Melissa Jay Craig

Address6944 W. Berwyn Ave.
CityChicago
State/ProvinceIL
Postal Code60656
CountryUSA
Phone Numbertext only 773-501-8280
E-mail Addressmjc@melissajaycraig.com
Websitemelissajaycraig.com

First interest in hand papermaking process: 1994

First piece of handmade paper: 1994

First handmade paper artwork: 1998

Beginning of active practice: 2000

Images

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Melissa Jay's Work in Hand Papermaking:

  1. Artist who uses handmade paper for book arts
  2. Artist who uses papermaking for three-dimensional work
  3. Artist who uses papermaking for two-dimensional work
  4. Educator who teaches hand papermaking (any facet)

Melissa Jay's Introduction to Hand Papermaking:

  1. An individual

Influences on Melissa Jay's Work in Hand Papermaking:

Publications initially important to Melissa Jay:

  1. Papermaking : Jules Heller
  2. Papermaking (History & Technique) : Dard Hunter
  3. Japanese Papermaking : Tim Barrett
  4. Guide to Japanese Papermaking : Donald Farnsworth
  5. Plant fibers for Papermaking : Lillian Bell

Publications eventually important to Melissa Jay:

  1. Plant Fibers for Papermaking : Lillian Bell
  2. Papermaker's Companion : Helen Hiebert
  3. Guide to Japanese Papermaking : Donald farnsworth
  4. Japanese Papermaking : Tim Barrett
  5. Hanji Unfurled : Aimee Lee

Countries where Melissa Jay's studied:

Raw materials used by Melissa Jay in Hand Papermaking:

Chemicals used by Melissa Jay for cooking fibers in Hand Papermaking:

Used Sometimes
  1. lime (calcium hydroxide)
Used Rarely
  1. caustic soda (sodium hydroxide)
  2. other : washing soda from groceries (an impure soda ash)

Tools and methods used by Melissa Jay for beating in Hand Papermaking:

Used Sometimes
  1. blender

Style of sheet forming used by Melissa Jay in Hand Papermaking:

Years teaching hand papermaking: 2001 - present

Teaching formats used by Melissa Jay:

Melissa Jay's Income Contribution from Hand Papermaking:

  1. some

Narrative:

I am primarily a sculptor; though I am often identified as a book artist, the books I make are are sculptural as well. Almost alll my investigations in papermaking (including sheet formation and working with plant fibers) are geared towards sculptural techniques and practices. For instance, I do often work directly with various pulps I have prepared, skipping the sheet-forming process entirely; I also work a great deal with kozo and other bast fibers without pulping them. The sheets I do make are most often high-shrinkage and are allowed -encouraged! - to cockle, to add that presence and high texture to sculptural works.

Questions:

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