Ref: D5H41578
This course is part of our Books and Conservation (Book Con) Summer School, a themed series of short courses exploring the making, meaning and preservation of books, print, ceramics and archival materials. The week brings together bookbinding, decorative techniques, letterpress, illumination and conservation practice, offering an opportunity to experience both traditional craft skills and contemporary approaches to working with books and related cultural objects.
Please Note: This course has a timetable variation and consists of 5 half-days (10am-2.30pm) to accommodate the curing time involved in traditional Kintsugi.
This intensive course provides a rigorous, hands-on introduction to Hon-Kintsugi- the authentic Japanese art of repairing ceramics with natural lacquer (urushi) and gold. Designed for those who value craft integrity, the course purposefully excludes the use of modern synthetic substitutes to explore the traditional materials and techniques that have defined this practice for centuries.
The course is designed to demystify the multi-stage progression of traditional repair. Over five days, students will be guided through the complete Kintsugi lifecycle. Participants will learn to navigate the specific properties of urushi, including its unique curing requirements and application methods. Through a series of focused exercises, students will practice the repair of common ceramic damages: addressing surface chips, sealing cracks, and the structural bonding of broken pieces.
By the end of the course, students will have gained a thorough grounding in the foundational stages of repair, from initial cleaning and structural stabilisation to the delicate application of the final gold finish. We will discuss the preparation of various lacquer mixturessuch as mugi-urushi for adhesion and sabi-urushi for fillingensuring a technical understanding of how these materials interact with ceramic bodies. Participants will focus on the application of Keshifun (unpolished gold powder), learning the precise timing and technique required to achieve a refined, traditional finish.
The primary objective is to equip students with the skills and confidence to continue their Kintsugi practice independently. While the course covers the entire repair process, it emphasises the importance of precision and the "visible repair" philosophy enhancing the history of an object through its breakage. This immersion serves as an essential starting point for makers, conservators, or enthusiasts looking to engage with this meditative craft at a professional and traditional level.
PLEASE SEE ‘COURSE MATERIALS’ SECTION SO YOU ARE AWARE OF WHAT YOU WILL NEED TO PREPARE AND BRING WITH YOU FOR THIS COURSE. WE ALSO ADVISE YOU TO THOROUGHLY READ THE ‘ADDITIONAL INFORMATION’ SECTIONS AS WELL.
A Note on Safety:
Kintsugi uses urushi (traditional Japanese lacquer), which can occasionally cause mild skin or respiratory reactions in some individuals. To keep everyone safe, we provide nitrile gloves, protective masks, and well-ventilated workspaces. In the case of skin contact, the area must be massaged immediately with plant-based oil before washing with soap.
If you have a known lacquer allergy or very sensitive skin, please check with a healthcare professional before signing up. Please feel free to drop us a message if you have any questions at [email protected]
All courses taught during Book Con Summer School are taught by practising makers and conservators, offering insight into the processes, materials and decisions involved in both the creation and care of books, ceramics and archival objects. Through practical workshops and guided instruction, students are encouraged to develop confidence in handling materials, understanding structure, and exploring the relationship between making and meaning. The programme is suitable for beginners as well as those wishing to build on existing skills or explore routes into further study.
Across the week, participants will work with a wide range of techniques and materials, including sewn and non-adhesive structures, decorative paper processes, traditional gilding and finishing, letterpress printing, and conservation methods for books, archives and ceramics. Alongside these practical skills, the courses encourage experimentation, material understanding, and reflection on the role of the handmade object in both historical and contemporary contexts.
A central theme of the week is the dialogue between construction and conservation: understanding how books are made informs how they are cared for, while conservation practice reveals the histories embedded within objects through use, repair and time. The programme also considers sustainability, personal archives, and the continuing relevance of material practices in a digital age.
Students who book onto a Book Con Summer School short course are invited to attend a very special evening talk and Q&A on Wednesday, 19 August (6pm-8.30pm) which centres around Making Design Work: Bookbinding and Book Conservation Perspectives. A conversational evening event exploring the relationship between book design, making and conservation practice (entry is completely complimentary for students booked onto any of the courses during the Book Con Summer School). Hosted by Victoria Stevens and Mark Cockram, the session invites reflection on how different disciplines interpret original intent in books and bindings, and how design decisions are negotiated across making and preservation. Includes informal discussion with a glass of wine, Pimms & Lemonade and canapes.
Bookbinding and Book Arts
Decorative Papers and Long Stitch Bookbinding
A hands-on introduction to decorative paper techniques including Sunago papers, paste papers and flottage processes, combined with the construction of a long stitch binding. Participants will explore the relationship between surface, structure and material experimentation, producing decorated papers and a finished bound book.
Reloved and Recycled - Bookbinding from Reused Materials
An introduction to sustainable bookbinding using reclaimed materials, offcuts and recycled papers. Participants will create a personalised book that combines sewing, surface design and experimental material use, developing an understanding of adaptive design and creative reuse in book structures.
Make Your Own Journal or Sketchbook
A beginner-friendly introduction to basic book structures, combining decorative paper techniques such as marbling, paste papers and dendritic printing with the construction of a simple flat back case binding. Participants will create a finished journal or sketchbook while developing foundational binding and design skills.
Conservation
Introducing Conservation of Books and Archives
An introduction to the care and preservation of written heritage, this course explores the materials, structures and environmental factors affecting books, archives and photographic collections. Participants will gain insight into preventive conservation, basic handling, and simple repair and housing techniques.
Introducing Ceramic Conservation
This introductory course explores the principles and practice of ceramic conservation through discussion and practical handling exercises. Participants will learn about treatment considerations, material sensitivity and manual techniques involved in stabilising and reassembling ceramic objects, alongside insight into professional conservation practice.
Traditional Kintsugi - A Five-Day Intensive Course (The Complete Process)
An immersive introduction to Hon-Kintsugi, the traditional Japanese art of repairing ceramics using natural urushi lacquer and gold. Participants will follow the full repair process across multiple stages, developing an understanding of structural repair, material behaviour and the philosophy of visible restoration.
Looking After Your Memories -Caring for your Books, Personal Archives and Photographs
This course introduces the care and preservation of personal and domestic collections, including books, photographs, film and audio-visual materials. Participants will learn how to identify material types, understand environmental risks, and apply simple storage and housing solutions to support long-term preservation.
Print, Lettering and Surface
Fun with Foil (Hot Tool Foiling)
An introduction to foil tooling on paper, cloth and leather using traditional and contemporary tools. Participants will explore temperature, pressure and control in decorative finishing, developing an understanding of materials and processes used in book decoration and surface enhancement.
An Introduction to Illumination
This course explores historical illuminated lettering through the use of gouache, gilding and fine brushwork. Participants will study traditional techniques and produce a decorated letter inspired by historical sources, gaining insight into medieval methods of image and text production.
An Introduction to Letterpress
An exploration of the fundamentals of letterpress printing, including setting type, working with wooden and metal type, and combining text with image. Participants will experiment with composition and printmaking processes, producing a series of prints that explore the expressive possibilities of type.
Find out more and View all Courses
On this course the tutor will supply all of the specialist Japanese materials required for traditional Kintsugi such as lacquer, gold powder, Jinoko, Tonoko etc (these are sourced directly from Japan).
The College will supply some materials as well including safety masks and PPE, glass worktops, rubbing alcohol, pipette, precision cotton buds, toothpicks and palette knives.
VERY IMPORTANT: Please bring something to transport your completed piece home. This can be a shoe box or a suitable container of a similar size, preferably with bubble wrap or packaging material to cushion the piece when you transport it.
Ceramic Pieces for Repair:
Please bring three small items that meet the following criteria. High-density ceramics or porcelain are recommended.
Please ensure that you wear appropriate clothing for this workshop. See below for guidance.
Posture: Please be aware that Kintsugi requires long periods of sitting and focused concentration. The nature of the work involves neck extension and leaning forward over the piece; students should ensure they are comfortable with this sustained posture.
Please note:
Due to the natural curing time required for authentic urushi lacquer-which can take days or weeks between stages-it may not be possible to reach the final gold application on your personal pieces within five days. Traditional Kintsugi requires multiple layers of lacquer to achieve a flawless surface; as gold highlights every minor imperfection, surface refinement is critical. To ensure every student gains hands-on experience with the final gilding stage, the instructor will provide pre-prepared 'master samples' at the appropriate stage of readiness. This allows participants to practice the final finish on a professional-grade surface while their own repairs continue to cure.
Student registration: 9.30am - 10am
Course teaching: 10am – 2.30pm
Morning teaching: 10am - 12.30pm
Lunch break: 12.30pm (lunch is not included)
Teaching finishes: 2.30pm
Short courses are open to anyone aged 18 and over. The course fee covers tuition and materials where stated. You will need to bring all other items listed under the Materials to bring section.
Coffee and tea are included in the course fee, but you will need to bring lunch with you to eat in the refreshments room. There are also plenty of other local venues to purchase food.
If you have any specific access needs, we will need to know about your access requirements in advance. Please tell us about your needs in confidence by emailing: [email protected] This venue has steps to the front reception, with limited access via a side gate to the ground floor. There is a small lift to higher floors or stairs.
Short course students are required to sign a safety compliance form as part of West Dean Health and Safety regulations.
Please refer to our terms & conditions below.
The information given is accurate at the time of publication. However, West Dean College reserves the right to cancel or amend courses if circumstances require.
Having lived in Japan for a decade, Ana Gervasio trained in Nara under a master potter and kintsugi artist. With eight years of professional practice, she specialises in restoring ceramics, stone, and wood for private clients and collectors.
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