Hi Friends.
I haven’t forgotten you are out there. In the midst of current affairs it is important to know there way more wonderful humans, like you, who are doing their best to be good citizens, good neighbors, good people, and to live creative and purposeful lives. Against the darkness of our political times, there are many examples of people working hard to make the world a better place. I hope to report in the next few entries how salmon returned to a nearby creek this November for the first time since 1998. I’d like to tell you more about how the Bald eagles are rebuilding their nest next door; how Gray whales were spotted off the local dock this fall; that Orcas were seen the next week after that. I intend to circle back to share more about the dedication of a cool art installation on the Seattle Waterfront. If I can remember how to connect the link, I hope to share a recorded program by Suquamish storyteller and educator, Barbara Lawrence, that helped enlighten me to a deeper level of cultural awareness and local history. I am grateful beyond words for the forest and shoreline nearby that sustain my spirit when I walk each day. A healthy forest is a rare place consisting of a huge community of life in all forms. My Porch Paper Making Project is one that comes from the forest and shoreline that sustains me. It is something I’ve been doing since the 1980’s, but til now I’ve not had the time to be deliberate and consistent about my approach. Spring is beginning to emerge and this year I hope to emerge and share some notes about using native and colonizer plants for making art papers.
Today I’d like to share a simple way for testing out if a plant has enough cellulose fiber to make a good paper. I’m calling this Porch Paper Making because I’m making paper on my porch, and using supplies that most people have at home or are easily available; basic kitchen items, window screen, some sewing supplies, and old sheets.
If you follow my blog, you’ll know that I’ve been using my basket materials scraps to make paper since the late 1980’s. Then I was invited to attend a workshop at The Basketry School in Seattle, after Michelle Berg, co-owner of the school, brought Sue Smith here for a walk-about visit to see what sort of Pacific Northwest plant materials might be useful for Sue’s workshop at The Basketry School.
When I step out our door into the remnant of forest we live in, there is a perennial green plant so familiar, so ubiquitous, that I fault myself for taking it for granted for so many years. Where I live, when most development occurs, the Sword fern has too often been scraped away, unappreciated, just like most of the forests and other native understory plants have been cut down and removed. I’ve lived long enough to see the impacts of this narrow-minded concept of development and the toll it is taking on the patches of forest and native plants left behind. These plants have evolved over time to grow well here, and to provide for the people here: foods; materials; medicines. These forests provide biological functions like purification of water and air. The native plants help to make this a desirable place to live. But now there is a mysterious Sword fern dye-off occurring; Salal and Oregon Grape are being hit by disease; Evergreen Huckleberry plants are fighting a fungus or something that causes a “witches broom” disfigurement and dye-back. Just as stress triggers illnesses in humans, plants seem to have a similar reaction to the stress of human development and activity. Two of the biggest stressors to the native plants in my area are the introduced plants English Ivy and Scotch broom. They are hugely successful in reproducing themselves. Introduced by humans, but unchecked by humans, I imagine all our Pacific Northwest forests and wetlands are vulnerable to becoming colonized and choked out by these aggressive plants. How can we exploit these plants to give our native landscapes a chance? More on that to come.
Back to testing to see if Sword Fern will make a good paper. I’m looking to make art papers which is far different from making a paper for writing or print-making. Some people like to trim back the prior years’ Sword fern growth before the new fiddle heads sprout up in the early spring. So I trimmed 6 fronds, removed all the leaves, and cooked those leaves on a low boil, outside, for an hour or two. I let them sit in the pot water for several very cold days before I found time to get back to them.
I drained the water, which looked like it had a yellow-violet tint to it. Has anyone tried Sword fern leaves as a dye material? Let me know how it worked if so. Even though I did not use any soda ash or chemicals to break down the fibers I gave it a good rinse. Because of my own allergies and chemical sensitivities I only use only heat, time, and a blender to break down the plant fibers. Most often that works.
When testing a new material, I always try to make a sheet with the pure fiber to see if there is enough cellulose in the plant to make a good paper. I have options to add which may make a more successfully paper such as presoaked cotton linter or abaca (available from paper making suppliers), soaked recycled papers, or lint from the dryer.
I like using embroidery hoops with screen in them for some an easy molds. I’ve purchased inexpensive ‘felts’ for holding and pressing the screened papers, but I also use old sheets that I’ve cut to size.
OK, now I’m ready to do it the quicker way. Pulse 5 times, blend 10 seconds.
After I try out the fiber all on its own, then I experiment with adding just a minimum of a fiber I know works. If not a linter like cotton or abaca, I might use a wee bit of soak recycled paper, or lint from the dryer, just a little bit in the blender with a bit of fiber and lots of water. It’s easy to burn out a blender if you use more than a little in each blender full.
Looking at all the test papers. I like best the Sword Fern paper that was blended with about a 25 cent piece amount of soaked cotton linter or abaca. Below the papers with cotton look lighter than the unbleached abaca I use. The pure Sword Fern seems very delicate, but I really like the green color. It could be strengthened with a sizing, like methycellulose.
So after experimenting with a few combinations, I press all the newly formed paper between the felts in the paper press. Don’t worry if you don’t have a paper press, you can also put your pile of papers between two cutting boards and pile on some bricks or books. After pressing them from 1 to 24 hours, take them out and spread them out to dry. Press them again later if you want them flat. Let them air dry completely if you like the organic curl of the unrestrained look.
Like when you’re trying recipes for foods, you may want to keep a few shop notes so you’ll be able to remember what you did that was successful. The time of year that you collected the plant materials and where you gathered will likely make a difference in your paper. Since there isn’t a lot of new growth right now I’m focusing on collecting plant leaves this time of year to test out their cellulose levels for paper making. Sword Fern leaves today in February. Note to self – test Sword Fern stems at another time of year, perhaps in spring do the new fronds make a bast-type of fiber?
A good resource: Helen Hiebert authored a wonderful book titled: THE PAPERMAKER’S COMPANION-THE ULTIMATE GUIDE TO MAKING AND USING HANDMADE PAPER. Her books are wonderful, as well as her podcasts, and her content rich website: Helenhiebertstudio.com
I wish for you peace and good health. Thank you for listening.
