HAND PAPERMAKING N E W S L E T T E R 

Number 101, January 2013 

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. 

 Dear Readers, 

Arnold Grummer died on October 24. His passion for hand papermaking advanced the field greatly. In 1961 he joined the Institute of Paper Chemistry in Appleton as Editor of Publications. There he gained his knowledge and excitement for the science of papermaking. He was later appointed Curator of the Dard Hunter Paper Museum, housed at the Institute, where he facilitated research and networking among founders of the hand papermaking movement which grew into The Friends of Dard Hunter. His family business continues to offer his inspiring books, kits, supplies, and instruction to novice papermakers. Because of Arnold, countless people made their first sheet of paper. The hand papermaking community owes him a debt of gratitude for his legacy. 

Arnold is pictured here at the vat during Hand Papermaking’s anniversary party in Madison last year. This excerpt from the October 11 edition of the Appleton Post-Crescent offers a moving account of his final days. 

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: 

Hand Papermaking, Inc. 

PO Box 1070, Beltsville, MD 20704-1070 

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

Fax: (301) 220-2394 

E-mail: info@handpapermaking.org 

Web: www.handpapermaking.org 

The deadline for the next newsletter (April 2013) is February 15. 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. 

APPLETON, WISCONSIN — When Arnold Grummer found out he was going to be inducted into the 2012 Paper Industry International Hall of Fame, the Appleton resident and his family celebrated for a month. 

But when Thursday night rolled around, the night he would be honored as “the public face of papermaking in the United States,” he had other things on his mind. “Last Tuesday I knew what I was going to say. Today, I’m not sure,” said Grummer, standing at a podium in the Radisson Paper Valley Hotel’s ballroom. 

Just three days earlier, he said, “I was told ‘you have lung cancer and it is incurable.’ That changes one’s outlook on a number of matters rather rapidly.” 

Two hundred paper and related industry executives sat in silence as the frail 89-year-old Grummer spoke off the cuff in a clear, strong voice to praise paper and the Institute of Paper Chemistry, where he’d worked for 16 years. 

“There’s one thing I’m thankful for tonight. On January 2, 1960, as I was going up the steps for the first time as an employee, I stopped about midway up and said ‘what are you doing giving your life to paper?’ Paper is a common ordinary substance. But I forged ahead, received a very nice office and proceeded to a very fine career. One thing I was wrong about—paper is anything but a dull, lifeless, casual castaway.” 

Grummer taught millions how paper was made through public presentations with his traveling exhibit, “The Great American Paper Machine,” television appearances and later You Tube videos and his home papermaking kits. 

Grummer was one of six inducted into the hall of fame on Thursday night, and had the biggest cheering section with seven tables of family members, neighbors, employees, grandchildren and his church group. 

“It’s a wonderful night and we’re not going to let cancer spoil it,” said his wife, Mabel. 

Courtesy of Appleton Post-Crescent staff writer Maureen Wallenfang

> ALONG THE PAPER ROAD... 

This regular feature offers paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. Here Elaine describes the recent IPH congress in Basel, Switzerland. 

Most of my adventures on the paper road have taken place in remote areas of Asia. Now, however, with our son and his wife, plus two adorable grandchildren living with us, we have a new paper trail running through the length of our house. It starts in the hallway, continues through the kitchen, dining room, living room, sunroom, out the back door into the garden, then back into the house, becoming a trail of brilliant autumn leaves. 

However, the paper road did take us to Europe this past September, where my husband, Sidney, and I attended the biennial congress of IPH (International Paper Historians) in Basel, Switzerland. Peter Tschudin, Director of the Basel Paper Museum, who formerly had been President of IPH, organized a very interesting tri-national program, taking us to three areas of Europe, namely, Switzerland, Germany, and France. Primarily European, the IPH members are a scholarly mix of paper historians, professors, museum administrators, conservators, and paper lovers. Having been IPH members for thirty years, Sidney and I are now designated as honorary members, and we consider the other members to be our close friends. 

In addition to my presentation, entitled “The Evolution of Hand Papermaking Throughout the Centuries,” highlights included a lecture by Anna-Grethe Rischel, the current president of IPH, on Danish bank notes from the eighteenth and nineteenth centuries, and on how the papermakers made especially strong paper with complicated watermarks in order to avoid forgeries. 

Sylvia Albro, paper conservator from the Library of Congress in Washington, DC, presented a fascinating account about her ongoing conservation of a rare copy of Ptolemy’s Geographia, an atlas printed in 1513, containing forty-seven maps based on Ptolemy’s original notes from the second century, as well as later European discoveries. The maps are woodblock prints with letterpress text, and hand-colored. Sylvia discussed the degraded copper green pigment, and that through both visual and chemical analyses, she learned that three different papers are used in the edition, all of which dramatically affect how the paper has aged, and how the green pigment reacted in the map illustrations. 

Kazuyuki Enami, professor from Ryokokku University in Japan, spoke of early paper documents made from cereal straw, also called foxtail millet, dating from the seventh to eighth centuries, of Central Asian origin. Dr. Maria Jose Santos from the Paper Museum Terras de Santa Maria in Portugal, showed an emotional documentary film of a one-hundred-year-old paper factory that was about to close. Workers, most of whom worked there for many years, spoke of their day-to-day experiences working at the mill, and the camera followed the different stages of the production process. Working at the paper mill was an important part of their lives, and they seemed genuinely remorseful over its imminent shutdown. Other lectures dealt with old watermarks, and there were two lively presentations about wallpaper. Sidney showed our documentary film, Historic Papermaking in Myanmar. 

The IPH attendees were housed in an ancient, though thoroughly renovated, thirteenth century castle, situated on the picturesque Rhine River. In addition to attending lectures, the group took a bus tour each day along a very interesting paper road. We went through the legendary Black Forest in Germany, where we visited a modern paper factory specializing in the production of specialty paper used in the making of Formica. I was surprised to learn the pulp was eucalyptus, to which an enormous percentage of kaolin is added. 

On the way back, we stopped along the scenic Titisee for coffee and delicious black forest cake. Later we meandered along the Alsatian Paper Road in France, to the Wallpaper Museum in Rixheim where our exuberant guide showed us a fabulous collection. There was even a workshop in which the technique of printing the long strips of wallpaper by hand was demonstrated. 

On the last night, our farewell dinner was celebrated at the Maison des Tetes, in the medieval town of Colmar in France. To my surprise and delight, I was honored by all on the occasion of my eightieth birthday, and presented with yet another kind of paper trail—a ten-foot-long ribbon with origami and paper cutouts created by my IPH friends and colleagues. 

> UNIQUE TECHNIQUE 

Well-known author and teacher Helen Hiebert offers helpful guidance and tips gleaned from artists she has worked with over the years. In this column Helen describes Susan Mackin Dolan’s technique for creating layered “paper prints.” 

I’ve known Susan Mackin Dolan for years—she’s been one of my Colorado advisees. We considered moving to Colorado instead of Portland, Oregon, fourteen years ago, and before we moved to Colorado this past August, I visited her studio in Edwards (twenty miles west of Vail). She showed me a series she was working on, which involved several unique techniques. 

Susan got her MFA in printmaking and papermaking at the University of Colorado, Boulder, and in her papermaking practice she thinks like a printmaker. She uses vats of colored paper pulp instead of the inked plates used in processes that involve printing one color at a time. Her unique image-making process involves cutting stencils in one-eighth-inch-thick art foam (those colored foam sheets sold in craft stores for kids’ projects) for each color of pulp/layer of paper in her “paper print.” 

Perhaps the simplest way to perform this technique (of course there are variations) is to cut a piece of foam to fit the inner dimensions of the deckle. Then cut out an image, creating negative spaces in the art foam. Once the stencil is cut, it can be placed on the mould either right or wrong reading, which is particularly handy if the image is not symmetrical (when using text, for example). Susan created the work pictured here by placing the text stencil in reverse, or wrong reading, to create the first layer of paper, which became the front side of the finished sheet of paper. 

Susan uses simplified Eastern equipment and papermaking techniques; her moulds are handmade, stretched with a coarse polyester silkscreen mesh (10xx or smaller). As a printmaker, she plans out her papermaking process before sheet forming, as she would plan out a print project. Susan prepares kozo and gampi fibers by hand, cooking them with soda ash, hand beating, and forming sheets using traditional Eastern sheet-forming techniques with formation aid. She prepares at least two different colored vats so that she can perform multiple dips for one sheet. Susan uses kozo for her backing sheet and gampi for the stenciled images, because she can beat it really fine so that it flows into the negative shaped areas when sheet forming. To make a paper print using Susan’s method, you would start with the stenciled sheet. Wet the mould surface prior to sheet forming and then place a stencil on the screen(wrong reading). Surface tension will hold the stencil in place. Next, dip the stenciled mould into the vat at a 70° or steeper angle (the bottom of the mould will be further from you than the top). Pull the sheet in one sweeping motion without hesitation to ensure that the stencil stays in place. This takes some practice. While the sheet drains on the mould, use a sponge to wick excess moisture from the underside of the mould. Next, lift one corner of the stencil, jiggling it as you remove it so that the pulp stays on the mould. This can be tricky ;if the sheet doesn’t release, you may need to sponge a bit more or add more formation aid to your vat. After removing the stencil, sponge beneath the mould surface again to make sure the pulp is completely sucked onto the mould. Now move to the second vat of pulp (in another color) to create the background sheet.The dipping angle (as described above) is crucial and must be done in one fluid motion. If you hesitate, you’ll lose your image from the first dip. If everything goes well, all of the areas around your image (and behind it) will be covered with pulp. Sponge the back of the mould again as it drains. Couching is next, and this is another unique technique that eliminates the need for a press and drying system. Nance O’Banion introduced Susan to silkscreen drying screens. She has several 5 x 5 foot drying screens, stretched taut (like canvas stretchers) with a fine silkscreen (16xx or higher). The silkscreen is stapled onto two-by-four frames as a canvas would be, and duct tape is laid over the stapled edges for waterproofing. The screens are propped vertically against a wall for couching. To couch a sheet, take the mould (deckle removed) and hold it vertically next to the drying screen. If you are right handed, have your left hand at the bottom of the mould and push it against the drying screen, holding firmly so that it doesn’t shift. With your right hand, sponge firmly against the back of the mould. This will release the paper from the mould and remove water. The fact that the screen on the drying surface is a finer mesh than that on the mould also helps the paper release. Sponge a few times and then run the back of your fingernail along the inside edge of the mould to help the edges release. Finally, place your right hand on top and your left hand on the bottom and in one smooth movement, push in at the bottom and pop that edge of the mould off the drying screen, while holding the top edge down against the screen and then sliding it up a little to make sure the top edge of the paper is pressed flat against the screen. When couching multiple sheets onto the drying screen, start at the top to prevent water from dripping down onto the lower sheets. The sheets should dry overnight, depending on the humidity level. Peel each sheet off carefully, starting at a corner. Please note that the side of the sheet that is against the drying screen will be smoother, so plan accordingly. Once you’ve mastered this technique, there are many variations.Try creating additional layers by using the stencils for pulp painting, or split the mould with two stencils, dipping half of the mould in one vat of pulp and the other half in another. The possibilities are endless. Susan’s “JapanTribute Papers,” pictured here, feature this technique. This series uses symbols of radioactive elements that are being monitored and have been found in the air, soil, water, and food products in the areas surrounding the Fukushima Daiichi nuclear facilities, and as far away as San Francisco. The chemical symbols in these sheets stand for tellurium, strontium, and plutonium, and are paired with rice, seaweed, and tea leaf images. The background pulp is kozo, and the images were made with gampi pulp, colored with luminescent pigment that will glow in the dark for up to twelve hours after being exposed to light.

> TEACHING HAND PAPERMAKING 

Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. Here Winnie teaches papermaking to professors of art history during a summer institute at Yale University. 

This past July I had the extraordinary experience of being one of the presenters at the Summer Teacher’s Institute in Technical Art History, given at Yale University in New Haven, Connecticut. This program offered college professors in art history from all over the United States an introduction to “technical art history.” There were fifteen attendees, some local and some from as far afield as Utah, Nebraska, Michigan, and Guelph, Canada. This diverse group specialized in fields that included Renaissance Italy, Nineteenth Century Historiography of France, Dutch Seventeenth Century Painting, Early Modern Europe, Medieval Manuscripts, and even Chemistry. 

Their weeklong experiences included lectures, studies of the Center for British Art’s collections, and demonstrations of technical examination equipment such as X-radiography. There were also demonstrations of printmaking, and some practical papermaking, followed by hands-on experiments in mark making with quills, inks, and watercolors. 

It was my friend Theresa Fairbanks- Harris, Chief Conservator for Works on Paper and Photography at Yale’s Art Gallery and Center for British Art, who brought me on board to be a part of this amazing week. She has always believed that art historians need hands-on experiences with the methods and materials used to create the works of art that they study. For several years, it has been her commitment to this belief that has provided me with the opportunity to set up vats in her state-of-the-art conservation lab to bring papermaking to life for her art history students. So I was thrilled at the prospect of sharing my knowledge and love of papermaking with these art history professors from across the country. 

While planning and packing for my three-and-a-half-hour lesson, I wondered what knowledge and level of experience with papermaking the students would possess. Assuming that it might be minimal, I decided that I would like to show the mid-seventeenth century Dutch re-enactment video that depicts the steps involved in a small mill operation of that era. Along with packing a few of my artist-made paper samples, I provided an information resource list, at the top of which was the link to Tim Barrett’s website presenting his comprehensive research at the University of Iowa, “Paper through Time: Nondestructive Analysis of 14th- through 19th-Century Papers.” I knew that Theresa would have a wealth of historical papers for the group to view. 

I selected three different types of pulp for our papermaking vats. I had prepared some denim rag fibers, a pigmented cotton/ abaca blend, and some pure abaca to which I added some cooked daylily leaves. In addition, I brought stencils to be used with two colored vats of pigmented cotton rag veil pulp, and in case there was time, I also brought cotton rag pulp paint with pipettes for application. 

On the eve of my adventure there was a last minute change in plans concerning the building location for our papermaking adventure, which would necessitate some last minute scurrying to set up the new space. But when I arrived, a crew was present to move tables into position and secure the technology to show the video. The new location proved more spacious for our fifteen papermakers. The students arrived after their lunch break, which followed a fairly technical morning learning about X-radiography. I sensed that they were more than ready to don the freshly washed and ironed “work smocks” that Theresa had prepared for them, and get a little messy! But we began with my “voiceover” description of the operation of a small hand papermill of the mid-1600s, accompanying the silent Dutch video. I think most found it “just the right eight-minute amount of listening to history.” Of the assorted group, only two or three had previously experimented with papermaking. So my introduction included the usual techniques of holding the mould and deckle properly, agitating the vat, the dip, the vat-man’s shake, and couching. I assisted all the beginners in pulling their first sheet of paper. As soon as everyone had made a plain sheet of paper from each of the three fibers, I gave a demo in various techniques of shaping and layering pulp atop a base sheet to “paint with pulp.”Extending the invitation to personalize their paper experiments with the above techniques,I circulated through the group, observing great enthusiasm but varying amounts of expressive experimentation. The next demo introduced pre-designed stencils to apply thin layers of veil pulp to their base sheets. This technique enabled the less adventurous to be more successful with their pulp paintings. As the clock ticked rapidly towards the end of our time together, Theresa and I once again discussed how we would handle drying everyone’s paper after pressing. The group was staying overnight in hotel rooms, limiting their own options for drying the paper. I had previously recommended restraint surface drying, but because of our location change, that was no longer convenient. Theresa, the ultimate conservator/educator, ended up insisting on taking ALL the paper home with her, to dry between blotters and under weights by herself. Fifteen of the pieces we made, one foreach student, needed to be dried by the next day so that the group could make ink, pencil, and watercolor marks on it with the techniques Theresa was presenting. I’m sure none of the students fully understood how generous a gift she was presenting to them! We brought the afternoon to a close by pressing their posts of paper. A couple of people had made about six sheets of paper each, but the majority made between ten and fifteen sheets apiece. They were instructed to lay their newly pressed papers between the blotters that Theresa had provided.And I made certain to explain the labors involved with the drying process that would so generously be accomplished on their behalf. The afternoon passed too quickly for me. I thoroughly enjoyed working with everyone. And from the feedback, apparently papermaking provided one of the highlights of the week—so I was honored. As always, I look forward to sharing my future adventures in papermaking at Yale with Theresa at the Center for British Art.

> 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. This is a continuation of the Greens’ column in the last issue, “Out, Damn’d Spot!,” about the causes of spots and stains in paper. 

Spots that are invisible in dry sheets but that show up during testing are difficult to diagnose, and we often called in expert help. On one occasion BDH Chemicals tested boards on which Lawrence & Aitken Ltd in London had mounted our J Green mould-made watercolour paper. L&A complained about spots in watercolour washes. BDH found five types of fungi (mildew) in the samples—an Aspergillus species, two Penicillium species, and examples of Paecilomyces and Trichoderma. As these are in the air around us in great quantities they could have infected the paper at the mill, at L&A, or at a later date. Many fungi thrive on cellulose and gelatine!5 

Dr Julius Grant often provided help; one of the leading paper scientists and forensic scientists of the twentieth century, he tested and exposed the “Hitler Diaries” as fakes. On several occasions he conducted biological tests for us. In one report on Black Spots he wrote “These are not a live mould or a live organism, they are decomposed vegetable matter possibly from pond water.”6 

Other spots included tinsel in the rag reacting with blue colours to make brown spots,7 dark blackish spots with a white halo caused by zinc buttons being left on rags and then being ground up to tiny particles in the beaters,8 and tiny shiny spots caused by tiny particles of rayon and nylon.9 

From my reading of the files, the main reasons for spots included: 

Biological agents – mildew (fungus), bacteria, slimes (the curse of many mills which can be caused by many types of organism). These may arise in pipes, felts, moulds, and other equipment. 

Chemicals – which may be used to process rags or control biological agents. Some were also added to the steam supply to protect the pipework. Favourite names include Izal, Kymol, phenolmercuric acetate, and Sofnol, but also common problems were caused by rust and oil leaks. 

Steam – while steam was mainly contained in pipes, for some heating purposes it was also used to directly heat papermaking vats and buckets of pigments and chemicals. It was injected straight out of a pipe into the liquid like foaming milk for a cappuccino. It was conveyed round the Mill in black steel pipes so was capable of creating and transporting rust and often contained chemicals to prevent rust or boiler additives. 

Felts – could not only be a biological breeding ground but also could be contaminated with pigments from previous makes or flecks of paper and pulp residue. If the rinsing was not thorough, dirt or chemicals could be left in the felts. They also needed to be pressed and hung up to dry immediately to avoid going rotten—damaging to paper as well as felt and the bank balance! 

Rags – depending on source and quality could cause a variety of problems such as those caused by Trubenized cuttings. This wonderful name applied to a cellulose acetate treatment to stiffen cotton shirt collars, bad enough for papermaking in itself but later it contained synthetic fibres and the material had to be banned. 

Although the technical files continued to be added to until the Mill closed in 1987, there appear to be no entries in “Spots and Stains” after 1971. This reflects the discontinuation of rags, gelatine, and loft drying as well as many obnoxious chemicals but also the steady introduction of plastic and stainless steel pipes and other engineering improvements. The only incidence of spots that I recall was when a batch of pulp arrived that was inadequately dried causing mildew. Whilst we had to scrap the resulting paper we were able to recover the pulp by drying it and sending it to a food sterilization facility using low dose Gamma irradiation. 

Other contributors to the Spots and Stains file included our three Mill Chemists—Bill Grimes, Rod Ackhurst, and Mick Fuller, our Chief Engineer Alf Spain, and my Father Rémy Green. 

5. SBG 7th July 1971. 

6. We did not intentionally use pond water to make paper but occasionally it could get sucked into a defective joint in our spring water supply which ran on the bed of Upper Crisbrook Pond. 

7. Anon. 26th November 1926. 

8. JBG 27th September 1950. 

9. JBG 4th November 1952. 

> 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. In this column, Sid reveals a few of his sources. 

The problem with decorated paper is that there is just too much of it. The problem with me is that I want it all. Or at least, like the loony book collector Sir Thomas Phillipps, I want one of each kind of decorated paper in the world. But there are so many unique sheets, that there is almost no building on the planet large enough to hold such a collection. In a column under the rubric of “Decorated Paper,” one serious topic is collecting it. And the frustrating thing is, there is no end to it. Another related topic is finding out about sources, because one way to collect is to find out where to go to add to the collection. 

I have already written about this, but I want to add a few additional ways that have proven effective for us. My wife and I were in Finland some time ago and blundered into a little bookbinding display in a building that looked like an art studio or gallery. A couple of the books were bound in a lovely paste paper, so we examined the little checklist for the display and saw that the designer and maker of that volume lived there in Helsinki. We hunted her up—she was a conservator at one of the local libraries—and we spent a lovely hour chatting with her about her job and her library—and her papers. We eventually got some of them. This is a form of “local networking,” in which the “network” is pretty tiny: one book in a show, one question to one person who was involved with the show, and our paper collection got a little bigger. 

Just before we took a trip to a conference in Norway, I contacted Tom Bannister of Hand Papermaking to ask him if he knew of any paper people/artists in Norway. He came up with the name of a woman who lived on the other side of the country from Oslo—in Bergen. I wrote to her and corresponded with her for a short while, and my wife and I eventually took a train to Bergen to meet her on one of the off days of the conference. She had a studio filled with absolutely wonderful sheets of decorative, handmade papers, and of course when we left her studio she had a piece fewer than she had when we got there. This time it was a call to Tom, a conference in Norway, a gorgeous train ride across a chilly landscape, and the acquisition of another little treasure for our collection. Is it a form of lunacy to play hooky from a conference, and to take a long train ride just to buy a sheet of paper? Of course. But for us there was no alternative. 

We visited East Aurora, New York, a few years ago to see the Roycroft Community, and we saw little Arts-and-Crafts-type paper notebooks in a gift shop. The books were covered in an attractive paste paper, and you all know what I did, right? I asked the proprietor for the name and contact information of the artist who had made the little notebooks. Phone tags and then phone contacts brought in more great sheets of decorated papers—and the friendship of a delightful and talented artist. 

Similarly, at a street fair in Helsinki I saw a booth of copperplate engravings that were on really nice paper. I asked the artist where she got her paper and told her of our interests. She whipped out her cell phone, looked for a few names and addresses, phoned two of them to see if they were open at that time of day, and then found a piece of paper on which she wrote two addresses and drew two maps. One shop was closed, the other was far, but still walking distance away (Stephen Wright says that everything is in walking distance if you have enough time), so I hiked away and found a bookbinder’s shop filled with old papers from the nineteenth and twentieth centuries—all for sale. I almost died (and I did go broke!). It was one of the best hauls in our collecting career. 

At book fairs, especially ones at which modern artists’ books are on display, one will often see gorgeous decorated papers created by the artists themselves. This could be a rich source, for our collecting mania, of beautiful sheets created by artists who often get no feedback on their artistry. If they do get feedback, it is usually about their books, not the papers they created for the books. Many of them have some leftovers and are willing to part with them. 

At one antiquarian book fair my wife spotted an old pamphlet (from the early 1980s) with a lovely printed decorated paper cover. We bought the pamphlet, partly because of the paper, but also because it had some fine poems in it, and it was a lovely design with high production values. I figured the artist was long gone from the field of printing, since I had never seen her name, but thanks to the Web I was able to locate the person who had created the pamphlet. She had done a few others, and by the time I located her (and her phone number), and by the time we had chatted animatedly for a couple of hours on a couple of phone calls, our collection grew yet again when she sent us some of her beautiful papers. 

It does take a level of mania, perseverance, lunacy, dogged hard work, and lots of time (and sometimes money) to follow up when we spot a great sheet. But it is really worth it. The fun of the chase is matched by the thrill of opening a package and pulling out another great marbled sheet, a truly original, graceful piece of paste paper, a block-printed leaf that we had nothing like in our holdings, and the correspondence that comes with these treasures. I guess it’s a good thing that there is no end to this. 

> FOR BEGINNERS 

Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. This is a continuation of Mary’s previous column. The first installment discussed how to build a mould for large sheets. Here she continues with an explanation of how the sheets are formed. 

How much pulp do you need for this sheet? Well, you can do some math based on the assumption that one pound of dry fiber will produce 40 to 60 sheets of letter-sized paper. Let’s call it 50 sheets, or 4,675 square inches. (8.5 x 11 x 50 = 4,675). If our mould is constructed to create a 4 x 8-foot sheet of paper (48 x 96 inches), we multiply the dimensions to find that we have 4,608 square inches. A pound of dry fiber is just about right—or we could get very precise and divide the amount we need (4,608 square inches) by the area provided by a pound (4,675 square inches), and discover that we want to process .986 pounds of dry fiber to create our sheet. A lightly beaten pulp will give you better results. Your pulp consistency should be slightly more watery than its beater consistency in preparation for mixing with formation aid. 

Fifteen liters of formation aid to slow pulp drainage as you form the sheet is a good rule of thumb for a 4 x 8-foot sheet. The formation aid should be mixed per package instructions the day before sheet formation (giving it time to set but not time to thin again). Strain your formation aid if you notice any lumps; they will create strange spots in the paper. Mix well. 

To set up, you will need three people, a large sheet of plastic that will cover about half the mould, with several inches to spare at each edge, and ideally some buckets or other objects to prop the mould up on. Lay the mould flat, remembering that the screening is at the bottom of the mould, rather than across the top. Wet the surface completely with water, and then spread the plastic sheeting across one end of the mould, allowing the edges to drape up over the wood frame. One person will hold either end of the mould. You may want to practice your sheet formation method before you start adding pulp to the mould! The motion starts with the person at the plastic sheeting end holding the mould lower than the person at the other end, so that the pulp all collects on the plastic sheeting. Once all the pulp is added, the third person pulls the plastic out from under the pulp, walking it back, as the sheet formation begins. 

Person A, at the plastic sheet end, lifts their end up, sending pulp to the other end and being careful, especially in this first pass, not to send it splashing up over the edge onto Person B! 

Initially, imagine a figure-8 motion, where the pulp goes to one corner, is rolled across that end of the mould, and then is sent across to the opposite corner at the opposite end. As you go, keep an eye out to send the pulp across spots that aren’t receiving pulp—likely along the long edges. You will sense when the pulp moves less freely and it is time to stop urging it around the mould. Now you can prop it level and let it continue to drain. 

What do you mean your sheet doesn’t look perfect? First, you needn’t expect a sheet of this size to look as smooth and even as your smaller sheets. That’s part of the beauty of large sheets. You can add some pulp to thin spots by hand or with a squirt bottle if they bug you or are particularly egregious. But also, and particularly as you practice, you shouldn’t be scared to pick that pulp up off the screen, re-hydrate it, and try again. After all, much like learning to form smaller sheets for the first time, you are learning a new skill and it takes practice (and will likely take some practice every time you coordinate with a new sheet-forming partner). 

Once the sheet is couch-ably drained, the mould can be tilted up on end to prop it against a wall or fence if you need to get it out of the way. Once it has dried, the sheet can gently be peeled from the mould. Nicole also shares some tips for lifting the completed sheet. She suggests using a small, flat, L-shaped tool (such as a two-inch brass L bracket) to loosen all edges of the paper from the wood frame. Leaning the mould vertically against the wall, gently pull the paper away from the screen at a 45-degree angle to prevent creasing, moving your free hand back and forth between the paper and screen as you go to aid the process. Now your mould is ready for another use—and it is time to decide what to do with such large sheets of handmade paper! 

> more for beginners at 

newsletter.handpapermaking.org/beginner

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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 April 2013 Newsletter is February 15. 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 

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

Art New England, Bennington, VT, 

(617) 879-7175, www.massart.edu/ane, 

Nancy.Mccarthy@massart.edu. Week-long summer workshops in a range of media. 

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

Pulp to Paper: Introductory Papermaking, March 16-17, with Frank Brannon. Learn sheet forming techniques using beater-prepared pulp. 

Papermaking Intensive, May 20-21 & 23-25, with Frank Brannon. Learn Western sheet forming techniques, as well as how to prepare pulp in the Hollander beater. 

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, as well as Open Papermaking Nights on the second Thursday of each month at 6:30 p.m. 

John C. Campbell Folk School, Brasstown, NC, (704) 837-2775, www.folkschool.org. Classes in papermaking and other crafts in the mountains of western North Carolina. 

Beautiful Papers: Marbling, Paste, Suminagashi, Batik, & Katazome, February 24 - March 2, with Rajeania Snider. Use both Eastern and Western decorative techniques to turn plain paper into virtual kaleidoscopes of color and design. 

Papermaking: An Introductory Class, March 3-9, with Claudia Lee. Explore the basics of hand papermaking, including cooking plants, recycling paper, and processing purchased fibers; then add color with pigment and natural dyes and a range of decorative techniques. 

Paper Beads and Much More, April 21-27, with Judith Jetson. Make your own paper and use recycled papers to make beads as well as sheets of paper for other uses. 

Painting on Handmade Paper, April 21-27, with Margaret Estes. Form sheets of paper from natural, recycled materials, and then paint on it with water-based media to create beautiful works of art. 

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

Circle of Life Studio and Summer Gallery, Eagle River, WI, (715) 479-9737, www.circle oflifestudio.com. Offering weekly paper 

making workshops June through September, and by special arrangement all year. 

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, Grauduiela 59, Riga, 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. 

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. 

Paper Melange, February 14, with Carol Kazwick. Make an assortment of papers using various color pulps, additives, and textures. 

Fleisher Art Memorial, Philadelphia, PA, (215) 922-3456, www.fleisher.org. Offering workshops and community programs in a range of media. 

Painting with Pulp: Paint and Collage in Handmade Paper, January 7 - March 19, with Mary Tasillo. Explore a range of stenciling, collage, and pulp painting techniques to create art in handmade paper. 

Printing with Pulp, Spring Session, with Mary Tasillo. Use silkscreen techniques combined with finely beaten pigmented pulp to create imagery within handmade paper. 

Haystack Mountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack -mtn.org. Workshops in various disciplines, including papermaking and book arts. Scholarships available. Deadlines are March 1 for Scholarship applicants and April 1 for Regular applicants. 

Hook Pottery Paper, LaPorte, IN, (291) 362-9478, jonandrea@hookpotterypaper .com, www.hookpotterypaper.com. Classes in papermaking and pottery and a residency program in northern Indiana. 

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

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

MayBe Studio, Abita Springs, Louisiana, (985) 893-3184. 

Hand Papermaking, selected Saturdays, with Mary-Elaine Bernard. Learn Eastern and Western methods of making paper and incorporate local plant fibers. 

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

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

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

Paper Circle, Nelsonville, OH, (740) 753-3374, www.papercircle.org, paper circlearts@gmail.com. Call or e-mail for information about upcoming paper classes. 

Open Studio, second Saturdays, with studio artists. Gain new skills while working on themed, relaxed projects. 

The Papertrail, New Dundee, Ontario, Canada, (800) 421-6826, www.papertrail.ca. Classes in papermaking, marbling, and related arts and studio rental scheduled on an as-needed basis. 

PapierWespe (PaperWasp), Klimschgasse 2/1, Vienna Austria, (0676) 77-33-153, office@papierwespe.at, www .papierwespe.at. Workshops in English and German taught by paper specialists in downtown Vienna. 

Paper Objects, April 12-14, with Beatrix Mapalagama. 

Pop Ups, May 4-5, with Veronika Kyral. 

Built in the Air, May 17-19, with Anna Rubin. 

Fantastic Papers, July 5-7, with Helen Hiebert and Beatrix Mapalagama. 

Paper Balloons, Tubes, and Vessels, July 12-14, with Helen Hiebert. 

Large Sizes, August 31-September 1, with Beatrix Mapalagama. 

Colored Paper, September 21-22, with Ilse Mühlbacher. 

Penland School, Penland, NC, (828) 765-2359, www.penland.org. A full program of craft workshops, including papermaking. 

Peters Valley Craft Center, Layton, NJ, (973) 948-5200, www.petersvalley.org. Workshops in papermaking and a variety of crafts. 

Pyramid Atlantic, Silver Spring, MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshops in papermaking, printmaking, and book arts. 

Papermaking Society, Third Thursdays. For details contact Associate Papermakers Laura Kinneberg and Lynette Spencer at pyramidpaper@gmail.com. 

Sarvisberry Studio and Gallery, Floyd, VA, (540) 745-6330, www.sarvisberry.com. Experience handmade paper in the heart of the Blue Ridge Mountains. 

Open Studio Days, call for schedule. Make your own paper and work on personal projects. 

Sievers School of Fiber Arts, Washington Island, WI 54246, (920) 847-2264, www .sieversschool.com. Summer workshops on an island in Lake Michigan. 

Southwest School of Art, San Antonio, TX, (210) 224-1848, www.swschool.org. Classes at the Picante Paper Studio. Individual papermaking classes can be scheduled for one person or a group; please contact Beck Whitehead at bhwhitehead@swschool .org for more information. Studio time, consultation, and instruction available most Tuesdays, Wednesdays, and select Saturdays with Beck Whitehead. 

Woodwalk Gallery, Egg Harbor, WI, (920) 868-2912, kcchristian@itol.com, www .WoodwalkGallery.com. Classes in handmade paper and natural materials. 

> EVENTS

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, Director, Tipoteca Italiana Fondazione, Cornuda, Italy; Mark Dimunation, Chief of the Rare Books and Special Collections, Library of Congress, USA; Tim Barrett, MacArthur Fellow, Director Paper Facilities, University of Iowa Iowa City, USA; Alan Loney, Electio Editions Melbourne, Australia; Russell Maret, New York, USA; and Veronika Schaepers Tokyo/ Berlin. For more information or to register, visit www.codexfoundation.org or call (510) 849-0673. 

The Friends of Dard Hunter will hold its annual meeting and conference in October 2013 in Saint Louis, Missouri. This event features workshops, demonstrations, presentations, and tours. For more information as plans develop, visit www.friends ofdardhunter.org.
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IAPMA, the International Association of Hand Papermakers and Paper Artists, convenes in 2014 in Fabriano, Italy. For more information as the date approaches, visit www.iapma.info.
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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. washiwildfibers.com. Call or email with questions: (503) 641-7162 or www.washi@yahoo.com.

> OPPORTUNITIES

Hand Papermaking seeks a Design Director who will oversee its publishing activities (print, digital, web) to ensure consistency and professionalism. The Design Director will lead all aspects of the magazine design cycle and offer guidance to volunteers who design our newsletters, portfolios, promotional items, stationery, communication pieces, websites, etc.; and will approve these publications before they are printed or distributed. This is a part-time position requiring approximately 3 to 4 hours per week on average. The Design Director may set his/her own hours and may be located anywhere in the United States. An up-to-date computer with a high-speedInternet connection is required, as well as proficiency in Adobe Creative Suite software plus Microsoft Word. The Design Director should have a strong design background, the ability to articulate creative ideas and instructions via tele-conference or email, and an interest in the field of hand papermaking. To ask questions or express interest, contact Tom Bannister by email (tom@hand papermaking.org)or phone 800-821-6604. The Creative Residency program in Visual Arts at TheBanff Centre, Alberta, Canada, provides studio facilities and support for artists working in a broad range of media, including painting, drawing, performance, ceramics, book arts, textile art, papermaking, sculpture, installation, photography, and more. Visit www.banffcentre.ca for information about residencies and facilities, or contact Wendy Tokaryk at wendy_tokaryk@banffcentre.ca or (403) 762-6402. Artists experienced in papermaking are invited to apply for the opportunity to spend up to three months working in the Paper Studio at the Southwest School of Art& Craft. Artists are expected to provide their own transportation and materials. Housing may be available, but is not guaranteed. Collaborations will be considered. For further information contact SSAC, 300 Augusta, San Antonio,TX 78205, (210) 224-1848, www.swschool.org. Women’s Studio Workshop offers several opportunities for artists working in papermaking and book arts. The internship program gives young artists creative support, culminating in an exhibition, in return for their assistance with the on-going operations of the facility, including assisting WSW’s Artists-in-Residence with their projects and participating in WSW’s Summer Arts Institute classes as studio assistants. Studio fellowships are designed to provide concentrated work time for artists to explore new ideas in a dynamic and supportive community of women artists.Studio residencies support the creation of a new body of work. For details on these and other programs, visit www.wsworkshop.org.

> PUBLICATIONS AND VIDEOS 

Hanji Unfurled: One Journey Into Korean Papermaking by Aimee Lee is a new book by Legacy Press. In this first English-language book about hanji, Lee shares her search for a traditional Korean papermaking teacher. For more information, visit www .thelegacypress.com. 

Dieu Donné announces the publication of Lesley Dill’s I Had a Blueprint of History, an artist book in handmade paper with a poem by Tom Sleigh. Lesley Dill collaborated with Dieu Donné master papermaker Paul Wong to custom design unique watermarks and pigments for each page of this limited edition book. Dill also worked directly with master printer Peter Kruty over a period of three years to letterpress print 31 pages of imagery that illuminate the poem Blueprint, by Tom Sleigh. For more information, visit www.dieudonne.org. 

Abington Art Center has published the first catalog of the works of Winifred Lutz featuring 75 images of Lutz’s work in conjunction with an exhibition of her sculptural work in handmade paper. The catalog includes essays selected and edited by the guest curator for the project Janet Kolopos. Contributors include Carol Franklin, Mina Takahashi, Elaine King, and Richard Torchia. For more information, visit www.abingtonartcenter .org or call (800) 821-6604 to order the catalog. 

Playing with Paper is a forthcoming book by Helen Hiebert featuring paper crafts as well as work by contemporary international paper artists. For more information, visit the Store section of www.helenhiebert.com. 

The work of Jill Powers is featured in the Fall 2012 issue of Fiber Art Now. The article is called “Jill Powers’ Laboratory for Art” and features her work with bark fibers. 

For more information, visit www.fiberart now.net. 

Pat Gentenaar-Torley paints with pigmented fibers using a vacuum table. A new book entitled “Forty Paintings in Paper Fiber” serves as an introduction to her work: her methods; her background; her gallery and other shows and demonstrations; and, most importantly, forty examples of her art. Additional illustrations show the equipment she uses, and a high-resolution detail image from one of her paintings shows fiber structure. Purchase this inexpensive book and read it on any of the available e-readers (including readers that run on your desktop, laptop, or tablet), but it will be seen to best advantage in a system with full color and high resolution. Search for it with your iBooks app, or on Google Books, or visit www.amazon.com/dp/B008YQ1JUC 

Rie Hachiyanagi’s paper sculpture “Inspirare” was reviewed in the August 2 Boston Globe. The sculpture is installed in Mount Holyoke College’s Williston Memorial Library. The article is viewable online at: http://bostonglobe.com. 

Sarah Brayer: Creating Luminescent Beauty with Paper is a TED talk featuring Brayer’s large-scale work with washi. It is viewable online at http://talentsearch.ted.com/video /Sarah-Brayer-Creating-luminesce; TEDTokyo. 

Verdant is the second annual collaborative artists’ book by Corcoran College of Art and Design graduate students in the Art and the Book Program. Verdant, a scroll book, provides a unique reading and viewing experience for the present-day bibliophile and book connoisseur. The scroll was crafted with handmade paper composed of recycled materials and abaca, and incorporates text and imagery from each artist. For more information about the book and Marginalia Press, visit www.ccadmarginalia .wordpress.com.

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> MISCELLANEOUS 

The Gomez Mill House, site of Dard Hunter’s first paper mill in Marlboro, NY, is closed this winter for renovations and repairs, due to damage sustained in recent storms. It will open for the 2013 season on April 14. 

Visit www.gomez.org for updates. 

The Hand Papermaking Community Documentation Project plans to be ready to collect information from U.S. papermakers beginning January of 2013. This project is a collaborative effort to document the evolution and genealogy of hand papermaking from the time of its re-emergence via Dard Hunter in the early 1900s up through the present, both in the United States and worldwide. Based on feedback received from volunteer survey testers, recruited during the joint Friends of Dard Hunter/IAPMA conference in Cleveland (in October 2012), an on-line survey will be built and made available to all who are interested in sharing their information. As the information is collected, those working on the project will also provide ways to view it. To check on the status of the project, please go to the survey page of Hand Papermaking’s web-site: www.handpapermaking.org/survey. 

The Etsy Papermakers Guild is devoted to artists who make their own paper. The group showcases imagery of handmade paper on the Etsy site and hosts and international paper swap each year. For more information, visit www.etsy.com/treasury and search for papermakers guild. 

Pyramid Atlantic Art Center in Silver Spring, Maryland, is offering a free one-year membership to eligible members of the military and their families. Pyramid Atlantic is a contemporary arts center dedicated to the creation and appreciation of hand papermaking, printmaking, digital arts, and the art of the book. Membership includes free once a month “members only” nights featuring hands-on activities, once-a-month VIP tours of the current exhibition, and more. For additional information, please contact Jose Dominguez at jdominguez@pyramid-atlantic .org or (301) 608-9101. 

Jonathan Korejko led the “Papermaking with Plants” program at the Royal Botanic Garden in Edinburgh, October 21-22. The Garden’s horticultural team provided a variety of specimens which allowed participants to experiment with colored petals, shaped leaves, scented flowers, fluffy seed heads, and fibrous stalks. The group also received support from a Scottish horticultural supply company who donated a load of brilliantly colored jute string. 

> CLASSIFIEDS 

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

50 Ton Hydraulic Paper Press with 24” x 29 3/4” Platen for Sale: $3500. (716) 374-5580; marylynnutting@yahoo.com 

Business Opportunity. Well established online papermaking and stationery studio is selling its turn-key operation. Interested in learning more? E-mail sherylwkeese@gmail .com for more information. 

Hollander Beater for sale: One of a kind solidly built machine. 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. (800) 356-2306. 

> 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: Gilda Ellis, Leroy Parker. In-Kind: Adobe Systems Inc., Janet DeBoer, Jim Escalante, Peter Ford, Rick McSorley, Microsoft Corporate Citizenship, Steve Miller, Britt Quinlan, Amy Richard, StorterChilds Printing Company Inc. 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. 

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