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Posts Tagged ‘james reid-cunningham’

  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. Exquisite Corpse Collaboration

    July 10, 2016 by Erin Fletcher

    ExquisiteCorpse
    As Program Chair for the New England Chapter of the Guild of Book Workers, I had the pleasure of organizing a project brought to me by one of our members. Jonathan Romain, a recent graduate of the North Bennet Street School Bookbinding Program, brought forth the idea of a collaborative project between the students at NBSS and the NEGBW. I loved this idea and so with the help of instructor Jeffrey Altepeter, we put this plan in motion.

    An Exquisite Corpse is a method of illustration invented by Surrealists in the early 1910s, where each collaborator adds to a composition in sequence usually without seeing the prior portion. Upon reveal this rule to hide the previous sequences offers up an abstract and amusing portrait. Each student created a plaquette covered in neutral leather (we used Harmatan Terracotta and Brown goatskin) and also completed the “head” portion of the figure. The plaquette’s were about 18in x 6in; allowing each participant to cover a 6in square portion of the board.

    The project spanned over 3 months as each participant received and worked on their portion over the course of a month. At the end of May, the finished pieces were on display as part of NBSS’s Student & Alumni Show, an annual exhibit that showcases work from current students and alumni from the various programs.

    I had the pleasure of receiving the finished pieces and bringing them back to the students. We gathered around one another as each student revealed the unique and strange characters that developed over the course of the project. Each piece is displayed below with a brief description from each collaborator remarking on their concept and use of materials.

    Jeffrey Altepeter – Samuel Feinstein – Lang Ingalls

    JeffSamuelLang-Corpse
    Jeffrey Altepeter
    The robot head was inspired by my son’s fascination with mechanical and technological design and construction. It is made up of traditional leather decoration techniques—leather onlays, tooled with gold leaf, foil and carbon.


    Samuel Feinstein
    Chicago, IL

    Gold and blind tooling.


    Lang Ingalls
    Crested Butte, CO

    I opted for humor in my approach to the Exquisite Corpse. The design concept was to depict bird legs: the initial tests were for tooling in the positive; it became clear that the negative space would be more interesting. I used four sizes of “dots” in gold foil to produce the background behind the legs. Repetition and rhythm became the focal point.

    Emily Patchin – Barbara Adams Hebard – Athena Moore

    EmilyBarbaraAthena-Corpse Emily Patchin
    This head was created as an onlay piece. The main portion was cut out of navy blue goat skin, pared thin. The sections for the eye, ear, and ghosts were all cut out, and their edges beveled on the flesh-side. Light blue leather for the eye and ear were glued to the back before pasting to the base leather. The ghosts were cut out from parchment; their faces backed with thinly pared gold leather, and painted with watercolor before being glued in place. The outline of the original drawing was then blind tooled over the leather. The intention behind the design was to look at intense personal struggles (depression, intrusive thoughts, insomnia) through a lens of whimsy and humor.

    Barbara Adams Hebard
    Melrose, MA

    Melrose, MAWhite alum-tawed goatskin onlay with blind tooled details, inspired by the shape of an Early Cycladic marble female torso (2800-2300 BC, Keros-Syros Culture). Flanking the torso are shapes commonly found incised on Early Cycladic pottery, a spiral and a two-headed ax, executed in surface gilding.


    Athena Moore
    Somerville, MA

    My materials were leather and hand-cast paper (made by the artist). The concept was a bit literal, since I had the last portion and was finishing the body with the legs, but I was inspired by a particular set of medical prints from Yale’s collection.

    Jonathan Romain – Erin Fletcher – James Reid-Cunningham

    JonathanErinJamesJonathan Romain
    a shapeless face, 18 karat gold, palladium, and ascona onlay


    Erin Fletcher
    Boston, MA

    I wanted to created something really playful with my portion of the plaquette. When I saw no indication of where to begin, I chose to create a headless girl with comically long arms. The girl’s dress is a series of blind tooled onlays in pink and purple goatskin and white buffalo. Her skin is gold tooled. And the blood spurting from her headless stump is painted with red acrylic.


    James Reid-Cunningham
    Cambridge, MA

    The design is largely non-representational, with a vague suggestion of legs. Otherwise, there is no concept. Tooled in gold and metallic foil, with inset lines of white box calf.

    Mary Grace Whalen – Eric Alstrom – Penelope Hall

    MaryGraceEricPenelope-CorpseMary Grace Whalen
    Blue Pageboy, a leather tool-edged onlay made of goatskin is inspired by the Russian pioneer of geometric abstraction, Kazimir Malevich’s costume design and his Yellow Man painting. Blue Pageboy gives off a theatrical and mysterious vibe. Who is s/he? Only the body will tell!


    Eric Alstrom
    Okemos, MI

    After many ideas, I kept coming back to the idea of ancient Egypt and their exquisite corpses.  My design is based on various historic paintings, but did not copy any single on in particular. The design is made from various colors of goat painted with acrylics and blind tooled


    Penelope Hall
    Kingfield, ME

    Inlay consisting of glazed earthenware, scraps of Thai papers, and wheat paste. Colored with watercolor. Additional adhesives used are E-6000, and Jade 403 PVA. Finish coat on the inlay is SC 6000 acrylic polymer and wax emulsion.

    Nicole Campana – Jan Baker – Colin Urbina

    NicoleJanColin-Corpse

    Nicole Campana
    This design was inspired by nothing more than a common theme in much of my art: day and night. I’m drawn to the color palette each time presents and the way in which our perceptions of those colors change as the light does. The techniques utilized are predominantly onlays and gold tooling, however a variation of the lacunose technique and an Ascona tool were used for the hair.


    Jan Baker
    Providence, RI

    what i lost this year:
    – my ovaries
    – my fallopian tubes
    – my uterus
    – all of my hair
    – and my brother


    Colin Urbina
    Boston, MA

    When I’m sketching, I often come back to the roots of a plant. For this project I decided to attempt the same type of free flowing, loose, many-from-one nature of these sketches with traditional gouges. Using five or six tools I built up the legs of this plaquette, and then added acrylic paint into them that gets darker as the roots go lower. The dirt is represented by grain manipulation with sandpaper, changing the surface of the leather and giving it a different look and feel.

    Peggy Boston – John Nove – Shannon Kerner

    PeggyJohnShannon-Corpse

    Peggy Boston
    My inspiration for this project came from a group of mustachioed, high-collared, quirky members of the Viennese Secessionist art movement. This movement was part of the golden age of illustration and graphic design in Vienna and Germany from 1897 to 1918. Their main influences were derived from William Morris and the English Arts and Crafts movement which sought to bridge the applied and fine arts. The Secessionists favored hand-made object opposing machine techniques. Hand tooling and acrylic paint.


    John Nove
    South Deerfield, MA

    The initial description of the project attributed the Exquisite Corpse to the Surrealists. My concept was of a Magritte-ian gentleman – fine suit, hands crossed in the standard coffin pose holding the usual flower  — but then with an amphibian’s green gnarly ‘hands’. Carbon tooling and goatskin onlays.


    Shannon Kerner
    Easthampton MA

    The vivid colors on the chubby tum were used to inspire whimsy, as well as the funny shape of the legs, which took inspiration from the cartoon Invader Zim, a silly plot animation focusing on an alien sent to Earth and meant to blend in. Stars: gold and palladium mixed together is a challenging medium to tool as they are different weights, but the outcome is very rewarding and attractive. Leather onlays, gold and palladium tooling.

    Todd Davis – Jason Patrician – Jacqueline Scott

    ToddJasonJackie

    Todd Davis
    The design of this head is inspired by the sugar skulls used as part of the Mexican celebration of Dia de los Muertos (day of the dead). On that day, these skulls, made of sugar, are part of an altar made to honor and celebrate dead ancestors, particularly children. Blind tooled outline filled with raised, ascona, and back-pared onlays. It is finished with blind and lemon gold tooling, and surface gilded teeth.


    Jason Patrician
    New London, CT

    I wanted to stay true to the surrealist exercise of the exquisite corpse by combining the distorted human figure and nature. For my design I chose the octopus, the master of disguise, which doubles as the female torso. Leather onlays (Harmatan and Pergamena), vellum inlay (Pergamena) with walnut ink wash and Prismacolor marker detail, blind tooling throughout.


    Jacqueline Scott
    Somerville, MA

    Materials: goatskin leather, gold leaf
    Concept: I wanted my plaquette section to be whimsical and colorful and wanted to utilize the feathered onlay technique. Something about chicken legs appealed to me, so I ran with that, though I think they ended up looking more like reptile legs with funny leg warmers.

  3. Making Miniatures with James Reid-Cunningham

    March 30, 2016 by Erin Fletcher

    Last year, I took a workshop at North Bennet Street School on Miniatures Bindings with James Reid-Cunningham. Bookbinding itself has a certain lure, but miniature bookbinding can pull you in even further. There is always this challenge of how small can one actually go while still keeping some integrity to the craft. It certainly felt this way during the 3-day workshop as James had us construct smaller and smaller books for each project.

    We started off the class with a hardcover long stitch binding. In terms of size, this was the macro-mini measuring out to 46mm wide by 59mm tall. The text block was sewn through a paper spine piece which also acted as the endpaper paste down. The boards were covered in paper and then pasted to the paper wrapper. Before attaching the covers we used our bone folder to round off the board’s corners, offering a very subtle touch of softness to this miniature book.

    MiniWksp-ErinFletcher

    Our second project for the workshop was to construct a miniature quarter leather case binding. We employed the use of miniature presses to aid in the forwarding process. James brought his own contraption (two wooden slabs connected with bolts and wing nuts), while a fellow classmate brought one of Frank Wiesner’s miniature ploughs for the class to use.

    MiniWksp2-ErinFletcher

    After sewing up the text block over two tapes (cut down from ramieband) I chose to sew headbands in light and dark pink stripes. We continued with the forwarding process by lining the spine. Using a very thin piece of leather, we assembled the case with shaped endcaps. The rest of the case was covered in paper. For my miniature, I used a scrap piece of buffalo skin and handmade paper from Katie MacGregor. This binding measures 38mm wide by 46mm tall.

    MiniWksp8-ErinFletcher

    Our final project was considered a micro-mini measuring to just 13mm wide by 13mm tall. The text was supplied to use with content laid out and printed by James. The text block was printed on a variety of tissues ranging in different weights. For our last project I chose to try out two different weights and assemble one as a soft cover paper wrapper and the other as a full leather binding. The first task for both was to carefully fold the text block into a neatly squared accordion.

    MiniWksp3-ErinFletcher

    To construct the full leather binding, the components of the case were cut to size and glued down to a single piece of tissue. Once the case was assembled the fore edge was trimmed to fit the text block and the corners were rounded to accommodate the thickness of the leather.

    MiniWksp4-ErinFletcher

    The leather was pared to onlay thickness and the corners were pre-cut before covering. The covering was swift and simple. And once the leather was dry, I attached the outer panels of the accordion to inside of the case. The book can be read as a codex or the accordion can be expanded.

    MiniWksp5-ErinFletcher

    MiniWksp7-ErinFletcher

    The workshop was a delightful insight to bookbinding in miniature form. The main challenge was rethinking and reworking how to use my hands and tools in such a narrow space. I was a fan of miniature bookbinding before I took James’ workshop and I still am. However, I think I’ll stick to the macro-mini for any future work. Anything smaller is just too excessive for me.

    MiniWksp6-ErinFletcher


  • 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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