Hand Papermaking Newsletter
Number 120, October 2017

Newsletter Editor: Shireen Holman
Columnists: Sidney Berger, Maureen and Simon Green, Donna Koretsky, Winifred Radolan, Amy Richard.

Hand Papermaking Newsletter is published quarterly. Annual subscriptions are $55 in North America or $80 overseas, including two issues of Hand Papermaking magazine. For more subscription information, or a list of back issue contents and availability, contact:
Hand Papermaking, Inc.
PO Box 50859, Mendota, MN 55150-0859
Phone: (651) 447-7143
E-mail: info@handpapermaking.org
Web: www.handpapermaking.org

The deadline for the next newsletter (January 2018) is November 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: Michael Fallon, Executive Director; Mina Takahashi, Magazine Editor; Shireen Holman, Newsletter Editor. Board of Directors: May Babcock, Tom Balbo, Lisa Cirando, Kerri Cushman, Tatiana Ginsberg, Joan Hall, Mary Hark, Steve Kostell, Alta Price, Michelle Samour, Flora Shum, Teri Williams. Board Student Representative: Sarah Luko. 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 Readers,

I am delighted and honored to serve as the new chair of the board of Hand Papermaking.
      For over thirty years, Hand Papermaking has been at the vanguard of explorations into the art of making paper by hand, showcasing traditional and modern practices worldwide, curating and presenting the best of the field, inspiring the ongoing revival of the craft, and facilitating the emergence of handmade paper as a vibrant contemporary art medium. Our ongoing collection of print and digital publications includes this quarterly newsletter, featuring timely topics, international event listings, regular columnists, and reader feedback; our exceptional limited-edition portfolios; and our elegant, scholarly, collectible, alluring, and internationally-acclaimed journal with tipped-in samples of handmade papers.
      This has been a year of transition for Hand Papermaking. In addition to a new board chair, we also installed a new Executive Director and moved (back) to Minneapolis where we have started working with a new printer and will be producing every issue of the journal in full color. We trust you will enjoy the results. In the midst of change, it is your continued participation that energizes our dedicated staff and devoted volunteers, and it is what ensures the longevity of Hand Papermaking. We want to hear from you! Please feel free to contact us with your comments, suggestions, and feedback.
      We ask you to invite others to join our vibrant community of artists and scholars. As we chart our collective future, Hand Papermaking remains deeply grateful for your continuing support. Did you know Hand Papermaking is on Amazon Smile? Visit smile.amazon.com and choose Hand Papermaking. The AmazonSmile Foundation will donate 0.5% of the purchase price from your eligible purchases on Amazon Smile. Every little bit helps. Thank you so much!

Best, 

Lisa M. Cirando 
Brooklyn, New York  

Dear Readers,

We would like to tell you about our artist-in-residence program. In 2017, the Morgan Art of Papermaking Conservatory and Educational Foundation welcomed six artists-in-residence working in papermaking, sculpture, etching, and letterpress. The residencies provided the artists an opportunity to get away from their daily responsibilities and provided the time, space, and facilities to help them make great leaps in their way of thinking and approach to work. It allowed them to focus on production and experimentation, and resulted in the creation of beautiful and thought-provoking work.
      The Morgan is accepting artist residency applications for 2018. The residency period runs throughout the year and can be scheduled for anywhere between a few weeks to a few months, depending on the project and work being produced. The Morgan provides 24-hour access to its bindery and papermaking and printing studios. In return we ask the artists to contribute to the community by giving an artist talk, demo, or open studio. We also request that the artists donate a piece of work created during their time at the Morgan for our archives.
      Selected artists are expected to work independently. They are required to submit a brief project proposal outlining their timeline and studios needed. Artists will receive a stipend to be used for housing and supplies. Funding for this program is provided by the Ohio Arts Council and the Windgate Foundation.
The application deadline is October 31, 2017. To apply please visit the Morgan Conservatory website: morganconservatory.org. You can read about 2017’s resident artists at: http://canjournal.org/2017/03/artists-residency-arrive-morgan-conservatory/

Sincerely,

Jacqueline Bon
Cleveland, Ohio

> 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. In this column, Donna offers her own version of how the International Paper Museum acquired its beaten bark farmer’s suit.

In the International Paper Museum, a stiff tan outfit made from beaten bark hangs against the wall, arranged as if a phantom farmer were wearing it. Not only do I enjoy gazing at the invisible farmer wearing the pants, jacket, and cap, I equally enjoy telling its story. The outfit is made from the inner bark of the Upas tree (Antiaris toxicaria), the sap of which is poisonous and formerly used for making deadly arrows. The story behind how we acquired the suit is as remarkable as the process of making it. Elaine Koretsky was equally enthusiastic about this treasure, and devoted four “Along the Paper Road…” articles to describing her quest and subsequent discovery of this specific beaten bark article of clothing.1
      I accompanied Elaine and Sidney on this adventure to Xishuangbanna, China, in October 2008 and have a slightly different way of telling the story.
      We had seen two beaten bark farmer’s outfits, both in museums in China, and were determined to find one of our own for the International Paper Museum. We traveled to the tropical part of southwestern Yunnan province specifically to locate the suit for our collection, and our guide, Dr. Cheng, Professor of Botany at the Kunming Botanical Institute, promised to find us one. But when Cheng’s connection fizzled, we took matters into our own hands. Since farmers had worn these garments while working in the fields, we visited local markets, questioning the farmers selling their produce, in hopes of locating a suit. Interestingly, nearly all of the farmers knew about the suits, but the answer was always that they were worn in ancient times by their ancestors, and they did not know anyone who still had such an outfit.
      We were still suitless on our last day in Xishuangbanna when Elaine, exasperated, announced that we must stop at the next farming village and inquire there. Minutes later, the car stopped on the side of the road. By the time we three Westerners, armed with backpacks and camera equipment emerged from the car there was already an entourage of curious villagers, standing by a narrow opening between the trees. Word travels fast in these villages, and within 15 minutes, we found our guy. We hadn’t even walked down the path to Mena village, when a lean and nondescript farmer appeared, announcing that he knew how to make the elusive farmer’s suit. We followed him to the entrance of his thatched hut while he and Cheng bantered back and forth in Mandarin. Soon Cheng had drafted an official contract in Mandarin between Farmer Boyihan and Elaine Koretsky, including addresses and terms. Since the Chinese government keeps track of every citizen, even Boyihan’s one-room hut had an official numbered placard attached to it. We paid a deposit and agreed that when the suit was completed, Cheng, who often went to this area for plant exploration, would pick it up and pay the balance. Elaine signed the document first, but when it was Boyihan’s turn, he admitted that he did not know how to write, and his son signed it.
      We learned later that the poisonous Upas tree is also an endangered species, so Boyihan chopped it down at night so as not to attract attention. But I am bewildered as to how he could avoid attention considering that the tree was so tall. In Elaine’s description of the process, she writes that the tree was about 300 feet high, with a 30-inch diameter trunk. That would mean that the tree was as high as a 27-story building. The California Redwoods reach that height but, according to my Internet research, Upas trees measure between 65 and 130 feet. I believe Elaine sensationalized the height. Nevertheless, chopping down a 65-foot tree with a 30-inch diameter is no small feat. And I do not believe Boyihan used any power tools.
      After cutting down the tree, Boyihan cut a six-foot section of the trunk, and pounded the bark around the trunk for hours, using a two-pound iron hammer. After loosening the bark sufficiently, he was able to slide off the entire tubular bark layer from the inner woody part of the trunk, similar to sliding a tight-fitting jersey from one’s torso.
      Elaine describes the next process in her October 2009 “Along the Paper Road…” article in Hand Papermaking Newsletter (no. 88).
     
Now Boyihan had a huge tube of bark, which he brought to a river. He suspended the tube of bark on a heavy rod in the river and began beating the bark again. This was the final beating, and accomplished two things. The poisonous sap of the tree was washed away, and the black outer bark was removed. The entire beating procedure took many days. Now Boyihan brought the bark tube back to his house and hung it again on a rod in a horizontal position to dry. He placed several rocks inside the bottom of the tube to keep the piece from shriveling or shrinking while drying.

The final steps were cutting the tube to make the clothing. He used half the tube for the trousers and half for the jacket. To form the trousers, Boyihan simply made a slit up the length of one tube corresponding to the length of a man’s leg. Then he stitched together the two inside lengths. For the jacket, he made one cut the entire length of the second tube and cut two openings for the sleeves, which had been formed by beating two branches of the tree the same way as he had worked on the tree trunk. He stitched the tubular sleeves onto the jacket and also stitched on a leftover piece to make a collar.

      I have tried on this suit a few times and admit it is comical to wear. The entire outfit feels as stiff as a new pair of Levi jeans, the sleeves are much too long, and the pants are so wide at the top that a belt or rope is required to hold them up. Nevertheless, our farmer’s suit is a valuable contribution to our eclectic collection in the International Paper Museum.
      Next on my bucket list is a trip to the northeastern part of China to locate the fish-skin clothing of the Hezhen minority in Northern Heilongjiang Province.
     
1. Hand Papermaking Newsletter (Numbers 87–90, July 2009–April 2010).

> 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 interests very young children in a brief history of papermaking in their area of Pennsylvania and also teaches them how to make paper for themselves.

It had been a year since I sat cross-legged on the floor with the Clementine Montessori School’s three-, four-, and five-year-old camp children. A couple of weeks ago I had the pleasure of their company once again. This year my visit was scheduled during their Philadelphia History week, giving me the perfect opportunity to share my knowledge of William Rittenhouse, North America’s first papermaker.
      Our sitting circle of about twenty children had the chance to feel samples of flax and cotton plants, linen and denim cloth, and to make paper from those fibers. They learned how William Penn invited the German-born Rittenhouse to be the first and sole papermaker in his experimental colony, with printer William Bradford waiting to purchase whatever paper the Rittenhouse Mill could produce. The children learned that our German-speaking papermaker was drawn to set up business in the community of Germantown, where fellow countrymen were growing flax for the production of linen for clothing. The linen clothing would eventually become the rags needed for paper. He settled and built his mill along the Monoshone, a little stream that flows into the Wissahickon Creek and eventually into the Schuylkill River. The waters of the Monoshone turned the wheel to power the stamper, which beat the rags to pulp, and the water filled the vats and suspended the pulp for the vatman to dip into with his mould and deckle in order to form the paper.
      I described the historical process to the children, beginning with the purchase of linen rags and their sorting according to weight and color, and cutting into small pieces. I passed around samples of cut linen squares, all ready for the fermentation process, which I only described as three smelly weeks of rags soaking to begin to break them down into threads. I asked them to imagine another three days of heavy hammering of the rags into pulp. Our little papermakers got to feel the contents of a small container of denim rag pulp, which I had prepared for their paper. Then I explained that we were about to do all the rest of the work involved in making paper, from being vat-persons to pressers and dryers. As a group, we held imaginary moulds and deckles and scooped into invisible vats, lifted the make-believe pulp up on the screens, and performed the “vatman’s shake.” After that degree of interactive story telling a break was in order.
      I set up my production-line papermaking operation, from vat through the pressing station, so that each child would have their hands on every part of the process. I asked the teachers to channel a rotating stream of six children at a time so that anticipating papermakers could observe what they were about to encounter. As one child completed the process, a new one would join us to observe. Each child dipped into the blue jean pulp vat with the mould and deckle, scooped up pulp, and shook it into paper, then drained and couched their sheets onto Pellon. The little papermakers carried their newly formed sheets on Pellon to the blotting area, where they removed more water using synthetic chamois. After we transferred the damp paper onto recycled cardboard and covered it with dry chamois, the children moved a rolling pin across their paper to blot out more water and adhere the paper to the cardboard for restraint drying and safe transport. For many of the children, this was the high point of the entire process! All but two of the twenty children were delighted to experience the entire process. One of those two only wanted to roll the paper. So I had that child “coach” the assistant through the preliminary steps so that he could have a piece of paper to dry. There is generally one child who simply doesn’t enjoy getting wet.
      What a fun morning, what a fast morning, what a good thing I had already scheduled a tune-up with my chiropractor. Those pre-school tables and chairs are low to the ground and hard on the back! While I couldn’t do it every day, I sure look forward to making paper with the Montessori children again next year.

> 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. In this column, Part 3 of “Paper Places,” Simon includes a letter by Brian Millns describing papermaking in a prison camp during the Second World War.

Editor’s note: Please note that the Millns letter contains offensive language but due to the historical value of the primary account, we publish it below as it was written.

At the end of my first year of studying paper science at Manchester University, I was ready for my first job at the Cray Valley Paper Mills of William Nash. The Mills were near St Mary Cray about 6 miles from the River Thames, southeast of London.
      My father, Rémy John Barcham Green, was a friend of Colonel William Nash CBE, TD, chairman and (John Gordon) Brian Millns, production director, and they offered me a summer job in the laboratory for £7 a week. Out of this I had to finance my Morris Minor car to drive there nearly 50 miles each way from our home. The journey included a long grind up Wrotham Hill passing heavy lorries loaded with newsprint from Aylesford Paper Mills. These featured in a James Bond story of the time when the villains cut through the ropes, dumping the reels in the path of Bond’s following car!
      There were two mills at Cray Valley Paper Mills. Foots Cray (Nash's) Paper Mill was located on the River Cray itself and had been converted from corn milling to papermaking by 1742 or earlier, and was bought by Mary Ann Ash in 1845. In December 1958 the new mill had been built on a green field site a few hundred yards away and housed the Z-Machine.
      The original mill had two paper machines in the twentieth century and mainly produced printing paper. Many of the buildings were nineteenth century. I worked in a well-equipped laboratory under the positive guidance of John Mason. He was not related to the self-taught hand papermaker and I believe he was later technical director at Postlip Mill. The work entailed all types of testing on paper produced at the old mill and so I went through all parts of the mill to collect samples. It was a well-run traditional mill with a friendly workforce. I learned to turn up on time, undertake testing reliably, and keep accurate records, and I very much enjoyed being there.
      In the Second World War, Lieutenant John Gordon Brian Millns in the Royal Army Service Corps was captured by the Japanese and interned at the infamous Changi prison camp in Singapore and then in a number of camps in Thailand. Despite poor treatment and nutrition, he ran a remarkably successful hand-made paper mill in Kanburi Camp, Thailand, which is described in William Nash of St Paul’s Cray, Papermakers. This elegant volume, printed on Nash paper is well worth reading and covers the entire history including extensive quotes from employees and especially the war diaries kept by T H W Nixon, one of the directors when Col Nash was prisoner of war. Although St Paul’s Cray was at the outer edge of the suburbs, it was on the direct route of bombers heading for London, some of which caused extensive damage to the Mill and surrounding areas. Later V-1 doodlebugs and V-2 rockets exploded in the area. Written matter of factly, it is a stirring reminder of how people stand up to bombardment and sadly still do in other places today.
      Brian Millns, quoted in the book, wrote in a letter:
     
As the Japanese defeat became more inevitable they became more unreasonable, and petty restrictions carefully chosen to annoy us became more plentiful.

At the beginning of this year [1945], such things as paper and soap were almost unobtainable. Before long the few trees in the camp were almost devoid of leaves. This situation put the idea in my head to see if it was possible to make paper in the camp. I was asked how I expected to make paper out of bamboo and banana trees by someone little suspecting that it has been and is made from both these sources. The basic material was our simplest problem as plenty of rice straw was always obtainable. Our real trouble was improvising some process to overcome our complete lack of machinery and getting hold of wood other than bamboo and nails.

We were lucky in getting our hands on some very old wire gauze early on, which, although it fell to pieces very quickly, gave us a start. We were able to make some wooden frames and nailed or wired over this the wire gauze. A Dutchman amongst us, being remarkably clever with his hands, worked like a black making and repairing these frames until in about 6 weeks we were using fifty and turning out about three hundred sheets of paper, a little larger than foolscap size, every day. Later, when we became a going concern, we had a complement of twenty-five officers, most of whom might have been called labourers.

We were lucky in getting quite a large supply of alum. The R.A.F. had bombed and burnt out some nearby stores and the Japs had salvaged a lot of charred salt, tooth powder, cement and alum for which they could find no use. I approached the Jap Quartermaster and to my surprise he let me have the whole lot. Such things as size and bleach were quite out of the question. We made some glue out of cows’ hoofs, but found later that it was not worth the trouble. Tapioca flour we used quite effectively. We then had to produce an alkali for boiling the straw, which we obtained from the wood ash collected from the cooking houses. We sifted this until it got as fine as tooth powder and then mixed the ash to a paste in water (four gallons to 100 kilos of ash) and placed it in fifty gallon drums with perforated bottoms. We then added twenty gallons of water on top of the ash and allowed it to seep through into a can below. The resultant solution was a perfectly clear and colourless potassium carbonate with a strength of between two percent and five percent. We found the alkali at this strength was quite adequate for boiling the straw and breaking it down to a soft fibre. When the straw had been cut into lengths about one inch and sorted and the boiling completed, we washed it thoroughly in water to remove any trace of the alkali.

Then came the beating process which was rather unorthodox but worked very well. We beat the straw almost dry in an iron bucket with a wooden club. This was done by hand and took about half an hour to three quarters of an hour before the fibres were sufficiently short and found it a reasonable sheet. Then we mixed the pulp in a bucket with about fifty per cent. [sic] of water and added one percent solution of alum and a smaller solution of tapioca flour. As a vat I used my tin trunk. We half filled this with water and then added pulp from the bucket as required. To make the paper we dipped the frames into the trunk and brought them slowly to the surface, allowed the water to drain through and the pulp spread consistently over the gauze. We then dried it in the sun, which took about an hour and then peeled the paper off quite easily.

We started by making toilet paper, and later made cardboard, cigarette papers (Oriental standard) and a smooth surfaced writing paper. The toilet paper and cardboard were not pressed but left to dry in the sun with a rough finish. Later, we ironed the cardboard with a flat iron after spraying with a flit pump, which gave it a fairly smooth surface. This was used largely by our book repairing department. For writing paper we finished the paper by drying it on boards with a smooth tin cover made from petrol tins. Rather a Heath Robinson device but it gave quite a good gloss on one side, the underside bearing the marking of the mosquito netting which we were using by now as our wire gauze supplies were exhausted. We improved this surface a great deal by rubbing with a glass bottle and were about to have a sort of calendar-cum-mangle made to improve this process, but the War came to an end just in time to prevent us completing it.1

      Apart from the amazing achievement of running any sort of factory in this dreadful place,2 it strikes me that Lt Millns knew more about oriental papermaking methods than might be expected of a typical papermaker in England. His description could almost have matched papermaking 2,000 years ago. I wonder if during his time working in the labour camps and travelling, he might have observed traditional hand papermaking in the area.

1. W. S. Shears, William Nash of St. Paul’s Cray, Papermakers (London: Batchworth Press, 1967), 64-65.
2. Also called Kanchanaburi, this was one of the Thai-Burma Death Railway Camps and was about 5 kilometers from the infamous Bridge over the River Kwai. The camp commandant Captain Noguchi was sentenced to death for war crimes. https://www.awm.gov.au/collection/C195467

> 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. The Berger–Cloonan Collection of Decorated Papers consists of papers acquired over the period of many years by Sid and his wife. This column, “Another Book,” is Sid’s description of a recent volume about gift wrap, and the difficulties he and others have found trying to research this aspect of decorated paper.

In some of my past columns for Hand Papermaking I have covered important books about decorated papers. For this column, I will cover a volume that deals with an important but often seriously overlooked area of paper decoration: commercial gift wrap.  
One of our friends once gave me a birthday present with a card that said that most people are excited by the gift, but Sid is excited by the wrapping paper. And it was true. While most people throw their wrapping papers into the trash, I like to keep the best of them, knowing that someone designed them, someone selected the papers for them, and someone else printed and sold them. As with so many other paper products in our lives, wrapping papers are hardly given much thought. They are bought, used, and disposed of with little or no appreciation for their artistry or manufacture.  
Their under-representation in paper literature is easily explained: they are inexpensive and cheap, they exist in so many manifestations that it is impossible to give any accurate figure as to how many patterns there are out there, and they are pure ephemera: torn and shredded and dumped as part of their natural life cycle. (Only a devoted paper collector gathers and preserves them. Hence, our collection has hundreds of them, from the 1940s to the present.)  
I called gift wrap an “overlooked area,” and in searching through our books, I can find several volumes of sample books of gift papers, but no research on them. I believe the field is too daunting for anyone to approach as a scholarly endeavor because there are too many of such papers, and they do not amount to much in terms of monetary value, though many are quite beautiful, and though there is a broad world of quite lovely gift-wrapping papers.  
A number of books deal, among other things, with how to make your own gift wrap. For instance, see Kate Lively’s Making Great Papercrafts, Origami, Stationery and Gift Wraps: A Truly Comprehensive Collection of Papercraft Ideas, Designs and Techniques, with Over 300 Projects (London: Lorenz Books, Anness Publishing, 2005); Mary Norden’s Gift Wraps, Baskets, and Bows (New York: Abbeville, 1995); and Vivienne Bolton’s Handmade Cards and Gift-wrap (Exeter, Devon: F&W Media, 2007). These are only a few of the many publications on the market concerning the making of gift-wrapping papers. There are also “publications” of volumes containing sheets of these papers; their use is obvious: the volumes are to be eviscerated and the sheets used for—what else!—wrapping gifts.  
But these volumes are practical—they show how to make or use the papers—and not scholarly or historical. Patrick Regan’s book Hallmark: A Century of Caring (Kansas City, Sydney, and London: Andrews McMeel Publishing, 2009) has a short section on gift wrap (see especially chapter 3, p. 45), and other books treat the topic cursorily. The history of gift wrapping is shrouded in time, but we know that the Chinese and Japanese have been wrapping gifts in cloth and papers for many centuries. Most gifts in the US were wrapped in brown paper until the early twentieth century. Decorated papers for gift wrapping are a twentieth-century development.  
My wife and I recently discovered and acquired a remarkable and wonderful volume titled Einschlagpapier: Wrapping Papers of the Deutsche Demokratische Republik, published in 2015 by Don Rash (with assistance from Elaine Rash) at his Boss Dog Press in Plains, Pennsylvania. The text is by James H. Fraser, who collected these rare papers. Fraser points out that in the Eastern bloc of Germany—before the Wall was removed—paper was in short supply (as were pretty much all commodities), and the gift wrappings the Germans had were minimal and unattractive.  Fraser sums up the problem of doing research in this area: “Almost any country’s wrapping paper history is at best fragmentary, as anyone attempting a bibliographic search soon learns. Mention is so scarce that one can be easily discouraged when looking for even the most rudimentary details, despite hundreds upon hundreds of contributions—articles, monographs, exhibition catalogs—on wall paper, bookbinding papers, colored papers and decorated papers” (p. 9). His own history of these German papers is sketchy, but it was all he could do to get the information that he presents.
This lovely book was remarkably and beautifully printed on a Washington handpress, and unfortunately, it exists in only 20 copies, the number dictated by the availability of samples that are tipped into the copies. In our copy there are 39 tip-ins, along with a DVD showing about 75 papers in color. From them one can appreciate Fraser’s comments about the fairly unattractive and utilitarian nature of the papers available in East Germany after the Second World War. The book is bound in cream-colored cloth with a paper label on the cover that is a facsimile of a paper band that wrapped around a package of eight sheets of Einschlagpapier.  
As with many a fine press offering, the important text is available to only a tiny number of people. I would like to see a facsimile edition of this volume, produced at a more affordable price (the limited version sold for $750), and with reproductions of all of the papers. The limited version has only a small number of all of the papers that the publisher had—hence the DVD, to show all the patterns he had to select from for his tip-ins.
In a continuing effort to learn about all aspects of paper history, we are on the lookout for interesting new titles. If any of you know of unusual or recently published books on paper decoration, I would appreciate hearing about them.  

> STUDYING HAND PAPERMAKING

Amy Richard is the proprietor of a small paper mill/artist studio in Gainesville, Florida where she produces original artwork, teaches workshops, and gives private lessons. Richard is a recent MFA graduate of the University of Iowa, Center for the Book where she studied traditional Western and Asian-style papermaking as well as the history and culture of the book. In this new column, she will explore papermaking programs in colleges, universities, and other established art centers in the United States and abroad.

During the early centuries of hand papermaking, technical details of the process were thought to be highly proprietary—a skill to be protected at all costs. So much so, that many mills would only allow family members or in-laws to work in them.1
Today, such closely guarded secrecy has thankfully fallen by the wayside, replaced by a unique spirit of cooperation as interest in this ancient craft enjoys yet another resurgence, post-Dard Hunter and the 1970s papermaking renaissance.2
      As a result, there are now many opportunities for learning about hand papermaking, including thousands of YouTube videos,3 workshops hosted by non-profit centers and individual artists, “social paper” events held by itinerant papermakers, as well as a growing number of degree programs that provide formal training. (For an annotated list of book arts and paper-related programs, see Peter Verheyen’s website, The Book Arts Web, and help add any that may be missing.)4
      In this column, I will explore some of these programs and what makes them unique. Ideas and suggestions from readers are most welcome.
      Having recently completed an MFA in book arts at the University of Iowa, Center for the Book (UICB), it seems like a good place to start. My goals for attending graduate school were to learn more about the history and traditions of hand papermaking, particularly Asian-style paper, as well as new techniques and hand skills I could apply to my sculptural paper aspirations. Other than that, I was unsure where this new adventure would take me. The UICB was on the top of my list of schools due to its reputation of being a program that supported nearly any direction an individual could think of within the book arts arena.
For those who knew me, it seemed like a bit of an odd match as I’d never made an artist book before and wasn’t very knowledgeable about the culture or theory of the book as an object. Strangely enough, the UICB’s (required) scholarly courses on the materiality of the book, mixed with classes about the history of science and the book had the greatest influence on my work. But that’s another story. For now, I want to reflect on the key elements of the UICB that make it one of the top communities for studying paper and book arts.
      First and foremost is the quality of the faculty—a small but tight-knit group that displays an uncommon commitment to teaching and managing the most even-handed and democratically run program I’d ever seen. After having worked in other university environments for nearly twenty years, I recognized this as a rarity and a true asset.
      A top-notch special collections library would be next on my list of benchmarks to consider when choosing a grad school. At the time, it wasn’t even on my radar. Now, it’s one of the aspects I miss most. Having access to the incredible collection of centuries-old manuscripts, incunabula, rare books, and paper at the University of Iowa Special Collections Teaching Library was instrumental to the direction of my work and development as an artist. (A side note: Having access to the entire collection of Hand Papermaking portfolios, also housed in this library, was an invaluable learning and teaching tool. Look for more on this in a future article.)
      Another unanticipated benefit of being part of a formal university program was the steady stream of visiting artists that came through town, sharing techniques, ideas, and aesthetics in weekend workshops and/or lectures.5 Related to that is the active partnership of the UICB with other departments, creating a multi-disciplinary environment that often resulted in collaborative projects among students (writers, poets, visual artists, etc.)
      Next was the hands-on experience at the UICB Research and Production Paper Facility (at Oakdale) that provided opportunities for working in a functioning paper mill, and has proven to be quite useful when setting up and operating my own studio. Working with paper specialist Tim Barrett, student and non-student volunteers learn to produce traditional European and Japanese-style handmade papers, later made available to commercial vendors and conservation labs for the preservation of rare books and works on paper. One highlight included a chance to participate in the 2,000-sheet challenge (in May 2014 and 2016), which involved a small group of students attempting to match the traditional output of 2,000-plus sheets in a day—aka Chancery Paper.6
And finally, the friendships that developed during this time are perhaps the most valuable aspect of dedicating several years of study in a formal educational setting. Post-graduation, many of us have stay connected and encourage each other in our respective endeavors, slowly but surely expanding the book and paper web.

1. Timothy Barrett et al., Paper Through Time: Nondestructive Analysis of 14th- through 19th-Century Papers (The University of Iowa, 2012), http://paper.lib.uiowa.edu/european.php#intro
2. For more on the evolution of hand papermaking in the United States since the early 1900s, see “Looking At Our Lineage: The Hand Papermaking Community Documentation Project” by Nicole Donnelly, Hand Papermaking vol. 28, no. 2 (Winter 2013).
3. A recent Internet search produced nearly 86,000 results.
4. http://www.philobiblon.com/programs.shtml.
5. An overview can be seen here: https://book.grad.uiowa.edu/news-and-events.
6. For more on Chancery project, see https://www.youtube.com/watch?v=Mutsj0Olh-E (2014); and https://www.youtube.com/watch?v=bggttPftmVs&t=60s (2016).

> columns for beginners can be seen at
newsletter.handpapermaking.org/beginner

Listings for specific workshops and other events in the following categories are offered free of charge on a space-available basis. The deadline for the January 2018 newsletter is November 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.

Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont.org. Classes and workshops in a variety of disciplines, including papermaking.
Pushing the Boundaries with Handmade Paper and Mixed Media, October 22 to November 4, with Jo Stealey. Learn about surface and form to create handmade paper and lightweight sculpture.

Book Arts LA, Los Angeles, CA, (310) 722-9004, www.bookartsla.org.
Pulp Ecology, October 7–8, with Anne Covell. Learn papermaking with plants, pigments, and dyes.

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.
Pulp to Pages for Your Books, October 22–27, with Rajeania Snider. Explore the basics of papermaking, from setting up a work area and making equipment to preparing pulp and pulling sheets of paper to be made into books.

Cottage Industry Technology Center, 20 Russet St., SSS Village, Marikina City, Philippines. Workshops, demonstrations, and technical consultancy in a variety of crafts and livelihoods, including hand papermaking and related crafts. Contact Loreto D. Apilado at Lor-Eto.DA@gmail.com or bookendshere2002@yahoo.com or (632) 942-3974.

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.
Introduction to Contemporary Papermaking, October 3, November 14, or December 5, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques.
Embedding, Blowouts, and Simple Watermarks, December 12, with staff instructor. Learn the three techniques of embedding, blowouts, and watermarks.
Pulp Painting, Stenciling, and Pigmenting, November 21, with staff instructor. Learn proper pigmenting techniques and how to create stencils and pulp-paint consistencies for a variety of purposes.

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.

Helen Hiebert Paper Studio, Red Cliff, CO, www.helenhiebertstudio.com. Annual papermaking retreat in the heart of the Rocky Mountains and workshops online and around the world.
Illuminated Paper, October 5–8, at Pacific Northwest Art School, Whidbey Island, WA, with Helen Hiebert.
Experimental Papermaking, October 20–22, at the Southwest School of Art, San Antonio, TX, with Helen Hiebert.

Honolulu Museum of Art, Honolulu, HI, (808) 532-8700, www.honolulumuseum.org.
Introduction to Papermaking, November 11, with Allison Roscoe. Learn to create unique sheets of Western-style paper with moulds and deckles and various fibers pulped in a Hollander beater. 
Paper Enhanced with Indigo, December 2–3, with Allison Roscoe. Learn to make paper and then color it in vats of indigo dye.
Paper into Books, November 11–12, with Allison Roscoe and Tamara Moan. Use the unique textures and colors of handmade paper to turn ordinary books into something special.

Hook Pottery Paper, LaPorte, IN, (219) 362-9478, hookpotterypaper@comcast.net, 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.

Kalamazoo Book Arts Center, Kalamazoo, MI, (269) 373-4938, info@kalbookarts.org, www.kalbookarts.org. Classes in book printing and binding, printmaking, hand papermaking, and creative writing.   
The Basics of Papermaking, October 16, 23, 30 and November 6, with Kim Hosken Eberstein. Create unique expressive art through colored pulp, fibers, and collage elements.
Pulp Painting Intensive, October 29, with Donna Groot. Explore a variety of painting techniques with brushes, transfers, drawing tools, and stencils to make images with finely beaten colored pulp. 
Suminagashi Paper Marbling, November 13, with Crystal Shaulis. Explore the ancient “floating ink” method of paper marbling.
Make Hanji: Korean sheet formation, December 2, with Aimee Lee. Learn the process of making hanji from raw paper mulberry bark.
Paper Fusion: Combine and Texture Paper with Joomchi, December 3, with Aimee Lee. Learn to manipulate paper so that it mimics fabric, and “felt” paper with the Korean technique of joomchi.

MayBe Studio, Abita Springs, LA, (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. 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, Papermaking, Tuesdays, with staff instructor. Beat fiber for future sheet forming.
Papermaking with Clothes! October 14–15, with Dana LeMoine. Learn a new way to reuse and recycle with this class that will cover the basics of papermaking and focus on how to make paper out of old clothing items you no longer wear. 
Marbled Paper Baskets, October 25, November 1, 8 15, with Cindy Gipple and Heather RJ Fletcher. Make a unique version of a pine needle basket using marbled paper, found paper, and waxed linen thread.
Paper Marbling: Special Effects, October 28, with Sally Power. Go beyond patterns and explore a range of marbling techniques that create special effects.
Make Marbling Tools, November 11, with Sue Bjerke. Build at least four combs/rakes for creating classic marbling patterns, custom-sized to your own personal tank sizes.
Introduction to Western-Style Papermaking, November 6, 13, 20, 27, with Sarita Zaleha. Process cotton and abaca fibers in the Hollander beaters, use moulds and deckles to form sheets, and explore several traditional drying techniques. 
Introduction to Marbling, November 18 and December 3, with Heather RJ Fletcher. Make four basic marbling patterns (stones, moire/waved, git-gel, and nonpareil), explore seasonal color palettes, and take home papers ready to use for books, gifts, or decoration.
Dirty Works: Paper Marbling, December 1, with Suzanne Hughes. Explore paper marbling. Try your hand at “throwing” color and building patterns that you can use to decorate cards, journals, or other papercrafts.

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. Fall workshops will be announced soon. The Morgan Conservatory open studio program allows artists and students access to studio space and equipment, and provides them with an opportunity to create art in areas of papermaking, letterpress printing, and bookbinding. For more information visit http://www.morganconservatory.org/open-studio.

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.
Joomchi in 2 Days, November 11–12, with Liz Powell. Combine locally sourced fibers in handmade papers with easily purchased Thai kozo sheets in this take on Korean paper-felting techniques.

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.

Penland School, Penland, NC, (828) 765-2359, www.penland.org. A full program of craft workshops, including papermaking. For upcoming workshops in paper and books, visit http://penland.org/books/index.html.

Pyramid Atlantic, Hyattsville, MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshops in papermaking, printmaking, and book arts.
Joomchi: Felted Paper, October 8, with Saaraliisa Ylitalo. Learn the Korean technique of joomchi, in which layers of mulberry papers are combined to create a new piece of textured paper.
Pulp Ecology, November 18–19, with Anne Covell. Learn to make paper with plants, pigments, and dyes.
Introduction to Western Papermaking, December 2, with staff instructor. Learn the basic techniques of Western-style hand papermaking, including pulp preparation, sheet forming, couching, pressing, and drying.
Spinning Paper Thread, December 2, with Saaraliisa Ylitalo. Use rough surfaces and bricks, hand-held drop spindles, and spinning wheels to make shifu (paper thread).

San Diego Book Arts, at the Covell Studio, La Mesa, CA 91942, www.sandiegobookarts.com.
Pulp, Pigment, Process and Perceptions, November 3–5, with Peter Sowiski. Compare Eastern and Western traditions in sheet forming and investigate fiber types, preparation, color, texture, and shape.

San Francisco Center for the Book, San Francisco, CA, (415) 565-0545, www.sfcb.org. Book arts classes and events year-round.
Intro to Western Papermaking, October 1, with Pam Deluco. Explore the materials, processes, and equipment used in Western hand papermaking.
Intro to Japanese-Style Papermaking, November 7–8, with Michelle Wilson. Learn to make thin yet strong papers in the Japanese tradition.
Intro to Western Paper Marbling, November 11, with Pietro Accardi. Explore the history, techniques, tools, and styles of European marbling.

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, MA, (508) 693-5786, www.seastonepapers.com. Classes in papermaking, decorative papers, and book arts on Martha's Vineyard. For more information contact Sandy Bernat at sandy@seastonepapers.com.

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. For upcoming workshop listings, visit http://www.phillysoapbox.org/events/.

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.
Doors Open Pittsburgh, October 7. Bring your family to a thought-provoking art experience at Contemporary Craft during the second annual Doors Open Pittsburgh.

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.
Introduction to Papermaking: Winter Edition, October 14, with Eléonore Lee. Get your feet wet in this introductory class and explore what handmade paper is all about.
Abaca: The Incredible Shrinking Translucent Material, October 20–22 with Helen Hiebert. Explore how to embed string, wire, and other stiff yet flexible materials between sheets of handmade abaca paper.

West Dean College, Chichester, West Sussex, UK, (0)1243 811301, short.course@westdean.org.uk, www.westdean.org.uk.
Making Marbled Papers, February 9–11, 2018, with Louise Brockman. Learn how to produce beautiful hand-marbled papers, starting with suminagashi and progressing to traditional European paper marbling techniques.

Women’s Studio Workshop, Rosendale, NY, (845) 658-9133, info@wsworkshop.org, www.wsworkshop.org. Classes in papermaking, printmaking, book arts, photography, and other media. Opportunities to work at the Women’s Studio Workshop include the internship program (applications due October 1) and various artist residencies (due October 15 and November 15). For more information visit: http://www.wsworkshop.org/rent-studios/. For information about studio space rental in etching, papermaking, letterpress, silkscreen, book arts, and ceramics, visit http://www.wsworkshop.org/rent-studios/
 
> EVENTS
The Minnesota Center for Book Arts presents New Patterns/Breaking Patterns from August 25 to October 22. Featuring the work of Minnesota artists Robyn S. Awend and Robin Schwartzman, this exhibition explores various forms of gender identity through dimensional paintings and handmade paper from clothing. For more information, visit www.mnbookarts.org or call (612) 215-2520.

Arnold Grummer’s will sponsor the Papermakers Gathering Midwest Paper Fest this October 6–7 in Green Lake, WI. The event includes a juried exhibit with prizes and a master class, Large Scale Pulp Painting with Betsy Dollar, as well as networking and idea sharing. Visit http://arnoldgrummer.com for more information or call (920) 840-6056.

The John C. Campbell Folk School will present its 43rd annual Fall Festival October 7–8 in Brasstown, NC. Celebrate the rich heritage of the Appalachians with the art of more than 200 craft artists, continuous music and dance on two stages, craft demonstrations, food, kid’s activities, and more. For more information visit: https://www.folkschool.org/event.php?section=events&event_id=355.

The next Friends of Dard Hunter annual conference will take place October 11–13 at the Robert C. Williams Museum of Papermaking in Atlanta, GA, with the theme Chasing Paper, bringing together ideas around the past, present, and future of handmade paper. Visit www.friendsof-dardhunter.org for more information.

The next Congress of the International Association of Hand Papermakers and Paper Artists (IAPMA) takes place in Sofia, Bulgaria May 16–20, 2018. The Congress will be hosted by AMATERAS Foundation, founded to champion cultural projects and creative exchange through exhibitions, residencies, symposia, and lectures related to artwork promotion in Bulgaria and abroad. The event will coincide with the Sofia Paper Art Fest and the Sofia Night of the Museums. For more details as they develop, visit www.iapma.info.

> EXHIBITS
Play: Books as Toys and Toys as Books and Intermolecular Forces: Paper Works by Melissa Jay Craig and Amy Richard, two exhibitions, October 20 to November 18 at the Morgan Conservatory, opening reception October 20, 6–9 pm. For more information call (216) 361-9255 or visit www.MorganConservatory.org

Polifonia, July 28 to January 7, 2018, at the Museum of Papermaking at Duszniki Zdroj, Poland. The first exhibition in the newly renovated exhibition space in the Museum of Papermaking in Duszniki Zdrój includes the work of Magdalena Sobo?, Barbara Mydlak, and professor Ewa Latkowska-?ychska. For more information, visit http://muzeumpapiernictwa.pl or call +48 748-627-400.

In Search of Origins: The Research and Scholarship of Dard Hunter will be on view at the Robert C. Williams Museum of American Papermaking during the fall of 2017. This exhibit explores the works produced by Dard Hunter, who traveled around the world investigating and documenting hand-papermaking techniques and traditions. For more information, visit http://paper.gatech.edu or call (404) 894-7840.

The Awagami International Miniature Print Exhibition of miniature prints on washi paper will be exhibited in Awagami’s Hall of Awa Japanese Handmade Paper Museum in October. Visit http://miniprint.awagami.jp for details.

The 1st Annual Arnold Grummer’s Midwest Paper Fest Exhibition will take place October 6–28 in Green Lake, WI. Visit http://greenlakerenewal.org/MidwestPaperFest for more details.
.
The 9th Triennale du Papier is on view through October 8 at the Musée de Charmey, Val-de-Charmey, Switzerland. This international exhibition includes artists who use paper in their works as substance and transformation and not as support only. More information can be found by calling +41 26 927 55 87 or at http://www.musee-charmey.ch.

The Association Chaine de Papier Paper Fibre Art Biennial in Nantou County, Taiwan takes place October 6 to March 9. Exhibitions include work in natural handmade paper or recycled paper. For more information, visit http://biennialartpaperfibre.com/blog.

The Fine Contemporary Craft Exhibition, a biennial national juried exhibition, will take place at Artspace in Raleigh, NC from December 1 to January 27, 2018. Visit http://artspacenc.org for more information.

> CALLS FOR ENTRIES

Dimensions: Juried Exhibition of Fine Craft is seeking entries from artists residing in California for an exhibition at the San Luis Obispo Museum of Art, January 5 to February 18, 2018. Entry deadline October 6. Artwork can be in any of the following media: clay, fiber, paper, glass, metal, jewelry, wood, and mixed media. For more information visit http://www.sloma.org.

The Canadian Bookbinders and Book Artists Guild (CBBAG) is pleased to present Art of the Book 2018. In August 2018, the exhibition will open at the Audain Gallery, Visual Arts Building, University of Victoria, British Columbia. The jurors will select books or book-like works in multiple categories including papermaking and paper decoration completed in 2017. Entry forms will be available in October and due in January. For more information, visit http://www.cbbag.ca/exhibitions.

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.

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

> OPPORTUNITIES

The Morgan Conservatory in Cleveland, Ohio, is accepting applications through October 31 for its winter internship program. Interns will be immersed in Eastern styles of hand papermaking. They will be expected to help with paper production and will learn about the various processes that go into fiber preparation like cooking, scraping, picking, and hand beating. For details, visit http://morganconservatory.org.

Minnesota Center for Book Arts is now accepting applications for its spring 2018 artist residency, which takes place between January and April 2018. Application deadline is November 1. Details and application can be found at http://www.mnbookarts.org/airapp/. Questions can be directed to Sara R. Parr, MCBA’s Artist and Adult Programs director, at sparr@mnbookarts.org or (612) 215-2526.

Cultural Collaborative, a small non-profit working with children in Ghana, West Africa, is looking for papermakers and bookbinders to volunteer to teach the kids next summer. If interested contact aba@culturalcollaborative.org. For information on Cultural Collaborative, visit www.culturalcollaborative.org.
  
> PUBLICATIONS AND VIDEOS
The Legacy Press announces publication of They Made the Paper at Tuckenhay Mill by Peter and Donna Thomas, featuring the recounts of eight retired people who worked in the now-closed Tuckenhay Mill in Devon, England. For more information visit www.thelegacypress.com.

> MISCELLANEOUS
The Radcliffe Red List of Endangered Crafts was recently published online by the Heritage Crafts Association and The Radcliffe Trust. The study assesses the vitality of traditional heritage crafts, including papermaking and related tool making, in the United Kingdom. For the full report, visit http://heritagecrafts.org.uk/redlist/.

Hand Papermaking is saddened by the news of the passing of Keiji Oki, an accomplished Echizen-washi papermaker. The Oki papermill has ceased operations with his passing. Hiromi Paper shared an interview with Oki on their blog on March 25, 2016 at www.hiromipaper.wordpress.com.

Combat Paper is raising funds to replace its touring vehicle to allow the continuation of its upcoming workshop schedule. Combat Paper is a group of artist veterans who host workshops that transform military uniforms into handmade paper, with a portable papermaking mill that has been traveling the country with a team of facilitators for nearly ten years. Visit www.gofundme.com/combatpaper for more information.

> CLASSIFIEDS
Classifieds in Hand Papermaking Newsletter cost $2 per word, with a 10-word minimum. Payment is due in advance of publication.
Two Noble and Wood 7-lb. cycle beaters. Offers: Ron 503-319-2274, Ron@oblationpapers.com.

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, and 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. 23-inch C&P paper cutter. Contact The Pterodactyl Press in Cumberland, IA, (712) 774-2244, floyd_pearce@yahoo.com.

HAND PAPERMAKING
loves to hear from readers:
newseditor@handpapermaking.org

> 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: Yousef Ahmad, Thomas Bannister,
Lisa Cirando. Patrons: Tom Balbo, Sid Berger
& Michèle Cloonan, Joan Hall, Susan Gosin,
Gordon & Roswitha Smale, Nancy & Mark
Tomasko. Underwriters: Jeffrey Cooper, Susan
Mackin Dolan, Fifth Floor Foundation, Joan
Hall, Kyoko Ibe, Lois & Gordon James, Russell
Maret, Ingrid Rose, Margaret Ahrens Sahlstrand,
Michele Samour, Mina Takahashi, Beck
Whitehead, Teri Williams, Pamela S. Wood.
Sponsors: Simon Blattner, Tom & Lore Burger,
John Cirando, Kathryn & Howard Clark,
Jeffrey Cooper, Kathy Crump, Amanda Degener,
Gail Deery, Michael Durgin, Jane Farmer,
Kathryn Flannery, Helen Frederick, Winsome
Jobling, Barbara Landes, Anne Q. McKeown,
Julie McLaughlin, Laura Merrick Roe, Margaret
Ahrens Sahlstrand, Kimberley Schenck,
Mary C. Schlosser, Tony Trausch, Claire Van
Vliet, Gibby Waitzkin, Aviva Weiner, Beck
Whitehead. Donors: Marjorie Alexander, John
Babcock, May Babcock, Kevin Baker, Ines
Ballugera, James Barton, Carol J. Blinn, Tara
Bloyd, Colin Browne, June Burden, Carla A.
Castellani, Dickson Chin, Nancy Cohen, Paula
Cox, Elizabeth Curren, Kerri Cushman, Jennifer
Davies, Georgia Deal, Marian Dirda, Linda
Draper, Karla & Jim Elling, Kathy Fitzgerald,
Tatiana Ginsberg, David Lance Goines, Lori B.
Goodman, Hiromi Paper, Sally Wood Johnson,
Ellen Mears Kennedy, Joyce Kierejczyk, David
Kimball, Betty L. Kjelson, Steve Kostell, Tom
Lang, Aimee Lee, Lynda Liu, Winifred Lutz,
Katie MacGregor, Mary Lou Manor, Lynne
Matott, Debora D. Mayer, Edith McGuire,
Cecilia Cole McInturff, Margaret Merritt,
Betsy Miraglia, Timothy Moore & Pati Scobey,
Catherine Nash, Elaine Akiko Nishizu, Pat
Owens, Pyramid Atlantic, Radha Pandey, Nancy
Pobanz, Melissa Potter, Brian Queen, Charles
G. Raney, Julie Reichert, Sally Rose, Kimberly
Schenck, Kim Schiedermayer, Richard
Schimmelpfeng, Vicky & Pablo Sigwald, Gordon
Sisler, Scott R. Skinner, Liz St. Rain & Michael
Hotlick, Susan Straight, Jean Stufflebeem, Betty
Sweren, Therese Swift-Hahn, Elise Thoron,
Bruce Wilson, Paul Wong, Kathy Wosika, Mehran
Yazdanian, Therese Zemlin. Supporters: Marlene
Adler, Mary Ashton, Anne Beckett, Inge
Bruggeman, Zina Castañuela, Michele Combs,
Sara Gilfert, Mabel Grummer, Robert Hauser,
Yukari Hayashida, Mildred Monat Isaacs, Susan
Kanowith-Klein, M. P. Marion, Edwin Martin,
Emily Martin, Margaret Miller, Ann S. Miller,
Nancy Pike, Dianne L. Reeves, Carolyn A. Riley,
Mary Tasillo, Carla J. Tenret, Allan Thenen,
Christy Wise. Friends: Shannon Brock, Cara
Di Edwardo, Sarah & Joshua Dickinson, Linda
Gardiner, Fran Kornfeld, Jill Littlewood, Leslie
Paisley, Jill Powers, Bonnie Reisman, Amy
Richard, Sally Rose, Bonnie Stahlecker, Taiko
Suzuki, Margery Takiguchi, Peter Thomas,
Virginia Yazbeck. In-Kind: Adobe Systems
Inc., Tom Balbo, Janet De Boer, Peter Ford,
John Gerard, Dard Hunter III, 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

‍