially when the binding is new, as if betraying its animal origins.

The morning and early afternoon of the workshop was focused on preparing the text block for its cover—sewing it onto either leather thongs or vellum slips, rounding the back and adding endbands. Don gave clear demonstrations of everything, pointing out which steps and measurements were especially critical and why. Personally, I did a credible job with the sewing and proved to be a bit of a ninny with the endbands, so can testify to Don’s patience as an instructor.

I’d been curious about vellum as a material, so I enjoyed studying the calfskins together, seeing how they were thin and translucent at the edges, thickest and most intractable along the spine, and how the color and pattern of the follicles changed accordingly. Once we’d cut out our cover sheets, carefully cut slits into the vellum and laced in our text blocks, the strength and resilience of the binding was already apparent. We really got a feel for the vellum as we creased and cut and folded the covers, learning how to make the cool little hidden corner tabs that keep the doubled-over edges in place. To me, this was the most intriguing part of the process, and consequently it felt a bit rushed, though I felt the workshop on the whole was well-paced. The hair’s-breadth precision of earlier steps seemed to relax a bit at this point, as Don seemed disinclined to fuss over small aesthetic issues with the inside covers. The pragmatic, functional nature of the binding was most apparent during this part of the process. Ideally, I would have liked spending more time discussing the different options in finishing the cover, as well as getting a broader view of how limp vellum bindings varied in different eras and usages. But there was quite a triumphant buzz in the room as five o'clock rolled around and everyone finished up their bindings, or at least (as I did) got them to a point where they could readily be finished at home.

Marilyn Mohr Sizing up some Vellum

The limp vellum workshop seemed a big hit with all the participants, and I was certainly glad to have made it down to Eugene to take part. The workshop’s success was due not only to Don Etherington’s practiced teaching, but also to Marilyn Mohr’s efficient and gracious hosting of the event. Spending a day in the University of Oregon Libraries Conservation Lab was a fun little peek into her domain. Taking part in a workshop has an intrinsic social component, and sharing the experience with other GBW members had the happy side effect of making me feel a little more connected to the group. In this, too, Marilyn totally went out of her way. As a result, my fond memories of the weekend include not only the workshop itself, but conversations from the day before and at dinner afterwards—not to mention Marilyn’s studio, henhouse and flowers. And lucky me, not only did Shu-Ju Wang provide me with transportation and company down and back, but she cooked up eggs from Marilyn’s hens for our breakfast before the workshop.

Review of Limp Vellum Binding Workshop

Janice Healy
Aloha, Oregon

Don Etherington's class on vellum binding was held in Eugene, Oregon on 9 April 2010. It was held at the University of Oregon in their conservation lab. We each were asked to bring a pre-folded un-sewn text block of any paper of our choice. I found some lovely archival paper made with banana fibers at our local office supply store.

The first part of the day was spent sewing our text block on split alum tawed leather thongs. This was a new experience for me so I was pretty slow at it, but got it done and really liked the look and the process. Then he taught us how to sew the endbands. I found that to be the most fun and really quite easy once one gets the hang of it. In the past when trying to read the directions on how to sew endbands they looked really hard to do, but they are not.

We then made our covers out of vellum. I didn't know vellum could be so thick and hard to bend/fold until I got my piece. The vellum that I had worked on in the past was very thin and even in thickness, where this vellum was uneven in thickness and in one place scoring with a bone folder just didn't make it want to bend. I was wishing for a vise, a board and a hammer at one point. Eventually I did get it bent into shape. This vellum reminded me more of rawhide because of its stiffness; the color is lovely and it should last forever due to its thickness.

Once all the measuring and the folding was done we measured some more to figure out where to punch the holes to bring the thongs through to attach the text block to the cover.

I really enjoyed working with Don because he tells it like it is. I misunderstood what he meant at one point and he told me so in no uncertain words. He then showed me how I was supposed to have done it and I went back and corrected it. I liked that, as I like to be told when I make a mistake and how to do it right.

Myself, I would have liked an extra day to do this class in as I felt rather rushed because there was so much to get done in such a short time. I tend to be a perfectionist and I like to take my time to get it right the first time. So I didn't get my book done in class,but when I came back for Don’s lecture on the 13th it was finished and he said I had done a good job on it.

Don Etherington demonstrates the sewing of endbands to attentive students

Portland Letterpress Printers Fair

Rory Sparks
Portland, Oregon

Join us for this years’ 3rd annual Portland Letterpress Printers Fair! All are welcome for this fun outdoor event celebrating letterpress, printers and appreciators.

Saturday, August 14th, 2010
323 SE Division Place
Portland Oregon, 97202
Admission: 11am-2pm – $2 and from 2-5pm – Free

Demos, Print Shops, Suppliers, ResourcesType, Equipment, Cards, Broadsides, Ephemera, Overstocks, Seconds, Deals, Rarities and More!

Come one, come all.


CC Stern Type Foundry will be screening “Farewell: Etaoin Shrdlu,” a documentary about the last issue of the New York Times to be composed in the hot metal printing process. Discussion to follow. All are welcome.
Friday, August 13th, 2010
Em Space Book Arts Center
407 SE Ivon StreetPortland, OR 97202
Suggested Donation: $5

See Em-Space Book Arts for more info.

9th Annual Wayzgoose

The School of Visual Concepts in Seattle is holding their ninth annual Wayzgoose on August 28th. It will feature a letterpress marketplace, equipment swap, shop tours and printing demonstrations, AND a steamroller letterpress smackdown. Not to mention the live music, food, silent auction, and raffle prizes. Plus, it's free! "Anyone who loves the smell of ink and the unmistakable look of wood and metal type" is encouraged to attend, but pre-registration is requested. From 1:00 to 6:00 pm at the School of Visual Concepts, 500 Aurora Ave. N., Seattle. Co-sponsored by the Book Arts Guild. More info at the BAG website here.

Autumn Classes at the Accidental BookMaker Store

Patricia Grass
Forest Grove, Oregon

To register, call, visit the web page, or send your name, your address, your phone number, your e-mail address, title of class and check or credit card number and expiration date to:
Green Heron Book Arts
1928 21st Avenue
Forest Grove, OR 97116


Evening Classes

Easy Books for Beginners....Long Stitch Variations
In long stitch or running stitch books the cover is attached to the text paper with long, running stitches that are visible on the spine. This lends itself to all kinds of decorative stitching on the spine or even beadwork. We will make three variations of this stitch: the twisted long stitch, the buttonhole long stitch, and long stitch with slotted cover.
Instructor: Patricia Grass
Date: Monday, October 18-November 8, 4 weeks
Time: 6:30 pm - 9:30 pm
Cost: $80 + $20 materials fee

Daytime Classes

The Thursday Group: Wax
This term we will play with wax--wax in all its forms from crayons to encaustic. We will experiment with purchased wax paper lunch bags, try making our own “waxed” paper, and look beyond traditional batik on paper to more experimental wax on paper techniques -- can you print text with wax? We will experiment with encaustic on wood as book covers and in the process experiment with wax additives such as luster wax, impasto wax, and damar resin. For our text inspiration we will depend upon Peachey's Royal Guide To Wax Flower Modelling by Mrs. Peachey.
Instructor: Patricia Grass
Date: Thursday, September 23 - December 16, 12 wks
Time: 9:30 am - 3:30 pm
Cost: $170 + $30 materials fee

Copperplate Calligraphy
Learn this pointed pen calligraphy style developed in the 18th century. It is often used today to address beautiful envelopes or for invitations. All materials will be supplied including the specialized pen nib and holder for this script. Beginners/Intermediate
Instructor: Patricia Edmonds
Date: Friday, September 24 - November 12, 8 weeks
Time: 9:30 am -12:30 pm
Cost: $150 + $15 materials fee

One-Day Saturday Workshops

A Watercolor Journal
You can make your own watercolor journal using 90# watercolor paper. We will color tyvek with acrylic paint to use as a covering material for the boards of this book. The spine is covered with bookcloth. The stitching used will be a French link stitch with sewn on boards--easier than it sounds! This stitch results in a book that opens flat letting you have access to a full two page spread.
Instructor: Patricia Grass
Date: Saturday, September 25, one day
Time: 9:30 am - 5:30 pm
Cost: $70 + $15 materials fee

Book in a Box: Box Making I
Learn the basics of making a box--measuring correctly, grain of materials, cutting and gluing. We will make a square box with a lid, and and accordion book that fits into the box. The accordion book is made from two layers of board and the board pages are joined together with ribbon. The box and the book are covered with paper and can be decorated with copper tape and beads for “legs.”
Instructor: Patricia Grass
Date: Saturday, October 16, one day
Time: 9:30 am - 5:00 pm
Cost: $70 + $15 materials fee

Small Leather Journal With Exterior Pocket
Sew a small, leather bound book with the traditional long stitch on the spine. Each of the signatures are wrapped in hand decorated paper which is created in class. The leather cover is folded and decoratively stitched creating an exterior pocket. The book may be closed with a decorative metal conch and measures 6" tall by 5" wide.
Instructor: Patricia Edmonds
Date: Saturday, October 23, one day
Time: 9:30 am - 5:00 pm
Cost: $70 + $15 materials fee

Cross Stitch on a Leather Spine
Inspired by Keith Smith, we will make a books with an easy leather spine. The leather we will use is called bonded leather--real leather but made into thin sheets. No paring required. The sections are sewn directly to the leather spine and the sewing stitches show on the spine. The way of working the stitches is a cross stitch--all four sections are worked together across the spine forming an X or diamond pattern, The X pattern can be extended to form more of a harlequin pattern and beads make a beautiful addition.
Instructor: Patricia Grass
Date: Saturday, October 30, one day
Time: 10:00 am - 5:30 pm
Cost: $70 + $15 materials fee

Braid Stitch on Leather a Leather Spine
Again using ideas from Keith Smith we will make a book with a bonded leather spine to which the sections are sewn. This book will have a Spine Braid stitch, reminiscent of the caterpillar stitch. It looks like several small caterpillars climbing up the spine. Instructor: Patricia Grass
Date: Saturday, November 6, one day
Time: 10:00 am - 5:30 pm
Cost: $70 + $15 materials fee

Half-Day Saturday Workshops
Two weekends of book arts projects that make great gifts

Album with Tab Pages
Are you a fan of 7 Gypsies, Basic Grey, die cut book from Accucut? Come and have fun combining binding rings with die cut papers to make an album with tab pages. There will be options for binding either with rings, brads, or ribbon. Once the book is made you can decorate and add anything you like to the pages-- photos, recipes, etc.-- on your own. The basic book makes a great gift for someone who might like to decorate the pages herself. You will have enough supplies to make two books-- one to keep and one to give away.
Instructor: Patricia Grass
Date: Saturday, November 13, one day
Time: 10:00 am - 12:00 noon
Cost: $15 + $10 materials fee

Explosion Box
Learn to make an Explosion Box. Using the beautiful paper from Basic Grey we will make a box that falls open when you remove the lid revealing photos (or whatever) inside. The box is approximately 3 1/2" x 3 1/2" x 5" tall. There are enough pages for each page to have a month from a 2011 calendar on it. You can add a photo for each month or leave the space blank and give the box as a gift and let the receiver add photos through the year. If you want to add photos, bring 12 photos, each about 21/2" x 21/2". This box makes a great gift, a unique calendar. You can make two boxes-- one to keep and one to give away.
Instructor: Patricia Grass
Date: Saturday, November 13, one day
Time: 1:30 pm - 4:30 pm
Cost: $15 + $10 materials fee

Folded Book in a Box
Use elegant papers to fold a mini accordion book with pages that are perfectly suited to insert photos, text. or stamped embellishments. There is room for six photos each about 3" x 3" in a diamond shape. Then fold up an origami box to hold the book. The addition of beautiful Mizuhiki paper cord make this book in a box a lovely gift.
Instructor: Patricia Grass
Date: Saturday, November 20, one dayTime: 10:00 am - 12:30 pm
Cost: $15 + $10 materials fee

Star Book with Pockets
When this book is opened, looking down from the top, it seems to form a star. The seven sections each have two pockets that can be embellished with photos, stamps, transfers, etc. The sections are sewn together to form the book and a cover is added. The pockets can hold tags, more photos, letters and other memorabilia. We will make the book with beautiful papers and some embellishments; on your own you can finish it off with your own photos, tags, etc. It makes a great gift for the traveler, the student, or Grandma.
Instructor: Patricia Grass
Date: Saturday, November 20, one day
Time: 1:30 pm - 4:30 pm
Cost: $15 + $10 materials fee

Review of Daniel Kelm Workshop at OCAC

Janice Healy
Aloha, Oregon

Daniel Kelm's workshop on June 18-20, 2010 at Oregon College of Art and Craft was great. His style of teaching the "Double-Raised Cords Meets the Gutter Wire" really made us all think. He would show us things and talk about what we had to accomplish, but he also had us do a lot of problem solving. This was not a standard class with a kit and directions. We had a kit, yes, but the directions we made up as we went with his guidance. For me I found it ideal, as it gave me a lot of ideas for problems that I face everyday in book repairs, not just creating new structures.

Cover ready to place on text block

Daniel said that originally this binding was designed for a book that was a very large format with thick paper that was not strong enough to use regular sewing techniques. Myself, I feel it would make a lovely structure for photo albums. The pages open nicely and the feel is good.

We used fine stainless steel wires and silk suture thread to sew the text block. The stainless steel wires would really be considered rods, as they are very stiff but fine. In the cover was a brass rod that attached the cover to the text block. The cover was covered in Ultra Suede. We were supposed to paint it with acrylic paint but ran out of time to get the first layer dry before decorating it with fine splatters or what ever we chose to do. He talked about it so we could do it if we wanted to at home, but I choose to leave mine plain, as I love the look and feel of the Ultra Suede.

Every morning we had show and tell about our own books and his. He brought in some awesome structures using hinges and wire rods. One he called a moebius strip--and it was. (editor’s note: there is an on-line video of Daniel Kelm demonstrating this book, Neo Emblemata Nova.) Made of square boards except for four sets of triangles, it all was hinged together in such a way that when you opened it, it made a nice clacking sound. You could lay it on the table in a circle of sorts; he had prints of etchings of different chemistry things from a very old publication. In addition, he had other book structures to share that were just as interesting.

I think that one of the most important things I got out of this class and several others I have taken of late is that just about anything that will work goes. In other words, don't be afraid to try your idea just because it isn't traditional. Just use archival materials and then go for it.

Daniel Kelm at the chalkboard

Fall Book Arts Shows at 23 Sandy Gallery

Laura Russell
Portland, Oregon

Pop-Up Now! A Juried Exhibition of Movable Books
September 22 – October 30, 2010

Pop-up books captivate and excite the child in all of us. They come to life as three-dimensional works of art hidden inside the pages of a book. Pop-Up Now! features handmade artist books that pop-up, move, slide, twirl, whirl, light up, or even sound off. According to Wikipedia, “The term pop-up book is often applied to any three-dimensional or movable book, although properly the umbrella term movable book covers pop-ups, transformations, tunnel books, volvelles, flaps, pull-tabs, pop-outs, pull-downs, and more, each of which performs in a different manner.”

This exhibition is presented in conjunction with the biennial conference of the Movable Book Society to be held in Portland, September 23 – 25, 2010. (Photo below: The Silent Spring by Two Fine Chaps.)

Handmade Paper in Motion
September 22 - October 30, 2010

Number nine in Hand Papermaking's series of distinctive portfolios of handmade papers, Handmade Paper in Motion is an extraordinary collection of collaborative artwork—14 pieces by 28 artists working in teams—features pop-ups, movable devices, and other forms of dynamic paper engineering, all using handmade paper designed and made specifically for each edition. 23 Sandy Gallery is pleased to present the debut exhibition of this remarkable portfolio in conjunction with Pop-Up Now! Proceeds from the sale of Handmade Paper in Motion benefit Hand Papermaking, Inc., a non-profit organization dedicated to advancing traditional and contemporary ideas in the art of hand papermaking.

(Photo below: work by Bridget O'Malley and Emily Martin.)

Helen Hiebert
November 4 - December 18, 2010

Helen Hiebert is interested in the threads that bind us all. In particular: knots. Inspired by historical images, her own contemporary interpretations of knots will be featured in her November/December exhibit when she unveils her new suite of handmade paper which incorporates her unique knotted “string drawings.” Helen will also be presenting several of her limited edition artist books and handmade paper objects in this show.

(Photo below: Double Knot by Helen Hiebert.)

Sue Leopard
November 4 - December 18, 2010

Sue Leopard makes artist book works that celebrate the special joys of 19th century poetry, hummingbirds and ghosts—though not necessarily in that order. The great sprawl of the unconscious is evident in her studio, as tall stacks of collected material, waiting to be given coherent form. Sue won the Best of Show award in Broadsided, a national juried exhibition of letterpress broadsides here at 23 Sandy Gallery in October of 2009, the prize for which is this solo show of her work. Sue Leopard works from her studio in Rochester, New York. Recent work includes, Past Surmise, a portfolio of broadsides featuring 12 poems by Emily Dickinson, one of which was her Broadsided entry. (Photo below: Blush by Sue Leopard.)

Close of August 2010 Newsletter

That's it for this month's edition. You'll hear again from me when we've got full details on Jim Canary's workshop and are ready to open up registration. Hope you're all enjoying the summer!

February 25, 2010

Limp Vellum Binding Workshop with Don Etherington

Vellum is a beautiful, semi-translucent, historical material that has been used to create very durable bindings since early times. In this one-day workshop we will bind a 16th century style limp vellum book with yapp edges, sewn on vellum slips. Basic experience in bookbinding is required to attend this workshop.

The workshop will be held Saturday, April 10th, 2010, from 9 a.m. to 5 p.m., in the Knight Library Conservation Lab, University of Oregon, Eugene. The cost is $150, and includes most materials, including vellum.

Registration is open only to members of the Guild of Book Workers through March 1, 2010, and is open to all beginning March 2.

One reduced tuition scholarship will be offered to a student currently enrolled at a 2- or 4-year college or university in the state of Oregon. Contact Marilyn Mohr for details.

Don Etherington is an internationally recognized conservator, fine binder and instructor, in addition to President of Etherington Conservation Services in Greensboro, NC, and Director of Conservation for the Academy of Bookbinding. He will be in Eugene in conjunction with the University of Oregon Center for the Humanities’ celebration of the Year of the Book, and will be giving a talk, “A Sixty-Year Odyssey in Bookbinding and Conservation,” Tuesday, April 13th, at 3:30 p.m.

To register or for more information contact Marilyn Mohr, email, or phone 541-346-1962.