Arnold E. Grummer
Page 15
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.