HAND PAPERMAKING N E W S L E T T E R

Number 95, July 2011

Newsletter Editor: Shireen Holman Advertising & Listings: Mary Tasillo Desktop Production: Amy Richard

Columnists: Sidney Berger, Susan Gosin, Maureen and Simon Green, Helen Hiebert, Elaine Koretsky, Winifred Radolan, Mary Tasillo.

Hand PapermakingNewsletter is published quarterly. Annual subscriptions are $55 in NorthAmerica or $80 overseas, including two issues of the journal Hand Papermaking. Twoyear rates are discounted: $105 in North America or $155 overseas. Tosubscribe, send a check to the address below, call or fax us to use Visa orMasterCard, or visit our website. Foreign subscribers may use a credit card, orpay 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 andavailability, contact: Hand Papermaking, Inc. PO Box 1070, Beltsville, MD20704-1070 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 (October 2011)is August 15. Please direct all correspondence to the address above. Weencourage letters from our subscribers on any relevant topic. We also solicitcomments on articles in Hand Papermaking magazine, questions or remarks fornewsletter columnists, and news of special events or activities. Classified adsare $2.00 per word with a 10-word minimum. Rates for display ads are availableupon request. Hand Papermaking is a 501(c)(3) non-profit organization. Staff:Tom Bannister, Executive Director; Mina Takahashi, Magazine Editor; ShireenHolman, 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, Ann Marie Kennedy, Anne Q. McKeown, Julie McLaughlin,Andrea Peterson, Margaret Prentice, Amy Richard, Gibby Waitzkin, Eileen Wallace,Beck Whitehead. 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: AmandaDegener and Michael Durgin.

Dear Subscribers, This year we celebrate the25th anniversary of our award-winning magazine. After the first few issues ofthe journal were published, our founders expanded their organization with twocomplementary endeavors—this quarterly newsletter, and an archive of imagesrelating to handmade paper which is known today as the Hand Papermaking ArtistRegistry. In the beginning, the goal of the new slide library was simple: toserve the magazine by providing a repository of imagery and related materialsfrom artists using handmade paper in their work. As the general public becamemore aware of paper art and interest in the magazine grew, so did demands onthe archive. Over the years, images were distributed using the technology ofthe day. First there were slide carousels with cassette tape narration, thenVHS video tapes, and then a CD-ROM. Today the paper world views images online atwww.handpapermaking.me browsing by artist name, by region, or by specialty. Asa subscriber, you are welcome to upload two images of your work at no cost. Fora small fee, any artist who utilizes handmade paper can upload multiple images ormultimedia content, plus captions and biographical statements. Because of your participation,Hand Papermaking’s Artist Registry continues to serve paper artists, scholars,publicists, curators, educators, and others interested in handmade paper art.

DearEditor, I was somewhat surprised by Elaine Koretsky’s musings in the January2011 newsletter, about her visit to a working mill, Moulin de Couze, nearLalinde, France. She writes “it was extremely interesting to see that thepapermakers there had devised a counter balance system to help in the making oflarge sheets of paper, something that we had never seen in Western stylepapermaking.” I recall as a boy assisting my father, Douglass Howell, constructa mould on which to make very large sheets of paper (60”x80”), which had beencommissioned by June Wayne. He used a children’s swimming pool for the vat, anddesigned a system of pulleys (though without a counterbalance) to enable him toraise the mould. He used what he called (a form of) marouflage to affix thesevery large sheets of paper to canvas stretched on wooden frames (for which myhelp was also enlisted). I’d be interested in learning if other handmadepapermakers have developed other ways to produce such large sheets of paper. TimothyHowell Madison, Wisconsin Editor’s note: Susan Gosin has a brief description ofDouglass Howell’s swimming pool vat in her ‘Profiles in Paper’ column in theJanuary 2010 issue of Hand Papermaking Newsletter (89:6).

>ALONG THE PAPER ROAD... This regular feature offers paper musings from ElaineKoretsky—renowned paper historian, researcher, and traveler. In this column,Elaine talks about her research into the use of silk cocoons in the developmentof paper.

Iam continuing my research on the invention of paper in China, which may havedeveloped from beaten silk cocoons, according to Ling Shun-Sheng, a noted archaeologistin Taiwan, whom I cited in the April 2011 issue of Hand Papermaking Newsletter (94:2).In his book “Bark-Cloth Culture and the Invention of Paper-making in AncientChina,” Ling quotes an English definition of silk paper from a Chinese dictionarycompiled at the end of the first century AD: “Paper is a sheet of intertwined fibresof silk waste well beaten in water and lifted out of the water in the form of athin layer by the medium of a screen.” I hope to demonstrate this procedure atthe opening of the next exhibition at the International Paper Museum inBrooklyn, New York. To start, Donna Koretsky and I bought a one-ounce bag ofsilk cocoons, technically known as Bombyx Mori. To make silk thread, cocoonsare boiled first before the silk thread can be reeled. In 1999 I had visitedthe Song Gui Silk Factory in Yunnan Province, China, and saw the cocoons in atank of boiling water starting to exude strands of silk that the workers werespinning onto reels. After the workers removed all the silk thread, they letthe water drain from the tank, and refuse from the cocoons remained on thescreen at the bottom of the tank. When the refuse dried, it could be peeledoff, and resembled paper. With some misgivings about the whole project, Donnaand I began to experiment by boiling about eight cocoons, and beating themslightly until we saw silk strands emerging from the cocoons. We drained theboiling water in a colander, and hoped we would see silk refuse left to dry onthe colander, but there was none. So we put the cocoons on a board and beganbeating them. The cocoons flattened out and started exuding silk thread.However, it was not the result we expected. One problem was that we did notknow what beaten silk cocoon paper looks like. Therefore, my next plan ofaction was to find a book or document that was made from beaten silk cocoons. Iregretted that I had not tried to lengthen my stay in Kashmir in 1986, in orderto see a book owned by Dr. Aijaz Bandey, Director of the Shri Pratap SinghMuseum in Kashmir, India. He declared that the book was printed on beaten silkcocoon paper. I decided to visit the Yen Ching Library at Harvard University,which specializes in Asian subjects, particularly Chinese. I met the librarianXiao-he Ma and discussed my project with him. He was extremely interested inthe idea of beaten silk cocoon paper, and immediately looked for references toit. The best one he discovered was the book by Ling Shun-Sheng that I already hadread. Xiao located many references to silk paper, but did not find any books ordocuments that had been made from beaten silk cocoons. He explained that thematerial had been made in China before the Ming dynasty (1368-1644 AD), whichwas so long ago, that the books simply had not survived. I do not give up easily,so I contacted museum friends in the field of paper conservation to ask ifanyone was familiar with beaten silk cocoon paper. So far, I have not receivedany positive information. Donna and I had another idea, because our museum hason display an unusual piece of felt, somewhat similar to paper, made entirelyby silkworms. I heard about this when I visited Shiqing Village, in Zha ShuiTown, Guizhou Province, China. The felt was made by placing a group ofsilkworms, who were already in the stage of becoming cocoons, on a flatsurface, and letting the silkworms crawl around while they were exuding the fiber.The worms simply crawled around in various patterns, allowing their silk fibersto get entangled. When they finished, a cohesive material was formed,resembling felt. So we bought some silkworms, and at our Brooklyn, New Yorklocation of the International Paper Museum, we believe the silkworms will demonstratetheir unusual technique. They may be more successful than Elaine, who will bebeating the silk cocoons, hopefully to make them into paper. Editor’s Note: Elaineand Donna experimented with the silkworms at one of Hand Papermaking’s 25thanniversary parties, in Brooklyn, New York. This photo is of one of the wormsin the beginning stage of forming a silk cocoon around itself, inside acardboard tube.

> UNIQUETECHNIQUE Well-known author and teacher Helen Hiebert offers helpful guidanceand tips gleaned from artists she has worked with over the years. This column,“High-Relief Embossing at La Papeterie Saint-Armand” is about the process usedto create Michel Gauthier’s embossed prints. This regular feature offers papermusings from Elaine Koretsky—renowned paper historian, researcher, andtraveler. In this column, Elaine talks about her research into the use of silk cocoonsin the development of paper.

I recently ran into Denise Lapointe, from LaPapeterie Saint-Armand in Montreal, when we were both exhibiting at the CODEX BookFair in Berkeley, California, this past February. I learned about the mill whenI met her husband, David, when he gave the keynote address at the IAPMA meetingin Banff, Canada, in 2005. At Codex, I was attracted to some deeply embossedpapers, which Denise told me were created by simply pressing wet sheets ontowindow blinds. La Papeterie Saint-Armand used a similar technique to castMichel Gauthier’s paper/print sculptures. The artist had experimented with avariety of techniques for getting a deep emboss, but none of them resulted inan impression deep enough for his satisfaction due to limitations in the pressingprocess. In a print studio, he tried running many types of paper through an etchingpress, but the rollers put pressure on one moving area at a time, which tended tostretch and tear most papers. When he tried handmade papers, they performed better,but they still were not able to get the depth of impression the artist desired.So the papermakers at the Saint-Armand paper mill decided that instead ofetching and embossing at the same time, Gauthier could separate the processinto two stages. First, he printed his images onto tissuethin sheets ofmachine-made abaca tissue paper. Abaca is a perfect material for this, becauseit has the wet strength to hold up to soaking prior to etching, it doesn’t fallapart when wet pulp is couched on top of it (more on that later), and itdoesn’t tear when put under 60 tons of pressure in the hydraulic press. Inorder to sculpt his embossing plates Gauthier used a router to carve intosheets of ¼” thick high density plastic (he works with three-by-six-footpanels). He gouged deep relief areas, cut holes in some sections, and createdraised areas by gluing sections of the cut outs onto the plastic panels. Aplastic plate was then placed face up on top of a felt that rested on a largesheet of plywood, and a print (on the tissue-thin abaca) was laid directlyagainst the plastic plate, face down. The print was lightly misted with waterto help it to adhere to the plastic (and to the felt in the sections where theplastic was cut out). The papermakers at Saint-Armand used shredded rag pulpbeaten for about four hours in their 800-pound Jones Hollander beater. The nextstep in the embossing process was to form and couch three thick layers of 22” x30” wet paper sheets directly on top of the embossed plastic (with the printadhered to it). The paper was not pressed prior to transferring; the wet sheetswere just “plopped” off the mould and onto the plate. The three layers gave thesheet enough thickness to accommodate all of the gouged out areas when thepaper was pressed into the plastic. Next, the whole “post” (plywood, felt, embossingplate, print, and three layers of paper) was covered with a thick piece of softfoam (like the three-to-four-inch-thick yellow-brown mattress foam). This type offoam is extremely absorbent and a key in the success of this process. A second plywoodsheet was placed on top of the pile, the “sandwich” was left to sit for two hours,and finally the water was squeezed out in the hydraulic press. Note: To avoid problemswith releasing the wet sheet from the embossed plate, you can let the wetpressed pulp dry overnight against the plastic plate and the paper will shrink slightly,which will aid in releasing the casting from the plate. After the post wastaken out of the press, the foam was removed and the sandwich turned overbefore being taken apart because it is easier to remove the plate from the paperthan trying to peel the paper off the plate. During pressing, the abaca tissue bondedwith the wet cotton pulp and became invisible, making it look as though theetching were printed directly onto the embossed sheet. Voilà! Gauthier’sembossed prints were then draped over a one-foot-diameter tube to dry in atubular/columnar shape. Alternatively, after the plate has been removed, sincethe wet paper then lies directly on the felt it can be air dried instead. Tosee a photo of the work in progress and to read more about Saint-Armand: www.starmand.com/English/E85-Bulletin.php For more information about Michel Gauthier you canconsult his blog: http://artmichelgautier.blogspot.com

>TEACHING HAND PAPERMAKING Based in Philadelphia, Winifred Radolan operates anitinerant teaching papermill, and has taught papermaking to thousands of adultsand children. In this workshop, Winnie briefly abandons papermaking to instructa group of art teachers in bookbinding techniques.

One of my recent teaching adventures gave methe opportunity to re-awaken a dormant paper-related passion of mine. When Iwas asked to design and implement a fifteen-hour teacher’s workshop inbeginning bookbinding techniques, I excitedly unpacked several boxes ofresource materials and started poring through them. Meanwhile, after reviewingmy proposed course of study for the sessions, it was up to the elementary artteachers and arts administrator of the Lower Merion School District, inPennsylvania, to work out the details of where and when this would be scheduled.As you might imagine, that was a challenging and lengthier process than anybinding techniques I had planned. The opening suggestions of five after school sessionsor three partial Saturdays were whittled down to two longer Saturdays, whichwere held in the district’s wellappointed middle school art room. Since Ilearned that I needed to compress my lessons into a more condensed time span onlyfour days prior to our first meeting, I had prepared more than enough project optionsfrom which to choose. I had no idea whether any of the six art teachers had anyexperience with bookbinding, or if they had received my e-mailed supplies list.So I packed accordingly. The importance of art to this school’s curriculum wasapparent on the corridor walls that led to the art room. It was also evidentthat the six teachers genuinely enjoyed one another’s company, but not frequentlyenough. There was a good deal of catching up chitchat while I displayed myexamples, and I nearly needed to crack the whip to commence the binding! But itproved to be a very amicable atmosphere with no ice-breaking needed. I began byshowing many examples of simple book structures that could easily be adapted toelementary level art lessons. My next plan was to have everyone cycle throughseveral folding stations to complete single page folded books. Then eachteacher would contribute a spontaneous cartoon drawing to be printed in a smallcollaborative edition of the folded page book format. But they all loved mysample star book on a string (which I hadn’t planned to make), so off we allwent in that direction. One advantage of working in this well-appointed artroom was that two or three boxes containing an assortment of beautiful origamipaper were offered for our use. In a classroom situation, the already decoratedsquare format of this paper would cut down enormously on prep time. For thestar book structure one needs to complete three simple folds with five units,which are then affixed together with, in our situation, adhesive glue sticks. Adecorative thread wraps diagonally around the exterior of the book and extendsbeyond to provide means to hang the opened star. This simple structure provedto be a very advantageous opening project on several levels. There was littleprep, with no measuring and cutting. Describing simple folding steps gave methe opportunity to observe how the teachers followed my words and visualguidance. And I discovered I was somewhat rusty in my verbal description, sothis was a good opportunity to apply the “verbal oil can.” And there wasimmediate gratification with this great little kick-off project! Our nextendeavor was to fold single pieces of paper into a variety of simple bookformats. I had pre-marked templates in eight patterns with folding and cutting lines,which I arranged around a big table, accompanied by stacks of brightly coloredXerox paper. Teachers were to select a starting place, complete the folded structure,then cycle to the next station. And they weren’t permitted to unwrap theiraromatic two-foot hoagies, ordered for lunch, until completing all eight littlebooks. The afternoon’s task and treat was for each of the teachers to maketheir own handmade paper from denim rag fibers, to be used for three bindingstructures we would complete during our next session. (Please don’t expect apapermaker to conduct a bookbinding workshop without getting students’ handswet at least once!) As you can imagine, it takes a while to eat a two-foothoagie, especially in a group that shares such camaraderie. So I had plenty oftime to set up vats with base sheet and decorative veil fibers (forembellishing the book covers), and to list their “to-do’s” on the task board. Thesefirst time papermakers were skeptical that in 2ó hours they could each make twelvepages and three covers—but I have skills! We all packed up for the day right ontime, me carrying ninety sheets of wet paper that I promised to return driedfor our next session. During our last workshop we used our rag paper pages andembellished covers to make both single and double signature pamphlet bindingsand a Japanese stab binding book. With each structure there was additionaldusting off of my verbal descriptions and the occasional anecdote aboutill-chosen words, such as the time I had made a large sewing card visual aid toguide private middle schools boys through a stab binding. The bottom row sewingstations were labeled with numbers 1 – 4. The two upper corner stations werelabeled “A” and “B.” As you might expect, bad things occurred when they wereinstructed to move from hole #1 up to the “A hole!” Well-chosen words are crucialto successful bookbinding. The last book structure was chosen more for theteachers’ personal gratification than to be considered a potential lesson in anelementary level classroom. Using pages and cover material I had assigned them toprepare for homework, we executed a five-signature long stitch binding. Once againthey feared that the “clock would strike 3:00 p.m.” with unfinished books. Buteveryone completed the project with moments to spare. I so greatly enjoyed revisitingbookmaking and working with this congenial group of educators that I am sure Iwill be looking forward to more adventures with the book!

> PAPER HISTORYMaureen and Simon Green, from the United Kingdom, write a joint column on PaperHistory. Maureen is a paper historian, and author of Papermaking at Hayle Mill1808-1987. Simon was the last of the Green family to run Hayle Mill, in theU.K. He provides consulting services to papermakers worldwide. This is a columnabout F. J. Head & Company, and the papers they made and sold.

In considering papermaking history, it wouldbe easy to overlook the customers— both users and intermediaries—but without them,the mills would have had no business. Two small companies changed the fortunes ofHayle Mill and they were interlinked. In 1895 the artist John William North RWS,ARA1 started the Original Water Colour Paper & Arts Company, generally knownas OW. North was seeking to procure very pure and long lasting papers forartists, particularly for watercolour painting. After trials at other mills he purchaseda range of watercolour papers from Hayle Mill which he had tested by the RoyalWatercolour Society and the good quality paper was stamped “RWS.” OW is a storyto be told some other time but it led Herbert Green (the owner of Hayle Mill) intothe special field of watercolour papers, which was to become the Mill’s biggestproduct line until it closed in 1987. In 1904, OW advertised for a Secretary andappointed Frederick J. Head, an accounts clerk then working at Lambert & Butler’stobacco factory in the east end of London. In 1907, OW engaged Frederick ArnoldBrett in succession to his recently deceased father Alexander. Brett recalls “Fromthe very first I got on well with F J Head and we had a mutual antipathy to J WNorth who was overbearing and autocratic.”2 Mr. Brett considered that Head “wasan exceptional person in every respect possessed of a dynamic personality.” In1910, Head suggested they leave OW and set up their own business—F. J. Head &Company. Head put up £50 capital and Brett’s mother provided £25. They rented aroom immediately next to the British Museum. Initially they bought job lots of cheapcartridge papers, selling them on to art schools. Later they bought odd lots ofretree and outsides3 from Herbert Green, tore them to half sheets and sold themas good paper to art schools “who were eager to get them at the low prices wecould offer.” Later on F. J. Head commissioned etching papers made on singlefaced laid medium (18” x 23”) and demy (15½” x 20½”) moulds in cream, lighttoned and dark toned shades. The furnish was 100% cotton rags—fines andoutshots. These proved popular with etching and engraving printers and famousetchers, including Sir Frank Short, Sir Alfred East, Frank Brangwyn, and MartinHardy. The young entrepreneurs now became interested in a handmade Van Gelderwith unicorn watermark, which had very uneven laid and chain lines. Thisprompted them to spend a considerable amount of time studying the hugecollection of prints and drawings at the British Museum. They found that most sixteenthand seventeenth century papers in book form and in prints by Albrecht Dürer(1471–1528) had chain and laid lines more similar to those in the Van Gelder paperthan in their own range. They now had Edwin Amies, the mould makers, make mouldsin medium and demy with specially wove laid cloth closely resembling the earlypapers, and they referred to their new papers as mediaeval laid. The new paperswere watermarked “F J Head Hand Made” in a single wire in a semi cursive styleslightly distorted to conform with the laid wires. They also developed two watermarksbased on mediaeval designs. One, confusingly known in the Mill as the Saint’sHead, actually depicted the head of Christ as apparently transferred to the kerchiefof St. Berenice when she wiped his face carrying the cross on the way to Golgotha.Berenice is an alternative spelling of Veronica (from Vera Icon—true image). TheHead business grew and prospered until 1914 when Brett joined the army, leavingHead to run the business. Head in turn was called up in 1917 and within sixmonths was killed at Kut in Mesopotamia. Mr. Brett was gravely injured inFrance, suffering gassing and the loss of a leg. Whilst he makes light of thisin the booklet, he was in various hospitals for two years, which must have beena terrible experience, but he was a very determined and brave man. Followingdiscussions with Herbert Green, the latter employed him and took over themoulds and watermarks and the rights to the papers. By this time there was amuch wider range in various sizes and weights including wove papers. Brett andthe Greens continued to develop the range and had considerable export successwith them, particularly in the USA. Production of the F. J. Head range continueduntil 1987. Fred Brett was a very strong character and much of the success ofthe Head business resulted from his efforts. He became a very skilledcalligrapher, using his talents particularly for his Freemason’s Lodge. He alsorecited at dinners and was a very good storyteller, particularly with incidentsrelating to his leg. He worked at Hayle Mill from 1919 until 1972, a decision hesaid he never regretted. 1. North was a member of the Royal Watercolour Society(RWS) and an Associate Member of the Royal Academy (ARA). 2. This quote andmuch of this article is drawn from Frederick A Brett, The History of F. J. Head& Co. (Loughborough: The Plough Press, 1975). Herbert Green would haveprivately shared the same judgment of North’s character! 3. Retree (XX) hadslight faults and Outsides (XXX) had more serious defects.

>DECORATED PAPER Sidney Berger, a professor at Simmons College in Boston andDirector of the Phillips Library at Peabody Essex Museum, has been collecting andresearching decorated paper for over thirty years. This column, “Marbled Paper2,” is a continuation of Sid’s discussion of marblers and marbled papers. In mylast column I talked briefly about the history of marbling and I mentioned oneof the great American marblers, Christopher Weimann. Chris was an innovator andone of the marblers who went beyond “craft” to a high level of “art” in hiswork. He was also a great scholar of marbling, and through his major book onthe subject (Marbled Papers: Being a Collection of Twentytwo Contemporary Hand-marbledPapers, Showing a Variety of Patterns and Special Techniques, Los Angeles:Dawson’s Books, 1978), he extended Rosamond Loring’s project to bring marblingback to prominence in the world of art. For extensive information on marbling inAmerica before, say, the 1930s, read Richard Wolfe’s Marbled Paper: ItsHistory, Technique, and Patterns (Philadelphia: University of PennsylvaniaPress, 1990). For this column, I am interested in the revival of the art in thetwentieth century, starting mostly with Rosamond Loring, but continuing with ageneration of new pioneers in the craft. Running beside Chris were some tremendouslyinfluential marblers, including Iris Nevins (who is remarkably and brilliantlystill active), Don Guyot, Milena Hughes, Patti and Mimi Schleicher, Tom Leech,Paul Maurer, Diane Maurer/ Mathison, Laura Sims, Marie Palowoda, Polly Fox,Pamela Smith, and many others. I do not wish to upset others by not mentioningtheir names. I pick these at random, knowing that dozens of other talentedartists are prominent in the medium. In fact, when Marie Palowoda (a wonderfulmarbler, herself) compiled her marbler’s directory a few years ago, she listedscores of people involved in the craft. Since then, even more names have come tomy attention—some of them producing truly wonderful papers. The recentadvertisement sent out far and wide by the Kelmscott Bookshop for Robert Wu’s MarbledGraphics (Toronto: 2009) must have startled many a potential customer: at$9,000 U.S., it rather leaps out as being something of a phenomenon in the marblingworld. The piece contains only 40 sheets of marbling. Do the math. But it is anindication that marbling has finally reached full respectability as an art. AndI must say, Wu’s marbled sheets are truly astonishingly beautiful. As I notedin my last column, marbling was originally seen as a secondary phenomenon, thepapers being used to adorn books and other things. But today sheets are beingcreated as works of art in themselves, not meant to be cut up and pasted toother objects, but thought of as works to be framed. In my wife’s and my collection,we have a great number of lovely sheets that would, by themselves, adorn wallsin many an elegant home. Milena Hughes created a wealth of these sheets, somewith representational patterns of trees and leaves (we have one with a Chinesedancer!), some with more abstract decoration. Some of the sheets of Galen Berry,which are not representational, but which are merely geometrical or repeating patterns,are rich with color, exhibiting patterns that he himself invented, made withthe use of an ingenious malleable tool containing a double-rowed, moveable comb.Richard Wolfe, beyond his amazing scholarship in the field, is a superbmarbler. We have one of his masked-off sheets on our wall showing a groomholding a horse: three marbles on a single sheet, augmented by his ownhand-added artistry. We have many lovely sheets by Steven Pittlekow, but one ofthem stands out remarkably: it is a simple flat sheet with a Spanish-wave-likepattern on it, and when I show it to people, they all swear it isthreedimensional. It is one of the great optically illusory marbled sheets onewill ever see. It is definitely worth framing. Tom Leech is one of thecountry’s most imaginative and proficient marblers. At the exhibition that heorganized at the Palace of the Governors, “Album Amicorum: Gems of Friendshipin a Frightened World,” his own contribution stands out as a brilliant piece offine art. In our collection we are fortunate to have many of his lovely sheets.And closer to my home, Regina St. John, proprietor of Chena River Marblers in Amherst,Massachusetts, is not only a great paper marbler, she is also a superb fabric marbler.I have almost twenty of her lovely ties (I am wearing one as I keyboard this!).Her papers for bookbinding and other crafts are excellent, and she has alsodone a series of floral patterns like those done by Turkish marblers. I mustalso mention Norma Rubovits, whose delicate, exquisitely beautiful vignettes(and other marbles) made for a lovely exhibit at the Newberry Library recently.(I’ll never forget this gorgeous exhibit, not just for its beauty; it’s where Ihad my last gall bladder attack.) I could mention scores of other wonderful marblers.As I indicated, I do not mean to slight anyone. I intend to do at least one morecolumn on this subject, so please write to me (sid@pem.org) if you want me tomention anyone (yourself or others) who deserves commemoration in this venue. Whenmy wife and I show our papers to the many guests who visit us, we usually getto the marbled sheets right away. This is a medium in which true artistryshows. Beyond the technical problems of getting the marbling bath just right,having the right combs and other tools, and mixing the ox gall perfectly intothe pigments, there is the dexterity, the “eye,” the color sense, the imagination,and the pure aesthetics of the marbler that combine to make what could beextraordinary works of art. If you are a marbler not represented in ourcollection, please let me know. I have to rectify this situation.

> FOR BEGINNERSMary Tasillo is a papermaker, book artist, and mixed media maven based inPhiladelphia. She teaches workshops nationally. This column is on couching anddrying surfaces, beginning and experimental.

Once you’ve mastered the papermaker’s shake,and pulled a nice even sheet, what is the ideal surface to transfer it to? Yourwet paper will take on characteristics of everything it touches, so keep thisin mind as you decide what materials you will use as surfaces for couching anddrying. In many cases, there are no right answers—only preferences. In othercases, there are some things to look out for. Couching You will be likely tocouch every sheet of paper you pull and provide some type of pressing, be it alight hand pressing or a high-pressure hydraulic treatment of a post of wetsheets. Remember that the more pressure your paper receives in pressing, the morenoticeably it will absorb characteristics of your couching materials. Yourcouching materials should absorb water and provide slight cushioning to help inthe transfer of the wet sheet from the mould, which has some give, to yourpost. Historically, wool felts have been used in Western style papermaking andare still used by papermakers today. As alternatives, many contemporarypapermakers use cut up wool blankets, such as those available from a militarysurplus store, synthetic chamois such as those marketed for cleaning a carexterior, and heavy-weight non-fusible interfacing such as that used in sewing.Cut up bed linens and canvas cloth are other possible alternatives. A papercouched onto a wool felt will have a rougher texture than one couched ontointerfacing. Experimentation, and a thought to the use of the end result, is keyin deciding which material is ideal for you, as is accessibility and cost. DryingAgain, your drying surface will affect the surface of your finished paper. Papercan be stack dried, interwoven with materials such as cotton blotters or papertowels, and placed under weights. Your interweaving materials will have to bereplaced with dry materials periodically. A fan-based drying systemincorporating corrugated boards can lessen the labor involved and speed up the dryingtime. For a discussion on creating a drying box, see Claire van Vliet’s articlein Hand Papermaking, Volume 2, Number 1, Summer 1987. Alternately, restraintdrying involves air drying the paper more rapidly while it is adhered to a flatsurface on one side. This surface might be the screen of the papermaking mould,or another surface such as a wooden board, a piece of Plexiglas, a window, or aFormica tabletop. Glass surfaces create the smoothest surface, creating a sheenon one side. Wooden boards leave a more natural surface on a sheet. Perhapscounterintuitively, boards should be untreated, rather than coated with polyurethane,for the best results; paper has a tendency to stick to treated boards. > TOBE CONTINUED in the next issue.

Listings forspecific workshops and other events in the following categories are offeredfree of charge on a space-available basis. The deadline for the October 2011 Newsletteris August 15. Contact each facility directly for additional information or a fullschedule. Teachers: Tell your students about Hand Papermaking! Brochures and handoutscan be mailed to you or your institution. Email newsletter@handpapermaking.org.

> CLASSES AND WORKSHOPS Arrowmont School ofArts and Crafts, Gatlinburg, TN, (865) 436-5860, www. arrowmont.org. Classesand workshops in a variety of disciplines, including papermaking. Pushing theBoundaries Through Sculptural Papermaking, July 3-9, with Jo Stealey. Integratepaper, fiber, basketry, and sculptural processes. Art New England, Bennington,VT, (617) 879-7175, www.massart.edu/ane, Nancy .Mccarthy@massart.edu. Week-long. Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www. arrowmont.org.Classes and workshops in a variety of disciplines, including papermaking. Artists’Books to Go, July 31-August 6, with Aimee Lee. Learn to build artists’ books witha minimum amount of equipment and environmental impact, from making papers tocutting, folding, and manipulating paper to make pop-ups, books, and unconventionalpages. Asheville BookWorks, Asheville, NC, (828) 255-8444,www.bookworksasheville.com. Hands-on workshops including bookbinding, printmaking,decorative paper, and basic papermaking. Papermaking II, June 17-19 or December2-4, with Frank Brannon. Learn to use the Hollander beater to process variousfibers and improve your sheet formation. Papermaking I, September 3-4 or November12-13, with Frank Brannon. Learn sheet forming techniques using beater-preparedpulp. Bear Creek Paperworks, Columbia, MO, (573) 442-3360,www.bearcreekpaperworks .com. Workshops in paper and book arts; some workshopscan be taken for academic credit through Central Methodist University. ContactLeandra Spangler at leandra@bearcreekpaperworks. com for more information. Flatto Form: Using Paper as a Sculptural Medium, July 18-22, with Leandra Spangler.Turn flat papers into beautiful forms, using a variety of wet and drytechniques. John C. Campbell Folk School, Brasstown, NC, (704) 837-2775,www.folkschool.org. Classes in papermaking and other crafts in the mountains ofwestern North Carolina. Kozo Kites, July 17-23, with Julie Jones. Make kozopaper and transform the paper into kites. Green Papermaking, September 16-18,with Frank Brannon. Learn the complete process of making paper by hand fromregional fibers while examining issues of environmental sustainability. CarriageHouse Paper, Brookline, MA, (617) 232-1636, chpaper@aol.com or paperroad@ aol.com.Papermaking workshops offered in a new studio space. Visit website for workshopschedule. 3-D Papermaking in Depth, August 15-18, with staff instructors. Useoverbeaten pulps, collapsible moulds, armatures, and multiple methods ofapplying pulp to explore a full range of dimensional paper techniques. CarriageHouse Paper, Brooklyn, NY, (800) 669-8781, www.carriagehousepaper.com. Intro toPapermaking, July 17 or August 10, with staff instructors. Learn the basics of Westernpapermaking including pulp preparation, sheet forming, pressing, and drying. 2-DPapermaking in Depth, July 25-29, with staff instructors. Experiment with a fullrange of 2-D papermaking techniques including Eastern and Western sheetforming, pulp spraying, pulp painting, using the vacuum table, and more. SculpturalPapermaking, August 6-7, with staff instructors. Circle of Life Studio andSummer Gallery, Eagle River, WI, (715) 479-9737, www.circleofli festudio.com.Offering weekly papermaking workshops June through September, and by specialarrangement all year. Columbia College Chicago Center for Book and Paper Arts,Chicago, IL, (312) 344-6630, www.bookandpaper.org. Papermaking classes inspacious downtown studios. Surface and Structure: Papermaking for the Artist,July 22-23, with Amy Jacobs. Learn pigmenting, layering, watermarking, and blowoutmethods, and acquire new techniques for mark-making in handmade paper. For theintermediate to advanced papermaker. Dieu Donné Papermill, New York, NY, (212) 226-0573,www.dieudonne.org. Beginning and advanced papermaking classes for adults andchildren. Introduction to Contemporary Papermaking, June 7, July 12, or August12, with staff instructor. Learn the basic papermaking process, as well asvarious artistic techniques. Creative Techniques for Artists with Open Studio,June 14, July 19, or August 9, with staff instructor. Explore advanced techniquesand their application for two- and three-dimensional projects, with a differentfocus at each session; experiment on your own with studio pulps, making sheetsup to 11 x 14 inches. Gail Harker Creative Studies Center, Oak Harbor, WA,(360) 279-2105, www .gailcreativestudies.com. Offering courses in textile arts.Papermaking: From Pulp to Portfolio, June 3-5 or July 30-31, with Lisa Harkins.Learn the basics of hand papermaking using accessible tools and supplies. HaystackMountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack-mtn .org.Workshops in various disciplines, including papermaking and book arts. Paper:Making and Marking, June 26 - July 8, with Susan Warner Keene. Build a vocabularyof marks and formats that can be used throughout the various stages of the papermakingprocess. Helen Hiebert Studio, Portland, OR, www .helenhiebertstudio.com,helen@helenhie bertstudio.com. One-day papermaking and lamp making workshopsand Thursday evening open studios for experienced papermakers in NorthPortland. Historic RittenhouseTown, Philadelphia, PA, (215) 843-2228,www.rittenhousetown .org. Summer paper arts workshop series at the site ofAmerica’s first paper mill. For further information, call (215) 438-5711 or emailprograms@rittenhousetown.org. Japanese Papermaking, TBA, with Christine Dellandre.Explore traditional method of Japanese papermaking using kozo, gampi, and abacafibers. Momigami and Paste Painting, TBA, with Richard Aldorasi. Exploremomogami and paste painting, two unique techniques used for paper decoration. Papermakingfrom Invasive Plants, TBA, with Louise Barteau Chodoff. Learn to make beautifulhandmade paper from non-native plants such as Garlic Mustard and Japanese Knotweed.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. Intensive Open Paper Studio, July 21-23, August 7, orSeptember 24, with Andrea Peterson. Acquire new techniques while workingindependently with a variety of pulps and fibers. Plant Fibers Intensive,August 18-20, with Andrea Peterson. Harvest and produce green papers fromplants from area meadows. Grass Fibers Intensive, September 15-17, with AndreaPeterson. Process local grass fibers into beautiful sheets of paper in a rangeof textures and colors. Magnolia Editions, Oakland, CA, (510) 839- 5268,www.magnoliapaper.com. Workshops in papermaking, printmaking, and book arts. MassachussettsCollege of Art and Design, Boston, MA, (617) 879-7200, http://pce .massart.edu.Courses and workshops in Fibers, Book Arts, and many other disciplines throughContinuing Studies. Korean Papermaking, August 9-12, with Aimee Lee. Exploretraditional papermaking techniques and paper manipulation secrets that includecording, felting, and dyeing hanji (Korean handmade paper); learn the basics ofKorean papermaking, which has a unique sheet formation technique that creates astrong, thin, laminated sheet. MayBe Studio, Abita Springs, Louisiana, (985)893-3184. Hand Papermaking, selected Saturdays, with Mary-Elaine Bernard. LearnEastern 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. BeaterTraining, June 7, July 5, or August 2, with staff instructor. Learn proper safetyprocedures and use of MCBA’s three Hollander beaters as a pre-requisite to rentingstudio time. Open Studio: Paper Beater, June 14, July 12, or August 9, withstaff instructor. Beat pulp for future studio use. Open Studio: Marbling, July9, with staff instructor. Work on your own decorative papers in the company ofother artists. Paper Vessels, July 16 & 23, with Erica Spitzer Rasmussen.Learn to manipulate paper into three-dimensional forms with the assistance ofprefabricated moulds and handmade armatures, and using surfacing and finishingmethods. Editionable Imagery On & In Paper Pulp, July 28-29, with BridgetO’Malley. Explore the use of watermarking, pulp painting, stencils, screenprinting with paper pulp, casting onto linoleum blocks, and more to createeditions in handmade paper. Marbling Sampler Part 1: Paper, August 6, with MaryHolland. Learn to select and mix materials and paints while learning several marblingpatterns, and become familiar with marbling tools. Open Studio: Papermaking(B.Y.O. Fibers), August 13, with staff instructor. Get into the vat, hone yoursheet-pulling technique, and enjoy the fellowship of other artists, using yourown previously beaten fibers. Papermaking for Letterpress, August 14, 20, &21, with Sarah Peters and MC Hyland. Make papers that are ideal for printingon, then move to the printing studio to explore the challenges of printing typeand images on handmade papers. Morgan Art of Papermaking Conservatory andEducational Foundation, Cleveland, OH, (216) 361-9255, http://morganconservatory.org. Workshops in hand papermaking and the arts of the book in an innovative greenenvironment. Pulp Imaging: Photographic and Other Stencils, July 16-17, withAndrea Peterson. Explore stencil construction and use, starting withphotographic stencils and building a vocabulary of stencils to use with finely beatenpigmented fiber. Lasting Impressions: Paper Casting, July 23- 24, with TomBalbo. Creatively explore the 3-dimentional limits of papermaking using thevacuum tank and vacuum table. The Rebirth of Nature Paper: From the Garden tothe Grocery Store, July 30-31, with Amanda Degener. Use unconventional plantsprovided by Amanda, as well as whatever botanicals you bring in to experimentwith, to create papers using an array of techniques. Big Ass Papermaking,August 19-21, with Julie McLaughlin. Take traditional papermaking techniques toa larger level by creating oversized, thin sheets of paper made from kozo, theinner bark of a paper mulberry tree. Old Ways Book Arts Tools and Workshops, nearSanta, ID, (208) 245-3043, traditionalhand@ gmail.com,http://www.traditionalhand. com/oldway/. Old Ways of Making Books from RawMaterials, August 10-25, with Jim Croft. Learn to create book arts tools byhand, how to process hemp and flax for paper and thread, hand papermaking, andhow to make books with wooden boards and brass clasps in this fourteen dayworkshop. Paper Circle, Nelsonville, OH, (740) 753- 3374, www.papercircle.org,papercircle@ frognet.net. Call or e-mail for information about upcoming paperclasses. Open Studio, second Saturdays, with studio artists. Gain new skills whileworking on themed, relaxed projects. The Papertrail, New Dundee, Ontario, Canada,(800) 421-6826, www.papertrail .ca. Classes in papermaking, marbling, and relatedarts and studio rental scheduled on an as-needed basis. PapierWespe(PaperWasp), Aegidigasse 3/ Hof, 1060 Wien, Austria, (0676) 77-33-153, office@papierwespe.at,www.papierwespe.at. Workshops in English and German taught by paper specialistsin downtown Vienna. Japanese Paper, November 4-6, with Beatrix Mapalagama. Usea range of fibers to create papers using Japanese papermaking techniques. PenlandSchool, Penland, NC, (828) 765- 2359, www.penland.org. A full program of craftworkshops, including papermaking. Paper Marbling, A to Z, July 24 - August 9, withSteve Pittelkow. From watercolor to acrylic, from intricate patterns tofreehand designs, every detail will be revealed as we build or enhance ourknowledge of paper marbling from the ground up. Deconstruct/Reconstruct: PlantFibers for 3-D Papermaking, August 14-26, with Winnie Radolan. Drawing fiberand inspiration from plant structures, explore a variety of possibilities for3-D papermaking with a range of colors and textures. Pyramid Atlantic, SilverSpring, MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshops inpapermaking, printmaking, and book arts. Papermaking Society, First and ThirdThursdays, with Gretchen Schermerhorn. Bring snacks, discuss papermakingtechniques, and make as many sheets of paper as you can. Spill, Spletter, Seep,Dip, Tear: Paper Staining Techniques, May 22, with Laura Kinneberg. Learntechniques for working pigmenting agents into paper while still damp, resultingin amorphous areas of color. San Francisco Center for the Book, San Francisco,CA, (415) 565-0545, www.sfcb.org. Book arts classes and events year-round. Tippedand Torn: Basic Paper Mending for Books and Documents, July 17, with Hannah Tashjian.Learn the basics of archival paper repair using wheat starch paste and Japanesepapers, including ways to reattach loose leaves to a text block. BasicPastepapers, August 26, with Leigh McLellan. Create colorful, vibrant patternsby covering text and drawing papers with colored paste, then drawing, stamping,combing, or pressing and pulling apart the surfaces. Sarvisberry Studio andGallery, 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. 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 atsandy@seastonepapers.com. Focus on Denim Paper, June 14 or August 16, withSandy Bernat. Prepare denim fabric for paper pulp from old jeans of variouscolors, collaging pieces of torn jean parts with wet denim fiber to createvisually interesting paper. Sculptural Papermaking with Overbeaten Fibers, June22 or August 24, with Sandy Bernat. Work with the unique properties of highlybeaten abaca fibers which will shrink to create strong sculptural vessels. LocalPlant Papers, June 27 or July 28, with Sandy Bernat. Learn the papermaking processfrom the plant stage to finished paper, working with Vineyard plants from gardensand fields. Seaweed in Paper, June 30, July 14, or July 26, with Sandy Bernat.Gather selected seaweed from Vineyard waters for papermaking applications. FromFiber to Book, July 5, 6, and/or 7, with Sandy Bernat. Create books from plant fibers,learning papermaking, decorative paper, and bookbinding techniques. Early BirdPapermaking Series, July 18-21 or August 1-4, with Sandy Bernat. Exploretechniques in forming sheets, decorative handmade papers, fiber collage, andpulp painting in this series of morning workshops. Sievers School of FiberArts, Washington Island, WI 54246, (920) 847-2264, www .sieversschool.com.Summer workshops on an island in Lake Michigan. Variations in Pulp, July31-August 3 or 5, with Thomas Grade. Working with a variety of fibers, explorethe beaten bark forms of Mexico, the floating moulds of Asia, and the Westerntechniques of pulp painting, pulp spraying, and casting. Sitka Center for Artand Ecology, Otis, OR, (541) 994-5485, www.sitkacenter.org. Workshops andresidencies in art and craft in a coastal environment. Paper in ThreeDimensions, July 5-8, with Helen Hiebert. Take paper from two to three dimensions,learning about papermaking, paper folding, model making, and other techniquesto create small sculptural forms that expand and collapse, open and close, foldand unfold. Southwest School of Art, San Antonio, TX, (210) 224-1848,www.swschool.org. Classes at the Picante Paper Studio. Classes can be scheduledfor one person or a group; contact bhwhitehead@swschool.org. Studio time,consultation, and instruction available most Tuesdays, Wednesdays, and select Saturdayswith Beck Whitehead. Special Fibers, July 9, with Linda Draper. Discover somenew fibers, including a more textured variation of abaca, a very cleanPhilippine gampi and rice straw, and more. Women’s Studio Workshop, Rosendale,NY 12472, (845) 658-9133, info@wsworkshop .org. Summer Arts Institute includesworkshops in papermaking, printmaking, book arts, photography, and other media.Mould Making for Sculptural Papermaking, July 4-8, with Kelly McGrath. Editionrelief forms using traditional plaster moulds and abaca fibers prepared forcasting. Paper, Image & Multiples, July 11-15, with Georgia Deal. Developimagery in handmade paper using an array of fibers and pulp manipulationtechniques. Paper + Dye: Japanese Papermaking and Natural Colors, July 25-29,with Tatiana Ginsberg. Explore methods of coloring fiber before the sheetforming process, and discover how nagashizuki, the Japanesestyle method ofsheet formation, can be used to your creative advantage while layering andmanipulating colored fibers. Techniques and Possibilities for Sculptural Paper,August 1-5, with Kirsten Demer. Create and build a variety of armatures for three-dimensionalpaper, working primarily with abaca and flax fiber. Cross Pollination: HandPapermaking and Encaustic, August 8-11, with Tatana Kellner and Cynthia Winika.Work with cotton, abaca, and flax fibers—layering, embedding, stenciling, pulppainting, and embossing; then bring these papers to the encaustic studio tocreate deeply layered collages. Fields of Blue: Paper, Cloth, and Indigo Dye, August15-19, with Mary Hark. Using handmade papers and cloth, produce a beautiful portfolioof paper and textiles that make use of the lively and historic range of blueavailable with an indigo vat.

> EVENTS TheGuild of Papermakers and the University of the Arts will host paper artistHelen Hiebert for a lecture and workshop September 17-18 in Philadelphia. Watchfor details as the date nears. Contact Winnie Radolan at winnie.r@verizon.netto find out more about this event and about the Guild of Papermakers. TheFriends of Dard Hunter will hold regional meetings in October 2011 on the EastCoast, West Coast, in the Midwest, and in England. The Friends of Dard Hunteris an organization that connects and educates hand papermakers worldwide,welcoming everyone, at any level of skill or knowledge, as learning about paperis a lifelong pursuit. Upcoming meetings will happen in Appleton, Wisconsin,October 13-16; Hemel Hempstead, England, October 14-16; Pittsfield, Massachusetts,October 20-23; Santa Barbara, California, October 21-23. For information onthese conferences visit www.friendsofdardhunter.org. In 2012 the Friends ofDard Hunter will hold a joint meeting with IAPMA in Cleveland, Ohio. The U.S.Congress recently proclaimed Silver Dollar City in Branson, Missouri, “the Homeof American Craftsmanship.” During the months of September-October, Mimi Aumannwill demonstrate papermaking at the 1800s theme park as part of their annualharvest festival. SDC is building a green papermill and Mimi plans to make paperfrom the agri-waste of some of the 150 craftsmen represented in the festival.If you would like to spend a day making paper with her, or just want moredetails, write to thewatermill@centurytel.net. Read the article “Dineke McLean,A Life with Paper,” in Textile Fibre Forum, Volume 30, Issue 1, Number 101(2011). She will be among the instructors at TAFTA’s Geelong Textile Forum heldin Victoria, Australia, September 25 through October 1. Also teaching isJiyoung Chung, introducing the traditional Korean art of joomchi. Go towww.tafta.org.au to learn more about the event and subscribe to the magazine. Recycling:Washi Tales brings to life in performance the human stories contained in sheetof washi as it is recycled through time. Four tales of papermaking from differentperiods of Japanese history unfold on stage with an ensemble of performers andmusicians, in a world created by paper artist Kyoko Ibe. There is also an educationalcomponent, with workshops in papermaking and performance reaching students ofall ages. The program will take place at Krannert Center for the Performing Artsin Urbana, Illinois (www.krannertcenter. com) on September 17, followed byperformances on September 21 and 22 at Los Angeles County Art Museum (www .lacma.org)in conjunction with an exhibition of Kyoko Ibe’s work. More details are atwww.washitales.com or view videos of previous workshops in New York and Tokyo athttp://vimeo.com/8240247 and http:// vimeo.com/17603987 The InternationalAssociation of Hand Papermakers and Paper Artists will convene again in 2012,October 17-21, in a joint meeting with the Friends of Dard Hunter at the MorganConservatory in Cleveland, Ohio. See more details as the congress evolves atwww.iapma.info.

> EXHIBITS Claire Van Vliet - PaperSkyscapes and Books, featuring work made with Katie MacGregor, Bernie Vinzani,and Kathryn Clark, will be on view from July 15 through October 23 at theBrattleboro Museum in southeastern Vermont. For more information, visitwww.brattleboromuseum.org or call the museum at (802) 257-0124. The first twozine issues of Book Bombs (Mary Tasillo and Michelle Wilson), a projectincorporating handmade paper and prints in public sites, are part of theexhibition, Time Flies When You’re Having Fun, an exhibition of bookscontributed by artists in honor of Arthur Jaffe’s 90th birthday on view at theJaffe Center for Book Arts at Florida Atlantic University, Boca Raton, FL, throughAugust 10. The exhibition features collection highlights, ephemera, andphotographs of Arthur over the years. For more information, please visitwww.library.fau .edu/depts/spc/jaffe.htm. “Zombies and Buddhas,” a series ofpulp painted portraits by Jill Littlewood, is on view at Granada Theater’sMcCune Founders Room in Santa Barbara, California, through mid-August. TheGranada Theater is located at 214 State Street, Santa Barbara, CA, and can bereached at (805) 899-2222. Paper Art will be on view June 10 – September 15 atBildungshaus St. Benedikt in Seitenstetten, Austria. The exhibition featurespaper in its various and surprising appearances as both material and subject throughthe work of Peter Gentenaar, Gjertud Hals, Robbin Silverberg, and Sigi Schraube.The exhibition is open during the office hours of the Bildungshaus. For more information,visit www.st-benedikt.at. The Women’s Studio Workshop Gallery will feature workof papermaking fellow Lori Fredette during the month of August. For moreinformation visit www.wsworkshop .org or call (845) 658-9133. Michelle Wilsonwill exhibit work in handmade paper as part of the exhibition Discrepancy:Living Between War and Peace from August 5 to October 10 at the Napa Valley ArtMuseum in Yountville, CA, curated by Nancy Willis. For more information, pleasevisit www.napavalleymuseum.org. The Guild of Papermakers is looking forward totheir annual Paper Awareness Exhibition, featuring a broad look at papermakingthrough an exhibition of member work. This year the exhibit will be held atArtworks in Trenton, NJ during the month of October. For details as theexhibition approaches, please visit http://artwork strenton.com. For moreinformation about the Guild of Papermakers, visit www .guildofpapermakers.comor contact Winnie Radolan at winnie.r@verizon.net. Hand Voice and Vision:Artists’ Books from Women’s Studio Workshop, curated by Kathy Walkup, is themost comprehensive exhibition of WSW’s books to date. It will travel through2013 to venues around the country, including Smith College (September 6 -December 20), Vassar College, Carleton College, and Scripps College. More aboutthe exhibition, catalogue and related events can be found atwww.handvoicevision.com. Korean-American Joomchi includes artworks made byrenowned Korean paper artists, along with traditional Joomchi works. CuratorJiyoung Chung has introduced the Joomchi art form to the United States byteaching artists and fine arts students. The exhibit is now traveling in Koreato “With Artists Foundation Gallery” in Haeyirl Culture Village and to the CheongjuCraft Museum. Chung will have solo Joomchi exhibitions and workshops inEngland, Finland, and Australia in 2011 and 2012. Visit http://handsofkorea.comfor further information. Hungry Ghosts features new works by Helen Frederickcreated to mitigate darkness. Mostly 4’ x 8’ artist papers, the work exploresnatural phenomena, repetitive mark making, and reconciling infinite visualspace. By hand forming materials that are fragile, fugitive, translucent, or layered,various fusions of visual experience are constructed in the works, all of whichare guided by a noted Tibetan invocation. See the exhibit at the Hunt Gallery,Mary Baldwin College, in Staunton, Virginia, August 29 to September 23. >more exhibits at handpapermaking.org/listings.htm

>CALLS FOR ENTRIES On and Of Paper: Book Arts seeks work in the book arts, withan emphasis on handmade paper, for a fall exhibition at the Springfield ArtAssociation Gallery in Springfield, Illinois. Work will be juried by HelenHiebert, and the exhibition will be part of a four-venue celebration of paper art.Entries are due on August 1. For entry form and details, please visitwww.springfieldart. org and click on the “On and Of Paper” link on the homepage. The tenth portfolio in Hand Papermaking’s limited-edition series—HandmadePaper: Fiber Exposed!—will spotlight a broad range of paper fibers, and theunique qualities inherent in a sheet when fiber is expertly manipulated by thepapermaker. Read the Call for Entries at http://portfolios. handpapermaking.org/no10and note the entry deadline of August 15, 2011.

>OPPORTUNITIES Carriage House Paper and The Research Institute of Paper Historyare tentatively planning a trip in November 2011 to parts of Asia, focusing ontraditional hand papermaking, along with the fascinating cultures of theseareas. For complete information about the trip when it becomes available,kindly contact donna@carriagehousepaper. com. Marilyn Wold is organizing a Moloka’iPapermaking Retreat to take place February 18-25, 2012. The retreat will beheld at the Pu’u O Hoku Ranch on the east end of Moloka’i and will includepapermaking with Hawaiian plant fibers as well as local arts. For details,visit www.washiwildfibers.com. The University of Iowa Center for the Book isproud to announce the offering of an MFA degree in the book arts, beginningFall 2011. This interdisciplinary program will study the art of the book, bothas a handson practice and as a historical and cultural phenomenon. Emphasisareas will include papermaking, printing, digital bookwork, calligraphy,bookbinding, artist bookwork, and supporting coursework in the history of thebook. For more information, visit http:// book.grad.uiowa.edu/ or call (319)335-0447.

>PUBLICATIONS AND VIDEOS Anne Vilsboll: The Language of Paper was recentlypublished. It is a richly illustrated work with English text on 352 pages,linen binding, and dust cover. For more details contact annevilsboll@gmail.com ArnoldGrummer’s latest book—Trash-to- Treasure Papermaking—offers simple, time timetested techniques in a colorful, easy to read format for eco-creative kids,families, and classrooms. An extensive project section will inspire paper fansand enthusiastic recyclers from ages 8 to 80! The 216 pages, in full color,feature photo stepouts for making paper and d-i-y equipment: simple handmoldsand a paper press. ISBN 978-1-60342-547-6. Available at Amazon, Barnes &Noble, or www.arnoldgrummer .com for an autographed copy. Aimee Lee has posteda slideshow with narration of the process of building the first American hanjistudio in Cleveland at the Morgan Conservatory. It can be viewed online atwww.youtube.com/ watch?v=dAWB1dOysd0. Paper Art I - 173 International Paper Artistsis a new book featuring the work of members of IAPMA (International Associationof Hand Papermakers and Artists). More information, including images, can be foundat www.iapma.info, or by contacting president@iapma.info.The May 4 broadcast of PressTV covers the Sofia PaperArt Festival, which hosted over 100 artists from 36 nations, in dozens ofgalleries and museums throughout the capital of Bulgaria. Organizers say thework demonstrates not only the strength and flexibility of paper but also itssustainable character, and hope that this Paper Fest created a spirit ofvitality, freedom, and new thinking that will provoke young generations to bemore eco-friendly. View http:// www.presstv.ir/detail/178206.html PapermakerPatterson Clark was featured in an NPR story about transforming invasive plantsinto art. You can find the story here: http://www.npr.org/ 2011/ 02/ 28/ 134054004/the-art-of-war-on-invasive-species.

>CLASSIFIEDS Classifieds in the Hand Papermaking Newsletter cost $2 per word,with a 10-word minimum. Payment is due in advance of publication. For Sale:Hollander Beater, (Davis-Hodges). In great condition, used 1 1/2 pounder. $2,500.00firm, shipping not included. Will send pictures to serious, interested buyers. PerlaKopeloff, Alamosa, Colorado fiberspace@ hotmail.com Little Critter HollanderBeaters, sized from 3/4# to 10# capacity. Contact Mark Lander, 51 Hodgsons Rd,RD2, Rangiora 7472, New Zealand; ph 0064 3 3103132; email landergallery3@ xtra.co.nz.Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc.1-800-356-2306.

>SPECIAL THANKS Hand Papermaking would like to thank the following people andorganizations who have made direct contributions to further our mission. As anon-profit organization, we rely on the support of our subscribers andcontributors to continue operating. All donations are greatly appreciated andare tax deductible. Call or write for more information on giving levels and premiums.Benefactors: Anonymous, Timothy Barrett, Gibby Waitzkin. Patrons: Tom Balbo,Sid Berger & Michèle Cloonan, Jeffrey Cooper, Barbara Lippman, DavidMarshall, John L. Risseeuw. Underwriters: Michael Durgin, Peter Newland &Robyn Johnson, Gordon & Roswitha Smale, Nancy & Mark Tomasko, BeckWhitehead, Pamela & Gary Wood. Sponsors: Cathleen A. Baker, Tom & Lore Burger,Greg Campbell, William Dane, Gail Deery, Jane Farmer, Fifth Floor Foundation, HelenFrederick, Helen Hiebert, Ingrid Rose Company, Lois & Gordon James, MaryLou Manor, Andrea Peterson, Margaret Prentice, Kimberly Schenck, Richard H.Schimmelpfeng, Eileen Wallace. Donors: Mary Austin, Patricia M. Anderson, EricAvery, Carol J. Blinn, Carla A. Castellani, Sarah Creighton, Codex Foundation,Nancy Cohen, Rona Conti, Wavell Cowan, Paula Cox, Jennifer Davies, Burgess A.Dell-Wilson, Susan Mackin Dolan, Drachen Foundation, Linda Draper, Karla Elling,Cynthia J. Fay, Kathy Fitzgerald, Rose Folsom, Jennie Frederick in memory of VivianFrederick, Sara Gilfert, Lori B. Goodman, Guild of Papermakers, Susan Gosin,Robert Hauser, Linda L. V. Illgner, Lou Kaufman, Ann Marie Kennedy, David Kimball,Karen Kunc, Barbara Landes, Ruth Lingen, Roberto Mannino, Joyce McDaniel, JulieMcLaughlin, Dennis Morris, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Harry& Sandra Reese, Dianne L. Reeves, Carolyn A. Riley, Michelle Samour, Mary C.Schlosser, Robbin Ami Silverberg, Jean Stufflebeem, Betty Sweren, Claire VanVliet, Anna Velez, Aviva Weiner, Paul Wong & John Colella, Therese Zemlin. Supporters:Annie Alexander, Lois D. Augur, Barbara Babcock, John Babcock, Eugenie Barron,James Barton, Inge Bruggeman, June Burden, Bob & Annie Cicale, Nancy O.Daley, Lauren Dubeau, Martha Duran, Ted Gast, Tatiana Ginsberg, Tracy Honn, EveIngalls Von Staden, Sally Wood Johnson, Kristin Kavanagh, Joyce Kierejczyk,Betty L. Kjelson, Hedi Kyle, Anita Liebeskind, M. P. Marion, Edwin Martin, AnneMcKeown, Linda McNeil, Kathryn Menard, Margaret Miller, Catherine Nash, PatriciaL. O’Neal, Mary O’Shaughnessy, Cheryl Parisi, Elspeth Pope, Timothy Ray, RonaRichter, Carolyn A. Riley, Agnes Schlenke, Susan Spak, Allan Thenen, Sue Tihansky,April Vollmer, Women’s Studio Workshop, Kathy Wosika. Friends: Shirah Miriam(Mimi) Aumann, Susan Grabel, Wendy Ingram, Gerrie Kamm, Fran Kornfeld, EllenLanyon, Holly Maxon, Diane Miller Himmelbaum, Patricia Feeney Murrell, ElizabethQuinlan and Vincent Dorio, Szilvia Revesz, Terry Tomlinson, Dierdre Windsor, PrimL. Young. In-Kind: Adobe Systems Inc., Zina Castañuela, Janet DeBoer, Gail Deery,Paul Denhoed, Jim Escalante, Peter Ford, Holler Farm, Hook Pottery Paper, JulieMcLaughlin, Rick McSorley, Microsoft Corporate Citizenship, The Morgan Conservatory,Britt Quinlan, Amy Richard, Shawn Sheehy, USDA Beltsville Agricultural ResearchCenter, Gibby Waitzkin, Beck Whitehead. Founding Contributors to the Hand PapermakingEndowment: 49er Books, Shirah Miriam (Mimi) Aumann, Cathleen A. Baker, TomBalbo, Timothy Barrett, Sidney Berger & Michele Cloonan, Tom & LoreBurger, Jeffrey Cooper, Jeanne M. Drewes, Jane M. Farmer, Fifth FloorFoundation, Helen Frederick, Sara Gilfert, Susan Gosin, Joan Hall, Lois andGordon James, Sally Wood Johnson, David Kimball, Elaine Koretsky, Karen Kunc,Barbara Lippman, Winifred Lutz, Susan M. Mackin-Dolan, David Marshall & AlanWiesenthal, Peter Newland Fund of the Greater Everett Community Foundation, MargaretPrentice, Preservation Technologies, L.P., Michelle Samour, Peter Sowiski,Marilyn & Steve Sward, Gibby Waitzkin, Tom Weideman, Beck Whitehead, PaulWong & John Colella, Pamela & Gary Wood.

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