Blog Topic: Exhibiting

Exhibiting: Mixing Medias and Hanging Issues by Ros Hornbuckle

Saturday, July 28th, 2018

Barbara Burns

Welsh artist Ros Hornbuckle has been weaving for over 20 years. She has much experience with sales and commission work having supplied shops and galleries in London, Stratford upon Avon, and Llangollen among other places. Presently, Ros is regularly exhibiting  in galleries around Shropshire, where she lives, on the border with Wales, and in Wales itself. She also takes part in an annual Open Studios event in Oswestry. In this article, Ros shares with us how she has found success exhibiting, independently and with other medias as well as the hanging system she has come up with.

Llanddwyn Heart Rock 122cm x 104cm

In the first part of my tapestry weaving life, in the 1970s and 80s, selling was easy. There were quite a few places to hang work: shops, galleries and craft centres. I had a studio in a craft centre for some years, where I was very visible. My work then was much simpler, more decorative, cost less, and I wove rugs as well. No internet either!

After a long period of weaving abstinence due to children and a full time job, the lure of the loom brought me back. My weaving now became more complex and I committed myself to creating the yarn entirely from local fleece. Not only is this more sustainable, but it enables me to experiment with colour and texture mixing during carding and spinning. The result is very different in appearance to weaving with mass produced yarn, and is far more expressive for me.

Rockface 4 80cm x 101cm

My experience of selling is very different now. There seem to be far more people creating art and the demand for wall space is great, while there are fewer places willing to take a risk with a medium that is unfamiliar such as tapestry, in the UK that is. I sense that some galleries don’t like mixing textiles with paintings and prints, and I agree that it can be difficult to display them together.  I tried to solve this problem by forming a group with two painters, whose work is sympathetic to mine, called Earthscape. This succeeded in creating attractive exhibitions, but it required a lot of organisation and a large gallery. I think though, that this is a fruitful experiment to try if you can find the right artists, since your work looks better next to art that has some connection to yours.

 

Earthscape with paintings

Although I do take part in mixed art exhibitions, where I only display one or two pieces, I don’t think it’s very favourable to tapestry. Most people here have no knowledge of tapestry weaving or of what the process is. Because of this unfamiliarity I think it takes a substantial amount of work on display to begin that understanding, and interest in the viewer, and to induce them to consider buying one. The impact of colour and texture of a wall of tapestries is considerable- seeing a large exhibition is what drew me to it in the first place. That great blast of brilliant colour! So I have in the past few years tried to get a more substantial amount of my work on display in one place. But it is not easy. Many small galleries don’t have the space and the larger ones have their own agenda, which

Gateway Exhibition

doesn’t seem to include my kind of art. Private galleries with good mailing lists often only want paintings and prints, and nothing too big. Even big craft galleries want to stick to very well known artists or makers from their immediate vicinity. When I have had a reasonable amount of work exhibited I have sold, either during or afterwards. I do think that some people need time to let their desire to possess the tapestry grow. It can take years sometimes! Or to feel that they can afford it.

I am now producing work for a very big  exhibition next year, in a gallery that is situated in an area that has provided me with much of my inspiration, in Wales. I need around 40 tapestries of varying size, and have almost finished weaving them! It is a debatable privilege though as it has meant I’ve had to weave more small work than I want to. Usually I sell more large tapestries, so it will be interesting to see the outcome. It feels like a big responsibility to make enough items of the right size for the space, which is a very very long corridor next to a big exhibition area.

Wem Exhibition

When you are trying to hang work in a variety of very different spaces, the hanging system can be a challenge. I know that Velcro and a batten is preferable, but many places here can’t have their walls drilled. My compromise is to sew a fabric sleeve top and bottom. On the bottom I sew the title and my signature and I put a batten inside the top, to which I can fix d-rings and mirror plates if needed.

Hanging system

I have a website and Facebook Page, but I haven’t found them very useful for sales, except for a few occasions. I know that I buy art only when I experience it in reality, but I think the websites are useful for potential buyers to get an idea of all your work and to remind them of the images they saw in an exhibition.

It will be a relief to finish weaving for my future show, so I can return to my favourite subject, which is Rock Faces. And in any size I fancy! I already have created quite a number and have in mind some future gallery applications when I have a few more to present.

Ros Hornbuckle with Bedrock 152 x 106 cm

Most of the works of Ros Hornbuckle involve “Landscape,” exploring its textures and colours in an emotional context.  She has two series “Rocks” and “Water.” The coastal landscape of Wales, with mountains, rocks, sea, birds, and the ever changing weather and light form the focus of much of her work. Occasionally Ros is inspired by stories or photographs of “People”

Shipping, Far and Wide

Saturday, June 2nd, 2018

Barbara Burns

Lessons Learned

The first time I ever shipped a tapestry overseas was in 2006. I have to tell you it was with a bit of trepidation. I didn’t know if I would ever see my work again. I thought it was going to be expensive and was concerned about it getting through customs and back again. All these years later I have shipped work almost a dozen times to  seven different countries on three continents. I’ve learned a few things that I can share.

Insurance

One of my greatest and most expensive lessons relates to insurance. I shipped a tapestry to Serbia. I made the mistake of insuring it for the retail price. When I heard the cost of the shipping I almost fell over, but I paid it. Aside from the obvious issue of cost, I should have done one of two things:

1. Insure for the wholesale cost.

or

2. Go with the minimum insurance that comes with the shipping price.

You would only get the wholesale price if you sold the work, so why insure for retail? (See Methods Of Pricing). The second option: Go with the minimum insurance is what I now do. I have been told that when you insure for a large sum of money it is like a red flag to customs.  I have had venues specifically say not to insure. They believe that this helps work move more smoothly through customs. I know it is a risk and I am willing to take it. If you are not, use option #1 or insure for what you are willing to take if your work is lost.

Holidays 

Pay attention to holidays. I recently shipped a tapestry to the Ukraine around Easter time. I paid for 3-5 day shipping, but because of a long Easter holiday in the Ukraine it wasn’t received for two weeks. I should have either shipped sooner or not wasted my money on the faster arrival. I would have known about the holiday delay if I had thought to ask the venue how it affected them before I shipped my work or looked it up online. You can actually find a holiday calendar for most countries.

Packing

I store my work in muslin bags that I make for each piece. On the bag, written in indelible marker, is the title of the piece and my name. When I ship work I place the piece, which is in the muslin bag, into a plastic bag that is then sealed. I use paper packing to stuff in the box and keep work from moving around. I also place packing paper top and bottom to pad the work on the ends. I make sure the box is larger than the tapestry so I can pad on all sides. Don’t use peanuts! Everyone hates them and customs may not put them back which leaves your work unprotected. 

I use heavy cardboard boxes since work is shipped two times, there and back. I don’t recommend tubes. I once used a tube for a piece that was shipped to the UK. When it was returned the tube had obviously been opened, in customs I imagine. The plastic cap ends were missing and in their place was cellophane tape. I know that a small item I should have received was missing. At least with a box, the ends are integral with the rest of the package, so no lost caps. FedEx has a triangular box that is good for rolled tapestries.

Labeling 

Often the venue you are shipping to will send you detailed instructions regarding shipping and labeling. Sometimes they specify the carrier you should or should not use. One thing I have seen a few times is to write: “RETURNING TO ORIGINATOR” or something similar on the outside of the package. This is for customs. Some countries will try to charge a VAT tax. The happened to me once when I didn’t write: “RETURNING TO ORIGINATOR” on my box. The UK wanted to charge me VAT tax. Fortunately I shipped with FedEx and they handled the problem for me.

Return payment 

I have seen this go two ways. I shipped a piece to the Ukraine from the US. The venue specified using the US post office to ship. They gave me the pricing for different weights and I just had to weigh my box and buy the return label. Then, by the instructions of the venue I wired them the money for the return shipping. Unfortunately, this is an expensive way to go. My bank charged $40 US for the wire. 

If you can use FedEx or your local postal service you just pay the return shipping up front and put the label in the box. If you have an account with them, it is even easier. Again, the venue will tell you what you should do. Always follow their instructions to the letter.

Tracking

Make sure you have a tracking number and keep it safe until you have confirmation from the venue that the package arrived.

You do occasionally hear about someone who has lost work but I believe this is quite rare.

For more detailed information the website Art Business Info For Artists is an excellent resource put together by an artist.

Rebecca Stevens, On Being A Juror

Friday, February 9th, 2018

 

Rebecca A.T. Stevens, Research Associate, Contemporary Textiles at The Textile Museum, was kind enough to be interviewed about her experience as a juror. Rebecca shares her thoughts on being a juror. She explains some of the pitfalls entrants may slip into, and talks about the jurying decision process, giving clarification to why  artwork may not be accepted into a show.

Barbara Burns

 

Galley view from the 2016 exhibition Stories of Migration: Contemporary Artists Interpret Diaspora. The George Washington University.

Galley view from the 2016 exhibition Stories of Migration: Contemporary Artists Interpret Diaspora In the foreground: Sara P. Rockinger, This Land, 2011. Photo credit William Atkins / The George Washington University.

 

 

 

 

 

 

 

 

 

 

 

As a juror what is the decision process like? Is it different when you are the only juror, as opposed to working with others on a group jury?

Like all jurors I draw heavily on my background in the field, and carefully look at each piece.  Thereafter the decision process of jurying is straightforward.  It involves a careful assessment of whether each piece meets the criteria of the call for entry and then a determination of which pieces are the best.

When I am the only juror I feel more responsible for making the best choices because I am the sole decider. When I am just one of the jury I engage in conversations with other jurors during the decision making process and the outcome is a collective decision.  This enables me to draw on greater looking experience and the opportunity to be reminded of aspects of the works that I might have over looked.

 

Susan Else, Crossing Points, 2015.

Do you believe there are basic mistakes that artists make when submitting their entries? Could you describe a few that you’ve encountered?

In my recent experience basic mistakes are fewer than in the past. Artists now realize the importance of good photography. Poor photography was the main problem when I first began to jury. Unfortunately, another critical mistake continues to occur. An artist sometimes submits more than one artwork and the works are greatly dissimilar in concept and aesthetic thereby indicating that the artist has not developed his or her own voice.

 

What kind of guidelines would help you make selections in an international (or regional?) juried show? Does an international show present a different set of challenges for a juror?

Guidelines in the call for entry should be clearly stated. All images should be properly labeled with size, and top and bottom indicated in order for the juror to fairly evaluate the artwork. Remember that all images appear the same size whether they are projected on a screen or viewed on a computer monitor.  The challenge for a juror is to take all aspects of a work into consideration in selecting the best artworks for an exhibition. This is the same whether for a local, national, or international show.

Sandra E. Lauterbach, Wailing Wall of Krakow, 2014

Have you juried a show that you felt was exceptional? Can you describe what factors enabled you to accomplish that?

Two exhibitions that stand out in my mind are Karpit I and Stories of Migration:  Contemporary Artists Interpret Diaspora.  These were exceptional exhibitions for quite different reasons, but the common thread was the care and attention the organizers gave to each exhibition.

Karpit I was an international tapestry exhibition hosted by the Museum of Fine Arts in Budapest, Hungary. It was an exciting opportunity for the artists and the Museum. I was honored to be on the international jury panel.  There were a large number of excellent entries because there had not been an international tapestry show at this museum before and because artists were especially keen to exhibit in this prestigious Museum where tapestry was being  treated as an art form on the same level as fine paintings and sculptures. Both the Association of Hungarian Tapestry Artists and the Museum staff worked diligently to conceive of this exhibition and to bring it to fruition. The artists were not identified during the selection process to insure that there would be no bias in favor of artists known to the jury. This blind selection process was a relatively new concept in Hungary.

Masked Muse, Jon Eric Riis

Stories of Migration was exceptional because it was an extremely timely subject presented from a variety of points of view.  This exhibition was a successful collaboration between  the George Washington University  Museum and The Textile Museum and the Studio Art Quilt Associates, an international organization.  The selection was limited to members of the Association and six invited artists. However, it was possible to join the Association in order to qualify for entry if the artist was not already a member. The call for entry was issued one year before the jurying began, thereby allowing artists to create new pieces addressing the migration theme, if they so wished.  Entries could be two or three dimensional pieces or even be multi component installation works.  This broad scope resulted in a rich and diverse variety of art work.

Nebo Lavrencik, Mogadishu, 2012

 

Have you juried a show where you regret having agreed to the job of making selections? Could you give an example?

I have never regretted jurying an exhibition, although some exhibitions have been more interesting because the quality of the work submitted was especially high.  Each exhibition has always been an opportunity to see new work and existing work in a new context.

 

 

In some cases there must be pieces that you see as excellent in many ways and you cannot accept into the show being organized. Can you shed any light on what happens behind the scenes? Do you argue for inclusion based on its qualities or do you question the parameters set for the show?

The first task of a juror is to include in the exhibition only the pieces that come within the parameters of the call for entry.  It is neither fair nor appropriate to change the terms of the call for entry after the fact to fit in a really good piece that is not responsive to the call. If a juror questions the parameters of the exhibition then that juror should not have agreed to be a juror for that exhibition. This is a threshold decision each prospective juror must make.

Should “outlier” or little known artists be included in a juried exhibition?

Each artwork should be judged on its own merits regardless of who created it.  There is no “outlier” if the works are submitted to the jury anonymously.

Penny Mateer, The Past as Road to Tomorrow, 2015

Are juried shows a good option for emerging artists?

Juried shows are generally a good option for artists who want to establish a career.  Acceptance into an exhibition allows the public to see the artist’s work judged on its merits against other art works. Artists should carefully choose the exhibitions to which they submit work. They should look for shows organized by established groups and/or institutions. Prestigious juried shows are always advantageous, e.g., juried shows at the Cooper Hewitt,  Smithsonian  Design Museum or the ATA Biennials.

Is the jury process the best way to organize a show?

There are two major types of art exhibitions, juried exhibitions and curated exhibitions.  In a juried show the jurors need to follow the parameters of the call for entry and be fully independent of the sponsoring organizations. Even if one of the organizers’ favorite artists is not selected the, jury’s choices should nevertheless be cheerfully accepted. Juried shows allow the jurors to see the work of a broad range of artists, some of whom will probably be unknown to the jury prior to that exhibition. In a curated exhibition the curator has control over the theme and the artworks. The theme can then be focused on one artist , a group of artists, a technique or an historical or timely topic. There is a place for both types of exhibitions.  Each has something different to add to the art world conversation.

Rebecca Stevens

 

Rebecca Stevens has an undergraduate degree in art history/studio art (B.A.) and a graduate degree in studio art (M.F.A.). Stevens’ art focus changed from painting and print making in 1969 when she saw a traveling version of the Lausanne Biennial. Rebecca was fascinated by this “new” art form – fiber art – and has devoted her professional life to that subject. She became a juror because she was invited to serve.

Jane Sauer on Jurying Exhibits

Friday, December 22nd, 2017

I had the pleasure of interviewing Jane Sauer on the subject of being a juror. She shared her experience and insights into the jurying process, as well as sharing advice for participating in juried shows.

Barbara Burns

 

What is the jurying  process like? Is it different when you are the only juror, as opposed to working with others in a group jury?

I have always found the jury process painful. Many times there are a number of qualified applicants and I worry about making judgements dependent on a few images. I know I make mistakes and am concerned that a rejection might have an adverse effect on someone’s career. I like some aspects of being the sole juror. I like the control of the outcome that this brings. On the other hand I do like hearing or seeing the judgements of the other jurors. Many times that can open my eyes to something new. Other times I have a hard time seeing what they see. It is a matter of compromise.

Do you believe that there are basic mistakes that artists make when submitting their entries? Could you describe a few of these that you’ve encountered?

The most consistent and harmful aspect of preparing an application for a juried show is the photography. I sometimes think the artist must not review their submission before hitting SEND. Any juror can only judge what they can see. Cell phone pictures are the enemy of the artist. They are so easy to come by and yet are rarely high quality. If you are going to use a cell phone image, make sure you have a proper environment and lighting. I highly recommend a professional photographer.

What kind of guidelines would help you make selections in an international (or regional?) juried show? Does an international show present a different set of challenges for a juror?

An international show does present some challenges. If an international juror, you must make an effort to understand the culture in which the applicants live. This is not always easy and readily available. I am always concerned that I am looking at work through the lens of my cultural background only.

Have you juried a show where you regret having agreed to the job of making selections? Could you give an example?

I agreed to jury a show that ended up having over 3,000 entries. I deeply regretted accepting this job. I could not scan through all the applicants and then go back and make decisions, which is my usual routine. I like to scan once or twice and then carefully eliminate in several rounds until I have the right number of acceptances. I felt like this was a nightmare process. I had to start making decisions on the first pass through. Fortunately the sponsoring organization realized that this was not a fair process and changed the approach by breaking down the process into smaller units each with its own set of jurors.

Have you juried a show that you felt was exceptional? Can you describe what factors enabled you to accomplish that? 

I have juried several shows that I thought were exceptional. They were exceptional because the applicants were of high quality and submitted images that were easy to read. The images are the gold in a jury process.

Do you have advice for artists who wish to establish a career making their art? Do you think juried shows offer good opportunities for artists?

Being in juried shows is an excellent way to have your work seen and acknowledged. With the closing of many small and large galleries, juried shows are becoming more competitive than ever. A new phenomenon is Exhibits in Print. This is an even better way to get your work seen by a larger audience.

 Is there a time in an artist’s career when juried shows are no longer advantageous?

Many established artists will not submit to a jury process. They don’t want to be judged and don’t want to exhibit with less mature artists. I think the most essential ingredients to developing a  career in the arts is to have a web site with good images, background information and clear contact information. Again images are the key to a good web site. When I am curating an exhibit, if I can’t locate the artist, I usually just move on to the next artist I can locate. Unfortunately, there are many more exceptional artists than places to exhibit. An artist has to make it easy to make contact and see the latest work.

What do you think of the jurying process? Is there a better way to organize a show?

I think the jury process has improved tremendously with any of the many excellent computer sites that allow you to jury slowly and in parts. The price of putting together a skilled group of jurors is also considerably lower since the organization doesn’t have to bring jurors together. I think we need both juried shows and curated shows. They do different things and each is valid.

Do you have any advice for a first time juror?

I think about balance when jurying. I like to represent the totality of what is going on and not lean too heavily on one aspect because it is my personal favorite. I am always happy to see new ideas when I look at images and will try to bring those into the exhibit if the work is valid.

In some cases there must be pieces that you see as excellent in many ways but you cannot accept them into the show. Can you shed any light on what happens behind the scenes – do you argue for inclusion based on its qualities or do you question the parameters set for the show? Do outliers get accepted and why?

Behind the scenes behavior varies a lot. Sometimes jurors can’t agree and a piece I am deeply committed to is eliminated. Frequently there is a negotiation process if there are several jurors. Jurors can trade one elimination for an acceptance which can eliminate what one juror thinks is a great piece. I have had to eliminate work that just didn’t fit into the mission of the show even if the piece was excellent. I also have had to eliminate pieces that were too large for the exhibition space or would just suck all the air out of the exhibit.

Anything else you would like to add?

I am saddened by the closure of so many galleries. I know this is resulting in many exceptional artists giving up and moving to other professions. It takes tremendous dedication to be an artist or to own a gallery. If you want to work regular hours or make a good living, try something else for a career. I wouldn’t trade my life for any other but have to tell others this is not an easy road and the near future doesn’t look any better, and maybe worse, for the arts with government cut backs. I think the expression, “I didn’t choose ART, it chose me,” is still operable. Most artists I know would find this statement true. Fiber artists have an even harder path because of the prejudice against textiles in general.

Suggestions

  • If you have the option to send various views or details, be sure to send a full component of images. If you have good images, the more information you can give the juror, the better chance you have of being accepted. Usually one object doesn’t represent you as well as the full component allowed. A juror wants to see what you are creating and a single piece can make the juror feel that you might have hit it lucky once but the rest of the work might be weaker.
  • Always review what you are sending on a full computer screen and not on a cell phone. Look at how all the images look together.
  • Be self critical and try to think how the juror will think. Even if you don’t get in a particular show, it might be good for a certain juror to see you work. I have rejected someone from a juried exhibit but felt that their work fit with a show I was curating.
  • Before spending money on an entry fee, make sure what you are submitting fits within the show prospectus.
  • Read all the directions and follow them carefully, especially the dates. If you are accepted, follow all the rules and don’t think you can be the exception.
  • Put all dates on your calendar.
  • When preparing your work for shipping, remember that the work will be shipped two times.
  • All shipping materials should be new and able to withstand two shipments.
  • Act like the person unpacking the shipment and repacking has an IQ of 30. Write out clear and concise directions for repacking and tape to the inside of your box.
  • Put your name on shipping materials so there can be no mistake about which are your materials. Many times inexperienced packers are responsible for the return of work

Jane Sauer

 

Jane Sauer was a fiber artist for over 25 years before owning Jane Sauer Gallery. She has work in over 20 museums, has received two National Endowment for the Arts Grants, in addition to other grants. Jane is part of the Archives of American Arts Smithsonian Institute and has served on many art related boards including serving as Chair of the American Craft Council. Ms Sauer has spent her entire life making art and has spent her adult life supporting the arts and artists. She says, “I guess this is what makes me a qualified juror.”

On Being A Member of a Cooperative Gallery

Monday, October 9th, 2017

Barbara Burns

Priscilla Alden is a tapestry weaver in Boothbay, Maine, USA. I had the pleasure to interview Cilla in her beautiful studio last spring. She spoke about her experience as a long time member of a cooperative gallery in Boothbay, Maine, USA. You can listen to Priscilla and see her colorful tapestries in this video. 

Priscilla Alden working at her loom.

Organizing Your Exhibit Entries

Sunday, July 30th, 2017

Barbara Burns

There is so much involved in entering exhibits. You have to sift through all the possibilities to find the exhibits your work would benefit from. Then you have the time consuming task of filling out the submission form and collecting all the required data. Once you’ve applied there is the wait for acceptance or rejection.  If your work is rejected, you deal with that. If it’s accepted you have to keep track of when and where to ship your work, packaging, promoting your acceptance and ultimately see your work return home. There are a lot of steps and keeping track of all this is important. I’ve been submitting work to exhibits for a while now, and I came up with a system I’ll share with you that works for me.

STI 2 Weaving Southwest

It all begins with a spreadsheet of all my tapestries. It includes:

  • title of work
  • series
  • date completed
  • size in inches H x W
  • size in centimeters
  • size if mounted
  • sett
  • price wholesale (my price)
  • price retail (includes 50% for commission)
  • sold
  • location (home or show)
  • materials
  • shows each work has been in
  • awards won by a specific piece

I titled this “Tapestry List” and keep updating as pieces move around, sell, prices change, etc.

To keep track of exhibits I developed another spreadsheet.  It has evolved over the years to include:

  • The name of the exhibit
  • Entry deadline date
  • Notification date
  • Show date
  • Ship by
  • Returned by
  • Restrictions (size, number of submissions allowed, completed after, etc.)
  • Benefits (catalogue, foreign country, awards, highly respected venue or show, etc.)
  • Work to submit
  • Cost (At the end of the year I can see what I have spent on exhibit entry fees and shipping.)

 

I have five folders:

  • EXHIBIT POSSIBILITIES
  • APPLIED
  • ACCEPTED
  • REJECTED
  • OVER AND HOME

I begin with the folder marked EXHIBIT POSSIBILITIES.  I keep an updated copy of my Tapestry List clipped to the inside. When I find an exhibit I want to consider I enter all the relevant information on the Exhibit spreadsheet. I also print a copy of the exhibit prospectus, highlight important information and make notes.  If I decide not to enter a particular exhibit I cross out the information. Once I have submitted work to an exhibit I write APPLIED in red across the line on the Exhibit spreadsheet and move the prospectus into the APPLIED folder with a new copy of the spreadsheet where I copy over the relevant information. If the entry is rejected, I mark REJECTED in red, cross out the line and place the prospectus in the REJECTED file. If the work is accepted I mark the line ACCEPTED, I circle the tapestry that has been chosen and then copy the information onto another copy of the Exhibit spreadsheet which is in a folder marked ACCEPTED. I do this so that I can’t get confused about what is going where and double book a tapestry. When I receive shipping and other information from the show, I write that on the form. Once a piece is shipped I write SHIPPED across the line. When the work is returned home I cross out the line for that exhibit write DONE and move the prospectus in to the OVER AND HOME file. I used to throw out the rejected and completed information. Now I save them so I have a history of what I’ve done. I also use this to remind me of shows that repeat. In case I don’t receive notice I can use the old information go looking for a show online.

Since I’ve been using this system I have never double booked a tapestry, I always know where my work is and what shows I’m interested in. I also have an archive of what shows my work has been in. This is useful so I don’t apply for a show with the same work if it’s inappropriate. As long as I pay attention, I don’t miss deadlines either. I’m sure there’s an easier way to do this on the computer sans paper but this system works for me. Maybe it will work for you, or inspire you to come up with something better. If you do, please let me know.

You can download the forms to use here.

Tapestry.Record.Numbers

Tapestry.Record.Excel

Exhibit.Record.numbers

Exhibit.Record.Excel