Category: Workshops

A Look Back // Workshops from 2010 – 2019

The Chapter continues to invite talented book workers to share their knowledge with our members. The following list shows the workshops that took place from 2010 – 2019, sourced from old Guild newsletters.

2012
– Karen Hanmer gave a workshop on “All Shook Up: Interplay of text and image in the flag book format”
– Julia Miller taught a workshop on “Scaleboard Bindings” at North Bennet Street School who also co-hosted this event

2013
– Richard Horton offered two different workshops: “American Springback Working Composite Model” and “Photo Album Structures & Strategies”

2014
– during a 3-day weekend excursion to Northern Maine, participants took a workshop with Nancy Leavitt titled “Pen, Paper and Paint” and with Katie MacGregor on “A Hand Papermaker’s Perspective”; participants learned calligraphy techniques from Nancy and formed sheets of paper with a custom watermark with Katie
– a workshop with London-based bookbinder, Ben Elbel was conducted through a video/chat platform, participants took the workshop at North Bennet Street School and created his unique structure known as the Onion Skin Binding
– the Northeast Document Conservation Center hosted a workshop with Jill Timm on “The Amazing Dremel”
– “Basic Metalworking for Bookbinders” workshop

2015
– Jim Croft taught a “Long-Stitch Binding” workshop at NBSS

2016
– Third Year Studios hosted two workshop for Guild members: Coleen Curry taught a workshop on “Staple Binding in Stone Veneer” and Jeff Altepeter taught his “Making Finishing Tools” workshop
– in a co-sponsored workshop with Dartmouth College, Abigail Bainbridge taught a workshop on “Bookbinding According to Diderot”

2017
– “Italian Tacketed Stationery Bindings” with Katherine Beaty was taught at Third Year Studios

2018
– London-based fine binder, Nicky Oliver taught a workshop on her “Decorative Leather Dyeing Techniques”

2019
– Washington Street Art Center hosted a workshop with Madeleine Durham on her “Paste Paper” technique
– Daniel E. Kelm hosted members in his studio at Wide Awake Garage for a workshop on “The Book Restructured: Wire Edge Binding”

A Look Back // Workshops from 2000 – 2009

The following workshops were scheduled between 2000 – 2009 and show the Chapter’s continued determination to schedule diverse programming for its members.

2000
– calligrapher Peter Halliday taught a workshop on the use of gold leaf

2001
– Babette Gehnrich taught a “Paper Repair” workshop at the American Antiquarian Society
– Priscilla Spitzmueller, Chief Conservator for Special Collections of the Harvard University Libraries, taught a workshop on “Girdle Bindings”, where participants constructed a model of a small, wooden-boarded book sewn on double-raised cords and cover in soft deerskin, with clasps and an overcomer with an extending skirt terminating in a decorative knot for attachment to the girdle

2002
– in a 2-day workshop at the Northeast Document Conservation Center, Deborah Evetts taught “Gold Tooling”
– book artist, Paul Johnson, gave a workshop at North Bennet Street School on “The Book as Picture: The Permanently Open Page”
– during a visit from Christopher Clarkson, he taught a workshop on “Endbands, End of Spine-Bands & Headbands”
– back by popular demand, Elizabeth Morse taught another workshop on “Pressure Sensitive Tape Removal” at Dartmouth College

2003
– Peter Verheyen taught a workshop on “Springback Ledger Binding”
– in a co-sponsored workshop with the New York Chapter, Renate Mesmer, Head of the Conservation Department at Centro del bel Libro, taught a workshop at NBSS on “Wooden Board Conservation Binding”
– members made a field trip to Montgomery, New York for a parchment workshop with Jesse Meyer at Pergamena

2004 – 2005
– Donia Conn taught a workshop at Dartmouth College on “Molded Paper Spine Conservation Binding”
– in addition to giving a lecture, Martin Frost also gave a workshop at the Boston Athenaeum on “The Curious Art of Hidden Fore-Edge Painting”
– Terry Boon gave a workshop on “Paper Conservation for Bookbinders and Book Conservators” at NEDCC

2009
– Shanna Leino gave a workshop on “Bone Toolmaking” at NBSS

A Look Back // Workshops from 1990 – 1999

The programs created by the New England Chapter during this time period were primarily lectures, but workshops were also an important way to share knowledge and techniques. The following list of workshops during 1990 – 1999 were sourced from old GBW Newsletters.

1990
– Hugo Peller gave two workshops at North Bennet Street School on making a small book and “pop-up” box with onlay decoration
– Monique Lallier also gave a workshop at NBSS

1991
– during a visit to the Easthampton Public Library, Hedi Kyle gave a workshop on “Oriental Binding Structures”
– two workshops were designed around the NEGBW 10th Anniversary exhibit: a 2-day workshop on Decorated papers and marbling on fabric with Nancy Leavitt and a 4-day workshop on Calligraphy with Maude Olsen
– during the annual meeting Joe Newman gave a workshop on Rebacking and Timothy Hasten gave a workshop on Archival Matting
– Daniel Kelm held a co-sponsored seminar with NBSS on “Chemistry for Book Workers”

1992
– the Northeast Document Conservation Center hosted a workshop with Deborah Evetts, book conservator at the Pierpont Morgan Library, on “Gold Tooling”

1993
– the Head of Book Restoration at Centro del Bel Libro, Julia Puissant, gave a workshop on “The Restoration and Conservation of Parchment”

1994
– Barbara Meier-Husby gave a workshop at NEDCC on “Long-Fiber Mending of Book-leaf Materials”

1996
– Betsy Palmer Eldridge taught a workshop of variations on supported and unsupported sewing methods at NEDCC
– Nicholas Pickwoad presented a 1-day seminar on “Writing Condition and Treatment Reports” on two different occasions at NEDCC and the American Antiquarian Society; this seminar focused on a recent study of Judaica Collection at Harvard University

1997
– a workshop on “Tunnel Books” was taught by Carol Barton where students designed and constructed a tunnel or “peephole” book
– Terry Buckley, Senior Lecturer in Bookbinding at the London College of Printing, taught a workshop on “Dyeing and Staining Leather” at the Creative Arts Workshop
– Monique Lallier taught a workshop on “Edge Treatments”
– a workshop on “Pressure Sensitive Tape Removal” with Elizabeth Morse was taught at the Harvard University Library Preservation Center
– a 1-day workshop by Richard Horton on “Leaf Structures for Photo Albums” was give at Wide Awake Garage

1998
– Peter Geraty taught “Board Construction for Adhesive-Bound Parchment Bindings”

1999
– Betsy Palmer Eldridge gave a workshop on “Endbands”
– guest instructor from Sweden, Adam Larsson, taught a workshop on the “Cross Structure Binding” at NBSS

Upcoming Workshop on Traditional French Pochoir with Kitty Maryatt

In February, North Bennet Street School will be hosting the exhibit Drop Dead Gorgeous: Fine Bindings of La Prose du Transsibérien Re-creation. In conjunction with this exhibit, NEGBW is hosting a workshop with Kitty Maryatt on the technique of traditional French pochoir.
 
Kitty Maryatt of Two Hands Press has been researching the production of La Prose du Transsibérien since 2012. She studied pochoir with Atelier Coloris in Ploubazlenac, France. In 2018, she debuted a new edition of 150 copies, which faithfully incorporates techniques and methods used in the original.

What: Traditional French Pochoir Workshop
Where: North Bennet Street School, Boston, MA
When: February 29 – March 1
Register here

The word pochoir in French simply means stencil, which has been done by every culture since mankind blew iron oxide around their hands onto cave walls. As the French are known to do, they developed particularly sophisticated stencil techniques in the early twentieth century. This workshop will introduce the basics of printing multiples through such stencils. The steps involve the following: trace the imagery that you want to reproduce, develop a registration system, identify and separate the colors, cut aluminum plates by hand, mix gouache colors, prime the French pochoir brush and apply the liquid in a swirling fashion.

Demonstrations of tracing images and cutting the plates will be shown first. Participants will trace one color from the image and cut an aluminum plate. The instructor will bring a pre-designed image with plates already cut so that participants can immediately learn the brush techniques. The six colors will be applied as the group makes an edition of the image. Then we will look at the images brought in by participants and discover which images are appropriate to reproduce in this way, including printing a base image.

Next, participants will select or create an image to be reproduced and go through the steps to make an edition of that image. Since this is an introduction, the focus will be on problem-solving and experiencing the joy of vibrant and true color. Additional techniques used on La Prose du Transsibérien will be highlighted and demonstrated.

For more information click here: https://gbw.formstack.com/forms/negbw_introduction_to_traditional_french_pochoir

Workshop Opportunity with Daniel Kelm

Sign-up for our upcoming workshop with Daniel Kelm!

The Book Restructured: Wire Edge Binding

Description:
The range of books being produced today by artists is truly remarkable. Some diverge wildly from what we recognize as traditional book form, others play with slight variations. Often this break with tradition requires a reevaluation and restructuring of the traditional structures.

If you’re interested in creating a nontraditional book (e.g., a book with thick pages, or a book that is sculptural), the achievement of your goal may require the use of a material or movement not possible with conventional structures. Wire edge hinging grew out of just such a challenge. This binding configuration utilizes a thin metal wire along the hinging edge of each page. The metal wire is exposed at regular intervals creating knotting stations where thread attaches one page to the next. The result is a binding that opens exceptionally well, and gives you the option of producing unusual shapes.

During the two days we will look at various wire-edge structures useful for books, enclosures, and articulated sculpture. You will produce both a simple codex, and an accordion model that forms a tetrahedron.

All levels of experience are welcome.

When:
November 16 – 17 (Saturday & Sunday)
9:30am – 6:00pm

Where:
At the Wide Awake Garage
Cottage Street Studios
Easthampton, MA

Cost (includes workshop + materials):
$300 for members
$350 for non-members

Registration:
https://gbw.formstack.com/forms/negbw_the_book_restructured

Workshop: Ferrous Attractions – The Science Behind the Magic, Dartmouth College, Hanover NH

NOTE: This is not a Guild Event. We occasionally publish events that may be of interest to our members.

Ferrous Attractions – The Science Behind the Magic – Magnets in Conservation Workshop

NECA, in collaboration with Dartmouth College Library Preservation Services, is pleased to announce the upcoming workshop Ferrous Attractions – The Science Behind the Magic, taught by conservator and AIC Fellow, Gwen Spicer.

Location: Dartmouth College Library Preservation Lab, Hanover, NH
Date: Friday, July 13, 2018 10:00am – 4:30pm
Price: $50 NECA members; $75 non-members (includes $25 NECA annual membership)
Deadline: Register by July 1, 2018

Please email Carolyn Frisa at carolyn@works-on-paper.net to reserve your spot and coordinate payment. NECA membership must be up-to-date to register for the workshop.

Description:
How to fasten or secure an artifact has long been a focus of art conservators in all specialties. We have stitched, glued and adhered items for decades, and with each method, the attempt was always to keep the conservation as reversible as possible. The somewhat recent development of strong, permanent, rare earth magnets has enabled them to be used as a reversible fastener. Neodymium rare earth magnets are far stronger than earlier permanent magnets and have only truly entered the market since 1990. They have great potential as a new tool for conservators.

Could there really be a truly reversible tool that would not harm or create holes that we could use? Before these new magnets can be part of our future, a fuller understanding of how they work is needed. Moreover, a system needs to be developed to determine precisely which attributes a magnet should have for a specific project. Discussion will include: What makes a magnet “permanent”, when were they developed, and how magnets differ from one another (i.e. the various types and their unique materials and properties).

The use of magnets in the past has caused damage, slowing their use among some. However, with a full understanding of how a magnetic system is created and can be adapted, damage can be prevented. To demonstrate a magnetic system and its parts, participants will use a “jig” with various combinations of magnets and metal components. They will also explore the different methods of implementing a magnetic system and the strength of commonly available magnets. Time will be allowed for participants to test a range of magnetic systems and materials with small discussions after before the next one.

This hands-on experience can inspire conservators to adapt a magnetic system to mount any specific artifact. The material will be presented in a hands-on instructional format. Handouts will be provided.

Workshop Objectives
1. What are permanent magnets and the four types of magnetic systems
2. Learn the parts of a magnetic system and how they inter-react
3. How to adapt the parts of a system to best suit your artifact
4. How to record the parts of the system
5. Where to place the magnets and the ferromagnetic part
6. How to properly store your magnets

Instructor: Gwen Spicer, Principal of Spicer Art Conservation, LLC
Gwen is a Textile, Upholstery, Paper, and Objects Conservator, and full-time principal of Spicer Art Conservation, LLC, located in upstate New York. She received her Master’s degree from the Art Conservation Program at Buffalo State College, State University of New York. She has over twenty-five years of experience, is a Fellow of AIC, and has been in private practice since 1995. She has assisted many museums, institutions and private collectors with the treatment of artifacts and antiquities for both display and storage. Gwen is an AIC Kress Publication Fellowship recipient and is currently writing her first book, “Magnetic Mounting for Art Conservation and Museums”. The book will be a practical guide for understanding magnetic systems and will assist both conservators and museum professionals in the creation of magnetic mounts.

Limit 20 participants. A list of recommended lodging, restaurants, and thing to do in the Upper Valley Region will be provided following registration. A limited number of free rooms with local conservators may be available.

2018 NEGBW Annual Meeting – August 10-11 – Dartmouth College, Hanover NH

2018 NEGBW Annual Meeting

August 10-11

Dartmouth College, Hanover NH

Registration is now open for our 2018 Annual Meeting, which will take place at Dartmouth College on August 10-11, 2018. To register, please click here:

https://gbw.formstack.com/forms/negbw_2018_annual_meeting_at_dartmouth_college

Join us Friday evening for a tour of the Rauner Special Collections Library followed by a reception with light refreshments. On Saturday, participants are invited to attend two half-day workshops with Bill Hanscom and Sarah Smith. The annual meeting will take place during lunch.

The workshops are limited to 20 participants, but all members are welcome to attend the annual meeting on August 11th. Please register for lunch if you plan to only attend the meeting. Registration will go live on May 4th. Another announcement will go out with the registration link. But mark your calendars!

Schedule:

Friday, August 10th:

5:00 pm – 6:00 pm Tour at Rauner Special Collections Library
6:00 pm – 7:30 pm Reception and Pop-Up Exhibit in Book Arts Bindery

Saturday, August 11th:

9:00am – 12:00pm Workshop with Sarah Smith or Bill Hanscom
12:00pm – 2:00pm Catered Lunch and Annual Meeting
2:00pm – 5:00pm Workshop with Sarah Smith or Bill Hanscom

Workshops:

Freestyle Composition – Sarah Smith

In this visit to the Book Arts Workshop at Dartmouth College we’ll make letterpress printed posters/decorative paper. One of our Vandercook presses will be set up with a large wood type word cloud and another Vandercook will be set up with a smattering of relief images from our eclectic collection. We’ll get creative with the layering of prints between the presses and you’ll go home with a bunch of fun papers to work with on your books (or to hang on the wall)!

Blizzard Books – Bill Hanscom

Learn to make three variations of Hedi Kyle’s Blizzard Book: The Blizzard Book, Blizzard Pocket, and Blizzard Boxes. Participants will use a variety of utilitarian and decorative papers to fold up wonderful structures that are part book, part container with lots of potential for artistic experimentation and decorative embellishment. You will also have the opportunity to use rubber stamps and stencils to add some color and excitement to your origami creations.

Registration Fee:

Members: $85.00
Non-Members: $110.00
Meeting Only: $20.00

You can use the following link to register:

https://gbw.formstack.com/forms/negbw_2018_annual_meeting_at_dartmouth_college

Maine Archives and Museum Workshop — Conservation Leather Repair

Maine Archives and Museum Workshop — Conservation Leather Repair

Many academic, public, and museum libraries contain leather bound books that are stilled used in research. Many of these books have weak hinges or completed detached boards. Leather re-backing is cost prohibitive, especially for books that are heavily used in research. This style of repair was refined as a conservation technique by Don Etherington in the1980’s using Moriki Japanese tissue paper and is a common repair technique used for circulating and special collections books. Book Conservator, Anastasia Weigle  of IN A BIND STUDIO will offer an on-day intensive on-hands workshop to members and non-members of Maine Archives and Museums. Participants will learn how treat and consolidate leather, repair detached book boards on hollow-back or flat-back leather bindings, what materials and tools needed for the treatment, how to treat Japanese tissue paper to resemble leather. Tools, materials, and books for practice will be provided. Register online: https://www.mainemuseums.org/event-2889560/Registration

When: May 16, Wednesday
Time: 9 am (sharp) to 4 pm (1/2 hour lunch). Because this is an intensive class, we suggest that participants bring a bag lunch and arrive on time. For those who wish to stay afterwards for a get together mixer at The Warehouse in Caribou may RSVP here: https://www.mainemuseums.org/event-2896965/Registration
Minimum Participants: 4
Maximum Participants: 10
Where: Caribou Public Library Caribou Room, 30 High Street, Caribou, Maine (Central Aroostook County)
MAM MEMBERS FEE: $80 + $20 supply fee
Non MAM MEMBERS FEE: $110 + $20 supply.

Bookbinding Workshop with Juliayn Coleman in Maine

Bookbinding Workshop with Juliayn Coleman 
Sept 2-8, 2018 Sunset Lodge on Lake Damariscotta, Maine. 
Brochure:
WORKSHOP DESCRIPTION
In this hands-on bookbinding workshop, we will make one simple nonadhesive book each day. The structures will range from the earliest binding styles to contemporary, and they are geared towards beginner through intermediate skill level. In addition to the binding, we will explore at least three different ways to decorate paper for the covers of our books: paste paper, suminagashi, and plant printing. The goal is to create a harmonious set of beautiful books, learn simple structures that you can take home and repeat on your own, and let your creative mind explore the medium of bookbinding.
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