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HAND PAPERMAKING N E W S L E T T E R
Number 102, April 2013
Tim Barrett, et al, Iowa City, Iowa
Newsletter Editor: Shireen Holman
Advertising & Listings: Mary Tasillo
Desktop Production: Amy Richard
Columnists: Eugenie Barron, Sidney Berger, Maureen and Simon Green, Helen Hiebert, Elaine Koretsky, Margaret Mahan, Winifred Radolan, Mary Tasillo
Hand Papermaking Newsletter is published quarterly. Annual subscriptions are $55 in North America or $80 overseas, including two issues of the journal Hand Papermaking. For more subscription information, or a list of back issue contents and availability, contact:
Hand Papermaking, Inc.
PO Box 1070, Beltsville, MD 20704-1070
Phone: (800) 821-6604 or (301) 220-2393
Fax: (301) 220-2394
E-mail: info@handpapermaking.org
Web: www.handpapermaking.org
The deadline for the next newsletter (July 2013) is May 15. Please direct all correspondence to the address above. We encourage letters from our subscribers on any relevant topic. We also solicit comments on articles in Hand Papermaking magazine, questions or remarks for newsletter columnists, and news of special events or activities. Classified ads are $2.00 per word with a 10-word minimum. Rates for display ads are available upon request.
Hand Papermaking is a 501(c)(3) non-profit organization.
Staff: Tom Bannister, Executive Director; Mina Takahashi, Magazine Editor; Shireen Holman, Newsletter Editor and Office Manager; Mary Tasillo, Outreach. Board of Directors: Shannon Brock, Zina Castañuela, Jeffrey Cooper, Kerri Cushman, Susan Mackin Dolan, Jim Escalante, Susan Gosin, Mary Hark, Kate Martinson, Anne Q. McKeown, Julie McLaughlin, Amy Richard, Michelle Samour, Gibby Waitzkin, Eileen Wallace. Board of Advisors: Timothy Barrett, Simon Blattner, Gregor R. Campbell, Kathryn and Howard Clark, Mindell Dubansky, Jane M. Farmer, Helen C. Frederick, Dard Hunter III, Elaine Koretsky, James Sitter, Claire Van Vliet. Co-founders: Amanda Degener and Michael Durgin.
Members of the Hand Papermaking Community,
For many years a number of us have been tossing around the idea of making a family tree of papermakers that would show who influenced whom, where and when we learned to make paper, and so on. Such a tree, we thought, would help us get a better sense of our living community of hand papermakers while serving as a great resource for scholars and historians.
I have been particularly interested in the relationships between apprentices, teachers, and students. Colleagues Sue Gosin and Peter Thomas have slightly different interests: Sue has wanted to focus on connections among artists who work with paper, while Peter Thomas has always been interested in the place of historical papermakers—our papermaking “ancestors” in the family tree.
The biggest problem with getting this kind of project off the ground is that no one person or team of people can sort out all the intricacies of relationships between people in a field like ours. We all know how complicated a normal family tree can get with just a mom and a dad. In the hand papermaking and paper art community we often have more than a single pair of parents. Our pedigrees are rife with multiple partners, so to speak. In reality our tree would probably look more like a real three dimensional tree, or even a forest.
So to get around these problems, as we explained when first presenting the idea for a family tree at the Arrowmont Friends of Dard Hunter meeting in 2010, our idea was to create an online database that would welcome anyone who wants to join. Each participant would tell her or his own story and draw their own connections with those who were important to them.
Since then, with a lot of water over the mill wheel, on behalf of my collaborators in the Hand Papermaking Community Documentation Project, Nicole Donnelly, Michael Durgin, Sue Gosin, Amy Richard, and Peter Thomas, I’m happy to report that the survey we envisioned is now live and ready for anyone to complete as a participant. Go to http://handpapermakingcommunity .wordpress.com/ and from there you’ll be led to the main survey. (You can also reach the site at www.handpapermaking.org/survey) Individuals and organizations are invited to join. At present we are already up to 50 participants. Please join the family reunion!
Tim Barrett, et al, Iowa City, Iowa
Dear Readers,
We are pleased to announce the theme of our next portfolio, due to be published in 2014. View the Call for Entries at www.handpapermaking.org. Entries are due August 15, 2013.
The eleventh portfolio in Hand Papermaking’s limited-edition series investigates an intriguing concept: NEGATIVE SPACE. This collection of paperworks will emphasize what would normally be thought of as “missing.” Each piece in the edition explores the void, the interval, the point where what is negative becomes positive. Paper-cutting, watermarks, die cutting, and blow-outs are just a few techniques that can be used on or off the wet floor to create imagery and meaning in the gap between form and non-form. Whatever the method, whatever the fiber—and we hope for a wide variety of both—the finished artwork should encourage viewers to ponder what is omitted.
Many thanks to the dedicated committee of Hand Papermaking’s board, whose efforts will surely result in another superb collection of handmade paper artwork.
Susan Mackin Dolan, Portfolio Committee Chair
> ALONG THE PAPER ROAD...
This regular feature offers paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. Here Elaine describes her experiments in making Chinese xuan zhi.
In celebration of the Chinese New Year, I decided to brush up on my Asian papermaking skills and attempt to make what is regarded as the finest art paper in China, xuan zhi. The paper’s pure white color and smooth and soft yet tough surface make it ideal for calligraphy and brush painting.
The primary fiber used for this coveted paper is qing tang, which is commonly combined with rice straw and bamboo fibers. Native to China, the plant’s common name is winged celtis or blue sandalwood (Pteroceltis Tatarinowii). It is no coincidence that I have been growing winged celtis in my papermaking garden for nearly fifteen years. My garden emphasizes the cultivation of plants that are traditionally used in hand papermaking throughout the world. So when our papermaking friend Neal Bonham spotted a winged celtis at a plant nursery in Washington state during our west coast visit in 1998, we purchased it, and the three-foot-tall potted plant sat on my lap during the flight back to Boston. Now the tree is nearly twenty-five feet tall, and this past summer we gave it a much-needed haircut. I saved all the branches that were at least one inch in diameter in anticipation of making xuan zhi.
In 2007, Sidney and I travelled in China to Anhui Province, the area where this special paper is made, hoping to find a workshop creating xuan zhi. Amazingly, we stumbled upon a mill in Jingxian where enormous sheets measuring ten feet by twenty-three feet were being made, a process requiring fourteen men to create a single sheet. This xuan zhi would be used for calligraphy and painting and be displayed in banks and banquet halls. I wrote about this experience in a previous Hand Papermaking Newsletter article (Number 82, April 2008) and also produced a documentary video entitled Making Very Large Sheets of Paper in China.
After reviewing my video of the fourteen Jingxian papermakers forming ten-by-twenty-three-foot sheets, I looked again at my insignificant pile of precious qing tang twigs, and I wondered if I had enough fiber to make a single sheet measuring ten by twenty-three centimeters. Nevertheless, I persevered and steamed the bark, and easily stripped the bast fiber from the woody pith. This left me with a paltry quarter pound (when dry) of fiber.
I soaked the bark for a few hours and proceeded on to the next step of fiber preparation, scraping off the outer black bark. The bark would not come off. I soaked it for a few days, and was still unable to scrape the outer bark away from the inner white bast fiber. Impatiently, I went forward with the next step, and cooked it all in soda ash, with the assumption that the black bark would flake off from cooking. After four hours of cooking, the fiber softened, but I simply could not remove the outside bark, as it seemed permanently attached to the bast. Defeated, I resigned myself to making the paper with bark included. After further research on fiber preparation in China, I discovered that the papermakers have the same problem. Their solution is to soak the bark for several months in order to separate the outer dark bark from the inner white bark. Next, after cooking the qing tang fiber in lime for hours, they lay out large quantities of the fiber along an entire mountainside to sun bleach for several months. Unfortunately, there are no nearby mountains in Brookline, Massachusetts, so I opted out of the bleaching process.
The next step, beating, takes place in a large Hollander beater. But I had so little fiber that I didn’t even attempt to beat it in my one-pound beater. Instead, I dusted off my trusty restaurant blender, and whipped up my quarter pound of qing tang fiber in three speedy batches.
After steaming, stripping, soaking, scraping (unsuccessfully), cooking, and beating, I was ready to make China’s most beautiful paper. I initially planned to use a small six-by-eight-inch flexible bamboo su that I acquired during my travels, but I quickly realized that the pulp wasn’t suitable for Asian style papermaking. Even with the addition of synthetic formation aid, the fibers did not disperse evenly on the screen, and I had trouble couching as some of the fibers stuck to the bamboo surface. However, I was easily able to form the sheets on a rigid six-by-eight-inch mould. Lastly, I easily couched, pressed, and restraint dried the paper.
My endeavors resulted in twenty-five lovely sheets of paper made from our homegrown winged celtis tree. Admittedly, the paper is not even close to resembling xuan zhi. In fact, it has none of the qualities of xuan zhi. The paper is light brown, not pure white. The surface is somewhat rough and not at all soft. Nevertheless, I gained a deeper appreciation for the skill involved in creating the high quality art paper made in China. Every single step of the process is vital, and missing one step, misinterpreting one step, or speeding up one step can have drastic results. In my case, I should have soaked the qing tang fiber for months before scraping away the outer dark bark from the inner white bast. An overlooked variable of my experiment was the age of my backyard winged celtis. My plant was a seasoned sixteen years old, while the fibers used in China are harvested every two years. Compared to the Chinese fiber, mine was more woody, making it difficult to work with.
Even though I did not create true xuan zhi, I was happy with my paper, especially after my Asian artist friend painted onto it the words Happy New Year in beautiful Chinese calligraphy.
> TEACHING HAND PAPERMAKING
Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. Earlier this year she introduced papermaking to a group of developmentally disabled young adults attending a daytime enrichment program. The highly functional young people each brought their own set of challenges to the adventure, but all participated and found enjoyment through the process. Look forward to reading the details of Winnie’s experience in the next issue.
> DECORATED PAPER
Sidney Berger, a professor at Simmons College in Boston and Director of the Phillips Library at Peabody Essex Museum, has been collecting and researching decorated paper for over thirty years. In this column Sid compares techniques used for decorating fabrics with those used for paper.
Knowledge of decorated papers is strengthened by studying textiles, which in many cases were the original sources for paper patterns and for paper decorating techniques. Wallpapers are a particularly rich resource, because wall and window treatments were produced on cloth, paper, or a combination of the two. Michèle and I have in our collection a number of wallpaper sample books that have the papers, and also strips of cloth in the same or compatible patterns. Clearly, these samples are for those decorating rooms in which there will be a paper on the walls and curtains to match. (I have not looked, but I would guess that there are, out there, curtain-fabric sample books with compatible papers.)
This is an appropriate commingling of “genres,” since the decoration of paper has been tied to the decoration of cloth for centuries—in the West as well as in the Far East. While doing research for my book Chiyogami Paper (North Hills, PA: Bird & Bull Press, 2012), I learned that the decoration of the papers came soon after the decoration of silks for kimonos. That is, the kimono, which has practical and ceremonial uses, often was decorated in a variety of ways, the more elaborate techniques being used for the most expensive garments. The decorations on the silk were then reproduced on papers, for many uses.
The ways of decoration were amazing in scope and beauty. Of course, there were hand painting, wood-block printing, and embroidery, but there was also tie-dying, folding-and-dying, the use of wax resists, and many other techniques. Artists saw that many of the ways the silk was decorated could be applied to paper as well. It seems, from my research, that the dying of cloth came first, and then the techniques were applied to paper.
Some techniques look as if they were used only on the silk. At a Takashimaya Department Store exhibition in Manhattan several years ago I watched a woman tie-dying silk, using extremely fine silk thread to tie off unbelievably tiny little puffs of silk fabric. There were hundreds of these little knots, and when the fabric was immersed in the dye and then when the knot was removed a very tiny dot was dyed into the cloth. It was painstaking work to produce an infinitesimal dot of decoration, but in the resulting product, with its hundreds of dots, the image in the silk was exquisite.
Kozo paper may not be able to be tied up in such tiny dots, but it is like cloth, and it too can be decorated this way. More traditional ways of decorating paper are with the use of woodblocks. The earliest Chiyogami papers were block printed. Printing from blocks was used extensively from the beginning of the 17th century on in Europe (though it was known earlier). Plain block-printed papers were sometimes used in Italy and Germany as covers for pamphlets. More commonly used were paste, marbled, and Dutch Gilt papers to “dress up” dissertations, essays, almanacs, schoolbooks, tracts, and other publications. In fact, hundreds of thousands of pamphlets survive from the 17th century covered in papers with innumerable patterns. The range and number of patterns, in fact, is astonishing and delightful.
In a reverse twist, in the 20th century some marblers have taken to using the technique to decorate fabrics. I have over 50 marbled silk ties and a couple of books bound in marbled cloth. Michèle has marbled jackets, and we both have marbled T-shirts. Marbling was originally developed as a means of decorating paper, so it is a good crossover to have this art used on cloth, the way that early silk artists used their decorations on paper.
Also, batik techniques, using a wax (or other) resist, were first used on cloth, but now (since the late 19th century) there are papers using this method of decoration. For about two centuries fabric makers have been printing their materials using rollers; the same applies to papers—especially wallpapers, which have been decorated with various kinds of rollers. And of course one particularly labor-intensive kind of fabric decoration is embroidery. Papermakers in India have, in the last 20 or so years, been producing embroidered papers, certainly using machines, but nonetheless making sheets with elaborate patterns embroidered onto them. In the Berger/Cloonan Collection there are even sheets with sequins and beads sewn to the surface, as one would find in some fancy cloths.
Another pairing of cloth and paper decoration is with hand painting. Hand-decorated cloth, of course, is used for fancy clothing (I have a few hand-painted ties, and Michèle has some hand-decorated jackets). And there are paper decorators who paint their sheets by hand. One of the best is Naoki Sakamoto, the proprietor of the Paper Nao store in Tokyo. His papers are all brushed by hand with subtle brown and cream pigments, and they are hauntingly beautiful (and, for me and Michèle, irresistible).
On a website with the heading “Textiles Decorative Techniques?” is a list of ways that fabrics have been decorated. It is not complete, of course, but it contains this paragraph (with my own edits in styling):
Dyes: tie dyeing, resist, space dyeing, fabric paints, fabric crayons, silk paints, fabric markers; [hand applications]: patchwork, applique, quilting, embroidery; hand & machine: printing, block printing, screen printing, digital printing, heat transfer; trimmings: braid, ribbons, beads, sequins, buttons, fringes, piping, bows, studs, tassels; manipulation: pleating, gathering, smocking, darts; distressing: sanding, brushing, fraying, stone washing. (See http://uk.answers.yahoo.com/question/ index?qid=20100328033709AA2MIsl.)
Many of these techniques are used in paper decoration as well, along with the use of stencils and hybrid methods using more than one kind of decoration.
The worlds of paper and fabrics are closely related, often using identical fibers and certainly using identical methods of adornment. The historical intersections deserve to be further studied.
> FOR BEGINNERS
Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. This column on couching is titled “Put More Water In, Then Take It Out.”
I spent the fall teaching papermaking in a handful of community settings. My students included adults at a community center, wound-up middle school students in an after school program, and nine- to ten-year-olds at a recreation center. These students were brand new to the papermaking process, and while the atmosphere of these classrooms was often very different, the learning process was much the same.
Students of all ages may struggle with the couching process. Their success reflects sheet formation technique, drainage, couching set up, and the physical pressure and motion of the couch—but it is also largely a reflection of water management.
I explain to students from Day 1 that as papermakers we go through a process of urging as much water as we can into the fibers by beating them, spreading out the fibrils so that they might absorb more water. Then, as soon as we’ve accomplished this and shaken the fibers around into sheet form, we turn right around and take out as much water as possible!
Welcome to Water Management 101. Imagine my students’ confusion as at one moment I am telling them to drain as much water as possible from their wet sheet at the vat, and at the next moment am suggesting that they flood the back of the mould with a drenched sponge to aid challenging couching. Watch as they refuse to follow my advice because they don’t want water from their post trickling forward onto their shoes.
Finding the right amount of moisture for couching is a fine art that comes with practice, and yes, is dependent upon those aforementioned variables such as couching pressure and quality of the shake in sheet formation. I envision this as a Venn diagram where each shape represents a different variable and overlapping areas represent the range of behaviors that will produce an acceptable piece of paper, with optimal conditions for a sublime couching experience at the center.
An alternative view might represent couching personalities, along the lines of the four-function Myers-Briggs personality types, in recognition that it may be a different combination of behaviors that works optimally for each papermaker.
And so I encourage experimentation, keeping an eye on student techniques. One of my early lessons as a student in a team-taught papermaking class is that there are different “right ways” to accomplish a task. One papermaker might contradict another. Given this, my goal is to give students the tools needed to control the variables (use a rolling motion in your couch, let the sheet drain more or less at the vat, introduce more or less water into your felts, bring a sponge and some pressure to the back of the mould once you’ve laid it down on the felts, either sponging up water or adding more water to the back of the mould), and to help them in not becoming too frustrated in the process. I remind them that some pulps are testier than others to couch, that if they experience less success than they did last week, it might not be their inadequacy, but the introduction of a new pulp and thus a new learning process, that is responsible for the inconsistency. To remind them that this will get easier as they work and that they will soon be able to make the couching process look effortless. Because as complicated as I’ve made couching sound here, hey, it’s far from rocket science.
> PAPER IN ACTION
Margaret Mahan brings papermaking to marginalized communities as a form of social action or art therapy. In her first column for our newsletter, at-risk children step up to the vat during a recent Peace Paper workshop. (Photos courtesy of Mia de Bethune.)
I have discovered a wonderful path, a paper trail, paved with colorful pulps and passport stamps. It has led me through the brassy crowds of New Orleans to the hidden ateliers of Paris, from an Occupied Austin to a London burnt and looted. This journey has carried me on foot from Pamplona to Santiago, and on subway through the circulatory system of Istanbul. When my partner Drew Matott and I ask ourselves how it is we can make a difference, let alone get by wherever we are going, we rely on peace and the universal language of paper.
Together we use peace and paper to bring positivity, empowerment, and self-discovery to different people. It is sometimes difficult to say specifically what we do, since our work and its outcome depends on the culture, community, and individuals we engage with. At times we straddle the line between practicing papermaking as social action and art therapy, although I have yet to see any hand papermaking that is not a form of social action.
One occasion which revealed to me the inherent power and universality of papermaking was a workshop at The Children’s Village (TCV) in Dobbs Ferry, New York. Servicing 1,000 youths annually, TCV is a residential program designed to help boys move forward and develop healthy patterns in the wake of crime and hardship. We were to facilitate a three-day workshop in papermaking and bookbinding, keeping in mind that participation and receptiveness might be low. Our activity space was Mia de Bethune’s art classroom on TCV’s quaint campus by the Palisades. Mia, an art therapist by training, was eager to see how her students would respond to the new process.
As we set up rag cutting, ten vats, couching stations, and strategically placed mops and sponges, I noticed the shelves of supplies. It seemed that every flat space featured a half-finished project.
When the boys entered the room, their energy was scattered between old business and the new of what was happening in the art studio. It seemed that the new set-up did not focus their attention, but had the opposite effect. Drew and I smiled at each other and shouted, “Today we’re going to make paper!” We responded to their perplexed looks with a demonstration of rag cutting and bit of history. The students had come prepared, and one by one they pulled out T-shirts to be pulped.
After they loaded their rag into the Oracle, we introduced them to sheet formation. At first they laughed at the sounds and texture of the pulp, teasing each other in line, but not for long. I took their hands on the mould and dipped with them, guiding them under then up, briefly shaking the sheet smooth. This is when everything shifted. It felt as though the second the screen broke up through the surface, their whole bodies became rooted to the ground. With every drip of water draining back into the vat they relaxed and smiled at the sheet.
Within minutes, conversation was soft and the students were showing Drew or me their sheets with excitement. This was a different group than the one that first walked in. Now they were grounded and independent in their practice. There was no negative judgment, since no one had any basis for judgment. It was all good.
Every step in this workshop seemed to encourage and empower these participants. When cutting up their shirts, the boys had the freedom to snip, rip, tear, and destroy the fiber. They were intrigued by our portable Hollander beater, and the way that the threads of cloth became separated and dispersed with every pass through the roll. Drew noticed the way some of the students meditatively brushed their hands through the water of the basin, intently guiding the rag through. When the pulp was finished, some charged their vats for a long time. I remember one boy looking particularly relaxed and focused on the pulp as he moved it around with his arms submerged past his elbows. It seemed that this interaction with the pulpy matter brought him a sense of tranquility. The sheet-forming and couching were very special steps, as the boys had the power to transform this unformed slurry into sheets of paper. Essentially, they could all complete this process in just a few minutes and took pride in their ability to do so.
Pressing the paper with the car was particularly exciting, as we loaded the group of them into the car for more weight and strengthened the paper in doing so.
I knew that the workshop was truly successful when our participants opted to return for bookbinding. They practiced Japanese stab binding on their own, and completed several books with their paper, which they filled with poetry and stencil art. This may have been art therapy, or it may have been social action. For a facilitator, this workshop was testimony to the important role papermaking can play in teaching anyone that they can create. Our time at TCV validated our belief that peace and paper can make a difference in someone’s life, even if only for a few days.
> FROM THE REGISTRY
Eugenie Barron is a papermaker from Durham, New York. Her mission for this column is to reveal and engage with the artistic vision expressed by diverse individuals in the Hand Papermaking Registry. She begins with Pat Gentenaar-Torley.
The opportunity to peruse the Hand Papermaking Registry and write a column was presented to me by Tom Bannister during my time at the Friends of Dard Hunter conference in Cleveland last fall. At the conference I was beguiled by the exhibitions of artwork offered by Friends and IAPMA members. One evening as I stood in front of Peter Sowiski’s powerful “Stealth Service-Drone Droogs” I realized that I needed to rethink my views on pulp painting as a medium, which I had previously and perhaps ignorantly pooh-poohed.
Once back home, after searching the registry, I chose to feature the work of Pat Gentenaar-Torley for her skill as a painter in pulp. Pat grew up in California and studied fiber arts at California College of the Arts, where she met Peter Gentenaar, with whom she eventually moved to Holland. In the 1970s they began to experiment with hand papermaking. They researched, he designed and built a beater, and they went to work. Their accomplishments in the field are prodigious, and I encourage a visit to their website www.gentenaar-torley. nl for a comprehensive look in order to view the full range of her portfolio.
Torley’s work is representational, including animal subjects such as swimming koi, meandering ducks, and a cat relaxing on an afternoon. Most of her still life tulip and floral studies are tighter, tending to display more detail and saturation.
Pat has described her preliminary internal perspective as “upside down and backwards” or “mirror image,” because unlike a conventional painting approach, where the background is rendered first, the foreground is where she begins. Torley is totally grounded in the intuitive delivery of her subject. By building layer upon layer of pigmented pulp, her use of thin veils results in a sense of depth and transparency rarely conveyed in a standard watercolor. When her work is dried and peeled from the board the resolution conveys a masterful water-working method without making method the essence.
The Gentenaar-Torley website displays a slideshow of her technique. It is her opinion that “technique should not be the most important aspect of a piece” and I agree. Pat believes that “it is the individual pigmented fibers that give the work its life.” Such is the dedication of a papermaker. Pulp is just a medium. I submit that the fibers assist Torley in giving painterly sentience to life’s gleeful forms.
Hidden Knowledge Publishers has created an e-book of her paintings titled Forty Paintings in Paper Fiber, with a poetic publisher’s note by Michael Ward.
The Hand Papermaking Registry began in 1988 as an archive of slides for researchers and curators. Since inception, there have been three juried selections. The un-juried online gallery included on the www.handpapermaking.org site is a valuable asset to individual artists worldwide. To those who have not listed themselves yet, please do so that we all may peruse and learn. The site functions primarily as a link, or glimpse, as most artists nowadays have their individual websites. The registry will be more fully inclusive if those in the field continue to update and participate.
Note: All quoted text appropriated from website or email correspondence.
Listings for specific workshops and other events in the following categories are offered free of charge on a space-available basis. The deadline for the July 2013 Newsletter is May 15. Contact each facility directly for additional information or a full schedule. Teachers: Tell your students about Hand Papermaking! Brochures and handouts can be mailed to you or your institution.
Email newsletter@handpapermaking.org.
> CLASSES AND WORKSHOPS
Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont .org. Classes and workshops in a variety of disciplines, including papermaking.
From Traditional to Contemporary—Casting with Japanese Paper Fibers, July 14-20, with Catherine Nash. Cast Eastern bark fibers into lashed wooden armatures to create sculptural forms.
Asheville BookWorks, Asheville, NC, (828) 255-8444, www.ashevillebookworks.com. Hands-on workshops, including bookbinding, printmaking, decorative paper, and basic papermaking.
Marbling Meets Cyanotype, May 11-12, with Steve Pittelkow and Alyssa C. Salomon. Combine two classic techniques to produce dazzling images on paper, making beautiful Prussian blue prints using cyanotype, and then marbling vivid color patterns onto our prints.
Papermaking Intensive, May 20-21 & 23-25, with Frank Brannon. Learn Western sheet forming techniques, as well as how to prepare pulp in the Hollander beater.
Papermaking from Local Fibers, November 8-10, with Frank Brannon. Discover techniques for forming sheets of handmade paper using pulp prepared from trees, shrubs, and flowers.
Bear Creek Paperworks, Columbia, MO, (573) 442-3360, www.bearcreekpaperworks .com. Workshops in paper and book arts; some workshops can be taken for academic credit through Central Methodist University. Contact Leandra Spangler at leandra@bearcreekpaperworks.com for more information
Papermaking from Plants, April 20, with Leandra Spangler. Learn the process of making paper from common local plants from harvesting, preparation, cooking, and beating to forming sheets.
Hand Papermaking—Experimentation and Exploration, June 24-28, with Leandra Spangler. Experiment with papermaking techniques, using cotton linter pulp and an array of techniques to make many samples of handmade paper.
The Boston Paper Collective, Boston, MA (614) 282-4016, www.bostonpapercollective.com.
Classes in papermaking and marbling, as well as studio rental and special projects, and Decorated Paper Open Studios on the second and fourth Thursdays of each month at 6:00 p.m.
Intro to Papermaking, April 13-14, May 11-12, or June 8-9, with studio instructors. Create unique sheets of paper, exploring pigments and inclusions.
John C. Campbell Folk School, Brasstown, NC, (704) 837-2775, www.folkschool.org. Classes in papermaking and other crafts in the mountains of western North Carolina.
Paper Beads and Much More, April 21-27, with Judith Jetson. Make your own paper and use recycled papers to make beads as well as sheets of paper for other uses.
Painting on Handmade Paper, April 21-27, with Margaret Estes. Form sheets of paper from natural, recycled materials and then paint on them with water-based media to create beautiful works of art.
Playing with Paper, August 18-23, with Sigrid Hice. Design paste papers, recycle scrap paper into beautiful handmade papers with inclusions, and create books and objects from decorative papers.
Green Papermaking, September 13-15, with Frank Brannon. Using plant fibers of the southeastern U.S., learn the complete process of making paper by hand while examining issues of environmental sustainability.
Canadian Bookbinders and Book Artists Guild, Toronto, ON, (416) 581-1071, cbbag@ ccbag.ca, www.cbbag.ca. Book and paper workshops located on-site in Toronto and in off-site studios.
Paper Treatments, June 24-27, with Betsy Eldridge and Melissa Potter. Learn basic paper treatment to address topics such as mould, pressure sensitive tape, minor tears, tide lines, and more.
Dieu Donné Papermill, New York, NY, (212) 226-0573, www.dieudonne.org. Beginning and advanced papermaking classes for adults and children.
Introduction to Contemporary Papermaking, April 2, or May 7, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques.
Creative Techniques for Artists with Open Studio, April 9, or May 14, with staff instructor. Explore advanced techniques and their application for two- and three-dimensional projects, with a different focus at each session; experiment on your own with studio pulps, making sheets up to 11 x 14 inches.
Española Valley Fiber Arts Center, Española, NM, (505) 747-3577, www.evfac.org. Offering classes in a range of fiber arts media.
Forms in Paper, April 20, with Jacqueline Mallegni. Explore the art of paper casting, using cast abaca fiber to create a lovely small vessel that can be embellished with other natural materials.
Eureka Springs School of the Arts, Eureka Springs, AR, (479) 253-5384, www.esart school.org. Offering learning opportunities in multiple media including fiber arts.
Papermaking from Plants, July 8-12, with Leandra Spangler. Learn the process of making paper from common local plants.
Skin & Bones—Sculptural Forms of Reed & Paper, July 15-19, with Leandra Spangler. Use traditional basket making techniques to create armatures for sculptures incorporating handmade papers.
Fleisher Art Memorial, Philadelphia, PA, (215) 922-3456, www.fleisher.org. Offering workshops and community programs in a range of media.
Printing with Pulp, April 2-June 20, Mondays, with Mary Tasillo. Use silkscreen techniques combined with finely beaten pigmented pulp to create imagery within handmade paper.
The Hall of Awa Japanese Handmade Paper, 141 Kawahigashi, Yamakawa-cho, Yoshinogawashi, Tokushima 779-3401, Japan, fax 81-883-42-6085, www.awagami.com.
Kozo Papermaking, August 13-18, with studio instructors. Learn Japanese papermaking in-depth from bark preparation to papermaking to drying.
Haystack Mountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack-mtn.org. Workshops in various disciplines, including papermaking and book arts. Scholarships available.
Writing for the Artist’s Book, August 11-23, with Beck Whitehead and Audrey Niffenegger. Explore the relationship between words and mages images, content and form. Writing exercises will lead to image making, and these images will be developed through papermaking and pulp painting. Paper Sculpture, August 25-31, with Matthew Shlian. Explore the medium of paper and create moveable works of art using popup books as a starting point. Hook Pottery Paper, LaPorte, IN, (291) 362-9478, jonandrea@hookpotterypaper.com, www.hookpotterypaper.com. Classes in papermaking and pottery and a residency program in northern Indiana. Lost Coast Culture Machine, Fort Bragg, CA,www.lostcoastculturemachine.org, (707) 691-1600. An artist-run contemporary art space focusing on interdisciplinary and sustainable creative practice, offering workshops in papermaking. MayBe Studio, Abita Springs, Louisiana, (985)893-3184. Hand Papermaking, selected Saturdays, with Mary-Elaine Bernard. LearnEastern and Western methods of making paper and incorporate local plant fibers.The Mill Paper and Book Arts Center, Rhinelander, Wisconsin, (715) 360-3804,info@ themillbookarts.org. Classes, studio access, and other resources in paper, book, and print arts in Northern Wisconsin. Introduction to Papermaking and Sheet Forming, April 20, with Debbie Ketchum Jircik. Encaustics and Paper,April 27, with Daniel Goscha. Pulp Printing, May 11, with Drew Matott. Japanese Papermaking, June 5-7, with Tatiana Ginsberg. Natural Dyeing on Japanese Paper,June 8-9, with Tatiana Ginsberg. Papermaking: Creative Sheet FormingTechniques, August 17, with Debbie Ketchum Jircik. Minnesota Center for BookArts, Minneapolis, MN, (612) 215-2520, www.mnbookarts .org. Classes at the OpenBook center for book and literary arts. Beater Training, April 2, with staff instructor. Learn beater operation, safety procedures, and cleaning for MCBA’s three beaters as a prerequisite to renting the beaters for your own use. OpenStudio: Paper Beater, Tuesdays, with staff instructor. Beat fiber for paper for future sheet-forming. Open Studio: Papermaking (B.Y.O. Fibers), April 13, with staff instructor. Get into the vat, hone your sheet-pulling technique, and enjoy the fellowship of other artists, using your own previously beaten fibers.Introduction to Marbling, April 20-21 or April 27-28, with Mary Holland.Explore the process and materials needed to marble paper for a variety of projects. Morgan Art of Papermaking Conservatory and Educational Foundation,Cleveland, OH, (216) 361-9255, http://morganconser vatory.org. Workshops in hand papermaking and the arts of the book in an innovative green environment. Old Ways Book Arts Tools and Workshops, near Santa, ID, (208) 245-3043, traditionalhand@gmail.com, http://www.traditional hand.com/oldway/. Old Ways of Making Book from Raw Materials, July 9-24, with Jim Croft. Learn how to create book arts tools by hand, how to process hemp and flax for paper and thread, hand papermaking, and how to make books with wooden boards and brass clasps. Paper and BookIntensive, Ox-Bow, Saugatuck, MI, (205) 348-2398, www .paperbookintensive.org.An annual working sabbatical for practitioners and motivated beginners in the book arts, papermaking, and conservation.
Finesse the Sheet, May 12-23, with Bernie Vinzani. Learn how to finesse the sheet through the formation in the vat, the show through, the evenness of color, the surface texture, the drying and the curing.
Big Ass Papermaking, May 12-23, with Julie McLaughlin. Experience the age-old craft of papermaking in a non-traditional way during this “hands-on, feet-in” workshop creating large 6’x9’ sheets of handmade kozo paper.
Paper Circle, Nelsonville, OH, (740) 753-3374, www.papercircle.org, papercirclearts@gmail.com. Call or e-mail for information about upcoming paper classes.
Open Studio, second Saturdays, with studio artists. Gain new skills while working on themed, relaxed projects.
The Papertrail, New Dundee, Ontario, Canada, (800) 421-6826, www.papertrail .ca. Classes in papermaking, marbling, and related arts and studio rental scheduled on an as-needed basis.
PapierWespe (PaperWasp), Klimschgasse 2/1, Vienna Austria, (0676) 77-33- 153, office@papierwespe.at, www.papierwespe.at. Workshops in English and German taught by paper specialists in downtown Vienna.
Paper Objects, April 12-14, with Beatrix Mapalgama.
Pop Ups, May 4-5, with Veronika Kyral.
Built in the Air, May 17-19, with Anna Rubin.
Fantastic Papers, July 5-7, with Helen Hiebert and Beatrix Mapalagama.
Paper Balloons, Tubes, and Vessels, July 12-14, with Helen Hiebert.
Large Sizes, August 31-September 1, with Beatrix Mapalagama.
Colored Paper, September 21-22, with Ilse Mühlbacher.
Penland School, Penland, NC, (828) 765-2359, www.penland.org. A full program of craft workshops, including papermaking.
East Meets West Papermaking, June 23-July 5, with Peter Sowiski. Compare Asian and
European traditions of sheet forming, exploring fiber types, preparation, color, and texture, and looking toward the possibilities of shape, dimension, and pulp painting.
Unusual 3D Paper Techniques, July 21-August 6, with Melissa Jay Craig. Focus on the specific, unique qualities of kozo and high-shrinkage fibers to make compelling paper forms, and the use of fiber-reactive dyes to create brilliant color.
Peters Valley Craft Center, Layton, NJ, (973) 948-5200, www.petersvalley.org. Workshops in papermaking and a variety of crafts.
Joomchi and Beyond, June 7-11, with Jiyoung Chung. Explore the endless possibilities of this Korean traditional way of making textured handmade paper, layering and agitating mulberry papers to create strong, textural, and painterly surfaces.
Papermaking Around the World, July 19-23, with Jane Ingram Allen. Use such fibers as lokta from Nepal, kozo from Japan, abaca from the Philippines, and black palm from Bali, and use Asian/Japanese, Nepalese, and modified Western techniques for sheet forming and free-form techniques.
Sculptural Papermaking, July 26-30, with Jane Ingram Allen. Explore different fibers and techniques for creating 3-dimensional forms and sculpture installations with handmade paper.
Pyramid Atlantic, Silver Spring, MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshops in papermaking, printmaking, and book arts.
Paper like leather, bark like thread: Korean paper techniques, April 20-21, with Aimee Lee. Learn a variety of techniques for working with hanji, such as paper felting, thread making, and weaving.
Large Sheets, April 27, with Lynette Spencer. Beat kozo andmix it with abaca to form large-scale sheets of paper. San Francisco Center forthe Book, San Francisco, CA, (415) 565-0545, www.sfcb.org. Book arts classesand events year-round. Papermaking Basics: Local Plants and Exotic Fibers,April 13, with Rhiannon Alpers. Explore the basics of creating handmade paperwith exotic fibers from your garden, grocery, and local florist. PastepapersOld and New, June 29-30, with Michael Burke. Explore making your own historicaldecorated papers, then experiment with contemporary designs and inventive techniques.Santa Fe Community College, Santa Fe, NM, (505) 428-1270, ESS@sfcc.edu.Offering weekend workshops through the Continuing Education department. The Artof Papermaking, April 6-7, with Jacqueline Mallegni. Bring plant materials to thisin-depth weekend working focusing on sheet formation using kozo. SarvisberryStudio and Gallery, Floyd, VA, (540) 745-6330, www.sarvisberry.com. Experiencehandmade paper in the heart of the Blue Ridge Mountains. Open Studio Days, callfor schedule. Make your own paper and work on personal projects. SeastonePapers, West Tisbury, Martha’s Vineyard, MA, (508) 693-5786, www.sea stonepapers.com.Scheduled classes, open studio, and private workshops in hand papermaking, surfacedesign, and book arts. For further information, email Sandy Bernat at sandy@seastonepapers.com.Southwest School of Art, San Antonio, TX, (210) 224-1848, www.swschool.org.Classes at the Picante Paper Studio. Individual papermaking classes can bescheduled for one person or a group; please contact Beck Whitehead atbhwhitehead@swschool.org for more information. Papermaking Saturdays, selectSaturdays, with Beck Whitehead. Work on independent projects with consultation.Truro Center for the Arts at Castle Hill, Truro, MA, (508) 349-7511,www.castlehill .org. Workshops and events in the arts on Cape Cod. CombiningTwo Ancient Media: Paper—A Perfect Sculptural Substrate for Encaustic, June 7,with Catherine Nash. Combine encaustic and paper to create unique waxed-basedsculptural, assemblage, and mixed media works. Women’s Studio Workshop,Rosendale, NY 12472, (845) 658-9133, info@wsworkshop. org. Summer ArtsInstitute includes workshops in papermaking, printmaking, book arts,photography, and other media. The Word as Image: Text in Handmade Paper, July8-12, with Mary Tasillo. Explore a variety of ways to incorporate text intoyour handmade paper, working with hand-drawn text, stencils, pulp printing,lead type and watermarking to create imagery and impressions directly in thewet pulp. Cross Pollination: Handmade Paper + Encaustic, July 15-19, withGretchen Schermerhorn & Cynthia Winika. Create contemporary waxed handmadepaper works, creating collages by applying an array of papermaking andencaustic techniques. Eastern Papermaking and Sculptural Techniques, July22-26, with Aimee Lee. Learn to process and form paper with traditional andhybrid Eastern techniques, transforming these sheets into sculptural forms as theyare sliced, spun, crumpled, woven, felted, and pasted in an evolution of the ancientarts of jiseung (paper weaving), joomchi (paper texturing and felting), and shifu(paper cloth). Paper & Place, July 29-August 2, with Ann Marie Kennedy.Construct 2- and 3-D works of paper, using material that becomes part of the content, such as mineral colors, natural dyes, and plant and seed textures.
Cast Paper: Form and Image, August 5-9, with Cynthia Thompson. Create a variety of pieces experimenting with solid cast forms, shell forms and armatures.
Papermaking Sampler, August 12-16, with Tatana Kellner. Explore papermaking techniques for two-dimensional expression, including basic paper chemistry, coloring, layering, laminating, embedding, and pulp painting, to establish a vocabulary of techniques to draw upon to create unique paper pieces.
> EVENTS
Aimee Lee will be traveling along the West Coast for an array of workshops, lectures, demos, and exhibits in celebration of her new book, Hanji Unfurled. Details on all events can be found at: http://aimeelee.net/ hanjiunfurled/booktour/.
The Art and Soul of Paper presents three paper exhibitions, two artist talks, and a workshop in Papermaking from Plants. The event is associated with Washi: the Art of Japanese Papermaking which features an exhibition, symposium, papermaking demonstrations, and a masterclass with Japanese papermakers. It all takes place in Norwich, about two hours from London, and ends April 20. See www.artandsoulof paper.com for specifics.
In April... is an annual event that underscores the vitality and excellence of fiber art and textiles in Quebec, Canada. The schedule for this month of exhibitions, conferences, and meetings of artists in visual arts, design, and history will be available at www .enavril.com.
The Focus on Book Arts conference features a series of workshops and related programming. The event will be held at Pacific University in Forest Grove, Oregon, June 25-30. Information about the classes, faculty, financial information, and associated activities is available at www.focusonbookarts.org.
Helen Hiebert will be lecturing around the country. In May, she will present and hold a workshop for the Santa Fe Book Arts Group in New Mexico, followed by a workshop at Oregon College of Art & Craft in June, and a workshop at Hook Pottery Paper near Chicago and an Open Studio in Red Cliff, Colorado, in August. For details, visit www .helenhiebertstudio.com.
The 2013 Hangzhou Triennial of Fiber Art will take place September 19-24 in Hangzhou, Zhejiang Province, China, featuring a dialogue spanning a thousand years of silk and fiber history in the region, and addressing the relationship between traditional craft and contemporary art. Over 40 international artists will participate in Fiber Visions, an exhibition at the Zhejiang Art Museum and the China National Silk Museum. For more information, visit www.ETN-net.org or www.fiberarthangzhou.com.
The Friends of Dard Hunter will hold its annual meeting and conference in Saint Louis, Missouri. This event features workshops, demonstrations, presentations, and tours. Pre-conference workshops will take place October 14-17, with the conference taking place October 17-19. For more information as plans develop, visit www .friendsofdardhunter.org.
IAPMA, the International Association of Hand Papermakers and Paper Artists, convenes in 2014 in Fabriano, Italy. For more information as the date approaches, visit www.iapma.info.
The Canadian Bookbinders and Book Artists Guild Conference takes place July 11-13 at the University of Calgary in Alberta, Canada. A trade fair, banquet, Rocky Mountain tour, and many presentations are planned, including Hand Decorated Papers by Victoria Hall. See http://cbbag.ca/conf2013.html for all the details.
> EXHIBITS
The Guild of Papermakers features the work of over 30 paper artists in its spring exhibition at Markheim Art Center in Haddonfield, New Jersey. The exhibit takes place April 5 through April 28. Visit www.markheimartcenter.org for venue information or call (856) 429-8585. More information about The Guild of Papermakers, including images of member work, can be found at www.guildof papermakers.com.
The Pyramid Atlantic Annual Juried Exhibition will feature work in papermaking, paper art, printmaking, and book art. Juried by artist and artist-in-residence alumna Amelia Hankin, selected works will be on exhibit in the Washington Printmaker’s Gallery, located on the second floor of Pyramid Atlantic Art Center, from April 2-25. For details, visit www .pyramidatlanticartcenter.org or call (301) 608-9101.
AMATERAS Annual Mini Paper Art Exhibition will take place from April 24-May 25 in Sofia, Bulgaria. The exhibition features small-size paper art in 2D and 3D and will be held at Art Alley Gallery, where winning works from previous years will also be on display. The purpose of the exhibition is to stimulate the development of creativity and innovations, to exceed the ordinary imagination of using paper, and to promote the exchange of ideas and sharing of original experiments. Please visit www.amateras.eu for more information.
The gallery at Paper Circle in Nelsonville, Ohio, features the work of professional paper and book artists from around the country as well as local and regional artists. The exhibition season runs from September through June, with openings every other Final Friday. Upcoming artists include Abigail McNamara in March, Anna Tararova in May, Danielle Wyckoff in August, and Stephanie Sherwood in October. Visit www .papercircle.org or call (740) 753-3374 for more information.
Hand Voice and Vision: Artists’ Books from Women’s Studio Workshop, curated by Kathy Walkup, is the most comprehensive exhibition of WSW’s books to date. It will travel through 2014 to venues around the country, including University of Michigan (September 2 to October 21) and University of Kentucky (early 2014). More about the exhibition, catalogue, and related events can be found at www.handvoicevision.com.
> CALLS FOR ENTRIES
August 15 is the entry deadline for Hand Papermaking’s upcoming portfolio that investigates Negative Space. Read the Call for Entries at www.handpapermaking.org and/ or call (800) 821-6604 for more information.
Trans-Fiber & Paper will be an exhibition of two- and three-dimensional works of art in paper and fiber curated by Char Norman and Elena Osterwalder at the Concourse Gallery at The City of Upper Arlington in Ohio. Proposals must include the submission of one fiber/paper piece with three digital images of the piece and must be received by April 1. The exhibition will take place August 27-October 25. For complete submission details, please contact arts@uaoh.net.
Our Backyard: Artists Consider the Environment is an exhibit juried by Tatana Kellner of Women’s Studio Workshop and Heige Kim of Roos Arts. Artists are invited to submit work addressing the environment, in all media, on topics such as Climate Change, Evolution, Global Warming, Fracking, and Alternative Energy. The exhibit will take place at Roos Arts in Rosendale July 13-August 17. Email five jpeg images of finished artwork (no larger than 1000 dpi in any dimension) including title, year, medium, and dimensions, and a two-paragraph description of what you plan on making for the show, or a description of the performance/action you’d like to present to our.backyard@roosarts. com. Please include on the subject line: “Our Backyard Submission/Proposal.” Please include on top of your submission/proposal name, contact information (phone, email), website address, and Facebook page if available. The submission deadline is April 1.
The Friends of Dard Hunter will hold its annual meeting and conference in Saint Louis, Missouri. This event features workshops, demonstrations, presentations, and tours. Pre-conference workshops will take place October 14-17, with the conference taking place October 17-19. For more information as plans develop, visit www .friendsofdardhunter.org.
Sugarloaf Craft Festivals is accepting artist and craftperson applications for its Fall 2013 juried fine art and craft shows in the Mid- Atlantic region. Exhibition space is available in all categories, including fiber. Artists can find out more information about the craft festival and the application process at www .sugarloafcrafts.com.
Print, Produce, Publish, the College Book Art Association Conference and Annual Meeting of January 2014, seeks proposals for papers and demonstrations. The conference will be hosted by the Book Arts Program at the J. Willard Marriott Library at the University of Utah in Salt Lake City. Abstracts and proposals are due by June 1 for papers, student panel, and demonstrations. Full submission guidelines are available at www.collegebookart.org.
Fibremen 3 seeks entries for an international fibre art exhibition of work made by men. The exhibition will take place from October 23-November 5 in Kherson, Ukraine. Digital submissions only. Contemporary and innovative works are welcome. The deadline is August 1. Please contact organizers to receive the entry form at scythiatextile@ gmail.com or www.scythiatextile.com.
> OPPORTUNITIES
Pyramid Atlantic Art Center sponsors Paper, Print and Book in Fabriano, Italy, an intensive workshop led by artist Lynn Sures in conjunction with Giorgio Pellegrini of the Museum of Paper and Watermark, Fabriano, Italy. The course features two weeks of intensive study at the Museum with time to enjoy the beautiful Marche region. Traditional Italian arts topics covered will be papermaking, watermark making, intaglio printmaking, and leather binding. For photos of last summer’s trip, visit www.lynnsures .com and go to “Workshops.” Email Lynn with questions about the course at Lynn@ LynnSures.com. To register, contact Jose Dominguez, Director of Pyramid Atlantic Art Center at jdominguez@pyramid-atlantic.org. More information is also available under the Special Workshops section at www.pyramidatlanticartcenter.org.
Cave Paper in Minneapolis has worked with over 80 interns since 1994. They are currently looking for enthusiastic people to work at least 6-8 hours per week with flexible scheduling. Although interns are welcome all year, the best times are from May to September. Cave Paper interns become part of the production routine and, as a result, learn a variety of papermaking skills. Request more details from cave paper@gmail.com or call (612) 359-0645.
> PUBLICATIONS AND VIDEOS
Fred Siegenthaler is one of the pioneers of paper art in Europe and a founding father of IAPMA. He started making paper artworks in the 1960s. A comprehensive book on Fred Siegenthaler’s artistic life and work is available. Email f.siegenthaler@bluewin.ch for ordering details. Introduced with an art historical essay by Nana Badenberg, the book focuses on paper art mainly, but also on other topics such as book objects, book editions, stelae made of mixed media, sculptures made of iron and other metals, object art, land art, erotica, art brûlé, acryl paintings; and ends with a biography of the artist. “Fred Siegenthaler Das Werk – The Works” has more than 300 pages, 700 mainly colored illustrations, and text in German and English. 1000 copies were printed, plus a special edition of 50 which are numbered and signed and bound in linen. The special edition contains an original 24ct gold-plated metal watermark in the book cover, and a shadow watermark of the artist. Pictures of the book can be seen at www .siegenthaler-art.ch
Lost Coast Culture Machine is excited to announce its 1st Annual Print Portfolio, featuring editions by five artists on abaca and cotton paper made in LCCM’s studios. Prints are available in a handmade portfolio, or individually. The theme of the portfolio is from a dictum of Gilles Deleuze on creativity and vitality: One should seek to create a foreign language from one’s own language, to be spoken by a community that does not yet exist. Contributing artists are Anne Beck & Dietmar Krumrey (Mendocino, CA), Larry Thomas (Fort Bragg, CA), Andrew Venell (San Francisco, CA), Michelle Wilson (Richmond, CA), and Amelia Winger-Bearskin (Nashville, TN). For more information, visit www.lostcoastculturemachine.org.
Rix Jennings has posted an online video demonstrating a prototype decorticator he made for stripping the fiber from banana stems, inspired by videos from the Philippines that show workers doing this. The video can be viewed at http://www.youtube .com/watch?v=4F4C4d8OkYs.
Abington Art Center has published the first catalog of the works of Winifred Lutz featuring 75 images of Lutz’s work in conjunction with an exhibition of her sculptural work in handmade paper. The catalog includes essays selected and edited by Janet Kolopos, the guest curator for the project. Contributors include Carol Franklin, Mina Takahashi, Elaine King, and Richard Torchia. For more information, visit www.abingtonartcenter.org or call (800) 821-6604 to order the catalog.
James Siena, current Lab Grant Artist-in- Residence at Dieu Donné, has created a new limited edition in handmade paper. A series of concentric circles are drawn with pigmented cotton pulp on abaca base sheets, using a mathematical approach to filling the page. For more information, contact Kathleen Flynn at (212) 226-0573 or kflynn@dieudonne.org, or visit www .dieudonne.org.
Handmade Paper: Fiber Exposed! is number ten in Hand Papermaking’s series of limited-edition portfolios. This collection spotlights unusual and creative interactions between fibers, and demonstrates how fiber can be the primary medium used to create imagery, concept, and content. Artists featured in the portfolio are: John Babcock, Helmut Becker, Kerri Cushman, Amanda Degener & Bridget O’Malley, Susan Mackin Dolan, Karla Elling, Mary Hark, Helen Hiebert, Ann Marie Kennedy, Susan Kristoferson, Winifred Lutz, Drew Matott & Peace Paper, Andrea Peterson, Robert Possehl, Dianne Reeves, John Risseeuw, Beck Whitehead, and Marilyn Wold. View the complete prospectus at http://portfolios.handpapermaking.org/no10
Check out http://youtu.be/_9R7BzJMxfs for a time-lapse video of the editioning process of Chuck Close’s Roy Paper/Pulp at Pace Paper in Gowanus. It takes three people about six hours to complete one impression of the edition.
Dr. Karen Hall and Kate Cummings use “claymation” to explore the science behind hand papermaking at http://youtu. be/4rZLprd74dI. The animated video takes us step-by-step through the molecular and cellular science needed to understand how paper is formed. See ChaoticGardening.com for additional relevant materials.
The latest issue of Book Arts du Livre, published by the Canadian Bookbinders and Book Artists Guild, includes an illustrated article by Cathleen A. Baker entitled “Shedding New Light on Twelfth through Seventeenth Century Arabic Manuscript Papers with Implications for their Conservation.” Become a member at www.cbbag.ca to receive your copy.
Silent Faces / Angkor is a new limited-edition artist book by Mary Heebner. A handcrafted red cedar box contains three forms of the book—accordion, codex, and scroll. Letterpress printed on handmade, watermarked paper. See it at http:// simplementemariapress.com or call (805) 962-2497 for a prospectus.
> CLASSIFIEDS
Classifieds in Hand Papermaking Newsletter cost $2 per word, with a 10-word minimum. Payment is due in advance of publication.
Unbleached Philippine Abaca $6.00 lb. For samples, please send SASE to Ifugao Papercraft, 6477 E. Grayson, St., Inverness, FL 34452
Need affordable paper for workshops? We offer authentic hanji, lokta, washi & xuan. Mention this ad for 10% discount. paperwoman@paperconnection.com
50 Ton Hydraulic Paper Press with 24” x 29 3/4” Platen for Sale: $3500. (716) 374-5580; marylynnutting@yahoo.com
Business Opportunity. Well-established online papermaking and stationery studio is selling its turn-key operation. Interested in learning more? E-mail sherylwkeese@ gmail.com for more information.
Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc. 1-800-356-2306.
> SPECIAL THANKS
Hand Papermaking would like to thank the following people and organizations who have made direct contributions to further our mission. As a non-profit organization, we rely on the support of our subscribers and contributors to continue operating. All donations are greatly appreciated and are tax deductible. Call or write for more information on giving levels and premiums.
Benefactors: Anonymous, Timothy Barrett, Gibby Waitzkin. Patrons: Tom Balbo, Sid Berger & Michele Cloonan, Jeffrey Cooper, Susan Gosin, Kenneth & Marabeth Tyler. Underwriters: Susan Mackin Dolan, Barbara Lippman, Nancy & Mark Tomasko, Pamela and Gary Wood. Sponsors: Cathleen A. Baker, Simon Blattner, Nina Brooks, Tom & Lore Burger, Carolee Campbell, Gail Deery, Michael Durgin, Jane Farmer, Fifth Floor Foundation, Helen Frederick, Helen Hiebert, Lois & Gordon James, Barbara Landes, Jill Littlewood, Peter Newland & Robyn Johnson, Kimberly Schenck, Richard H. Schimmelpfeng, Beck Whitehead. Donors: Shirah Miriam (Mimi) Aumann, John Babcock, Carol J. Blinn, Velma Bolyard, Kathryn & Howard Clark, Nancy Cohen, Jennifer Davies, Linda Draper, Karla Elling, Jim Escalante, Kathy Fitzgerald, Sara Gilfert, Lori B. Goodman, Guild of Papermakers, Robert Hauser, Mervi Hjelmroos- Koski, Lou Kaufman, Ellen Mears Kennedy, Joyce Kierejczyk, David Kimball, Sandy Kinnee, Betty L. Kjelson, Karen Kunc, Winifred Lutz, Mary Lou Manor, Anne Q. McKeown, Julie McLaughlin, Dennis Morris, Edward W. Mudd Jr., Catherine Nash, Mary O’Shaughnessy, Andrea Peterson, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Laura Merrick Roe, Michelle Samour, Mary C. Schlosser, Gordon Sisler, Scott R. Skinner, Jean Stufflebeem, Betty Sweren, George Thagard III, Aviva Weiner, Therese Zemlin. Supporters: Denise Anderson, Mary Ashton, James Barton, Sarah & Joshua Dickinson, Cynthia J. Fay, Kathryn Flannery, Mabel Grummer, Beverly Harrington, Eve Ingalls Von Staden, Hedi Kyle, M. P. Marion, Edwin Martin, Kathryn Menard, Margaret Miller, Janice Nelson, Patricia L. O’Neal, Dianne L. Reeves, Leonard Rosenband, Kim Schiedermayer, Kathleen Stevenson, Deborah Stone, Marie Sturken. Friends: Annie Alexander, Elena Osterwalder Bonny, Gerry Brock, Inge Bruggeman, Michele Combs, Elizabeth Curren, Gilda Ellis, Dale Emmart-Lieberman, Leonard Flax, Rebecca Hastings, Peter Hopkins, Susan Kanowith-Klein, Kristin Kavanagh, Fran Kornfeld, Aimee Lee, Katie MacGregor, Bobbi Mastrangelo, James & Marilyn Sexton, Deborah Sharpe-Lunstead, Elke Shihadeh, Judith Stahl, Judy Tobie, Kathy Wosika, Abby Schwartz. In-Kind: Adobe Systems Inc., Janet DeBoer, Jim Escalante, Peter Ford, Rick McSorley, Microsoft Corporate Citizenship, Steve Miller, Britt Quinlan, Amy Richard, StorterChilds Printing Company Inc. Founding Contributors to the Hand Papermaking Endowment: 49er Books, Shirah Miriam (Mimi) Aumann, Cathleen A. Baker, Tom Balbo, Timothy Barrett, Sidney Berger & Michele Cloonan, Tom & Lore Burger, Jeffrey Cooper, Jeanne M. Drewes, Jane M. Farmer, Fifth Floor Foundation, Helen Frederick, Sara Gilfert, Susan Gosin, Joan Hall, Lois and Gordon James, Sally Wood Johnson, David Kimball, Elaine Koretsky, Karen Kunc, Barbara Lippman, Winifred Lutz, Susan M. Mackin-Dolan, David Marshall, Peter Newland Fund of the Greater Everett Community Foundation, Margaret Prentice, Preservation Technologies L.P., Michelle Samour, Peter Sowiski, Marilyn & Steve Sward, Betty Sweren, Gibby Waitzkin, Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela & Gary Wood.315 West 36th Street New York, NY 10018 t 212 226 0573 f 212 226 6088 www.dieudonne.org Papermaking Classes & Studio Services Contemporary art through handmade paper Classes The studio now offers three distinct classes for serious artists and creators to explore the potential of handmade paper: Introduction to Contemporary Papermaking, Creative Techniques for Artists, and Open Studio. All sessions are three-hours in duration and include assistance from artistic staff. See our website for descriptions, dates and times. Studio Services The studio specializes in collaborative, custom paper and publishing projects. Visual artists work in collaboration with highly skilled artistic staff to create both unique and editioned two- and three-dimensional works. The studio also produces handmade papers with museum archival standards while also allowing the artist freedom with materials of their choice. Please call to arrange a consultation with artistic staff.