2025 Course Schedule
Please note: All courses run from Thursday to Monday except for Rahel Scheufele’s master class, listed below.
Course registration opens Monday, January 13th, 2025.
Detailed course registration information, pricing, and scholarship information will be announced in early December.
Please join our email list in the “Stay Connected” section at the bottom of this page to keep updated on all schedule announcements and changes.
Fundamentals of Traditional Binding (formerly Fundamentals of Half Leather Binding)
Offered twice: April 24 – May 5 | Peter Geraty
July 24 – August 4 | Peter Geraty
Description: This core course is a foundation for the Fine Binding and Comprehensive Binding programs. This course introduces students to half-leather bindings, a standard of the 19th-century trade shop. These bindings feature leather on the spine and corners, with a cloth or decorative paper on the remaining area of the cover boards of the book. The books are sewn on raised cords, laced in, and endbanded. In this class, students can try different tools and techniques for paring, including English and Swiss knives, spokeshaves, and the Schärfix. A particular emphasis is placed on paring leather, sharpening paring knives, and proper forwarding techniques. The finished product is a visually exciting book with a full-leather binding strength, still popular today. Students will complete at least one half-leather binding in this course.
Prerequisites: Introduction to Bookbinding Level 2 or equivalent experience (must be familiar with multi-signature sewing and case binding; some experience working with leather preferred).
Introduction to Bookbinding Level 1
Offered twice: May 15 – 19 | Brenda Gallagher
September 4 – 8 | Brenda Gallagher
Description: If you are new to bookbinding, this class is for you! This one-week class is an introduction to the fundamental building blocks of bookmaking. Each student gains an understanding of paper and paper grain, tearing and folding, cutting, gathering, and sewing. Best practices, posture, and essential aspects of materials are covered. The class begins with a simple pamphlet binding, expanding into double-section bindings and casework, and ends with various multi-signature flatback case binding constructions. The foundational considerations of design, tools, and materials are taught in this introductory course. Tools and materials common to bookbinding are covered, with many opportunities to explore the variety of results they offer. The last part of the class discusses essential tools for a home studio in order for students to practice and explore the bookbinding skills they have developed.
Prerequisites: None
Introduction to Bookbinding Level 2
Offered: May 22 – 26 | Lang Ingalls
November 20 – 24 | Lang Ingalls
Description: This course is for students who have taken Introduction to Bookbinding I or for those who have some prior experience with paper, multi-section sewing, and case binding. In this one-week class, the next level of bookbinding is approached with the introduction of the process of bookblock preparation, the principles of a rounded spine, basic top-edge coloring, hand-tied endbands, and basic leather work. The resulting structure is a modified Millimeter Binding. In this one-week course, students will take a textblock from a book-in-sheets to a finished binding. Beginning with principles of design and harmony of materials, students will work from forwarding techniques through leather paring techniques, which introduce paring knives and the Shärfix leather paring machine. The course also includes a discussion of best practices with tools and materials for the home studio and how best to bring your studio in line with your mastery.
Prerequisites: Introduction to Bookbinding Level 1 or equivalent experience (must be familiar with multi-signature sewing and case binding).
From CONTENT to CONCEPT to OBJECT
May 29 – June 2 | Don Glaister & Suzanne Moore
Description: From CONTENT to CONCEPT to OBJECT will address bookmaking and binding design issues. Students will explore various methods of thinking and working that enable them to find individual expression in the book form. Through a series of specific and innovative exercises, each student will develop a concept for their own book and give it form through the consideration of surface design, texture, scale, shape, pattern sequence and rhythm. Students will consider their binding (or enclosure) and its role in the total object as they design and make the book’s pages. They will bind the book using design concepts developed in the content development phase of the class as well as other ideas and techniques that will apply specifically to the successful completion of the book. The result will be a well-thought-out and inventive integrated whole.
While some of the materials and techniques used in this one-week class are not ones used in fine binding, the concepts of design and invention are directly applicable to leather bindings and the fine binding form.
Prerequisites: This class is open to everyone interested in book and binding design. No previous bookmaking experience is necessary.
Fundamentals of Fine Binding (formerly Fundamentals of Full Leather Binding)
June 5 – 16 | Don Glaister
Description: This core course is a foundation for the Fine Binding and Comprehensive Binding programs. Over two weeks, students will complete at least one full-leather book using traditional bookbinding techniques interpreted for the 21st century. Students will become familiar with hand sewing using a sewing frame, rounding and backing, preparing top edges for decoration, weaving headbands, leather paring, chamfering, and applying leather to their books. At all stages of the class, students will be exposed to design options (some minor, some major) that directly inform the look and feel of the finished binding. They will also be introduced to simple decorative techniques such as raised and recessed boards and freehand tooling.
The class will focus on learning and reinforcing sound leather bookbinding practices, particularly forwarding. Students will leave prepared to continue their studies in the diploma program and in other elective and design courses at the Academy.
Prerequisites: Introduction to Bookbinding Level 2 or equivalent experience (must be familiar with multi-signature sewing and case binding; some experience working with leather preferred).
Introduction to Binding Treatment: Repair, Restore, or Conserve?
June 26 – 30 | Chris McAfee
Description: This course explores basic methods of book conservation as well as the reasons for performing or not performing conservation treatments. Each student will bring four or more books needing repair. The class will work together to determine the best treatment options for these books while also considering the ethics of performing those treatments. As students perform conservation treatments, they will learn about appropriate conservation materials, adhesives used by conservators, common terms and vocabulary, and the tools of the trade. Students will also learn about how to care for book collections. Students will complete a minimum of two treatments by the week’s end
Prerequisites: None
Sewing Structures
July 3 – 7 | Anne Hillam
Description: Sewing is one of the most important structural features of a book. The sewing connects and secures the gatherings and allows the book to be opened and closed. Over the centuries, sewing techniques and materials have varied. Still, the principles have remained the same: gatherings are joined by sewing through the folds with thread onto a support such as cord, alum-tawed skin, leather, parchment, or fabric.
Students will learn and practice all-along, abbreviated, and bypass sewing on single and double cords. They will learn how the various techniques and sewing supports can affect the book’s swell and opening properties. If time permits, link-stitch, knot-tack sewing, herringbone sewing will also be demonstrated. Students will also learn common endpaper construction, spine linings, and board attachments.
This class will give students the necessary knowledge to identify historical sewing techniques and understand how sewing affects the overall function and longevity of a binding structure. A variety of historical bindings will be examined in class to illustrate binding history.
Prerequisites: Introduction to Bookbinding Levels 1 & 2, or equivalent experience in basic bookbinding.
Book and Paper Conservation: Creative and Practical Techniques or Practical Strategies and Methods in Book and Paper Conservation
July 10 – 14 | Renate Mesmer
Description: This course offers participants with experience in conservation the opportunity to critically examine and discuss a variety of creative and practical techniques in book and paper conservation, along with helpful insights and strategies. It provides an overview of both established and innovative conservation methods, all of which will be demonstrated and explored by the participants.
A key focus of this class will be reevaluating our familiar techniques and approaches in book and paper conservation. There will be ample time for discussions and sharing suggestions with like-minded colleagues. Common challenges will be addressed, including low-impact tape removal, basic parchment repairs, the various uses of different adhesives, and the ever-present issue of board reattachments. If time allows, we will also cover art on paper mounting methods.
Prerequisites: Paper Conservation 1 or equivalent experience in basic book or paper conservation.
Design Technique: Inlay & Onlay
August 7 – 11 | Coleen Curry
Description: Inlays and onlays are fundamental techniques for design bindings, and high-quality execution can take a binding from interesting to exceptional. The techniques learned in the class open real possibilities for creative work in contemporary decoration on leather bindings. Students will focus on several techniques and skills, including inlay, onlay, incision, relief, and juxtaposition. Each student will prepare and work on a leather-covered plaquette, following design patterns created by Coleen. Students will begin with simple skills and exercises, which will lead to more complicated inlay designs as the week progresses. Using various materials such as metal, stone, leather, and objects, students will learn new approaches to inlays. The methods taught are easily accessible to everyone and will lead to precision, finesse, and improved work quality. Students will come away from this class with a technical understanding of different skills and techniques to stimulate individual creativity and help execute design ideas.
Prerequisites: Fundamentals of Full Leather Binding or Fundamentals of Half Leather Binding or adequate experience paring leather.
Master Class: Contemporary Parchment Design Binding
August 14 – 21 | Rahel Scheufele, Visiting Instructor
NOTE DATES: This is a 7-day course.
Description: Rahel Scheufele will join us in teaching a master class on a contemporary fine binding structure in parchment. This course is designed for advanced binders looking to expand their repertoire of structures and materials. More details to follow!
Born and educated in Germany, Rahel trained as a bookbinder from 2009 – 2012 and received a Master’s degree in hand-bookbinding (Munich) in 2015. She continued her training during workshops with Edgard Claes, Ireen Kranz, and others.
Since 2016, she has worked as head of the hand-bookbinding department at Bubu AG (Switzerland), where she is responsible for training 5 young apprentices. Rahel is a member of the MDE (Meister der Einbandkunst), a German group of professional hand-bookbinders for fine bindings.
www.rscheufele.de
Prerequisites: Substantial experience in fine binding or at least two fine binding courses.
Gold Tooling
September 11 – 15 | Don Glaister
Description: This class will introduce students to fundamental techniques and practices that will enable them to successfully transform drawn designs on paper to sparkling gold designs on leather. Students will learn to prepare drawings, cut and handle gold leaf, and do blind and gold tooling. While work in class will be on designs with straight lines, the techniques learned will apply to designs with curved lines as well.
Prerequisites: Enrolling in this class requires no tooling experience, though some experience with leather bookbinding is desirable.
Intermediate/Advanced Fine Leather Binding
September 18 – 29 | Don Glaister
Description: This class is designed to help students with varying experience levels in fine binding refine and review their techniques, develop more advanced and sophisticated ones, and even invent new techniques. Emphasis will also be placed on creative binding design and design execution. We will discuss big concepts regarding design choice, book content, personal aesthetics, and more minor questions, such as, given your aesthetic and intention, is your design solution effective? How can it be more effective?
Some advanced techniques that may be explored are elaborate woven headbands, edge gilding, gold, blind and painted tooling, inlays, and onlays of leather or other materials.
Advanced students may work independently on their projects, with close monitoring and guidance from the instructor. Intermediate students will receive more direction. All students will be able to explore various design concepts and decorative techniques, depending on their experience and expertise. Students are encouraged to use this class as an extensive fine-tuning of their forwarding techniques or to concentrate on a few or even one specific advanced technique.
Prerequisites: At least one Fundamentals of Fine Leather Binding or equivalent experience in leather paring. This course may be repeated as needed or desired.
Exploring Doublures
October 2 – 6 | Lang Ingalls
Description: This one-week course will cover a variety of techniques to create elegant doublures for your fine bindings. The class will emphasize the importance of continuity of design, discussing both the paste-down area and the flyleaf that follows as it relates to your cover design.
All work will be done on plaquettes to develop the skills for doublures on a book. Students will cover a plaquette each day, followed by a pastedown area treatment the next day. We will make various styles: Edge-to-edge doublure in contrasting color leather, edge-to-edge doublure in same color leather, edge-to-edge paper doublure, and framed doublures that address inset work such as the traditional sunken suede and alternative pastedown area treatments. If there is time, students are encouraged to make a Doublure Guide and a Corner Guide.
Prerequisites: Fundamentals of Half Leather or Fundamentals of Full Leather or equivalent experience in leather paring.
Intermediate Book Repair: Cloth & Paper (formerly Binding Treatment)
October 23 – 27 | Peter Geraty
Description: This course introduces basic methods of cloth-bound and paper-bound book conservation in the bindery. We will be using the concepts of reversibility and a “less is better than more” approach. The reasons for performing or not performing these treatments will be addressed. Books brought in by the students will be discussed with the entire class so each gets to see issues presented by individual books and possible treatments for them. They will learn to repair damaged cloth and paper bindings, rebuild the book’s structure, dye and color materials to affect sympathetic repairs, and enhance usability. Students will learn the theory and practice of using appropriate materials to achieve stability and strength in their bindings. Japanese paper, linen, and various adhesives will be explored and used as students progress through the class. Students will complete a minimum of two binding treatments by the week’s end.
Prerequisites: Introduction to Bookbinding Level 2 or equivalent experience (must be competent in case binding)
Intermediate Book Repair: Leather (formerly Binding Treatment)
October 30 – November 3 | Peter Geraty
Description: This class is devoted to the restoration of leather bindings. Students will evaluate and make appropriate decisions for treatment, including rebacking, corner repair, rebuilding of end sections, and minor paper repair. The course emphasizes stabilizing the binding structure and using basic conservation techniques to bring the book to a usable state. Leather books are usually structurally different from cased-in paper or cloth bindings, requiring a clear understanding of both material and technique to produce good results. Books brought in by the students will be discussed with the entire class so each gets to see issues presented by individual books and possible treatments for them. Students will also learn to successfully assess a binding’s problems and choose solutions based on observation and accepted preservation practices.
Prerequisites: Binding Treatment: Cloth & Paper, or equivalent experience in repair of cloth and paper bindings.
Paper Conservation 1
November 6 – 10 | Renate Mesmer
Description: This course will focus on repairing tears, filling losses on different types of papers, and guarding a bookblock pulled apart in preparation for rebinding. Participants will learn when and how to apply the various repair methods and will gain an understanding of the behavior of the repair papers and adhesives used. In addition, participants will learn how to make solvent-set repair tissue and cast pulp repair paper using simple equipment. This workshop will also address the pros and cons of humidification and washing and the importance of various flattening and drying methods. Morning lectures will cover the history of papermaking, introductory paper chemistry, material studies, damage analysis, and condition reports. This course aims to apply considerable theory behind hands-on treatments and provide ample time for practice under supervision.
Prerequisites: This course is open to students with little or no prior conservation experience. Introduction to Bookbinding Level 1 & 2, or equivalent experience in basic bookbinding, is required.
Paper Conservation 2
November 13 – 17 | Renate Mesmer
Description: Paper Conservation Level 2 is designed to provide students with an opportunity to expand and deepen their knowledge through practical application, working with projects of the student’s choice. The main focus points are reviewing existing knowledge, humidification methods, washing techniques, and advanced flattening and drying techniques. Participants will learn more advanced repair techniques, basic lining methods, the importance of sizing, and the toning of repair papers. They will improve their skills in identifying printmaking techniques from the period 1500–1800 and in analyzing the relationship between printed images and printed text in order to better preserve them. Issues of the layout of images in books, their insertion, sophistication, coloring, and the paper on which they were printed will be addressed as well.
Projects may consist of books, maps, prints, drawings, and other two-dimensional paper objects. Working with the instructor, treatment options will be discussed, and treatment determinations will be made. Projects should be achievable within the scope of the student’s current working knowledge and experience and the time allotted. Students will be expected to prepare pre-treatment reports along with before photos prior to class.
Prerequisites: Paper Conservation 1 or equivalent experience in basic paper repair.