The anniversary issue of Hand Papermaking focuses on the handmade paper work of artists under the age of 30.
From the issue: Martín Touzón, Composition A5-ISO 216 #2, 2015, 8.3 x 5.8 inches, poured pulp (made from socks). Photo courtesy of the artist. From the article “Project Medias Hojas,” Hand Papermaking, vol. 31, no. 1 (Summer 2016), p. 18.
In the January 2017 issue of Hand Papermaking Newsletter, read about a mobile paper studio, a garden workshop, simple 3D casting, unappreciated papier mâché, and more.
The current issue of Hand Papermaking focuses on the handmade paper work of artists under the age of 30.
From the issue: Lorenzo Santoni Handmade Paper’s double-L watermark stands for his name and that of his mentor Luigi Mecella. The watermark was fabricated by Santoni’s uncle Claudio Passeri. Photo courtesy of Lorenzo Santoni. From Roberto Mannino’s article “Industrial/Medieval: A Conversation with Lorenzo Santoni,” Hand Papermaking, vol. 31, no. 1 (Summer 2016), p. 20.
Hand Papermaking Newsletter #73‘s “For Beginners” column walks the reader through the process of creating papyrus from produce. Read the full text here.
Egyptian papyrus is made by overlapping pieces of the stalk of the papyrus plant and pounding or pressing the pieces together. A similar technique can be used to make vegetable papyrus using common household vegetables or corn husks. These are not true papers, since the fibers are not beaten to a pulp and made into sheets of paper on a mesh surface.
Vegetable papyrus is made by cooking sliced veggies until they are tender, and then pressing them, which can reveal intricate and beautiful patterns in the resulting papyrus. More….
Hand Papermaking’s Summer 2011 Magazine was a special full-color issue that celebrated its 25th anniversary. Amy Jacobs and Philip Bell collaborated on the moveable handmade paper piece featured on this cover, part of the HPM Paper in Motion Portfolio—Pop-ups! Ann Montanaro’s essay about the entire portfolio is in this issue alongside the beautiful color images of all 14 paper works in this collection.
Did you know you can order back issues?
The current issue of Hand Papermaking focuses on the handmade paper work of artists under the age of 30.
Pictured here: James Kleiner, Polyhedra III, 2014, 22 x 30 inches, oil-based relief print, suminagashi with indigo dye on artist-made flax paper. Photo courtesy of the author. From James Kleiner’s article “Old and New: Learning and Adapting Traditional Hand Papermaking,” Hand Papermaking, vol. 31, no. 1 (Summer 2016), p. 34.
Hand Papermaking Newsletter #70‘s “For Beginners” column discusses some basic considerations and tips for setting up your own papermaking studio. Read the full text here.
If you get serious about papermaking and decide to dedicate a space to it–whether it be in your basement or garage, or in a special place–here are a few tips I’ve gathered over the years as I’ve visited other studios and worked on setting up my own.
There are several steps in the papermaking process, and you might choose to do them all in one location, or, you may prepare your fiber in one location and make paper in another. In either case, make sure your work area is free of electrical hazards. More….