HAND PAPERMAKING NEWSLETTER

Number 110, April 2015

Newsletter Editor: Shireen Holman

Advertising & Listings: Mary Tasillo

Columnists: Sidney Berger, Maureen and Simon Green, 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: (301) 220-2393 Fax: (301) 220-2394

E-mail: info@handpapermaking.org

Web: www.handpapermaking.org

The deadline for the next newsletter (July 2015) 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; Suzanne Oberholtzer, Design Director. Board of Directors: Tom Balbo, Zina Castañuela, Jeffrey Cooper, Kerri Cushman, Susan Mackin Dolan, Mary Hark, Steve Kostell, Kate Martinson, Anne Q. McKeown, Julie McLaughlin, Alta Price, Amy Richard, Michelle Samour, Eileen Wallace, Teri Williams, Erin Woodbrey. International Board of Advisors: Yousef Ahmad (Qatar), Timothy Barrett (US), Simon J. Blattner (US), Kathryn & Howard Clark (US), Mandy Coppes-Martin (South Africa), Jane Farmer (US), Peter Ford (UK), Helen Frederick (US), Peter & Pat Gentenaar (Netherlands), Simon Barcham Green (UK), Dard Hunter III (US), Kyoko Ibe (Japan), Winsome Jobling (Australia), Elaine Koretsky (US), Carolina Larrea (Chile), Roberto Mannino (Italy), Beatrix Mapalagama (Austria), Bob Matthysen (Belgium), Giorgio Pellegrini (Italy), Brian Queen (Canada), Victoria Rabal (Spain), Vicky Sigwald (Argentina), Lynn Sures (US), Aytekin Vural (Turkey). Co-founders: Amanda Degener and Michael Durgin.

Dear Hand Papermaking,

I was recently awarded a one-percent commission by the State of New Hampshire to complete six large-scale handmade paper paintings (90 x 40 inches) of the state tree, the white birch, to be installed in Concord, the state capital. I would not have won the commission had one of the panel members been able to penetrate the maquette I had supplied with his pocketknife! Here’s the story. 

I submitted the required project board to the esteemed panel of judges, and as I deemed an actual pulp painting, with its variations of texture, lush colors, and thick depth, far more convincing than any photo, I included a maquette. It was made from well-beaten abaca, and representative of my idea of using the birch tree as the subject. The panel loved the work. The idea of using the state tree in the composition really appealed to them. However, they were skeptical that the medium would hold up. After all… paper? Wouldn’t it warp or fade? And what happens if it gets wet? That is when one of the panel members pulled out a pocketknife and stabbed the maquette! Now as any papermaker will tell you, well-beaten abaca (beaten for 20 hours) will hold up to a pocket knife, no sweat. After several attempts at stabbing through the surface of the painting, he was a convinced that the medium was indeed as durable as I claimed it was in my accompanying text, and he voted in favor of my design. So, that is how a one-percent commission of handmade paper paintings is now in the collection of the State of New Hampshire.

I named the group of paintings Transitions. They are installed in the main lobby of the Anna Philbrook Center in Concord. As visitors to the building walk up and down a ramp, they experience paintings of the state tree, as it transitions through the times of day and seasons of the year.

Since the article on my painted landscapes appeared in the Winter 2002 issue of Hand Papermaking magazine, my process, skill level, and technique have evolved. And I have learned to anticipate concerns about the durability of the pulp medium, and to offset them with evidence to the contrary. Most of all I have learned to stick with this wonderful medium because of what it can do, and what I have yet to discover that it can do. A life-long quest to be sure! 

Sincerely, Meg BlackTopsfield, Massachusettswww.megblack.com

Join the fun! Hand Papermaking’s 17th Annual Online Auction takes place April 23-30. Thanks to generous friends, dozens of unique and valuable items will go to the highest bidders, with 100% of proceeds benefiting our non-profit programs. Visit http://auction.handpapermaking.org to preview the offerings. 

> TEACHING HAND PAPERMAKING 

Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. In this column Winnie describes one of her regular teaching sessions with students in a Yale University papermaking class. 

After three weeks of the “winter weather guessing game,” it was finally a stable enough Tuesday morning to pack my papermaking paraphernalia into the car and head north for New Haven, Connecticut, for a day of papermaking I have come to look forward to for the past several years. It was time for my trek to Yale to work with students in an Experimental 3-D Paper class taught by Elana Herzog. This semester her class was made up of seven guys and two young women, who, as she explained, were mainly math and science majors, many of whom were pre-med students. They were a delightful, creative, and enthusiastic group, as I have come to consistently expect with these visits over the years. 

Although not buried by the many feet of snow that Boston has been experiencing, there were generous two-foot accumulations to navigate around. And the public parking lot that traditionally babysat my vehicle for the duration of the class was gone. So I asked for the special and unauthorized privilege of parking in the loading dock area. My wish was granted, including an impromptu dashboard sign that declared me a “Visiting Diplomat!” I have definitely preserved that sign! (It seems somehow fitting, as often my role in life utilizes my diplomacy skills.) 

I brought four batches of cotton/abaca blend pulp, a neutral and three pigmented colors, for our use. All papermaking “greenies,” the students quickly picked up the technique of forming a sheet on the mould, then couching it on a waiting blanket. They then delighted in experimenting with a few techniques of layering colors atop their base sheets. They hand manipulated the pulp into shaped designs. They used inclusions, poured pulp through the screens to create wash effects, and used stencils I brought along to build layers of design/color. Everyone developed their own favorite approach in the short time we had to experiment, and their results were varied and individual. 

The week prior to my visit, when we had postponed my journey due to snow concerns, the students spent their time designing personal symbols for watermarks. Using More-Tite window caulk adhered to aluminum window screen to form the patterns, they created intricate and personal designs that nearly all functioned pretty successfully, considering this was a surprise to me and I had not beaten the fibers typically watermark short. A few of the simpler designs even functioned as stencils in an undercharged vat, providing yet another design option. Another variation in experimentation was that a few students cast their formed sheets over low relief found objects laid on Plexiglass to dry—their tiptoe into the third dimension possibility of handmade paper. 

As always, our time together just flew by. After a light pressing in my Grummer portable paper press, we released the posts of paper and laid them out atop the work tables. Everyone adhered their paper to the surface of the tables to restraint dry, employing synthetic chamois over the paper and a pass over the top with a rolling pin to encourage a firm surface tension for the overnight drying period. 

And as always, I found I had such a wonderfully creative time with Elana and her students that the drive time back to Philadelphia seemed well worth it! But I will admit, it was quite a tuckered “visiting diplomat” whose head hit the pillow Tuesday evening! 

> PAPER HISTORY 

Maureen and Simon Barcham 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. In this column an extravagant poem and a lady’s diary account shed light on the early history of paper mills in Britain. 

There is little evidence of paper mills being established in Britain until the latter part of the fifteenth century, although paper was being imported for use from a number of European sources. It is generally accepted that Sele Mill, near Stevenage, Hertford, owned by John Tate, was the first paper mill manufacturing fine white printing and writing paper in England.1 Exactly when the mill began production remains a mystery but by 1495 the mill must have been well established.2 Unfortunately, Tate’s enterprise was short lived, and upon his death in 1507 Tate stipulated in his will that “My paper myll with the appurtenaunces to be always excepted and sold.”3 There are references, albeit scarce, of several other mills making paper during this period. However, these mills appear to have been manufacturing poorer grades, or brown paper, primarily for utilitarian purposes, and ceased operation within short spans of time. It was not until 1588, when John Spilman erected his paper mill in Dartford, Kent, that a viable papermaking industry was established in Britain.4 

In and around 1582, Spilman migrated to England from Lindau, a Bavarian town on the eastern shore of Lake Bodensee.5 It was not long after his arrival that he became official jeweller to Elizabeth I.6 No information remains indicating that Spilman had any previous experience making paper, but by 1586 he was granted a crown lease for two mills (the Wheat Mill and the Malt Mill) located on the River Darent, in Dartford, Kent. Within a year he had successfully petitioned and obtained patents to manufacture white writing paper and sole control over the manufacture of other sorts of paper. He also managed to secure a monopoly over the collection of rags and related materials within the kingdom.7 

With privileged access to the finest raw materials available at the time, as well as the advantage of being able to oversee, limit, or prohibit other manufacturers’ output at will, Spilman was in an excellent position to make a success of his business. One problem facing him was that few in the country possessed either the skills or expertise to make paper of quality, which meant that Spilman had to import his workforce from Germany. According to John Noel Balston: 

A characteristic feature of British industries in Plantagenet and Tudor times was their relative backwardness compared to their continental counterparts. As early as 1327, English patents had taken the form of protecting foreign workmen introducing new Arts. The Tudors, particularly, imported many foreign craftsmen of all kinds and actively encouraged the settlement of refugees with special skills, including those of papermaking.8 

In recognition of his efforts to introduce what was considered a new and viable industry, Spilman was awarded a knighthood for services to the realm in 1605. An elaborate tomb, in Holy Trinity Church, Dartford, was built by Spilman in 1607 to commemorate the death of his wife, Elizabeth (see photo). Spilman’s papermaking business in turn inspired others, some of whom rigorously challenged his monopoly. Despite opposition, he managed to retain control of his licences for another fourteen years. Upon his death in 1626 the mill remained in production, operated by his son until 1641 when the “family lapsed into poverty and the mill into obscurity.”9 The demise of the business can be partially attributed to a lack of access to sufficient supplies of linen from the continent, in combination with the widespread disruption caused by the Civil War (1642-1651).10 

No visual material remains which would shed light on what Spilman’s paper mill actually looked like. Nor is there any detailed description of the methods he employed to make the paper. Fortunately, the undertaking was novel enough to attract the interest of many, including the celebrated and, at times, controversial poet, Thomas Churchyard (1520-1604), whose eulogistic poem printed in 1588 celebrates Spilman’s paper mill. According to Churchyard the mill was an impressive undertaking and considered a great wonder or curiosity. 

Churchyard’s poetry may not be considered of great literary merit today but it is of interest to paper historians because it is one of the earliest descriptive accounts of papermaking in England. Below are some stanzas from his lengthy work, some of which can be considered highly exaggerated. 

I prayse the man, that first did Paper make, 

the onely thing that sets all vertues forth: 

It shoes newe bookes, and keeps old workes awake, 

much more of price than all this world is worth: 

It witnesse beares of frendship, time and throth, 

Without whose helpe no hap nor wealth is won, 

and by whose ayde great workes and deedes are done. 

If paper be so precious and so pure, 

so fitte for man, and serves so many wayes, 

So good for use, and wil so well endure, 

so rare a thing, and is so much in prayse: 

Than he that made for us a paper mill, 

is worthy well of love and worldes good will. 

And though his name be Spillman by degree, 

yet Help-man nowe, he shall be calde by mee. 

Sixe hundred men are set a worke by him, 

that else might starve, or seeke abroad their bread. 

Who nowe lives well, and goes full brave and trim, 

and who may boast they are with paper fed. 

Straunge is that foode yet straunger made the same, 

Spillman, Help-man, so rightly call the name: 

For greater help I gesse he cannot give, 

Than by his help to make poore folke to live. 

The Mill itselfe is sure right rare to see, 

the framing is so queint and finely done, 

Built of wood and hollowe trunks of tree, 

that makes the streames at point device to runne, 

Nowe up, now downe, now sideward by a sleight, 

nowe forward fast, then spouting up on height, 

As Conduits colde coulde force so great a heate, 

fires shoulde flame where thumping hammers beat. 

The Hammers thump and make as lowde a noyse, 

as fuller doth that beates his wollen cloth, 

In open shewe, then sundry secrete toyes, 

makes rotten ragges to yeelde a thickned froth: 

Then is it stampt and washt as white as snowe, 

then flong on frame, and hangd to dry I trow: 

Thus Paper streight, it is to write upon, 

as it were rubde, and smoothed with slicking stone. 

Through many handes this Paper passeth there, 

before full forme and perfect shape it takes, 

Yet in short time this Paper yncke will beare, 

whereon in haste the workman profit makes. 

A wonder sure, to see such ragges and shreads, 

passe dayly through so many hands and heads, 

And Water too, that Papers enmy is, 

yet, Paper must take forme and shape from this.11 

After the establishment of Spilman’s papermaking enterprise, further mills were established in England, with forty-one registered between the years 1601-1650.12 By the end of the seventeenth century, there were 116 paper mills in England and one half of these were located in the south-east of the country.13 

Another description of an early mill can be found in Through England on a Side Saddle, in the Time of William and Mary, by Celia Fiennes. Fiennes (1662-1741) was the granddaughter of the 1st Viscount Saye and Sele. She undertook a number of journeys over a thirty year period from 1682 to roughly 1712 in order “to regain my health by variety and change of aire and execise.”14 Travelling on horseback in the company of family, friends, and servants she covered considerable distances through the length and breadth of Scotland and England. Fiennes writes of her visit to Canterbury in 1697:

There are also paper mills wch dispatches paper at a quick rate, they were then makeing brown paper wn I saw it. The mill is set agoing by ye water and at ye same tyme it pounded the raggs to morter for ye paper, and it beate out meale and Hemp and ground bread altogether – that is at ye same tyme. When ye substance for ye paper is pounded Enough, they take it in a great tub and so with a frame just of ye size of ye sheetes of paper made all of small wire just as I have seen fine Screens to Screen Corne in, only this is much Closer wrought, and they Clap a frame of wood around ye Edge and so dip it into ye tub and what is too thinn runs through; then they turn this frame down on a piece of Coarse woollen just of ye size of ye paper and so give a Knock to it and it falls off; on wch they Clap another such a piece of woollen Cloth wch is ready to Lay ye next frame of paper, and so till that have made a large heape wch they by a board on the bottom move to a press, and so Lay a board on ye top and so Let down a great screw and weight on it, wch they force together into such a narrow Compass as they know so many sheets of paper will be reduced, and this presses out all ye thinner part and Leaves the paper so firme as it may be taken up sheete by sheete and Laid together to be thoroughly dryed by the wind. They told me white paper was made in the same manner only they must take white woollen to put between.15 

Her observation that the mill was both a paper and grist mill is interesting, as is her enquiring as to whether there was a great difference between the making of brown and white paper. The mill Fiennes visited is not named but it was possibly Barton Mill, which according to Shorter was in production by 1665. It was not uncommon to find early mills performing a dual purpose. Most of the mills tended to be small operations, either one or two vat concerns, run seasonally, as the paper was difficult to dry or size during the harsh winter months. Papermakers tended to have agricultural or other holdings, and early mill owners tended to have more than one occupation. 

Although brief and selective, Churchyard’s lengthy poem and Fienne’s diary account are valuable pieces of evidence and illustrate how novel paper mills were in the sixteenth and seventeenth centuries. 

1. Hills, R. L., Papermaking in Britain, 1488- 1988 (London; The Atlantic Highlands NJ: The Althone Press, 1988), p. 6. Also see Shorter, A. H., Paper Making in the British Isles, An Historical and Geographical Study (New York: Barnes & Noble Publishers, 1972), p. 15. 

2. Ibid. 

3. Hills, p. II. 

4. Spilman also appears as Spillman or Spielman in documents. 

5. Also referred to as Lake Constance. 

6. Balston, J. N., The Elder James Whatman: England’s Greatest Paper Maker 1702 – 1759 vol I (West Farleigh, Kent: J. N. Balston, 1992), p. 7. 

7. Shorter, A. H., pp. 19-20. 

8. Balston, p.3. 

9. Coleman, D. C., The British Paper Industry, 1495-1860, A Study in Industrial Growth (London; New York: Oxford University Press, 1958), p. 51. 

10. Shorter, pp. 19-20. 

11. The entire poem can be found in Churchyard, T., ‘The Benefit that Paper Brings […],’ The Quarterly, 62 (2007). British Association of Paper Historians member, William Taylor, provided the text. 

12. Shorter, pp. 19-20. 

13. Shorter, pp. 29-31. 

14. Fiennes, C., Through England on a Side Saddle in the Time of William and Mary (London: Field and Tuer, The Leadenhall Press, E. C., Simpkin, Marshall & Co.; Hamilton, Adams & Co., New York: Scribner & Welford, 743 & 745, Broadway, 1888). Introduction. The Diary has been recently reprinted digitally as part of the Cambridge University Press’s collection of books of enduring scholarly value. 

15. Fiennes, p. 101. 

> 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. This column is the second in a series exploring the work of individual paper artists. Here Sid discusses the work of Tom Leech. 

In my last column I spoke of Milena Hughes, one of our premiere paper decorators. For this column I would like to turn to someone else prominent in the field of paper decoration: Tom Leech. He has been influential in a variety of ways, not merely with the beauty and innovation of his marbling. 

Marbling is a wonderful art, and today there are many practitioners. They learn the basic things: how to prepare the size and the sheets, how to mix the ox gall with the pigments, how to make their own tools (rakes and combs and brushes), and on and on; and they learn how to create the basic patterns: Stormont, non pareil, zigzag, chevron, French snail, and others. But for me, one of the signs of a great marbler is when someone can look at a sheet and say, “That is the work of . . .,” and can name the artist—someone who has developed his own, unique style, his own original patterns, and his own aesthetic. We saw that with Milena Hughes. And we can see it with Tom’s gorgeous marbling. 

In our collection, my wife and I have a host of truly beautiful sheets from Tom, with geometrics and overmarbling that are astonishing. Many marblers do layered marbling: one pattern on top of another. And some of them are successful, though two problems can occur with this technique. One is that the first pattern gets obscured by the second layer of pigments; the other is that the two patterns don’t go well together, and the result is a sheet that is muddy with pigment, unattractive, and jarring, and not showing either pattern well. Tom never produces one of these monsters. He has mastered overmarbling: one elegant pattern over another lovely one, the two complementing each other with grace and clarity. 

Another thing that, for me, distinguishes the great marblers from the merely good ones is their use of colors. I can think of several artists whose techniques are superb, whose patterns are amazing, and whose colors make me recoil. For some artists, it takes many years for them to realize that there is a virtue to restraint, and that subtle and gentle colors can be more effective than ones that come at you like a runaway locomotive. I love the colors that Tom uses in his marbling—always beautifully matched, gentle, and inviting. Nothing flashy. Like sipping slowly on a good Bailey’s Irish Cream while you are reclining on a soft and comfortable stuffed chair, listening to Mozart. 

When I visited Tom several years ago, I got from him a few wonderful marbles—on x-ray film. How he did it is beyond my point here. What he did is remarkable. To get the pigments to stick, in a lovely pattern, and to stand out beautifully from the substrate was a tour de force, and they are really amazing. 

On top of this, Tom integrates his paper art into his printing, and his books and broadsides are equally wonderful. In fact, his recent book, Jack Thorp’s Songs of Cowboys, that Tom and Arlyn Nathan designed, won the 14th Carl Hertzog Award for Excellence in Book Design (2014). The book was published by The Press at the Palace of the Governors in Santa Fe, New Mexico. Tom also generously gave Hand Papermaking a truly superb broadside for a premium for subscribers at a high level, and I was fortunate to have gotten one of them (see photo). The marbling on the sheet was the perfect background for the poem he printed over it. Taste and technique blended perfectly. 

And since this is a column about decorated paper, I should mention Tom’s other contributions to this subject. Several years ago he organized and curated an innovative and successful exhibition of decorated papers, titled Album Amicorum, that was in the gallery of the Palace of the Governors in Santa Fe. His idea was to choose a marbler to contribute a sheet, and then have that person choose the next marbler for a contribution. The second one would choose the third, and so on. One person accidentally asked a paste paper person, so the exhibit wound up Decorated Papers, not Marbled Papers, but nonetheless, it was a tremendous success, with papers coming in from many countries. And the artists chose their own premiere sheets, so the show was a blockbuster in terms of contributors and their lovely papers. On top of this, Tom created a beautiful poster, adorned with little circles of hand-marbled papers, cut from his own marbling. The venue was well lighted, the decorated sheets were beautifully matted and framed and presented, and the audience was in awe over the whole experience. The exhibition traveled to many venues, so Tom was instrumental in spreading the word about decorated paper to a huge audience, in a truly lovely show. Also, his own work has been exhibited in over 50 shows all over the country. He is a dedicated and effective ambassador for decorated paper. 

For many years Tom has been the printer in residence—as Director of the Palace Press—at the Palace of the Governors. He is well known for his printing and the programs he has there, and also for the original broadsides he sells there, printed on his own lovely papers. I cannot imagine anyone else with the artistry, the skills, the personality, and the overall savoir faire that Tom has to have made the Palace program as successful as it is. 

Tom has been publishing and teaching in his field for thirty years, and it is gratifying that this important artist is spreading his knowledge and his artistry to other generations. 

It is always difficult to put an artist’s work into a hierarchy of the works of his peers. I do so with my own aesthetic, of course, but as I see it, Tom is at the top of his game, and he is deservedly on my list among the great paper decorators of the last 40 years. I hope he continues for at least another half century. 

> FOR BEGINNERS 

Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. In this column Mary answers beginner questions about finding resources for gaining experience. 

If you are reading this article, you are at least one step ahead of the game in figuring out where to get more information about making paper by hand. As a student, poring over the listings section of this newsletter told me a lot about resources for papermaking information across the country and around the globe. Hand Papermaking is full of images, artist information, and technical information. But where are other places to go to learn more and ask questions of other papermakers? 

I pored over the Listings section, but I can’t afford to take a workshop in another state! 

Check the website of the offering institution for cost-cutting opportunities such as Scholarships, Work-Study, and Studio Assistantships.

But I can’t leave town for a week. Who will care for my menagerie? 

Local art centers and college continuing studies programs often offer classes on a weekly rather than intensive basis, and may offer scholarships as well. Not close to anything in the Hand Papermaking listings? Check the schedules of your area institutions. There may be someone out there offering papermaking that we don’t know about. (If so, please email newsletter@ handpapermaking.org so we can add them to our records and help others find them.) 

Really, you don’t understand. There are no classes near me. 

Perhaps there is a papermaker in the area who will let you apprentice in their studio. 

How can I find out if there is such a papermaker near me? 

Check the Registry section of www. handpapermaking.org to view a selection of papermakers by region. Join a professional organization such as the Friends of Dard Hunter, the International Association of Paper Makers and Paper Artists, the Guild of Papermakers, College Book Art Association, or Southern Graphics Council International, and refer to their member directories or contact them to inquire about members near you. There are some fabulous papermakers working very remotely. If you cannot find other papermakers nearby, there are many outlets for connecting to others online. Yahoo Groups hosts lists on the topics of both Papermaking and Hollander Beaters, as well as the email discussion lists for Friends of Dard Hunter, Guild of Papermakers, and College Book Art Association. Other organizations host discussion or news email lists internally, as well as maintaining a social media presence and producing newsletters. If you do find yourself able to travel for a few days, gathering with other members at a conference or annual meeting can be a fabulous way to recharge as you meet other artists and papermakers, view exhibitions, and learn from presentations, demonstrations, and workshops. 

What if I really want to immerse myself in a learning experience? 

I learned papermaking through a four-week internship at Cave Paper in Minneapolis. If you are able to seek out such an experience, it is a fabulous way to learn a lot. Women’s Studio Workshop in Rosendale, New York, offers a structured internship program. See the Opportunities section of our Newsletter for other ideas, or reach out to a place you are interested in to inquire about the possibilities. Sometimes it is possible to create your own opportunity. 

Keep an eye out for my next column for a compendium of blogs and other Internet resources. 

> 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. In “Pulping the Past, Forming the Future: The People’s Paper Co-op,” Margaret describes a community project in which expunged criminal records are re-pulped into fresh sheets of paper. 

I recently spoke to students in a Community Arts class at the University of Wisconsin, Milwaukee, about art as social engagement. This enthusiastic mix of young scholars was in the process of developing a collaborative public art project, and they prompted me to describe to them the current most relevant social action papermaking program in America. Without pause, I told the class about The People’s Paper Co-op in North Philadelphia. 

My partner and I visited The Village of Arts and Humanities in Germantown, Pennsylvania, this past fall to learn more about the papermaking project that Courtney Bowles and Mark Strandquist, founders of The People’s Library, were developing in North Philadelphia. Through this visit, we understood the value of papermaking as a symbol for transformation to the Germantown community. We joined the People’s Paper Co-op for an afternoon of papermaking in the public sphere, with the studio set up on a grassy intersection of neighborhood streets. The fiber source was shredded criminal records that had been expunged, or cleared, by Philadelphia-based lawyers. We realized that every person with whom we connected, young and old, had been affected by incarceration. If an individual had not personally been imprisoned, then he or she had a friend or a loved one who had. 

On the day of my visit, as on any given day in this neighborhood, members of the community came to The Village of Arts and Humanities to participate in creative expressions of transcendence from a cycle of incarceration. And The Village is well equipped to provide locals with tools for creativity through its artistic and cultural programming that cultivates self-expression, community revitalization, environmental awareness, and mutual respect. It is made up of a multi-functional headquarters, a lush and abundant community garden, and over a block of buildings dedicated to igniting and developing creativity in North Philadelphia residents. 

Bowles and Strandquist collaborated with The Village, Philadelphia Lawyers for Social Equity, re-entry adults, and North Philadelphia residents to establish The People’s Paper Co-op (PPC). PPC holds expungement clinics, wherein individuals with criminal records have the opportunity to have their records cleared by lawyers. The cleared records are then transformed into pulp and reformed into sheets of paper. One of the values of The Village is that it “embraces that which society disdains and throws away, creating a new sense of possibility and hope for the community.” What better way to engender a refreshed outlook towards the future than by literally breaking free of oppressive records of the past and creating a new page in the process? 

In addition to its social justice interventions, The People’s Paper Co-op is a start-up creative business and work force development program. The collective of papermakers, encompassing re-entry adults, their allies, and youths, works with discarded paper materials to create fine papers and books. They disseminate their product through a variety of outlets, including their storefront in Germantown. 

One aspect of the PPC that I find remarkable is the natural authority over hand papermaking that its facilitators carry. In a very public setting, with waves of participants of all ages seeking personalized attention, the PPC team calmly guides each member of the community through the process of making paper. The one-on-one treatment exemplifies the heart of the project, as it inherently shows each participant that he or she is not just a number, but a creative individual with a voice. The PPC facilitators have gained a technical handle on hand papermaking that enables them to take the process to a meaningful human level. 

Fortunately, The People’s Paper Co-op will continue to develop and to remain a staple at The Village and in Philadelphia after Strandquist and Bowles complete their residency. The individuals who were new to papermaking just months ago have become the leaders of this project and torchbearers of hand papermaking as social action in North Philadelphia. The success of the Co-op’s continuity indicates that this paper project truly belongs to the people. 

For more information about the People’s Paper Co-op see their website at http:// peoplespaperco-op.weebly.com. 

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 2015 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. 

Paper Sculpture, June 7-13, with Matthew Shlian. Learn the elements of paper mechanics and then apply them to books, collapsible structures, interactive kinetic design and foldable sculpture. 

Joomchi and Beyond, August 9-15, with Jiyoung Chung. Learn this traditional Korean technique of layering and agitating handmade mulberry papers to create strong, textural and painterly surfaces. 

Paper Jewelry, September 13-19, with Aimee Lee. Combine the strength and versatility of handmade papers with Asian techniques of paper thread and cordage to create lightweight and ecologically sound jewelry. 

Art New England, Bennington, VT, (617) 879-7175, http://ane.massart.edu/workshops/, Nancy.Mccarthy@massart.edu. Week-long summer workshops. 

Pop-Up Books, July 19 - August 8, with Colette Fu. Learn to incorporate your own art into unique structures as you master the basic elements of pop-up paper engineering and more complex mechanisms. 

Narrative Paper Cutting, July 26 - August 1, with Andrea Dezsö. Explore the creative possibilities at the intersection of paper cutting and storytelling, including composing and cutting two dimensional images, building, lighting and photographing three dimensional cut paper spaces, and making cut paper stop motion animations. 

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. 

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, as well as Decorated Paper Open Studios on the second and fourth Thursdays of each month at 6:00 PM. 

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. 

Stitched Paper Boxes, June 7-12, with Claudia Lee. Create handmade sheets of paper using several techniques that will produce paper of different weights and textures, then assemble the papers into boxes incorporating embellishments. 

Canadian Bookbinders and Book Artists Guild, Toronto, ON, (416) 581-1071, cbbag@ cbbag.ca, www.cbbag.ca. Book and paper workshops located on-site in Toronto and in off-site studios. 

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

Circle of Life Studio and Summer Gallery, Eagle River, WI, (715) 479-9737, www .circleoflifestudio.com. Offering weekly papermaking workshops June through September, and by special arrangement all year. 

Columbia College Chicago Center for Book and Paper Arts, Chicago, IL, (312) 344-6630, http://www.colum.edu/academics/book-and-paper/index.php. Papermaking classes in spacious downtown studios. 

Cronquist Paper Studio, PMMS, Graudu iela 59, Riga, Latvia, http://ilzedilanesart .blogspot.com, ilze.dilane@gmail.com, +371 25608690. Papermaking workshops using pulp from denim jeans and cotton rags, pulp painting, and surface decoration. Working languages include Latvian, Russian, and English. Studio time and instruction by appointment. 

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. 

Western Papermaking: Get Your Hands Wet! April 25, with Catherine Nash. Discover the magic of making handmade paper from plant fibers, recycled papers, and more, while experimenting with decorative techniques. 

Paper from Plants: Focus on Japanese Papermaking, April 26, with Catherine Nash. Use traditional gampi and kozo barks and local plants to create thin, strong, translucent sheets of paper. 

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, Mar 3, April 7, or May 5, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques. 

Creative Techniques for Artists with Open Studio, Mar 10, April 14, or May 12, 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. 

Eureka Springs School of the Arts, Eureka Springs, AR, (479) 253-5384, www.esartschool.org. Offering learning opportunities in multiple media including fiber arts. 

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. 

Hand Papermaking, April 13, with Carol Kazwick. Learn the history and tools of papermaking as well as making handmade paper for many applications. 

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

Stencil Techniques for Hand Papermaking, Mondays May 11 - June 15, with Mary Tasillo. Explore a range of stencil techniques, from the hand cut to the silkscreen stencil, to build image-based and decorative papers. 

Gail Harker Creative Studies Center, Oak Harbor, WA, (360) 279-2105, www .gailcreativestudies.com. Offering courses in textile arts. 

Green Heron Book Arts, Forest Grove, Oregon. Classes in book and paper arts at the Accidental BookMaker. Contact pagrass@ aol.com for more information. 

The Hall of Awa Japanese Handmade Paper, 141 Kawahigashi, Yamakawa-cho, Yoshinogawashi, Tokushima 779-3401, Japan, fax 81-883-42-6085, www.awagami.com. 

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. 

The Handmade Paper Journal, July 19-31, with Sue Gosin and Cynthia Thompson. Explore Japanese and western style traditions of hand papermaking and hand bookbinding in combination with contemporary papermaking techniques to create personal journals that record and preserve your experience at Haystack. 

Paper Engineering: Making Pop-Ups and Sculptural Books, Aug 16-28, with Carol Barton. Discover a variety of pop-up structures, beginning with simple cut-and-fold pop-ups and progressing through a series of more complex glued constructions; learn sculptural bindings and carousel and tunnel book formats. 

Helen Hiebert Paper Studio, Red Cliff, CO, www.helenhiebertstudio.com. Annual papermaking retreat in the heart of the Rocky Mountains. 

Red Cliff Paper Retreat, September 11-13, with Helen Hiebert. Cut, fold, layer, collage, weave, glue, and make paper as you explore its potential in two and three dimensions. 

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. 

Jill Powers Studio, Boulder, CO, jpowesstudio@gmail.com, www.jillpowers .com. Classes in paper and other materials, retreats, and private mentoring sessions. 

Kozo Bark Fiber Course, March 15, with Jill Powers. Explore the history and traditional preparation of this bark fiber, and then learn techniques for using kozo in contemporary dimensional art. 

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

The Basics of Papermaking, April 6, 13, 20, & 27, with Kim Hosken Eberstein. Create unique, expressive art while learning the handmade paper process and using colored pulp, fibers, and collage elements to make works suitable for framing. 

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.

MayBe Studio, Abita Springs, Louisiana, (985) 893-3184. 

Hand Papermaking, selected Saturdays, with Mary-Elaine Bernard. Learn Eastern 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, http:// themillbookarts.org. Classes, studio access, and other resources in paper, book, and print arts in Northern Wisconsin. 

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, first Tuesdays, 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: Papermaking (B.Y.O. Fibers), Tuesdays and select Saturdays, 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. 

Garden Papers, March 14, 21 & 28, with Mary Hark. Use materials from your garden along with Asian fibers to produce a portfolio of beautiful, high-quality papers, appropriate for book arts applications. 

Intermediate Papermaking: Imagery In, On and Of Paper, March 29, April 12, & 19, with Bridget O’Malley. Explore techniques of incorporating imagery into your sheets of paper: watermarking; drawing, painting, and screen printing with colored pulps; low-relief casting onto linoleum blocks; resists and dye coatings and more. 

Handmade Paper in Three Dimensions, May 16 & 23, with Erica Spitzer Rasmussen. Manipulate paper into three dimensional forms with the assistance of prefabricated molds and handmade armatures. 

Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, http://morganconservatory.org. Workshops in hand papermaking and the arts of the book in an innovative green environment. 

North Country Studio Workshops, Bennington, VT, (603) 380-4520, http://ncsw.org. Advanced level arts workshops in a range of media. 

Oregon College of Art and Craft, Portland, OR, (503) 297-5544, www.ocac.edu. Continuing education and degree programs in craft. 

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. 

Papermakers of Victoria, at Box Hill Community Arts Centre, Whitehorse, Victoria, Australia, phone 9885 2479. Workshop and exhibition information can be found at www.papermakers.org.au. 

Introduction to Papermaking, June 18 or August 18, with Barb Adams. Learn the basics of making paper by hand using recycled pulp. 

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. 

Introduction to Papermaking, March 28-29, with John Gerard. 

Pulp Painting, March 30-31, with John Gerard. 

Colored Paper, September 18, 19, & 28, with Ilse Mühlbacher. 

Papermaking, October 3-4, with Beatrix Mapalagama. 

Penland School, Penland, NC, (828) 765- 2359, www.penland.org. A full program of craft workshops, including papermaking. 

Within the Sheet: Contemporary Watermarks, May 24 - June 5, with Cynthia Nourse Thompson. Explore the watermark as a means of identification and artistic ornamentation, creating multi-layered editions of handmade paper and watermark sampler sets. 

Contemporary Papercutting, June 21 - July 3, with Béatrice Coron. Conceive and produce contemporary paper cutting works as different as unique illustrations, stenciled editions, pop-ups, dimensional work, wearable sculptures, and stop-motion animation. 

Sculptural Paper, July 5-17, with Lee Emma Running. Learn to manipulate handmade paper into a variety of forms using plaster molds, wire armatures, and surface manipulation techniques. 

Animated Pop-Up Books, July 19 - August 4, with Shawn Sheehy. Assemble a sequence of structures that combine various foundational pop-ups and movables to bring a sense of animation to the pages of your books. 

Peters Valley Craft Center, Layton, NJ, (973) 948-5200, www.petersvalley.org. Workshops in papermaking and a variety of crafts. 

About the Bark: Fibers & Color, July 24-28, with Melissa Jay Craig. Learn to process, dye, and work with kozo bark fiber in both 2-D and 3-D applications. 

Pyramid Atlantic, Silver Spring, MD, (301) 608-9101, www.pyramidatlanticartcenter .org. Workshops in papermaking, printmaking, and book arts. 

Papermaking Society, Third Thursdays. For details contact Associate Papermakers Laura Kinneberg and Lynette Spencer at pyramidpaper@gmail.com. 

Robert C. Williams Paper Museum, Atlanta, GA, (404) 894-5726, http://ipst.gatech.edu/ amp/. 

Paper and Print, March 13-14, with Steve Miller. Create cotton paper and then create a linocut to print on it. 

Papermaking with Kozo, May 9, with Chris Davenport. Form beautiful sheets of handmade paper in the Japanese Kozo tradition using local, sustainable, and renewable Alabama mulberry bark. 

Introduction to Marbling, May 16, with Marcia Watt. Learn the basics of traditional paper marbling. 

San Francisco Center for the Book, San Francisco, CA, (415) 565-0545, www.sfcb .org. Book arts classes and events year-round. 

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. 

Seastone Papers, West Tisbury, Martha’s Vineyard, MA, (508) 693-5786, www .seastonepapers.com. Scheduled classes, open studio, and private workshops in hand papermaking, surface design, and book arts. For further information, email Sandy Bernat at sandy@seastonepapers.com. 

Sievers School of Fiber Arts, Washington Island, WI 54246, (920) 847-2264, www .sieversschool.com. Summer workshops on an island in Lake Michigan. 

Sitka Center for Art and Ecology, Otis, Oregon, (541) 994-5485, www.sitkacenter .org. Workshops and residencies in a range of media. 

Snow Farm, The New England Craft Program, Williamsburg, MA, (413) 268-3101, www.snowfarm.org. Study in a pastoral setting near the five-college communities of Amherst and Northampton. 

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. 

Making with Mother in Mind, May 5, with Katy Dement. Learn traditional papermaking while exploring more modern paper making techniques with color, texture, and collage while using natural and found materials. 

Paper from Weeds, May 25, with Albert Pantone. Make paper with invasive and destructive weeds from vacant lots that have been deconstructed and transformed into a blended pulp. 

Southwest School of Art, San Antonio, TX, (210) 224-1848, www.swschool.org. Classes at the Picante Paper Studio. Individual papermaking classes can be scheduled for one person or a group; please contact Beck Whitehead at bhwhitehead@swschool.org for more information. Studio time, consultation, and instruction available most Tuesdays, Wednesdays, and select Saturdays. 

SpeakEasy Press, Dillsboro, NC, www.speakeasypress.com, frank@speakeasypress. com, (205) 310-4740. Working and teaching studio space for papermaking, letterpress printing, and bookbinding. Workshops, apprenticeships, and collaborative work with other artists are available in the print/binding and papermaking studios. 

University of West England, Bristol, U.K., (0)0117 3284810, sca.cpd@uwe.ac.uk, www .bookarts.uwe.ac.uk. Classes offered through Continuing Professional Development at the School of Creative Arts. 

Japanese Book, Print & Paper Arts, August 10-14, with Jeff Rathermel. Explore Japanese papermaking, paper decoration, and binding structures in this intensive course. 

West Dean College, Chichester, West Sussex, U.K., (0)1243 811301, short.course@ westdean.org.uk, www.westdean.org.uk. 

Making Vessels from Paper Pulp, May 22-25, with Debbie Wijskamp. Learn techniques for shaping paper pulp to form your own decorative objects like vases, bowls, or other sculptural pieces. 

Wisconsin Center for Book and Paper Arts, Madison, WI, (608) 284-8394, wcpaperarts@hotmail.com. Offering tutorial programs in hand papermaking and decorative papers. 

Women’s Studio Workshop, Rosendale, NY 12472, (845) 658-9133, info@wsworkshop .org, www.wsworkshop.org. Summer Arts Institute includes workshops in papermaking, printmaking, book arts, photography, and other media. 

Paper and Place, July 6-10, with Ann Marie Kennedy. Exploring the process of hand papermaking yields opportunities to incorporate natural materials directly into your artmaking in both two and three dimensions. 

In the Ecotone - North Country Shifu, July 13-17, with Velma Bolyard. Experience the traditional Japanese art of Shifu, a spun and woven paper textile. 

Handmade Paper & Encaustic, July 20-24, with Tatana Kellner & Cynthia Winika. Construct handmade papers incorporating layering, embedding, stenciling, pulp painting, and embossing, followed by an introduction to encaustic to work further into these deeply layered collages. 

New Directions in Pulp Painting, July 27-31, with Karen J. Revis. Master a full range of pulp painting methods including free hand, spray, and squeeze bottles. 

Unusual 3-D Methods for Papermakers, August 1-7, with Melissa Jay Craig. Use kozo and high shrinkage fibers to make compelling paper forms, and fiber reactive dyes to provide brilliant color. 

Sculptural Papermaking, August 10-14, with Ellen Kucera and Chris Petrone. Create sculptures from the inside out starting with elegant armatures covered with skin-like paper. 

Fields of Blue - Paper, Cloth, & Indigo Dye, August 17-21, with Mary Hark. Using handmade papers and cloth, produce a beautiful portfolio of paper and textiles that make use of the lively and historic range of blue available with an indigo vat. 

> more Workshops at http://newsletter .handpapermaking.org/listings.htm 

> EVENTS 

The Islamic Manuscript Association, in cooperation with the British Library and the Thesaurus Islamicus Foundation, will host a symposium on the materials and techniques of making Islamic manuscripts entitled Traditions of Papermaking in the Islamic World. The symposium includes lectures about current research on papermaking and a papermaking demonstration, and takes place March 27 at the British Library’s Centre for Conservation. Details are available at www. islamicmanuscript.org. 

Adapt & Evolve: East Asian Materials and Techniques in Western Conservation, the UK Institute of Conservation (Icon) Book & Paper Group Conference, takes place April 8-10 in London, United Kingdom. The program spans the introduction, formalisation, and evolution of East Asian materials and techniques that have become part of book and paper conservation practice across the globe. Studio tours, talks, and demonstrations from key speakers from the international conservation community will be complemented by a trade fair showcasing the products and services of leading conservation suppliers. More details about the programme and all of the bookable events and workshops can be found on the conference website: http://adaptandevolve2015 .wordpress.com. 

Paper and Book Intensive 2015 will take place May 17 to 28, at Ox Bow in Saugatuck, Michigan. Learn from the best practitioners of books arts, papermaking, and conservation. This year’s PBI includes A Sheetathon! with Steve Miller and Pulp Painting: Image Making in Hand Papermaking with Shannon Brock. See the full catalog at www.paperbookintensive.org. 

The 2015 Fabriano Paper/Print/Book Intensive will take place June 11-25. Join Lynn Sures for this immersion trip to the Museum of Paper and Watermark, our studio for two weeks of workshops in Central Italy, working with Italian masters in watermarking, leather binding, etching, and more. Visit a bindery in Urbino, a local tannery, and the cliffs of the Adriatic shore. For details about the Fabriano Intensive and for a registration form, email lynn@lynnsures. com. For registration, contact Jose Dominguez at jdominguez@pyramid-atlantic.org. The registration deadline is April 1. 

Workshops in sumingashi and paste papers will be part of the 2015 Focus on Book Arts conference, taking place June 24-28 in Forest Grove, Oregon. The program features workshops, exhibition, talks, and a trade fair. For more details, visit www. focusonbookarts.org. 

The Red Cliff Paper Retreat takes place September 11-13. Helen Hiebert is invites you to her studio in the heart of the Rocky Mountains to cut, fold, layer, collage, weave, glue, and make paper as you explore its potential in two and three dimensions. Enjoy three peaceful creative days in the tiny hamlet of Red Cliff, surrounded by mountains, the river, and aspen trees as they begin to change their glorious fall colors. Experiment with several techniques as you create a variety of objects ranging from sculpture and book arts to lanterns and lamps that will intrigue your eyes and illuminate your spirit. All levels of art experience are invited. More details can be found at http://helenhiebertstudio.com/red-cliff-paper-retreat/. 

Paper Points North is the theme for the next Friends of Dard Hunter annual conference, taking place October 22-24 at the Banff Centre in Alberta, Canada. Keep an eye on www .friendsofdardhunter.org for more details as they develop. 

> EXHIBITS 

Paper sculpture by Carol Cole is included in Finders Keepers at the ArtTrust Gallery at 16 West Market Street in West Chester, PA—an exhibit of work incorporating the rediscovered, reused, reinvented, repurposed, eclectic, and collectible. The show runs through March 27. More information is available at http://thearttrust.com or by calling (484) 467-1664. 

The pop-up book sculptures of Colette Fu are on view at the Center for Book Arts in New York, NY, through April 4. The exhibit, titled We Are Tiger Dragon People, combines photography with paper engineering in a series of works documenting communities in Yunnan Province, China. For more information, visit http://centerforbookarts.org or call (212) 481-0295. 

The work of B. Wurtz will be on view at Dieu Donné from April 30 through June 6. The exhibition features new artwork made in the Dieu Donné studio during the artist’s Lab Grant residency. The exhibition brochure will feature an essay by Jan Avgikos. For more information visit www.dieudonne .org or call (212) 226-0573. 

The Janus Press at Sixty is on view through May 24 at the San Francisco Center for the Book. The Janus Press was started in Monterey in 1954 by Claire Van Vliet and prints limited editions of (mostly) contemporary poets with original images in paper and all the printmaking media. An exhibition catalog is available by calling (415) 565-0545. Visit http://sfcb.org for exhibition hours and details. 

The Biennale Internationale Des Arts du Papier Edition 2015 will feature paper-based works on the theme of Transformation. This traveling exhibition will first be on view in the United Kingdom March through May of 2015. For information, contact Jan Fairbairn- Edwards at chainedepapier@wanadoo.fr. 

A comprehensive exhibit of decorated papers in on view through April 12 in Madrid at the Municipal Print - Book Arts Museum, showing the works of 30 contemporary artists from all over the world alongside a historical journey of decorative papers. Old techniques of paper decoration and their interpretation and update by today’s artists will be on view. A sample of the 315 pieces can be seen at www.papelesdecoradosenmadrid.blogspot.com. 

The work of Peter Gentenaar & Pat Gentenaar-Torley is on view in a restored church that has been transformed into a bookstore, Waanders in de Broeren, in Zwolle, Netherlands. The exhibit runs through June 6. More information can be found at www .waandersindebroeren.nl or at www .gentenaar-torley.nl. 

The Seventh International Exhibition of Mini Textiles will take place June 16 to 27 in Kherson, Ukraine. Artists working in all fiber arts techniques exhibit small works in this juried exhibition. For more information, visit http://scythiatextile.com or email scythiatextile@gmail.com. 

315 Gallery located at 315 W 36th St in Manhattan showcases artists who work with paper as a support medium or who use paper pulp for sculpture and painting. The gallery’s upcoming roster of artists includes Nancy Manter, Abby Leigh, and Richard Polsky. Call 609-462-4287 or email susan@315gallery.com 

> CALLS FOR ENTRIES 

The Minnesota Book Arts Center Prize 2015 competition is accepting entries through April 30 of artist books completed in the past two years. Jurors include Aaron Cohick, proprietor of NewLights Press and master printer at The Press at Colorado College; Daniel Kelm, book artist and founder of the Garage Annex School for Book Arts; and Jae Jennifer Rossman, Assistant Director for Special Collections at the Robert B. Haas Family Arts Library, Yale University. For entry details visit mcbaprize.org. 

The International Fibre Art Exhibition “Fibremen 5” seeks entries of contemporary work by male textile artists. The exhibit will take place October 22 - November 5 in Kherson, Ukraine. Entries are due by August 1. For details, contact Ludmila Egorova at P.O. Box 79, 73028 Kherson, Ukraine or scythiatextile@gmail.com. Also visit scythiatextile.com. 

Treewhispers is an ongoing installation of flat handmade paper rounds with tree stories, poetry, and art. The project continues to seek contributions. The project was started by Pamela Paulsrud and Marilyn Sward. For more information, visit http:// treewhispers.com/here/. 

> OPPORTUNITIES 

The National Collegiate Handmade Paper Triennial art exhibition enters its sixth competition of art works in the medium of handmade paper. Teachers, tell your students! Schools enter up to five students for a single fee. See form on page 15 or email papertriennial@gmail.com. Entries due May 15. 

The Columbia College Chicago Center for Book & Paper Arts in conjunction with Anchor Graphics is offering one two-week residency July 6-17, 2015. The residency is intended to provide time, facilities, and assistance for specific projects in book arts, printmaking, and/or papermaking. Entries are due March 31. For more information, visit www.colum.edu/bookandpaper. 

Minnesota Center for Book Arts is now accepting applications for artist residencies in the papermaking, printing, and bookbinding studios. Details and application can be found at www.mnbookarts.org/ air. Questions, can be directed to Sara R. Parr, MCBA’s Artist and Adult Programs Director, at sparr@mnbookarts.org or (612) 215-2526. 

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. 

Cultural Collaborative, a small non-profit working with children in Ghana, West Africa, is looking for papermakers and bookbinders to volunteer to teach the kids next summer. If interested contact aba@ culturalcollaborative.org. For information on Cultural Collaborative, visit www.culturalcollaborative.org. 

The Creative Residency program in Visual Arts at The Banff Centre, Alberta, Canada, provides studio facilities and support for artists working in a broad range of media, including painting, drawing, performance, ceramics, book arts, textile art, papermaking, sculpture, installation, photography, and more. Visit www.banffcentre.ca for information about residencies and facilities, or contact Wendy Tokaryk at wendy_ tokaryk@banffcentre.ca or (403) 762-6402. 

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. 

Women’s Studio Workshop offers several opportunities for artists working in papermaking and book arts. The internship program gives young artists creative support, culminating in an exhibition, in return for their assistance with the on-going operations of the facility, including assisting WSW’s Artists-in-Residence with their projects and participating in WSW’s Summer Arts Institute classes as studio assistants. Studio fellowships are designed to provide concentrated work time for artists to explore new ideas in a dynamic and supportive community of women artists. Studio residencies support the creation of a new body of work. For details on these and other programs, visit www.wsworkshop.org. 

> CLASSIFIEDS 

Classifieds in Hand Papermaking Newsletter cost $2 per word, with a 10-word minimum. 

Payment is due in advance of publication. 

For Sale: 6 new 20x33 professional hand papermaking mould and deckle sets, $500 each. 1 fiberglass vat with stand, $300. 

For further information and pictures; call, text, or write. Janet. (615) 775-3890 janetllandry@gmail.com 

Organic 1/4” raw hemp $5.50/#, minimum 25# + shipping from NC. 5# Noble & Woods Hollander $7500. (260) 306-1179 kozokitty@gmail.com 

Unbleached Philippine Abaca $6.00 lb. For samples, send SASE to Ifugao Papercraft, 6477 E. Grayson, St., Inverness, FL 34452 

Paper Connection Int’l offers a full line of authentic hanji, lokta, washi, and xuan. Ask about our large sheets of “meteor shower” and “glaze”; samples on page 21 of the Winter 2014 issue of Hand Papermaking. Email paperwoman@paperconnection.com 

Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc. (910) 739-9605. 

> 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. 

Patrons: Yousef Ahmad, Anonymous, Tom Balbo, Jeffrey Cooper, Susan Gosin, Nancy & Mark Tomasko, Gibby Waitzkin. Underwriters: Sid Berger & Michèle Cloonan, Susan Mackin Dolan, Kyoko Ibe, Ann Marshall, Pierrette Samour, Pamela Wood. Sponsors: Cathleen A. Baker, Simon Blattner, Tom & Lore Burger, Michael Durgin, Jane Farmer, Helen Frederick, Helen Hiebert, Lois & Gordon James, Suzanne Johnson, Barbara Landes, Laura Merrick Roe, Michelle Samour, Kimberly Schenck, Richard H. Schimmelpfeng, Aviva Weiner. Donors: Annie Alexander, Ines Ballugera, James Barton, Carol J. Blinn, Peter S. Briggs, John C. Brown, Bob & Annie Cicale, Kathryn & Howard Clark, Elizabeth Curren, Kerri Cushman, Jennifer Davies, Amanda Degener, William Donahue, Walter Doyle, Iris L. Dozer, Linda Draper, Karla & Jim Elling, Kathy Fitzgerald, Kathryn Flannery, Sara Gilfert, Lori B. Goodman, Connie Hershey, Nancy Howes, Katherine Ilowiecki, Sally Wood Johnson, Gloria Justen, Joyce Kierejczyk, Betty L. Kjelson, David Kimball, Tom Lang, Aimee Lee, Dirk Lee, Mary Lou Manor, Anne Q. McKeown, Julie McLaughlin, Betsy Miraglia, Catherine Nash, Peter Newland & Robyn Johnson, Paper Circle, Sharon Pettus, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Sara Ringler, Sally Rose, S.A. Scharf, Mary C. Schlosser, Kathleen Stevenson, Betty Sweren, Mina Takahashi, Carla J. Tenret, Elise Thoron, Bernie Vinzani, Mary Ann Weisberg, Beck Whitehead, Paul Wong. Supporters: Jane Ingram Allen, Mary Austin, Tom Bannister, Anne Beckett, Elena Osterwalder Bonny, Ariella Brodecki, Nancy Cohen, Marty Davies, Sarah & Joshua Dickinson, Rose Folsom, Joan Giordano, Mabel Grummer, Robert Hauser, Jo Etta Jupe, Ellen Mears Kennedy, David Lewis, Katie MacGregor, M. P. Marion, Edwin Martin, Lynne Matott, Kathryn Menard, Margaret Miller, Dennis Morris, Suzanne Oberholtzer, Oblation Papers, Margaret Prentice, Dianne L. Reeves, Eve Reid, Amy Richard, Kim Schiedermayer, Marie Sturken, Burt Van Deusen, Teri Williams. Friends: Neal Bonham, Gerry Brock, Barbara Disalvo, Dale Emmart-Lieberman, Gary Frost, Kristin Kavanagh, Elyn Koentopp- Vanek, Fran Kornfeld, Paulette Mulligan, Jesse Munn, Danielle Myers, Zulay Herrera Nakamura, Kate Newsom, Harry & Sandra Reese, Bonnie Reisman, Deborah Stone, Judy Tobie, William J. Wagner, Don Widmer, Marilyn Wold. In-Kind: Adobe Systems Inc., Tom Balbo, Janet DeBoer, Peter Ford, John Gerard, Robert Hauser, Dard Hunter III, Rick McSorley, Microsoft Corporate Citizenship, Steve Miller, Britt Quinlan, Amy Richard. Founding Contributors to the Hand Papermaking Endowment: 49er Books, Shirah Miriam (Mimi) Aumann, Cathleen A. Baker, Tom Balbo, Timothy Barrett, Sidney Berger & Michèle Cloonan, Tom & Lore Burger, Jeffrey Cooper, Jeanne M. Drewes, Jane M. Farmer, Fifth Floor Foundation, Helen Frederick, Sara Gilfert, Tatiana Ginsberg, Susan Gosin, Joan Hall, Lois & Gordon James, Sally Wood Johnson, David Kimball, Elaine Koretsky, Karen Kunc, Barbara Lippman, Winifred Lutz, Susan 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 Wood. 

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