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ISSUE FOUR

where passion meets paper

Art Park Adrienne Gaha Barry Goodman Philip Sheffield Martin Böttger INCLUDING An Italian Paper Trail Lizzy Sampson The Postale Society

create • paper • love • life


Paper Art | Jo Neville | www.papercouture.net.au // Photography | Katie Preece | www.katiepreece.com


unway

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. www.paperrunway.com

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 info@paperrunway.com. 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 Runway is an independent publication, designed, made and printed in Australia. www.paperrunway.com

Inspired by boutique Carribean

Cover Credits: Paper Art | Jo Neville | www.papercouture.net.au guesthouses with all you love about Photography | Katie Preece | www.katiepreece.com

the relaxed Byron Bay lifestyle.

Paper Goodies: Enjoy the postcard insert illustrated by Grace for Paper Runway. Send a note to say hello, A Lee range of options from premium write a love poem, or keep to admire.

ensuite rooms to spacious double

Paper Runway is printed by the print innovator Theo Pettaras and rooms his teamwith at Digitalpress, Sydney. An FSC certified, shared bathrooms. 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. www.digitalpress.com.au 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. www.kwdoggett.com.au

www.atlanticbyronbay.com.au Phone: Fax: Email: Address:

(02) 6685 5118 (02) 6680 9430 info@atlanticbyronbay.com.au 13 Marvel Street Byron Bay NSW, 2481 Australia Certificate of Excellence 2011

ART/CLOTHES MOVIES/BOOKS ZINES/GALLERY

u

theartpark.com.au

4 / Paper Runway

www.napcan.org.au 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: www.napcan.org.au/get-involved/make-a-donation


Contents Features 10. TSA Works Martin Böttger 15. Mad Paper Love | Paul Mills 18. The History of the Postcard | Cassie Mercer 20.Paper Trail Emma Kate Codrington 24. Lizzy Sampson Artist 26. Objet Trouve 27. A conversation with Philip Sheffield | Katy Elliott 31. The Genius of Art Park Michele Lockwood 40. Cross my Heart (and hope to fly) | Lilly Blue & Jo Pollitt 42. We are the Postale Society 45. Letters Home | Cath Connell 48. DEATH OR GLORY: The Rococo Rebellion of Adrienne Gaha | Anna Johnson

55. 58.

Kristiina Lahde A conversation with Barry Goodman | Katy Elliott

Regulars

Photography | Amy Neeson

07. A note from us 09. Hot Paper 30. DIY Paper cutting with Kyleigh Orlebar 46. Flat Pack Fun 62.THEO PETTARAS TALKS PRINT 65. Window Shopping 66.THE Giveaway

create • paper • love • life Paper Runway / 5


Photography | Amy Neeson

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; submissions@paperrunway.com 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.

Paper Runway / 6


Welcome “Come fly with me, let’s fly, let’s fly away”, borrowed words from the great Frank Sinatra, for decades now most of us have yearned to travel, seek out adventure, experience new things and tastes but for those of us who have never travelled we can only but dream and create such experiences in our minds. Our travel-inspired issue takes you on a flight from the Industrial Estate at Byron Bay where we expose the genius of Art Park, next stop two hemispheres collide with Adrienne Gaha’s works driven by beauty but not silenced by it. Across the globe we step into the shoes of Emma Kate Codrington as she explores her way through Italy, one paper shop at a time – utter bliss! We take the bus to downtown London to meet and chat with Philip Sheffield and Barry Goodman who speak freely of their experiences and what they love about the city they call home. Sit back, relax, brew the tea or pour yourself some bubbles let your thoughts wander and immerse yourself in our travel-inspired issue. Enjoy

Nikki & Maree

Illustration | Grace Lee

Paper Runway / 7


Illustration | Grace Lee

the team nikki buckland | editor | info@paperrunway.com maree oaten | editor & designer | design@paperrunway.com cassie mercer | sub editor | inside history | cass@insidehistory.com.au malcolm mackenzie | copy editor | hello@paperrunway.com theo pettaras | printer | www.digitalpress.com | info@digitalpress.com.au lisa ford | photographer | www.lisaford.com.au | lisa@lisaford.com.au katie preece | photographer | www.katiepreece.com | katie@katiepreece.com kimberly amos | artist | little palm creative | kimberly@littlepalm.com.au simone barter | stylist | style.life.home | stylelifehome@gmail.com grace lee | illustrator | www. fromasowsear.blogspot.com | midnightgracie@gmail.com

contributors martin bรถttger // paula mills // cassie mercer // emma kate codnington lizzy sampson // phillip sheffield // michele lockwood // art park // lilly blue jo pollitt // postale society // cath connell // anna johnson // adrienne gaha kristiina lahde // katy elliott // barry goodman // kyleigh orlebar // amy neeson advertising | advertise@paperrunway.com submissions | submissions@paperrunway.com subscriptions | www.paperrunway.bigcartel.com www.paperrunway.com 8 / Paper Runway


Left to Right Paper Watch | www.suck.uk.com Radio | www.suck.uk.com Bon Voyage Card & Envelope | www.kikki-k.com Crumbled City Maps | www.mrsparrow.com.au Australia by Trudy Cook | www.dorememelbourne.com Travel Sewing Kit | www.kikkerland.com Flying Ducks | www.etsy.com/shop/delilahdevine Make Your Own Masks | www. sundaymorningdesigns.com ‘Roadtrip deer’ Card | www.littlehouseoflimes.com My Life Story | www.michelevarian.com Gazelle Natural Papier-Mâché Head | www.dwellstudio.com House Page Marker | www.suck.uk.com Hold Tight Wallpaper | www.minimoderns.com/shoppe

Illustration | Grace Lee

Paper Runway / 9


TSA WORKS Martin Bรถttger

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Describe your studio / work space. Is it a laboratory / shed / treasure trove / secretive cave, tidy/chaotic or something else... I have two studios; one is a table in my flat in Berlin, and the second studio is a 50 sqm room in Kassel, a city about three hours south of Berlin. I share it with a friend of mine. What do you love most about paper? I love the structure of it and the multifunctional ways it can be used. I cut, crack, fold, crinkle and paint it. With unlimited budget or geographic reach what is your ultimate art material / materials? Which material I use for a sculpture depends on the budget. Paper is usually the easiest material you can find - it’s everywhere. I also will sketch an idea of a structure or an animation digitally first. I use materials with different shades that look like paper: glass, plastic, gum or metal. I am not sure what is the ultimate material for me. I also find acrylic glass, epoxide, resin, and aluminium interesting to work with. How did you work with paper as a child? Do you remember what you first created with paper? I remember my first time playing with paper. I was creating some simple collages or scenarios with buildings. My father is also an artist - he draws and paints - so it was always easy to take the best paper out of his storage! What is your relationship to paper? How different is working on paper to any other medium. What freedoms does it allow and what limitations? Paper is all around and it’s cool to get a lot of paper or cards for a small budget. Mostly I work with materials I can get myself.The difference between using aother medium is not important because I try to communicate my idea independent to the medium. Right now my work is a blend of 3D-animation, sculptor, installation, performance and sound. The limitations of paper are for me water, wind and balance. What artists do you admire and why? I like different artists and studios trying different media, for example, Lazersword / Amon Tobin / Clark / Kid606 / Alex Rutterford / Joost Korngold / Antivj / Kim Asendorf / Quayola / Alexander Calder / Theverymany / Ron Resch / Ball-Nogues / Arne Quinze / Olafur Eliasson / Tony Cragg / Antony Gormley. I like their work because they incorporate different “layers”. When is a work of art finished? If I feel it. What art do you hang in your home other than your own...what do you collect/surround yourself with? I collect a lot of different stuff… such as drawings and paintings, Transformer robots, comics, music, books about artists I like. My walls are mostly white. What are you reading / listening to? I’m listening to IDM, Experimental and Glitch electronic music. I read short stories or science fiction, but generally I read comics. Describe what you are making right now? I am working on various projects simultaneously, including my two music projects for MOMA and BAUT. I’m also making animations for a DVD project in 2012 and I work on a lot of new ideas with paper craft patterns. What makes you feel most creative and most free? If I can achieve during the day what I want to, I then talk with friends about art and ideas / listen to music / create music / sketch / be in my studio with loud music / work on huge structures / bring the might into day, to feel time is not there.

Paper Runway / 11


www.tsaworks.com 12 / Paper Runway


–Fe

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012

AUSTRALIA & NEW ZEALAND

Jan

85

1920s HOBART

In the January-February issue:

house history in tasmania

pHOTO dATing solving a family mystery

Jan–Feb 2012

mOTHeRHOOd

the experiences of mums since 1788

2 201 your

yea

F r o

d rea

e at’s Wh av o u rbi to o k ? F ry to his

TAke A BOw

Explore your past, enrich your future

spOTligHT

www.insidehistory.com.au

how to find your ancestor in the theatre

ing

• We solve a family mystery through timelining photographs from the 1890s • Take a tour of historic Norfolk Island • Was your ancestor a player? We look at the history of theatre in Australia • And much more!

maori oral history exploring norfolk island

ancestry.com.au/insidehistory

9 771838 504008

AUS $10.50 INCL GST NZ $11.95 INCL GST PRINTED ON FSC-APPROVED PAPER JAN–FEB 2012

ISSN 1838-5044

02

dARwin 1942

eyewitness accounts before and after

Tell your story

18/01/11 4:04 PM

Paper Runway / 13


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Paula Mills

Mad Paper Love

It all started in the schoolyard in grade one. The boys played footy, some of the girls proved their skills on the monkey bars and I quickly learnt that one way to earn major kudos was to swap pretty writing paper. I was smitten. I had a large shoe box, covered in Holly Hobbie patchwork wrapping paper and it contained what felt like gold to me; sheets and sheets of pastel-coloured, beautifully-illustrated, and sentimentally-messaged writing paper. If it was extra special the sheet may have had a matching envelope – thick, plain paper with a complementary pattern printed on the inside of the envelope! That was in Cape Town, South Africa in 1980. Many years, and three continental moves later, I still go weak at the knees at the sight of beautiful stationery. I am a bit of a hoarder. It may have something to do with the fact that my family moved around a lot while I was growing up. Every couple of years my mum would have a big clear out ready for our next move. The Holly Hobbie box lasted a few moves but not all of them. It was replaced by other boxes, folders, big brown bags, and eventually a whole trunk. I now have a few trunks full of collected paper. All through high school I kept diaries full of every tiny bit of scrap paper that ever meant anything to me (way before scrapbooking); handwritten letters, tape covers, tickets, sweet wrappers, stickers, Valentine cards, pictures cut out of magazines such as Vogue, Mizz, Just Seventeen and The Face. Again, the thicker your diary, the more interesting your bits of paper, the more respect you were given in the schoolyard. I was fortunate to be surrounded by a family that embraced creativity. My grandparents had a wonderful studio full with all sorts of art materials and stationery. I was often allowed to indulge in long hours of making collages, cutting and pasting. One of my uncles had his own business making paper and recycling cardboard, my grandfather was an illustrator, while my grandmother had a small business making beautiful marbled paper. My piles of collected paper came into use for the invitations to my 21st birthday, which were individually and painstakingly collaged. I left South Africa in my early twenties and London became my base for the next eight years. During this time I travelled, married and had two of my three babies. My love of paper never ceased. Every city I visited, every beautiful stationery shop I stumbled upon, every art shop Paper Runway / 15


I went into, I made sure I left with some sort of paper reminder. My partner and I had the amazing experience of travelling through Asia for eight months. Here I came across handmade, ink-stained, beautifully-crafted paper and was able to collect it all in a handmade paper travel journal. Also finding a home in my travel journal were paper lanterns and paper money used in ceremonies. For our wedding invitations we individually, hand-stamped delicate gold Chinese Joss paper. We now call Melbourne home. After a few career changes from art director, to graphic designer to being a full-time mum, I have eventually found satisfaction in working from home as an illustrator. Together with my sister Shelley, I started a creative business in 2008. After tragically and suddenly losing our mum, we felt the need to do something together to overcome the geographical distance between us (Shelley lives in Wellington, New Zealand). Our business is called Sweet William, named after a childhood pet Persian cat.

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The very first product Sweet William put up for sale in our Etsy shop, was a mixed paper pack! We both fell in love with the idea of supporting the handmade craft movement and sharing our love of paper with the world. Shelley sews and loves to make things by hand, while I stick to my passion for drawing and collage. We now sell my illustrations as well as the paper packs and other paper goodness on Etsy and at local markets. Part of our range includes a miniature doll called Camille who lives in a matchbox home. Camille also comes in the form of a paper doll pack. These items are inspired by our childhood memories of playing endlessly with paper dolls; I even remember Mum making us life-sized paper dolls, cut from the huge cardboard box in which our new fridge arrived. At first we started the Sweet William business purely to raise funds for Shelley and me to be able to see each other once a year. We are absolutely thrilled with the way things are going and we now have hopes of being able to visit our baby brother who runs his own cafÊ on the coast of Ireland! Paper will always be a central theme in my life. My nine-year-old daughter now has her own growing collection of writing paper in a shoebox. I will never tire of spending hours poring over my paper and old book collection, reminiscing about the story behind each piece. Perhaps strange to some in this increasingly digital world, but for me, there will always be something deeply comforting about the feel of paper and the musty smell of old books. Yes, my love for paper runs long and deep – my mad, crazy, paper love. www.lovelysweetwilliam.etsy.com

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Images | Rohana Archer Photography

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The history of the postcards During my working week as editor of Inside History, I’m lucky enough to see a lot of historical images, objects and ephemera. A postcard always attracts my interest, because the story of its past is plain to see. Whether it’s a missive between loved ones, a note from son to mum, or a dashed receipt detailing a more prosaic business transaction, the humble postcard was a resource our ancestors relied upon. The earliest British postcard was issued in 1870. The stamp was printed on the card, thereby making an envelope unnecessary. Its critics thought postcards lowered the standards of the post, because the message could be read by anyone. But it was a roaring success: on the first day of issue, 500,000 were sent via Royal Mail. Australia wasn’t far behind in the postcard revolution. The first postcard was issued in 1875 by the NSW postal authorities. By 1882, each state had introduced official postcards with their own pre-printed stamp; Tasmania being the last to introduce it. One side was used for the address, the other depicted a simple illustration or decorative border with room for the message.

The email of yesteryear With Federation in 1901 came a nationwide postal service, and within a few years postcards were very much in vogue; the Facebook of the Edwardian era. Mail deliveries were made up to three times a day in most towns, which meant postcards could be used almost as a status update! One postcard collector recalls how his father was working for the railway in a country town. Each day his dad would put a postcard on the midday train addressed to his wife, telling her what time he’d be home for dinner. People would send a postcard to their greengrocer, stating which fruit and vegetables they’d like delivered that afternoon. It was around this time that pictorial postcards became very popular. Private companies started producing designs with black and white photographs or paintings, of rural life. Amateur and professional photographers during the early 20th century would often expose a photographic negative onto a pre-cut piece of photographic paper that had postcard marks on the reverse. This allowed for the mass production of cards with photographs of theatrical and silent movie stars, but also more intimate shots of families on holiday that could be sent to loved ones.

Magazine designer and illustrator Rohana Archer has been collecting vintage postcards for six years now, and loves what they represent about our history. “I think they are a perfect expression of the dominant design style of the era in which they were produced,” Rohana explains. “For example, a postcard printed in the 1890s will often reflect a design that is expressive of Art Nouveau elements, such as sinuous line work and imagery of women in flowing drapery. I love that they are often a great example of the technological developments and printing methods of the time.” Her favourite designs include brightly coloured chromolithographic cards that have imagery of flowers and birds, or other high Victorian kitsch: and they are a never-ending source of inspiration for her work. “My designs often have strong links to nostalgia,” she explains. “I just can’t seem to get away from referencing something historyrelated in my work. I use the postcards in my collection as a design source for an idea, or I scan elements of them such as old handwriting to use in my graphic work.”

A different purpose The onset of the First World War meant postcards served a more sombre purpose. The horrors of the trenches in Europe meant thousands of troops were sending postcards to loved ones back home to let them know where they were. Many still exist today, their ancestors preserving the cards as treasured keepsakes. One family I’ve met has a collection of more than 100 postcards sent from their grandfather during WWI to their grandmother. The collection represents a variety of styles and media all typical of the era — black and white photographs, photomechanical copies and also beautiful silk-embroidered postcards. The designs depict the countries in which the grandfather was based: mainly Egypt and England. Most of the handwriting was in blue or black ink, pencil or iron gall ink and, although weathered from much handling over the years, is still legible. The collection conveys so much from an important time in our history. Postcards still have a place in our hearts today. You may Tweet or Facebook your holiday memories, but I’m sure you also send a postcard to your loved ones as well. Cassie Mercer is editor of Inside History www.insidehistory.com.au


I’ll be honest: when I packed my suitcase for a 10-day adventure through Rome, Florence and Venice, I left it half empty just to allow for paper. Like a fashionista might go woozy over the smell of Italian leather, or stumble in her Choo’s over a street lined with Prada and Missoni, just as a chocoholic might melt at the sight of Baci boxes by the dozens, it is paper that takes my heart. The lingering woody scent that slightly catches in my throat and conjures nostalgia, the tingle when I slide my finger across uneven textures, the allure of crooked bookshelves piled high with hand-bound journals, a rainbow of calligraphy inks and artisan supplies to fulfil every ideal of the perfectly wrapped present – that’s my happy place. I have been living in Europe since May, freelancing in design, travelling far and wide, taking occasional French classes and calling Montpellier in the south of France my home. I have picnicked on the steps of the Basilique du SacréCœur overlooking a twilight Paris, savoured apple tart and runny custard on the cobbled streets of Stockholm, dipped my toes in the glorious waters of La Côte d’Azur and ridden on the world’s steepest cogwheel train up the side of a 1.2km mountain face in Lucerne, among countless other adventures. My final hurrah with Europe had to top all of that, and more to the point, had to end on a paper high. I had grand expectations for Italy and I was not disappointed. Kindred paper hearts, here is your handpicked trail, the crème-de-la-crème of paper hangouts to lose your mind and your pennies in during your next jaunt through Italy.

Paper trail

Adelaide creative and self-confessed paper addict Emma Kate Codrington explores her way through Italy, one paper shop at a time. 20 / Paper Runway


Rome

Il Papiro (Via del Pathenon, 50) is the vanilla of an Italian paper shop. I say vanilla because it will sate every paper purist, and with stores across Rome, Florence, Pisa, New York and even Melbourne, it is available practically anywhere (maybe not the freezer section). This Il Papiro is a stone’s throw from the incredible Pathenon, so you can conveniently tick your tourist box and indulge in a paper purchase on the same street. The store is quaint and filled to the brim with hand-marbled papers, journals, boxes, calligraphic inks, fountain pens, wax seals and more. My purchases: Two sheets of hand-marbled paper (at 18 euro per sheet it is not cheap, but when in Rome…) Cartolerie de Pathenon (Via della Rotonda, 15) is the rum and raisin equivalent. It’s an adult flavour of decadence, reserved for the more cultured and elite paper aficionado. The brightly coloured and hand-bound leather journals are potent, the papers are rich and after lingering a little while in the shop you feel a bit lightheaded. The shopkeeper Antonio is welcoming and helpful – leather bookbinding has been his family’s business since 1910. My purchases: A pocket-sized magenta leather journal, handmade just outside of Rome (Antonio carefully packaged it up in a cotton pouch with leather care instructions attached for me), a box of 25 place cards with gold leaf and 2 sheets of Rossi Florentine wrap – one in burgundy, salmon and gold, the other in soft pink, jade and pale blue. Ditta G Poggi (Via del Gesù, 74) is the lemon flavour. It’s refreshing but a bit watery and leaves you wishing you’d picked another. It’s really a glorified art supplies shop with a small range of thick Fabriano watercolour stocks and papery remnants hidden away in a side room. Vertecchi (Via della croce, 70) is almond – popular enough but a little nutty. Case in point: upon arriving, I walked through the holly-lined entrance to find a display of stationery, Christmas decorations… and a life-size sleeping Santa, with recorded snoring on repeat. I’m all for Christmas spirit but the snoring? Too much. If you visit, do so in a non-Christmas period. To its credit, there are cute letter sets with beautiful patterns at very reasonable prices, a whole room full of Filofax binders and another filled with just fountain pens. Paper Runway / 21


Florence

Fabriano Boutique (via del Corso, 59) is a luscious, artisan raspberry delight. Popular, fresh and bursting with delicious bright colour. I accidentally stumbled upon the shop when navigating myself from the train station to hotel. I couldn’t resist walking inside and suddenly an hour had vanished. There are tangerine, violet and cherry leather compendiums, greeting cards, quirky paper gifts and more. My purchases: A limited edition Lamy fountain pen, raspberry ink and a pile of greeting card-come-photo albums to fill with memories and give as gifts. Signum (Borgo degli Albizi 54r) had my heart skipping beats before I had even opened the heavy wooden door. In a non-descript back street, just far enough away from where the tourists roam, I stepped inside this cozy, hushed nook and indulged in glorious dark chocolate flavour. The shop floor is narrow, with rich, decadent journals and paper supplies lining both sides. At the far end of the shop, beyond the counter is a workshop where all the journals are handmade in store. There is chocolate and then there is Signum chocolate. Ergo, it can’t be missed. Johnsons & Relatives (Via del Proconsolo, 26r) is so many things that it is hard to decide on a single flavour to summarise. It’s something smooth and complex, it appeals to all tastes yet somehow feels very refined. A good, strong coffee flavour, perhaps. You step inside, immediately feel warmth and take an absorbing browse, then leave with renewed energy, a sense of invigoration and caffeine-induced tingles. The papers, handmade boxes, letter sets and three dimensional gift cards are all exquisite quality and moorish. R. Vannucchi (Via Condotta, 26/28r) is a subtle pistachio flavour. There are other flavours I’d always choose before it, but it is still a solid, popular choice for many. This store has a standard range of hand-marbled paper stocks, journals and everything you’d expect to find in a Florence paper shop.

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Address Book ROME Il Papiro Via del Pathenon, 50 Salita de’ Crescenzi, 28 www.ilpapirofirenze.it

Venice

Biblos Venezia (S. Marco 2087 Via XXII Marzo) is just a street away from the famous Piazza San Marco. Step inside this humble boutique once you’ve hopped off your gondola ride and be ready for another treat. I’d consider this store peach flavour – the journals are sweet and the wax candles available in warm, summery hues. My purchases: a cursive ‘E’ stamp and bright red wax candle to seal my envelopes with an (Italian) kiss. Il Prato Venezia (Calle delle Ostreghe, 2456/9) is the coveted Tiramisu flavour: it combines the virtues of a classic Italian desert with a fresh, cool twist. The store is filled with the classic journals, papers, stationery and boxes you would expect to find in a traditional Italian paper shop, but the unique and bold woodblock patterns are far from a typical Florentine swirl.

Cartolerie de Pathenon Via della Rotonda, 15 Via della Maddalena, 41 Piazza Navona, 42 www.pantheon-roma.it Ditta G Poggi Via del Gesù, 74 Vertecchi Via della croce, 70 FLORENCE Il Papiro Via Cavour, 49r Piazza del Duomo, 24r Lungarno Acciaiuoli, 42r Via de’ Tavolini, 13r Via Porta Rossa, 76r Via Guicciardini, 47r Via Guelfa, 46r Fabriano Boutique Via del Corso, 59 Signum Borgo degli Albizi, 54r Lungaro Archibusieri, 14r Borgo de’ Greci, 40r Via de’ Benci, 29r-31r www.signumfirenze.it Johnsons & Relatives Via del Proconsolo, 26r R. Vannucchi Via Condotta, 26/28r VENICE Il Papiro Calle del Piovan – San Marco 2764 Calle delle Bande – Castello 5275

As you can see, paper shops are scattered throughout Italy in a breathtaking rainbow of colours and flavours (gold stars to those who guessed my second Italian-themed love is gelati.) Whether you have a penchant for rich and traditional, or prefer the fruity and fresh, you will be delighted with what these cities have in store. So go forth, unbutton your jeans, unzip your suitcase expander and follow this paper trail with creative abandon – the very essence of La Dolce Vita.

Biblos Venezia S. Marco 2087 Via XXII Marzo Il Prato Venezia Calle delle Ostreghe, 2456/9 www.ilpratovenezia.com

www.emmakatecreative.com :: www.lapetitebowerbird.com Paper Runway / 23


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“I equally feel the most and least creative when surrounded by other creative people – there’s nothing like being inspired by those around you.”

Lizzy Sampson is a Melbourne - based artist whose

broad practice spans a range of mediums including collage, artist books, installation and zines. Her paper-based work utilises found and secondhand paper materials, most commonly envelopes, postage stamps and maps. Underpinning Lizzy’s creative work is the idea of reuse and value – incorporating materials that may otherwise be overlooked or destined for the skip or rubbish bin. Describe your studio / work space. Is it a laboratory / shed / treasure trove / secretive cave, tidy / chaotic or something else... My studio is always chaotic – piles of paper cover everything else on my desk. Coffee cups stack up, the floor is covered in remnants of projects past, and there are thousands of things going on at once – I wouldn’t have it any other way! I occasionally do a mass sweep of the floor and throw out everything in the broom’s path. I keep my eyes half closed when sweeping as I become attached to the smallest remnants of paper, which can become problematic! What do you love most about paper? Although I do use all different types of paper, the kind I like to work with the most is that which has a history – old envelopes and postage stamps, discoloured pages, old newspaper, postcards and ephemera. I love their faded colours and qualities, and use them as starting points for my works with paper. With unlimited budget or geographic reach, what is your ultimate art material / materials? Envelopes from the time they were invented until now, across all countries. I use the patterns inside envelopes in a lot of the collages I make, and each country and company have their own unique design and colour. They have become more streamlined now and original designs are harder to come by – so to have access to history’s ‘envelope archives’ would be my ultimate dream! How did you work with paper as a child? Do you remember what you first created with paper? The first paper creation I remember making was one of those paper chains for Advent – I was in Prep and, with colourful squares, we made 25 links to form a chain and, counted the days until Christmas morning. I still remember removing the last chain. I was an avid pattern maker and often used graph paper as the basis for my creations. What is your relationship to paper? How different is working on paper to any other medium? What freedoms does it allow and what limitations? The limitations for me include using original remnants of an envelope – I may come across the smallest sample of a unique pattern and am challenged to use it in a way that will work within a collage or image. I have been known to scan my favourite pieces of paper before using them in a collage, but I’ll rarely use the scanned reproduction. I’m usually not precious about paper – although sometimes I do become attached to certain pieces and they end up on my studio wall for a few months. What artists do you admire and why? Maurizio Cattelan for his sense of humour, Ceal Floyer for her beautifully simplistic and thoughtful work, On Kawara for reminding us we are mortals and, on the paper front, Peter Clark’s collages are exceptionally made! When is a work of art finished? That’s a tricky one – sometimes I think a collage is finished and just before I hang it I’ll add another little detail. Or I’ll exhibit a work but then modify it in some way. I guess an artist’s work is never finished! What art do you hang in your home other than your own... what do you collect / surround yourself with? Not surprisingly, the things I find the most valuable are not those that cost a lot of money. Postcards, old maps and remnants, and old photos (not necessarily of anyone I know) all feature heavily in my home, as do personal photographs and other objects I’ve imbued with a sense of memory. I have an eclectic mix of art in my home including several paintings from East Timor, a woodblock print from Japan, a collage from Argentina, a small gauche from India and, in pride of place is the most colourful painting by a man named Leroy. What are you reading / listening to? I’m guilty of starting many books at once! At the moment I’m reading ‘Species of Spaces and Other Pieces’ by Georges Perec and ‘Culture and Value’ by Ludwig Wittgenstein. I’m listening to Triple R, Bon Iver, Deerhunter, Delivery Boy and Adalita. www.lizzysampson.com.au Paper Runway / 25


objet trouve Uash Mama (pronounced wash mama) paper bags are designed and manufactured by a local family in Lucca, Tuscany. The paper is made using a virgin fibre from cultivation and NOT through deforestation; it’s rustic, stylish and washable. Paper that washes like fabric, holding its form so it can be used over and over again, promoting sustainability perfect, for catering and homewares. The manufacturing process is similar to that used in the paper and skin industries, so when touched the paper feels almost like leather. Created originally as a bread bag, it looks great with everything, bread, flowers, herbs, eggs, fruit and veg etc.

Image | Objet Trouve

www.uashmama.com.au :: www.hardtofind.com.au

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Philip Sheffield Paper Runway / 27


Philip Sheffield creates hand-crafted graphic sculpture from Low Step Studio, his base deep in the Suffolk countryside. Using paper, cardboard and wood as the very core of his work, Philip mixes traditional skills and the latest technology to create his stunning sculptural pieces and limitededition prints. He is a true craftsman, and was happy to give us a little insight into his background and inspirations. How and when did you first become interested in art, and specifically your 3D paper work? For as long as I can remember I have always been interested in 3-Dimensional work. I have always been very hands-on with what I create. Even as a school boy I would love making friezes on the classroom walls, adding 3D elements, such as paper flower heads to the finished scenes. How difficult has it been for you to establish yourself as an artist? Can you tell us a little bit about your creative background? It takes a lot of hard work and determination, but it’s what I do, it’s part of who I am and I couldn’t imagine doing anything else. I went to art school in London and, upon graduating, moved to Devon where I worked as part of a small company creating T-shirt transfer designs. This was during the 1970s, and times were pretty tough! I then moved back to London to help an artist-friend with her silk-screening. She had injured her back and needed someone to help with the making of her hand-cut paper stencils and the printing of her limited editions, and so I was her ‘boy’. I helped distribute her stencils to galleries in London and across the UK, which was such a fab learning experience for me. I then started creating my own prints, and selling these to the gallery contacts I had made. At this time, much of my work focused on Japanese birds and flowers – so very different from what I am doing now! I then began working with The Art Group – a leading global publisher of fine art open-edition prints. I worked as an artist in residence creating silk-screen prints for publishing, and then went on to build both their silk-screen and digital printing studios. I have witnessed so many changes in technology over the past 20 years, and have been fortunate to be a part of these changes and developments within the art and publishing world. I have had to learn to grow and adapt with every new development and advancement. Two years ago I held the position of artist in residence at The Art Group, creating all different kinds of imagery for publishing, with work being selected by retailers such as Ikea, Next, and Habitat – to mention just a few. It was at this time that my traditional, hand-crafted skills came back to the fore in my work…using the latest technology to make my creations possible for flat-paper printing.

Words | Katy Elliott www.allkindsofnew.wordpress.com

I now work as an artist and screen-printer from my own studio in the middle of rural Suffolk. Low Step Studio is my haven. I can make a mess, make a noise, and work through the night if I wish, with no one to complain (other than Mrs Sheffield of course!). Wow! What an amazing career history. What would you say are the biggest influences behind your work? The majority of my ideas come from nature…I love gardening, and the countryside where I live is my constant inspiration. The changing seasons, the flora and fauna, all of my work comes back to this in some way. I think my work visually ties the link between my rural life in the studio, and my experience working in London. I see my work as a collaboration between the two. Do you know when a piece of work is finished and complete, or do you tend to go back and forth making multiple tweaks? I have always been very focused, and I tend to know what I want to achieve before I begin. So when the piece in front of me looks like what I have in my mind, I know it is ready. My work doesn’t tend to evolve naturally, a lot of my work involves structural challenges and problem-solving, so I need to think things out before I begin. It is this part of the creative process that I love the most! What would be your dream collaboration or project? I love collaborating with other creative people; such exciting ideas can be dreamed up together! I think my pinnacle project would involve creating something monumental in the countryside, something along the line of Newcastle’s Angel of the North. What tool or medium could you not live without? My scalpel. I use surgical scalpels to create my paper pieces. My ‘butterfly’ pieces bring my two passions together – printmaking and paper. How do you maintain a balance between work and life? I don’t! It is all the same thing. My work isn’t 9-5, and this is part of its beauty. With my studio at home, I have the freedom to work whenever I want to. When an idea takes form, I just go and start it! What plans have you got for this year? To keep developing and growing. I am aiming towards a one-man show in 2012 to show all of my hand-crafted pieces…so watch this space! www.philipsheffield.4ormat.com

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PAPER CUTTING DIY

Kyleigh’s Papercuts “My name is Kyleigh and I have always had a bit of a head for lyrics (some say where maths should be...), a love of typography and a bit of a nerdy fixation about cutting intricate things with a scalpel. Here is my first ‘how to’ on papercutting. In this tutorial I’ll show you how I create my typographical papercuts. I am self-taught, so this is just about how I, personally, like to create my papercuts. so arm yourself with (in my opinion) my most favourite of scalpels; The awesomness that is the Fiskars Swivel Scalpel and the humble yet mighty Swann Moreton scalpel with 10A blades (Oh, and you’re going to need a cutting mat too). Sticking plaster optional.” Kyleigh Orlebar www.kyleighspapercuts.co.uk :: www.notonthehighstreet.com/kyleighspapercuts

STEP 1 Create your design. With my career background in graphic design its a no-brainer that I’d use Adobe Illustrator to design my papercuts. You may like to put good old fashioned pencil to paper, or use Corel Draw or some other program. I like Illustrator as vectors rock. They are fully scaleable and you get huge control over all the shapes (plus I’ve been working in Illustrator it since Macs were beige, designing everything from logos to illustrations and web graphics, it’s like a lovely comfy jumper). STEP 2 I started with an A3 sized document as there are lots of words. General rule of thumb: up to around 9 words use A4, or up to around 20 words, use A3. STEP 3 Draw a large box over most of the page, but leave a gap around the edge. Give the box a fill of 10% black. This becomes the space to work to, you’ll be cutting out the grey (as well as the white edge) STEP 4 Add your words – I use ‘Clarendon’ typeface, it is so beautiful and lends itself very well to papercutting with it’s generous serifs. STEP 5 Now kern the space between letters that aren’t touching each other. Don’t overlap too much as you’ll lose the definition of the letter. 30 / Paper Runway

STEP 6 Next you need to add little connectors to stop the whole thing falling away when you cut. Use the ascenders and descenders on the letterforms to naturally hold lines together, but where you need a little helping hand, pop in a little skinny rectangle like so: Where there is a lowercase ‘i’ or ‘j’ then you’ll need to add a connector to hold the dot on, but if it is touching a letter above there might not be a need for it. Use your noddle. In the example above there’s probably no need for the connector on the ‘i’ as it is touching the ‘b’ above it, doh! I make swirly whirly things to embellish and also to further hold the design together, like fancy connectors. I often use hearts, stars, butterflies, sunshine, clouds, planets... You could use embellishments that enhance the lyric or message, or are part of the meaning of the words. Go crazy! STEP 7 When you feel all your words are held on to one another either by connectors, embellishments, ascenders, descenders or other words then it’s time to print your design. Again, as a graphic designer by trade I use the tools of the trade and take the design into Adobe InDesign (an A4 or A3 document) where I scale it slightly if need be, just to make sure it won’t be too big or small for the frame.

STEP 8 I love the positivity in the chosen words (which mean more knowing the dates are the days of cancer diagnosis) STEP 9 I print A4 ones myself - usually onto beautiful recycled speckled creamy coloured paper. For the A3 ones I create a hi res PDF of the design and take it to my local high street printers to print it out onto A3 for me (haven’t got an A3 printer y’see). I get him to print 2 copies, this is just in case I make a mistake, it saves a trip to the printers for a replacement. More often than not I just file the second copy, but there was once an incident with spaghetti bolognese and a half handcut A3 commission...grrr. STEP 10 Let’s cut! Ok so you’ve printed out your design, got your blades, got your mat, got a lovely cup of tea in a stripy mug, let’s get going...

Download the complete ‘how to’ on the Paper Runway blog www.paperrunway.wordpress.com/diy/paper-cutting


The

Genius of

Art Park Words | Michele Lockwood Photography | Amy Neeson

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Amidst the hordes of backpackers, bearded surfy hipsters, old hippies, middle-aged yuppies, holiday makers and families-of-four, there lies Art Park. It is, neither a camping ground nor place to take a walk, rather it is the artistic brainchild of Craig Rochfort and Paul McNeil who began the cottage company from a tiny office in Byron Bay. Craig had been involved in the independent publishing of books and zines for a number of years when he joined forces with Paul, a painter and long-time graphic designer who was also one of the key components of Sea Surfboards. Paul explains,

“We had a common bond of wanting to get art out there to people; either through books, putting art on clothing or on walls. There’s always been a strong artistic community here in Byron but it didn’t really have any contemporary art going on. Craig and I have a lot of friends who make art and thought it would be a great opportunity to get it out to people. We do it simply for the passion of it.” Below | Freddie, Paul & Craig

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Since its inception, Art Park has outgrown it’s little home-office set up and has upgraded to a new space in the Byron Industrial Estate. The new space is also home to a shop and gallery. The gallery events always have a big turnout and is a testament to how art– hungry the North Coast of New South Wales is. The beach culture element in the Byron equation is paramount. If that were removed there wouldn’t be much more to sustain people’s creative imaginations. Art Park supplements all of this with a contemporary, if not urban, influence to what people are exposed to. Paul agrees, “The idea of exposing people to new fresh ideas is really appealing and I’d like to think that we are making a small difference; because even though this is an isolated country town, people’s minds are very open which makes it an ideal place to set up an art-based business.” But really, what is Art Park? Well, it is no one thing but rather a multifaceted unit of projects supporting the work of many artists, here in Australia and overseas. This is accomplished through the production and sale of books, zines, T-shirts, posters, prints, films, records, various accessories and gallery shows. Three times a year they publish Art Park Journal, a newsprint journal featuring the work of artists, musicians and writers who are part of their ever-growing family. The Art Park Journal is free of cost with a print run of 3,000 copies, which are available on-line or at select music or book shops here in Australia and in select spots overseas. With the creation of the Journal, Craig and Paul have opened up another line of communication in which to showcase the work of artists, musicians and writers that they love and want to share with the public at large. The large newspaper format they’ve chosen is not only cost-effective but it creates a visual impact, while still maintaining a sense of approachability. Some of the Journal contributors include: Fiona Lowry, Ben Brown, Anthony Lister, Daniel Entonado, Ben Havenaar, Cathie Glassby, Brendan Huntley, Mia Taninaka and Pedro Ramos. If you see one at your neighborhood hip-spot don’t hesitate to grab a copy. You’ll be glad you did. But there is a whole other level of support they have committed to, and that it is the Art Park / Atlantic Artist Residency Program. It is a bi-annual opportunity for artists anywhere in the world to apply for a chance to come on a 4-6 week expense-paid voyage to Byron Bay, with the magnanimous assistance of Kimberly Amos and Steve Eakin of the Atlantic Guest House, who kindly donate plush accommodation and a studio space (all located in the heart of Byron Bay) for use by the selected artists. The trip also includes a per diem and as Craig puts it in perspective for us, “even in the world of artist residencies this is quite generous.” It is a testament to the passion this group of people has to bringing a much needed influx of contemporary art to the local community and beyond. What’s the catch? Well, the catch is there isn’t one. Art Park and Atlantic Guest House ask nothing of the artist but to accept the opportunity to share their art as much or as little as they like with the extended community. It is a win-win situation. Because what person wouldn’t be thrilled to have won this art lottery and, through Art Park, the community gets first-hand exposure to an artist they would, most likely not have had contact with otherwise. “It’s about them being inspired, we put no pressure on them to do anything. If they want to come here and stare at the sky for six weeks and then go home and produce a body of work, that is fine. But if they are interested in putting together a show while they are here or they want to do a workshop with local school kids, we help them facilitate it”. Craig explains, “we’ve been lucky because the two recipients we’ve had thus far, Joni Sternbach and Nathaniel Russell have both been incredibly gregarious and hard-working; wanting to make the most of their time here.”

www.amyneesonphotography.com.au

Outside of the generous support from Kimberly and Steve at Atlantic, the income generated from the sale of their T-shirts and clothing directly finances The Residency, book publishing and gallery shows. The product directly feeds the process. From it and through it, beautiful art is created, enjoyed and continues to inspire. Since it is self-funded, there is no corporate body to answer to and basically they can have as much fun as they like with the projects they commission and create. This comes across loudly and clearly as their upbeat attitude towards the project as a whole. In fact it is infectious. Wet-plate photographer Joni Sternbach, from Brooklyn, New York was the inaugural Residency recipient. She had this to say of the experience, “I love Art Park and the Atlantic family. They are a bunch of crazy people who believe in art; got behind a project I was working on and helped breathe new life into it. They flew me overseas; they housed me and always made me feel welcome. Without the support from everyone there – Craig, Paul, Kimberly and Kim, I never could have made those amazing tintypes. They each played a vital role in helping to make my work happen. I’ve never had that kind of support before and I’ll always be grateful for the experience. In the end it was very difficult to leave... And hot damn, I loved the food in Byron!” Paper Runway / 35


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Images | Kim Amos in her studio, and in her office at Atlantic | www.atlanticbyronbay.com.au


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Image | Andrew Gordon | Tiwi 2010


Image | Andrew Gordon

The next residency will see Australian painter, Andrew Gordon in Byron Bay for 6 weeks starting in February 2012. Andrew hails from the south coast area of Victoria. Some of his emotive paintings feature portraits of sporting figures – past and present with an emphasis on Australian Rules Football players. “Andrew Gordon is a brilliant example of an artist with a classical style but who paints with a strong contemporary pallet. The ingredients in Andrew’s work are incredibly intriguing. Ultimately, his stuff is appealing to us on many levels,” explains Paul on the reasons they chose Andrew for the first Residency, 2012. It will be interesting to see what projects Mr. Gordon has in store for his time here in the Bay.

As a regular contributor to the Art Park Journal, I speak firsthand when I say that working with Paul and Craig feels like more of a familial experience than any other publication or art collective I’ve been part of in the past. One cannot help but feel “looked after” by Craig and Paul as they open opportunities and take an active role in getting behind artists who they believe in. Once you are a part of the Art Park/Atlantic family there is no getting out. It is an exciting epicenter of creative activity here on the North Coast.

As far as Art Park’s publication exploits go, their first ever hardcover book by none other than Reg Mombassa is due out soon. Reg is probably best known for his work with Mambo Graphics, having designed T-shirt and poster graphics for them since the mid-80’s. Reg is an icon of the Australian art scene with a bold graphic style featuring comic scenes of pop culture, politics and Jesus all mixed with a twist of sarcasm. Mombassa’s 120 page collaboration with Art Park will focus on the secret world inside Reg’s sketchbooks. This will be the first in a series of books to come out around March 2012. Something we can all look forward to.

www.theartpark.com.au :: www.atlanticbyronbay.com.au www.jonisternbach.com :: www.nathanielrussell.com www.andrewgordonbleeds.com :: www.regmombassa.com

There is no doubt that Art Park is incrementally sculpting its own little green haven on the worldwide art map.

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“ Someone was painting a map and I fell in it” Luca, age 8 40 / Paper Runway


Cross M yH

) y l f eart (an d hope to

Star crossed pathways to treasure mapped sky I’m looking for children to teach me to fly

Illustration Lilly B

ord lue , W

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ll Po Jo

itt

Undo my axis and walk on my heart trick the coordinates til we’re secrets apart Mess of a feather and slip of an eye sew me together with wings soaring high Catch my collection of magnified worlds and carve for them pockets in all of your clothes I’ll stitch up adventure and re-draw the map and spin silken compass on starry eyed back Sea shell to ear and I’m ocean away Til I find you here waiting at the end of each day. BIG Kids Magazine Treasure Maps edition available April 2, 2012. www.bigkidsmagazine.com

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We are the Postale Society The Postale Society is a collaboration between Louise Lindgren and Kristina Powrie, who became friends after meeting as stallholders at the Brisbane Finders Keepers Markets in November 2010. They discovered a shared fondness for story telling and collecting old letters and ephemera. The Postale Society is an unlisted club for the collecting and telling of stories through correspondence: a dimly lit wood panelled room where members settle into wing back chairs to talk and listen, drink in hand, sharing tales & memories. discovered in long-forgotten tin boxes hidden in the attic; belonging, once perhaps, to the grandfather you thought you knew. pushed back under the bed with the family album. woven through bundles of letters, tied up with ribbon and found with grandmother’s things.

The Postale Society is giving three lucky Paper Runway readers a chance to win membership and a subscription to the Postale Society. To enter send us a postcard telling us why you would love to win: Paper Runway PO Box 221 Brunswick Heads NSW 2483 Australia, Entires close: 20 April 2012. 42 / Paper Runway

pieced together through snippets of conversations overheard as a young child. where each memoir is treasured and preserved for re-telling, each story is honoured as special and unique. crumpled pages smoothed out, bent corners turned back, taped together remnants of a letter. keepsakes treasured. knowing our stories are part of where we come from, where we are, and where we will go. In telling these stories, the Postale Society seeks to revive the ritual of sending and receiving correspondence, we are returning to the near-forgotten postal custom: we want to re-ignite the joy of discovering a personal handwritten note among the bills and advertising material, addressed especially to you. The first postale series is a tale of two young people in love separated by distance and societal constraints; by sharing in their correspondence we witness their story unfold.


THE STORY REVEALED: VOLUME 1, CHAPTER 3 Somewhere across the Atlantic Ocean, aboard the Cie Gle Transatlantique liner, sometime in 1911. Matildé, a young woman from Paris, is returning home after a trip abroad with her family to the United States. It was the trip of a lifetime, a wonderful chance for her to practise her English, which she has been perfecting with her private tutor. Humphrey, a gentleman from New York, is travelling with his father on business to Europe for their textile empire, sourcing new fabrics for the new fashions of the day. One evening not long before the end of their long sea journey, in the Captain’s private dining room, they are introduced through their fathers’ connections. In that moment, their worlds collide.

MEMBERSHIP Once a member, the Postale Society circle will open to you: each month for three months you will receive a postcard,each postcard telling you part of a story, confiding a little more with each card; witness as the pieces come together, characters will be revealed, first dates, courting, engagements, loss, grief and forbidden love. Membership will also give you access to an exclusive members-only room online at the Postale Society, where more secrets and history will be shared. The first series, Volume 1 Chapter 3, is currently available from our on-line store (www.postalesociety.bigcartel.com) There will also be a new series launching soon so be sure to pop by again or email us at mail@postalesociety.com to join our mailing list and stay in touch. For more on the Postale Society, please visit www.postalesociety.com 43 / Paper Runway


Letters Home

Cath Connell is the creative director and founder of Leaf, and a self-confessed paperphile. I am perched on a rock overlooking Victoria Falls, the Zimbabwean side. Writing. Writing for hours. I look up and see that the sun is starting to set. The golden light shines through the spray of the Falls and creates a sunset haze all of its own. I switch focus, from the letter paper on my lap, and pull out my camera… In what seems a lifetime ago, (17 years – surely that’s a lifetime), I travelled overland for four months through Africa, from Cape Town to Nairobi. It was my first trip overseas. Rather than keep a personal diary, I decided to journal my journey by sending letters home. This was a big adventure, and I knew my family and friends wanted to share the experience. This was before Facebook, Hotmail, blogs and digital photography – in a time when, errands such as grocery shopping, going to the bank and making a phone call, were adventurous enough. It was the perfect solution. Writing for an audience gave me a sense of purpose, and brought out the storyteller in me, far more than writing a journal ever has (although with my parents reading, I didn’t always include everything!) My mum became my partner in what developed into a substantial project. On the other side of the world, I wrote long, languid letters, full of characters, places, wildlife encounters, experiences, thoughts, on the back of an overland truck, you have a lot of time to think when travelling. Around a campfire at night, taking advantage of the better light, you have a lot of time to write. In Africa, life slows to snail’s pace. You always have time. Every week or two, when we hit a town or city with a reliable enough postage service, I would post the letter home to my parents. Back home, they would pore over the news, attempt to interpret my handwriting and complain about the poor quality of the paper. Then Mum typed them up, printed copies and posted them out to a list of 20 or so friends. The letters took on a life of their own. They offered tiny breaks in busy lives, as my friends curled up with a cuppa to read them. They were shared with other friends in cafes and homes. I heard one couple sat up in bed, taking turns to read the letters aloud. They captured history. My travels were at a time of great change and turbulence in Africa. I wrote about South Africa, filled with excitement and hope immediately after the election of Mandela; about Zimbabwe at a time when it was flourishing and (relatively) safe for travellers; of a Uganda filled with UN peacekeepers and aid workers, post the Malawi massacres; of Zaire (now Democratic Republic of the Congo) in a state of political turmoil, on the verge of a civil war. They shared stories. From the hilarity of taking 18 people and a truck to the Bulawayo Drive-In, to hanging out with NZ Air Force guys, who the next morning would fly food aid into Goma, where they would face thousands of refugees dealing with homelessness, cholera and horrendous memories. They captured memories of my own – of Early Morning Opera in the dogbox (the seat above the cab) and encounters with gorillas; of camping in the open in the Serengeti (with not a fence in sight) with hyenas metres from our tents; of discovering cardamom cake and escaping dodgy hotel employees in Zanzibar. I lament the loss of letters home. The immediacy of an email, text, tweet, Facebook post or Flickr album has replaced them today as a travel document. Even postcards are sent electronically. No longer do we have written language to create our own mental pictures – we allow the pictures to do it all for us. Letters capture moments in time and place; the experience of our friend’s journey, not only through the destinations travelled but also within. Instant media captures mere snapshots – snapshots that disappear among the chaos of our normal life; emails to ignore, photos you just don’t get around to viewing and news streams that are gone from our awareness as soon as they fall off the bottom of the page. Sure, these new technologies offer a “Come travel with me” approach, but it’s as a tourist, not a traveller. As every true traveller knows, there is a BIG difference! www.leafjournals.com

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FLAT PACK

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DEATH OR GLORY: The Rococo Rebellion of Adrienne Gaha Words | Anna Johnson

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The Australian artist Adrienne Gaha has lived in Europe since 1993. This past summer she returned to Sydney for a solo show, a painting stint at a small studio within the National Art School and screen printing workshop in Melbourne after a fairly long hiatus from exhibiting. She took a seven year break from painting to concentrate on her family, and in that time absorbed herself in drawing and exploring the more obscure small museums of Paris and London. Currently working between London and a rambling studio near Toulouse in France, Gaha abandoned the themes of her earlier painting: “the female body and the erotic”, traipsing instead across irreverent spans of art history, with an ironic nod to Antipodean nostalgia and a pop crush on rococo painting. Her recent screen prints are a strange conflation of Australian illustrated book icons, French salon frippery and blatantly sexy post-punk graphic flair. My first impression of looking at a room full of them was that I was devouring marzipan fruits from Laduree while listening to the Clash full blast. Pretty delicious.

Adrienne Gaha | May Gibbs/ Chintz/ Beano 2  This Page | Adrienne Gaha | Yellow Skull / May Gibbs

Dusted with a perfumed palette of fondant pastels and a sequin haze of silvers and burnished golds, the works have the quality of a stage set, a magnified erotic etching or some remnant of faded finery hung up to the light in tatters. Of course they invite a closer look, and upon investigation each yields a trace of dark humour: Blurry footballers ,Banksia men that look oddly like pornography, Kewpie dolls and nymphs; the obvious grain of tabloid pages forged with children’s book classics that resemble rain-damaged dreams; and all of these strands often compressed within the same image. Unlike her paintings, Gaha’s works on paper have no glaze to melt beneath. Their opacity dwells on the immediate sensations of a shallow surface where every colour and every cultural reference demands the same level of focus. Imagine three TV channels broadcast on the same screen, cast under a veil of rotting upholstery fabric and you get the drift. The artist’s rationale for re-animating (and possibly perverting) the images we “know and love” was a personal one. All her memories of growing up in Australia are printed on paper: “The thing that happens when you grow up in Australia in the country is that you receive everything by book,” Gaha reflects. “I loved and cherished my books and I lived through them whether they were children’s bush fables or art books. My grandmother was a Eurocentric artist; as a result I have always used the contradictions between Australian and European imagery. I made a conscious decision in these works to use the images I had carried with me for years in a very subjective way. Perhaps because I have the distance of living in Europe, it makes me more experimental and less involved in Australian issues of identity.” Her subjects can be cutting but they are rarely earnest. So, while on first glance her large prints might evoke the political and band posters of the 1970s and early 1980s of the infamous Tin Shed’s era, their execution is far more sophisticated, detached and deliberately disturbed. Pulsing at the heart of each one is this persistent question of good taste: a Beano cartoon on a Boucher mural, a Pre-Raphaelite angel on a race riot at Cronulla Beach, heavy metal skulls and Hollywood Regency cats. Layered into those ironies are the source materials themselves of her two main influences - the 1760s and the 1960s. Nicholas Boucher, the master of painting cupids and Royal mistresses, was reviled by centuries of art critics as being the embodiment of expensive kitsch and poor taste. Pop artists such as Richard Hamilton and later Andy Warhol asked themselves precisely where the boundary of taste existed in the modern: could a body builder or an electric chair be too crass? Gaha’s work seems to re-invent and resurrect good taste on purpose (decorous colours, velvet textures, and an open use of whimsy) because clearly those boundaries no longer exist to be violated. Her experience of living in Europe has been one of a perpetual parallel between “tragedy and frivolity”: high art and low ethics, fashion and famine, Gucci WAG boots and the GFC. And so her work is exactly like the experience of tripping out of a decadent exquisite private collection flat bang into a tabloid news stand, except that the experience is embedded within the memory of one image. Each image more lush and aesthetic than the last. “I admit that I am engaged with beauty,” she reveals. “Sometimes I think I am sacrificing something that is interesting because it is not beautiful enough. Perhaps this is a French influence: because Europeans have less nature in their lives they make a sacred place for beauty.” Paper Runway / 49


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Adrienne Gaha | Cronulla Beach / May Gibbs


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Adrienne Gaha | Upside Down Boucher/ May Gibbs


Adrienne Gaha | Cat/Chintz

Only taking up silk screening four years ago, her experiments with the medium forged a link between Gaha’s love for old books and her love of paper. “When you do printmaking it’s interesting to see just what paper can take,” she says. In the case of these prints, colours that ought to be impossible fuse with a silken ease under each frenetic layer and somehow the colour makes the layering of highly incongruent images not just possible but poetic. The physical pleasure she found in these works came, to some degree, in the unpredictable outcomes of each drag of the screen. “The idea of silk screening is that you have that sheer ink over white and it gives you that ‘glow’,” Gaha explains. “The colour can be really intense and it’s hard to engage primaries. The method is a very direct medium, it has immediacy and they are fresher perhaps because of it. These prints function more like a visual free association. Putting something together creates enmeshed meanings and, unlike the paintings, I don’t have as much technical control over them. Printmaking is also a good break from the solitude of studio work. It is a collaboration with other people and there are constraints on your time. I think the other appealing aspect of works on paper is that they are accessible and they have their own intimacy. I think I am more adventurous on paper. Materially it is not such an investment because (sometimes in oils and other media) the more beautiful the object you are making, the more intimidating it becomes.” Happily the work she makes is driven by beauty but not silenced by it. This is not the bland bowl of sugar plums perfected by Boucher or the caustic shallow grave dug by Warhol’s sheerest screen print icons. Returning to Europe flooded with what she describes as the “rage of vegetation” growing up through the streets of Sydney, Gaha takes back the alien light, the hum of nature and the continual contrast of two hemispheres, polished by art history, submerged in impossible colour, numbed by materialism, ripped open by rock ‘n’ roll. Adrienne Gaha is represented by Charles Nodrum in Melbourne and Tim Olsen in Sydney. Paper Runway / 53


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Kristiina Lahde is an artist based in Toronto, Canada. She received her BFA from the Nova Scotia College of Art and Design, Halifax, Nova Scotia, in 1999. Lahde uses systems and patterns to transform familiar objects into sculptural forms. She often re-works materials that are headed towards obsolescence such as telephone books, newspapers and envelopes. In spring 2011 Lahde created a sitespecific installation for La Biennale de Montréal in Montréal, Canada. She is currently preparing for her second solo exhibition at MKG127 in Toronto, opening May 2012. Lahde’s work is in the collection of the Canada Council Art Bank. Describe your studio / work space. I just cleared my studio in preparation for a new series. The space is sparse; a couple of tables and white walls to pin up ideas or new pieces. I’m quite methodical in my approach and my space reflects that; I like to see all the steps or experiments in my process so I can stand back and consider it. How did you work with paper as a child? Do you remember what you first created with paper? I remember making a robot costume out of paper bags. In my mind the squareness of the paper bags was robotic. 56 / Paper Runway


What do you love most about paper? I’m particularly drawn to paper that carries or contains information, like telephone books, envelopes or newspapers. I appreciate the immediacy of these materials, they are commonplace and readily available, and at the same time they are loaded with purpose and meaning. It’s this combination that gives me something to really dig into conceptually. What is your relationship to paper? How different is working on paper to any other medium. What freedoms does it allow and what limitations? I have pushed the limits of the structural capabilities of paper; that’s an intriguing challenge that I’m sure to come up against again. The best thing about paper is that what you see is what you get, nothing needs to be rendered, fired, patinated or glazed. It is immediate. With unlimited budget or geographic reach what is your ultimate art material / materials? When I first started out I chose to work with free paper materials, such as advertising flyers, in part because I had little money for art supplies. This began an obsession with re-working found paper materials, which continues today. If I had an unlimited budget and unlimited geographic reach I would have to completely re-think my way of working. I can envision a project where I bring together all of my talented friends and do a collaborative project in a warm climate, maybe California or Mexico. So, it would be less to do with materials and more to do with community. Or I’d also do just about anything with my favourite choreographer, Crystal Pite. What artists do you admire and why? There are some early influences that stay with me today: Yoko Ono for her mind-bending imagination; Sol LeWitt for his dedication to process and precision; Hannah Hoch for toughing it out in an art world dominated by men and proving that collage can be its own art form. Olafur Eliasson is a current favourite; he can take a seemingly simple gesture and make it monumental. There are many artist in my immediate community that I admire; Roula Partheniou, Flavio Trevisan, Adam David Brown and Joy Walker. Whether it’s spoken or unspoken, having excellent peers gives you and your work something to live up to. When is a work of art finished? More often than not, I work out a specific process or set of steps for creating a work. So the production is pre-determined and the work is finished once I have completed the steps. There have been times when I will re-create a work once I have worked out all the bugs, usually to make sure it is structurally up to par. What art do you hang in your home other than your own... what do you collect / surround yourself with? It’s a combination of objects that inspire and art works by friends. I have a collection of folding rulers, dice, and textiles with geometric prints. We have a lot of books and periodicals, too. Our house is pretty sparse so each one of these things has quite an impact. What are you reading / listening to? I’m really influenced by fiction and music – the poetry can conjure great visuals. In fact, my series of newspaper kaleidoscope collages was inspired by a passage from the Michael Ondaatje book, ‘Divisadero’ he relates how one describes one’s history like the shattered lens of a kaleidoscope, repeating fragments of a story. As for music, old stand-bys include Joni Mitchell and David Bowie. My world changed when I discovered the music of Brian Eno, Leonard Cohen and Bjork. I’m currently listening to Arcade Fire and Fiest, whose new album I’m looking forward to. Describe what you are making right now? I’m in the midst of a series of experiments – I want to figure out new ways of altering and distressing paper. I’m sanding, scorching, wetting, filing and grinding paper. The patterns that emerge will definitely lead to something new. I want these explorations to result in re-working paper materials, such as cardboard boxes, posters and product packaging. What makes you feel most creative and most free? Floating in a lake on a warm summer night looking up at the stars. Kristiina Lahde is represented by MKG127. www.mkg127.com www.kristiinalahde.com

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Words | Katy Elliott www.allkindsofnew.wordpress.com


BARRY GOODMAN

Artist Barry Goodman is a printmaking hero of Paper Runway. With a long-standing fascination with the world of architecture and automotives, Barry creates beautiful, detailed collagraph prints using cardboard and paper at their very source. We have fallen in love with his London-inspired pieces and their masculine, retro signature. From a young age, Barry had always intended on becoming an architect. However, his admiration for motorway fly-overs and huge brutalist buildings, such as London’s South Bank Centre and The Barbican, found an outlet through his paintings, which led to the study of graphic design at college before pursing a successful career in design and illustration. Most people’s career stories would end there quite contentedly. However, 11 years ago Barry decided to step away from his career as a creative director within the advertising and design industry, and follow his passion to become an artist. And so Barry returned to painting, and would explore his gritty urban environment with his camera and sketchbook; finding dumped cars, rusted metal and rotting buildings as a wonderful source of inspiration. As a child, Barry had collected old tin toys as a hobby, and this return to rusting automotives found a true resonance within his work. Upon experimenting with printmaking, finding that it allowed for much creative freedom, Barry was able to create editions rather than single, one-off paintings; something he had started to feel restricted by. He went on to study printmaking at The London College of Printing, and his true ‘light-bulb’ moment came when he began working and experimenting with collagraphs. A collagraph print is a collage printmaking technique and a form of Intaglio printing. The collagraph plate is printed in the same way as an etching, but also includes the basic principle of relief printing. The term collagraph refers to a collage board where materials are assembled on a flat base (plate) to form a relief block with different surface levels and textures. Collagraph plates are created by sticking and gluing materials like textured paper (or in Barry’s case, cardboard) onto the plate and then coating it with shellac varnish or an acrylic medium to protect the materials. It was through this process that Barry’s signature style was initially developed. With a growing love of how collagraphs didn’t rely on a ‘science lab’ of hazardous chemicals, Barry would set up work at home on the kitchen table without any limitations. “I usually carry my sketchbook and camera around with me. I never know when I will stumble across something great... (whether it’s) a rain streaked 1960s concrete structure or an abandoned rusty Fiat, it just has to be recorded. Strangely it transpires that cardboard (collagraph print) is the material to capture these images”. Since then, Barry has become a truly collectable artist. His work has been widely exhibited across the UK and internationally, adorning walls from Streatham to San Francisco, New York to Naples. His work has been published by a number of highly respected publishers including The Almanac Gallery, The Art Group, Quarto Publishing, Art Angels and NP Worldwide. He is a member of The California Society of Printmakers, San Francisco. Barry was kind enough to answer a few questions for Paper Runway on his motivations and experience. Paper Runway / 59


How difficult has it been for you to establish yourself as an artist? Anyone who says that it’s easy isn’t telling the truth! You go through so much self-doubt, wondering if what you are doing is the right thing, and so you really have to trust your instincts and have self-belief. Deciding to leave my role in the agency world was one of the scariest things I have ever done, but it has been the best decision I have ever made. We always find it fascinating to see people’s working space; whether it be their studios or bedrooms, kitchens, garages, or a tiny space on their living room floor! Could you describe your working space, to give us a sense of where and how you work? I mainly work from Artichoke Printmaking Workshop - a shared studio and workshop in Brixton, South London, which I absolutely love. It’s a really creative environment where ideas can be shared, and where everyone feeds ideas off each other, and I am fortunate to work alongside several internationally acclaimed printmakers. I have considered setting up a studio from home, which I still may do one day. But I know for sure that I would really miss the interaction that Artichoke provides. And so I am very happy for now!

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What is a typical day for you like? I don’t really have a typical day. Although consuming copious amounts of coffee is very typical. It all depends on what projects I am working on at the time. I could be in the workshop experimenting, making plates at the kitchen table or just printing, printing, printing. Like all of us, summer is my best period — blue sky, early start. On chilly winter days, with cold hands and sticky, fast-setting inks, time becomes of the essence. My editions are usually limited to around 40 to 50 in number. Because the plates are constructed from cardboard and paper, they are quite fragile and have a limited capacity for successful usability, therefore high edition numbers are not a fact of life for me. Some days I just take time out for myself. I might take a train down to Brighton for the day or lose myself in a gallery and seek some new inspiration – get a change of scenery.


Speaking of trains! Transport is a hugely influential theme within your work. Do you have a favourite subject or mode of transport which you like exploring the most in your imagery? London transport is my absolute favourite, and I don’t think I could ever get bored of working with the classic Routemaster Bus. I grew up opposite a farm in the country, and didn’t move to London until I was 21. And so even though I have lived in London for many years, I don’t think my admiration for the capital’s iconic transport will ever wane. At least I hope not!

What kind of work adorns your walls at home? I am a real collector and hoarder of vintage things. I have shelves of toys, a collection of old vintage tin signs, travel-themed prints, old car brochures from the 50s and 60s, Russian Soviet posters. In fact, the house and loft is groaning with all the ephemera I have collected, and simply can’t bear to part with!

What would be your dream collaboration or project, or do you have any particular aspirations for the future? I am sure that architecture will reappear within my work; this is a strong Would you ever consider relocating, do you think? And, if so, possibility for 2012. I would love to hold an exhibition based upon where to? I have spent a great deal of time in San Francisco, and London’s misunderstood, much-maligned brutalist architecture - a so this would perhaps be my second home. It feels very European love story devoted to concrete and rust - a dream project for me! and is a really exciting and stimulating city, not to mention their beautiful trams! But for now I am still in love with dirty old London. Who, or what, would you say has been your biggest inspirations for your illustration work? I have always admired and been influenced by 20th century American art. The works of Edward Hopper and Richard Diebenkorn are particular favourites (their work also has travel at its heart), as well as the master of pop, Andy Warhol.

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OUR FIRST ANNIVERSARY

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Green Printing Design | Pearshop www.pearshop.com.au

First, let’s get something straight – print is not a dirty word. No longer can the print and paper industries be made the scapegoats for deforestation, water wastage, chemical pollution and other non-sustainable practices. Why? Because the print and paper industries are two industries that have come on in leaps and bounds, changing their methods and attitudes to become truly green industries. Jonathon Porritt, one time chairman of the UK Sustainable Development Commission put it best, when he stated: “There aren’t many industries around that can aspire to becoming genuinely sustainable. The pulp and paper industry, however, is one of them. At its best, this industry is inherently sustainable.” How so? From paper mill through designer, print manufacturer, fulfilment and recycling, the printed medium is one of the only communication mediums that can claim environmental friendliness through its entire life-cycle. Choosing to print on 100 percent post-consumer waste (PCW), processed chlorine free (PCF), uncoated, Forest Stewardship Council (FSC) certified paper, working with a printer who uses waterless inks, or choosing to go up the digital print path to reduce wastage and increase response rates through more targeted campaigns are all examples of print’s green initiatives. Digital Printing is Green Printing. The printing industry as a whole has done a magnificent job in putting in place a number of initiatives that educate and inform the print consumer of all the environmental developments and initiatives that have been taking place. Environmental concerns are an increasingly important part of printing today. We printers embrace the need for sustainable practices and have a lot of good things going for us. It is important to understand the fundamental differences with regards to the environmental impact between offset and digital printers. The benefits of digital printing start with making it practical and affordable to order only as many products as you know you’ll need, reducing the waste when obsolete printed materials are discarded. Digital printing requires virtually no make-ready paper, and digital printing presses such as the one that has printed the very magazine you have in your hands. It is a Kodak NexPress and is certified by INGEDE (the International Association of the De-inking Industry) because it is easily de-inked in the paper recycling process. Additionally, the publishers of this magazine also insisted on producing it on 100% recycled paper an important factor in their consideration when printing. Here are a few more reasons why digital printing is environmentally friendly: no VOC-emitting fountain solution chemicals; no petroleum-based inks; no press-cleaning chemicals; no film/ platemaking chemicals; no metal plates, and no synthetic proofing materials. Consider also that once you’ve printed, and have your design, document or marketing message in the final user’s hands, you’ve used all the energy and resources needed to go into producing that particular message and it can be reused time and time again at no extra cost to the environment. However, each and every single time an email is opened, a pdf brochure is looked at, a TVC is seen or radio ad is heard, more energy in the form of electricity is being sapped up, and more damage done to the environment. After all, one of our main sources of electricity still comes from burning fossil fuels, like coal. Print is clearly a green medium and an obvious choice for anyone trying to send an effective and green message – but what about digital print specifically? Are digital printers any greener than conventional printers? The long and short of it is, yes. With their short run capability, digital printers are not nearly as hungry as traditional offset printers. Gone are the days when companies had to approximate how much they needed to fill the long run capability of offset presses, produce warehouse overruns and, ultimately, pulp outdated and unused collateral. Companies can now limit their print runs to exactly the number of pieces they need, with comparable print quality to its offset counterpart. This printing method even has advantages over offset printers using soy inks. While soy comprises 86 percent oil – which isn’t biodegradable – digital printing uses 100 percent non-toxic toner. Toner-based inks also produce less chemical waste. The customised personalisation abilities of digital print allow for more targeted and sophisticated messages, yielding higher response rates and, ultimately, higher returns with fewer printed pieces. The high value, short run material produced by digital printers means that digital print has a much smaller environmental footprint than that of offset printers, who are limited to long run pieces with little to no customisation.

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.

So, what about the other environmental aspects of digital printing? Generally digital printing is environmentally friendly, as previously mentioned, through the ability of ‘just in time’ printing for items like books rather than warehousing of books printed in large print runs. Such books are frequently unsold and may well be pulped. Digital printing generally has very little in the way of paper wastage. Most equipment suppliers have good procedures for recovery and recycling of used consumables. The print industry itself has in place a number of initiatives to encourage printers to become more environmentally friendly, and assist media buyers in recognising and locating green print service providers. The Graphic Arts Services Association of Australia (GASAA) has a flagship environmental management course called ‘Truly Green’, which trains providers to implement cost – and waste-effective environmental management systems that are compliant with international standards (ISO14001).Visit www.gasaa.asn.au to find a Truly Green Printer or learn more about the programs. With the current green pressures to conform to strict environmental practices, I believe that most of us in the industry are doing an excellent job, I can see major commitments from all suppliers to the environment. www.digitalpress.com.au Paper Runway / 63


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The Giveaway! 66 / Paper Runway

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Paper Runway Issue#4