Telluride Summer

TELLURIDE SUMMER    2020

PAPER CONSERVATION, LEVEL 1

JUNE 1 – 5, 2020 | RENATE MESMER | $800
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 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

JUNE 8 – 12, 2020 | RENATE MESMER | $800
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. Students will also gain a richer understanding of printed book illustrations, especially from the period 1500–1800. They will improve their skills in identifying printmaking techniques and in analyzing the relationship between printed images and printed text in order to better preserve them. Issues of layout of images in books, their insertion, sophistication, coloring, and the paper on which they were printed will be addressed as well.

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. 

Prerequisites: Paper Conservation, Level 1 or equivalent experience.

INTRODUCTION TO BOOKBINDING, LEVEL 2

JULY 13 – 17, 2020 | PETER GERATY | $800
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. Students will pick up where they left off in Level 1, starting with a rounded-spine case binding. They will then construct a millimeter binding — a style of binding that utilizes small amounts of leather, as more of a decorative element than structural. In a millimeter binding it is the internal aspects of the binding that carry the strength, not the leather, making it a lovely way to introduce a beginning binder to leather. Different styles of end sections will be discussed as well as different methods for sewing the textblock. We will also handsew endbands and consider how we may use the leather in combination with paper and fabric to create one of a kind books. This class is a great way for students to advance their skills and prepare themselves for the Traditional Half Leather Binding class or the Fundamentals of Fine Leather Binding.

Prerequisites: Introduction to Bookbinding I or equivalent experience. This course may be repeated as needed or desired.

TRADITIONAL HALF LEATHER BINDING

JULY 20 – 31, 2020 | PETER GERATY | $1500
A standard of the 19th century trade shops, the half leather binding features leather on the corners and spine, with cloth or marbled paper on the remaining area of the cover boards. Initially developed as a less expensive leather binding, it utilizes all the craft needed for a full leather binding but doesn’t require a large clean area of the skin; scraps may be used. Because students will be working with smaller scraps of leather, they will have a chance in this class to try different tools and techniques for paring, from an English knife to a spokeshave to the Scharf-fix. The books are sewn on raised cords, laced in and endbanded. The finished product is a visually interesting book, still quite popular today, that has the strength of a full leather binding. Students will come away from this class with a book that is ready to be dressed up in gold during the November Tooling class!

Prerequisites: Introduction to Bookbinding II or equivalent experience.

CREATING A PANEL COVER STRUCTURE

AUGUST 3 – 7, 2020 | MONIQUE LALLIER | $800
Monique Lallier developed and created her first panel binding in 1986 on L’Écorce et le Vent, now in the special collection at the Morgan Library in New York City. This style of binding has since become an example of one of the many innovative approaches to binding that Monique is known for. AAB is pleased to offer this opportunity to learn the unique panel cover structure from the one who originated it.

The panel cover binding structure offers an opportunity to introduce a sense of surprise and an architectural element to the traditional codex form. The leather covered panel sets in a recess on the cover board and is hinged at the foredge of the binding. It opens up to reveal an environment of surprising materials, techniques and design of the maker’s imagination.

Working within the technical requirements of the binding structure, students will arrive with a simple design they have created beforehand. Initially, for the purpose of learning and with Monique’s guidance, the design will be implemented on a plaquette. If time allows, students may wish to duplicate their design using different material choices to reinforce their understanding of the structure. The focus of the class will be to learn the techniques and structural differences in creating an aesthetic, operable panel for the cover of a binding.

Prerequisites: Intermediate Fine Leather Binding or equivalent experience. Students should understand traditional bookbinding techniques to maximize their learning experience.

EXPLORING DOUBLURES

AUGUST 10 – 14, 2020 | MONIQUE LALLIER | $800
This one-week course will cover a variety of techniques to craft stunning doublures for your bindings. Monique will explore various methods to prepare the boards for doublures including: edge to edge leather, sunken suede, silk and moiré, doublures decorated with onlays, inlays or tooling. Monique will also explore non-traditional materials to use for doublures such as metal or wood veneers.

Students will make a series of plaquettes to learn the techniques that can then be used for future project reference. They may also bring books prepared to Monique’s specifications if they would like to apply doublures to the book.

Prerequisites: Intermediate Fine Leather Binding or equivalent experience. Students should understand traditional bookbinding techniques to maximize their learning experience.

MANIPULATING LEATHER: AN ART OF ITS OWN

AUGUST 17 – 21, 2020 | COLEEN CURRY | $800
In this five-day workshop Coleen will share some of her favorite decorative surface techniques that will enable students to turn leather and suede into beautiful pieces of art to be used for decorative inlays and onlays for bindings, covering books, and flyleaves. We will finish the workshop making a limp binding with leather doublures using the leather decorated in class.

With Coleen’s guidance and demonstration, the class will experiment with dyes, ink, and paint on both dyed and undyed leather, and discuss each of their uses, limitations, and applications. Students will work with several resist techniques and image transfer techniques. The class will explore a variety of surface finishes that range from highly polished, to satin and matte. Exploration of methods to create depth and dimension on a flat surface including embossing and sanding for example. In addition, we will experiment with collage techniques and foil applications on leather splits.

This exploratory and creative class provides participants with an arsenal of unique materials to use for binding or any leather project and will benefit all levels of binders as well as artists wanting to explore a different medium. Students will take home a variety of samples to use as reference.

THE FLOWING SPINE IN MINIATURE

AUGUST 24 – 28, 2020 | GABRIELLE FOX | $800
This full leather miniature binding is one step further in the development of the basic structure presented in full size at the Guild of Book Workers Standards Seminar in Tacoma, Washington. During this class, students will each bind at least one miniature in full leather which incorporates leather turn ins, tooled leather headbands, surface decorations which work particularly well for small books, and various endpaper structures or leather doublures.

Based on Project 8 in The Essential Guide to Making Handmade Books, this structure provides the strength and flexibility of a tight backed book with the action of a hollow tube. The full leather spine can be titled or decorated as in a traditional binding. The delight of this structure is the ease with which it opens and closes, and the possible variations that can be used for both design and conservation binding.

In all well-designed miniature books, the binder makes visual and structural adjustments which allow the viewer to see a small book that seems to be simply scaled down to size. As said by the first recipient of the Turing Award, Alan Jay Perlis: “Simplicity does not precede complexity, but follows it.” With the variations that Gabrielle has developed, students will create small visual gems that can be read comfortably and handled without fear of damage to these tiny works of art.