Fall 2020 Synchronous Online Workshops
(Particpants will need an internet connection to log-into the classes through Zoom, preferably on a larger screen such as a laptop or iPad (vs. phone) so you can see the demos. Please set up your workstation near your computer/iPad so you can follow along.)
Image Below: Coruscation, by Beth Sheehan
Monotypes and Accordions with Beth Sheehan
Wednesday Evening, September 16, 2020
6:00-8:00 PM Eastern Standard Time, Synchronous Online with Zoom
$40, Click Here to Register Online or call (207) 780-5900
Maximum enrollment 25
In this two-hour online workshop, students will learn to create beautiful trace monotypes and fold them into a variety of accordion book structures. The immediate and ethereal nature of trace monotype printing is the perfect addition to any book and in this workshop, we will discuss tricks for registering multiple color prints, plan how your images will interact with the accordion book structures, and explore methods to enhance the book forms.
We will cover: proper inking and printing techniques, multiple color registration, using a guide to print multiples, folding a simple accordion, folding a Land + Sky accordion, and folding a one- page accordion.
Image Above: Memento, by Beth Sheehan
Beth Sheehan is a printmaker, papermaker, and book artist living in Tuscaloosa, Alabama. Her work investigates ideas of memory and perception to explore her own lack of episodic memory. Her work has been exhibited internationally and is held in public collections including the Metropolitan Museum of Art, The New York Center for Book Arts, and the San Francisco Public Library.
Ms. Sheehan has worked as a professional printer at Durham Press in Pennsylvania and at Harlan and Weaver in New York. She was also the Lead Binder and Bindery Manager at Small Editions in Brooklyn and teaches paper, print, and book workshops around the country.
- Plexiglass, ideally larger than print size (glass or similar would also work)
- Paper, smooth and text-weight are best, but most papers work well
- Block-printing ink/letterpress ink
- Ink knife
- Tape, preferably blue artist’s tape/painter’s tape
- Bone folder (optional but preferable)
- Cutting mat and cutting tool such as Olfa knife, X-acto, box cutter, etc. (optional)
- Ruler (optional)
- Tracing paper (optional)
- Images or drawings to trace (optional)
- Textures and stamps, (optional)
- Ink cleaner, some inks clean up with regular soap and water, most oil-based and rubber-based inks clean up with oils (baby oil, Crisco, vegetable oil, etc.)
- Paper towels and gloves for cleanup.
Write Now with Stuart Kestenbaum
Saturday, September 26, 2020
10:00 AM - 12-Noon Eastern Standard Time, Synchronous Online with Zoom
$50, Click Here to Register Online or call (207) 780-5900
Maximum enrollment 12
This workshop will be a combination of writing from observation and memory. We will begin with quick writing exercises that open us to seeing the world that’s right in front of us and then follow our instincts and intuition move more deeply into our work. We will look at examples of other writers, read each other’s work, and spend lots of time writing. The goal is to start without judging and end up in a place that might surprise us.
Stuart Kestenbaum is the author of five collections of poems, most recently How to Start Over (Deerbrook Editions 2019) and a collection of essays The View From Here (Brynmorgen Press). The director of the Haystack Mountain School of Crafts from 1988 until 2015, he has written and spoken widely on craft making and creativity, and his poems and writing have appeared in numerous small press publications and magazines including Tikkun, the New York Times, the Sun, the Beloit Poetry Journal, and on Garrison Keillor’s Writer’s Almanac. He was appointed Maine’s poet laureate in 2016.
Former US Poet Laureate Ted Kooser has written “Stuart Kestenbaum writes the kind of poems I love to read, heartfelt responses to the privilege of having been given a life. No hidden agendas here, no theories to espouse, nothing but life, pure life, set down with craft and love.”
A journal or paper to write in and pens or pencils to write with.
Image Below: Only Now, Collabation by Stuart Kestenbaum & Susan Webster
Image Above: Blue Book by Rachel Church, Cyanotype Artist Book
Print, Fold, Cut, with Rachel Church
Three Saturday Synchronous Online Workshops with Zoom
October 17, 24, & 31, 2020
9:30 - 11:30 AM Eastern Standard Time
$80 for All Three Workshops, Click Here to Register Online or call (207) 780-5900
Maximum enrollment 15
Over the course of three sessions you will learn a set of at-home techniques and structures for creating engaging artist’s books with little surprises such as storage compartments, peek-through cut outs, and custom patterned paper. In the first session we will learn how to print patterned papers using simple supplies at home. Next, we will explore masu boxes, a folded box structure that can used to create a variety of book objects with storage compartments. And in the last session, we will learn to make a suite of single-page folded book structures and look at how to incorporate cut-outs to take advantage of both sides of the paper.
Rachel Church is an intermedial artist, book artist, and printmaker working in Maine. Her current work explores gender issues through food and material culture, particularly cookbooks. In 2008, she was an intern at the Engine House Press, on the island of Vinalhaven, Maine, and in 2009 she spent a year printing with the Peregrine Press in Portland, thanks to the Kate Mahoney Memorial Scholarship. More recently, she was honored to be selected as the Baxter State Park 2018 Artist in Residence. She is currently a member of Running with Scissors Studios in Portland, Maine, and teaches printmaking and bookmaking workshops.
Image Below: Workshop Student Artist Book by Emma Betterley-Dow
Supplies you will need:
- bone folder
- x-acto knife with blades
- metal ruler
- cutting surface, such as self-healing mat
- 1 roll of clear packing tape
- glue stick or white glue and small glue brush (optional, but handy)
- 12 sheets regular printer paper (white or colored) for in-workshop demos
- You can complete all techniques using computer paper if needed, but you may also want some additional light to mid-weight, foldable paper for your projects. Look for acid free options if possible. Some suggestions are:
- Strathmore 400 Series 80lb drawing paper
- Strathmore 300 Series 70lb drawing paper
- Canson drawing or lightweight watercolor paper (such as Foundations 90lb watercolor)
- Canson Mi-Teintes colored drawing paper
- scrap paper
- a few wooden blocks in the 2”x2” to 4”x4” range, such us cut up plywood (If you can’t get wood, cardboard cut into at least 4-5 smaller pieces of the same size will do in a pinch)
- Craft foam (sticky back is nice) https://www.michaels.com/9x12-adhesive-foam-sheet-by-creatology/M10032002.html or https://www.michaels.com/primary-adhesive-foam-sheets-value-pack-by-creatology/10104248.html or https://www.joann.com/sticky-back-6x9-foam-sheet-value-pack-40pc/16281818.html#start=1
- at least one 4-6” soft rubber brayer https://www.dickblick.com/products/speedball-soft-rubber-brayers/ (more, and smaller sizes, are handy if you have them already)
- piece of Plexiglas at least 9x12, a couple would be best, or one larger one
- something for moving ink, such as a palette knife, putty knife, spatula or plastic spoon
- Option 1: Speedball Water Soluble Block Printing Ink in a variety of colors you like and that you can mix together. https://www.dickblick.com/products/speedball-water-soluble-block-printing-inks/ (starter pack would work) – These inks print a little more vibrant than the screen-printing inks, and leave a slightly textured surface that you will need to be careful of when using a bone folder
- Option 2: Speedball Acrylic Screen Printing Ink in a variety of colors you like and that you can mix together. https://www.dickblick.com/products/speedball-permanent-acrylic-screen-printing-ink/ (starter pack would work, white would be a nice addition) – I like these inks because they dry on the paper with a very, light, smooth finish that folds nicely.
- Paper towels or rags for clean-up
- dish soap, clear hand soap, Simple Green, and/or Windex for clean-up
In addition to these items you will need an internet connection to log-into the class, preferably on a larger screen such as a laptop or iPad (vs. phone) so you can see the demos. Please set up your workstation near your computer/iPad so you can follow along. Access to a sink is helpful for clean-up.
Image Below: New Luck Leaf, by Rachel Church
Spring 2021 Workshop
(Introduction to) Pop-up Book Structures with Colette Fu
April 2021 in person or perhaps online
DTBD- Date to be determined and Confirmed, please check our website from time to time for updates.
$135, registration will be available in 2021 on line at usm.maine.edu/bookarts or call (207) 780-5900
Luther-Bonney Hall 424, Portland Campus (or redesigned to be online if the campus is closed)
15 max students
Movable books were originally created to illustrate ideas about astronomy, fortune telling, navigation, anatomy of the body and other scientific principles. Most commercial pop-up book publications today are geared towards children, but pop-up book structures can be used to make engaging works of art for any age- from greeting cards to animations to kinetic sculptures. In this workshop, students will learn the basic elements of pop-up paper engineering and how to combine them to create more complex mechanisms.
Supplies Students should bring
- Scissors, I like to have 1 large pair and another smaller pair for precision cutting like EK Tools Precision scissorshttps://www.amazon.com/EK-Success-EKCB01-PrecisionScissors/dp/B0006842S2/ref=pd_lpo_sbs_201_t_0?_encoding=UTF8&psc=1&refRID=KFXEJR2CSGG7JNZ80FJP
- X-acto knife and extra blade
- Pencil, eraser
- Self healing cutting mat
- 12” ruler
- Bone Folder, optional
- Small knitting needle for scoring or scoring tool, optional
- Markers, colored pencils
- Students may bring any 2D paper based art that they might want to incorporate/collage with their pop-ups. These can include magazine pictures, drawings, matte photographs, and laser prints.
Image Above: Dai Food Pop-up Book-from We are Tiger Dragon People series, by Colette Fu
Colette Fu received her MFA in Fine Art Photography from the Rochester Institute of Technology in 2003, and soon after began devising complex compositions that incorporate photography and pop-up paper engineering. She has designed for award winning stop motion animation commercials and free-lanced for clients including Greenpeace, Vogue, Canon, Moët Hennessy • Louis Vuitton and the Delaware Disaster Research Center. Her pop-up books are included in the National Museum of Women in the Arts, Library of Congress, Metropolitan Museum of Art and many private and rare archive collections. In 2017, Fu created the world’s largest pop-up book measuring 21x14 feet at the Philadelphia Photo Arts Center where visitors were invited to enter the book. Fu's numerous awards include the 2018 Meggendorfer Prize for best paper engineered artist book, a 2008 Fulbright Research Fellowship to China, and grants from the Independence Foundation, Leeway Foundation, En Foco, Pennsylvania Council on the Arts, Puffin Foundation and Society for Photographic Education. Fu has attended over 20 funded artist residencies, most recently the Macdowell Colony and Yaddo. Her solo show "Wanderer/Wonderer: the Pop-ups of Colette Fu" was presented at the National Museum of Women in the Arts in 2016/17.
For more information, please contact:
Annie Lee-Zimerle, Program Coordinator
(207) 228-8014 or email@example.com
find us on facebook @KCCBookArts