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135

July 2021

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HAND PAPERMAKING

NEWSLETTER number 135 • july 2021

Newsletter Editor: Maria Olivia Davalos Stanton
Columnists: Sidney Berger, Donna Koretsky, Winifred
Radolan, Amy Richard

Hand Papermaking Newsletter is published quarterly.
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The deadline for the next newsletter (October 2021) is
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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, Colin Browne,
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Coppes-Martin (So. Africa), Jane Farmer (US), Peter
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(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,
I have bittersweet news to share, dear readers. Starting this fall, I will be attending an art conservation graduate program at New York University, work-ing towards an MA in art history and an MS in art conservation. As such, I will be stepping back as Newsletter Editor at Hand Papermaking to trans-ition to being a full-time student for the next four years.It is strange to think I have only been here since issue 125, I have learned so much in such a short time, and I will carry all of it going forward. From visiting with some of you in your home studios for “Papermaking in Place” on Instagram; to working with our won-derful columnists, Donna, Winnie, Sid, and Amy, and interviewing estab-lished and emerging paper conservators. From assisting with setting up our first fellowship program, the Black WritersFellowships, in one small step to address how white supremacy has shaped our organization; to the philosophical con-versations on how we define paper as we move towards decolonizing our field’s Eurocentric standards. I’ll carry everything I’ve learned forward to graduate school—I cannot wait to explore Indigenous papermaking practices through my art history studies, or adapt historic techniques for modern paper conservation use.A farewell, but not a goodbye.

Maria Olivia Davalos Stanton
San Francisco, CA

next up

An update from our inaugural Black Writers Fellowship: Reporter Cheryl D. Edwards. Read Cheryl’s profile on Contemporary Artist Preston Sampson in this year’s summer issue of Hand Papermaking.

In the Contemporary Artist spotlight, the life and work of Preston Sampson has been explored to examine his very beginning inspirations in art. My interviews and research delved into who has inspired him from a personal level, namely family and school, as well as which art movements have given him the most vitality within his practice. There is also a glimpse of the practice of artists who live and work in the Mid-Atlantic region, e.g., District of Columbia, Maryland, and Virginia. I was honored to receive the Black Writer Fellowship: Reporters grant; it was an unmeasurable experience as it relates to editorial support, exchange of ideas, and learning. I now have a new relationship with handmade paper and will be incorporating the media within my practice as a painter, mixed media artist, and printmaker.

along the paper road . . .

Hemp Paper

In this issue, Donna delves into a (re)emerging fiber.

Years ago, I remember chuckling at the words “I grew hemp” rubber stamped by George Washington’s mouth on random one dollar bills. As a papermaker, I was familiar with industrial hemp, yet I still couldn’t help but envision a stoned first president, as our notions of hemp in the ’90s were associated with smoking it and attempts at legalizing it. Only recently, with the passing of the 2018 Farm Act legalizing industrial hemp, has the public become aware of hemp’s amazing properties and the many products that can be made from it. Not only is hemp paper now in vogue, but also hemp clothing and other hemp textiles. There are hemp-based composites used as building materials and as automobile bodies. One would think hemp is a newly discovered wonder plant, but it is merely making a huge comeback. Hemp has been made into paper and clothing for thousands of years.

Even the earliest paper was made from hemp. Analysis of paper from China, dated from the 2nd century BCE, shows it was made from macerated hemp rags.1 Clothing was washed in the river in those days and it is thought that fibrous residue from washing these hemp rags may have been accidentally placed on a mat and dried, resulting in early sheets of paper.2

Our first president did indeed grow Cannabis sativa, as did many of the founding fathers. In fact hemp farming was encouraged by the colonists. As a plantation farmer in the 1760s, George Washington began to cultivate hemp on his Mt. Vernon farm, using it to make thread for clothing, rope, canvas for sails, and nets for his fishing fleet on the Potomac river. There is no indication that George smoked his hemp, nor have there been references that paper was made from his hemp farm. In fact, similar to paper in China, hemp paper in colonial America (as well as in Europe) was made from hemp rags, not directly from the hemp plant. Benjamin Franklin may not have grown his own hemp, but being a printer, hewas affiliated with paper mills that used both hemp and linen rags to make paper. It is likely that early drafts of the Declaration of Independence were written on paper from hemp rags.

Hemp crops proliferated throughout the U.S. in the 19th century as it was the preferred fiber for use in shipping vessels for cordage and sails due to its incredible strength and resistance to mold. Kentucky, Missouri, and Illinois produced the most American hemp.

Botanically, both industrial hemp and marijuana are Cannabis sativa. The marijuana plant can be grown to produce high amounts of THC—which is the substance that makes one high—or it can be cultivated to be what is known as industrial hemp, which contains 0.3% or less THC and has no mind-altering effect. Throughout history, marijuana has been used medicinally, but in the early 1900s, social attitudes toward marijuana shifted and it was perceived as a dangerous drug. In 1937 the US government implemented the Marihuana Tax Act. Anyone who bought, sold, imported, distributed, cultivated, or prescribed it as a medicine had to pay a tax. It was a complicated process that required extensive record keeping with the risk of heavy fines or jail. Unfortunately the government failed to distinguish between industrial hemp and marijuana, and hemp cultivation waned. It simply wasn’t worth the bureaucratic hassle for the farmers to grow hemp and risk heavy fines.In spite of the 1937 Marihuana Act, Popular Mechanics magazine printed a lengthy article touting hemp as the “New Billion-Dollar Crop” in their February 1938 issue.3 It claimed that hemp fiber could be used to produce over 5,000 products, while the hemp hurds, “which contain more than seventy-seven percent cellulose can be used to produce more than 25,000 products, including dynamite, Cellophane, and paper” and is an “economical source of pulp for any grade of paper manufactured.”4 I found this to be particularly interesting as it is the first mention of pulp made from the hemp plant, and not hemp rags. And it goes further by suggesting to make paper, not from the bast fiber, but from the inner cores of the hemp stalks, which are called hurds and contain a large amount of cellulose. How-ever, the article admitted that a major obstacle to hemp’s success was the interference of the federal government with increasing regulations as it confused industrial hemp with marijuana: “If federal regulations can be drawn to protect the public without preventing the legitimate culture of hemp, this new crop can add immeasurably to American agriculture and industry.”5

In 1941, after twelve years of research, Henry Ford introduced an experimental “plastic car” with car panels that were molded from hemp, sisal, and wheat straw with a resin binder. This “plastic” was lighter than steel yet could withstand ten times the impact without denting. The car even ran off fuel made from hemp seed oil and other vegetable oils. Unfortunately, Ford’s timing was off, since the Marihuana Act was still in full swing, and the project was abandoned.

In 1942, during WWII, the US Department of Agriculture put out a 13½ minute film entitled “Hemp for Victory,” encouraging farmers in the US to grow hemp in order to make products such as rope, tow lines, fire hoses, and parachute webbing, all for the war effort.6 (There is no mention of paper.) The film went into great detail on how to grow the slender stalks of hemp, how to process it by cutting, retting, decorticating, and spinning into thread. However the narrator cautioned the farmer that “to grow it legally, you must have a federal regulation and tax stamp.” Apparently this effort fell apart after the war ended, and hemp contracts were cancelled.

The Controlled Substances Act of 1970 during the Nixon years effectively prohibited hemp entirely, as it was grouped with its cousin marijuana. Governments still failed to distinguish between hemp and marijuana and hemp cultivation was essentially non-existent until the 2000s.

Now that it’s finally legal to grow hemp in any form, I was eager to make paper from its bast fiber. I collaborated with a graduate student in industrial design from Pratt Institute who wanted to create products from cannabis industry waste. She provided me with the stalks from a hemp farm in upstate New York farm that grows it for CBD (promising studies have shown this chemical compound derived from the hemp plant may have therapeutic properties), and I made the pulp: I retted the stalks in water for over a week and could easily extract the bast fiber. Next it was cooked in lye and beaten for an hour. The sheets were fairly well formed considering they drained quickly. I was curious to experiment with making paper from the hemp hurds, but their woodiness intimidated me. Perhaps the CBD hemp isn’t the right type for making paper from hurds.

Now that hemp, one of the world’s oldest domesticated crops, is essentially legal to grow in all its forms in most states, we are finally seeing the beginnings of its many exciting innovations. The founding fathers saw so much potential in hemp, yet progress was squelched by their successors through thoughtless regulations. As we continue to attempt to save our forests, perhaps there is a future of paper being made from hemp hurds rather than wood pulp. Hemp products are proliferating exponentially in the form of textiles, industrial materials, plastic composites and biofuel, as well as hemp seed oil, CBD, and marijuana. Eighty-three years after the publication of the Popular Mechanics article, hemp is finally realizing its potential as the “New Billion-Dollar Crop.”

  1. Tsien Tseun-Hsuin, Written on Bamboo and Silk (The University of Chicago Press, 1962), 148.
  2. Editor’s Note: For more on this history, see Elizabeth Boyne, “Making Paper ‘The Old Ladies’ Way’: Women in the Han Dynasty and Their Role in the Origins of Papermaking,” Hand Papermaking vol. 33, no. 2 (Winter 2018): 3–6.
  3. “New Billion Dollar Crop,” Popular Mechanics, 69 no. 2 (February 1938): 238–39, 144A–45A.
  4. Ibid., 238; Ibid,. 144A.
  5. Ibid., 145A.
  6. “Hemp For Victory - USDA Full Official 1942,” Hemp Industries Association, December 14, 2015, Video, 13:42, youtu.be/bIxFhYVv_Gk.

–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

Catching Up Over the Vats

In this issue, Winnie welcomes the chance to set up communal paper vats for her Abington Art Center classes.

Every week since the beginning of the month of April, I have listened to local meteorologists with great anticipation. Would the prediction for temperatures be at least in the 60s, with little wind and no driving rain? It has been months since our last gathering around the vats and we have been anxious for the opportunity to make paper together once again in our beloved Abington Art Center outdoor pavilion.

When “mother nature” finally provided us with our vat-friendly circumstances, we joyfully assembled. Since all in the group have been vaccinated, we agreed that we were ready for community vats of white and pigmented paper pulp. For our fall Artist’s Studio outdoor classes, I was providing a separate vat at each artist’s table. This strategy kept everyone safely physically distanced, but necessitated not only more pulp preparation but also more set-up and clean-up time and effort. Returning to community vats was a welcome change for me! And we all felt comfortable in shedding our face masks in each other’s company. It felt so good to know that people could tell when I was smiling!

While our moulds and deckles did form a few sheets of paper, I believe that the majority of our time was spent catching up with everyone’s life events and projects during the interim since we were last together. The long pulp dry spell provided numerous opportunities to whittle down accumulated handmade paper stashes, or to explore artistic expression in other media.

Each of the small group of four artists was working with the pulp in a different way. One woman was couching multiple layers of adjacent color onto a plexiglass foundation, then stamping a variety of textured items into the thick cushion of pulp. Her resulting dry sheets are fairly textured and ready for various surface enhance-ment layers to be applied. Another artist was producing a series of sheets to be used later in some book structures I will do with her. A third artist was working with long beaten abaca. I believe she has plans to wrap her sheets around armatures to dry. And our fourth papermaker had only attended a couple classes before the pan-demic, so she was refreshing her memory of the basic techniques.

As we all grapple with coming out of pandemic hibernation, the group struggles to gain our former momentum, for a variety of reasons. Between uncooperative weather, health issues, and fewer students it has been difficult to begin holding weekly classes. I am hoping that as life starts to open back up, we can get into a regular routine again soon. I’m already planting the seeds of enthusiasm for the formerly annual Washi in the Garden summer Japanese papermaking day some time in July.

–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.

decorated paper

Nedim Sönmez

In this issue, Sid shares the gorgeous, masterful work of one marbled-paper artist and historian.

In Hand Papermaking Newsletter no. 72 (October 2005) I wrote a column here about the thesaurus of terms for cataloging paper collections that was being created by a group of European libraries. I was the only native English speaker among the participants who convened in Leipzig, Saxony, Germany. Most of the others were conversant in English, so most of the discussion was in this language. I got to know many of them well, and it was a particularly great pleasure to meet some of the well-known artists in creating decorated papers, including Susanne Krause (see my column about her in Hand Papermaking Newsletter no. 111, July 2015) and the subject of the present essay: Nedim Sönmez.

Nedim is truly one of the top marblers in the world, and he comes to the craft with a great knowledge of its history and techniques. In fact, beyond (or underpinning) his marbling is his extensive scholarship on the art, and many of his publications are histories of Turkish and other marbling—running parallel to the many volumes he has created with his own beautiful specimens tipped in.

He comes from Turkey, where there is a long and rich tradition of marbling, and he has perfected the craft brilliantly. His volume Turkish Papers in 16th Century European Alba Amicorum, with the text in English, German, French, and Turkish, is a superb study of marbling in these early friendship albums.1 And his volume Ebru: the Turkish Art of Marbling traces the history of the art in Turkey, emanating from its Far Eastern roots, through its many uses (combined with calligraphy and silhouettes, for example), to its development from the 16th century on, to its current use as a vehicle for elegant art.2 The book is filled with beautiful images of marbling, many pieces of which Nedim himself has done. The marbled sheet showing his Caravan is an indication of Nedim’s skills. He marbles in many styles, from the classical patterns to figurative images of several kinds. The landscape shown in Caravan is one example. One of his amazing publications, Klassische Marmoriermuster / Classic Marbling Patterns, has 80 original marbled specimens tipped in showing the tradi-tional patterns that have been done for centuries: vein, Stormont, nonpareil, peacock, French snail, and many others—all produced exquisitely, and in colors that perfectly replicate those of the originals from the 18th and 19th centuries.3

The Turks are known for their floral marbles, and Nedim is a master of these. His volume Marbled Flowers has a brief scholarly introduction—“A History of Marbled Flowers”—followed by a dozen large specimens that he created. He published a volume titled Spirals in Marbling, with 15 beautiful original samples tipped in, another on the classic tiger-eye pattern (Tigeraugen-Marmor / Tiger-Eye Marble) with 58 samples tipped onto heavy cards, inserted into a portfolio. This is a tour de force of marbling. Most people think of tiger-eye marbling with only a few variations; Nedim shows dozens of variations. His portfolio volume of Ottoman motifs is another astonishing showing of his work, with 25 brilliant marbles tipped onto heavy stock. As with all of his books with tipped-in samples, Nedim did all the marbling. This one, in an edition of 48 copies, required over 1,100 marbles, all done and meticulously tipped in by hand. His volume Marbled Bookplates has 11 original specimens tipped in, each a lovely ex libris, and each one signed and numbered for the edition of 99 copies.

And one of Nedim’s great contributions to the literature and art of marbling is his wonderful book Under the Surface.4 Its subtitle tells us what the book contains: With Ten Original Samples of Marbled Pictures of the Underwater World’s Nature. The whimsy of these images distracts the viewer from the difficulty of achieving the realism of what is depicted. It is no wonder that the marbler kept the edition to only 19 copies. The still of the sea horses and fishes required him to produce nearly 200 of these pictures.

In a recent column I discussed miniature books about paper, and I waxed poetic about miniature marbling. Nedim is a master at this, as his tiny works of art demonstrate. It is difficult enough to perfect representational images in marbling; but it is a greater challenge to do it in miniature. His tiny book Die Geschichte der Marmorierten Blumen / A History of Marbled Flowers is another gem, displaying 10 original tipped-in specimens.5 The edition of 150 copies means that he had to create 1,500 miniature marbled flowers. The specimens are lovely and the text is important. Here is the amalgam of skills that make Nedim stand out from almost all others in the field: his research and scholarship combined with the precision and artistry of his minute marbling.

In a recent email to me, Nedim writes about his ongoing research into the history of marbling: “I am currently busy preparinga book…containing maybe more than 100 originals. [M]y book will contain originals going back to the 17th century. And of course brand new information from my album [Amicorum] research. I studied about 1300 Album Amicorum and found new information about the beginning of the history of marbling in Europe.”6 Nedim’s work—aesthetic and scholarly—is important and satisfying from the perspective of a researcher and an artist.

As a faculty member at Ege University in Bornova, Izmir, Turkey, Nedim founded the Paper and Book Arts Museum, the only one of its kind in Turkey, one of the earliest countries in the West to have seen marbling being done and used as a substrate for texts. It took an important scholar-marbler to create this important museum, and the world of marbling is better off for it. We owe him many thanks for the infor-mation he has shared with the world, and for the beauty he has created. In the space of this brief column the beauty of his marbling can merely be hinted at. I urge my readers to try to see his work in person; special collections libraries have copies of his books, and many are available on the web.

  1. Nedim Sönmez, Turkish Papers in 16th Century European Alba Amicorum (Izmir: 2018).
  2. Nedim Sönmez, Ebru: The Turkish Art of Marbling (Hückelhoven: Verlag Anadolu, 1996).
  3. Nedim Sönmez, Klassische Marmoriermuster / Classic Marbling Patterns (Izmir: 2005).
  4. Nedim Sönmez, Under the Surface: With Ten Original Samples of Marbled Pictures of the Underwater World’s Nature (Izmir: 2009).
  5. Nedim Sönmez, Die Geschichte der Marmorierten Blumen / A History of Marbled Flowers (Tübingen: Jäckle-Sönmez, 1991).
  6. Nedim Sönmez, email to author, April 30, 2021.

–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 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.

paper conservation

From Librarian to Paper Conservator

In this issue, Maria Olivia interviews Robin Canham, first-year graduate student in the Master of Arts Conservation program at Queen’s University.

Maria Olivia (MO): You have a master of information studies from the University of Toronto, and have been a librarian for a number of years; how did you end up pursuing a master in paper conservation?

Robin (R): While I was pursuing my Master of Information Studies, in my very last semester I took a class on conservation as an elective. It really was my favourite class out of my entire academic career, but at that time I had just finished with eight years of university and was eager to get into the workforce. So I kept conservation in the back of my mind as something I’d be able to pursue at a later date. Thirteen years later, the timing was finally right to start thinking about going back to school again. I applied to the Master of Art Conservation program at Queen’s University, and was accepted! Although honestly, I am not sure if the timing is ever right, as I ended up leaving my librarian position and moving across the country during the pandemic. All that change at once was scary, but it was 100% worth it.

MO: What is your day-to-day work like at the National Gallery of Art?

R: I found it was a natural extension of my undergraduate art studies. Though I initially focused on painting on canvas, I ended up gravitating towards painting on paper, and then to lithography. There are many different avenues to art conservation; some people start in science or anthropology, and a lot of us, including me, come from studio art or art history. Lithography and printing led me to paper conservation, so I decided to pursue a degree in it. I completed my master’s in library and information science with an advanced certificate in conservation from the University of Texas at Austin. After graduating, I worked at the Huntington Library in Pasadena, California for several years. I then moved to the East Coast where I have been a paper conservator at the Library of Congress for the past eighteen years.

MO: What is something that surprised you about coming into this field after having worked with books and paper objects in a library?

R: My area of specialization in the library sector was working with online resources, so switching that to now working with physical objects has been a big change of pace for me. After my first few semesters, I have been surprised that more libraries do not have comprehensive preservation or conservation strategies that involve conservation pro-fessionals, and this includes preservation of both their physical and digital collections. There has been such a huge cultural push for libraries to provide digitized online access to their collections, but funding for the sustained conservation of that material I think has fallen behind.

MO: How has handmade paper cropped up in your studies?

R: I think I end up working with handmade paper in some capacity almost every day that I am in the lab. The work I am treating may be created on handmade paper or I may be working with handmade paper for infills and tear repairs. It is interesting learning how treatments can vary significantly based on the type of paper and observing how different papers react to treatment has been truly eye opening to a form of complexity I did not expect. I’ve also been able to study different paper types through major research assignments including deep explorations into cattail paper and Ingres paper.

MO: What techniques did you use to examine your cattail papers?

R: I primarily used multi-spectral imaging examination with the Foster + Freeman VSC-8000. This machine is typically used for forensic sciences, but we use it in the Queen’s University, Art Conservation lab to quickly reveal information about an object under various wavelengths of light and under magnification. You can see things normally invisible to the human eye, so it can tell you a lot about an object sometimes. It was interesting to examine the fibres of the various cattail paper samples as each was completely unique and had different texture and fibre content.

MO: What are you looking forward to working on, be it a specific type of treatment, or field of research?

R: In the fall, I will be starting a research project investigating nanocellulose, so I have been creating my own small “nanopapers” in the lab which is quite fun. Nanocellulose is composed of nano-sized cellulose fibre, and the fibres can come from everything from pistachio husks to straw and wood pulps. Lignin is removed and the cellulose fibres are typically isolated through high-pressure, temperature, and velocity. Currently, nanocellulose is being explored in paper conservation as a material for tear repair and paper stabilization due to its high strength even with very thin application.

–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.

studying hand papermaking

Living Quilts

In this issue, Amy talks with Jane Ingram Allen on community papermaking projects.

Summer’s here

I’m for that

Got my rubber sandals

Got my straw hat

Got my cold beer

I’m just glad that I’m here        

– James Taylor, Summer’s Here

Indeed, it seems like this summer couldn’t get here fast enough! For those of us in north Florida, the telltale sign is the arrival of tropical weather, which arrived for the first time the other day during a morning walk. Stopping in our tracks, my husband and I admired the stacks of puffy tropical clouds gathering on the southern horizon in the morning light. “It’s here,” we both sighed with relief. (Of course that means he will be relentlessly pining to go fishing for the next several months but that can’t be helped.)

This also means that it’s prime papermaking workshop time. Time to “lose the laundry and jump on in”.1 Scrolling through the list of summer papermaking classes and work-shops in this newsletter and elsewhere, one in particular caught my eye: Living Quilts: Papermaking for Public Art Projects, with Jane Ingram Allen. The descriptive text was even more captivating: “This workshop will cover creating a collaborative ‘living quilt’ with handmade paper and seeds for wildflowers. Workshop participants will learn how to plan and execute public art installations with handmade paper and involve communities in hand papermaking.”2

Wow! I thought, what a great way to connect with one’s community including the land itself! Having just met Jane recently via email, I asked if she would share some of the background about this workshop, starting with what gave her the idea to make these beautiful paper quilts that slowly transform into colorful wildflower gardens. As she explained: “Being from Alabama, nearly all of my female ancestors were quilters, though I’d never made traditional quilts myself.” The project had its roots, so to speak, in her early papermaking explorations of adding plant seeds to paper pulp and letting it change over time.

According to Jane, the quilt idea was foreshadowed in 1995, when she and her students made a large map of the earth (i.e., the Western Hemisphere) for Earth Day, using handmade paper and embedded seeds. The project eventually evolved into a paper quilt idea in 2003 as part of a public art installation for a big outdoor exhibition in Sumter, South Carolina. (It wasn’t until 2018 that she began using the phrase “Living Quilt,” which was coined by an art teacher who was volunteering for one of Jane’s public art projects in Newnan, Georgia.)

According to Jane, the Living Quilt projects have involved lots of people who helped make the squares for the quilt as well as assisting with the installation. “Each person is able to contribute something…I find that making paper together is much like I imagined the old-fashioned quilting bees to have been. It creates opportunities for discussing lots of ideas and issues.” Soon after that first paper quilt installation in Sumter, Jane’s investigations led her on some pretty incredible journeys to study hand papermaking in numerous countries and cultures including Japan, Taiwan, Nepal, and Tanzania—to name a few. Some of these experiences were facilitated by fellowships, artist residencies, and other types of artist grants. A Fulbright fellowship allowed her and her husband to travel to Taiwan, where she visited 14 specific regions of the country, spending one to three weeks at each location, compiling research about local plants used for papermaking.

At each location, she created “sitemaps”—handmade paper artworks that represented the plants and culture in each area. Among the many fruits of these efforts is a book entitled Made in Taiwan which documents her investigations with 136 different plants, along with dozens of artworks and installations. This book is a must-have for anyone interested in papermaking with many different types of plants.3

The project was so successful, the Fulbright was funded for a second year which allowed her to make more artwork using what she’d learned about Taiwanese plants, resulting in what she refers to as a modified Asian/Japanese papermaking technique. She and her husband liked Taiwan so much they ended up living there for eight years.Since then, she has continued with numerous environmental and public art projects. Her most recent installation took place this April in Switzerland. Because of the pandemic travel restrictions, she made all of the paper/seed embedded quilt squares in advance and shipped them to Steckhorn, Switzerland where they were installed by a group of volunteers, after receiving detailed instructions from her via ZOOM meetings.4 This summer, she is teaching another Living Quilt workshop (referenced at the beginning of this article) at Sierra Nevada University at Lake Tahoe in July.5

As we spoke about the various ways she has studied papermaking over the years, Jane reminded me that for centuries, the best way to learn a specific creative discipline was through a guild or by serving as an apprentice. We agreed that while those opportunities still exist, they are much less available these days. It’s clear that her chosen method of seeking experiences in other countries and cultures was crucial to her development as an artist—food for thought for anyone interested in explo-ring such options. “There are lots of opportunities through the Fulbright Specialists programs, which last three to four weeks. It’s ideal for people who are not ready to commit to a longer time away.” (Stay tuned for more about these types of opportunities in a future issue of the Hand Papermaking Newsletter.)

But she also made the sage point that one doesn’t have to go that far: “One can study hand papermaking by participating in activities that are in your area or neighborhood.” Her words were not lost on me. Regardless of where we study hand papermaking, she’s helped me realize that it’s that human connection between other people, cultures, and lands that has kept this wonderful art alive and vibrant for so long, spreading, well . . . like wildflowers.      

P.S. Have you seen Hand Papermaking’s new website?! It’s GORGEOUS and creates even more great opportunities for studying hand papermaking!  Check it out at www.handpapermaking.org.

  1. Another great line from James Taylor’s song, “Summer’s Here.”
  2. Jane Ingram Allen, email to author, May 1, 2021.
  3. Editor’s Note: For more on this book, see Loreto D. Apilado’s review “Make Paper, Create Art, Will Travel,” Hand Papermaking vol. 22, no. 2 (Winter 2007): 36–39.
  4. The full story is viewable on her blog, Jane Ingram Allen Art Projects, at  janeingramallen.wordpress.com/2021/04/.
  5. Editor’s Note: See the corresponding workshop entry—Living Quilts: Papermaking for Public Art Projects—in this issue’s Listings section.

–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 opportunities for studying papermaking in colleges, universities, and other established art centers in the United States and abroad.

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 or a full schedule. The deadline

for the October 2021 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,

including papermaking and book arts. Summer

2021 registration is now open! For all remote

learning opportunities and select in-person

workshops, visit abingtonartcenter.org/school.

Amy Richard Studio, Gainesville, FL, www.

amyrichardstudio.com. Amy specializes in

Japanese-style papermaking and sculptural

paper, teaching online classes as well as

private instruction/independent study opportunities

(currently online only). For workshop

information, visit www.amyrichardstudio.

com/teaching or email amymiami.richard-

@gmail.com>.

Arrowmont School of Arts and Crafts, Gatlinburg,

TN, (865) 436-5860, www.arrowmont.org.

Classes and workshops in a variety of disciplines,

including papermaking. Visit www.arrowmont.

org/workshops-classes/ for information about

additional remote learning opportunities.

Sculptural and Installation Art with Handmade

Paper, July 25–30, Sanaz Haghani.

Explore new approaches to sculptural

applications of paper by using different

techniques of papermaking with natural

fibers.

The Banff Centre, Banff, Alberta, Canada,

(403) 762-6100 or (403) 762-6180, www.-

banffcentre.ca. The Centre is a learning

organization leading in arts, culture, and

creativity across dozens of disciplines. Artist

residencies in fully equipped print, textile,

fiber, and papermaking studios.

Book Arts Los Angeles, Los Angeles, CA, (310)

722-9004, www.-bookartsla.org. Classes in

printing, bookbinding, and other crafts in

the Culver City neighborhood. For remote

learning opportunities, visit bookartsla.org/

collections/all.

Book Paper Thread, learn@bookpaperthread.

com, bookpaperthread.com. Book

Paper Thread offers online workshops

to learn basic skills, explore artists books,

or discover new paper treatments. Three

book and paper instructors join together

from across the country to present their

expertise online, in your own home or studio.

For additional remote learning opportunities,

visit bookpaperthread.com/online-workshops.

Brainbridge Artisan Resource Network,

Brainbridge Island, WA, (206) 842-4475,

https://bainbridgebarn.org/. Community art

center with classes and open studios in a

variety of art fields, including book arts and

printmaking. For all remote learning opportunities

and select in-person workshops, visit

bainbridgebarn.wildapricot.org/.

John C. Campbell Folk School, Brasstown,

NC, (704) 837-2775, www.folkschool.org.

Classes in papermaking and other crafts in

the mountains of western North Carolina.

Visit their YouTube channel for Folk School

webinars and garden videos from Farmer

Teddy, or join for Friday Virtual Morningsong

on their Facebook page. For additional

course information, visit classes.folkschool.

org/Browse.aspx.

Papermaking: East Meets West, July 11–

July 17, with Claudia Lee and Matthew

English. Sample Japanese, Nepalese,

and western papermaking techniques.

Learn to mix pigments, color plant

fibers and pulps, and explore ways to

achieve very thin papers, heavyweight

sheets, and textured and decorative

papers.

Batik from Cover to Cover (Intergenerational),

July 18–24, with Emily Ayers. Learn to

batik on paper, then use your papers to

create covers for a Coptic style binding.

This class is for 12-17 year olds to attend

with a parent, grandparent, or guardian.

Weeds and Rags to Finished Book, Sept 5–10,

with Anne Murray. Discover how to

make your own paper from recycled rags

and plant fiber. Get hands-on experience

in traditional rag (cotton or linen)

sheet production and learn how to use

garden plants for more artistic papers.

Ideas and Techniques in Papermaking,

Oct 10–16, with Claudia Lee. Explore the

basics of hand papermaking, starting

with how to set up a low-tech studio at

home. Learn how to make basic equipment

and different ways to process pulp.

Carriage House Paper. Brooklyn, NY, (718)

599-7857, www.carriagehousepaper.com.

Short, specialized, intensive workshops;

private teaching sessions; artist collaborations;

and group programs offered

throughout the year at a fully equipped

papermaking studio. For additional workshops,

visit carriagehousepaper.com/workshops.

Pulp Painting and Stenciling, July 10.

This workshop will explore creating

images in hand papermaking using a

variety of stenciling techniques.

Using Expanded Papermaking, Aug 6–8.

This three day paper intensive will

include explorations in 2-D and 3-D

techniques with attention to each

student’s specific goals.

Center for Book Arts, New York, NY, (212)

481-0295, centerforbookarts.org. The Center

for Book Arts is a contemporary arts organization

dedicated to the art of the book through

exhibitions, classes, public programming,

literary presentations, opportunities for artists

10 • hand papermaking newsletter

and writers, publications, and collections.

For information on workshops, visit centerforbookarts.

org/classes.

Center for Book Arts, New York, NY, (212)

481-0295, centerforbookarts.org. The Center for

Book Arts is a contemporary arts organization

dedicated to the art of the book through

exhibitions, classes, public programming,

literary presentations, opportunities for artists

and writers, publications, and collections.

For information on workshops, visit centerforbookarts.

org/classes.

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 remote learning

opportunities during the closure, visit

www.dieudonne.org/remote-learning for

more information.

Sculptural Papermaking, Jul 10, with Nicole

Donnelly. Participants will learn a range

of techniques that take handmade paper

from two—into three-dimensions, even

without the use of a Hollander beater.

Papermaking at the Capellades Paper

Mill Museum, Spain, Jul 14. This webinar

with Victoria Rabal, Capellades Paper

Mill Museum director, is the first installment

of their “Global Perspectives in

Hand Papermaking” series.

Papermaking in Chile: Creating Our Own

Tradition, Jul 21. Global Perspectives in

Hand Papermaking series. The second

installment of the series is a lecture by

Carolina Larrea, longstanding instructor

of papermaking at the School of Arts of

Pontificia Universidad Cat.lica de Chile.

Papermaking by Hand in India, Jul 28.

Global Perspectives in Hand Papermaking

series. This webinar with Radha

Pandey will focus on traditional Indo-

Islamicate papermaking history and

techniques as well as contemporary

practices.

Today’s Hanji: Current Perspectives from

Korea, Aug 4. Global Perspectives in

Hand Papermaking series. In this

lecture, participants will learn about

the techniques behind making hanji

(Korean paper) alongside stories

from the current landscape of papermakers

who still labor in obscurity

to produce a variety of fine paper that

persists today.

Paper Basketry: An Introduction to Jiseung,

Aug 8, with Aimee Lee. In this demonstration-

based online workshop, you

will see the various steps required to

twine hanji in the Korean tradition of

jiseung.

Japanese Paper: History, Export, & Challenges,

Aug 11. Global Perspectives in

Hand Papermaking series. Join for the

fifth and final installment of the series

for a lecture by Takao Moriki, thirdgeneration

president of Moriki Paper

Company, Ltd.

Natural Dyes for Handmade Paper, Aug

22, with Radha Pandey. In this online

demonstration-based workshop, participants

will learn how to extract dyes

using natural materials for application

on paper.

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.

The Haystack Fab Lab is producing personal

protective equipment (PPE) in response to the

Coronavirus pandemic. To learn more and

support this effort, visit www.haystack-mtn.

org/covid-ppe-project. Running April through

October, Haystack’s 2021 programming will be

entirely online, featuring 70 presentations across

10 program threads. For more information,

visit www.haystack-mtn.org/online-programs.

july 2021 • 11

tPhe apertrail

Handmade Paper & Book Arts

Papermaking Supplies

Raw Fibre – Dry Pulp – Additives

Pigments – Equipment – Books

Marbling and Bookbinding Supplies

Methocel – Inks – Equipment – Books

Board – Sewing Supplies – Binding Posts

Call, write, or e-mail for your free catalogue

135 Lexington Court, Unit 4

Waterloo, Ontario, Canada N2J 4RI

1-800-421-6826

info@papertrail.ca

Fax 1-519-884-9655

http://www.papertrail.ca

For more information, please contact:

David Reina, (718) 486-0262, reinadesigns@aol.com

79 Guernsey Street, Brooklyn, New York 11222, USA

David Reina Designs Inc.

Providers of quality equipment for the hand papermaker

for over twenty years . . . offering Hollander Beaters,

Hydraulic Presses, and Paper Drying Systems.

Helen Hiebert Paper Studio, Red Cliff, CO,

www.helenhiebertstudio.com. Helen holds

regular papermaking workshops at her studio

in the heart of the Rocky Mountains, online,

and around the world. For remote learning opportunities,

visit helenhiebertstudio.com/productcategory/

class/.

Hook Pottery Paper, LaPorte, IN, (219) 362-

9478, hookpotterypaper@comcast.net,

www.hookpotterypaper.com. Hook Pottery

Paper consists of a clay studio; a combined

book, paper, and print studio; and a gallery

shop. For information on residencies, workshops,

and experiences at Hook Pottery Paper,

visit www.hookpotterypaper.com/classes/.

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.

Papermaking from Scratch with Local

Plants–Anytime, Anywhere, July 13–16,

at Whidbey Island, WA. This workshop

at the Pacific Northwest Art School

will cover how to make paper from

local plant materials with emphasis

on creative problem solving to make

unique handmade paper for art, using

sustainable methods and materials

that do not harm the environment.

Living Quilts and Papermaking for Public

Art, July 26–30, at Incline Village, NV.

This workshop will involve participants

in creating a collaborative public art

installation using hand papermaking

and seeds for wildflowers at a selected

site on the Sierra Nevada University

campus.

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. For information on workshops, visit

kalbookarts.org/workshops/.

Karen Hanmer Book Arts, Glenview, IL,

www.karenhanmer.com/. A private studio in

north suburban Chicago offering workshops

and private instruction to working practitioners

and dedicated hobbyists, focusing on a solid

foundation in traditional bookbinding skills.

For more information on online workshops,

visit www.karenhanmer.com/teaching/#WorkshopSchedule.

Maiwa School of Textiles, Vancouver, British

Columbia, (604) 669-3939, www.schoolof-

textiles.com. Maiwa School of Textiles

offers an international roster of instructors.

Learn from some of the most skilled hands

working in textiles, dyeing, weaving, and many

more. Listen to Voices on Cloth: Podcasts from

Maiwa at www.schooloftextiles.com/podcasts.

For free online lessons, visit maiwa.teachable.

com/courses.

Massachusetts School of Art and Design,

Boston, MA, (617) 879-7200, pce.massart.edu.

MassArt’s Professional and Continuing Education

offers courses and workshops in fine

art and design including book arts and printing,

professional design certificates, summer

immersive programming, and more. For more

information, visit pce.massart.edu/catalog/spring-

2021/categories/.

Minah Song Art Services, Arlington, VA, (646)

352-3828, Paper conservation studio in the

Washington DC metro area that also offers

workshops. 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. For remote

learning opportunities during the closure,

visit www.mnbookarts.org/category/adultsfamilies-

virtual.

Artist Talk & Demo: The Art of Korean

Paper, Aug 18, with Aimee Lee. Join this

artist talk and demonstration with

12 • hand papermaking newsletter

Aimee Lee, an artist, papermaker, writer,

and the leading hanji researcher and

practitioner in North America.

Morgan Art of Papermaking Conservatory

and Educational Foundation, Cleveland,

OH, (216) 361-9255, www.morganconservatory.

org. The Morgan Conservatory Open

Studio program provides artists and students

access to studio space and equipment;

gives them with an opportunity to create art

in areas of papermaking, letterpress printing,

and bookbinding; and presents regular workshops

in papermaking, printing, book arts, and

mixed technique. For free online lessons, visit

www.morganconservatory.org/online-classes.

Relief from Relief: Papercasting, July

10–11 with Tom Balbo. Learn the art of

papercasting from the Morgan’s founder

and Artistic Director, creating cast

paper panels composed of a variety of

textures, shapes, and colors.

Pulp and Print: Screen Printing on Handmade

Paper, A Zygote Collaboration,

August 14–15 and/or 21–22, with Anna

Tararova. During this two-weekend

workshop, your first weekend will be at

the Morgan Conservatory, where you

will leave this workshop with a stack of

handmade paper to use at home, or the

following weekend at Zygote Press, to

learn the process of screen printing.

Ox-Bow School of Art & Artists’ Residency,

Saugatuck, MI, ox-bow@saic.edu, www.ox-bow.

org/. Through its affiliation with the School of

the Art Institute of Chicago, Ox-Bow offers offers

a wide range of opportunities for artists at all

stages. For more information, visit www.ox-bow.-

org/take-a-class.

Papermaking Studio, Aug 23–29, with Andrea

Peterson. Paper as an art medium is

exciting and elusive. Paper pulp can be

transformed into sculptural works and

drawings with pulp and unusual surface

textures.

Paper Rain Studio, Santa Fe, NM. 505.692-3474.

Jacqueline Mallegni. www.mallegni.com.paper.

rain.studio@mallegni.com. Jacqueline offers

online interactive papermaking and fiber art

workshops via Zoom. Visit my website for details,

registration and art news. I look forward to hearing

from you.

Papermakers of Victoria, at Box Hill Community

Arts Centre, Whitehorse, Victoria, Australia, ph.

9885 2479, www.papermakers.org.au. Papermaking

offering workshops, exhibitions, and studio

access. For more information, visit papermakers.

org.au/workshops/.

Papermaking for Beginners, Sept 5, with Leanne

Poole. By the end of the day you will leave

with the necessary knowledge and practical

experience to be able to make your own

paper at home using recycled materials.

The Papertrail, New Dundee, Ontario, Canada,

(800) 421-6826, www.papertrail.ca. Workshops

taught in English or French in papermaking,

marbling, related arts, and studio rental scheduled

on an as-needed basis.

PaperWorks, Tucson, AZ, paperworks.info/

index.html. This Sonoran Collective for Paper

and Book Artists provides educational and

creative opportunities through workshops, programs,

collaborative groups, community

exhibitions by PaperWorks members, and

scholarships for students studying paper arts.

PapierWespe (PaperWasp), Klimschgasse 2/1,

Vienna, Austria, (0676) 77-33-153, office-

@papierwespe.at, www.papierwespe.at. Workshops

in English and German taught by paper

specialists in downtown Vienna. For information

about upcoming workshops at PapierWespe,

visit www.papierwespe.at/workshops.

Paper as the Oldest Recycling Process, Sept

11–12, with Beatrix Mapalagama. Make new

papers from light-colored rags, unusable

book blocks, and old hand-made papers.

Taught in German.

Penland School of Craft, Penland, NC, (828)

765-2359, www.penland.org, is an international

center for craft education, offering a

full program of workshops, including printmaking,

papermaking and paper and

arts. For workshops and remote learning

july 2021 • 13

is to serve as an educational and creative

resource for the community and to advance

the book as a vital contemporary art form. For

information on upcoming workshops, 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. Closed through August

15. For remote learning opportunities during

the closure, visit sfcb.org/ShelterInStudio,

and for information on upcoming workshops,

visit sfcb.org/workshops.

Sitka Center for Art and Ecology, Otis, OR,

(541) 994-5485. www.sitkacenter.org. The

Sitka Center offers workshops, residencies, and

community events at its facility near Cascade

Head and the Salmon River estuary in Oregon.

For workshop information, visit www.

sitkacenter.org/workshop/workshopslist.

Snow Farm: The New England Craft Program,

Williamsburg, MA, (413) 268-3101. www.snowfarm.

org. Workshops at Snow Farm span eight

subject areas, including printmaking and

paper/book arts. For more information on reopening

policies and workshops, visit www.

snowfarm.org/workshops/class-listings/covid-

19-updates-reopening.

Papermaking with Plants, Aug 8–13, with

May Babcock. Make paper from garden

plants and weeds! Learn how to identify

and harvest plants for hand papermaking.

The Soapbox: Community Print Shop & Zine

Library, Philadelphia, PA, info@phillysoapbox.

org, www.phillysoapbox.org, offers studio space,

a zine library, and other resources for anyone

interested in print-, book-, and zine-making.

For remote learning opportunities, visit www.

eventbrite.com/o/the-soapbox-community-printshop-

amp-zine-library-26170124449.

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. For workshop

information, visit contemporarycraft.org/

education/, and for remote learning opportunities,

visit contemporarycraft.org/cc-onlineresources/.

Southwest School of Art, San Antonio, TX, (210)

224-1848, www.swschool.org. Classes at the Picante

Paper Studio. Individual papermaking classes

can be scheduled for one person or a group. Studio

time, consultation, and instruction available. For

more information on upcoming classes, visit www.

swschool.org/community-classes/adults.

Papermaking for Home & Classroom, July

31, with Jo Etta Jupe. Want to make your

own paper or incorporate the science

of papermaking into your classroom?

Simple and inexpensive tools will be

discussed and demonstrated.

collaborations and an artist residency program.

Visit www.pulpanddeckle.com for more info.

Pyramid Atlantic, Hyattsville, MD, (301) 608-

9101, www.pyramidatlanticartcenter.org,

offers workshops in papermaking, printmaking,

and book artsas well as residencies, apprenticeships,

and internships. For remote learning

opportunities during the closure, visit www.pyramidatlanticartcenter.

org/pyramid-at-home.

Make+Take: Decorative Deckle Box Paper,

July 21, with Marta Perez Garcia. Let’s get

pulpy! In this Make+Take, we’ll use handy

dandy pour moulds to create unique handmade

paper.

Robert C. Williams Paper Museum. Atlanta,

GA, (404) 894-5726, http://paper.gatech.edu.

An internationally renowned resource on

the history of paper and paper technology,

the museum’s mission is to collect, preserve,

increase and disseminate knowledge about

papermaking–past, present and future. To

read their reopening updates, and to explore

remote learning opportunities, visit paper.-

gatech.edu/upcoming-workshops.

San Diego Book Arts, 8680 Washington Ave.,

La Mesa, CA 91942, www.sandiegobookarts.

com. The mission of San Diego Book Arts

opportunities, visit penland.org/workshops/

overview-of-penland-workshops.

Handmade Paper and Artist Books, July 4–15,

with Frank Hamrick. In this workshop,

we’ll make rag paper from your old cotton

and linen clothes and incorporate it into

various book structures including hardcover

pamphlet, accordion, longstitch, case

bound, Japanese, and Coptic bindings.

Cast Paper Sculpture, July 18–Aug 2, with

Elizabeth Alexander. This workshop will be

an in-depth exploration of sculpting with

paper: a wonderfully versatile material.

Contemporary Papermaking for Book Arts,

Aug 8–19, with Susan Gosin and Cynthia

Nourse Thompson. Students in this workshop

will learn to prepare pulp and make

paper sheets from a wide range of fibers,

including linen, cotton, kozo, and abaca.

Paper Through Time, Oct 3–Nov 12, with

Radha Pandey. Focused on the history of

papermaking, this six-week workshop will

trace the geographical spread of the craft.

Pulp & Deckle, Portland, OR, is a papermaking

studio that focuses on sharing the art, craft,

history and science of paper as a creative medium

and offers workshops, demos, lectures, custom

WHAT WILL YOU MAKE?

PENLAND.O

G/BOOKS-PAPE


14 • hand papermaking newsletter

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 remote

learning opportunities, visit textileartscenter.

com/adult-classes.

West Dean College, Chichester, West Sussex,

U.K., (0)1243 811301, short.course@westdean.-

org.uk, www.westdean.org.uk. West Dean

College of Arts and Conservation provides course

work and degrees in creative arts and conservation

fields, including papermaking, bookbinding,

and printmaking. For remote learning opportunities,

visit www.westdean.org.uk/study/online-hub.

Creative papermaking–emboss, layer and cast,

July 26–29, with Lucy Baxandall. Explore

easily accessible traditional papermaking

processes and experimental techniques, to

make a series handmade paper artworks

with a visual narrative.

Women’s Studio Workshop, Rosendale, NY, (845)

658-9133, info@wsworkshop.org, www.wsworkshop.

org. The Women’s Studio Workshop has

been a professional artist studio dedicated to

the creation of community, opportunity, empowerment,

and development for all women, trans,

and genderfluid artists, with studio spaces

including papermaking and book arts. WSW

is planning a full Summer Art Institute program

for summer 2021 which will include both

onsite and virtual courses.

Interdisciplinary Papermaking, July 12–16,

with May Babcock. Participants will learn

to make paper for cyanotype, gilded metal

leaf, and patina artworks, and will manipulate

paper pulp using a printerly approach

to create ‘pulptypes’ and layered imagery.

Painting with Pulp: Beyond Papermaking,

July 19–23, with Candy Alexandra Gonz.lez.

During this workshop, participants will

learn to transform freshly formed sheets

of handmade paper into finished masterpieces

with pulp paints.

Let’s Make Hanji: Korean Papermaking, July

26–30, with Aimee Lee. This is an ideal

course for students interested in East Asian

paper traditions, paper’s role in material

culture, and hands-on experience of manual

labor and patience that result in luminous

paper.

The Topography of Handmade Paper, Aug

2–6 or Aug 9–13, with Mary Hark. A

thorough investigation into papermaking

fibers and traditional tools will be

the starting point for a lively exploration

of surface, form, and content.

Upcycling, Harvesting; A Sustainable

Approach to Papermaking, Aug 23–27, with

Rebecca Hutchinson. Participants will

be engaged conceptually in the practice

of harvesting from place as content for

papermaking.

EVENTS

The Papermakers of Victoria extend an invitation

to their September 23–26 Jamieson

Gathering for Members and Partners in the

beautiful gardens at Berrington Cabins for

a weekend of papery activities. For more

information, visit papermakers.org.au/

workshop/jamieson-gathering-for-membersand-

partners/.

CODEX VIII Extraction Words on the Edge

will take place April 10–13, 2022 in Berkeley,

CA. Registration for the Book Fair and Symposium

will open October 1; all Exhibitors are

required to contact CODEX in order to receive

the registration form and code and new Exhibitors

need to apply. For more information, visit

www.codexfoundation.org/home.

EXHIBITIONS

Explore the online exhibition, Washi, a History of

Japanese Papermaking, at the Robert C. Williams

Museum of Papermaking at paper.gatech.edu/

washi.

PLACE: Community, Environment, Cogitate is

an exhibition in which artists Chad Hayward,

Lea Basile-Lazarus and Andrea Peterson

explore the idea of situation, region, and circumstance

through each of their own personal

lens. A range of plant fibers has been used as

pulp to create the works including cotton

rag, flax, abaca, phragmites, and millet straw.

On view at Robert C. Williams Museum of

Papermaking May 1–August 1, for more information,

visit paper.gatech.edu/place-community-

environment-cogitate.

Ruminate, with paperworks by Andrea Peterson,

Lea Basile Lazarus, and Chad Hayward, explores

how the three artists use pulp as an imaging

device–pulp drawing, pulp painting, pigmented

pulp being applied to a handmade base sheet.

On view at Robert C. Williams Museum of Papermaking

May 6–August 6, for more information,

visit paper.gatech.edu/ruminate.

Running from June 4–July 17, This Moment is an

exhibition of works by the Morgan Conservatory’s

2019 Resident Artists. Including works by:

Karen Revis, Taro Takizawa, April Bleakney,

Ann Marie Kennedy, Andrew Mancuso, Toby

Millman, Ashley Pastore, Matt Liddle, Christi

Birchfield, Winsome Jobling, Hong Hong,

Claudio Orso. For more information, visit

www.morganconservatory.org/.thismoment.

Crossover: Trends in Paper runs at the Ohio Craft

Museum in Columbus (614-486-4402), August

8–October 3. Curated by Columbus artist Char

Norman, this exhibition features works in paper

created by artists using a variety of techniques,

including pulp painting, folding, cutting and

reassembling, forming, and sewing. Works range

in size from small, delicate pieces to monumental

installations. For more info visit https://ohiocraft.

org/ocm-exhibitions/upcoming-exhibitions/.

CALLS FOR ENTRIES

The Kalamazoo Book Arts Center invites

printmakers to participate in their Poets in

Print broadside series. Find out more about

this collaborative opportunity by contacting

Katie Platte at katie@kalbookarts.org or

by visiting kalbookarts.org/opportunities.

Treewhispers is an ongoing installation of flat

handmade paper rounds with personal

stories, poetry, and art related to trees. The

project, started by Pamela Paulsrud and Marilyn

Sward, continues to seek contributions. For more

information, visit treewhispers.com/here.

The deadline for entries to the Shanghai

Biennale of Paper Art is July 23, 2021. The

Biennale is organized by Paper + Studio

and Fengxian Museum, and jointly hosted

by Culture and Tourism Bureau of Fengxian

District, Shanghai. The epidemic that began

at the end of 2019 has sealed each individual

in an independent space, while at the same

time being engulfed in a closely related

human community. In this biennale, the

works by artists from around world will

address the epidemic, nature, life, and the

promise of the future. There is no entry

fee. The exhibition will run September 25–

November 25, 2021. The primary requirement

is the use of paper and handmade

paper. All paper art forms are allowed. Email:

ansonou@feastsonpaper.com or gala8000

@hotmail.com. To view images of the 2019

Paper Art Biennale visit: https://720yun.

com/t/ddvkibpyrqb?scene_id=37089449

OPPORTUNITIES

Artists Book House is a new organization

devoted to the Book Arts: writing, reading,

printing, bookbinding, papermaking, typography,

calligraphy, poetry, fiction, memoir,

july 2021 • 15

MISCELLANEOUS

Seeking interns: Jim Croft, a bookbinder

and papermaker who lives in the foothills

of the Bitterroot Mountains in rural north

Idaho, is seeking interns to help make books

from raw materials. Particular focus will

be 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 best and quickest way to

inquire about this internship opportunity.

CLASSIFIEDS

Classifieds in the Hand Papermaking Newsletter

cost $2 per word, with a 10-word minimum.

Payment is due in advance of publication.

Equipment needed to make handmade paper

at home. Includes press, papercutter, two

moulds and deckles, hand mixer, cotton linters,

and so on. $500. Contact Mary Bates by

phone at 603-995-4351 or via email at marybatessnh@

gmail.com.

Pure wool handmade papermaking FELTS,

36" by 48", weight a minimum of 1.1 pounds

each. To learn more, visit www.LanaDura.

com, and contact Minna White at landlamb-

@gmail.com

Unbleached Philippine Abaca $6.00 lb. For

samples, please send SASE to Ifugao Papercraft,

6477 E. Grayson, St., Inverness, FL 34452.

Need affordable paper for workshops? We

offer authentic hanji, lokta, washi, and xuan.

Mention this ad for 10% discount, paperwoman@

paperconnection.com.

Cotton Linter Pulp. All quantities available.

Call Gold’s Artworks, Inc. (910) 739-9605.

HAND PAPERMAKING

loves to hear from readers:

newseditor@handpapermaking.org

artist’s books, publishing, comics, zines, and

much more. Soon to be located in the Harley

Clarke House on Lake Michigan in Evanston,

Illinois, Artists Book House is a place where

artists, writers, readers, and other thoughtful

people can gather to learn and create. Through

education, exhibitions, publications, and

events, this new organization expands the

community, promotes the literary arts and

the crafts of book making, rejoices in the physsical

form of the book, and embraces an

interdisciplinary approach to the book arts.

We are committed to conservation, knowledge,

and understanding the history and craft of

the book, and we celebrate diversity and are

committed to empowering people to tell

their stories and to transform their worlds

into books. For more information, visit

https://artistsbookhouse.org/

The Pyramid Atlantic Art Center offers

year-round workshops in printmaking,

papermaking, book arts, and hybrids thereof.

As part of a robust and diverse schedule of

offerings they welcome unsolicited workshop

proposals. Workshop proposal reviews are

ongoing. For more information, visit www.

pyramidatlanticartcenter.org/pyramid-atlanticworkshop-

proposal.

The Women’s Studio Workshop (WSW) in

Rosendale, NY has available the following

upcoming artist residencies. For more information,

visit wsworkshop.org/opportunitycalendar/.

The Studio Workspace Residency is open to

artists who want 4–6 weeks of concentrated

work time in any of the studios: etching,

papermaking, letterpress, silkscreen, book

arts, photography, or ceramics. Application

due August 1.

The Art-in-Education (AIE) Workspace

Residency is for artists interested in working

with local school students while creating

their own work in WSW’s supportive and

immersive environment. Application due

August 1.

The Ora Schneider Regional Grant is a

month-long residency for artists residing in

Greene, Columbia, Delaware, Dutchess,

Ulster, Sullivan, and Orange counties.

Application due October 15.

PUBLICATIONS, FILMS, VIDEOS

Watch the PBS special The Book Makers at

www.pbs.org/video/the-book-makers-bzy8li/.

From the esoteric world of book artists to the

digital library of the Internet Archive, the film

spins a tale of the enduring vitality of the book.

Retiring University of Iowa Center for the Book

director, MacArthur Fellow, and renowned papermaker

Tim Barrett reflects on his storied, 34-year

career at Iowa. Watch Tim Barrett: The Story of

a Papermaker on YouTube.

Paper Talk is an ongoing series of interviews

by Helen Hiebert featuring artists and professionals

who are working in the field of hand

papermaking. New podcast episodes each

month. Subscribe to Paper Talk in iTunes.

ONLINE PROGRAMMING

From 1619 to beyond, black craftspeople, both

free and enslaved, worked to produce the

valued architecture, handcrafts, and decorative

arts of the American South. The Black

Craftspeople Digital Archive seeks to enhance

what we know about black craftspeople by

telling both a spatial story and a historically

informed story that highlights the lives of black

craftspeople and the objects they produced.

View the project at blackcraftspeople.org.

Quarantine Public Library, a collaborative project

dreamed up by Katie Garth and Tracy Honn,

is a repository of books made by artists. The

works published are for anyone to freely download,

print, and assemble—to keep or give

away. Browse the dozens of artist’s books at

www.quarantinepubliclibrary.com/by-artist.

Designed by Big Jump Press in response to

the murders of George Floyd, Ahmaud Arbery,

and Breonna Taylor, Read This Out Loud

is a downloadable book template available for

anyone to use. Make as many copies of this

book as you can and disperse them in your

community. Links to downloads and video

demonstrations can be found at bigjumppress.

blog/read-this-out-loud/.

Each week, Fellows in the Winterthur/University

of Delaware Program in Art Conservation

are sharing tips on how people can care for their

personal collections while they are staying

safe at home! To read Attics and Basements and

Closets, Oh My!, which includes posts on

paper and pest management, visit www.artcons.

udel.edu/outreach/public-outreach.

The inaugural Chantry Library Subject Bibliographies

focuses on South Asian Paper.

Compiled by Jasdip Singh Dhillon, this entry

features familiar names such as Dard Hunter

and Edo Loeber. The Subject Bibliographies

aim to support the work of conservators by

providing curated information through upto-

date lists of key information sources about

a given subject, chosen by a specialist. Visit

chantrylibrary.org/chantry-library-subjectbibliographies-

2/ to learn more.

SPECIAL THANKS TO OUR DONORS

Hand Papermaking acknowledges recent contributors

to our nonprofit 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, and other ways to support us.

benefactors: Colin Browne, Lisa Cirando,

Joan Hall, Mark Tomasko

patrons: Tom Balbo, Sid Berger & Mich.le

Cloonan, Sue Gosin, Alta Price

underwriters: Yousef Ahmed, Michael Durgin,

Lois & Gordon James, Darin Murphy, Ingrid

Rose, Kenneth Tyler

sponsors: Eric Avery, May Babcock, Tom & Lore

Burger, John Cirando, Marian Dirda, Susan

Mackin Dolan, Michael Fallon, Jane Farmer, Helen

Hiebert, Kyoko Ibe, Robyn Johnson & Peter

Newland, Debora Mayer, Peter Newland and

Robyn Johnson, Laura Roe, Michelle Samour,

Robert Specker, Kathy Wosika

donors: Margaret F. Arend, Tom Bannister,

Elena Osterwalder Bonny, Sarah Louise Brayer,

Carol Brighton, Nancy Cohen, Jeffrey Cooper,

Elizabeth Curren, Kerri Cushman, Gale Deery,

John Dietel, Devie Dragone, Linda Draper, Jerry

Exline, Kathleen Fitzgerald, Catherine Futter,

Sara Gilfert. Lori Goodman, Mabel Grummer,

Lisa Hartman, Richard Haynes, Shireen Holman,

Jamie Kamph, David Kimball, Thomas Lang,

Katie MacGregor, Julie McLaughlin, Todd Moe,

Marcia Morse, Mary O'Shaughnessy, Elaine

Nishizu, Sandra Reese, Renee Rogers, Robbin

Ami Silverberg, Jennifer Spoon, H. Paul Sullivan,

Thomas Taggart, Mina Takahashi, Violeta Tayeh,

Beck Whitehead

supporters: Christine Aaron, Marlene Adler,

John Babcock, Timothy Barrett, Anne Beckett,

Ann Cicale, Wavell Cowan, Jennifer Davies,

Amanda Degener. Barbara DiSalvo, Karla Elling,

Dorothy Field, Barbara Futter, Tatiana Ginsberg,

David Lance Goines, Guild of Papermakers, Pat

Hammerman, Robert Hauser, Yukari Hayashida,

Winsome Jobling, M. Monat Isaacs, David

Kimball, Steve Kostell, Aimee Lee, MP Marion,

Edwin Martin, Ann McKeown, Betsy Miraglia,

Tim Moore and Pati Scobey, Catherine Nash,

Nancy Pike, Melissa Potter, Mary Price, Brian

Queen, Dianne Reeves, Bonnie Reisman, Carolyn

Riley, Kathleen Stevenson, Deborah Stone, Louisa

Swift, Pamela Wood, Jennifer Woodward

friends: Jack Becker, Elizabeth Boyne, Nancy

Carlson, Lucia Harrison, Mary Hennigan,

Kristin Kavanagh, Susan Kanowith-Klein,

Chris Leatherwood

in-kind donations: Janet De Boer, Peter Ford,

John Gerard, Dard Hunter III, Microsoft Corporate

Citizenship, Steve Miller

founding contributors to the hand

papermaking endowment: 49er Books,

Shirah Miriam (Mimi) Aumann, Cathleen

A. Baker, Tom Balbo, Timothy Barrett,

Sidney Berger & Mich.le 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

contributors to our 2021 paper wheel of

fortune fundraising event: Jeff Abshear,

Jane Ingram Allen, Rhiannon Alpers, Maxine

Apke, Mary Ashton, Amalia Aviles-Lugo, John

Babcock, May Babcock, Tom Balbo, Jenna

Bonistalli, Cave Paper, Colin Browne, Ingrid

Butler, Jazmine Catas.s, Kathryn Clark, Daniel

Colvin, Kerri Cushman, Amanda Degener,

Katherine DeLamater, Ilze Dilane, Katy

Dement, Susan Mackin Dolan, Dale Emmart,

Helen Frederick, Tatiana Ginsberg, Joan Hall,

Helen Hiebert, Frances Hunter, Lois James,

The Japanese Paper Place, Genevieve Lapp,

Aimee Lee, Claudia Lee, Thomas Leech,

Robert Mannino, The Morgan Conservatory,

Marcia Morse, Henry Obeng, Jill Odegaard,

Hannah O'Hare Bennett, Bridget O'Malley,

Radha Pandey, The Paper Circle, Andrea

Peterson, Tedi Permadi, Kelsey Pike, Alta

Price, Victoria Rabal at the Capellades Paper

Mill Museum, Jackie Radford, Margaret Rhein,

Amy Richard, Virginia Sarsfield, Jillian Sico,

Robbin Ami Silverberg, Peter Sowiski, Lynn

Sures, Peter & Donna Thomas, Judy Tobie,

Twinrocker, Gibby Waitzkin, Michelle Wilson,

Paul Wong, Kathy Wosika