Hand Papermaking Newsletter
Number 121, January 2018

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
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The deadline for the next newsletter (April 2018) 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: Michael Fallon, Executive Director; Mina Takahashi, Magazine Editor; Shireen Holman, Newsletter Editor; Karen Kopacz, Designer. 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,

Honolulu, Hawaii has been my home for the past 50 years. It has been paradise except for one aspect—the lack of a papermaking facility with a beater. I joined Friends of Dard Hunter many years ago, and that organization has been my lifeline to all things paper. In the early days FDH was my source for information, materials, teachers, and creative paper ideas. Taking papermaking classes on the mainland provided the only opportunity for me to make paper. 
      About 5 years ago I attended a memorial service for a Honolulu Museum of Art trustee. I have been a docent at the museum for 25 years. As I listened to the eulogy, the theme of legacy and giving back and supporting the arts in our community seemed to be what this person had generously accomplished.
I must have been ready to hear that message. The absurd idea that I could create my own papermaking center in partnership with the museum began to percolate. After much thought and writing, I made an appointment with the director of the Museum Art School and shared my ideas. Papermaking stands as the link to the Pacific Islands’ tradition of tapa (barkcloth), the Japanese art of origami, Eastern-style papermaking, shifu, indigo dyeing, Korean hanji, printmaking, and the book arts. In exchange for buying materials, equipping a papermaking facility, and teaching classes, the museum agreed to provide the use of a large locked outdoor storage shed. I made good moulds, bought fiber, vats, couching materials, and drying boards. It was truly a thrill when David Reina’s beater arrived at the docks, and was uncrated on the school grounds.
      After about 4 years of educating and proselytizing, making paper has become a regular art school catalogue item. I have taught enough beginners (adults only) to the point where I can now have an “open studio” session. People know enough to make their paper and paper art projects by themselves. I am still very protective of my beater. I am now looking for a “younger” person who would like to share the load and carry forward what I have started. It is a joy and privilege to share my love of paper with my ohana (extended family). Papermaking and the book arts are alive and well in Honolulu.
     
     
Sincerely,

Allison Roscoe
Honolulu, Hawaii

> 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. Donna honors Elaine on her 85th birthday with a column describing some of her major publications.

We recently celebrated Elaine’s 85th birthday, and as you all know, her contributions to the hand papermaking world throughout the years have been enormous. As a celebration for her birthday, I have devoted this column to describing six significant books on papermaking that she either wrote or edited.

International Conference of Hand Papermakers, Carriage House Press, 1981.

The conference, organized by Elaine Koretsky and Bernard Toale, took place in October 1980 in Boston, before the existence of the Friends of Dard Hunter and its associated conferences. One hundred participants from seven countries and thirty US states participated in lectures and demonstrations that are documented in the book. Highlights include an article on papyrus by the venerable Dr. Hassan Ragab of Egypt, a description of traditional Korean papermaking by the charismatic Kim Yeong-Yon of Korea, descriptions of working on handmade paper projects in the 1970s with Ellsworth Kelly, Frank Stella, and others by John Koller. Elaine wrote the introduction and she glued a sample of papyrus into each copy.

Color for the Hand Papermaker by Elaine Koretsky, Carriage House Press, 1983.

Based on Elaine’s intensive five years researching the coloring of paper pulp, this publication is the definitive work on color with chapters on the theory of dyes and pigments, the analysis of colorants including natural dyes, and the procedures and practical considerations of coloring. It is technical but easy to understand and includes illustrations by my elder brother’s girlfriend at the time. A second unbound part of the book contains a Fade-Ometer mask, a blue wool fading card, and 89 lab sheets describing Elaine’s various experiments. Finally, eleven 1-inch-square samples of our handmade paper are glued onto one sheet, each sample colored with one of Carriage House Paper’s recommended pigments. This book was an edition of 1,000; so you can imagine what Elaine’s dining-room table looked like with 11,000 samples waiting to be tipped in. As if that were not enough work, there was also a “special edition” with many more paper samples.

Chinese Handmade Paper by Floyd Alonzo McClure with a preface by Elaine Koretsky, Bird & Bull Press, 1986.

Elaine describes her accidental discovery of seven trunks of handmade paper and notes, all collected by the botanist Dr. McClure, the leading authority on bamboo. Dr. McClure lived in China from 1919 to 1941 and became keenly interested in handmade paper, passionately collecting large amounts of it from all over China and keeping careful notes about it. In looking through the trunks, Elaine realized that Dr. McClure had written his master’s thesis in 1927 on Chinese Handmade Paper and that he intended to publish this thesis along with a series of labeled handmade paper samples that he had cut into 4 x 6-inch sizes, but he was unable to find a publisher and abandoned the idea. Elaine convinced Henry Morris to publish the book including McClure’s paper samples. However it took Henry a few years to complete it; after all, he had the task of gluing forty samples in each book. It was an edition of 325 copies which meant he glued 13,000 samples! The book is letterpress printed and hand bound. (And the seven trunks are now part of Elaine’s paper collection.)

A Gathering of Papermakers, Carriage House Press, 1988.

In 1985, Elaine invited 25 papermaking friends to help us celebrate our first ten years as Carriage House Handmade Paper Works (we later shortened it to Carriage House Paper). There were slide talks, demonstrations, and even a beater pow-wow. David Reina, Lee McDonald, and Helmut Becker each brought a beater they had designed. That was the first time we had met David, and who would have thought at that time that he and I would be married ten years later! The book documents these programs and includes essays about ways to work with paper, using beaters, and accounts of papermaking in remote parts of the world. My favorite article is “Shrinking to Expand” by Winifred Lutz. In the introduction, Elaine noted that Asao Shimura from Japan had visited a number of paper studios before he came to our gathering, and Asao videotaped the visits, allowing the papermakers to congratulate us on our ten years of papermaking. We all gathered around the TV to watch Asao’s video. Elaine writes: “Henry Morris was filmed surrounded by pages from Elaine Koretsky’s forthcoming book on the McClure collection. He clowned around a bit for the benefit of Asao’s video, bemoaning the task of gluing the forty samples of old Chinese paper into the book. Luckily for the project, Asao was able to inform Henry (duly recorded on videotape for dubious benefit of posterity) that some samples inscribed with Chinese calligraphy were being put in upside down.” (page 9)
Elaine convinced me to make the paper for the book jackets using the papermaking technique that I discussed in my article in the book.

The Goldbeaters of Mandalay: An Account of Hand Papermaking in Burma Today by Elaine Koretsky and Donna Koretsky, Carriage House Press, 1991.

We felt compelled to write this book after witnessing the amazing bamboo paper that is painstakingly made for one purpose only. The paper is used as the substrate for the beating of gold leaf. The bamboo is soaked in lime for 3 to 5 years, cooked for 24 hours, and then beaten by hand for 15 days! There are lots of photographs and each book contains a sample of the extraordinary bamboo paper. There is also the spectacular special-edition version, letterpress printed by Henry Morris, for which we made the endpapers and the book covers. Additionally, the special edition has a folder that contains 26 samples, showing all the papers that we collected in Burma, plus gold leaf. Creating this book was truly a labor of love.

Killing Green: An Account of Hand Papermaking in China by Elaine Koretsky, Legacy Press, 2009.

Based on eighteen expeditions to China during a span of over twenty-five years, Elaine writes about her remarkable adventures investigating papermaking in remote villages throughout this vast country. This is a fascinating and thorough account of her papermaking experiences; she traveled through the Taklimakan and Gobi deserts to witness the last papermakers on the Silk Road, searched for Stellera fiber in Tibet, and discovered unique papermaking techniques by the minority groups in Guizhou province.

I did a little computer research to find out current availability of these six books. The first two are out of print, though they are available at a number of libraries. Various rare book dealers carry Chinese Handmade Paper, and the rest of the books are available at carriagehousepaper.com.
Elaine has slowed down these last few years and though she no longer writes, she enjoys reading incessantly. She is most content sitting beside Sidney in a comfortable chair in the library of their home, surrounded by their vast collection of books on papermaking, and reading excerpts of her books to him. I am sure they would love to hear from their papermaking friends. Email sidney.koretsky@gmail.com.

> TEACHING HAND PAPERMAKING

Based in Philadelphia, Winifred Radolan operates an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. In this column Winnie describes teaching a group of adult artists how to make cast paper vessels.

I recently spent a fabulous Saturday in the company of seven women artists at the Philadelphia Guild of Handweavers building on Main Street in Manayunk, a neighborhood of Philadelphia. This was my second workshop with a group that I have found to be highly creative and supportive of one another, as well as very interested in exploring different areas of fiber art. I believe I might just join!
      We had gathered for my popular Cast Paper Vessels workshop. A couple of the women had made paper with me in the past. In fact, one of them remembered me from a Family Day of papermaking many years back when I used to teach at Historic Rittenhousetown. The others were all somewhat new to the experience of making paper.
      To prepare for this workshop I will often visit a dollar store to purchase clear plastic bowls with high sides to which potential embellishments can be adhered. I prefer clear plastic for moulds, as it does not require a release agent and also easily allows the discovery of any pinholes of light that might develop during the pressing stage, which need filling. On this occasion I found small bowls, as well as ones with six-inch-high sides and a nine-inch diameter. I also asked the workshop participants to bring their collage treasures to personalize their castings.
      The seven artists gathered around two long, adjacent tables, upon which I had placed numerous empty containers waiting to be filled with their personal mixtures of pulp. While I was establishing the three stock vats, I explained that the ratio of pulp to water was considerably greater for this type of pulp casting than one would find for pulling sheets with a mould and deckle. The concentration of pulp needs to be thick enough to gather by hand, but with sufficient water surrounding it for individual fibrils to float somewhat freely. I likened the sound and feel to a “Slurpee” consistency, which they all needed to experience with their ears and hands.
      The three stock vats contained cotton linter pulp, beaten for just an hour, sized, and pigmented a dark charcoal, turquoise, and faint olive green (due to the inclusion of a handful of raw olive-colored cotton linter fibers). I demonstrated mixing colors from the vats, stirring lightly to obtain a tweed effect, or thoroughly for a homogenous blend.
      We began our day by using the dessert-sized bowls for moulds. This enabled the artists to get a feel for color mixing, the “patty-cake” technique of casting and of pressing on a small scale, and without concerns about embellishment choices. I demonstrated gathering a golf-ball-sized lump of pulp and tossing it from cupped palm to palm, trying to retain the water. I explained that this wet tossing action helped to align and interlock individual fibers. They could see the lump begin to have a smoother appearance.
      After a few tosses, the lump went into the bottom of the plastic bowl, and successive handfuls of pulp were gathered, tossed, and placed adjacent to each other, also covering the sides. I suggested the wet thickness of the pulp should be about one quarter of an inch. As water puddled at the bottom, we sponged it out without actual pressing.
      When the entire interior of the bowls were smoothly lined with fiber, it was time for pressing with a sponge. I guided everyone through their gentle and gradual first steps, and then described using incrementally increasing pressure all the way around the interior walls and bottom of the casting as the fibers compressed. I demonstrated a cautionary approach towards the top-edge treatment, holding fibers in place rather than letting them creep up and over. And I know they were all surprised that the actual pressing stage took much more time and effort than they expected. I explained that thorough attention given to this step yielded stronger finished vessels.
      Finally, I spoke of drying times being related to individual home situations. I explained that with an even surrounding of heat and lack of humidity their vessels would likely dry within three to five days. The casting would shrink in slightly from the sides of the plastic, and if further encouragement were needed to pop the bowls from the moulds, a slim and flexible palette knife would do the job nicely. I also suggested, because it was a warm and sunny day, that their small bowls might dry considerably if placed inside their cars on the dashboard, which everyone did.
      With their first casting efforts under their belts, I asked everyone to look over their collage treasures while considering how they would like to design the side walls of their larger vessels. I demonstrated that by simply wetting their torn and cut collage choices, they could temporarily adhere them to the six-inch-high walls of their moulds, then cast paper pulp over the embellishments, most of which would fuse to the pulp when dry. I cautioned that excessive overlapping of inclusions would likely result in the need to use glue to fuse them to the dried and completed project.
      While the artists were all deeply involved with their creations, I explained that I coat the dried vessels with a sealing agent that soaks into the fibers and strengthens the casting. I often use Golden Acrylic Colors 400 medium, or even Mop and Glo floor wax, which are both absorbed by the fibers, rather than sitting on top and appearing like plastic. Once the sealant has been applied and dried, vessels can be further enhanced with paint, stitchery, or collage materials.
      I always encourage my workshop participants to send me images of their dried and fully embellished vessels, but at this writing, I am still hopefully waiting to view their final outcomes. And I am certainly looking forward to sharing another aspect of paper with my new Friends in Fiber.

> 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, “Sod’s Law,” Maureen describes the problems a mill can run into with quality control and customer complaints.

When making paper by hand, whether on a large or small scale, it is perhaps inevitable that some days Sod’s Law (if something can go wrong, it will) applies. The Hayle Mill Archive contains a number of bound volumes labelled Complaints with each customer complaint duly noted and commented upon. No complaint, however minor, was ignored. Customer satisfaction was paramount to the overall success of the business.
      In some instances, the fault was attributed to a “fault of the Railway” where well-packaged bundles of paper were mishandled and damaged on route. A typical notation dated 31 May 1935 reads “damaged by dropping bundle on the corner—they returned the ream for which we gave them a credit & we claimed value from Railway Company.”1 In other instances, poor sorting or bad packing within the Mill resulted in damaged goods being returned as was the case when a complaint was received by Birdsall & Son whereby “it was evident that paper very badly sorted, or not sorted at all, had been sent to them, and we offered to meet the matter by sending them a ream of good Medium/ without charge.”2
      Often, on the same page, are found complaints relating to the hardness or softness of the paper. On 14 January 1928 it was noted that a customer (Wilfred C. Kimber) wrote “Charles I paper goes spotty when damped.” In reply to this the Mill determined that “the paper is soft sized & designed for letter press printing & not for printing etchings. If the customer is not pleased with it, had he not better return it? The spots appear as stated when the paper is wetted, but fade away entirely when dried.”3 Following on from Wilfred C. Kimber’s complaint was one where the customer, Berrick Brothers, complained that RWS paper was too hard. The response to this complaint was to inform the customer that “R.W.S. was made to the specification of the Society (Royal Society of Painters in Water Colours) to produce the hardest & purest paper possible, and we strongly recommend damping before putting a wash on. We mentioned Crisbrook as a softer, easier working paper, but could not recommend it as so good as R.W.S.”4 On 7 September 1928, the Curwen Press complained that a recent order of Medieval Demy “did not take damping well, some sheets having dry patches on after damping, some so wet that surface picked up in press.”5 It was suggested that “several sheets had been wetted at once, whereas, with Handmade single sheet dipping was necessary—we suggested perhaps they might use waterleaf paper & damp it by spraying—we asked them to let us know whether this paper was wet one sheet at a time & we sent a few sheets of waterleaf paper that they might try spraying it – possibly sized paper might be sprayed instead of dipped.”6  
      Many complaints related to a variation in the thickness of papers prompted the mill to take remedial action and it was decided that to solve the problem the Mill would assign a sorter to do “nothing else but lay out thick & thin sheets.”7
An earlier Complaints book dated January 1900 to November 1923 includes a paste-in outlining the particulars of complaints during that period:

About 165 customers have complained during this period, Total number of customers – About 570 during last 4 years. About .29% of our customers have lodged a complaint in the last 23 years. Of the customers who have complained there are 3.77% to each customer during the last 23 years.
Waterlow & Sons however have 35 complaints during the last 23 years, as compared with .29% for the average over all our customers.
REJECTIONS: Since January 1922. Waterlows have lodged 9 complaints and sent back 8 lots. Other customers have returned 13 lots out of 96 complaints, but these have mostly been returned at our suggestion.
The above figures include artists complaining about our Drawing and Etching papers, which in many cases are admitted to be more the temperament of the artist than any defect in the paper.
Eliminate the artist customers and the complaints of dark coloured papers not matching and complaints about filter papers when we first started making, and you reduce the total number of complaints to less than half.8

    By 1934 one third of all the paper manufactured at Hayle Mill was labelled “Drawings & printings” and this sector the business continued to increase during the rest of the twentieth century. Some sympathy must be afforded the poor artists who were so soundly dismissed in the above summary. In some instances, as was the case with the artists René Hague and Eric Gill, when enquiring about difficulties when printing etchings using the paper, Charles I, all they wished to know was “why?”9

1. Complaints, April 1923 to July 1934, Hayle Mill Archive, 98.
2. Complaints, April 1923 to July 1934, 5. Birdsall & Son, Wood Street, Northampton; 168 Regent Street, London, were one of the largest bookbinding firms in Great Britain.
3. Complaints, April 1923 to July 1934, 45. Hughes & Kimber were suppliers of materials for engravers, lithographers, and other printing trades. After WWI Wilfred C. Kimber acted independently as the parent company struggled financially and was eventually dissolved.
4. Complaints, 45. Berrick Brothers were suppliers of a wide range of art materials.
5. Complaints, 50.
6. Complaints, 50.
7. Records & Estimates, Hayle Mill Archive.
8. Complaints, January 1900 to November 1923, Hayle Mill archive. Waterlow & Sons Limited was an internationally renowned engraving house specializing in banknotes and postage stamps. In 1961 it was bought by De la Rue, the company which still prints notes for the Bank of England.
9. Complaints, April 1923 to July 1934, 85.

> 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. Here Sid shows us a world of ephemeral papers that, although not intended to be preserved, are nevertheless beautifully and carefully crafted.

I love decorated paper. [As if you didn’t know by now!] It is all over the place. And as with most paper, people take it for granted—a point I have made in my earlier columns. My last column concerned gift wrap. This one takes off from there, and it looks at other kinds of papers that people “look beyond” or look away from. With gift wrap, people might take the package in hand and rip off the covering material, eager to get to the present. On a rare occasion someone might say, “What nice paper,” while he rips it to shreds to get to what the gift wrap covers. By the time the unwrapped gift is in hand, the shredded and crumpled paper is either on the floor or is being stuffed into a garbage bag—and it isn’t even a memory. This does a serious disservice to the person who has carefully chosen the paper and done the wrapping. And it does an equivalent disservice to the person who designed the sheet and the company that has printed and “published” it, making it available to the public.
I am sure the commercial gift-wrap-paper company does not care what you do to the paper; they have made their money on it and it is as much in their past as it is in the past of the gift-unwrapper. But to people who care, like me and, I believe, many of Hand Papermaking’s readers, the wrapping is important and should be savored. Also, for scholars of decorated papers, we are often at a loss as to who designed the papers we use. By pure coincidence, just today I got in the mail a bookseller’s catalog listing “ten sample books containing samples for paper napkins and paper tablecloths…[d]ated between 1955-1963” (Knuf Rare Books, Catalogue 231, item 63). And to show that some people do care, the seller has priced this little lot at €1,960!
As this tells us, there is a whole realm of decorated papers beyond gift wrap: paper for box liners, mats for framed pieces, special bookmarks, lampshades, and on and on. And there is another realm of such papers that are meant to be trashed: napkins, placemats, table covers, and other ephemeral uses. In the example I just mentioned (the ten volumes), there are over 700 samples, all for Christmas uses. They were produced by Fasana, a German company going back more than 70 years. We know the company, but we don’t know the designers of the sheets themselves.
And also by coincidence, my wife and I recently acquired a wonderful paper sample book titled Supplementary Samples 1930 containing delightful examples of many kinds of ephemeral decorated papers: placemats; napkins; bridge table covers; note paper packets and stationery (with the notes and the covering packets bearing quaint designs); envelopes with decorated lining papers; “travel packets” (portable writing desks covered with and containing decorated papers); greeting cards; folders; memorandum books; photo albums and scrap books covered with decorated papers; “cleansing tissue packets;” desk memo pads, and cigarette and candy boxes; paper tying tape; shelf-lining and shelf-edging papers; and much more. And for me, the great bonus is that all of these charming papers were done by one named person: Amy Drevenstedt. Only rarely do we learn who the designers of commercial decorated papers are. In fact, Drevenstedt published this sample book and seems to be the purveyor of these papers.
A Google search led me to a whole Drevenstedt world. She was born in July 1886 and a couple of decades later she was teaching drawing in Cedar Rapids, Iowa. (See Directory of Special Teachers in Iowa Schools [Des Moines: December 1912], p. 121, where she is listed under the section Midland Schools, 27.4.)
She later became a fairly well-known book illustrator in her day, working in the 1920s and ’30s in the Art Deco style. She did the illustrations and cover design for Thornton Wilder’s The Bridge of San Luis Rey (New York: Albert and Charles Boni, 1928) and the cover design for Charles Reznikoff’s By the Waters of Manhattan (New York: Albert and Charles Boni, 1930). She is represented in Emmy Zweybruck’s Festive Motives (10 Silk Screen Prints): A collection of ten original designs by outstanding American artists reproduced by the Silk Screen Process (New York: American Crayon Company, 1945). And she did maps for various published projects, like the one shown here, PPPP sid121m.png PPPP a pictorial map of North America and Western Europe showing Charles Lindbergh’s famous Transatlantic flight from New York across the Atlantic Ocean to Paris in a plane dubbed The Spirit of St. Louis. The left border depicts the preparations including the initial flight from San Diego to St. Louis and on to New York. The upper border illustrates the elements he braved: “Distance, Fog, Snow, Sleet, Darkness and Solitude.” The right border illustrates his destination including the airport in France and the triumphant reception in Paris and Brussels. The lower border depicts his return via the USS Memphis to a hero’s greeting in Washington and New York.
I learned that she was serious about her papers—and about protecting her designs. I found on the web an application for a patent for one of her works, a “Design for a box cover paper or similar material,” that she was doing for the department store John Wanamaker, New York. She filed the application on January 24, 1927, for the lovely illustration pictured here.

AMY DREVENSTEDT, OF NEW YORK, N.Y., ASSIGNOR TO JOHN WANAMAKER NEW YORK, 01? NEW YORK, N.Y., A CORPORATION OF NEW YORK.

Be it known that I, AMY DREVENSTEDT, a citizen of the United States, and a resident of New York city, New York, have invented a certain new, original, and ornamental Design for a Box Cover Paper or Similar Material of which the following is a specification reference being had to the accompanying drawing in which the figure is a face View of a box cover paper or similar material, illustrating my new design.

      That she was a company herself is demonstrated in the entry to The Smithsonian National Museum of American History collection: “Trade catalogs from Amy Drevenstedt.” Information about the Smithsonian collection of her work reveals: “DATE 1900s; COMPANY NAME Amy Drevenstedt; PLACE New York, New York, United States.” And the collection contains “Greetings cards; gift enclosure cards; tissue paper; tablecloths; napkins” along with trade catalogs, price lists, samples, Christmas cards, and other paper products.
She marketed her products herself. An advertising piece in the magazine The Atlantic Monthly, vol. 110 (Boston and New York: The Atlantic Monthly Company, 1912), pages 6–7 says:

Not for an instant can paper take the place of linen for tablecloths and napkins, but there are times when it is convenient and appropriate to use it as a substitute. Hastily organized bridal parties, benefit bridges, and children’s parties, to say nothing of picnics and other alfresco meals, are made the merrier if no one cares what happens to the napkins or wonders if the color stains will come out of the tablecloth. Conveniently and cleanly sealed in cellophane wrapping come three heavy, though not stiff, paper tablecloths 30” square, and twelve 15” luncheon-size, de luxe paper napkins. They are [coyly?] patterned in a quaint design, which may be known to you, of houses and flowerpots set in squares.  You have a choice of three colors—green, yellow, or blue. The package costs, postpaid, $1.10.—Amy Drevenstedt, 31 East [19th?] Street, New York City.

Here we not only have a name to the paper designer, we also have her purveying her own products, and we have a good many samples of her work. She also contributed to a book by Sallie B. Tannahill, instructor in fine arts at Teachers College, Columbia University. The book is P’s and Q’s: A Book on the Art of Letter Arrangement (Garden City: Doubleday, Page & Company, 1923).
The catalog of samples that I mentioned above also contains about a dozen copies of her bookplates along with a host of Drevenstedt’s decorations.
For me it is always a treat to find decorated papers—especially ones I have never seen before. It is a special treat to see papers that are usually overlooked or dismissed, like the ones under scrutiny here for table covers and placemats and the like. And it is a triple treat to learn about the person who designed (and in this case sold) them. With this column I hope to make my readers aware of, and appreciate, the efforts of designers who want to bring some pleasure into our lives. It’s OK to use that paper tablecloth and its accompanying napkins, then toss them. But before they make it to your trash, I hope you have gotten some enjoyment out of them, and I hope you silently thank the designers and publishers who made them available to you.

> STUDYING HAND PAPERMAKING

Amy Richard is the proprietor of a small paper mill/art studio where she teaches private lessons and workshops in Gainesville, Florida and beyond. For this newsletter, she explores programs in colleges, universities, and other established art centers in the United States and abroad, with the goal of highlighting learning opportunities for book and paper artists and expanding the hand papermaking community. In this issue, Richard features the Morgan Conservatory and Educational Foundation in Cleveland, Ohio—the largest arts center in the United States dedicated to every facet of hand papermaking, book arts, and letterpress printing.  

For years now, I’ve been intrigued by news of the Morgan Conservatory and Educational Foundation and the talented individuals who have taught workshops and/or exhibited there. Recently, I had the pleasure of visiting this gem.
Founded by Tom Balbo, who now serves as artistic director, the Morgan was modeled after the Paper & Book Intensive and the Oakdale Paper Facility at the University of Iowa, among others. As Balbo explained, he had made a lot of friends in the paper and book arts community over the years and found himself wondering, “Why can’t we do the same thing here in Cleveland?” Not one to shy away from a project, Balbo and a dedicated group of paper enthusiasts launched the foundation in 2008 with the help of a generous endowment from Charles Morgan. Now in its eleventh year, the Morgan is maturing into a serious influence within the paper and book arts community—offering workshops, internships, artist residencies, open studio, and exhibition opportunities.
During my visit, I had the pleasure of meeting Jean Appleby—a Cleveland artist who has benefited from the Morgan and all it has to offer. She is now returning the favor by serving on its board of directors.
“I’ve taken several paper workshops to develop my technical knowledge and skills in this new medium, including pulp painting and encaustic on paper,” said Appleby. “The instructors are from all over the US and have been so generous in sharing their expertise that has taken them many years to develop. I also enjoy meeting fellow artists in the workshops. I’ve taken advantage of the Open Studio opportunities to use the facilities and equipment. Out-of-town workshop participants often book open-studio time right after a workshop to continue a body of work started in a workshop. This summer I made wheel-thrown clay forms and bisqued them to use as moulds. I’m casting paper pulp into them to create paper vessels. I’m enjoying ‘talking with the paper.’”
As Appleby suggests, a wide range of workshops is available including Western- and Asian-style papermaking, and many unique processes that one would be hard-pressed to find elsewhere (e.g., traditional Korean watercolor painting on mulberry paper, large-scale Asian-style sheet formation). There are also many related classes, including paper conservation, framing techniques, box making, paste paper, bookbinding, letterpress, wood block, and pressure printing—to name a few.
According to Studio Workshop Coordinator Marissa Tiroly, “Most workshops are one- or two-day events with longer sessions between three and five days during the summer, offering more depth.”
For undergraduates and graduates wanting to gain first-hand experience in a production studio and non-profit arts organization, the Morgan offers up to 15 internships each year. Gallery and Artist Opportunities Coordinator Anna Tararova explained a bit more: “The Internship Program has been an integral part of the Morgan Conservatory since its creation, proving to be mutually beneficial. Interns are immersed in hand papermaking, book arts, and letterpress, in exchange for completing tasks that include tending the garden, assisting with workshops, maintaining studios, and other general housekeeping and assigned tasks. Our goal is that every intern gains the understanding of these processes by the end of their term.”
The artist residency program, a new addition to the Morgan’s repertoire, provides yet another opportunity for established and emerging artists to focus for an uninterrupted period of time on their practice. (Artists from the 2017 residencies included Elaine Battles, Anna Wagner, Joey Behrens, Nicole Donnely, Cara Lynch, and Hong Hong.) Residencies can range from anywhere between a few weeks to a few months, providing artists 24-hour access to the bindery and the papermaking and printing studios. In return, they are asked to contribute by giving an artist talk, demonstration, or open studio as well as donating a piece of work from their residency. With additional support from the Windgate Foundation and the Ohio Arts Council, artists will now receive a stipend for housing and materials.
Bringing things full circle, the Morgan’s recently expanded gallery, with nearly 200 linear feet of exhibition space, provides a beautiful setting for artists to show their work and connect with the community, which can be invaluable for all involved. The Morgan supports an active exhibition season every year, hosting numerous juried group shows, as well as solo and collaborative exhibitions.
While taking all of this in, I was overwhelmed by the obvious “people power” required to keep such a wonderful resource up and running. When asked what he is most proud of, Balbo was quick to answer. “I’m very proud of the versatility and caliber of artists who have been [and continue to be] involved, as well as the Eastern papermaking connection we’ve developed. The small grove of paper mulberry trees growing outside provides artists access to the whole process of Asian papermaking, beginning with the cultivation of the raw material, and every step in between to the creation of the beautifully translucent Asian-style kozo paper. One of our main goals has always been to provide hands-on learning experiences for the next generation—to transfer the sensuality of working with these materials.”
For more information about the Morgan and all it has to offer as a place to study papermaking and book arts, go to http://www.morganconservatory.org/.

> 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 April 2018 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[SH1]
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. Session I, January 18–February 15; session II, February 22–March 22.
Arrowmont School of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont.org. Classes and workshops in a variety of disciplines, including papermaking. Adult Community Classes in a variety of genres run in winter in several sessions.
Short classes (2–3 evenings): session I, January 29–31; session II, February 19–21.
Evening Classes (5 weeks on Tuesdays and Thursdays): January 16–February 15.
2018 national workshops are listed at https://www.arrowmont.org/wordpress/wp-content/uploads/2015/11/National-Sneak-Peek-Digital-opt_100917.pdf.
Book Arts Los Angeles, Los Angeles, CA, (310) 722-9004, www.bookartsla.org.
Book Arts Intensive, January 13, 9:00 AM–4:00 PM.
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.
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, January 9, February 6, or March 6, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques.
Embedding, Blowouts, and Simple Watermarks, March 13, with staff instructor. Learn three techniques: embedding, blowouts, and watermarks.
Pulp Painting, Stenciling, and Pigmenting, February 13, with staff instructor. Learn proper pigmenting techniques and how to create stencils and pulp paint consistencies for a variety of purposes.
Casting with Molds and Laminate Casting, January 16, with staff instructor. Learn two different sculptural papermaking techniques.
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. Helen holds regular papermaking workshops at her studio in the heart of the Rocky Mountains and online. For her upcoming schedule, visit http://helenhiebertstudio.com/calendar/.
Paper Illuminated, a six-week, in-depth, online course. Join Helen in creating five illuminated paper structures: four lamps and a folding screen that transforms into a lantern. Registration begins in March.
Honolulu Museum of Art, Honolulu, HI, (808) 532-8700, www.honolulumuseum.org. Explore your creative side with studio art and crafts classes at the Honolulu Museum of Art and Spalding House in Makiki Heights. The school offers classes in spring, summer, and fall semesters for all ages. For more information, visit https://honolulumuseum.org/learn/classes.
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, http://interoceancuriositystudio.com/. 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.
Kent District Library–Cascade Township Branch, Grand Rapids, Michigan, (616) 784-2007, https://www.kdl.org/locations/cascade.
The Art of Papermaking, January 22. Learn techniques to create decorative sheets of paper using various fibers and pulp, a mould, and a deckle.
Maiwa School of Textiles, Vancouver, British Columbia, (604) 669-3939, http://www.schooloftextiles.com/. Maiwa School of Textiles offers an international roster of instructors. Learn from some of the most skilled hands working in textiles today.
Papermaking with Natural Dyes, May 31–June 3, with Radha Pandey. Learn the history and technique of a style of papermaking practiced in the Islamicate lands that has remained unchanged since the 8th century.
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 or Papermaking, Saturdays, with staff instructor. Beat fiber for future sheet forming. Register for Open Studio sessions at http://www.mnbookarts.org/openstudio.
Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, http://morganconservatory.org. For information about the Open Studio program visit http://www.morganconservatory.org/open-studio.
Traditional and Non-Traditional Techniques in Japanese Papermaking, March 3–4, with Michaelle Marschall. Learn all the steps of making translucent sheets of washi, from scraping the bark off the kozo to forming beautifully thin sheets of paper.
Papermaking with Milkweed, March 10–11, with Tony Carlone. Learn all aspects of making paper using native milkweed plants, from harvesting to pulling your own sheets of paper.
Papermaking and Pulp Painting, March 17–18, with Anna Tararova. Learn every step of Western papermaking, as well as various techniques for painting with colored cotton pulp.
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.
Penland School, Penland, NC, (828) 765-2359, www.penland.org. A full program of craft workshops, including papermaking. For information on upcoming one- and eight-week spring workshops, which begin on March 11, visit http://penland.org/classes/classes_by_session.html.
Pyramid Atlantic, Hyattsville, MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshops in papermaking, printmaking, and book arts. 
Sculptural Papermaking, January 30, February 6, 13, & 20, with Gretchen Schermerhorn. Get an overview of basic papermaking techniques and learn how to make sculptural paper forms from wire, reed, mesh, and nylon, which act as a support for high-shrinkage abaca and flax pulp. 
San Diego Book Arts, at the Covell Studio, 8680 Washington Avenue, La Mesa, CA 91942, www.sandiegobookarts.com. Visit the website for more information about upcoming classes.
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 Paper Marbling, January 20, with Pietro Accardi. Gain a basic understanding of the history, techniques, tools, and styles of European marbling.
Tin Can Papermaking, February 3, with Julia Goodman. An introduction to the history of handmade paper, with an overview of handmade paper in contemporary art and DIY papermaking.
Paper Marbling Lab, February 4, with Pietro Accardi. Guided by Italian marbler Pietro Accardi, practice techniques learned in SFCB’s Introduction to Marbling workshops.
Intro to Japanese Style Papermaking, February 20–21, with Michelle Wilson. Learn to make thin yet strong papers in the Japanese tradition.
Introduction to Pulp Painting, March 4 & 11, with Michelle Wilson. Learn about handmade paper in the European tradition, as well as the handmade-paper technique of making imagery through pulp painting.

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.
Crafts & Drafts: Papermaking from Hops, April 20, with Katy Dement. Using grains, fibers, and vines reclaimed from the brewing process, students will create golden handmade papers and will embellish the paper with hop flowers and wet-on-wet collage.
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. For information on upcoming papermaking workshops, please visit https://www.swschool.org/_community-classes/adults/papermaking.
West Dean College, Chichester, West Sussex, UK, (0)1243 811301, short.course@westdean.org.uk, www.westdean.org.uk.
Paper Art: Emboss, Laminate, Fold and Cut, January 17–19, with Tracey Bush. Experiment with creative techniques to manipulate paper and explore its malleable and sculptural qualities as you emboss and deboss, form fragments into larger pieces by laminating, and use experimental paper folding and cutting. 
Making Marbled Papers, February 9–11, 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 12472, (845) 658-9133, info@wsworkshop.org,
www.wsworkshop.org. Check for Summer Arts Institute workshops, which include classes in papermaking, printmaking, book arts, photography, and other media.
The Women’s Studio Workshop also rents studio spaces in etching, papermaking, letterpress, silkscreen, book arts, and ceramics. Visit http://www.wsworkshop.org/rent-studios/ for current rates and details.
> EVENTS
Art on Paper returns to downtown Manhattan’s Pier 36, March 8–11, with eighty galleries featuring top modern and contemporary paper-based art. Art on Paper’s medium-driven focus lends itself to significant projects, unique moments that have set the fair apart and established an important destination for the arts in New York City. Exhibitors can find application materials at http://thepaperfair.com/ny/for-exhibitors/apply/. For more information on location, hours, and how to purchase tickets visit http://thepaperfair.com/ny/for-visitors/fair-dates-hours-location/.
The College Book Art Association Conference will take place January 4–6 at the University of the Arts in Philadelphia, with the theme “Collective Relevance: The Reciprocity of Art and Artifact.” Visit https://www.collegebookart.org/Philadelphia 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. 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.
Minnesota Center for Book Arts, Minneapolis, MN, (612) 215-2520, www.mnbookarts.org, presents “The Manuscript Meets Modernism: William Morris, Mid-Century Letterpress Printing and Me,” with Rachel Melis, March 22. Artist Rachel Melis presents how she and other contemporary fine press printers have been influenced by Arts and Craft printers who were in turn influenced by medieval book design.
Oregon Coast Council for the Arts (OCCA) presents the Newport Paper & Book Arts Festival XXIII at the Newport Visual Arts Center, Newport, Oregon, http://www.coastarts.org/directory/venues/n/newport-visual-arts-center/, April 20–22. Founded in 1993, the NPBAF is an annual celebration of paper arts that includes workshops, an art exhibit, and lectures and exhibits on surface design, papermaking, printmaking, sewing and design, calligraphy, Japanese dyed papers, silk, and plant fiber.

> EXHIBITIONS
In Search of Origins: The Research and Scholarship of Dard Hunter, October 13, 2017 to June 1, 2018, at the Robert C. Williams Museum of Papermaking in Atlanta, Georgia. A look at Dard Hunter’s travels and his research into the techniques and traditions of hand papermaking. Hunter wrote twenty books on papermaking, eight of which are completely handmade. For more information, visit http://paper.gatech.edu/current-exhibitions.
Inspired by Paper—Touring Exhibition, 30 Years of IAPMA, December 15, 2017 to February 28, 2018, at the Museu Moli Paperer de Capellades in Barcelona, Spain. Works from 38 paper artists from around the world will be on display. For more information, visit http://www.mmp-capellades.net/eng/.
Joan Hall: Sea of Heartbreak, May 19–July 29, at the Newport Art Museum in Newport, Rhode Island. Hall’s stunning large-scale works of art and installations combine found or cast-paper marine debris into handmade paper and explore the effects of plastic on the sea.
Marbling Exhibition curated by Antonio Velez Celemin, May 4–26, at the Morgan Conservatory in Cleveland, Ohio. For more information visit http://www.morganconservatory.org/gallery.
Polifonia, July 28, 2017 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.
Pulped Under Pressure, January 12–March 9, at the Wriston Center Art Center at Lawrence University in Appleton. Co-curated by Reni Gower and Melissa Potter, this exhibition features contemporary examples of paper art by seven hand papermaking artists. For more information, visit http://www.lawrence.edu/s/wriston/exhibitions/pulped-under-pressure-essay.
The Taiwan Biennale Paper Fiber Arts: Eco Sublime, October 6, 2017 to March 9, 2018, at the Craft Design Hall of the National Taiwan Craft Research and Development Institute in Coatun Township, Taiwan, tel. +886-49-2334141, ext. 131. Includes the work of 46 international fiber and paper artists working with natural handmade paper or recycled paper. For more information, visit http://biennialartpaperfibre.com/blog.
> CALLS FOR ENTRIES
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 are due January 15. For more information, visit http://artofthebook18.ca/wp-content/uploads/2017/10/CallorEntry_English_2.pdf.
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
Applications will be accepted December 1–31 for the Nell Meldahl Work-Study Scholarships to receive half-tuition to the Paper & Book Intensive at Ox-Bow in Saugatuk, Michigan, May 13–24. For more information, visit http://www.paperbookintensive.org/.
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.
Seeking interns: Jim Croft, a bookbinder and papermaker who lives in the foothills of the Bitterroot Mountains in rural north Idaho, is seeking interns to help make books from raw materials. Particular focus will be the rebuilding of a water-powered paper stamper. Also ongoing: flax, hemp, and cotton fiber processing, and medieval bookbinding using wooden boards and clasps. Interns have access to an extra wood-heated cabin with a board shear, guillotine, and fiber cutter. More information is available at http://cargocollective.com/oldway/Story-Place. Snail mail (Jim Croft, PO Box 211, Santa, Idaho 83866) is the best and quickest way to inquire about this internship opportunity.
> PUBLICATIONS, FILMS, VIDEOS
Bayonet Media recently produced Pressing On: The Letterpress Film. A documentary film about the 500-year-old craft of letterpress, once essential to communication but now in danger of being lost as current practitioners age. Looking at letterpress printers from the self-proclaimed basement hoarders to the famed Hatch Show Print, the film explores the question: Why has letterpress survived? Screenings will continue through 2017 and 2018. For more information, visit http://www.letterpressfilm.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.
The Nonesuch Art of Paper Awards exhibition will open in Montreal on December 1 and runs through December 16. During a closing reception on the exhibition’s last day, recipients of six Art of Paper award will be announced. For more information, please visit http://hmsnonesuch.com/nonesuch-art-on-paper-awards.
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
Studio for Sale (in Ohio): Valley Beater, 12-ton press 24x30, large compressor, two sprayers, moulds & deckles – small to 36x48, pulp, boards, felts, sieves, pans, and more. $10,000. 419-699-4710.  
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.

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. Call or write for information on annual giving levels, automatic monthly gifts, or about adding Hand Papermaking to your estate plans.

Benefactors: Lisa Cirando, Sue Gosin. Patrons:
Yousef Ahmad, Tom Balbo, Thomas Bannister,
Sid Berger & Michèle Cloonan, Joan Hall, Gordon
& Roswitha Smale, Nancy & Mark Tomasko.
Underwriters: Jeffrey Cooper, Susan Mackin
Dolan, Fifth Floor Foundation, Tatiana Ginsberg,
Joan Hall, Kyoko Ibe, Lois & Gordon James,
Russell Maret, Michelle Samour, Mina Takahashi,
Teri Williams. Sponsors: Simon Blattner, Tom &
Lore Burger, John Cirando, Kathryn & Howard
Clark, Jeffrey Cooper, Kathy Crump, Gail Deery,
Michael Durgin, Michael Fallon, Jane Farmer,
Kathryn Flannery, Helen Frederick, Helen
Hiebert, Winsome Jobling, Barbara Landes, Julie
McLaughlin, Peter Newland & Robyn Johnson,
Laura Merrick Roe, Margaret Ahrens Sahlstrand,
Kimberley Schenck, Mary C. Schlosser, Tony
Trausch, Aviva Weiner, Beck Whitehead. Donors:
Marjorie Alexander, John Babcock, May Babcock,
Kevin Baker, James Barton, Jack Becker, 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, Amanda Degener,
Marian Dirda, Linda Draper, Karla & Jim Elling,
Kathy Fitzgerald, David Lance Goines, Lori B. Goodman,
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,
Anne Q. McKeown, Cecilia Cole McInturff, Margaret
Merritt, Betsy Miraglia, Catherine Nash, Elaine
Akiko Nishizu, Pat Owens, Pyramid Atlantic, Nancy
Pobanz, Melissa Potter, Brian Queen, Julie Reichert,
Sally Rose, Kim Schiedermayer, Gordon Sisler, Scott
R. Skinner, Jennifer Spoon, Susan Straight, Jean
Stufflebeem, Betty Sweren, Therese Swift-Hahn, Elise
Thoron, Claire Van Vliet, Beck Whitehead, Bruce
Wilson, Paul Wong, Kathy Wosika, Mehran Yazdanian,
Therese Zemlin. Supporters: Marlene Adler,
Sylvia Albro, Mary Ashton, Anne Beckett, Inge
Bruggeman, Zina Castañuela, Michele Combs, Rona
Conti, Sara Gilfert, Mabel Grummer, Robert Hauser,
Yukari Hayashida, Mildred Monat Isaacs, Susan
Kanowith-Klein, M. P. Marion, Emily Martin,
Margaret Miller, Ann S. Miller, Nancy Pike,
Margaret Prentice, Dianne L. Reeves, Charles
G. Raney, Carolyn A. Riley, Mary Tasillo, Carla J.
Tenret, Allan Thenen, Christy Wise. Friends: Cara
Di Edwardo, Sarah & Joshua Dickinson, Linda
Gardiner, Fran Kornfeld, Jill Littlewood, Leslie
Paisley, Jill Powers, Bonnie Reisman, Amy
Richard, Sally Rose, Peter Sowiski, 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, Radha Pandey,
Britt Quinlan. Auction donors: Cathy Baker & The
Legacy Press, Tom Balbo & the Morgan Conservatory,
Laurence Barker, Gerry Brock, Ingrid Butler,
Jocelyn Châteauvert, Amanda Degener, Patricia
Degener, Dieu Donné Papermill, Lesley Dill, Susan
Mackin Dolan, Michael Durgin, Michael Fallon,
Helen Frederick, Peter & Pat Torley Gentenaar, Tatiana
Ginsberg, Helen Hiebert, Barbara Landes, Aimee
Lee, Jill Littlewood, the estate of David Marshall,
Ceci Cole McInturff, Julie McLaughlin, Serge
Pirard, Ken Polinskie, Margaret Prentice, Alta
Price, Nicholas Price, Brian Queen, Amy Richard,
Ingrid Rose, Michelle Samour, Flora Shum &
Paperhouse Studio, Megan Singleton, Julie Sirek,
Claire Van Vliet. Founnding 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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