Paper Runway Issue 3

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where passion meets paper

Mr Yen Legs Press Kim Amos Grace Lee Lisa Rodden

made by hand

INCLUDING Lilly Piri, Emma Leonard, Francisca Prieto, LoSiento...

create • paper • love • life

Paper Art | Jo Neville | // Photography | Katie Preece |

where passion meets paper

Paper Runway offers you a mix of paper goodness, hot paper products, beautiful paper, features about the hottest paper sculptors, artists, illustrators, creators and quick DIY projects.

where passion meets paper

Each issue is packed with pages of inspiring images, easy DIY projects, the hottest products in the stores, ideas and projects that are affordable, stylish, practical and pretty, and caters for anyone looking to add a personal touch. We also bring to you feature articles on talented Australian and International paper artists, whether they be illustrators, artists, graphic designers, paper sculptors or the like. They all share a love of paper. Paper Runway is an independent publication. Designed, made and printed in Australia, Paper Runway uses cutting edge digital printing technology by an accredited FSC printer. The magazine is further enhanced by being printed on the raw yet elegant Envirocare, which is manufactured entirely from waste paper, without the addition of optical brighteners. Each copy of Paper Runway also features a Singer sewn spine.

where passion meets paper

Paper Runway is ageless, ambitious and creative. Paper Runway is where passion meets paper.

DISCLAIMER: Paper Runway is an independently produced quarterly magazine. All imagery contained in Paper Runway are subject to copyright of the artist, illustrator, photographer as named but not limited to. Paper Runway reserves its right to copyright. Reproduction in whole or in part without prior written permission is prohibited. We do our best to provide correct imagery credits and obtain permission for use of imagery. If you feel that this has been misused or under represented then please email us at Any privacy information that you may provide to Paper Runway to take part in any giveaway, survey or competition may be used by Paper Runway to provide you with any prizes, survey results, new or future Paper Runway publications. We will treat your details in accordance with all privacy laws and not provide your details to any third party unless it is to furnish you with a prize you have won as a result of entering our giveaways or competition. No liability will be accepted by the editors arising out of, or in connection to, the contents of Paper Runway Magazine. Views and comments expressed by authors and contributors are not always that of the editors or publishers. Paper Runway / 3

Paper Art | Jo Neville // Photography | Katie Preece


Paper Runway is an independent publication, designed, made and printed in Australia. Retraction: Due to circumstances beyond our control Paper Runway retracts its advertised feature on Benja Harney. Paper Goodies! Get lost in a book without losing your place, with these earthy, screen printed bookmarks. They’re made from 100% post-consumer-waste board & slit to hook over the page of your book. Thanks to Earth Greetings. Plus...Make your very own Converse Chuck Taylor shoe replica thanks to Michael Leavitt. This is an original re-created replica shoe. To create this DIY, Leavitt has traced original patterns he used to assemble his own cardboard version of the shoe. Paper Runway is printed by the print innovator Theo Pettaras and his team at Digitalpress, Sydney. An FSC certified, ISO 14001 accredited printer which also has in place the 10,000 Trees, tree offsetting program. Printed using the cutting edge technology of the Kodak Nexpress, given texture with raised printing and finally each spine is lovingly Singer Sewn. This issue of Paper Runway is printed on K.W.Doggett Fine Paper Envirocare 100% Recycled. Manufactured entirely from waste paper without the addition of optical brighteners, Envirocare 100% Recycled is an environmentally friendly paper. Made in a facility that is ISO 14001 accredited and with process chlorine free pulps; thereby harmful by-products are reduced. Child abuse and neglect is Australia’s most significant social problem. In 2010 over 30,000 Australian children were proven to have been abused or neglected. NAPCAN seeks to motivate and empower all adults to bring about the changes that will prevent child abuse. We hope to make a difference to the lives of Australian children by taking an active role in supporting NAPCAN’s work. You too can support this worthy cause by donating to NAPCAN at:

Photographer: Katie Preece Stylist: Bianca Spiegel

Murobond, more than just superior paints. Be inspired, visit our on line store 4 / Paper Runway

Features 10. LoSiento 14. Grace Lee – Illustrator 16. Michael Leavitt Intuition Kitchen Productions 17.Lisa Rodden Artist 22. Breathing Life back into Extinct Species Ghosts of Gone Birds 27. Celia Jay Tudor 28. Francisca Prieto Designer & Artist 30. Kim Amos joins Paper Runway 34. Lilly Piri – Illustrator 36. The Legs Press Express 42. Carly Davies | Do It Yourself 44. Emma Leonard usually draws girls ... 47. S.T.A.M.P 52. Behind the Scenes with Mr Yen 54. Something Old | Amy Mitchell 58. Handmade Paper by Manita Senn


4D lettering // Art direction/Design | Gerard Miró / LoSiento // Photography | LoSiento

07. A note from us 09. Hot Paper 33.Red goes faster 56.Bookshelf 60.DIY Looseleaf DIY Japanese Bookbinding 63.THEO PETTARAS TALKS PRINT 65. Window Shopping 66.TOP TEN Giveaways


create • paper • love • life Paper Runway / 5

Image | Kristiine Lahde |

TALENT Would you like to join us at paper runway submit an idea, a product, a story, a photo, a tutorial? we would love to hear from you.

Paper Runway is based on the love of paper. We love showcasing ideas, products and stories that we believe will inspire our readers. So whether it is a DIY project, a fabulous find, a wedding or party idea, or a hot selling paper product that you want to tell us about – share. Whether you’re a paper lover, designer, illustrator, paper sculptor or party planner, a creator who would like to share your art or a terrific tutorial, or a person with an amazing paper discovery, we would love to consider your submission. We don’t pay for submissions or products. If we feature your submission in Paper Runway you will of course be credited. We cannot take responsibility for ideas that may have been previously submitted and are credited to another talent. For contributions of products, submissions of articles, photographs and tutorials please email; with either your photos of products (lo res to start), your pitch and other illustrations. We will then contact you further should your submission be accepted. Please do not submit material that has been featured elsewhere, we like to exhibit original ideas. If you have an idea that is not listed then don’t be shy, tell us about it.

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Welcome Welcome to Made by Hand, a celebration of something truly authentic, something with personality and individuality. There is nothing better than handmade; the little quirks and anecdotes that don’t appear in those articles that are mass produced. There is an emotional attachment that draws you in, takes hold of you and keeps you in its presence, captivated in its creation. What better way to start Issue 3 than with a hand cut cover made by the very talented by Mr Yen. This issue we introduce and welcome three new ubertalented team members, Grace Lee, Kimberly Amos and Simone Barter. Issue 3 is bursting at the singer sewn seem with the inside scoop on Legs Press Studio, thanks to Anna Johnson, illustrated pages by Grace Lee (thank you!), inspiring conversations with Kim Amos, Lisa Rodden, Emma Leonard and Lilly Piri to name a few and styled stamping, thanks to home new kid on the styling block. Do you love the DIY insert from Michael Leavitt? We would love to see your version of the Chuck Taylor shoe – email us at Thank you to the Paper Runway team who, as always, make it a pleasure to bring Paper Runway to life. Special thanks to Coldplay and their new album Mylo Xyloto, for helping us get into our groove to finish.... and for the coffee bean! Enjoy

Nikki & Maree Illustration | Grace Lee

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Illustration | Grace Lee

the team nikki buckland | editor | maree oaten | editor & designer | cassie mercer | sub editor | inside history | malcolm mackenzie | copy editor | theo pettaras | printer | | lisa ford | photographer | | katie preece | photographer | | kimberly amos | artist | little palm creative | simone barter | stylist | |

contributors grace lee // portobello rose // paper couture // losiento // lisa rodden ghosts of gone birds // ceri levy //erin petson // claire brewster // ed kluz michael leavitt // francisca prieto // celia tudor //anna johnson // laura jones legs press studio // carly davies // emma leonard // yvette hawkins // mr yen amy mitchell // manita senn // lilly pirri advertising | submissions | subscriptions | 8 / Paper Runway

Left to Right Seedbom | Sunflower Incredible | www. Ourlieu Moonlight 60x60cm Lantern | Wrap Magazine | Happy Paper Clips | SIWA String & Button Close | Paper Eyelashes | Folk Girl Paper Cut | Old French Bingo Cards | Alphabet Index Tags | DIY Clock Micky and Stevie |

Illustration |

Grace Lee

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Comunicación Gráfica Barcelona

Client: EMPO ‘Paper Heart’ Art direction/Design: A: Borja Martinez / D: Gerard Miró Empo is a school of psycho osteopathy in Barcelona. The entire project is created as a function of school activity. All Illustrated parts are didactic pieces designed for the education. First we illustrated (with paper) some parts of the body, and later on we developed the full three-dimensional alphabet. The result are parts inspired in the architecture of the human body. Packaging Limited edition: The packaging of EMPO contains a three-dimensional letter and it's a gift for graduates. Opposite page L to R: Client: Lecool Craft // Client: UNO Mag Barcelona // Client: SNOW PLANET MAGAZINE editorial Art direction/Design: A: Borja Martinez & Gerard Miró Photography: Ferrán Izquierdo

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After starting his career in Industrial Design at Escola de Disseny Elisava (Barcelona), Borja MartĂ­nez moved to London in 1999 to study Graphic Design at the London College of Printing (today, London College of Communication). During those four years, he combined his studies with a part time job as a designer at Visioncorp. In 2004, he returned to Barcelona to work at GrĂĄfica ( and, a year later, at Basedesign (www.basedesign. com) on a part time basis. In 2005, Borja Martinez on his own founded LoSiento, where he started developing different Graphic Design and art direction projects for clients such as Sandro Desii (Italian pasta and ice cream manufacturer), The Pinker Tones (electronic music band), Txoco (gastronomy), Roca (bathroom fittings), El Bulli (gastronomy), Macaco (musician) or Easyled (lighting company). In 2010, LoSiento was awarded by the FAD (Fomento de las Artes Decorativas) with the Grand Laus award. Nowadays, LoSiento gathers a team of 5 professionals and continues to work on design projects for the corporate, packaging and, editorial fields and carries out personal projects as well. The LoSiento Studio is especially interested in taking over identity projects as a whole. The main feature of its work is its physical and material approach to graphic solutions, resulting in a field where the graphic and industrial go hand in hand, in a constant search for an alliance with the artisan processes. Paper Runway / 11

Describe your studio/work space. Is it a laboratory/shed/treasure trove/secretive cave, tidy/chaotic or something else... The study is clearly divided into a working area with computers and workshop production of models, prototypes and photo studio. What do you love most about paper? I love its feel, touch and warmth; it’s a friendly material, a two-dimensional material that becomes three-dimensional. With unlimited budget or geographic reach what is/are your ultimate art material/materials? We continue to work with paper or bubble wrap for typography compositions. How did you work with paper as a child? Do you remember what you first created with paper? My first object with paper was the basic and simple origami paper boat. What is your relationship to paper? How different is it working on paper to any other medium? What freedoms does it allow and what are its limitations? Paper gives you the freedom to express and illustrate in a volumetric and flat way at the same time, plus the opportunity to add colour and texture or roughness. Ultimately it gives volume to the graphic content in our works. The only limitation is that any rectification is a huge job, we are not using a computer; there is no Control+Z button here. The feel and handling of paper is real, natural, and much warmer than any other digital media.

Client: EMPO Images: Signage E // Paper Brain // Making of 3D letters // Edition Case // Opposite page: Complete lettering. Art direction/Design: A: Borja Martinez / D: Gerard Miró Photographer: Losiento

What artists do you admire and why? I am a big fan of Peter Callesen, his illustrations and paper sculptures are truly amazing. ( When is a work of art finished? When you find all the requirements to communicate the message What art do you hang in your home other than your own, what do you collect/surround yourself with? I used to collect old graphic Switzerland posters, not art pieces, just graphics and contemporary photographs. What are you reading/listening to? Lately I am reading a book of Unit Editions (recent design editorial) called: “Studio Culture” about different points of view of the management of a graphic studio today. Music: I am listening to Arcade Fire’s last album “The Suburbs”, an exquisite album. Describe what you are making right now? Finishing the big face paper dummy for a music album. What makes you feel most creative and most free? Sleep.

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Grace Lee is a freelance illustrator and designer from Sydney, Australia. Her work includes a Moleskine diary for Notemaker, artwork for Bespoke Letterpress, contributions to FBi Radio, Papier Mache and Donna Hay magazines. Prior to moving to Tokyo, she was editorial designer at Inside Out magazine. Grace Lee studied Visual Communications (Design) at University of Technology, Sydney, and her dayto-day illustrations can be found on her blog, From A Sow's Ear,

Grace Lee

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What's the most exciting thing you've done?

Moving to Japan on my own two years ago. At that time, I wasn’t even sure if I’d even be able to stay!

Who or what inspires you?

My family inspires me. Friends and people pursuing things that aren’t easy. Japan inspires me. Everyday life inspires me: recycling bins, bottle labels, street signage. I love inanimate objects and somehow making them come to life through drawing.

What is your most prized possession?

My bike. I only learnt to ride just before I moved here, so it’s a big thing for me to own my own, especially since I never had one as a child. I was too scared to learn until I realised that most people ride in Tokyo! Ruby and Jasper (my niece and nephew, obviously not possessions, but I love and miss them a lot).

Describe the place where you Illustrate?

I’m usually at my desk at home. There’s a printer on the floor, pens, books, bottles and paper scraps on the table. I have a few postcards and flyers of illos I’ve found in Tokyo and some of my own drawings.. whatever I’m working on at the time. (It’s actually a lot messier than I’ve made out!).

How would you describe your illO style? A bit wonky.

What are you reading at the moment?

‘Kuroi Fuufu’ by Hiramatsu Akiko. I do a weekly language exchange with Akiko and her partner. They’ve been a great help with my Japanese... Although, I don’t really study as much as I should, so it’s a slow process! Akiko (who is an amazing illustrator and comic artist) left this book in my letter box the other day. This is the plan.. to read a comic in Japanese by some time next year!

Where do you call home? Australia always, but Tokyo for now.

your favourite colours of the moment? My bike colours: matte sky-blue and red.

What's your favourite paper product right now?

Muse SKETCH drawing paper pads. They’re great for drawing and absorb ink really well. They’re best type of paper for my drawings, the pages can be torn out easily, which makes it great for scanning and drawing quick cards. •

What were the colours of your childhood?

Green for the massive pine tree out the front, and aqua blue for the gutters of the house I lived in when I was a kid.

What's on your bedside table?

I don’t really have one, but I do use a stool with at least a bunch of bobby pins and a cup of jasmine tea on top. Paper Runway / 15

michael leavitt U.S. artist Mike Leavitt is the CEO, sole employee, and manufacturing machine of Intuition Kitchen Productions: a one-man company of fine craft, sculpture, portraiture, performance, education, architecture, and animation. An extreme boredom for “normal” art has pushed Leavitt into a variety of undefinable projects that cross between art and product, from ornate objects to curio kitsch. Describe your studio My studio was formally a dilapidated carport attached to my house here in a dilapidated part of Seattle. Since moving in I’ve beautified the space, enclosed the carport with 2 metre-tall windows, and added tons of natural light. It’s small but it feels warm and bright to work in. I maximized my southern exposure so I don’t have to rely so heavily on manufactured lighting. What do you love most about paper? It’s cheap, pliable and readily available. It’s also quick. Even if it takes a while to elaborate details, you can fill volumes relatively quickly with paper. For an old school sculptor like me, it’s magic.

Photography: Katie Preece How did you work with paper as a child? My Mom always made paper, pens, glue and other stuff available for me from my earliest memories. Her plan panned out very well. I always took advantage of having the materials available. I can’t remember a time when I wasn’t constantly making things. What artists do you admire and why? There’s a cardboard artist from Seattle who I admire dearly named Scott Fife. I also admire Greg ‘Craola’ Simpkins, Sam Flores and Jeremy Fish. As far as more world famous artists are concerned, I admire Takashi Murakami, Tom Sachs, Yayoi Kusama and Yoshitomo Nara. When is a work of art finished? If I could put that into words I’d give away my secrets. All I can say is that it must feel right. Nothing left to do. No thoughts or ideas for a piece should be left unrealized. Even if you can’t get an idea to execute exactly like you hoped, you have to at least try it experimentally. What do you collect/surround yourself with? Vintage toys, odd porcelain, kitsch, cheap prints of famous art I love, and some random pieces of mine that find their way to the wall. What makes you feel most creative and most free? An entire day to myself to spend however I want. An entire week to myself to spend however I want. An entire year to myself to spend however I want. An entire life to myself to spend however I want. 16 / Paper Runway

Lisa Rodden Paper Runway / 17

Artist, Lisa Rodden, has a style that is truly unique with a chameleon quality. It is 3 dimensional and sculptural but it is neither origami nor collage. Using a combination of layering paper, painting, careful cutting and folding, she produces pieces that are detailed, precise and intriguing. Move around any of her work and you will observe the shadows and colours appear and disappear, creating an interesting feeling of a living piece of art. Lisa confesses her world is one of organised chaos. She feels that her work is “an antidote to all the craziness that life inflicts on us daily”. The layers and shadow-play on paper, with slices of revealed colour, add a complexity that draws you in for quiet contemplation. She explains her creative motivation “Generally speaking, our society encourages a mentality of ‘me’, ‘mine’ and ‘not in my backyard’ which leads to issues globally, socially and individually; feelings of isolation, frustration and all the rest. The fact is that everything is inextricably linked and everything we do impacts something. For me, to create is to connect with truth and, through this, I want to bring people a sense of peace and a sense of place”. Her work achieves that. Through rhythm, flow and clever use of colour, she produces a fine balance, achieving a sense of reassuring calm.

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What is your background and what has led you to where you are today? My mother, aunt and grandmother are all artists and my father was an engineer and THE handyman of handymen. So I think it was inevitable that I would inherit the creative gene and it’s not surprising that a lot of my works are quite mathematical and precise. Also years of travel and many different jobs have given me life experiences to draw upon (no pun intended) but all the way I’ve been creating and studying art in one form or another. Both have taught me skills which have helped me to run the business side of being an artist. I’m sure any creative person will agree – the act of creating is a need, you can’t help it, you have to do it. My current range of works has evolved naturally as a result of a few things: A love of texture, paper and lots of experimentation with testing the boundaries of paper. My obsession with colour, colour psychology and using it with meaning. My strong feelings about a lot of issues and this is a way I feel comfortable ‘talking’ about these issues so that people can leave feeling empowered, rather than overwhelmed and hopeless. Lots of slips with knife = cut fingers = ruined artwork = start again = lots of practice! Think wax on wax off. How would you describe your artistic style? Complex minimalist?? I just made that up. Calm, rhythmic, strong, powerful, encapsulating, simple, welcoming, hypnotising. Someone said to me once about living life with ’passion and purpose’ which really resonated with me and has become my mantra. It guides me in life choices and I strive to connect with myself and my surroundings, which I then translate into my work. I think about what each piece represents as I make it and try to infuse it with that message so hopefully, on a soul level, people will receive that message and feel a little bit better. Have you always worked with paper? Paper has wonderful textural qualities and the ability to add another dimension through layering and shadows. So although I also paint, sculpt, draw and build things with all sorts of media, I keep coming back to paper. This particular style suits my tactile nature because you get to work with the paper, not just on it. Do you have a process of starting a new project? It varies depending on the project but it usually involves a lot of staring into space to visualise my creation and all its different possible manifestations. That’s usually followed by a lot of thumbnail sketches until I get the composition I like. Do you have a creative process? Describe it for us? I carry a notebook with me everywhere and, when I forget, I write ideas on receipts or serviettes or whatever I can find. My ideas come anytime, anywhere. Then I need to allow time for these ideas to percolate. It’s very intuitive. I might see something that sows the seed for an idea, then months later I see something else or hear something that relates and so it grows. The colour comes from inside. It’s a direct communication of how I feel about this work and how I want it to radiate to the viewer. My focus is what “feeling” do I want to infuse in this work? Sometimes other forces take over though so, for example, I might be intending to do something soft and ethereal but as the work progresses something much darker and moody comes out.

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Where do you call home? For now it’s Sydney, where I was born. I’ve moved around a lot and I’m probably moving again in the next year. I do love it here but, after spending some time in very remote Australia, I am aware of the intense energy in the city. I’m craving more of a connection to the natural environment and a life with less traffic jams! Which designers and creative people are you inspired by? There are too many to list and too many reasons why but here’s a few - Julie Patterson, Neil Frazer, Dali, Jane Easton, Eubena Nampitjin, Paula Abood, Joost Baaker, Kiyoharu Uchimi, Karen Akers. Where else do you find inspiration? Everywhere! I know that sounds so cliché but when you are in it (life) and you allow yourself to really JUST BE in it, you find the most extraordinary things in the most ordinary of things. What does a typical day at work involve for you? A walk, breakfast, emails, a bit of Web surfing to see what’s happening in the world, then I knuckle down for a day of creation which will either lead to immense satisfaction or intense frustration. Realising a vision is not always easy and certainly not as romantic as it’s perceived to be, but you can’t have it any other way. If there is no challenge, there is no reward. What are you most proud of professionally? Being lucky enough to be invited to spend time in Aboriginal communities on skills-sharing projects. What’s next for Lisa Rodden? Life may have its own ideas but I’m working on putting together a solo exhibition soon. Do you have a favourite project? There’s no one favourite but silk painting with the women of Balgo in the Western Australian desert was a very powerful and enriching experience on many levels. What’s the best and worst thing about your job? Worst: Not being in a workplace with people – I’m a very social creature and I am inspired by being around people. I make up for it with lots of coffee dates. Best: Doing what I love. I’ve tried so many careers in my life but that was “working”. Doing this is just an extension of myself – even with all the challenges, it doesn’t feel like work. What would be your dream project? It’s already happening in some places but there’s room and need for more: I would like to work with people in remote areas to create sustainable industry (creative of course) where access to resources is extremely limited and difficult. This could provide more opportunities for meaningful employment without needing to move 100kms away from home, family and the support inherent in that. There is already too much displacement and removal of rights in this country; we need to find better ways. What are you looking forward to – professionally or personally? The future. Who knows what’s around the corner? Personal and professional for me have always been inextricably linked so if I am not happy in one, it affects the other. That’s why it is important to strive for happiness and balance in every aspect of life. Describe your studio? Messy. Do you have any advice to give other artists starting their careers? Stop stuffing around and do it. Don’t let anyone tell you that you can’t make a living out of art. The C word, Commitment. Be committed, believe in yourself and follow your intuition. 5 things you can’t live without: Family and friends, beach and the bush, colour, variety, food. Your favourite shop for the materials/tools of your trade? Wherever is closest! Art supply stores, hardware stores, the bush, markets. Where would we find you on a typical Sunday morning? The local organic markets for coffee and the best eggs ever. Best kept secret? Punsand Bay Camping Resort in Cape York. It’s an amazing little piece of country right near the northern-most tip of Australia, where you can see the sun rise and set over water on the same beach. What are you working on now? Some commissions. How do you maintain a balance between your worklife and your life? Balance? What’s that? Seriously though - the nature of creating and running a business means that it is not 9-5, but there is a certain discipline required to switch off and be present for all the other parts of life. I’m still working on that – being present when I’m with others, instead of thinking about a new artwork or the list of things I need to do when I get home. Who is your favourite person and why? My partner, for his integrity, honesty, loyalty, sense of humour and support. He keeps me grounded and focused, he is wise and I wouldn’t be doing this now if it wasn’t for him. He’s also very practical and great at ‘sifting the fly spots from the pepper’whereas I can get lost in the infinite number of possibilities in any one situation. He inspires me. Lisa is represented by and has pieces hanging in and 20 / Paper Runway

Lisa Rodden & Lilly Blue Join us for the exhibition launch from 6-8pm, Thursday, November 10th 2011. Exhibition runs from November 7th to 21st. Gallery opens 10am-4pm, Thursday – Saturday or by appointment. For appointments call 0424 809 849 475A New South Head Rd, Cnr Bellevue Rd Double Bay, NSW 2028. Paper Runway / 21

Art vs Extinction.

A major new multimedia exhibition featuring over 100 artists, writers and musicians breathing life back into the species we have lost.

November 2 nd -23rd Open weekdays 12-8pm Weekends 10-6pm Rochelle School, Arnold Circus, London E2 7ES Nearest stations: Liverpool Street/Old Street.

“Raising a creative army for conservation�

Artworks: ‘Newtons Parakeet’ | Erin Petson | // ‘Greater Koa Finch and Lesser Koa Finch’ | Claire Brewster | // ‘If Only’ | Rob Ryan |

Ghosts of Gone Birds BREATHING LIFE BACK INTO EXTINCT SPECIES A major multimedia art exhibition will open in London this November, aiming to throw light on the increasing loss of bird species across the world. Ghosts of Gone Birds has been created by filmmaker Ceri Levy, best known for his documentary film Bananaz about the band Gorillaz, and creative director Chris Aldhous, of consultancy Goodpilot. Over 80 contemporary artists, sculptors, musicians, writers and poets will come together for Ghosts of Gone Birds, which will run from 2-23 November 2011 at the Rochelle School, Shoreditch, East London. Each artist has been asked to choose a different extinct species, producing a new piece of art inspired by the bird and celebrating its life. Ghosts of Gone Birds aims to raise awareness of the need for bird conservation and funds for BirdLife International’s Preventing Extinction Programme to prevent further losses. The natural rate of bird extinction is one bird each century but, in the last thirty years alone, 21 species have disappeared. Ghosts of Gone Birds is a provocative new way to reach out and inspire a wide audience about today’s extinction crisis and mobilise action to rescue the species at risk today. There is still hope and the BirdLife Partnership has shown that, with the right resources and targeted action, species can be saved. To get amongst it, visit the exhibition between 2-23 November 2011, Rochelle School, Arnold Circus, London, UK, E2 7ES. Paper Runway / 23

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‘Paradise Parrot’ | Ed Kluz |

‘Rodrigues Rail’ | Erin Petson |

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No v–D


shE hAs my fAcE! catchiNg the geNealogy bug

your guidE to preserviNg family treasures

how you cAn hElp coNserve our early coloNial recorDs

Nov–Dec 2011

wE’rE onE!

celebrate our birthDay with us


18/01/11 4:04 PM

9 771838 504008


ISSN 1838-5044



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tasmaNia’s historic maria islaND



io ipt scr ge! sub cka pa


cEmEtEry rosEs what they caN reveal about your aNcestor

Forget me not

In the November-December issue: • Help preserve some of the oldest colonial records on paper in Australia • We take a tour of Tasmania's historic Maria Island • What heritage roses can reveal about your ancestors • And much more! Explore your past, enrich your future

Celia Jay Tudor Enmore Design College Student A local resident of Terrigal on the Central Coast of New South Wales, Celia fills her week days at Enmore Design College, studying design and illustration. Celia is inspired by her childhood memories and reflects on their impact on her life as an adult. She is thankful for the strong, creative and positive influence of her mother. Celia reports that she has always been creative and revels in the exploration of new experiences “from drawing, painting, and dressing up, to creating a home business, building a fort or baking a crazy chocolate concoction.” Always looking for inspiration, which tends to show itself in nature, Celia draws while travelling on the train each day. Keen to challenge herself using a range of media she tends to use pen, ink and watercolours on paper.

celia tudor

Celia describes herself as a “massive hoarder, collecting antique bric and brac, 50’s style dresses, vintage fabrics and numerous pictures of Zoeey Deschanel”. She is also influenced by music, plays the guitar and sings. Her favourite bands at the moment are The Beatles, The Yeah Yeah Yeahs and The Pixies. In her spare time you can find her riding her blue bicycle, patting strangers’ dogs, rushing around Newtown and lingering at the local markets. As a passionate 18 year old she hopes her career will evolve into something she “loves to bits and is passionate about”.

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Designer and artist Francisca Prieto has been exploring the deconstruction of rare illustrated periodicals and books using modular structures whilst incorporating typographical elements. After graduating with her MA at Central Saint Martin’s in 2003, Chilean-born Francisca Prieto set up her studio in central London. Her work has been collected by private clients and features in several major public collections; such as the Victoria & Albert Museum, The Tate Gallery and British Library.

Francisca Prieto

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Describe your studio/work space. Is it a laboratory/treasure trove/ secretive cave/shed, tidy/chaotic or something else? My studio has a huge collection of interesting finds; but at the same time it is very organized – everything has its special place. I like surrounding myself with things that inspire me and my latest finds include a 1930’s hole punch, a vintage stationery catalogue, and two black metallic storage trunks. My absolute favourite piece is a huge haberdashery cabinet, which has 44 glass front drawers which I have filled with the most random selection of treasures; door handles with clock graphics, clock maker boxes with tiny parts, a brass stencil alphabet, rare old books. What do you love most about paper? The story of paper is so ancient and amazing; to me, the number of years that it has been with us and how it has developed is fascinating. It is the endless possibilities that it offers that I find most exciting... It all starts from a blank page! With unlimited budget or geographic reach what is/are your ultimate art material/materials? Lately the key material that I am working with is rare and old books, so it would have to be somewhere where there is a fantastic paper ephemera or book fair. If it is in a place with a different culture it would be even more interesting, maybe India? Japan would also be great for its ancient history in the art of papermaking and its outstanding pattern designs. How did you work with paper as a child? Do you remember what you first created with paper? I have many diaries from childhood, which I used to paint in instead of writing. I think that I saw paper only as something to support my graphics. One of the first pieces I made at university was a collage where I linked together random cut-outs of magazines, I covered the whole piece by connecting fragments of image with texture or colour and thought the result was abstract but fluid. I still remember how much I enjoyed working on that piece - and I got a top mark! What is your relationship to paper? How different is it working on paper to any other medium? What freedoms does it allow and what are its limitations? I have worked with other materials before, such as stainless steel and Perspex, transforming them into three dimensional artworks, but it didn’t feel the same at all, they didn’t have that history integral to them; paper has a unique character to it. Paper, as you can imagine, is quite fragile, there are no mistakes allowed. You can easily tear it or leave a mark on it. Working with old, often rare, books I find that each page is irreplaceable, so I have to work very carefully. The papers I have been using in the Between Folds series encourage me

to use all of my senses at once. The intimate relationship of a book’s smell, texture and colour – unique and distinct to each – excites and inspires me, which ultimately feeds into the work. What artists do you admire and why? I really admire Calder’s work, his ingenious mobiles are so powerful to me. There is something about the simplicity of them, the abstract shapes and their movement, that I am captivated with. I recently saw an exhibition of Miro at the Tate Modern Gallery, it was great to be able to see the progression of how his work developed, I enjoyed it so much. The scale, colours and abstract shapes were so bold, they really drew me, so I had to go back and visit the exhibition again. When is a work of art finished? To me a work of art is finished when it feels right to you, no one else; you just know it… when any change or addition that you make to it, will only ruin it instead of adding to it. What art do you hang in your home other than your own, what do you collect/surround yourself with? I like mixing modern and old thing. In my living room I have a three-tier Globe Wernicke bookcase and, sitting on top of it, there is a Tizio desk light next to two big old ledger books. I have four old wooden billiard balls with ceramic numbers embedded in them next to modern prints with numbers, a wallpaper with a grandfather clock printed on it is next to an old carpenter ladder … and the list goes on. What are you reading / listening to? On my side table I have a book of the complete works of Lisbeth Zwerger (my favourite Illustrator), two volumes of ‘Type: A, visual history of typefaces and graphics styles’ and a book of the Russian Avant-Garde. Describe what you are making right now? I am developing the series Between Folds, working on the last piece for ‘UNBOUND’: a solo exhibition of new works that will open in London from 11 October - 4 November 2011. The series is compiled from torn or damaged rare old illustrated books, catalogues, journals, encyclopaedias, music sheets or maps which are deconstructed or un-bound to create new works. I source forgotten materials and, by using modular structures and typographical elements, I create new works with a hidden narrative. What makes you feel most creative and most free? I feel free when I get lost in London, and give myself time to discover new streets and enjoy the varied architecture and the details of the old buildings. I usually work late into the nights and I love it. There is nothing to distract you so you can focus on the work. I put my headphones on with classical music and let the creativity run wild, that feeling is just perfect to me. Paper Runway / 29

Image | Kim Amos


Kim Amos to the Paper Runway team

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Photography | Nikki Buckland

Talking to Kim Amos about her life, art and love of paper was like watching a child walk wide-eyed into a candy store. Kim oozes passion and enthusiasm when talking about creative processes, art and her most recent project with Byron Bay Public School; “Making something with my hands makes me feel incredibly calm... like I'm doing what I should be doing. It makes me feel like I'm in the right place in my life right now” shares Kim. Kim volunteers as an art and craft teacher at Byron Bay Public School where her three sons, Noah, Hunter and Arlo attend. Kim’s children have always been exposed to art and creativity; Kim wanted to extend these opportunities to other children. She describes art as “her gift, that’s what I have to offer”. She comments that “there are so many restrictions on children these days; they are more techno-orientated and we are more cautious and careful and tend to wrap them too tightly in cotton wool”. Kim reflects on her best childhood memories as when she was “creating, building or making something from nothing”. Kim stems from an artistic family with her mother also an artist and her father a builder. From a very early age Kim was encouraged to create things at home. There was always paper, scissors, pens and paints readily available. She remembers sewing paper garments as a young girl and cutting images out of secondhand botanical books for her mother's collections. In recent years Kim has enjoyed making scale models of houses she and her husband, Stephen, built. Kim says that, for her and her boys, art and creativity has created a strong bond, “the boys would rather be creating something than in front of the iPad”. Kim’s generosity with her time with the Byron Bay Public School is surrounded by positivity. Each child is afforded an opportunity to create something of their very own. Each term a new project is started where they make something from materials such as old damaged books, wood offcuts from a renovation, shredded magazines or canteen lunch bags. The transformation is something wonderful. The chatterbox pods recently displayed at the Byron Bay Writer’s Festival (BBWF) were the brainchild of Kim Amos. A friend encouraged Kim to enter a sculpture/installation competition and so the chatterbox pods began. The children from years 3 to 6 were very involved every

step of the way. They were aware of the process from the submission to the BBWF, acceptance of the submission, deadlines and then to the presentation of the installation. Each child made at least one chatterbox from a collection of old books. It was a time of bonding both inside and outside the classroom, “a real sense of calm that took the children to another place” is how Kim describes the experience. Kim would leave baskets of paper squares in the classroom only to return the next morning to piles of chatterboxes, left by her aptly named “folding fairies”. Six pods were submitted in total, using all different sized lanterns and chatterboxes. One of the large pods hangs above the family dining table in the Amos-Eakin home. Kim says she “often finds herself smiling at all the funny stories the kids shared at the folding table”. What a wonderful surprise to then win the People's Choice Award. The children are now working on their annual Art Show Extravaganza, which will be on exhibition at the Byron Bay Primary School on 28 October 2011. When Kim is not giving up her time for the children, renovating and working with her husband in their business, Atlantic in Byron Bay ( she is between her two studios playing with paper, lino cutting, painting, screen printing or sculpting. She has a studio in her backyard, that she shares with her boys, which she describes as “full of colour and reasonably tidy" (we can vouch for that – everything has its place). The studio opens out on to decks where Kim and the boys make and create from 'found objects' and work on school projects. While we were chatting with Kim, her youngest son Arlo was busy making a house for his smurfs. Her other studio is a print studio she shares with Anne Leon; it’s bursting with timber, fabric, rolls of paper and other wonderful collections. This is where Kim creates her print works while enjoying the aroma of the eucalyptus leaves that Anne boils for her Natural Dye workshops. Bliss! Both studios house floor to ceiling shelves full of art books, inspiration boards and piles of magazines. Now that’s bliss!!

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What are you working on? My mum recently cleared her storage space and gave me a bunch of old wooden boxes, so I'm working with the kids at school on diorama's. We've just completed our first Byron Bay scene all made from coloured paper and cardboard. We are very excited to be featuring the Art Park Atlantic Artist Residency Program in Issue 4 of Paper Runway, can you give us a snippet of how it began? The Art Park Atlantic Artist Residency Program began over a beer with a friend, Craig Rochfort. He had just started Art Park, a streetwear label that featured artists from around the world. My husband Stephen and I own Atlantic Guest Houses in Byron Bay so Craig and I thought it would be cool to combine our resources and begin a residency program. We hold 2 residencies a year for up to 6 weeks. Keep your eyes peeled on the Paper Runway blog for the announcement of the artist who will be in residence at Atlantic Byron Bay in early 2012. Answer these short questions Night or Day: Day Sweet or savoury: Sweet Short or long: Short Heels or flats: Flats Tea or Coffee: Coffee

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Photography | Nikki Buckland


What are you reading and listening to at the moment? At present I'm reading Betty Churcher’s ‘Notebooks’ and I'm listening to M Ward in my studio.


goes faster? Batik Mums on Red Fine Paper | Laser Cut Eiffel Tower | Grow Height Chart | Red Chalkboard Paint | Custom Letterpress Invite by Saint Gertrude | 3D Star by Stjernestunder | Beetroot Garden Journal | Rose Stem Wrapping Wrap | ‘Hello Gorgeous’ by Valerie Galloway | Laughing Kookaburras Bookmark | Earthtribe Greeting Card | ‘Thank You’ Tea by Nathaniel Eckstrom | Lalaland | FREE TEA with any purchase online | Simply add the tea of your choice to the cart with your other items and use promotional code TEAFORTWO | Iconic Acoustics Screenprint | ‘Congratulations on your new Cat Things’ by Bean | ‘You remind me’ of Home Print | ‘If I’m exciting you now, wait ‘til you see what’s in my package’ Tag | Art Papers – Snow Rabbits |

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Lilly Pirri

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Lilly Piri studied fine art and illustration at the Arts Academy, in Brisbane, Australia. She has been illustrating since 2006, and is represented by the Jacky Winter Group. Some of her clients have included Saatchi and Saatchi, Harpers Bazaar, Frankie and Poketo. Her artwork has been exhibited at Thinkspace Gallery in Los Angeles, Lamington Drive in Melbourne, Bourgeois Pig in Heidelberg, and many other places. Lilly hails from Queensland, and has just moved back to Brisbane with her husband, after living in Germany for several years. Describe your studio/work space. Is it a laboratory/shed/treasure trove/secretive cave, tidy/chaotic or something else? My work space is nothing fancy, just an old, beat up, drawing desk with an adjustable lamp on it, and a small drawer underneath. What do you love most about paper? I love that paper is so forgiving when I work with pencils, especially when compared to working on wood or canvas. With unlimited budget or geographic reach what is/are your ultimate art material/ materials? Maybe a huge sheet of Arches paper or a giant canvas, and enough paint to cover it. How did you work with paper as a child? Do you remember what you first created with paper? My earliest memories are making bubble paintings on paper in kindergarten. I also remember scrubbing crayons on office paper to bring out the watermark. What is your relationship to paper? How different is it working on paper to any other medium? What freedoms does it allow and what are its limitations? I’m afraid I don’t use paper for much else than as a place to put pigments on, but it seems almost limitless in terms of what you can use on it or make with it. I just remember seeing James Jean’s sketchbooks, and that opened my mind to the possibility of using acrylics and oils in sketchbooks and making them something really special. What artists do you admire and why? This is a difficult question, but I’ll try to answer it, and with living artists! Five favourites for me are: Lindsey Carr, for her beautiful natural history museum type paintings; Bec Winnel, for her girls; Allison Sommers, for her mini Bosch like worlds; APAK, for their jewel-like palette, and little creatures; and last, but not least, my husband, Heiko Windisch, for his space and island drawings! When is a work of art finished? I rarely ever feel like I finish a work, it’s more like I run out of time, or decide I’ll only wreck it by working on it further. What art do you hang in your home other than your own, what do you collect/ surround yourself with? I collect old toys, wooden toys, far too many books, and some kitschy porcelain animals. I also have beautiful works by artists I admire, Eleanor Yap, Stella im Hultberg, Maureen Gubia, Brendan Larsen, and more but, unfortunately, I never got around to framing most of them. What are you reading/listening to? I just finished listening to Lolita by Vladimir Nabokov on audio book. Hopefully that counts! Describe what you are making right now? I’m working with wood a lot at the moment, but it’s a secret project, for now! I’m also filling in a moleskine accordion sketchbook. I want to finish that before the year is over. This kind of sketchbook is so neat because it can be opened out, and you can see all your drawings and paintings at once. What makes you feel most creative and most free? Having lots of projects and things to work on makes me feel the most creative. When I get a bit bored with one project, I can switch over and work on something different. It’s something I’m just learning to do, but it seems to help.

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the legs press express Words by Anna Johnson

“ In a world where galleries feel intimidating and contemporary art can seem impenetrable, Legs Press swings the door wide open.� Image | Working the press | Therese Maher

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“the beauty of a print is that it is subject to process, the outcomes always have an element of the unpredictable, depending on the alchemy of paper, ink, line and, I would say… magic.”

Any historian will tell you that artists, quite famously, do not get on. They squabbled in cafes throughout the centuries and rarely co-operated on anything. Picasso hated Matisse. Warhol bitched Bacon. Figurative rejected abstract and when art movements are born they often dwindle after a decade or disintegrate due to the forces of passion, rage and envy that fuel the work itself. Tell this to Laura Jones though and she’d simply burst out laughing. For, when she decided to start her own press, her very talented friends (mainly Sydney painters) said “Go on then, hurry up, we want to make prints straight away!” and that is just what Miss Jones did, heaving her own custom press into the vast hallways of an old factory in Alexandria with a winch and a lot of determination.

Image| Balls of tarlatan for wiping plates with the colourful residue of different inks and an etching plate | Lara Merrett

Before starting Legs Press in 2010, Laura was diverse in her activities: working in a flower shop to pay the rent, participating in group shows and keeping a painting studio miles out of town in Windsor. Now fully operational the press sustains her, in fact it runs her off the long legs that are the company’s namesake. The day I visited the Legs HQ there were lots of artists about. Guy Maestri (Archibald Prize winner and collector’s favourite) was there, looking at some etchings he based on a trip to Beijing. Benjamin Storrier (Jones’ business partner, creative muse and “the guy who put up the shelves”) was preparing for his solo photography show at (William Wright Artist Projects ). Daniel Hollier, a painter in a neighbouring space was prepping some large shaped canvases (for his solo show in February next year at Liverpool Street Gallery). It felt a bit like the Sydney art scene in the early seventies; communal, practical, fertile and very lively. The place was both buzzing and strangely serene, as print ateliers have to be organized by nature. The space was dominated by the sleek silver lines of the press and large planes drawers where the etchings, lithographs and aquatints are stored. Pulling them out delicately, Jones revealed the subtlety and individuality of the medium in each page. Every artist approaches paper completely differently. Arlo Mountford created a 13 colour screen-print of the Reichstag Building in Berlin titled 'For the People', Todd Hunter’s beautiful abstracted nudes is a series of beautiful multi-plate soft-ground etchings, There are delicate dead animals by Luke Sciberras that evoke Rembrandt and Ben Quilty’s famous portrait of Margaret Olley, so instantly recognizable from his Archibald Prize-winning portrait this year, is starkly drawn with spidery black lines on white, every wrinkle like an arrow. Hossein Valamanesh’ aquatint series, “Memory”, looks like a 18th century children’s alphabet. Jones’ own work, a large scroll like image of foliage, resembles a miniature Japanese screen, beautifully drawn into a sea of moss green and pthallo blue. The affinity is no co-incidence as, in her second final year of high school, the artist took a year to leave her house in the western foothills of Sydney’s blue mountains and be a transfer student in Japan: “There was a huge contrast between growing up in a rural setting in Australia and then living in a country where there are power lines and signage and concrete everywhere – I became really excited by the Japanese aesthetic; all of the old mixing with the new. I fell in love with paper and took calligraphy classes at school (instead of sport). I had always loved making art and my year in Japan gave me new inspiration and a love for the history of printmaking in woodblock prints, such as the famous ukiyo-e prints that inspired many of the Impressionist artists...” Jones’ drive and sensitivity continued when she studied at art school (COFA) for, unlike others of her generation, she dived into the foundation course with a precise vigour, especially print making, an area many students find laborious at best. By contrast she loved it: “I quickly fell in love with etching for its painterly properties and freedom. Both media (i.e. intaglio vs. relief printing) have wonderful qualities but etching was challenging and absorbing and I found I could use my painting and drawing skills with etching more than with relief.” Paper Runway / 37

“The possibilities for artists using printmaking are endless and because it comes directly from the artist’s hand it will always remain relevant.”

Majoring in printmaking led her almost mythically to the man who built her press, in exact proportion to her body proportions and famously long legs: “When I was in my final year (in 2006), the COFA printmaking department had pressmaker Charlie Hansell come in and make some adjustments to some presses he had built for the College. I asked him how I could make one out of an old laundry wringer I found and he told me not to bother with that because he had a spare roller lying around- a beautiful big chromed one (the roller is one of the main components for a press). Anyway, in this way my press found me. Charlie pretty much built it to fit me - it’s made for my height. When I graduated I didn’t have a studio that could house it so it stayed in my brother’s shed for a while and I began painting quite seriously. Shortly after that the press moved to Alexandria and has been in constant use ever since.” Standing by the press, with its sleek silver lines, I anticipated the mystery artists feel when their plates are placed under the blankets and lovingly squashed (ahem, rolled) into life. The beauty of a print is that it is subject to process, the outcomes always have an element of the unpredictable, depending on the alchemy of paper, ink, line and, I would say, magic. Not every artist can deal with the mystery of the outcome. Some have come to Jones with a digital print-out of what they want their final work to look like or, even more pointedly, a disc. But to make multiples in a digital age, with a ritual that relies so heavily on the hand and eye, is to strip back the security so many of us rely upon in the age of the instant image. Laura Jones is passionate that the cultural and, some might say, fragile link between hand and machine is a critical place for contemporary art. Her response to accusations that printmaking is arcane or nostalgic is a passionate rebuttal: “Printmaking is more relevant than ever!” she says, almost raising her gentle voice. “It began as the primary way to reproduce an image and has long been superseded by other technologies for that purpose.Yet it has stuck around because it has evolved to become one of the most adaptive art media there are. The possibilities for artists using printmaking are endless and, because it comes directly from the artist’s hand, it will always remain relevant.” 38 / Paper Runway

Another point people often forget is that printmaking is broad. It’s not all scratchy Cubist etchings or freaky expressionist woodcuts. The variations are not about extremes but rather contrasts. Jones was happy to elaborate as her long pale hands swept over the works: “The range of media within printmaking can produce such varying qualities, even if the work is by the same artist. For example, a woodcut or lino cut can’t help but be bold and expressive because it is tougher to break through with your hand and because you use carving tools. An etching has many possibilities for mark making and even just the simple effect of an image on a plate embossing into paper gives a feeling that a lino cut or a painting just can’t.” Looking through the already prolific output of prints by Legs Press explains visually what Jones tries to define in eloquent words. The paper she uses (Velin Arches printmaking paper among others) looks ancient and rich. The ink registers can be fragile or deep and lush; as objects the works look precious and covetable before they are even framed. Put simply: you want to eat them up. Commercially-limited editions such as these allow fledgling collectors to buy works by up and coming artists that they can afford and it is a savvy investment. Look at the value of a Fred Williams etching from the early 60s, and you would be very clever to start a small folio of young contemporary Australian artists now. Jones does not sell her prints though. Her service is direct to the artist. They pay for their editions and then market them privately or through their galleries. Increasingly bespoke works on paper accompany a large painting show, sometimes they serve as something of a highlight, a window into something more intimate or personal. Popular Woollahra art dealer, Tim Olsen, has been selling etchings for almost twenty five years, and he describes them as “the best way to let nature into your work, because no other medium is as unpredictable and often it is the mistake that leads to the greatest printmaking.” For young collectors Olsen urges the investment in an etching or small print, to both build confidence in your taste and, more importantly, to “learn to live with art.” Paper Runway / 39

Image | Close up of the Legs Press watermark | Legs Press Studio

“ The image of Jones as a humble handmaiden to flighty genius is fitting. Her dream is to make Legs Press a “hub in the arts community”. But she still finds it vital to spend time alone painting in the small studio notched into a room next to the press.” More absorbed in the creation than the distribution of works on paper, Laura Jones mainly loves the privilege of working with artists and adapting to their visions: “It seems to be my job to wed the best process to an artist’s sensibilities. A good example is Lara Merrett, who I’m working with at the moment. As with her paintings, she is quite happy to let the medium help shape the way she makes her marks. So I have given her a couple of little plates and we have experimented on them with different things like open biting and spit biting, where you just let the acid bite into open sections of the plate. This gives interesting textures and lots of surprises, which she will develop further after we do the next round of proofing. However, work like Arlo Mountford’s, for example, an artist who works a lot with animation and video, requires a much more planned approach. Arlo wanted to do a screen-print, so we planned the different layers together. He constructed the image digitally and we worked together on decisions like, how many colours, how many layers, what size, how to mix the colours, and so on.” The image of Jones as a humble handmaiden to flighty genius is fitting. Her dream is to make Legs Press a “hub in the arts community”. But she still finds it vital to spend time alone, painting in the small studio notched into a room next to the press and to travel and think. Recently she completed a two-week intensive drawing course at The New York Studio School for Drawing Painting and Sculpture. After such a rigorous time drawing non stop in the major museums of the city, she went to do some printmaking (with the painter Gria Shead) on a Greek Island called Skopelos. This residency program, run by Australian printmaker Basil Hall held at Skopelos Foundation for the Arts, suited her specific talents and, as usual, she brought all she learnt home, to the artists she loves and the public that are yet to know her name. Leaving the studio I noticed the watermark on the corner of a large print. It was the outline of a large old-fashioned wooden clothes peg and it was pure Laura: a little bit antiquated and a little bit sexy, very whimsical and memorable and, no matter how practical, fun. In a world where galleries feel intimidating and contemporary art can seem impenetrable, Legs Press swings the door wide open. Long may they roll on.

IMAGES | Page 38 Laura Jones and Todd Hunter printing a proof of his work | Grantpirrie Gallery Ben Quilty’s etching plate ready to be inked up | Grantpirrie Gallery Placing the paper over the plate on the press bed | Grantpirrie Gallery Artist Concertina Book by Laura Jones at the Legs Press Studio | Legs Press Studio A draw full of etchings by Julie Harris, Guy Maestri, Charlie Hansell, Laura Jones, Luke Sciberras | Legs Press Studio Etching by Laura Jones with the plate it was printed from | Legs Press Studio IMAGES | Page 39 The print that has just been pulled through the press – this is an etching of Margaret Olley by Ben Quilty | Therese Maher Etching inks and tools | Legs Press Studio Laura pulling a proof / print b| Grantpirrie Gallery Etching tools and plates, and some pieces of lino | Legs Press Studio Julie Harris, Todd Hunter and Laura Jones etchings in a solander box | Legs Press Studio

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K Paper Runway Market Place / 41

Do It Yourself Words by Carly Davies

With the advancements in technology that brought us affordable digital printing, online blogging and methods of web-based communication that eliminate cost and geographical limitations, it would have been safe to assume that traditional methods of printing, publishing and communicating via handmade zines would soon be redundant. So why is it that the traditional and the hand-crafted seem to be experiencing a renaissance? During the past three years, I have immersed myself in a close community of people who strongly believe in the punk ethic of ‘doing-it-yourself’; a network of like-minded individuals who value the importance of helping one another and living a more ethical lifestyle. For me, this has included contributing artwork to and creating zines, designing posters, creating band artwork, producing screen prints and helping promote and organise not-for-profit gigs. Zines are central to this culture; embracing and promoting anything independent and encouraging an enthusiasm and confidence to do things for yourself.

The advances in print technology during the last decades of the 20th century (in particular the introduction of affordable photocopying rates and at home printers) sparked a paper revolution. It provided a platform; anyone with an idea and the motivation could now produce small runs of their own publications easily, relatively quickly and at attainable prices.

During the 80s there was an explosion of zines among the underground punk sub-culture as a reaction against the government. The youth of the 70s, 80s and 90s were unsettled, agitated at the way the country was run and keen to speak out against the people in power. The zine provided a platform for the unheard to voice their opinions and to communicate with others. The punk subculture still survives through individuals who embrace the DIY ethic (like Nathan Blaker of NGNG) and, with it, the zine still holds its place. It represents a form of communication and method of expression that remains uncensored and unrestricted, unlike other media such as blogs and commercial magazines.

A new wave of illustrators is referring back to the traditional, teaching themselves older methods of printing such as letterpress and screen printing (like Mark Pavey of Dead Methods and Liam Barrett.) It is much to do with the fact that traditional methods, such as lithography, actually allow you to be part of the process of printing. You can personally alter the outcome of the print during the process of printing. Variants, such as pressure, speed, amount of ink, contaminants and human error, adjust the result each time, whether intentional or not. These distinctions result in no two prints being identical.

Much like William Morris’ Arts and Crafts movement in the late 19th century, there has been resurgence in the perceived importance of the hand-crafted.

When something is crafted by hand and imperfections and tactility are perceivable, a romantic quality is given to an object that digital methods are not capable of. The time, thought and hard work that goes into producing something by hand is appreciated far more than the clean, homogeneous, unlimited print runs of digitally-produced publications. It is the introduction of the Internet to the mainstream which has had the most profound effect on the DIY scene. It opened up a whole new world of communicating; one without geographical limitations or financial restrictions.

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Online blogging provides a voice for the voiceless; similar to the zine, which had the power of transforming a nobody into a somebody. The blog offers everything that a zine was created for in a digital format, so why did the invention of the blog not signal the end of the paper zine? Blogs are easily discoverable, thanks to the Internet; there are no boundaries in regards to distance, so communicating and sharing is effortless and unrestricted. As long as there is Internet access, a blog can be updated from any location. However, the viewing of a blog is often fleeting and forgotten. The Internet is so immense that it is easy to discover and then lose a web page. Few people ever re-read blog entries like they would a book or a zine. There is no real permanence to a blog, therefore, there is less of an attachment between it and the reader. The zine becomes a cherished possession; a memorable keepsake that the owner can share, re-read and value for a long time. Zines are far less transient than blogs, they are harder to find and, when a good one is discovered, it can be treasured. The handmade zine has more impact than the conventional blog; with distinctive imperfections in the printing and photocopying process, tactile differences between individual copies, limited numbers of each publication, unevenness of the hand-collated production and the personal quality in the hand-written or drawn adding to the uniqueness of each edition. Having a physical involvement with the production process of a zine gives you a greater sense of achievement over the final publication than if you were to just upload to a blog. It is this physical element that gives the zine the edge over its digital counterpart. The fact that they can be picked up, collected, carried around, passed on and swapped makes them more tangible; they genuinely become a part of the reader’s life.

It appears that the reason the zine still survives, despite the blog seemingly being an apt replacement in this new age, is predominantly related to the physical element involved for both the creator and collector. There is a romanticism about discovering something lovingly handmade that digital alternatives cannot match. The physicality and permanence of zines, and the appreciation of the time taken to create something by hand, keeps the DIY self-publishing scene alive. If you really do want to ‘do-it-yourself’ then it seems that the paper method is the most fitting approach.

P43 from clockwise from Top Left Liams Lithography illustration | New Owl Mark Pavey of Dead Method’s letterpress prints | Nathan Blaker | No Guts No Glory’s zine | DIY times | Christmas card | I No Matter Where We Go 1 & 2 | Carly Davies |

P42 clockwise from Top Left No Matter Where We Go Issue 1 | Carly Davies | Mark Pavey | Dead Method’s letterpress | No Matter Where We Go Issue 2 | Nathan Blaker of No Guts No Glory’s zine | DIY times |

Despite the Internet providing alternative, cheaper and faster modes of communication, this technological breakthrough has actually benefited the zine community. It has widened the potential reach of the underground network and allows instant communication and feedback.

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Emma Leonard Emma Leonard usually draws girls; especially ones with melancholic expressions and sad eyes. Sometimes they feel so shy they just have to hide their faces altogether. Every now and then, if you say something that really pleases them, they just might give you the hint of a smile. However, that is very rare. Emma is a Melbourn-based illustrator who uses watercolour, gouache and ink to create carefully considered renderings of delicate femininity, fragility and ethereal beauty.Â

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Describe your studio/work space. Is it a laboratory/shed/treasure trove/secretive cave, tidy/ chaotic or something else? My studio is just a room in my home, with a big, old table to work on (which is very beautiful, but in no way ergonomic), some industrial 1940’s chairs to sit on (and two old rockers for thinking time), a big stack of books on illustration, typography, patterns and design, two big, stacked, metal army bins, which used to hold soldiers’ socks but now keep my many tubes of paints, inks, and pencils, and my new 27” Mac and Wacom tablet. What do you love most about paper? The grain of the paper, and I especially love it when I get a really great high resolution scan of an artwork and I can see every small fissure in the page. With unlimited budget or geographic reach, what is/are your ultimate art material/ materials? It sounds super boring, but some really beautiful paintbrushes, a new set of prismacolour coloured pencils, a never ending supply of Bainbridge cold press illustration board and a massive box of grey lead pencils in all different weights, as I go through them like water! How did you work with paper as a child? Do you remember what you first created with paper? For some reason I recall a lot of crafting with paper plates and crepe paper in kindergarten, but I have no idea what they were meant to be!

What is your relationship to paper? How different is it working on paper to any other medium? What freedom does it allow and what are its limitations? I love working on paper and prefer it to any other surface. My favourite is cold pressed illustration board, as it has the perfect level of tooth, doesn’t buckle or warp very much, and travels easily without creasing or bending. However, one limitation is the amount of watercolour it will take; I have to be confident with my initial layers, as it can easily become overworked. What artists do you admire and why? Australian painter, Abbie McCulloch: for her rainbow paddle pop colour palette, and the sense of movement in her amazing paintings. Berlin artist, Tina Berning: her loose, spontaneous ink portraits are very inspiring. French graffiti artist, Miss Van: my favorite artist of all time, I love how her work can be dark and moody but naive and soft at the same time. When is a work of art finished? As soon as possible! But never quickly enough, everything always takes longer than I anticipate... What art do you hang in your home other than your own...what do you collect/surround yourself with? Oddly enough I favour work that is quite different from my own (but unfortunately I have no originals yet!). Paper Runway / 45

I have: - two prints by American illustrator, Matte Stephens, both of a fox, one smoking a pipe, the other riding a bicycle; - a Beci Orpin poster of two girls, two bears and two rabbits; - a print by Milwaukee artist, Erin Paisley, of a girl with two rabbits draped over her head and shoulder; - a print of a surly little girl by Oregon illustrator, Ashley G; - a Catherine Campbell print of a girl with an ocean for hair; - the Design Files 2011 calendar with illustrations by artists from the Jacky Winter Group; - and a Gocco print by San Francisco duo, Lab Partners, of an old fashioned telephone (my very favourite and a constant source of inspiration, sometimes I just stand in the hall, like a dork, and just look at it real closely). What are you reading/listening to? Reading: ‘Creative Inc., The Ultimate Guide To Running a Successful Freelance Business’. Listening to: Some old Chuck Berry songs while I work. Describe what you are making right now? At the moment I am working on a yardage print design, a book cover illustration, a custom portrait illustration, a small Zine with a gocco printed cover illustration, the cutting up and packaging of prints, as well as 6 or 7 assignments (I am also a full time student). What makes you feel most creative and most free? Oddly enough I enjoy having some parameters to work with. I like being given a starting off point from either a client or a brief as, without it, I can feel a little lost or do not know where to start. Then I figure out how I want everything to look in my mind before starting the final art work. I have created so many amazing pieces in my head, if only it were that simple in real life!

46 / Paper Runway

Photography | Katie Preece | Styling | Portobello Rose | Pigeonhole Alphabet, lower case | www.

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little jane street ceramic magnets // yellow owl workshop nyc stamp set // o’check vintage stamp set // antigone k puzzle piece brooch // noshi obi paper ribbon {bow} // yellow owl workshop gift tag stamp // typo kraft paper pen // letterbox co airmail envelopes // all other products editor and stylists own stamps on paper L to R | o’check vintage stamp set // yellow owl workshop mixed tape // cavallini paper & co vintage office stamps // tres divin travel petit stamp set // yellow owl workshop nyc stamp set stylist | simone barter | photographer | lisa ford photography

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“writing is thinking on paper” kikki-k alphabet stamps // o’check big clips in haus press thank you notelets // sparrow peg // kimono washi tags // o’check vintage stamp set // kikki-k ‘handwritten notes to my lover’ // kikki-k greeting stamp set // kikki-k botanicals cavallini paper & co vintage office stamps // all other products editor and stylists own stylist | simone barter | photographer | lisa ford photography

Paper Runway / 49

skye’s the limit button and string envelopes | boxed wooden pegs | boxed pencils // ornamenta paper chains // tres divin stamps on paper and boxed set stamp marche tres divin sewing matchbox stamp set // o’check vintage scissors spool and scissors set // sarbe mini thread spools // all other products editor and stylists own stylist | simone barter | photographer | lisa ford photography

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Yvette Hawkins’ work draws upon the experience of the audience, exploring how language, codes and the written word is perceived, broken down and deciphered by the viewer. Yvette is interested in the notion of memories, the cultural psychologies of looking and the differences between socially conditioned learning patterns and biological ones. Within her practice Yvette explores the book as the object and works on a large scale using multiples to create environments which transform spaces that explore suggestion and secrecy. Yvette is drawn to working with paper as a sculptural medium and using traditional craft techniques, such as folding, cutting, printing, stitching and weaving to explore the environments of both art and craft. “I really appreciate the familiarity of paper – a material that anyone can relate to. The way I work is very simple, just cutting or folding or sometimes stitching or drawing too. Folds that are the most simple and uncomplicated – mostly because they are the best to build installations with, but also because anyone can do them. I think that works need to be relatable to an audience and I really do think it’s important to engage with your audience in a way that isn’t patronising or complicated. I have found it sometimes difficult to make work for outside because of its fragility, but mostly I find there are so many things to do to paper that I would spend my whole lifetime working with it, without getting bored or tired at all” says Yvette. Yvette follows a socially-engaged practice which involves members of the public, to physically interact with the artwork, at various stages of the making and presenting of her work. To read Yvette’s full interview with Paper Runway visit the Paper Runway blog on 7 November 2011.

Yvette Hawkins

Paper Runway / 51

behind the scenes

The cover of Paper Runway Issue 3 was designed and created by the talented paper cut artist Mr Yen from the UK. We thought we would give you a sneak peek behind the scenes of how the cover was created.

Mr Yen

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Mr Yen studied at Leeds College of Art and gained a BA Hons in Graphic Design. After leaving University in 2010 he had the opportunity to work on a few freelance design projects for companies such as Computer Arts Magazine and LYNX. In between freelance projects he creates hand-cut papercut artwork that is available for purchase. Mr Yen taught himself to papercut through hours, days, months and years of practice, persistence and patience and in doing so, he found a passion for his technique, tools and materials. All Mr Yen’s pieces are created by hand, with a scalpel, and each design is cut from one single sheet of paper, with all materials being sourced from the UK. Every piece of papercut work created is truly unique!

behind the scenes

The Process Mr Yen comments on the process he followed to create the cover design for this magazine. “I started as I always start a new papercut piece – by writing ideas down and creating some initial rough drawings. These are usually quick scribbles and are just for me to see how I would like the composition of the papercut to be. As the third issue of Paper Runway was about all things handmade, I wanted to focus on that and I thought it would be a nice idea to show the tools that people use to create their handmade pieces. I gathered a few tools such as scissors, paint brushes, scalpels, buttons and thread and took photographs of these so I could create silhouettes of them; this was done on my computer.

The silhouettes were then arranged into a rough layout design and passed back to the design team at Paper Runway. After a few tweaks and alterations, a final idea was resolved and a papercut lace template was created.” “This papercut lace design (so called, as it is one piece of paper, with several elements interlocking and holding the whole piece together) was then printed out and placed over the paper I chose to create the design. I then started to cut out the tiniest pieces first - as these are the most delicate, and then progressed to cut out the sections in between the tools. After an hour or two, a few cups of tea and a few quick breaks to stretch my back, I finished

the papercut by cutting the pieces that connect the design to the main piece of paper; then, once this was done, the lace design was free from the excess paper and ready to be photographed.” “To photograph my papercut, I set my camera up on a tripod and placed the papercut on a background to complement the paper and the design. For this cover design, pieces of wood were used as a background and, after a few experimental angles and test photos, I obtained the shots I needed and uploaded them to my computer.” “During the final stage of the process, a few editing tweaks are all that was needed and then the image was ready to be used for its purpose – the cover of the third issue of Paper Runway!”

The end result. Paper Runway / 53

Something Old

The rebirth of letterpress in Australia Amy Mitchell is Creative Director of Saint Gertrude Design and Letterpress, a Melbourne letterpress studio and home to a 100-year old, hand-fed platen press called Gordon.

Words & Images by Amy Mitchell 54 / Paper Runway

In 2010, Apple released the iPad and the world of paper-based communication became a whole lot smaller. That very same year, in complete contrast, the number of commercial letterpress businesses in Australia almost doubled. Although barely twenty commercial studios exist Australia-wide, last year marked a veritable boom in an industry that all but died in the 1970s. About 500 years prior, a German blacksmith named Johannes Gutenberg was credited as the creator of letterpress with his invention of ‘moveable type’. The idea of casting reusable metal letters and arranging them into a sentence, page or entire book was revolutionary and it was subsequently used to print anything and everything from posters to bibles. Letterpress printing reigned supreme for 500 years until, in the middle of the 20th century, advancements in printing technology rendered the process cumbersome. During the 50s and 60s it was phased out by offset printing and, by the 1970s, letterpress was handed an involuntary redundancy package. The machines themselves faced various doom; some were demoted to the job of cutting and scoring, while some went into the homes of retired printers. Some of the older, more ornate machines were donated to museums but, sadly, most were simply sold off as scrap metal and that, it would appear, was the end of that. But it was not. Fifty years after it was quite rightly dismissed from the printing industry letterpress has come roaring back into vogue. What is it about this quaint and outdated printing method that is suddenly the style du jour? There are far quicker and cheaper ways to print. Better still, there are completely paperless ways to communicate. Letterpress is fussy, time consuming, unpredictable and limiting – all things we strive to avoid in modern life. Perhaps that’s just it, because in the modern world of email, SMS and Facebook, letterpress puts the ‘keep’ in keepsake. It is for this reason that the booming wedding industry can take most of the credit for the continual rise in letterpress popularity. The revolution began in the USA in the mid1990s when an issue of Martha Stewart Weddings featured photographs of letterpress wedding invitations. Although Australia lagged in the uptake by almost 20 years, savvy Aussie brides in the throes of their planning put letterpress stationery up there as a must-have extravagance. If you’ve ever been on the receiving end of a letterpress wedding invitation, it’s not hard to see why; the vivid inks are unparalleled by their digital counterparts and the crisply etched ‘bite’ of the design heralds an occasion that will only accept the best. Much like letterpress people themselves, for it takes certain qualities to be a letterpress printer, namely patience and attention to detail. The old-style machines are mostly manually operated, each sheet of paper individually fed by hand, and even the comparatively modern beasts require constant attention during a print run. Inks are mixed by hand and, although printing plates can be made directly from digital design files, each colour requires a separate plate. Like the princess and the pea, the difference between a beautiful print and a terrible one can be as infuriating as a misplaced slither of masking tape. It’s a long and sometimes unpredictable process, but the result is inimitable: crisply inked letters pressed into paper. As you would expect, modern letterpress operators are a whimsical and passionate bunch. They have to be – with such small numbers Downunder, most letterpress supplies being imported and local resources being limited. Also hard to come by are user manuals for the likes of a cast-iron brute that weighs twice as much as your fridge and is older than your great-grandmother. It may be outmoded, but letterpress was built to last. Perhaps the most poignant factor in its rebirth is the very thing that killed it off in the first place: technology. With our modern throwaway lifestyles ruled by faceless and paperless communication, the simple act of sending a real piece of paper in the post demands that it be something ‘keep’-worthy.

bookshelf ‘Grandiflora Celebrations’ by Saskia Havekes Photographer: Mr Andrew Lehmann Grandiflora Celebrations $59.95 Published: 29/08/2011 ‘In the early, early mornings I go off in my van to shop. It’s just me, the van and the sunrise, and the sky turning the colour of the flowers: rose-pink and sun-yellow, orange and red.’ Flowers provide that special something that can take an event into the realms of the extraordinary and internationally renowned florist Saskia Havekes has helped create some of the most spectacular celebrations from weddings, birthdays and Valentine’s Day gifts to fashion shows, gala dinners and the Logie Awards. In Grandiflora Celebrations you are invited to explore behind the scenes as we prepare arrangements in beautiful home and public spaces.

illustration | little branch |

Saskia Havekes is one of Australia’s most creative florists and owner of the much-loved Grandiflora shop in the inner-city Sydney suburb of Potts Point. Saskia lives in Sydney with her partner, Gary Heery, and their three daughters, Ginger, Sunday and Ruby. The couple have collaborated previously on Grandiflora (Viking), a book featuring stunning shots of extraordinary floral specimens, published in 1999.

Photographer Andrew Lehmann captures the unfolding story of each event as Saskia and her team display the creative vision that has won them such acclaim. We follow them as they visit growers, prepare blooms for display and produce installation on site. There are over sixty arrangements to delight and spark the imagination, from floating wreaths and floral chandeliers to dressing tables and wedding concepts. These are living works of art that show Saskia’s ingenuity knows no bounds. Visually exciting, rich and evocative, Grandiflora Celebrations is a tribute to flowers and their pivotal role in special occasions. It is also a portrait of an artist at work and a behind-the-scenes glimpse into forty events captured over just eighteen months.

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woodblock stylist | simone barter | photographer | lisa ford photography woodblocks | earthtribe |

Paper Runway / 57

Handmade Paper Words by Manita Senn

Handmade paper has seen a resurgence lately, partly because of its unique texture and partly because it offers a great alternative to mill-made paper, which uses wood pulp. Paper made from cotton waste… what’s not to like? Plus, the handmade variety offers an ideal small-scale industry for our artisans… now that ticks all the right boxes! All of Earthtribe’s paper products are produced in India using fair trade principles. The process of making handmade paper is outlined below: From recycled fabrics, cotton rags are first sorted to remove synthetic and nontextile fibres, then cut into small pieces using traditional sickles and knives. This raw material is washed and beaten into pulp. Texture and colour are added and the material is beaten to the right consistency. Measured quantities of water and pulp are mixed in vats, before the mould and deckle are dipped into the mixture. When lifted, a layer of evenly spread pulp settles on it – and a sheet of paper takes form. The mould, with the layer of pulp settled on it, is shaken to allow the cotton fibres to interlock in all four directions, giving the paper its strength. The sheet is then released onto a fine muslin cloth. Once there are enough wet sheets with interleaved muslin cloth pieces, the paper is put through a hydraulic press to squeeze out any excess water. After sorting the sheets, they are then hand-coated with a paste of starch. This prevents the paper from blotting and gives it a longer shelflife. The sheets are then separated and left to dry naturally. Once dry, they are peeled from the muslin and sorted. Each piece is then glazed between zinc-coated sheets to give it a smooth, glossy texture. Finally, sheets are cut to desired lengths and packed. Fair Trade: Earthtribe has Fair Trade at its core. We work with community groups in developing countries (mainly India) to produce our products using a model of trade that ensures fairness for all involved. This means we ensure our producer groups get a fair price for their craftsmanship, and a safe and nurturing working environment. We make sure they have access to healthcare for their families and that their children stay in schools instead of labouring in factories. In addition we assist with design and marketing to help them gain exposure and market access for their products. Micro loans also form a part of this process from time to time. It’s true what they say about teaching a man to fish..! A natural extension of fair trade is the use of natural, sustainable materials. We source all our materials in a responsible way, making sure valuable resources are respected and not misused. Recycling is key to our range, as is the use of natural inks and dyes. We are equally passionate about handmade and traditional methods of crafting – those century-old skills that might otherwise be lost, if not encouraged and reinvented. We go weak at the knees when we see a finished notebook that starts as remnants of cotton, is transformed into handmade paper, and then is introduced to a hand-carved woodblock – it’s a match made in heaven! Although wood-block printing has traditionally been used for textiles, we think it works just as well on paper. A handcarved piece of woodblock can take days to carve out, depending on the intricacies of the line work in the pattern. It can be used with acrylics and ink, as well as fabric colours. We are currently developing woodblock printing kits so you can see the joy in printing your own cards… watch this space! 58 / Paper Runway

Manita Senn is the Director of Earthtribe. Earthtribe is about supporting a clean planet, fair choices and imaginative play. Sourcing beautiful things for a beautiful life, handmade by true craftspeople, using techniques tha are centuries old.

Describe your office. My office is chaos and communication central, it’s where I sip endless cups of tea, make many a phone call, liaise with craftspeople and artisans, get excited about a new craft process we can work with, read blogs, share ideas and watch myself get buried under paperwork until I do a massive tidy up and start all over again! Collaborating on projects between two continents can be frustrating, but working from a home office allows me to work around my beautiful children, be part of their lives after school, and occasionally enjoy lunch on a sunny afternoon with friends in my garden. And of course a trip to India every now and then makes it all worthwhile! What do you love most about paper? I love its simplicity and romance… I love that turning the pages of an old book evokes memories of a carefree childhood; that the excitement of unwrapping a present has as much to do with the warmth and lure of the paper as the gift inside; that handwritten notes still speak louder and feel gentler than an e-card; that the magic of watercolor on paper is unmatched. With unlimited budget or geographic reach, what is your ultimate paper product? I’m fascinated by paper sculpture at the moment so anything by Brian Dettmer, Su Blackwell or Peter Callesen. How did you work with paper as a child? I remember making paper boats in the monsoons and flying kites in summer… school holidays spent with endless amounts of paper, thread, beads, crayons and glue. We made paper dolls, greeting cards, wall hangings and papier-mâché figures. Most of the paper we used was out of the daily newspapers so it was recycling at the same time! I remember birthday parties with colourful crepe streamers and lanterns as decorations, handwritten invitations and letters… oh what joy! What artists do you admire and why? Social entrepreneurs inspire me the most. They can see the potential in an idea that brings people together and the ability to transform lives in a collective fashion. What do you surround yourself with in your home? I have, I love: vintage Indian quilts, antique Indian trunks, hand-carved wood blocks, paisleys and peacocks, cookbooks of Middle Eastern and Moroccan foods with photos of the intricate inlay used in architecture and pottery, vintage mirrors with scalloped edges, and my latest find – a gorgeous Suzani from Uzbekistan. What are you reading? ‘The Social Animal’ by David Brooks. Describe what you are doing right now? Sorting out some last-minute details for my upcoming trip to India, where I’ll get to meet with the fabulous artisans that create our products, attend a couple of craft bazaars, eat pakoras and sip lots of chai, as well as catch up with family… all in the name of work! What makes you feel most creative and free? I feel the most creative when I collaborate – when I can bounce ideas around, nurture a new project and see it take shape. I feel free when I know that everyone involved in the process was pleased with their journey and proud of the outcome.

Paper Runway / 59

Japanese Bookbinding by Lou from

Japanese Bookbinding is a fun & simple way to make your own books for any project. We’ve made a A6 size notebook (approx. 10.5cm x 15cm), lined the inside of the covers with vintage book paper and used variety of different paper inside. Feel free to get as creative as you like!

What you need:

Front & Back Cover (with your own designs) • Block of paper (same size as covers) • Ribbon (or thread) Hole punch • Thick needle • Ruler • Bulldog Clip

Instructions: Design/make your front & back covers using cardboard ensuring the block of paper is the same size. Measure & mark out 4 equally spaced holes along the binding edge on spare sheet of paper (to use as guide) Using your guide, draw out the holes and punch through the covers & block. Clip together the covers & block in order then place with binding edge facing you. Take your ribbon & thread onto a thick needle. Come up through point 1, loop around spine to come back up through point 1 (best to leave little bit of ribbon hanging out the back) Next take ribbon down to point 2, loop around the spine to take back through point 2. Repeat step for point 3 – thread up, loop then thread up. Repeat step for point 4 – thread down, loop then thread down. With ribbon at the back, loop over the left edge & thread down through point 4. Take the ribbon across, up point 3, down point 2, up point 1. Now finish with tying a knot with two ribbon ends at back cover to secure.

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62 / Paper Runway

stylespy gold foiled with laser cut dots // Theo's business card printed with spot raised varnish including a personalised message // Monogram photo engraved and sewn.

The importance of the business card in the age of social media. Business Cards have been around for as long as we can remember. Wikipedia dates the origins from China in the 15th Century. Business cards have been the most common commodity to expect from any professional irrespective of their industry. The humble business card provides the recipient with instant information on your credentials, contact details and acts as a handy tool for attracting leads, so it serves many purposes. But does the business card hold its importance in the age of Social Media? Will they fuss around to find your card, dig it out, or prefer connecting with you via Linkedin or Twitter? This question has been considered for a while now amongst us printers. The issue is whether the importance of a business card has depreciated with the proliferation of social media. There are those who are quite content with all the online social media tools available to them to do without the business card. I however, have my doubts, and still believe the business card will always play an important part in our lives. To quote Michael Silverber’s article in Print magazines October 2011 edition “Almost every piece of printing I knew and loved can be replaced by something digital today” says Michael Bierut, “Corporate brochures and annual reports: online. Letterheads and envelope sets: email. Magazines and books: iPads. However, sooner or later, you still need to meet someone face-to-face, and at that moment, it’s nice to have a business card.”

“ They are as personal as underwear... ”

– A business card can prompt a memory of a meeting and assist in remembering important aspects of the conversation. Networking would be near impossible without your cards on hand. – A business card can be used by a colleague to refer it on to another potential contact. It then serves as an avenue for connecting with the person you give it to and also to their contacts and so on. – A business card allows additional opportunity to promote the company’s brand without having to rely on your contact to recall exact details by resorting to Google with information that can be crowded and confusing. It really does reduce the chances that they may never connect with you. – A business card encourages the contact to your blog/ social media sites. A QR code can be added so when scanned it immediately directs them to the appropriate links. FIRST IMPRESSIONS COUNT Your business card can be a good topic to start a conversation and break the ice. It can stimulate curiosity spark interest about you and what you do. The business card has a personality of it’s own. If you are fortunate enough to have the ability to decide how it is to look and feel, don’t feel the pressure to conform and do what others have done. Be inspired by who you are and what you do. Be confident and make sure your card creates a lasting impression of you for the recipient. Should you decide to produce your own business cards here’s a few handy hints and words of advice on how best to use them: – Always have your cards on hand and feel confident when handing them out – When receiving a card, try to make a positive comment and make mental notes of the person’s name and contact details - remembering someone’s name is very important – Have a designated place to file away those cards you feel you will refer to, it’s surprising how many times we actually need to do this. COMMON PITFALLS OF FORGETTABLE BUSINESS CARDS Here are some common mistakes that can occur when creating a business card: Being unremarkable. Communicating your unique selling point (USP) is key. What is it that makes you stand out from the rest? Don’t be boring and average, be unique and get noticed. But remember, getting noticed is not the same as being remarkable. You don’t want to get noticed for all the wrong reasons. Sloppy design. If your business card looks amateurish, so will your business. An overly complex design can send the wrong signals as well. Take your time with the design and remember that when it is printed in small sizes, a complex design will lose detail. Factors such as the right colour and font also play a big part in depicting personality, so make sure you choose carefully. Unclear messaging. Design and text should not be competing for attention on your business card, so make sure your message is clear and easy to read. How many times have you received a business card at an event, then looked at it later and had no idea what that business actually does? Too little information is a mistake, but so is too much – balance is vital. Low print quality. Don’t skimp on print quality. A professional business should look and feel professional. Low print quality can be disastrous for the intended outcome. Don’t let a high quality product or service be let down by using a low quality product, this contradicts your intention and in the end, it won’t be worth costs you feel may be saved.

Theo Pettaras, Director, Digitalpress, Surry Hills, Sydney Theo Pettaras is a print innovator and a veteran in the printing industry. He has a reputation within the design community for his ability to inspire, collaborate and produce unique printed objects. Since founding his Sydney company in 2005, Digitalpress has been recognised as the country’s most awarded digital printer. He has an obsession with the Helvetica font and bass guitars.

Oversized cards. Be careful with irregular sized business cards. Large or bulky cards don’t always fit well into people’s pockets, card holders or wallets. The last thing you want is for someone to have to fold it up to fit into their pocket or end up throwing it away out of irritation. Ambiguous contact information. Why do we give out business cards? It is so that you can keep in touch and be contacted. It seems obvious, but make sure your contact details are clear and direct don’t hide behind a generic reception number or an email address. If you don’t want to be contacted directly, be selective about who gets a card. So, before designing and printing your business cards, stop and think. What do you want your business cards to say about you and your business? How will it make you remarkable and memorable? Planning and considering will make the most out of your business card. “They are as personal as underwear,” Bierut says. “Some like to sport something stylish or unusual. Others are uneasy with anything other than something straightforward in plain white. Either way, as the rest of the world goes virtual, the business card will endure.” And finally, don’t forget to take them out with you wherever you go. Paper Runway / 63

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Amazing Paper has papers to excite, papers to create with, paper for all uses. Exotic, unusual, embossed, textured, foiled & flocked. Papers from all over the world: India, Thailand, Japan, Nepal, Italy. Special Reader Offer: Spend $30 or more in our shop or online and receive a handmade journal. Mention code – PR11. Valid until Oct 31st 2011. Note: one journal per person. T. 02 9519 8237 F. 02 9557 6126 E. 184 Enmore Rd, Enmore NSW 2042

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Little Branch is an Australian made artisan paper line of gift cards, wrapping paper and limited edition art prints. Sustainable and upcycled materials are key to our line, hence our motto: Recycled Emotion. 64 / Paper Runway

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Top 10: Giveaways Paper Runway has 10 fantastic giveaways to share the paper love around with. HOW TO ENTER all subscriptions receive an entry, want more chances? Visit Giveaways run from 7 November 2011 until 15 January 2012.

1. Elm Papers Elm Paper Package.

2. Skye’s the Limit 5 x mini boxed sets of vintage tags, coconut button envelopes, 1950’s ladies vintage tags, wooden pencils, vintage script tags.

3. Sibella Court The new release ‘Nomad’ by Sibella Court.

4. Inside History Magazine | 12 month subscription from Inside History Magazine.

5. Sow ‘n’ sow | Gift of Seeds Set including: Sunflower, Basil, Chilli, Oregano, Forget-me-not and Poppy. Value $57.

6. Artifacture Studios 1 x 6” and 1 x 12” Laser Cut Paper Eiffel Tower.

7. Galleria Australia 2 x $50 Vouchers from Galleria Australia.

8. Love to Celebrate | 9. Murobond Chalkboard Bunting from Murobond.

10. Crane & Co Boxed card set from Crane & Co.

66 / Paper Runway

Garland | Jo Neville | // Photography | Katie Preece |

Paper package from Love to Celebrate valued at $50.

SUBSCRIPTION SPECIAL Subscribe to Paper Runway and you will receive Paper Runway hot off the press delivered to your front door (via your friendly postie) PLUS you will go into the draw for a box of paper goodness including cards, wrapping, notlets, twine and tags, courtesy of Paper Runway valued at $150! Purchase a single issue for AUD$24.95 + postage, or a yearly subscription (4 issues) AUD$88 + postage OR see below for our introductory offer.


Lisa Ford Photography is based in Northern New South Wales in the beautiful Byron Bay region. Bachelor of Photography QCA, QLD - Associate of the Australian Institute of Professional Photography

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