THE SKETCHBOOK: PLAN AND ACTION
with Timothy C. Ely
SUNDAY, MARCH 4, 2012
GORGAS LIBRARY - TUSCALOOSA, AL
9AM - 6PM
Investigate the uses and utility of the artist’s sketchbook. A conceptual tool with a long and venerable history, it was recently celebrated at Harvard’s Fogg Art Museum. The sketchbook can serve as a planner, recording device, carrier of scrap, journal, and muse.
THIS ONE DAY WORKSHOP is designed to acquaint the participant with some often overlooked, first principals of the craft of bookbinding as well as provide a platform from which the participant can merge the generation of IDEA and OBSERVATION with the creation of a hand made book. Technique and concept are fused, and so for some, this will become a welcome revelation.
We will fabricate a ‘formal’ codex book with rigid covers. Knowledge of this conceptually flexible book form will ul- timately allow for a great deal of future spontaneous play. These structures are fascinating hybrids, combining a sewn text block with Ely’s development of the drum leaf binding covering techniques.There are many varieties and actions and time is provided to discuss numerous facets of the book building and thinking operations.We will discuss some surface design on covering materials, possible variants on format and engage in the mark making materials that form a foundation for exciting and durable archiving. Some of this material is being revealed here for the first time.
This workshop will crack the code for you. On completion, you will have an expanded working vocabulary and will be able to explore with familiarity the manuals and literature that surrounds this subject.The world of bookbinding becomes your oyster.
BIO Timothy Ely has been a student and scholar of the sketchbook form since the late 1960’s. He received an MFA in Design from the University of Washington in 1975 and since that time has been making unique manu- script books, sketchbooks & archives and has been active in teaching the art of the book. He is represented by Granary Books in New York City. His books are in public, private, and secret collections planet wide. He lives in Colfax,Washington.
Sponsored by Painted Bunting Books, Curly Head Press,
and The University of Alabama’s MFA in the Book Arts Program
Email Amy LeePard at Amy.LeePard |at| gmail.com with your name, address and telephone number. Then, mail a check for the full tuition of $70 made out to Amy LeePard. Send to 2315 7th Street, Northport, Alabama 35476. Your space in the class is only guaranteed upon receipt of full payment, and is on a first come, first serve basis. Materials kit available for an additional fee. A materials and supplies list will be sent upon registration.
REGISTRATION DEADLINE : FEBRUARY 24th
Randy J. Arnold will be teaching a tool making workshop October 20 – 21st
during the Friends of Dard Hunter conference.
The workshop will be located on the campus of the Arrowmont School of Arts and Crafts. Participants should leave with three simple but essential tools crafted during the workshop.
Registration is now open.
For more information, please visit the Friends of Dard Hunter.
Randy J. Arnold is a luthier living in Northport, Alabama, and the third generation in his family to work with wood. In addition to musical instruments, Randy also creates handcrafted bookbinders’ tools. Randy works in the wood shop that his grandfather built in the early 1940’s, using many of his grandfather’s tools.
Friends of Dard Hunter Annual Meeting
October 18 - 24
Arrowmont School of Arts and Crafts
In this two-day workshop, on October 20th & 21st, we will consider the use of photographic images as a storytelling device in the artist book. Through quick writing and visual exercises, we will unravel the stories that images tell. Participants will learn three book structures: the sixteen-page book from a single sheet, the hardcover pamphlet, and the double-leaved accordion. These formats easily accommodate photographic imagery either through direct printing onto folios or incorporating individually printed photographs.
Using our surroundings, participants will create their own image narrative artist book. The image narrative has the potential to tell an abstract or explicit story or it can simply imply relationships. These themes will be explored throughout the workshop.
We will also discuss digital print technology such as choosing printers, inks, and papers for archival print quality, as well as how to incorporate analog photography. In addition to your regular binding tools (folder, ruler, craft knife etc.), participants should also bring a digital or instant camera (Polaroid-style instant film is now available from Harman Technologies. There is limited film processing in the Gatlinburg area but participants may choose to use 35mm and have it one-hour-processed at the local drug store.) Though not mandatory, a laptop with photo-editing software will be helpful.
Two days, Wednesday and Thursday, Members of the Friends of Dard Hunter $200, (Non-Members $240) plus $40 materials fee
All classes run from 9 a.m. to noon and 2 p.m. to 5 p.m. Studios are open from 8 a.m. to 11 p.m.
All workshops are limited to 10 participants. Enroll early to guarantee your place in the workshop of your choice.
To register, visit The Friends of Dard Hunter online
October 14-16, 2010
Radisson Suites Tucson
Online Registration is now open!
The Seminar on Standards of Excellence in Hand Bookbinding is the annual Guild of Book Workers conference. Held annually at a different location in the country, participants attend presentations by leading experts in the fields related to the book and paper arts. Tours of binderies, conservation facilities, rare book libraries and papermaking establishments are regularly arranged in conjunction with the event. Seminar presentations are videotaped and made available to members. The Guilds Annual Meeting is held in conjunction with the seminar.
Registration is limited to 140 people. Deadline to register is September 14, 2010.
For information on this year's events including presentations, tours, vendor room and banquet, visit the Standards of Excellence Seminar page of the Guild's website.
A view of Arnold's shop and his other woodworking venture as a luthier -
Read more about woodworker Randy Arnold in this recent article from The Tuscaloosa News.
PBI ABC was originally created for an auction supporting the Nell Meldahl Scholarship Fund, of which its creators were recipients. Fully collaborative image-making and binding design were executed over a week at the OxBow School of Art in May 2009, and since then, numerous cross-country emails and packages have continued the collaboration between us:
Amy LeePard is a book artist and letterpress printer in Northport, Alabama whose work focuses on the stories and experiences of everyday people.
Benjamin Reynaert is an artist in Ann Arbor, Michigan whose work creates places that are built from commonly found paper products and transformed into sculptural book objects.
Kalmia Strong is an artist who is studying to be a librarian/book historian/ conservator.
PBI ABC will be on display at The Abecedarian Gallery in Denver, Colorado during the exhibition ABECEDARIES.
Limited Edition of 25 printed on Mohawk Superfine. (shown above)
Special Edition of 5 printed on Strathmore Pastelle with deckle edge.
I have recently filled the position of interim Secretary / Membership Officer for the southeastern chapter of the Guild of Book Workers. I have also been asked to contribute to the chapter's newsletter which takes the form of a blog. For information about book arts related events and opportunities in the southeastern U.S., check out the SEGBW's newsletter.
For information on how to join the Guild of Book Workers and membership privileges, visit the National Guild of Book Worker's website. www.guildofbookworkers.org
As I spent time each day thinking about these pieces of paper and imagining what they could become, they became a calming grey quiet for me. They gave me the space to think and imagine. By the time they were taking book form, they were full of moments of quiet. I figured the only suitable marking would be a reminder to myself of what the paper brought to my day, a moment of calming grey quiet.
While reading John Common’s lyrics and listening to his music, I found myself wanting to know more about the people in his neighborhood. Where did they come from? Where were they going? With those questions in mind, I selected excerpts from his lyrics that made me want to know more, lyrics that made me want to find out whose experience was intertwined in his melody.
The excerpts were then imbedded in images. Each image is one quadrant of a larger photograph, creating a slide of text and image that doubles as a puzzle piece. Each of the photographs that I chose were images that I had taken of locations that roused a strong sense of place.
After creating the lyric slides, I decided that I wanted to answer some of these questions for the viewer of the collaborative box project. I thought about the relationships formed by this project - there is John Common, the musician, Alicia Bailey, the curator-gallerist, me, the creator of the box and you, the viewer of the box. I thought about how this project connected us and how we each have a story to tell. I asked John and Alicia to share four specific thoughts, facts or memories from different points in their lives while I also came up with four from my life. These story pieces were imbedded in one quadrant of a map. When put together, these slides reveal the home state of each contributor.
If you decide to enter into this collaborative project, then you also become part of this puzzle. Buying this box completes the cycle, connects the pieces and entitles you to four slides that represent your story. You become the final piece of the puzzle that connects us. As the owner of the box, send me four details of your life, history or memories. Include where you grew up and I will send your remaining slides. The final slide is a colophon slide which details the purpose and processes of the project. The colophon slide will reveal how we are all connected.
For more images visit http://www.paintedbuntingbooks.com/
The book set was also featured in a gallery talk by the Guild of Bookworkers exhibitions chair and internationally known book artist Karen Hanmer.
Marking Time opened at The Minnesota Center for Book Arts on May 15, 2009. The exhibition will travel to nine venues across the US from May 2009 until March 2011.
The exhibit was recently reviewed by Mary Abbe in the Minneapolis Star Tribune : Fifty handmade books explore the theme of time with verve and cunning.
View the exhibition schedule or order the full color catalog at
Letterpress and archival ink jet printed on the artist’s handmade 100% cotton paper. Divided into four sections, the book consists of three hardcover pamphlets each highlighting one of the generational artisans and one soft cover pamphlet serving as the introduction, artist’s commentary and extended colophon. Housed in a handmade clamshell box.
I wanted the books to be a portal for these generational crafts people to speak directly to the reader. I chose excerpts from the interviews that I felt illustrated a change in craft over time through the generations of these three families.
*Handmade in Alabama was made possible by the goodwill and generosity of family and friends, especially Randy Arnold of Maxwell Banjo Company, Jude of Art By JulesMarie and Geoffrey, Amy Pirkle of Perkolator Press, Jessica Peterson of Paper Souvenir, Glenn House & Kathy Fetters, Eric Miller, Estella Jackson, Rick Olson of Coosa Creek Cinema, Word Way Press, The Alabama Folklife Association and New College.
Just wanted to let you all know that we have been coding for the last couple of months and are launching our new website this week.
It is being updated daily as we finish the design so be sure to check back for more content & images.
You can also continue to find us here on blogger.
Check us out at www.paintedbuntingbooks.com
We would love to hear constructive feedback as we finalize the design.
In fact, we'll send a custom handbound blank journal to whoever gives us the most constructive feedback! We've been looking at it way too long and need an outsiders point of view!
Thanks for your interest in Painted Bunting Books!
Linsey-Woolsey was created in the summer of 2008. Printed on my handmade linen/wool blend paper, the text was set in Adobe Garamond and Bickley Script. All of the images are my original intaglio prints and were printed on an etching press in Daniel Smith sepia etching ink. The binding is a modified link stitch sewn with linen thread. The closing tie is my handcarded and handspun linsey-woolsey yarn. Edition of 2.
We had a beautiful afternoon for paper marbling in the courtyard. Many thanks to Tom Leech for answering all my enthusiastic questions!
As a living history demonstrator, I found that children shared my fascination with spinning the plant and animal fibers together. The children loved touching the two raw fibers and feeling the differences in texture. They thought that the linen looked like human hair or horse hair and had a hard time believing that it came from the inside of a plant.
Colonial American quilts were typically backed with linsey-woolsey fabric. Many textile historians believe that "the linen and woolen quilts which we see today survived because the cloth was stronger than other weaves in use at the same time. " Dian Crayne Patches from the Past: Scraps of Fabric, Sewing & Quilting History
"I have a vivid recollection of the linsey-woolsey dress given to me every winter by Mrs. Flint. How I hated it! It was one of the badges of slavery." Incidents in the Life of a Slave Girl Autobiography by Harriet Jacobs