HAND PAPERMAKING

NEWSLETTER

Number 117, January 2017

 Newsletter Editor: Shireen Holman

Advertising & Listings: Mary Tasillo

Columnists: Sidney Berger, Maureen and Simon Green, Donna Koretsky, Winifred Radolan, Mary Tasillo.

Hand Papermaking Newsletter is published quarterly. Annual subscriptions are $55 in North America or $80 overseas, including two issues of the journal Hand Papermaking. 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 2017) 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, Lisa Cirando, Kerri Cushman, Susan Mackin Dolan, Mary Hark, Steve Kostell, Aimee Lee, Kate Martinson, Anne Q. McKeown, Julie McLaughlin, Alta Price, Amy Richard, Michelle Samour, Bernie Vinzani, Teri Williams.

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), Helen Hiebert (US), Therese Hofmann (Brazil), 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), Radha Pandey (India), Giorgio Pellegrini (Italy), Brian Queen (Canada), Victoria Rabal (Spain), Vicky Sigwald (Argentina), Lynn Sures (US), Aytekin Vural (Turkey). Co-founders: Amanda Degener

and Michael Durgin.

Dear Friends and Subscribers,

In the spring of 2017, Tom Bannister will be stepping down as executive director of Hand Papermaking, Inc. Tom has done an exceptional job and his dedication to our organization has been an inspiration to us all. He will be sincerely missed.

I quote Tom’s resignation letter to our board: “After twenty-some years it is time for fresh energy at the helm of HP, and time for me to finally get my basement paper studio set up. I look forward to contemplating the slurry, but there is a lot to do between now and then. In the months ahead there will be plenty of talk about future strategies and smooth transitions, and I appreciate your willingness to help guide the organization we all cherish.”

Board member Bernie Vinzani summed it up beautifully after Tom announced his resignation: “Tom – Many thanks for your vision and leadership over the years. Hand Papermaking has been crafted as well as the finest sheet–strong, sublime, and inspirational.”

We are conducting a national search for a new executive director. Details about the job and the application procedure can be found on our website: job.handpapermaking.org The deadline to apply is January 15, 2017. We welcome your suggestions and nominations, and hope to find a strong candidate within our larger papermaking community. Our goal is to have a new executive director in place by March 1st. We appreciate your support of Hand Papermaking over the years and look forward to the next chapter of our organization’s evolution.

Susan Mackin Dolan

Chair of the Board of Directors

Dear Hand Papermaking Readers,

We are a husband and wife team who create unique handmade papers and conduct workshops in Portland, Oregon. We co-founded Pulp & Deckle in 2012 and since then we’ve taught hundreds of students and sold thousands of sheets. We are always excited to share the art, science, and history of handmade paper with others.

Since the successful completion of our recent Kickstarter campaign, we’ve been working on getting our mobile papermaking studio up and running. We raised $11,688 from 101 backers to purchase a former espresso food truck and transform it into our papermaking studio. Pictured is a concept rendering of how the truck may look after we get it fixed up.

In November we moved out of our studio space and began the transition to hosting workshops in our home garage space and at guest locations with our mobile studio.

With the mobile studio we’ll be able to teach at schools, businesses, artist studios, and more. As long as there’s a place that can get wet and has power, we can teach there, inside or outside. We also have a 10x10 foot pop-up tent so we can teach in a yard or in a public park. With the flexibility of the mobile studio we hope to reach a more diverse and broad audience of students. We can also drive up and do papermaking demos, presentations, or even have a pop-up shop. If you’d like to schedule a private or group workshop or event, or collaborate with us in some way, email us at studio@ pulpanddeckle.com 

We were pleased to be featured as Movers and Makers on local TV. To watch, go to www.kgw.com and search for pulp. And if you weren’t able to contribute to the Kickstarter but want to support the mobile studio effort, check out www.patreon.com/ pulpanddeckle. For as little as $1 a month you can help support our creative business and keep the art of papermaking alive! 

Our most sincere thanks and gratitude to everyone who has helped us turn our schemes and dreams into reality! 

Jennifer Woodward & Gary A. Hanson 

‍

On November 28, the historic and beloved Arrowmont School of Arts and Crafts in Tennessee was severely damaged by wildfires. The studios survived but dorm buildings were completely destroyed. Please offer your assistance at www.arrowmont.org/support/rebuild-fund

‍

> ALONG THE PAPER ROAD... 

Since 1998 this column has featured paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. Her daughter, Donna Koretsky, now continues the legacy. Here Donna shows us the surprising and varied ways papier-mâché has been used, from furniture to decorative items to buildings. 

I was at a junk store in Albuquerque and my mind was full of all things paper after attending the Dard Hunter conference in Santa Fe, New Mexico. A small black container with a scribbled note caught my eye; it read “papier-mâché snuff-box.” It hardly looked like papier-mâché as it was covered in black lacquer, but upon closer inspection the lacquer was wearing away in spots revealing the underlying paper fibers. Naturally I purchased it, but I was curious how the shop owner knew it was papier-mâché. 

This purchase reminded me of a comment made by our know-it-all artist friend Ben. When Ben saw a gramophone that we acquired at a junk store during a summer trip to Maine, he started talking about the prized papier-mâché horns on the EMG gramophones. He commented that the paper absorbed a lot of the surface and crackle noises from the record discs, improving the overall sound. When I later researched it, I discovered that the EMG gramophones were built in England in the late 1920s by Michael Ginn, and the sound produced by the gigantic 28-inch diameter papier-mâché horn was considered by experts to be of the highest quality. Currently I know of one company, Meyer Sound, in Berkeley, California, that still makes its speaker cones from paper pulp. They even own a Reina beater. 

Sensing my interest in papier-mâché objects, Ben, also an amateur astronomer, remarked that the dome of the Royal Observatory in Greenwich, England was once made from papier-mâché, but destroyed during World War II. We did a little research and learned that the onion shaped dome was built in order to accommodate the observatory’s new telescope. The dome was completed in 1893 by the company T Cooke and Sons which specialized in making scientific instruments. What did a company specializing in scientific instruments know about papier-mâché? The dome consisted of an iron framework, 36 feet in diameter at its widest point, and was indeed covered in papier-mâché. I was astounded to learn that this papier-mâché dome remained intact, exposed to the British climate, for over 45 years, only to succumb to a bomb. 

I had always pictured papier-mâché as a school art project material—kids with gluey hands making masks, piñatas, and science class volcanoes. My naïve understanding of papier-mâché was that it involved building up glue-dipped newspaper strips until a form took shape. I had never imagined papier-mâché snuffboxes, papier-mâché gramophone horns, or papier-mâché structures that could withstand the harsh British weather, and I began to wonder about the true definition of the material. 

According to my Random House Dictionary, papier-mâché is “a substance made of pulped paper or paper pulp mixed with glue and other materials or of layers of paper glued and pressed together, molded when moist to form various articles, and becoming hard and strong when dry.” (The Random House Dictionary of the English Language College Edition, 1968) 

I was astounded to realize that the dictionary definition of papier-mâché was so broad as to include the use of not only sheets of paper, but also paper that has been re-pulped and even paper pulp! This was fascinating to me because, as a papermaker, I had never realized that papier-mâché included the use of paper pulp, and I soon discovered that an enormous papier-mâché industry existed in 19th century England, with some workshops using pulp and others using paper. Interestingly, papier-mâché literally means masticated paper. The French verb macher means “to chew or masticate,” which makes sense once I learned that pulp has been used in the process. 

Next, I wanted to find out what type of papier-mâché was used in the three objects I had encountered. While researching the dome, there was no mention of what type of papier-mâché was used. But while reading about the EMG gramophone horn, one historian noted that it was rumored to be made from old London telephone books.1 As for how the snuffbox was made, I first had to learn the term “japanning.” 

Japanning is a process of varnishing that originated in Europe in the 18th century to imitate traditional Japanese lacquerwork. Black varnish would be applied to a wooden base and dried in an oven. Subsequent layers would be added, then dried, and finally polished to a gloss. True lacquer comes from the resin of a tree indigenous to Asia, and dries quickly in sunlight. The Japanese have a history of applying this resin onto a base of wood and sometimes paper. I have even seen lacquered paper furniture during my travels to Japan. European varnishes, however, required frequent exposure to heat, which would crack or warp the wooden bases that they used, so they searched for an alternative base. After years of experimentation with forms of paper and paper pulp, an appropriate support base was developed and patented. 

Henry Clay set up a successful papier-mâché shop in Birmingham, England. His patented recipe involved using “10 sheets of unsized rag paper (that) were pasted on both sides with a mixture of cooked glue and flour. They were then pressed into a metal mold and smoothed to remove air bubbles. The edges were trimmed and the sheets were drenched with linseed oil for waterproofing,”2 and then dried in an oven. The result was a strong hard material known as paper panels which could be treated the same as wood. They could be sawed, sanded, turned, planed, and joined. They were heat resistant, and thus highly suitable for the process of japanning. 

In fact Clay’s patent of 1772 specifies “Making japanned high varnished panels in paper, for carriages and sedan-chairs; also for rooms, doors, and cabins of ships, as well as for cabinets, screens, chimney-pieces, tables, trays, caddies, tea-chests, and dressing-boxes.” These paper panels were considered to be superior papier-mâché compared to papier-mâché made from pulp, which didn’t result in a surface that was as smooth or solid. 

The industry of papier-mâché furniture proliferated in the mid-nineteenth century in Birmingham with shops creating tables and chairs in the Victorian style of the times. Everything was japanned and often painted with designs of flowers, decorated with of mother-of-pearl inlay, and ornamented in gold. Shops began layering 120 sheets of paper at a time, producing larger and stronger items that included entire bedroom sets and piano cases. 

It became clear to me that the palm sized snuffbox that I purchased in Albuquerque, though plain in decoration, could very well have originated from one such shop in Birmingham that did japanning on papier-mâché. 

As a result of this exploration, my opinion of papier-mâché has been greatly elevated. I even read about a man who patented what he called “improved papier-mâché” and in 1853 allegedly built a village made from prefabricated paper panels made from paper pulp. 

I now have a deep admiration of the papier-mâché innovators of the 19th century, not for their garish designs and obsession with japanning, but for their ingenuity in using paper and pulp. 

1. www.gramophones.info/gramophones .2010-40.emg.html 

2. Dianne van der Reyden and Don Williams, “The History, Technology, and Care of Papier- Mâché: Case Study of the Conservation Treatment of a Victorian ‘Japan Ware’ Chair,” Preprints of the American Institute for Conservation, 14th Annual Meeting, 1986. 

> TEACHING HAND PAPERMAKING 

Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. This column is about one of Winnie’s workshops, teaching papermaking in a garden studio setting to conservators. 

On a dewy autumn Saturday morning eight enthusiastic artist/ conservators gathered in the lovely garden of Anna Yates for a special papermaking adventure. Anna, a friend from years ago at Historic RittenhouseTown, and I had been conversing for two years about arranging this session for her co-workers at Philadelphia’s Conservation Center. Finally, everyone’s timing aligned so that we could gather around the vats! 

When, during the planning stages, we had discussed the parameters of our workshop, it was decided that an introductory level approach would be appropriate, since most of the attendees would have limited or rusty papermaking skills. When I offered a choice of colors for the cotton/abaca pulp “palette,” I was charmed by the request for “colors of the season and calming.” And so I prepared a warm, golden yellow ochre and russet, accompanied by a soothing celadon and blue-purple. In addition, I brought along some navy “veil pulp” for use with stencils. 

When I arrived, Anna had her garden set up with work tables for all the artists. The surfaces were protected with plastic and covered with several sheets of Plexiglas upon which to couch. I had only to fill the vats with water and pulp, and greet the participants as they arrived, arms laden with potential inclusions. 

Our first steps were to introduce papermaking basics, including how to hold the mould and deckle, agitate the vat, and form the sheet of paper. Their initial attempts were couched directly onto Plexiglas. They sponged excess water through the back of the moulds to facilitate drainage. 

In no time, everyone was sufficiently proficient to move on to exploring techniques of layering colors atop base sheets. I demonstrated pulp manipulation on the screen, as well as partially dipping the screen into a vat of color. They learned how to both pour and splash layers of pulp on the mould before couching. And I had monofilament available, upon which they could lift a “line” of pulp from the vat and “draw” with it as they placed it atop their foundation sheets. We also used water from the hose and spray mist bottles to displace fibers on the screens before couching them onto the base sheets. 

Of course, the morning flew by and people’s hunger kicked in. We took a very congenial break to enjoy good conversation and the delicious potluck luncheon to which all had contributed. And before post-lunch slumber could set in, I invited everyone back to the vats! 

We began the afternoon’s work by looking at all the inclusions the artists had collected. We discussed the best utilization for just about everything except some wayward glitter. I also demonstrated how to overlap the edges of couched sheets on the Plexiglas to create a bigger “base canvas” than the actual size of the moulds. Some artists had inclusions that provided the opportunity to form low relief sheet casts, in which a couched sheet of paper is then lifted and placed on top of an item placed on Plexiglas. Then the wet sheet of paper is sponge pressed down all around the inclusion. The dried paper includes a raised area in the shape of the encased item. 

The available Plexiglas was soon filled with paper and propped to dry in the afternoon sun. Fortunately, we also had conservation pellon ready to couch upon, and so everyone continued at the vats, building individual posts of handmade paper. I had brought along my small portable press and had provided the group with drying instructions for stack drying pressed paper between blotters in book presses, which I knew would be available to the participants. 

The afternoon flew by, the shadows lengthened and it was time to press, clean up, and review questions. For me, there were a couple of noteworthy aspects to working with this wonderful group of conservators. Firstly, everything in our “garden studio” was very efficiently organized for our day. Secondly, I loved hearing how “freeing” the papermaking experience was for this necessarily precise group of artists. And lastly, I’ve never had such a meticulous clean-up of all my equipment after the fact. I need to make paper with this group more often! And, in fact, there have already been requests to make this an annual event. I will look forward to it! 

> 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. This is the final column in Maureen’s series ‘Letters from America,’ the correspondence between Ewart Langley, foreman at Hayle Mill, and Robert Perry Robertson at Dard Hunter’s mill, Lime Rock, Connecticut. In less than a fortnight after sending his letter to Robertson (published in the previous issue), Langley received the following reply. 

Lime Rock, Connecticut, U.S.A. 

21st Oct. 1930 

Dear Ewart, 

Many thanks for your letter of the 10th ÷inst. which I received on Saturday last. The news which you gave me has in no wise surprised me; it is typical of the body which the Trade has, unfortunately elected to manage affairs. Now do you wonder why I came here? 

Springfield has always been the Mill which has caused dissemination amongst the members of the Society. We have the days of the Stars and Deckles as the first step toward disintegration.1 The result of that action cost the Society thousands of pounds before unity was again established. The next important event was, I think, 1890, when the late R. J. Balston2 paid his men 6d and 3d per day extra not to alter their existing day’s works. Again the Society was mulched for thousands of pounds. Perhaps you remember the Arbitrators remarks. The chief point in his Award was that the Society should have compelled Balston to come into line with the other employers, not for one man to rule the majority as was done in that case. As you know, to the members’ disadvantage, the Trade was eventually led to accept Springfield’s Day’s Works and wages. Some Mills had to make 3 posts per day more on 90 lbs Imperial for 4d; others instead of getting 1 /- per day extra on the 90 lbs Imperial only got 4d; thereby losing 8d per day. The days work of 28 lbs Large Post was also altered to the Springfield wages and here again the other mills lost heavily. I could give further instances but think that sufficient for the moment. To come to the more salient points in your letter. First of all let me say there is no difficultly to prove you right. A record of all business is in the Minute Book and that Minute Book gives the correct date when your Mill’s Company applied to go on four days per week. It also contains the conditions for working on that basis. In reference to Retaining Fees, you will remember that in March 1920, I think that was the month, A. Hester was Chairman and I was Secretary. A meeting was held in Cornwall Buildings London, between Mr. A. W. Foster and Hester and myself over an advance of wages.3 The Employers Secretary finally made us an offer of 1/8 per day extra all round and all Retaining Fees to be 3/4 per day when still. This was placed before the members of the Society for a vote and accepted. 

The first Unemployment Act was at that time before the House of Commons as a Bill. Mr. Foster’s condition for the payment of 3/4 per day Retaining Fee was that those payments should continue until the Unemployment Act became operative when the payments under that Act would take the place of the Retaining Fees. Now just here occurred a little heart burning on the past of the members of the Society. I wrote Mr. Foster on the matter and suggested the matter would be much clearer if the following was inserted. 

“In the event of the Unemployment Benefit being 15/- per week, or less, the Employers agree to make the amount up to £1.” 

Mr. Foster agreed and stated that he thought that expressed the Employers’ intention. Unemployment Benefit was at first 15/- per week after the 1st x3 days (I speak here under correction owning to the length of time) the Employers all made the men’s Retaining Fee up to £1. When the mills laid still. In 1921, U.I. Benefit was increased to £1. per week; then followed a series of Acts where Benefit was continually altering; one Act only allowed Benefit for five weeks at any one period and then five weeks with no Benefit. As far as I know, and I never was informed differently, any mills’ company which was still over five weeks always got paid their Retaining Fees. One Act gave Benefit of 15/- for men with an additional Benefit of 5/- per week to the men who had wives, or some other dependant who they helped support, with benefit for children under 14 years of age. In this case Tuckenhay’s Employer withheld the 5/- to the married men on the ground they were receiving £1. But on my representations to the Employers Secretary, Mr. Millbourn, came into line and paid the married the money which he had previously withheld.4 I never got a drink or a wild Woodbine for all my trouble.5 They got their 5/- though. 

I am glad you noticed how I twigged the move; I worked among them you know. One man on the present Trade Committee, J. L. Adgie [?], knows perfectly well you are right, he also knows that all business relative to working short time always came before the Committee for sanction. Again, Springfield’s working week is from Saturday morning to Friday night for six days. If they are on four days per week how can they claim more than two days Trade Pay in any one week? Or how do they become entitled to more than four days U.I. Benefit in a fortnight? 

Further, I am withholding any further payments to them until they write me now, and then I am going to have something to say. They will have to repay all that money they have paid out wrongly before I send another penny. Why, every mill in the Trade can claim to be paid back Trade Pay. Quite wrongly, of course, as Trade Pay has always been based on the six day’s custom, so how does Retaining Fee become based on the number of days a mill is closed? They can’t have it both ways and last, of course the real motive behind it all is to cut off the old Superannuated Members, that has been a sore point for some of the Springfield Mill’s company for some time; you wait and see. 

I have not yet replied to Mr. Smith’s letter but you stand your guns as you are right. If the Trade Secretary answers truthfully every mill in the Society has replied to the effect that Retaining Fees have been paid in the way you have always paid it. There can be no other way only by being unfair and treacherous. They must be careful or I will expose the men of Springfield to the Labour Exchange. I could do it, you know, and do it completely also. 

Thanks for the manner in which you have explained the positions of affairs to me. I can read, Ewart, and it’s no trouble to read the present administrations acts. Even in America I hear of the things they are doing. I could not help smiling when I saw the announcement of the election of the present Chairman. Of course, he is a man of vast experience in guiding ships through troubled waters. 

And now finally I am pleased to know you are enjoying good health. Remember me to Mrs. Langley who, I trust is also in good health. 

I will send you some snaps which we took last Sunday afternoon but not of me driving a car, no thank you! The boy is fine, in fact we all are in the best of health. The weather has begun to turn colder but its fine Ewart. 

I trust I have now wearied you with this long letter but hope it will be of some assistance to you. Should I ever receive any communication which attempts to stab a man in the back I shall always send it to that man. 

And now Good bye for the present and remember “Old Bob” is not dead yet if he is in America. I shall always be glad to hear from you on any matter where I can help you through. 

Thanking you for writing me and believe me to be, 

Yours sincerely 

Robert P. Robertson 

Robertson displayed strong emotions over what he perceived was a defrauding of union members. Even though he was now working and living in America, he continued to pay his Original Society of Paper Makers subscription. 

His commitment to the trade union and the overall betterment of men’s working conditions can be found in Stirk’s work which reveals that he himself had to call a ‘meeting of the internal Auditors and the receiving Treasurer on 28th November, 1925’ when secretary of the Society.6 In this instance money had gone missing from the Society’s accounts. By his own admission Robertson explained that he had ‘got into a tangle [due to] excessive work, helping members gain benefits under the National Insurance Act and negotiating with the Inland Revue to achieve considerable reductions in Income Tax pay.’7 Arrears to a total of £190 0s 3d were found and Robertson admitted ‘foolishness but pleaded to be allowed to repay his debt over a period rather than be prosecuted.’8 In the end, the then committee decided to administer an ‘agreed repayment of outstanding debt, a fine of £35 and £1 for legal advice sought, at 5% interest, to be repaid at 10/- per week.’9 

This would have been a heavy burden financially, especially during straightened times when mills were hard pressed for orders and many were working short time. Despite this incident, Robertson managed to conduct himself in an exemplary fashion during his time as secretary of the O.S.P. and for this reason, any profligate moves on the part of others which threatened O.S.P. financial stability weighed heavily at a time when the union’s finances were considerably reduced due to a severe trade depression. Whereas the union account showed reserves amounting to £7,000 in 1870, in the 1930s the reserves recorded at the end of the fiscal year were reduced to £500.10 By 1932, due to a decreased membership, and subsequent diminished income, the O.S.P. was forced, with the exception of funeral expenses, to suspend all other benefit payments. It was not until 1934 that unemployment benefit was reintroduced ‘mainly supported by levies.’11 

1. C. J. Bundock, The National Union of Printing, Bookbinding and Paper Workers (Oxford: Oxford University Press, 1959), pp. 362- 63. Robertson is referring to a period in the Original Society of Paper Makers’ history when the union was split into two factions, the Stars and the Deckles. This occurred because Springfield Mill introduced ‘an alteration affecting the making of Medium for ledger paper purposes, which was in great demand commercially. The weight resulting from a day’s work did not add up to that of other sorts, for the making of which the same price was paid. Sharp’s idea was to put matters right by making two sheets on a mould […] The owners of Springfield stuck to their view and produced some large moulds which had been worked before in that mill – printing demy, commonly called long demy. The day’s work was to be readjusted and extra money at the rate of 6d a day given to both vatman and coucher, the layer to have 4d a day for turning-in felts.’ Springfield stood alone and all of the other mills did not follow their lead. The division remained until matters were resolved in August, 1937. 

2. Refers to Richard James Balston (1839-1916) who was the grandson of William Balston (1759-1849) who built Springfield Mill near Maidstone, Kent. 

3. Alfred W. Foster was secretary of the Paper Makers’ Association of Carded Labour representing the masters of the trade. 

4. Arthur Millbourn, Tuckenhay Mill. 

5. Woodbine refers to a make of cigarette. 

6. J. V. Stirk, “Industrial Relations in a Craft Trade: The Original Society of Paper Makers 1899-1948,” unpublished Doctoral Thesis, London School of Economics, University of London, 1988, pp. 225-26. 

7. Ibid. 

8. Ibid. 

9. Ibid. 

10. J. V. Stirk, “Industrial Relations in a Craft Trade,” p.228. 

11. Ibid. p. 217. 

> DECORATED PAPER 

Sid Berger’s column will return in the next issue. 

> FOR BEGINNERS 

Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. In this column Mary describes methods for casting paper vessels, as a way to create three-dimensional forms in paper. 

Sculptural approaches to handmade paper are varied, from high to low shrinkage, from manipulated wet sheets to tamping pulp into or over a form. One low-shrinkage technique is casting pulp into an existing form. Disposable plastic party goods such as bowls and cups can be convenient forms to use, as they are available in a range of styles and allow the dried paper to release easily without the use of an intermediate releasing agent. 

Low-shrinkage pulp preparations such as cotton linter or a cotton-abaca mixture with short beating times (about 30 minutes in a Reina beater) are best. Blender processed fibers will work here as well. The short fiber length of the cotton linter will capture the most detail. 

Rather than adding water to thin the consistency of the beater or blender pulp, strain some of the water out so that you can form a patty or ball of pulp in your hands. Shake the pulp around a bit between your hands as excess water drains out. This manipulation allows the fibers to interlock as if you were forming a sheet. Then tamp the pulp into the bowl, starting at the bottom and working your way up the sides. As you work, overlap sections of pulp, taking extra care to tamp the pulp together in these areas with your fingertips. Designs can be incorporated by working with different pigmented pulps. Objects can be embedded as well. Take care as you work to achieve a consistent thickness—a thicker layer of pulp will create a sturdier vessel but take longer to dry. A thinner layer will create a more delicate, even translucent, form, and dry more quickly (though may be more subject to warping in very dry climates—consult the Beginner Topics article about paper casting with sand in the January 2007 issue (#77) of Hand Papermaking Newsletter, for an alternate technique). 

Pulp should dry in one to two days, depending on thickness. At this point, the paper can be carefully removed from the cup by sliding something between the edge of the paper and the cup (with care!) or by exerting a slight twisting/rotating motion of the paper against the cup. 

Pro tip: Erin Tohill Robin cast 1,000 paper cups for an installation. She discovered, quite by the accident of trying to prolong the life of her pulp, that by freezing, thawing, and re-hydrating her one-hour abaca recipe, the freeze-thaw cycle changed the quality of the pulp, making for a “fluffier” pulp in this case. (Her recipe: abaca beaten for one hour in a Reina beater with a gradual cutting of the fiber by increments of five, followed by freezing, thawing, and hydrating in the beater.) Preferring the results of this frozen and thawed pulp, she made this an extra part of the process. 

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 2017 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 

Abington Art Center, Jenkintown, PA, (215) 887-4882, www.abingtonartcenter.org. Classes, workshops, and exhibitions in a variety of media. 

Papermaking Studio Series, Thursdays, with Winnie Radolan. Explore a range of techniques and pulps. 

Cast Paper Vessels, February 11, with Winnie Radolan. Create a beautiful and unique cast paper vessel from handmade paper pulp. 

The Banff Centre, Banff, Alberta, Canada, (800) 565-9989 or (403) 762-6180, www .banffcentre.ca. Artist residencies in fully equipped papermaking studio, and other disciplines. Contact wendy_tokaryk@banffcentre.ca for registration info. 

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

Japanese Papermaking with Native & Invasive Plant Fibers, March 12-18, with Christopher Davenport. Construct tools and moulds, collect and prepare raw plant fibers, and form paper using Japanese techniques. 

Persimmon Dye Techniques, June 9-11, with Anne Murray. Create papers and a sampler book treated with Kakishibui, a Japanese dye made from the fermented juice of astringent persimmons. 

The Mobile Mill: Papermaking on the Go, June 11-17, with Jillian Bruschera. Create handmade papers from recycled fibers and natural pigments using a mobile studio that sets up at a different spot each day. 

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 a new studio space. Visit website for workshop schedule. 

Dieu Donné Papermill, Brooklyn, NY, (212) 226-0573, www.dieudonne.org. Beginning and advanced papermaking classes for adults and children. Open studio sessions also available. 

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. 

Sculptural Papermaking, January 2 to March 6, with Nicole Donnelly and Mary Tasillo. Work with low-shrinkage and high-shrinkage pulps, including cotton and flax, to create vessels, low-relief sculptures, and fully dimensional pieces. 

The Hall of Awa Japanese Handmade Paper, 141 Kawahigashi, Yamakawa-cho, Yoshinogawashi, Tokushima 779-3401, Japan, fax 81-883-42-6085, www.awagami.com. 

Kozo Papermaking, August 16-20, with staff instructors. Learn traditional Japanese papermaking, preparing Kozo bark, beating the fiber, forming sheets, and drying. 

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. 

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. 

Inter-Ocean Curiosity Studio, Englewood, CO, (303) 789-0282. For more information on papermaking workshops with Ray Tomasso, contact him at ray@raytomasso .com or (303) 552-8256. 

Jaffe Center for Book Arts, Boca Raton, FL, (561) 297-0226, www.library.fau.edu. A book arts collection, gallery, and studio, including Paper Lab. 

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

Mary Ashton Studio, Seattle, WA, www .maryashtonstudio.com. Papermaking and book classes. 

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

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

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

Beater Training, first Tuesdays, with staff instructor. Learn beater operation, safety procedures and cleaning for MCBA’s three beaters as a prerequisite to renting the beaters for your own use. 

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

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

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

Oregon College of Art and Craft, Portland, OR, (503) 297-5544, www.ocac.edu. Continuing education and degree programs. 

Paper and Book Intensive, Ox-Bow, Saugatuck, MI, www.paperbookintensive.org. Workshops in book and paper arts over two weeks each spring. 

Pulp Ecology: Papermaking with Plants, Pigments, and Dyes, May 14-25, with Anne Covell. Learn the fundamentals of papermaking while foraging for plants and investigate their properties for papermaking, eco-printing, and extracting dyes. 

East meets West Papermaking: Navigating the Seas of Pulp Painting, May 14-25, with Peter Sowiski. Compare Eastern and Western traditions in sheet forming while working with multi-dipped, colored, textured, shaped, stenciled, sprayed, and basted papers. 

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

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 .papierwespe.at. Workshops in English and German taught by paper specialists in downtown Vienna. 

Japanese, Korean and Nepalese Papermaking, February 4-5, with Aimee Lee. Learn the oldest Asian styles of papermaking to make thin, strong, and translucent papers. 

Shifu and Jiseung, February 6-7, with Aimee Lee. Transform paper into thread and fabric. 

Joomchi: Paper Fusing, February 8, with Aimee Lee. Build and assemble layers of paper with water and hands to reveal the quality and strength of Asian papers. 

Introduction: Make and Draw Paper, April 21, with Beatrix Mapalagama. Explore the basics of making paper by hand and image making in the paper. 

Thinking and Drawing Paper in Layers, April 22-23, with Beatrix Mapalagama. Interrogate the two-sidedness of paper, with inclusions, embedding, watermarks, embossing, and wet collage. 

Meditative Papermaking / Silent Papermaking, July 19-20, with John Gerard. Explore papermaking meditatively. 

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

Paper Sculpture, July 9-21, with Matthew Schlian. 

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

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

Papermaking Society, Third Thursdays. 

Robert C. Williams Paper Museum, Atlanta, GA, (404) 894-5726, http://ipst.gatech.edu/ amp/. 

School of Visual Philosophy, 425 Auzerais Ave., San Jose, CA, www.schoolofvisualphilosophy.com. 

Paper Sculpture, January 9 to March 27, with Michelle Wilson and Yori Seeger. Create three-dimensional works in handmade paper using armatures and pulp. 

Seastone Papers, West Tisbury, Martha's Vineyard, MA, (508) 693-5786, www .seastonepapers.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. 

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

The Soapbox: Community Print Shop & Zine Library, Philadelphia, PA, info@phillysoapbox.org, www.phillysoapbox.org. Workshops in papermaking, bookmaking, and printmaking in West Philadelphia studio. 

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. 

Paper from Plants, April 22, with Katie Dement. Collect various plants, including Japanese Knot weed, and experiment with processing the fibers. 

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. Studio time, consultation, and instruction available. 

SpeakEasy Press, Dillsboro, NC, www.speakeasypress.com, frank@speakeasypress. 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. 

Washi in the Garden, Huntingdon Valley, PA, winnie.r@verizon.net. An annual summer papermaking workshop series hosted by Winnie Radolan and Rona Richter. 

West Dean College, Chichester, West Sussex, U.K., (0)1243 811301, short.course@ westdean.org.uk, www.westdean.org.uk. 

Experimental Papermaking: Material Journeys, February 20-24, with Jane Ponsford. Discover creative papermaking using cotton and linen pulps with thread and wires and paper pulps to make beautiful and unique artworks. 

Making Decorative Objects from Paper Pulps, February 20-24, with Debbie Wijskamp. Explore the creative possibilities of reusing paper using simply-shaped found objects as moulds. 

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. 

> EVENTS 

CODEX VI International Book Fair and Symposium will be held in Richmond, California, February 5-8, featuring a large selection of exhibitors. The Symposium’s keynote will be delivered by Xu Bing. For event details, visit www.codexfoundation.org or call (510) 849-0673. 

Southern Graphics Council International holds its next conference in Atlanta, Georgia, from March 15 to 18. SGCI represents artists of original prints, drawings, artist books, and handmade paper. The 2017 SGCI Conference will showcase the rich printmaking community in the Atlanta area and celebrate its long history, as well as focus on the duality of the terminal point as a place for arrivals and departures, beginnings and endings. For more information, visit www.sgcinternational.org. 

> EXHIBITS 

Inspired by Paper - 30 Years IAPMA, a touring exhibition of IAPMA members, will be on view at Papier Wespe, Vienna, Austria, through January 22. It will then travel to Musée Cevenol, France. For more information, visit www.iapma.info. 

Dard Hunter: A Life in Paper is on view at the Robert C. Williams Museum of American Papermaking through February 28. This exhibit features some of the artifacts gathered on his travels, providing insight into an important figure in the history of hand papermaking. For more information, visit http://paper.gatech.edu.

The Rhinoceros Project is a collaboration between Anne Beck and Michelle Wilson, on view at Ramon’s Tailor, San Francisco, through January 8. This project’s inspiration is Albrecht Durer’s 1515 woodblock, “The Rhinoceros.” Through a series of participatory sewing circles and papermaking happenings, a life-sized watermark in handmade paper will be created. Visit http://rhinocerosproject.tumblr.com for more information. 

The thought-provoking abstract works on paper by artist Tatana Kellner, titled Enigmatic Moments, will be on exhibit through January 8 in Garrison, New York. As a mixed-media artist, Tatana Kellner’s diverse background in painting, printmaking, photography and papermaking are represented in this selection of works. For information on this and other exhibitions and programs visit garrisonartcenter.org or call (845) 424-3960. 

Americas 2017: Paperworks takes place January 10 through February 23 at Minot State University’s Northwest Art Center in Minot, North Dakota. This juried exhibition features works in paper created in the past two years. For details, visit www.minotstateu.edu/nac. 

Pulp /People/Page: Socially Engaged Hand Papermaking and Artists’ Books will be on view at the Center for Book Arts in New York, from late January to April. The exhibit will be accompanied by a series of related programs. For more information visit www centerforbookarts.org or call (212) 481-0295. 

Papier Autark, an exhibition of work by German paper artists, is on view January 15 through April 20 at Papiertechnische Stiftung, Heßstraße 134, München, Germany. For more information, contact Erwin Polmann at erwin.polmann@ptspaper.de or +49 089 12146-230. 

> CALLS FOR ENTRIES 

The Association Chaine de Papier invites entries for the 2017/18 Edition of the Paper Fibre Art Biennial event in Nantou County, Taiwan. Exhibitions include work in natural handmade paper or recycled paper. Applications are due February 28. Exhibition dates are October 6, 2017, to March 9, 2018. For more information, visit http://biennialartpaperfibre.com/blog/. 

Pyramid Atlantic Art Center invites proposals for solo, group, and curated exhibitions for the 2017/2018 exhibition season. For application details, visit http://www.pyramidatlanticartcenter.org/calls-for-entry. Special consideration is given to work in handmade paper, printmaking, and book arts. Applications are accepted on a rolling basis. 

The Philadelphia Museum of Art is accepting applications for the 2017 Contemporary Craft Show now through April 13, including in the category of Paper. This juried event takes place in November at Philadelphia’s Convention Center. For application details, visit www.pmacraftshow.org. 

> PUBLICATIONS AND VIDEOS 

Arrowmont School of Arts & Crafts is featured on Tennessee Crossroads! In July, Nashville Public Television visited the campus to shoot the segment “Arrowmont Revisited.” Hosted by Joe Elmore, the segment visits several Arrowmont workshops and includes an interview with Executive Director Bill May. Visit http://tinyurl.com/ht5hvcc to watch the video. 

Fabriano: City of Medieval and Renaissance Papermaking, a book by Sylvia Rodgers Albro, has been published by Oak Knoll Press. The book explores how the Arab art of papermaking by hand came to the Italian peninsula in the thirteenth century and why Fabriano was well-positioned to develop as the heart of this artisan craft, first in Italy and subsequently for a larger Mediterranean territory. It includes more than 200 illustrations. For more information, visit www .oakknoll.com or call (302) 328-7232. 

Unwrapping the History of Paper, a segment on WNYC’s Leonard Lopate Show, aired on June 10, 2016. He speaks with Mark Kurlansky, author of Paper: Paging Through History, and papermaker Donna Koretsky. The discussion can be accessed at http://www.wnyc.org/story/unwrapping-history-paper/. 

The Dieu Donné Lab Grant webpage includes online documentation of the work of 20 Lab Grant Residency artists in handmade paper. Visit www.dieudonne.org/ lab-grant to explore this resource. 

> CLASSIFIEDS 

Classifieds in Hand Papermaking Newsletter cost $2 per word, with a 10-word minimum. 

Payment due in advance of publication. 

Several original, signed, numbered volumes by Dard Hunter: “Paper Making In Siam,” “Papermaking By Hand In India,” “Chinese Ceremonial Paper,” and “A Papermaking Pilgrimage to Japan, Korea and China.” All in excellent condition. Also Baker’s “By His Own Labor,” leather bound, mint (and same, cloth bound). Also Hunter’s “Papermaking Through Eighteen Centuries” published by Rudge, 1930. Request photos, more info, or express interest by contacting Woody Rice, woodypaper@aol.com, (302) 571-8381. 

Hawaii Arts Retreat, Kaaawa, HI. (808)221- 8102, www.hawaiiartsretreat.com. Offering ‘Side By Side,’ workshop combining visual and literary arts with book making. April 2-8, 2017. 

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. 

Custom Built Paper Presses for sale, large and small. Contact The Pterodactyl Press in Cumberland, Iowa, (712) 774-2244, floyd_ pearce@yahoo.com. 

Custom Beater For Sale. Capacity is 2-3 pounds of dry pulp. GE motor, 1/2 horsepower. Removable lexan plates create the curve inside the front and back ends. The cover for the roll is heavy plexiglass. Located near Ottawa. Asking $5000 Canadian, or best offer. Contact bethlevin82@gmail.com or call (613) 821-1260 for more information or to see more photos. 

> 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, Lisa Cirando, Yousef Ahmad. Patrons: Tom Balbo, Sid Berger & Michèle Cloonan, Jeffrey Cooper, Susan Gosin, Nancy & Mark Tomasko. Underwriters: Anonymous, Susan Mackin Dolan, Fifth Floor Foundation, Lois & Gordon James, Margaret Ahrens Sahlstrand, Michelle Samour, Gordon & Roswitha Smale, Beck Whitehead, Pamela S. Wood. Sponsors: Simon Blattner, Tom & Lore Burger, Kathy Crump, Gail Deery, Amanda Degener, Michael Durgin, Karla & Jim Elling, Jane Farmer, Kathryn Flannery, Helen Frederick, Joyce Kierejczyk, Barbara Landes, Julie McLaughlin, Peter Newland & Robyn Johnson, Ingrid Rose, Kimberly Schenck, Richard H. Schimmelpfeng, Claire Van Vliet, Gibby Waitzkin, Teri Williams. Donors: Marjorie Alexander, John Babcock, Ines Ballugera, Susi Barbarossa, James Barton, Simon Blattner, Carol J. Blinn, Tara Bloyd, The Book Club of California, Stuart Bradstreet, Colin Browne, June Burden, Carolee Campbell, Carla A. Castellani, Kathryn & Howard Clark, Paula Cox, Elizabeth Curren, Kerri Cushman, Jennifer Davies, Marian Dirda, Drachen Foundation, Helen Frederick, Hiromi Paper, Sally Wood Johnson, Jamie Kamph, David Kimball, Steve Kostell, Aimee Lee, Lynda Lu, Katie MacGregor, Mary Lou Manor, Russell Maret, Nina Matheson, Anne Q. McKeown, Margaret Merritt, Catherine Nash, Katiri Neske, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Julie Reichert, Sally Rose, Leonard Rosenband, Kim Schiedermayer, Mary C. Schlosser, Susan Shaw, Vicky & Pablo Sigwald, Scott R. Skinner, Liz St. Rain & Michael Horlick, Jennifer Spoon, Kathleen Stevenson, Susan Straight, Betty Sweren, Shirley B. Waters, Aviva Weiner, Christy Wise, Kathy Wosika, Therese Zemlin. Supporters: Anne Beckett, Kati Casida, Nancy Cohen, Marty Davies, Sara Gilfert, Robert Hauser, Pamela Markham Heller, Susan Hersey, Susan Hersey, Eve Ingalls Von Staden, Mildred Monat Isaacs, Viviane Colautti Ivanova, Kristin Kavanagh, Chris Leatherwood, Anita Liebeskind, M. P. Marion, Ann Marshall, Edwin Martin, Ann S. Miller, Dennis Morris, Suzanne Oberholtzer, Radha Pandey, Dianne L. Reeves, Allison Roscoe, Robbin Ami Silverberg, Marie Sturken, Mina Takahashi. In-Kind: Adobe Systems Inc., Janet DeBoer, Peter Ford, John Gerard, Dard Hunter III, Rick McSorley, Microsoft Corporate Citizenship, Steve Miller, Britt Quinlan. Founding Contributors to the Hand Papermaking Endowment: 49er Books, Shirah Miriam (Mimi) Aumann, Cathleen A. Baker, Tom Balbo, Timothy Barrett, Sidney Berger & Michèle 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 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 Wood. Contributors to the Hand Papermaking Portfolio Archive Fund: Tom Balbo, Simon Blattner, Tom & Lore Burger, Jeffrey Cooper, Susan Mackin Dolan, Drachen Foundation, Michael M. Hagan, Joan Hall, Joyce Kierejczyk, Betty L. Kjelson, Ann Marshall honoring David Marshall, Julie Reichert, Laura Merrick Roe, Richard H. Schimmelpfeng, Mary C. Schlosser, Mina Takahashi, Aviva Weiner, Beck Whitehead.

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