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.
ANNE DEPASQUALE MILLINERY
Anne DePasquale
[1993, Textiles]
Based in New York, NY
Innovation and attention to impeccable details is my work is a driving force. I create one-of-a-kind accessories combining classic millinery techniques and shapes with cutting-edge details. Tie-dye, gold leafing, graffiti and unconventional materials like 35mm film, define the signature Anne DePasquale new vintage style.
How does your current creative practice tie into your time spent at RISD?
At RISD we were encouraged to explore our creativity while developing our critical thinking skills. In my work, I strive to push the boundaries of traditional headwear to create accessories that stem from those traditions, while creating something fresh and new each season. I use classic techniques, incorporating unconventional materials in many designs. One of my signature collections features 35mm film as headwear. I use my textile training to create other signature hat collections utilizing gold leafing and tie-dying of hats. I am currently in the process of integrating a Latch Hooking tapestry tecnique into my new collections. Additionally, I am creating a new line of printed textiles to highlight my 2019 Collections.
What are some of the most important practices for your creative process?
There is no shortage of inspiration to draw from in NYC. The people, the art, the architecture, the energy – all create a vibe that helps me form ideas. My process is to explore life through childlike eyes, as if everything is new. Every day, I try and view the “ordinary” from a new perspective. Sleep is also very important in my creative process. Often I come up with my best ideas either right before I fall asleep, or as I am waking. I harness my intuition and then try to breathe life into it. Sometimes the piece turns out just as imagined, and sometimes it doesn’t. Sometimes what seems to be a mistake becomes my favorite piece. I stay open to the process and to my craft.
Tell us about some of your main sources of inspiration.
My current main source of inspiration is juxtaposing nature and city elements. Flowers are a huge design element for my festive fascinators for Kentucky Derby and Central Park Conservancy headwear. I am particularly fascinated by the colors of the sunset sky as they reflect on the hard lines of the Manhattan skyscrapers.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
This year for my Fall/Winter Collections I am working with a new technique generally used for rugs called Punch Rug Hooking. I’m using this technique to put a new twist onto my classic 1920’s inspired cloche hats. This collection will be a tapestry of Art Deco design details, and a palette inspired by seasonal changes in New England.
Any recent press, exhibitions, achievements or awards you’d like to share with us?
I am quite excited about numerous shows I worked on this year. I made hats for My Fair Lady which just won the Tony for best costume design. I also made hats for Frozen on Broadway, Come From Away, and The Cher Show, designed by Bob Mackie. It was a dream come true to work with the legendary designer. I am also excited to expand my business. In addition to online and RISDCraft, this year I will be showing at Pop-Up Shop’s and art shows in and around NYC. Check my instagram for show details @AnneDePasquale.
To see more of Anne’s work, visit annedepasquale.com
KARENNA MARAJ JEWELRY
Karenna Maraj
[2005, Jewelry & Metalsmithing]
Based in Belmont, MA
Karenna Maraj creates distinctive industrial jewelry from washers and circular shapes. Each piece is hand worked in her studio in Belmont, MA. The jewelry ranges from light and delicate to deliberate and bold. She is inspired by her passion of everything jewelry and by the exploration of endless possibilities. Her designs showcase the circular elements, and make women feel special, unique and beautiful.
What are some of the most important practices for your creative process?
The most helpful way for me to be creative is to work and make a piece. As I create a particular piece of jewelry, ideas begin to form about a new way to assemble those same parts. I usually like to make sketches as I go if I have many ideas, and if I’m very excited about an idea, I frequently will quickly make a sample and put it for sale in my store. By doing this, I can get feedback and see what people think of the piece. I’ve been established in one location for 8 years, so my customers are very helpful because they have seen my work progress and they give me helpful, thoughtful and honest opinions.
How does your current creative practice tie into your time spent at RISD?
All of my current production work is inspired by my thesis project at RISD. In school I made a series of 7 necklaces with industrial washers and handmade circles. These necklaces were large and heavy- not for everyday wear. I decided upon the most interesting aspects of each of the necklaces and held those sacred, but transformed the necklace into a more practical weight and versatile design. They’ve since evolved into pendants and earrings and bracelets. So now there are styles for everyone.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
I am most excited about my compression collection. This original design style centers around a series of handmade copper circles that have been hammered and sometimes oxidized, then made into a series of necklaces and earrings. This collection has been my most popular, especially if I combine washers with the compression. My favorite pendant also has freshwater pearls with the oxidized copper and comes with an option of two different seed beads.
To see more of Karenna Maraj’s work, visit karennamarajcollection.com
ANCHORPAK
In Maine, ingenuity and resourcefulness are part of our character. We have all sorts of wicked weather and rough terrain to navigate and as a result we have learned to tinker with things to make life go better. It was in this tradition that Anchorpak’s founder, Colin Sullivan-Stevens, a Maine native and Rhode Island School of Design graduate, designed the Anchorpack. He needed something to carry all his stuff to his studio on his bicycle. It needed to feature accessibility, hands free carrying, stability and comfort. Using an old movie screen for material and his geometric expertise from studies in acoustics, he designed and stitched together his first Anchorpak.
It is in the spirit of local community and environmental awareness that Anchorpak manufactures all products in Maine. Maine is a state with a long tradition of quality textile manufacturing but over the years they have lost many jobs to overseas manufacturing. Anchorpak aims to do their part to restore this valuable skill set and employment sector to Maine, and source materials in the USA.
What are some of the most important practices for your creative process?
Brainstorming: My approach to small and large decisions is to attempt to work out flexible connections between the concrete functional aspects at play and the multifaceted soup of ideas and experiences kicking around upstairs. I try to store up on the possibilities even when ideas and things don’t connect because storage is free.
How does your current creative practice tie into your time spent at RISD?
From my current perspective as a designer working outside my field study at RISD which was painting, I was not too surprised to shift my creative practice to address the ergonomic design of bags. The sense that there is always more to understand about everything, that solutions to creative challenges are unlimited if enough focus and hard work are put forth was implicit at RISD and remains the basis from which I begin my work everyday.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
Yes, I am looking forward to being back on Benefit Street to share a design invention I’ve dubbed The Anchorpak bag. I have a feeling that it might appeal in the RISD community where can develops an eye for simple effective product design.
Tell us about some of your main sources of inspiration.
Childhood/Nature: butterflies, building “forts” in the snow and in the woods, downhill skiing, whale watching, flying an airplane at age 11 and The Space Shuttle. Later on… free-jazz, Bjork, the earth, nature and hearty mysteries, food, good civics and well balanced design systems, uncertainty and humanistic ideals.
Any recent press, exhibitions, achievements or awards you’d like to share with us?
Anchorpak has been granted funds by the Maine State Technology Institute in 2015, 2016, 2017 to understand and develop our innovative ergonomic bag design concept for improved everyday carrying. We have been featured in NE regional press often including The Boston Globe and Downeast Magazine editorials, Maine Biz and Old Port Magazine entrepreneur/artist /designer profiles.
Visit anchorpak.com to see more!
BELA MONDE
Lisa Limer
[1977, Photography]
Based in Pawtucket, RI
Bela Monde’s RISD Craft Gallery
Bela Monde is an accessory/lifestyle company and is a natural out growth of my professional life as a travel photographer. For over 20 years I was under contract as a photographer with Conde Nast Traveler and collaborated with other national and international publications as a freelancer. My textiles originate from this archive of photographs taken from around the world. I transform my photographs into abstracted designs that are both sophisticated and representative of the destination that inspired its creation.
How does your current creative practice tie into your time spent at RISD?
I directly transform elements from my extensive archive of photographs to create my textile designs which are then digitally printed onto 100% silk.
What are some of the most important practices for your creative process?
Using photoshop to identify elements in my photographs and transform them in such a way as to reflect a particular culture/destination. Digitally printing on silk these patterns and sewing them by hand to create wearable art: scarves, caftans, robes, and pajamas.
Tell us about some of your main sources of inspiration.
I believe that travel is a transformative experience. I use my extensive travel from around the world as a travel photographer for prestigious magazines……40 countries on 6 continents in over 15 years….as my means to create wearable art that express my story, inspiration and respect for global cultures.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
I will be exhibiting our new loungewear collection of robes and pajamas as well as scarves–all 100% silk, sewn locally and 100% American made. Our new collection draws its inspiration from India, Laos, Thailand, Morocco and Spain.
Any recent press, exhibitions, achievements or awards you’d like to share with us?
To see more of Lisa’s work, visit belamonde.com
ANASTASIA AZURE
Tell us about some of your main sources of inspiration.
The elegance of geometry is my main source of inspiration. I am particularly drawn to radial symmetry and its ability to provide serenity. I merge the disciplines of jewelry metal arts and textiles to explore mathematical shapes and scientific principles. I toggle back and forth in size between bold, wearable jewelry and geometric, wall sculptures. I use an ancient Peruvian weaving technique that I have adapted to a floor loom and weave with nylon and wire.
Is there a work/body of work that you are particularly excited about sharing with us at RISD Craft this year?
I am thrilled to debut my Dimensional Weave Jewelry collection with the RISD community this year. I handcraft contemporary art jewelry by combining textiles and jewelry metal arts with non-traditional materials. The jewelry is very detailed, complicated and time intensive to make. I do very limited production throughout the year. RISD Craft will be my exclusive retail event of 2018.
Any recent press, exhibitions, achievements or awards you’d like to share with us?
EXCERPT FROM MY UPCOMING PRESS RELEASE: Anastasia’s innovative artwork attracted the eye of a Hungarian art consultant on Instagram, leading to her largest project to date. Fifteen woven wall sculptures were commissioned for an overseas installation! This led to the expansion of her studio at the Hope Artiste Village in Pawtucket, RI, a harmoniously designed space for production and exhibition.
Her largest international project will proudly be displayed in the newly built Grand Hyatt, Abu Dhabi, United Arab Emirates, slated to open its doors late summer 2018. The 5-star property will display Anastasia’s architectural, interior décor in the atrium lobby among many other works by respected artists. Additional sculptural work by Anastasia can be found in the Ritz Carlton – Half Moon Bay, CA, and the Hilton in Singapore.
To see more of Anastasia Azure’s work, visit anastasiaazure.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
2018 RISD CRAFT PARTICIPANTS
We’re gearing up for 2018’s RISD Craft!
We’ll be releasing a series of Artist Spotlights starting tomorrow here on risdcraft.com, to give you a greater insight and a behind the scenes look at the artists and makers that will be joining us on Benefit Street this year.
Remember to mark Saturday, October 6, 10am-5pm, down in your calendars, and let your friends know you’ll be attending by rsvp’ing on our facebook event page: https://www.facebook.com/events/1070997579708313/
2018 Participating Artists include:
A.T. PRATT 13 IL
AHRONG KIM MFA 13 CR
AIRLIE ANDERSON 00 IL
ALORA – Maria Ficalora 76 PR
ANATASIA AZURE MFA 11 TX
ANCHAL – Colleen Clines MLA 10
ANCHORPAK – Colin Sullivan-Stevens 01 PT + Kate Hargrave 04 PT
ANNA BOOTHE 81 SC
ANNA HIGHSMITH 97 ID
ANNE DEPASQUALE 93 TX
ARPIE GENNETIAN 92 GD
BELA MONDE – Lisa Limer 76 PH
BENJAMIN HERNDON STUDIO – M. Benjamin Herndon MFA 16 PR
BRENDAN FULLER CERAMICS – Brendan Fuller MFA 16 CR
CHRISTIAN TONSGARD 05 CR
COLORQUARRY – Amanda Mccorkle MFA 03 CR
COUTNEY WINDHAM DESIGN – Courtney Hurst-Windham 04 IL
COYWOLF STUDIO – Ian Buchbinder 11 CR
CRAFT ADVISORY – Chris Taylor MFA 02 GL
DAVID ALLYN MFA 03 CR
DAVINE JEWELRY – Danielle Vaillancourt 02 JM
DEBORAH FORMAN 92 FAV
DOVECOTE COLLECTIVE – Helen Quinn 91 TX
DWRI LETTERPRESS – Dan Wood 92 PR, Lois Harada 10 PR + Hope Anderson 13 PR
ELANA CARELLO SWEATERS – Elana Leanna 84 AP
ELYSE ALLEN TEXTILES – Elyse Allen 00 TX
FOUNDACIUN – Nina Lorusso 08 ID
GLAZE LLC – Akeem Glaze 12 ID + Stephanie DelVecchio 12 ID
HANDMADE BY ALLISON COLE – Allison Cole 03 PR
HEATHER GUIDERO JEWELRY – Heather Guidero 02 JM
HECHO EN HARLEM JEWELRY – Ifetayo Abdus-Salam MAT 09
HIMATSINGKA – Priya Himatsingka 00 JM
HINGE – Margaret Hinge 11 JM
INDIVIDUAL ICONS – Leeann Herreid 91 JM
JB FIREWORKS – Jenine Bressner 01 GL
JEREMY SCHILLING ART – Jeremy Schilling 07 IL
JEUNG-HWA PARK TEXTILES – Jeung-Hwa Park MFA 00 TX
JUDI GOUDREAU 91 IL
JULIA SAMUELS MFA 15 PR
KARENNA MARAJ 05 JM
KATHERINE RUDOLPH JEWELRY – Katherine Rudolph 09 JM
KENDALL REISS GALLERY & STUDIO – Kendall Reiss MFA 11 JM
KIILTÄÄ – Lauren Lake 91 ID
LAURA ZINDEL 85 CR
LAUREN SKELLY BAILEY MFA 15 CR
LBK STUDIO – Laura Kramer 94 GL
LINDA MAGI 77 JM
LUNA PARC – Ricky Boscarino 82 JM
M.PATMOS – Marcia Patmos 91 AP
MARGARET DEBRUIN DESIGNS – Margaret Debruin MFA 95 CR
MARTIN MCDERMOTT MFA 16 CR
MATHILDE – Claudia Middendorf MFA 05 GD
MATTHEW FINGER STUDIO – Matthew Finger 91 IL
MAU-HOUSE – Andrew Mau 09 FD
MICRO PICNIC – Louisa Donelson 06 PT
NEST HOMEWARE – Matt Cavallaro 10 ID
NICOLE HAVEKOST 94 PR
NOAH’S SUITCASE – Kim Mast 74 AP
NOEPE DESIGN – Kate Zelenka 09 AP
ODD INQ – Jonathan White 92 CR
OLIVIA CHIN MUELLER 14 IL
PORCELAINS BY T.GRABBERT – Tom Grabbert 77 CR
PRETTY SNAKE – Joseph Segal MFA 09 TX
RA HA – Julia Sullivan 10 PR
REBECCA SKINNER PHOTOGRAPHY – Rebecca Skinner 10 PH
RENEE MONTEIRO-BERNARD 00 ID
RICHARD HAINING 05 FD
RIVER BIRCH DESIGN – Tim Hallinan MLA 96
RUTHIE MURRAY STUDIO – Ruthie Murray 90 IL
SECRET DOOR PROJECTS – Ian Cozzens BArch 05
SHE-WELD – Marsha Trattner MFA 87 SC
SOURCE AND TRADITION – Alexandra Vaga 04 FD
STUDIOSOPHIASOPHIA – Sophia Readling MFA 12 JM
SUSAN FREDA STUDIOS – Susan Freda 96 SC
THE WEAVING MILL – Matti Sloman 07 PT/MFA 14 TX + Emily Winter 15 TX
THERE WILL BE CAKE – Robin Mcguirl 07 IL + Jess McGuirl 07 IL
THREE WHEEL STUDIO – Luke Chen MAT 89
TIRESH – Sherit Levin 90 IL
TZU-JU CHEN 00 JM
WANDERLUST CERAMICS – Craig Crawford 81 TX
WATERMARK CONTEMPORARY ART – Kristen Gossler 89 PT
WOLF JAW PRESS – Alicia Burnett 13 IL