HAND PAPERMAKING

NEWSLETTER number 151 July 2025

Newsletter Editor: Sophia Hotzler

Contributors: Veronica Pham, Viviane Colautti, Sid Berger,

Hilarie Rath

Sponsors: Arnold Grummer’s, the Papertrail Handmade

Paper & Book Arts, Penland School of Craft,

The Robert C. Williams Papermaking Museum, Carriage

House Papers and Dieu Donné.

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Staff: Rosa Chang, Executive Director; Mina

Takahashi, Magazine Editor; Sophia Hotzler,

Newsletter Editor/News & Social Media Manager;

Karen Kopacz, Designer. Board of Directors:

Steph Rue, Lynn Sures, Kazuko Hioki, Emily Duong,

Gretchen Schermerhorn, Sanaz Haghani, Anne Q

McKeown, Jerushia Graham, Veronica Pham, Andrea

Sherrill Evans, Betsy Knabe Roe, Jenna Bonistalli, Jill

Bramwell.

Co-founders: Amanda Degener and Michael Durgin.

‍

Dear Readers,

Summer is here, and with that means a busy season of travel, creating and collaborating. In

this issue Veronica Y Pham gives insight on Material Inquiry: Handmade Paperworks, an

exhibition that she co-curated with Mary Hark. Viviane Colautti gives us a wonderful review

of a new book, A Tour of the World of Paper by Julie Auzillon. We meet Green Bay papermaking

duo Hilarie Rath and Julie Eckberg, and Sid Berger returns with a fascinating look at paper

paste artist Elisabeth Hyder. Settle in—there’s plenty to unfold!

—Sophia Hotzler

book review

A Tour of the World of Paper

In this feature, Viviane Colautti reviews "Le tour du monde du papier" (translated to "A Tour of the

World of Paper"), written by Julie Auzillon and published by Pyramyd. This book " takes you into artists'

and artisans' studios, through the doors of unusual boutiques and into contemporary paper creations".

Paper is about emotions, touch, sensuality and dreams. It is used as a medium for writing,

as a vector of knowledge and transmission. The world is subjugated by paper, which

evolves and is enhanced by the industrial, economic and artistic progress made in each country.

Since it was invented in China, paper has developed and the diverse materials, plants and

techniques used to make it have changed too.

The author, Julie Auzillon, invites us on a journey in terra incognita, immersing the reader in

the wonderful world of paper, a medium that she raises to the rank of precious material. She is a

passionate contemporary bookbinder, who travels the five continents to

broaden her knowledge of paper, by discovering the different cultures

and special traditions linked to paper in every country. Short or long

trips have taken her from Sydney to Tokyo, Cape Town, Venice, Paris,

New York, Montreal, Sao Paulo...

Whether or not you are a paper specialist, there is something of

interest on every page: a papermaking technique, a material, a place,

an artist or a studio, historic facts and useful addresses for boutiques.

You will discover incredible applications, including masks, paper

maché and wallpaper, as well as paper that has been dyed, cut, plaited,

folded, marbled or used for Venetian paper inlays, ephemeral clothing,

military uniforms, contemporary paper, paper prayers, ceremonial paper,

wrapping paper, newsprint, paper for publishing and posters. This all

comes with a pedagogical approach closely associated with artists and

craftspeople, who share the magical universe of their studios. It is an

invitation to be creative and curious, by encouraging the transmission of

knowledge.

Tradition and modernity are perpetuating an age-old dialogue. Paper

is a material with infinite richness. Every plant fibre that is transformed

produces a unique iridescent paper. It may be silky, smooth, mat, rough,

crisp and able to meet all the challenges imposed by digital technology. It

has helped the world of books resist and won its spurs in art.

This book provides an introduction to papermaking, its history and

the uses of paper for beginners who are new to the boundless world

of paper. It also includes valuable information for connoisseurs. By

providing an endless source of inspiration in a technical and fun way, it

advocates for recognition of this beautiful material

— Viviane Colautti

As a visual artist, Viviane Colautti Ivanova experimented with

various mediums before she chose to work with plant fibres. In her

art practice, she uses a range of fibres with different characteristics.

After conducting research in this field, she knows exactly how

each fibre’s inherent qualities, fragility and power will enhance her

work. She makes constructions by deconstructing and reassembling

molecules in different ways. Thus, she strives “to go beyond matter,

to go through it” in order to convey emotions, particularly feelings

that are indescribable. Viviane has exhibited and taken part

in exhibitions in France and internationally, both in Europe and

further afield (China, Japan, Taiwan, Brazil, Israel, Morocco and

Senegal).

paper exhibition

Material Inquiry, Handmade Paperworks

In this feature, Veronica Y Pham, reviews Material Inquiry, Handmade

Paperworks, which she co-curated with Mary Hark for the College Book

Art Association Conference. The show, which was on view at the Ruth

Davis Gallery, June 4-6, 2025, featured many alumni and grad students

who have worked with Mary.

The Design Studies MFA program at the University of Wisconsin-

Madison, School of Human Ecology has consistently drawn

artists and designers working within the expansive area of Fiber and

Material Studies. The following artists in the exhibition bring a textile

sensibility to hand papermaking within their practice through their

rising professional and graduate experience alongside the mentorship

of Mary Hark, professor in the Design Studies department and

the co-curator in this exhibition. The exhibition was exhibited alongside

the College Book Arts Association Conference which was held

this year in Madison, Wisconsin.

Artists represented include Hannah O’Hare Bennett, Esther Cho,

Mary Hark, Kristin Klingman, Heather Kohlmeier, Kate Morrick, Mariah

Moneda, Henry Obeng, Veronica Pham, Noa Rickey, Lars Shimabukuro,

Kelsey Voy, and Maria Wood. Each artist’s work in this exhibition

consider ways in which handmade paper is both a traditional and

experimental textile medium for interdisciplinary exploration.

Upon seeing the exhibition, you are greeted with Noa Rickey’s

enormous paper sculpture wedged between the gallery glass windows.

Entangled and somewhat disembodied, the viewer may feel the

uncomfortableness of the sculpture. Rickey’s work talks about the public

scrutiny they often feel as a queer body showcasing also their technical

expertise in sewing on paper. In the exhibition, you will see also Kelsey

Voy and Heather Kohlmeier’s larger than life size paper garments. This

time, these garments talk about the ephemerality of paper as textiles to be

worn speaking to memory and materiality.

The exhibition featured artist books in many different forms.

Each iteration always draws back to the unique textile sensibility

of the artist. Hannah O’Hare Bennett explores paper pulp and

traditional beadwork both in two-dimensional forms and as an artist

book, incorporating her decades long collaborative fieldwork in Ecuador

with master artisans, friends, and family. The work speaks powerfully

about story within fiber arts and its visual kinetic nature. Similarly,

Maria Wood also works collaboratively both with adults and children

to talk about care, resiliency, and healing within the Latina immigrant

community.

Mariah Moneda’s work displays her photography work on paper

screens showing layered banana leaves printed on handmade paper

made from Philippine gampi. The sculpture, both in its image and the

fiber of the paper, evokes a sense of past, present, and future of Filipino

legacy and culture. Along the same thread, Ghanian-born artist, Henry

Obeng, exhibits his most recent cyanotype prints from UW-Madison’s

Herbarium vast special collection of plant species printed on handmade

discarded Wisconsin cotton red t-shirts. The latest edition in his ongoing

documentation project features gold leaf on paper, exploring gold

significance implored in Ghanian Kente cloth culture.

It is an honor to co-curate this exhibition alongside Mary Hark. Each

one of us can say in some compacity that Mary has inspired, encouraged,

and devoted herself to nurture the trajectory of our creative practices.

She is always an advocate, and she is a friend. She is also, as Mary herself

delightfully states upon our first meeting, colleagues in the field of hand

papermaking.

— Veronica Y Pham

Veronica Y Pham works primarily in papermaking and fiber arts

in her studio practice. Her work focuses on traditional craft specific

to Vietnamese and Chinese histories to connect ideas of process,

knowledge through generational labor, and questions of identity.

The materials in her work often become environmental investigations

about local ecology and place. Pham continues to work with

traditional and contemporary papermakers in Vietnam with a focus

on collaborative projects and research. Pham received her MFA

in Design Studies from the University of Wisconsin-Madison and

currently teaches art and design at the University of Vermont.

decorated papers

Elisabeth Hyder

Longtime newsletter contributor Sid Berger continues his documentation

of decorated papers. In this feature Sid highlights decorated paper artist,

Elisabeth Hyder.

The present column on Elisabeth Hyder is long overdue. She has

been creating beautiful paste papers for decades. In the research

my wife, Michèle, and I have done into the world of paper decorators,

we’ve often found that the colophons of books bound in beautiful

papers say nothing about the makers of those papers. Likewise, other

arts that incorporate decorated papers—collages, wall art of various

kinds, scrapbooks, lampshades, and so on—rarely acknowledge the

paper artists. This has certainly been the case for Elisabeth, who is

among the most innovative and accomplished paste paper decorators

in the country.

Elisabeth has worked in a variety of media, such as woodworking,

dyeing, spinning, weaving, pottery, and folk painting—and eventually

in paper decoration. Much of her work in these areas resulted in printed

products. The geometric designs and folk motifs found in her papers are

simply wonderful. As I’ve noted in earlier columns, some paper artists

master the technical side of their craft but lack an eye for color. This is

decidedly not the case with Elisabeth, who has the eye of a true artist.

Her decorated papers—printed and done in paste—are beautiful, with

designs and colors that are consistently “just right.”

In the early 1990s, she created a series of printed papers derived

from her own drawings and hand-cut stamps. This line of sixteen

decorated papers, called Brookfield, was commissioned and distributed

by OrangeArt of Woodstock, Connecticut. The papers were sold as full

sheets, as well as in cards, writing papers, and note boxes. Early on,

she also became adept at Scherenschnitte (papercutting) and collages

using her decorated papers. In our collection, now housed at Texas

A&M University, Michèle and I have two splendid works made of woven

decorated papers, such as this one:

Her husband, Darrell Hyder, was a letterpress printer. Together,

they collaborated on a series of beautifully decorated papers used in

various publications, most notably the small pamphlets they produced

under their Sun Hill Press imprint. Elisabeth’s patterns are retouched

or adapted from other sources, or they are her own original designs of

ornament and other motifs. The little pamphlets contained the Hyders’

selections of quotations on the subject of the individual pamphlet.

These small volumes have sold in the tens of thousands of copies.

And it is good to see that she is given credit in most of the colophons for

the cover papers. (Parenthetically, since this is a column about Decorated

Paper, though many of these pamphlets were not covered in Elisabeth’s

papers, they were all done with decorated-paper covers, many designed

with type ornaments by Darrell.)

Her work has been recognized by many notable institutions. Her

papers are represented in the collections of the Metropolitan Museum

of Art, the Museum of Fine Arts in Boston, the Wadsworth Atheneum

in Hartford, the American Antiquarian Society in Worcester, and in

other institutions. (She also created a series of bookplates for the Boston

Athenaeum.) Many fine presses have used her decorated papers in

their bindings. Some were produced under her imprint, Brookfield

Paperworks, launched in 1993. And these “paperworks” included not

only printed patterns but also her distinctive paste papers.

While I deeply admire her printed papers, I’m most smitten with

her beautiful paste papers. Her patterns are original and elegant, at times

somber, at times playful. One features a bedside table with a lamp and

a book, pressed into the wet paste with carved erasers. Another shows

dancers having fun. Her papers were so well-received that she was asked

by many people to produce papers for them with particular themes or

patterns, based on the desires of her customers—and also products

using her papers. As an artist with magic hands (witness her other crafts,

mentioned above: dyeing, spinning, weaving, pottery), she could create

objects her clients wanted using her decorated sheets.

For example, in 1996, Smith College in Northampton,

Massachusetts, held a symposium in honor of Ruth Mortimer, former

head of the college’s Rare Book Department. A keepsake for the event,

designed by Michèle Cloonan (then the department head), was a

miniature hat box (Mortimer was fond of hats). Elisabeth created the

boxes using her own original paste papers.

In a recent note, Elisabeth reminisces about the work she began on

what became her favored medium:

“In 1993 . . . I really began in earnest to work with paste papers.

Patterns have always been a strong interest, and my earlier work with cutpaper

designs (Scherenschnitte) made collage cuttings a logical next step.

As with other paste paper artists, I experimented with combs, tools from

the kitchen drawer, found objects in the workshop, and made my own

rollers with carved designs or applied cut-out shapes. In addition I cut

scores of my own designs in erasers to use with stamping pads as well as

on paste papers. Some were simple shapes, others floral or ornamental.

Colors have been an ongoing interest, and I think I have a good color

sense. I’m generally drawn to strong colors and combinations, and prefer

making a variety during each session rather than many more or less the

same. Although I have had several large-edition commissions for book

covers, I’ve not been especially competitive (or well distributed) in that

area. So I am my own best taker of my designs, and have used them to

fashion a variety of products that are more salable in my own studio or

through other outlets. I make notecards, writing folders, journals, star

books, occasional portfolios, weavings, many collages, and a great variety

of boxes covered inside and out with my papers.”

She has also taught workshops in paste paper decoration, helping to

spread the craft to new generations of artists.

After spending several days with Elisabeth and Darrell, I came to see

clearly that they are a remarkable artistic team. Elisabeth’s papers often

adorning the works that Darrell beautifully prints. While her papers

have been available through a few commercial outlets, she is not

widely known in the decorated paper field. I hope that the present

column rectifies this.

— 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.

the makers

Green Bay Papermakers

In this recurring feature, The Maker, we look at techniques and problem

solving in the field of hand- made paper. For this issue, artist Hilarie Rath

introduces a new papermaking studio based in Green Bay, Wisconsin,

whose aim is to foster a paper community in Green Bay and beyond. This

studio is co-ran by Rath and her papermaking partner, Julie Eckberg.

Meet the New Kids on the Block: Handmade Papermakers of

Green Bay and Beyond (HPGBB). Every once in a while, things

just fall into place. It doesn’t always feel that way on the journey, but

there comes a time to realize that the people you’ve met, the experiences

you’ve had and the setting you’re given feel like they were always

meant to be. It’s as if your whole life was preparing you for this place,

these people and this mission. Handmade Papermakers of Green Bay

and Beyond (HPGBB) is moving beyond its first year and finding its legs.

It began with a couple of women, Julie Eckberg and Hilarie Rath, who

were both smitten by hand papermaking.

They appreciate the process of recycling the old and making it into

something new. Julie spearheaded HPGBB in August of 2023. Hilarie,

who was getting more involved in teaching classes, started an LLC,

Paper Play by HJ, in November of that same year. Both Julie and Hilarie

are members of The Paper Year, a group led by Helen Hiebert. Julie

recognized Hilarie’s name and saw that she was teaching a papermaking

class at the Green Bay Botanical Garden. After meeting, they realized

they only lived a few blocks from each other. Perhaps this was destiny.

Sometime after the two women met, Julie’s sister Cathi, a vigilant

auction observer, noticed that some hand papermaking equipment was

for sale. Hilarie knew, from teaching a class called The Technology of

Paper, that a pivotal person in the network of Friends of Dard Hunter

(NAHP) lived in Fish Creek, Wisconsin, the location of the auction. Even

though they couldn’t see the equipment in advance, Julie and Hilarie

had a pretty good hunch that the beater and press were of good quality

With the help of Kim Grummer, who at the time ran Arnold Grummer’s

LLC, a hand papermaking materials company, they were able to purchase

the equipment for a fraction of its value. They didn’t even know if the

equipment worked, but they followed their instincts and were rewarded

for their efforts. Mark Hawkins, who runs a local youth mentoring and

education non-profit called Hands on Deck, provided the ideal place to

house the equipment. Mark’s own experimentation with phragmites

as a paper source helped him understand the promise of this fledgling

organization.

Hank, Gary and Pete built a drybox to make their studio complete

The next generation of papermakers

Julie and Hilarie needed one more piece of equipment for a fully

functioning paper studio, so Hilarie’s husband, Gary, came to the rescue

by building a dry box for paper. One of the local industrial papermakers,

Green Bay Packaging, provided bi-wall cardboard to use within. The

woodworking team at Hands on Deck cut it down for them.

Julie and Hilarie offer opportunities in all areas of paper arts on site

and in the community. With time, they hope to introduce more people,

children and adults alike, to the joy and potential of hand papermaking.

— Hilarie Rath

Hilarie Rath is an Arnold Grummer certified papermaking instructor.

She is also a retired elementary educator who currently runs a business

called Paper Play by HJ LLC. She teaches papermaking, surface design,

bookbinding and cartonnage. She enjoys seeing others discover their

own creative gifts. You can see samples of her work at rathhilarie on

Instagram.

Julie Eckberg’s current expression of art is rooted in hand papermaking,

using plants harvested from local gardens and landscapes. In addition to

creating paper, she finds fulfillment sharing this art with others who are

drawn to the same journey. Her work has been exhibited in several juried

art shows in Wisconsin. You can learn more about her work at hpgb.org,

the website for Handmade Papermakers of Green Bay and Beyond.

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

Radical Paper: Art and Invention with Colored Pulp. This is a landmark

book that profiles an artistic movement that has operated largely outside

the mainstream art world and serves as both an overdue history

and an up-close look at the range, versatility, and brilliance of art created

with colored paper pulp. Although handmade papers have been

employed by artists for centuries, the use of handmade paper and colored

paper pulp as an integral element in creating art – as opposed to

serving only as the surface on which art is created – has seen remarkable

development over the last 70 years. As early practitioners like

Douglas Morse Howell, Laurence Barker, and Kenneth Tyler mapped

out new directions in using colored paper pulp, their work inspired

the careers of generations of artists who have taken this medium in

fresh and unexpected directions. This foundational book – the first of

its kind – features 73 artist innovators whose work, grounded in the

common medium of paper and pulp, takes flight through an array

of applications, modalities, and techniques, from the pictorial to the

structural, representational to abstract, two- and three-dimensional,

spanning the meditative to the mercurial.

A Tour of the World of Paper (Le tour du monde du papier). Although it

was born in China, paper has conquered the entire world, in various

forms and for various uses. Julie Auzillon, an art bookbinder passionate

about this material, takes you across five continents to discover

the fascinating world of paper.From Tokyo to Cape Town, via Venice,

New York and Sydney, it takes you into artists' and artisans' studios,

through the doors of unusual boutiques, and into contemporary

paper creations. This journey is punctuated by numerous cultural,

historical and technical lessons. Paper is discovered here in all its

complexity, multiplicity and originality. Cut-out paper, fans, papiermâché

masks, contemporary stationery, wallpaper, ephemeral paper

clothing…: the discoveries are endless, and the world tour is exhilarating!

WORKSHOPS

An opportunity for Veterans in or near Connecticut. Peace Paper

Project has an upcoming Veteran Paper Workshop, happening

August August 25 – 29, at West Haven VA Hospital, CT.

Peace Paper Project offers papermaking, printmaking & book

art workshops to veterans and their communities through the

Veteran Paper Workshop. Veteran Paper Workshops are collaborations

between Student Veteran Associations (SVA), Veterans

of Foreign Wars (VFW), American Legions, VA Medical Centers

and Veteran Shelters throughout the United States of America.

For inquiries regarding uniform donations or involvement in a

Veteran Paper Workshop program, write us at info@peacepaperproject.

org. For more information, visit https://www.peacepaperproject.

org/veteranpaperworkshop.html

Paul Denhoed and Oguni Washi will again be offering an intensive

6-day Japanese papermaking workshop in Oguni, Japan, this October.

This is a rare opportunity to learn traditional Japanese papermaking

techniques, in English, in Japan. Full details can be found at:

https://washiacademy.snowbackpress.com/owsoct25/

Last call! Penland School of Craft is hosting a workshop, Paper

in Space with Delaney Smith-Vaughn during their Summer 2025

Session 6: July 27 - August 8. In this experimental paper casting

workshop, students will learn to create three-dimensional surfaces

and forms with naturally-dyed handmade paper. Working with cotton

and abaca, we will begin by preparing the fibers in the beater, dyeing

the pulp with natural materials, and pulling sheets of paper. Then

we will use paper and pulp casting techniques to achieve a variety of

forms from site-specific castings and molds we will make in class.

Students are encouraged to bring objects or materials to use in casting.

In addition to experimenting with three-dimensional papermaking

techniques, students will be guided through several creative

processes designed to encourage ideation and growth. All levels. Registration

closes on: Friday, July 11, 2025 12:00 PM. Visit this link for

more information https://penlandorg.azurewebsites.net/workshopdetails?

workshopID=10a3e4b6-5ab7-ef11-b8e9-000d3a3594f1

Join instructor JoAnne Laudolff for the Japanese Papermaking workshop

at the Kalamazoo Book Arts Center August 3, 11:00 a.m. to 3:00

p.m. Immerse yourself in the joys of Eastern-style papermaking. We

will use the 3 main fibers used in Asia: Kozo, Gampi, and Mitsumata.

In addition to making lovely and delicate papers, these long fibers

are also suitable for making heavier paper for book covers or other

works. We will begin by beating the pulp by hand to preserve the

long fibers, incorporating dried flowers and other organic materials,

and dyed pulp into the vats, moving quickly into making many sheets

of one-of-a-kind papers. The papers we produce are unique works

of art and can be used in bookmaking, collage, or a surface to paint

upon. For more information visit https://kalbookarts.org/workshops/

japanesepapermaking2025/

An exciting workshop is happing with Pulp + Deckle on September

21. Paper from Regional Plants - Oregon City This one day workshop

is offered in partnership with WildCraft Studio School. From

10am-4pm we’ll discover what plants are best for different types of

papermaking. This workshop will introduce students to the wild and

cultivated plants that can be used to make strong, beautiful paper of

varied hues and textures. On a walk around the Pulp + Deckle studio

property, students will harvest plants before returning to the studio

to cut and cook the plants down into raw fibers, ready for the next

stage of pulping! The class will then dive into processing fibers with

kitchen blenders and by hand with mallets, making pulp. We’ll finish

out the day making the pulp into sheets of paper, learning pressing

and drying techniques that you can duplicate on your own after the

workshop. You’ll leave the class with a sampler of damp papers that

can be used for a variety of purposes including postcards, drawing,

painting, collage, bookmaking, or as-is as a piece of art on its own.

Register here https://wildcraftstudioschool.com/(sep)-paper-fromregional-

plants.html

EVENTS

The Morgan is we’re putting their new space

to the ultimate test. 24 Papermaking Marathoners

(8 teams of 3 papermakers each) will

join us on July 12th & 13th for 24 hours to

produce paper during a 3-hour shift & help

raise money for the Morgan this summer!

You're invited to the Marathon Kick-Off

Party, on Friday July 12th at 5pm - 11pm with

food, drinks, and music from DJ LOC BABE.

We need cheerers, hand-clappers, cow bell

ringers, and sideline coaches to motivate our

teams! The party takes a pause at 11pm, but

papermaking continues all the way through

the night until 5:00pm on Saturday. Join us

at the Finish Line Awards Party the next day

on Saturday, July 13th at 5pm to help us close

out the event as we hand out trophies, take

team photos and celebrate!

EXHIBITIONS

Transforming Narratives of Identity is on show

at The Morgan, July 25 to September 20.

There are many intrinsic aspects of one’s

identity such as race, gender and sexual

orientation. In today’s world, those identities

are challenged physically, mentally, and

politically. Despite opposition, these artists

in paper, book and print intertwine their

identities with their work to unapologetically

establish who they are. View other upcoming

exhibitions here https://www.morganconservatory.

org/2024-exhibitions-schedule

An exciting exhibiton coming up at the Robert

C. Williams Museum of Papermaking

September 4, 2025 - January 30, 2026. Legacies

in Paper: Nancy Cohen, Sara Garden Armstrong,

& Helen Hiebert, What does it mean

for an artist to spend years exploring a material?

How deep an understanding and visual

vocabulary can be created with time and an

extensive investigation. The three artists featured

in the inaugural triennial series Legacies

in Paper have spent a lifetime exploring

the boundless qualities of handmade paper.

The Paper Museum celebrates the endless

vast possibilities of hand papermaking and

the dedication to the creation of meaningful

excellent art by Nancy Cohen, Sara Garden

Armstrong, & Helen Hiebert. Follow this

link for other upcoming exhibitions https://

paper.gatech.edu/upcoming-exhibits

We want to promote your projects!

If you have any news, upcoming

events, or open opportunities let

us know at newsletter@handpapermaking.

org

OPPORTUNITIES

Penland School of Craft is still accepting

applications for their Winter Residency

Program until July 30. Penland’s Winter

Residency program is a short-term residency

opportunity for artists seeking to work independently

in one of our 16 studios during

Penland’s quiet season. Session one runs

January 4-16, 2026, and Session two runs

January 18-30, 2026. For more information,

follow this link https://penland.org/residencies/

winter-residency/

special thanks to our donors

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: 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, 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 2025 auction fundraising

event: Amanda Degener, Frances JJ, James

Ojascastro, Lesley Dill, Dieu Donné, Round

Top Paper, Ilze Dilane, Heike Berl, Kyoko Ibe,

Amy Richard, Pyramid Atlantic Art Center,

Paper Circle, The Befuddled Press, Tom Balbo,

Arnold Grummer's Papermaking, Sophia

Hotzler, Susan Mackin Dolan, Red Hot Fibre,

Carriage House Paper, Janus Press, Cave Paper,

Tasniya Tarmin, Lynn Sures, Darin Murphy,

Hook Pottery Paper, Aimee Lee, Botanical Colors,

Washi Arts, Lois James, Helen Hiebert.

AND THANKS TOO TO OUR SPONSORS

Arnold Grummer’s, the Papertrail Handmade

Paper & Book Arts, Penland School of

Craft, The Robert C. Williams Papermaking

Museum, Carriage House Papers and Dieu

Donné.

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