(540) 662-2683 workshops@cattailrun.com

The School for Bookbinding Arts

2160 Cedar Grove Road

Winchester, Virginia 22603

540-662-2683

workshops@cattailrun.com

 

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fabric marbling class winchester va
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To Register

  1. Registration is on a first-come/first-serve basis. You must pay the tuition for a class in order to guarantee your spot in it.
  2. Email us at workshops@cattailrun.com or call (540) 662-2683 to confirm availability and/or receive advice about which course to enroll in.
  3. Upon payment for a class, we provide receipts as proof of registration.
  4. If a course has a materials fee, please hold the payment for that fee until the day of the class. Materials fees are only payable to the instructor of a course.
  5. We accept credit card payments over the telephone. You can also pay with a check or credit card by printing, completing, and mailing the Workshop Registration Form. We cannot at this time process debit cards.

List & Descriptions of Workshops

 Asterisk means prerequisite required

Series: Bookbinding Courses

Scroll down for course descriptions & instructor bios

*Advanced Cloth Binding Restoration: The Cloth Reback
April   21 – 22  (Thurs – Fri)     9 a.m. – 5 p.m.     $295

New Cloth Binding Construction
May 19 – 20   (Thurs – Fri)     9 a.m. – 5 p.m.     $295

Book Repairs for General Library Collections
June 6  (Mon) OR July 11 (Mon) OR October 17 (Mon)   9 a.m. – 5 p.m.  $225

Introduction to Book Restoration
June 9 – 10  (Thurs – Fri)     9 a.m. – 5 p.m.    $295
OR
July  14 – 15  (Thurs – Fri)     9 a.m. – 5 p.m.     $295
OR
October 6 – 7  (Thurs – Fri)     9 a.m. – 5 p.m.     $295

*Book Sewing Intensive
September 28 – 29  (Wed – Thurs)   9 a.m. – 5 p.m.     $295

*Endbanding Intensive
September 30 (Fri)    9 a.m. – 5 p.m.     $225

Color Matching and In-Painting for Bookbinders
1-Day cours, Date TBD    9 a.m. – 5 p.m.     $225
Flexible-date scheduling (see below for further description of this)

Introduction to Paper Repair
October 27 – 28  (Thurs – Fri)     9:00 a.m. – 4:30 p.m.     $295

Series: Boxing Tournament

Scroll down for course descriptions & instructor bios

Slipcase Construction
August 3  (Wed)   9 a.m. – 5 p.m.     $225

Clamshell Box Making
August 4 – 5 (Thurs – Fri)     9:00 a.m. – 5:00 p.m.     $295

Rounded Spine Clamshell
August 11 – 12  (Thurs – Fri)     9:00 a.m. – 5:00 p.m.     $295

Victorian Box Making
August 19 (Fri)     9:00 a.m. – 5:00 p.m.     $225

Series: Marbled Patterns from the South of Europe

Scroll down for course descriptions & instructor bios

Beginning Paper Marbling
 September 12 – 13  (Mon – Tue)     9:30 a.m. – 4:30 p.m.    
$295 + $65 materials

*Advanced Marbling: Spanish Wave & Moiré Intensive 
September 14 – 15  (Wed – Thurs)
OR
September 16 – 17 (Fri – Sat)   9:30 a.m. – 4:30  p.m.
$295  + $65  materials

Bellissimo! Italian Marbled Paper Patterns
September 19 – 20  (Mon – Tue)     9:30 a.m. – 4:30 p.m.
$295 + $65 materials

Series: Elegant Productions

Scroll down for course descriptions & instructor bios

 Introduction to Cartonnage: the Art of Box Making
June 13 (Mon)  10:00 a.m. – 3:30 p.m.
$225 + $45 materials

Cartonnage: Claudia Squio and the Mystery of the Hidden Chamber
June 14 – 15 (Tue – Wed) 9:30 a.m. – 4:00 p.m.
$295 + $70 materials

Fore Edge Painting
June 23 – 24 (Thurs – Fri)  $295 + $35 materials

Pop-Up Structures: The Essential Techniques
July  28 – 29 (Thurs – Fri) $295

Japanese Tea Box
August 25 – 26 (Thurs – Fr) $295 + $75 materials

Leather Onlay Intensive
1-day course, Date TBD    9 am. – 5 p.m.  $225
Flexible-date scheduling (see below for further description of this)

Hatching & Batching:
How to formulate book- and papercraft ideas and
build them in production

September 7 – 9 (Wed – Fri)
$460 + $65 materials

Descriptions:

Bookbinding Series Workshops

This is a hard-core restoration class and is the class after which you will come out feeling like a bookbinder.

Bookbinding Series:

*Advanced Cloth Binding Restoration:
The Cloth Reback

April 21 – 22  (Thurs – Fri)
9 a.m. – 5 p.m.
$295

BOOKBINDING--ADV-cloth-BINDING-RESTORATION-BLURB

This course teaches The Cloth Reback—the technique most often used in our bindery to restore cloth-bound volumes when the boards are detaching or have completely detached from the text. In a cloth reback, new matching material is taken under the original materials in order to make the binding usable again and to improve its presentation. Being able to reback cloth-bound books smoothly and with confidence is one of the most important skills needed by a bookbinder.  Prerequisite: SBBA’s Introduction to Book Restoration.

Instructors:  Jill Deiss and Susan McCabe

About the Instructors

Jill Deiss established Cat Tail Run Hand Bookbinding, host of the School for Bookbinding Arts, in 1991. She studied bookbinding and restoration first in Northampton, Massachusetts, then at Cornell University’s Department of Library Conservation and in the Smithsonian Institution’s Conservation Laboratories. She holds a B.S. in chemistry and received a Master of Library Science degree from Syracuse University, where she specialized in the study of archives and rare book collections.

Susan McCabe is a bookbinder at Cat Tail Run where she prepares texts for rebinding or restoration. Traditionally this position is called a “Forwarder” because the processes leading up to the point a book receives its cover are known as “forwarding.” In addition to text sewing, the working of endbanding, paper repair, and the application of various linings and hingings that books require. Susan also marbles some of the decorative papers that are used in our bookbindery.

Why this course? Japanese master Nobuo Okano says it best: “There’s no way to fix a book unless you know how to make one.” And in this class, you will learn to make a
variety of new covers.

Bookbinding Series:

New Cloth Binding Construction

May 19 – 20  (Thurs – Fri)
9 a.m. – 5 p.m.
$295

Crafting new covers is an essential component of hand bookbinding. Historically, the making of new covers constituted the primary endeavor of a bookbinder and is no less important today. In this class, you will make a rounded-spine cloth, hardcover binding on a book of your own. Additionally you will learn to set type and gold-stamp your own titling layout for the spine of your book. Students will be taught two additional book structures: the flat-spine hardcover and the flexible cover.Emphasis will be placed on introducing the necessary bookbinding tools and their appropriate use. No prerequisite.

Instructors:  Jill Deiss, Susan McCabe, and Rowland Kirks

About the Instructors
Jill Deissestablished Cat Tail Run Hand Bookbinding, host of the School for Bookbinding Arts, in 1991. She studied bookbinding and restoration first in Northampton, Massachusetts, then at Cornell University’s Department of Library Conservation and in the Smithsonian Institution’s Conservation Laboratories. She holds a B.S. in chemistry and received a Master of Library Science degree from Syracuse University, where she specialized in the study of archives and rare book collections.
Susan McCabe Susan McCabe is a bookbinder at Cat Tail Run where she prepares texts for rebinding or restoration. Traditionally this position is called a “Forwarder” because the processes leading up to the point a book receives its cover are known as “forwarding.” In addition to text sewing, the working of endbanding, paper repair, and the application of various linings and hingings that books require. Susan also marbles some of the decorative papers that are used in our bookbindery.
Rowland Kirks studied studio art as an undergraduate and serves at Cat Tail Run as a papermaker, inventor, and bouncer.  He studied papermaking with Jacques Brejoux of Moulin du Verger in Puymoyen, France.

This useful course is designed for librarians & library staff but is open to all.

Bookbinding Series:

Book Repairs for General
Library Collections

June 6  (Mon) OR July 11 (Mon) OR October 17 (Mon)
9 a.m. – 5 p.m.
$225

Librarians take pride in the care they have traditionally offered the books within their libraries. This workshop is intended for librarians and library staff although is open to all interested students. The course will allow you to expand your expertise in the area of library book repair, teaching you to mend damaged joints and spines and to repair texts that have become loose or detached at the inner hinges. Tips for repairing damaged pages will also be included. The emphasis on these refurbishing techniques is structural so that the repaired books can hold their own while receiving heavy use. Even so, these practical and economical repairs are designed to deliver a neat, professional result. No prerequisite.

Instructors:    Jamie Thurman and Jill Deiss

About the Instructors

Jamie Thurman began her studies in book repair while in Richmond, Virginia, and has expanded her repertoire in Frederick, Maryland. She has studied book repair both on her own and through courses offered by The School for Bookbinding Arts. Over five years ago, she began volunteering in her county’s middle school library, offering her services as a book refurbisher. Jamie now works in book repair in multiple libraries in her county’s school system and also teaches repair techniques to other librarians. Librarians have been pleased by how Jamie’s work has noticeably helped stretch their library book budgets, and Jamie calculates that repairing books instead of replacing them saves a library between $10 and $25 per book.

Jill Deiss established Cat Tail Run Hand Bookbinding, host of the School for Bookbinding Arts, in 1991. She studied bookbinding and restoration first in Northampton, Massachusetts, then at Cornell University’s Department of Library Conservation and in the Smithsonian Institution’s Conservation Laboratories. She holds a B.S. in chemistry and received a Master of Library Science degree from Syracuse University, where she specialized in the study of archives and rare book collections.

This is a good first class to take if you are interested in learning how to restore books.

Bookbinding Series:

Introduction to Book Restoration

June 9 – 10 (Thurs – Fri)
9 a.m. – 5 p.m.  $295
OR
July 14 – 15  (Thurs – Fri)
9 a.m. – 5 p.m.  $295

Shabby books need not be relegated to the dustbin! In this class, learn to repair damaged corners and tattered endcaps and to stabilize splitting joints on both cloth and leather books. Dyeing and toning-in of your repair work, reducing the effect of stains and discoloration on a book’s cover, and the polishing of leather bindings is included. The class also includes tutorials on how to reattach texts that have come loose from otherwise sound covers. This course is designed for those who are interested in learning how to refurbish antiquarian books and for anyone who wants to move on to our more challenging Advanced Restoration courses. For book dealers in particular, this class introduces many simple techniques that they or their staff can easily perform on ailing books, greatly increasing the shelf presence of treated volumes. No prerequisite.

Instructors:  Jill Deiss and Susan McCabe

About the Instructors
Jill Deiss established Cat Tail Run Hand Bookbinding, host of the School for Bookbinding Arts, in 1991. She studied bookbinding and restoration first in Northampton, Massachusetts, then at Cornell University’s Department of Library Conservation and in the Smithsonian Institution’s Conservation Laboratories. She holds a B.S. in chemistry and received a Master of Library Science degree from Syracuse University, where she specialized in the study of archives and rare book collections.
Susan McCabe Susan McCabe is a bookbinder at Cat Tail Run where she prepares texts for rebinding or restoration. Traditionally this position is called a “Forwarder” because the processes leading up to the point a book receives its cover are known as “forwarding.” In addition to text sewing, the working of endbanding, paper repair, and the application of various linings and hingings that books require. Susan also marbles some of the decorative papers that are used in our bookbindery.
 We affectionately call this class “Sewing with Susan.” Susan McCabe is a kind and patient teacher…and strict! You will definitely learn the rudiments of book sewing in her class, and these fundamentals will see you through myriad of sewing problems you might encounter.

Bookbinding Series:

*Book Sewing Intensive

September 28 – 29  (Wed – Thurs)  
9 a.m. – 5 p.m.  
$295

BOOKBINDING--BOOK-SEWING-BLURB

Knowing how to sew pages together to make a text is essential information for bookbinders. Susan is an expert at sewing texts, and her high standards and carefully designed course will allow you to learn numerous sewing methods over the two-day class. You will learn how to sew on tapes, sunken cords, raised bands, and split thongs all while using a traditional sewing frame (your own or one of ours). The workshop includes sewing new texts as well as the resewing of older texts (which can be tricky to do). Students will also learn how to determine when damaged sewing can be repaired and how to make those repairs. Students will learn how to string up a sewing frame and will receive instruction on single-sheet sewing, whip-stitching, and overcasting. Prerequisite: SBBA’s Introduction to Book Restoration OR New Cloth Binding Construction.

Instructor:  Susan McCabe

About the Instructor
Susan McCabe Susan McCabe is a bookbinder at Cat Tail Run where she prepares texts for rebinding or restoration. Traditionally this position is called a “Forwarder” because the processes leading up to the point a book receives its cover are known as “forwarding.” In addition to text sewing, the working of endbanding, paper repair, and the application of various linings and hingings that books require. Susan also marbles some of the decorative papers that are used in our bookbindery.

It’s difficult to learn how to create endbanding from a book or video. This one-day class will start you on your way, and then things you read and watch online will be much easier to follow.

Bookbinding Series:

*Endbanding Intensive

September 30 (Fri)    
9 a.m. – 5 p.m.  
$225

Endbanding is at once an elegant and purpose-filled element of a bound book. These lovely accents are not mere accessories but perform an important role in strengthening a book’s structure.  In this class, Susan McCabe will teach you to make a variety of styles of wrapped-core endbands and sewn—or “worked”—endbanding as well as how to repair damaged endbands. The course culminates with her interactive demo on the très elegante French Double Endband (the endbanding equivalent of ice skating’s Double Lutz).  Prerequisite: SBBA’s Introduction to Book Restoration OR New Cloth Binding Construction.

Instructor:  Susan McCabe

About the Instructor
Susan McCabe Susan McCabe is a bookbinder at Cat Tail Run where she prepares texts for rebinding or restoration. Traditionally this position is called a “Forwarder” because the processes leading up to the point a book receives its cover are known as “forwarding.” In addition to text sewing, the working of endbanding, paper repair, and the application of various linings and hingings that books require. Susan also marbles some of the decorative papers that are used in our bookbindery.

Tinting in your repair work is an art you can master!

Bookbinding Series:

Color Matching and In-Painting

for Bookbinders

1-Day Course TBD    9 a.m. – 5 p.m.    $225
We are handling this course as an on-demand workshop. Let us know your interest in the class, and we will work out a day that fits the schedules of the students. If enough students are interested (and we believe they will be given how popular this class was when we last offered it around 2012), there likely will be several sessions, giving us even more flexibility in setting dates to accommodate all schedules.

As bookbinders and book repairers both know, there seems to be no end to the variety of damages seen on and in books. After the structural repairs are completed, it is often necessary to do some tinting of the new materials that were introduced to fix the book so the result of the repair work is aesthetically pleasing. Often, too, books have printed cover images that have become damaged with use and time to an unfortunate degree  (example shown above). This class teaches the mixing and application of acrylic pigments as a way to color your repairs and to in-paint missing parts of cover illustrations. Instructor Amy Jackson will guide you through the steps for replicating and blending colors as well as how to in-paint successfully without a studio art background. Do not be shy or concerned that a lack of art training will prevent you from achieving access in the course. Nothing is farther from the truth, so step right up! No prerequisite.

 

Instructor: Amy Jackson

About the Instructor
Amy Jackson has been a bookbinder for over 15 years. She currently works on a project basis at Cat Tail Run Hand Bookbinding in Winchester, Virginia. She holds BFA from Longwood University with a concentration in printmaking and book arts and is currently completing her MLIS at University of Illinois in the library preservation pathway. Her additional studies of note include hand papermaking and book conservation studies with Jacques Brejoux and Christopher Clarkson at a workshop/seminar at Moulin de Verger in Puymoyen, France, and studies in the medieval color palette with Cheryl Porter at Montefiascone, Italy. Ms. Jackson worked for several years as a contract Matter/Framer in the Conservation Division of The National Gallery of Art, in Washington, D.C.  Ms. Jackson has been in numerous exhibitions for both book arts work and printmaking.

You’ll need this class, too, if you want to learn to restore books because the pages of books are often damaged.

Bookbinding Series:

Introduction to Paper Repair

October 27 – 28  (Thurs – Fri)
9:00 a.m. – 4:30 p.m.
$295

Book repair work by necessity has to include repairing damaged pages, as it is difficult if not impossible to restore the cover of a book if the pages—the very foundation of the book—are tattered and torn. This course teaches non-invasive surface cleaning techniques, tear repair using wet and dry techniques, and removal of pressure-sensitive tape (or how to accommodate it when it cannot be removed). In addition, student will learn how to humidify and flatten rolled or crumpled pages. No prerequisite.

Instructors:  Jill Deiss and Susan McCabe
About the Instructors

Jill Deiss established Cat Tail Run Hand Bookbinding, host of the School for Bookbinding Arts, in 1991. She studied bookbinding and restoration first in Northampton, Massachusetts, then at Cornell University’s Department of Library Conservation and in the Smithsonian Institution’s Conservation Laboratories. She holds a B.S. in chemistry and received a Master of Library Science degree from Syracuse University, where she specialized in the study of archives and rare book collections.
Susan McCabe Susan McCabe is a bookbinder at Cat Tail Run where she prepares texts for rebinding or restoration. Traditionally this position is called a “Forwarder” because the processes leading up to the point a book receives its cover are known as “forwarding.” In addition to text sewing, the working of endbanding, paper repair, and the application of various linings and hingings that books require. Susan also marbles some of the decorative papers that are used in our bookbindery.

Descriptions:
Boxing Tournament Series

Boxing Tournament:

Slipcase Construction

August 3  (Wed)
9 a.m. – 5 p.m. 
$225

This course instructs students in the art of slipcase construction. Slipcases are by their very nature sleek, and a well-planned slipcase can employ numerous design options that allow it to complement the book inside to perfection. The class includes three different slipcase structures for students to explore and construct. No prerequisite.

Instructors:  Jill Deiss and Mona Hayford

About the Instructors

Jill Deiss established Cat Tail Run Hand Bookbinding, host of the School for Bookbinding Arts, in 1991. She studied bookbinding and restoration first in Northampton, Massachusetts, then at Cornell University’s Department of Library Conservation and in the Smithsonian Institution’s Conservation Laboratories. She holds a B.S. in chemistry and received a Master of Library Science degree from Syracuse University, where she specialized in the study of archives and rare book collections.

Mona Hayford is a retired accountant with a love of paper crafting and bookbinding.  She has studied Book and Paper Arts at length at John C. Campbell Folk School and The School for Bookbinding Arts.  In addition to teaching at the School for Bookbinding Arts, she has taught mixed media courses at the John C. Campbell Folk School.

Boxing Tournament:

Clamshell Box Making

August 4 – 5 (Thurs–Fri)
9 a.m. – 5 p.m.
$295

Clamshell boxes are ideal for storing books as well as various kinds of loose materials. The proper construction of these book enclosures is an essential element of any bookbinder’s practice.  We place emphasis on the use of acid-free/pH-neutral materials and on the selection of box-making tools for the home-based studio. No prerequisite.

 

Instructors:  Jill Deiss and Rowland Kirks

About the Instructors

Jill Deiss established Cat Tail Run Hand Bookbinding, host of the School for Bookbinding Arts, in 1991. She studied bookbinding and restoration first in Northampton, Massachusetts, then at Cornell University’s Department of Library Conservation and in the Smithsonian Institution’s Conservation Laboratories. She holds a B.S. in chemistry and received a Master of Library Science degree from Syracuse University, where she specialized in the study of archives and rare book collections.

Rowland Kirks studied studio art as an undergraduate and serves at Cat Tail Run as a papermaker, inventor, and bouncer.  He studied papermaking with Jacques Brejoux of Moulin du Verger in Puymoyen, France.

Boxing Tournament:

Rounded-Spine

Clamshell Box Making

August 11 – 12 (Thurs – Fri)
9 a.m. – 5 p.m.
$295

In this course, students will work with leather to fashion the ultimate classic book box: the rounded, leather-spined clamshell. The box will be taught with the option for a flat spine or one with raised bands. The class also features a different tray-construction style than that taught in the regular clamshell box making class, thus allowing students who take both classes to broaden their tray-making skills. No prerequisite. 

Instructors:  Jill Deiss and Mona Hayford

About the Instructors
Jill Deiss established Cat Tail Run Hand Bookbinding, host of the School for Bookbinding Arts, in 1991. She studied bookbinding and restoration first in Northampton, Massachusetts, then at Cornell University’s Department of Library Conservation and in the Smithsonian Institution’s Conservation Laboratories. She holds a B.S. in chemistry and received a Master of Library Science degree from Syracuse University, where she specialized in the study of archives and rare book collections.

Mona Hayford is a retired accountant with a love of paper crafting and bookbinding.  She has studied Book and Paper Arts at length at John C. Campbell Folk School and The School for Bookbinding Arts.  In addition to teaching at the School for Bookbinding Arts, she has taught mixed media courses at the John C. Campbell Folk School.

 

Boxing Tournament:

Victorian Box Making

August 19 (Fri)
9 a.m. – 5 p.m. 
$225

This course delves into the structure, design, and history of the lowly but lovely paper-board box. Until the introduction of plastics, everything from pills to petticoats was contained in paper-board boxes. In class you will make several boxes of your own and be introduced to the techniques and materials you will need to go out and design specialized boxes for holding all your treasures. No prerequisite.

August 19 (Fri)
9 a.m. – 5 p.m. 
$225

This course delves into the structure, design, and history of the lowly but lovely paper-board box. Until the introduction of plastics, everything from pills to petticoats was contained in paper-board boxes. In class you will make several boxes of your own and be introduced to the techniques and materials you will need to go out and design specialized boxes for holding all your treasures. No prerequisite.

 

Instructors:  Jill Deiss and Mona Hayford

About the Instructors
Jill Deiss established Cat Tail Run Hand Bookbinding, host of the School for Bookbinding Arts, in 1991. She studied bookbinding and restoration first in Northampton, Massachusetts, then at Cornell University’s Department of Library Conservation and in the Smithsonian Institution’s Conservation Laboratories. She holds a B.S. in chemistry and received a Master of Library Science degree from Syracuse University, where she specialized in the study of archives and rare book collections.

Mona Hayford is a retired accountant with a love of paper crafting and bookbinding.  She has studied Book and Paper Arts at length at John C. Campbell Folk School and The School for Bookbinding Arts.  In addition to teaching at the School for Bookbinding Arts, she has taught mixed media courses at the John C. Campbell Folk School.

Descriptions:
Marbling South of Europe Series

Beginning Paper Marbling

Marbled Patterns South of Europe Series

 September 12 – 13  (Mon – Tue)
9:30 a.m. – 4:30 p.m.
$295 + $65 materials fee 

Marbled papers grace the covers of books both inside and out and are used in countless other arts from box making to matting & framing to greeting cards. You will begin this class by learning how to set up to do marbling and from there embark on your marbling journey. You will learn many traditional combed patterns and how to use the marbling inks to bring forth your own decorative vision from the marbling tank. This course includes numerous extras such as instruction in marbling the edges of book pages and leather. The course culminates with students creating their own marbled-leather, edge-marbled journal. In addition to the journal, students may reasonably expect to produce 20 to 30 marbled papers during the class.

The basis for the techniques of this course originated in ancient Turkey, Persia, and Syria and from there made their way west into Europe. No study of marbling would be complete without a foray into these methods that originated in the marbling communities of the late Middle Ages. Feel the storied history of this art form come to life under your fingers. So long as we continue to learn and practice it, this knowledge will never be lost. No prerequisite.

Instructors: Regina and Dan St. John

About the Instructors
Regina and Dan St. John In the world of decorative paper, the St. Johns hardly need introduction. Their work and teaching is known throughout the country and the world.  Regina began studying marbling in the 1990s in Massachusetts with Faith Harrison and to this day continually seeks out new methods of paper decoration from across the globe that she incorporates into her own marbling practices and her courses.  Dan’s specialty as a marbler is in the recreation of historical 18th-century patterns, especially the elusive Tiger’s Eye Pattern, which he hunts down with precision. Dan is also a professional bookbinder, having trained in the studio of William W. Streeter of Northampton, Massachusetts. By our estimate, Dan is nothing short of an alchemist and magician. Surrounded by honey, walnut oil, beeswax, and minerals, Dan concocts the compounds and potions that become his marbling pigments. It is from this deep pool of knowledge and experience that the St. Johns bring forth the practice and art of marbling to their students.

*Advanced Marbling: Spanish Wave and Moire Intensive

Marbled Patterns from the South of Europe Series

September 14 – 15  (Wed – Thurs)
OR
September 16 – 17  (Fri – Sat)
9:30 a.m. –  4:30 p.m.
$295 + $65 materials fee

Marblers must be counted among some of the most innovative designers in history. The nearly endless array of patterns and motifs seen on marbled papers both historical and contemporary are a feast for the eyes. Spanish marblers contributed their own flair to the development of marbled patterns and by the middle of the 19th century had created a unique technique that came to be called the “Spanish Wave” (seen at top above). This visually exciting pattern was soon employed extensively in England as a marbled paper used in bookbinding.

The Moiré Pattern builds on the Spanish Wave in a most unexpected manner: before marbling a Spanish Wave, the paper is mechanically manipulated to create a faceted surface. When marbled with the Spanish Wave, the result is as dramatic as a tempest on the sea. A Moiré can be further enhanced by the introduction of elements such as veining (see a Moiré with veining above in the bottom image).

The wave patterns seen on both of these important paper patterns produce a distinctive three-dimensional look. Expect endless opportunities for your individual creativity to flow…like a wave!

PREREQUISITE of Beginning Marbling or similar

Instructors: Regina and Dan St. John

About the Instructors

Regina and Dan St. John In the world of decorative paper, the St. Johns hardly need introduction. Their work and teaching is known throughout the country and the world.  Regina began studying marbling in the 1990s in Massachusetts with Faith Harrison and to this day continually seeks out new methods of paper decoration from across the globe that she incorporates into her own marbling practices and her courses.  Dan’s specialty as a marbler is in the recreation of historical 18th-century patterns, especially the elusive Tiger’s Eye Pattern, which he hunts down with precision. Dan is also a professional bookbinder, having trained in the studio of William W. Streeter of Northampton, Massachusetts. By our estimate, Dan is nothing short of an alchemist and magician. Surrounded by honey, walnut oil, beeswax, and minerals, Dan concocts the compounds and potions that become his marbling pigments. It is from this deep pool of knowledge and experience that the St. Johns bring forth the practice and art of marbling to their students.

 

Bellissimo! Italian
Marbled Paper Patterns

Marbled Patterns from the South of Europe Series

September 19 – 20 (Mon – Tue)
9:30 a.m. –  4:30 p.m.
$295 + $65 materials fee

https://schoolforbookbindingarts.com/wp-content/uploads/2021/01/SILK-ROAD-BELLISSIMO-BLURB.jpg

This course will take you beyond the traditional Italian combed patterns (marmo pettinato) into the realms of challenging patterns such as peacock (pavone), snail (chiocciola), and stone (pietra). In their travels, Regina and Dan always make a point of visiting Italian marbling production houses both small and large. The knowledge shared through these contacts represents a legacy that continues on through the teaching of the craft.
No prerequisite.

Instructors: Regina and Dan St. John

About the Instructors
Regina and Dan St. John In the world of decorative paper, the St. Johns hardly need introduction. Their work and teaching is known throughout the country and the world.  Regina began studying marbling in the 1990s in Massachusetts with Faith Harrison and to this day continually seeks out new methods of paper decoration from across the globe that she incorporates into her own marbling practices and her courses.  Dan’s specialty as a marbler is in the recreation of historical 18th-century patterns, especially the elusive Tiger’s Eye Pattern, which he hunts down with precision. Dan is also a professional bookbinder, having trained in the studio of William W. Streeter of Northampton, Massachusetts. By our estimate, Dan is nothing short of an alchemist and magician. Surrounded by honey, walnut oil, beeswax, and minerals, Dan concocts the compounds and potions that become his marbling pigments. It is from this deep pool of knowledge and experience that the St. Johns bring forth the practice and art of marbling to their students.

Descriptions:
Elegant Productions Series

Elegant Productions Series:

Introduction to Cartonnage:
the Art of Box Making

June 13  (Mon)
10:00 a.m. – 3:30 p.m.
$225 + $45 materials

Cartonnage is pronounced “cart-ton-nazj.” (Say it aloud a few times until you feel very French!) The term makes its appearance in France during the first half of the 19th-century to identify the specialty craft of creating containers from cardboard or cardboard-like materials that were then wrapped in paper or cloth. Valréas, France, became an early and major center for cartonnage—beginning with the development there of a box  suitable for fostering silkworms and growing rapidly into a significant industry crafting decorative boxes for all manner of uses. The desire for French-crafted decorative boxes increased by the year, and in 1900 over a thousand workers were employed crafting cartonnage boxes in the Valréas area alone.

Claudia Squio is a renowned author and expert in the history and craft of decorative cartonnage. Through her business Colorway Arts, she is a full-time practitioner and instructor in the art of cartonnage. You will benefit from Claudia’s experience and passion for her craft as she guides you in learning these specialty techniques that we know will influence all of your future craft work.

In this delight of a workshop you will make a lovely cartonnage container for your treasures. Be prepared to be wowed by this wondrous craft that brings elegance and presence to containers of all kinds.
No prerequisite.

Claudia Squio is the author of Cartonnage: Basics and Beyond.

Instructor: Claudia Squio

About the Instructor
Claudia Squio

For decades, Claudia Squio has been taking humble cardboard and turning it into glorious and unique book covers, boxes, and other containers. Her love of fabric and paper are brought to full expression in the art of cartonnage, where beauty and functionality offer limitless opportunities to create and inspire. Claudia is a full-time artist, writer, and teacher who is continually finding new avenues for her artistic expression whether it be in dyeing and painting her own fabrics for use in her work or by authoring books and articles about cartonnage techniques. An expert in her field, Claudia is a gifted instructor and innovator, and her book Cartonnage: Basics & Beyond serves as an important text in the field. 

Elegant Productions Series:

Claudia Squio and the Mystery of the Hidden Chamber

June 14 – 15  (Tues – Wed)   
9:30 a.m. – 4:00 p.m.
$295 + $70 materials

Even if you have no secrets to hide, there is something bewitching about hidden doors, drawers, and compartments. Come learn the mechanics of making your own cabinet of curiosities that includes a hidden nook! And even more exciting is that Claudia Squio has designed this small chest especially for our workshop—you will not find it in any of her books and other writings on cartonnage.

Those of you who already know Claudia are familiar with her enthusiasm and proficiency as a practitioner and instructor of the art of cartonnage. For those who have not yet had the pleasure of meeting Claudia, be prepared for an exceptional experience that will enrich all of your artistic endeavors.

Join us for this two-day Hidden Compartment workshop during which you will create a delightful construction that is at the nexus of artistic inspiration and craft technique. And don’t be surprised if you find yourself wanting to develop a secret of your own to hide within the hidden chamber—we’ll never tell!   No prerequisite.

Claudia Squio is the author of Cartonnage: Basics and Beyond.

Instructor: Claudia Squio

About the Instructor

For decades, Claudia Squio has been taking humble cardboard and turning it into glorious and unique book covers, boxes, and other containers. Her love of fabric and paper are brought to full expression in the art of cartonnage, where beauty and functionality offer limitless opportunities to create and inspire. Claudia is a full-time artist, writer, and teacher who is continually finding new avenues for her artistic expression whether it be in dyeing and painting her own fabrics for use in her work or by authoring books and articles about cartonnage techniques. An expert in her field, Claudia is a gifted instructor and innovator, and her book Cartonnage: Basics & Beyond serves as an important text in the field.

Elegant Productions Series:

Pop-Up Structures:
The Essential Techniques

July 28 – 29  (Thurs – Fri)
9:30 a.m. – 4:30 p.m.
$295

Students will learn a variety of pop-up structures—beginning with non-adhesive cut-and-fold pop-ups and progressing through a series of more complex, glued constructions. Students will receive instruction in folding and positioning techniques as well as suggestions for incorporating graphics into their pop-up designs. A slideshow of historical and artist-made pop-ups will be presented in order to provide models and departure points for the student’s own innovative new work. Students will be encouraged to explore new applications and to experiment with integrating visual content and text with their pop-ups. This is an ideal session for book artists, paper artists, art teachers, and graphic designers. No prerequisite.

Instructor: Carol Barton

About the Instructor

Carol Barton  is a book artist, curator, and teacher who has published several editions of artists’ books and has organized both local and national shows of artists’ books. Her work is exhibited internationally and has been acquired by numerous institutions including the Library of Congress, the Museum of Modern Art, and the Victoria and Albert Museum. She served as curator for the Smithsonian Institution’s exhibition Science and the Artist’s Book.  She has taught at elementary, high school, and university levels as well as conducted adult workshops at art centers across the United States. She is on the faculty at the University of the Arts in Philadelphia and the George Washington University’s Corcoran School of the Arts and Design in Washington, D.C., where she teaches courses in bookbinding and book structures. She has had residencies at the Bogliasco Foundation in Italy and the Sacatar Foundation in Brazil. Her pop-ups were featured in National Geographic Magazine’s July 2005 article Zip Code 20812: It’s Only A Paper Moon. Her instructional books, The Pocket Paper Engineer, Volumes 1, 2, and 3, are how-to guides on paper engineering.

Elegant Productions Series:

The Art of Fore-Edge Painting

June 23 – 24  (Thurs – Fri)
9:30 a.m. –  4:30 p.m.
$295 + $35 materials fee

As early as AD tenth century, people were putting brush and pen to the edges of books…some centuries before librarians could step in and discourage the defacing of books! Edge paintings from this early period can be viewed best when the book is closed as they sit directly on the edges of the pagesakin to the way marbling, gilding, and other edge treatments do.

It is unknown what prompted an artist several centuries later to consider placing the pigments not on the page edges but instead slightly on the top (or bottom) faces of the pages, extending onto the page surfaces the merest amount. In this new technique (“new” in this case meaning 16th century), the pigments did not settle on the page edges due to the presence of gold there that prevented the water-based colorants from adhering or the page edges were gilt after the fore edge painting was made (effectively hiding any painting on the actual edges of the pages). The result of this technical change meant that paintings so placed on the edges of book pages could be viewed only when the text was flexed, revealing the narrow painted strips that together made up the image as a whole. Fore-edge painting, as it is commonly called, continues to thrive to this day and has evolved to include placing hidden paintings along the top and bottom edges of a text as well as settling more than one painting along a single text surface.

Without a doubt, our book-loving ancestors were as charmed as we are by the magic trick presented by vanishing paintingsnow you see it, now you don’t (who needs a rabbit in a hat when you’ve got a fore-edge painting?!).  Come join in and learn this art from Melody Krafft, a renowned master and gifted instructor of the craft whose work has been exhibited and acquired throughout the U.S. and internationally. She is adamant that you do not need to be a good painter (or even a mediocre one!) to accomplish a solid and satisfying fore-edge painting. And who knows, fore-edge painting may be just the thing to unleash your inner Rembrandt!

The materials’ fee is for the blank, gilt-edged journals students will use for their fore-edge painting work. There will be also be short list of supplies students will be asked to bring to the workshop. No prerequisite.

A spread about Melody Krafft is included in the book Hidden Treasures: the History and Technique of Fore-edge Painting by Jeanne Bennett.

Instructor: Melody Krafft

About the Instructor

Melody Krafft has developed and taught more than 100 different workshops as a psychologist and artist. Melody discovered fore-edge painting in 2009 and the following year learned the basic techniques in a workshop taught by Jeanne Bennett at the Langdon Center in Texas. In 2011, Melody traveled to England where she visited with fore-edge painter Martin Frost who generously shared his extensive knowledge of the craft. For over a decade, fore-edge paintings by Melody Krafft have been purchased by universities and private collectors around the world.  In 2012, she participated in exhibition “The Edges of Books” hosted by the Cary Graphic Arts Collection of Rochester Institute of Technology. The exhibition included fore-edge painting by Martin Frost, Jeanne Bennett, Melody Krafft, and other luminaries in the field of fore-edge painting.  Melody Krafft is featured in Hidden Treasures: The History and Technique of Fore-edge Painting by Jeanne Bennett (Calliope Press, 2012). For more information about Melody Krafft visit www.MelodyKrafftArtist.com.

 

 Elegant Productions Series:

 Japanese Tea Box

August 25 – 26  (Thurs – Fri)
9:30 a.m. – 4:30 p.m.
$295 + $75 materials fee

Historically the “chabako” or traditional Japanese tea box housed the implements used in the tea ceremony. A similar chabako form was constructed specifically for the holding and shipping of tea. This structure is so ideal that larger ones came to be used for storing other foods and even for storing clothes!  The interior of the boxes are lined with tin or metal foil and the outside covered in decorative papers called “chiyogami.” These unique and evocative boxes are delights unto themselves and opening one that has been used for storing tea exudes a fragrance that can only be described as heavenly.

Instructor Lana Lambert fell for Japanese tea boxes after seeing dozens of them stacked in a tea shop selling teas from all over Asia. These stunning containers were all full of different teas waiting to be scooped out for customers. The redolent shop had the feel of the most ancient and magnificent of apothecaries—and with the medicinal properties of tea, this wasn’t far from the truth. Lana used sheer restraint that day: while other customers were purchasing scoops of the various teas, she only purchased two whole tea boxes. It’s like this when you’ve been captivated. There is no turning back.

For the workshop, students will learn how woodblock printing inks are prepared and will go on to pull their own woodblock prints thus creating the decorative chiyogami papers to use on their tea boxes.  As this is a real tea box, you will be including traditional materials in the structure such as wood, paper, laminated paper, and a mirror-like metallic lining. It is a sturdy box, ready for whatever job you give it. No prerequisite.

Instructor: Lana Lambert

About the Instructor

Lana Lambert is a resident book artist and printmaker at the Virginia Center for the Book in Charlottesville, Virginia. She graduated from the Corcoran College of Fine Art in Washington, D.C., where she received a B.A. in Art with a concentration in printmaking. Her studies also included bookbinding, letterpress, stone lithography, and Japanese woodblock printing. Her love of the Japanese arts stems from her feeling of kinship with the respect for tradition found within Japanese techniques and practices. Additionally, the emphasis on the use of organic and sustainable materials by many Japanese artists aligns with Lana’s own interests in art and sustainable living. For Lana, the compatibility of Japanese ways with her own beliefs inspires her to seek new ways to blend traditional Japanese arts with western techniques and to employ Japanese techniques to interpret American themes. 

 

Elegant Productions Series:

The Art of Leather Onlay

1-Day Course  TBD  
9 a.m. – 5 p.m.   $225
We are handling this course as an on-demand workshop. Let us know your interest in the class, and we will work out a date to hold the class.

This course covers the basic elements of leather onlay work from preparation of the leather through execution of designs. This course is ideal for anyone who wants to explore leather onlay as a decorative or content element in their bookbinding work.  No prerequisite.

Instructor: Amy Jackson

About the Instructor

Amy Jackson has been a bookbinder for over 15 years. She currently works on a project basis at Cat Tail Run Hand Bookbinding in Winchester, Virginia. She holds BFA from Longwood University with a concentration in printmaking and book arts and is currently completing her MLIS at University of Illinois in the library preservation pathway. Her additional studies of note include hand papermaking and book conservation studies with Jacques Brejoux and Christopher Clarkson at a workshop/seminar at Moulin de Verger in Puymoyen, France, and studies in the medieval color palette with Cheryl Porter at Montefiascone, Italy. Ms. Jackson worked for several years as a contract Matter/Framer in the Conservation Division of The National Gallery of Art, in Washington, D.C. Ms. Jackson has been in numerous exhibitions for both book arts work and printmaking.

 

Elegant Productions Series:

Hatching & Batching:

How to formulate book- and papercraft ideas and build them in production

September 7 – 9 (Wed – Fri)
9:30 a.m. – 4:30 p.m.
$460 + $65 materials fee

This is a professional-development course for anyone wishing to take their papercraft or book arts designs into cottage-industry production. When making product to take to market, it is essential that the production side of the process be as efficient as possible while not taking away from the handcrafted quality of the work. These are the two immovable endpoints in the realm of making a profit when taking your handcraft into production. The crafter does, fortunately, have control over numerous elements of many of the components of a make-for-market business model. This course is designed to introduce crafters to a wide range of techniques and topics which they can incorporate and adapt to their own artistic vision and goals, leading to a profitable future.

 

Included in this course is development of jigs and templates, methods for doing price comparisons on raw materials, hands’-on rounds to practice a variety of production techniques, developing a design from concept through prototype and on to production, and avenues for getting your product to market. No prerequisite.

Instructors: Dan St John & Jill Deiss

About the Instructors

Jill Deiss established Cat Tail Run Hand Bookbinding, host of the School for Bookbinding Arts, in 1991. She studied bookbinding and restoration first in Northampton, Massachusetts, then at Cornell University’s Department of Library Conservation and in the Smithsonian Institution’s Conservation Laboratories. She holds a B.S. in chemistry and received a Master of Library Science degree from Syracuse University, where she specialized in the study of archives and rare book collections.

In the world of decorative paper, the St. Johns hardly need introduction. Their work and teaching is known throughout the country and the world.  Regina began studying marbling in the 1990s in Massachusetts with Faith Harrison and to this day continually seeks out new methods of paper decoration from across the globe that she incorporates into her own marbling practices and her courses.  Dan’s specialty as a marbler is in the recreation of historical 18th-century patterns, especially the elusive Tiger’s Eye Pattern, which he hunts down with precision. Dan is also a professional bookbinder, having trained in the studio of William W. Streeter of Northampton, Massachusetts. By our estimate, Dan is nothing short of an alchemist and magician. Surrounded by honey, walnut oil, beeswax, and minerals, Dan concocts the compounds and potions that become his marbling pigments. It is from this deep pool of knowledge and experience that the St. Johns bring forth the practice and art of marbling to their students.


 

School for Bookbinding Arts

A division of Cat tail Run Hand Bookbinding

2160 Cedar Grove Road, Winchester, VA 22603
(540) 662-2683 | workshops@cattailrun.com | Follow us on Instagram @ctrbookarts