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Monday
Nov072016

Jane E. Goldman's Audubon Series

The Audubon series displays my abiding interest in creating a contemplative world of objects bathed in light with shadow contrasts. 

The cast shadows unify objects in the here and now with the 19th c. Audubon image; past and present seamlessly occupy the same timeless space. 

The series pays homage to John James Audubon, and to my love of books.

-Jane E. Goldman

Jane E. Goldman's Audubon series of eight edition screenprints are printed on Rives BFK White 280gsm. Her four hand painted archival pigment prints are all printed on Entrada Rag Natural 290gsm.

All prints were done by Stewart & Stewart. 2015 marks Stewart & Stewart's 35th anniversary of printing and publishing fine prints with exceptional artists from across the United States. Stewart & Stewart is one of the first printer/publishers inducted into the International Fine Print Dealers Association (IFPDA) in New York and is among the longest running printer/publishers in North America. The Detroit Institute of Arts mounted two major exhibitions of Stewart & Stewart’s fine print publications in 1990 (10th anniversary) and 2005 (25th anniversary). 

Wednesday
Oct262016

Tips For Painting on Yupo Paper with Sandy Sandy

Tuesday
Sep202016

100 Days of Paper

Lorraine Nam is a Paper Illustrator based in Brooklyn, New York. She creates 3-dimensional paper objects for photographs and animations. Lorraine started the 100 Days of Paper project with a set of papers she discovered after scouring the Legion's paper heaven (or sample room). From the thousands of papers, Lorraine chose to use Colorplan, Mirri, Rising Museum Board and Plike for the project.

How did you get into paper sculpting? 

My background is in illustration and while I was at art school at RISD, I started experimenting with using paper as my medium. I first used paper as my base and starting cutting into it to create these intricate cut paper pieces. After that, I started experimenting with what I could do with paper and it evolved into more of these 3-dimensional forms. That was about 3 years ago and I've been working with 3-Dimensional paper ever since. 

What was your inspiration for the 100 days project? What motivated you from start to finish? 

I first heard about the 100 days project through Elle Luna, who started the movement. She challenged people on Instagram to start a project and work on it for a consecutive 100 days. I had seen many people that I follow on Instagram start the project and grow their skill and I wanted to see what I could learn from this experience. Now that I'm at the other end having finished the project, I am really proud of what I was able to accomplish. My skill level has grown and I am much faster at finishing a piece. What kept me going was knowing how accomplished I would feel at the end of the day. To tell the truth, there were definitely plenty of days where all I wanted to do after working 9-5 was sit on my sofa, watch Netflix, and zone out but I realized that even if I worked on something for 30 mins or an hour, I would feel much more accomplished about my day.

How did you choose among our thousands of papers? Which papers did you end up choosing?

That was the hardest part! A lot of the papers I chose were from the Colorplan line which has a great selection of colors and weight - both factors that are really important to me when I work on a piece. Another line that I loved using was the Brillance line of Mirri Sparkle, a glitter paper, and Plike (a matte, rubbery paper) that made all the dark blacks really matte.

Which piece was most difficult? Which was your favorite?

My most difficult piece was the convertible car and while it was not actually too difficult to make, it did take me longer than expected to complete (3 days).

How did the paper effect the piece you were creating? 

After I decide on what I should make and any sketches that happen, the first decision I make is color. I start to build a color palette by pulling all the sheets of colored paper together to make sure they sit nicely and think about what color the body of whatever I'm making is. Then I think about the weight or the thickness of the paper. If it's something that needs to stand on its own or hold something up, I choose a heavier weight. In terms of texture, I tend to gravitate towards smooth papers which are easier to glue together. The glittery paper was difficult to glue but it was just so pretty that I had to use it!

What’s next?

I'm getting ready to open my studio doors for Bushwick Open Studios the first weekend of October!  I've done it for the past 2 years and it's always a fun time. It's really great to talk to people in person about my work and share ideas. In terms of projects, my sister and I have been talking about doing a collaboration. She's a hand letterer so we're thinking of combining type with paper and coincidentally, she's also started the 100 days project recently which I like to think I helped inspire. 


Monday
Sep122016

Domestic Etching used for Book Design

I love Legion Domestic etching. I love its creamy colour. I love the weight and stiffness. I love that it takes a wide variety of printing techniques — including digital pigment and even laser — beautifully. I have been using it for artist’s books for more than ten years.

-Cathryn Miller, Byopia Press

Cathryn most recently used Legion Domestic Etching for her artist's book Over The Hills

Miller used Hedi Kyle’s panel book as the structure. The book is designed to be double-sided, so she needed a paper that would take folds well, be stiff enough to stand upright without additional support, and have no ‘show through’. 

Miller said Legion Domestic Etching was the perfect choice. The book was laser printed*, a surface that is prone to cracking on many papers. An extreme close-up of a fold shows minimal cracking, certainly not enough to detract from the overall appearance of the work. 

I am pleased with Over The Hills, and with Legion Domestic Etching, the paper that made it possible! 


*I have no idea how ‘archival’ laser printing is. I do know that when cooking recycled paper to make pulp for hand paper making, laser printed letters float to the surface of the boiling water, still perfectly formed. The surface can be damaged by scratching or other abrasion, but that is true of most print media.

 

Cathryn Miller has worked in the book arts more than 20 years, and as a book artist for the last fourteen. Her works have won awards, and are held in more than fifty public and private collections in Canada, England, Ireland, France, Germany, Japan, New Zealand, Australia, and the United States. You can see more of her work at byopiapress.com.

Thursday
Sep082016

Art At Viacom's new Artist, Tahiti Pehrson, Creates Hand-cut Paper Structures Using Lenox 100