Archives for posts with tag: papermaking

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.

SAMSUNG CSC20141217_15213120141217_152128

 

This slideshow requires JavaScript.

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.

This slideshow requires JavaScript.

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

IMG_5696

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

This slideshow requires JavaScript.

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.

SAMSUNG CSC

Photographs provided by Paperwoman and KCDF.

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.

 

 

 

 

 

 

 

unnamedceiling

unnamed

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!

September brings us back to school, back to a regular routine, and maybe a case of summertime blues? In case you need some motivation to return to your classes, whether it be teaching or attending, here’s an interview with our Artist of the Month, Kumi Korf.  Kumi has been a longtime customer, who faithfully orders her go to paper from us: Akatosashi.  This aged kozo paper has a bit of “aka” or a red hue to it, reflecting the maturity of the fiber.  And perhaps it takes an experienced hand to work with it.  Instead of widely experimenting with our many grades of kozo,  Ms. Korf loyally stands by this paper.  She knows exactly what she wants, and when she calls, we know to get her usual supply ready.  Of course, it’s not the only paper from us she has worked with, but we feel like Akatosashi is a trusted friend for her.  If you are an artist who likes your old “reliables”, you will enjoy her interview.  Or maybe you are starting off this semester unsure of what direction you want your work to go; Ms. Korf’s expertise can benefit you so you can aim your course wisely.

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

KK: My art work is mostly printmaking and artists’ books. I am in love with 20th century art and 17th century Japanese art.

kumi  kumi2

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

KK: Being Japanese, paper is the most familiar material next to wood, it being the most beautiful and handcrafted material ever. Paper demands a certain way of handling, and its relationship to water is special.  Touching paper is like meditation.  When I face paper, and prepare to work on it, with respect to paper and my craft, it returns what I expected and even more.

PCI: Could you elaborate more on the paper’s relationship to water?

KK: When one uses European paper, when it is wet, unless one uses a blotter and weight, it is not possible to keep it flat.  In washi’s (Japanese paper) case, air drying keeps the paper flat.  In my case, if I want the paper really smooth, I iron it.  It’s lightweight and thin, but when damp, I can safely peel the paper off the copper plate.  The washi’s long fiber is very useful and wonderful.

PCI: So interesting.  It’s sort of a paper urban myth that light weight and thin papers are not strong.  How did you hear about our company and paper?

KK: I met my paper in New York.

Akatosashi

New batch of handmade Akatosashi

PCI: We love how you call it your paper, like your own kin!  It’s been so long that we have known each other, which we appreciate!  We have a mutual colleague: Yasuyo Tanaka, which you two have known each other far longer than we have, but the Kozo connection can be small.  How long have you been working with washi?

KK: My knowledge of washi goes back to my childhood.  In Japanese everyday life, washi’s presence is everywhere: as part of screen doors, toilet paper, gift wrapping paper, calligraphy paper, sketchbooks, origami, etc., I must have made something with washi as a youth.  In the mid 1980s, I started to make my own kozo paper.  When I made my own paper, I made it as art by itself, but not paper for printmaking.

PCI:  For what process do you use this  aged kozo? What did you like about it that aided in your creative and/or technical process?

KK: I use Akatosashi for intaglio prints, because I like its color and finish.  It gives me the quality I like and the color I need.

"Radiation Swim, 2005". Spit-Bite and sugar-lift aquatint on Akatosashi.

“Radiation Swim, 2005”. Spit-Bite and sugar-lift aquatint on Akatosashi.

PCI:  Tell us more about the unique character of Akatosashi’s color, and why you like it.

KK: Akatosashi, as its name suggests, has that tint of reddish, brownish color.  I equate it as an “under painting” color for painting. I consider my prints as paintings more than etchings, so it is very useful.  What it does is that undertone unifies colors; I can count on that.

PCI: What a testimony to not only the papermaker but the amazing fiber as well!  In what ways did Paper Connection help navigate and perhaps inform you about our selection of Japanese paper?

KK: As a provider of washi for me, not only Akatosashi, but other washi for me, your service is appreciated always.

PCI: Thank you so much.  Likewise!  And of course, which artist(s)  would you like to have a conversation with? We know paper will be a topic!

KK: Rembrandt, Koetsu, Miro, and Matisse.

PCI: Fascinating group! That would be a discussion we’d like to eavesdrop on.  Rembrandt makes his appearance again.  Thank you so much, Kumi, not only for your time but your long time support.

Kumi Korf is represented by Chandler Fine Art in San Francisco. she also is a member of the Center for Book Arts in New York, where she has been teaching for many years, besides the San Francisco Center for Book Arts, and Ink Shop in Ithaca, New York.

For more on Kumi, please visit her website kumikorf.com.

I just came back from my first visit to Minneapolis/St. Paul, and participated in in the Surface Design Association Conference for the very first time.  The conference normally takes place in Kansas City, but this year it was in Minneapolis within the University of Minnesota East Campus.  Within the massive University of Minnesota campus there is the Textile Center, art galleries, like the Regis and even a Frank Gehry building.

Delving into the world of fiber arts was a bit of a side step for both me and Paper Connection.  I thought :  What’s “in”  in the fiber world? ; what the latest craze?… Around here in little Rhody,  the Weaver’s Guild members’ interests have been peaked with making shifu…touched upon in a recent blog.   See below. And over the years Paper Connection has had various fiber artist customers, who work mainly with paper- like  paper quilters.  Check out Lucinda Carlstrom‘s work; she’s phenomenal.  Only in the last couple months I have acquired a lovely book called “Paper Textiles”, by Christina Leitner.  Reading Ms. Leitner’s book plus some other fiber art books from Japan, encouraged me to think deeper and attempt to round out my paper knowledge with the story of paper as a textile.  Stitched, sewn, stapled or glued, for centuries paper has been made into cloth or has been part of textile.

Just last week, while at the SDA conference, I learned about joomchi– the Korean art of paper felting.  I can’t get enough of Jiyoung Chung‘s joomchi pieces.  Jiyoung lives in my town, Providence!, and she happened to be teaching at the SDA conference, and had her work exhibited at the Minnesota Center for Book Arts.  Too many coincidences.

MCBA Joomchi by Jiyoung Chung

Joomchi by Jiyoung Chung

Looking back to last week, I have to say the first day was truly the highlight of the trip to the Twin Cities.  Events planned for that first day was a staff meeting and evening presentation at Wet Paint: a very loyal, faithful, and consistent customer for years, located in St. Paul. Beth Bergman, the owner, and her wonderful staff was gracious to host me at the store, so I could introduce the techniques of hand-papermaking and paper textiles to a bunch of eager fiber artists via SDA conference, as well as to local, Wet Paint customers.  The Wet Paint staff was not only interested in my paper-preach, but they are all very interesting and talented artists, who I wish I could have spent more time with.   After the first day of my trip, I was quite fortunate to spend time with Ann Snowbeck, a buyer at Wet Paint, who is just a sweetie pie; most importantly… I realized she and I have the same (great) taste in accessories!

More Twin City tales coming soon.