Benjamin Franklin Scholars Seminar fnar 238/538 –401 ...

o p e n b o o k : a v i s u a l e x p l o r a t i o n
Benjamin Franklin Scholars Seminar
fnar 238/538 –401
Wednesdays, 4:30 pm – 7:30 pm
Fisher Art Library, Davis Seminar Room
Sharka Hyland, Instructor (sharka@design.upenn.edu)
c o u r s e o b j e c t i v e s
The goal of the course is to explore the visual aspect of the thinking process—how visual representation
structures your thoughts about the information it represents.
You will choose a topic, and then you will both write and make a book.
f o r m a t
weekly seminars
The course will be conducted in a seminar format, emphasizing discussion and critical thinking
about a wide range of conceptual and formal issues.
The projects naturally are diverse, ranging from personal histories to scholarly investigations.
You will see how your fellow students approach a problem. Throughout the semester, we will also
have visiting critics.
research
In the first weeks of classes, we will have an overview of the resources available to you at Penn,
in particular the research tools—both traditional and digital—offered by the Penn library system.
You will learn to use the web search engines for a focused inquiry, and how to find high quality
images for your project.
workshops
Since you will be making a material object—a book —as an integral part of your investigation, we
will also have a series of informal workshops, about crafts related to book arts. The topics will
include methods of text/image production, ranging from computers to letterpress to collage. We
will also explore principles of book design and typography and place them in historical context.
There will also be a workshop surveying forms of bookbinding, from traditional to experimental.
Some of these workshops will be scheduled during the regular class time; however, because of the
time limitations and the availability of some facilities (the letterpress room, the computer lab,
etc.), we will also have to meet at additional times.
By the end of the course, you will produce a book, which can range in format from a traditionally
designed and bound book to a one-of-a-kind experimental form with foldouts and cutouts.

Open Book, page 2
p r e r e q u i s i t e s , e x p e c t a t i o n s , r e q u i r e m e n t s
There are no prerequisites for this course.
The class is intended for students who are strongly motivated to pursue a particular interest,
and who can work independently—that means with plenty of feedback and support but little
supervision.
Because most of the work will be done outside of class, you will be expected to self-direct your
work, both in terms of adhering to a (self-imposed) time schedule and in taking the initiative to
find the resources you need.
The freedom you will have in shaping your project might present difficulties different from a
traditional classroom assignment. You will be engaged in a creative process which is, by nature,
an open-ended endeavor; it comes with surprises and challenges.
weekly presentations of work-in-progress
Every Wednesday, we will discuss your project in class. You will present the progress you have
made and receive feedback.
From the very beginning, we will focus on articulating information visually, on keeping material
records of one’s thinking process, on actually creating these records in cases in which we would
normally forego the visual and rely on a (written or mental) note. You should get into the habit
of drawing diagrams, visualizing abstract relationships, writing down ‘irrelevant’ thoughts, collecting
seemingly unrelated artefacts and clippings, taking photographs, and collaging. In short,
you should allow yourself to explore without the constant corrective of what is ‘relevant’ to your
project. These visual records (preferably in the form of a bound sketchbook) will be part of your
weekly presentation and should help you to convey your ideas more clearly.
As we explore different media — computers, drawing, photography, letterpress, paper crafts, collage,
typewriter, etc.— you will be expected to experiment with the newly acquired skills by applying
them to in-progress models of your project. This might be a single letterpressed sheet, a digitally
printed double-page spread of text and images, a paper dummy of an experimental binding
method, etc.
peer editing and feedback
Students will be expected to engage with each other’s projects. This will involve—in addition to
in-class discussions—reading fellow students’ work-in-progress and making editing suggestions.
student slide presentations
We will discuss traditional and alternative book forms and look at examples of book-related
arts. During the semester, each student will be asked to make a 10–15 minute presentation
accompanied by images (slides, powerpoint, etc.) on assigned topics. The presentation should
include outline handouts.

Open Book, page 3
readings; response papers
Occasionally, short readings will be assigned, either to the whole class, or individually. You will be
asked to write informal responses to these readings. These responses will be due by the Sunday
following the assignment.
creative writing resources
The Penn Critical Writing Program offers writing tutorials and other types of writing assistance.
You are strongly encouraged to meet with a tutor to discuss your work.
r e v i e w s , g r a d i n g , a t t e n d a n c e
In addition to the ongoing informal in-class critiques, there will be a mid-term review with
invited faculty. The finished project will be presented during a formal final review at the end of
the semester.
grading scheme
About 40% of your final grade will be based on class participation (your weekly progress
presentations and discussion). 60% will be derived from the grades you receive during the semester
(mid-term review, slide presentation, response papers, final book).
attendance
If you miss more than two classes, each additional absence will lower your grade by one full letter.
Please refer to departmental policies on attendance.
If you have to miss a class (for whatever reason), you will need to contact the instructor as soon as possible
and obtain any assignments to be completed for the next class. Please remember that it is your responsibility
to stay on schedule with the rest of the class.
d i g i t a l l a b s , p o l i c i e s
There are several computer labs available to you (Van Pelt Library – Vitale Digital Media Lab at
the Weigle Information Commons; Rosengarten Computer Lab). Please check on hours, access,
equipment and compatibility of software. (www.library.upenn.edu/computing/laptops_labs.html )
We will have a couple of tutorials covering the basics of digital imaging. Those of you who have no
or litle background in digital imaging (Photoshop, InDesign) will be required to attend additional
scheduled tutorials.
internet, earphones, cellphones
Internet use and text-messaging during class time is not allowed (unless specifically permitted by
the instructor). Any communication devices, such as cellphones, must be switched off and hidden out
of sight.

Open Book, page 4
back-up of files
Each student has data storage space reserved on the server. This space is accessible only with your
password. In addition, it’s recommended that you back-up all your work after every class on a
portable data storage device.
email communication
– You are responsible for checking your email regularly for updates and course materials.
– Remember that you cannot automatically reply to messages sent through the classlist server.
Always email to the instructor’s individual address (see page 1 of this syllabus).
– Also, please always put “OB” in the subject field.

Open Book, page 5
r e c o m m e n d e d r e a d i n g
Aitken, Doug
The broken screen: 26 conversations with Doug
Aitken: expanding the image, breaking the
narrative / edited by Noel Daniel
New York: Distributed Art Publishers, 2005
Christie, Manson & Woods International Inc.
The history of the book : the Cornelius J. Hauck
Collection
New York, N.Y. : Christie’s, 2006
Rare Bk & Ms Library Reference
Z999 .C45 2006
Deleuze, Gilles and Guattari, Felix
A Thousand Plateaus
University of Minnesota Press, 1987
Doczi, György
The power of limits: proportional harmonies
in nature,art and architecture
Shambhala Publications, 1981
Drucker, Johanna
The Century of Artists’ Books
New York City: Granary Books, 2004
Drucker, Johanna
Figuring the Word: Essays on Books, Writing,
and Visual Poetics
New York: Granary Books, 1998
Harmon, Katharine
You Are Here: Personal Geographies and
Other Maps of the Imagination
Princeton Architectural Press, 2004
Steven Heller, ed.
The education of a comics artist: visual narrative
in cartoons, graphic novels, and beyond
New York: Allworth Press, 2005
course reserve
Heller, Steven and Mirko Ilic
The anatomy of design: uncovering the influences
and inspirations in modern graphic design
Gloucester, Mass.: Rockport, 2007
R. Klanten, M. Hübner, eds.
Fully Booked: Cover Art and Design for Books
Gestalten Verlag, 2008
Lauf, Cornelia and Phillpot, Clive, eds.
Artist / Author: Contemporary Artists’ Books
Distributed Art Publishers Inc., 1998
Lupton, Ellen
Graphic design: the new basics
Princeton Architectural Press, 2008.
Lyons, Joan, ed.
Artists’ Books: A Critical Anthology and Sourcebook
Giggs M. Smith, Inc., 1985
Rothenberg, Jerome and Clay, Steven, eds.
A Book of the Book: Some Works & Projections
About the Book & Writing
New York: Granary Books, 2000
Smith, Keith A.
Structure of the Visual Book
Keith Smith Books, Book Nr. 95, 1984
Smith, Keith A.
Non-Adhesive Binding
Keith Smith Books, Book Nr. 128, 1991
Tufte, Edward R.
Beautiful Evidence
Cheshire, Conn.: Graphics Press, 2006
Turchi, Peter
Maps of the Imagination: The Writer as
Cartographer
San Antonio: Trinity University Press, 2004
A selection of books will be put on course reserve at the Art Library desk.
additional reading
Additional texts will be assigned based on individual projects.

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fall 2008
schedule
s e m e s t e r o u t l i n e
Please check your email regularly for changes and announcements.
9/3
Course introduction, overview of facilities and resources.
We will introduce and discuss your individual projects.
A first draft of your proposal will be due by the weekend (9/7).
9/10
Class discussion of individual projects
Modify and/or refine your proposal as needed.
A second draft of the proposal will be due by the weekend (9/14).
Workshops/presentations (in class, or time tbd): digital labs; design and imaging software
9/17 – 10/8
Class discussion of individual projects
Compilation and presentation of visual material; exploring multiple methods of generating type
and images. Articulation of the formal structure of your book.
Student slide presentations
Workshops/presentations (in class, or time tbd): research tools, internet resources,
printshop, letterpress
Rare Book Collection visit (in class, or time tbd): artists books
10/15
Midterm: first formal critique (visiting faculty)
You will present a work-in-progress model of your book and discuss your project’s concept.
You will write a brief summary of the feedback you received.
You will also respond and suggest how to resolve the issues raised. The response is due by 10/19.
10/22 – 11/12
Class discussion of individual projects
Student slide presentations
Workshops/presentations (in class, or time tbd): bookbinding methods
Wednesday, 10/22, 6pm – ICA Whenever Wednesday Tour: R. Crumb

Open Book, page 7
11/19
Second formal critique (visiting faculty)
You will present a near-final version of your book and discuss your progress to-date.
As before, you will write a brief summary of the feedback and respond to suggestions.
Your response is due by 11/23.
12/3
Last class; discussion of individual projects
Early December, date and time tbd
Final presentation of your book

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r e c o m m e n d e d s u p p l i e s
USB portable flash drive
cutting mat, 12 x 18 or larger
X-Acto knife, replacement blades
metal ruler with non-slip backing, 24 inches
bone folder
Bainbridge Studio Tac adhesive
additional costs
Your other expenses will include printing charges, as well as paper and binding supplies.
art supplies retailers
Utrecht (21st and Chestnut; Broad and Spruce)
Dick Blick (13th and Chestnut)
Artist’s Supply (3rd and Market)
Pearl (5th and South)
jerrysartarama.com

Open Book, page 9
fall 2008
schedule
l e c t u r e s a n d e v e n t s
Wednesday, 10/22, 6pm
ICA: Whenever Wednesday: Tour: R. Crumb Associate Curator Jenelle Porter sorts through the
themes and ideologies critical to Crumb’s work—social satire, sex, blues and jazz, mind-altering
substances, autobiography—and traces the development of his ultimate achievement and most
important legacy: a wide-ranging, if critically suspicious, humanity.
Wednesday, 10/29, 7 pm
ICA: Whenever Wednesday: Conversation with ICA Ramp Project artist Odili Donald Odita about
nonrepresentational art and its manifestation as a form within a global context in the twenty-first
century.
Thursday, 11/6, 7:30 pm
Free Library: Graphic Novels Panel: Art Spiegelman, Chip Kidd, Jessica Abel, Charles Burns &
David Heatley
Wednesday, 12/3, 7 pm
ICA: Whenever Wednesday: Lecture: Douglas Blau,Renowned New York artist, critic, and curator
Douglas Blau will discuss his sprawling new picture epic on view at ICA, as well as his landmark
installations, writings, and exhibitions from the past three decades.

Open Book / Appendix
Book as a metaphor and an object
When we speak of a book, we usually refer to a text; the formal and material qualities of the container
are usually considered secondary to its content. The form of a well-designed book tends to
‘disappear’ and to become transparent — form follows (is determined by) function.
In some instances, we do think of books as objects – artist’s books (often one-of-a-kind, handmade
volumes), coffee table books, novelties sold at the bookstore’s checkout, ‘design-manifesto’
type books, bibliophilia.
We take it for granted that, in any case, the ‘text’ is finished before the ‘object’ takes form. The
form follows (comes after) function.
Let’s consider an alternative approach: let’s make the book as we write it; let’s remain open to
the possibility that the form, the bookness, may inform the content.
Bookness
The book, as a physical object, is the source of many metaphorical uses. An ‘open book’ is one of
the most well known. But what are the defining attributes of the material fact that the metaphor
appropriates — what is the ‘bookness’ of a book? What does its being ‘open’ imply?
For the purpose of this class, we will paraphrase Philip Smith’s definition of what constitutes
bookness: an object of multiple planes carrying visual/verbal content, self-contained in its
meaning as well as in an actual physical sense:
Bookness – in its simplest meaning the term covers the packaging of multiple planes held together
in fixed or variable sequence by some kind of hinging mechanism, support, or container, associated
with a visual/verbal content called a text. The term should not strictly speaking include precodex
carriers of text such as the scroll or the clay tablet, in fact nothing on a single leaf or planar
surface such as a screen, poster or hand-bill. (...)
A text is a text and not a book, but any other object one likes to imagine may perhaps be its conveyance.
A text can be inscribed on anything but this does not make it a book, or have the quality
of bookness. The book is not the text, although it is traditionally associated with it, and these
two elements appear often to be mistaken for the same thing. The book is the hinged multiplanar
vehicle or substrate on which texts, verbal, or tactile maybe written, drawn, reproduced, printed or
assembled.(...)
The planes of a book have a necessary relationship or they simply become a collection of arbitrary
planes for which a book format is not essential for the conveyed meaning.
Philip Smith (palimpsest.stanford.edu/1996)