Introduction to Typecasting andMonotype CompositionMichael Bixler

This course offers the unique opportunity to learn typecast-ing at one of the last remaining hot metal Monotype shops in North America. Participants will use the Monotype keyboard, composition caster and the Monotype Supercaster to cast their own text and/or a case of type, including fonts of ornaments. This course will be of particular value to letterpress printers who want to experience the full gamut of metal type, from keyboarding, to type casting, to pulling proofs. Please visit the Bixlers’ website at www.mwbixler.com to see specimens of the many Monotype faces available, or call Michael at 315-685-5181 to discuss questions. Participants will live at Wells and com-mute to and from Skaneateles in Wells vans. Limited to six participants; no experience in casting required, but letterpress printing experience preferred. Materials fee of $100.

Michael Bixler has cast metal type and practiced fine letterpress printing and typography since 1965. He and his wife established their press and letterfoundry near Boston in 1973, and since 1983 have resided in Skaneateles, New York, where they continue to print limited edition books and provide cast metal type to numerous private presses and letterpress printers around the world. Michael is a graduate of Rochester Institute of Technology and teaches letterpress printing at Wells College.

Session One 10 – 16 July 2011

Even the most complex and elaborate artists’ books can begin with a simple assignment or activity. In this class, we’ll approach content development for artists’ books from various angles, but always with an eye towards the book’s physical incarnation. Par-ticipants will work with various materials and media includ-ing pochoir, collage, simple relief printing and digital print-ing, in order to further their understanding of how the book as object can influence the presentation of meaning. We will include some writing, imagemaking, and boxmaking instruc-tion, and draw heavily on each participant’s previous book art experience. We will complete both individual and group proj-ects. Some cross-over is planned with Barb Tetenbaum’s letter-press class. Prerequisite: some book art experience; basic book-binding experience will be very helpful. Materials fee of $50.

Julie Chen is an internationally known book artist who has been publishing lim-ited edition artists’ books under the Flying Fish Press imprint for over 20 years. Her work is known for combining three-dimensional and movable book structures with fine letterpress printing and inspired artistic vision. Her artists’ books can be found in many collections including the Museum of Modern Art, New York, and the Vic-toria and Albert Museum, London. She teaches in the book art program at Mills College in Oakland, California, as well as teaching classes at institutions around the country. She lives and works in Berkeley, California.

Beyond The Basics: The Book as Eloquent Object Julie Chen

Engravers’ script, also known as copperplate, is a formal and elegant pointed pen hand. Although it may look intimidating, it is really a very straight-forward hand made up of about six basic strokes. You will need no previous calligraphic training to learn to use the pointed pen and to do this writing. I’ll talk about tools (which are minimal), terminology, flourishing, and the history and different methods of engravers’ script, as well as how it is used by contemporary calligraphers. As we work in the Book Arts Center’s lovely scriptorium, you will get one-on-one instruction, plenty of practice time, projects to do and samples to see. More importantly, you will come away with a book of writing and information to keep you going after your week at Wells.

Cheryl Jacobsen is a freelance artist and calligrapher in Iowa City, Iowa, where she is lucky to be able to work and collaborate with some of the many bookbinders, printers, papermakers and book historians that live in or pass through town. She is an instructor with the University of Iowa’s Center for the Book, teaching classes in basic calligraphy as well as more advanced lettering project classes and a hands-on history of western lettering. Her work has been seen nationally and internationally in shows, publications, and Letter Arts Review annuals.

Engravers’ Script:Pointed Pen EleganceCheryl Jacobsen

In this class participants will explore various methods to free up the processes involved in the making of letterpress-printed books. We will begin by using a combination of “chance oper-ations” and idea-generating exercises to jump start each stu-dent’s book project. We will learn some low-tech methods for creating imagery that allow for spontaneity while maintaining good print quality: printing from shaped wire, printing from sheet magnet, and printing using a technique called “pressure printing” that exploits the possibilities of makeready. We will cover the basics of hand setting and printing from metal type, registration, inking and editioning, with some look at edition binding. Participants will take home their own simply-bound book as well as copies of the others’ books. Participants must have some experience in either letterpress printing or binding; a basic understanding of both would be helpful.

Barbara Tetenbaum has been creating limited edition artist books under the imprint Triangular Press since 1979. She is currently Professor and Department Head of Book Arts at Oregon College of Art and Craft in Portland, Oregon. She recently spent a year on sabbatical in Leipzig, Germany, conducting research, studying and teaching in the book arts. She has taught at Haystack, Penland, Paper and Book Intensive, mcba, sfcba, Sitka Center for Art and Ecology, Columbia College’s Cen-ter for Book and Paper Arts, and twice as a Fulbright Lecturer.

Intuition and Chance: A Playful Approach toPrinting Books on the VandercookBarbara Tetenbaum

Session Two 17 – 23 July 2011

This course will take a look back to the principles of classical design that were formed in the Renaissance, while applying them to the twenty-first-century medium of a digital page lay-out application. Through intensive and selective use of a text-book developed for a course at Wells College, we will com-bine readings with hands-on work in InDesign, beginning with a broadside, through a brochure, to the complex layout of a book. There will be a philosophical analysis of design princi-ples, and a succinct history of type design, typographical orna-ments, and printing practice—the last with reference to histor-ical printing manuals produced by the trade, as well as to the challenge presented to Victorian practices by William Morris and the Private Press Movement. Participants will hand-bind their own final booklet project. No previous experience with InDesign is required.

Mark Argetsinger has worked for a letterpress printer in a Cistercian monastery, was apprenticed in a calligraphy studio, and has served as a book designer for A. A. Knopf in New York City, for Princeton University Press in Princeton, New Jersey, and for the Meriden-Stinehour Press in Lunenburg, Vermont. He has been a free-lance book designer and copy-editor for over two decades. Specializing in scholarly publications, his award-winning designs have been accomplished for university and private libraries, publishers, institutions, and museums.

Backwards and Forwards: Adobe InDesign within the Long Shadow of the BookMark Argetsinger

In this workshop we will look at two historical binding struc-tures and consider their use in creative contemporary book-work because understanding historic bindings and their struc-tural components allows binders and book artists to imbue their work with a deeper, more knowledgeable connection to those forms. Focusing on sewing styles, cover attachments and authentic materials, we will make two historical bindings: a 4th century wooden boarded Ethiopian book and a 15th cen-tury long and link stitch. If time allows, we will also make a paper binding based on 16th century limp vellum bindings. While learning these structures, we will look at contem-porary variations, materials and applications, exploring their potential for artistic interpretation and for use in both craft trade work and artist book works. Open to all levels, including novices. Materials fee of $25.

Julie Leonard has been making books (happily) since 1987. A teacher of Book Art and Graphic Design at the University of Iowa, she creates one-of-a-kind and editioned art-ists’ books and does commission, limited production and edition binding. Her work is in private and special collections libraries across the United States. Julie was a resident in Book Arts at Penland School of Craft from 1990-1993 and has taught classes nation-ally and abroad, including Santa Reparta International School of Art, Paper and Book Intensive, University of Utah Book Arts Program, and Arkansas Art Center.

Stitches in Time:Historical Bindings/Contemporary Context Julie Leonard

The Mystery of Letterpress Printing:Joy of the VandercookSteve Miller

Beginning and intermediate-level printers, writers and artists—this studio class is for you! We will study both the creative and foundational aspects of letterpress printing during this five-day intensive course. As you learn to use the Vandercook proof press, you will discover its fabulous potential as an artistically expressive tool. You will print from wood, print from elabo-rated wood and cloth, print from cardboard and found objects, print from multiple linoleum blocks, and, of course, print from metal and wood types. Bring short and intriguing quotes, your own poetry or very short prose pieces that you would like to play with, plus image ideas for linocuts. I plan to answer your many questions about how letterpress printing studios work, from A to Z. Prepare to meet the maker in you!

Steve Miller is professor and coordinator of the mfa in the Book Arts Program at The University of Alabama (bookarts.ua.edu), where he teaches letterpress printing and hand papermaking. He is proprietor of Red Hydra Press (redhydrapress.com) and a Co-director of Paper and Book Intensive (paperbookintensive.org) an annual series of book art classes. His work is widely exhibited and is found in libraries, muse-ums, and private collections. Steve was the juror for 500 Handmade Books, published by Lark Books, Asheville, North Carolina, and is included in the 2010 Lark Studio Series: Handmade Books.

In this class we will explore textural approaches to multiline writing and word clusters. Instead of thinking about callig-raphy in terms of set traditional styles, we will focus on the many elements that can make writing succeed graphically and sparkle with spirit and verve. While exploring how to control the space, we will use contrasts in weight, density, repetition, thick/thin balance and distribution, and refinement and detail such as spontaneity and gesture, condensed forms/extended forms, soft style/hard style, static/active textures, packed/detached forms, and more. This class will mostly be about overall writing pattern and texture, but it will also address technical issues with our tools and methods to add refinement and subtlety. Some calligraphic experience may make the course more enjoyable, but all levels of expertise are welcome. Come prepared for a spirited week and bring plenty of ink!

Julian Waters studied calligraphy and type history with legendary typeface designer Hermann Zapf. He lectures and teaches classes in North America, Europe and Asia. Waters has designed for the us Postal Service and National Geographic; was a con-sultant for the Vietnam Memorial in Washington, dc; for the Women’s Memorial at Arlington, Virginia; and for the new Visitors’ Center at Jefferson’s Monticello, Vir-ginia. His typeface designs include the award-winning Adobe Waters Titling.

Contrasts in Calligraphy: New forms & textures with the ruling pen, broad edged pen and brushJulian Waters

schedule

Plan to arrive on campus Sunday afternoon between 4:00 and 6:00. We’ll have introductions and dinner at 7 pm. Classes run Monday though Friday, 9 am to noon and 1:30 to 4:30 or 5:00 pm. Departure is the following Saturday morning by 10 am.

tuition and fees

Tuition for one week is $1000. Participants may register for one class only per week. Please consult the sections below on accommodations, meals, airport shuttles and course supplies. The registration form on the next page shows the complete list of fees.

accommodations

On-campus dormitory accommodations are in private air-conditioned rooms with a shared bath at $300 for the six nights. The cost includes all linens and internet access via ethernet cable. Off-campus lodging options include bed and breakfasts and major hotel chains 20 –40 minutes from campus. Please check our website, www.wells.edu/bookarts, for suggestions.

accessibility

We regret to say that the Book Arts Center is not currently handicapped acces-sible, although the dormitory is. Please contact us if you think this would pre-vent your participation.

meals

Participants are encouraged to eat on campus to enjoy the fellowship of commu-nal meals. Three options are available: breakfast, lunch and dinner; lunch only; or eating off-campus. We will have a delicious vegetarian choice at every meal. A continental breakfast will be served Saturday morning before departure.

scholarships

We offer need-based scholarships to participants and recent graduates. Appli-cants should send a letter of interest and two letters of support to the Director by 15 March 2011.

For more Information Call us at 315-364-3420, or E-mail bookartscenter@wells.eduinternships

The Institute offers four internships to college and graduate participants in the book arts. Although these are non-paying internships, each intern will be enrolled in one course and ta in one other. Applications are available on our website (www.wells.edu/bookarts) and are due by 15 March 2011.

course supplies and materials fees

Instructors will provide a list of required and recommended tools and sup-plies. Participants will be responsible for purchasing their own supplies. The Book Arts Center has many supplies for sale, so ask us about what you might need. Materials fees will range from $20 to $100 depending on the course.

airport shuttle

There will be a one-time pick-up and drop-off at Syracuse’s Hancock Inter-national Airport for $60. A Wells van will pick up participants at Hancock airport at 3:30 pm on Sunday afternoon; the van will drop participants off at the airport by 10 am the following Saturday morning. The drive from Aurora to Hancock Airport is approximately one hour and fifteen min-utes; remember to allow at least an hour to get checked in and through airport security.

deadlines

We encourage early registration since our courses are limited to 8–12 par-ticipants. The $100 non-refundable deposit is due with the completed reg-istration form on the next page. The remaining tuition and any fees are due by 25 June 2011.

refund policy

You may cancel your registration until 15 June and receive a refund minus the non-refundable $100 deposit and a $50 cancellation fee. After that date, there will be no refunds. Should we need to cancel a course for any rea-son, you will be notified and offered another class or a full refund. We can-not be responsible for non-refundable airline tickets

fees

O Package • tuition, all meals, accommodations . . . $1600 per weekO Tuition • $100 deposit, $900 balance . . . . . . . . . . . $1000 per week O Meal plan 1 • all meals . . . . . . . . . . . . . . . . . . . . . . . . . . $300 per weekO Meal plan 2 • lunch only . . . . . . . . . . . . . . . . . . . . . . . . $100 per weekO On-campus accommodations . . . . . . . . . . . . . . . . . $300 per weekO Airport shuttle service . . . . . . . . . . . . . . . . . . . . . . . . $60 round tripO Class materials fee • if applicable . . . . . . . . . . . . . $25– $100 per classO Please remember that the $100 deposit is non-refundable.

total

payment method

O Check . . . . . . . . . amount enclosed

O Credit card . . . . O visa O mastercard O Credit card . . . O discover O american express

amount to be charged

card number

expiration date & security code on back

print name of cardholder

cardholder signature

Billing address, if diVerent from registration address, above left

address

city, state, zip

Wells Book Arts Summer Institute • Registration Form for Summer 2011

name

address

city

state and zip

e-mail

cell phone

home phone

Please indicate which class you want to take. You may take only one class per session.

session 1: 10 – 16 july

O Bixler O Chen O Jacobsen O Tetenbaumsession 11: 17 – 23 july O Argetsinger O Leonard O Miller O Waters

Scholarship Applicant? O yesInternship Applicant? O yes

If you have any questions, or concerns, please feel free to contact us at:Fax 315-364-3488 • Office 315-364-3420 • bookartscenter@wells.eduwww.wells.edu/bookarts • or see the Wells Book Arts Center on Facebook

Please send your deposit and completed registration form to:Wells Book Arts Summer Institute170 Main StreetAurora, New York 13026

catalogue credits: Copy writing by Nancy Gil. Summer Institute logotype by Julian Waters, www.waterslettering.com. Catalogue adapted from a design by Terrence Chouinard. Cover photography and digital type setting by Robert Lo Mascolo. Printed by Jacobs Press, www.jacobspress.com

Wells Book Arts Center170 Main StreetAurora, New York 13026

non-profit orgu.s. postage paid

aurora, ny

permit no. 3w