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HAND PAPERMAK ING N E W S L E T T E R
Number 98, April 2012
Newsletter Editor: Shireen Holman Advertising & Listings: Mary Tasillo Desktop Production: Amy Richard
Columnists: Sidney Berger, Maureen and Simon Green, Helen Hiebert, Elaine Koretsky, Winifred Radolan, Mary Tasillo
Hand Papermaking Newsletter is published quarterly. Annual subscriptions are $55 in North America or $80 overseas, including two issues of the journal Hand Papermaking. Two year rates are discounted: $105 in North America or $155 overseas. To subscribe, send a check to the address below, call or fax us to use Visa or MasterCard, or visit our website. Foreign subscribers may use a credit card, or pay in U.S. dollars via money order or check marked payable through a U.S. bank. For more subscription information, or a list of back issue contents and availability, contact:
Hand Papermaking, Inc.
PO Box 1070, Beltsville, MD 20704-1070
Phone: (800) 821-6604 or (301) 220-2393
Fax: (301) 220-2394
E-mail: info@handpapermaking.org
Web: www.handpapermaking.org
The deadline for the next newsletter (July 2012) is May 15. Please direct all correspondence to the address above. We encourage letters from our subscribers on any relevant topic. We also solicit comments on articles in Hand Papermaking magazine, questions or remarks for newsletter columnists, and news of special events or activities. Classified ads are $2.00 per word with a 10-word minimum. Rates for display ads are available upon request.
Hand Papermaking is a 501(c)(3) non-profit organization. Staff: Tom Bannister, Executive Director; Mina Takahashi, Magazine Editor; Shireen Holman, Newsletter Editor; Mary Tasillo, Advertising and Listings.
Board of Directors: Sidney Berger, Frank Brannon, Shannon Brock, Zina Castañuela, Jeffrey Cooper, Georgia Deal, Susan Mackin Dolan, Jim Escalante, Susan Gosin, Anne Q. McKeown, Julie McLaughlin, Andrea Peterson, Amy Richard, Gibby Waitzkin, Eileen Wallace. Board of Advisors: Timothy Barrett, Simon Blattner, Gregor R. Campbell, Kathryn and Howard Clark, Mindell Dubansky, Jane M. Farmer, Helen C. Frederick, Dard Hunter III, Elaine Koretsky, James Sitter, Claire Van Vliet. Co-founders: Amanda Degener and Michael Durgin.
Dear Subscribers,
Pre-publication sales begin in April for the next portfolio in Hand Papermaking’s limited-edition series, provocatively titled “Handmade Paper: Fiber Exposed!”
These seventeen works feature unusual and creative interaction between fibers; and demonstrate how fiber can be the primary medium used to create imagery, concept, and content. The artists are John Babcock, Helmut Becker, Kerri Cushman, Amanda Degener & Bridget O’Malley, Susan Mackin Dolan, Karla Elling, Mary Hark, Helen Hiebert, Ann Marie Kennedy, Susan Kristoferson, Drew Matott, Andrea Peterson, Robert Possehl, Dianne Reeves, John Risseeuw, Beck Whitehead, and Marilyn Wold. Eugenie Barron has been commissioned to write the essay. Visit portfolios.handpapermaking.org to learn more about this inspiring collection of work, or to place your order, taking advantage of our special pre-publication price. Ask about the benefits of being a standing order customer.
This project is our tenth portfolio. The series documents and preserves contemporary examples of distinctive handmade papers. Each focuses on a different aspect of the use of handmade paper. Previous portfolios featured decorated papers, letterpress printing, papers from Nepal, photography, watermarks, printmaking, pulp painting, calligraphy, and paper engineering. Though most of these are sold out, visit our dealer’s site at mathesonbooks.com/ HandP.htm where a rare complete set is offered.
Thanks for supporting Hand Papermaking!
Tom Bannister
Dear Readers,
I am pleased to introduce myself and my work to hand papermaking artisans. As a papermaker who works as a botanical scientist, I was always intrigued by how a plant actually makes the fiber that becomes our paper. In particular, I wondered—what is the function of the fiber in the plant? How does the plant make the fiber? What are the properties of the fiber that make it useful for paper? How are these properties useful for us? Why are there qualitative differences in the fiber of plants? What are the chemicals that I add actually doing in the vat?
Through my own work with teachers I have tried to answer these questions. Most recently, I have posted a couple of videos on papermaking through my YouTube channel, “Southeastern Ethnobotany” (SEEthnobotany), which can be seen at www.youtube.com/user/SEEthnobotany.
My graduate student, Kate Cummings, and I are busy putting finishing touches on a claymation video that will more clearly illustrate some of the complex topics I touch on in my “Hand Papermaking from kozo” video. Additionally, I have shared my flowcharts for papermaking from bast or leaf fibers and a list of favorite fibers from which to make paper. These can be found on my website: www.chaoticgardening.com.
Initially, I chose to learn hand papermaking as a means of providing some relief for the rigidity of science experienced in graduate school. I learned how to make paper from Elizabeth Ellison, who uses her paper for watercolor paintings. While in a class taught by Elizabeth, I met Chery Cratty. She and I shared one vat and she now paints with pulp. Thinking about the anatomy and chemistry of papermaking allowed me to blend in what I had learned about the fiber with the scientific/educational work I was doing. Though I have often questioned its value for others, it has kept me more balanced in my personal life. I welcome your thoughts and comments on my work.
Karen C. Hall, Ph.D.
Extension Assistant Professor
Clemson University • Clemson, South Carolina
Dear Hand Papermakers,
I have been supporting the Occupy DC campers at Freedom Plaza and McPherson Square in Washington, DC, and wanted to come up with a way to contribute to the movement. So here’s a creative way to occupy your space on the national map and get your message heard with your own Pop-Up Occupy Tent. I’ve created a website, www.occupypopup.com, from which you can download a USA map card and tent pattern of your choice. Print on any paper you choose. A handmade sheet would certainly attract attention! Write your message on the side of the tent and follow the directions for cutting out and constructing the pop-up into the card. You can then send the card to your representatives on Capitol Hill or to the White House.
Carol Barton
Washington, DC
> ALONG THE PAPER ROAD...
This regular feature offers paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. In this column Elaine reminisces about Paper Road adventures in 2002.
The Year 2002 was an active year for us, as usual. We spent all of January and February in Bangkok residing in a small hotel near the Chao Praya River and the Shangri-La Hotel. My husband Sidney and I carried with us from Boston all of our research dairies, journals, and notes spanning a thirty year period of involvement in paper history. I spent the mornings at my desk organizing the massive data. I checked my e-mail daily, making plans for an expedition to China and Japan in April. We frequently attended galleries to check out items on the Asian arts and crafts scene. I was also busy writing my quarterly article for the Hand Papermaking Newsletter, e-mailing it just before the deadline. We visited Thai friends in their homes and we visited Western friends who live in the ex-pat community. We made a five-day excursion to northern Thailand, visiting Udon Thani and Nong Khai along the Mekong River. We made a ten-day trip to Burma, first stopping to see our good friend Supan Promsen at the Idin Paper Mill in Lampang,1 then crossing by land from northern Thailand into Myanmar to revisit Kengtung, capital of Eastern Shan State. Finally, we flew on to Mandalay and Rangoon. This visit to Burma was our fifteenth in the past twenty years.2
We returned to Boston in March, and shortly left for Yale University in Connecticut, where I gave a lecture on the “Origin of Paper and its Spread Throughout the World.”
In mid-April we left for China where I led a three-week expedition to eight different papermaking villages in Yunnan and Guizhou Provinces. This was especially exciting since we visited several villages we had never seen previously. We were delighted to have Dr. Richard Hills, past president of the International Society of Paper Historians (IPH), as a member of the group. He contributed greatly with his extensive knowledge of paper history and provided particular keen insight into the subject of the horizontal waterwheel used by the papermakers on the Chong An Jiang River.
Then we spent a fourth week by ourselves in Japan. Our warm and delightful host was the American artist Richard Flavin,3 who has been living in Japan for the past thirty years, as papermaker, artist, rice farmer, kozo grower, and many other roles. We stayed with Richard and his lovely wife Ryoko either in Ogawa-machi, living in a Zen temple three hundred years old or in Tokyo, in Ryoko’s apartment near her studio, where she designs one-of-a-kind beautiful persimmon-dyed silk dresses. We had an opportunity to revisit the papermaking villages of both Ogawa-machi and Kurotani-machi, which we had previously explored in 1976. These villages have been making traditional paper for hundreds of years but currently the number of active workers is very few. A high point in Tokyo was an invitation for me to speak at a meeting of the Washi Culture Study Society, headed by Professor Kume Yasuo, a scholarly man with vast knowledge of traditional papermaking. Another highlight was an invitation for us to visit the Imperial Library located within the walls of the Japanese Imperial Palace. There we had the rare opportunity to microscopically examine four of the four hundred thousand documents stored in a vast climatically controlled chamber entered through a large, half-ton steel door.
We spent a week in Italy in August- September, in Rome and Verona, attending the biennial meeting of IPH. Both Sidney and I presented papers at the meetings. Sidney’s paper was titled “Piss, Paper and People,” dealing with a discovery we had made about the use of human urine in the processing of bamboo fiber for the traditional making of paper in rural Eastern China.4 My subject was the origin of our modern industrial papers. In October, we squeezed in a week of driving down to Washington, DC, visiting family and friends on the way—in New York, Philadelphia and DC. Still following the paper road, we visited three friends in DC who had written articles and books about Burmese art and culture—Charlotte Reith, Sarah Bekker and Sylvia Fraser-Lu. At Sylvia’s house we had a spectacular lunch and stimulating conversation, surrounded by her splendid collection of Asian artifacts. We were in the DC area at the height of the sniper shooting spree, but carefully avoided refueling at gas stations. In Philadelphia, we had another great time with paper artists Gilda Ellis and Rona Richter.
Late in October we flew to Portland, Oregon for the annual meeting of The Friends of Dard Hunter. I was delighted at the positive response to my new film, “Traditional Sheet Forming Techniques Around the World,” which documents nearly thirty variations in making paper. Sidney was the featured banquet speaker, relating “A Tale of Adventure & Blood Along the Paper Road.” The adventure took place in Morocco in 1981 when I was researching pigments and dyes.
Editor’s notes:
1. For more about the Idin Paper Mill, see Joseph Roberson, “Idin Paper Mill,” Hand Papermaking, vol. 13, no. 1 (Summer 1998): 34-37.
2. Donna Koretsky has just been leading an expedition in Burma, Thailand, and Vietnam.
3. For more on Richard Flavin, see Paul Denhoed, “ON Richard Flavin: A Conversation,” Hand Papermaking, vol. 24, no. 1 (Summer 2009): 16-18.
4. Elaine describes the use of human urine in more detail in: Elaine Koretsky, “Bamboo Paper Sample from Cai Jia Wu, China,” Hand Papermaking 20, no. 2 (Winter 2005): 23, and in her “Along the Paper Road” column in the January 2006 issue of Hand Papermaking Newsletter, #73.
> TEACHING HAND PAPERMAKING
Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. Here we see Yale University’s sculpture students enjoying one of Winnie’s papermaking classes.
For the past couple of years, in late January I have had the pleasure of embarking on a day trip that excites me right out of my natural winter hibernation tendencies. Happily, once again on a Monday evening during the second week of Yale University’s spring semester, I was packing my car with pulp, moulds and deckles, vats, couching blankets, pellons, and my portable press for an early morning departure. My eight-hour round trip would take me to and from New Haven, Connecticut to teach a two-hour introduction to papermaking class for thirteen of Yale’s sculpture students. This year I was to be the guest of instructor and New York sculptor/installation artist, Elana Herzog.
My fortuitous earlier-than-usual departure Tuesday morning allowed the time needed for my unusual and unexpected exit from Interstate 95 into New Haven, necessitated by massive, confusing road construction. As there was also somewhat of a parking challenge, it turned out to be just fine that I had forgotten to pack my paper samples. Arriving students were immediately conscripted to convert the sculpture room into a paper studio.
After the plastic-covered student station tables were “place-set” with couching blankets, pellons, buckets, and sponges, we allocated a vat table and filled six containers with water. I had prepared a blend of 1½-hour beaten cotton/abaca fibers, a pulp that would drain efficiently on the moulds, considering the short time span of the class. There was a natural batch with daylily leaf inclusions, and three pigmented batches of fiber. We filled four vats with sheet-forming concentrations of pulp, and the fifth with a lighter stencil or veil solution. The sixth vat was to serve as the rinse vat.
The enthusiastic students were instructed and guided through basic sheet formation and couching before being turned loose with the possibilities of layering and stenciling. They had each brought collections of collage/ inclusions, which ranged from plant matter to paper ephemera—old prints, drawings, playing cards, and a Chinese New Year’s envelope. It was exciting to watch their personal expressions unfold with these initial plunges into papermaking.
Two hours pass so quickly, and before we’d really had a chance to soak our surroundings it was time to gather their posts together into my portable press. I did so as I explained the variations and challenges of drying paper with a desired two-dimensional stability. I reflected briefly on the appropriateness of cockled paper for a sculpture class, “No worries if it doesn’t dry flat, just other opportunities!”
Since no other class needed this space during the semester, we could restraint-dry everyone’s work on the tabletops. I have always enjoyed this part of the process, as it allows me to see the individual magic that was made while I was busy running around to recharge vats or solve a problem where needed. The handmade papers, tiled out on tabletops and adhered until dry, with the aid of synthetic chamois and a rolling pin, were quite colorful and individual. It was amazing to see the transformation that had occurred with those four simple bags of pulp, brought to bear by these thirteen creative students in a warp-speed two hours! These glowing memories always help the long commute fade rapidly from recollection, and leave me in wonderful anticipation of my next invitations!
HAND PAPERMAKING
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> PAPER HISTORY
Maureen and Simon Green, from the United Kingdom, write a joint column on Paper History. Maureen is a paper historian, and author of Papermaking at Hayle Mill 1808- 1987. Simon was the last of the Green family to run Hayle Mill. He provides consulting services to papermakers worldwide. “Paper Shortages – WWII” is about a Paper Order restricting the use of paper during the war.
Old newspapers are a fascinating source of information. The following article, transcribed in full below, outlines some of the restrictions which were imposed in Britain during WWII.
The Daily Telegraph and Evening Post
London, Wednesday, November 12, 1942
Less Paper for Everybody –
Drastic Bans in Supply Order
Drastic new provisions affecting almost every section of the community are contained in a new Paper Order issued by the Ministry of Supply, which comes into operation this morning.
The Order (Control of Paper No. 36) is designed to secure the utmost possible economy in the use of paper and so to conserve supplies which are needed for munitions and other essential supplies. This is how the new restrictions will affect members of the public:
Shopping Parcels: Deliveries Excepted. Only foodstuffs or articles which a retailer has agreed to deliver to customers may be wrapped. A great host of articles in common use will cease to have any paper wrapping when carried away by the purchaser. If you buy shirts and collars, a pair of shoes, clothing of any kind, or a great variety of goods which hitherto have been neatly parcelled, you will have to take your own paper with you or some suitable receptacle. There will be an end to the practice of giving each chocolate or caramel a tiny wrapping of its own.
Loose Cigarettes: Extension Likely. Cigarette cartons, so far as could be learned last night, will still be used, but a much greater impetus to the sale of loose cigarettes is probable. Tobacco manufacturers will no longer be permitted to use paper as a lining in tin containers, or include slips giving the packer’s number. The tins will bear printed paper labels only when any other method of identification is impossible.
Christmas Cards: The Last Chance. Christmas this year will be the last time Christmas cards will be available for the duration of war. Although many guesses have been hazarded, no accurate estimate has ever been made of the number of Christmas cards annually printed and posted. Obviously, however, the number runs into millions.
Cinema Posters. To meet the situation caused by restrictions on cinema posters, I understand that cinemas will show “trailer” films announcing the programmes at other picture houses.
Seed Catalogues. So as not to interfere with the “Dig for Victory” campaign, seed catalogues are exempted from a ban on free advertising circulars.
Football Betting. The weekly issue of 250,000 circulars on fixed odds football betting is to stop. Many bookmaking firms will now be unable to carry on this form of business. The ban does not affect football pool promoters. Since the war started their weekly lists have appeared in the form of newspaper advertisements.
The government also imposed regulations controlling paper furnishes and only War Economy Standard paper was provided for use by printers and publishers. W.E.S. paper was thin and unappealing—made from an admixture of straw and used paper which had been salvaged as part of a highly organised paper drive. It was estimated that tons of paper were regularly collected from businesses still in operation at the time, while farmers were encouraged to make better use of their straw by selling it to paper mills to make pulp.
By 1942-43, publishers were limited to sixty then forty per cent of the paper they used before the war. This, in combination with the bombing of libraries and retail sectors in major cities, meant that books were in scarce supply. It is not surprising then to find older editions of books being savaged in order to reclaim any blank sheets of finer grades of paper—sought after by artists for sketching and painting. When it came to letter writing, “it was a sign of patriotism, not bad manners, to type a formal letter on the back of correspondence already received and noted.”1
Yesterday, we received a letter from one of Simon’s elderly relations. Having lived through WWII, she diligently sends letters posted in reclaimed envelopes, a sign that old habits in times of hardship die hard.
1. A. Calder, The People’s War, Britain 1939- 1945 (London, Melbourne, Sydney: Pimlico, 1996), p. 346.
> DECORATED PAPER
Sidney Berger, a professor at Simmons College in Boston and Director of the Phillips Library at Peabody Essex Museum, has been collecting and researching decorated paper for over thirty years. In this column, “The Handmade Papers of Japan,” Sid describes the work of Thomas and Harriet Tindale.
The most prolific paper decorators in history have been the Japanese. My love for their papers goes back many decades when I first encountered chiyogami, lovely Japanese lace papers, crepe papers, and even the sheets that were not, per se, decorated, but that had such tactile exquisiteness that they were beautiful in their mere existence.
So it was no surprise that when I first learned of the premiere scholarly text on Japanese paper, I wanted to find out all I could about. It. That text was The Handmade Papers of Japan by Thomas Keith Tindale and Harriet Ramsay Tindale (though written mostly by Thomas; Rutland, VT, and Tokyo: Charles Tuttle, 1952). Tindale was an economist sent to Japan to help the government get its economy in shape after World War II. He became enamored with washi, handmade Japanese paper, and devoted a tremendous amount of time to meeting the great papermakers of Japan, studying paper’s manufacture—its methods, fibers, and tools—learning about when and where and how it was made, introducing himself to the great scholars and collectors, and, at the same time, fulfilling his professional obligations.
The text he produced was (and still is) as good a write-up of the history and manufacture of washi as can be had. Henry Morris says of the Tindales’ book, “for a truly comprehensive picture of past and present, with many ancient specimens that could never again be assembled, Tindale stands alone and deserves his special place in the world of paper scholarship” (in Sidney E. Berger, The Handmade Papers of Japan [Newtown, PA: Bird & Bull Press, 2001], p. 11). As this parenthetical citation indicates, I wrote a whole book about Tindale’s masterpiece, published in 2001 by Henry Morris. In it I explain that in around 1995 I searched the Web for all the Tindales I could find, going from state to state on a site that gave addresses and phone numbers. Fortunately, there were not too many of them, and when I got to the right state I hit the jackpot. I found Andy Tindale, the authors’ son, who had kept his parents’ archives and correspondence and a good deal more, much of which had to do with the making of their magnificent set of books.
The original Handmade Papers of Japan is in three wonderful volumes and a portfolio. The first volume, with that very title, has an introduction by Dard Hunter and an excellent text on the manufacture and tools of the trade, photographs of a papermaking village, pictures of many things related to papermaking, and so on.
Volume two is the Seki Collection of historic papers, with tipped-in specimens going back to 740 A.D. Volume three is the collection of contemporary paper samples. And the portfolio contains 20 superb, hand-rubbed watermarks. (An article on this method of making watermarks was in Lindsay J. Nakashima and Jocelyn Webb, “Tesuri-Kako-ho: Japanese Hand-Burnished Watermarking,” Hand Papermaking Volume 14, no. 1 [Summer 1999]: 6-10).
Volume two is truly remarkable. Yoshikuni Seki was a great scholar/ collector of ancient papers, and for this volume he allowed the Tindales to use his collection to create 187 tipped-in samples for every copy of the book; the earliest sample is from 740 A.D. Naturally, such historic papers were not in abundance, so the Tindale book has tall strips of these papers as samples. The Contemporary Collection, Volume three, contains 139 large samples from 19 Japanese papermaking prefectures. Every sample is accompanied by information such as its name, where it came from, and the pulp it was made from.
The work that Tindale did was truly herculean, what with gathering all the key paper people from Japan; employing and traveling with Francis Haar, a Hungarian photographer living in Japan, who took scores of superb pictures of the papermakers at work; lining up the great scholars to help him understand the whole process; writing the book; gathering samples; convincing Seki to give over enough historical papers to grace 200 copies of the book; getting all of the contemporary papers; hiring excellent artists to create special decorated papers for the bindings of each of the volumes and the portfolio; and much more. Tindale even found and bought the tusk from which the clasps were carved (and he located someone to make them for him) for the chitsu (the case) in which each set was bound.
It was no easy task, also, to convince the Japanese government to allow him to have produced the 20 watermarks that fill the portfolio. Watermarking was forbidden by the government, which wanted exclusive use of watermarks for security papers. Getting permission to include them in the set, lining up the artists to make them, and seeing them to completion was a great accomplishment. One of the major setbacks of the production, however, took place in July 1951. Tindale, in one of his personal journals, on July 16, 1951, says:
We had hardly finished taking stock of the progress of our paper book this morning when we received a telephone call from our friend Seki-san [the one who gave the Tindales the historic papers] to inform us that the office of the Government paper Plant had burned last night. . . . [They drove to Oji to view the ruins.] Somewhere in the blackened mass were the watermarks which were to have been a feature of our book. (Berger, The Handmade Papers of Japan, p. 35)
Fortunately, the blocks used to make these shadowmarks survived and the papers were made a second time.
In my next column I will talk more about the Tindales and their remarkable work.
> FOR BEGINNERS
Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. In “Sustainability in Papermaking: Part 2” Mary elaborates on the ways in which artists can think about environmentally friendly ways of working.
Three years ago, in Hand Papermaking Newsletter #85 (January 2009), this column featured an introduction to thinking about sustainability in the paper studio. I’d like to provide an update to that column as my thinking on this topic has developed over the past several years. Treating sustainability as a fundamental aspect of studio practice from the beginning, from the ground up, is crucial in a responsible art practice—responsible to the community as well as to oneself.
In January 2012, I sat on a panel about Sustainability at the College Book Art Association conference. The panel was moderated by Cynthia Thompson, featured a talk by John Risseeuw, who has been working to develop the conversation within the book, print, and paper arts surrounding sustainability issues, and included printer and book arts studio manager Lara Durback as well as Susan Moore of the commercial Inkworks Press. A few fundamental principles of John’s research include: how do we define the term “sustainable,” and how do we assess the sustainability of a material or practice?
John’s survey of printers and printmaking educators suggests that too often we conflate “good for my health” with “sustainable,” a term that takes into account both long and short-term ecological impact, the complete carbon footprint of a practice, as well as social, economic, cultural, and political impacts. We should be concerned not only with the impact a material may have in the studio, but also with what the effects are of its production and disposal. What are the impacts of its packaging, storage, and shipping? The survey also suggests that too often we, as artists, make decisions based on hearsay, instituting the use of a particular material in the studio because someone told us it was the best option, without investigating and verifying the rationale (for example, and as mentioned in the January 2009 column, using citrus-based cleaners as better for our health when their use can be harmful to the human body).
Key considerations in a sustainable paper studio practice raised previously include: fiber sources; water and energy use; and sources of pigments and other additives. I would like to add a few considerations to the list. In a time of increasing reliance on digital aspects of production, what is the impact of the energy and materials used in digital planning and output? Can digital output of stencil and watermark materials be more wasteful than hand cutting or use of wire?
How do we balance environmental concerns with aesthetic decisions, and with demands on our time? Two key points that came out of the panel discussion at the College Book Art Association conference were: time (the need to slow down to make a more sustainable art practice), and an integration of these considerations with our art and education practices, rather than making them an afterthought, the bonus round of art practice.
What is a beginning papermaker to do in the face of such a complex set of questions, some of which do not have clear answers? Rather than getting overwhelmed, start with these steps:
1) Know your materials. Learn more about the supplies you are using. Where does your half-stuff come from? How were the fibers collected? What can you source locally? Just what are these pigments and additives made from? What are some alternatives? Educate yourself!
2) Slow down. Consider the time spent understanding your materials an integral and valuable part of the creative process. We can only slow down the demands of the art world and the educational system one person at a time.
3) Consider not just the impact of the materials you are using, but the environment in which you are using them. Sustainability is about a holistic approach. Is your studio in your basement? Then perhaps you cannot change the energy source for your studio practice without changing the energy source for your whole home. This points to the ways that our art practice is part and parcel of the rest of our lives.
4) Ask: what research can I do to contribute to our understanding of my impact on the world? Might I be the one to contribute data on how much water a school paper studio uses in a year?
5) Consider how your local papermaking practice can be a resource for other artists. Might a printmaker practice more responsibly by purchasing your paper rather than buying paper from Europe or Japan?
> more for beginners at
newsletter.handpapermaking.org/beginner
Listings for specific workshops and other events in the following categories are offered free of charge on a space-available basis. The deadline for the July 2012 Newsletter is May 15. Contact each facility directly for additional information or a full schedule. Teachers: Tell your students about Hand Papermaking! Brochures and handouts can be mailed to you or your institution.
Email newsletter@handpapermaking.org
A Cut Above, July 8-14, with Béatrice Coron. Create paper images and objects incorporating historical traditions and modern approaches to papercutting, exploring scale and dimensional works.
Pushing the Boundaries with Sculptural Paper: Part 1, August 5-11, with Jo Stealey. Integrate papermaking, fiber, basketry, and three-dimensional processes to explore handmade paper as sculpture while considering the potential of these processes in your personal work.
Exploring the Boundaries: Sculpting with Handmade Paper: Part 2, August 12-18, with Jo Stealey. Create translucent, skin-like paper to be used in sculptural processes, incorporating layers and surface treatments.
Art New England, Bennington, VT, (617) 879-7175, www.massart.edu/ane, Nancy. Mccarthy@massart.edu. Week-long summer workshops in a range of media.
The Cutting Edge: A Papercutting Workshop, July 22-28, with Béatrice Coron. Explore a broad range of techniques for creating cut paper art and prints.
Asheville BookWorks, Asheville, NC, (828) 255-8444, www.ashevillebookworks.com. Hands-on workshops including bookbinding, printmaking, decorative paper, and basic papermaking.
> CLASSES AND WORKSHOPS
Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont.org. Classes and workshops in a variety of disciplines, including papermaking.
Unusual 3-D Paper Techniques, June 10-1
6, with Melissa Jay Craig. Use high-shrinkage fibers to make compelling three-dimensional paper forms from simple to complex, using armatures and moulds and fiber reactive dyes.
Pop-up Paper Engineering, June 17-23, with Colette Fu. Learn to combine a range of mechanisms and structures with drawings and photographs to create 3-D kinetic art that will fold flat.
A Cut Above, July 8-14, with Béatrice Coron. Create paper images and objects incorporating historical traditions and modern approaches to papercutting, exploring scale and dimensional works.
Pushing the Boundaries with Sculptural Paper: Part 1, August 5-11, with Jo Stealey. Integrate papermaking, fiber, basketry, and three-dimensional processes to explore handmade paper as sculpture while considering the potential of these processes in your personal work.
Exploring the Boundaries: Sculpting with Handmade Paper: Part 2, August 12-18, with Jo Stealey. Create translucent, skin-like paper to be used in sculptural processes, incorporating layers and surface treatments.
Art New England, Bennington, VT, (617) 879-7175, www.massart.edu/ane, Nancy. Mccarthy@massart.edu. Week-long summer workshops in a range of media.
The Cutting Edge: A Papercutting Workshop, July 22-28, with Béatrice Coron. Explore a broad range of techniques for creating cut paper art and prints.
Asheville BookWorks, Asheville, NC, (828) 255-8444, www.ashevillebookworks.com. Hands-on workshops including bookbinding, printmaking, decorative paper, and basic papermaking.
PapermakingI: Pulp to Paper, March 24-25 or November 10-11, with Frank Brannon. Learnsheet forming techniques using beater-prepared pulp.
Paper Like Leather, Bark Like Thread: Korean PaperTechniques, April 14-15, with Aimee Lee. Learn techniques for working with thelongfibered Korean hanji, including paper felting, hanji yarn, and cording andweaving.
Papermaking Intensive, May 21, 22, 24, 25, &26, with Frank Brannon. Focus on sheet formation, use of the paper beater, andthe use of a range of fibers in this five-day workshop. Papermaking II, August10-12, with Frank Brannon. Learn to use the Hollander beater to process variousfibers and improve your sheet formation.
Bear Creek Paperworks, Columbia, MO, (573)442-3360, www.bearcreekpaperworks .com. Workshops in paper and book arts; someworkshops can be taken for academic credit through Central MethodistUniversity. Contact Leandra Spangler at leandra@bearcreekpaperworks. com formore information.
The Boston Paper Collective, Boston, MA (614)282-4016, www.bostonpapercollective .com. Classes in papermaking and marbling, aswell as studio rental and special projects, as well as Open Papermaking Nightson the second Thursday of each month at 6:30 p.m.
John C.Campbell Folk School, Brasstown, NC, (704) 837-2775, www.folkschool.org. Classesin papermaking and other crafts in the mountains of western North Carolina. PaperPleasures, April 1-7, with Rajeania Snider. Explore the basics of both 2-D and 3-Dpapermaking using materials and equipment that can be found in the home.
Canadian Bookbinders and Book Artists Guild,Toronto, ON, (416) 581-1071, cbbag@ ccbag.ca, www.cbbag.ca. Book and paper workshopslocated on-site in Toronto and in off-site studios. Marbling Open Studio, April28 or 29, with Pam Belshaw. Marble a stash of papers for your personal use.
Carriage House Paper, Brookline, MA, (617)232-1636, paperroad@gmail.com. 3-D Papermaking in Depth, July 2-5, with DonnaKoretsky, Shannon Brock, and Elaine Koretsky. Master a range of sculptural techniquesincluding pulp painting combined with pulp pouring, laminations, collage,watermarking, use of stencils, vacuum table techniques, pulp spraying, Japanesepapermaking, and the use of flax and other long-fibered pulps to create three-dimensionaland relief forms, with the opportunity to produce a 4 x 6-foot or larger paperwork. Carriage House Paper, Brooklyn, NY, (800) 669-8781,www.carriagehousepaper.com. Papermaking workshops offered in a new studiospace. Visit website for complete workshop schedule. Intro to Papermaking,April 14 or August 4, with staff instructor. Explore the basic techniques ofWestern papermaking, from pulp preparation to drying. Pulp Painting, May 5-6,with staff instructor. Use multiple vats of pigmented pulp and a range of techniquesto make images in handmade paper. Exotic Fibers and Japanese Papermaking, May19-20, with staff instructor. Create papers from fibers such as hemp, banana, andkozo, all grown at Carriage House. Asian Papermaking and Suminagashi, June 2-3,with staff instructor. Spend one day making thin sheets from abaca and kozo, followedby a day of marbling the papers. 2-D Papermaking in Depth, June 11-15, with staffinstructor. Explore a broad range of techniques from watermarking to pulp pouringto the vacuum table and more. Sculptural Papermaking, July 28-29, with staffinstructor. Work with metal, wood, and fabric armatures and high shrinkagefibers such as flax and abaca to achieve hollow, seamless forms.
Center for Book Arts, New York, NY, (212) 481-0295, www.centerforbookarts.org. Dozens of book and paper workshops offered in midtown Manhattan.
Circle of Life Studio and Summer Gallery, Eagle River, WI, (715) 479-9737, www.circleof lifestudio.com. Offering weekly papermaking workshops June through September, and by special arrangement all year.
Columbia College Chicago Center for Book and Paper Arts, Chicago, IL, (312) 344-6630, www.bookandpaper.org. Papermaking classes in spacious downtown studios.
Paper in Three Dimensions, April 21-22,
with Helen Hiebert. Investigate papermaking, paper folding, model making, and other techniques to create a sampling of small sculptural forms that expand and collapse, open and close, fold and unfold.
Dieu Donné Papermill, New York, NY, (212) 226-0573, www.dieudonne.org. Beginning and advanced papermaking classes for adults and children.
Introduction to Contemporary Papermaking, April 3, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques.
Creative Techniques for Artists with Open Studio, April 10, with staff instructor. Explore advanced techniques and their application for two- and three-dimensional projects, with a different focus at each session; experiment on your own with studio pulps, making sheets up to 11 x 14 inches.
Eureka Springs School of the Arts, Eureka Springs, AR, (479) 253-5384, www.esart school.org. Offering learning opportunities in multiple media including fiber arts.
Hand Papermaking: Experimentation & Exploration, August 13-17, with Leandra Spangler. Use cotton linter pulp as the basis for many samples of handmade paper incorporating a range of collage and color techniques.
Fine Line Creative Arts Center, St. Charles, IL, (630) 584-9443, www.fineline.org Providing year-round classes in papermaking, textiles, and other art forms.
Fleisher Art Memorial, Philadelphia, PA, (215) 922-3456, www.fleisher.org. Year round classes and exhibitions in a range of art media.
Papermaking, Mondays, April 9 - May 7, with Mary Tasillo. Learn a range of techniques for creating imagery in handmade paper.
Gail Harker Creative Studies Center, Oak Harbor, WA, (360) 279-2105, www.gail creativestudies.com. Offering courses in textile arts.
Papermaking: From Pulp to Portfolio, June 8-10 or July 28-29, with Lisa Harkins.
Green Heron Book Arts, Forest Grove, Oregon. Classes in book and paper arts at the Accidental BookMaker. Contact pagrass@aol.com for more information.
The Hall of Awa Japanese Handmade Paper, 141 Kawahigashi, Yamakawa-cho, Yoshinoga washi, Tokushima 779-3401, Japan, fax 81-883-42-6085, www.awagami.com.
Haystack Mountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack -mtn.org. Workshops in various disciplines, including papermaking and book arts.
Joomchi and Beyond, July 15-27, with Jiyoung Chung. Become acquainted with the history, practice, and role of Joomchi in Korean society, as well as hands-on techniques and reinterpret ed adaptations into contemporary art.
Heron Cove Fine Arts, Point Prim, Prince Edward Island, Canada, (902) 659-2559, www.heroncovefinearts.com. Weekend and week-long workshops in papermaking, fiber arts, bookmaking, and photography.
Paper Workshop, August 28-30, with Helen Hiebert.
Hook Pottery Paper, LaPorte, IN, (291) 362-9478, jonandrea@hookpotterypaper. com, www.hookpotterypaper.com. Classes in papermaking and pottery and a residency program in northern Indiana.
Kalamazoo Book Arts Center, Kalamazoo, Michigan, (269) 373-4938, info@kalbook arts.org, www.kalbookarts.org. Classes in book printing and binding, printmaking, hand papermaking, and creative writing.
Magnolia Editions, Oakland, CA, (510) 839-5268, www.magnoliapaper.com. Workshops in papermaking, printmaking, and book arts.
Maine Media Workshops, Rockport, Maine, (877) 577-7700, www.theworkshops.com.
Year-round classes in multiple media.
MayBe Studio, Abita Springs, Louisiana, (985) 893-3184.
Hand Papermaking, selected Saturdays, with Mary-Elaine Bernard. Learn Eastern and Western methods of making paper and incorporate local plant fibers.
Minnesota Center for Book Arts, Minneapolis, MN, (612) 215-2520, www.mnbookarts.org. Classes at the Open Book center for book and literary arts.
Beater Training, April 3, with staff instructor. Learn beater operation, safety procedures and cleaning for MCBA’s three beaters as a prerequisite to renting the beaters for your own use.
Open Studio: Beater Training, April 10, with staff instructor. Beat fiber for paper for future sheet forming.
Remove and Repurpose: a Handmade Paper Workshop, April 14-15, with Morgan Hiscocks. Create paper based on reducing, reusing, and recycling in this experimental workshop.
Open Studio: Papermaking (B.Y.O. Fibers), April 14, with staff instructor. Get into the vat, hone your sheet-pulling technique, and enjoy the fellowship of other artists, using your own previously beaten fibers.
Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, http://morganconserv atory.org. Workshops in hand papermaking and the arts of the book in an innovative green environment.
Old Ways Book Arts Tools and Workshops, near Santa, ID, (208) 245-3043, traditional hand@gmail.com, http://www.traditional hand.com/oldway/. Workshops with Jim Croft in making books from old tools and materials.
Oregon College of Art and Craft, Portland, OR, (503) 297-5544, www.ocac.edu. Continuing education and degree programs in craft.
Sculptural Paper, May 12-13, with Helen Hiebert. Explore how to embed string, wire, and other stiff (yet flexible) materials between sheets of handmade abaca paper to create dimensional paper objects.
Paper Circle, Nelsonville, OH, (740) 753-3374, www.papercircle.org, papercircle@ frognet.net. Call or e-mail for information about upcoming paper classes.
Open Studio, second Saturdays, with studio artists. Gain new skills while working on themed, relaxed projects.
The Papertrail, New Dundee, Ontario, Canada, (800) 421-6826, www.papertrail.ca.
Classes in papermaking, marbling, and related arts and studio rental scheduled on an as-needed basis.
PapierWespe (PaperWasp), Klimschgasse 2/1, Vienna Austria, (0676) 77-33-153, office@ papierwespe.at, www.papierwespe.at. Workshops in English and German taught by paper specialists in downtown Vienna.
Straw, Jeans, Sisal, September 1-2, with Beatrix Mapalgama.
Classic Watermarking, October 6-8, with Boris Hammer.
Penland School, Penland, NC, (828) 765-2359, www.penland.org. A full program of craft workshops, including papermaking.
Visual Paper/Visual Text, May 27-June 8, with Paul Wong. Collaborate with other classes as you develop your watermarking, embedding, and color-pulp application techniques.
Papermaking & Handmade Books, June 24- July 5, with Frank Hamrick. Make paper from cotton rag and incorporate it into handmade books.
Peters Valley Craft Center, Layton, NJ, (973) 948-5200, www.petersvalley.org. Workshops in papermaking and a variety of crafts.
Explore the Art of Papermaking, August 17-21, with Winnie Radolan. Learn a broad range of papermaking techniques, incorporating both 2-D and 3-D; and Eastern and Western sheet forming methods.
Pyramid Atlantic, Silver Spring, MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshops in papermaking, printmaking, and book arts.
Papermaking Society, Third Thursdays. For details contact Associate Papermakers Laura Kinneberg and Lynette Spencer at pyramid paper@gmail.com.
Paper Like Leather, Bark Like Thread: Korean Paper Techniques, March 31 - April 1, with Aimee Lee. Explore a variety of techniques for working with Korean handmade paper, from paper felting to creating thread to cording and weaving.
Earth Day Papermaking, April 22, with Laura Kinneberg. Make paper from recycled materials including rags and kitchen scraps.
Spill, Splatter, Seep, Dip, Tear: Paper Staining Techniques, May 6, with Laura Kinneberg. Experiment with staining and tearing paper in the sheet forming stage, working with different pigmenting agents.
Paper Sheet Forming with Inclusions, June 3, with Lynette Spencer. Gather local materials from the street to incorporate into handmade paper.
Introduction to Papermaking, June 24 or August 5, with Laura Kinneberg. Learn to prepare fibers in the Hollander beater, how to form sheets of paper and how to color pulp with aqueous pigments.
Casting a Bas Relief in Paper, July 9, 16, 23, 30, with Lynette Spencer. Create a 3-D wall piece from cotton linter cast into a plaster mold.
Robert C. Williams Paper Museum, Atlanta, GA, (404) 894-5726, http://ipst.gatech.edu/amp/.
Teachers’ Japanese Papermaking Workshop, June 18-22, with Berwyn Hung. Learn all aspects of the Japanese papermaking process, including building a sugeta and learning Japanese bookbinding.
San Francisco Center for the Book, San Francisco, CA, (415) 565-0545, www.sfcb.org. Book arts classes and events year-round.
Paste Papers, April 23, with Courtney Cerruti. Create original, hand-patterned paste paper using this traditional decorative paper technique.
Sarvisberry Studio and Gallery, Floyd, VA, (540) 745-6330, www.sarvisberry.com.
Expe rience handmade paper in the heart of the Blue Ridge Mountains.
Open Studio Days, call for schedule. Make your own paper and work on personal projects.
Seastone Papers, West Tisbury, Martha’s Vineyard, MA, (508) 693-5786, www.sea stonepapers.com. Scheduled classes, open studio, and private workshops in hand papermaking, surface design, and book arts. For further information, email Sandy Bernat at sandy@seastonepapers.com.
Sievers School of Fiber Arts, Washington Island, WI 54246, (920) 847-2264, www .sieversschool.com. Summer workshops on an island in Lake Michigan.
Variations in Pulp, August 12-15 or August 12-17, with Thomas Grade. Incorporate a variety of fibers and techniques from sheet forming to pulp spraying and casting into your own studio work.
Southwest School of Art, San Antonio, TX, (210) 224-1848, www.swschool.org. Classes at the Picante Paper Studio. Individual papermaking classes can be scheduled for one person or a group; please contact Beck Whitehead at bhwhitehead@swschool.org. Studio time, consultation, and instruction available most Tuesdays, Wednesdays, and select Saturdays. The Southwest School of Art will add a BFA program, beginning with a freshman class, in the Fall of 2013.
Papermaking Saturdays, March 31 or April 16, with Beck Whitehead. Work on independent projects with consultation.
Truro Center for the Arts at Castle Hill, Truro, MA, (508) 349-7511, www.castlehill.org. Workshops and events in the arts.
University of West England, Bristol, U.K., (0)0117 3284810, sca.cpd@uwe.ac.uk,
www.bookarts.uwe.ac.uk. Classes offered through Continuing Professional Development at the School of Creative Arts.
West Dean College, Chichester, West Sussex, U.K., (0)1243 811301, short.course@ westdean.org.uk, www.westdean.org.uk.
Creative Papermaking, June 25-28, with Mandy Brannan. Discover the creative possibilities of Western papermaking, such as pigmenting, layering, pulp painting, and inclusion techniques.
Wisconsin Center for Book and Paper Arts, Madison, WI, (608) 284-8394, wcpaperarts@ hotmail.com. Offering tutorial programs in hand papermaking and decorative papers.
Women’s Studio Workshop, Rosendale, NY 12472, (845) 658-9133, info@wsworkshop. org. Summer Arts Institute includes workshops in papermaking, printmaking, book arts, photography, and other media.
Unusual 3-D Paper Techniques, July 9-13, with Melissa Jay Craig. Create compelling forms using high-shrinkage fibers, incorporating fiber reactive dyes for brilliant colors.
More Paper for Papermakers, July 23-27, with Eugenie Barron. Expand your papermaking repertoire using a range of pulps and guided experimentation.
Metal Armatures for Sculptural Hand Papermaking, July 30 - August 3, with Pamela J. Wallace. Learn to solder and weld a range of metals, creating armatures for highly beaten pulps.
Japanese Papermaking, August 6-10, with Tatiana Ginsburg. Learn all aspects of traditional Japanese papermaking, from selection of fiber to cooking, picking, beating, sheet forming, pressing, and drying.
From Paper to Print, August 13-17, with Gretchen Schermerhorn. Create customized and stenciled handmade papers for the application of printing techniques.
Handmade Paper and Encaustic, August 20-24, with Tatana Kellner and Kelly McGrath. Create a variety of layered papers that are then further transformed with encaustics.
Woodwalk Gallery, Egg Harbor, WI, (920) 868-2912, kcchristian@itol.com,
www .WoodwalkGallery.com. Classes in handmade paper and natural materials.
> EVENTS
FiberPhiladelphia is an international biennial and regional festivalfor fiber art taking place in March, April, and May. Exhibitions will be heldat forty locations in the Philadelphia area, encompassing both traditional andexperimental techniques. For a guide to exhibitions and events, visitwww.fiberphila delphia.org.
The Korean Bojagi Forum, August22-26 in Seoul, Korea, explores the art of wrapping cloth and its materials,including silk, ramie, hemp, and handmade paper. The program includes speakers,demonstrations, and workshops. Many renowned artists from the USA, Europe, andAsia have been invited to exhibit their contemporary bojagi-inspired art works,from functional wrappers to wearables, to creative interpretations in two- andthree-dimensional works. Visit http://handsofkorea.com for further information.
The Friends of Dard Hunter willhold a joint meeting with IAPMA, the International Association of Hand Papermakersand Paper Artists, October 17-21 in Cleveland, Ohio. This opportunity for bothpapermaking organizations to convene will be hosted at the Morgan Conservatory.For information as plans develop, visit www.friendsofdard hunter.org orwww.iapma.info.
The 9th International BiennialSymposium and Exhibition on Textile Art, Scythia 9, will take place June 19-24in Kherson, Ukraine, featuring an international juried exhibition of a broadspectrum of fiber arts, a conference on textile art, an art-to-wear show, andworkshops. For information, email anschnei@public.kherson.ua or visit http:// anschnei.public.kherson.ua.
> EXHIBITS Paper Fortress: Paper as Fiber continues through April22 in Philadelphia in conjunction with Fiber Philadelphia 2012. The exhibitionwill be held at Pterodactyl Gallery, with a reception on Saturday, March 31stfrom 6-9 pm. Curated by Nicole Donnelly, PaperFortress will feature two-dimensional prints and drawings, sculpturalobjects, and artist books by Carol Cole, Jenna Efrein, Alexis Granwell, KarenHardy, Daniel Hoffman, Lisa Murch, Ellen Owens, Erin Robin, Mary Tasillo, andBonnie Kaye Whitfield. For gallery information, call (215) 501-7158 or visithttp://pterodactylphiladel phia.org.
Left to Chance: The Accidental Book Art, curated by HannaRegev, includes work in handmade paper by Michelle Wilson. The exhibition is onview through May 12 at the San Francisco Center for the Book in California. Formore information, please visit: http:// sfcb.org/exhibitions or call (415)565-0545.
Objects and Elements:Sculpture by Carol Cole opens at the Villanova University Art Gallery inVillanova, Pennsylvania on April 20, with a reception from 5-7 pm, and runs throughJune 9. For more information about the artist’s cast paper sculpture, visit www.carolcole.com.For gallery information, visit http://artgallery.villanova.edu.
Constructions ofConscience: The Social Art of Susan Grabel is on view at the Staten Island Museumthrough May 28. This retrospective of over 40 years of work includes work inhandmade paper. Grabel’s serial works address topics including homelessness, alienation,and the aging woman’s body. For more information and directions, visit www .statenislandmuseum.orgor call (718) 727-1135.
Through aPapermaker’s Eye: Books from the Dieu Donné Collection of Susan Gosin will be ondisplay at The Grolier Club April 26-June 8. For details, call (212) 838-6690or email msmith@grolierclub.org.
Shin Jidai: Contemporary Japanese Book and Paper Arts will be on view at the Minnesota Center for Book Arts in Minneapolis from May 19 through July 15. For more information as the exhibit approaches, visit www.mnbookarts.org or call (612) 215-2520.
Hand Voice and Vision: Artists’ Books from Women’s Studio Workshop, curated by Kathy Walkup, is the most comprehensive exhibition of WSW’s books to date. It will travel through 2013 to venues around the country, including Vassar College in Poughkeepsie, New York (through March 9), Carleton College in Northfield, Minnesota (September 25 - November 25), and Scripps College. More about the exhibition, catalogue, and related events can be found at www.handvoicevision.com.
Holland Paper Biennial 2012 in Rijswijk and The Hague, the Netherlands features paperworks. This year’s exhibition will include a focus on artworks referring to books and letters as co-host Museum Meermanno in The Hague specializes in books. The exhibition will take place September 4 - November 25, 2012. For more information about the Holland Paper Biennial you can visit the websites www.museumryswyk.nl - Holland Paper Biennial 2000-2010 or www.meer manno.nl or www.hollandpapierbiennale.nl.
> CALLS FOR ENTRIES
In, On, Of Paper seeks entries by April 6. This exhibition, juried by Eileen Wallace, will be held at Paper Circle in Nelsonville, Ohio, and will feature original work in, on, or of paper including handmade paper, paper sculpture, artist’s books, cut paper, stitched paper or works on paper. The exhibition will take place from May 25 to August 1. Entry details are available at www .papercircle.org/2012-juried-exhibition. Call (740) 753-3374 or email papercirclearts@ gmail.com for additional information.
The AMATERAS International Annual Paper Art - Art on Paper Exhibition seeks submissions as part of this year’s Sofia Paper Art Fest. This exhibition is for small paper works and will be held from May 2 – June 2 at Art Alley Gallery, Sofia, Bulgaria. Details on entering can be found at www.amateras.eu or by contacting Daniela Todorova, M.A. at paperart@amateras.eu.
> PUBLICATIONS AND VIDEOS
Verdant is the second annual collaborative artists’ book by Corcoran College of Art + Design graduate students in the Art and the Book Program. Verdant, a scroll book, provides a unique reading and viewing experience for the present-day bibliophile and book connoisseur. The scroll was crafted with handmade paper composed of recycled materials and abaca, and incorporates text and imagery from each artist. For more information about the book and Marginalia Press, visit www.ccadmarginalia .wordpress.com.
The January 9 entry of Felt and Wire features Andrea Peterson’s work with ten different paper stocks for suminagashi, including the natural fibers of sisal, wheat straw, corn husk, abaca, and mulberry, as well as multiple cotton papers, and including many photographs. You can find the article at www.feltandwire.com/ 2012/01/09/andrea-peterson-gently-enlight ens-us-about-suminagashi-drop-by-drop.
See the February 17 issue of New York Times Magazine for an inspiring article by Mark Levine: Can a Papermaker Help to Save Civilization? The text and photos showcase the work of Timothy Barrett, including his thoughts on the history of the field, his work commissioned by the National Archives (also see The Charters of Freedom sample in the Summer 2001 issue of Hand Papermaking magazine), and the annual kozo harvest at The University of Iowa research facilities. Visit www.nytimes .com/2012/02/19/magazine/timothy -barrett-papermaker.html
Karen Hall demonstrates harvesting mulberry bark, preparing the fibers, and creating sheets of paper in a 15-minute video at the following address: http://www .youtube.com/watch?v=QcNzMsIVEdQ
> more publications and videos at
handpapermaking.org/listings.htm
> MISCELLANEOUS
The Etsy Papermakers Guild is devoted to artists who make their own paper. The group showcases imagery of handmade paper on the Etsy site and hosts an international paper swap each year. For more information, visit http://www.etsy.com/treasury/MTU2MjN8NTk2ODI3/paper-by-the-etsy-papermakers-guild-team?index=3.
Papirmuseet Bikuben in Silkeborg, Denmark, is pleased to announce that they will remain open as part of the Silkeborg Museum after being in danger of closing due to city finances, thanks to the support of the international as well as local community. Papirmuseet Bikuben is a living museum, a site for handmade paper and a resource center housed in an old paper mill. More information on the museum can be found at www.papirmuseet.dk.
Minnesota Center for Book Arts and The Friends of the Saint Paul Public Library are pleased to announce Cave Paper and its founders Bridget O’Malley and Amanda Degener as the winners of the 2012 Minnesota Book Artist Award. If you missed the recent MCBA exhibit celebrating their work, consider purchasing the 40-page color catalog for $20 plus $5 postage. Make checks payable to Cave Paper and send to 212 N. 2nd St., Minneapolis, MN 55401. Email or call to order with credit cards... cavepaper@gmail.com or (612) 359-0645. O’Malley and Degener will receive special recognition and an award at the 24th annual Minnesota Book Awards Gala on Saturday, April 14, at the Crowne Plaza Hotel, Saint Paul Riverfront.
Paper Through Time is a new web resource created by Timothy Barrett detailing his analysis of 14th through 19th century papers. View this comprehensive site at http://paper.lib.uiowa.edu.
> SPECIAL THANKS
Hand Papermaking would like to thank the following people and organizations who have made direct contributions to further our mission. As a non-profit organization, we rely on the support of our subscribers and contributors to continue operating. All donations are greatly appreciated and are tax deductible.
Call or write for more information on giving levels and premiums.
Benefactors: Anonymous, Timothy Barrett, Gibby Waitzkin. Patrons: Jeffrey Cooper, Barbara Lippman, David Marshall. Underwriters: Tom Balbo, Sid Berger & Michèle Cloonan, Susan Gosin, Kimberly Schenck, Nancy & Mark Tomasko, Beck Whitehead, Pamela & Gary Wood. Sponsors: Cathleen A. Baker, Tom & Lore Burger, Michael Durgin, Gail Deery, Karla Elling, Jim Escalante, Jane Farmer, Fifth Floor Foundation, Helen Frederick, Helen Hiebert, Lois & Gordon James, Peter Newland & Robyn Johnson, Eileen Wallace. Donors: Marlene Adler, Shirah Miriam (Mimi) Aumann, James Barton, Simon Blattner, Nina Brooks, Colin Browne, John Cutrone, Benjamin J. Dineen, Susan Mackin Dolan, Kathy Fitzgerald, Sara Gilfert, Robert Hauser, Mervi Hjelmroos-Koski, Lou Kaufman, David Kimball, Betty L. Kjelson, Karen Kunc, Julie McLaughlin, Richard Minsky, Dennis Morris, Catherine Nash, Lissa Paul, Andrea Peterson, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Harry & Sandra Reese, Michelle Samour, Richard H. Schimmelpfeng, Mary C. Schlosser, Peter Sowiski, Betty Sweren, Paul Wong & John Colella. Supporters: Emily Andersen, Lois D. Augur, Carol J. Blinn, Joyce Brodsky, Carla A. Castellani, Roseline Williams Cristanelli, Kathryn & Howard Clark, Nancy O. Daley, Jennifer Davies, Kathryn Flannery, Rose Folsom, Tatiana Ginsberg, Lori B. Goodman, Beverly Harrington, Susan Hersey, Cynthia Hogue, Courtney Hudson, Sally Wood Johnson, Kristin Kavanagh, Ellen Mears Kennedy, Hedi Kyle, M. P. Marion, Maria Pisano, Miriam Schaer, Erica Spitzer Rasmussen, Dianne L. Reeves, Linda Smith, George Thagard III, Marjorie Tomchuk, April Vollmer. Friends: Karen Adams, Rebecca Jean Alm, Eugenie Barron, Bert Bender, Inge Bruggeman, Alexander Campos, Heather Leigh Corey, Juanita Costa, Elizabeth Curren, LaDawn Dalton, Sarah & Joshua Dickinson, Gilda Ellis, Dale Emmart-Lieberman, Gary Frost, Linda Hanauer, Susan Hensel, Daniel & Anca Istrate, Susan Kanowith-Klein, Alison Knowles, Peggy Korsmo-Kennon, Aimee Lee, Jana Lee Pullman, Katie MacGregor, Nancy Manter , Dan Mayer, Bobbi Mastrangelo, Paulette Myers-Rich, Bonnie Reisman,
Szilvia Revesz, Regula Russelle, Cathy Ryan, Beverly Schlee, Agnes Schlenke, Drew Shiflett, James & Marilyn Sexton, Laurie Shelton, Judy Tobie, Ray Tomasso, Gene Valentine, Tom Weideman, Jody Williams, Marilyn Wold, Kimberley Wood, Margaret Wood. In-Kind: Adobe Systems Inc., Zina Castañuela, Janet DeBoer, Paul Denhoed, Jim Escalante, Peter Ford, Julie McLaughlin, Rick McSorley, Microsoft Corporate Citizenship, Steve Miller, Britt Quinlan, Amy Richard, StorterChilds Printing Company, Inc. Founding Contributors to the Hand Papermaking Endowment: 49er Books, Shirah Miriam (Mimi) Aumann, Cathleen A. Baker, Tom Balbo, Timothy Barrett, Sidney Berger & Michele Cloonan, Tom & Lore Burger, Jeffrey Cooper, Jeanne M. Drewes, Jane M. Farmer, Fifth Floor Foundation, Helen Frederick, Sara Gilfert, Susan Gosin, Joan Hall, Lois and Gordon James, Sally Wood Johnson, David Kimball, Elaine Koretsky, Karen Kunc, Barbara Lippman, Winifred Lutz, Susan M. Mackin-Dolan, David Marshall & Alan Wiesenthal, Peter Newland Fund of the Greater Everett Community Foundation, Margaret Prentice, Preservation Technologies, L.P., Michelle Samour, Peter Sowiski, Marilyn & Steve Sward, Betty Sweren, Gibby Waitzkin, Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela & Gary Wood315 West 36th Street New York, NY 10018 t 212 226 0573 f 212 226 6088 www.dieudonne.org Papermaking Classes & Studio Services Contemporary art through handmade paper Classes The studio now offers three distinct classes for serious artists and creators to explore the potential of handmade paper: Introduction to Contemporary Papermaking, Creative Techniques for Artists, and Open Studio. All sessions are three-hours in duration and include assistance from artistic staff. See our website for descriptions, dates and times. Studio Services The studio specializes in collaborative, custom paper and publishing projects. Visual artists work in collaboration with highly skilled artistic staff to create both unique and editioned two- and three-dimensional works. The studio also produces handmade papers with museum archival standards while also allowing the artist freedom with materials of their choice. Please call to arrange a consultation with artistic staff.