Skip to main content

Journal & Sketchbook: A special project, and upcoming classes

On the last day of the Journal & Sketchbook class at Columbia College Chicago, which Patty and I taught this past Spring semester, every student was required to read four pages from their final manuscript, and to show a piece of narrative-based visual art that was related in some way to the writing. I blogged about that final day before (click here to see). I kept one set of pictures back, because the project was so outrageous it deserved a post of its own.

Lynn Shapiro, who had already produced a stunning, large accordion book midway through the semester, completely outdid even that effort by bringing in an artist's book that actually folded together to make a small playhouse:


Every surface was covered with intricate, bright collages of paper, fabric, hand-painted elements, and text, relating to journal entries that united her memories of her children growing up and her love for trees:


There are clear references to Matisse there, but also, now I'm looking at it, to the paintings of Robert Kushner, about whom I posted a video the other day. This house-book must have taken a completely mental amount of work, but that's Lynn for you. She never does anything by halves. She very kindly said that she was  pushed to do this -- something she had never attempted before -- by the demands put on her in the class by both Patty and me. Just a few weeks after that Columbia class ended in May, Lynn was with us for the four-day J & S class at Interlochen, so I believe her. Of all the outstanding work brought in by the students in that class, everyone had to acknowledge that Lynn's would have taken the Grand Jury Prize, had we awarded such a thing.

Which brings me to the future. Coming soon at the Shake Rag Alley Arts Center, in Mineral Point, Wisconsin, Patty and I will teach the Journal & Sketchbook class in the morning, and then I will teach an Artist's Book class in the afternoon. The classes will run from Monday, August 8 to Thursday, August 11. All the details are here. Whether you're a writer or an artist  -- and let's face it, most of us are a little bit of both -- you can use this intensive series of classes to heighten the visual sense in your writing, develop your drawing skills, and then combine them both in your own hand-made books. You can do all of this in the beautiful setting of Mineral Point, in a spirit of close camaraderie and collaboration. To get a sense of what that can mean, I refer the right honourable reader to my recent blog posts from Interlochen.

Go on: you know you want to. Just check out the Shake Rag Alley page -- I bet you'll be tempted.

 Subscribe to Praeterita in a reader

Popular posts from this blog

Restoring my Printing Press

I've just finished restoring and assembling my large etching press -- a six week process involving lots of rust removal, scrubbing with steel wool, and repainting. Here is a photo of the same kind of press from the Chicago Printmakers Collaborative: And here is a short YouTube video of me testing the press, making sure the motor still works after nearly seven years of lying in storage:

Brancusi in Plastic

Artist Mary Ellen Croteau is showing these columns made from recycled plastic cartons and lids in the window of the Columbia College bookstore on Michigan Avenue. They are a playful homage to Brancusi's "Endless Columns", with a serious environmental message for our times: Image copyright Inhabitat.com and Mary Ellen Croteau Mary Ellen also runs a wonderful experimental art gallery in a window space in west Chicago, called Art on Armitage . I will be exhibiting a mixed media piece there during August 2012.

How to etch a linoleum block

Linoleum as a material for printmaking has been used for nearly a hundred years now. Normally, you cut an image out using special gouges similar to woodcut tools, cutting away the lino around the image you want to print. This is called relief printmaking, because if you look at the block from the side, the material that remains stands up in relief from the backing material. You then roll ink with a brayer over the surface of the block, place paper over it, and either print by hand or run it through a press. You can do complex things this way (for example, reduction linocuts), but the beauty of the process is that it is quick, simple, and direct. Incised lino block, from me.redith.com Etched lino block, from Steve Edwards A few years ago, I saw some prints that were classified as coming from etched linoleum blocks, and I loved the textures I saw in them. In the last few months, I've been trying to use this technique in my own studio, learning about it as one does these d...