HAND PAPERMAKING N E W S L E T T E R 

Number 104, October 2013 

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 (January 2014) is November 7. 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; tax ID number 52-1436849. 

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. 

Dear Readers, 

Some of you long-time subscribers will recall my work in the pages of Hand Papermaking, 

especially Tim Barrett’s interview in the Summer 1993 magazine (see cover photo), and my “clown paper” in the 1994 Decorated Paper portfolio. It has been a long time since I was able to focus on my own work. 

My past 12 years have been used to research, practice, and apply skills to produce artwork for other artists. I worked as the Master Papermaker at Singapore Tyler Print Institute from 2001 to 2011. My next position was as the Director of Artist Operations at the YogyaArtLab located in Yogyakarta Indonesia. The YogyaArtLab operated from April 2012 to June 2013. Both positions utilized my talent as an artisan where I executed project-specific paper, fabricated mixed media sculpture, and created paper pulp artwork for regional, national, and international artists. 

Prior to working as a technical wizard to create art for artists I followed my own dream of doing my own artwork. In 1982 I completed an MFA program from the University of Illinois Urbana-Champaign. Upon receiving my Master’s degree I operated my own private art studio practice and had the opportunity to teach as a Visiting Artist at the School of the Art Institute of Chicago. During that period I produced a line of exclusive handmade paper and I exhibited my art in various international exhibits. My direction shifted to publishing when I was offered the position of Master Papermaker. 

So after the 12 years of working to publish fine art for other artists I am returning to my roots as a practicing artist. I started producing a series of 12 small wood cut relief prints. I invite you to view photos of the work in progress and contact me at www.gofundme.com/3hig8o 

Stay in touch! 

Richard Hungerford 

Singapore 

Dear Hand Papermaking, 

After two and a half years of research, writing, interviewing and editing, I am truly excited to announce the completion of my book, Authentic Visual Voices: Contemporary Paper and Encaustic. Deeply committed to the use of these two media in my own artwork for decades, 

I was and am inspired by how many artists had begun to integrate paper with encaustic. 

Calling it “cross-pollination,” I was keen on introducing these two media worlds to each other. I did lots of research to discover the artists who’d been exploring the integration of paper and encaustic for many years on their own, developing techniques and methods that corresponded to their needs. Compiling a database of international artists (created initially with my colleague, artist Haley Nagy), I realized that the real story lay in understanding the artists. Not the how behind the media, but the whys behind the choices artists make to express ideas. 

To my curatorial eye and aesthetics, a number of artists deeply intrigued me and I decided to pursue traveling to their studios to talk directly with them. With the help of generous donations to my fundraiser through USA Artists Projects, I went on the road with video camera in hand. I documented my visits though journaling, photography and video. I can’t tell you what a thrill it is to finally publish the results of my research. It has truly been an amazing journey, one that I invite you to share with me. 

Each of the 28 artists were asked to create a new work in front of the camera and complete it for inclusion in this book. The content-rich, image-filled portfolio pages of these artists are followed by another gallery of compelling works and ideas by more than 100 international artists. I am truly inspired by all these artists, many of whom make their own paper and all of whom use paper in unique ways. 

Some of my 28 interviewees you might recognize as artists who have worked with handmade paper for a long time: Lynn Sures, Roberto Mannino (via Skype!), Laura Anderson Barbata, Joan Giordano, Georgia Deal, Tatana Kellner, Timothy McDowell, Maya Lea Portner, Priscilla Robinson, and Mona Waterhouse. Come with me into their studios and hear them speak about their ideas, inspiration and artwork in their own voices! 

Among the 102 artists whose work are included in the gallery section are Grimanesa Amorós, Haley Nagy, Nicole Donnelly, Bonnie Ferrill-Roman, Nancy Hersh, Amy Jacobs, Betsy Holster, Stefana McClure, Michele Belto, Laura Moriarty, Charmian Pollok, Jill Powers, Annica Stiernlöf, Ismet Tatar, Pat Torley-Gentenaar, and Gibby Waitzkin. What I find most inspiring are the hows and whys behind how these artists innovatively use paper to express and enrich their content. 

Authentic Visual Voices is a rich survey of international artists whose work explores the diversity of paper combined with the unique properties of encaustic wax in collage, photography, printmaking, sculptural paper, and artists books. The book is a pdf with embedded videos and is burned onto a DVD that is playable in your computer: a total of over 380 color images and almost five hours of edited video (29 ten-minute video interviews)! 

You can view the intro video and a sampling of excerpts at www.authenticvisual voices.com 

I hope that you enjoy the journey as much as I have! 

Catherine Nash 

Tucson, Arizona 

> ALONG THE PAPER ROAD... 

This regular feature offers paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. In this column, Elaine expresses her conviction that the importance of the silkworm's role in the origin of paper has not been fully recognized. 

The summer has been hot and humid and has not been conducive to the pursuit of my interest on the subject of the origin of paper and in particular the role of the silkworm (Bombyx mori) in the invention of paper in China. Fragile health has markedly inhibited my productivity but has not altogether stopped my investigations. As I have mentioned in previous “Along the Paper Road” musings, there have been a few references in Chinese literature over the centuries suggesting that the silkworm has played a significant role in the origin of paper. I have become thoroughly convinced that the silkworm has not been satisfactorily recognized for its seminal role in paper history. The silkworm is not actually a “worm” from the point of view of scientific classification. It is properly a larva and represents one stage in the life cycle of the silkworm moth. 

To digress for a moment (and I justify this as a literary license since I am an octogenarian), one of the most delicious meals I have ever enjoyed during my paper expedition travels in China consisted of fried larvae of the horse fly. 

Silk had been cultivated for almost two thousand years before paper was invented. As I mentioned in the July 2011 issue of Hand Papermaking Newsletter (No. 95), there are references in ancient Chinese writing regarding the silk production industry and its use of cocoons in the making of the earliest paper. It was noted that after the silk cocoons were boiled in water and the silk threads reeled in, the water was drained from the tank, and refuse from the cocoons remained on a screen at the bottom of the tank. When this matted material of refuse dried, it could be peeled off, and resembled paper. It was discovered that this silk paper material could be used as a surface for writing and drawing. However the high cost of producing the cocoons discouraged people from developing “silk paper.” It was subsequently observed about 200 BC in China that tiny fragments of hemp, flax, or rope coalesced in a similar manner when dried, producing a surface suitable for writing and drawing. This latter development resulted in the invention of paper. 

Another observation suggesting the silkworm’s significant role in the invention of paper was the making of the paper-like felt that the silkworms produced as they were in the stage of their life cycle where they were about to spin their cocoons. The felt is made by placing a group of silkworms that are in the early stage of becoming cocoons on an elevated flat surface. The worms crawl around looking for a place on which to anchor themselves, which they need to do in order to spin their cocoons. Unable to anchor themselves, they begin to exude trails of silk fiber as they slowly move across the flat surface. After three days of crawling back and forth across the surface, the worms shrivel up into the pupa stage of their life cycle, and the cohesive layering of silk strands is removed from the surface, resulting in a sheet of matted material resembling paper. I actually observed this phenomenon in Shiqing Village in Guizhou Province in 2003. I saw this process in the making of silk felt used as decorative squares and triangles, embroidered to ornament clothing. This surface can also be used for the purpose of writing or painting. But again, production of the matted material is high in cost and this is the reason why the silkworm never succeeded in playing the role of papermaker. 

I have spent the past three years observing the silkworm producing paper by slowly moving back and forth across a surface. Cultivation of the silkworm to produce paper requires time and patience. It involves raising the silkworms in a warm protected environment. They must be fed on a regular schedule and are fastidious in their selection of the food in their diet. They will consume only the leaves from the Morus alba tree. I buy this food from the supplier of the silkworms. However, last year I purchased seeds of this tree from a plant nursery and began to grow seedlings, which are now nearly one foot tall. I intend to plant them into the ground in my garden, which is already growing a variety of plants used in the traditional making of paper. The plants are grown on the grounds of the Research Institute of Paper History & Technology here in Brookline, Massachusetts. 

In summary, I want to elevate the lowly Bombyx mori to the highest level of recognition to honor the seminal role it has played in the origin of paper in China.

> TEACHING HAND PAPERMAKING 

Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. Here Winnie describes an art center residency in which she taught casting and embellishing paper vessels to five classes with seventy-one students. 

Earlier this year, in May, when I received a request to conduct a second spring artist residency in a New Jersey High School, through Appel Farms Art and Music Center, I was overjoyed. What good fortune that another art teacher wished to have me introduce the art of papermaking, in the form of Cast Paper Vessels, to their students! I grabbed pen and tablet to record the details, which I was soon to learn would provide me with quite a challenge. 

The residency was another short one, of five day’s duration, to be scheduled close to the end of the school year. I was to be part of an “Art Academy Program,” which afforded a teacher the opportunity to host four artists working in different disciplines over a period of twenty days. In addition to papermaking, the classroom instructor had selected artists to teach origami books, glass painting, and snow globes, an interesting mixture of three-dimensional experiences. 

My schedule consisted of five days of my choosing, which would start at 8:30 am and end at 2:30 pm. During that time I would see five different classes of art students, some majors and some crafts focused, for a total of seventy-one students daily. The class periods were forty-five minutes in length. Initially, that sounded like a short period of time to complete seventy-one cast paper vessels, but I’d figure out a way to accomplish this. 

Because the school was not close to my home and I would need to commute through two rush hours of traffic each day, I decided to spread my visits out over a three-week stretch. I also considered that I needed to allow drying time for the paper before the finishing embellishment could be done. On day one I would give a brief history-of-paper lesson and allow each student to form a sheet of handmade paper which could later be collaged to the exterior of their casting. I scheduled two consecutive days for the actual casting, then, a week later, two consecutive days for surface design applied with acrylic paint. 

As I started to think about and prepare for the beginning of the residency, a mental shopping list began to take shape. I would need seventy-one not-too-large clear plastic bowls to act as moulds. I’d need plenty of other plastic containers to hold the casting slurry at the correct hydration consistency so that groupings of students at their work stations could easily access the pulp. Everyone would need sponges for pressing and water receptacles for the excess. And I might need to cover the wet vessels overnight to keep them moist. My local “dollar store” was my supply destination of choice, and I was not disappointed. 

I will state right here that my favorite part of this entire residency was the brainstorm I had about an addition to my casting design. Often, I have students cut and adhere pieces of handmade paper (through the surface tension of water) to the interior sides of plastic bowls prior to casting pulp atop. Sometimes I have students roll out a linear design from Mortite Window Seal and adhere that to the plastic walls before casting. This technique yields an incised line for embellishing in the finished work. But my brainstorm was to have students cut the type of “Fun Foam” that has sticky backing on one side into shapes to adhere to the walls, yielding debossed areas in the vessel, perfect for focal points in the final design. This turned out to be a strategy I have already repeated in other casting classes! 

Each new residency presents a different population of students with their own group dynamics and previous experiences. I was initially very “charged” to walk into art classes that were in their own isolated building on campus, along with the music classrooms. The room was filled with all the exciting stuff of making art, richly textured and stimulating. Although armed with a variety of handmade paper samples, including a three-hundred-year-old watermarked sheet of linen rag paper, I’m afraid that my first day of brief history, followed by making their first handmade sheets of papyrus-inclusion paper, failed to excite my new audience to the extent I have come to expect from past experience. Clearly, I was not preaching to the choir! I took my leave of them, strategizing about ways to further engage them and hoping the three-dimensional project would hold some appeal. 

The next week involved two wet days. On the first day each student was presented with a plastic bowl/mould, filled with a piece of Fun Foam, a sponge, and the bribery of a couple pieces of candy (yes, shame on me!). They also received their dried paper from our first meeting (and seemed disappointed that it wasn’t white). They were to design and cut four or five geometric or free-form shapes, using either or both the Fun Foam and handmade paper, to fit within the height of the bowl walls. Then they were to adhere the designs to the interior bowl walls through either the surface tension of water or the stickiness of the Fun Foam backing. Once that was accomplished, I showed them how to “patty-cake” small wet handfuls of neutral grey pulp between open palms to align the fibers, then line the bottom of their bowls with this pulp. Our forty-five minutes were up just in time to cover all the bowls with foil and store them for the next day. 

Conveying to casting newcomers how to strike the optimal balance of water to pulp when casting the sidewalls of vessels is generally tricky. One must retain enough water to keep the pulp fibrils open and ready to receive adjoining fibrils, while not letting the work become so soggy that pulp slumps to the bottom. 

To be continued in the next issue... 

> PAPER HISTORY 

Maureen and Simon Green, from the United Kingdom, write a joint column on Paper History. Maureen is a paper historian, and author of Papermaking at Hayle Mill 1808-1987. Simon was the last of the Green family to run Hayle Mill. He provides consulting services to papermakers worldwide. This is the continuation of ‘Paper, the Fifth Element,’ Maureen and Simon’s column in the last issue. Here are more recipes for making papers for specific needs, taken from the book “Prepared Papers and How to Make them: a Collection of Practical Receipts.”

Fly Paper (Another Mode) 

Dissolve, in one gallon of warm water, one ounce of arsenic and half-a-pound of lump-sugar, in which steep sheets of white filtering paper for a few moments until they are thoroughly saturated, during which time the solution should be kept agitated. Then hang the sheets on lines, and when dry, cut up into pieces of convenient size and place them in shallow plates or saucers in places infested with insects, and moisten by pouring on them just as much water as they will absorb. They will be found to attract and instantaneously kill flies, wasps, gnats, mosquitoes, and similar insects. 

Under the listing Gout Paper, readers are directed to a more benign solution for a variety of common aches and pains. 

Rheumatic Paper 

Take of euphorbium one drachm, cantharides four drachms, and strongest rectified spirit five ounces. Of these make a tincture, to which add Venice turpentine one and a-half ounces, previously liquefied with two ounces of resin, and spread this mixture thinly on a demy of middling thickness. The paper is applied by adhesion to the parts effected, and is in many cases found very efficacious in allaying or removing pain.1 

Alternatively, there are two recipes for: 

Poor Man’s Plaster 

This is a thin brown or white paper spread thinly over with black pitch, and applied to parts of the body affected. It is said by medical authorities to be stimulant and counterirritant, and good in rheumatism and chest infections. 

Poor Man’s Plaster, Another Mode 

Take bees-wax one ounce, tar and resin each three ounces, melt together and spread on thin brown paper. 

Lastly, the author of this useful little booklet includes a recipe for: 

Incombustible Paper 

This paper may be made of almost any description, but white papers of the printing or unsized kind are best adapted for this purpose, by dipping in a strong solution of alum or salammoniac, and then hanging across lines to dry. Borax, and phosphates of soda and ammonia, will also answer the purpose of alum.2 

While some of the ingredients required are banned substances, a surprising number are available in small quantities, or in bulk, from Internet or other suppliers. Whether the efficacy of the suggested recipes rivals that of current over-the-shelf preparations remains to be seen. However, the authors would like to emphasize that they will not bear responsibility for disappointing results, any damage to property or personal injury caused by improper use or failure to observe standard safety practices when replicating and using any of the receipts appearing in this article! 

1. Euphorbium – the milky sap of several species of Euphorbia, a cactus-like perennial. Drachm = 1/8 of a fluid ounce. Cantharides (Blister Beetle or Spanish Fly - family Meloidae, Lytta vesicatoria). 

2. Salammoniac - (ammonium chloride NH4Cl) 

> 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 forty years. Here Sid describes textured papers and papers printed in multiple color combinations. 

Finding new sheets of decorated paper for our collection is not a problem: they are all over the place. A quick trip to the Google search box under “decorated paper sources” got me more than 44 million hits. A recent trip to France gave my wife and me the opportunity to add several dozen sheets to our collection; and what continues to amaze me is the variety in this medium. 

The diversity is in the number of decorations that artists have come up with over the centuries, and also in the amazing array of techniques they have employed. The artists who create decorated paper have, over the centuries, come up with a great number of ways to manipulate colors and shapes and textures to yield pleasing patterns and surfaces. As this last sentence suggests, the artistry is tactile as well as visual. The decorated paper is not only beautiful on its surface, that surface itself can be textured in many ways— ribbed or embossed or debossed or rough or smooth. Its texture can feel good in the hands and can also catch the light, changing the paper’s look from varying angles. 

One sheet we got on our French trip felt something like batik in that it had a kind of waxed feel to it. Some kind of varnish had covered the motley-painted sheet, and then it was crinkled throughout, leaving a dense reticulation of raised and depressed surfaces in a completely random distribution over the entire sheet. Then a roller or some other method of pigment delivery system had deposited a gold ink over the sheet touching only the raised lines and dots. It was not a stunningly beautiful sheet, though it was quite hauntingly attractive. What amazed me was the way the gold had been added as a touch over a crinkled decorated paper—the gold adhering only to the raised areas and the rest of the pattern showing below it. And the gold shone in certain places if the light bounced off it just right. This was a really unusual decorative technique, and in our vast collection of papers, I believe this may be the only one adorned this way. 

Another small sheet that we got on the France trip was a purple leaf, as soft, floppy, and pliable as a soft cloth, with what felt like a creped finish. Crepe paper is made by being “wrinkled” thousands of times in endless directions, so that the sheet “shrinks up” fairly uniformly, vertically and horizontally, in the wrinkles. The Hasegawa crepe paper books that I wrote about in this column a few years ago are all printed on this kind of paper. In our collection we also have a Hasegawa book, from the same fairy tale series, but printed on flat paper—the same paper as was used for the books printed on creped sheets, but one that was not creped. It is distinguishingly larger than other books printed on the same size paper, but the others are on crepe paper, hence those books are a bit shorter in both directions than the one printed on flat paper. 

The little sheet of our recent purchase was creped, but not in all directions. It looked as if it had been creped almost in a single direction, but with the sheet having been turned a bit in the creping so that the pattern of “folds” or “wrinkles” was in a gentle arc. Like the crinkled sheet described above, this was not a particularly beautiful piece of paper. Other than being colored a rich purple and feeling soft as fine cotton, it had no other decorative elements, and it would not stand out as an artistic achievement. But the technique and the feel of the final product make it quite unusual—even rare—and it stands out for me as some person’s attempt to make something that is attractive and functional, and different from any other paper. 

One other phenomenon that this latest group of papers exhibits is worth mentioning: three sheets with identical patterns, but printed in different color combinations. Throughout our collection we have papers that are decorated in some traditional way—usually with stencils or block printing—that exist in two or more color combinations. We especially have sheets of chiyogami that exhibit a single pattern but that have been made in as many as a dozen different color combinations. A few of the sheets we got in France were like this, but they are clearly from elsewhere in Europe, probably Austria or Germany. They were probably done in the last quarter of the nineteenth century and they were perhaps machine printed (though the printing could have been done from wood blocks—it was hard to tell), and three sheets with identical patterns were done in three color combinations, creating completely different aesthetic experiences. Two of them hardly looked alike—the variation in their colors made them look like completely different patterns. By varying the colors of the pigments and the tints of the papers on which the patterns are printed, the artists have created an amazing array of decorated papers. 

For me, part of the fun of collecting decorative papers is in the beautiful patterns that artists have created. But equally enjoyable is observing the amazing variation in the ways the decorated papers have been produced. I like to say to people who come to see our collection, “There is no end to this madness.” But I should also add, “There is no end to the pleasure that papers can give.” 

Editor’s note: Sid’s columns about Takejiro Hasegawa’s crepe paper books were published in Hand Papermaking Newsletter No. 84 (October 2008), No. 85 (January 2009), and No. 86 (April 2009). 

> FOR BEGINNERS 

Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. Here Mary expands on her previous column, describing techniques for using stencils for pulp printing. 

In the July 2013 issue of Hand Papermaking Newsletter (No. 103), I discussed what it means to practice a technique or skill as a beginner, using my Printing with Pulp class at Fleisher Art Memorial as a reference point. Our practice led to discoveries that refined our technique in working with very finely beaten pulp sprayed onto base sheets through screenprinting mesh stencils. 

An overview of this Pulp Printing technique was published in the July 2008 Hand Papermaking Newsletter (No. 83), in which Helen Hiebert interviewed Drew Matott in the “Unique Technique” column. After reading this column, here is some additional guidance that beginners might find useful. 

Matott recommends using a 60 mesh screening stapled over a wooden frame. We worked with finer mesh counts with success (though this may require further beating of the spray pulp in the Hollander beater), stretched onto special screenprinting frames via a cord-set system. These systems, available from some art supply stores, consist of a wooden frame with a groove in it. The polyester screening is soaked and then stretched across the frame by wedging it into the groove with a cord. A cord setting tool aids the process, but a small thin piece of wood and a mallet will do the trick as well. Measure out a length of cord for each side of the frame. Start by wedging the cord in at the center point on each side of the frame, gradually working your way towards the edges as you turn the frame. 

This method produces a screen tight enough to coat evenly with photo emulsion without stressing your hands with continual staple gun use. This screen can now be coated and exposed in the same way one would for screenprinting, and then removed from the frame. As recommended in the July 2008 column, we coat the screen with emulsion on both sides to help it stand up to repeated use and soakings. 

In collaboration with my students, we have found the following techniques to yield strong results. 

1) Stencils should be moist but not too water-covered. Dip the stencil in water and blot it on a chamois. 

2) Ensure good contact between the stencil and the wet base sheet by going over the stencil with your index finger and very light pressure. 

3) Do not wait to add stencils to your wet sheet of paper. If you pull a sheet, and then stand talking to someone for a while, there is a higher likelihood that, when you return to adding your stencils to the paper, the finely beaten sprayed pulp will migrate outside the stencil edges due to the wicking of moisture as additional water drains from the sheet. (It may not look like moisture is draining once you’ve couched it onto your post of wet sheets, but have you ever noticed after pressing that papers on the very bottom of your post are wetter than those at the top? Gravity is still at work!) 

4) Different stencils may have different requirements. More finely detailed images will tolerate less pulp in the application. Spray a modest amount of pulp across the stencil. The whole area does not have to be covered, because we can lightly rub the area with our fingers to spread the pulp evenly and push it through the stencil. 

5) Some students had better results with manipulating the pulp through the stencil by hand, while others experienced more success in blasting the stencil with a generous amount of pulp. (The latter seemed to work well for large open areas.) Experiment to see which method works better for you. 

6) Stencils can be layered endlessly! Blot your work with a chamois or pellon and sponge every few layers to keep your post from getting too watery. 

A reminder that stencils must be spread out to dry. Stacked stencils will stick together. Hang stencils to dry from a line, being sure that the clothespin grips an area outside the image lest it mark the emulsion. I found that spreading the stencils on a print drying rack (coated metal) to be effective as well. Remember not to wring out your stencils as you wash them or you will break down the emulsion. 

As you experiment with this technique you will find that it allows for a surprising amount of detail. Samples of work from this class are viewable at www.citizenhydra .net/printing-with-pulp.html 

> more for beginners at 

newsletter.handpapermaking.org/beginner 

> PAPER IN ACTION 

Margaret Mahan, a member of the Peace Paper Project, brings papermaking to marginalized communities as a form of social action or art therapy. ‘Institutionalizing Peace’ is Margaret’s column about developing hand papermaking as part of trauma therapy while working with veterans.

In 2011, the Edward Hines, Jr. Veterans Affairs Hospital, in Hines, Illinois, incorporated Art Therapy into their Recreational Therapy with the promotion of art therapist Erin Mooney, LCPC, ATR. This year, the Hines VA Hospital introduced another new element to their programming: hand papermaking. 

Transforming military uniforms into handmade paper is not necessarily a new concept for me, Drew Matott, or those paying attention to trends in hand paper 

Transforming military uniforms into handmade paper is not necessarily a new concept for me, Drew Matott, or those paying attention to trends in hand papermaking 

When we created Peace Paper Project, it was a natural progression for us after contributing several years to Combat Paper Project. Peace Paper responds to the Art Therapy community’s interest in hand papermaking by holding workshops for healing populations alongside art therapists. Included in our various collaborations with these professionals is papermaking as trauma therapy, involving workshops directed specifically for veterans. 

Currently, our strongest workshops for veterans are facilitated regularly at the Hines VA Hospital. Erin Mooney has designed a program for inpatient and outpatient participants which enables them to practice hand papermaking with Peace Paper Project several times annually. We are honored and enthused to provide these veterans with the creative process of making paper from unserviceable military uniforms. It is especially important that we are able to hold these workshops on site at the VA, where our groups can meet at their convenience in an accessible location. 

The processes that we utilize are no different than our other workshops, but we are mindful of the amount of time that is most comfortable for papermaking. We also emphasize wheelchair accessibility for sheet formation, which is carried out in western and Nepalese traditions. It is important that we have a vat of pulp from each branch of service for people to get started with, and it is exciting to observe the freedom with which the new papermakers mix the colors with double couching, double dipping, and pulp printing towards the close of the workshop. As for beating, individuals will cut up cloth that is either theirs or is from the community rucksack, and together we add each handful to the beater in one batch.One huge benefit to these workshops is that they do not start and end when we arrive and leave. The papermaking is just one piece of a larger recreation and artmaking program. For this reason, our participants are often looking forward to what they will do with their paper once it is pressed and dried. Erin Mooney keeps us up to date on the various projects her groups are working on. We absolutely love this, because we want our participants to engage with their paper and build on the new processes they learn. Since the Hines groups we work with exude interest and vision with their papermaking, it is all the more encouraging hearing the various ways they use the paper. The practice of mandala making is embraced by many art therapists, including Mooney, for its benefits of centering the maker. She shared with me that our inpatient and outpatient papermakers from the VA have been creating mandalas with their handmade papers. In this exercise, the individual focuses on the paper materiality through meditation. He or she develops the mandala on the paper in this mindful state, and in doing so works towards centeredness and wholeness. It is fitting that handmade paper is being used for further art and meditation.Another application on the handmade papers is collage. Mooney’s groups practice collage making on their papers as part of the open studio process. At this time, participants have the freedom to incorporate creative writing and various art making techniques of their choosing onto their paper. With several papermaking workshops at the Edward Hines, Jr. VA Hospital on the schedule for the next year, including our Veterans Day exhibit and demonstration, I am optimistic for the future of our relationship with Veterans Affairs. It is a triumph that such a massive institution, servicing such a cross-generational healing population, should establish programming that enables art therapists and artists to use their skills to benefit this population. This work goes beneath the surface of the paper, beneath the source fiber of the uniform, to the creative intention of the individual to make art, and in that moment, to find peace.

> 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. In this column Eugenie discusses the paper and book works of Bridget O’Malley.

Last summer Bridget O’Malley was part of a group exhibition at The Morgan Conservatory titledCircle Works. The show presented handmade paper artworks from Cave Paper, including offerings by Amanda Degener, James Kleiner, and interns from the mill. Celebrating the circular nature of the learning exchange between teacher and student, Cave wished to acknowledge the collective efforts which result through the collaboration between those working side by side daily, each individual bringing a unique aesthetic to the slurry. O’Malley met Degener in1985 at Minnesota Center for Book Arts, eventually becoming a volunteer and assistant. During graduate school at the University of Iowa in the late eighties, she studied woodcut, book arts, and papermaking as the first apprentice to Tim Barrett. After years of maintaining contact with Amanda, in1994 Bridget returned to Minneapolis. The two joined forces and skills to form the essence of Cave, Bridget becoming the production manager as well as a teacher. Since 2005 O’Malley has also been an Adjunct Professor at the Minneapolis College of Art and Design. A glimpse of her teacherly humor and clarity can be found in the Summer 2013 community cookbook issue of Hand Papermaking (Vol. 28, no. 1). 

In her artist statement for the Cave Paper website Bridget describes her creative intention as that of self-discovery on many levels. From “raw feeling and emotion” her imagery evolves in order to “contain, sustain, nourish and protect a fragile life force. Mine.”1 That life force also inspires her as a production papermaker and provides an earnest intellect. While her personal work acts as an experimental synthesis of her skills as printer, binder, and papermaker, her work at the vat produces sheets of luxurious sensual consistency much desired by printers and book artists. The Cave website has an overview of the bookwork projects by various artists using both Cave signature papers and custom papers designed for specific projects. 

As for Bridget’s own work, I personally favor her watermarking, with its clean, clear, and meaningful imagery. One of my favorite images is “Toward Center,” a circular labyrinth that she incorporated into a broadside contribution to the multi-artist portfolio edition From Start to Here: 25 Years of Minnesota Center for Book Arts in 2010. O’Malley classifies her forms as “biomorphic.” Her piece Pattern Recognition, shown at the recent Morgan exhibition, is a series of three panels of kozo hanging side by side, with wing, fingerprint, and leaf pattern watermarks. In her statement about the work for the Hand Papermaking Registry she comments: “The Pattern Recognition is about the microcosmic/macrocosmic similarities that exist in nature. The veining in plant leaves, for example looks very similar to the human capillary system. Fingerprints are unique yet identifiable as fingerprints. The human eye and brain is designed to pull out patterns from a random miasma called life. You look up at the clouds or at the thick impasto plaster on a wall and see a face or a turtle or some other ‘real’ shape. This is fascinating to me. It is also fascinating that these images can be pulled out of the handmade paper which is itself a random mass of fibers.” 

Some of O’Malley’s book works can be seen on the Cave website1. One can also navigate Hand Papermaking’s archives for references to her. In the 2010 Portfolio #9, Handmade Paper in Motion, Bridget collaborated with Emily Martin, creating a colorful pop-up construction of Pandora’s Box compete with serpent and a gift tag from Zeus. For One Bridge, One River, One Year, circa 2009, Bridget took a daily photo of the Mississippi for a year. Photos were incorporated into a hand-bound journal. The pulp painted text pages are bound in long stitch to a walnut dyed flax paper cover. When spread, the cover reveals the cutout image of a bridge. 

Bridget’s ability to synthesize tradition and innovation provides an eloquent contribution to our field. Sometimes when I am working at my vat I think of her because I know she is likely to be at the vat herself, being a papermaker who has devoted her daily routine to the craft. Much of her work is easily recognized as “O’Malley.” Her training and perspective are strongly rooted in a tradition of craftsmanship combined with an impish curiosity and freely expressive spirit. 

1. http://cavepaper.com/bridget.html

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 January 2014 Newsletter is November 7. 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 

1890 Bryant Street Studio 308, San Francisco, CA, www.rhiannonalpers.com, rhiannon. alpers@gmail.com. Papermaking workshops in the studio of Rhiannon Alpers. 

Japanese Watermark, September 7-8, with Elizabeth Boyne and Nif Hodges. Use contemporary tools to emulate the traditional tesuri-kako-ho, or hand-rubbing, method of creating watermarks in Japanese paper. 

Sculptural Papermaking & Armatures, September 28, with Rhiannon Alpers. Create custom shaped paper sculptures from armatures, covering the structures for varied transparency effects. 

Asheville BookWorks, Asheville, NC, (828) 255-8444, www.ashevillebookworks.com. Hands-on workshops including bookbinding, printmaking, decorative paper, and basic papermaking. 

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. 

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. 

Paint a Picture with Paper Pulp, February 7-9, with Chery Cratty. Work with a porcupine quill and a basic palette of colors in this unique approach to painting with pulp. 

Painting on Handmade Paper, April 20-26, with Margaret Estes. Make paper from natural, recycled materials and then paint on it to create beautiful works of art. 

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. 

Herrnhuter Buntpapier: German Paste Papers, October 19, with Deborah Evetts. Create paste papers based on the distinctive historical paste papers made in Germany during the 19th and 20th centuries by the Herrnhuter sect of the Moravian Church. 

Carriage House Paper, Brooklyn, NY, (800) 669-8781, www.carriagehousepaper.com. Papermaking workshops offered in a new studio space. Visit website for workshop schedule. 

Columbia College Chicago Center for Book and Paper Arts, Chicago, IL, (312) 344-6630, www.bookandpaper.org. Papermaking classes in spacious downtown studios. 

Desert Paper, Book and Wax, Tucson, AZ, (520) 740-1673. Papermaking, book, and mixed media encaustic workshops, as well as consulting and studio rental. Visit www .papermakingresources.com for registration information. 

Combining Two Ancient Media: Paper & Encaustic, November 11-13, with Catherine Nash at Zijdelings Studio in Tilburg, Holland. Combine encaustic and paper to create unique waxed based paintings, collage, assemblage, and mixed media sculptural works. 

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, October 15, November 5, December 3, or January 7, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques. 

Creative Techniques for Artists with Open Studio, October 22, November 12, December 10, or January 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. 

Fine Line Creative Arts Center, St. Charles, IL, (630) 584-9443, www.fineline.org. Providing year-round classes in papermaking, textiles, and other art forms. 

Papermaking with Natural Fibers, October 25-26, with Carol Kazwick. Collect plants and flowers from around the barn and the prairie and process them into beautiful and unique handmade paper. 

Fleisher Art Memorial, Philadelphia, PA, (215) 922-3456, www.fleisher.org. Offering workshops and community programs in a range of media. 

Printing with Pulp, September 9 - November 11, Mondays, with Mary Tasillo. Use silkscreen techniques combined with finely beaten pigmented pulp to create imagery within handmade paper. 

Kalamazoo Book Arts Center, Kalamazoo, Michigan, (269) 373-4938, info@kalbook arts.org, www.kalbookarts.org. Classes in book printing and binding, printmaking, hand papermaking, and creative writing. 

Metal, Paper & Light, October 5, 12, 19, & 26, with Kim Hosken Eberstein and Martin Detwiller. Blend sculpture, functionality, metal, and handmade paper to create a one of a kind lamp. 

Kozo and Color, October 5-6, with Melissa Jay Craig. 

Lost Coast Culture Machine, Fort Bragg, CA, www.lostcoastculturemachine.org, (707) 691-1600. An artist-run contemporary art space focusing on interdisciplinary & sustainable creative practice, offering workshops in papermaking. 

Basic Papermaking, September 29 or November 10, with Anne Beck and Dietmar Krumrey. Learn the process of transforming recycled clothes & linens into handmade paper, while exploring the creative techniques of embedding, embossing, lamination & collage. 

Open Studio, September 29, November 10, or November 24, with Anne Beck and Dietmar Krumrey. Experience a demonstration of a different creative technique each session, followed by independent studio time under the guidance of studio instructors. 

Pulp Printing, October 13, with Anne Beck and Dietmar Krumrey. Burn an image into a silkscreen stencil and use it with extremely finely beaten pulp to create a print in one cohesive piece of paper. 

Contemporary Hand Papermaking, September 14-15 or October 26-27, with Anne Beck and Dietmar Krumrey through the Mendocino Art Center. Transform locally harvested plants and rags into paper, exploring creative applications including pulp painting, pulp printing, stenciling, embedding, and collage. 

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. 

Fall Harvest Papermaking, September 28, with Debbie Ketchum Jircik. 

Introduction to Papermaking and Sheet Forming, October 12, with Debbie Ketchum Jircik. 

Creative Sheet Forming Techniques, November 9, with Debbie Ketchum Jircik. 

Minnesota Center for Book Arts, Minneapolis, MN, (612) 215-2520, www.mnbookarts.org. Classes at the Open Book center for book and literary arts. 

Beater Training, October 1, November 5, or December 3, 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. Open Studio: Paper Beater, Tuesdays, with staff instructor. Beat fiber for paper for future sheet-forming. Open Studio:Marbling, October 12, November 9, or December 7, with staff instructor. Use studio tools and equipment to work on your own projects. Open Studio: Papermaking (B.Y.O. Fibers), November 23, 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 Book Arts, October 4 to November8, Fridays, with multiple instructors. Explore the Western tradition of papermaking and paper marbling, followed by bookbinding and letterpress applied to these papers. Introduction to Marbling, October 19-20, with Mary Holland. Explore the process and materials needed to marble paper for a variety of projects. Joomchi and Beyond, September 28-29, with Jiyoung Chung. Create strong, textural and painterly surfaces by layering and agitating Hanji (Korean mulberry papers) into works of art. Morgan Art of Papermaking Conservatory and EducationalFoundation, Cleveland, OH, (216) 361-9255, http://morganconservatory .org.Workshops in hand papermaking and the arts of the book in an innovative green environment.Unusual 3D Techniques for Paper, August 23-25, with Melissa Jay Craig. Learn intriguing methods that are used specifically for kozo and high-shrinkage fibers, including the creation of molds, armatures, and mounting strategies and the use of fiber reactive dyes for vibrant color. 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.Watermarks, October 6, with studio instructor. Create your own stationery with watermarks. Pulp Painting and Lamination, October 27, with Mary Manusos. Paint with pigmented paper pulps, pressing sheets of paper together in order to create a unique work of art. Colored Pulp and Inclusions, November 3, with studioinstructor. Learn design techniques that will transform your sheets of paper into frame-able works of art in their own right. 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. PyramidAtlantic, Silver Spring, MD, (301) 608-9101, www.pyramidatlanticartcenter.org.Workshops in papermaking, printmaking, and book arts. Joomchi and Beyond,September 20-22, with Jiyoung Chung. Explore this unique Korean traditional way of making textured handmade paper by using water and your hands to create contemporary art forms. Calling Cards from Local Fibers: Papermaking and Screenprinting, September 28 and October 4, with Gretchen Schermerhorn and Sarah McDermott.Learn basic sheet forming from several local fibers, then design and print your own calling cards on your handmade paper. Watermarks, October 6, with LynetteSpencer. Use mixed cotton abaca paper to create brilliant watermarks. Introduction to Western Papermaking, November 3, with Laura Kinneberg. Learn to prepare fibers in the Hollander beater, how to form sheets of paper, and how to color pulp with aqueous pigments. Sarvisberry Studio and Gallery, Floyd, VA, (540)745-6330, www.sarvisberry.com. Experience handmade paper in the heart of the Blue Ridge Mountains. 

Open Studio Days, call for schedule. Make your own paper and work on personal projects. 

The Society for Contemporary Craft, Pittsburgh, PA, (412) 261-7003, www.contemporarycraft.org. Classes in fiber, book art, and other media in Pittsburgh’s Strip District. 

From Plants to Paper, September 21-22, with Katy Dement. Learn about traditional Eastern papermaking while processing and beating plant fibers from the kitchen, yard, garden, and roadside, both green and dry. 

Paper & Color: A Tribute to Artist Donna Hollen Bolmgren, October 12-13, with Katy Dement. Learn about surface design, composition, and a variety of fibers while transforming sheets of colorful handmade paper into pulp paintings. 

Veggie Sampler: Japanese Binding with Vegetable Papers, November 23-24, with Karen Hardy. Master the basic papermaking process, adding vegetable materials and compiling the various vegetable papers into a book of samples. 

Upper Arlington Cultural Arts Commission, Upper Arlington, Ohio. For more information, contact arts@uaoh.net or (614) 583- 5310 or email gibby@sarvisberry.com. 

Exploration into Papermaking, September 21-22, with Gibby Waitzkin. 

> EVENTS 

The Friends of Dard Hunter will hold its annual meeting and conference October 17-19 in Saint Louis, Missouri, hosted by Washington University and Webster University. The theme is Papers! Please!, focusing on the role paper plays in the creation of our identities as individuals and communities. A four day pre-conference workshop period will be hosted by The Craft Alliance. The conference events and activities will include an array of workshops and demonstrations, lectures, exhibitions, and museum tours. For detailed information, visit www.friendsofdardhunter.org. 

Print, Produce, Publish, the College Book Art Association Conference and Annual Meeting takes place January 2-4, 2014, hosted by the Book Arts Program at the J. Willard Marriott Library at the University of Utah in Salt Lake City. The schedule includes members’ exhibition, invited speakers Lesley Dill and Craig Dworkin, panel presentations, studio demonstrations, roundtable discussions, student lightning round, vendors’ fair, Salt Lake City area tours, local exhibitions, student member portfolio reviews, members’ showcase, auction, and an exchange of folded forms. 

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 Morgan Conservatory’s Annual Open House and Silent Auction will take place October 5. Enjoy an evening of good food, live music, and great paper art. Last year over 450 people attended. Visit morganconservatory.org or call (216) 361-9255. 

A celebration of paper and print, the Los Angeles Printers Fair takes place October 5 at the International Printing Museum. For details see www.printmuseum.org/printersfair 

> EXHIBITS 

The Durango Arts Center announces the upcoming exhibit Washi & Other Ephemera: The Art of Hand Papermaking, on view through September 28, featuring handmade paperworks by ten nationally recognized paper artists and a retrospective installation by Mary Ellen Long. Timothy Barrett will be visiting guest presenter. For more information on the exhibit and associated programming, visit www.durangoarts. org or call (970) 259-2606.

Dieu Donné’s Annual Benefit Exhibition and Auction takes place September 12 through October 7, honoring Jane Hammond, Mary Sabbatino, Kate Shepherd, and Ursula von Rydingsvard. The auction will be held October 7. For more information, contact Bridget Donlon at (212) 226-0573 or bdonlon@dieudonne.org, or visit www.dieudonne.org. 

The work of Melissa Jay Craig will be on view at Kalamazoo Book Arts Center, Kalamazoo, Michigan, during the month of October, with an opening on October 4 from 6pm to 9pm. For more information, please call (269) 373-4938 or visit www .kalbookarts.org. 

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 Stephanie Sherwood in October. Visit www .papercircle.org or call (740) 753-3374 for more information. 

Trans-Fiber & Paper is 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. The exhibition is up until October 25. For more information, visit the Exhibits section of www.uaoh.net/culturalarts or call (614) 583-5310. 

Trees and Insects in a Time of Change, an art installation by paper and environmental artist Jill Powers, is on display in the BioLounge at the University of Colorado Museum of Natural History through October 27. The exhibition features beautiful patterns of winged insects, created from kozo, flowing across the wall casting intricate shadows. Visitors will hear the sounds of beetles beneath the bark in a forest piece. The installation includes work that explores and highlights the role of pine bark beetles in the altering of many of Colorado’s forests. For more information, visit http://cumuseum.colorado.edu/exhibits/current-exhibits or call (303) 492-6892. 

Fibremen 3 is an international fibre art exhibition of work made by men, taking place from October 23 to November 5 in Kherson, Ukraine. For details, visit www.scythiatextile .com. 

Innovations in Fiber Art VI, an International Juried Fiber Art Exhibition, takes place from October 24 to November 30 at the Sebastopol Center for the Arts in conjunction with the Surface Design Association. The exhibit features thought-provoking, unconventional and innovative fiber artworks expressed in a range of materials, juried by Susan Taber Avila, artist and Professor of Design at the University of California, Davis and Chutian Scholar at Wuhan Textile University in Wuhan, China, and Joan Schulze, artist and lecturer in fiber arts and collage. For details, contact (707) 829-4797, or visit http://sebarts.org. 

Time, a new artist book by Shireen Holman, has been awarded First Place in the exhibition The Book as Art: 21st Century Meets Tradition, presented by the Decatur Arts Alliance and the Art Institute of Atlanta. The pages of Time are all handmade paper, incorporating pulp painting. The exhibit features 47 works. View them at www.decaturartsalliance.org Drawn and Mirrored, an installation of work by paper artist Michelle Samour that explores the overlays between the Victorian and Contemporary notions of collecting is on view at the New Bedford Art Museum through November 10. Contact the museum at (508) 691-3072 or http://newbedfordart museum.org/. 

The Guild of Papermakers presents Paper Sojourn at Montgomery County Community College’s West Campus Gallery in Pottstown, Pennsylvania from October 30 through December 13. This exhibition features new work in handmade paper by Guild members. More information will be available at www.guildofpapermakers.com and at http://tinyurl.com/aoahlzn as the exhibit approaches. 

Peter Ford was joint winner of the Royal Academy Summer Exhibition Print Prize with a woodcut on his own paper. When the Royal Academy was founded in 1768 one of its key objectives was to establish an annual exhibition, open to all artists of merit, which could be visited by the public. The first Summer Exhibition took place in 1769; it has been held every year since without exception. 

Social Paper, an exhibition of socially engaged work in hand papermaking, will be on view February 10 through April 5 at Chicago’s Center for Book and Paper, in association with the annual College Art Association Conference in Chicago. The exhibit is co-curated by Jessica Cochran and Melissa Potter. For information, visit http:// www.colum.edu/Academics/Interarts/ events/exhibitions/. 

> OPPORTUNITIES 

Goodwill Industries in Traverse City, Michigan, seeks a Head of Production for a facility that makes handmade paper cards and invitations. This job requires working with individuals with a wide range of disabilities. Learn more about the facility at www.paperworksstudio.com and meet some of their team of artists with disabilities or disadvantages at http://www.youtube.com/ watch?v=xF8ocw9G5wE. Contact Brian Lewis at BrianL@goodwillnmi.org with interest. 

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 cavepaper@ gmail.com or call (612) 359-0645. 

Minnesota Center for Book Arts now offers two Book Arts Certificate programs of study to recognize dedicated adult students who complete significant coursework in the book arts and demonstrate knowledge and proficiency across book arts disciplines, including hand papermaking, binding, printing, and design. For more information, visit www.mnbookarts.org or call (612) 215-2520. 

Artists experienced in papermaking are invited to apply for the opportunity to spend up to three months working in the Paper Studio at the Southwest School of Art & Craft. Artists are expected to provide their own transportation and materials. Housing may be available, but is not guaranteed. Collaborations will be considered. For further information contact SSAC, 300 Augusta, San Antonio, TX 78205, (210) 224-1848, www.swschool.org. 

The Denbo Fellowship provides a unique opportunity for a papermaker to complete a new body of work at Pyramid Atlantic. Selected artists will receive up to one month of access to a state-of-the-art paper studio, ten hours of one-on-one technical assistance, storage space, and a $500 stipend. Read details at www.pyramidatlantic artcenter.org/art_programs/denbo.html. Upcoming deadlines are November 15 and January 15. 

> more opportunities at 

newsletter.handpapermaking.org/listings.htm

NEW computer interactive BOOK on DVD! Authentic Visual Voices: Contemporary Paper & Encaustic by Catherine Nash 380+ color images 29 video interviews with artists who integrate the two media for 2D and 3D inspiration! www.authenticvisualvoices.com www.papermakingresources.com 

> PUBLICATIONS AND VIDEOS 

The work of Aimee Lee, focused on traditional Korean paper techniques, was featured in Issue 110 of Textile Fibre Forum Magazine (http://www.artwear publications.com.au/). She has also published an article about jiseung in the online edition of the Kyoto Journal, viewable at http://kyotojournal.org/renewal/ jiseung/. 

Dieu Donné announces a new edition of unique variants by Eddie Martinez as part of the 2013 Paper Variables program, a playful, cartoonish, and abstract series comprised of a few basic compositions that each feature a handful of repeating forms. Using vibrantly pigmented linen paper pulp like paint, Martinez manipulated the medium through layering, painting, and embracing “accidents” such as spillover, drips, and evidence of studio life. For more information, visit www .dieudonne.org. 

The Spring 2013 issue of Surface Design Journal includes a feature on the handmade paper art of Michelle Samour. For information on this publication, go to http://www.surfacedesign.org/. 

The Euromaxx program produced by international public broadcaster Deutsche Welle featured a five-minute segment in English on papermaker Gangolf Ulbricht. The video takes us inside his workshop, in the Kreuzberg district of Berlin, where he makes the “thinnest paper in the world” and restores old books and artworks. View http://youtu. be/5ghcuHsLw14 

Plant cellulose is also a key ingredient in many common non-paper products. A video introduction to nanocellulose, produced by the Technical Association of the Pulp and Paper Industry, can be viewed at http:// youtu.be/R3HH4iN8aDM 

> 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 paper making 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. 910-739-9605.

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> more classifieds at 

newsletter.handpapermaking.org/listings.htm 

> SPECIAL THANKS 

Hand Papermaking acknowledges these recent contributors to our non-profit programs. All donations are greatly appreciated and tax deductible. Our tax ID number is 52-1436849. See our profile on GuideStar. Call or write for information on annual giving levels, premiums, automatic monthly gifts, and in-kind contributions; or details on adding Hand Papermaking to your estate plans. 

Benefactors: Anonymous, Timothy Barrett, Gibby Waitzkin. Patrons: Tom Balbo, Sid Berger & Michele Cloonan, Jeffrey Cooper, Susan Gosin, Kenneth & Marabeth Tyler. Underwriters: Susan Mackin Dolan, Nancy & Mark Tomasko, Pamela & 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, Ingrid Rose Paper Conservation, 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, Milena Hughes, 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, Claire Van Vliet, Aviva Weiner, Therese Zemlin. Supporters: Denise Anderson, Mary Ashton, James Barton, Sarah & Joshua Dickinson, Cynthia J. Fay, Kathryn Flannery, Rose Folsom, Mabel Grummer, Beverly Harrington, Eve Ingalls Von Staden, Hedi Kyle, M. P. Marion, Edwin Martin, Kathryn Menard, Ann Miller, Margaret Miller, Janice Nelson, Patricia L. O’Neal, Melissa Potter, Dianne L. Reeves, Leonard Rosenband, Kim Schiedermayer, Kathleen Stevenson, Deborah Stone, Marie Sturken, Women’s Studio Workshop. Friends: Carolyn Ramsey. In-Kind: Adobe Systems Inc., Tom Bannister, Deborah Bevenour, Carol Blinn, John Bordley, Kathy Crump, Kerri Cushman, Janet DeBoer, Amanda Degener, Mindell Dubansky, Michael Durgin, Karla & Jim Elling, Jim Escalante, Peter Ford, Dorothy Field, Robert Hauser, Mildred Monat Isaacs, David Kimball, Sidney Koretsky, David Marshall, Rick McSorley, Microsoft Corporate Citizenship, Steve Miller, Lourene Miovski, Katharine Nix, Margaret Prentice, Britt Quinlan, Jim Reeder, Amy Richard, Margaret Ahrens Sahlstrand, Mina Takahashi, Rose Hunter Valentine, Claire Van Vliet, Pamela Wood. 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 & 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 Sward, Betty Sweren, Gibby Waitzkin, Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela & Gary Wood. 

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