Polymetaal Leiden

WORKSHOP LOCATION
Polymetaal Grafisch Atelier (Atelier van Petra Tolboom)
Evertsenstraat 69 C, Leiden, Nederland

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

This 69C is the official address of Polymetaal.

However, it will be easy to find the location if you search on Google Maps for the address Evertsenstraat 69 F, Leiden.

There is a parking space near the building, but please do not park in front of the 69 E (Zonnestudio Siësta Beach and fitness) area.

*Deze workshop wordt NIET georganiseerd door Polymetaal, NIET door Petra Tolboom
MAAR Yuriko Miyoshi. Als je vragen hebt, stuur dan je e-mail naar Yuriko Miyoshi.

*This workshop is NOT organized by Polymetaal, NOT by Petra Tolboom
BUT Yuriko Miyoshi. If you have any questions, please send your message to Yuriko Miyoshi.






From Evertsenstraat 69 you go to Heldenstraat.

The picture of right side is the location of Workshop;

Polymetaal Grafisch Atelier (Atelier van Petra Tolboom).

The office of Polymetaal where you could pick up your order is located in the white building in the picture of left side. Though the office of Polymetaal is closed on Saturday 9 April.

 

  

  

Artists Box

BOX YOUR BOOK; My box was selected as one of the award-winning boxes of the Box your Book competition, the international bookend competition of Stichting Handboekbinden (the Dutch Society of bookbinding).

Show in Museum Jan Boon April 2022

Rechtestraat 146, De Rijp, Nederland

Show in Boekkunstbeurs Leiden on November 2021

Show in OBA on February-March 2022

https://www.oba.nl/agenda/oosterdok/expositieboxyourbookbekroondedozengevenhunboekprijs.html

  
 

Copyright © 2022 Stichting Handboekbinden

Selected BOX2 for my BOOK 古今紙漉紙屋圖繪

Kokon kamisuki kamiya zue= Collection of pictures of old and new paper-making for hand-made paper and old paper-shop by Seki Yoshikuni (1975)

 

Can you give a brief description of the box (which techniques and materials did you use?)

Japanese Raw Kozo (Paper mulberry) is the most commonly used fiber in making Japanese paper. The materials used for making this box for the book show the stages in making the hand-made paper from the outer black bark until the fiber become a sheet of paper as Washi (=Japanese paper) but also used Mitsumata (Edgeworthia chrysantha) paper and Gampi (Diplomorpha sikokiana) paper. You can see several the natural colours from hand-made papers. I used only handmade papers. Exception is the gray board for inside of one layer and only a few part of paper, which were machine made.

And the paper making frame of wood and the screen made from bamboo are shown with the box of book together.

Image by etching technique was printed direct on the hand-made paper from raw Kozo material made by the box maker.

How did the book inspire you to make this design?

I sometimes hold workshops to introduce the traditional real good Washi (=Japanese paper), the quality and beauty. I found this book on the market in Japan a long time ago. From the title, I thought it could be very interesting book and I bought it without hesitation. The useful images were introduced from many documents and also added English explanations. I could know after I got this book, the author, Yoshikuni Seki (1892-1979), was the one who improved paper pulp technology and paper industry development in Japan. As his first made in 1954, he had created a limited edition of 100 copies of a sample book called 'Kokon washi fu', which contain 363 original samples of Japanese handmade papers. The Hyakumantō Darani, is said to be the oldest printed matter in the world whose publication date is clear, is also attached as each line cut! It was created with an emphasis on the actual sample.

Unfortunately, I have never seen this rare book, but it was a pleasure for me to know about this author and its activities through this book I have now. For the storage of this my precious book and introduction to Washi further, I made this box to make fitting the size of the paper making tool I was using, with several hand-made Washi.

    

     
 

not selected BOX1 for my BOOK: Engraving and Etching 1400-2000

A History of the Development of Manual Intaglio Printmaking Processes by Ad Stijnman (2012)

Can you give a brief description of the box (which techniques and materials did you use?)

Materials, which the box maker usually use for printmaking process of Engraving and Etching technique
: Silk fabric, Cheesecloth, Woven felt, Japanese Gampi paper, Zerkall paper, Copper plate, Acid free mat board, Water-based adhesives, Yamato Nori (Starch Paste).
And other materials such as Gray board, Red cotton thread, etc.

Art work 1) TULIP: Line-etching in relief printing with oil-based black ink on Zerkall 602, 225 grams, white paper by Ad Stijnman, Author of the book
Artwork 2) LAND series with maps of Edo 1853: Copy-etching, Aquatint in Intaglio printing with oil-based gold ink on Japanese gampi paper in black (machine made)
Art work 3) Copper plate with an image from the back side of the book using Copy-etching technique

How did the book inspire you to make this design?

This book was the PhD Book by Dr. Ad Stijnman who is a printmaker and historian. Not only is it a research book by a historian, but it also includes an artist's view and experimental analysis, and above all, it has a wonderful point that many colour images and photographs are shown in it. No other books have such a role of dictionary like this book.

I open and read the appropriate page when I need it, and also useful if I just see those beautiful images. I wanted it to be open and viewable in a certain place without having to put it in and out of the bookshelf. Therefore, the box design is easy to open and close, using felt and silk materials as cushions. In order to make it stand and display as an artwork when not in use, as an image from his private company name I chose the etching work ‘Tulip’ by him on relief printing. And another one as intaglio printing on contrasting black gampi paper from the copperplate print work by the box maker was selected for the box. It was an etching work that features Dutch man and woman's image. The copper the material for backside of the box was a little heavier, but I wanted to make a box using the copper plate itself, which contains both the intaglio and relief parts of the back cover design. There is a single image of the print studio, and the text is the outline of the book.