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Posts Tagged ‘fionnuala gerrity’

  1. 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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  2. North Bennet Street School // Student & Alumni Exhibit 2017 – Alumni Work

    May 18, 2017 by Erin Fletcher

    In the second portion of my post on the Student and Alumni Exhibit at North Bennet Street School, I want to highlight some of the pieces showcasing the talents of our alumni. If you missed the post where I interviewed the graduating class on their set book, check it out here.

    I’ll start with my own bindings. This year I chose to submit two recently completed bindings. The first is a miniature binding of Bobbie Sweeney’s Rookwood printed by Mosaic Press in 1983. The text chronicles the Rookwood Pottery studio founded in 1880 by Maria Longworth Nichols who fell in love with the Arts & Crafts movement. She and her employees pioneered a variety of different pottery styles and glazes over the course of Rookwood’s existence.

    Bound in a Dorfner-style binding, the boards are covered with stone veneer with onlays of wood veneer and handmade paper. The interior side of the board is also covered in stone veneer facing a suede fly leaf. The edges have been sprinkled with purple gouache. The box is covered in dark grey buffalo skin with a back-pared onlay of light grey buffalo skin in one variation of the Rookwood insignia.

    The second binding I chose to submit was completed just last month after working on it for over a year. This fine binding of Italo Calvino’s Invisible Cities is bound in two buffalo skins, with dark grey on top and light grey on the bottom. The top is adorned with a series of onlays in green goatskin (show in both leather and suede), ruby Novasuede, stone veneer and multilayered palladium gilt pieces. The bottom half is embroidered in a matching thread in such a way that partially mimics the top portion. All of the lines on the top are palladium tooled and the bottom are blind. I was greatly inspired by all of the imagery in Calvino’s abstract telling of a conservation between Kublai Khan and Marco Polo. I will be posting on this binding further, there is so much to reveal about the edge decoration and doublures.

    Colin Urbina, BB’11
    Next up is another lovely miniature, this one was bound by Colin Urbina.

    Colin’s binding of Shaman is covered in a medium brown goatskin and adorned with onlays of stone veneer. Illustrations gleaned from the text are stamped in red foil. The head edge is sprinkled with red acrylic paint. The title is stamped in the same red foil along the spine of the book.  The box for this miniature book is quite large because it holds the book, a paper folder of loose prints and a map (displayed open). The spine of the box is covered in a tan goatskin stamped in blind with the same icons from the book.

    Samuel Feinstein, BB’12
    As always, Samuel Feinstein impresses with his incredible tooling abilities. His binding of Dante Gabriel Rossetti’s Ballads and Sonnets is covered in a bright blue goatskin and intricate gold tooling. His work is always teetering on the line of classic design and modernism.

    Gabby Cooksey, BB’14
    The Book of Penumbra comes from the very talented Gabby Cooksey. Her work is always fresh and interesting and splendidly weird. The cover stands out in a unique way against the rest of the bindings and so does the technique. Gabby arranged the illustrations from the book in a chaotic way before debossing them into the black goatskin. Contrast is created through the application of varnish on the raised areas. The text block was also illustrated and printed by Gabby, you can read more about the work here.

    Becky Koch, BB’12
    My dear friend Becky Koch submitted this delightful little binding of The Farm by Wendell Berry. I love the array of colors she used to capture such a bucolic landscape.

    The sun is beaming over the country side, literally beaming with Becky’s use surfacing gilding in gold leaf. Oh, I love that little patch of blue. Brilliantly place amongst a sea of mainly reds and browns. The title has been hand-tooled with carbon.

    Fionnuala Gerrity, BB’ 11
    Last up is Trinity is a small, but not quite miniature, laced vellum binding containing hand calligraphed pages from Maryanne Grebenstein. The transparent vellum reveals Fionnuala’s painting underneath.


  3. North Bennet Street School // Student & Alumni Exhibit 2016 – Alumni Work

    May 22, 2016 by Erin Fletcher

    The Annual Student and Alumni Show at North Bennet Street School displays work from both current students and alumni. In this post, I will be focusing on some of the outstanding work exhibited by those who have graduated from the full-time program. If you missed my previous post reviewing the Class of 2016’s design bindings of 1984, you can check that out here.

    McKey Berkman, BB ’11

    BooksWillSpeakPlain-McKeyBerkman

    When I looked at the headband and endcap on McKey’s binding of Books Will Speak Plain by Julia Miller I was in awe. Each thread is wrapped with perfect tension and her endcaps are formed so evenly creating a beautiful crescent shape. The binding is covered in full green goatskin. The tooled orange onlay is stamped in a matte grey and outlined with a single brown tooled line with small squares at each corner. The head edge is colored with graphite. The details on this binding are subtle, but done with such a high level of craftsmanship.

    Marianna Brotherton, BB ’14

    ElementsOFGeometry-MarianneBrotherton

    This binding from Marianna is spectacular. I love the how the leather onlays pop away from the cover. Marianna’s binding of Euclid’s Elements of Geometry is bound in full green goatskin with suede doublures. The onlays are gilt in the center to highlight a specific shape. The title is tooled in gold down the spine. The edges are sprinkled with green pigment. The headbands are hand sewn with white and green silk. The book is housed in a beautiful 4-flap lined in suede. Each pointed flap wraps around the book to meet at the center. Check out more of Marianna’s work at her website.

    Lauren Calcote, BB ’15

    FamiliarLecturesOnBotany-LaurenCalcote

    Regulars to the blog, know my admiration for embroidered bindings. Lauren’s work has always impressed me and balances between contemporary and traditional. This embroidered binding of Familiar Lectures on Botany is bound on raised cords that are laced through the covers, which are covered in Galaxy Cave Paper. This richly dark handmade paper is filled with flecks of mica offering a subtle dazzle of shimmer. The embroidery is achieved with linen and metallic threads. The center motifs are designed with gold leaf for the sun and a piece of vellum for the moon.

    MiniGirdleBook-LaurenCalcote

    Lauren is also highly skilled with creating miniature bindings of historic models. This mini Girdle Book is sewn over raised cords and laced into cedar boards, which are covered in a crimson goatskin. The covers are blind tooled in a traditional lozenge pattern. There are even miniature brass clasps and a small linen knot to secure the book underneath your teeny, tiny belt.

    Samuel Feinstein, BB ‘12

    StoryOfTheEye-SamuelFeinstein

    It is so great to see work from a former classmate of mine. Samuel is one of the most talented binders of my generation. Story of the Eye by George Bataille is bound as a Millimeter binding in the Rubow-style. A strip of black goatskin runs across the entire head and tail edge of the book. An exquisite marbled paper (made by Samuel) covers the remainder of the binding. The marbled area is isolated to the spine with threads of color sprawling onto the covers. The head edge of the text block is decorated with gold leaf over graphite. The endpapers are also marbled, but on white paper instead of black. Check out more of Samuel’s work at his website.

    Fionnuala Gerrity, BB ’11 and Maryanne Grebenstein

    Butterfly-FionnualaGerrityandMaryanneGrebenstein

    During our time at NBSS, Fionnuala gave a presentation on back-painted vellum; a decorative technique seen on Cosway and stiff-board vellum bindings. It was clear to me that she was hooked by this niche area of bookbinding. Maryanne Grebenstein is a very talented calligrapher and teaches workshops at NBSS. Together they created this lovely rendition of a haiku by Matsuo Basho, a famous poet of the Edo period in Japan.

    Barbara Halporn, BB ‘06

    PictorialWebster-BarbaraHalporn

    There are so many things I love about Barbara’s binding of Webster’s Pictorial Dictionary by John M. Carrera. The leather from Pergamena has been distressed and is absolutely alluring. In these three bindings, Barbara references a historical Coptic binding. She even includes details such as headbands that wrap from cover to cover across the spine and leather toggles to keep the book securely closed. The title is blind tooled across the spine of the largest book. Check out more of Barbara’s work at her website.

    Becky Koch, BB ’12

    RimeAncientMariner-BeckyKoch

    Becky was also classmate of mine and I was so thrilled to see her work in the show. The Rime of the Ancient Mariner by Samuel Taylor Coleridge is bound as a simplified binding with black goatskin for the spine and a deep red buffalo skin for the covers. A surface gilt seagull adorns the front cover. The red buffalo skin is puckered over raised triangles on both covers. The title is tooled in gold down the spine. The buffalo skin offers such a distinct texture, but Becky managed to amplify the skin through her manipulation of the leather. Check out Becky’s website: Dog Eared Bindery.

    Lauren Moon-Schott, BB ’13

    BooksWillSpeakPlain-LaurenMoonSchott

    Lauren is an incredibly talented binder and conservator. She currently holds a position at the Rare Book Room in the Boston Public Library and she is also one of my studio mates. She bound this amazing model of a Stationer’s Binding over Julia Miller’s Books Will Speak Plain. The covers are goatskin with toggles and ties in alum-tawed pigskin. The complexity of the binding is not to be under-rated. Each cross-tie has to be meticulously laced through the covers.

    Wendy Withrow, BB ‘08

    NineMonthsToBearFruit-WendyWithrow

    I met Wendy for the first time at the Standards of Excellence Conference last year in Cleveland, Ohio. I was so excited to meet her, not only is her work well executed and her craftsmanship clean, she was one of the few alumni that I reached out to when applying to NBSS. Her words were so encouraging and her work inspiring. As the only artist book in the show, Nine Months to Bear Fruit, is quite attractive. Each object is sculpted from clay and held shut with magnets. The exterior is painted with acrylic. Hidden inside each piece is a miniature accordion, which you can read by clicking here.


  • 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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