JUNE 04-08
Jenn Libby The Art of Wet-Plate Collodion
Abbey Hendrickson The Art of Social Media: Creating and Maintaining a Social Media Footprint
Jason Bernagozzi Video Installation: Navigating Space and Signal

JUNE 07-08
Douglas Holleley Intention and Effect: Choosing Your Words

JUNE 11-15
Bridget Elmer Free the Book: Self-Publishing with Open Source Software
Meredith Davenport Making a Magazine
Liz Ronk Fundamentals of Photo Editing for the Web

JUNE 14-16
Ahndraya Parlato Photographic Conversations

JUNE 15-16
Nate Larson & Marni Shindelman
Methods and Place

JUNE 18-22
Ingrid Hess Artists' Books: Basic Bookbinding
Wendy Smith Introduction to the Documentary Form
Tate Shaw Photographic Sequence

JUNE 21-22
Rick Hock Drawing for Photographers and Anyone Else Interested in Mark Making Systems

JUNE 21-23
Richard Kegler Font Design in FontLab

JUNE 25-26
Gregory Halpern Twenty Photobooks I Love and Why

JUNE 25-27
Scott McCarney Bookbinding in the Age of Digital Production

JUNE 27-28
John DeMerritt Photography and the Book Form

JULY 02-06
Tracy Rudzitis Web Design for Artists
Keith Johnson The Extended Image Judy Natal Image • Text • Context

Photography and the Book Form
John DeMerritt
Wednesday and Thursday, June 27-28
9:30am-5:00pm; $275

Since its inception, the medium of photography has fully embraced the book form. Many photographers claim that all their work is conceived as a book. The development of photography and the changes in book publishing and production share many historic parallels. It’s no coincidence that the two mediums compliment each other so well.

In this workshop, we will focus primarily on the physical structure of the book. Beginning with an examination of the traditional “codex” style book form and its history, we will explore the myriad ways in which the book is the ideal delivery system for text, image, sequence and theatre. After we’ve covered the building blocks of book structure, we’ll look at the “cornerstone” techniques of bookbinding, the bench skills that make clean, precise and efficient work possible. The second day of the workshop will be an examination of book structures particularly suited to Photographic output, particularly digital output. The ever changing landscape of photographic output has led to a re-thinking and expansion by bookbinders and designers of the physical limitations of the Codex form and introduced new ways of interacting with materials. At the same time, these changes reinforce and illuminate the importance of sound technical skills and an understanding of the traditional book form.

John DeMerritt owns a bookbinding studio in Emeryville, CA that focuses on edition binding and boxmaking for fine press printers and publishers, galleries and artists. He began his bookbinding career in 1986, working for Klaus Roetzscher in San Francisco and later worked at Taurus Bookbindery in Berkeley. He formed his own bookbindery in 1995. He has produced work for Jim Goldberg, Larry Sultan, Linda Connor, Richard Misrach, Richard Barnes, Lapis Press, Granary Books, Crown Point Press, Magnolia Editions, Russell Crotty, Rose Gallery, Michael Light, Gallery Luisotti, Lynn Hershmann, Gallery 16, Fraenkel Gallery, Peter Koch Printers, Editions Jacob Samuel, Feature Inc and many others.

He is the past President of the Hand Bookbinders of California and board member of the Pacific Center for the Book Arts. John has taught workshops and lectured at The SF Center for the Book, The Kala Instistute, The Guild of Bookworkers, Center for Book and Paper at Columbia College and Mills College. Since 2000, he has taught in the Photography Department of the San Francisco Art Institute, combining the use of digital imaging and book structure with his co-teacher, Michael Creedon. John and his wife, Nora Pauwels, were Artists in Residence at the SF Center for the Book in 2006, where they produced an editioned Artists’ Book, De Rekening.