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HAND PAPERMAKING
NEWSLETTER
number 127 • july 2019
Newsletter Editor: Maria Olivia Davalos Stanton
Columnists: Sidney Berger, Donna Koretsky, Winifred Radolan, Amy Richard
Hand Papermaking Newsletter is published quarterly. Annual subscriptions are $65 per year in the US; $70 in Canada; $95 elsewhere. Two-year subscriptions are $115 in the US; $125 in Canada; $175 elsewhere. Institutional subscriptions are $85 per year in the US, $110 outside the US. To receive a printed copy of the newsletter, add $20 to your yearly subscription. Payment in US dollars is required. Visa/Mastercard accepted. For more subscription information, or a list of back issue contents and availability, contact:
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The deadline for the next newsletter (October 2019) is August 15. We encourage letters from our subscribers on any relevant topic. We also solicit comments on articles in Hand Papermaking magazine, questions or remarks for newsletter columnists, and news of special events or activities. Classified ads are $2.00 per word with a 10-word minimum. Rates for display ads upon request.
Hand Papermaking is a 501(c)(3) non-profit org-anization. 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, Kelly Taylor Mitchell, 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.
Dear Readers,
Paper has taught me many lessons.
Lesson number one: It’s just paper.
Behind every dyed, gelled, and flattened sheet of paper, there are people. I was fueled with hot tea and home-made brownies during the four winter months I worked at Cave Paper. Through Minneapolis bliz-zards and sub-freezing weather, I spent my days indoors, mystified and befriended by natural dyes sourced from walnuts husks, indigo plant, and persimmon leaves. I had a love affair with hot gel and flax sheets. On sunny and cloudless days, we formed Cloud Paper to summon delicious white clumps into the sky beyond our studio ceiling. Making Cloud Paper is playful...unique... special; I painted with pulp on the surface of still water. If I wrecked a sheet along the way, I was taught it’s just paper.
Lesson number two: Intention matters.
I won’t forget the sweet smell of the wet studio during my first experience teaching paper-making. Over two summer days, I shared my knowledge with the Native Youth Arts Collective (NYAC) in the paper studio at the Minneapolis College of Art and Design. The smell of sweet grass and sage surrounded us in a humid embrace! Guided by an interest to incorporate medicinal plants, they chose to layer, encapsulate, and sprinkle herbs into cotton pulp. Their use of medicine in paper-making has me wondering: Does my art practice reveal what is sacred to me?
Thank you to the NYAC mentors Heidi Hafermann and Joe Beaulieu, as well as artist Courtney Cochran, for allowing me to be a part of your arts programming. I have immense gratitude for Kate Mohn, who coordinated and secured funding for this workshop. And I must thank artists Amanda Degener and James Kleiner for imparting the philosophy that paper has a life cycle, and sometimes, it’s cut short!
Ana Laura Juarez
Minneapolis, Minnesota
Cotton pulp paper made by the NYAC with sage and sweet grass. Photos by Courtney Cochran.
along the paper road... A Non-Paper Treasure from a Paper Journey
In this issue, Donna Koretsky finds a misplaced sheet among her flat files, and takes us with her on a trip down memory lane.
I was leafing through my collection of Japanese papers in anticipation of an upcoming annual Japanese papermaking workshop where we cut down a few kozo trees that grow in my Brooklyn backyard and make paper from their inner bark. Hoping to inspire my students, I began pulling out the more interesting sheets which I have collected in Japan over the years.
This activity takes me a long time as I nostalgically relive the moment I acquired each sheet of paper. The papermaker who made calligraphy papers from mitsumata fiber had a majestic view of Mt. Fuji from his studio window. Rather than brushing his naturally dyed sheets of paper onto gingko wood drying boards, he rubbed the damp sheets onto the boards using a special leaf. The dry sheets had beautiful embossments of wood grain. I purchased a series of sheets made by Eishiro Abe, a Living National Treasure in the 1980s, already an elderly man and probably the most famous papermaker in Japan at the time. It was considered an honor to have exhibitions in department stores, and his paper was displayed in a gallery within the famous Mitsukoshi department store in Tokyo. My sheets included his hallmark colorful cloud paper and raindrop paper.
I have three flat files in my studio. The bottom two drawers of my ten-drawer oak cabinet from Charrette hold the bulk of the Japanese papers. Seven drawers contain handmade papers made by us at Carriage House Paper—thin translucent flax and abaca sheets, ¼-inch-thick cotton sheets, decorative sheets using luster pigments in the pulp, and our signature black paper. The tenth drawer is devoted to all my silkworm papermaking projects. Every visitor to the studio is subjected to the contents of this drawer and my silkworm transgressions. There are 100 sheets, each 3 x 3 inches, and each sheet made by one silkworm. The largest sheet, made by twenty silkworms, is 18 x 24 inches. Silkworms “drew” on our black paper, creating stunning shimmering patterns.
Underneath the Charrette cabinet is a wider, deeper three-drawer steel flat file that contains larger sized sheets, including a number of Japanese sheets that are too large to fit in the Charette cabinet. Our friend Ben found the third cabinet about 20 years ago, abandoned on the street in our industrial Brooklyn neighborhood, and in need of attention. It took us a few years, but my husband David and I lovingly restored the wooden cabinet to its intended full glory, even polishing the brass label holder on each drawer. It must have originally belonged to a museum of sorts as the original labels referred to dinosaurs. This cabinet contains papers from all over the world. One drawer is devoted to papers from Burma—it opens to an orange/gold glow of bamboo paper; burnished and unburnished rice-straw sheets of all sizes; and packets of 24 karat gold leaf, hand pounded by the goldbeaters of Mandalay. Another drawer labeled Vietnam is full of woodblock prints of folklore from the Dong Ho Village outside of Hanoi. They are printed on locally made mulberry paper coated with a mixture of rice paste and ground up seashells, giving all the prints a distinctive shiny finish. There’s a drawer for beaten bark, not really paper, with examples of amate—both traditional and contemporary—from parts of South America, and also beaten bark from Hawaii and the South Pacific.
As I was pulling a large sheet of patterned Japanese kozo paper (the original blowout technique) from the steel drawers, I came across a sheet that was clearly not paper. I had completely forgotten about the existence of this anomaly which was stored in the wrong drawer as it should have been in the drawer amongst my collection of Chinese papers.
In October of 2008, I travelled with Elaine and Sidney Koretsky to Xishuangbanna, the tropical part of southwest China, bordering Myanmar and Laos. Our quest was to find a specific item for our International Paper Museum: a beaten bark outfit worn by farmers in that area (see Hand Papermaking Newsletters 88 and 120). While searching, we visited various papermaking villages, all with the same papermaking technique, namely the pouring method. It was easy to spot these papermakers; dozens of moulds would be lined up on a field or leaning on fences alongside the road with the paper attached, drying in the sun. At one point I noticed a series of sheets out in the sun that seemed to be taken out of the moulds and were drying on bamboo poles.
We had just finished documenting an entire papermaking sequence and went inside the papermaker’s home to drink tea and to purchase a few bundles of paper. The papermakers in this region are of the Dai ethnic group which has a culture similar to the Thais and the mulberry paper is primarily used for the making of parabaik (prayer books). Piles of paper were stacked high in one corner of the room. But in the other corner there was another large stack of something that looked like thick misshapen paper, piled haphazardly. The color was a mottled ochre and brown with a shiny surface and a funny smell.
We soon learned that alongside making sheets of paper by hand, this family also made sheets of rubber by hand. The natural rubber comes from the rubber tree Hevea brasiliensis which is tapped daily, early in the morning. A groove is cut into the bark, going part way around the tree at an angle. The cutting action severs the latex vessels, and the white milky liquid begins to flow along the sloped channel and into a container hanging from the tree. When a sufficient amount of latex has been collected over a span of time, it is poured into pans. Once in the pan, a coagulating chemical (formic acid) is added and thoroughly mixed into the latex, causing it to thicken to the consistency of tofu. After setting, the rubber blob is popped out of the pan and fed into a foot-operated machine consisting of two big rollers, flattening and extruding the rubber to the approximate size of 17 x 22 inches. The sheets are then rinsed in water and hung outside in the sun to dry. From a distance, they look like paper being air dried.
Rubber drying in the tropical sun of Xishuangbanna, China.
Rubber drying looks surprisingly like paper drying.
I purchased a sheet of rubber along with paper bundles from the papermakers. Our guide, a botanist from the Kunming Botanical Garden, was also fascinated by the rubber, and he too purchased a souvenir sheet. Normally the rubber is sold to a sneaker factory.
Most rubber these days is synthetic, so I feel fortunate to own a sheet of handmade rubber which I have now relocated to its proper place in the flat files, beside the handmade paper from Xishuangbanna, China.
When I did a little research of my own on rubber, I learned that many other plants also exude this milky latex, though the rubber tree does it most efficiently. It is like choosing one’s papermaking fiber. We tend to use the plants in which we can most efficiently extract the cellulose. I have a large pencil cactus that exudes a milky liquid every time it gets bumped. The next time I give it a trim, I plan to collect its latex and, if I’m lucky, I may be able to produce a piece of rubber the size of a post-it note.
–Donna Koretsky
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.
teaching hand papermaking Weaving Fiber, Weaving Pulp
In this issue, Winifred Radolan leads a papermaking workshop for a Guild of Handweavers.
I have often found that referrals can provide some of the most interesting opportunities to work with new groups of people. Such was the case this past April, when I found myself presenting a workshop to the Handweaver’s Guild of Bucks County, Pennsylvania.
One of their members had taken a workshop that I gave to the Philadelphia Guild of Handweavers. She enjoyed her experience enough to track me down at my ongoing Paper Studio classes at Abington Art Center in Jenkintown, Pennsylvania, where we meet every Thursday afternoon. After a few weeks in the vats with our Abington papermakers, she asked me if I’d be interested in doing a lecture and possible workshop for her Bucks County group, to which I whole-heartedly responded, “Certainly!”
We discussed various possibilities for both the lecture and work-shop, and decided to let the Guild decide what was of most interest. They fancied the idea of a brief presentation of paper history, then a look at paper as an art form, viewing a selection of my body of work. For the workshop, they wished to make cast-paper vessels using short-fibered pigmented cotton and a pre-existing bowl form for the mold.
I gave workshop participants the option of selecting three colors for casting pulp. In preparation for the event, I beat second-cut cotton linters for fifty minutes. I pigmented one third in teal, one third in charcoal, and I left the remainder white. I purchased fifteen clear plastic bowls with high sides to use as moulds. And I asked participants to bring a variety of their fiber treasures to use as inclusions. Weavers and fiber enthusiasts generally have really delicious collections!
In early April, after a LONG winter, the hour drive to Buckingham, Pennsylvania was quite beautiful! The promise of new green growth and spring flowering trees were everywhere along the roads outside the city. It seemed like no time at all when I pulled into the parking lot of the church the Guild calls their headquarters.
The first thing I noticed was that the parking lot was full of cars. As I carried loads of my equipment into the community room, where the Guild was assembling, I noted much industry from the gathering crowd. The room was bright, spacious, and filled with many round tables with chairs, some already occupied. Two rectangular tables had been set aside for my workshop materials.
I learned pretty quickly that this was a large and active Guild. While not initially thrilled that I’d be sitting through an entire business meeting before my program, I was captivated pretty quickly. It was interesting to learn about their various outreach, workshop, and educa-tional opportunities. I could easily envision becoming involved with this organization in my next reincarnation!
Then, at the end of their meeting it was “Show and Tell” time! At least a half dozen women had signed up to share. Each one of them brought up a large container of things that they had worked on in the past month. There were hanks and hanks of hand-spun and hand-dyed fiber, each more beautiful than the last. There were yards and yards of hand-dyed scarves, which emerged endlessly from their con-tainers, as in the magician’s trick! One woman had multiple beautiful handwoven scarves. Another had a large collection of machine embroidery panels. Along with marveling at their beautiful creations, all I could think was that I don’t live right! I would struggle for years to complete these volumes! It was definitely a treat to behold, and somewhat humbling!
Members of the Handweaver’s Guild of Buck County hard at work.
Cast Paper Vessel made by one of the participants.
Eventually, it was time for my lecture to the general member-ship, a gathering of easily forty people. I brought my old DVD on the history of paper from the RC Williams Museum of Paper History in Atlanta, a concise synopsis of paper’s 2,000-year history. I also narrated the old Dutch re-enactment video of a seventeenth-century hand mill. And then, my thumb drive, with all my personal images of past work, failed to open in the laptop provided for my use. What dismay! Well, the show must go on, and I had many samples of cast-paper vessels to display for the workshop. So I shifted the audience focus to those samples while I ad-libbed for the remainder of my time. The session became quite interactive, with many questions, so most likely that was even more enjoyable for folks.
During the refreshment interlude before the workshop, I ran into a couple of old student/friends from my days of teaching paper at Bucks County Community College. One, who had been wait-listed for the work-shop, had even brought a casting project from “back in the day.” I invited her to stay, since I knew I had the materials to accommodate her addition.
I like to teach the “patty-cake” casting method by first having everyone make a small medallion, using a container lid as a mould. I distributed to everyone in the group the lids and a small circle of “fun foam,” with adhesive on one side. They were instructed to take a short time cutting a simple design from the foam, and to then peel the backing away and adhere their shapes to the inside of the lid. I demonstrated scooping a golf-ball-sized handful of pulp and tossing it back and forth in cupped palms a few times, to align the fibers, before placing it in the lid. I had everyone repeat this process until their lids were filled with a smooth ¼-inch-thick layer of pulp. They tamped the wet pulp with flat fingers to settle it evenly in the lid. Then very gradually and gently, they began lifting the water out by sponge pressing, which was eventually done with increasing pressure. It’s generally a surprise to most people who are new to casting just how much meti-culous work is involved with the pressing, but the medallion project is a quick way for students to get a “feel for the process.”
Moving on to the “cast vessel” portion of our afternoon, I explained that the “patty-cake” preparation and application of the pulp would be the same, with everyone starting at the bottom of their bowls. Then I showed them how to wet their various fiber inclusions, and let surface tension help to adhere them to the sides of the bowls. I cautioned avoiding excessive overlapping and suggested that inclusion place-ment often shifted somewhat during the sponge-pressing stage. I also demonstrated how to mix the pigmented stock pulp to either obtain homogenous variations or a tweed effect. There were enough small pulp receptacles for everyone to individualize their palette, drawing from stock solutions of the white, teal, and charcoal.
It was great fun to watch the various creations taking shape, as everyone got into their work. It was also such a congenial and supportive community of women. What a pleasure, with fifteen participants, to find that there most of them immediately got “the feel” of this hand-casting method. Before long, the vessels were being sponge pressed, and the chatter, during this more rote step, grew livelier.
I am often called upon to teach the Cast Vessel workshop. And my enjoyment of the process continues to grow. But I must say, this group of “weaving women” were the most fun group I’ve taught so far! I hope we have the opportunity to explore paper together further in the future!
–Winifred Radolan
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.
Women Weavers of the Handweaver’s Guild of Buck County.
decorated paper
The Art of Folding and Dyeing
In this issue, Sid ruminates on shibori, a manual resist dyeing method.
One of the miracles of paper is in the tremendous number of ways that it can be decorated. One of those ways is itajime—folded and dyed paper.
This form of decoration, originally applied to cloth, goes back hundreds of years, the earliest known from the eighth century. Itajime falls under the larger topic of shibori—a manual resist dyeing method. That is, the fabric would be exposed to dye in certain areas, with some parts of the fabric sort of “walled off” from the dye. Instead of using wax or other substances, like batik, the dyer manually “walls off” the portions of the fabric with string (shibori) or only folds (itajime).
It is useful to recognize that many kinds of Japanese papers, made from the wonderful, long, strong kozo fibers, are so soft and pliable that they can be treated like cloth, so the use of string to create an area of resist in paper decoration is possible. Hence, paper has been decorated with shibori techniques as long as cloth has. The most common form of shibori is tie-dyeing. In this method, familiar to almost every-one—especially those of us who saw tee shirts and scarves and dresses produced with this method back in the 1960s—string is used to tie off portions of the sheet, the knot being the point of resistance. That is, an area of the paper is tied off and dipped into the dye. The dye penetrates only so far as the knot.
Many years ago I was privileged to watch experts from Japan— living national treasures—tie-dyeing cloth, using knots around exceptionally tiny pieces of fabric, such that, after dipping, the result was a tiny dot of dye on the cloth, no bigger than a pinhead. To create a whole “realm” of shading, the artist needed thousands of such dots, each one requiring its own knot. It is a painstaking and precise form of decoration, and the results are so small and so much in the background of the larger pattern that most people simply do not see the extensive artistry and effort that goes into the pattern. With soft kozo paper, the same effect can be achieved. The Japanese call this kanoko shibori.
Other shibori effects can be achieved with pleating or stitching, and then binding the cloth or paper with string, or wrapping the paper or cloth around a dowel and then tying it tightly with string. With itajime, the shibori technique best suited to paper, the sheet is merely folded and held firmly in place between boards, and then the boards are tied or clamped together to hold the folded sheet tightly enough that no dye gets beyond the boards at the folds. Some people see the final product, understand that there is a method of resist, and equate this with tie-dyeing. The Anne Maile book Tie-dyed Paper (New York: Taplinger, 1975) is ostensibly about tie-dyeing, but it shows many sheets of paper that are definitely not tied. The first two illustrations in the book clearly show itajime sheets, and they are both captioned “Tie-dyed”—when no tying was used.
The base sheet can be white or colored, and the artist can use one or more sets of folds to impart one or several colors to the paper. Also, the paper can be smooth or embossed or creped, each kind producing its own effects. And the dyed areas can be distinct, as with vertical green-dyed lines interspersed with vertical brown-dyed lines, the lines not touching each other; or the folds can be close enough to one another that the dyes can blend, creating, say, a line of yellow dye touching a line of blue dye, with the outer edges of the lines remaining yellow and blue, but the place where they touch being green. In effect, the two sets of folds can produce a four-color effect: the color of the substrate, the yellow, the blue, and the green.
Of course, the folds need not be parallel. They can be at angles to one another, and criss-crossing; and the sheet can be folded to produce diamonds, squares, rectangles, and even circles. Naturally, where lines (formed by folds) cross other lines, the dyes at the points of crossing will blend—a light red crossing another light red will yield a darker red.
Some papers, especially Western ones with sizing, will hold their folds, so in order to reduce the distortion that the folds create, the artist can iron the sheets once they are dry. But part of the beauty and appeal of the sheet is its tactile property, and the folds add to that appeal. So a mere flattening out with the palm of the hand is all these papers need for most applications. And there are endless uses: dolls, gift wrap, hats and bonnets, clothes, origami, box covers or liners, book bindings, hand puppets, bags, posters, weavings, mobiles, flowers, masks, and dozens of other items.
As I have observed in previous columns, decorated fabrics and decorated papers are closely related—in their methods of manufacture and uses, designs and materials. Historically, it seems as though cloth decoration came first, with paper right on its heels. Itajime—with its parent branch of decoration, shibori—is a good case in point.
Two good books on shibori are worth exploring: Yoshiko Iwamoto Wada, Mary Kellogg Rice, and Jane Barton, Shibori: The Inventive Art of Japanese Shaped Resist Dyeing (Tokyo: Kodansha International, 1983); and Mandy Southan, Shibori Designs & Techniques (UK: Search Press Ltd, 2009).
Itajime is only one of the myriad ways that the Japanese have decorated paper. There is seemingly no end to their mastery of paper decoration. That is one of the reasons that my wife’s and my collection had thousands of pieces of their papers, and that we always wanted more. There was always more to be had.
–Sidney Berger
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.
A sheet of itajime from the Berger-Cloonan Collection in the Cushing Library, Texas A&M University.
A sheet of itajime from the Berger-Cloonan Collection in the Cushing Library, Texas A&M University.
A sheet of itajime from the Berger-Cloonan Collection in the Cushing Library, Texas A&M University.
paper conservation
“In a meandering and completely unplanned way ...”
In this issue, Maria Olivia interviews Jamye Jamison, a paper conservator in private practice located in Cleveland, Ohio. The interview took place on May 23, 2019 via telephone.
Maria Olivia (MO): To start off, how would you define art conservation?
Jamye Jamison (JJ): The field of art conservation is all about recording what we do, whether through written or photographic documentation. As a conservator my main goal is to extend the life of the object as much as possible while keeping as much of its original integrity as possible. I want the piece to exist for future generations to learn from and interact with, but at the same time I do not want to so radically change the object that it becomes something entirely different. And sometimes those things are mutually exclusive. We as conservators always try to use reversible materials, and yet there are some things that are not—I cannot unwash something that has been in a bath. Therefore, we are most cautious about the things that are not reversible.
MO: How did you discover this field? What made you decide to stay?
JJ: In a meandering and completely unplanned way. As an art history major in undergrad, I knew I wanted to be involved in the arts as a career from early on. We visited the conservation studios in the museum on campus as part of our studies. However, at that time, I did not see myself actually becoming a conservator. After graduation, my first job at the Philadelphia Museum of Art was in a curatorial position. That entry-level position actually enabled me to interact with all the departments at the museum (I am forever grateful to my colleagues and fellow staff for this). Over time I realized I was more interested in working with the actual objects than the more theoretical work afforded in a curatorial position. Through a series of serendipitous events, my relationship with art, and what I wanted that relationship to look like, evolved in a surprising way. My interest in archival work (from my studies and curatorial work), my technical art skills (I would not call myself an artist), and my budding interest in working hands-on with the art all came together and that is how I became a conservator.
MO: Why did you specialize in paper?
JJ: While I was at the Philadelphia Museum of Art, I started to realize my interest in archival materials, particularly while engaging with the Marcel Duchamp collection housed in the curatorial department where I worked. During my time there, the museum received a grant to get the collection properly archived and catalogued. Being involved in that process, from helping to write and plan the grant to handling the documents themselves, further developed my interest in conservation. I found that I really enjoyed working with these sorts of objects: documents and materials that are handled not just by museum staff, but by researchers, students, and many others. Rather than art that just goes on display, behind glass or stanchions, I found working with paper, with something that continues to be used and interacted with, was my calling.
MO: What is your most memorable project?
JJ: While I was at ICA Art Conservation I examined a hand-drawn map from 1773 of the southeastern United States. The map, which measured a stunning 5 x 8 feet, recorded the Indigenous tribes of the area. Unfortunately this incred-ible object—made from thirty handmade sheets of paper—had numerous issues that rendered it unusable, and its information largely unreadable. A water incident resulted in severe damage and paper loss. In an attempt to keep the fragments together, it had then been backed with three layers of fabric and silked on the front. Due to to its size, it was rolled for storage and the stiff linings began to crack apart upon opening. I first looked at the map in 2011 but only in 2014 did it fi-nally come in for conservation. It took a year of testing and think-ing about the logistics just to figure out how to approach the project. Then it was another whole year for the actual treatment, result-ing in a five-year enterprise from initial examin-ation to completion. The map had to be split into its thirty separate sheets so they could be treated individually with a resin soap to solubilize the unknown coating. After that stressful process of finding the perfect balance between removing all the adhesive and leaving the ink below intact, we reassembled the sheets and lined the map with Japanese paper. Finally this important artifact was able to be photographed and digitized properly and will hopefully enhance scholarship about native people in the southeastern US before the Revolutionary War.
MO: What is your day-to-day work like?
JJ: Lots of unknowns. I have worked in both regional and institutional con-servation labs, and now I am in private practice—not exactly a planned trajevtory. Being a private art conservator means not really knowing what will walk in your door, which is wonderful. I enjoy the ever-changing and often extremely varied treatments I see in private practice. A lot of it is juggling expectations and educating the clients, who often come to me with hopes I cannot fulfill. As a paintings conservator colleague is fond of saying, “I may be a genius but I’m not a magician.” This is especially true with paper conservation as we can stabil-ize and even improve the appearance, but it will never be perfect again.
MO: What is it like conserving handmade paper as opposed to machine made?
JJ: I felt incredibly thankful the big map was made with handmade paper as there is no way modern paper would have survived what we put that map through. Handmade paper is generally much more sturdy, enabling me to employ different methods of conservation than a machine-made paper, with its bleaching agents, fillers, and shorter fibers, might allow. Taking Japanese papermaking classes and paper-dyeing classes at the Morgan Conservatory, I got to think about the uses and inner workings of the handmade paper and the overlap of the artist’s mind and the conservator’s: both the papermaker and the paper conservator must be aware that Islamic papers need to be heavily sized so ink will not bleed, that Japanese painting techniques using watercolors might require less sizing to get a softer feathered look, that fiber length changes with different plants and different manufacturing methods. All of these different characteristics come together to create the perfect paper for a specific purpose and knowing what those things might be gives me more insight into an object that lands on my bench for treatment.
–Maria Olivia Davalos Stanton
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.
Jamye Jamison washing a WWI war bonds poster.
studying hand papermaking
Finding One’s Muse in the Library
In this issue, Amy Richard contemplates the value of library-based artist residencies as inspiration for studying and producing artist books in handmade paper.
When revisiting Nicholas Basbanes’ treatise On Paper recently, I was reminded yet again of the enormous role handmade paper played in the transmission of knowledge and ideas throughout history, not to mention the world’s major religions.1 “Nourished” by a bountiful supply of paper being produced in what is now modern-day Baghdad, the beginnings of the Islamic Golden Age was able to bloom (786–809 CE) thanks in large part to individuals like Caliph Abu Ja’far Al-Mansour who recognized the value of translating, transcribing, and assembling thousands of manuscripts and books for the House of Wisdom—what we now call a library.
Reading this made me think of our libraries today and their increasing importance as sanctuaries for print on paper. It also made me thank the paper gods yet again, for having had the opportunity recently to lean creative inspiration from my local “House of Wisdom” at the University of Florida. With financial and material support of the Marjorie S. Coffey Artist Book residency, I was able to conceptualize and complete an artist book project with the assistance of staff, faculty,2 and a host of resources from the Special and Area Studies Collection Library. As a result, I am now a firm believer in the value of “collaboration between artist and archives” and plan to make a regular practice of stepping away from the hubbub of daily life and surround myself with the quiet confines of a library— to drink in the creative encouragement it offers as much as possible.
During that first week of the residency, I remember thinking “Why did it take a residency to give myself permission to spend these uninterrupted hours in the library?3 Why did I let this practice languish simply because I was no longer in grad school?” Trying not to be too hard on myself, it occurred to me that one logistical challenge is the fact that most Special Collections archives are open only during normal business hours. (Of course, with more funding they could be open a few nights a week… but that is another discussion, as well.)
I began the residency with a loose idea of a sculptural artist book I wanted to produce but with many technical and conceptual questions knocking around in my head. Should there be text? Should it be prose? What am I trying to say? Honing in on a few key words in the search database, I was surprised at the variety of resources that “spoke” to me. As I worked my way through the stack of requested books, there were no lightening bolts or major revelations. Instead, it was more like a string of holiday lights; one idea illuminating another, eventually coalescing into a solid concept and plan, and suddenly I couldn’t get in the studio fast enough. My muse came from a myriad of sources: a phrase from an architectural thesis; choice lines from nature poetry by Walt Whitman, an artist book about tide pools, photographs of ancient relics from an archeological thesis, prose from a children’s book, and a host of natural-history field guides.
Research in the library was more manageable than surfing the web. Taking delight in a treasure trove that was clearly defined and neatly stacked on a cart made it easier to focus. Reveling at the material connection I had with bound paper and ink I thought about how different the experience was com-pared to online research. To read; to ponder; to make notes, to sketch; to read again—minus the harsh glow of a computer screen with non-stop ads somer-saulting around the edges—was my kind of heaven. Instead, I was able to soak up the care-fully placed words, images, and ideas generated by others, melding them with my own thoughts, generating more questions and a few answers.
After two weeks of structured reading and unhurried thinking, ideas gathered about how I would implement my artist book and the facets I wanted to explore in the studio during the remaining three months. At first, the semester-long time frame seemed extra luxurious, however once in the studio, time flew by with the demands of producing twenty variable edition sculptural books from handmade paper, stopping per-iodically to look up a phrase or notes from my research. It was a rich experience and one that I hope to repeat again soon.
It occurred to me while writing this that perhaps the most valuable part of time spent in a library is well explained by David Bayles and Ted Orland in their book, Art and Fear :
What artists learn from other artists [and writ-ers] is not so much history or technique (although we learn tons of that too); what we really gain from the work of others is courage by association. Depth of contact grows as fears are shared— and thereby disarmed— and this comes from em-bracing art as process, and artists as kindred spirits. To the artist, art is a verb.4
For those interested in pursuing a library-based artist residency, there are numerous opportunities available and plenty of sources for finding them.5 If you have the time to develop your own library-based research, funded or not, and you’re looking for permission, you certainly have mine.
1. Nicholas A. Basbanes, On Paper: The Everything of Its Two-thousand-year History (New York: Alfred A. Knopf, 2013).
2. With special thanks to Ellen Knudson, Associate in Book Arts, and Michele Wilbanks and Steven Hersch in Special Collections.
3. It is beyond the scope of this article to explore why many of us need permission to spend dedicated time to cultivate our creative work, but a worthy topic for the future.
4. David Bayles and Ted Orland, Art & Fear: Observations on the Perils (and Rewards) of Artmaking (Santa Cruz, CA: Image Continuum Press, 1993).
5. A sampling of library-based artist residencies:
–www.philadelphiacenterforthebook.org/book-artist-in-residence-at-common-press/
–www.library.fau.edu/depts/spc/JaffeCenter/AIR.php
–centerforbookarts.org/opportunities/for-artists/#residency
–sites.google.com/umn.edu/asc-artists-in-residence/home
–Res Artis: an association of over 650 centers, organizations, and individuals in over 70 countries. www.resartis.org/en/about/
–The Alliance of Artists Communities: an international association of artist residencies offers a diverse field of more than 1,500 programs worldwide that support artists of any discipline in the development of new creative work
–www.artistcommunities.org/about
–Amy Richard
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 oppor-tunities for studying papermaking in colleges, universities, and other established art centers in the United States and abroad.
A phrase from an architectural thesis; choice lines from nature poetry by Walt Whitman, an artist book about tide pools...
LISTINGS
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. The dead-line for the October 2019 newsletter is August 15.
CLASSES AND WORKSHOPS
Abington Art Center, Jenkintown, PA, (215) 887-4882, www.abingtonartcenter.org. Classes, workshops, and exhibitions in a variety of media.
Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont. org. Classes and workshops in a variety of disci-plines, including papermaking. Visit www. arrowmont.org/workshopsclasses for informa-tion about the school’s National Workshop series that runs from April to November.
Flat / Not Flat: Sculptural Paper, July 28– August 3, with Leigh Suggs.
Natural Dyeing for Book Arts, August 4–10, with Natalie Stopka.
Sculptural Paper, August 11–17, with Gretchen Schermerhorn.
Boro-Inspired Papermaking, November 3–9, with Claudia Lee.
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 neighbourhood.
Brainbridge Artisan Resource Network, Brain-bridge Island, WA, (206) 842-4475, https:// bainbridgebarn.org. Community art center with classes and open studios in a variety of 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.
Papermaking: Weeds & Rags to Finished Book, September 15–21, with Anne Murray.
Playing with Paper and Book, November 10–16, with Holly Fouts.
Colorful Kudzu Paper for Warm Winter Craft-ing, November 22–24, with Nancy Basket.
Carriage House Paper. Brooklyn, NY, (718) 599- 7857, www.carriagehousepaper.com. Short, specialized, intensive workshops; private teach-ing sessions; artist collaborations; and group programs offered throughout the year at a fully equipped papermaking studio.
Papermaking-in-depth—5 day intensive, July 15–19.
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 bookends-here2002@-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 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 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. To see her upcoming schedule, visit https://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.hookpottery-paper.com/classes.
Inter-Ocean Curiosity Studio, Englewood, CO, (303) 789-0282, http://interoceancuriosity-studio.com/. For more information on paper-making workshops with Ray Tomasso, contact him at ray@raytomasso.com or (303) 552-8256.
Jane Ingram Allen Studio, Santa Rosa, CA, (857) 234-2432, info@janeingramallen.com. For more information on papermaking workshops. individual consulting and private use of her papermaking studio, visit janeingramallen. wordpress.com.
Handmade Paper Books, July 13–14, with Jane Ingram Allen.
Mixed Media Papermaking, August 6–9, with Jane Ingram Allen.
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.
Kitchen Scrap Papermaking, August 12, with Lorrie Grainger Abdo.
Intro to Papermaking, October 21, with Lorrie Grainger Abdo.
Karen Hanmer Book Arts, Glenview, IL. A private studio in north suburban Chicago offer-ing workshops and private instruction to working practitioners and dedicated hobbyists, focusing on a solid foundation in traditional binding skills. For more information, visit www.karenhanmer.com/teaching/index.html.
Maiwa School of Textiles, Vancouver, British Columbia, (604) 669-3939, http://www.school-oftextiles.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.school-oftextiles.com/.
Massachusetts School of Art and Design, Boston, MA, (617) 879-7200, pce.massart.edu. MassArt’s Professional and Continuing Education offers over courses and workshops in fine art and design, professional design certificates, summer immersive programming and more.
The World of Korean Paper, Aug 5–8, with Aimee Lee.
Minah Song Art Services, Arlington, VA, (646) 352-3828, Paper conservation studio in the Washington DC metro area which offers work-shops. For more information on workshops and services, visit www.minahsong.com.
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.
Japanese Papermaking and Decoration, July 20–21, with Bridget O’Malley.
Introduction to Western-Style Papermaking, July 28 and August 4, with Bridget O’Malley.
Papermaking with Clothes, August 10–11, with Dana LeMoine.
Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, www.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 printing, book arts, papermaking, and mixed technique. For more information, visit www.morganconservatory.org/open-studio.
Paper by Design, July 6–7, with Katharine DeLamater and Colleen Lawrence.
Inside the Box: Creating Dynamic Designs with a Deckle Box, July 20–21, with Kerri Cushman.
Artistic Paper Production, July 27–28, with Tom Balbo.
Paper and Prussian Blue, July 31–August 1, with Andrew Mancuso.
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.
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. Work-shops in English and German taught by paper specialists in downtown Vienna. For information about upcoming workshops at PapierWespe, visit www.papierwespe.at/ fileadmin/user_upload/Programme/PAPIER-WESPE_programm_2019_RZ_web.pdf.
Penland School, 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/.
Papermaking for a Creative Streak, July 21–August 6, with Lynn Sures.
Joomchi? Why Not!, August 25–30, with Jiyoung Chung.
Paper & The Unique Print, September 22– November 15, with Georgia Deal and guest instructor Helen Hiebert.
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.pyramid-atlanticartcenter.org/workshops.
Paper Casting from Vegetables, July 17, with Gretchen Schermerhorn.
Pronto Papermaking, July 31, with Christy Ball.
All Around the Mulberry Bush, August 3–4, with Megan Heeres.
Make your own Coptic Sketchbook, from Pulp to Stitch, August 6 & 13, with Jamila Zahra Felton.
Pulp Painting, August 8, with Christy Ball.
Robert C. Williams Paper Museum. Atlanta, GA, (404) 894-5726, http://paper.gatech.edu. The EXPLORE! series consists of nine educa-tional workshops dedicated to the art and science of paper. Perfect for homeschoolers or anyone looking to experience the diverse potential of paper. For upcoming workshops and other programming, visit paper.gatech. edu/upcoming-workshops.
EXPLORE! Paper Sculpture, September 12.
EXPLORE! Festive Fall Color Papermaking, Oct. 17.
San Diego Book Arts, 8680 Washington Ave., La Mesa, CA 91942, www.sandiegobookarts. com. San Diego Book Arts offers educational and creative resources that advance the book as a vital contemporary art form. For more inform-ation, visit 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.
Paper Repair Intensive, August 3–4, with Michael Burke.
East Asian Book and Papermaking Intensive, September 6–14, with Steph Rue and Michelle Wilson.
Introduction to Paper Sculpture, October 6, with Michelle Wilson.
Sitka Center for Art and Ecology, Otis, OR, (541) 994-5485. www.sitkacenter.org, offers workshops, residencies, and community events at its facility in Oregon. For information on upcoming workshops, visit 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 inter-ested in print-, book-, and zine-making. For upcom-ing workshops, visit www.phillysoapbox.org/events.
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 avail-able. For more information on upcoming workshops, please visit www.swschool.org/_ communityclasses/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.
Creative Papermaking with Natural Colors, July 15–18, with Jane Ponsford.
Women’s Studio Workshop, Rosendale, NY, (845) 658-9133, info@wsworkshop.org, www.wswork-shop.org. The Women’s Studio Workshop rents studio spaces in etching, papermaking, letter-press, silkscreen, book arts, and ceramics. Visit http://www.ws-workshop.org/rent-studios/ for current rates and details.
EVENTS
Fabriano Paper/Print/Book 2019, Italy. June 17– July 2. Take part in a comprehensive experience with Italian papermaking, books, and printmaking; For more information, visit 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. 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 (FDH) 2019 conference, Manifest(o): Paper Revolutions, will take place September 19–21, hosted by the University of the Arts and the University of Pennsylvania. Visit 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 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 art book exhibition sponsored by University Libraries, University of South Dakota. For more information visit http://libguides.usd.edu/BU5.
The Toe River Arts Council will host Paper-Centric, a group exhibit in the Spruce Pine Gallery in Spruce Pine, North Carolina. The exhibit runs from August 10 to September 14, with a reception on August 16. For more information, visit www.toeriverarts.org/whats-happening-2018.
Thread Count: The Intersection of Mathematics and Fiber Arts is an exhibition of textile and paper art currently on view at the Vern Riffe Center for Government and the Arts in Columbus, Ohio. For more information, visit www.oac. ohio.gov/Riffe-Gallery/On-View.
Women’s Sphere (Is Wherever She Makes Good) is currently at the Weir Farm National Historic Site in Wilton, Connecticut. Featuring six artists, including paper artist Aimee Lee, this exhibit marks 100 years since the 19th Amendment was passed and honors the effort, creativity and vision of all women. The exhibit closes October 31. For more information, visit www. nps.gov/wefa/planyourvisit/current-exhibit.htm.
CALLS FOR ENTRIES
The “Feasts on Paper” Shanghaie International Paper Art Biennale is accepting exhibition sub-missions by email through July 6. The Biennale runs Sept. 10–Nov. 10, 2019 at the Fengxian Museum in Shanghai, China. For more info, visit www.fxbwg.cn/, or email ansonou@ feastsonpaper.com.
The Care and Conservation of Manuscripts Seminar is an interdisciplinary seminar hosted at the University of Copenhagen which aims is to bring together conservators, librarians, archivists, scholars, curators, and others who work with manuscripts. CC18 will take place April 22–24, 2020 in Copenhagen, and they are currently accepting paper proposals until August 1, 2019. For more information, visit nors.ku.dk/cc.
OPPORTUNITIES
The Women’s Studio Workshop (WSW) in Rosendale, NY, (845) 658-9133, info@wswork-shop.org, www.wsworkshop.org, has available the following upcoming artist residencies. Applications open June 1 and are due October 15.
The Art-in-Education Workspace Residency at the Women’s Studio Workshop is for artists with teaching experience, a know-ledge of intaglio, silkscreen, or hand papermaking, and an interest in working with public school students. For more info, visit 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. For more info visit 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 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 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. Appli-cations accepted on a rolling basis. For more information, visit thepollinationproject.org/ funding-guidelines-for-grants/.
PUBLICATIONS, FILMS, VIDEOS
Mark Lander’s papermaking videos on YouTube are as soothing as they are educational. Three videos are currently up, watch the series here: www.youtube.com/channel/UCtwOn-Nk8KcyEUdAALaMgm9w.
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 cargocollective.com/oldway/ Story-Place. Snail mail (Jim Croft, PO Box 211, Santa, ID 83866) is the quickest and most reliable way to inquire about this opportunity.
A new fiction book about books by Bridget Collins hit the shelves earlier this year. The Binding is historical magical realism fiction, all revolving around memory. Would we rather forget our pain and sadness, or remember everything, from the good to the bad?
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 paper-making 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. Pay-ment is due in advance of publication.
Nega mould for sale, solid wood, 44" x 86". $450. You pick up. Arizona. 928-778-2713.
Unbleached Philippine Abaca $6.00 lb. For samples, please send SASE to Ifugao Papercraft, 6477 E. Grayson, St., Inverness, FL 34452.
Need affordable paper for workshops? We offer authentic hanji, lokta, washi, and xuan. Mention this ad for 10% discount, paperwoman@paperconnection.com.
Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc. (910) 739-9605.
HAND PAPERMAKING
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SPECIAL THANKS TO OUR DONORS
Hand Papermaking acknowledges these recent contributors to our non-profit programs. All donations are greatly appreciated and tax deductible. Our tax ID number is 52-1436849. Call or write for information on annual giving levels, automatic monthly gifts, or about adding Hand Papermaking to your estate plan.
benefactors: Lisa Cirando, Susan Gosin
patrons: Tom Balbo, Sid Berger & Michèle Cloonan, Colin, Browne, Joan Hall, Nancy & Mark Tomasko
underwriters: Fifth Floor Foundation, Lois & Gordon James, Susan Butler Plum, Ingrid Rose, Michele Samour, Mary C. Schlosser, Beck Whitehead, Teri Williams
sponsors: Tom & Lore Burger, Gail Deery, Iris L. Dozer, Michael Durgin, Michael Fallon, Jane Farmer, Helen Frederick, Tatiana Ginsberg, Helen Hiebert, Steve Kostell, Beth Levin, Rare Book School, Laura Merrick Roe, Alfreda & Christian Murck, Jean Stufflebeem, Mina Takahashi, Iping King Wei, Aviva Weiner
donors: Mary Ashton, Simon Blattner, Tara Bloyd, Shuwen Cao, John Cirando, Nancy Cohen, Kerri Cushman, Amanda Degener, Marian Dirda, Susan Mackin Dolan, Linda Draper, Mona Dukess, David Lance Goines, Kiyoko Ibe, Winsome Jobling, Sally Wood Johnson, Sarah Johnson, Jamie Kamph, David Kimball, Mary Lannin, Dirk Lee, Winifred Lutz, Katie MacGregor, Mary Lou Manor, Edwin Martin, Anne Q. McKeown, Julie McLaughlin, Darin Murphy, Peter Newland & Robyn Johnson, Elaine Akiko Nishizu, Mary O’Shaughnessy, Nancy Pobanz, Melissa Potter, Brian Queen, Jackie Radford, Renee Rogers, Kathleen Stevenson, Betty Sweren, Szilvia E. Szmuk- Tanenbaum, Claire Van Vliet
supporters: Christine Aaron, John Babcock, Jack Becker, Bob & Annie Cicale, Elizabeth Curren, Georgia Deal, John Dietel, Sara Gilfert, Lori B. Goodman, Mabel Grummer, Karla & Jim Elling, Robert Hauser, Stephan Heideman, Mildred Monat Isaacs, Kristin Kavanagh, Ellen Mears Kennedy, Betty L. Kjelson, Aimee Lee, M. P. Marion, Lynne Matott, Lane Maurer, Ceci Cole McInturff, Anne Miller, Catherine Nash, Carrie Norton, Melissa Potter, Dianne L. Reeves, Michele Combs Rothenberger, Kim Schiedermayer, Peter Sowiski, Deborah Stone, Elise Thoron, Irene Tichenor, Mansheng Wang, Pamela Wood, Kathy Wosika, Therese Zemlin
friends: Christopher Eley, Kathryn Menard, Judith Glazer Raymo, Bonnie Reisman, Sally Rose
in-kind: Adobe Systems Inc., Celene Aubry and Hatch Show Print, Tom Balbo, Tom Bannister, Janet De Boer, Nicole Donnelly, Peter Ford, John Gerard, Shireen Holman, Dard Hunter III, Microsoft Corporate Citizen-ship, Alta Price, Steve Miller
contributors to hand papermaking’s annual auction: Loreto D. Apilado, May Babcock, Tom Balbo, Colin Browne, Wendy Cain, John Carvalho, Lisa Cirando, Georgia Deal, Amanda Degener, Susan Mackin Dolan, Dieu Donné, Ilze Dilane, Lesley Dill, Helen Frederick, Lori Goodman, Joan Hall, Robert Hauser, Helen Hiebert, Debbie Ketchum Jircik, Genevieve Lapp, Moth Marblers, Dr. Ludwig Mohr, Paper Connection International, Steve Pittelkow, Melissa Potter, Pyramid Atlantic, Megan Singleton, Tisch Library, Claire Van Vliet, Women’s Studio Workshop, Paul Wong, Pamela Wood
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 S. Wood
contributors to the hand papermaking portfolio archive fund: Tom Balbo, Simon Blattner, Tom & Lore Burger, Jeffrey Cooper, Susan Mackin Dolan, Drachen Foundation, Michael M. Hagan, Joan Hall, Joyce Kierejczyk, Betty Kjelson, Ann Marshall, honoring David Marshall, Julie Reichert, Laura Merrick Roe, Richard Schimmelpfeng, Mary Schlosser, Mina Takahashi, Aviva Weiner, Beck Whitehead