My introduction to the book arts began when I started making paper in the mid-1990s. There was no one locally who could give me instruction in the field, so I learned from books. The one I found most useful for practical help was Helen Hiebert’s Papermaking with Plants. The book has since been re-titled, and is still available here. I also found help and inspiration in The Art of Papermaking by Bernard Toale.
Cattail/Carnation Petal/Clematis Leaf
I used pulped recycled paper as a base and experimented with various plant fibres and other inclusions.
This is a serious pain in the ass and I am p Peacock Feather
My husband built me a mould with a deckle box. This permitted me to work with small amounts of pulp. I could simply pour a measured amount of pulp into the deckle box while it sat in a shallow vat of water and then form a sheet. It isn’t a process designed for speed, but it allowed me to play with a wide range of plant fibres.
Cattail/Calendula Petal Cotton Cord
Asparagus/Delphinium Petal Garlic Skins
Onion Skin/Calendula Cymbidium Flower and Leaves
I rarely use handmade paper in editioned books as production is relatively time consuming, but Four Seasons in a Dry Year is an exception. I produced an edition of fifty copies, half of which went to the Canadian Bookbinders and Book Artists Guild exhibition and project A Book Arts Mosaic.
I produced 5 different papers for the edition. They were used in the small landscapes and for the 2-part sleeves.
This seems to be the week for talking about papermaking: Rhonda at myhandboundbooks has a post about this year’s classes at The Paper & Book Intensive with pictures showing more varieties of handmade paper.