Enter your email address to hear the latest from Hand Papermaking! You’ll be the first to know what's happening with us and in the wider field of hand papermaking.
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.
Annual subscriptions to Hand Papermaking magazine,
which includes the quarterly newsletter, cost $65 per
year in the US; $75 in Canada; $95 elsewhere. Twoyear
subscriptions are $120 in the US; $140 in Canada;
$180 elsewhere. Institutional subscriptions are $90
per year in the US, $120 outside the US. To receive a
printed copy of the newsletter, add $25 to your yearly
subscription. A stand-alone newsletter subscription to
the newsletter, which excludes issues of the magazine,
is now available for $10 per year. Payment in US dollars
is required. Visa/Mastercard/Paypal is accepted. For
more subscription information, contact:
Hand Papermaking, Inc.
PO Box 50859, Mendota, MN 55150-0859
Phone: (651) 447-7143
E-mail: info@handpapermaking.org
Web: www.handpapermaking.org
The deadline for the next newsletter (October 2021) is
August 15. We encourage letters from our subscribers on
any topic. We also solicit comments on articles in
Hand Papermaking magazine, questions or remarks
for newsletter columnists, and news of special events
or activities. Classified ads are $2.00 per word with a
10-word minimum. Rates for display ads upon request.
Hand Papermaking is a 501(c)(3) non-profit 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,
Jazmine Catasus, Lisa Cirando, Candy Gonzalez,
Joan Hall, Lisa Haque, Kelly Taylor Mitchell, Darin
Murphy, Anela Oh. International Board of Advisors:
Yousef Ahmad (Qatar), Timothy Barrett (US), Simon J.
Blattner (US), Kathryn & Howard Clark (US), Mandy
Coppes-Martin (So. Africa), Jane Farmer (US), Peter
Ford (UK), Helen Frederick (US), Simon Barcham
Green (UK), Helen Hiebert (US), Therese Hofmann
(Brazil), Dard Hunter III (US), Kyoko Ibe (Japan),
Winsome Jobling (Australia), Carolina Larrea (Chile),
Roberto Mannino (Italy), Beatrix Mapalagama
(Austria), Bob Matthysen (Belgium), Radha Pandey
(India), Giorgio Pellegrini (Italy), Brian Queen
(Canada), Victoria Rabal (Spain), Vicky Sigwald
(Argentina), Lynn Sures (US), Aytekin Vural (Turkey).
Co-founders: Amanda Degener and Michael Durgin.
Dear Readers,
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.”
–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.
–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.
–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