Paper Secrets in Tasmania

Click on the invitation above for further details, pricing and booking form.

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The Red Project

By Primrose Paper Arts President, Dinah Beeston

What colour is red?

We have been experimenting with a number of different dyes and many different fibres to make some red pulp.

Primrose Paper Arts has been invited by North Sydney Council to participate in The Red Project 2018, celebrating creative women in North Sydney.

In celebration of International Women’s Day on March 8, 2018 North Sydney Council is holding a series of exhibitions at six Council venues for a two-week period from 3 – 18 March.  Artists are to respond to the colour “red” as a colour associated with the earth, energy, strength, power, action, determination as well as passion, desire and love.

Our exhibit will be on display at The Coal Loader Centre for Sustainability in the Artist Studio.

Our members have been working down at the studio to prepare paper for our display which involves a lot of experimentation, sharing of ideas and learning how to develop and implement a project of this size.

Watch this space for further news as we take more steps, and make sure you come down to the Coal Loader to see the final exhibit.

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Mt Kembla Workshop Opportunities

Our member, Liz Jeneid, is running a program of workshops during 2018 at her studio in Mount Kembla.
She writes:

March 17/18
Jigsaw Lino Cuts with Kathryn Orton

This workshop aims to encourage experimentation and a sense of play in printmaking.

It will help you to abstract your images and let you play with different arrangements in the prints so that you end up with a series of related but unique prints.

You will cut the lino blocks into different shapes and sizes, then draw directly onto the lino with ink & brush or thick texta.  This will give you less control of the drawn images and allow for a playful approach to carving that will extend to the printing, where you’ll be able to rearrange placement of the lino blocks.

Kathryn Orton has taught at the University of Wollongong, Wollongong and Goulburn TAFES and has exhibited widely in Australia and overseas.  Her work is represented in public and private collections.

June 16/17
Making the Mark in Relief with Dianne Fogwell

This is a master class in diverse approaches to producing the block for the final relief print.

You will explore the bold, graphic and fine nature of relief printing by looking at experimental and traditional block making processes such as caustic etching, shaped blocks, fine line cutting, transfer processes, burnishing and the found object.  You will also learn how to draw for the block, printing methods including staining, stencilling, dusting and Chine-collé.  There will be practical demonstrations, take home guides and each participant will have the opportunity to make blocks and prints of selected processes in a portfolio for future reference in their own studio practice.
Some printmaking experience would be helpful.

Dianne Fogwell’s practice is centred on printmaking, painting and artist’s books. She has held many solo exhibitions and is an invited artist for exhibitions nationally and internationally.  She has made a major contribution to the Australian arts community through her art practice: teaching, curating and establishing press and print studios. Her work is represented in many public collections.

August 25/26
Books & Covers with Liz Jeneid

Basic structures will be discussed & samples made so that you will have a vocabulary of different kinds of book-making techniques.  Come with an idea of what you would
like to do – a journey, a political issue, a series of words or images.  We will try to match the structure and the cover to the content.

Liz Jeneid has been making books since 1990.  Her books reflect her interest in the natural
world, responses to other cultures during residencies and political issues.  Her latest
books have been about the war in Yemen, the hidden war, which has brought about tragic events – deaths by bombing, starvation and cholera.

October 27/28
Printing from the Land with Gabriella Hegyes

Explore the natural and made environment using alternative printmaking methods
onto fabric and paper. Prints will be created from boiled vegetation.

You will also create wet clay plates embossed with found natural and man-made materials and print from these onto fabric and  paper using acrylic paints, inks and soils.

Gabriella Hegyes was born in Hungary in 1954 and settled in Australia in 1977.
She studied fine arts at Wollongong, the National Art School, University of Western Sydney and Monash University.  She has participated in numerous solo and group exhibitions around Australia, Japan and Mexico.

November 10/11
Basketry with Natural Fibres – Lissa de Sailles

During this workshop participants will learn how to identify, harvest and prepare natural materials for weaving sculptural and functional baskets.  A number of basketry construction techniques will be taught including twining, looping, braiding, plaiting and random weave.

A lifelong passion for creating with her hands led Lissa to study traditional and contemporary basketry techniques in Australia, Ireland, UK and the USA.

Her work has been exhibited locally and in Dubai, Canada and the USA.

Please note that participants need to have reasonable manual dexterity.

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For further details: times, pricing, materials list, booking, etc. please contact Liz at ejeneid@ozemail.com.au

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Paper bits and pieces

By Webmaster

I’m just back from the most amazing trip to Italy and thought I’d share a few of the paper related bits and pieces I found during my tour.  Although short of individual time to wander (as this was a structured art history tour) I still managed to snap a few interesting things.  Sorry, most shots are through glass.

Illuminated texts:

We took in many beautiful illuminated manuscripts.

Colouring pigments:

It was fascinating to see, and read about, the original pigments and tools used to create the type of illuminations above.

In the Middle Ages and especially the 14th century they were able to mix up a huge variety of colours from their pigment powders.  One of the early jobs studio apprentices undertook was to learn (under the watchful eye of the head colourist) how to grind, prepare and mix colours ready for both storage and use.  Most of the minerals were so valuable, such as lapis lazuli, they were kept under lock and key with strict inventories to ensure there was no wastage or theft. Books were kept to record ‘recipes’ and methods so skills could be passed down over time.

Gold leaf was used in accordance with the requirements of the patron requesting an illuminated manuscript.  They may request their job incorporate a certain amount of gold or even gold to a particular value.  Competitiveness was common amongst the wealthy, the nobility and also the various religious institutions.  So to have a manuscript with an abundance of gold leaf demonstrated your social position, your wealth and could elevate you above your rivals.

Ancient books:

The 2 pictures on the left show leather covers with beaten metal ornamentation, whilst the right photo is a velvet cover with fine metal-worked embellishment, c.1500s

Shop window display:

This wrapped wire figure has a parachute made of paper leaves and seems to be falling through a shower of summer petals, each one suspended on fine silver wire.

Paper supply shops:

I saw Il Papiro in Florence, Siena and Rome – and what a feast for the eyes.  I understand they also have a store in Melbourne.

They supply both sheets of paper & finished items such as bound books, cards, paper-covered picture frames and more.  Gorgeous things.

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Il Pavone in Venice is where I finally succumbed to buying some paper.  I had it rolled and was determined to get it back to Sydney un-crushed, and I managed it.

Yes, I bought the same designs in several colourways.  Well, it’s not like I can pop back and pick up more, is it?  Each time I touch the sheets they crackle and rustle, and the paper is a crisp white, probably around 120gsm and just perfect to use for book covers.  Click here to view more of their range and see some of the boxes, cards and other things they produce.

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Another shop (name unknown as I couldn’t locate the sign):

Can you make out the 3d paper models in the bottom photo that come within the hand-made cards?

Sculpture:

Yes, these body forms are papier mâché.  With the upcoming Carnivale in Venice starting this coming weekend they obviously thought some bling was in order!

The gold statue is fully encrusted with glass beads, some coloured, some clear.  The gold shines through these producing a startling brilliance – not appreciated from the photo.  The right hand image seems to evoke armour to my eye, even though it is a more filigree open design.  Again the shimmer doesn’t come through from the sparkling gold and silver.  I’m not sure who would buy these but they piqued my interest as they looked different to anything I’ve seen in papier mâché before.

A visit to a print shop and a purchase of some small water-colour paintings rounded out my paper journey.

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2018 Tips & Tricks programme announced

The Primrose Paper Arts committee are working hard to offer some great new workshop opportunities for 2018.  Plans are underway, tutors have been approached, photos are arriving and details are being compiled.

Meantime, whilst you wait with bated breath for our workshop announcements, we are delighted to publish our 2018 Tips & Tricks (T&T) event calendar.

Do you own a Gelli plate, don’t use it often enough and would like to participate in a group day where experimentation is the main focus?  Perhaps you own one but have never used it and need some guidance.  Or have you already produced some fabulous designs and want to share your experience, pass on some skills and enjoy seeing how other people use their plate to print?

Whatever your level of expertise we want to see you at our Gelli plate T&T day.

How are your paper-making skills?  You might be great at producing a range of A4 sheets from recycled paper, mountboard, plant fibre and more but what do you know about paper sizing?  Why do paper-makers use size?  What is it exactly and how do we know when to use it?  Our paper sizing T&T will set you on the right path.  (Webmaster note: Yep, I need this one!)

OK, here’s a question: When is a sheet of A4 paper not just a sheet of A4 paper?  Well, when you get to our paper ‘transformation’ T&T day of course!  We’re suggesting that participants bring along a variety of papers and a ton of ideas for them.  Let’s all show how we can change flat sheets into something completely different.

Do you make boxes, bags, wearable paper art, embossed cards, sculptures or anything else?  Come and share your ideas, and pick up some new ones, at our A4 paper exploration T&T day.

Ever tried paper felting?  No, not sure what that entails?

Our Joomchi T&T will be a fun day of playing with paper layers, paper colour mixing and more.  I’m sure we are going to see the more experienced people creating multiple layers, holes, paper pockets and more.  So get yourself along to our Joomchi T&T and see what it is all about.  By enrolling in advance you will find out what materials you need to give this a go.

For full details, dates, times and cost CLICK HERE, and we look forward to seeing you having fun creating in 2018.

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10th December Open Day

It was a good day at Primrose Park Art & Craft Centre on Sunday for the Artist Studios Open Day.

Photos by Brenda Livermore.

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2018 workshops with Victorian Papermakers

The Papermakers of Victoria have sent us some information regarding their workshop program for 2018.  For details and registration go directly to their website here.

24 and 25 March 2018:

CREATIVE MONOPRINTING WITH STENCILS
Tutor: Sandra Pearce

You will explore the creative technique of monotypes using  plants, stencils and other found materials to create one-of-a-kind and often unexpected images.  This is  a spontaneous and imaginative form of printmaking  without the technical processes of other printmaking techniques.

The workshop will cover ghost printing, composition, and developing complex colour relationships in your prints.

22 April 2018:

PAPERMAKING FOR A PURPOSE
Tutor: Barb Adams

Handmade paper can vary greatly.  For a handmade paper project to be a success it is helpful to know which  paper you should make.  This workshop will concentrate on making a variety of pulps which will be made into sample sheets.

You will learn how to make paper suitable for book pages of different shapes and sizes or pages with pockets included when you form the wet pages.  Recipes will be provided for pulp making suitable for cards, strong paper for casting, paper into which other items can be included or paper suitable to print photos or text onto.

You will take home a book you have made, in which you can store your specific paper pulp recipes and samples of your handmade paper.

20 May 2018:

COLOURING PAPER WITH NATURAL DYES AND CLAY
Tutor: Gail Stiffe

In this workshop you will explore ways of colouring  paper with natural dyes and with found pigments.

There will also be discussion regarding the ways in which dyes and pigments differ and how they can be applied to paper and paper pulp.

Materials used for dyeing include avocado skin, loquat leaves, onion skins and gum leaves

16 and 17 June 2018:

SPECIAL EFFECTS WITH DRYPOINT ETCHING
Tutor: Liz Powell

Experiment with achieving aquatint and mezzotint effects on dry point etching plates without the chemicals. 

You will be using cardboard and acetate plates in this workshop to push dry point past the usual line work and cross hatching and into the world of tone and chiaroscuro.

There is also an emphasis on using fine and handmade papers with some tricks of the trade to make handling plant fibre papers easier to use in etching.  Short cuts to multiple colour prints will be another area to explore including experiments with collage techniques through the press like chin collé.

Intaglio printing is full of exciting techniques with lots of possibilities that don’t necessarily require much specialist equipment so this workshop is suitable for beginners and the more experienced print-maker alike.

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