HAND PAPERMAKING NEWSLETTER number 147 July 2024
Newsletter Editor: Sophia Hotzler
Contributors: Krista Valenzuela, Alyssa Sacora, Kathryn Lipke and Sidney Berger.
Sponsors: Arnold Grummer’s, the Papertrail Hand-made Paper & Book Arts, Penland School of Craft,The Robert C. Williams Papermaking Museum, Car-riage House Papers and Dieu Donné.
Hand Papermaking Newsletter is published quarterly.Annual subscriptions to Hand Papermaking magazine,which includes the quarterly newsletter, cost $70 peryear in the US; $80 in Canada and Mexico; $105elsewhere. Two-year subscriptions are $130 in the US;$150 in Canada/Mexico; $200 elsewhere. Institutionalsubscriptions are $95 per year in the US, $125outside the US. To receive a printed copy of thenewsletter, add $30 to your yearly subscription. Astand-alone electronic subscription to the newsletter,which excludes issues of the magazine, is now availablefor $10 per year. Payment in US dollars is required.Visa/Mastercard/Paypal is accepted. For moresubscription information:
Hand Papermaking, Inc.
PO BOX 50336
Baltimore, MD 21211-9998 USA
E-mail: newsletter@handpapermaking.orgWeb: www.handpapermaking.org
For more information, contact info@handpapermak-ing.org
The deadline for the next newsletter (October 2024) isAug 15, 2024. We encourage letters from our subscribers on any topic. We also solicit comments on articles inHand Papermaking magazine, questions or remarks for newsletter columnists, and news of special eventsor activities. The newsletter is supported by our sponsors (listed above). If you would like to support Hand Papermaking through a sponsorship, contact us atrosa@handpapermaking.org.
Hand Papermaking is a 501(c)(3) non-profit organization. Staff: Rosa Chang, Executive Director; Mina Takahashi, Magazine Editor; Sophia Hotzler, Newsletter Editor/News & Social Media Manager; Karen Kopacz, Designer. Board of Directors: Megan Singleton, Kazuko Hioki, Lisa Haque, Lynn Sures, Richard Baiano, Steph Rue, Emily Duong, Betsy Knabe Roe, Marie McInerney, Gretchen Schermerhorn, Sanaz Haghani.
Co-founders: Amanda Degener and Michael Durgin.
Dear Readers,
In this newsletter, we explore the artistry and differing techniques behind papermaking and its craft, celebrating the diverse methods and materials that makes each papermaker unique in their own way. We hear from papermaker, Krista Valenzuela, who, though quite new in her papermaking journey, speaks on how it opened up and inspired her in many aspects of her creative life. Alyssa Sacora talks about her sustainable papermaking processes, her exploration of her paper quilts, and her enjoyment of teaching others about plant-based crafts. We learn about the extensive 40-year papermaking trail of Kathryn Lipke as she closes the chapter to herown home papermaking studio. Sid Berger highlights some books that deserve to be revealed to the world.
—Sophia Hotzler
the maker
Opening Up Creativity Through Papermaking
In this recurring feature, The Maker, we look at techniques and problem solving in the field of hand-made paper. For this issue, papermaker and multi-disciplinary artist Krista Valenzuela discusses her approach to prioritizing art and craft through papermaking. If you want to share how you solved a problem in your practice, email newsletter@handpapermaking.org.
You could call me a multi-disciplinary artist, a Jill of All Trades, or an ADHD girlie. Whatever you call me, I’m always reveling in some new project, testing new mediums, and experimenting with new processes. I love this state of mind, but it hasn’t always been this easy. I’ve recently unlocked a new outlook on prioritizing and creating art through papermaking.
In 2019, I began my ongoing love of searching for mushrooms. I love the scavenger hunt, the variety of fungi, and the opportunity to broaden my worldview to the little moments on the forest floor. Reading field guides led me to examples of artists who’ve created paper from mushroom fibers. I immediately messaged my friend who was enthralled with papermaking. We got together soon after and she helped me find my starting point with paper.
As I fell in love with fungi and the little creatures of the woods, I became more and more inspired. I was using my trailside photos as references for art but I was hesitant to really let myself have fun with it because I felt I relatively low-cost to get started, and you can upgrade as you go. My approach is very DIY, experimental, and low-waste. I had an empty storage tote for my vat, a thrifted blender to make pulp, scrap fabric for couching, low-cost mould and deckles bought online to start with; and
I recycled waste paper from my parent’s small business. I have fun with inclusions such as scrap yarn from other projects, and botanicals from around the yard like dandelions and lilacs. I also like to use the odd paper cut from other projects to do scrappy embossing. Having a low-cost system for making handmade paper leaves me with more than enough paper to experiment with. If my idea doesn’t pan out, I can either re-pulp the paper or use it for scrappy embossing. One of my favorite ways to use my paper is making prints. I print my trailside photos, my digital art, and photocopies of pressed botanicals. The texture of the paper lends itself well to my personal style––I lean towards a whimsical nature-inspired look and the paper complements it so well. Another favorite use is priming a sheet with gesso to use as a surface for painting. To have what feels like limitless canvas, it’s so much easier to put brush to paper.
Papermaking has been a wonderful skill to learn and has helped me develop a fail-proof attitude to artistry. Now I’m confidently playing with painting, wood-burning, drawing, digital art, pottery and learning more every day. I’m excited to see what’s next!
—Krista Valenzuela
Krista Valenzuela is a multi-disciplinary artist in the TwinCities, Minnesota, with a special interest in woodland- and botanical-inspired art. You can see more from her on Insta-gram @StudioZuela, or visit studiozuela.com to learn more.
from the organization
What's New!
Featuring some of the latest developments and happenings at our home organization, Hand Papermaking, Inc. In this feature we share more information about the changes within Hand Papermaking and let our subscribers know about the upcoming Hand Papermaking Auction taking place this year August 5th–16th!
There have been some exciting changes here at Hand Papermak-ing. As I’m sure many of our subscribers have seen, Hand Papermaking has a new Executive Director! Rosa Chang is a Baltimore–based artist, author, and educator with a robust background in nonprofit management. Most recently she served as Special Projects and Grant Associate at the Maryland State Arts Council. As a Korean immigrant, fiber artist, and illustrator Rosa brings a fresh perspective to Hand Papermaking. “I am committed to promoting inclusivity, creativity, and sustainability,” says Rosa Chang. “I sense a deep resonance with Hand Papermaking’s guiding principles and look forward to exercising these values with the Hand Papermaking community.”
I was very lucky to have met up with Rosa, and a few other past and present Hand Papermaking peers, quite recently here in Minneapolis. It was an exciting and rare Hand Papermaking opportunity to have this little get together. Rosa and I bonded over our interest in weaving and textile arts, and Rosa spoke about her own artistic practices she is involved with. She is a prolific artist, whose interest is currently focused on traditional Indigo & Natural Dye processes, sharing these techniques and history with different communities. She is the founder of the Indigo Shade Map, a platform dedicated to tracing Indigo dyes historical roots and amplifying the contemporary community. When Rosa is not working hard on many of her current projects, she can be found tending to the garden at the Blue Light Junction studio.
We believe Rosa will be a fantastic leader for this next chapter inHand Papermaking's future. To read more about this exciting newchange, follow this link here www.handpapermaking.org/post/meet-rosa-chang-the-new-executive-director-of-hand-papermaking
In other news, the Annual Hand Papermaking Auction, which opens August 5th and runs until August 16th, is a key fundraiser for the organization. The funds that we collect go straight to supporting all the programs that you know and love — our award-winning, beautifully illustrated, full-color flagship magazine; our informative and insightful quarterly newsletter; and our highly sought-after themed paper portfolios. What's more, we could not do it without the generous help of people like you who donate and bid! The auction is a vibrant and exciting celebration of the talents, skills, and beautiful work of a wonderful community of papermakers, paper artists, and paper enthusiasts like yourself.
Possible donation Items we are seeking but not limited to are:
For more information, head to www.handpapermaking.org/post/get-ready-the-2024-hand-papermaking-auction-is-just-around-the-corner
sustainability in papermaking
A Plant-based Craftperson
In this feature, Alyssa Sacora talks about her papermaking practice and her mindfullness of her impact on the materials she sources for her practice. Have you found a way of making your papermaking process and studio a bit more sustainable? Share your story with us at newsletter@handpapermaking.org!
My first papermaking experience was in the early 2000s. Iworked in a frame shop and took home scraps of mat board to pulp and form into sheets. Looking back, I can see the beginnings of my art practice incorporating waste materials to create something new in that project. Many of my craft endeavors spiral in and out of my life and papermaking resurfaced in 2015 when I visited a friend who was enrolled in a paper and print workshop at Penland School of Crafts in Western North Carolina. Putting my hands in the vats of pulp caught my attention in a way other crafts hadn’t so the following summer I went back to Penland to take a two-week papermaking workshop with Mary Hark. That experience was life-changing in many ways but in particular, Mary provided space and guidance for me to explore papermaking using repurposed fabrics and plants, the path that I intuitively knew I wanted to take. Since that time, I have also learned from Georgia Deal, Amy Jacobs, Radha Pandey, AndreaPeterson, Jim Croft, and Steph Rue in similar workshop settings.
As with many crafts, lacking access to equipment and tools created a barrier for me so I invested in a Hollander beater (an Oracle made by Lee McDonald), and my husband, Adam, helped me build a press, restraint dryer, and mould-and-deckle sets in 2017. I live my life with an awareness of the interconnectedness of all beings. The materials that I include in my practice have an impact on the places they come from and the people who tend and process them. I can buy materials from halfway around the world and have zero relationship with the plant, the people who grow and harvest it, and the transportation that gets it to me. It is highly likely based on current extractive systems of natural resources that my choice of material has a negative impact on the environment and the people doing the labor. Or I can tend the soil in my garden, harvest iris leaves, and walk them to the drying rack. These acts support the plant and the soil microbes, and my own health and well-being. I can track the plants over time and see how my care of them is beneficial. I still purchase materials from far away places, but I am aware that I am contributing to global systems that I’d rather not support. As I continue to shift my practice away from store-bought to locally collected, I deepen my relationships to specific plants and places. Humans live in contradictions. I don’t see a way to avoid that but I do think it’s critical to have awareness so that we are constantly looking for ways to create better systems in service of health for all planetary beings.
Some of the plants I work with are abundant and widely available; these include kudzu that I wild harvest, okra stems that I collect from local farms, and iris leaves that I grow in my garden. I’m also interested in plants that have a tradition of use in textile and fiber crafts. Fo rexample: tulip poplar bark (used for basketry), fiber banana (used for textiles), and kenaf (a plant in the okra family that is used for rope and cordage) make some of my favorite papers. I make associations and build a network in my mind of plants that are materials for specific crafts and overlay that with the ways they are processed in preparation for making. Iexplore and combine plants, processes, and mediums in ways that nod to traditional use and take advantage of what is locally accessible.
In addition to plants, I incorporate repurposed fabrics that most often come from worn-out clothes and bed linens. The earliest papers were made in China from old rags. Those rags would have been cotton, hemp, or linen textiles that had been worn until they no longer functioned as clothing. My incorporation of old linens ties me to the first papermakers and also to the papermakers of historical Europe where my ancestors are from. Using fabric allows me to easily source papermaterials that would otherwise be landfill waste.
The Process
Let’s go through the pulp-making process with kudzu as an example. I harvest actively growing vines throughout the summer and fall. I submerge the vines into water for 7–14 days, depending on ambient temperature. This fermentation process breaks down the outer bark and the inner pith, which allows me to easily separate out the inner bark and the woody core. At this point, I clean the fibers and let them dry. Once dry, I cut them into 1⁄2-inch pieces and boil them in a caustic solution for several hours. This further breaks down the cellulose and dissolves other parts of the plant that aren’t useful in the finished paper–waxes, lignens, and pectins. Once cooked, I rinse the fibers to get them back to a neutral pH. Then I run them through a Hollander beater. Exploring how variation in any one step affects the outcome of the finished sheets is one aspect that keeps me interested in papermaking.
I have a series of work that I call Paper Quilts that is inspired by my Grandma and Great Grandma’s lifelong quilting endeavors. I build frames from salvaged wood or woven vines, add string, and dip them into abaca pulp. As the pulp dries, it shrinks creating beautiful negative spaces in each piece. I generally have an idea of how each piece will turn out, but there is always an element of surprise when the quilt isdried. Recently I began adding color to the pulp, and stitches, fabric, andnatural elements to the surface. I want to explore local plants to find analternative to abaca. If readers have ideas, I’d love to hear them.
Adam and I moved to our current home in Fairview, NC, what I call The Patchwork Underground, in 2009. Tending the gardens is a large part of how I spend my days and it is a lot of work. Sometimes I have a season where everything is beautiful and I can keep up well. Some years many parts get neglected and I’m completely overwhelmed. I have to take a longer view of time to get through rough seasons. I’m investing in future generations by planting perennial herbs, native flowers, and fruit and nut trees. I’m committed to material studies and craft because they connect me to this place, to the people who came before me, and to a greater sense of purpose in this lifetime. Sharing this land and my skills with others is an essential piece of how I contribute to shifting modern culture to be more aware of community wellbeing.
I rent my studio to other papermakers and host workshops here in the warmer months. I love inviting folks to be in this space to experience plant-based craft in an outdoor classroom. When I teach from my home studio, we are set up outside with views of the garden, the neighbors’ cows, and wild turkeys chatting in the background. I want to provide an opportunity for folks to explore craft in a supportive environment that connects them to the materials that they are working with. I want folks to think about their craft practice, where their materials come from, and how these decisions impact the health of the planet. If folks leave with a seed of awareness around any of these themes, that’s a win. And if they fall in love with papermaking or natural dyes, that’s super sweet, too.
I find managing my time and energy between land tending, teaching, making, and the other aspects of my life really challenging, impossible sometimes. I’m open about my struggles and that authenticity is permission for other folks to be honest too. We aren’t meant to do all these things alone. By working together over a common interest and across differences is the way in which we can explore our passions and do our work in a more fulfilling way.
Channeling creativity through papermaking has been grounding and connective for me. It allows me to witness subtleties, encourages me to slow down, and supports a seasonal work flow. I don’t know where this immersion in fiber will take me but I am following the threads of this path one plant at a time.
—Alyssa Sacora
Alyssa Sacora is a plant-based craftsperson exploring papermaking, book arts, basketry, and natural dyes. Her practice is rooted incuriosity, tending relationships between humans and plants, and a desire to work with materials sourced close to home. She caretakes a piece of land with bountiful gardens in Fairview, North Carolina called The Patchwork Underground, with a nod of appreciation to the unseen soil organisms that do much of the work to sustain her life and art practice. Alyssa offers workshops at her home studio and beyond www.thepatchworkunderground.com (to sign up for my newsletter and find upcoming workshops and purchase work)or find her on Instagram @thepatchworkunderground. Her works are available in person at Art Garden Avl in Asheville, NC and Flow Gallery in Marshall, NC and various artisan popup markets throughout the greater Asheville area.
a paper trail
40 Years of Papermaking
In this feature, we share the journey of a papermaker who has put in 40 years of experience into their artistic career. Do you have an extensive history with papermaking and want to share your rich history of making? Email us at newsletter@handpapermaking.org!
During the sixties and seventies a major change was occurrinwith the acceptance of the crafts into the realm of Fine Arts. Especially with paper becoming more than a surface to print or draw on. Artists realized how malleable paper pulp was, it became the medium itself.
For me, who had been quilting, stitching and stuffing, a work-shop with Winifred Lutz opened my eyes to the possibilities of paper pulp. After all, it was the same materials I had worked with in my stitching and stuffing but I could skip that step and use cotton and linen pulp in new and exciting ways. This was further enhanced by the openness of Kathryn and Howard Clark, of Twinrocker, to facilitate my experiments with this ‘new’ material as one of the first artiststo work at Twinrocker.
Later came the opportunity of living in Sweden and finding the last remaining Swedish hand paper mill in Lessebo. Working in this mill was very different from Twinrocker, in that I worked independently as an artist in the context of the way paper was made years ago.
My artworks develop from concept, and processes. Anotherbig influence in this paper trail was meeting Charles Hilger, affiliated with the International Institute for Experimental Printmakingin Santa Cruz, CA and the development of the vacuum table. This moved my work from flat, or relief, to three-dimensional works as well as increased in size.
In 1976 I was hired by Concordia University in Montreal to teach craft courses, including a papermaking course. It was at this time that I started acquiring the equipment for my own studio, finding a paper beater available in one of the Quebec mills, a Howard Clark press (number 20 made for me in 1976), and a drying box made from a drawing by Claire Van Vliet of the Janus Press. Thus began my 40 years of working as an artist with paper pulp both using western-style and Japanese-style papermaking.
After almost 40 years of making paper, both western-style with cotton, linen, and abaca as well as Japanese-style paper, I am selling all equipment: including the beater, Howard Clark press, drying box, a 5 X 9-foot vacuum table (which includes the water storage tank and motor), plus miscellaneous pigment, retention agent, fibers, etc.
—Kathryn Lipke
Artist, Kathryn Vigesaa Lipke, was born near Cooperstown, ND, where she spent her early days thru undergraduate study at North Dakota State University in Fargo, ND. Kathryn’s artwork is nurtured by her belief that we must recognize and acknowledge our connections to the natural world and strive for a more lasting and harmonious alliance if we are to survive. Kathryn now resides near Quebec. You can contact her at 88kathryn.lipke@gmail.com and check out more of her work at www.kathrynlipke.com
decorated papers
Books That Deserve a Spotlight
Longtime newsletter contributor Sid Berger continues his documentatioof decorated papers. In this feature Sid highlights some recently encountered books.
I have been collecting and writing about decorated paper for decades. My wife, Michèle Cloonan, and I try to keep up with new (and old) publications in the field. Every so often we come upon a book on the subject that somehow slipped under our radar—one we should have known about or one we find on our shelves that has given us pleasure for years. We always try to get copies of new titles, since we see our library as a research resource for scholars who want to know about decorated papers. These books are useful sources of information as well as being objects of beauty.
I frequently hear from librarians, booksellers, book artists, and others who want information about a paper they may acquire or one they have that they know little about. Our library comes in handy.
For the present column, I’d like to discuss a couple of recently encountered books, and a couple we have had the pleasure of owning fora long time: books that deserve to be revealed to the world.
I saw on a shelf a fat volume with only “Marbled Papers” on thspine. I hadn’t seen it before. And it turns out to be a gem. Here is the full bibliographic citation: Susanne Kneisl [the marbler], and Margrit Boppart [the binder], Marbled Papers (Zurich: n.p., Autumn 1989). We tend to get to know the artists in our own country, and it was a pleasant surprise to “meet” Susanne, whose marbling is lovely—the work of a true artist. This hefty volume (121⁄4” x 91⁄4” x 13⁄4”), in a sturdy white slipcase, is bound with a leather spine and beautiful marbled paper overboards. It contains 171 tipped-in samples (this is the deluxe version; the regular version has 110 original samples), and all the tip-ins are faced with offset sheets. This is a nice touch, especially since some marblers do not prepare their substrates properly with enough mordant and their pigments do offset. But there is no offsetting of Kneisl’s marbles, even after 35 years. Her standard marbling patterns are elegantly presented, and a section of special marbles in the book are startlingly lovely.
Another book is important for a few reasons. First, as I have mentioned in earlier columns, often the artists who produce decorated papers are not recognized in the books in which their papers are used. Printers, papermakers, engravers, typeface designers, binders, and others may appear in colophons, but the makers of the elegant decorated cover papers or end sheets are often anonymous. Second, many of the truly great paper artists are women, and possibly for that reason alone they have been ignored where they should be acknowledged. And third, particularly accomplished artists should be given the credit they deserve. Cathleen A. Baker, proprietor of The Legacy Press, and an important paper historian, wrote The Paste Papers of Louise Lawrence Foster (Whittier,NC: SpeakEasy Press, 2009), a beautiful book, with an insightful essay about paste papers and Foster, with 14 accomplished samples tipped in, with two other samples: one on each cover, beside the silk spine. Foster’s patterns are unique to her, and once we are familiar with them, we will recognize them on books or other objects when their maker is not acknowledged.
In keeping with my aim to discuss paper artists, I pulled from our shelf an anniversary volume by Ingrid Butler, the genius behind Moth Marblers. The title of this book is Twenty-five Years of Marbled and Decorated Papers (Sausalito, CA: Ingrid Butler, Moth Marblers, 2011). This is a follow-up to another of Ingrid’s books, Twenty Years of Marbled and Decorated Papers, undated, though the introduction is dated 2009. The best way for me to describe Ingrid’s work is “wild and wonderful.”Combining techniques, Ingrid uses paste papers, marbling, and painting, along with flat sheets and crinkled ones. Her joyous sheets call out in exuberance. On some of the paste papers, lines of pigment stand forth in three-dimensional outreach. No one else, to my knowledge, is making such fun papers as these.
The volume contains 50 tip-ins of her super, ebullient papers (including the title leaf and text leaf, with their texts on her decorated paper, tipped onto the substrate), along with a tipped-in photograph of her with some of her papers. This is clearly a unique volume, though I believe she has done more than one with the same title.
To cap off this bibliographic column, I offer up Carol J. Blinn’s lovely Serious Play: Decorated Paste Papers (Easthampton, MA: WarwickPress, 2006). From her whimsical title page, to her autobiographical introductory essay, to the elegant tipped-in samples, this book is a delight front to back. I particularly like the origin story she tells, of how Arno Werner, the famed bookbinder, taught her how to make paste papers, and how she fell in love with them. The binding of the book is covered, front and back, with two of her glorious papers, and the many tipped-in samples are charming. It is worth noting that Arno Werner
himself was an accomplished paste-paper artist, as is made clear in The Paste Papers of the Pioneer Valley.
There is no shortage of books about decorated papers. In all theyears that I have been collecting and writing about them, and teachingmy classes in which they are part of the curriculum, I have been blessedwith the great pleasure I have had, thanks to their seemingly endlessnumber, and thanks also, of course, to the inventive artists who havecreated them. This goes for books on the subject as well. As I once saidabout decorated papers, and I repeat for books about them: “I’ll stopcollecting them when they stop making them.”
—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.
listings
PUBLICATIONS
Japanese Paper Yarn: Using Washi and Kami-ito to Knit, Crochet, Weave,and More. Explore Japanese paper yarn to add new dimensions to yourfavorite fiber crafts like knitting, crocheting, macrame, weaving, ormixed media. Textile artist Andra F. Stanton focuses you on a freshperspective: crafting with paper yarn instead of expected yarns of woolor cotton. Beginning with its deep roots in Japan and Korea, learn aboutpaper yarn's rich versatility. With simple instructions, make your ownpaper yarn from a sheet of kozo paper. Try 12 inspiring projects, frombeginner-friendly pulped paper weaving to a more-experienced-levelknitted scarf. Then you're ready to use paper yarn to take your own favor-ite crafts in new directions. To be released Novemeber 2024.
Radical Paper: Art and Invention with Colored Pulp. This is a landmarkbook that profiles an artistic movement that has operated largely out-side the mainstream art world and serves as both an overdue historyand an up-close look at the range, versatility, and brilliance of art cre-ated with colored paper pulp. Although handmade papers have beenemployed by artists for centuries, the use of handmade paper and col-ored paper pulp as an integral element in creating art – as opposed toserving only as the surface on which art is created – has seen remark-able development over the last 70 years. As early practitioners likeDouglas Morse Howell, Laurence Barker, and Kenneth Tyler mappedout new directions in using colored paper pulp, their work inspiredthe careers of generations of artists who have taken this medium infresh and unexpected directions. This foundational book – the first ofits kind – features 73 artist innovators whose work, grounded in the
common medium of paper and pulp, takes flight through an arrayof applications, modalities, and techniques, from the pictorial to thestructural, representational to abstract, two- and three-dimensional,spanning the meditative to the mercurial. Expected Summer 2024
WORKSHOPS
Several Summer session papermaking workshops at the PenlandSchool of Craft are open for registration. One upcoming summerworkshop is Papermaking: In the Field with Andrea Peterson.This workshop is geared toward sustainability through the use ofa renewable fuel source and organic or wildcrafted fiber sources.We will make paper from garlic leaf, sisal, hay, wheat straw, andother plants. Topics will include material selection and gathering(dry versus freshly-cut fiber). Cooking discussions will includeprecook, caustics, water concerns, and rinsing. We will alsocover beating options, pigmenting, sheet forming, and drying.Multiple natural dye sources will be used to dye pulp. This physi-cally active workshop will include harvesting plants by hand andcooking fiber over a wood fire. Together we will learn how tomake our creative adventures more sustainable. All levels. visithttps://penland.org/workshops/books-paper/
An upcoming virtual workshop, DIY Papermaking: Additives &Inclusions with Sophia Hotzler, through The Minnesota Centerfor Bookarts July 30th, 6–9pm CT is open for registration. Inthis virtual workshop, participants will learn how to experimentand play with pulp, paper, and color in this virtual, do-it-yourselfworkshop. Participants will be given space to experiment withincorporating additives and inclusions into their paper. Instruc-tion will cover tinting pulp, playing with additives in the vat,experimental ways to pull and couch a sheet of paper, and addingfound materials (such as thread) to freshly couched paper. Formore information, head to https://www.mnbookarts.org/diy-papermaking-additives-and-inclusions/
Hand Papermaking Newsletter’s Listings now focus only on the mostcurrent, most relevent news, events, and opportunities. For a morecomplete list of organizations, studios, and institutions that makepaper, educate people about handmade paper, or present programmingor exhibitions related to handmade paper visit our website at www.handpapermaking.org/news-resources/listings.
10 • hand papermaking newsletter
Attend the Natural Dyes on Paper Work-shop at The Morgan August 24th – 25th,10:00am – 4:00pm. During this two-day workshop, participants will learn
to customize paper using eco-friendly
dye baths made from plants. Processescovered during this workshop include soymilk mordant process, creating a dye vat,immersion dyeing paper, and eco-printingon paper. Participants will walk away withan array of beautifully colored, naturallydyed, and/or eco-printed paper which canbe used on its own for other projects! Noexperience required! For more informa-tion, visit https://www.morganconservato-ry.com/shop/papermaking-workshops/30
Learn how to use konnyaku at The Japa-nese Paper Place to strengthen washi Sat-urday September 28th. Explore differentpainting techniques. Learn tricks on howto hand-stitch the treated papers. At theend of this workshop, each student willhave created at least one small pouch andseveral washi experiments to inspire fu-ture work. Two different reusable patternswill be provided. For more information onthis workshop, visit https://www.japanese-paperplace.com/workshops/
An upcoming In-Person Workshop at
Robert C. Williams Museum of Paper-making, Bark Paper & Lace Bark Work-shop, will be happening Thursday, July16h. Transform traditional bark fiber intobark paper and delicate lace. Participantswill make sheets from the cooked innerbark of Kozo plants and use a shapedstone as a beating implement to formsheets. Participants will also learn tocreate lace Kozo and use it to make 3-Dforms. Explore the museum’s current ex-hibition Bark Rhythms, which focuses onbark paper and bark cloth traditions fromMexico, Hawaii, the Polynesian Islands,Indonesia, and Uganda.. Visit https://paper.gatech.edu/bark-paper-lace-bark-workshop
Attend the special workshop, Making paperat the Jardins de la Mer, with Atelier Re-tailles, Saturday July 20th 10:00 am – 3:00pm or Sunday July 21st 10:00 am – 3:00pm. This summer, in collaboration withthe Jardins de la Mer in Saint-Germain
de Kamouraska, make paper in a field of
wildflowers by the river. The workshopbegins at 10:00 am with a gentle movementand mindfulness exercise guided by SophiaCirignano, followed by a walk in the flats todiscover the landscape and its particularitieswith Clara-Jane Rioux-Fiset from Jardins dela Mer We will practice responsible self-picking of plants to include in the paper anddiscover how to transform what grows inour garden to make pulp. For more informa-tion, visit https://www.atelierretailles.com/workshops
Join Claudia Borfiga in her Pulp Paint Playworkshop at the Women's Studio WorkshopJuly 15th – July 16th. During this workshopparticipants will learn how to make pulppaintings from start to finish! After learn-ing how to form a base sheet, we’ll begin tobuild our imagery directly on top, inspiredby sketchbooks or any reference imagesparticipants have gathered. Each participantwill develop their personal palette of coloredpaper pulp to work from. We’ll explore howwe can use different densities of pulp, and avariety of tools, to achieve different mark-making on our sheets. Organic shapes canbe made freehand, whilst crisper lines canbe created using hand-cut stencils. This is alow-pressure method that has plenty of spacefor experimenting and making mistakes! Noprior experience is required, participants willbe guided through each step of the process.Visit https://wsworkshop.org/event/pulp-paint-play-with-claudia-borfiga/ for moreinformation.
Participate in the Paper & Fabric MarblingWeeklong Intensive, Monday-Friday, August12th – 16th, at The San Francisco Center forthe Book. This class is designed not only toanswer questions about almost everythingabout marbling, but also to give students
a firm foundation upon which to launchthemselves into the marbling world. PietroAccardi will share his knowledge gainedfrom 25 years as a traditional marbler inItaly, as well as the evolution of his style aftermoving to North America. For more infor-mation, visit https://sfcb.org/civicrm/event/info?reset=1&id=4848
EXHIBITIONS
The Morgan’s 12th Annual Juried Exhibi-tion artists are posed with the challenge ofexploring New Terrain. Artists are encour-aged to traverse this concept through variousmedia and ideas of mapping, the heroicquest, charting new courses and translat-
ing the experiential into the visual and
how we connect to our environment realand imagined. Artwork encompassing thistheme is eligible for submission. This year’sexhibition is juried by Dr. Jeffrey Katzin andFafnir Adamites. This exhibition is runninguntil July 27th. For more information, visithttps://www.morganconservatory.org/limin-al-spaces-exhibition
Bark Rhythms: Contemporary Innovations& Ancestral Traditions is on display at theRobert C. Williams Museum of Papermak-ing. This show features historical examplesof hand-beaten bark papers, barkcloths, andtraditional beaters, paired with the work
of contemporary artists from global com-munities who use bark fiber materials andtechniques in innovative and unexpectedways. Bark Rhythms will open at the RobertC. Williams Museum of Papermaking in At-lanta, Georgia, in the summer of 2024, trav-eling to Denver, Colorado, in October 2024for the North American Hand Papermakers'annual conference. Sponsored by NorthAmerican Hand Papermakers and the Rob-ert C. Williams Museum of Papermaking,Bark Rhythms is curated by papermakersJill Powers and Lisa Miles as part of NAHP'ssecond Guest Curated Exhibition Triennial.For more information, visit https://paper.gatech.edu/upcoming-exhibits
EVENTS
The Morgan has been busily renovating ourpapermaking studios this spring (thanks
to the generous support of the ClevelandFoundation and Windgate Foundation), andwe’re putting the new space to the ultimatetest. 24 Papermaking Marathoners (8 teamsof 3 papermakers each) will join us on July12th & 13th for 24 hours to produce paperduring a 3-hour shift & help raise money
for the Morgan this summer! To check getmore information on this event, visit https://www.morganconservatory.org/papermaking-marathon-2024
We want to promote your projects!If you have any news, upcomingevents, or open opportunities letus know at newsletter@hand-papermaking.org
July 2024 • 11
special thanks to our donors
benefactors: Joan Hall, Mark Tomasko, BeckWhitehead
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, IngridRose
sponsors: Eric Avery, Tom & Lore Burger, KerriCushman, 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, TomBannister, Sarah Louise Brayer, Ann Cicale,Jeffrey Cooper, Amanda Degener, John Dietel,Karla & Jim Elling, David Engle, Jerry Exline,Helen Frederick, Lori Goodman, RichardHaynes, Margaret Heineman, Shireen Holman,Kyoko Ibe, Jamie Kamph, Enid Keyser, JuneLinowitz, Julie McLaughlin, Sharon Morris,Jeannine Mulan, Anela Oh, Elaine Nishizu,Nancy Pike, Alta Price, Joy Purcell, ReneeRogers, Annabelle Shrieve, Thomas Siciliano,Kathleen Stevenson, Bernie Vinzani, AprilVollmer, Paul Wong
supporters: Marlene Adler, John Babcock,Timothy Barrett, Kathryn Clark, Nancy Cohen,Marian Dirda, Iris Dozer, Tatiana Ginsberg,Mabel Grummer, Guild of Papermakers, LisaHaque, Robert Hauser, Viviane Ivanova,Kristin Kavanagh, Susan Kanowith-Klein, DavidKimball, Steve Kostell, Lea Basile-Lazarus,Aimee Lee, Winifred Lutz, MP Marion, EdwinMartin, Lynne Mattot, Ann McKeown, TimMoore & Pati Scobey, Catherine Nash, NancyPobanz, Melissa Potter, Brian Queen, DianneReeves, 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 Citizen-ship, Steve Miller
contributors to our 2023 auction fundrais-ing event: Amanda Degener, Paulette Reed,Lesa Hepburn, Claire Van Vliet, Lea Lazarus,Kelsey Pike, Ilze Dilane, Bridget O'Malley,Rogier Uitenboogaart, Jane Farmer, Stepha-nie Damoff, Erica Spitzer Rasmussen,
Sally Rose, Virginia Sarsfield, Ingrid Butler,Morgan Conservatory, Cindy Ferrari, RobbinSilverberg, Wendy Cain, Jamie DeAngelis,Amy Richard, David Kimball, MichelleWilson, Paper Circle of Ohio, Rona Conti,Loreto Apilado, Sandra Miller, Eugenie Bar-ron, Hannah O'Hare Bennett, Lynn Sures,Maxine Apke, Sanaz Haghani, Barbara
Pagh, Melissa Potter, Michele Rothenberger,Susanne Baker, Susan Mackin Dolan, PamDeLuco/Shotwell Paper, Lynne Matott, MaryEllen Long, Catherine Nash, Linda Marshall,Debra Ketchum Jircik, Serena Trizzino, Dieu
Donne, Tim Barrett, Susan Gosin, HelenHiebert, and Lee McDonald.
AND THANKS TOO TO OUR SPONSORS
Arnold Grummer’s, the Papertrail Hand-made Paper & Book Arts, Penland School ofCraft, The Robert C. Williams PapermakingMuseum, Carriage House Papers and DieuDonné.
Hand Papermaking acknowledges recent contri-butors to our nonprofit programs. All donationsare greatly appreciated and tax deductible. Ourtax ID number is 52-1436849. Call or write forinformation on annual giving levels, automaticmonthly gifts, and other ways to support us.