During this workshop we will discuss and practice measuring off the object, materials selection, gauging material thickness, adhesive options, cutting techniques, and best practices for construction.

Students will create two four-flap enclosures with variations and two clamshell boxes, one with set dimensions and one for an object of their choosing. Familiarity with bookbinding terms, tools, and techniques will be quite helpful, but not required

Contact Kevin McFadden kjm7a@virginia.edu to register or for more information.

This workshop will concentrate on presswork using the Vandercook Universal One.

Focus will be on prepress planning, lock-up, multi-color registration, impression pressure and overall print quality.

At the end of the day each participant will receive six prints (cards) suitable for Valentines Day.

While press experience is helpful it’s not necessary for this class.

Contact Garrett gsqueen@comcast.net to register or for more information.

Photo by: Ashley Twigg

Saturday, November 5 & 12, 10 AM to 2PM  each day.
Instructor: Josef Berry
Cost: Members $150, Non-members $175.(includes supplies)
Class limited to 12. Minimum 5.

We’re trying it again! This two day workshop will introduce students to the joyful practice of linoleum cut printmaking!
We will each design “alphabeasties” for a handful of letters of the alphabet. Then we will compose an alphabet poster from our creations and print an edition!
Each participant will leave with posters to share.
This class is appropriate for all ages and no artistic background is necessary.

(One to two scholarships available. Write 200 words on how this class would help you spread the love of printmaking and submit to VABC Scholarship Committee.)

Contact kmcfadden@virginia.edu to enroll.

The VABC will join a long line of artists in investigating the intricacies and mechanisms of a postal system with their next collaborative project. In the project entitled “Postmark,” artist-members will create handmade editions of postcards which consider the mystery of distance, place, communication, memory, and nostalgia. (Among other topics!) All participants will receive a complete set of the postcards produced by the group for their personal archives.

THE PAPER IS IN. Artists can pick up enough paper to make their 65 cards. It’s cut to double size, for work-and-turn, or to trim to the 4 x 6.5 size. You must be a member of VABC to join the project.

Sets of cards will be auctioned off to the public at this year’s Raucous Auction on 11/11/11 which will also feature a show of all of the pieces.

Join a long line of amazing postal artists: Saul Steinberg, Ray Johnson of the New York Correspondence School, Bruce Licher of Independent Project Press, Charles Peale, Henrik Drescher, and most famously in the world of trade books, Nick Bantock author of the Griffin and Sabine series. You can participate by contacting Garrett Queen at gsqueen@comcast.net.

There will be a brainstorming and informational meeting at the VABC on Wednesday night, August 31, (Block Night) from 6:00 until 7:00 PM. If you’re curious about membership, come that night to see what we’re all about.

Yours truly will also host a display and discussion of postal art and its possibilities at Block Night on September 7. I will also lead a tiny workshop on carving rubber stamps suitable for use for cancelling your mail at Block NIght on September 21.

-Josef Beery

Postmark Project Specifications

A project open to all VABC Members! Completed artwork due
October 15, 2011. Each participating artist will receive one set of all
cards. Our gallery show of the edition will be the Raucous Auction, November 11,
2011.

If you would like to participate, contact Garrett Queen
(gsqueen@comcast.net). We would like to gauge how
many postcards will be produced.

Guidelines

Participants will do each produce an edition of 60 postcards (print 65)
(trimmed to 4” x 6.5”), emphasizing

-the distance or travel mystery that postcards present (sent
from places we are at one moment, but usually are not; received when we the
sender may even be elsewhere)
-the two modes of communication on each
side—one primarily visual, one verbal
-memory and meaning and nostalgia of a
place and the separation from the postcard’s destination
-travel and
correspondence emphasis; not the sort of “business” postcard meant to remind,
etc.

Paper: Double-size stock is available at the shop (Lennox 100, 250 gsm). This can be used to print 2-up,
or single prints with full bleeds to be trimmed to size. Other papers may be
substituted at participant’s expense, but should meet the trim size (see below).

Process: All work must be printed in the shop,
with bookarts presses and methods; no clipart or inkjet for work that could be
otherwise done with press; if inkjet is used it should be for original works
only (photographs, etc).

Features: Complete postcard, written-on or not;
if mailed should include stamp and be cancelled; consider creative ways to
postmark 11-11-11 (we may create a cancelling stamp or stamps for this)

We will start a collection of postcards to use for
inspiration at the shop. If you have posts of interest to the group about any
aspect of the project, please comment below (“Leave a Message”).

Press-Time Scheduling: Please contact Garrett to schedule your press time (this includes key-holders) In planing your press usage, please remember to allow for sufficient drying time if printing on both sides of your card.

Additional Notes & Questions…

Photopolymer Plates: We use KF152 plates that can be ordered from Boxcar Press.

Full-Bleed Printing: When printing bleed on the stock we’re providing (8 x 6.5″) you can only print one-up (2-up on the supplied stock is possible with no bleed.).

The bleed area can be any amount in excess of the trim size of the card (4 x 6.5″) usually .25″ all around works fine (a 4.5 x 7″ image area before trim).

Printing on a single 8 x 6.5″ card (and trimming to 4 x 6.5″) provides ample room for gripper, bleed area and registration marks (for those doing more complex color).

Printing the second side of the untrimmed card (on the Vandercook) will require some planning as to align the card (image/text) front and back prior to printing.

Workshop August 13, 2011

Books with folded fore-edges usually emphasize images rather than text.  Accordion books fit this category but the most common example is the album.

Making a book with folded fore-edges limits the types of bindings that can be used.  For example, the pages cannot be put into signatures and sewn.  The most common bindings are stab binding and post/clasp binding, with soft or hard covers or wrappers.

These instructions are for making an album-style book with folded fore-edges, approximate size 5-1/2”h x 4-1/4” w.  Making the pages is very simple—the decisions about what to do with the pages and how to bind them require several decisions that will determine the final structure of the book.

An album is used to display images, so planning an album begins with deciding on the images and then designing the book around them.

MAKING ALBUM PAGES

Cut sheets of 8-1/2”x11” card stock in half to create two pieces, each 5-1/2” h x 8-1/2” w.  Each piece becomes a page.

Fold each piece in half to create a folded page that is 5-1/2”h x 4-1/4”

Stack the pages with fold to the right (open side to the left).  Mark on each page the area to be cut out (the “window” that will frame the image).  In deciding where to place the cutouts, be sure to allow for the binding edge on the left (the open side).  Cut out the cut-out.

Note:  It is useful to use scrap paper to decide on the size and placement of the cut-out/window.  Once you have created a final paper model, it can be used as a template for marking the cut-outs on each page.

Decide whether you will insert your images before binding or after.

If before, insert image into each page and seal, preferably by gluing the pieces to the pages; then glue each folded page together and dry under weights.

If after, glue each folded page together and dry under weights.

Stack the pages together, with cut-outs facing up, the folds on the right (and open ends on the left).  Align by the folded edge; trim the open ends if necessary.

COVER AND BINDING

Cut cover paper as needed for the bound cover or wrapper.

If making hard covers for stab binding, cut cover board approximately 1/8”inch larger on all sides except the spine edge.  Cut cover paper 1” wider than board on all sides.  Glue paper to boards, mitering corners.  Cut and glue end papers to inside of covers.

If using soft, paper covers, decide whether to include flaps.  Cut covers 1/16-1/8” larger on all sides, plus flaps, if used.

See notes below about types of covers and wrappers.

Punch holes as needed for the type of cover.  Create a jig to mark the holes, if the pattern of holes is complex (for stab binding, for example).

See notes below about binding (sewing or fasteners).

Assemble the finished book.  If images are added as the final step, add them to the book.

IDEAS FOR COVERS, HOLES, AND FASTENERS

covers or wrappers

Spine exposed:  stab binding with hard or soft covers

board covers with exposed fasteners (screw posts)

Spine covered:  paper cover with flaps

paper cover with concealed fasteners (sewing; brads; screw posts)

holes

punched with awl – for sewing with binder’s thread or other thin fiber

punched with screw punch – different sizes of holes are possible; used for sewing,

fasteners, or screw posts

punched with office hole punch – used for fastening with brads or sewing with large cord

fasteners

thread or other fibers

cord or ribbons (various widths)

brads

2-hole office fasteners

screw posts

Handout prepared by Addeane Caelleigh (asc8f@virginia.edu) for the Bookmaking Group at the Virginia Arts of the Book Center, Charlottesville, Virginia, August 2011.

June 11 and June 18
(Two Saturdays, 12:00 noon-4:00pm)
Instructor: Lana Lambert
Cost: $150. members, $175. non-members

Learn the basics of Moku Hanga or Japanese Woodblock Printing.

In this two day workshop, students will learn how the Japanese pulled beautiful prints using only a block of wood, a bit of rice paste, and a bit of pigment.  Students will learn carving techniques and a light history of Edo era printing on the first Saturday.  After carving the block at home for a week, students will return the following Saturday to print their creations and learn about the process of  Japanese water based printing.  Experience the beauty of this methodical printing technique and take home your own hand carved block as well as an edition of sumi ink prints.

Fee includes all materials
Minimum of 4 students needed for class to run.
Sign Up Ends a week before start of class.
Contact kmcfadden@virginia.edu to enroll.

no fee; everyone welcome
Saturday, Jan. 8, 12:00 noon–4:00 p.m.

“Use it again, Sam!”
Making books from recycled materials

VABC bookmakers and visitors will explore making books from only recycled materials.

• any kind of book:  traditional — radical —whimsical
• any recycled materials that can be used in books

Materials to bring

any recycled materials that can be used in making books

papers for text block
decorative papers for the covers
anything that can become covers
fibers or wires for stitchingdecorative items to add to covers or papers
items for closures/fasteners

Tools to bring, if you have them*

sharp scissors
Xacto knife, paper scalpel, or other cutting tool
cutting mat
bone folder
ruler
sharpened pencil
simple adhesives:  glue, paste, or high-tech adhesives and glue brush
*Join us even if you do not have bookmaking tools.  The VABC and members of the bookmaking group have some simple tools to share.  The VABC will provide non-archival white glue (bring other adhesives if you prefer them).  Some tools are available at The Art Box, upstairs from the VABC.

Questions? Call or email Addeane Caelleigh, 434-982-6571/ asc8f@virginia.edu)

meet fellow bookmakers & learn about VABC Bookmaking in 2011