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  1. Upcoming Workshops // December to February

    November 15, 2018 by Erin Fletcher

    DECEMBER:
    Bookbinding 101 
    December 15 – 16 (Saturday – Sunday)
    North Bennet Street School
    Boston, MA

    ​In this two day class, students get a quick introduction to various bookbinding techniques by exploring three different book structures. The class begins with a simple pamphlet and continues with constructing two multi-signature books known as a flatback case binding and link stitch binding. Finally, students construct a box to house all of their creations. This class is a great way to familiarize yourself with bookbinding and is perfect for those who are curious about the craft.


    FEBRUARY:
    Japanese Stab Binding
    February 16 (Saturday)
    North Bennet Street School
    Boston, MA

    In this workshop, students will construct a Japanese Stab binding model, more traditionally referred to as 4-Hole binding or yotsume toji. We will build the model in a traditional manner, while incorporating Western tools and equipment. This workshop will provide a better understanding of the structure and the foundation for which to alter the number of holes and sewing pattern.

    Fundamentals of Bookbinding I
    February 25 – March 1 (Monday – Friday)
    North Bennet Street School
    Boston, MA

    Students will learn the foundations of bookbinding by combining hands-on exercises and discussion. The class starts by exploring non-adhesive structures: soft cover pamphlet, Coptic, historical longstitch and link stitch. The class ends with a look at case bindings, with the creation of two hardcover flatback bindings. Students also learn different structural elements, sewing variations, covering and cutting techniques using various materials, tools and equipment. Throughout the course discussions will cover terminology, paper grain and folding, selecting proper materials and tools, and adhesives and their properties.


  2. Upcoming Workshops // September to November

    September 15, 2018 by Erin Fletcher

    SEPTEMBER
    Millimeter Binding
    September 23 – 29
    Maine Media Workshops + College
    Rockport, ME

    Register here.

    The millimeter binding came about during the first World War when leather became a scarce resource for binders. Still wanting to provide an elegant leather binding to their clients, binders would use a minimal amount of leather to cover the spine, putting a millimeter or two of leather onto the boards. In this workshop students, will be creating a Rubow-style millimeter binding, learning how to make paste papers and work with leather. Each student will finish the course with a book wrapped in their own paste paper and with a thin strip of leather running across the top and bottom of the binding. This class is open to all and a great introduction to book arts!


    OCTOBER
    Fundamentals of Bookbinding I

    October 1 – 5 (Monday – Friday)
    North Bennet Street School
    Boston, MA

    This is a great workshop if you are interested in the full-time program at North Bennet or wanting to learn a new skill. During the workshop students will explore the basics of bookbinding through a variety of non-adhesive structures and finish the week by making a flatback case binding. We will discuss materials, adhesives, tool use and students will have access to traditional bindery equipment.

    Bookbinding 101 
    October 9, 16, 23 & 30 (Tuesday evenings)
    North Bennet Street School
    Boston, MA

    ​In this two day class, students get a quick introduction to various bookbinding techniques by exploring three different book structures. The class begins with a simple pamphlet and continues with constructing two multi-signature books known as a flatback case binding and link stitch binding. Finally, students construct a box to house all of their creations. This class is a great way to familiarize yourself with bookbinding and is perfect for those who are curious about the craft.


    NOVEMBER
    Make Your Own Punching Cradle

    November 11 (Sunday)
    North Bennet Street School
    Boston, MA

    A punching cradle is a very useful piece of equipment for bookbinders. During this class, students create a collapsible punching cradle with a variable length. The collapsible cradle is lightweight, saves space, and is perfect for traveling or working in small spaces.


  3. Teaching at Paper & Book Intensive 2018

    August 28, 2018 by Erin Fletcher

    In May of this year, I had the honor of teaching at the Paper & Book Intensive which was held at Ox-Bow School of Art in Saugatuk, Michigan. If you aren’t familiar with PBI, it’s a two-week intensive camp where participants take three workshops on topics related to bookbinding, printmaking, paper-making, conservation and book arts. Everyone stayed in lodging on the grounds at Ox-Bow and ate together during mealtimes. During off-hours, people spent their time creating, mingling, making toast from the 24-hour toasting station or roasting marshmallows at the fire pit near the lagoon.

    I had been invited to teach my 2-day Introduction to Embroidery on Leather workshop during the first session. In the first session, participants take two different workshops, one in the morning and the second in the afternoon. This meant, as an instructor, I had two different groups to teach over the span of four days. I had 13 students in the morning and 12 students in the afternoon.

    My workshop took place on the second floor of the print building. The space was wonderful. It is a newly constructed building with high ceilings and tall windows on all four sides that looked out into the woods. After getting settled and going through materials, we embarked on our first task of poking lots of holes into leather through a paper template. The room was so quite and still, that a unique soundtrack began to play out. The ping from the pin vise and crunch of the paper template mixed with birdsongs and swaying trees.

    The participants were working with buffalo skin for the samplers. It’s a leather that I love to work with and is very forgiving with embroidery work. Although certain challenges presented themselves with the darker skins. After we finished punching, we went through each stitch one by one. Students were invited to bring their own threads to play around with, so there was a nice mix of materials being used on the samplers. Some worked and some didn’t.

    At the end of the first session, everyone convened into the painting studio for a show and tell. I had been so distracted teaching by my workshop, that I didn’t get a chance to visit the other studios. So it was really great to finally see what everyone else had been working on.

    Above are samples from Letterlocking with Jana Dambrogio (left) and Vasaré Rastonis’ Conservation Binding Model for a 13th Century European Manuscript workshop (right).

    Above are some pieces from Velma Bolyard’s Paper Threads: North Country Shift (left) and Rebecca Chamlee’s The Printmaker as Naturalist (right) workshops .

    Many of my students had little to no experience with embroidery work, but everyone was determined to master each stitch. Threads were sewn and then torn out to make second and third attempts. I was really impressed with everyone’s ability to navigate through diagrams and hard-to-see demonstrations. In the center of their samplers, I asked each participant to design a letter in whatever stitch or stitches they preferred. Some students also began embroidering into bookcloth and paper. The participants in my workshop definitely felt the intensiveness of PBI!

    After session one was complete, everyone had a day off to recoup and relax. I went into town with some PBI pals to shop the local antique mall and each some local grub. Afterward, we walked to Oval Beach at Lake Michigan. It was a beautiful beach and view of the lake. We even made a couple of duck friends along the way.

    As an instructor, I was able to take a workshop during the second session and I chose John DeMerritt’s The Prototype: An Exploration of Edition Binding. I had met John a few years back during my second year at North Bennet Street School and have admired his work and ingenuity, so I was really excited to pick is brain.

    The structure of John’s class was informal, which freed everyone up to work on their own projects. We had materials to play with in order to develop prototypes. As someone who rarely gets a chance to spend time on personal work, it was very welcoming to have these 4 days to work out the details of an artist book that has been lingering in the back of my brain.

    On our final day of John’s class, we were commissioned by Mary Hark (papermaking instructor) to build a box for a paper quilt.

    We devised a design for the box and chose materials as a team. Mary let us choose from a selection of her papers for the box and we choose a beautiful crinkled indigo paper for the tray that proved to be rather difficult and pulled many of us together to trouble shoot. And without proper weights, we had to use body weight after attaching the tray to the base.

    photo credit (right): Cristiana Salomao

    photo credit (right): John DeMerritt

    I was tasked with creating an embroidered paper label for the box. We chose to use the coordinates of Ox-Bow and the dates of the second session as the title, as it represents the time and place of both creations. In the end, the box and quilt were put into the auction and was finally sold to the Bainbridge Island Museum of Art.

    At the end of session two, we assembled once again in the paint studio for another show and tell.

    Above are examples from Béatrice Coron’s workshop From Book Shelves to Cat Walk: Wearable Papercuts and Artist Books (left) plus Chela Metzger’s workshop Early Modern Record-Keeping Book Structures: Model Making and Investigation (right).

    Just a few pieces from Bridget Elmer’s workshop The Typographic Print (left) and Mary Hark’s workshop Papermaking Informed by a Sensibility for Textiles (right).

    Post show and tell, people began to wind down and get ready for the festivities ahead. That evening included a silent auction followed by a studio tour to see the various work created by the artists in residency. Along the tour, I savored some local Ox-Bow brews and chatted with a very talented artist about her brightly colored macramé sculptures. Check out the work of Noël Morical.

    On the following day, everyone gathered at the meadow under the theme of Renaissance in Space. We ate hors d’oeuvres and cheered on the jousters. Afterward we filed into the painting studio for one final dinner, which included lofting balloons from table to table until they popped. A mighty group effort.

    The evening quickly turned into night and people began to say their farewells. PBI was a truly incredible experience and one that I will never forget. Despite the pressures of teaching, my time at Ox-Bow was relaxing and inspiring. Being surrounded by creative and talented people who are both encouraging and supportive for two weeks can be life changing. It’s an experience that I would recommend for anyone that is apart of or wants to be involved in this community.


  4. My Hand // The New House

    August 21, 2018 by Erin Fletcher

    If you’ve ever visited your childhood home as an adult, you were probably flooded with emotional memories and feelings of nostalgia. These experiences are at the center of David Mamet’s poem in The New House. Printed in 1989 from Rebecca Press, this miniature text also includes wood engraving by Sarah Chamberlain.

    For the design of the binding, I wanted to reflect the warm nostalgic feelings felt by the poem’s protagonist. Something as simple as a color, texture or pattern could bring those memories to the fore front of your mind. I choose a floral patterned wallpaper as my inspiration and reimagined it in a soft color palette of light blues and a range of yellows.

    To create the design, my first step was to paint the branches. I wanted the design to exist on multiple planes, so I chose to paint the branches rather than create them out of leather onlays. So to do this, I hand cut a template out of frisket film first, then laid that onto the light blue goatskin. After burnishing down the edges, I painted over the entire skin with a mix of pale blue grey fluid acrylic paint.

    The frisket peels away from the leather rather easily once the paint is fully dry. It’s now time to adhere the onlays. Due to the quantity of onlays, I drew out the shapes in their exact location on both the lighter and dark yellow skins, placing them on the blue leather as I cut them out. I didn’t want to risk losing any pieces or adhereing them in the wrong place. After both yellow skins were in place, it was time to back pare the leather and prepare the embroidery.

    I always pre-punch the holes before sewing, but this time I wasn’t working off a separate template, I used the edges of the painted branches and the floral onlays to guide my pin vise while punching. Everything is outlined in a simple back stitch with cotton floss. The stamen are stitched using French knots with tails. I added additional texture and a bit of shimmer with tiny gold tooled triangles that are scattered amongst the blossoms.

    The use of wood grain as a design element is inspired from Mamet’s reference to nicks in the wooden floors of the house. All three edges of the text block are hand painted to resemble wood grain in warm brown and pink tones. The leather wrapped endbands in mauve have additional wraps in a darker mauve cotton floss.

    In the image below, you can also see that the painted branches and onlays wrap around the board, but the embroidery stops at the edge.

    The interior side of the board is covered in the same light blue goatskin doublure with a sunken walnut veneer panel that is framed with handmade paper from Katie MacGregor. The same paper is used for the fly leaves. The endpapers are comprised of additional handmade paper from Katie MacGregor, but in an ochre yellow. Working further into the binding is a folio of soft yellow unryu which has a fabric-like feel. This material is designed to continue the feeling of comfort.

    This edition includes a loose wood engraving depicting the entrance of the home. The print is mounted in a paper frame covered in the same ochre Katie MacGregor paper as the endpapers. Both the print and book live inside of a house-shaped telescoping box.

    The base of the box includes two compartments; the compartment for the binding sits within and under the spot for the print. I first cut the shape of the base tray and then cut out a cavity to fit the size of the loose print. Within the base for the print, I cut out another cavity for the box. Then I supported all the pieces with walls. The entire base is wrapped in paper, a combination of handmade Katie MacGregor paper and Bugra. The book sits on a lining of cream suede.

    The base tray is attached to a leather wrapped board and a step of walnut veneer runs the perimeter to support the lid and add an additional accent of tone and texture.

    The lid is covered in the same medium brown goatskin as the base board. The raised design on the lid is pulled from the embossed design on the title page.

    To create the delicate design of the raised structure, I first laminated a piece of 10pt. museum board to the millboard I was using to build the box. I then drew out the design and carefully cut through the 10pt. board. Then I pulled away all of the waste, leaving my complete design on the board.

    The leather was edge pared to match the pentagon shape of the box and the title was embroidered before attaching. The addition of foam was used while pressing in order to work the leather down around the sides of the 10pt. board and around the embroidered stitches. In order to do this, the walls were assembled after the leather was attached and dried. I could then proceed to attach and cover the walls on both sides and line the interior.

    The box was rather challenging to construct. My main issues were figuring out how to cut the turn-ins, particularly around the corners, and the overall fit of the lid to the base. I will admit that I made the lid twice as the fit on my first attempt was just a bit too snug for my liking.

    Overall, I’m really pleased with this little gem and it’s unique presentation. The delicate design and soft color palette offers the feelings of warmth and comfort that I was hoping to convey.


  5. Upcoming Workshops // August to October

    August 15, 2018 by Erin Fletcher

    AUGUST
    I have no workshops scheduled for the month of August. Go outside and enjoy your summer!


    SEPTEMBER
    3-Part Bradel Binding

    September 7 – 10 (Thursday – Sunday)
    San Francisco Center for the Book
    San Francisco, CA

    Register here. 

    The 3-Part Bradel binding offers a unique aesthetic over a traditional case binding. As the name suggests, the binding is assembled in three parts, which encourages the binder to use different materials to cover the spine and covers. For this workshop, students will use leather to cover the spine and cloth or paper for the covers. Students will be guided as they pare their own leather.

    Students will also be using a variety of bindery equipment such as a sewing frame, job backer, plow and Kwikprint to complete their structure. We will also cover how to create a simple painted, decorative edge and stamp a custom label.

    Millimeter Binding
    September 23 – 29
    Maine Media Workshops + College
    Rockport, ME

    Register here.

    The millimeter binding came about during the first World War when leather became a scarce resource for binders. Still wanting to provide an elegant leather binding to their clients, binders would use a minimal amount of leather to cover the spine, putting a millimeter or two of leather onto the boards. In this workshop students, will be creating a Rubow-style millimeter binding, learning how to make paste papers and work with leather. Each student will finish the course with a book wrapped in their own paste paper and with a thin strip of leather running across the top and bottom of the binding. This class is open to all and a great introduction to book arts!


    OCTOBER
    Fundamentals of Bookbinding I
    October 1 – 5 (Monday – Friday)
    North Bennet Street School
    Boston, MA

    This is a great workshop if you are interested in the full-time program at North Bennet or wanting to learn a new skill. During the workshop students will explore the basics of bookbinding through a variety of non-adhesive structures and finish the week by making a flatback case binding. We will discuss materials, adhesives, tool use and students will have access to traditional bindery equipment.

    Bookbinding 101 
    October 9, 16, 23 & 30 (Tuesday evenings)
    North Bennet Street School
    Boston, MA

    ​In this two day class, students get a quick introduction to various bookbinding techniques by exploring three different book structures. The class begins with a simple pamphlet and continues with constructing two multi-signature books known as a flatback case binding and link stitch binding. Finally, students construct a box to house all of their creations. This class is a great way to familiarize yourself with bookbinding and is perfect for those who are curious about the craft.


  6. Upcoming Workshop at SFCB

    July 15, 2018 by Erin Fletcher

    In September I will be heading to the west coast to teach a 4-day workshop on the 3-Part Bradel binding at the San Francisco Center for the Book. I really love making and teaching this structure. Constructing the book in three parts expands the design possibilities and material combinations. You can find out more about the workshop here.

    Workshop Description
    The 3-Part Bradel binding offers a unique aesthetic over a traditional case binding. As the name suggests, the binding is assembled in three parts, which encourages the binder to use different materials to cover the spine and covers. For this workshop, students will use leather to cover the spine and cloth or paper for the covers. Students will be guided as they pare their own leather.

    Students will also be using a variety of bindery equipment such as a sewing frame, job backer, plow and Kwikprint to complete their structure. We will also cover how to create a simple painted, decorative edge and stamp a custom label.

    Dates:
    September 7 – 10 (Friday – Monday)

    For more information and to register, click here.


  7. Swell Things No. 48 – Maine, Michigan and Texas

    June 30, 2018 by Erin Fletcher

    For the past three months, I’ve been traveling to teach and have visited some incredible spaces and met really talented people. So in this Swell Things post, I’ll introduce you to a few.

    1. In May, I taught at the Paper and Book Intensive which was hosted by the Ox-Bow School of Art in Saugatuk, Michigan. This is a really unique space built near a lagoon that flows into Lake Michigan. The camp ground is filled with a variety of buildings set up for paper making, printmaking, painting, ceramics and glassblowing. All of the participants are housed on the grounds and we meet at the Ox Bow Inn for meals and social events. I highly recommend making the trip to Saugatuk for either PBI or to attend a workshop at Ox-Bow. It’s a fantastic way to unplug, relax and be creative.
    2. In April, I taught a workshop at the University of Southern Maine in Portland. And although my schedule hindered me from visiting PrintCraft, I didn’t want to miss this opportunity to tell you about it. PrintCraft is the combined studios of W.I.P. Editions and Strong Arm Bindery in Portland’s West End. Sharing equipment, experience and expertise in the fields of printmaking, bookbinding and letterpress printing, co-owners Lisa Pixley and Martha Kearsley produce an array of prints, printed matter and ever-evolving experiments in stationery. PrintCraft studio storefront is open Tuesday – Sunday from 12:00-6:00pm.
    3. At PBI, I met a delightful and talented ceramicist by the name of Gabrielle Soltis. She set up shop one evening and I walked away with this gorgeous speckled paste bowl and a handmade mug for my morning coffee.
    4. Before teaching in College Station, Texas, I made a stop in Austin to visit family. But I also made a visit to Flatbed Press and Gallery, which was founded in 1989 by Katherine Brimberry and Mark L. Smith. The space functions as a publishing workshop open for artists to produce large-scale limited editions prints. They are set up to create etchings, lithographs, woodcuts and monoprints. While walking through the studio, two large woodcuts had just been inked up and were ready to print. The inking took a little over an hour!
    5. During my time at PBI, I got to meet the extraordinarily smart, talented and hilarious Béatrice Coron. She works primarily in Tyvek creating “cut stories” by slicing away the material to reveal intricate scenes. Her work exists as flat pieces of art and wearable garments. In fact she wore a beautiful silver and black Tyvek jacket during her evening presentation. She has also designed fencing, sculptures and art for public spaces.

    6. I met Carey Watters at PBI and we spent an evening chatting about our art, our family and our love of travel. Her paper reliquaries are quite magnificent and her approach to paper cut sculptures is fresh and exciting.
    7. Vintage Marüshka fabric prints from the 1970s and 80s were scattered throughout the Ox-Bow Inn. The one pictured above was my favorite and is located in the bathroom inside the dining hall. I was able to find an authentic Marüshka cat print from 1983 that is hanging above my bookcase.
    8. I am a ceramic fanatic and when Jon Hook came out to PBI to sell some of his pieces, I jumped at the opportunity. I was in awe of so many of his vessels and mugs, but I ended up walking away with this tiny ceramic pig.
    9. Before visiting Flatbed, I made a stop at the Austin Book Arts Center (which happens to be in the same building). Mary Baughman gave me a tour of the bindery and their newly added print shop. The space is cozy and well loved. Every inch of their space is well designed to really maximize the potential of the room. They will be celebrating their third birthday in September, if you’re in the area, stop by for their auction!
    10. During one of the last few days at PBI, the resident artists opened their studios for touring. This is when I got to meet fellow School of the Art Institute alum, Noël Morical. Using macrame, Noël creates these massive hanging sculptures with bright parachute cord. She also had on display some smaller wall hangings, that to me, resembled alien-like sea creatures. I hope to own a piece one day!

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  8. Upcoming Workshops // July to September

    June 15, 2018 by Erin Fletcher

    JULY
    Cross Structure Binding
    July 14 – 15 (Saturday – Sunday)
    North Bennet Street School
    Boston, MA

    This workshop is currently sold out. The Cross Structure binding is a non-adhesive structure that offers much freedom to the text block. This 20th century design is greatly inspired by the Long Stitch bindings of the medieval era. It is suitable for conservation or new bindings, such as travel journals or decorative bindings. The structure is uniquely constructed by interlocking the front and back covers at the spine. In this 2-day workshop, students will work on 4 variations of the Cross Structure, creating models in both handmade paper and leather. If time permits, students will have an opportunity to decorate their covers.

    Bookbinding 101
    July 28 – 29 (Saturday – Sunday)
    North Bennet Street School
    Boston, MA

    This workshop is currently sold out. In this two day class, students get a quick introduction to various bookbinding techniques by exploring three different book structures. The class begins with a simple pamphlet and continues with constructing two multi-signature books known as a flatback case binding and link stitch binding. Finally, students construct a box to house all of their creations. This class is a great way to familiarize yourself with bookbinding and is perfect for those who are curious about the craft.


    AUGUST
    I have no workshops scheduled for the month of August. Go outside and enjoy your summer!


    SEPTEMBER
    3-Part Bradel Binding

    September 7 – 10 (Thursday – Sunday)
    San Francisco Center for the Book
    San Francisco, CA

    Register here. 

    The 3-Part Bradel binding offers a unique aesthetic over a traditional case binding. As the name suggests, the binding is assembled in three parts, which encourages the binder to use different materials to cover the spine and covers. For this workshop, students will use leather to cover the spine and cloth or paper for the covers. Students will be guided as they pare their own leather.

    Students will also be using a variety of bindery equipment such as a sewing frame, job backer, plow and Kwikprint to complete their structure. We will also cover how to create a simple painted, decorative edge and stamp a custom label.

    Millimeter Binding
    September 23 – 29
    Maine Media Workshops + College
    Rockport, ME

    Register here.

    The millimeter binding came about during the first World War when leather became a scarce resource for binders. Still wanting to provide an elegant leather binding to their clients, binders would use a minimal amount of leather to cover the spine, putting a millimeter or two of leather onto the boards. In this workshop students, will be creating a Rubow-style millimeter binding, learning how to make paste papers and work with leather. Each student will finish the course with a book wrapped in their own paste paper and with a thin strip of leather running across the top and bottom of the binding. This class is open to all and a great introduction to book arts!

     


  9. Upcoming Workshops // June to August

    May 15, 2018 by Erin Fletcher

    JUNE:
    Embroidered Leather Workshop
    June 16 – 17 (Saturday – Sunday)
    9:00am – 4:00pm
    Conservation Lab at Texas A&M
    College Station, TX

    This workshop is presented by the Lone Star Chapter of the Guild of Book Workers. During this workshop students will create a sampler of stitches suitable for leather. In doing so, students will develop an understanding for transferring and plotting designs and prepping the leather for covering.

    Fundamentals of Bookbinding I
    June 25 – 29 (Monday – Friday)
    North Bennet Street School
    Boston, MA

    This is a great workshop if you are interested in the full-time program at North Bennet or wanting to learn a new skill. During the workshop students will explore the basics of bookbinding through a variety of non-adhesive structures and finish the week by making a flatback case binding. We will discuss materials, adhesives, tool use and students will have access to traditional bindery equipment.


    JULY:
    Cross Structure Binding
    July 14 – 15 (Saturday – Sunday)
    North Bennet Street School
    Boston, MA

    The Cross Structure binding is a non-adhesive structure that offers much freedom to the text block. This 20th century design is greatly inspired by the Long Stitch bindings of the medieval era. It is suitable for conservation or new bindings, such as travel journals or decorative bindings. The structure is uniquely constructed by interlocking the front and back covers at the spine. In this 2-day workshop, students will work on 4 variations of the Cross Structure, creating models in both handmade paper and leather. If time permits, students will have an opportunity to decorate their covers.

    Bookbinding 101
    July 28 – 29 (Saturday – Sunday)
    North Bennet Street School
    Boston, MA

    ​In this two day class, students get a quick introduction to various bookbinding techniques by exploring three different book structures. The class begins with a simple pamphlet and continues with constructing two multi-signature books known as a flatback case binding and link stitch binding. Finally, students construct a box to house all of their creations. This class is a great way to familiarize yourself with bookbinding and is perfect for those who are curious about the craft.


    AUGUST:
    I won’t be teaching any workshops in the month of August, but you can check out my Fall schedule here.


  10. North Bennet Street School // Student & Alumni Exhibit 2018 – Alumni Work

    May 10, 2018 by Erin Fletcher

    In this next installment covering the 2018 Student and Alumni Exhibit, I will be showcasing some of the work submitted by former bookbinding students at North Bennet Street School. If you missed my previous post where I interviewed the graduating class on their set book, check it out here.

    This year I submitted two of my own bindings. I’ll begin with my miniature binding of The Island: An Amsterdam Saga by Geert Mak with illustrations by Max Kisman. This binding was apart of Stichting Handboekbinden Miniature Bookbinding Competition and was first exhibited at the Meermanno Museum in The Hague.

    Bound in as a three-part Bradel, the boards are split into two designs. The top half is constructed with stone veneer, embroidery and ivory leather panel pieces. The bottom half is a mix of foil tooling, vellum onlays and embroidered feathers. The spine is covered in leather with painted suede onlays. The book is housed in a full leather box with an embroidered rat. You can see more of images of this binding on my website.

    My second binding is 2001: A Space Odyssey by Arthur C. Clarke. The book is bound in black buffalo skin with goatskin onlays in white, yellow, teal, lavender and fuchsia. The teal and lavender are attached suede side up. There are additional kozo paper onlays in yellow, orange and pink. All of the onlays are adorned with embroidered floss to expand on the explosion of color. The back board includes four stanzas from Dies iræ.

    The head edge is painted with a white base and misted with black pigment. This sprinkled effect continues along the fore edge. The fly leaves are also decorated in this pattern to give the illusion of one continuous look.

    Lauren Calcote, ’15
    This miniature binding of The Wild Swans by Hans Christian Andersen was bound by Lauren Calcote. Done as a Coptic binding, the boards are covered in vellum and decorated with embroidered stone veneer. I love the seamless continuation of thread that spans from the endbands onto the boards framing the stone veneer. 

    Fionnuala Gerrity, ’11
    Strawberry Thief is wrapped in a cheerful embroidered chemise on deep teal dupioni silk done by Fionnuala Gerrity. The light-hearted design is mirrored on the back board. Fionnuala’s use of hefty cotton floss creates so much texture and height to the embroidery. 

    Kate Levy, ’17
    Bound as a three-part Bradel, the book itself features a range of artists working with textiles and fiber as their medium of choice. By piecing together scraps of colorful handmade paper with embroidery floss, Kate Levy plays homage to one of the artists featured in this binding of Stitchillo. By clicking on the images below, you can see that the title is stamped in clear foil on the lower red paper panel. Working with thread on paper is such a delicate task, but the effect is so lovely. 

    Anne McLain, ’10
    Anne McLain demonstrates the playfulness of traditional decorative tools in her binding of Julia Miller’s Books Will Speak Plain. Thoughtfully placed ornamental lines span across the binding in a way that connotes a firework explosion. Small accents, such as silver foil dots and blind letters, are scattered amongst the flares. A small red dot holds the initials JM to signify the author. The endbands are hand sewn in alternating bands of white and dark grey. The head edge is splattered with various shades of grey and splotches of white.

    James Reid-Cunningham, ’90
    What a surprising mix of materials in James Reid-Cunningham’s binding. Les Negres is a play by French dramatist Jean Genet and is bound in black Tyvek. The cover is adorned with mother of pearl and lines of gold tooling. Their is a really lovely relationship between the figures of mother of pearl. The iridescent quality of the material provides movement against the black background. 

    You can see all of these bindings in person and others while the show is open. This year the Student and Alumni Exhibit will be on display at two locations: from May 7 – 23 at Two International Place and from June 4 – 30 at North Bennet Street School (both located in Boston). Check out the website here for more details and opening hours.

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  • Visit My Bindery
    My name is Erin Fletcher and I live in Boston working as a Bookbinder.  This blog is an extension of Herringbone Bindery where I can share my inspirations with you.
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