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HAND PAPERMAKING
NEWSLETTER
number 126 • april 2019
Newsletter Editor: Maria Olivia Davalos Stanton
Columnists: Sidney Berger, Donna Koretsky, Winifred
Radolan, Amy Richard
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Hand Papermaking is a 501(c)(3) non-profit organization.
Staff: Michael Fallon, Executive Director;
Mina Takahashi, Magazine Editor; Maria Olivia
Davalos Stanton, Newsletter Editor; Karen Kopacz,
Designer. Board of Directors: May Babcock, Tom
Balbo, Colin Browne, Lisa Cirando, Tatiana Ginsberg,
Joan Hall, Lisa Haque, Steve Kostell, Darin Murphy,
Alta Price, Teri Williams. International Board of
Advisors: Yousef Ahmad (Qatar), Timothy Barrett
(US), Simon J. Blattner (US), Kathryn & Howard
Clark (US), Mandy Coppes-Martin (So. 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),
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.
>NEXT UP
In NEXT UP, in lieu of our usual DEAR READERS feature which returns next issue, Hand Papermaking Newsletter readers will get a glimpse of what's in store in the upcoming issues. For this edition, I interviewed artist Joan Hall, who is featured in the upcoming magazine devoted to Collaboration. The interview took place on February 15, 2019 via telephone. We began with a discussion of her involvement in the collaboration-focused intergenerationality portfolio, Hand Papermaking's latest limited-edition portfolio which will also be featured in the magazine.
next up
Joan Hall on Collaboration
In this new column series, Hand Papermaking Newsletter readers will get a glimpse of what’s in store in upcoming issues.
Maria Olivia Davalos Stanton (MODS): Tatiana Ginsberg—the curator for Hand Papermaking’s Portfolio 12: Intergenerationality—paired you with Sarah Rose Lejeune to be one of the fifteen collaborating duos featured. How was the process with Sarah Rose similar or different than your other projects and pieces you have created?
Joan Hall (JH): When Sarah and I got to work, we realized we both had aspects of our art that were similar in thought. We both had an interest in transparency in paper, in overbeaten pulp, in abaca, we wanted to layer things. I had just moved to Rhode Island and thus was still building my studio. Most of the supplies and equipment were stored in an unheated barn. Thankfully it was a mostly warm winter. We had to carry all the water up from house because the well near the barn had rust. It was quite an adventure. We ended up with a process inspired by artist Nance O’Banion using a wet and dry vac on silk screens. It was great working with Sarah and sharing knowledge. I remember being immediately drawn to Sarah's work, how she writes about it, how she thinks about it, and I think this connection helped foster our collaborative energy.
MODS: Both you and Sarah Rose tend to work with sculptural elements; what was the process like to scale this down to the (comparatively) small work featured in the portfolio?
JH: Both of us complained about working with the small size. I constantly would go, Geez this piece of paper is small! I really liked what we ended up doing; seven layers of paper to create a single sheet. Neither of us wanted to do anything exactly the same—that's boring—it was very easy to work together in this regard. We had similar ideas in terms of production paper, i.e. that we did not like it, that’s the sculptural side of how we both think. Ironic, considering our work for the portfolio, but I think we found a happy medium. We asked ourselves, how are we gonna do this thing of creating multiples? Eventually we made about a third extra over what was required for the portfolio, and went through them all. Carefully and diligently, we combed through to find the papers to send off, looking for similar weights and colors, so the collection looked like they all came from the same family, but still satisfying our desire for variability.
MODS: In addition to your collaboration with Sarah Rose being featured in the upcoming summer issue of the magazine, you are also contributing an article about your collaborative work with Frida Baranek. How is that different from what you did with Sarah Rose?
JH: Frida and I have been working together for years. We hit it off, specifically in how we think about using materials. Nobody else but her comes to my studio. About once a year, Frida visits, makes several editions, and then leaves. She often would bring some random thing and want to experiment with it (the good felts never come out when Frida visits). The strongest part of our relationship is how we influence each other. We work side by side, not really creating a piece together but working in each other’s presence. On the other hand, Sarah and I had to create something together, which was a new experience for me, not something I usually like to do unless I am collaborating with another craftsman such as the glass project I recently did with Benny Giguere at Gather Glass.
MODS: Has your participation in Portfolio 12 inspired any new works, or were there things you wish you had done differently?
JH: Interestingly enough, yes. Recently I have been working alongside Frida Frida at Dieu Donné Papermill in New York. We were both experimenting with working on a hydraulic press and we both created new processes. I used a process of rolling the paper on the screen, so that each piece would be a variable of the other. When I saw the results, I didn't like it at all; it felt too literal. As I was looking at the papers I went, “Wait a minute, what about the technique Sarah and I developed!” So I redid them and it was splendid.
MODS: I understand that you are preparing for a big show in Venice. What is it and how will paper figure into it?
JH: Actually there is no handmade paper involved, but the installation is based on a handmade paper piece from the Sea of Heartbreak exhibition at the Newport Art Museum last year I was asked by the European Cultural Center to show in “Personal Structures,” a collateral exhibition during the Venice Art Biennale. I am creating a wall piece, The Invasion of Hull Cove,that employs a similar thought process to challenge the expected dimensionality, or lack thereof. Unless you get up close you don’t see the metal shapes that protrude from the wall.
MODS: Hand Papermaking recently put out a call for artists for its Portfolio 13: In Between. Any advice or thoughts for artists considering on submitting their work?
JH: Enter!! Frida is curating, she has a great eye and it will be wonderful. Anytime you have to do a multiple of a piece you learn something, regardless if it is via production or variable pieces. I would say go for it; all anyone can say is no. Keep submitting, that's part of being an artist; you learn along the way. After all these years I am still learning and I love it.
Joan Hall, with her piece Going, Going, Gone (2018).
>ALONG THE PAPER ROAD...
BIO: Since 1998 this column has featured paper musings from Elaine Koretsky (1932–2018), renowned paper historian, researcher, and traveler. Since 2016, her daughter Donna Koretsky, co-founder and owner of Carriage House Paper, has continued the legacy.
ABSTRACT: In this issue, Donna Koretsky reminisces about some behind-the-scenes vignettes that highlight the fearless, curious, enthusiastic, and unforgettable Elaine Koretsky.
SUBTITLE: A true pioneer
As you all know by now, my mother—Elaine Koretsky, former writer of this column—passed away on November 11, 2018. Since then, my father Sidney, my two brothers, and I have been overwhelmed with personalized condolences and passionate memories of Elaine, conveyed from all over the world via telephone calls, letters, cards, emails, and papermaking chat lists. It has been a tremendous comfort to us, reading and rereading the many tributes and encomiums. Since Sidney is blind, I have spent hours reading these condolences aloud to him, an undertaking that consoles us both and we are appreciative of every single letter we received.
Nearly every memory was thoughtfully composed and mentioned a personal experience with Elaine. A few traits were consistently mentioned: pioneer, inspiration, internationally respected scholar, intrepid, enthusiastic, courageous, great sense of humor, curious, fearless adventurer. One of my favorite lines was, “She had a ready tactic for any situation.”
In this column, I shall reminisce about Elaine with a few behind-the-scenes vignettes that exemplify her fearless sense of adventure combined with enthusiasm, curiosity, and courage.
Elaine was not the outdoors type. She thought exercise was a waste of time, and didn’t like hiking unless it served a purpose, such as trekking into a remote papermaking village. In 1985, Tibet opened its doors to foreign travel—though only in the form of a group tour—and Elaine eagerly signed up with a mountaineering agency for a three-week “cultural tour.” She purchased warm sleeping bags in preparation for her first camping trip ever—to the base camp of Mount Everest! She and Sidney camped there for three days, sleeping in tents pitched on rocky ground with temperatures plummeting to 17 degrees Fahrenheit, even enduring a blizzard on their last day. They each returned to Boston ten pounds lighter, having existed primarily on spam and yak butter tea, and with Sidney sporting an Ernest Hemingway beard.
Sidney’s Kodachrome photos of the mountainous landscape were magnificent, as was his documentation of Elaine’s remarkable discovery of the plant Stellera chamaejasme used in traditional Tibetan papermaking. She had read about this plant which grows at high altitudes where little else grows, and was thrilled to spot one with its fragrant white flowers on the side of the road when the group was enroute to a monastery at an altitude of 15,000 feet. Insisting that the jeep stop, she dug up a clump of the plant, and when the group later visited the Hospital of Traditional Tibetan Medicine, she had one of the doctors there positively identify it. Soon after, she bought a shovel in the local market and enlisted some of the men working at the guest house to help her dig up Stellara plants for her to experiment with. Unlike most bast fiber plants, the roots of the Stellara contain the fiber used in traditional Tibetan papermaking, and it was no easy task digging 17-inch-long roots out of rocky soil. Nevertheless Elaine and her hodge-podge team persevered and she arrived home with 80 roots, eager to make paper.
Even as a teenager, Elaine pursued her own interests regardless of the circumstances. During high school she was the first woman to take woodshop classes at the Brookline High Manual Training Building, and for decades a photograph of her adorned the wall next to the desk of the facility director. While raising three young children, Elaine became a professional woodworker, turning beautiful bowls and trays, and creating striking furniture. In the mid-1960s, she accompanied Sidney, who at the time was president of the Greater Boston Medical Society, to Brazil for a medical meeting. Having no interest in lounging at the beach, nor shopping with the other doctors’ wives, she sought out the local lumber yards. When she returned to the Boston airport, her newly purchased logs of exotic Brazilian woods barreled down the baggage-claim chute.
Elaine and Sidney preferred to travel independently, and, fortunately, met Wu, a friendly guide in China who enthusiastically joined them in their quest to seek out remote papermaking villages. He became their regular guide for many years, often discovering papermaking areas in anticipation of their next visit. Wu was from Guizhou province and with his help, Elaine traveled to numerous remote papermaking areas. One of the most unusual papermaking techniques took place in Dimen village, where the Dong minority group made paper by pouring mulberry fiber onto a mould suspended in the air. Multiple scoops of fiber combined with copious amounts of formation aid made from kiwi branches were poured onto a mould which was hung by a rope from a tripod of three bamboo poles. In another particularly picturesque village, Si Qiao, mulberry paper was made nagashizuki style, on well-crafted moulds and finely woven bamboo screens. There were about 150 houses and 50 papermakers, and the main road meandered through the village, the type of village that was fun to explore.
For many years, Elaine would share these papermaking discoveries with others and took small groups of people on “papermaking expeditions” throughout southeast Asia. I accompanied her a few times, and when she was no longer able to travel, I took groups on these adventures myself. Si Qiao was one of my favorite places to visit. There was no restaurant there, so we would pay a local family to make lunch for us, and we would leisurely stroll through the village, documenting the papermaking process and photographing village life and the spectacular scenery. And we would always purchase lots of paper. However, on my last trip to Si Qiao, I sensed that Wu was hurrying us through our visit. As we left the village in our van, he pointed to another van, remarking that the next tour group was approaching the village. It was disappointing to learn about the exploitation of Elaine’s discovery, but that’s how it goes. She paved the way for everyone. She was a true pioneer who inspired many.
Elaine at base camp of Mt. Everest, 1985.
>TEACHING HAND PAPERMAKING
BIO: Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. Her works, both paper and book, have been exhibited internationally and are in private collections.
ABSTRACT: In this issue, Winifred Radolan reflects on papermaking at a Victorian Christmas Festival.
SUBTITLE: Winter papermaking
Twice a year I look forward to sharing my love of papermaking with a steady stream of families attending free events at Smithville Mansion, a historical site in Burlington County, New Jersey. Both Earth Fair in June and Art in the Park in September are marathon days spent engaging with children of all ages from early morning until late afternoon. This year, for the first time, I was also asked to join Smithville presenters for their December Victorian Christmas Festival. I was initially unsure about accepting their invitation to this outdoor presentation, at least as a papermaker with potentially frigid vats of water. But when I was promised a heated tent, such as those used for outdoor receptions and parties, I accepted.
During the weeks leading up to the scheduled date, I became concerned because the usual pre-event communications were lacking. As the time drew near and the weather grew colder, I became secretly wishful that things had somehow fallen through. But with warmer weather forecast for the festival day, I made one last outreach and finally made contact with the slightly disorganized coordinator. He confirmed that I was expected and there was a table with my name on it in the children’s activity tent.
Rather than straight papermaking, I had planned a slightly different project for children on this make-it-and-take-it day. I pre-cut many 5-inch squares of thin, white calligraphy paper and acquired several pairs of kid scissors. One quiet evening I consulted YouTube for some easy-to-cut-and-fold snowflake patterns, then put scissors to work cutting samples. The plan was to have participants pull and couch 6-inch squares of royal purple handmade paper, then place their snowflake atop, and spray it with a dilute solution of methyl cellulose to promote adhesion.
Excess water would then be blotted from the hand sheet with synthetic chamois. The snowflake-adorned paper would be transferred to cereal box sides, covered with dry chamois, then roll-pressed down by the children, using a rolling pin. Children could carry their damp, snowflake-paper creation home, mounted on the supporting board. The dried paper could then be removed from the cardboard the following day. Because I suspected that not all young participants would want, or be old enough, to make their own snowflakes, I also provided pre-cut options.
On festival day the temperature promised to be in the mid-fifties, so I felt fortunate. Especially since the promised heated tent had not materialized! It was evident that several other presenters had fallen by the wayside, as only two of us occupied the tent. A couple extra hours of set-up time, as a glitch had occurred in communicating the actual start time, provided us with the opportunity to visit with each other and play with more snowflake cutting. We also witnessed the assembly of a huge “ice skating rink,” made of large interlocking Teflon sheets such as those used for cutting boards. And then I discovered the very handsome reindeer on site, with quite impressive antlers to admire!
As soon as the crowd of visitors officially arrived there was a steady stream of children with their families and friends, all lined up to cut snowflakes and make their paper. Every so often a crowd of Victorian-clad carolers would wander by to serenade us. It was quite festive! At dusk, the crowd assembled around a huge fir tree for the official tree lighting and offering of Christmas Carols. It was a lovely way to begin the holiday season, and I look forward to participating again next December!
A Victorian Christmas Festival would be remiss without a reindeer.
>DECORATED PAPER
BIO: Sidney Berger is Doctor 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.
ABSTRACT: In this issue, Sid delves into the world of wallpaper sample books, their history, uses, styles, and unique place among decorated papers.
SUBTITLE: “Color! The Rhythm of Smart Style!”
Decorated papers have an unbelievably extensive range of uses. One of the more common applications, yet one that people often do not think about when speaking of decorated papers, is wallpaper. The history of this product does not run a perfectly parallel history to those papers that are used in bookbinding, though there is of course some overlap: both kinds of paper are printed in similar ways (relief, intaglio, planographic, and with stencils); and they both have more uses than originally intended for them (for instance, we have in our collection a pamphlet bound in a wallpaper cover). But wallpapers are more likely to have been printed from rollers than are papers used for bookbinding. The many kinds of wallpaper printing methods are beyond the purview of this column, but it is an extensive and fascinating area of inquiry.
For this column I shall talk about US wallpaper sample books, of which an endless number seems to exist. In fact, collecting wallpaper sample books is a whole field in itself. This is a wide-ranging topic, and I will be able to deal with it only narrowly here.
In the nineteenth century many wallpaper companies advertised their wares through magazines and newspapers. By the 1920s and ’30s, they were issuing sample books, usually annually. The most common format, attested to by the great number of these that have survived, is the perfect bound, 9 inches tall x 7¼ inches wide volume (give or take an inch or two in either dimension), usually about ½ inch thick, and containing 80 to 100 patterns. [Vertical dimensions precede horizontal dimensions.] There are also larger ones, some of which are quite hefty. In our collection, my wife and I have a few that are immense. The one from the Pan American Wall Paper and Paint Company is 14 inch x 18 inch x 1½ inch and contains well over 100 full-size samples.
The sample books are models of sales tactics; many of them have colorful covers showing the papers on walls in elegant settings, with the name of the company in a cartouche, and the lines of papers given elegant names. For Sears, which issued a great number of these catalogs, they use the “Harmony House” title for their line of papers. Inside the front cover there will often be a long explanation in glowing terms of what they are purveying. The Sears catalog for 1938 shows on its cover two of their patterns on walls, with a picture of the rolls in front to indicate that the papers are sold in rolls (not as flat sheets), and says “Color-Perfect.” The text inside reads, “To Be Smart Be Color Perfect.” The text below proclaims, “Color! The Rhythm of Smart Style!” Color again strikes the dominant note in all of the most fashionable and correct home furnishings! To use their product, one will be smart, stylish, fashionable, and correct. This is accompanied by a color photo of a quite fashionable woman wearing a stylish hat and a mink stole, looking at herself in a mirror. Later photos in the sample book show a woman in various scenarios. Here she is pasting the paper to her walls (showing how easy it is to put up), or looking at a roll of paper (captioned “Color Perfect”), or wearing an apron and washing the paper (“Washable”), or in a laboratory with scientific equipment (“Fadeproof”). This last claim may be true since the samples remain bright and lovely, though what would happen to the papers when exposed to light over the years is not clear as these samples were protected in the book.
The papers themselves are a marvel—in their range of colors and images and decorative elements. Some are dull and boring, and would be subtle and relatively invisible additions to the décor of a home. Some are wild and garish, taking over the rooms they would be in. But many are simply gorgeous: lovely patterns printed in wonderful colors. They are printed flat or with raised pigments; some are flocked or printed with metallic highlights (or both); some are printed on seriously embossed papers; and some have varnishes that glow. And in many of these sample books there are strips of accompanying, complementary printed papers showing the borders: the pieces that run along the tops of the papers at the ceiling line. In the more elaborate catalogs there are even pieces of printed cloth tipped in showing the accompanying curtains one could buy to match the papers.
The range of patterns is totally astonishing, for they cater to people of every taste and interest and age. There are papers for babies, little girls, little boys, teenagers, athletes, women and men who love flowers and geometrics and games and parties, fish, birds, mammals, cars, buildings, and everything else in the real world—rendered in soft or bright colors.
The real problem with these papers—and this is pretty much uniformly in all of the sample books I have seen from the 1920s, ’30s, and ’40s—is that the paper on which they are printed is in poor condition. The samples are presumably printed on the paper of the real wallpapers, and this alone explains why finding the original wallpapers in homes today is a challenge. The papers are often quite browned and brittle, as one can see by observing the backs of the sheets, on which all kinds of details are given: sizes of the rolls, the name of the pattern, a blurb about the pattern, the price, whether it is washable or not, and so forth. In addition, most of these catalogs come with an inserted order form.
This little exposition could go on for several more columns, since there is much to say about the papers and the sample books they are in. But I want to talk about one realm of wallpaper sample books that, to me, is quite remarkable: those from companies specializing in historic papers. Anyone wanting a wallpaper from, say, the eighteenth century need only take a small snippet or a photograph to one of these companies and they will produce rolls of the paper. It will take time, and it will be expensive, but the final product will be unbelievably accurate and beautiful (if the original pattern was beautiful) printed with expensive techniques, like from blocks or with stencils, on archival paper that will not deteriorate and with pigments that will not fade. Two particular companies come to mind: Adelphi Paper Hangings and Bradbury & Bradbury, both of which make a wide range of amazing, beautiful patterns. The sample books from these companies, especially that from Adelphi, are fabulous—in their presentation, the papers they show, and the printing of the samples.
Bradbury & Bradbury Art Wallpapers boast that they do exceptionally careful research. Their sample book blurb reads, “Our meticulously researched collection represents some of the finest designs created in England and America in the 19th and early 20th centuries. Some of these designs are reproductions, some are adaptations of stencilled and hand-painted decorations, and some are totally new designs created in our studio . . . .” They divide one of their lovely catalogs down into the following categories of paper designs: Victorian; Neo-Classical; Arts & Crafts; Customer Service (all kinds of things here); and Additions (of more Victorian and Arts & Crafts designs).
In future columns I will return to this fascinating area of decorated papers. They are fun to collect (there are many pieces of historic wallpapers in the Berger-Cloonan Collection at Texas A&M University, and we still have a host of the sample books), and it is educational and exciting to go through these books. They are important insights into the tastes of the times—how people decorated their homes during the period of their manufacture.
Bradbury & Bradbury Art Wallpapers; a company that specializes in historic wallpaper recreations.
Examples of wallpaper sample books from the early twentieth century.
A page from the Panamerican Wall Paper and Paint Co sample book.
Cover of the 1938 Sears Catalog for wallpaper.
>TALKING PAPER CONSERVATION
ABSTRACT: Maria Olivia Davalos Stanton is a visual artist and art conservator to be. In this column series, Davalos Stanton shares interviews, resources, and news about paper conservation—bringing the paper cycle full circle.
SUBTITLE: Articles, databases, and blogs, oh my!
Correction: Last issue listed Simon Barcham Green as author of the retired Paper History column; it should have read Simon and Maureen Green as both contributed to the creation, endurance, and writing of the column.
In between interviews with conservators, I will run listings of resources and news articles, both online and in print, related to paper conservation. Eventually, the more pressing or relevant ones will be added to our listings at the end of this newsletter, but to kickstart this process I wanted to share them here in a cohesive and introductory manner. There is a plethora of information online and this list is by no means comprehensive. Merely, I wish to provide a small stepping stone from which you may delve into the wealth of articles, informational videos, blogs, and databases available. If there are specific questions about paper conservation, I am happy to investigate and share the results here, or seek out those who would have the answers.
Blogs are a wonderful resource to which you can subscribe, especially for bite-sized informational tidbits. I have included some of my favorites (some are more active than others, and some are archives). Databases provide hundreds if not thousands of publications from generic conservation terms on a wiki to the most niche of conservation treatments such as those found on AATA. The fact that the resources noted below are mostly in English does not do justice to the large, rich international community of paper (and art) conservators sharing their knowledge on the web.
Blogs which focus on paper and book conservation:
Online databases related to art conservation:
Local organizations in the midwest:
For more regional conservation centers, visit rap-arcc.org/rap-members.
Paper specific branches of conservation organizations:
General information on conservation resources and collections care:
>STUDYING HAND PAPERMAKING
BIO: Amy Richard is a visual artist, writer, and proprietor of Amy Richard Studio in Gainesville, Florida where she produces original artwork, teaches papermaking, and tends to her kozo garden. In this column series, Richard explores the unique energy of handmade paper, the spiritual and healing characteristics of the process itself, and the opportunities for studying papermaking in colleges, universities, and other established art centers in the United States and abroad.
ABSTRACT: In this issue, Amy Richard reflects on teaching the first semester-long papermaking course at the University of Florida, what it means to be a teacher, and the spirit of paper.
SUBTITLE: Docendo discimus-
I’ve always believed in the ancient Roman proverb docendo discimus, “by teaching, we learn,” but in recent weeks, this phrase has taken on a whole new meaning. Asked to be an instructor for the first semester-long papermaking class at the University of Florida, I am reminded every day how valuable and humbling it is to learn by teaching others.
Aside from the demands of orchestrating a class in a makeshift studio, the ‘big picture’ questions have proven to be the biggest challenges for me: What should my expectations be when teaching total beginners at the college level? How much focus should be put on technique versus content? As a friend, an artisan woodworker, so aptly put it: “the challenge is learning to teach an art form that also requires a firm understanding of craft.”
In these first weeks of the semester, it occurred to me more than once that as much as these students are relying on me to teach them papermaking, I am relying on them for clues on how best to teach this practice—how to recognize when I’m “losing” them or stimulating interest. As many educators know (and I’m quickly learning), it’s one thing to develop a syllabus and another to implement.
As part of my personal study of papermaking, I recently asked the students to provide a few comments on why they were interested in the class in the first place and whether it is living up to their expectations. The responses caught me off guard with their thoughtfulness and candor.
Ros Fiol, a graduating senior, explained: “One of my degrees at UF is in printmaking, so I figured it would be interesting to have a hand in my art practice earlier in the production line than I’m used to. I had never previously considered making my own paper to print on, so when I saw this course as a suggested option… how could I say no?” Fiol continued, “It has not only enriched my art practice, but papermaking, as a discipline, also directly aligns with areas of personal growth I want to focus on. It teaches mindfulness, gratitude, and appreciation of the resources we have available to us. It can be a collaborative practice that fosters community, and is an excellent form of healthy escapism that reminds me how healing it can be to slow down.”
Matya Kaye, a junior, was drawn to the class by the material itself. “After seeing the course title [Deep Papermaking], I researched what papermaking was all about and realized that I was interested. Hand papermaking seemed even more intriguing because I have always loved working with plants….I have loved getting to know the history and materiality of handmade paper.”
Another student, Atiya Thephasit, a sophomore, was refreshingly candid. “Honestly, I signed up because this was the only class left but I chose to stay after I went to the first class because the course actually sounded interesting. I just like anything that brings me back to the old traditional ways; I thought it would be good for me since I’m an art major and I always complaining about the quality of commercial papers. I came in not expecting to love it or hate it but now it has become my favorite part of the week. I’ve become sooo obsessed with it that I even think about it before I go to sleep.” Thephasit added, “I recently watched an interview with Bill Murray [the actor] and he mentioned about how sometimes he goes two or three days just doing things but he feels like he is not ‘awake.’ I totally understand what he meant when he said that. I feel like making paper ‘wakes me up.’”
Re-energized that they are indeed connecting with the process, I then began to worry whether I made a mistake by limiting the first assignment to successfully completing a number of nagashizuki-style sheets of paper instead of requiring them to “say something” with their paper.
As we wrapped up our last week of Asian-style papermaking, I realized that the answers to my questions are slowly being revealed. While taking turns making Nepalese-style and nagashizuki sheets, the students were also encouraged to ‘play’ with the raw fiber itself, making kozo bark lace, and experimenting with the (normally) discarded green/black bark from the kozo scrapings. Studying their work at the end of the day in a quiet, empty classroom, I marveled at the variety of ways they were translating the process.
It seemed that by asking them to simply be present with the raw material and taking away the pressure of producing Art, their paper spirits were emerging with a sense of excitement and wonder. I smiled as I thought of yet another seasoned adage: trust the process.
Bark lace experiment by Atiya Thephasit.
Bark lace experiment by Gabriela Ramsey.
Nepalese-style paper with kozo bark lace by Kristina Zakarkaite.
Listings for specific workshops and other events in the following categories are offered free of charge on a space-available basis. Contact each facility directly for additional information or a full schedule. The deadline for the July 2019 newsletter is May 15.
> CLASSES AND WORKSHOPS
Abington Art Center, Jenkintown, PA, (215) 887-4882, www.abingtonartcenter.org. Classes, workshops, and exhibitions in a variety of media.
Papermaking Studio, Session I: April 11–May 9, Session II: May 19–June 6, with Winnie Radolan
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 from April through early November.
Flat / Not Flat: Sculptural Paper, July 28–August 3, with Leigh Suggs.
Natural Dyeing for Book and Paper Artists, August 4–10, with Natalie Stopka.
Sculptural Paper, August 11–17, with Gretchen Schermerhorn.
Boro-Inspired Papermaking, November 3–9, with Claudia Lee.
Atelier pour le Papier, Yverdon-les-Bains, Switzerland, April 8–12. A five-day workshop on making your own karibari will take place in Yverdon-les-Bains, Switzerland. For more information about applying, visit https://www.atelierpourlepapier.ch/actuel.
The Banff Centre, Banff, Alberta, Canada, (403) 762-6100 or (403) 762-6180, www.banffcentre.ca. Artist residencies in fully equipped papermaking studio and other disciplines. Contact wendy_tokaryk@banffcentre.ca for registration info.
Book Arts Los Angeles, Los Angeles, CA, (310) 722-9004, www.bookartsla.org. Classes in printing, bookbinding, and other crafts in the Culver City neighborhood.
Japanese Papermaking, March 21, with Anne Covell.
Brainbridge Artisan Resource Network, Brainbridge Island, WA, (206) 842-4475, https://bainbridgebarn.org/. Community art center with classes and open studios in a variety of art fields, including book arts and printmaking.
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.
Introduction to Paper Cutting, March 17–23, with Ingrid Lavoie.
Papermaking—An Introductory Class, April 28–May 4, with Claudia Lee.
Carriage House Paper. Brooklyn, NY, (718) 599-7857, www.carriagehousepaper.com. Short, specialized, intensive workshops; private teaching sessions; artist collaborations; and group programs offered throughout the year at a fully equipped papermaking studio.
Sculptural Papermaking, April 14. This popular workshop explores the sculptural possibilities of handmade paper.
Japanese Papermaking, April 27–28. A busy two-day workshop where each participant will create an array of papers from kozo, mitsumata, and gampi.
Pulp Pouring, May 11. Pulp pouring is an ideal way to make large consistent sheets of paper without breaking your back.
Introduction to Hand Papermaking, May 25.This workshop covers basic techniques of Western papermaking including sheet forming, pressing, and drying.
Pulp Painting, May 26. This workshop will explore image making in hand papermaking.
Contemporary Watermarks, June 8. Create personal watermarks using our watermark sheeting and buttercut.
Only Flax, June 9. This intensive day explores the many incredible properties of flax with emphasis on the use of overbeaten flax and methods of controlling shrinkage to make sculptural works.
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. Open studio sessions and community studio memberships also available. For information, visit http://www.dieudonne.org.
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. For more information, visit https://www.haystack-mtn.org/programs/.
Helen Hiebert Paper Studio, Red Cliff, CO, www.helenhiebertstudio.com. Helen holds regular papermaking workshops at her studio in the heart of the Rocky Mountains, online, and around the world. For her upcoming schedule, visit http://helenhiebertstudio.com/calendar/.
Hook Pottery Paper, LaPorte, IN, (219) 362-9478, hookpotterypaper@comcast.net, www.hookpotterypaper.com. For information on residencies, workshops, and experiences at Hook Pottery Paper, visit www.hookpotterypaper.com/classes/.
Professional Natural Fiber Papermaking, June 24–27.
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.
Karen Hanmer Book Arts, Glenview, IL. A private studio in north suburban Chicago offering workshops and private instruction to working practitioners and dedicated hobbyists, focusing on a solid foundation in traditional binding skills. For more information, visit http://www.karenhanmer.com/calendar/.
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/.
Papermaking with Natural Dyes, Mar 21–24, with Radha Pandey.
Mills College Summer Institute 2019, Oakland, CA, June 7–14, Mills College hosts this week long summer institute teaching advanced book arts. In the first session, June 7–9, choose from Introducing Oneself to the Risograph, with Clifton Meader, or Cut Stories, with Béatrice Coron. In the second session, June 10–14, choose from Animation & Letterpress, with Barb Tetenbaum, orv Elucidare: Lettering as Image & Complementary Textural Writing, with Suzanne Moore. For information on applying, visit https://millsbookartsummer.org/
Minah Song Art Services, Arlington, VA, (646) 352-3828, Paper conservation studio in the Washington DC metro area which offers workshops.
Workshop on Asian Papers and their Applications in Paper Conservation, June 18–20, off-site workshop at The British Library, 96 Euston Road, London.
Minnesota Center for Book Arts, Minneapolis, MN, (612) 215-2520, www.mnbookarts.org. Classes at the Open Book Center for Book and Literary Arts.
Dimensional Papermaking, April 4, with Bridget O’Malley. Learn techniques for working with both Eastern and Western fibers to create three-dimensional work.
Dirty Works: Paper Marbling, April 5, 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.
Introduction to Marbling, April 14, with Heather RJ Fletcher. Learn the basic process of marbling with acrylics, including recipes for the various components of the process.
Paper Marbling: Pattern I, April 27, with Sally Power. Designed for those who have experience marbling, this workshop will focus on patterns, such as nonpareil, chevron, and their variations.
Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, http://morganconservatory.org. The Morgan Conservatory Open Studio program allows artists and students access to studio space and equipment, provides them with an opportunity to create art in areas of papermaking, letterpress printing, and bookbinding, and presents regular workshops in papermaking, printing, book arts, and mixed technique. For more information, visit http://www.morganconservatory.org/open-studio.
Papermaking with Invasive Plants: The Kudzu Vine, May 4–5, with Lizzy Arden.
Japanese Papermaking, May 18–19, with Michaelle Marschall.
Space Between: Sculpting with Kozo, June 8–9, with Tom Balbo.
Pulp Painting and Monopring Fusion, June 15–16, with Lisa Schonberg and Michaelle Marschall.
Papermaking with Local and Natural Fibers, June 22–23, with Tony Carlone.
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.
Recycled Paper: Castlemaine, April 28, with Gail Stiffe.
Kozo East and West, June 16, with Gail Stiffe.
The Papertrail, New Dundee, Ontario, Canada, (800) 421-6826, www.papertrail.ca. Classes taught in English or French in papermaking, marbling, 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_2019_RZ_web.pdf
Penland School of Craft, Penland, NC, (828) 765-2359, www.penland.org, offers a full program of craft workshops, including papermaking and paper arts. For information on upcoming workshops in paper and book arts, visit http://penland.org/workshops/books-paper/.
Paper: Natural Fibers, Natural Colors, Natural Forms, April 7–13, with Gibby Waitzkin. This workshop will explore papermaking from plants. All levels.
Indo-Islamic Paper: Tools, Tradition, Culture, May 26–June 7, with Radha Pandey. Islamic-world papermaking, as it is known today, was the critical, historic link between papermaking traditions in East Asia and Europe. All levels.
The Typography of Handmade Paper, June 9–21, with Mary Hark. A thorough investigation of papermaking fibers and traditional tools will be the starting point for a lively exploration of surface, form, and content. All levels.
Sculpting with Handmade Paper, June 23–July 5, with Jo Stealy. This workshop will explore the sculptural potential of handmade paper. 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.
Suminagashi Marbling, April 11, with Kelly Laughlin. In this creative, meditative class, use colorful inks to paint on the surface of water as you create unique, marbled paper designs.
Islamic Papermaking, April 13–14, with Radha Pandey. In this two-day workshop, you will learn about Islamic-world papermaking and its role in the history of papermaking.
Pronto Papermaking, April 25, with Christy Ball. Always wanted to learn how to make paper, but don’t have a lot of extra time?
Introduction to Western Papermaking, May 18, with Laura Asher. This workshop covers the basic techniques of Western-style hand papermaking.
Pulp Casting: Quick & Easy, Down & Dirty, May 19 and 26, with Melissa Ezelle. Come learn the basics of hollow cast paper forms to create lightweight relief sculptures in this two-day workshop.
Robert C. Williams Museum of Papermaking. Atlanta, GA, (404) 894-5726, http://paper.gatech.edu. For upcoming workshops, visit http://paper.gatech.edu/upcoming-workshops.
Locally Sourced Papermaking, April 6, with Robert Thompson. Explore papermaking with a variety of easily sourced fibers.
EXPLORE! Pulp Painting, May 16. The EXPLORE! series consists of nine educational workshops dedicated to the art and science of paper. Perfect for homeschoolers or anyone looking to experience the diverse potential of paper.
San Diego Book Arts, 8680 Washington Avenue, La Mesa, CA 91942, www.sandiegobookarts.com. The mission of San Diego Book Arts is to serve as an educational and creative resource for the community and to advance the book as a vital contemporary art form. 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, workshops, events, and exhibitions year-round.
Introduction to Paper Sculpture, April 28 or May 11, with Michelle Wilson. Students will learn building methods for armatures and ways to wrap and dip their armatures in high-shrinkage paper pulp.
Paste Papers, Old and New, July 27–28, with Michael Burke. Explore the joys of making your own historical decorated papers, then experiment with contemporary designs and inventive techniques.
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/.
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.
Textile Art Center, New York City, New York. http://textileartscenter.com/ NYC–based resource center for textile art which offers classes, workshops, open studio rentals, and events. For information on upcoming workshops, visit http://textileartscenter.com/index.php?route=classes/category.
West Dean College, Chichester, West Sussex, U.K., (0)1243 811301, short.course@westdean.org.uk, www.westdean.org.uk. West Dean College of Arts and Conservation in West Sussex provides course work and degrees in creative arts and conservation fields, including papermaking, bookbinding, and printmaking.
Creative Papermaking with Natural Colors, July 15–18, with Jane Ponsford. Explore color in papermaking using natural dyes and pigments including some from the gardens at West Dean.
Women’s Studio Workshop, Rosendale, NY, (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
The Fabriano Paper/Print/Book 2019 tour of northern Italy will take place June 17–July 2 offering a comprehensive experience with Italian papermaking, books, and printmaking. For more information, visit http://www.lynnsures.com/workshops_upcoming.html.
A Papermaking Symposium supported by IAPMA will take place at Rite Folkhighschool in Latvia, July 1–5. There is space for five local and five international artists interested in papermaking to participate in this symposium. For more information and to apply, contact Ilze Dilane at ilze.dilane@gmail.com.
Lucia Farias Workshop offers a ten-day book and paper arts tour in Mexico City, July 25–Aug 3, with workshops by Susana Rodriguez and Rodrigo Ortega. For more information contact lucia@ovejaverde.com.mx.
The Friends of Dard Hunter conference, Manifest(o): Paper Revolutions, will take place September 19–21, hosted by the University of the Arts and the University of Pennsylvania. Visit https://friendsofdardhunter.org/conference/ for more information.
Radha Pandey leads an India Book Arts and Culture 2019 tour from November 9–24. This intimate two-week tour of India offers a peek into the studios of various working artists and craftspeople in printmaking, papermaking, and dyeing. For more information visit https://www.radhapandey.com/tours.
> EXHIBITIONS
Bound & Unbound 5: Altered Book Exhibition will be on display from August 26, 2019 through January 3, 2020. Entry is free during library hours to this international juried art book exhibition sponsored by University Libraries, University of South Dakota. For more information visit http://libguides.usd.edu/BU5
> 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 Women's Studio Workshop (WSW) in Rosendale, NY, (845) 658-9133, info@wsworkshop.org, www.wsworkshop.org, has available the following upcoming artist residencies. All applications open June 1 and are due October 15.
The Art-in-Education Workspace Residency at the WSW is for artists with teaching experience, a knowledge of intaglio, silkscreen, or hand papermaking, and an interest in working with public school students. For more information, visit https://wsworkshop.org/residencies/art-in-ed-workspace-residency/.
The Chili Bowl Workspace Residency supports the WSW’s annual Chili Bowl Fiesta! Residents divide their time between creating bowls, mugs, and tumblers for the Chili Bowl and working on their own ceramics project of choice. 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. For more information, visit https://wsworkshop.org/residencies/studio-workspace-residency/.
The Pollination Project seeks to unleash the goodness in every person by offering seed grants to social-change agents who wish 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
European Hand Papermaking: Traditions, Tools, and Techniques, by Timothy D. Barrett. In this important and long-awaited book, Barrett offers a comprehensive “how-to” book about traditional European hand papermaking aimed at a variety of audiences as the companion volume to Barrett’s Japanese Papermaking: Traditions, Tools and Techniques. For more information, visit http://thelegacypress.com/barrett-papermaking.html.
Mark Lander’s papermaking videos on YouTube are soothing as they are educational. Three videos are currently up, watch the series here: https://www.youtube.com/channel/UCtwOnNk8KcyEUdAALaMgm9w.
> MISCELLANEOUS
Podcast time! Paper Talk is an ongoing series of interviews by Helen Hiebert featuring artists and professionals who are working in the field of hand papermaking. Subscribe to Paper Talk in iTunes.
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 on rebuilding a water-powered paper stamper. Also ongoing: flax, hemp, and cotton fiber processing; and medieval bookbinding using wooden boards and clasps. Interns have access to an extra wood-heated cabin with a board shear, guillotine, and fiber cutter. More information is available at http://cargocollective.com/oldway/Story-Place. Snail mail (Jim Croft, PO Box 211, Santa, ID 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.
Curious to see what you would score on a 1977 bookbinding final exam? Check out this and other book arts course material taught by Prof. Richard Minsky. https://minsky.com/sva.htm
Kintsugi is the art of repairing broken ceramics using a gold infused lacquer to highlight rather than disguise the damage. Robert Bolick’s “Bookmaking Book Art - Kintsugi” extends this Japanese technique to book arts. Visit https://books-on-books.com/2019/02/20/bookmarking-book-art-kintsugi/ to read the full article.
> 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.
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