HAND PAPERMAKING
NEWSLETTER
Number 69, January 2005
Newsletter Editor: Tom Bannister. Columnists: John Bordley, Helen Hiebert, Peter Hopkins, Elaine Koretsky, Winifred Radolan, Pamela Wood.
Hand Papermaking Newsleer is published
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information, or a list of back issue contents and
availability, call, fax, write, or e-mail:
Hand Papermaking, Inc.
PO Box 77027
Washington, DC 20013-7027
Phone: (800) 821-6604 or (301) 220-2393
Fax: (301) 220-2394
E-mail: <info@handpapermaking.org>
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The deadline for the next newsleer (April 2005)
is February 15. Please direct all correspondence
to the address above. We encourage leers from
our subscribers on any relevant topic. We also
solicit comments on articles in Hand Papermaking
magazine, questions or remarks for
newsleer columnists, and news of special events
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available upon request.
Hand Papermaking is a 501(c)(3) non-profit
organization. Staff: Tom Bannister, Managing
Director; Cathleen A. Baker, Interim Editor.
Board of Directors: Lynn Amlie, Martin
Antonei, Amanda Degener, Mindell Dubansky,
Helen Hiebert, Peter Hopkins, Barbara Lippman,
David Marshall, John Risseeuw, Lynn Sures,
Marilyn Sward, Mina Takahashi. Board of
Advisors: Cathleen A. Baker, Timothy Barre,
Simon Blaner, Gregor R. Campbell, Jane
Farmer, Helen C. Frederick, Elaine Koretsky,
James Sier, Claire Van Vliet, James Yarnell.
Co-founders: Amanda Degener, Michael Durgin.
Dear Hand Papermaking,
I recently co-taught a 10th-grade
papermaking class at Waldorf High
School in San Francisco. My colleague
(Julianna Pennington) and I designed a
prey sophisticated curriculum for the
students--including Himalayan, Japanese,
and Western papermaking methods. We
discussed paper fibers viewed under a
microscope, prepared various fibers, pigmented
pulp, practiced embedding and
other techniques. We also gave a writing
assignment and one of the students
submied a wonderful poem, which I
thought your readers might enjoy.
Carol Brighton
Berkeley, California
Poem for Paper
by Daniel Feldman
Western, Tibetan and Japanese
cultures that shape the world
Entwined in all is paper
tradition, life, unfurled.
From cellulose all is created
with the deckle all is foretold
With the Kozo we see the beauty
but the key is in the mold.
To begin the process we fill the vat
and beat the pulp so fine
We add the art, beauty for all to see
and if you are careful, you could even
include a sign.
Paper is used in so many ways
lives are affected and changed
It takes so much time, effort and might
people die, suffer and become estranged.
Western, Tibetan and Japanese
cultures that shape the world
Entwined in all is paper
tradition, life, unfurled.
Dear Hand Papermakers,
For the past five years I was running
a paper studio in Scotland trading under
the name Darkfibres Scotland. I specialised
in Scoish plant fibre papers such as
thistle down, bog coon, and mosses.
Six months ago I took over as the
manager at Creative Paper in Tasmania.
We produce a wide range of papers, but
our main products are recycled coon
papers mixed with indigenous Australian
fibres. I’ve just discovered that in the
1940’s one of Australia’s most influential
commercial papermakers, Charles
Turner (inventor of “Reflex”), planted a
“Papermaker’s Garden” at the Eastern
entrance to our old mill buildings. It’s a
bit run down now, and badly in need
of restoration.
A group of us would like to see the
garden restored for our community (a
traditional “paper town” since the 1930’s)
and as an educational part of our current
hand papermaking tours, and as a useful
resource for ourselves, as well as a living
legacy to one of Australia’s great papermakers.
So, I’m assisting the local council
to put together a proposal to raise funds
to do just this. However, despite having
access to one of Australia’s leading
landscape artists to actually design the
garden, I don’t have enough fibre/horticultural
knowledge to form the basis of
our planting scheme.
I would be most interested in recommendations
for any reference materials,
and I would be particularly interested to
hear of any other papermaker’s gardens
in existence.
With all best wishes,
Joanna Gair
Papermaker/Manager
Creative Paper Tasmania
<manager@creativepapertas.com.au>
Phone/Fax: (03) 64307717
Old Surrey Road, Burnie
Tasmania, Australia, 7320
Artist H. Barton Wasserman passed away
on April 18, 2004. He was 73 years old.
Bart launched Dieu Donné Papermill’s
collaborative work with artists in 1977.
He continued to make his work at Dieu
Donné until shortly before his death. Over
the years, he developed a signature artistic
style of exploring the interplay between
coon and linen pulp--first in minimalist
stripe compositions, then in figurative work
depicting the Stations of the Cross, and
more recently in abstract paperworks which
were more organic in feeling, oen likened
to aerial, topographical images. The New
Arts Program in Kutztown, Pennsylvania,
has organized a memorial exhibition of Bart
Wasserman’s work to travel in 2005. For
information, please call (610) 683-6440. The
family requests that memorial donations
may be made to the Bart Wasserman Fund,
c/o Dieu Donné Papermill, 433 Broome
Street, New York, NY 10013.
ALONG THE PAPER ROAD...
This regular feature offers paper musings from
Elaine Koretsky--renowned paper historian,
researcher, and traveler. In this article, continued
from the October issue, Elaine completes her
narrative relating 1993 and 2002 experiences
in Burma.
I treasured the artifacts I collected
on that brief trip in 1993, and hoped that
I might return. Years passed, and I oen
thought about U Lone Kawn and Sae Thip.
Finally, in 2002 I decided to make another
trip to Keng Tung. Rules and roads had
changed in nine years. We got a 30-day visa
for Burma, allowing us to cross the Thai
border from Mai Sae, drive up to Keng Tung
on a greatly improved road, stay there as
we wished, and then fly on to Mandalay
or other parts of Burma. We arranged for
a Burmese friend, Maung Maung Win, to
meet us at the border with a car and driver
from Keng Tung. It all worked out well, and
we could thoroughly enjoy the countryside
as we traveled through the mountains.
Passing the village of Na-om, we heard
sounds of music, and drove in. The Lahu
tribe, who live there, were celebrating the
New Year, “Year of the Horse.” The Lahu
wore their elaborate festival dress as they
danced and sang, accompanied by spirited
music. The people were very cordial,
invited us to watch the festivities, and even
provided stools for us to be comfortable.
The only jarring episodes in our four-hour
drive were the check-point stops. Although
we had elaborate travel documents issued
by the government for this journey, the
military at every check-point demanded
money. Maung Maung Win was furious at
this extortion, but our driver just shrugged
and paid them off.
We spent three days in Keng Tung,
finding that the small city had not changed
very much, unlike the rapid modern
development we have observed in other
Asian cities. It remained a lovely, sleepy
lile back-water town. The area still had a
reputation for involvement in illegal drug
traffic, but we never observed this activity
either in 1993 or now. We set out to re-visit
all the people whom we had met in 1993.
Our driver, Ne Win, had no problem finding
the right places. Ne Win happened to have
the same name as Burma’s ruthless military
dictator, a fact to ignore--apparently, it is a
fairly common name in Burma. We drove to
Khemerat Press to inquire about Sae Thip,
but met only his brother, Sae Yee Thip, who
now operated the printing works. He, too,
was proud of the ancient printing presses
there, and referred to the room housing
them as a museum. He showed his archive
of all the newspapers that they had printed
in the past, and tried to locate the final issue
that had been printed on local handmade
paper. But he could not easily find it. Sae
Yee Thip told us that a few years previously,
Sae Thip had started making silver
products, became very successful at this
enterprise, and had now moved to Yangon,
where he had an import-export business.
We tried to contact him there by phone, but
he was away on a business trip in Taunggyi,
so we le a message. Amazingly, before we
le Keng Tung, we received a cell phone
call from Sae Thip. He remembered us very
well, and was glad to hear that we had
returned to his native city.
Our next visit was to the home of the
retired gold beater, U Lone Kawn. We were
greeted by Daw Nang Twe, who sadly
informed us that her husband had passed
away in 1996. She also clearly remembered
our visit in 1993, and was delighted to
receive the photos of her husband that we
presented to her. She introduced her son,
daughter, and granddaughter who lived
with her. As we sat in the living room and
drank tea, Daw Nang Twe recounted the
misfortunes that had befallen her family.
Out of seven children, the only ones
remaining were the two we now met. The
granddaughter’s parents were among those
who died. We photographed the family, and
prepared to leave. Before we le, Daw Nang
Twe rushed upstairs and returned carrying
a package. Inside were the two leather
packets of gold beating paper. She had carefully
kept these in memory of her husband,
but now she wanted me to possess them. It
was such a lovely gesture on her part, and I
promised to cherish all of her husband’s artifacts
and give them a special place of honor
in my paper museum.
The papermaking village of Wan Long
was next on our itinerary. We easily drove
out there, and located the house of Daw
Na Nhun, whom we had seen in 1993.
Without time pressure this time, we could
thoroughly document the entire papermaking
process. Daw Na Nhun related that she
buys stripped mulberry bast from Akha
tribe people, who bring it in from the forest.
She cooks the fiber for one day in wood
ash, then beats a small quantity of it on a
stone surface, using two wood mallets in an
alternating rhythm. Aer the pulp is beaten,
the papermakers form small balls from the
beaten pulp, and actually weigh each ball
on a balance, adding or subtracting pulp so
that each ball weighs four ticals1. One ball
makes one sheet of paper. The only other
place where I had seen weighing of the balls
of pulp was in Daung Ma, in central Burma,
where the special paper for gold beating
was produced, and the weight of each sheet
was apparently critical. The Wan Long
papermakers were making paper primarily
for parabeik, and perhaps consistent
thickness of each sheet (hence: weight) was
imperative.
The vat was very simply constructed,
with bamboo legs and a wood frame
covered with plastic to hold the water.
This made a vat 24” x 39” x 4”, standing
37” high. To start, the vat was filled with
an inch of water. The mould is a bamboo
frame on which a loosely woven coon cloth
is stretched. To form a sheet of paper, the
papermaker scoops up some water from the
vat into a bamboo cylinder that contains a
pronged wood device, throws in a ball of
pulp, agitates the pronged wood piece, like
using a buer churn, thus dispersing the
pulp in water, then pours the pulpy mixture
down on the surface of the mould, which is
floating in the vat. Now she disperses the
pulp evenly over the surface of the mould
with special hand motions.
As I observed her closely, I realized
that her hand techniques were very similar
to what I had observed in papermaking
villages in northern Thailand. The technique
was different from the dispersing
motions we witnessed in the Western Shan
State where we had also seen the making
of mulberry paper. The strong similarity
can be explained by the fact that here in
Eastern Shan State the indigenous people,
called “Khun,” share a language and culture
called “Lanna” in northern Thailand. It is a
maer of geography and politics that their
countries’ borders now separate these two
groups.
To return to the papermaking process:
when the sheet is formed, the papermaker
lis the mould from the vat, allows it to
drain, then places it in the sun to dry.
Aer partial drying, she uses the rim of a
cup to burnish the damp paper, a practice
we had also observed only in Northern
Thailand. Finally, she runs a carved wood
stick between the paper and the cloth of
the mould to help her remove the dry
sheet. Daw Na Nhun had more than 50
papermaking moulds, so could make at
least that number of sheets per day--double
or triple that number depending upon how
quickly the sheets dried.
We visited one more papermaking
village, Naung Tang, situated northeast of
Keng Tung, toward the border of Yunnan
Province in China. On the way our driver
pointed out a village widely known for
its beautiful women. We admired a few
who were walking along with baskets of
vegetables hanging from their shoulder
poles. Rice, bananas, fruits of all sorts were
grown here; and we saw many fish ponds
with people casting nets for fish. We learned
that recently a lot of fighting had taken
place around this area, due to the growing
of another crop, namely opium, but now all
was peaceful. The papermakers at Naung
Taung told us that their village was the first
papermaking village in Keng Tung, and
the entire village was involved. Now many
inhabitants had moved away, either north
to Lashio, or south to Tachilek. Many even
migrated over the border to Thailand to find
work. Only thirteen papermaking houses
remained. Again we documented all the
processes, finding that it was very similar to
Wan Long, except that the papermakers did
not weigh the balls of pulp before puing
them in the bamboo tube.
On our last day we spent a lot of time
at the Maha Muni Pagoda, where we found
scribes working on parabeik. We met a very
interesting and learned man there, U Hong
Kham Noon, an official of the pagoda. He
discussed at length with us the papermaking
and gold beating that we had been researching.
One unusual thing he mentioned
was that some Australians in Perth had
devised another method of producing gold
leaf and applying it to the pagodas. That
may be the reason why the old gold beaters
no longer existed in this part of Burma. I
purchased some scriptures on parabeik
while at the pagoda, and U Hong Kham
Noon translated the titles of those parabeik.
When I mentioned that I had some old
ones at home, but did not know what they
signified, he offered to help me with this, if
I just sent him a copy of the inscriptions for
translation. He was fluent in English, and
also was familiar with the old Pali writing
that was oen found in the old Buddhist
scriptures.
Soon it was time to leave for the airport,
where we would get a plane to Mandalay.
On the way we had another delightful experience.
Ne Win stopped at his own house, as
he wanted to introduce us to his whole family.
We sat around in his garden drinking tea
and partaking of some delicious Burmese
desserts. His wife wanted us to stay for dinner,
but we had to leave reluctantly for the
final part of the journey that would take us
back to the U.S.
i 1 tical=16 grams or 1/2 oz.
BEGINNER TOPICS
With this issue, Marilyn Sward passes the baton
to a new columnist. Well-known author and
teacher Helen Hiebert will offer helpful tips and
guidance for newcomers based on her popular
books (see www.enlightenedpapers.com). In this
issue she outlines various techniques for making
shaped papers.
Making shaped papers is fun and easy.
In this column we’ll learn how to make
shaped deckles which control where pulp
flows onto your mould. You can use this
technique to make uniquely shaped papers
or you can divide the mould surface so you
make more than one sheet at a time (for
small sheets like cards or stationery).
There are several materials on the
market which you can use to create shaped
deckles. Artcore is my favorite. It is a
lightweight plastic like foam core, but it is
made entirely of plastic, so it is waterproof.
A disadvantage is that it is somewhat hard
to find. Quarter-inch Styrofoam, which you
can find in large sheets at lumberyards, is
the cheapest material and perfectly suitable
for shaped deckles. It has all of the
advantages of Artcore, except that it is more
fragile. Foam core will work, but it won’t
last long since it has a paper surface. You
can cover it with plastic tape to waterproof
the surface and make it last longer. If you
have a jig saw, you can cut the shape out of
a thin, lightweight wood, like masonite. I
would only do this if you are going to use
this deckle a lot, and you should polyurethane
it so that elements in the wood don’t
stain your paper.
Once you’ve selected your deckle
material, cut the shaped deckle either to the
inside or outside rectangular dimensions
of your regular deckle. If you cut it to the
inside dimension of your regular deckle, use
strapping tape or another waterproof tape
to aach it into your regular deckle (tape
it on both the top and boom sides of the
deckle at all points of contact). If you cut it
to the outside dimension of your regular
deckle, sandwich it between the mould and
the regular deckle when forming sheets,
or use the shaped deckle in place of the
regular deckle. If you are having problems
with pulp slipping under the edges of your
shaped deckle, try taping tiny weights (old
lead type works great) to weigh down the
problem area and to keep the deckle from
floating up as you form sheets of paper.
Now that you’ve created a new deckle,
simply form sheets and couch them as you
normally would. It is a good idea to create a
guide for lining up your sheets as you build
your post, so that your sheets line up evenly
for pressing. Also, pay aention to which
way you couch, making sure that you don’t
flip the mould and misalign your sheets. If
your shaped deckle is divided into several
sheets, you will obviously spend more time
handling the sheets in the drying process.
There are a few other ways to create
shaped sheets. One method I learned from
Richard Hungerford, a papermaker who
uses water forced through a dental syringe
to cut lines in freshly formed sheets of
paper. You can use this technique to create
holes in a sheet of paper or to create a thin
line, which can be torn later and functions
similar to a perforation. First make a sheet
of paper. Next, fill a dental syringe with
water and squirt a shape onto the freshly
formed sheet. You need to squirt with force
to break the fibers apart. Aer squirting the
line, gently peel the unwanted pulp away
from the line. If you have a lot of pulp, you
can use the pulp you are removing sort of
like a kneaded eraser to aract bits of pulp
and clean up your lines. Controlling as you
squirt is somewhat random. You can rest
a straight edge on top of your deckle as a
guide for squirting straight lines.
Arnold Grummer, a papermaker who
has developed a series of instructional
papermaking kits, developed a unique way
of making round paper using old tin cans.
He has a variety of products on the market
and one of his books is called Tin Can
Papermaking. A similar technique involves
cookie cuers or cuing a stenciled shape
out of mylar, interfacing, or Styrofoam and
placing it on your mould. Pour pulp into the
shape and then couch the shape--by itself or
onto a base sheet.
A simple but crude way to make a
shaped sheet is to form the sheet on the
mould and then remove pulp by pulling
it away with your hand. Remove the pulp
prior to couching the sheet, when it is
easiest to peel away. You can lay a paper or
plastic stencil on top of the freshly formed
sheet to guide you in where to remove pulp.
Another simple way to make a shaped
sheet is to just pour it freeform on top of the
mould. Aer it drains, couch the sheet onto
a felt or a base sheet.
Portions excerpted from The Papermaker’s Companion,
©2000, by Helen Hiebert with permission
from Storey Publishing, <www.storey.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 issue, Winnie sets the stage for a
papermaking program at a nursing home.
From the initial seed of an idea to
the first few visits, planning an artist’s
residency taps on many skills, not the least
among these being flexibility. When the
parameters are more definite, things oen
fall neatly into place, and begin to flow
within the first couple days of the project.
In the case of the following pilot program
I am having many opportunities to further
hone my communication skills, adaptability,
and sensitivity to the needs of a diverse
population.
In the middle of my “big move” this
past summer, one of my art centers asked if
I would like to participate in a new intergenerational
artist residency program.
And if so, requested a half-page proposal
to describe how I would like to work with
nursing home residents and school children
in the grade level of my choice. Pre-occupied
with boxing things, I described third
or fourth graders working with the seniors
in telling their stories--stories about the
ways in which learning experiences are
similar and different both now and “back in
the day.” Everyone would make paper, do
simple relief prints, participate in a wrien
component, and assemble their stories into
accordion-fold books...all within eight days
(what was I thinking!).
In late September I was invited, along
with the other six selected artists, to aend
a sensitivity training session given by the
nursing home collective’s parent organization.
It was designed to make us aware
of the residents’ cognitive and physical
limitations. We were all instructed to put
on thick glasses, rubber gloves, and ear
plugs to give us an appreciation of the loss
of senses our nursing home residents lived
with. Most of our seniors were wheelchair
bound, a few missing limbs. Most were shy
on family, and all would be willing to share
a wealth of long term memories, but should
not be expected to remember our names or
what we did from week to week. Although I
come from a family with a history of elders
in their 80’s and 90’s, I found the session
to be very sobering. We were told that the
children that we work with would be given
similar, if less graphic, training as to what to
expect of the seniors with whom they would
be working.
The next steps of planning have
involved being introduced to the staff of
the nursing facility, evaluating the work
space they’ve provided, and scheduling the
sessions in a way that works for the home,
the group of 13-18 year old students and
myself. I’ve learned that my “eight days”
are actually only eight one-hour sessions
on Friday aernoons. The first day I was
introduced to ten nursing home residents
and twenty-five students (certainly not third
or fourth graders). We broke into groups of
2-3 students per senior and conducted a sort
of geing-to-know-you hour.
I suggested that in successive weeks
I meet with alternating halves of this very
large group so that no one feels le out
or rushed through experiences. “SCALE
BACK, SLOW DOWN AND SIMPLIFY”
are the reality check words that are running
through my head as I try to plan the following
weeks’ adventures. I know that the
persons present and participating will oen
vary. I know that I can’t stretch that “hour”
much, as it falls between dining time at the
home and the end of the school day.
And I know that in spite of these
and other challenges, this will be a very
meaningful and rewarding experience. The
residents, students, and staff have already
become genuinely involved in our two
short meetings. We are beginning to find
a workable direction and the magic will
surely follow.
So stay tuned for further details...
ON-LINE
Pamela S. Wood of Arizona makes one-of-a-kind
books from her handmade papers. She explores
the internet seeking out notable paper-related
sites. In this issue, Pam visits Fabriano.
For a change of pace (and climate),
let’s head for sunny Italy and learn about
paper and watermarks in Fabriano. We will
take a tour of the Paper and Watermark
Museum, <www.museodellacarta.com>. No
need to brush up on your Italian since the
opening splash page comes to life with some
great preview graphics and then allows
you to choose between English and Italian.
The next page offers a complete table of
contents.
Starting with History, there’s a nice
visual touch: a wonderful, animated map of
the route that paper traveled centuries ago
to get to Europe. Clicking the topic boxes
allows you to get acquainted with paper
history around the world. Moving down
the boxes you get more details of the history
of paper at Fabriano from medieval times
through post World War II aer German
occupation. At Fabriano, papermaking had
its secrets!
The next section is equally intriguing:
Paper, Lets Make Some! We are introduced
to papermaking with wooden equipment
prior to Hollander beaters, and along the
way we learn some Italian names for paper
processes. All good paper starts with the
materials, in this case rags. The rag worker
or stracciaola separates, cleans, sorts, and
scrapes. Clicking the bow and arrow symbol
at the boom of the page allows the story to
continue. Without the aid of electricity, the
rags become pulp, sheets are formed, sized,
and finally pressed (lisciatura as they say in
Italian). It is clear to see that this mill has
been dedicated to quality for a very
long time.
In the third section, Museum, we explore
more of the mill, also famous for magnificent
watermarks. Through the beauty of
web technology you can explore in detail
each of twelve watermarks and the moulds
used to make them. By moving the cursor
to the image you get a description, then by
clicking the image you will open another
box for a close-up view. Click on Engraver’s
Workshop to study the actual process for
making the watermark moulds. There is an
amazing amount of detail and hand labor in
creating these gorgeous watermark moulds.
We also learn that the pulp formula and
the sheetforming techniques have to be
modified when making watermarked sheets.
Viewers exploring this site can easily sense
that watermarks and their creation remain a
labor of love at Fabriano.
When you think you are finished exploring
the site, go back to the boom of the
home page. Click on “Comic” for a history
of paper all done in excellent illustrations.
You will need to know some Italian to read
this; still, the process drawings are the best
I’ve seen.
For a small site, there is plenty of information
available here. And what could be
more fun than making paper in Italy while
learning a bit of history at the same time.
Now, why am I craving something Italian
for dinner?
PAPER HISTORY
Peter Hopkins is a media relations consultant
specializing in environmentally responsible
papermaking and the history of papermaking. In
this issue, Peter shares a piece he unearthed from
1920 on straw.
Cruising around the Internet the other
day, I came across the most amazing site:
<www.oldandsold.com>, which I highly
recommend for several reasons, not the least
of which is a virtual library of old articles in
their Antiques Digest. Coming across their
section on papermaking intersected with a
yearly interest in making paper from straw
and corn stalks, as I make the rounds of
cra stores. They all feature gorgeous small
bales of straw and sheaves of corn that are
of the highest quality available: no trekking
in farmers’ fields or in old barns. No dirt, no
chaff, just beautiful yellow stalks yearning
to be chopped, cooked, beaten and made
into paper.
Straw has a long history as a papermaking
fiber, although it always seemed
to play second fiddle to other fibers
throughout history. However, for hand
papermakers, straw provides an opportunity
experiment with an affordable, readily
available plant fiber that can be prepared for
papermaking in a number of different ways.
The following piece on straw and other
agricultural fibers for papermaking was
originally published in 1920, when they still
had stature as a commercially viable source
of papermaking fiber. Also, at that time, papermaking
was less technical than today, so
the following has greater relevance for hand
papermakers:
Straw is present in all grain-producing
countries in enormous quantities and is
oen burned to get it out of the way. Except
for coon and linen, straw is probably the
oldest source of fibers used by modern
papermakers. In 1800, Mathias Koops in
England printed a book on paper made
from straw without the admixture of any
other fiber, and at the same time claimed
to have made paper from wood alone. Just
how this was accomplished is not known at
the present time.
Straw is used for making two distinctly
different products; a coarse, yellowish fiber
which is used for strawboards and cheap
wrapping papers, and a bleached fiber
which has some of the properties of esparto
and the shorter fibered wood pulps, and
which can be used in many high-grade
products. The coarse grade of pulp is made
by cooking the straw in rotary digesters
with milk of lime at a steam pressure of
35—45 pounds. The straw is fed into these
digesters without cuing or dusting, and at
the end of the cook the liquid is drained off
under pressure and the charge is dumped
on the floor, where it is seasoned for three
to five days before it is used. The entire time
for a cook—charging, cooking and cooling—
is about 24 hours. The cooked straw
is washed for about four hours in engines
very similar to those used for rag stock, and
it is then ready to use. Much of this pulp
finds its way into corrugated and plain
boxboards. It is said that the possibilities of
making board from straw were discovered
in 1829 while experimenting with straw for
wrapping paper. The web of paper accumulated
on the press roll of the paper machine
and when it was cut off it was noticed that a
solid board had formed.
High-grade bleached fiber can be prepared
from straw by any of the usual chemical
cooking processes, and for such work
the straw is cut into short lengths and freed
from dust, grain and chaff before filling into
the digesters. The soda process is most generally
used, but a considerable amount of
straw is now treated by the Pomilio process
which employs caustic soda and chlorine in
separate treatments. Such fiber is more oen
used in Europe than in America. It contains
a wide variety of forms and sizes of fibers,
including some very thin-walled cells which
tend to gelatinize on beating and make the
paper hard and raly. For this reason straw
cellulose is not much used for book papers
but is more suitable for drawing paper and
similar grades.
Any of the cereal straws may be used
for pulp making, but wheat is the one most
oen employed. Barley, rye, oat and rice
straw are also used at times, and there
is probably no marked difference in the
grade of pulp obtained. While the supply
of all these straws is very great there are a
number of reasons why they have not found
wider application in high-grade papers.
They are all annual crops and the entire
supply for a year’s operation of a mill must
be gathered ‘within a very short period.
This means a very large storage capacity
for baled straw at the mill, and unless the
bales are protected from rain and snow
considerable deterioration may take place.
In most instances the pulp mills are not
located near the straw producing areas, so
transportation costs are high. The bulk of
the straw is so much greater than that of
wood that the amount of pulp obtainable
from a given digester capacity is much less
than for wood. All the straws are cultivated
field crops and so tend to bring to the mill
much fine dirt, as well as weeds which
cannot be sorted out, and which do not cook
as readily as the straw, and hence show in
the pulp as partly cooked pieces of poor
color. To these objectionable features may
be added the quality of the paper, which,
as already noted, is hard and raly, as
well as less opaque than wood pulp paper.
Nevertheless, straw is a possible source of
paper pulp which can be more extensively
used when necessity forces it upon us.
Corn stalks and sugar cane are two
other cultivated crops which might serve
as sources of high-grade pulp and are
already used to a considerable extent in the
production of coarse products such as bulky,
light-weight wall boards, and sometimes,
alone or in admixture with straw, in making
strawboards. Corn stalks are produced annually
to the extent of millions of tons in the
corn growing regions and sugar cane refuse,
or “bagasse,” aer pressing out the juice,
was formerly used as a low grade fuel.
These two materials can be reduced to fibers
easily by the alkaline cooking processes.
The pulp includes long, thick-walled fibers
and shorter fibers of similar structure. Also
present are cells of various shapes and
sizes resembling those in straw, though
some-what larger, and an objectionable
feature is the large number of thin-walled
pith cells. These fill the spaces between the
fiber bundles in the stalks, and normally are
irregularly globular in shape, but during
the cooking and washing processes they
collapse and become flat. This makes the
stock prepared from these sources hard to
drain and imparts hard, raly and translucent
characteristics to paper made from
it. If the long fibers could be economically
separated from the short fibers and pith cells
they would form an excellent material for
high-grade paper, but at least four aempts
to use bagasse on a commercial scale have
failed, chiefly because the papers were of
poor quality.
Both of these raw materials suffer
from the same shortcomings mentioned
under straw, and in addition the stalks are
much more difficult to dry, and introduce
the danger of fermentation and heating if
improperly stored. There is no question
that they can be made into acceptable paper
when the increasing scarcity of wood makes
it economically feasible.
PAPER SCIENCE 101
Hand Papermaking is pleased to welcome
another new columnist. John Bordley is F. B.
Williams Professor and Chair of the Chemistry
department at Sewanee: The University of
the South. In his first installment, John lays
the foundation for future columns explaining
papermaking science and chemistry to those
non-scientists among us.
This article is the first in a new series
on the Science of Hand Papermaking.
The plan is to address some of the topics
and buzzwords that seem to crop into
conversations among hand papermakers,
e.g., the structure of cellulose, hydrogen
bonding, pH, formation aids, and retention
aids. Though several areas of science will
be discussed, the emphasis will be on
chemistry, partly because I am a chemist and
partly because chemistry is oen referred to
as the ‘central science,’ the science bridging
physics and biology.
A fundamental idea in physics and
chemistry is that similar kinds of things repel
each other and opposite kinds of things
aract each other. One example is the bar
magnets that many of us have played with,
be they decorated as lile Scoie dogs like
the ones my sister had when I was a child,
or just strips of metal. Two north poles or
two south poles repel; one north pole and
one south pole aract each other. Another
example is the ionic bonding that takes
place in solids, such as table salt, which are
made up of positively charged particles
(ions) and negatively charged particles
(ions). In three dimensions, the positive
ions are surrounded by and aracted to
the negative ions, and the negative ions are
surrounded by and aracted to the positive
ions. The positive ions prevent the negative
ions from coming close to other negative
ions and vice versa.
In a model which dates to the early
part of the 20th century, positive and
negative particles constitute an atom of
an element. In this model, protons, which
carry a positive charge, are packed together
into a small nucleus. Neutrons, which are
particles with no charge and a mass about
the same as that of a proton, are also located
in the nucleus and help to keep the protons
from repelling each other and flying apart.
Negatively charged electrons move in three
dimensional paths around the nucleus.
The electrons repel each other and are
individually and simultaneously aracted
to the positive nucleus.
Three elements are important to
papermakers: carbon, hydrogen, and
oxygen. Carbon is the name given to the
element that has six protons in the nucleus
and six electrons surrounding its nucleus.
To help keep the protons away from each
other, most carbon atoms also have six
neutrons in the nucleus. A hydrogen atom
has one proton and one electron. Finally, an
oxygen atom has eight protons and eight
electrons and usually eight neutrons. Just as
oppositely charged ions aract each other
and form ionic solids, and electrons and
protons aract each other and form atoms,
so do several atoms come together and
aract each other to form molecules.
In the next installment we will look at
the bonding that takes place within and between
simple molecules that contain carbon,
hydrogen, and oxygen. And then we will
move on through the list of topics!
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 Newsleer is February 15.
Contact each facility directly for
additional information or a full schedule.
CLASSES AND WORKSHOPS
Amaganse Applied Arts, 11 Indian Wells
Hwy., PO Box 1336, Amaganse, NY 11930,
(631) 267-2787, <www.a3arts.org>. Papermaking
classes taught by Ethan Shoshan on
the eastern end of Long Island.
Arrowmont School of Arts and Cras, Box
567, Gatlinburg, TN 37738, (865) 436-5860,
<www.arrowmont.org>. Classes and workshops
in a variety of disciplines, including
papermaking.
Handmade Paper & The Stitch, March 20-26,
with Claudia Lee. Learn papermaking techniques
in combination with machine and
hand stitching.
The Banff Centre, Alberta, Canada, <www.
banffcentre.ca>, (800) 565-9989 or (403) 762-
6180. Contact <wendy_tokaryk@banffcentre.
ca> for registration info.
Only Hemp, August 17-21, with Lynn Sures.
Explore this versatile medium, which can be
colored, formed into sheets, sprayed, cast, or
used in pulp painting.
Brookfield Cra Center, 286 Whisconier
Road, Brookfield, CT 06804, (203) 775-4526,
<brkfldcr@aol.com>, <www.brookfieldcra
center.org>. A wide variety of cra
workshops at a colonial vintage campus 75
miles north of New York City.
Center for Book Arts, 28 West 27th Street,
New York, NY 10001, (212) 481-0295, <www.
centerforbookarts.org>. Dozens of book and
paper workshops offered. Papermaking
classes taught at Dobbin Mill in Brooklyn.
John C. Campbell Folk School, Route
1, Box 14A, Brasstown, NC 28902, (704)
837-2775, <www.folkschool.org>. Classes
in papermaking and other cras in the
mountains of western North Carolina.
Exotic Decorative Paper Techniques, January
16-22, with Mimi Schleicher. Focus on watercolor
marbling, with emphasis on contemporary
and traditional paern making.
It Came from the East: Oriental Papermaking,
March 6-11, 2005, with Rajeania Snider. Explore
fiber preparation, sheet forming, and
a wide variety of decorative techniques as
practiced in Nepal, Japan, China, and Egypt.
Papermaking - Western Style, May 1-7,
with Claudia Lee. Learn the basics of hand
papermaking in the Western tradition in this
hands-on, up-to-the-elbows class.
Paper Intensive, May 8-14, with Claudia Lee,
Joyce Sievers, Sharon Coogle and Nancy
Lawrence.
Silk Papermaking Weekend, June 10-12, with
Kathy Hays.
Carriage House Paper, 79 Guernsey St.,
Brooklyn, NY 11222, (800) 669-8781, <www.
carriagehousepaper.com>.
All About Flax, January 17-21, with Donna
Koretsky and Shannon Brock. Explore the
many incredible properties of flax.
Momigami, January 29-30, with Sheryl Jaffe.
Make paper the first day in a variety of colors,
sizes and thicknesses; the next day coat
with konnyaku and crumple.
Natural Dye Resists on Handmade Paper,
February 5-6, with Linda LaBelle and Shannon
Brock. Explore the use of natural dyes
such as indigo, madder, and cochineal on
handmade paper.
Pulp Pouring/Pulp Painting, February 12-
13, with Shannon Brock. Learn to use the
pulp pouring mould, a fully self contained
system for sheet forming, then explore the
world of image making
Paper Jewelry, March 12-13, with Ayala
Naphtali. Fabricate paper earrings, necklaces
and more.
Sculptural Pulp Painting, March 19-20,
with Shannon Brock. Using sculptural hand
papermaking techniques and pulp painting,
spend two days exploring the vessel form.
Pulp Spraying, March 27, with Shannon
Brock. Using a pulp sprayer and stencils,
block out and layer different colored pulps
to form imagery on large sheets.
The Clearing, PO Box 65, Ellison Bay, WI
54210, (920) 854-4088, toll-free (877) 854-
3225, <www.theclearing.org>. A residential
school for adults in Door County.
Columbia College Chicago Center for Book
and Paper Arts, 1104 S. Wabash, Chicago, IL
60604, (312) 344-6630, <www.bookandpaper.
org>. Classes in papermaking and book arts.
Dieu Donné Papermill, 433 Broome Street,
New York, NY 10013-2622, (212) 226-0573,
<www.dieudonne.org>. Beginning and
advanced papermaking classes for adults
and children.
Haystack Mountain School of Cras, PO
Box 518, Deer Isle, ME 04627, (207) 348-2306,
<www.haystack-mtn.org>. Workshops in
various disciplines, including papermaking
and book arts.
Historic RienhouseTown, 206 Lincoln
Drive, Philadelphia, PA 19144, (215) 843-
2228, <www.rienhousetown.org>. Summer
workshop series on hand papermaking
and other paper arts topics at the site of
America’s first paper mill.
La Font du Ciel, La Chambary, Charrus,
F-07230 Saint André Lachamp, France,
<pfpfrerick@aol.com>, <www.frerick.de>.
Papermaking workshops at the east foothills
of the Cevennes taught by Helmut Frerick.
Introduction to Hand Papermaking as an Art
Form and Evolution of Handmade Books,
April 27-30 or September 4-7. Aer learning
traditional and experimental papermaking
techniques, continue sheetforming or move
on to bookbinding.
Paper and Space, May 29 – June 1 or
September 9-12. Introduce yourself to threedimensional
techniques.
Two- and Three-Dimensional Asian Papermaking,
June 3-7. Practice Japanese and
Nepalese methods with sugetas and swimming
moulds, plus Asian paper casting.
Paper from Wild and Cultivated Plants, June
9-12 or September 14-17. Walk through the
local fields and woods then use plants of
many types to create a variety of papers.
Vacuum Table and Pulp Spraying, June 14-16
or September 19-21. Create larger pieces
using these two working techniques.
Artistic Watermarks, June 19-22. Become
skilled at making a range of watermarks,
from traditional metal to experimental
shadow watermarks.
Magnolia Editions, 2527 Magnolia St.,
Oakland, CA 94607, (510) 839-5268, <www.
magnoliapaper.com>. Workshops in papermaking,
printmaking, and book arts.
Minnesota Center for Book Arts, 1011
Washington Avenue South, Suite 100, Minneapolis,
MN 55415, (612) 215-2520, <www.
mnbookarts.org>. Classes at the Open Book
center for book and literary arts.
North Country Studio Workshops, PO Box
875, Hanover, NH 03755, (603) 795-2889,
<www.northcountrystudioworkshops.org>.
Fourteen advanced-level classes held at Bennington
College in Vermont, including:
Basketry: Sculptural Paper, January 26-30,
with Mary Merkel-Hess. Explore the threedimensional
possibilities of paper, either as
vessels and baskets or as sculpture.
The Papertrail, 135 Lexington Court, Unit 4,
Waterloo, Ontario, Canada N2J 4R1, (800)
421-6826, <www.papertrail.ca>. Classes in
papermaking, marbling, and related arts.
PapierWespe (PaperWasp), Aegidigasse
3/Hof, 1060 Wien, Austria, (0676) 77-33-
153, <papierwespe@chello.at>, <www.
papierwespe.at>. Workshops in English
and German taught by paper specialists in
downtown Vienna.
Peninsula Art School, Box 304, Fish Creek,
WI 54212, (920) 868-3455 <www.peninsulaartschool.
com>. Classes in papermaking
and other cras for all ages, held in Door
County, Wisconsin.
Penland School, Penland, NC 28765, (828)
765-2359, <www.penland.org>. A full
program of cra workshops, including
papermaking and book arts.
Peters Valley Cra Center, 19 Kuhn Road,
Layton, NJ 07851, (973) 948-5200, <www.pvcra
s.org>. Workshops in a variety of cra,
including papermaking.
Pyramid Atlantic, 8230 Georgia Avenue,
Silver Spring, MD 20912, (301) 608-9101,
<www.pyramidatlanticartcenter.org>. Workshops
in papermaking, printmaking, and
book arts.
Rhode Island School of Design, 2 College
St., Providence, RI 02903, (800) 364-7473 ext.
2. Continuing education through the Summer
Institute of Graphic Design Studies.
The Robert C. Williams American Museum
of Papermaking, 500 10th Street NW,
Atlanta, GA 30332, (404) 894-7840, <www.
ipst.edu/amp>.
Georgia and Papermaking--A Hands-on Historic
Look at Our Past, March 19. Step back
to 1804, walk around historic Scull Shoals
with archeologist Jack Wynn, then make
paper from coon and linen rags.
Seastone Papers, PO Box 331, West Tisbury,
Martha’s Vineyard, MA 02575, (508) 693-
5786, <www.seastonepapers.com>. Workshops
in papermaking and book arts taught
by Sandy Bernat.
Sievers School of Fiber Arts, PO Box 100,
Washington Island, WI 54246, (920) 847-
2264, <sievers@itol.com>, <www.sieversschool.
com>. Summer workshops on an
island in Lake Michigan.
Snow Farm, The New England Cra
Program, 5 Clary Road, Williamsburg,
MA 01096, (413) 268-3101, <www.snowfarm>.
Study in a pastoral seing near the
five-college communities of Amherst and
Northampton.
Southwest School of Art & Cra, 300
Augusta, San Antonio, TX 78205, (210) 224-
1848, fax (210) 224-9337, <www.swschool.
org>. Classes and workshops including
papermaking, book arts, and printmaking.
Spinning and Altering Paper, February 19-
20, with Dorothy Field. Practice a variety of
techniques for altering the surface of paper.
Flax, March 19, with Beck Whitehead. Spend
a day in the studio to work with flax prepared
several different ways.
Pulp Painting, April 28-30, with Beck Whitehead.
Pulp Spraying Weekend, May 13-14, with
Beck Whitehead.
Stone and Paper Art Center, L.L.C., 2020
Woodrow Street, Mandeville, LA 70448,
(504) 674-9232, fax (504) 674-9227.
Nagashasuki with Mary-Elaine C. Bernard,
selected Saturdays. Learn this Eastern
method of making paper and incorporate
local plant fibers.
Valley Ridge Art Studio, 115 S. Franklin
St., #303, Madison, WI 53703, (608) 250-
5028, <www.valleyridgeartstudio.com>.
Workshops in papermaking, bookmaking,
photography, writing, etc.
Wisconsin Center for Paper Arts, 811 Williamson,
Madison, WI 53703, (608) 284-8394,
<wcpaperarts@hotmail.com>.
Women’s Studio Workshop, PO Box 489,
Rosendale, NY 12472, (914) 658-9133, <hp://
wsworkshop.org>. Summer Arts Institute
includes workshops in papermaking, printmaking,
book arts, photography, and other
media.
YWCA of the City of New York, 610 Lexington
Ave., New York, NY 10022, (212) 735-
9731, <www.ywcanyc.org/csl/>. Ongoing
series of workshops, including papermaking
and book arts, sponsored by the Cra
Students League.
CONFERENCES & SPECIAL EVENTS
The Friends of Dard Hunter will meet in
Salt Lake City, Utah, October 20-23. The
Friends meet annually to enjoy speakers,
presentations, tours of local paper and
book arts facilities, a trade show, auction,
and banquet. Some scholarships will be
available to those with financial need. For
more information write to the Friends of
Dard Hunter, PO Box 773, Lake Oswego, OR
97034, or call (503) 699-8653 or visit <www.
friendsofdardhunter.org>.
IAPMA, the International Association of
Hand Papermakers and Paper Artists, will
hold its 2005 Congress at the Banff Centre in
Banff, Alberta, August 12-17. Enjoy workshops,
demonstrations, and presentations in
a beautiful seing. Non-members welcome.
For further information, contact Elizabeth
Crammond, telephone (416) 769-4886 or
<ecrammond@look.ca>.
The tenth annual Newport Paper Arts Festival
takes place April 22-24. This celebration
of paper arts and book arts takes place at
a breathtaking site overlooking the Pacific
Ocean. Workshops, lectures, and exhibits
on surface design, papermaking, printmaking,
and book arts are offered. Send SASE to
NPAF, PO Box 1315, Newport OR 97365 or
go to <www.coastarts.org> (click “NPAF”)
for registration and workshop information.
EXHIBITS & COMPETITIONS
The Crane Museum of Papermaking is
establishing an exhibit to celebrate its 75th
Anniversary beginning in June of 2005.
The exhibit will showcase the creativity
of papermakers and paper artists using
recycled United States currency as the
central design element. The Crane family
first made currency paper in 1775 for
Paul Revere to help finance the American
Revolution, and has made the paper for all
United States currency since 1879. Artists
wishing to create works for the exhibit will
receive a four-ounce supply of shredded
currency, which must appear as a significant
element of the work submied. To celebrate
the historical roots of U.S. currency paper,
works submied using handmade paper
or pulp formations are welcomed, as are
other artistic and decorative techniques
to showcase currency in its 21st century
context. Selected works will become the
part of the Museum’s Permanent Collection
following the public exhibit. Artwork must
be received by May 1, 2005. For an entry
form contact Peter Hopkins,
Gargan Communication, (413) 684-4721,
All collegiate handmade paper art made
in 2003-2004 is eligible for the 3rd National
Collegiate Handmade Paper Art
Exhibition. If you teach college-level
papermaking, please contact Lynn Sures
at <Lynn@Lynnsures.com> for an e-mail
prospectus.
Currently at the Robert C. Williams American
Museum of Papermaking: Recent Works
by Beck Whitehead, on view through February
25. For more information, contact Teri Williams
at (404) 894-6663.
TRAVEL
Join papermaker Lynn Sures and American
Museum of Papermaking Assistant Director
Teri Williams for a week of Fabriano
Papermaking and a rare “insider” Italian
adventure in the town of Fabriano. Begin
each day on site in the antique papermill
learning from Fabriano master papermakers
Roberto Rapanoi and Luigi Mecella, using
their watermarked molds and deckles.
Spend aernoons on excursions arranged
by the Fabriano museum to remarkable
local places of interest. Accommodations
include some outstanding Fabrianese meals.
For information on the Fabriano museum,
read Sures’s article “Living Museums of
Papermaking in Italy, Part 2” in the Winter
2002 issue of Hand Papermaking, and visit
<www.museodellacarta.com> and <www.
lynnsures.com>. This trip will take place
during the week of celebration of the
medieval festival in Fabriano, offering a
glimpse of the city’s history and a Palio
competition. For more information, contact
Teri Williams at (404) 894-6663 or <teri.
williams@ipst.edu>.
Donna and Elaine Koretsky will lead a small
band of intrepid papermakers and paper
historians, who also are adventure seekers,
through Southwest China, focusing on
Yunnan and Guizhou Provinces. These are
relatively undeveloped areas of China, still
yielding a fascinating glimpse into the past
history of China. The group will see centuries-
old ways of working in papermaking,
textiles, architecture, and agriculture, using
methods that have not yet been altered
by the modern world. The group will also
enjoy the lively and colorful festivals of the
Miao, Dong, and Nakhi minority groups
who inhabit much of this area. Approximate
dates are April 20 to May 9, 2005. For details,
please contact Carriage House Studio
at (718) 599-7857; e-mail: <paperroad@aol.
com>; or write to Carriage House at 79
Guernsey Street, Brooklyn, NY 11222.
Lamia Ink! inc. is offering a travel and
exhibition opportunity March 30 through
April 14. The Japan Artbridge Project-
”Washi” will focus on Japanese paper
and papermaking and will also include
special creative/journal writing workshops
along with papermaking and bookmaking
workshop sessions. In addition to the
studio visits and the exhibition in Kyoto,
the group will visit some of the finest
papermills in Japan on Shikoku Island and
surrounding areas in and around Kyoto.
Artists must pay travel costs and submit
four slides, resume, and 50-word narrative
bio or artist statement. For copy of complete
details, guidelines, and application send
SASE: Lamia Ink! inc., PO Box 202, Prince
Street Station, New York, NY 10012 or visit
<www.LamiaInk.org>.
OPPORTUNITIES
The UICB Apprenticeship in Papermaking
(originally conceived by Lynn Amlie)
consists of a two-year, half-time position
available to individuals who have
previously demonstrated a strong interest in
and commitment to traditional papermaking
history and technique. The apprenticeship
pays $8/hour the first year and $10/hour
the second year. During the two years,
the apprentice is exposed to all aspects of
Eastern and Western paper production
including, fiber cultivation (kozo only), fiber
selection, fermentation, cooking, beating,
washing during beating, sheetforming,
drying, sizing, paper grading and related
equipment maintenance and use. Ongoing
research efforts are also components in the
apprenticeship. The apprentice will work
directly with Tim Barre and first year
apprentice Marianne Kelsey. For additional
information and an application form, e-mail
Tim Barre, Paper Specialist, University
of Iowa Center for the Book Research and
Production Paper Facility, at <timothybarre
@uiowa.edu>. Application and
supportive materials are due May 6, 2005;
decision May 27, 2005.
Artists experienced in papermaking are invited
to apply for the opportunity to spend
up to three months working in the Paper
Studio at the Southwest School of Art &
Cra. Collaborations will be considered.
For further information contact SSAC, 300
Augusta, San Antonio, TX 78205, (210) 224-
1848, <www.swschool.org>.
The Creative Residencies program in Media
& Visual Arts at The Banff Centre, Alberta,
Canada, provides studio facilities and support
for artists working in a broad range of
media, including papermaking. Visit <www.
banffcentre.ca> or call (800) 565-9989 or (403)
762-6180.
MISCELLANEOUS
Hand Papermaking is pleased to announce
the availability of Selected Paper Artists,
2004, featuring 62 images of contemporary
artwork by 19 paper artists juried from the
Hand Papermaking Artist Registry. Two versions
of this collection are on sale now: a set
of slides, and a CD-ROM. Both include a 48-
page booklet including image descriptions
and artist statements, plus an introduction
and history of the project. Juried from over
500 current slides, this generous sampling of
stunning imagery demonstrates a wide variety
of techniques. These inspiring images
make an excellent classroom presentation.
They are the perfect solution for educators,
publicists, scholars, and curators looking for
unique talent. They present a helpful overview
for newcomers. They are an inspiration
to anyone interested in handmade paper
art. To place an order send $210 for the set
of slides or $35 for the CD-ROM to Hand Papermaking,
PO Box 77027, Washington, DC
20013. Or call (800) 821-6604 or (301) 220-
2393. Additional information about Hand
Papermaking’s Artist Registry can be found
at <www.handpapermaking.org>.
The Society of Arts and Cras, founded
in Boston in 1897, offers Artist Awards to
encourage and support New England artists
who show a mastery of their cra media
and create original and innovative work.
Among the 2004 winners is paper artist
Michelle Samour, who was featured on the
cover of the Summer 2000 issue of Hand
Papermaking. For further information see
<www.societyofcras.org>.
The Society of Marbling is an international
organization dedicated to the promotion
and preservation of the art of marbling. For
information, contact Marie Palowoda, 2605
W. 19th Street Road, Greeley, CO 80634,
<marie-p@despammed.com>. Also available
is the International Directory of Marblers and
Resource Guide featuring 313 listings.
Hand Papermaking publishes a biennial
series of limited-edition portfolios, each on
a different theme, showcasing distinctive
handmade papers. Each paper is protected
in an imprinted folder and described in a
handbound booklet; each set resides in a
custom-made clamshell box. The editions
are limited to 150, and three of six portfolios
remain available for sale. They are:
Handmade Paper in Nepal: Tradition & Change,
priced at $195. Watermarks in Handmade
Paper: Modern and Historic, priced at $265.
Innovative Printmaking on Handmade Paper,
priced at $495. Postage for each is $15 in the
US or $30 elsewhere. Call (800) 821-6604 or
(301) 220-2394 to order, or view images and
complete prospectus at <www.handpapermaking.
org>. The seventh portfolio in the
series will feature Pulp Painting.
CLASSIFIEDS
Classifieds in the Hand Papermaking Newsle
er cost 75 cents per word, with no minimum.
Payment is due in advance of publication.
Fabriano Watermark Collection for Sale.
The private collection for sale consists of
more than 200 pieces of watermarked sheets
that have been produced in the famous
Italian paper mill “Cartiere Pietro Miliani
di Fabriano,” dating from the end of the
18th century until the 1960s. Their formats
range from 10x15 cm up to 50x70 cm, and
they depict portraits, company logos, coat
of arms, banknote designs and many more
symbols of various kinds. Among the
portraits appear, famous and infamous,
international politicians like Harry Truman,
T. Roosevelt, King Viorio Emanuele,
Mussolini, Hitler. All pieces are in excellent
state of conservation. This rare and precious
watermark collection is looking for a new
home either in a paper related museum, or
in a private collection. Anyone who would
like to have more detailed information,
is asked to contact: Natan Kaaren, 63021
Amandola (AP), Villa Marnacchia 4, Italy.
E-mail: <kaaren@interfree.it>. Telephone and
fax: 0039-0736-848743.
The DyeWorks: Your source for Natural
Dye Extracts and Earth Oxides. Excellent
Prices. <www.thedyeworks.com>
(303) 530-4777
Book Arts Classified offers free ads and
listings to subscribers. Send $16 for one year,
$30 for two years to: Page Two, Inc., PO Box
77167, Washington, DC 20013.
Agro World Bio-Fibers of Kakinada,
Andhra Pradesh, India can supply in bulk
Banana Fiber which is free from dirt and
pith at a very competitive price on monthly
basis. Will send sample. Reply to Shabbir at
<srl_core@yahoo.com>.
SPECIAL THANKS
Hand Papermaking would like to thank the
following people who have made direct contributions
to our organization. As a non-profit
organization, we rely on the support of our subscribers
and contributors to continue operating.
All donations are greatly appreciated and are tax
deductible. Call or write for more information on
giving levels and premiums.
Patrons: Susan Gosin, David B. Marshall
Jr., Charles E. Morgan. Underwriters: Mina
Takahashi. Sponsors: Nancy Bloch, Kathy
Crump, Jane Farmer, Marilyn Sward.
Donors: Aiko’s Art Materials, Martin
Antonei, Deborah Astley, Simon &
Kimberly Blaner, Mindell Dubansky, Helen
Frederick, Helen Hiebert, William Hosken,
Lois James, Ellen Mears Kennedy, David
Kimball, Elaine Koretsky, Joyce Kierejczyk,
Mary Lou Manor, Nancy Martin, Peter
Newland, Dianne L. Reeves, Kimberly
Schenck, Richard H. Schimmelpfeng,
Agnes Schlenke, R. H. Starr Jr., Claire Van
Vliet, Shirley B. Waters, Marcia Widenor.
Supporters: Lynn Amlie, Grimanesa
Amoros, Cathleen A. Baker, Jonathan
H. Barber, Valerie T. Bechtol, The Book
Club of California, Katiri Berry, Carla A.
Castellani, Mr. C. Crockford, Wavell Cowan,
Joanne R. Davis, Amanda Degener, The
Drachen Foundation, Karla Elling, Cynthia
J. Fay, Kathryn Flannery, Sara Gilfert, Joan
Giordano, Susan Gosin, Hugh B. Hanson,
Peter Hopkins, Courtney Hudson, Kristin
Kavanagh, Karen Kunc, Tom Leech, Ann S.
Miller, Michelle Samour, Mary C. Schlosser,
Peter Sowiski, Kathleen Stevenson, Lynn
Sures, Ellie Winberg, Pamela S. Wood, Kathy
Wosika, Dorothy Yu. Friends: James Pennuto.
And Hand Papermaking is especially
grateful to the Fih Floor Foundation of
New York for its generous grant in support
of the magazine.