Office of Registration & Scheduling Services

Summer Book Arts

2017 Summer Book Arts Program


Summer 2017: Monday, July 31st – Sunday, August 6th

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 working with inkjet printed photos, maps, cyanotype process, serial printmaking, 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 on September 11th 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 4 weeks starting in September 2017.

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Summer 2017: Monday, July 31 – Sunday, August 6

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

Lunch provided Monday – Sunday

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July 31, Monday (Half day workshops)

  • Write Now with Stuart Kestenbaum
    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.

    • This workshop requires the Tool Kit as well as the following additional materials:
        • A journal or paper to write in and pens or pencils to write with.
  • The Terrors and Pleasures of Working Inkjet Printed Photos into Hand Bound Artist Books with John Eide
    Each participant will assemble either a single section sewn pamphlet or a Japanese stab bound book. We will discuss paper in general and inkjet papers specifically. Referring to the two binding styles, how to modify each for inkjet prints will be discussed and examples shown. A few tricks of the trade can be demonstrated. Philosophical questions about inkjet papers, prints and one-of-a-kind hand bound books will be woven into the workshop.

    • This workshop requires the Tool Kit as well as the following additional materials:
      • Bone folder
      • Needle
      • Knife
      • Bookmakers awl
      • Pencil(s) NO pens
      • Notebook

August 1 and 2, Tuesday and Wednesday  (All day workshops)

  • Cyanotype Process with Jen McDermott
    The process involves making contact prints with light-sensitive paper, either using photographic negatives, or photograms of objects and other materials. Since this is a contact printing process, a negative the size of the final print is required. We will cover a simple method to make enlarged negatives from digital files that students will bring to class. We will also experiment with making camera-less images, simply bring in objects to place on top of your cyanotype paper.

    We will begin with a short presentation on the history of Cyanotype Process etc.. followed by a simple method of creating digital negatives for your cyanotypes and a printing demonstration. Students will print using photographic negatives, or photograms of objects and other materials. The afternoon we will demonstrate toning methods then students are free to continue printing.

    The final hour of class we will share our images and experiences.

    • This workshop requires the Tool Kit as well as the following additional materials:
      • Students should bring large format negatives, made from digital negatives.
      • Image sizes should be between 4×5 and 8×10
      • Experimenting with camera-less images is also encouraged- for instance you can bring in objects to place on top of your cyanotype paper.
      • (Rather messy so wearing old clothing is recommended)

  • Oh, What a Relief with Barbara Putnam
    Making a book is a process of discovery as you bring together and edit elements, building a narrative.    In this workshop we will build as well, working with a new type of linoleum from Japan called Gomuban, which carves like butter and yet holds incredible detail.   Beginning with recording textures on your cell phones, we will use these initial prompts to guide our understanding of how contrast underlies this medium and then draw onto two blocks, inventing new forms.  Your design elements may coordinate or be independent of each other.   We will carve these to highlight contrast while exploring ways to find middle tones as well.  In the afternoon we will print the  blocks, using  transparent layers of color, experimenting  with stencils, and “building ” printed sheets that can be used in any part of your final book project.   You will think deeply about color since you will work with Korean “hanji”, colored rice papers that will challenge you to manipulate colors by not printing onto a white substrate.    This workshop will introduce you to relief printmaking and its possibilities for elements or content within the book form.

    • This workshop requires the Tool Kit as well as the following additional materials:
      • Your cell phone…with 5 images of textures— organic or industrial, recognizable or not, text, patterns you discover that catch your attention.  We will use these as the basis for beginning a relief print.
      • Sketch pad, any size for notes and to work out ideas.
      • Sharpie pens- one razor point and one medium point
      • Samples of rice paper to experiment with  —optional
      • Pencils, erasers, X-acto knife, small ruler, tape, a couple sheets of tracing paper
      • Linoleum carving tools if you have them (we have extras, so don’t buy them)

August 3 and 4, Thursday & Friday (All day workshops)

  • A Time to Sew with Linda Lembke

    Decorative exposed sewing patterns offer a useful approach to the design and binding of single signature and multi-section books. In this workshop we will work through four sewing patterns from published sources, discuss procedures for adapting them to varying sizes and materials, and invent one or more patterns of our own. We will also work through both soft and hardcover case constructions that work well with these sewing structures.

    • This workshop requires the Tool Kit as well as the following additional materials:
      • Bookbinders needle
      • Japanese hole punch with 1 mm punch 
      • Piercing tool and/or awl 
      • Small glue brush 
      • Instructor will have extras of these items to share

  • Atlas: A Book of Maps with Stephanie Wolff
    We often think of an atlas as a big heavy book filled with maps. Historically these structures allowed for large pages to be bound into books of a more compact size without disrupting the binding. Some historic atlases have used other imaginative ways to present maps and similar information. We will create three small books of maps in this workshop. In addition we will cover methods of binding large pages into smaller books, some map history and resources, and the artistic possibilities of atlas structures.

    • This workshop requires the Tool Kit as well as the following additional materials:
      • Bookbinder’s sewing needle
      • Awl
      • Glue stick
      • Small ¼” and ¾” glue brush
      • Dividers - optional (will have some to share) 
      • Blotter or 1 ply smooth mat board – 4 pieces about 8 x 10"
      • 2 pieces of binder’s board or smooth 4 ply mat board, clean scraps are fine, 9 x 12”
      • A weight- like a covered brick or 2 lb. hand weight

August 5 & 6,  Saturday and Sunday (All day workshops)

  • Circular and Linear Thinking: Serial Printmaking with Judy Novey

    Easily found in the natural and manmade worlds, circles and lines are basic design elements from which artists have drawn inspiration over time. After seeing a brief slideshow of such examples, students will use synthetic gelatin plates, to quickly create a series of related prints made from their own handmade stencils. Overprinting and collage will further connect their prints into an aesthetically cohesive series. Students will have time to assemble their prints into a small accordion book or soft portfolio container.

    • This workshop requires the Tool Kit as well as the following additional materials:
      • One piece of etching/heavy weight printmaking paper (Folio is fine)  
      • Optional : 6 x 6 gelli plate if you already have or want to buy one
      • 3 or 4 Golden acrylics (maybe black & primaries /or a particular color you like) 
      • Hot glue gun and a few glue sticks (we have two to share-no need to buy one)
      • A permanent glue stick (Scotch Permanent recommended)
      • A brayer if you have one (we have some, no need to buy one)
      • Teacher and Program will have more of everything listed in this optional list.

  • Drawn and Quartered with Alex Rheault
    We will use various resources from small objects, selected imagery, and a writing exercise to create several long pages that can be assembled as a non-linear sequential series. Images can be repeated, merged, overlapped, or altered as poetic, dreamlike imagery. Work with mark-making, interpretive representations of your inspirations, composition to design four or more pages 7 x 17 inches. Work borders, float images, play with scale, contradict methods or materials; narratives erupt from relationships and tensions of incongruous pictures and meanings you create.

    • This workshop requires the Tool Kit as well as the following additional materials:
      • Bring five or six small (palm of your hand-size) objects that have some meaning for you to draw from (an old baby shoe, a strange dried flower, a piece of lace or old brooch, postage stamp, a doll head) Maybe vary the textures and meaning of the objects.
      • A basic watercolor kit (even Crayola or other inexpensive set works, if you have tubes and a palette that’s fine too.)
      • Cup for water, rag or face cloth, and sponge to cut up
      • Brushes: at least a very small 0 or 2, a 4 or 6, and 10 or 12 (any others you like, house, sponge, etc)
      • Pencil and eraser/kneaded is fine
      • Bring about 7-10 images you print out, photocopy, tear sheets from magazines or old book sources to choose from, any subjects/themes you like that have interest for you. EXAMPLE might be: 1950’s cake advertisement, a field guide page of birds, a wing-tip shoe, a pirate illustration, Surrealist arrangement of figures, a photograph of teeth, a William Morris pattern, Medieval heraldry, Bosch painting detail, a Victorian jacket)
      • The following additional materials for this workshop are all optional: 
      • Additional drawing implements you like to work with that have color, variety in their mark-making (crayons, water soluble crayons, colored pencils, water soluble colored pencils)
      • Water media of any kind: watercolors, colored inks
      • Any kinds of brushes of implements to make marks with wet media
      • Palette if you use any tube paints/Palette for ink if you like ink (Instructor will bring Black Magic ink, a waterproof ink)
      • Any sewing thread, embroidery thread and needle if you want to accent or stitch, any collage items/magazine printed images to cut up, letters or words, sketch or calligraphy pen or nibs with ink, or color papers, ribbons, paper bag to draw on.

Questions about workshops?
Please email Rebecca Goodale, the faculty director of Book Arts, at

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September Exhibition and Public Lecture

All undergraduate and graduate students in Summer Book Arts (at the Wishcamper Center) are expected to participate in the Book Arts exhibit at Special Collections 6th floor, Glickman Family Library. Those taking the course for credit MUST participate. In order to complete this course you must design and make an artist’s book inspired in some way by your week at Wishcamper.

GRADUATE STUDENTS addition you will write a research paper on some aspect of the week long program.  For instance, you might write about the history of printmaking, or on a particular book artist, binding, and/or Artist’s Books. This will also be due on or before September 6, 2017.

Artist’s Books may be delivered in person to the 6th floor, Special Collections on Wednesday, September 6, 2017, between 4:00 and 5:30 PM. Please include the title and your name on a piece of paper with the book.

If you decide to mail your book, send it to Rebecca Goodale, Chappell Center for Book Arts, 6th floor, Special Collections, Glickman Family Library, USM, 314 Forest Avenue, Portland, ME 04104.  It must arrive before September 6, 2017.  Keep in mind that once your book travels from your post office to USM, it then travels in USM’s mail system.  Plan on 3-5 days for delivery, depending on your proximity to Portland.

  • Book Arts Exhibition: September 7 - October 8, 2017, Glickman Family Library, 6th floor 
  • Lecture and Reception: Monday, September 11th, 4:00 p.m., Artist's Books as Teaching Tool by Cathleen Miller, Curator of the Maine Women Writers Collection, University of New England. The lecture will be held in the University Events Room, 7th floor, Glickman Family Library, 314 Forest Avenue, Portland Campus. Following the lecture, there will be an exhibition reception from 5:00 - 6:00 p.m. on the 6th floor, near Special Collections. Refreshments will be served. Free and open to the public.

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Tool Kit

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

  • X-acto knife and blades or a knife with break away blades or Olaf knife (small, with snap off blades) and supply of replacement 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, which you must bring every day, each workshop requires additional materials needed for participation. Please review the workshop descriptions for details.

Questions about required materials?
Please email Rebecca Goodale, the faculty director of Summer Book Arts, at

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Registration & Tuition

Registration begins on March 1st for students enrolled at USM and other University of Maine schools, and March 3rd for everyone. Participants can register for the 2016 Book Arts program for three undergraduate credits or three graduate credits. For those interested in participating, but do not need academic credit, there is a choice to enroll for undergraduate credit and select not to receive a grade for the course (audit the course) or to enroll as a noncredit student (CEUs available).

Summer 2017 Registration Options:

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 in the program.

  • When registering for undergraduate academic credit, participants may choose to receive a grade or to audit the course. Auditing means that the participant is enrolled in the course for academic credit but will not receive a grade.

Undergraduate course code: ART 342

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

    Payment for summer is due on or before April 15th.

Graduate Academic Credit:

Graduate Academic Credit (3 graduate credits) Program 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 in the program. In addition to the artist’s book, each graduate student must also submit a research paper by September 6. 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 Summer Book Arts experience.

  • When registering for graduate academic credit, participants may choose to receive a grade or to audit the course. Auditing the course means that the participant is enrolled in the course for academic credit but will not receive a grade.

Graduate course code: EPC 582

  • In-State residents: $1,609.00
  • Out-of-state residents: $3,547.00

    Payment is due on or before April 15th.

Senior Citizen Waiver (applicable only to the academic credit section and only available for in-state residents 65 or older)

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

Participate for Continuing Education Units (CEUs)

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

Registration for noncredit/CEUs can be done online or over the phone by calling Professional & Continuing Education at 207-780-5900. If you have specific questions about the workshops, please contact faculty director Rebecca Goodale at

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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

  • 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 2017 Faculty

Faculty Director:

  • Rebecca Goodale is the Program Coordinator for USM's Kate Cheney Chappell '83 Center for Book Arts, is the Faculty Director for the Book Arts 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 Book Arts workshop details, material lists, and tool kit contact Rebecca at

Workshops Faculty:

  • Stuart Kestenbaum is the author of four collections of poems, Pilgrimage (Coyote Love Press), House of Thanksgiving, Prayers and Run-on Sentences and Only Now (all Deerbrook Editions), 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 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.”
  • John Eide created the photo program at the Maine College of Art where he taught from 1970 to his retirement in 2008. With the advent of inkjet printing in the 1990s, he used this new technology to occasionally combine text with his photos and bind both into traditionally bound one-of-a-kind books.

  • Jen McDermott is a Fine Art Photographer and Educator living and working in Portland, Maine. She teaches at the University of Southern Maine and teaches photography to individuals living with Alzheimer’s, Dementia and their care givers, Mind’s Eye Maine. She received her BFA in Photography from the Maine College of Art before earning an MFA in photography from Yale School of Art and an MPS from the School of Visual Arts in Digital Photography. Jen’s work has been exhibited in group exhibitions throughout New England as well as in New York and in California. Her photographs are included in the collections such as the Yale Art Gallery.

  • Barbara Putnam has been making prints since a teacher handed her carving tools in a third grade Saturday class at the Worcester Art Museum.   Then and now she is fascinated by the boldness of communicating through black and white shapes and gestures, and the directness of such rich, traditional medium. Barbara’s work has always focused on the environment: from open spaces to small tributaries and moving from caution for land use to now sadly, documenting the disappearance of species and showing our human impact upon the landscape.   Barbara has had prints and quilts included in international exhibitions in Romania, Portugal, Japan, Argentina, Vietnam, a solo exhibition in Finland, and has been included in numerous museum exhibitions, including Chicago Art Institute, Denver Art Museum, Cleveland Museum of Art, Toledo Museum of Art.
  • Linda Lembke is a hand bookbinder who incorporates traditional and experimental approaches to limited edition binding, fine binding, and box making. She is the sole proprietor of Green River Bindery in Guilford, Vermont. Linda has worked as a teaching artist through the Vermont Arts Council's education program and has designed many bookmaking projects with students, teachers, and artists.

  • Stephanie Wolff is an artist, hand bookbinder, printer, and book conservator. She was the Fall 2015 Helen M. Salzberg Artist-in-Residence at the Jaffe Center for Book Arts and a Creative and Performing Artists and Writers Fellow at the American Antiquarian Society in 2013. Her current body of work focuses on themes of weather, history, and rural life. 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
  • Judy Novey is the Chair of the Visual Arts Department at Waynflete School and Director of the Waynflete School Gallery. She teaches classes in drawing, painting, printmaking and book arts. Recent subjects that inform and inspire her work include branches, root systems, rocks, cell structures and seed pods. She makes artist’s books and prints, often combining the two. Her formal education includes an MFA from Rutgers University and a BFA from The University of the Arts in Philadelphia, PA. Her informal, but equally valuable education, has come from the unpredictable & creative interchange with her students.
  • Alex Rheault seeks out and pairs poached images, the language of collage and fragmentation where things simultaneous assemble and disassemble. Drawings in watercolor, photographic, written, or printed, images and objects collide: body parts, domestic and discarded treasures, clothing, toys, rusted or broken parts, things with wheels in narratives of transformation, odd pairings, and tensions. Rheault teaches and mentors at UNE, MECA, and privately.

Questions about workshop faculty and program content?
Please email Rebecca Goodale, the faculty director of Book Arts, at

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