View allAll Photos Tagged PaperMaking
Peter Thomas demonstrating the waterbeater technique used for papermaking. His gypsy wagon studio was a treat to see.
One of the books notebook made that morning.
Find out more here: wp.me/pFHcF-133
Papermaking artistry of Amanda Degener.
Erdrich, Louise., Amanda Degener, Bridget O'Malley, Rebecca Alm, Mary Hark, Jeff Rathermel, and Michael Lizama. Winter Reader, 2003-2004. [Minneapolis, MN]: Minnesota Center for Book Arts, 2003.
MCAD contributors: faculty: Amanda Degener and Rebecca Alm.
See MCAD Library's catalog record for this book.
Local call number: c006493
Title: [A worker overseeing a papermaking machine at a paper mill near Pensacola]
Date: 19--.
Physical descrip: 1 photoprint : b&w ; 8 x 10 in.
Series Title: (Commerce Collection.)
Repository: State Library and Archives of Florida, 500 S. Bronough St., Tallahassee, FL 32399-0250 USA. Contact: 850-245-6700. Archives@dos.state.fl.us
Persistent URL: www.floridamemory.com/items/show/66958
We started by choosing pieces from our paper scrap box.
For an excellent tutorial on homemade papermaking, check out this set: www.flickr.com/photos/bzedan/sets/967347/
Not finished yet.. this is about 6 ft x 8 ft or so... it would make a nice room piece...
Also needs to be touched up with bits of paint here and there.
For seven weeks from August to October 2013, Sarah Peters came to work in our letterpress, papermaking, and bookmaking facilities to produce The Moon Has No Weather, a limited-edition book about the moon as an archive of its history.
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
Ellen and Chris led students in creatin sculptures from the inside out, starting with elegant armatures. Beginning with skeletal frames of wire, steel, twine, and basket weaving, students then created paper to cover their forms.
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
For this piece of paper, I wanted to try and have a collage effect. This piece turned out alright. However, it would have been nice to have the pieces a little more "hidden" by the paper pulp.
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
For seven weeks from August to October 2013, Sarah Peters came to work in our letterpress, papermaking, and bookmaking facilities to produce The Moon Has No Weather, a limited-edition book about the moon as an archive of its history.
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
MountainMade artist Bruce Wilson/Deer Run Studio. Bruce is best known for his interpretive botanical collage.
A few books I've recently acquired:
Thieves of Book Row: New York's Most Notorious Rare Book Ring and the Man Who Stopped It, by Travis McDade (signed!)
Book Collecting Now: The Value of Print in a Digital Age, by Matthew Budman
The Penny Post, 1680-1918, by Frank Staff
Placing Papers: The American Literary Archives Market, by Amy Hildreth Chen (REALLY IMPORTANT READ)
The Aztec and Maya Papermakers, by Victor Wolfgang von Hagen (someday to be exchanged for the first edition with samples...)
Studying Early Printed Books, 1450-1800: A Practical Guide, by Sarah Werner
A nest is a home. Something or someone belongs there. By filling the nests with simple materials I wanted to represent the idea of feeling whole, and belonging somewhere. Then, I realized that a nest is really just a temporary home. Once a bird is old enough they are in the world alone, expected to create their own nest. The flowing of materials from one basket form to another represents this transition. This thought also applies to life as well and when it is the right time to “leave the nest”.
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
In conjunction with "Cave: Handmade Paper and the Artful Book", Papermaking resources are on display in the Library.
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
The Book Club of California’s 2016 summer exhibition, Fine Print: The Review for the Arts of the Book (1975-1990), focuses on the remarkable legacy of this San Francisco-based journal, which began as the vision of Sandy Kirshenbaum; grew and thrived with the efforts of a core editorial team that included Stephen Corey, rare book librarian, and two young printers, Linnea Gentry and George Ritchie, who were working for Andrew Hoyem at the time; and went on to achieve high standards of both content and form through the contributions of many talented collaborators from California and around the world. Throughout its fifteen year run, Fine Print not only provided a showcase for the best in fine press publishing, but attempted to integrate all of the book arts, including calligraphy, bookbinding, papermaking, wood engraving, and type design—the latter increasingly devoted to digitization and computer-generated types—while also offering important articles on the history of the book and creating a space for conversation among writers, scholars, and book artists from around the world. Fine Print’s many contributors included Martin Antonetti, Nicolas Barker, Charles Bigelow, Robert Bringhurst, John Dreyfus, Paul Hayden Duensing, Colin Franklin, EM Ginger, Steven Heller, Andrew Hoyem, Janet Ing, Paul Needham, Stan Nelson, Will Powers, Wesley Tanner, Benjamin Vorst, Hermann Zapf, and many others. As Robert D. Harlan has written, “The entire corpus [of Fine Print] will continue to be studied and admired by practitioners, students, and connoisseurs.”
Visit the BCC website to view all upcoming programs.
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March 14, 2017. Participants learned the history of paper and papermaking and make a sample of recycled-content paper with their own "energy" to take home. Presented by SCARCE.
Artist Book Resident Susan Mills spent November and December in our papermaking studio, creating "twentysix plants", a book containing 26 handmade papers from 26 fibers grown or harvested at and around WSW. More about her book here: bit.ly/1fSYHcD
You can personalize, print and create these at home.
(C) Copyright Cutezville Printables
www.etsy.com/uk/listing/198410871/pdf-printable-owls-hear...
The Book Club of California’s 2016 summer exhibition, Fine Print: The Review for the Arts of the Book (1975-1990), focuses on the remarkable legacy of this San Francisco-based journal, which began as the vision of Sandy Kirshenbaum; grew and thrived with the efforts of a core editorial team that included Stephen Corey, rare book librarian, and two young printers, Linnea Gentry and George Ritchie, who were working for Andrew Hoyem at the time; and went on to achieve high standards of both content and form through the contributions of many talented collaborators from California and around the world. Throughout its fifteen year run, Fine Print not only provided a showcase for the best in fine press publishing, but attempted to integrate all of the book arts, including calligraphy, bookbinding, papermaking, wood engraving, and type design—the latter increasingly devoted to digitization and computer-generated types—while also offering important articles on the history of the book and creating a space for conversation among writers, scholars, and book artists from around the world. Fine Print’s many contributors included Martin Antonetti, Nicolas Barker, Charles Bigelow, Robert Bringhurst, John Dreyfus, Paul Hayden Duensing, Colin Franklin, EM Ginger, Steven Heller, Andrew Hoyem, Janet Ing, Paul Needham, Stan Nelson, Will Powers, Wesley Tanner, Benjamin Vorst, Hermann Zapf, and many others. As Robert D. Harlan has written, “The entire corpus [of Fine Print] will continue to be studied and admired by practitioners, students, and connoisseurs.”
Visit the BCC website to view all upcoming programs.
Find us on: