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

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