Archives for category: paper connection

Sizing, dosa, wheat pasteMany of our readers are quite knowledgeable when it comes to sizing your own paper, especially sizing your “go-to” paper.

Here is a step-by-step “recipe” for cooking up your own sizing and applying it to your favorite Eastern paper.

The photos shown here are mostly depicting sizing made from wheat starch.  Nope!, it’s not a gluten-free, but not a problem for the paper, and a nice alternative to animal-based sizing.

Exciting news regarding plant-based sizing… last night we received a new Eastern paper, already pre-sized with devil’s root starch, “konnyaku” -no animals used at all with this process, only human labor.  Photos will be posted soon on social media.

We have entertained many varying viewpoints on sizing and sizing recipes. What are yours? Please share below, along with your experiences in making your own sizing. In the meantime, enjoy our sizing tests, made in our paper “kitchen”, here in Providence.

Adding sizing to paper affects the paper fibers’ sensitivity to humidity, absorption, and bleeding. There are many materials that can be used to size paper; we will cover the sizing procedure for gelatin size and wheat paste. It is not unlike cooking, where 90% of the procedure is preparation. This method allows for easy application with a large soft-bristle brush.

Gelatin Sizing Recipe:

This is the recipe for rabbit skin glue that can be used to size paper. (Please note: the gelatin size will need to be prepared 8-12 hours in advance.) What you will need:

  • Rabbit skin glue: 1/3 Cup (powdered or solid sticks)
  • Crystalline Alum: 1 Pinch (potassium aluminum sulfate)
  • Double boiler with lid (a glass jar and sauce pan will also work)
  • 16–32 oz. plastic / glass container (glass is recommended)
  • Soft-bristle brush

Step One: Soak the glue in a quart of cold water for several hours until it swells and softens. (With solid sticks this may take overnight or 12+ hours).

 

Sizing, dosa, animal skin glue

 

Step Two: Once the glue has softened and become gelatinous heat in a double boiler. The mixture should be stirred continuously until the gelatin has dissolved and the glue has become one consistent solution. (Note: never allow glue to boil). Remove from heat and stir in 1 pinch of alum. Allow the glue to cool slightly and apply warm to your paper. Apply one coat to each side and allow to dry completely on newsprint. Additional coats may be added as necessary.

Sizing, dosa, animal skin glue, wheat paste Sizing, dosa, animal skin glue, wheat paste

Sizing, dosa, animal skin glue, wheat paste

The remaining size solution can be saved in a jar in the refrigerator, and only requires heating to be used again.

 Sizing, dosa, animal skin glue, wheat pasteSizing, dosa, animal skin glue, wheat paste

Wheat Paste Recipe:

This is the recipe for wheat paste that can be used to size paper.(Please note: the wheat paste will need to be prepared one day in advance.) What you will need:

  • Wheat starch: 1/3 cup
  • Double boiler with lid (a glass jar and sauce pan will also work)
  • 16–32 oz. plastic / glass container (glass is recommended)
  • Measuring cup (1/4 cup – 1/2 cup size)
  • Soft-bristle brush
  • Nylon fabric

Step One: Fill the bottom of the double boiler with cold water and place on your heat source at a medium heat setting and bring to a low boil. (Alternatively, if you do not have a double boiler a glass jar placed in a saucepan works as well. Add enough water to submerge 1/3 of the jars height.) Sizing, dosa,  wheat paste

Step Two: While you are waiting, measure out your wheat starch and water. We used a 4:1 ratio. 4 parts water to 1 part wheat starch: 11/3 cup of water to 1/3 cup of wheat starch. Mix the starch and water together in the top pan of the double boiler, (or the jar for those who are not using the double boiler) Mix thoroughly, making sure none of the starch has stuck to the bottom. The resulting mixture should be an opaque white solution resembling milk.

Sizing, dosa,  wheat paste Sizing, dosa,  wheat paste Sizing, dosa,  wheat paste

Once you have mixed the ingredients place the pan over the boiling water (or place your jar in the pan) and stir continuously until the mixture begins to thicken. The mixture will thicken to the consistency of heavy cream and small “chunks” will begin to form. Continue stirring until smooth and the mixture has the consistency of custard.

Sizing, dosa,  wheat paste

Step Three: Now the mixture can be covered and allowed to cook over a low boil for 25 minutes, with a quick stir every 5 minutes. The paste should continue to thicken and become somewhat translucent as it cooks. After you’ve allowed the paste to cook, add small amounts of hot water from the pan to your mixture and stir until the paste is smooth and custard like.

Sizing, dosa,  wheat paste Sizing, dosa,  wheat paste

Pour the paste from your pan into your designated container and allow it to cool in a refrigerator over night. This is to allow the paste to gel into a homogeneous solid.

Sizing, dosa,  wheat paste

Step Four: Once the paste has gelled, wring a small amount through a piece of fabric: nylon, cotton, handkerchief, etc… Slowly add small amounts of water and mix with a brush until the paste is thin enough to apply with a brush to your paper. Apply one coat to each side and allow to dry completely on newsprint. Additional coats may be added as necessary.

Sizing, dosa,  wheat pasteSizing, dosa,  wheat paste

Sizing, dosa,  wheat pasteSizing, dosa,  wheat paste

Remember: As with all size, test for each use, and dilute as appropriate. If in doubt, thin and apply multiple coats. Allow the paper to completely dry between each coat. The best way to learn how much size to use, and when to use it is through experience and experimentation.

Sizing, dosa,  wheat paste, gelatin, rabbit skin glue

Without a doubt Koreans are passionate about their kimchi and have successfully shown the rest of the world what they’re boasting about. After attending a hanji-Korean paper- symposium entitled ” A Thousand Years Old Hanji, Meets the World” , I have no doubt hanji too will soon be rolling off everyone’s tongue! Korean kimchihanji symposium, ksdf, Korean Craft and Design Foundation

Hanji is one of the finest papers in the world and certainly has many die-hard fans.  It is, however, still less known in the global market compared to other Asian papers, i.e. Japanese (washi), Thai, or even Indian cotton papers.

 

SO WHAT ARE SOME OF THE UNIQUE QUALITIES OF TRADITIONAL HANJI?

webal -style sheet formation, no top locking screen, side to side dip, each sheet is double-couched in 2 opposite vertical directions, log rolled over couched sheet to elimate air bubbles and possibly helping release pulp from bamboo screen, and dochim: burnishing or hammering process which flattens, increases the density of paper.

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Most of the attendees from foreign countries were book and paper conservators from places like the Tate Gallery in London, the Library of Congress in Washington, DC, and several other world-renowned institutions. In fact, the focus of the conference was the case for hanji to be used in repair and conservation.  Once the special features of traditionally-made hanji were established over a few days, the conservators could better speculate in what particular repair applications hanji would be the right fit.  The visit to observe actual papermaking, was one step towards understanding the material at hand and how it may behave with other materials.  It was a rare occasion for conservators and papermakers to be sharing each others’ daily jobs, but quite key for mutual of understanding between users and makers.

For me, this emphasized the need for paper vendors like Paper Connection,  as we are really “interpreters” of so many hundreds of paper needs and applications.  At Paper Connection we feel it is our role to chronically disseminate and convey information into a paper vocabulary which the maker or manufacturer can relate to.

Thanks to the prestigous members of the group, we had the privilege of being invited to a special viewing of the archives of Chonbuk National University, (one of the largest collection of antiquities in Korea); what incredible facilities.

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Two of my favorite book authors were part of my group:  Ms. Aimee Lee and Mr. Nick Basbanes.

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As you can imagine, the uses for hanji are endless, also true for almost any other well-made paper.

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Of course, Paper Connection is honored to carry hanji, both in an array of wonderful colors and neutral tones. Our hanji line is becoming quite popular, and now available here.  In 2015, we will be stocking a thicker (96 gsm) hanji for printmaking or for backing, and a new thinner paper for basket cording.  Check back here often!

We were very lucky guests of the mayor of Jeonju, 20141218_115712where we were treated to feasts and traditional pansori music performance.  Jeonju is considered the home of hanji and famous for the old-style architecture maintained in Hanok VillageIMG_9274of course, bibimbap, (rice bowl with meat), and the best pansori singer in the land.SAMSUNG CSC

Many thanks again to The Korea Culture & Design Foundation for inviting me to the symposium.  It was a great opportunity for me to learn more about hanji and its culture, its  applications in conservation, and Korea, of course.  A very special thanks to Ms. Bo Kyung Kim of Fides International and hanji artist Ms. Aimee Lee.

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Photographs provided by Paperwoman and KCDF.

This special limited edition calendar is printed on all handmade kozo paper. Patterns are printed in Toyama, Japan, using Mr. Serizawa‘s original stencils (kata).   Each page measures ~12×15 inches and are works of art on their own.  It is now available here on our shopify store.

Sold in a portfolio/set of 12 prints.  Only 1 copy in stock@$200.00.Limited Edition Serizawa Calendar

Limited Edition Serizawa Calendar for saleLimited Edition Serizawa Calendar for sale

Limited Edition Serizawa Calendar for sale

Limited Edition Serizawa Calendar for sale Limited Edition Serizawa Calendar for sale

We met Helen Hiebert back in the early ’90s, in SoHo, NYC at Dieu Donné Papermill , and have since watched her blossom into truly a paperwoman extraordinaire.

In our conversation below, we discuss handmade paper with Helen, who has cultivated a solid reputation as an educator, artist, writer and champion of the art of paper.  Enjoy her musings on handmade paper, altitude, and insight on her techniques, as well as what new paper goodies she is offering this time of year!

PCI:  What first attracted you to papermaking?

HH:  The fact that I could make paper from the ground up. I was involved in a community garden in NYC when I first learned to make paper at Dieu Donné Papermill, so I was learning about growing plants for the first time. When I discovered papermaking, I was intrigued by the fact that I could grow and make the raw material, and then continue working with it by making art.

PCI:  Would you say your approach to papermaking is more scientific or do hope to achieve a certain aesthetic goal? Do you aim to create your papers as a base for your artwork?

HH: To answer the first part of that question, I think I do both: I have an experimental approach to working with abaca – testing its strength and ability to become translucent and shrink in relation to various things I interject into the process (embedding string and wire for example, or nailing wet sheets to a board, thus interrupting and altering the drying process). But when I am working on a particular project, like Mother Tree or The Wish, I do have an aesthetic goal, and I choose from my reportoire of techniques to order achieve these goals. And to answer the second part of the question: I do not see myself as making papers as a base for my work but as the material that I’m most likely to work with.

The Wish, installation by Helen Hiebert.

The Wish, installation by Helen Hiebert.

The Mother Tree, installation by Helen Hiebert.

The Mother Tree, installation by Helen Hiebert.

PCI: How have traditional Asian papermaking methods influenced your papermaking?

HH: A trip to Japan in the late 1980’s inspired my interest in handmade paper. I saw handmade papers in shops and was struck by the light filtering through the traditional shoji screens at the inn where I was staying. This was not a paper trip, but rather a trip to visit my father who was working in Japan, so it was purely inspirational. But that trip became the beginning of my career! Upon my return to NYC where I was living, I began looking for ways to return to Japan to learn papermaking. I remember visiting an out-of-the-way bookstore and purchasing Sukey Hughes bookWashi, and I think I purchased Tim Barrett’s book around that time. When I was researching ways to travel to Japan (i.e. an income stream) I discovered Dieu Donné Papermill and volunteered there for a short time. Then I became Program Director and worked there for six years. I never went back to Japan (not yet at least) and I learned all about Western papermaking and creative papermaking techniques.

PCI:  We absolutely love this video of children learning papermaking at Dieu Donné, as featured on Sesame Street! Spot Helen @ 00:25, 00:39, and 1:47.  The other artist is Robbin Ami Silverberg, who now runs her own papermill in Brooklyn.

PCI:  How has your growing knowledge of papermaking influenced how your work has evolved?

HH: I’m not sure this is an answer to your question, but I would expand it to include all of the paper arts. I have a fascination with graphic design and product design, and I’m always looking at materials and products and thinking about how they might translate in paper. I’m also obsessed with techniques that other artists are discovering, and I don’t think that the potential of paper has been fully explored. I’m more concerned with expressing my ideas through paper (and other materials) rather than expanding my knowledge of papermaking, although I’m certainly influenced by what I see and discover.

http://www.paperconnection.com/laurelai-designs

100 x 100 Paper Weavings #51; © 2013 Helen Hiebert Studio, Paper Connection’s Laurelai Design series & Hark! Handmade Paper

PCI: You recently moved from Portland, Oregon, to Colorado. How has the water,  altitude, and all around general move affected your papermaking and work?

HH: People told me my work would change when I moved, but I’m not sure that it has significantly. Part of this might have to do with the fact that most of my projects take years to realize. I’ve also moved a lot, so perhaps that is just part of my being. I miss the artist community I developed in Portland, and my paper dries much quicker here in Colorado.

PCI: You recently completed a trip to Europe. What were some highlights? Anything that would find its way incorporated into your next pieces?

I taught a workshop and lectured at the Papierwespe in Vienna.  Beatrix Mapalagama, the owner, has a great little business in Vienna, providing workshops in all facets of paper. I enjoyed the time I spent with her as well as the teaching.

Artists' books in a Venice window, Italy.

Artists’ books in a Venice window, Italy.

And it was a treat to visit Fabriano in Italy –to see all of the historic equipment and watermarked papers and to participate in the IAPMA (International Association of Hand Papermakers and Paper Artists) Congress.  Jocelyn Chateavert gave a demonstration which sparked several new ideas for working with abaca.  I was also able to visit Roberto Mannino’s studio in Rome as well as his permanent paper installation at the Graphic Institute in a building right above the Trevi Fountain.  It is wonderful to be able to share time, stories and ideas with other artists who work in similar ways.

Fabriano IAPMA Congress venue.

Fabriano IAPMA Congress venue.

Jocelyn Chateauvert prepares for her demo, Fabriano.

Jocelyn Chateauvert prepares for her demo, Fabriano.

 

 

 

 

 

 

 

Biking with friends in Germany.

Biking with friends in Germany.

Herr Chmel's paper theater, Vienna, Austria.

Herr Chmel’s paper theater, Vienna, Austria.

 

 

 

 

 

 

 

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PCI: Do you prefer making paper, working with paper, writing, or teaching? What aspects of each of these do you enjoy?

HH: Good question! Part of this has to do with making a living. Years ago, I looked at my income to see which of these areas was most profitable. And you know what? It was pretty even across the board. That told me two things: 1: I could choose one direction and put all of my energy there; or 2: I could continue to have several income streams. I really enjoy each of these facets and think that they play well off of each other.  Sometimes I make myself tired because I can’t turn off the ideas. Lots of them go by the wayside, and others stick.  This keeps me ticking.

Holding, by Helen Hiebert

Holding, by Helen Hiebert

PCI: We are certainly glad you keep active in all fields, and keep those ideas coming! Which artist(s), past or present, would you like to have a conversation with? What would you say about paper?

HH: I’d have to say Eva Hesse, and I would discuss our shared fascination with materials, among other things.  I’ve always thought that she would have loved paper… and she lived really close to Dieu Donné, (although it wasn’t there yet – she died in 1970 and it was founded in 1976). I sometimes fantasize about how we walked along the same streets of New York.

 

 

PCI: What is next for Helen Hiebert?!?

Per Helen’s blog, she posts this:

“A quick heads-up: next Friday through Sunday (11/28 – 12/1) I’m offering FREE SHIPPING on everything you find on my website. Playing With Paper Kits, How-to books, DVDs and art. It will be almost like you’re here shopping in my studio!”  

Don’t miss out on this opportunity!

Window Start Paper Kit, by Helen Hiebert.

Window Start Paper Kit, by Helen Hiebert.

Earlier in the year, Helen  published a wonderful blog about Paper Connection.  We are so pleased to be collaborating more with Helen this year and re-developing a deeper paper relationship between us.

For more on Helen Hiebert, please visit the following:

Website: http://helenhiebertstudio.com/

Blog: http://helenhiebertstudio.com/blog/

Facebook: https://www.facebook.com/HelenHiebertStudio

Many moons ago, on a few occasions, we were lucky to have Chuck Lathrop visit Paper Connection.  Back then, Chuck Lathrop lived in nearby Massachusetts and was part of the Monotype Guild of New England.  Chuck exposed us to his brave approach to  print on ANY surface, resulting in cutting-edge, bold and abstract prints, and we exposed him to traditional, Japanese, fine art  papers or washi.

A few years ago,  Chuck left our area to start his own studio in the sunny Southwest.  Let’s talk to Chuck and find out his opinion on paper, and the situation with his own handmade paper with dryer lint!  Chuck is never shied away from trying new surfaces; coffee filters, and yes, even dryer lint paper.

coffee filters, beeswax, encaustic

74 Days in the Life of the Artist as Measured in Coffee Filters (used coffee filters, beeswax)

PCI: Please tell us about what you do.

CL: Over the last 35 years my work has included printmaking, painting, mixed-media drawings and objects. The landscape has always had a huge influence on my work. At first it was through direct observation or photos, but today I work from within relying on memory, impressions, andemotion to create abstractions. Automatic mark-making is a huge part of my work as well.

PCI: Who has inspired you?

CL: My artistic influences are varied and too numerous to cite individually. Paul Cezanne and Robert Motherwell standout because my introduction to them coincided with huge changes in my style and motif.  Today, there are many contemporary artists I draw inspiration from.

PCI: What attracts you to working with paper?  What do you like best about working with it?

CL: Paper is probably one of the most versatile substrates available to artists and I have enjoyed pushing it to its limits.

West Mesa (Large) mixed media drawing on Kozo

West Mesa (Large)
mixed media drawing on Kozo

 

PCI: How did you hear about our company?

CL: I was introduced to Paper Connection International through the Monotype Guild of New England when Lauren Pearlman invited MGNE members to come to PCI’s office (showroom/warehouse) to talk about Japanese paper.

PCI: How much knowledge did you have about Japanese papers before using ours?  How did we help?

CL: Until my introduction to PCI I had only used Western paper and my knowledge of Japanese paper was very limited. What my association with Lauren and PCI did for me was to expose me to a lot more possibilities regarding paper.

PCI: What papers do you use of ours and for what process? What did you like about those papers that aided in your creative and/or technical process?

CL: Kumohada Unryushi, (now a limited edition paper), and the various weights of Kozo are the ones I use the most frequently.  I use the Kozo for monotypes and woodcuts. The Kumohada is utilized for collagraphs and painting. Some of the work on these papers I have mounted to panel and used as a basis for encaustic work.  (Please see image below of When the Rhythm Sections Floats I Float Too, encaustic on  reduction woodcut on panel).

Untitled, monoprint, using Kumohoda Unryushi paper

Untitled, monoprint, using Kumohoda Unryushi paper

PCI: We are learning much about how our papers react to the encaustic process, and we’d love more of your feedback as we are novices to the application.

When the Rhythm Section Floats I Float Too encaustic on reduction woodcut on panel

When the Rhythm Section Floats I Float Too
encaustic on reduction woodcut on panel

PCI: We’re reminded of your visit and how laundry lint inspired you?

CL: As I remember it I was learning how make paper with scraps of museum board, something of which I generally have a quite a bit of in the studio. In my research I ran across a reference to someone using dryer lint. Made sense to me since some Western papers were made from cotton rags hence term “rag paper”.  I collected a bunch of lint from the dryer and one day when I was creating paper from museum board I threw some of the lint into the mix towards the end of the day’s session. Consequently the first sheet had a little paper pulp which yielded a light blue-gray and the last sheets had no paper pulp and came out a dark blue-gray.  Though I still have some sheets of the paper (both from museum board and lint), I created at the time (the late 1990’s), and still work with it on occasion, I found the paper was weak and easily tore when I didn’t want it to tear.  Given that I now live the Southwest and water supply is always an issue, especially during the current drought we are in, and the fact that any kind of paper making takes a large amount of water, I probably won’t be making any more paper.

PCI: We commend your awareness and responsible action. What is your experience as far as the strength of Japanese papers versus Western papers?

CL:  I prefer Western paper when I create paintings and mixed drawings, but for printmaking I prefer the Japanese papers. The Japanese papers don’t hold up well with my painting techniques and tend to fur-up when I draw on them. On the other hand I appreciate the quality of the Japanese papers when I’m making prints because there is a beautiful difference on how they receive the ink regardless of the strength.  I don’t think Eastern paper is necessarily stronger than Western paper. A paper’s strength is largely dependent on the length of its fibers and what it is made of.  I suspect some of the Eastern papers maybe stronger, but on the other hand, I would also guess some of the Western papers might be stronger.  Other issues in this discussion are the questions: What will the paper used for? Will it be dampened or soaked? How absorbent is the paper dry or wet?

PCI: Those are all very good questions that one should ask before purchasing paper.  Our famous bonus question: If you could have a conversation with any artist present or past, who would it be? And would you talk about paper?

CL: Yikes! There are so many I would like to have a conversation with that if I had the chance I would gather them around a table, if a large enough one could be found, just to talk about art.

PCI: We’ll provide the drinks!

For more on Chuck Lathrop, please visit his website: http://www.chucklathrop.com.  Chuck has recently established an online journal: www.nmartreview.com.  We enjoyed the discussion, “On Serious Art.”

An upcoming show at the Downtown Contemporary Gallery, in Albuquerque, NM, will feature Chuck along with other printmakers.  The show opens May 30th. If you are in the Albuquerque area then please go!

Her name evokes light, bright, warm light to me, and when you see her AMAZING works, (yes, that is all in CAPS for a reason), you will feel the same light too: paper transformed into creatures and works that come alive, and feel like they can float away, tempting you to put your fingers on them, feel the fiber that encases them, and even wear them.  Meet the one and only Joan Son.

I have had the privilege of giving 2 presentations with Joan Son and have been to her studio/residence several times in Houston, TX.  Joan is a most gracious host. I cherish her warmth, kindness and years of friendship.  Joan’s glowing personality is truly manifested in her incredible talent of transforming paper into life-like sculptures.

I hope you enjoy reading her perspective on paper as much as I did.

PCI: What kind of artwork do you do?  What or who has influenced and inspired you?

JS: I am an artist working in the medium of paper based in the discipline of origami. For the past 21, years since my debut in the windows of Tiffany & Co. (Houston Galleria), I have devoted my career to the exploration of contemporary origami as fine art. My art has developed into finely crafted gift items for museum shops beginning at the Smithsonian in 1995; larger commissioned works for public and private venues and origami instruction nationally at Origami Conventions and in Houston at numerous educational facilities.

Bamboo

Bamboo

PCI: What attracts you to working with paper?

JS: I have always loved paper. My first love was designing paper doll dresses when I was 9 years old. So even my mother’s typing paper, lined school papers and tissue paper were attractive to me from very early on. I was totally intrigued making carnation like flowers with tissue paper. Even now when paper towels or napkins are on my grocery list I get excited wondering what patterns will be available. The commercial stuff is always changing.

zooslide

PCI: What do you like best about working with paper? I’m so curious as you have such a literal hands-on approach.

JS: I like to say that paper is sculptable and forgiving. I love that about paper. It works into to all of my art pieces. It is much more durable that most folks think.

PCI: I love the choice of words “forgiving” and “durable”, it’s almost like you are describing an amazing person.  Please share how we met.

JS:  Your wonderful papers were represented by a commercial paper company (Clampitt Paper in Houston, TX). Their representative gave me your contact information and I have been passionate about your papers through all your evolutions.  Since 1993 when I was working in a design firm, creating brochures, annual reports… and dabbling in my own creative process,  I’ve been using them for everything from butterfly pins, collage works, to 8-foot tall paper Kimonos.

PCI: Hopefully I’ve been evolving in a progressive way! And our papers reflect that.  We are so happy that we have such a long-term solid relationship.  It’s reliable artists like yourself that help small business keep going.  Did you have much knowledge about Japanese papers before using our line?

JS: Very, very little… only Origami papers.

PCI: In what ways did Paper Connection help navigate and perhaps inform you about Japanese paper?

JS: In every way. You and I did a presentation together for Texas Art Supply here in Houston a few years ago. It was fascinating to see and hear about your travels in Asia and all the details and nuances of these exquisite papers.

PCI: What papers do you use of ours and for what process? What did you like about those papers that aided in your creative and/or technical process?

JS: Japanese Yuzen and Katazome paper are delicious, the Laurelai design papers, (see the Yoga Garden Robe), are fun and add a distinct personality to my designs. Looking through the catalog now I see there are so many more I still have to work with. I can hardly wait! I use your papers for many of my collage pieces, origami pieces and display.

paper sculpture

Yoga Garden Robe by Joan Son, using several of the Laurelai papers

The Robe Series by Joan Son

The Robe Series by Joan Son

PCI: What are some of the differences between our papers and others you have worked with?

JS: Paper Connection always has the highest quality papers.

PCI: Thank you so much! We really try to represent the best in handmade papers for those like yourself who truly appreciate them.  Word game for you: fill in the blank, if you had to recommend a Paper Connection paper for a particular application:

JS: I like Daitoku papers for their simple gold touches and natural beauty.  Plus they have saved my life on two projects where I needed a very large sheet. These measure 37 x 72 inches. Perfect!

bookmarks, Laurelai Designs

Laurelai bookmarks by Joan Son

money holders, business card holders

Joan loves the Laurelai papers for many things, including bookmarks and wallets.

PCI:  That paper is an oldie but goodie.  Our famous bonus question:  If you could have a conversation with any artist present or past, who would it be?  And would you talk about paper?

JS: PATTI SMITH. As I strive to make my work more deeply meaningful first to myself and that it be illuminating for others… this veteran rock and roll artist transcends all levels for me. She continues to inform our world with her tenderness and fury.  And that she continues to evolve her art into all the years of her life. I think the conversation of paper would come up easily with Patti. I’m sure we would be tearing it or making it into butterflies right away.

PCI: Yes! A musician! To say the least. A poet. You surely would. Can I dance along? Thank you Joan, for all you do for Paper Connection and the paper world.

Check out this BIG NEWS for Joan!  She opens a new body of work in Houston at the Jung Center Gallery in April 2014.  We have included the Press Release:

TIME TRAVELERS
looking back to move forward
a retrospective
a coming full circle
a beginning

When:  Opening night Saturday April 5, 2014

Where: Jung Center Gallery 
5200 Montrose, Houston, Texas 77006
Time: 5:00 to 7:00

On view through April 29, 2014

If you are in the Houston we highly recommend you attend. We wish we could be there ourselves.

Joan Son is an American artist who has devoted her career to the exploration of contemporary origami as fine art.

Now, through an Individual Artist Grant from the city of Houston through the Houston Arts Alliance, she shows a side of herself that has been hiding for 50 years.
TIME TRAVELERS brings her art full circle with paper doll dress designs she created when she was 9 years old. From these early paintings (that luckily her mother saved!) Joan is constructing full size paper dresses that will be displayed on lighted 6 foot plexiglass cylinders suggesting portals of time. Her story is inspired by this quote from Carl Jung…
“What did you do as a child that made the hours pass like minutes? Herein lies the key to your earthly pursuits.”
Joan raised additional funds through her Kickstarter campaign and may be best known for her origami art that debuted in the windows of Tiffany & Co. in 1993. During the past 21 years she has developed her art as gift pieces for museum shops around the country beginning with the Smithsonian in 1995, been commissioned for larger art works both public and private and worked as an instructor of origami nationally and locally.

Much more of the story here on Kickstarter…

I had an interesting time reading the answers to this month’s AOM, as Mr. Francis Schanberger marries paper, beautiful, handmade, warm, organic paper, with photography. Photography: some may loosely think of it as an offshoot in the world of fine arts, with its glory days of dramtic black and white footage, whether a dashing Avedon model, or an Arbus character staring back at you inviting your comments, your questions, your curiosity.  And now we have our phones, of course. Camera lenses, on our phones or the latest SLR do not seem to be remotely related to the paper world, nor can you use your camera as a tool to imprint your image directly on paper, (or can you)?  Nevertheless, the two worlds seem to be on opposite sides of the arts timetable: digital, fast, the science of light and time, with paper, handmade, hands-on techniques, whether using a brush or a press.  So, onward to Francis, who gives us a lesson in chemistry + photography + paper, and the methods are intriguing, as one artist’s vision grows with each sheet of the ever trustworthy washi, or Japanese paper.

PCI: So, tell us a little bit about your work, Francis, and your inspiration.

FS: Describing the kind of work that I do used to be such an easy question. I am trained as a photographer but have pushed back against established ways of showing work. In the photographic world, images were for many years presented in white mats and black frames. Presenting work is more fluid now, but that initial rebellion continues in my avoidance of the inkjet print or the “publish on demand” photo book. Printmakers, painters, and installation artists have influenced me. It is stand alone photographs sometimes complimented with photographic installation. Lately I have been creating ephemeral photograms (camera-less images) using clothing and plant pigments.

Alternative photo process,

Pirate Chic, by Francis Schanberger

PCI: That process is fascinating. Watch the VIDEO HERE.  What do you like about working with paper?

FS: Paper continually reminds me that I am making something.  Specifically, the handmade papers create a tension between photographic image and photographic object.  By tension I mean to suggest an awareness of the power of photography to exist as a simulation of reality and as a real, stand alone, tactile thing.  Paper has mass, volume, memory, texture and sound qualities.  Related to vision, it can pass light through itself and block it.

PCI: Papers definitely have their own sounds, as well as smells, in a good way, of course.     How did you hear about our company?

FS: One of my favorite papers, a heavy weight Kozo Unryu, was encountered by chance in preparing for two different assignments in an alternative photography class I was teaching. I had found a paper to use in a demonstration of creating handmade artist’s books. I had extra paper left over and decided to try out chemistry for the students’ next project Vandyke Brown prints. This is a historical photographic process that uses iron and sliver in tandem to print out an image before it is even developed.  The combination of paper and chemistry did something I never expected.  Instead of immediately soaking in, as I have experienced with unsized papers, it gave me time to brush it on, eventually being absorbed by the outer most layers of the paper.   After processing, I noticed that it yielded a very dense brown color somewhat hard to achieve in the Vandyke Brown (kallitype) process.

When I first moved to Dayton, Ohio there was a wonderful art supply store on the west side of town called McCallister’s. They went out of business in 2009, shortly after I began working with the Kozo Unryu papers they had stocked. One of these was the paper I had used for the book assignment. I searched online for paper suppliers who might carry the identical paper.  After replying to my email queries and after mailing a sample to Rhode Island, Paper Connection International identified the paper I was using and was able to ship it to the Midwest.

Winged Seeds, by Francis Schanberge

Winged Seeds, by Francis Schanberger

PCI: Did you have much knowledge about Japanese papers before using our papers? How did Paper Connection help you navigate through the wonderful world of washi?

FS: Paper Connection provided my first real education on Japanese papers. I had no idea the paper I had been using was considered a heavy weight and the ability to work with larger quantities of this paper helped me to learn how the Kozo responded to humidity, pH during processing, and how much chemistry I could apply to the paper surface.  The paper has a very pronounced texture because of the Unryu (long fibers embedded in the paper).  I began to select subject matter that would benefit and not compete with the surface.

platinum print, alternative photo process, mino washi

Two Gingkos, by Francis Schanberger

PCI: What papers do you use of ours and for what process? What did you like about those papers that aided in your creative and/or technical process? Describe some of the differences between our papers and others you have worked with?

FS: Currently I use Japanese papers for historical photographic printing done in Vandyke Brown and Platinum / Palladium.  I have used three different papers from Paper Connection. The Kozo Unryu HW in both a brushed and unbrushed surface and a Kozo paper with no Unryu texture and hardly any sizing.  I do prefer the sized paper because they allow me to brush on the emulsion over a hard table surface. However, last May I was asked to try out a brand new paper made in Ino, Japan that was a combination of Kozo and Gampi with no internal sizing. The paper is extremely thin weighing in at 30 g/sm. I had to learn to apply the light sensitive emulsion with the paper placed over a piece of felted wool.  I am warming up to the new paper but the photochemistry it was designed for is pricey which limits my ability to print with it.

PCI: What paper of ours would you recommend for the various methods you employ in your work?

FS: I like the Kozo Unryu Heavy Weight paper for Vandyke Brown printing because it works really well with my style of brushing on light-sensitive emulsion and it has a terrific wet strength.

PCI: And, of course, which artist would you like to have a nice sit down and chat with? And does paper fit in somehow?

FS: If I could have a conversation with any artist present or past it would be pictorialist photographer Jane Reece. I would talk about paper because she was known in her time as an expert in printing photographs on Japanese tissue.  Because of my involvement with the use of the paper from Ino (Kochi) Japan, I have become aware of the paper makers’ interest in early twentieth century photographers and their use of Japanese tissue. The paper makers of Ino are interested in whether the paper they have made bears any resemblance to the Japanese tissue of the early 1900’s. The only examples exist in museums in the United States.

PCI: Thank you so much, Francis. This has been enlightening, and your work exudes the warmth and texture paper provides, with the imagery that light creates with your vision.  Chemistry + photography + paper = beautiful.

Francis will be featured in an alternate venue during the upcoming Kyotographie in Kyoto this Spring:

COHJU gallery: Platinum Print / Alternative Process meets Tosahakkinshi April 26th– May 10th, 2014

This exhibition is a follow-up to an exhibition of three Japanese and two American photographers at the Ino-cho Paper Museum last September.  Francis along with these other artists all used the new paper and printed images in the Platinum Palladium process:

http://francisschanberger.com/section/373290_Tosa_Washi_Meets_Platinum_Palladium.html

To learn more about Francis, please visit his website and the following links:

francisschanberger.com

From Walking

Forces of Nature

About Gampi from Japan

The Chinese characters for gampi literally translates as  “goose skin”. This paper is sometimes referred to as “silk tissue”.

Paper Connection’s Gampi Paper Collection is made from 100% gampi, a lustrous, silky fiber native to Japan and other parts of Asia. Both in its sheet form or in the raw fiber form, gampi by its natural make-up reacts to ink as if it had sizing on it.  In other words, it holds ink on its crisp, smooth surface beautifully.  At Paper Connection, we call it the “queen of printmaking”.

All of our gampi sheets were made in Kōchi Prefecture, located on the island of Shikoku, in southwestern Japan.  Gampi fiber comes from the inner bark of branches of the gampi bush. Since it is difficult to cultivate, it is obtained from wild plants, therefore paper is especially coveted.  Although some thinner gampi sheets seem fragile, each sheet is extremely strong and impervious to insects.

Historically, gampi was used for mimeographs.  Today, with its high quality finish, the uses have expanded to chine collé, etching, lithograph, monotype, relief, offset, letterpress and inkjet printing, art conservation and model-making- like those paper balloons…  It’s incredibly strong; much stronger than it looks!gampi, gampi papers, washi1. (First 2 papers from left) . We stock Usuyou Gampi-shi @ 10g/m² in white and natural in sheets 24.8 x 37 in.  and now both of these  gampi papers stocked in 10-meter rolls!  Rolls are used for big installations or big prints, even dipped in wax!  Check out these stunning monoprints on usuyou gampi paper dipped in encaustic wax by Christine Shannon Aaron.gampi, usuyou gampi, encaustic, monoprint

2. (3rd image from left) . Kitakata paper is the only one in our collection which is made from a gampi mix fiber and made by Awagami Factory.  Not only do we have kitakata paper in sheets, but in a few weeks  we will have kitakata in rolls!   Below is a group of 4 intaglio prints on kitakata paper by the talented Amanda J. Thackery.

kitakata, gampi, Amanda Thackery

3. (2 papers from right side).  We also stock sheets of pre-backed gampi or Gampi Sukiawase paper.   100% gampi surface with a mixed pulp backing.

These work well for intaglio; really any kind of relief printmaking.  Style # M-0227 80g/m² Natural.  #M-0229 white 100g/m² .   Both are 24.8 x 37 inches.   One other weight of limited edition gampi  in stock as well.

20-meter roll of gampi sukiawase paper in White #M-0229 recently added to our inventory.

Read our blog-interview with printmaker Larry Welo and his high praise of using gampi sukiawase paper for his etchings.

DIY, upcycle, marbled paper, hand made, craft, containerHow about wrapping a simple empty cookie tin to pretty-up  your desk or kitchen storage, make a quick vase or gift?

After our last DIY tutorial, we felt ready to tackle wrapping a tin with some beautiful hand-made marbled lokta from Nepal to make a unique up-cycled object.

What you will need:

Frame supplies editTIN-1

Step One:

Cut down a piece of paper to the size of the tin, leaving about a 1/4 inch extra on the top and bottom and at least one inch added to the length.  Apply a coat of glue to the backside of the paper, and make sure you get all the edges.TIN-2Step Two:

Place the tin centered (vertically) on the paper leaving an extra 1/4 inch on the top and bottom to be folded over later.  Align the tin at one end of the paper and roll it slowly with two hands, smoothing the paper from the center out as you go.

TIN-3TIN-4

Step Three:

Pinch the extra paper around the edge of the tin on the top and bottom.  Cut out a circle big enough to cover exposed tin area on bottom and adhere cut circle with glue.  Burnish out any wrinkles and you’re done!

You can apply a clear coat of acrylic medium to the finished object to protect the surface, and add a slight sheen.  This will also make the colors appear more saturated.  You can also rub a clear wax candle (solid wax) to cover the paper to create a barrier, helping resist oil stains and fingerprints.TIN-5TIN-6

He is an established letterpress printer in the Providence, RI, area, teaches letterpress at RISD, unique to say the least, and our Artist of the Month for January.  We wouldn’t want to start 2014 off any other way.  This has been a long time coming, as we have known Dan for many years.  It’s worth the wait though, as we peer into his ever tinkering, witty, quirky mind, and talk about paper!

PCI: We have know you for a while, Dan, but please share with our readers and paper fans what kind of artwork do you do?  What or who has influenced/inspired you?

DW: I am a printer and printmaker, and run my own letterpress print shop, DWRI Letterpress in Providence, RI.  The shop does commercial letterpress work, from invitations to business stationery to many, many collaborations with artists and designers.  In my own prints, I make work from various sources, (found printed objects, photographs, type, etc) with ink and paper using way too many cast iron printing presses.  My own work involves a lot of type, coarse halftone images, old newspapers, etc., to bring these earlier printed objects back into the mainstream.

Inspiration?  Pretty much everything, but as far as artists go, I always loved Saul Steinberg as a kid and adult, and also Jean Tinguely, the French sculptor who made the self destructing Homage to New York.Dan Wood's desk

PCI: What attracts you to working with paper? What do you like best about working with paper?

DW: For paper, and prints in general, I like the fact there is a certain amount of permanence, the idea the paper once printed is now a record of that earlier process.  It has some depth and dimension when printing via letterpress, but not nearly as much as the plates or type that went into making it. There is also a delicateness, and fragility, in contrast to the greasy messy machines that it is surrounded by, and somehow, they both come out ok.

PCI: How did you hear about our company, Paper Connection?

DW: I dont remember!  It’s Rhode Island, so at some point when the need for a particular paper came along, I’m sure someone said, “Hey, I know a guy…” or in this case, “hey, I know a gal…”, and that was that.  Let me think, what and when was it…

PCI:  We recall it was through a local stationer on the West Side…..

So, back to the days before we knew about each other; how much knowledge of washi  and other Asian papers did you have before using our supply?

DW: A little bit, but only from a printmaking perspective with chine collé, etc…nothing like the Lokta (20×30 inches $4.00/sheet and a 3 x6 feet natural lokta @ $30.00/sheet ) or Pang Pi (45×80 inches $20.00/sheet), I like to use for my work.

PCI: More on those two specific papers later.  How did we help navigate and perhaps inform you about Japanese paper?

DW: The most educational aspect for me is of the contemporary position of traditional paper makers and artisans in Japan and in the world, and how important it is to support like-minded artisans if indeed we value what they produce. You can feel that labor of love in the paper itself, and I am not a touchy-feely-gaga-over-paper person.

PCI: And that’s okay!  We really appreciate the awareness you share regarding the artistic nature of the paper makers themselves. They are truly National Treasures.  Which papers do you use of ours and for what printmaking process? How do these papers interact with your take on letterpress?

DW: So, the printing process I use is letterpress printing, which at its core is basically just a mechanized from of relief printing (inking a raised surfaced and pressing it onto a paper like substrate).  Many Japanese papers are ideally suited for this method, for use in traditional Japanese relief printing.  For me, however, I gravitate to the slightly grittier papers like the Pang Pi (oversized kozo) from China (45×80 inches $20.00/sheet), and Lokta from Nepal (3×6 feet natural lokta @ $30.00/sheet. )   I like these papers as they are both available in huge sheets, and for my uses have a quality similar to the old newspapers I am referencing sometimes in my work.  They both also react and hold ink exceptionally well, but have a thickness and feel not unlike the western cotton and wood based papers used in my artwork and shop.

PCI: What are some of the differences between our papers and others you have worked with?

DW: The main stereotypical difference is that sulfite , (wood pulp), and cotton papers tend to need to be much, much thicker to be stronger sheets, while mulberry and other papers can be exceptionally strong and also super thin.   They can then have a sleekness without being calendered or overtly manufactured, but still hold together.

PCI: So in this case, especially for those in the letterpress field,  thin doesn’t mean weak, and thick doesn’t mean strong. Tell us which Paper Connection paper you would recommend for a particular application:

DW:  I like PANG PI paper for LETTERPRESS because it IS REALLY BIG AND HOLDS BLACK INK REALLY WELL.  And it is cool.

PCI: Our famous bonus question:  If you could have a conversation with any artist present or past, who would it be?  And would you talk about paper?

DW: At this point, I would be happy to talk to any artist, (or anyone really), who managed to just keep his or her cool, despite whatever pressures. That’s about it.  I feel lucky to be able to work and talk crap with so many people and artists already, especially fellow letterpress and other printers – they are weird in a lot of very particular ways.

PCI: Dan, thank you so much. We feel like you taught us a thing or two on letterpress, and we really appreciate your presence in our humble Ocean State.  Thank you for being such a huge support of Paper Connection!Dan Wood, DWRIFor more on Dan Wood’s work and his letterpress studio, please visit his website: dwriletterpress.net

Follow his tumblr here: The DWRI Letterpress Blog
See more of his art here.

A visit to Dan’s letterpress class at RISD (Rhode Island School of Design, Providence, RI)

Jane and Francesca, two of our paperwomen, had the chance to enlighten aspiring printmakers of the future, on the beauty of washi and letterpress.   A common misconception is  that paper must be thick, and framed by those wonderful deckle edges we see on so many letterpress invitations.  Not so, as we all discovered at the class.  Just because washi is thinner, doesn’t mean it is weaker.

Dan Wood, DWRI, RISD, Letterpress, Paper Connection

Dan Wood, DWRI, RISD, Letterpress, Paper Connection

Dan Wood, DWRI, RISD, Letterpress, Paper Connection, Lace Cardstock              Searching for the 8th wonder of the world on Japanese Plum Blossom Lace paper, backed.

Stocked in 3 colors: pink, gray and coconut cream; 21.5×31 inches @ only $6.00/sheet at Paper Connection: 401-454-1436.

Paperwoman’s letterpress printed business cards on Japanese Plum Blossom Lace Cardstock, by Dan Wood.

letterpress,cardstock,lace