HAND PAPERMAKING

NEWSLETTER

Number 118, April 2017

 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 50859, Mendota, MN 55150-0859

Phone: (800) 821-6604 or (301) 220-2393

E-mail: info@handpapermaking.org

Web: www.handpapermaking.org

The deadline for the next newsletter (July 2017) is May 15. Please direct all correspondence to the address above. We encourage letters from our subscribers on any relevant topic. We also solicit comments on articles in Hand Papermaking magazine, questions or remarks for newsletter columnists, and news of special events or activities. Classified ads are $2.00 per word with a 10-word minimum. Rates for display ads upon request.

Hand Papermaking is a 501(c)(3) non-profit organization. Staff: Michael Fallon, 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, Anne Q. McKeown, Julie McLaughlin, Alta Price, Amy Richard, Michelle Samour, 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 Community,

I am excited, humbled, and honored to introduce myself as the new executive director of Hand Papermaking. As a book arts graduate student some years ago at the University of Alabama, I fell in love with the tactility, beauty, tradition, and expressiveness of hand papermaking. However, as the artistic son of nonplussed parents who wondered how I would support myself (and pay off my student loans) through such pursuits, I also felt the pressure to get a regular day job. Eventually this career pull led me away from a regular papermaking and book arts practice and into publishing, arts writing, arts organizing, and nonprofit management. It has been a fine career so far, though for the past dozen years not a week has gone by that I wasn’t imagining myself back at the vat or Vandercook, using my creative energy to transform raw fibers, plain wood blocks, and ink into something fun and beautiful.

The reason I mention all of this is to assure you of one thing. Although I come to this organization with a host of skills in fundraising, marketing, strategic leadership, and organizational management, at heart I am the same as you: A person with an inexplicable and abiding love for something long deemed impractical by nervous parents everywhere—handmade paper. 

I’ve mentioned elsewhere that what excites me about coming to work for Hand Papermaking is that it feels like I’m making a full-circle trip back to my professional roots as a book artist and papermaker. But really, what truly excites me are the goals I have in mind for the organization and for you: Not only to maintain Hand Papermaking as an essential resource for hand papermakers, but to promote hand papermaking as an essential artistic asset in a world increasingly beset by a deficit of fun and beauty. 

I look forward to working with all of you on these goals through the years. And please reach out and say hello when you can! 

Michael Fallon

Mendota, Minnesota

michael@handpapermaking.org

Dear Readers,

Allow me to introduce you to my “Papermaking with Literature” program, highlighting my journey around the UK with my mobile workshops during Book Festivals that celebrate the printed word. I have helped people gain insight into the history, techniques, and recipes applied by hand papermakers. This involved teaching them about famous authors, and using their favorite flowers and ideas, along with words, music, and illustrations to decorate handmade papers. We recycled old books and exploited the fibers and words in them to create new pulp. In other words, every paper we made had a story to tell.

Paying homage to Wordsworth, Tennyson, Shakespeare, Hughes, Plath, Bob Dylan, Mother Goose, and alphabet soup, we combined illustrations, characters, and songs with pulp from recycled paper, denim, linen, discarded books, and pulp fiction. Cutouts of text and illustrations were also embedded, to give the old paper a new meaning. For example, Charles Dickens wrote about Oliver Twist, oakum, and stolen silk scarves: these ingredients were incorporated into our designs. The sheets we made became a visual and allegorical representation of the author's composition. Art, literature, and nature were melded into a paper best seller! 

I took this idea one step further and devised my “electronic handmade papers” to broadcast on social media. I bombarded the festivals’ marketing teams with a series of Tweets to publicize my outreach work, using my own papers to re-interpret the theme: “Papermaking and Literature Blend Well Together!” 

It is a friendly and exciting way to mix people, writers, flowers, words, letters, ideas, and music, as well as to mix metaphors! 

Individuals who attend Book Festivals enjoy books, stories, words, and ideas, and they delight in finding new ways to interpret them. My aim is to remind everyone that without paper, there would be no great literature! 

My online e-books are a journal of the work I do in my literary field of discovery. Please go to my website www .jonathankorejko.co.uk, click on the NEWS tab, and open my e-books! 

Jonathan Korejko 

Timberland, Lincoln, UK 

> 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. This column describes Donna’s most unexpected exposure to the Secret Service and currency counterfeiting. 

When the United States Secret Service was founded in 1865, its mission was not to protect the president, but to crack down on the counterfeiting of US currency. The civil war had just ended and the US monetary system was in complete disarray. At that time, money was issued by individual states through their own banks, producing many types of legal currency. This made it easy for crooks to counterfeit money. “During President Lincoln’s Administration, more than a third of the nation’s money was counterfeit.”1 Lincoln established the Secret Service, and the new agency was successful in closing more than 200 counterfeiting plants during their first year of operation.2 I can only conjecture that it was unlikely these counterfeiting plants were using handmade paper, since machine made paper mills had already been around for forty-eight years, and were the norm at that time. The first papermaking machine was set up in the Philadelphia area in 1817. 

Ironically President Lincoln was assassinated the same day he established the Secret Service. Congress then began to think about adding presidential protection, but it took the assassination of two more presidents (Garfield and McKinley), and another thirty-six years before Congress added protection of the president to the list of Secret Service duties. 

I was out of town when I got an urgent and puzzling phone call from my coworker Shannon: “Special Agent Gonzalez just called from the Secret Service and he wants to know our fax number so that he can serve Carriage House Paper with a grand jury subpoena.” 

We were both in disbelief, initially deciding that it must be a scam, but caller ID confirmed the call did indeed come from the Secret Service. But if they really were the Secret Service, why would they send us a grand jury subpoena in the form of a fax? Isn’t a subpoena something that an agent hand delivers to your house? We knew we didn’t do anything illegal—we certainly were not counterfeiting money, yet I was admittedly concerned about what they could want from us. But I was most bothered by the fact that they needed our fax number. That didn’t seem official enough for me. We get so many junk faxes every day from companies that want to lend us money or repair our roof, and if the esteemed Secret Service has to resort to telephoning me in order to get my fax number, then they can’t really be who they say they are. I decided to call Agent Gonzalez, since he left his contact information, and ask him a few questions before revealing my fax number. Dialing, I half expected a gruff voice to answer “Sal’s pool parlor,” and was taken aback when a soft female voice cooed “Secret Service.” She referred me to Agent Gonzalez’ voice mail and I babbled a message for him to call me back. Meanwhile I mentioned my strange predicament to my attorney friend Blair, who simply advised, “Don’t mess with the feds.” 

Accepting her counsel, I disclosed to the feds the coveted fax number, which happens to be the same as our telephone number, and immediately received a scratchy and barely legible four-page grand jury subpoena. We were “hereby commanded to appear and testify before the Grand Jury of the United States District Court” in Texas. Fortunately we could comply by mailing them documents (via certified mail, not by fax). A customer of ours was being investigated and we were required to supply records relating to all of our transactions with this particular customer, whom we did not know, as all of our dealings had been through our website. Much to our surprise, we realized that over a period of nine months, this customer ordered one papermaking product only, and in massive quantities: a total of thirty-six pounds of gelatin sizing were ordered. 

Gelatin sizing had been used as a surface sizing by hand papermakers from the 14th through the 19th centuries. The process of dipping a dry sheet of paper into a vat of sizing lessened the paper’s absorbency and improved its strength. Papermakers today prefer the easier method of using internal sizing, and gelatin sizing is now used primarily in the making of specialty papers. Regardless, it became clear that this customer was not using our gelatin sizing in the process of hand papermaking, since he never ordered any pulp from us. What illicit activity involved such large amounts of gelatin sizing? I decided to ask Agent Gonzalez, who by now had given me his email address, and since months had passed, perhaps would be free to divulge what this investigation was all about. 

While awaiting his reply, I decided to Google “gelatin sizing and counterfeiting.” Amazingly, out of 28,400 results, the first two entries were links to our Carriage House Paper website. However, the eighth entry was a United States Patent from 1999 dealing with security features for paper. The patent consisted of a cylinder mould papermaking machine that would apply a transparentizing resin to a portion of the dry porous sheet that it would make, and then impregnate the sheet with a sizing rosin such as gelatin sizing.3 I fantasized that perhaps my customer was somehow using the gelatin sizing in this technique to fake a watermark or fake the look of the ribbon that is woven into paper currency. 

When Agent Gonzalez didn’t respond after a few days, I decided to Google the name of the customer in question, and the first item was a newspaper article about my customer being accused of manufacturing as a dumpster diver discovered stainless steel plates with faded images of Federal Reserve notes that appeared to have been used in the production of printing counterfeit currency.”4 Sheets of counterfeit $100 and $20 currency, as well as a printing press, ink, and plates, were also uncovered in an office space he rented. No mention however, of papermaking equipment. 

Google got the best of me that day, and I learned about Operation Sunset. In late 2016, the Secret Service seized $30 million in counterfeit bills in Lima Peru. In the Washington Post article I read, journalist Peter Holley interviewed a Secret Service official who described the process. “[It] can mean as many as 10 individuals playing a role in producing a counterfeit note, from financiers, designers, printers and cutters to artists who re-create watermarks and raised textures that provide the appearance of authenticity.”5 Six counterfeit plants were suppressed, eight presses and over 1600 printing plates were seized, but no mention of any papermaking equipment. 

When Agent Gonzalez (that’s not really his name) finally got back to me about my Texan customer (he’s not really from Texas), I already knew what I wanted to know, so I wasn’t disappointed when he said he was unable to give any information on the case, as it is an ongoing investigation. However, I spent so much time on the Internet looking up counterfeiting, clicking link after link while researching this column, that I would not at all be surprised if I get a knock on the door from the Secret Service (or another fax). 

1. Inside the White House—Spring 1998: “The U.S. Secret Service in History,” https://clinton2.nara.gov/WH/kids/inside/ html/spring98-2.html 

2. Ibid. 

3. United States Patent Number: 5,928,471, Howland et al., July 27, 1999. 

4. Kyle Schwab, “Bethany man accused of manufacturing counterfeit currency,” The Oklahoman, February 28, 2016, http:// newsok.com/article/5481575 

5. Peter Holley, “They make the finest counterfeit money in the world. The U.S. just recovered $30 million worth,” The Washington Post, November 22, 2016, https://www.washingtonpost.com/news/ post-nation/wp/2016/11/22/they-make-fake-money-worth-more-than-cocaine-the-u-s-just-recovered-30-million-of-it/?utm_term=. d95ea4070fd8 

> 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 her long-standing weekly Papermaking Studio, the work the artists do, their space, and their equipment. 

It’s a “snow-day” Thursday morning, when I’d normally be loading supplies into my vehicle for Papermaking Studio at the Abington Art Center in Abington, PA. Instead, I am reflecting on my good fortune to have had the opportunity to offer this ongoing class for nearly twenty years. My “Paper Ladies” are treasured friends and talented artists with pulp! 

Shortly after leaving Historic RittenhouseTown, where I learned papermaking, I “inherited” this wonderful teaching opportunity from another Guild of Papermakers artist who wished to pursue other interests. The original class met at the neighboring Cheltenham Art Center on Monday mornings, and was comprised of several artists who took printmaking classes there as well. A couple of these faithful artist/papermakers still remain with the group. Many who have shared our vats have continued with the art of papermaking and have joined the ranks of our Guild of Papermakers. 

Our long-standing class has traveled through three different locations to date. Originally we shared Cheltenham’s basement printmaking classroom, and had small, sliding door cabinets in which to store vats and supplies that I didn’t transport. For a time, during which I fully administered the ongoing operation of the class without an art center umbrella, I rented space/time in a working ceramics studio, somewhat of a challenge in the small garage that housed it. I finally secured an invitation to our current art center home, where we currently make paper in a large room that accommodates other classes in painting, drawing, and printmaking. Our supplies, including a simple hydraulic jack press, vats, buckets, plastic table covers, and absorbent newspaper, are now housed in our own dedicated closet. I transport moulds, deckles, and fresh pulp weekly. Some papermakers bring their own moulds, and everyone carries in bags of couching materials, chamois, and personal inclusions/supplies. 

So, our “Papermaking Studio” is quite modestly equipped, and must be both set up and broken down with each three-hour gathering. We do not have drains in the floor, nor do we possess a hose that stretches from the tepid-water yielding sink to our vat tables, as the building’s old plumbing doesn’t accommodate such. We spread plastic over two adjoining six-foot tables, upon which we set up four vats of pulp and one for rinsing. We “bucket-brigade” the filling and emptying of said vats as a team. Anyone who is unable to lift and carry is tasked with mopping water from emptied vats, tables, and the surrounding floor. We have become an efficient and well-oiled team, working quickly so that there is more time to play in the pulp. 

Members of the class I inherited brought large sheets of plexiglass from home, upon which to couch overlapping edges of smaller paper sheets, thus creating large pulp painting surfaces. Unfinished pieces were wrapped in plastic to retain moisture and stored at home during the interim between classes to allow more working time. After one of the artists’ husbands built us a simple wooden paper press, we gained the opportunity to couch paper in a post and press it in class, for future home restraint or stack drying. We heavily utilize synthetic chamois for water control, especially since the heavy press lives in the storage closet. We are careful! 

As mentioned previously, some of the half-dozen or so women couch on plexiglass, creating painterly works in pulp. A couple others are forming unique substrates designed for paper lithography or other printmaking techniques. Still others may be producing sheets of paper upon which to print their photographic work, or to use in creating artist’s books. Occasionally someone wishes to work dimensionally, so we embark on casting adventures. Our beginning papermakers have a fabulous opportunity not only to receive initial instruction, but also to witness the varied possibilities of the medium from more seasoned papermaking artists. 

The pulp that I bring every week is a blend of cotton linter and abaca, beaten for an hour, which has been internally sized and pigmented. I have found this to be the most successful choice for couching and drying on plexiglass, for new papermakers, and for the level of paper drying commitment the artists have at home. I always supply a white or cream neutral and three varying, pigmented colors. More often than not, I honor requests from the class. But sometimes during pulp preparation my own color whim just bursts from within and I surprise the group. One of the women usually brings a cooked plant concoction to run through the blender and become late day vat inclusions for variety. Visitors passing through one of our class sessions always marvel at the individuality and variety of personal expression they see, realizing that it all springs from the limited palette of four vats. 

I think that what has kept this changing cast of characters together with our remarkable longevity is that we all treasure the opportunity to make art together in this shared community of creativity and mutual support. I feel very blessed and enriched to have had the opportunity to facilitate the Papermaking Studio over the past years, and I look forward to many more. 

> 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. Maureen and Simon have been writing the paper history column since 2009, covering a wide variety of topics, with Maureen writing the majority of articles. This issue, Part 1 of ‘Paper Places,’ marks a change in direction towards a personal view of recent paper history as Simon has seen it unfold in many of the places in which he has worked or has visited. 

I have been very lucky in life, as handmade paper has been a passport to so many fascinating places: fine printers’ workshops, museums, libraries, galleries, artists’ studios, and others. However, a very important aspect has been visiting, and in some cases working in, a wide variety of paper mills around the world. When the great Springfield Mill, home of Whatman paper, closed in 2015, I realised with a shock that many of those mills are now closed. I had the idea of recording a few notes on each one in chronological order. This will be mainly anecdotal and from my memory, but where possible I will add some more accurate records when available. I will also be including a lot of external links that readers may find interesting and that can lead them deeper into paper history. 

Originally my intention was to focus only on paper mills, i.e. a factory where paper is or was made on a production scale—hundreds of thousands of sheets (or in some cases hundreds of thousands of tons) of paper a year. These are not always called “mill.” In India, for example, the word “mill” is associated with the large machine production mills that relentlessly eliminated hand production, and they prefer to use the term “unit.” I am not sure why they see that as more acceptable. I will include mills that were in production but which are now museums, and I will include some purpose-made museums which have never had any production. I will also include some smaller scale studios, workshops, and other paper places. 

The first mill I knew was, of course, Hayle Mill, Maidstone, in England, but I will not add much to all earlier descriptions except to note that I first made paper there when I was eight years old, and have a certificate and samples to prove it! Hayle Mill was one of a dozen mills in the Loose Valley1 on the outskirts of Maidstone in Kent, which was known as the Paper City. Many of the Loose Valley mills made paper at some time during the last millennium but most had closed before my time and many had disappeared. As a child I started going to the Mill with my father most Saturday mornings. At that time many, probably most, businesses in England worked on Saturday mornings. I was put under the watchful eye of Beryl Terry, the Filter Room Forewoman. At the time, most of our production was filter paper, not just for laboratories but also for breweries, sugar refineries, and gold mines. Beryl’s team was responsible for cutting, sorting, packing, and despatching our filter papers all over the world. 

In this photo you can see my personal brick being laid in the Machine House at Hayle Mill. I am held by my mother, Daphne Green, who provided much of the finance for the paper machine in 1947. Bob Cheeseman, the bricklayer at the right, was employed full time at the Mill to keep the buildings in good order. Other full time tradesmen included a carpenter, pipefitter, several general fitters, and several boilermen as well as those directly involved in making and finishing paper. 

As I got older, I was allowed to wander around the very extensive vegetable garden and quarry and then to Upper Crisbrook Mill. For several centuries, this had been a flour mill but in the 20th century it was used to some extent to cut and store rags. The 18-foot overshot water wheel, shown in this photo (© F G Wood 1948), was used to pump spring water to Hayle Mill. In severe winters, if the wheel froze solid, it was thawed by building a bonfire inside it! After its shaft broke it was quickly replaced by a gas engine, donated by the local gas company. I used to visit Crisbrook from time to time with our engineer Alf Spain, who could fix anything except papermakers, whom he was inclined to describe as monkeys! 

The spring water came from an underground catchment system about 200 feet downstream. Fine papermakers are very fussy about their water and my observation is that all the best mills in Europe benefited from very hard water. The percolation of rainwater through chalk or limestone not only dissolved calcium and magnesium which provide an alkaline buffer to the paper, but such waters are notably free from harmful elements such as iron, copper, and manganese. Our springs (and the stream itself) always ran without fail, even in the worst droughts. From the 1880s we had our spring water tested by the municipal water company and there was hardly any variation from day to day or year to year. Many years later I had the water used at the Pietrabuona mill near Pescia in Tuscany analysed and it was very similar to ours. 

The next mill was Lower Crisbrook, which was demolished in the 1950s. Below that, and very active, was Upper Tovil Mill. Its history as a handmade paper mill dated back hundreds of years, but in the late 19th century it became known as the Straw Mill as it was one of the very first ever to use that material in the British Isles. Following a fire in 1894 it was acquired by Albert E Reed as the first mill of what became the largest papermaking business in the UK. From an early age, like everyone in our area, I was familiar with the sight of large reels of kraft paper being wound up at the end of one of the machines which was just a few feet inside the always open door to Straw Mill Hill. The seven paper machines were in the good care of Chief Engineer Bill Wickham, who took pride in all seven being steam powered rather than electrically, which he regarded as inefficient. His sophisticated steam engines produced waste steam to dry all the paper until the mill closed in 1983. Bill was a charming man; full of stories, and over several decades he gave us a huge amount of help keeping our equipment working. 

In the 1960s there were two more mills in production further downstream that I knew but never entered. Lower Tovil or Allnutts Mill had belonged to the Barcham Green family for several decades and specialised in beautifully coloured papers. At the point that the Loose Stream entered the River Medway was the very large Bridge Mill, also owned by Reeds. Upper and Lower Tovil and Bridge Mills have been completely demolished, along with the famous printing firm of Alabaster Passmore, and the local railway sidings, and replaced by houses. The same fate has overtaken most of the British Mills running when I was born—though some still flourish. 

1. A limited amount of information is available at http://tinyurl.com/j4q6u8a. Upper Crisbrook Mill is described in more detail at http://tinyurl.com/olvssl8. 

> 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. ‘The Berger-Cloonan Collection of Decorated Papers’ consists of papers acquired over the period of many years by Sid and his wife. Here Sid writes about the wide range of papers in the collection, their important historical value as well their beauty. 

[Thank you all for your patience. My recent surgery that put me out of commission for a few months is now behind me and I am happy to (be able to) resume my column on Decorated Papers.] 

As many of your already know, my wife and I have parted with our paper collection, composed mostly of decorated and handmade sheets. The collection went to Texas A&M University, which has a fine book arts program. The collection certainly has many uses for a teaching institution. In fact, the collection began as a teaching tool for the History of the Book and other courses that I have been teaching since 1971, when I began amassing what turned into what I believe is the largest such collection in the U.S. 

Over the last six and a half years we have employed a team to catalog the collection at the item level. In fact, the final catalog has about 17,500 records documenting more than 21,400 pieces created from the fifteenth century to today and from dozens of countries. The catalog has a picture of just about every sheet, attached to each of the records. (In a number of instances, a single record might represent a large number of identical or nearly identical sheets— as with, for instance, a clutch of about 75 French 19th-century marbled sheets with one basic pattern). 

While I have written about our holdings before, I would like to bring my readers up to date on some of the collection’s great strengths, with the idea that in the future (and not too long from now, I presume), the catalog will be available online to be searched by a number of entry points: technique of decoration, maker, country, date of manufacture, and so on. Librarians at Texas A&M are even considering doing full scans of every (important) sheet, though our own color images are useful for now. Here are some of the highlights of the Berger-Cloonan Collection. 

The collection is particularly strong in marbling, showing papers from American, Canadian, European, Australian, and the Far East artists. Some of the great marblers of the last century are represented, several of whom I have written about in my earlier columns. While we collected marbles for their beauty, we also tried to get extremely important ones from particularly important marblers. When Christopher Weimann did his delightful Marbling in Miniature for Dawson’s Books (Los Angeles: 1980), he created many sheets of tiny-patterned marbles showing about eight patterns. Our collection has all of the remainder full-sized sheets of these papers, showing all of the patterns. There are also amazing sheets from Graham Day with his multiple-marble images; lovely papers from Milena Hughes and Tom Leech and Karli Frigge, Vi Wilson and Eva von Breugel, and too many others to mention here. 

There is a large showing of paste papers and block-printed sheets, representing more than three centuries of production. In, fact, the eighteenth-century papers in the collection are extensive. For instance, dutch gilt sheets (see my column in Hand Papermaking Newsletter, No. 81, January 2008) are exceptionally hard to come by, but with the perseverance of driven collectors, we were able to acquire more than 80 full sheets of these papers, along with dozens of beautiful fragments. These are accompanied by scores of block-printed sheets also from the eighteenth century. 

In our attempt to be as comprehensive as possible, we also gathered a large number of papers from the Far East, including a huge collection of full sheets of beautiful chiyogami papers (see my column in Hand Papermaking Newsletter, No. 82, April 2008). And to be even more comprehensive (are there really degrees of comprehensiveness?), we acquired about 200 katazome— the original Meiji-era stencils which were used to make the chiyogami patterns. All part of the collection in Texas. One kind of Japanese decorated paper—mingei paper—is also well represented, with hundreds of examples from the early part of the twentieth century. These papers, with scores of uses, rarely survive in full sheets. It is possible that these are the only ones in a U.S. collection. These, along with an extensive collection of dyed and other-decorated papers form a good basis for learning about Japanese and Chinese papers. The story about the acquisition of all of these treasures would make great reading. For now, let’s just be content to know that they are “here” and available for study. 

One other thing worth mentioning is the great numbers of kinds of papers the collection contains and the extensive array of materials represented. There are sheets made of cotton, flax, corn stalks, bamboo, and dozens of other plants, grasses, and trees; papers made of stone and cacti and succulents; papers from wood and silk; and even sheets prepared from digested plants consumed by buffalo, sheep, kangaroos (roo poo paper), elephants, moose, and other animals (whose mastication saved the papermakers from having to macerate the pulp). There are sheets made with cork and wood veneer, and pith papers along with many other kinds of proto-papers: papyrus, tapa cloth, and amate. There was marbling done on x-ray film (beautiful work by Tom Leech). And many other kinds of surfaces. Also, there are hundreds of pieces containing original art (Japanese and French) that was intended to be reproduced for wallpapers and other decorated purposes. And there are hundreds of full sheets of wallpapers intended for use in doll houses. 

The second best paper collection in the U.S. is at Harvard University’s Houghton Library—the Rosamond Loring Collection— with strong holdings in marbling and paste papers of the first half of the 20th century. The Berger-Cloonan Collection covers some of that time, and then picks up where Loring left off. As a research resource, ours is probably the best overall collection in the U.S. It represents nearly a half century of collecting, and such an assemblage probably could not be put together again. We feel honored to have this collection at Texas A&M University, who made it possible for our collection to be housed in their library, open to scholars, students, faculty, and anyone else interested in visiting a stunning and important collection. 

(As a footnote: We still have the paper disease, and we have recently added a few hundred sheets to our own flat files—some extraordinary pieces that we will use in our teaching and to satisfy our cravings. We really cannot give up collecting papers altogether.) 

We are happy that we can share this collection with you. 

> FOR BEGINNERS 

Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. In this column, Rust Event, Mary describes a technique for creating rust images in dimensional paper. 

A brief Internet search will turn up myriads of tutorials for printing with rust. Interested in combining rust printing with low relief casting techniques? The Rust Event outlined below, and its name, comes to me via Winnie Radolan. 

A search of Hand Papermaking’s archive for the term “rust” primarily returns ways to avoid it. This is not an archival technique, but it is a natural one. 

You will need pulp, iron or steel low relief objects such as nails, washers, small scrap metal, and/or antique iron keys, and a sheet of plexiglass larger than the mould you are using. Your low relief metal objects should be made of a material that will rust, such as iron or steel. Avoid stainless or galvanized steel, which are designed to stave off rust. Depending on the strength of the desired effect, you may wish to jumpstart the rust process by placing the objects out in an open container of water or salt water overnight. 

Compose the metal objects on the plexiglass, within the size of your paper. Using a basic sheet-forming pulp (such as cotton or abaca beaten for an hour) or short-fibered casting pulp (see my column in Hand Papermaking Newsletter, No. 117, January 2017, about preparing short-fibered casting pulp), pull a sheet of paper and give it a light pressing as you would for restraint drying on a board. (For more information on pressing and restraint drying, see my columns in Hand Papermaking Newsletter, Nos. 95 and 96, July and October 2011.) This will give you a low shrinkage wet sheet. The shorter the length of the fibers of your pulp, the more detail you will pick up in your casting, though there is a trade-off as a longer fiber length creates a stronger sheet of paper. 

Gently lift the wet sheet and lay it across your metal object composition. If any objects have a somewhat higher relief than the others, you may wish to start by working from left to right across these objects, following their contours as you lay the paper. If the objects are close to one-quarter-inch thick, folds in the paper will become necessary to follow the contours, or else you will need to patch the wet paper where tears are created. Using a soft, dry brush, lightly tamp the paper across the objects and to the plexiglass as you work, to pick up details and avoid air pockets, bubbles, and wrinkles. Be sure to brush out the edges of the paper against the plexiglass, placing a small strip of thin dry paper such as newsprint under the edge at one point, to help lift the edge when it comes time to release the dried paper. Making sure that the edges are firmly against the plexiglass will ensure that the sheet stays in place as it dries. 

Now leave the paper on the plexiglass overnight. As it dries, the moisture in the paper should cause the metal objects to rust and the rust to be absorbed by the paper. Once the sheet is completely dried, it can be gently peeled back from the plexiglass, maintaining the shape of the objects as well as retaining a rust print. 

Listings for specific workshops and other events in the following categories are offered free of charge on a space-available basis. The deadline for the July 2017 newsletter is May 15. Contact each facility directly for additional information or a full schedule. 

> 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 paper-making. 

Pushing The Boundaries With Handmade Paper And Mixed Media, October 22 to November 4, with Jo Stealey. Learn about surface and form to create handmade paper and lightweight sculpture. 

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. 

Persimmon Dye Techniques, June 9-11, with Anne Murray. Create papers and a sampler book treated with Kakishibui, a Japanese dye made from the fermented juice of astringent persimmons. 

The Mobile Mill: Papermaking on the Go, June 11-17, with Jillian Bruschera. Create handmade papers from recycled fibers and natural pigments using a mobile studio that sets up at a different spot each day. 

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

Japanese Papermaking, April 29-30, with studio instructor. Create an array of papers from kozo grown at Carriage House here in Brooklyn as well as mitsumata and gampi using authentic Japanese sugetas. 

2-D Papermaking in Depth, May 22-26, with studio instructor. Emphasizing 2-D techniques, gain a complete education of the many possibilities of working flat while generating a large portfolio of handmade paper. 

Dieu Donné Papermill, Brooklyn, 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, April 4, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques. 

Casting with Moulds and Laminate Casting, April 11, with staff instructor. Explore two different sculptural papermaking techniques: casting with moulds to achieve a solid sculpture composed of thick cotton pulp, and laminate casting to produce a hollow sculpture made of thin paper. 

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

Papermaking with Plant Fiber, Mondays April 3-24, with Nicole Donnelly. Experiment with a variety of plant fibers from bamboo and cotton to vegetables from your garden. 

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

Kozo Papermaking, August 16-20, with staff instructors. Learn traditional Japanese papermaking, preparing Kozo bark, beating the fiber, forming sheets, and drying. 

Haystack Mountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack-mtn.org. Workshops in various disciplines, including papermaking and book arts. 

Raising Paper, July 30 to August 11, with Jocelyn Châteauvert. Explore the structural potential of handmade paper using traditional papermaking techniques. 

Helen Hiebert Paper Studio, Red Cliff, CO, www.helenhiebertstudio.com. Workshops online and around the world. 

Illuminated Paper Possibilities, April 29-30, with Helen Hiebert. Create a sampling of objects that expand and collapse, open and close, fold and unfold, and give off light in New Bern, North Carolina. 

Red Cliff Paper Retreat, September 8-10 and/ or 12-14, with Helen Hiebert. Cut, fold, layer, collage, weave, glue, and make paper; explore its potential in 2 and 3 dimensions. 

Honolulu Museum of Art, Honolulu, HI, 

(808) 532-8700, www.honolulumuseum.org. 

Make Paper, Make Books, May 6-7, with Allison Roscoe. Learn to create unique sheets of Western-style paper with moulds and deckles from kozo and abaca fibers pulped in a Hollander beater and transform them into a book. 

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; then rent 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, April 22, with Sally Power. Tackle the most challenging comb techniques for making marbled patterns. 

Japanese Papermaking, April 29-30, with Bridget O’Malley. Learn fiber preparation, sheet formation, pressing, and drying techniques to create strong yet nearly translucent sheets. 

Medium to Message: Telling Stories with Paper, May 20-21, with Jeff Rathermel. Create high quality papers from recycled materials, incorporating meaning and content into paper by adding inclusions. 

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

Papermaking with Pants: Upcycling Old Clothing, May 6-7, with Mary Tasillo. 

Encasements in Handmade Paper, June 4, with Beth Sheehan. 

Within the Sheet: Contemporary Watermarks, June 24-25, with Cynthia Nourse Thompson. 

Master Class: Quintessential Stencil, July 8-9, with Paul Wong. 

Sculptural Handmade Paper Lamps, July 13- 16, with June Tyler and Tony Carlone. 

Papermaking Intensive, August 5-6, with Anna Tararova. 

Papermaking with Indigenous Plants, August 26-27, with Tony Carlone. 

Thinking Outside the Vat: Deckle Box Papermaking, September 9-10, with Tom Balbo. 

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

Pulp Ecology: Papermaking with Plants, Pigments, and Dyes, May 14-25, with Anne Covell. Learn the fundamentals of papermaking while foraging for plants and investigate their properties for paper-making, eco-printing, and extracting dyes. 

East meets West Papermaking: Navigating the Seas of Pulp Painting, May 14-25, with Peter Sowiski. Compare Eastern and Western traditions in sheet forming while working with multi-dipped, colored, textured, shaped, stenciled, sprayed, and basted papers. 

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. 

Beginners Archival Papermaking, May 6, with Gail Stiffe. Learn to make luscious archival papers to your own design, including fiber selection, pulp making, sheet formation, buffering, sizing, and alternatives for pressing and drying. 

PapierWespe (PaperWasp), Klimschgasse 2/1, Vienna Austria, (0676) 77-33- 153, office@papierwespe.at, www .papierwespe.at. Workshops in English and German taught by paper specialists in downtown Vienna. 

Introduction: Make and Draw Paper, April 21, with Beatrix Mapalagama. Explore the basics of making paper by hand and image making in the paper. 

Thinking and Drawing Paper in Layers, April 22-23, with Beatrix Mapalagama. Interrogate the two-sidedness of paper, with inclusions, embedding, watermarks, embossing, and wet collage. 

Meditative Papermaking/Silent Papermaking, July 19-20, with John Gerard. Explore papermaking meditatively. 

Peninsula School of Art, Fish Creek, WI, (920) 868-3455, www.peninsulaschoolofart .org. Workshops and exhibits in a range of media. 

Summer Blues: Papermaking with Indigo, June 7-10, with Mary Hark. Explore the possibilities inherent in working with indigo as a material in conjunction with handmade paper. 

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

Paper Sculpture, July 9-21, with Matthew Schlian. Create sculpture using paper engineering, kirigami, and paper craft as starting points, applying paper mechanics to books, collapsible structures, interactive kinetic design, and foldable sculpture. 

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. 

Traditional Japanese Papermaking, April 7-8, with Radha Pandey. Learn the history and traditional processes involved in making Nagashizuki style papers. 

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

Explore! Paper Fish, May 18, with Jerushia or Miriam Graham. Make a school or a solo swimmer, the choice is up to you! 

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

Paste Papers Old and New, June 17-18, with Michael Burke. Explore the joys of making historical decorated papers, then experiment with contemporary designs and inventive techniques. 

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

Pulp Ecology: Papermaking with Plants, Pigments and Dyes, June 26-27, with Anne Covell. Delve into the world of papermaking with plants, earth pigments, and natural dyes, creating sheets of paper that become their own works of art. 

Sitka Spruce Papermaking and Mixed Media Art, July 24-25, with Jane Ingram Allen. Use the bark, needles, and cones of the Sitka spruce tree for eco-friendly mixed-media art including hand papermaking. 

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 with Plants, May 5-7, with May Babcock. Make paper from garden plants and weeds, learning to identify and harvest plants for hand papermaking. 

The Soapbox: Community Print Shop & Zine Library, Philadelphia, PA, info@philly 

soapbox.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. 

Paper from Plants, April 22, with Katy Dement. Collect various plants, including Japanese Knot weed, and experiment with processing the fibers. 

Making with Mother in Mind, May 6, with Katy Dement. Combine traditional papermaking with techniques to make great Mother’s day gifts or cards. 

Open Studio: Papermaking, June 14, with Katy Dement. Learn papermaking basics. 

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

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

An Introduction to Creative Papermaking, July 24-27, with Lucy Baxandall. Explore traditional papermaking techniques to create paper artworks inspired by the landscape. 

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. 

We’ve Got the Blues: Indigo Dyeing for Paper & Cloth, July 10-14, with Mary Hark. Explore this powerful and historic color on handmade paper and a variety of textiles. 

Pulptypes: Hybrid Print & Papermaking, July 17-21, with May Babcock. Create woodcut style images in handmade paper pulp. 

Paper & Place, July 24-28, with Ann Marie Kennedy. Construct 2-D and 3-D works of paper, incorporating natural materials such as mineral colors, natural dyes, and plant and seed textures. 

The Versatility of Flax, July 31 to August 4, with Radha Pandey. Explore the wide range of flax’s properties to make thick, opaque sheets, as well as thin and translucent sheets for printmaking and sculpture. 

Handmade Paper & Encaustic, August 7-11, 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. 

Sculptural Papermaking, August 14-18, with Gretchen Schermerhorn. Build armatures and moulds to create three-dimensional paper forms, experimenting with high shrinkage abaca and flax pulp as well as the vacuum table. 

Color & Japanese Papermaking, August 21-25, with Tatiana Ginsburg. Learn all aspects of kozo preparation and Japanese-style sheet forming, adding natural dyes and other colorants, and experiment with layering color in traditional and improvised ways. 

> EVENTS 

The next Friends of Dard Hunter annual conference will take place October 11 to 13 at the Robert C. Williams Museum of Papermaking in Atlanta, Georgia, with the theme Chasing Paper, bringing together ideas around the past, present, and future of handmade paper. Visit www.friendsofdard hunter.org for more details as they develop. 

Focus on Book Arts takes place June 20 to 25 in Forest Grove, Oregon, on the campus of Pacific University and features workshops, trade show, keynote lecture, and more. This year’s workshops include papermaking, paper marbling, and paste papers in addition to sessions in book structure and printing topics. For information, visit www.focusonbookarts.org or email conferenceinfo@focusonbookarts.org. 

The Red Cliff Paper Retreat takes place September 8-10 and/or 12-14. 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/. 

> EXHIBITS 

American Fiber: National Juried Art Exhibition of Works on Paper is on view at the Morgan Conservatory from March 31 through April 29. The exhibit features recent work and has been juried by Rebecca Cross of Kent State University and by Janice Driesbach, Chief Curator of the Akron Art Museum. For more information, visit www.morganconservatory.org or call (216) 361-9255. 

Pulp as Portal: Socially Engaged Hand Papermaking will be on view at the Center for Book Arts in New York, New York until April 8. The exhibit will be accompanied by a series of related programs. For more information visit www.centerforbookarts.org or call (212) 481-0295. 

Papier Autark, an exhibition of work by German paper artists, is on view through April 20 at Papiertechnische Stiftung, Heßstraße 134, München, Germany. For more information, contact Erwin Polmann at erwin.polmann@ptspaper.de or +49 089 12146-230. 

The Papermakers of Victoria Valda Quick Biennial Paper Arts Exhibition is on view April 6-30, with the theme of Paper is….. The exhibit will be held at Mont de Lancey Gallery, 71 Wellington Road, Wandin, Yarra Valley, Victoria. For more information, visit http://papermakers.org.au/. 

Paperscapes features the work of Sun Young Kang, Dawn Kramlich, Elizabeth Mackie, and Susan White, exploring the possibilities of paper as a medium that straddles the divide between the analog past of print and our current digital age. The exhibit runs through April 30 at the Philadelphia Art Alliance, Philadelphia, Pennsylvania. For more information, visit www.philartalliance.org. 

Inspired by Paper - 30 Years of IAPMA touring exhibition of member work is on view April 1 to May 21 at Musée Cevenol, 1 Rue des Calquieres, Le Vigan, France. For venue information, visit https:// museecevenol-levigan.jimdo.com/ or call +33 04 67 81 06 86. The exhibit will then travel to Poland’s Museum Duszniki Zdroj. 

A solo installation of handmade paper by Fran Kornfeld entitled Night Garden will be on view at the Holland Tunnel Gallery in Brooklyn, NY, from April 21 to May 21. For more information, visit www .hollandtunnelgallery.com. 

Hanji Pilgrimage from Korea to Ohio: Dard Hunter to Aimee Lee, 1933-2014 is on view at the Robert C. Williams Museum of American Papermaking April 13 through August 11. This exhibit presents the images taken and artifacts gathered in Korea in 1933 by Dard Hunter alongside the still and moving images and artwork by Aimee Lee inspired by her research visits to Korea in 2008- 2009 and 2014. This lineage of research, making, and sharing information continues over 80 years to bring new insights about Korean paper heritage to today's audiences. For more information, visit http://paper .gatech.edu or call (404) 894-7840. 

> CALLS FOR ENTRIES 

The Philadelphia Museum of Art is accepting applications for the 2017 Contemporary Craft Show now through April 13, including in the category of Paper. This juried event takes place in November at Philadelphia’s Convention Center. For application details, visit www.pmacraftshow.org. 

The Nonesuch Art on Paper Awards currently invites submissions of work on or of paper for two exhibitions in Montréal, Québec and in Parrsboro, Nova Scotia, Canada with awards including cash and residencies. Entries are due April 30. For details, visit http://hmsnonesuch.com/ or email paperawards@gmail.com. 

The Rehoboth Art League 44th Annual Members' Fine Craft Exhibition seeks entries of member work in a range of media including handmade paper, baskets, ceramics, fiber, glass, jewelry, leather, metal, mixed media, and wood. Works may be unique, whimsical, and functional. Entries are due June 12 for this June 16 to July 23 exhibit. Visit www.rehobothartleague.org for more information and a full prospectus. 

23 Sandy Gallery invites artists to participate in WAYFINDERS, a juried exhibition of book and paper art taking place October 6 to November 25. This exhibit is open to handmade book and paper arts related works created as either edition or one-of-a-kind, inspired by atlases, cartography, navigation, pathways—real or imagined. Entries are due July 29. For detailed information, visit www.23sandy.com or call (503) 927-4409. 

Pyramid Atlantic Art Center invites proposals for solo, group, and curated exhibitions for the 2017/2018 exhibition season. For application details, visit http:// www.pyramidatlanticartcenter.org/calls-for-entry. Special consideration given to work in handmade paper, printmaking, and book arts. Applications accepted on rolling basis. 

> OPPORTUNITIES 

Paper/Book/Print in Fabriano, Italy takes place June 7-22 with artist Lynn Sures, alongside Giorgio Pellegrini, Director of the Museum of Paper and Watermark, Fabriano, Italy. The trip features workshops in traditional Italian papermaking and watermark techniques, chine collé etching, leather book binding, and excursions to local book, paper, and print sites. For information and registration, as well as photos from past trips, visit www.lynnsures.com. Registration for this trip is due March 31. 

HEEED Malawi seeks to engage an energetic, adventurous, imaginative Papermaking and Teaching volunteer for six months to one year, who is interested in creative recycling, handmade paper, and drawing. The volunteer would lead the HEEED Handicrafts Programme, working with the local primary school and using local fibres and waste paper, to make cards and books. For more information please contact the Volunteer Coordinator Addie Lindseth (adelaidelindseth@gmail.com and heeedchembe@gmail.com). 

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, learning about the various processes that go into fiber preparation like cooking, scraping, picking, and hand beating. For details, visit http:// morganconservatory.org. 

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. 

> PUBLICATIONS AND VIDEOS 

The University of Iowa Center for the Book, in collaboration with Alexandra Soteriou and a variety of supporting organizations, has launched a new website on Indo-Islamic papermaking. This resource constitutes the most substantial photographic record of Indo-Islamic hand papermaking materials, tools, and techniques currently available anywhere in the world, and is viewable at http://soteriou.lib.uiowa.edu. 

Fabriano: City of Medieval and Renaissance Papermaking, a book by Sylvia Rodgers Albro, has been published by Oak Knoll Press. The book explores how the Arab art of papermaking by hand came to the Italian peninsula in the thirteenth century and why Fabriano was well-positioned to develop as the heart of this artisan craft, first in Italy and subsequently for a larger Mediterranean territory. It includes more than 200 illustrations in black & white and color. For more information, visit www.oakknoll.com or call (302) 328-7232. 

Arrowmont is featured on Tennessee Crossroads! In July, Nashville Public Television visited Arrowmont’s campus to shoot the segment “Arrowmont Revisited.” Hosted by Joe Elmore, the segment visits several Arrowmont workshops and includes an interview with Executive Director Bill May. Visit http://tinyurl.com/ht5hvcc to watch the video. 

> MISCELLANEOUS 

Hand Papermaking is saddened by the news of the passing of Keiji Oki, an accomplished Echizen washi papermaker. The Oki papermill has ceased operations with his passing. Hiromi Paper shared an interview with Oki on their blog on March 25, 2016 at www .hiromipaper.wordpress.com. 

Pyramid Atlantic Art Center in Hyattsville, Maryland recently welcomed Kate Taylor Davis as Executive Director. Previously she was vice president of ARCH Development Corporation, responsible for overseeing its arts projects such as Honfleur Gallery and Anacostia Arts Center, which Kate opened as its first Director. 

Combat Paper is raising funds to replace its touring vehicle to allow its upcoming workshop schedule to continue. Combat Paper is a group of artist veterans who host workshops that transform military uniforms into handmade paper, with a portable papermaking mill that has been traveling the country with a team of facilitators for nearly ten years. Visit www.gofundme.com/ combatpaper for more information. 

Center for Book Arts in New York, NY recently renovated its gallery space in time for the exhibition Pulp as Portal: Socially Engaged Papermaking. For information on exhibitions and visiting, go to www .centerforbookarts.org. 

> CLASSIFIEDS 

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

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. 

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. 

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. 

HAND PAPERMAKING 

loves to hear from readers: newseditor@handpapermaking.org

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> 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: Yousef Ahmad, Thomas Bannister, Lisa Cirando. Patrons: Tom Balbo, Sid Berger & Michèle Cloonan, Susan Gosin, Gordon & Roswitha Smale, Nancy & Mark Tomasko. Underwriters: Susan Mackin Dolan, Joan Hall, Kyoko Ibe, Russell Maret, Ingrid Rose, Mina Takahashi, Teri Williams. Sponsors: Simon Blattner, Tom & Lore Burger, John Cirando, Kathryn & Howard Clark, Jeffrey Cooper, Kathy Crump, Gail Deery, Michael Durgin, Jane Farmer, Kathryn Flannery, Helen Frederick, Winsome Jobling, Barbara Landes, Anne Q. McKeown, Julie McLaughlin, Peter Newland & Robyn Johnson, Laura Merrick Roe, Margaret Ahrens Sahlstrand, Michelle Samour, Pierrette Samour, Mary C. Schlosser, Tony Trausch, Aviva Weiner, Beck Whitehead. Donors: Marjorie Alexander, May Babcock, Kevin Baker, James Barton, Carol J. Blinn, Tara Bloyd, Colin Browne, June Burden, Carla A. Castellani, Dickson Chin, Nancy Cohen, Paula Cox, Elizabeth Curren, Kerri Cushman, Jennifer Davies, Georgia Deal, Amanda Degener, Marian Dirda, Linda Draper, Karla & Jim Elling, Kathy Fitzgerald, Tatiana Ginsberg, David Lance Goines, Lori B. Goodman, Sally Wood Johnson, Ellen Mears Kennedy, Joyce Kierejczyk, David Kimball, Betty L. Kjelson, Steve Kostell, Tom Lang, Aimee Lee, Lynda Liu, Winifred Lutz, Katie MacGregor, Mary Lou Manor, Lynne Matott, Debora D. Mayer, Edith McGuire, Cecilia Cole McInturff, Anne Q. McKeown, Margaret Merritt, Betsy Miraglia, Timothy Moore & Pati Scobey, Catherine Nash, Elaine Akiko Nishizu, Pat Owens, Pyramid Atlantic, Radha Pandey, Nancy Pobanz, Melissa Potter, Brian Queen, Charles G. Raney, Julie Reichert, Sally Rose, Kimberly Schenck, Kim Schiedermayer, Gordon Sisler, Scott R. Skinner, Jennifer Spoon, Susan Straight, Jean Stufflebeem, Betty Sweren, Therese Swift-Hahn, Elise Thoron, Bruce Wilson, Paul Wong, Kathy Wosika, Mehran Yazdanian, Therese Zemlin. Supporters: Marlene Adler, Sylvia Rodgers Albro, Mary Ashton, Anne Beckett, Zina Castañuela, Michele Combs, Rona Conti, Sara Gilfert, Mabel Grummer, Robert Hauser, Yukari Hayashida, Mildred Monat Isaacs, Susan Kanowith-Klein, Aimee Lee, M. P. Marion, Edwin Martin, Emily Martin, Margaret Miller, Ann S. Miller, Nancy Pike, Dianne L. Reeves, Carolyn A. Riley, Mary Tasillo, Carla J. Tenret, Allan Thenen, Christy Wise. Friends: Shannon Brock, Cara Di Edwardo, Sarah & Joshua Dickinson, Linda Gardiner, Fran Kornfeld, Jill Littlewood, Leslie Paisley, Jill Powers, Bonnie Reisman, Sally Rose, Bonnie Stahlecker, Taiko Suzuki, Margery Takiguchi, Peter Thomas, Virginia Yazbeck. In-Kind: Adobe Systems Inc., Tom Balbo, Janet DeBoer, Peter Ford, John Gerard, Dard Hunter III, 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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