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Archives for October 2015

WINTER 2015: Sizing

coverW15b
Volume 30, Number 2: A primer on sizing…

Tim Barrett provides an overview of sizing terminology and sizing options for contemporary hand papermakers.

John Baty covers the chemistry of sizing in language that science-averse readers will enjoy and understand.

Simon Barcham Green recounts the history of sizing—from tannery discards to Aquapel—at his family’s Hayle Mill (with a sample of vintage, gelatin-sized paper).

Cathy Baker discusses nineteenth-century developments in paper sizing and their impacts on printing and other paper-based activities.

Victòria Rabal shares an historical paper sizing recipe from Catalonia.

Anna Vila, Silvia Centeno, Lisa Barro, and Nora Kennedy present findings from their investigations of the gum-dichromate photographic process and attendant practice of paper sizing by turn-of-the-century Pictorialist artists.

Russell Maret describes his Hungry Bibliophiles project, which employs the historical process of sizing paper after printing (with a pair of paper samples by Maret and Barrett).

Elena Osterwalder conveys her transformative experience viewing and handling the sixteenth-century Florentine Codex.

Sarah Kirk Hanley introduces us to the sculpture of Philadelphia–based artist Fritz Dietel.

Paul Wong reviews Leonardo Drew’s recent exhibition of new work he produced at Pace Paper.

NEWSLETTER #113

In the January 2016 issue of Hand Papermaking Newsletter, our columnists write about the silk “paper” saga, a rainy day with open vats, cooperation and competition among historic mills, the legacy of marbler Christopher Weimann, and making papyrus from fruits or vegetables. Read letters from readers and event listings, and support our advertisers.

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NEWSLETTER #112

In the October 2015 issue of Hand Papermaking Newsletter our columnists make washi in the garden, mourn the closing of an historic mill, praise a paper scholar, and teach you watermark techniques.

 

AMANDA DEGENER

DEGENERAmanda Degener is co-founder of Hand Papermaking magazine and produces sculpture and artist books using handmade paper and various other materials at Cave Paper Editions. She received an MFA in sculpture at Yale School of Art and a BA at Bennington College. Amanda travels internationally to show her artwork and conduct lectures and workshops. You can learn more about her work at http://amandadegener.com/.

>>>

Art Designed at the Vat

From Winter 2010, p5, El Retorno by Laurence Barker

Although paper will forever be intimately linked with books and prints—it being nothing less than the prime vehicle of the last two thousand years of human knowledge and culture—from a fine arts perspective, it has since outgrown that exclusive domain and, in addition, has become a stand-alone art medium in its own right. After my seminar with Douglass Howell in the summer of 1962, my interest and purpose, logically enough, was to provide paper for Cranbrook’s Printmaking Department. But in the following years the whole development of paper art—art that is initially designed at the vat level—became the work of many artists from a variety of disciplines.

The Magic of Collaboration

From Summer 2009, p4, Chemistry in Paper: Professional Paper Collaborators Discuss Their Profession by Genevieve Wood.

Collaboration in the oftentimes unpredictable paper process, taking place in an ephemeral state somewhere between the changing phases of water, is by definition about cultivating innate human sensibilities in relationship with the surrounding physical world. Within the wet process there is afforded that readily available moment to give over into alchemy. On multiple levels paper is about improvisations, transformations, about the magic in the space between things, and is ideally suited as one more means—in a world where the metaphors of language continually fall so short—of speaking from within that space between to express the inexpressible.

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