HAN D PAPERMAK I NG NEWSLETTER Number 88, October 2009 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 Papermaking Newsletter is published four times per year. In summer and winter it is sent with the journal Hand Papermaking, and in spring and autumn it is distributed separately. Annual subscriptions include both publications: $55 in North America or $80 overseas. Two year rates are discounted: $105 in North America or $155 overseas. To subscribe, send a check to the address below, call or fax us to use Visa or MasterCard, or visit our website. Foreign subscribers may use a credit card, or pay in U.S. dollars via money order or check marked payable through a U.S. bank. For more subscription information, or a list of back issue contents and availability, contact: Hand Papermaking, Inc. PO Box 1070, Beltsville, MD 20704-1070 Phone: (800) 821-6604 or (301) 220-2393 Fax: (301) 220-2394 E-mail: [email protected] Web: www.handpapermaking.org The deadline for the next newsletter (January 2010) is November 7. Please direct all correspondence to the address above. We encourage letters from our subscribers on any relevant topic. We also solicit comments on articles in Hand Papermaking magazine, questions or remarks for newsletter columnists, and news of special events or activities. Classified ads are $2.00 per word with a 10-word minimum. Rates for display ads are available upon request. Hand Papermaking is a 501(c)(3) non-profit organization. Staff: Tom Bannister, Executive Director; Mina Takahashi, Magazine Editor; Shireen Holman, Newsletter Editor; Mary Tasillo, Advertising and Listings. Board of Directors: Sidney Berger, Frank Brannon, Shannon Brock, Inge Bruggeman, Georgia Deal, Gail Deery, Jim Escalante, Susan Gosin, Helen Hiebert, Ann Marie Kennedy, Barbara Lippman, Andrea Peterson, Margaret Prentice, Gibby Waitzkin, Beck Whitehead. Board of Advisors: Timothy Barrett, Simon Blattner, Gregor R. Campbell, Mindell Dubansky, Jane M. Farmer, Helen C. Frederick, Elaine Koretsky, James Sitter, Claire Van Vliet. Co-founders: Amanda Degener and Michael Durgin. October 2009 Dear Fellow Lovers of Handmade Paper, Five years from now a new kind of environmental paper project will be established in my home province in the northern Philippines. It is a combination of earth-friendly and self-sustaining farm, and creative studio papermill. It has its own source of paper fibers, mainly four varieties of paper mulberry in combination with indigenous fibers growing in and around the farm. It is located on 2½ acres of agricultural land with a year-round supply of spring water. It will produce green paper art and handmade paper. The farm will not only grow natural fibers but also organic food for the facility. It will evolve slowly, from the drawing board, to developing the farm, to fabricating equipment and building the studio papermill. We will send occasional updates, and in five years time you are all most WELCOME. Loreto D. Apilado Mulberry Art Papermill and Ecofarm, [email protected] Dear Hand Papermaking Readers, In 2003, our 100% recycled hand papermaking studio set a world’s record by making the world’s largest sheet of handmade paper. With fifty volunteers ranging from four to seventy years old, we constructed a piece of paper that was 22½ x 30 feet in size. After showing the paper off at the local farmer’s market, the paper was cut and the pieces sold to raise funds for the local land trust. You can read more about how we did it at: www.twistedlimbpaper.com/worlds_largest/, but I challenge and encourage others to break our record and to use the novelty of this creative project to raise money for a good cause in your community. Please contact me through our website if you have questions! Sheryl Woodhouse-Keese Founding Artist, Twisted Limb Paperworks, Bloomington, Indiana Dear Papermakers, Last summer when I gallery sat for Margaret Lockwood and Allin Walker at Woodwalk Gallery in Door County, Wisconsin, visitors would walk into the big historical barn that is situated on the edge of old farm fields skirted with woods beyond. Some would say, “this is the way Door County used to be,” as they looked up into the rough hewn rafters and listened to the low murmur of breezes passing through the open slats. The barn was built in 1890. This is the atmosphere in which I teach. Classes at the new Woodwalk Handmade Paper Center are about “love of place” of Door County and its natural beauty. Students learn the craft of handmade paper. In some of the classes we work with natural materials partly gathered from the area. I show how to work them into an art project and combine them with handmade paper. Other classes focus on studying the local plants, flowers, and trees, and transforming their beauty into designs made with handmade paper. Branches, bark, grasses, leaves, and other wild fiber are worked into sculptural projects. Care in gathering is also part of the teaching. The classes are structured differently but they all use handmade paper, which is so versatile, malleable, and accessible to everyone as a craft and art form. These projects are designed to accommodate different ages—adults, children, grandchildren, and families, too. What fun to see a family enjoy themselves over handmade paper! The Handmade Paper Center is listed on the Woodwalk website: www.WoodwalkGallery.com/news/page/2 Kirsten Christianson Algoma, Wisconsin > ALONG THE PAPER ROAD... This regular feature offers paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. Here Elaine explains the process used to make the bark clothing she described in her last column. A t the 2008 Friends of Dard Hunter meeting I mentioned an extraordinary form of beaten bark made by farmers in the Xishuangbanna area of Southwest China. The bark comes from the Upas tree, Antiaris toxicaria, which contains a deadly poison, used by hunters to coat arrow tips. The farmers believed that clothing made from the bark of this tree would ward off insects, forming a protection as they worked in their fields. I had seen this tree bark outfit displayed at a museum in Kunming, China. The subject intrigued me. After the Dard Hunter conference, my husband and I set off for China again, on a new expedition. In advance, I wrote to my Chinese contacts in Kunming, Yunnan Province, stating that I wanted to spend about ten days in that part of China, particularly in Xishuangbanna, to locate people who were familiar with this type of beaten bark. This proved to be a difficult matter, but I persisted and finally, we located a farmer, Boyihan, who still remembered the now defunct process of beating bark. He agreed to make for me a jacket, trousers, and hat from this poisonous tree. I had hoped to watch the process he used, but he explained it would take him at least twelve days, and we had already used up our allotted time. A few months later my Chinese guide wrote that the outfit was ready, and I made plans to return to China in March 2009. We drove down to Xishuangbanna, and met with Boyihan again. I was thrilled with the bark clothing he had made for me, but I still hoped to find out how he did it. Boyihan brought out the beating tool he used, and showed me the whole process in pantomime. To start, Boyihan related that he went into the forest and cut down the Antiaris toxicaria tree. Out of this enormous tree, which is about 300 feet high, with a 30-inch diameter, he cut a six-foot section of the trunk. Then he began beating that entire trunk section head-on, using a two-pound iron hammer. After hours of beating, when he determined that the bark was loosened, he began beating down at the top of the bark layer, all the way around the circumference of the trunk section. Finally, he had loosened the bark sufficiently, and he was able to pull down the entire bark layer, an operation similar to skinning a snake. Now Boyihan had a huge tube of bark, which he brought to a river. He suspended the tube of bark on a heavy rod in the river and began beating the bark again. This was the final beating, and accomplished two things. The poisonous sap of the tree was washed away, and the black outer bark was removed. The entire beating procedure took many days. Now Boyihan brought the bark tube back to his house and hung it again on a rod in a horizontal position to dry. the naked stem of the tree. The procedure is to wrap the trunk in green banana leaves immediately after stripping. This covering is replaced in a few days by a plaster of wet cow dung that is left on the tree until it flakes off naturally. At the upcoming FDH meeting in Atlanta, Georgia, Donna Koretsky and I will bring with us this unusual bark outfit and demonstrate how it was beaten. > TEACHING HAND PAPERMAKING Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. In this column, Winnie talks about one of her workshops this past summer at the Tidewater Cottage and Studio. He placed several rocks inside the bottom of the tube to keep the piece from shriveling or shrinking while drying. The final steps were cutting the tube to make the clothing. He used half the tube for the trousers and half for the jacket. To form the trousers, Boyihan simply made a slit up the length of one tube corresponding to the length of a man’s leg. Then he stitched together the two inside lengths. For the jacket, he made one cut the entire length of the second tube and cut two openings for the sleeves, which had been formed by beating two branches of the tree the same way as he had worked on the tree trunk. He stitched the tubular sleeves onto the jacket and also stitched on a leftover piece to make a collar. The extraordinary part is that his method of making bark cloth was entirely different from the methods used by the natives of the Polynesian islands who make tapa; also different from the amatl making of Mexico; and the making of bark cloth in Uganda, Africa. In all these places, the fiber used comes from trees of the Moraceae family (Ficus species). Antiaris toxicaria is also a Moraceae. When I spent a week working with a family at Fasi village in Nuku’Alofa in 1990, it was wonderful to be part of their work that is so important in Tongan life. I selected a branch of mulberry, bit the end of it, and pulled off the bark. It was easy to do, because the mulberry is fresh, green, and full of moisture. I scraped off the outer bark, and then continuously beat the inner bark to make a piece of bark cloth. The fiber is not cooked. In Mexico the process is different, as the inner bark of mulberry is cooked before it is beaten. In Uganda, the Mutuba tree, Ficus natalensis, is used to make bark cloth. The worker makes a lateral slit at the top and bottom of the tree trunk, and one vertical cut. Then the entire piece of bark can be stripped from the tree. The tree has the unusual capacity to renew its bark if proper care is taken, by protecting F or quite a few years it has been my “lament with levity” that when the hottest and most humid summer day manifests itself in the Delaware Valley, it must indicate that I am trying to run a washi workshop during this inappropriate season. But while traditional winter’s cold weather and water make the process less challenging, who can resist a good outdoor hose-down after a day immersed in kozo thickened with sticky neri! This year I scheduled my classes at Bucks County Community College in Pennsylvania, my annual washi days at Philadelphia’s Fairmount Park Japanese House, and a daylong Japanese paper workshop at Tidewater Studio in New Jersey, all within a fortnight, so as not to risk spreading my heat wave throughout the whole summer. With a very busy week of teaching ahead of me in Philadelphia, I needed to soak and cook my two pounds of Thai kozo and one pound of Philippine gampi in New Jersey the weekend before the Tidewater workshop. I planned to do chiri (bark) picking and hand beating of a pound of each of the fibers with the six people who had signed up for the class. But I “cheated” on the beating of the remaining pound of kozo that I wanted to pigment by throwing it in the Hollander beater for a light half hour of separating and brushing the fibers. This would allow me to introduce retention aid and pigment to the kozo a few days ahead of time in order to optimize color attachment. Fortunately my week of Japanese papermaking in Philadelphia went pretty smoothly. My studio assistant at Bucks had spent the same weekend cooking two pounds each of kozo and gampi. With thir- hand papermaking newsletter teen students, we had no trouble beating the inner bark by hand swiftly, but not soundlessly! Fibers and neri remained fresh over the course of the week due to the classroom’s goose-bump efficient air conditioning. However, during the very steamy hot morning spent making washi with young campers in Fairmount Park, the kids gave out only moments before the formation aid did, but happily not before everyone had formed at least one good sheet. So, by Friday I was headed south to Tidewater to complete the last minute preparations for Saturday’s adventures in washi. Tidewater Cottage and Studio, located a few minutes north of Historic Cape May, New Jersey, is a full service papermaking studio which allows me to offer workshops and provide studio access, as well as a comfortably furnished home which invites weekend or week-long artist retreats. I had just finished pigmenting kozo with three colors and pre-mixing the necessary batches of formation aid and coagulant, when my first visitor arrived. Friend and paper artist Jill Powers, from Colorado, had been vacationing with family at a neighboring seashore resort and stopped by to say a quick “hello.” While we were talking, Margaret Rhein and her husband arrived. Peg (Margaret) had generously bid on this workshop, helping to support Hand Papermaking’s Annual Auction. Taking time to sit down and visit with October 2009 Jill, Peg, and Stu proved a great way to “kick off” the workshop. Later Friday evening we were joined by paper artist and friend, Marlene Adler. After Saturday morning’s walk on the beach with my dogs, Marlene, Peg, and I decided to start picking the chiri from the kozo and gampi while we awaited the arrival of the remaining four papermakers. Bobbie Adams, Barbara Bradley, and Erin Robin, all Guild of Papermakers members, had previous Japanese papermaking experience. It was to be Lisa Hamilton’s first attempt at washi. They all missed the opportunity to pick chiri due to the extremely high volume of shore traffic that morning. But no one was exempt from the ceremonial handpounding with mallets to beat the fibers to a pulp. After showing everyone Tidewater’s baby kozo tree and torroro aoi seedlings, we were all treated to viewing some special treasures that Peg brought along to share, which she had inherited from Mildred Fischer, an early papermaker and educator with a special interest in Japanese paper. There were some beautiful examples of spun paper thread and shifu, the cloth that was woven from the thread. There were examples of orizomigami, folded and dyed kozo paper. Peg also brought an authentic and beautiful su-keta, pounding mallet, and brush, all from Mildred. It was great to be able to show the “real thing,” because the su-ketas that I use are my makeshift art stretch frames sandwiching a bamboo brush mat with no-seeum mosquito netting affixed to one side. Due to our late start, it was early afternoon before we were all dancing the kozo across our sus. There were six vats of fiber to alternate between—clean kozo and gampi, a mixed chiri vat with a little rose-of-sharon fiber added, and straight kozo pigmented gold, turquoise, and purple. We made both traditional plain sheets as well as watermarked, stenciled, and layered sheets with inclusions. Before we realized how quickly the afternoon had passed, it was suppertime—fatigue and hunger had descended upon us. There had been a mid-afternoon pressing, so we had the opportunity to brush our first round of washi onto boards, which rapidly dried in the sun. The later afternoon papers were lightly pressed to be sent home with folks on their couching pellons. And thanks to everyone pitching in with clean-up, we were able to wrap up a great day of washi and camaraderie just in time to view a dramatic Delaware Bay sunset. > PAPER HISTORY Maureen and Simon Green, from the United Kingdom, write a joint column on Paper History. Maureen is a paper historian, and author of Papermaking at Hayle Mill 1808-1987. Simon was the last of the Green family to run Hayle Mill, in the U.K. He provides consulting services to papermakers worldwide. This is the first part of an article, entitled Oxfeet and Trotters, about gelatin sizing at Hayle Mill. W hen the first European paper mills were established in Spain in the eleventh century, the paper made was sized using rice or wheat starch. Richard Hills described sizing techniques in Kashmir as similar to ‘applying butter to bread.’1 After the size had dried on sheets, they would be hand burnished using a polished stone. By 1280, Italian papermakers introduced the practice of sizing paper with gelatine made from the hooves, horns, and hides of animals. Gelatine remained the dominant sizing agent through nearly six centuries. Until the introduction of gelatine in prepared, powder form, a familiar sight at mills was the delivery of large quantities of what the trade referred to as fleshings. These were purchased either direct from abattoirs and tanneries or via rag or other similar merchants. Upon delivery, the fleshings were placed in sacks and left in the mill pond to soak before rinsing them thoroughly in cold water to remove any residual lime—a form of crude preservative. Making and applying gelatine size was a complex business and a knowledgeable and competent sizer was a valued employee for any mill. The Hayle Mill archives contain many ledgers filled with information concerning the day-to-day running of the business. A number of these ledgers are devoted to the exacting task of gelatine sizing paper. One ledger dating from 1852 to 1857 contains a typical recipe employed by the Mill throughout the nineteenth century. The Way Longley Made Size. 10 cwt. Oxfeet and Trotters in equal proportions from 11 to 12lbs Alum per cwt. After the Feet are well washed and in the copper light the fire and soon after the grease begins to rise, begin to skim it off and continue to do so until there is no more grease. When it has boiled about 3½ hours, put in 1/3 of the soap you intend to add, boil 3 or 4 minutes and then add 6 or 7 lbs Alum, well pounded, and stir it at the top for 3 or 4 minutes. Then begin to draw off first time—put the Alum in lumps in a shoot so that the size shall dissolve it as it runs off. Draw off as long as it runs clear. Then fill the copper again and let it boil gently till the Feet are quite MAGNOLIA brought to a pulp. Keep running as long as there is any grease or refuse on the top and then add remainder of the soap and the same quantity of Alum as in first boiling—the second boiling takes about 12 hours—slow boiling.2 A valuable by-product was the left over fleshings which were sold to farmers as a fertiliser. This was traditionally the Sizer’s perk until Jack Barcham Green found out that the Sizer made more than his wages in selling spent fleshings. After that the company sold the used fleshings! The alum referred to in Longley’s recipe would have been aluminium potassium sulphate [AIK (SO4)2 12 (H2O)] later often replaced by a cheaper alternative, aluminium sulphate [Al2 (SO4)3 or Al2 O12 S3]3. The role of the alum was threefold: to stabilise the solution; act as a preservative, and to render the gelatine resistant to ink penetration. While developing a watercolour paper for the Royal Society of Painters in Water Colour [RWS] in 1895, Herbert Green maintained that alum ‘rendered the size more viscous.’ He considered the addition of alum ‘necessary in these days when such hard sized papers were asked for.’ Artists in particular were interested in obtaining papers resilient to a considerable amount of erasure and abuse. Damp paper saturated with gelatine proved an excellent breeding ground for 1BQFS$POOFDUJPO *OUFSOBUJPOBM--$ Papermaking Supplies Handmade Paper Workshops Books 1BQFS$POOFDUJPOJTZPVSQSFNJFSSFTPVSDF GPSmOFBSUBOEEFDPSBUJWFQBQFST 8JUIPö DFTJOUIF6OJUFE4UBUFTBOE5PLZP 1BQFS$POOFDUJPOMJOLTQBQFSDPOOPJTTFVST JOUIF8FTUUPCFBVUJGVMQBQFSTGSPNUIF&BTU Mon - Fri 10 - 5 Sat 10 - 3 Call or write for a catalogue and workshop schedule: Magnolia Editions 2527 Magnolia Street, Oakland, CA 94607 telephone: 510/839-5268 fax: 510/893-8334 www.magnoliapaper.com 1BQFS$POOFDUJPOOPXTUPDLTGBWPSJUFBSUQBQFST GSPNUIFXFMMMPWFETUPSF"*,04 .PSJLJ)POFO4BLBNPUPBOENBOZNPSF .FOUJPOUIJTBEBOESFDFJWFPõZPVSJOJUJBMPSEFSPGPSNPSF %PZMF"WFOVF1SPWJEFODF3* 5PMM'SFFXXXQBQFSDPOOFDUJPODPN hand papermaking newsletter mould—a term covering a variety of fungal and bacterial infections. Many mills added some form of antiseptic or fungicide to the size in order to combat this—often to no avail. In 1895, Herbert Green informed the artist John William North, founder of the O.W. Paper & Arts Company, that paper sized in the month of August was particularly vulnerable to mould. In the case of Antiquarian, the size and weight of the paper meant it could only be made during certain months of the year. In the twentieth century formaldehyde (CH2O) was considered the most reliable preservative until it was discontinued for health reasons. Once the size had been prepared, it could be diluted to any desired strength depending on the type of paper to be treated. One thing missing from Longley’s recipe are the temperatures necessary to treat each stage. These were adjusted accordingly throughout the make and critical to the success of each mix. Once the paper had been dried, the sheets were delivered to the Size House. Until the process was mechanised in the mid-nineteenth century, the paper was divided into ‘spurs’—the number of sheets in each determined by the thickness of the paper being treated. However, even with the invention and installation of sizing machines in mills, many clients preferred their papers hand-sized whereby each spur was clamped between wooden planks and manually dipped into the size bath, as can be seen in the accompanying photograph from the Simon Barcham Green Collection. After dipping, the newly sized sheets were taken back to the loft to be dried. Not only were the temperatures arrived at for each cooking stage critical, the drying of the paper was temperature sensitive as well. According to Jack Green: The temperatures in the loft in which the paper is being laid out to dry should not be over 600F. (150C.). It should rise gradually, starting from about 600F. (150C.) to 700F. (210F.) after 24 hours, then to 800F. (270C.) after 48 hours and to 900F. (320C.) after 72 hours. He also warned that: Sized paper must neither be spread out nor hung up in too thick spurs or handfuls of it will stain, nor too thin or it will be cockly and dry too rapidly.4 In order to achieve a hard-sized finish, dried sheets were put through the process twice or, in the case of security makes and for some artists such as Sir William Russell Flint, three times. During the twentieth century, most papermills (including Hayle Mill) stopped making their own size and bought processed size from specialist manufacturers. In the 1960s, problems arose in procuring good quality size, which led to Simon Green researching what was available and how it was processed. He visited Croda Gelatine Ltd in Beverley, East York—one of the largest manufacturers of a wide range of gelatine products. Skin and bones remained the main sources of gelatine and there was a high degree of selection of particular materials according to the end use. The extraction method was also similar in principle to the old methods but far more sophisticated, with close control over a number of parameters. Products could come from differing stages of extraction and were then refined to varying extents. The coarse varieties became a range of glues whereas the purest products were used in the food and photographic industries. Tests included chemical and biological purity and gel strength, which could be measured in a number of ways. He selected a type of Hook Pottery Paper &YQBOEZPVSBSUNJOEBOETPVM Sign up now for fall classes Reservations are being taken for 2010 residencies IPPLQPUUFS ZQBQFSDPN юћёњюёђȱюѝђџȱӕȱќќјȱџѡѠ ȱ ȱȱȮȱ¢ȱȱȮȱ ȱȮȱȱȮȱ ȱȱȱ ȱȮȱȱȮȱȱȮȱ ȱȮȱ ȱȱȮȱȱ ǰȱ ǰȱȱȬȱȱ¢ȱȱ ŗřśȱ¡ȱǰȱȱŚ ǰȱǰȱȱŘȱŚ ŗȬŞŖŖȬŚŘŗȬŜŞŘŜ ȓǯ October 2009 ¡ȱŗȬśŗşȬŞŞŚȬşŜśś ĴDZȦȦ ǯǯ hand papermaking newsletter food grade gelatine. After the solution (or sol) of gelatine in water was purified and concentrated to a suitable strength it was then gelled by running it on to a continuously moving, polished, chilled metal cylinder. The gel was then scraped off the cylinder and pulverised before being dried by spraying into a heated air chamber. At the Mill, the gelatine powder was dissolved in warm water at a controlled temperature and potash alum was added in set proportions before being passed to the size bath. The strength of the solution was measured with a hydrometer5 in, believe it or not, degrees Twaddle. The temperature of the gelatine and the speed of the size machine were closely controlled. For many purposes, gelatine was the ideal size since, if properly undertaken, it made the paper fully resistant to water (and to some extent oil) without being repellent, greatly increased the strength and durability of the paper, and allowed erasure without damage. However it was very time consuming and expensive, and a high proportion of paper had to be resized if it failed to meet rigorous testing after drying and months of maturing. It is not, therefore, surprising that papermakers sought a cheaper and more reliable sizing method. Sadly throughout the nineteenth and most of the twentieth century, the favoured size was rosin and alum—often with disastrous effects on permanence. 1. R. L. Hills, Papermaking in Britain 1488-1988, p. 27. 2. 1 cwt (hundredweight) = 112 lb = 50.8 kg. 3. However potash alum was still added to gelatine size at Hayle Mill until 1974 when tub sizing was ended. Papermakers’ Alum (Aluminium sSulphate) was however used as a beater additive to help retain pigments. 4. J. B. Green, Paper Making by Hand in 1967, pp.20-21. 5. Simon Green replaced this with sugar refractometer in about 1970. This was easier to use and less prone to breakage. > PROFILES IN PAPER Susan Gosin co-founded Dieu Donné Press & Paper in 1976. She regularly lectures and teaches papermaking, and has compiled a significant collection of interviews with noted personalities in the hand papermaking community. This column is part one of her profile of Douglass Howell. I n all of the columns I have written thus far profiling pioneers in the revival of hand papermaking, the influence of one papermaker, whether noted or not, has always been in the background. Most of us practicing some form of papermaking today are direct descendants in the family tree of hand papermakers started by Douglass Howell. Though Dard Hunter, before him, and Laurence Barker, after him, were critical links in the revival of the craft through research, writing, and teaching, it was Douglass Howell who brought a new vision October 2009 to the process, reinventing it as an artistic medium. Howell invented new applications of hand papermaking and in doing so created a unique language of expression for artists. Simply put, Howell pioneered the majority of techniques we use today to create two- and three-dimensional art in paper pulp. Born in New York City in 1906, Howell’s distinctive approach to making paper and art began with his upbringing and education in Florence, Italy, under the encouragement of his American mother and the mentorship of Guido Biaggi, Director of the Medici Library, the Laurentiana. It was Biaggi who introduced Howell to the world of original drawings and printed books by the Renaissance masters, teaching him that the quality of the art is dependent on the artist’s choice of materials. While Biaggi exposed the young Howell to great art and introduced him to the Italian tradition of fine craftsmanship, his mother included him in her circle of contemporary artists and writers such as Ezra Pound, and producer, Gordon Craig. Though Howell received a business degree from the University of Turin and worked in the banking industry for several years in Italy and New York during the 1920s, by the Depression he had left the world of banking to pursue a career in the arts. It was during this period that Howell put together a living as an artist, a writer, and even the literary agent for friends Ezra Pound and Gordon Craig. His interest in woodcut printing led him to track down fine paper from Harrison Elliot of the Japan Paper Company. Elliot’s avid appreciation of handmade paper and his Hollander beater inspired Howell to do research about Dard Hunter at the New York Public Library. However, in 1941, Howell was drafted into the army and until the end of World War II served in intelligence and combat in Europe. But before leaving France to return to the United States, he followed up his growing interest in fine paper, visiting Maurice Peraudeau at Richard de Bas Mill in Ambert, France. Upon returning to New York City in 1946, he found a studio at 29 Grand Street in what is popularly known today as Soho (only a block away from Dieu Donné’s first home, thirty years later). Not long after moving in, he ran into a new neighbor, Alice Orcutt, a descendant of a long line of American publishers and printers who, coincidentally, was also friends with Guido Biaggi. Three weeks later they married and within a year began a family and a business in hand papermaking and fine printing. Douglass bought a Washington press, and, after doing some research, had a beater fabricated according to his designs. Using the bathtub as a vat, Alice remembers hanging both diapers and papermaking felts on the line as the young family and fledgling business grew in tandem in downtown New York. Howell was able to make limited quantities of handmade paper that he used to print poetry, selling his work at bookstores such as Scribner’s and Brentano’s. He also brought his paper to printmaker William Stanley Hayter and other artists at Atelier 17, such as Joan Miró, encouraging them to try his handmade paper. Artist Anne Ryan, known for her abstract paper compositions, found Howell’s paper ideal for her collages. However, the Howells struggled to make ends meet in New York City and decided to take up an offer to set up their papermill in an art community in Pepperell, Massachusetts. Packing up their worldly possessions and traveling north in a blizzard, the Howells discovered that the “Art Colony” was in fact a home for displaced souls from the war and that there was little feasibility of success for any kind of endeavor. Douglass Howell, his pregnant wife, Alice, and their one-year-old son stayed just long enough, eating their meals in the unheated barn, to realize they needed to think of a new plan. Alice temporarily moved in with her parents in Rhode Island while Douglass returned to New York to find new work. Though Douglass was committed to hand papermaking, the reality of supporting his young family came first. He secured a day job as an engraver at Cartier. With the help of family friends, the Howells moved to a small house in Westbury, Long Island. Here, Douglass was able to set up a studio and papermill in the basement, working into the wee hours conducting experiments, making paper, and designing his stainless steel beater, #2. Howell’s handmade paper began to receive recognition. In 1947, the Brooklyn Public Library exhibited his paper and the Museum of Fine Arts in Boston purchased a collection of Howell’s paper. Howell put together a “Green Box” of sample papers and hand papermaking illustrations that he exhibited at schools and libraries. Howell’s son, Timothy, remembers accompanying his father often to lectures and workshops; one was for a live television broadcast from the Empire State Building. The 1950s were fertile; they brought two more children to the household and proved to be a steady period of artistic exploration in the studio. With some flax seeds that Alice gave to Douglass, he was able to grow and harvest plant fiber. Previously, most of his research and production had been focused on using recycled linen rag for his handmade paper. During this period, Douglass began experimenting extensively with flax pulp, its preparation in the beater, and its expressive qualities in art. He dipped wooden armatures that were draped with string into vats of long fiber flax pulp that clung to the string, creating unique pieces of sculpture. He developed an extensive series of what he called self-illuminated sculptures using this technique. Those familiar with Alan Shield’s body of art beginning two decades later will recognize the similar method utilized by both artists. In 1953, this work of Howell’s was exhibited as paper lamps at the America House. He also began to experiment drawing with thread, dropping designs onto the surface of wet sheets, a form of what he called “synchronic drawing.” These “controlled/planned accidents” have a quality of freshness that invokes another master of chance, John Cage. It is interesting to note that while Howell employed synchronicity in his art, his wife, Alice, was studying the work of Carl Jung and eventually became a worldrenowned scholar and author in the field. > DECORATED PAPER Sidney Berger, a professor at Simmons College in Boston and Director of the Phillips Library at Peabody Essex Museum, has been collecting and researching decorated paper for over thirty years. Here Sid discusses the variety and beauty of paste papers. I n looking over the columns I have written for Hand Papermaking over the last few years, I notice that I have neglected a paper decoration technique that is widely practiced and has centuries of history: paste paper decoration. When Rosamond Loring was experimenting with marbling and paste decoration, she decided that she would abandon marbling in favor of paste because she found the latter easier to produce and it allowed for the greater expression of one’s imagination. And it’s true: making paste papers is so easy that one can become fairly expert at it in a short time, and there is no limit to the decorations one can come up with in this medium. I give workshops in this technique, and my students—new to the art—often make paste papers that outstrip in beauty anything I have ever produced, and they create designs that I have never seen before. This is part of the magic of paste papers. According to Richard Wolfe, in his exten- Handmade Paper Suite by Jane Eccles A selection of 42 full-color abstract pulp paintings. Western style handmade paper compositions using linen and cotton rag pulp with collaged natural materials and polaroid imagery. $20.00 Purchase a copy of this 8.5”x 8.5” perfect-bound book at: www.lulu.com/content/2095120 sively researched Marbled Paper: Its History, Techniques, and Patterns (Philadelphia: University of Pennsylvania Press, 1990), the earliest paste papers probably come from Augsburg and other south Germany workshops, and were in use by around 1600 (p. 24). In my article for the January 2008 issue of the Hand Papermaking Newsletter (81:6) on Dutch gilt papers, I mention that the Dutch gilts were used as substitutes for leather. The same goes for paste papers, since they replaced leather as an attractive, manipulable, easy-to-make material, perfectly suitable for bindings, a use to which they were put from the 1730s onward (see Wolfe, p. 24). Perhaps the most famous of the historical paste papers were those made “in the Saxon town of Herrnhut in about 1765, and it was there, during the next fifty years or more, that this form of paper decoration attained its highest level of perfection” (Wolfe, pp. 24 f.). He adds, “‘Herrnhut papers,’ as they came to be popularly known, achieved their superior quality through the bright yet tasteful colors employed in their making, and the symmetrical yet charming repeat patterns they contained” (p. 25). As is typical in the production of early decorated paper (“early” meaning from before the nineteenth century), the makers were anonymous. One can imagine a bookbinder trying to save money, looking at ex- EMBOSSED PAPERS Hand Printed Embossed Paper for the Graphic and Book Arts $&' $) #%(( Margaret Ahrens Sahlstrand ~ [email protected] 12060 Highway 10, Ellensburg, WA 98926, tel/fax 509.964.2341 ) % ) The Paperwright Britt Quinlan, Owner A paper making supply business providing Canada and the United States with papermaking kits, pulps, fibres, moulds and equipment, pigments, workshops, handmade papers and bookbinding supplies. We specialize in custom built wove and laid molds and personalized service for our clients. International orders are welcome. Call 613-440-0580 or e-mail [email protected] or visit www.paperwright.ca & hand papermaking newsletter pensive pelts and thinking, “There must be a cheaper way to cover books, and in such a way that the books don’t give up much in attractiveness.” Paper was the perfect material, and paste decoration was one solution. (Parenthetically, one of our goals as collectors of decorated papers is to give credit where it is due. That is, we wish to bring recognition to those whose artistic efforts are used by others. Too often we will find on a book the name of the author and publisher, the printer and binder, and even the papermaker and the designer of the typeface. But the marbler or paste paper artist whose work adorns the covers or endsheets of a book is seldom mentioned. By having representative papers from many artists in our collection, and by showing who these artists are for the sheets, we hope future scholars will be able to identify these otherwise unnamed people. Since binders were probably the first users of these papers, they were probably also the original makers of them. The fact that most book bindings themselves are unsigned explains why they did not identify themselves as the makers of the decorated papers on the books.) Loring discusses the many early types of paste papers in her classic volume Decorated Book Papers (the most recent edition of which is Cambridge, MA: Houghton Library, Harvard College Library, 2007). She says that two kinds of paste papers were made: those in which the paste is manipulated after it has been spread over the sheet, and those which she calls “printed paste papers” on which the patterns are printed in paste from woodblocks (on which the paste was substituted for ink) (see Loring, p. 65). As I have said, the variations in paste decoration are endless. Michèle V. Cloonan explains that there are three basic methods of making paste papers: “printed, direct design, and combination” (Early Bindings in Paper (London: Mansell, 1991), p. 70). She adds, “These can be broken down into several techniques or designs: spattered, $BSSJBHF)PVTF1BQFS 1BQFSNBLJOH4VQQMJFT t 8PSLTIPQT 4UVEJP3FOUBM t )BOENBEF1BQFS $BMMPSXSJUFGPSBDBUBMPHVFBOEXPSLTIPQTDIFEVMF combed, brushed, printed, pulled, daubed, vinegar and combination” (pp. 70-71). In part 2 of this column I shall talk more about the actual techniques and the materials one must use. Let me conclude part 1 of this piece by saying that in the world of decorated papers, paste papers take a leading role, chronologically and artistically. True, papers were decorated in the fifteenth century with wood-block design, but in sheer numbers, paste papers outstrip block-printed ones in abundance. And for variety and beauty, one can hardly find a medium with more variations. (One might say the same for marbled papers, and I admit that these two decorative techniques are at the top of all censuses of paper adornment.) The two examples pictured here are by Veronica Ruzicka (top) and Elisabeth Hyder. HAND PAPERMAKING loves to hear from readers. What’s your opinion? What’s happening? What’s on your mind? Send your letters to the editor by email: [email protected] 3FTFBSDI*OTUJUVUFPG 1BQFS)JTUPSZ5FDIOPMPHZ 5IF3FTFBSDI*OTUJUVUFPG1BQFSJTBOPOQSPmUPSHBOJ[BUJPO TVQQPSUJOHBNVTFVNPGJOUFSOBUJPOBMQBQFSNBLJOHBOEB DPNQMFUFQBQFSNBLJOHGBDJMJUZ)PVSTBSFCZBQQPJOUNFOU 1MFBTFDBMMPSXSJUFGPSBCSPDIVSFBCPVUPVSBDUJWJUJFT 1BQFSNBLJOH4VQQMJFT 1VMQT'JCFST 1JHNFOUT "EEJUJWFT #PPLT &RVJQNFOU 7&% 8&.0 ,FOU"WFOVF#SPPLMZO/FX:PSL UFMGBY16-1 PSEFST FNBJMJOGP!DBSSJBHFIPVTFQBQFSDPN XFCTJUFDBSSJBHFIPVTFQBQFSDPN October 2009 1BQFS.VTFVN 1BQFSNBLJOH4UVEJP 5FDIOJDBM3FTFBSDI 8PSLTIPQTBOE-FDUVSFT #PPLTBOE7JEFPT 1BQFSNBLJOH5PVST &WBOT3PBE#SPPLMJOF.BTTBDIVTFUUT UFMGBY %JSFDUPS&MBJOF,PSFUTLZQBQFSSPBE!HNBJMDPN XFCTJUFXXXQBQFSNBLJOHIJTUPSZPSH > FOR BEGINNERS Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. In this column Mary explains different ways of assessing pulp and paper during the papermaking process. W hen you are starting out as a papermaker, it can be a challenge to judge when you’ve completed certain steps of the papermaking process, such as when your pulp is done, or when your paper is completely dry. Other aspects require some testing no matter how familiar you are with the process. For example, in order to make sure that your paper is archival, you need to be able to measure the pH of your pulp. Here, we will address several tests for assessing your pulp and paper. 1) Pulp “Doneness” How can you tell if your pulp is ready for sheet forming? After some practice, I am able to tell through a combination of timing the beating, eyeballing the pulp, and sticking my hand in it to assess its fluffiness. But when I’m unsure, I might use the jar test. Take a small clear jar—a baby food jar is of sufficient size. Fill two-thirds to three-quarters of the jar with water; then add a pinch of processed pulp (without actually pinching it and compressing the fibers!). Shake the jar to disperse the fibers through the water. Do they disperse evenly? You are looking for a fine cloud of suspended fibers, without clumping or knots. If you notice clumping, beat your fiber longer until it disperses. 2) pH If you are aiming to make an archivally sound paper, assessing the pH of your pulp with a basic paper strip test, known as a litmus test, can be useful. Even if you are working with fibers that have been cooked with a caustic (such as soda ash) to achieve a neutral pH, if the water you add to hydrate and beat the fibers is not pH neutral, the overall acidity or alkalinity of your paper may be affected. It should also be noted that fibers cooked in caustic that have not been adequately rinsed may still be strongly alkaline. The pH test strips assess your pulp on the standard scale of 0 to 14, where 7 is pH neutral. Simply dip the paper strip into the pulp and allow it to sit for a minute; the paper changes color to indicate the pH. Compare the color of your strip to the color chart provided with the strips. A slightly alkaline pH reading of 8-9 is ideal to buffer the paper’s pH against acidity in the environment. What can you do if your paper is too acidic? Calcium carbonate is an alkaline buffer that can be added to help neutralize your pulp. Note that this substance is also a filler that makes for a more opaque paper. If you determine that your water source is $0/3"% ."$)*/& $0.1"/: .&$)"/*$"-&26*1.&/5 '035)&(3"1)*$"3544*/$& 'JOFBSUQSJOUNBLJOHQSFTTFTGPSXPPEDVUT MJOPDVUTXPPEFOHSBWJOHNFUBMSFMJFGFUDIJOH DPMMPHSBQITNPOPUZQFTFNCPTTNFOUTFUD /FX6TFE$VTUPN%FTJHOT 4PVUI8BSOFS4USFFU8IJUFIBMM.* 1I'BY XXXDPOSBENBDIJOFDPN 10 adversely affecting the neutrality of your pulp, it may be time to research some sort of water filtration. 3) Paper Dryness However you are drying your paper, it can be easy to confuse dry-to-the-touch with dry paper, particularly when you are impatient and enthusiastic about your new paper. One touch test to use when testing paper for dryness is a temperature test. If the paper feels cool to the touch, it is not yet fully dry. Give it some fresh blotting material and put it back under weight (if it is drying under restraint) for another day. You might also take one sheet out and expose it to the air to see whether it curls. If it warps quickly, leave the rest of the paper to dry longer. Keeping these three tests in mind, you will be able to prevent some of the common problems faced by the beginning papermaker. > more for beginners at: handpapermaking.org/beginner Keep up with the latest news from HAND PAPERMAKING by visiting http://blog.handpapermaking.org Now we’re on Facebook too. See you there! Grants Internships Residencies Workshops Papermaking Book Arts Printmaking Ceramics Photography WOMEN’S STUDIO WORKSHOP www.wsworkshop.org P.O. Box 489 Rosendale, New York, 12472 845.658.9133 hand papermaking newsletter Listings for specific workshops and other events in the following categories are offered free of charge on a space-available basis. The deadline for the January Newsletter is November 7. Contact each facility directly for additional information or a full schedule. Teachers: Tell your students about Hand Papermaking! Brochures and handouts can be mailed to you or your institution. Email: [email protected] > CLASSES AND WORKSHOPS Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www. arrowmont.org. Classes and workshops in a variety of disciplines, including papermaking. Marbling Papers: From Basics to Beyond, October 16-18, with Pat Thomas. Asheville BookWorks, Asheville, NC, (828) 255-8444, www.bookworksasheville. com. Hands-on workshops including bookbinding, printmaking, decorative paper, and basic papermaking. Introduction to Papermaking, October 9-11, with Amy Jacobs. Learn the basics of papermaking with a focus on sheet forming. John C. Campbell Folk School, Brasstown, NC, (704) 837-2775, www.folkschool.org. Classes in papermaking and other crafts in the mountains of western North Carolina. Marbling and Paste Paper, October 18-24, with Annie Cicale. Produce stacks of beautiful paper using these two paper decorating techniques that are popular with book artists. Make the Paper and Print It, November 8-14, with Frank Brannon. Form beautiful sheets of paper from cotton, flax, and abaca fibers, exploring linoleum and wood block printing on the newly-made sheets. Carriage House Paper, Brooklyn, NY, (800) 669-8781, www.carriagehousepaper.com. Visit website for workshop schedule. Center for Contemporary Printmaking, Norwalk, CT, (203) 899-7999, www.contemprints.org. Paper in Dimension: Introduction to Sculptural Handmade Paper, October 3-4, with Jeanine Esposito. Experiment with dimensional paper sculpture, including draping, layering, casting, armature, embedding, and sewing techniques. Columbia College Chicago Center for Book and Paper Arts, Chicago, IL, (312) 344-6630, www.bookandpaper.org. Papermaking classes in spacious downtown studios. PAPERMAKING SUPPLIES P.O. Box 413, Brookston, Indiana 47923 USA Orders: (800) 757-TWIN (8946) Info: (765) 563-3119 Fax: (765) 563-TWIN (8946) Web: www.twinrocker.com FREE CATALOG Cheap Papermaking Days, October 24 or 25, with Zina Castenuela or Sara Andrews. Learn the basics of sheet forming, couching, pressing, and drying. Dieu Donné Papermill, New York, NY, (212) 226-0573, www.dieudonne.org. Beginning and advanced papermaking classes for adults and children. Introduction to Contemporary Papermaking, November 3, or December 1, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques. Open Studio, October 14, November 11, or December 16, with staff instructor. Experiment on your own with studio pulps, making sheets up to 11 x 14 inches. Creative Techniques for Artists, October 21, November 18, or December 9, with staff instructor. Explore advanced techniques and their application for two- and threedimensional projects, with a different focus at each session. Gail Harker Creative Studies Center, Oak Harbor, WA, (360) 279-2105, www .gailcreativestudies.com. Offering courses in textile arts. Adventures in Papermaking, November 13-15, with Lisa Harkins. Develop skills in Supplying calligraphers, lettering artists, illuminators, bookbinders and papercraft enthusiasts worldwide with books, tools, and materials since 1981. Browse & order online, or request our free catalog: www.johnnealbooks.com [email protected] Internationally recognized as the preeminent magazine for calligraphers & lettering artists. Featuring informative articles, considered commentary & outstanding color reproductions, the magazine consistently reflects the highest caliber of work from every corner of the world. Subscribe online at www.johnnealbooks.com. USA: $45 4 issues (1 year) $81 8 issues (2 yrs) $113 12 issues (3 yrs) READY-TO-USE-PULP Custom-made in our Hollander beaters to suit your needs & the largest selection of handmade papers and: • FIBERS • PIGMENTS • BOOKS • ADDITIVES • BOOKBINDING SUPPLIES October 2009 Provides practical information on bookbinding, calligraphy, artists’ books, and papercraft. Includes how-to articles with step-by-step instructions and illustrations, artist galleries, useful articles on tools & materials, and book & exhibit reviews. Subscribe today! Go online or call toll-free 800-369-9598. Published by John Neal, Bookseller. USA: $25 4 issues (1 year) $45 8 issues (2 yrs) $60 12 issues (3 yrs) POB 9986, Greensboro, NC 27429 USA 800-369-9598 336-272-6139 fax: 336-272-9015 [email protected] SHOP/SUBSCRIBE: www.johnnealbooks.com 11 sheet forming, casting, adding color and inclusions, and processing plant fibers from your garden. Marbling Open Studio, November 21, with Lin Lacy. Hone your skills working independently under the watchful eye of an experienced marbler. Hook Pottery Paper, LaPorte, IN, (219) 3629478, [email protected], www.hookpotterypaper.com. Classes in papermaking and pottery and a residency program in northern Indiana. Papermaking Open Studio, November 21, with Lin Lacy. Hone your sheet-pulling technique working with a featured fiber. Paper Marbling, October 3, with Andrea Peterson. Use handmade papers as the basis for Western-style marbling. Papermaking and Printmaking, October 31 and November 7, 14, & 21, with Andrea Peterson. Explore paper making techniques that can enhance the printed image and add relief printing to create a limited edition. Open Paper Studio, November 28-29, with Andrea Peterson. Work independently with prepared pulps. Minnesota Center for Book Arts, Minneapolis, MN, (612) 215-2520, www.mnbookarts.org. Classes at the Open Book center for book and literary arts. Introduction to Marbling, October 10, with Lin Lacy. Learn to prepare materials and produce several patterns, incorporating traditional designs and contemporary materials to create decorative papers. Japanese Papermaking and Decorating, December 5-6, with Jana Pullman. Learn the tools and techniques used in basics of Japanese style papermaking; then learn the decorating techniques of “dragon paper” (Unryu Shi), marbling (Sumi Nagashi) and fold dye (Shibori-Zome). Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, http://morganconservatory .org. Workshops in hand papermaking and the arts of the book in an innovative green environment. Paper Circle, Nelsonville, OH, (740) 7533374, www.papercircle.org, papercircle@ frognet.net. Call or e-mail for information about upcoming paper classes. Open Studio, second Saturdays, with studio artists. Gain new skills while working on themed, relaxed projects. The Papertrail, Waterloo, Ontario, Canada, (800) 421-6826, www.papertrail.ca. Classes in papermaking, marbling, and related arts and studio rental scheduled on an as-needed basis. PapierWespe (PaperWasp), Aegidigasse 3/ Hof, 1060 Wien, Austria, (0676) 77-33-153, [email protected], www.papierwespe.at. Workshops in English and German taught by paper specialists in downtown Vienna. Pyramid Atlantic, Silver Spring, MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshops in papermaking, printmaking, and book arts. Papermaking Society, First and Third Thursdays, with Gretchen Schermerhorn. Bring snacks, discuss papermaking techniques, and make as many sheets of paper as you can. Pulp Printing, October 24 or November 14, with Gretchen Schermerhorn. Learn how to do pulp printing and stenciling to print detailed imagery into the handmade paper, exposing an image onto a screen mesh, and then spraying colored, finely-beaten pulp through the screen onto the cotton sheets. Ridgetop Studios, Soquel, CA, (831) 476-6302, [email protected], www.babcockart.com. An Introduction to Papermaking: Working with Natural Fibers, November 7-8, with John Babcock. Use historical methods as well as experimental techniques to make handmade paper from garden fibers and kozo. ^^^^ HAND PAPERMAKING regional happenings Y ou are cordially invited to join us in the Boston area on Sunday, October 4. Enjoy lunch with Lee McDonald hosted by the Boston Paper Collective, a mini-seminar in the afternoon with Sid Berger, and a festive exhibition opening with Elaine Koretsky, while supporting the nonprofit programs of Hand Papermaking. 12 collecting and researching paper for nearly 40 years and was recently part of an international team of scholars developing a thesaurus of paper terms. He directs the Phillips Library at Peabody Essex Museum. From 11:30 until 1:30 we’ll gather for a casual lunch at the home of Lee McDonald, where he will regale us with stories from the early days of the hand papermaking renaissance, talk about his latest beater, and introduce the Boston Paper Collective. Lee began as a Twinrocker apprentice in the mid-1970s and he’s been designing/building papermaking equipment ever since. At 5:00 our group is invited to join a gala event, with wine and cheese, to celebrate the opening of the exhibition “Before Paper” at Elaine Koretsky’s International Paper Museum at The Research Institute of Paper History and Technology. Located in a 100-year old building originally used as a carriage house, the Museum holds a tremendous collection of books, handmade paper, and artifacts collected by the Koretskys during several decades of field research worldwide. Next, a few minutes away at the home of Sid Berger and Michele Cloonan, from 2:00 until 4:30, professor Berger will teach us how to recognize and describe paper characteristics and aspects of paper decoration, using rare papers from his amazing collection to illustrate. Sid has been This unique opportunity is limited to 20 guests, and priority will be given to current subscribers. Sign up now by calling Hand Papermaking at (800) 821-6604. Participants are asked to make a $75 tax-deductible donation. www.handpapermaking.org/events hand papermaking newsletter Robert C. Williams Paper Museum, Atlanta, GA, (404) 894-5726, http://ipst.gatech.edu/amp/ Teachers’ Japanese Papermaking Workshop, June 21-25, 2010, with Berwyn Hung. Study Japanese papermaking in-depth, from its history through its practice, including construction of a sugeta. San Francisco Center for the Book, San Francisco, CA, (415) 565-0545, www.sfcb.org. Book arts classes and events year-round. Pastepapers, December 4, with Leigh McLellan. Create colorful, vibrant patterns by covering beautiful charcoal drawing paper with paste and then drawing, stamping, combing, or pressing and pulling apart the surfaces. retreats in a fully equipped paper studio, 10 minutes north of Cape May, New Jersey. For a schedule or information about studio rental with instruction, e-mail Winnie Radolan at [email protected]. West Dean College, Chichester, West Sussex, U.K., (0)1243 811301, short.course@ westdean.org.uk, www.westdean.org.uk. Informing Paper: Recycled Paper Pulp Vessels and Vintage Paper Casting, March 21-24, with Magie Hollingworth. Explore ways of forming organic vessels with recycled paper pulp and casting with handmade and vintage papers. > more classes and workshops at handpapermaking.org/listings.htm Sarvisberry Studio and Gallery, Floyd, VA, (540) 745-6330. Handmade Paper Workshop with Local Plants and Fibers, October 3-4, with Gibby Waitzkin and Georgia Deal. Learn to make paper using local plants and embedded botanicals, from garden fibers to finished piece. Seastone Papers, West Tisbury, MA, (508) 693-5786. Scheduled papermaking and book workshops listed at www.seastonepapers.com; contact Sandy Bernat for more information on open studio and private workshops for adults and children. Southwest School of Art & Craft, San Antonio, TX, (210) 224-1848, www.swschool .org. Classes at the Picante Paper Studio. Advanced Studio Rental, most Wednesdays, with Beck Whitehead. Use of paper studio and equipment for private instruction upon request for use by paper artists. Papermaking Saturday, select Saturdays, with Beck Whitehead. Work on independent projects with instruction available in the morning. Special Fibers: Pulp Painting, October 31, with Beck Whitehead. Learn pulp painting techniques using abaca, flax, and cotton rag. Kozo and High Shrinkage Fiber: Unusual 3D Techniques, November 7-8, with Melissa J. Craig. Explore the creation of moulds, armatures, and mounting strategies to make free-standing paper sculptures through a combination of lectures, demonstrations, and hands-on lessons. Stone and Paper Art Center, L.L.C., Mandeville, LA, (504) 674-9232, www.stoneandpaper.com. Hand Papermaking, selected Saturdays, with Mary Elain Bernard. Learn Eastern and Western methods of making paper and incorporate local plant fibers. Tidewater Cottage and Studio, Del Haven, NJ. Day workshops and weekend or week-long October 2009 > EVENTS The Friends of Dard Hunter meet annually to enjoy speakers, presentations, tours of local paper and book arts facilities, a trade show, auction, and banquet. Scholarships are available to those with financial need. For information on this conference visit www.friendsofdardhunter.org. The 2009 meeting will be held October 15-18 in Atlanta, Georgia, taking full advantage of all the Robert C. Williams American Museum of Papermaking has to offer. The International Association of Hand Papermakers and Paper Artists will convene again in 2010, September 9-13, at the Hanji Theme Park in Wonju, Korea, about 1 ½ hours from Seoul. There will be a paper festival, four exhibitions, presentations, and workshops. Korean, Japanese, and Chinese papermakers will be invited, in addition to IAPMA members, to share their paper processes. See more details as the congress evolves at www. iapma.info. > more events at handpapermaking.org/events > EXHIBITS Robbin Ami Silverberg will have a solo exhibition at the Petofi Irodalmi (Literature) Museum in Budapest, opening on September 3. The museum address is: Károlyi Mihály utca 16, H-1053 Budapest, Hungary. More information about the museum can be found at www.pim.hu. You Were Here: Fiber Art Postcards, an exhibit at Tohono Chul Park, Tuscon, Arizona, is on display September 10 through November 16. Postcards in Wish You Were Here will document real or imagined places, trips, experiences, or events in Arizona, and feature a variety of fiber art techniques including handmade paper. For details, visit www.tohonochulpark.org or call (520) 742-6455. On September 17, Jill Littlewood’s exhibit “Death and Other Lives” opens with a gallery talk at Bluseed Studios in Saranac Lake, New York. This installation is made of 200 panels of handmade paper with drawings, pulp paintings, collage, printing, and calligraphy on the theme of death. Coinciding with the exhibition, Jill will lead workshops in pulp painting and on art that deals with social issues. For more information, visit www.bluseedstudios.org, or call (518) 891-3799. The Origin of Paper in China has a gala opening on International Paper Museum, 31 Grand Street, Brooklyn, New York. Regular hours are Thursdays, 2:00-5:00 PM. For further details, call (718) 599-7858. The exhibition Before Paper, which was shown in New York, will now be on display at the Massachusetts location of the International Paper Museum. The opening celebration is scheduled for cember 6. For 1636 or visit www.papermakinghistory.org. The Robert C. Williams Paper Museum of Atlanta hosts two exhibitions in conjunction with the Friends of Dard Hunter Annual Meeting. “Sukey Hughes and the World of Japanese Paper: A Return to the Source” opens October 15 and runs through January 28. “Make An Impression! The Art of Combining Handmade Paper and Print” is open October 16 through January 4. For more information, call (404) 894-7840 or visit www.ipst.gatech.edu/amp. War Work: Artists Engage Iraq and Other Wars will be on view at Carleton College, Northfield, Minnesota, from October 22 to November 18. The exhibition includes book, paper, and print artists Sandow Birk, Daniel Heyman, John Risseeuw, Ehren Till, Megan Vossler, the Combat Paper Project, and more. For more information, call (507) 222-4469 or (507) 222-4342, or visit http://apps.carleton.edu/campus/gallery. The exhibit will then be at The Art Museum at the College of Wooster from January 12 to February 28. Book Bombs, a collaborative project by Mary Tasillo and Michelle Wilson, will be on display January 8 through March 31 at various locations in Philadelphia, Pennsylvania, as part of the inaugural Philagrafika2010 Print Quadrennial. Book Bombs is a series of prints and zines, some featuring paper handmade from urban invasive fibers, examining the many uses of public park spaces, installed 13 in just these public spaces. The project is already underway, as documented at http://bookbombing.blogspot.com, and details will also be available through Philagrafika2010, reachable at (215) 557-8433 or www.philagrafika2010.org. Project Runway, organized by the Robert C. Williams Paper Museum of Atlanta, is on view at Atlanta’s Hartsfield-Jackson International Airport. The juried exhibit showcases clothing and accessories made entirely from paper, including ball gowns, business suits, stilettos, hats, vests, and much more, created by paper artists from around the world. The exhibit runs through January 12, 2010, after which it travels to La Sala Galeria de Arte in Santiago, Chile. For more information, call (404) 894-7840 or visit www.ipst.gatech.edu/amp. > PUBLICATIONS AND VIDEOS The Legacy Press has recently published Killing Green: An Account of Hand Papermaking in China by Elaine Koretsky. The book chronicles the author’s many field expeditions over more than a quarter century, including excursions to remote villages that represent unbroken traditions in papermaking by hand. From the Takli- makan and Gobi Deserts to the Himalayas, Elaine Koretsky interviewed papermakers, recorded their histories, and documented their processes. Visit www.thelegacypress.com for more details and to place an order. Shoichi Ida: USA Remembers, edited by Jane M. Farmer, is a fond look at the artwork, projects, and lasting friendships that Japanese artist Shoichi Ida made in his many visits to the United States. Shoichi Ida had a special gift for combining media to create artworks, including dimensional uses of traditional papers in his early prints, collaboration with Japanese papermakers, as well as making his own papers for mixed media works. This facility and their personal compatibility inspired the presentation to Ida and Robert Rauschenberg of the Award for Excellence in International Cultural Exchange at the closing exhibition of the New American Paperworks exhibition at the University of Maryland in 1986. Available at www.blurb.com (go to Bookstore, search for Shoichi Ida). Paper Art I — 173 International Paper Artists is a new book featuring the paper artwork of members of IAPMA (International Association of Hand Papermakers and Artists). More information, including images, can be found at www.iapma.info , or by contacting [email protected]. David Reina Designs Inc. Providers of quality equipment for the hand papermaker for over twenty years . . . offering Hollander Beaters, Hydraulic Presses, and Paper Drying Systems. The Summer 2009 issue of Hand Papermaking featured work by E.V. Day. A short video filmed at Dieu Donné shows the creation of her monotypes in handmade paper, with the help of collaborators Catherine Cox and Akemi Martin. Browse to www.youtube .com/watch?v=NMVzsJX0EbI or search YouTube for EV Day. In the August 14 inaugural episode of The Tomorrow Show, host Mo Rocca takes a 12½ minute look at the future of paper. Among the highlights, an interview with paper museum curator Cindy Bowden, and a visit to a house made of “papercrete” which is 80% cellulose and 20% masonry. Visit www.cbs news.com and search for Tomorrow Show. More than a 100 handmade paper sculptures by Peter Gentenaar were recently hung in the abbey church of Saint Riquier, in Northern France. A video of the work courtesy of classiquenews.com—including an interview with the artist—can be seen at www.gentenaar-torley.nl/Films_P_E.html > OPPORTUNITIES Artists experienced in papermaking are invited to apply for the opportunity to spend up to three months working in the Paper Studio at the Southwest School of Art & Craft. INTRODUCING... #405 QUICKNIP PRESS For more information, please contact: David Reina, (718) 486-0262, [email protected] 79 Guernsey Street, Brooklyn, New York 11222, USA 14 www.arnoldgrummer.com (800) 453-1485 EXPANDABLE! hand papermaking newsletter Artists are expected to provide their own transportation and materials. Housing may be available, but Is not guaranteed. Collaborations will be considered. For further information contact SSAC, 300 Augusta, San Antonio, TX 78205, (210) 224-1848, www.swschool.org. Women’s Studio Workshop offers several opportunities for artists working in papermaking and book arts. A year-long internship program gives young artists creative support, culminating in an exhibition, in return for their assistance with the on-going operations of the facility, including assisting WSW’s Artists-in-Residence with their projects and participating in WSW’s Summer Arts Institute classes as studio assistants. For details on these and other programs, visit www.wsworkshop.org. > CLASSIFIEDS Classifieds in Hand Papermaking Newsletter cost $2 per word, with a 10-word minimum. Payment is due in advance of publication. For Sale: Beautiful, hardly used, 2 lb Reina Beater, Twinrocker Press, LS McDonaldtype drying box, moulds, deckles, fiber, all excellent condition, will sell complete studio or individual items, best offer. [email protected] 2010 Mino Washi Calendar arriving late November 2009. Available exclusively through Paper Connection International. This limited-edition, hand-crafted calendar is made from 100% kozo papers. Each of the 12 months is hand printed using paper stencils designed by Kiyoko Hasegawa of Mino, Japan; all can be framed as high-quality prints. Reserve now while quantities last at (877) 434-1234. Looking for a clean 10-pound beater. [email protected] Used Reina Beater for sale. Excellent condition, Western Massachusetts, must pick up. $6,000.00 OBO; inquire about other equipment. eclipsedpaper@verizon .net Little Critter Hollander Beaters, sized from 3/4# to 10# capacity. Contact Mark Lander, 51 Hodgsons Rd, RD2, Rangiora 7472, New Zealand; ph 0064 3 3103132; email lander- [email protected]. Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc. 1-800-356-2306. For Sale: A Critter Hand Papermaking Beater made by Mark Lander. Like-new condition. $2000.00 including shipping. Contact Mary Hark at hark@wisc .edu or (608) 230-5999. a IN MEMORIAM Charles (Ted) Edward Morgan (1910-2009) passed away on August 5 at his home in Cleveland. He had no immediate family. He was 98 years old. Morgan was an avid arts supporter and a collector of paintings and prints. He generously donated to Hand Papermaking over the years. Morgan recently told his friend Tom Balbo that he wanted his assets to support paper and printing arts. The Morgan Art of Papermaking Conservatory and Education Foundation opened last year and will be supported with a trust set up by Morgan. Industrial Papermaking Felts Super Thick, Super Absorbent, Super Durable Perfect for wet pressing and restraint drying Complete felts, or cut to your specifications Peter Hopkins (802) 823-5405 [email protected] October 2009 15 A special event to benefit Hand Papermaking will take place outside Boston on October 4. See ad on page 12 for details, or visit www.handpapermaking.org/events. > SPECIAL THANKS Hand Papermaking would like to thank the following people and organizations who have made direct contributions to further our mission. As a non-profit organization, we rely on the support of our subscribers and contributors to continue operating. All donations are greatly appreciated and are tax deductible. Call or write for more information on giving levels and premiums. Patrons: Susan Gosin, Barbara Lippman, David Marshall & Alan Wiesenthal, Gibby Waitzkin. Underwriters: Cathleen A. Baker, Sid Berger & Michele Cloonan, Charles E. Morgan, Peter Newland & Robyn Johnson, Nancy & Mark Tomasko, Beck Whitehead, Pamela S. Wood. Sponsors: Michael Durgin, Jim Escalante, Jane Farmer, Andrea Peterson, Margaret Prentice, Kimberly Schenck. Donors: Eric Avery, Inge Bruggeman, Tom & Lore Burger, William Dane, Gail Deery, Paul Denhoed, Cynthia J. Fay, Gail Fishberg, Kathryn Flannery, Helen Frederick, Lori B. Goodman, Robert Hauser, Helen Hiebert, Barbara Hunter, Eve Ingalls Von Staden, Ingrid Rose Company, Lois & Gordon James, Rick Johnson, Ann Marie Kennedy, Elaine Koretsky, Karen Kunc, Mary Lou Manor, 16 Gordon Marshall, Heather Leigh McGarvie, Betsy Miraglia, Catherine Nash, Janet Oberla, Nancy Pobanz, Dianne L. Reeves, John L. Risseeuw, Mary C. Schlosser, Karen Stahlecker, Helmuth A. Stahlecker Jr., R. H. Starr Jr., Stephen Sward, Betty Ustun, Kathy Wosika. Supporters: Annie Alexander, Marjorie & Harold Alexander, Lynne Allen, Grimanesa Amoros, Martha Anderson, Lois D. Augur, Shirah Miriam (Mimi) Aumann, Eugenie Barron, Lora Brueck, T. Patterson Clark, Nancy Cohen, Rona Conti, Charles Cooper, Elizabeth Curren, Jennifer Davies, Dianne Dolan, Jonathan Fairbanks, Theresa Fairbanks Harris, Dorothy Fall, Lynn Feldman, Kathy Fitzgerald, Sara Gilfert, Lou Kaufman, Kristin Kavanagh, Betty L. Kjelson, Allye Kranish, Gordon Marshall, Edwin Martin, Joyce McDaniel, Ann Montanaro, S.A. Scharf, Pam Scheinman, Peter Sowiski, Jessica Spring, Marie Sturken, Sheila Sturrock, Betty Sweren, Anne Williams, Therese Zemlin. Friends: Pat Alexander, Tatiana Ginsberg, David Lance Goines. In-Kind: Carol Barton, Janet DeBoer, Paul Denhoed, Peter Ford, Helen Hiebert, Peter Hopkins, Russell Maret, Drew Matott, Rick McSorley, Pyramid Atlantic, Britt Quinlan, Amy Richard, Beverly Sky, Lynn Sures, USDA Beltsville Agricultural Research Center. Founding Contributors to the Hand Papermaking Endowment: 49er Books, Shirah Miriam (Mimi) Aumann, Cathleen A. Baker, Tom Balbo, Timothy Barrett, Sidney Berger & Michele Cloonan, Tom & Lore Burger, Jeanne M. Drewes, Jane M. Farmer, Fifth Floor Foundation, Helen Frederick, Sara Gilfert, Susan Gosin, Lois and Gordon James, Sally Wood Johnson, David Kimball, Elaine Koretsky, Karen Kunc, Barbara Lippman, Winifred Lutz, Susan M. Mackin-Dolan, David Marshall & Alan Wiesenthal, Peter Newland Fund of the Greater Everett Community Foundation, Margaret Prentice, Preservation Technologies, L.P., Michelle Samour, Peter Sowiski, Marilyn & Steve Sward, Gibby Waitzkin, Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela & Gary Wood. ^ ^ ^ ^ Hand Papermaking especially appreciates the generosity of Beverly Sky, who recently donated her custom paper press, raising $1700 to support our non-profit programs. hand papermaking newsletter
© Copyright 2024