GBW Northwest

Upcoming OCAC Worshop: Book as Architecture

2011-12-31T13:00:00.000-08:00

Barb Tetenbaum, book arts department head of the Oregon College of Art and Craft, has asked us to help spread the word about a special workshop this March.

British pop-up star Paul Johnson is coming from London to spend nearly a week in Portland, and to teach a weekend workshop March 25 and 26. A lecture is planned the Friday before that will be open to the public. Barb adds, "But first we need the workshop to fly and are hoping some of your members will be interested and tell their comrades...It will be such an honor to bring Paul to town and we want to share his talents with as many as we can."

A full description of the class and on-line registration is available on the OCAC website.

Important: There's an early bird registration option, making the price for the workshop $275 + $15 studio fee before January 15. The price goes up $30 after January 15.

Pictured is Paul Johnson's unique book, Enchanted Garden, which you may well remember from the 2010 Pop Up Now! show at 23 Sandy Gallery.

Shawn Sheehy's Mechanics of Movables workshop, sponsored by the GBW in October, was a great success, and we hope to help bring other book arts luminaries to the region in the future.

GBW NW Chapter Members' Show

2011-12-31T11:25:00.000-08:00

The exhibit of artists' books by members of the Northwest Chapter is on display at the Marriott Library of the University of Utah through February 12, so if you or someone you know will be in Salt Lake City, please don't miss it. Visiting information is available on the library website.

The exhibition's first stop was Idaho Sate University, where it was on display in October and November, 2011. Two works in the show were selected for purchase awards by Karen Kearns, Special Collections curator at the Eli Oboler Library at Idaho State. Pictured below is "Be the Change" by Bonnie Thompson Norman, a vertical concertina with a dynamic interpretation of the quote by Gandhi printed on letterpress.

The second purchase award went to Andrew Huot for "Directions," a set of five letterpress guidebooks using ephemeral and shifting landmarks, such as "Turn right at the poodle on a walk," and "Stop at a cold breeze and wait for the green light." Congratulations to the award winners!

Special thanks to our chapter president, Paula Jull, for arranging the exhibition.

The Mechanics of Movables

2011-08-12T12:43:00.000-07:00

Instructor: Shawn Sheehy
Time: Oct 22, 23, 2011, 10am-5pm
Location: Oregon College of Art & Craft, NW Barnes Road, Portland, Oregon

Pull a tab. Turn a wheel. Bring new life to your page by animating it with movables! In this 2-day workshop participants will learn the fundamental principles that guide the movables seen in many interactive books published today. Beginning with basic tools and techniques, the workshop will quickly move on to building a series of increasingly complex movable structures based on wheels, pull tabs and other ingenious mechanisms. Participants will leave with a bound collection of 10-15 models. Throughout the workshop, participants will view and discuss the work of commercial paper engineers and discuss conceptual possibilities for movables in their own work.

No experience necessary, though patience is a must!

Workshop Fees

GBW members: $180 (includes materials)
Non-GBW members: $210 (includes materials)

Register for This Class

Contact Shu-Ju Wang, shuju@fivebats.com, 503-245-8177.
GBW members have priority registration through September 10; after that, registration is open to all.

Friday Evening Lecture

Oct 21, Friday, at 23 Sandy Gallery, free and open to the public. More information to come.

About the Instructor

Shawn Sheehy combines paper engineering and paper making with an interest in biology and science to produce sculptural pop-up books. Shawn has taught workshops at PBI, Penland and the Centers for Book Arts in Chicago and New York. His commercial pop-up clients include American Greetings, Pee-Wee Herman and Vintage Magazine.

Some sample models from the Mechanics of Movables workshop:

For more information about Shawn, visit his website.

Workshop Review--Exploring Himalayan Papers and Books

2010-11-08T12:54:00.000-08:00

Emily Marks
Sonoma, California
EMDandS@aol.com

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. http://www.paperworldnepal.com/index.html (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.

Exploring Himalayan Papers and Books

2010-09-05T15:51:00.000-07:00

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, shuju@fivebats.com, 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.

Welcome to the August 2010 Newsletter!

2010-08-11T10:25:00.000-07:00

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!

2010-08-11T10:24:00.000-07:00

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

2010-08-11T10:23:00.000-07:00

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

2010-08-11T10:22:00.000-07:00

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

2010-08-11T10:21:00.000-07:00

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

2010-08-11T10:20:00.000-07:00

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
11am-5pm
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.

also,

SCREENING OF “FAREWELL: ETAOIN SHRDLU”
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
7:30-9:00pm
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

2010-08-11T10:19:00.000-07:00

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

2010-08-11T10:18:00.000-07:00

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
503-357-7263

website http://www.greenheronbookkits.com
e-mail bookkits@aol.com

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

2010-08-11T10:17:00.000-07:00

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

2010-08-11T10:16:00.000-07:00

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. http://www.handpapermaking.org/

(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

2010-08-11T10:15:00.000-07:00

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!

Limp Vellum Binding Workshop with Don Etherington

2010-02-25T20:32:00.000-08:00

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 mmohr@uoregon.edu, or phone 541-346-1962.

Welcome to the November 2009 Newsletter!

2009-11-24T22:29:00.000-08:00

A compendium of news, knowhow and whatnot. All members of the Guild of Book Workers are welcome and encouraged to post comments.

Exciting chapter news--The Marking Time exhibition is soon to be in Seattle! We're going to hold a chapter meeting in January!--leads off the newsletter. Info on The Assignment show at 23 Sandy Gallery, an article from Sophia Bogle on her experiences at the American Academy of Bookbinding, and more tidbits of member news follow.

A mighty thank you to everyone who has contributed to the articles and events in this newsletter.

Northwest Chapter Meeting January 10

2009-11-24T22:28:00.000-08:00

The GBW Northwest Chapter is going to hold a meeting on Sunday Jan. 10, 2010, 1:00pm at 23 Sandy Gallery in Portland. We earnestly invite all of you to come! This is a chance for members of this newish and far-flung chapter to share ideas, do some planning, and get to know each other a little better.

Since some members will be in town for the College Book Art Association conference, we've set up the meeting for the day after that wraps up. Hopefully it will also be convenient for others who can make it to Portland just for the day or weekend.

Some topics our chapter chair, Paula Jull, has placed on the agenda: An exchange exhibit, possibly with the Northeast Chapter. A possible workshop in the spring with Don Etherington. The chance to elect, reelect, or expand our roster of officers. Anything else could be on the table, so please let Paula know if there's a topic you want to make sure gets covered.

23 Sandy Gallery is located on Portland's east side and is owned by GBW member Laura Russell. On display between Dec. 4 and Jan. 10 will be the juried book arts show, The Assignment. We'd also like to encourage members to bring books or other work to the meeting, so we all have a chance to see what others are up to. The chapter will arrange and pay for food and refreshments. We'll send out an e-mail as we get closer to the event to provide further information.

Hope to see you there!

Marking Time Exhibition in Seattle

2009-11-24T22:27:00.000-08:00

The current GBW national exhibit Marking Time opened in Minneapolis this May, and will be touring the country for nearly two years. For those of us who have been impatiently waiting for it to arrive at our doorstep, good news: it has just finished its stay at the San Francisco Public Library, and will open at the Suzzallo/Allen Library of the University of Washington on December 7. This wide-ranging trove of talent and inspiration will be in Seattle through February 19—thence to Salt Lake City and parts beyond.

The Book Arts Guild has provided essential support in bringing the exhibition to Seattle, including co-sponsoring special events on January 21 and February 11. Many thanks to the guild and their members in their 30th anniversary year. The University of Washington and its curator of book arts and rare books, Sandra Kroupa, have also earned our gratitude for their roles in bringing Marking Time to this venue. The exhibit itself, of course, is the product of long hours and dedication by Exhibitions Chair Karen Hanmer, jurors Jeffrey Altepeter, Melissa Jay Craig and Peter Verheyen, as well as the generous support of many other members of the Guild of Book Workers.

Sandra has provided detailed information on the special events, as well as visiting hours and locations of the exhibit, which I’ve printed in the following post. If you’re not familiar with the University of Washington campus, the library website provides a map and other information. The books will be displayed in three separate locations within the Suzzallo/Allen Library. Between December 7 and Jan. 6, only two parts of the exhibition will be open. Between Jan. 6 and Feb. 19, all three parts of the exhibition will be on display. Please note that the Special Collections Lobby exhibition space has shorter hours than the Suzzallo/Allen Library as a whole, and is not open on Saturdays. You’ll therefore want to pay close attention to the hours Sandra has listed for the first part of the exhibition.

Visiting the Marking Time Exhibition

2009-11-24T22:26:00.000-08:00

Sandra Kroupa
Book Arts and Rare Books Curator
Special Collections, University of Washington

Marking Time, an exhibit from the Guild of Book Workers, will be on display in Suzzallo/Allen Library December 2009 through February 2010. The exhibition is being co-sponsored by The Special Collections Division of the University Libraries and The Book Arts Guild. The exhibit will be shown in three venues and only two venues will be on display in December. Having the exhibit spread throughout the main Library means that many more visitors will “discover” the exhibit in their regular use of the Libraries.

Special Events

There will be several events for the exhibition co-sponsored by the Special Collections Division and The Book Arts Guild:

On January 21, Thursday, 2010 the Book Arts Guild will hold its 31st annual meeting in the Maps/Special Collections classroom in the basement of the Suzzallo/Allen Library. The brief business meeting will be followed by a gallery talk by the BAG members whose work is represented in the GBW's Marking Time exhibition: Don Glaister, Bonnie Thompson Norman and Jessica Spring. The annual meeting will begin at 7:00. The gallery talks will take place both in the Special Collections Lobby and in Suzzallo Room 102. The gallery talks will begin with a discussion about the Guild of Book Workers by these artists in the classroom and then the audience will walk to the different exhibit sites throughout the building.

On February 11, Thursday 2010 Karen Hanmer will talk to the Book Arts Guild in their regular meeting place in the Maps/Special Collections classroom in the basement of the Suzzallo/Allen Library. A brief business meeting will be followed by a talk by Hanmer who is the curator of the Marking Time exhibition. Her talk will cover elements of the exhibition as well as information about the GBW.

On February 13-14, Saturday & Sunday, 2010 Karen Hanmer will give a workshop in flag books for the Book Arts Guild. Details will be available on each of these events at the Book Arts Guild website http://bookartsguild.org

Exhibit Hours

Starting December 7, 2009, the first part of the exhibition will be shown in the Special Collections Lobby Exhibition space in the basement of the South Wing of the Allen Library. This part of the exhibition will be on view at that site until the end of the exhibition on February 19, 2010.

The hours for this first part of the exhibit are as follows:

December 7-18, 2009
7:30 am – 6 pm Monday-Thursday; 7:30 am – 5 pm Friday; CLOSED Saturday; Sunday 1 pm – 5 pm.

December 19, 2009 – January 3, 2010
9 am – 5 pm Monday – Friday; CLOSED Saturday & Sunday, December 25, 2009, January 1, 2010; December 24 9am -3 pm.

January 4, 2010 – February 19, 2010
7:30 am – 6 pm Monday-Thursday; 7:30 am – 5 pm Friday; CLOSED Saturday; Sunday 1 pm – 5 pm.

[NOTE: These are NOT the hours of Special Collections. These are the hours when the LOBBY EXHIBIT AREA is open.] See http://www.lib.washington.edu/specialcoll/

The second part of the exhibition can be seen on the First Floor Balcony of the Allen Library, North Wing. To reach this location, proceed on the same floor as Suzzallo 102, walk straight ahead. When you reach the transition area between the Suzzallo and Allen Library you will come to the large, open Allen Main Lobby and to your left will be the second part of the exhibit. The Lobby also has the spectacular installation of Raven Brings Light to This House of Stories, a collaborative artwork by Carl T. Chew, Mare Blocker, J.T. Stewart, and Ron Hilbert. The artwork, installed in 1994, features 40 ravens and crows suspended from the ceiling, and the title, displayed in large letters on the wall, in both the Lushootseed language and English. In Pacific Northwest Native American lore, Raven is the being who went east to bring the light to the west. In this work, the light is the knowledge housed within the Libraries collections. Each bird carries a sample type style or other symbol from cultures around the world.

For more information see: http://www.lib.washington.edu/suzzallo/ This second part of the exhibition is available all the hours the Suzzallo/Allen Library is open:

December 7 – December 18, 2009
7:30 am – 10 pm Monday – Thursday, 7:30 am – 6 pm Friday, 12 pm – 5 pm Saturday, 1 pm – 10 pm Sunday

December 19, 2009 – January 3, 2010
9 am – 5 pm Monday – Thursday, Thursday December 24 9 am – 3 pm, Friday December 25 and January 1 CLOSED, Saturday and Sunday CLOSED

January 6, 2010 – February 19, 2010
7:30 am – 10 pm Monday-Thursday; 7:30 am – 6 pm Friday; 12 pm – 5 pm Saturday; Sunday 1 pm – 10 pm.

The third part of the exhibition will go on display beginning January 6, 2010. This part can be seen in the Suzzallo Library, Room 102 that is at the West Front of the historic Suzzallo Library, on the left as you enter the building. This part of the exhibition is available all the hours the Suzzallo/Allen Library is open:

January 6, 2010 – February 19, 2010
7:30 am – 10 pm Monday-Thursday; 7:30 am – 6 pm Friday; 12 pm – 5 pm Saturday; Sunday 1 pm – 10 pm.

Marking Time is the work of curator Karen Hanmer, the GBW exhibitions chair, who, along with jurors Jeffrey Altepeter, Melissa Jay Craig, and Peter Verheyen, created this exhibition and its attendant catalog. The installation of the exhibition at the University of Washington Libraries is the work of Sandra Kroupa, Book Arts and Rare Book Curator and Kathryn Leonard, the Head of the Libraries’ Conservation Unit and her staff Judith Johnson and Moriah Neils.

Work of the Northwest Chapter in Marking Time

2009-11-24T22:24:00.000-08:00

Susan Collard
Portland, Oregon

One of the challenges in putting together a themed show is choosing a theme which invites a wide variety of work and responses, but also encourages the viewer to discover common threads within the group selected. The Marking Time exhibition succeeds admirably on this score. Looking at the eight works in the show made by Northwest Chapter members, one sees both the variety and connections that make this kind of exhibition so inspiring. (Each description is followed by a photo of the work.)

Donald Glaister’s book A Few Questions uses transparency and the archival materials of “encapsulation” to create a multilayered experience for the reader. Painting, drawing and text are integrated into a dance of approaching and receding words and images. His original text tackles big questions, exploring “the nature of matter, existence, and time,” taking us on a journey that promises to be at once introspective and playful.

Karen Hanmer’s Celestial Navigation is another personal exploration of a vast subject, in this case astronomy and the night sky. This book, along with its companion piece Star Poems, emerged from a long process of reading, gathering quotes and illustrations, writing and reflecting, and making numerous models. (Karen has shared some photos to give a glimpse into her process.) The mesmerizing shapes and folds created by the book’s triangular pages seem especially apt for astronomy, a science in which space and time are inextricably tangled.

Space and time are both carefully mapped in Andrew Huot’s Walks with Rosie, with its succinctly analytical diagrams of two weeks of daily dog walks. Like Donald, Andrew uses transparency to great effect. The superimposed maps reveal both the repetition and variety of daily experience, allowing the viewer to glimpse “the echoes of yesterday and an allusion to tomorrow.”

Cathy Adelman’s French-style binding of the poet Wendell Berry’s Sabbaths 2002 also suggests a sort of tally or record of repeated rituals in our lives. One of the most abstract works in the show, it is to my mind also one of the most elegant, with subtle differences in the onlays breathing life into the design.

My own entry, A Short Course in Recollection, was an attempt to interpret the theme of Marking Time in the most blockheadly literal manner. In devising a book that could function as a machine, with stainless steel balls that roll down ramps and trip toggle switches, I was aiming at something like a child’s toy or crude mechanical clock. I added illustrations, text and objects that evoke a nostalgic view of childhood, tempered with a little antiquated heavy industry. (Since I always like process shots, I’ll share some of mine also.)

Jessica Spring’s Parts Unknown takes us back as far as the 1890’s, and invites us to participate in a history inherited from strangers. Its images are printed from glass negatives which Jessica found in the attic of her Victorian-era house in Tacoma. The radial accordion format creates an intimate and expansive display space for the photographs, so the book is like an entire museum gallery unto itself.

Shu-Ju Wang’s work also delves into the lives, memories and artifacts of others, though with a radically different process informing the book. Shu-Ju received a 2008 Regional Arts and Culture Council grant to work with four seniors suffering from memory loss. She met with each one over a period of months, working together on a series of paintings or Gocco prints, from which Shu-Ju then created an editioned book. Esther is her collaboration with Esther Cohen. Inspired by Esther’s love of mah jongg, the palm leaf bound book ties Gocco prints of family photos and documents into a bright, poignant chain of mementos.

Loss is the heart and soul of Bonnie Thompson Norman’s broadside I Was in a Hurry. Combining a poem by Iraqi poet Dunya Mikhail with a drawing by Jill Alden Littlewood, the broadside was printed for a series called Mutanabbi Street Starts Here. The poem begins, “Yesterday I lost a country,” and everything on the page is drawn and composed to give stark expression to its flat, understated expression of grief. The poem is printed with a ragged left margin—in part a vestige of the right-justified Arabic original, but here given such dynamic, meandering shape that the text itself seems to be left behind.

The Assignment

2009-11-24T22:23:00.000-08:00

Laura Russell
Portland, Oregon

23 Sandy Gallery and the College Book Art Association (CBAA) are pleased to present The Assignment, a national, juried book arts exhibition being held in conjunction with the annual meeting of the CBAA in Portland, Oregon. To illuminate the meeting’s focus on book arts teaching practice and pedagogy, this exhibition features artist book works that were generated directly from course assignments or from self-assignments generated by the artist.

The roster of artists includes: Anna Bunting, Julie Chen, Kerri Cushman, John DeVylder, Poppy Dully, Margot Ecke, Angela Earley, Bridget Elmer, Casey Gardner, Donna Globus, Leilei Guo, Fred Hagstrom, Mary Hark, Katie Harper, Charles Hobson, Paola Horevicz, Margarita Kloss and Sarah Plotkin, Karen Kunc, Roberta Lavadour, Elisabeth Long, Kent Manske, Kitty Maryatt, Madeleine Miller, Jessica Peterson, Lisa Beth Robinson, Jamie Runnells, Jana Sim, Sarah Smith, Tricia Treacy, Elsi Vassdal Ellis, Julie VanDerVellen, and Janine Wong.

The Assignment was juried by Macy Chadwick and Clifton Meador. The College Book Art Association (http://www.collegebookart.org/) is a non-profit organization fundamentally committed to the teaching of book arts at the college and university level.

A full online catalog of this exhibition will be posted at: http://www.23sandy.com/assignment/catalog.html

Exhibition dates: December 3, 2009 – January 9, 2110
Location: 23 Sandy Gallery, 623 NE 23rd Avenue, Portland, OR 97232
Gallery Hours: Thursday-Saturday, Noon-6:00 p.m. and by appointment

My Experience at the American Academy of Bookbinding

2009-11-24T22:22:00.000-08:00

Sophia Siobhan Wolohan Bogle
Ashland, Oregon

~A Diploma in Book Conservation~
(The lesson on clamshell boxes will resume in the next newsletter.)

I just returned from San Francisco where I attended the Guild of Book Workers’ Standards conference. While I was there I presented the work required of me for the Diploma in Book Conservation from the American Academy of Bookbinding (AAB). The work was presented to a jury of three of the top conservators in the field: Betsy Palmer-Eldridge (She just received the lifetime achievement award from the GBW), Frank Mowry, from the Folger Shakespeare Library and Bill Minter, from Johns Hopkins University. This was a once in a lifetime opportunity to have my work looked at by such a prestigious panel and to get feedback from them. The experience was worth every penny I spent on the classes at the AAB and more.

I started at the AAB in 2007 when I spent one month in Telluride taking two classes, Treatment of Text-blocks and Sewing then a Forwarding class. Both of these were taught by Don Etherington. Don is an absolute treasure trove of tips and tricks and no one should miss an opportunity to gather as many of them as possible.

I have to say though that a whole month away from home was a bit much. The classes were fabulous and I learned a lot but I think two weeks at once works out much better. For one thing you would have time to process the class, practice the techniques and get feedback with your homework before taking on the next thing. I was given the homework assignment to complete a new binding done on double raised cords in goatskin. The pages were washed and re-sewn as well. Here is a photo of before and then after.

My second year, 2008, I took Gold Finishing, again with Don. Unfortunately, Don had a bad reaction to the altitude and this would prove to be the last time he would teach in Telluride. Thank goodness this was a two week class. Everyone got to work on what they wanted to practice and I got what I needed which was lots of practice with gold leaf.

My third year, 2009, I took the Book Restoration class in Telluride with Brenda Parsons. She had worked with Don for 20 years and was the first graduate from the Book Conservation Program. I have to admit that I thought that with about 20 years of previous bookbinding and restoration experience that I could test out of this class. I am very glad that I did not test out. I learned a lot of techniques to compliment my previous studies and am now a much better Book Conservator for it. Brenda is an excellent teacher and is especially good at looking over what you have done and pointing out where it could be better (in a nice way). This was only a one week class and it seemed we barely got started before it was time to leave. I really liked having the weekend in between classes to catch up, explore Telluride and do more work for class.

The only class I did not take was the Box Making class since you are allowed to test out of it. I had learned how to make boxes a long time ago from David Weinstein. He taught me how to measure properly and what to look for and if you have that, you can make any box! (Hopefully I am passing some of that along in my clamshell lesson.)
The AAB has also added a new class to the program that is on basic binding structures and I didn’t take that class either although I am pretty sure I could have tested out of that one as well.

After finishing all my classes and my homework I started the work that would be presented to the jury for graduation. The list of requirements can seem a bit daunting at first and one would be wise to start working on it well before the graduation date. I told Judy from AAB that I wanted to graduate while I was at class this last spring and she said I would have to get everything done before September 1st so that Don could look over all my work before the Jury. He had to make sure that I was ready so that I wouldn’t show up to the jury and not graduate. Then I had one month to fix any mistakes before Standards in San Francisco. Really I should have had the work in earlier because one month isn’t a long enough time to send it back to Don for final inspection.

Here is the list of required projects for the jury.
One research Paper with an appropriate subject, 10 pages or so double spaced
One Page repaired with Japanese tissue
One Page repaired with Heat Set tissue
One Leather Re-back, One Book Cloth Restoration
One Japanese Tissue Hinge Repair on a leather book
One Book in Boards that has been re-sewn and the sewing and end-bands are left exposed
The Set Book: The Set Book is one volume from a set of books that they have purchased at the school. You must create a new full leather binding for the book and then make a half leather clamshell box for it.
(Photos below show leather re-back, before and after; the set book, its clamshell box and interior.)

Well, I passed and the jury said many wonderful things about my work and it is sad to think that I don’t have to go to Telluride anymore. Of course I could always try for that Fine Binding Diploma…

If anyone would like more information about the AAB I am happy to communicate through e-mail. Just write me at sophia@bookrestoration.org.

Member News

2009-11-24T22:21:00.000-08:00

Other upcoming book arts shows at 23 Sandy Gallery in Portland, owned by GBW Northwest Chapter Laura Russell:

March 4-27, 2010
Virginia Flynn presents a new show of her very popular paper cuts and Karen Hanmer of Chicago will be showing artist books. Preview Virginia's work here. Preview Karen's work here.

April 1 - May 1, 2010
Painter and book artist Linda Welch returns to 23 Sandy with more handmade books, paintings and sculptural collages. See her work here.

Karen Hanmer's book The Model Architect: The Panic of '09 (pictured below) was one of six winners of the Building by the Book competition sponsored by Philadelphia Athenaeum and Philadelphia Center for the Book. For more about the book, see Karen's website.

Close of November 2009 Newsletter

2009-11-24T22:20:00.000-08:00

I thought I'd close with part of a long, remarkable quote I ran across recently in the book Vitebsk: The Life of Art by Aleksandra Shatskikh. The writer is the Russian suprematist El Lissitzky, and the year is 1920:

"the signs in books produce in us movement of a new order different from the voice and this movement must be strengthened and put in the foreground. the contrast of air pressure in different locations produces wind storms thus the contrast of turning pages should move us. construct the book like the body moving through space and time like a moving relief in which each page is a form-bearing surface and with each turn a new intersection and a new phase of a single structure."

Ah, that imperative "construct the book like the body moving through space and time," it's the stuff of revolution.

Happy Thanksgiving, everyone.

Welcome to the January 2009 Newsletter!

2009-01-30T22:08:00.000-08:00

A compendium of news, knowhow and whatnot. All members of the Guild of Book Workers are welcome and encouraged to post comments.

This edition of GBW Northwest is chockablock with events, in time-honored newsletter tradition. Sophia Bogle continues to represent the promised "knowhow" with great care and patience, bringing us the third installment of her continuing instructions for making clamshell boxes. Warm thanks to everyone who contributed to this newsletter, and to those of you who participate by reading as well.

Susan Collard

PS My apologies for the bloggety-blog line spacing as this appears on-line, and my lack of knowledge or patience to correct it. Please consider it a chance to meditate on the joys of imperfection in our daily lives.

Focus on Book Arts Conference

2009-01-30T22:05:00.000-08:00

The ninth biennial Focus on Book Arts Conference will take place June 24 through June 28, 2009, on the lovely Pacific University campus in Forest Grove, Oregon.

Patty Grass writes to tell us, "The course catalog is ready! It’s filled with class descriptions, financial information and a registration form. All this information can be found on our web page along with an on-line registration form, a downloadable registration form, and a PDF version of the printed catalog. http://www.focusonbookarts.org/ If you would like a printed version of the catalog contact us at:FOBA • 1928 21st Avenue • Forest Grove, OR 97116 503-357-7263"

The organizers have done a wonderful job of putting together classes and events to appeal to advanced book artists as well as beginning and intermediate practitioners. There are a variety of one- and two-day classes, and even a four-day workshop in hidden for-edge painting taught by Jeanne Bennett. Check it out!

Beginning Leather Bookbinding

2009-01-30T21:59:00.000-08:00

BEGINNING LEATHER BOOKBINDING: Chasing Away the Demons

An eight-Saturday intensive workshop with Don Glaister

For centuries leather bookbindings have represented high craft and elegance - a sense of the ultimate. To the bookbinder, leather bindings have been regarded similarly, with the added awareness that the making of these bindings requires special skills and techniques. This awareness has turned some to anxiety, fear and thoughts of doom.

This class will demystify the process of making leather bindings.

Participants in this class will learn to sew and construct a laced-in board structure, prepare and apply leather, and all the steps in between. They will also learn techniques that are readily applied to forms of binding other than leather, and will help to chase away those thoughts of doom.

The class will take place at The Windowpane Press, studio of BonnieThompson Norman in Seattle, on Saturdays (10-5) from May 30 to July 25,with breaks for holiday weekends, and will be limited to seven students. Tuition for the eight- Saturday class is $675 until April 1, and $725 thereafter.The cost of materials will be added.

While binding experience will prove helpful, it is not mandatory.

To enroll, or for more information contact Don Glaister: don@foolsgoldstudio.com, or call 206.567.5480.

An example of Don Glaister's work: The Poems of W.B. Yeats, with etchings by Richard Diebenkorn, Arion Press, 1990.

Visiting Artist Lecture--Tobias Lange

2009-01-30T21:58:00.000-08:00

Thursday, February 19, 2009 at 7:00 p.m.

23 Sandy Gallery is very pleased to welcome Tobias Lange to the gallery for a presentation of his work and a discussion of his collaborations as a letterpress book artist. This lecture is free and open to the public.

Tobias will be at Portland State University as a visiting artist the week of February 16-21. We are thrilled that PSU is hosting this public event here in the gallery. Tobias comes to us from Hamburg, Germany following his lecture at the CODEX Conference in San Francisco. You can preview Tobias' work at his web site: http://www.ctl-presse.de/.

Location: 23 Sandy Gallery, 623 NE 23rd Ave., Portland, OR 97232, 503-927-4409. http://www.23sandy.com/.

Two books by Tobias Lange. Pictured at top: Yoko Tawada and Stephan Kohler, Ein Gedicht fur ein Buch (A Poem in a Book). Below: Onnisanti (All Saints).

Exhibitions Committee Report

2009-01-30T21:55:00.000-08:00

Karen Hanmer

GBW Exhibitions Chair

The online submission form for the Marking Time exhibition is now available until March 1, only to those who filed an Intent to Enter form.

Jurors will be North Bennet Street School bookbinding instructor Jeff Altepeter; paper sculptor, book and installation artist, and teacher Melissa Jay Craig; and past Guild of Book Workers exhibitions chair, binder, and Bonefolder publisher Peter Verheyen.

Marking Time opens in May 2009 at the Minnesota Center for Book Arts in Minneapolis, and will be on exhibit concurrent with two special events there, the Fellowship of American Bibliophilic Societies Bibliophilic Tour and Symposium in May, and the MCBA Book Art Biennial in July. The show then travels to the San Francisco Public Library, where it will be on view during the 2009 Guild of Book Workers Standards of Excellence Seminar.

Detailed information on submitting work for jury, making a donation to support the Marking Time exhibition catalog, and a complete tour schedule are posted on the Guild’s website.

Centennial Celebration DVD Set Now Available

2009-01-30T21:54:00.000-08:00

Karen Hanmer

GBW Exhibitions Chair

The Guild of Book Workers is pleased to announce the availability of the complete proceedings of the Centennial Celebration held in New York City in October, 2006. This is an eight DVD set which includes all the presentations made over the two day seminar.

There was no Standards Seminar held in 2006. Rather, the Guild held a celebration honoring our organization's 100th birthday. The focus was "The Art of the Book in America" and included a two day conference on the history of the Guild and bookbinding in the United States and numerous special events including the opening of the Guild's 100th Anniversary Members Exhibition and Retrospective Exhibition, and a dinner cruise around Manhattan and the Statue of Liberty.

The set is available for $100 plus $5 shipping and handling. An order form is available from the Publications page of the Guild of Book Workers website. Pictures and reviews of the Centennial Celebration are available in the December 2006 and February 2007 GBW Newsletter, also online at the Newsletter section of the Guild website.

Table of Contents:

Disc 1:

Betsy Palmer Eldridge, Opening remarks.

Sue Allen, 19th Century American Book Covers

Dr. Cathleeen Baker, 20th Century Hand Paper Making

Disc 2:

Barbara Kretzmann, First 50 Years of the Guild.

Don Etherington, 20th Century Book Conservation.

Sidney Berger, Decorated Papers.

Nancy Leavitt, Calligraphy in America.

Disc 3:

Martin Antonetti, 20th Century American Printing.

Richard Minsky, Development of the Book Arts.

Hedi Kyle, Modern Book Arts Program.

Disc 4:

Deborah Evetts, Modern American fine Binding.

Monique Lallier, Quebec Presentation.

Barbara Blumenthal, New England Presentation.

Disc 5:

Mindell Dubansky, New York Presentation

Don Rash, Pennsylvania Presentation

Jana Dambrogio, Washington Presentation

Disc 6:

Mary Lynn Ritzenthaler, Midwest Presentation

Priscilla Spitler, Texas Presentation

Karen Jones, Rocky Mountain Presentation

Disc 7:

Margaret Johnson & Signa Houghteling, West Coast Presentation

Priscilla Juvelis, Collecting American Book Art.

Disc 8:

Event Montage

The Grolier Club Montage

Spirit of NYC Montage

Assembling and Covering the Two Trays for a Clamshell Box

2009-01-30T21:53:00.000-08:00

Sophia Siobhan Wolohan Bogle
Ashland, Oregon

Red Branch Book Restoration
http://www.bookrestoration.org/

Gather your Materials and Tools:
• Buy a small bottle of Elmer’s Glue. Dump out that glue and replace it with Jade 403.
• Low-tack blue painter’s tape is easiest to work with. But masking tape etc. work fine.
• Fabric tape measure
• Scissors
• A Four inch piece of Binder’s Board that is cut slightly off square by about 1/16th of an inch.

• Pencil

• Glue in a small cup-like container with a Flat Glue brush, maybe ½ inch
• Glue in a tray-like Tupperware container with a skewer poked through one end on which you will scrape the paint pad.
• Paint pad. The ones I use are white Styrofoam with green/white brushy pad from paint stores. I cut them in half and try not to breathe in the Styrofoam off-gassing that occurs when Styrofoam is cut. You could also use a roller or just a bigger glue brush. If you use these optional things you will not need the tray-like container necessarily.
• A board or flat something to put on the trays when they are assembled and something heavy to put on top of that. I had some fantastic powder-coated steel plates made for me in various sizes.
• A bone or Teflon folder.
• Damp rag in a bowl nearby for gluey fingers
• Waste sheets of paper like from magazines or anything really.
• 3M Stikit Sanding block and 150 grit paper or other sanding method
• Book-Cloth
• Misting bottle of water

Get Oriented:
The small tray consists of the base with three sides standing on top of it. The back side piece goes edge to edge along one edge of the base. It does not matter which one as long as it matches up exactly with the size. Then the two smaller sides go up against this back piece and do not extend any further than the edge of the base piece. You can set them up with stuff supporting them all to make sure it looks about right.

Glue the Small Tray Together:
1. You will assemble the tray in this order: back side piece, one smaller side piece and then the other smaller side piece.
2. First take the small bottle of glue and run a line of glue along the back edge of the base that the back side piece will be on. Use one finger to keep the line steady by running it along the edge of the base while you are gluing. Eventually you will be really fast at this. You only want a line of glue not a flood. Use a finger to rub the line in a bit. Remember the purpose of it is to help the side piece adhere better. Eventually you can glue all three sides of the base at once because you will be so fast at assembling.
3. Now put pieces of tape along the bottom edge of the base piece so that when the back side piece is set onto the base piece that you can pull the pieces of tape up to help hold the piece in place. Work on this so that the back is near the edge of a table. You don’t need to tape every inch of it. Usually three or four pieces is sufficient.
4. Now run glue along one long edge of the back side piece. Keep in mind how it goes together with the base. It will not be glued on the same edge as the base. Instead it is glued on sort of the “bottom” of the back side piece.
5. Put the two pieces together paying close attention that it doesn’t stick out over either end and also keep an eye on the middle. An especially long piece can start to bow out. Hold it in place for ten seconds or so and then pull the tape up firmly to the back side piece.
6. Now run a line of glue along one of the short sides of the base and up onto the back side piece too where the next side piece will be attaching.
7. Add the tape to the bottom of the base and also the back of the back side piece where it will be attached.
8. Run a line of glue along one long edge and one short edge of a side piece. Orient this piece so the glued edges are aligned with the base and hold in place for about ten seconds. Attach the tape firmly.
9. Now take a second and set the tray on the table in front of you with the back side piece flat on the table so that you can run a bone folder on the bottom of the tray pushing the base against the back side piece. Do the same for the side piece you just attached and be sure to rub the corners too. If there is a lot of glue squeeze out remove it with your bone folder or whatever. It is actually a good thing to have a bit of extra glue along that connecting line so don’t scrape excessively. It will all be covered up in the end anyway.
10. Repeat steps 6 through 9.
11. Now place the board or flat thing on top of the tray with a bit of weight and look to make sure you are not bending the sides in or out. Let this sit until thoroughly dry. Hours perhaps.
12. While that is drying repeat all these steps for the Large Tray.

Remove Tape and Sand:
When the trays are dry remove the tape. Be sure you do not pull up part of the board with the tape. Sand the following edges using the Stikit sanding block: Outside edges of the sides, the corners and the fore-edge of the base. Do not over-sand! Just knock down the sharpness.

Measure for the Book-cloth and Cut:
This is where you use the cloth tape measure. The cloth will need to extend from ½ inch on the bottom of the base up and over the sides and down back onto the base for another ½ inch. The ½ inch is not crucial and could be larger or even a bit smaller. The other measurement is taken around the sides with an extra ½ inch at least on either end. It is much better to cut too much so be generous. The cloth should have the same grain direction as the sides of the tray. I prefer the book-cloth called Canapetta which is an Italian cotton cloth with a paper lining. It is somewhat stretchable and somewhat cleanable if you get gluey fingerprints on it, more so than silk anyway.

Apply Book-cloth to Trays:

In order to adhere the book-cloth to the tray you will be gluing all three tray sides just on the outside part and setting one of the short sides of the tray onto the cloth you just cut out and sort of roll the tray to get the cloth onto the other two sides. The tray is oriented on the cloth so that there will be a ½ inch turn-in for the bottom of the base and at least a ½ inch turn-in for the fore-edge of the short side. Be patient with the first side attachment and keep an eye on the base turn-in line as you turn the tray to the next side. Use the mister a bit to relax the book-cloth. Pay close attention to the corners and watch for air bubbles. Use a piece of clean paper and rub through that with a bone folder or with a piece of wax paper or just your hand to really flatten the book-cloth to the tray. Let this all be dry before you make your cuts. The first one should be dry enough to cut by the time you finish the second tray.• Do not make the book-cloth wet. A light humidification is all that is necessary. If the Canapetta becomes wet it will release the paper lining and then you will have to re-do it or inject pva into the gap and rub it down. It is a real problem either way. • Do not rub Canapetta with wax paper as it will become shiny.

Make cuts:

The order is not really important so long as they all get done eventually.

1. Cut the two corners off the bottom of the base by pinching them and then cutting as flat as you can. Then cut as necessary so that there is no overlapping. This side will not show so you don’t have to be super neat. I like to glue these bottom turn-ins now to get them out of the way. Avoid squeeze out by being moderate in your glue application.

2. Cut the fore-edge “tab” lines next. On the fore-edge you will cut two straight-in lines that make a tab for each side (head and tail). Cut just shy of the edges.

3. Now make an angle cut for the flap just below the tabs you just created. The angle is cut so that when you fold that cloth over the cloth disappears into the crevice where the boards meet. You cut the angle so it ends just at a board’s width from the board itself.

4. Now take your off-square board and use it to draw lines with a pencil in 6 places on the book-cloth along the "top" of the tray. You are marking both back corner tabs and the fore-edge corners. Place the off-square just up to these areas and draw the lines to make it easier to cut a straight line with scissors. It is off square to help avoid cutting it too close to the edge. The tabs for the corners should wind up about ¼ inch wide.

5. Now cut the fore-edge corner flap into a triangle shape.

6. Go back to the corner tabs and with a bone folder poke them into place (no glue) and mark where it meets the base board. Trim the tabs so that they just come onto the base board by about 1/16th inch.

Final Assembly:
Now glue everything into place in this order.

1. Corner Tabs

2. Corner Triangles

3. Turn-in flap from the bottom (pull it into the crevice hard and flatten it well).

4. Fore-edge Tabs

5. Sides

6. Back

• Use the mister to help the book-cloth relax.

• Be sure to pull the book-cloth over tightly. No bags or bubbles!!

• Rub down thoroughly with a folder.

Maternal Legends

2009-01-30T21:52:00.000-08:00

Laura Russell of 23 Sandy Gallery in Portland didn't send in a news item about the Maternal Legends exhibition which wrapped up January 3rd--presumably because she's too busily tending the future--so I'll have to take care of that for her. It was another well-received juried show of artist books, and the first time the gallery navigated an on-line submission process. Many GBW members participated, and happily someone talked her into producing a print catalog (available through the website). Another gallery first for the book arts! Although the delicious cookies put out by Laura to lure my husband to First Friday events precluded the chance to handle the books on opening night, as a rule they are always wonderfully accessible to gallery visitors. Juror Cara List chose Karen Hanmer's book, Reunion, for the Purchase Prize, and so a copy of that superb and moving work will now be part of the artist book collection at the University of Oregon. Congratulations, Karen!

Calls for Entries

2009-01-30T21:50:00.000-08:00

INTERACTIVE

Entry Deadline: March 18, 2009
Exhibition dates: June 19 – July 23, 2009
Woman Made Gallery, Chicago

Long before “interactive” meant sitting in front of a computer, artists were making books, toys, games, installations and other work that invited participation from the viewer. For this exhibition Woman Made Gallery is seeking work that the viewer will handle, play with, modify, or physically interact with in some way.

Open to artwork in all media, except electronics, by women artists from the international community. (Computers may only be used as a tool in producing the physical work.)

Juror: Karen Hanmer

Online and downloadable entry forms available here:
http://womanmade.org/entryform.html#callforart

For additional information contact exhibits@womanmade.org

Society of Bookbinders International Competition 2009

(unabashedly cribbed--though not verbatim--from the GBW California Chapter newsletter:)

Following the success of the 2007 Society of Bookbinders International Competition, entries are invited for the next competition, which will coincide with the Society's Conference at Warwick University during August 2009.

We have made some changes to the competition this year. There is no longer a registration fee, which we know caused many people without sterling bank accounts a problem.

Anyone can enter--members or non-members, whether in the UK or overseas. Categories include fine binding, restored/conserved/period binding, complete book, and cased binding.

Registration deadline: May 15, 2009
Entries must be received by June 1, 2009.

Competition Organizer: Stuart Brockman

Please feel free to attach your registration form to an email and send it to StuBrockman@aol.com

Information and registration form available at http://www.societyofbookbinders.com/events/events_frames.html

More Events! And a Beloved Institution!

2009-01-30T21:46:00.000-08:00

This newsletter, Jessica Spring of Tacoma runs away with the prize for bookish event-gathering. Several of these will be around for a few months, so those of us who don't live in the Seattle-Tacoma still have a little time to plan our getaways. . .

Exhibit #1 is at the Experience Music Project in Seattle through July 16, 2009.

From the EMP Website:

American Letterpress: The Art of Hatch Show Print illustrates the fascinating fusion of art with popular culture and music history. Featuring the work of one of the nation’s oldest operating printing shops—Nashville, Tennessee’s Hatch Show Print—the exhibition highlights the uniquely American posters produced to advertise everything from vaudeville shows, state fairs and stock car races to the Grand Ole Opry, Elvis Presley and Herbie Hancock. Founded in 1879 in Nashville, Tenn., Hatch Show Print is still a working letterpress and design shop, creating posters today using the same letterpress methods as yesterday. American Letterpress: The Art of Hatch Show Print features historical and contemporary posters and original wooden print blocks—some never before seen by the public.

There's also an exhibition of the illustrator-author David Macaulay entitled David Macaulay: The Way He Works at the Tacoma Art Museum through June 14, 2009. Looks highly intriguing. Lots of special events and direct involvement from the artist in putting together the show.

And let's not forget the fifth annual Small Press Month Wayzgoose at King’s Books, Tacoma, March 1, 12–4pm. Jessica shared some great photos of this event with us last year (steamroller printing! how could we forget?) and it just looks like way too much fun.

If you can get to Berkeley February 8-11, you can do your best to take in the second biennial Codex International Book Fair. The Codex Foundation website boasts:The fair is rapidly becoming the “world’s fair” of the book as art and artifact. Over 110 artists from around the globe will be exhibiting what amounts to “a staggering panopoly of riches.” The accompanying symposium is sold out, but maybe you can pencil it in for 2011.

Or, if you're a PBI junkie, or have ever longed to become one, I bring the following tidings: The PBI Schedule is now on-line. In its 26th year, Paper Bjook Intensive (PBI) announces its return to Ox-Bow in Saugatuck, Michigan May 17-28, 2009. The schedule of the forthcoming event is now on the PBI website. Please check it out. (Thanks, California Chapter Newsletter).

Last but not least, Jessica Spring reminds us of the beloved institution promised in my headline: "Wessel & Lieberman is an amazing antiquarian bookstore in Seattle's historic pioneer square. They have ongoing exhibits on all things books, from photography to fine press plus a terrific blog of interest to bookish folks: http://www.wlbooks.com/cgi-bin/wlb455.cgi/index.html
If you're in Seattle, the store has a loft full of artist books and broadsides while the main floor has lots of Pacific Northwest history plus great books on typography, children's books, art and design and other ephemera. If you have to shop on line, the website is frequently updated and very navigable." (Ah, but even more enticing in person...)

Close

2009-01-30T21:45:00.000-08:00

And that's it for the January newsletter. (Please don't bump into last July on your way out.) I will probably call for entries again in April, in my continuing adherence to the relaxed quarter system. In the meantime I wish you all peace, prosperity, and ongoing success in your bookish endeavors.

Susan

Welcome to the July 2008 Newsletter!

2008-07-21T21:23:00.000-07:00

A quarterly compendium of news, knowhow and whatnot. All members of the Guild of Book Workers are welcome and encouraged to post comments.

It's high summer, and this edition of the newsletter is suitably lean and laid-back. Of primary importance: the chance to register for a fall workshop taught by Barbara Mauriello and brought to you by the GBW Northwest chapter.

Sophia Bogle continues guiding us through her process for measuring for clamshell boxes (the first installment was in the March newsletter). Elizabeth Uhlig describes her experience taking a class at the Rare Book School. And there's some member news, and. . . well, that's about it. Then it's back to the beach, or back yard, or studio, or wherever you're happily holing up these days. I didn't get any entries for the bookless book exchange, which was a disappointment, since I think it's a great idea. If there's interest, we could try it again at a later date. In this and all matters I appreciate your feedback!

Again, special thanks to those who have brought their time and perspective to this edition of the newsletter.

Susan Collard

Barbara Mauriello Workshops

2008-07-21T21:19:00.000-07:00

Shu-Ju Wang
Workshop Coordinator

CANCELLATION NOTICE August 18: The following workshops were cancelled because we didn't have enough people registered.

The Guild of Book Workers and 23 Sandy Gallery are working together to bring book artist Barbara Mauriello to Portland this fall to teach two wonderful workshops:

The Box as Stage-Set for GBW &
How to Make a Photo Album for 23 Sandy Gallery

Due to the rising airfare cost, we ask that you register as early as possible. Please register by August 15, 2008.

THE BOX AS STAGE-SET

Oct 4 & 5, 2008, 9am to 4pm
Portland Waldorf School, 2300 SE Harrison, Milwaukie OR

In the Indian tradition of itinerant story-telling, a brilliantly-painted wooden box called a “kavadh” is an important prop: it holds the tiny wooden protagonists of the tales. We’ll make our own version of a story-telling box, complete with sliding door, stepped roof, finials and feet. A wild mix of patterned papers will replace the painted surface of my original model: bring with you as many bits and pieces of decorative papers as you can get your hands on. The first box will be built of pre-cut boards. A small edition of boxes will then be cut by each participant, to their desired size, and that edition will be partially constructed during our remaining time. Our box is exotic, but it does teach the basics of boxmaking, starting with how to cut out and cover a 4-walled tray.

Tuition: $195
Materials fee: $15, includes balsa wood,decorative papers and boards, pre-cut and shipped, for one box.

Please register by August 15, 2008.

To register, or if you have questions, email Shu-Ju Wang at shuju@fivebats.com.

HOW TO MAKE A PHOTO ALBUM

Sept 27 & 28, 2008, 10am to 5pm
23 Sandy Gallery, 623 NE 23rd Avenue, Portland

There are 3 basic approaches to album-making, defined by the page format: an extended accordion, a stack of single sheets, or a set of folded sections. Our goal is explore them all and make 4 or 5 books over the weekend. By keeping our models small, we will make prototypes of as many structures as time allows. There will be much discussion on both the advantages and limitations of a given style. Variables as diverse as the number of photos to be bound, the size and flexibility of a sheet of paper, and the availability of bookbinding equipment in the home studio will lead participants towards specific models. Our goal is not to produce a single, large album, but rather to understand and to play with the principles of album-making. Please bring 5-10 photos no larger than 4 inches in either direction on Saturday.

Tuition: $210
Materials fee: $30
Please register by August 15, 2008.

For more information and to register, see http://www.23sandy.com/Mauriello/Mauriello.html

Barbara Mauriello is a bookbinder and artist who has a studio in Hoboken, NJ. She is on the faculty of the International Center of Photography and the Center For Book Arts in NY, and is a frequent teacher at Penland School of Crafts and Haystack Mountain School of Crafts. In 2000, Barbara published her book Making Memory Boxes (Rockport Publishers, Gloucester, MA). She is also a featured artist in The Penland Book of Handmade Books (Lark Books, 2004).

GBW National News

2008-07-21T21:11:00.000-07:00

If you're planning to submit work for the Marking Time exhibition, you need to fill out an Intent to Enter form by July 30. The form and additional information are available online.

And, of course, this year's Standards of Excellence will be held in Toronto, October 16-18.

Measuring for the Trays of a Clamshell Box Based on your Materials

2008-07-21T21:05:00.000-07:00

Sophia Siobhan Wolohan Bogle
Ashland, Oregon

Getting Started: So, at this point you have measured your book as per my previous instructions. All of those measurements are necessary for creating the small tray. You always make the small tray first. In fact, you could make the small tray and cover it and then measure for the bigger tray, but I will give you the way I do it which is to measure and cut out both and then assemble them. This way has more room for error of course, but if you pay attention it should come out fine and is faster in the long run.

I should mention here that I am doing all my cutting on a board shear. I have yet to cut out a box without one. So if you don’t have a board shear just be sure to do what you have to do to be accurate, like taping down your flat straightedge and cutting off your mark entirely instead of halfway into it.

Wrapper: Before we start on the first tray there is another aspect of measuring to consider. One way to protect the book (or fill up space) is to create a paper wrapper like the one in the picture. This is useful if you have a book that is falling apart and you don’t want to lose any pieces or if it is not a book, but a sheaf of loose pages. If it is necessary to make a wrapper, be sure to account for the extra thicknesses in your measurements of the original book. In other words, make the wrapper and then do your measuring.

To Line or not to Line? Another way to protect your book is to create a soft liner in the trays. The book really does need to be supported fully in the box with no wiggle room. If it is allowed movement, then damage will occur. You can take some of the guess work out of measuring by using felt or something squishy to line the trays with (obviously something archival is preferred). This does make it easier but you still have to be accurate. It is possible to be accurate enough in your measurement that you do not need the squishy material. I have only used it a few times for an effect and one time I used it when I poorly measured a book and didn’t want to re-make the tray. Fortunately the tray was bigger. Had it been smaller I would have had to start over. I used unbleached wool batting that I got from a fabric store as the liner. To apply it, I glued the surface it would be attached to and didn’t attach the wool felt until the glue was getting tacky. Double sided tape would work too. The point of this is that you don’t want the glue to find its way through the felt. You can add the measurement of the Liner in with the other materials but because of the squish you will want to cut the measurement in half. Find something that is half as thick as the felt like 2 chipboard glued together and use that to stand in for the liner.

Parts to Small Tray: There are two trays to be made for a clamshell box. The most important one is the smaller one because that is where your book will rest. There are four or five parts to the bottom tray. Four of them are obvious; the bottom and the three sides. The fifth is the spine support piece. This piece will not be attached to the bottom tray and is instead attached to the spine of the case. It must be taken into account here though because when the box is closed this piece slides into place as a forth side to the small tray. This piece is optional and many clamshells are made without it, but it provides another measure of protection for the book and I prefer the way it looks. (see picture)

Gather Materials: You will need to gather together small pieces or strips (about 1/2 -1 inch by about 2-3 inches) of both your covering material and the board you will be using to make the box. Also the squishy liner if you so choose.

Board

Covering Cloth

Liner (Optional)

Next you will need some pieces of chipboard or something similar. It makes it easier if all these pieces are the same size, but they don’t have to be. We are going to use the chipboard to stand in for the book-cloth and liner as well as some space. If the chipboard is just about the same thickness as two of your book-cloth strips it makes it easier to measure because you can substitute the chip for the cloth. Because the chipboard is stiff it is easier to hold it up to make a mark on your board.

The Theory: What we are doing is running a tally of all the materials involved in each dimension of the tray. So for the height of the tray we have the # (measurement of the actual book height) + we have the two boards that will be on either side of it + the four thicknesses of book-cloth. If you wanted to you could substitute something for the four pieces of bookcloth. It just has to be at least as thick as the four pieces plus it could be slightly thicker for a bit of space.

Turn-Ins: It is also good to remember that the turn-ins add extra thicknesses. This doesn’t matter for books much because where the turn-ins are is usually where the book has a dip or curve. Books, after all, are not usually perfectly square. But keep it in mind and make adjustments as necessary.

The Visual: Imagine a straight line cutting a cross section of each direction of the tray when it is assembled. Then you just add up all the materials involved. (See Cheat Sheet)

Note on Materials: I prefer to use Canapetta, an Italian linen paper-backed book-cloth to cover the trays. It has a tooth to it and is fairly forgiving in general of glue marks unlike silk. Also I find it will stretch a bit to help get it around awkward corners. I have even covered raised bands with it.

Advice: Try making one tray completely with the materials you want to use and see how the book fits. Every time you change materials there is room for error so find something you like and stick with it. (within reason of course)

Sequence of Cuts: Have the Cheat Sheet nearby. Have all your pieces of materials and measurements. Begin with board that is square to two edges at least. The grain should line up with the grain of the book as it will sit in the tray except the Head and Tail Side pieces which just follow along with fore-edge piece so they are all the same.

You will be cutting out five pieces of board with several cuts:

Start with the Height measurement. Follow the Cheat Sheet. Just line up all the pieces along with the measurement and set your gauge to make a square cut. Make sure you have enough length of this first piece to also cut at least one Thickness measurement as well but preferably four Thickness measurements.

Take that piece that is now accurate on three sides and cut the Width of it. This will be your Small Tray Base.

Next cut four Thicknesses all the same from the “leftover” board you just cut to the right height. This gives you the Fore-edge Side which is the same height as the Small Tray Base. It also gives you the beginning of the Spine Support Piece, as well as the beginning of the two other Side pieces.

To get the right height for the Head and Tail Side pieces you have to take the width of the Small Tray Base and subtract one regular board thickness from it. Use the board itself instead of trying to get ruler measurements. Make the cut for both Head and Tail Side pieces.

This only leaves the Spine Support Piece. Mark this as such and set it aside until the box is covered. Then figure out how much to trim off so that it will fit in the space left when it is covered in paper or whatever you will be lining the box with.

Large Tray: There are only a couple of differences for cutting out the Large Tray. You already have pieces cut that you can use as measurements and you will not need to cut the fourth thickness as there is only one Spine Support Piece. Otherwise, just follow the Cheat Sheet and the Sequence of Cuts.

Cheat Sheet:

Small Tray Measurements:

(# = measurement of book)

(chip = chipboard - Remember that the chipboard should be about two thicknesses of your cloth.)

Height: # + 2 boards + 2 chip (or whatever you made that equals four book-cloth plus some space)

Width: # + 2 boards + 2 chip (same as above)

Thickness: # + 1 chip (The chip here is for whatever liner you will use plus space because the book-cloth will be under the book as well as covering the top of the surrounding boards so they cancel each other out.) I usually just use a thin paper like Dove Gray. If you were going to use felt of something else thick you would use something thicker than one chipboard to represent that added thickness.

When you are done you will have the following pieces:

Small Tray Base
Fore-edge Side
Head Side
Tail Side
Spine Support Piece

Large Tray Measurements:

BEFORE assembling the small tray!

Use the small tray boards to measure for the large tray right on the board shear or other cutting surface.

Height: Add 2 boards and 3 chip + 1 cloth

Width: Add 1 board and 2 chip

Thickness: Add 1 board and 1 ½ chip (or rather 1 chip and 1 cloth)

If the small tray is already assembled then use these measurements:

Take the small tray’s measurements and add the following additions to them.

Height: 2 board and 3 chip

Width: 1 board and 2 chip

Thickness: 1 ½ chip

If anyone actually tries to make trays based on these instructions please let me know if they are clear and where they need improvement. This is the first time I have tried to write it all out and it is hard to follow my own directions when I already know what to do. Feedback will be helpful and appreciated. Thank you.

Sophia Siobhan Wolohan Bogle
Red Branch Book Restoration
http://www.bookrestoration.org/

"I Cannot Live Without Books": A Class at the Rare Book School

2008-07-21T21:03:00.000-07:00

Elizabeth Uhlig

Eugene, Oregon

A Report on the Rare Book School - “Introduction to the History of Bookbinding” taught by Jan Storm van Leeuwen

“I cannot live without books.” This quote by Thomas Jefferson to John Adams in 1815 is on a book bag I bought at Monticello just after I finished a week (June 9-13) at the Rare Book School in Charlottesville, Virginia. I took a class “Introduction to the History of Bookbinding” and thought about nothing but old and rare books and their bindings for an entire week.

It was an amazing experience - challenging, intense, fun, and totally worthwhile. My day job is as archivist at Lane Community College in Eugene, Oregon, but what I’m most interested in outside of work is the history and culture of the book, historical bookbinding, and making of books. I especially enjoy making historical book structures, so this course was something I have long hoped to take and I certainly was not disappointed.

The Rare Book School was founded in 1983 at Columbia University by Terry Belanger and was moved to the University of Virginia in 1992. The RBS offers week-long, non-credit courses on various topics related to books and bibliography, mostly during the summer in Charlottesville, but also during the fall, winter and spring in New York City, Baltimore, and Washington, D.C.
For me, the application process was a two-stage process – last fall I applied first for a tuition scholarship, and then in the winter I applied for admission to the “Introduction to the History of Bookbinding” course. The other students in the course were mainly catalogers, curators of rare books and special collections, or conservators; I believe I was the only bookbinder in the class. And while the course did not include hands-on bookbinding instruction, it provided me with a wealth of information and inspiration that I can use when making my own books.

The RBS Week

Upon arrival at the University of Virginia in Charlottesville, you are quickly drawn into the RBS experience and culture which provides many opportunities for networking and meeting fellow book enthusiasts and professionals as well as a high level of instruction. The RBS Week started on Sunday afternoon with a guided walking tour of the UVa campus followed by registration and wine reception, Sunday night supper, and an orientation lecture by RBS director Terry Belanger.
The typical RBS day runs from Monday to Friday, 8:00 am to 5:00 pm and includes breakfast and two coffee breaks at the RBS offices, and a lunch break. There are four sessions every day for a total of 6 hours of instruction.

There are optional evening lectures and social activities so you are frequently kept busy until late in the evening. Monday was Lecture Night and we heard a lecture by Steve Beare, an independent scholar who shared his research, much of which was conducted on the internet, into the lives and careers of two 19th century engravers.

Tuesday evening was Movie Night. We first saw a documentary “Book Wars: Life & Death on the Streets of New York, 2000” about the world of NYC street booksellers. Then we saw “The Lindisfarne Gospels: A Masterpiece of Anglo-Saxon Book Painting.” Earlier in the day, we had a lunch-time tour of Special Collections.

Wednesday night was Study Night when the RBS library was open and we were able to peruse lots of old and rare books in the RBS teaching collection as well as books in their reference library.

Thursday night was Bookseller Night when several Charlottesville used and rare bookshops stayed open especially for us. Charlottesville is only a town of 40,000 but has more rare and used bookshops than any other city in Virginia.

On Friday our class had lunch with our instructor and in late afternoon there was a closing reception and a chance to buy RBS t-shirts, mugs, bags, and other souvenirs.

The Course: Introduction to the History of Bookbinding

The class I chose to attend, “Introduction to the History of Bookbinding,” was not a hands-on, practical binding course, but rather a historical and art historical look at the principal techniques and materials used in Western bookbinding. The teacher was Jan Storm van Leeuwen who is the retired keeper of the binding collection at the Dutch Royal Library in The Hague.
In the introduction to the course and historical bookbinding, Jan Storm van Leeuwan explained that we would focus on two functions of bookbinding: the binding structure which both protects the text block and also makes a book out of separate leaves of paper, and the decoration on the covers, spine, and fore-edges that have turned binding into a work of decorative art. Every day the course was a combination of lecture using images of books in a PowerPoint presentation followed by viewing dozens and dozens of books from the RBS teaching collection and from the university library’s collection of rare books.

Monday

Our Monday class session began with an overview of bookbinding terms and processes – this introduction was quite complex and necessary, not only for a bookbinder, but also for all the others in the class who were librarians and curators with backgrounds in cataloging, conservation, and librarianship. There is a lack of fixed terminology in English, which can complicate things. Jan covered the different parts of a book, decorative techniques (onlay, inlay, mosaic, blind and gold tooling), covering material (calf, goat, sheep, or pig leather, parchment/vellum, textiles, and paper), sewing and binding techniques, and much more. We looked at four models: a 4th century Nag Hammadi/Coptic book, a 9-11th century Carolingian/Romanesque book, a 14th century gothic book, and a French 16th century binding. And he also showed us numerous books from the RBS collection and we viewed a DVD on binding by the Plantin Museum in Antwerp, Belgium.

Tuesday

Our Tuesday class began with an introduction to various leather samples. Then Jan began a chronological survey of Western bookbinding beginning with books produced in the 2nd century in the Roman Empire. We moved through the Middle Ages looking at Coptic books, Carolingian and Romanesque books, bindings in velvet, untooled leather bindings, and 15th century German girdle bindings. Jan talked about the St. Cuthbert Gospel and I showed some photos I had taken at the St. Cuthbert’s Gospel of St. John workshop I had taken last year, November 9-11, in Boston. Jim Bloxum and Kristine Rose, two conservators from the Cambridge University Library, taught a 3-day workshop making a model of this 7th century, Anglo-Saxon book, the oldest surviving book in Europe in its original binding.

We looked at books from Middle Ages from the different European countries, mainly Germany, England, France, the Netherlands, and pre-Renaissance Italy and Spain – all with differing techniques and decorations, but also showing much influence from one part of Europe to the other. Jan talked about the structures and materials, and spent quite a lot of time on the decorative covers using blind and gold tooling, the variations of which help to date the bindings and determine how and where the bindings were created. Tuesday’s chronological overview concluded with a discussion of Renaissance binding in Italy and France. And the afternoon ended with a look at decorated paper – marbled paper, printed paper, and paste paper used both for covers and end sheets.

Wednesday

Wednesday morning continued with the chronological overview with a look at pre-Renaissance Italy, specifically the books of Jean Grolier collected for his library. We looked at Renaissance books in Italy, France, Germany, the Netherlands, and England. Jan discussed not only structure, materials, and decorative techniques, but also the social and economic aspects of bookbinding, publishing, and selling of books. Moving through the centuries, we came to 17th century America and 17th century bindings in France and the Netherlands. Wednesday afternoon ended with an in-depth look at 19th century and early 20th century publisher’s bindings when books began to be made by machines. We looked at both luxurious bindings and also at simple publisher bindings throughout Europe and the United States.

Thursday

On Thursday we continued the chronological survey by turning back to the 18th century France, England (including Canada and Scotland), the United States, and the Netherlands. We spent the afternoon at the University of Virginia Special Collections and looked at original bindings from their collection. We viewed Islamic bindings as well as books from throughout Europe from the 16th to 19th centuries.

Friday

On Friday we finished up the chronological survey with a look at 19th and 20th century French, Dutch, Belgian, British, and American bindings.

Our final exercise was an attempt to date seventeen books which we had looked at on Monday morning – hopefully our dating was more accurate after a week of learning about the various structures and decorative techniques.

We were provided with a detailed syllabus which included a guide to the description of book bindings (something which was very useful to the catalogers, but which unfortunately we didn’t have time to cover in class); a timeline of year, historical/cultural events, artistic style, binding landmarks (styles, significant books, collectors, etc.), and the names of binders, if known; and a reading/reference list of important books and websites on the history of bookbinding.

This is a brief summary of an amazing week at the Rare Book School. If you’d like more information, check out the RBS website at: http://www.rarebookschool.org/

I have posted some photos that I took of the four models as well as some of the publisher’s bindings we were shown. There are also a few photographs taken at the St. Cuthbert workshop. http://picasaweb.google.com/emuhlig

And, please email me if you have questions or want more information: emuhlig@gmail.com

Member News and Gallery

2008-07-19T14:45:00.000-07:00

Sue Allen has a solo exhibition of her screenprints and book arts, Wild + Tame, at the Multnomah Arts Center in Portland from June 10 through July 22. Pictured below is Suite Sixteen, a limited-edition boxed set of screenprints of stone lanterns in Portland's Japanese Garden. Her series Around Mount Hood: 12 Months - 12 Directions is also featured in the show.

Also in Portland, Shu-Ju Wang showed a collection of her artist's books at 23 Sandy Gallery in June. Susan Collard will be showing her work there September 5-22 (and is very excited about her first solo show).

500 Handmade Books, finally out from Lark Books, features the work of quite a few Northwest Chapter members: Cathy Adelman, Susan Collard, Karen Hanmer, Margery Hellmann, Paula Jull, Joanne Kluba, Roberta Lavadour, Bonnie Thompson Norman, and Shu-Ju Wang. Our chapter chair Paula Jull, who helped me out by checking the book's index for members, points out that that's 14.5% of our sixty-two members. (If by chance we've missed anyone, please let me know.) Having counted sixteen featured books between the nine of us, I will add that members of GBW NW are responsible for 3.2% of the 500 books pictured. You can always count on this newsletter for hard-hitting statistical analysis!

If you haven't seen the book, it's a dizzyingly broad look at what people are doing in book arts these days. Like other books in the Lark Books series (500 Teapots, 500 Brooches, 500 Wood Boxes. . . ) it's fat, pretty, and (at $24.95) attractively priced.

Well, and that's that for the summer newsletter. Please don't be shy about leaving comments, and I'll see you with the next edition in. . . well, probably November, just after the Standards conference. Have a great summer!

Welcome to the March Newsletter!

2008-03-19T22:56:00.000-07:00

A quarterly compendium of news, knowhow and whatnot. All members of the Guild of Book Workers are welcome and encouraged to post comments.

The March 2008 Edition of GBW Northwest has been a real collaboration, and a joy to put together as a result. (Except for Blogger's formatting issues, which I have been struggling with. Placing photos in text is like working in quicksand, so please excuse my abandonment of exacting standards.) My principal tasks this issue have been encouragement and assembly. I hardly had to write a thing! This makes me feel really good about the newsletter's secret community-building agenda.

Well, take a look. The newsletter opens with official GBW business--our workshop coordinator Shu-Ju Wang has set up a fall workshop, and the GBW Exhibitions Chair Karen Hanmer has more information on the upcoming Marking Time show. There's also a call to action I hope you'll all respond to. Roberta Lavadour has a very 21st-Century idea for a Bookless Book Exchange, an online library of books which anyone can print out and assemble. It's a challenge to individuals to create something simple and clever they are willing to share. I'm curious to see what people come up with. . . do participate, and check out the results in the June newsletter.

Roberta has submitted detailed instructions for her twined binding to Bonefolder, and hopefully they will be available in an upcoming issue. For us, she's written the story of how she developed the binding with the deadline of her presentation at the Dallas Standards conference looming over her--a classic tale of ingenuity and persistence in the face of panic. Sophia Bogle, who wants to make sure the patient art of book restoration finds its place in the newsletter, has shared a set of instructions on measuring books for clamshell boxes. And Sabina Nies has contributed a piece on The Biannual Bookbinding Competition in St Remy les Chevreuse, France, encouraging entries in the 2009 event with inside info on her experiences as entrant and visitor to the 2007 competition. Finally, there's news and photos of what some other members have been up to.

Many thanks to all of you who have contributed!

Susan Collard

Save the Date--Barbara Mauriello Workshop

2008-03-18T22:50:00.000-07:00

Shu-Ju Wang
Workshop Co-Chair, GBW NW Chapter

Join us in Portland for a workshop sponsored by GBW on October 4 & 5, 2008.
Barbara Mauriello will teach the 2 day workshop "The Box As Stage- Set", inspired by the Indian tradition of itinerant story-telling. We will make our own version of the story-telling box, Kavadh, complete with sliding door, stepped roof, finials and feet!

Bookless Book Exchange

2008-03-18T22:09:00.000-07:00

Roberta Lavadour
Pendleton, Oregon

The problem with most book exchanges is the assembly work. All that printing, cutting, sewing, pasting, over and over again....blech! Here's an exchange that is all the fun with none of the muss and fuss.

1. Choose a simple book structure that can be created from one (or two) printed sheets of paper. Your book design can employ pop-ups, items tipped in and other conventions, but remember that you may need to provide additional instructions for assembly. Accordions, flexagons, boustrophedons, the slit octavos and folded french door books are good choices, but there's no limit to your own paper engineering genius.

2. When designing the printed pages, remember that most printers will not print to the edge of the sheet, so for bleed images, design the page at 7.5 x 10 or so and provide instructions to trim the page before assembling.

3. Post your image files as 72 dpi jpegs or pdf files on your website. (Send Susan the link so she can post them all in the newsletter.) Or, email the files to Susan Collard at smcollard@gmail.com and she'll get them posted online for you. Please also provide a small image of one of the finished books fully assembled. Deadline is June 1, 2008.

4. Provide simple assembly instructions if necessary. It is assumed that most GBW members know how to fold the basic structures.

5. Watch the GBW Northwest blog for the Bookless Book Exchange books, then download and assemble all your favorites. For a sample project, check out Roberta Lavadour's Gyromancy project at:http://missioncreekpress.com/index_files/gyromancy.htm

Guild of Book Workers 2009-11 Exhibition Update

2008-03-18T22:08:00.000-07:00

Karen Hanmer
GBW Exhibitions Chair

An online Intent to Enter form for the 2009-11 Guild of Book Workers traveling exhibition Marking Time will be available June 1- July 30,2008. Digital images may be submitted online for jury January 1 through March 1, 2009. You must file an Intent to Enter to submit work for the exhibition.

There is a $2000 limit on insurance value for work included in Marking Time. There is also a size limit on the work. Books may not be largerthan 22 inches square and 12 inches deep, including protective enclosure. Flat or 2-D work may not be larger then 24 inches square,including frame and protective enclosure. Submitted works must have been created since 2006, and may not have been previously shown in a Guild exhibition (Chapter exhibitions excepted). All entrants must be members in good standing of the Guild of Book Workers for the entire run of the exhibition.

The show will open at the Minnesota Center for Book Arts in Minneapolis on May 15, 2009 and travel through March 2011, with venues including a mix of book arts centers and public and university libraries.

Watch the Guild newsletter for updates.

Designing the Twined Binding or, How Sheer Terror Can Drive the Creative Process

2008-03-18T22:05:00.000-07:00

Roberta Lavadour
Pendleton, Oregon

Two things have pushed me forward in my quest to make books: 1. Getting myself into situations that were way over my head then having to work my way out of them, and 2. Keeping a vivid sense of the worst-case-scenario close at hand and running like Hell to stay ahead of it.

So when Jim Reid-Cunningham asked if I would make a presentation to the Guild of Book Workers at the 2007 Standards of Excellence Conference, I thought, “Now THERE’S a venue where a flop could effectively end my career...Let’s do it!”

Now, while “book artists” are often regarded as the lower end of the food chain when it comes to traditional fine binders, being given a mandate to be innovative in a field marked by thirty years of rampant innovation is a tall order, and many book artists have risen to the challenge. We can thank PBI, Standards and other presentation venues for encouraging them to jump into the deep end.

I knew that I wanted to create an exposed-spine binding that allowed for a rich, all-over design on the spine – something that amp-ed up existing bindings by sheer volume and density of thread. I experimented with a wide range of options, beginning with a basic stitch that would basically provide a substrate for doing thick embroidery work over the top. As you know, ideas are one thing and the basic laws of physics are another. Each design proved to be either physically impossible or, possible, but rattier looking than a third grade string art project with no structural integrity. I began to panic.

I needed to ditch the embroidery and find inspiration closer to home.

Living in Pendleton, we’re surrounded by amazing fine craft. The rich traditions of both the cowboy and Native American cultures are alive and well in the saddles, silver work, blankets and beadwork that are created here. I find the basket twining and rawhide braiding especially compelling.. My brother-in-law Joey Lavadour, a member of the Umatilla Indian Reservation and of Walla Walla descent, is a master weaver and amazing teacher. Tim George, who works with the legendary Hamley & Co. is a master rawhide braider. Both were endlessly generous in providing encouragement as I tried to adapt each craft to two bookbinding structures, as described in my proposal, “..inspired by the Cowboy and Indian heritage of Eastern Oregon”.

The design process always brings to mind an assignment my friend Mare Blocker uses with her drawing students – “Draw your brain as a carnival ride”. Just about the time I think I’ve got a fabulous idea, riding high on the glee of my own cleverness, the bottom drops out and I realize that I don’t have a clue what I’m doing. I guess it’s that thrill-seeking adrenaline junkie in me that compels me to take the ride over and over again. After so many gut-wrenching cycles over the years, you finally come to trust that you will come out the other side, even though the fear and anxiety are always just as intense.

The basket twining inspired binding seemed like it would be the easiest. 14th century account books that employed weaving over long stitches seemed to be a natural departure point, but I also felt compelled to employ linen cord in some way, as it’s most similar to the hemp cords that Joey weaves his baskets over.

After several miserable attempts at weaving perpendicular to the spine, I finally figured out how to make it work going the other direction. I’m sure I’m not alone in having had my mind wander while executing a packed sewing, imagining how that lovely and orderly linen thread over 12 ply linen cord design would look if replicated to fill the spine and left exposed in the finished book. Throw a little color variation in there and it would be hot.

The twining worked just fine. The challenge then, of course, was what the heck to do with seventy-five cord ends that needed to be attached to a cover board.

One night we were watching a Sundance Channel piece on mountain bikes that were made from bamboo. The engineer connected the parts by dousing strands of frayed-out hemp cord with epoxy, forming it around the joints then sanding it to a smooth, beautiful surface. Ah ha! I thought. I would fray out the cords, epoxy them to cover boards and sand them to a gorgeous sheen.

After being sufficiently frightened by the State of California warning on the epoxy label, I conducted a few experiments. The finished surfaces turned out looking much more like dull, grey chipboard rather than the luxurious wood-like sheen I’d envisioned. Never mind the fact that I’d be up in front of 100 conservation-minded experts extolling the virtues of bookbinding with epoxy.

So I nixed that idea and set aside the fluffy sample to concentrate on the “cowboy” binding. On a whim a few years ago I had picked up Bruce Grant’s Encyclopedia of Rawhide and Leather Braiding and had been playing around with teaching myself some basic braids. I'd incorporated some flat braids, covered rings and turk's head knots in a design binding of The Oxbow Incident and liked the textures a lot. I'd started practicing covering some tool handles in the studio with braided leather and was captivated by the technique, which allows the weaving to appear to emerge from the butt of the handle as if by magic. In my head, this concept could be adapted to a binding.

Knowing that I didn’t want to demonstrate leather or vellum in front of GBW members who were true experts with those materials, I tried to find a suitable substitute. Pergamenata Parchment seemed like a good idea, but, it wasn’t strong enough unless lined with Tyvek and cracked when folded against the grain. The translucency and strong pull was also a problem when covering boards.

I had hauled some pieces of Tim Barrett’s papercase paper back from a book arts gathering years before and started experimenting with those. The paper was perfect. The book structure, however, was problematic. I was working with models where two boards were covered separately with strips extending from the spine edge that were then to be interlaced and woven back over the spine sewing and covers. I was able to create just one miniature model that held promise, but when I tried to weave the strips on a larger scale, the materials seemed to stage a rebellion against my best laid plans. At this point it was just 8 weeks before Standards and I was faced with two dead-end projects.

Then, just as in the old Reese's commercials where her peanut butter gets in his chocolate and vice versa, the two ideas intersected, and weaving over the extended paper supports instead of linen cord seemed to hold promise.

The first model I made actually looked pretty good. Now I had to get busy creating more samples to show off different variations on that model. Weaving is time consuming, and I worked day and night. I finished a fifth book on the flight to Dallas and another two, one full-size and one miniature, in my Standards dorm room.

The good news is, the presentation seemed to go fairly well. I don’t think it totally rocked the world of the Guild members, but most attendees seemed reasonably engaged and intrigued.

The culmination of my week was when one of the respected Guild big wigs confided in me that, “..sometimes the ‘book arts’ things can be a bit flakey, but your wasn’t flakey at all”. What more can you ask for, really?

Now, being able to make a book for yourself is one thing. Trying to explain its construction to others is something else altogether. Communicating the steps of a fairly complex and unfamiliar binding was, and continues to be, a challenge. After sending a set of instructions with images to Peter Verheyen for possible inclusion in The Bonefolder, I woke up with a start one morning, realizing that there was a much easier way to streamline the addition of the gatherings. Those instructions were updated just yesterday, and I’m sure that more refinements will develop in the future.

My next goal is to create at least 50 twined bindings and get them placed in teaching collections across the country. In the same way some people knit, this stitch has become something that I can practically do without looking, and I find it very relaxing. I’ve been experimenting with some of Bridget O’Malley’s heavy papers, heavy vellum (the real stuff from Jesse Meyer) and recycled materials like shipping straps, all with good success.

The culmination of this project would be to see others take on this binding, creating their own designs and variations. That would make the scary parts of the roller coaster ride all worthwhile.

How to Measure a Book for a Clamshell Box

2008-03-18T22:04:00.000-07:00

Sophia Siobhan Wolohan Bogle
Ashland, Oregon

Measuring a book properly is what really makes the difference between a professional job and a box that doesn’t fit the book. I was taught this method by David Weinstein who is an honors graduate of the London College of Printing and a master book restorer. I first wrote the instructions down so that a client could get a box made without having to send me the book. I let the client know ahead of time that I would only guarantee a perfect fit if I had the book, but that this method, done properly, should work satisfactorily.

To Begin:
Get a stiff metal ruler that starts with zero at the edge of one end. There can’t be a gap on the ruler before the measuring starts because you need to measure the books standing up on a table from the bottom up. I will be measuring in inches, but if you prefer metric the conversion should be simple. My board shear is in inches so I have to stick with that.

Height: Stand the book up on a flat surface with the front cover facing you and the spine perpendicular to the surface of the table. Set the ruler up behind it with the zero on the table. (This goes for every measurement.) Physically get down so your eye is level with the top of the book. Slide the ruler slowly from the fore-edge to the spine so that you determine the very highest point of the book. Usually it is at the joint or near the spine. Write down the measurement to the nearest 16th of an inch that is fully visible over the top of the book. Do not round down to a number below the edge of the book.

Width: Stand the book up on its fore-edge now with the tail of the book towards you and the head of the book away from you. Use weights to prop it in place. Place the ruler behind it so that you are looking down the spine towards the head of the book. Get that measurement. Do the same towards the tail end of the book and compare measurements. Be sure to check there isn’t some anomaly in the middle by sliding the ruler slowly from one side to the other looking all along the spine with the book parallel to you. Be sure to write down the biggest number.
If there are any obvious discrepancies on the spine that make a taller point somewhere in the middle of the spine (like raised bands) then use the ruler along the side of the spine and get a triangle that has a 90 degree angle to find the highest point setting the triangle on each raised band and looking at that measurement.

Thickness: Place the book flat on the table and put a small weight (about 2 pounds) in the center of the cover. The point is to mimic the compression of the box. So a big weight or a small weight will skew the measurement. Get your eye level down to the top of the book. Use the same ruler method and look all around the book for the highest point. It is usually at the spine area.

It is better to have more space than not enough space, therefore add a measurement just for space to these measurements to be sure it will be big enough, just an additional 1/16th or 3/32nds. If someone else has done the measurements and you do not have the book in your possession then add another 1/16th space to each measurement.

To Finish:
Double check all of the measurements after you have completed one round of measuring!
What we want is for the book to fit exactly so that it doesn’t move around when you shake the box. If the book does shake in the box for any reason you can easily add some acid-free felt or paper to fit beneath the book as an extra liner. It is impossible to make the box bigger or the book smaller once it is done.

Next time I will address figuring out the measurements for the trays based on materials used.

Sophia Siobhan Wolohan Bogle
Red Branch Book Restoration
http://www.bookrestoration.org/

The Biannual Bookbinding Competition in St Remy les Chevreuse, France

2008-03-18T22:03:00.000-07:00

Sabina Nies
Ashland, OR

The 10th biannual bookbinding competition announces the new book for theyear 2009: "The Marriage of Figaro" by Beaumarchais.

Competitors will receive one copy of the 1000 numbered limited edition of 176 pages well printed on Arches Vellum with exquisite illustration. The 120 Euros fee includes registration, postage, the exhibition catalog, and returning the book.

A glimpse of the 2007 exhibition

The exhibition takes place in St. Remy les Chevreuse, close to Versailles in France. The village supports this event generously and what a mindboggling wonderful exhibition it was last year! Last year's competition's book was "The Tales of Mother Goose". To see about 600 copies of the same book bound by 600 international bookbinders all in one place is just an unforgettable impression. From classic leather to wild artist books, everything was there. Professional fine bindings as well as students' work and sculptured bindings..there was no limitation.

Sabina's entry in the 2007 competition

Participating in this competition and seeing the exhibition is an exciting experience. There is only one drawback: the books are written in French and so is most of the competition's web-site:www.ville-st-remy-chevreuse.fr/reliure/accueil but a few of the organizers speak English. Inquiries to: biennales@aol.com

Member News and Gallery

2008-03-18T21:55:00.000-07:00

From Jessica Spring of Springtide Press, Tacoma, tidings of great doings March 2:

"In Tacoma (where nearly the whole town knows the definition of "Wayzgoose," a gathering of printers) the 4th Annual Small Press Month Wayzgoose was a smash. Literally. Printers, papermakers and book artists travelled from Olympia, Seattle and surrounding Washington to provide hands on demonstrations of their crafts free to attendees. Sponsored by King's Bookstore, this year's event included steamroller printing. Five artists carved 3 x 4 foot wood or linoleum prints, with the inking and printing taking place in the street outside the store."

Here's Jessica with wood engraver Carl Montford inking up a portrait of Gutenberg and his press. . .

Sweet pea of King's Bookstore, who runs the event with Jessica, gets to drive the, um, press. . .

And voila!

Thanks to Russ Wiecking for the action photos.

But wait, there's more Gutenberg in the news!

Michael and Minnie Chrisman, of Bookbinders Workshop in Salt Lake City, have embarked on a remarkable task--binding over a hundred facsimile copies of the Gutenberg Bible, using historically correct methods and materials. You can read about the project in an article from The Salt Lake Tribune (the photo, by Paul Fraughton, accompanies the article). Should you be inspired to learn more, Bookbinders Workshop is holding free three-day workshops in wooden board binding each quarter of 2008. Perhaps it's time to start planning that trip to Salt Lake City--a great place to visit, I might add. More info on the classes is posted at the Bookbinding Forum.

In case you thought Jessica Spring had her hands full with Wayzgoose, she has also written a couple of excellent articles to launch Flurry, a new on-line journal sponsored by Boxcar Press. (There's also an essay by Walter Hamady that c(/sh)ould be required reading for anyone who makes books and wants some reminders why.) Jessica writes us, "Boxcar Press just premiered a revamped website (http://www.boxcarpress.com/) that includes some great features for book artists and printers. Written in a blog format, "Flurry: A Journal for the Printer" investigates options for eco-friendly printing and also includes a profile of Walter Hamady of The Perishable Press. Printers might also like to check out the video section which includes how-tos for makeready, roller alignment and other essential skills." (Plus there are sexy photos of presses! --ed.)

Quite a few of us have books in the upcoming Secrets & Lies show at 23 Sandy Gallery, Portland, March 20-April 26. Check out the on-line catalog!

Another Portland show, Fresh Impressions, is closing March 20 at Oregon College of Art and Craft. An enticing show of letterpress in contemporary art, it too has a worthy on-line exhibition catalog. Though best in person, of course, like most things in life.

Shu-Ju Wang of Portland sent me photos of two Pillow Books--they're gocco-printed on tulle, and just back from a show in Tennessee, if I'm not mistaken--and asked me to choose one for the gallery. I choose both! The first is Tenuous Connections. . .

And the second is Random Cruelty.

And that's it for the March newsletter. Thanks for reading. The next issue will be out in June, with contributions due early in the month. And don't forget the Bookless Book Exchange!

Welcome to the December Newsletter!

2007-12-05T14:22:00.000-08:00

A quarterly compendium of news, knowhow and whatnot, appearing online for the very first time. All members of the Guild of Book Workers are welcome and encouraged to post comments.

Sincere thanks to all of you who have come through with news and whatnot. Thanks also to those who have weighed in with comments or expressed interest in contributing to future issues. (Untapped knowhow still at large!) I look forward to seeing how this little enterprise grows and evolves in the future, and to doing what I can to help it along.

Susan Collard

Message From The Chair

2007-12-05T14:13:00.000-08:00

Dear Members,

If you are reading this, you are aware of exciting changes afoot in the NW Chapter. Sue Collard has created a user-friendly, real-time way for us to keep in touch. This site will help us share our work, news, and opportunities with each other.

Do you have creative solutions for those pesky bookmaking problems? I still love the article Roberta Lavadour wrote for the Bonefolder called “The Practical Bench”. In it she offered a method of attaching a pegboard to a computer keyboard bracket assembly, creating a moveable wall assembly for quick access when sitting. Brilliant solution! If you have technical tips or just a great idea, let us know!

The gallery is a great way for us to see your recent or in-progress work. Want to pose a question to the chapter? Have you discovered a great product or tool? Here is your chance to share.

This site is also a good way to announce exhibit opportunities or venues.

Another new development is the teaming of Shu-Ju Wang and Katherine Shiver Pomeroy as Workshop Coordinators for the chapter. They are working on ideas for upcoming workshops and would appreciate your input on what you want. Suggestions on workshop presenters are also welcome.

Many thanks to Sue, Shu-Ju and Katherine for volunteering to bring these great developments to our chapter. In the future, I hope we use this site to plan future meetings and elect officers. You may notice that the vice-chair position is open. If you are interested, please contact me.

I wish you a safe and peaceful Holiday Season.

Sincerely,
Paula Jull

GBW Northwest Plows Boldly Ahead with Blog Format

2007-12-05T14:12:00.000-08:00

I received a number of thoughtful and supportive comments in response to issues raised in the Proto-Newsletter about the public nature of an online publication. Not a single person expressed concern about people outside the GBW having access to the newsletter. Several mentioned the advantages of a public format which could attract readers and potential members. So I will go ahead and get links added to the GBW Northwest newsletter from the national GBW website as well as from our Northwest Chapter website (which is also due for a few other updates).

Comments will be open to all GBW members regardless of chapter affiliation. Again, I didn’t get any feedback at all that recommended jealously guarding this as a Northwest Chapter member privilege. One or two suggested it would be nice to have an additional perk beside the newsletter which was received by chapter members only. I like this idea too, if someone else wants to run with it.

In celebration of the power of the written word to provoke, energize and sustain, I'll close this post with an image of one of Workshop Coordinator Shu-Ju Wang's more offbeat creations:

Puff pastries gocco-printed with a mixture of hershey syrup and sour cream, ready to be served with lemon curd. Text: Question? Pause, Full stop. Bang! and #!@!%)!! (or something similar).

A Quick How-To on Posting Comments

2007-12-05T14:11:00.001-08:00

First the sermon on "why":

The GBW Northwest is very much a work in progress, and like any sprawling social endeavor (junior high school dances come to mind) there is bound to be a little awkwardness at first about what one does, why should one bother, and who might be watching. Though the interactive aspect of a blog format may be new to many of you, I encourage you to try it out. Comments are an easy way to encourage other members who have taken time to write an article or share their work with the group. (They're out there on the dance floor! Be nice to them!) If what you see raises questions, sparks ideas, reminds you of something, or just delights you, let them know. They'll be happy to hear from you. We'll be interested in what you have to say. And your participation will make the communication even easier next time, both for you and for everyone else.

Now here's the promised "how-to":

To read or post comments, just click on "COMMENTS" at the bottom of each section to view the pop-up window. To add a comment, type or paste your comment in the box. Underneath it will tell you "Choose an identity." Always good advice! You just need to sign your comment with your full name. You can do this by selecting "Other." Or, if you are signed on to a Google/Blogger account already, you might need to select "Nickname" to use your full name. Then press "Publish Your Comment." Since comment moderation is in place, your comment will not appear immediately, but you will get a reassuring message that it's been received.

Please don't try to publish an anonymous comment. As comment moderator, my role is a little like the chaperone of a school dance, who is there in the unlikely event that unruly hooligans try to crash the party. (And no, I won't be policing the girls' room! Enough of this confounded metaphor!)

For Those with Older Computers. . .

2007-12-05T14:10:00.000-08:00

Here’s a question for you: IS WHAT I SEE WHAT YOU GET? I received a very polite e-mail from a member who had viewed the Proto-Newsletter on an old Macintosh, suggesting that if all the newsletter text was going to be grey-on-cream, perhaps I should at least refrain from capitalizing everything, as it was quite hard to read. Apparently, some older Macs running OS 9 may not recognize the Blogger formatting codes properly. I’m hoping this affects very very few of you! To confirm: this section should have a large orange headline. The text should be black with both upper and lower case. I am not trying to conduct experiments in optical torture. In all likelihood this isn't going to be an issue at all for the vast majority of you. But if your computer is having formatting problems, please let me know.

Member News and Gallery

2007-12-05T13:40:00.000-08:00

Fruma Shrensel
Seattle, Washington

be the change

Based on a quote from MK Gandhi, “Be the change you wish to see in the world.” The book opens with a violent war-like image, and transforms into a vision of serenity, compassion and peace.

I was motivated to complete this book after becoming increasingly frustrated with the constant barrage of bad news concerning the war in Iraq, the spread of terrorism around the world, and the abundance of greed and fraud in “high places” here at home. I have turned off my radio and avoid news stories of human misery and evil. Instead of throwing up my hands in frustration and adding my grievances to the flourishing negativity, this book is an attempt to be a conduit for peace and compassion. I can think peace, speak peace and be peace, no matter how imperfectly. I have the power to change myself.

Finished size: 5.2 x 7.75”• portfolio-style cover, crafted from Canson Mi Teintes paper. • book is a flexagram, which is constructed to rotate when flexed, to reveal four individual faces.
• illustrations were created using Adobe Photoshop and printed with digital technology on an Indigo press, using acid-free, recycled, Classic Crest paper. I hope the affordable format, (retail price is $18.00), will help to spread the message in a pleasing and palatable way. frumas@mac.com

Joanne Kluba
St. Louis, Missouri

Blinded by Science

These are images of my “Blinded By Science” books, just completed this month. I have been experimenting with painting on book cloth. I made 6 copies of the book. All are original calligraphy on chiri paper with collage elements. It is a 7 folio signature in a pamphlet style binding, approximate size 8” x 8” x 1/2”.

Elsi Vassdal Ellis
EVE Press
Bellingham, Washington

Elsi Vassdal Ellis was one of twenty participants selected to participate in the Boston University School of Theology Institute for Culture,Religion and World Affairs (CURA) intensive summer seminar on religion and globalization, June 3-15, 2007. She was selected to give the Third Annual Lectureship of the Honor Society of Phi Kappa Phi, Chapter 250 on October 25. Her presentation, "Crossroad: A Book Artist Turns Left on the Moral Map," focused upon her approach to creating artists' books and specifically introduced a new series of books she is currently working on examining the many definitions and interpretations of "evil." The presentation also included an exhibit of her work. She received a $5,000 Summer Research Grant from Western Washington University in support of this new work.

a test image for the "good" and "evil" of globalization using a comment made by Peter Berger, director of CURA, regarding Wal-Mart in Mexico

She also contributed a folio for the Center for Book Arts limited edition "The Vandercook Book." Title page and third page of the eight-page folio are pictured below:

Elsi's book "Icarus" was selected by Maria Pisano for an exhibit in the University of Wisconsin-Milwaukee Special Collections, "Books and Death: Book Artists' Constructions of Death, Mourning, and Memory." The exhibit ran from September 15 to November 30, 2007. She is also currently exhibiting new work in "The Art of the Book, 2007," The Gallery, Bainbridge Island, Washington.

Paula Jull
Pocatello, Idaho

A Perfect Day

In February of 2007, four friends drove to Lees Ferry, Arizona, in search of warm sun and perhaps, a sighting of California condors. They were rewarded with more than expected. The red Vermillion Cliffs and its canyons revitalized their souls after a long winter, and the condors were everywhere.

The prints in this book were inspired by that weekend, as is the text.

The prints were relief printed on linoleum blocks with stencils and multiple inkings with water-based Akua Intaglio ink. The text, set in Bernhard Modern, was printed on Somerset drawing paper with a Xerox Phaser 7760 laser printer. All other coloring is hand-applied with pigment pad pochoir and watercolor. Text and imagery by Paula Jull. Unique copy.

Work in progress

This book has a wide format to accommodate a large print. I am working on an alternative format for an editioned, laser printed version.

NW Book Arts List

2007-12-05T11:51:00.000-08:00

I’m guessing most of you already know about and subscribe to the NW Book Arts List, but I find it such a handy source of information that I will mention it here. It’s an e-mail listserv set up in Yahoo Groups, and you will have to register with a Yahoo ID first if you don’t already have one, but it's a pretty painless process.

Much of the info I'm posting here on upcoming events has arrived at my desk via this list: I've just fished it out of the stream and maybe tidied it up a bit. I find there's plenty of inadvertent crosstalk and posts I'm not interested in, but not so many it gets annoying. It's fun and often very useful to have a window into what's going on, to know what workshops are happening in British Columbia, who's getting rid of an old press, etc.

Book Arts Shows

2007-12-03T23:00:00.000-08:00

2007 has been a banner year for book arts shows in the Northwest, with many chapter members taking part in shows such as Gadzooks! Amazing Books by Northwest Artists at Maryhill Museum and The Art of the Book: 2007 at Bainbridge Arts and Crafts. Here in Portland there were strong book arts shows at the New American Art Union and 23 Sandy Gallery, as well as the Focus on Book Arts Faculty and Staff Show.

An Oregon/Minnesota Artists’ Book Exchange took place, with work from Oregon displayed at the Minnesota Center for Book Arts in the summer and work from Minnesota displayed at Lane Community College in the fall. I made it to Eugene to check out what our Midwestern compatriots were up to, and was duly impressed.

Here are a couple of upcoming Northwest book arts shows to brighten the dreary winter months ahead. If you know about one I've missed, please let me know, or feel free to post info in the form of a comment.

The Illustrated Word - An Exhibit of Letterpress Broadsides
Maude Kerns Art Center, Eugene, Oregon
January 11-February 8, 2008
Gallery hours: M-F 10:00 am-5:30 pm, Sat noon-4:00 pm

Unbound
The Cannon Gallery of Art
Western Oregon University, Monmouth, Oregon
February 2-March 21, 2008
See Calls for Entries for description.
Gallery hours: M–F 8:00 am – 5:00 pm and by appointment

And, though it's further afield, I'm sending books out to:

Outrageous Pages: Ingenious Artists' Books
The Art Gallery
SUNY College at Oneonta, New York
January 21-March 7, 2007

Calls For Entries

2007-12-03T22:42:00.000-08:00

IT’S NOT TOO SOON to start thinking about the 2009-10 Guild of Bookworkers traveling exhibition, Marking Time. A call for entries will be available online next summer, with digital images due for jury in early 2009. The show will open at the Minnesota Center for Book Arts in May 2009, concurrent with the Fellowship of American Bibliophilic Societies symposium. “Time has long captured the imagination of artists, writers, scientists, philosophers and theologians,” writes Karen Hanmer, Exhibitions Chair. “Members are invited to interpret “Marking Time” as broadly or narrowly as they wish. Possibilities might include but are not limited to: a specific incident in or period of history, the future, science fiction, time as a scientific or spiritual concept, the measurement of time, current events or the role of time in one’s own life.”

A few other deadlines for upcoming group shows:

Unbound
The Cannon Gallery of Art
Western Oregon University, Monmouth, Oregon
February 2-March 21, 2008

A national juried exhibition open to 2- and 3-dimensional art as well as time-based media. Unbound will explore the boundaries of artist books in contemporary art.

Slides or digital photos and entry form must be postmarked December 28, 2007.
$20 entry fee for up to three submissions. All work submitted must have been completed within the last two years. Juried by Inge Bruggeman of INK-A! Press, Portland. Download submission guidelines and entry form. If you have questions please contact Paula Booth, Gallery Director, at boothp@wou.edu, (503) 838-8607.

Photoworks
Abecedarian Gallery, Denver, Colorado
March 1-29, 2008

A national juried show of hand-made artist books and hand-pulled prints that utilize photographic imagery.

Open to handcrafted books created as either edition or one-of-a-kind and traditional prints that utilize photographic imagery. Artist books, sculptural books, book objects, photo-litho, -intaglio, -silkscreen, -gravure, cyanotype, Vandyke prints, gum-bichromate, kwik-prints or mixed-media prints are encouraged as long as photographic imagery is a primary element.

Book submissions will be juried by Chicago book artist Karen Hanmer. Print submissions will be juried by Greg Cradick, director of Working With Artists & Flash Gallery, Lakewood, Colorado. (Abecedarian Gallery was recently opened by GBW Treasurer Alicia Bailey.)

Submissions must be received at the gallery by January 20, 2008.
Send an email request to abecedariangallery@gmail.com for prospectus or request a printed prospectus and entry form by sending #10SASE to Abecedarian, PO Box 200984, Denver, CO 80220

Secrets and Lies
A Juried Exhibition of Contemporary Artist Books
23 Sandy Gallery, Portland, Oregon
March 20 – April 26, 2008

A national juried show of hand-made artist books exploring our innermost secrets, lies, hopes, fears and wildest confessions. Real or fiction. Storytelling or confessing. Raw and revealing or coy and concealing. This show is open to a wide interpretation of the theme. Make us laugh, make us cry, maybe even make us squirm a little. Have fun. Play. Truth or fiction. Truth or dare. Come explore the magical world of artist books.

This exhibit is open to book arts related artworks created as either edition or one-of-a-kind. Artist books, sculptural books, book objects, zines or broadsides are encouraged. Any medium, any style. This exhibit will be juried by Gay Walker who is the Special Collections Librarian at Reed College Library in Portland, which houses a significant collection of artists books. A purchase prize will be awarded and donated to the collection at Reed.

Submissions must be received at the gallery by February 21, 2008.

$20 entry fee for up to three artworks; all work must be for sale. Download a PDF prospectus and entry form.

Again, if there's a call for entries out there I've missed, feel free to let me know or post info in a comment.

Close

2007-12-02T17:09:00.000-08:00

And with that, you've reached THE END of the December Newsletter. Have a great winter! Come again soon! Visit the links. Boldly leave a comment. Check back to see if others are boldly leaving comments. And consider contributing to the March newsletter, which will have a deadline at the tail end of February. . .

Welcome to the Proto-Newsletter!

2007-10-08T14:06:00.000-07:00

A quarterly compendium of news, knowhow and whatnot, appearing for the first time in humble embryonic form.

First up in the Proto-Newsletter is a discussion of some of the decisions involved in setting up what I think is the first chapter newsletter to appear in a blog format. You may or may not find this all rather tedious. If you have opinions on who should be reading and commenting on the Northwest Chapter newsletter, I hope you will weigh in.

Beginning with the post News! you are invited on a little tour of the newsletter-to-be, in the hope of enticing you to help it grow and flower in upcoming issues.

Access to the Newsletter

2007-10-08T14:04:00.001-07:00

Here’s the plan: the newsletter will be open to all readers on-line at http://gbwnw.blogspot.com/. Whenever a quarterly issue comes out, I’ll send out an e-mail announcement to all NW Chapter members and the other GBW members who would normally receive a copy (members of the executive committee, chairs and newsletter editors of all chapters).

I’ve thought about providing a link to the newsletter from our chapter website, which would make it accessible to prospective members and GBW members from other regions. My guess, though, is that there would be concern about protecting access to the newsletter as a chapter membership privilege. Agreeing not to advertise the link would not be ironclad protection, but also wouldn’t be welcoming outsiders with open arms. I’m curious how GBW members who belong to (and support) multiple chapters feel about this issue, as it seems especially relevant to them.

It would also be possible to make the newsletter accessible only to a closed group of e-mail addresses, but somewhat cumbersome. Every member would have to have a Google account and log on in order to read it. In my mind, the increased ease and utility of an open newletter makes up for the lack of controls over readership. I realize others might see it differently. And I’m sure some of you have more expertise and experience in these things than I do, so I welcome your comments.

Please feel free to leave feedback by posting a comment, or by contacting me at smcollard@gmail.com. (To read or post comments, just click on "COMMENTS" at the bottom of each section to view the pop-up window. You can type or paste your comment in the box. Even if you have a Google account, please select "other" and enter your full name, then press "publish comment." Since comment moderation is in place, your comment will not appear immediately.)

Posting Comments

2007-10-08T14:03:00.001-07:00

The protocol and procedure of posting comments in the newsletter is a second issue. I’m personally happy erring on the side of openness as far as readership of the newsletter goes. But I feel a responsibility to guard against public gatecrashing when it comes to comments. I would propose restricting the conversation to NW Chapter members and the same GBW members who will also be receiving announcements of each newsletter (that’s the executive committee, chapter chairs and newsletter editors). It would be pretty easy to make that group either more restrictive (NW Chapter members only) or less restrictive (any GBW member welcome to comment). I’d like to know what you think.

I would serve as comment moderator, with comments being posted only after I’d had a chance to review them. That’s a little work there for me, and a short delay before comments appear, but it seems like the best solution for screening who is posting. Since this is not a group where everyone knows everyone else, I’d expect comments to be signed with first and last names—no zingers from Boopsie or Mr. X.

If there was consensus among members that we should restrict readership of the newsletter to a closed group of e-mail addresses, the need for ongoing comment moderation would presumably be eliminated.

Again, I welcome your input on this issue, either by posting below or by getting in touch with me at smcollard@gmail.com.

Why a blog, anyway?

2007-10-08T14:02:00.001-07:00

A confession from your editor: she thinks that sometimes, generally speaking, newsletters can seem a little, um, dry.

The drab four-page neighborhood newsletter that arrives on my doorstep, for instance, is always so earnest and wearying to read, and invariably contains notices about upcoming events that have already happened. Let’s face it: the newsletter never gets listed as anyone’s favorite literary genre.

So when Andrew Huot asked me if I’d consider editing a newsletter for the Northwest Chapter of the guild, I had a sinking vision of what that might entail. On the minus column: I’m a slow writer, I’m not adept at any of the programs that would allow me to put together a complex paper or pdf document with any flair, and the thought of wheedling content out of people fills me with dread. On the other hand, it seemed like a worthy mission. Favorite genre or not, newsletters are one of the ways a sprawling community like this one gets bound together. And when I started thinking how I might go about the task, I realized I had some ideas.

One of the things I figured was, the staid tradition of The Newsletter could maybe use a little cross-pollination from the trendy and conversational genre of The Blog. Maybe people would feel more excited about writing articles, posing questions, or whatnot if they got quick and engaging responses from their readers. I also figured that sites like Blogger (brought to you by the folks at Google), would offer an easy and reliable way to put together and distribute a document without loads of formatting and e-mail hassles.

Hence the grand experiment. And isn’t it just a little bit cool?

News!

2007-10-08T14:00:00.000-07:00

Our big right-around-the-corner event is obviously the Standards of Excellence Seminar in Dallas/Fort Worth, October 18-20. The first issue of this newsletter will be coming out mid-November, with the expectation that coverage of Standards will be the main event.

a miniature version of the "Twined Binding" structure Roberta Lavadour will be presenting at the Group Roundup

I, alas, am not going to be at Standards. We need one or more people who will be attending to commit to writing about it for the newsletter. Please let me know if you’d be willing to do so. You are welcome to cover any aspect of the event you wish, in any format you feel comfortable in. What interested you most in the presentations? How did the Group Roundup format seem to be working? Did you have a favorite heartwarming or brain-sparking moment? Are you ready to move to Dallas? Extra points for providing the most charming photos of Northwest Chapter members in attendance.

(And, if any of you go on the Fort Worth tour, I hope you enjoy the Kimbell Art Museum, one of the most revered works of modern architecture in the country.)

I will thank you in advance for letting the rest of us know how much we missed.

Other News

2007-10-08T13:59:00.001-07:00

The Gadzooks! Amazing Books by Northwest Artists exhibit at Maryhill Museum of Art (July 21-November 15) has been a high-profile exhibit showcasing a number of NW Chapter book artists. (It’s not too late for a weekend road trip, if you haven’t yet seen it!) Would someone participating in the show be interested in writing a short piece about the experience, or a review of the show?

And of course, we would love to hear about any other recent or upcoming exhibits, workshops, calls for entry, publications, etc., including. . .

Member News

2007-10-08T13:58:00.001-07:00

because surely there is something you would like to share with us!

Features

2007-10-08T13:57:00.000-07:00

I am really hoping that there are at least a few members in this chapter who would be interested in contributing to this quarterly newsletter on an ongoing basis. Once the news is shared and the business of the guild conducted, there is room for any number of reviews, profiles, columns, interviews, how-tos, member polls, resource lists, idiosyncratic musings, or what-have-you related to the book arts. Please consider this a safe and informal place to explore your thoughts, share your knowledge, or seek out the expertise and opinions of your colleagues.

Forum

2007-10-08T13:56:00.000-07:00

Here’s your chance: you have a captive audience of dozens of talented people who are interested in a lot of the same things you are, but who bring to the table different shades of experience, predelictions and expertise. What do you want to talk about? What do you want to ask? This could either be set up with a moderator asking leading questions, or as a sprawling freeform grabbag of posts.

Speaking of sprawling freeform grabbag, I encourage you to send in your favorite spots on-line related to the book arts, especially those pertinent to the Northwest. And if you have set up a website since the 2006 GBW directory, please let me know so I can add it to our links. If you would prefer not to have your website listed, please let me know that also.

Gallery

2007-10-08T13:55:00.000-07:00

Finally, why not celebrate we’re all up to with a gallery of images? I thought it might be fun to inaugurate this feature by sharing work in progress. Just send me a decent jpg file of something you’re currently working on, along with a couple of sentences about what it is and what stage it’s at in the photo.

Here are a few early examples. I hope to have many more to share in the November newsletter.

From Sue Allen:

Around Mount Hood: 12 Months - 12 Directions, showing the sides and seasons of Mount Hood.This little booklet in progress uses my note cards (reproduced on inkjet) of my original screenprints.I have included on the inside of each "card" the pictures, stats and stories of that trip. It is bound in book cloth sewn with 2 needles and glued top/bottom of spine and edges of front and back cover.

From Susan Collard:

I'm in the early idea phase on a book called Aquarium Ballet, with collages drawn from Volume 2 of a 1959 Encyclopedia Britannica. The format's still up in the air and nothing's been glued down.

From Roberta Lavadour:

a tantalizing glimpse of Relative Memory