HAN D P A P E R M A K I NG

N E W S L E T T E R

Number 71, July 2005

Newsletter Editor: Tom Bannister. Columnists: John Bordley, Susan Gosin, Helen Hiebert, Peter Hopkins, Elaine Koretsky, Winifred Radolan, Pamela Wood

Hand Papermaking Newsletter is published

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Papermaking, and in spring and autumn it is

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The deadline for the next newsletter (October

2005) is August 15. Please direct all correspondence

to the address above. We encourage letters

from our subscribers on any relevant topic.

We also solicit comments on articles in Hand

Papermaking magazine, questions or remarks for

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Hand Papermaking is a 501(c)(3) non-profit

organization. Staff: Tom Bannister, Executive

Director; Mina Takahashi, Magazine Editor.

Board of Directors: Martin Antonetti, Cathleen

A. Baker, Inge Bruggeman, Gail Deery, Amanda

Degener, Helen Hiebert, Peter Hopkins, Barbara

Lippman, David Marshall, John Risseeuw,

Lynn Sures, Marilyn Sward. Board of Advisors:

Timothy Barrett, Simon Blattner, Gregor R.

Campbell, Mindell Dubansky, Jane Farmer, Helen

C. Frederick, Elaine Koretsky, James Sitter, Claire

Van Vliet, James Yarnell. Co-founders: Amanda

Degener and Michael Durgin.

Dear Readers,

Since 1994, Hand Papermaking has produced six distinctive portfolios of handmade papers,

each exploring a different theme. These portfolios feature decorated papers, letterpress printing,

papers from Nepal, photographic processes, watermarks, and printmaking. Soon we will unveil the

seventh portfolio in the series, this one featuring pulp painting.

Based on the artists’ preliminary work, this will surely be an exceptional group of paintings.

The Art of Pulp Painting is now being offered at a special pre-publication price (with additional

discount and benefits for standing orders).

The juried collection features eighteen artists who have created distinctive handmade paper

works utilizing paper pulp as a painting medium. The synthesis of substrate, medium, and image

is a unique characteristic of the pulp painting medium, allowing artists to work not merely on

paper, but in paper. The jury for this portfolio (Margaret Prentice and Paul Wong) selected entries

that demonstrate the equal importance of visual image and well-made paper.

Working with a wide variety of fibers and all manner of implements from common stencils

and shaped deckles to obscure dental tools, the selected artists explore some familiar themes

(abstracted nature, vessel forms, spiritual issues) and also investigate the strange and unfamiliar

(Fibonacci numbers, microscopy, carnivorous plants).

A custom-made clamshell box houses the paintings, each in a protective folder imprinted

with the artist’s name. A handbound booklet contains statements from each artist and a commissioned

essay by the esteemed Jane Glaubinger, Curator of Prints at The Cleveland Museum of Art.

The artists featured in the portfolio are Laurence Barker, Shannon Brock, Wendy Cain,

Kathryn Clark, Susan Gosin, Lois James, Bobbie Lippman, Bridget O’Malley, Dawn Peterson,

Ken Polinskie, Margaret Prentice, Victoria Rabal, Beverly Sky, Peter Sowiski, Lynn Sures, Cynthia

Thompson, Beck Whitehead, and Paul Wong. The portfolio designer is Steve Miller, and the editor

is Mina Takahashi.

The edition is limited to 150. The pre-publication price is $395, paid before October 1, 2005.

The opening price will be $445 upon release of the portfolio. Add $15 for insured priority mail in

the US. Add $30 for airmail delivery outside the US. Visa and Mastercard are accepted.

We hope you will consider purchasing a copy of The Art of Pulp Painting for your collection,

and perhaps we can make you one of our valued standing order customers. Your on-going support

ensures the continuation of this unique and inspiring series. Please contact me if I can answer any

questions, or view the complete prospectus on our website.

Best regards,

Tom Bannister

P.S. We are already planning our eighth portfolio due in 2007. Give me a call to hear all about it!

Hand Papermaking is pleased to offer 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: purchase a set of slides for $200 plus $10 postage, or

purchase a CD-ROM for $35 postpaid. 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. Additional information about Hand Papermaking’s Artist Registry can be found online.

ALONG THE PAPER ROAD...

This regular feature offers paper musings from

Elaine Koretsky – renowned paper historian,

researcher, and traveler. In this installment, Elaine

concludes the article she began in the last issue, describing

how Asian papers have been employed for

a variety of non-writing purposes over the years.

Another interesting subject in paper is

watermarking, which is very common today in

writing papers and art papers. And of course,

in Europe, it has been an important means

of identifying handmade papers. When I

was in Chengdu, China, I visited a memorial

to Hseih-Tao, who may have been the first

female papermaker. She also may have been

the originator of watermarks. Hseih-Tao lived

in the 8th Century, during the Tang Dynasty,

when the arts of all kinds flourished in China,

including the making of art papers and calligraphy

papers. Hseih-Tao, who was born into a

wealthy family, became interested in papermaking,

and developed a special colored and

patterned paper that she used for her poetry.

For fiber she used the inner bark of the cottonrose

tree, a type of Hibiscus, and she added a

formation aid to the beaten pulp. The sheets

of paper were formed on a screen on which

were sewn outlines of leaves and flowers. By

dipping her mould into various colored pulps,

thus building up layers of pulp, she was able

to create a very fancy paper with designs right

in the paper itself. By comparison the early

European and American colonial watermarks

look quite simple.

I do not know the history of paper

matches, but the idea may have originated in

China. I have seen in some of the Chinese

villages, men puffing away on water pipes. The

tobacco in the water pipe has to be constantly

re-lit for each puff. For this purpose, the

smoker generally uses a taper made from bamboo

paper that has been twisted or folded in a

special manner. After I saw the bamboo paper

made, I was shown how to fold it properly into

a taper. I have samples of these tapers, but

have long since forgotten the exact manner of

folding. The point is that you ignite the paper

only once, and then it simply smolders without

burning. To make the fire flare up to ignite the

tobacco, you just blow on it. The flame burns

just briefly, and the taper resumes smoldering.

I could go on for hours describing the

incredible papers that I have found and documented

in Asia during the past 25 or more

years. But I shall end with two more.

First is the most extraordinary paper that

I have encountered in Asia. I found this in

Burma in 1982, and its production is still in

full swing. The paper is made entirely from

bamboo, with no additives, except sometimes

a little yellow dye for coloring. The paper has

only one use, and that is, as a substrate for

the beating of gold leaf. To make this unusual

paper, the bamboo fiber is soaked in lime and

water for five years, then cooked for one and

a half days. Now it is ready for beating. One

kilo of fiber is laid on a specially indented

stone surface and beaten with two wooden

mallets for 15 days. Then the workers beat the

pulp in a marble mortar using a heavy wood

pestle. A final refinement is the beating of the

fiber with stag horns. The papermakers form

sheets of paper by pouring the beaten pulp

onto a cloth mould, a lengthy process because

the pulp has been beaten for so long that the

drainage is slowed way down. I estimate the

beating to be the equivalent of at least 12 hours

in a Hollander beater. The paper is left on the

mould to air-dry. There is no pressing. In the

final step young women burnish the paper in a

cool, damp, underground room, using wooden

sticks to beat the paper on a convex brass plate.

The result is a very strong, dense, translucent

paper that can withstand 70 gold beating sessions

of three hours each session, before the

paper has to be replaced.

The final paper that I shall mention is

one that I have encountered in Southwest

China, in the province of Guizhou. It is made

by the Dong minority people, who have inhabited

China since the 10th century. The Dongs

have no written language, so their paper has

never been used for writing – it serves other

purposes. What is most remarkable is the

way in which the sheets of paper are formed.

The fiber is the local paper mulberry, and a

formation aid is used, obtained from the stalks

of the wild kiwi plant that grows abundantly

here. The papermakers are Dong women who

form sheets of paper by pouring the pulp onto

a cloth-covered wood frame. But instead of the

frame floating in water, which we have seen

in many places throughout Asia, the mould is

suspended in space. The papermaker hooks

one end of the mould onto a bamboo tripod,

picks up the other end of the huge mould and

using a calabash, pours layer after layer of the

pulp upon the mould. After each pouring, she

disperses the pulp evenly over the surface of

the mould by quickly moving the mould from

side to side, back to front, and diagonally.

When the papermaker has finished forming

the sheet, she leaves the sheet to dry on the

mould. The finished paper is primarily used

in coffins, placed under the dead body. The

Dongs feel that the more paper that is placed

there, the more honor is given to the deceased.

They also use the paper for other purposes,

notably for sewing bags to hold the supplies

that the women need to embellish their traditional

textile works, for insulation of clothing

and houses, and for the interlining of large

bamboo hats, in which case the paper is oiled

to make the hats waterproof.

I wanted to learn more about the papermakers’

history, but the Dongs have no written

history, only an oral one. I wondered if someone

could tell me how papermaking began in

their culture. Fortunately I had a knowledgeable

guide, who actually was a Dong himself.

He spoke to one of the papermakers, and

shortly we were ushered into a house where

six women had gathered to tell us a story.

Already, I had been aware of their marvelous

singing and dancing, so I was not surprised

when one woman began to sing the history

of papermaking in Dimen Village. Briefly, I

learned that a long time ago, when a person

died, mulberry fiber would be placed under

the body in the coffin. But then a woman, Hua

Zhi, showed them how to make paper, and declared

that instead of the mulberry fiber being

placed in the coffin, the paper should be used

for this purpose. I do not know if the Dongs’

song might represent a link to the origin of

papermaking in China, or to the first use of

mulberry there, but it does give some food

for thought.

Bibliography:

F.A. McClure, edited by Elaine Koretsky,

Chinese Handmade Paper, Bird & Bull Press,

Newtown PA, USA, 1986.

Elaine Koretsky and Donna Koretsky, The

Goldbeaters of Mandalay, Carriage House Press,

Brookline MA, USA, 1991.

BEGINNER TOPICS

Well-known author/teacher Helen Hiebert offers

helpful tips and guidance for newcomers based on

her popular books (see www.enlightenedpapers.

com). Here she begins a two-part discussion of

plant fibers. This first part will cover where to find

fibrous plant materials, and we will follow up in

the next issue with a guide to harvesting fiber.

You do not have to go further than your

own backyard to find a number of plants suitable

for papermaking. Many common garden

plants make lovely papers, such as the leaves

of iris, gladiolus, and day lilies, the stems of

okra and hollyhock, and the stalks of corn.

Even in your kitchen compost, you can find

papermaking plant parts such as onion skins,

artichoke leaves, and corn husks. If you do not

have a backyard, there are many other places

to find papermaking plants. I sometimes collect

onion skins from the bottom of the bin at

the local grocery store and get corn husks at

the neighborhood farmer’s market. Nurseries

and flower shops often have plant waste laying

around, and roadside weeds, such as cattails

and phragmites, are abundant and suitable

for papermaking. Be creative. One papermaker

I know uses all of the plant material left

over after she harvests her vegetable garden.

Another collects the leaves of the banana tree

at her local bank after it has been pruned. In

Chicago, a papermaker has her students collect

milkweed that grows wild along the train

tracks. The possibilities are endless.

The main ingredient in papermaking

plants is fiber. Fibrous plants have been used

for ages to make items such as cloth (cotton

and flax), rope and sackcloth (hemp stems,

New Zealand flax leaves, sisal), and other products

such as baskets, mats, brushes, and hats.

These plants, and many others, have also been

used to make paper, and they will often suffice

as the sole ingredients of your sheets of paper.

When foraging for plants, be aware that

some plants are poisonous. If you familiarize

yourself with their appearance before you go

into the field, they will be easy to avoid. Poison

ivy, poison oak, and poison sumac are common

plants which can cause skin irritations

and allergic reactions. To protect yourself from

inadvertent exposure, wear long pants, long

sleeves, and gloves. Apply insect repellent to

prevent bug bites and stings. It is a good idea

to change your clothes and rinse off when you

return from collecting.

Respect the property of others. Many

wild or overgrown places may seem inviting to

forage, but you might not be welcome, so it is

important to get permission before gathering

plants from private property or public parks.

If you ask, you might even get help. Friends of

mine are so intrigued that I make paper from

plants, that they save their gladiolus and day

lily leaves for me. A landowner will most likely

be curious and maybe even grateful that you

want to make paper out of his annoying weeds.

In addition to being sensitive to the

people who own or tend the land, it is important

to be sensitive to the life of the plant.

While getting permission to forage, you may

be surprised to find that picking a certain

plant will disturb a natural ecosystem, create

erosion problems, or interrupt the life cycles

of insects or animals. During the late summer

and early fall, monarch caterpillars form their

cocoons and feed on the milkweed plant. By

simply delaying your harvest for a few weeks,

you can avoid disrupting their habitat. In some

cases the plant you want might be endangered

or near extinction. It often takes a lot of plant

material to make a few sheets of paper, so in

the case of a struggling plant population, your

harvest may not leave enough plants for the

population to recover. As a rule of thumb, ask

before you pick.

There are a few simple tools you need

to collect papermaking plants. If you are a

gardener, you probably have them in your

shed. Take a pencil and a notebook along for

notes, and a camera if you wish to do visual

documentation. A jackknife or a pair of hand

pruners will be useful for cutting stems and

branches. Don’t forget to bring a knapsack,

bag, or string to tie up your cuttings and carry

them home. If you plan to wade into a swampy

area to collect grasses, its a good idea to wear

waterproof boots.

How to Find Papermaking Plants...

1. Take a walk: Vacant lots, roadsides,

riverbeds, swamps, gardens, farms, and train

tracks are just a few locations in which you

might find papermaking plants.

2. Do some creative research: Historical

accounts of how people have used plants for

papermaking and other crafts can be found in

books on papermaking, textiles, and basketry.

Early Chinese papermakers used hemp, fish

nets, tree bark, and old rags for their fiber.

American Indians used tule (Scirpus acutus), a

soft-stemmed bulrush, to make mats, baskets,

walls, and roofs. Lime tree bast (Tilia) was

used to make shoes and brushes in Russia. All

of these materials and others make fine paper.

3. Study a field guide: Although at first

glance nomenclature may appear baffling, it

can help you focus your search for papermaking

fibers and help you locate what grows in

your region. Plants in the same botanical family

often have similar physical characteristics,

so by paying attention to botanical orders and

plant family names, you can identify potential

papermaking plants. For example, paper

mulberry (Broussonetia papyrifera, a.k.a. kozo),

which is one of the predominant papermaking

fibers in Japan and also grows throughout the

U.S., is in the Moraceae family. True hemp

(Cannabis sativa) and breadfruit (Artocarpus

altilis) are also in the Moraceae family and are

good papermaking plants.

4. Study papermaking manuals: there are

a few books in print that provide lists of papermaking

plants and paper recipes: Plant Fibers

for Papermaking, by Lilian Bell, is an excellent

guide to over 80 plant fibers; Winifred Lutz’s

appendix in Japanese Papermaking, by Timothy

Barrett also contains recipes and detailed

information.

5. Take a class: there are a number of

papermakers working with plant fibers who

teach classes at art centers specializing in book

and paper arts and at community colleges.

There are papermaking courses offered at

some colleges and universities.

6. Ask an expert: If you have trouble

identifying or locating a particular plant, call

a local botanist or horticulturist. You can find

these experts at local colleges or university

extension services, plant nurseries, botanical

gardens, or horticultural societies.

Okay, now that we have an idea of where

to look for fibers, let’s get out our garden tools

to prepare for the next column!

To be continued in the October Newsletter.

Portions excerpted from Papermaking with Plants,

© 1998, 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 article, Winnie introduces papermaking

and ecology to sixth-graders at the beach.

One of the benefits of inter-state

itinerancy is the opportunity to discover and

sometimes become a part of extraordinary

educational facilities. One such place that I

had the delight to work with, both last spring

and this, is the Children’s Beach House in

Lewes, Delaware. Children’s Beach House is a

non-profit organization dedicated to teaching

coastal ecology to students with special needs

(disabled through gifted). Each year the Beach

House serves over 2,500 students from all over

the state of Delaware. Some come for day trips,

some for overnight, weekend, or even weeklong

visits.

Last spring I did a special papermaking

program with some visually impaired students

that were spending the weekend at Beach

House. They participated in beach walks,

ecology lessons, Native American storytelling

around campfires, and other such adventures;

I introduced them to the multi-sensory

wonders of hand papermaking. We passed

around samples of completed papers that had

a variety of textures, weights, sounds, and

aromas. I pigmented very bright colors for

the hands-on experience, as some students

had limited vision. The program was a huge

success, and certainly as rewarding for me as

for the students.

This year MBNA Corporation awarded

funding for me to do several Horseshoe Crab

Conservation and the Arts programs for

Delaware students. So I approached Children’s

Beach House with the idea of sliding my

program into theirs for six of their day-trip

visiting classes. The actual logistics of our

co-programming were physically challenging,

but oh, what an adventure! We chose six

sixth-grade classes from local Beacon Middle

School because their science teachers had not

only been visiting Beach House for years, but

also faithfully participating in the horseshoe

crab Poems, Tales and Images contest since it

began. This seemed a great way to recognize

and honor their dedication.

Two classes of about thirty students

visited Beach House for each of three days in

a row, from 9:30am–2:30pm. Watching the

BH education staff of two greet and organize

sixty twittering pre-teens as they stepped off

the school bus every morning brought back

fond memories of when that was my roll at

Rittenhousetown. Except that Beach House

had between six and eight different volunteers

each day to assist. Who wouldn’t want to help

out at this oasis, nestled among the dunes

with blooming beach plums on the coast of the

Delaware Bay!

After a thirty minute introduction in

which groups and activities were established

(even learning a little sign language along

with other protocol), the two classes split in

half for their activities. Children that were

participating in BH lessons first cycled

through a variety of activities that included

microscope investigation, meeting the touch

tank creatures (including feeding squid strips

to a live horseshoe crab) and a beach walk.

One day a couple of the volunteers cast a net

into the bay and pulled it back with all sorts of

flip-flopping ocean bounty. And several of the

children found pottery shards that had washed

up from a hundred-year-old ship wreck being

salvaged off shore. It’s a wonder the kids ever

came in from the beach walk.

Unlike most of the classrooms that I

visit, these sixth graders had already studied a

complete unit on horseshoe crabs. So I asked

them to pretend I was from the “Show Me”

state of Missouri, where there are no Limulus

polyphemus , and they were to convince me

why this ancient mariner was so miraculous

and important in our world. After viewing

the artful video, “The Crabs, the Birds and

the Bay,” the lesson progressed to the livelier

activity of papermaking.

Hands-on papermaking is an integral part

of the Horseshoe Crab Conservation program.

My lesson is a prompt for students to awaken

their interest in this amazing creature and an

invitation to celebrate its wonders through

creative expression in visual and language arts.

Student works of art celebrating horseshoe

crabs are judged in an annual competition.

Each year the winners and their teachers receive

a limited-edition anthology of all winning

entries. The Poems, Tales and Images artists’

book is printed on about 1,200 sheets of my

handmade paper. It takes me an hour to handfeed

the paper through the printer for each

book and about four days to bind the edition of

fifty books – definitely a labor of love.

But the paper we make as part of the

classroom lesson is for the students to keep.

Usually with little more than an hour left of

my two and one-half hour lesson, we don’t

dwell extensively on paper history or science.

While the video is running I set my vats up

for papermaking. After a brief introduction we

begin a production line approach and everyone

makes an eight-inch square of paper. Then I

bring out three brightly colored vats of shortfibered

cotton pulp and my stencils. The kids

use stencils to form horseshoe crabs, waves,

and other beach embellishments to place on

their paper. After pressing all the paper, I roll

it out onto desks or tables to air dry overnight.

Often the teachers mount all the squares for

display before letting the kids take them home.

Doing two lessons back to back for three

days running was quite an intense experience.

(Thank goodness for all those willing

volunteers!) In fact, by the third day when my

alarm clock sounded at 5:30 am to get me on

the road for the long trip to Beach House, I began

to see this adventure as my own personal

“Groundhog Day” movie! The commute was

no fun. But the ambiance of Beach House was

extraordinary – a fabulous staff and volunteers

for support, lunch breaks out on the dunes

overlooking the Delaware Bay, and inquisitive

sixth graders to keep me on my toes! It was a

memorable collaboration for all involved!

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 installment, Pam takes a look at Wisconsin’s

paper industry.

There is something to be said for alternate

routes. I’ve recently spent time visiting

some of the many new websites out there, but

to be perfectly honest, it seemed I was only

getting to the dull and disappointing ones. So

a few days ago, bored and nearly blind from

looking at the computer screen too long, it

occurred to me: take an alternate route! I left

behind my usual search engine and tried a

different one. Lo and behold, a fascinating find

right away at a commercial site in Wisconsin.

<www.wipapercouncil.org> is sponsored

by the Wisconsin paper industry. Within

moments I was caught up in some great web

viewing. There is something for everyone here.

Paper Facts come first, then Industry Facts,

also quite interesting (did you know that out of

72 Wisconsin counties, 42 are involved in the

paper industry?). If you open the link to types

of paper made, there is an amazing list that

goes on forever.

Moving on to Papermaking Process, and

clicking the button at the bottom that says

“start tour,” viewers are treated to a step-bystep

outline of the process. Now, we have all

seen this type of tour, but this one is well done

without a lot of fancy web tools – just a superb

presentation with fine illustrations, a fun journey

from trees to paper.

Next is the section on Forestry. I was

impressed that the State of Wisconsin seems

to be doing everything it can to sustain a good

environment for trees while still producing

lots of paper. Read the Green Guarantee.

Finally comes the Fun and Learning.

Educators and others can find projects here

that bring out the inner child in all of us. Make

sure to take a peek at this.

Taking the alternate route might just be

the ticket for minds that have become numb

and worldwide web weary, and it may just

be the ticket to life itself, but let’s not get too

heavy – enjoy the superhighway ride!

P.S. Here’s an extremely cool alternate route.

Go to the British Library site at <www.

bl.uk/onlinegallery/ttp/digitisation3.html>.

Here you can turn the pages and look close up

at Leonardo di Vinci sketch books and other

printed masterpieces. Click on the little audio

button to listen to the narrator. And there is a

groovy magnifying glass feature that gets you

deep into the book. Sweet!

PAPER HISTORY

Peter Hopkins is a media relations consultant

specializing in environmentally responsible papermaking

and the history of papermaking. In this

issue, Peter describes some unusual handmade

paper tags and labels.

Paper and what’s printed on it gives us a

great deal of information – some important to

our lives; others less so. Papers made by Crane

& Co. have been used for prestigious documents

for more than two centuries: United

States currency, foreign banknotes, stock

certificates, announcements of affairs of state,

and pronouncements of affairs of the heart.

But papers made by Crane also have been

put to some less-than-prestigious uses.

In 1846, when Crane mills were cranking

out paper for local and regional banks, a

request was received from E. Thornton Jr. of

New Bedford, Massachusetts, who was seeking

appropriate paper to label his product – Dr.

Wood’s Sarsaparilla and Wild Cherry Bitters.

Mr. Thornton was seeking 10 reams of paper

to announce to the suffering public that his

medication is good “for the cure of all jaundice

and bilious complaints and all diseases arising

from an impure state of the stomach and

blood.” All this for $1 a bottle ($5 for six!).

Not long afterward, the H&J Brewers’

Apothecary of Springfield inquired about

label paper for its Brewers Compound

Marshmallow Candy, guaranteed “to cure all

common colds, hoarseness, etc., by taking a

small piece and allowing it to slowly dissolve

in the mouth.”

In 1860, Crane paper was used to

label bottles for A.S. Palmer, MD, of Utica,

NY, who was manufacturing Pond’s Witch

Hazel Extract, “Unequaled” for 38 ailments,

including bleeding lungs, frozen limbs, corns,

and lame backs.

Later that year, Crane’s California Folio

paper adorned bottles of Mr. S.A. Allen’s

World’s Hair Dressing and Zylobalsium No.

3. “It will remove and prevent scurf; dandruff

and perspiration of the heat. It will also

prevent the falling out of the hair and cause

the young hair, in a few weeks, to come forth.”

And if that wasn’t enough, for just 37½ cents

per bottle, “it will also remove inflammation

and pain from cuts, bruises, bites and stings

of insects.”

As is evident, these embrocations were

extremely versatile in their applications, as was

Carburet of Iron Stove Polish, produced by the

Office of Dixon’s Black Lead Crucible Works of

Jersey City. “Try it on your wagon axles!”

Perhaps due to the state of medicine

at the time, and the proliferation of these

miracle cures, a representative of the printer

Sage, Sons & Co. wrote to Crane in 1864,

seeking parchment paper. “We hope you will

have it up, for part of it is for the Medical

College Diplomas, and our 50 young disciples

of Esculapius are eagerly waiting for the

sheepskin permits to butcher and physic poor

suffering humanity.”

But not all was snake oil in the tag and

label business. Crane supplied paper for J&P

Coats in 1857 for its six cord spool cotton

thread. (This company is likely today the

celebrated textile company Coats & Clark). In

1855, Crane paper was used for H.E. Pierce’s

Percussion Matches of Charlemont, MA. “Care

must be taken not to ignite the matches in

taking them from the box.” And in the 1860s,

Crane paper was used to wrap half-ounce

skeins for the American Linen Thread Co.

of Mechanicville, New York, and to package

flower seeds for Benjamin K. Bliss, seedsman

and florist, of Springfield, Massachusetts.

Even in the 1850s and 1860s, companies

were finding niches to serve other industries.

And such was the case with clothing labels.

Two companies were major players at the

time. In 1859, Crane started supplying paper

to Whitman, Belcher & Co. of Boston, who requested

heavyweight parchment paper at a clip

of several thousand sheets per month. And for

several years, Crane supplied parchment paper

for Newell & Stiles of Connecticut, who was

ordering at a pace of a ton per month, in rolls.

But the biggest player today emerged during

the Civil War. Dennison & Co of Boston,

now known as Avery Dennison, first ordered

three cases of parchment paper from Crane

on September 7, 1864. They evidently were

very new to the tag and label business then, as

demonstrated by a letter to Crane: “We think

75-pound paper will be heavy enough. We are

obliged to guess at weights until we become

more experienced in the business than we are

now. Our Mr. Dennison would willingly come

up at any time and way whether the stock was

running right or not when you are ready to

make again. Especially if there are any trout to

be caught in your beautiful streams.”

Over the next 130 years, Crane has

supplied tag and label paper for a variety of

purposes, although as one can imagine the

call for high-quality, 100 percent cotton paper

is not big in the industry. It’s a niche business

today, such as Crane’s Resist-all Ledger – a 100

percent cotton paper used by ichthyologists

and herpetologists (fish and snake people) to

label their specimens when preserved in oil,

alcohol, or formaldehyde.

PAPER SCIENCE

Due to illness we are unable to publish John

Bordley’s column. Look for the next installment of

Paper Science 101 in the October issue.

PROFILES IN PAPER

Hand Papermaking is pleased to welcome a new

columnist. Susan Gosin co-founded Dieu Donné

Press & Paper in 1976. She regularly lectures and

teaches papermaking, and has compiled a significant

collection of taped interviews with noted personalities

in the hand papermaking community.

The idea for this column began in 1998

when I was preparing a lecture for a fine print

conference. I was asked to give a talk about

what hand papermaking had contributed to

the renaissance of fine printmaking in the

20th century. I decided to focus my talk not on

the revival of the craft of hand papermaking

but on its reinvention as an artistic medium

with a parallel history to 20th century printmaking.

In rereading current books about

hand papermaking, I was not able to find a

complete history of the contemporary hand

papermaking movement. So I started calling

friends and colleagues to get the facts straight

and to fill in the details. The conversations I

had with Ken Tyler, Garner Tullis, and John

Koller, to name just a few, were clarifying and

inspiring; so inspiring that I decided to tape

my interviews to preserve these remarkable

stories. This column captures some of their

stories and celebrates this part of our shared

history. Piecing together their stories, I realized

that the hand papermaking movement is

a wonderful puzzle with a trail that began with

Dard Hunter and his groundbreaking work.

But, it was with Douglass Howell after World

War II that hand papermaking took new form

as an art medium. And it was by Douglass

Howell’s teaching that a family tree of contemporary

hand papermakers grew. I was going

to begin this column as I began my interview

process, by focusing on early pioneers; however

I decided instead to start in the present,

closer to home and to my heart. At the risk of

appearing self serving to Dieu Donné Papermill,

I would like to initiate this column with a

profile of Paul Wong, Artistic Director of Dieu

Donné, and arguably a “national treasure” in

hand papermaking.

I first met Paul when the two of us

entered graduate school at the University

of Wisconsin, Madison, in 1974. Both of us

focused our studies in the printmaking department

and both of us came under the spell of

Walter Hamady and hand papermaking. In

early 1975, when I took Walter’s book class

(with Steve Miller, Ken Botnik, Suzanne Ferris,

Neal Bonham, and Cathy Rugee) papermaking

at Madison was just coming out of the closet

because quite literally the entire lab-size mill

moved from a closet in Walter’s classroom to

expanded quarters in another building. It was

in this space that hand papermaking evolved

from sheet production to art making. This

is where Paul learned to beat rags into pulp

in “Walter’s” style as Walter had learned it

from Laurence Barker and as Laurence had

learned it from Douglass Howell. After the

initial lessons, Paul began to cast pulp into

sculpture. His installations from this period

were comprised of two-dimensional printed

images and three-dimensional cast objects,

Paul’s signature style. This period proved to be

a defining point in the development of Paul’s

artistic expression, which would reveal its full

potential in his mature work decades later.

After receiving his MFA, Paul continued

to do his own work in paper, working at

Joe Wilfer’s Upper US Papermill outside of

Madison. Though he did not act as a collaborator

with Joe, he was exposed to Joe Wilfer’s

and Bill Weege’s on-going collaborations with

visiting artists such as Alan Shields and Sam

Gilliam. In the 1970s Madison was a hotbed of

experimentation in printmaking and papermaking.

Paul Wong, as a part of this community,

both contributed and was influenced by it.

As Paul joined a larger art community in NYC

he brought this respect for experimentation

and a communal style of sharing with him.

When Paul moved to New York in 1978

to join me at Dieu Donné he was an installation

artist by choice, a fine printer by trade,

and a novice papermaker in training. With

funding from a Tiffany grant and later an NEA

grant, Paul began his long history with Dieu

Donné Papermill. The first year involved learning

professional hand papermaking on the job.

So while assisting with the day to day production

of custom sheets of paper and working

with artists, Paul engrossed himself in absorbing

the research from the previous two years

of study in fibers, pulp preparation, coloring,

sizing, and drying at Dieu Donné. During this

early time together, we established a pattern

of collaboration that has endured for almost

30 years. Rather than replicate existing images

from painting or drawing, or reproduce threedimensional

maquettes, artists work on-site

on original work, learning from the process

and responding to it, with the technical and

aesthetic guidance of the collaborator. This one

on one, hands-on approach has afforded Paul

a varied and rich engagement with hundreds

of artists.

I asked Paul which of the collaborations

were particularly distinctive for him. That was

difficult for him to answer since each is so

unique. But two from the earlier period which

stand out are those with Bart Wasserman and

Virginia Jaramillo. In both cases, these two

painters discovered a style of using the “happy

accidents” that occur in the process, adding

an element of rewarding surprise to the collaboration.

For twenty years Bart Wasserman

regularly worked with Paul to create an astonishing

body of work from a simple premise:

contrasting the tonal and textural interplay of

cotton pulp and linen pulp. Bart, Paul, and I

first started working together in 1979. In the

old space we had a piano and Bart, who had

trained as a classical musician as well as an

artist at Yale, would play Mozart or Beethoven

as he orchestrated the couching of tinted bars

of natural linen and cotton pulp into images

which resembled musical scales. Like

the master chef that he was, Bart brought an

epicurean connoisseurship to the preparation

of his pulps so critical to his imagery. Virginia

Jaramillo developed an approach to the process

that has also endured to this day. By creating

a simple line composition in watermark

she is able with a precisely designed palate of

pulps to create a seemingly endless number of

variations on a theme. Besides enjoying being

a partner in these creative collaborations, Paul

has also enjoyed the deep friendships that

developed as a result of them.

Though less intimate and perhaps more

complicated, the group effort of team collaboration

is often a case of the more the merrier

as with the Chuck Close collaborations.

Some of Paul’s most vivid recollections are of

working side by side with Joe Wilfer developing

the first Close pieces in the late 1970s.

On hot summer evenings, after a long day

mixing colored pulps, Chuck would take his

shirt off and get out the scotch to get into the

mood for manipulating the freshly editioned

pulp portraits. Years later, at the new studio,

Paul recalled the high spirits of the Dieu

Donné team working with the Pace team led

by Ruth Lingen (Joe Wilfer’s protégé) as they

produced the 2003 Close edition. The group

even created a two-page lexicon of humorous

editioning terms with phrases such as “happy

fingers,” defined as “dancing finger tip press

on stencils to prevent bleeding.”

Recent collaborations with Jim Hodges

have drawn on Paul’s extensive knowledge of

colored pulps, while work with Robert Cottingham

has given Paul the opportunity to

exploit his skill using stencils. The common

thread through these diverse collaborations is

Paul’s uncanny ability to accurately understand

and interpret each artist’s unspoken needs, unlocking

their imagery. Paul’s steadfast nature,

enduring commitment to art, and graceful

generosity are an ideal compliment to his

considerable talent. His collaborative skills and

technical virtuosity have contributed greatly

to the identity of Dieu Donné Papermill.

Through his own art and many collaborations,

he has made a distinct contribution to the art

of our times.

But this is just part of the story, for Paul

Wong is first and foremost an artist in his

own right. There is another story, which runs

parallel to all of the collaborations, and that

is the story of his art. During the 1980s Paul

created a series of brilliant abstract images

that displayed his exploration and mastery of

pulp painting, watermarking, and stenciling.

By the mid 1990s Paul began to integrate his

graceful style and technical skill with images

from his personal history and heritage. An

exhibition entitled One Billion Ghosts in 1996

at Dieu Donné Gallery first showcased his

growing research in Chinese traditions and art

history. However it was at the 1998 Neuberger

Museum (Purchase, NY) exhibition entitled

Burning History that Paul fully realized in

concept and mastery his role as an artist in the

history of papermaking in China and in his

own time. The paper sculptures and paintings

that were created for this installation take the

viewer on a personalized journey through the

cultural artifacts of an earlier time along a trail

of highly charged symbols evocative of past

and present. Paul has continued to mine this

deep and rich vein where cultural traditions

and family history intersect with paper history

and his own story. A year ago his most recent

exhibition at the Plains Art Museum in his

home town of Fargo, North Dakota, which

coincidentally opened on his birthday, brought

together all the threads of Paul’s life. The

obvious question is where to go next? Recently

Paul has contemplated this question in his art

and at Dieu Donné Papermill as we search for

a new facility and prepare to move. As is so

clear in Paul’s mature work, it is not so much

the destination that is fascinating but the journey

itself. To quote Paul, “We’ve always known

how to celebrate once we’re there.”

CLASSES AND WORKSHOPS

Amagansett Applied Arts, 11 Indian Wells

Hwy., PO Box 1336, Amagansett, NY 11930,

(631) 267-2787, <www.a3arts.org>. Papermaking

classes on the eastern end of Long Island.

Japanese Papermaking, August 22, with Sue

Gosin. Learn the tradition of Japanese papermaking

through an exploration of the rituals of

preparing the fibers and making a collection

of beautiful papers.

Arrowmont School of Arts and Crafts, Box 567,

Gatlinburg, TN 37738, (865) 436-5860, <www.

arrowmont.org>.

Investigating The Landscape: A Mixed Media

Collaboration, July 31-August 6, with Ed Kalke

and Ross Jahnke. Combining the media of

drawing, papermaking, and painting, focus on

the subject of the landscape.

The Banff Centre, Box 1020, Banff, Alberta,

T1L 1H5, 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 Craft Center, 286 Whisconier Road,

Brookfield, CT 06804, (203) 775-4526.

Basic Papermaking, July 30-31, with Shannon

Brock. Study pulp preparation, sheet forming,

the use of additives, pressing and drying, plus

much more.

Papermaking With Natural Dyes, August 6-7,

with Rita Schwab. Natural dyes are organic,

bio-degradable and blend harmoniously with

each other. Collect berries, barks, roots, flowers,

and other organic matter, then extract their

brilliant colors and use them to dye pulps.

John C. Campbell Folk School, Route 1, Box

14A, Brasstown, NC 28902, (704) 837-2775,

<www.folkschool.org>. Classes in papermaking

and other crafts in the mountains of

western North Carolina.

Paste Paper Weekend, August 5-7, with Sigrid

Hice. Create numerous paste papers, using

unusual “tools” found around the house and

some you will make from recycled materials.

Papercutting: Hearts, Flowers, Angels & Elves,

August 14-20, with Barbara Stoop. Make

intricate paper cuttings in the European

tradition using small curved scissors.

Paper and the Stitch, August 28-September 3,

with Claudia Lee. Make sheets of handmade

flax and abaca papers; pigment, dye, and print

the sheets; creating a sampler of designs and

stitches using both hand and machine.

Paper Bead Jewelry & Paper Boxes, October 28-

30, with Judy Anderson.

Fiber Fun, October 30-November 5, with Martine

Caillon House.

Papermaking to Books – Pulp to Pages, November

6-12, with Rajeania Snider.

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.

Pulp Drawing Intensive, July 6-8, with Andrea

Peterson. Explore the basics of pigmenting

pulp and utilize a finely beaten cotton fiber to

create two-dimensional works.

The Best BIG PAPER Workshop Ever!, July 9-10,

with Shawn Sheehy. Making enormous sheets

using a with a range of fibers and techniques,

then try the Center’s new large stack dryer.

Japanese Papermaking, July 30-31, with Nancy

Vachon. Experience a total immersion (!) weekend

of Japanese papermaking.

Bags, Bundles, Baubles, and Bowls, August 6-7,

with Nancy Vachon. Cast, weave, form, and

construct containers from handmade and

recycled papers.

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.

Basic Papermaking, July 20 or August 11, with

staff instructor. Gain a general overview of the

papermaking process.

Open Studio, July 11 or August 15, with staff

instructor. Experiment with various pulps

available in the studio and make sheets up to

11” x 14”.

Feather River Art Camp, 484 Lake Park Ave.,

PMB Box 186, Oakland, CA 94610, (510) 601-

1619. Art camp for adults in the Sierra foothills

near Quincy, California.

Handmade Paper & Mixed Media, July 17-24,

with Linda Lemon. Learn papermaking

basics, collect and process local fibers, and

explore various media (watercolors, acrylics,

found objects) and techniques (painting, collage,

monotype).

Great River Arts Institute, PO Box 48, 33

Bridge St., Bellows Falls, VT 05101, (802) 463-

3330, <www.greatriverarts.org>.

Papermaking and the Book, August 2-3, with

Kathryn Lipke. Collect, transform, invent, and

experiment with a range of materials to make

papers for books.

Paper Marbling, August 5, with Lora Zorian.

Incorporate the beauty and tradition of paper

marbling with other book fundamentals.

Haystack Mountain School of Crafts, PO Box

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

<www.haystack-mtn.org>.

The Creative Dance of Nagashizuki: Transforming

the Traditional into the Contemporary, July

31-August 19, with Catherine Nash. Use traditional

Japanese papermaking in exciting new

two-dimensional and sculptural ways exploring

the journey from plant to pulp to paper to art.

Historic RittenhouseTown, 206 Lincoln Drive,

Philadelphia, PA 19144, (215) 843-2228, <www.

rittenhousetown.org>. Summer workshop

series at the site of America’s first paper mill.

Calligraphy on Handmade Paper, July 9, with

Janet McShain. Realize how connected papermaking

and the printed word really are!

Japanese Papermaking, July 16, with Christine

Dellandre. Introduce yourself to kozo, gampi,

and abaca fibers; learn to build an inexpensive

Japanese paper mould.

Family Papermaking, July 24 or August 21, with

Catherine Browne. After a basic introduction,

spend a day experimenting.

Handmade Lamp Shades, August 6, with

Cheryl Berkowitz. Complete one small lamp

shade, and go home with the know-how to

make shades in a variety of shapes and sizes.

Leaf Onto Paper: Nature Printing on Handmade

Paper, August 20, with Charlotte Elsner. Without

a press, print the detail and beauty of plant

forms from gardens and the wild.

Introduction to Suminagashi and Turkish Marbling,

August 27, with Richard Aldorasi. Create

swirling patterns of color and capture them on

handmade linen paper and other surfaces.

Paste Painting, August 28, with Richard

Aldorasi. Combine wheat starch, water, and

colored pigments, and then create intricate

patterns of color on paper.

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, September

4-7. After learning traditional and experimental

papermaking techniques, continue

sheetforming or move on to bookbinding.

Paper and Space, September 9-12. Introduce

yourself to three-dimensional techniques.

Paper from Wild and Cultivated Plants, 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, September

19-21. Create larger pieces using these two

working techniques.

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.

Eastern Papermaking, July 26, with Bridget

O’Malley. Through discussion and hands-on

experience, learn about the early history of

papermaking in Asia.

Chochin: Collapsible Japanese Lanterns, July 29,

with Helen Hiebert. Create a reusable foam

core armature and apply a paper covering to

create a beautiful collapsible paper lantern.

Suminagashi, July 29, with Diane Maurer-

Mathison. Learn this low-tech yet meditative

type of marbling.

Illuminated Paper Panels, July 30, with Helen

Hiebert. Make balsa wood framed panels

which can be adjoined to create lanterns,

screens, or book structures.

Making Paste Papers, July 31, Diane Maurer-

Mathison. Make historic patterns as well as

more relaxed contemporary designs to use

on books, cards, collages and other paper

art projects.

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.

School for PaperWasps, July 11-22, with Beatrix

Mapalagama. Intensively focus on the concepts

of paper and gain insight into current practical

and theoretical standards of papermaking and

paper art.

Vegetable Papyrus, October 7-9, with Tanja

Boukal. Visit the Viennese main market to

purchase a selection of fruit and vegetables for

making colorful, transparent sheets, lampshades,

and bowls.

Penland School, Penland, NC 28765, (828)

765-2359, <www.penland.org>. A full program

of craft workshops, including papermaking

and book arts.

Paper & Light, August 14-26, with Ann Marie

Kennedy. Investigate the material nature of

paper and the myriad ways in which light and

paper interact.

Peters Valley Craft Center, 19 Kuhn Road,

Layton, NJ 07851, (973) 948-5200, <www.

pvcrafts.org>. Workshops in a variety of craft,

including papermaking.

Contemporary Baskets: Woven Paper Vessels,

July 8-12, with Jackie Abrams. Paint and

create your own basket materials while exploring

the colors and textures of acrylic paint on

cotton paper.

Pyramid Atlantic, 8230 Georgia Avenue, Silver

Spring, MD 20912, (301) 608-9101, <www.

pyramidatlanticartcenter.org>. Workshops in

papermaking, printmaking, and book arts.

Marbling: Hypnotic Designs On Paper And

Cloth, July 14-15, with Steve Pittelkow. Explore

the science and occasional magic of this fascinating

decorative technique.

Papermaking Intensive: Incredible Flax Book

Covers And Kozo Endsheets, July 19-22, with

Amanda Degener and Bridget O’Malley. Make

strong and tough flax paper for book covers,

and kozo endsheets using various techniques.

Robert C. Williams American Museum of Papermaking,

500 10th Street NW, Atlanta, GA

30332, (404) 894-7840, <www.ipst.edu/amp>.

Make a Paper Lampshade, July 23.

Seastone Papers, PO Box 331, West Tisbury,

Martha’s Vineyard, MA 02575, (508) 693-5786,

<www.seastonepapers.com>. Workshops in

papermaking taught by Sandy Bernat.

Basically Wet and Wild, Monday mornings in

July and August. Practice the basic steps in the

papermaking process: preparing pulp, then

pulling, couching, pressing, and drying sheets

of paper varying in size and shape.

Wet Fiber Design, Monday afternoons in July

and August. Experience the way wet fiber can

be manipulated to create surface design.

Focus on Fiber: Cotton Denim, July 12. Prepare

denim fabric from old blue jeans.

Seaweed in Paper, July 19 or August 2. After

a trip to the beach and sorting/cleaning, use

seaweed as an inclusion in pigmented pulp or

directly for surface design.

Pulp Book Art, July 20 or August 10. Make at

least two books in the wet pulp stage which

need no further binding.

Sculptural Pulp Painting, July 26-27, with

Shannon Brock. Use high shrinkage flax along

with nylon armatures to form small sculptural

objects that will be pulp painted.

Pulp Painting, August 9. Working with squeeze

bottles, brushes, stencils, and free-hand application,

apply overbeaten pulp to a base sheet

in a painterly fashion.

Local Plant Papers, August 30-31. Prepare fibers

from iris or lily leaves, switch grass, cornhusk,

and others by cooking, rinsing, and beating

fibers into pulp.

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.

Paper Play, July 15-17, with Tom Grade. Learn

basic techniques such as molding, casting, and

embossing while making colorful and

fun items.

Paper: Varying Degrees, July 17-22, with Tom

Grade. Experiment with a broad spectrum of

techniques in a variety of fibers.

Handmade Paper Lampshades, September 30

- October 2, with Michelle Workowski. Make

your own custom lampshade, choosing from a

variety of handmade papers, and various barks

and fibers to trim it.

Snow Farm, The New England Craft Program,

5 Clary Road, Williamsburg, MA 01096, (413)

268-3101, <www.snowfarm.org>. Study in a

pastoral setting near the five-college communities

of Amherst and Northampton.

Paper Batik: Color, Design and Embellishment,

September 3-5, with Billi Rothove. Create

surface and imagery on paper using the traditional

hot wax batik process.

Southwest School of Art & Craft, 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.

Papermaking Collage Parts, July 16-17, with Jo

Etta Jupe. Spend two days in the paper studio

making components to use in collage projects.

West Dean College, Chichester,

West Sussex, U.K., (0)1243 811301,

<short.course@westdean.org.uk>,

<www.westdean.org.uk>.

Sculpture & Paper, February 27-March 2, 2006,

with Susan Cutts. Process fibre into pulp,

then sheets, which will be used, wet, to create

a small shoe sculpture on the first day and a

larger torso on the second, without the use of

glue or stitching.

Women’s Studio Workshop, PO Box 489,

Rosendale, NY 12472, (914) 658-9133, <http://

wsworkshop.org>. Summer Arts Institute includes

workshops in papermaking, printmaking,

book arts, photography, and other media.

Beneath the Surface, July 20-24, with Ann Marie

Kennedy. Investigate the surface qualities

of handmade paper.

Solutions for Papermaking: Lessons from a Master,

August 3-7, with Anne Q. McKeown, Learn

“beyond basic” techniques that are specific to

your work or ideas.

BIG PAPER – little paper, August 12-14, with

Allyson Comstock. Learn fiber preparation,

beating, coloring, sheet forming and drying,

that will enable you to make large and small

sheets of paper.

Fibers From the Farm, August 20-21, with Eugenie

Barron. Transform natural fibers grown

on the ArtFarm at Women’s Studio Workshop

into a range of beautiful handmade papers.

Interrupting the Process to Find A New One,

August 25-28, with Jocelyn Chateauvert. Investigate

the manipulation of handmade paper

sheets that have been pressed but not dried.

Cross-Pollination: Mixing the Ancient Media

of Hand Papermaking and Encaustic Painting,

September 10-13, with Tana Kellner & Laura

Moriarty. Join WSW in collaboration with R&F

Handmade Paints to create contemporary

waxed paper works.

Sculpture in the Environment Using Handmade

Paper, September 15-18, with Virginia

Tyler. Make outdoor installations of handmade

paper.

Paint with Paper, September 23-25, with Jennifer

Davies. Enjoy the spontaneity of pulp

painting.

8 hand papermaking newsletter

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 setting. Non-members welcome.

For further information, contact Elizabeth

Crammond, telephone (416) 769-4886 or

<ecrammond@look.ca>.

The Geelong Forum is an annual event held

near Melbourne, Australia, sponsored by The

Australian Forum for Textile Arts (TAFTA).

Accommodation and meal programs are

available, and participants may sell handmade

items at the Heathen Bazaar. Among the

many classes offered is Japanese Sheet Forming

and Translucent Paper Casting with Oriental

Fibre taught by Catherine Nash. The 2005

gathering is September 25 through October 1.

For details, contact tafta@iinet.net.au or visit

<www.ggcreations.com.au/tafta/>.

On Monday, September 19, 2005, the world’s

largest collection of paper and papermaking

artifacts will have a larger home. The Robert C.

Williams American Museum of Papermaking

in Atlanta will double its facility from 2500 to

5000 square feet of exhibition space. A free

celebration will be held September 19 from

5-7pm. The new exhibition space will feature

the evolution of science and technology in

papermaking, showcasing artifacts from the

1300’s to paper made in space aboard the

Columbia Space Shuttle. Also on display will

be the works of Dard Hunter, featuring books

never before on permanent public display. For

further information call 404/894-6663 or visit

<www.ipst.gatech.edu/amp>.

Paper Island, Second International Symposium

of Paper Artists will be held September

1-10, 2005, on the little island of Krapanj in

Croatia, the smallest inhabited island in the

Adriatic Sea. The basic aim of the symposium

is to bring together paper artists of different

nationalities, experiences, and knowledge

and to create a vibrant, creative atmosphere

for theoretical and practical exchange in the

field of papermaking. During the eight days

of the symposium, artists will work freely in

the papermaking workshop and create their

own artwork. Each participant will be required

to give one 30-minute lecture. Minimum

number of participants is 7 and the maximum

is 14. For further information please contact:

Barbara Guttman, <brbrhej@yahoo.com> or

telephone + 36 30 540 33 29.

As part of its 20th anniversary celebration,

Minnesota Center for Book Arts will host a

symposium July 26-31. The event will be an

intensive week of classes and other activities,

including a trade fair July 29-30, and a tent

party on Saturday evening. For further information

visit <www.mnbookarts.org> or call

612/215-2520.

EXHIBITS & COMPETITIONS

The 3rd National Collegiate Handmade Paper

Art Exhibition will open January 12, 2006, at

the American Museum of Papermaking, 500

10th Street NW, Atlanta, GA 30332, (404) 894-

7840, <www.ipst.edu/amp>. Juried by Barbara

Korbel, Frank Paluch, and Marilyn Sward, this

third national survey exhibit showcases the

finest works being made in paper by college,

university and art school students from across

the USA.

In the summer of 2006, the sixth Holland

Paper Biennial will take place at the Rijswijk

Museum and the CODA / Apeldoorns

Museum. The Holland Paper Biennial 2006

has no special theme but will show paper art

in pure and varied ways. Paper artists who

would like to participate in the Holland Paper

Biennial 2006 are requested to forward at

least five good quality slides or photographs of

recent work and an updated c.v., and any other

relevant materials, to the Rijswijk Museum before

August 31. In September 2005 a jury will

make selections and in October/November the

artists will be informed. All photographs and

slides will be returned after the final selection

has been made. Other documentation (postcards,

catalogues, etc.) may be retained for the

Rijswijk Museum Library. Artists who have

sent their documentation in previous years are

also kindly requested to forward their updated

documentation. For more information about

the Holland Paper Biennial, visit these websites:

<www.hollandpapierbiennale.nl>, <www.

museumryswyk.nl> or <www.coda-apeldoorn.

nl>. Address materials to: Museum Rijswijk,

Holland Paper Biennial 2006, Herenstraat 67,

NL-2282 BR, Rijswijk, The Netherlands.

Pyramid Atlantic’s National Members’ Juried

Exhibit will be up November 9 through December

23. Deadline for entries is September

9. Awards and sale option offered. $30 entry

fee plus current membership required. Request

entry form and all details from Pyramid

Atlantic, 8230 Georgia Avenue, Silver Spring,

MD 20912, (301) 608-9101, or visit <www.

pyramidatlanticartcenter.org>.

Dard Hunter and the Arts & Crafts Movement

is on display September 23 through November

4 in the Special Collections Gallery, 5th Floor,

Marriott Library, University of Utah. The Rare

Books Division of the library holds the complete

collection of Dard Hunter’s monumental

works. For further details go to <www.lib.utah.

edu/rare> or call (801) 585-9191.

MISCELLANEOUS

Denmark has a new Paper Museum in Silkeborg:

The Bikuben Paper Museum. Located

in the old production halls for handmade

paper at the Silkeborg Paper Factory, the

museum’s focus is handmade paper. There are

exhibitions about the Danish Paper Industry,

Danish Paper, watermarks, and the Silkeborg

Paper Factory, where the paper for the Danish

banknotes was produced by hand from 1910 to

1958. For more information contact Bøttebygninngen,

Musik- og Teaterhuset, Smedebakken

1, DK - 8600 Silkeborg, telephone +45 8685

4564, <www.papirmuseet.dk>.

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, <mariep@

despammed.com>. Also available is the

International Directory of Marblers and Resource

Guide featuring 313 listings.

CLASSIFIEDS

Classifieds in the Hand Papermaking Newsletter

cost 75 cents per word, with no minimum.

Payment is due in advance of publication.

Hollander-style paper beater and two

book presses for sale, Lincoln, Nebraska.

sstensaa@dana.edu

SPECIAL THANKS

Hand Papermaking would like to thank the following

people who have made direct contributions

to our organization.

Patrons: David B. Marshall Jr. Underwriters:

Charles E. Morgan. Sponsors: Cathleen A.

Baker, Simon Blattner, Jane Farmer. Donors:

Grimanesa Amoros, Martin Antonetti, Terry

Boone, Kathy Crump, Karla Elling, Helen

Frederick, Lori B. Goodman, Susan Gosin,

Patricia Grass, Ingrid Rose Co. Ltd., Chuck

Izui of Aiko’s Art Materials, Lois James, Rick

Johnson, Lynn Kidder, Joyce Kierejczyk, David

Kimball, Elaine Koretsky, Mary Lou Manor,

Jesse Munn, Peter Newland & Robyn Johnson,

Nancy Norton Tomasko, Lise Poulsen, Dianne

L. Reeves, John L. Risseeuw, Kimberly

Schenck, Richard H. Schimmelpfeng, Agnes

Schlenke, Marilyn Sward, Claire Van Vliet.

Supporters: Shirah Miriam (Mimi) Aumann,

Lore Burger, Carla A. Castellani, Chery Cratty,

Joanne R. Davis, Amanda Degener, Martha

Duran, Walter Feldman, Jean Freeburg,

Helen Hiebert, Peter Hopkins, Lou Kaufman,

Kristin Kavanagh, Patricia L. O’Neal, Mary C.

Schlosser, Thomas G. Siciliano, Robbin Ami

Silverberg, Peter Sowiski, Lynn Sures, Carla

J. Tenret, Pamela S. Wood. Auction Donors:

Cathleen A. Baker, Timothy Barrett, Sidney E.

Berger, Kathy Crump, Amanda Degener, Kathy

Fitzgerald, Jennie Frederick, Helen Goldberg,

Peter Hopkins, Dard Hunter III, Stacey

Lynch Adnams, Lee McDonald, Nancy Norton

Tomasko, Gin Petty, Nimpto Sherpa, Marilyn

Sward, Clarita Woodworth.

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