Book Read Free

Arnold E. Grummer

Page 15

by Trash-To-Treasure Papermaking


  This museum is the site of the first paper mill in America.

  Museum of International Paper History

  Carriage House

  Brookline, Massachusetts

  617- 232-1636

  www.papermakinghistory.org

  International collection of books, handmade paper, and artifacts used in the making of paper.

  Robert C. Williams Paper Museum

  Institute of Paper Science and Technology

  Atlanta, Georgia

  www.ipst.gatech.edu/amp

  Internationally renowned resource on the history of paper and paper technology with over 10,000 watermarks, books, papers, tools, machines, and manuscripts. Features the Dard Hunter Collection of artifacts and books on paper and hand papermaking.

  Paper Centers

  Beginner classes to advanced studies (even degrees!) in papermaking.

  Center for Book & Paper Arts

  Columbia College

  Chicago, Illinois

  312-369-6630

  www.colum.edu/Book_and_Paper

  Center for the Book

  University of Iowa

  Iowa City, Iowa

  319-335-0447

  www.uiowa.edu/~ctrbook

  Morgan Art of Papermaking

  Cleveland, Ohio

  216-361-9255

  www.morganconservatory.org

  Pyramid Atlantic Art Center

  Silver Spring, Maryland

  301-608-9101

  www.pyramidatlanticartcenter.org

  Suggested Reading List

  Barrett, Timothy. Japanese Papermaking. Weatherhill, NY, 1983.

  Bell, Lilian A. Plant Fibers for Papermaking, 8th ed. Liliaceae Press, McMinnville, OR, 1995.

  Flowers, Diane D. Handmade Paper from Naturals. New York: Lark, 2009.

  Grummer, Arnold E. Paper by Kids, rev ed. Minneapolis: Dillon Press, 1990.

  Heller, Jules. Papermaking, 4th ed. New York: Watson-Guptill, 1985.

  Hercher, Gail P. Crafting with Handmade Paper. Gloucester, MA: Rockport Publishing, 2000.

  Hiebert, Helen. The Papermaker’s Companion. North Adams, MA: Storey Publishing, 2000.

  ——. Papermaking with Garden Plants & Common Weeds. North Adams, MA: Storey Publishing, 2006.

  Hunter, Dard. Papermaking: The History and Technique of an Ancient Craft, 2nd ed. New York: Dover, 1978.

  Koretsky, Elaine. Color for the Hand Papermaker. Brookline, MA: Carriage House Press, 1983.

  Mason, John. Papermaking as an Artistic Craft. London: Faber and Faber, 1959.

  Studley, Vance. The Art and Craft of Handmade Paper. New York: Van Nostrand Reinhold, 1977.

  Toale, Bernard. The Art of Papermaking. Worcester, MA: Davis Publications, 1983.

  Tsien, Tsuen-Hsuin. Written on Bamboo and Silk, 2nd ed. Chicago: University of Chicago Press, 2004.

  index

  Abaca, 30

  acid-free paper, 32

  additives

  paper casting, 127

  papermaking, 30

  air drying, 116

  air plus pressure (drying), 117

  archival paper, 32

  Baskets, cast paper, 141

  Birthstone Card, 182

  blenders, 25, 26, 57

  blotter paper, 26

  board drying, 114–15

  Bonded for Life, 118–19

  bone folder, 148

  Bookmarks, 148–49

  bordering (direct and indirect), 90–91

  botanicals added to paper, 66–67

  best flowers to use, 67

  Bowl, Coiled, 184–85

  Bowl, Fish, 144–45

  Bowls, Cast Paper, 140

  Bud Vase, 190

  Calcium carbonate, 127

  candy molds, 124

  cards

  Birthstone Card, 182

  Circular Cards, 150

  embossed, 103

  fold-out, 110

  Illustrated Cards, 166–67

  invitations, 111

  making cards that sell, 111

  Name-on-a-String Cards, 178

  Pop-Up Cards, 186–87

  Seed Card, 194

  tissue, 67

  window cards, 104–7

  cellulose fibers, 9–11

  ceramic molds, 122–23, 126

  Christmas papers, recycling, 19

  Circular Cards and Notes, 150–51

  clay coating on paper, 98

  Coasters, 82–83

  color

  adding color in the deckle, 88–89

  bordering, 90–91

  recycling colored paper, 18, 74

  Cones, Paper, 152–53

  confetti sheets, 71

  cookie cutters, 80, 81

  making custom shapes, 81

  cotton linters, 30, 125–26

  cotton rag papers, 16, 30

  couch sheets, 25–26, 28

  couching, defined, 26, 28

  Critters, Tin Can, 154–55

  Cupcake Toppers, 156

  curl and cockle, 28

  Decision Maker, 191

  deckle, 12–14, 28, 40

  templates, 59

  deckle division, 108–9

  dip method, 12, 40

  how-to steps, 41

  recycling formulas for pulp, 48

  thick and thin sheets, 49

  using new pulp, 49

  drain pan, 25, 28

  drain rack, 28, 40

  dry lap, 28

  drying options

  air drying, 116

  air plus pressure, 117

  board drying, 114–15

  casts, 129, 131

  pressing with boards and clamps, 56

  using an iron, 47, 55, 57

  dyes, 19, 74

  Earth Day project, 68–69

  Easy Bowl (paper casting), 133

  edge dipping, 96–97

  embossing, 102–3

  envelopes

  make your own, 189

  recycling, 18

  self-enclosed invitation, 111, 200

  square template, 201

  template for small folded card, 202

  Fading, causes of, 19

  fibers explained, 9–11, 14, 28

  Fish Bowl, 144–45

  flock, 18, 29

  Flowers, 157

  foil in papermaking, 76

  Framing in Style, 136–37

  furnish, 16, 29

  Gampi, 30

  Garland, Deluxe, 160–61

  Garland, Name, 159

  Garland, Simple Mini Name, 158

  Gift Wrap Embellishment and Tags, 162–63

  glitter and glisten, 76–77

  glossary of papermaking terms, 28

  groundwood pulp, 11, 32

  Hand mold, 12, 29

  hemp, 30

  history of papermaking, 12–15

  Holiday Ornaments, 176–177

  Holiday Wreath, 164–65

  Hunter, Dard, 12–13

  Illustrated Cards, 166–67

  ink on recycled paper, 17, 57

  Institute of Paper Chemistry, 13

  internal embedment, 70–71

  confetti, 71

  invitations, 111, 200

  Wedding Invitations, 188–89

  iron for drying paper, 47, 55, 57

  Jar Lid Labels, 168

  Journal or Notebook, Custom, 180–81

  Kozo, 30

  Labels, 168

  laid paper, 13

  Lampshade, Torrent, 183

  large sheets, making 58

  lignan, 19, 32

  linen rag papers, 16, 30

  lint as papermaking source, 56

  linters, cotton, 30, 125–26

  tinting, 126

  Magnets, 169

  memories-safe paper, 32

  methylcellulose, 127

  microwave drying for paper casts, 129, 131

  Mini Circular Cards, 150

  mitsumata, 30

  Mobile, Cloud, 172–73

  Mobile, Simple, 17
0–71

  molds, 25

  building a pour hand mold, 50–51

  ceramic, 122–23, 126

  cookie cutters, 80, 81

  dip hand mold, 41, 48–49

  hand mold, 12, 29

  paper casting, 122–24

  pour hand mold, 40, 48–49

  tin can papermaking, 42

  moonscape, 98–99

  mortar and pestle, 11

  mottled or chunky surface, 62–63

  Name-on-a-String Cards, 178

  napkinization, 65

  newsprint, 17–18

  Notebook or Journal, Custom, 180–81

  Ornament, Tree, 177

  Ornaments, Easy Holiday, 176

  Paper casting

  additives, 127

  applying pulp to a mold, 131–33

  candy molds, 124

  colored pulps, 139

  drying options, 129, 131

  Easy Bowl, 133

  everyday objects, 124

  how-to steps, 130–31

  making pulp strips, 134–35

  molds, 122–24

  pulp, 125–26

  release agents, 128

  surface decoration, 138–39

  tips, 125

  Paper Discovery Center, 17

  papermaker’s clay, 127

  papermaker’s shake, 53

  papermaking kits, 25

  Pencil Wrap, 175

  pH levels of paper, 32

  pin drawing, 94–95

  polyurethane spray, 127

  Pop-Up Cards, 186–87

  pour method, 12, 40

  how-to steps, 52–55

  recycling formulas for pulp, 48

  thick and thin sheets, 49

  using new pulp, 49

  press bar, 25

  pressing equipment, 25, 27

  boards and clamps, 56

  building a paper press, 34–36

  commercial paper press, 27

  paper press, 26

  using the paper press, 37

  printing on handmade paper, 89

  pulp for casting, 125–26

  handling pulp, 133

  making strips, 134–35

  pulp patties, 132–33

  pulp pull-away, 132

  pulp transfer, 132

  using a pour hand mold, 135

  pulp for papermaking, 11–12, 16, 29

  from trees/wood, 11, 15, 30

  leftover, 56–57

  preparing pulp, 48

  recycling formulas for pulp, 48

  using new pulp, 49

  where to find, 30–31

  pulp gun, 25, 27

  used in pulp painting, 84

  used to make letters, 79

  pulp layering, 78–79

  pulp painting, 84–87

  direct method, 84

  indirect method, 85

  pulping, 10–11

  Puppet, Pose-able, 179

  Rags for papermaking, 14–16

  recycling fibers, 11, 16–21

  papers you can recycle, 17–19, 25

  recycling formulas for pulp, 48

  release agents, 29, 128

  avoiding stuck casts, 129

  Screen block out, 104–5

  screens, 13, 25, 29

  avoiding pattern left on paper, 57

  pour mold, 40

  tin can papermaking, 42

  second sheet option, 79

  Seed Card, 194

  seed paper, 63

  self-bonding technique, 118–19

  sheet layering, 110

  Shelf Edging, 174

  sizing, 30

  commercial, 127

  wax, 33, 127

  slurry, 29, 45

  Spinwheels, 192–93

  Super 3-D Window Card, 106–7

  supplies for papermaking, 23–27

  surface embedment, 64–69

  botanicals, 66–67

  Earth Day project, 68–69

  foils, 76

  napkinization, 65

  tissue, 67

  Templates

  cut from food board, 80

  envelope for small folded card, 202

  how to use, 80

  in the deckle, 59

  plastic letters, 79

  pop-up card, 199

  square notecard and envelope, 201

  You’re Invited, 200

  texturing, 100–101

  thicker or thinner sheets, 45, 49

  thin spots, preventing, 57

  Tiger Mask, 142–43

  tin can papermaking, 42–47

  how-to steps, 44–47

  making good slurry, 45

  mold and deckle options, 42

  supplies, 42–43

  Tin Can Critters, 154–55

  Tissue Issue, The, 67

  turbulence for sheet uniformity, 49

  Vase, Bud, 190

  vat, 25, 29

  Wacky Bodies, 195

  wasp nest paper, 15

  watermarking, 112–13

  wax sizing, 127

  using waxed paper, 33

  Wedding Invitations, 188–89

  windows, making, 104–5

  Super 3-D Window Card, 106–7

  wrapping paper, recycling, 18

  acknowledgments

  This book would not exist were it not for my daughter, Kim Schiedermayer. She envisioned it, marketed it, and served as liaison with the publisher. Most of all, she spent those necessary endless hours going through over a thousand handmade sheets to select the optimum illustration of a specific technique or point. Then there are drawers and containers full of sculptures, castings, and assorted weirdos. The selection process was pure, unadulterated mental labor of decision after decision after decision. So I repeat, my forever thanks to Kim.

  Where can an author do better than at Storey Publishing? I didn’t know a publishing staff could be so pleasant, willing, and easy to talk with, and still be so professional and decisive (makes me want to write another book). Our compliments and appreciation to, and my admiration for, Pam Art and Deborah Balmuth, who decided the world needed this papermaking book and performed the labor and judgment to create one. Thanks and admiration also to Nancy Wood, the capable and insightful editor who took on the unimaginable task of combing through my former texts to glean and organize the best from them into the book you now hold. And for giving the book the vital assets of design; my thanks to art director, Dan Williams; the photographer, Greg Nesbit; and stylist, Sara Gillingham.

  Acknowledgement must go also to my former colleagues, the entire research staff and faculty of the former Institute of Paper Chemistry. For 17 glorious years they stuffed my brain with cutting-edge paper science and technology for my editorial duties. To delineate the magnitude of their contribution to this book would take another book. The Institute was also the source of the amazing photo on page 10.

  I acknowledge the life-long labor of Dard Hunter, master paper historian and founder of the Dard Hunter Paper Museum. It constitutes the world’s major collection of paper historical matter (now housed in the Robert C. Williams Paper Museum at the Georgia Institute of Technology). I had the privilege of being its curator for six years. Without that experience, the void in my hand-papermaking knowledge would be endless.

  Every would-be author should have benefit of longtime friends in his/her field of expertise, such as I have had. Thanks for Howard and Kathryn Clark of Twinrocker Handmade Paper, the late Joe Wilfer, Dard Hunter III of the Dard Hunter legacy, and each and every member of the vibrant paper craft and art fellowship, Friends of Dard Hunter. They are a fellowship that causes one to keep standards high.

  Where would any author be without his spouse? I have Mabel. As long as she can maintain her unbelievably high level of patience and tolerance, we will always be able to look forward to another wedding anniversary. Selah.

  Credits: Fish Bowl (page 144), Torrent Lampshade (page 183), and Coiled Bowl (page 185), by Ellie Schiedermayer. Other projects reflect designs by Mary Ayres, Saund
ra Galloway, Erikia Ghumm, Sara Gillingham, Maria Nerius, and Kay Williams.

  about the author

  Arnold E. Grummer is the founder and president of Arnold Grummer’s Papermaking, a leading supplier of papermaking kits and equipment for home and classroom use since 1976. He has served on the faculty and staff of the Institute of Paper Chemistry and as curator of the Dard Hunter Paper Museum. His educational program clients have included the FBI, the IRS, the American Society for Questioned Document Examiners, the Smithsonian Institution, and the Chicago Museum of Science and Industry. He has made numerous national television and convention appearances, and delivered school programs at every level from Montessori preschool to graduate school. He is the author of four paper-craft books. He lives in Wisconsin with his wife, Mabel.

 

 

 


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