HAND PAPERMAKING

NEWSLETTER

Number 115, July 2016

 Newsletter Editor: Shireen Holman

Advertising & Listings: Mary Tasillo

Columnists: Sidney Berger, Maureen and Simon Green, Donna Koretsky, 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 (October 2016) is August 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, Lisa Cirando, Kerri Cushman, Susan Mackin Dolan, Mary Hark, Steve Kostell, Aimee Lee, Kate Martinson, Anne Q. McKeown, Julie McLaughlin, Alta Price, Amy Richard, Michelle Samour, Bernie Vinzani, Teri Williams. 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), Helen Hiebert (US), Therese Hofmann (Brazil), 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), Radha Pandey (India), 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 Readers,

The Kent Photo Archive is now hosting Hayle Mill images. The Hayle Mill photographic archive is the best collection illustrating papermaking in the UK and dates back to 1870. Apart from a large collection of prints on paper, I also own a significant collection of 7x7 inch glass plate negatives. Some of these are wet collodion. The detail on them is very fine, despite their age but they are all a moment away from a disastrous accident.

To both protect the image content against accidents and to enable the images to be viewed through the Internet, Kent Photo Archive is in the process of digitizing the entire collection. Roger Smoothy scans and cleans the images electronically and Roy Moore loads them on their website. All of the glass plate negatives of Hayle Mill are now on line and work will continue on the prints for many months ahead.

The website—www.kentphotoarchive.com—is a UK based non-commercial site dedicated to preserving old images of the County of Kent in the UK. It is run and maintained by a small group of enthusiastic volunteers interested in restoring, displaying, and making digital copies of original material available for the public to view. It originated in 2004 as part of a lottery funded joint project between the County town's local Museum (Maidstone Museum) and Camera Club (Maidstone C.C).

The volunteers have continued working with Maidstone Museum, other smaller County Museums, private collectors and local historical societies and, as a result, the site currently (February 2016) contains over 20,000 images of Kent's past with some dating back to the late 1800s. Many of the old images on the site are accompanied by more recent pictures taken at the same locations giving the viewer a 'then and now' comparison. All work is ongoing and new collections are added on a regular basis. The images are organized on the site in the collections from which they have come and in many cases you can find images of, for example, paper-making and papermills in unexpected places.

Not many counties are lucky enough to have 

such extensive photo collections on line and we are very fortunate to be able to benefit from the hard work by the volunteers mentioned.

For more information about www.kentphotoarchive.com you can contact: Roy Moore (roy.moore@talktalk.net), Roger Smoothy (roger@hgv1.wanadoo.co.uk) or Eric Hartland (erichart@waitrose.com). Also visit their Facebook pages at 'Kent Photo Archive' and 'Finding Lost Kent.' The images on the website are deliberately low resolution to discourage copying and to protect copyright. Anyone wishing to use images legitimately from my collection can contact me at simongreen22@gmail.com.

Simon Barcham Green

Maidstone, England, UK

Dear Readers, 

When my students and I proposed our idea for an outdoor collaborative project with engineering focused on renewable energy, the most common response we received was “You want to build it out of WHAT?” The answer was, of course, YES. We proposed an outdoor sculpture made from handmade paper, using recycled paper from campus offices as our base material. 

I was approached 

at the beginning of the fall semester by my department chair at the University of Tennessee at Martin with a campus project with an anonymous donor. The only conditions to the donation were that art and engineering worked together to build a solar garden on campus that fit in with the natural environment of the campus, which had recently gained arboretum status. My students and myself sat down for several brainstorming sessions resulting in a proposal including a large tree-like sculpture holding a full solar panel rack and two smaller flower sculptures with smaller, individual panels on the petals. We had also incorporated seating with places for visitors to charge devices, as this was an opportunity to combine sculpture with function. Then came the big proposal…that the base and trunk of the tree would be made of recycled paper, pulped, pulled and formed over a mold. 

Overall, I had worked with this method in the past with quite successful results. The paper quality, itself, was far from the nicest I had worked with, but keeping sustainability as a theme made using recycled materials even more appealing. There were, of course, more challenges. Papermaking was not taught at UT Martin, and we had to start by making a functional papermaking facility. From there, armed with shredded student records and other paper from campus offices, I introduced my student team to the wonderful world of blenders to make pulp, followed by sheet pulling. From there, we took the individual sheets and formed them over a four foot mold section of the tree trunk made from insulation foam at about the rate of two sections a week. 

The problem of this tree trunk surviving outdoors was looming over our heads, as we researched fiberglass and epoxy resins, inspired by thin wooden kayaks and canoes. The fiberglass test ended with a week of weather extremes, which caused the resin and paper to separate from each other. The epoxy, however, soaked into the paper during the first coat, and created a waterproof surface strengthening the already standing paper. With a second coat, both inside and out, it was a completely waterproof, freestanding 12-foot tree trunk. With that came the look on my students faces as it stood for the first time. Pride. Accomplishment. Hard work paying off. 

Now that we had the trunk, we moved our papermaking station outdoors to the construction site. The seating at the bottom had been poured in concrete, and we applied the same sheet laying process to the concrete surface, sealing it in the same epoxy resin. Lifting the tree trunk into place resembled an Amish barn raising in its teamwork and volunteers (fellow students who had seen the entire project evolve over time), a guide rope and a half dozen people walking the full 12-foot section up to the steel mast in the middle. Another moment of pride and accomplishment. 

The project is still in its finishing stages, including a metal leaf pattern to cover the bottom of the solar racking system, with an expected finish in summer 2016. This project’s use of paper was, very much, unheard of in this area and met with so many “You want to make it out of WHAT?” looks, yet the team of five worked together to make it possible, problem solving along the way. Blood, sweat, and tears were balanced with new experiences, problem solving, and teamwork. We all worked together, bringing different skill sets to the overall team and everyone learned from each other. This project may have been the most satisfying teaching experience I have ever had, as well as a return to papermaking that I have not had a chance to work within a few years. 

Prof. Sarah Haig and students Ethan Appleby, Victoria Falcon, Franklin Hawks, and Thomas Kendall of Martin, Tennessee, USA 

> ALONG THE PAPER ROAD... 

Since 1998 this column has featured paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. Her daughter, Donna Koretsky, now continues the legacy. Here Donna provides a lively description of how to handle bales of long strands of fiber. 

As a major supplier to hand papermakers all over the world, I literally purchase tons of abaca pulp from the Philippines annually and our warehouse in Brooklyn, New York, is full of neatly stacked 275-pound bales. The pulp mill in the Philippines processes the Musa textilis into corrugated sheets of thick board, also known as ‘half stuff,’ which is then further processed by us papermakers in either a beater, mixer, or blender and made into paper. However, I always felt an enormous disassociation between the half stuff that looks like cardboard and the actual fiber that comes from the leaves of a specific species of banana plant. 

So a few years ago when I purchased an impressive 400-pound bale of abaca in fiber form rather than sheet form, I was thrilled. I felt as though I was finally able to offer the missing link, and papermakers would have a better understanding and connection with their cellulosic raw material. I also bought a 400-pound bale of sisal (Agave sisalana) fiber. These massive bales consist of piles of thirty-six inch long strands of fiber, heavily compacted, and held together with thick baling wires. I looked forward to making paper from this abaca and sisal ‘fiber,’ rather than abaca and sisal ‘pulp.’ After admiring these bales for quite some time (many months), I was ready to make paper, and, with my heavy-duty wire cutter, cut the two end baling wires and proceeded to tug at the fiber. And tugged and tugged. After a few minutes of yanking, I managed to acquire a pound of abaca fiber. The fiber was so tightly baled that it seemed to take forever to break off even a pound of fiber. 

My experience working with this abaca was documented in the “Along the Paper Road” column in Hand Papermaking Newsletter 109 (January 2015), and my conclusion was that it was too difficult and time consuming to cut the fiber by hand. Therefore it was only useful as a curiosity fiber, but not as a viable fiber in a production hand paper mill. Though the finished paper was exquisite, it was frankly too much work. 

Little did I know that these two bales, soon joined by another 400-pound bale of kenaf (Hibiscus cannabinus) fiber, would be parked in the warehouse for years, occupying precious real estate, while I figured out how to cut them. Finally, in order to make room for a truckload of cotton pulp that was arriving, it was time to unbale all of the fiber and move it to the cellar. With a lot of tugging, we unbaled it all, shoved hanks of fiber into heavy-duty black plastic contractor bags, labeled them, and literally threw them down a flight of stairs into the dimly lit cellar. Fearing I may soon forget about them, I became determined to find a way to cut 1200 pounds of fiber. 

Years ago, Tim Barrett solved that problem by purchasing a flock cutter, a serious cutting machine that cross cuts strands of fiber into short lengths. He used it for cutting cotton and hemp fibers, well documented in the 2013 video entitled “Chancery Papermaking” that he produced at the University of Iowa’s Center for the Book. 

Deciding that I, too, needed a flock cutter, I contacted Tim, who kindly put me in touch with Fred at Rockingham Industrial, who had sold Tim a flock cutter fifteen years ago. Fred was definitely the expert on flock cutters. He fixes old cutting machines, fabricating any necessary parts, and remarked that he had a fleet of old flock cutters in the process of being refurbished. We had a spirited conversation, and I learned a lot about the life of this New Englander, now in his late 70s, and hope one day to visit his shop in rural Vermont. However he did not have a flock cutter to offer me as they were all earmarked to a business in Connecticut. Fred suggested I contact Engineered Fibers Technology (EFT), and perhaps they would be able to help me out. 

Days later, my assistants and I made countless trips up and down the flight of stairs from the cellar, lugging bag after bag of fiber, until all 1200 pounds of abaca, sisal, and kenaf fiber were jam-packed into my Ford van. I could not see out the back window but managed the one-and-a-half-hour drive to rural Shelton, Connecticut, where I met Bob Evans, the director of EFT. He was most welcoming as I toured his large facility, equipped with many of the coveted flocking machines. 

I was there all afternoon as his crew set up the three different fibers on three different flock cutters. It was a lot of work, and took a while to set up the machines so that they would continuously cut the fibers into short lengths. The blades would often need to be sharpened, and the long strands of fibers would have to be hand fed through the blades of the machine. At the end of the day, sixteen 25-pound bags of fiber, beautifully cut into quarter-inch lengths, were loaded back into my van. The van was surprisingly full considering only about a third of the fiber was cut. I returned to Brooklyn with a satisfied smile on my face, knowing I had finally bridged the gap and could offer these unprocessed but cut papermaking fibers that, with the help of a Hollander beater, would produce incredible pulp, resulting in incredible paper. 

Now that I know exactly how much work is involved in using a flock cutter, I am thankful that Fred from Rockingham Industrial did not sell me one, and that he provided me with such an invaluable resource for cutting the fiber. EFT was enormously accommodating and encouraging. I returned there a few weeks later with my van to pick up the remainder of the cut fiber and learned that 1200 pounds of fiber in bags of long strands of fiber takes up considerably less space than 1200 pounds of cut fiber. This was my second trip, and the van was packed to the top with bags of cut fiber. 

Throwing the cut fiber (which had soaked overnight in water) into the beater was a piece of cake, though I did have to stand by the beater for the first fifteen minutes, as I slowly yet consistently fed the fiber, being careful not to jam it between the roll and bedplate. I found that quickly lessening the distance between the roll and bedplate was effective, and the pulp was ready in 1½ hours. The finished paper has great character. Paper made from the abaca fiber is crisp and strong with a yellowish tan color. Sheets from sisal fiber are pale yellow, and somewhat translucent. And paper from kenaf fiber is tan and the softest of the three, though still strong. I look forward to making lots of paper from these cut fibers and am happy to finally make them available to other papermakers. 

Nevertheless, as my husband likes to say, “no good deed goes unpunished.” Now that all 1200 pounds of fiber has been cut, I have received a few calls from papermakers who would have preferred that I left the fibers long! 

> 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 an introductory pulp casting workshop for adults. 

I recently spent a most enjoyable Saturday morning at my local art center, introducing six adult papermaking students to pulp casting. The three-hour workshop, entitled Cast Paper Vessels, attracted a comfortable group of artists who were new to papermaking and to me. I supplied the pulp, casting moulds, water receptacles, sponges, and guidance, while participants were requested to bring collections of paper, threads, or natural materials for possible inclusion in personalizing their creations. 

For our casting pulp I beat, sized, and pigmented some second cut cotton linters. The pulp spent about forty-five minutes in the beater, enough to hydrate and fibrillate it sufficiently for casting, without danger of much fiber shrinkage during drying, as the object was to maintain the form of our moulds. The fibers were internally sized with a ketone dimer sizing so that the dried vessels could be further worked with paint or ink if desired. I added a handful of natural yellow ochre Foxfibre cotton linter to half the batch to obtain a warm off-white color. The remainder was pigmented a dark, almost black, grey. 

I found pleasingly shaped casting moulds, in the form of clear hard plastic serving bowls, at the local party goods store. Dollar stores are my other favorite source of inexpensive hard plastic bowls with high sides and interesting shapes. The six-inch-diameter bowls, with three-and-a-half-inch-high walls, could easily be completed within our time constraints. 

In addition to the pulp and casting moulds, I brought many small plastic mixing vats and water receptacles for draining. I had also saved enough scalloped clear plastic lids from my daughter’s fast food mixed-fruit treat containers for everyone. This was so that I could open the workshop with a mini-casting exercise to introduce the technique. 

We gathered around two six-foot tables, butted together at one end, so that I could circulate and assist easily. Armed with sponges and small scalloped plastic lids, artists were introduced to the sound and feel of the pulp in “stock solution.” Two of the three stock vats contained the light and dark pulps, suspended in enough water so that one could lift a handful of wet pulp, clinging together and dripping, but not soupy. The third stock container held a combination of light and dark pulp, slightly mixed to allow a granite or tweed appearance, as opposed to a homogeneous solid mid-tone grey, which could have been achieved by more thorough stirring with higher water content. 

I instructed everyone to lift a golf ball sized handful of pulp from the containers, and with open palms, “patty-cake” the pulp back and forth between both palms, retaining as much water as possible. After four or five wet hand to hand exchanges, I asked them to notice that the pulp appeared smoother, less lumpy. I likened this wet patty-caking action to the shaking of the fibers on a hand mould before it thoroughly drains, or the “vat man’s strokes.” The water and motion allow the exterior pulp fibrils to align and interweave. Hearing the wet slapping sound indicates that fiber alignment is possible. Following the patty-cake motion, I had the students place their handful of pulp in a plastic lid, then lightly pat it to a flat quarter-inch thickness. Everyone was instructed to repeat this process of laying manipulated pulp into the lids, adjacent to previous handfuls, maintaining that quarter-inch thickness, until the lids were full. We then began the pressing and water removal process. Initially, they gently laid their sponges atop the pulp in their bowls, allowing water absorption, but without any application of pressure. Then with gradually increasing pressure, sponge pressing could progress around the entire interior of the casting. Eventually, the pressing should remove enough moisture from the casting that when one applies pressure against the vessel walls with one’s thumb, very little water is still visible. 

Over years of teaching this patty-caking pulp technique, I have discovered that some people have a natural feel for the process and love it, while others have a difficult time not making rough, lumpy, and thick castings. I find it challenging to paint a verbal description of this process. It is best experienced by witnessing the sound and feel of the pulp during hands-on instruction. 

Upon the completion of everyone’s lid casting exercise, we moved on to begin the vessel project. With plans to cast the interior of the bowls, the first step was to patty-cake pulp to cover the bottom. I explained that their inclusions should be reduced to an appropriate size and applied wet, in a non-overlapping arrangement, to the inside walls of the bowl. Then, working around the interior from bottom to top, a quarter-inch thickness of pulp was applied up the vessel walls, covering the inclusions. Puddling water was drained by pouring it out or gently mopping with the sponges. Artists were instructed to work their top edges against the heel of their hands as they held and rotated their bowls, to keep the pulp from creeping over the edges. Once the group’s vessels were completely lined in pulp, the pressing and drying process began. I advised individuals to work the top edges of their bowls first, assuring that sponged fiber compression could occur before gravity pulled residual water to the bottom. As with the lid exercise, a gradual and firm increase in sponged pressure was advised, until such time as the “thumb pressure test” would yield little remaining moisture. 

When asked about the drying time, I explained that it could take anywhere from two days to a week, depending on temperature and humidity. They should expect to see a slight shrinking away from the plastic, and ideally, their cast paper vessels would lift straight out of the moulds and then be ready for further artistic embellishment. I often coat first the interior, and after it dries, then the exterior of the casting with GAC 400. This is a Golden Acrylics paint medium that soaks into the fibers, both strengthening the work and deepening the color appearance of the pulp to closer to its wet state. Following this treatment, I often use gouache paint for adding surface patterning. 

Our three hours flew by, and I sent everyone home with their scalloped lids and vessels. I do believe everyone in the workshop developed that feel for the process, because I was asked for notification about similar future gatherings. It was a most enjoyable group, with whom I look forward to sharing future pulp casting adventures.

> 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 the previous issue, Maureen Green provided an introduction to this series, “Letters from America.” This is the first of three columns dealing with letters written by the English vatman Robert Perry Robertson, who came over to work at Dard Hunter’s Lime Rock mill in 1930. 

It was not long after Robert Perry Robertson and his son, Thomas, arrived in Lime Rock, Salisbury, Connecticut that he received several letters asking him to help clarify a dispute between the Original Society of Paper Makers (OSP) and Hayle Mill. Ewart Langley, the Mill’s Foreman, received a letter from Arthur Smith, who was the then secretary of the OSP, maintaining that there was a “difference of opinion regarding the payment of retaining fees” allocated when a mill ran on short time due to a lack of orders. During the late 1920s and early 1930s the United Kingdom experienced a period of economic downturn. Many traditional handmade mills either worked short time, or closed altogether. Langley had suggested Smith write to Robertson, which Smith apparently did. A copy of Robertson’s correspondence to Langley follows and includes a transcript of Smith’s original letter.1 

Dear Mr Langley, 

Below is a copy of a letter which I have received of the Secretary, Original Society of Paper Makers’ ;- 

Mr. R. Robertson, 

Lime Rock., Connecticut. U.S.A. 

Dear Sir, 

I am informed by the Foreman of Hayle Mill, (Mr W. Langley) that when the men do or take 4 days by Wednesday night, while on short time, he had, by arrangement with you, paid only 2 days retaining fee. Can you say if this is correct, and when this arrangement was made, 

Yours truly, (signed) A. H. Smith, Secretary, O.S.P. 

I do not know the object of writing to me and asking such a question. It is now some five years since I was Secretary and, unfortunately, all of the mills of the Society have been on “Short time” at various periods during that time and before. 

If the object of the letter to me is one to confound you with, or an endeavour to make out a case wherein 

your word is doubted, then the Secretary, or Managing Committee are barking up the wrong tree. As I have always understood the custom of working on a “Short Time” system has been as follows:- 

When on four days per week the work to be as below: 

22 posts the first three days with 14 posts the fourth day. 

The men had to pay four days turns.2 

The Society paid only two days Trade Pay.3 

The firm concerned had to guarantee 22 posts per day the first three days 

with 14 posts the fourth day. 

Now if the men get done by Wednesday night the Society would not pay three days Trade Pay. It would only pay two days and the men have to pay four days turns.4 Further on some day’s works the men could do four days by Wednesday but would still only be entitled to two days Trade Pay and also have to pay four days turns. 

If the object of the letter to me is to endeavour to claim an extra day’s Retaining Fee (and this I strongly suspect) then it strongly savours of the idea to disregard all agreements made between the Society and Employers. Of course, I am not able to say just when I wrote you on the matter but, to the best of my recollection and belief, the matter was conducted through the then clerk of Hayle Mill and, undoubtedly, placed before the Committee in the proper manner and, further duly reported to the Trade through the circular. The system of working “Short Time”, was, I believe, the outcome of a shortage of trade at Darenth Mill when, to save men from being off altogether and shutting vats down, the mills’ company communicated the idea of “sharing the work”. This was done in the time when the late Mr. Jas Bourne was Secretary and I don’t suppose it is much use trying to write to “Old Jim” on the matter now. 

I know it is a good many years ago when Darenth was allowed to work on “Short Time” but just how many can’t say now without reference to the Minute Book and I am not coming to Maidstone to do that. 

With kind regards to you and yours very truly, Robert. P. Robertson (over)

If they are not careful I will send a communication to the Manager of the Labour Exchange on the subject of drawing Unemployment Benefit to which they are not entitled. I don’t want to do it, or have any further connection with them but they had better not attempt to drive me now. R. P. R. 

__________ 

If I ever do send about Unemployment Benefit I should, Ewart, not be afraid to sign my name to it. 

Added with the above letter was another 

more personal one, which reads: 

Dear Mr Langley, 

Just a line to thank you for your kindness to my boy during his illness last May and June. Will you also convey to the firm of J. Barcham Green and Son the grateful thanks of both Mrs. Robertson and myself for the manner in which they treated the boy during his illness and for the kind manner in which he was addressed by the firm when leaving their employment to come here to me. 

And now a word or two between ourselves as the saying goes. First of all we are all very happy in our fresh surroundings. This place is very quiet and is, in fact, one of the old New England villages. It is a healthy spot indeed and we enjoy being here. You know, it seems strange to have a motorcar but we have one. I don’t drive, but my eldest boy has become very efficient and drives us about where ever we desire to go. 

Of course it is not England, neither does it resemble the Old Country. Its customs are different, its manners vary but it does give the young an opportunity. The cost of living is higher but one can meet it alright. The style of living is higher. To put the matter briefly it amounts to this. It is not a country where national ideas count so much as individual ideas. All the unemployment is not in England; they have their share here as well, but no Unemployment Insurance to swing on. You see, one can’t do four day’s work and claim three days Unemployment Benefit. Oh, no.5 

We are gradually going ahead and have a call for 

the class of paper we are making. I have often thought 

of you and wondered if you were still enjoying good 

health. I trust you are, also all the members of your 

family. I suppose you begin to feel you are getting on “in years” as I noticed an account of your son’s wedding in the Kent Messenger. Ah, well, it’s the march of time; a recreation of life and men in the ever evolving march of the human race. 

Reg desires me to convey to you his kind regards and good wishes and to say he is now quite well and fully recovered from his illness. 

And now Goodbye for the present with my kind regards to you and believe me to be 

Yours faithfully, 

Robert P. Robertson 

PS. I have no doubt you will understand the 

object of the other letter and that it will not see 

you stabbed in the back as I know it. R.P.R. 

1. Please note that all of the original letters appearing in this article are transcribed literatim including the punctuation. 

2. J. B. Green, Paper Making by Hand in 1967 (Maidstone: Visish & Baker Ltd., 1967), pp. 24-25. “When an apprentice had served 7 years (now 5) he received a Card of Freedom as a journeyman and was entitled to visit mills in search of work; (hence the word journeyman). On arrival at a mill he saw the ‘Clerk of the Mill’, the O.S.P. union official, who would tell him whether there was a job or not. If not, the clerk would collect money and give it to him, which was called a turn, but he could only ask for a turn once in six months. The mill’s crew agreed how much the turn should be – 2d., 3d., or 6d. per member. If the journey-man was an out-and-out rotter, he would be refused a turn.” 

3. E. J. Labarre, A Dictionary of Paper and Paper- Making Terms (Amsterdam: N. V, Swets & Zeitlinger, 1937), p. 176. According to Labarre a post is “a term applied to a pile of sheets of wet pulp, fresh from the MOULD... [a post] varies with the size which can be conveniently pressed, usually about 144 sheets.” 

4. Simon Green adds: As Labarre explains (page 69), the ‘Days work’ system was very complicated. The ‘Post’ was actually a measure of production that was only notionally related to the amount of paper pressed at one time but it had been agreed between the men and the master of the mill for each type of paper being made. What was actually put in the press was known as a ‘Lump’ and was the amount judged by the ‘Coucher’ to be the amount appropriate in the circumstances. For watercolour papers it could be around 80 sheets. It is worth bearing in mind that the thickness of the wet sheet was affected not only by the dry weight but also the beating, the temperature and so on and the thickness of the entire lump also depended on the thickness of the felts which gradually reduced as they wore out. 

5. C. J. Bundock, The Story of the National Union of Printing, Bookbinding and Paper Workers (Oxford, 1959), p. 368. Following the end of the ‘tramping system’ where men travelled from mill to mill to seek work when unemployed, the OSP introduced a form of unemployment benefit for its members. “The 1875 rule book shows a benefit of 10s. a week for 26 weeks, 8s. a week for the following 26 weeks, and if necessary, 5s. a week for a further 26 weeks.” The 1911 Act in the UK provided limited coverage for workers but it was not until 1920 that the UK created the ‘dole’ system which paid unemployed workers benefits over a 39-working week period. In the USA, no benefit system was introduced until Wisconsin provided support for the unemployed in 1932, after which other states eventually followed their lead. 

> 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. In this column Sid takes us on a trip into the world of marbling in Istanbul, Turkey. 

My column this time will be about one of the most remarkable conferences I have ever been to: the 6th Marblers Congress in Istanbul, Turkey. The event ran about 9 days, with activities on every day from May 7-15. This column is on Decorated Paper, and this congress could be the source of information for more than a dozen such contributions to Hand Papermaking, but I will cover the events in much less space than that. 

The genius who made this happen is one of the world’s premiere marblers, Hikmet Barutçugil, whose decorated papers are models of beauty and originality. But I should add that he could not have done this congress by himself. Hikmet was the moving force behind all the activities, but he also had the excellent partnership of his wife Fusun, and the help of several assistants, all of whom worked tirelessly for more than two years to make it all happen. They thought of everything, anticipating everyone’s needs. The speakers were even given a personal translator, brilliantly fluent in Turkish and English, who always seemed to be at hand whenever she was needed. 

Also, part of Hikmet’s success is attributable to the fact that he is living in a place with centuries—millennia—of art and culture, and with enlightened political figures who support the arts in ways that one will not find in almost any other country. Everywhere one goes in Istanbul one is exposed to artistry in its many manifestations: architecture, gardens, pottery and ceramics, tile work, textiles, carpets and rugs, painting, manuscript miniatures, and much more. Hikmet is in the possibly unique position to be supported by a mayor who loves the arts, and who supports them like no one else. Hasan Can (pronounced like “John”) is the Mayor of Ümraniye, one of Istanbul’s major districts (it has a population of nearly 700,000), and he loves marbling. This is fortunate for all of us since it was through his generosity that the congress came off. 

To begin with, the kindly mayor supplied the funding for just about everything: all of the venues, the matting and framing of the marbled papers (more about this below), the printing (more below), the food, the local transportation, the honoraria, the housing, and much more. 

On each of the first eight days of the conference there was an exhibition of some of the most beautiful marbled papers one can imagine—each exhibition in its own site. Each of the eight venues was decked out in total splendor, with perfect lighting, beautiful framing, and a sound system to allow for a special ribbon-cutting opening at each site, accompanied by speeches by dignitaries from the mayor on down. Each opening was thus introduced as an event in itself, and each time there was a ribbon cutting the mayor, Hikmet, and others spoke to welcome the boisterous and enthusiastic crowds. 

Yes, I said “enthusiastic,” since everyone was astonished at, and appreciative of, what they saw at each exhibition site. And what they saw was awe-inspiring: scores of magnificent papers, a great many from the residents of the greatest marbling country in the world: Turkey (greatest, that is, in terms of the numbers of people practicing the art, and also great in the quality of the work they are doing). Someone there told me that Turkey is teaching marbling in many of its schools as part of the regular curriculum, and that they have 30,000 active marblers. This was the rumor that circulated, and though I have no way to corroborate that figure, it is clear that the number of marblers there far exceeds that in other countries. Many people are teaching the art, and the number of young and accomplished Turkish marblers at this congress was astonishing. (Scads of them said that they were Hikmet’s student—spoken proudly since to study with the master was a sign of great fortune and prestige.) One of the exhibits was solely dedicated to one of the great realms of Turkish marbling: flowers. The show had nearly 90 marbled flowers, every one a gem. In fact, each of the exhibits had from 75 to 150 marbled sheets, all beautifully matted, framed, and labeled. 

One small point to make, but significant to show how carefully this event was conceived, is that, while many conferences pack a lot into a few days and then end so that the participants and audience are free to go home, this one stretched out the activities in a leisurely way to give us several open blocks of time to explore this ancient and wonderful city—its museums and architecture, arts and crafts, and its fabulous shopping. A visit to the Grand Bazaar itself could have taken a week; and the ancient cistern and mosques and museums and other institutions could have taken months. Also, the food here was generally delicious and fairly inexpensive for gourmet meals. 

One of the most remarkable features of this congress is that a separate, beautifully printed, full-color volume was produced for each of the exhibits. That is, there are eight catalogs, each about 14” x 14”, printed in full color, showing in toto every sheet that was on display, representing the work of marblers from around the world. And there were many lovely printed ephemeral pieces as well—a program, advertising pieces, keepsakes, folders, and much more. No expense was spared in the running of this sumptuous feast. 

At a few of the venues the local artists gave demonstrations of their marbling techniques, and I saw one after another of the magnificent marbled rose or iris or tulip or other flower lifted from the marblers’ bath. Whatever publicity they did brought in great numbers of people from the general public for most of the exhibits—people who had never seen marbling or who had seen only the end products and not the techniques and equipment. It was exciting to watch a beautiful flower marbled on the surface of the bath, and equally thrilling to hear the gasps and applause as the papers were lifted and shown to the onlookers. 

In true scholarly fashion, the congress displayed much research. On the first full day of the festivities, four panels with three or four speakers each revealed a wide range of scholarship, given from a giant podium in front of a large audience—there must have been about 150 or more in the audience. (Eventually all of these contributions will be published in a dual-language volume, at the mayor’s expense.) And since this was truly an international event (participants and visitors from about 20 countries attended), the mayor supplied a battery of simultaneous translators, rendering the talks in English, Turkish, French, and Italian (there may have been other languages as well), with everyone in the audience supplied with earphones. 

It is worth adding that the mayor’s generosity made it possible for many of the overseas attendees—especially the panelists—to be supplied with transportation (long-distance and local), housing, food and drink, and lovely gifts, including original marbled ties and scarves and a beautiful commemorative tile in a sumptuous velvet-covered box, and a full set of the large published volumes that accompanied the exhibitions. 

There is a great deal more to say about this important congress and its remarkable series of events, from the amazing venue (the hotel we were put up in was a four-minute walk from the Topkapi Palace/ Museum and three magnificent mosques, and all of the lovely settings for the exhibitions); at the delicious food (lunches and dinners to break one’s belt, and serving superb Turkish/Middle Eastern food—not to mention the great breakfasts at the Megara Palace Hotel that housed most of the participants); to the friendliness and kindness of all of our Turkish hosts; to the sites we visited on the field trips and in our free times; and finally, to the wonderful marbled papers (that were the core of the event) and their creators, who brought us together in the first place. All this revealed two major things to me. First, marbling is a wonderful art that is being practiced in abundance in this magnificent historical country; and second, that marbling is also an ambassador that gave us all a glimpse into the kind of cooperation and unity that like-minded people can find in their shared passions. 

To say that this was a great conference would be an understatement. Hikmet and Mayor Can and all the others who contributed to this overwhelming event must be congratulated for their accomplishments. Every night I went to bed with a combination of happy glow from all I had seen or done on that day, the feeling of amazement in the extent of the artwork and efforts that made it all coalesce, and the overall sense of friendliness and warm hospitality (and a stuffed stomach) that his congress generated. 

Decorated paper is remarkable in many ways. For me, this congress shows only one of the ways—as a phenomenon that can unify diverse peoples in an atmosphere of harmony and pleasing sensory overload. I shall return to this congress in future columns. For now, I just need to unwind and try to take it all in—and to come down from a cloud of marbling. 

> FOR BEGINNERS 

Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. In this column, “Making Paper with Spring and Summer Flowers,” Mary provides instructions for using dried flowers as fiber for papermaking. 

One appeal of papermaking is the ability to make use of materials that might otherwise end up in a landfill, such as worn out pants, onion skins, and bouquets of flowers past their heyday. I recently incorporated old tulip bouquets into my papermaking. 

Drying. Once it is time to retire a bouquet, I hang it upside down to dry out on a clothesline in my basement. This allows me to accumulate multiple bouquets before papermaking time. Flowers with a sturdy, but not woody, stem work best, as do long and sturdy, but not waxy, leaves. Think tulips and irises, but not roses, for your fiber sources. Weigh your fibers to guide you in your measurements while cooking. 

Soaking. I cut my dried bouquets into lengths of approximately one to two inches (for processing in the blender or Hollander). I then soak the fibers overnight to help the penetration of the fibers during the cooking process. 

Cooking. Next the fibers are cooked with a mild base—baking soda—to ensure a neutral pH and thus an archival paper. I heat water in a non-reactive cooking pot (stainless steel, glass, ceramic). When the water is just shy of a boil, I add the baking soda (1T per 2 cups of dry fiber), stir, and add the soaked fibers. The mixture is brought to a boil, the heat lowered, and the pot brought to a simmer. 

Testing. Cooking times may vary. The most scrupulous papermaker may wish to cook stems and leaves separately, as the stems require more cooking time. My tulips were on the stove for 2 hours. Every 30 minutes (or every 15 minutes as I neared the end), I stirred the pot and checked my fibers for doneness. Pull a stem from the pot, and see if you can break the stem easily between both hands. What happens if fibers are not cooked long enough? You will have trouble processing them into a uniform pulp. What if they are cooked too long? Your paper will not be as strong. 

Rinsing. Once the fibers are done cooking, drain them into a colander and rinse very thoroughly. 

Processing Into Pulp. 

The blender: add 4-5 cups of water to your blender, and a generous handful of fibers. Process at medium speed until pulp reaches desired consistency. Pulp is ready to add to the vat. 

The Hollander: fibers can be lightly beaten in the Hollander, or incorporated into other pulp. I added the bouquet to abaca that was pre-beaten. The pre-beaten abaca and tulip fibers were lightly brushed for 5-10 minutes, until the tulip fibers were well incorporated and reached the desired length. 

Adding the tulip fiber to abaca added a nice warm brown to the paper, with the tulip fibers distinctly visible, and adding flecks and strands to the page. 

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 October 2016 newsletter is August 15. Contact each facility directly for additional information or a full schedule. Teachers: Tell your students about Hand Papermaking! Brochures 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 Possibilities: Exploring Structure & Surface, June 19-25, with Kerri Cushman. Experiment with making paper—both as a flat substrate and investigating its three-dimensional potential. 

Fiber + Water + Heat + Hand + Paper = Books, September 15-18, with Steve Miller. Explore the characteristics of kozo and other Asian fibers for artistic possibilities in book making. 

Book Arts LA, Los Angeles, CA, (310) 722- 9004, www.bookartsla.org. 

Covers Uncovered: Recreating Historic Japanese Stab Bindings, July 23-24, with Anne Covell. Explore processes of papermaking, cover decoration, and binding to create historic stab bindings as they were likely produced during the Edo Period (1603- 1868) in Japan. 

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. 

Illuminated Paper: Make Art, Make Lamps, June 26 to July 2, with Pam Granger Gale. Enter the world of handmade paper, from fiber selection and processing to pulling sheets of paper for creative use in lamps. 

Making Paper from Kudzu Leaves, September 9-11, with Nancy Basket. Use retted kudzu leaves to make sheets of paper, embedding flowers or seasonal plants as an option. 

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. 

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. 

Dieu Donné Papermill, New York, NY, (212) 226-0573, www.dieudonne.org. Beginning and advanced papermaking classes for adults and children. Open studio sessions also available. 

Introduction to Contemporary Papermaking, July 12, August 9, September 13, or October 4 with staff instructor. Learn the basic papermaking process, as well as various artistic techniques. 

Casting with Molds and Laminate Casting, July 19 or October 11, with staff instructor. Explore two different sculptural papermaking techniques: casting with molds to achieve a solid sculpture composed of thick cotton pulp, and laminate casting to produce a hollow sculpture made of thin paper. 

Embedding, Blowouts, and Simple Watermarks, August 16 or November 15, with staff instructor. This course covers incorporating materials into your sheets of paper as well as stencil techniques with a number of creative applications. 

Pulp Painting, Stenciling, and Pigmenting, September 20 or December 13, with staff instructor. Learn proper pulp coloring techniques and create a range of pulp paint consistencies for a variety of purposes. 

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

Papermaking with Pants, July 27-28, with Mary Tasillo. Spend two evenings making a variety of papers from recycled clothing while learning the basics of papermaking or fine tuning your technique. 

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

34th Handmade Paper Workshop, August 16- 20, with staff instructors. Learn traditional Japanese papermaking methods, from preparing Kozo bark for cooking, cleaning, beating the fiber, and papermaking, to drying, in this five-day intensive. 

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. 

Paper Contains the Universe, July 17-29, with Aimee Lee. Begin with paper mulberry, processing virgin fiber into tissue thin sheets, move to ever versatile abaca, and use natural dyes and finishes, followed by paper manipulation. 

Joomchi & Beyond, August 28 - September 3, with Jiyoung Chung. Create strong, textural, and painterly surfaces by layering and agitating long-fibered handmade papers. 

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

Basic Plant Fibers Papermaking, July 8-9, with Helen Hiebert. Create paper from plants such as kozo, wheat straw, corn husks, and onion skins at Iowa Lakes Community College, Spirit Lake, Iowa. 

Paper Possibilities, July 25-26, with Helen Hiebert. Two day paper sculpture and paper making workshop at Colorado Mountain College, Edwards, Colorado. 

Red Cliff Paper Retreat, September 9-11, with Helen Hiebert. Cut, fold, layer, collage, weave, glue, and make paper as you explore its potential in two and three dimensions. 

Honolulu Museum of Art, Honolulu, HI, (808) 532-8700, www.honolulumuseum .org. 

Intro to Papermaking, July 30, with Allison Roscoe. Learn to create unique sheets of (Western-style) paper with moulds and deckles and a variety of fibers pulped in a Hollander beater. 

Intermediate Papermaking, July 9 or August 6, with Allison Roscoe. Explore techniques such as the double couch, embedding, papermakers’ tears, adding color, drawing water lines, and creating watermarks. 

Washi Explorer: Japanese Bookbinding and Paper Decoration, August 13-27, with Hiroko Sakurai. Explore several different types of washi crafts to make a notebook using traditional binding techniques. 

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. 

Jaffe Center for Book Arts, Boca Raton, FL, (561) 297-0226, www.library.fau.edu. A gallery and studio, including Paper Lab. 

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

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. 

Introduction to Papermaking, July 30, with Kim Hosken Eberstein. Learn the materials, fibers and tools you need to successfully make paper, forming sheets and playing with colored pulps and inclusions. 

The Basics of Papermaking, August 8, 15, 22, & 29, with Kim Hosken Eberstein. Create unique expressive art through colored pulp, fibers, and collage elements. 

Kitsune Arts Studio, Half Moon Bay, CA, www.judykitsunestudio.com. 

Japanese Style Papermaking, July 16, with Michelle Wilson. 

Mary Ashton Studio, Seattle, WA, www .maryashtonstudio.com. Papermaking and book classes. 

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://themill bookarts.org. Classes, studio access, and resources in paper, book, and print arts. 

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 or Papermaking, Tuesdays, with staff instructor. Beat fiber for paper for future sheet-forming. 

Handmade Paper in Three Dimensions, July 10 & 17, with Erica Spitzer Rasmussen. Explore simple yet elegant methods of manipulating paper into three-dimensional forms with the assistance of prefabricated molds and handmade armatures. 

Extreme Marbling, July 30, with Sally Power. Tackle the most challenging comb techniques for making marbled patterns.

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

Paper to Book, July 9, with Radha Pandey. Learn how to make sheets of paper expressly to transform them into books. 

Marbling on Paper & Cloth, July 30-31, with Steve Pittelkow. Explore both historical and fantasy patterns while experimenting with this paper decoration technique. 

Creative Papermaking Processes: Positive & Negative Stenciling, August 27, with Kyle Holland. Learn Western-style papermaking as well as several stenciling techniques to create imagery during the papermaking process, focusing on various pulp painting and blowout techniques in addition to pulling shaped sheets of paper. 

Islamic World Papermaking, September 16-18, with Radha Pandey. Learn about Islamic world papermaking and its role in the history of paper, including fiber preparation, cooking, and beating as well as the sheet forming technique. 

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

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. 

paperTHINKtank, Philadelphia, PA, http:// paperthinktank.wordpress.com/. A papermaking studio offering workshops throughout the year. 

Papermaking with Native and Invasive Plants, August 14, with Nicole Donnelly. Learn about native-aggressive and non-native invasive plant species growing in the Philadelphia area and how to make paper from them. 

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, of fice@papierwespe.at, www.papierwespe.at. Workshops in English and German taught by paper specialists in downtown Vienna. 

Papers from Native Plants, October 15-16, with Beatrix Mapalagama. Create papers from beer hops, straw, long flax fibers, and more. 

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

Unprotected Paper, June 26 to July 8, with Frank Brannon. Learn the basics of papermaking with a focus on developing successful, site-specific, outdoor paper installations at Penland, using hand-harvested tree bark as paper fiber. 

Large Scale & Sculptural Papermaking, July 24 to August 9, with Lynn Sures. Create pulps from diverse raw fiber with surprising properties, assemble papermaking molds for big sheets and pulp paintings, and build sculptural armatures from various kinds of material. 

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

Pyramid Atlantic, Hyattsville, MD, (301) 608-9101, www.pyramidatlanticartcenter .org. Workshops in papermaking, print-making, and book arts. 

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

It's Marbelous! Intro to Marbling on Paper, July 23, with Greg Vita. Explore the aqueous surface design of paper, and cover the basics of marbling using acrylic paint. 

Large Scale Sheet Formation, July 29, with Greg Vita. Focus on Nepalese-style sheet formation as well as deckle boxes or box molds at 5’x6’ or 3’x6’ size. 

Hemp Papermaking: From Plant to Paper, August 1 or September 23, with Greg Vita. Learn multiple ways to process and beat the hemp plant, introduce a few different sheet formation and drying methods, and go over some basic paper sculpture techniques. 

Intro to Western Papermaking, August 21, with Greg Vita. Learn the basic techniques of Western-style hand papermaking, including pulp preparation, sheet forming, couching, pressing, and drying. 

Recreating Historic Japanese Stab Bindings, August 28-29, with Anne Covell. Explore processes of papermaking, cover decoration, and binding to create historic stab bindings as they were likely produced during the Edo Period (1603-1868) in Japan. 

Joomchi: Felted Paper, September 17, with Saaraliisa Ylitalo. Combine layers of mulberry papers of various shapes and colors to create a new piece of textured art paper. 

Spinning Paper Thread, September 30, with Saaraliisa Ylitalo. Use rough surfaces and bricks, hand-held drop spindles, and spinning wheels to make shifu, or paper thread. 

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

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

Intro to Western Papermaking, July 16, with Pam Deluco. Explore the materials, processes, and equipment used in Western hand papermaking. 

Paste Papers, August 21, with Bettina Pauly. Create your own decorative paper using one of the oldest decorated paper styles ever used by bookbinders. 

School of Visual Philosophy, 425 Auzerais Ave., San Jose, CA, www.schoolofvisual philosophy.com. 

Japanese Style Papermaking, July 23, with Michelle Wilson. Learn the basics of preparing fiber, hand beating, and forming sheets in the traditional nagashizuki method. 

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. 

High Shrinkage Papermaking, July 6, with Sandy Bernat. Embed materials such as string, wire, grasses, and other natural materials between sheets of abaca and allow the sheets to air dry to achieve surprising results. 

High Shrinkage Sculptural Papermaking, July 7, with Sandy Bernat. Work with the unique properties of highly beaten abaca fibers which will shrink to create strong sculptural vessels. 

Seaweed in Paper, July 11 or 25, with Sandy Bernat. Gather seaweed from Vineyard waters to use as an inclusion in pigmented pulp or to use directly for surface design. 

Paint with Wet Pulp, July 13, with Sandy Bernat. Dip into colorfully pigmented vats of pulp, explore stenciling techniques, collage materials into wet fiber, and design a painterly surface using over-beaten pulp paint. 

Field and Garden Papermaking, July 28, August 3, or August 23, with Sandy Bernat. Iris leaves or ornamental grasses culled from the garden, and cornhusk gathered from the field will be prepared for making paper. 

Sierra Nevada College Summer Workshops, Incline Village, NV, (775) 831-1314, www.sierranevada.edu. 

Papermaking: Seed the Future, July 25-29, with Jane Ingram Allen. Design handmade paper art using different seeds, learning how to select seeds and get them to grow, how to get the paper pulp to dissolve into compost, and how to color paper pulp and dry handmade paper containing seeds to produce creative and living art that emphasizes going with the natural cycle of life and living in harmony with nature. 

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

Islamic World Papermaking, September 3-5, with Radha Pandey. Learn fiber preparation, fermentation, and papermaking methods, as well as how to apply special surface finishing techniques. 

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. 

Papermaking & Pulp Painting, October 15-16, with May Babcock. Experiment with special techniques such as direct painting, collage, inclusions, watermarks, layers, and stencils while mastering the basics of hand papermaking. 

The Soapbox: Community Print Shop & Zine Library, Philadelphia, PA, info@ phillysoapbox.org, www.phillysoapbox.org. Workshops in papermaking, bookmaking, and printmaking in a West Philadelphia studio. 

From Plant to Paper, Paper to Book, July 15-16, with Nicole Donnelly. Collect invasive plants and transform them into handmade paper at the Schuylkill Center for Environmental Education. 

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. 

Pulp Painting & Handmade Paper, July 16-17, with Elizabeth Mackie. Investigate image making on the surface of still-wet paper, including sheet forming, pulp pigmentation, and consistency. 

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. 

Decorative Japanese Techniques for Book and Paper Arts, August 15-19, with Jeff Rathermel. Explore traditional Japanese decorative methods such as suminagashi, momigami, and orizomegami, as well as paste papers, wax resist processes, frottage, and more. 

Washi in the Garden, Huntingdon Valley, PA, winnie.r@verizon.net. An annual summer papermaking workshop series hosted by Winnie Radolan and Rona Richter. 

Traditional Washi Sheet Forming, July 2. Spend a day making thin, strong, and translucent sheets of washi, or Japanese paper. 

The Big Washi Pour, July 30. Use kozo, gampi, and abaca fibers and the pouring method of sheet forming to make large format sheets. 

Non-Traditional Japanese Papermaking Techniques, August 28. Experiment with inclusions, combine Western fibers with kozo, and incorporate pulp paint with traditional techniques.

Wells Book Arts Center, Aurora, NY, www .wellsbookartscenter.org. Offering a Summer Institute in the arts of the book. 

East Meets West Papermaking, July 24-30, with Peter Sowiski. Compare Eastern (Asian) and Western (European) traditions in sheet forming while investigating different fiber types, preparation, sizing, color, and texture with an eye toward additional possibilities of shape, dimensional, and pulp painted statements in the medium. 

Wisconsin Center for Paper Arts, Madison, WI, (608) 284-8394, wcpaperarts@hotmail .com. Offering studio facilities and educational opportunities 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. 

Open Papermaking Studio, July 11-15, with studio staff. Create independent, self-directed projects in the paper studio. 

The Missing Link - Papermaking in the Islamic World, July 18-22, with Radha Pandey. Learn about the history and technique of a papermaking style that has remained largely unchanged since the 8th century CE. 

Paper, Color, & Transparency - Luminous Images, July 25-29, with Sarah Bertrand- Hamel. Pigment pulp and produce multiple sheets of different colors, experimenting with mixing and overlaying, watermarks and inclusions. 

Pulp Types: Hybrid Papermaking & Print-making, August 1-8, with May Babcock. Learn to beat and color pulp to cast wet paper into a woodcut. 

Skin & Bones: Armatures and Sculptural Papermaking, August 8-12, with Ellen Kucera and Chris Petrone. Create sculptures from the inside out, starting with the creation of elegant armatures and then covering those forms with a skin-like handmade paper. 

Handmade Paper & Encaustic, August 15-19, with Tatana Kellner. Use cotton, abaca, flax, and ArtFarm fibers to create layered and embossed paper works, and then add to them using basic encaustic techniques. 

> EVENTS 

The Movable Book Society meets in Boston, Massachusetts, September 15-17. For more information, visit www.movablebooksociety .org, or contact Shawn Sheehy at shawnsheehy@gmail.com. 

The Red Cliff Paper Retreat takes place September 11-13. Helen Hiebert 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/. 

The next IAPMA (International Association of Hand Papermakers and Paper Artists) Congress will be held September 12-16, 2016 in Brasilia, the capital city of Brazil. Hosted by Dr. Therese Hofmann of the Universidade de Brasília, IAPMA will gather at the Cultural Centre Bank of Brazil to have an inspiring set of presentations, exhibitions of paper art in their galleries, as well as to enjoy the uniquely inspiring natural setting of Brazil, including a Post-Congress Tour. Brasilia is a UNESCO World Heritage Site renowned for its architecture. More information can be found at www.iapma.info. 

Oak Knoll Fest XIX is scheduled for September 30 to October 2, with a theme of "The Texts of Private Press Books - Should They Come from the Past or the Present?" Printers, librarians, booksellers, and collectors will discuss that theme in a free symposium on Friday. The book fair follows on Saturday and Sunday and will include 40 exhibitors from North America and Europe. Talks by Mark Dimunation of the Library of Congress, Ron Patkus of Special Collections at Vassar, and by a press from the Fine Book Association will also take place. Visit www .oakknoll.com or call (302) 328-7232 for more information. 

The next Friends of Dard Hunter annual conference will take place October 20 to 23 in Santa Fe, New Mexico, hosted by the New Mexico History Museum, with the theme “Earth Paper Sky.” Visit www.friendsofdard hunter.org for more details on speakers, demonstrations, workshops, exhibitions, and accommodations as they develop. 

Southern Graphics Council International holds its next conference in Atlanta, Georgia, from March 15 to 18. SGCI represents artists of original prints, drawings, artist books, and handmade paper. The 2017 SGCI Conference will showcase the rich printmaking community in the Atlanta area and celebrate its long history, as well as focus on the duality of the terminal point as a place for arrivals and departures, beginnings and endings. For more information, visit www.sgcinternational.org. 

> EXHIBITS 

Pittsburgh’s Fiber Art International 2016 runs through July 31 at Society for Contemporary Craft and Pittsburgh Center for the Arts, Pittsburgh, PA, and will then travel. More information is available at http://fiberartinternational.org. 

Pat Alexander’s artist-cast and pigmented abaca/cotton and steel installation, Even the Stars, is on view at Gibb Street Gallery at VisArts, Rockville, Maryland, through July 10. The installation and accompanying paintings were inspired by rock-laden landscapes in Newfoundland, Canada, Vedauwoo, Wyoming, and Cappadocia, Turkey. The artist’s work has been featured in Hand Papermaking in the Winter 2003 and Summer 1991 issues. For venue information, call (301) 315-8200 or visit www.visartsatrockville.org. 

Imagined Garment…Imagined Ground, an exhibition of work by Julie McLaughlin and Masha Ryskin, is on view at the Morgan Conservatory, Cleveland, Ohio, through August 6. Iowa-based artist Julie McLaughlin has been making paper and exploring its sculptural possibilities for the better part of twenty years. Masha Ryskin is a Russian born artist who uses a variety of media, including drawing and painting, printmaking, installation, and fibers. Visit http://morganconservatory.org or call (216) 361-9255 for hours and more information. 

Paper Awareness, an exhibition of work in handmade paper by the Guild of Papermakers, takes place at Palmyra Cove Nature Center, Palmyra, New Jersey, in August. Location and directions can be found at www.palmyracove.org/ or by calling (856) 829-1900. For more information about the Guild of Papermakers, contact Winnie Radolan at winne.r@verizon.net. 

Pure Pulp: Contemporary Artists Working in Paper at Dieu Donné brings together a diverse group of sculptures, books, and two-dimensional works created from 2000 to the present by twenty artists who have participated in the prestigious residency programs at Dieu Donné. The exhibit will be on view the Robert C. Williams Museum of Papermaking at Georgia Tech, Atlanta, Georgia, from June 9 to August 5, and at The Dedalus Foundation, Sunset Park, New York, from September 8 to October 13. 

Confluence: Twelve Collaborations opens August 12 at Morgan Conservatory and runs through September 17. The exhibit features well-known American papermakers who have partnered with printmakers, calligraphers, and surface designers to create collaborative work that ranges from prints to books and everything in between. For participating artists and other details, visit http://morganconservatory.org or call (216) 361-9255. 

The 11th Paper Biennial Rijswijk will be held from June to October and will showcase the diversity and ingenuity of contemporary paper art. The exhibit takes place at Museum Rijswijk in The Netherlands. For details visit www.museumrijswijk.nl. 

Combat Paper NJ will have powerful works of paper on view at Grounds for Sculpture's Education Gallery in Hamilton, New Jersey, from August 13 through October 2. Combat Paper NJ helps veterans express their complex experiences through art-making and the language of papermaking. Works in the exhibition were produced in Combat Paper NJ workshops. For more information, visit www.groundsforsculpture.org or call (609) 586-0616. 

> CALLS FOR ENTRIES 

Paper Circle seeks entries for its upcoming, second juried exhibition, In, On, Of Paper. Tom Balbo of the Morgan Conservatory will serve as juror. Entry is open to any original work in, on, or of paper including handmade paper, paper sculpture, origami, artist’s books, cut paper, stitched paper, or works on paper. All works, sculptural, decorative, and functional, must be original, be made primarily of paper and must have been completed in the last two years. Call is open to all artists working in the USA and Canada. Streamlined registration is available online at papercircle.org/callforwork/ and must be submitted by July 15 for this fall exhibition. 

The American Bamboo Society seeks applicants for the 2016 Arts & Crafts competition featuring works using bamboo as a material or a design motif. The entry deadline is July 15. For more information, visit www.bamboo.org or email artsandcrafts@bamboo.org. 

23 Sandy Gallery seeks entries for Pop-Up Now II, an international juried exhibition of pop-up and movable artist books. Artist books, sculptural books, book objects are all encouraged as long as the book has at least one interactive, movable, or pop-up element. The exhibit will be on view at the Portland, Oregon gallery from November 4 to December 17. Submissions are due August 27. A full prospectus and call for entries for POP-UP NOW II can be found at www.23sandy.com. 

Treewhispers is an ongoing installation of flat handmade paper rounds with tree stories, poetry, and art. Visit http:// treewhispers.com/here/. 

> PUBLICATIONS AND VIDEOS 

IAPMA: International Association of Hand Papermakers and Paper Artists is turning thirty and celebrating with a special anniversary publication featuring a special fold-out poster with 12 swatches of handmade paper donated from around the world. For more information: http://tinyurl.com/zkkgjas. 

The Canadian Bookbinders and Book Artists Guild’s latest magazine includes a feature article on Helmut Becker. Written by Helen O’Connor, the piece focuses on Becker’s career in hand papermaking and research with fibre flax and hemp. Also in this issue, read about Emily Cook and Flora Shum of Paperhouse Studio. For more information on CBBAG’s publications, visit https:// cbbag.wildapricot.org/ or call (416) 581-1071. 

Dieu Donné is pleased to announce a new variable edition in handmade paper by Carrie Moyer, a painter, writer, and activist living in Brooklyn. Ms. Moyer is widely known for her abstract paintings in which layers of media, as well as concept, research, and experience, are intermingled to sumptuous effect. Paper Variables is an opportunity to collect art by renowned contemporary artists at an affordable price while making an important contribution to the creation of new work in handmade paper. For questions regarding the Dieu Donné subscription program, please contact Kathleen Flynn at kflynn@dieudonne.org or call (212) 226-0573. 

Sugihara Yoshinao, president of Washiya, a Japanese paper company in Fukui, discusses washi in Japanese culture in the March edition of Niponica. The article, Washi: Tradition and Evolution, is viewable online at http://tinyurl.com/gre5wzj. 

Pure Pulp: Contemporary Artists Working in Paper at Dieu Donné is an exhibition catalog recently published by Wellin Museum of Art and DelMoncio Books. It includes introductions by directors Tracy Adler (Wellin Museum of Art) and Kathleen Flynn (Dieu Donné); an essay by exhibition curator Bridget Donlon; an interview by independent art writer, editor, and filmmaker Rachel Wolff; a writing by artist Richard Tuttle; and an array of work. Visit www.dieudonne.org/publications/ 

A papermaker gets involved with a murder case in the Chinese martial arts film Dragon. The movie is critically acclaimed, and rated R for violence. Search for it on IMDb or Netflix or Amazon. 

In the first episode of the BBC series The Silk Road, Dr. Sam Willis "discovers" how the Chinese invented paper near the capital city of Xi'an. Visit www.bbc.co.uk/ programmes/p03qb130 

> MISCELLANEOUS 

John C. Campbell Folk School is raising funds to construct a new Book & Paper Arts Studio to support increased offerings in this area. It will be approximately 2,800 square feet and will have an additional 850 square feet of outside workspace. The studio will be comprised of a main studio room, wet room, outside workspace, and printmaking room. To learn more, visit http://folkschool .org and follow the “Support the Folk School” link. 

The Dieu Donné Lab Grant webpage includes online documentation of the work of 20 Lab Grant Residency artists, in handmade paper. Visit www.dieudonne.org/ lab-grant to explore this resource. 

Jocelyn Chateauvert was awarded the People’s Choice Award for 3D artwork at ArtFields 2016 in South Carolina. Her Invasive Species work was created with some 1,200 sheets of handmade abaca in varying shades of translucency for over 300 stemmed morning glories. The blooms range in size from less than two inches to nearly six feet in diameter, hung from walls to rafters intertwining 55 feet in length. 

Mimi Aumann has created a site for the hand papermaking community to buy and sell and trade used or new equipment, tools, supplies, and books. Join the Marketplace Group at facebook.com/groups/Market placeallthingspaper/ 

Paper Plant's new papermaking, printing, and book arts studios are now open in Asheville, North Carolina. John Dancy-Jones is producing paper and printing, as well as scheduling papermaking workshops. For more information or to schedule a workshop, visit http://bookarts.wordpress. com or call John at (919) 618-6883. 

> CLASSIFIEDS 

Classifieds in Hand Papermaking Newsletter cost $2 per word, with a 10-word minimum. Payment is due in advance of publication. 

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

Hawaii Arts Retreat, Kaaawa, HI. (808) 221-8102, www.hawaiiartsretreat.com. Offering Side By Side, workshop combining visual and literary arts with book making. April 2-8, 2017. 

Two Noble and Wood seven lb. beaters for sale. One is complete with roll, prop and serpentine belt. I also have a lava rock roll for the above beater. Includes stand and 5 horse three phase motor. $5,000 in current condition. $7,500 rebuilt. Beater number two is clean but partially disassembled. It has a clean roll but no material filling the center of the roll. Includes stand on wheels and a 5 horse three phase motor. $5,000 reassembled in working order. Please contact Ron Rich for information: Ron@Oblationpapers.com (503) 295-5967 

Korean printing woodblock for sale. Over 200 years old. Hand carved on both sides, from the Yi Dynasty. Made of pine wood. Printing surface is 8x18 inches; the entire piece is nearly 12x21 inches. Excellent condition and prints well. Price: $2000. For more information email ww.washi@yahoo.com or call Marilyn Wold at 503-641-7162. 

Almond Tree Press and Paper Mill is selling the entire studio of Gene Valentine including a Reina beater, hydraulic press, drying boxes, moulds, and much more. Link to complete listing via http:// wp.me/p6dkFd-ia. Items will not be sold individually. Contact Kristin.Valentine@ asu.edu 

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 

Custom Built Paper Presses for sale, large and small. 23-inch C&P paper cutter. Contact The Pterodactyl Press in Cumberland, Iowa, (712) 774-2244, floyd_pearce@yahoo.com 

Custom Beater For Sale. Capacity is 2-3 pounds of dry pulp. GE motor, 1/2 horsepower. Removable lexan plates create the curve inside the front and back ends. The cover for the roll is heavy plexiglass. Located near Ottawa. Asking $5000 Canadian, or best offer. Contact bethlevin82@gmail.com or call (613) 821-1260 for more information or to see more photos.

> 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, Lisa Cirando, Yousef Ahmad. Patrons: Tom Balbo, Sid Berger & Michèle Cloonan, Jeffrey Cooper, Susan Gosin, Nancy & Mark Tomasko. Underwriters: Anonymous, Susan Mackin Dolan, Fifth Floor Foundation, Lois & Gordon James, Margaret Ahrens Sahlstrand, Michelle Samour, Gordon & Roswitha Smale, Beck Whitehead, Pamela S. Wood. Sponsors: Simon Blattner, Tom & Lore Burger, Kathy Crump, Gail Deery, Amanda Degener, Michael Durgin, Karla & Jim Elling, Jane Farmer, Kathryn Flannery, Helen Frederick, Joyce Kierejczyk, Barbara Landes, Julie McLaughlin, Peter Newland & Robyn Johnson, Ingrid Rose, Kimberly Schenck, Richard H. Schimmelpfeng, Claire Van Vliet, Gibby Waitzkin, Teri Williams. Donors: Marjorie Alexander, John Babcock, Ines Ballugera, Susi Barbarossa, James Barton, Simon Blattner, Carol J. Blinn, The Book Club of California, Stuart Bradstreet, June Burden, Carolee Campbell, Carla A. Castellani, Kathryn & Howard Clark, Paula Cox, Elizabeth Curren, Kerri Cushman, Jennifer Davies, Marian Dirda, Drachen Foundation, Helen Frederick, Hiromi Paper, Sally Wood Johnson, Jamie Kamph, David Kimball, Steve Kostell, Aimee Lee, Katie MacGregor, Mary Lou Manor, Russell Maret, Nina Matheson, Anne Q. McKeown, Margaret Merritt, Catherine Nash, Katiri Neske, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Julie Reichert, Sally Rose, Leonard Rosenband, Kim Schiedermayer, Mary C. Schlosser, Susan Shaw, Vicky & Pablo Sigwald, Scott R. Skinner, Liz St. Rain & Michael Horlick, Kathleen Stevenson, Betty Sweren, Shirley B. Waters, Aviva Weiner, Christy Wise, Kathy Wosika, Therese Zemlin. Supporters: Barbara Andersen, Anne Beckett, Kati Casida, Nancy Cohen, Marty Davies, Sara Gilfert, Robert Hauser, Pamela Markham Heller, Susan Hersey, Susan Hersey, Eve Ingalls Von Staden, Mildred Monat Isaacs, Viviane Colautti Ivanova, Kristin Kavanagh, Chris Leatherwood, Anita Liebeskind, M. P. Marion, Ann Marshall, Edwin Martin, Ann S. Miller, Dennis Morris, Suzanne Oberholtzer, Radha Pandey, Dianne L. Reeves, Allison Roscoe, Robbin Ami Silverberg, Marie Sturken, Mina Takahashi. Friends: Lawrence P. Smith. 

In-Kind: Adobe Systems Inc., Janet DeBoer, Peter Ford, John Gerard, Dard Hunter III, Rick McSorley, Microsoft Corporate Citizenship, Steve Miller, Britt Quinlan. 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. Contributors to the Hand Papermaking Portfolio Archive Fund: Tom Balbo, Simon Blattner, Tom & Lore Burger, Jeffrey Cooper, Susan Mackin Dolan, Drachen Foundation, Michael M. Hagan, Joan Hall, Joyce Kierejczyk, Betty L. Kjelson, Ann Marshall honoring David Marshall, Julie Reichert, Laura Merrick Roe, Richard H. Schimmelpfeng, Mary C. Schlosser, Mina Takahashi, Aviva Weiner, Beck Whitehead. 

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