USM Summer

Book Arts

Book Arts at the Stone House

 

Details:

Summer 2014: Monday, July 28 – Sunday, August 3

Spend seven days beside the sea studying Book Arts! The beautiful Stone House in Freeport, Maine will be the setting for a series of Book Arts related workshops, filled with a wide range of topics including popups, water-based silk-screening, accordion folds, print sketching and reduction linocuts, book binding, and poetry.

During this program, each participant will have the opportunity to work with 8 different instructors in half-day and full-day workshops. Every participant will be exposed to a variety of approaches and opinions from a stimulating group of professional Artists.

Delicious lunches will be served each day of the program.

The Book Arts program comes to a conclusion in September with a final lecture and panel discussion followed by the exhibition reception.

All Book Arts Program participants are invited to participate (those taking the course for academic credit are expected to participate) in the Book Arts exhibit at Special Collections on the 6th floor of the Glickman Family Library, which will run for 6 weeks starting in September, 2014.

The course may be taken for three undergraduate credits or three graduate credits. For those interested in participating, but do not need academic credit, you may enroll for undergraduate credit and select to not receive a grade for the course.

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Schedule:

Summer 2014: Monday, July 28 – Sunday, August 3

  • Registration and Check In: Monday, 8:30am-9:00am
  • Workshops:  Monday – Sunday 9:00am – 5:00pm

    students having lunch together

Lunch provided Monday – Sunday

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Workshops:

MONDAY, July 28 (Half day workshops)

  • Folds, Frames and Free Verse with Scott Minzy
    Simple and elegant, the underrated star book with it’s surprisingly dimensional and expressive qualities, provides a cinematic way to communicate complex feelings and emotions. Through a series of guided exercises, participants will explore strategies for creating pace, movement, shape and visual impact in their poems. Then using equal parts expression and experimentation we will transform these symbolic vocabularies into a meaningful star book.
  • Word(s) play on words: poetry for art’s sake with Cathleen Miller
    How might we be freed up to explore language play if we are not strictly tied to meaning-making?  What happens if we put aside our own narratives and allow meaning to arise out of seemingly unrelated words and images?  In this workshop, we will generate text using exercises that draw us out of our habitual word choices and narrative styles.  We will explore poetic landscapes and the intersection of received and constructed meaning.
    • Required Materials: In addition to the standard Tool Kit, Participants are encouraged to bring a non-fiction book on a subject of interest to them, as well as any images that inspire surprising words.  Feel free to bring materials for collage, though this is optional. A limited number of books and images will be available to use for poetry or collage-making.

TUESDAY & WEDNESDAY, July 29 & 30 (All day workshops)

  • Flexagons and Pop-ups with Carolyn Shattuck
    Flexagons are hinged polygons made from folding a piece of paper. They are easy to make from models and can reveal surprising surface combinations. Flexagons have intriguing  properties of displaying pairs of faces when the cubic planes are manipulated . Along with flexagons, we will explore pop-ups to create 3-dimensional structures followed by a discussion concerning materials and closures.
    • Required Materials: In addition to the standard Tool Kit, participants need to bring
      • A glue stick (such as Pritt,Uhu, Dennison, or  Avery)
      • Sharp pencil
      • Kneaded eraser
      • Small brush
  • Waterbased Silkscreen without a Darkroom with Colleen Kinsella
    This workshop is an introduction to screen printing but informative for those with experience. We will explore water-based screenprinting techniques using stencils and water based media such as watercolors, charcoal, and caran d’ache, without the need of a darkroom. The focus will be on mark making & drawing techniques, technical aspects of printing and free form mono-printing through screens. Perfect for narrative and abstrct imagery and making book editions.  The course will include a resource list and an instructional primer for printing at home.
    • Required Materials: In addition to the standard Tool Kit, participants need to bring:
      • Clear packing tape
      • Drawing tools: pencils, brushes, pens, makers, ink
      • Old t-shirt rags
      • The workshop leader will bring paper, but please feel free to bring more of your own if you wish

THURSDAY & FRIDAY, July 31 & August 1 (All day workshops)

  • All About Accordions with Stephanie Wolff
    The accordion is a wonderful structure for books intended for exhibition, and easily incorporates other binding techniques to expand possibilities for displaying content. Starting with the basic accordion, participants will work through many variations of this versatile form. We'll consider how these various accordion structures might relate to content. Expect to fold, sew, glue, slit, and hinge paper for the texts and create both hard and soft covers.
    • Required Materials: In addition to the standard Tool Kit, participants need to bring:
      • Needle
      • Awl
      • Glue stick
      • 1/2" glue brush
  • Print Sketching with Reduction Linocuts with Kris Sader
    Thinking of printmaking from a different point of view, this workshop will set off on a days adventure full of cutting and printing.  As a printmaker I felt I needed to think more loosely in my applied printmaking so I could enjoy engaging with my media as I traveled.  I set my mind on print sketching.  Now with very little supplies and access to water I can print sketch anywhere.  Thinking of printmaking as sketching has the added benefit of helping one find new mark making and spontaneity.  We will apply this state of mind (no preconceived images but rather spontaneous response and expression) while doing lino reduction printing.  You will make an instructive teaching accordion folio recording your reduction lino process and a very small edition of your reduction lino prints. Printing will be done mostly by hand on blank paper and on paper that has a color field printed first.  You will experience registration techniques, inks, hand printing and papers for on the move.  My traveling print shop will be there to give you ideas of what you would need to put one together for yourself.
    • Required Materials: In addition to the standard Tool Kit, participants may want to bring the following items to save time from waiting to use something. Be sure and label all your things in a way you understand so they do not get lost in the days work.  Don't worry if you do not have all these things, we will have some to share.
      • apron or cover shirt
      • if you have any lino or wood cutting tools please bring them,  that would be helpful, Stone House has tools but you might prefer your own.
      • if you have a baren that would be good to bring, large flatish wooden spoon.  Stone House has a few large wooden flat spoons.
      • couple of pencils, note pad
      • small size smooth newsprint pad
      • a small folio, one of those black ones, or one made out of  2 stiff pieces of card board. This will be used to get your prints home.

SATURDAY & SUNDAY, August 2 & 3 (All day workshops)

  • Drum–leaf Binding and a Fastened Wrapper with Martha Kearsley
    In this workshop you will learn how to design and make this versatile book structure.  The Drum-leaf binding is a perfect form for prints and other works on paper.  We will also build a wrapper for the book and explore a variety of closure options.
    • Required Materials: Standard Tool Kit only.
  • The Portfolio Book with Scott Mullenberg
    This is a great structure for presenting and showcasing your work in book form.  Whether they are digital prints that are hinged and become the actual pages, or blank pages that are hinged for mounting your work, these pages will lay exquisitely flat when being viewed.  Perfect for presenting your work. We will use bookcloth to hinge our pages and then create a 3-piece cloth-covered portfolio cover (front/back & separate spine) with a screw post binding.  This type of binding allows you the flexibility to expand or switch-out pages as wanted or needed. It’s all about agility when it comes to a portfolio presentation!
    • Required Materials: In addition to the standard Tool Kit, participants may consider bringing:
    • If you have something you would like to onlay or recess on the cover of your portfolio book, such as your name, image or title, please bring that along with you to the workshop.
    • A broad array of bookbinding fabric will be provided for you to design your portfolio

Questions about workshops?
Please email Rebecca Goodale, the faculty director of Book Arts at the Stone House, at goodale@maine.edu

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September Exhibition and Public Lecture

The Book Arts program comes to a conclusion in September with a student exhibition, reception, and final lecture.

Student Exhibition: September 8th  – October 19th, 2014Glickman Family Library, 6th floor

  • The student exhibition runs for six weeks from September 8th through October 10th on the 6th floor of the Glickman Family Library, USM Portland Campus. 

Reception: September 8th

  • Opening reception of student exhibition is on Monday, September 8th at 5pm to 6pm following an artist lecture at 4pm.

Final Lecture: September 8th

Building Images: Narrative and Decorative
Presented by Holly Berry

Holly Berry's artwork

Maine artist Holly Berry makes

illustrations and linoleum block prints and artist’s books from her home studio in Waldoboro, Maine.

She creates colorful linoleum block prints inspired and informed by her love of folk and decorative arts, along with patterns, textures and motifs that abound in nature. In 2003 Holly received an Individual Arts Fellowship from the Maine Arts Commission for her work in Printmaking.

Her book illustrations have been recognized with many starred reviews, a Silver Medal from the Society of Illustrators and The Golden Kite Award from the Society of Children’s Book Writers and Illustrators. She most recently illustrated “Colorful Dreamer: The Story of Artist Henri Matisse” published by Dial Books.

She is a member of The Boston Printmakers and Midcoast Printmakers, Inc. in Damariscotta, where she also teaches printmaking.

Holly is a graduate of The Rhode Island School of Design with BFA in Illustration.

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TOOL KIT

All participants are required to bring the following TOOL KIT to each workshop:

Book Arts work station

  • Scissors
  • X-acto or utility knife and blades
  • Bonefolder
  • Masking tape – one roll
  • 12x18” or so self-healing cutting mat
  • 18” metal ruler or straightedge
  • Pencil, eraser, and Sketchbook/Notebook

The TOOL KIT is required for all workshops and will be used daily.

In addition to the tool kit, each workshop requires additional materials. Please review the workshop descriptions for details.

Questions about  required materials?
Please email Rebecca Goodale, the faculty director of Book Arts at the Stone House, at goodale@maine.edu.

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Registration & Tuition

Participants can register for the 2014 Book Arts at Stone House for three undergraduate credits or three graduate credits. For those interested in participating, but do not need academic credit, you may enroll for undergraduate credit and select not to receive a grade for the course (audit the course). For those in need of continuing education credits but not academic credit, may participate for CEUs.

Registration for the 2014 Summer Book Arts at the Stone House is now open.

Summer 2014 Registration Options:

* For those interested in participating but do not want academic credit or a grade for their participation, may participate as an academic undergraduate participant and select to not receive a grade. This is called auditing the course.

Undergraduate Academic Credit:

Undergraduate Academic Credit Program Fee includes full workshop participation and tuition, university fees, some course materials, and daily lunch. Participation in the September student exhibition and attendance at the September public lecture are required for all those who wish to receive a grade. In order to complete this course for full academic credit you must design and make an artist’s book inspired in some way by your week at Stone House.

  • When registering for undergraduate academic credit, participants may choose to receive a grade or, for those not interested in a grade, can audit the course. Auditing the course means that the participant is enrolled in the course for academic credit but will not receive a grade. This is the best option for those who want to use a senior citizen waiver but do not need a grade for the course.

Undergraduate course code: ART342

  • In-State residents: $1,228.00
  • Out-of-state residents: $2,464.00

  • Tuition is due on or before April 14th. Full payment options and information will be provided at time of registration.
  • Participants registering for academic credit may pay by check or money order or with a credit card through USM’s Mainestreet.
  • For questions regarding academic credit, auditing, and senior citizen waivers, please contact Professional and Continuing Education’s Student Service office at (207) 780-5900.

Graduate Academic Credit:

Graduate Academic Credit (3 graduate credits) Participation Fee includes full workshop participation & graduate tuition, university fees, some course materials, and daily lunch. Participation in the September student exhibition and attendance at the September public lecture are required. In order to complete this course you must design and make an artist’s book inspired in some way by your week at Stone House.  In addition to the artist’s book, each graduate student must also submit a research paper by September  5. The paper must explore a contemporary movement in Book Arts in relationship to the history of Book Arts.  It is preferable that the research stems from the Stone House experience.

Graduate course code: ART599

  • In-State residents: $1,609.00
  • Out-of-state residents: $3,547.00
  • Tuition is due on or before April 14th. Full payment options and information will be provided at time of registration.
  • Participants registering for graduate academic credit may pay by check or money order or with a credit card through USM’s Mainestreet.
  • When registering for graduate academic credit, participants may choose to receive a grade or, for those not interested in a grade, can audit the course. Auditing the course means that the participant is enrolled in the course for academic credit but will not receive a grade.
  • For questions regarding academic credit, and auditing, please contact Professional and Continuing Education’s Student Service office at (207) 780-5900.

Senior Citizen Waiver (only available for in-state residents 65 or older)

Maine residents 65 and older are eligible to apply for a Senior Citizen Waiver. The Senior Citizen Waiver covers tuition, unified fee, and the summer admin. fee.  Individuals must be a Maine resident, 65 or older, and registered for undergraduate academic credit.  Learn more about USM's Senior Citizen Waiver.  

If eligible, please complete the Senior Citizen Waiver Application Form.

Audit the Course

For those not interested in academic credit, you may elect to audit the course or choose a pass/fail grade option when registering for Undergraduate Academic Credit. This allows you to participate, but does not require you to submit extra course materials or receive a grade for your participation. Learn more about the Undergraduate Academic Credit Option.

Participate for continuing education units (CEUs)

The Continuing Education Unit (CEUs) Participation Fee includes full workshop participation, basic materials, and daily lunch.

  • CEU option/65 contact hours/6.5 CEUs:  $1,228.00

Registration for noncredit/CEUs can be done online or over the phone by calling Professional & Continuing Education Student Services Center at 207-780-5900.

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Location

Stone HouseThe Book Arts Program is held at the lovely Stone House, located at Wolfe's Neck on Casco Bay, in Freeport, Maine. The Stone House, designed by John Calvin Stevens, is a Colonial Revival style building located near the tip of Wolfe’s Neck on Casco Bay. The property is surrounded by extensive rhododendron gardens and pastureland. Most classrooms have water views. Located approximately five miles outside of the center of bustling Freeport, the Stone House was donated to the University of Southern Maine by Mrs. Eleanor Houston Smith.

  • Local Hotels:
     There are a wide variety of hotels in the Freeport/Brunswick area. For more information about hotels in the area, go to visitmaine.com 
  • A Word About Freeport:
    Freeport is located on the shores of beautiful Casco Bay. Well known for its outlet shopping, the town is rich in history and recreational opportunities.   Home to LL Bean, Freeport is a great place to visit; Yankee Magazine selected Freeport as the Best Shopping Town in New England. The small town has myriad opportunities for shopping, recreating, and outdoor enjoyment, too. A wide variety of accommodations are available to suit all tastes. There are restaurants, pubs and coffee shops all within an easy walk of the downtown area.

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Summer 2014 Faculty

Faculty Director:

  • Book Arts CenterRebecca Goodale is the Program Coordinator for USM's Kate Cheney Chappell '83 Center for Book Arts, is the Faculty Director for the Book Arts at the Stone  House Program. Rebecca is a book artist, whose work can be found in numerous public collections throughout the United States including the local collections at Bowdoin College Library, the Maine Women Writers Collection, and the Portland Museum of Art. For questions regarding the Book Arts at the Stone House workshop details, material lists, and tool kit contact Rebecca at goodale@maine.edu.

Workshops Faculty:

  • Rebecca Goodale is the Faculty Director of Book Arts at Stone House, a faculty member of the USM Art Department, and the Program Coordinator of USM’s Kate Cheney Chappell ‘83 Center for Book Arts.  Rebecca exhibits her artist’s books in venues around the world. Her work is in numerous institutional collections including Bowdoin College Library, The Herron Art Library, Maine Women Writers Collection, Library of Congress, University of Alberta Special Collections, and the State Museum of Hawaii.
  • Martha Kearsley owns and operates Strong Arm Bindery (est. 1999) in the East End of Portland.  She specializes in traditional hand bookbinding and the repair of antiquarian books, as well as custom box-making and protective enclosures.  Strong Arm Bindery produces a custom line of stationery items, including letterpress and screen printed matter, hand-bound journals, albums and portfolios.  Martha is a faculty member and teaches in the Bookbinding Program at North Bennet Street School in Boston, where she received her training.  Website: www.strongarmbindery.typepad.com
  • Colleen Kinsella, has been technical assistant and adjunct faculty in the Printmaking Department at Maine College of Art since 2000.  Her work in print has been recognized by International Print Center in New York City and twice juried into the Biennial at the Portland Museum of Art. Kinsella’s images have been published on over 20 album covers by various musical groups. Her work has been shown at the Dean Johnson Gallery, Indianapolis, IN; Seattle’s Wall of Sound; Columbia College, Chicago, IL and at the Southern Graphics Council in 2009. In 2011 Kinsella was sponsored to exhibit her first international solo show of prints in Athens, Greece. Kinsella’s process naturally tends toward collaboration as a printmaker and artist. In 2006 she organized and curated 24 artists and performers to converge on Portland, Maine for a two month interactive exhibition at Space Gallery. Her collaborative “tent” titled Future Mothers with printmaker and Faculty Chair Elizabeth Jabar was selected for 2012’s Faculty Selects at the ICA at MECA.Kinsella’s current collaborative print project is with three other artists who cal them selves the Ant Girls  The blog is antgirlsmaine@blogspot.com.
  • Cathleen Miller is a poet, artist, and librarian living in Portland, Maine.  She received her M.A. in creative writing from Temple University, and has published in journals (both print and online) such as  CHAIN, EOAGH, the Fanzine, and Anything Anymore Anywhere. Her chapbook Cut and Shoot (a collaboration with poet Deborah Richards) was published in 2001 by MAN Press.  She works as the curator at the Maine Women Writers Collection at the University of New England.
  • Scott Minzy makes artist’s books, relief prints and animations that deal with the universal themes of fear, regret and longing.  His past life in public relations and corporate sales has led him to seek a less jaded but more authentic life in the state of his birth. As a result, he earned his Bachelor of Fine Arts from the University of Southern Maine and teaches fine art and digital media at Erskine Academy as well as in his studio in Gardiner Maine.   www.scottminzy.com
  • Scott Mullenberg is a professional bookbinder working under the moniker Mullenberg Designs in Biddeford, ME.  He apprenticed with William Streeter in Northampton, MA in the early 90’s and then returned to Maine to open his own hand bindery.  For the last nine years, Scott’s  been working one-on-one with visual artists throughout the US and Canada to create portfolio structures for presenting their work.  Scott has taught a variety of classes and workshops in his own studio, and also through USM and MECA over the last 20 years.www.mullenbergdesigns.com
  •  Kris Sader was born in Denver, Colorado in 1951, but grew up in Tucson, Arizona.  She studied Art and Theatre at the University of Arizona and Northern Arizona University.  Since marrying she, her husband and two daughters lived in many places from the West coast to the Gulf Coast and in-between.  In 1987 the family moved to Maine.  Kris holds three degrees from the University of Maine, a BA in Performing Arts/dance, 1989, MS in Ecology and Environmental Sciences, 1995 and a BFA in Studio Art (printmaking) 2005.  Kris is a printmaker and environmental site-specific installation artist.  As a printmaker she uses “Non-Toxic”, health and environment friendly, printmaking methods, which she helped research at the University of Maine.  She studied printmaking under Susan Groce, UM, Elizabeth Dove, University of Montana, Hester Stinnett, Tyler University, Philadelphia, and Siri Beckman, Deer Isle, Maine.  In addition to showing her work locally, nationally and internationally, she gives presentations on her work and has taught  non-toxic printmaking techniques in workshops and as an adjunct lecturer in printmaking at University of Maine.  She was a recipient of an Artist Fellowship at Women's Studio Workshop, New York, a "Good Idea Grant" from the Maine Arts Commission (MAC) and an Artist in Residence at the Maine Discovery Museum, Bangor.  In 2012 Kris traveled as artist in Residence to Rancho Linda Vista, Oracle Arizona and Tilting, Fogo Island, Newfoundland (sponsored by TRACS, Tilting Recreation and Cultural Society).
  • Carolyn Shattuck who was born in Montreal, Canada, moved to the United States in 1971. After a short stay, she and her husband lived in Okinawa, Japan for three years where she became influenced by the history and beauty of the Japanese prints . She returned to the United States and studied painting at Bard College. After graduating, she  divided her time between  her painting and developing a unique printing method, using the monotype as a base. Her work embraces the juxtaposition of many cross-cultural images.  The folk art of urns, angels, death’s heads and hourglasses are reinvented through narrative still lifes and landscapes.  Shattuck believes her work is the freedom to extrapolate ideas and motifs from many sources in order that they can cross-pollinate and exist as a whole. She says, “ I hope to celebrate life in all its complexities while acknowledging the shadow on my left shoulder”. For the past 15 years Book Arts has been the focus of her work combining drawing and print assemblage techniques. Her books are in numerous collections throughout the United States.
  • Stephanie Wolff is an artist, hand bookbinder, and book conservator. Her artist books are held in library and private collections and included in 500 Handmade Books, Volumes 1 & 2. In addition to working on her own creative projects, she teaches book arts to students of all ages, including at Dartmouth College Library's Book Arts Workshop. Visit her website at www.StephanieWolffStudio.com.

Questions about workshop faculty and program content?
Please email Rebecca Goodale, the faculty director of Book Arts at the Stone House, at goodale@maine.edu.

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