For 2014, San Diego Book Arts has lowered the price of our workshops; we offer what may be the best deal in the country for programs of this quality. Our non-member price includes an SDBA membership. These workshops will fill fast, so don't wait until the last minute to register. Please read our new Policies page.
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In this three-day workshop we’ll start with plain white canvas and add layers of imagery with paint, stencils, screen printing, and foiling. While the canvas is drying, we’ll work on a variety of paper surfaces, such as drawing paper, brown paper and deli paper, and we’ll use screen printing, stencil, foiling, mono-printing techniques, our own carved stamps, and more to alter their surfaces. Using an inkjet printer, students will also create their own silk screen from a hand-drawn image. Once our painted canvas has dried, we’ll use it to create the cover of a gorgeous one-of-a-kind hand-painted fabric journal or sketchbook filled with our altered papers and canvas. Edges will be finished on a sewing machine provided at the workshop.
Sue Bleiweiss is a full-time fiber artist living in Massachusetts. Working primarily with her own hand-dyed cotton, she creates vibrant, colorful art quilts that delight the eyes of viewers and draw them in for a closer look. Her work resides in private collections worldwide and has been featured in numerous books. Sue is the founder of the Sketchbook Challenge blog and the author of the companion book, The Sketchbook Challenge: Techniques, Prompts, and Inspiration for Achieving Your Creative Goals. She has also co-authored Creative Ways with Books & Journals and has published articles in several internationally popular fiber and craft magazines. You can see more of her work at suebleiweiss.com
In this two-day workshop, we’ll make and use stencil and mask sets of realistic or imaginary fronds, and then experiment, using them with layers of gesso and paint on paper. We will explore different ways to make your own stencils and how to use them as tools and as elements on painted pages. Starting with backgrounds we create, full of texture and color, we will study and apply the positive and negative aspects of our stencils. Our completed work will be made into journals, chronicling our efforts.
Michelle Ward is a mixed-media artist, freelance graphic designer, and workshop instructor. She enjoys experimenting in different dimensional art forms but always returns to her favorite: working with paper and paint in journals. She is a regular contributor to Somerset Studio magazine, and her work can be found in several books on journaling and related paper arts. She is a rubber stamp and stencil designer, operating Green Pepper Press from her home studio in New Jersey. Visit her blog at michelleward.typepad.com; and to learn more about her rubber stamps, visit greenpepperpress.com
In this two-day workshop learn to make three distinct and elegant Japanese bindings and a traditional chitsu case. The far east is where paper originated, and some of humankind's earliest bindings come from there as well. Many of these early binding styles, such as the four-hole binding, are still in use today. In this class we will make a Kangxi binding with silk thread and twisted paper thread; a receipt book with tassel; and a butterfly book. We will learn valuable techniques such as trimming a clean edge with only wooden boards and a Swiss knife; tearing small pieces from large sheets, and how to distinguish varying types of handmade paper. Using Asian handmade paper for text and wheatpaste for adhesive, we will discuss how Japanese binding styles respond to the light, thin paper generally used. For the finishing touch, you'll craft a traditional chitsu wrap to complement and encase your trio of books.
nutritious eye candy on the web at: bookislandbindery.com
Embrace your creativity in this three-day workshop exploring the digital print process on alternative surfaces — just about anything that will fit through a direct-pass-through printer. We’ll learn not only how to construct our own surfaces, but also how to prepare ready-made surfaces such as fabric, cheesecloth, and metal mesh for printing. Your exploration of the alternative digital printing process will help you master digital printing at a new level of expertise. During the workshop we will discuss which printers to use for a variety of projects and why. For the workshop itself we will use one of the current Epson art printers.
The artwork of KathyAnne White has been exhibited in solo and group exhibitions in museums and galleries throughout the United States and abroad. Her work is in the collections of the Museum of Arts and Design, the American Folk Art Museum, the Archives of American Art of the Smithsonian Institution, and the Phoenix Airport Museum. White is the recipient of an Artists Project Grant and a Professional Development Grant from the Arizona Commission on the Arts, and an artist residency in Yosemite National Park. KathyAnne has been featured in a variety of arts magazines, including Fiber Arts, Surface, American Style, and Folk Art, and has been named a “trendsetter” in Art Business News. She writes a column for Digital Art Creation magazine, published quarterly on the Internet. Her self-published book, Digital Printing Alternative Surfaces: The Definitive Source, is available at Blurb.com. See her work at www.kathyanneart.com and www.digitalalternativesurfaces.com
Following the tradition of making reference to other images and narrative, in this four-day workshop we will investigate ways to combine text, imagery, and cloth, using magazines, manuscripts, old books, and photocopies as a starting point for textile-based work. Cas Holmes will introduce her experimental approach to developing textile-based work and mixed media, collage, stitching, books, and sculptural work. You will develop a sketchbook/journal reflecting your own journey and interests. Through an imaginative approach to collage, students will achieve greater confidence in composition, color, design, and their own mark-making skills.
Artist, teacher, and author Cas Holmes is a senior tutor at West Dean College and regularly holds workshops with guilds and other groups in the U.K. and abroad. She trained in painting and photography at the University of Creative Arts, Kent, followed by further scholarships for research in Japan and India (supported by the Winston Churchill Memorial Trust Japan Foundation, and Arts Council England respectively). She likes to use discarded items in her work, which is informed by her drawings and photographs, reflecting personal narratives, places visited, stories of her grandmother, and old and forgotten textiles.
Books don’t always have to be viewed one page at a time. In this two-day workshop we will use long-stitch sewing to make books that can be read in your hand, hung on the wall, or viewed on a platform as free-standing sculpture. We will use wood, copper, and papers for the cover, which can be shaped as you like. Mixed-media painting will be used to develop the pages, which will be sewn to the wooden cover. You will develop handwriting to use as content and image in these illustrated manuscript books. You may use nonsense text, or any other text you wish to bring. Handwriting exercises, intuitive work practices, and the use of alternative tools for writing will complement and enhance your writing. Words and your own handwriting will become less scary! Besides the papers we develop in class, you may also bring your own art for the pages.
Laura Wait lives in Santa Fe, New Mexico. She works in both painting and book arts, using words as a central part of her imagery. Her work, whether pages of a book or a group of paintings, evolves in series as she investigates visual aspects of a symbol or idea. She holds a degree in Art History from Barnard College, Columbia University, as well as certificates in Printmaking and Bookbinding from Croydon College of Art in England. She exhibits her art widely, and her artist’s books are in many private and public collections, including the Library of Congress. She teaches painting and book art workshops across the United States. See more of her work at laurawait.com
You will start off this two-day workshop by completely gutting a commercially made book, in preparation for reconstructing it to make an artist’s book that represents your individual creativity. You will learn several unique and versatile ways to bind single sheets of paper, and we will review a variety of mixed-media techniques for “painting” without paint. Creating pages in your own artistic voice, you will be guided through lessons that include making pockets, folds, flaps, and mini-books; altering personal photos; creating mail art; trying out various approaches to collage; using found objects; and modifying commercial materials to make them your own. Besides your very special handmade book, you will take away many mixed-media techniques you can apply to future projects.
Artist, author, and instructor Seth Apter lives in New York City. His artwork has been exhibited throughout the United States and Canada and can be found in books, independent zines, and national magazines, including Somerset Studio, Cloth Paper Scissors, Studios, Artful Blogging, and Somerset Apprentice. He is the voice behind The Pulse, a series of international, collaborative projects that are the basis of his book The Pulse of Mixed Media: Secrets and Passions of 100 Artists Revealed. He is also the artist behind two workshop DVDs: Easy Mixed-Media Surface Techniques and Easy Mixed-Media Techniques for the Art Journal. His second book, The Mixed-Media Artist: Art Tips, Tricks, Secrets and Dreams From Over 40 Amazing Artists was released in October, 2013. It’s as a part of his book tour that he’s coming to San Diego for this workshop. His blog is thealteredpage.blogspot.com
French Link Stitch: This take on an historical binding has an exposed spine with a twisted herringbone pattern visible through slots in the covers. The sewing is elegant and unique. In this workshop, you will become comfortable with the sewing pattern, then cut and fold the cover and lace it to the text. Adapted by conservator Christopher Clarkson, it has many variations and is a wonderful soft-cover alternative for anyone interested in using his or her own artwork for the outer wrap of a book. Crossed Structure: This amazing non-adhesive structure is sturdy as well as attractive. The signatures are sewn onto tabs that are then woven into the cover. Created by Italian book conservator Carmencho Arregui to provide gentle protection and ease of use to fragile old volumes, this structure now inspires book artists and fine binders alike. In this class we will create two of the variations, and you will go home with instructions for them all.
Juliayn Coleman received a certificate in bookbinding and book conservation from the North Bennet Street School in Boston, Massachusetts in 2003. Her books have been shown at the Boston Architectural Center, Columbia College, and the Chicago Public Library. She is a member of the American Institute for Conservation, the Guild of Book Workers (US) and Designer Bookbinders (UK). Recent clients include the Field Museum of Natural History, the Chicago Symphony Orchestra, Blackpoint Editions, and others. She currently resides in San Francisco, California. You can see more of her work at bookisland.wordpress.com.
You may register for this workshop using a credit card with our PayPal shopping cart. Non-member price includes a one-year membership in SDBA. (Note: each workshop requires a separate check or transaction.) If you prefer to pay by check, mail it, made out to SDBA, with your name, address, phone number, and email address to SDBA, P.O. Box 90562, San Diego, CA 92169. Be sure to include the name of the workshop. To insure your place, send an email with the same information to firstname.lastname@example.org. Refunds will be made only for cancellations received two weeks (14 days) prior to the workshop start date, unless there is a wait-listed person available to fill the vacancy.
In this creation-transforming two-day class you will learn how to use the magic tool every artist should have, the amazing Dremel tool. You will drill, cut, carve, etch, shape, polish and grind non-traditional book making materials such as, glass, plastic, metals, wood, tile and more. After this class your material options will be limitless. You will be able to make books out of just about anything! In class you will try your hand at working with various materials and using numerous bits for different purposes and effects. As you play with materials you will be making pages for your sample book for later reference.
Jill Timm is a full-time, award winning, book artist focusing on small editions of hand crafted books that often portray the spirit and aesthetics of the natural environment. A varied background in graphic design, photography, teaching, marketing, and business, have all come together in Mystical Places Press. Jill has earned a good share of awards and professional achievements for her work in both fine arts graphics, photography, graphic design, and art direction. She has work in many corporate, university, public and private collections worldwide. Her artist books are included in several consumer crafts and bookmaking books. Articles about her books have been published in numerous periodicals and books. See her work at www.mysticalplaces.com.
The main purpose of an album is to contain and preserve images. Students will make a classic album with a round spine, using cloth for the covers and previously pared leather for the spine. The books will have a recess window on the front cover to determine front and back covers. The album will be sewn on Ramieband tapes and it will lay flat when opened. Folded tabs will be used to create volume on the spine's side to prevent the fore edge from being wider than the spine when the pictures are glued in. If time allows there will be a demonstration for paring leather with a Scharf-Fix.
Lucía Farías received her bachelor’s degree in Fine Art from Universidad de Monterrey in México and has an MFA in Book Arts/Printmaking from the University of the Arts in Philadelphia, Pennsylvania. She worked for Jace Graf at Cloverleaf Studio in Austin, Texas. She manages Oveja Verde, her bindery, where she also teaches workshops. Her work has been exhibited nationally and internationally. Lucia lives and works in Monterrey, México. You can see more of her work at www.ovejaverde.com.mx
Since 1985, when I dove into Artists' Books, my passion has been in inventing new structures for my works, Turning Leaves is one of my inventions. Imagine a box, cut it in quarters diagonally. Then we have four empty spaces. They will be hinged to a piece of flat cardboard so that they are connected. To cover and to fill the empty spaces is where your artistry comes in. You could use your own print proofs or purchased decorative papers, and collage with 2- and 3-dimensional materials is encouraged. The spaces will be filled with materials from nature (e.g., dry leaves, nuts, shells) or perhaps a broken mirror (in the case of Turning Leaves). The structure can be moved into many positions to become sculptural and architectural.
Kumi Korf was born in Tokyo, Japan, and studied architecture at Tokyo University of Fine Arts. She has an MFA degree from Cornell University in print-making. She had an apprenticeship at Dieu Donné Papermill in 1987, and developed her own technique to create works using kozo fiber with inclusions of printed paper, cloth, threads, and pigmented linen pulp. She received a fellowship at Bob Blackburn’s Printmaking Workshop in 1990. Her recent artists’ bookworks include intaglio prints, letterpress, and structural inventions for bookbinding. She has taught workshops on artists’ books at The Center for the Book Arts in New York City, San Francisco Center for the Book, Women’s Studio Workshop, Rosendale, NY, Center for Contemporary Printmaking, Norwalk, CT, as well as at many colleges and universities. Her works are included in many public and private collections, nationally, and internationally, including the Library of Congress, New York Public Library, Victoria and Albert Museum, Tate Library, and Getty Center Research Library. Find out more about her at www.kumikorf.com.
The Greek binding is an ornate historical binding dating from the 7th century. This stitch has many similarities to the Ethiopian Style binding, but has a strikingly different effect. We will maximize this difference by sewing with two different colors of thread. The elegant sewing structure, combined with wooden covers, opens a wide range of possibilities for both the beginner and the advanced bookbinder. Using simple hand tools, you will drill, shape, and smooth your book covers. Finishing includes sealing your wooden covers with milk paint creating the leathery appearance that I use on much of my work. Once our books are painted, sealed and sewn, we will attach the Centipede stitch as an adornment to our book. The centipede binding is easily mastered after one understands the structure and workings of the Greek binding.
Daniel Essig is a studio artist and workshop leader living in Asheville, North Carolina. Daniel teaches book arts workshops at book centers, craft schools and colleges. He is a recipient of the North Carolina Artist Fellowship Grant. Dan exhibits his work nationally and is in numerous private and public collections. Recently his work has been collected by the Smithsonian Renwick Museum and The Charlotte Smith Collection of Miniature Books at the University of Iowa Libraries. Many of Daniel’s sculptural pieces are featured in The Penland Book of Handmade Books. Some of his work can be seen at www.danielessig.com.
This is a workshop devoted to discovery and to breaking all the rules. We will delve deeply into improvisation and experimentation, learning how some of the best art comes from getting our minds out of the way. Working with basic materials such as ink and string, mud and cardboard, we’ll gradually build a visual vocabulary by following a set of game-like instructions. We will experiment with drawing, word play, chance operations and outsider techniques, surprising ourselves with the results. On the second day our projects will be more directed, leading to books, drawings and small sculptures. The process will end with a class exhibition and a discussion about the qualities that contribute to successful art. For all levels of experience: Novice artists will learn many useful methods, and experienced artists will learn new ways to enter their art making.
Sas Colby has more than forty years of experience making, exhibiting and teaching art. She made her first artist’s book in 1972 and is considered a pioneer in the genre. Her innovative workshops are combinations of the nontraditional with a solid grounding in art basics. She has inspired many with her ability to make the creative process come alive. Sas’s mixed media artwork has been exhibited and collected internationally, and can be found in galleries including the National Gallery of Australia, in Canberra, and the Bibliotheque Nationale de France, in Paris. A survey exhibition, “Sas Colby: Twenty Years of Book Thinking,” traveled from Santa Fe, New Mexico, to Philadelphia, Pennsylvania, and Oakland, California, in 1995. She currently teaches workshops in Taos, New Mexico, and Mallorca, Spain, and at the San Francisco Center for the Book. Colby works in series, with art inspired by travel, as in her Buddha series. Books and paintings elaborating on her alter ego, a Bunny, have evolved since 1999. You can see more of her work at www.sascolby.com .
There are many colorful stories about the earth’s invention, and in this class we will add to that mythology. We will create rivers, ponds, lakes, streams and other bodies of water on our own invented landscapes, adding flora, fauna, and evidence of human life. As we use lots of layering and texting techniques, we may see flowers, pastures and birds appear. After painting our personal territory, we will deconstruct it, and bind the results into a case-bound structure, with a shadow box built in to store some treasures from the journey. The treasures can be paper constructions, jewelry, any repurposed things that will fit with the subject and the space. We will cover numerous technical skills: covering boards, secrets of gluing, making a case binding, box making and learning to fit diverse elements into a book structure. The creative part will come in with the paste painting that becomes our landscape. Techniques include using salt, alcohol and other topical treatments to create texture, and composing abstract elements to simply create a large and luminous landscape. No experience with painting is necessary.
Jill Berry is a mixed-media artist, teacher and mom in the foothills of the Rocky Mountains who makes lots of books, paintings and other story-telling structures. Born and raised in California, she also spent a year doing graduate study in Italy, where she learned to see a bigger picture of both art and the world in general. She focuses her work on text, color and social issues, and it often involves maps, symbols, houses, housewives and the mystique of charisma. Her work can be seen in Letter Arts Review, Somerset Studio, In Flight and various other publications. Her handmade books are in the permanent collections of the Newberry Library in Chicago and the Denver Public Library. She has taught at three universities in Colorado and other institutions nationally and feels that art is necessary, and accessible to everyone. You can see her work at jillberrydesign.com .
In this workshop students will be introduced to the basic Limp Vellum binding structure. Developed in the 14th Century and used widely for commonplace books, this structure is made with a single piece of vellum folded around the text block, with the front and back covers being folded double. Students will sew the text block on leather straps, which will be attached to the vellum cover. We will make one headband on a sample card and then sew headbands onto the text block. All participants are expected to come away with a finished Limp Vellum book and will have acquired the skills to make this book at home. Bookbinding experience, especially familiarity with sewing signatures, is recommended.
Lucía Farías received her bachelor’s degree in Fine Art from Universidad de Monterrey in Mexico and has an MFA in Book Arts from the University of the Arts in Philadelphia, Pennsylvania. She worked for Jace Graf at Cloverleaf Studio in Austin, Texas. She manages Oveja Verde, her bindery, and teaches foundation classes at Universidad de Monterrey as well as bookbinding workshops. Her work has been exhibited nationally and internationally. She lives and works in Monterrey, Mexico. You can see more of her work atwww.ovejaverde.com.mx.
Developed as early as the 4th Century, the Ethiopian binding style has withstood the test of time. The elegant sewing structure, combined with the use of traditional wooden covers and alternative mica pages, opens a wide range of possibilities for both the beginner and the advanced bookbinder. In this three-day workshop, using a variety of tools, both manual and power, you will drill, shape, and smooth your book covers. For the pages we will use a combination of paper and composite mica. The mica is a material designed for lampshades, but also works well as an element in book arts and collage. Finishing includes sealing your wooden covers with milk paint and a coating of wax, as well as adding a leather closure. As time allows, Daniel will share various features he includes in his own bindings and sculptural books.
Studio artist and workshop leader Daniel Essig lives in Asheville, North Carolina. He teaches book arts workshops at book centers, craft schools and colleges. Dan is a recipient of the North Carolina Artist Fellowship Grant. He exhibits his work nationally and is in numerous private and public collections. Recently his work has been collected by the Renwick Gallery of the Smithsonian American Art Museum and the Charlotte M. Smith Collection of Miniature Books at the University of Iowa Libraries. Many of Dan’s sculptural pieces are featured in The Penland Book of Handmade Books. See more of his work at www.danielessig.com
For our January 2012 Annual Meeting, San Diego Book Arts is sponsoring a talk by two of the founders of Women’s Studio Workshop, Executive Director Ann Kalmbach and Artistic Director Tatana Kellner. Women’s Studio Workshop is an artists’ workspace founded in 1974 in Rosendale, New York, a focus for artists interested in printmaking, papermaking and book arts. WSW is the largest publisher of hand printed artists’ books in the country with over 190 titles published.
A traveling exhibition of 40 artists’ books published by WSW, Hand, Voice & Vision: Artists’ Books from Women’s Studio Workshop which opened last winter at the Grolier Club in New York City, is currently on display at Smith College in Massachusetts, and is scheduled to appear at Scripps College in Claremont, California in early 2013.
In conjunction with the talk, approximately 70 artists’ books will be on hand. Kalmbach and Kellner will discuss the books in terms of structure as well as content. Participants will have the opportunity to handle and read the books.
You can learn more about the history of WSW, the Artist-in-Residence programs, Art-in-Education Residencies which draw in fifth grade and high school students, and many other activities, at www.wsworkshop.org and www.handvoicevision.com.
Please note, this meeting is free and open to the general public. This is a great opportunity for artists of all media; tell your friends, spread the word.
Students will develop handwriting to use as content and image in manuscript books. Handwriting exercises, intuitive work practices, and use of alternative tools for writing will complement and enhance students’ own handwriting. Mixed media painting will be included in the finishing of pages. You may use nonsense text, or any text you prefer to bring. Words and your own handwriting will become less scary!
A non-adhesive codex style of sewing will be utilized, with a sewn on board using leather straps with linen thread. Strong functional sewing will result in a book that functions and can be handled. Various cover attachment methods such as slots or rivets or sewing will be shown, so that students can choose their own path. Examples will be available for further study. Students will be able to do more than one book if they are efficient or experienced. Many different covering materials could be used including handmade paper, collage, and thin metal. We will use the papers we develop in the class for the covers.
Laura Wait’s experience as a bookbinder and conservator for 20 years is the basis for her expert bookbinding technique in the English tradition, including leather fine bindings and medieval-style modern wood binding. Wait divides her time between creating one-of-a-kind artist’s books and encaustic painting. Words as image play an important role in her work, acting as pattern, texture, and occasionally content. She uses diverse media, including her own prints, often cut up and reformatted as parts of books. In turn, the book projects act as inspiration for her paintings and prints. Wait teaches book arts workshops throughout the country, and her artist’s books are in many private and public collections, including the Library of Congress. See her work at www.laurawait.com.
Learn an innovative binding structure that was designed by the instructor. The Twined Binding employs a timeless technique that is seen in Plateau baskets, medieval tapestries and other items created by cultures across the globe. The finished books feature a rich, all-over pattern on the spine and the structure is ripe for development of variations on the basic design.
Roberta Lavadour teaches book and paper arts in a wide range of venues, from elementary schools to universities to book arts gatherings like Paper and Book Intensive. She was a featured presenter at the 2007 Guild of Book Workers Standards of Excellence Conference and has contributed to The Bonefolder and other book arts periodicals. Her work has been featured in several books on book arts, including 500 Handmade Books.
The drop-spine box, popularly known as the clamshell box, opens like a book. It is constructed with an outer case, which has two interlocking trays attached to it. Versatile, it can be used to protect and house books, prints, photos, or other unusual objects. Each student will first make a pre-cut 8-1/2 x 11 inch box to learn the sequence of assembly and covering. Then they will have an opportunity to custom make a box for their own personal item, no bigger than 11 x 15 inches, by 1-1/2 inches deep. All boxes will be covered in bookcloth, and lined inside with paper. A clamshell box is a three-dimensional object, and will require spatial thinking and some precise measuring and hand cutting. Simple and useful techniques will be taught to ease this challenge. No prerequisite, but binding experience is a plus for this class.
In this workshop, we will use three simple book structures and collage to explore some of the many ways that text and image can work together to create meaning. Participants will be asked to work playfully and creatively to make 6 or more, small books, focusing on specific ways that text may be used to support, direct or subvert the meanings of imagery. We will also consider ways that different texts can come together in a single book to refine or to redirect meaning. At the end of the workshop, a book board slipcase will be made to house these models.
Lisa Olson, a long-time member of San Diego Book Arts, is a mixed media artist who began making books because of an interest in incorporating text into her work. Her current work involves combining text, image and object in installation format. Lisa is a former San Diego resident and Bay Park Press member who now lives and works in Belmont, Massachusetts. Lisa has taught at the University of Michigan School of Art, the Fort Point Studio School in Boston; has conducted various workshops in book and paper arts around the Boston area and is the proprietor of Parula Press, a small letterpress and printmaking workshop. You can see her work here:
Combining a variation of a collaborative technique invented by Surrealists with a book form generally considered a child’s toy we will create a unique journal with magical and intriguing covers. The nature of the Exquisite Corpse covers will hopefully lead to imaginative and collaborative content. The covers will be constructed from composite mica, tyvek and/or handmade papers incorporating drawings and collage. Although the covers will feature Jacob’s ladder hinging, our journals will be bound with a French twist or similar binding.
Daniel Essig is a studio artist and workshop leader living in Asheville, North Carolina. Daniel teaches book arts workshops at book centers, craft schools and colleges. He is a recipient of the North Carolina Artist Fellowship Grant. Dan exhibits his work nationally and is in numerous private and public collections. Recently his work has been collected by the Smithsonian Renwick Museum and The Charlotte Smith Collection of Miniature Books at the University of Iowa Libraries. Many of Daniel’s sculptural pieces are featured in The Penland Book of Handmade Books. Visit his website at www.danielessig.com.
Artist and bookbinder Susan Joy Share is Internationally known for her performances, sculptural books, and ceramic tile murals. In this free lecture she will be talking about her work.
This workshop will focus on the book as sculpture, structure, and container for words and images. We will examine ways in which several structural and visual ideas may be incorporated into a single bookwork. The class will cover traditional and experimental constructions and methods of gluing, sewing, folding and hinging. We will give special attention to the closures which fasten our books, the ritual involved in opening them, and the configuration of the opened book. These considerations will be a starting point for experimentation and personal direction. We also will view slides and sample books to generate ideas.
Artist and bookbinder Susan Joy Share worked as a book conservator at the Metropolitan Museum of Art, the New York Historical Society and the Brooklyn Museum of Art. She has taught at noted institutions including the Center for Book Arts, NYC; Anderson Ranch Arts Center , CO; Penland School of Crafts, NC; Haystack Mountain School of Crafts, ME; and the University of Alaska Anchorage.
Share’s artwork is in collections at the Anchorage Museum of History and Art, the National Museum of Women in the Arts, The Brooklyn Museum of Art, the Victoria and Albert Museum. She has exhibited and performed throughout the US and in England, Ireland and Hungary. She has received grants from the Rasmuson Artists Fellowship Program, the Alaska State Council on the Arts and the New York State Council on the Arts. Share is best known for her performances, sculptural books and ceramic tile murals.
In this fast-paced one day class on March 13, participants will learn the skills that form the basics of most artist’s book structures. Students will leave with a full set of structural models and instructions that will serve as a reference for future explorations of their own artist’s book projects. This class is also helpful for teachers who want to incorporate book arts projects into their curriculum.
The sewn-board binding is a great choice for journals, photo albums, illustrated texts and other books where opening flat to any page is desirable. In this workshop on March 14, we’ll start with the simple structure, learning the basics of good binding practice along the way, then explore variations and decorative elements that can be applied. No previous binding experience necessary for either workshop.
Roberta Lavadour teaches book and paper arts in a wide range of venues, from elementary schools to universities to book arts gatherings like Paper and Book Intensive. She was a featured presenter at the 2007 Guild of Book Workers Standards of Excellence Conference and has contributed to The Bonefolder and other book arts periodicals. Her work has been featured in several books on book arts, including 500 Handmade Books. Her work can be viewed at www.missioncreekpress.com.
Exposed bindings are the most versatile bindings. By learning just the basic stitching of different structures, a whole world of possibilities opens for the student to mix and match the different sewing patterns, or even develop their own once they understand the principle.
In these books the signatures are sewn directly onto the spine and they all have soft covers. Sewing cards will be made for at least 4 different patterns. Starting with a 3-signature pamphlet, Traditional Long-stitch, Italian Staggered and Link Stitch.
Participants are expected to have at least four finished books at the end of the workshop. All exposed bound books open flat and are almost non-adhesive! Students should save the sewing cards for future reference. No previous experience required but helpful.
Lucía Farías received her bachelor’s degree in Fine Art from Universidad de Monterrey in Mexico and owns an MFA in Book Arts from The University of the Arts in Philadelphia, Pennsylvania. She worked for Jace Graf at Cloverleaf Studio in Austin, Texas. She manages Oveja Verde, her bindery and teaches foundation classes at Universidad de Monterrey as well as bookbinding workshops. Her work has been exhibited nationally and internationally. She lives and works in Monterrey Mexico.
To reserve your place, send a check (made out to SDBA) to Al Rodríguez, 736 Sutter Street, San Diego, CA 92103, or use your credit card with our PayPal shopping cart. Non-member price includes a one-year membership in SDBA. (Note: each workshop requires a separate check or transaction.)
In this class participants will use an intuitive approach to making an artist’s book, a unique work of art in book form. Using rich, colored images, we will create a unique codex-format book with painted pages and covers. The emphasis will be on intuition and the hand, rather than computer-generated imagery. Drawing inspiration from paste-paper techniques, participants will paint or decorate pages, enhancing them with stencils and stamps. Handwriting or text may also be included. The pages will be bound together in a drum leaf binding, an excellent structure for artists, made of a series of single, one-sided pages. Participants are welcome to bring their own art to discuss adaptations of the drum leaf binding for their particular projects. Learn more about Laura Wait and her unique books at www.laurawait.com.
In Painted Pages Jill Berry will show participants many of the techniques she uses to get patterns and images onto paper. Participants will incorporate symbols from all over the world as patterns, learn how to layer colors without creating mud, and produce velvety-surfaced papers that can be folded, torn, bound, and stitched into whatever book arts project you have in mind.
Participants in All the Elements Book will create an illustrated page to transform into folios for a book made of wood, stone, thread, metal, and paper. Using symbols from the many samples provided, students will paint a freeform or mandala design with waterbased media, tear the large page down to smaller pages for a completely illustrated original book, and stitch the pages into the wooden spine embellished with beads and charms. We will be working with a visual language that comes from many areas of the world: African symbols, rock art, cave drawings, hobo glyphs, and hieroglyphics. Text will be added if time permits. No drawing experience is necessary. See Jill Berry’s work at www.jillberrydesign.com.
To reserve your place, send a check (made out to SDBA) to Al Rodríguez, 736 Sutter Street, San Diego, CA 92103, or use your credit card with our PayPal shopping cart. (Note: each workshop requires a separate check or transaction.) Refunds will be made only for cancellations received two weeks (14 days) prior to the workshop start date, unless there is a wait-listed person available to fill the vacancy.
As mixed-media artists we are fascinated with the potential of transferring images to surfaces. Acrylics from A to Z is a lecture and demo of various acrylic media and their inherent possibilities. It covers different types of pigments, different viscosities and types of paints and grounds, and color mixing. Learn how to extend paint to save money, how to mix paints with gels to create unique textured surfaces, and how to create surfaces for watercolors, graphite, charcoal, oil and soft pastels, colored pencil, and ink-jet printing. Discover iridescent and interference paints and the new OPEN Acrylics with longer drying times for increased blendability. The lecture also covers lightfastness of pigments and health and safety concerns.
If you would like to attend the Acrylics from A to Z Demonstration, which is FREE, but do not wish to register for the class, please email Al Rodríguez at email@example.com. Be sure to include your full name and email address.
In the two-part Transfer Class, participants will work with a variety of acrylic products. Part 1 covers wet acrylics, known as pastes and gels. Each of these “receivers” of the transfers produces a different kind of surface when dry. Also explore the world of skin transfers, created with acrylic products that dry clear or translucent, providing the opportunity for layering in mixed-media applications. In Part 2 learn how to apply the transfers in mixed-media projects. Participants will also be able to try out a new line of acrylic products designed to work with ink-jet printers, to allow printing on previously unprintable surfaces such as metal and wood. To find out more about Chris Cozen’s work with collage and mixed media, visit her website www.chriscozenartist.com or check out her Working Artist page on www.goldenpaints.com.
Delve into the world of color using paper collage as the main form of expression. Discussion of the basics of color dynamics on the first day will segue into a digital slide presentation examining color concepts and vocabulary, and then a “scavenger hunt” to capture colors and shapes and explore the potential of monochrome. Returning to the studio, we will collage our discoveries. On the second day, explore the dynamics of complementary colors, again translating the results into a collage. And finally, experiment with “chords” of color. Some activities will be collaborative; others individual. At the close of the workshop, each participant will have a broader understanding of the dynamics of color and of individual responses to color and collage. Learn more about Gail Rieke’s work with color and collage at www.riekestudios.com.
To reserve your place, send a check (made out to SDBA) to Al Rodríguez, 736 Sutter Street, San Diego, CA 92103, or use your credit card with our PayPal shopping cart. (Note: each workshop requires a separate check or transaction.)
Constructed as a series of handmade envelopes housing letters and bound together in a book, this astonishing Hedi Kyle design provides a lovely way to preserve and honor your precious old letters, or to invent a story from scratch. By changing the dimensions of the paper used, you can make envelopes to accommodate whatever letter size works for your book, and the sewn inner cover can easily be adjusted to fit. The folded outer nonadhesive cover fits snugly, hiding the sewing on the inside cover and echoing the envelope fold of the pages.
To reserve your place, send a check (made out to SDBA) to Al Rodríguez, 736 Sutter Street, San Diego, CA 92103, or use your credit card with our PayPal shopping cart. (Note: each workshop requires a separate check or transaction.)
The foundation of Hedi Kyle’s deceptively small and simple book “flag book” structure is an accordion folded spine. Flaps attached to both sides of each of the spine’s “mountain” folds allow the artist to fragment and layer a number of complementary or contrasting images and narratives. When the flag book spine is pulled fully open, the fragmented images on the flaps come together to create a large, panoramic image. This transformation is accompanied by a delightful flapping sound. The spine and covers provide opportunities for additional imagery.
In this two day workshop, students will make two different styles of flag book. For both styles a sample will be made from kits provided by the instructor, plus a more finished book with students’ imagery and hand written text will be made for one or both as time permits.
Students will experiment with complementary and contrasting text and images. The class will discuss the effects of different spine and page dimensions, direction of motion, and which images fill be most successful for different book styles. Students will learn a tidy, non adhesive method of covering boards and use a jig to facilitate quicker, more precise assembly.
True to Life, View, and Full Circle II, by Julie Chen. See more of Julie’s work at www.flyingfishpress.com.
The Cross-Structure Binding is a contemporary binding which resulted from Carmencho Arrugui's study of pre-16th century bindings. This variation was developed by Hedi Kyle and uses a heavy cover paper with paste paper patterns on both sides. The cover is constructed from one long strip of two sided paste paper. The cover is folded in such a way that the covers are double thicknesses of the paste paper and the text block is sewn directly into the cover using strips cut into one end of the paste paper. These strips are laced through the spine and folded around to form a decorative pattern of crossing strips of the paste paper on the spine. This is a non-adhesive binding.
The Secret Belgian Binding is a historical binding, rediscovered by Hedi Kyle, and has been attributed to the Belgians. Its origins are still obscure. This hard cover book can be made with paste paper or other decorated papers or book cloth. The two covers and the spine piece are constructed of binder’s board covered with paper or cloth; each piece is separate until sewn onto the text block. The text block is sewn separately. The covers are sewn onto the text block using a pattern of stitches, which traps the spine in place with a set of loops back and forth across the spine between the front and back covers. This binding yields an attractive and very sturdy book with a decorative pattern of colored waxed linen threads on the spine.
Joan Michaels Paque is a multi-media artist who has exhibited and taught internationally throughout Australia, Japan, Europe, Mexico, Canada and the United States. She studied at Layton School of Art and Marquette University on scholarship. This experience was a foundation for applications in both literary and visual art forms including the authoring and publishing of three books and writing for art journals. Her artworks are found in many prestigious public and private collections.
This hands-on Paper Arts course includes both traditional and innovative building and binding techniques. Among methods introduced are sewn, woven, interlocking, pop-up, origami and kinetic structures. The use of both conventional and unorthodox materials is illustrated along with creative concepts, ideas and applications. Architectural and engineering principles are explored along with expedient and simplified methods of working. Participants will make prototypes and maquette studies that are applicable in 2D and 3D for later adaptation into media, material and technique of choice. Emphasis is on kinetic structures. Instructor’s non intimidating, enjoyable methods encourage an empirical, problem solving approach and individual style development.
Joan Michaels Paque includes the results of her research, development and experimentation with complex pleat and twist folds and tessellations that resulted in a series of unique sculptural kinetic books. Course content, for both the serious and the curious, is also applicable in the fine and graphic arts, sculpture and in teaching.
For more information about Joan Michaels Paque, visit her Web site at www.joanmichaels.paque.com. Photos of her work may be seen at www.flickr.com/photos/83855901@N00/.
In 30-some years of writing and teaching, poet/writer Diane Gage has amassed a treasure trove of strategies and tactics to get interesting words going somewhere together on a page. In this class she will share some of her best tricks and tips to help you get yours going too. Come prepared to play with lively words in whole new ways!
This event is supported by Poets & Writers, Inc. through a grant it has received from the Hearst Foundation.
Two of Victoria Rabinowe’s dream books.
Create a book filled with dream-inspired artwork that investigates the realm of enchantment, the landscape of myth, and the genius of the night mind. Guided techniques in dream work, image making and creative writing will transform the curious wanderings of the night mind into books filled with the archetypal themes of personal metaphor and symbolic imagery.
Bring a dream. It can be a recent dream or one from any time in your life. If you don’t consider yourself a dreamer, start now by keeping a journal, a pen and a small flashlight by the side of your bed. Ask for a dream before you go to sleep and stay in bed for a few moments in the morning before getting up and into the day’s activity. Train yourself to jot down any fragments and any dream material whether it makes sense or not. Try to take a moment at breakfast to reread and clarify your notes. If you are in the habit of journaling or meditating, take time to muse upon some of the characters, events or emotions that come up without any need to “interpret”.
All participants should bring a journal or notebook to work in for the workshop. We will do collage and writing dream exercises on Saturday before building our books and doing our final project on Sunday.
Victoria Rabinowe is a multimedia artist whose work is profoundly inspired by her dreams. She believes that dreams are one of the most authentic links to the creative source. Trained in advanced DreamTending at Pacifica Graduate Institute, she has taught over 500 workshops, seminars and retreats in the art and craft of dream work to artists, writers, therapists, teachers and spiritual guidance counselors. She is an annual presenter at the International Association for the Study of Dreams.
You can find out more about Victoria at http://victoriadreams.com.
In this seminar Sandra Kroupa will present some basic guidelines of professional practice for book artists based on the typical questions she answers on a regular basis. Topics that will be addressed are selling books to institutions, working with book dealers/galleries, exhibitions, donations, copyright, materials choices, packaging, publicity and editioning. She will talk about what the artist should know about the “how, what and where” in identifying their work. There will be time for participants to ask their own questions as well. Co-sponsored by San Diego Book Arts and the Athenaeum Music and Arts Library
In this illustrated lecture, Sandra Kroupa, Book Arts and Rare Book Curator at the University of Washington Libraries, Seattle, will look at artists’ books from the last twenty years, focusing on pieces that successfully balance the three main elements of books—text, image and structure. Ms. Kroupa hopes to introduce the audience to work of emerging artists, artists who are still striving for national recognition, while not missing the important names in the field. All the images will be drawn from the Libraries’ 14,000 volume Book Arts Collection.
Sandra Kroupa has worked in Special Collections at the University of Washington Libraries for nearly 40 years, most of that time involved with the book arts. Sandra writes, lectures, teaches classes, curates exhibitions and gives workshops on topics related to the book arts, both historical and modern. A founding member of the Book Arts Guild, a regional book arts organization begun 28 years ago, Sandra schedules lectures and workshops of visiting artists and acts as membership secretary of the group. She has apprenticed to a bookbinder, owns two letterpresses and takes as many workshops and specialized courses as possible to better assist students in understanding book history and creating their own books.
Create a small fabric book containing your story or poem. As you create your book from your fabric, you’ll learn transfer techniques to get your words on to fabric, basic sewing and embroidery techniques, and hopefully the joy of creating with cloth. Jane will supply the stiff interfacing for the book pages, a few book designs to choose from, fabric scraps, threads, and buttons. You bring an assortment of small pieces of fabric (4 or 5 ‘fat quarters’ (a fat quarter is a piece of fabric18x22”) sold at craft or fabric stores would be enough) sewing needles, scissors, and most importantly, your short story or poem. (Optional: sewing and embroidery thread, ribbons, buttons, charms or anything that fits the theme of your text.)
Questions?Jane@PlainJaneStudio.com See Jane’s art at www.PlainJaneStudio.com To reserve a spot in the work shop, send a check (made out to SDBA) for $65.00 members, $85.00 non-members, to Al Rodríguez, 736 Sutter Street, San Diego, CA 92103.
Did you ever wonder which gold to use on a project? Did you know that no two golds are exactly alike? Yvonne Perez-Collins will lead us through gold sampling of 34 products. This is an excellent opportunity to see a wide variety of gold inks and paints on artist quality white and black paper. You will test these fluids in your writing tools. Each participant will leave the meeting with two excellent reference sheets and three pages of information. At the end of the sampling, you may be surprised which pigments have become your favorites. To reserve your place, send a check (made out to SDBA) to Al Rodríguez, 736 Sutter Street, San Diego, CA 92103.
"The gold presentation I will be giving on June 9 will give you the opportunity to test just over $250 worth of assorted gold pigments. The sample sheets you create will help you make an informed choice on which gold pigment will be appropriate for your next project, whether it be for book pages/covers, collage, painting or calligraphy.
I look forward to sharing this informative morning with you. A $4 material fee will be collected for the art paper, hand-out and pigments."
–Yvonne Perez-Collins, Workshop Artist
I took this workshop recently and it was a fun and easy way to see a wide variety of products. It was easy to see that several were not what we thought they were and could then identify our favorites. I keep the sheets as my gold reference!
–Megg Sohn, SDBA Board Secretary
I took this workshop at a recent meeting of the Calligraphy group and can tell you that the information you will gather is invaluable. When will you ever have over 30 samples of gold media to sample? For fifteen bucks! I've already used the information on a piece I'm working on. And you don't have to be a calligrapher to use this media—I'm not. Gold is legendary in its ability to add sparkle and class to your work. Find out what does work and what doesn't work, for all that glitters is not gold.
–Al Rodriguez, SDBA Programs Chair
Dominic Riley studied bookbinding at the London College of Printing, and has worked in binderies in London, New York, San Francisco and for the last six years in the Lake District in England. He is a founder member of the bookbinding program at the San Francisco Center for the Book, where he teaches every summer. He also travels across the US teaching bookbinding. He is a past president of the Hand Bookbinders of California, and is currently Vice-Chairman of the Society of Bookbinders, and a Licentiate of Designer Bookbinders, the two UK based societies devoted to promoting the craft. His Design Bindings are held in many private and public collections, and he has won over a dozen awards in the last five years for his bindings.
Dominic Riley’s “ideal sketchbook” is based on a historical design that is relatively easy to produce, yet results in a very durable and functional binding. You will take home a book that you will be proud use. And even experienced paste paper makers will benefit from time spent with this creative and innovative designer. Dominic’s classes are a delight; comfortably paced, yet packed with useful information and techniques. To reserve your place, send a check (made out to SDBA) to Al Rodríguez, 736 Sutter Street, San Diego, CA 92103. Please be sure to specify which workshop(s) you want to attend.
The Eighth Annual Edible Book Tea
UCSD Geisel Library, Seuss Room
FREE to SDBA Members, Guests Public
(Funds raised in the raffle/silent auction go directly to support programs and exhibitions for SDBA members.)
The Edible Book Tea is just around the corner and to make it a success we need three ingredients: edible books or book related items, donated items, and YOU!
Thanks to Lynda Claassen, Special Collections Librarian at UCSD, last year’s tea was a great success. All who attended had a wonderful time seeing, eating, winning, and making books. Once again, Lynda has generously extended a welcome to SDBA and the Edible Book Tea. Please join us in the Seuss Room in UCSD’s Geisel Library and help make this year’s event truly special.
Invitations will be mailed mid-March for the Edible Book Tea. When you get your invitation, please return the enclosed RSVP cards and make sure to check off what you are bringing to the tea.
Those who are bringing edible books, items for the raffle, or otherwise participating, should plan to arrive and set up between 1:00 and 1:30.
Most of all, come and have fun!
—Gina Pisello and Stephen Sloan, EBT chairs
Shaping Words with Poet Diane Gage at San Diego Writer's Ink / Semi-Permanent Ink Spot, Downtown, San Diego, $25.00
What do a pantoum, a villanelle, a triolet, a list, and a cinquain all have in common? Each is a possible way to shape a poem! As a book artist, you no doubt pay careful attention to the formal properties of your creations. But what about the formal properties of the words inside your books? And how might such forms harmonize, or even do the tango, with your book structures?
Poet Diane Gage offers a workshop focused on some poetic forms that might lend themselves well to book projects. Her approach tends to be playful and participatory, so besides examining a variety of poetic forms, participants will have a chance to spend time writing as well. You are also invited to bring ideas and questions about your own future book projects.
Diane is a published poet who earned a Ph.D. in English Literature from Arizona State University in 1978. Since then she has gone on to develop her interest in visual art (especially fiber and collage) as well as in language. Some of her fiber art work is available at La Jolla Fiber Art Gallery on Girard Avenue in La Jolla. Dr. Gage is also trained as an Expressive Arts Counselor, helping people to flourish and blossom as creative beings. Recent projects include “Walking In Birdland,” in which daily haiku composed on walks in her 1950s tract-home neighborhood have become a series of books that were displayed in the recent SDBA show at the Mission Valley Library.
You can read a bit more about Diane online at www.publicaddress.us. Click on the name “Gage” when it appears as you scroll over artists’ photos on the homepage. Here’s an example of a “list” poem, recently published in the “Magee Park Poets Anthology 2007” and the “San Diego Poetry Annual”:
the man who took to folding
laundry in his dreams
the man who walked a dog
smaller than the fold of his belly
the man who edged his lawn daily
while his daughter shook her head
the man whose father wasn’t sad
enough in his mother’s waiting room
the man who pulled over when
Bjoerling sang Nessun Dorma
the block they all lived on
with its cracking sidewalks
Sas Colby Workshops. Sas Colby’s workshops have room for six more participants. Names will be added to the list in the order in which their check is received. If your check is received after the class is full, the check will be held in case of a cancellation.
Sas Colby is a mixed media artist with more than thirty years’ experience. Her survey exhibition, “Twenty Years of Book Thinking,” originated in Santa Fe before traveling to Philadelphia and Oakland, California, in 1995. She was the featured speaker at the James Renwick Craft Alliance of the Smithsonian Institution. Her work is in many international art collections including the Australian National Gallery, Canberra, and the Bibliotheque Nationale, Paris. Sas currently divides her time between Berkeley, California, and Taos, New Mexico, where she conducts annual art retreats.
Metaphor and Meaning in Artists’ Books. Saturday, February 24, 2007. This workshop investigates the role of metaphor in artists’ books, and provides the tools to conceive and produce a visual book uniting content and materials. Writing exercises will lead participants into producing text for visual interpretation. Non-traditional methods of bookmaking will be demonstrated. The emphasis is on how to unify text, image and material to make the book come alive.
The Art of Juxtaposition. Sunday, February 25, 2007. Make a small construction using found objects and collage. One plus one equals much more than two. See how the pairing of images and found objects immediately generates additional meaning in an artwork. Through a series of free associative exercises we’ll each design a small construction that illustrates the power of juxtaposition, similar to the way metaphor functions in poetry. Collage and assemblage techniques will be demonstrated.
Both Sas Colby workshops will be held at Mesa College and will cost $90 00 each. If you sign up for both workshops, however, the fees are discounted to $175.00. Send a check (made out to SDBA) to Al Rodriguez, 736 Sutter Street, San Diego, CA 92103, to reserve a spot. Bring a lunch!
Sas Colby will present a visiting artist lecture in conjunction with her workshops at 7:00 PM at the McCoy House in Old Town San Diego State Historic Park. FREE to members and the general public.
Google Map of how to get to Old Town