This two-to-five day workshop combines basic non-adhesive bookbinding techniques — leading up to making a simple four-signature journal with a folded paper cover — with taking our new sketch journals into the field to make sketches of the local built and natural environments in a journal format.
This workshop combines basic non-adhesive bookbinding techniques — leading up to making a simple four-signature journal with a folded paper cover — with taking our new sketch journals into the field to make sketches of the local built and natural environments in a journal format.
Non-adhesive books are made without glue, and require no special equipment. Covers are made with folded and tabbed heavy paper, using principles discovered in 13th Century "limp vellum" bindings. Peter will show examples from his collection of antiquarian, contemporary and handmade books.
No bookbinding experience required. Some familiarity with paper folding and drawing tools preferred, but not required. Drawing experience helpful but not required.
Travel Sketching Journals have a long history, long before the days of picture postcards or digital cameras. Today, they provide a record of a journey, and an opportunity to heighten our skills of observation. Travel sketches are both mnemonic and illustrative, whether quick or studied, they need not be more than a few lines and smudges, or may be as closely observed as a fine drawing. (Traveling not required, of course, the journal can be used for any kind of drawing or writing!)
PETER FRATERDEUS has taught letterpress printing, calligraphy, book structures and digital typography in a number of venues, both in the US and Europe, including the School of the Art Institute of Chicago, and Columbia College's Center for Book and Paper Art. He is the owner/proprietor of Slow Print in Dubuque, an award-winning 'high-touch' 21st Century letterpress printing studio. In the 1981, he received a National Endowment for the Arts apprenticeship grant to study calligraphy and letter carving with Ieuan Rees in Wales, and in 1986, received an NEA Design Projects grant for his first digital typeface, "Prospera". Peter is a self-professed paper junkie. http://fraterdeus.com
ALICE MCMAHON is an internationally exhibited figurative artist, specializing in pastel portraits and charcoal magic realist drawings in large formats. Her work has been shown at the Saatchi Gallery in London and featured in American Artist magazine. Recent work includes a series of greater than life-sized portrait drawings 30"x50" on MDF board. http://alicemcmahon.com
New class offerings from Dubuque Book Arts and Galena Design Center
Please fill out our Community Survey as we hone our course descriptions!
Throughout the year:
Typography for Artists and Others - Peter Fraterdeus and Kristine Jubeck (Weds evenings 7-9 once a month)
Learn to arrange language and information based on typographic contrast, form, color and structural principles. Use common word processing and simple page layout programs and their stylesheets. For artists, administrators and anyone needing a better sense of how to use visual language to write grants, design logos, flyers, posters and signs, and even make better websites.
May-June Dates to be determined.
Non-Adhesive Bindings and Plein Aire Drawing: A weekend workshop (Saturday & Sunday 11-5) combining
Making Books without Glue - Peter Fraterdeus
Learn to make your own Journal or Sketchbook with a simple non-adhesive binding based on 13th Century book structures
Drawing the River - Alice McMahon
Take your new sketchbook out to the Mississippi bluffs for a day of drawing (picnic lunch)
Get out of the house with a brand new sketchbook!
Two-day workshop at Slow Print Letterpress Studio (Dubuque)
Non-Adhesive Bindings are modern adaptations of millennium-old techniques to transform loose sheets of paper into lovely, high-touch books with nothing but needle, thread and a sharp knife. No glues or adhesives needed!
We'll produce three book types, simple pamphlet style, single-sheet accordion, and multiple-signature sewn onto a folded cover.
The first day is focused on exploring the many possible structures of the book; folding, tearing, cutting and sewing papers, and finally creating a finished sketchbook from large sheets of fine art drawing paper. The binding section is taught by Slow Print founder Peter Fraterdeus.
Our second day will be in the countryside along the beautiful bluffs
of the Mississippi River near Dubuque, for a day of sketching with
charcoal and pencil with your new sketchbooks! Alice McMahon, an
internationally known painter and charcoal artist, will provide critique
and pointers on technique.
June - July
Calligraphic Adventures with Peter Fraterdeus - (Two Saturdays 11-5)
Beginners through advanced calligraphers welcome as we play with the tools that humans have created to write and draw letters. Inks, watercolors, brushes, quills, steel, felt and roller pens-everybody out of the toolbox! We'll work with different types of paper, and learn how to see letters in a whole new way. Get away from the computer and feel the scratch of a real quill on handmade paper!
Wood Type Wonderland - Peter Fraterdeus and Kristine Jubeck - (Saturday & Sunday 11-5)
Join Peter and Kristine for an adventure in Wood Type on the Vandercook 219 Cylinder press. Extremely limited enrollment, this class at Slow Print Letterpress will be offered to a maximum of four students at a time. We will learn to design in real time with Slow Print's collection of antique wood type, and investigate the graphical and linguistic power of these wonderful old letterforms. Get away from the computer and smell the ink!
Notes and synopsis for this workshop, offered by Peter Fraterdeus. Contact us for details.
Introduction: Modes of Perception
The eye doesn’t see black on the page, it sees the white.
— Ieuan Rees
The Right Brain or R-mode provides the 'negative' space against which thought (Left Brain or L-mode) marks time, sequence and order. This is the quiet space, the empty vessel which holds the mind, yet is the mind's easel. It is the complementary, the ground on which the figure plays, yet is also primary, for without it, thought itself could not exist, as we cannot perceive form without its context.
We can think of L-mode as Logical and Linear, while R-mode is Reflective, Receptive — spacial and immediate. While these are not exclusive to the physical hemispheres of the brain, they are models of perception.
Life in exoteric, materialistic, Apollonian cultures tends to favor the L-Mode with its linear logical sequential processing. But the Arts, Meditation, Music, Passion, Exhaustion, Trauma, Psychoactive Herbs & Alcohol — the Dionysian influences— all can be paths to R-mode awareness, yet it's fleeting...
Betty Edwards, as with all good Zen teachers, developed practices in Drawing on the Right Side of the Brain (www.drawright.com) which are designed to quiet the chattering, 'rational,' sequential, symbolic mind, allowing the intuitive perceptual mind to come forward. The conscious recognition of entering R-mode is like a light turning on, a veil lifted, or a window suddenly blown open by a fresh breeze.
In fact, "enlightenment" is a term used for the attainment of that continuous conscious state, when both R & L modes are fully engaged! Drawing (letterforms) is as good a practice as any! It challenges both analytic reason and intuitive perception in much the same way that music does.
Our approach will be to inform the 'rational' mind, but to prefer the pattern-recognizing, synthesizing, relationship-appreciating mode of the 'empty' mind, which takes what the eye offers without judgement, in order to see 'negative' space as something real and substantial. To perceive the substance of emptiness.
Designing forms, seeing space, consider Lao Tse in the Tao Te Ching:
"Thirty spokes share the wheel's hub; It is the center hole that makes it useful. Shape clay into a vessel; It is the space within that makes it useful. Cut doors and windows for a room; It is the holes which make it useful. Therefore benefit comes from what is there; Usefulness from what is not there."
(trans J. English & Gia-fu Feng 1989)
Marks made with the pencil, graphite sticks, the East Asian Calligrapher's Brush, the drawing pen all with consideration of the power of emptiness.
Perceptual drawing exercises help us develop a toolkit of practical approaches to drawing glyphs or sequences of letters. The same exercises also strengthen and refine pure drawing, of any subject.
Seminars and Workshops from 3 to 10 days.
Longer workshops include elements of instruction in carving and inscribing forms in various materials.
Conducted in English
Day One — Drawing on Emptiness
What do you see?
Practicum : Day One
Drawing as a physical activity, making deliberate marks and expressive marks
Paper Bag Studies :The haptic sense — feeling our way to spatial relationships,
haptic : of or relating to the sense of touch, in particular relating to the perception and manipulation of objects using the senses of touch and proprioception (awareness of the position of the body and its parts)
Viewfinder studies with the Oak Leaf; of a Wood Type Letter
Heuristic Studies of rules and patterns in letterform construction
heuristic : enabling a person to discover or learn something for themselves : a “hands-on” or interactive heuristic approach to learning.
Jonathon Hoefler's exercise in 'tweening' forms between the 'known' letters
Sketching and refinement, iterative process in the "Letters Mingle Souls" design
Finish Day One with a review of progress and perspectives.
Betty Edwards: Strategies for Perception, Saturation
Perceive the Edges
Perceive the Negative Spaces
Perceive the Relationships and Proportions
Perceive the Lights and Shadows
Perceive the Gestalt – The Thingness of the Thing.
Edge is a shared boundary - Liminal Study of edges, boundaries - Scribble / string studies
Pure Contour Drawing, five minutes of the wrinkles in the hand. Toning the paper w/graphite
Sighting has to do with constants: Reason, Ratios and Relationships
St. Thomas Aquinas:
The requirements for Beauty – Integritas, Consonantia, Quidditas
(Wholeness, Harmony & Essense)
Seeing and drawing
What is the hardest letter to draw? To see?
Which is harder, drawing or seeing?
Haptic (touch, fasten) perception of negative space. [Wood Type Exercise Large – Small ]
Heuristic (self-discovered) perception of shape & space [Non-Alphabetic Symbols (Jon. Hoefler’s exercises)]
Drawing for Design – Progressive Refinement, Iterative Process [pin-marks for registration, overlay]
Using the computer for refinement – Hidden sources of problems, kinks in curves, vector entrance & exit
Day 2 — Applied Perceptions of Space
If negative spaces are given equal importance to the positive forms, all parts of the drawing seem interesting and all work togerher to create a unified image. If, on the other hand, the focus is almost entirely on the positive forms, the drawing may seem uninteresting and disunified – even boring – no matter how beautifully rendered the positive form may be. — Betty Edwards (The New Drawing on the Right Side of the Brain, p120)
Practicum : Day Two
Putting “flesh on the bones” or “wrapping the stone”?
Platonic Ideals enter the Material World
The Eye, the Mind, the Hand, the Heart.
The best bet for finding these books is online. Try searching for the ISBN number at abe.com or amazon.com
Drawing on the Artist Within: A Guide to Innovation, Invention, Imagination and Creativity
(Simon & Schuster ISBN: 0671493868 / 0-671-49386-8)
Drawing on the Right Side of the Brain (ISBN: 0874770882 / 0-87477-088-2)
Color by Betty Edwards: A Course in Mastering the Art of Mixing Colors
(ISBN: 1585422193 / 1-58542-219-3)
Lettering as Drawing ISBN 0800847296
Creative Lettering : Drawing and Design ISBN 0-8008-1997-7 (Taplinger)
This document: http://slowprint.com/dbqba/accentuate/
Lao Tzu – Tao te Ching
Jonathon Hoefler – Introduction to Typeface Design 110
This is a list of important tools and materials. Most will be in your toolbox already.
Pencils, soft, medium and hard ie: 3B HB 2H 4H
Technical Drawing Pens size 0 or 00 (.35 or .30 mm) (the higher priced refillable pens can be used with subtle colors...) with appropriate inks. Watercolor inks (light-blue, purple) for refillable pens. Black waterproof fiber pens
Rapidograph or Mars pens or equivalent high-qualityfiber tipped like Zig Millenium)
Long-hair sable 'pencils' (lettering brushes) # 3, #5
"one-stroke" flat lettering brush 1/2 inch
kneaded rubber eraser & white plastic eraser (Mars, etc)
paper: 11x14 (or larger) pad drafting vellum (18x24 can be divided to 12x18 which is fine)
paper: cold-press watercolor block 6x9
drafting tape : http://www.dickblick.com/products/drafting-tape/
watercolors, travel/pan set & small watercolor palette & small squat bottle for rinsing brushes, etc
magnifier for looking at small stuff up close
Xacto or single-edge razor blades for sharpening pencils (no 'pencil sharpeners' please!)
12" 30-60-90 drafting triangle & small t-square, drafting board, etc
12-18 inches of white packing twine / nylon cord
MacBook (or whatever, ok! :-) with Adobe Illustrator and Wacom drawing tablet
Aviary.com account : this web-based graphics tool application may be VERY useful to those who don't have access to Adobe's professional tools). Sign up for a free account and check it out...
Also, Inkscape, an open-source vector drawing tool.
Of course, there’s nothing like the real thing. If you’re doing serious or professional work, Adobe Illustrator is de rigueur.