Stanford University workshop at Magnolia

Students from Stanford University's SIMILE program at Magnolia Editions in October, 2014.
Undergraduates from Stanford University's SIMILE program, an intensive program in which students explore the history of science and technology, visited Magnolia Editions this weekend for an intensive three-part workshop.

Photos of the event below were taken by Era Farnsworth, who coordinated the workshops with SIMILE assistant director Kristen Haring.

Nicholas Price and Donald Farnsworth with students from Stanford University's SIMILE program
After a quick tour of the studio's latest mixed-media innovations and print techniques, workshop participants learned to use raw materials to fabricate their own handmade ink, pens, and paper under the guidance of Magnolia's own Donald Farnsworth, Tallulah Terryll, Nicholas Price, and Heather Pratt, with additional demonstrations by artist Guy Diehl, book binder extraordinaire John DeMerritt, book artist Clifton Meador, and expert calligrapher Georgiana Greenwood.

Haring, together with Stanford professors Paula Findlen and Reviel Netz and SIMILE program lecturers Marcelo Aranda and Katherine McDonough, brought the group of more than fifty students to the studio in late October, just before Halloween. Appropriately, participants had the chance to grind their own inks from charred pig bones and oak gall, giving everyone an opportunity to get into the spirit of the season.

Oak gall, used in ink-making; photo by Guy Diehl

Tallulah Terryll with students from Stanford's SIMILE program, making ink at Magnolia Editions in October 2014

Oak gall, ground up and used in ink-making

Students from Stanford's SIMILE program making ink at Magnolia Editions

Students from Stanford's SIMILE program making ink at Magnolia Editions

Students from Stanford's SIMILE program, making ink at Magnolia Editions in October 2014

Tallulah Terryll with students from Stanford's SIMILE program, making ink at Magnolia Editions in October 2014

Painting by Guy Diehl: coffee black pigment made at Magnolia Editions

Pigments made at Magnolia Editions, September 2014
Meanwhile, John DeMerritt and visiting photographer/book guru Clifton Meador supervised a demonstration of basic book binding and stitching techniques in Magnolia's front workroom.

Students from Stanford University's SIMILE program with John DeMerritt and Clifton Meador at Magnolia Editions

SIMILE students try some bookbinding techniques at Magnolia Editions

Heather Pratt at a bookbinding workshop at Magnolia Editions
In the back room where Magnolia's framing and wood working usually take place, Guy Diehl helped the students create their own handmade ink pens out of bamboo, while Georgiana Greenwood used the newly fabricated pens to demonstrate some calligraphy techniques.

Guy Diehl with students from Stanford University's SIMILE program at Magnolia Editions

Made by Guy Diehl at Magnolia Editions; photo by Guy Diehl

Made by Guy Diehl at Magnolia Editions; photo by Guy Diehl

Georgiana Greenwood demonstrates calligraphy to SIMILE students at Magnolia Editions
And in Magnolia's handmade paper studio, Donald Farnsworth discussed the science of handmade paper and led a workshop in creating paper from raw pulp.

Donald Farnsworth with students from Stanford University's SIMILE program

Donald Farnsworth with students from Stanford University's SIMILE program

Heather Pratt with students from Stanford University's SIMILE program

Don Farnsworth, Heather Pratt, Clifton Meador and John DeMerritt in Magnolia Editions's handmade paper studio
Magnolia Editions would like to thank Kristen Haring and all at SIMILE for identifying Magnolia as a destination for students of scientific innovation, providing yet more evidence that science and the arts are simply two sides of the same coin. Haring tells us that the students will use the materials they made at Magnolia to produce their own medieval-style codices as a means to consider how scientific knowledge was transmitted over the centuries.

Thanks also go to the terrific group from Stanford for their enthusiastic participation!

Stanford students grinding handmade inks at Magnolia Editions, October 2014
To be notified of upcoming events and workshops, stay tuned to this blog and be sure to sign up for Magnolia Editions's mailing list here.

Japanese Papermaking class in October

Custom watermark moulds fabricated using Magnolia's 3-D printer
On October 4th, Carol Brighton’s popular Japanese Papermaking class returns to our recently renovated paper studio! Please reserve your spot by emailing papermagnolia@hotmail.com, and don't hesitate to pass this info on to anyone you know who might be curious about how paper is made.

• Japanese Papermaking with instructor Carol Brighton will meet on Saturday, Oct. 4 from 10 am to 4 pm:
  

  Japanese paper (washi) is world famous for its beauty and strength. Learn to make traditional washi step-by-step from cooking and beating the fibers to sheet formation and drying. We will make sheets on sugetas (Japanese moulds) and Western style moulds, learn to laminate inclusions in collage, and explore other techniques for decorative papers. Students are encouraged to bring items to use as inclusions such as dried flowers, lace, fabric, or printed papers that will not bleed when wet.
  
  Instructor Carol Brighton is an artist whose handmade paper expertise is evident in her printmaking and pulp paintings. Her latest paper works, many made during a recent visit to the Awagami Factory in Japan, can be seen in an upcoming exhibition at the UC Faculty club in September. Brighton recently retired from teaching papermaking at the Academy of Art and now conducts private workshops at Magnolia and in her own studio.

Photo by Michelle Wilson from her most recent papermaking workshop in Magnolia Editions

Classes will be limited to 8 participants each, so early reservations are recommended. Your place will be considered reserved once we have received your payment.

The fee for each workshop is $160 per person; materials will be provided at no additional cost. Each participant will also receive a free copy of Donald Farnsworth’s book A Guide To Japanese Papermaking (while supplies last).

(A note on cancelled reservations: cancellations will be refunded in full if made at least three days before the class, or if we can fill your spot. Cancellations occuring within three days before class that cannot be filled will be given a 25% refund.)
Again, to reserve a place in these workshops, please email papermagnolia@hotmail.com.

Handmade paper with custom Magnolia watermark

Handmade paper workshops in April & May

Photo by Michelle Wilson from her most recent papermaking workshop in Magnolia Editions
In April and May, Magnolia Editions will be hosting two new papermaking workshops in our renovated paper studio.

Please reserve your spot by emailing papermagnolia@hotmail.com, and don't hesitate to pass this info on to anyone you know who might be interested:

Pulp Painting Techniques with instructor Michelle Wilson will meet on Saturday, April 5, 2014 from 10 am to 4 pm:

Handmade paper can act as more than sheets - finely beaten paper pulp can function like paint! When dried, the pulp painted imagery is a part of the actual paper, which can stand alone as a work of art or be transformed further with printmaking, photography, collage, painting, becoming an extraordinary mixed media creation. This class will cover various pulp painting techniques, such as direct painting, stencils, and collage inclusions. Students are encouraged to bring items for inclusions, such as fabric, old photographs, thread, lace, or other items that will not bleed when wet.

Instructor Michelle Wilson is a papermaker, printmaker, book and installation artist. Her work has been part of exhibitions at numerous institutions, including the X Initiative in New York, NY, the Chicago Center for Book and Paper Arts, the 2006 International Biennial for the Artist's Book in Alexandria, Egypt, and at the Joshibi Art Museum outside of Tokyo, Japan. Her extensive teaching experience includes San Francisco State University, Bryn Mawr College, Moore College of Art and Design, the University of the Arts, the San Jose ICA Print Center, and the Kala Art Institute. In addition, she has served as a hand papermaking consultant to Signa-Haiti, an NGO in the process of developing a sustainable and bio-dynamic economy in Haiti.


Creating Paper Sculptures with instructor Rhiannon Alpers will meet on Saturday, May 3, 2014 from 10 am to 4 pm:

This is a hands-on class to learn about creating custom shaped paper sculptures from wire, reed armatures and shaped forms. Students will learn the different preparation and building techniques for paper sculpture, and then try them to get a feel for which process they enjoy. The covering material will be over-beaten abaca, a thin translucent material which shrinks as it dries. Building materials will be provided, and thin over-beaten abaca will be prepared in advance. Students will have the opportunity to learn how to pull sheets, press and cover their sculptures. The sculptures will be small due to time constraints, but techniques for larger scale sculpture will be discussed. We will spend a small portion of the day discussing several current artists in the field and methods of process. Course level: beginning or intermediate.

Instructor Rhiannon Alpers is a papermaker, letterpress printer and book artist. She holds a BA and an MFA in Book and Paper Arts. She has taught workshops and college courses nationally, and frequently teaches papermaking and bookbinding in the Bay Area. Her custom bookbinding and letterpress business Gazelle and Goat is located in San Francisco.

Classes will be limited to 8 participants each, so early reservations are recommended. Your place will be considered reserved once we have received your payment.
The fee for each workshop is $160 per person; materials will be provided at no additional cost. Each participant will also receive a free copy of Donald Farnsworth’s book A Guide To Japanese Papermaking (while supplies last).

(A note on cancelled reservations: cancellations will be refunded in full if made at least three days before the class, or if we can fill your spot. Cancellations occuring within three days before class that cannot be filled will be given a 25% refund.)

For more information or to arrange payment, please email papermagnolia@hotmail.com.

Papermaking workshops in October & November

Donald Farnsworth demonstrating a Japanese washi papermaking technique (artist's rendition)
UPDATE: Due to popular demand we will hold a second session of Introduction to Papermaking with Michelle Wilson on November 16th from 10 am to 4 pm! Email papermagnolia@hotmail.com to sign up.

We are pleased to announce that Magnolia Editions will be hosting papermaking workshops in our newly renovated paper studio! Please reserve your spot by emailing papermagnolia@hotmail.com, and don't hesitate to pass this info on to anyone you know who might be curious about how paper is made:

• Introduction to Papermaking with instructor Michelle Wilson (special appearance by Donald Farnsworth!) will meet on Saturday, Oct. 19 from 10 am to 4 pm:
  

  Learn the basics of creating your own handmade paper in the European tradition with Cotton and Abaca fibers. From the linter and beating stage to finished sheets, you will learn the process for making paper with different moulds and in a variety of colors. Students will learn to set up vats, pigment fibers, form and embellish sheets of paper. We will begin with a brief introductory lecture and spend the rest of the day making paper. Students are encouraged to bring items to use as inclusions such as dried flowers, lace, fabric, or old printed materials that will not bleed when wet. Please note: this is a wet class – participants are encouraged to wear clothing and shoes that can get wet.
  
  Instructor Michelle Wilson is an artist in whose work handmade paper plays a central role, whether in printmaking, book arts, or installations. She teaches throughout the Bay Area, most recently at San Francisco State, the San Jose ICA Print Center, and the Kala Art Institute.

• Japanese Papermaking with instructor Carol Brighton will meet on Saturday, Oct. 26 from 10 am to 4 pm:
  

  Japanese paper (washi) is world famous for its beauty and strength. Learn to make traditional washi step-by-step from cooking and beating the fibers to sheet formation and drying. We will make sheets on sugetas (Japanese moulds) and Western style moulds, learn to laminate inclusions in collage, and explore other techniques for decorative papers. Students are encouraged to bring items to use as inclusions such as dried flowers, lace, fabric, or printed papers that will not bleed when wet.
  
  Instructor Carol Brighton is an artist whose handmade paper expertise can be seen in her printmaking and pulp paintings. Brighton teaches papermaking at the Academy of Art and also conducts printmaking workshops in her own studio.

The fee for each workshop is $120 per person; classes will be limited to 8 participants each, so early reservations are recommended.

Again, to reserve a place in these workshops, please email papermagnolia@hotmail.com.

Artists at the studio

In the past few weeks we've been working on several projects which are either too top-secret to show, or are still in the earliest stages.

However, there are some projects we can show you: Guy Diehl proofed a new mixed-media edition, John Collier flew in from Texas to add some hand-painted details to his tapestries for the World Food Project, and David Kimball made some handmade paper in the increasingly renovated handmade paper mill! (The paper mill's condition continues to improve thanks to the hard work of Magnolia employees Ken Jensen and Brian Caraway.)

Brian Caraway and Don Farnsworth putting up the Collier tapestries
Brian Caraway and Don Farnsworth putting up the Collier tapestries
Shirley and John Collier
John Collier
John Collier
John Collier
Guy Diehl prints acrylic color on a copper plate etching
Guy Diehl and Nicholas Price discuss proofs
Guy Diehl examines a proof
David Kimball and Nicholas Price in the handmade paper studio
David Kimball making paper
David Kimball making paper