Hand Papermaking Newsletter
Number 124, October 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:
Hand Papermaking, Inc.
PO Box 50859, Mendota, MN 55150-0859
Phone: (651) 447-7143
E-mail: info@handpapermaking.org
Web: www.handpapermaking.org

The deadline for the next newsletter (January 2019) is November 15. Please direct all correspondence to the address above. We encourage letters from our subscribers on any relevant topic. We also solicit comments on articles in Hand Papermaking magazine, questions or remarks for newsletter columnists, and news of special events or activities. Classified ads are $2.00 per word with a 10-word minimum. Rates for display ads are available upon request.

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

This is the last newsletter that I will be editing for Hand Papermaking. After 13 years with HP, I am retiring and plan to spend more time on my art work. I have truly enjoyed working with and getting to know the wonderful columnists who write fascinating pieces in their areas of expertise for this newsletter every quarter. I would like to thank all of them for their dedication. When I started as editor Elaine Koretsky wrote the column “Along the Paper Road” about her travels and extensive research into the history of paper and of contemporary papermaking in China. Now the column is written by Donna Koretsky, who shares with us her broad and deep knowledge of papermaking along with a touch a humor. Winifred Radolan has taught us many different techniques while describing her experiences teaching artists, adult paper novices, and children. Maureen and Simon Barcham Green write the “Paper History” column, focusing on Western papermaking. Their research and attention to detail has been inspiring. Sidney Berger has described many beautiful decorated papers, both historical and contemporary, enticing us with his elegant prose and his infectious enthusiasm. And Amy Richard has been exploring papermaking programs around the country, making one wish one could study at them all. In addition, papermakers from around the world have shared opinions and information about their projects in their letters to subscribers. The newsletter continues to be an exciting publication for everyone.

Shireen Holman
Newsletter Editor

Dear Readers,

The ghostly images of watermarks, and their suggestion of absence, have always intrigued me. In September 2016, Anne Beck and I launched the Rhinoceros Project, with the goal of sewing a life-sized watermark of Albrecht Dürer’s rhinoceros woodblock. We were inspired by the 2011 extinction of the western black rhinoceros, and the history of the print itself. Dürer never saw the rhinoceros on which he based his print; he only saw a sketch and read a description. Despite its inaccuracies, the print became a sensation, and the image became an iconic representation of the species to many Europeans. If all rhinoceri disappear from the planet, his work may become a significant, albeit imprecise, relic.
The embroidery took almost two years to complete, and approximately 600 people participated. Contributors were from all over the world. It will be stretched on a frame, and paper pulp will be poured onto it to create a sheet which measures 8 x 12 feet. This will be peeled off when dry, leaving no damage to the embroidery. The final piece will consist of an absence and a presence.
When we began this project, our intention was to make an edition of six, to honor the six remaining northern white rhinoceri. However, as of this writing the species is down to two remaining members. Our edition will reflect this. Our goal is to pour the sheets in the spring of 2019, at public events. We will be crowdfunding for the papermaking phase of the project in the fall of 2018; please stay tuned!
This project has transcended its original goal. Around our sewing circles the rhinoceros has been a portal to discussions on the relationship between the environment and imperialism, how craft connects a person to their body, and changing values systems. When we started, we thought we were just making something; we didn’t realize how embroidery and handmade paper would bring so many people together and form a family.

Michelle Wilson
Oakland, California

> ALONG THE PAPER ROAD...

Since 1998 this column has featured paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. Her daughter Donna Koretsky now continues the legacy. In this column Donna tells us about bamboo, and the advantages and disadvantages of using it as a papermaking fiber.

Bamboo is not an obvious choice as a papermaking fiber. Its hardness and strength make it suitable as a building material but it is difficult to imagine bamboo breaking down into individual fibers that will become paper. It does not soften when soaked in water, the way bast fibers such as mulberry and hemp do. It cannot be scraped like leaf fibers such as abaca and sisal. Though it is considered a grass, bamboo is not pliable like other papermaking grasses such as wheat straw. So it is not surprising that it took the Chinese nearly 1,000 years after the invention of paper to discover that bamboo could be used as a papermaking fiber.
According to T.S. Tsien (1910–2015), the renowned scholar of ancient Chinese writing, the earliest sheets of bamboo paper from the late eighth century were structurally weak,1 and it took another four hundred years to perfect their technique. Paraphrasing an observation by Su I-Chien, Tsien wrote, “When this paper was used in confidential correspondence, no one would try to open the letter (during the delivery), as it would break upon touching and would not hold together again.”2 By the end of the twelfth century the quality had greatly improved, and Tsien found documentation that there were various styles of bamboo paper that were popular with artists. Today bamboo is a common hand papermaking fiber throughout China, and is used to make the finest painting and calligraphy paper as well as ceremonial and sanitary paper.
A few months ago, while cleaning a corner of my paper studio, I unearthed a small pile of bamboo and decided it was time to make it into paper. The bamboo, acquired during a trip to China, was thankfully already cut into 2 x ?-inch pieces, otherwise I would never have attempted to work with it. I found it intimidating, knowing that simply soaking it in water before cooking wouldn’t soften it in the least. But I decided it was time to experiment. I only had one pound of bamboo and I wanted to be successful in my first attempt, so I did a little research into techniques.
I was already familiar with the laborious process used in Burma, in which the bamboo is soaked in lime for 5 years, cooked for 24 hours, and hand beaten for 15 days to make pulp so overbeaten that it takes 20 minutes for a newly formed sheet to drain.3 Obviously I was not going to replicate that. Instead I carefully reread Elaine Koretsky’s book Killing Green,4 in which she writes about her numerous explorations throughout China documenting traditional papermaking techniques in remote villages. She writes in detail about her observations of bamboo papermaking in more than ten villages, and notes their differing methods. All the villages retted their bamboo in caustic lime but for different lengths of time, from 30 days to one year. Rinsing procedures varied—one village rinsed the bamboo eight times, while some did not rinse out the lime at all. Cooking times were different, and some villages did not cook the bamboo at all. Some villages beat the bamboo in stampers; others had Hollander beaters. Most, but not all, used a type of formation aid. All the papermakers used a flexible bamboo screen. Drying methods varied; most sheets were air dried, but others were board dried. It was helpful to read about the wide-ranging techniques in order to come up with my own papermaking procedure.
I put the bamboo in a bucket, sprinkled caustic lime onto it, covered it with water, put the lid on, and left it outside to ret for 45 days. After rinsing, I cooked it in lye for three hours. After a second rinse, the bamboo looked a bit softer, and marginally promising. I then spent the next few hours pounding it with a beating stick to begin separating the fibers. Next I slowly added the fibers to my Reina beater, with the roll nearly touching the bedplate. I was beating the bamboo hard, and within one hour the pulp was ready. Sheets were easily formed on my Japanese sugeta using formation aid, then were pressed. I opted for board drying but soon realized the sheets had zero wet strength, as the first two disintegrated as soon as I began to lift them from the post. I restraint dried the remaining sheets.
Now that my bamboo paper is dry, it is stronger. I think I could mail a confidential correspondence which would survive the postal system, provided it doesn’t rain. As soon as the bamboo paper gets wet, it falls apart. I will have to experiment a great deal to achieve the quality of the twelfth-century papermakers.
The bamboo I worked with made it to my studio via a trip to China, but in reality, bamboo is growing in my backyard in Brooklyn as well as in my in-laws’ grove on Long Island, where each stalk measures over 12 feet high. Bamboo can grow nearly anywhere and there are over 1,400 species of this fast-growing perennial. One species of bamboo is reported to grow 35 inches in a single day—you can literally watch it grow. Considering its ferocious growth habits, it is reasonable to believe bamboo may be the pulp of the future.
Dr. Floyd McClure (1897–1970), considered the world’s authority on bamboo, was fascinated by the use of bamboo in the production of paper in China. In his master’s thesis, Chinese Handmade Paper, McClure writes, “Bamboo is undoubtedly the most important source of pulp, not only in respect to proportion of the total output, but in respect to the variety of uses to which bamboo papers are adapted, and in respect to the refinements achievable in the finished product.”5
It is amazing that in 1927 Dr. McClure was already foreseeing the future for machine-made paper when he wrote: “In view of the rapidly decreasing supply of the more desirable pulp materials now in use in the West, and considering certain unique qualities possessed by bamboo, it is likely that this plant will one day assume a position of importance in the world supply of paper pulp. It is not only a very rapid grower, producing a tremendous annual crop of pulp material per acre, but it also yields a pulp of excellent quality.”6 McClure wasn’t alone in his enthusiasm for bamboo paper; in 1913, an English patent was filed for making paper pulp from bamboo, and more countries followed suit in subsequent years.7 Currently there are mills in China making bamboo pulp for industrial paper mills.
For the production papermaker in the US, processing bamboo stalks by hand is far too labor intensive to be economically worthwhile. For the casual papermaker, however, and from my personal experience, holding a finished sheet of bamboo paper provides a great sense of accomplishment and is worth the long and tedious periods of soaking, cooking, and beating. I’m glad I made paper from bamboo stalks just as I’m glad I ran the Boston Marathon; but I don’t want to do either again.

1. Tsuen-Hsuin Tsien, “Raw Materials for Old Papermaking in China,” Journal of the American Oriental Society (1973): 515.
2. Tsien, 515.
3. Elaine Koretsky & Donna Koretsky, The Goldbeaters of Mandalay (Brookline, MA: Carriage House Press, 1991).
4. Elaine Koretsky, Killing Green: An Account of Hand Papermaking in China (Ann Arbor, MI: The Legacy Press, 2009).
5. Floyd Alonzo McClure, Chinese Handmade Paper (Newtown, PA: Bird & Bull Press, 1986), 35.
6. McClure, 36.
7. Clarence West, Reading List on Papermaking Materials (The Paper Trade Journal, 1920–21), 36.

> 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 paper workshop for adults she conducted in a public library.

A few months ago I received a phone call from a woman who had taken my business card while visiting a recent festival. I had been too occupied making paper with children to stop and speak with her at the time. She was a librarian and activities director for a public library in Ocean County, New Jersey, and wanted to talk about offering papermaking as an activity for her library’s patrons. We discussed the details of what would be needed to set up a papermaking workshop in her library.
      We selected a date and time, and agreed upon what I would offer. Then she explained that in order to work in Ocean County I would need to fill out registration papers, which I should do as soon as possible. Apparently, moving paperwork through their system was a tedious and lengthy process. In fact, without her dogged persistence I might have given up trying to push through the bureaucracy. It turned out that it was necessary to download and print out a five-page instruction booklet in order to fill out the form. The online-only form had print too small for me to read, with no way to enlarge it, meaning I needed help with that as well! I’d never before experienced such a process.
      On the day of the workshop I took a scenic hour-and-a-half drive towards the ocean to get to my destination. Upon entering I found the librarian spreading plastic table covers over a dozen tables scattered around a clearing of the library floor. There were a handful of senior citizens already camped out in what they hoped would be prime spots. One woman was so effervescently ready to share everything she knew about paper, that I worried that unless I asked her to accompany me bringing in supplies from my car I wouldn’t have time set up. I knew I was assured to have at least one happy papermaker.
      The program was free for library patrons, who had only to sign up to indicate their interest. There were fourteen names on the list, which would have made both time and space a bit tight. But only eight people actually attended. It seemed as though they knew each other from meeting at other library programs.
      We first gathered around a long table upon which I had arranged a variety of paper samples, available for multi-sensory exploration, just no tasting! I gave a brief history of papermaking as I passed around samples of both Eastern and Western sheet formation, to be evaluated by sight, feel, sound, and aroma. I also had several of my small books of samples, with a collection of my papers made from plants. This generated much enthusiasm for getting started with the hands-on portion of our experience.
      I showed everyone how to arrange their individual couching stations around the library tables. Wet couching blankets, stacks of Pellon, water receptacles, and sponges were set out for all, and each person was equipped with a small mould and deckle. After demonstrating how to dip into the vats and form a sheet of paper on the mould, I had everyone queue up in front of the colored pulp of their choice. There were three vats filled with a cotton/abaca blend, one a natural tone, one pigmented bright red, and the third an enticing turquoise. I assisted all parties in pulling and couching their initial sheets of paper. Then I demonstrated some basic layering techniques they might like to try. Everyone was adventurous enough to add color to their base sheets.
      Amongst the group of eight, there was one man. He quietly explained to me at the outset that he was there to “satisfy idle curiosity” during the lecture portion of the program only. But I set up a workspace for him, pointed it out, and he actually got in line at the vats. He was clearly hesitant about participation, but with a minimum of encouragement I got him to add layers to his base sheet, and his results were lovely. He said that his curiosity about the process won out over his discomfort of being the only man doing “a woman’s thing,” but he wasn’t willing to make a second sheet. His statement opened the door for me to deliver a little more history about skilled vatmen having been male, while women were typically the rag sorters and final inspectors. But he was done! Later, the librarian told me that I had accomplished something by getting him to participate, as usually he would only hover at the fringes of programs.
      After everyone seemed to have satisfied their papermaking urge, we gathered all the posts of paper for pressing in my portable press. I then rolled each damp piece of paper out onto a carrying cardboard to provide both easy transport and a drying surface. Most of the other participants made three or four pieces of paper each. The woman I met when I arrived made as much paper alone as everyone else combined. She was in a production blast for sure. I was tickled at her enthusiasm and thrilled at the end, as she really wanted to stay and help me clean and pack up. I wish I possessed some of her energy—she was like a Border Collie Papermaker.
      At the conclusion of our session I felt pleased to have shared something really new and different to this group of adult knowledge-seekers. How wonderful that the library system, despite their bureaucratic registration process, offers these programs to their community.

> PAPER HISTORY

Maureen and Simon Barcham Green, from the United Kingdom, write a joint column on paper history. Maureen is a paper historian, and author of Papermaking at Hayle Mill 1808–1987. Simon was the last of the Green family to run Hayle Mill. He provides consulting services to papermakers worldwide. This column, “Advice from old hands,” contains further excerpts from the long and informative correspondence between John Barcham Green II (Jack), his son John Barcham Green III (Rémy), and Henry Morris of The Bird & Bull Press.

     A letter dated 17th October 1957, from John Barcham Green II to Henry Morris, deals with the difficulties experienced when making paper using cotton linters.

Dear Mr. Morris,

Many thanks for your letter and I am certainly feeling better.1 I had nearly a fortnight away had fine weather the whole time, but it rained today which is the first day I am back.
      In answer to your letter why is it difficult to make paper from cotton linters, the reason is that we can make paper easily from rags because it has been done for 1000 years more or less but cotton linters being a new invention, nobody yet has completely grasped the best way to handle it. It is simply by trial and error that various papermakers are learning how to do it, but it would take reams of paper to explain to you the information we have already received by our experiments and even then we are not half through with it yet.
      The problem of making up into little balls or chains as you call them also is not yet solved. It is just a question of hit and miss and then try again until at last you get it.
      The reason it does not give a distinct watermark is because it is made that way. Some things give a wonderful watermark like straw for instance but some strong linens also will not give you a good watermark, but there is no question of being impregnated with oil. I can assure you all the oil has been completely washed out during the cleaning of the linters.
Wavy Edge One reason you have a wavy edge on Hand Made Paper is because when it dries the edge dries first and therefore there is a tension in the fibres in the sheet and when it is finished it is wavy. I wish I knew how to get over it, but there again we know by experience that we have to do a number of things in order to reduce the wavy edges to the minimum, slow drying being one of them.
      If our paper has very wavy edges we stand it in heaps before it is sized and then sheet it, that is lay each sheet onto another heap so as to get the air into it and store it in a cool place which is not too dry. After a year or so it is nothing like so wavy.

I hope this will help you!!!

Very truly yours,

J. Barcham Green
     
      Through perseverance and trial and error, as instructed, Henry Morris made some beautiful paper, as well as printing a number of fine press books still appreciated today. By 1958 the letters begin “Dear Henry.” This letter, the last in this series was written on the 8th of October 1963—ten plus years after the first letter from Henry Morris arrived at Hayle Mill.

Dear Henry

I have gone through the book2 quite a few times and enjoyed it each time. First of all, the binding, something I very much appreciated; a beautiful skin. The first page is so well made I can hardly believe you made it, anyway hearty congratulations. The Contents is a very nicely balanced page and I like the watermark. I enjoyed the Introductory note and funnily enough I make hand-made paper for exactly the same reason.
      Incidentally, you seem to have got over the sizing problem because the paper is not only hard-sized but flat. Someday I will have to come and see you and coincidence that just outside Hayle Mill there is also a “cork screw hill”. On page 13 Dard Hunter says that the coucher turns down one end of the felt, but if that end of the felt goes over the paper a tiny bit it spoils the sheet, and you will never get the mark out even though it is plate glazed. As he says making Double Elephant is definitely a man’s job and there are probably only two men in the world now who could make it. I could go on like this for hours.
      With regard to Harry Robertson, we have got his brother working here in the size house, has been with us for quite a long time.3
      I did not know that Tuckenhay Mill has been dismantled. I was there recently and they were still making pulp.4
      The sketch of myself taking down a pack is extremely good, congratulations. I am glad to see the picture of Bockingford Arms very nicely done and also the Royal Paper Mill sign, which has come out quite well. The original photograph was of Arthur Whatmore, who had the most delightful shake I ever saw; no effort but the sheet was perfectly closed.
      Dobson’s sketches are most amusing and deserve a second look. I certainly missed some of the best bits the first time.
      John Mason of course is a fanatic and very much dedicated to the craft.
      Your article is most interesting and full of the most delightful tips to anybody starting a “home-made” Mill. I notice that Norman H. Strouse mentions the Kelmscott books. I have got a book containing copies of the correspondence between William Morris and old Mr. Batchelor the paper maker. It is put away very carefully in the library.
      The drawings by Mac Dermott and Diane Conrad are absolutely the cat’s whiskers, and I enjoyed them as much as any illustrations in the book.
      You have certainly given me tremendous pleasure in reading the book and I shall get it out from time to time and have another look. It is most gracious of you to send me a copy. I treasure this book more than any other book that has ever been given to me.

Very truly yours

Jack

1. JBG II had been ill with shingles for some time. While he was indisposed, his son Rémy continued corresponding with Henry on his father’s behalf.
2. The book, Dard Hunter and others, Five on Paper: A Collection of Five Essays on Papermaking, Books and Relevant Matters (North Hills, PA: Bird & Bull Press, 1963), contains a number of essays on papermaking, books, and related matters, including Henry Morris’s “More Adventures in Papermaking,” and essays by Dard Hunter, John Mason, J. Barcham Green, and Norman H. Strouse. As Jack Green observed, having consulted with “old hands” in the past, Henry Morris now qualified as an “old papermaking hand” himself!
3. The Harry Robertson mentioned was a member of the family who moved to Lime Rock, Connecticut, to make paper for Dard Hunter.
4. Tuckenhay Mill remains one of the most beautiful paper mills in the UK and has been converted to holiday accommodation while retaining many original features.

> 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, Sid shows us that the “plain” sheets of paper made by Amanda Degener are truly decorative and beautiful.

With this column I return to my series of significant people in the decorated paper world. My subject is Amanda Degener of Cave Paper in Minneapolis. Amanda should be no stranger to those familiar with Hand Papermaking: she is, after all, the co-founder of this publication (with Michael Durgin). It is surprising to think that this magazine has been around for more than 32 years, thanks in large part to Amanda’s vision and perseverance.  
Amanda is currently the sole proprietor of Cave Paper, as her former partner, Bridget O’Malley, is now retired. For 34 years, at Cave, she has been producing lovely sheets, originally in the cave under a large warehouse, and now in other locations—all in Minneapolis. As Amanda and Bridget say in their article in Matrix “We are often asked why we chose the name ‘Cave Paper’. If you saw the space you’d understand. Our basement workspace quite literally is a ‘cave’. Arriving by freight elevator, one is not quite sure what land this is which has just been entered. The walls are hewn rocks, approaching boulders, and the space extends further than the light. Rooms are separated by arched doorways, with a maze of pipes and wires overhead, the floor is an unsteady mix of concrete, brick, and in some areas a wooden raised floor, giving way to the earth below. The final ingredient to the caveness of it all is the absence of windows.”1
In an earlier column I mentioned that a plain sheet of paper can be seen as decorative if it is, by itself, beautifully made of beautiful materials. The Cave papers certainly meet those criteria. Early on, the proprietors chose flax as one of the primary materials for their products (pure cotton being another), and the resulting sheets are almost sensuous in their feel and rattle. The Matrix piece, along with one in Hand Papermaking by Jody Williams (Vol. 12, no. 1 [Summer 1997]: 17–20), had a good deal of information about the production of these lovely papers. Here I’d like to look at a few of the papers and then relate a recent experience my wife, Michèle Cloonan, and I had with Cave Paper.
Three of the Cave sheets deserve particular mention in a column about decorated papers. The first is their gorgeous dyed sheets using walnut dyes (the papers in browns and tans) and those using indigo (in various shades of blue). The sheets are rolled into cone shapes and dipped into dyes, imparting curved wavy lines over the papers, with colors from light to quite dark. There might be three, four, or more dippings of each sheet, submerging different parts of the sheet each time, so that a layered effect is achieved. The Belgian flax gives the sheets a heft and surface that imparts a sense of luxury and artistry. These are my favorite of the Cave papers.
The so-called “O’Malley Crackle” papers are also made with flax, and they are wonderful. The handmade flax paper is soaked in water, crumpled up, and then dipped into the dye, giving the sheets irregular “striations.” Their Matrix article explains: “In the O’Malley Crackle the gelatin size serves as a resist, in a process very similar to batik. Gelatin is put on the paper before dyeing. The sheets are then crumpled and twisted to break the gelatin and allow dye to penetrate into these veins. The sheets are gently rinsed, leaving the sized areas undyed, and the creased areas coloured. The sheets are then dampened and put under pressure to dry flat.”2  
The third of their decorated papers that I love—and the most glitzy—are the sheets with sparkles of mica covering the surface. Like miniscule mirrors, the tiny chips of mica reflect the light, so that each sheet glistens differently from every angle. These are called “Starry Night” since the paper is made from their dark indigo sheets, dipped several times to create a dark blue substrate, and the effect is like looking at the sky on a dark starry night.  
Cave makes many other beautiful standard papers, and all of them are decorative in their own way. On a recent visit to Hiromi Paper in Los Angeles, I was standing in front of a rack of Amanda’s papers and people were oohing and aahing when they saw these gems—the very response that good decorated papers elicit.  
Through Amanda’s generosity, Hand Papermaking’s auction offered a Cave Paper papermaking session to the winning bidder. My wife’s birthday provided the impetus, and the winning bid brought us to Minneapolis for one of the most memorable and enjoyable days of our lives: working with Amanda in her studio. We couched lovely papers onto felts, floated pulp over a submerged mould in controlled shapes, and couched the second layer of floated pulp over the first sheet to make amazing papers. We also poured pulp over couched sheets to make other lovely papers. Amanda is not only a brilliant papermaker, paper artist, and great teacher; she is also a splendid host who enriched our lives with her artistry and her kindness. Not to mention adding to our newly growing collection of papers. Since our first collection went to Texas A&M University, we have begun a second collection—not surprising since collecting decorated paper is in our DNA, and acquiring it is, for us, like breathing. We can’t live without it.

1. Bridget O’Malley and Amanda Degener, “Cave Paper,” Matrix 16 (Winter 1996): 26.
2. O’Malley and Degener, 30.

> 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. Here Amy describes the history and programs of the Southwest School of Art in San Antonio, Texas.

My first and only visit to the campus of the Southwest School of Art (SSA), located a short distance from San Antonio’s famous River Walk, was purely random. Seeking refuge from the crowds and intense summer heat, I was drawn to the beautiful historic buildings and the shade they offered. And despite the fact that it was many years ago, I still remember being mesmerized by the tranquil garden and colorful artwork displayed on a breezeway bulletin board and also feeling wistful that I couldn’t stay longer before being dragged back to the river by my companions.
      Little did I know, the SSA was one of the first art schools in the country to offer hand papermaking as a formal creative practice. Determined to be the first in the South (in the early 1980s), then director Jeffrey Moore hired Susan Mackin Dolan to launch the program. Mackin Dolan had just completed her MFA from the University of Colorado and recalled those years clearly. “Moore also brought in Bernie Vinzani, a former apprentice from Twinrocker, to consult on the studio set up,” explains Mackin Dolan. “There were many logistical challenges involved in designing a studio within a historic building. As we were planning the workspace, Bernie informed me that I would be responsible for building the beater from scratch, using plywood. It was a fixed roll beater. The bedplate was raised or lowered instead of the roll, which was fabricated by David Reina.”1 At the time, it never dawned on her that she would be the first woman to build a Hollander beater in the United States.2
A few years later, when Mackin Dolan returned to Colorado to pursue other projects, Beck Whitehead was hired as her successor and was heavily involved with designing the next-generation paper studio in the Sears Building, where it is today.
      According to Mackin Dolan, most of the early classes were in Western papermaking. Custom artist papers and stationery were also produced and sold in the school store. Whitehead established a collaborative press, which allowed visiting artists to use the studio to develop a body of work or special projects (pulp painting, letterpress-printed books, etc.). Helen Frederick was one of the early artists to participate, as were Sas Colby, Nance O’Banion, and photographer Bill Wegman.
      Fast-forward a few decades and the SSA continues to grow and evolve. In 2014, when it launched its new BFA program, it became the only independent college of art in Texas, offering an impressive span of creative media including ceramics, drawing and painting, metals, paper and book arts, photography, printmaking, sculpture, and integrated media.
      When Whitehead retired in 2016, Eléonore (Léo) Lee became the new program coordinator for paper and book arts. In the two years she has been there, Lee has overseen an exciting shift in focus: “While book arts has always been the core of this program (book binding, letterpress printing, artist books, etc.), the new trend, as I see it in schools in general, is more interdisciplinary. Instead of focusing on these disciplines as independent entities, it’s more about students bringing in their ideas and seeing which of these areas can best enhance their personal art practice.
      “We like to approach things from a perspective of ‘Where are you going and how can the various book arts disciplines help to grow that?’ Today, I would say the majority of our students make paper for the purpose of working with it as a material versus a substrate for other processes. For example, we have one student who is working with the sound of paper, experimenting with creating different timbres made with paper (low and high pitch).”3
      Another student, Lata Gedala, in her senior year at the SSA, came to papermaking through her work in chine-collé printmaking. When I contacted her, she had just completed an internship with Helen Hiebert and Mackin Dolan in the mountains of Colorado. As she explained, “We have a 100-hour mandatory internship requirement during our junior year. Since I have a strong interest in papermaking, I was keen on doing the internship with a papermaking artist.
      “Working in their respective studios helped me understand the logistics of setting up a studio. Both are exceptional artists and teachers. I learned from Helen the business side of art, which in my opinion is as important as making the art itself. We also worked on mixing pigments and making sample abaca sheets for her upcoming artist book. Not only was I making paper and learning book structures, I also had the opportunity to photograph her works for her 2019 calendar.
      “Susan Mackin Dolan opened the door to Eastern papermaking. There was a lot of learning and experimentation with new methods and techniques. We worked with kozo, gampi, and mitsumata fibers and experimented with natural dyes. Since my senior thesis focuses on natural dyeing in papermaking, I felt this was an excellent beginning towards my research.”
      When asked why she is drawn to paper, Gedala explained, “I consider paper to be an effective platform for making art. It conveys a unique language that is expressed through its tactility, aesthetics, and simplicity. The multiple layering of fibers and pigmented pulp in my work creates an environment that is subtle as well as harmonious.”4
In addition to their academic programming, SSA offers an impressive variety of community classes (Book Arts, Ceramics, Digital Media, Drawing, Fibers & Weaving, Glass & Mosaic, Jewelry & Metals, Painting, Papermaking, Photography, Printmaking), reminiscent of the Penland model although shorter in duration, averaging 2–3 days.
However, the studio rental option is what really captured my attention as an amazing opportunity for individuals wanting to experiment with hand papermaking. At a fee of $50 for one session, which can last all day if no classes are being taught, one can have access to a top-notch papermaking studio. Three sessions cost $100; a full semester of access is $275. The only prerequisite is that the artist has some experience with the equipment, an understanding of studio protocol, and permission from the department chair. For recent BFA or MFA graduates, SSA’s residency program offers an opportunity to grow one’s work for a full year, while also gaining studio management experience and a chance to teach as an adjunct.
      In retrospect, it’s probably a good thing my companions dragged me away from the SSA way back when. Had I known what I know now, I may never have left.

1. Phone conversation on July 20, 2018.
2. As presented by Peter Thomas at the Friends of Dard Hunter/IAPMA joint conference in Reno, NV, 1989.
3. Phone conversation on July 31, 2018.
4. Email correspondence on July 25, 2018.

> 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 January 2019 newsletter is November 15. Contact each facility directly for additional information or a full schedule.
> CLASSES AND WORKSHOPS
Abington Art Center, Jenkintown, PA, (215) 887-4882, www.abingtonartcenter.org. Classes, workshops, and exhibitions in a variety of media. For information about upcoming 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. Visit https://www.arrowmont.org/workshops-classes/ for information about the school’s series of National Workshops that run through late October.
Masking and Revealing: The Wild Side of Paper Cutting, Oct. 14–20, with Béatrice Coron. Explore unique ways to use paper cutting to tell stories. Open to all skill levels.
Recording Surfaces with Pulp, Oct. 21–27, with Delaney Smith. Learn to create dynamic surfaces and forms with handmade paper. Open to all skill levels.
Book Arts Los Angeles, Los Angeles, CA, (310) 722-9004, www.bookartsla.org.
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.
Carriage House Paper, Brooklyn, NY, (718) 599-7857. 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.
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 classes and workshops, visit http://www.dieudonne.org/adult-classes/.
Haystack Mountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack-mtn.org. Haystack offers workshops in various disciplines, including papermaking and book arts.
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. For information on residencies, workshops, and experiences in papermaking, visit www.hookpotterypaper.com/classes/.
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. The Center offers classes in book printing and binding, printmaking, hand papermaking, and creative writing.

Beginning Calligraphy—Italic, six Thursday nights from Oct. 11 to Nov. 15, with Lisa LeBlanc. Explore the art of beautiful writing in this introduction to Italic calligraphy. All levels are welcome.
Calligraphy—The Uncial Alphabet, Oct. 21 & 28, Nov. 4, with Marijo Carney. Learn to use a dip pen, chisel-edge nib, and ink to create the uncial alphabet.
Maiwa School of Textiles, Vancouver, British Columbia, (604) 669-3939. 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.
Paper Marbling: Special Effects, Nov. 4, with Sally Power. Go beyond patterns and explore a range of marbling techniques that create special effects.
Western-Style Papermaking with a Focus on Color, Nov. 10–11, with Bridget O’Malley. Learn the tools, terminology, and procedures of Western-style papermaking.
Paper Marbling: Patterns I, two sections (Section A: Oct. 21; Section B: Nov. 17), with Sally Power. Focus on patterns, such as nonpareil, chevron, and their variations. Designed for those who have experience marbling.
Extreme Marbling, Nov. 18, with Sally Power. Focus on building marbling technique by creating patterns. This workshop builds on techniques learned in Introduction to Marbling and Paper Marbling: Patterns I.
Dirty Works: Paper Marbling, Dec. 7, with Suzanne Hughes. Explore paper marbling—try your hand at “throwing” color and building patterns that you can use to decorate cards, journals, or other papercrafts.
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. For more information about workshops, visit http://www.morganconservatory.org/workshops-by-category. The 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.
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.
Textured Paper and Decorative Finishes, Oct. 21 & 28, with Gail Stiffe. Learn how to make textured paper and to join sheets together in the wet stage to make a textured scroll or accordion book that you will treat with a decorative finish of your choice during the second session.
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 in papermaking and paper arts. For information on upcoming workshops in paper and book arts, visit http://penland.org/workshops/books-paper/.
East Asian Papermaking Today, Oct. 7–13, with Aimee Lee. Learn ways to translate East Asian paper techniques into American studios. All levels.
Japanese Bookbinding, Suminagashi, Orizome, Momi-gami, Nov. 4-10, with Yukari Hayashida. Learn to make suminagashi, orizome, and momi papers and use them to make Japanese-style books by hand. All levels.
Pyramid Atlantic, Hyattsville, MD, (301) 608-9101, www.pyramidatlanticartcenter.org offers workshops in papermaking, printmaking, and book arts. For more information on upcoming classes visit https://www.pyramidatlanticartcenter.org/workshops.
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.
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. For information on upcoming classes, visit http://www.sandiegobookarts.com/classes/.
San Francisco Center for the Book, San Francisco, CA, (415) 565-0545, www.sfcb.org. Book arts classes and events year-round.
Introduction to Western Paper Marbling, Oct. 6 & Nov. 3, with Pietro Accardi. Gain a basic understanding of the history, techniques, tools, and styles of European marbling.
Introduction to Japanese Style Papermaking, Oct. 24–25, with Michelle Wilson. From fibers to formed sheets, learn to make thin yet strong paper in the Japanese tradition.
Paper Marbling Lab, Nov. 4, with Pietro Accardi. Spend a day practicing techniques learned in SFCB’s Introduction to Marbling workshops.
Introduction to Pulp Painting, Dec. 15, with Michelle Wilson. Learn to make paper in the European tradition, and learn the technique of making imagery through pulp painting.
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. For information on upcoming workshops, visit https://www.sitkacenter.org/workshop/workshopslist.
The Soapbox: Community Print Shop & Zine Library, Philadelphia, PA, info@phillysoapbox.org, www.phillysoapbox.org offers studio space, a zine library, and other resources for anyone interested in print-, book-, and zine-making. 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 historic Strip District. Information about upcoming workshops can be found at http://contemporarycraft.org/education/.

Wycinanki: Polish Cut, Polish Folk Art, Feb. 2, 2019, with Kathryn Carr. Learn basic paper cutting techniques to create wycinanki (vee-chee-non-kee), a type of Polish paper cutting that uses layers of vivid colors to make a stunning style of folk art.
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.
Hand Papermaking, Sept. 25, Oct. 2, 9, 16, 23 & 30, with Brennan Bowman. Work on guided or independent papermaking projects. Course open to students of all levels.
Japanese Natural Colorants for Paper, Nov. 3-4, with Tatiana Ginsberg. Learn to prepare natural dyestuffs for coloring Japanese papers, as well as how to size and treat papers and how to dip, brush, and resist-dye the papers.
West Dean College, Chichester, West Sussex, U.K., (0)1243 811301, short.course@westdean.org.uk, www.westdean.org.uk.
Experimental Papermaking, Jan. 21–25, with Jane Ponsford. Explore papermaking using cotton and other paper pulps, and incorporate color and structure using thread and dyed pulps.
Women’s Studio Workshop, Rosendale, NY 12472, (845) 658-9133, info@wsworkshop.org,
www.wsworkshop.org. The Women’s Studio Workshop 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
Arnold Grummer’s Second Annual Midwest Paper Fest will take place at the historic Town Square in Green Lake, Wisconsin on Oct. 5–6. Handmade paper art and art on paper will be on display and for sale, and exhibiting artists will participate in a master papermaking workshop. For more information, visit https://www.greenlakerenewal.org/midwestpaperfest.
The Friends of Dard Hunter (FDH) 2018 conference, which has the theme The Social Life of Paper, Print, and Art, will be held as a joint event with the American Printing History Association (APHA), Oct. 25–27, at the University of Iowa Center for the Book in Iowa City, Iowa. Visit https://friendsofdardhunter.org/conference/ for more details.
The Morgan Art of Papermaking Conservatory and Educational Foundation in Cleveland, Ohio, (216) 361-9255, will hold its 11th Annual Benefit on Oct. 6, from 6:00 to 10:00 pm. For more details as they develop, visit http://www.morganconservatory.org/gallery.

> EXHIBITIONS
Global Paper 4—International Paper Art Triennal in Deggendorf, May 13–Oct. 7, at the Handwerksmuseum und Stadtmuseum in Deggendorf, Germany. Exhibition of the work of 94 international paper artists from 22 countries. Visit www.stadtmuseum-deggendorf.de for more information.
Wonder, featuring works on paper using alternative processes and photo-based prints, runs Oct. 19–Nov. 21 at the Morgan Conservatory in Cleveland, Ohio, and will include works by Amber Ford, Tatana Kellner, Yana Mikho-Misho, and Bellamy Printz. Running concurrent to Wonder are two other exhibitions: Shooting Without Bullets—http://www.shootingwithoutbullets.org/movement—which is an expressive arts program for black and brown youth in Cleveland that develops their artistic voice as they process the complex social issues affecting their lives and community; and Mapping the Invisible Landscape, an exchange portfolio featuring work by Tom Balbo, Joey Behrens, Catherine Clements, Kate Collyer, Margaret Craig, Vanessa Hall-Patch, Lucy Holtsnider, Richard Hricko, Todd Irwin, Jacob Koestler, Marta Kubiak, Michaelle Marschall, Ross Mazzupappa, Claire McVinnie, Adrienne Miller, Mary Sherwood Brock, Lisa Schonberg, Nicholas Skowron, Anna Tararova, Anna Wagner, and Marianne Wilson. An opening reception for these exhibitions will be held on Oct. 9, 6–9 pm.

> CALLS FOR ENTRIES
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 Morgan Art of Papermaking Conservatory and Educational Foundation in Cleveland, Ohio, (216) 361-9255, is currently accepting applications for its 2019 Artist-in-Residence program. The Morgan's residency period runs throughout the year and can last between a few weeks and a few months, depending on the project and work being produced. Applicants are required to submit a brief project proposal outlining their timeline and studios needed. The deadline for applications is Oct. 31. For more information, visit http://www.morganconservatory.org/artist-residencies.

The Morgan Conservatory also is accepting applications to its Winter Internship Program. Interns will be immersed in hand papermaking, book arts, and letterpress in exchange for completing tasks that include, but are not limited to paper production, maintaining the studios, and other general housekeeping and assigned tasks. The application deadline is Nov. 15. For more information, visit http://www.morganconservatory.org/internships.

The Women's Studio Workshop (WSW) in Rosendale, NY 12472, (845) 658-9133, info@wsworkshop.org, www.wsworkshop.org has available the following upcoming artist residencies.
The Art-in-Education Workspace Residency at the Women’s Studio Workshop is for artists with teaching experience, a knowledge of intaglio, silkscreen, or hand papermaking, and an interest in working with public school students. Applications due Oct. 15. For more information, visit https://wsworkshop.org/residencies/art-in-ed-workspace-residency/.
The Chili Bowl Workspace Residency supports the Women’s Studio Workshop’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 due Oct. 15. For more information, visit https://wsworkshop.org/residencies/chili-bowl-workspace-residency/.
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. Due Oct. 15. For more info visit https://wsworkshop.org/residencies/studio-workspace-residency/.
The Parent Residency Grant is a four-week residency for an artist with dependent child(ren) under the age of 15. Artists may choose to work in any of our studio disciplines: intaglio, letterpress, papermaking, screenprinting, photography, or ceramics. This grant includes a $1,000 childcare stipend, up to $250 for travel costs, free onsite housing, and 24/7 studio access. Due Oct. 15. For more info: https://wsworkshop.org/residencies/parent-residency-grant/.
The paid Nonprofit Management Internship provides a $400/month stipend, free on-campus housing, unlimited studio access, and the opportunity to exhibit work at the end of the term. The intern is expected to help with communications, marketing, and social media, as well as database management, processing artist residency proposals for jury review, workshop registration, event planning, and more! Due Dec. 1. For info visit https://wsworkshop.org/residencies/arts-administration-internship/.
The six-month, paid Studio Internship provides a $400/month stipend, free on-campus housing, unlimited studio access, and the opportunity to exhibit work at the end of the term. Studio Interns work with staff and resident artists on projects that may include printmaking, papermaking, book arts, and arts administration, in addition to assisting with the ongoing operations of the facility. Due Dec. 1. For info visit https://wsworkshop.org/residencies/studio-internship/.
The Haystack Mountain School of Crafts in Deer Isle, ME offers an Open Studio Residency that fosters a dynamic exchange of ideas among peers and provides two weeks of studio time and an opportunity to work in a supportive community of makers. The 2019 Open Studio Residency application process will open Jan. 1, 2019. For more information, visit www.haystack-mtn.org/programs/open-studio-residency.
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, colour, 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.

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 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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