HAND PAPERMAKING

NEWSLETTER number 140   0ctober 2022

Newsletter Editor: Genevieve Lapp

Contributors: Sarah Ann Austin, Jamie Capps, Derick

Wycherly, and Sidney Berger

Sponsors: The Robert C. Williams Papermaking Museum,

University of Iowa Center for the Book, Penland School

of Craft, Carriage House Paper, the International Paper

Museum, and Paper Connection International

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Staff: Michael Fallon, Executive Director; Mina

Takahashi, Magazine Editor; Genevieve Lapp, Newsletter

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Hello, Readers!

Many thanks to those who completed Hand Papermaking’s recent survey regarding the quarterly newsletter you are about to read. Over 120 people sent in thoughtful responses, taking the time to offer their feedback on the past and hopes for the future. The data and insights gathered will help us focus on encouraging, promoting, and amplifying all voices in the handmade paper community. Together we will create the next chapter of this relevant, engaging, and vibrant quarterly publication. As I take the helm as newsletter editor, I want to emphasize that this publication is yours, is ours. Your ideas, suggestions, questions, and concerns will all be incorporated in issues to come. You’ll notice that the newsletter is shifting to a more conversational tone. While the magazine contributes great scholarship and thought leadership to the field, the survey results indicate you long for a casual place to share, connect, and learn. The format will morph and shift based on your reactions and contributions. I hope you enjoy the content in this October issue. We travel along a day-by-day itinerary of an academic papermaking trip to Japan. We introduce a feature many of you requested: a section de-voted to papermaking techniques and problem solving. For those who don’t follow us on social media, we share responses from a recent Q&A exchange on the platform. There’s a little teaser for the upcoming Winter 2022 magazine issue, and, finally, a decorated paper article from longtime beloved contributor Sid Berger. The listings are presented in a truncated form (expanded listings will return on our website), and we hope you’ll write in to share specific news, exhibits, and opportunities for future issues. I’m grateful for this opportunity to learn and grow with you all. And I look forward to hearing your feedback. Please email me at newsletter@handpapermaking.org.Happy Reading and Happy Papermaking!

–Genevieve Lapp

paper travels

The Echizen Papermaking Region of Japan

Come along on the Summer 2022 trip to the Echizen papermaking region of Japan with Jamie Capps and the University of Iowa’s Center for the Book. Imagine yourself as a participant as you walk through the trip itinerary, day by day.In October of 2020, papermaker and lecturer Nicholas Cladis was awarded an Arts & Humanities Major Project Grant from the University of Iowa for his research proposal Artisans and Artists in a Traditional Japanese Papermaking Village. For two weeks, Principal Investigator Cladis and four graduate research assistants were immersed in traditional Japanese papermaking in Echizen, Japan. The team researched craft, tradition, and the importance of papermaking to local artisans who own and work in paper mills and to fine arts and conservation practitioners worldwide. A committee selected four graduate students at the Center for the Book (UICB) to participate: Chayne Truex, Madison Bennett, Tegan Daly, and myself, Jamie Capps.

Nicholas Cladis chose the paper mills visited based on diverse artisanship and relationships built during the six years he worked in Echizen as a papermaker and educator. It is unusual for people outside of Japan to have access to these mills, yet we were met with a welcoming spirit; the knowledge shared will accompany us throughout our careers. The following is my day-to-day account of our research trip.

day one Arrival in Fukui, Japan

After a long day of travel we arrived in Takefu, Fukui. We were greeted by Nick and Yoriyasu Masuda, a contemporary artist and the director of the Imadate Art Field. We drove to the Anraku Temple, where we would stay while in Echizen. We were also provided with an interpreter, Yasuko Tsuamoto, who would accompany us on our visits to the mills.

day two Igarashi Paper Mill

We started with a tour of City Hall where we met with the mayor of Echizen City, Yamada Kenichi, who asked about our research interests and what we hoped to gain during our trip.

Next at Igarashi paper mill we were introduced to “food paper,” which is made from discarded vege-tables and fruits. This unique paper seeks to answer questions regarding sustainability, something I am interested in with my practice. Working in pairs we formed large sheets of washi using a giant su made by Masami Igarashi. We learned a pouring technique called nagashikomi and were shown how to mix pigmented pulp to create swirling designs on large sheets of mitsumata.

The night ended with a celebration dinner where we ate traditional Japanese foods and conversed with amazing artists and papermakers.

day three Ryozo Paper Mill

We spent the day at Ryozo paper mill, run by the Yanase family who are famous for making the packaging for Japan-ese treats called wagashi. We took a tour of the mill and moved to a studio area where we formed nagashizuki-style sheets and were shown how to manipulate them using handmade pewter templates. We used mill offcuts as inclusions, which again speaks to sustainability, and were shown different styles of lace paper achieved using specialized tools that have been handed down for generations and are no longer made. I was excited to see these tools and sketched them for continued research.

day four Osada Paper Mill

In the early morning we walked to the Okamoto-Otaki Shrine to pay our respects to the paper goddess Kawakami Gozen.

Afterwards we visited the Osada Paper Mill and were shown how to pulp paint with a proprietary pulp blend. We made decorative sheets unlike any I have seen, with subtle colors typically used for sliding doors. We created large-scale sheets of suminagashi paper followed by designs on screens with a thick pulp blend, which dries hard and can be used to make lamp shades. We hadn’t seen this type of pulp mixture before and were excited to explore it. The day came to an end with a lesson on the versatility of momigami papers and jewelry making and a discussion about our current works with the Osada family.

day five Kyoto

In Kyoto we visited the Sanjusangendo, a 13th-century Buddhist Hall housing thousands of statues, and the Kiyomizu-dera, which is part of the Kyoto historic monuments UNESCO world heritage site. Then on to the Nishiki Market, and the Fushimi Inari Taisha, which is a Shinto shrine with thousands of torii gates! The views of the surrounding landscape with the city below were spectacular. We discussed how place influences work and the possibility of using sights and sounds of these places in our exhibition. The day ended by the Kamo River and writing a collaborative waka-style poem about our travels.

day six Echizen

We visited the Urushi no Sato Kaikan, which has small dioramas on display showing the lacquerware process, made of Echizen washi. After-wards, we drove to the annual Echizen Pottery Festival in the ceramic art village, which featured a mix of traditional pottery and more contemporary pieces that used different firing techniques and glazes. We ate dinner overlooking the Sea of Japan and spent the evening on the seashore.

day seven Taki Paper Mill

Taki-san has an incredible energy and love of art, which translates into his work. We were shown some of the contemporary paper art pieces he creates. He taught us how to make pulp paintings with colored wood pulp. We learned that we could mix these pulps at home using a blender. We then practiced water-manipulation techniques using handheld sprayers and equipment made specifically for use on large sheets of washi. These techniques can be closely guarded by papermakers and it was very generous of Taki-san to share them with us.

Local news crews covered our research throughout our stay and I was interviewed today, explaining how this experience was important to my work as an artist who prefers to make Japanese paper in the traditional manner. The night ended with a surprise cake and a giant bottle of sake to celebrate my birthday!

day eight Iwano Paper Mill

Today was special as we pulled sheets with Iwano Ichibei IX, Japanese Living National Treasure! Watching and learning from Ichibei-san was very special as his technique seems so effortless. He spoke about his life as a papermaker, speaking of his family lineage and how important papermaking has been throughout his life. He shared hosho samples used for printmaking and we were invited to pull apart each layer of washi to understand how it is made. Ichibei-san’s hosho paper is coveted by printmakers around the world and is used at the Louvre in Paris for restoration, which is of special interest to us as students at the UICB. The following evening Ichibei-san presented us with a sushi dinner at our lodging, shared stories with us, and sang the papermakers’ song!

day nine and ten Udatsu Paper and Craft Museum

The next two days were spent with Murata Naho at the Udatsu Paper and Craft Museum. Udatsu is an operating paper mill and we practiced our nagashizuki papermaking skills on a large and specialized sugeta. We were shown how Japanese washi was traditionally dried on ginkgo boards which are no longer made because the trees don’t grow large enough to support harvesting. We then practiced brushing sheets on boards that are then placed in a heated closet. This technique of drying makes for a more natural tooth on both sides of the paper. There were tour groups that came through as we were working and everyone seemed to be impressed with our skills.

day eleven and twelve At the Nishino Heritage House

We spent two days finishing up site-specific installations that we set up across the street in the Nishino Heritage House, a registered historic site. Nick’s friends brought us snacks and shared their stories as artists, papermakers, and teachers. It was inspiring working together in this space using the skills we brought with us as well as new techniques learned during our visit.

day thirteen

Our last full day in Echizen was spent at the Nishino Heritage House where we had an opening reception and Q&A session. Visitors asked us about what we had learned during our trip and how we would use that knowledge going forward. We enjoyed sharing our work and were grateful for those who translated for us so we could share our experiences with our guests.

day fourteen

Our research in Echizen came to an end and wesaid goodbye to all of our new colleagues with hopes for future collab-orations and visits. We boarded a train to Tokyo and spent the afternoon check-ing out local stationary stores. It was interesting to see the different types of paper and stab bindings on display and I bought a few to bring back for inspiration. We then had the night to ourselves so I decided to wander the city taking photograph of street art and architecture.

day fifteen and sixteen

We spent our last day walking around Tokyo sightseeing, visiting galleries, and Jimbocho, the area’s oldest used bookstore district with thousands of historical and rare books. We found a bookstore, with artist books and vintage paper sample books, that also housed a gallery of work by Philippe Weisbecker. Boarding the plane back to Iowa City was bittersweet yet I was ready to put my new skills into practice.

Our trip was possible thanks to a University of Iowa Arts & Humanities Initiative major project grant awarded to UICB faculty member Nicholas Cladis from the Office of the Vice President of Research, and further supported by Imadate Art Field and the Echizen Washi Association.

         —Jamie Capps


Jamie Capps is a multimedia artist and papermaker. She earned her BA in studio art from Mount Holyoke University as a Francis Perkins Scholar and is an MFA candidate at the University of Iowa Center for the Book, where she was a recipient of the Iowa Arts Fellowship. She currently assists Nicholas Cladis at the Oakdale Paper Research Facility. Most recently she participated in the Summer 2022 study-abroad program, Artists & Artisans in a Traditional Japanese Papermaking Village, in Echizen, Japan. Website link: https://www.jamiecapps.com.

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the maker

Sarah Ann Austin

In this new recurring feature, The Maker, we look at techniques and problem solving in the field of handmade paper. For this issue, imagemaker and papermaker Sarah Ann Austin develops a paper to use in cyanotype photographic printing. If you want to share how you solved a problem in your practice, email newsletter@handpapermaking.org.

I started my artistic practice as an image maker and am now approaching my 10-year anniversary with handmade paper. I blend the two in perfect harmony. My work is mostly photographic in nature, using the cyanotype printing process on different surfaces and substrates.

the process: cyanotype photographic printing

Common papers used for cyanotype are high-quality, hot-press papers like Arches Platine or Fabriano Artistico. These papers are archival and have internal sizing to withstand the rigors of lengthy immersion times. The cyanotype process requires that the paper gets wet twice and dries thrice. First, during the prep stage you paint emulsion on the paper, or submerge it in light-sensitive solution. After it dries, you expose the paper to make the print, then you rinse the paper in several changes of water for 10 to 15 minutes. Finally the paper is dried again.

the problem: finding a paper for cyanotype printing

I started my second year of grad school at the University of Alabama with a problem—not having any money and wanting to make beautiful images. I asked myself how I could make prints with sustainable and readily available resources that aligned with my artist-mother life-style. I learned that hand-made paper inherently has a neutral pH and can be made in any color, size, or texture you prefer. My graduate mate, Becky Beamer, whose sculptural work with paper and books opened my eyes to creative possibilities galore, suggested I learn to make my own handmade paper. After all, the Lost Arch Paper Mill was just below my studio.

the solution: develop my own handmade paper for cyanotype printing!

Figuring out how to make paper that would withstand the cyanotype process led me towards artistic research in Steve Miller’s graduate papermaking course. I learned I could use my children's cotton clothes to make rag paper and also make paper from plants that were readily available in my community.

I did many cyanotype tests on handmade paper I made in the course. Thick rag paper would continue to expose or cloud the highlights. Thin rag paper would rip when least expected. But the abaca, mitsumata, kozo, and gampi papers held up to the washes and displayed the images wondrously. Printing on overbeaten abaca produced an ethereal image, both on the surface and embedded within the paper. With this knowledge, I started to mix different fibers after beating them individually and created a perfect combination to print with. I found that mixing bast fiber with rag fiber creates a paper stronger and more beautiful than any watercolor paper on the market.

In Papermaking: The History and Technique of an Ancient Craft, Dard Hunter wrote, “Japanese papers made of mulberry, mitsumata, and gampi barks…when free of chemicals… remained in perfect condition for over fifteen hundred years.” I haven’t lived fifteen hundred years to prove my paper’s longevity, but I have left it in water for 48 hours after printing on it (oops) and it remained intact and pristine! And here you have it, craftspersons of all kinds—remember there are no set rules to follow, just guides to informed decisions in the process.

sarah ann austin’s blended paper for strength, longevity, and beauty

2 lbs. abaca sheet pulp

2 lbs. cotton rag, cut into 1-inch squares, separated by color into two  lots A and B

1 lb. kozo bark

Beat in Hollander (I used a 2 lb. Reina beater).

Beater 1st round:

Beat 2 lbs. abaca for 2 hours

Remove 1 lb.

Beat remaining 1 lb. abaca for 2 more hours to achieve an overbeaten quality for sheerness. Then combine the abaca again outside of the beater.

Beater 2nd round:

Beat 1 lb. rag (color A) for 1 hour or until it resembles cottage cheese.

Beater 3rd round:

Beat 1 lb. rag (color B) for 1 hour or until it resembles cottage cheese.

Process by hand: Kozo or another strong, lengthy fiber that will be suitable

Cook with soda ash 1–1.5 hours Rinse thoroughly until water runs clear

Beat with a mallet; test freeness every 5 minutes.

When I am finished beating the pulps, I create a mixture in the vat: 1 scoop* rag color A or color B, 1 scoop abaca mix, 1 scoop of kozo, then hog.

Note*: The size of the scoop depends on the size of the vat. Every two charges I add a little bit of the other colored rag just before the pull to slowly blend the two colors together. My most successful papers have been those with a majority of one-color tone with a pop of the other color that emerges in a swirly cloud formation.

         —Sarah Ann Austin


Sarah Ann Austin received her BFA from University of Michigan and MFA from the University of Alabama. After teaching at the college level, she left academia and started working in her home studio in Raleigh, North Carolina. Serving as the Women’s Caucus Chair for the international non-profit The Society for Photographic Education, she works with other female-identifying educators and students to create and promote opportunities in photography. Sarah Ann actively teaches papermaking, printmaking, bookmaking, and photography courses for the City of Raleigh. Her work has been shown nationally. You can learn more about her work at www.sarahannaustin.com and www.Instagram.com/legacyprintsandpaper.

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next up

Derick Wycherly

The Winter 2022 issue of Hand Papermaking magazine will feature an in-depth interview conducted by Black Writers Fellow Payton Harris-Woodard with the legendary artist Howardena Pindell, and present a selection of “Shop Talk” articles. In anticipation, Hand Papermaking Newsletter editor Genevieve Lapp presents a little shop talk herself with Derick Wycherly, one of the contributing authors to the issue.

You may be familiar with that special feeling of chatting with fellow paper lovers. You talk excitedly about craft, sharing techniques, and common experiences, never having to check if the other person is “still interested in talking paper.” It’s the joy of paper friendships formed at conferences, workshops, and through online platforms. It’s bliss. It’s the feeling I received after a bit of shop talk with printmaker and papermaker Derick Wycherly. This article was meant to be in interview format, to bring you into our back-and-forth conversation, to share a little of that bliss. I took a screen recording of our video chat, opened it later to start writing, and discovered there was no accompanying audio file. I sat staring at a 30-minute video of our two laughing faces, lips moving in silence, wondering how I could recreate that fantastic energy from memory. As you walk away from paper conferences or workshops, you may have felt this feeling too.

Derick co-authored an article with Kelsey Voy for the upcoming Winter 2022 issue of the magazine where they discuss technical information about their respective projects and processes. The two met at the University of Wisconsin–Madison where Derick was pursuing an MFA in printmaking in the art department and Kelsey worked towards a BFA in design at the School of Human Ecology. They shared paper studio space and took papermaking courses with Mary Hark. Derick and I talked about the inevitability of being influenced by other artists in a shared studio space. While you work near other artists you discuss ideas and techniques, and witness different approaches and processes. This is the same atmosphere I experience working in the studios at the Minnesota Center for Book Arts. Working alone, our process can be perfected, our product predictable. In a collaborative environment, new ideas are born from unexpected meetings.

The collaborative piece (pictured on the next page) illustrates the curious result of interrupting personal practice to collaborate. Derick describes the experience from demoing with Kelsey at the March 2022 Southern Graphics Conference:

“I was doing blowouts with laser-cut stencils, and then pressure prints on top to finish my edition that is included in the upcoming Hand Papermaking portfolio, Language of Color. For the demo piece, pictured above, I made a green/brown base sheet (cotton linter and flax, pigmented) which I normally would couch a blowout on top of, but for the demo, I handed it off to Kelsey to finish by demoing her additive process. Notice that since my damp-packed base sheets weren’t what she was used to working with, the pulp didn’t take as it was supposed to.”

Collaborations, like learning a new technique or process, can be fruitful endeavors, but may also result in failed experiments or pieces that don’t add to our individual bodies of work. Like working on a big edition or learning a new skill (like how to record a Zoom call), little let downs are part of the road to an expansion of our experience, a deepening of our understanding, and the building of our great paper community. Many thanks to Derick Wycherly for giving the initial interview and kindly recounting his memory of it after the fact.

Derick Wycherly specializes in printmaking and papermaking. He received an MFA from the University of Wisconsin–Madison and a BFA from the Rhode Island School of Design. He was in the second cohort of artists selected for a LIFT – Early Career Support for Native Artists Award by the Native Arts and Cultures Foundation, and is currently teaching art in the St. Cloud area of Minnesota.

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decorated paper

The Chena River Marblers

Longtime newsletter contributor Sid Berger continues his excellent documentation of decorated papers and the artists who make them. In this edition we meet Regina and Dan St. John, Chena River Marblers.

I would like to return to my series of columns about excellent paper-decorator artists, with a focus on Regina St. John and her husband Dan. When I first saw Regina’s work, it was not on paper. It was about 1990 at an American Library Association (ALA) conference in the vendors’ hall where I spotted some of the most beautiful ties I had ever seen, done on silk marbled by Regina. In those days, I wore ties five days a week, and as a serious collector of marbled papers, I found an artist whose work needed to be in my wardrobe. And the name “Chena River” entered my wardrobe and paper collection.

At the time, the St. Johns were selling papers and silks with Regina seemingly the only artist. I later learned that Dan was a marbler and wonderful craftsperson, as well. He made their marbling baths, rakes, and combs, and did research into the history of the craft. Later he became an accomplished marbler, along with Regina—one of the few marbling couples in the US. So this column is really about both of them.

Early in her her career, Regina used a particular comb that was exactly the length of her marbling trough, but was two inches shorter than the tank’s width. When she pulled the comb in one direction through the pig-ments on the surface of the size, the full pattern in that direction was created. When she turned the comb at right angles to continue the pattern, the comb was too short and two inches of uncombed pigments remained. This produced some absolutely wonderful sheets, with that idiosyncratic edge along the pattern that I loved.

There is a marbling technique called overmarbling where a pattern is created on one layer, followed by another on top. Often the results are “muddy,” with the one on top concealing the first, and neither showing off the artist’s skill. But Regina’s skills from the beginning, with her careful overmarbling technique, well-designed patterns, and excellent color choice, yielded superlative sheets.

Paper and cloth can be adorned with the same kinds of techniques: paste, marbling, printing, resist, folding and dyeing, and so forth. For ties, Regina starts with exquisite silks and selects patterns and colors that complement the patterns on the fabric. And with Dan’s background in chemistry and carpentry, and his keen understand-ing of materials, the St. Johns have created some of the most beautiful papers in the U.S. in the last 20 years. As their website says, “Dan’s invent-ive combs have opened the way for an explosion of extraordinary new patterns and his mastery of the traditional watercolor marbling, with paints embedded with a beeswax paste, has opened another whole range of marbling possibilities.” Dan’s scholarship, with its strong chemistry background, led the couple to produce wonderful papers, as their tiger eye pattern reveals. To add to her repertoire, Regina created a series of floral marbles that rival those of the great Turkish masters. And Dan’s innovative tools allow them to create exquisite patterns, some with a real three-dimensional effect.

Equally important, the St. Johns are spreading the word about marbling. Regina was introduced to the art by Faith Harrison in 1954, and was permanently infected by marbling, and the enjoyment and livelihood she has gotten from it have encouraged her to bring its beauty to others. She and Dan teach classes and give dozens of workshops every year. You’ll find marbling workshops where the preparatory work has been done in advance. The St. Johns take the participants through the process from beginning to end, and one can emerge from such an experience with a real, practical knowledge of marbling. It is important to have the technicalities of the craft spread to keep it from atrophying away.

The St. Johns are also spreading the word through publications dis-tributed to partic-ipants at their work-shops: Marbling: The Next Step: New Patterns, Combs, and Techniques for the Experienced Marbler, Chena River Marblers, and Contemporary Classical Marbling. These wonderful items reveal many years of the acquisition of important technical and practical information. We are fortunate to have Regina and Dan St. John in the world of the book. Their art and teaching are spreading the word about many things, but mostly about paper and silk decoration at its highest level.              

–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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listings

Our newsletter is evolving! Based on your suggestions, the LISTINGS now focus on the most current, most relevent news, events, and opportunities. To find a full standing list of paper resources, visit www.handpapeprmaking.org.

PAPER NEWS!

Unbleached abaca fiber is back in stock at Carriage House Paper! This fiber is beige/gray in color and is their most popular pulp. It comes in sheet form and can be processed very easily in a kitchen blender or other form of mixer if a Hollander beater is unavailable. Check it out at CarriageHousePaper.com. Or contact them in Brooklyn, NY at (718) 599-7857.

The University of Iowa Center for the Book (UICB) is pleased to share news of the publication of Paper and Colour; Dyes and Dyeing Around the World. This book about the history
of the use of color on paper is edited by UICB alum Radha Pandey and features essays and recipes from UICB faculty member Nick Cladis and alums Tatiana Ginsberg, Cat Liu, and Lisa Miles. Published by Cathy Baker
at The Legacy Press. Copies are available for purchase online at TheLegacyPress.com.

Garth Greenan Gallery, in New York City, is pleased to announce a selection of mixed-media works by Howardena Pindell, all made between 2021 and 2022. The exhibition will feature several recent paintings, as well as a selection of handmade paper works from her recent residency at Dieu Donné. The exhibition runs September 15–
October 29, 2022. Publication available. More information at GarthGreenan.com. Or you can contact them at (212) 929-1351 or info@garthgreenan.com.

There’s a new blog post about katazome on the Paper Connection International site. The collaborative process involving papermakers, dyers, stencil carvers, and many more craftspeople is all described in detail with beautiful
images. Read more at PaperConnection.com/
katazome-the-bigger-picture/.

EVENTS

The North American Hand Papermakers’ (NAHP) annual conference is virtual this year, and it takes place October 8–9 Register to attend at NorthAmericanHandPapermakers.org.

Join the Robert C. Williams Museum of Paper-
making for a free virtual lecture with Dr. Kimberly Diana Jacobs on November 1, 7–8 pm, ET.
Dr. Jacobs places the African American artists featured in the Clark Atlanta University Art Museum collection and the Collection of Wes and Missy Cochran into the context of 20th-Century Art History. Register at: paper.gatech.edu/african-american-works.

OPPORTUNITIES

Cave Paper, in Tucson AZ, is seeking an intern and also hiring a part-time handmade paper production assistant. Learn more at CavePaper.com/jobs.

The Morgan Art of Papermaking Conservatory and Educational Foundation seeks a full-time Executive Director to provide inspiring artistic, strategic, and operational leadership. Reporting to the Board of Directors, the Executive Director is the chief executive of the Morgan, supervising a staff of seven and managing a $400,000 annual budget. The Executive Director is responsible for all aspects of operations as well as the development of a strategic vision reflecting the mission. Deadline to apply: September 30, 2022, or until the position is filled.

Atlantic Gallery, NY, invites artists to submit work, 2D or 3D, that stretches the boundaries of textile and fiber techniques for their juried group show, Tenuous Threads. Submission deadline: December 10, 2022. Learn more at AtlanticGallery.org.

The Center for Craft in Ashville, NC announces a new grant opportunity, the Teaching Artist Cohort. This grant will award a dynamic group of 21 mid-career teaching craft artists a one-time, unrestricted grant of $10,000. Application deadline: November 30, 2022. Learn more at CenterForCraft.org.

The Society of Arts & Crafts in Boston has announced its new Craft Innovation Jumpstarter awards. In 2022, two grants of $2,000 each will be given to individual craft artists who advance their craft field or their personal career through innovation. This new program focuses on craft artists who take chances, learn through experimentation, and want to connect with others working on similar creative problems. Applications are due by October 7. For more information, visit https://societyofcrafts.org/.

The Hopper Prize is now accepting entries for
their Fall 2022 artist grants. They are offering $3,500 and $1,000 grants to artists and photographers around the world. For this open call, they will be providing six grants totaling $11,000. Two artists will each receive $3,500 and four artists will each receive $1,000. All media eligible. Application deadline: November 14, 2022. Learn more at HopperPrize.org.

SCORE (Southern California Open Regional Exhibitions) invites artists and designers to enter their juried virtual exhibit, Uncommon Threads. The SFVACC seeks artists who can provide a well-rounded range of both 2D and 3D fiber art, including wearables. Submission deadline: November 6, 2022. Learn more at sfvacc.org/.

The Tubac Center of the Arts, in Tubac, AZ, invites artists to submit work for Arizona Aqueous XXXVII, a juried exhibition. Water-based pigments on paper must constitute the major portion of the work. Eligible entries: paper constructions, paper sculpture, paper collage, cut paper, mobiles, or two- or three-dimensional wall pieces, and installations. Submission deadline: November 7, 2022. Learn more at tubacarts.org.

We want to promote your projects! If you have any news, upcoming events, or open opportunities let us know at newsletter@hand-papermaking.org

SPECIAL THANKS TO OUR DONORS

Hand 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 Whitehead

patrons: Tom Balbo, Lisa Cirando, Sid Berger & Michèle Cloonan, Sue Gosin, Darin Murphy, Erik Saarmaa, Michelle Samour, Kenneth Tyler

underwriters: Yousef Ahmed, John Cirando, Vijay Dhawan, Lois & Gordon James, Ingrid Rose

sponsors: 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 Wosika

donors: 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 Wong

supporters: 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 Wood

friends: Jack Becker, Anne Beckett, Lee Cooper, Elizabeth Curren, Dorothy Field, Lucia Harrison, Margaret Miller, Deborah Sternberg-Service, Don Widmer

in-kind donations: Janet De Boer, Peter Ford, John Gerard, Dard Hunter III, Microsoft Corporate Citizenship, Steve Miller

contributors to our 2022 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 Wosika

AND THANKS TOO 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

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