HAND PAPERMAKING

NEWSLETTER

number 128 • october 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, Kelly Taylor Mitchell, Darin Murphy,

Alta Price, Irene Wei (student member), 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.

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>DEAR READERS

Dear Readers,

I am always happy to write about my “living quilts” series of outdoor public-art projects using handmade paper with wildflower seeds. These art installations focus on environmental and social issues and are meant to change over time. Handmade paper is ideal for this type of art installation since it is a naturally biodegradable material that can dissolve over time into mulch, thus improving soil quality. My journey working with seeds in the pulp began with the 1995 celebration of Earth Day. In 2003 my first “living quilt” came alive in Sumter, South Carolina, and since then I have installed paper quilts across the country, from California to Georgia.

“Living Quilt for Santa Rosa” installed on November 25, 2018, is in Rincon Ridge Park in the Fountaingrove area of Santa Rosa, California, where I am living now. This ecological/environmental public-art project was funded by a grant from the City of Santa Rosa to promote healing after the devastating October 2017 wildfires that cost lives and destroyed many homes in Santa Rosa. This artwork celebrates the healing powers of nature and the beauty of life coming back after natural disasters.  I decided to use the traditional “Flying Geese” quilt pattern, since flying geese are common sites in the sky in October and November and symbolize being able to fly away from disasters such as wildfires and migrating to a new place with the changing seasons. Blue jeans, abaca, and wildflower seeds gave birth to this 8 x 10-foot quilt.

I held community papermaking workshops to form the handmade paper strips for the quilt, and we used a “buttercut” stencil to make the blue geese shapes. The handmade paper with seeds in the pulp is dried quickly so the seeds don’t begin to sprout until they are placed on the prepared bed of soil, and the rain or watering starts the transformation process. The pieces of paper for the quilt are joined with natural biodegradable string couched between the paper layers; the cotton string will also biodegrade or be picked up by birds to help build their nests in the spring. There is a mix of seeds: California poppies and bluebells, baby’s breath, sweet alyssum, and white poppies.

On November 25, 2018, a community dedication ceremony was held with volunteers helping to lay down the quilt. The quilt began to bloom in late March 2019. The handmade paper has dissolved into mulch to nourish the earth. Some of the flowers are annuals that will bloom the first year, and others are perennials that will come back year after year.

A slide show about the project is on YouTube at https://www.youtube.com/watch?v=6rfH104j92o.

Jane Ingram Allen

Santa Rosa, California

Community installation of the “Living Quilt for Santa Rosa” in 2018.

Decomposing paper mulch gives birth to the first growth in June of 2019.

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>ALONG THE PAPER ROAD...

Oh, How Classes Have Changed

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 reflects on the nature and structure of papermaking courses over the years.

Having just completed what I consider to have been a worthwhile—yet exhausting—stretch of teaching our summer series of workshops at Carriage House Paper, I have been reflecting on our teaching methods and experiences over the years.

Specifically, Shannon Brock and I just concluded two five-day classes, entitled Papermaking-in-Depth, that we have been annually co-teaching in our Brooklyn studio for the past 23 years. Each day a completely different aspect of papermaking is covered, requiring us to spend our evenings preparing pulp and reconfiguring the paper studio to accommodate the next day’s activities.  Highlights include spraying an array of colored pulps onto 4 x 6-foot surfaces, or pulp pouring large sheets of swirling colored pulps, both equally impressive and showy techniques. Additionally, there is one evening group activity visiting another paper studio.

However when I compare the energy required for this workshop with the efforts put into the annual Papermaking-in-Depth classes that I co-taught with Elaine Koretsky in the 80s and early 90s in the Brookline Massachusetts studio, I am utterly amazed. Those two-week extravaganzas began on a Sunday night with a home-cooked dinner and slide presentation. There were two evening programs per week, and on Saturday we drove one hour north to tour the Paper House in Rockport, continuing on to the beach to pour a large sheet of paper, only to finish the day at a lobster restaurant. In the afternoon of the last day, we invited friends over to enjoy a wine-and-cheese reception to celebrate an exhibition of everyone’s best creations from the workshop. As if that were not enough, every day we provided lunch for all.

I like to think that our workshops were always successful, then and now. It is satisfying to know that we have inspired students to continue working in handmade paper. We have streamlined our methods over the years and we now pack more techniques into a shorter time span as we continue to bombard our participants with incredible ways of working with paper pulp. Maybe because we are in New York City or maybe times have changed, but I feel that there is an expectation these days to glean as much knowledge in the shortest amount of time, and not to allow ourselves to put aside the distractions of our complicated lives in order to truly delve deep.

I think I am being overly nostalgic but I miss the camaraderie of the intense earlier workshops. I especially miss our visits to the impressive Paper House, built in 1922 as a summer residence by the hjuyiokcurious Mr. Stenman. The house is framed in wood; all of the walls, both inside and out, are made from layers of newspapers that have been varnished. It truly is a gift merely to take a moment and sit among the paper, for even the furniture is made entirely from newspaper logs. 

Pouring large sheets of swirling colored pulps makes artists of us all.

>TEACHING HAND PAPERMAKING

Weaving Fiber, Weaving Pulp

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, Winnie leads us through a day of Japanese papermaking, including with some home-grown kozo.

One of my great joys of summer is being outdoors with friends, playing in vats of wonderful Japanese fibers. Celebrating its ninth year as a beloved tradition, this Washi in the Garden workshop attracted eight papermakers, both new and experienced with Asian fibers. A friend, Rona Richter, and I co-sponsor these classes, and we are always fortunate to be able to set up our outdoor studio in her beautiful Huntingdon Valley, PA gardens. Over the years, the “Washi Gods” have smiled favorably on our endeavors and graced us with mostly beautiful weather. This year our day, neither too hot nor sunny, was no exception.

In a casual atmosphere, the intro is designed to remind more experienced papermakers about the unique techniques required for Japanese sheet forming. A more detailed demonstration of the technique acquaints those who are new to the nagashizuki process. Since the majority of preparation work has been accomplished before class, I briefly describe the steps of harvesting, steaming, stripping, cooking, and beating the fibers. This year I provided vats of kozo, gampi, daphne, and some home-grown kozo from my own paper-mulberry tree. The neri (formation aid) we prefer to use comes from the roots of the tororo-aoi, Abelmoschus manihot, plants grown in Rona’s garden. This magical gooey substance thickens the water in the vats, suspends the fibers, slows drainage, and allows multiple dips of the sugeta (sheet-forming mould) without fiber displacement.

My home-grown kozo was an accumulation of three years’ harvests from my single tree. The inner bark had been steamed, partially stripped, and hastily frozen, awaiting sufficient quantity and time for its use. My deciduous tree produced fibers that were a bit more tender than the purchased Thai kozo. There were also more bits of chiri (uncleaned bark inclusions) due to that same sparsity of free time. But it proved to be one of the two favored vats of the day. The other popular vat was filled with beautiful creamy, golden gampi fibers, a perennial favorite!

The outdoor studio materializes with the set-up of an easy-open canopy. Along one side, a weathered wooden door, supported by trestle legs, holds four vats of fiber. Three folding portable tables line the remaining sides of the overhang to provide personal couching areas for the workshop participants. Occasionally, someone wants a bit more room to work, so there are tables under the trees to accommodate.

For the traditional washi workshop, the fibers are pure, with no pigmentation. Towards day’s end, I often introduce a handful of dyed kozo to one or more vats to offer some variety. For this year’s workshop, we added texture by adding chiri bark into the vats.  And papermakers always bring their own unique inclusions to work with in their compositions during the day.

Once everyone sets up their couching stations with wet synthetic chamois and a stack of Pellons, they select a sugeta and warm up at the vats. It’s not long before concentration intensifies and energies slip into “high gear.” Initially, everyone’s efforts seem to focus on production, or “how many sheets of paper can I make from my favorite (gampi) vat?” But as the posts of new papers grow, energies begin to show signs of wavering, in need of sustenance. Intense papermaking concentration stimulates the appetite.

Lunch break always affords everyone’s feet and backs a bit of relaxation. The congenial group gathers around a table on the garden deck, sharing food and swapping stories on a wide range of topics. It’s a great bonding opportunity, and generally makes newcomers feel more a part of this established group by afternoon.

After our break, we recharge all the vats with fiber and neri. Natural, plant-sourced formation aid is heat and humidity sensitive, and can lose its viscosity with increasing temperatures. So we squeeze the water-soaking root, add the root’s thick secretion into the vats, then agitate the vats thoroughly to homogenize everything. 

As the workshop progresses into afternoon hours, washi makers tend to focus on incorporating personal inclusions in wet collage compositions. The frenzy at the vats diminishes and the conversations are quieter. The posts of couched sheets don’t continue to build so dramatically in height now. Creative juices are flowing!

At the close of day, we press posts of paper gradually between large press boards, layered with highly absorbent synthetic chamois. First, pressure is gently applied by a few of us standing collectively atop the “board/washi layered sandwich.” After this initial flattening, we apply C-clamps with wide bites to the four corners of the press boards, and tighten them. The pressing paper rests while the papermakers pool efforts to assist with breaking down our outdoor studio. 

After a full day, it’s great when everyone participates with the extensive clean-up. This involves straining fiber from the slow-draining vats, then rinsing off residual neri so any leftover fiber can be stored. Vats and sugeta need to be rinsed, tables need to be folded, the tent needs to come down, and everything gets stored until the next great adventure. But many hands make light work!

Then it is finally time to release the pressed paper from its board-tightened restraint. We demonstrate brushing the pressed washi onto drying boards for overnight restraint drying. But with so much paper to dry, we leave much of it on the Pellons for the participants to take home, to spread out and air dry. There is more than one path to success. The day-long workshops are always wonderful, shared in the creative company of good friends in paper!

Participants, using the nagashizuki method, dip their moulds into various vats of pulp.

The “Washi Gods” graced us with beautiful weather.

Participants, using the nagashizuki method, dip their moulds into various vats of pulp.

Removing the flexible woven bamboo mat from the mould, participants couch their papers.

Removing the flexible woven bamboo mat from the mould, participants couch their papers.

>DECORATED PAPER

More Than the Eye Can See

BIO: 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 University 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 contemplates the vastness of the decorated paper world.

On May 20, 2019, I Googled “Decorated Paper” and I got 201 million hits! I never liked the cliché “mind-boggling,” but it is appropriate here. Other words to describe a possible reaction to this proliferation of text and image are astonishing, stunning, amazing, bewildering, shocking, beyond belief, and I can go on with others that don’t begin to capture the full world of decorated paper. By clicking into only a single site, I saw over 200 patterns. Another site yielded 300 more. And on and on.

The general reader may not realize how extensive this field is. Some people may think that “decorated paper” is a fairly narrow topic, not knowing the full history and extent of the medium. I once heard someone say, “The true expert knows more and more about less and less until he knows everything about nothing.” For me, the more I know about decorated paper, the more I realize how much there is to know. And how much there is to see.

My wife Michèle and I have more than 2,000 books and pamphlets and fliers and broadsides about the subject in our own relatively modest collection. There are thousands of other items out there, in many languages, on the subject. Over the years we mentioned our collection to hundreds of people, many of whom said things like, “Well, it’s only paper. It can’t take up much space.” And, “Well it’s just paper; it couldn’t be too expensive.” And, “Why spend any time on wrapping a gift? They’ll just throw the paper away.” Our answers: “Not take up much space?  It depends on how many pieces you have. Our huge basement was filled with them. Further, a single sheet of paper could cost thousands of dollars (as Michèle and I learned in our assiduous collecting). And, even people who use inexpensive wrapping papers go to the trouble of picking them out and wrapping gifts in them—a sign of their valuing them. It is satisfying to us when we hear a recipient of one of our gifts comment on the beauty or appropriateness of the wrappings. 

But let me get back to the Google search. The number of subtopics under “decorated paper” was equally astonishing. Just affix the phrase “decorated paper” somewhere to each of the following, and you will get the idea:

Modern; machine-made; make your own; (Japanese) (German) (Italian) (French) (English) (Australian) (Spanish) (Tibetan) (Nepalese) (from other countries); historical; seasonal; marbled; figural marbled; paste; block-printed; folded; cut (as in paper cuts); watermarked; drawer-perfumed; wrapping; for knitters; for crafters; for scrap-booking; institutional collections of; batik; used for bookbinding; dutch gilt (or brocade); varnished (18th-century); 15th, 16th, 17th century, and so on chronologically; dolls with; [along with] papers with decorated borders; wallpapers; decorated proto-papers (those made not with paper fibers, like cellophane or metallics); used for musical instrument liners; used for chest liners; in bookbinding; (and thousands of other uses); and so on. 

There is clearly a great appreciation of, literature on, and attached value to decorated papers.  For those who want to learn about these papers—historically or practically—for those who want to try their hand at making them, and for those who want to use them in a great many ways—there are endless sites, including the Book Arts Web, that has 39 links to various sources.1 Among the wonderful sites are the following:

The Turkish Cultural Foundation has a site on “Turkish Marbling / Ebru” with a short but informative text and lovely illustrations.2

There is a link to Susanne Krause’s lovely paste papers at her Hamburger Buntpapier / Hamburger Buntpapiervarlag.3 (See my column about Susanne and her company in Hand Papermaking Newsletter no. 111, July 2015)

Galen Berry, a marvelous marbler with astonishingly bright papers is represented at http://marbleart.us/.4 His work has gotten increasingly sophisticated over the years, and his scholarship on marbling has yielded, at his site, a listing of more than three dozen named manifestations of the art. Most scholars of marbling will be able to identify several standard patterns: nonpareil, Stormont, Spanish, peacock, French snail (also called Dutch curl), vein (sometimes called “Italian vein”—though some people may claim that these are two patterns), stone, antique spot, and a few others. For bibliographical description, rare book cataloging, the listing of items in booksellers’ catalogs, and so forth, it is important for us to be able to name patterns and use a standardized vocabulary. Galen’s listing is a useful guide, though, of course, many of the names he gives are idiosyncratic to him. The good thing about his listing is that each name is accompanied by examples.

There are dozens of other rich sites listed here, each with its own information and imagery.  

Columns on the subject, even if I go on writing them for another fifty years, can capture only a tiny fraction of what there is to say about the history, techniques, tools, patterns, practitioners, colors, uses, collectors, and collections of the art and craft of decorated paper. In Act 2, Scene 2 of Antony and Cleopatra Enobarbus used a phrase to describe the queen—a phrase that comes to mind when I think of decorated paper: infinite variety. The difference is that Cleopatra died; decorated papers are immortal!

Notes

1. “Decorated Papers,” The Book Arts Web, Philobiblion, last modified August 9, 2018, http://www.philobiblon.com/decoratedpaper.shtml.

2. “Turkish Marbling, Ebru,” Turkish Cultural Foundation, accessed May 20, 2019, http://www.turkishculture.org/fine-art/visual-arts/marbling/turkish-marbling-ebru-564.htm?type=1.

3. Susanne Krause, Hamburger Buntpapier / Bunpapierverlag, http://www.hamburgerbuntpapier.de/start.html

4. Galen Berry, The Ancient Art of Marbling on Paper and Fabric, http://marbleart.us/.

The advertising card to announce the exhibition "The Angel in the Marble: A Berger / Cloonan Exhibit" commemorating the acquisition of The Berger / Cloonan Collection of Decorated Papers at Texas A&M University, March 1, 2018.

An early 18th-century painting showing a still life that contains a fragment of a manuscript, a playing card, and a piece of marbled paper. Even in art, decorated papers were prominently displayed. Collection of the author.

Spanish decorated fruit-wrapping papers from c. 1930s and 1940s. Berger / Cloonan Collection, Texas A&M University.

>PAPER CONSERVATION

BIO: Maria Olivia Davalos Stanton is a visual artist and apprentice art conservator in San Francisco, California. In this column series, Davalos Stanton shares interviews, resources, and news about paper conservation—bringing the handmade paper cycle full circle.

The stories carried on paper

ABSTRACT: In this issue, Maria Olivia asked Debra Fox, Conservator of Artistic and Historic Works on Paper, to write about her experience with paper conservation.

While digitization can preserve artistic and historic works by freezing time with bigger-than-life images, conservation addresses the essence of the original tangible object.

I discovered the field of art conservation 45 years ago while an undergraduate in the Studio Art Program at the University of CA at Davis. Art students were required to take a class on the “History of Materials and Technology of Art.” This class was an introduction to materials science and examined pigments, mediums, supports, and varnishes, and their use through the ages. The intent of this course was to give students a more intimate knowledge of the materials that we were using. This knowledge would help us to select and combine supports, media, and surface coatings that could endure the test of time. In other words, as artists we would create responsible works that would hold their physical condition so that the aesthetic value could endure.

I decided to go into art conservation because conservation treatment gave me satisfaction that I was helping to preserve worthwhile art. My studies in conservation began in earnest at Queen’s University, Kingston, Ontario.

All objects hold a fascination for me in the way they are constructed, the joining of various elements in an infinite number of ways to convey ideas and feelings. But I was especially attracted to the beauty and simplicity of paper and the delicate media that rides on top of it. Even today, I love that I can treat paper with simple and time-tested adhesives like wheat starch paste, and I can consolidate media with pure forms of seaweed and gelatin.

The paper objects which I have had the great fortune to treat range from venerable Asian paintings protected by their folding screen format to valuable documents that spent their lives folded up in a traveler’s pocket or rolled up in a bronze vessel.

Paper conservators and conservation scientists continue to compile a body of knowledge that lends intimate understanding of materials and mechanisms. In our paper conservation treatments, or non-treatments, we continue our attempts to thwart time and deterioration to stabilize works on paper. At one time, treatments were often invasive and nerve wracking. With more understanding, we now perform minimal treatment or provide protective enclosure.

I have treated many memorable works on paper. I’ve worked on sutras that date back a thousand years and computer printouts from the 1980s; works of art that exceeded the value of a Silicon Valley mansion and pieces that had only emotional value. As a paper conservator at Stanford University Libraries, I worked on a queue of diverse material: maps, blueprints, scrolls, computer printouts, photographs, prints, posters. Many of these objects were so fragile that treatment was necessary to allow handling for digitization. The cardboard record set of “Man Talk at the Old Corral” was so badly warped that the Media Preservation Lab was not able to retrieve audio from it. Once the records were brought back into plane with treatment, “Man Talk” was revealed.

My favorite project was a simple plot map of the Comstock Lode of silver ore in Nevada. I loved working on this map because of the many stories that were told by this simple combination of paper, ink, and watercolor. It documented the holdings of millionaires and gave tribute to a local beloved and benevolent prostitute. It captured a moment in time that impacted Mark Twain, advancements in engineering, and inspired episodes of the popular TV show Bonanza. Today, the map is a record of toxic wasteland, the aftermath of one of the most profitable silver mines in the United States.

On a treatment level, the Comstock Lode Map represents an era in machine-made papers that emphasized production over quality. High-cellulose cotton and linen (flax) fibers were traded out for abundant supplies of wood pulp fibers. Chemicals in the form of alum and rosin were introduced to size the paper for strength and prepare the surface for crisp ink lines. As an anti-clumping agent, alum rosin sizing also helped papermaking machinery to run smoothly. But this sizing coated the paper fibers most effectively when combined with sulfuric acid. The retention of sulfuric acid, and the breakdown of lignin in ground wood pulp papers are responsible for the mass of yellowed, brittle paper that supports much of our 19th- and 20th-century history. The more degraded the sheet fibers are, the more difficult it is to stabilize and preserve the paper.

Machine-made papers will always pose challenges to conservation treatment because the composition is ever changing and dictates what can and can’t be used for treatment. Aware of the mistakes of 19th- and 20th-century paper producers, modern machine-made papers strive for quality without sacrificing yield. Their products may be a complex and proprietary mix that complicate and limit treatment options. The infinite combinations of fillers, opacifiers, and sizing agents and the ever-changing chemistry of the media that sits on top will provide continuing challenge to paper conservators. 

Antique or contemporary handmade papers are typically easier to treat than machine-made papers because they are composed of higher quality fibers that are stronger and less prone to degradation. These traditional paper sheets are formed in water and respond well to foundation conservation techniques such as tear repairs with wheat starch paste and humidification to restore plane. The simple fiber matrix allows flushing of water-based stains and the matrix retains its original structure. With or without treatment, handmade papers can survive hundreds of years.

—Debra Fox

Debra Fox working on a domed portrait.

Debra Fox assisting in installing a 19-foot painting at The Asian Art Museum in San Francisco.

>STUDYING HAND PAPERMAKING

Learning papermaking betwixt steel and concrete

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 discusses what it means to study papermaking with young adults detained within the Department of Juvenile Justice.

There are times when I question my (over?) zealous determination to share papermaking with others, even when circumstances are less than ideal. In some cases, much less than ideal. One of those moments occurred recently, while standing in a hallway of a juvenile detention center in north central Florida. Less than fifty feet inside the building, behind an intimidating series of solid steel doors—all of which were allowed to slam with a nerve-rattling BOOM!—I was suddenly in a very different place from the pastoral horse country I’d driven past only minutes before. 

My goal was to make paper with young adults who have found themselves on the wrong side of the law in one way or another and are being held in one of the nearly two dozen Department of Juvenile Justice (DJJ) facilities around the state. Ranging in age from 13 to 19, they are held in these secure facilities for up to two weeks, sometimes more, waiting for adjudication and placement into a residential facility, where they will stay for months or possibly years. At both the detention centers and residential programs, students continue their education while also receiving other services such as health care, mental health, and substance-abuse treatment.1

Having limited experience with this demographic, I struggled to sleep the night before that first art session. Ideas about connecting through papermaking suddenly seemed silly; why would they care about such things when facing so many other serious challenges? Wouldn’t it be easier to just do some drawing or painting? It would certainly be less labor intensive—by a factor of ten.

And yet there I was with my handcart teetering with trays, vats, buckets, and sponges, looking more like a cleaning lady than a visiting artist. Sheepishly asking one of the staff to fill several 5-gallon buckets of water (which had to be obtained through another series of slamming doors), I began preparing couching trays and vats for the morning’s activities. Wetting down the felts one by one, I was soothed by the water, my constant studio companion.

The small groups I was working with reminded me of our sons’ friends back in their high school days and I couldn’t help but wonder how these young people ended up in such a tough place. Some were shy, some chatty, and all seemed genuinely interested in what we were about to do, commenting they’d never made paper before or even knew it was possible. One young man mentioned that he’d always wondered where paper came from.

Happy to play the magician, I was relieved by their excitement when that first sheet of paper was pulled from the vat and couched, poked immediately by the curious fingers of the beginning papermakers. Within minutes, familiar words were heard once again as one young women slowly ran her hand through the water in the vat, ‘Wow, this is so relaxing.” It wasn’t lost on me that nearly every participant spent time patting the water, dipping their hands into the containers of pulp, repeatedly, much more than the younger grade-school children I’d worked with earlier this year. Interesting.

In addition to the short time frame we had to work with and limited access to water, there were numerous logistical challenges involved in working in an environment where a 3-inch golf pencil is contraband and has to be collected and accounted for at the end of each session. Scissors or any other cutting tools were definitely out, limiting us to pre-cut stencils or whatever else I could dream up to use for pulp printing and writing.

Attracted to this work so that I might learn more about how to help young people who are struggling with an incomprehensible world, it quickly became apparent that I would need to abandon my lofty (and rather naïve) goals of eliciting some sort of deep work from these kids, many of whom had never been outside their county or, as one teacher informed me, ever tasted a fresh plum or peach.

Following the paper spirit, my focus in these sessions would be to offer a respite from very difficult circumstances. Utilizing the universal language of papermaking, we would have fun with a process that offers ideal opportunities for cooperation, patience, and mutual respect for one another. 

Notes

1. Visiting artist residencies are made possible by Arts4All, a private not-for-profit organization headquartered in the College of Education at the University of South Florida. 

Pulp print made by a young man at a juvenile detention center in north central Florida. Participants were asked to provide words that could be used for stenciling and the pulp-printing process.

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>NEXT UP

In NEXT UP, Hand Papermaking Newsletter readers will get a glimpse of what’s in store in the upcoming issues.

The upcoming Hand Papermaking magazine issue, International Connections, features an article written by Radha Pandey (US/India) about papermaker Ali Pezeshk (Iran). Pezeshk’s paper has gone on quite a circuitous journey (a casualty of US “maximum pressure” sanctions) traveling from Tehran, Iran through Dubai, UAE, and across the Atlantic Ocean to land in Oneonta, New York, US. The paper then took a quick 30-mile trip (as the crow flies) to Bovina Center, New York where Mina Takahashi cut them down to tip-in size before sending them off to Hand Papermaking HQ in Mendota, Minnesota. This is the paper’s  final destination before being sent out to subscribers as a sample accompanying Pandey’s article. Look for this issue in early 2020!

The extraordinary journey of Ali Pezeshk’s paper.

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 deadline for the January 2020 newsletter is November 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, Oct 31–Dec 5, with Winnie Radolan. Each Thursday, work at your own pace with an instructor to learn the papermaking process. 

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. 

Boro-Inspired Papermaking, November 3– 9, with Claudia Lee. Make sheets of hand-made papers to be folded, pleated, dyed, deconstructed, and reconstructed. 

The Banff Centre, Banff, Alberta, Canada, (403) 762-6100 or (403) 762-6180, www.-banffcentre. ca. Artist residencies in equipped papermaking studio. 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, other crafts in the Culver City area. 

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. 

Colorful Kudzu Paper for Warm Winter Craft-ing, Nov. 22–24, with Nancy Basket. Learn how to make sheets of kudzu paper and embedding dried flowers or winter foliage. 

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. 

Japanese Papermaking, Oct 12–13. Make papers from kozo, mitsumata, & gampi. 

Introduction to Hand Papermaking, Oct 19. This workshop covers basic techniques of Western papermaking. 

Blow-outs, Oct 20. Use the Fog-It nozzle and Yupo stencils to make shaped paper. 

Contemporary Watermarks, Oct 26. Create personal watermarks using our watermark sheeting and buttercut. 

Sculptural Flax, Nov 9. Explores the sculptural possibilities of handmade paper. 

Pulp Pouring, Dec 7. Explore pulp pouring techniques in this workshop. 

Pulp Painting, Dec 8. Explore image making in hand papermaking. 

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.hook-potterypaper.com. For information on residencies, workshops, and experiences at Hook Pottery Paper, visit www.hookpotterypaper.com/classes. 

Inter-Ocean Curiosity Studio, Englewood, CO, (303) 789-0282. 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 information on papermaking workshops, indiv-idual consulting, & private papermaking studio use, visit janeingramallen.wordpress.com. 

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. 

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/calendar. 

Maiwa School of Textiles, Vancouver, British Columbia, (604) 669-3939, http://www.school-oftextiles.com/, 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/. 

Massachusetts School of Art and Design, Boston, MA, (617) 879-7200, pce.massart.edu. MassArt’s Professional and Continuing Education offers courses & workshops in fine art and design, professional design certificates, summer immersive programming and more. 

Minah Song Art Services, Arlington, VA, (646) 352-3828, Paper conservation studio in the Washington DC metro area that offers work-shops. For more information on workshops and services, visit www.minahsong.com. 

Minnesota Center for Book Arts, Minneapolis, MN, (612) 215-2520, www.mnbookarts. org. A visual arts center that celebrates the art of the book, from letterpress printing to hand papermaking. The Center offers youth and adult classes, exhibitions, artist residencies, studio memberships, and more. 

Luminaria, Dec 4 & 11, with Bridget O’Malley. Make handmade paper luminarias. 

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. 

Kozo Harvest, Nov 9–10. Community event that introduces the foundations of papermaking. 

Papermakers of Victoria, at Box Hill Community, Arts Centre, Whitehorse, Victoria, Australia, ph. 9885 2479. Workshop and exhibition informa-tion can be found at www.papermakers.org.au. 

From Plant to Paper, Oct 19, with Gail Stiffe. Turn garden plants & weeds into paper. 

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@papier-wespe.at, www.papierwespe.at. Workshops in English and German taught by paper specialists i n downtown Vienna. For information about up-coming workshops at PapierWespe, visit www.pap-ierwespe.at/fileadmin/user_upload/Programme/ PAPIERWESPE_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/. 

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. 

Sculptural Papermaking, Oct 6, 13 & 20, with Gretchen Schermerhorn. Build armatures and moulds for three-dimensional paper forms. 

Pronto Papermaking, Oct 9, with Christy Ball. Form, press & dry sheets of handmade paper. 

Community Pulp Pour, Oct 16, with William Burke. Pull sheets using large-scale moulds. 

Cast Paper Collagraphs, Oct 26–27, with Laura Asher. Create dimensional, caustic-looking prints using collagraphy & handmade paper. 

Pulp Painting, Nov 5, with Christy Ball. Create painterly images using only paper pulp. 

Pulp Casting from Vegetables, Nov 20, with William Burke. Learn to make natural sculpture with handmade paper. 

Introduction to Western Papermaking, Dec 15. Learn the basic techniques of Western-style hand papermaking. 

Robert C. Williams Paper Museum. Atlanta, GA, (404) 894-5726, http://paper.gatech.edu. The EXPLORE! series of workshops are perfect for anyone looking to experience the diverse potential of paper. For upcoming workshops and other programming, visit paper.gatech. edu/upcoming-workshops. 

EXPLORE! Festive Fall Colour Papermaking, Oct 10. Be inspired by the season in this hands-on papermaking workshop. 

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, & exhibitions year-round. For information visit sfcb.org/workshops. 

Introduction to Paper Sculpture, Oct 6, with Michelle Wilson. Use handmade paper to create sculptural forms with armatures. 

Introduction to Japanese Style Papermaking, Nov 5–6, with Michelle Wilson. Learn to make thin yet strong paper in the Japanese tradition. 

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 that offers classes, workshops, open studio rentals, & 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. 

Women’s Studio Workshop, Rosendale, NY, (845) 658-9133, info@wsworkshop.org, www.wsworkshop. org. Women’s Studio Workshop rents studio spaces in etching, papermaking, letterpress, silkscreen, book arts, and ceramics. Visit www.wsworkshop. org/rent-studios/for current rates and details. 

EVENTS 

Morgan Rising on October 5 at The Morgan Con-servatory is an autumnal art party with papermak-ing workshops, a print sale, libations, & more. For more information, visit www.morganconservatory. org/morgan-rising. 

The CODEX Effect and the Emergence of the “Third Stream” in the 21st Century is a two-day sym-posium at The Grolier Club in New York on Oct 18– 19. For more information, visit www.codexfounda-tion.org/the-codex-effect/the-codex-effect-program. 

Radha Pandey leads an India Book Arts and Culture 2019 tour Nov 9–24. This two-week tour of India visits the studios of various working artists & craftspeople in printmaking, papermaking, & dyeing. For more information visit www.radhapandey.com/tours. 

EXHIBITIONS 

Bound & Unbound 5: Altered Book Exhibition will be on display from Aug 26, 2019 through Jan 3, 2020. Entry is free during library hours to this international art book exhibition sponsored by University Libraries, Univ. of South Dakota. For more information visit http://libguides.usd.edu/BU5. 

Women’s Sphere (Is Wherever She Makes Good) is currently at the Weir Farm National Historic Site in Wilton, CT. Featuring six artists, including paper artist Aimee Lee, this exhibit marks the 100- year anniversary of the 19th Amendment & honors the effort, creativity, & vision of all women. Closes Oct 31. For more information, visit www.nps.gov/ wefa/planyourvisit/current-exhibit.htm. 

Cut & Paste: Works of Paper is an exhibition cur-rently on view at the Robert C. Williams Museum of Papermaking and runs through November 14. For more information, visit paper.gatech.edu/ cut-paste-works-paper. 

Creatives for Climate: Crafting Conversations is an exhibition of six mini-installations, currently running through January, 2020, at the BNY Mellon Steel Tower Contemporary Craft Satellite Gallery, of art addressing climate change and its effect on the urban environment. One of the mini-installations, curated by Katy DeMent, features work by three hand papermakers. 

The Valda Quick Biennial Paper Arts Exhibition Hidden is an exhibition of paper art by members of Papermakers of Victoria. The show will run Oct 21–Nov 3 at the Box Hill Community Arts Centre Gallery, with an opening reception on Oct 24. For more information, visit papermakers. org.au/exhibitions/. 

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 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/UCtwOnNk8Kcy EUdAALaMgm9w. 

MISCELLANEOUS 

Taller Leñateros is Mexico’s first and only Tzotzil Maya book- and papermaking collective. Founded in 1975 by the Mexican-American poet Ambar Past, the work-shop is dedicated to documenting and dissem-inating the endangered Tzotzil language, culture, and oral history. See their entry in Atlas Obscura, and visit their website at www.tallerlenateros.com/ index.php learn more. 

The inaugural bibliography of the Chantry Library Subject Bibliographies focuses on South Asian Paper. Compiled by Jasdip Singh Dhillon, it fea-tures familiar names such as Dard Hunter & Edo Loeber. The Subject Bibliographies aim to support the work of conservators by providing curated, up-to-date lists of information sources about a given subject. Visit chantrylibrary.org/chantry-library-subject-bibliographies-2/ to learn more. 

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. 

HAND PAPERMAKING 

loves to hear from readers: 

newseditor@handpapermaking.org 

SPECIAL THANKS TO OUR DONORS 

Hand Papermaking acknowledges these recent contributors to our non-profit programs. All donations are greatly appreciated and tax deductible. 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., Tom Balbo, Tom Bannister, Janet De Boer, Peter Ford, John Gerard, Shireen Holman, Dard Hunter III, Microsoft Corporate Citizenship, 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 Int’l, 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 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 Foun-dation, Margaret Prentice, Preservation Tech-nologies 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 

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