Maine Media Workshops New Studio

023 Maine Media Workshops + College is proud to announce that construction of the new Book Arts & Alternative Process Studio will be complete by April. A grand opening for the facility is scheduled for June 12. The new studio will be home to Maine Media Workshops’ expanded book arts and alternative process programs, which specialize in the honoring of historic craft melded with the newest visual technology.

The studio, part of a from-the-studs-up renovation of the lower level of Maine Media’s Ernst Haas building, is designed to be a permanent space dedicated to enhancing the Design & Book Arts program, which was introduced in 2007 by former Maine Media President Charles Altschul. The studio houses a raft of exceptional book arts equipment including Vandercook proofing presses, multiple book presses, a photopolymer platemaker, composing stone and base, stamping press, bookbinding sewing frame, and much more. It is a veritable book arts cornucopia for “maker” enthusiasts and photographers alike. The Alternative Process laboratory being renovated in the adjacent space embraces a resurging interest in 19th century historic photographic techniques including tintype, collodion, gum bichromate, and calotype.

The new studio exponentially expands opportunities at Maine Media because students can explore, blend, and combine these age-old techniques in tandem with the most cutting-edge image technology available, opening seemingly endless creative avenues. Take a picture on an iPhone, use a special printer to create a digital negative of that image, print the image using a historic process, and overlay letterpress onto the final image or bind multiple prints into a hand-bound book. It’s the marriage of old and new.

To make the most of the new space and equipment, Maine Media has greatly expanded its course offerings, particularly in design and book arts. New workshops will explore book design, letterpress printing, hot foil stamping for book spines, bookbinding as well as Adobe InDesign, digital books, typography, graphic design, visual books for photographers, and much more. World-class instructors from across the U.S. are included in the Maine Media Workshops + College catalog for the 2014 season, and online at “For over 40 years, people have come to Rockport to learn the art and craft of visual storytelling at Maine Media,” said Maine Media President Meg Weston. “It’s inspiring every day to see creativity happen in a variety of forms from historic photographic processes to the latest digital technologies used in cinematography. This new studio is a wonderful addition to our capacity for programming classes and providing creative opportunities for people interested in honing their craft and telling their stories in unique ways.”

Founded in 1973, Maine Media Workshops + College is a non-profit, non-traditional school that provides experiential education for students of all skill levels in film, photography, writing, multimedia, and design. From one and two-day skill-building workshops to one-week and multi-week immersions, Maine Media’s workshops spark creativity and lead to self-discovery through intense, hands-on learning with top-of-the-line gear. Its long-term programs, including 12-week intensives, one-year professional certificates, three-year MFA, and new collaborative M.Ed. with Husson University, graduate students fully prepared to work and succeed in their fields.

Portland Book Arts Bazaar

The annual Book Arts Bazaar at the University of Southern Maine’s Wishcamper Center will take place on Sunday, April 6th. The Bazaar will be open to the public from 10am until 3pm. The Wishcamper Center is located on Bedford St. on USM’s Portland Campus. There is plenty of parking behind the building, located between the Glickman Family Library and in the Parking Garage (which is free). USM’s Kate Cheney Chappell ’83 Center for Book Arts is sponsoring the Book Arts Bazaar, any profits from this event support the center.

If you are interested in being a vendor at the Bazaar, there are still some tables available. The table rental cost is $45.00. The deadline for table rental is March 15th. Please see the attached PDF for rental information.


NEGBW Interviews Regina St. John of Chena River Marblers

Regina St. John and her husband Dan own and operate Chena River Marblers.  Specializing in paper and silk marbling, they also teach a variety of workshops on their craft.  Find their teaching schedule on their website at

Regina in her marbling studio


How did you find yourself in the magical field of paper marbling or should I say cloud painting?

Like many, I’d seen beautiful old edge-marbled books, with highly polished marbled end- sheets and decorative covers.  It had never occurred to me that this was something I could learn to do.  Then in the early 1980’s, I happened to go into a craft co-op in Fairbanks, Alaska where they were selling greeting cards beautifully decorated with fresh marbled papers. I knew then that marbling was still alive and that someday I would learn to make those beautiful papers.

It was some years later after we moved from Alaska to the Pioneer Valley in Massachusetts that we found ourselves surrounded by book artists and among them, Faith Harrison, a production marbler.  When she offered a workshop in 1986, I jumped at the opportunity.  The class was life changing and marked the beginning of my 28-year marbling journey.

You regularly hold workshops at Snow Farm Craft Program and the North Bennet Street School, and they are incredible!  Students come away with magnificent marbled papers after working with you.  Do you also learn from your students?

When you teach anything long enough, it’s easy to get stuck in the, “This is how you do it” mode.  Students never let you stay there for long. Given the basics, they bring all their unhampered enthusiasm and creative energies to the medium, stumbling on new patterns and finding extraordinary color combinations that wow their instructors and fellow students alike.  Our students keep us fresh and with them we fall in love with marbling all over again.

Does the teaching aspect of your career influence your marbling?  If so, how?

Teaching challenges us to be more conscious of exactly what we are doing, to read more deeply into the existing literature, to find answers to the many questions we are asked, to develop new tools and to improve the effectiveness of our classes and demonstrations.  There is no doubt that teaching strengthens us.  Additionally, the great camaraderie in a workshop is a welcome change to the solitude of a marbling studio.

Marbling is an art that encompasses many eras and traditions.  In your time as marblers, have you seen changes in how marbling is approached?  

In this country, there is no school for marblers, no time honored tradition of knowledge passed from generation to generation.  Most marblers struggle to learn in isolation with benefit only of an occasional workshop given by other marblers who have struggled and/or by reading some of the out- of- print manuals.   As a result, you may watch 10 different marblers and see 10 different styles and hear 10 different stories about the how and why of the process.

In the 1980’s there was an explosion of interest in marbling in this country.  There emerged some outstanding American marblers who with great difficulty learned their trade. They taught, wrote books, sold materials, produced a great journal, energized each other and organized several national marbler’s gatherings.  The last gathering was in 2002.  Sadly, the books are all out of print, the journal no longer exists and the communication has been reduced to an on-line marbler’s group and the opportunity to see marblers in action on YouTube. Things have changed.

How has your work progressed throughout your career?

Our marbling has gone full circle from the traditional watercolor marbling, to the Japanese style of ink on water (Suminagashi), to Turkish Flower Marbling, to marbling with oil, to working with acrylics and back once again to a serious study of the traditional watercolor marbling.  Initially, I set aside the watercolor marbling because the paints rubbed off without being sprayed with a fixative or waxed.  Marbling with oil paints was next. That was a short love affair as the fumes were deadly and the paint uncontrollable. Then I ventured into marbling with acrylic paints though there was little, “how-to” information available.  The colors were intense and inviting so I settled there learning how to work with them successfully on paper as well as on silks.

All this time Dan had been making excellent marbling equipment and using my marbled papers in his bindings.  But a chance encounter with Garrett Dixon, a master of old style watercolor marbling, opened up the way for a very important return to water color marbling.  Under Garret’s tutelage, Dan caught the marbling bug and began his quest for the perfect tiger’s eye. Nurturing his inner chemist, he has learned to hand grind pigments, make his own binder and mull them together with a beeswax soap which allows for burnishing the finished paper. Turpentine, walnut oil, potash and potassium hydroxide all become necessary additives for achieving the most beautiful of the old style papers; shell, glouster, stormont and the illusive tiger eye.  These patterns are impossible to achieve with acrylics.

We’re grateful for Garret’s generosity in sharing his expertise and helping us truly appreciate exactly how those historical polished end-sheets (that still look like new) came to be.  Our students learn to marble with acrylics, but we always let them know that acrylic paint is the new kid on the block.

Your papers are used by book workers and artists across the world and I’m curious— what are some of the creative ways in which your papers are used?  

It would be good to have photographs of all the wonderful one-of-a-kind books, limited additions and boxes in which our papers have been used. It’s always exciting to work with a binder on a particular project or a bride who needs just the right paper for the wedding invitations and to make the paper they have imagined.  Less obvious uses of the papers have been for beads, wall hangings, collages, wall paper, basket weaving, framing, origami, scrap booking and yes, once a gentleman bought one of our silk scarves to polish his show duck.

What are some unique works that feature your designs?  

In 1997 Jiang Zemin, the president of China, visited the Unite States and wrote a poem to commemorate the occasion.   The White House commissioned David Bourbeau to bind the poem.  David chose one of our reddest papers for the end-sheets.  It was beautiful.

In an effort to replicate 17th, 18th & 19th century books, Barnes and Noble published a collection of classic literature using marbled end-sheets.  The rights to one of our papers were bought for use in their addition of Wuthering Heights.

How has the Guild of Book Workers helped you as paper marblers?

The Guild of Book Workers has given us countless opportunities to meet fine bookbinders with whom we have later collaborated on projects. Whenever possible we love being vendors at the Standards Conference where we get to visit with other paper artists, book arts vendors and binders from across the country.

-Interview conducted by Olivia Rose Muzzy, January 2014