Hand Papermaking Newsletter
Number 122, April 2018

Newsletter Editor: Shireen Holman
Columnists: Sidney Berger, Maureen and Simon Green, Donna Koretsky, Winifred Radolan, Amy Richard.

Hand Papermaking Newsletter is published quarterly. Annual subscriptions are $55 in North America or $80 overseas, including two issues of Hand Papermaking magazine. For more subscription information, or a list of back issue contents and availability, contact:
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PO Box 50859, Mendota, MN 55150-0859
Phone: (651) 447-7143
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The deadline for the next newsletter (July 2018) is May 15. Please direct all correspondence to the address above. We encourage letters from our subscribers on any relevant topic. We also solicit comments on articles in Hand Papermaking magazine, questions or remarks for newsletter columnists, and news of special events or activities. Classified ads are $2.00 per word with a 10-word minimum. Rates for display ads are available upon request.

Hand Papermaking is a 501(c)(3) non-profit organization. Staff: Michael Fallon, Executive Director; Mina Takahashi, Magazine Editor; Shireen Holman, Newsletter Editor; Karen Kopacz, Designer. Board of Directors: May Babcock, Tom Balbo, Lisa Cirando, Kerri Cushman, Tatiana Ginsberg, Joan Hall, Mary Hark, Steve Kostell, Alta Price, Michelle Samour, Flora Shum, Teri Williams. Board Student Representative: Sarah Luko. 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 Readers,

The identification of local and available resources and their safe conversion into something useful, something needed, is a powerful human activity. I would like to spread the word about The Invasive Paper Project, which does just that. This project is about material exploration and community exchange, rather than an initiative focused on the art and craft of making paper.
      I had been intrigued when a friend told me that the youth from the Student Conservation Association (SCA) were removing invasive weeds in Detroit. To me, this “waste” posed both an interesting challenge and an opportunity. My research led me to the work of Patterson Clark, who has been making beautiful paper and art objects from invasive plants; Julie Johnson, who wrote about her experiences with invasives in Hand Papermaking;1 and of course Helen Heibert, who originally taught me papermaking, and whose book Papermaking with Plants2 has been indispensable to me.
      I knew nothing like this existed in Detroit and I needed to lead the charge. The young people from the SCA Detroit showed me how to skillfully remove Amur honeysuckle. Back at the studio I successfully rendered a gentle, yellow-hued paper. Next, I gave garlic mustard a try. A different, more rigid, and fragrant paper was the result. In exchange for their expertise, I had the youth come to my studio to learn about papermaking. It was significant for these young people to convert the unwanted plants, plants they had spent countless hours removing, into something of value with their own hands. The alchemical magic of papermaking wasn’t just for me, but something that I could share with others in a meaningful way. The photo here, by Eric Wheeler, shows us in one of the workshops.
      As the Invasive Paper Project travels beyond Detroit to other locales in the US, it acts as a method of sharing plant stories, landscape stories, and stories about how we situate ourselves in our places. Follow the project at meganheeres.com or @megheeres on Instagram.

Sincerely,

Megan Heeres
Detroit, Michigan

1. Editor’s note: See Julie Johnson, “Using Invasive Plant Fibers Responsibly,” Hand Papermaking 25, no. 1 (Summer 2010).
2. Editor’s note: See Helen Hiebert, Papermaking with Plants: Creative Recipes and Projects Using Herbs, Flowers, Grasses, and Leaves (1998).

Dear Handmade Paperistas,

Western Renaissance papers have sharp curly marks impressed on the surface by the rough woolen couching felts used by early papermakers. Optimal for chalk drawings and pastels (a Renaissance invention), this “tooth” established paper as an ideal medium for Old Master artworks. However, not everyone was happy with the rough surfaces.
      Printers, and especially copyists and writers, required more even paper. Their demands were heard and met. Today, industrial paper is silky-smooth, perfect, and cheap. Machines provide artificial random tooth only on purpose; no handmade-curly. 
      Unless one raids old book collections for end papers, our tooth has been lost and unavailable for the last couple of centuries or so. Meanwhile even sheep have gone soft, as Donald Farnsworth recounts in A Quest for the Golden Fleece,1 his description of his efforts to replicate Renaissance woolen felts.
      When I was visiting Rix Jennings in Houston in mid-2017, he showed me a sample of fiberglass “landscape fabric.” Experimenting with a new vacuum table strainer in November, I pressed paper and let it dry on this fabric. To my extreme surprise, the surface looked ancient, museum-like “curly”! It turns out that couching, pressing, and drying on conventional fiberglass landscape fabric from home improvement stores mimics quite well the gouges and sharp tooth loved by Italian Cinquecento artists. A serendipitous discovery, this new/old Renaissance surface imitation is easy to achieve, and I invite y’all to make it. Hand Papermaking being a “journal of record” for all things papermaking, I’m honored to share this innovation here, hopefully helping to increase interest and demand for what we make, especially among charcoal, chalk, and pastel artists.
      I named my version Cinque Tooth. In the photo you can see mine (labelled B) in between two Italian papers from the early 1600s. There is more information about my research and fun on my site, papeltexano.org/cinque. Your comments and advice are much appreciated.

Yama Ploskonka
Austin, Texas

1. Donald Farnsworth, A Quest for the Golden Fleece (https://magnolia-paper.squarespace.com/s/QuestForTheGoldenFleece.pdf, 2017).

NOTICE

Regarding the book review of They Made the Paper at Tuckenhay Mill that appears in the Winter 2017 issue of Hand Papermaking magazine: It has come to our attention that in addition to the Legacy Press offset book, a fine-press edition is simultaneously on offer by Peter and Donna Thomas. Thirty deluxe-edition copies of The Tuckenhay Mill: People and Paper—ranging in price from $970 to $1,695—include paper samples, booklets, flash drive with audio files and video, and other materials.

> 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 description of her visit to Loudspeaker Components, Donna surprises us with the details of how speaker cones are made from paper pulp.

I think about paper pulp and paper a lot. But the realization that paper can be a medium for sound is something I had never considered until my recent visit to a factory that manufactures speaker cones from paper pulp. I learned that nearly all speakers used in the music industry use paper-pulp cones, from tiny cones found in automobile speakers to large cones used in high-end speakers.
Loudspeaker Components, located deep in the farmlands of southwest Wisconsin, is the leading manufacturer in the US of speaker cones made from paper pulp. Thousands of paper cones are produced daily and shipped worldwide to customers such as JBL, who assemble the speakers.
      On a brisk wintry day, Brian Haas, who owns the company along with Neil Kirschbaum, graciously showed me around their 55,000-square-foot facility and patiently explained the cone-making process.
      The first part of the tour was familiar territory. Bales of paper pulp were piled high, and numerous 55-gallon drums of sizing, retention agent, colorants, and all sorts of additives were on their sides, obviously used on a daily basis. Brian’s voice competed with the loud rumblings of the factory machines. A 25-lb. Valley beater, along with two enormous refiners, process about 320 pounds of pulp a day. A combination of pulps is precisely beaten according the specifications of the customer, depending on what type of cone is being made.
      I met John, the friendly pulp maker, who was one of the 40 employees. John looked more like a weathered Wisconsin farmer than a scientific technician as he took me into the laboratory testing room and demonstrated how he monitors every batch of pulp in a Canadian Freeness Tester. On the counter were beakers, scales, lots of pulp residue, and a pot of coffee that I wondered about. John expertly measured, poured, and manipulated valves—the procedure for testing the freeness (rate of drainage) of the pulp.
      Next I was shown an enormous vat of black pulp and I learned that the industry standard is to color all speaker cones a shade of black or gray. I could not tell if this standard is merely aesthetic or if it is related to sound quality. But they obviously used an excellent retention agent. Brian immersed his hand into the black pulp and when he lifted it out the water ran clear.
      Finally we arrived at the machine that makes the cones, where each cone is made individually from pulp by a mechanized casting method. The cone-shaped mold is made from thick metal that has quarter-inch holes drilled into it and the back hollowed out. A cone-shaped piece of brass screening is placed on top of the mold. These two pieces are fastened together and mounted on something called a mold wheel.
      It is a fascinating casting method. The cone-shaped mold is suspended over a round stainless-steel trough filled with black pulp that is constantly agitated to maintain consistency. Suddenly the vat of pulp rises up, immersing the suspended cone in pulp. The vat stays up for about two seconds during which time there is a powerful vacuum that sucks the pulp onto the form and the water is pulled through the holes of the mold. When the trough of pulp is lowered, a cone of pulp magically adheres to the mold. Next the drum rotates and there is another cone-shaped form that is immersed into the pulp. Meanwhile the newly vacuumed paper cone rotates into an oven where it dries in seconds and the machine operator pops it off the mold.
      Consistency is key and every cone is weighed on a scale. If one does not meet a certain parameter, it is thrown in the trash and not recycled. Needless to say, at the end of the day I left the factory with a bag of cone rejects of all different sizes and shapes and shades of black. I also collected a few reject dust caps, which are small convex domes that fit over the central hole of the speaker cones.
      Loudspeaker Components makes other components besides speaker cones, and I briefly toured the areas where all sorts of Rube Goldberg machines glue and seal fabric to paper, and cut and compress foam. Most interesting was the state-of-the-art machine shop where the metal cone forms are precisely machined.
      Brian describes the speaker-cone business as a “relationship industry,” and he works closely with his customers to make precise cones with specific sound qualities. Pulp composition, cone shape, and cone density all contribute to the sound quality of the speaker. Loudspeaker Components uses a combination of different types of wood pulp, cotton, abaca, and even kapok. Abaca is well known for its wet strength, and combinations of wood pulp and cotton produce the required density. If the cone’s density is too low, then the cone may have a “dead” sound. If it is too dense, then “cone cry” (squealing at certain frequencies) will be more noticeable. Non-cellulosic fibers such as fiberglass and Kevlar are also added to the pulp to make the cones stronger and lightweight. Cones are made in a variety of diameters, heights, and angles, and sometimes have concentric rings or corrugations that affect the sound. The cone has to withstand high frequencies and low frequencies and it can’t be too deep or too shallow because you don’t want it to “ashcan” (emit false sounds). These are all terms that mean nothing to my non-discerning ears, but I appreciate the industry’s sound connoisseurs. Most of all, I am awed that so much research has gone into listening to paper.
      As a hand papermaker who makes custom paper for artists, I too work closely with my customers, placing importance on pulp composition, sheet shape (or size), and sheet density. However, my goal is to create paper that is tactile and visually pleasing, upon which one can write, draw, paint, or print. Making paper with sonic characteristics would certainly add a new dimension to my skills.
      After spending the afternoon in a paper-cone factory, my mind wandered and I began to think about the enormous possibilities of casting paper forms other than speaker cones. Perhaps lampshades or components for a huge art installation. Brian admitted that he had also thought about other forms to create but was simply too busy these days keeping up with his speaker-cone orders.

> 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 Guild of Papermakers exhibition containing work by many of her current and former students.
Last summer the director of the Abington Art Center approached me to offer the Guild of Papermakers the opportunity to install our Paper Awareness exhibition in its galleries in early 2018. She had been excited by the much smaller Barbara A. Bradley Memorial Exhibition installed by friends of one of our charter members to honor her memory and dedication to papermaking. We happily accepted the invitation and jumped into our preparations.
      The Abington Art Center is located in Jenkintown, a suburb of Philadelphia. Established in 1970, the center resides in a part of Alverthorpe Manor, the former home of art patron Lessing Rosenwald. The fifty-two-room mansion with a heavy dose of Art Deco styling was donated to Abington Township to be a public home for the appreciation of art and culture. The 27-acre campus contains sculpture gardens as well as a studio/school wing, which formerly housed Rosenwald’s extensive collection of rare books and prints, now housed in Washington, DC. I have had the pleasure and privilege of holding my ongoing Papermaking Studio classes at this location for several years.
      For those unfamiliar with our Guild of Papermakers, here is a little history. Our first meeting was held at the papermaking barn of Historic RittenhouseTown, also in Philadelphia, in the fall of 1991. Most of our twenty charter members had learned papermaking or taken workshops with our mentor Bobbie Lippman, who started the Papermaking as Art program there in the late 1980s. This initial gathering of artists who worked in and with handmade paper had the common goal of sharing their artistic and technical expertise and promoting public awareness surrounding paper as an art form. As founding director, I am proud to say that over the years we have continued to meet almost bi-monthly, and have held studio and gallery visits, sponsored workshops with several nationally known paper artists, and mounted an all-member Paper Awareness exhibition nearly every year. We retain a handful of our charter members, and have welcomed many new papermakers who have joined us after taking workshops or seeing exhibits. The Guild, which has quite a loose organizational structure, presently has about fifty to sixty members, who continue to be dedicated and steadfast in their love of paper as an art form.
      Paper Awareness 2018 featured the work of thirty-one of our members, displayed on the walls and pedestals of Abington’s three elegant gallery spaces. The diversity of work in both two and three dimensions were a testament to the versatility of paper as an artistic medium. Works ranged from figurative to abstract, diminutive in scale to large, and often included combinations of mediums. A number of our artists combine papermaking and printmaking. Some use hand-cast pulp in both two and three dimensions. Combinations with painting, photography, encaustic, stitchery, and assemblage were all represented. And there were a couple of joomchi pieces as well. There was a large figurative piece created by using pulp-spraying techniques. As a newcomer to my papermaking studio class commented after viewing the work, the range of possibilities with this medium is astonishing and exciting. The Paper Awareness 2018 was on view January 19 through March 24. During that time, we had three workshops and a gallery talk scheduled for the public. Rona Richter taught paper lithography, and I taught cast-paper vessels. And guest artist Jiyoung Chung gave a talk and a two-day workshop on joomchi.
      I hope that this exciting collection of work has inspired more artists to explore paper as a medium. If you’d like to see more images from the exhibit, you can visit the Guild of Papermakers on our Facebook page. (https://www.facebook.com/Guild-of-Papermakers-133312157374239/)

> PAPER HISTORY

Maureen and Simon Barcham Green, from the United Kingdom, write a joint column on paper history. Maureen is a paper historian, and author of Papermaking at Hayle Mill 1808–1987. Simon was the last of the Green family to run Hayle Mill. He provides consulting services to papermakers worldwide. In this continuation of his “Paper Places” series Simon gives us a glimpse into the workings of a large commercial papermill.

This column may seem to have little to do with handmade paper, but since we are all part of a much larger industry on a scale hard to imagine unless you experience it, I offer a taste of a different sort of papermill. If you are fascinated with paper, I strongly recommend taking—or making—opportunities to visit large mills occasionally.
      By the summer of 1967, I was ready to travel further afield. Indeed my plan had been to work in the United States in 1966, but this was vetoed by my parents, and I acquiesced. In 1967, my second cousin Richard Green found me an employment opportunity in South Carolina. Richard was at that time the Deputy Chairman of Wiggins Teape Ltd., the very large fine-paper makers with many mills in their portfolio. Henry Ralph, one of my fellow students at the University of Manchester Institute of Science and Technology, was also going to be in the US. Our plan was that each of us would work for eight weeks and travel around the country by bus for four weeks and 10,000 miles.
      The mill I worked in was a complete contrast to the smaller operations I had visited previously. Charleston Mill was at the time part of the West Virginia Pulp & Paper Company.1 It was a fully integrated mill processing logs from the one million acres of forest the company owned. The pulp mill had extensive lumber and chip storage, but I had little engagement with it apart from the memorable smell, detectable for several miles at times! I was effectively a laboratory technician on the papermill side. At that time the mill specialised in kraft sack paper using Clupak paper machines. The Clupak process was invented by Sanford Lockwood Cluett2 who held over 200 patents, including Sanforizing. The process micro-creped kraft sack paper so that it became extensible, or stretchable, and absorbed energy when the sack was dropped.
      Much of my time was spent testing pulp samples in the constant battle against slime and foam. Warm papermaking pulp provides ideal conditions for slimes that can coagulate into particles that detach, leading to lumps and marks in the paper, blocking machine wires, and causing other problems. Despite the addition of biocides, the slimes were constantly changing. In addition, foam formed readily in the pulp. The foamability needed testing, as did the effectiveness of various antifoam agents. The biocides and antifoams interacted with other factors, so the environment was also constantly changing. Since that time many of those biocides and antifoam agents have been banned, but the problems remain.
      Charleston has a sub-tropical climate. At about 4:30 p.m. every day there would be a massive thunderstorm. The temperature in the shade averaged about 95˚F and the relative humidity was about 95%. In the machine house, temperatures were frequently 130˚F, and an air-conditioned cabin was provided for the crew. This was fine when the machine was running smoothly but not when there was a major break with mounds of broke piling up, or when the machine needing refeeding.
      On one occasion the machine Fourdrinier wire was being replaced and the opportunity was taken to test the dry felts while they were stationary. These hold the paper against the steam-heated drying cylinders, and have a very stressful life. They need replacing just before they fail. Both failure and replacement mean expensive down time. Since the felt is fitted to the machine, that is where it has to be tested with a portable device. This has two sets of needles facing in opposite directions. By placing the device against the felt and operating it, a measure of strength can be obtained. When the machine is running, the felts are enclosed within the dryer hood (probably 100 feet long by 30 feet high by 20 feet wide) with the cylinders containing high-pressure steam over the boiling point. The machine had to be shut down and made safe, the steam to the cylinders turned off, and when it was just cool enough, I was sent inside the hood, along gangways, to the test site. The temperature was about 170˚F! I succeeded in slipping down a few feet, grazing my chin, and getting a tetanus shot. But I also got the test results.
      Apart from the cultural experience of living and working in the Southern United States, I learned a lot about the basics of papermaking in practice, and how business works on the production floor. Slime and foam affect all papermakers and involve organisms that are constantly changing. Attention to detail in measurement, and the ability to analyse results objectively and propose changes (e.g., new combinations and proportions of various reagents) were also useful lessons. I also realised that travelling and meeting people with different ideas and experience was fascinating. I still find it so many years later.

1. The mill now belongs to Kapstone Paper, http://www.kapstonepaper.com/location/charleston-sc/.
2. https://en.wikipedia.org/wiki/Sanford_Lockwood_Cluett.

> 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 introduces us to a new catalog containing samples of eighteenth- and nineteenth-century decorated papers he had never seen before.

In putting together our collection of decorated papers, my wife and I went to a range of sources—artists, papermakers, book fairs, ephemera fairs, the web, bookbinders, printers, other collectors, and many others. But sometimes the sources came to us. In our hunt, we met wonderful folks, and when they learned of our passion (Werner Munsterberger would have called it an “unruly passion”—see his book Collecting: An Unruly Passion: Psychological Perspectives [Princeton, NJ: Princeton University Press, 1993]), they filed our wants in their databases, and we often heard from people about papers they had seen or from businesses that had papers for sale. We even got surprise gifts through the mail from people who thought we would love what they sent us, and we did.  
A couple of days ago, a bookseller in Germany who had heard of us sent us a copy of a catalog that she had compiled—primarily decorated papers, or objects covered in these papers. The dealer, Daniela Kromp, Rare & Unique Books (Heimeranstrasse 6380339, Munich, Germany), offered 91 lots representing hundreds of wonderful pieces or full sheets of paper. One lot (#91) had 80 various samples of lovely block-printed papers from the middle of the eighteenth to the early nineteenth century.  
As I have said in the past, after being a serious collector of paper for decades, I sometimes think I have finally “seen it all,” but frequently new things come along that are eye-openers for me. This catalog was full of truly amazing sheets, and a couple of them were stunning. For instance, I was unaware that in the early-eighteenth century there were “mourning papers,” black sheets that were embossed! The bookseller’s description says of this loose sheet (item #24 in Kromp’s catalog): “Very probably formerly used as wrappers for a funeral oration or something similar. Between the [embossed] leaves and flowers, spiders, worms and insects are visible as symbols for rot and deterioration.”  was able to place and date the paper, and even identify the maker as Johann Michael Schwibecher of Augsburg: “An example of the same printing plate used for a brocade paper (signed by Schwibecher) is reproduced in Kopylov (p. 155–157).” This is a reference to Christiane F. Kopylov, Papiers dorés d’Allemagne au Siècle des Lumières, suivi de quelques autres papiers décorés (Bilderbogen, Kattunpapiere & Herrenhutpapiere) 1680–1830 (Golden Papers of Germany in the Age of Enlightenment, followed by a few other decorated papers. Gallery of images, block-printed papers, Herrnhuter [paste] papers 1680–1830), Paris: Éditions des Cendres; Verona: La Maison Bortolazzi, 2012. I have mentioned Kopylov’s book in an earlier column, and I have given the full citation here to stress the importance of having the proper reference tools at hand when one does research in this specialized field.
I said the sheet is stunning, and though it is only a black piece of paper, the embossing is striking, and—more to the point—it is exceptionally rare. Equally rare is item #39 in this remarkable catalog: a sheet of block-printed paper, done in three colors (thus, of course, requiring three separate woodblocks) in a marbled pattern. In our collection, we also had such a sheet, but done in the nineteenth century, and quite crudely, using blocks to print light green, dark green, and red. Our sheet is particularly ugly, and one wonders why anyone would print in three colors to produce such a dreadful sheet when it would have taken much less time to produce an actual marbled sheet that was much more attractive. But the one that Kromp is offering is amazingly more attractive (though it has a fairly crude marbled pattern). But more important is that the eighteenth-century sheet shown in this catalog looks strikingly like suminagashi (the Japanese forerunner to marbling) and is done in blue, green, and pink, quite reminiscent of some of the classical suminagashi colors. There is a theory that Western marbling was inspired by the Japanese craft (which artists and bookbinders saw when papers came over on the Silk Road). The attempt by the paper decorator to make a sheet that looks like suminagashi and that uses traditional colors supports this theory.  
One of the strengths of the Berger/Cloonan Collection (now at Texas A&M University) is its eighteenth-century holdings. And among those papers are more than 80 full sheets of Dutch gilt papers. (See my article in Hand Papermaking vol. 24, no. 2 [Winter 2009] and my column in Hand Papermaking Newsletter, no. 81 [January 2008] on this kind of decorated paper.) Standard reference books on the subject list many eighteenth-century Dutch-gilt-paper makers, and we assume that all of them are known and recorded. The Kromp catalog amazingly lists a heretofore unrecorded maker: J.G. Ackermann. He has printed his name in the block used to impress the gold pattern into the sheet. Though the bookseller is offering only two fragments, they are of the utmost rarity; and, as she points out, that they contain images of butterflies is particularly unusual for these lovely papers. We are fortunate that the binder who used them used the part that had the maker’s name on it. Often on such bindings the edges of the sheet are trimmed away, along with the maker’s name. Also, most of these papers are not signed in the block or anywhere else on the sheet. So we are lucky, too, that Ackermann chose to put his name on the leaf.  
Though we have curtailed our purchase of papers since we parted with our collection, my wife and I did order a few sheets, which I will report on in a future column. For now, I just want to reiterate that new offerings continue to surface and to amaze and amuse us. The world of decorated paper is endlessly fascinating, and collecting it is for some a serious addiction.  

> STUDYING HAND PAPERMAKING

Amy Richard is an artist, writer, and proprietor of a small art studio/papermill in Gainesville, Florida, where she produces original artwork and teaches workshops in the community and beyond. Richard is an MFA graduate of the University of Iowa, Center for the Book, where she studied paper and book arts as well as the history and culture of the book. For this newsletter she explores papermaking programs in colleges, universities, and other established art centers in the United States and abroad. Here Amy describes the book arts and papermaking program at the Jaffe Center for Book Arts.

Recently I had the opportunity to revisit the famous baseball movie Field of Dreams (a great flick if you haven’t seen it) and oddly, it reminded me of hand papermaking. I couldn’t help but draw parallels between the look on the characters’ faces when the protagonist, portrayed by Kevin Costner, told his family he was going to turn his Iowa cornfield into a baseball park. It was that same blank stare many of us have experienced when we try to describe our passion for papermaking or perhaps our plans to turn our garage or barn into a paper studio. My husband and I experienced something similar a few years ago, when we announced we would be quitting our day jobs in Florida to move to Iowa so I could study hand papermaking.
It also reminded me of the blind faith so many papermakers and book artists demonstrate as they continue their work in a time when books and paper are considered by some as obsolete. And yet, as actor James Earl Jones said so eloquently in the film, in his rich, baritone voice,1 “If you build it, they will come.”
      John Cutrone and a handful of dedicated staff and community supporters at the Jaffe Center for Book Arts (JCBA) have demonstrated a similar faith, and, as a result, built something quite special in south Florida. It all started in 1998 with the generosity of the late Arthur and Mata Jaffe, who donated their entire collection of 2,800 books to Florida Atlantic University. Two years later it was made available to the public as a research collection, and from there has grown incrementally into a vibrant book arts program. In 2002 staff began offering book arts workshops. In 2007 an expanded version of the JCBA was unveiled with a letterpress print studio and bindery, followed by a papermaking lab/studio in 2012. Since then it has become a hub in the southeastern United States for research and instruction in book arts and paper.
      Cutrone, who was named director of the Center in 2012, describes the JCBA: “We think of the space as a hybrid of a library and an art gallery. Exhibitions, gallery talks, films and performances, and our popular Book Arts 101 presentations all take place inside the gallery in the midst of this inspiring collection of artists' books, as do university class sessions and community group tours of the Jaffe Center. Programming is wide ranging; it’s open to FAU students and also to the broader community. Students and workshop participants come from all parts of the country, even Latin America and beyond. The bulk of what we offer comes in the form of workshops, and largely on weekends, with occasional semester-long classes. Costs range from about $50–$200 per workshop. For our Book Arts 101 series we offer a self-determined tuition, which allows people to pay from as little as one dollar to two hundred dollars, depending on the generosity of participants, many of whom are happy to give more so that others can attend. We’ve also had a lot of great instructors. Kate Schmidt, creative writing instructor at FAU, taught a session on artist-book writing. Jillian Bruschera, with her mobile papermill, has taught workshops here,2 as have Emily Martin and Radha Pandey, instructors from the University of Iowa Center for the Book.”
      The photo here shows Pandey in the midst of an Islamic-style papermaking demonstration.
      Cutrone is proud of the community support and rightfully so. A recent example is fiber artist Cindy Bartosek, who established a fund that provides scholarships for students with financial needs, allowing them to take a workshop for just the cost of materials.
As far as the collection goes, over 6,000 items are currently cataloged with many more in the wings. They include artist books, fine press books, broadsides, and more—even a giant pair of hands that were constructed out of paper for a theatrical production. Works by book artist Maureen Cummins of High Falls, New York, and Chicago artist Melissa Jay Craig are in the collection as well as works by local artists such as Arthur Jaffe’s daughter, Jeanne Jaffe.
      An artist residency program is currently being revamped so be sure to stay tuned.

1. James Earl Jones portrayed a fictional writer named Terrance Mann in the film. Phil Alden Robinson, dir. Field of Dreams. Universal Studios, 1989.
2. http://themobilemill.tumblr.com/

> columns for beginners can be seen at
newsletter.handpapermaking.org/beginner

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 2018 newsletter is May 15. Contact each facility directly for additional information or a full schedule. Attention 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. See website for session dates and times.
Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont.org. Classes and workshops in a variety of disciplines, including papermaking. Arrowmont’s series of National Workshops run from early April to late October. Visit https://www.arrowmont.org/wordpress/wp-content/uploads/2015/11/National-Sneak-Peek-Digital-opt_100917.pdf for a sneak peak of this year’s instructors and subject areas.
Paper Circuitry: Adding Light and Interactivity to Paper Craft. June 17–23, with Jie Qi. Learn to combine art with electronics by using conductive tapes and LED stickers to build beautiful, functioning circuits. Explore the possibilities of using technology to make artwork come to life through projects like glowing posters and interactive cards. Open to all skill levels.
Joomchi and Beyond, July 15–21, with Jiyoung Chung. Explore joomchi, a unique Korean traditional way of making textured handmade paper using water and eager hands. Includes a discussion of the history, practice, and role of joomchi in Korean society, as well as hands-on techniques and its use as a contemporary art form. Open to all skill levels.
Islamic-World Papermaking and Natural Dyeing, July 28–August 4, with Radha Pandey. Discover Islamic-world papermaking traditions that have remained largely unchanged since the 8th century. Focus will be on sheet formation and using natural dyes to create beautiful results. No prior papermaking experience necessary.
Book Arts Los Angeles, Los Angeles, CA, (310) 722-9004, www.bookartsla.org.
Ecoprinting and Natural Dyeing for Book Artists, April 14–15, with Anne Covell. Explore the world of natural dyeing by experimenting and ecoprinting on cloth, paper, tape, and thread. Students will leave this workshop with two bound books, a booklet with dyed samples, and a stack of dyed paper and cloth to use in the future.
Intro to Western Papermaking, May 19, with Anne Covell. Learn the basics of proper sheet forming, couching, pressing, and drying papers made from cotton, abaca, and flax fibers, as well as techniques for layering, embedding objects, pigmenting, and mark-making to decorate your sheets.
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. Upcoming paper arts workshops include:
Paint a Picture with Paper Pulp!, May 18–20, with Chery Cratty.
Papermaking: Tools of the Trade, July 6–8, with Matthew English.
Papermaking, Beyond the Basics, July 8–14, with Claudia Lee.
Make Your Own Kudzu Mural (Intergenerational), July 15–21, with Nancy Basket.
A World of Fiber (Intergenerational), July 15–21, with Sandi Cirillo.
Carriage House Paper. Brooklyn, NY, (718) 599-7857, www.carriagehousepaper.com. Short, specialized, intensive workshops, private teaching sessions, artist collaborations, and group programs offered throughout the year at a fully equipped papermaking studio.
Sculptural Papermaking, April 7. Explore the sculptural possibilities of handmade paper using high-shrinkage unbleached flax and nylon stocking armatures. Basic sheet forming, pigmenting, and armature building will be reviewed.
Japanese Papermaking, April 21–22. Create an array of papers from mitsumata, gampi, and kozo fibers grown in Brooklyn. Topics include fiber preparation, cooking, beating, sheet forming, and drying on boards.
Contemporary Watermarks, April 28. Create personal paper watermarks for stationery, end papers, and artwork. Pulp preparation, sheeting forming, pressing, and drying will be covered. Open to all levels.
Pulp Pouring/Pulp Painting, May 12–13. Learn how to use a pulp-pouring mould as a fully self-contained system for forming beautiful pulp-painted sheets of paper. Techniques include using squeeze bottles, stencils, watercolor pencil transfer, and other pulp painting techniques.
All About Flax: A Four-Day Intensive, May 29–June 1. Explore the many incredible properties of flax. Topics include fiber preparation, beating methods, sheet-forming techniques, coloring, sculptural techniques, and drying.
Exotic Fibers, June 9. Use both Eastern and Western papermaking techniques to make paper from unusual fibers such as pineapple, bamboo, and banana. The workshop covers fiber preparation, beating, sheet forming, pressing, and drying.
Cottage Industry Technology Center, 20 Russet St., SSS Village, Marikina City, Philippines. Workshops, demonstrations, and technical consultancy in a variety of crafts and livelihoods, including hand papermaking and related crafts. Contact Loreto D. Apilado at Lor-Eto.DA@gmail.com or bookendshere2002@yahoo.com or (632) 942-3974.
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 10, May 9, or June 5, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques.
Embedding, Blowouts, and Simple Watermarks, April 11, with staff instructor. Learn three techniques: embedding, blowouts, and watermarks.
Pulp Painting, Stenciling, and Pigmenting, June 6, with staff instructor. Learn proper pigmenting techniques and how to create appropriate pulp paint consistencies for a variety of purposes. Also learn how to make stencils for pigmenting.
Casting with Molds and Laminate Casting, May 8, with staff instructor. Learn two different sculptural papermaking techniques.
Haystack Mountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack-mtn.org. Haystack’s Summer Workshops in various disciplines, including papermaking and book arts, begin on June 10 and continue through September 1. For more information, visit https://www.haystack-mtn.org/programs/summer-workshop-sessions/.
Helen Hiebert Paper Studio, Red Cliff, CO, www.helenhiebertstudio.com. Helen holds regular papermaking workshops at her studio in the heart of the Rocky Mountains, online, and around the world. For her upcoming schedule, visit http://helenhiebertstudio.com/calendar/.
Hook Pottery Paper, LaPorte, IN, (219) 362-9478, hookpotterypaper@comcast.net, www.hookpotterypaper.com. Workshops and experiences in papermaking and pottery at www.hookpotterypaper.com/classes/.
Western Marbling on Paper, April 29. Learn how to make stunning decorated paper using the traditional technique of floating pigment on the surface of thickened water. No experience is necessary.
In the Field: A Natural Fiber Professional Papermaking Workshop, June 18–22. Learn to transform raw plant fiber into beautiful handmade sheets of paper. Fibers include grown and collected plants; attendees will examine various cooking solutions and beating methods suitable to each fiber.
Paper Arts: Papermaking and Surface Design, July 10, 17, & 24. Learn the basics of papermaking with cotton and abaca, and use these to learn the decorative techniques of suminigashi and paste paper.
Inter-Ocean Curiosity Studio, Englewood, CO, (303) 789-0282, http://interoceancuriositystudio.com/. For more information on papermaking workshops with Ray Tomasso, contact him at ray@raytomasso.com or (303) 552-8256.
Kalamazoo Book Arts Center, Kalamazoo, MI, (269) 373-4938, info@kalbookarts.org, www.kalbookarts.org. Classes in book printing and binding, printmaking, hand papermaking, and creative writing.
Surface Design: Suminagashi Paper Marbling, April 9. Learn the Japanese style of paper marbling, suminagashi, or “floating ink,” which uses very few tools or materials but yields elegant and subtle decorative designs. Each student will leave class with a stack of marbled papers.
The Los Angeles-Area Papermaking Program teaches the basics of papermaking at regional libraries throughout the Southern California metropolitan area. Participants first learn the history of paper and about the ecological advantages of hand papermaking, and then experience a hands-on papermaking session. Anyone interested in attending this workshop should consider calling ahead for more details at the following locations.
April 3, La Puente Library, 15920 E. Central Ave., La Puente, California.
April 7, Walnut Library, 21155 La Puente Rd., Walnut, California.
April 10, Bell Library, 4411 Gage Ave., Bell, California.
April 12, Gardena Mayme Dear Library, 1731 W. Gardena Bl., Gardena, California.
April 14, La Verne Library, 3640 D St., La Verne, California.
April 25, Florence Library, 1610 E. Florence Ave., Los Angeles, California.
April 28, 2 West Hollywood Library, 625 N. San Vicente Bl., West Hollywood, California.
April 30, Charter Oak Library, 20540 E. Arrow Hwy., Suite K, Covina, California.
May 5, La Crescenta Library, 2809 Foothill Bl., La Crescenta, California.
May 12, Masao W. Satow Library, 14433 Crenshaw Bl., Gardena, California.
May 19, Lomita Library, 24200 Nrbonne Ave., Lomita, California.
May 24, Lynwood Library, 11320 Bullis Rd., Lynwood, California.
May 26, Live Oak Library, 4153 E. Live Oak Ave., Arcadia California.
June 2, Carson Library, 151 E. Carson St., Carson, California.
June 7, Angelo M. Iacoboni Library, 4990 Clark Ave., Lakewood, California.
June 9, Castaic Library, 27971 Sloan Canyon Rd., Castaic, California.
June 16, Clifton M. Brakensiek Library, 9945 Flower St., Bellflower, California.
June 19, Lennon Library, 4359 Lennon Bl., Lennox, California.
June 30, Cudahy Library, 5218 Santa Ana St., Cudahy, California.
Maiwa School of Textiles, Vancouver, British Columbia, (604) 669-3939, http://www.schooloftextiles.com/. Maiwa School of Textiles offers an international roster of instructors. Learn from some of the most skilled hands working in textiles today.
Papermaking with Natural Dyes, May 31–June 3, with Radha Pandey. Learn the history and technique of a style of papermaking, practiced in the Islamicate lands, that has remained unchanged since the 8th century.
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. 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, Saturdays, with staff instructor. Beat fiber for future sheet forming. Register for Open Studio sessions at http://www.mnbookarts.org/openstudio.
Papermaking with Clothes! April 14–15, with Dana LeMoine. Learn a new way to reuse and recycle with this class that will cover the basics of papermaking and focus on how to make paper out of old clothing items you no longer wear.
Extreme Marbling, April 28, with Sally Power. Learn marbling patterns that require manipulating the comb in a figure-eight shape as well as patterns created through use of a bouquet comb. This workshop builds on techniques learned in introductory marbling workshops.
Dirty Works: Paper Marbling, June 1, with Suzanne Hughes. Explore paper marbling by trying your hand at “throwing” color. Build patterns that you can use to decorate cards, journals, or other paper crafts. Great for beginners.
Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, http://morganconservatory.org.
The Morgan Conservatory Open Studio program allows artists and students access to studio space and equipment, and provides them with an opportunity to create art in areas of papermaking, letterpress printing, and bookbinding. For more information visit http://www.morganconservatory.org/open-studio.
The Morgan Conservatory also presents regular workshops in papermaking, printing, book arts, and mixed techniques. For more information about upcoming workshops, visit http://www.morganconservatory.org/papermaking-workshops.
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.
Papermaking with a Purpose, April 22, with Barb Adams. Learn how to make different papers suitable for different purposes—for use in books, as cardstock, for paper casting, for printing, or for embedding collage items. Suitable for beginners and advanced papermakers.
Coloring Paper with Natural Dyes and Clay, May 20, with Gail Stiffe. Explore ways to color paper with natural dyes and found pigments, including avocado skin, loquat leaves, onion skins, and gum leaves.
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. For information about upcoming workshops at PapierWespe, visit: https://www.papierwespe.at/fileadmin/user_upload/Programme/PapierWespe_programm_2018_sceen.pdf.
Penland School, Penland, NC, (828) 765-2359, www.penland.org, offers a full program of craft workshops, including papermaking. For information on summer session workshops in paper and book arts, visit http://penland.org/workshops/books-paper/.
Pyramid Atlantic, Hyattsville, MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshops in papermaking, printmaking, and book arts. 
One-on-One Papermaking Workshop, variable dates, with Gretchen Schermerhorn. Need some individual instruction? Work at your own pace and learn the basic techniques of Western-style hand papermaking, including pulp preparation, sheet forming, couching, pressing, drying, as well as an overview of decorative techniques. Perfect for beginners.
Pronto Papermaking, May 2, with Penni Harden. Want to learn how to make paper, but don't have a lot of extra time? Come dip your toes in the pulp (not literally), and quickly learn how to form, press, and dry sheets of handmade paper. Level: Beginner.
Spinning Paper Thread, May 26, with Saaraliisa Ylitalo. Prepare papers to make shifu, Japanese paper thread, using rough surfaces and bricks, hand-held drop spindles, and spinning wheels. Paper thread can be used in knitting, weaving, crochet, and bookbinding. Level: Beginner.
Robert C. Williams Paper Museum. Atlanta, GA, (404) 894-5726, http://paper.gatech.edu.
Abaca and Inclusions Papermaking, April 24, with Jerushia Graham. Abaca, a plant in the banana family, is known for creating strong, thin, translucent sheets of paper. Explore creative ways of couching items between translucent sheets of handmade abaca paper.
Natural Dyes, April 28. Learn about plants, fabrics, paper equipment, process, and kirigami building. Also learn about the sustainable natural dye process of the southeast, and paper bundling techniques.
Make It for Mother’s Day, May 8. With Mother’s Day around the corner, come to the Paper Museum to create a paper masterpiece that will make a perfect gift for the mother, or mother-figures, in your life.
San Diego Book Arts, at the Covell Studio, 8680 Washington Avenue, La Mesa, CA 91942, www.sandiegobookarts.com. An educational and creative resource for the community that advances the book as a vital contemporary art form. For more information about upcoming classes, visit http://www.sandiegobookarts.com/workshop-events.
San Francisco Center for the Book, San Francisco, CA, (415) 565-0545, www.sfcb.org. Book arts classes and events year-round.
Tin Can Papermaking, April 14, with Julia Goodman. Learn the history of handmade paper, with an overview of handmade paper in contemporary art and DIY papermaking.
Paper Marbling Lab, April 28, with Pietro Accardi. Practice techniques learned in SFCB’s Introduction to Marbling workshops.
Introduction to Paste Papers, April 28, with Leigh McLellan. If you liked finger painting as a child, you'll enjoy making beautiful paste papers. Learn about mixing the paste and pigment combination, and about the variety of tools and techniques that can be used to decorate paste papers.
Sitka Center for Art and Ecology, Otis, OR, (541) 994-5485. www.sitkacenter.com. Workshops, residencies, and community events at a facility near Cascade Head and the Salmon River estuary in Oregon.
Suminagashi Paper Marbling, June 9, with Liz Walker. Learn how to create beautiful marbled papers using sumi inks on rice paper. Patterns and special colorful effects are achieved using a bamboo stylus and eyedroppers.
Ecoprinting & Natural Dyeing on Cloth & Paper, June 20–22, with Anne Covell. Experiment with processes of natural dyeing and ecoprinting on cloth and paper while working from locally sourced plants and environmentally sustainable materials.
The Soapbox: Community Print Shop & Zine Library, Philadelphia, PA, info@phillysoapbox.org, www.phillysoapbox.org. Workshops in papermaking, bookmaking, and printmaking in a West Philadelphia studio. For upcoming workshops, visit http://www.phillysoapbox.org/ workshops/.
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.
Crafts & Drafts: Papermaking from Hops, April 20, with Katy Dement. Using grains, fibers, and vines reclaimed from the brewing process, create golden handmade papers, and embellish the papers with hop flowers and wet-on-wet collage.
Reinventing the Wheel: Handmade Paper with Texture and Collage, April 21, with Katy Dement. Learn about traditional papermaking while exploring more modern papermaking techniques with color and texture.
3-D Pulp Painting, May 5, with Albert Pantone. Use yarn, string, sticks, wire, and cloth to build armatures around cup or bowl molds, onto which wet pulps such as abaca, cotton linter, and other heavier natural pulps will be attached and sculpted.
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. For information on upcoming papermaking workshops, please visit https://www.swschool.org/_community-classes/adults/papermaking.
West Dean College, Chichester, West Sussex, U.K., (0)1243 811301, short.course@westdean.org.uk, www.westdean.org.uk.
Making Marbled Papers, May 9–11, with Louise Brockman. Learn how to produce beautiful hand-marbled papers, starting with suminagashi and progressing to traditional European paper marbling techniques. 
An Introduction to Creative Papermaking, July 19–22, with Lucy Baxandall. Explore traditional papermaking techniques to create paper artworks inspired by the landscape. Make pulp using cotton, abaca, and kozo, and cast, laminate, and emboss handmade paper using processes that you can deploy at home.
Women’s Studio Workshop, Rosendale, NY 12472, (845) 658-9133, info@wsworkshop.org,
www.wsworkshop.org. Check for Summer Arts Institute workshops, which include classes in papermaking, printmaking, book arts, photography, and other media, at https://wsworkshop.org/summer-art-institute/.
The Women’s Studio Workshop also rents studio spaces in etching, papermaking, letterpress, silkscreen, book arts, and ceramics. Visit http://www.wsworkshop.org/rent-studios/ for current rates and details.
> EVENTS
Oregon Coast Council for the Arts (OCCA) presents the Newport Paper & Book Arts Festival XXIII at the Newport Visual Arts Center, Newport, Oregon, http://www.coastarts.org/directory/venues/n/newport-visual-arts-center/, April 20–22. Founded in 1993, the NPBAF is an annual celebration of paper arts that includes workshops, an art exhibit, and lectures and exhibits on surface design, papermaking, printmaking, sewing and design, calligraphy, Japanese dyed papers, silk and plant fiber.
The 2018 Bay Area Printers’ Fair & Wayzgoose will take place April 21 at History Park in San Jose, California. This event celebrates letterpress printing, typography, book arts, ephemera, fine paper, printmaking, and allied arts. Print enthusiasts, students, educators, graphic designers, typophiles, artists, and printers new and old will enjoy the demonstrations, tours, and array of vendors and exhibitors. Exhibitors will be offering letterpress-printed cards, art prints, book arts, fine papers, ink, handset type, vintage books, printed ephemera, and reference materials, as well as printing presses, tools, and equipment for printing and related crafts at the Letterpress Printers’ Marketplace. For more information about the fair, visit http://sjprintersguild.com.
PBI 2018, a.k.a. the Paper & Book Intensive, will take place at Ox-Bow in Saugatuk, Michigan from May 13–24. The general application period began on January 1. Space is limited. For more information, visit http://www.paperbookintensive.org/.
The Congress of the International Association of Hand Papermakers and Paper Artists (IAPMA) takes place in Sofia, Bulgaria, May 16–20. The Congress will be hosted by AMATERAS Foundation, founded to champion cultural projects and creative exchange through exhibitions, residencies, symposia, and lectures related to artwork promotion in Bulgaria and abroad. The event will coincide with the Sofia Paper Art Fest and the Sofia Night of the Museums. For more details as they develop, visit www.iapma.info.
The Mills College Book Art Program announces the third annual Summer Institute for Book and Print Technologies from June 4–15. The summer institute is open to members of the national book art community and will include 5-day workshops taught at the master class level by well-known book and print artists Samuel Feinstein, Sarah Bryant, Dorothy Yule, and Jessica Spring. To find out more and submit an application, visit http://millsbookartsummer.org/. Questions about the Mills College Summer Institute for Book and Print Technologies or the application process can be directed to BookArtSummer@mills.edu.
The Friends of Dard Hunter (FDH) 2018 conference, with this year’s theme The Social Life of Paper, Print, and Art, will be held as a joint event with the American Printing History Association (APHA) from October 25–27 at the University of Iowa Center for the Book in Iowa City, Iowa. Visit www.friendsofdardhunter.org for more details as they develop.
Two 2018 sessions of the Red Cliff Paper Retreat will take place September 7–9 and 11–13. Come to Helen Hiebert’s Rocky Mountain studio to cut, fold, layer, collage, weave, glue, make paper, and explore its potential in two and three dimensions. The studio is surrounded by mountains, the river, and aspen trees. Create objects ranging from sculpture and book arts to lanterns and lamps. All levels of art experience are invited. More details can be found at http:// http://helenhiebertstudio.com/2018-red-cliff-paper-retreat/. 

> EXHIBITIONS
In Search of Origins: The Research and Scholarship of Dard Hunter, Oct. 13, 2017 to June 1, 2018 at the Robert C. Williams Museum of Papermaking in Atlanta, Georgia. A look at Dard Hunter’s travels and his research into the techniques and traditions of hand papermaking. Hunter wrote twenty books on papermaking, eight of which are completely handmade. For more information, visit http://paper.gatech.edu/current-exhibitions.

Knowing Paper: Five Contemporary Artists Using Paper as their Expressive Medium, March 2–April 8, at Cathy and Jesse Marion Art Gallery of Fredonia State University of New York. Curated by Timothy Frerichs, this exhibition features the work of Tom Balbo, Aimee Lee, Bridget O’Malley, Radha Pandey, and Peter Sowiski, representing techniques rooted in Western, Middle Eastern, and Eastern papermaking traditions. For information, call (716) 673-4897.

Lines of Inquiry: Learning from Rembrandt’s Etchings, February 6–May 13, at the Allen Memorial Art Museum, Oberlin College, in Oberlin, Ohio. This exhibition brings together 60 prints by the Dutch 17th-century master, with a particular focus on his use of a variety of printing supports. Co-organized with the Johnson Museum of Cornell University, this exhibition introduces Cornell’s Watermark Identification in Rembrandt’s Etchings (WIRE) project, a collaboration among museums, faculty, and students dedicated to digitally facilitating access to Rembrandt watermark scholarship. For more information, go to http://www2.oberlin.edu/amam/LinesofInquiry.html.

Paper/Print: American Hand Papermaking, 1960s to Today, April 5–June 14, at the International Print Center New York (IPCNY), in New York City. This is the first comprehensive survey of the hand-papermaking revolution as an outgrowth of the printmaking renaissance. Curated by Susan Gosin and Mina Takahashi, the exhibition features 90 works by 65 artists, including landmark pieces by Rauschenberg, Hockney, Nevelson, and Stella. Public programs include a master lecture by Ken Tyler, studio visits to Dieu Donné and Pace Paper, and papermaking on-site in the gallery. Publication available. For more information, visit https://www.ipcny.org/.

Joan Hall: Sea of Heartbreak, May 19–July 29, at the Newport Art Museum in Newport, Rhode Island. Hall’s stunning large-scale works of art and installations combine found or cast paper marine debris into handmade paper and explore the effects of plastic on the sea. The Summer 2018 issue of Hand Papermaking will feature an article about Joan Hall and this exhibition.
Paper Trails, the sixth juried exhibition of paper art at the Morgan Conservatory in Cleveland, runs March 30–April 28. Juried by Nikki Woods of the Cleveland Institute of Art and Christina Vassallo of SPACES Gallery, the show was created from submissions of paper works made within the past three years by artists from around the United States.
Color Waves, an exhibition of marbled artwork made by Antonio Vélez Celemin at the dupLA marbling studio, runs May 4–26 at the Morgan Conservatory. For more information visit http://www.morganconservatory.org/gallery.
On Paper is an exhibition by the Arts Council Collection in which paper is subject rather than the overlooked support for drawings. Included in the exhibition are diverse three-dimensional objects made from paper; art made from burnt, torn, and cut paper; paper-based collages; paper works that have been rubbed, folded, and embossed; and works made of a particular type of paper such as graph paper, old envelopes, survey maps, blotting paper, theater tickets, books, and corrugated cardboard. On Paper will tour the United Kingdom throughout 2018. For more information, including links to artists included in the exhibition, visit http://www.artscouncilcollection.org.uk/exhibition/paper.
> CALLS FOR ENTRIES
Open Call for Solo or Two-Artist Exhibition Proposals for the Geoffrey A. Wolpert Gallery at the Arrowmont School of Arts and Craft in Gatlinburg, Tennessee. The Wolpert Gallery is a 202-square-foot foyer gallery located near the school’s main entrance. Four two-month exhibition slots are currently available in the 2019 exhibition schedule, and preference will be given to artists whose work is contemporary but based in traditional craft practices. Proposals are due April 2. Contact Kelsey Dillow, the Wolpert Gallery Coordinator, at kdillow@arrowmont.org with any questions, or visit www.arrowmont.org/visit/galleries/call-for-entries for more information about this open call.
Treewhispers is an ongoing installation of flat handmade paper rounds with tree stories, poetry,
and art. The project continues to seek contributions. The project was started by Pamela Paulsrud and Marilyn Sward. For more information, visit http://treewhispers.com/here.
> OPPORTUNITIES
The Women's Studio Workshop (WSW) in Rosendale, NY 12472, (845) 658-9133, info@wsworkshop.org,
www.wsworkshop.org has available the following artist residencies.
The Art-in-Education Workspace Residency is for artists with teaching experience, a knowledge of intaglio, silkscreen, or hand papermaking, and an interest in working with public school students. Applications are due April 1. See http://bit.ly/1IXnADD for more information.
The Chili Bowl Workspace Residency supports WSW's annual Chili Bowl Fiesta! Residents divide their time between creating bowls, mugs, and tumblers for the Chili Bowl and working on their own ceramics project of choice. Applications are due April 1. See http://bit.ly/1h05CHE for more information.
The Studio Workspace Residency is open to artists who want 4–6 weeks of concentrated work time in any of our studios: etching, papermaking, letterpress, silkscreen, book arts, photography, or ceramics. Applications are due April 1. See http://bit.ly/1J1Vfxd for more information.
Studio Residency in Malmo, Sweden: Spend four weeks at KKV Grafik Studio or Sculpture Workshop Monumental. Artists can work in printmaking, woodworking, ceramics, enamel, glass, metal casting, metalworking, model making, etc. Applications are due June 30. See http://bit.ly/1TPspY1 for more information.
Beisinghoff Printmaking Residency: Spend four weeks at Atelier Beisinghoff in Diemelstadt-Rhoden, Germany. Artists can work in letterpress, intaglio, etching, and woodcuts. Applications are due June 30. See http://bit.ly/1Fh88P6 for more information.
The Focus on Book Arts (FOBA) conference seeks instructors for its fourteenth biennial conference, which will be held June 26–30, 2019, at Pacific University in Forest Grove, Oregon. Beginning, intermediate, and advanced workshops are welcome. Instructors may submit proposals for hands-on or critical problem-solving workshops of any length from two to five days. For complete conference details and an application form visit focusonbookarts.org. If you have any questions go to the Workshop page and click on workshopchair@focusonbookarts.org to send an email. Proposals are due May 15, 2018.
Applications are being accepted now through June 30 for the 36th Annual Handmade Papermaking Workshop in The Hall of Awa Japanese Handmade Paper in Tokushima, Japan. This five-day papermaking intensive runs August 17–21. The workshop will cover basic traditional methods of Japanese papermaking, including kozo bark preparation, cooking, cleaning, beating, sheet forming, and drying. Open to all levels, but capacity is only 18 students. Visit http://www.awagami.com/workshop01.html to see more details, contact information, and an application form.
> PUBLICATIONS, FILMS, VIDEOS
Bayonet Media recently produced Pressing On: The Letterpress Film. A documentary film about the 500-year-old craft of letterpress, once essential to communication but now in danger of being lost as current practitioners age. Looking at letterpress printers from the self-proclaimed basement hoarders to the famed Hatch Show Print, the film explores the question: Why has letterpress survived? Screenings will continue through 2018. For more information, visit http://www.letterpressfilm.com/.
> MISCELLANEOUS
Seeking interns: Jim Croft, a bookbinder and papermaker who lives in the foothills of the Bitterroot Mountains in rural north Idaho, is seeking interns to help make books from raw materials. Particular focus will be the rebuilding of a water-powered paper stamper. Also ongoing: flax, hemp, and cotton fiber processing, and medieval bookbinding using wooden boards and clasps. Interns have access to an extra wood-heated cabin with a board shear, guillotine, and fiber cutter. More information is available at http://cargocollective.com/oldway/Story-Place. Snail mail (Jim Croft, PO Box 211, Santa, Idaho 83866) is the best and quickest way to inquire about this internship opportunity.
The Radcliffe Red List of Endangered Crafts was recently published online by the Heritage Crafts Association and The Radcliffe Trust. The study assesses the vitality of traditional heritage crafts, including papermaking and related tool making, in the United Kingdom. For the full report, visit http://heritagecrafts.org.uk/redlist.
Combat Paper is raising funds to replace its touring vehicle to allow the continuation of its upcoming workshop schedule. 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.
> CLASSIFIEDS
Classifieds in Hand Papermaking Newsletter cost $2 per word, with a 10-word minimum. Payment is due in advance of publication.
Studio for Sale (in Ohio): Valley Beater, 12-ton press 24x30, large compressor, two sprayers, moulds & deckles—small to 36x48, pulp, boards, felts, sieves, pans, and more. $10,000. 419-699-4710.
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, and xuan. Mention this ad for 10% discount, paperwoman@paperconnection.com.
Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc. (910) 739-9605.

HAND PAPERMAKING
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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: Sue Gosin, Joan Hall.
Patrons: Yousef Ahmad, Tom Balbo, Lisa Cirando, Nancy & Mark Tomasko. Underwriters: Sid Berger & Michèle Cloonan, Michael Durgin, Fifth Floor Foundation, Tatiana Ginsberg, Lois & Gordon James, Ingrid Rose, Michelle Samour, Teri Williams. Sponsors: Tom & Lore Burgers, John Cirando, Gail Deery, Michael Fallon, Jane Farmer, Helen Frederick, Helen Hiebert, Kyoko Ibe, Winsome Jobling, Nancee Killoran, Steve Kostell, Barbara Landes, Julie McLaughlin, Peter Newland & Robyn Johnson, Laura Merrick Roe, Kimberley Schenck, Mary C. Schlosser, Mina Takahashi.
Donors: Mary Ashton, Thomas Bannister, Tim Barrett, Simon Blattner, Kathryn & Howard Clark, Nancy Cohen, Michael Copeland, Elizabeth Curren, Kerri Cushman, Amanda Degener, Susan Mackin Dolan, Sally Wood Johnson, Donald Farnsworth, Maryannan Geary, Lata Gedala, Jamie Kamph, Lou Kaufman, Ellen Mears Kennedy, Joyce Kierejczyk, David Kimball, Dirk Lee, Jennifer Lowen, Winifred Lutz, Katie MacGregor, Mary Lou Manor, Edwin Martin, Catherine Nash, Elaine Akiko Nishizu, Mary O’Shaughnessy, Lauren Pearlman, Brian Queen, Scott R. Skinner, Betty Sweren, Judy Tobie, Claire Van Vliet, Aviva Weiner, Beck Whitehead, Bruce Wilson, Therese Zemlin.
Supporters: James Barton, Jack Becker, Anne Beckett, Carol J. B linn, Elena Osterwalder Bonny, Inge Bruggeman, Bob & Annie Cicale, Michele Combs, Jennifer Davies, Jim & Karla Elling, Sara G ilfert, David Lance Goines, Viviane Colautti Ivanova, Kristin Kavanagh, Aimee Lee, M. P. Marion, Anne Q. McKeown, Nancy Pike, Nancy P obanz, Melissa Potter, Margaret Prentice, Alta L. Price, Dianne L. Reeves, Charles G . Raney, Harry & Sandra Reese, Kathleen Stevenson, Elise Thoron, Shirley Waters, Kathy Wosika.
Friends: John L. Becker, Gerry Brock, Susan Kanowith-Klein, Fran Kornfeld, Patricia O’Neal, Bonnie Reisman, Amy R ichard, Peter Sowiski, Peter Thomas, In-kind: Tom Balbo, Janet De Boer, Peter Ford, John Gerard, Dard Hunter III, Microsof t Corporate Citizenship, Steve Miller, Radha Pandey, Britt Quinlan.
Auction donors: Cathy Baker & The Legacy Press, Tom Balbo & the Morgan Conservatory, Laurence Barker, Gerry Brock, Ingrid Butler, Jocelyn Châteauvert, Amanda Degener, Patricia Degener, Dieu Donné Papermill, Lesley Dill, Susan Mackin Dolan, Michael Durgin, Michael Fallon, Helen Frederick, Peter & P at Torley Gentenaar, Tatiana Ginsberg, Helen Hiebert, Barbara Landes, Aimee Lee, Jill Littlewood, the estate of David Marshall, Ceci Cole McInturff, Julie McLaughlin, Serge Pirard, Ken Polinskie, Margaret Prentice, Alta Price, Nicholas Price, Brian Queen, Amy Richard, Ingrid Rose, Michelle Samour, Flora Shum & Paperhouse Studio, Megan Singleton, Julie Sirek, Claire Van Vliet.
Founnding contributors to the Hand Paper-making 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, om & Lore Burger, Jeffrey Cooper, Susan Mackin Dolan, Drachen Foundation, Michael M. Hagan, Joan Hall, Joyce Kierejczyk, Betty L. Kjelson, Ann Marshall honor-ing David Marshall, Julie Reichert, Laura M errick Roe, Richard H. Schimmelpfeng, Mary C. Schlosser, Mina Takahashi, Aviva Weiner, Beck Whitehead.

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