Anna was a student in my class at Ox-Bow in 2009, a summer art school that is part of the School of the Art Institute of Chicago (SAIC). I am currently connected to SAIC's cooperative education program which allows students to earn school credit with internships. It is a great program—I did it when I was an undergraduate at SAIC. At any given time we have one, maybe two interns. Being an intern here means you learn EVERYTHING. The time length and educational desires are different for each intern so we tailor the internships on an individual basis. All of our internships are on a work trade basis. For every hour worked the interns earn an hour of studio time to work on their own projects. Our interns do not see farm work as an unrelated chore. Like us, they are interested in how an artist can function in the world and "make it all work" in a rural setting. We have a lot of people who are fascinated with how we have structured our lives. Whenever we travel to teach, lecture, or exhibit we are bombarded with questions. These are prime opportunities, as it was with Anna, to identify future interns. We do not need interns to run our studios and farm but we love having interns here for the work trade and to see their curiosity fulfilled. Anna feels that the experience with us has given her insight into the real possibilities for a professional studio practice and life. She talks about how she has learned the skills to slow down, be mindful, and fully experience what she is doing without pressure. She executes tasks proficiently with a sense of calmness. Many of our interns develop this attitude, and we believe that it is a response to the well-rounded approach we have to living, teaching, and studio practice. Interns work out a regular schedule that fits with the rest of their life. In Anna's case she comes for two days during the week and spends one night. While she is here she assists in studio activities such as working with an artist in residence or helping with a wide range of papermaking and printmaking projects. In the spring, Anna is engaged in making yogurt, kimchi, and beer. These are the tasks she has signed on for and she is more than willing to learn. She is witnessing seed starting, planting the lettuce patch, preparing the cold frame, and cutting early flower stalks for papermaking. When the lettuces head up she will eat them and learn how to dry pounds of fresh cut plant fibers for paper. She has watched us prepare our first beehives and observed how we take on a new project in the studio. She notices how we balance it all and eek out a living at the same time. This is a non-academic setting but everything is approached with thorough research and respect. We expose our interns to an environmentally conscious world. We are practicing and inventing ways to keep our life sustainable whether it is an improved water collection system, grafting fruit trees, or interplanting natural fibers for papermaking. Even with our studios we try to have an interaction that is symbiotic and sustaining. One example is the interaction that is symbiotic and sustaining. One example is the wood ash that we collect from the studio wood stove. We wash and wood ash that we collect from the studio wood stove. We wash and screen the ash to make a glaze for Jon's ceramic work. I place my screen the ash to make a glaze for Jon's ceramic work. I place my natural papermaking fiber in a cooking pot with the water used to natural papermaking fiber in a cooking pot with the water used to clean the ash. When heated, the alkaline solution cooks out the clean the ash. When heated, the alkaline solution cooks out the noncellulosic material from the fiber. noncellulosic material from the fiber. When Anna first came in early February 2010 she helped us When Anna first came in early February 2010 she helped us to cut down cattails for the spring and summer paper classes. We to cut down cattails for the spring and summer paper classes. We take some of the cattails at that time of year because the red-winged take some of the cattails at that time of year because the red-winged blackbirds have not yet returned to nest and most of the other animals blackbirds have not yet returned to nest and most of the other animals or plants on our property are still hibernating. Luckily, the or plants on our property are still hibernating. Luckily, the ground is still frozen then and the winter weather assists in bleaching ground is still frozen then and the winter weather assists in bleaching and retting the fiber. and retting the fiber. We are still learning about the many life cycles that intertwine We are still learning about the many life cycles that intertwine around our home and studio; we share our curiosities with the interns. around our home and studio; we share our curiosities with the interns. The interns seem to take with them a strong sense of being The interns seem to take with them a strong sense of being a part of something larger. Who could ask for more? Papermaking and Fresh Eggs: a part of something larger. Who could ask for more? Papermaking and Fresh Eggs: Three Paper Samples Three Paper Samples Hand Papermaking invited three of Andrea Peterson's former interns each Hand Papermaking invited three of Andrea Peterson's former interns each to produce a special paper sample for this issue dedicated to Education. to produce a special paper sample for this issue dedicated to Education. Hand Papermaking gratefully acknowledges Underwriter-level contributors Hand Papermaking gratefully acknowledges Underwriter-level contributors —Sid Berger & Michèle Cloonan, Peter Newland & Robyn Johnson, Robert —Sid Berger & Michèle Cloonan, Peter Newland & Robyn Johnson, Robert J. Strauss, Nancy & Mark Tomasko, Beck Whitehead, and Pamela & Gary J. Strauss, Nancy & Mark Tomasko, Beck Whitehead, and Pamela & Gary Wood— whose generosity sponsored these paper samples. Wood— whose generosity sponsored these paper samples. t's brown t's brown Anna Brockmeyer Anna Brockmeyer As a student at the School Art Institute of Chicago (SAIC), I attended As a student at the School Art Institute of Chicago (SAIC), I attended Ox-Bow, an off-campus summer program in Saugatuck, Ox-Bow, an off-campus summer program in Saugatuck, Michigan. I learned papermaking under Andrea Peterson, in the Michigan. I learned papermaking under Andrea Peterson, in the summer of 2009. During a two-week papermaking intensive, I summer of 2009. During a two-week papermaking intensive, I realized the endless possibilities of paper. After the informative realized the endless possibilities of paper. After the informative trip to Ox-Bow, I returned to Chicago to continue my education trip to Ox-Bow, I returned to Chicago to continue my education at SAIC. While living in the hectic city, my busy school and work at SAIC. While living in the hectic city, my busy school and work schedule began to take its toll. It became apparent to me that it schedule began to take its toll. It became apparent to me that it would be important to learn outside of the institute. Through the would be important to learn outside of the institute. Through the Co-Op Program, a independent mentorship, I arranged an internship Co-Op Program, a independent mentorship, I arranged an internship with Andrea Peterson during my final semester at SAIC. with Andrea Peterson during my final semester at SAIC. I joined Andrea in her studio every Tuesday and Wednesday, I joined Andrea in her studio every Tuesday and Wednesday, for fifteen weeks, in La Porte, Indiana. I began to feel at ease as for fifteen weeks, in La Porte, Indiana. I began to feel at ease as soon as I jumped on the train for my hour-and-a-half ride to the soon as I jumped on the train for my hour-and-a-half ride to the rural area. Tall switch grass filled the view while traveling through rural area. Tall switch grass filled the view while traveling through the sandy dunes near Lake Michigan. As the wind blew, they the sandy dunes near Lake Michigan. As the wind blew, they waved in the breeze, somewhat mesmerizing. The change of view waved in the breeze, somewhat mesmerizing. The change of view was a wonderful energy recharge. I was able to slow down and was a wonderful energy recharge. I was able to slow down and take control of my time again. I wanted to produce paper with take control of my time again. I wanted to produce paper with fiber from the environment that gave me inspiration. fiber from the environment that gave me inspiration. I harvested a half pound of switch grass from the land where I harvested a half pound of switch grass from the land where the studio is situated. After I cooked it down with lye for two and a the studio is situated. After I cooked it down with lye for two and a half hours, the grass became mostly translucent. I set it aside until half hours, the grass became mostly translucent. I set it aside until my next visit. On my return, I beat the cooked switch grass in a my next visit. On my return, I beat the cooked switch grass in a Reina 2-pound beater, at the 1.0 setting, with 10 gallons of water Reina 2-pound beater, at the 1.0 setting, with 10 gallons of water for 10 minutes. I added a half pound of cotton rag, and one pound for 10 minutes. I added a half pound of cotton rag, and one pound of abaca, and continued to beat the combination for 40 minutes. of abaca, and continued to beat the combination for 40 minutes. I finished the batch with 4 tablespoons of sizing, 1 tablespoon of I finished the batch with 4 tablespoons of sizing, 1 tablespoon of calcium carbonate, and 1 tablespoon of kaolin. calcium carbonate, and 1 tablespoon of kaolin. After my final semester, I will relocate to St. Louis where I After my final semester, I will relocate to St. Louis where I will begin my own studio practice and future art endeavors. The will begin my own studio practice and future art endeavors. The possibilities are endless and exciting. SAIC and my internship possibilities are endless and exciting. SAIC and my internship have provided me with the knowledge and confidence to create have provided me with the knowledge and confidence to create my own work. Zina Castañuela my own work. Zina Castañuela I became fascinated with Queen Anne's lace a couple of years ago I became fascinated with Queen Anne's lace a couple of years ago for its beauty and abundance in the Midwestern landscape. When for its beauty and abundance in the Midwestern landscape. When researching the plant I came upon some interesting information researching the plant I came upon some interesting information that made it even more intriguing. It is a wildflower above ground, that made it even more intriguing. It is a wildflower above ground, and considered an edible carrot underground. But the most compelling and considered an edible carrot underground. But the most compelling aspect of Queen Anne's lace is that the seeds have been aspect of Queen Anne's lace is that the seeds have been harvested and used as birth control since the fifth century BC. As harvested and used as birth control since the fifth century BC. As a woman this fascinates me because this plant is so prolific in this a woman this fascinates me because this plant is so prolific in this country yet we are not on the list of countries that is testing the country yet we are not on the list of countries that is testing the plant to be used as low-cost and natural birth control. plant to be used as low-cost and natural birth control. To create my Queen Anne's lace paper I started by sowing over To create my Queen Anne's lace paper I started by sowing over 30 plants in early spring in a wildflower papermaker's garden. I 30 plants in early spring in a wildflower papermaker's garden. I also planted iris and hardy gladiolas. In the late summer when the also planted iris and hardy gladiolas. In the late summer when the Queen Anne's lace began to dry on the stalk, I harvested 11 3/4 Queen Anne's lace began to dry on the stalk, I harvested 11 3/4 pounds of the plant. Using the whole stalk, flower, and seeds, I pounds of the plant. Using the whole stalk, flower, and seeds, I cooked the plants for 4 hours on a wood-fired outdoor stove using cooked the plants for 4 hours on a wood-fired outdoor stove using minimal lye. I tested the pH throughout the cooking time to keep minimal lye. I tested the pH throughout the cooking time to keep the cooking solution at a consistent reading of 12. the cooking solution at a consistent reading of 12. The cook took a while to soften the plants. In hindsight I should The cook took a while to soften the plants. In hindsight I should have soaked the plant material overnight but eventually it began to have soaked the plant material overnight but eventually it began to soften. I rinsed the cooked fiber for over an hour until the water soften. I rinsed the cooked fiber for over an hour until the water became clear. The seeds separated in the cooking so I put them became clear. The seeds separated in the cooking so I put them aside for use during sheet forming. aside for use during sheet forming. I beat the fiber for 45 minutes to 1 hour. The fiber had a tendency I beat the fiber for 45 minutes to 1 hour. The fiber had a tendency to get tangled in the beater. I weeded out the clumps and to get tangled in the beater. I weeded out the clumps and broke them up to allow for a smoother beat. broke them up to allow for a smoother beat. When forming the sheets I added roughly 2 to 4 handfuls of When forming the sheets I added roughly 2 to 4 handfuls of seeds to the pulp after every 8 to 10 sheets and then thoroughly seeds to the pulp after every 8 to 10 sheets and then thoroughly mixed the vat. I pressed the sheets to 6,000 pounds and dried mixed the vat. I pressed the sheets to 6,000 pounds and dried the sheets under restraint. The resulting paper has a nice, earthy the sheets under restraint. The resulting paper has a nice, earthy smell and texture. It has a great surface for printing woodblock or smell and texture. It has a great surface for printing woodblock or even inkjet. even inkjet. integration integration Andrea Mattson Andrea Mattson This paper began as dried giant ragweed from Hook Pottery Paper This paper began as dried giant ragweed from Hook Pottery Paper farm and studio in Indiana, home of Andrea Peterson, Jon Hook, farm and studio in Indiana, home of Andrea Peterson, Jon Hook, and their two boys Ry and Lu. The ragweed wintered on the side and their two boys Ry and Lu. The ragweed wintered on the side of their paper studio among many other indigenous plants. After of their paper studio among many other indigenous plants. After chopping it into one-inch pieces, I cooked the ragweed in a lye chopping it into one-inch pieces, I cooked the ragweed in a lye solution for 3 hours, rinsed it extensively, and then beat it with solution for 3 hours, rinsed it extensively, and then beat it with 2 pounds of pre-processed abaca fiber in a Hollander beater for 2 pounds of pre-processed abaca fiber in a Hollander beater for approximately 40 minutes. After forming a base sheet with the approximately 40 minutes. After forming a base sheet with the ragweed/abaca pulp, I sprayed pigmented pulp on the surface of ragweed/abaca pulp, I sprayed pigmented pulp on the surface of the sheet through a raised grid to create the geometric pattern. the sheet through a raised grid to create the geometric pattern. I pressed the sheets lightly, then individually stenciled the plant I pressed the sheets lightly, then individually stenciled the plant imagery with more pigmented pulp. imagery with more pigmented pulp. Working in Andrea's studio to produce these sheets is rather Working in Andrea's studio to produce these sheets is rather familiar to me, having completed a five-month internship with familiar to me, having completed a five-month internship with her in 2008. The internship enabled me to leave Chicago for a her in 2008. The internship enabled me to leave Chicago for a few days every week and follow my obsession of working with few days every week and follow my obsession of working with plants. Papermaking is one of the many ways that I use plants in plants. Papermaking is one of the many ways that I use plants in my art now. I work with gardens, food co-ops, recipes, and fibers. my art now. I work with gardens, food co-ops, recipes, and fibers. My senior-year internship at her farm and studio showed me that My senior-year internship at her farm and studio showed me that I could integrate art into every single project that I do in my life. I could integrate art into every single project that I do in my life. And now I do, in as many ways as I possibly can. And now I do, in as many ways as I possibly can. Living in urban Chicago impacts my life and art greatly. Cities Living in urban Chicago impacts my life and art greatly. Cities have abundant creative people, events, and educational possibilities, have abundant creative people, events, and educational possibilities, but nature contains so much beauty, bounty, and grounding but nature contains so much beauty, bounty, and grounding energies. This paper sample reflects my love of the blend of nature energies. This paper sample reflects my love of the blend of nature and cities. A grid is imposed over natural-fiber paper, but plants and cities. A grid is imposed over natural-fiber paper, but plants are placed back on top. Just like many of my other projects, this are placed back on top. Just like many of my other projects, this reflects a deep and essential integration of humans and nature reflects a deep and essential integration of humans and nature

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