HAND PAPERMAKING
NEWSLETTER number 143 july 2023
Newsletter Editor: Genevieve Lapp
Contributors: Tatiana Arocha, Sidney Berger, Lars Kim and
Steph Rue, and James Ojascastro
Sponsors: Arnold Grummer’s, Helen Hiebert Studio,
InterOcean Studio, the Papertrail Handmade Paper
& Book Arts, Penland School of Craft, The Robert C.
Williams Papermaking Museum, and the University
of Iowa Center for the Book.
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Staff: Michael Fallon, Executive Director; Mina
Takahashi, Magazine Editor; Genevieve Lapp, Newsletter
Editor/News & Social Media Manager; Karen
Kopacz, Designer. Board of Directors: Richard Baiano,
Jazmine Catasús, Candy González, Lisa Haque,
Kazuko Hioki, Marie Bannerot McInerney, Kelly Taylor
Mitchell, Darin Murphy, Steph Rue, Erik Saarmaa,
Megan Singleton, Lynn Sures.
Co-founders: Amanda Degener and Michael Durgin.
Dear Readers,
As a publication, this quarterly newsletter exists to encourage, promote and amplify all voices
in the handmade paper community. It is a tool to nurture belonging. It spreads the reach of
this medium and this community.
This issue highlights efforts to increase exposure to papermaking and to preserve the craft
itself. James Ojascastro grows the paper specimen collection at the Missouri Bontanical Garden,
increasing access for researchers. Steph Rue and Lars Kim found a studio dedicated to introducing
artists and art appreciators to the beauty and history of hanji. Tatiana Arocha installs a
handmade paper public art piece, introducing many people to the medium for the first time.
Sid Berger records the legacy of important paper decorators, inspiring readers with work that is
beautiful, important, and accomplished.
I have greatly enjoyed the four newsletter issues I’ve been part of. Thank you for the
conversations we’ve had. I’ll be stepping down now to pursue other things. Would you like
to be the next newsletter editor? I am excited to see what this newsletter can become under
the editorial direction of new and enthusiastic energy. I believe the newsletter has the
potential to become even more relevant, engaging, and vibrant!
—Genevieve Lapp
Want to Help Us Amplify and Celebrate the Voices of Papermaking?
Apply to be our next News and Social Media Manager!
Hand Papermaking is seeking an editor for our quarterly newsletter who
can also help manage our online messaging. This is a part-time freelance
position that offers competitive pay and work flexibility.
For more information, including a link to a full job description, visit our
website at: https://www.handpapermaking.org/post/help-amplify-andcelebrate-
the-voices-of-papermaking.
If you have questions, or want to apply by sending a résumé and query letter,
please write to newsletter@handpapermaking.org.
the maker
Hanji Edition
In this recurring feature, The Maker, we look at techniques and problem-solving in the field of
handmade paper. Founded by Steph Rue and Lars Kim, Hanji Edition strives to foster an artistic
awareness of the Korean tradition of hanji.
As founders of Hanji Edition, we established our studio to center on the tradition, craft,
and potential of hanji as a fine art material. Through collaboration and exploration of
traditional craft processes and materials, Hanji Edition introduces artists and art appreciators
to the beauty and history of hanji and provides a vehicle to expand
contemporary practices and build community.
Our first portfolio, published in 2018, was specifically designed
to highlight the potential of hanji as a substrate for print. The limited
edition portfolio features prints by five invited artists employing
processes ranging from letterpress, intaglio, mokuhanga (Japanese
woodcut), giclée, chine collé, and painting. Our second portfolio,
published in 2021, was designed to move beyond print and feature a
range of processes, including polychrome woodcut, paper weaving,
cast hanji, encaustic, natural dyeing, calligraphy, and handmade inks.
In the fall of 2022, we collaborated with fellow Korean American
artist and designer Pat Kim. After an initial Zoom call and some
print tests on hanji, we sent Pat a stack of sheets Steph had made in
Sacramento. Pat is a woodworker and built his own vacuum frame
and hand-turned woodblock which he used to print moiré patterns
onto hanji. In honor of Lunar New Year in January 2023, we released
our print collaboration in a limited edition of 40.
We are currently preparing for a new artist book based on the
Korean theme of ogansaek, a Korean variation of five secondary colors
(green, light blue, pink, ochre, violet), derived from Chinese Five
Element Theory which combines five primary colors (black, red,
blue, white and yellow) with the cardinal directions (north, south,
east, west and center) and natural elements (water, fire, wood, metal,
earth). Another round of five artists will be invited to participate in
this project to portray the natural flow and balance of energy in the
universe. For this portfolio we are inviting Korean American artists
who have a personal connection to the concept to have the opportunity
Carrie Ann Plank’s Achorripsis, polychrome woodcut for Hanji Edition, 2021. Pat Kim’s moiré woodblock print on hanji.
Tatiana Ginsberg’s Vajra/Doorknob, cast hanji sculpture with Amur
cork tree dye, gold leaf, inkjet transfer for Hanji Edition, 2021.
of deliberate scientific experimentation by artisan papermakers do
we use very specific plants in very specific ways to yield handmade
papers of the highest quality. And with many papermaking traditions
highly threatened today, we are at risk of losing not only papermaking
traditions themselves, but also the plant-based ecological
to work with hanji, the paper of their ancestors. We look forward
to presenting this project at CODEX 2024.
—Steph Rue and Lars Kim
Lars Kim is a designer and letterpress printer living in
Portland, Oregon. Steph Rue is an artist working primarily
with handmade paper and books as her medium.
For more info, visit hanjiedition.com and feel free to
follow on Instagram @hanjiedition.
paper artifacts
In the Missouri Botanical Garden Biocultural Collection
The Missouri Botanical Garden is located in St. Louis, Missouri. James
Ojacastro, an intern at the Garden, writes about its remarkable collection
of biocultural artifacts.
Handmade paper lies at a critical intersection between art and science.
Much has already been written about paper as an artistic
medium—often contextualized with the history of how different
papermaking and paper arts traditions developed across Eurasia and
beyond. However—since paper is exclusively a plant product—our
knowledge of paper as art is fundamentally predicated on our knowledge
of plants as paper: which plants are used (or can be used), and
how they can be processed. Furthermore, this botanical prerequisite
is not limited to knowing plant fibers: many different plants (beyond
tororo-aoi) are used to obtain formation aid, and many different woods
and bamboos are used to make the mallets, screens, and frames
necessary for fiber beating and sheet formation.
Still, despite the remarkable botanical diversity represented
across papermaking traditions around the world, plants cannot be used
indiscriminately for every purpose, and only through generations
of deliberate scientific experimentation by artisan papermakers do
we use very specific plants in very specific ways to yield handmade
papers of the highest quality. And with many papermaking traditions
highly threatened today, we are at risk of losing not only papermaking
traditions themselves, but also the plant-based ecological
knowledge that makes these arts possible. Further paper scholarship
and conservation therefore requires greater focus on the
botany of papermaking. Fortunately, a recent federal grant
awarded to the Missouri Botanical Garden is helping make this
mission possible.
In 2022, as part of a National Endowment for the Humanities
grant, I was hired as an intern at the Missouri Botanical Garden
(“MoBot”) to inventory, conserve, and expand the plant-based and
plant-related artifacts in their Bio-Cultural Collection (BCC), which
include diverse accessions like dyes, teas, musical instruments,
baskets, and handmade paper. Prior to my onboarding, the BCC
contained only a few dozen paper (and paper-allied) artifacts,
primarily true papers from eastern Himalaya and Yunnan, as well as
some Oceanian tapa and Egyptian papyrus. Through field research in
Nepal, Vietnam, and Mexico for my dissertation, I was able to collect
dozens more paper paraphernalia for the MoBot BCC.
As of April 2023, our paper (and proto-papers) collection has
rapidly grown to 134 artifacts, including Mexican amate (representing
five species of plant fibers), Oaxacan papers (7 species), and Vietnamese
papers (4 species), plus a muinto (amate beating-stone) and a
Vietnamese papermaking frame + screen. Furthermore, to complement
our herbarium (plant library), we also started a fibrarium
(fiber library): a reference collection of raw fibers of known
botanical origin available for scholars to compare unknown fibers
in artifacts.
We maintain these accessions in museum-quality storage:
papers in mylar sleeves in climate-controlled map drawers, and
fibers in glass jars; their corresponding metadata is meticulously
maintained in our herbarium database, called Tropicos. All these
items are available for research and consultation by paper scholars
as well as botanists, and we invite you to help it
grow: donations of paper, amate, and tapa to the
MoBot BCC can be made via the following email:
ethnobotanycollections@mobot.org.
—James Ojascastro
James Ojascastro is an origamist, papermaker,
and Ph.D. candidate at Washington University
in St. Louis, Missouri. His dissertation research
concerns the ethnobotany of papermaking traditions,
with special attention to those of Nepal
and Vietnam.
knowledge that makes these arts possible. Further paper scholarship
and conservation therefore requires greater focus on the
botany of papermaking. Fortunately, a recent federal grant
awarded to the Missouri Botanical Garden is helping make this
mission possible.
In 2022, as part of a National Endowment for the Humanities
grant, I was hired as an intern at the Missouri Botanical Garden
(“MoBot”) to inventory, conserve, and expand the plant-based and
plant-related artifacts in their Bio-Cultural Collection (BCC), which
include diverse accessions like dyes, teas, musical instruments,
baskets, and handmade paper. Prior to my onboarding, the BCC
the paper artist
Tatiana Arocha
In this feature, The Paper Artist, we learn how
Tatiana Arocha gathers her visual vocabulary
from the forest and then uses natural materials as
the ground to turn this imagery into a variety
of art forms.
I grew up in Colombia, where I often journeyed
to the rainforests and witnessed
lands and lifeways that have been caught
in the middle of the eco/genocidal forces
of both the drug trade and the US’s War on
Drugs. The dizzyingly biodiverse Colombian
forest, and the complex social and
economic histories that have threatened
its existence since the colonists arrived,
remained indelibly imprinted in my
psyche. And it was from that land and that
complexity, that my re-learning began. And
out of that learning, my artwork continues
to emerge.
My fieldwork is a process of communing
with plants that includes drawing,
rubbing, photographing, preserving, and
tracing the bark, seeds, and leaves of the
forest. Over time, I have built up an index of forms and textures,
a new and personal visual lexicon. These experiences are further
enriched through ongoing conversations with indigenous people
who have both ancestral and contemporary knowledge of the local
ecology. Through witnessing their relationships to the land and their
more-than-human kin,
I see their cultivation of
forests as a process for
learning and creating
ecosystemic, social, and
spiritual relationships
across generations and
species.
Back in the studio, I
use a variety of digital and
analog approaches, including
drawing, frottage,
monoprints, photocopying,
and digital painting
to create collaged forest
portraits, often at a large
scale. These texturally
detailed and immersive
compositions aim to draw
the viewer into contemplation
with the immense
knowledge and web of
relationships that the
forest holds. I employ a
monochrome palette as a
metaphor for the endangered
natural world. Gold
is used for details, acting as glimmering reminders of human avarice
and the violent costs of extractive economies.
Recently I have experimented with translating this visual vocabulary
into sculptural forms using natural materials sourced from the
forest and sometimes fabricated with support from local artisans.
This has led me to more deeply explore how my art process can
advance mutually beneficial, intercultural, economical, and ecological
exchanges with my collaborators. Furthermore, I am seeking to embrace
the ephemerality and natural life cycles of transformation and
decay that these materials bring to the work. In the future, I seek to
invest ritual and offering into both the process and forms
of my art, and in so doing, deepen my investment in and
care for the land.
—Tatiana Arocha
Tatiana Arocha (1974) is a New York–born Colombian
artist. Her art practice explores intimacy between
people and land, rooted in personal memory and her
immigrant experience, and centers on community
through public art interventions and transdisciplinary
knowledge exchange. Find her online at www.tatianaarocha.
com and on Instagram @arocha.tatiana.
decorated paper
Galen Berry
In this edition of Decorated Paper, Sid Berger profiles the paper marbler
Galen Berry.
The paper-decoration artist I have selected for this column is Galen
Berry, one of the more imaginative and inventive marblers in the
country. When I met Galen, at the Marblers’ Gathering in Gatlinburg,
Tennessee, in September 2002, I was astonished by the vivid papers he
was creating, and equally at the tool he was using. It was not merely a
single comb for manipulating the pigments, it was a double comb with
one part movable, allowing him to create a pattern that I had never seen
before. And it was done with many colors, creating what he called his
rainbow marble.1
Galen started marbling in the early 1980s, before the first Marblers’
Gathering in Santa Fe (which was in 1989). By the time he attended
this conference, he had invented a new marbled pattern, which he
calls his “Balloon Pattern.” He recounts that when he went into
the hall where the gathering was being held—entering from a side
door, not from the main entry—he saw hosts of decorated sheets on
display, but not his own contribution. As a marbler fairly new to the
art, he was disappointed, but he figured that since he was so young
in the field, it was no wonder that his work was not on display. Only
when he was leaving the building later on, at the main entrance to
the exhibition hall, did he notice that many people were gathered
around an easel on which his balloon-pattern sheet was displayed. It
was apparently so innovative and beautiful that the organizers of the
show featured it even before anyone entered the exhibit.
This was a pattern Galen created from a comb of his own devising,
and one he has not shared with anyone. He says, “I’m not telling
how I did it; every artist should have at least one personal gimmick
all his own!”2 Even early on in his marbling career he was showing
his innovation and brilliance.
When artists start out working in a medium, they must learn the
basics, mastering them as well as they can. Only then can they begin
to experiment, and create products truly their own. It takes some artists
years of practice to achieve any level of mastery. But some, with
good guidance and innate skills, can learn quickly. Galen never had
a teacher: he learned on his own from reading and practicing. And
he learned quickly. In the first few years of marbling, his balloon pattern
emerged from his bath, and he experimented with the creation
of new tools and new patterns. It is instructive, then, to see on his
website the list of patterns he delineates there—patterns that he has
become adept at and some of which he invented.
To indicate how proficient he is at the standard patterns, one
need only look at the samples he shows on his website3, including
his exquisite peacock pattern.
Galen’s variation on Peacock, called “Frog foot,” is another perfected
pattern. His variation of the nonpareil pattern which he calls
“Butterfly” is lovely. While the pattern he calls “Tornado” shows his
expertise and innovation.
Once experts have become masters of their craft, people will be able
to recognize their work as their own. Anyone can do a good nonpareil
pattern, but when we see a Cockerell marble, a flower by Christopher
Weimann, or a particular Claire Maziarczyk paste paper, we know instantly
who did them. This is the case with Galen’s original patterns.
One case in point is the balloon pattern mentioned above. Another
is a pattern he calls “Slinky,” which he says is merely a Feather
pattern done over a Chevron pattern.
One type of marbling perfected by few people is the creation of
several patterns on a single sheet, done by masking off parts of the
paper, doing a pattern on an exposed part of the sheet, masking that
part and opening another area, doing a second pattern, and so forth.
Achieving perfect registration is one thing; creating patterns that “mesh”
and abut one another is another; and having the patterns and colors
sympathetic to each other is a third. Turkish marblers have done this
for decades; Galen has also done it, with perfection. His sheet with
Arabic calligraphy shows the Turkish influence on his work.
Another work of Galen's, which he designates as a “Pyramid Picture,”
is a tour de force of art, using four separate marbled patterns in
that many basic colors. And he even did the decoration with a white
“frame” around each marbled area.
As I said above, Galen is self taught. He tells me, “I never took a class
or lessons from anybody at all[;] I just dug up old books from various libraries
and learned the hard way.”4 He understands the importance of sharing his
knowledge with others. To this end he has taught scores of classes throughout
the country to thousands of students over more than a quarter century.
And to make things easy for his students, he sells combs, rakes, pigments,
and other marbling
supplies, and he gives
his pupils handouts
that explain all the
aspects of marbling
that will yield good
results, even from
beginners. His own
collection of dozens
of combs and rakes
allows him to create
a variety of patterns
in many sizes. His own
papers are in many
private and public
collections and have
been used by publishers,
bookbinders, collectors, and many others. And they have been sold by
gift shops, museums, and all kinds of book arts distributors.
Galen’s inventiveness has helped him produce beautiful patterns of
great complexity. In his recent communication to me, he wrote, “My next
project will be a peacock/bouquet device. No matter how careful you
are with a normal double rake, the peacocks always seem to be a tiny bit
warped and twisted—sometimes badly enough I call them drunk peacocks.
But this thing that I have in my head will make them perfectly symmetrical,
especially down to the point at the bottom of each. It will involve wheels
and gears and levers—I’ll have to try many different sizes of each just to
get the exact movement necessary.” He will use a 3D printer to create
the gears so that they come out exactly the size he needs. “I know this
isn’t really old-fashioned hand marbling, but there’s nothing wrong
with experimenting and trying new things. They’re supposed to also be
time-savers, but after the hundreds of hours I’ve put into inventing
the contraptions, I’ll never make up the time. But I don’t care, it’s fun
to play around with it all.” And though he uses modern technology to
prepare his tools, the final products are still hand-marbled, unique sheets.
In this series of columns about important paper decorators, I
have looked at many people whose work is beautiful, important, and
accomplished. Galen adds to this what several others have: a willingness
to spread the word through his teachings and demonstrations,
publications5 and workshops. Thanks to artists like him, decorated
paper has a bright future.
1. The first Galen Berry rainbow marble I saw was a peacock pattern
he was creating at the Marblers’ Gathering in Tennessee. When he
was nearing the last stage of the marbling (applying the sheet to the
bath), the Turkish marbler Hikmet Barutçugil stepped in and added a
chrysanthemum to the bath. The sheet is now in the Berger–Cloonan
Collection of Decorated Papers at the Cushing Library, Texas A&M.
2. Galen Berry, “The History of my ‘Balloon’ Pattern.” Printed
handout (N.p.: n.p., n.d.); collection of the author.
3. See https://marbleart.us/Examples.htm; accessed 1/15/23.
4. Personal communication, 12/19/22.
5. Galen’s publications include student handouts and a text, The Art of
Marbling on Paper and Fabric (Oklahoma City: Marble Art, 2002).
—Sid 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.
An amazing variation on the Chevron pattern that Galen calls “Slinky.”
Galen’s marbled sheet showing the Turkish art of marbling with masking.
A sheet demonstrating Galen's masking.
listings
Hand Papermaking Newsletter’s Listings now
focus only on the most current, most relevent
news, events, and opportunities. For a more
complete list of organizations, studios, and
institutions that make paper, educate people
about handmade paper, or present programming
or exhibitions related to handmade paper
visit our website at www.handpapermaking.
org/news-resources/listings.
PUBLICATIONS
The Legacy Press’s latest book about paper
is Way of Washi Tales. This book chronicles
the beautiful and moving story of “Recycling:
Washi Tales,” a theatrical performance first
conceived in 2009 by American theater maker,
Elise Thoron, and Japanese paper artist, Ibe
Kyoko. Inspired by washi (Japanese handmade
paper), the authors set out on an ongoing exploration
of its dynamic presence and harmonious
spirit in theater. For more information
on how to purchase this unique meditation
on the power of handmade paper, visit www.
thelegacypress.com/washi-tales.html.
EVENTS
The Minnesota Center for Book Arts’ current
exhibition, “Paper Is People: Decolonizing
Global Paper Cultures,” is running in its
Main Gallery from April 14 to August 12.
Co-curated by Tia Blassingame and Stephanie
Sauer, it offers a new definition of paperwithin
a global and decolonial framework.
Featuring works by local, national, and international
artists, the exhibition explores the
vital role substrates play in human communities
and how meaning is made from what
we might call paper and papermaking. For
more information, visit www.mnbookarts.
org/paper-is-people-decolonizing-globalpaper-
cultures/.
The Kemper Museum of Contemporary
Art in Kansas City is currently exhibition
“Principle of Equivalence,” the first major
retrospective exhibition presenting a selection
of seventy-three paintings and handmade
paper works over nearly seventy years by
artist Virginia Jaramillo. Tracing the impact
of the Jaramillo’s practice, which collide postwar
abstraction with physics, science and
the cosmos, archaeology and mythology, and
modernist design philosophies, this exhibition
sheds light on her career and situates
it within the larger narrative of American
abstract art. The show is running from June
2 to August 27; for more information visit:
www.kemperart.org/exhibition/virginiajaramillo-
principle-of-equivalence.
The 8th Collegiate Paper Triennial exhibition
will be on view at the Morgan Conservatory
Gallery from June 23 to August 5, 2023.
This a competitive exhibition that features
a variety of contemporary art forms made
with handmade paper, such as sculpture,
printmaking, painting, pulp paintings, artist’s
books, and installations. The Gallery
is open Tuesday through Saturday from 10
am–4 pm. For more information, visit www.
morganconservatory.org/8thpapertriennial
The 2023 Red Cliff Paper Retreat with Helen
Hiebert will take place in Colorado, August
21–25, 2023. The Retreat theme is “Paper
Panels.” Come explore a variety of papers that
can be made by hand, cut, folded, stitched and
assembled in a variety of ways to create books, wall
hangings, sculpture, lighting and more. Explore
these ideas as you make unique paper objects with a
dozen like-minded friends. More information:
helenhiebertstudio.com/2023-red-cliff-paper-retreat/.
The International Association of Hand
Papermakers and Paper Artists (IAPMA)
announces its 2023 Congress, “PAPER ALIVE!
Paper Art International,” which takes place in
Dresden, Germany from September 12–16,
2023. The event includes lectures, demonstrations,
workshops, exhibitions, and a boat
tour. Several congress events such as the
opening and closing ceremonies, some workshops,
and exhibitions will be streamed live
via Zoom, Youtube, and social media. More
information is available at www.iapma.
info/Congresses.
WORKSHOPS
The Morgan Conservatory is delighted to
announce another full schedule of summer
workshops. This summer, they will host a
hybrid educational season that will incorporate
in-person and virtual workshops.
Their workshops provide the opportunity to
learn craft traditions and creative techniques
developed by practicing artists in an
environment that fosters creativity. Workshops
are open to all skill levels, from
beginners to professionals. The Conservatory
is also introducing a new series of comprehensive
intensives in hand papermaking
during which participants will receive indepth
instruction from master papermakers
Tom Balbo and Julie McLaughlin. For more
information visit the Morgan Conservatory’s
website at https://www.morganconservatory.
org/allworkshops.
Summer Book and Paper Workshops at
the Penland School of Craft are open for
registration. Penland School of Craft offers
workshops of varying lengths in the book
arts and papermaking taught by visiting
instructors in well-equipped studios. Classes
focus on various topics, including designing
handmade books, making paper by hand,
fine printing, and book binding. Workshops
are open to serious students of all levels
unless specified in the course description;
beginners welcome. More information, visit
penland.org/workshops/books-paper.
The InterOcean Studio in Englewood, Colorado
offers exciting ways to engage with the
book and paper arts through workshops, residencies,
exhibitions and community events.
Its list of upcoming workshops include:
July 8 – Jotting Journal
July 15–16 – Paste Paper, Pattern, and Palettes
(with Amy Lund)
July 28–30 – Natural Fibers into Paper. Join
Rhiannon Alpers for this two-day, indepth
exploration of the papermaking
july 2023 • 11
OPPORTUNITIES
The North American Hand Papermakers is
seeking paper and panel submissions for
its annual conference, PAPER TIDES, that
will be held in Providence, Rhode Island at
Rhode Island School of Design, Oct. 19–21.
Deadline for paper and panel submissions:
Friday July 16, 2023. (Extended) We
invite proposals and panels from artists
and craftspeople, curators, conservators,
researchers, scientists, and historians as we
gather for our first post-pandemic conference.
We want to hear from you and use
this annual conference as a means for
collective learning and engagement with our
materials, land, and practices. For questions,
contact Co-VP’s of Annual Meeting, Catherine
Liu and Veronica Pham at PaperTides@
nahandpapermakers.org.
We want to promote your projects!
If you have any news, upcoming
events, or open opportunities let
us know at newsletter@handpapermaking.
org
WHAT WILL YOU MAKE?
PENLAND.O
G/BOOKS
process from harvesting plants to finishing
sheets with local and indigenous plants.
This class is coordinated In partnership
with community gardens and our own
gardeners (there is an optional day of
harvesting that students can attend if
they wish on July 28). In all, students will
learn the processes of cooking fibers, processing,
pulling sheets, and drying techniques
to create unique handmade papers.
August 5 – European Paper Marbeling (with
Mark Horovitz)
August 6 – Introduction to Papermaking
More information on InterOcean’s workshops
is available at www.interoceanstudio.org/.
The Women’s Studio Workshop is offering
the following upcoming papermaking
classes as part of its Summer Art Institute:
July 10–14 – Re-paper: Breathing New Life
into Discarded Paper with Mikayla Patton.
Through recycling and repurposing,
we will utilize papermaking as a way to
rethink and revive “waste.” Participants will
learn a wide range of paper techniques
from processing recycled materials into
pulp, sheet formation, and image production
like embossment, pulp painting,
color, stencils, found objects, and stitching.
July 17–21 – Ground Up: Using Natural Pigments
and “Found Color” in Pulp Painting
with Hannah O’Hare Bennett. This class
is centered around building a palette of
colored paper pulp to use in learning
the reverse pulp painting technique.
Colors will be made with natural earth
pigments, lake pigments extracted from
dyes, and pre-dyed fabric scraps, as well
as the neutrals inherent to paper fibers.
July 24–28 – Images in Pulp with J. Leigh
Garcia. Use stencils, spray bottles, squeeze
bottles and more to create images with
pulp! We’ll begin by learning the basics
of European-style papermaking using
abaca and flax fibers. These sheets will
then be transformed with the addition of
stenciled, painted, and collaged cotton
linter pulp. The possibilities are endless
when you combine these techniques
and pigment your own pulp!
For more information on the workshops,
visit wsworkshop.org/events/category/summer-
art-institute/.
You are invited to the Helen Hiebert Studio
for the Creating With Paper in the Colorado
Rockies workshop that takes place August
21–25. As the name suggests, this workshop
takes place in the heart of the Rocky Mountains
where we will cut, fold, layer, collage,
weave, glue and make paper as we explore its
potential in two and three dimensions. Enjoy
peaceful creative days in the tiny hamlet of
Red Cliff, surrounded by mountains, the
river, and aspen trees as they begin to change
to their glorious fall colors. Experiment with
several techniques as you create a variety of
paper objects that will intrigue your eyes and
illuminate your spirit. All levels of art experience
are invited. For more information, visit
helenhiebertstudio.com/2023-red-cliff-paperretreat/.
The Penland School of Craft is offering
a fall papermaking concentration, Paper:
From the Inside Out, with Amy Jacobs that
runs from October 1 to November 10.
Handmade paper has a special magic and a
limitless range of surfaces, textures, colors,
and forms; this workshop will be a thorough
immersion in its possibilities. We’ll cover
the preparation of cotton, abaca, linen rag,
and flax pulps along with pigmenting and
mixing. Other processes will include small
and large sheet formation, pulp painting,
stenciling, blow-outs, wet collage, embedding,
watermarks, drying and finishing treatments,
surface manipulation, and sculptural
methods with high-shrinkage pulps. Students
will come to understand handmade paper
as a complete medium. More information:
penland.org/workshops/books-paper/.
12 • hand papermaking newsletter
thank you to our supporters
Hand Papermaking acknowledges recent contributors
to our nonprofit programs. All donations
are greatly appreciated and tax deductible. Our
tax ID number is 52-1436849. Call or write for
information on annual giving levels, automatic
monthly gifts, and other ways to support us.
benefactors: 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, John Gerard,
Dard Hunter III, Microsoft Corporate Citizenship,
Steve Miller
contributors to our 2023 auction: Loreto
Apilado, Maxine Apke, Susanne Baker, Tim
Barrett, Eugenie Barron, Hannah O'Hare
Bennett, Ingrid Butler, Wendy Cain, Georgia
Deal, Jamie DeAngelis, Amanda
Degener, Pam DeLuco, Dieu
Donné, Ilze Dilane, Susan Mackin
Dolan, Jane Farmer, Cindy
Ferrari, Susan Gosin, Sanaz
Haghani, Debra Ketchum Jircik,
David Kimball, Lea Lazarus, David
Marshall, Linda Marshall, Lynn
Matott, Lee McDonald, Sandra
Miller, the Morgan Conservatory,
Catherine Nash, Bridget O’Malley,
Kelsey Pike, Melissa Potter, Erica
Spitzer Rasmussen, Amy Richard,
Michele Rothenberger, Virginia
Sarsfield, Lynn Sures, Rogier
Uitenboogaart, Claire Van Vliet,
Michelle Wilson
auction: Arnold Grummer’s, Helen
Hiebert Studio, InterOcean Studio,
Papertrail Handmade Paper &
Book Art, Penland School of Craft,
the Robert C. Williams Museum
of Papermaking at Georgia Tech
University, and the University of
Iowa Center for the Book