USM Summer

Book Arts

Summer Book Arts ProgramBook Art

 

Details:

Summer 2015: Monday, August 3 – Sunday, August 9

Spend seven days in Portland, Maine studying Book Arts! The Wishcamper Center in Portland, Maine will be the setting for a series of Book Arts related workshops, filled with a wide range of topics including ncluding gelatin plate print, unusual marks, the bountiful block: printing without a press, embossing, drum-leaf binding, open spine binding, and more.

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, 2015.

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 2015: Monday, August 3– Sunday, August 9

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

Lunch provided Monday – Sunday

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Workshops:

August 3, Monday (Half day workshops)

  • Unusual Marks with Barbara Sullivan
    Drawings record what we see, what we observe, what we want to communicate from simple marks to textures. In this drawing course students will explore unusual ways of making marks and creating textures.  Students will push the boundaries of what we traditionally perceive as drawing materials as we work with the basics elements; line, shape, texture and balance.

    • Required Materials: Tool Kit
    • Additional Materials:
      • Sewing Needles (all sizes, shapes, and thicknesses)
      • Thread (many colors)
      • Tracing paper or Vellum (at least 36-40 sheets.
  • Go, Go, Go! Generating New Work with Gibson Fay-LeBlanc
    In this workshop, we will search for new doors leading to new poems or short prose. Our goal will be to leap out of our usual ideas about writing in search of what excites us. We will look for inspiration in our surroundings, find poems that spur us on, and try a bunch of writing exercises. Whatever your level of expertise, you should leave with some new words and new works in your pocket.

    • Required Materials: Tool Kit
    • Additional Materials:
      • Paper/notebook
      • Pen or other writing implement

August 4 and 5, Tuesday and Wednesday  (All day workshops)

  • Gelatin Plate Print Within A Book with Susan Webster
    Learn a low-tech and innovative printmaking process that requires no press.  Paper is placed on the inked surface and printed with the pressure of the hand. The printing plate is made from commercial gelatin and inks are water-based. Techniques will include directly painting on the gelatin surface, using subtractive and additive methods, and creating and applying stencils. Students will also construct a simple book structure to showcase selected prints.

    • Required Materials: Tool Kit
    • Additional Materials:
      • Soft rubber printmaking brayers: Bring 2 brayers- 4”  Brayers must be soft rubber. 
      • Brushes:  Bring 3 soft brushes-(not large) round or/and flat. Watercolor brushes work well - camel, sable, and synthetic white.  Bring what you already own. If you need to buy brushes - buy inexpensive ones- they will work fine.
        • An old towel -for clean up
        • Sponge – for clean up
        • Texture & pattern- producing materials: Certain items will create texture and/or patterns when placed on, or moved across, the inked surface of a gelatin plate. Examples: plastic and/or cloth lace, burlap, wooden and rubber blocks and shapes, cheesecloth, old combs.
    • Optional: 
      If you want, bring paper to experiment printing with.  Paper will be provided but it’s fun to try different kinds if you have some in your studio.  (FYI- Examples of paper that work well on gelatin: Stonehenge, Folio, lightweight Rives, Lenox, Fabriano, Bristol board paper.  Borden & Riley sketch pad paper - #214 70lb and #234 108lb) Make sure to mark your personal tools with some sort of identification. Feel free to e-mail me if you have questions. susanwebsterdeerisle@gmail.com  or visit www.susanwebster.net
  • Translation with Nancy Leavitt
    Translation is the act or process of changing something from one form to another. As bookmakers, our job is to find stories, decode them, and adapt them into another form – the book. This new construction finds form through mark-making, paper, and binding structure. This one-day intensive workshop challenges the participants to translate and transform a poem into a new version of their own making. Students will make drawings, experiment with lettering, and complete their own bound volume using a variety of papers and materials.

    • Required Materials: Tool Kit
    • Additional Materials:
      • Glue stick
      • Needle for sewing
      • Colored pencils

August 6 and 7, Thursday & Friday (All day workshops)

  • The Bountiful Block: Printing Without A Press with Holly Berry
    Relief printing is the oldest, most direct and low tech method of making an impression on paper. Explore the unique properties and qualities of linoleum as your medium during this 1 day workshop. All aspects of the block-printing process will be presented: design, transfer of design to block, cutting, inking, proofing, registration and printing by hand. There will be many opportunities for creative decision making and experimentation along the way!

    Much concentration will be on cutting the block with emphasis on line quality and variety, creating visual texture, consideration of negative/positive relationships and concept of reversal. Holly will use examples of her own work and that of others to show various techniques of printing your block in traditional black ink and also in color.  These include the reduction method, use of key-block, multi-block, stencils and masks, white line approach and adding color by hand. You will leave with the information you need to continue making prints on your own.

    • Required Materials: Tool Kit
    • Additional Materials:
      • Linocutting tools (Speedball brand is fine. Should have a U gouge and 2 sizes of V gouges.)
      • 3"- 4 “ soft brayer
      • wooden spoon or barren for burnishing  (optional)
      • black sharpie
      • c thru ruler (if you have one.)
      • Rives heavyweight paper will be available but feel free to bring your own colored and/or interesting paper to experiment with printing.
      • Please bring a simple drawing, motif, design, doodle or photo to work with. Still life objects and reference material will be available for additional inspiration.
        Size options…6 “x 6 "and  5" x 7 "
      • Water-based, non- toxic inks will be provided.
  • Embossing; Printing Without Ink with David Wolfe
    Embossing, debossing what is the difference? How can these processes be used in our book projects? In this class students will be shown how to accomplish both of these effects. We will be using a small press to sculpt  paper into three-dimensional forms and experimenting to find ways of using the result in our work. We will also look at ways to do embossing without a press. Students will produce a small booklet of samples to use as reference in the future.

    • Required Materials: Tool Kit
    • Additional Materials:
      • small flat objects to emboss into paper.

August 8 & 9,  Saturday and Sunday (All day workshops)

  • Drum–leaf Binding with Anastasia S. Weigle
    Come learn how to bind paintings, drawings, prints, mounted photographs, post cards or digital print outs into a structurally sound, flexible book.  You will be introduced to Drum Leaf Binding, a unique technique in book making developed by Timothy Ely, Manuscript Book Maker and artist. The drum-leaf design allows full folio illustrations without reference to the fold.  Students will illustrate, cut, fold, and bind pages into a very usable and flexible binding as well as design and create their own book-cloths.  Students will also learn how to make book wax to seal and polish their covers. This technique is particularly valuable as a way for artists, photographers, and writers to present their works.

    • Required Materials: Tool Kit
    • Additional Materials:
      • 1” flat brush
      • ½” flat brush
      • 10” Triangle
    • Optional: Students may bring decorative papers, stamp art, colored pencils, paints and any other drawing implements to illustrate their books.
  • From Crisscross to Caterpillar: Open-Spine Binding in All Its Glory with Mary K. Brennan
    Take your book arts skills to the next level — beyond accordion folds and coptic bindings. We’ll learn a basic, easy-to-manage crisscross stitch and several variations, including the caterpillar, to create classic open-spine bindings in books that are strong, flexible, and beautiful. We’ll sew around a variety of supports, including paper tape, leather thongs, and binder’s cord, using a simple series of steps to build elegant, intricate patterns that can be carried over as cover designs. No pasting, drying time, or pressing needed.

    • Required Materials: Tool Kit
    • Additional Materials:
      • an awl to punch signatures,
      • four medium-size binder clips,
      • and (optionally) their own prints, drawings, or other heavy paper that can be folded into signatures.

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.

Date, Time, and Location- TBD

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TOOL KIT

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

  • Book ArtX-acto knife and blades or a knife with break away blades
  • 18” Metal Ruler
  • Self-Healing Cutting Mat about 12” x 18”
  • Pencil
  • Notebook
  • Scissors
  • Bone Folder

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 2015 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 2015 Summer Book Arts at the Stone House is now open.

Summer 2015 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: ART 342

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

  • Tuition is due on or before April 15th. 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: ART 599

  • In-State residents: $1,609.00
  • Out-of-state residents: $3,547.00
  • Tuition is due on or before April 15th. 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
Portland Campus aerial image

The Summer Book Arts Program will be held at the Wishcamper Center on the University of Southern Maine's Portland Campus. Our vibrant Portland campus is right at the heart of this energetic, diverse city, nationally known for its arts and culture, outdoor lifestyle–and amazing food!

  • Local Hotels:
    There are a wide variety of hotels in the Portland area. For more information about hotels in the area, go to http://www.visitportland.com/

  • A Word About Portland:
    A Creative Community on Maine's Scenic Coast
    Authentic- by nature with its heady mixture of artistic and outdoor adventures, our region is stylish and sophisticated, yet remains genuine and unpretentious, a place where grey flannel and plaid flannel coexist companionably. And underlying the latest tech, fashion, and culinary scene is a deep sense of continuity. We invite you to experience the character of a region that blends the present with a very special past.

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Summer 2015 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:

  • Holly Berry lives and works from her home studio in Waldoboro, Maine. She has illustrated several award winning children's books and shown her linoleum block prints in galleries and exhibitions throughout the country. She has received an Individual Artists Fellowship for Printmaking from the Maine Arts Commission and recently completed large scale linocuts of animals for a Percent for Art Program in her community. Berry is a graduate of RISD with a BFA in Illustration and is a member of The Boston Printmakers. Her work can be seen at the Turtle Gallery in Deer Isle and at www.hollyberrydesign.com
  • Mary K. Brennan is a book artist, printmaker, and co-owner of Red Squirrel Studio (www.redsquirrelstudio.com) in Harpswell, Maine. She has taught bookmaking for artists and printmakers at Maine College of Art in Portland. Since 2002, she has been a member of Peregrine Press, a noted printmakers' cooperative in Portland; she has twice served as its co-president. Her work is in the collections of the Bowdoin College Library, Bowdoin College Museum of Art, Colby College Museum of Art, Farnsworth Museum of Art, New York Public Library, Portland Museum of Art, University of New England, and Wheaton College.  
  • Gibson Fay-LeBlanc's first collection of poems, Death of a Ventriloquist, was chosen by Lisa Russ Spaar for the Vassar Miller Prize and published in 2012. The book received a starred review from Publishers Weekly, spent several weeks on the Poetry Foundation’s list of contemporary best-sellers, and was featured by Poets & Writers as one of a dozen debut collections to watch. Gibson’s poems have appeared in magazines including Guernica, The New Republic, and Tin House, on the PBS NewsHour Art Beat, and have received awards from the Bellevue Literary Review and UC Berkeley. He has taught writing at conferences, schools and universities around the country and including Columbia, Fordham, and University of Southern Maine.

  • Nancy Leavitt is a calligrapher who specializes in creating unique, hand-lettered, painted, and bound books. She has completed over 100 unique hand-lettered books, which are included in many important private and public institutions around the world. She lives and works in Stillwater, Maine.

  • Barbara Sullivan works in true buon fresco. Her work celebrates and satirizes the monotony of everyday life. She teaches drawing foundations at The University of Maine at Farmington. She holds a BA in Studio Art and Creative Writing from UMF, and an MFA from Vermont College. In 2007 she received both A Gottlieb Foundation Grant as well as a Pollock Krasner Foundation grant.  Sullivan has been included three times in the Portland Museum of Art Biennial. She is represented by Caldbeck Gallery in Rockland, ME. She has shown widely in New England and in NY, where she is currently in a fresco show there called “Off The Wall”.

  • Susan Webster lives in Deer Isle, ME.  She works with a variety of materials and processes. She has received fellowships from the Women’s Studio Workshop (NY), has been a visiting artist at the University of the Arts Borowsky Center (PA) and the College of Atlantic (ME).  She has taught at Haystack Mountain School of Crafts ( ME), Penland School of Crafts (NC), Oregon College of Art and Craft (OR), Studio Artworks Center in Jerusalem, Israel, and other educational settings. Recent exhibits include: Elizabeth A. Beland Gallery, (MA), Southern Graphics Council Conference 2012 Exhibit, (LA), Studio 53, (ME), Lord Hall Gallery University of Maine, Print Portfolios Exhibit.  www.susanwebster.net

  • Anastasia Weigle is an assemblage artist, book binder and book conservator.  She received her BA in Natural Science Illustration with a minor in Museum Studies from SUNY Empire State College in Rochester, New York and her MSLIS in Archives Management from Simmons College.  She has a eclectic background working in museums, libraries, and art galleries.  She is currently part-time adjunct faculty for the Maine College of Art and the University of Maine in Augusta and guest faculty at Maine Media Workshops in Rockport.

  • David Wolfe is the proprietor of Wolfe Editions, a letterpress and fine art print studio in Portland Maine. David has taught book design and book arts at The Maine College of Art, Bowdoin College, Wellesley College, and Dartmouth College, along with ongoing letterpress and book arts classes in his own studio. He was the Master Printmaker for the 2009 winter residency program at Penland School of Crafts in North Carolina. David is the 2010 Traditional Arts Fellow of the Maine Arts Commission, honoring his thirty years of letterpress printing in Maine.

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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