First Cut Summer 1993 : Guild of American Papercutters flRSA CUT/fe O m MASTHEAD Copyright Nancy L. Cook

Guild of American Papercutters' May 1993 Meeting The GAP, Mid-Atlantic Oiapter, met on May 2,1993 at the Ed Hopf reported that a new chapter was recently formed home of Walter Von Gunten in York, Pennsylvania. to cover the Maryland and Virginia area. They will be Twenty six people attended the meeting. having a meeting on September 12. Contact Ed for details.

The main program featured Walter Von Gunten who has And lastly, a big thank you to Walter for opening his home been doing papercutting for forty years. He began his to the gt^d and allowing us to experience his extremely creative career as a . Walter works with rather beautiM papercuttings. Walter is an inspiration to all of heavy and cuts single thickness only. He also uses only scissors to cut. Using thinned Elmer's Glue he spends almost as much time gluing as cutting. His pieces begin as I want to thank those who have sent their beautiful lightly sketched line drawings. He does not follow a ^eme mastheads for use in the FirstCut newsletter. We will use in his cuttings but rather by what inspires him. He works all of them, although h naay be awhile because we try to on only one cutting at a time. Sigrid Gottmann-Werdnik match up the artwork with a seasonal theme or upcoming will sponsor an exhibit of Walter's work in October. The GAP meeting. So if you have been toying with the idea of exhibit will be in her home. cutting a masthead, do it now before ihe shows and busy season is upon us. Keep in mind holidays and seasons. I Mary Lou Russell talked about her 40 years' cutting portrait am in need of winter themes now, so think cold and snow! silhouettes. Glenna Pearson from Massachusettes shared And when sending your artwork, please include a some of her material that she has collected from her biographical sketch. research of papercutting. Also, refer to the insertion deadlines on the back page of Dick Harris reported that the GAP has 260 members and FirstCut when mailing in your news items. Send your that he has corresponded with four papercutters in Mexico. articles, cutting tips and information well in advance of the Dick also shared that he has received a packet from the cut-off date if possible. Information on exhibits and Pennsylvania Coimcil of the on how to apply for shows shoi^d be sent months in advance, if possible, so grants. If anyone is interested in working on this project, our membership will have tiie opportunity to participate. please contact Dick Harris. Send your news items directly to: Kerch McConlogue shared her experiences of attending the Dutch Contact Day. About 418 attended the meeting. The Ellen Haberlein Dutch have 1000 members! Kerch spent a day with To who Editor, FirstCut taught her how to conduct a worktop. Kerch would like 3 5 0 4 F a r m H i l l D r i v e to share this informaLtion with other interested members. Falls Church, VA 22044 She gave some of our mugs, calendars, and pins to her Dutch host. I am currently living in Germany What a terrible disappointment to miss the February 13 (near Trier) and would really GAP meeting which was held about as close to me as it appreciate hints on where to find would ever be. I thought if I could get to Baltimore Pike resources here. I don't speak much the driving would be safe but wasn't sure of the loced German yet, but I am interested in road conditions. Hope you had a good turnout and ( learning more about German, Swiss "FirstCut" will have a good report. and Polish papercutting. My husband teaches at a U.S. DoDD Wanted to let everyone know in the Winter 1993 issue of School and I have the opportunity "Sweden & America" is the news that "Two stamps to teach papercutting on the U.S. being considered by the Post Office." The first is base. honoring a composer but the "...second proposed postage stamp design will depict the Ijusl^ona, the Any information will be greatly appreciated. Thank you. Swedish cut paper Christmas candelabra." The effort to lobby the Postal Service is being led by the Folklife Cynthia Stinson-Chennell Institute of Central Kansas. They have requested letters of 36 DoDDS, PSC11, Box 4013 support be sent to the U.S. Postal Service, 475 L'Enfant A P O A E 0 9 1 3 2 Plaza, S.W., Washington, D.C. 20260 or to local members of Congress. I would like to buy some silhouette paper from Ann Woodward but don't know prices or what is available. B. Jane Keen Did I miss this article? Does Ann Still do it? (Ed Note: Please send in your letters of support for the Lynne DeNio Swedish cut paper STAMP!)

(Ed Note: Ann Woodward does have silhouette paper for Your name was given to me by way of a contact with the sale and you can reach her at 3004 South Grant Street, Schwenkfelder Library as one who might be able to help Arlington, VA 22202, (703) 684-6208) with my research on Scherenschnitte. I am trying to find the history and/or backgroimd of the German influenced I am enclosing my membership fee for the 1993 year, and folk art of paper cutting. Local research has revealed very also money for the Guild pin. I am looking forward to little information so I have written to various institutions wearing it, and hope it will encourage new membership in (including the PA State Library, the PA German Historical < our group. I look at the map, and see that I am the only Society, ttie Free Library of Philadelphia, among others) member in Kansas, and am proud to say I was able to and s^ have learned very little. supply the only member in Oklahoma with membership information. Perhaps sometime, we can have a small If I understand correctly, you are affiliated with a group in this area. In the meantime, I appreciate the Scherenschnitte Society. Hopefully, the Society will have information that I am able to glean from FirstCut! some historical information to share. I enjoy doing scherenschnitte and would like to know more about its About a year ago, I discovered my first "old" cutting at an origins, use, why so few original pieces exist, and antique sale in Topeka, Kansas. The antique dealer told anything else there is to know. I am aware that other me they came from the home of the former father-in-law ethnic groups do paper cutting, however, my main of Kansas U.S. Senator Nancy Kassebaum. I have not interest is in the German influenced folk art. Any been able to determine if that is true or not. However, the information you are able to provide would be greatly two cuttings are signed and dated. I am having trouble appreciated. reading the signature. One cutting is of Hansel and Gretel outside of the witch's house about 5 1/2 by 7 6/8, titled S u s a n M L a z a r c h a k "Hansl & Gretl" with a signature that may be Ascalira or 1515 Chelsea Avenue Ascaleni Vienne 1935. The second is about the same size, Bethlehem, PA 18018-2405 and is a sleeping hunter sitting on a perch in a tree with a rabbit underneath the perch. It is titled "Lasy Hunter" with the same signature, but dated 1939. Can anyone help me with information about these? I enjoy the pictures in the Knip-pers, they are great. But I I am not in an cirea where I am going to be able to find can't read a word of Dutch. Does anyone have any really "old" papercuttings, but do enjoy finding the few I information for new books or anything in English? have, plus children's books illustrated with silhouettes and papercuttings. Love the FirstCut. Thank all of you who make it possible.

Gayle Woods Graham Dorothy Bailey 2220 Prairie, Apt. 4C P.O. Box 100 Emporia, KS 66801 Batesville, MS 38606

EARLY AMERICAN LIFE'S Capitol and the theme was "We All Live Downstream.' ANNUAL DIRECTORY (August 1993) of 200 BEST Traditional Craftsmen pictures The Delaware State Museums in conjunction with the (on page 30) papercuttings by Division of Historical and Cultural Affairs sponsored a ( Faye and Bemie Du Plessis and Folk Artist Exhibit which featured Kim Frey Nancy Shelly, and silhouettes (Papercutter) and Joseph Santangelo (Wood Carver). by Ellen Mischo. The exhibit began on Saturday, May 1st and continued through Jime 11, 1993. The exhibit was located in the Other papercutters listed are Pamela Dalton, Sandra Delaware State Visitor Center. Gilpin, Mary Lou "Sukey" Harris and Melissa Pottenger, Kim Frey is a native Delawarean who resides in Clarkesville, Delaware. Her expertise in folk art The April 1993 edition of EARLY AMERICAN LIFE involves cutting paper into intricate and delicate forms shows papercuttings by Kerch McConlogue on page 68 in an American/German tradition called and Sukey Harris on page 51. The back cover features "Scherenschnitte". Her original papercutting designs Sukey Harris' fraktur house blessing. include patriotic, folk art and Biblical themes. She cuts each design from tea-stained parchment, adding Stu Copans sent a 58 page, soft cover booklet entitled watercolor and . Ms. Frey has exhibited at CONVERGENCE, Semester at Sea, Spring 1993. His the Washington County Art Museum in Hagerstown, bold, symmetrical cuttings illustrate every page of MD. writings of fellow travelers, from their 100-day voyage around the world. (Ed Note: Please send your news items well in advance of date so that FirstCut can carry your Stuart Copans important message BEFORE the event happens.) 44 Putney Road Brathleboro, VT 05301 I am teaching/demonstrating papercutting to children this summer. In Mexico they are called "papel Doris Sikorsky, Polish Papercutting and Wycinanki is picado." I recall the Bean "Papercutting World" had listed in the Year of the American Craft Southern covered that artistry from California. In Chicago four Illinois Arts & Crafts Marketplace, CRAFTER'S Diade Guerti papercuts, 10 feet by 10 feet were shown CATALOG. Call 1-800-0429, Ext. 292 to find out how at the "Mexican Musium of Fine Art." Always a great to order. display.

Tsirl Waletzky exhibited her papercuts at the Wyner In East Chicago we celebrate the city's Centennial. The Museum at Temple Israel, Boston, MA 00215 in Jime demonstration is to show how to cut a star pattern, a 1993. She is currently working on papercut clown and a tiranka (Polish style Wycinanki). Mostly I illustrations for a Prayer Book for Children by Rabbi have Hispanic children with their great creativity. Ron Isaacs published by KTAV. Also, Tsirl is presently busy designing for . Joseph Zeller

Four GAP members participated in an exhibit in the At least I am with you in membership support and Pennsylvania State Capitol building in Harrisburg spirit, if not in body. I couldn't make it to York, during the month of June. They were Linda Hale, though I know it must have been terrific. Nancy Cook, Kerch McConlogue and Faye DuPlessis. The exhibit was co-sponsored by the Pennsylvania Bay I miss you guys! Hope the group is still going strong. Education Office and the Pennsylvania Guild of I really feel very much a part of the organization Craftsmen and consisted of approximately 50 pieces in though I'm not able to show it, lately... a variety of crafts. Faye won an award for the best interpretation of the theme "We All Live My store is continuing to grow - business is good. I'm Downstream." pleased to report I'm still doing my calligraphy papercutting every night til I fall asleep on my work Nancy Cook was juried into the Illinois Artisans about 1:00 a.m. It is overwhelming but I'm not willing Program. They have three shops in the state: Chicago, to give any of it up. This is busy Ketubah season and in the State of Illinois Building; Springfield, down tf\e though the hours are brutal, I'm so happy in the midst street from Lincoln's home; and Rend Lake in southern of my paper-work. Illinois. Nancy was in the River Life show in Harrisburg, PA during June. This show is sponsored To make matters worse, we are moving. My family, by the PA Bay Education and the the PA Guild of that is. My childhood home (41 years) no longer fits Craftsmen. The exhibit was in the east wing of the us. We've bought a house in the area (nearer to my store) and the move is June 30. So life is ridiculous! Dear Chairman, But: If I am needed by the group do not hesitate to call I was very happy to read, in the last issue of "KNIP- on me and I sincerely hope one day in the not too distant futur.e, I'll be with you all again! PERS", the bulletin of the Association of Dutch Papercutters, a paper about your association. I don't know the Dutch language, but it is my best contact with Karen Schloss other papercutters.

I am a French papercutter, perhaps the only one, apart from some people cutting silhouettes on Montmartre in Paris or in other famous touristic places. I am sixty A catalog of has been years old, and I have been cutting paper for about located. The papers come in fifteen years, and have been cutting slate also, for about various weights, sizes, patterns, eight years (because there are slate mines in my with colors ranging from country, and slates are of the best quality). p a s t e l s t o b r i g h t s a n d flourescent. Included in the I cut the paper with a cutter, as some of your members catalog are some recycled papers and envelopes. do, as seen in your logo, not with scissors. We named To obtain your copy, write to: the cutter a "canivet", i.e. a small knife (='canif') in the XVnth and the XVIIIth centuries, and this name was Paper Access Catalog given to papercutters also. Usually, I cut architectural 23 W 18th Street designs, as you can see on one of the pictures, or New York, NY 10011 vegetal designs, often with a calligraphied christian 1-800-FAPER-01 name in it.

I had once a contact by mail with a Mexican papercutter, el senior Humberto SPINDOLA; we USE of the exchanged paperwork.

GAP LOGO If some of your members want to write to me, I would be happy to answer them. A m e m b e r a s k e d w h e t h e r s h e could use the GAP logo on her I wish best and nice cuttings to all of your members. advertising - specifically a flyer being prepared in conjunction with a regional catalog. The logo she is talking about is the same oval design as appears on the GAP stickers and the newsletter.

The reason the Guild designed the logo and had the stickers printed was to encourage the use of the logo in all ways that would at the same time raise the stature of the artist and the Guild.

We encourage all members to use the stickers on their artwork and to employ the logo design on their advertisements, cards, etc., whenever and wherever possible.

There are two stipulations: (1) The member must be in good standing, with dues paid for the current year while the design is used; and (2) The logo design must be used exactly. A photocopy of a sticker or of the logo on a newsletter is acceptable. Hand drawn representations are not. The word "Member" may be printed above or below the logo if desired. If any member wants a large copy of the logo artwork for reproduction, it may be ordered at the cost of the production of the "stat" (about $6 plus $1 postage in an 8x10 envelope) from GAP Harris, 514 E. Main St., Annville, PA 17003-1511. From the Library — Ralph Fabric in Paper: HowtoDesigi Steven R. Woodbury and Make E)ecorative Objects from Paper. Watson-Guptill, New York, 1966,160 pp.

Your editor suggested that I review books about Arthur Sadler, PapCT Sculpfarg. Pitman paper sculpture for this issue, so I pulled four off Publishing Corp. (England), no date (late '40s oi the shelf. early '50s), 160 pp.

My own favorite is Forms of Paper by Miroshi Ogawa. The paper forms created are elegant, and the photography POP-UPS!! —Steve Woodbury outstanding. The book explores the myriad possibilities of paper. It progresses wordlessly from "folding" through Pop-up cards and books seem to be increasingly popular. If you want to start creating your own, there are a several "bending," "cutting," and "combining." Most of the creations are abstract and sculptural, crafted of white sources of instruction and inspiration. paper photographed against a black background. The final section of &e book describes each figure, and Lots of projects, aimed at ages 8 and older, as well as extensive illustrations, make Joan Irvine's How to Make provides cutting and folding patterns. An elegant and inspiring book. Super Pop-ups a good place to start. Pop-up cards are covered, as well as sliding and turning constructions. An In Creating with Pap^r. Pauline Johnson also earlier book by Joan Irvine is listed on the cover, but I have not seen it. systematically (though more briefly) presents techniques for manipulating paper. Pauline Johrison then progresses to various projects (papercut as well as paper sculpture) Each of Mark Miner's books progresses systematically suitable for children and adults. White and colored through ten projects, each illustrating a different mechs^m. For example in Paper Engineering you can papers are used, although all the photographs are black and white. progress from multiple layers and floating layers, througj V-fold, magic box, rotating disc, and sliding motion, to Ralph Fabri's Sculpture in Paper focusses on techniques pull-up planes, and dissolving scenes. Up-Pops includes for making three-dimensional paper figures: people, models of ten different mechanisms for pop-up shapes. Each book includes all the parts for every model, ready tc animals, stabiles and mobiles. He works mostly in colored papers, and illustrates many projects made by cut out and assemble. himself and his students. There are several colored plates, but most illustrations are black and white. All of these books are in print. The Joan Irvine books should be available through your bookstore. The Mark Miner books may be also, if not, they are available from Paper Sculpture, by Arthur Sadler, provides the best instruction for creating representational paper sculpture, Muth Products Plus, at P.O. Box 64, San Carlos, CA 94O70 i n e i t h e r h a s r e l i e f o r M r o u n d . D e t a i l e d i n s t r u c t i o n s a r e Write to them for a catalog, or phone (415) 593-2839. presented for several projects. Both white and colored paper works are discussed, but all photographs are in black and white. Works by a variety of artists are Mark Miner, Paper Engineering for Pop-up Books and Cards. Tarquin Publications, Norfolk, England, 1985, illustrated, including full-size department store window ISBN 0906212-49-9 displays.

AU of these books are out of print, as far as I know. If Mark Miner, Up-Pops. Paper Engineering with Elastic Bands. Tarquin Publications, Norfolk, England, 1991, your librciry doesn't have them, you should be able to get them through ISBN 0-906212-79-0 interlibrary loan. Joan Irvine, Beech Tree Books, Miroshi Ogawa, Forms of Paper. Van Nostrand Reinhold, New York, 1988, ISBN 0-688-07902-4. New York, 1971, (originally published by Kyuryudo Publ. Co., Tokyo, 1967). Joan Irvine, Mow to Make Super Pop-ups. illustrated by Linda Hendry, Beech Tree Books, New York, 1992, $6.95, Pauline Johnson, Creating With Paper: Basic Forms and ISBN 0-688-11521-7 (published in Canada by Kids Can Variations. University of Washington Press, Seattle, 1958, Press, Toronto, 1992) 208 pp., bibliography. New Books to Look For — I k n e w t h e m a s t h e a d Steve Woodbury was Ingrid's before looking at the The Animals: Selected Poems, by Michio Mado, identification. What a decorations by Mitsumasa Anno, translated by The joy it was to see her work so well featured in Empress Michiko of Japan. Mitsumasa Anno is the most popular children's and FirstCut. adult's book artist in Japan. Any book illustrated by Anno is a treat, especially the ones he has illustrated in cut It is such a pity that details are lost by the printers of the newsletter. You paper (one other available in English, one only in Japanese). The cut paper "decorations" in this book absolutely cannot understand - or even believe - the consist of a tree, which appears on the cover and the title delicate cutting of Ingrid Schenck. One of the best page, and a frieze of animals which appears across the experiences of my lifetime was to spend five weeks with bottom of each two-page spread. But you also get your Ingrid and Otto Schenck, as their house guest. During this time 1 was able to see her original cuttings. And the only money's worth for the poems alone. [Margaret K. McElderry Books (Macmillan), New York, 1992, $16.95, way one can actually encompass the genius of this ISBN 0-689-50574-4] remarkable scissorist is to touch them with your own eyes.

Sundiata: Lion King of Mali, by David Wisniewski. If you Hurray! Hurray! Hurray! And a million thanks for know David's other books, you will also want this one. If sharing her gifts with the membership! you don't, you are in for a treat. As author, Wisniewski has retold a story ftrom the oral tradition of the griots. of a Blessings!, prince bom in Mali some eight hundred years ago. As a Dan Paulos boy, Sundiata is unable to speak or walk. He overcomes these obstacles, but is driven into exile by a rival queen. A few years later, Mali is overrun by the forces of a sorcerer I am interested in becoming a member of your Guild. 1 met Claudia Hoff in May 1991 and she gave me your king, and the eighteen-year-old Sundiata returns to his homeland to defeat the intruder and claim the throne. As "Hearts & Flowers" catalog from 1989. artist, David has out-done himself. The bold colors and intricate papercuttings capture the dramatic moments of My daughter did her major art work in papercutting for her the story. In a page at the end he details his historical final year at high school. I have been cutting for a few research on both die story and the illustrations. Your child years and now have started teaching papercutting after (or grandchild) should have this book. So should her many inquiries about the art. school and public libraries. [Clarion Books, New York, Sandra Levy, Australia 1992, $15.95, ISBN 0-395-61302-7] I learned of your guild through the papercutting catalogue a of Alison in Rorida. In talking with her it seems the guild 1 WAI^TER VON GUNTEN would be ideal for my situation. I am a Recreational I an intemaiionally acclaimed ariid, Therapist at Woodrow Wilson Rehab Center. I work with 1 patients in the rehabilitative setting and have introduced will hold an exhdnHon of his several to papercutting. I am very interested in your guild I and would like to become a member as well as refer your SCISSORS CUTTINGS I guild to my papercutting patients as a reference. (SCHERENSCHNITTEE) i Judi Clark from October I4 nmd 0(avember 4, ^991- i My name is Berta E. Sose. 1 live in Los Angeles, and I love I Df yon are iniere^ed paper cutting. (I am 51 years old.) The reason 1 am writing I to meet die artist to you is because 1 just found out there is an organization of I or fo see /lis caiUnys, paper cutters in the United States and I would like to join. I please call me 1 have so much to learn. I am a begiimer. Even though I i to setup an appointmeni have been collecting Mexican and Chinese paper cuts for I about eight years. I Siyrid ^ottnumn-^^erdnik On April 15th I am leaving for Holland for the paper i jCodis ZRoad cutting convention on April 24th. Is anybody from your I OJetfieala, JHO) ZOSlJ organization going? I WJox 30I'26S-3024 I 1 am excited and so happy to have found out about the a guild! Wish I could help - papercutters seem to be a rarity credit for giving me the confidence and inspiration for this in South Carolina. endeavor.

Sure hope the Emopean tour really happens. I've heard Michelle Shadoan about papercutters conventions from some of my customers! I am a new member of GAP and am very impressed by the "FirstCut". I would like to purchase any or all of the Helen Hedemann editions previous to the ones I have already received, if they still exist, and if the price is not too high. Perhaps I just wanted to thank you for arranging the Winterthur other new members would like to purchase ^em also. If Valentine's Tour, it was wonderful. there are no extra copies available, I would gladly pay for the photocopying of an official set that migjht be available. Everyone in the Guild is so nice, I'm really happy 1 joined. I would also like to make a suggestion to increase the I've contacted Paul to offer my help in arranging the Guild's visability. It was only through months of October visit to Baltimore. searching, and only by accident at that, that I was able to learn of GAP's existence. Has inclusion into the publication Debbie Kaufman Encyclopedia of Associations ever been suggested or at********* pursued? If you are unfamiliar with it, it is an invaluable Dues are due - and I'm way over-due!!! reference work that lists large and small associations of every type imaginable (and some unimaginable). The newsletter (there should be a better designation than that for such a beautiful "whatever") is increasingly Martha Kreisel interesting. I like the vignettes of papercutters in recent issues. Seeing their work, and, for many of us in the (Ed Note: Back issues of FirstCut can be purchased by hinterland, probably for the first time, is exciting, contacting Richard Harris, 514 East Main St, AnnviUe, PA stimulating. 17003-1511)

Now that Walter Von Gunten is gone from this area my FirstCut is an excellent window into papercutting for me. I only real link with papercutting is the GAP. We do miss can "keep in touch" with ihe art for the first time in more Wa l t e r s o m u c h . than 50 years of cutting.

Irene Reichert Now that there are a few more members (and several potential members) in the Great Northwest, I am interested I hope I haven't messed up my membership with GAP by in a regional meeting. It would be wonderful, however, if being late in paying my dues. you or another (or others) firom the East Coast could be here to meet with us. As is, we are more-or-less "flying It has only been a year that I've been a papercutter. blind" out here. How about a vacation to ffie most (at least Happened to read an ad in the Feb. '92 issue of Victoria I think so) beautiful state (Oregon) in the Union this magazine for "papercuttings by Alison" in Sarasota, Fla. I summer? I now have a guest room and love visitors, so just ordered a catalog and upon receipt, I have been hooked! come along!

I can't believe I'd never heard of the art before. I've been As an idea for FirstCut. I would appreciate an article on around for 72 years and have just discovered this pricing, including what the going price is on work similar fascinating hobby. to mine. (My prices run $250 to $600 - is that high, low, average?) So far I haven't designed any of my own, I'm cutting other people's designs. Made all the family birthday, Easter and Mary Jane Mclntee Christmas cards last year. (Ed Note: Send in your ideas and comments on pricing and I'm having a wonderful time. Hope GAP goes on forever. we will put together an article on the subject)

Evelyn Oswald Thank you so much for publishing my request in our GAP. I will contact the various catalogues you so kindly I have intended to write to you for some time now and let suggested. Perhaps I'll order some of the books too, under you know how much I thoroughly enjoy my issues of B o o k R e v i e w . FirstCut. I have learned a great deal since joining the guild one year ago. I am now cutting my own original designs I received a very kind and informative letter from Wanda and am in the process of getting enough designs together to Ricketts (GAP) and I will write her a thank you note and start my own business in papercuttings. I give die guild use her ideas too. It certainly is a warm feeling to help one another through GAP. (Ed Note: Dorothy Kelly sent two cuttings on stationary. One of a bird and the other of three butterflies. Her Marilyn Harper beautiful calligraphy was overlaid meticulously with white glue, giving it an embossed, raised texture. Dorothy's letter The last newsletter was so interesting I've started cutting in follows.) color- for fun and my friends and customers love them. Was pleased to note that Walter Von Gunten is also While waiting for silhouette paper, 1 cut the butterflies from doing diem on occasion. construction paper. The birds are cut from rice paper dyed with Osmiroid brown ink, the same used for tiie random Entering approximately 23 years as a scissor artist, it was lettering. 1 cannot account for the much darker brown time that this new twist developed in my art. shade of the birds. Lettering is "polished" with white glue.

Enclosed is my check for two years' dues. That way 1 won't The February FirslCut arrived yesterday. What a gem the be tardy in 1994. paper is, always informative and very inspiring. As an 89 year old "would be," 1 do enjoy my new found hobby. 1 am My daughter is moving to Pennsylvania and possibly 1 wiU indebted to Ann Woodward who encouraged me to join be able to attend some events in ^e future. (Hope so Polly! GAP. Ed) These enclosures are just to help fill up that empty drawer! PoUy Winkler-Mitchell Dorothy Kelly The programs I've read about in the GAP newsletter have been so interesting; I'm really sorry 1 didn't attend them. My work with my figures is totally time Generally your newsletter is good, sometimes outstanding consuming and 1 find that I'm neglecting my other crafts, (like the last one). As for paper dolls you cut out, Td rather in try to balance things better in the future. 1 do appreciate not see that in any newsletter. Paper dolls are not art all the work you and the others put into the Guild. 1 am very proud of my GAP pin and I wear it to all my figure A.J. Bashore n shows aroimd this coimtty and England.

Blanche Turner From Ruth Corett to Please send me the GAP Qoisonne pin. 1 really do enjoy the GAP FirstCut papers. TsirlWaletsky... And now, an interesting story 1 heard on the radio: 1 have a collection of small pins that 1 started in the 8th Ahmed Al-Jazzar (the Butcher) was a Turkish ruler in grade; my Girl Scout pin and all tiie other little pins I've Palestine at the end of this 18th century. He was bom in accumulated. 1 also have the gold from my Marine Bosnia to Christian parents. In his youth he ran away to Corps Women's Reserve uniform. 1 always enjoy new pins. Turkey, became a Moslem and a slave. He later was a servant of Ali Beck, the ruler of Egypt, and was his Wanda Ricketts handyman (hence his nickname). R^ away from Egjrpt to Syria, helped the Turks and as a prize was named The newsletter is so wonderful to receive. I'm finding it Ruler of Siddou. In 1778 he changed the seat of his difficult to find any time to create or even think about government to Akko, a dty he developed, built and papercutting, so I'm always delighted to receive the made into the main city and port of the area. The newsletter. Thank you for doing a terrific job on it. mosque in the Akko as well as numerous schools, markets, and other buildings were built by him. There he Our daughter Leah is now 14 months and such fun to be organized an army (mainly of Bosnians, Albanians, and with. Being a mom is a full-time job, and I'm just getting Morrocans), which later defeated Napolean and checked the hang of it. his progress north from Eg3q)t. He was known as a cruel tyrant, hated by the people. Is there an exhibition and or meeting towards August - All this is well known history. The thing which was new November of this year? We may be in the states and 1 by me is that he was a great lover of papercuts and used would love to visit on fire East Coast to see and meet other them for communication: if he cut a figure with only one papercutters. hand, his servants know they had to cut off the prisoner's hand; if he made a man wifii no head, they Wendy Wong imderstood, and so on. He also made papercut plans of 4116 Jordan Grove the buildings he proposed to constmct, etc. So how do Glen Waverly, Australia you like this "member "of the Papercutters Guild? V: 03150 Papercutters Profile NflA/Cy L COOK

Paper, sculpture is a cross between sculpture and painting. where it was displayed under bell jars and hung on It retains the character of the papers used, employs form, C h r i s t m a s t r e e s . texture, rhythym, mass, light and shadow, and often the elements of color. Imagine how surprised 1 was to read 1 first learned the paper sculpture techniques that 1 just about the same description several years later doing developed into their present form 42 years ago. As a child research for my jury application. 1 spent many hours making designs and objects from paper after being shown simple cutting and folding at the Paper sculpture is a craft form that has existed in many age of 3 years from my Pennsylvania Dutch grandmother. cultures, and various forms for several himdred years. All This craft form was a natural progression for me. of the paper cutting and folding techniques are its history. In my research 1 found a photograph of a floral design My work uses the tradition of paper cutting expressed in made from hand painted paper from the 1700's. Paper three dimensions. It is figurative, often cutting portraits sculpture decoration was treasured in Victorian homes. of people in a setting; it is genre, using animals, birds and landscape. It is also a celebration of life, combining the take weeks before its present form emerges. Most of my things one encounters everyday with whimsey. designs take 20 to 35 hours to complete. WTien I receive a commission I do as much research as I can. Materials Earliest forms of traditional paper cutting designs evolved influence designs since papers vary by flexibility, texture from cut borders for documents, bible verses, and love and appearance. The papers I use are the finest papers letters. My 3-Dimensional work for wedding invitations available: Arches, Fabriano, Morilla, Strathmore, and birth certificates draws on this background. Favorite Whatman, Dietzgen, rice papers from Japan and museum themes in early German and Swiss designs were heraldic quality boards. designs, mythology figures, cherubs, birds and flowers. Many of my designs reflect this influence. The Protestant I grew up in Allentown, PA, where I graduated from artists used words in their work. My Christmas cards are Allentown High School and went on to Kutztown State part of this tradition. Teachers College, earning a Bachelors Degree in Art Education. My graduate studies were done at Columbia Since all the elements in my work are constructed of University. I taught elementary art for six years. paper, the skill of interpretation needs to be highly My husband, three children and I lived in Delaware developed. Some details are absolutely essential, some County, PA for 28 years before moving to Bloomington, need or\ly be suggested. When a design is evolving, it can Illinois four and a half years ago. O c t o b e r 9 P R O G R A M

Excerpts from an article in the Graphic Arts Journal, May/June 1993, Te^i Naos by Randy Silverman n Ted Naos, founder of Naos Graphics, has pioneered the creation of specialty greeting cards for nearly 20 years. His crisp, die-cut images are designed to mail very early stages of an L'' flat, but fold into 3-dimensional hanging mobiles or education. Visualizing a stand up architectural designs on receipt. He concept in our mind's eye is originated the use of die-cutting to create a 'sky-line' extremely beautiful. And you will effect, freeing the traditional rectangular greeting card always do a drawing representing that. But to test the to inhabit both negative and positive space, validity and aesthetics in the third dimension, you must unconstrained by a frame. Combining his artistic love build a model. It is when the idea takes on 2- or 3- of cut paper with his background as an associate dimensional elements that we discover how good or bad professor of architectural design at Catholic the concept really is. University in Washington D.C., Naos' cards are • • • collected throughout the world. First, I come up with an idea that I convert to • • • drawing. I test this idea by cutting it out as a mobile or a The influence of cut paper in my designs came from 3-dimensional card to see how it looks, which, of course, my formative years. I was bom and raised in Athens, is very much within the architectural process. I then Greece. Following four years of German occupation review it, digest it, change it, and frequently throw it out! during the Second World War, and the Civil War that But when an image appeals to me, I settle on a particular ended in 1947, the country was economically devastated. design. This drawing gets refined, according to its Hundreds of thousands of people died due to starvation. requirements, and transferred to a piece of extremely hard There were few things for a kid of 8 or 9 to play with, no maple plywood and sent to a die-maker. radio or toys. So, for amusement I found myself cutting • • • and gluing scraps of paper and bits of wood to make Die-cutting simultaneously includes one cut-score and designs and collages. one crease-score to permit the cards to fold in a zigzag It was not so much a conscious choice, as it was the pattern. The scoring blades are set at only 9/23 an indi only thing available! My parents encouraged this drawing deep so as not to cut the card. Residual paper from the and making because it kept me in the house and die-cutting process is cleaned from each card by hand, the close to the family. It was much asfer than playing with interlocking colored elements inserted, and the finished the discarded bullets, guns and hand grenades all the kids card folded. Our whole operation is very labor intensive. were finding. Your priorities become very clear during a • • • war! During our busy season we employ between 10 and When I came to America and studied architecture as 12 people. A good day's nin on the press will produce art undergraduate at Texas University and later with a about 8,000 die-cut cards. Each person can then clean, fellowship at Columbia University, I made models for assemble, and fold between 1-2,000 cards per day. By different architectural presentations that always involved contrast, a large commercial concern can print, cut and cutting paper. fold approximately 30,000 cards per day per press. Yet we • • • maintain prices from year to year that are very As an architect, all of my designs are architectonic in competitive with commercial cards. To do this we have to their concepts and relate to the gravitational forces. Of eliminate the waste of overruns, printing only what we course, any 3-dimensional design ahs some kind of need to fill orders. And, we handle the cards through relationship directly contrasting gravity, so I see nothing every phase, from design to delivery, cutting out the unique or unusual about my work. I'm just earthbound by middle man. gravity, but my designs try to suspend that condition. I • • • am inspired by the most mundane things that I see, The deepest gratification my wife and I take from our possibly because my reaction is, 'Oh, that can be done business comes every year around the holidays when better.' My wife, Barbara, may ask what inspired a specific people write to tell us how much they love the cards and idea, and I have to tell her. 'Believe it or not, it was that they are collecting them. Over the years I've received something I saw in the drugstore!' I combine these stimuli thousands of letters telling me how great I am! Of course, with influences from historical motifs, icons and painted this inevitably leads to my wife pointing out how religious imagery. unbearable I am to live with! I can always coimt on her to • • • add a little perspective to things! Architecture is a functional 3-dimensional kind of art and must be seen that way, especially if you are in the Translated from the Dutch Newsletter KNIP-PERS,

Yes, 10 American papercutters, mainly from experience. Consequence: "All my know-how went over Pennsylvania, were supposed to have attended our the ocean." This prompted her to say, "This Monday was anniversary meeting-day. Due to unforeseen the best day of our visit," and let her husband remark, circumstances, however, they couldn't make it. In the end "Just watch out for loosing your own style." only one did show up. One who did not belong to these Kerch regretted on the contact day that she had not used ten, but who is one of the members of The Guild of all the time that had gone into speechmaking — of which American Papercutters, The G.A.P. she had not imderstood a word — to look at all exhibits. In their emblem these letters are formed by a pair of Fortunately, J.P. Verhage"s presentation was illustrated scissors and a knife (the guild also has members who use with slides. This she could follow. a knife as their tool in trade). In the end we rapidly went through the exhibition on our Modeled after ours, they have established their own way to the other slide show by Suus Houtman. I already guild, which publishes a quarterly illustrated newsletter. arranged before that six of Kerch"s slides could be shown What they do have, and we do not, is a membership pin there. However taking part in such an activity leaves little with the emblem. They also have this emblem printed on time to look at the rest. In that sense it was almost a good a mug. thing that we couldn't locate Suus Houtman at first, so that we could at least see part of the activities. After the Our American member, Wilma Lueb, gave me some slide show, we went to look for Frouke Goudman whose years ago, the address of a Dutch papercutter, Tilly lovely cards Kerch bought. Then, on we went to look for Schouten, who lives in the states. She had invited 12 Frouke Cupido, whose large cutting she looked at with cutters from the area. I was going to give a lecture, admiration. illustrated by slides, on old and modem Dutch cutting. I told them about our cutting society and cutting circles Kerch also wanted to see Blokker's booktable. It turned and showed them our quarterly magazine the "Knip- out that many of the editions were available in the States, pers". such as many "Dover Publications". We chanced to meet the two Danish cutters; visiting cards were exchanged and They took in every work! The time was ripe and finally the illustrations on theirs showed the quality of their the G.A.P. was established. Membership, now standing at work. At our committee table Kerch bou^t the catalogue 250, is spread over 42 states. Also papercutters from four of the cutting exhibition organized by our Guild in the other countries, among them from Holland, have joined. Open Air Museum. This gave her an idea of the cutting work done in the Netherlands. On two previous contact meeting-days one member of the group of 12 was our guest. This was Rose Weidner, Kerch was surprised that festivities were over already by who, witih her husband has lived in England for 4 years foiu" o'clock. She concluded, "Too little time for everything and ttierefore could more easily come to our coimtry. She that was given so much time and preparation to." had already told a friend to visit Holland and while there, atten a demonstration by Frouke Goudman, should Last but not least she enjoyed the dinner, attended by 30 the latter give one. of our members. This gave her the chance to meet and get to know our members better. All things considered, she Now coming back to our American guest on this meeting thought it a day well spent. day. She was one of the 12 cutters I gave a lecture for and I stayed at her house in Baltimore. Her name is Kerch She also enjoyed the visit to the Open Air Museum in McConlogue. Amheim and Sille Westerma Holstijn-v.d. Broek's cutting museum in Bronkhorst. The first, rather large cutting by her that I saw, showed two crocodiles on both sides of a tree. This made me give And so she left, full of impressions, for those far (yet only her the nickname "Miss Crocodile". Her cuttings are on 6 hours flying time away) from the United States. In her purpose, quite different from traditional styles and she note of thanks, Kerch informed me that their committee colours them with paint. Yet she does the traditional had just met in the home of the famous Swiss-American work as well for marriage- birth- and baptism certificates cutter, Walter von Gimten, who intends to attend our next on which she carries on the old Pennsylvania-German year's meeting-day in Enkhuizen. He may bring with him style. a number of cutters who couldn't attend this year. Just that you know it...! She teaches as well and wanted to know how I handled Through her emblems, love for all, from Kerch this. Kerch and her husband stayed at our house. An 8- McCo^ogue. hour marathon course followed dining which we raced To van Weining-Mijnlieff. through my eight lesson books and 28 years of A R T I C L E PA R T I I I

Example A of matboard or other cutting surface. the cut has not gone all the way Secure each sheet at the comers with The first step in developing paper- through or is not complete, re-cut at tape. Trace the design onto the top the inside comers. Never tear or pull cutting skills is to become familiar sheet and cut out with an X-acto the sheet in order to free it. with the tools: scissors, knives, knife. paper. With your scissors, cut a Example C simple border along the edge of a Example B piece of paper — scallops or other The same design can be repeated The outside edges of calligraphy simple shapes. The design can be cut on a smaUer scale inside the first paper can also be decorated with a more elaborate border in a traditional free-hand or drawn first to make design for some interesting results. sure all sides come out even. Using the paper folded as in Example style. Usually the paper is folded If you want the pattern to be A, draw the design 1' to V/z' inside once (vertically). Determine the identical on all four sides, the design the edge. When this is cut out and inside shape on which you will write needs to be drawn on only one quar unfolded, there will be two scalloped (heart shape for Mother's Day or Valentine greetings; heraldic shield ter of the page, as follows: paper pattems. See Figure 2. One (a) Fold a page of copy or type will be a kind of frame or border, and shape for formal writing or certifi writer paper in half (horizontal fold) the second will be a smaller version of cates). Design the>border around this and in half again (vertical fold). the piece you made in Example A. inside shape. This can be done \vith b) Draw your design along the edges a wide flat carpenter's pencil or of the open sides of the folded paper. double pencil. See Figure 3. c) Cut along the drawn design and unfold the paper. The cut-out design will be the same on all four sides. See Figure 1.

— 1 r

1 ^ 1 1 "5 Figure 2. If you cut this design out of colored / calligraphy paper (Roma, Canson, Figure I. etc.), the "frame" can be used as a mat or border around a written piece, This sheet with its pretty border and the solid piece can be used to can now be used for writing small write on, then placed (floated) on a Figure 3. poems or quotations. If you want a differently colored background. Original paper size 8'/j x 11" for most examples sheet of paper without folds in it, Note: Again, several sheets can be use your first sheet as a model. cut out at the same time. When you Simple scrolls, stylized leaves and Place the pattern you have already have an inside cutting line, it is flowers are easy to incorporate. Each cut on a sheet of calligraphy paper; always best to cut it out with an segment or design should connect trace around all four sides & cut. X-acto knife on a flat cutting surface. with the adjoining one to form a Single sheets can be cut out with After you have finished cutting your continuous border around the inter scissors. To cut several sheets at once, stack of three or four sheets, gently ior shape. When making the draw place three or four sheets of paper on lift off one sheet at a time. If the ing, shade in the parts that will be the white or smooth side of a piece sheet does not lift off freely, because cut out, or mark them with an X.

CALUGRAPH • SPRING 1987 Figure 5.

"Merry" is a positive cutting. "Christmas" is a negative cutting.

For a geometric inside shape — up with these center lines; trace the the lines, be sure your material is hexagon, star, diamond — the paper pattern onto the paper; then flip the legible! No ascender or descender is folded twice, once horizontally and stencil over for the remaining should touch the lines above or below once vertically, as in Example A. segments. Be accurate! in such a way that it can be read as Then proceed as above. See Figure 4. Again, mark all cut-out portions a different letter. with an X, or shade them in. b) In a negative cutting the letters Another point to remember when are cut into tiie paper and show as cutting out the stencil is to make white (or whatever color is placed all inside cut lines a pencil-line imder the cut-out). larger and the outside lines a little When designing a negative cutting, smaller. When you trace the design leave a "stay" (brace or connection) onto calligraphy paper, the pencil- for any letter that has a closed inside tip width will automatically be added shape — A, B, D, O, P, Q, R — or again. the center will fall out. See Figure 6. Two to four sheets (depending on For your first exercise in cutting the thickness of the paper) can be out letters, design two initials that cut out at once, following the either touch each other, or are inter recommendations in Example B. woven, V/i" to 2" high. Use a wide h pen, Pentalic lettering marker Example D #666, or double pencil. Place thin Papercut Calligraphy tracing paper on top of the design Because of their simplicity the best and trace only the outlines of the Figure 4. alphabets for calligraphic papercuts letters with a sharp medium-hard To cut out these border patterns, are Roman, Uncial and Old English. pencil (the pencil line must show all inside cuts should be done first. Other alphabets are more difficult through to the With the tip of the scissor, poke a because of the fine lines required reverse side of the f o r fl o u r i s h e s a n d s e r i f s . little hole dose to — but not on — IT tracing paper). the cutting line in the area that will There are two possibilities for cut M a r k i n s i d e c u t - o u t s be eventually removed, then direct ting out lettering: a) positive, and I r by shading or with the scissor to the cutting line and b) negative. Figure 7. an X. See Figure 7. cut. (If you make the hole right on a) In a positive cutting the letters the cutting line, you are likely to (or other shapes) are cut owf the Now, reverse the tracing paper and disrupt its smoothness.) When all paper and show as black on white. trace the reversed initials onto the inside cuts are made, cut around See Figure 5. white side of papercut () the outside edge and unfold the When designing a positive cutting, paper, using graphite paper. (Gra each letter must touch the next one at paper. phite paper is preferable to carbon If this is a design you will want to some point, or the lettering will fall paper b^ause graphite lines can be use several times, make a stencil from apart. The letters can either stand on erased and corrected.) The inside it using heavier stock such as a a straight black line or touch a sur cuts should be made first; then cut manila folder. Only one-half of the rounding decorative design. When the outside lines, using a small heart or shield design, or one-quarter using short poems or quotations of scissor. If it is too uncomfortable to of the geometrical design needs to be several lines with no space between cut reverse letters, you can put the copied for your stencil. When you tracing paper on top of the colored use the stencil, first draw a hori AQBB side of the papercut paper; secure zontal center line on the reverse both sheets (or more) on a cutting side of your calligraphy paper for the T h e b L a c k L t h s d i s c o n n e c t s t h e sturface and cut through the tracing heart or shield, and both horizontal closed! his inside IS a 'stayshapt ' of fhe letter paper. Be sure to keep the tracing and vertical center lines for the paper flat and taut at all times, or geometrical design. Line the stencil Figure 6. the design will come out uneven.

CALUCRAPH • SPRING 1987 Example E . \ ~ ; ^ 1 Mirror images are a* very interesting y/ y way of using letters in a positive y \ V / 1 design — and this is something that / \ 1 is very difficult or impossible to 2/ achieve with pen and ink. Figure 12. See Figure 8. Another way of using letters or other designs to decorate cards is by applying them to a straight border pattern. A strip of paper (the length and width depends on the design) is folded accordion- fashion, each fold Figure 10. Vz" to 1" wide. One-half of the design You can also have a border around is drawn on the topmost fold, with the outside: Cut the long side of the folded edge on the left and with the triangle to the same length as the the design touching the fold at at least Figure 8. short side, making your cut along one (preferably two) point. When this Fold a sheet of paper vertically & the open edge. Then design the is cut out, you have a border or string initials and border within that space. of designs like paperdolls. horizontally as in Example A. Design two initials so that they will touch the Note: To cut multi-folded paper, it See Figure 12. folds of the paper in at least one is always best to use small sh'rdy scissors because you can hold the (preferably two) point. Cut out the inside shapes first, then along the folds securely together with one hand and cut with the other. When cutting outside lines. See Figure 9. folded paper on a flat surface with a knife, the layers shift easily. To prevent this, put tape around the two folded sides at points that will be y f . , , uL \ Letter must ii- cut out later. This holds the paper A of itn^ie Letter touch both^oLds together until the end when you make your final cuts.

Example F This same technique can be used to design decorations for Christmas or other cards. Using a square sheet ormo Figure 9. of paper folded three times as On while paper place initials as shown in the drawing. described in Example E, cut small For colored paper, fold the colored side to the inside oooooo and trace the initials REVERSED on the outside or triangles, half circles, diamonds, etc., while side of the folded paper. out of the folded sides, creating Figure 13. You will get four different pattern results, snowflakes or stars. Combining depending on the square where you place the initials. initials with cut-out shapes creates a Letters that are lovely personalized decoration for symmetrical make an Note: Do not cut through the con cards, wrapping paper, envelopes, interesting border. tree ornaments, etc. See Figure 11. C o m b i n a t i o n s o f necting points. Gently unfold the l e t t e r s w i t h o t h e r paper and be surprised by the design. To aeate a star-shaped or round designs are also possible. Figure 13. design with letters, fold a square sheet of paper three times: once horizont^y, once vertically, and then diagonally. Turn the folded paper so that the diagonal fold is toward you and design the letters so that they will touch both folded sides. When cut out, you will have I i d L an eight-sided design. See Figure 10. Figure 11.

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C U T f k A S S K M B L K A M K D I E V A l . ('ASTLR; .A rull-Colnr Model of ('uernarvonCaslle in Wales, A.C. .Sniilh. Aiilheiitu-reiilieaof famed Welsh slrong hotti eonies with eoni|ilele inslrnetioiis forenlling, loldingundasseinhling pails liislorieul test. Inspiring, ediiealionul -IHpp yi; » lib. 2466;)-9 Pa. M.95

Flying Spaceships Auto, Ship Models

DESIGN YOUR OWN MODEL A CUTHUyajIBLE FORI): Willi dl inlerehungcahle IhKly Styles. Williuni (;. Nunnn. ( aeaie t.oieix UFDs ol haiidsoine :oili(|io' inod'-ts using THAT R Mtiilel T chassis as b.ise. Iliiild dt-liseis PAPER MASK MAKING, Michael vaii.s, fire engines. U.S. iii.iil trneks Grater. Expert, easy-to-follow guide "Fordor" sedans, more, liisinielioiis . EXnu^WlAL T > i o i r > < gives detailed instructions for making ;i2pp. 9!i» 12;; 2i«ii>-i pa. $.'1.9.5 paper masks—people, clowns, birds CUT & ASSE.MHl.i; CI.ASSK and animals (lion. dog. fox, hear, mon S P O R ' i ' S C A R S : F u l l - ( a i i n r . M o d e l s o l INDIAN MASKS: Six Punch-Out De key. more). 93 black-and-white illus the Jaguar XKK, Pnrsehe 911 and Sis trations. I44pp 63i' 93;. signs, A. C. Smith and Josie Hazen. 24712-0 Pa. $4.95 Oillers, Adrian Siiinoll. ileeo-.ile sm h All-gold Chimu musk (Peru, 12004 I)); ^•1' ??' elussies as a LNiS Mustang. I'.lTit) I -lliid ferocious Bear Spirit (Klukwan, Alaska, MAKE IT IN PAPER, Michael lyft.'i (ioiselli iiiauy eoniplele oiih 1600-1850 4 !>.); feather-caiiped Earth Crater. Delightful introdiiction to atlachahle grilles, linheaps, gearshills. and Sky Being (Zuni, New Mexico, paper sculpture. Step-by-step illus more. Delailetl diagrams, simple dire< 1925), three others. 16pp. 9^ •< 123;. trated instructions for making masks, tioiis. 4.Hpp. 9;, > 12;;. 2.56.52-9 Pa. $6.9.5 27449-7 Pa. $2.95 hats, mobiles, figures, more. No elabo C U T & A S S E M B L E T H E ■ MAY EASY-TO-MAKE PLAINS INDIANS rate tools or materials needed. Ideal C U T & a s s p : m b i , k u r v s t h a t FLOWER"; A Ftill-Color TEEPEE VILLAGE, A. G. Smith. for arls-and-crafts projects. QSpp. 24468-7 Pa. H9.5 FI.Y: H l-Ul.l.-COI.OIl MODELS. of the Reconstriielion at Plimolh Planta DdfghlM model recreates life and David Kawanii. Kniiirislie model eol tion, A. C. Smith, Huild a magiiiliieni wayi of Pmas tribe.s. Five dec-orated C R E A T I V E P A P E R T O Y S A N D leelioii featuring eight fntl-eolor, easy, l7-iiieh-l()iig replica ol (lie l.iiiioiis I'il teepee*; SO "action figures" of Indians CRAFTS, Michael Grater. Noted lo asseinhte I'KO inodeLs ih.il really lis gl im ship, ineliiiliiig fo'e'sle, main deck. riding bwies, cooking, hunting buffalo, author and craft consultant explores and a erew of eighl iiieredible aliens Iiali deck, rudder, masts, sails, roor< {kncmg. playing lacros.se, more. In the many creative uses of pa|>er. Pho DirtH'lioiis. 32p|i. K!; > II Sim|ile iiislnielioiis, diagiaiiis 'J'esi structions. I2pp. 9f< 1234. tos, diagrams, easy-to-follow instruc 24NIHd! Pa. (2.95 32pp. 9U ■ 12)1 2.5673-1 Pa. $6.9.5 26271-5 Pa. $2.95 tions for making models, figures, CUT & FOLD P:XTRATFRHES- CUT at ASSEMBLE COLUMBUS' EASY-TO-MAKE PUEBLO VIL- mobiles, and more. Introduction. 181 illustrations. 224pp. BX > 9. TRIAL INVADERS THAT FLY: 22 •SANTA MARIA" IN FULL COLOR. , A. G. Smith and Josie Hazen. FuU-Colur .Spaeeships. Michael Crater. A. C. Smith. I iaiidsoiiie |>aper modet ol Cobtfoi acate model of an Indian 241S4-X Pa. $6.95 Stage your own hllipiitiaii Slur Wars. Hy great mariner's flagship. Kas).lo.fiilioss viR^ of the Southwest. Only scissors PAPEB TOY MAKING, Margaret W. following the slep-hy-slep iiislriK-titMis inslriK-tions, diagrams. For slndeiils ol aad aiue needed for aaaetnbly. Several Ceee*e8. PrebeHy ckareal introduc and explanatory tliagrains yon ean Amerk-aii history. Iinhbyists and man dweffinvi. fr^*ta«ding figwes. more. tion eve* prepnml. 82 projects—boat, lanneh 22 fiill eulor lliers into s|>aee lime enthusiasts 4Kpp. 9!; >> I2'i Simple j—tfoctioi. Ideal clasaroom or laMiern, biNlctfly. kite, rose, etc.— ;ifip|.. HI; - II 2447S I P... »2,9S 2tr74(l-7 i'a. Mi.ys home project. 12pp. 9K ■ 12S. with 471 iBuiaration*. tbm. en > ^4 mm-l Pa. $2.95 U e M P a . $ 3 .95 Paper Projects CUT & ASSEMBLE MODELS AND TOYS

Wenderful projects for hobbyists and older children—authentic and accurate in every detail. H-O Scale Buildings and Villages

C U T & A S S E M B L E A N I N E T E E N T H -

CENTURY CREATING WITH PAPER; Basic MILL TOWN Forms and Variations, Pauline Johnson. Complete illustrated instructions for An H-0 Scale Model making masks, hats, baskets, greeting Edmund V. Cillon, Jr. $6.95 cards, party decorations, costumes, Christmas decorations, even mobile A realistic replica of a 19th-centurv . 224pp. 8U » lOX. New England mill town, complete with 26837-3 Pa. 98.95 a brick cotton mill, mill store building, PAPERCRAFT PROJECTS WITH picking house/dye house, worken' row O N E P I E C E O F PA P E R , M i c h a e l housing (with privies) and more. Com> Grater. Easy-to-follow instructions and fleteul diagrams step-by-step show instnictionsand hobbyists exactly help- 92 delightful illustrations enable even how to assemble this authentically de beginners to construct captivating paper tailed tribute to early American in animals, witches, angels, more. AH ages. dustry, Introduction by Laura Knott 112pp.6li>9. 25504-2 Pa. 94.95 Twine. 16pp. of text. 9X » 12)i. EASY-TO-MAKE DECORATIVE 2747S-X Fa. t8.95 PAPER SNOWFLAKES, Brenda Lee Reed. Individual pattern sheets and C U T & A S S E M B L E A N E A R L Y C U T A c A S S E M B L E A V I C T O R I A N C U T A c A S S E M B L E E A R L Y complete instructions for folding and NEW ENGLAND VILLAGE, Ed COTTAGE: An H-O Scale Model, AMERICAN BUILDINGS AT OLD cutting over 60 beautxfnl paper snow- mund V. Gillon, Jr. Printed in full color Edmund V. GiOon, Jr. Assemble full- B E T H P A G E V I L L A G E R E S T O R A - flakea. 04pp. » > 11. tS49»« Pa. 92.95 on heavy cardboard stock. 12authentic c o l o r 7 " * 7 X " * S X " m o d e l o f c l a s s i c TIDNi 6 Full-Color H-O Scale Models, buildings in H-O scale: Adams home in Victorian seaside cottage. Based on Edmund V, Gillon, Jr. Authentic model Quincy, Mass., Oliver Wight house in actual 1880s design. Step-by-step in based on restored pre-Clvil War Long Sturbridge, smithy, store, church, structions, exploded diagrams make Island village. Schenck Farmhouse, others. 4Spp. M <■ 12ia. assembly easy. 16pp. 91i ■ 12l<. Noon Inn, Methodist Church, Powell 23536-X Pa. 96.95 27311-3 Pa. 93.95 Bam, two other structures. Simple C U T & A S S E M B L E C O L O N I A L instructions for easy assembly. Intro duction. 48pp. 9X ' 121). HOUSES IN FULL COLOR: Five Historic Buildings in H-O Scale, C U T A c A S S E M B L E A B R I T I S H 26547-1 Pa. 95.95 Try one of Edmund V. Gillon, Jr. Easy instruc PUB, Peter Pohle. Authentic full-color replica of The Bear and Staff, famed C U T A c A S S E M B L E A S O U T H E R N tions, clear diagrams for constructing pub in London's theater district. Step- PLANTATION: An H-O Scale Model one-room Waite-Potter cottage (1677), in Full Color, Edmund V. Gillon, Jr. Eleazer Arnold house, with gabled by-slep instructions, diagrams make THESE assembly easy. Completed model meas Reconstruct authentic 19th-century roof, tall chimneys (1687); Tate house, ures lOh" «6ii" "SX". Only simple tools plantation: splendid main house with elegant merchant's mansion built in needed. > m. 27360-1 Pa. 93.95 colonnades, two wings, carriage house, 17K, and two others. 40pp. 9i» " 1^. slave quarters, fence, more. Complete PAPER 27125-0 Fa. 96.95 instructions, exploded diagrams, ^p. C U T & A S S E M B L E A N O L D - C U T A c A S S E M B L E A N O L D I R I S H 9X>I2«. 26017-8 Pa. 95.95 FASHIONED FARM: Nine Full- VILLAGE: Six Full-Color Buildings in Color Buildings in H-O Scale, A. G. H-O Scale, Edmund V. Gillon, Jr. Cap C U T A c A S S E M B L E A N E A R L Y PROJECTS TO Smith. Complete instructions for re tivating recreation contains hotel, pub, AMERICAN SEAPORT, A. G. Smith. creating authentic tum-of-the-century shops, medical office, monument, sign Lighthouse, ship chandlery, lavem, farm. Victorian farmhouse, bam, pig post, thatched-roof cottage anci me- cooper's shop, 7 other buildings. Full- gery, more. Labelled pieces for easy diml tower-house castle- Instructions color, H-O scale buildings with how-to LEARN... assembly. 48pp. 9S« > 1^. and diagrams. 48pp. 9)1» 12i<. instructions and diagrams. 245894 Pa. ILM 26337-1 Pa. 96.95 24754-6 Pa. 95.95

Basics of Paper Sculpture

AND Assembly C U T A c A S S E M B L E A F E R R I S 3UT AND MAKE OLD-TIME WHEEL, A. G. Smith. Diagrams, in C U T A c A S S E M B L E A N O L D - CIRCUS , Henry Anson structions for constructing approxi FASHIONED CAROUSEL IN Hart. For collectors, hobbyists and mately IS'-high, authentically detailed FULL COLOR, A. G. Smith. Easy-to- Principles rtmw of dl ages: 16 circus acts with paper model of colorful carnival attrac construct three-dimcnaicxMl revoMng aevahltpaMR bareback rider, strong- tion. Complete with gondolas, passen model more than a foot in dianeter. BMa, cktm baiid, elephant seesaw, gers, ticket booth and clerk. 16 plates. 7 Colorful carousel and V mrhentiwg acrobat, fagi^w, clown, more. 16pp. diagrams. Total of 40pp. M » 1^. animals. Will delight child or adult. M-l» 2711S4 Pa. 93.95 27340-7 Pa. 96.95 48pp. 9)i > I2X. Pa. 9t.N t

FirstCut Insertion Deadlines

February 10 April 10 Ted Naos StutSo July 10 907 W. Baltimore St N o v e m b e r 1 0 No sign Street Perking Only

NawYork

o D i r e c t i o n s t o Te d N a o s S t u d i o Map Not To Scale

F r o m N o r t h ; 1-83 South — for some SHORT time it is part of 1695 — STAY ON 1-83! ^ Near end of 1-83 take Fayette St. exit, go west about 15 blocks across town to MARTIN^UTHERJ.KING JR. BLVD.,-fa:m left, one block to BALTIMORE ST., turn right on BALTIMORE ST. about three blocks on right. * r

F r o m S o u t h : u3 1-95 North to 1-395 into Baltimore. Near end take ramp on MARTIN LUTHER KING JR BLVD., 4th left is BALTIMO^ ST. about three blocks on right.

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F r o m W e s t : r . US Route 40 is exit 15E from 1-695, about 4 miles inside beltway is MARTIN LUTHER KING JR BLVD., turn right about three blocks is BALTIMORE ST., turn right about three blocks. (There is a short piece of interstate on Rt. 40 in city, use it and get off atMLKBlvd.) 0

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FOR (NFORMATION WR(TE TO: GAP C PdTo 12/31/93 5DIGIT 18018

GUILD OF AMERICAN N a n c y S h e l l y PAPERCUTTERS 45 Wall Street tfi c. Richard Harris Bethlehem;, PA 514 East Main Street 0 Annvi[Ie.PA 17003-1511

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