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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
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Printing and papermaking provided occupational mobility for men, but roles allocated to women were more restrictive. Apart from brief periods (1860 to 1909 and during both World wars), it was practically unheard of for women to be employed within the main print house or papermill machine house.
As in this image, In printing firms, most worked in the bindery where their role was to collate, fold and hand sew books. In papermills women worked mainly in the ‘salle’ or overhauling department where paper was quality checked before being sent to customers. Women workers did not undergo the same intensive apprenticeship given to male counterparts. They learned on the job, often employed straight from school. Hours were long and wages low in comparison to men. Females were often paid piece rate; receiving a bonus depending on the number of items they completed per week.
As female labour was often used to undercut male wages, the response frequently was to exclude them from traditiona male spheres of work. In 1909 female compositors were banned from entry into the trade by an agreement between the union and the employers. Female unions were encouraged where there was no threat to the male workforce.
Edinburgh City of Print is a joint project between the City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by Edinburgh City Museums. For more information about the project please visit www.edinburghcityofprint.org
The MFA in Applied Craft and Design welcomes Paul Wong as part of the 2011-2012 Graduate Visiting Artist Lecture Series.
Paul Wong has been the Artistic Director and Master Papermaker for over 32 years at Dieu Donné, a non-profit organization for visual artists in NYC dedicated to the creation, promotion, and preservation of new contemporary art utilizing the hand papermaking process. Over his career, he developed and pioneered groundbreaking technical advances in the field of creative hand-papermaking and uses the papermaking process to create major installations and works in paper for exhibitions.
January 18, 2012. Photos by: Matthew Miller '11.
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
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
This workshop focused on the process of making vibrantly colored, translucent paper sheets. Each participant pigmented their own pulp and produced multiple sheets of different colors, experimenting with mixing and overlaying, watermarks and inclusions.
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
During her papermaking residency, Cara Lynch dives into the world of American glass and stenciling to create this newest body of exquisite pulp paintings. Read more about how her brightly-colored, layered works are questioning the boundaries of fine art and craft: bit.ly/caralynch.
During her papermaking residency, Cara Lynch dives into the world of American glass and stenciling to create this newest body of exquisite pulp paintings. Read more about how her brightly-colored, layered works are questioning the boundaries of fine art and craft: bit.ly/caralynch.
A scanned copy of an original photo showing the offices of the paper manufacturing company of John Dickinson,s. Of note is the small building in the front which was the firms own branch of Lloyds Bank. I would guess the date is late fifties/early sixties. This area is now the site of Bunnings DIY store.
Location : Apsley,Hertfordshire,UK.
© PJR 2017 www.pjrmomentsintime.co.uk
Timothy Howell is holding a mould and deckle with watermark from his father's (Douglas Howell) papermill.
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Workspace Resident Maria Vonn worked for four weeks in our papermaking studio, using human hair and horsehair as line, embedding the strands in handmade paper. More details on Maria's work, which is born of her experiences with trichotillomania: bit.ly/mariavonn
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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Carol Maxwell sewing one of the final strips for Earth and Air. That sewing machine is a 1949 White made of magnesium alloy. And a "real champ" as Carol says. The real hero of this project it can sew through most anything: 12 layers of paper and batting; 1/4 inch foam core; our fingers (just kidding.)
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
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:
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 this studio intensive taught by artist and award-winning author Aimee Lee '99, students make books and paper by hand in the context of global history and culture.
Photo by Yvonne Gay
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Just playing to see how the sizing took. These guys were very lightly wet stretched on a piece of balsa wood, mostly so they'd be easier to handle.
National Museum: China through the Ages, Exhibit 4. Complete indexed photo collection at WorldHistoryPics.com.
Created at the Visual Arts Center of the Massachusetts Audubon Society by Jane Ingram Allen and assistants. This nest was eventually lined with hundreds of handmade paper feathers created with pulp made from local plants and containing seeds to feed the birds and grow new plants as the paper dissolved into compost and released the seeds.
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 MFA in Applied Craft and Design welcomes Paul Wong as part of the 2011-2012 Graduate Visiting Artist Lecture Series.
Paul Wong has been the Artistic Director and Master Papermaker for over 32 years at Dieu Donné, a non-profit organization for visual artists in NYC dedicated to the creation, promotion, and preservation of new contemporary art utilizing the hand papermaking process. Over his career, he developed and pioneered groundbreaking technical advances in the field of creative hand-papermaking and uses the papermaking process to create major installations and works in paper for exhibitions.
January 18, 2012. Photos by: Matthew Miller '11.
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
Paper carries meaning far deeper than the words it can convey. In direct collaboration with art therapists, the Peace Paper Project brings the artistic expression of resilience and healing to communities all over the world. We learned about paper making as cultural transformation in this lecture and live demonstration.
Photograph by Hanna Pitz
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