Friday, 23 November 2012

The Invisible Dog Art Center + Andre Da Loba.

On the New York trip we took the subway from where we were staying in Manhattan to Brooklyn to visit Andre Da Loba, whose studio is in The Invisible Dog Art Center. He greeted us and we looked around the ground floor, which had an exhibition on created by Steven and William Ladd called ‘Shabyogen’. After looking around at all the work but not really knowing where it all came from, a lovely man started to tell us about some history of the building. He went on to say that it used to be a factory that produced accessories such as belts and jewelry. Which then made sense looking again at all the work the Ladd brother’s had made, and realizing it was from all of the parts that were left when the factory was abandoned. He said that they also used to make the invisible dog leashes there, which is where the name of the center comes from!








After that we entered a huge lift that took us up a floor where there were several artist studios including Andre’s. It was full to the brim of his work and other inspiring images. We also wonder around the other rooms on the floor and there was just so much to look at I could have stayed there for days! We were lead up to the top floor where we were briefly introduced to Oliver Jeffers, which was an added bonus! There was other various pieces of installation work on that floor too. Andre asked us all to sit down around him and he gave us a little show from his briefcase of some of the 2D and 3D ideas that he had made and been successful (and not so successful) with over his career. He also gave us some useful advice and told us to do whatever we feel like doing and don’t do anything anybody tells you to do if its not your style.







Thursday, 22 November 2012

Wednesday, 21 November 2012

Bookbinding Workshops.


Over three Mondays in September we were taught 3 very different types of bookbinding. Lucy Wilson came in to give us workshops and also to give some feedback on our current work. The first method was the ‘Perfect bind’; this type of bind is one of the most common and what I think is the sturdiest kind. It is a bind that you can either leave exposed or you can hide. I think in my future work, if I decide to make some books, or even just to make my own sketchbooks, I would prefer to use this one.



The second that we learn was the quick and simple but effective Japanese bind. This one takes up a lot less time, patience and a lot less thread. I feel it is good for binding scraps of paper together that you have already used but don’t want to throw away, it is useful because when making this type of book you don’t have to really worry about which way you are going to put an image onto paper because they can just go one after the other.


The third and the hardest one for me was the ‘Crochet’ bind. It looks best when it is exposed. When it is finished it looks like little rows of small plaits tying the pages together. I think this bind doesn’t really suit my style of work but would be great for others, as it does look really impressive.



The choice of bind you pick should relate to the content the work you want to put inside. You should think about the material choice i.e.; what kind of thread, what you might use to cover the book, or if your not going to cover it what to use for the front and back.

Stephen Byram + Lotta Jansdotter.

Stephen Byram's House.

On our trip to New York we went to visit Stephen Byram in his home in New Jersey. He does all kinds of work, which he had all around his house. A lot of which where many different CD covers. Many of them were collage/abstract/line drawing. He was really up beat and was glad to talk about everything around his house. I remember him saying that at the moment he had been really into making sculptures with large and small bits of found objects, mainly wood. He had them scattered in every room we visited. My eyes could not stop, as there was just so much to look at! As most of the works that he had kindly laid out for us were CD designs, He started to talk about how, because of the obvious things such as the Internet and online downloading, that his work had to move on, which he was fine with because he enjoyed moving the media he worked with.





Lotta Jansdotter's Shop + Studio.

Some of us also made a trip to see Lotta Jansdotter’s Shop and Studio in Brooklyn. Unfortunately she was not at the studio as she was somewhere on the other side of the world at a business meeting of some sort, But her lovely manager was there to talk to us with any questions we had. She told us that Lotta does screen printing workshops now and again because a lot of her work is mass produced so she doesn’t get the chance as often to do actual hand screen printing which she enjoys. She also shown us around the shop and told us which things belonged to which collection, what was new and what was older. Her studio, which was an open space just next to the shop, was full of inspiration; Lots of books, drawings, samples, ornaments and plenty of different art supplies.