Paper Runway Issue 2

ISSUE TWO AUG 2011

Bespoke Press Kristina Karlsson Rob Ryan Peter Clark Lilly Blue PLUS Siba Sahabi, Cath Connell, The Paper Convention and so much more

create • paper • love • life

credit

Cover & Inside Cover Credits: Limited Edition Alliance Print | Bespoke Press | bespokepress.com.au Illustration | Bec Winnel | www.becwinnel.com

unway

where passion meets paper

Paper Runway is a quarterly magazine that 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.

Each issue will be 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, catering for anyone looking to add a personal touch.

We also bring to you feature articles on talented Australian and International paper artists, whether it be illustration, artist, graphic designers, paper sculptors or the like. They all have the common denominator of a love of paper.

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

DISCLAIMER: Paper Runway is an independently produced quarterly magazine. All imagery contained in Paper Runway are subject to copyright of the artist, illustrator, photographer as named but not limited to. Paper Runway reserves its right to copyright. Reproduction in whole or in part without prior written permission is prohibited. We do our best to provide correct imagery credits and obtain permission for use of imagery. If you feel that this has been misused or under represented then please email us at 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.

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Paper Runway is an independent publication, designed, made and printed in Australia.

Paper Runway is printed by the print innovator Theo Pettaras and his team at Digitalpress, Sydney. An FSC certified, ISO 14001 accredited printer which also has in place the 10,000 Trees, tree offsetting program.

Printed using the cutting edge technology of the Kodak Nexpress, given texture with raised printing and finally each spine is lovingly Singer Sewn. www.digitalpress.com.au This issue of Paper Runway has been printed on Envirocre 100% Recycled. Envirocare 100% Recycled is manufactured entirely from waste paper. Manufactured 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 helping to reduce harmful by-products. www.kwdoggett.com.au Back over image: Scrapwood wallpaper PHE-5 by Piet Hein Eek www.bodieandfou.com

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.

This issue we will show our support by donating 10% of all profits to NAPCAN. You too can support this worthy cause by donating to NAPCAN at: www.napcan.org.au/get-involved/make-a-donation

Image: www.bodieandfou.com

limited edition paint collection for now available www.murobond.com.au 4 / Paper Runway

MUROBOND

Features 10. Siba Sahabi Between the Orient and Occident 14. Cassie Mercer The History of Paper 15.LILLY BLUE Artist 20. A4 Paper Festival 23.

Rob Ryan Paper Cutting 27. Kristina Karlsson – Founder Kikki-K 34. Peter Clark Collage Artist 42. Paper “peeps” Profiles 45.

Bespoke Press 53. Cath Connell Paper ... now for the good news 56. Tugboat Press 58. The Distillery

Regulars

www.bodieandfou.com

07. A note from us 09. Hot Paper 30.SUNSHINE YELLOW 33.Bookshelf 38. A day for DAD 40. Ask Cristina Re 51.DIY Paperphine Paper Bracelet 52.DIY SPOONFUL Paper Ring 63.Digital Raised Printing 65. Window Shopping 66.TOP TEN Giveaways

Contents

create • paper • love • life Paper Runway / 5

www.peterclarkcollage.com

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, 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, a designer, illustrator, paper sculptor, party planner, you may be a creator who would like to share your art or a terrific tutorial, or have 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, you may like to include a reference to your portfolio. We will then contact you further should your submission be accepted. Please do not submit material that has been featured elsewhere, we do like to exhibit original ideas.

If you have an idea that is not listed then don’t be shy tell us about it.

Whilst we are very happy to accept your submissions and we will try our best to reply to you all, we cannot guarantee a personal reply to unsuccessful applications.

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Welcome Paperform has been met with raves reviews from across the globe.

It seems that we are not the only ones who have fallen head over heels in love with the humble medium of paper. In this issue we showcase paper in its distinctive character of texture. Why texture? It has character and attitude. It transforms the simple piece of paper into not only a visual treat but heightens our sense of touch. The papers each have their own flavour when it comes to texture and substance.

Siba Sahabi brings paper to life with her 3D creations of paperporcelain, hard to believe they are paper really. Immerse yourself in the worlds of Lilly Blue, Rob Ryan, Peter Clark and Tugboat Press. From the moment kikki.K hit the streets we have lusted over Kristina Karlsson’s designs and “not so boring” stationery. Kristina shares insight and inspiration into her “dream” that is kikki.K. Bespoke Press and The Distillery share their love of Letterpress.

Giveaways galore on page 66 and all you have to is subscribe – yes that’s all! Plus we have a few goodies enclosed for you. Send a note on the letterpress postcard from Creative Emporium and you will never lose your book page again with our Paper Runway bookmark.

Special thanks to Digital Press for bringing this issue to a new level with raised print on the cover. Hot!!!

Enjoy

Nikki & Maree

Scrapwood wallpaper PHE-4 by Piet Hein Eek www.bodieandfou.com

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Over Brighton www.johndilnot.com

the team nikki buckland | editor | info@paperrunway.com maree oaten | editor & designer | design@paperrunway.com lisa ford | photographer | www.lisaford.com.au | lisa@lisaford.com.au katie preece | photographer | www.katiepreece.com | katie@katiepreece.com theo pettaras | printer | www.digitalpress.com | info@digitalpress.com.au cristina re | ask cristina | www.cristinare.com | askcristina@paperrunway.com

contributors siba sahabi // cassie mercer // lilly blue // lisa loxley // the paper convention rob ryan // kristina karlsson // pia jane bijkerk // peter clark // bespoke press bec winnel // paperphine // matthew roland // justine fahd // spoonful cath connell // tugboat press // the distillery advertising | advertise@paperrunway.com submissions | submissions@paperrunway.com subscriptions | www.paperrunway.com/purchase.html www.paperrunway.com 8 / Paper Runway

HOT PAPER

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01. Airvase www.uponafold.com.au 02. Disperse Ring by Sarah Kelly www.saloukee.com 03. Bookstack by Nicoletta Savioni and Giovanni Rivolta www.a4adesign.it 04. Light Reading by Lucy Norman www.luladot.com 05. Paper Pulp Furniture www.odelia-dan.blogspot.com 06. Paper Fold Bags by Ilvy Jacobs www.ilvyjacobs.nl 07. Compote by Wasara www.wasara.jp 08. Tipsy Tags by Gilah Press www.gilahpress.com 09. Tiny Tree Triangle Wallpaper by Maria Bergstrรถm www.studiorita.se 10. Scratchie Cards by TMOD available at www.littlepaperlane.com.au 11. The Karton Office by www.kartongroup.com.au 11.

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Siba Sahabi “My intention is to build a bridge between the Orient and Occident”

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Siba Sahabi is renowned for her exquisite designs of paper objects. Inspired by the European and Middle Eastern history of tableware she creates her “paperporcelain� pieces with the view of showing how one culture has influence on another leading then to renewal and cultural richness. We thank Siba for taking time from her busy schedule and holiday to talk to Paper Runway.

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Tell us a little about your background – what did you study and what path led you to what you’re doing now? Drawing from my German/Iranian roots, my work aims to show how one culture can influence another, leading to renewal and cultural richness. My tableware sculptures, Fashioned from Paper, are inspired by the European and Middle Eastern history of ceramics. A passion for crafts and imperfection drives the process of my work.

Where do you call home? Amsterdam, where I live. I love to work on the edge between design and art. For me this is why the Netherlands is a good place to be.

Do you see your work as reminiscent of any particular era or culture?

My intention is to build a bridge between the Orient and Occident. I want to emphasize the ongoing importance of cultural melting pots.

Do you strive for any particular look or feel when designing and creating your work? Tell us about the technique of creating Paperporcelain?

Most often paper serves in written works or fine arts. I was interested in adding a 3rd dimension to this modest and flat material. So I started experimenting with it to learn more about its potentials. I found out about how to build sculptures by cutting, folding, rolling and gluing paperstrips. These objects have similarities with ceramics produced on a potter’s wheel: A circular body around a vertical axis and fine horizontal striations. I used these qualities to “potter” the paper into teapots, milk cans, cups, and glasses. The fragility and delicateness of these objects are created by the slow and rhythmic process and lead to its formal aesthetic.

Where else do you find inspiration? The history of Middle Eastern and European tableware inspires me, conveying how two cultures influence one another, leading to renewal and cultural richness. Recapturing traces of the past that have got lost in time and space is my drive. I redefine the meaning of these fragments of an earlier era by linking them to contemporary design.

What does a typical day at work involve for you? Lots of paper cutting and gluing… and lots of emails, phone calls with journalists/galleries/clients…

What are you most proud of professionally? A career highlight ‘The Duo’ exhibition in January with the Dutch 73-year-old paper-jewellery-artist Nel Linssen introduced with a speech by famous gallery owner Paul Derrez.

Do you have a favourite project? Bucchero: A series of paper vessels that takes inspiration directly from traditional black Etruscan ceramics. The Etruscan civilization flourished in the region that corresponds roughly to what is now modern-day Tuscany, for several centuries from 800 BC onwards. The blackness of the Etruscan Bucchero ceramics gained their characteristic dark colour and lustrous finish through being fired in a kiln that was deprived of oxygen.

The metallic sheen created the impression that the pieces were metalwork.

It was a time when in some European regions of the Mediterranean coast, oriental art was used as a source of inspiration - especially for the production of ceramics. The Etruscans adopted this in the period ca. 700-600 BC. In this way oriental aesthetics were combined with European knowledge of ceramic production. With my interpretation of Bucchero I want to show how one culture has influence on another one, leading to renewal and cultural richness.

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What’s the best and worst thing about your job? I love working independently. Researching the themes that I find highly interesting and worth sharing with the world. I love crafts since a certain imperfection and uniqueness of objects is a quality that industrial production is missing. And running your own studio means having a demanding, but also diversified job.

The worst: The line between work and free time disappears.

What would be your dream project? Travelling a couple of weeks along the Silk Road, working and learning craft techniques from locals and linking this knowledge to contemporary design objects.

Describe your studio. I share my atelier with 17 international designers, architects, stylists, textile designers and photographers. For me it’s a perfect surrounding: www.b29studios.nl What are you looking forward to – professionally or personally?

To make my dream project come true.

Do you have any advice to give other designers starting their careers?

Were you given any memorable advice by a mentor? To specialize: focusing on a unique vision/style/technique/material. www.sibasahabi.com

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The History of Paper

By Cassie Mercer Paper is a product found in every household across the world. It can be functional, a necessity, but it can also inspire, fascinate, and endear. Think of some of your most treasured ephemera: postcards from trips abroad, love letters, birthday cards, childhood photos, favourite magazines, teenage diaries, drawings your mum kept from when you were three. Perhaps you have family heirlooms – letters your granddad sent to his family during the Great War, and photographs of great grandma Emily in her Edwardian finery. All these keepsakes would not be possible without the invention of paper.

So how and when did paper come into being, and morph into the stunning designs we now have and cherish?

As far back as 2300BC, those crafty Egyptians were known to have made a paper-like substance called papyrus, derived from a plant of the same name. But the smooth forms we know today actually originated in China in 105AD. Ts’ai Lun is credited with being the god of papermaking.

The chief eunuch to Han Emperor Ho-Ti decided to see what happened when he separated textile fibres, soaked them in water, then placed them in the sun to dry. The result was a product soon in high demand throughout the country. Before long, Chinese papermakers were branching out into a number of specialty papers, including sized (with special surface properties), coated and dyed paper. Cooked bamboo was also added to supplement the textile fibres. The Chinese method of papermaking soon reached Korea, then by 610 the Japanese were adopting the techniques as well. Paper is still made by hand in these two countries using fibres made from the mulberry tree (or kozo in Japanese). After cooking, the uncut fibres are beaten to strengthen them, and give the end product its characteristic, uneven look.

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But back to 610. Before long, inhabitants of Central Asia, Tibet and India soon got wind of the wonderful resource being produced. Paper mills were set up in Baghdad, Damascus and Cairo, and later in Morocco, Spain and Sicily. The Japanese product may have been stronger, but the Arabic paper became more refined and smooth.

This was due to the pulp being filtered and their technique of adding a coat of starch pasted in the final step of the process. It was this version, rather than the thicker style from Japan, that spread to Europe. The Italians were the first in Europe to say bonjourno to a paper mill. In 1270, a mill was established in Fabriano, in the centre of Italy. Even today, the region is known for its fine, watermarked paper.

Before long, paper was becoming central to European intellectual and public life, and its demand exponentially increased.

Mills became the way of the world when it came to papermaking, for instance. By the end of the 1500s, Germany alone had 190 mills. Water was used to power the machinery, and sheets were dried on lengths of rope.

Four men were needed to run the mill – one to take the pulp from the vat and mould it into sheets; the second, with the intriguing title of “couch squirt” would place the sheets on absorbent felt; the third would remove the still-damp sheets from the felt after they were pressed to remove water, and the fourth – the apprentice – was responsible for feeding pulp into the vat and maintaining the heat while it cooked. In 13 hours, they could make 4500 sheets measuring 63cm x 75cm.

It would take another 200 years for a papermaking machine to appear. Frenchman Nicholas-Louis Robert invented the first in 1798, which speeded up the time to produce paper. Robert’s initial machine was the forerunner to the Fourdrinier, the first machine to make continuous paper, rather than sheets. The Fourdrinier developed by Robert, then refined by Brian Donkin for Henry and Sealy Fourdrinier, was in operation by 1804 in England. It’s still in use today, and can produce 1km of paper per minute.

In the past five decades, paper has moved ever further away from a utilitarian product to one that grabs our emotions and has us swooning over the latest applications.

It’s renewable, recyclable, and versatile. It can be styled into fashion, flowers, and decorations. And while iPads and other tablets may be fun, nothing beats the textural fascination we continue to have with paper. Thank you, Ts’ai Lun. Cassie Mercer is the editor of Inside History magazine, www.insidehistory.com.au

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Lilly Blue captains a flotilla of small paper boats drawn from a life at sea in a world of risk with a heart like a sailor longing for unknown lands and an unusual, enduring impulse to give everything of value to a child.

“She carried seeds in her pockets like small rattles for rites. Thankful for the boat in her heart and the soil in her hands, she made gardens in place of all that was lost.”

Thanks for joining us at Paper Runway Lilly, what is your background and how has it lead you to be where you are today? I have always responded to life with a kind of ferocity, wanting to devour each opportunity and experience with a sense of abandon always coupled with enormous gratitude. I am drawn to beauty, and have learned that it can be found in unusual, and at times hideous circumstances. I enjoy embracing polarities and contradictory views, finding ways to make meaning out of chaos and grief. I am the grand daughter of Holocaust survivor’s, and even as a child I felt incredibly lucky to be alive. I remember sitting in the liquidambar tree in our backyard talking to the ghosts of my great cousins and aunties, acutely aware of life’s preciousness and my responsibility to live it to the fullest. I trust whim and longing as my guides, get lost often, and enjoy the discomfort of feeling displaced or confused by new surroundings. I seek out connections and disruptions and say ‘yes’ to things that excite me even when they seem entirely impossible. I have always thought that it made more sense to be driven by a love of something, and a desire to do meaningful contributory work, than to accumulate for its own sake. I guess all these things, a kind of recklessness mixed with an extraordinary sense of responsibility to do something valuable with my life, have brought me to where I am today.

Where do you call home? Here, where I am right now.

It’s beautiful. I feel at home easily in the world, and love adventures that take me to new places. In my adult life I have lived for long periods of time in Hobart, New York and Sydney, and traveled a lot. I feel that I have homes in all those places, and will most likely make new ones in time as well.

How would you describe your artistic style? I have worked across lots of styles over the years and with many different materials: raw, soft, wax, abstract, ice, chalk, copper, confronting, unusual, petals, disparate, coffee, curious.

I once did an installation of 20 large self-portraits that I dipped in wax and then froze behind sheets of ice. I have pinned 100’s of red cotoneaster berries to gallery walls and wrapped large boats in reams of indigo dyed fabric.

I am interested in ephemeral, time based work and the exquisite ache of loss in the passing, deterioration or mortality of it. I think there is value in investigating our human experience and the nature of our relationships to

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each other, and to the world. More recently I have been working on paper, which I love, and my style at the moment is more whimsical, naïve, illustrative and childlike.

“I am inspired by generosity”

Do you have a process of starting a new project?

When I am starting a new body of work I begin with a stack of paper and a graphite or charcoal stick and then do about 50 drawings really fast, with my left hand, or my eyes closed. I don’t review or assess anything until I am done. Ideas, stories, themes emerge and I get a sense of where I am coming from, and search for something in the paper landscape that seems significant. I collect fragments of things, string them together and begin from there.

Do you have a creative process? Describe it for us?

I like to get lost. Then investigate what is on the page and search for something unusual, mysterious or provocative to follow. I collect images and words, books, photographs, ideas and experiences – then I make connections between the things I am drawn to, and try and say something about what it is like to be alive. I string together disparate elements and create images that are stirring in some way.

I guess in the hope that someone might be uplifted or broken open, or brought to their knees. Inspired to tell the truth even when it feels impossible, or pack a small suitcase and set out into the world without a map.

What advice would you give other artists starting out?

Begin. Do what you love. Contribute. Be generous. Take risks. Trust that your ideas are valuable. Don’t deliberate or wait for a good time, life is really short, just start, now!

[What fabulous advice Lilly!]

What are you working on now? Right now I am involved in a fervent and consuming collaboration with Jo Pollitt, a phenomenal dancer and writer from Perth. We are about to publish the launch issue of a creative arts based magazine for children called BIG Kids Magazine which will be available to actually hold in your hands on the first day of spring (Sept 1st).

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How do you maintain a balance between your work and your life? (or not?) I feel enormously lucky that I have never had to differentiate between life and work.

I live. I love what I do. That’s it.

Who is your favourite person and why? My daughter, because she is exquisite, and lives her life with more unbridled and joyous abandon than anyone I have ever known.

Black or White? Black because it is full of stars Tea or Coffee? Coffee with chocolate in my dreams Heals or flats? Flats are better for climbing mountains Short or long Long? in order to get lost in it Sweet or savoury? Sweet late at night and savoury in the morning Night or Day? Impossible to choose; I love them both.

www.littleboattree.com

Lilly is represented by www.galerie-lws.com in Paris and www.art2muse.com.au in Sydney where she has a solo show from the 8th–21st of November 2011. You can find her limited edition prints at www.artbuds.com and if you want to know where she is right this very minute rest assured that she is packing a small suitcase for a BIG voyage as she and Jo Pollitt get ready to set sail with the launch of www.bigkidsmagazine.com in September.

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“it takes a leap of faith, unbridled, and wild, eyes open, to see what is there... beneath�

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A4 Paper Festival

Words by The Paper Convention

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Photographs from The Paper Convention Collective / A4 Paper Festival 2011.

A4 saw Lisa Loxley & The Paper Convention Collective direct 2 exhibitions, 2 opening nights, 6 workshops, 2 talks and 1 lecture over the course of 6 days to an audience in excess of over 2000 people.

Paper really is reaching new artistic heights.

The Paper Convention Collective presented the first ever A4 PAPER FESTIVAL in Sydney, Australia between 31 May – 5 June, which offered audiences insight into contemporary developments in paper by means of ground-breaking paper installations, lectures and workshops.

Paper artists from around the world; UK, Japan, Columbia, Hong Kong and the US, highlighted the traditional medium ‘paper’ with Australian Paper Artists showcased astonishing results in all shapes and sizes.

Thrilling paper lovers of the ingenious and the imaginative A4, inspired the community and the event programme reflected the extensive range of paper interests from the most basic such as cutting, folding and gluing to the use of modern technology; handcrafted creations, small objects & figues, large-scale installations, self-published zines, reading lounge, graphic sculptures made by the designers from different disciplines including; design, print, graphic design, illustration, fashion, sculpture, film and animation.

A4 opening night saw Paper reaching new artistic heights and keen excitement in this tactile medium with crowds gathering and talking all things paper. We had DJ Shinju spinning tunes on vinyl, meet-and-greet with the Paper Artists and the hit of the night, our paper bubble signs plus wearable paper glasses!

Japanese Professor Yoshinobu Miyamoto and Australian paper-artists Emma van Leest, Benja Harney, Bianca Chang, Matthew Roland Bannister, TrialandError and UTS Student Kaitland Burrows created their paperinstallations from paper supplied by K.W.Doggett Fine Paper, highlighting the many uses of paper, in an artistic level or medium.

The 12th exhibitor a UTS student, Kaitland Burrows, chosen for her keen eye for paper folding and perfection was an absolute hit with the general public, with her ability to intricately fold 8,000 triangles that slot into one another from an A4 piece of paper. In order to harness the young creative community, students from Enmore Design Centre were chosen in what was seen as a collaboration between Lisa Loxley and Benja Harney, to showcase some Sydneyspecific installations created with an A4 sheet of paper.

Highlights included; Our invitation to Paper Artist and Professor Yoshinobu Miyamoto, who flew into Sydney from Japan, constructed a 6ft canopy/sphere installation in conjunction with UTS students, ran 4 workshops and one lecture on his ‘paper 60 square sphere’ teachings which inspired the community; the K.W.Doggett Fine Paper interactive stand enabled the general public to create with a simple piece of paper including a hand-made book which was a hit with children and adults alike. The largescale installation by emerging Melbourne paper-artists and collective members Trial and Error, and inconjunction with The Sydney Morning Herald showcased how newspapers touch all aspects of our life, including latest news, sport, culture, the arts and entertainment. The installation made entirely from paper, explored the ideas and values of newspapers, with an environment where you become part of the city and explore society as we know it. We had some stellar zine artists - a real mixed bag; from Leigh Rigozzi, Welcome Stranger to Georgia Perry and Anney B. Attendence numbers and comments from the general public prove that people respond to interaction with paper, seen through the workshops, talks and lecture we ran with paper-artists Yoshinobu Miyamoto, Bianca Chang and Benja Harney; and talks with Theo from digitalpress and zine makers Kitiya Palaskas & Anney B. With the reviews exceeding our premonitions, A4 was a success which bought attention to a discipline on the cusp of new possibilities, capturing the fantasy of the artists and general public alike. www.paperconvention.com Paper Runway / 21

Papier Couture Lia Griffith is the designer behind Papier Couture.

She combines artwork, photographs and text in print to create a fusion between of fashion, graphic design and fine art. Lia’s creations stem from her love of fashion.

“It is a natural progression” says Lia whose favourite past time as a child was to create paper dolls.

Papier Couture began when Lia was working on a project for Xerox. To show off the brilliant colour and creativity a new printer could inspire, Lia proposed she make a paper dress from Xerox prints. The project began by printing an array of colourful photos overlayed with love poetry.

Creating this dress for Lia was finding her niche; it was her art form and so began Papier Couture with her first collection entitled Venus. www.papier-couture.com

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Photography: Katie Preece

Rob Ryan Paper cutting With the technology reaching across the seas we talk to Rob Ryan about his designs, some daily table tennis, creative process, how and what inspires him to continue to awe us with his finely beautiful and intricate paper cutting and wares. Speaking from his studio in London that he describes as “Bright and full of light surrounding windows. One really big table where I work. Computers and pencils, scanners and scalpels and cutting mats and lots of scraps of cut out paper all over the floor. It’s messy but kind of organised. I don’t like things too neat or too trashed, somewhere in-between is where I feel comfortable”.

Commencing his artistic pathway to paper cutting Rob Ryan has a wealth of education and experience. Beginning with a foundation course in 1980 at Birmingham Polytechnic, Fine Art at Trent Poly and finally printmaking at the Royal College of Art concluding in 1987.

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Rob started paper cutting about 8 years ago because he “just fancied a change”.

Rob Ryan calls Victoria, Central London, home, where he lives and intends to live indefinitely, in his 2 bedroomed flat on the seventh floor. As a child Rob grew up in a family where his father was employed in the Air Force. After numerous moveswith his family as a child, including a posting to Elizabeth in South Australia, Rob is now a true homebody and on Sundays can be found at home lying on the couch reading the Sunday papers.

Rob’s design and creations start with an emotional connection to the subject.

He strives to then have this connection travel through to the viewer. Enjoying creating his designs are essential “I like to make myself smile while I work” says Rob, “my work exists within a more timeless world of the emotional, it’s really not of its age and is certainly non specific in relation to any place or era or culture”. With no particular favourite project Rob ensures that he enjoys the moment he is in and what he is working on at present; explaining that “There’s no point in doing any of this unless I feel that I am constantly getting better”.

Rob is intensely inspired by many; his list is long but includes the likes of artist and potter, Grayson Perry; illustrator Maira Kalman; English painter Stanley Spencer; German Romantic painters Caspar David Friedrich and Adolf Menzel; line by Eric Gill.

Seeking inspiration Rob likes a contrast between the quiet and hustle and bustle.

A quiet place to be alone and think and loud busy places to invigorate him, “I love the feeling of being in places like New York City and Tokyo. Everything inspires me to do something. Even ignorant behaviour inspires me to make something beautiful to counter it”.

Image: Jonty Wilde

From a career spanning 30 years one would expect many career highlights.

Modestly Rob recounts his career highlight as hearing that his “pictures have helped [people] through particularly shit times.

These are the things I am most proud of.

It dwarfs working for cool companies or trendy commissions, not even close”. As a small boy all Rob Ryan ever wanted to do was draw all day, not just because this is what most children love to do but because he knew then that drawing was his niche.

Drawing and a daily hit of table tennis, day in, day out – perfect really. When we asked Rob what the worst part of his job was, thinking that there couldn’t possibly be one Paper Runway / 25

for this creative, he stated what “most of us” despise- accounts! “The worst thing is I have to run [my work] as a business, and I hate that side of it – Accounts, Tax, it bores the living shit out of me”. A little piece of advice from Rob Ryan... “Get the business thing sorted out from the outset.

Keep good, clear accounts. Creatively always carry a notebook so you don’t lose any ideas!”

Professionally Rob, is looking forward to his new book entitled “A Sky Full Of Kindness”, which is, as we speak, at the printers. The book will be released in October and is sure to be amazing. Personally “I’ve always wanted to build a really good tree house but recently I’d like to somehow work on a house that is surrounded by a moat”.

Sounds intriguing!

Oh and one last thing, Rob’s favourite shop is TOKYU Hands in Japan. ‘The best shop in the world!’. (http://www.tokyu-hands. co.jp/en/index.html) www.misterrob.co.uk Ryantown HQ, 5-6 Teesdale Yard, Teesdale Street, London E2 6QE. United Kingdom

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International fashion stationery label kikki.K was founded by Swedish born Kristina Karlsson in Melbourne, Australia in 2001. Today the label is synonymous with the Scandinavian design principles of form and function, and has earned a reputation for its stylish stationery & gifts. Since its inception kikki.K has quickly earned a reputation for its Scandinavian designed stationery and gifts. With a focus on organisation solutions and stylish home office, kikki.K’s range is designed to add form and function to every stylish life. Life’s too short for boring stationery.

Kristina“Kikki” Karlsson

Paper Runway / 27

What do you do for fun? I love exercise and keeping fit.

It’s a great passion and I find it really helps to clear my head and help me remain focused. I also love spending time with family and friends. Did I mention good food and good wine?

What does your office look like? I spend a lot of time working in my home office, so when creating this space it was important that it was not only organised and inspiring but an extension of my home, my personality and my ideas on fashion and design. I love the simple and clean aesthetic of my home office, which I achieved through the use of white storage and folders.

Do you design it all yourself or do you work with a team?

Is that how it always was or did you start by yourself?

I am the Creative Director so I oversee all our collections.

I work with our very talented Product and Design Team who work hard to keep creating beautiful products.

Simplicity and uncluttered organization seem to be the cornerstones of kikki.K. Is this innately part of your personality? I try to stay organised, and I definitely use kikki.K products every day, but like anyone I have my challenges. Every few months I try to stop and review my systems to make sure everything is in order, ensure that I am not holding on to any unnecessary clutter and see if there’s anything new to create. I just love the feeling of being organised and in control.

You mention in your ‘about’ that it all started with ‘a dream’ - what was that dream? Have you achieved it?

Where next? My original dream was to pursue a career that allowed me to; – Be excited to drive to work to on a Monday morning – Keep me in touch with friends & family in Sweden – Could lead to owning my own business – Involved design or travel – two things I was passionate about – Make about $500/week doing Suffice to say that starting kikki.K has definitely allowed me to achieve this dream. My dream now has evolved to having ‘something kikki.K in every stylish life the world over’. This involves opening kikki.K boutiques in all my favourite cities across the globe, and is something we are still working towards.

How do you balance your career, with children, a partner and having a social life also? Remaining balanced is difficult but I try to by sticking to a generic week. This involves getting the important things done first, realising that I sometimes need to delegate responsibility to my more than capable team. I also make a conscious effort to ensure that family time and my social life remains a top priority – no matter how busy things can get on the work front.

28 / Paper Runway

Where does the inspiration for a new collection start?

Each new collection has its own inspiration, but probably my biggest source of inspiration is traveling home to my beautiful home town in Sweden. I love the Swedish landscape countryside, cobble stone streets, culture, food and simply spending time with my friends and family. I always return to Australia bubbling with ideas.

What is your favourite product in your range?

Storage boxes are my favourite product in the kikki.K range. Without it my office could easily get out of control. The amount of paperwork, documents and other things going in and out of my office makes storage and filing essential. Storage is not only important for staying organised, but I also see it as an opportunity to add style and personality to my workspace. www.kikki-k.comKRISTINA’S MUST HAVE ITEMS

FOR CREATING AN ORGANIZED WORKSPACE/OFFICE 01. Use clearly labelled Storage Boxes to create a home for everything. It also adds a touch of style and colour to any workspace.

02. A yearly Wall Planner is an ideal way to see the year ahead. Mark important dates, vacations, deadlines and events as they’re confirmed. This allows you to see them approaching and will avoid last minute dilemmas.

03. Your diary is your best friend. Use your diary to manage personal and professional appointments, birthdays and reminders. Putting pen to paper will ease your mind.

04. A Step File with Manila Folders is an ideal storage solution for these ‘on the go’ documents.

05. Lists free your mind. With so many things to remember, it’s easier than ever to forget. Avoid this by using notepads such as To Do List to ensure important things aren’t forgotten.

06. Keep a Notebook or Notepad on your desk at all times. Record notes as you need, and you’ll avoid hundreds of pieces of scrap paper. This is a great tip for households too - keep a Notepad by the phone for all important info.

“I just love the feeling of being organised and in control.”

Paper Runway / 29

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01. Button & String envelopes www.poppiesforgrace.com.au 02. I Love Paris Gift Card www.anamiro.com.au 03. Golden Rule Poster www.studioonfire.com 04. Beastly Chronicles Wallpaper by Emma Molony www.bodieandfou.com 05. RV woodcut Print Valerie Lueth + Paul Roden www.tugboatprintshop.com 06. Stripes and Spots Stamp Set www.inkandwit.com 07.Elephant Letterpress Notecards www.inkandwit.com 08. ‘Yellow Ikat’ 30x40cm print by www.urbanroad.com.au 09. Weekly Annual Planner www.littleotsu.com 10. Bright Idea Notebook by Sukie available at www.notonthehighstreet.com 11. Paper Ring by Paperphine www.paperphine.com 12. Sketchbook www.poppin.com 13. Vintage Giraffe Wallpaper www.rockettstgeorge.co.uk 14. Sunshine Swan www.etsy.com/shop/RutisRoots 15. Artists I met & Like by Archie Grand www.archiegrand.com 16.Typewriter Swing Tag www.bespokepress.com.au 17. Yellow Stick With It Pad by Kate Spade available at www.notemaker.com.au 18. Follow the Yellow Brick Road www.zoeingram.com 19. 24K Card www.yellowowlworkshop.com 20. ‘The sound of it was like a waterfall with wings’ by Lilly Blue www.littleboattree.com 21. ‘You’re a whole lot of lovely’ Limited Edition Print www.bespokepress.com.au 22. ‘Today’ Sticky Memo Notes www.delfonics.com 23. ‘He loves me’ Miss Miniature www.littlebranch.com.au 24. Letterpress Book Set (4) www.orangebeautiful.com

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bookshelf ‘my heart wanders’ by Pia Jane Bijkerk A Celebration of taking risks, letting go and making a home wherever you are. my heart wanders $59.95 Released: May 2011 http://blog.piajanebijkerk.com/ Four years ago something very peculiar happened. My heart wandered.

It simply packed its suitcase and wandered away. I wrote it a letter in heart language but it never responded. So what does one do when one’s heart wanders? Follow. For being without a heart is to be no longer alive.

As I went searching for my heart, I learnt that it intuitively knows what to do and where to go, and I learnt that it wandered for a very special reason.

And so, as I travelled in search of my heart, I caught glimpses of it everywhere – little signs of it in the streets, in the landscape, in my work, and in the homes that I visited. And then, i saw my heart amongst you.

Pia Jane Bijkerk is an internationally acclaimed stylist, photographer and author specialising in interiors, still life and food. She continues to use her home as her workshop and her travels as inspiration and delights in stepping off the beaten path to discover the unexpected for her clients and readers. As a stylist she has worked around the world for the likes of Vogue Entertaining + Travel, Gourmet Traveller, Real Simple, Saatchi and Saatchi, Tommy Hilfiger and Philips. She is also the author and photographer of Paris: Made by Hand, and Amsterdam: Made by Hand.

What would happen if one day you decided to follow your heart?

Where would it take you? Author Pia Jane Bijkerk takes us on her journey as she leaves a comfortable life in Sydney to follow, Memories Of long lost loves Float in the air around me. Like tiny dust Particles That catch the light. They suspend In my mind For a moment, Or two. All the while This little boat Rocks gently On a sea Of metaphors, And similes. Watery reflections Cast shadows That sway And shimmer And dance Like diamonds, Like jewels. Memories Of long lost loves Float in the air around me. Like tiny dust Particles That catch the light. They suspend In my mind For a moment, Or two. unconditionally, her instincts. Setting up home first in Paris then on a houseboat in Amsterdam, Pia observes the serendipitous moments that present themselves when letting go and following one’s dreams.

Snapshots of sun-dappled tables littered with flowers and jam jars, the quiet comfort of snow-laden streets in Amsterdam and the golden gleam of gum trees by a riverbank colour Pia’s wandering through France, Amsterdam, Italy and Sydney.

Rummaging through Parisian antique stores, creating a nest, unearthing the perfect tea cup, losing her way and finding her way back again, Pia captures the charm of everyday moments, painting a beatific picture of a life lived with passion and heart.

My Heart Wanders is a reflective, inspirational, tender memoir that speaks to ‘the wandering heart’ in all of us.

Paper Runway has one signed copy of Pia’s book “my heart wanders” to giveaway. To enter go to renewal www.paperrunway.com a sense of place

Memories Of long lost loves Float in the air around me.

Like tiny dust Particles That catch the light.

They suspend In my mind For a moment, Or two.

All the while This little boat Rocks gently On a sea Of metaphors, And similes.

Watery reflections Cast shadows That sway And shimmer And dance Like diamonds, Like jewels.

renewal a sense of place

Memories Of long lost loves Float in the air around me.

Like tiny dust Particles That catch the light.

They suspend In my mind For a moment, Or two.

Paper Runway / 33

Memor Of long lost lov Float in the air around m Like tiny du Partic That catch the ligh They suspen In my min For a momen Or tw

All the wh This little bo Rocks gent On a s Of metapho And simil

Watery reflectio Cast shadow That sw And shimm And dan Like diamond Like jewe

Memor Of long lost lov Float in the air around m Like tiny du Partic That catch the ligh They suspen In my min For a momen Or tw

Peter Clark 34 / Paper Runway

Coloured, patterned or textured by print, written or worn surfaces, Peter Clark renowned for his uses of comprehensive collection of found papers as his palette with this media he ‘paints’ his collages. He shades with density of print and creates substance and movement with lines plucked from old maps or manuscripts. His pieces use mark-making in an innovative and humorous way to create a collection of beasts and clothing which exude character and wit.

Tell us a little about your background – what did you study and what path led you to what you’re doing now? I studied graphic design / illustration at Art College in Manchester and was introduced to animation at that time.

I then worked as a TV Graphic designer at Granada TV in Manchester. The work included graphics within the shows and more interestingly the title sequences for them. The shows varied between documentaries, drama and comedy.

I have moved between Los Angeles, Amsterdam, Manchester and now London working in varied mediums in television, animation commercials in Hollywood, freelance illustration largely in advertising and TV graphics.

Collage often played a role in my work alongside the drawn line and then as time went on I developed that part of my work until it eventually took over.

What I do now I believe is an accumulation of all works that I have been involved in, bringing all the elements into play.

Where do you call home? London.

Do you see your work as reminiscent of any particular era or culture?

Not really though I suppose ‘pop’ art influences me, particularly in the materials that I use.

Do you strive for any particular look or feel when designing and creating your work? Only in the sense of trying to capture the essence of whatever it is that I am representing.

Which designers, artists or creative people are you inspired by? Many including Raoul Duffy, Bob Dylan, Frank Gehry, Felice Brothers, Emmylou Harris, the Temptations, Lucinda Williams, Paul Simon, Anne Tyler, Warhol, Otto Dix, Haruki Murakami.

Where else do you find inspiration? Everywhere and nowhere special.

Looking. People watching. Just observing life really, and quite often from the papers that I find.

What does a typical day at work involve for you? An outdoor swim, porridge/coffee/walking Peggy the dog; planning the day’s work - where I need to get to with it and then doing it! I tend to the obvious e-mails, phone calls etc. I walk to clear my mind; occasional visits to the gallery; wandering the streets of London gathering and collecting; if all is going well it is a matter of getting ones head down and losing yourself in it. If it’s going badly then frequent visits to the coffee-shop take place. [We love the coffee shop too Peter].

Paper Runway / 35

What are you most proud of professionally? Hopefully continuing to develop and improve my work. My recent show in New York City was pretty special to me.

What’s next for Peter Clark? Now that would be telling! Perhaps a solo show in London and hopefully one in Hong Kong in 2012.

Do you have a favourite project? Not at the moment but I will.

What’s the best and worst thing about your job? The freedom and the going around markets and new cities searching for my ‘palette‘. The only downside really is when ideas don t work out!

What would be your dream project? I have always wanted to exhibit at the ‘Frieze’ art fair in London.

Describe your studio. Friendly although it is too small right now. Large flat white work surfaces surrounded by Perspex drawers filled with a myriad of different papers, maps from everywhere across the globe, packaging, magazines, books, beginnings of various jobs and thoughts set to a Country music soundtrack. [Sounds like a good place to rummage] What are you looking forward to – professionally or personally? A short break with my wife in France where we will visit many special flea-markets and beaches and eat local fish.

Do you have any advice to give other designers starting their careers?

Were you given any memorable advice by a mentor? Keep going. Believe in your talents. Never give up on yourself or your dreams. I remember being told “don t let the buggers grind you down” seems perfect advice.

5 things you cannot live without 1. My wife Karen www.karennicol.com 2. My kids Katy and Grace 3. Sleep 4. Creating ideas 5. Uplifting music Your favourite shop for the materials/tools of your trade?

Flea markets, car boot sales and Kempton Antique Market.

Where would we find you on a typical Sunday morning? In a field or car park visiting a car boot or Flea market and then a coffee shop.

Best kept secret?

SHHHHHhhhhh you tell me! www.peterclarkcollage.com

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“Believe in your talents.

Never give up on yourself or your dreams.

I remember being told “don’t let the buggers grind you down” seems perfect advice.”

Paper Runway / 37

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01. Daddy Rules Crown Print by Rebecca Winter www.rockettstgeorge.co.uk 02. Live what you Love Print www.heartfishpress.com 03. A5 Essential Notebooks: Sketch www.kikki-k.com.au 04. Papa’s Pipe Tags www.askalicestationery.com 05. Lazy Sunday Print www.flowersinmay.com 06. SLR Camera on Vintage Book Print www.girlscantell.com 07. Gone Fishing by Lisa Jones www.lisajonesstudio.com 08. Cardboard Pendulum Clock www.hunkydoryhome.co.uk 09. Hand Drill Card by Nora Why Not 10. Dad www.the-distillery.com.au 11. Bright Ideas www.askalicestationery.com 12. Ipad Cover

by DODOCASE www.telegram.net.au 13. Wine Traveller www.postthetraveller.com 14. The Chairman’s Table www.kartongroup.com.au 15. Stamp Kit www.yellowowlworkshop.com

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16. Silhouette of Black Trees by Pivotal Expressions www.pivx.blogspot.com 17. Cuff Links by Sarah Kelly www.saloukee.com 18. Speedy Blue Car Card www.redletterstudio.com.au 19. You’re a Rad Dad www.ableandgame.com.au 20. Cassette Card by Lisa Jones www.lisajonestudio.com 21. Letterpress Kit www.neimanmarcus.com 22. Memory Book www.kikki-k.com 23. Card set by Me and Amber www.meandamber.com 24. As Big As Chart www.hunkydoryhome.co.uk 25. Fergus the Fox Card www.askalicestationery.com 26. Ram Bookshelf www.kartongroup.com.au 27. iPhone Case by Ilvy Jacobs www.ilvyjacobs.nl 28. Legal Letter Paper Weight www.momastore.org 29. C60 Wallpaper/Cassette by Mini Moderns www.bodieandfou.com

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Paper Runway / 39

Cristina Re is the epitome of style and grace. She is famously known for her ability to capture beauty and articulate her vision into visual designs which reflect the high end fashion trends of Europe and New York.

Cristina’s designs are a canvas for artistic expression and are a fusion of East meets West; a blend of European vintage, Hollywood glamour and Asian chic. Her love of flora and fauna and an appreciation of highly decorative ornamental design translates into her artwork.“Every day is an occasion to celebrate your creativity. Creativity does not just mean making a piece of art or handmade card, creativity to me means designing your life just the way you want to be, and living your bliss” says Cristina.

Her philosophy is to bring magic into the everyday and strongly believes that “it is a necessity to indulge in beautiful things that make you feel good, that look beautiful, that stimulate the senses - mentally, physically and spiritually”.

Cristina Re joins Paper Runway as our “where a girl goes” for all your style solutions.We give you the opportunity to ask “Cristina Re” advice, whether it be on colour, pattern or how to create the dream wedding or social invitation, Cristina will give you all the expert advice.

Simply send your questions to askcristina@paperrunway.com and the Paper Runway team will choose three readers questions to be published in each issue of Paper Runway, starting on 1 August. If your question is answered by the stylish designer, you will also win an assorted Cristina Re craft pack at the retail value of $100.00!

We will also be choosing a few questions that will be published on our blog bimonthly.

The Paper Runway Team + Cristina Re

Hi Cristina, I have been making greeting cards in the past year, I have all the tools like an embosser, stamps, punches even an electronic paper die cutting machine but am lacking the creativity with designing the card layouts. I seem to stick to the same design, which is getting boring. Are there any key things I should be doing to make an effective card? Also, will you be bringing out any card making idea books in the future or software like printstation3 as I have used your books and software before and have found them a great help with invitations.

Jane

Ask Cristina Re Hi Cristina, What styles do you see being popular for this year’s spring/summer wedding invitations? Is there a current trend, which is being followed, or do you predict something new and exciting?

Joanne

Hi Cristina, Thanks for the opportunity to ask this – it’s been my dream to ask Cristina Re (my favourite paper art designer) this question: What steps can an aspiring specialty paper designer take to make it to the “big time”?

Katherine

Hi Joanne, Hi Jane, It sounds like you have all of the tools and creative spirit to be the ultimate papercraft extraordinaire! I think it is important to now get a little more bold and daring in the styling and embellishing of your cards.

Perhaps you can experiment with some of the latest paper designs to start with, which will ultimately give your creations a fresh feel. Invest in quality papers with beautiful textures and finishes that reflect the latest fashion trends. Also remember to layer a variety of papers in coordinating colours and patterns to give your layout a three-dimensional feel.

Further to using embossers and punches, you could also try new folding, weaving and pleating techniques with your paper, for something different. I always like to look to the treatment of beautifully made fashion garments as inspiration.

Or perhaps you could also incorporate origami, mounting, décollage or even quilling techniques. If you are willing to learn new skills, there are many courses available to teach you advanced papercraft techniques.

Finally, embellish with lots of pretty accessories to give your project a special touch. Use buckles, beads, and bows to decorate with style.

Hi Katherine, An invitation reflects a couple’s unique taste and is an expression of what’s to come. Most often, an invitation evokes the bride’s personal fashion style and choice of wedding gown, right through to the bridesmaid dresses and flowers.

Wedding invitation styles reflect current fashion and interior design trends around the world. This Spring / Summer, the trend is lots of vivid colour and bold patterns in stationery. Floral prints will be hugely popular, in feminine hues of Fuchsia, Purple and Pink.

Lacework patterns in white or cream continue to be classic and timeless for elegant and romantic weddings. Flocked textures, or intricate lasercut paper lace designs make a unique statement and give an invitation a fresh appeal to this traditional motif.

Highly metallic finishes continue to be fashionable in clothing and accessories. I predict modern brides will become a little more daring and will be accessorising with gold rather than playing it safe with silver, and turning to the fashions of the 70’s & 80’s for a fresh approach to styling.

I hope to bring out new inspirational tools in the future, so keep in touch and keep inspired!

Finally, bling is still in! Less is never more when it comes to a personalized handmade invitation. To add that finishing touch and to create a lasting keepsake, give your invitation a touch of vintage chic with a wax seal or embellish with sparkling diamanté buckles, beads, pretty grosgrain bows or feathers.

Cristina

Cristina

Thanks you for your kind words.

Firstly, to create a successful business or become a recognized designer, you need to have a creative edge, a sense of style or unique vision that you deeply believe will offer clients something special.

First and foremost, you must research the market place in great detail to see what is already available in your desired industry, and find a niche.

If you feel you have that ‘something special’ to offer, you need to pursue your dream with great commitment, courage and conviction.

A good idea is to create a Vision Board to cement your vision and to help you focus on your grand plan. Next, create a business plan; find mentors to inspire you, and have steady cash flow to support you in the beginning.

Remember good things take time and hard work. And remember to believe in yourself!

Good luck!

Cristina Jane, Joanne and Katherine will each receive a stunning Paper pack from Cristina Re valued at $100 each.

Paper Runway / 41

Matthew Roland

What’s the most exciting thing you’ve done? Hello! For me it’s usually lots of little things; like finding a new stockist or getting the chance to exhibit somewhere. I always get super excited about exhibiting. A contender for ‘most exciting’ was meeting and hugging Angus and Julia Stone. Sure, it made me the subject of a slew of teenage girl jealousy, and yes I was pretty much hyperventilating, but I don’t see a problem there at all.

What inspires your designs? Like most designers, I draw inspiration through a huge range of things and aspects of my life. Recently though, I’ve been spending a lot of time looking at interiors, at lighting and seating and things like that. I really love the aesthetic sensibilities of the mid-century modern period in both print and object design, so I’m hoping my future home will be scattered with Nelson Swag Legs and Eames Hang-It-Alls.

What is your most prized possession? Oh! Maybe my camera? It’s a Canon 60D. Or maybe my Comme wallet? I love a good bottle of Peach Iced Tea though, so maybe that. If we’re talking stationery though, I have this amazing hole-punch that my grandfather lent me a couple of years ago and I’ve sneakily held onto since. The top of it rotates and it punches 6 different sized holes.

So good.

Describe the place where you design. I don’t have my own studio, so I just seem to work wherever I go. Sometimes at home, sometimes at cafes, and pretty much always on public transport. I like to do things by myself, so I’ll usually have a latte and some avocado toast on my own as I happily work away.

What were the colours of your childhood? I’ve always been a neutrals kind of guy; think lots of greys and cremes. In school I painted my bedroom a colour called ‘Creme Brulee’, a really warm caramel. And as my other option at the time was a bright lime green, I’m definitely proud of my younger self’s decision.

What’s on your bedside table? I have a pretty huge desk right next to my bed, so there’s no room for a bedside table. But on my desk there’s a stack of MT tape, a save the date for my friends’ wedding, a clock radio that usually sets off its own alarm twice a day, and a stack of my Flora Gift Tags awaiting assembly.

What are your favourite colours of the moment? There’s that lovely caramel colour that is going around at the moment, I’m wearing it today. I can never go past a nice maroon, and the wallet I mentioned before is a really rich blue colour. Those three go nicely I think.

What is your favourite paper product right now? There are these little coloured memo notes

by MMMG, they’re round and look like little pie-charts. I want lots and lots of those! www.matthewroland.com 42 / Paper Runway

What’s the most exciting thing you’ve done? Like ever?! Gosh, that’s a hard one. I think the most exciting times in my life have involved travelling. I love travelling and over the years I have seen many amazing places and experienced so many different cultures. I would say those experiences highlight the most exciting times in my life.

What inspires your choice of products for your shop? I love finding products that are truly original. Products created by people who really care about craft and design as well as good craftsmanship.

What is your most prized possession? I don’t really have a single thing that I would call my prized possession. I’ve collected beautiful treasures all my life. They surround me at home and are a reminder of loved ones, past travels, and amazing people and places. They are all prized possessions to me and I think I would feel lost without them.

Describe the place where you design. I design from my home studio. It’s really just the second bedroom in my apartment. It’s cosy, colourful and filled with all of my favourite paper finds.

Upon a fold Words by Justine Fahd

What were the colours of your childhood? I would say many shades of green for the abundance of parsley, purslane, mint and other herbs always in the kitchen and garden at home. I grew up in the southern suburbs of Sydney where big backyards were the norm. We had a big yard covered in trees, plants, flowers and herbs. As a child this is where I spent most of my days.

What’s on your bedside table?

A tealight candle, a book, a flower made of sheet music, and a pyrite stone given to me by my brother.

What are you reading at the moment?

Luis Barragán – As photographed

by René Burri. (http://www.phaidon. com.au/store/architecture/luisbarragn-9780714839608/)

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Where do you call home? I live in the inner west of Sydney. There are many trees, beautiful parks, and an amazing harbour surrounding me.

It’s a really nice place to live. I feel really lucky to live here.

What are your favourite colours of the moment? I was in an art supplies shop recently and spotted two colours by Art Spectrum that I really love called Australian Grey and Pilbara Red. They have been on my mind ever since.

What is your favourite paper product right now? Last month I met one of my favourite designers Yoko Noguchi in Tokyo. She showed me a beautiful Cloud Balloon she designed that is made of paper.

It was love at first sight. (http:// uponafold.com.au/shop/product/ yok_kam_clo/) www.uponafold.com.au

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Bespoke Press

Paper Runway / 45

Herbie

Helga

Charlie

Introducing...

Charlie is the very first press which we welcomed to the studio. He is a fine old man that is full of grace and charm. He is a 10 x 12 Chandler and Price old style who was build in Cleveland Ohio way back in 1893.

He is a foot tread led, hand feed platen which has a beautifully decorative fly wheel.

Herbie is the work horse of the studio. He is a 1973 Heidelberg T platen and he is considered the Rolls Royce of the letterpress community. He is of German engineering and although he can be a stubborn man sometimes he is a beautifully efficient beast who at 1.2 tonnes is no mean feat to print with.

Helga is our latest edition to the studio. She is the older sister of Herbie having been built in 1972 and is of the same make and model. Helga is quite the brute of the studio, back in her heyday we think of her as the strong lady at the circus, she wore breeches, had a little bit of a hairy upper lip and wasn’t impartial to a few crude words here of there!

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Alischa Herrmann :: Director Bespoke Press What’s the most exciting thing you’ve done? Envisaging a dream and following it! No matter how hard the dream became how much angst and stress it caused along the way, and no matter how many times I feel over, I picked myself up off the inky ground and followed this crazy letterpress dream of mine. It is pretty exciting to look back and think how brave I was, at the time it didn’t feel brave at all! It has been quite a tough and long journey to build a business based around such an old fashioned craftsmanship, but for the last five or so years I have lived and breathed in the land of letterpress - that is pretty exciting to me!

What inspires your designs? Or what inspires your choice of products for your shop? I am a pretty tough critic when it comes to actually buying products for me, so i use this gut instinct a lot when designing letterpress products to sell. I will only ever buy products which I truly love and in which I can see a beautiful quality in its craftsmanship, anything less and I simply will not buy. I use this as my governing factor when designing and printing letterpress goodies for our store. I will only design and print what I truly love and never sell anything less than perfect! I try not to be governed by trends or what other studios are doing, instead I like to pave our own path and see what journey it will take us upon.

What is your most prized possession? Do Husbands and dogs count?? If so Hayden and Miss Ruby Tuesday would be the winners!

But for an actually prized possession it would most likely be a small timber chair my parents bought me as a child. It was handmade and was painted to look like sailor. My earliest memory is carrying that chair out to a removalist truck as a three year old! I have still got it tucked away in storage awaiting our own little children to play with it too one day!

Describe the place where you design. Our studio is located in one half of our home. We live in a raised timber Queenslander house by the sea in Queensland. We live upstairs and the studio takes up the entire downstairs floor. We are very lucky in that our office desks look out to the sea. We only have tiny glimmers of it through the trees; however we do get beautiful sea breezes which are delightful on a hot summer’s day. In our backyard we have some great big native trees; these are constantly full of bird life so we design to the noise of birds chatting away with each other! We have filled the studio with lots of vintage bits and pieces. Our vintage letterpress machines would be the oldest things in the studio (our oldest Charlie is made in 1893), we also have lots of old timber type cases, an old typewriter (which looks fabulous, but unfortunately does not work) and lots of little vintage nick nacs to store our expanding letterpress collection of goodies!

What were the colours of your childhood? I lived and breathed the outdoors as a child, I ran, I swam, I biked and I played. Thinking back what I remember are great big blue skies, turquoise waters and the flashes of summer sun kissed skin playing in the sunshine.

What’s on your bedside table? A super cute vintage dish I recently bought at an antique fair, it houses my little but gorgeous collection of jewels, pearls and sparkly things my husband has given to me! It also has a vintage inspired lamp, usually a collection of bobby pins, lip balm and a half read book.

What are you reading at the moment? The last book I read was ‘My Heart Wanders’ by Pia Jane Bijerk it was beautifully inspiring and I read the whole lot in one afternoon. It has given me a serious case of wander lust!

Where do you call home? Sunny Brisbane in Queensland Australia.

I grew up in Sydney and my husband and I have moved several times due to his work as an airline pilot. We have been in Brisbane for near on 5 years and it really is just so lovely.

What are your favourite colours of the moment? Loving a touch of mustard, a hint of smokey blue and deep walnut.

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What is your favourite paper product right now? I have always loved the art of gift wrapping, even as a small child I would come up with inventive ways of presenting gifts. For me the art of giving a present is all in the presentation and the experience of receiving a beautiful gift wrapped with love and care. I am always on the hunt for amazing wrapping papers that are beautiful quality, gorgeous designs yet still affordable. It is this eternal hunt which made us decide that we should launch our own line of gift wrap. It is double sided and printed on a beautiful heavy weight recycled stock.

I know it is pretty biased, but it really truly is my most favourite paper product right now!

www. bespokepress.com.au

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www.urbanroad.com.au

EXPLORE YOUR PAST, ENRICH YOUR FUTURE

5

The secreTs To dAting old photogrAphs Friendly socieTies: WhAt cAn they reveAl About your fAmily?

Tips For Tracing chinese Ancestors

t the Bea

l! chil

tes ebsiit h w 6 W 4 o help seArch t re ur yo

In the July-August issue: • The secret to dating vintage photos • Living in Tilly Devine’s neighbourhood • Tracing postcards from the 1870s • And much more!

living in Tilly devine’s neighbourhood

Jul – Aug 2011

Explore your past, enrich your future

771838 504008 504008 99 771838

AUS $10.50 INCL$10.50 GST NZ $11.95 INCL GST AUSTRALIA INCL GST PRINTED ON FSC-APPROVED PAPER MAR–APR 2011 JUL–AUG 2011

ISSN1838-5044 1838-5044 ISSN 02 05

www.insidehistory.com.au

50 / Paper Runway

ecial p s s u s n Ce

y fAmil e help ur u c Anf the fut o y hoW riAns o histo

Alternative Pictures

Supplies and Tools

- 1.2m (1.3 yards) wh Supplies and Tools: - 2.4m (2.6 yards) bl - 1.2m (1.3 yards) white thick paper twine (alternatively 1.2 - 2.4m (2.6 yards) black thick paper twine twine in three dif (alternatively 1.2m (1.3 yards) thick paper - a drop of glue to be twine in three different colors) - scissors - a drop of glue to be on the safe side- a little extra twine to start braiding - scissors - a little extra twine to fix the bracelet when you start braiding

Step 1 Fasten the three end little extra twine whe as evenly as possibl

Step 1 Fasten the three ends of paper twine - use a little extra twine when necessary. Start braiding as evenly as possible.

Paperphine DIY “Most people have enjoyed making them at some point in their life – and their friends and family members were honored to receive them (and are still honored I hope). Friendship Bracelets are a great way to show to somebody that you’re thinking of your friends and caring for them. If the bracelet is worn until it falls off is a different matter and waiting for the falling off of a bracelet knotted out of Paper Twine requires a lot of patience!” Linda Thalmann www.paperphine.com

Step 2 After braiding a piece you can slip it over y bracelet will be flexib finished so take mea Step 2 the bracelet for some After braiding a piece form a first loop to to see little be ifon the saf

you can slip it over your hand easily. The bracelet will be flexible but not elastic once it’s finished so take measure carefully. If making the bracelet for somebody else ratherStep add3 a little to be on the safe side.

Keep braiding until y

string for four loops a that you will need to

Step 3 Keep braiding until you have enough braided string for four loops and an extra 15cm (6 in) that you will need to tie around the loops.

Step 4 The extra bit of braid around the loops thre cover the beginning well (if necessary win

Step 4 The extra bit of braided string is tightly wound Step 5 around the loops three times. Make sure to your tied w To secure three braiding cover the beginning bit of your braided piece as paper it through the last of well (if necessary wind it a fourth time around).

this one paper twine the other side.

Supplies and Tools: - 1.2m (1.3 yards) white thick paper twine - 2.4m (2.6 yards) black thick paper twine (alternatively 1.2m (1.3 yards) thick paper twine in three different colors) - a drop of glue to be on the safe side - scissors - a little extra twine to fix the bracelet when you start braiding Step 1 Fasten the three ends of paper twine - use a little extra twine when necessary. Start braiding as evenly as possible.

Step 2 After braiding a piece form a first loop to see if you can slip it over your hand easily. The bracelet will be flexible but not elastic once it’s finished so take measure carefully. If making the bracelet for somebody else rather add a little to be on the safe side.

Step 5 Step 6 of your To secure your tied windings take one To be on the safe sid three braiding paper twines and carefully a droppush of glue after p it through the last of the turns. Make and a knot with place on the ins this one paper twine and the two twines from the other side.

This paper twine bra

make - change one, Step 6 knot withcolors to To be on the safe side you can fix thesuggested a drop of glue after putting it into the Below: right form the finished b and place on the inside of the bracelet.

This paper twine bracelet is fun and easy to make - change one, two or even all three of the suggested colors to make it a unique piece.

Below: the finished bracelet. Paper Runway / 51

52 / Paper Runway

By Cath Connell

Paper…

now for the good news

If you listened to the news, the latest tech talk or PR brochures from your utility company, as a fellow paper lover, I’m guessing you’d be feeling pretty guilty by now. Paper has a big black environmental cloud hanging over it.

Some of this is justified. Paper manufacturing is an energy and water intensive industry. It has been responsible for serious deforestation, environmental degradation and pollution in the past. In some places in the world, illegal (and sometimes legal) logging still threatens delicate eco-systems.

Yet throughout most of the world, massive changes in forestry, recycling and manufacturing processes have taken place, greatly reducing paper’s environmental impact. I think it’s time we cast some light on these changes so you can make responsible, well informed choices.

FORESTRY

Most paper is made with wood sourced from forests.

Forests are habitat for birds and butterflies and orang-utans and all sorts of other creatures we love.

Forests also suck carbon out of the atmosphere and store it in their cells, thereby reducing the greenhouse effect. They provide oxygen for other living things to breathe. They hold the soil together, preventing erosion and landslides. Let’s be honest – we need more forests.

Well-managed forests, operating under an internationally recognised certification system such as FSC (Forest Stewardship Council) or PEFC (Programme for the Endorsement of Forest Certification schemes) ensure that the wood sourced for paper manufacturing and other purposes does not cause environmental destruction, and aims to provide a sustainable source for the future.

Look for the FSC or PEFC logo when purchasing virgin fibre paper products. While still relatively rare on consumer products, forest certification label use is on the increase. However, as certification can be quite expensive for small businesses to implement, a short environmental statement, from a trusted source, may be sufficient.

RECYCLING

The fibres obtained from wood pulp can be reused approximately six times before breaking down completely, so it makes sense to recycle. Be aware that the quality of the fibre degrades each time it goes through the process, so only the highest quality pulp (such as that sourced from office waste and printer off cuts) can be used to create high quality recycled papers. From there it is a downward cycle to newspapers, cardboard and packaging.

If paper is not recycled and enters landfill, it breaks down releasing methane – a harmful greenhouse gas.

Recycling paper stops this. While Australian’s are Paper Runway / 53

generally pretty good at recycling (e.g. we recycle over 70% of our newspapers), we certainly could do a lot more, especially with high quality waste such as office paper.

Recycled pulp uses far less water, energy and chemicals to produce than virgin fibre pulp, however the energy and emissions associated with collecting, sorting and transporting waste partly offsets the gains, especially in a big country like Australia.

Typically, environmental groups encourage the use of post-consumer waste. Off cuts from the printing and converting industries are often labelled as pre-consumer waste. However, this waste is an excellent source of clean, high quality paper which requires less processing, and is easier and cheaper to collect and sort. On the other hand, by-products of manufacturing (called mill broke) should not be considered recycled material – it’s just a normal part of the paper making process.

MANUFACTURING – BLEACHING, ENVIRONMENTAL MANAGEMENT AND THE CARBON FACTOR

All white paper is bleached. “Bad” chlorine (chlorine gas) was eliminated from paper making processes when the dioxins it released were found to be responsible for killing aquatic life in nearby rivers (paper mills have historically been built next to rivers, due to their high water requirements). These days chlorine dioxide (similar to what is used in swimming pools) labelled ECF (Elemental Chlorine Free), or hydrogen peroxide (remember bleaching your hair in your teens?) labelled TCF (Totally Chlorine Free), is used instead. Dioxin levels are negligible with ECF and non-existent with TCF. Most recycling plants use a TCF process.

The majority of paper mills today are accredited in environmental management standards (ISO19001, and in Europe only, EMAS). Part of the accreditation system is a commitment to continued improvement in environmental processes. It also makes good commercial sense. The less amount of water, power or chemicals a manufacturer requires, the greater the benefit to the company’s bottom line. In most countries, there are laws relating to pollution control, with heavy penalties for breaching them.

Mills typically have their own water treatment plants, and usually recycle water a number of times.

Chemicals are also recycled. Air emissions are filtered using hi-tech equipment before being released into the atmosphere. To maintain their environmental accreditation, everything is measured and reported, sometimes publicly.

As mentioned previously, paper manufacturing is highly energy intensive, due to the amount of steam and electricity required to operate the paper machines. With talk of carbon taxes and carbon trading schemes, enlightened paper manufacturers 54 / Paper Runway

(particularly those in the Western world) have recognised the impending impact on their company’s bottom line and have taken action. Many paper mills use by-products from the pulp-making process as a source of power. They are also replacing coal-fired burners with gas, bio-fuels or renewable energy sources such as wind and hydro. In some instances, mills are able to use these savings to build carbon credits. By using these credits, papers can be marketed as “carbon neutral” papers. A Life Cycle Analysis (LCA) is usually undertaken to determine the carbon footprint of the product. This may or may not include emissions from shipping. Most paper suppliers will be able to supply this information if an organisation requires it for their own carbon reduction programs.

WHAT ABOUT THE PAPERLESS OFFICE?

While technology is often seen as the “cleaner, greener” alternative to paper, it is worth keeping in mind that the evidence supporting this argument often leaves out of the equation what happens to the e-waste when items such as phones, computers, e-Readers etc break down or become obsolete.

Recycling e-waste is not widely practised, and is often a highly toxic process. It also does not take into account the energy and environmental degradation caused by mining and drilling for oil.

Certainly, for many applications, using technology is a far better environmental (and practical) solution than using paper – e.g. those hefty software manuals we used to have being replaced by online search engines.

However, for archival, legibility (paper documents are still much easier to read) and aesthetic purposes, paper still has a place in our lives. But you don’t really need convincing, do you?

LIKE MORE INFORMATION?

Further details and glossary can be found at www.leafjournals.com/topic/category/leaf4life Cath Connell is the creative director and founder of Leaf, and a self-confessed paperphile. Leaf is a paper communications brand creating fun, inspiring, ecofriendly paper products to help you tell your stories, be your best and celebrate life. In her life before leaf, she worked for 10 years with a major international paper wholesaler as a brand manager and promotions rep.

She is also a qualified graphic designer.

littlefly

Paper is many things: a carrier of text, illustration, history and emotion. Jeremy May captures the beauty of paper using a unique laminating process. Exquisite Littlefly jewellery is made by laminating hundreds sheets of paper together and carefully finished in a high gloss.

The paper is selected and carefully removed from a book, and the jewellery re-inserted in the excavated space. www littlefly.co.uk Paper Runway / 55

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Tugboat Press Tugboat Printshop is the collaborative work of artists Paul Roden and Valerie Lueth of Pittsburgh, PA (USA). Tugboat Printshop has been creating contemporary artwork using traditional printmaking since 2006. Their goal is to use printmaking to bring original art to more people.

Tugboat’s prints are entirely original images drawn by hand, carved by hand out of woodblocks, and printed onto archival paper by hand on an etching press. Everything they do is created 100% by hand the “old fashioned way”.

We asked Paul and Valerie what they love most about their business, “we love drawing on blocks, carving them out, mixing ink colours to create our masterpieces. Travelling to other cities to set up our Tugboat Printshop Print Cart at fairs and talking to people from all over about our work is a real hoot”.

Collaborating together has coaxed their artistic styles into one totally new style. Typically they are creating a bunch of artworks at the same time. They usually have a bunch of blocks in different stages so that they always have something to be working on and thinking about.

It is very much a joint effort, explain Paul and Valerie “we trade it all back and forth, taking turns drawing, carving, printing, etc”.

Tugboat’s subject matter together has become more complex and colourful over time. Their images aim to be relative to the times in which we live while also maintaining nostalgia for the ideal. Lately, their work has immersed everyday living and their interpretation of new ways people could lead their daily lives. “We’d like to influence people to care about their surroundings and planet beyond themselves. We are fascinated by the history of mankind, especially as it relates to the history of the natural world”.

Currently, Peter and Valerie are working on making full colour woodblock prints. The process is long yet very satisfying, sometimes requiring as many as 5 independently drawn & carved blocks to create one piece.

Tugboat Printshop Studio 298 Main Street (Lawrenceville) in Pittsburgh, PA, USA. Telephone 412-621-0663. www.tugboatprintshop.com

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Photography: Katie Preece Established in early 2011, The Distillery is a full service letterpress studio specialising in commercial design and letterpress printing. We work with creative professionals, design studios, wedding planners and brides-to-be to produce custom designed letterpress products. Launched in July our press is running daily with client projects, and we have lots of exciting plans and creative projects ahead. Things we love include: hand-drawn typography, tasty design, mixing ink, good old fashioned values We think there’s something real special about holding a luxuriously thick textured cotton sheet, which has printed type softly impressed into it. Nathan & Jess

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60 / Paper Runway

We’re designers at heart, with an aim to help spread the love of letterpress in Australia. We love curly typography, old-fashioned values, thick soft paper, and think that nothing else compares to a well designed and well printed letterpress piece! Our backgrounds are quite different; Jess is 24 and is a naturally talented designer, who studied design at college, and previously worked in commercial design. I am 30, and have a background in business consulting, but have let my creative interests take over. We have a vision to grow The Distillery to become a leading design studio in Australia, specialising in letterpress printing and specialty finishing of printed paper products.

Our press is from Germany, and was made in 1959. We have named him Wolfgang.

We rescued Wolfgang from a printing company which went into receivership.

He weighs 1.5 T, looks very mean, but behaves very nicely.

We think that letterpress has a very special place in graphic arts and communication.

It’s one of the only printing methods that draws on sight and touch, and can take advantage of printing on thick luxurious papers. Most people are drawn to letterpress by it’s ability to softly impress ink into the paper, creating a debossed printed effect.

We find that letterpress sits in a special spot between one-off art, and the ability to mass produce. We love being able to design our own artwork on computer, mix our own inks, create our own printing plates, and put it all together on the press.

We love that our work looks different, and has the ability to make people stop and take notice.

We’ve found that letterpress is a labour of love that really tests your patience. The printing process requires many hours of set up time, and lots of problem solving skills. The results however are always worth the effort, and we’re always excited by the endless possibilities and our new ideas.

By the end of this year, The Distillery will be working towards helping grow the letterpress community in Australia. We plan to run workshops and classes, networking and meetups, and already supply letterpress papers and plate-making services to other letterpress printers around Australia. Our studio in North Sydney is open, and we welcome enthusiasts to drop around and visit us. We’d also love to colloborate with artists, and have shopfront space to promote and sell our letterpress paper goods.

WHAT IS LETTERPRESS?

Letterpress is relief printing. This means that a raised surface is inked and pressed into a sheet of paper. This raised surface can be metal type, wood type, a photoengraved plate made of copper, magnesium or photopolymer, a woodcut or wood engraving, or even a carved linoleum block. For most of our printing at The Distillery, we use photopolymer plates. The relief is produced by exposing the plate material to ultraviolet light through a negative, and then washing it in a water bath. The unexposed areas then dissolve away, leaving the raised image of the art to be printed. When the plate is dried, it becomes very hard, holding fine details even over long runs. We can make plates from any computer-generated negative, or any art that can be clearly photographed or scanned.

In the finest letterpress, the printed image is crisp and sharp, because a dense layer of ink is deposited only in the floor of the impression, leaving the walls of the impression clean. The rich texture of light and shadow created by these clean-walled impressions gives letterpress its unique beauty. The quality of the impression gives a feeling for the paper, just as a woodworker’s skill reveals the character of fine wood. Well-printed lines sink into soft paper, giving a feeling of warmth, and an impression made in a hard, smooth paper will be shallower and seem almost carved. In every case, the impression in letterpress is not done for effect; it is a real artifact of the process. In a letterpress-printed piece, you can see the mark of its making, which conveys an authenticity absent from most of what we encounter in contemporary life.

Letterpress printing is labor intensive, and printing really well is especially timeconsuming and requires a great deal of skill. Years ago, letterpress was virtually abandoned in favor of faster and cheaper printing methods better suited to the mass market. But just as fine cuisine is still appreciated in a world of fast food, fine letterpress printing is still valued for a kind of beauty that can only be created by genuine craftsmen.

Nathan & Jess :: www.the-distillery.com.au Paper Runway / 61

NEXT ISSUE MADE BY HAND

Featuring Benja Harney

Image: Bespoke Letterpress 62 / Paper Runway

digital raised printing 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.

With the proliferation of information overload and constant connectivity, we have a diminished chance of clearly communicating the printed message.

Print faces significant challenges due to the online revolution making it more important for print to be tactile and engaging. Print should look good (designer) and feel good (printer), both equally important.

See and feel the difference Digital raised printing developed by Kodak for their NexPress digital production press uses dry ink particles creating raised printing effects. Digital raised printing brings the print to life, the raised or 3D effect creates a high impact tactile and visual experience, separating the printed piece apart from other printed matter.

This technique allows for tactile imagery, text, and graphics to have a dimensional feel that mimics the surface of items in the applications.

Printing with Dimensional Clear Dry Ink enables: • Textures—You can create a canvas look and feel for a painting, create a virtual linen feeling paper, or create a frosted effect.

• Realistic surfaces—You can make an orange feel like an orange, wood grain feel like wood grain, a lizard feel like a lizard, and a porcupine feel prickly.

• Raised borders—You can add raised borders to frame photos, or add special effect borders that give a visual 3-dimensional look.

• Invitations—You can raise parts of an invitation to variable heights to produce realistic feeling flowers, balloons, and leaves.

• Variable data direct marketing—Direct marketing engages the recipient with a personlised message what if you added a dimensional printed effect?

“ Printing has never looked or felt like this”

Unlike traditional thermography, digital raised printing can be on a separate layer, giving the designer complete flexibility to set variable heights that gives more creative freedom to enhance graphics, text, or full colour images. The dimensional toner can be applied directly to the substrate and doesn’t require special paper stocks. Being fully recyclable, the toner is safe and eco friendly.

Printing has never looked or felt like this Think outside the square and see how you can combine digital raised printing to your next digital print job for stunning, engaging results. View our blog or facebook page and you will see. http://digitalpress.com.au/blog/

http://www.facebook.com/digitalcmyk

‘The Ultimate Boys Weekend’ Bucks Bespoke Invite… A members only loft in Tasmania was the destination for this decadent bucks event. A ‘secret message’ and travel booklet within a wax sealed pocket fold envelope set a luxurious tone.

The talented duo at Zed & Bee then created such a bespoke invite using digital raised printing which produces a beautiful 3D raised effect. www.digitalpress.com.au

Paper Runway / 63

Sydney's speciality paper shop since ‘93

Amazing Paper has papers to excite, papers to create with, paper for all uses. Exotic, unusual, embossed, textured, foiled & flocked.

Papers from all over the world: India, Thailand, Japan, Nepal, Italy.

Special Reader Offer: Spend $30 or more in our shop or online and receive a handmade journal. Mention code – PR11. Valid until Oct 31st 2011. Note: one journal per person.

T. 02 9519 8237 F. 02 9557 6126 E. admin@amazingpaper.com.au 184 Enmore Rd, Enmore NSW 2042

www.spoonfulzine.com

Shop online anytime at www.amazingpaper.com.au

AP_paper.runway.qtr.indd 1

www.littlebranch.com.au 64 / Paper Runway

07/06/2011 2:11:15 PM

Window Shopping

SYDNEY

Lismore

LOS ANGELES

Papier d’Amour

Little Polli & the Blackbird

Sugar Paper

8 Cross Street Double Bay NSW Australia 2028 Telephone: 02 9362 5200

Shop 19 Star Court Arcade 126 Molesworth Street, Lismore NSW Australia 2480

Century City 1749 Ensley Avenue Los Angeles California 90024 USA

www.papierdamour.com.au

littlepolli[a]gmail.com

www.sugarpaper.com

www.paperscissorsrockstationery.com.au

Beautiful stationery for life’s everday celebrations.

For a stunning array of invitations, party accessories, notebooks, journals, cards & wrappings.

Leaf • O’Check • Little Branch • Ask Alice • MT Tape • Little Jane St • Looseleaf Paper • MT Tape • Elly Oak Truth.be.Told • Paper Eskimo • Mae • In Haus Press • Belles & Whiselles • Sweet William • Lox & Savy & MORE

Paper Runway / 65

Top 10: Giveaways Paper Runway has 10 fantastic giveaways to share the paper love around with. HOW TO ENTER it is as simple as subscribing, yes that is it.

Hit “subscribe” and follow the prompts. www.paperrunway.com Giveaways run from 8 August 2011 until 17 October 2011.

1. Rifle Paper Co www.riflepaperco.com 1 set of Boxed set of cards

2. Presse Papiers www.presse.co.nz 1 x 12x16” LIttle Ones bird cage Art print from Printspace One pack of Daisy Lane Swap cards

3. Lark www.larkmade.com.au 4 sets of Shine reversible paper lantern packs by Jurianne Matter

4. Famille Summerbelle www.famillesummerbelle.com NYC print based on an original papercut. A2 (42x59.3cm), colour: red.

5. Me and Amber www.meandamber.com Limited edition Gocco Print titled “Peace”

6. Emmy Rose www.emmyrose.com.au 5 sets of gorgeous boxed cards

7. Fiona Kate www.fionakate.com.au Set of removable paper letters 3 sheets of red, blue, pink and silver

Alliance Limited edition Print (cover image) Yes, I dream of Butterflies Limited Edition Print Treasures Untold Limited Edition Print

9. Lilly Blue www.littleboattree.com Limited Edtion print ‘The sound of it was like a waterfall with wings’

10. Mr Boddington www.mrboddington.com Boxed Social Stationery set from Mr Boddington

PLUS Pia Jane Bijkerk www.blog.piajanebijkerk.com Paper Runway has one signed copy of ‘my heart wanders’

by Pia Jane Bijkerk.

66 / Paper Runway

Image: paper lantern packs by Jurianne Matter

8. Bespoke Press www.bespokepress.com.au

Have you ever run your fingers over the rich textural impression of an image pressed into beautiful paper?

Experience the centuries old craft of letterpress print and bring tradition back to invitations and stationery

letter CREATIVE EMPORIUM CREATIVE PRINT FOR CREATIVE PEOPLE

www.creativeemporium.com.au

Enquiries

0412 738 835

neisha@creativeemporium.com.au PO Box 152 Margate Beach Qld 4019

Paper Runway / 67

www.paperrunway.com