COURTNEY WINDHAM DESIGN
What are some of the most important practices for your creative process?
Collecting reference material is an important part of my process. I frequently take time to add inspiration and visual references to a book I keep on my desk in my work space. I photocopy images out of books, cut images out of magazines, collect items like logos, letterforms, sketches, color palettes and tape them into the pages of the book. I refer back to this collection every time I need some quick visual inspiration to stir up ideas. I also keep a few flat file drawers reserved for collecting paper, magazine pages, pages out of old books, recycled print outs, imagery from old calendars and more.
Keeping my work space interesting is important as well. In my office I have a wall dedicated to hanging current work or inspiration. This way I’m able to glance at recent pieces and evaluate their progress. Check out this video I created to show my process from collecting references to collaging to block printing.
How does your current creative practice tie into your time spent at RISD?
I earned a degree in Illustration from RISD. Studying illustration allowed me to develop a sharp eye for everything from composition to storytelling. Through the process of learning to draw, paint, collect research and develop concepts, I obtained a valuable foundation for design.
In 2009, I earned a masters degree in graphic design. I now teach web design, kinetic typography, package design and branding at Auburn University’s School of Industrial + Graphic Design in Auburn, Alabama. Skills learned from a foundation in illustration are always at play in my teaching and personal design work. In the past few years, I have developed a body of work that includes collage and block printing. These hand made processes help me to develop ideas for other design work like posters or animations.
Tell us about some of your main sources of inspiration.
Patterns in nature have been a big influence on my thinking and process of developing my collages and block prints. In fact, as a student at RISD I was highly influenced by the Nature Lab. I also grew up in a wooded area in Birmingham, Alabama. At an early age I was roaming around in nature discovering all types of shapes, patterns, and wild life.
In addition, wherever I travel I take photographs of patterns I see in a city or in nature. For example, I collect photos of patterns and shapes in architectural elements (ex: walls, brick, iron railing), landscapes (ex: leaves, plants, light), textiles or anything else I discover.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
This is my first year to apply to RISD Craft and my first time exhibiting! I’m really excited to show my current body of work because it is an experiment in pattern design. The works I am creating are studies of line, shape and letterforms for the purpose of developing a series of patterns for textiles. Though these prints are intended to be the beginning of a process, they have become pieces of art in themselves. They can be enjoyed by others even if they are initial studies for further development in my process.
Any recent press, exhibitions, achievements or awards you’d like to share with us?
This past year I was featured in GDUSA Magazine’s Educator-to-Watch issue. It was an honor to be included among legends like Richard Wilde, Mary Scott, Phil Hamlett and Ellen Lupton. Over the last couple of years my design work has been published in a variety of design magazines and books. My posters, websites, collages and logos have been published online and in PRINT Magazine, HOW Magazine, Graphis Design Journal, several Creative Quarterly Journals and LogoLounge Volume 9. Also, this summer I received a competitive design fellowship from the Alabama State Council on the Arts. I’m looking forward to utilizing this grant to further my research in design.
Anything else you’d like to share?
Check out Bon Appetype Shop online at www.bonappetypeshop.com — This is my block printing website which includes a process video and examples of prints and patterns. For more of my professional design work take a look at my design portfolio on www.courtneywindhamdesign.com.
To see more of Courtney’s work, visit bonappetypeshop.com and courtneywindhamdesign.com.
RICHARD HAINING
Richard Haining
[2005, Furniture]
Based in New York, NY
*People’s Choice Award winner [RISD Craft 2015]
How does your current creative practice tie into your time spent at RISD?
RISD introduced me to the work of some amazing artists. George Nakashima’s understanding of material’s inherent soul, the stack laminating and subsequent hand carving seen in Wendell Castle’s work, and Andrew Goldsworthy’s premise of taking materials as you find them to create new work are all a constant source of inspiration.
What are some of the most important practices for your creative process?
RISD instilled in me the importance of problem solving in all aspects of the creative process (regardless of major, medium, or situation). But, patience is required to successfully problem solve. Patience does not always come easy to me, but my chosen work is a very methodical and meditative process that is a constant reminder me of the importance of patience.
Tell us about some of your main sources of inspiration.
Waste was the initial source of my inspiration. My current body of work, STACKED, uses salvaged wood. When I first started making STACKED pieces, it was due to lack of financial resources. But very quickly I became engrossed in the challenge of using very small parts to create a larger whole. There is such an over-abundance of scrap wood being thrown out in local woodshops and from the plethora of pre-war building materials being trashed from NYC’s architectural landscape. This material other people deemed “waste” was in my eye perfectly good, and became the building blocks for my work. Using salvaged wood just requires a bit more time and patience to create the finished piece. I love that my process allows me to create something that cannot be found in nature. There is no burl or spalting that will ever match the mosaic quality my finished pieces take on. Unlike segmented work, I have no preplanned math. Since I build piece-by-piece, layer by layer, the result is an insanely beautiful random patterning. My choice of sculpting the exterior of each piece by hand (there is no lathe work on any of my work) results in a finished surface with subtle undulations similar to that of hand built pottery.
Any recent press, exhibitions, achievements or awards you’d like to share with us?
I was recently commissioned by ASID’s NY Metro Chapter to design and create 10 awards for their 2018 Honors Gala which took place at the Conde Nast office’s in One World Trade Center.
I also received an award from the James Renwick Alliance for Innovation in Craft at the American Craft Council Show in Baltimore back in February of this year.
To see more of Richard Haining’s work, visit richardhaining.com