Hand Papermaking Newsletter
Number 123, July 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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The deadline for the next newsletter (October 2018) is August 15. Please direct all correspondence to the address above. We encourage letters from our subscribers on any relevant topic. We also solicit comments on articles in Hand Papermaking magazine, questions or remarks for newsletter columnists, and news of special events or activities. Classified ads are $2.00 per word with a 10-word minimum. Rates for display ads are available upon request.

Hand Papermaking is a 501(c)(3) non-profit organization. Staff: 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, Daniel Murphy, 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), 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,

In 2017, I had the privilege of exhibiting my work at the Robert C. Williams Museum of Papermaking. The show included my artwork, videos, books, tools, photos, a step-by-step didactic wall on jiseung (twining paper—see photo), and a "touch table" of fiber and hanji. In 1933, Dard Hunter visited Korea, taking rare photos of hanji-making during the Japanese occupation. He brought back a large bal (screen) and bal teul (frame), which was the display centerpiece. To best highlight his research, I created panels of my photos alongside his, an 80-year span of hanji images by Americans in Korea.

In Cathleen A. Baker's biography on Hunter, By His Own Labor, he mentions a Japanese host at Oji Paper Company: "Mr. Yamada speaks quite well having been to Oberlin 3 years and Yale one."1 Though I knew that many Oberlin grads, including me, entered the paper field, I didn't know they dated back to the Class of 1920. Shimeta Yamada landed in Hawaii on a scholarship before arriving in Ohio for college. After he returned to Japan, he was a newspaper editor before working in the paper industry. For the exhibit, I researched Oberlin paper folks and their connections to Hunter, an Ohioan. You may recognize these colleagues who studied at Oberlin from the 1960s to the 2010s: Michael Durgin, Shireen Holman, Sarah Rose Lejeune, Peter Sowiski, Mina Takahashi, and Mary Tasillo.

The Robert C. Williams Museum and its archives, housed in the Renewable Bioproducts Institute, are an incredible resource, and I reveled in a discussion with a biochemist about the particulars of formation aid. This place is ripe for connections between hand papermaking and industrial paper. Be sure to visit the next time you are in Atlanta!

Aimee Lee
Cleveland, Ohio

1. Cathleen A. Baker, By His Own Labor: The Biography of Dard Hunter, (New Castle: Oak Knoll Press, 2000).

Dear Readers,

I would like to share with the Hand Papermaking community my latest art installations featuring “living quilts” of handmade paper with wildflower seeds in the pulp. These public art installations were produced during artist-in-residency projects in Lancaster, California, in 2016 and Newnan, Georgia in 2017. Both projects involved community participation, with local residents attending open studio sessions and workshops where I taught them to make handmade paper quilt blocks that would be assembled into the final quilt design.
For the Lancaster Eco-Quilt I created a pattern featuring California golden poppies on a blue background with white borders. I used abaca pulp and dyed it with a non-toxic fiber-reactive dye to get the golden color, and cotton blue jeans for the blue. I put California poppy seeds in the gold-colored pulp and California bluebell seeds in the blue pulp. I used the natural off-white color of the abaca for the borders and put the seeds of white wildflowers in the white pulp. For the quilt in Georgia, the Living Quilt for Newnan, I designed a house pattern based on a traditional Southern mansion, since Newnan is known for its many beautiful antebellum homes. The quilt design was in red, yellow, blue, and white colors with seeds of wildflowers that grow in the same colors added to the pulp. I worked with local master gardeners to build a bed and make the headboard and footboard of local branches.
The quilts are designed to change over time with rain and weather; the handmade paper will dissolve as mulch, and the seeds sprout and grow into blooming flowers in the pattern created with the paper quilt blocks. Usually this process takes about 2 or 3 months, and the flowers reseed and come back the next year. The headboard and footboard and the bed form remain in place for years until they too dissolve as compost.
I have been making public art installations with paper pulp and seeds since 1995, and these latest “quilts” are an exciting way to use hand papermaking to create living, blooming artworks that change over time working with nature as a partner.

Jane Ingram Allen
Santa Rosa, California

Note: photo by Timothy S. Allen

> ALONG THE PAPER ROAD...

Since 1998 this column has featured paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. Her daughter Donna Koretsky now continues the legacy. Here Donna describes her experiments in making paper from pineapple fiber.

For years we boasted about owning the largest collection of handmade toilet paper, largely due to our paper acquisitions from remote parts of Asia where handmade paper is used for sanitary purposes. They were individual sheets, measuring perhaps five inches by ten inches and crudely made from fibers such as bamboo, rice straw, and mulberry that were minimally processed. After all, this paper was meant to be discarded.
      As a tongue-in-cheek response to our bragging, our good friend Asao Shimura from the Philippines presented us with a roll of handmade toilet paper that he made especially for us from pineapple fiber. Its appearance was that of a Western roll of toilet paper, even rolled onto a cardboard tube, and quite unlike the single sheets we had amassed in rural Asia. This prized roll of smooth and lustrous ivory-colored pineapple-fiber toilet paper has continued to be prominently displayed in our paper museum for the last ten years!
      I am always looking for unusual papermaking fibers to experiment with and share with other papermakers, so when we recently ordered our biannual container of 50 bales of abaca pulp from the Philippines, I was able to secure 100 pounds of pineapple fiber to accompany the tons of abaca.
      The Philippines is one of the top three pineapple-producing countries, after Costa Rica and Brazil, and is particularly known for producing piña, the fiber extracted from the leaves of the pineapple plant. In appearance, the pineapple plant looks similar to the agave plant, but it actually belongs to the family of bromeliads. Botanically known as Ananas comosus, the plant consists of 30–50 approximately three-foot-long green, fleshy leaves that grow out from its short stem. After around 18 months, the plant reaches maturity at the height of three to five feet, and produces an inflorescence from its center. This inflorescence consists of nearly 200 tiny single flowers that join together after many months to form the pineapple fruit. One pineapple plant will produce one pineapple at a time, and three or four pineapples during its lifetime.
      As I mentioned, pineapple fiber is obtained from the leaves of the plant. Pineapple fruit producers consider these leaves to be waste and amazingly much of it is burned or left to rot. However, for hundreds of years, some of these pineapple leaves have been saved and further processed to produce piña. Filipinos have a history of weaving cloth from piña to make traditional clothing that is distinctively lightweight, lustrous, and stiff. I found few references that pinpointed when piña cloth was first made though one source claims that “Piña cloth weaving reached its peak of perfection in the late 18th century and in the first half of the 19th century.”1 This coincides with the time that the Spanish occupied the Philippines, and they appear to have influenced Filipino clothing styles. Historically, pineapple fiber, when extracted from the leaves, seems to have been used primarily to make cloth. Only in the last thirty years or so has it been used as a papermaking fiber, and within the last twenty years it has been further processed to create a new material promoted as pineapple leather.
      To make piña, the leaves are first cut from the stems of the plant. Next comes the process of decorticating, achieved either by hand or machine. This is very similar to the process of extracting fiber from the abaca plant which I described in my column in Hand Papermaking Newsletter, no.109 (January 2015). When done by hand, the outer green layer of each leaf is scraped away with a tool such as a broken plate or coconut shell, revealing the individual strands of fiber. A decorticating machine has a rotating drum containing blades that crush and scrape the leaves as they are fed into the machine. Once the fibers have been extracted they are washed and dried in the sun.
      The 100 pounds of pineapple fiber that I received was neatly bundled and compressed into a three-foot-square bale. The strands average three feet in length, are extremely clean, pale yellow, and have a stiff feel such that when I scrunch the strands into a ball, they make a ‘crinkly’ sound.
      In preparation for papermaking, I first cut one pound of fiber with a scissors into one-inch lengths and soaked them in water. Though I am well aware that fibers should be cooked in alkali to dissolve the lignin, pectins, and hemi-cellulose, my impatience got the best of me, and, omitting that step, I added the full pound of cut uncooked fiber directly into my Reina beater. I lowered the roll as I slowly added the fiber. Within thirty minutes, all the fiber was in the beater and the roll was practically touching the bedplate (measuring 1 on the digital height indicator). At this stage, the fiber was visibly breaking down; it was clumpy and fluffy, and circulating well. After an hour and a half of hard beating, I raised the roll and allowed the pulp to circulate for another thirty minutes.
      I made nearly one hundred beautiful sheets using my new German-made 8.5 x 11-inch wove mould. The sheets are strong with a distinct rattle, yet soft to the touch. They are the color of vanilla bean ice cream with tiny specks throughout the sheet, adding to its character.
      As soon as the blister on my finger heals, I shall cut some more fiber, hopefully remembering to wear gloves, and cook the piña in an alkali before beating. Ideally I will experiment with various alkalis, as well as various beating times. And if anyone wants to come over to my studio in Brooklyn and help cut piña fiber, I will happily provide the Piña Coladas!

1. “History and Origin of Piña” on Philippine Folklife Museum website, http://philippinefolklifemuseum.org/portfolio-items/history-and-origin-of-pina/?portfolioCats=13%2C16%2C18%2C19%2C20%2C21%2C22%2C23

> TEACHING HAND PAPERMAKING

Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. In this column Winnie describes her approach to teaching papermaking using garden plant fibers.

Thinking back to my first experience with papermaking many years ago, I remember well what it was that cemented my relationship with paper for life. During an extraordinary three-week course taught by Bobbie Lippman at Historic RittenhouseTown, we made paper from cooked red hot poker leaves and celery stalks supplemented with cotton and abaca. I became completely hooked. As a gardener, I realized that I already grew the raw material I would need for experimentation at home when our class was over.
      We each built a mould and deckle to keep. I learned that I could process purchased pulp sheets of cotton linters and abaca at home in a blender. We also learned that edible vegetables did not require a caustic cook. So for weeks after those initial sessions my grocery cart looked as though I consumed an amazing quantity and variety of greens! My quest had begun. And to this day, my fascination for making paper from garden harvests lives on. In fact, one of the workshops that I enjoy teaching the most is Garden Harvests for Papermaking. I actually enjoy the labor-intensive preparations involved in providing interesting vats of fiber for my papermaking students. I find it much more satisfying than cooking food for eating. And over the years, my students have been happy to look forward to workshops where they can concentrate on making paper without having to invest their own time in preparing the pulp.
      Recently, ten enthusiastic women filled my Plant Fibers for Papermaking class, held at University of Pennsylvania’s Morris Arboretum. This beautiful campus offers the neighboring community a wide variety of programs exploring the natural world. I have given numerous papermaking workshops here and am always delighted to be included in their continuing education roster. On this particular early spring afternoon only a few hardy enthusiasts wandered the still snow-covered arboretum grounds. But I had a full classroom! Some of the students were gardeners. A couple of them were artists who had made paper before. And there were two or three scout leaders, interested in learning a skill they could share with their young troops. Everyone brought something interesting to our lecture and discussion, making it a lively afternoon.
      Because most people who sign up for my classes have some level of interest in repeating this process at home, my introductory lecture is always fluid in regards to its scope and length. While showing a selection of paper samples, I describe the various locations of cellulose within a plant’s structure. I address fiber length; sheet strength; ease or difficulty of the cooking; and beating stages of various bast, seed hair, leaf, and grass fibers. As labeled paper samples circulate, I ask viewers to examine them with all of their senses, experiencing the look, textural feel, sound, and scent of the various papers. I must carefully keep things moving along at this point, as so much more material remains to be addressed.
      The discussion continues to include what, when, and how to harvest, as well as storage and drying methods to avoid mold. We review cooking considerations: from weighing the dried fiber to determine the appropriate amount of caustic, to cooking pots, heat sources, ventilation, and cooking times. Moving beyond cooking the fibers, the students learn how to rinse and process them for the vats. I explain that, especially for a class, I prefer to stretch my fiber yield with the addition of cotton linter, abaca, or a blend of the two. I usually bring a blender along with me so that I can demonstrate what they might do at home.
      And I always show folks how I began, with simple vegetables, regular cookware, and my pre-tested chart of suggested cooking times. The scout leaders were particularly attentive to this part of the lecture, as it would be most applicable to their needs. Invariably I receive a number of good questions, indicating that I have not frightened anyone away from the labor of this process. While this stage sometimes hijacks our vat time, I encourage the continued inquiry about fiber preparation so that participants are set up for their personal successes later.
      I am always delighted to progress from the lecture to the hands-on portion of the workshop. I attempt to offer vats that feature a seed hair, bast, grass, and leaf fiber, mixed into a base of Hollander-beaten cotton/abaca pulp. I also endeavor to vary the shades and textures of the plant material so that the dried color value of the paper is not all the same. This also makes it more interesting to layer and laminate shaped sheets onto a base sheet. Our class pulled sheets of gingko leaf, banana bast, cattail seed hair, and lariope leaf fibers.
      When I have only three hours with a group of mostly first-time papermakers, I generally ask them to bring Plexiglass upon which to couch their paper. While this method has drawbacks, it does effectively shorten and simplify the drying process for new students. And I always have Pellon, couching blankets, and a small press along with me, which come into service for the prolific papermakers who run out of Plexiglass surface.
      The remainder of my “how to do this at home” lecture unfolds with the fun, wet part of the class. Once everyone has a sample plain sheet from all the four vats, we begin layering and incorporating their personal inclusions. One of our students brought a treasure trove of dried, pressed flowers and leaves to share with the group. Another person had a collection of old maps to tear and collage into their paper.
      The wet, hands-on portion of our class really flew by as we powered through my bags of stock pulp. And everyone was great at assisting with straining vats, during which I answered some follow-up questions from the group. I am certain that at least our scout leaders carried the project to their troops, as I had several email exchanges with them in the following weeks. Perhaps those less enthusiastic about the preparation load will look for my workshop the next time around. I have found that often to be the case, and I am always happy to oblige.

> PAPER HISTORY

Maureen and Simon Barcham Green, from the United Kingdom, write a joint column on paper history. Maureen is a paper historian, and author of Papermaking at Hayle Mill 1808–1987. Simon was the last of the Green family to run Hayle Mill. He provides consulting services to papermakers worldwide. In this column, the first of two, Maureen presents excerpts of early letters between the Greens and Henry Morris that would be of interest for those readers who have also been attacked by the “Hand-made Paper Fever.”

By accident, the other day, we stumbled across a bound volume of correspondence between “Henry Morris, Papermaker & Printer” and “J. Barcham Green, Papermaker,” dated 1957–1966. The first letter in the volume begins “I am writing you in the hope that you will be kind enough to take a few moments from your busy day to help a poor soul who has been attacked by the Hand-made Paper Fever.” This letter was the start of a long, rewarding, friendly, and informative correspondence between John Barcham Green II (Jack), his son John Barcham Green III (Rémy), and Henry Morris of The Bird & Bull Press.
      In a letter dated 26 May 1957, Henry Morris asked why the coucher always appears standing behind a sort of fence and “… in getting the sheets off the mould consistently does this particular stance have a bearing on this?” Following is part of Jack Green’s reply:
Dear Mr Morris,
Thank you for your letter of May 26th which is most interesting and I think I can answer one or two of the questions.
1) The coucher stands behind his stool because when he bends over it is nice to have some support and also if he did not, then his legs would be splashed with pulp and water.
2) You will have difficulty in getting the sheet off the mould on to the felt unless the felt has been wet and pressed a number of times. The felt has got to be just the right dampness to take the couching properly. Nobody can tell you, you just have to try it out. I am enclosing a small piece of hand felt to show what we use. It is not really felt, it is woven woollen material. The thinner the paper, the thinner the felt should be because you cannot couch very thin paper on a thick, fluffy felt and it is almost impossible to couch paper on a new felt until the new felt has been washed and pressed quite a few times.
3) If you can tell us how to loft dry Hand Made paper without cockling then we would be very pleased to give you something really worthwhile. We have been at it for 150 years and have not found out yet.
4) If you dry it flat against a hot cylinder it does not cockle but it ruins the surface. Wavy edges and curly paper has always been something which is difficult to overcome.
5) With regard to getting the sheet off the mould, the coucher presses down on the mould with the weight of his body and if you put your felt on a solid block about 18” from the ground you couch it much better than if you try to couch on a table which was say 40” off the ground.

If you have any more queries please do not hesitate to let me know.

Very truly yours,

J. Barcham Green

A further letter continues to address problems involved with couching as well as other difficulties.

I am still alive and kicking even after all your queries and I find it most interesting.1 I only wish I was there with you in your room and then I might be able to give you some really useful hints because you are learning the hard way. It is hard enough anyway.
The reason you are slipping the mould at one edge is because you do not couch properly and I can hardly tell you how to couch a sheet without writing a half a book about it. Anyway the mould goes down very softly in a vertical position until it is touching the felt and then you very slowly press it over so that you have one hand each side of the mould and when you have got it almost flat you tip it so that the other side comes up and do not forget that plank on which you are couching must not be flat because if you do you cannot couch properly. It should be on an arch, the exact size of which I cannot tell you….
    As for making a mould with an aluminium frame or deckle, we have tried it and it is no good at all!
    It has got to be wood as there must be a spring in it. If you have only got one mould you will have some fun trying to tie it up and prevent it warping. …The warping occurs as it dries…
Size of sheet Even professional Hand Made Paper varies slightly in the length because when you press it in the post the top sheets are held tight against the table, that is the solid blocks at the top and bottom of the press whereas the centre of the post can squeeze out slightly, the felt being elastic.
In your case if you get half an inch variation in the sheet about 17” long, it is because they are not dried properly. Heaven knows how you dry your paper but I should think some dried quicker than others hence the variation.
Perhaps you would like to explain exactly how you dry it?
Many thanks for the pictures. They are quite interesting and give me some idea of your apparatus.
Beating Linters is a problem even for a beaterman who has been at it 50 years so if you can beat linters and make a sheet I do not think you are doing too badly. Linters do not get wet in the same way as ordinary pulp unless you have it terrifically thick in your beater. In other words you keep on adding dry linters to your beater until it hardly moves round and then you can put your roll down a little bit.
The stuff made from Linters is extremely difficult to make because, as you say, the water drains off very quickly. Every kind of pulp and even various kinds of wood pulp all require different treatment in beating and also different treatment by the vatman.

Tub-sizing You have done a good job of work. It looks to me just about right.

Glazing This is a specialists’ job and has to be done between thick plates under very heavy pressure and a slight slip occurs between each plate and each sheet and gives it a nice shiny surface.

…
“Cornmill” is Hot Pressed.2 Hot Pressing was originally done in the press in the Salle by putting heated plates in every few quires of paper and then pressing by hand and getting maximum pressure. It made a fairly decent smooth surface, the best they could get, before they invented glaze rolls, but now Hot Pressed paper simply means that it has been glazed between thick zinc plates.

Many thanks for your sample sheets which I am keeping and they are most interesting.

…
Very truly yours

J. Barcham Green Limited

1. Jack Green (John Barcham Green II) was born in 1885 and died in 1982. At the time of the letters he would have been 72.
2. Cornmill was a thin, hard-sized paper intended for use as an executive letterhead paper and was sold torn to measure 10 x 8 inches.

> DECORATED PAPER

Sidney Berger is Director Emeritus of the Phillips Library of the Peabody Essex Museum, and a professor on the faculty of the library schools at Simmons College and the University of Illinois at Urbana-Champaign. He and his wife Michèle Cloonan put together the Berger–Cloonan Collection of Decorated Paper (about 22,000 pieces), now in the Cushing Library at Texas A&M University. In this column, “Special Watermarks,” Sid introduces us to a new process that creates innovative watermarks.

Even plain paper is beautiful in many ways. And it can be made even more beautiful with a host of applications. Marbling, block printing, paste decoration, gold stamping (as with dutch gilt papers), embossing and debossing, and many relief, intaglio, and planographic methods can be used to decorate papers. In the past I have written about watermarks, and Hand Papermaking has published several articles on the subject. These wonderful phenomena are yet another way of decorating paper—especially those that were made specifically for decoration, like the shadowmarks of Fabriano and other makers.  
But shadowmarks have uses beyond decoration, one of which is for security. Henry Morris published a piece on the earliest use of shadowmarks in his book A Pair on Paper,1 in which he shows that French assignats (banknotes) used this light-and-shade method of marking papers to prevent forgery at least as early as 1796, many years before Dard Hunter claims the technique was invented (Hunter says it was in 1812).2 And Peter Bower wrote a fine article on assignats with shadowmarks for The Quarterly, the publication of the British Association of Paper Historians.3 The key issue here is that the paper used for these French banknotes had the earliest known shadowmarks, introduced for security, and yet the forged notes had shadowmarks in them, so eventually those security papers were forged.
For this reason, over the centuries papermakers have had to become increasingly sophisticated in their products. And today the search goes on to create papers that are almost impossible to fabricate. I recently learned of a new kind of process that creates beautiful and complex watermarks that the company claims are practically impossible to copy. The Chicago WaterMark Company sent me a packet of papers that are indeed truly remarkable. Their new technology has created a sheet that has a real watermark in it,4 but the paper looks from one angle as if it is a plain piece of paper (see image 1). From another straight-on angle it appears as if the sheet is printed (see image 2). And from a third angle, with back lighting, the sheet shows a distinct watermark (see image 3). Further, if someone tries to photocopy the seemingly blank sheet, the copy comes out with lines of the word “VOID” alternating with lines of the company’s logo “CWMCO / CWMCO” visible in the photocopy all over the sheet (see image 4).
The client can customize this security feature with lines of any text or even decorative images that will show up in copied or scanned sheets. Also, in the lower left-hand corner of the sheet (as visible from images 2, 3, and 4) there is a small circle with a nearly invisible 5-pointed star. A photocopy or scan of the sheet makes this star disappear. The sample sheet sent by the company says, “The STAR SYMBOL Disappears when attempts are made to eliminate the hidden message by using the ‘lighter/darker’ buttons on a copier!” And this feature can be placed wherever the client wishes it to be.
Another feature of the paper is that though it looks like a plain unmarked sheet, the surface is actually covered with thousands of randomly placed “treads” of infinitely small lines and dots. They call this “Random Treads,” and they say that these proprietary markings are made up of “[v]ery fine WHITE dashes of varying length [that] are RANDOMLY incorporated throughout the sheet and can be seen quickly and effortlessly. The lines are impossible to duplicate by computer or printing press.” (Image 5 shows a close-up, magnified about 10 times, of the surface of the sheet.)
      And finally, “Attempts to make changes to the typing or writing on the original will result in a stain, creating an instant alert to forgery.”
Above I said “practically impossible to copy,” but the company itself warns potential clients that “Copier and scanner technology changes on a daily basis, and we go to great lengths to adjust our paper qualities to accommodate those changes. However, NO paper is 100% safe against ALL copiers and scanners. (Think MONEY) We make no representation that our papers will defeat every copier and scanner in existence.” On the other hand, what they have produced is an amazing sheet using sophisticated technology that cries out to be used for purposes other than security.  
My columns are on Decorated Paper, and for the most part that is what I have written about. But in this case, I would like to change the focus a bit to “Potentially Decorated Paper,” for the technology that the Chicago WaterMark Company has created can be used to decorate paper in a number of non-traditional ways. Clients can create hidden or disappearing decorations. They can create tiny dots and lines on the page that are decorative as well, and that show up under magnification, or watermarks that are invisible from one angle, that look printed from another angle, and become a real watermark from a third angle. Additionally, they can have a sheet that has no visible decoration but that shows up only if the sheet is photocopied. And, finally, there can be a decorative element that disappears altogether (like the little star) if the sheet is copied. It is a whole new dimension in paper decoration.  
In our collection, Michèle and I have a print of flowers, done in black and white. It is in a frame with glass on front and back. When the print is back-lighted, the black-and-white flowers appear in full color. Another little miracle of paper decoration. As I have said a number of times, after nearly a half century of collecting, I think I have “seen it all.” And then something comes along and I am astonished at the ingenuity and artistry of amazing people, producing amazing papers. This column has looked at two “new” kinds of decoration. Who knows what is just around the corner?!

1. Henry Morris, A Pair on Paper. Two Essays on Paper History and Related Matters (North Hills, PA: Bird & Bull Press, 1976).
2. Dard Hunter, Papermaking: The History and Technique of an Ancient Craft (New York: Knopf, 1943; rpt. New York: Dover, 1970), 296.
3. Peter Bower, “Sir John Swinburne’s 1793 Memorandum on the English Forgery of French Assignats at Haughton Castle Paper Mill, Northumberland, in the 1790’s,” The Quarterly, 109 (April 2018): 1–19.
4. The Chicago WaterMark Company says on its website (http://www.chicagowatermark.com) that it uses “a chemical process that changes the structure of the paper […by impregnating…] the paper with a translucent image that is nearly identical to a watermark created when the paper mill manufactures the paper.”

> STUDYING HAND PAPERMAKING

Amy Richard is an artist, writer, and proprietor of an art studio/papermill in Gainesville, Florida, where she produces original artwork and teaches hand papermaking. 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. This column is an introduction to the Penland School of Crafts in North Carolina.

It is difficult to explain that magical moment of arrival at the Penland School of Crafts in the misty mountains of western North Carolina. No matter how many times I’ve been there, I still get teary-eyed as I drive around that last bend and see the landmark mountain meadow with the old Craft House coming into view—marking the beginning of a week or more of total immersion in making, and most likely a bit of sleep deprivation as well.
Penland is one of a handful of craft schools in the United States offering students and professionals alike access to uninterrupted time to concentrate on learning a new skill or perfecting an old one. As described in a recent catalog, the “isolated environment, historic campus, shared eating and living spaces, and well-equipped studios create a special community atmosphere that inspires creativity and enhances learning.”
      There are no grades or degrees, although credit can be given for those enrolled in outside academic or professional-development programs. Instead, one experiences an eclectic mix of kindred spirits from the US and abroad, coming together for a brief time of creative investigation using all sorts of materials and processes including books and paper, print and letterpress, drawing and painting, metals, wood, clay, textiles, and glass.
For anyone interested in learning more about the art and craft of handmade paper, I can’t say enough about the value of making time to attend learning centers like this. Seasoned artists benefit from new perspectives and processes to explore. For beginners or those, like myself, who struggled for many years to keep that flickering creative spirit alive in the midst of countless other demands, it’s a godsend.  
Last summer, while assisting Leslie Smith with her letterpress class at Penland, I met numerous women who were there for the first time, and empathized with their initial emotional response to the campus and studios—recognizing that feeling of elation accompanied by guilt for having the audacity to take the time for themselves, along with a frantic desire to get every last drop of learning and making during their time away from a day job and/or raising a family.
      Which is why, this summer, I will be celebrating (albeit from afar) the greatly anticipated grand opening of Penland’s new papermaking studio. Part of the new Northlight Complex,1 it will occupy the ground level, with a new photography studio/classroom upstairs. The larger structure adjacent to the studios will be the new Gorelick Social Hall, used for orientation meetings, evening slides, auctions, show-and-tell, and other events.
      As programs director Leslie Noell explains, there is much to celebrate. “Our new papermaking facility will allow year-round programming—something we've never had before. The indoor wet and dry workspaces and the heated outdoor, screened space will double our capacity for workshops and allow us to offer papermaking facilities during our annual Winter Residency.
      “The studio will support a range of papermaking, from traditional sheet forming to large-scale sculpture and installation, and expand our ability to support education and research in all aspects of traditional and innovative papermaking. Improvements will be most exciting to our (return) papermakers: a sound-minimizing beater room, humidity controlled drying room (to beat the NC weather), delineated wet and dry work areas, floor drainage in indoor and outdoor wet studios.”
      Scheduled for completion by early July, the new paper studio will be christened with some of the top instructors in the field, beginning with Ann Marie Kennedy, Akemi Martin, Paul Wong, and Amy Jacobs.2
      Workshops are offered in one-, two-, and two-and-a-half-week sessions in the summer with opportunities for longer eight-week immersion sessions in the fall and spring, along with numerous residency opportunities. Scholarships and work-study programs make it possible for individuals with limited financial means to attend.
This summer, if you are contemplating taking a papermaking workshop, or any other creative workshop, my advice is that you give yourself permission and have a blast!

1.  Designed by Louis Cherry Architecture.
2. Ann Marie Kennedy is a visual artist and papermaker in Raleigh, NC; Akemi Martin is a Master Papermaker at Pace Paper in New York; Paul Wong is Artistic Director Emeritus from Dieu Donné in New York; and Amy Jacobs is Studio Collaborator and Education Manager at Dieu Donné.

> columns for beginners can be seen at
handpapermaking.org/?page_id=30

Listings for specific workshops and other events in the following categories are offered free of charge on a space-available basis. The deadline for the October 2018 newsletter is August 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. For information about upcoming summer classes and workshops, visit https://abingtonartcenter.org/school/.
Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont.org. Classes and workshops in a variety of disciplines, including papermaking.
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 is necessary.
Book Arts Los Angeles, Los Angeles, CA, (310) 722-9004, www.bookartsla.org.
Sculptural Papermaking, July 14, with Anne Covell. Explore processes for creating sculptural forms in wet pulp.
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:
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. Visit www.carriagehousepaper.com for information on upcoming workshops.
18? x 27? Papermaking, June 30. Make 18” x 24” laid or wove paper on a professional Timothy Moore mould. This is an advanced class.
Stationery, July 7. Work with methods of pulp painting, laminating, and watermarking to design unique one-of-a-kind sheets of paper.
Papermaking-in-Depth—5 Day Intensive, July 16-20. Explore a different aspect of papermaking each day, using both 2-D and 3-D techniques.
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. For information about upcoming summer classes, visit http://www.dieudonne.org/adult-classes/.
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 to 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. Regular papermaking workshops in the heart of the Rocky Mountains, online, and around the world. For 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/.
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 suminagashi 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.
Paper: Introduction to Papermaking, June 30. Learn about the materials, fibers, and tools you need to successfully make paper.
Surface Design: Suminagashi Paper Marbling, August 20. Learn the Japanese marbling technique known as “floating ink.”
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. For information about upcoming workshops, visit http://www.schooloftextiles.com/.
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.
Intermediate Papermaking: Exploring the Handmade Paper-to-Print Link, July 11, 18, 25, & August 1, with Bridget O’Malley. Investigate the paper-to-print link through the use of such techniques as watermarking, stencil blow-outs, embossing, screen printing with paper pulp, low-relief casting onto linoleum blocks, and more.
Introduction to Marbling, July 21, with Heather RJ Fletcher. Learn the basic process of marbling with acrylics, including recipes for the various components of the process.
Paper Marbling Intensive, August 13–17, with Sue Bjerke, Heather RJ Fletcher, & Sally Power. Learn paper marbling using acrylic paints. For both beginning and more experienced marblers.
Special Topics in Papermaking: Eco-Printing, August 19, with Bridget O’Malley. Explore the many possibilities of color and textures found in the bounty of plants that the end of summer provides.
Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, http://morganconservatory.org. Regular workshops in papermaking, printing, book arts, and mixed techniques, as well as the Open Studio program, which 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.
Sculpture from Nature: Materials and Methods, June 30–July 1, with Amy Richard. Learn armature-making techniques for use in paper sculpture, including cloth construction, wire mesh, and mixed media. 
Hold onto Your Deckle, July 7–8, with Kerri Cushman. Discover how to produce handmade paper with low-tech methods yielding high-end results.
Natural Dyeing for Book Arts, July 14–15, with Radha Pandey. Explore different techniques used for dyeing pulp prior to papermaking, dyeing samples of cloth, as well as making extractions to brush-dye paper.
Sculpting with Pulp, String, and Natural Pigment, August 10–12, with Hannah Bennett. Approach pulp as a sculpting material and explore natural pigments such as charcoal, iron filings, tannin dyes, and earth pigments. 
Relief from Relief: Papercasting, August 18-19, with Tom Balbo. Learn the art of papercasting from the Morgan’s Artistic Director and Founder, Tom Balbo.
Pulp Ecology, September 15–16, with Anne Covell. Learn the fundamentals of papermaking through an exploration of cotton, flax, hemp, and abaca fibers. Also learn techniques for immersion and vat dyeing wet pulps with dyes such as indigo, logwood, and cochineal, among others.
Papermakers of Victoria, Box Hill Community Arts Centre, Whitehorse, Victoria, Australia, phone 9885 2479. Workshop and exhibition information can be found at www.papermakers.org.au.
Plant Fibre Papermaking, July 15, with Gail Stiffe. Learn techniques for harvesting, cooking, beating, and sheet forming from plants such as cumbungi, NZ flax, red hot poker, and various grasses and barks.
Papermaking for a Purpose, August 19, with Barb Adams. Learn the skill of hand papermaking with recycled pulp of different colors.
Beginners Papermaking, September 9, with Barb Adams. Make a variety of pulps that can be made into sample sheets.
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, August 9, with Christy Ball. Dip your toes in the pulp (not literally), and quickly learn how to form, press, and dry sheets of handmade paper. Level: Beginner.
Sculptural Papermaking, July 10, 17, 24, & 31, with Gretchen Schermerhorn. After an overview of basic papermaking techniques, learn how to make forms from wire, reed, mesh, and nylon, which act as a support for high shrinkage abaca and flax pulp.
Robert C. Williams Paper Museum. Atlanta, GA, (404) 894-5726, http://paper.gatech.edu. For upcoming workshops, visit http://paper.gatech.edu/upcoming-workshops.
San Diego Book Arts, 8680 Washington Avenue, La Mesa, CA 91942, www.sandiegobookarts.com.
The Fine Art of Cutting and Sculpting Paper, July 7–8, with Bhavna Mehta. Explore cutting, folding, and manipulating paper. Begin with simple exercises which, when put together, will start to expand the medium of paper into objects and wearables.
San Francisco Center for the Book, San Francisco, CA, (415) 565-0545, www.sfcb.org. Book arts classes and events year-round.
Paper Marbling Lab, July 22, with Pietro Accardi. Practice techniques learned in SFCB’s Introduction to Marbling workshops.
Introduction to Western Paper Marbling, August 18, with Pietro Accardi. Gain a basic understanding of the history, techniques, tools, and styles of European marbling.
Sitka Center for Art and Ecology, Otis, OR, (541) 994-5485. www.sitkacenter.org, offers workshops, residencies, and community events at its facility near Cascade Head and the Salmon River estuary in Oregon.
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 West Philadelphia studio. For upcoming workshops, visit http://www.phillysoapbox.org/workshops-in-full-swing/.
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.
Bound: Handmade Paper Book, July 21, with Katy Dement. Learn about traditional papermaking while exploring modern papermaking techniques that incorporate color and texture. Use pressed and dry handmade paper sheets to create a variety of bound book structures
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, visit https://www.swschool.org/_community-classes/adults/papermaking.
West Dean College, Chichester, West Sussex, UK, (0)1243 811301, short.course@westdean.org.uk, www.westdean.org.uk.
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. 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.
Paper Memory, July 2–6, with Sarah Rose Lejeune. Easily marked and dented, paper remembers touch and form. Consider the relationship between nostalgia and contemporary craft to leave your imprint with low relief casting, embossing, and embedding. 
Parallel Universes: Handmade Paper and Photography, July 9–13, with Tatana Kellner. Expand—or begin—your photography practice in this dual studio workshop. Learn how to prepare handmade paper for the darkroom, then master unique, photographic prints.
Layering Paper: Blow-outs, Pulp-Painting, Embedding, and Watermarked Images, July 23–27, with Tatiana Ginsberg. Create imagery by pulling and building sheets of handmade paper. This workshop is perfect for printmakers; artists who draw, paint, or collage; and avid experimenters. 
Sculptural Paper: From Pulp to Form—Session II, August 6–10, with Fafnir Adamites. Give paper volume across armatures and casting with pulp, “refined” papier-mâché technique, and found objects. This workshop is perfect for artists looking to express themselves in three dimensions. 
We’ve Got the Blues: Indigo Dyeing for Paper & Cloth, August 20–24, with Mary Hark. Find the middle ground of experimentation, tradition, and production making—wrapped up in the magic of indigo dye. New and experienced dyers are invited to bring their work to the deckle and dye vat.

> EVENTS
Reading Nature: A Precursor to Sculpture, June 29, at the Morgan Conservatory. A free artist’s talk by Amy Richard. Amy Richard is an artist, writer, and proprietor of an art studio/papermill in Gainesville, Florida, where she produces original artwork and teaches workshops. Heavily influenced by the cycles of nature, her work is further animated by the centuries-old idea that nature is an enormous volume or “book” to be read and learned from. In this talk, she will discuss how to incorporate the unique qualities of various fibers in order to achieve desired forms.
Farm to Table Feast, July 21, at the Morgan Conservatory. The Morgan Conservatory’s kozo garden is the largest mulberry tree garden in the United States and is where the conservatory’s handmade Eastern paper comes to life. On July 21, local chefs will bring food while guests experience papermaking and marbling while examining a preview of the striking artwork made by the organizations 2018 Artists-in-Residence. Proceeds from Farm to Table support the maintenance and expansion of the garden.
Peace Paper Pop-Up, July 28, Minnesota Center for Book Arts. Project Peace Paper is a public project celebrating peace with innovative crowd-sourced wrapping paper. Peace Paper features a unique collage of peace imagery that has been displayed in public spaces all over Minneapolis—including bus stops, vacant storefronts, and school hallways. Join us as we draw and paint visions for peace and explore the artful possibilities of using Peace Paper to create a collaborative sculpture, including at a pop-up event on Saturday, July 28. These events are free and open to all ages. For more information, visit http://www.projectpeacepaper.com/.
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/. 
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), 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.

> EXHIBITIONS
Global Paper 4—International Paper Art Triennal in Deggendorf, May 13–Oct. 7, at the Handwerksmuseum und Stadtmuseum in Deggendorf, Germany. An exhibition of the work of 94 international paper artists from 22 countries. Visit www.stadtmuseum-deggendorf.de for more information.
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 with marine debris into handmade paper and explore the effects of plastic on the sea.
Golden Legacy: 75 Years of Original Art from Golden Books, June 28 to Sept. 7 at the Robert C. Williams Museum of Papermaking in Atlanta, Georgia. Children have loved Little Golden Books for over 75 years. Launched in 1942, Little Golden Books made high-quality illustrated books available at affordable prices for the first time to millions of young children and their parents. Sixty-five masterpieces of original illustrations from the Little Golden Books series—chosen from the vast Random House archive—are featured in the exhibition, including art from such picture-book classics as The Poky Little Puppy, Tootle, Home for a Bunny, The Kitten who Thought He was a Mouse, The Color Kittens, I Can Fly, and more. Artists exhibited in the show include: Tibor Gergely, Elizabeth Orton Jones, Eloise Wilkin, Aurelius Battaglia, Sheilah Beckett, Garth Williams, Richard Scarry, Gertrude Elliot, Alice and Martin Provensen, Corinne Malvern, Leonard Weisgard, Jan Pfloog, Feodor Rojankovsky, A.Birnbaum, Mary Blair, Trina Schart Hyman, J.P.Miller, Gustaf Tenggren, Bob Staake, Dan Yaccarino, Hilary Knight, David Diaz, Nicola Slater, Brigette Barrager, and Annie Won.
Unknown Terrain, featuring paper works by Tom Balbo, Susan Danko, Danielle Wyckoff, Taryn McMahon, Megan Singleton, Kristina Paabus. July 6–Aug. 11, and the 2017 Artists-in-Residence Exhibition, featuring works by Elaine Battles, Joey Behrens, Nicole Donnelly. Hong Hong, Cara Lynch, and Anna Wagner, Aug. 17–Sept. 15, at the Morgan Conservatory in Cleveland. For more information see 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.

Pushing Paper: Realizing the Potential of Paper, August 11–Sept. 22, at the Barrett Art Center in Poughkeepsie, New York. Juried by Paul Wong, Pushing Paper will exhibit work that explores and manipulates the materiality of paper. For more information, visit http://www.barrettartcenter.org/pushing-paper-call.
> CALLS FOR ENTRIES
K Space Contemporary in Corpus Christi, Texas announces a call to artists for a juried art exhibition, Third Coast National, to take place Sept. 7–Oct. 5. Includes $2,500 in cash awards. All visual art forms and media are acceptable. Artists must be available to install complicated works and must exhibit original works if accepted; no reproductions. Deadline: July 10. For more information, visit https://kspacecontemporary.org/third-coast-national-biennial.
The Blue Ridge Mountains Arts Association announces a call to artists for a juried art exhibition which will run Oct. 6–Nov. 10 at The Art Center in Blue Ridge, Georgia. Open to all artists of various 2-D and 3-D mediums. Cash Prizes totaling $5,000. Juried by Z.L. Feng. All works must be original and completed within the last two years. See https://onlinejuriedshows.com/Default.aspx?OJSID=20936 for more information.
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
Part-time newsletter editor position—Hand Papermaking is seeking a part-time editor for its quarterly newsletter. If interested, send a résumé and query letter to newsletter@handpapermaking.org.
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.
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 Movable Book Society Meggendorfer Prize for Artist Books honors the best pop-up and/or movable artist book created in the past three years. Artists must be at least 21 years of age. Books will be judged and awards given at the 2018 Movable Book Society conference in Kansas City, Missouri. Deadline is June 30. An entry form is available here: http://www.movablebooksociety.org/awards.
The Pollination Project seeks to unleash the goodness in every person by offering seed grants to social-change agents who seek to spread compassion in their communities and in the world for the benefit of all. Pollination Project Seed Grants are open to individuals and community groups in all disciplines. Applications accepted on a rolling basis. For more information visit https://thepollinationproject.org/funding-guidelines-for-grants/.
> PUBLICATIONS, FILMS, VIDEOS
UK-based paper artist Lisa Lloyd has been gaining attention lately for her intricate papercraft designs and illustrations. Recently featured on boingboing.net, Lisa’s work is inspired by the patterns, symmetry, color, geometry and texture of nature, and is given a modern twist using high-end paper and graphic design principles. To see her work, visit her Instagram site at https://www.instagram.com/lisa_lloydpaper/ or go to her website at http://www.lisalloyd.net/papercraft/.

> 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 here 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.
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
loves to hear from readers:
newseditor@handpapermaking.org

> 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.

> 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. Call or write for information
on annual giving levels, automatic monthly gifts, or
about adding Hand Papermaking to your estate plans.
Benefactors: Yousef Ahmad, Thomas Bannister,
Lisa Cirando; Patrons: Tom Balbo, Sid Berger &
Michèle Cloonan, Joan Hall, Susan Gosin, Gordon
& Roswitha Smale, Nancy & Mark Tomasko
Underwriters: Jeffrey Cooper, Susan Mackin Dolan,
Fifth Floor Foundation, Joan Hall, Kyoko Ibe, Lois &
Gordon James,Russell Maret, Ingrid Rose, Margaret
Ahrens Sahlstrand, Michele Samour, Mina Takahashi,
Beck Whitehead, Teri Williams, Pamela S. Wood
Sponsors: Simon Blattner, Tom & Lore Burger, John
Cirando, Kathryn & Howard Clark, Jeffrey Cooper,
Kathy Crump, Amanda Degener, Gail Deery, Michael
Durgin, Jane Farmer, Kathryn Flannery, Helen
Frederick, Winsome Jobling, Barbara Landes, Anne
Q. McKeown, Julie McLaughlin, Laura Merrick
Roe, Margaret Ahrens Sahlstrand, Kimberley
Schenck, Mary C. Schlosser, Tony Trausch,
Claire Van Vliet, Gibby Waitzkin, Aviva Weiner,
Beck Whitehead; Donors: Marjorie Alexander,
John Babcock, May Babcock, Kevin Baker, Ines
Ballugera, 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, Marian Dirda, Linda Draper, Karla & Jim
Elling, Kathy Fitzgerald, Tatiana Ginsberg, David
Lance Goines, Lori B. Goodman, Hiromi Paper,
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, 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, Richard Schimmelpfeng, Vicky
& Pablo Sigwald, Gordon Sisler, Scott R. Skinner,
Liz St. Rain & Michael Hotlick, Susan Straight,
Jean Stufflebeem, Betty Sweren, Therese Swift-
Hahn, Elise Thoron, Bruce Wilson, Paul Wong,
Kathy Wosika, Mehran Yazdanian, Therese Zemlin
Supporters: Marlene Adler, Mary Ashton, Anne
Beckett, Inge Bruggeman, Zina Castañuela, Michele
Combs, Sara Gilfert, Mabel Grummer, Robert Hauser,
Yukari Hayashida, Mildred Monat Isaacs, Susan
Kanowith-Klein, 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, Amy Richard, Sally Rose,
Bonnie Stahlecker, Taiko Suzuki, Margery Takiguchi,
Peter Thomas, Virginia Yazbeck
In-kind: Adobe Systems Inc., Tom Balbo, Janet De
Boer, 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 Kjelson, Ann Marshall, Julie Reichert, Laura
Merrick Roe, Richard Schimmelpfeng, Mary Schlosser,
Mina Takahashi, Aviva Weiner, Beck Whitehead
Auction donors: Annie Alexander, Arrowmont, May
Babcock, Tom Balbo & the Morgan Conservatory,
Lindsey Beal, Gerry Brock, Ingrid Butler,
Wendy Cain, Cave Paper, Amanda Degener, Dieu
Donné, Susan Mackin Dolan, Nicole Donnelly,
Michael Durgin, Jane Farmer, Dorothy Field,
Helen Frederick, Sara Gilfert & Paper Circle, Lori
Goodman, Simon Barcham Green, Joan Hall,
Robert Hauser, Kalamazoo Book Arts Center, David
Kimball, Donna Koretsky & Carriage House Paper,
Aimee Lee, Roberto Mannino, Pat Owens, Steve
Pittelkow, Margaret Prentice, Pyramid Atlantic,
Amy Richard, Ingrid Rose, Michelle Rothen, San
Francisco Center for the Book, Jean Stufflebeem,
John Sullivan, Claire Van Vleet, Women’s Studio
Workshop, Pamela Wood, Virginia Yazbeck

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