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HCB52 and Memories of Patty Owen͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏
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Now on display… San Francisco Public Library, Skylight Gallery, 100 Larkin Street, June 1 - August 18, 2024 The HBC non-juried exhibition is an excellent opportunity for any HBC member to showcase their recently made artist books, fine bindings, restored books, boxes, broadsides, lettering arts and other book-related arts. Practitioners at all levels—from students to professionals to masters—are all encouraged and welcome to participate. It is a great venue to: Exhibit and receive feedback from peers Observe the progress and development of members’ work Inspire others to master new skills and techniques
Join your friends and fellow bookbinders at the Opening Reception Sunday, June 9, 2:00-4:00 at the Skylight Gallery. Exhibition catalogs will be distributed to all members who attend. There will also be a Gallery Walk-through Sunday, July 21, 4:00-5:30.
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Thursday, August 15, 6:00 pm – 7:30 pm PDT San Francisco Center for the Book, 375 Rhode Island Street (also virtually)
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A panel discussion with Samuel Feinstein, Lang Ingalls, and Suzanne Moore on the vagaries and complexities of the design process, what to do when you’re stuck, and much more.
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Join fellow members for our annual summer picnic! Bring along your favorite dish for our Potluck and bring any extra bookbinding materials for our Materials Swap! We'll also be hosting a Paste Paper Activity so come ready to get creative! Event Details Date: Sunday, July 28th Time: 1:30pm - 5:00pm Location: Robin Brandes' house in San Anselmo (exact address provided when you RSVP) MORE DETAILS & RSVP HERE
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One spot still open; sign up while you still can! Dates: 2 sessions, 1-4:30, two Saturdays June 22 & 29. Location: The Studio of Nothing Else, 3008 Acton Street, Berkeley. Monotype: A popular printmaking technique that is in many ways a natural for painters to learn. Monotype is a great way to work out ideas because prints will be finished in a couple of hours. You will create unique images that also lead to a series of ghosts, images sharing a relationship with the first pull. The evolution of the ghosts can be fascinating to see how an idea can develop. Artists like Degas used monotypes to develop a structure and value base for their pastels. Learning the different textures that can be created and the ways the ghosts can be altered will be the focus of the class. Cost: Nonmembers: $240 plus $10 materials fee. Member rate: $200 plus $10 materials fee. Scholarships to cover half the tuition are available to HBC members; please email board@handbookbinders.org to apply. REGISTER
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WORKSHOPS WITH GAVIN DOVEYStay tuned for registration! HBC is excited to announce three workshops in November with Gavin Dovey, professional fine binder. Eggshell Panels, November 2: a workshop in a decorative technique used by many Art Deco design bindings, though useful in a wide range of applications from artists books to fine bindings. Photo Transfers for Leather, November 3: a workshop using contemporary image making processes and applying them to fine binding work and artists books. Caped Split Board Binding, November 6-10: a 5-day workshop requiring previous leather binding experience.
For more about Gavin, please visit his website: https://paperdragonbooks.com/
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Patty Owen was a true artist. She majored in art at Bennington College and architecture at UCLA, but her real passion was making books. Early on, Patty studied bookbinding with Laura Young, and later French fine binding in San Francisco with Eleanore Ramsey for many years. Her books evolved from the traditional rectangular codex format into a multitude of shapes which were more akin to sculpture. They were three-dimensional organic shapes covered in full leather. Her books often looked like sculpted objects, decorated with what resembled leather pebbles and other 3-D onlaid relief elements. Others appeared to be slabs of slate or honed of stone, cut with pointed protrusions and jagged edges, all covered in leather or suede. The boxes containing her fine bindings were, themselves, works of art, often more complex and structurally impressive than the bindings. One could always tell if a book was Patty’s. Her bindings were pieces of sculpture that just happened to contain a book. Patty traveled to many locations to learn alternative book and box structures, studying with Edgard Claes, Veronika Schapers, Benjamin Elbel, Sun Evrard, Lori Sauer, Cristina Balbiano d’Aramengo, Sol Rebora, Kathy Abbott, Nadine Werner, Louise Genest, Marja Wilgenkamp and Cor Aerssens. She was quirky and funny, always a positive addition to any class. Those of us who knew Patty will miss her presence at Codex and the Standards of Excellence conferences. Her unique contributions to the Hand Bookbinders of California annual exhibitions and the Guild of Book Workers and American Academy of Bookbinding competitions will be remembered for years to come. Patty was one-of-a-kind. We were lucky to have had her in our book world. — Elaine Nishizu
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Photo and Caption from Mark Kirchner. “This was taken at the Guild of Bookworkers California Chapter exhibition at the Long Beach Art Museum in 2019. It shows Patty Owen and Geri Ferguson talking over a display case of boxes made by Elaine Nishizu. It was the last time that I saw Patty.”
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From Karen Hanmer: When I got the news Patty had passed, I'd just finished a binding using some more precious bits of leather I'd been rationing out from a stash of several skins she sent me. She won them in a lot a GBW auction and found out I liked this color that was no longer available
When I received my AAB diploma she congratulated me by sending a box of chocolates and eight rolls of blue masking tape in two different widths.
Patty was hilarious. She told great stories. She always made me laugh. Laugh so hard that it probably alarmed people!
She was the most winning combination of very kind and extra fun.
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OPEN • SET 2017 second place prize winner. Inside the Book, David Esslemont. Modified split board binding, sewn on meeting guards. Bound in goatskin with various calf, goat and decorated papers for decor, and embedded inlays of lead and rubber. Pastedowns of handmade paper leather hinge, and ultrasuede flyleaves. All edges in silver. Hand-sewn silk endbands.
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From Lang Ingalls: I had the opportunity to know Patty through the world of binding, meeting her many years ago through various bookish events. I recall she came to binding via architecture, and when I think of her work now, it is clear that she “built” her books, the signature board build-up and linear quality truly unique. I got to know Patty better when she won second prize in the OPEN • SET 2017 binding competition, and for OPEN • SET 2020 agreed to be on the jury. We had many animated conversations and I deeply admire her work. Her work spoke of attention to detail, thoughtfulness in design, care of construction. It was engaging, challenging, and always interesting. She herself embodied these same qualities: always engaging, always interesting. She was grateful for opportunities and quick to thank others. She was private, preferring to allow others their stories. She had a glint in her eye and her smile was genuine. She walked life as a binding thread, sewn all-along and kettled in our lives. Patty, you will be missed.
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From Eleanore Ramsey: Patty introduced herself to me by telephone, asking if she might study with me. She was an architect living in Los Angeles and could fly to San Francisco for lessons. She began to come for lessons, arriving in the morning to spend the day working. We would break for lunch and continue until she left for the airport in the evening. Patty continued her lessons for about seven years coming once or twice a month. The day long lessons were very productive as she was an excellent student. She would bring a long list of thoughtful questions each time, to discuss at length. We had many interesting conversations over the years in person and by telephone concerning binding designs and how to create and support the effects she was seeking. Always experimenting and adjusting her work until it felt right to her, she was exceptionally diligent and talented. Patty’s architectural experiences were clearly reflected in her bookbindings.
It was heartbreaking to learn of her lung cancer diagnosis, especially considering that she chose her diet and lifestyle carefully and had never smoked. It seemed unbelievable. Over the years we had become personal friends. She attended my wedding and other important events, and I have many unforgettable memories of those occasions.
In 2017 I had the honor of being one of the judges for the OPEN-SET exhibition, Patty won second prize for her work. I was delighted of course but didn't really know until the end of the judging when the names of the winners were revealed. I have no doubt she would have made many more beautiful books deserving prizes had she lived longer. Her husband, Ron, informed me that she was working on a design just before he took her to the hospital for the last time. She was truly dedicated to art and to her work as a bookbinder. I salute her memory and feel most fortunate to have known her.
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Thank you to everyone who sent in memories of Patty to share with the HBC community. We will miss her immensely.
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