Why you shouldn’t invest in heavy, big, or expensive equipment all at once—and what specific tools we recommend instead that won’t take up too much space.

Exactly what materials you need to get, where to find them, and when you need them. You’ll get low-waste or zero-waste alternatives, or other options to accommodate both what’s available to you and your budget.

The in’s and out’s of choosing a paper mould & deckle: what kinds there are, where to source them, what we recommend, and also how to make a low-waste one on your own.

What paper fibers the school will use, where to get them, and why they’re ideal for the creative techniques introduced in this school.

How to construct a small, simple paper press in a way that doesn't require a woodshop.

And how to decide where you should make paper, depending on your available spaces.

The methods we recommend on how to make dependable paper pulp without a Hollander paper beater.

The ultimate paper recipe—complete with fiber ratios—that results in smooth, strong, and flexible handmade paper suitable for a remarkably wide range of mediums.

How to tweak this paper recipe depending on the purpose of your paper—the mediums you’re planning to use them for (such as watercolor vs. calligraphy, woodcut printmaking vs. cyanotype)

Exactly how to skillfully form sheets at the vat with a mould & deckle, with instructions on pulp to water ratios, the technique, and why this step is important for even sheets.

How to use your newly-built paper press and why pressing is key.

Our recommended method of drying your wet papers so that they stay flat, without the need for a complex drying system.

A special paper recipe for very thin, yet strong paper that won’t fall apart

How to properly ‘size’ your papers so that they do not bleed if you plan on using your papers for wet media, such as ink or watercolor, or even other mediums like cyanotype that require a more waterproof paper

Now it’s time for the real fun to begin: we learn simple yet surprisingly effective creative twists to push your papers beyond a boring flat, white sheet—so that when you use your papers for other mediums, they transform your work into something entirely yours, special, and stand-out.

You’ll get a curated group of techniques that are beginner-friendly—but don’t look elementary at all.

You’ll learn how to embed (a.k.a. trap) objects in-between the paper, and how that opens up a world of conceptual possibilities.

You’ll also get my guide to including other materials into the pulp itself, so that you can achieve an all-over, confetti-like effect OR complete finished-looking collaged artworks.

And finally, I’ll teach you how to naturally tone your dried papers using easily-found sources of color. And not just flat tones—I’ll show you my technique for creating variable colors across the sheet, resulting in papers beautiful enough to display on their own.

One of the bigger mysteries in the universe is how to color pulp. The Ultimate Papermaking School for Artists dedicates an entire seminar on how to do just that—even down to details like how choosing your fiber source here actually matters.

You’ll learn how to pigment pulp into a range of colors—and why this method is ideal for achieving brilliant, long-lasting colors.

You’ll also learn how to mix different colors of pulp and types of fibers to achieve a wider range of paper tones and textures

And, you’ll gain access to the recipe for my ‘starry-night’ paper that’s so easy and fun it’ll be love at first sight.

Once you’ve pigmented your pulps, you have what you need to make pulp paintings—paintings that are made entirely of paper. No paint is involved, only your pigmented pulp.

You’ll first learn how to achieve abstract, watercolor-like effects in your pulp paintings using your pigmented pulps.

Then, you’ll learn how to get fine lines and sharp edges in your pulp paintings.

I’ll also teach you my reverse mark-making method of pulp painting—an elegant and beautiful approach that I love for several reasons.

And finally—for those of you who like breaking all the rules—how to make free-form pulp paintings that break free from the rectangular format of traditional painting.

This is where we really push the possibilities of papermaking into outer space with a selection of techniques that allow paper’s material presence to sing like Celine Dion.

You’ll learn a ridiculously easy way to emboss papers with a range of patterned surface textures.

I’ll teach you how to make shaped papers, a technique that lets you make handmade papers that are anything from trapezoidal to leaf shaped.

And, you’ll learn how to make COLOSSAL, LARGE PAPERS (as big as your tablespace or floorspace) without having to invest in a larger paper mould & deckle. HOORAY! GO BIG OR GO HOME, Y’ALL.

I’ll first teach you how to make paper pulp casts through two methods: (1) creating thicccc, low-relief paper casts the quick and easy way, and (2) making fully three dimensional paper casts using found objects or removable armatures as your mold.

You’ll also learn the dipping method to create paper sculptures, and why it’s one of the most irresistible ways to completely transform wire, string, and more into fabulous works of art. This approach is also how you can make ‘woven’ paper sheets—always a favorite with students.

And finally, you’ll learn ways to securely ‘wrap’ objects and armatures with wet sheets of paper, an easy technique that combines beautifully with the previous sculptural approaches.

It’s MAGIC. A watermark is a hidden design, image, or mark within a paper that is only visible when held up to a light. You’ll get an overview of watermarks, understand how they exactly work, and see the creative possibilities of this subtle and magical technique.

You’ll learn how to make your very own hidden watermark design with simple materials.

And, you’ll learn how to optimize your papermaking set-up for watermarks.

Once you’ve completed the previous masterclasses, you’ll have a better idea of what future direction you want to take your papermaking. This seminar gives you an insider’s look into advanced techniques you may be interested in, what equipment is out there, where to get it, and when you should consider investing in it.

You’ll get a guide to Hollander beaters and why you’d need one

You’ll learn about advanced options for pressing your paper, and why you’d want to consider a stronger press

I’ll talk about specialized equipment such as vacuum tables and deckles boxes, and how they open up even more potential for art-making

For those of you interested in making a larger volume of handmade paper, a.k.a. production papermaking, you’ll learn everything you need to know about drying boxes.