The Papermaker's Companion: The Ultimate Guide to Making and Using Handmade Paper

The Papermaker's Companion: The Ultimate Guide to Making and Using Handmade Paper

Helen Hiebert

Language: English

Pages: 224

ISBN: 1580172008

Format: PDF / Kindle (mobi) / ePub


Craft your own colorful paper goods and personalized stationary. With clear, step-by-step instructions, Helen Heibert covers all aspects of the papermaking process — from growing and harvesting plants for a malleable paper pulp to embellishment techniques like dyeing, embossing, and laminating. With tips on building your own papermaking equipment, ideas for transforming junk mail into dazzlingly unique notecards, and much more, you’ll be inspired to let your creativity shine as you explore the endless possibilities of handcrafted papers. 

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lightweight material that works well as a felt substitute. It comes in different weights — I like the extra-heavy weight. Papermaking suppliers also carry an assortment of couching materials (see resource guide). The felts should be cut approximately 2 inches larger than the sheets of paper that will be couched onto them and small enough to fit into your press. BEATING EQUIPMENT There are numerous methods of beating pulp, from hand-beating with mallets to using a sophisticated machine called

the subtle crevices 72 PAPERMAKING BASICS between the fibers and thus making sheets of paper smoother and more opaque. You can purchase calcium carbonate from papermaking suppliers or in ceramic supply stores. Clay, or kaolin, also comes in powder form; it can be used to make paper opaque and smooth. It is also useful in paper casting, because it reduces shrinkage during drying. Titanium dioxide (TiO2) is a white pigment that can be added to make paper whiter, opaque, and smooth. OTHER

guide). Pigments are mixed with various dispersing agents for a variety of art mediums. They are mixed with linseed oil to make oil paint; ground with an acrylic emulsion to make acrylic paint; and ground with gum arabic or other binders to make inks and watercolors. ✦ ✦ ✦ ✦ Wear a mask when working with dry pigments or dyes. The dustlike particles are common irritants that can cause rashes, nausea, and headaches. Wear gloves. Many pigments contain heavy metals, which are toxic and can be

Hole punch side 2 e1 sid fold B side 3 fol dD pA 1. Cut a piece of deckle-making material to the outer dimension fla of the mould. 2. Trace the outline of the template onto the deckle-making material, and cut out the shape. Make sure that the shape will fit inside the “image area” of the mould. sid e4 fold C ld fo E Bonbon template — enlarge 350 percent. MAKING SHAPED SHEETS 149 3. Place the new deckle on top of the mould, and make a sheet of paper. After the sheet drains, remove

1. 3. Apply paper sections to every other section until you have covered four sections. Applying the paper sections in this fashion holds the rings in place. 4. Next, cover the remaining sections. In addition to applying glue to the reed strips, apply a ¼" strip of glue along the two overlapping sides of the paper panel. Place the panel on the armature, overlapping the paper on both sides and tamping it down with your fingers or a brush to make sure it adheres to the adjacent sheet. Repeat until

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