In celebration of its 30th anniversary, the Canadian Bookbinders and Book Artists Guild (CBBAG) is pleased to present its first national book arts conference in conjunction with the opening of Art of the Book 2013 Exhibition. There is an exciting line-up of extraordinary presenters, as well as a related workshops series.
July 6-10: Workshops: Sün Evrard (Full), Victoria Hall
July 11: Conference Registration. Evening: Reception and Keynote Address by Sün Evrard
July 12: Morning and afternoon: two three-hour Presentations; Evening: Art of the Book 2013 Exhibition Opening
July 13: Morning and afternoon: two three-hour Presentations; Evening: CBBAG AGM, Banquet, Auction
July 14: Rocky Mountains Tour
July 15-19: Workshop: Julia Miller
The Art Department of the University of Calgary, in Calgary, Alberta, Canada, is both the location and partial sponsor of the conference. Accommodation is at the university’s own Hotel Alma and dormitory residences. Conference registration includes:
All four presentations and the keynote address.
The opening reception for CBBAG’s Art of the Book 2013 exhibition.
The Canadian Bookbinders and Book Artists Guild Annual General Meeting.
Trade fair room, featuring book arts suppliers.
There are optional in-depth, five-day pre- and post-conference workshops, and a banquet with fundraising auction. There is also a Rocky Mountains Tour available.
See the Conference Package/Application Form PDF, in English and French
for further details on:
trade fair/vendor information
registration form (page 5 of the PDF)
Vendor update: there is one table size available for $125.00
Membership (required for registration for the conference and workshops):
Membership registration must be done advance - membership applications can be found on the Membership page. Canadian addresses: $60 for individuals, $70 for families, and $25 for full-time students. (U.S. and Overseas addresses: $70 for individuals, $80 for families (one newsletter), $80 for institutions, and $35 for full-time students (with proof).
“Les pages bien gardées” – Conservation and Design
The binding of precious books is a delicate problem-solving procedure. Many book-friendly structures exist, but all are not suitable for all books. Conservation bindings are not standardized methods, but the result of interaction and balance of techniques and design. All aspects of the works are to be considered: the importance of a given book in a collection, its future use, the available workmanship, as well as financial considerations. Examples, photographs, and additional materials are available for discussion afterward.
Born in Hungary, Sün Evrard has lived and worked in France since 1971. She studied bookbinding, gold tooling, and book design at the École de l’Union des Arts Décoratifs in Paris. She has worked as a designer bookbinder since 1978. She was initiator of the artist-book group exhibition Containers for Intragrammes, currently in the collection of the Mariemont Museum in Belgium, and was one of the nine founding members of the “AIRneuf movement,” which curated exhibitions in France, Belgium, and the United States.
Her design bindings can be seen in many public collections including the Bibliothèque nationale de France, Bibliothèque des Arts Décoratifs, Paris; Bibliothèque royale de la Hague, The Netherlands; Bibliothèque nationale du Luxembourg; John Rylands Library, Manchester, United Kingdom; The Lilly Library in Indiana, USA, the Musée d’Erasme in Bruxelles and The State Library of Queensland, Australia. Due to her interest in book-friendly structures, creating modern bindings on antiquarian books became her specialty. She is a member of the Tomorrow’s Past Group and each year exhibits her colleagues’ work under the name Les Pages bien gardées at the Salon du Livre Ancien in Paris. http://sun.evrard.pagesperso-orange.fr/
Suave Mechanicals – From Coptic to Scaleboard
The presentation covers the early history of the codex, with an emphasis on the Coptic structures of the first millennium, research on the Nag Hammadi codices, the general importance of identifying and describing historical bindings of all types, and a case study applying that thinking to a particular group of books, American scaleboard bindings.
Julia Miller is a bench-trained conservator in private practice, who studies and writes about historical binding structures. She teaches bench workshops involving historical structures and offers seminars on identifying and describing historical bindings. Her recent project has been writing Books Will Speak Plain: A Handbook for Identifying and Describing Historical Bindings and seeing it published by the Legacy Press in 2010. She is series editor and a contributor to Volume I of Suave Mechanicals: Essays on the History of Bookbinding, published late fall 2012.
Hand Decorated Papers – A Personal Approach
This presentation shows how her study and creation of traditional marbled papers led to paste papers and explorations far beyond. It encompasses old and new designs, technical insights and creative developments, including discussion of her major projects and involving the use of original source material. Her presentation is a tour through the history and practice of her art.
Victoria Hall began making decorated papers professionally in the late 1980s, having attained a degree in the History of Art and Architecture at the University of East Anglia. An acknowledged expert in replicating historic marbled and paste papers used for restoration work, she also loves creating new designs, including unique, richly-coloured contemporary paste papers. She enjoys making papers to commission for specific projects, whether old or new, and recently completed marbling the paper for The Highgrove Florilegium. From suminagashi
papers to marbled flowers, her range is particularly extensive and continually developing. Her individual pieces can be found in private and public collections including The Royal Library, Den Haag; Newberry Library, Chicago; and the Schmoller Collection at Manchester Metropolitan University, although much of her work now resides appropriately anonymously on library shelves. Victoria has run many courses for the Society of Bookbinders and Designer Bookbinders and led events at major museums and galleries in the UK. She attended International Marblers Gatherings in San Francisco, Istanbul and Tennessee and has written published articles in her field. http://hand-decorated-papers.com/
Wood Engraving and Book Illustration
This presentation begins with a slide show of examples of book illustration and wood engraving, historical and contemporary followed by a demonstration of the process of engraving wood with both hand tools and an electric engraving tool. The demonstration block is then hand printed. A display of contemporary wood engravings by members of the Society of Wood Engravers and Wood Engravers Network will be on view.
Jim Westergard is an internationally-exhibited and renowned printmaker who lives and works in Red Deer, Alberta. He is an elected member of both the Society of Wood Engravers (UK) and the Royal Society of Painter-Printmakers (UK). He is also a member of the Wood Engravers Network (US), the Fine Press Book Association (UK, US & Canada), the Boston Printmakers Society (US), and the Fraternity of Proud Grandparents. From 1975-1999, Jim was an instructor in Printmaking and Drawing at Red Deer College. He is the author of Oddballs (Heavenly Monkey Press, Vancouver), Mother Goose Eggs, Sunny Side Up (printed and published as a limited edition and then as a trade edition by Porcupine’s Quill), and co-author of Fly On the Wall (ECW) with Jason Brink. http://www.telusplanet.net/public/jimwest/
Making Books at the Greenboathouse Press
From manuscript selection, to design, to hand-setting type, to printing and binding, Jason Dewinetz discusses the production process at Greenboathouse Press. Typesetting, proofing and printing on the Vandercook is explored alongside a slide presentation with detailed images of each step of the process. The presentation provides a thorough overview of fine press book production in the 21st century.
Jason Dewinetz is a writer, publisher, graphic designer, and typographer. A past instructor at the University of Victoria (Publication Design), and currently at Okanagan College (English/Fine Arts & Publication Design), Jason is the founder of Greenboathouse Press. As of 2011, Jason’s design and production for Greenboathouse has garnered seven national book design awards, and in 2008 he served as judge for the Alcuin Awards for Excellence in Book Design in Canada. In 2010, Jason’s design for This (And That Was That) was shortlisted by the Stiftung Buchkunst at the Frankfurt and Leipzig International Book Fairs in the “Best Book Design from All Over the World” competition.
He has presented on typography and the history of the book in Canada, the US and Europe, and is currently on the board of the Fine Press Book Association. His Greenboathouse publications are included in special collections libraries across Canada, the US and Europe, including the Newberry Library in Chicago, the Grolier Club Library in New York, the British Library in London, and the Museum of the Book in Amsterdam.
Trade Fair Vendors
American Academy of Bookbinding (unattended table)
Hand Papermaking Magazine
J. Hewit & Sons Ltd
Kensington Art Supplies (The Japanese Paper Place local rep.)
Mona Lisa Art Supplies
Siegal Leather Supplies
X-T Creasing (unattended table)
Pre- & Post-Conference Workshops
In addition to the materials fee, a list of supplies and items to bring with you is provided upon registration.
Each workshop runs from 9 am–4 pm in the University of Calgary Art Building, unless otherwise noted. Spaces are limited and early registration is recommended.
Sün Evrard - Binding in Stone Veneer
Five-day workshop, July 6–10, 2013 (Full)
Each workshop, tuition $650, materials fee $100
Stone veneer is the result of an interesting development in laser cutting. Imitations of stone have been on the market made of stone powder mixed with an adhesive and coloured to look like real stone. The veneer product demonstrated in this workshop is manufactured by a Finnish-German company and distributed by an Italian firm and is a .2 mm thick slice of stone mounted on a thin fabric. Sün says “I have not seen how exactly it is made but I was told that the surface was first coated, then the stone sheet laser cut and vaporized with a thin layer of adhesive during the cut. The result is a sheet of real stone one can fold, imprint, tool and cut with a simple cutter.” Two structures using stone veneer are made during the workshop: a single section and a multi-section book.
Julia Miller - A Coptic Combination Workshop
Five-day workshop, July 15–19, 2013
Tuition $500, materials fee $100
During our week-long workshop we create two historical models of Coptic bindings dating from the fifth and sixth century: a full-size model of Morgan MS G.67, known as the Glazier Codex (late fifth/early sixth century) and a full size model of Chester Beatty MS. 815, known as Codex C. The combination allows us to discuss the common features of the two bindings, and how they differ. We extend our study to earlier Coptic bindings (Nag Hammadi Codices) and late-Coptic materials (Edfu, Hamouli, Bodmer bindings, etc.)
Victoria Hall - A Historic Approach to Marbled and Paste Papers
Five-day workshop, July 6–10, 2013
Each workshop, tuition $500, materials fee $100
This practical workshop instructs students in the creation of paste papers and the fundamental techniques of marbling using water-based colours with a specific emphasis on historical styles. There are regular, short demonstrations by the tutor, and other methods of decorative paper, both old and new, are referenced. Students can expect to gain a richer understanding of those papers we most frequently see in the antiquarian books around us. Students can expect to create portfolios of their own papers to use in future projects. All the techniques can be further developed to suit the contemporary needs of the maker.
See the Conference Package/Application Form PDF, in English and French
for further details on: