Totally Tool ~ Felt Brush

Joyce Gold ~ Houston, TX

When you asked what my favorite tool is, I right away thought of my brush that I use to clean off my pellon, felts, blankets, and moulds. Soft and productive in cleaning off pulp. If you have a dog, buy 2!

http://www.simplygoodstuff.com/rubber_lintbrush.html

I also like Simply Good Stuff's 'Household Sweepa Rubber Broom' for the wet floors.
http://www.simplygoodstuff.com/rubber_brooms.htm

Jennie Frederick ~ Kansas City, MO

Jennie Frederick Studio ~ Kansas City, MO
Above: Jennie Frederick beats a kozo drawing. Look for her new book "Black and White: Paper, Wax, & Kozo Constructions" to be published in April. For further info. contact her at jennie@jenniefrederick.com

“My current work utilizes techniques observed in the Mexican papermaking village of San Pablito (Puebla State), and the Lacandon Maya villages of Lacanhá and Nahá in Chiapas.

My work holds influences, committed to memory, from my observation and research during my travels to document indigenous fiber techniques. These include Otomi lace amate, Lacandon hu’un (Mayan bark cloth) with symbolic circular motifs, Ecuadorian Cuenca paños; observation of shigra making from pita fiber in the Amazon jungle, and Peruvian Chancay textiles, delicately woven and embroidered. All of these techniques use natural fibers in multiple element constructions.

I cook kozo (mulberry) fiber until pliable, then I create sub-structures which appear linear, delicate, light, and open. These sub-structures are lightly beaten with a lava stone and dried. Mulberry is tied onto this base along with other materials.

I am interested in the notion of textile structure as marker, using line, repetition, texture and symbol, particularly the circle, to document events in time. Light, delicate, open work structures become artifacts of time, events, people, actions, and places.”

Below: It is 10” x 10”. Materials: paper, encaustic wax, kozo, graphite and charcoal transfer. Charcoal transfer is accomplished by rubbing charcoal onto a piece of vellum paper. It is then turned charcoal down onto a waxed surface and a stylus tool is used to transfer it…you can get VERY deep black line quality this way…but it has to be done on a waxed surface.

FDH Membership Portfolio 2014

Thanks to the following 58 contributors we have a 2 Volume set Membership Portfoliofor 2014.  It is amazing to see the diversity of fiber/finished results: elegant, technical, refined, wild and woolly, exotic, vibrant, somber and obviously full of passion. Nobody could ask for a better representation of this group.
Jill Reinhold Jarom, Susan Warner Keene, Ginny Kilander, Betty Kjelson, Carolyn Knox, Steve Kostell, Susan Kristoferson, Claudia Lee, Mary Leto, Jill Littlewood, Christine LoFaso, Kit Lucas, Cheryl Mahowald, Sarah McDermott, Kathryn Menard, Catherine Nash, Patricia O'Neal, Andrea Peterson, Diane Price, Erica Spitzer Rasmussen, Eve Reid, Margaret Rhein, Sally Rose, Sister Thomasette Scheeler OSB, Megan Singleton, Vicki Smith, Paperhouse Studio, Judy Tobie, Ray Tomasso, Marjorie Tomchuk, Bernie Vinzani, Cecil Webster, Kris Westerson, Kathy Wosika, Carol Zemman, May Babcock, Helmut Becker, Marcia Blake, Carol Blinn, Ingrid Butler, Patricia Zabel Canaday, John Carvalho, Cave Paper, U of IA Center for the Book, Paper Circle, Georgie Cunningham, Kerri Cushman, Katy DeMent, Betsy Dollar, Nicole Donnelly, Del Foxton, Helen C Frederick, Sara Gilfert, Joan Hall, Mary Hark, Helen Hiebert, Kate Horvat, Lois James.
Mary Uthuppuru constructed the boxes; her website is https://www.springleafpress.com/
Special Thanks to Andrea Peterson of Hook Pottery Paper

 

DIPA ~ Miskolc, Hungary

DIPA ~ Hegyalja út 203/1 ~ Miskolc, Hungary 3505
Diósgyõr Papermill is the only company in Hungary that is involved in producing security papers. These unique and exclusive products have been the symbols of quality paper production in Hungary for more than two hundred years...
We would like to invite our visitors to the Paper Industry Museum, which was established in 1982 from the historical artifacts of our company.

JILL LITTLEWOOD:: Taking High Shrinkage Abaca to the Theater...

FDH President ~ Jill Littlewood has been experimenting with high shrinkage abaca to create drums, puppets, masks and props for theater.

Below are images of the work she has been doing. She says the following related to this sampling of the items she has been making:

ABOVE: "This is a drum head drying on a wooden hoop. I don't have a finished one yet so I can't show the results. If this doesn't work - if the pulp pulls away from the wood ring - I will put sand into the interior to weigh it down while drying."

TWO DAY INTENSE WORKSHOP:: From Paper to Print Using Ancient Japanese Processing...

Submitted by Steve Miller, University of Alabama

Paper has consumed us...

Last week at The University of Alabama my students and I trucked down to a paper mulberry grove near the railroad tracks in town, where we harvested healthy mulberry branches. We lit a wood fire in my backyard, and with a lidded 55-gallon drum donated by Glenn House Sr. steamed the bark free of the branches in about two hours... 

You Have 0 days to
 

submit your proposals

Help us show the Printing History Association
just how versatile paper can be!

CALL FOR PROPOSALS 2014

The Friends of Dard Hunter (FDH)
with the American Printing History Association (APHA)
announce our new (ad)venture:
JOINT ANNUAL 2014 CONFERENCE in San Francisco, California
Thursday, October 16 – Saturday, October 18, 2014
Site Host: San Francisco Center for the Book

Proposals are due by March 15, 2014

   

THEME: PAPER ON THE PRESS

A CALL FOR YOUR PAPER
You Have 1 day to get
your paper samples to
Andrea Peterson

Cash Fish ~ Salt Lake City, UT

Salt Lake City ~ Utah

Shin Hyun Se Making Hanji ~ Korea

Korean Papermaking by Shin Hyun Se ~ FIDES International ~ video by Aimee Lee
Hanji, Korean paper, has a long but often overlooked tradition. This high-quality paper is made from the inner bark of the dak (mulberry) tree, in the countryside where the water supply is clean and abundant. There are many, many stages of papermaking. This video was shot on August 6, 2008 on a site visit to a traditional papermaker who supplies FIDES International with conservation-grade hanji. He has been making paper since he was a teenager, and his is the only surviving mill in a rural village where papermaking used to be plentiful.
Thanks to Bo Kyung Kim of FIDES International and the US Fulbright Program
Camera, Editor: Aimee Lee
© 2008

Jay Fox ~ Milwaukee, WI

Jay Fox ~ UW-Milwaukee, WI
“Keep thy shop and thy shop will keep thee. “ -Benjamin Franklin

I think Ben was on to something when he said this, and the deeper I get into building up an MFA exhibition the more I need to remind myself of this.  I am currently working between my subterranean paper studio, the ground level woodshop, and the “towering” print facilities and studio. Switching gears to transition between spaces has been tricky, but a good full day will utilize all three (sometimes successfully).

To understand what draws me to fastidious and ingenious studios you must understand my previous roles in studios. I have been lucky enough to follow an academic path that has provided printmaking, woodworking, and (at times) papermaking studios when I required them. The only catch, I managed most of those studios for a few years. I became a broken record of studio etiquette, preaching to students and sneaking in work around the academic calendar’s lulls.