HAND PAPERMAKING

NEWSLETTER

Number 116, October 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 (January 2017) is November 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 Subscribers,

In 2016 Hand Papermaking celebrated its 30th anniversary. We published a special color magazine that championed young talent. We hosted board members and advisors at a weekend retreat to envision our future and empower new leadership. We built bridges between emerging and established artists by arranging intergenerational collaborations in paper studios worldwide, followed by an exhibition of the work, curated by Tatiana Ginsberg. 

Fifteen new paperworks were created by thirty artists: Tom Balbo & May Babcock, Velma Bolyard & Genevieve Lapp, Melissa Jay Craig & Katharine Delamater, Michael Durgin & Yang Changhe, Sue Gosin & Lara Henderson, Joan Hall & Sarah Rose Lejeune, Mary Hark & Ibrahim Mahama, Tana Kellner & Emily Chaplain, Tom Leech & Lindsey Fromm, Julie McLaughlin & Johan Solberg, Catherine Nash & Radha Pandey, Peter Sowiski & Flora Shum, Peter Thomas & Jillian Bruschera, Bernie Vinzani & Emma Sovich, Gibby Waitzkin & Jennaway Pearson.

The resulting collection of paper art conveys the spirit of youthful energy interacting on equal footing with the wisdom of experience. The pieces are now being compiled into our 12th limited-edition portfolio. A custom-made clamshell box will house the work, each in a protective folder imprinted with the artists’ names. A handbound booklet, with letterpress printed cover, will contain statements from the artists, details about each piece, and a commissioned essay by Tatiana Ginsberg. Mina Takahashi is the project editor. Steve Miller is the designer and letterpress printer.

This stunning new portfolio – entitled “Intergenerationality: Collaborations in Handmade Paper” – is now available at a special pre-publication price of $395 plus shipping. Order now and save $200! See the complete prospectus on our site and order online, or call (301) 220-2393, or mail a check.

Thanks for your ongoing support as we finish off an eventful anniversary year, entering our fourth decade with confidence, enthusiasm, and gratitude. 

Tom Bannister

Dear Readers,

As many of you know, Michele and I have been collecting paper for a long time. I began in 1971 and when Michele and I got together more than 30 years ago, the collection really took off. I am happy (and a bit wistful) to announce here that the collection has been placed in a wonderful library—at Texas A&M University. The more than 19,000 pieces, fully cataloged pretty much at the item level (an endeavor that took more than 6 years), will be available to students and scholars, artists and practitioners, and anyone else able to get to Cushing Memorial Library & Archives at the university in College Station, Texas. Fairly soon, anyone will be able to access the collection’s catalog online, with an image of almost every sheet displayed in the catalog. We will continue to collect papers, but only extraordinary ones from here on, and we will continue to add to our library on the subject. But we are right now feeling once again the empty-nest syndrome that we felt when our kids grew up and moved out—both of them within a week! In the future I will write an overview of the collection. Right now I need to stop sniffling and get on with my life. 

Sidney Berger 

Waban, Massachusetts

On the previous page, photo 56 is a rare paste paper from Tamm and Co., circa 1920s; photo 64 is an extraordinary marbled sheet by Marjorie Lee Bevis, circa 1988; photo 71 is a composite decorated paper by Milena Hughes, circa 1980. 

> 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. In this column Donna leads us through the fascinating process of making parchment from animal skins. 

My ears perk up whenever I hear the word “Goldbeater,” as I immediately associate the word with the goldbeaters of Mandalay and the amazing bamboo paper onto which they beat the gold. So when Jesse Meyer from the tannery Pergamena nonchalantly mentioned “Goldbeater’s skin” while teaching a parchment-making workshop that I recently participated in, I was particularly intrigued. He said that parchment made from the lining of a calf’s intestine was historically used for the process of goldbeating. I, the alleged expert in this area, had never heard of goldbeater’s skin; and I was surprised that the conservators that were also workshop attendees were well aware of it. 

The focus of this workshop was on the making of parchment, of which the goldbeater’s skin was one example. Pergamena is a tannery in the Hudson River Valley, in Montgomery, New York, dedicated to the making of parchment and leather. It is truly a family business, beginning with the Meyer family back in 1550 in Germany, but now led by Karl Meyer, the current patriarch of R.E. Meyer and Sons, a business with a history of producing fine leathers. He claims to have put his children through college by producing all of the special leather that covered the hammers on Steinway pianos as well as providing the leather soles for bowling shoes. We learned that with the advent of synthetic materials for shoes and piano actions, the tannery was rapidly losing business until his son Jesse researched, rediscovered, and refined the art of making parchment, and now Pergamena is a leader in the making of high quality and beautiful parchment as well as high quality leather. Jesse and his brother Stephen were extremely knowledgeable, and enthusiastically led us through the steps of preparing parchment. 

Parchment is untanned animal skin that has been stretched and dried under tension. Therefore any animal skin can be made into parchment, but certain animals are more suitable due to their quality, size, and availability. Parchment is most commonly made from calfskin, sheepskin, and goatskin. Other skins such as deer are also used and Jesse even showed us parchment he made from local roadkill— that of a squirrel. 

Visiting a tannery requires a strong constitution. An overwhelming stench of rotting flesh combined with assorted chemicals permeated the workshop. A few of the participants, myself included, rushed outside every thirty minutes for fresh air. But the more I became engrossed in the fascinating process, the less aware I was of my nagging nausea. First we were introduced to stacks of animal hides, mostly obtained from local farms and slaughterhouses as byproducts of meat and dairy industries. The hides are cured; they are heavily salted, which reduces the moisture content and prevents bacteria growth. When ready to be used, the hides are placed in large, rotating drums with water, and the salt is rinsed out. Next is the dehairing process, and the drums are refilled with fresh water and slaked lime. The lime, with its high pH, causes the fur and other keratinous matter to break down. The drums are constantly being filled with water, emptied, and refilled until the fur miraculously dissolves and the hairless skins are then pulled out of the drums. The side of the skin that had the hair is called the grain side. The next step is called fleshing. Traditionally the flesh side of the skin, which is the inside of the skin where the meat is, was rubbed by hand using a special knife, to remove excess meat or fat, but each skin is now run through a fleshing machine, a much quicker method. We learned that the skins at this point weigh nearly 50% less than they did when they had their fur and flesh attached. The skins are put back in the drum for further rinsing, and finally they are ready for what I consider to be the fun part. 

Each participant carried a wet calfskin up to the parchment drying room on the second floor of the workspace. The room was full of wooden frames, each one measuring 8 feet by 4 feet. Using spring-loaded toggle clips and clothesline tighteners that were attached to the frames, each skin was stretched in all directions, clipped, and tightened so that the parchment would dry under tension within the frame. Next, using semi-circular sharp knives, and then orbital sanders, we scraped and sanded the skins to make them smooth. Once dry, we removed the clips, and our parchment was finished. We learned that parchment made from calfskin is also called vellum. 

Satisfied with having made my first sheet of calf parchment, I was still curious about goldbeater’s skin. For one of his earlier demonstrations, Jesse pulled from the tank a calf fetus that he called ‘slunk’ and explained that the resulting parchment is considered to be a higher quality. Its intestines were still attached, and Jesse cut them off. That was when he made the remark about the prized goldbeater’s skin. When the workshop was over and we were all rolling our parchment to take home, I eyed the slunk intestines nearby and timidly asked if I might be able to take them home to experiment with. Jesse placed them in a plastic bag and told me to salt them as soon as I returned home, then rinse and scrape them thoroughly before stretching and drying. 

Two hours later I was back in Brooklyn, and another two hours passed before I remembered that I had left the bag of intestines in my car! The smell was so putrid that I had to leave the windows of my car open for days. Nevertheless I persevered, and after endless cleaning, rinsing, and scraping, the intestines were stretched and attached with pushpins onto a board. 

While the skin dried, I did a little research on the Internet. I was curious about this thin, translucent, yet strong skin and was astounded with what I discovered. I wasn’t surprised about its history of being used as a substrate for the beating of gold into gold leaf, because gold leaf had been in existence during ancient Egyptian and Roman times, before paper was invented. So of course a thin parchment would make sense as a gold beating substrate. Goldbeater’s skin is also used in the repair of old manuscripts that were written on parchment, which also makes perfect sense, as the skin is translucent and strong. What surprised me was that goldbeater’s skins were used to make the gasbags for the enormous airships of the early 1900s. A single zeppelin would contain nearly 20 gasbags made from layers of goldbeater’s skins. These skins were preferable because they were light and strong and impermeable to the hydrogen gas that they held. “...over 200,000 sheets of gold-beaters skin were needed for the gasbags of a standard German naval airship that was used during World War One.”1 I was also surprised to learn that goldbeater’s skins are used to seal oboe reeds, to prevent air from leaking. 

When I finally removed the pushpins from my dried goldbeater’s skin, and observed its thin and translucent qualities, I was satisfied. It certainly wasn’t strong enough for gold beating, or consistent enough for manuscript repair, or impermeable to hydrogen for making zeppelin air bags. But it had no smell and that was good enough for me. 

1. Mark Steadman, The Goldbeater, the Cow and the Airship, MuseumsPosten, Post & Tele Museum, Denmark, 2006 

> TEACHING HAND PAPERMAKING 

Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. Here Winnie describes a workshop in a former shoe factory, teaching the resident artists how to make paper with linen, flax, hemp, and abaca. 

I am still experiencing an enthusiastic “high” following my recent and first trip to Schuylkill Haven, Pennsylvania, to teach a papermaking workshop at the Walk In Art Center. Their director, Lisa Robinson, contacted me back in May through a listing on the Hand Papermaking website. Apprising me of their history, she explained that from 1887 through 2000 the Walkin Shoe Factory produced a steady stream of quality dress shoes. Upon the closing of the business, the building was purchased by Evans Transportation. Eight years later, Mr. Evans formed an advisory board and laid groundwork to open an art center to serve the community of Schuylkill Haven. In 2012 the Walk In Art Center opened its doors to the public. This expansive and classy old building houses sixteen artist’s studios and workshop space. In addition, there is a large gallery that features year round changing exhibitions of work by local and national artists, and a beautiful rental area in which to schedule events and catered parties. 

After an extensive conversation with Lisa about the numerous possibilities to introduce papermaking to her community, it was decided that my “toe in the water” would be to offer the resident studio artists a dip in the vats. Lisa indicated that the interested artists had all dabbled with papermaking to some extent, and would prefer a more advanced workshop to an introductory one. From amongst the three workshop possibilities that I proposed, the artists selected “Fancy Fibers for Making Artist’s Papers,” a nickname they chose to describe Papermaking with Linen, Flax, Hemp, and Abaca. This was very enticing for me, as the majority of teaching pulp that I produce must be forgiving enough to board/restraint dry easily for my students. 

I commenced fiber preparation almost immediately because the mint green linen tablecloth needed snipping and cooking before beating, as did the raw hemp. I added some black denim linter to Carriage House’s Type R raw flax, as I wanted to provide some dramatic color contrast in pulp. And I prepared two-hour beaten premium abaca, which required the least labor to produce. 

Because all of my fibers would possess the beaten-in potential, while drying, to become mildly sculptural if unrestrained, I provided detailed instructions, with photographs, for fashioning a simple drying system. The artists were asked to prepare two polyurethane-coated boards measuring 11” x 14”. They would also need four wide-bite C or hand clamps to hold the boards together under pressure, with their pressed handmade paper sandwiched between blotting material in the middle. I suggested they obtain a roll of paper towels or blotters, cut to size, for the gradual absorption of moisture from their drying sheets. Everyone was also instructed to bring pre-cut sew-in dressmaker’s pellon upon which to couch the wet paper. 

With preparations completed and my car packed for the adventure, I embarked on the two-hour drive north and west of my Philadelphia starting location. I arrived within plenty of time not only to unpack and set up the workshop classroom, but also to have a very welcoming tour of the facilities, including a few of the artists’ studios, a real treat! As one “walks in” to the Center, one is greeted by the Walk In Goat mascot, an artifact that formerly served the same capacity in the shoe factory. Much wonderful light, brightly colored art and welcoming artists were there to greet me. They proudly showed off their personal studio spaces, filled with paintings, sculptures, basketry, and jewelry. An abundance of warmth, creativity, and good humor in what is obviously a very nurturing and supportive community made me wish I lived a lot closer! 

As the six artists introduced themselves and shared their previous papermaking experiences, I realized the fibers were likely to be a temporary challenge to the group. We reviewed equipment terminology and techniques for pulling and couching a newly formed piece of paper. And then we commenced pulling sheets of linen, denim/ flax, hemp, and abaca, with the latter being the most forgiving of vat fibers. There were indeed initial challenges in couching the first couple of sheets of paper in everyone’s posts. It took until lunch break for all the artists to form plain sheets from all four vats. While the abaca was forgiving, the long-fibered hemp caused some grumbling. We employed a rinse vat, which was utilized so frequently that before long, it was sporting beautiful grey slurry for thin sheets. By lunch break several of the moulds needed a good back-screen cleaning, but no one’s spirits were dampened. 

After culinary fortification the real fun began. I demonstrated layering, embedding, and embossing. I filled two small vats with finely beaten and pigmented cotton veil pulp. I brought out some shaped deckles and stencils for experimentation. The artists’ post grew higher, the rinse vat was charged and diminished repeatedly, and the moulds accumulated increasing pulp lodged in the back support screening (awaiting a later clean up date with my hose power nozzle.) The creative energy flowed as the pulp diminished, until we were all out of pellon, energy, and time. 

After pressing the posts between synthetic chamois in my larger Grummer portable press, we reviewed drying procedures, they assisted in clean-up and we had question and answer time. The five-hour workshop flew by in what seemed like five minutes! We exchanged e-mail addresses and intentions of wishing to explore other aspects of hand papermaking in future workshops. And I drove home, full of enthusiasm, and with the hope of future opportunities for collaboration with the community of the Walk In Art Center!

> 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. This article follows the ongoing correspondence between Hayle Mill foreman Ewart Langley and Robert Perry Robertson, vatman at Dard Hunter’s Lime Rock mill. Maureen explains that she selected these letters partly because by hearing the voice of men working in the trade one is better able to “have some inkling of personalities who previously were simply mentioned in books or appeared in the occasional photograph.” 

Having painstakingly explained the ins and outs of the ‘six day rule’ in his last letter dated 27 September 1930, Robertson had forewarned Ewart Langley that even with his input as a former secretary of the Original Society of Paper Makers’ committee, the present committee would likely ignore Langley’s efforts to clarify practices undertaken when mills were forced to work a four day rather than six day week. 

It is for this reason that when Langley’s letter dated 10 October 1930 arrived at Lime Rock, Robertson was not at all surprised when he read the contents. In this letter, Langley painstakingly recounts recent events concerning Springfield Mill’s contravention of the ‘six day rule’ by paying the men an extra day’s worth of compensation which, in his and Robertson’s opinion, defrauded the goodwill of the fee paying union members, as well as Britain’s Ministry of Labour, Employment and Insurance.1 

Mr Robert P. Robertson, 

Lime Rock, Connecticut. U.S.A, 

10th October 1930 

Dear Bob, 

Thanks very much for your letter giving me a copy of the note you received from the Secretary of the O.S.P. 

You are quite correct in assuming that by writing this letter, Mr Smith and his committee doubt my word. I will just give you the history of what has happened during the last few months. 

As you know, many years ago, rather than shut Vats down we went on four days per week, and the question was raised as to the amount we should have to pay the men to carry out the promise made by the Secretary of the Employers’ Federation2 when the Agreement was made about the 20/- per week Retaining Fee or 3/4d per day, and by arrangement with the Mill’s Company, and in consultation with you, and, I presume the Committee, although at this late stage it is difficult to prove, we agreed to pay the men 6d for the two days – that is they done four days work at the Mill, were entitled to two days Retaining Fee at 3/4d per day, and as they received 2/10d per day Unemployment pay we have to make up to 3/4d. This we done by paying 1/- per week.3 

Unfortunately, some months ago, Springfield, owing to slackness of trade had to go on short time, and the men asked if they might be put on the same short time as was worked at Hayle Mill. Judge my surprise when the Clerk informed me that the second week, when the men of Springfield finished on Wednesday night they had been claiming and paid 1/6d, the contention being that the amount of work done was nothing to do with the pay, but the fact that the Mill was closed against them for three days. They also had received trade pay for that extra day, and the men of Hayle Mill claimed from the Committee that if this was in order they were entitled to back trade pay ever since short time was started, and having received it themselves, the Committee, the majority being from Springfield Mill could do nothing else but agree, and a sum of something like £50 was distributed to the Mill’s Company here.4 

I wonder what you would have said about this if you had been home? 

The Committee would not agree to our contention that Retaining Fee was based on the six days’ custom and contended that no matter what the amount of work was done the men were entitled to Retaining Fee for the days the Mill was shut. 

They sent a deputation over to Mr Green and myself, and in the course of argument a statement was made that every other Mill paid the same as Springfield had claimed. Mr Green promised to write to all the other Mills and get their version, and the Secretary promised to write to the Mill’s clerks to confirm.5 Up to the present the Secretary will not tell us what replies he has received, but we have informed him that every employer agrees that our contention is correct, and it seems to me that as a last resource Mr Smith has written you to try and prove that this has been done here without any consultation with the Secretary of the Society. 

Now you know in every case where it came to a question of following the complicated rules of Unemployment Insurance we always consulted you, and in every case it was done through the Mill’s Clerk, here.6 

Our Mill’s Company was dumbfounded when they found what Springfield were doing, and I cannot blame them for asserting their claim to be put on the same footing as Springfield. The irony of it all is, that the men of Springfield asked to be paid on exactly the same terms as Hayle Mill and then went and departed from it to their own advantage. 

I am indeed obliged to you for sending me on a copy of the letter you received and congratulate you on reading between the lines as to Mr Smith’s intention. I think the above will give you a clear understanding of the position, if not, if you write again I will try to make it more clear. 

Now, I am very much obliged for the other part of your letter and are pleased to hear that you are getting on so well. Is it possible to send me a snap of you driving a Ford along those splendid roads we hear so much of?!! Kindly remember me to your wife and daughter and also the boy. I was indeed sorry to lose him and trust that he will turn out as good a papermaker as he promised to. If he doesn’t I shall put the blame on you, because when he left here he was almost a full blown Vatman and Coucher. 

As to what was done when he was ill was only what we always try to do for anyone working at the Mill, and if a little more of that spirit was shown we should not have so much unrest as we do. 

Again thanking you for writing me. 

I remain, yours sincerely 

E. Langley

1. The Ministry of Labour, Employment and Insurance were responsible for making Unemployment Benefit payments. 

2. Langley is referring to the ‘Paper Makers’ Association of Carded Labour.’ While many of the hand papermakers belonged to the Original Society of Paper Makers, the owners of ‘carded’ or union affiliated mills had their own association, which met to discuss various aspects of trade and to deal with union matters. 

3. Pre-decimal currency: 12 pence (d) = one shilling, 20 shillings (s or /-) = one pound (£or l) so 3/4d represents three shillings four pence. 

4. Trade pay payments were made by the O.S.P. using money held by the union, which collected members’ fees. 

5. The Mr. Green referred to was Herbert Green, the then owner of Hayle Mill where Ewart Langley was foreman. 

6. Ewart Langley is referring to the time when Robert P. Robertson himself was secretary of the Original Society of Paper Makers. 

‍

> DECORATED PAPER 

Sidney Berger, a professor at Simmons College in Boston and Director of the Phillips Library at Peabody Essex Museum, has been collecting and researching decorated paper for over forty years. Here Sid introduces us to the beautifully detailed marbled papers of Vi Wilson, including some containing marbling within marbling. 

I would like to continue my series of articles on expert paper decorators with a look at the supremely talented Violet (Vi) Wilson. I first saw her work in Gatlinburg, Tennessee, at Arrowmont School of Arts and Crafts, in September 2002 at the last Marblers Gathering held in the U.S. Vi had made the trek from her home in Southport, Australia, to be at the gathering, and it was an exciting moment for me when I first saw her papers—and a thrill to meet the one responsible for them. 

As I have noted in this column a number of times—but it is worth repeating here with a particular view of Vi’s lovely marbling—when one learns a craft, one must master the basics of it before moving on to make original inroads into it. Also, once the craftsperson has got the basics down, and the standard patterns are coming out of the marbling bath, she can then experiment to see if she can go beyond, to make original contributions to the process. And in so doing, if she is successful, the craftsperson becomes an artist. Vi meets these criteria: her papers are absolutely beautiful—a combination of fully grasping the techniques and materials, having a subtle and sensitive color sense, and being innovative in such a way that one can look at many of her special sheets and say: “Wow! That one is by Vi Wilson!” Once you have reached that level of accomplishment, you deserve to be enshrined in the Marblers’ Pantheon, and Vi is assured status therein. 

Vi learned marbling in 1986 and studied it formally in 1987 in a workshop with Don Guyot. Her resume reveals some of her early honors: “At the second [marblers] gathering in San Francisco in 1982, three pieces of her work were selected for inclusion in the exhibition which was mounted at the Bay Gallery. One piece was included in the exhibition catalogue.” She has also been represented in exhibitions in which her calligraphy was on display, done over her marbled sheets. This was the case for the Multicultural Calligraphy Exhibition at the Crafts Council of South Australia; the exhibition with her papers in it toured for a year in South Australia in 1991. And her work has also been shown in other exhibitions and in books. 

On top of her repute among marblers, artists have used her papers for commercial projects throughout the world. And in the best-known marbling journal in the U.S.— Ink & Gall—in 1992 she was a featured artist (see the December issue). 

She has a solid reputation in the marbling world, and her papers are in collections like those at the Newberry Library and the University of Washington. And, I am happy and honored to say that many of her exceptional sheets are in the Berger/Cloonan Collection. The three examples of marbling depicted below show Vi at her best— or almost at her best. The first is an elegant vignette—clearly a work of art that calls out to be framed. The second shows the kind of fine control that Vi has achieved—also revealing the work of a true artist. And the third is a tour de force of marbling, with perfect registration of the parts of the image. This newsletter is, unfortunately, printed in black on white paper. So only readers of the digital version can see the absolutely superb use of color that Vi has achieved. 

Marbling has a touch of magic in it, and I have saved the most magical images for last: Vi has perfected a kind of combed pattern that is almost supernatural. From a distance one sees a sheet with a spare marbled pattern—with lots of white space between the lines of the pattern. But up close, the lines in the pattern are startling, for each line contains within it (and each line is only about a 1/4” wide!) a marbled pattern. Marbling within marbling! Here on the right are some spectacular examples, followed by a close-up of another sheet displaying the same technique. Fantastic! I know that these will be printed small. But the originals, on full-size sheets of paper and in full color, are stunning. 

As an award-winning photographer, Vi has a sensitivity to framing, placement, color, line and image, and composition that are great assets in a truly brilliant marbler. And she has perfected her work to such a degree that everything I see in her marbling is a work of art. 

On a personal note, also, my wife and I found her and her husband Michael to be superb hosts. On a recent visit to their home we were treated like royalty, and we got to see a house full of her beautiful calligraphy and photography, along with marbles that I am still drooling for. (And the visit to their macadamia farm was a special treat!) 

> FOR BEGINNERS 

Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. In this column, Mary provides instructions for making paper from recycled clothing. 

This summer, I taught a two-session workshop that was entitled “Making Paper with Pants.” 

Yes, you read that correctly. Rather than sourcing fibers directly from plant materials, we recycled clothing to create our pulp. Remember that any natural fabric (cotton, denim, linen, ramie, hemp) was once a plant as well. The plant fibers have just been spun into thread, woven into cloth, and worn in the meanwhile. 

Making paper from rags is a project for the Hollander beater or stamper. We will discuss processing by Hollander beater, since it is much more common to have access to the Hollander versus a stamper. Garments should be washed several times without detergent to minimize suds erupting from the beater during processing. (Fellow papermaker Michelle Wilson and I once pulped a series of blue jeans donated by friends and got a real window into their cleaning habits as some blue jeans released considerably more residual detergent suds than others.) 

Remove all seams, zippers, and other non-natural items from the garment. (The threads holding clothing together are often synthetic, such as nylon, and will not break down well in the beater.) Using sharp scissors or a sharp rotary blade, cut the fabric into pieces approximately 1.5 x 1.5 inches. Weigh out the appropriate amount of rag for your beater, remembering both that the beater performs best when filled to capacity and that rags may expand more than half-stuff (partially processed fibers purchased from a papermaking supplier) or some plant fibers during the beating process. For a beater with a two-pound capacity, I might weigh out 1 3/4 pounds of rag. 

Fibers should be soaked in water overnight in advance of beating. Add water to the beater’s fill point, add the rags, and let them circulate for a couple of minutes with the roll bar raised. Once you’ve established they are circulating freely, take the roll bar down gradually until the sound changes to one of grinding. You may bring the roll bar gradually down further as the sound changes, keeping an eye on your fiber so as not to cut the fibers too short for your desired result. Rags can take a range of time to break down, depending on how worn or fresh the fibers are. That is to say that a pair of jeans worn until holes were forming may break down twice as fast as a pair that was barely worn. 

When beating old jeans (worn until holes were forming), my Reina beater took two hours to prepare sheet-forming pulp. The squares of fabric first fray around the edges and are then broken down into their constituent threads, which are then further cut and brushed over the course of beating. 

For more information on controlling pulp qualities through beating in the Hollander, see the Hand Papermaking Newsletter “For Beginners” columns on Hollander Beaters (No. 44, October 1998) and Pulp Doneness in Assessing Your Pulp & Paper (No. 88, October 2009). Another great resource is Catherine Nash’s “Beater Finesse for the Artist,” published in Hand Papermaking Vol. 23, no. 1 (Summer 2008). 

A note on synthetic fibers: much of our contemporary clothing is made of a blend of natural and synthetic fibers. (Learn about how the increased spandex content in blue jeans affected our currency paper in the Hand Papermaking Newsletter No. 106, April 2014 “For Beginners” column.) Can one pulp this cloth? It is certainly possible, but note that the quality of your paper will be affected. The resulting pulp will be chunkier, as the synthetic fiber content will not break down in the same way as the natural fibers. Curious? Try a batch of 100% cotton and then try pulping a cotton-poly blend to see the difference. 

I try to buy clothing with 100% natural fibers now so that the fibers might see a second life as paper after serving me as clothing. 

Listings for specific workshops and other events in the following categories are offered free of charge on a space-available basis. The deadline for the January 2017 newsletter is November 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 

Abington Art Center, Jenkintown, PA, (215) 887-4882, www.abingtonartcenter.org. Classes, workshops, and exhibitions in a variety of media. 

Papermaking Studio Series, Thursdays, with Winnie Radolan. Explore a range of techniques and pulps. 

Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www .arrowmont.org. Classes and workshops in a variety of disciplines, including papermaking. 

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

The Banff Centre, Banff, Alberta, Canada, (800) 565-9989 or (403) 762-6180, www .banffcentre.ca. Artist residencies in fully equipped papermaking studio, and other disciplines. Contact wendy_tokaryk@banffcentre.ca for registration info. 

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. 

A Paper Decoration Making Extravaganza, November 30 – December 3, with Nanette Davidson & Keather Gougler. Create paper ornaments and decorations for the holidays. 

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. 

Exotic Fibers and Japanese Papermaking, October 1-2, with studio instructor. Create an array of papers from unusual fibers such as abaca and sisal, as well as banana and kozo grown at Carriage House. 

Introduction to Hand Papermaking, October 13, with studio instructor. Explore basic techniques of Western papermaking including sheet forming, pressing, and drying, as well as decorative techniques such as laminating, embedding, and collage. 

Pulp Pouring/Pulp Painting, November 5-6, with studio instructor. Use the pulp pouring mould to create large sheets, and explore image making in hand papermaking using stencils, watercolor pencil transfers, and pulp painting. 

Holiday Papermaking, November 17 or December 1, with studio instructor. Make your own holiday cards and ornaments using shaped deckles and assorted colored pulps. 

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. 

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. 

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. 

Papermaking with Natural Fibers, October 21- 22, with Carol Kazwick. Collect plants and flowers from around the barn and the prairie, process them, and use them to make beautiful and unique handmade paper. 

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

Sculptural Papermaking, Winter 2017, with Nicole Donnelly and Mary Tasillo. 

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. 

Illuminating Paper Possibilities, November 5-6, with Helen Hiebert. Two day paper sculpture workshop through San Diego Book Arts. 

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

Blue Jeans Papermaking, November 5, with Allison Roscoe. Make blue paper from recycled blue jeans. 

Maker Paper, Make Books, December 10-11, with Allison Roscoe. Create unique sheets of Western-style paper from kozo and abaca fibers that will be made into a hand-made book the next day. 

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. 

Inter-Ocean Curiosity Studio, Englewood, CO, (303) 789-0282. For more information on papermaking workshops with Ray Tomasso, contact him at ray@raytomasso .com or (303) 552-8256. 

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

Jill Powers Studio, Boulder, CO, jpowers studio@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. 

The Basics of Papermaking, October 3, 10, 17, & 24, with Kim Hosken Eberstein. Create unique expressive art through colored pulp, fibers, and collage elements. 

Explore Pulp Painting, October 15, with Donna Groot. Explore a variety of painting techniques with brushes, transfers, drawing tools, and stencils to make images with finely beaten colored pulp. 

Magnolia Editions, Oakland, CA, (510) 839-5268, www.magnoliapaper.com. Workshops in papermaking, printmaking, and book arts. 

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. 

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. 

Extreme Marbling, October 2, with Sally Power. Tackle the most challenging comb techniques for making marbled patterns. 

Intro to Western Style Papermaking, October 5, 12, 19, & 26, with Suzanne Hughes. Gain a solid grounding in consistent sheet formation—both materials and technique. 

Dirty Works: Paper Marbling, October 7 or November 26, with Suzanne Hughes. Explore paper marbling—try “throwing” color and building patterns to decorate cards, journals, or other papercrafts. 

Paper Marbling Patterns, October 22, with Sally Power. Focus on patterns such as nonpareil, chevron, and their variations. 

Paper Marbling Special Effects, December 4, with Sally Power. Explore moiré and Spanish moiré, which make the marbled sheet look as if it’s folded or underwater; Italian vein marbling, a method of obtaining very, very fine veins of color; over-marbling which adds depth and complexity to the patterns; and more. 

Papermaking with Clothes, December 10-11, with Dana LeMoine. Learn to reuse and recycle old clothing into beautifully formed, even sheets that will be perfect for writing and other art techniques. 

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

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

Paper and Book Intensive, Ox-Bow, Saugatuck, MI, www.paperbookintensive.org. Workshops in book and paper arts over two weeks each spring. 

Paper Circle, Nelsonville, OH, (740) 753- 3374, www.papercircle.org, papercirclearts@ gmail.com. Call or e-mail for information about upcoming paper classes. 

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, www.paperthinktank.com. A papermaking studio offering workshops throughout the year. 

Papermaking with Plants from Greensgrow Farms, October 8, with Nicole Donnelly. Learn the process of making paper by hand, start to finish, beginning with our raw materials: plant waste collected from Greensgrow Farm. 

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. 

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. 

From Paper to Print, September 25 to November 18, with Georgia Deal. Explore the vast possibilities for combining handmade paper and monoprints. 

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, 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/. 

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

Snow Farm, The New England Craft Program, Williamsburg, MA, (413) 268-3101, www.snowfarm.org. Study in a pastoral setting near 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 West Philadelphia studio. 

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. 

Holiday Cards, December 11, with Katie Dement. Make a selection of unique holiday cards and gifts using ephemera and natural plant materials, which will be used to collage into freshly pulled handmade paper. 

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. Studio time, consultation, and instruction available. 

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. 

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. Workshops in papermaking, printmaking, book arts, photography, and other media. 

> EVENTS 

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. 

Morgan Conservatory’s Annual Benefit Exhibition & Auction takes place on October 1, featuring works on Morgan Conservatory paper and national artists. The event also includes live music, hors d’oeuvres, and demonstrations in letterpress, papermaking, and bookbinding. Ticket information is available at http://morganconservatory.org or by calling (216) 361-9255. 

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. This year’s keynote speaker is John Risseeuw. Activities will include a Pecha Kucha session, visits to the Museum of International Folk Art and Santa Fe Botanical Garden, and more. 

CODEX VI International Book Fair and Symposium will be held in Richmond, California, February 5-8, featuring a large selection of exhibitors. The Symposium’s keynote will be delivered by Xu Bing. For event details, visit www.codexfoundation.org or call (510) 849-0673. 

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. 

Come to Book, Print, and Paper Gathering at the new Pyramid Atlantic Art Center (4318 Gallatin Street, Hyattsville, Maryland) for an evening of networking and fun on October 6. Enjoy a tour of PAAC's new home and hear about the next Book Arts Fair. View demos and presentations by local groups including the Potomac Chapter of the Guild of Book Workers, the Chesapeake Chapter of the American Printing History Association, Washington Rare Book Group, Corcoran Book Arts, and Hand Papermaking magazine. 

Working in Tandem: Artists and Collaborators Speak About the Process of Making is a panel that brings together artists, master papermakers, and printers to discuss the process of collaboration. The discussion takes place Thursday, October 6th, 6:30-8:00pm, at The Dedalus Foundation at Industry City, 254 36th Street, Suite 2-BE, Sunset Park, Brooklyn 11232. Please reserve your spot by emailing rsvp@dedalusfoundation.org. Reception to follow. Panelists include: Natalie Frank and her collaborator Amy Jacobs; Ursula von Rydingsvard and her collaborator Paul Wong; and Robert Motherwell's Master Printer Catherine Mosley. Moderated by Phong Bui, Publisher and Editor-in-Chief, The Brooklyn Rail. Introduction by Tracy Adler, Director of the Wellin Museum of Art. 

> EXHIBITS 

Inspired by Paper - 30 Years IAPMA, a touring exhibition of IAPMA members, will be on view at the Schloss Burgau Cultural Centre in Germany from October 5 through November 15. It will then travel to Papierwiespe in Vienna, Austria. For more information, visit www.iapma.info. 

Contextile 2016, Portugal’s Contemporary Textile Art Biennial, is on display through October 16 at Palacio Centro Cultural Vila Flor in Guimaraes. Work includes paper artists Bara Lehmann-Schulz, Marie Schirrmacher-Meitz, Magda Sobon, and May-Lucy Süess alongside nearly 50 other artists. For more information visit www.contextile.pt. 

Jardin de Papier is a paper-focused exhibition featuring work by 12 artists, with a focus on plant-based works. The exhibit runs through December 23 at Le Moulin Du Got, Le Pénitent, 87400 Saint-Léonard-de- Noblat, France. For more information, visit www.moulindugot.com. 

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 is on view at The Dedalus Foundation, Sunset Park, New York, until to October 16. 

It’s Alive is an exhibit that explores the many approaches that book, paper, and print artists use to express horror, from works inspired by campy B movies to those addressing contemporary psychological fear. On view at the Minnesota Center for Book Arts in Minneapolis through October 31, this exhibition is presented as part of the bicentennial of Mary Shelley’s Frankenstein. For more information, visit www.mnbook arts.org or call (612) 215-2520. 

Nancy Cohen’s installation Hackensack Dreaming is on view at UrbanGlass in Brooklyn, New York, September 7 through November 5. Made of glass, handmade paper, rubber, and other materials, the exhibit explores themes of the human and natural colliding in unexpected ways. Visit www .urbanglass.org or call (718) 625-3685. 

Morgan Conservatory will show the work of book artist Denise Bookwalter and paper artist Susan Warner Keene from October 14 through December 10. For more information, visit http://morganconservatory.org or call (216) 361-9255. 

23 Sandy Gallery presents POP-UP NOW II, an international juried exhibition of pop-up and movable artist books. The exhibit will be on view at the Portland, Oregon gallery from November 4 to December 17. Details can be found at www.23sandy.com. 

Pulped Under Pressure: The Art of Handmade Paper is a travelling exhibition that underscores important contemporary issues steeped in history and craft. The artists are Jillian Bruschera, Julia Goodman, Reni Gower, Trisha Oralie Martin, Melissa Potter, Marilyn Propp, and Maggie Puckett. For info contact renigower53@comcast.net 

Sheryl Jaffe's installation of handmade paperworks, prints, and sculptures -- Basho’s Pond: Lotus, Frogs and the Spirit of Transformation -- continues until October 22 at Mill 180 Park, located at 180 Pleasant St., Easthampton, Massachusetts (www .mill180park.com). There is a papermaking demo October 8, 2:00-4:00pm. Learn more at sheryljaffe.com 

> CALLS FOR ENTRIES 

Materials: Hard + Soft International Contemporary Craft Exhibition seeks entries of work in any craft media, including paper, completed within the past two years. Patterson-Appleton Art center in Denton, Texas, will host this exhibit February 4 through May 6. Submissions are due September 30 and will be juried by JoAnn Edwards, Executive Director of the Museum of Craft and Design in San Francisco, California. For submission guidelines, visit www.dentonarts.com or call (940) 382-2787. 

Contemporary Fiber 2016 is accepting submissions of paper and other fiber work from artists residing in Colorado, Wyoming, New Mexico, and Utah for this juried exhibit taking place at Niza Knoll Gallery in Denver, Colorado. Applications are due October 1 and information can be found at www.nizaknollgallery.com. The exhibit takes place October 29 through December 3. 

Americas 2017: Paperworks seeks entries of works on or of paper that were created in the past two years. The exhibit will take place January 10 through February 23 at Minot State University’s Northwest Art Center in Minot, North Dakota. For entry details, visit www.minotstateu.edu/nac. Entries are due November 1. 

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/. 

On November 23 the Association of Cypress Paper Artists will be one year old. Help celebrate by sending a handmade paper "birthday card" as a postcard (not in an envelope or email). Mail the card by October 31 to Inci Kansu, Prof. A. Sükrü Esmer str., no: 21, Ortaköy – Lefkosia - Mersin 10, Turkey. 

> OPPORTUNITIES 

Morgan Conservatory in Cleveland, Ohio, is accepting applications through October 31 for its Winter Internship program. Interns will be immersed in Eastern styles of hand papermaking. They will be expected to help with paper production, learn about the various processes that go into fiber preparation like cooking, scraping, picking, and hand beating. For details, visit http:// morganconservatory.org. 

Toscalano 1381 in Toscolano Maderno, Papermill Valley, Brescia, Italy is starting a course to train young paper masters in historic local handmade paper production techniques. Please write to toscolano1381@ valledellecartiere.it for more information. 

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. 

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. 

> PUBLICATIONS AND VIDEOS 

Helen Hiebert launched a podcast series this year, interviewing paper artists. Featured artists to date include Eden Marek, Andrea Peterson, Tim Barrett, Tatiana Ginsburg, and Catherine Nash. The interviews are accessible at www.helenbiebert.com. 

A video of Alexandra Soteriou’s lecture about Indo-Islamic papermaking heritage at the Metropolitan Museum of Art is viewable online. Visit www.metmuseum.org/metme dia/video/lectures/indo-islamic-papermak ing-heritage to experience this 2015 event. 

IAPMA: International Association of Paper Makers and 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. 

Unwrapping the History of Paper, a segment on WNYC’s Leonard Lopate Show, aired on June 10, 2016. He speaks with Mark Kurlansky, author of Paper: Paging Through History, and papermaker Donna Koretsky. The discussion can be accessed at http://www.wnyc.org/story/unwrapping-history-paper/. 

There's a fun little video introducing new students to the Brigham Young University Library at https://youtu.be/wIzK-eEWdaU Don't try this with your own blender! 

> MISCELLANEOUS 

Pyramid Atlantic Art Center celebrated the grand opening of its new Hyattsville, Maryland location on August 20. The 13,000 square foot location is at the newly renovated Arcade building in the Gateway Arts District. In addition to community studios for letterpress, papermaking, and bookmaking, the facility includes 19 private artist studios. After leading the organization for a decade, Jose Dominguez stepped down effective August 19. Artistic Director Gretchen Schermerhorn serves as interim executive director during the search for the organization’s new director. 

Dieu Donné moves from Manhattan to the Brooklyn Navy Yard in the Fall of 2016. This new location allows the organization to join a dynamic hub of makers, expand the studio footprint, and develop dedicated papermaking studios for education and artist "key holder" work to expand the number and diversity of artists and community groups served. For more information, visit www .dieudonne.org or call (212) 226-2573. 

The John C. Campbell Folk School in North Carolina will construct a new Book & Paper Arts Studio. It will be approximately 2,800 sq/ft and will have an additional 850 sq/ ft of outside workspace. The studio will be comprised of four separate work areas: the main studio room, the wet room, outside workspace, and the printmaking room. The main studio room will have 12 movable workbenches. Support the project and learn more at www.folkschool.org 

The new owner of a circa 1720 Bavarian papermill would like to resume production as a tourist attraction. The mill was a cardboard factory, and it still contains some old machinery including a 100kg hollander, press, guillotine, digester, and cylinder paper machine. A huge drying room in the attic is accessible by elevator. If no one is interested in resuming production in the factory, the owner might sell the machines separately. Anyone interested may visit the factory upon prior reservation. Please contact Fred Siegenthaler as a mediator, since the owner does not speak English. siegenthalerfred@yahoo.de 

Liz Powell, Kath Wilkinson, and Denise Rall won the $5000 Paper on Skin Award at the Burnie Wearable Paper Art competition held in Tasmania, Australia. The artists created a ritual garment used by Polynesian navigators. They used Pacific Flax and kozo. The garment is decorated with indigo drawings of navigation charts, embroidered with constellations, and stitched with shells. 

Jane Ingram Allen has created an installation of handmade paper using pulp from invasive plants in the form of six endangered birds on the Boston Harbor Islands. Visitors to the Islands helped create the handmade paper birds and the finished artwork is on display at the Welcome Center. For more information and photos of the process see Jane’s Blog at http:// janeingramallen.wordpress.com/ 

Helen Hiebert is creating a paper calendar called The Twelve Months of Paper, featuring 13 paper projects to make, gift, and enjoy throughout the year. The calendar is filled with paper projects, facts and quotes about paper from around the world, plus a page of templates. Watch a video about the calendar and order your copy at www.kickstarter.com/projects/570620999/twelve-months-of-paper-calendar 

Kyoko Ibe is establishing a non-profit organization to preserve the house of washi scholar Jyugaku Busyo. He began earnestly promoting Japanese handmade paper after he met Dard Hunter in 1933, who became his role model. For more details contact ibekyoko@mub.biglobe.ne.jp 

> CLASSIFIEDS 

Classifieds in Hand Papermaking Newsletter 

cost $2 per word, with a 10-word minimum. 

Payment is due in advance of publication. 

Several original, signed, numbered volumes by Dard Hunter: “Paper Making In Siam,” “Papermaking By Hand In India,” “Chinese Ceremonial Paper,” and “A Papermaking Pilgrimage to Japan, Korea and China.” All in excellent condition. Also Baker’s “By His Own Labor,” leather bound, mint (and same, cloth bound). Also Hunter’s “Papermaking Through Eighteen Centuries” published by Rudge, 1930. Request photos, more info, or express interest by contacting Woody Rice, woodypaper@aol.com, (302) 571-8381. 

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. 

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 

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

5# Noble & Woods Hollander $7500. (260) 306-1179 kozokitty@gmail.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, Ingrid Rose Paper Conservation, Joyce Kierejczyk, Barbara Landes, Anne Q. McKeown, 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, Margaret Merritt, Catherine Nash, Katiri Neske, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Charles G. Raney, 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, Edwin Martin, 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. 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, Bob & Annie Cicale, 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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