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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

Third Annual Paper and Print Exchange – Bugs!

We just finished up our 3rd Annual Print and Paper Exchange with 10 members participating. This year, we offered up the optional theme of bugs, which seems to have been fun for many of the participants. Check out the great work our members produced for this exchange and keep an eye out for the next print and paper exchange!

Stuart Copans – “What’s Bugging You?” (4 layer paper cut frottage print, printed using a #2 graphite pencil after attempts with charcoal sticks failed)
Karen Hanmer – excerpts from The Art of the Book
Barbara Hebard – “A Transformed Arthur the Theologian is greeted by St. Peter at the Gate of Heaven.”

From Barbara: I was pleased that the New England Chapter of the Guild of Book Workers chose the theme “Bugs” for the annual Print and Paper Exchange. This gave me the opportunity to finish the story of Arthur the Theologian. My whimsical collage shows Arthur, after a lifetime of digesting the Bible, winging his way into Heaven. The print is called “A Transformed Arthur the Theologian is greeted by St. Peter at the Gate of Heaven.” ) This also has a story to go along with it: https://johnjburnslibrary.wordpress.com/2013/07/29/conservators-notebook-arthur-the-theologian/

Sabrena Johnson – “Sweet Summer Hues”
Kate Levy – “Sea Bug”
Yi Bin Liang – no title
Anne McMillan – “Bug ABC”
K.E. Sekararum – “Cicada: Summer in DC”
Julie Stackpole – “Bugs”
Colin Urbina – “Millipede”

Exquisite Corpse Plaquette Project

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. In 2016, the New England Chapter collaborated with the graduating class at North Bennet Street School to create 7 unique Exquisite Corpse plaquettes.
This year, we are excited to announce a new Exquisite Corpse collaborative project that will be open for all Guild members, from any chapter.
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The project will be limited to 24 participants, which will yield 8 unique plaquettes. The final pieces will be auctioned off at the banquet during the Standards of Excellence Seminar in October.

Participants will receive a leather plaquette and be asked to create either the head, body or legs of the figure. Each collaborator is invited to complete their portion using any number of decorative leather techniques, which could include blind or gold tooling, onlays, surface gilding, inlays, painting, or other forms of mark making.

Each collaborator will have approximately 4 weeks to finish their portion during the months of March, April or May. Participants will receive specific instructions on layout and where the plaquette is to be shipped upon completion. We do ask for a small fee of $10 to help supplement the cost of leather, preparing the plaquettes and shipping costs.

To register click here:
When you register please mark which two months you would prefer to receive the plaquette. We will do our best to give everyone their first choice. Please email Chair Erin Fletcher if you have any questions.

March Workshop Opportunity with Madeleine Durham

We are excited to announce an upcoming workshop with Madeleine Durham. This is a 1-day workshop that will be offered on Saturday, March 23 or Sunday, March 24. Our Secretary, Athena Moore, will be hosting the workshop at her studio space in Somerville. You will find all the information regarding the workshop below, including the link for registration.
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Class description
Madeleine’s Paste Papers are a unique creation and a brilliant way to add a fresh and original look your creative book art and calligraphy creations.  In this workshop you will learn the brush technique that Madeleine has developed over the last many years.  You will learn what kind of brushes work best and how to hold them so that you create a variety of lines, shapes, and patterns.  You will also learn a couple tricks for blending colors.  You will leave the class with a basic knowledge and ability to create straight lines, wavy lines, subtle blending techniques and geometric patterns.  Madeleine’s paste paper technique is delightfully spontaneous.  Come to class ready to have fun!

Bio
Madeleine Durham is a paste paper artist who shows her work in her hometown of Santa Fe, NM and around the country.  She travels to many shows including the annual Guild of Book Workers  Standards Conference,  the International Calligraphy Conference, and Codex.  Her papers lend themselves well to many applications including fine book binding, calligraphy, book art, and collage.  She’s produced special-edition work for Nawakum Press, Palace Press, Flea Circus Press, and one of the top three social media platforms.  Her work has been used in one-of-a-kind books by Don Etherington and Monique Lallier among many others.  Her papers can also be found in the collections of the Watson Library at the MET, North Bennet Street School, The American Academy of Bookbinding,  and the Morgan Conservatory.  In a moment of inspiration years ago she happened upon a way of creating paste paper designs using a brush technique which has evolved into the paste painting which she creates for her wall art.  A member of the Santa Fe Society of Artists, she displays and sells her fine wall art, which she calls paste painting, during the warm-month weekends just off the city’s historic downtown plaza.  Madeleine can be reached at madeleine@madeleinedurham.com. Visit her website at www.madeleinedurham.com

When: 
March 23 or 24*
9:00am – 4:00pm

*This is a 1-day workshop. Due to the limitations of our online registration system, you will not be able to choose between the two available days. After you register, please email me with your preferred date.  
 
Where:
Washington Street Art Center
321 Washington St.
Somerville, MA 02143
Parking Available
Fee: 
Members: $150
Non-Members: $200
Registration:
Please feel free to email Chair Erin Fletcher at newenglandgbw@gmail.com if you have any questions.

Photos: Fall 2018 Workshop with Nicky Oliver

In October 2018, Nicky Oliver came to Boston, MA to teach a phenomenal 2-day workshop in leather dying for our members. Here are some photos from that workshop to inspire you to keep an eye on your inbox for our future workshops. Our Chair, Erin Fletcher, has already emailed members about the next workshop, which will be in March, with Madeleine Durham and her special paste paper techniques. Sign up quickly, as spots are limited.

Nicky Oliver had us working with powder dyes and spirit dyes on fair leather scraps of many shades. Nicky demonstrated techniques like marbling, masking, and craquelure, which we practiced before we each prepared a final plaquette. As always, test your materials before moving to a final project! We all came away with big ideas for applying these techniques to our own work.

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Jan 30 Lecture: Todd Pattison

Todd Pattison on Adhered Boards Construction: The transitional “missing link” between laced on boards and case binding
 
Wednesday, January 30th from 6:00 – 7:30pm

New England Historic Genealogical Society
99-101 Newbury Street, Boston, MA

Light refreshments will be provided. The talk will begin promptly at 6:30pm.

The development of adhesive case binding was instrumental in the industrialization of bookbinding in the nineteenth century but little has been written about how bookbinding transitioned from laced-on boards to case construction. This talk will examine the history of adhered-boards construction, where the cover boards of bindings were attached with a waste sheet of the endpapers rather than lacing them on, and the role it played in moving to case binding. Examples from the eighteenth and nineteenth centuries will be used to show that the structure was widely practiced and that case construction did not occur as early as many bookbinding historians have stated. Finally, several techniques for identifying adhered-boards technique will be discussed to be able to differentiate it from case binding, as both were in common use in the 1830s and 1840s.

Todd Pattison is the Conservator at the New England Historic Genealogical Society, working to preserve and care for the Society’s collection of books, manuscripts and fine art. He has an undergraduate degree in Art History from Nazareth College and an M.L.S. from the University of Alabama. Todd is an active member of the New England chapter of the Guild of Book Workers, a Fellow in the American Institute for Conservation of Historic and Artistic Works (AIC), and for the past five years has taught the course “American Publishers’ Bookbindings, 1800-1900” for Rare Book School at the University of Virginia.

This lecture is based on an article co-written with Graham Patten for Suave Mechanicals Vol. 5 titled Confusing the Case: Books Bound with Adhered Boards, 1760 – 1860.

Graham Patten is a 2014 graduate of the Buffalo State College master’s program in art conservation, he currently serves as an Assistant Book Conservator at the Northeast Document Conservation Center (NEDCC). He was the 2014–2016 Conservation Fellow at Northwestern University Library and was previously a conservation intern at the Harvard University Weissman Preservation Center. In his artistic pursuits, Graham often focuses on dynamic sculptural and mechanical elements, and enjoys merging these features with innovative book structures.