aviation wildlife science fiction


" . . . . makes a great addition to a frame"

This is definitely not the traditional "Mould and deckle" approach to papermaking!

Peter had been experimenting once again - this time with handmade paper and mounts and what the framing trade refers to as "slips" which are narrow frames that slip inside the main frame to provide the equivalent of a mount (more commonly employed when watercolours and drawings are placed under glass).


But not just any paper. By way of courage, discipline, passion, perseverance, energy, enthusiasm, emotion, intelligence, inventiveness, patience (and how!) skill, sweat, savvy and tenacity he is fully growing into his role as a "self-published" artist who uses innovative materials and ways of creating the handmade publications he is so successful with.

As a result of all this endevour we now have a number of picture display enhancements that range from the smooth and elegant to rough and elegant, in many colours and shades derived from mixing paper pulp with all sorts of other items and materials to render the paper useful in enhancing the handmade frames and artworks.

Papers of custom colours and textures - a rural green, an aviation beige (edged with gold and silver linear strands) use of 22 carat Gold, and silver, and metal recycled materials, dotted with strips of carefully torn gold metal.

Others are thicker mounts of a lovely hand-mixed brown to compliment his watercolours and drawings - all created in a unique distinctive style.

In the early stages of this "line of product" he has developed not all experiments (as is the nature of experimentation) succeeded. There were many efforts and risks that did not work. But through these failures he learned, eventually, to completely dispose of a mould and deckle and find a way of creating paper without it, and all the buckets of water that methods demands. The difficulty of evolving this now very successful method (it took about 2 years to perfect) makes it all the more fun to use and have as part of his self-published stable of products. He's VERY happy with the final affair and not unhappy (now) with the sheer extent of development time it required to get it right. Being original is not always an easy route . . . .

I watch him, mixing and matching paper to print, paper to art and it is obvious he finds enthusiasm and joy in the process which, as you may imagine, is very confidence educing!

However, basically, what one needs is paper pulp, some pigment, perhaps some other ingredients (tea leaves make a wonderful speckled effect!) and to mix it all up and match it all to the chroma of one's painting or print there's the "talent" bit to add, and it is his judgment of how all these materials come together that makes the papers what they are - exquisite and as far as I know, utterly unique.

Of course, there are other aspects to the technique, tools that are used to texture the papers and all sorts of ways to influence the final appearance of them.

All in all, the studio is a bustling place of experimentation, production, imagination and innovation leading to final artworks and products that are handmade directly by him, not "workshop" made by a team of artist-copiers as is so frequently the case when big companies talk about "handmade" and "embellished".

It truly is, really, ALL handmade by the Artist.


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