Telluride Summer

TELLURIDE SUMMER    2019

FUNDAMENTALS / INTERMEDIATE FINE LEATHER BINDING

JUNE 3 – 14 | DON GLAISTER
This is an entry-level leather binding class for the Fine Binding and Integrated Studies Programs as well as an intermediate class for continuing Fine Binding students. In this class, students will learn and develop an understanding of traditional bookbinding techniques, beginning with a laced-on, leather-covered board structure. The class will introduce and further acquaint students with techniques needed in future fine binding and specialty courses at the Academy. Students will become familiar with hand sewing using a sewing frame, rounding and backing, weaving headbands, as well as leather paring and applying leather to their books.

The focus of the class will be on learning and reinforcing sound bookbinding techniques with special emphasis on working with leather. All students will complete at least one full-leather book in the course. Some more experienced students may be introduced to simple design techniques such as embossing and other surface treatments if time allows. No fine binding experience is needed for beginning students. Those new to AAB who wish to take the class as an intermediate student must first send samples of their work for evaluation. This course and may be repeated as needed or desired.

GOLD TOOLING

JUNE 17 – 21 | DON GLAISTER
Perfectly executing gold tooling on the surface of leather bindings has been a goal (often elusive) of bookmakers for centuries. Done successfully, gold tooling is magic. Done unsuccessfully, gold tooling…isn’t. This five-day class will introduce students to fundamental techniques and practices that will enable them to successfully transform drawn designs on paper to sparkling gold designs on leather. Students will learn to prepare drawings, cut and handle gold leaf, and do blind and gold tooling. While work in class will be on designs with straight lines, the techniques learned will be applicable to designs with curved lines as well. No tooling experience is necessary to enroll in this class, though some experience with leather bookbinding is desirable.

INTRODUCTION TO BOOKBINDING, LEVEL 2

JULY 8 – 12 | PETER GERATY
Students who have taken previous bookbinding classes will find an opportunity in this course to further develop their skills and to deepen their knowledge of the materials and techniques used in bookbinding. Starting with a review of the simple case binding, students will learn to make a rounded spine, sew endbands, incorporate design options such as embossed boards, and learn efficient methods for taking a book apart or making multiples. For those who are ready, the paring of leather and creating a quarter-leather binding is an option. This course will also focus on providing solutions to individual problems or areas that students specifically want to explore. It is highly recommended that students complete this introductory level prior to participation in the Fundamentals of Fine Leather Binding course.

I rediscovered creativity, beauty, and art and their importance in our lives. It really inspired me to be more creative and to aspire to create beautiful things.

BINDING TREATMENT, CLOTH AND PAPER

JULY 15 – 19 | PETER GERATY
This course introduces basic methods of cloth and paper book restoration and conservation as well as the reasons for performing, or not performing, conservation treatments. The class members will work together to determine the best treatment options for their own books, which they bring to class, while also considering the ethics of performing those treatments. They will learn to repair damaged cloth and paper bindings, rebuild the book’s structure, dye and color materials to affect sympathetic repairs and enhance the book’s usability. Students will learn the theory and practice of using appropriate materials to achieve stability and strength in their bindings. Japanese paper, linen and various adhesives will be explored and used as students progress through the class. Students will complete a minimum of two binding treatments by the week’s end.

Students should have previous experience in bookbinding. This class is a prerequisite for Binding Treatment, Leather.

I really started seeing the book as a very complex communicational device, with specific construction requirements.

BINDING TREATMENT, LEATHER

JULY 22 – 26 | PETER GERATY
A next step, this class is devoted to the restoration of leather bindings. Students will evaluate and make appropriate decisions for treatment including rebacking, corner repair, rebuilding of endsections and minor paper repair. The course emphasizes the stabilization of the binding structure and sympathetic repair to bring the book to a useable state. Leather as a binding material (as opposed to paper or cloth) offers unique challenges to the restorer. Leather books are usually structurally different from cased-in paper or cloth bindings as well, which necessitates a clear understanding of both material and technique to produce good results. Students will also learn to successfully assess a binding’s problems and choose solutions based on observation and accepted preservation practices.

Binding Treatment, Cloth and Paper is a prerequisite for this advanced course.

PAPER CONSERVATION, LEVEL 1

AUGUST 12 – 16 | RENATE MESMER
This course will focus on the repair of losses and tears on different types of papers, as well as guarding a textblock which has been pulled apart for rebinding. Participants will learn when and how to apply the various repair methods including understanding the behavior of the repair papers and adhesives used. In addition, participants will learn how to make their own cast pulp repair paper with simple equipment and the making of solvent-set repair tissue. This workshop will also address the pros and cons of humidification, and the importance of suitable flattening and drying.

Morning lectures will cover history of paper making, basic paper chemistry, material studies as well as damage analysis and condition reports. The goal of this course is to apply as much of the theory in hands-on treatments as possible and give ample time for practice. Students who are interested in a Diploma Program should bring 3 textblocks in need of treatment and sewing, preferably not more than one inch thick and 12 inches tall. The textblocks should show tattered edges, tears and losses and should have been printed before 1850. No prior conservation experience is necessary to attend this class. Students should have some basic working knowledge of bookbinding to maximize their learning experience.

PAPER CONSERVATION, LEVEL 2

AUGUST 19 – 23 | RENATE MESMER
This second level is designed to provide continuing paper conservation students with an opportunity to expand and deepen their knowledge through practical application, working with projects of the student’s choice. Main focus points are reviewing existing knowledge, humidification methods, washing techniques and advanced flattening and drying techniques. Participants will learn more advanced repair techniques, basic lining methods, the importance of sizing as well as the toning of repair papers.

Projects may consist of books, maps, prints, drawings and other two-dimensional paper objects. Projects should be achievable within the scope of the student’s current working knowledge and experience and the time allotted. Selected projects may include some challenging elements for individual student growth but care should be taken to avoid complex tasks and techniques that are too advanced for the student’s level. Tape removal will not be addressed in this class. Students will be expected to prepare pre-treatment reports along with before photos prior to class. Working with the instructor, treatment options will be discussed and determinations for treatment will be made. Lectures may include advanced paper chemistry, material studies, damage analysis, decision methodology, as well as the pros and cons of different treatments. Participants will need to have completed the Basics in Conservation course or equivalent experience.