HAND PAPERMAKING

NEWSLETTER number 144  october 2023

Newsletter Editor: Sophia Hotzler

Contributors: Iris Rountree, Jamie Capps, May Babcock, and Sidney Berger

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.

Hand Papermaking Newsletter is published quarterly. Annual subscriptions to Hand Papermaking magazine, which includes the quarterly newsletter, cost $70 per year in the US; $80 in Canada and Mexico; $105 elsewhere. Two-year subscriptions are $130 in the US; $150 in Canada/Mexico; $200 elsewhere. Institutional subscriptions are $95 per year in the US, $125 outside the US. To receive a printed copy of the newsletter, add $30 to your yearly subscription. A stand-alone electronic subscription to the newsletter, which excludes issues of the magazine, is now available for $10 per year. Payment in US dollars is required. Visa/Mastercard/Paypal is accepted. For more subscription information:

Hand Papermaking, Inc.

PO Box 50859, Mendota, MN 55150-0859

Phone: (651) 447-7143

E-mail: newsletter@handpapermaking.org

Web: www.handpapermaking.org

The deadline for the next newsletter (January 2024) is Nov 15, 2023. We encourage letters from our subscribers on any topic. We also solicit comments on articles in Hand Papermaking magazine, questions or remarks for newsletter columnists, and news of special events or activities. The newsletter is supported by our sponsors (listed above). If you would like to support Hand Papermaking through a sponsorship, contact us at michael@handpapermaking.org.

Hand Papermaking is a 501(c)(3) non-profit organi-zation. Staff: Michael Fallon, Executive Director; Mina Takahashi, Magazine Editor; Sophia Hotzler, News-
letter 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.

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Dear Readers,

As you have read in our July 2023 newsletter, our friend Genevieve has stepped down from the role of newsletter editor and social media manager. Though we will miss her regular contribution and voice for the newsletter, I hope you know she hasn’t gone far! She is still very much a beloved member of our paper community. All of us at Hand Papermaking wish her nothing but the best. We are excited to see what she gets up to in her next adventure!

To begin this newsletter, I would like to take a moment to introduce myself. My name is Sophia Hotzler (she/her); you can also call me Sophie. Born and raised in Minnesota, I pursued my undergraduate degree in Winnipeg at the University of Manitoba. I originally went to school to study graphic design, as it pairs well with my photography background, but they had a Bauhaus-style curriculum so I was allowed to essentially take any class that interested me. It was there that I took a print and paper class! I thoroughly enjoyed printmaking, and I still dabble in it here and there, but I absolutely fell in love with the process of papermaking. The University of Manitoba has a stunning paper studio, and I was taught papermaking under the guidance of Elizabeth Roy and studio manager Dan Dell’Agnese. Currently, I reside in Minneapolis with my husband Isaac and our cat Arnold (who is named after Arnold Grummer haha). I am so lucky to have a little basement studio at a good friend’s house over in St. Paul where I work under the name of Flaxen Press on Instagram. When I’m not making paper or working as a lifestyle photographer, you can find me sitting on my couch weaving away or reading a good book.

My hope and goal as I step into this new role is to help continue bringing a breath of freshness and a sense of community to this newsletter. As someone who is still relatively new to the world of papermaking (I only started learning about paper in 2018), I hope that I can help bridge the experiences between our fellow beginner makers and those who have been in this world creating for many years. I love how rich and diverse our community of papermakers is—from traditional makers to those who print, sculpt, and bind.

In this issue you will hear from a papermaker and sculptor, Iris Rountree, who talks about her practice and her love for sculpting with paper. Jamie Capp speaks on her two-week experience living and breathing art at Penland School of Craft. Sid Berger profiles paper-paste artist Madeleline Durham. We ask and answer questions from those in our paper community, and we offer a paper recipe for those looking for some new inspiration as we head into the fall fiber harvesting season.

         —Sophia Hotzler

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the maker

When Sculpture Meets Paper

In this recurring feature, The Maker, we look at techniques and problem solving in the field of handmade paper. For this issue, papermaker and sculptor Iris Rountree talks about her practice and her creative response to the changing world around her. If you want to share how you solved a problem in your practice, email newsletter@handpapermaking.org.

I  found papermaking in 2017 when I was in my last year of college without enough time to take an official class, but I immediately fell in love. I gathered as much information as I could on my own and have explored it experimentally since then. I source a lot of inspiration for my paper from the natural landscape and incorporate plant material such as flowers, grasses, and leaves into the papermaking process. I love the surprises found in each batch, like how the flower petals dry in unexpected colors, and that each plant creates a unique texture within the paper. Once I make the paper using plant materials with a base of cotton and abaca pulp, I turn the 2-D sheets into 3-D installations or sculptures.

The final sculptures are a reflection of an initial observation of the landscape. My latest body of work, created while I lived in Northern California, revolves around the drought and how the lack of rain visually affects the land and plants. Through these works I seek to draw attention and contribute to the conversation about our changing climate. I’m also fascinated by seasons and how we are in a constant rotation, with each day being a slightly different length and how plants reflect that cycle. The window for flowers can be short and we have to pay attention to the present to be able to appreciate each chapter of the year. The abstract assembly of the paper circles mimic so many different natural forms, and I love hearing what other people see in the work. Some see lace, bubbles, coral, grapes, cells, etc. The feeling I aim to evoke in my finished work is that of stillness and pause, the way the world falls quiet when the land is blanketed by fresh snow perhaps. I hope to bring the viewer into the present moment.

The papermaking process itself is so forgiving and playful with so much room for experiment. Paper has a romance to it that really captivates me. I love the rhythm of pulling sheets from the vat and hearing the water drip, hanging the felts on the line to let the sheets dry, and the effortless creation of the feathered deckled edges. It has a softness and a lightness. I’m so grateful to be exploring all of what paper has to offer to me in my studio.

         —Iris Rountree


Iris Rountree is a papermaker and sculptor living in Western North Carolina. She received her BA in sculpture and ceramics from Warren Wilson College in 2017. She loves growing and arranging flowers and tends her garden with her husband and dog Arlo.

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the residency

A Penland Experience

In this feature we join Jamie Capps in the Blue Ridge Mountains of North Carolina as she talks about her immersive experience at Penland School of Craft. Have a workshop or class that you participated in that sparked some new inspiration in your craft? Share your experience with us at newsletter@handpapermaking.org!

Last year I applied for and was awarded a scholarship to attend a papermaking class at Penland School of Craft, nestled within the Blue Ridge Mountains of North Carolina. Penland’s workshops are “total immersion,” meaning that for two weeks, students work, eat, and sleep on the sprawling 420-acre grounds. This allows students and instructors to build community and focus on their artistic practice.

The course I traveled to Penland for was called From Substrate to Substance: Dimensional Papermaking, and was taught by Akemi Martin. Akemi is the current director and master papermaker at Pace Prints in NYC, and throughout her career she worked at Dieu Donné in NYC and has taught various workshops and classes. Knowing her past collaborative work with artists, I was excited to spend two weeks learning from such an experienced papermaker who was generous with her time.

Each day was chock-full of demonstrations from our instructor, who shared a wealth of papermaking knowledge and encouraged us to experiment with our newfound skills and push boundaries. Students’ practices varied from printmaking and sculpture to fiber arts, and our papermaking skills ranged from novice to skilled, so Akemi made sure that each student knew the basic steps of papermaking along with proper terminology. We learned about debossing sheets of paper, how fiber beat times affect pulp, and how pigments can work for and against you. We created matrices and clay sculptures to make three-dimensional paper relief forms. Some students used found objects as collage material, while others sculpted forms and abstract shapes that we turned into rubber molds to use for paper casting.

Throughout the day, we spent meals with artists from a range of disciplines at large tables where conversations involving different perspectives filled the rooms with joy and laughter. Slides happened every evening, with every instructor and studio assistant giving artist talks. Our class witnessed an awe-inspiring demonstration by Nate Watson in the glass-blowing studio. The weekend was ours to do as we wished though most of us were in the paper studio working on our casts in various stages of completion. We did take breaks to visit other studios and wander around Penland’s breathtaking grounds.

The end of our two weeks culminated in a celebratory show-and-tell with students and instructors displaying individual and collaborative works, some of which would be in the live auction later that evening. Complete with a seasoned auctioneer, the evening was abuzz with energy and laughter, and the room was filled with visitors, instructors, and students who bid on items donated with all proceeds benefiting future Penland students.

The Penland experience is unlike any other. Where else can you go for weeks at a time to live, eat, and breathe your craft? I didn’t know what to expect; all I knew was that I needed to take this specific papermaking course from this specific instructor. Settling in was easier than I imagined and everyone here was eager to learn and meet new people. Every walk included smiles and salutations. Every meal was a chance to meet someone new who shared a love for the art they make or check in with a new friend on how their work was progressing. I’m excited to go home and practice my new skills and share my Penland stories. Thank you Akemi and thank you Penland School of Craft!

         —Jamie Capps


Jamie Capps earned her BA in studio art from Mount Holyoke College as a Francis Perkins Scholar and is currently an MFA candidate at the University of Iowa Center for the Book as a recipient of the Iowa Arts Fellowship. As a multimedia artist focusing on hand papermaking and artist books, she often draws from cultural and educational influences, combining contemporary ideas with traditional papermaking techniques, inviting the viewer to explore the interplay between texture and structure while examining the connections between color and intricate detail.

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studying papermaking

Questions/Suggestions

In this feature, followers of the Hand Papermaking Instagram account ask for technical help from other followers. The question is posted and people respond with their suggestions. Here is one question we recently received in our inbox. You can follow Hand Papermaking on Instagram @handpapermaking. Not on Instagram? Send in your question or response to newsletter@handpapermaking.org!

question

Hello! I hope this message finds you well. My name is Kim and I’m hoping to get some information today. I have little to no experience making paper, but I am needing info on how to do it in a certain way. I realized recently that a crumpled up piece of paper is my cat's favorite toy, so I had the thought of making handmade paper for them that is non toxic (no dyes from store bought paper) and maybe even infused with their favorite cat grass. It would be a big plus if this could be somewhat edible as well. Thank you so much for your time and educating people about how lovely it is to make paper!    —Kim

suggestions

“My thoughts would be that if the cat does not usually eat paper or catnip then making paper from a fiber like abaca would be a good fit. Because when it dries and you crumple it, it will be extra crinkly which we all know cats love. Or maybe a mulberry fiber.

In a handmade paper process there is no need for anything other than fiber, water and pressure. Maybe a little cutting to make your pulp. You can hand beat or use a clean blender to process your fiber. With longer fibers, like abaca or mulberry, you will need to cut the fiber into smaller pieces if you are using a blender. Abaca can be purchased as a sheet and wet, then torn, to fit into a blender easily.

The pulped fibers and catnip can be added to the vat or tub and sheets pulled. The thinner the sheet the more crinkle. I would recommend drying pressed sheets over a form that mimics the final outcome for the toy. You might tear the pressed sheets to fit the size of the form. Dry the form in front of a fan and allow the paper to do what it wants when it dries. Shrink can change shape or whatever. It might take a day or two depending on the thickness or conditions. I would say to carefully observe your cat at play. If they eat the paper then you need to remove the toy. The foundation of Papermaking is cellulose fiber and that is not digestible by cats.”    

—Response from user @ktmakespaper_books on Instagram

To our fellow community members, and cat lovers, what suggestions or tips would you give Amy in this adventure in making cat-friendly paper? Are there any unique fibers you’ve made paper with before and want to share a story about it? Email your fiber experiment stories to newsletter@handpapermaking.org

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‍paper recipe

Lovely Lomandra

In this new feature, we share paper recipes from the makers in ourcommunity. Have a paper recipe you want to share with the newsletter? Send the recipe on over to newsletter@handpapermaking.org!

Recipe: Lovely Lomandra

Papermaker: Alicia Canary (@ayycanary on Instagram)

Much to the owners’ dismay and my delight, the roots of this decorative grass — Lomandra — had been eaten by a gopher in Fort Bragg, CA. I swooped up the grass, dried it, and cooked it with lye (20% of fiber weight) for two hours. Then, with a paper friend and the help of the Women’s Studio Workshop in Rosendale, New York, we beat the fiber in a Hollander beater. The resulting pulp was a lovely reddish brown that dried into a tan paper with random red fiber bits. The sheets were then dipped in walnut ink and hung to dry.⁣

To see more of Alicia’s work, visit https://www.100riverst.com/

‍This paper was made and sent in as part of a Handmade Paper Exchange, a full-size sheet paper exchange run by Genevieve Lapp and Sophia Hotzler. Head over to @handmadepaperexchange on Instagram for more information for future exchanges!

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decorated papers

Madeleine Durham

Longtime newsletter contributor Sid Berger continues his documentation of decorated papers. In this feature Sid profiles the paper paste artist Madeleine Durham.

In most of my columns about decorated papers and the people who have produced them, I have stressed a key issue: that neophytes to the field must learn the basics and then take off from there. Some people learn how to do, for instance, the simple marbling patterns, and once they have mastered them (and all the other operations of marbling, like getting the size properly prepared, mixing the pigments just right and with the right amount of ox gall, preparing the sheets to be marbled, and so forth), they can put their personalities and imaginations to work. Sometimes they succeed in remarkable ways, actually creating papers so beautiful and original that people can identify them in their originality. That is the case with the amazing paste papers of Madeleine Durham, the subject of this column.

Durham came to paste-paper decoration fairly recently. Her earlier training as a classical pianist eventually worked into her later paper successes in that she learned the importance of practice and concentration to produce desired results. She once owned a store—for 20 years—selling beads (an endeavor she let go of in 2008), so she was not new to artistry, color, shape, composition, design. And her native understanding of what works and what doesn’t—what yields beauty—has led her to produce her most recognizably “Durham” paste papers. From beads she turned to painting and then to printmaking. And in the new education she sought, she took a class from Marci Easterbrook in which learned how to make paste papers.

By 2015 she was producing traditional paste papers, and they were good enough for her to be accepted as a vendor at that year’s CODEX conference. She was using notched squeegees to produce her papers, and while they were attractive, thanks to her natural artistry and great sense of color, they were not distinctive enough to call attention to them as great works of art.

Here is where the innovation began. In traditional paste papers, a moistened sheet is covered with a colored paste. The artists use a brush or sponge, for instance, to spread the paste out. Then, while the paste is still wet, they “touch” the paste or disrupt the smoothly stroked-on lines to create patterns or other effects on the sheet. But in a note to me, Durham explains, “[I]  grabbed my mother’s vintage paintbrush from the ’60s and started applying the pigmented paste to paper. The brush was a large filbert1 and at first I was annoyed that I couldn’t find my larger wider brush to work with . . . . On the first stroke the brush created a line, which is the line you see in my signature work, and it grabbed me by the tail and never let me go. I worked the brush back and forth and with each movement back and forth my breath was taken away by the beauty and the potential of what had just miraculously moved through me. I gasped each time I turned directions and made another line.”

What Durham was actually producing was not paste paper made in the traditional way, with brushed-on paste that was disrupted to reveal the paper beneath.2 It was more like painting, with the colored paste being applied to the sheet with a brush. But the result can be called a “paste paper” since the sheet was decorated with a pigmented paste. I have shown her papers to many people, including those making—or familiar with the “standard” way of making—paste papers, and their astonishment is palpable. As is their wonder: “How did she do that?”

The final product not only produces a marvelous pattern, but it does so with several colors, and in ways that only seeing the process can reveal. The pastes are brushed on and then blended, “moved around,” and “reshaped” with the brush, thus creating what might be seen as a new way of creating paste papers. More traditional paste-paper artists will use all kinds of tools to manipulate the paste; Durham uses only a brush. She has even developed a way of turning the sheet on a lazy Susan in the creation of some of her lovely patterns.

Often paste papers are created for “projects”—that is, they are cut up and used for matting and framing, for scrapbooking, or for collage; or, of course, for bookbinding, to be used as cover paper or endsheets. But as with some marbled papers, they are works of art in themselves and are not meant to be cut into smaller pieces. Durham told me that it was gratifying to her that people told her that they bought her papers for binding, but the sheets were just too beautiful to destroy, so they kept the full sheets. In a way, this was a curse since such customers would not want to acquire her paper for their other work, and that cut into her sales. But it is a sign that she was succeeding in producing things of great beauty that had lives of their own. I am reminded of the endless appearances of Cockerell marbled papers on bookbindings, and the relatively few full sheets that survive. Most people would have no problem cutting up a Cockerell marble. In Durham’s case, I suspect that over the generations full sheets of her papers are “just too beautiful to cut up” and they will survive intact.

While Durham was once worried that others would borrow her technique and undercut her sole means of livelihood, she nonetheless traveled to teach innumerable workshops—which was quite enervating. She no longer travels to teach, but she is planning on teaching soon from her home studio in Santa fe.

Unfortunately, the paper version of this newsletter cannot show in color the pictures that accompany this column. Durham’s wonderful sense of color is one of the great features of her papers. Her papers are so gorgeous that a cloth version of one of her patterns was used for the superb German publication of Julia Rinck and Susanne Krause, Handbuch Buntpapier,3 and she was prominently featured in the recent publication of the Metropolitan Museum of Art: Pattern and Flow.4 There have been many great paste-paper artists. Madeleine Durham now joins the pantheon of the best of them.

1. Wikipedia explains: a filbert is a “paintbrush used in artwork. It has a thick ferrule and hairs that are, on average, medium to long hairs in the shape of an oval” (“Filbert paintbrush,” Wikipedia; https://en.wikipedia.org/wiki/Filbert_paintbrush; accessed 8/1/23).

2. This of course is an over-simplification since the brushed-on paste can be manipulated in various ways, not always “disrupted” into a pattern, and not always revealing the paper beneath.

3. Julia Rinck and Susanne Krause, Handbuch Buntpapier: Vom Marmorieren, Sprenkeln, Streichen . . . (Stuttgart, Germany: Dr. Ernst Hauswedell Verlag, 2021).

4. Mindell Dubansky, Pattern and Flow: A Golden Age of American Decorated Paper, 1960s to 2000s (New York: Thomas J. Watson Library, Metropolitan Museum of Art, 2022).

        —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.

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from the organization

Up Next

Featuring some of the latest developments and happenings at our home organization, Hand Papermaking, Inc. In this feature we interview our upcoming Winter 2023 Guest Editor May Babcock. We dive into chosen theme for the magazine, Ecology and Paper.

Hand Papermaking: I understand your guest-edited issue of the magazine is focused on ecology. Can you talk about what that means in the context of hand papermaking?

May Babcock (MB): Ecology is not just a science, it is about relationships and the understanding that humans, organisms, and the Earth’s living systems all have intrinsic value and are interdependent.

This way of viewing the world is called ecocentrism—where humans are not separate from or superior to the natural world. Hand papermaking is in a unique position to address the degradation of the planet and contribute to a future that values and re-integrates all of nature and humanity. Why? It is a cultural activity that connects with nature. Oftentimes the arts think that art has nothing to do with ecology, when in fact culture has far-reaching social power that can invite communities to live well with places.

The papermakers in this issue think of nature as more than a theme or backdrop, more than an art and science project, and more than using environmental materials. This work is about interconnectedness and context. It is a shift in thinking from parts to a whole, objects to relationships, quantity to quality, and contents to patterns. Handmade paper can go beyond creative self-expression to be a reminder of how to live respectfully, learn together, and be creative in a way that is ecologically and socially beneficial.

HPN: How does your work as an artist relate to your guest-edited issue?

MB: I am an ecocentric artist who transforms sediment, seaweed, and excess plants into handmade paper, revealing the complexities of various waterways​ in New England. Each body of work is rooted in specific places, and my interdisciplinary process reconnects people to the land and waters. I create expansive installations, organic sculptures, analog photos and prints on my paper, and textured pulp paintings.

For this issue, I sought out papermakers who were doing ecological work that excited and inspired me. It is quite the range. You’ll read about everything from mushroom paper to “plasticane” paper by artist Hannah Chalew, traditions in Viet Nam to ecosocial enterprise in Ghana, bark paper innovation in Uganda to a Lakota artist repurposing outdated books about indigenous nations, and much more.

HPN: What are some of the surprises or specific things you learned while you were editing the Winter 2023 issue?

MB: I’ll be honest, before I started the process I had only a vague idea of what being an editor entailed. Having written for the magazine in the past, I knew what it looked like from an author’s standpoint, but no idea really what exactly happens on the other end. So, to answer your question, pretty much everything was new and the whole thing was a learning experience. Thankfully, Hand Papermaking’s executive editor Mina Takahashi is an excellent, patient, and extremely experienced guide. Additionally, I learned that editorial work takes a metric ton of focus and brain power, which makes what Mina does on the regular even more impressive. I’m pretty sure I had to eat more to offset the calorie burn from all the deep thinking, like how chess players burn 6,000 calories during one tournament day.

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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 Art and Art Therapy of Papermaking: Material, Methods, and Applications. The text, edited by Master Papermaker Drew Luan Matott and Registered Board Certified Art Therapist Gretchen M. Miller, features contemporary practices, media, and the value of hand papermaking as social engagement, art therapy, and personal voice. In celebration of the book’s launch, we are also hosting a series of free virtual panels from October through December with authors on multiple topics inspired by the book. More event information is available here: facebook.com/ArtandArtTherapyofPapermaking/
events. A 20 percent book discount is available for Hand Papermaking subscribers & followers with the code ESA32 until December 31, 2023.

Modern Papermaking, Techniques in Handmade Paper, 13 Projects by Kelsey Pike. Making your own paper is a mesmerizing and versatile craft. Let Modern Papermaking show you how to create countless paper sheets with a few tools and practice. Among many other things, the paper you make can be a foundation for painting, illustration, stationery, and lettering. Handmade paper can upgrade the starting point of your creative work, or you can use the techniques to create stand-alone works of art to display, gift, and share. The craft is relatively easy and accessible since all the essential tools and supplies needed can be DIY’d, recycled, and thrifted. Available for purchase as of September 25, 2023.

EVENTS

Paper Tides 2023 Conference, October 19th-22nd, Providence RI. Paper Tides, our 2023 North American Hand Papermakers Conference, will focus on the ways that papermaking practices, methods, techniques, research, education, and technology act like water in completely re-shaping materials and landscapes. With the Elaine Koretsky Memorial Address from distinguished sofer Shel Bassel on traditional Hebrew calligraphy, the Anita Lynn Forgach Keynote Address from founder and art director at the Morgan Conservatory, Tom Balbo, and many other engaging presentations, demos, and panels by leaders and innovators in the field. More than 24 speakers and 8 demonstrators will share their latest work on topics ranging from ancient and modern papermaking techniques, book arts, tools, slow craft, collaborative models, sustainable practices, educational strategies, and innovation through techniques and research. For more information, head over to www.northamericanhandpapermakers.org/paper-tides

The Morgan Conservatory is hosting Morgan Rising on Saturday, October 7, 2023 5:30 pm– 9:30 pm. It’s an art party at the Morgan! Feast on the arts with live demonstrations in papermaking, letterpress printing, paper marbling, and more. Come celebrate our 15th Anniversary with a silent auction, print sale, cash bar, light refreshments & DJ. Go to www.morganconservatory.com for more information and to purchase your tickets!

WORKSHOPS

Several workshops are coming up at The Japanese Paper Place (the JPP) in Toronto, Ontario. One of them is Batik on Washi with Loree Ovens on Sat, October 21, 2023 10 am–
4 am EDT. Traditionally batik is a technique that uses hot wax as a resist to mask out patterns on textile before applying dye. At the end of the process the wax is removed to reveal the original color of the fabric outlining the dyed surface. In this contemporary workshop, different methods of applying wax, applying color (pigment) and how to remove the wax will be shown. At the end of the class students will have a bundle of their paper batik experiments to take home as well as have learned enough to continue the process at home. For more information, visit www.japanesepaperplace.com/workshops/.

Upcoming workshop, Papermaking with Local Fibers, Saturday, October 7, 2023, 10 am–4 am with Robert Thomas at the Robert C. Williams Museum of Papermaking. Participants will explore making paper from materials like banana leaves and stalks, bamboo fibers, pine straw, and pine bark. For more information, visit https://paper.gatech.edu/papermaking-local-fibers

Petrifying Papermaking: Pulp Painting and Beyond, Saturday, October 7, 2–6 pm at Ox-bow School of Art. Join us in making paper pulp decorations for the scary season! You will pull sheets of handmade paper, then use pigmented pulp to add designs to them. Learn to use stencils, blow outs, and free-hand pulp painting to create ghoulish designs, impish creatures, and decorations to die for. This workshop is open to all levels of experience and is very beginner friendly. For more information, go to www.ox-bow.org/fall-aom.

The Art Annex at the Hope Artiste Village, 999 Main Street Unit #109, in Pawtucket, Rhode Island presents, on October 14–15, Way of Washi. This two-day workshop series, with instructors Ayako and Tomoko Yoshizumi, will on the wonders of Japanese paper arts. Ticket can be purchased on the Eventbrite links on our social media at https://www.facebook.com/ArtAnnexRI and https://www.instagram.com/artannexri.

EXHIBITIONS & EXCHANGES

Geometric Aljamia, September 5–December 6, 2023 at the Robert C. Williams Museum
of Papermaking. Geometric Aljamia: A Cultural Transliteration is a cross-cultural collaboration
that addresses how connections between the Middle East and the West during the Golden Age of Islamic Civilization continue to be
relevant and vibrant in the twenty-first century. The project includes artists, designers, per-
formers, and writers from Afghanistan, Qatar, United Arab Emirates, Canada, and the United States. For more information, go to https://paper.gatech.edu/upcoming-exhibits. Along with this new exhibition, a virtual lecture,
Virtual Lecture: Interpreting Geometric Aljamia, will be hosted Wednesday, November 8, 8–9 pm
EST with speakers Dr. Natalie Khazaal and
Dr. Mohammad Ghomi. Dr. Natalie Khazaal,
Associate Professor in the School of Modern Languages and the Director of the Arabic, Middle East and North Africa programs and Dr. Mohammad Ghomi, Professor in the School of Mathmatics will interpret the concepts from the exhibit Geometric Aljamia: A Cultural Transliteration in their respective fields. Learn a bit more about Middle Eastern culture and the math found in the lovely geometric patterns of Islamic cultures. To register for this event, go to https://paper.gatech.edu/virtual-lecture-interpreting-geometric-aljamia.

The North American Hand Papermakers 8th Collegiate Paper Art Triennial exhibition will be on display at the Lyndon House Art Center in Athens, GA October 7, 2023–January 13, 2024. This is 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 opening reception will be held on October 10 at 6pm.

EUQINOM Gallery is pleased to present
Vessel, a two person exhibition with new works from Julia Goodman and Klea McKenna. Vessel will be on view from September 7 through October 28 with an opening reception on Saturday, September 9 from 1:30–
4 pm. Both artists will be in attendance.

OPPORTUNITIES

Women’s Studio Workshop Grant and Residency Applications are due November
15, 11:59 pm EST. There are plenty of residency opportunities to explore! For more information on the residencies and application process, go to https://wsworkshop.org/opportunity-calendar/.

The Penland School of Crafts Core Fellowship Program applications are due October 12. The Core Fellowship Program is a two-year work-study fellowship for early career artists looking to expand technical skills and material fluency while working to support the day-to-day operations of a craft school. Artists of all backgrounds who want to advance their educational goals and explore their capacity to contribute to a thriving creative community are encouraged to apply. The goal of the program is to shape the future of contemporary craft by creating opportunity, connection, and immersive education for early career artists who bring a range of perspectives and goals to the school. To apply and for more information, visit https://penland.org/residencies/core-fellowship.

Attention papermakers! You are invited to participate in the 3rd annual full-sheet Handmade Paper Exchange! This exchange is open to all levels of papermakers. Paper must be in size A4, B5, D4, or US letter
size. Please, no glitter. Your 12 sheets must
be postmarked by Jan. 15, 2024. For more information on the exchange please visit https://thefiberwire.com/2021/09/25/handmade-paper-exchange/, or checkout out
@handmadepaperexchange on Instagram!

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

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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, John Gerard, Dard Hunter III, Microsoft Corporate Citizenship, Steve Miller

contributors to our 2023 auction fundraising event: Loreto Apilado, Susanne Baker, Eugenie Baron, Timothy Barrett, Hannah O’Hare Bennett, Ingrid Butler, Wendy Cain, Jamie DeAngelis, Amanda Degener, Pam DeLuco, Dieu Donné, Susan Mackin Dolan, Jane Farmer, Cindy Ferrari, Susan Gosin, Debra Ketchum Jircik, Lesa Hepburn, David Kimball, Linda Marshall, Lee McDonald, Sandra Miller, the Morgan Conservatory, Bridget O’Malley, the Paper Circle of Ohio, Melissa Potter, Erika Spitzer Rasmussen, Amy Richard, Michele Rothenberger, Sally Rose, Virginia Sarsfield, Robbin Silverberg, Lynn Sures, Rogier Uitenboogaart, Claire Van Vliet, Michelle Wilson

AND THANKS TOO TO OUR SPONSORS

Arnold Grummer’s, Helen Hiebert Studio, InterOcean Studio, the 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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