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Welcome back to Print & Book Arts Open Studios. We are starting with a limited Open Studio schedule but will be adding dates as Studio Monitors are trained. If you are interested in becoming a Studio Monitor please contact Amy Goldthwaite, email@example.com.
You will need to register for the Open Studio, as we have a set number of artisans that can be in the work space at one time. At this time, Open studios are only for current BARN Members — those who have taken introductory classes in Printmaking, Letterpress and/or Book Arts.
The Print & Book Arts Studio will be practicing safety measures for the health and well-being of all participants, in accordance with state and CDC guidelines. Everyone using the studio will be required to wear masks, wash or sanitize hands frequently, keep a physical distance of six feet from others and stay home if they are sick. Please review our safety protocols before registering. You will find the links in the "Important Details" section below.
You are welcome to attend the Print & Book Arts Open Studios, regardless of the type of book or printing project you have in mind. Each session will have a monitor on hand to answer questions. All studio equipment is available but participants must be certified on any press they plan to use. Time is limited to three hours per session; the last half hour being devoted to cleanup.
Monitor: Peggy Graving
Monitor: Jessica Dubey
**This workshop will be live streamed via Zoom. Class time is Pacific Time.**
Build your confidence in Book Arts skills by learning to make a variety of quite simple book-forms such as pamphlets, booklets, brochures, cards, and zines. Then challenge your own personal creativity by adding to each thoughts/words you want to convey, then uniquely enhancing your creation to become an original art-book.
This two-session class is part of the Print & Book Studio’s Beginners Series, in which all the basic techniques will be explored; all the vocabulary of the world-of-book will become familiar; and each of your creations/products will be a source of pride.
In this class, Pamphlets & Company, not only will you acquire and refine book-making skills, you will also learn tips & hints along the way that will make future book-making experiences really fun!
Construction techniques like measuring, cutting, folding, gluing, extending, covering, and wrapping are all utilized, along with more complex notions such as creating illusions, 3-D effects, the power of words, and the subtlety of color will all become tools for you to effectively use as you work. We will be using a variety of materials in making these “cousins” of bound books – both as a means for learning the different characteristics (and demands) of available materials, and for you to actually experience the different effects that different materials can make.
In the first of the two sessions we will get acquainted with each of these ‘book’ forms through –
We will make two of the five forms during the first session, but leave the embellishing and writing as homework between session – this gives each of you time to think, ponder, edit.... and finalize on your own. It will also provide you with experience: that priceless element of creative discussion. And THAT – a creative review and discussion – is exactly how we will start the second session. Then, with lots of great ideas flying around, we go on to the creation of the remaining three forms.
It’s going to be a great class! DON’T MISS IT.
Susan M. Callan has been a devotee of Book Arts for almost 30 years.
In the mid 2000’s, she was invited to join a 12-artist team, each teaching their own discipline under the auspices of The Creativity Center. In the Center’s 5-year run here on Bainbridge, she discovered the genuine joy of sharing her Book Arts knowledge and skills with enthusiastic students. She has been teaching (and, of course, still learning) all aspects of Book Arts, as well as the study of Creativity, ever since.
Learn how to create direct and expressive images with this versatile form of printmaking. Apply ink on Plexiglass plates using brushes, rollers and rags, and then run the plate through an etching press to make one-of-a-kind images. Begin to master the technical aspects of monotype as you discover and explore what fascinates you. We will cover a wide range of monotype techniques designed to kick start your creativity and develop your skills as a printmaker.
Wendy Orville is an artist and educator who was born in New York and grew up in New Haven, Connecticut. She received a BA in Fine Arts from Yale University and an MFA in painting from American University. Wendy’s monotypes have been exhibited at the Tacoma Art Museum, the Museum of Northwest Art, the Bellevue Art Museum and the Bainbridge Island Museum of Art. Her monotypes are featured in the book Singular & Serial: Contemporary Monotype and Monoprint. Wendy has taught at Pratt Fine Arts, The Henry Art Gallery, University of Indiana and numerous other venues. She is represented by Davidson Galleries, Seattle, Washington. “I was trained as a painter but I’m largely self-taught as a printmaker. I fell in love with the monotype process when I lived in Taos, New Mexico. Something happened when I started making monotypes that opened up a different part of me. I felt genuinely free to experiment and fail, trusting myself to follow the process anywhere it led.”
Read an article about Wendy in the Bainbridge Currents.
Visit Wendy's website here: wendyorville.com
Sewn Books: Books that are sewn are flexible and strong. There are many ways to sew folded pages (signatures, sections) into a book. In this one day workshop, you will explore several techniques from the humble single section to more complex multiple section bindings.
Carolina Veenstra is a bookbinder and artist. She has worked as a book conservator for forty years. When she isn't working in her studio, you will find her hiking in the Olympic Mountains or weeding the trails in her neighborhood.
Consider five small shallow boxes, each folded from a single sheet of heavy stock. Imagine binding these drawer-like boxes into something reminiscent of a book block, complete with its own cabinet-like case. Inside each of these boxes you construct something mechanical from paper that can be used many ways. You have just built a Cabinet of Paper Mechanical Curiosities—a 4D Whitman’s sampler of movable delicacies, made entirely with paper.
This workshop removes the restraint of FLAT from the codex page. The first box explores movable paper engineering fundamentals. By adding a sculptural component, the second amplifies a model from the first box. The third is a tiny automata. The fourth contains a classic crankie. The fifth box employs a shutter structure to mysteriously bring an object into view. You will make this movable mechanical magic out of little more than card stock, glue, and simple hand tools.
Both paper engineering beginners and advanced practitioners will be accommodated and challenged by this material.
The first session will have a one hour break at noon and resume again at 1:00pm.
Supplies to have on hand:
Shawn Sheehy is an artist with a love of ecology who enjoys exploring such themes as interconnectedness, adaptability, and evolution. Passionate about pop-up books, he works sculpturally with the book format and has presented numerous workshops on pop-up engineering across the country.
Study with University of Washington Printmaking Professor Curt Labitzke. This exciting new class is designed for anyone interested in learning a variety of printmaking processes at home without a press using non-toxic, water-based materials. This is an all levels class, beginners encouraged!
Long before the printing press was invented artists and craft peoples have used direct printmaking techniques to express themselves and embellish their surroundings. In your own space you will learn how to use stencils, relief printing, rubbings, and direct transfer methods along with hand coloring and collage to create your own individual artworks.
No previous print or drawing experience is necessary. Students will be provided with a basic supply kit. This class will incorporate synchronous, live learning. Emphasis will be placed upon personal artistic development along with learning traditional craft skills and innovative contemporary drawing and print techniques. By the end of the third session each student should have several finished pieces suitable for framing.
Curt Labitzke is an associate professor of printmaking at the University of Washington. His work is represented at the Island Gallery on Bainbridge Island and La Bottega dell Acquaforte Gallery in Laguna Beach, California. Curt's work was included in the group of Seattle Regional Printmakers shows at Roby King Gallery in 2013 and 2014. He has shown in galleries internationally in Italy, France, Chile and Mexico.
This is a beta class being offered to BARN volunteers, staff, and board members so that the instructor can conduct a test run. A registration code has been emailed to those invited to attend.
*This class has prerequisites. Please see below.*
Do you have a photo, drawing, or other sample of a texture or pattern that you want to use in your work but need a way to transfer it to your metal? To create patterns that are unique to your work, you can use the laser cutter to engrave paper with designs from your image files. Later, you can use the textured paper to transfer the pattern onto metal using a rolling mill. (You will not be embossing the metal in this class.)
You will learn:
You will be able to laser cut several samples using image files and paper provided by the teacher.
Joan Hammond began working in metal in 1994, when she started taking metalsmithing classes as an antidote to documenting computer software. What she discovered was a medium that not only utilized her previous training in painting, printmaking, and ceramics, but also opened the possibilities of creating art that can be worn.
Family artifacts and history, plants and animals, and the textiles and jewelry of non-Western cultures inspire her current work, which Hammond executes using the techniques of chasing and repoussé. Her long-time interest in Asian art, which deepened when she studied calligraphy and tea ceremony in Kyoto, Japan, continues to influence her aesthetics and sense of design.
Box Construction: In this two-day workshop, you will learn to measure, score, cut, fold, and glue paper to construct boxes. These same techniques can be used to recover a whole variety of existing boxes. You will start by making a simple four-sided tray and progress at your pace to create more elaborate boxes.
Bringing together BARN’s Print + Book Studio and Fiber Arts Studio, this two-part workshop will introduce students to the fundamentals of screenprinting.
Screenprinting is one of the most accessible printmaking processes, and we will orient to the process in a way that makes it practical to replicate in a variety of settings. Screenprinting, or silkscreening, has a fairly short but incredibly rich history of use as a medium for surface design on textiles, as well as a printmaking technique on paper. We will discuss the history of the process, walk through the materials needed, learn how to expose screens, practice different techniques that can be used to create art to burn onto our screens, and, of course, print!
Students will leave this workshop with a screen burned with art of their choice as well as whatever they chose to print their art on.
Materials provided will include photo emulsion, printmaking paper, transparency paper, natural fiber fabric, and a zine (how-to guide).
Katey Rissi says, "I am an artist, educator, medicine maker, and activist. My artmaking practice is interdisciplinary and I shift between printmaking, illustration, collage, natural sculpture, textiles, and photography. I am interested in ancestral skills and ecology and these often inform my work. Some themes I find myself returning to in my work include environmental grief, ancestor work, unsettling/decolonization, and what it means to be connected to community and place.'
Katey holds a BFA in Graphic Design from Western Michigan University with a focus in Photography and Printmaking.