Friday, July 30, 2010

An Interview with BINDERS: Laura Brown

This blog post is the second in a series of interviews with BINDERS staff members and sales associates.


Laura Brown is from Winston-Salem, North Carolina. She has a BFA from UNC-Greensboro with a concentration in design. Her interests are in applied and communication arts. She enjoys bookmaking and printmaking as well as film editing, photography, and various forms of design.


BINDERS: When did you decide you were interested in art? How long have you been an artist?

Laura: I never made a concise decision to be an artist. I always did art because it was always around. From an early age I was given crayons and papers and paint. This was always an aspect of my life. I guess I never developed a particular interest that took me away from art.

I became more and more immersed in art as the years went by. In high school, art was "my thing." It was what defined me and distinguished me from a lot of the other students. Growing up in a rural and poorer area of North Carolina there was not a lot of money to support the arts and, quite honestly, there was not a lot of interest in the arts by the people in the community. To be an artist was to be a renegade but I never questioned wanting to continue my studies in art. I was never pressured to be anything else and my parents didn’t question my interests.

I believe that is the key, that people are what they are allowed to be. People do what is nurtured in them to do, be that arts, sports, or science.

BINDERS: Would you say you had any early influences, any particular artists that were inspiring to you — anyone you really admired?

Laura: I wasn't necessarily influenced by any particular artist at a really early age, but I believe it was in middle school that I discovered The Impressionists; such as Monet, Renoir, Manet, and as well, Vincent Van Gogh. By high school I still liked The Impressionists but I also really liked Art Nouveau artist Alphonse Mucha and secession artist Gustav Klimt.

My interests in Impressionism faded away but throughout college I was still inspired by Art Nouveau, Secession artists, and I also become really interested in Japanese art and architecture. I have often been inspired by architecture as well as fine arts. During high school I became familiar with Charles MackIntosh and in college I learned about Le Corbusier and various other influential architects.

Today, I am really becoming influenced by ancient Incan and Mayan art, and Southwest Native American art. Also, I have recently rediscovered Eva Hesse and I am becoming interested in fiber arts.

BINDERS: What types of things have you been doing more currently?

Laura: Lately I've been playing around with natural fibers. I've been mostly just using fibers in a collage type work, adhering different colors of fibers together and creating a pattern on paper. Eventually the work will become more 3-dimensional. Right now I'm just playing, experimenting. I would like to eventually incorporate this into printmaking, creating a textural work that represents the evolution of the relationship of materials and men.

Also, I'm starting to do watercolors again. I had painted with watercolors a lot in high school and was pretty good at it then. Right now I'm painting futuristic forms and natural landscapes.

BINDERS: You recently decided to go back to school. What subjects are you studying?

Laura: I've been in school for the past two year studying Internet technologies. I have also taken a few videography courses. I have also been interning in these fields.

I have a BFA in design from UNC-Greensboro and had worked as a graphic designer before I worked for BINDERS. As an undergraduate, I learned web design, photography and video editing. I have continued to have an interest in these mediums in addition to my fine art printing.

BINDERS: Are you finding ways to be creative as a web designer? Do you think there is potential in it as an artistic medium?

Laura: Web design allows me the ability to combine all of my mediums of interest; and, it provides a showcase for my printed work. There is definitely a niche for fine art websites.

BINDERS: Do you have any particular goals as an artist, or just in life in general, anything you especially want to do with your life in the next few years?

Laura: One of my goals as an artist is to create a consistent body of work and to start showing my work in galleries. As for life, my best answer is that I hope that I can reach a point of clarity and then I will be able to focus more on my creative endeavors.

Do you have any advice for Laura as she continues her artistic journey? Please share!

Wednesday, July 28, 2010

Tips & Tricks #10: Rough vs. Smooth - Know Your Watercolor Papers!

For acrylic and oil painters, a canvas is basically a canvas. A high quality piece of canvas may be heavier and stiffer, or it may have a higher thread count that gives it a smoother surface, but the canvas itself doesn’t present wildly varying opportunities for different painting techniques. For watercolor painters however, the situation could not be more different! The surface texture and weight of a piece of watercolor paper will directly affect the outcome of the painting and each type of paper has it’s pros and cons for particular styles of art. Knowing the basics of paper selection can save you plenty of headaches down the road, so let’s dive right in!

Watercolor paper comes in three different surface textures: hot press, cold press and rough, which describe how smooth the surface of the paper will be.

Cold Press
About 90% of all watercolor papers will be cold press, which has a medium texture to it that is considered to be the standard for watercolor painting. Almost every pad of watercolor paper by companies such as Arches or Strathmore will have sheets of cold press paper in them, plus there is a wide variety of single sheets in 22x30 size or larger. Cold press paper is most suitable for all of the standard techniques in watercolor painting and it is the surface that you will want to use for any beginner workshops and introductory classes that you might be taking. The texture of cold press is a happy medium that allows for the random dry-brush marks that are so characteristic of landscape paintings, but the texture is still light enough to allow for precise lines and detailed brushwork. If you don’t know what kind of paper to get for your class, pick up some cold press!

Hot Press
Hot press watercolor paper has a smooth surface, similar to a heavy sheet of drawing paper. There is still some amount of texture, but not nearly as much as cold press. Dry brush techniques that use the surface texture to create random patterns will not work at all on hot press paper. On the other hand, the smooth surface is ideal for precise, detailed imagery which may be the choice for graphic design and/or illustration work. Just keep in mind that most of the basic watercolor techniques use the texture of the paper in some way, so if you are using hot press paper you will miss out on that.

Rough
Rough textured watercolor paper is exactly the opposite of hot press. The extra high texture of rough paper has even more of the random qualities that are so characteristic of the expressive, painterly styles of watercolor painting, so dry brushing on watercolor paper looks great! The texture also makes line and detail work extremely difficult, so it is only suitable for certain techniques and is not recommended for beginners.

Both hot press and rough papers are not so easy to find. Arches makes high quality lines of both surfaces in their watercolor blocks and there are also single sheets similar to the cold press types that are made by several different companies. Tape-bound and spiral-bound pads will not contain hot press or rough sheets.

Paper Weight
The other thing to consider when picking out your paper is the weight. Watercolor paper typically comes in three different weights: 90 pound, 140 pound and 300 pound. The type found in pads is almost always the lightest weight, but the Arches 140 pound paper is considered to be the standard for professional work. The heavier papers are available in 22x30 size or greater individual sheets or on Arches watercolor blocks.

Basically, the thicker the paper is, the more water it will absorb, so a lighter paper can only absorb so much at a time before it becomes saturated, while the heaviest can absorb three times as much. The difference that makes in terms of technique is that 90# paper requires less watercolor to create a solid, intense area of color, but because the paper becomes saturated so easily it makes it difficult to control the paint and continue re-working certain areas. 300# paper, on the other hand, soaks up a lot of water, but you get a lot more control over the paint and you can add more layers to a particular area while the paint is still wet. Since 300# paper is also stiffer, there will be less concern about the paper wrinkling too! If you’re not sure what to get, go for the lighter papers, because you’ll use up less paint while you experiment and they are easier to work with.

A final note about paper weight measurements: the pounds listed in the description of a piece of paper refers to the weight of one ream of that paper at 22x30 size, which is 500 sheets. So if 500 sheets of 22x30 paper weighs 90#, then we call that 90# paper. The sheets of paper may then be cut down into smaller sizes like 11x15, etc. This causes some confusion when larger sheets of paper are made, so if the factory produces paper that measures 40x60, and a ream of that paper weighs 1116 pounds, it will be listed as 1116# paper, but actually it is about the same thickness as 300# paper at 22x30 size. This antiquated measuring system is being phased out in Europe and replaced by the grams per square meter system, which says that one square meter of a particular type of paper will weigh a certain amount in grams. As with all metric systems, this will probably take some time to catch on in America, so until then we can all scratch our heads as we try to calculate the actual weight of a piece of paper in pounds!

Do you have any more tips, tricks or comments on watercolor paper? Please share!

Monday, July 26, 2010

This Week @ BINDERS - July 26-August 1

ART SALES | ART CLASSES & WORKSHOPS | ART HAPPENINGS

Our resident oil painting instructor, Charles Y. Walls, is facilitating the Essentials of Figure Painting Workshop for intermediate to advanced oil painters, beginning with a demonstration on Thursday night and continuing with great instruction through the weekend. Throughout this figure painting workshop, underlying structure will be addressed while emphasizing the importance of artistically bringing it to life on canvas. Students will enjoy one-on-one instruction in a focused group atmosphere during the three full days of painting the figure from life. You can also look out for our upcoming classes: Contemporary Gold Leaf 1 with Shannon Forester begins on August 2nd and Block Printing 1 with The Atlanta Printmaking Studio begins August 5th. Sign up online or stop by the store to reserve your space for these wonderful opportunities!

ART CLASSES & WORKSHOPS

Monday, July 26:
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate | Fee: $17/per session. Please pay the instructor. No registration necessary


Tuesday, July 27:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, July 27-Aug. 31, Open to all levels
Fee: $155 | Sign up now!

Calligraphy Two: Copperplate with Anne Elser
1:30-4pm, Tuesdays 6 sessions, July 20-August 24 | Beginner-Intermediate

Bookmaking 2: The Opened Book with Anne Elser
6-8:30pm, Tuesdays, 6 sessions, July 20-Aug. 24 | Intermediate - Advanced

Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, July 27-Aug. 31, Open to all levels
Fee: $155 | Sign up now!


Wednesday, July 28:
Impressionist Paintings from Photos with J.Z.Torre
1-4pm, Wednesdays, 6 Sessions, July 28-Sept. 1,
For Advanced Beginners (have an understanding the basics; color wheel, tonal values and simple perspective) to Intermediate. Fee: $160 | Sign up now!

Calligraphy Three: Advanced Calligraphy with Anne Elser
6-8:30pm, Wednesdays, 6 sessions, July 21-Aug. 25 | Intermediate - Advanced

Impressionist Paintings from Photos with J.Z.Torre
6-8:30pm, Wednesdays, 6 Sessions, July 28-Sept. 1,
For Advanced Beginners (have an understanding the basics; color wheel, tonal values and simple perspective) to Intermediate. Fee: $160 | Sign up now!


Thursday, July 29:
The Essentials of Figure Painting Workshop with Charles Young Walls
5-8pm, Thurs. July 29, Evening Painting Demonstration | Sign up now!

Friday, July 30:
The Essentials of Figure Painting Workshop with Charles Young Walls
9:30am-5:30pm, Fri.-Sun., July 30- Aug. 1, For intermediate and advanced painting students | Fee: $400 ($350 + $50 Model Fee) | Sign up now!

Saturday, July 31:
The Essentials of Figure Painting Workshop with Charles Young Walls
9:30am-5:30pm, Fri.-Sun., July 30- Aug. 1, For intermediate and advanced painting students | Fee: $400 ($350 + $50 Model Fee) | Sign up now!

Sunday, August 1:
The Essentials of Figure Painting Workshop with Charles Young Walls
9:30am-5:30pm, Fri.-Sun., July 30- Aug. 1, For intermediate and advanced painting students | Fee: $400 ($350 + $50 Model Fee) | Sign up now!

Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.


Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!


ART HAPPENINGS | THE LIMELIGHT GALLERY

Summer Waterworks Two
an exhibit of paintings by eleven acclaimed local artists
July 6 - August 1

Artwork by: Kathy Butler, Marsha Chandler, Betty Derrick, Louise Faurot, Kathy Rennell Forbes, Pat Hahn, Deanna Jaugstetter, Linda LeTard, Marie Matthews, Mickey McConnell and Jane Springfield


Visit BINDERS website!

Monday, July 19, 2010

This Week @ BINDERS - July 19-25

ART SALES | ART CLASSES & WORKSHOPS | ART HAPPENINGS

The ART School at BINDERS is proud to present a unique workshop, Breaking The Rules: The Mixed Media Solution with Sara Claire Chambless this Saturday July 24 from 10-4pm. The basic premise for this one day seminar is the belief that “breaking the rules” allows the artist to freedom to create an authentic statement in their work. To this end, the world of mixed media painting is explored reviewing both traditional methods and innovative techniques developed by the instructor.

Back by popular demand, Impressionist Paintings from Photos with J.Z.Torre will be happening on Wednesdays, 6 Sessions, July 28-Sept. 1, 1-4pm or 6-8:30pm. Gain the freedom and know-how to re-create your photos into exciting Impressionist-style paintings -- in acrylics! (Oil painters are welcome, too.) Step-by-step you will master how to transform any photos into heirloom quality paintings. The instructor takes the mystery out of the “direct” painting, enabling you to become a modern Impressionist using acrylic paints. To learn more about J.Z.Torre
, read a recent conversation that we posted here on our blog! Sign up online or drop by the store and speak with an associate to reserve your space today!

ART CLASSES & WORKSHOPS

Monday, July 19:
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate | Fee: $17/per session. Please pay the instructor. No registration necessary


Tuesday, July 20:
Calligraphy Two: Copperplate with Anne Elser
1:30-4pm, Tuesdays 6 sessions, July 20-August 24 | Beginner-Intermediate
Sale price until July 7: $140 After July 7: $155

Bookmaking 2: The Opened Book with Anne Elser
6-8:30pm, Tuesdays, 6 sessions, July 20-Aug. 24 | Intermediate - Advanced
Sale price until July 7: $140, After July 7: $155

Wednesday, July 21:
Calligraphy Three: Advanced Calligraphy with Anne Elser
6-8:30pm, Wednesdays, 6 sessions, July 21-Aug. 25 | Intermediate - Advanced
Sale price until July 8: $140 After July 8: $155


Thursday, July 22:
Fearless Watercolor Landscapes II with Susan Bradford
6-8:30pm, Thursdays, 6 Sessions, July 8-Aug. 19 (No class July 29)
Intermediate | Fee: $155

Friday, July 23:
No special art events today.

Saturday, July 24:
Breaking The Rules: The Mixed Media Solution with Sara Claire Chambless
10-4pm, Sat. July 24 | Open to all levels (all materials included, bring a sack lunch)
Sale price until July 9: $75, After July 9: $90

Sunday, July 25:
No special art events today.

Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.


Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF of your next sign up.


ART HAPPENINGS | THE LIMELIGHT GALLERY

Summer Waterworks Two
an exhibit of paintings by eleven acclaimed local artists
July 6 - August 1

Artwork by: Kathy Butler, Marsha Chandler, Betty Derrick, Louise Faurot, Kathy Rennell Forbes, Pat Hahn, Deanna Jaugstetter, Linda LeTard, Marie Matthews, Mickey McConnell and Jane Springfield


Visit BINDERS website!

Monday, July 12, 2010

This Week @ BINDERS - July 12-18

ART SALES | ART CLASSES & WORKSHOPS | ART HAPPENINGS

All new classes coming up at The ART School at BINDERS! July 20th–22nd, bring the kids in for “Art and the Word: All About Me” with Sara Robinson and Sara Claire Chambless, where kids learn to share who they are through art and the written word. This dynamic mother/daughter team offers an interactive class where students write a poem, create a painting, act out a story, and make faces out of clay. It’s all about exploring what it is to be “me” in a fun, positive, safe environment where nearly anything goes! For those of you who have taken classes with instructor, Anne Elser, she will be offering her advanced courses, “Bookmaking 2: The Opened Book” starting on Tuesday July 20th, and “Calligraphy 3: Advanced Calligraphy” starting on Wednesday July 21st. Sara Claire Chambless returns on Saturday, July 24th, with her all-day workshop “Breaking The Rules: The Mixed Media Solution.” Sign up this week to reserve your space!

ART CLASSES & WORKSHOPS

Monday, July 12:
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate | Fee: $17/per session. Please pay the instructor. No registration necessary


Tuesday, July 13:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, June 8-July 13, Open to all levels | Fee: $140

Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, June 8-July 13, Open to all levels | Fee: $140

Wednesday, July 14:

No special art events today.

Thursday, July 15:
Fearless Watercolor Landscapes II with Susan Bradford
6-8:30pm, Thursdays, 6 Sessions, July 8-Aug. 19 (No class July 29)
Intermediate | Fee: $155

Friday, July 16:
Paper Paintings: A Unique Figurative Collage Technique Workshop
with Elizabeth St.Hilaire Nelson
10am-4pm, Fri.-Sun., July 16-18, All levels: Some drawing experience would be helpful, but not imperative. Fee: $250

Saturday, July 17:
Paper Paintings: A Unique Figurative Collage Technique Workshop
with Elizabeth St.Hilaire Nelson
10am-4pm, Fri.-Sun., July 16-18, All levels: Some drawing experience would be helpful, but not imperative. Fee: $250

Sunday, July 18:
Paper Paintings: A Unique Figurative Collage Technique Workshop
with Elizabeth St.Hilaire Nelson
10am-4pm, Fri.-Sun., July 16-18, All levels: Some drawing experience would be helpful, but not imperative. Fee: $250

Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.


Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF of your next sign up.


ART HAPPENINGS | THE LIMELIGHT GALLERY

Summer Waterworks Two
an exhibit of paintings by eleven acclaimed local artists
July 6 - August 1

Artwork by: Kathy Butler, Marsha Chandler, Betty Derrick, Louise Faurot, Kathy Rennell Forbes, Pat Hahn, Deanna Jaugstetter, Linda LeTard, Marie Matthews, Mickey McConnell and Jane Springfield


Visit BINDERS website!

Friday, July 9, 2010

Artists and Instructors #3: A Profile of Elizabeth St. Hilaire Nelson

The art of collage has been working its way into the fine art world’s consciousness for almost a century now, but there still remains a few more miles to go before the medium will be truly accepted as an equal with the well-known forms of painting. Elizabeth St. Hilaire Nelson is a contemporary artist who is helping to bridge that gap through her innovative combinations of traditional painting techniques with glued on papers to create what she calls, aptly enough, “Paper Paintings.”

Nelson comes from a background in advertising design and is co-owner of a graphic design firm in addition to her fine art work. She currently resides in Florida, by way of New England, with a stint at Syracuse University to get her B.F.A. Although she had been doing art all of her life, Elizabeth did not enter the world of collage until 2005, when her first paper painting, Looking In on Jane, won best of show at the Orlando Visual Artists League. Since then, she has been exhibiting regularly and traveling to teach workshops that explore her innovative style. Earlier this year she published a book titled “Collage: An Overview to the Creative Process,” firmly establishing herself as a fixture in the collage world and helping to make the deeper concepts of the medium more accessible to the general public.

Nelson’s Paper Paintings are figurative in nature, meaning they have a recognizable subject and portray something that actually exists in the world. She is most well known for portraits of animals: cows and other farm animals, birds (especially peacocks) and dogs being common themes. These artworks use the traditional compositional structures of portraiture to convey the personality and uniqueness of the subject, allowing the viewer to really connect with them. Other subjects include flowers, fruit and other plant life, musical instruments, plus the occasional still life and contemporary genre scenes.

The appearance of these paintings is much like the modern use of acrylic paints in a Pop Art context: bright, saturated colors alternately clashing and harmonizing with each other in a flattened pictorial space with bold, thick brushstrokes that convey aliveness and motion. Indeed, these artworks begin their lives as standard acrylic paintings, as Elizabeth uses her skills to create simple underpaintings of the scenes before working them over in her own special way.

The originality of the work becomes apparent the closer one gets. As the visual field focuses on details, the viewer realizes that many of what appeared initially to be strokes of paint applied with a brush are in fact cut and torn strips of paper glued to the surface of the support.

Elizabeth draws her collage materials from a variety of sources: decorative papers, both colored and printed with designs, magazines, newspapers and other printed type pages, personal memorabilia (that first piece, Lookin In on Jane, was inspired by a box of old documents given to her by her father), and anything else that crosses her path that might look visually appealing. These found objects exist within the artwork primarily for their compositional possibilities, and the exact nature of the paper, or anything written on it, may or may not have any relevance to the subject of the painting.

Whereas in the original collages of Picasso and Braques a piece of oilcloth printed with a chair caning pattern would stand in for a painted chair, or an actual page from a newspaper would be used instead of painting the newspaper, Nelson seems to be more interested in how the visual aspect of things that we see every day can be turned on their heads and used to create something totally different than their actual form. Thus, snippets from a magazine article become the foliage of a tree in the background and photos of people and places can become the spots on the side of a cow. The resulting effect simultaneously establishes the time and place where the paintings were created, while also tearing apart the images familiar to that time and place and using them to create something more fundamental.

Elizabeth St. Hilaire Nelson will be here at The ART School at BINDERS for her Paper Paintings workshop July 16th-18th.

Wednesday, July 7, 2010

This Week @ BINDERS - July 5-11

ART SALES | ART CLASSES & WORKSHOPS | ART HAPPENINGS

There are a few spots left in Paper Paintings, a unique figurative collage technique workshop with Elizabeth St. Hilaire Nelson on July 16th-18th! Sign up online or come into the store and talk to a BINDERS associate to reserve your space. Also Summer Waterworks Two, an exhibit of new works by eleven acclaimed local artists, is now showing in The Limelight Gallery. We'll see you soon, here at BINDERS!

ART CLASSES & WORKSHOPS

Monday, July 5:
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate | Fee: $17/per session. Please pay the instructor. No registration necessary


Tuesday, July 6:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, June 8-July 13, Open to all levels | Fee: $140

Bookmaking with Anne Elser
6-8:30pm, Tuesdays, 6 sessions, June 1-July 6, Beginner to Advanced | Fee: $140

Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, June 8-July 13, Open to all levels | Fee: $140

Wednesday, July 7:

Silk Dye Painting Basics with Hellenne Vermillion
2-5pm, Wednesdays, 6 Sessions, May 26-July 7
Beginner to Intermediate | Fee: $155 (includes some materials)

Copperplate Calligraphy with Anne Elser
6-8:30pm, Wednesdays, 6 Sessions, June 2-July 7
Beginner to Intermediate | Fee: $140


Thursday, July 8:
Italic Calligraphy with Anne Elser
6-8:30pm, Thursdays, 6 Sessions, June 3-July 8
Beginner to Intermediate | Fee: $140


Fearless Watercolor Landscapes II with Susan Bradford
6-8:30pm, Thursdays, 6 Sessions, July 8-Aug. 19 (No class July 29)
Intermediate | Fee: $155

Friday, July 9:
No special art events today.

Saturday, July 10:
Leap Ahead Color Theory Workshop with Denise Nogueiras
10am-3pm, Beginner-Intermediate | Fee: $100


Sunday, July 11:
Leap Ahead Color Theory Workshop with Denise Nogueiras
10am-3pm, Beginner-Intermediate | Fee: $100


Summer Waterworks Two Opening Reception
Sunday, July 11 from 3 to 5pm


Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.


Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF of your next sign up.


ART HAPPENINGS | THE LIMELIGHT GALLERY

Summer Waterworks Two
an exhibit of paintings by eleven acclaimed local artists
July 6 - August 1

Meet the artists at the Opening Reception,
Sunday, July 11 from 3 to 5pm

Artwork by: Kathy Butler, Marsha Chandler, Betty Derrick, Louise Faurot, Kathy Rennell Forbes, Pat Hahn, Deanna Jaugstetter, Linda LeTard, Marie Matthews, Mickey McConnell and Jane Springfield


Visit BINDERS website!