Announcement // 40th Anniversary Exhibition – Intent to Enter Open

The New England Chapter will be celebrating 40 years in 2020! To commemorate this milestone, we are inviting members to submit work to our upcoming 40th Anniversary Exhibition. We encourage submissions of all types of book work (this includes bindings, artist books, calligraphy, printmaking, paper making, etc.) to showcase the diversity of our membership. In order to submit work, please fill out an Intent to Enter form. The deadline to submit the form is February 14, 2020.

You must be a member of the Guild of Book Workers – New England Chapter to participate and you must carry your membership throughout the entire run of the exhibition.

For more information about the rules and regulations and deadlines, please click here. If you have any questions, please feel free to email me: newenglandgbw@gmail.com

I look forward to your participation!

Lecture at MIT on Adaptive Preservation

The following lecture may be of interest to conservators and binders in NEGBW:

Adaptive Preservation
presented by Hugh Phibbs

When: Thursday, November 14 from 10–11
Where: MIT, Maclaurin Building, 4–370.

Please find details and register here https://libcal.mit.edu/calendar/events/adaptivepreservation

The lecture is sponsored by the MIT Libraries Wunsch Conservation Laboratory, The MIT Museum, and the MIT LIST Visual Arts Center. This is not a NEGBW sponsored event.

Upcoming Talk with Jeff Peachey // Harvard University – November 19

Please join us for our upcoming lecture with Jeff Peachey:

The Conservation of Dante’s 1477 La Commedia
Jeffrey S. Peachey, Independent Book Conservator, New York City, jeffpeachey.com

The conservation treatment of Dante’s 1477 La Commedia will be detailed in this profusely illustrated lecture. An examination of the remains of earlier binding structures, and decisions that lead to its resewing and rebinding in an alum tawed goatskin conservation binding will be discussed. During the treatment, evidence was found suggesting that the Inferno and Purgatorio cantiche may have circulated separately at one point. Differences between historic 15th century binding practices and modern conservation binding techniques will be highlighted, as will the difficulties of achieving a sympathetic relationship between original and new binding materials. Observations on the history, nature and idea of conservation rebinding will conclude the lecture, followed by an audience discussion. Conservators, bibliophiles, bookbinders, librarians, Italian scholars, and anyone curious about the physical structure of books will find this lecture of interest.

Where: Schlesinger Library, Harvard University, 3 James Street, Cambridge, MA
When: 6:00 – 8:00pm

Jeff Peachey Bio:
Peachey is an independent book conservator and toolmaker based in New York City. For more than 25 years, he has specialized in the conservation of books for institutions and individuals. He is a Professional Associate in the American Institute for Conservation, has taught book conservation workshops internationally, and was awarded fellowships from the Rockefeller Foundation Bellagio Center (Italy) and the University of Toronto’s Fischer Library (Toronto). He is a Visiting Instructor for the Library and Archives Conservation Education Consortium (LACE) of Buffalo State University, New York University, and the Winterthur/University of Delaware. “Ausbund 1564: The History and Conservation of an Anabaptist Icon” is his latest publication.

Hope to see you there!

Exquisite Corpse Project

In 2019, the New England Chapter of the Guild of Book Workers invited members across the Guild to participate in a collaborative project. This project was inspired by the abstract and absurd Exquisite Corpse illustrations created by the Surrealists in the 1920s. Twenty-one members from across the country signed up to participate.

Each plaquette was covered in Harmatan goatskin leather and assigned to three collaborators, who were given directions to create either a “head”, “body” or “legs” for their designated portion. Each collaborator was given a month to work on their portion before shipping it to the next collaborator. Everyone was asked not to peek and create a design without knowing what the previous collaborator(s) had done. The results were truly wacky and nonsensical and truly unique.

Each plaquette was auctioned off during the Standards of Excellence Seminar in Philadelphia and collectively raised $580. The proceeds will go towards the scholarship fund.

Jane Griffith
Combined profile and frontal facial views created with sea snake and goatskin onlays.   Outlined in black calfskin inlaid lines.

Lang Ingalls
Hand tooled lines are filled with bright blue inlays.
The inlays depict the ‘hand gesture of trust’* over a buddha-like round belly, in a stylized design.
* In the Yoga tradition this is called Pala Mudra, and is also known as creating clarity of thought and relieving anxiety.

Julie Stackpole
Design: “Cowboy Boots”
Lino-cut embossed then onlays of miscellaneous goatskins, embossed again, with extra blind lines and silver foil touches on the spurs tooled.


Emily Patchin
Onlays in black goat and buffalo leather. Feathered onlay in burgundy goatskin. Yellow goatskin cut with Japanese hole punch and inset in to tooled “eyes.” Teeth painted in acrylic. Blind tooling under eyes with small gouges.

Jason Patrician
My design was inspired by a book of insect artwork of Christopher Marley. I used a combination of leather onlays, which included metallic leather (salvaged from a local motorcycle seat upholsterer) to capture the natural iridescent colors of these insects. Blind-tooling was added around the onlays, and then filled with thinly pared strips of leather.

Yi Bin Liang
Teal leather, gold leaf and acrylic paint.


John Nove
Head was inspired by the design on a Northwest Coast (Haida) sun mask. Goatskin onlays, carbon tooling, metallic gold thread.

Jeanne Goodman
Eggshell inlay with carbon and gold tooling.

Roberta Woodrick
Miniature crazy quilt with hand-dyed and commercially printed fabrics. Machine pieced. Hand and machine quilted. Quilt hand-stitched to O’Malley Crackle Cave Paper. Inlaid into the board.


Priscilla Spitler
The head of CASSIOPEIA, the vain Queen of Ethiopia. Banished to the heavens by the Greek god of the sea, Poseidon, she was chained to her throne. Cut and pasted goatskin leather onlays with gold and colored foil tooling. Her constellation is tooled in gold stars on her headdress.

Erin Fletcher
I created a colorful cape by painting geometric shapes onto fair goatskin with Acryla gouache in navy blue, olive green, pale blue, magenta and coral red. Similar shades of cotton embroidery floss adorn the cape through hand embroidery in back stitch, chain stitch and French knots. The body behind the cape is made up of paper onlays of handmade kozo paper and Bugra.

Beth Morris
The deer’s legs are formed by Parchment inlays adjoined to green Leather Inlays that create each hoof. Both legs are surrounded by lines, broad strokes, various marks, blind tooling, and tooling in Silver Leaf, adhered with traditional egg glaire. Further layers of color were added with gold foil work and gouache painting in violet.


Karen Hanmer
Blind-tooled onlay of alum-tawed goat, inlaid lines of goatskin have been gold and pigment foil-tooled, surface gilding of sprinkled gold and moon gold leaf. Whale based on illustration from Natural history of the cetaceans and other marine mammals of the western coast of North America by Charles Melville Scammon.

Colin Urbina
Tooled Edge Onlays, Blind Tooling, Inlays, Gouache
A grotesque amalgam of a body with sea creature limbs.

Joanne Kluba
Goat leather, paste, gold foil


Lili Hall Sharp
Inlays: Oxidized and shiny copper, translucent vellum laminated to security envelope paper and tooled with gold. Onlays: Chagreen goat and snake skin leathers. The materials were chosen for their colors and textures knowing the plaquette was a terra cotta color. The design sprang from a doodle, knowing I wanted something playful, with an illusion of floating dimension.

Eric Alstrom
As spring approaches and insects return, I started thinking about the three sections of the Exquisite Corpse as head, thorax and abdomen. While perhaps not exactly analogous, the thorax fit the middle section. What began in my mind as a very stylized, generic bug turned into a shiny beetlesque butterfly. The wings are made from a collage of dyed kozo and acrylics; body is Claire Maziarczyk paste paper wrapped over folderstock; legs are black moriki wrapped around sewing cord set in paste. And just as insects fly through the air once again, I let my exquisite corpse fly off the plaquette in search of corporeal freedom.

Todd Davis
The main motif is an adaptation of a triskelion, an ancient symbol found first in Malta circa 4000 BCE and pre-Celtic Ireland circa 3000 BCE. This particular one is inspired by the flag of the Isle of Man, three armored legs with golden spurs. But rather than a monochrome background of red, a four-color wedge-shaped pattern is used which is inspired by the umbrellas used by the inmates in the 60’s television show “The Prisoner”. A Baltic birch plywood disk is covered in goat skin and surface gilded goat onlay. A central dowel on the reverse of the disk is pressure fit into the center of a disused fidget spinner roller bearing which is then fixed to the plaquette surface allowing the entire disk to spin.


Penelope Hall
Inlay with glazed earthenware and various layered papers, using wheat paste and PVA. I used a design from one of my doodles.

Coleen Curry
I made a whimsical non-human body with a tail and wing flaps. The neck portion showing to me  was slightly green and that led me to choose the materials.   I used top pared faux alligator leather that was similar in tone to the green and painted with teal and red acrylic highlights and dots. The lizard like body was inlaid into the board with underlays of black eel-skin wingy-flaps. A glass bead was sewn onto the tip of the tail before inlaying the body.  The are around the body was sanded and embossed with sand paper and painted.

Emma Sovich
Handmade mulberry paper, hand marbled cotton and abaca paper, handmade hemp paper

Workshop Opportunity with Daniel Kelm

Sign-up for our upcoming workshop with Daniel Kelm!

The Book Restructured: Wire Edge Binding

Description:
The range of books being produced today by artists is truly remarkable. Some diverge wildly from what we recognize as traditional book form, others play with slight variations. Often this break with tradition requires a reevaluation and restructuring of the traditional structures.

If you’re interested in creating a nontraditional book (e.g., a book with thick pages, or a book that is sculptural), the achievement of your goal may require the use of a material or movement not possible with conventional structures. Wire edge hinging grew out of just such a challenge. This binding configuration utilizes a thin metal wire along the hinging edge of each page. The metal wire is exposed at regular intervals creating knotting stations where thread attaches one page to the next. The result is a binding that opens exceptionally well, and gives you the option of producing unusual shapes.

During the two days we will look at various wire-edge structures useful for books, enclosures, and articulated sculpture. You will produce both a simple codex, and an accordion model that forms a tetrahedron.

All levels of experience are welcome.

When:
November 16 – 17 (Saturday & Sunday)
9:30am – 6:00pm

Where:
At the Wide Awake Garage
Cottage Street Studios
Easthampton, MA

Cost (includes workshop + materials):
$300 for members
$350 for non-members

Registration:
https://gbw.formstack.com/forms/negbw_the_book_restructured

The New England Chapter is on Instagram!

We want to feature our members to showcase what you are working on and events you might have coming up. If you would like to be featured please include #newengland_gbw in your post so that our moderator can find you. Please keep in mind that time sensitive posts may not reposted in time, so give our moderator enough lead time.

Follow us and see what we and our members are up to: @newengland_gbw

Join us for our Annual Meeting on August 10th at the Cottage Street Studios in Easthampton

Our 2019 Annual Meeting, will take place at One Cottage Street in Easthampton, MA. Several book workers in the Cottage Street Studios are opening up their spaces to our members. We are delighted to have them as our hosts, sharing with us their work and expertise. This event is open to both members and non-members.

Event Schedule
12:00 – 12:45: Traditional Water Gilding demo with Sarah Pringle of Cinch Custom Finishes
Working on a traditionally prepared substrate of gesso and bole, Sarah will demonstrate how to mark up and lay gold leaf on a flat panel. She will discuss and have samples of the materials that go into the preparation for traditional water gilding to understand the process of applying gold leaf.

1:00 – 2:00: NEGBW Annual meeting with light refreshments at Praxis Bindery (Room 4-24)

2:00 – 4:00: Cottage Street Studios Open House and Tag Sale with:
– Sarah Creighton (#4-17)
– Peter Geraty of Praxis Bindery (Room 4-24)
– Sarah Pringle (#4-42)
– Carol Blinn of Warwick Press (#3-03)
– Daniel Kelm (#5-03)
There will be some small demos and lots of bindery equipment and materials for sale. Please bring cash or your checkbook if you plan to do some tag sale shopping!

Where: Cottage Street Studios at One Cottage Street in Easthampton, MA 01027
When: Saturday, August 10th from 12pm – 4pm

RSVP: Please email newenglandgbw@gmail.com if you plan to attend!! You will receive more information regarding the event and directions, but please use the information below:

Directions to One Cottage Street Studios
Use a GPS to get to the Citgo 7-11 at:
97 Union Street, Easthampton, MA

The 7-11 is at the corner of Union and Liberty Streets
Follow Liberty Street – about one block
At the fork in the road stay right on Liberty
Go down the hill, about 1 long block
At the bottom of the hill turn right into the back entrance of One Cottage Street. There is a sign on the right – One Cottage Street, Liberty Street Entrance.

The back of One Cottage Street is straight ahead.

Park in the area by the greenhouse or cross the small bridge and park in the big lot.
Walk towards the back of the building and pass the loading dock so the building is on your right (a fence and the stream will be on your left). Go a short distance to the ‘C’ door.
Enter the building here.
Walk up three flights of stairs. My studio is at the top of the stairs to your right.

Sarah Pringle Studio: Fourth Floor #42