HAND PAPERMAKING N E W S L E T T E R 

Number 100, October 2012 

Newsletter Editor: Shireen Holman Advertising & Listings: Mary Tasillo Desktop Production: Amy Richard 

Columnists: Sidney Berger, Maureen and Simon Green, Helen Hiebert, Elaine Koretsky, Winifred Radolan, Mary Tasillo. 

 Hand Papermaking Newsletter is published quarterly. Annual subscriptions are $55 in North America or $80 overseas, including two issues of the journal Hand Papermaking. Two year rates are discounted: $105 in North America or $155 overseas. To subscribe, send a check to the address below, call or fax us to use Visa or MasterCard, or visit our website. Foreign subscribers may use a credit card, or pay in U.S. dollars via money order or check marked payable through a U.S. bank. For more subscription information, or a list of back issue contents and availability, contact: 

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Phone: (800) 821-6604 or (301) 220-2393 

Fax: (301) 220-2394 

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The deadline for the next newsletter (January 2013) is November 7. Please direct all correspondence to the address above. We encourage letters from our subscribers on any relevant topic. We also solicit comments on articles in Hand Papermaking magazine, questions or remarks for newsletter columnists, and news of special events or activities. Classified ads are $2.00 per word with a 10-word minimum. Rates for display ads are available upon request. 

Hand Papermaking is a 501(c)(3) non-profit organization. Staff: Tom Bannister, Executive Director; Mina Takahashi, Magazine Editor; Shireen Holman, Newsletter Editor; Mary Tasillo, Advertising and Listings. 

Board of Directors: Sidney Berger, Frank Brannon, Shannon Brock, Zina Castañuela, Jeffrey Cooper, Georgia Deal, Susan Mackin Dolan, Jim Escalante, Susan Gosin, Anne Q. McKeown, Julie McLaughlin, Andrea Peterson, Amy Richard, Gibby Waitzkin, Eileen Wallace. Board of Advisors: Timothy Barrett, Simon Blattner, Gregor R. Campbell, Kathryn and Howard Clark, Mindell Dubansky, Jane M. Farmer, Helen C. Frederick, Dard Hunter III, Elaine Koretsky, James Sitter, Claire Van Vliet. Co-founders: Amanda Degener and Michael Durgin. 

Dear Hand Papermakers, 

I am saddened by the passing of Vera Freeman (see obituary notice below) but pleased to be able to share these fond recollections. 

Vera spoke several languages, was a born diplomat, and felt at home easily, even when far from home. She was indispensable as a key assistant and coordinator with me and Elie D’Humières (President of Speciality Paper, Arjomari Paper Company, France), who made all the arrangements to rent the Richard de Bas Paper Mill in Ambert, France in August of 1973. My team included my wife Kay Tyler, Elie D’Humières, Vera Freeman, Bob Peterson, and photographer Gianfrano Gorgoni, along with Marius Peraudeau, owner of the Paper Mill and three of his papermakers. The four of us— Kay, Vera, Bob and I—collaborated with Rauschenberg in the collage, dyeing, and pouring of color pulp assisted by Mr. Peraudeau and his papermakers. Vera was the ideal go-between to help bridge cultural and language gulfs between the French papermakers, with their ancient and traditional practices, and Rauschenberg’s and my American “transgressions.” By being a part of the working team, Vera helped make our papermaking project (Robert Rauschenberg’s “Pages and Fuses”) in Ambert, France, a success. 

Officially, Vera represented Andrews/Nelson/Whitehead and their Art Paper Department. She was a highly respected businesswoman—but more importantly, Vera was a formidable friend and trouble-shooter/negotiator; she helped save me and our project because upon my arrival at the Richard de Bas Mill, I had become stricken with the flu. Were she not there to assist Kay and me, energizing and bolstering our efforts, the pulp may well have gone down the drain. Here she is in the foreground, standing tall. Thank you, Vera, for many years of working together and creating art and friendships! 

Sincerely, 

Kenneth Tyler 

Sharon, Connecticut 

IN MEMORIAM 

Vera Freeman passed away peacefully on July 10. She was 88 years old. She came to New York City in 1949 from her native Hungary. She became the manager of the Imported Paper Department at Andrews/Nelson/Whitehead, and worked in this capacity until her retirement in 1986. Early in her career Vera was an advocate for handmade paper, at a time when there were no American mills. She considered her main achievements the broadening of the imported paper lines available in the US, the specifications of consumer’s needs and having suppliers conform to them, and the insistence that suppliers create acid-free papers. She was recognized and appreciated worldwide, and leaves an enduring legacy to the field of handmade, fine art paper.

Dear Readers, 

Vera Freeman was a good friend of three generations of papermaking Greens and hundreds of other papermakers and suppliers in Europe and Japan. Vera was introduced to my grandfather Jack (John Barcham Green II) and father Rémy (John Barcham Green III) by her boss and mentor George Nelson in the early 1950s. Over the years she and Rémy became good friends through his visits to New York and I first met Vera in 1966. We then met most years until 1987 when we stopped making handmade paper at Hayle Mill, Maidstone. 

One of the highlights of any visit to New York was spending time in Vera’s company. She was a gracious hostess and always made me very welcome, either at her home in company with her late husband Andrew or out on the town, enjoying the best fare the city could offer. A particularly memorable occasion was brunch at the Rainbow Room in the Rockefeller Centre. 

A charming, knowledgeable and demanding customer, over the years Vera taught me a great deal about marketing and how to negotiate sales with tough buyers. Although the Stevens-Nelson Company (later Andrews/Nelson/Whitehead) already had a fine reputation pre-War, there is no doubt Vera enhanced and strengthened it. In particular she supplied huge quantities of paper to the leaders of the 1960s printmaking boom as well as to all of the most distinguished and successful private press printers. Through her we made specially watermarked papers for Jasper Johns, Lewis and Dorothy Allen, Adrian Wilson, and the monumental edition of Moby Dick published by Andrew Hoyem at the Arion Press, and many others. Although Vera preferred us to develop and stock standard lines and bespoke makes, over the years she became very expert in marketing our special offers, not only of seconds but also production over-runs and odd one-off items. 

I think part of Vera’s fascination with paper was because she found both papermakers and artists rather quaint and eccentric. She once spoke of a trip to Richard de Bas with Robert Rauschenberg. She described to me how utterly bemused the rustic craftsmen were by this colourful American who had come to deepest rural France to place pieces of string between two layers of paper—and by so doing made art. While Vera was ever the diplomat, I suspect that she may have shared their bemusement. She was also contacted by some of the new wave of Americans making their own paper by hand and was always kind and courteous with her help and advice. 

After Hayle Mill closed (with Vera buying a large proportion of the extensive stocks of paper for her many customers), we met less often. However Vera and I kept in touch by letter, mostly hand written from her, until about two years ago. It was always a thrill to receive her letters and to be reminded of good times together and her influence on me in so many ways. 

Simon Barcham Green 

Maidstone, Kent, England 

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Dear Hand Papermaking, 

Thank you for the opportunity to share my remembrances of Vera Freeman with your readers. 

The first time I met Vera as a prospective employer, she terrified me. She was looking for a secretary in 1978 and I had had my fill of male bosses; you could say there was a mutual need about to be fulfilled. Little did I know then that Mrs. Freeman had shattered the glass ceiling but didn’t give it that much importance; she had managed to rise to management ranks in an industry dominated by men, and she was a force to be reckoned with. She never realized the effect she had on people around her, but her demeanor and actions spoke loud and clear. Vera was her own woman, and a trailblazer. 

I really liked the way she signed her name—Vera G. Freeman, not Dr. Freeman, nor Freeman, Ph.D., because she had a doctorate in economics. Had I asked why she didn’t use the title, she would most likely have laughed and told me it wasn’t important. How many people do you know who have this kind of self-esteem? 

In our industry, she earned the title “Paper Lady.” Responsible in great part for the printmaking renaissance that began in the 60s, she earned the respect of celebrated papermakers and artists alike. She traveled with Robert Rauschenberg to Ambert, courtesy of the Arches Mill, to allow him to translate some of his works on handmade paper. One of those works hung in her office. Of course, this was not a big deal to her, either... unless someone would try to steal it. As a master raconteur, she later told me stories of tempers clashing, drunken papermakers and artists, all soothed by a kiss on the hand by the ever so elegant Elie d’Humières. 

There is no exaggeration in saying that anyone who has gotten involved in the paper business is never more than six degrees away from Vera Freeman. 

In 1952, the Stevens-Nelson Paper Corporation published what it called “a catalogue of the finest printing and art papers in the world.” As expected, the finest hand papermakers around the globe had been called upon for contributions to what became a collector’s item named “Specimens.” 

In 1953, when I was only two years old, she was already publishing her price list for the Stevens-Nelson company, which was laden with the best art papers to be found. Since she was a purist of sorts, she related much better to printmakers and printers than she did to art material resellers. She was on a first name basis with people like June Wayne, Ken Tyler, Bob Rauschenberg, Walter Hamady—or anyone that operated a hand press for book printing for that matter—Laurence Barker, Claire Van Vliet, Henry Morris, Judith Solodkin, Robert Blackburn, Jasper Johns; the list is endless, and I mustn’t forget Tim Barrett. There are virtually no Western papermakers who can make Japanese paper good enough to measure up to the Japanese standard of excellence. Thanks to Vera, Tim Barrett was able to get an apprenticeship in Japan and learn the techniques which make the craft so unique. Indeed, he is indebted to her, but to Vera, this was part of the natural evolution of papermaking. 

The sample books of papers which came from the Andrews/Nelson/Whitehead era are now collectors’ items. I did spot one collection online of eleven of them going for $750. That would have made her smile. 

With the French Mills, she developed a paper that would suit the silkscreen printmaker; it was called Arches 88; She also pioneered the first acid free, colored throughout matboard which she named pHase 7, with a small p and a capital H for pH. Pretty clever, heh? 

Before I founded my own company, Vera said to me one day that I would travel far and wide all over the world. How did she know this? Even I wasn’t sure that I would, and yet I did. The Japanese treated me with great respect when I took my first business trip, and I suspect it was so because I had been her protégée. 

Vera was there, through the good and the bad, and defined real friendship for me. I only hope that I was able to return the honor. 

Sincerely, 

Aimee Kligman, New York, NY 

Editor’s Note: Aimee Kligman and Vera Freeman were authors of the Hand Papermaking article “Aspects of Importing,” which appeared in the Winter 1996 issue of our magazine. 

Dear Readers, 

We have reached a milestone—this is issue number 100 of Hand Papermaking Newsletter ! The first issue was published in January 1988, and what a lot of changes we’ve seen since then! At that time the main purpose was to provide timely information about events, publications, exhibitions, and classes. It was also designed to be a forum for reader feedback and interaction, and a space for classified advertising. It still is all of those things, but we now also have a regular group of wonderful columnists who write about areas of interest to papermakers. Elaine Koretsky, in her “Along the Paper Road” column, has documented her travels studying traditional hand papermaking techniques and history. “Unique Technique” is Helen Hiebert’s column describing innovative methods used by contemporary papermakers. Winifred Radolan writes about teaching papermaking to adults and children, while Maureen and Simon Green write a joint column on paper history. Sidney Berger shares his knowledge about a wide variety of decorated papers from around the globe. And Mary Tasillo writes a column, “For Beginners,” with valuable, detailed advice. 

I feel very honored to have been able to read and edit these columns over the years. In all, over 300 columns have been published, resulting in a unique repository of information and inspiration that is searchable online. Look for the word SEARCH at the top right of each page on our site. 

We thank you for your interest and support as we plan many more future issues. We welcome your participation in using the Newsletter to share your ideas or projects with other readers. 

Shireen Holman 

Richard Flavin’s cartoon, Papermakers’ 

Conference, reprinted from issue number one.

> ALONG THE PAPER ROAD... 

This regular feature offers paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. In this column Elaine talks about setbacks in her garden of papermaking plants. 

For years I have been cultivating a garden of plants that have been used for the making of paper by hand in many parts of the world that I have visited. 

But sadly I have now lost many of them. In my first article for Hand Papermaking Newsletter, I wrote about mitsumata (Edgeworthia chrysantha), used widely by hand papermakers throughout Asia. The demise of many plants was probably due to the strange weather we have had this past year, although the fact that I am still recovering from the major surgeries I have endured in 2009 and 2011 resulted in my neglect of the proper care of certain plants. 

However, there are still survivors. The paper mulberry tree (Broussonetia papyrifera) is enormous in size, and has produced many thriving offspring. The winged celtis (celtis ptericeltis tatarinowii) is now also a large tree. I am delighted it is thriving, because it is very important in China for the making of their finest paper that is used for calligraphy and brush painting. 

Other survivors are papyrus, Tetrapanax papyrifera (erroneously called “the rice paper plant”), bamboo, sisal (Agave sisalina), and Musa textilis (known as abaca or Manila hemp). 

Some papermaking plants I raise are annuals, for which I must plant seeds every spring; i.e., rice, wheat, and flax, and I was unable to do this right now. I grieve over the loss of my magnificent Daphne bholua, The Paper Plant of Nepal, which succumbed to various bugs that I could not control. 

Editor’s Note: Elaine began her “Along the Paper Road” column for Hand Papermaking Newsletter in the October 1998 issue (#44) with a description of the papermaking plants she was growing from seeds collected on her travels. Over the years we have enjoyed her accounts of the many plants she has grown. In the July 2007 issue (#79), she chronicled her adventures discovering wild mitsumata growing in Georgia. The plants she dug up flourished in her home garden and even won blue ribbons in the New England Flower Show. More recently, she won another blue ribbon for her cotton plant (see the July 2012 issue, #99). She has also described her Tetrapanax papyriferum in the January and April 2009 issues (#85 and #86). In the October 2005 issue (#72) she talks about many of her papermaking plants and describes her experimentation with making paper from invasive kudzu. We trust she will continue to do well with her surviving plants and that there will be new ones in the future. 

> TEACHING HAND PAPERMAKING 

Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. This column is about a residency during which Winnie and a fourth-grade class made paper, and a roomful of artist books. 

In late April the outreach coordinator for Perkins Center for the Arts, located in Moorestown, New Jersey, contacted me with a most welcome opportunity to do a six-day art residency in a local school. The Ben Franklin Elementary School, in nearby Pennsauken, was looking for an artist to work with their entire graduating fourth-grade class, which consisted of eighty-eight students, divided between four classrooms. It had been two years since my last classroom residency, so I didn’t hesitate to accept! 

Generally a planning meeting is scheduled, during which the artist visits the school to meet with the teachers and principal, schedule dates and times, go over project ideas, and evaluate the working space. But with this last minute invitation, scheduling six days beginning in May was all done by e-mail exchange. As you might imagine, setting aside time for a visiting artist isn’t easy for a busy school. Our arrangements were further complicated due to end of the year special events already on the calendar for the graduating fourth-grade class. I never had the opportunity to meet with the teachers and discuss projects or themes prior to my first day with the students! 

A couple of days before my residency began, I learned that I would be working with two classes of twenty-four students each and two classes of twenty each, with one group being comprised of special learners. I was also pleased to discover that the schedule had been arranged to allow me an hour at a time with each class, and that I was to work in a room in which I could leave things set up from day to day. 

As it turned out, I was allotted only five days with the students, the sixth one being set aside for a presentation of what the children had accomplished. So I needed to plan a project that would take only five hours per group to complete. I decided that each student would make five pages, then assemble them into an accordion spine book. I wanted to offer the teachers an opportunity to contribute ideas for a theme so that they could work with the students between my visits to develop content that would later be “wet-collaged” into the book pages. The four teachers all opted to go with my default plan of a recycling theme. 

There was much I needed to learn about the students, teachers, workspace, and timing on my first day at the school. I was equipped with paper samples, a four-minute video synopsis of two thousand years of paper history, and some delicious blue jean rag pulp for the students to use to make their first sheets of paper. Interestingly, only eight of the eighty-eight students had ever made paper before! Within that initial hour per class, I was able to present a brief history, and introduce everyone to paper terminology, equipment, and technique. That evening I had eighty-eight pieces of recycled blue jean paper to restraint dry, and a much better idea of how the remaining five days would unfold. 

In advance of my next meeting with these fourth graders I prepared a “guidelines” sheet for their teachers, which included some paper recycling facts, a few appropriate web sites, and an outlined rectangle to be reproduced for the students. Using waterproof Sharpie markers, the children were to draw, cartoon, and/or write about the importance of recycling in each of four rectangles before their next meeting with me. Their illustrated rectangles would then be cut out and wet-collaged into four pages of their handmade paper books. 

On day two I planned to have the students make the front covers for their books. In addition, I wanted them to learn how to recycle existing paper into pulp. In preparation, I used “fun foam” to cut out a stencil of the recycling circle of arrows. And I purchased some Canson Mi-Teintes 100% cotton paper in four bright colors. I would show them how to break this down in the blender to be used for “veil pulp” with the cover stencil and later, as thin layers of pulp to overlap the edges of their drawings, to wet-collage lock them into the book pages. 

Day two of the residency turned out to be a lively day of multi-tasking. Each of the four table groupings of students had a bin with pieces of Canson paper that they were to tear into half-inch pieces and soak in water. This was to be accomplished while waiting their turn at my vats. In the front of the room, my workstation held a vat of pigmented cotton/abaca for base sheets, two couching blankets with stacks of interleaving pellon, and a small vat filled with a lesser concentration of veil pulp. In addition, I had set up a recycling area with a blender and strainers over four separate buckets to drain the pulped Canson. One table at a time, the students made a base sheet of paper with me. I instructed the classroom teacher in how to aid the students in collecting a veil layer of recycled pulp from the Canson vat, using the arrow stencil. This was couched atop the base sheet, and a name tag was affixed for each student in the growing post of cover pages. 

Meanwhile, back at the four student tables, the Canson was being ripped into tinier and tinier pieces, which ended up breaking down very well in the blender. The two classes of twenty students each actually got some time to operate the blender, but the larger classes had only time enough to watch me do a demo of the process. At the conclusion of that busy day I instructed teachers on how they should proceed with my “guidelines” before our next scheduled classes. Finally, students watched the water gush out of their cover pages in my portable paper press. 

During my next two days with the students, I had planned for each child to make two base sheets a day and wet-collage their drawings into each. The four student tables were set up with individual couching stations. Children made their base sheets at the front vats with me, then transported the wet paper to their individual couching area, and placed their drawings atop. Each table had a small vat of thin veil pulp and many little pieces of plastic screening. Students were to use the screening to pick up a layer of veil pulp, then couch it onto their book page, so that it overlapped the edges of their drawing and the base sheet. We switched colored vats around the tables for variety. It got messy but it worked. But I was exhausted after four classes of this routine repeated two days in a row! 

Day five, our last full working day together before the artist book presentation, was the day allocated for students to assemble their respective four pages and front cover into an accordion book. I arrived at the school with 440 sheets of student-made paper, 88 pre-cut strips of watercolor weight paper, glue sticks, and the grand idea that I would guide everyone through the folding technique to create their books’ spines. I had not known that the entire fourth grade had spent the previous day at a waterpark for their class trip. And to bring the collective concentration down to even lower levels, the school assembly before my arrival that morning was a visit from a very engaging magician! Needless to say, I had some magic of my own to pull off in getting all those spines folded correctly and instructing the young artists on how and where to apply the glue stick that would affix their pages properly, creating their books! 

On my final afternoon at the Ben Franklin Elementary School, each of the fourth-grade classes displayed their books on separate tables in the multi-purpose room. And, at timed intervals, the rest of the student body, grades K- 3, strolled through the book display to admire the work. My fourth-grade book artists beamed with pride as the younger students admired their work and asked questions. And yes, it was a little bit chaotic, but with less than a week of school remaining until summer vacation, I would expect excitement to be high. I was certainly thrilled to have helped create this kind of magic! 

> PAPER HISTORY 

Maureen and Simon Green, from the United Kingdom, write a joint column on Paper History. Maureen is a paper historian, and author of Papermaking at Hayle Mill 1808-1987. Simon was the last of the Green family to run Hayle Mill. He provides consulting services to papermakers worldwide. In this column, the Greens talk about the causes of spots and stains in paper. 

Out, Damn’d Spot!1 

The good lady was probably not referring to paper defects, but no doubt customers and papermakers had been worrying about, and arguing over, them for at least 1500 years by then. They were certainly a big concern at Hayle Mill. 

Surprising very few written descriptions by the papermakers themselves of how to make high quality paper consistently, reliably, and in large quantities have survived and probably few mills kept such records. Many aspects of papermaking are difficult to articulate—just how to form a perfect sheet properly for example. Such skills were passed on from experienced workers to newcomers over a long physical and oral apprenticeship—typically seven years. But some aspects were more capable of description and there are many records of this sort dispersed throughout the Hayle Mill Archives. In the early twentieth century my Grandfather Jack Barcham Green (JBG) seems to have acquired a typewriter and a shorthand typist and started a technical library. This eventually extended to about 20 lever arch files with pages 7 ½” x 9 ½” which have since been perfect bound into Rexine covered books. Most folders were lettered A – Z. Some covered several letters, others singletons—“M” is 2¼” thick! It includes a lot about moulds and we will have a closer look at these at a later date. 

There are a few folders which have their own titles, one of which is “Spots and Stains,” a fraught subject indeed. There are many types of spots (usually circular from pinprick to nearly half an inch in size) and stains (any other unwanted discolouration) of all descriptions. The sheets are mainly typed on various thin strong hand made papers and are interspersed with hand written notes and drawings and a large selection of samples with spots in them. 

A note from JBG retyped 26th August 1956 lists “Resumé of all the possible causes and cures” of Brown Spots. There are 19 altogether including: 

“9 Do not heat felt washing water with naked steam” and “19 Give up Lisapol (sic)2 altogether”. 

Many causes were identified over the years. One report notes: “These brown spots were in 72 lbs Hayle Mill Linen made June 1956 and we have an idea that it might be a certain kind of toffee [wrapping] paper that got into the rags before they were boiled” and then “The above idea … is completely exploded by the fact that we were making paper with these big brown spots in when the foreman decided that the spots might be a dirty scum on the ribs which form on the back of the moulds.” JBG goes on to say that after “a couple of girls” cleaned and scrubbed the ribs with little wire brushes, we washed them, “badgered the vat or let it down the stream” and the trouble completely stopped. His conclusion was “when we have these brown spots in the paper the first thing is to look at the moulds.”3 

Common sense dictates that most problems can be attributed to shortcomings in cleaning and housekeeping. A short film of a papermaker in England was recently aired which showed everything in his workshop— beater, vat, floor, and moulds— covered in an inch or more of encrusted pulp! First rule of papermaking, make certain all utensils and workspaces are cleaned at regular intervals! 

Many spots were invisible in the dry sheet but showed up in testing. All our sized paper was tested in two main ways. Six sheets of each batch sized were “wet out” in a large shallow tank of fresh spring water. It took about five minutes to get the sheets really wet by interchanging them, turning them over, and rubbing them under water with bare hands (not fun in January). Each sheet in turn was held up to a harsh fluorescent light and minutely examined. This would reveal any variations in absorption through changes in translucence, and sometimes defects took the form of spots. This test could also show that the paper was unsized, soft-sized, or over-sized to the point of impenetrability. The second main test was to apply a watercolour wash of ultramarine blue with a 1” brush and observe reticulation, absorption, coverage, and how the wash dried. Ideally the wash should be perfectly even—wet and dry—and the overlaps of the brush marks should be indiscernible. This could also show up spots—usually of greater absorption.4 

These “invisible” spots were difficult to diagnose and we often called in expert help. 

. . . Continued in the next issue 

1. Lady Macbeth, Macbeth Act 5, scene 1, 26–40, attributed to W Shakespeare, gent, 1605. 

2. There are many trade names and chemical descriptions in this article. Rather than giving you URLs for all of them, we would encourage you to go on a Google Treasure hunt. However here is one to enjoy: http://www.talkincity .com/ forum/index.php?topic=556.0. Lissapol NX is 2-[2-(4-nonylphenoxy)ethoxy]ethanol – a detergent. 

3. JBG 4th July 1956. 

4. Other tests included steel pen and ink making a wavy double cross, an “Easywash” tester made out of Meccano, and the British Standard Cobb test which measures weight increase in grams per square metre over a one minute period. 

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> DECORATED PAPER 

Sidney Berger, a professor at Simmons College in Boston and Director of the Phillips Library at Peabody Essex Museum, has been collecting and researching decorated paper for over thirty years. Here Sid comes up with some remarkable ideas for storing decorated papers. 

When I tell people that my wife and I collect decorated papers, one common response is, “Oh, they don’t take up much space, do they?! After all, paper is thin.” But we have lots of papers, and lots of paper takes up lots of space. When our kids were young, Michèle and I stored the papers in our study. A large room over our garage. They went into large specially made boxes on tops of high bookshelves. 

Papers kept coming in, however, because I was teaching my History of the Book class and I wanted to show the students all the kinds of papers that were used for books over the centuries. The problem was that there were many such papers, and to keep the class as comprehensive as I could, I had to keep getting new and different papers. Soon there were shelves in the closets devoted to sheets of paper, then bookshelves in the study, then in the guest-room closet. 

We tried to keep the house with the proper humidity and temperature, so the collection would not deteriorate. Most of the papers we had were good quality, but some were made with cheap wood pulp, and these needed special housing. We made large folders out of thin archival poster board, and we started to put these large packets under our bed. After a while the stack of papers reached the underside of the mattress, so we started another pile. We were able to get about four such piles conveniently under the bed, and with the bed skirts down to the floor, the papers, many wrapped additionally in brown paper, stayed fairly dust-free and invisible. 

This system worked for a while, until we ran out of room under the bed. The guestroom bed was our next territory, and this worked fine for a year or three. Then we were stuck. We had only one bed of our own and one guestroom bed. So when the need arose for more space, we turned to our older son, Rafe, who was always easygoing and accommodating. We told him we needed the space under his bed, and we said that the papers would prop up his mattress—it was good for his back. He acknowledged this, and welcomed the papers in. 

Things went along fine for a while until the space under Rafe’s bed was full. No problem! Fortunately, we had another son, Aaron, who also had a fine bed. When we approached him, with the irrefutable logic we used on Rafe, Aaron said, “My back is fine. No papers.” It was, after all, his space, in his room. We decided not to press the point and withdrew our offer to help him orthopedically. I think he did not understand the favor we were trying to do for him. 

At that moment we learned about an art-supply store that was going out of business and was selling off its stock. I drove over there and made them an offer on some of their flat files—huge metal drawers on rollers, in 5-drawer cabinets. We got four of them, and we entered a whole new era of paper storage. Today almost all of the papers are stored in map cases and flat files, and we have a hygrothermograph to help us regulate the environment. The papers are all in acid-free archival folders or Mylar sleeves, and the cataloging of the collection is nearing completion. A huge number of pieces of ephemera (tickets, snippets of marbled, block-printed, or paste papers, billheads from paper companies, small paper sample books, advertising pieces from paper companies, blotters advertising stationery stores, matchbook covers from paper manufacturers, decorated paper coasters, decorative bookmarks, greeting cards with fancy papers or with tipped-in decorated papers, and so on and so forth) are now stored in plastic sleeves in three-ring binders. Periodicals from paper organizations are in special boxes (e.g., our run of Hand Papermaking and its Newsletter; Ink and Gall, the publication The Quarterly from the British Association of Paper Historians, and others). 

One of the challenges has been to figure out a way to store like papers together; not easy when large numbers of one kind—say Chiyogami sheets—are acquired long after the older ones have been in the (full) cabinets for years. At one point, after having a large number of Chiyogami papers for about a decade, we acquired over 700 sheets in one purchase. They had to be fit in some way, so we now have large numbers of them in two different cabinets. Since I am a librarian, this upsets my sense of order, but there is nothing to be done about it, short of taking all the papers out of their drawers and rearranging and rehousing all of them. 

Collecting decorated papers has been a joy and a challenge. Organizing and storing them has been a headache. But working on the collection to keep it in order has given me the pleasure of handling and looking at the papers over and over again, and what more joy can a collector get than being able to be in the presence of the things he collects!

> FOR BEGINNERS 

Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. In this column Mary describes how to create large sheets, from building a mould to forming the sheets. 

In past columns, I’ve addressed ways to build large pieces from smaller sheets of paper. But what about forming large sheets from the get-go? There are a few methods the do-it-yourself papermaker might use to tackle the large sheet of paper, generally requiring some extra hands for help. 

We’ll look at mould construction and one method of sheet formation in this column. 

First you will need to construct your own mould. Keep in mind these methods require the sheet of paper to dry on the mould, so if you would like to make more than one sheet in a session, you will need to construct more than one mould. When I have created large sheets of paper, I have used moulds of two to four feet wide by six to eight feet long. The frame of the mould can be made of 2 x 3-inch pieces of lumber, cut to the appropriate length and screwed together so that the shorter, 2-inch width is parallel to the ground, the 3-inch side acting as the height, perpendicular to the ground (assuming the mould is sitting flat on the ground rather than propped against a wall). Fellow Philadelphia papermaker Nicole Donnelly, who learned papermaking with Tim Barrett at the University of Iowa, leaves several extra inches of wood at each of the long ends of the mould, so that an inch-thick dowel can be inserted across each end as a handle, to ease manipulation of the mould. 

Wood should receive a coat of polyurethane to protect it from the water and to prevent your paper from sticking to the mould. As you craft your mould, you might consider how much use it is likely to receive. If you anticipate that you will experiment with making a few sheets and that your lumber might sit in the garage, eventually getting re-purposed for other uses, then a single coat of polyurethane on the inside edge of the frame might be sufficient. However, if you hope to make use of the mould over time, invest the time in coating the whole thing with two to three coats. 

Materials for the mould’s surface should include two layers of screening—a finer screening to create the surface of the paper, and a wider, stronger screening of some kind to support the weight of the pulp. Nicole’s method includes using “no-see-um,” a fine mosquito netting, over a layer of quarter-inch hardware cloth. An extra strip or overlap of hardware cloth at a couple of points, spanning the width, provides extra bracing. Michelle Wilson uses a layer of fine screen printing mesh over window screening over plastic “egg crating” (white plastic grid sheeting). As you construct your mould, keep in mind that the structure of this mould is more like a pouring mould— the sheet will be poured with the screening on the underside of the structure. Thus, the fine mesh screen should be attached first— stretched taut and stapled to the frame, then sealed to the frame all the way around using polyurethane, epoxy, or silicone so that pulp does not get underneath the frame—followed by the wider screening, stapled to the frame. A couple of dowels or wood beams can then be attached to the bottom of that, across the width, to provide added structural and weight support. (In Michelle’s method, the wood beams, along with U-shaped tacks, hold the egg crating to the frame.) 

Nicole does note that if one uses heat-shrinking polypropylene mesh, sealed to the frame with epoxy, the mould’s surface is quite strong and a reinforcing layer is not needed, even for these large moulds. 

How much pulp do you need for this sheet? 

. . . Continued in the next issue 

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Listings for specific workshops and other events in the following categories are offered free of charge on a space-available basis. The deadline for the January 2013 Newsletter is November 7. Contact each facility directly for additional information or a full schedule. Teachers: Tell your students about Hand Papermaking! Brochures and handouts can be mailed to you or your institution. Email 

newsletter@handpapermaking.org.

> CLASSES AND WORKSHOPS 

CA, www.rhiannonalpers.com 

Watermarks, August 25, with Michelle Wilson. Learn the secret of turning your own images into watermarks. 

Sculptural Paper Structures, September 15, with Rhiannon Alpers. Create custom shaped paper sculptures from armatures and covering techniques for varied transparency effects. 

Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont. org. Classes and workshops in a variety of disciplines, including papermaking. 

Asheville BookWorks, Asheville, NC, (828) 255-8444, www.ashevillebookworks.com. Hands-on workshops including bookbinding, printmaking, decorative paper, and basic papermaking. 

Papermaking I: Pulp to Paper, November 10-11, with Frank Brannon. Learn sheet forming techniques using beater-prepared pulp. 

The Boston Paper Collective, Boston, MA (614) 282-4016, www.bostonpapercollective. com. Classes in papermaking and marbling, as well as studio rental and special projects, and Open Papermaking Nights on the second Thursday of each month at 6:30 p.m. 

Canadian Bookbinders and Book Artists Guild, Toronto, ON, (416) 581-1071, cbbag@ ccbag.ca, www.cbbag.ca. Book and paper workshops located on-site in Toronto and in off-site studios. 

Carriage House Paper, Brooklyn, NY, (800) 669-8781, www.carriagehousepaper.com. Papermaking workshops offered in a new studio space. Visit website for workshop schedule. 

Center for Book Arts, New York, NY, (212) 481-0295, www.centerforbookarts.org. Dozens of book and paper workshops offered in midtown Manhattan. 

Columbia College Chicago Center for Book and Paper Arts, Chicago, IL, (312) 344-6630, www.bookandpaper.org. Papermaking classes in spacious downtown studios. 

Cronquist Paper Studio, PMMS, Graudu iela 59, Rīga, Latvia, http://ilzedilanesart.blogspot .com, ilze.dilane@gmail.com. Papermaking workshops using pulp from denim jeans and cotton rags, pulp painting, and surface decoration, and a Saturday open studio for experienced papermakers. Working languages include Latvian, Russian, and English. 

Desert Paper, Book and Wax, Tucson, AZ, (520) 740-1673. Papermaking, book, and mixed media encaustic workshops, as well as consulting and studio rental. Visit www .papermakingresources.com for registration information. 

Dieu Donné Papermill, New York, NY, (212) 226-0573, www.dieudonne.org. Beginning and advanced papermaking classes for adults and children. 

Introduction to Contemporary Papermaking, October 2, November 6, or December 4, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques. 

Creative Techniques for Artists with Open Studio, October 23, November 13, or December 11, with staff instructor. Explore advanced techniques and their application for two- and three-dimensional projects, with a different focus at each session; experiment on your own with studio pulps, making sheets up to 11 x 14 inches. 

Fine Line Creative Arts Center, St. Charles, IL, (630) 584-9443, www.fineline.org. Providing year-round classes in papermaking, textiles, and other art forms. 

Papermaking with Natural Fibers, October 26-27, with Carol Kazwick. Collect and process plant materials on-site, and use them to make sheets of paper. 

Kalamazoo Book Arts Center, Kalamazoo, Michigan, (269) 373-4938, info@kalbookarts.org, www.kalbookarts.org. Classes in book printing and binding, printmaking, hand papermaking, and creative writing. 

The Basics of Papermaking, October 2, 9, 16, & 23, with Kim Hosken Eberstein. Use colored pulp, fibers, and collage elements to create art in handmade paper. 

Metal, Paper & Light, October 27, November 3, 10, & 17, with Kim Hosken Eberstein. Blend sculpture, functionality, metal and handmade paper to create a one-of-a-kind lamp. 

Lost Coast Culture Machine, Fort Bragg, CA, www.lostcoastculturemachine.org, (707) 691-1600. An artist-run contemporary art space focusing on interdisciplinary & sustainable creative practice, offering workshops in papermaking. 

Magnolia Editions, Oakland, CA, (510) 839-5268, www.magnoliapaper.com. Workshops in papermaking, printmaking, and book arts. 

Minnesota Center for Book Arts, Minneapolis, MN, (612) 215-2520, www.mnbookarts. org. Classes at the Open Book center for book and literary arts. 

Beater Training, October 2, November 6, or December 4, with staff instructor. Learn beater operation, safety procedures and cleaning for MCBA’s three beaters as a prerequisite to renting the beaters for your own use. 

Open Studio: Paper Beater, Tuesdays, with staff instructor. Beat fiber for paper for future sheet-forming. 

Open Studio: Papermaking (B.Y.O. Fibers), October 13, November 10, or December 8, with staff instructor. Get into the vat, hone your sheet-pulling technique, and enjoy the fellowship of other artists, using your own previously beaten fibers. 

Introduction to Western-Style Papermaking, October 20-21, with Morgan Hiscocks. Learn the tools, terminology, and procedures of papermaking using cotton and flax fibers processed in the Hollander beater and a 

variety of traditional drying techniques. 

Decorative Paper Sampler, November 1, 8, & 15, with Suzanne Hughes. Learn the basics of marbling and paste paper. 

Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, http://morganconservatory .org. Workshops in hand papermaking and the arts of the book in an innovative green environment. 

Traditional Western Paper Moulds, October 15-16, with Tim Moore. Explore ways to make laid wire facings and backings and exchange ideas about building moulds. 

Combining Ancient Media: Paper and Encaustic, October 15-16, with Catherine Nash. Combine encaustic and paper to create unique waxed based collage, assemblage and mixed media works. 

Hidden Imagery: Exploring Watermarks, October 15-16, with Helen Hiebert. Create watermarks using wire, thread, fabric paint, and rubber. 

Kon’nyaku, October 15-16, with Asao Shimura. Learn to add the kon’nyaku plant to natural dyes and pigments to use in painting and intaglio printing with woodblocks on handmade pineapple and kozo paper, as well as learning paper finishing techniques. 

Eco-print Plant Color for Paper, October 15-16, with India Flint. Create a series of simple books using cloth, stitch and a variety of papers, coloring them with eco-prints using wind-fallen plant material. 

Paper Circle, Nelsonville, OH, (740) 753-3374,www.papercircle.org, papercirclearts@ gmail.com. Call or e-mail for informationabout upcoming paper classes. Open Studio, second Saturdays, with studio artists.Gain new skills while working on themed, relaxed projects. The Papertrail, NewDundee, Ontario, Canada, (800) 421-6826, www.papertrail. ca. Classes inpapermaking, marbling, and related arts and studio rental scheduled on anas-needed basis. PapierWespe (PaperWasp), Klimschgasse 2/1, Vienna Austria,(0676) 77-33- 153, office@papierwespe.at, www.papier wespe.at. Workshops inEnglish and German taught by paper specialists in downtown Vienna. ClassicWatermarking, October 6-8, with Boris Hammer. Pyramid Atlantic, Silver Spring,MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshops in papermaking,printmaking, and book arts. Papermaking Society, Third Thursdays. For detailscontact Associate Papermakers Laura Kinneberg and Lynette Spencer at pyramid paper@gmail.com.Introduction to Western Papermaking, October 21 or December 1, with LauraKinneberg. Learn to prepare fibers in the Hollander beater, how to form sheetsof paper, and how to color pulp with aqueous pigments. Casting a Bas Relief inPaper, October 8, 15, 22, & 29, with Lynette Spencer. Create a 3D wall piecefrom cotton linter cast into a plaster mold. Custom Holiday Cards PapermakingSession, November 11, with Lynette Spencer. Learn basic papermaking techniquesto create custom cotton paper at postcard and note card sizes. WatermarkingPaper, December 2, with Lynette Spencer. Design custom watermarks in cottonabaca paper. San Francisco Center for the Book, San Francisco, CA, (415)565-0545, www.sfcb.org. Book arts classes and events year-round. Tin CanPapermaking, November 9 & 16, with Julia Goodman. Learn creative ways to makepaper with minimal equipment. Paste Papers, December 5, with Courtney Cerruti.Creating original, hand-painted paste paper to use as gift wrap, in collage,and as bookbinding decoration. Sarvisberry Studio and Gallery, Floyd, VA, (540)745-6330, www.sarvisberry.com. Experience handmade paper in the heart of the BlueRidge Mountains. Open Studio Days, call for schedule. Make your Oak Knoll FestXVII is taking place October 5 through 7 in New Castle, Delaware. The eventincludes a Friday symposium, including a discussion of the continuedavailability of fine papers alongside other topics, on the theme of “The FineBook in the 21st Century- Yes, It Will Survive!” An exhibitor fair takes

> EVENTS

Oak Knoll Fest XVII is taking place October 5 through 7 in New Castle, Delaware. The event includes a Friday symposium, including a discussion of the continued availability of fine papers alongside other topics, on the theme of “The Fine Book in the 21st Century-Yes, It Will Survive!” An exhibitor fair takes place all weekend, with additional speakers on Saturday and Sunday. For information, visit www.oakknoll.com or call (800) 996-2556. 

The Paper Industry International Hall of Fame Induction Dinner and Celebration takes place on October 11. Six more paper industry notables have been chosen as the 18th anniversary induction class, including hand papermaking advocate Arnold E. Grummer. The event takes place in Appleton, Wisconsin. For more information, contact Kathleen Lhost at kathleen@paperhall.org or (920) 380-7491. 

The Friends of Dard Hunter will hold a joint meeting with IAPMA, the International Association of Hand Papermakers and Paper Artists, October 17-21 in Cleveland, Ohio, entitled Watermarks 2012. This opportunity for both papermaking organizations to convene and participate in a 4-day educational event including workshops and demonstrations, lecture, exhibitions, and gallery and museum tours will be hosted at the Morgan Conservatory. For information or to register, visit www.friendsofdardhunter.org or 

www .iapma.info. 

Pyramid Atlantic Art Center’s 12th Biennial Book Arts Fair and Conference takes place November 16-18. The fair will showcase a dynamic array of innovative artists’ books, limited edition prints, fine papers, and specialty tools along with a rich array of notable speakers, demonstrations, and special exhibitions. This three-day event connects international artists, scholars, collectors, publishers, art lovers; and inspires all who are intrigued with the printed form and the book as art. For more information, visit www .pyramidatlanticbookartsfair.org. 

Marilyn Wold will conduct a Papermaking Art Retreat on the Island of Kauai, Hawaii, January 19 to 26. The week will include papermaking with local plant fibers and other arts. For more information, visit www.washiwild fibers.com. Call or email with questions: (503) 641-7162 or ww.washi@yahoo.com 

Codex IV International Book Arts Fair and Symposium takes place February 10-15 in Berkeley and Richmond, California and features four days of the world’s finest private presses, book artisans, artists, curators, collectors, and scholars in the spirit of an Old West rendezvous. Speakers include Sandro Berra of the Tipoteca Italiana Fondazione in Cornuda, Italy; Mark Dimunation, Chief of the Rare Books and Special Collections at the Library of Congress; Tim Barrett, MacArthur Fellow and Director of Paper Facilities at the University of Iowa; Alan Loney of Electio Editions in Melbourne, Australia; Russell Maret of New York, and Veronika Schaepers of Tokyo/Berlin. For more information or to register, visit www.codexfoundation.org or call (510) 849-0673. 

The 31st Congress of the International Paper Historians takes place September 17-20 in Germany, Switzerland, and France. The focus is on paper museums, watermarks, and paper as a decorative art. See www.paper history.org for details.

> EXHIBITS 

In Association: Collaboration in the Book Arts will be on view at the Minnesota Center for Book Arts in Minneapolis through November. This four-part exhibition includes “The Manulua Project.” Manulua is the name for one of the oldest design patterns found in the making of traditional Tongan bark cloth. This exhibit features work from a collaborative process between a group of artists from Brigham Young University and a group of Tongan artists that produced twenty-nine books. The two groups explored western relief printmaking and bookbinding techniques in combination with traditional Tongan processes in the making of bark cloth, bark dyes, and the development of patterns found on completed ngatu, commonly known as tapa cloth. For more information visit www.mnbookarts.org or call (612) 215-2520, or visit the project website at http://manuluabookart.wordpress.com. 

The Art of Handmade Paper will be on display at Featherstone Center for the Arts on Martha’s Vineyard, Massachusetts, through October 3. Curated by Sandy Bernat of Seastone Papers, the exhibit will highlight handmade paper as sculpture, pulp painting, installation, and assemblage. Artists featured include Shannon Brock, Melissa Jay Craig, Aimee Lee, Betsy Miraglia, Jane Eccles, Laurie Krasny Brown, Sheila Fane, Deborah Baldizar, and Kanta Lipsky. The exhibit includes a focus on the process and versatility of handmade paper art with video, demonstrations, and discussions. For additional information, visit www.feather stoneart.org or call (508) 693-1850. 

Between Perception and Definition is a new outdoor installation and companion indoor exhibition by sculptor and papermaker Winifred Lutz. The exhibition, hosted by Abington Art Center, opens with a public reception on September 27. Lutz’s project, which began in April, involves unearthing a 2,000 square-foot pool and cabana site once belonging to Lessing J. Rosenwald, former Chairman of Sears Roebuck and Co. The site, abandoned 40 years ago, is located within the Art Center’s Sculpture Park. The companion exhibition of the artist’s objects of handmade paper will be open to the public through November 25. For more information visit www.abingtonartcenter.org or call (215) 887-5789. For more information on Winifred Lutz visit winifredlutz.com. 

Paper Circle in Nelsonville, Ohio, will feature the paper art of Kathy Guest in October. Call (740) 753-3374 or email papercirclearts@ gmail.com for additional information, or visit www.papercircle.org. 

Exhibitions for Watermarks 2012 held at the Morgan Conservatory in Cleveland include: Watermarks, featuring watermarked papers; In the Field, including works made of natural fibers other than abaca or cotton; Jerry Rigged, featuring traditional and non-traditional creative devices found or made to assisted the papermaking process; Colossal Paper, showcasing works of large handmade paper; Paper Runway, an October 20 runway event; and Innovative Printmaking, featuring the work in Hand Papermaking’s sixth portfolio. Some exhibits are on display for the October 17-21 conference. Others are on display October 2 through November 25. For more details, visit www.friendsofdard hunter.org 

In the Hot Seat is an exhibit of international political work in handmade paper taking place at Proximity Gallery, Cleveland, Ohio, in October. The show includes work by Eric Avery; Karen Baldner; Laura Behar; Combat Papermakers, Drew Cameron, et al; Susan Cutts; Susan Mackin Dolan; Caren Heft, Inci Kansu; Peace Paper, Margaret Mahan & Drew Matott; Melissa Potter and Paul Cantanese; John Risseeuw; Peter Sowiski; Mary Tasillo; and Anne Vilsboll. Gallery information is available at www.proximity cleveland.com. 

The Art of Handmade Paper opens at the Sonoma Valley Museum of Art , Sonoma, California, on October 6. Curated by Simon Blattner, the exhibit will showcase various styles of papers made all over North America and tell the history of papermaking. Visitors can learn how to make paper, and begin to understand how the art has evolved over time. It will run concurrently with the work of Larry Thomas, who has often worked on handmade papers, in a show entitled “Reverence for the Natural World.” The exhibit continues through December 31. For more information, visit www.svma.org or call 

(707) 939-7862. 

Hand Voice and Vision: Artists’ Books from Women’s Studio Workshop, curated by Kathy Walkup, is the most comprehensive exhibition of WSW’s books to date. It will travel through 2013 to venues around the country, including Carleton College in Northfield, Minnesota (September 25 - November 25), and Scripps College (January 22 - March 15). More about the exhibition, catalogue and related events can be found at www.hand voicevision.com. 

Holland Paper Biennial 2012 in Rijswijk and The Hague, features paperworks. This year’s exhibition will include a focus on artworks referring to books and letters as co-host Museum Meermanno in The Hague specializes in books. The exhibition will take place September 4 - November 25. For more information about the Holland Paper Biennial visit the websites www.museumryswyk.nl 

or www.meermanno.nl or www.holland papierbiennale.nl. 

The 5th National Collegiate Handmade Paper Art Triennial, juried by Jane Milosch and directed by Lynn Sures and Anne Q. McKeown, is on exhibit at the Corcoran until September 23. See corcoran.org/exhibitions for details. 

The work of Peter Ford is featured in an exhibition at the Royal West of England Academy (RWA) called ‘Chance and Choice II’. It will include large-scale paper works with woodcut and other forms of printmaking. There will also be paintings in ink and watercolour on Korean and Chinese paper. The exhibit closes October 2. See www.rwa.org.uk for further details. Peter’s etchings, collagraphs, woodcuts and new works with handmade paper are also on exhibit October 28 through November 15 at Shuohai International Art Collection, 55 Er Jing Road, Hangu, Binhai New Area, Tianjin, N.E. China.

> PUBLICATIONS AND VIDEOS 

Dieu Donné announces the release of Spell, 2012, a limited edition in handmade paper by Allyson Strafella as part of the 2012 Paper Variables subscription series. Forms from Strafella’s typed drawings are recreated in pigmented cotton and adhered to abaca base sheets during the ‘wet process,’ allowing the form to become both object and mark on the page. For more information, visit www.dieudonne.org or contact David Mendoza at (212) 226-0573 or 

dmendoza@dieudonne.org. 

The Papermaker’s Studio Guide is a new video introduction featuring the studios of Ron and Jennifer Rich, Marilyn Wold, Lâm Quang, and Helen Hiebert. Learn the basic papermaking process, how to set up a studio, where to get fiber, etc. Visit www .helenhiebert.com and view the trailer at vimeo.com/45007206. 

1000 Artists’ Books: Exploring the Book as Art by Sandra Salamony with Peter & Donna Thomas explores the boundaries of what a book can be. This collection, published by Quarry Press, showcases various aspects of hand-crafted books, including works utilizing artist-made paper. For more information, visit www.quarrybooks.com. 

Oak Knoll offers a new book on the history of decorated papers, Papiers Dominates, by André Jammes. Published in French in a limited edition of 999, with the assistance of the Centre National du Livre, this book focuses on the paper that covered books sent for fine binding from 1750 to 1820 and includes color illustrations of paper from major centers of production. For more information, visit www.oakknoll.com. 

Carol Barton’s The Pocket Paper Engineer Volume 3 covers the V-Fold pop-up and its many variations. Ten do-it-yourself projects can be constructed right out of the book. This is the final workbook in the series, covering some of the more challenging pop-up structures. Contact www.popularkinetics .com for more information. 

A new book by Kayte Terry, the merchandise manager for Anthropologie, is entitled Paper Made! and offers 101 projects to make out of everyday paper. According to the publisher it is “the biggest, best, most innovative book ever on paper craft.” The 288-page paperback is 8”x9” with color photos and downloadable templates. Available from your favorite bookseller: ISBN 978-0-7611-5997-1 

The July/August 2012 issue of WorkBox magazine contains a nicely illustrated article by Jonathan Korejko on stitching handmade paper. Visit www.workboxmag.com to order issue number 132; also see www.timberland and.co.uk 

> CLASSIFIEDS 

> MISCELLANEOUS 

The Pioneer Museum of Bogalusa, Louisiana, historically a papermill town, will open a Papermill Classroom this fall in conjunction with papermaking classes and an exhibition of paper art. The Friends of Cassidy Parks Museums cite the Robert C. Williams Papermaking Museum at Georgia Tech as a model. More information can be found at http://tinyurl.com/9eauduv. 

The Studio Protector: The Artist’s Guide to Emergencies, a first of its kind emergency preparedness and recovery toolkit for artists is now available from CERF+ (Craft Emergency Relief Fund + Artists’ Emergency Resources), a national nonprofit headquartered in Montpelier, Vermont. CERF+ has provided grants, loans, and brokered assistance from manufacturers, suppliers, and show promoters to craft artists who have suffered career-threatening emergencies. The organization’s recent name change from the Craft Emergency Relief Fund to CERF+ formally added “Artists’ Emergency Resources” to its menu of programs, providing informational resources on emergency readiness, response, and recovery geared to the needs all types of artists. The toolkit is available at www.studioprotector.org. 

Classifieds in the Hand Papermaking Newsletter cost $2 per word, with a 10-word minimum. Payment is due in advance of publication. 

Hollander Beater for sale: One of a kind solidly built machine. It is of old casting mechanics origin, with sturdy stands, manual lifting gear device, and complete copper protective covers. Built in the late 1950s and works perfectly fine. 3-4 metric tons, grinding cylinder diameter 1,300 mm, and its width is 1,000 mm. Easy to adjust precise grinding mechanism. Comes with a strong electrical motor and a 200 mm wide heavy-duty leather belt. The beater has been disassembled and is ready to be packed and shipped anywhere in the world from Csongrád, Hungary. Asking price is $9,800 plus shipping and handling. Contact Tom Farkash at (510) 253-5698 or ziggzaag@ yahoo.com. 

Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc. 1-800-356-2306. 

> more classifieds at 

newsletter.handpapermaking.org/listings.htm

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> SPECIAL THANKS 

Hand Papermaking would like to thank the following people and organizations who have made direct contributions to further our mission. As a non-profit organization, we rely on the support of our subscribers and contributors to continue operating. All donations are greatly appreciated and are tax deductible. Call or write for more information on giving levels and premiums. 

Benefactors: Anonymous, Timothy Barrett, Gibby Waitzkin. Patrons: Jeffrey Cooper, Barbara Lippman, David Marshall. Underwriters: Tom Balbo, Sid Berger & Michèle Cloonan, Susan Mackin Dolan, Susan Gosin, Kimberly Schenck, Nancy & Mark Tomasko, Beck Whitehead, Pamela & Gary Wood. Sponsors: Cathleen A. Baker, Tom & Lore Burger, Michael Durgin, Gail Deery, Karla Elling, Jim Escalante, Jane Farmer, Fifth Floor Foundation, Helen Frederick, Helen Hiebert, Lois & Gordon James, Peter Newland & Robyn Johnson, Eileen Wallace. Donors: Marlene Adler, Shirah Miriam (Mimi) Aumann, James Barton, Simon Blattner, Nina Brooks, Colin Browne, John Cutrone, Benjamin J. Dineen, Kathy Fitzgerald, Sara Gilfert, Robert Hauser, Mervi Hjelmroos-Koski, Lou Kaufman, David Kimball, Betty L. Kjelson, Karen Kunc, Julie McLaughlin, Richard Minsky, Dennis Morris, Catherine Nash, Lissa Paul, Andrea Peterson, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Harry & Sandra Reese, Michelle Samour, Richard H. Schimmelpfeng, Mary C. Schlosser, Peter Sowiski, Betty Sweren, Marjorie Tomchuk, Paul Wong & John Colella. Supporters: Emily Andersen, Lois D. Augur, Carol J. Blinn, Joyce Brodsky, Carla A. Castellani, Roseline Williams Cristanelli, Kathryn & Howard Clark, Nancy O. Daley, Jennifer Davies, Kathryn Flannery, Rose Folsom, Tatiana Ginsberg, Lori B. Goodman, Beverly Harrington, Susan Hersey, Cynthia Hogue, Courtney Hudson, Sally Wood Johnson, Kristin Kavanagh, Ellen Mears Kennedy, Hedi Kyle, M. P. Marion, Maria Pisano, Miriam Schaer, Erica Spitzer Rasmussen, Dianne L. Reeves, Linda Smith, George Thagard III, April Vollmer. Friends: Leroy Parker. In-Kind: Adobe Systems Inc., Janet DeBoer, Jim Escalante, Peter Ford, Mildred Isaacs, Rick McSorley, Microsoft Corporate Citizenship, Steve Miller, Britt Quinlan, Amy Richard, StorterChilds Printing Company Inc, Rose Hunter Valentine. Founding Contributors to the Hand Papermaking Endowment: 49er Books, Shirah Miriam (Mimi) Aumann, Cathleen A. Baker, Tom Balbo, Timothy Barrett, Sidney Berger & Michele Cloonan, Tom & Lore Burger, Jeffrey Cooper, Jeanne M. Drewes, Jane M. Farmer, Fifth Floor Foundation, Helen Frederick, Sara Gilfert, Susan Gosin, Joan Hall, Lois and Gordon James, Sally Wood Johnson, David Kimball, Elaine Koretsky, Karen Kunc, Barbara Lippman, Winifred Lutz, Susan M. Mackin-Dolan, David Marshall, Peter Newland Fund of the Greater Everett Community Foundation, Margaret Prentice, Preservation Technologies, L.P., Michelle Samour, Peter Sowiski, Marilyn & Steve Sward, Betty Sweren, Gibby Waitzkin, Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela & Gary Wood. 

It seems appropriate in this 100th issue of Hand Papermaking Newsletter to thank Dard Hunter, who showed us the way. One hundred years ago in the autumn of 1912, he moved to Marlborough, New York, 

and started making paper for the first time. 

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