Special workshop with keynote speaker Susan E. King: Developing Ideas for Artist’s Books
Recent trends in book arts have focused almost exclusively on book structures and reproduction techniques. Content is often left to last. This workshop focuses on generating form and content for books or ephemera. Participants will use writing exercises, brainstorming techniques and will work with the creative process to spark ideas. Although no previous experience is necessary, this workshop is particularly useful for designers, artists, printers and writers who want to approach creative work from the inside out. Book structures and technical issues will be discussed as they relate to specific projects developed in the workshop. Participants can expect to have a mock-up or concept for further work by the end of the second meeting.
Hand-Carved Type with Lauren Emeritz
In this workshop, participants will design, draw, carve and print their own type blocks. We will use mounted Linoblocks and speedball carving tools. We will proof the blocks on a Vandercook press. Bring some type inspiration and get ready to carve!
Single Page Book Showdown with Jessica Peterson
Make a letterpress-printed editioned book in a weekend, using metal and wood type printed on single page book structure. This structure is made by folding and cutting a single sheet of paper, and is adaptable for all kinds of content. After group discussions about book design and layout, participants will design their own books for which they will set type and print a small edition.
Case-bound Bookbinding with Meghan Paine
Case binding is the most popular form of commercial binding for hard-cover books. While it is a time-consuming and expensive method commercially, case binding by hand is a beautiful choice for binding short-run editions that you wish to have a long shelf life and to be heavily used. This two day workshop will teach students how to sew and arrange signatures into a text block, shape the block, and case it into cloth-bound boards with decorative flyleaves, headbands, and a page marker ribbon. Not only will you go home with a beautiful handmade journal, but you will take home valuable skills to add to your shop’s offerings for fine editions.
Is this Letterpress?: Inkwipes & Abstract Expressionism with Chris Fritton
Letterpress printing is often restricted to the grid, offering opportunities only in the X & Y axes, but it is possible to break those boundaries and create prints that defy categorization. Students will learn how to use the press in novel, unintended ways that produce more expressionistic results. In four hours, attendees will create a series of one-of-a-kind inkwipes that can be used as backgrounds for other typographical experiments, or left as-is. Come learn how to paint with the letterpress!
Build Your Own Press with Arie Koelewyn
Printing presses are expensive; even the sign presses that used to cost less than $100 are out of reach for beginners looking for an inexpensive and compact entry into letterpress. Luckily, J. Ben Lieberman, in his book, Printing as a Hobby, pointed us to a cheaper solution. Made with a wooden chase and a wooden rolling pin, his “Liberty Press,” is about as inexpensive as it comes. There’s lots of room for improvement in Lieberman’s design: rails, a bed, and a registration mechanism, and height adjustments, to name a few. Arie’s Liberty may be the solution. In this workshop, you’ll assemble a fully functioning Liberty-style printing press with all the improvements mentioned and make as many test prints as time allows. Then you’ll take the press home with you. The cost of the materials is covered by your registration.
Printing from Found Objects with Megan Zettlemoyer
Learn how to identify everyday objects that would create wonderful textures and shapes for use in abstract printing. We’ll figure out how to turn a variety of objects into printing plates and experiment with what works and what doesn’t. Once we’ve got a good selection of plates made, we’ll ink them up and see what they look like when they’re run through the press.
Traditional Paper Marbling with Megan Singleton
In this half day workshop, participants will explore traditional paper marbling techniques on paper to create unique and beautiful papers for printing and bookbinding. We will begin with discussing preparation and set up for marbling, including mixing a carrageen size bath, mixing and applying alum mordant to paper, and mixing custom pigments using acrylic paint and gall. This will be followed by demonstrations in traditional marbling techniques in pattern making including, stone marble, nonpareil, peacock, chevron, and more. Students will have their own marbling tray and make a variety of marbled papers.
Legopress! with Angie and Michelle Dreher
Looking for a way to easily connect your community and non-printmakers with the art of letterpress printing? Learn how to use Legos as a teaching tool to create relief images on a base that is specifically sized for use on a Vandercook. Participants will create textured hand-pressed backgrounds using found materials and then print a one-color Lego design on top. Pre-made bases and Lego Tiles for use during the workshop will be provided by Two Tone Press.
Thinking out of the Box with Carolina Rojas
Let’s move beyond cards! Bring your logo in photopolymer form and we will develop creative new expressions for your brand through packaging. The class will be dedicated to explore the possibilities of packaging and moving beyond cards and flat stationery. You will develop two or three coherent packaging elements that will become your signature presentation. The objective of the day is to let your creativity fly while creating functional options for your business for presenting a product or portfolio. If you don’t have your polymer logo, don’t worry! We can experiment with type available Central Print.
Platen Press Makeready with Arie Koelewyn
Makeready is the process of making a less than perfectly flat printing surface print well by adding a bit here and taking a bit from there to the packing. It’s not too hard to figure out with the proper materials, but it’s a bit more challenging without them. In this class, you’ll learn how to create a proper makeready for the platen press and get it into the proper alignment in the traditional way. We’ll also cover the (few) necessary tools. Then we’ll cover the same process with improvised materials, since purpose-made materials are increasingly expensive and/or hard to acquire and reasonably good substitutes are available inexpensively. Once the basics have been discussed, we’ll move to the press and put the concepts into practice. Makeready by its nature is meticulous and fairly slow, so we’ll practice as much as possible in groups of two or three.
Papermaking for Printers : Kozo and Mark Making with Pulp with Megan Singleton
In this one-day workshop participants will cover the basics of Western papermaking techniques using cotton and abaca fibers processed in a hollander beater, as well as hand-beaten Kozo fiber. Using Kozo and cotton as base sheets, additive and subtractive techniques to create layered imagery and textures on freshly made sheets of paper will be demonstrated. Participants will create unique sheets of handmade paper for printing later in the week.
The Pressure-Printed Artist’s Book with Jessica Peterson
We will explore the pressure printing method of creating imagery and content, us ing the flatbed printing press. Pressure printing is a method of making image, pattern and/or texture using very thin relief collaged printing plates. These plates are wrapped around the cylinder of a flatbed printing press, and printed using a platen of ink locked in the press bed. After experimenting with the pressure printing method, participants will design and create content for their own artist book using the drum leaf binding book structure. This making process will be aided by group discussions of book design, and page sequence and format.
Introduction to Platen Presswork with Kseniya Thomas
Platen presses once ruled the letterpress world, and are still relatively easy to find, restore, and use. Platens, in all their many varieties, are simple and efficient machines capable of tight registration, thousands of impressions per hour, and fine printing as well as just-fine printing. In this course, we’ll cover maintenance, safety, working with photopolymer plates, makeready, inking, complex registration, multi-color work, and die-cutting if there’s time; there will be demonstration time as well as practice time. We’ll look at many letterpress examples, troubleshoot, share resources, and will learn some tricks of the trade as well.
Beginning Heidelberg Windmill Operation with Graham Judd
In this Heidelberg Windmill beginner’s class, we’ll cover roller settings and roller requirements that yield the best print results; paper feeder settings and getting the paper running well; inking up and printing, including the technique of double inking; using the register lay gauges; cleaning up the press. The second part will cover die cutting, perforating, and making and running a simple embossing forme. This workshop is for utter beginners! There will be ample time for questions, demonstration, as well as hands-on experience.
Advanced Heidelberg Windmill Operation with Graham Judd
This advanced Windmill class will go over issues of feeding, double inking, using register lays, printing of solids, and other tricky printing challenges. The second part will address particularly challenging formes! There will be time to discuss issues you may be having on your own machines and to work them out on press. This workshop is intended for those with a certain amount of Windmill experience!
Giant AlphaBlox Letterpress Billboard Printing with Chris Chandler!
More info coming soon!