Saturday, October 3, 2009
Monday, September 21, 2009
Wednesday, September 9, 2009
Victorian Album Book Arts - Doug Baulos/Forstall Art Supply
This workshop investigates a contemporary revolution, which is challenging mainstream notions and traditional roles of Drawing/Painting/Wet media & Watercolor application. Students will experiment widely with a selection of wet media and other historical and innovative approaches to developing works on paper & other grounds. Students are first guided in creating innovative works by learning to combine familiar techniques with new approaches and conventional media with unusual formats and surfaces. They then progress to investigating and experimenting with non-traditional materials and methodologies so that they may develop their own personal thematic subjects and/or conceptual aesthetic. Works will be bound into an experimental Victorian album format that with experimental structures added to book block - envelopes, frames, etc. Students are encouraged to use and experiment widely with materials.
In this two day class we will explore over 25 contemporary watercolor and transfer techniques and then bind and combine our pieces into a hand bound Victorian album Book Arts project. Image transfer is a highly used technique in mixed media, collage, and watercolor art today. You will learn how to make your own image transfers and combine them with watercolor applications to create a personal narrative hand bound album. Throughout the album you will explore transferring photos and images onto a variety of surfaces including watercolor paper, vintage paper, fabric and metal (optional) using different mediums and techniques. Learn to combine simple techniques and processes that demystify your approach to more complex subjects in watercolor. Through the creation of this album you will maximize your expertise in watercolor as you learn to bring a personal, narrative thrust to your art. You'll receive a lot of technical information that can be used beyond the workshop.
Suggested Materials List
3-5 pieces of 22x30” Arches cover - or comparable paper - cover or watercolor paper weight
1 set inexpensive watercolor - tubes or blocks (reeve’s or art advantage)
Drawing pencils- assorted (i.e., 2B, 4B, 2H)
Marker Colorless Blender
Assorted type/size bristle brights & flats brushes -
1 real watercolor palette - one fake plastic palette (Tupperware top)
B&W and Color Xerox copies - please no inkjet printer copies in this workshop! - (Bring at least! Ten-Twenty 8 1/2x10 inch copies of images or textures you want to transfer!
Found Papers/Materials to add/transfer to your book block - illustrations from old books, book pages printed between 1900 and 1970 (these will be destroyed in process so if you are attached to them make copies!, copies of old photos etc. (Photos will not transfer - make copies)
Glue or matte medium for adhesives
Small sponge or soft rags
Container for water
Bone folder, scissors, awl, Irish linen book thread, #1 or larger needle
Optional!!! Materials -
1 set inexpensive watercolor pencils and/or carandarche
Any other paints, or art materials/papers you already use and love
Linseed oil or small container of olive oil - can be shared
One tube of clear latex/acrylic caulk from hardware store
Assorted pen points (broad, medium, fine- NOT calligraphic), penholder,
Drawing inks (India ink) (acrylic inks)
1 bamboo brush
1 1” hake brush
Thursday, July 23, 2009
Tuesday, June 16, 2009
Monday, May 18, 2009
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening…
T.S. Eliot, The Love Song of J. Alfred Prufrock
When Doug Baulos explained that his most recent installation project explores the idea of yellow, I asked myself what the term might possibly mean? Yellow stands as an unusual and unique color. One might speak of the sun, or of cowardice, and somehow this single color is supposed to stand as the signifier of both. For Baulos, however, the color yellow has more personal meanings. It suggests the yellow cast of insect lights on summer evenings, and at the same time recalls the color of phlegm, something coughed up from deep inside and redolent with foreboding.
I begin here because the works that make up Baulos’ Yellow installation use these two opposing poles as starting points. In his “creepy crawly” piece, for example, we see what appears to be a pair of lungs comprised almost entirely of sinister, insidious elements which in many ways recall Baulos’ late father’s struggle with lung cancer. We see how what starts as a child’s toy transforms into a more subtle and complex element of an extremely intimate work. Here, amoeba, squid and other tentacled animals and insects congest space, physically occupying space in precisely the same way that cancers occupy bodies. Particularly startling here is Baulos’ transformation of materials, for while these creatures are most commonly made of “goo”, the alteration from a soft, sticky substance to the brittleness of ceramics suggests the ways in which disease metaphorically calcifies and chokes the body. The candles, which flicker softly, suggest both breath and the finite nature of terminal illness – they both cast light, which signifies hope, and burn out, signifying loss. One might consider here the roles candles play in traditional mourning practices across many western and non-western cultures.
These works contain further, subtler, references to mortality. In many of the smaller collages, for example, we find references to birds. Baulos spoke of a dream in which his late grandmother appeared as a blackbird. He mentioned that she had often called him a “tufted titmouse”. In the collages, we see birds that we commonly associate with death and demise, in particular the raven. One might think here of Edgar Allen Poe’s poem of the same name, a bleak lament for lost love.
Baulos’ large-scale collages map the body and in many ways stand as signposts marking its decay. Using familiar imagery from medical textbooks (and one might recall here the well-known Encyclopedia Britannica overlays), Baulos presents male and female bodies in various stages of unbecoming. Perhaps the more correct medical term would be flayed, and one could think here of the new “artistic” bodies we find in the Mutter Museum. Baulos’ bodies are coupled with imagery of poisonous plants – we find amanita, for instance – which signifies the uneasy relationship between natural beauty and danger. We might term this doubling the sublime, for it stands as something that is both enticing and repulsive in precisely the same moment. What is most difficult about Baulos’ works, and in many ways what makes them the most personal, is their subtlety. Baulos couches the sorrow and sadness of loss in the cloak of artistic beauty. Or, as the philosopher Immanuel Kant reminds us, “The sublime moves, the beautiful charms.”
And then, there is yellow. From the shimmery gold surfaces of the works to the pale yellow flickering of Baulos’ tea lights, we see an unusual combination of sickly pallor and subtle beauty. It is as if he invites us to understand that yellow is both a color and a mood, a feeling, or, in his case, an aide memoire. In T. S. Eliot’s The Love Song of J. Alfred Prufrock, it is the yellow of melancholy, of memory, and of loss that rubs its back along the windowpane, trying to get in. In Doug Baulos’ works it is a sense of loss we try without success to keep at bay.
Tuesday, May 5, 2009
Monday, April 20, 2009
Arts & Humanities
Baulos, an instructor of art, received his undergraduate degree in fine arts from UAB in 1990 and his master from the University of New Orleans in 1993. His paintings, videos and books have been exhibited or published nationally and across Europe and Asia. Baulos is the curriculum director at Studio by the Tracks, a non-profit organization that provides free art classes to autistic and special-needs adults and emotionally conflicted children. One former student says of Baulos, “Three years after graduation from UAB, Doug is still a wonderful mentor for me. Without his support, I would not be where I am today. Most important, I know that my experience with Doug is not a unique one. He was a teacher to hundreds before me and continues to inspire other students to be both fine artists and humanitarians.”
Thursday, April 9, 2009
lace filigree thread spool creases orbits wishbone cords sooty combed dusty tea
spiderweb lines maps grids godmonster circulatory system spores fiber rags folds
divining rod knots wrinkles cracks fissures antennae ribs vessels ties binding creased
jars stained storm seam seem
Tuesday, April 7, 2009
The Corrugated Clamshell Box is constructed of one piece of acid-free corrugated board which is measured, cut, scored and folded to form a drop-spine style box which fits the book precisely. This can be made to hold books over 1 " thick, and it works very well for extra large and heavy books. Rare and fragile books need only be handled during the measuring to find length, width and thickness. The book is then set aside and the box dimensions are calculated. The box has no flaps or ties so it is convenient for our curators and reading room assistants to open and reclose while searching for titles in the stacks.
Saturday, March 28, 2009
Here are the students from my workshop at Forstalls today comparing
their contemporary Nag Hammadi books in the middle of the class. It went well
and we had a great time. I will be giving another workshop in June at Forstall. If
you are interested you should give them a ring. 205.870.0480
Friday, March 20, 2009
DOUG BAULOS: Book Binding Workshop
Modern Re-Inventions of Historic Binding-The Nag Hammadi
The Nag Hammadi codices are the earliest surviving books in codex form with their covers intact. They were found in Egypt and are a collection of Gnostic writings from the 4th century. Each of the eleven surviving codices has a similar structure, but all have subtle and beautiful unique details. All students will complete a book based on the Nag Hammadi codex style. Students are encourage to bring supplies that reveal their aesthetic choices. Bring your bone folder, sewing needles, xacto, ruler, waxed thread, and your choice of decorative papers or other objects you might want to work with.
Saturday March 28, 10am-4pm
Contact Forstall Art Supply for more information
Thursday, February 12, 2009
Tuesday, February 10, 2009
Friday, January 30, 2009
Book Binding Workshop - Forstall Art Supply
Instructor - Doug Baulos
Saturday March 28 - 10-4 p.m.
Participants must register with Forstall Art Supply - class size is limited Cost -
Modern Re-Inventions of Historic Binding-The Nag Hammadi
The Nag Hammadi codices are the earliest surviving books in codex form with their covers intact. They were found in Egypt and are a collection of Gnostic writings from the 4th century. Each of the eleven surviving codices has a similar structure, but all have subtle and beautiful unique details. All students will complete a book based on the Nag Hammadi codex style. Bring your bone folder, sewing needles, xacto, ruler, waxed thread, and your choice of decorative papers any other buttons, or other objects you might want to work with.
Forstall Art Supply 402 Palisades Blvd
Birmingham, AL 35209 (205) 870-0480
Monday, January 26, 2009
Sunday, January 25, 2009
working on making paper so that not only are books created from "scratch or upcycled materials" but that all images and materials are completely non-toxic/