HAND PAPERMAKING

NEWSLETTER

Number 119, July 2017

Newsletter Editor: Shireen Holman

Advertising & Listings: Mary Tasillo

Columnists: Sidney Berger, Maureen and

Simon Green, Donna Koretsky, Winifred

Radolan, Mary Tasillo.

Hand Papermaking Newsletter is published quarterly. Annualsubscriptions are $55 in North America or $80 overseas, including two issues ofHand Papermaking magazine. For more subscription information, or a list of backissue contents and availability, contact: Hand Papermaking, Inc.

PO Box 50859, Mendota, MN 55150-0859

Phone: (651) 447-7143

E-mail: info@handpapermaking.org

Web: www.handpapermaking.org

The deadline for the next newsletter (October 2017) isAugust 15. Please direct all correspondence to the address above. We encourageletters from our subscribers on any relevant topic. We also solicit comments onarticles in Hand Papermaking magazine, questions or remarks for newslettercolumnists, and news of special events or activities. Classified ads are $2.00per word with a 10-word minimum. Rates for display ads upon request.

Hand Papermaking is a 501(c)(3) non-profit organization.Staff: Michael Fallon, Executive Director; Mina Takahashi, Magazine Editor;Shireen Holman, Newsletter Editor. Board of Directors: May Babcock, Tom Balbo,Lisa Cirando, Kerri Cushman, Tatiana Ginsberg, Joan Hall, Mary Hark, SteveKostell, Alta Price, Michelle Samour, Flora Shum, Teri Williams. Board StudentRepresentative: Sarah Luko. International Board of Advisors: Yousef Ahmad(Qatar), Timothy Barrett (US), Simon J. Blattner (US), Kathryn & HowardClark (US), Mandy Coppes-Martin (South Africa), Jane Farmer (US), Peter Ford(UK), Helen Frederick (US), Peter & Pat Gentenaar (Netherlands), SimonBarcham Green (UK), Helen Hiebert (US), Therese Hofmann (Brazil), Dard HunterIII (US), Kyoko Ibe (Japan), Winsome Jobling (Australia), Elaine Koretsky (US),Carolina Larrea (Chile), Roberto Mannino (Italy), Beatrix Mapalagama (Austria),Bob Matthysen (Belgium), Radha Pandey (India), Giorgio Pellegrini (Italy),Brian Queen (Canada), Victoria Rabal (Spain), Vicky Sigwald (Argentina), LynnSures (US), Aytekin Vural (Turkey). Co-founders: Amanda Degener and MichaelDurgin.

Dear Readers,

I would like to take this opportunity to welcome MichaelFallon, our new Executive Director, and also update you on our contactinformation. Our new mailing address is PO Box 50859, Mendota, MN 55150-0859.Our phone number is (651) 447-7143. Michael can be reached atmichael@handpapermaking.org. Mina Takahashi can be reached at mina@handpapermaking.org.I continue to welcome your letters and comments at newseditor@handpapermaking.org, and listings for the newsletter should be sent tonewsletter@handpapermaking.org. If you have questions or need information, youcan email us at info@handpapermaking.org. Sincerely,

Shireen Holman

Dear Readers,

Have you heard about Paper Talk, my ongoing series ofpodcast interviews featuring artists and professionals who are working in thefield of hand papermaking? The series launched in February 2016 when I interviewedCatherine Nash in her studio in Tucson. I’ve continued to publish one episode amonth, and to date I have interviewed Tatiana Ginsberg, Tim Barrett, AndreaPeterson, Bridget O’Malley, Amanda Degener, Mary Hark, Eden Marek, Simon Green,Susan Mackin Dolan, Jill Powers, Jillian Bruschera, and the most recent episodefeatures Mary Heebner. Listen to Paper Talk athttp://helenhiebertstudio.com/products/series/paper-talk/. You can also sign upon iTunes to receive notifications when new episodes of Paper Talk arereleased.

My goal is to document the voices of our time, and althoughmy podcast episodes are far from perfect I feel that it is more important toget the information out there than to have them perfectly edited. So far I’vedone all of the interviews in person, but that will most likely change soon, asI can’t possibly travel to reach everyone I want to interview. I welcome yoursuggestions for future interviews.

Along the lines of documenting our history, I have two bigideas, which I haven’t quite figured out how to realize, but perhaps thesepodcast interviews are a first step. One idea is to write a book about how handpapermaking in America has evolved since the 1960s that includes profiles ofpapermakers and artists who have developed innovative techniques for working inpaper. My other dream is to create a film about papermaking. If you haven’tseen Between the Folds, a documentary about origami, you should! It is a greatmodel. Imagine the best of our mills (think Twinrocker), studios such as DieuDonné, cool organizations like Peace Paper and Combat Paper, MacArthur awardwinners, schools like the University of Iowa, and more. I welcome your inputand am curious about what tactics you are using to promote our small but vitalfield. I look forward to discussing ways that we can push hand papermakingalong for a few more centuries, at least!

I also write a weekly blog called The Sunday Paper, which isa resource for ideas and inspiration, all having to do with this amazingmaterial. Each Sunday, I bring you stories and examples of people doingexciting, innovative, and beautiful things with paper, as well as links tointeresting paper facts I’ve unearthed from around the globe. I’d like toinclude more information about hand papermaking, so please keep me in the loopabout your current events! Read the current blog post to find out more andsubscribe at http:// helenhiebertstudio.com/blog.

Helen Hiebert

Red Cliff, Colorado

Helen@helenhiebertstudio.com

> ALONG THE PAPER ROAD...

Since 1998 this column has featured paper musings fromElaine Koretsky—renowned paper historian, researcher, and traveler. Herdaughter, Donna Koretsky, now continues the legacy. Here Donna talks about theblurring of the distinction between traditional and contemporary papermaking,particularly in parts of the world known for their traditions and techniques

What is this?” “You mean you make the paper?” “This is justpaper.” “I’m a little confused. What is this I’m looking at?”

“Oh my son makes this in kindergarten.”

“Oh look, it’s papier-mâché.”

“I’ve got some extra cardboard boxes. Maybe you could usethem.”

Woman to her friend: “I saw a recipe for that somewhere.”(Pointing at our papermaking demonstration.) “I think it came with my microwaveoven.” Friend: “Oh no, no. It’s in the booklet for the food processingmachine.”

“It looks like raw paper. You know, like it hasn’t beenprocessed.”

“Ohhhh. Recycled paper.”

“I thought this was clay when I first saw it. It’s sosculptural. I’ve never seen paper used this way.”

“Suede. This is suede?”

Little boy: “Why are they all ripped?”

Above are actual comments made in 1979 by visitors to theNortheast Craft Fair in Rhinebeck, New York, where Elaine Koretsky and Iexhibited our handmade paper. We were promoting our stationery line, as well asa series of wall sculptures I created that accentuated the deckle edge; hencethe comparisons to ripped paper.

The average person’s perception of handmade paper hasthankfully changed considerably since 1979, due to us paper lovers who havesuccessfully educated the greater public through demonstrations and workshops.Papermaking now plays a part in the curriculum of many schools from elementaryschool to the graduate school level.

The average person, however, likely does not differentiatebetween current or contemporary papermaking techniques and traditional orhistorical papermaking techniques. Both are valid approaches to handpapermaking, but it is important to make the distinction between the two.Contemporary papermaking techniques have become increasingly innovative, withthe use of vacuum tables, pulp spraying techniques, laser cutters, inventivedipping and pouring techniques, and original materials for making tools andequipment. University art departments throughout the world have increasinglydevoted classes to these innovative approaches to papermaking, constantlypushing the medium to truly amazing levels.

Fewer schools are devoted to the education of traditionaltechniques. But thanks to scholars like Tim Barrett at the University of Iowa,it is possible to study traditional papermaking using historical fibers,equipment, and methods. A number of private paper studios as well are devotedto traditional production papermaking techniques, and many museums promotetraditional papermaking with their educational presentations. Western Europe inparticular has numerous wonderfully preserved papermills, with demonstrationsand educational programs using authentic tools.

There is an increased awareness and revival of handmadepaper throughout Asia as well. In recent years in China, government-sponsoredcultural centers have opened throughout the country, promoting local customsand crafts from the area to visitors. This is absolutely a good thing.

However, at the same time, I fear that the distinctionbetween traditional papermaking and contemporary papermaking has become blurredin an attempt to attract tourism. Traditional papermaking techniques have beencombined with contemporary techniques, yet are presented to the public astraditional methods. Following is my observation of the commercialization ofDongba paper in the span of just a few years.

In 2004, I traveled with Elaine Koretsky and our group ofintrepid papermakers to the city of Lijiang in Yunnan province in southwestChina to observe and document traditional papermaking by the Naxi (or Nakhi)ethnic group, known for its fascinating Dongba culture. Dongba is a title givento a religious man in Naxi society. Similar to a shaman, a Dongba participatesin rituals and he also writes religious texts in the form of pictograms. Infact the Dongba language is the only language in the world that still uses apictographic writing system. These pictograms are written on a distinctive typeof paper, known as Dongba paper, made from Wikstroemia lichiangensis, alsocalled “string bush,” and is a type of gampi fiber.

Much of the original Dongba paper disappeared during theCultural Revolution (1966–1976) when religions were banned, and after therevolution, few people knew how to make this special paper. Fortunately, in1984 the Chinese government set up the Dongba Institute in Lijiang, whichpreserves and houses Dongba pictographic scriptures recorded on Dongba handmadepaper. The institute is also a sort of living museum with ongoingdemonstrations of authentic Dongba papermaking as well as demonstrations oftheir pictographic writing with pen and ink on this paper. At the time of ourvisit, however, the resident papermaker was nowhere to be seen and must havebeen on a long lunch break. Our group looked longingly at the unmannedpapermaking setup, until finally Elaine couldn’t bear it any longer. She hadseen traditional Dongba papermaking before—suddenly she was standing in frontof the hollowed-out log, pouring pulp into the rectangular-shaped bamboo screenwith a high wooden deckle. She then lifted the mould out of the water andcouched the sheet directly onto a drying board. That is the Dongba method.

The next day, we organized a day trip to the village of BaiDi. In the July 2008 issue of Hand Papermaking Newsletter (no. 83), Elainewrote in her column “The original site of Nakhi papermaking is in Bai Di, aremote area in the mountains that is difficult to reach, but thoroughlyworthwhile (I have been there twice).”

It took six grueling hours to arrive at this remote area inthe mountains that Elaine so nonchalantly wrote about, and another six hours toreturn on the same day (there were no guest houses or places to stay en route).Our group of twelve loaded into four jeeps at sunrise for the spectacular yetharrowing trip to Bai Di village, which is located in idyllic Shangri-lacounty. Half of us were car sick after hours of non-stop hairpin turns throughrugged and muddy roads, but it was worth the trip when we were treated to acomplete demonstration of the entire Dongba papermaking process. We documentedpreparation of the “string bush” fiber, cooking, beating, sheet formation in avat made from a hollowed-out log, and drying, and were much appreciative of oursharing and smiling papermaking hosts. We returned to Lijiang with true Dongbapaper as well as assorted Dongba tools for the Research Institute of PaperHistory (though we acquired no hollowed-out log vats).

Two years later, in 2006, I returned to Lijiang with a newgroup of intrepid papermakers and spent an afternoon visiting thewell-preserved Old Town of Lijiang, a UNESCO World Heritage site. Old Town isquaint, with traditional tile-roofed buildings and winding cobblestone streets,all interconnected with a system of waterways and bridges. It is well worthvisiting even though it has become a Disneyland of sorts, overflowing withsouvenir shops, restaurants, and tourists. Performances take place at set hoursthroughout the day. On this visit, I was shocked to discover an explosion ofpaper workshops scattered through the town. Traditional Dongba paper wasofficially a souvenir item. There were hollowed-out log vats everywhere withpapermaking demonstrations, beside shops selling Dongba paper in a variety ofsizes and thicknesses.

There were leather-bound blank Dongba books for sale, Dongbanote cards with envelopes, and framed Dongba paper with pictographs of trendywords. Each item was stamped with the trademarked branding of the particularDongba paper shop. Clearly, this was no longer traditional Dongba paper, but anadaptation to cater to tourists. It did not even look like the authentic Dongbapaper on display at the Dongba Institute. It was too thick and too yellow. Ilearned that much of it is now made from mulberry fiber, since Wikstroemia, thetrue Dongba fiber, has become rare. However I was most saddened to learn thatmany of these workshops were not even run by ethnic Dongba or Naxi. Non-ethnicChinese were capitalizing on Dongba culture, yet the throngs of tourists wereunder the impression that they were witnessing the making of traditional Dongbapaper.

Two years previously, I traveled six grueling hours fromLijiang to see authentic Dongba papermaking in a true Shangri-la setting. Nowone simply strolls through Old Town of Lijiang to observe pseudo-Dongbapapermaking in a Disneyland setting.

Unfortunately this seems to be the new trend in parts of theworld where there has been a long tradition of papermaking. It has becomecommercialized and presented to tourists as traditional paper when in fact thepaper is a blend of traditional and contemporary techniques. Thispseudo-traditional papermaking has become a tourist attraction with thefinancial gains being reaped by outside entrepreneurs and not necessarily theindigenous papermakers. On a positive note, at least more people now have anunderstanding of how paper is made.

Note: Also see “Artist’s Notes on Dongba Paper” by JaneIngram Allen, Hand Papermaking 22, no.

2 (Winter 2007) for an article about Dongba paperaccompaniedby a true Dongba paper sample.

> TEACHING HAND PAPERMAKING

Based in Philadelphia, Winifred Radolan operates anitinerant teaching papermill, and has taught papermaking to thousands of adultsand children. In this column Winnie discusses her recent experience teachingteenagers at an arts festival how to create stencil designs to make paper withoverlaying colors.

Recently an artist/papermaker friend of mine passed along acall for teaching artists to take part in a Teen Arts Festival. It was beingpresented by Appel Farms, a nationally recognized center for arts and music inrural south New Jersey. In years past I worked for this organization,conducting many classroom art programs throughout their outreach area. But withchanging staff and budgeting constraints, I somehow fell off their radar. So Ienthusiastically responded to this call because it sounded like fun, and couldpossibly lead to reconnecting with the group.

The day-long Teen Arts Festival attracted a gathering of sixhundred middle and high school students and their teachers from across Salemand Cumberland Counties of New Jersey. The students spent their day cyclingthrough various art and music offerings, which were dispersed throughout theexpansive farm campus. I am not certain what all the art-making opportunitieswere, but I shared a studio with a ceramic artist and her project. The teens Iencountered mentioned enjoying openmike times and hip-hop musical adventures.Appel Farm volunteers kept the rambling teen traffic flowing, so at no point werethe groups overwhelming in number.

The teens’ interest level and manners were refreshingly topnotch throughout the day! Due to the meandering structure of the day, I decidedto present my history, art, and science of papermaking lesson as an ongoing monologuewith hands-on participation in a production-line fashion. I had preparedcotton/abaca pulp in two colors, a deep, rich blue-purple, and a natural whichincluded a smidge of olive-green Foxfibre cotton linter. I also harvested,cooked, and blended a large quantity of dandelion blossoms to liven up theneutral vat. Long ago I learned to present my beloved dandelion inclusions as“wild-flowers harvested from my liberty lawn” to avoid disparaging commentsabout weeds! Two six-foot-long tables, butted end to end, were provided for myproduction process. At the sheet forming end, two couching blankets werearranged between my two charged vats. A teen at each vat simultaneously formeda base sheet, one purple, the other neutral.

Each teen couched his/her base sheet atop Pellon resting onthe wet couching blanket adjacent to the opposite color vat. While teens weresponging into the back of the flattened, couched mould to remove water, Iexplained that this was not a historically accurate step. However, it did keepall concerned drier and more comfortable.

I demonstrated how a hand or the fingers of both hands,placed atop the mould while dipping into the second color, could form a stencildesign that would block pulp from settling on the screen. This second layer ofpulp, when couched onto their base sheets, resulted in a handprint or abstractdesign. Indeed, there are numerous ways to form a pulp design to layer andembellish foundation sheets of paper. But I have consistently found this methodto be both a crowd pleaser and an efficient way to keep production movingalong. While the most chosen design is generally a straight handprint, I’veseen quite a few creative iterations in the abstract as well.

My good friend Nathalie, who had alerted me to this teachingopportunity, had never been to Appel Farms and offered to accompany me andassist. She ended up being an essential partner in the operation, as my carmalfunctioned the evening before, and she offered to drive to get us there. Iremain most grateful!

I stationed Nathalie at the “drying” end of our tables.Equipped with many dry synthetic chamois, recycled cereal-box cardboard (thedonation of another good friend), and a rolling pin, Nathalie helpedparticipants press and partially dry their creations for transport home. Aseach young person completed their sheet forming, they carried the wet paperatop Pellon to Nathalie’s station. As a first step, papermakers were instructedto blot their wet sheets gently, using flat hands, between layers of synthetic chamois.

This removed sufficient moisture to allow Nathalie to liftthe handmade paper from the Pellon and place it atop the printed shiny side ofthe cereal-box cardboard. Next, with another dry chamois on top, students usedthe rolling pin to roll/press and thus adhere the handmade sheets to thecardboard for transport. Everyone was instructed to allow their paper to dryovernight before removal from the cardboard the next day.

Nathalie and I were both impressed with the level ofinterest exhibited by teachers and students alike. Several of the teachersmentioned papermaking equipment that lived in their supply closets, unused, dueto perceived daunting aspects of the process. I believe some minds were changedafter witnessing our program. Unfortunately for me, an Appel Farms staff personalso watched my time-tested process and thanked me profusely for showing herhow she can successfully replicate the program. But, it is the tradition ofpapermakers to be a sharing group, as that is how we keep this ancienttradition and exciting art form alive. Overall, it was a most enjoyable day outin the country. I saw several New Jersey teacher friends with whom I hadpreviously worked. And I imagine at least a few students will be requesting thedusting off of those closeted moulds and deckles by their teachers for furtherclassroom exploration!

> PAPER HISTORY

Maureen and Simon Barcham Green, from the United Kingdom,write a joint column on paper history. Maureen is a paper historian, and authorof Papermaking at Hayle Mill 1808–1987. Simon was the last of the Green familyto run Hayle Mill. He provides consulting services to papermakers worldwide.Maureen and Simon have been writing the paper history column since 2009,covering a wide variety of topics, with Maureen writing the majority of articles.This issue, Part 2 of “Paper Places,” continues Simon’s personal descriptionsof recent paper history as he has seen it unfold in places where he has workedor has visited.

In September 1964, my real journey in papermaking began. Isecured a George Rackley Scholarship and started to study paper science at theUniversity of Manchester Institute of Science and Technology (UMIST).1 This wasthe only university in the UK offering bachelor of science courses in thesubject and sadly they have not done so for some years. A number of papercompanies and trade associations had funded a brand-new paper science buildingin the early 1960s so as to retain the technological lead that the UK thenstill had in papermaking. The new building was near the centre of Manchester,which was the home of the Industrial Revolution and centre of the cotton tradethat supplied many paper mills in the area, especially in the nineteenth century.In the early twentieth century, Ernest (later Lord) Rutherford split the atom forthe first time and in the early twentyfirst century Andre Geim and Konstantin Novoselovwere knighted for inventing graphene. Rutherford, Geim, and Noroselov areamongst 25 Nobel Prize winners from Manchester University and hundreds of millionsof pounds are being invested there to keep the UK at the forefront of graphene development.

Papermaking has not had quite the same prominence in theuniversity but the paper science building was extremely well designed with anumber of laboratories, several fully air conditioned to the standards requiredfor precise paper testing. There was also a pilot plant with several small beaters,refiners, cleaners, and a small paper machine used to run pilot trials ofvarious papers.

My headmaster tried very hard to convince me that, at 17ó, Iwas too young for university and would find the world too hard to bear! On thecontrary, from being a bullied boarding-school pupil, I found living andworking with ordinary people from a variety of backgrounds liberating. Sadlythe course and world-class facilities only attracted six paper-science studentsin that year whereas the capacity was for up to twenty. Apart from paperscience and technology lectures and practical work, we also attended largelectures in physics, chemical engineering, maths, and other subjects alongsidestudents in many other engineering and technical fields.

Dr F Lyth Hudson, who had previously worked at BritishIndustrial Plastics Ltd, had been running the Paper Science Department since 1955.2By the time I arrived, he had a full understanding of papermaking and aninterest in its degradation. Somehow he had acquired one or more books that hadbeen at the hut built by Captain Robert Falcon Scott for his Antarcticexpedition that ended tragically in 1912. Dr Hudson was struck by the pristine conditionof these books, particularly in comparison with examples from the same printingheld at the John Rylands Library in Manchester, which were yellow and brittle.He deduced that the Captain Scott’s copies had been preserved by Antarctica’sintense cold and dry pure atmosphere, whereas the Manchester ones had been inan area that was highly polluted. He considered that the most harmful materialwas sulphur dioxide gas (from burning coal), and set up a research project whichenabled tests to be run on the effects of sulphur dioxide. I played a smallrole in this research preparing and testing samples. Sulphur dioxide is nowrecognised as the most damaging pollutant to paper.

During my three years in Manchester, I had the opportunityto visit many papermills in the area. One of these was Yates Duxbury and SonsLtd, a name well known throughout the UK paper industry. This was amedium-sized mill making mainly good printing papers. I cannot remember much aboutit except that it was neat, tidy, and busy. However it succumbed to the declineof the industry and closed in 1981. In trying to research Yates Duxbury, I cameacross the delightful website Ten Thousand Years in Monkey Town.3 Apart frombeing worth a visit in its own right, the site states that in 1841 there werethirty-four cotton mills in the town. In 1891 Yew Mill had 112,000 spindles,making it the world’s largest spinning mill under one roof. Heywood was onlyone of the spinning towns in an arc north of Manchester.

Another arc of towns was home to weaving mills and therewere many allied trades. These included rag merchants and others who collectedwaste for the cotton mills, sorted and categorised it, and sold it to papermills. Hence papermaking had a huge source of good fibre. Manchester (connectedto the sea by the Ship Canal), imported cotton from the USA and elsewhere andexported cloth and clothing all over the world. This in turn led to thecollapse of the hand spinning, weaving, and papermaking trades in India. I hopereaders will not mind diversions from hand papermaking. Part of what I hope toachieve in this series is highlighting linkages both inside but maybe moreoften outside the normal handmade paper sector. If you think I am getting too faroff track, please let the editor know!

Seven miles southwest of Heywood is Mount Sion Works, whichI also visited first as a student. Apparently built in the nineteenth centuryas a bleach works for the textile industry, in the Second World War it had producedguncotton—an important explosive. When I visited in about 1965 it wasprocessing esparto for papermaking. The bales of raw esparto grass were shippedfrom North Africa and Spain. Esparto was one of the early alternative fibres torags in Europe, and produced an excellent printing paper. The grass was cookedin large spherical digesters with an alkaline liquor. In the early 1970s, Ivisited again as the works was then run by Alphacell Ltd, making very goodabaca pulp. We started using abaca in about 1970 and for some years nearly allour papers had some abaca in them because of the strength it provided. A photoof Mt Sion Works from www.heritagephotoarchive-. co.uk is shown here, withpermission.

Alphacell were engaged in a major legal case aboutpollution.4 The rivers of Lancashire were massively polluted by papermills andother factories. In the 50s - the good old days just before environmentallegislation began to be introduced (the mid-50s smogs were beyond belief - butthat’s beyond our scope), the Irwell was often coated with foot-thick whitefoam from the upstream paper mills. One high-windy day, huge (4-6 feet long) wedgesof river foam were blowing 100s of feet high above the river. When you nextview David Lean’s “Hobson’s Choice” (a film which incidentally accurately showshow Victorian industrial towns in the Manchester conurbation still looked inthe mid 50s) watch for a riverside scene, shot by the Irwell - the foam of theBury/Heap paper mills is visibly on the river.

–Roger Morton, from the website Ten Thousand Years in MonkeyTown.5

Mt Sion was later bought by Dexter Corporation to maketeabag tissue and now belongs to Ahlstrom, a Finnish company.

1. UMIST was founded in 1834 as the Mechanics Institute and,after various transformations, it amalgamated with the Victoria University of Manchesterin 2004 to become the University of Manchester, which is the largest singlesiteuniversity in the UK.

2. He had overcome quite a few challenges, and it is bothinteresting and amusing to read his account of teaching paper technologycourses. D.S.L. Cardwell, ed., Artisan to graduate: Essays to commemorate thefoundation in 1824 of the Manchester Mechanics’ Institution, now in 1974 theUniversity of Manchester Institute of Science and Technology (Manchester:Manchester University Press, 1974), 216, http://tinyurl.com/m2cdbsn.

3. See http://tinyurl.com/zdwthsu.

4. See http://tinyurl.com/kh3p248.

5. See http://tinyurl.com/zdwthsu.

> DECORATED PAPER

Sidney Berger is Emeritus Librarian at the Peabody EssexMuseum and he is on the faculty of the library schools at Simmons College andthe University of Illinois at Urbana-Champaign. He has been collecting andresearching decorated paper for over forty years. The Berger-Cloonan Collectionof Decorated Papers consists of papers acquired over the period of many yearsby Sid and his wife. In this column Sid discusses marblers whose work, althoughexceptional, is not well known in the United States.

In collecting papers for going on 50 years (I began in 1971),I have gathered different kinds of things, including individual sheets, objectswith decorated papers in or on them, and books with papers used in variousways: as tip-ins, as endsheets, or for cover decoration. My recent series ofcolumns about particular paper decorators highlights the work of people whosework I deemed extraordinary. For the present column, I want to mention a fewpeople whose work is of the same caliber, but who either are outside ourimmediate purview in the US, or who do not focus specifically on making decoratedpaper in their primary activities, but whose papers are nonetheless lovely. Thefirst is Mustafa Düzgünman (1920– 1990), one of Turkey’s premiere marblers. Manyreaders of Hand Papermaking will know this name. Düzgünman studied marbling underanother well known artist, Necmeddin Okyay (both of whom are represented in theBerger-Cloonan Collection at Texas A&M University), and as with many anartist, he was innovative and brilliant in his work. Our collection contains manysheets of his with simple random and combed patterns, but he is most famous forhis florals, which he produced in abundance. His color sense was brilliant andhis ability to form flowers that were almost photographic images of the realthings was amazing. He taught a whole generation of marblers, and todaythousands of young people in Turkey study the craft and mimic the master withtheir own floral art.

At the Marblers Gathering in Istanbul that I wrote about ina recent column, I met another wonderful artist: Katerina Saveleva (alsospelled Savalyeva) who lives in Russia. She first encountered marbling at aTurkish– Russian cultural center in St. Petersburg in 2009, and within three yearsshe was giving demonstrations of the art in orphan homes for disabled children.She organized marbling workshops given by Turkish masters and studied with someof them, and by 2014 she was giving workshops herself and showing her work inGermany and Russia. She was a Gran Prix winner of the first Ebru Art Festivalin Russia in 2014, and she has shown the art on TV in her native land. She nowproduces papers for bookbinders and gives many workshops. At the Istanbul meetingshe exhibited the wonderful marble of a tree in a landscape. It is always atreat for me to meet paper decorators I had never heard of who are doing lovelywork. Katerina is one of them.

In the world of the book, Robin Heyeck is best known for hergorgeous and important printed texts at the Heyeck Press. But she is also knownfor the beautiful papers she uses in her printing, and for the three booksabout decorated paper she produced and illustrated: Marbling at the HeyeckPress (Woodside, CA: Heyeck Press, 1986) and Adventures of a Marbler (Woodside,CA: Heyeck Press, 2006), both in editions of 150 copies; and the volume she didwith Tokutaro Yagi, Suminagashi- Zome (Woodside, CA: Heyeck Press, 1991. Thelast of these, in an edition of 200 copies, is bound in beautifulsuminagashi-decorated cloth. She also did a charming little pamphlet with hergranddaughter called Navada Learns to Marble: A Birthday Book for Navada Heyeck(N.p.: Heyeck Press, 2003). The impeccable printing and binding of thesevolumes are complemented by the lovely tip-ins. I have loved Robin’s books fordecades. I wish she had done more books strictly on paper decoration, sincethat is my passion. But I am glad to see her brilliant use of decorated paperson her books and cards. She has an artist’s eye and the delicate precision ofan eye surgeon. Here is perfection in form and content.

The final artist I wish to highlight here is Carol Blinn,also known for the charming and delightful books, pamphlets, and cards she hasproduced at her Warwick Press. As an accomplished printer and binder, she hasmade her own paste papers for many years, and her work in this realm came tohigh fruition with her beautiful book Serious Play: Decorated Paste Papers (Easthampton,MA: Warwick Press, 2006). It contains nearly two dozen samples of her original work,each a gem (along with 12 digitally reproduced illustrations). The effort ittakes to make a handmade book like this one perhaps accounts for the fact thatit was published in only 35 copies. This is a shame for many more than 35people will have wanted this lovely volume, and its beauty cannot be admired bya wide audience. This is often the situation with people making decoratedpapers as part of the books they publish: they may never publish a text abouttheir papers, or if they do, they do so in short press-runs. My own mania fordecorated papers drives me to share my passion with others, and my wife and Ihosted hundreds of people over the years, showing them the glories of ourcollections. But gifted artists whose main aim is to publish books, not to makedecorated papers for sale, often restrict the use of their papers to their ownvolumes. (Robbin Ami Silverberg of Dobbin Mill is another superb paper artist;her papers are amazing, but they are generally not available for anyone exceptherself as she uses them on her own publications. Claudia Cohen, anotherbrilliant artist and bookbinder, has lovely paste papers, but again, she usesthem on her own publications and the books she binds.)

I have mentioned only a few great paper decorators here.There are thousands more. And many of them are anonymous. Libraries all overthe world have innumerable books containing beautiful handmade papers byunknown artists. What my wife and I have tried to do is to amass a collectionthat identifies as many artists in this medium as possible. When the catalog ofthe collection is eventually mounted online, we hope it helps scholars toidentify the makers of the papers they are now in the dark about.

> FOR BEGINNERS

Mary Tasillo is a papermaker, book artist, and mixed mediamaven based in Philadelphia. She teaches workshops nationally. Here Marydescribes making paper from compostable packing materials.

I recently received a shipment of food items packed incompostable insulation. The snag: the materials weren’t compostable in a homecompost system. This is great if you live in a progressive area with municipalcompost but if you don’t, what is the point of the material being compostable?Happily, the composition of the packing material was printed on the packaging:40% jute, 40% cotton, and 20% cornstarch. I thought I’d see if paper could bemade from it.

The jute-cotton material came encased in a plastic wrapper,which will need to be recycled. I weighed out 12 ounces. My beater generallytakes 24 ounces of fiber, but this packing material had a lot of volume so I proceededwith caution. I tore it into 3 x 3-inch pieces and added it to a bucket,covered it with water, and let it soak for 24 hours. Next I cooked it with sodaash. I set up my hotplate outdoors and added sufficient water to cover thefibers. When the water was shy of boiling, I added 3 ounces of soda ash, mixedit to dissolve, and added my fibers. (Be sure to take proper safety precautionswhen using soda ash, such as cooking outdoors or with proper ventilation,wearing gloves, and adding it to the water at the appropriate time. Moreinformation can be found in the Material Safety Data Sheet, which should comewith your purchase or be available online. More on cooking with caustics canalso be found in the “For Beginners” column in Hand Papermaking Newsletter, no.99, July 2012.)

After cooking my fibers for two hours I let them sit intheir cooking liquid for a day.

The next step was to rinse the fibers thoroughly. Lacking agood hose for the job, I divided the fibers into two parts. For each part, Istrained the fibers in a colander, added them to a bucket of clean water,swished them around thoroughly, and drained, repeating this procedure fourtimes. I then filled my beater with water, added half of the fiber, and startedit circulating, gradually adding the remainder of the fiber as it circulated. Mybeating recipe is as follows: Circulate with the roll bar fully up (at 30 on aReina Hollander) for 5 minutes. Take the roll down to 25; circulate for 5 minutes.

Bring the roll to 20; circulate for 10 minutes. Bring theroll to 15; circulate for 15 minutes. Lower the roll to 10; circulate foranother 15 minutes. Bring the roll down to 5 (an increase in the intensity ofthe sound should take place here) and beat for 40 minutes. At this point, Ibrought the roll down one more turn to 4 and beat for an additional 20 minutes.Raise the roll and stop the beater. At this point I pulled a test sheet, whichI pressed lightly and air dried. The paper is a tan color with dark flecks andreflects the softness of the cotton with some extra sturdiness brought to thepaper by the jute.

Listings for specific workshops and other events in thefollowing categories are offered free of charge on a space-available basis. Thedeadline for the October 2017 newsletter is August 15. Contact each facilitydirectly for additional information or a full schedule. Teachers: Tell yourstudents about Hand Papermaking! Brochures and handouts can be mailed to you oryour institution. Email newsletter@handpapermaking.org.

> CLASSES AND WORKSHOPS

Abington Art Center, Jenkintown, PA, (215)

887-4882, www.abingtonartcenter.org.

Classes, workshops, and exhibitions in a

variety of media.

Papermaking Studio Series, Thursdays, with Winnie Radolan.Explore a range of techniques and pulps. Make Paper, Make Prints, Wednesdayswith Winnie Radolan and Rona Richter. Explore hand papermaking and printmakingto make unique, multicolored papers, as well as ultrathin sheets to be used inchine collé, monotypes, paper lithography, image transfer, and collage. ArrowmontSchool of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont. org.Classes and workshops in a variety of disciplines, including papermaking.

Pushing the Boundaries with Handmade Paper and Mixed Media,October 22 to November 4, with Jo Stealey. Learn about surface and form tocreate handmade paper and lightweight sculpture.

Art New England, Bennington, VT, (617) 879-7175,http://ane.massart.edu/workshops,  Nancy.Mccarthy@massart.edu.Week-long summer workshops in a range of media. Expressions in Wire, Paper andPaper Clay, July 16 to August 5, with Sally B. Moore. Explore line, mass,texture, and translucence through working with wire armatures, paper, and paperclay.

Book Arts LA, LosAngeles, CA, (310) 722- 9004, www.bookartsla.org. Sculptural Papermaking, July22, with Anne Covell. Learn processes for creating sculptural forms in wet pulpusing cotton rag and overbeaten abaca fibers.

John C. Campbell FolkSchool, Brasstown, NC, (704) 837-2775, www.folkschool.org. Classes inpapermaking and other crafts in the mountains of western North Carolina.

Boroboro Papers, July2–7, with Claudia Lee. Create sheets of flax and abaca papers, and then fold,pleat, wax, press, dye (with indigo, black walnut, & pigments), flatten,deconstruct, reconstruct, and stitch.

Pulp to Pages for YourBooks, October 22–27, with Rajeania Snider. Explore the basics of papermaking,from setting up a work area and making equipment to preparing pulp and pullingsheets of paper, to be made into books.

Cottage Industry TechnologyCenter, 20 Russet St., SSS Village, Marikina City, Philippines. Workshops,demonstrations, and technical consultancy in a variety of crafts and livelihoods,including hand papermaking and related crafts. Contact Loreto D. Apilado atLor- Eto.DA@gmail.com or bookendshere2002@ yahoo.com or (632) 942-3974.

Dieu Donné Papermill,Brooklyn, NY, (212) 226-0573, www.dieudonne.org. Beginning and advancedpapermaking classes for adults and children. Open studio sessions alsoavailable. Introduction to Contemporary Papermaking, July 11 or August 8, withstaff instructor. Learn the basic papermaking process, as well as variousartistic techniques. Casting with Molds and Laminate Casting, July 18, withstaff instructor. Explore two different sculptural papermaking techniques:casting with molds to achieve a solid sculpture composed of thick cotton pulpand laminate casting to produce a hollow sculpture made of thin paper.

Pulp Painting,Stenciling, and Pigmenting, August 15, with staff instructor. Learn proper pigmentingtechniques and how to create stencils and pulp paint consistencies for a varietyof purposes.

The Hall of AwaJapanese Handmade Paper, 141 Kawahigashi, Yamakawa-cho, Yoshinogawashi, Tokushima779-3401, Japan, fax 81-883- 42-6085, www.awagami.com.

Kozo Papermaking,August 16–20, with staff instructors. Learn traditional Japanese papermaking,preparing kozo bark, beating the fiber, forming sheets, and drying.

Haystack MountainSchool of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack-mtn. org. Workshopsin various disciplines, including papermaking and book arts. Scholarshipsavailable. Deadlines are March 1 for residency and scholarship applicants andApril 1 for regular applicants.

Raising Paper, July 30to August 11, with Jocelyn Châteauvert. Explore the structural potential ofhandmade paper using traditional papermaking techniques and learning howbeating, sheet thickness, and drying times influence and inform form theability for paper to become dimensional.

Helen Hiebert PaperStudio, Red Cliff, CO, www.helenhiebertstudio.com. Annual papermaking retreatin the heart of the Rocky Mountains and workshops online and around the world.

Honolulu Museum of Art,Honolulu, HI, (808) 532-8700, www.honolulumuseum.org. Blue Jeans Paper, July 1,with Allison Roscoe. Make cotton paper from recycled blue jeans for a varietyof uses.

Introduction toPapermaking, July 15, with Allison Roscoe. Learn to create unique sheets of Western-stylepaper with moulds and deckles and various fibers pulped in a Hollander beate.r WashiExplorer: Japanese Bookbinding and Paper, August 13–27, with Hiroko Sakurai.Explore several different types of washi (traditional Japanese paper) crafts tomake a notebook using traditional binding techniques.

Hook Pottery Paper,LaPorte, IN, (291) 362-9478, jonandrea@hookpotterypaper. com,www.hookpotterypaper.com. Classes in papermaking and pottery and a residency programin northern Indiana.

Inter-Ocean CuriosityStudio, Englewood, CO, (303) 789-0282. For more information on papermaking workshopswith Ray Tomasso, contact him at ray@raytomasso. com or (303) 552-8256.

Kalamazoo Book ArtsCenter, Kalamazoo, MI, (269) 373-4938, info@kalbookarts. org,www.kalbookarts.org. Classes in book printing and binding, printmaking, hand papermaking,and creative writing.

Introduction toPapermaking, July 8, with Kim Hosken Eberstein. Learn the materials, fibers,and tools you need to successfully make paper, forming sheets and playing withcolored pulps and inclusions.

The Basics ofPapermaking, July 17, 24, 31, & August 7, with Kim Hosken Eberstein. Createunique expressive art through colored pulp, fibers, and collage elements.

Exploring PulpPainting, July 22–23, with Donna Groot. Explore a variety of painting techniqueswith brushes, transfers, drawing tools, and stencils to make images with finelybeaten colored pulp.

MayBe Studio, AbitaSprings, Louisiana, (985) 893-3184. Hand Papermaking, selected Saturdays, with Mary-ElaineBernard. Learn Eastern and Western methods of making paper and incorporate localplant fibers.

Minnesota Center forBook Arts, Minneapolis, MN, (612) 215-2520, www.mnbookarts.org. Classes at theOpen Book center for book and literary arts. Beater Training, first Tuesdays.Learn beater operation, safety procedures, and cleaning for MCBA’s threebeaters as a prerequisite to renting the beaters for your own use.

Open Studio: PaperBeater or Papermaking, Tuesdays, with staff instructor. Beat fiber for futuresheet forming.

Focused Skill Buildingin Paper Marbling, July 15, with Sally Power. Bring questions and challenges toan experienced marbler in the studio.

Papermaking in theIslamic World, July 20–21, with Radha Pandey. Learn about papermaking in theIslamic world, from fiber preparation and sheet formation to surface finishingtechniques.

Introduction toWestern-Style Papermaking, July 26, August 2, 9, & 16, with Sarita Zaleha. Processcotton and abaca fibers in the Hollander beaters, use moulds and deckles to formsheets, and explore several traditional drying techniques.

Introduction toMarbling, July 29, with Heather RJ Fletcher. Make four basic marbling patterns (stones,moire/waved, git-gel, and nonpareil), explore seasonal color palettes, and takehome papers ready to use for books, gifts, or decoration.

Suminagashi, August 4,with Erin Maurelli. Create lovely and unpredictable patterns using this ancientdecorative technique.

Paper Marbling,December 1, with Suzanne Hughes. Try “throwing” color and building patterns fordecorative papers.

Paper Marbling:Patterns I, August 12, with Sally Power. Experiment with patterns and begin tobuild technique and a color palette.

Morgan Art ofPapermaking Conservatory and Educational Foundation, Cleveland, OH, (216)361-9255, http://morganconservatory.org. Workshops in hand papermaking and thearts of the book in an innovative green environment.  

Master Class:Quintessential Stencil, July 8–9, with Paul Wong. Explore methods developed atDieu Donné in New York since 1996 utilizing creative stenciling.

Sculptural HandmadePaper Lamps, July 13–16, with June Tyler and Tony Carlone. Create translucent sculpturalpieces with handmade paper using willow branches and cloth armatures coveredwith layers of kozo or gampi fibers.

Papermaking Intensive,August 5–6, with Anna Tararova. Explore the history and process of Westernpapermaking using seasonal plant fibers and recycled textiles.

Papermaking withIndigenous Plants, August 26– 27, with Tony Carlone. Learn basic and unique techniquesto transform plants into handmade paper while gaining a better understanding ofthe processes involved in creating a variety of strong, beautiful plant papers.

Thinking Outside theVat: Deckle Box Papermaking, September 9–10, with Tom Balbo. Learn to formmedium-sized and large-scale sheets of paper in a deckle box as well as to makepainterly artworks through the exploration of various pulps and pigments.

Papermakers ofVictoria, at Box Hill Community Arts Centre, Whitehorse, Victoria, Australia,phone 9885 2479. Workshop and exhibition information can be found at www.papermakers.org.au.

Plant FiberPapermaking, July 16, with Gail Stiffe. Learn techniques for harvesting,preparing, cooking, beating, and sheet forming using garden fibers and weeds.

Joomchi in 2 Days,November 11–12, with Liz Powell. Combine locally sourced fibers in handmade paperswith easily purchased Thai kozo sheets in this take on Korean paper felting techniques.

The Papertrail, NewDundee, Ontario, Canada, (800) 421-6826, www.papertrail.ca. Classes inpapermaking, marbling, and related arts, and studio rental scheduled on anas-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 specialistsin downtown Vienna.

MeditativePapermaking/Silent Papermaking, July 19–20, with John Gerard. Explorepapermaking meditatively.

Penland School,Penland, NC, (828) 765-2359, www.penland.org. A full program of craftworkshops, including papermaking.

Paper Sculpture, July9–21, with Matthew Schlian. Create sculpture using paper engineering, kirigami,and paper craft as starting points, applying paper mechanics to books,collapsible structures, interactive kinetic design, and foldable sculpture.

Pyramid Atlantic,Hyattsville, MD, (301) 608- 9101, www.pyramidatlanticartcenter.org. Workshops inpapermaking, printmaking, and book arts.

Papermaking Society,Third Thursdays. Contact associate papermakers Laura Kinneberg and LynetteSpencer at pyramidpaper@gmail.com.

Introduction to WesternPapermaking, July 1, with Greg Vita. Learn the basic techniques of Western-stylehand papermaking, including pulp preparation, sheet forming, couching,pressing, and drying.

Hemp Papermaking: FromPlant to Paper, July 22, with Greg Vita. Learn multiple ways to process andbeat the hemp plant, try a few different sheet formation and drying methods,and go over some basic paper sculpture techniques.

Spinning Paper Thread,July 29, with Saaraliisa Ylitalo. Use rough surfaces and bricks, hand-held dropspindles, and spinning wheels to make shifu, or paper thread.

It’s Marbelous! Introto Marbling on Paper, August 5, with Greg Vita. Explore the aqueous surfacedesign of paper, and cover the basics of marbling using acrylic paint.

San Francisco Centerfor the Book, San Francisco, CA, (415) 565-0545, www.sfcb.org. Book artsclasses and events year-round.

Intro to WesternPapermaking, July 15, August 4, or September 10, with Pam Deluco. Explore thematerials, processes, and equipment used in Western hand papermaking. SarvisberryStudio and Gallery, Floyd, VA, (540) 745-6330, www.sarvisberry.com. Experience handmadepaper in the heart of the Blue Ridge Mountains. Open Studio Days, call forschedule. Make your own paper and work on personal projects.

Sitka Center for Art andEcology, Otis, OR, (541) 994-5485, www.sitkacenter.org. Workshops andresidencies in a range of media.

Sitka SprucePapermaking and Mixed Media Art, July 24–25, with Jane Ingram Allen. Use thebark, needles and cones of the Sitka spruce tree for eco-friendly mixed-mediaart including hand papermaking.

The Soapbox: CommunityPrint Shop & Zine Library, Philadelphia, PA, info@phillysoapbox. org,www.phillysoapbox.org. Workshops in papermaking, bookmaking, and printmaking inWest Philadelphia studio.

The Society forContemporary Craft, Pittsburgh, PA, (412) 261-7003, www.contemporarycraft. org.Classes in fiber, book art, and other media in Pittsburgh’s Strip District.

Crafts and Drafts:Papermaking from Hops, August 4, with Katy Dement. Create golden handmadepapers using fibers reclaimed from beer manufacturing, embellishing with hop flowersand collage.

Southwest School ofArt, San Antonio, TX, (210) 224-1848, www.swschool.org. Classes at the PicantePaper Studio. Individual papermaking classes can be scheduled for one person ora group. Studio time, consultation, and instruction available.

Wet Collage, August 5,with Jo Etta Jupe. Create paper art by adding collage elements to the wethandmade paper.

Pulp Painting, July 22,with Shannon Brock. Explore image making in hand papermaking, working withmultiple moulds, contact paper, and dental syringes to apply thin veils of pigmentedcotton in layers to form imagery.

West Dean College,Chichester, West Sussex, U.K., (0)1243 811301, short.course@westdean. org.uk,www.westdean.org.uk.

An Introduction toCreative Papermaking, July 24– 27, with Lucy Baxandall. Explore traditional papermakingtechniques to create paper artworks inspired by the landscape.

Women’s StudioWorkshop, Rosendale, NY 12472, (845) 658-9133, info@wsworkshop.org, www.wsworkshop.org.Summer Arts Institute includes workshops in papermaking, printmaking, bookarts, photography, and other media.

We’ve Got the Blues:Indigo Dyeing for Paper & Cloth, July 10–14, with Mary Hark. Explore this powerfuland historic color on handmade paper and a variety of textiles.

Pulptypes: Hybrid Print& Papermaking, July 17–21, with May Babcock. Create woodcut style images inhandmade paper pulp.

Paper & Place, July24–28, with Ann Marie Kennedy. Construct 2-D and 3-D works of paper,incorporating natural materials such as mineral colors, natural dyes, and plantand seed textures.

The Versatility ofFlax, July 31 to August 4, with Radha Pandey. Explore the wide range of flax’sproperties to make thick, opaque sheets, as well and thin and translucentsheets for printmaking and sculptural applications.

Handmade Paper &Encaustic, August 7–11, with Tatana Kellner. Use cotton, abaca, flax, and ArtFarmfibers to create layered and embossed paper works, and then add to them usingbasic encaustic techniques.

Sculptural Papermaking,August 14–18, with Gretchen Schermerhorn. Build armatures and moulds to createthree-dimensional paper forms, experimenting with high shrinkage abaca and flaxpulp as well as the vacuum table.

Color & JapanesePapermaking, August 21–25, with Tatiana Ginsburg. Learn all aspects of kozo preparationand Japanese-style sheet forming, adding natural dyes and other colorants and experimentwith layering color in traditional and improvised ways.

> EVENTS

The Minnesota Centerfor Book Arts Book Art Biennial 2017 takes place July 20–23. This year’s themeis “Shout Out: Community Intervention, Independent Publishing, and AlternativeDistribution.” The Biennial features programming that encourages people of alldisciplines and skill levels to amplify individual and collective voice throughgrassroots artistic practice. It includes workshops, symposium, exhibitions,and the presentation of the MCBA Prize. For more information, visit www. mnbookarts.orgor call (612) 215-2520.

The Red Cliff PaperRetreat takes place September 8–10 and/or 12–14. Helen Hiebert invites you toher studio in the heart of the Rocky Mountains to cut, fold, layer, collage,weave, glue, and make paper as you explore its potential in two and threedimensions. Enjoy three peaceful creative days in the tiny hamlet of Red Cliff,surrounded by mountains, the river, and aspen trees as they begin to changetheir glorious fall colors. Experiment with several techniques as you create avariety of objects ranging from sculpture and book arts to lanterns and lamps thatwill intrigue your eyes and illuminate your spirit. All levels of artexperience are invited. More details can be found at http://helenhiebertstudio.com/red-cliff-paper-retreat.

The next Friends ofDard Hunter annual conference will take place October 11–13 at the Robert C.Williams Museum of Papermaking in Atlanta, Georgia, with the theme ChasingPaper, bringing together ideas around the past, present, and future of handmadepaper. Visit www.friendsofdardhunter. org for more details as they develop.

Arnold Grummer’s willsponsor the Papermakers Gathering Midwest Paper Fest this October 6–7 in GreenLake, Wisconsin. The event includes a juried exhibit with prizes and a masterclass, “Large Scale Pulp Painting” with Betsy Dollar, as well as networking andidea sharing. Visit http://arnoldgrummer.com for more information or call (920)840-6056.

The next Congress ofthe International Association of Hand Papermakers and Paper Artists (IAPMA) takesplace in Sofia, Bulgaria May 16– 20, 2018. The Congress will be hosted by AMATERASFoundation, founded to champion cultural projects and creative exchange throughexhibitions, residencies, symposia, and lectures related to artwork promotionin Bulgaria and abroad. The event will coincide with the Sofia Paper Art Festand the Sofia Night of the Museums. For more details as they develop, visitwww. iapma.info.

> EXHIBITS

Traffic, an exhibitionof paper sculpture installations by Anita Brendgens, is on view through July 16at Forum für Kunst und Kultur Herzogenrath, Herzogenrath, Germany. Anaccompanying catalog of the artist’s paper installations over the past tenyears will be published. Call +49 2406-968099 or visit www.forum-herzogenrath. eufor location and hours.

Pulp as Portal:Socially Engaged Hand Papermaking will be on view at Salina Art Center, Salina,KS, through July 23. The exhibit adds to growing discourse around thecontemporary art of hand papermaking as socially engaged art, revealing the artist’sbook as both artwork and outcome: How do hand papermakers today animate theethos of social engagement, activism, community, and collectivity in theprocesses they employ to make paper? How are these ideas at play and embodiedin the resulting books and printed matter? For more information visithttps://salinaartcenter. org/ or call (785) 827-1431.

Inspired by Paper—30Years of IAPMA touring exhibition of member work is on view June 2 to July 23at Poland’s Paper Museum Duszniki Zdroj. For venue information, visit http://muzeumpapiernictwa.plor call +48 748- 627-400. For tour details, visit www.iapma.info. The exhibitwill travel to Germany’s Kunstpunkt Schleusenhaus from August 6 to September24.

The Scythia MiniTextile Art Exhibition is on view until July 30, including works in handmade paperalongside work in other fiber media. Works do not exceed 30 cm in anydimension. The work will be in Kherson, Ukraine, through July 2 and then moveto Ivano-Frankivsk, Ukraine, July 15–30. For more information, visitwww.scythiatextile.com.

Hanji Pilgrimage fromKorea to Ohio: Dard Hunter to Aimee Lee, 1933–2014 is on view at the Robert C.Williams Museum of American Papermaking through August 11. This exhibit presentsthe images taken and artifacts gathered in Korea in 1933 by Dard Hunteralongside the still and moving images and artwork by Aimee Lee inspired by herresearch visits to Korea in 2008–09 and 2014. This lineage of research, making,and sharing information continues over 80 years to bring new insights aboutKorean paper heritage to today’s audiences. For more information, visithttp://paper.gatech.edu or call (404) 894-7840.

Paper.Works, an exhibitof works by twenty artists who use paper as their artistic medium, is on viewthrough August 20 at Arvada Center for the Arts and Humanities, Arvada,Colorado. From cast paper to cut paper, folded paper to handmade paper, thisexhibition will include works that are innovative and intriguing. Visithttps://arvadacenter.org for details. Know-how: Summer 2017 Workshop InstructorExhibition is on view through September 15 at the Morgan Conservatory inCleveland, Ohio. Know-how is a collection of work created by the many talentedartists teaching workshops at the Morgan this summer. This exhibition featureswork in papermaking, printing, bookbinding, book arts, and mixed technique. It providesa glimpse into the inspirations and unique skill sets of these instructors andwill be presented in three installments over four months. For more informationcall (216) 361- 9255 or visit www.MorganConservatory.org.

The 9th Triennale duPapier is on view through October 8 at the Musée de Charmey, Val-de- Charmey,Switzerland. This international exhibition includes artists who use paper in theirworks as substance and transformation and not as support only. More informationcan be found by calling +41 26 927 55 87 or at http://www.musee-charmey.ch.

The Association Chainede Papier Paper Fibre Art Biennial in Nantou County Taiwan takes place October6 to March 9. Exhibitions include work in natural handmade paper or recycled paper.For more information, visit http://biennialartpaperfibre. com/blog.

> CALLS FOR ENTRIES

The AwagamiInternational Miniature Print Exhibition invites entries of miniature prints onwashi paper, to be exhibited in Awagami’s Hall of Awa Japanese Handmade PaperMuseum. Submissions are due July 31 for October exhibition. Visithttp://miniprint.awagami.jp for details. Fibremen 6 seeks entries for a Fallexhibit of fiber art created by men, to be displayed in Kherson, Ukraine.Contemporary and innovative works are welcome. The deadline for entries isAugust 1. Please contact the organizers for entry form and details atscythiatextile@

gmail.com.

Artspace of Raleigh,NC, invites artists working in handmade paper and other craft media to enterthe Fine Contemporary Craft Exhibition, a biennial national juried exhibition.Artists must have Southeastern US ties (birthplace, residence, or education)based in Alabama, Florida, Georgia, Kentucky, Mississippi, North Carolina, SouthCarolina, Tennessee, Virginia, and West Virginia. Entries, due September 22,will also be juried for cash prizes. Visit http://artspacenc.org for moreinformation.

The CanadianBookbinders and Book Artists Guild (CBBAG) is pleased to present Art of theBook 2018. In August 2018, the exhibition will open at the Audain Gallery,Visual Arts Building, University of Victoria, British Columbia. The jurors willselect books or book-like works in multiple categories including papermaking andpaper decoration completed in 2017. Entry forms will be available in Octoberand due in January. For more information, visit http://www.cbbag.ca/exhibitions.

Pyramid Atlantic ArtCenter invites proposals for solo, group, and curated exhibitions for the2017/2018 exhibition season. For application details, visithttp://www.pyramidatlanticartcenter. org/calls-for-entry. Special considerationis given to work in handmade paper, printmaking, and book arts. Treewhispers isan ongoing installation of flat handmade paper rounds with tree stories,poetry, and art. The project continues to seek contributions. The project wasstarted by Pamela Paulsrud and Marilyn Sward. For more information, visithttp://treewhispers.com/here.

> OPPORTUNITIES

HEEED Malawi seeks toengage an energetic, adventurous, imaginative Papermaking and TeachingVolunteer, for six months to one year, who is interested in creative recycling,mademade paper, and drawing. The volunteer would lead the HEEED HandicraftsProgramme, working with the local primary school and using local fibers andwaste paper to make cards and books. For more information contact VolunteerCoordinator Addie Lindseth (adelaidelindseth@ gmail.com andheeedchembe@gmail.com).

Morgan Conservatory inCleveland, Ohio, is accepting applications through October 31 for its WinterInternship program. Interns will be immersed in Eastern styles of handpapermaking. They will be expected to help with paper production, learn aboutthe various processes that go into fiber preparation like cooking, scraping, picking,and hand beating. For details, visit http://morganconservatory.org.

Minnesota Center forBook Arts is now accepting applications for artist residencies in thepapermaking, printing, and bookbinding studios. Details and application can befound at www.mnbookarts.org/air. Questions can be directed to Sara R. Parr,MCBA’s Artist and Adult Programs Director, at sparr@ mnbookarts.org or (612)215-2526. Cultural Collaborative, a small non-profit working with children inGhana, West Africa, is looking for papermakers and bookbinders to volunteer toteach the kids next summer. If interested contact aba@culturalcollaborative. org.For information on Cultural Collaborative, visit www.culturalcollaborative.org.

> PUBLICATIONS ANDVIDEOS

The Legacy Pressannounces publication of They Made the Paper at Tuckenhay Mill by Peter andDonna Thomas, featuring the recounts of eight retired people who worked in thenow-closed Tuckenhay Mill in Devon, England. For more information visit www.thelegacypress.com.

> MISCELLANEOUS

The Radcliffe Red Listof Endangered Crafts was recently published online by the Heritage CraftsAssociation and The Radcliffe Trust. The study assesses the vitality oftraditional herheritage crafts, including papermaking and related tool making,in the United Kingdom. For the full report, visithttp://heritagecrafts.org.uk/redlist.

Hand Papermaking issaddened by the news of the passing of Keiji Oki, an accomplished Echizen washipapermaker. The Oki papermill has ceased operations with his passing. Hiromi Papershared an interview with Oki on its blog on March 25, 2016 atwww.hiromipaper.wordpress.com. Combat Paper is raising funds to replace its touringvehicle to allow the continuation of its upcoming workshop schedule. CombatPaper is a group of artist veterans who host workshops that transform militaryuniforms into handmade paper, with a portable papermaking mill that has beentraveling the country with a team of facilitators for nearly ten years. Visitwww.gofundme. com/combatpaper for more information.

> CLASSIFIEDS

Classifieds in HandPapermaking Newsletter cost $2 per word, with a 10-word minimum. Payment is duein advance of publication.

Unbleached PhilippineAbaca $6.00 lb. For samples, please send SASE to Ifugao Papercraft, 6477 E.Grayson, St., Inverness, FL 34452.

Need affordable paperfor workshops? We offer authentic hanji, lokta, washi, and xuan. Mention thisad for 10% discount, paperwoman@ paperconnection.com.

Cotton Linter Pulp. Allquantities available. Call Gold’s Artworks, Inc. (910) 739-9605. Custom BuiltPaper Presses for sale, large and small. 23-inch C&P paper cutter. ContactThe Pterodactyl Press in Cumberland, Iowa, (712) 774-2244,floyd_pearce@yahoo.com.

HAND PAPERMAKING

loves to hear fromreaders:

newseditor@handpapermaking.org

> SPECIAL THANKS

Hand Papermakingacknowledges these recent

contributors to ournon-profit programs. All

donations are greatlyappreciated and tax

deductible. Our tax IDnumber is 52-1436849.

See our profile onGuideStar. Call or write for

information on annualgiving levels, premiums,

automatic monthlygifts, and in-kind contributions;

or details on addingHand Papermaking

to your estate plans.

Benefactors: YousefAhmad, Thomas Bannister,

Lisa Cirando. Patrons:Tom Balbo, Sid Berger

& Michèle Cloonan,Joan Hall, Susan Gosin,

Gordon & RoswithaSmale, Nancy & Mark

Tomasko. Underwriters:Jeffrey Cooper, Susan

Mackin Dolan, FifthFloor Foundation, Joan

Hall, Kyoko Ibe, Lois& Gordon James, Russell

Maret, Ingrid Rose,Margaret Ahrens Sahlstrand,

Michele Samour, MinaTakahashi, Beck

Whitehead, TeriWilliams, Pamela S. Wood.

Sponsors: SimonBlattner, Tom & Lore Burger,

John Cirando, Kathryn& Howard Clark,

Jeffrey Cooper, KathyCrump, Amanda Degener,

Gail Deery, MichaelDurgin, Jane Farmer,

Kathryn Flannery, HelenFrederick, Winsome

Jobling, BarbaraLandes, Anne Q. McKeown,

Julie McLaughlin, LauraMerrick Roe, Margaret

Ahrens Sahlstrand,Kimberley Schenck,

Mary C. Schlosser, TonyTrausch, Claire Van

Vliet, Gibby Waitzkin,Aviva Weiner, Beck

Whitehead. Donors:Marjorie Alexander, John

Babcock, May Babcock,Kevin Baker, Ines

Ballugera, JamesBarton, Carol J. Blinn, Tara Bloyd, Colin Browne,June Burden, Carla A.

Castellani,Dickson Chin, Nancy Cohen, Paula

Cox,Elizabeth Curren, Kerri Cushman, Jennifer

Davies,Georgia Deal, Marian Dirda, Linda

Draper,Karla & Jim Elling, Kathy Fitzgerald,

TatianaGinsberg, David Lance Goines, Lori B.

Goodman,Hiromi Paper, Sally Wood Johnson,

Ellen MearsKennedy, Joyce Kierejczyk, David

Kimball,Betty L. Kjelson, Steve Kostell, Tom

Lang, AimeeLee, Lynda Liu, Winifred Lutz,

KatieMacGregor, Mary Lou Manor, Lynne

Matott,Debora D. Mayer, Edith McGuire,

CeciliaCole McInturff, Margaret Merritt,

BetsyMiraglia, Timothy Moore & Pati Scobey,

CatherineNash, Elaine Akiko Nishizu, Pat

Owens,Pyramid Atlantic, Radha Pandey, Nancy

Pobanz,Melissa Potter, Brian Queen, Charles

G. Raney,Julie Reichert, Sally Rose, Kimberly

Schenck,Kim Schiedermayer, Richard

Schimmelpfeng,Vicky & Pablo Sigwald, Gordon

Sisler,Scott R. Skinner, Liz St. Rain & Michael

Hotlick,Susan Straight, Jean Stufflebeem, Betty

Sweren,Therese Swift-Hahn, Elise Thoron,

BruceWilson, Paul Wong, Kathy Wosika, Mehran

Yazdanian,Therese Zemlin. Supporters: Marlene

Adler, MaryAshton, Anne Beckett, Inge

Bruggeman,Zina Castañuela, Michele Combs,

SaraGilfert, Mabel Grummer, Robert Hauser,

YukariHayashida, Mildred Monat Isaacs, Susan

Kanowith-Klein,M. P. Marion, Edwin Martin,

EmilyMartin, Margaret Miller, Ann S. Miller,

Nancy Pike,Dianne L. Reeves, Carolyn A. Riley,

MaryTasillo, Carla J. Tenret, Allan Thenen,

ChristyWise. Friends: Shannon Brock, Cara

Di Edwardo,Sarah & Joshua Dickinson, Linda

CarriageHouse P aper

PapermakingSupplies • Workshops

StudioRental • Handmade Paper

www.carriagehousepaper.com

245 KentAvenue, Brooklyn, New York 11249

Tel/fax:718-599-PULP Orders: 800-669-8781

info@carriagehousepaper.com

Pulps& Fibers

Pigments

Additives

Books

Equipment

ResearchInstitute

of P aperHistory & Technology

Our currentexhibition is “Paper

Curiosities,”and we welcome visitors.

Pleaseemail for an appointment.

8 EvansRoad, Brookline, Massachusetts 02445

Director:Donna Koretsky paperroad@gmail.com

Gardiner,Fran Kornfeld, Jill Littlewood, Leslie

Paisley,Jill Powers, Bonnie Reisman, Amy

Richard,Sally Rose, Bonnie Stahlecker, Taiko

Suzuki,Margery Takiguchi, Peter Thomas,

VirginiaYazbeck. In-Kind: Adobe Systems

Inc., TomBalbo, Janet De Boer, Peter Ford,

JohnGerard, Dard Hunter III, Microsoft

CorporateCitizenship, Steve Miller, Britt

Quinlan.Founding Contributors to the Hand

PapermakingEndowment: 49er Books, Shirah

Miriam(Mimi) Aumann, Cathleen A. Baker,

Tom Balbo,Timothy Barrett, Sidney Berger &

MichèleCloonan, Tom & Lore Burger, Jeffrey

Cooper,Jeanne M. Drewes, Jane M. Farmer,

Fifth FloorFoundation, Helen Frederick, Sara

Gilfert,Tatiana Ginsberg, Susan Gosin, Joan

Hall, Lois& Gordon James, Sally Wood Johnson,

DavidKimball, Elaine Koretsky, Karen Kunc,

BarbaraLippman, Winifred Lutz, Susan Mackin-

Dolan,David Marshall, Peter Newland Fund of

the GreaterEverett Community Foundation,

MargaretPrentice, Preservation Technologies

L.P.,Michelle Samour, Peter Sowiski, Marilyn

Sward,Betty Sweren, Gibby Waitzkin, Tom

Weideman,Beck Whitehead, Paul Wong &

JohnColella, Pamela Wood. Contributors to

the HandPapermaking Portfolio Archive Fund:

Tom Balbo,Simon Blattner, Tom & Lore Burger,

JeffreyCooper, Susan Mackin Dolan, Drachen

Foundation,Michael M. Hagan, Joan Hall,

JoyceKierejczyk, Betty L. Kjelson, Ann

Marshallhonoring David Marshall, Julie Reichert,

LauraMerrick Roe, Richard H. Schimmelpfeng,

Mary C.Schlosser, Mina Takahashi, Aviva

Weiner, Beck Whitehead

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