HAND PAPERMAKING

NEWSLETTER number 138 • april 2022

Interim Newsletter Editor: Amanda Degener

Columnists: Sidney Berger, Donna Koretsky, Winifred

Radolan, Amy Richard, Genevieve Lapp.

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:

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 ( July 2022) is

May 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; Amanda Degener,

Interium 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.

Co-founders: Amanda Degener and Michael Durgin.

‍

Publication Party in Atlanta

Come to a Hand Papermaking event on March 24 to celebrate the publication of our Call & Respond issue, and to meet its guest-editor, board member and artist Kelly Taylor Mitchell.

If you find yourself in Atlanta on March 24, please join our executive director Michael Fallon and recent Hand Papermaking guest editor Kelly Taylor Mitchell to celebrate Mitchell’s informative and inspiring “Call and Respond” issue of the magazine (Winter 2021), and to view her exhibition “Preaching to the Choir” at the Callanwolde Fine Arts Center. The event, from 7 to 9 pm, is free to attend and open to the public.

Mitchell’s solo exhibition will reflect her multidisciplinary practice centered on oral history and ancestral memory, incorporating handmade paper, prints, sculpture, and textiles to make artist books, installations, and performative objects. Mitchell does not use the label “performance art.” She says, “My work is a kind of ancestor worship; I struggle with even the word performance.” The Callanwolde gallery is an old mansion with woodwork and paneling, offering a unique installation opportunity. Mitchell will
be showing an editioned artist book and several 0f her “totems” (see image on the right).She describes these as textile shapes that take the form of her body or a family member’s body. They are often hung in a way so the void in the textile is where she would stand.  

A confident artist, Mitchell admitted that she was intimidated about the responsibility of guest editing Hand Papermaking magazine. She said she knew some of the artists, but some she only knew from afar. She said, however, that people made themselves available and gave her tons of feedback and advice about important issues, like meaning and impact. “How special it was to see all those artists together in one issue,” said Mitchell. “It reflects my priorities as an artist and as an educator.”

A few of the writers or featured artists in Mitchell’s issue will attend the launch event and share brief remarks. Please join us for this rare in-person Hand Papermaking event to meet Kelly, Michael, contributors to Kelly’s issue, and fellow paper friends. Michael will bring a display of back issues of the magazines and portfolios for viewing and purchase–an event discount will be offered! For information on,  and directions, to Callanwolde, please visit their website at www.callanwolde.org.

Publication Party Details

Date: Thursday, March 24, 2022, in tandem with the opening of the exhibition, “Preaching to the Choir: Kelly Taylor Mitchell”

Time: 7:00 to 9:00 pm

Location: Callanwolde Fine Arts Center, 980 Briarcliff Rd NE, Atlanta, GA 30306, (404) 872-5338

along the paper road . . .

Paper as Medicine

In this issue, Donna Koretsky writes about Bencao kangmu.

If you lived in 16th-century China and accidentally suffered a bad cut, perhaps while scraping mulberry fiber, you would most likely stop the bleeding by first burning paper made from mulberry, rattan, or hemp, and then applying the ash to the wound.

If you suffered from malaria, you might consider cutting some hair from your dog and adding it to paper made from bamboo, which would then be burned, pulverized, and swallowed along with alcohol. If you suffered from pernicious malaria, you may be tempted to burn next year’s calendar at the midday hour of the Dragon Boat Festival, then moisten the ash, form it into peppercorn-sized pills, and swallow 50 of these pills along with water from a liana plant.

Or suppose you woke up with a fever (a.k.a. inner-heat). Perhaps you would weigh out two qian (7.5 grams) of old rattan paper, roast it in a bottle along with a little musk (no, not Elon), and swallow it with alcohol.

These are actual remedies from the most famous and comprehensive pharmaceutical encyclopedia, Bencao kangmu by Li Shizhen. First printed in 1596, this “Compendium of Materia Medica” is the standard reference book for Chinese traditional medicine and “re-mains an invaluable resource for researchers and practitioners.”1  While most of the remedies deal with plants and animals, the author interestingly devotes a chapter to the use of paper as a remedy.

Li Shizhen (1518–1593) was one of the greatest physicians, pharmacologists, and naturalists in Chinese history. Both his father and grandfather were physicians, and his father encouraged his son’s natural scientific interests when he was still a boy. Li Shizhen became a learned and respected doctor, dedicated to the study of plants and animals to better understand the remedies that are associated with them. Early in his career, he constantly studied natural scientific books, and at about age 29 began work on Bencao kangmu, “to set an end to the confusion in the descriptions of remedies.”2 He devoted thirty years to the writing of his book by first assiduously studying and taking excerpts from over 800 scientific works. He then spent years traveling extensively throughout the provinces of China, metic-ulously observing and documenting herbs and other plants, as well as animals. He analyzed local remedies and avidly collected samples. In 1587, at age 69, his work was finished, though he did not live to see it in print. His son printed it in 1596 and presented it to the Imperial Court.

This enormous nine-volume book is divided into 52 chapters. The early chapters deal with waters, fire, earths, and metals and minerals. Later chapters cover all kinds of herbs, grains, vegetables, fruits, trees, creeping and scaly animals, reptiles and shells, birds, beasts, and finally the human body. The section about the medicinal properties of paper is located in volume 8, chapter 38 and is titled “Tools and Objects.” It is sandwiched between chapters 34–37 on “Trees” and chapters 39–42 on “Creeping Animals.”  

The reader of this column may wonder why I am familiar with Bencao kangmu, and in particular how I know about the paper remedies, since they are such a minor part of this vast medicinal encyclopedia. I became aware of Bencao kangmu after reading a wonderful 63-page book also titled Bencao kangmu, printed and distributed by the Basel Paper Mill in Switzerland and published by Sandoz Chemicals in 1993 as part of a “Paper Information” series. It is not THE Bencao kangmu, but rather a discussion of what it is and how it relates to the history of paper. And it includes a fascinating English translation of Li Shizhen’s chapters on paper and on ink. This treasure of a book is part of the International Paper Museum’s vast collection of papermaking books, and though I had seen it  on the bookshelf, I had never actually opened it to read until recently. Then I became obsessed with learning all I could about Bencao kangmu.

This little book first discusses the author Li Shizhen and Bencao kangmu. Then it delves into the remarkable English translation of chapter 38 on paper. The paper remedies described at the beginning of my column are a few of the often strange twenty paper remedies that have been translated by Dr. George Zimmerman specifically for this small book edition. Translating a medicinal Chinese text is difficult, but Dr. Zimmerman presents his a clear and organized interpretation.

Before Li Shizhen delves into the medicinal properties of paper, he gives a quick etymology of the word “paper.’ Li Shizhen writes that before paper was invented, records were written on silk cloth, which is why the character for paper is written either with the silk radical or with the cloth radical (Chinese radicals are essentially the base component of each character, often the leftmost part.) This silk radical has created confusion, causing some historians to mistakenly think that the earliest paper was made from silk. Li Shizhen attributes the origin of paper to Cai Lun. (Later archeological findings prove that paper originated hundreds of years before Cai Lun.) Next he writes that depending on the region of China, paper is made from hemp, young bamboo, mulberry tree bark, rattan, seaweed (could also mean moss), rice straw, or silk cocoons (he may mean residue silk from the silkworm, which is not paper). I was especially amused at how Li Shizhen then describes paper’s characteristics. “All paper is sweet, lukewarm, non-toxic.”3 For every plant, animal, or in this case, paper, Li Shizhen appoints one or more of the five tastes (sweet, sour, bitter, salty, hot), and he designates a temperature (hot, warm, lukewarm, cool, cold).

The twenty paper remedies are next described, all with informative footnotes by Dr. Zimmerman that help explain some of the esoteric words and ideas of Li Shizhen. As is customary in Chinese texts, many older authors are quoted throughout Bencao kangmu. Additionally, the Basle Paper Mill added a few other early texts on Chinese paper history. And the last fourteen pages are reproductions of Chinese text and illustrations. This elegant 8 x 5-inch book, packed with information, even looks like a traditional Chinese book, with thin, Asian-like paper, simple cover, and traditional stab binding.

I commend the Basle Paper Mill for producing this book and making paper enthusiasts aware of Bencao kangmu and the use of paper as a remedy. It is a wonderful peek into 16th-century everyday life in China and how people related to paper.

I had hoped to have the chance to test one of the paper remedies, and just as I was finishing this column, my attention-starved cat attacked me and I immediately started bleeding. I quickly grabbed two sheets of kozo paper and set them on fire. But by the time they burned to ash, the bleeding stopped. At least now I have a stash of ashes ready for the next mishap.

1. Z’ev Rosenberg, book blurb for Li Shizhen, Ben Cao Gang Mu series, published by University of California Press, 2021.

2.Bencao kangmu, The great pharmacopoeia by Li Shizhen, Supplemented by quotations from older writings, Chapters on paper and ink,  (Basel: Sandoz Chemicals Ltd.,1993).

3. Ibid, 12

–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.

paper artists

Art Made With Paper

In this issue, guest columnist Genevieve Lapp writes about the artwork of Sarah Grace Dye. You can find out more about the artist and her artwork on her website at https://sarahgracedye.com/.

Reducing waste is an important part of life and part of our responsibility to care for this planet. Sarah Grace Dye takes this to the heart of her practice, as a collector of objects, paper, packaging, and ephemera. “Papermaking for me comes from this essence of reusing and elevating discarded rubbish,” says Sarah, “finding a place for it, giving it a new purpose that ennobles the materials to become beautiful, elegant, and desirable.”

Sarah is an artist, curator, and educator. She works on a freelance basis from her home in Frankfurt, Germany with strong ties to her hometown of Sheffield, UK. She has been making paper for fifteen years but the pandemic has shifted her paper practice to a more prominent role in her art. This has partly been a result of her lacking money and materials during lockdown, which led her to noticing what was all around that could be used instead. Papermaking began to take a more central role, springing from the core essence of her practice, which is to search out beauty and hope in everything. These two aspects fit wonderfully together.

For Sarah, recycling the everyday leftovers and taking the ordinary and elevating it to something else feels a little bit like playing with magic. She collects objects and ephemera along with a plethora of related stories, some true, some imagined. Her journey into most of her projects begins by collecting things that would otherwise be disposed. Finding a use and a beauty in the ephemera of the everyday has become like an alchemic practice. Learning to use the materials that are all around is an important and direct comment on the tangible textures of our households and rituals.

At times rough and rustic, and others soft and elegant, all the pieces are infused with the natural colors from the organic ingredients in the paper mix. The collections of papers are pieced carefully together and stitched with golden thread. This practice of using everything and piecing things together, particularly the combination of natural found objects and handmade paper, is what interests Sarah the most. There is a beautiful synergy often between the colors in natural found objects and the naturally dyed paper; even when the ingredients are different somehow there is a harmony. She is intrigued when “something you once trod on when walking becomes a beautiful object when married together with something else. The gold thread symbolizes that elevation or alchemic process.” This is the direction Sarah sees her work going in the future, elevating the ordinary into beautiful objects full of value and worth.

–Genevieve Lapp

Genevieve Lapp is a hand papermaker and mother who lives in Minnesota. She loves connecting with people in the papermaking community, particularly on Instagram which is where she met Sarah Grace Dye.

decorated paper

Joss Papers

In this issue, Sid Berger writes about Joss papers.

Decorated papers have had thousands of uses over the centuries.  And they have been produced in endless manifestations, as many of my columns have shown. One particularly prolific genre has come to be known as Joss papers. As Wang Shucun explains, these papers have a long history. He says, “from the Song Dynasty (960–1279) on, paper joss was known primarily as paper horse. The emergence of paper joss was closely connected with totems in ancient China.”1 And he points out that the papers were designed, among other things, to worship various gods. “Everyone wanted a healthy and prosperous family free from being bullied and oppressed by local corrupt officials. These hopes and desires were vividly expressed in a unique folk art form popularly known as zhi ma (paper joss, or paper horse, or paper-horse print). . . . It was printed with the images of deities, gods and immortals created by the ancient people, which they worshiped and prayed to for blessings and happiness.”

The prints were created in relief on woodblocks, and produced usually on colored papers. Shucun says that they were “burned as offerings and sacrifices."2 The relation to horses, which is shown in the alternate name of the prints, has to do with the horses that the deities rode on their ride to heaven. From early in their existence, these prints were seen as charms, and they were hung in homes for protection or were worn in some way on the body, especially at festival times. “For instance, on the first five days of the lunar May, people put up ‘Five-thunder Amulet’ and wore small paper charms.”3 Workers in particular trades wore amulets that had to do with their professions. Once the charms had run their course, after having been hung or worn for a specified period, they were burned. Shucun gives the following example:

On the fifteenth day of lunar August, [people] offered sacrifices to the moon.  In the meantime, the print workshops put moonlight prints on the market for sale.  They featured a full moon with Buddha seated on a lotus base and, nearby, a little rabbit standing on its hindlegs [sic] grinding medicinal herbs in a mortar.4

Thousands of designs of these prints were produced, and in great numbers. They reveal the religious and social interests and customs of the Chinese. Shucun adds that, beyond being requests for financial security and physical safety,

The folk prints also mirrored local etiquette customs regarding giving birth to a baby, entering school, becoming engaged, marrying, taking imperial examinations, winning promotions, celebrating birthdays, moving, observing funerals, and other worldly affairs such as opening a business, building a new house, going on a long journey, thanking god after recovering from an illness and repaying trade masters with gifts.5

Roderick Cave says about the long production of these papers that “before the seventh century ad the practice had already become well-established in various rites, of which the earliest was possibly the use of paper surrogates for money to be remitted to the other world.”6 Shucun details their demise with the struggles the Chinese had with the Japanese during World War II and with the Cultural Revolution (1966-1976), when “all folk prints were seen as cancer inherited from the feudal ruling class.  Collecting, collating and studying them was forbidden.” And he says that “almost all the remaining printing woodblocks, including those for printing paper joss, were destroyed.” 7

Further, even the blocks that survived were worn and did not print well. But with modern printing techniques and the revitalization of interest in Chinese culture, a modern world of joss commerce has been born. Today there are thousands of joss papers available in multi-colored printing, and with gold and silver foils. One constant in this tradition has been the sending to one’s ancestors money in their afterlife. It is called Hell money, ghost money, or spirit money. As Paul Slade explains,

Hell money springs from a very old tradition in Chinese culture, arguably stretching back as far as 1600 BC.  Archaeologists have found tombs of that era in China with imitation metal money placed among the human remains.  China has been using some form of paper money since the 9th Century, and paper money’s been dominant there for nearly 800 years. Joss paper copies of this money have been burned at funerals and graves for almost as long, and some people still prefer to use this form of spirit “cash” in paying their respects today.8  

And Slade explains the use of the word “Hell”:  “The name ‘Hell money’ is thought to derive from a misunderstanding between the first Christian missionaries to reach China and the people they tried to convert there.  Thinking ‘Hell’ meant merely the afterlife in general, rather than the zone it sets aside for evildoers alone, Chinese people were happy to use this word on their dead relatives’ offerings.”

Today there is a strong market for such papers, as any visit to a Chinatown or even most Asian grocery stores will show. And since the means of sending the precious commodities to one’s ancestors was by burning the things they though would help their forebears, the offspring might send all kinds of things—anything that could be useful. My wife and I had boxes of such joss papers in the shape of cars, houses, kitchen implements, various tools, and many kinds of clothing. There are also edibles and potables, jewelry, tools, and artistic adornments for the home or office.

The earliest joss papers might be merely one-color printed sheets of coins or prayers, talismans or charms.  Modern joss papers can be printed on glossy paper, with good wishes, pictures of gifts of all kinds, quotations from important historical or religious figures, and, of course, coins.  These last will be die-cut and can be removed from the sheets as one would handle actual coins. Shucun delineates 5 categories of joss papers: 1) Deities (especially those worshiped by farmers); 2) Deified founders of trades and professions; 3) Popular gods of Buddhist and Taoist inspiration; 4) Social customs; and 5) Seasonal auspicious folk prints.9 But as I have indicated, the number of images and themes one may find on these papers is enormous. And these papers can be had for extremely low cost, partly because they are produced cheaply in massive quantities, and also because they are likely to be set aflame—not too many people will spend a great deal on something intended to be destroyed.

They deserve a place in any collection of decorated papers. And as social and historical, cultural and aesthetic objects, they belong in research collections.  They are easy to acquire, and they are just plain fun. It’s not everywhere where one can get a billion-dollar bill for pennies.

1.  Wang Shucun. Paper Joss: Deity Worship through Folk
 Prints [Beijing, China: New World Press, 1992], p. 10.

2.  Ibid, p. 10.

3.  Ibid, p. 11.

4.  Ibid, p. 11.

5.  Ibid, p. 12.

6. Roderick Cave. Chinese Paper Offerings [Hong Kong,
 Oxford, New York: Oxford University Press, 1998], pp. 1-2.

7.  Ibid, p. 13.

8.  Paul Slade, “Satan’s Own Bankers: Chinese Hell ‘Money’ ”; Planetslade.com; http://www.planetslade.com/hell-money.html; accessed 2 February 2022.

9.  Shuncun, p. 13–14.

–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.

‍

studying hand papermaking

Sharing Pulp Secrets

In this issue, Amy Richards reflects on papermakers’ generosity.

One of the aspects of the hand papermaking community that continues to impress and inspire—even after 25-plus years of being involved—is the incredible generosity with which people share techniques, time, and information as a community resource.

I first noticed this trend after speaking with the folks at Twinrocker Paper (way back in the early 1990’s) when I lived along the Texas coast and had no one to “talk paper” with or help troubleshoot. Living in a small coastal town where our neighbors were quite curmudgeonly, it was shocking how kind and helpful the person from Twinrocker was, patiently answering multiple questions about fiber, casting, sizing, and pigments.

One could attribute this to good customer service, but they always seemed to be going above and beyond. And then as the years passed and I began interacting with more papermakers it happened again . . . and again. . . . This was pre-internet with little to no information available locally or regionally.

This same openness was apparent at the various papermaking conferences over the years. Everywhere I looked, attendees were talking excitedly, sharing their latest paper adventures with one another, heads bent looking at various sheets of paper or equipment and discussing how it was achieved. Several times, out of desperation I reached out to various people in the field to ask questions about beaters, fiber, pulp, organizing workshops, pulp painting, and even to discuss the pros and cons of grad school.

In every instance, they were incredibly gracious and generous with advice and information. In grad school, I learned that in many cultures hand papermaking “technology” was traditionally closely guarded (to the frustration of many historians and papermakers). When did sharing become natural and guarding secrets disappear?

In recent years, a new openness has been attributed to the invention of the world wide web, which allowed communities that had been divided by geography and culture,  to start bridging some of those gaps.  Within  the hand papermaking community, the strong connection that seemed to already exist, began to gain a presence, thanks to forward thinking individuals who embraced the new technology and created valuable resources for studying hand papermaking. May Babcock and Helen Heibert are two of them.

Babcock explains why she decided to provide her online blog, “I hated how even a Google search for ‘pulp painting’ gave me next to zero information. Where was everybody?” So, she rolled up her sleeves and started Paperslurry.com, “to share what I learned along the way, and to help fill the online gap. I started creating original tutorials, infographics, and articles about artists and projects that I found exciting . . . . Paperslurry is something that I wish I had as a beginner—and I’m happy that it can be that place for you.”

It is indeed a great place for papermakers of all levels as she provides numerous video tutorials on the basics of sheet formation, couching, shaped deckles/sheets, making embodiments in paper, sizing paper, making paper from plants among many other resources. For creative inspiration, she has assembled some fascinating articles about making paper from seaweed and interviews with paper artists who are taking paper to new dimensions, including Hong Hong, who was mentioned in the prior issue of HP newsletter. Out of curiosity I did a google search while writing this article, using the phrase “papermaking video” and was greeted with more than eight million results. I’d call that progress!

One of my favorite resources on her blog page is a post called “A Map for Hand Papermaking” where, as she writes, “in an effort to connect, grow, and promote hand papermaking, and with the assistance of light roast coffee, I’ve compiled a map via Google Maps.” What a great idea! Using a world map, pins are placed in locations where hand papermaking is being practiced, taught or celebrated. Be sure to check it out—and be sure to have a nice hot cup of coffee or tea when you do as there are many pins to explore!

Helen Hiebert is another visionary who has been incredibly generous with the papermaking community both online and in person. Many times, I have found myself searching her website for answers or recommending it to others. Every year she seems to add some new facet or resource. Since 2016, she’s been quietly building an invaluable resource with her oral history podcasts, Paper Talk. When reading Nicole Donnelly’s interview with Helen about the project (Hand Papermaking Magazine, Summer 2021) I had to laugh when Helen said she had “technology phobias” that influenced her decision to record the first 24 podcasts interviews in person (instead of online). This is the same woman who has led the pack for years with her books, website, beautifully crafted videos and now podcasts. As the project grew, Helen began to broaden the scope of the individuals she’s featured beyond papermakers to include paper specialists, conservators, engineers, tool makers, book publishers, and paper historians. What a gift.

In the past year or so, she’s created yet another new resource for papermakers, The Paper Advisor. In Helen’s words: “I started The Paper Advisor when I found that people were asking me similar questions. I wanted to build a place for paper enthusiasts to get all of their questions answered, as well as a place to share ideas. I also wanted a place to house the paper resources that I create, and I filled The Paper Advisor with suppliers, how-to videos, PDF how-to guides and other tips about working with paper. So, it’s part library and part community, and it is also a ‘living’ resource because it continues to grow with information and participants over time.”

When browsing the resource, I found a wealth of information. A few examples: recommendations for where to buy paper and tools for working with paper; where to purchase papermaking equipment (including some cool mould and deckle innovations); videos on the various adhesives and cutting implements; how to sharpen an X-Acto blade; and how to score paper. Good lord, she even links her recommendations to an Amazon shopping page to make it easy for us to purchase items. This is a really helpful resource for people like me who agonize over what products to purchase, especially if it’s a tool I’m unfamiliar with.

Another neat aspect is that anyone visiting the site can post questions and receive responses from Helen as well as others who may be visiting the site and have information to share — an ongoing discussion board. This is perhaps one of the most valuable aspects of The Paper Advisor.

So, what is it about papermakers that inspires such generosity and sense of community? Sure, it makes sense from a business perspective but it’s also a TON of work and a commitment. One possible answer came to me later: Could it be that, like the process of papermaking itself, it puts us in touch with something larger than ourselves and sharing is a totally natural response?

More Paper Organizations You May Find Useful

Moulin du Verger Mill and Museum. https://www.moulinduverger.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 C. Williams Museum of Papermaking at Georgia Tech University,  http://ipst.gatech.edu/amp/.

North American Hand Papermakers, https://www.northamericanhandpapermakers.org/.

British Association of Paper Historians (BAPH), http://www.baph.org.uk.

American Printing History Association, https://printinghistory.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.

‍

on board with hand papermaking

Curiosity, Passion, Hard Work

In this issue, Amanda Degener interviews Hand Papermaking Board member Lisa Haque.

Lisa Haque is a Miami-based artist who has been working with handmade paper for several decades. She earned an MFA in hand papermaking and book arts from Columbia College Center for Book and Paper Arts and gained hand papermaking experience by participating in a five month internship at the Women’s Studio Workshop, working with Anne McKeown for three years at Brodsky Center for Innovative Editions at Rutgers University, and working four years at Dieu Donne in New York City. Lisa found that being in the studio with full time professional artists inspired her to follow her dream. They modeled that being a full time artist takes hard work, passion, and even a bit of luck. Lisa says, “I think the fuel that really keeps everything going is maintaining an intense curiosity, a need to see what happens next without any guarantees of positive outcomes. Finding a way to continually feed this curiosity is an essential part of the work of an artist.”

Lisa Haque makes two dimensional works, sculptures, artist books, and installations which have been collected by Newark Public Library and the University of Miami Special Collections. Milk Teeth is based on a poem she wrote at 3:00 in the morning when her daughter was not letting her sleep. Freshly made kozo sheets of paper were dried with intentional creases on plastic sheeting. She likes that the kozo paper becomes more cloth-like as its pages get turned so the paper softens with time, fitting what it is representing. Lisa said the knitted mohair shroud “pulled this book together, it fell together intuitively.”

The heart-shape in “Nourish” make a reference to lungs and the Chandelier plant (Kalanchoe delagoensis) that grows abundantly in Florida. Lisa says, “In my work I attempt to map out my relationship to the natural world, evoking processes of growth, transformation, and decay.” “Nourish” includes hairnets, plastic toys, metal scrubbing pads, and wet sheets of paper which literally and figuratively connect everything.

Lisa  has been serving on Hand Papermaking’s board of directors since 2019. When asked why she joined the board of Hand Papermaking Lisa said she was interested in staying connected to the larger paper community. She mentioned that there were a good number of book artists in Miami, but she believes Hand Papermaking magazine keeps her more internationally connected. As to the future of paper as a media she feels it would be good to have it become more important in the art world. “People know painting and sculpture, but works on paper seem to get the short end of the stick.” Lisa’s work has been shown in Italy, Japan and the United States.

As our conversation was wrapping up, I asked Lisa if there was anything she wanted to add. We laughed about the wonderful addiction or passion that is part of exploring this versatile media.

You can read more about Lisa on her website lisahaque.com.

–Amanda Degener

‍

LISTINGSListings 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 July 2022 newsletter is May 15.CLASSES AND WORKSHOPSAbington Art Center, Jenkintown, PA, (215) 887-4882, www.abingtonartcenter.org. Classes, workshops, and exhibitions in a variety of media, including papermaking and book arts. Currently offering spring enrollment for in-person classes, abingtonartcenter.org/school.Amy Richard Studio, Gainesville, FL, www. amyrichardstudio.com, specializes in Japanese-style papermaking and sculptural paper, teaching online classes as well as private instruction/independent study opportunities (currently online only). For workshop infor-mation, visit www.amyrichardstudio.com/teach-ing 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, typo-graphy, calligraphy, poetry, fiction, memoir, 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 phys-sical form of the book, and embraces an interdisciplinary approach to the book arts. Artists Book House Conversations, a series of video conversations with book artists, illustrators, cartoonists, writers, poets, librarians and book collectors, can be found at https://artistsbookhouse.org/conversations.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 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. For spring learning, visit book-paperthread.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.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 collab-orations; and group programs offered throughout the year at a fully equipped papermaking studio. For info about workshops, visit carriagehousepaper.com/workshops.Cave Paper, located in Tuscon, AZ, is a handmade paper production studio owned by Zoë 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 organi-zation 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 con-sultancy in a variety of crafts and livelihoods, inclu-ding 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 mem-berships. 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 remote learning oppor-tunities, 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, work-shops, 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.InterOcean Studios, Englewood, CO, (720) 468-0360, https://www.interocean-studio.org, is a place of artistic expression and individual and collaborative endeavor in the book arts located in the studio of artist Ray Tomasso. It plans to present formal, curated book and paper art exhibitions along with more informal, process-oriented exhibits that highlight the design and execution of completed work by residency participants and community members. To contact the Studio, or to begin receiving their newsletter, visit www.interoceanstudio.org/contact.Kalamazoo Book Arts Center, Kalamazoo, MI, (269) 373-4938, info@kalbookarts.org, www.kalbookarts.org. The Center offers classes in book printing and binding, print-making, 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 suburban Chicago offering workshops and 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, 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.
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 about fall classes & workshops, visit: https://pce.massart.edu/catalog/fall-2021.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.morganconserv-atory.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 work-shops in papermaking, printing, book arts, and mixed technique. For information about upcoming workshops, visit https://www.morganconservatory.org/allworkshops. 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 offersa 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.-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 sched-uled 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, pro-grams, 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.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 print-making, 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, appren-ticeships, and internships. For information on upcoming workships, visit pyramidatlantic-artcenter.org/education/workshops/.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. For a list of upcoming programs, visit https://paper.gatech.edu/program-listing.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.Sitka Center for Art and Ecology, Otis, OR, (541) 994-5485. www.sitka-center.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/workshops. For info on residencies: www.sitkacenter.org/residencies. Snow Farm: The New England Craft Program, Williamsburg, MA, (413) 268-3101. www.snow-farm.org. Workshops at Snow Farm span eight subject areas, including printmaking and paper/book arts. For more information on workshops, visit https://www.snowfarm.org/workshops/class-listings.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-print-shop-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 work-shop information, visit contemporarycraft.org/studio/upcoming-workshops/, and for a calendar of upcoming events, visit contemporarycraft.org/calendar/.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, work-shops, 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 conserva-tion fields, including papermaking, bookbinding, and printmaking. For remote learning opportun-ities, visit www.westdean.org.uk/study/online-hub.Women’s Studio Workshop, Rosendale, NY,  (845) 658-9133, info@wsworkshop.org, www.wswork-shop.org. The Women’s Studio Workshop has been a professional artist studio dedicated to the creation of community, opportunity, empower-ment, 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.EVENTSCODEX VIII Words on the Edge will take place April 10–13, 2022 in Berkeley, CA. The CODEX International Book Fair includes hundreds of individual artists’ tables, booksellers & galleries who represent other artists, vendors of book art materials and tools, academic programs with student work, and nonprofits and organizations that specialize in the field. The work that is shown is all within the realm of artist's books, book arts, and fine press books, mostly limited edition artwork in book form. The fair draws an international crowd of artists, printers, book-makers, designers, poets, writers, collectors, dealers, curators, academics, and more, and it is open to visitors from the public! Tickets to the Fair can be purchased at the door on the day(s) of the event.. For more information, visit www.codexfoundation.org/home. Ray Tomasso’s former studio is now the Inter-Ocean Studio, a school of letterpress printing, bookmaking, and papermaking. The Studio will open its first exhibition in early March 2022: “Momentum,” an exhibition curated by Alicia Bailey, Director of Abecedarian Artists’ Books. It features the work of six significant regional artists— Aaron Cohick, Alicia Bailey, Gail Watson, Helen Hiebert, Leon Loughridge and Rhiannon Alpers—who explore aspects of hand papermaking, letterpress printing and book arts. Opening reception is on March 5, at 5 pm; a curator talk takes place on April 2, at 4 pm. The gallery is located on 2905 S Elati Street in Englewood, CO, and is open Fridays 10–2 and Sat/Sun 12–5. For more information, visit https://www.interoceanstudio.org/.EXHIBITIONSThe Morgan Art of Papermaking Conservatory’s 10th Annual Juried Exhbition runs March 25– May 5. The Exhibition's jurors this year are Sienna Brown, a curator at the Cleveland Clinic, and Jared Ledesma, the senior curator at the Akron Art Museum. The theme of the exhibition is Introspection / Retrospection. For more information, visit www.morganconservatory.org.The exhibition Fiber + Pulp: the specimens runs now through June 10 at the Robert C. Williams Museum of Papermaking. The show focuses on the Fiber Identification Library at the Institute of Paper Chemistry (IPC), which began around 1950. Also known as the Fibrary, it was a comprehensive and well-organized collection of Fibers for use as comparison standards for microscopial examination. Fiber + Pulp s presents samples of fibers of all kinds, plus documentation on pulping processes and results. For more information, visit https://paper.gatech.edu/fiber-pulp.The exhibition Paper Haiku runs now through June 25 at the Museum of Papermaking in Duszniki-Zdrój, Poland. The show features the artworks of Ma?gorzata Antoszewska-Moneta, which are dominated by elements of far eastern, Antoszewska-Moneta learned the art of making Japanese paper called washi in the studio of Isao Nakamura, as well as calligraphy and woodcut. In addition to paper art, the artist will also show  painting, unique photography, and graphics. For more information, visit https://culture.pl/en/.OPPORTUNITIESTreewhispers 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 a wide range of artist opportunities in printmaking, papermaking, and book arts, including residencies, apprentice-ships, and internships. The center also accepts exhibition proposals, offers a range of artist services, and has an artistic associate program. For more information on all of these opportunities, visit https://pyramidatlanticartcenter.org/artist-opportunities/.Helen Hiebert is offering a 5-day retreat this summer,  August 22–26, called Creating Paper in the Colorado Rockies. The retreat will encourage participants to explore the endless potential of paper. We will experiment with various techniques—cutting, folding, collaging, weaving, and glue your own handmade paper—to create a variety of paper objects that will intrigue the eyes and illuminate the spirit. Set in the peaceful, tiny hamlet of Red Cliff, surrounded by mountains, the river, and aspen trees as they begin to change their glorious fall colors, the focus will be on finding inspiration to create and rejuvenate. All levels of art experience are invited. For more information, visit https://helenhiebertstudio.com/2020-red-cliff-paper-retreat/.May 15 is the deadline to apply for several  summer residencies at Women’s Studio Workshop (WSW) in Rosendale, NY, https://wsworkshop.org. The Studio Workspace Residency is an opportunity for artists at any stage in their career to create new work and fully immerse themselves in WSW’s supportive environment. This residency gives artists the gift of time, and an uninterrupted period to live and work away from the stresses of daily life in any one or more of our studios: intaglio, letterpress, papermaking, screenprinting, darkroom photography, or ceramics. 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. This is an opportunity for artists with a range of teaching experience, from seasoned teachers and professors, to those with minimal experience and an interest in gaining skills and knowledge. For more information about the WSW’s annual opportunities, is available on the online Artist Opportunity Calendar at https://wsworkshop.org/opportunity-calendar/.The Morgan Art of Papermaking Conservatory is proud to annouce it has established a BIPOC Scholarship Fund to beneift artists from Black, Indigenous, People of Color (BIPOC) communities. This Fund offers full scholarships to artists within the BIPOC community wishing to learn through and use the Morgan’s facilities. Any self-identified BIPOC artists (emerging or established) may apply for a scholarship for any of our studio workshops. Scholarships are based on availability.By providing funding to BIPOC artists, the Morgan recognizes the lack of representation of artists of color in paper and book arts. In addition, the Morgan acknowledges that part of its role as a community studio space and educational foundation is to create more diverse and equitable experiences by taking on an active role in providing more oppor-tunities providing access and resources. For more information, visit https://www.morgan-conservatory.org/copy-of-artist-residencies.The International Center for the Arts in Italy is offering, this fall from Sept. 18 to Oct. 2,  The Art of Paper, a summer retreat that will explore the potential of paper as a basic material and as a medium for artistic pursuits. Four internationally known instructors—Amanda Degener, co-founder of Cave Paper; Carol Barton of Popular Kinetics; Helen Hiebert of Helen Hiebert Studio; and Denise Carbone from the University of the Arts—will lead workshops in various aspects of the paper arts. Students will get sixteen hours of instruction in each of the following areas: hand papermaking, creating paper-based objects, sewn bookbindings, and designing pop-ups. The session will also include field trips to the Fabriano Paper Mill and to the city of Florence, along with several other stops. In addition, Amanda will be offering optional morning Tai Chi sessions to be held near the fountain in our lovely public garden overlooking the surrounding mountains. For more information about this once-in-a-life-time opportunity, visit https://www.icaitaly.com/retreats/the-art-of-paper.The 8th Collegiate Paper Art Triennial is accepting entries now through April 30. This exhibition. which take place in the Fall of 2022, soffers college students an opportu-nity to share their art made using hand-made paper with a broad audience. Venues hosting the exhibition include university galleries, museums, and art centers around the United States. Student enrolled (in 2020–2022) in two-year (Associate), Bachelor's, or Master's programs in art are eligible to apply. to down-load a prospectus, visit https://mcusercon-tent.com/ac2ced7d0f72dabda8fd4391a/files/de61193d-608f-5b2f-755ce319a7114e85/2022_Collegiate_Triennial_prospectus.pdf.PUBLICATIONS, FILMS, VIDEOSIn The Art of Papercraft: Unique One-Sheet Projects Using Origami, Weaving, Quilling, Pop-Up, and Other Inventive Techniques, recently published by Storey Publishing, paper artist and teacher Helen Hiebert has compiled a one-of-kind collection of 40 unique projects, each using just one sheet of paper. Combining decorative paper techniques like marbling, stamping, and stenciling with dimensional techniques like origami, cutting, folding, quilling, stretching, weaving, and pop-ups, The Art of Papercraft offers a rich variety of projects that will delight crafters, artists, and designers alike, including paper votive lights, pop-up cards, folded paper gift boxes and envelopes, woven paper wall hangings, miniature one-sheet books, and much more. Helen Hiebert is author of several books on papermaking and paper crafts, including The Papermaker’s Companion and Papermaking with Garden Plants and Common Weeds. She teaches papermaking classes and workshops, writes a weekly blog, and is the Paper Talk podcast host. For more inform-ation, visit https://www.workman.com/products/the-art-of-papercraft/paperback.Paper Talk is an ongoing series of interviews by Helen Hiebert featuring artists and pro-fessionals who are working in the field of hand papermaking. New podcast episodes each month. Subscribe to Paper Talk in iTunes.Retiring University of Iowa Center for the Book director, MacArthur Fellow, and renowned paper-maker Tim Barrett reflects on his storied, 34-year career at Iowa. Watch Tim Barrett: The Story of a Papermaker on YouTube.Women’s Studio Workshop offers a treasure  trove of artist books made by residency particpants going back to 10 1979. While some editions are out of print, many editions by well-known and up-and-coming artists are offered for sale. For more information, visit https://wsworkshop.org/collection/.
Reams in the Desert: Papermaking in Utah, 1849–1893, published by The Legacy Press, is the first book to explore the complete story behind pioneer paper production in the Old West. Paper had been made commercially in the United States for well over a century by the time that the first paper made west of the Mississippi River emerged from the vat. Complicated by isolation, the story of Utah’s small and short-lived paper industry stands as one of the few success stories of Latter-day Saint-sponsored “home manufacture.” Even so, Utah’s paper “industry” became a casualty of economies of scale that characterize the industrial age. Drawing on primary sources and a deep study of the product itself, author Richard L. Saunders explores the personalities, sacrifices, and decisions driving Utah’s four-decade experiment with paper production. An appendix by paper historian Cathleen A. Baker provides a description of the pulping technologies, as well as hand and machine papermaking methods and equipment in use in the Utah mills. For more information, or to order your copy, visit www.thelegacypress.com/reams-in-the-desert.html.ONLINE PROGRAMMINGFrom 1619 to beyond, black craftspeople, both free and enslaved, worked to produce the valued architecture, handcrafts, and decor-ative 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 pro-ject dreamed up by Katie Garth and Tracy Honn, is a repository of books made by artists. The works published are for anyone to freely down-load, 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/Uni-versity 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 up-to-date lists of key information sources about a given subject, chosen by a specialist. Visit chantrylibrary.org/chantry-library-subject-bibliographies-2/ to learn more.MISCELLANEOUSSeeking 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.CLASSIFIEDSClassifieds in the Hand Papermaking News-letter cost $2 per word, with a 10-word minimum. Payment is due in advance of publication.Unbleached Philippine Abaca $6.00 lb. For samples, please send SASE to Ifugao Papercraft, 6477 E. Grayson, St., Inverness, FL 34452.Need affordable paper for workshops? We offer authentic hanji, lokta, washi, and xuan. Mention this ad for 10% discount, paperwoman@paperconnection.com.Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc. (910) 739-9605.HAND PAPERMAKINGloves to hear from readers:newseditor@handpapermaking.org

SPECIAL THANKS TO OUR DONORSHand Papermaking acknowledges recent contri-butors 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: Joan Hall, Mark Tomasko, Beck WhiteheadPATRONS: Tom Balbo, Lisa Cirando, Sid Berger & Michèle Cloonan, Sue Gosin, Darin Murphy, Erik Saarmaa, Michelle Samour, Kenneth TylerUNDERWRITERS: Yousef Ahmed, John Cirando, Lois & Gordon James, Ingrid RoseSPONSORS: Eric Avery, Tom & Lore Burger, Kerri Cushman, Susan Mackin Dolan, Devie Dragone, Michael Durgin, Michael Fallon, Jane Farmer, Kim Grummer, Helen Hiebert, Robyn Johnson & Peter Newland, Debora Mayer, Marcia Morse, Robert Specker, H. Paul Sullivan, Mina Takahashi, Aviva Weiner, Kathy WosikaDONORS: May Babcock, Alisa Banks, Tom Bannister, Sarah Louise Brayer, Ann Cicale, Jeffrey Cooper, Amanda Degener, John Dietel, Karla & Jim Elling, David Engle, Jerry Exline, Helen Frederick, Lori Goodman, Richard Haynes, Margaret Heineman, Shireen Holman, Kyoko Ibe, Jamie Kamph, Enid Keyser, June Linowitz, Julie McLaughlin, Sharon Morris, Jeannine Mulan, Anela Oh, Elaine Nishizu, Nancy Pike, Alta Price, Joy Purcell, Renee Rogers, Annabelle Shrieve, Thomas Siciliano, Kathleen Stevenson, Bernie Vinzani, April Vollmer, Paul WongSUPPORTERS: Marlene Adler, John Babcock, Timothy Barrett, Kathryn Clark, Nancy Cohen, Marian Dirda, Iris Dozer, Tatiana Ginsberg, Mabel Grummer,  Guild of Papermakers, Lisa Haque, Robert Hauser, Viviane Ivanova, Kristin Kavanagh, Susan Kanowith-Klein, David Kimball, Steve Kostell, Lea Basile-Lazarus, Aimee Lee, Winifred Lutz, MP Marion, Edwin Martin, Lynne Mattot, Ann McKeown, Tim Moore & Pati Scobey, Catherine Nash, Nancy Pobanz, Melissa Potter, Brian Queen, Dianne Reeves, Carolyn Riley, Michele Rothenberger, Pamela WoodFRIENDS: Jack Becker, Anne Beckett, Lee Cooper, Elizabeth Curren, Dorothy Field, Lucia Harrison, Margaret Miller, Deborah Sternberg-Service, Don WidmerIN-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 & Michèle Cloonan, Tom & Lore Burger, Jeffrey Cooper, Jeanne M. Drewes, Jane M. Farmer, Fifth Floor Foundation, Helen Frederick, Sara Gilfert, Tatiana Ginsberg, Susan Gosin, Joan Hall, Lois & Gordon James, Sally Wood Johnson, David Kimball, Elaine Koretsky, Karen Kunc, Barbara Lippman, Winifred Lutz, Susan Mackin-Dolan, David Marshall, Peter Newland Fund of the Greater Everett Community Foundation, Margaret Prentice, Preservation Technologies L.P., Michelle Samour, Peter Sowiski, Marilyn Sward, Betty Sweren, Gibby Waitzkin, Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela S. WoodCONTRIBUTORS 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 WhiteheadCONTRIBUTORS 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 Catasús, Lisa Cirando, Kathryn Clark, Dan 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 WosikaAND AN EXTRA-SPECIAL THANKS TO OUR SPONSORS Carriage House, the International Paper Museum, the University of Iowa Center for the Book, the Robert C. Williams Museum of Papermaking at Georgia Tech University, the International Paper Connection, Penland School of Craft

‍

‍

‍