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 Newsle􀄴er is published

four times per year. In summer and winter it is

distributed with the magazine, Hand Papermaking,

and in spring and autumn it is mailed

separately. The newsle􀄴er is available on a

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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>

Web: <www.handpapermaking.org>

The deadline for the next newsle􀄴er (April 2005)

is February 15. Please direct all correspondence

to the address above. We encourage le􀄴ers from

our subscribers on any relevant topic. We also

solicit comments on articles in Hand Papermaking

magazine, questions or remarks for

newsle􀄴er columnists, and news of special events

or activities. Classified ads are 75 cents per word

with no minimum. Rates for display ads are

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

Antone􀄴i, 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 Bla􀄴ner, Gregor R. Campbell, Jane

Farmer, Helen C. Frederick, Elaine Koretsky,

James Si􀄴er, 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

pre􀄴y 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

submi􀄴ed 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 Sco􀄴ish plant fibre papers such as

thistle down, bog co􀄴on, 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 co􀄴on

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

co􀄴on 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, o􀄞en 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 o􀄞en

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

li􀄴le 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. A􀄞er 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 co􀄴on 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 bu􀄴er 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

ma􀄴er 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

li􀄞s the mould from the vat, allows it to

drain, then places it in the sun to dry.

A􀄞er 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 pu􀄴ing

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 o􀄞en 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 a􀄴ach it into your regular deckle (tape

it on both the top and bo􀄴om 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 a􀄴ention 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. A􀄞er 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 a􀄴ract 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 cu􀄴ers or cu􀄴ing 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. A􀄞er 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 o􀄞en

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 wri􀄴en

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 a􀄴end

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 a􀄞ernoons. 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 ge􀄴ing-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 o􀄞en

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 a􀄞er 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 bo􀄴om 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 bo􀄴om 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

o􀄞en burned to get it out of the way. Except

for co􀄴on 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 cu􀄴ing 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 o􀄞en

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 ra􀄴ly. 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

o􀄞en 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 ra􀄴ly, 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,” a􀄞er 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, ra􀄴ly 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 a􀄴empts

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 o􀄞en 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

a􀄴ract each other. One example is the bar

magnets that many of us have played with,

be they decorated as li􀄴le Sco􀄴ie 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 a􀄴ract 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 a􀄴racted to

the negative ions, and the negative ions are

surrounded by and a􀄴racted 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 a􀄴racted

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 a􀄴ract each other

and form ionic solids, and electrons and

protons a􀄴ract each other and form atoms,

so do several atoms come together and

a􀄴ract 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 Newsle􀄴er 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 Cra􀄞s, 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 cra􀄞s 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 pa􀄴ern 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 Cra􀄞s, PO

Box 518, Deer Isle, ME 04627, (207) 348-2306,

<www.haystack-mtn.org>. Workshops in

various disciplines, including papermaking

and book arts.

Historic Ri􀄴enhouseTown, 206 Lincoln

Drive, Philadelphia, PA 19144, (215) 843-

2228, <www.ri􀄴enhousetown.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. A􀄞er 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 cra􀄞s 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 co􀄴on 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 se􀄴ing 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, <h􀄴p://

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 se􀄴ing. 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 submi􀄴ed. To celebrate

the historical roots of U.S. currency paper,

works submi􀄴ed 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 Rapano􀄴i and Luigi Mecella, using

their watermarked molds and deckles.

Spend a􀄞ernoons 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 Cra􀄞s, 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.societyofcra􀄞s.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 Vi􀄴orio 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

Antone􀄴i, Deborah Astley, Simon &

Kimberly Bla􀄴ner, 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 Fi􀄞h Floor Foundation of

New York for its generous grant in support

of the magazine.

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