My name is Morgan and I create books and cards under the name Awl Jokes Aside (partly because my last name is too complex to just use my name, and partly because I love puns). In addition to enjoying long walks on the beach and candlelit dinners, I also love all things bookbinding and paper.
I was introduced to bookbinding during my senior year of college when I took a class to help complete my printmaking concentration. It immediately became my favorite craft, because I didn’t have to have some deep, meaningful explanation of why I made what I made – I could just make something because I liked it.
After four years of intense artsy-fartsy classes, I took a long break from making anything artistic or creative, but when I started feeling inspired again last year, I immediately got right back in to bookbinding.
For each book, I start with large sheets of Strathmore drawing paper and tear it down by hand to give it the deckled edge. Then it gets folded and marked for sewing, and I’ll use an awl (get it now? Awl Jokes Aside? Ha!) to create my guides. I then sew it all together and reinforce the spine of the paper with acid-free glue while it sits in a press.
When I’m making a hardcover book, I’ll cut down bookboard and cover it with either fabric or silkscreened decorative papers – I’m a big fan of earth tones and floral right now, so they make a fairly substantial appearance in what I make. I also love adding decorative elements, like a leather-band closure, a wrap-around cover with a clasp or a leather tie.
For softcover books, I use upholstery vinyl and sew right in to the fabric, so it has a great decorative spine where you can see the stitching. Each book, hardcover or softcover, takes me about 4-6 hours.
After making invitations for my sisters bachelorette party and bridal shower, it seemed inevitable that I’d make my way into making cards as well. While I do make cards that are embossed or have die-cuts, foiling is what I enjoy doing the most. I love seeing people laugh when they read them, and the foil effect really ties together the saying and the font to make a complete piece.
This will be my first year doing the Art Star Craft Bazaar in Asbury Park, and I can’t wait to meet some new friends! So swing by the Awl Jokes Aside booth and come say hi (even if you aren’t interested in handmade journals, sketchbooks or cards, I invite any and all who want to talk about dogs with open arms), and check out my website, Facebook and ‘gram. xoxo
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Wilder always had an eye for color and fabric. She originally started with knitwear but when their daughter came along she wanted to make timeless clothes that weren’t easily found in shops. Believe it or not she’d always been intimidated by sewing, mostly due to the half broken machines that she’d found in thrift stores and been working on. Her friend gave her some expert advice, buy a cheap, new machine with instructions (this is key) and learn the ropes on that. She did and with a few quick lessons from said friend, figured out sewing was not as terrifying as she’d first thought. It, in fact, was fun and liberating!
when i started making pots under Stanley Chester & Albert about two and a half years ago, i had almost 15 years working as a ceramic artist under my belt, including a BFA and an MFA in ceramic sculpture. i started SC&A with a very simple premise: to produce well made vessels that would be accessible to a diverse audience and appeal to a population of people who normally didn’t buy handmade pots. with that in mind, i decided to stick to simple forms like bowls and cups – things that could be used in a variety of ways and be at home in any domestic environment.
i’ve always been in love with vintage imagery, pop culture and snark, and the unexpected ways they can be combined. as for putting them on pots, it all started about seven years ago when i was still in grad school. i made a vase for a friend’s birthday: on one side was a dead flower, and the other said “BITCH PLS”. no one around me really got why it was funny, but i thought it was hilarious at the time (and still do). ceramics sometimes has a tendency to be overly formal and serious, so i love to disrupt that expectation.
most everything i make starts on the potters’ wheel, thrown by yours truly. i favor simple, elemental forms. everything is thrown generously and has a solid weight and heft to it. i want these pieces to stand up to daily use in your home, not put on a shelf only to be admired.
after the pots are trimmed and dried, they are bisque fired to 1860 degrees, and then glazed and fired again to 2232 degrees. almost everything i make is dipped in a clear glaze to allow the clay body (which is a really delicious speckled while stoneware) to shine through. i try to keep glazing very simple, mostly because i really hate glazing, but also because i’m more interested in using the vessel as a blank canvas for the images i apply.
i was introduced to the waterslide decal process by my colleague and friend, Sharon Bartmann. i immediately saw the possibility of decals and ended up running with it like mad. i source my images from copyright free and vintage websites and books, in particular the Dover series of illustration books, which compiles a huge variety of images in one place. after scanning or downloading, i play with the images in Photoshop a bit, adjusting contrast, brightness, proportion and orientation. because of the way the printer works, high contrast images without a lot of shades of gray work best.
once i have the image the way i want it in Photoshop, i print it out using a special printer and special decal paper. from there, i cut out the image, put it in water, and then affix the cellophane image to the vessel. it’s fired once more to permanently bond the image to the glaze. although the images are printed with black ink, once they are fired they turn a lovely reddish brown sepia color. with that aesthetic in mind, i gravitated toward imagery from the Victorian and Edwardian eras. i love anatomy and so skulls, hearts, bones and brains frequently find their way onto my work.
My studio is in a giant live/work industrial loft at Western Avenue Studios & Lofts in Lowell, MA, a complex of historic mill buildings that are home to over 300 artists. Lowell was the birthplace of the American Industrial Revolution and there are dozens, maybe hundreds, of old mill buildings that have been transformed into studios, condos, schools, restaurants, and small businesses.
A lot of artists and craft hobbyists talk about their tendencies to hoard fabrics, beads, paint, pretty much any kind of supply they can get their hands on. Here at Loomination, it’s all about the yarn. I usually have about 250-300 pounds of yarn on hand, and I use it up really fast!
Every product I create is made using fabric that I have woven myself. I start with the yarn (of course!) and thread it on to my vintage handloom, a huge wooden machine that is operated by hand. It can take up to 8 hours for me to prepare the loom before the actual weaving can begin. After the fabric is woven, the next step is to wash and shrink it before sewing into the final product. The fabric shrinks A LOT, usually 15-25% for most pieces, although it depends on the fibers I’m using. Calculating shrinkage is a big part of the process.
My newest collection of tableware – tea towels, placemats, and table runners – is what I’ve mostly been working on lately. I just started making placemats a few months ago and I’m a bit obsessed with them – there are so many different color combinations that I’ve been dying to try. Most of my home textiles are inspired by vintage feed sacks and ticking fabrics, everyday designs that are timeless and classic.
I’m really excited to participate in the 
