Summer Archive


Introducing Oneself to the Risograph with Clifton Meador


The Risograph is an automated silkscreen copier that’s fast, cheap, and slightly out of control. A two-color Riso machine prints two colors nearly simultaneously and offers an opportunity to explore a galaxy of overprint color using a range of approaches, from very intuitive and experimental to highly organized using digital pre-press techniques. We will investigate the range of creative modes and make a pile of prints using different base colors. Everyone will leave with a portfolio of prints that demonstrate a variety of approaches. Risography is nothing like letterpress, nor is it like offset lithography. It is a damp, slow-drying version of an office copier with some personality defects. And, like with all of us, the defects are a big part of the charm.

Cut Stories with Béatrice Coron
bcoron_excentricity.pngPaper cutting, from historical roots to the con-temporary art scene, demonstrates it’s multi-facets. Simple techniques— cutting, stenciling, modeling— permit the creation of large installations and intimate works. In this intense workshop of serious fun, we will explore unique ways to tell stories. Participants will cut their designs into scarves, make pop-up hats, create masks out of Tyvek and paper. We will be looking for new approaches to engage the viewer by offering new content and shape. Participants will learn researching ideas, drawing composition, paper cutting techniques and how to make paper dimensional with basic pop-up and paper sculpture techniques. Adaptation to other materials such as glass or metal and digital possibilities of 3D programs and animations will be discussed.

Elucidare, Lettering as Image & Complementary Textural Writing


Elucidare is a Greek word meaning “completely bright and clear; from lucere— to shine”. How does the interplay of writing and painting make the message of the text shine? When do letters dance, and word and image create the perfect balance in a 2D piece or on the pages of a book? The transformation of ideas into material form is the universal challenge to visual artists. The creation of illustrative lettering— abstract or legible— and complementary lettering of text is the unique question lettering artists face. Working with a text in one of these themes: the natural world, creativity / creative process, or philosophy / spirituality, we will begin by experimenting with various tools, familiar and unusual, in black on white papers. Responding to the content of a chosen text, painting will enhance the design, and textural writing will complete the pages for framed work or a future book.


Complicating the Surface: Spontaneity and Precision with Sarah Bryant


Participants in this course will experiment with generating complex imagery through the intersection of printing processes. We will begin
by carving linoleum blocks and creating relief surfaces with other materials. We will ink them up and pull proofs, then create partnered pressure plates that deliberately respond to those relief surfaces. The combination of the painterly, spontaneous imagery that results from
pressure printing and the binary inked surface of a relief block can be striking and powerful. Incorporating intersecting processes into image making can unlock potential for giving voice to content and broaden the vocabulary of print. After several days of printing, we will further complicate our results by cutting down our prints and creating artist books that play with the juxtaposition and sequencing of our imagery.

Intermediate Finishing: Tooling with Egg Glaire with Samuel Feinstein


Egg glaire: It’s challenging, but the results are absolutely gorgeous. This
workshop will explore multiple methods of finishing with egg glaire,
a technique which gives you the cleanest, brightest impressions. Once you understand how it works, tooling with egg glaire is very approachable and can be used effectively in both traditional and modern binding designs. While the focus of the workshop will be specifically on gold tooling, applications that build upon blind impressions will also be covered. Participants will work on several pre-made plaquettes in both goatskin and calf. This course is also a very rare opportunity to use finishing tools from the collection of the renowned bookbinder Florence Walter. The tools are part of the holdings of the Mills College Book Art Program and includes over 500 individual tools. Anticipating the variety of skill levels this course might attract, there will be a lot of one-on-one instruction to address each student’s individual experience and project needs.

Inventor’s Lab for Book Artists: Hybrid Accordions and Movable Book Structures with Dorothy Yule

yule_cake of applauseThis workshop will explore folded structures that bring the dimension of kinetic movement to books. We will start with some models to explore basic structures in pop-up engineering and examine both
artist books and trade pop-ups to see how movable forms can be used in books. We will make a series of models to explore variations on some of the forms developed by Hedi Kyle: a Wunderkabinett, a flag
book made on a Miura fold, a rhythmic series of swiveling ovals on a shaped accordion. We will also look at folded forms that are built on a base of single-sheet books including boustrophedons with tipped-in pop-ups and a single-sheet tunnel book. Participants will leave with an impressive library of reference models useful in developing further experiments in engineering for books, including variations they develop during the workshop.


Innovations in Color Woodcut Printing with Karen Kunc


This intensive, exciting workshop will awaken the possibilities of the woodcut printing process for the intermediate and advanced print-maker. This approach is not technically tradition-bound…but inventive, with contemporary, creative methods, that can be spontaneous, simple and direct. This expressive medium will be introduced and explored through demonstrations and discussions of cutting techniques, oil-based ink and water-based ink, and printing by hand as well as using the press. Participants will go from designing their images and cutting blocks, to printing several projects using a variety of methods and individual discoveries. Concepts for invention and good fun will be directed in a collaborative atmosphere, while being inspired by master printmaker Karen Kunc, who opens the creative process with insightful mentoring. Previous woodcut experience is required.

Popping Up and Out: Advanced Paper Engineering for Book Artists with Colette Fu

    Return to the Land of Dieties, 2013

In this intermediate workshop, participants will take their knowledge of basic pop-up techniques to the next level to create complex variations. Some mechanisms we’ll explore include opposing angle folds, parallel and angle lifting platforms, three-dimensional shapes, revolving mechanisms and pivoting pull-tabs. Once mastered, these mechanisms can become the building blocks for spectacular three-dimensional inventions. Participants will all go home with at least one finished pop-up spread. Pop-ups are really just inventive uses of cutting, folding and gluing plus your own unique play and imagination. Participants should bring some of their own artwork/prints, special papers or other materials that they would like to experiment with. Some previous pop-up experience is required.


The Mother of All Boxes with Julie Chen Personal Paradigms, 2003

Many contemporary book artists have gone well beyond the traditional clam shell box when envisioning enclosures for their artists’ books. In many instances the box is more than an elegant container for a book, becoming instead an integral component of content. This workshop will begin with the assembly of a box model set that contains all the components needed to create an endless array of boxes including those with drawers, compartments, recesses, windows, false floors, and magnetic closures. The secrets of perfect fitting and corner covering will also be revealed. Students will then go on to make one or more complex boxes of their own design. Some previous box-making experience is required.


Contradictory Landscapes with Inge Bruggeman


Students in this three-day letterpress printing workshop will investigate a meaningful landscape (urban or rural) by creating an edition of prints that incorporate layered imagery with a small amount of text. Dynamic and even contradictory text and image relationships will be investigated while practicing accessible and alternative techniques for creating multi-layered photopolymer prints. Participants will make enough prints to exchange.




The Magic Tablet with Julie Chen True to Life triple image_medium.jpg

The magic tablet structure presents twelve pages that are cut into horizontal strips and assembled so that each page appears to dissolve into the next when the handles on either side of the mechanism are manipulated. This allows for multiple readings of each page as it slides in ever-changing combinations with both the previous and the following pages. Part book, part optical paper toy, this structure presents the opportunity to create mesmerizing illusions.


Woodblock Printmaking on the Cylinder Proof Press with Tom Killion coastcamp-hiresmed.jpeg

Tom Killion will teach a 2.5-day intensive workshop on woodcut printmaking utilizing the Vandercook cylinder proof presses. Students should come with sketches prepared to make a 6” x 8” 3-color print. Killion will teach his own modified Japanese-style key-block technique for carving, registering and printing a multi-block, multi-color image. Students may use shina plywood and/or linoleum blocks, and experiment with gradated (‘split fountain’) inking, reduction cuts, pressure printing and make-ready to achieve Killion’s “faux ukiyo-e” effects that seek to replicate the look of Japanese woodblock prints using oil-based inks and the form rollers on a proof press.


%d bloggers like this: