Library Blogs

3D printed multi-size tube holder for lab work.

A 3d printed popcorn bucket for a horror movie release.

3D printed flexible starfish fidget toy.

Gear-based yarn winder to wind yarn from hanks into cakes.

Laser-cut and painted plywood booklet for an art class final project.

The Janice Bluestein Longone Culinary Archive holds more than 2,400 community cookbooks from across the United States, ranging in date from 1871 to 2021. This month’s blog post features two gingerbread cake recipes from The Cook Book of the Woman’s Club in Franklin, New Hampshire, published in 1922.

This post is by Remy Djavaherian (BA in Middle East Studies / Persian Visual Culture, University of Michigan, 2025), drawn from his work with an album from the Islamic Manuscripts Collection.

Dosing funnel for an espresso machine.

Dual Letters Illusion Nameplate - a nameplate for a class professor, where one side has the class name, and the other has the professor's name.

The Stamps MFA Cohort ‘25 created an artist catalogue titled stop-loss, documenting our thesis exhibition. The idea was born from a collective desire to bring our projects to print while understanding our work within the context of contemporary art theory. The book features seven second-year Stamps MFA students: Hannah Buchanan, Sam Griffith, Andy Maticorena Kajie, Laura Mackie, Okyoung Noh, Charlie Reynolds, and Darren Spirk. Each artist has four pages featuring photographs of their thesis exhibition in the Stamps Gallery. Wall text from the thesis show is juxtaposed alongside exhibition photos taken by Andy Maticorena Kajie. In addition to the MFA students, we also asked Stamps faculty, staff, and collaborators to contribute writings that analyze how the theses connect to each other and our current socio-political climate, including themes such as loss, climate futures, identity, politics, and landscape. The catalogue itself is about 50 pages, designed by Detroit-based designer Emily Anderson with the inclusion of thesis exhibition graphics by Sam Griffith. Detroit’s Inland Press printed 150 copies of the 5.5” x 8.5” saddle-stitched catalogues. This project is a way for us to reflect on and examine our work and the work of our peers, which merge visual practice with critical inquiry to foster dialogue.