Re: Making our own base papers
- Firstly, let me say I know nothing about marbling on paper- I marble
fabric but on the subject of paper, I know that there are a number paper
making projects here in South Africa making beautiful paper- some of
which is exported through the Fair Trade organisation.Perhaps this is
the way to go.
- Hello everyone,
I just created a album in the photo section called marbling on handmade papers, feel free
to add your photos. I also came across an article in handpapermaking from the summer of
2003 by Tom Leech called "An Invitation to Marble". Many have played around with
marbling from the bookarts and hmp communities and said similar things about marbling
that this group is saying about making their own papers. I only drop my "precious" papers
onto a vat when I'm sure about the image created, I still produce 4 duds out of every 10
sheets. Since I can charge fine art prices, this becomes part of my process, and the duds
get overmarbled or have other lives as scrap or recycled paper.
I am in my twenties and having "paper dreams" trying to start a cooperative studio for
paper and marbling here in Boston. I know it's a long shot but the last seven years of my
life Ive been developing this method of working. I know it would not be cost effective on
the scale I previously practiced. However this studio has all the equipment a papermaker
could hope for, and is a dedicated space for marbling so no more nomadic marbling.
- I particularly liked your self-portrait, and the other marbler's
portait piece. Thanks for sharing.
--- In Marbling@yahoogroups.com, "athena_2547" <athena_2547@...> wrote:
> Hello everyone,
> I just created a album in the photo section called marbling on
handmade papers, feel free
> to add your photos.
- Hi All.
With a hydraulic press and a heated tube dryer you can crank out super nice
flat paper on the earlier post I mentioned the rough flat easy kind.These
would be the next two steps.
There is a cotton gin in my town and the cotton linters were .25 cents per
lb two years ago they are raw and natural but real nice cream.The size has
its limitations too. Smaller vs bigger is better, for me at this time.
This is a great topic! I hope to hear and learn more...
On Tue, Mar 3, 2009 at 7:50 AM, irisnevins <irisnevins@...> wrote:
> Very good info Susanne. Unlike you, I AM mad! And I thought you must be
> too, ha ha... one of the obsessive ones. My friends laugh at me... I'll try
> anything, the worst is that you fail and either keep trying or do something
> else. I could do a lot of things if marbling didn't work for me, have
> studied many things, self study that is, I never went past high school, have
> no degrees or college or anything. I am just terribly mad and obsessive, and
> stubborn too. This paper problem, it will not be the end of marbling for me.
> Honestly the worst possible scenario would be, like you, find a hand
> papermaker (if I don't do it myself ultimately) who will make what I want.
> If it's very expensive so be it, I will marble for a few at a higher price
> per sheet is all. Or do marbled art, which I rarely have time for. I may
> have to work for a living at something else, but will not stop marbling!
> Iris Nevins
> ----- Original Message -----
> From: Susanne Krause<mailto:studio@...<studio%40hamburgerbuntpapier.de>>
> To: Marbling@yahoogroups.com <Marbling%40yahoogroups.com><mailto:
> Marbling@yahoogroups.com <Marbling%40yahoogroups.com>>
> Sent: Tuesday, March 03, 2009 4:17 AM
> Subject: [Marbling] Making our own base papers
> Hi all,
> the vast majority of sheets on hand made base papers I sell goes to
> book restorers, followed by artists. I have next to none in stock and
> produce only on request. This leaves me flexible as to colours and
> patterning and the customers get exactly what they need for a price is
> well above machine made after all, not just because of hand vs.
> machine but also because in many cases it takes more time to work on
> hand made.
> Much as I'd love to work on hand made alone (Oh for the five days when
> we were demonstrating side by side on Frankfurt Book Fair some years
> ago and he brought a big, big pile of different papers for me to work
> with!), it is out of the question. One of the reasons for this is, the
> old surfaces were subject to a special treatment making them
> particularly smooth. To get these results today, you'd need a host of
> workers handling the tool (sorry, no ides what it may be called in
> English) or the output to justify erecting mechanical gadgets,
> provided they don't need to be invented first which I don't know. No
> one is going to pay you for this.
> The biggest problem is just the one you mentioned, Iris. Most hand
> made are too porous etc. It's a question of the right fibres, beaten
> just the right time, just the right water, just the right sizing, just
> the right pigments, dried just the right way. Wait a year or two and
> the same paper behaves totally different.
> I'm ordering wove (velin) ca. 55gsm, and my paper maker makes it to my
> specifications as to fibres, weight and colour; the rest is for him to
> decide. We did need some time to find out what works best though! As
> you know I'm doing direct techniques only, so the papers have to stand
> up to being treated with the hard tools while they are wet and neither
> tear nor shed fibres in the process in addition to accepting the
> paints in the way I want them to (and keeping them of course)!
> My paper maker is Gangolf Ulbricht of Berlin, and there is not much
> about paper making he doesn't know. He has a degree in paper
> engineering, then went on learning hand paper making, then acquired a
> scholarship to learn a year in Japan, living with three paper making
> families in turn. Works Japanese style as well as Western, anything
> between monstrously big and heavy boards for art and repair and 2 gsm
> Gossamer for restoration.
> I may be mad. But I'm not that mad.
> Susanne Krause
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