A Book Arts Basic Class
by Judith Christensen
Cost: $40 members/$50 nonmembers
$3 Materials Fee
Class limit: 6
For more information contact Sharon
This class is full. A waitlist is available.
Tools to bring: Essential: X-acto knife, scissors, sharp pencil & eraser, bone folder, ruler, metal straight edge (for cutting—if ruler is metal, just a ruler is fine), glue. If you have them: Small cutting board (9" x 12" is ideal), stylus (for scoring before folding), markers or colored pencils (for embellishing house book or other structures).
Starting with a sheet of paper, we will cut, fold, and turn to create multiple book structures. We will start with the Pamphlet Fold and create a little book, about SDBA, with a simple pop-up. Next, we’ll make a mini sketch book. Moving on to the Maze Book (also known as the Caterpillar or Snake Book), we’ll make a little sample of the traditional Maze Book, then a Modified Version with an interesting form. A pouch book, one that is a container for one of the other books, is next. Then we’ll move into more architectural structures, with a French Door Book, and finally the House Book. This is a class geared towards beginning book artists. We will move as fast or as slow as we need to, and we hope to complete 5-6 book types, each from a single piece of paper. You will leave the workshop with the completed books and printed instructions and layout possibilities (for cutting or for printing content on the computer) so you can create your own version of these forms. All paper will be provided.
Judith Christensen has taught book arts classes to adults and young students for over twenty years. She has worked with the San Diego Book Arts Education and Outreach Programs for many of those years, teaching in schools and libraries and coordinating programs such as “Taking Art to the Neighborhoods,” in which 700 participants made a book, and “Every Child Needs a Voice,” making books with sixty students in the Deaf and Hard of Hearing Program at Madison High School. Vestiges from the past—memories, photographs, or letters—as well as words we encounter daily find their way into Judith’s artwork. They may be from her past or they might be someone else’s discards, discovered at a thrift store. It is not their source or their relationship to her that is significant. Rather, she searches for items that suggest the imprint of a human life, items that, when integrated with other elements, engage viewers in a dialog with the piece, with themselves, and, hopefully, with each other.