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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
Text from original caption: Asao Shimura. Early Chinese Papermaking. Tokyo: Bunseido Press, 1980. 3 x 2"
Scan of page 44 from "Miniature books: 4,000 Years of Tiny Treasures". Published by Abrams (an imprint of Harry N. Abrams, Inc.) in 2007.
Hand Papermaking 25 Year celebration gathering in Chicago, Illinois at the Columbia College Center for Books and Paper
"I work with paper because it's strong and fragile at the same time," says Artist-in-Residence Susan Shaw. Inspired by the legends surrounding the Hudson Valley, Susan experimented with the papermaking process to create approximately fifty pieces. Here, the art is not on the paper, the art is in the paper. Read more on our blog bit.ly/susan-shaw.
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.
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The start of making our valentine cards. I pulled out some of my papermaking supplies.
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
Book artist and papermaker Mandy Brannan helped participants to discover the creative possibilities of combining two papermaking techniques; traditional style Japanese papermaking and recycled papermaking. The masterclass began with hand-beating kozo fibres, which add both strength and delicacy to the work. The following stage was working with recycled pulps with found papers, finally creating experimental paper sheets by combining both kozo fibres and recycled pulp.
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.
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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
Chapter XIV. New South Wales (continued). Page 128 from Australia by Edwin Carton Booth, F R. C. I. Illustrated with Drawings by Skinner Prout, N. Chevalier, &c. &c. In Two Volumes Vol. II London Virtue and Company Limited (1873-1876).
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.
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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 Hannah Moore
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
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
papermaking is great because you can add anything to the pulp and preserve it. added a leaf inside. recycling and using natural found objects are my favorite. i try and use all of gods little goodies to my paper:)
Image taken in one of the many Finnish forests that are harvested for their crop of trees used in paaper making.
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
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
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
Han Gallery, Henan Provincial Museum, Zhengzhou. Complete indexed photo collection at WorldHistoryPics.com.
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
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 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.
Duszniki-Zdrój, Poland
Duszniki-Zdrój [duʂˈɲikʲi ˈzdrui̯]) (German: Bad Reinerz) is a spa town in the Klodzko Valley on the Bystrzyca River in Kłodzko County, Lower Silesian Voivodeship, Poland. It attracts tourists from around the world.
en.wikipedia.org/wiki/Duszniki-Zdr%C3%B3j
The Museum of Papermaking in Duszniki-Zdrój (pl.: Muzeum Papiernictwa) – a museum of the Lower Silesia Voivodeship Selfgovernment located in Duszniki-Zdrój in Poland, founded in 1968 in an old 17th century paper mill on the Bystrzyca Dusznicka river.
The museum displays mainly exhibitions on the history of paper. Since 2001 the museum has been organizer of "Święto Papieru" (The Holiday of Paper) – a festival promoting the knowledge and importance of paper, print, bookbinding and contemporary art.
The paper mill is one of Poland's official national Historic Monuments (Pomnik historii), as designated October 12, 2011 and tracked by the National Heritage Board of Poland.
The paper mill is one of the most architecturally valuable industrial monuments in Europe. It is characteristic for its shingle roofing trimmed with a baroque volute from the west and the original entrance pavilion and inside the building – the 17-19th century wall paintings. The tradition of papermaking in Duszniki dates back to the 16th century; the first record about the paper mill comes from 1562, and tells about the sale of his shares in the moulding room by Ambrosius Tepper to Nicolas Kretschmer. The original paper mill was destroyed in the flood in 1601. The mill was rebuilt and making of paper was resumed in 1605. The museum was opened for visitors on July 26, 1968, and three years later paper production by hand was launched on show. The moulding room soon became an attraction drawing tens of thousands of tourists every year.
en.wikipedia.org/wiki/Museum_of_Papermaking_in_Duszniki-Z...