HAND PAPERMAKING N E W S L E T T E R 

Number 105, January 2014 

Newsletter Editor: Shireen Holman 

Advertising & Listings: Mary Tasillo 

Desktop Production: Amy Richard 

Columnists: Eugenie Barron, Sidney Berger, Maureen and Simon Green, Helen Hiebert, Elaine Koretsky, Margaret Mahan, 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. 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 2014) 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 and Office Manager; Mary Tasillo, Outreach; Suzanne Oberholtzer, Design Director. 

Board of Directors: Shannon Brock, Zina Castañuela, Jeffrey Cooper, Kerri Cushman, Susan Mackin Dolan, Jim Escalante, Susan Gosin, Mary Hark, Kate Martinson, Anne Q. McKeown, Julie McLaughlin, Amy Richard, Michelle Samour, 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 Readers, 

This is a letter about the history of paper, because once again, as I have seen so many times over the decades, the press has “got it wrong.” I think I am in a futile battle in setting the record straight, but here we go again: 

In the magazine The Week: The Best of the U.S. and International Media for the week of October 18, 2013, we find the mindless and incorrect: 

Gutenberg we know. But what of the eunuch Cai Lun? A well-educated man, a close aide to the Emperor Hedi in the Chinese imperial court of the Eastern Han Dynasty, Cai invented paper on a fateful day in the year A.D. 105. (Nicholas Carr, “No, Paper Isn’t Dead,” The Week, October 18, 2013, p. 40.) 

Let me parse this for all of its gaffes and sickening elements. Why on earth do all commentators insist on mentioning that poor old Ts’ai Lun(g) (the preferred spelling) was a eunuch? Who cares?! What do we know of his education? (And “well educated” does not need the hyphen.) He may have worked under emperor Ho Ti (the preferred spelling). And the ridiculous notion that he invented paper “on a fateful day in the year [we do not need the words ‘the year’] A.D. 105” is journalese florid language at its worst. Could such a material have been invented on a single day? Not to mention that paper existed for at least two centuries before Ts’ai Lun was even born. To compound the stupidity, Carr adds: 

Cai came up with the idea of mashing bits of tree bark and hemp fiber together in a little water, pounding the resulting paste flat with a stone mortar, and then letting it dry into sheets in the sun. (p. 40) 

Readers of Hand Papermaking will see the absurdity of this. If anyone reading this is unfamiliar with hand papermaking, this description of the process is not only misleading, it is bizarre, to say the least, and it will not enlighten anyone about what was really going on in the papermaking process. (And to add ludicrousness to stupidity, the writer says that “Gutenberg would, with his creation of the printing press around 1450, mechanize the work of the scribe, replacing inky fingers with inky machines” [p. 40]. Gutenberg did not invent the printing press and no one in the manuscript or printing world actually got inky fingers.) 

I know that reporters and other writers need an “angle,” and they want to sound knowledgeable and cute, but to promulgate such foolish things as these does no one any good, and muddles the truth about history for all those innocent readers who do not know better. 

So much for my own screed. Readers of this wonderful magazine should make it part of their mission in the world to set the record straight. 

Sidney Berger 

Waban, Massachusetts 

Editor’s note: For more about the “invention” of paper, read the article “My View of the Root of Papermaking” by Li Fang, in the Winter 1995 issue of Hand Papermaking. Also see Elaine Koretsky’s column in Hand Papermaking Newsletter #94, April 2011.

Dear Readers, 

It is my pleasure to serve as the new chair of the board of Hand Papermaking. For the past 28 years, devoted board members, supporters, and a small dedicated staff have kept the organization running smoothly. I will endeavor to preserve its esteemed traditions while moving forward with energy and enthusiasm. 

This year we will expand our global outreach with help from a new International Board of Advisors. We are also working on a strategy to completely redesign our website to be more visually rich and enticing and to make your online experience more organized and engaging. We have a new travelling exhibitions program, in partnership with the Robert C. Williams Paper Museum, that will feature the amazing paper art from our themed portfolios. Our upcoming portfolio explores the concept of negative space, bringing together an exceptional group of artists, and will be available for pre-order in April. 

We are always looking for volunteers with specific skills to help with exciting projects like these, or to help us improve our magazine, newsletter, portfolios, and registry. 

Feel free to contact me with your comments and suggestions. I sincerely appreciate and thank you for your ongoing support, on behalf of all of us at Hand Papermaking. 

Susan Mackin Dolan 

Edwards, Colorado 

> ALONG THE PAPER ROAD... 

This regular feature offers paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. Here Elaine describes a new documentary, “Final Papermakers of the Royal Family of Thailand,” which she and her husband, Sidney, recently produced. 

My 1986 expedition to Bangsoom Village, Thailand, revealed the making of paper from an unusual fiber that I had never previously encountered. I had learned from Dard Hunter’s book Papermaking in Southern Siam, a copy of which I fortunately acquired many years ago, that this eminent American paper historian had visited Bangsoom Village in 1935. He located a papermaking family and described the making of paper from khoi fiber, which I learned is related to mulberry fiber. The villagers had been making khoi paper in Bangsoom for the last 700 years by means of the pouring method, using teak wood moulds with woven cotton fabric attached to them. When Dard Hunter made his visit, he discovered that there was only one papermaking family remaining, the Niltongkum family. This family of papermakers consisted of an elder papermaker, his wife, and their papermaking daughter Loulin Niltongkum. The daughter had two young children, and these two young children were the papermakers that we saw during our visit 51 years later. 

Along with my husband, Sidney, I recently spent three months producing a documentary film dealing with my observations of these now adult sisters who had continued making paper in the same house that Dard Hunter had visited. The source material was collected almost 30 years ago when we visited Bangsoom Village, which we located after much searching. Whereas Dard Hunter reached Bangsoom village by boat along a klong, which is the Thai word for canal, and the most practical way of traveling in Thailand in the 1930s, our travel to the village in 1986 was by jeep. We realized that when we located the Niltongkum papermaking family, consisting of the two sisters, that this family was still the only papermaking family in the village. The two sisters related vivid memories of Dard Hunter’s visit, even though they were toddlers at that time. My husband documented the making of khoi paper by the two Niltongkum sisters using a combination of an 8mm silent film camera and a 35mm slide camera. (See photo of Elaine below with older daughter displaying khoi paper, and younger daughter right with mallets.) This was the source material we used this past summer to produce the documentary film in the format of a DVD. The material was transferred from analog to digital. I wrote the script and did the voiceover for the narrative that was placed on the audio line and synchronized with the video. We added traditional Thai music in the background. We submitted the finished documentary film entitled the “Final Papermakers of the Royal Family of Thailand,” to the Friends of Dard Hunter for presentation at the October 2013 meeting in Saint Louis, Missouri. Unfortunately we were unable to attend this meeting, but our daughter Donna Koretsky made the presentation. Nevertheless we understand that the next FDH meeting in 2014 will be in Boston and we plan to attend and renew ties with all of our friends. 

The film is divided into the various steps of making the khoi paper. 

Step 1. Raw material: The fiber is the inner bark of Streblus aster, which is related to Broussonetia papyrifera, commonly called mulberry. The inner bark is separated from the outer bark, and the inner bark is used for papermaking, while the outer bark is discarded. 

Step 2. Cooking: The cooking takes place in an oil drum that has been cut in half to make two cooking containers. The inner bark fiber is placed in the oil drum, to which water and wood ash are added. The cooking is finished when the fiber is soft and pliable. 

Step 3. Beating: The cooked fiber, after it has been washed clear of unwanted residue, is beaten with two wood mallets, one held in each hand by the papermaker. 

Step 4. Sheet formation: The papermaker forms sheets of paper upon moulds that are floated on the water surface of the klong. She picks up a ball of beaten pulp that she then breaks apart with her hand as she places it in a pail of water, agitating the pulp to mix it thoroughly. Next she pours the pail of mixed pulp on the floating mould and disperses the pulp on the mould with hand and finger movements. She sprinkles klong water upon the floating mould and again disperses the pulp with hand movements. Then she raises the mould out of the klong, allowing the water to drain before handing the mould with the newly formed sheet of paper to her sister papermaker who is sitting on the embankment along the klong. The sister now rolls a wood dowel over the surface of the mould, resulting in the squeezing out of additional water from the newly formed sheet of paper. This maneuver also eliminates air pockets from the sheet of paper and makes the paper smoother. 

Step 5. Drying and burnishing: The moulds containing the newly formed damp sheets of paper are carried to an area where sunshine and air accomplish the drying. The length of time needed for drying is therefore variable. After the sheet of paper is dry the surface of the paper is rubbed with a smooth stone, resulting in a smooth and compact sheet. The finished sheet is then carefully peeled away from the cloth screening. 

While my husband photographed papermaking by the Niltongkum sisters in the klong, the sisters invited me to make a sheet of paper and I enthusiastically accepted. The sisters gave me a sarong to wear, which replaced the skirt I was originally wearing. I slid down the embankment into the klong and proceeded to emulate the Niltongkum papermaker as I placed the floating mould on the water and poured the pail of pulp onto it. However I quickly discovered the klong had a current and I had to hold the mould with one hand to keep it from floating away, as I tried in vain to disperse the pulp evenly on the mould with my other hand, while holding the pail. To make matters worse, my sarong was ballooning out and I tried to restrain that as well. The challenge appeared to be greater than I had anticipated. I even tried the technique of sprinkling klong water over the mould but continued to struggle to disperse the pulp evenly with my hands. It was a complete disaster. Finally, exasperated, I raised the mould out of the water, inspected my work and then placed the mould on the rack, only to notice the two sisters sitting on the bank of the klong, absolutely hilarious, bursting with laughter. Making paper in a klong needs a lot of practice. Of course, Sidney took a movie of my disastrous papermaking experience, and I’ve been told that it’s the highlight of our documentary video. 

We made our second and final visit to Bangsoom Village in 1987, one year after our initial visit and learned that the Niltongkum sisters, who had been supplying the Royal family of Thailand with traditionally made paper, were phasing out the making of khoi paper. In fact, they were not making paper during our visit. We were sad to hear this news and sorrowfully said goodbye to the sisters and to the end of making khoi paper. A few years later during a visit to the National Library of Thailand in Bangkok, we noticed that there was a display of tools, artifacts, and papers donated by the Niltongkum family. We also found out that the sisters were no longer living in Bangsoom Village. 

Editor’s note: The Winter 2001 issue of Hand Papermaking has a review of Elaine’s DVD, “A Tribute to Dard Hunter” by Cathleen Baker. In this tribute Elaine also discusses Hunter’s visit with papermaker Tym Niltongkum and his family. 

> TEACHING HAND PAPERMAKING 

Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. This is a continuation of Winnie’s column from the previous issue, in which she describes teaching the casting and embellishing of paper vessels to students in several high school classes. 

Conveying to casting newcomers how to strike the optimal balance of water to pulp when casting the sidewalls of vessels is generally tricky. One must retain enough water to keep the pulp fibrils open and ready to receive adjoining fibrils, while not letting the work become so soggy that pulp slumps to the bottom. Factor in that everyone interprets words differently, and in some cases, no listening is occurring. I stress the importance of constant mopping of water, without too much actual pressure. I also attempt to achieve a surface superior to that of egg cartons, especially since I had opted to work with neutral grey pulp (but not egg carton grey, mind you!). Amazingly, nearly seventy-one bowls were quite passable, and there are always a handful of students who naturally have a feel for this process. Their bowls were technically quite nice. 

Even though pre-warned that the true work of the day would not be in laying the pulp into the bowls, but rather in hand pressing the water out, there was a good deal of whining during this process. Everyone was on board for pressing lightly at first, then gradually increasing sponge pressure with successive rounds of water removal. But there was almost unanimous participation in the kids-on-a-long-car-trip moaning “are we there yet?” All were surprised at the extent of the pressing required to complete their pulp casting. When the bell signaled the end of the class periods, sponges were dropped and bowls were abandoned. I really only found about a dozen bowls to further hand press myself, which, considering the level of complaining I brought forth from them, really wasn’t too terrible. 

Having scheduled our final two meetings a week after my two wet days, I was fairly certain of two things. First, I was sure all bowls would have dried in that time. And second, since I had observed many bottles of acrylic paint and used brushes in the room, I was hopeful that my selecting that medium to embellish the surface of their cast vessels would fall more within the students’ comfort level, and hopefully their areas of enthusiasm. After a collective eureka moment of discovering that their bowls popped easily from the plastic moulds, and in fact, looked pretty cool with the incised areas, we took some time to discuss surface embellishment. 

Prior to my visit the classroom teacher had asked how he could prepare students for my residency. Since he had expressed interest in presenting the casting assignment in the manner of my “Story Vessel” lesson, I had asked him to develop the idea of a personal logo or symbol with his classes and gave him some examples. However, I was not too surprised to learn that he had only given them my personal logo assignment the day before, as their sketch-of-the-week assignment, due after I was gone. Because of some of his own personal health issues earlier in the year, entailing medical leave, he ended up having to schedule all four Appel Farm artists simultaneously. This meant that on Monday students might be making snow globes, while the next two days they were working with me, then ending the week making origami books with another artist. Meanwhile, he was mostly glued to his desk and computer, working on grading. So we let the personal logo aspect of the assignment go, and spoke of surface design instead. 

Now I’ll share the lesson with which I personally struggled at the culmination of working with these students. To prepare them for my idea of ways they could proceed to embellish the exterior and possibly interior of their hand cast vessels, I showed several examples of surface design on objects of art and commerce. I casually described the work of a whole division of Hallmark surface designers (my sister works in Hallmark’s keepsake division and speaks to me about the surface design department on occasion). I demonstrated applying linear and surface texture patterns to cast paper, using #2 and #4 round and flat brushes and liquid acrylics. 

I emphasized letting the hand cast paper be a strong element that carried surface applications. And then I had to stand by and watch nearly all seventy-one students prefer to totally smother the handmade paper with acrylic paint. When one student noticed the displeasure registered on my face he said, “I don’t mean to insult you but the bare paper is just not my vision!” Oh, well . . . My lesson, only 98% learned—give them all exposure to a new medium, then let go of all expectations of how finished work should look. Find other ways to evaluate the success of the residency and move on! (Or, all’s well that ends!)

> 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 column, “Lest We Forget: 28 July 1914 – 11 November 1918,” reminds us that many of those involved in the production of paper lost their lives in the First World War. 

2014 marks the centenary of the start of the First World War. War was officially declared 28 July 1914 and as the casualties mounted, the British government was forced to introduce conscription. The medically unfit, clergymen, teachers, and certain classes of industrial worker were exempt— including papermakers. 

As early as 21 August 1914 Herbert Green, who owned and operated Hayle Mill in Kent, along with other manufacturers, received an official request from William Henry Beveridge, the Director of the Labour Exchanges and Unemployment Department, Westminster. Beveridge, better known for his later report leading to the establishment of social security and the National Health Service in Britain, requested that the industries monitor and report “any appreciable change in the conditions of your business and employment” on what appears to be a weekly basis. 

Documents held in the Hayle Mill Archives show that Herbert’s first report stated that “we are working exactly the same as we have been doing for the last year or so.” However, he notes that “we could not now ship to Switzerland or Germany of course.” The mill, which specialized in handmade paper, employed 97 men, women, boys, and girls at the time. 

On August 27th he added in a memo, “I am only expressing the feeling of my firm as to our own financial position. If our customers pay, we can carry on our business as usual, but if the moratorium is continued they may not pay us and as we then should be short of money and no one would deal except for Cash down, we should be unable to purchase materials or pay wages and might have to close down.” 

By Christmas 1914, the employees were working short-time and Herbert informed the ministry that “our chief troubles are in connection with transit & the Railway Co. who often refuse goods altogether.” 1916 saw events impact adversely on production with the report revealing that “if any more skilled men are taken, we should have to shut down—we are making a lot of Bank notes for Scotch, Irish & Colonial Banks and filter paper, previously made in Germany—much of which is for Govt Service & a large proportion for Export to the U.S.A.” Although exempted, many of the younger men employed at the mill signed up for duty—some, like Alfred Langley, aged 20, left Hayle Mill before completing his apprenticeship. He never returned. Despite the loss of good men resulting in one vat remaining idle, Herbert refused to let “women to do men’s work,” adding that in his opinion “it is not possible.” 

Another pressing problem, in 1916, was the “impossibility of getting Old French Linen Rags.” The handmade mills, producing banknotes, filter papers, and other fine paper products required a steady supply of good quality linen rags from Belgium and France. With supplies cut off and transportation proving a problem, there was every chance that production at the mills could not continue. According to Herbert Green, the constant search for raw materials caused mill owners throughout the country much anxiety. Orders for filter paper from “the U.S.A. and British Colonies” continued to be received, but these were difficult to execute because rags had become “both dear and scarce.” By March 1917 three more men had left the mill to join comrades at the front. 

A month later Herbert wrote that “rags are at famine prices, also coals, chemicals and practically everything—we lose a skilled man tomorrow and this will probably close a vat down & very likely compel us to shut our Mill before many weeks.” Ironically, there was no shortage of orders, but supplies of raw materials in combination with the loss of good, skilled men limited production significantly and by September 1917 the situation was worse as Herbert wrote that “skilled papermakers, Handmade, cannot be obtained.” 

In April 1918 George IV sent a message to U.S. soldiers on behalf of the British people to “welcome you on your way to take your stand beside the Armies of many Nations now fighting in the Old World the great battle for human freedom” and within six months, “on the eleventh hour of the eleventh day of the eleventh month,” a ceasefire was declared on the Western Front. 

The cost of the War in terms of the loss of skilled men was incalculable. The paper trade, especially the handmade industry, suffered more than most. For this reason, 2014 is time to reflect on those of all nations who were involved in the production of paper, by hand or machine, whose lives were tragically cut short. We will remember them. 

> 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 forty years. In this column, Sid starts out discussing an innovative paper made of stone, then goes on to describe a piece of found art. 

One of the joys of working (and playing) in the world of paper is seeing new and exciting developments in this world. In a column years ago I said that even a blank sheet can be beautiful—in its formation, its materials and texture, its translucence, its deckles, and its other features (color, rattle, watermark, and so forth). And sometimes I find that papers have been put to particular uses that are startling or innovative. Recently I was made aware of what I think is a true innovation in paper: sheets made out of stone. I received a gift of a notepad and a few other paper items made from this amazing material. It is really beautiful. 

The company, Parax Paper, sells notebooks, bags, and plain sheets of paper. Their claim is that each sheet is made of stone. No trees were used, no bleach was necessary, no water was used in the paper’s production. The paper is waterproof. (The paper can be written on under water.) It took half the energy to create as would be used to create the same amount of traditional wood-pulp-based paper, and the production produces half the carbon dioxide. The sheets will not yellow or deteriorate, and it is quite strong (it is hard to tear). I contacted the company and they sent me some sheets of their printing/ writing papers. They are smooth and white and lovely. I tested the paper and it does tear, but with a good deal more strength than it takes for traditional papers. And I did write on it under water. The company sent me a paper bag made from stone, printed with a beautiful pattern, so there is no doubt that the material will take pigments and inks with ease. It is made of calcium carbonate (about 80%) and high-density polyethylene (a plastic which is degradable and is accepted into landfills). (The Wikipedia article on this product says, “Stone paper manufacturing started in the late 1990s and has been patented in over 40 countries. The product was first developed by the Lung Meng Tech Co., in Taiwan and is marketed under trade names such as Parax PaperTM, Terraskin, ViaStone, Kampier, EmanaGreen and RockStock”; see http://en.wikipedia.org/wiki/Stone_paper). 

The applications of this material are many, including, of course, decorated papers. As the Wikipedia article and a search of the Internet show, several companies make this kind of paper. As immersed as I have been in the world of paper over the last four decades, I am always delighted to find something “new” (to me, at least). If this paper is as environmentally responsible as the literature on it indicates, I hope its use increases, thus bringing down its price and saving forests in the process. 

Another serendipitous acquisition came in this last month. I ordered some books from someone and when I opened the package, the books were protected not by those nasty static-electric popcorn pieces nor with bubble-wrap, but with very large sheets of medium-weight paper that had been cut thousands of times in parallel, diagonal rows of slits, each slit about ½” long. The paper had been pulled in such a way that all of the slits had been pulled open, making the sheet truly three-dimensional. This is quite difficult to describe, so I am adding a picture of the sheet. I hope it is visible enough for you to get an idea of what this looks like. 

The whole sheet, if flattened out, would look merely like a white piece of paper, with a lot of little cuts in it. But as it is, it has a three-dimensionality about it, and it draws my eye the way that Op Art does. All of the little holes are not pulled open uniformly, so there is a gradation to what you see when you look at it, and it is further “decorated” in that you can see through all the thousands of holes, so whatever is behind the sheet shows through, lending its own color to the effect. 

This was definitely not created as a piece of decorated paper, but the decoration is inherent in it, and it calls out to be used for projects that call for artistic substrates. In the world of decorated papers, I would call this Found Art. Naturally, I saved all the pieces of this packing paper. It was just too lovely to throw away. I don’t know what I will do with it, but in the meantime, I will merely enjoy looking at it. 

> FOR BEGINNERS 

Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. In this column Mary discusses guidelines for studio and equipment maintenance. 

Once one has set up a working space, modest or fit out for a papermaking practice, what essential things must be done to maintain it in good working order? Pulp tends to travel around to all nooks and crevices. There are places where it is better or worse to leave stray fibers drying. Maintaining humidity levels, as well as wet and dry areas, can be crucial to preserving not only your finished products but to preserving your equipment. Following are a few basic guidelines for keeping your place of work in tip-top condition. 

One of the first things many of us learn in the studio is to avoid letting pulp down the drain; fibers can dry out and create a hard-to-remove clog. I have observed multiple techniques for achieving this task, and have found that often combining two or three approaches is ideal, as pulp is tenacious and some often gets around the obstacles I put in place. Pouring pulp or pulpy water through a colander is a common method. This colander might be lined with a paint strainer bag or mosquito netting. An alternative I’ve seen is to drill holes in a bucket and line the bucket with a paint strainer bag. The bucket gives the bag some structure while allowing water to pass through and drain directly into the sink. As a back up, the drain should be directly protected. One might use a plastic shower drain cover, and/or plastic window screening lining the sink. 

Moulds, and other tools and supplies, should be cleaned thoroughly of pulp. Having a good hose attached to your sink will help you in thoroughly cleaning the fibers from your mould. Spray only at the paper-forming surface through to the back, rather than from the back, so that you don’t drive fibers between layers of the mould, and so that you’re sending water pressure in the direction that best supports the mould’s surface. Hold the mould up to the light periodically as you work to assess your progress, and go back to it after it’s been drying for a little bit to look for any fibers that remain, which will be easier to see as they dry. These fibers are much easier to remove when wet, and can block your drainage or contaminate your pulp the next time you work if they remain on the mould. Felts, whether wool or synthetic, require care as well. They can be rinsed or brushed to remove excess paper fibers. They should be hung to dry thoroughly before stacking. If there is any dampness in the felts when they are stacked, it is a good breeding ground for mold. (The same goes for a stack drying system: turning off a fan before all materials are completely dry can instigate mold or warping that might offset onto your papers.) A dehumidifier or two in the studio can work wonders in allowing these materials to dry out well. Felts can also be laundered periodically, though it should be noted that they should NOT be put in a dryer, nor should they be washed with detergent. Plain water, or washing soda, will suffice. Some synthetic materials (particularly some types of the heavy-weight non-fusible interfacing many papermakers use in their posts of wet papers) do not stand up well to a washing machine, and may begin to pill, so it is advisable to test the material before throwing a full load of your supplies in.Wood boards and tables are an integral part of many studios, and may take a lot of water. Coating this wood with several layers of polyurethane (preferably oil-based for longevity of the boards) helps to protect these boards from warping. Boards should be recoated periodically, as the coating wears down overtime. Do you have other tips for maintaining your studio that weren’t covered here? Pictures of ingenious methods for storing and maintaining your supplies?Email them to newsletter@handpapermaking.org and we’ll include a round up in our next issue.

> FROM THE REGISTRY

Eugenie Barron is a papermaker from Durham, New York. Her mission for this column is to reveal and engage with the artistic vision expressed by diverse individuals in the Hand Papermaking Registry. In this column Eugenie highlights the work of Maria Carolina Larrea— her figures and portraits on handmade paper.

The work of Maria Carolina Larrea combines craft with artistic imagery to penetrate the nature of introspection. A printmaker, papermaker, and book artist, she primarily uses photo transfer on washi to transmit her interpretations of human mood and movement. I can almost see an historical context to her work, though I can’t quite say why I feel that way. Perhaps it is because her portraits and figures can remind us of our own internal histories, our private dialogues. Her photo images of the female face and form portray a mysterious wondering, implying that any hint of candor is off-camera in the secrecy of selfhood. One wonders what is going on behind the scenes in many of these images. Larrea studied printmaking at Pontifica Universitad Catolica de ChileSchool of Arts, where she has taught photography since 1992, papermaking since2002, as well as printmaking and book arts. She received her Masters and is working on her PhD in Art at University Politec de Valencia in Spain. In 2005she was a visiting scholar with Tim Barrett at Iowa Center for the Book, studying European and Japanese papermaking. She has also visited studios of washi in Japan, and done research in Mexico, India, France, the Netherlands, and Argentina. Regarding her travels to study the craft and engage with mills worldwide, she states: “I love a quote by Matsuo Basho, who said ‘I am not seeking to the ancients, I seek what they sought’ and this is the essence of my practice in the traditional Japanese papermaking technique. A way of living and experiencing the art.” 

Carolina’s watermarked washi makes a perfect substrate for her larger scale works, the washi enhancing the ethereal quality of her likenesses. “Impermanence” is a set of 80 x 200 cm sheets made in 2011 for installation. These prints project a powerful ambience with their lifelike scale. The female figure in these lithographs is barely incarnate, and when installed as a group, the reiterated figures play in movement and light, the image in each photo changing slightly in demeanor. In another lithograph, “Lluvia” (Rain), the female leans into a pensive moment, her gesture so incorporated into the watermarked sheet that there is little distinction between presence and absence, print and paper. 

Carolina also uses her paper to weave shifu, calling this process “an active meditation.” These woven mat-like structures are more grounded and dimensional, and used for smaller scale photo transfer projects. Her 2004 series incorporated beads into her shifu woven portraits of queens, each with a corona unique to it’s subject, whether “Queen of the Forest,” “Queen of Pentacles,” or “Queen of Winter.” Her papers ranged in fiber content for these works. While it appears that she works with mulberry for most of her work, she has used abaca, cotton, pina, and even garlic (ajo) for her papers throughout the years. 

Larrea moves back and forth between her flat work and shifu. In 2007 she created a set of prints on washi in which the figure is awash in a realm of symbol. The human figures, some dancing, some simply gazing, some in repose, are mingled among maps, metaphysical ideograph, and esoteric emblems floating within the paper field. In 2012 she returned to shifu with a series containing a more geometric/abstract pattern within the contours of the weavings, through the use of color, thus breaking up the field upon which she printed the figure/portrait. 

I contacted Carolina via email to ask about her influences and intentions. “The longing for past times as a dancer, the subtle movements and texture of the paper with the delicacy of fingers traveling throughout the sheet is a dance itself. But with time, I can see the images are gradually loosing their weight, transforming into translucent beings. You can see this in big size works. I think I am looking for representation an essence of our being. Like those choreographies that can say so much with few meaningful movements.” 

On her website, www.carolinalarrea.com, Larrea includes a bit of demo illustrating the washi papermaking process and highlights some of her extensive teaching work. I found no photos of her book works on her site and so she sent me a photo of her most recent artist book, “CHILE,” a project for the National Library of Chile’s bicentennial celebration. I also found a few photos on the IAPMA website in their gallery, showing how she incorporates shifu into her binding process. Her comment on process: “The practice of the craft is very important to get close to nature and to know our own nature, to develop patience and skills. And if this craft has the most beautiful process, this couldn’t be better. The art of papermaking means to me a way of being part and having conscience of nature transformation.” 

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 2014
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

1890 Bryant StreetStudio 308, San Francisco, CA, www.rhiannonalpers.com, rhiannon .alpers@gmail.com.Papermaking workshops in the studio of Rhiannon Alpers. Papermaking: LocalPlants and Exotic Fibers, January 18, with Rhiannon Alpers. Learn the basics of creating your own handmade paper with exotic fibers from your garden, grocery, and local florist. Sculptural Papermaking & Armatures, March 26 & 30, withRhiannon Alpers. Learn building methods for armatures and covering techniques for varied transparency effects. Arrowmont School of Arts and Crafts, Gatlinburg,TN, (865) 436-5860, www.arrow mont.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. Bear Creek Paperworks, Columbia, MO, (573)442-3360, www.bearcreekpaperworks .com. Workshops in paper and book arts; some workshops can be taken for academic credit through Central MethodistUniversity. Contact Leandra Spangler at leandra@bear creekpaperworks.com for more information. 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 Decorated Paper Open Studios on the second and fourth Thursdays of each month at 6:00 p.m. John C. CampbellFolk School, Brasstown, NC, (704) 837-2775, www.folkschool.org. Classes in papermaking and other crafts in the mountains of western North Carolina. Paint a Picture with Paper Pulp, February 7-9, with Chery Cratty. Work with a porcupine quill and a basic palette of colors in this unique approach to painting with pulp. Painting on Handmade Paper, April 20-26, with MargaretEstes. Make paper from natural, recycled materials, and then paint on it to create beautiful works of art. Canadian Bookbinders and Book Artists Guild, Toronto,ON, (416) 581-1071, cbbag@cbbag.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 anew studio space. Visit website for workshop schedule. Columbia College ChicagoCenter for Book and Paper Arts, Chicago, IL, (312) 344-6630, www.bookandpaper.org.Papermaking classes in spacious downtown studios. Images in Pulp, January17-18, with Amy Jacobs. Produce imagery using a wide range of advanced papermaking techniques. 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, January 7, February 4, March 4, April 8, or May 6, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques. 

Creative Techniques for Artists with Open Studio, January 14, February 11, March 11, April 15, or May 13, 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. 

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, March 7, with Carol Kazwick. Make an assortment of paper using colored pulps, additives, textures, and every size of mould. 

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 Residency and Scholarship applicants and April 1 for Regular applicants. 

Paper Variable Editions, June 22 to July 4, with Paul Wong. Make multiple images in the papermaking process by using techniques such as color pulp stenciling, watermarking, embedding, multi-laminating, blow-outs, and transparencies. 

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. 

The Mill Paper and Book Arts Center, Rhinelander, Wisconsin, (715) 360-3804, info@themillbookarts.org. Classes, studio access, and other resources in paper, book, and print arts in Northern Wisconsin. 

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. 

North Country Studio Workshops, Bennington, VT, (603) 380-4520, http://ncsw.org. Advanced level arts workshops in a range of media. 

Paper Engineering and Sculptural Binding, January 28 to February 2, with Carol Barton. Construct a series of pop-ups from simple to more complex glued structures, along with an accordion book, a carousel book, and a tunnel book. 

Old Ways Book Arts Tools and Workshops, near Santa, ID, (208) 245-3043, traditionalhand@gmail.com, http://www.traditionalhand.com/oldway/. Workshops with Jim Croft in making books from old tools and materials. 

Old Ways of Making Books from Raw Materials, July 1-16, with Jim Croft. Learn to create book arts tools by hand, how to process hemp and flax for paper and thread, hand papermaking, and how to make books with wooden boards and brass clasps. 

Paper Circle, Nelsonville, OH, (740) 753-3374, www.papercircle.org, papercircle arts@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. 

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. 

Playing With Paper, June 27, with Helen Hiebert. 

Paper Balloons, Tubes, & Vessels, June 28-29, with Helen Hiebert. 

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

Papermaking Society, Third Wednesday, 6-8pm. For details contact Associate Papermakers Laura Kinneberg and Lynette Spencer at pyramidpaper@gmail.com. 

Translucent Flax Paper, February 2, with Lynette Spencer. Spend a day creating beautiful, translucent sheets of flax paper. 

Japanese Papermaking, March 2, with Saaraliisa Ylitalo. Learn all steps of the Japanese papermaking process, from fiber preparation to beating to sheet formation and drying. 

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. 

The Society for Contemporary Craft, Pittsburgh, PA, (412) 261-7003, www.contemporarycraft.org. Classes in fiber, book art, and other media in Pittsburgh’s Strip District. 

Papermaking 101, March 22-23, with Katy Dement. Learn to build a mould, process pulp, form sheets, and explore a variety of decorative techniques. 

Making with Mother in Mind, May 10, with Katy Dement. Explore modern papermaking techniques with color, texture, and collage while using natural and found materials. 

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. 

> EVENTS 

Print, Produce, Publish, the College Book Art Association Conference and Annual Meeting takes place January 2-4, 2014, hosted by the Book Arts Program at the J. Willard Marriott Library at the University of Utah in Salt Lake City. The schedule includes members’ exhibition, invited speakers Lesley Dill and Craig Dworkin, panel presentations, studio demonstrations, roundtable discussions, student lightning round, vendors’ fair, Salt Lake City area tours, local exhibitions, student member portfolio reviews, members’ showcase, auction, and an exchange of folded forms. 

IAPMA, the International Association of Hand Papermakers and Paper Artists, convenes in July 2-6, 2014 in Fabriano, Italy. Home to a rich papermaking history for the past 750 years, Fabriano’s Museo della Carta e della Filigrana will be hosting this gathering. For more information as the date approaches, visit www.iapma.info or contact Gail Stiffe at president@iapma.info. 

Helen Hiebert will be hosting the first annual Red Cliff Paper Retreat in her studio in Vail, Colorado, from September 5 to 7. To receive details about this event, email helen@helenhiebertstudio.com. 

The Friends of Dard Hunter will hold its annual meeting and conference in October 2014 in Boston, Massachusetts. The theme is Poetry on Paper. The conference events and activities will include an array of workshops and demonstrations, lectures, exhibitions, and museum tours. Visit www .friendsofdardhunter.org for more information as the date approaches. 

> EXHIBITS 

Works by Peter Sowiski will be on view at the Robert C. Williams Paper Museum in Atlanta, Georgia beginning October 3 and on view through the fall. Peter Sowiski is a nationally known pulp painter, shown in many public and private American collections. A graduate of Oberlin College and Ohio State University, Sowiski has been exhibiting for over forty years. Sowiski has studied papermaking in China, Korea, and Vietnam. He is Emeritus Professor of Fine Arts at Buffalo State College. For more information, visit http://ipst.gatech.edu/ amp/ or call (404) 894-5726. 

The gallery at Paper Circle in Nelsonville, Ohio, features the work of professional paper and book artists from around the country as well as local and regional artists. Upcoming exhibits featuring paper art include Christine J. Higgins in January and “Open and Shut” Juried Origami Exhibition in September. Visit www.papercircle.org or call (740) 753-3374 for more information. 

The mixed media work of Gibby Waitzkin will be on view at Piedmont Art Center’s Pannill Gallery in Martinsville, VA, from February 22 to April 19. The work blends artist-made paper with photographs, scanned imagery, and dried and encaustic-preserved flowers to evoke memories of family, friends, and places. For venue information, visit http://piedmontarts.org or call (276) 632-3221. 

Social Paper, an exhibition of socially engaged work in hand papermaking, will be on view February 10 through April 5 at Chicago’s Center for Book and Paper, in association with the annual College Art Association Conference in Chicago. The exhibit is co-curated by Jessica Cochran and Melissa Potter. For information, visit www .colum.edu/Academics/Interarts/events/ exhibitions/. 

About Paper ends January 4 at Couturier Gallery, 166 N. La Brea Avenue in Los Angeles. Visit www.couturiergallery.com or call (323) 933-5557. 

FiberNext opens at the Delaware Art Museum in Wilmington on February 15, with a reception on February 16. The show closes on April 13. See www.delart.org for details. 

Scythia 10: The Tenth International Biennial Contemporary Textile Art Exhibition and Conference will take place June 18-22, 2014, in Kherson, Ukraine. The organizers seek submissions of fiber art for an international exhibition, as well as proposals for its conference. Deadline for submissions is February 1. Contact the organizers to receive entry details at www.scythiatextile.com or scythiatextile@gmail.com. 

Helen Hiebert is soliciting contributions for a new installation called The Wish, featuring a giant dandelion sculpture. She is collecting audio wishes, which will play during the installation. If you live in the US, call (970) 306-6175 and follow the prompts to leave a recording. Find out more or link to an online submission form under the Make a Wish page at www.helenhiebertstudio.com. 

Treewhispers is an ongoing installation of flat handmade paper rounds with tree stories, poetry, and art. The project continues to seek contributions. The project was started by Pamela Paulsrud and Marilyn Sward. For more information, visit http:// treewhispers.com/here/. 

> OPPORTUNITIES 

Morgan Conservatory is raising funds to launch an Eastern Papermaking Center, led by Aimee Lee, and is currently in search of several interns for February through July to train in-depth in Eastern papermaking traditions. For more information, email aimeeslee@gmail.com or call (216) 361-9255. 

Cave Paper in Minneapolis has worked with over 80 interns since 1994. They are currently looking for enthusiastic people to work at least 6-8 hours per week with flexible scheduling. Although interns are welcome all year, the best times are from May to September. Cave Paper interns become part of the production routine and, as a result, learn a variety of papermaking skills. Request more details from cave paper@gmail.com or call (612) 359-0645. 

The Creative Residency program in Visual Arts at The Banff 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. 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 

A Deep Blue Amen by Stuart Kestenbaum is a new limited edition book published by Amanda Degener/Cave Paper. It features original calligraphy by Jan Owen on polymer plates letterpress printed on handmade paper. For information, contact cavepaper@ gmail.com. 

The long anticipated new book by Nicholas Basbanes, On Paper: The Everything of Its Two-Thousand-Year History, is now available from your favorite bookseller. The 448-page hardcover is a consideration of all things paper—its invention that revolutionized human civilization; its thousand-fold uses (and misuses), proliferation, and sweeping influence on society; its makers, shapers, collectors, and pulpers. 

Paper Dolls: stories from women who served, is the first publication of Shotwell Paper Mill, a production paper, print and book making facility in San Francisco co-owned by Pam DeLuco and Drew Cameron. The book is an entirely handmade edition in collaboration with twenty women veterans. Their uniforms were transformed into paper; their stories were handset and letterpress printed. Read the New York Times article from November 13. See press coverage at http://abclocal.go.com/ kgo/video?id=9322115 Both a limited and trade edition are available at http://shotwellpapermill.com/ 

Dieu Donné is pleased to announce a new edition in handmade paper by B. Wurtz, featuring cotton and linen handmade paper with mesh bags, metal wire, and wood veneer paper. This edition of 25 experiments with dimensionality and explores the boundaries between two- and three-dimensional works in paper. Contact Kathleen Flynn at kflynn@dieudonne.org or (212) 226-0573 for more information. 

Barbara Landes showed students at University of Wisconsin, Madison, how to make watermarks using a hot glue gun. Watch the video demo at http://youtu.be/orSFE-bJniw 

The video Chancery Papermaking at the University of Iowa’s Center for the Book is viewable online at http://bit.ly/HQtpZ9, featuring papermakers Tim Barrett, Katharina Siedler, Mary Louise Sullivan, and Elizabeth Boyne. A high-definition version of the video is also available from University of Iowa Center for the Book. 

A short article called A Library for the People describes making paper from discarded books at the Richmond Public Library in Virginia. The article can be viewed at http:// bit.ly/16WC7Of. 

> MISCELLANEOUS 

A Deep Blue Amen by Stuart Kestenbaum is a new limited edition book published by Amanda Degener/Cave Paper. It features original calligraphy by Jan Owen on polymer plates letterpress printed on handmade paper. For information, contact cavepaper@ gmail.com. 

The long anticipated new book by Nicholas Basbanes, On Paper: The Everything of Its Two-Thousand-Year History, is now available from your favorite bookseller. The 448-page hardcover is a consideration of all things paper—its invention that revolutionized human civilization; its thousand-fold uses (and misuses), proliferation, and sweeping influence on society; its makers, shapers, collectors, and pulpers. 

Paper Dolls: stories from women who served, is the first publication of Shotwell Paper Mill, a production paper, print and book making facility in San Francisco co-owned by Pam DeLuco and Drew Cameron. The book is an entirely handmade edition in collaboration with twenty women veterans. Their uniforms were transformed into paper; their stories were handset and letterpress printed. Read the New York Times article from November 13. See press coverage at http://abclocal.go.com/ kgo/video?id=9322115 Both a limited and trade edition are available at http://shotwellpapermill.com/ 

Dieu Donné is pleased to announce a new edition in handmade paper by B. Wurtz, featuring cotton and linen handmade paper with mesh bags, metal wire, and wood veneer paper. This edition of 25 experiments with dimensionality and explores the boundaries between two- and three-dimensional 

Columbia College Chicago announces the expansion of the Papermaker’s Garden, located at 754 S. Wabash Avenue. The 18-bed garden and tree plantings transforms a gravel lot into an urban garden while showcasing natural, sustainably grown fibers for papermaking. The Papermaker’s Garden opened in June 2012, featuring a variety of plants grown to be used as papermaking fiber and art material in the Center for Book & Paper Arts studios. For more information, visit www.colum.edu/Academics/Interarts/ research/papermakers-garden.php. 

Paper Through Time is a web resource created by Timothy Barrett detailing his analysis of 14th through 19th century papers. View this comprehensive site at http://paper.lib.uiowa.edu. 

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 

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

Unbleached Philippine Abaca $6.00 lb. For samples, please send SASE to Ifugao Papercraft, 6477 E. Grayson, St., Inverness, FL 34452 

Need affordable paper for workshops? We offer authentic hanji, lokta, washi, & xuan. Mention this ad for 10% discount. paper woman@paperconnection.com 

Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc. (910) 739-9605. 

Custom Built Paper Presses for sale, large and small. 23-inch C&P paper cutter. See ad on page 5. Contact The Pterodactyl Press in Cumberland, Iowa, (712) 774-2244, floyd _pearce@yahoo.com 

> more classifieds at 

handpapermaking.org/listings.htm 

> SPECIAL THANKS 

Hand Papermaking acknowledges these recent contributors to our non-profit programs. All donations are greatly appreciated and tax deductible. Our tax ID number is 52-1436849. See our profile on GuideStar. Call or write for information on annual giving levels, premiums, automatic monthly gifts, and in-kind contributions; or details on adding Hand Papermaking to your estate plans. 

Benefactors: Anonymous, Timothy Barrett, Gibby Waitzkin. Patrons: Tom Balbo, Sid Berger & Michele Cloonan, Jeffrey Cooper, Susan Gosin, Kenneth & Marabeth Tyler. Underwriters: Susan Mackin Dolan, Nancy & Mark Tomasko, Pamela & Gary Wood. Sponsors: Cathleen A. Baker, Simon Blattner, Nina Brooks, Tom & Lore Burger, Carolee Campbell, Gail Deery, Michael Durgin, Jane Farmer, Fifth Floor Foundation, Helen Frederick, Helen Hiebert, Ingrid Rose Paper Conservation, Lois & Gordon James, Barbara Landes, Jill Littlewood, Peter Newland & Robyn Johnson, Kimberly Schenck, Richard H. Schimmelpfeng, Beck Whitehead. Donors: Shirah Miriam (Mimi) Aumann, John Babcock, Carol J. Blinn, Velma Bolyard, Kathryn & Howard Clark, Nancy Cohen, Kathy Crump, Jennifer Davies, Linda Draper, Karla Elling, Jim Escalante, Kathy Fitzgerald, Sara Gilfert, Lori B. Goodman, Guild of Papermakers, Robert Hauser, Mervi Hjelmroos-Koski, Milena Hughes, Lou Kaufman, Ellen Mears Kennedy, Joyce Kierejczyk, David Kimball, Sandy Kinnee, Betty L. Kjelson, Karen Kunc, Winifred Lutz, Mary Lou Manor, Anne Q. McKeown, Julie McLaughlin, Dennis Morris, Edward W. Mudd Jr., Catherine Nash, Mary O’Shaughnessy, Andrea Peterson, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Laura Merrick Roe, Michelle Samour, Mary C. Schlosser, Gordon Sisler, Scott R. Skinner, Jean Stufflebeem, Betty Sweren, George Thagard III, Claire Van Vliet, Aviva Weiner, Therese Zemlin. Supporters: Denise Anderson, Mary Ashton, James Barton, Sarah & Joshua Dickinson, Cynthia J. Fay, Kathryn Flannery, Rose Folsom, Mabel Grummer, Beverly Harrington, Eve Ingalls Von Staden, Hedi Kyle, M. P. Marion, Edwin Martin, Kathryn Menard, Ann Miller, Margaret Miller, Janice Nelson, Patricia L. O’Neal, Melissa Potter, Dianne L. Reeves, Leonard Rosenband, Kim Schiedermayer, Kathleen Stevenson, Deborah Stone, Marie Sturken, Women’s Studio Workshop. Friends: Carolyn Ramsey. In-Kind: Adobe Systems Inc., Tom Bannister, Deborah Bevenour, Carol Blinn, John Bordley, Kathy Crump, Kerri Cushman, Janet DeBoer, Amanda Degener, Mindell Dubansky, Michael Durgin, Karla & Jim Elling, Jim Escalante, Peter Ford, Dorothy Field, Robert Hauser, Mildred Monat Isaacs, David Kimball, Sidney Koretsky, David Marshall, Rick McSorley, Microsoft Corporate Citizenship, Steve Miller, Lourene Miovski, Katharine Nix, Margaret Prentice, Britt Quinlan, Jim Reeder, Amy Richard, Margaret Ahrens Sahlstrand, Mina Takahashi, Rose Hunter Valentine, Claire Van Vliet, Pamela Wood. 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 & 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 Sward, Betty Sweren, Gibby Waitzkin, Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela & Gary Wood. 

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