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HAND PAPERMAKING N E W S L E T T E R
Number 109, January 2015
Newsletter Editor: Shireen Holman
Advertising & Listings: Mary Tasillo
Desktop Production: Amy Richard
Columnists: Sidney Berger, Maureen and Simon Green, 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: (301) 220-2393 Fax: (301) 220-2394
E-mail: info@handpapermaking.org
Web: www.handpapermaking.org
The deadline for the next newsletter (April 2015) 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: Tom Balbo, Zina Castañuela, Jeffrey Cooper, Kerri Cushman, Susan Mackin Dolan, Mary Hark, Steve Kostell, Kate Martinson, Anne Q. McKeown, Julie McLaughlin, Alta Price, Amy Richard, Michelle Samour, Eileen Wallace, Teri Williams, Erin Woodbrey. International Board of Advisors: Yousef Ahmad (Qatar), Timothy Barrett (US), Simon J. Blattner (US), Kathryn & Howard Clark (US), Mandy Coppes-Martin (South Africa), Jane Farmer (US), Peter Ford (UK), Helen Frederick (US), Peter & Pat Gentenaar (Netherlands), Simon Barcham Green (UK), Dard Hunter III (US), Kyoko Ibe (Japan), Winsome Jobling (Australia), Elaine Koretsky (US), Carolina Larrea (Chile), Roberto Mannino (Italy), Beatrix Mapalagama (Austria), Bob Matthysen (Belgium), Giorgio Pellegrini (Italy), Brian Queen (Canada), Victoria Rabal (Spain), Vicky Sigwald (Argentina), Lynn Sures (US). Co-founders: Amanda Degener and Michael Durgin.
Dear Readers of Hand Papermaking,
We are pleased to have this opportunity to introduce ourselves to you. Paperhouse Studio is a handmade papermaking facility in Toronto. Equipped with some cast iron and a whole lot of love, we opened Paperhouse in 2013. Our dream is to share and explore this versatile medium with innovative research and teaching.
We had a really exciting first year. Our ventures into theatre design, packaging, and sculpture bring attention to the importance of collaboration across disciplines within the arts, fulfilling a large part of our mandate. One of our most exciting projects to date involved a project on large-scale paper set pieces and wearable artwork with dancer Angela Blumberg. We have some great pictures of this on our website—under “projects.”
We’ve also been running beginner level classes and have rented time to local artists who want to work in the medium. We’ve hosted interns from OCAD University and Ryerson University and they have been indispensable contributors to the space.
Last month we launched a Kickstarter Campaign and raised over $12,000 for much needed infrastructure and equipment repairs. We are indebted to our wonderful and supportive community. We hope, with these funds, to keep improving and working towards a safer, diverse, and creative space. We are very excited to start making and distributing people’s rewards, not to mention getting started on the build!
We are open to the public from Wednesdays to Sundays, 11am to 6pm; if you are in the city we welcome you to come visit us and our beautiful space. We would love to hear from you regardless—if you have project ideas, studio suggestions, or even if you just love to talk shop like we do!
We are happy to be a part of the amazing community and look forward to meeting more papermakers and enthusiasts.
Emily Cook and Flora Shum, Co-owners
180 Shaw Street, Unit 102, Toronto, Ontario M6J 2W5
www.paperhousestudio.ca
info@paperhousestudio.ca
Dear Hand Papermaking,
I have a student from Kimberly, Wisconsin. I was relating the story of the impact that paper wasps had in the early history of papermaking. She said, “Oh yeah, I know, our high school mascot is the paper wasp.” And central Wisconsin sports fans are familiar with the team name: the Papermakers. It took a bit of looking but I found this photo. Tattoo shop here I come!
Jim Escalante
Madison, Wisconsin
> ALONG THE PAPER ROAD...
This regular feature offers paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. In this column Elaine discusses abaca—the way it is grown, harvested, and processed; and her experiments in both its pulp and fiber forms.
Lately my traveling along the paper road has taken me back in time, and I have been reviewing silent film footage from my first Asian papermaking expedition in 1976 when I traveled with my husband Sidney to Japan, Taiwan, and the Philippines.
This was the first of many trips to Asia to document traditional papermaking, and we used a silent movie camera with super 8 film. This analog film was subsequently digitized and transferred to a DVD disc and I have been reflecting upon it on my computer.
I am particularly interested in the footage of an abaca plantation in the Philippines, and have decided to devote this article to my experiences with abaca, both thirty-eight years ago and in the present. It was less than three minutes of film, but it showed the vast plantings of abaca, botanically known as Musa textilis. The plants can grow up to twenty feet tall, with each stalk about 6 inches in diameter. Each planting actually consists of a cluster of 12-30 stalks, radiating from the same root system. The stalks are ready to be harvested after they flower and bear fruit, nearly two years after being planted. The abaca plant resembles the common cultivated banana plant, but the leaves are narrower, and pointed at the ends. Also, the fruit produced by the abaca plant is smaller than the banana, full of black seeds, and inedible. Abaca fiber is stronger than banana fiber.
Abaca is a leaf fiber—the fiber is obtained from the leaves of the plant. It is a bit confusing, because the fiber is not extracted from the visible leaf blades that we see on the plants, but from the leaf stems which are actually the base of the leaves. The green false trunks of the abaca consist of a number of overlapping sheaths and each sheath is the base of a leaf. The abaca fiber is extracted from the outer portions of these leaf sheaths. Only about 2% of the weight of freshly harvested stalks is usable fiber.
Leaf fibers tend to be hard, coarse, and stiff fibers. Another leaf fiber known to papermakers is sisal, which comes from Agave sisalina. As a contrast, bast fibers, which come from the inner bark of plants, and are commonly used by hand papermakers, generally tend to be softer and more flexible. Examples include flax and hemp.
At harvest time, the mature leaf stalks are cut at the base with a knife or sickle, so as to fall to the ground in the same direction. The cut stalks are placed in a pile, and the fiber-bearing outer layer is stripped off by knife into ribbons, called tuxies, 3 inches wide, 1/6 inch thick, and as long as the banana stalk. Each leaf sheath produces about 4 tuxies.
The next step involves extracting the fiber from the tuxies, and I have great footage of this process called ‘hand stripping.’ Thirty-eight years ago I observed a worker placing a tuxie on a strip of wood, and scraping it first with the edge of a shell to remove the green pulpy layer surrounding the fibers. Next the cut edge of a broken plate was used to further scrape the strip, so that only the long fibers remained. These abaca fibers are then dried in the sun and bundled. This technique produces the highest quality fiber. The second method of extracting the fiber is called ‘spindle stripping,’ and also produces high quality fiber. This method is also labor intensive, and is essentially hand stripping with the aid of equipment, some simple and some more mechanized. The third method of extraction is using a decorticating machine into which the entire stalk is inserted. This produces the lowest quality fiber.
Abaca production has been regulated by the Philippine government since 1914, when abaca fiber was classified based on color, strength, and cleanliness. This method of quality control has been effective, and there are grading stations throughout the abaca growing regions, where independent inspectors classify all of the fibers produced. The highest quality fibers are hand or spindle stripped, and are classified as an S grade.
I began using abaca in hand papermaking in the 1970s. In those early days, there were few other papermakers, so I obtained a great deal of useful information by talking to the technicians and scientists working at paper mills. It was from one of these mills that I learned about abaca and began experimenting with making paper from abaca pulp. Soon I was importing tons of abaca pulp from the Philippines. It has become popular for hand papermakers to use due to its long fiber length, strength, and wet strength. It is also convenient to use, as the fibers are cooked and processed in the Philippines into pulpboard. Abaca pulp in sheet form produces beautiful paper when further beaten in a Hollander beater, and it makes great paper even when simply mixed in a kitchen blender.
When Carriage House Paper recently received a 500-pound bale of grade S abaca fiber from the Philippines, I was intrigued and eager to experiment with it. After thirty-eight years of working with abaca in pulp form, I was finally going to work with abaca in fiber form.
The most grueling part of this experience was the first step—cutting the long strands into 2-inch lengths using an ordinary pair of scissors. It probably only took thirty minutes to cut one pound of fiber, but I managed to get two painful blisters, and vowed never to cut fiber with scissors again. I next cooked it in lye for three hours, since that is how the fiber is processed in the Philippines. After rinsing, I slowly loaded the pound of cooked fiber into my Reina beater, and quickly brought down the roll to beat it hard. After only one hour, the pulp was ready. It seemed too easy; I was expecting a greater challenge in the beating process. It never roped the way flax sometimes does. It never got jammed in the roll. Sometimes, however, the fibers would bird-nest in front of the roll, and I would have to stop the beater, take out the large clump of fiber, turn it back on, and redistribute the fiber into the circulating tub.
Normally I prefer not to use something as caustic as lye in fiber preparation, so I decided to cook another batch of abaca fiber in soda ash. This time I enlisted one of my assistants to cut the fiber into 2-inch lengths. Once again, I slowly added one pound of abaca fiber to the beater, brought down the roll, and found that the pulp was ready in one hour, even with the minor bird-nesting problem. Beating cooked fiber was so easy that I decided to attempt to beat the fiber without cooking it at all. After persuading my assistant to cut yet another pound of abaca into 2-inch lengths, I again slowly added the fiber to the beater as the water circulated around the tub. This was a much more difficult task. Right away I had a major bird-nesting problem, but I persevered, and after standing at the beater for over one hour, finally had the full pound of uncooked fiber happily circulating and the beater’s counter down to 4. After another hour I brought the roll down even further and decided to beat the abaca for 3½ hours to see if I could get some interesting shrinkage properties in the finished paper.
Finally it was time to make paper with the three batches of abaca pulp.
The finished paper was exquisite but the results were not at all what I expected. Paper made from the fiber cooked in lye was strong with a definite rattle, somewhat translucent and a lovely cream color. Paper made from the fiber cooked in soda ash was a darker color, and had more rattle and translucency. When air dried this same pulp which was only beaten for one hour, exhibited high shrinkage properties which I find quite exciting. Meanwhile, the uncooked fiber that was beaten the longest was, surprisingly, the lightest in color, and opaque. It did not shrink at all when air dried. I am perplexed by these results, and feel as though I need to experiment more before making any definitive conclusions. Now I just have to find someone to cut the fiber for me.
> 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 describes the second workshop in her 2014 “Washi in the Garden” series. In this workshop participants experimented with layering and decorative techniques using pigmented gampi and kozo.
On a beautiful late summer Saturday, seven friends and washi enthusiasts gathered with Rona Richter and me in her peaceful garden for our second Japanese paper adventure of the season. I had promised everyone the opportunity to work with pigmented pulp and experiment with some decorative techniques. Once again, I had completed the soaking, cooking, beating, and this time, the pigmenting, before our workshop. But we had some kozo soaking and described the other preparatory steps for those who were interested.
I prepared Thai kozo in its natural color for use as our base or foundation sheets. I then divided a batch of gampi into three parts for pigmenting in yellow ochre, red oxide, and royal blue with a hint of pearlescent sparkle. I was able to achieve good color saturation, somewhat at the price of greater translucency and crispness. But the un-pigmented kozo would possess those qualities. Because I wasn’t sure that Rona’s homegrown tororo root would be completely happy with the pigmented fibers, I had back-up synthetic neri on hand. The “coagulant” version would also allow me to add flocks of colored fiber to the natural vat later in the day.
Nearly all of our “washi friends” had gathered around our vats previously, so there was little need of a pre-papermaking intro. But I did show a few examples of decorative sheets created by using graduated layers of color, stencils, double couching, and “rain papers.” Then, after observing demonstrations of the various techniques, everyone was anxious to try things on their own.
Lace, or rain papers, turned out to be quite seductive for all. A favorite fiber choice was heavily pigmented and slightly coagulated gampi gathered on the su, then randomly displaced by firm squirts of hose water. We also found success with a spray mist bottle that possessed an adjustment for a strong single jet of water. This proved effective in creating linear fiber displacement. Some chose to couch decorative layers atop base sheets of kozo, while others filled in the empty areas on the su, (created by water force) with successive dips into other vats.
The lovely translucency of washi allows inclusions to be more visible between layering. Several people brought their treasure stash to embed in their creations in a collage-like fashion. Folks also enjoyed the ability to develop pigmented graduated washes of color across or around the perimeters of the su by collecting fibers from successive vats in layers, without having to couch each color separately. The neri from Rona’s tororo root worked well with the pigment, but we did use synthetic coagulant to clump one vat of fiber.
Another favorite technique was the use of simple paper stencils to block surfaces of the su while dipping into one color. The stencils could then be removed, revealing uncoated screen, and a different color fiber could then be used to fill in the open areas on the su with the next few dips into the vat.
Our washi enthusiasts worked diligently, dedicated to trying as many techniques and making as much paper as our time and energy allowed, and the day flew by! All too soon it was time to press posts between dry synthetic chamois and plywood boards. Pressure was provided either by C-clamps or one of us just standing or sitting atop the press post. (There were several volunteers for this job by day’s end.)
I believe that we’ve all come to really enjoy the ambience and camaraderie as well as the delicious fibers from the now biannual “Washi Days in the Garden.” We’ve already had several requests for a return offering of “Pouring Big Sheets of Paper.” This is something to look forward to with the return of warm weather in the coming spring of 2015!
> PAPER HISTORY
Maureen and Simon Barcham 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. Here Maureen and Simon discuss the history of the use of paper for money and its possible demise in favor of plastic currency in the future.
Although there are references to paper currency being used in China as early as the seventh century, paper notes were not used as legal tender in England until the latter part of the seventeenth century.1 In 1694 the Directors of the Bank of England held a number of sessions to debate whether or not the Bank should be introducing a form of paper currency. The result of these debates was that paper became an acceptable means by which the Bank issued promissory notes. These could be exchanged on demand for part or whole of the value of the note in gold or coinage.2 During the eighteenth century there was a movement towards issuing notes for fixed sums, and by 1745 the Bank had begun to issue fourteen different denominations with values ranging from twenty to a thousand pounds with a different design used to distinguish each value.
It was not long after this that Richard William Vaughan was caught in the act of tampering with the denomination of notes to increase their value. Vaughan’s counterfeiting efforts led to his demise, and on 1 May 1758, he was publicly executed at Tyburn.3 If Vaughan’s hanging was meant to discourage others, few paid attention to his plight. Between 1819 and 1820 the Bank of England paid a balance of £20,912 4s 0d to their solicitors Messrs. Winter, Kaye, Freshfield & Kaye for their “extraordinary trouble conducting prosecutions against 557 Persons for forgery in the course of the last two years.”4 The increasing number of forged notes circulating throughout the country resulted in the Bank’s increasing efforts to review the technical means by which their notes could be made more secure.
Opinions varied as to how the Bank could tackle the problem, with some individuals insisting the solution would be found by devising special engraving and printing processes. The wood-engraver Thomas Bewick submitted “for consideration a wood-engraving which had been executed by him on the end-grain” of the block using specially devised engraving tools as a solution to the problem.5 Bewick determined that his method would distinguish notes from “normal woodcuts made with a knife on the side of the grain.”6 The papermaker, John Dickinson, suggested a “fine coloured thread be embodied in the substance of Bank Note Paper to be perceptible to the eye.”7 Another challenging idea was proposed by Sir William Congreve, when he submitted his ideas for complex watermarks in 1819. Congreve recommended laminating a number of thin coloured and white sheets of paper in each note as well as encapsulating letters and numbers between each layer.8 After due consideration, it was agreed that Congreve’s idea was far too time consuming and expensive to be of any practical value.
Despite these and other suggestions, after twenty-five dedicated years of research, the Directors of the Bank of England concluded that watermarking the paper remained the only true means by which the Bank could secure their notes. As one manufacturer noted at the time, “the combination of the light & shade watermark too is a very great obstacle to the forger—I do not say it is impossible to be imitated but I think it is without employing a paper maker to make the paper on purpose & he can only do it by the assistance of the other trades.”9
From a handmade perspective this conclusion was very good news indeed, for it had long been acknowledged that watermarks could not be executed as effectively using a dandy roll as they could be by forming each sheet by hand in the traditional manner. Particularly difficult for a machine were the complicated light and shade versions developed by Brewer and Smith in 1849.
The Fourdrinier machine’s light and shade marks were considered inferior because the paper had already been formed prior to a dandy roll impressing the image onto the surface of the wet sheet. Handmade versions were formed on the mould during production, becoming an integral part of the paper. Although the cylinder mould machine, a greater rival to the vat trade, was able to produce a better end result than a Fourdrinier, the watermarks produced also lacked the clarity of hand-executed examples.10
The Bank of England was by no means the only bank permitted to use paper notes as a form of legal tender in the country. Although the Bank legally exerted control over the character or design of notes in order to protect the exclusivity of their own issue, and held a monopoly of joint stock banking by limiting other banking establishments to no more than six partners, many London private banks, country banks, and bill-brokerage firms were also established.11 By the end of the eighteenth century approximately seventy private banking establishments provided new opportunities for the paper trade. Aside from home markets, Britain’s expanding empire created new markets for a wide variety of paper. It was observed that the 1860s saw the emergence of a number of “Colonial Joint Stock Banks” mainly based in London.12 While Henry Portal’s Laverstoke Mill near Basingstoke was awarded a monopoly over the manufacture of paper for Bank of England notes in 1724, the demand for notes generated by other financial interests kept a number of paper mills in business.
Portal’s, owned by De La Rue International Limited, continues to produce Bank of England notes, along with currency notes for many other countries. However, after over three centuries of service, their contract with the Bank of England to manufacture the paper for pound sterling notes is drawing to a close.
On the 10th of September, 2013, the Bank of England announced that it was intending to replace traditional paper banknotes with a new version of “wipe-clean polymer notes.”13 The Bank further explained that the new plastic notes would be “tougher to counterfeit and last up to six times longer” than the paper notes presently in circulation.14 Representatives assured the British public that this move had long been considered and had little to do with the new Governor of the Bank of England, the Canadian economist, Mark Carney. Canada had recently joined other countries, including Australia, New Zealand, Singapore, Mexico, and Nigeria, and began issuing twenty-dollar notes printed on polymer with added security and anti-counterfeiting measures.
The first examples of the new British plastic currency will be in circulation by March 2016. While De La Rue will continue to print the notes at the Bank of England’s printing works in Debden, Essex, the new five- and ten-pound notes will be printed on Guardian® bi-axially orientated polypropylene made by Innovia Security at their new production plant in Wigton, Cumbria, North of England.
1. Hunter, D., The History and Technique of An Ancient Craft (New York: Dover Publications, Inc. 1978), p. 204.
2. Byatt, D., Promises to Pay (London: Spink & Son Limited, 1994), p.11.
3. Hunter, p. 281 Tyburn was once a village on the periphery of London – presently Marble Arch.
4. Bank of England Archives (hereafter BEA): G34/58 – AB 1075/3 Court of Directors’ Minute Books, p. 86. 5. Byatt, p. 57.
6. Byatt, p. 57.
7. BEA: B536 1797, pp. 117-122. A version of Dickinson’s idea was adopted in the twentieth century, and the inclusion of a metal or plastic thread remains a security feature in many paper notes.
8. Hunter, p. 538.
9. Hayle Mill Archive: 7/1/6.
10. Hills, R. L., Papermaking in Britain, 1488- 1988 (London: The Althone Press, 1988), p. 177.
11. Byatt, p. 21.
12. Kynaston, D., The City of London: A World of its Own 1815-1890, I (London: Chatto & Windus Limited, 1994), p. 14.
13. www.bankofengland.co.uk/banknotes
/polymer/Pages/default.aspx
14. www.theguardian.co
> 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 about Milena Hughes, Sid begins a series exploring the work of individual paper artists.
I have made the point years ago that in the colophons of many finely bound books one might find the name of the author, printer, publisher, type designer, book designer, illustrator, papermaker, and binder, but often the name of the person responsible for the lovely decorated endsheets or cover papers will be missing. On a rare occasion, as with the paste papers of Veronica Ruzicka, the paper decorator might be mentioned, but this is exceptionally rare.
With the present column, I would like to begin a series of pieces about important paper artists, and for several reasons, the perfect one to inaugurate this series with is Milena Hughes, one of the most imaginative and meticulous artists working in paper. Or I should say “who has worked with paper,” since Milena has now moved on to other things. This is a shame, since she has produced a body of work that is truly astonishing, and to see her work in this medium come to an end is a great loss to the world.
Earlier in her career Milena created decorated papers for commercial companies, who used them as the basis of tiles, wallpapers, fabrics, and even ceramics. Her work on paper translates beautifully to other substrates. Indeed, she also applied her skills to other surfaces, like wood and tiles. In my wife’s and my collection are several beautifully marbled wooden eggs and two exceptional marbled bowls. And one particularly stunning marbled sheet adorning our living room wall is in Milena’s marbled mat and marbled frame.
The marbled sheet is amazing: it is something like a floral pattern, with marbled borders and the “flower” in the middle of the sheet floating against a clear background. It looks as if the entire marbling bath was covered with drops of pigments, then ox-gall water was dropped into the middle of the trough to create a large “blank” circle, and then droplets of pigments were introduced into this open circle and worked carefully with a stylus into the flower-like pattern. We have this wonderful piece surrounded by other framed art, but this is the one everyone is drawn to. The sheet is so lovely that people often don’t even see the marbled mat and frame.
One of the things that makes Milena stand out from other paper artists is that she works with equal brilliance in several media: marbling, suminagashi, collage-like compositions, and other techniques. Rosamond Loring said that she liked marbling, but she preferred paste paper decoration. She felt she was better at the latter, and most historians agree with her honest self-assessment. But Milena has excelled in all of the paper decorating techniques in which she has worked.
For instance, in our collection is a sheet on the surface of which are scores of small shiny bronze squares of decorated paper, lined up in rows. It is elegantly designed and meticulously composed, and it would make a striking pattern for wallpaper or fabric. Milena sold many such patterns to companies that used them for decorating homes and textiles.
Several years ago, after producing many lovely marbled patterns, Milena turned to suminagashi, and when she takes on a medium, she masters it. We have examples of many of her sumi sheets, every one a marvel of elegance and control (in a medium in which the artist often has little control).
One might think that suminagashi is merely floating pigments on the surface of a trough and moving the air above the surface to get the pigments to move here and there to create the final pattern. How much skill can this take? But when Milena takes on an artistic medium, she works to perfect it, and her sumi sheets show extraordinary skill and control. With suminagashi, she studied with the Japanese master Takaji Kuroda and then she went on to teach 10-week courses in the art. Her suminagashi papers are as wonderful as are her marbled sheets.
We have all seen decorated papers of artists whose techniques are superb but whose color sense is, let’s say “not my thing;” or papers with superb color choice and combination but whose techniques are amateurish. With Milena we have a true artist in every sense: wonderful colors in perfect combinations, control over the medium, mature and fully mastered techniques, restraint and innovation, and final products that are purely artistic and that show superb skills in the craft and aesthetics of the medium.
I asked Milena to send me some words about her art, and she forwarded this artist’s statement:
The art of marbling stimulates both the familiar and the inexpressible. There is a sensory richness that comes from embracing a technique with history, drawing in of symbol and vision from other cultures. It complements my curiosity and fascination with water-based media as well as forms and textures found in nature, and I can perceive nature’s beauty through the gentle flow of meditative visualization incorporating expansion and contraction of floating pigments.
Infinite care and hard work are helpmates in creating a synthesis of tradition and innovation in my marbled pieces, whether they be an intricate pattern or fine art composition. My journey has been ever evolving, coaxing me toward uncharted waters awaiting creative exploration.
This passage reveals Milena’s approach to her art: recognizing the historical nature of the medium, but always looking for something creative and new that she can impose on the models of the past. Milena Hughes’ papers combine wonderful craftsmanship and artistry.
For examples of Milena Hughes’ work see Diane Maurer-Mathison, The Ultimate Marbling Handbook (New York: Watson- Guptill, 1999), pp. 102, 131-32, 135, and 136; and Patty Schleicher and Mimi Schleicher, Marbled Designs: A Complete Guide to Fifty-Five Elegant Patterns (Asheville, NC: Altamont Press, 1993), p. 134.
> 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 different ways of framing and hanging works of handmade paper.
Works in handmade paper, with their lush textures and deckle edges, are not always suited to conventional framing for display, with the glass barrier and the mat covering the deckle edge. Deciding on how to best display your handmade papers can be a matter of deciding between protection and access. UV glazings protect your works from light deterioration and dust, and the mat provides an important spacer between the surface of your art and that glazing. Furthermore, every decision you make about display is a decision of trade-offs between cost, ease, appearance, and protecting the work.
Framing Handmade Papers
If you require the protection of a frame, consider float mounting your piece. This means that rather than the mat covering the edges of your paper, the deckle edges will be visible and framed by the top mat. Ensure that the mat provides enough depth so that your paper does not touch the glazing. You may double or triple mat a piece to accomplish this, use thicker mat board, or look up instructions for creating a sink mat for papers with significant depth.
The artwork should be adhered to the mat with two strips of hinging tape partially adhered to the back of the artwork, threaded through a slit in the mat, and affixed to the back of the mat with a cross piece of hinging tape. Our goals are to minimize the amount of adhesive that touches the artwork, and to ensure that the adhesives we use are reversible (can be removed with the application of water or solvent). Wheat paste and Japanese tissue are ideal for this purpose, but gummed hinging tapes are available commercially. Look to see whether the tape is removable with water or solvent. Also consider the weight of the tape material. It should be strong enough to support your artwork, but it should not be stronger than the paper you are framing. (Should it come under any stress, you want the tape to rip before your artwork does!)
The basic principle is that you want to cut a slit in your backing mat about 3/4” below where the top of your artwork will sit. On the back of your artwork, just below this 3/4” mark, you will use two strips of hinging tape oriented vertically. For gummed tapes, all adhesive will be facing the back of the artwork (see diagram).
The strips should be folded in half horizontally and straightened again. The lower half of the strip will be adhered to the artwork, with the fold hitting the 3/4” mark. The loose half of the strips can then be pulled through the slit you cut in the backing mat, placement adjusted, and the strips adhered to the back of the backing mat with a cross piece of hinging tape, oriented parallel to and above the slit in the mat. Voila! The piece is matted mounted and ready to frame.
Art and mat as viewed from the back.
a) hinging tape, not adhered to art
b) hinging tape fold line
c) hinging tape, adhered to art
d) slit cut in mat
e) hinging tape from artwork, loose end, pulled through slit and adhered to mat with cross piece of hinging tape
Magnets and Other Fasteners
The advantages of keeping works of handmade paper free of a frame are a better ability to see the texture and sheen of the paper, as well as the visibility of the deckle edges. For a non-archival solution that hides the hanging system well, I have used dots of adhesive-backed velcro, nailing one piece into the wall and adhering the twin piece to the back of my artwork. A more archival version of this solution might involve sticking the artwork side of the velcro to the piece with a paper or linen hinge, per the hinging guidelines above.
The use of small binder clips hung from nails to hold the artwork in place is fairly common. Consider inserting a small folded piece of stiff paper between the binder clip and your artwork to protect the paper from denting where it is clamped by the metal.
Another fairly elegant, though not entirely invisible, solution is hanging with neodymium rare earth magnets. These strong magnets can be purchased in very small sizes. Insert nails or thumbtacks into the wall behind where the artwork will hang. Then use the magnets in front of the artwork, over the tacks, to magnetically clamp the artwork in place. One variation of this is to use the magnet system in a thin strip of wood or dowel, which can then be hung from the ceiling with wire, to suspend your work in place.
Consider the effects of hanging handmade paper art against a wall versus an inch or two out from the wall, as well as hanging in front of a window or light box. These variations can change the presence of the piece in space, or how the paper’s texture and translucence can be seen.
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 2015 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.
newsletter@handpapermaking.org.
Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www .arrowmont.org. Classes and workshops in a variety of disciplines, including 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 Methodist University. Contact Leandra Spangler at leandra@bearcreekpaperworks.com
for more information.
The Boston Paper Collective, Boston, MA (614) 282-4016, www.bostonpapercol lective.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. Campbell Folk School, Brasstown, NC, (704) 837-2775, www.folk school.org. Classes in papermaking and other crafts in the mountains of western North Carolina.
Stitched Paper Boxes, June 7-12, with Claudia Lee. Create handmade sheets of paper using several techniques that will produce paper of different weights and textures, then assemble the papers into boxes incorporating embellishments.
Canadian Bookbinders and Book Artists Guild, Toronto, ON, (416) 581-1071, cbbag@ccbag.ca, www.cbbag.ca. Book and paper workshops located on-site in Toronto and in off-site studios.
Carriage House Paper, Brooklyn, NY, (800) 669-8781, www.carriagehouse
paper.com. Papermaking workshops offered in a new studio space. Visit website for workshop schedule.
All About Flax, January 12-15, with staff instructor.
Columbia College Chicago Center for Book and Paper Arts, Chicago, IL, (312) 344-6630, http://www.colum.edu/ academics/book-and-paper/index.php. Papermaking classes in spacious downtown studios.
Cronquist Paper Studio, PMMS, Graudu iela 59, Riga, Latvia, http://ilzedilane sart.blogspot.com, ilze.dilane@gmail .com, +371 25608690. Papermaking workshops using pulp from denim jeans and cotton rags, pulp painting, and surface decoration. Working languages include Latvian, Russian, and English. Studio time and instruction by appointment.
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 in downtown Manhattan.
Eureka Springs School of the Arts, Eureka Springs, AR, (479) 253-5384, www.esartschool.org. Offering learning opportunities in multiple media including fiber arts.
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.
Fleisher Art Memorial, Philadelphia, PA, (215) 922-3456, www.fleisher.org. Offering workshops and community programs in a range of media.
Green Heron Book Arts, Forest Grove, Oregon. Classes in book and paper arts at the Accidental BookMaker. Contact pagrass@aol.com for more information.
The Hall of Awa Japanese Handmade Paper, 141 Kawahigashi, Yamakawa-cho, Yoshinogawashi, Tokushima 779-3401, Japan, fax 81-883-42-6085, www
.awagami.com.
Mitsumata, January 24-25, with staff instructors. Learn the entire Mitsumata papermaking process from harvesting Kozo and Mitsumata branches to cleaning the bark, steaming, and papermaking.
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.
Papermaking, July 19-31, with Amy Jacobs and Cynthia Thompson.
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.
Kalamazoo Book Arts Center, Kalamazoo, Michigan, (269) 373-4938, info@kalboo karts.org, www.kalbookarts.org. Classes in book printing and binding, printmaking, hand papermaking, and creative writing.
La Font du Ciel, La Chambary, Charrus, F-07230 Saint André Lachamp, France, pfpfrerick@aol.com, www.frerick.de. Papermaking workshops at the east foothills of the Cevennes taught by Helmut Frerick.
Lost Coast Culture Machine, Fort Bragg, CA, www.lostcoastculturemachine.org, (707) 691-1600. An artist-run contemporary art space focusing on interdisciplinary & sustainable creative practice, offering workshops in papermaking.
Magnolia Editions, Oakland, CA, (510) 839-5268, www.magnoliapaper.com. Workshops in papermaking, printmaking, and book arts.
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.
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.
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.
Open Studio: Papermaking (B.Y.O. Fibers), Tuesdays and select Saturdays, with staff instructor. Get into the vat, hone your sheet-pulling technique, and enjoy the fellowship of other artists, using your own previously beaten fibers.
Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, http://morgan conservatory.org. Workshops in hand papermaking and the arts of the book in an innovative green environment.
Custom Paper Lanterns, February 7, with Wendy Mahon. Lash together twigs and branches and cover the organic armature with elegant handmade paper to create a tabletop lantern.
Oregon College of Art and Craft, Portland, OR, (503) 297-5544, www.ocac
.edu. Continuing education and degree programs in craft.
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.
Papermakers of Victoria, at Box Hill Community Arts Centre, Whitehorse, Victoria, Australia, phone 9885 2479. Workshop and exhibition information can be found at www.papermakers.org.au.
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 .papier wespe.at. Workshops in English and German taught by paper specialists in downtown Vienna.
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.
About the Bark: Fibers & Color, Dates TBA, with Melissa Jay Craig.
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.
Intro to Western Papermaking, January 11, or March 8, with Marjorie Devereux. Learn the basic techniques of Western-style hand papermaking, including pulp preparation, sheet forming, couching, pressing, and drying.
Shifu, February 7, with Saaraliisa Ylitalo. Learn the classic Japanese technique of making thread from paper and using it to weave cloth.
Robert C. Williams Paper Museum, Atlanta, GA, (404) 894-5726, http://ipst
.gatech.edu/amp/.
San Francisco Center for the Book, San Francisco, CA, (415) 565-0545, www.sfcb .org. Book arts classes and events year-round.
Paper Balloons, Tubes, and Vessels, February 6-7, with Helen Hiebert. Turn flat sheets of paper into sculptural forms that expand and collapse, open and close, fold and unfold, inflate and deflate.
Make & Take Papermaking with the Mobile Mill, March 7, with Jillian Bruschera. Turn paper trash into paper treasure in this 3-hour introductory hand papermaking workshop.
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.
Seastone Papers, West Tisbury, Martha’s Vineyard, MA, (508) 693-5786, www.seast onepapers.com. Scheduled classes, open studio, and private workshops in hand papermaking, surface design, and book arts. For further information, email Sandy Bernat at sandy@seastonepapers.com.
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.
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.
SpeakEasy Press, Dillsboro, NC, www .speakeasypress.com, frank@speakeasy press.com, (205) 310-4740. Working and teaching studio space for papermaking, letterpress printing, and bookbinding. Workshops, apprenticeships, and collaborative work with other artists are available in the print/binding and papermaking studios.
University of West England, Bristol, U.K., (0)0117 3284810, sca.cpd@uwe.ac.uk, www.bookarts.uwe.ac.uk. Classes offered through Continuing Professional Development at the School of Creative Arts.
Japanese Book, Print & Paper Arts, August 10-14, with Jeff Rathermel. Explore Japanese papermaking, paper decoration, and binding structures in this intensive course.
West Dean College, Chichester, West Sussex, U.K., (0)1243 811301, short.course@ westdean.org.uk, www.westdean.org.uk.
Creative Papermaking with Color and Thread, February 15-19, with Jane Ponsford. Explore the creative possibilities of papermaking using cotton and linen pulps, incorporating color and structure using thread and dyed pulps.
Wisconsin Center for Book and Paper Arts, Madison, WI, (608) 284-8394, wcpaperarts@hotmail.com. Offering tutorial programs in hand papermaking and decorative papers.
Women’s Studio Workshop, Rosendale, NY 12472, (845) 658-9133, info@ wsworkshop.org, www.wsworkshop.org. Summer Arts Institute includes workshops in papermaking, printmaking, book arts, photography, and other media.
> EXHIBITS
Empooling, an exhibit of handmade paper work created by Stella Rahola Matutes at the Museu Molí Paperer de Capellades, is on view at Museo Antón in Candás, Asturias, Spain through January 12. For more information, visit http://museoanton.com/ or www.mmp -capellades.net.
The Biennale Internationale Des Arts du Papier Edition 2015 will feature paper-based works on the theme of Transformation. This traveling exhibition will first be on view in the United Kingdom March through May of 2015. For information, contact Jan Fairbairn-Edwards at chainedepapier@wanadoo.fr.
> EVENTS
CODEX 5 Book Fair and Symposium takes place February 8 through 11 in Richmond, California. This year’s event features Keynote Speakers Alberto Manguel and Roberto Trujillo, as well as Book Artists Ken Botnick, Carolee Campbell, Ines von Ketelhodt, and Sam Winston, ARC. For more information, visit www.codexfoundation.org.
Paper and Book Intensive 2015 will take place May 17 to 28, at Ox Bow in Saugatuck, Michigan. Learn from the best practitioners of books arts, papermaking, and conservation. This year’s PBI includes A Sheetathon! with Steve Miller and Pulp Painting: Image Making in Hand Papermaking with Shannon Brock See the full catalog at www.paper bookintensive.org.
> more exhibits at handpapermaking.org/listings.htm
> CALLS FOR ENTRIES
The Seventh International Exhibition of Mini Textiles willtake place June 16 to 27 in Kherson, Ukraine. Artists working in all fiber artstechniques are invited to submit works sized 30 x 30 x 30 cm to this juried exhibition.Please contact organizers to receive the Entry Form at scythiatextile@ gmail.comor P.O. Box 79, Kherson 73028, Ukraine. Entries are due February 1. Treewhispersis 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
Oregon College of Art and Craft seeks applications for aSpring Artist-in- Residence with a teaching component in Papermaking. This16-week fellowship program advances the careers of the practicing artists whilestrengthening public awareness of the significant role that making has in acontemporary art context. A resident artist is expected to pursue a body ofwork or project, to teach one 3-credit BFA course in Papermaking and may guestlecture, mentor students, and collaborate with faculty or students. For moreinformation visit www.ocac.edu in the Community Programs section. MinnesotaCenter for Book Arts is now accepting applications for artist residencies inthe papermaking, printing, and bookbinding studios. Details and application canbe found at www.mnbookarts. org/air. Applications for Summer 2015 are due March4. Questions, can be directed to Sara R. Parr, MCBA’s Artist and Adult ProgramsDirector, at sparr@ mnbookarts.org or (612) 215-2526. Cave Paper in Minneapolishas worked with over 80 interns since 1994. They are currently looking forenthusiastic people to work at least 6-8 hours per week with flexible scheduling.Thebest times are from May to September. Cave Paper interns become part of theproduction routine and, as a result, learn a variety of papermaking skills.Request more details from cavepa per@gmail.com or call (612) 359-0645. Artistsexperienced in papermaking are invited to apply for the opportunity to spend upto 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 beconsidered. For further information contact SSAC, 300 Augusta, San Antonio, TX78205, (210) 224-1848, www.swschool.org. Women’s Studio Workshop offers severalopportunities for artists working in papermaking and book arts. The internship programgives young artists creative support, culminating in an exhibition, in returnfor their assistance with the on-going operations of the facility, including assistingWSW’s Artists-in-Residence with their projects and participating in WSW’sSummer Arts Institute classes as studio assistants. Studio fellowships are designedto provide concentrated work time for artists to explore new ideas in a dynamicand supportive community of women artists. Studio residencies support thecreation of a new body of work. For details on these and other programs, visit www.wsworkshop.org.
> PUBLICATIONS AND VIDEOS
Dieu Donné announces the release of poche, a new limited edition in handmade paper by internationally recognized artist Ann Hamilton developed during the artist’s residency. This edition is released in conjunction with page sounding, Hamilton’s performance piece that explored her desire to give paper a voice, and to make the motion of a waving hand audible. The edition features raw sheep wool and silk embedded into translucent abaca, and an interior pocket for a hand. Through a collaboration with the experimental music organization Bang on A Can, over 38 musicians activated the sound of paper during the premiere of the performance at MASS MoCA in July of 2014. Hamilton created poche in reference to the performance, and in collaboration with Studio Collaborator Amy Jacobs. For more information, visit www.dieudonne.org or contact Kathleen Flynn at (212) 226-0573.
Craft in America: Service premiered on PBS on November 2, exploring creativity, healing, and American soldiers and veterans. The episode featured hand papermaker Pam DeLuco, alongside practitioners of other crafts. Learn more about the episode at www.craftinamerica.org and check local PBS schedules for viewing.
Negative Space in Handmade Paper: Picturing the Void is number 11 in Hand Papermaking’s series of limited-edition portfolios. 19 compelling artworks were selected by a distinguished jury (Lesley Dill, Cynthia Thompson, Paul Wong). The work as a whole encourages viewers to ponder what is omitted. A handbound booklet, with letterpress printed cover, contains statements from the artists, details about each piece, and a commissioned essay by Buzz Spector. View more details at: http:// portfolios.handpapermaking.org.
Ever wonder about paper called foolscap? This video from Rob’s Curiosity Show explains... http://youtu.be/xs3J9Pai7V4
Kinokuniya, San Francisco, CA, is now handling sales of Washi: The Soul of Japan—Fine Japanese Paper in the Second Millennium (reviewed by Akemi Martin in our Winter 2013 magazine). This 12 volume compendium of Japanese paper can be acquired by contacting Mr. Satoshi Ito at (415) 567-6787 or satoshi_ ito@kinokuniya.co.jp.
> 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. paperwoman@paperconnection.com.
Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc. (910) 739-9605.
Help Wanted: Pyramid Atlantic in Maryland is seeking an Education Coordinator. Average 8 hours per week. Position pays $15/hour and 24-hr studio access is provided. To apply, send resume and letter of interest [subject line: Education Coordinator] to Gretchen Schermerhorn: gschermerhorn@pyramid-atlantic.org by January 9. Position will begin February 2, 2015.
> 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. Underwriters: Denise Anderson & J.T. Feeney, Susan Mackin Dolan, Nancy & Mark Tomasko, Pamela & Gary Wood. Sponsors: Cathleen A. Baker, Simon Blattner, Tom & Lore Burger, Kathy Crump, Gail Deery, Michael Durgin, Jane Farmer, Helen Frederick, Helen Hiebert, Ingrid Rose Paper Conservation, Lois & Gordon James, Barbara Landes, Peter Newland & Robyn Johnson, Laura Merrick Roe, Michelle Samour, Richard H. Schimmelpfeng. Donors: James Barton, Marcia Blake, Carol J. Blinn, Colin Browne, Peter S. Briggs, Carolee Campbell, Bob & Annie Cicale, Kathryn & Howard Clark, Nancy Cohen, Rona Conti, Lee Cooper, Paula Cox, Elizabeth Curren, Kerri Cushman, Karen Davidson, Georgia Deal, Benjamin J. Dineen, Francis Dolan, Linda Draper, Karla & Jim Elling, Kathryn Flannery, George Freitag, David Lance Goines, Lori B. Goodman, Mabel Grummer, Robert Hauser, Suzanne Karr Schmidt, Lou Kaufman, Ellen Mears Kennedy, Joyce Kierejczyk, Nancee Killoran, David Kimball, Aimee Lee, Deborah Luginbuhl, Winifred Lutz, Mary Lou Manor, Anne Q. McKeown, Julie McLaughlin, Julie Mellby, Margaret Merritt, Betsy Miraglia, Nancy Pobanz, Brian Queen, Julie Reichert, Carolyn A. Riley, John L. Risseeuw, Kim Schiedermayer, Mary C. Schlosser, Andrea Siegel, Susan Spak, Betty Sweren, Carla J. Tenret, George Thagard III, Claire Van Vliet, Aviva Weiner, Beck Whitehead, Christy Wise. Supporters: Inge Bruggeman, Carla A. Castellani, Jennifer Davies, Amanda Degener, Iris L. Dozer, Jim Escalante, Caroline Garrett Hardy, Mervi Hjelmroos- Koski, Sara Gilfert, Hiromi Paper, Courtney Hudson, Eve Ingalls Von Staden, Sally Wood Johnson, Susan Kanowith-Klein, Kristin Kavanagh, Betty L. Kjelson, Jana Lee Pullman, Katie MacGregor, M. P. Marion, Edwin Martin, Margaret Miller, Catherine Nash, Suzanne Oberholtzer, Patricia L. O’Neal, Melissa Potter, Dianne L. Reeves, Amy Richard, S.A. Scharf, Marie Sturken, Mina Takahashi, Gene Valentine, Kathy Wosika. In-Kind: Adobe Systems Inc., Tom Balbo, Tom Bannister, Sid Berger, Deborah Bevenour, John Bordley, Nita Colgate, Janet DeBoer, Amanda Degener, Jane Farmer, Peter Ford, Helen Frederick, Peter Gentenaar, Helen Goldberg, Robert Hauser, Beth Heesacker, Ry Hook, Dard Hunter III, Kyoko Ibe, Mildred Monat Isaacs, Lois & Gordon James, Winsome Jobling, David Kimball, Lee McDonald, Rick McSorley, Microsoft Corporate Citizenship, Steve Miller, Katharine Nix, Giorgio Pellegrini, Britt Quinlan, Margaret Prentice, Victoria Rabal, Amy Richard, Michelle Samour, Maxine Seelenbinder-Apke, Mina Takahashi, Tom Weideman, 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, Tatiana Ginsberg, 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.