HAND PAPERMAKING

NEWSLETTER number 137 • january 2022

Interim Newsletter Editor: Amanda Degener

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. Two-year 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:

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 (April 2022) is February 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 organi-zation. Staff: Michael Fallon, Executive Director; Mina Takahashi, Magazine Editor; Amanda Degener, Interim Newsletter Editor; Karen Kopacz, Designer. Board
of Directors: May Babcock, Jazmine Catasús, Candy González, Joan Hall, Lisa Haque, Kazuko Hioki, Kelly Taylor Mitchell, Darin Murphy, Anela Oh, Erik Saarmaa. International Board of Advisors: Yousef Ahmad (Qatar), Timothy Barrett (US), Simon J. Blattner (US), Kathryn & Howard Clark (US), Mandy Coppes-Martin (So. Africa), Jane Farmer (US), Peter Ford (UK), Helen Frederick (US), Simon Barcham Green (UK), Helen Hiebert (US), Therese Hofmann (Brazil), Dard Hunter III (US), Kyoko Ibe (Japan), Winsome Jobling (Australia), Carolina Larrea (Chile), Roberto Mannino (Italy), Beatrix Mapalagama (Austria), Bob Matthysen (Belgium), Radha Pandey (India), Giorgio Pellegrini (Italy), Brian Queen (Canada), Victoria Rabal (Spain), Vicky Sigwald (Argentina), Lynn Sures (US), Aytekin Vural (Turkey).

Co-founders: Amanda Degener and Michael Durgin.

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The Language of Color

Introducing the next edition of Hand Papermaking’s long series of themed, limited-edition portfolios of handmade paper.

The juror for Hand Papermaking’s upcom-ing paper portfolio, titled The Language of Color, was 33-year-old Hong Hong, an artist known for her colorful large-scale pulp paintings. In an 2017 interview by May Babcock, Hong said she always likes looking out of windows. “What I remember about each view often has to do with the temperature of the blueness of the sky, the dappling of light, and the air, which was full of scents that wrapped themselves around my face like a soft cowl.” She also mentions being aware of the absence of color. “When I was ten-years-old, I immigrated with my mother from a metropolis in central China to Fargo, North Dakota. It was there, in the Great Plains, that I encountered land for the first time. There was an open field not far from where we lived at the time. It snowed quite heavily one evening, and I went out there the morning after. The horizon was barely perceptible: the fallen snow was just a few shades more opaque than the silver skies. I remember
the way everything looked as the world stretched out in all directions around me in an endless, white mile. For the first time, land, to me, became a presence, with its own weight.”

The call for proposals for The Langauge of Color portfolio suggested a broad view of how color inspires and impacts us as humans and as creative thinkers. “How we read and connect with color reflects where we come from, the reinforced cultural meanings, and where we are emotionally at a given time and place.... Through papermaking one can engage with these complex relationships of belonging and otherness, and investigate the nuances of color that evoke a full spectrum of emotion, spirit, place, and culture.”

The artists that Hong Hong choose for the portfolio, whose names will be made public early next year, come from an array of back-grounds­—different cultures, different ages, different parts of the world—and the work they propose to produce from the portfolio offer wildly different takes on the theme. This portfolio will be the fourteenth in an ongoing publishing series that documents and preserves contemporary examples of distinctive handmade papers. It includes aesthetic and technical information from all artist participants and essays about the theme and the artworks. Housed in a cloth-covered clamshell box designed by Steve Miller, this limited-edition portfolio will be available for purchase, at a reduced pre-publication price, in June 2022.

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along the paper road . . .

Paper from Currency

In this issue, Donna Koretsky makes paper from Nigerian shredded currency.

After a handful of emails back and forth with our contact person in Lagos Nigeria, we knew we would be getting a package of Nigerian currency. But we were surprised when DHL delivered such a heavy box—and inside it, heavy bricks of Nigerian naira. To be clear, we received bricks of shredded money; our liaison was considering recycling it into paper and was inquiring about purchasing a 7-pound Reina beater, so we agreed to first experiment and make some test sheets.

Included in this twenty-pound box of shredded currency was an official letter from the Central Bank of Nigeria, awarding our potential beater customer a contract for the recycling of paper banknote waste into useable products, thus confirming the legitimacy of the project. The bricks themselves were interesting as objects: colorful bits of red, yellow, blue, and black shreds, sometimes with visible letters and numbers, and an occasional silvery sparkle. When the broken-up pieces were separated from the brick, we noticed that the shredding process did not create uniform blade-like strands, as we’ve seen in shredded US currency, but the shreds, though quite small, were all different sizes and shapes.

We soaked four colorful bricks (seven pounds) of shredded Nigerian currency in water, added it to our beater, and slowly lowered the roll. After 45 minutes the homogenous pulp was drained, added to the vat, and 11" x 14" test sheets were formed, pressed, and restraint dried. As anticipated, the dry sheets were grey with barely noticeable specks of blue, red, yellow, and black, white and glimmering silver. They folded well but were not particularly strong as one would expect from currency paper. However, it was somewhat unsettling to observe tiny blobs of what seemed like pieces of rubber on every sheet, which would likely interfere with any printing process. At the time we thought perhaps it had something to do with the shredding process. All in all, |the test sheets seemed fine and we sent them off to our Nigerian friend.

It occurred to us that it would be helpful to know a little more about Nigerian currency and like all things that are researched, the more we looked into it, the more fascinating it all became. The currency of Nigeria is the naira, issued and controlled by the Central Bank of Nigeria. It was introduced to the country in 1973 replacing the Nigerian pound. (Nigeria was a former British colony.) The name “naira” was coined as a condensed version of Nigeria. The colorful banknotes range from 5-naira bills up to 1000-naira bills and feature different engraved portraits of prominent people from Nigeria’s history. However the images on the 50-naira banknote are meant to celebrate the Nigerian people and feature portraits of local fishermen along with their catch. Also interesting are the 100-naira notes with QR codes on the back that were issued on December 19, 2014, to celebrate the 100th anniversary of Nigeria’s independence. When the code is scanned, it links to a story of Nigeria’s history.

Amid our research we also learned that in 2009, the 5-, 10-, 20-, and 50-naira notes were no longer made from paper, but from plastic. Specifically, these banknotes were made from “a thermoplastic polymer called biaxially oriented polypropylene (BOPP).”1

Nigeria was following an increasingly popular trend of countries making polymer banknotes, which are said to last longer than paper money and are harder to counterfeit. This new knowledge of polymer banknotes likely explains the rubbery blobs in the test sheets we made. Our understanding of the shredding process is that the naira was first sorted according to the denomination of the bills, and the polymer bills would be shredded separately from the paper bills. We concluded though that a relatively small number of polymer bills were inadvertently shredded along with the paper bills. When we subsequently looked extremely closely at the remaining brick of shredded naira, we were able to isolate small pieces of stretchy plastic film. The Hollander beater breaks down cellulose during the beating process, but it seems to make the plastic clump together, hence the blobs in our finished paper.

US currency, on the other hand, has not succumbed to the plastic craze and is still made from 75% cotton and 25% linen.2 The paper for US currency has been made by Crane and Co. in Massachusetts since 1879, and security around headquarters is tight, for obvious reasons. Last year, David Reina repaired a bedplate for the Valley beater in Crane’s testing lab, which is in a different building from where the paper is made, and he still had to get special high security clearance just to deliver it to a room that contained a test beater. After the paper is made, it is sent to the US Bureau of Engraving at its Washington DC and Fort Worth plants to be printed. The Federal Reserve System then processes the money at its 28 locations throughout the country, and they are also responsible for shredding the currency.

Shredded US currency is big business and the Federal Reserve Banks shred over seven thousand tons of unusable currency every year.3 This translates to 4.6 billion bills, worth $105.5 billion. Initially, all shredded currency was burned, but the Clean Air Act of 1970 created standards for air quality, which meant the shredded currency was send to landfills. Once that was deemed environmentally unfriendly, recyclers came up with innovative ways to put the shredded currency to “green” use. Now, much of it is sent to compost facilities throughout the US where it is converted to healthy soil. In parts of San Francisco and Los Angeles, the shredded currency is burned in an eco-friendly power-generation plant, providing power to homes and businesses.4 Shredded currency is also recycled into roofing shingles and particle board, and used to cure cement. Of course it is also recycled into paper products. Then there’s eBay: one can pay nearly $60 to own a 2.2-pound brick of shredded US bills, or $3.25 for a tiny ziplock bag containing less than ½ ounce.

Small amounts of shredded US currency are available for anyone to purchase directly from Bureau of Engraving visitor centers. Larger amounts of shredded currency “for use in artistic or commercial purposes” can be obtained from a Federal Reserve Bank. However one must state their intended use, following certain guidelines, and then get approval by the Chief at the Office of Compliance.

We are curious what our Nigerian friend will ultimately decide to do with his currency contract, which specifies that he purchase the shredded banknotes for five thousand naira per ton (about US $12). From the latest correspondence, he still seems keen on making some kind of paper product. Meanwhile, our interest in experimenting with US shredded currency has piqued and we await approval from the Chief of our request for 25 pounds of currency that we hope to beat and turn into a giant paper obelisk.

1. https://payspacemagazine.com/banks/pounds-dollars-euros-how-money-is-made/.

2. https://bit.ly/3Eh9vSC.

3. https://yhoo.it/3strDGy.

4. https://www.frbsf.org/cash/federal-reserve-role-cash-distribution/federal-reserve-bank-cash-services.

–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

My Path as an Educator

In this issue, Winnie Radolan highlights her hand papermaking teaching career.

I have no recent in-person teaching experiences to share with you. Large gatherings of families with children have mostly vanished, and indoor classes are still not appealing to my family of adult papermakers. But I am most hopeful that in the coming new year, as we move towards an easing of this pandemic, there will be more opportunities to gather creatively, in community, around the vats. I know, from recent outdoor workshops, how hungry we all are to resume this practice safely. Our recent coping with the life-changing pandemic issues has largely altered the way we feel comfortable having art experiences in public. Many are taking advantage of online course study. I briefly delved into these waters, offering book-making workshops, which I really enjoyed.

I decided to take this opportunity to share my path as an educator of hand papermaking and how crucial connections with people have been. I first discovered hand papermaking back in the summer of 1989, during a college course held in “the Barn” at Historic RittenhouseTown. My teacher and mentor, Bobbie Lipman, ignited a fire in my heart for the medium that has continued to burn brightly for these many years! During my first couple seasons as a “baby papermaker” I soaked up every piece of information I could read, and cooked one plant after another, experimenting with a large variety of fibers to see how many types of paper I could make with my simple kitchen and basement setup.

In those early years I had wonderful opportunities to study with nationally renowned papermakers whom Bobbid brought to teach workshops at RittenhouseTown. We were fortunate to host Timothy Barrett, Mina Takahashi, Donna Koretsky, Karen Stahlecker, Eugenie Barron, Robin Ami Silverberg, and many others. I soaked up every tidbit of both history and technique and an appreciation of the art form itself. In short order I inherited the position of directing the papermaking program at RittenhouseTown. This afforded me the opportunity to continue to build the community of adult artists taking summer workshops. It was at this time a group of us formed our Guild. Inspired by the national organization then called The Friends of Dard Hunter I was the founding director of the Philadelphia-based Guild of Papermakers. This organization has offered exhibitions, workshops, studio tours, and museum visits over the years. And several of our members have attended the annual meetings of The Friends of Dard Hunter (now called North American Hand Papermakers). I also developed a lively school group visitation program, which introduced the history of the first North American papermaking family and mill and gave students a hands-on splash of the art of papermaking.

When I left this idyllic site, I continued to develop as an active freelance teaching artist, visiting hundreds and hundreds of classrooms to introduce paper’s history, science, and art. I traveled thousands of miles in my mini-van traveling paper studio as I worked with children
of pre-school age through high school across Pennsylvania, New Jersey, and Delaware. With available funding, I was an artist-in-residence for extended time periods with one group. And for many years I had a program that combined Horseshoe Crab conservation, hand papermaking, and a student art competition and exhibition.

I’ve also worked at the collegiate level. For over fifteen years I taught in the papermaking program at University of the Arts in Philadelphia. My best summer papermaking programs occurred at Bucks County Community College in Pennsylvania. And I’ve visited Rutgers University in New Jersey. Among my favorite teaching adventures were the numerous trips to Yale University in Connecticut, where I taught special one-day programs for Theresa Fairbanks-Harris’s Art History students. Another highlight, were the times I visited the Paper Museum in Atlanta to do special programs and workshops. And topping my list of extraordinary opportunities was teaching at Penland in North Carolina, and a brief trip to Haystack in Maine.

As I reflect, I have had my hands in pulp with many paper enthusiasts and artists. I’ve had ongoing affiliations with several local Art Centers, currently the Abington Art Center in Jenkintown, Pennsylvania and throughout New Jersey. My list could go on and on. None of this could have happened without the support of a large and creative group of paper artists, so I urge you to get involved. Join a paper group or start one locally, show your neighbors how you make paper, take an online book making class, volunteer.

–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.

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decorated paper

Decorated Paper by Women

In this issue, Sid Berger writes about a talk he and Michèle Cloonan gave on American women paper decorators.

Michèle Cloonan and I recently gave a talk over Zoom for the Oak Knoll Fest XXI on American women paper decorators’ early traces from the 18th century up through the middle of the 20th century. One of the themes of our talk was that the work of men was often more known than that of women in the same fields. We found that ferreting out information about women paper decorators was onerous and frustrating, often leading us up blind alleys. Michèle’s book Early Bindings in Paper: A Brief History of European Hand-Made Paper-Covered Books, with a Multilingual Glossary (London: Mansell; Boston: G.K. Hall, 1991) came out 30 years ago. She and I are now working on a revised and expanded edition, part of which will look at women in the field.

For this current column I will focus on the first half of the 20th century. Two women paper decorators whom some readers may know are Rosamond Loring (1889–1950) and one of her most famous students Veronica Ruzicka (1917–1981). A few of you may also know Nancy Storm (1908–1990) and Delight Rushmore Lewis (1912–2017).

Rosamond Loring is often credited with bringing paper decoration back from near extinction in this country, first with her book Marbled Papers: An Address Delivered before Members of the Club of Odd Volumes, November 16, 1932 (Boston: Club of Odd Volumes, 1933), and then with her magnum opus, Decorated Book Papers: Being an Account of Their Designs and Fashions (Cambridge, MA: Department of Printing and Graphic Arts, Harvard College Library, 1942). Her student Veronica Ruzicka produced what she called her Proteus Papers by the thousands, and her and Loring’s papers were used in the bindings of untold numbers of books.1

Nancy Storm was the wife of her more celebrated husband Colton Storm. As is often the case with married couples, the man’s career is seen as more “important” than that of his wife, so it is better recorded. We can find out little about Nancy Storm’s life for much of the time they were married; however, it appears that she started making paste papers in Ann Arbor. The entry about Nancy Storm in Who’s Who states, “Mfr. Hand decorated paste papers for book bindings, 1950--; believed to be the only profl. mfr. [professional manufacturer] in U.S.” And only because of the James H. Fraser book The Paste Papers of the Golden Hind Press2 were we able to locate samples of the lovely papers of Delight Rushmore Lewis, daughter of her more famous father Arthur W. Rushmore, proprietor of the Golden Hind Press, which ran from 1927–1955, and which used Delight’s papers on about a dozen of its publications.

As an example of blind alleys I mentioned earlier, Cloonan and I were able to identify, in the work of Edith Diehl, Rosamond Loring, and Phoebe Easton, the following names: Mrs. Thomas H. Shipman, Dorothy B. Moulton, Mrs. Georgia Bullock, Mrs. Irving Cox, and Mrs. Henry F. James, all of whom, we are told, were marblers of some skill. But months of research in a wide range of sources could turn up nothing at all about these women. In Rosamond Loring’s book we found a sample of Moulton’s work.

Of all the women that these scholars mention, the sample by Moulton is the only one we could find. But she remain buried in history. We don’t even know the first names of two of them: Mrs. Irvin Cox and Mrs. Henry F. James. Typical of scholarship in the early days of the US, these women are identified only by their husbands’ names. Where did they learn to do their paper decoration? Where did they live? Who were they as people? Where and how were their papers used? What did they do with their papers and their own archives? And even more fundamentally for two of them, what were their names? We may never know answers to these questions, since women have often been lost to history, and their work will never be identified.

One of the important things we learned in our research was that Loring, who is often said to be the mother of paper decoration in the US in the 20th century, was not working in a complete vacuum, as is often supposed. We uncovered the work of marblers and other paper decorators—several of whom were women!—who were publishing before, or at the same time that, Loring’s work on marbling hit the press in 1933. For instance, there was Lila Togneri, writing in the October 1930 issue of The School Arts Magazine, about marbling in the classroom. Her piece, “Another Way to Make Patterned Paper in the Schoolroom,” describes the oil-on-water method that readers of Hand Papermaking will almost certainly be familiar with. This came out a full three years before Loring’s Marbled Paper book.

We also discovered an N.S. Firchild [sic], who, in Women’s Wear Daily of February 3, 1930, has a piece titled “Maison Paul Poiret Suggests Old-fashioned Marbled Paper Prints in Chiffons.”3 We can find out nothing about the author of this piece, but the presumption is that marbling was being purveyed to a women’s audience in early 1930. A key issue here is that marbling of papers and of fabrics—done before Loring published—can be seen as related crafts, such as wallpaper, where the wall coverings and matching curtains yielded the same kind of paired crafts. There is no suggestion in the essay that women were doing the marbling, though women mainly handled home design at the time; it is left ambiguous.

Another woman writing a full decade before Rosamond Loring’s Decorated Book Papers was published is Gail G. Ball, author of “Marbled Paper for Attractive Envelope Linings,”4 which also describes the oil-on-water method. Who is Gail G. Ball? Another woman decorating paper in the shadows. Did Rosamond Loring know of these women? See their work? Get inspired by them? We will probably never know; Loring never mentions them. And to cap off the notion that women were marbling but remained unknown, we see in the May 1945 issue of Popular Mechanics magazine an unsigned article, “Water-Float Marble Finish,” on “producing imitation marble . . . on glass, paper, metal, or wood” (p. 89) using the oil-and-water technique. Though there is no author given, the image shows a woman doing the marbling.

The subject of women marblers from the earliest days of the Republic to today is broad, especially if one looks at it from the 1950s on. The redecessors of US marbling from the 18th century to the 1950s are extremely important, for they laid the foundation for all the work that emerged in the 20th century, but there is remarkably little research about them, and remarkably few names that come to light when we do the research. Thousands of books out there are covered in decorated papers, and the colophons and advertising pieces for those books do not mention the paper decorators whose artwork adorns the covers. By identifying the paper artists and locating examples of their papers, we may be able to give credit where it is due. I hope this column spurs readers on to do some sleuthing, and to reveal the names of people—especially women—and examples of their work. This way we will give an identity to those who hitherto have been hidden, but who deserve our thanks.

‍For information about Amy Drevenstedt, a woman paper decorator, see Sidney Berger’s article in Hand Papermaking Newsletter, number 121 (Jan. 2018).

‍1. The two books were issued in small numbers—the first just 149 copies; second 250—mostly because of the expense; there are many tip-ins. Three later editions (from 1952, 1973, and 2007) make the text available in thousands of copies.

2. This book is published in Madison, NJ by The Fairleigh Dickinson University Library, Florham-Madison Campus and The Tideline Press, 1983.

3. Cited by Emily Pazar, “The Progress of the Art: Paper Marbling in the United States, 1880–1950”; MA Thesis, University of Delaware, Spring 2016, p. 24.

4. Gail G. Ball, “Marbled Paper for Attractive Envelope Linings,” School Arts Magazine 31 (January 1932): 314–15. Beneath the author credit in the article we learn she is from East Cleveland.

–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.

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studying hand papermaking

Get Involved

In this issue, Amy Richards writes about the importance of connections and provides a listing of websites that might help you get more involved.

When the art and practice of hand papermaking first caught my attention in the late 1980s, I remember wishing mightily that I could connect with others who had also been bitten by this mysterious bug. For years, I felt somewhat isolated in the south Texas fishing village where we lived, and because this was pre-internet, I was limited to reading whatever I could get my hands on. I found myself pouring over Twinrocker catalogs.

But it was a slow burn. While involved with other pursuits and raising two sons, my efforts remained limited. Somewhere along the way I discovered Hand Papermaking magazine and its newsletter, and things started to change.

Suddenly I was aware of the high caliber of work that others were doing and of workshops and events that were being held around the US and other parts of the globe. The community started to feel more accessible and soon I was attending workshops at Arrowmont in Tennessee, the Women’s Studio Workshop in New York, Penland in North Carolina, and the Robert C. Williams Museum of Papermaking in Atlanta.

In the spring of 2008, determined to become even more involved, an idea popped into my head one morning I will volunteer for Hand Papermaking magazine. I can’t even tell you where it came from. Without thinking twice, I typed up a quick email to “info@hand-papermaking” offering to help with whatever might be needed, mentioning that I had some desktop production experience. Within five minutes, the Executive Director Tom Bannister’s cheerful voice was calling and asking if I would be interested in helping with the desktop production of the newsletter. This one simple act changed the trajectory of my life, resulting in my ability to truly connect with a community of kindred spirits My work with Hand Papermaking allowed me to conjure the courage to really dig in, eventually applying and attending graduate school to take things to a whole new level.

As it turns out, this is not an isolated story. It seems many have followed a similar calling that led them to this wonderful, supportive community.

I was reminded of the importance of these connections this past October while marveling at the fact that despite current events, virtual conferences abound. The North American Hand Papermaker’s Conference (formally Friends of Dard Hunter) was held the same weekend as the 2021 Congress for the International Association of Hand Papermakers and Paper Artists (IAPMA), hosted out of Toyota, Japan.

I attended the IAPMA virtual conference, and despite the limitations, it was an inspiring experience. While there is no comparison with being in Japan (which I earnestly hope to visit this year), I also have to say that it was pretty darn nice to be able to watch such fascinating talks and demonstrations, while sipping coffee from the comfort of my studio.

At one point, while watching the presentations and IM (instant message) feeds, I felt gratitude that somehow we’ve all found a way to stay connected despite such challenging circumstances. I loved seeing the greetings that folks were extending to one another in the IM window and the level of professionalism demonstrated in the talks and presentations. This also made me miss everyone even more.

With a New Year upon us, may we all seek out more of these opportunities despite the challenges so that we may reap the immense benefits of studying hand papermaking by getting involved and growing our community. Whether it be subscribing to the Hand Papermaking magazine and newsletter [which you may already be doing], inviting a friend to subscribe, or, better yet, giving a gift subscription. Consider becoming a member of one of several organizations that supports and celebrates hand papermaking, book arts, book history, and paper art. Perhaps offer to help as a volunteer by writing articles, helping with production, distribution, conference, organization or tabling events. Consider joining an extra organization this year to expand your scope.

Hopefully we will all be able to attend more conferences, workshops, and gatherings this year; virtually or in person.

In the meantime, here’s to a brighter, healthier new year for us all.

Here is an abbreviated list of possible ways to get involved (to add to the buffet of options provided in the Workshop/Events/Classified pages of this newsletter:

– Hand Papermaking, www.handpapermaking.org

– North American Hand Papermakers (NAHP, formerly Friends of Dard Hunter), https://www.northamericanhandpaper
makers.org

– Moulin du Verger Mill and Museum, https://www.moulin
duverger.com

– International Association of Hand Papermakers and Paper Artists (IAPMA), https://www.iapma.info/Congresses and https://www.iapma.info

– International Association of Paper Historians, http://www
.paperhistory.org/index.php

– Robert Williams Paper Museum at Georgia Tech, http://ipst
.gatech.edu/amp/

– British Association of Paper Historians, http://www.baph.org.uk

– American Printing History Association, https://printing
history.org

– Paper and Book Intensive, https://www.paperbookintensive.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 art centers in the United States and abroad.

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on board

May Babcock

In this issue, Amanda Degener interviews Hand Papermaking board member May Babcock.

May Babcock joined the board of Hand Papermaking in 2016 and is currently Vice President with her term ending in 2022. She is also the founder of Paperslurry.com, a blog dedicated to sharing and expanding the art and craft of hand papermaking, and to supporting its practitioners. In 2019, May prototyped a creative placemaking project, Pawtucket Paper Center, a community papermaking studio. She was born in 1986, the same year in which the first issue of Hand Papermaking magazine was printed.

“In a pandemic-world, I personally am trying to avoid screen-eyes, Zoom-time overload,” May said recently. “The physical, real-life presence of artist-made papers has become even more meaningful. Strong. Soothing. Soulful. Here’s the deal with paper made by an artist. It’s this human, romantic, nothing-else-like-it, object. Embracing imperfections, textures, happy mistakes, kismet. My papers are made lovingly in collaboration with just plants and water. That’s it.”

May Babcock is a public artist who often combines local fibers and the community in her environmentally holistic works. Although not tied to academia she is one of the leading young educators in our field. May’s use of the internet as an educational tool alongside the hands-on workshops she designs and teaches reveal her as generous, knowledgeable, and supportive. All these skills she brought to Hand Papermaking, and the organization benefited from her contributions. In an interview she said:

“I was excited when I was asked to be on the board. It supported what I did, so I felt it was important to give back. It has been fun to work with Michael, Mina and the other board members. It is rare to see such a great publication still going; I would like it to keep on thriving. One of my goals was for it to have a more accessible presence online. A subscriber management system makes it easier for everyone to search for specific things. I lead a committee of board members to do the groundwork which included user surveys to see what both the organization and the hand papermaking community wanted in a website. After helping to find a great designer, I acted as project manager. We worked with everyone to help launch it.”

Babcock’s volunteer work on Hand Papermaking’s website was like one of her community workshops, which was created with the people in mind. Called The Minds Eye, this project came about in collaboration with the Arts Alliance of northern New Hampshire and 20 different assisted care and nursing homes. Participants thought about the favorite places they had been and then made unique circular pulp paintings illustrating gardens, sunsets, the beach, mountains, even places people would clam and quahog. What they said about these favorite places were written on their handmade papers to form a unique modular book display. The Minds Eye installation had two iterations; one in northern New Hampshire at a library, and the other with Carelink in Rhode Island, a healthcare network providing care wherever older adults call home.

Babcock’s research into her personal lineage, China to Taiwan to America, reveals uprooting and movement. She says it’s “a background that pushes me to explore places deeply and through many lenses ... witnessing place is a method of multiracial self-discovery and empathetic connection.”

Babcock attended graduate school at Louisiana State University where she learned hand papermaking. In Louisiana she explored abandoned and forbidden industrial places, such as an old lock, stretches of the levee along the Mississippi river, highway underpasses and chemical, energy, and sugar cane processing plants, which brought latent landscapes into view. Her thesis exhibition integrated paper and print and after graduation she built and purchased hand papermaking tools and equipment.  

She makes what she calls a “kinda creepy” dark black paper from the invasive species Trapa natans, a pond weed called water chestnut or water caltrop. Using this unwanted fiber is a great example where material use and actions benefit all systems holistically. Babcock was awarded a Citizen Citation award for environmental education from the mayor of Providence, Rhode Island, where she lives.

“Climate change is a symptom of a problem—lack of diversity, lack of respect for the natural world, and a fractured view of how we relate to living systems. Humans are not separate from our waters, soils, plants, and species. We are one and the same. Achieving unity will heal social and environmental fractures.... Collaboration between people, plants, and paper gives opportunities for deep communication and healing in a climate-changed world.”

In our runaway consumptive culture, her approach is a crucial model. What fibers she uses for hand papermaking exemplify a sense of responsibility towards the land.  We can all take instruction and inspiration from May Babcock’s humane collaborative approach.

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 April

2022 newsletter is February 15.

CLASSES AND WORKSHOPS

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.

Artists Book House is a new organization devoted

to the Book Arts: writing, reading, printing,

bookbinding, papermaking, typography,

calligraphy, poetry, fiction, memoir, artist’s

books, publishing, comics, zines, and more.

Through education, exhibitions, publications,

and events, ABH promotes the literary arts

and crafts of book making and embraces an

interdisciplinary approach to the book arts.

For more information, visit https://artistsbookhouse.

org.

The Banff Centre for Arts and Creativity,

Banff, Alberta, Canada, (403) 762-6100,

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 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. Four

book and paper instructors join together

from across the country to present their

expertise online, in your own home or studio.

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.

For additional course information, visit

classes.folkschool.org/Browse.aspx.

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.

Cave Paper, located in Tuscon, AZ, is a handmade

paper production studio owned by Zo.

Goehring and operating since 1994. Each sheet

of Cave Paper is formed and colored by hand.

Cave specializes in papers colored with natural

dyes such as walnut, indigo, and persimmon. To

contact Cave Paper, visit their website at www.

cavepaper.com.

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.

january 2022 • 9

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 Lor-Eto.DA@gmail.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.

For remote learning opportunities

during the closure, visit www.dieudonne.

org/remote-learning for more information.

Haystack Mountain School of Crafts, Deer

Isle, ME, (207) 348-2306, www.haystack-mtn.

org. Haystack offers workshops in various disciplines,

including papermaking and book arts.

For more information about upcoming programs,

visit www.haystack-mtn.org/programs.

Helen Hiebert Paper Studio, Red Cliff, CO,

www.helenhiebertstudio.com. Helen holds regular

papermaking workshops at her studio in the

heart of the Rocky Mountains, online, and around

the world. For learning opportunities, visit helenhiebertstudio.

com/product-category/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,

consulting, and private use of her

studio, visit janeingramallen.wordpress.com.

Kalamazoo Book Arts Center, Kalamazoo,

MI, (269) 373-4938, info@kalbookarts.org,

www.kalbookarts.org. The Center offers

classes in book printing and binding, printmaking,

hand papermaking, and creative

writing. For information on workshops, visit

kalbookarts.org/workshops.

Maiwa School of Textiles, Vancouver, BC, (604)

669-3939, maiwa.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 more.

For a list of upcoming workshops, visit https://

maiwa.teachable.com/courses.

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, 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 information

on upcoming workshops in papermaking

and paper marbling, visit www.mnbookarts.

org/category/papermaking-paper-marbling.

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.

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.

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

Jacqueline Mallegni, www.mallegni.com, paper.-

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. 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

10 • hand papermaking newsletter

rain.studio@mallegni.com. Jacqueline offers

online interactive papermaking and fiber art

workshops via Zoom. Visit the website for details,

registration, and art news.

Papermakers of Victoria, at Box Hill Community

Arts Centre, Whitehorse, Victoria, Australia, ph.

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

studio offering workshops, exhibitions, and

studio access. For more information, visit papermakers.

org.au/workshops.

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. The Sonoran Collective for Paper

and Book Artists provides educational opportunities

through workshops, programs,

collaborative groups, community exhibitions

by 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.

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

opportunities, visit penland.org/workshops/

overview-of-penland-workshops.

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 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 arts as well as residencies, apprenticeships,

and internships.

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.

San Diego Book Arts, 8680 Washington Ave.,

La Mesa, CA 91942, www.sandiegobookarts.-

com. The mission of San Diego Book Arts

is to serve as an educational and creative

resource for the community and to advance

the book as a vital contemporary art form. For

information on upcoming 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. For information on upcoming

workshops, both virtual and in-person, visit sfcb.

org/workshops.

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.

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 information on upcoming workshops and

events, visit https://www.phillysoapbox.org/

workshops-events.

The Society for Contemporary Craft, Pittsburgh,

PA, (412) 261-7003, www.contemporarycraft.-

org. Classes in fiber, book art, and other media

in Pittsburgh’s historic Strip District. For workshop

information, visit contemporarycraft.org/-

education, and for remote learning opportunities

and other resoruces, visit contemporarycraft.

org/cc-online-resources.

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.

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.

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. For a

list of upcoming artist opportunities, visit the

WSW webiste at https://wsworkshop.org/-

opportunity-calendar/.

EVENTS

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. For more information,

visit www.codexfoundation.org/home.

january 2022 • 11

OPPORTUNITIES

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 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 https://

pyramidatlanticartcenter.org/work-with-us/.

PUBLICATIONS, FILMS, VIDEOS

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.

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

Cotton Linter Pulp. All quantities available.

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

Five different sized molds with polyester

screens. Never used. Made in the 1980's

with Timothy Barrett. Email: icwehrle@

yahoo.com.

HAND PAPERMAKING

loves to hear from readers:

newseditor@handpapermaking.org

PULP

FIBER +

Radical Generosity:

Thomas Lux & Jeanne Duval Editions

On Exhibit January 18 - June 10, 2021

500 Tenth St. NW, Atlanta, GA 30332 | www.paper.gatech.edu

12 • hand papermaking newsletter

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,

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 &

Jim Elling, Dorothy Field, Barbara Futter,

Tatiana Ginsberg, David Lance Goines, Guild

of Papermakers, Pat Hammerman, Robert

Hauser, Yukari Hayashida, Winsome Jobling,

M. Monat Isaacs, Steve Kostell, Aimee Lee,

MP Marion, Edwin Martin, Ann McKeown,

Betsy Miraglia, Tim Moore & Pati Scobey,

Catherine Nash, Nancy Pike, Melissa Potter,

Mary Price, Brian Queen, Dianne Reeves, Bonnie

Reisman, Carolyn Riley, Michele Rothenberger,

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 Roe, Richard

Schimmelpfeng, Mary Schlosser, Mina

Takahashi, Aviva Weiner, Beck Whitehead

contributors to our 2021 auction fundraising

events: Jeff Abshear, Jane Ingram Allen,

Rhiannon Alpers, Maxine Apke, Arnold Grummers’

Papermaking, Howard Aronson, Mary Ashton,

John Babcock, May Babcock, Tom

Balbo, Hannah O’Hare Bennett, Jenna

Bonistalli, Cave Paper, Colin Browne,

Ingrid Butler, Jazmine Catas.s, Lisa

Cirando, Kathryn Clark, David Colvin,

Kerri Cushman, Amanda Degener,

Katharine Delamater, Ilze Dilane, Kathy

Dement, Susan Mackin Dolan, Dale

Emmart, Tatiana Ginsberg, Green

Banana Paper, Helen Frederick, Joan

Hall, Helen Hiebert, Frances Hunter,

Nancy Jacobi, Lois James, David Kimball,

Genevieve Lapp, Aimee Lee, Claudia

Lee/Liberty Paper, Thomas Leech, Robert

Mannino, Lee McDonald, Marcia Morse,

Henry Obeng, Jill Odegaard, Radha

Pandey, the Paper Circle, Tedi Permadi,

Andrea Peterson, Kelsey Pike, Alta

Price, Victoria Rabal, Jackie Radford,

Margaret Rhein, Amy Richard, Laura

Merrick Roe, Virginia Sarsfield/Handmade

Paper Gallery, Jillian Sico, Robbin

Ami Silverberg, Peter Sowiski, Lynn

Sures, Peter & Donna Thomas, Judy

Tobie, Twinrocker Paper, Gibby Waitzkin,

Michelle Wilson, Paul Wong, Kathy Wosika

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