Date: July 13 - July 15, 2012
Hand Bound Altered Book
Time: 9:30 AM - 4:30 PM
This program is suited for attendees at All levels of experience.
New for 2012, this workshop is Part Two of the Hand Bound Altered Book workshop. In it, we explore the pleasures of creating and filling a hand bound book. The optional Part One, Wooden Altered Book Cover is held prior to this workshop.
Utilizing a binding that has withstood the test of time with its elegance, flexibility and strength, we will first bind a text block of fine papers and translucent mica sheets. We will than cut, hammer, glue, shred, paint and sew back into the pages creating niches, alcoves and secret spaces to house and protect treasures, images and words.
Participants wishing to create and attach a wooden cover to their book should plan on attending both workshops.
About the Instructor
Daniel Essig got into bookbinding while studying photography at the University of South Illinois at Carbondale. One of his first books was an altered book, printed in Greek, with bindery that was completely self-taught. Rather than mounting his photography on gallery walls, he decided to place them in boxes or books so the viewer had to actively explore the art, rather than passively wandering past. At that time, he met Al Buck, who was making wooden-covered Coptic books. This binding was first used around the fourth century, in Ethiopia or North Africa, or perhaps this is just the area where the books were best preserved. Unlike most hand-bound books, Coptic books open completely flat. Images on the pages were wholly visible without struggling with the binding.
Dolph Smith helped push Daniel beyond the simple Ethiopian book, with his sculptural books that hung paper from wooden structures. Daniel’s bridge books using the same Coptic binding with exaggerated elements were developed under that influence.
After completing his degree at Carbondale, his mentor Frances Lloyd Swedlund encouraged Daniel to attend the Penland School of Crafts, where he concentrated exclusively on Ethiopian Coptic books.
- Visit Daniel’s website
Studio and Material Fee
Material fee covers mica, text block, handmade papers, waxed linen thread, needles, sandpaper, wax/finish, PVA bookbinding glue, dust mask, tools and materials needed to complete project and miscellaneous studio supplies.
Student Supplies
Students should bring the following supplies:
- Thin or light weight collage materials: decorative and text papers, old photos-paper,tintypes or ambrotypes(glass), old letters, sheet music, insect wings, leafs, feathers, etc.
- pencils
- Eraser
- Black sharpie fine line
- Few colors of acrylics
- 6-18" metal ruler
- Exacto knife and extra blades, utility knife and blades
- Self-healing cutting mat
- Assorted binder clips
- 1 inch foam brush
- small sharp scissors
- Utility scissors
- bone folder
- brayer
- awls-including a slender one for piercing sections.
- Dremmel (battery powered drills are best in a workshop)
Optional Supplies
Jeweler’s saw & bench pin (if you already own one) and Japanese paper drill & tips(not a must, but bring one if you already own it)
Additional Program Information
Meals
Lunch is served in our community building at 12:30 p.m. and will be provided at an additional $15.00 per day. You must make your lunch reservation in advance. We pride ourselves in offering a healthy and organic lunch which will exceed your expectations. If you do not wish to make a reservation, please bring a sack lunch. Beverages will be provided. Some workshops have optional evening meal events, which must also be reserved in advance. Evening meal event prices vary, ranging from $15.00-$30.00 per meal.
Networking
A social hour is provided from 5:00 to 6:00 p.m. following the first day of each program. Wine, cheese and a non-alcolohic beverage will be served in the community room for you to enjoy.
Policies
CANCELLATIONS: While we understand that circumstances can arise causing a change in your plans, we must adhere to a business policy. Because it is impossible for Valley Ridge to favor one individual situation or circumstance over another, we must adhere to our policy in all situations and can make no exceptions to our cancellation policy.
- 45 Days or More prior to a workshop: Full refund of tuition, less a $75.00 cancellation fee.
- 44 Days or Less prior to a workshop: No refunds or credits for any reason.
Registration Fees: The entire registration fee is due in full at time of registration. Valley Ridge Art Studio provides an advance deposit option to make it easier for those with financial constraints to participate in our programs. The advance deposit fee secures your workshop space, and is applied to your entire workshop registration fee. Payment for your fee/materials balance and any other optional meals will be charged to your credit card 45 days prior to workshop. Non-credit card payments will receive an invoice, which is due upon receipt.
Transfer Policy: You may transfer out of a workshop to another program in the same season. Transfer request must be received at least 45 days prior to a program. There will be a $50.00 transfer fee assessed on each transfer.
Credit Card Transaction Reversal: You intended to reserve a workshop and registered for one instead. You noticed your credit card was charged for the entire balance and only wanted to apply $75.00. You would like your credit card credited for the difference. We at Valley Ridge Art Studio are willing to reverse your transaction. There will be a $25.00 administrative fee per reversal request. Your balance will be due 45 days prior to the workshop.
Program schedule is subject to change.
Release/Waiver
I understand the risks associated with my attendance at the Studio and the use of various tools, equipment and products found in the Studio. I voluntarily agree to assume the risk of injury or illness or property damage that may arise out of my attendance at the Studio and use of tools, equipment and products found in the Studio and hereby waive and release the Studio and its members, affiliates, employees, and agents and assigns from any and all claims, actions or losses which I may suffer as a result of my attendance at and use of the Studio. I further agree to hold harmless, defend and indemnify the Studio and its members, affiliates, employees, and agents and assigns from any and all claims, actions or losses arising out of my attendance at and use of the Studio or use of the tools, equipment and products found in the Studio regardless of the cause, including but not limited to the negligence of the Studio or its members, affiliates, employees, and agents and assigns.

Daniel Essig got into bookbinding while studying photography at the University of South Illinois at Carbondale. One of his first books was an altered book, printed in Greek, with bindery that was completely self-taught. Rather than mounting his photography on gallery walls, he decided to place them in boxes or books so the viewer had to actively explore the art, rather than passively wandering past. At that time, he met Al Buck, who was making wooden-covered Coptic books. This binding was first used around the fourth century, in Ethiopia or North Africa, or perhaps this is just the area where the books were best preserved. Unlike most hand-bound books, Coptic books open completely flat. Images on the pages were wholly visible without struggling with the binding.