2023: The Year of Paper in Rhode Island February 02 2024

TO: You wonderful people that continue to support my world of paper and fiber arts FROM: Lauren Pearlman Sugita
For me, 2023 was all about E X P A N S I O N! Only about 1/2 a year ago, a lovely, large studio space was found and a new partnership began. It's still a work in progress, but it has an official name the "Art Annex" located in Pawtucket, RI; 2 miles up the road from Paper Connection.
This new studio, which is about 1500 sq. feet, provides a creative space for gathering both the interesting and interested; it allows me the freedom to connect with folks in my community in person. and, of course, to finally get to enjoy using and sharing state-of-the-art tools and equipment via teaching and learning. Check out the very first blog post about the Art Annex. In the 2nd half of 2023, the Art Annex was able to open its doors for: a. fiber & paper clinics, b. papermaking, printmaking and weaving demos, c. open houses, and national conference tours, d. workshops in printmaking, book arts, weaving, and papermaking taught by us and by guest instructors.
In the Year of the Dragon: 2024- There is so much more to look forward to! Here's to even more art making in 2024!!
Thank you always for your continued support of my endeavors. PS. Will I see you in early April at SGC International? Happy to show you around the new space! PPS If you have a proposal for a workshop, presentation, event or collaboration at the Art Annex, please reach out via email.

Hand Papermaking in RI November 04 2023

During 89 yrs young Ayako Yoshizumi's tough schedule of teaching, lecturing and doing demonstrations while visiting lil' ol'Rhode Island , (please read previous blog post), I was so grateful to have several incredibly hard-working volunteers helping, who also maintain a great appreciation of hand papermaking and tradtional crafts. Here is a wonderful blog post by one of our favorite supporters: "Ms. Noriko Crasso", who is a talented local artist in many mediums. This is Noriko's original blog post in Japanese: The English version is below here. Thank you Noriko! I am so happy that you were inspired to write this post. Lauren

“Art Annex” Papermaking Workshop

I went to a paper-making workshop hosted by Lauren from Paper Connection, who is helping out with the Tanabata Festival.

Lauren's papermaking teachers, Ayako Sensei and her daughter Tomo WASHI YOSHI, were visiting from Japan. Ayako-sensei is now 89 years old, but she is still in good health! With her spine straight, her eyes were drawn to the image of her mixing water with kozo.

The American participants in the workshop communicated with each other through gestures, which made me happy as well.

The plant ``Kouzo'', which is the raw material for paper, is mixed with water along with ``neri'' or ``yam'', which acts as ``glue'', and then filtered in a sieve.
Shake the screen back and forth to drain the water and distribute the kozo evenly.
Carefully remove the paper from the screen, dry it in the sun, and it's done.

At the ``WASHI YOSHI'' workshop held in Japan, we deliberately sand the mulberry to make it uneven in the bamboo basket, layer colored mulberry on top of each other, and create small holes in the mulberry. It seems that each participant is enjoying the original art.

In addition to paper making, I also learned how to make Kinkarakami paper. You can make such wonderful things! I was so impressed! (My son loves gold, so he was overjoyed when I brought it home.)

We use paper casually on a daily basis, but when you think about how each sheet of paper used to go through many processes in the past, it makes you think, ``Thank you so much,'' even for paper made with machines today. ” It seems that the feeling will grow!

Ayako-sensei carefully checking the drying paper was illuminated by the sunlight and looked very impressive.
Ayako-sensei checking that the paper is dry

Thank you very much Lauren-san, Ayako-sensei, and Tomo-san! Thank you for your hard work!

``WASHI YOSHI'' Instagram You can see the workshop held in Rhode Island and creative works using various handmade washi papers.

"Art Annex" Instagram This is the studio of LAUREN PEARLMAN SUGITA and SUZI BALLENGER in Pawtucket . Various interesting workshops are held here. ● ``Paper Connection'' website Lauren's company sells Japanese paper and Japanese paper accessories.

Elisa Lanzi: new show, new workshop July 03 2023

July 5-30th, Elisa Lanzi has a new art exhibit with her friend, Rhea Banker at Anchor House of Artists in Northhampton, MA. Check out Elisa's newsletter. AND...... On Saturday, September 23, 2023, special guest instructor Elisa Lanzi will teach a 3-hour book arts workshop at our new studio space, the Art Annex. Read the Description and Sign up here: COLLAGE ARTIST BOOK Workshop. .

Caleb Getto at Hope Bindery June 26 2023

Hope Bindery was established in 1988 in Pawtucket, Rhode Island after owner Jim DiMarcantonio graduated from the Rhode Island School of Design with a BFA in Illustration. Traditional, hand binderies like Hope Bindery are the ultimate paper problem-solvers of often unique constructions that are in need of repair or a new "home". In Jim's words "no-nonsense solutions to binding problems while still exhibiting a sense of care and pride." Let's meet Caleb Getto - they are the key staff and manager of Hope Bindery. PC: Caleb, thanks for joining us. Talk about your background and how you came to Hope Bindery. CG: I graduated from RISD with a BFA in printmaking. During the last three years at RISD, I was a work-study student at the RISD Museum Prints, Drawings, and Photographs Department as a matting and framing assistant for works on paper. I was fortunate to have the opportunity to continue working in this capacity part-time when I graduated. I also started working at Hope Bindery. Within a year, I committed myself to Hope Bindery full-time. While I loved the museum and colleagues, the Bindery offered an outlet to work with my hands that wasn’t limited to protecting existing artwork, but helping bring new work to life. PC: What were your first impressions of Hope Bindery?
CG: Hope Bindery is such a special place, and that is very evident from the moment you step through the doors. At any given time there is a huge variety of projects moving through the studio, from huge Piranesi volumes to artists' books and clamshell boxes for printmakers and photographers. Walk two doors down the hall and you’re in our typecasting studio. Three Ludlow typography machines line the left-hand wall and the rest of the room is brimming with type cases full of brass matrices. Simply put, when I first arrived, I felt like there were few limits to what was possible in the space in terms of bookbinding. But, I also saw the opportunity for growth and expansion in seemingly infinite directions. PC: What are the first steps when a new project comes into the Bindery? CG: We have a principle at the Bindery; we try not to say no to any projects without exhausting all options we can think of for making our customer’s vision become a reality. Even if we don’t know exactly how we will do something, we can figure out a way. Projects always start with absorbing our customer’s ideas, once we understand what they are envisioning we can start figuring out logistics.

PC: When you start on a new personal creation – what’s your process? CG: I don’t have a consistent way or method for making - as my work takes many different forms. The one thing I always come back to is writing. Writing is really what grounds my work and what helps me understand my visual expression. Most of my writing takes place on a typewriter. I find the physicality of words that come out of a typewriter very confrontational, more so than the handwritten word. When I write something on a typewriter I am forced to exist with these words in a much more interpersonal manner. PC: What gives you satisfaction in your studio work and with Bindery projects/jobs? CG: In making my personal work, I gain satisfaction from being in the middle of something, whatever that may mean at a given time, and why I have different projects going at once. My favorite part of reading books - is being in the middle. There is a physical and contextual balance of what you know - and what is still to come. At the Bindery, we work on many small, often simple repairs that hold little monetary significance, but are charged with overwhelming sentimental value. Often these are books that have been passed down from loved ones or kept from childhood. I feel much more pressure with these books than with something that may be more expensive. While it is great making a set of beautiful clamshell boxes or an edition of artist books, getting to revive a piece that holds so much weight in people’s lives brings me much joy. PC: Has the Bindery enhanced your portfolio of work and what has changed in you and your work since coming to the Bindery? CG: Bookbinding and box-making have always been part of my practice, so, obviously, I have learned and refined skills in these technical areas. More than technical skills, however, the Bindery satisfies my craving for physical making. With this craving satiated, I have been able to slow down. Allowing time for projects to grow and evolve, through activity but also dormancy, without this overwhelming desire to consistently bring something into the world. PC: Have you worked on an "eye-opening" binding job? Please tell us the story of a memorable client and/or client request. CG: This was back when I worked at the Bindery and the RISD Museum. We were making a box set for Jess T. Dugan’s project - Every Breath We Drew. This was memorable for several reasons. First off, this was for an artist with a beautiful body of work I admired and one of the first box projects I felt fully involved in. The boxes turned out great. Weeks later, I walked into the (RISD) Museum's storage area, to find the very same boxes filled with Jess’s photographs. While I could talk about projects that were particularly interesting technically, this was an instance of "right place, right time". Seeing the impact of my work at the bindery so directly and immediately brought me so much joy and such a sense of satisfaction. PC: Is there a specific area of interest within the capabilities of the Bindery? CG: From a physical standpoint I enjoy the process of box-making most. There is something very satisfying about the collaboration that exists between a box and the prints, photographs, etc. that it holds. Boxes are protectors and collaborators in storytelling at their best. Book cover design is much the same. I love working with customers to translate the narrative or mood of their work into a cover design that compliments and reinforces the interior material. PC: How do you imagine the future of Hope Bindery? CG: I love the work that we already do, that’s why I grew to care for the bindery so much. But, as I said before, one of the things that I love about the place is that there are seemingly infinite ways in which it could expand, grow, and evolve. In the long run, the one idea that sticks in my mind is creating an artist book residency program. I love working with artists on book projects and it would be wonderful to be able to give artists the time and space to explore the book format. To make this into a reality it would be ideal to be able to expand with printmaking facilities for the artists to utilize. It would also mean expanding into publishing to some degree which is also something that is very intriguing. PC: Name one or more influences in your life. There are lots of influences in my life that I could speak about, but I think the most relevant is someone from my childhood named John Nichols. Along with many other things, he is the owner of a skate shop that expanded into a record store where I grew up in Massachusetts, Technical Skateshop & Inclusion Records. He taught me how to skateboard, and although that phase in my life didn't last long, his impact on me seems to linger. He was one of the first people that was able to illustrate to me that I was not bound to certain conventions of being. I could be a unique person with however many different interests, no matter how disparate or conflicting they may seem. He was the first person in my life that was able to offer a means of dismantling the conventions and binaries that existed in my small town and for that, I am very grateful. He is also one of the few prominent people in my life who have owned small businesses. When I first started at the Bindery, I found I had a strong desire to work in a small business that I didn't know existed beforehand. I feel like the example of John must have played a role in that. PC: Thank you, Caleb! We really appreciate you taking the time to think introspectively and write about your approach to your artwork and work at the Bindery. We look forward to taking some of your future local workshops and learning about binding and box making.

Q&A with Julia Arstorp - Photographer/Storyteller May 04 2023

long way home

How would you define your artwork, technique, and paper application?

small kingdoms breathing book
I see myself primarily as a photographer and a storyteller. I first discovered photography in the early 70s, growing up in Southern California with a darkroom in the garage. I loved the hands-on creative experience of the darkroom. After moving back east in the early 90s, I started a niche portrait business, shooting only black and white film. Twenty-five years later, I closed my shop to focus on fine artwork. At this time, I was shooting digitally and liked the freedom it gave me to create in Photoshop and Lightroom. Yet I still wanted that dark room experience. I took a class with Tricia Rosenkilde at the International Center for Photography to learn Platinum Palladium printing and taught myself how to print cyanotype. Printing platinum palladium and cyanotype was like stepping into another world and brought back the creative hands-on experience of traditional darkroom work. Two years ago I took a bookmaking workshop with Susan Kae Grant and began creating handmade books. One key takeaway from this workshop was the importance of choosing papers with tactile qualities that support the images and storyline of the book.

I feel my images work best as part of a story, and books allow me to be that storyteller.

memories found
small kingdoms breathing book 2

What influences inspire you and why?

boys of summer
Family history and childhood memories inspire my work. I studied history in college and enjoy researching the past. Both my parents died in the last ten years, and while closing their home, I discovered family photos, letters, and small heirlooms, including my grandparents' spectacles, fans from the 1800s, wedding dresses, and calling cards.
cousin ellen
These motivated me to research the history of my family, as well as use my own childhood memories for inspiration. I often collaborate with my daughter for many of my images. It allows a way to tell a story from the perspective of three generations. I recently photographed my daughter in my mother’s wedding dress from 1949, which was a bit surreal; I doubt I could have done it with anyone else. There is a project, on my website called Aunt Lizzie's Ginger Snap Recipe. I found recipes belonging to my great-great aunt, who raised my grandfather and his brothers. The cookie recipe was greasy, fingerprinted, with accompanying doodles by a child. It made me wonder what these boys and their lives had been like. I researched and found images of the boys as they grew up. I scanned pictures, created archival pigment prints on Awagami bamboo paper, and then printed cyanotype botanicals over the pigment print - one of my favorite projects to date.

How has paper influenced your work?

sunday best
I’ve enjoyed experimenting with papers when printing, not only platinum palladium and cyanotype prints but also archival pigment prints. I ordered the Awagami Paper Sampler and found one that worked brilliantly for cyanotypes. I also experimented with Unryu from Paper Connection for cyanotypes which I loved. Recently I discovered another paper, Echizen Frost Off White, from the Pastiche Paper Subscription, that's a new favorite for my cyanotypes.

Plans for the future

My hope this year is to make handmade books for several of the projects on my website. I've completed three with ideas for several more. In addition, I've begun researching a larger project on old family recipes.

Reading my great-grandmother’s handwritten recipes, when the first line is, "wake up early and start the fire", is just amazing.

Julia can be found:

Big News April 03 2023

Introducing the ART ANNEX! Lauren Pearlman Sugita, founder and director at Paper Connection has partnered with master weaver and artist Suzi Ballenger of RealFibers to realize a long-time dream. The new ART ANNEX, opening this month, is greater Rhode Island's only educational center for paper and fiber arts open to anyone in the community. The ART ANNEX is located in one of the largest, remaining mill complexes in the state, called HOPE ARTISTE VILLAGE. The building complex is on the National Register of Historic Places. The ART ANNEX is the largest educational center for paper, fiber and book arts of its kind between NYC and Portland, ME. The ART ANNEX is a local makers' space created for the greater community - welcoming folks of all ages and from all backgrounds. The ART ANNEX 's mission is to create a safe and accessible learning environment for traditional crafts, such as hand papermaking, hand weaving, natural dyeing, and book making.
First up at the ART ANNEX?
@Hope Artiste Village, 999 Main St. Unit #109 Pawtucket, RI.
April 8: Handweaving Basics 10am Sign up here 6 week course. April 14: Monoprints & Monotypes 5:30pm Sign up here 2 -hour workshop. April 15 & April 16: Lauren and Suzi will be in-house after 1pm both days, Drop In to make your own handmade hemp/(or some relative fiber) paper postcard/small sheet (suggested donation $5.00) during the Coastal Cultivator Classic sponsored by Mother Earth Wellness.
While we prepare the space for future workshops- mainly papermaking workshops ;), please join us at our Wednesday pm Drop-In Clinics during the Pawtucket Indoor Farmer's Market.
When: Beginning April 12, 2023, Wednesday nights, during the Indoor Farmer Market; next door at 1005 Main St.4:00-7:00 pm.. (Some Wednesdays in the future, Suzi may be selling vegetables too!) Where: The ART ANNEX 999 Main Street, Unit #109 Pawtucket, RI.
Donations are much appreciated!
Please stop by to check out the beautiful looms and gorgeous items for sale in our shop. Both Lauren and Suzi will be in-house to help troubleshoot your paper, fiber and book arts queries and quandaries. BONUS! we all get to meet each other- expanding our worlds.
MORE HOURS COMING SOON We'll be adding more open shop hours later in the spring and we'll definitely keep you posted. For all of you outside of the area, please visit our online shop. We truly hope you can visit the ART ANNEX someday soon!
for more information please email:

Eastern Aesthetics Inspire Suzanne Lee March 31 2023

kimono fabric and baby dogwood
The early 1970s. Manhattan. Suzanne Lee started in the fashion industry. For nearly 25 years, she built design lines in Japan, Korea, Taiwan, Hong Kong, The Philippines, China, Thailand, and India. The travel awakened a cultural perspective and love of contemporary Asian art, calligraphy, antique Chinese furniture, and Japanese papers & gardens. By 1981 Suzanne's love of all things Asian created the Chi-lin art gallery, housed in a circa 1780 farmhouse in Laconia, New Hampshire. Initially, Chi-lin was an escape from the hectic New York day-to-day. The gallery later moved to its own building surrounded by a Japanese tea garden called Satori. Suzanne remembers with delight buying elegant tapestry-covered books & beautiful brushes in a Shanghai paper store - wandering the back streets of Tokyo to find the Washi Museum, spending hours in Kyoto temples surrounded by master paintings and gardens, and sitting with fiber artist Hisako Sikijima, in her tiny studio. In 2017 The Lakes Gallery at Chi-lin moved back to its farmhouse in Laconia, surrounded by the Asian-inspired art so very much loved. Winters are full of plans for upcoming shows and opportunities to visit and work with other artists and work on original designs. Exhibits run online and by appointment year-round. Varied hours, events, and poetry readings lace the late spring and continue through late fall. Note: On Suzanne's site, read the series about Process—the chronicled steps in creating art, the time, consideration, and work behind a creative piece. These are quick reads from several artists. Very enjoyable.
the Pomo Indians continue to be a large inspiration for Suzanne's baskets
Fiber Work: Suzanne started with wax linen and raffia over reed-coiled baskets. Although time-consuming, the uniqueness of the baskets (made dry) - makes magic when molded. Suzanne continues to make baskets. Additional calligraphy creates her signature pieces.
xuanzhi, Eastern papers nature card front and back with PCI papers
Suzanne now has a studio for calligraphy and newfound knowledge of Islamic geometry and miniature painting. Thanks to online classes at The Prince's Foundation School of Traditional Arts in London. She believes she is one of the few not using watercolors, preferring either thinned-down Schmincke Calligraphy Gouache or Schmincke Aero Color (luscious colors and metallics that are easy to mix). As a calligrapher, she uses raised gold leaf in her work, tooling to add depth and texture to nature's creations. Suzanne often tries new colors and leafing techniques as minis for practice, usually ending up on cards. Since lockdown, her fairytale, incorporating newly learned techniques, comes to life — of course, this is a story about trees & flowers.
tooled gold flowers with "Flecked Nest"

Suzanne teaches very personalized Nature Card workshops limiting participation to four. Contact Suzanne with interest.

. . . it's my favorite way to share an art anyone can have fun learning and easily continue on their own.

For many years Suzanne has made and taught the how-to's to dried botanicals, Asian papers, ribbons, raised gold leaf, and a unique form of Japanese fabric collage, creating handmade books and cards. Handmade books and cards combine her passion for gardening with Asian fabrics and paper. When there is a need for expression, Suzanne carefully presses leaves, flowers, ferns, and grasses during summer and fall for a winter cache.

With Paper Connection’s Paper Pastiche each month I get a sampler of papers to consider for my workshops and play.

If you visit the Delray Beach area in Florida, there is a marvelous exhibit at Morikami Museum and Japanese Gardens.
xuanzhi, Eastern papers nature card with "Embossed Leaves"


front and back with PCI papers


"Although I have been to Japan many times as a designer, my pipe dream would be to go back and visit the studios of potters or fiber artists I have known and the sites where some of the papers I use and treasure - are made. I hope to learn more about the unique Japanese ways of creation."

Amy Trendler ❤️s Our Yuzen & Lokta Papers March 13 2023


I've been meaning to send photos of books I've made with paper from Paper Connection. These notebooks started for personal use (wavy lines green Laurelai Designs), and gifts to friends & family (yuzen blue waves & lokta white floral on lime). I recently started making books to sell (like your blue katazome - a hard one for me to part with, and the botanical lokta papers).

You'll recognize more from Paper Connection in my shop: I also wanted to send a "thank you" for making these papers available, including where they come from and what they are suited for. I enjoy mixing & matching designs, textures, and paper weights. I've been jokingly, telling people that I'm starting to make books to sell to support my love of acquiring decorative paper. Actually, there is a grain of truth to this humor!

Hanji is my next experiment and I'm thrilled to discover a great selection of Korean-made papers in your shop. I'll be placing another order soon! Thanks again for making all these amazing papers available. Best, Amy T

Editor's Note: Check out Amy's site to see more beautiful pieces using 100% recycled rag paper from India, amate, plus many beautiful combinations of textures and colors. Thank you, Amy!

Fabulously Flexible Hanji November 13 2022

beauty & texture

the delight of windswept edges

our papers help tell your story

How could hanji (Korean paper) be applied in your creative process?
Hanji is becoming a well-known handmade paper in the West. The base fiber is mulberry or dak, in Korean. Sometimes two fibers are mixed, like dak and samjidak, the Korean version of mitsumata or Edgeworthia chrysantha (part of the Thymelaeaceae family of plants). Paper Connection stocks varied weights and colors as part of our extensive inventory of mostly Eastern fine art papers. Depending on characteristics, these papers perform best within book and paper conservation, with others playing a leading role in printmaking, calligraphy, painting, and papercrafts, such as joomchi (paper felting) or jiseung (paper basketry). Home interiors including sliding doors, lanterns, clothing, fans, and heated flooring, are beautifully created, with hanji papers. Durable, smooth, breathable, and who can resist those deckled edges! We stock almost forty colors of hanji and several whites for specific fields and techniques. You can view current stock by clicking here: hanji. Be inspired! Hanji paper by Lee Sun – Future Materials Bank Hanji Meets the World ( Hanji In The House! ( Joomchi! Everybody’s talking about it! ( Artist of the Month: Bill Lorton ( Artist Julie Miller on Joomchi – Korean Paper Felting ( Meet PJ Bergin; Hanji’s Newest and Biggest Fan ( Multimedia Artist – Elisa Lanzi ( Painting & Calligraphy Paper Plunge ( Jeannine Mullan: Space, Layers & Chance ( Play Versus Purpose with A.I.R. Lisa Perez ( artist of the month printmaker Nichol Markowitz ( For my collage work and photo transfers I like to use colored hanji (Korean mulberry paper). - Nichol Markowitz

Curating WITH PAPER September 12 2022

I recently curated a gallery group exhibit gallery at Pawtucket Arts Collaborative. Show Title: WITH PAPER, A PAC Gallery Pop-up, showcased works by Bayda Asbridge, Suzi Ballenger, Justine Chang, and myself, Lauren Pearlman Sugita. All 4 participating artists work with paper in different ways with overlaps. The basis, of course, was how we all work with, live with, and communicate with paper.
Lauren Pearlman Sugita, couching, SMFA
handmade paper A Book of Spinach & Feta
handmade flax paper Mollusks from Mars
handmade cotton paper, Laurelai Designs Woven Vines
Putting together such a quick turn-around event like this, definitely challenged my "juggling" skills. I was super-focused and in an abbreviated amount of time, it came together! The collaboration afforded me the opportunity to connect and deepen relationships with three super-talented artists, mainly by spending intimate time with their work. It was interesting for me that the act of curation, allowed me to know each one in a new way (including myself!). As I continually seek community, the experience provided a new path for connectivity and bonds. As WITH PAPER, the gallery show, assembled in just a few days, a "community" was formed. Those connections were the most rewarding gift of WITH PAPER. I requested each of the other 3 artists to send in a comment subsequent to the show.
Bayda Asbridge mixed media Our Village
BAYDA ASBRIDGE writes: I was invited by Lauren Pearlman Sugita from Paper Connection to participate in this pop-up exhibit WITH PAPER at the Pawtucket Arts Collaborative. It was short notice but still, Lauren worked extremely hard to put a very professional show together with our group while maintaining her business during the day. I was incredibly grateful to be invited and to be part of this beautiful exhibit because it gave me a deadline to finish a paper tapestry "San Diego on My Mind", an opportunity to bond with other artists, and the opportunity to reach a wider audience.
Bayda Asbridge mixed media fiber, paper, weaving San Diego on My Mind
Bayda Asbridge mixed media fiber, paper, weaving Blue Lagoon by Bayda Asbridge
SUZI BALLENGER writes: Thank you Lauren for your curatorial wisdom and vision. WITH PAPER became an opportunity to work through my thoughts on the series “To Be of Use”. These works reflect on the interconnection of vitality/detritus, growth/sediment, and need/sacrifice, an exciting exploration worth further investigation. Meeting the other artists was an honor. The work chosen for this exhibit made me feel like I was part of a common understanding and passion.
Suzi Ballenger handmade paper, onion skin To Be of Use
Suzi Ballenger handmade abaca paper, reed, porcupine quills I realized I was the one who was trapped. I just couldn’t swallow another fly!
Suzi Ballenger handmade abaca, hemp Suggestive Freedoms
JUSTINE CHANG writes: The show came together beautifully, and I was honored to be a part. As someone who is new to handmade paper, I’ve been constantly surprised by the generosity of other artists working with paper, including Lauren, Suzi, and Bayda. It was such a meaningful experience, to meet the artists, and to see the response of people who came to view the work. All of this confirms for me, that working with paper is an important way to reconnect with my body, my heritage, and nature.
Justine Chang photography on Korean paper. hanji Series: Margins
Justine Chang photography on Korean paper. hanji Series: Margins