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

N E W S L E T T E R

Number 74, April 2006

Newsletter Editor: Tom Bannister. Columnists: Cathleen A. Baker, Sidney Berger, John Bordley, Susan Gosin, Helen Hiebert, Elaine Koretsky, Winifred Radolan, Pamela Wood.

Hand Papermaking Newsletter 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 newsletter is available

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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 1070, Beltsville, MD 20704-1070

Phone: (800) 821-6604 or (301) 220-2393

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The deadline for the next newsletter (July 2006)

is May 15. Please direct all correspondence to the

address above. We encourage letters from our

subscribers on any relevant topic. We also solicit

comments on articles in Hand Papermaking

magazine, questions or remarks for newsletter

columnists, and news of special events or activities.

Classified ads are 75 cents per word with no

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upon request.

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

organization. Staff: Tom Bannister, Executive

Director; Mina Takahashi, Magazine Editor.

Board of Directors: Cathleen A. Baker, Inge

Bruggeman, Gail Deery, Helen Hiebert, Peter

Hopkins, Barbara Lippman, David Marshall,

Margaret Prentice, John Risseeuw, Marilyn

Sward, Beck Whitehead. 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 Friends and Subscribers,

This is indeed a special year of celebration: Hand Papermaking turned

twenty. We feel lighter than air here, energized and uplifted by our Paper in

Flight theme! Our April 24-29 online auction will offer some extraordinary

items on this theme, plus many of the hard-to-find goods in all price ranges

you have come to expect at this annual event. And you will surely treasure the

upcoming color magazine with its gift tip-in and other special treats. Finally, I

hope you will be able to experience the ten-foot art kite we commissioned when

it is unveiled this fall during a festive October 28 celebration in Baltimore.

To help make all of this happen, the generous folks at The Drachen

Foundation are offering to send you a washi kite kit. Created by master kitemaker

Nobuhiko Yoshizumi, this nine-inch kite is made of washi with bamboo

spars from Japan. They call it a “fish kite” because the diamond shape is often

adorned with fish motifs. You can decorate it yourself with collage or any media.

In fact, if you email a photo of your decorated kite, you may win one of three

$50 Hiromi Paper International certificates.

To obtain your kite kit, make a donation to Hand Papermaking in support

of our 20th-anniversary activities, between now and November 20. After

we receive your donation, we will mail you a receipt for your tax deduction,

and Drachen will mail you the kite kit. Please mail your donation to our new

address: PO Box 1070, Beltsville, MD 20704. Thanks so much. Up and away!

Tom Bannister

upcoming in the summer 2006 magazine:

20th Anniversary Issue – Paper in Flight... +Marie-Hélène Reynaud on the Montgolfier

Brothers and the Invention of Aviation +Timothy Barrett on Japan’s

WWII Balloon Bombs +Elaine Koretsky on the Fire Balloons of Myanmar

+Brian Queen on Building and Flying Paper Hot-Air Balloons +Anne Q.

McKeown on Byron Kim’s Sky Blue Kite +Scott R. Skinner on Traditional

Japanese Paper in Contemporary Kites +Commissioned Giant Paper Kite by

artist Lesley Dill for Hand Papermaking’s 20th Anniversary +Susan Gosin on

Alan Shields (1944-2005)

+Noted Exhibitions: Mindell

Dubansky reviews Ken Polinskie,

Now and Then exhibition at Modo

Gallery, NY; Karen Searle reviews

Plane and Form exhibition at

Minnesota Center for Book Arts

+Founders’ Conversation: Amanda

Degener and Michael Durgin

+Paper tip-ins: Miniature Paper Kite

by artist Lesley Dill; Fire balloon

handmade paper from Myanmar

Dear Friends and Colleagues,

I wanted to let Hand Papermaking

readers know about a sad loss to the papermaking

community. Hugh Hanson passed

away in mid-December. He was a good

friend to the Museum here in Atlanta, and a

good friend of mine.

Hugh was responsible for revitalizing

interest in the papermaking history of

the Rittenhouse Mill in Pennsylvania. He

worked very diligently for years researching

early American papermaking, especially the

Rittenhouse family. Hugh was a walking

encyclopedia of how, when, and where the

Rittenhouse families made paper, who they

were, and how life was in their community.

Hugh was on the Advisory Board of

the Robert C. Williams Paper Museum for

several years. He always contributed ideas

and actions to make our Museum meet our

goals and helped us reach out to the community.

I first met Hugh at the Friends of

Dard Hunter meeting in Atlanta in 1993,

about three weeks after I started here. He

reached out to me as a friend and became

a trusted advisor over the years. He was a

loyal member of the Friends of Dard Hunter

and had many friends in the organization

and around the world.

Hugh’s family requests that any

donations in Hugh’s memory be made

to Historic RittenhouseTown. To honor

one of Hugh’s wishes, these funds will be

used specifically to preserve, restore, and

interpret the RittenhouseTown paper mill

archaeological site. All donations can be

sent to: Hugh Hanson Memorial Fund, Historic

RittenhouseTown, 206 Lincoln Drive,

Philadelphia, Pennsylvania 19144-4903.

Sincerely, Cindy Bowden, Director

Robert C. Williams Paper Museum

ALONG THE PAPER ROAD...

This regular feature offers paper musings from

Elaine Koretsky – renowned paper historian,

researcher, and traveler. The author wrote this

installment last month in Bangkok, having just

returned from a short trip to Taiwan where she

hoped to finish her research on “rice paper,” the

unusual material that is neither rice nor paper.

My story actually begins in June 1987,

when I was teaching at Art-Paper ‘87, a

“Paper Manifestation” sponsored by the Jan

van Eyck Akademie in Maastricht, Holland.

Nearly 40 people involved in paper – artisans,

artists, historians and others – had

been invited from many countries to lead

an extraordinary international program for

Dutch art students. My own role was to

teach the coloring of handmade paper and

to lecture on Chinese techniques. I quickly

befriended the other teachers, who had

come from Nepal, Japan, Taiwan, Egypt,

Belgium, England, Mexico, et al. A group of

four men from Taiwan included Wang Kuo-

Tsai and Ku Yun-Chuan, who worked in the

hand papermaking division of the Pulp and

Paper Laboratory in Taipei; Lin Long-Arng,

owner of a handmade paper mill in Puli

that I had actually visited back in 1976; and

Chen Ta-Chuan, a paper historian and artist.

The Taiwanese became especially good

friends of mine, and warmly invited me to

visit their country, where they would help in

my historical paper research.

A few months later, when I began

planning an expedition to South East Asia,

I decided to include a few days in Taiwan.

Accordingly, I wrote to my friends there,

stating that I would be delighted to see them

again. They quickly responded, offering to

meet my husband and me at the airport and

to make a hotel reservation for us.

On the evening of December 1, 1987,

we were met at the Taipei airport by Wang

Kuo-Tsai and whisked off to a small hotel.

The next morning our friends inquired

what we would like to see or do in Taiwan.

I immediately replied that my research

project here was the investigation of “rice

paper,” called tung-tsao tso1 in Chinese. They

all declared that they had heard of this material,

but would have to ask others where the

“rice paper” was produced.

First, Ku Yun-Chuan took us on a visit

to the impressive Botanical Garden in Taipei

and the adjoining Department of Forestry,

where both Ku and Wang worked. They

hoped some of their colleagues might have

information about rice paper, but that was

negative. Next, we explored Taipei, visiting

the National Palace Museum, the National

Museum of History, and the Chiang Kai

Shek Memorial, but found nothing that

helped in my rice paper research. We also

scoured the major marketplaces, and photographed

marvelous scenes, but again saw

nothing that pertained to “rice paper.”

My friends were perplexed and suggested

that they would seek more information

and would certainly be able to help on my

next visit to Taiwan. I looked at them very

sadly and expressed my disappointment by

showing them an article about rice paper

published in the journal Economic Botany in

1961.2 The article was written by Dr. Robert

Perdue, of the U.S. Agricultural Department,

who saw the production of rice paper

in Hsin-chu City, Taiwan, on an expedition

in 1960. I proposed that we go to Hsinchu

City and make investigations there.

Horrified, they informed me that nearly a

million people lived in Hsin-chu, and Chen

exclaimed, “Do we ring every door-bell?”

My answer was a positive “yes.” I explained

that I had traveled a very long distance,

and I really wanted to explore this matter

further. Now my friends had a dilemma. If

they didn’t take me to Hsin-chu, they would

lose face. If they took me to Hsin-chu and

we found nothing, they would still lose face.

Finally, they decided that Wang Kuo-Tsai

(youngest of the group) would accompany

my husband and me to Hsin-chu the

following day.

On December 3 we left for our new adventure.

The plan was to travel first to Puli,

the center of handmade paper in Taiwan,

and then stop in Hsin-chu on the way back

to Taipei. Probably, Wang thought we might

somewhere gather information about the

evasive tung-tsau tso. We took the train down

to Taichung City, where we viewed the handsome

Old City Gate, and also a gigantic,

impressive laughing Buddha. But most

interesting there was a visit to the paper

laboratory at the Department of Forestry of

the National University. Here we met Dr.

Chang Feng-Jyi, who was experimenting

with pineapple fiber for papermaking; and

Dr. Kuo Lan-Sheng, whose work with coloring

agents for paper somewhat paralleled

my own work on the subject. Wang hoped

his colleagues might know something about

tung-tsau tso, since they worked for the

Forestry Dept. Everyone had heard about

it, but had no further information. From

Taichung we traveled to Puli and visited two

mills making paper by hand. One was the

Chi Feng Special Paper Co., and the other

was the Shin Kwang Hwa Paper Co. Both

mills were producing xuan zhi, the fine art

paper used by the Chinese. We documented

the entire process – the raw materials used,

cooking, beating, sheet formation, and

drying. Again, we gathered no information

about tung-tsau tso. We returned to Taichung,

stayed overnight, and made plans for

the next day.

Despite the article about the making of

tung-tsau tso in Hsin-chu, poor Wang was

very pessimistic about finding anything.

But he agreed to have us stop there and

make inquiries. When we emerged from

the Hsin-chu railway station, Wang asked

some waiting taxi drivers if they knew

where rice paper was made. They knew

nothing about it, and so we began walking

through this city of a million people. We

poked around a large market near a huge

Buddhist Temple that we also explored, but

received no information. Wang decided to

try shops that sold art supplies and cards.

We located two such shops. No rice paper

was found, but a customer remarked that

he knew a shop that did sell rice paper, and

offered to drive us there. He drove several

blocks away, and dropped us off at a shop

where we discovered greeting cards decorated

with rice paper paintings. Wang was

ecstatic and between us we bought all that

was displayed. Unfortunately, the proprietor

had no knowledge of where the rice paper

was made. And we walked on. Wang spotted

a bookshop, and decided to make inquiries

there. He had a long conversation with the

owner, and suddenly an elderly customer

spoke up and announced that he knew a

workshop that made rice paper. He volunteered

to walk there with us. We walked and

walked, the area becoming more and more

shabby. Finally the kindly man stopped at a

house and said “here!”

We walked through the

gate, into the house, and were

immediately confronted by

an immense pile of stalks of

Tetrapanax papyriferum, being

sorted by one of the workers.

Wang was even more overjoyed

than I was to find that we had

actually found a “rice paper”

workshop. We saw the worker cutting the

stalks into short pieces, about four to five

inches long. And we learned that Tetrapanax

grows wild in Taiwan. It is picked by the

indigenous aborigines who cut the stalks of

the plant, remove the pith, dry it, and sell

it to the rice paper makers. We didn’t have

time to locate these people who harvest the

Tetrapanax, but put it high on our list for

a future expedition. In the next room we

saw people busily working. Each worker

had a cutting board made of smooth brick,

about fifteen inches long, six inches wide,

and one inch thick. There were two thin

brass strips joined to the cutting board on

each long edge. The top edge of the brass

strips was slightly raised above the surface

of the block. I watched the worker holding

a cylinder of pith with her left hand. With

her right hand she continuously sliced into

the cylinder that she simultaneously rotated.

As she worked, a long ribbon of tung-tsau

tso cascaded from the cutting board onto the

floor. This scroll-like sheet measured from

four to six feet. It was a fascinating process.

When the worker had peeled as much from

the stalk as practicable, she seized another

cylinder and started slicing again.

Frequently, we saw her burnishing her knife

on a block of pear wood. That was an essential

part of the process. After many pieces

were cut, the ribbons of tung-tsau tso were

laid out on a table and cut into squares of an

approximate size. Another worker placed a

group of the squares between two pieces of

wood, three and a half by three and a half

inches. He sliced off the edges of the rice

paper to form precise squares of the desired

size. We observed another worker sorting

the squares into three piles, namely: first,

second, and third quality. The first quality

was used for paintings. The rest was used in

the making of artificial flowers. Nothing was

wasted. We watched an elderly man cutting

the scrap pieces that were left

from the ends of the processing.

He bundled the scrap into huge

bags. This was used as packing

material, or it was put into

the bottom of coffins to absorb

fluids from the dead bodies. The

tiny cylinders left from cutting

the pith were sold as floats for

fishing lines. We learned that

the elderly man we saw working with the

pith scraps had started the business. He

emigrated from Mainland China many

years ago, and it was he who had taught the

skill of making tung-tsau tso to the others.

We further learned that in prior years there

had been dozens of small workshops like

this one in Hsin-chu, but now only two remained.

We certainly were fortunate to find

one of them and to thoroughly document

their work on film.

When I thanked the workshop manager

for this wonderful demonstration of

the mis-named “rice paper” making, he

presented me with a bouquet of tung-tsau

tso flowers and also two long pieces of the

Tetrapanax pith.

We walked back to the railway station,

discovering that it was just a few blocks

from the workshop, and took the next train

back to Taipei. We had had a fantastic day.

I had achieved my mission to witness and

document this unusual “rice paper” that

is neither rice nor paper; and I showed my

Chinese friends that persistence pays off.

To be continued in the next issue.

1 This translation of the Chinese words is

the one used by Dr. Perdue in his article.

The word “tung-sao” refers to the Tetrapanax

papyriferum plant. It has been transliterated

by others as “tung-taou,” “tung-tsau,”

“tong-tsao,” “toong-shue,” et al. The word

“tsu” means paper in Chinese. This also has

various transliterations.

2 Robert Perdue, Jr. and Charles J. Kraebel,

The Rice-Paper Plant – Tetrapanax Papyriferum,

publ. by Economic Botany, Vol. 15,

No. 2, April-June, 1961.

BEGINNER TOPICS

Well-known author and teacher Helen Hiebert

offers helpful tips and guidance for newcomers

based on her popular books. Her column in this

issue covers couching and felts.

After you make a sheet of paper, you

need to couch (pronounced “cooch”) it – or

transfer it – to another surface. You can

lay the sheets one on top of the other, with

interleaving felts, forming a pile called a

post. The surface you use as a couching

stand should be waterproofed or covered

with plastic sheeting because it will get wet.

You might need to protect your floor too.

A post of paper is very wet, heavy, and

can easily be damaged if it is not properly

supported. In most cases, you will need to

transport your post of paper to a press or

drying area, so you will need to couch onto

a portable surface – such as a waterproofed

board, or a piece of stainless steel or galvanized

metal sheeting – not directly onto

your work table. You can also couch into

a tray with a lip (like a cafeteria tray or a

baking sheet) – this will also collect excess

water, which you can pour off from time to

time. You can even couch directly onto your

bottom press board, if you are using a press.

Some papermakers couch directly onto

their drying surface, such as interfacing

or boards.

With most papermaking styles, you

will transfer your sheets to felts as you make

them, freeing up the mould and deckle so

that you can form more sheets. Traditionally,

wool felts were used. Papermaking

“felts” are woven, but they have the texture

and surface of real felts, which are matted.

The term “felt” is often used by papermakers

to refer to any couching material. If you

use true felts, you will most likely have a

problem with them losing their shape and

not holding up over time.

Old woolen army blankets make

great felts, and you can often find them at

second-hand shops. If you live near a commercial

papermill, you might ask if they

have any old commercial felts, which you

could cut up and use. Non-fusible interfacing,

available at fabric stores is an excellent

lightweight material that works well as a felt

substitute. It comes in different weights – I

like the extra-heavy weight. There are even

ground covering materials (for weed prevention)

which work well, and papermaking

suppliers also carry an assortment of couching

materials. Other materials you can try

include old bedding and newspapers (test

first, to see if the ink bleeds).

Your felts should be cut to approximately

two inches larger than the sheets

of paper that will be couched onto them,

and small enough to fit into your press. For

larger operations, felts can be cut to accommodate

more than one sheet each.

Portions excerpted from The Papermaker’s

Companion, c 2000, 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. Neither rain, nor sleet, nor winter

blizzard will keep her away when there are

future papermakers to be taught!

As I was carrying the five loads of itinerant

papermaking equipment up my long,

snow-laden driveway two days after the east

coast blizzard, I not-so-silently grumbled

about the need to work in February. After

two full days of shoveling 14 inches of snow,

my arms found the stack of vats filled with

couching blankets and pellon somewhat

heavier than I remembered the last time I

lifted them. The trudge up the tundra with

the press had me wondering about the parking

and snow removal situation I would encounter

at my destination, a middle school

in South Jersey. Well, the students could

help me unload my car, and snow melts

immediately within a three foot radius of

energetic middle schoolers!

The first day I had spent in residency

with these students had been a surprise

early dismissal day for them. This left

me with all of 30 minutes per class of 22

kids, in which I had to introduce them to a

smitch of papermaking history, terminology,

and technique; and hopefully everyone

would get to make their first sheet of paper.

We did it! It was rushed then, but on this

day after the storm I was glad to have the

leftover pulp from our first meeting to carry

to my car, as the blizzard had prevented me

from getting to my studio to beat more pulp

for this week. Making one more trip up the

driveway, arms laden with my container of

moulds and deckles, I wondered how

much the students would remember

from last week’s whirlwind papermaking

blitz, especially on the other

side of our recent weather event!

Finally I was all packed and on my way

to day two of a three day residency sponsored

by a South Jersey arts organization

that sends visual and performing artists into

classrooms of underserved schools within

their outreach area. The contact period is

generally three days, during which the artist

works with two or three classes each day for

40 minutes to an hour. While 40 minutes

hardly seems enough time to get very

involved, it is the reality for most art and

music specialists, who see six to seven such

classes a day! With that perspective in mind,

I endeavored to replace my grumbles by

addressing plans for a shorter project than I

had originally imagined.

Having survived my perilous trip

through Philadelphia’s snow and ice packed

roads, I found that snow fall had been much

lighter in South Jersey, and “Eureka,” there

was a building custodian to help me unload

my papermaking equipment at the school.

As I carefully maneuvered around the art

teacher who was finishing her lesson with

the current class, I was hurriedly filling vats

and preparing to get my full 40 minute

time allotment. When the bell rang my first

group would arrive and we had to hit the

ground running to both review last week

and demonstrate layering colors for today’s

papermaking.

With that resounding signal, one class

exited and my first group of sixth graders

noisily tumbled into the classroom and fell

into their chairs. But not without many excited

questions concerning the whereabouts

of last week’s paper creations. This was a

good sign. They were also ecstatic to see two

different brightly colored vats of pulp, and

anxious to get started – another good sign!

After two specific residencies from last

year left me with serious questions about

being called upon to compromise my energies

with kamikaze papermaking sessions

that plowed as many students through the

process in as short a time as possible, I was

wondering where this classroom experience

would rate in quality. But my faith

was restored as four or five hands went

up to volunteer answers to each of my

review questions of last week’s lesson. They

remembered! And I found that, as critical

as our time was, by the end of day two all

students had successfully and creatively

produced their own layered sheets of paper.

I should remember that forty minutes is a

long time by today’s rapid-paced standards

of information processing youth!

I promised all the students that on

our third day together we would combine

our two beautifully handmade papers into

a pop-up card. While there were a few students

who had made paper before, everyone

assured me that pop-ups would be a new

and exciting adventure to them. I am pretty

sure that it will be an adventure for me to

take them down this path as well!

ON-LINE

Pamela S. Wood of Arizona makes one-of-akind

books from her handmade papers. She

explores the internet seeking out notable paperrelated

sites. Here Pam takes us to the origin of

American papermaking.

Lately I seem to be taking time to find

sites that passed me by in previous web

wanderings. One that certainly should not be

overlooked is <www.rittenhousetown.org>

where visitors can explore the birthplace

of North American papermaking:

RittenhouseTown

in Philadelphia,

Pennsylvania.

This site is simple

to use and simple

to navigate – not

a lot of flash, but

good reading.

The opening page offers an engraving

of the first buildings in what is now Fairmount

Park. While the original papermill–

established in 1690 by German immigrant

Wilhelm Rittenhouse – no longer exists,

archeologists continue to piece together the

story of this early industrial complex. Click

on Story of RittenhouseTown to learn briefly

how this place gets its status. Next go to

Visit RittenhouseTown and choose Virtual

Tour. This is the fun part...up pops a site

map, click the arrow to Begin Tour.

With current photos, historic drawings,

and informative text, we can progress

around the park, starting at Abraham

House, the current visitor

center. Here guests view

the acclaimed video,

The Fiber of History,

and explore exhibits

that include a working model of an eighteenth

century paper mill. Next stop is the

Rittenhouse homestead built by Claus, son

of Wilhelm. Judging from the photo, this

is a fabulous restoration. Next, the Rittenhouse

Bakehouse where Colonial German

cooking demos take place, mmmm. Going

on, the Enoch 1845 house shows architectural

changes as the Rittenhouse family

compound became an established village.

The Jacob Rittenhouse home, not restored

yet, is the largest building in the park. Our

tour ends with the 1930 Barn, built on the

site of a much earlier barn, which has been

converted to a papermaking studio for

workshops and educational programs. The

virtual tour is simple but very effective.

Moving on, the site informs us of

all the events offered. One fact to note:

papermaking is their most popular class

experience (not surprising to me). Another

fact: 2006 is Ben Franklin’s 300th birthday.

I mention this since this park is located in

Philadelphia where ol’ Ben is the favorite

son and no stranger to handmade paper via

his printing. Click on Restoration Projects for

more amazing facts. It seems the papermakers

of 1777 were surrounded by the

Revolutionary War’s Battle of Germantown.

Hey, we papermakers live by the age old

motto, then as now, “Make Paper, Not War.”

Some things just don’t change.

So give this site a little time and you

will find, as I did, good reason to linger. Become

a member to receive The Papermaker,

the organization’s quarterly newsletter.

PAPER HISTORY

Dr. Cathleen A. Baker is Senior Paper Conservator

at the University of Michigan Libraries.

She is also proprietor of The Legacy Press,

specializing in books about the printing, paper,

and book arts. Currently a Samuel H. Kress

Conservation Publication Fellow, Cathy is

writing a book on nineteenth-century American

paper and papermaking.

The following quotation, written in 1901,

reflects on the societal importance of paper,

not only in the past, but also for the future.

…paper has been the means of transmitting

intellectual force; it has been the messenger

and herald of better things than the

world had known. Its history has always

been closely linked with that of man; it has

been the pace-maker of this progress, in

the realm of mechanics and of economics

as well as in music, literature, and art.1

A little over one hundred years later, we

find ourselves in an electronic age of seemingly

daily technological innovation, most of

which we can hold in our hands. Whether

these gadgets make our lives easier or better

is debatable, but one thing is sure, paper – a

still-ubiquitous material we also hold daily

in our hands – continues a centuries-old,

global practice. Unlike digital pixels that

are largely lost once perceived, paper has

and will continue to serve humankind as

a culturally essential, permanent material

that provides support for texts and images

for future generations to touch, read, and

reflect upon, as well as enjoy.

But why study the history of handmade

paper? Is there something that such disclosures

can tell us that will be pertinent to our

twenty-first-century lives? The answers to

these questions depend largely on what role

paper plays in our various vocations or avocations.

Certainly understanding historical

manufacturing technologies and materials

of handmade paper should provide insight

for today’s papermakers. While there will

always be a place for new types of papers

made from non-traditional plants or processing,

there has been an ongoing desire

among users and makers to emulate papers

from the past.

For example, the Library of Congress’s

“Endpaper Project” allowed a number of

hand papermakers, as well as paper and

book conservators, to focus their attention

on the characteristics and manufacture of

book papers made prior to the machine

age.2 There is much more to understand

about those historical papers, however, in

terms of the materials, especially the nature

of the rags used and their processing.

Requirements for handmade, “old-style”

papers – acid-free, permanent, and durable

– make it difficult for papermakers to capture

the character present in older papers.

For instance, long fiber length – one stated

criterion for durable paper – compromises

clear formation and watermarks, including

laid and chain mould patterns.

Another problem is understanding

why some historical papers are stable while

others exhibit unacceptable changes in

suppleness, strength, and color. Studying

the history of paper in its many aspects

will throw more light on solutions to these

problems, especially when these studies are

linked to empirical research, e.g., the role

gelatin tub sizing plays in the characteristics

of paper, currently being carried out by

Timothy Barrett.

While we read about and discuss the

history of handmade papers, it is also essential

to experience them physically. The most

recent issue of Hand Papermaking (Winter

2005), features an impressive list of various

paper collections, and the existence of these

resources inspire us to visit as many as

possible to experience “real” things. (Failing

easy access to these, most university and

college libraries have special collections

where readers can enjoy the paper in rare

books.) Linking our sensual experiences

of seeing, touching, smelling, and hearing

(the rattle or the lack thereof) of old papers,

together with a developing historical perspective,

enable us to more fully understand

and appreciate their many characteristics

and qualities. The most important thing

we learn from visiting these collections

is that these old papers still exist and that

they are doing reasonably well despite what

most have had to endure, especially the

nasty environment of nineteenth-century

metropolitan centers. For the most part,

their materials and processing have not had

an appreciatively negative effect on their

current condition.

Thankfully, the now comparatively

ideal environments of paper and book collections

enable the vast majority of those

artifacts to continue to exist in a kind of

chemical limbo. The fact is that, except

for physical damages such as tears and

creases, billions of sheets of paper have

survived without the mark of humankind

upon them, except very occasionally for the

creators of the papers and the artifacts they

comprise. The editor of Hand Papermaking,

Mina Takahashi, noted in the last issue

that most curators reported that they did

not require patrons to wear gloves. This

is reassuring because there is no evidence

that handling paper with clean, bare hands

does significant harm.3 The fact that only a

few fingerprints on paper – primarily inky

marks left by printers – were seen while

the author surveyed thousands of nineteenth-

century, commercially published

books confirms this. On the other hand, the

author has seen physical damage to brittle

paper when a patron’s hands were rendered

insensitive by gloves. No matter how able

a person might be with regard to handling

paper bare-handed, it is simply impossible

to judge its flexibility or brittleness,

thickness, and texture with gloves on. (Why

glove-use in paper-based collections began

is not known, but the practice seems to have

been inferred from their recommended use

for photographic collections.)

Future articles in the “Paper History”

section of the Newsletter will feature the materials,

manufacture, and use of handmade

paper, many in specific books or works of

art. Therefore, the reader will be able to

experience the particular papers discussed.

This important physical link with the past

will help us appreciate and understand handmade

paper more deeply, as well as provide

inspiration for our future endeavors in the

collection, use, or manufacture of this often

uniquely beautiful, yet simple, material.

1 Frank Butler, The Story of Paper-Making

(Chicago: J. W. Butler Paper Co., 1901), 136.

2 See Hand Papermaking vol. 11, no. 2 (Winter

1996) and vol. 19, no. 2 (Winter 2004).

3 Cathleen A. Baker and Randy Silverman,

“Misperceptions about White Gloves,” International

Preservation News no. 37 (December

2005): 4–16; in English and French, or visit:

http://www.ifla.org/VI/4/news/ipnn37.pdf

PAPER SCIENCE

John Bordley is F. B. Williams Professor and

Chair of the Chemistry department at Sewanee:

The University of the South. Here John preps

us on Polyhydroxy aldehydes and ketones with

an introduction to organic nomenclature.

Alcohols were introduced in the previous

installment: Other molecules that share

some similarities with water. Alcohols are like

water in that they contain the –OH group,

but they are classified as organic compounds

since they contain C and H atoms.

Examples were shown of alcohols that contained

one, two, and three –OH, hydroxyl,

groups per molecule.

Aldehydes and ketones are organic

compounds that contain a carbonyl group,

-C=O. The C and O atoms share two pairs of

electrons; the bond is referred to as a double

bond. As expected, the O atom pulls the

electrons in this bond toward itself, creating

a slightly negative, polar site. Since the

whole molecule is neutral in charge, there is

a corresponding slight positive charge at the

C atom. It has not been previously pointed

out that C is always involved with four

bonds to other atoms, e.g., H, O, and C.

Since the C has two bonds with the O, it can

be bonded to two more atoms. In aldehydes,

the carbonyl C is bonded to one H atom and

either one other C atom or another H atom;

in ketones, the carbonyl C is bonded to two

other C atoms.

An aldehye, ethanal Aketone, propanone

(acetaldehyde) (acetone)

Every field has its unique jargon, and

naming of organic compounds is going to

be important in later columns. The prefixes

meth-, eth-, prop-, but-, pent- and then on

through common Greek words, tell you

that there are, respectively, 1, 2, 3, 4, 5… C

atoms in an organic compound. The names

of the compounds containing only C and

H, the hydrocarbons, are methane, ethane,

propane, butane, pentane…. The alcohols

methanol and ethanol were introduced

previously. The –ol ending comes from the

word alcohol; methanol contains just one C

atom, while ethanol contains 2. The names

of aldehydes end in –al; the names of

ketones end in –one. To make life more exciting,

most of the smaller organic compounds

also have common names. The simplest

aldehyde, H2CO (with both H atoms and the

double-bonded O attached to the C atom)

has the systematic name methanal and the

common name formaldehyde (form- also

means one C atom). The aldehyde in the

figure above is ethanal, more commonly

referred to as acetaldehyde (acet- also means

two C atoms). Since a ketone must contain

at least three C atoms (refer to the definition

of ketones above), the simplest ketone is

propanone. The common name, acetone, indicates

two C atoms and the carbonyl group!

The hydroxyl group, -OH, and the

carbonyl group, -C=O, are examples of functional

groups, the groups that give organic

compounds their particular structure and

reactivity. A given compound may have

more than one functional group. There

could be more than one hydroxyl group in

an alcohol (see previous article) or there

can be one or more hydroxyl groups in an

aldehyde or ketone. When there are several

–OH groups per molecule, the compounds

are referred to as polyhydroxy.

Next: Glucose and other sugars: polyhydroxy

aldehydes and ketones

PROFILES IN PAPER

Susan Gosin co-founded Dieu Donné Press

& Paper in 1976. She regularly lectures and

teaches papermaking, and has compiled a

significant collection of interviews with noted

personalities in the hand papermaking community.

In this column Sue writes about the

influential Walter Hamady.

With this column, I will digress slightly

from using the First Hand Papermaking

Conference of 1975 as a source from which

to draw profiles of key contributors to the

genesis of the hand papermaking movement

in the United States. Though Walter

Hamady did not attend the conference in

person, his influential teaching was well

represented by a former student, the conference’s

organizer Joe Wilfer, as well as by

myself. Many exceptional articles have been

written about Walter Hamady and his work

so I will only present a brief summary of

his life and accomplishments as it pertains

to two critical facets of his life’s work: The

Perishable Press Limited and his body of

art. This column focuses on Walter’s impact

on hand papermaking as a practitioner and

as a teacher who has inspired legions of

students to incorporate hand papermaking

as an integral part of their professional life

and work.

As Bill Drendel states in his 1998

interview in Hand Papermaking magazine,

Walter Hamady first learned hand papermaking

from Laurence Barker at Cranbrook

Academy. In 1964, Barker became intrigued

with the possibilities of printing on handmade

paper and arranged a tutorial with

Douglass Howell to learn the papermaking

process. When he returned to Cranbrook,

he immediately assembled a papermill at

the school and introduced papermaking to

his students. On the one hand in the 1960s,

there was a very limited choice of art papers

in the United States and on the other hand

artists were becoming increasingly experimental

with printmaking techniques, even

eyeing the paper as the next frontier in their

revolutionary approach to making images.

Barker helped to expand his own printmaking

range as well as that of his students, by

providing the opportunity to make custom

sheets of paper specifically designed for a

print image. And, he went a step further by

encouraging students to use the papermaking

process itself to create the imagery. As

Walter remembers, “Larry showed us all

how to make our own paper and asked that

we just try it.”

Fortunately for many of us, both Walter

and fellow student, Aris Koutroulis, found

the process valuable enough that they

both established hand papermills for their

students at the University of Wisconsin and

Wayne State University, respectively. It was

also during his college years that Walter

discovered that books could be made by

hand when, serendipitously, he met Harry

Duncan while traveling to the University

of Iowa. Following this fortuitous meeting,

Walter found the necessary guidance and

printing equipment from Robert Runser of

the Detroit Public Library to begin his life’s

vocation of making books entirely of his

own making and in collaboration with other

artists and writers. Some of his earliest

student collaborations were as writer and

printer with friend and artist, Aris Koutoulis.

The wonder that a book, it’s paper and

printing, could be done entirely by one’s

own hand acted as a catalyst and one which

he passed on with renewed passion and

wonder to his students. To this day, Walter

remains grateful to his teachers and mentors

such as Laurence Barker and Robert

Runser, who launched him in the book arts,

and his gratitude keeps him keenly aware of

the responsibility and delight in passing on

what one values to those eager to receive.

In 1966 with a fresh MFA from Cranbrook,

Walter was hired by the University of

Wisconsin to teach the book arts and, with

a research grant, launch hand papermaking

in the art department. Over the course

of the next decade, Walter dedicated his

formidable energy and concentration into

establishing a style and output from his

own Perishable Press Limited and Shadwell

Paper Mill receiving grants and awards for

his own work and research while teaching

regular classes in the book arts and in hand

papermaking at the University.

In early 1975, I wandered down the hall

from etching and lithography to Walter’s

room #6451 to join Steve Miller, Suzanne

Ferris, Neal Bonham, Cathie Ruggie and

other students to learn how to make books.

After preliminary lessons in book design,

letterpress printing, and typesetting (which

included Walter’s ceremonial dumping

of a case of type for each student so that

we could learn the type case as we sorted

and replaced all the tiny bits of foundry

type), Walter introduced us to “closet”

papermaking by unlocking the door to a

“lab” sized hand papermill. He proceeded

to show us the magic of making our own

paper, passing on his recipe of “Walter”

style papermaking from the rags of his old

linens and clothes as he had been taught

by Laurence Barker who had been tutored

by Douglass Howell who had learned

from reading Dard Hunter’s books. At

the time, we students didn’t realize that

we were becoming part of this family tree

but many of us were filled with an awe

and energy which only increased as we

took delight in each other’s endeavors and

became increasingly aware of the innovative

papermaking of Joe Wilfer, just a few miles

away at the Upper US Paper Mill.

Many of Walter’s class lessons on rag

papermaking are reproduced on his very

own Shadwell rag paper in the Perishable

Press Limited edition of Paper-Making By

Hand, A Book Of Suspicions, published in

1982 with the help of a Guggenheim grant.

The book is distinctive in that although it

is a technical manual it is illustrated with

original artwork. As the title suggests,

this very personal account of how to make

paper by hand is not intended as a scholarly

final word on the technical aspects of this

ancient craft but a well organized and user

friendly step-by-step by a master of narrative

and craft. What distinguishes this

“how-to” book on hand papermaking from

the many that have followed and places it

in the tradition of Dard Hunter’s important

work is that many aspects of this limited

edition – the authorship, the typography and

book design, the printing, and the sheets

of paper – are of his own design and by his

own hand. And, though the careful reader

follows the author on many irrelevant and

hilarious digressions, the heart of the narrative

is chock full of excellent instruction and

well researched fact.

In the years following my initiation

into the world of hand papermaking under

Walter’s tutelage, I had ample opportunity

to test these early lessons and I found they

offered a true and solid foundation for all

the traditional sheet making as well as for

the uncharted territory of using the papermaking

process to make two- and threedimensional

art. During the course of the

past three decades of making paper and art

professionally, I have had diverse opportunities

to celebrate and share the “Walter experience”

with many former students who are

now colleagues in the paper and book arts.

Leafing through the exhibition catalogue

entitled “6451” which Caren Heft organized

for a 1993 Wustum Museum show of

former students, reveals in work and word

the profound depth and breadth of Walter

Hamady’s legacy; a legacy which is as alive

in his students and their work as it is in

his own remarkable oeuvre of writing, art,

printing, and publishing. Walter Hamady’s

books are a treasure and worthy of comparison

to the work of William Morris and

Dard Hunter.

Unfortunately this short column

can only touch on some aspects of Walter

Hamady’s remarkable life and contributions.

Walter’s work is at SUNY Stony

Brook and the Getty and there are extensive

collections at Brown University and New

York Public Library. In a catalogue entitled

Juxtamorphing Space from a 2005 show at

the James Watrous Gallery of the Wisconsin

Academy there is a list of excellent articles

as well as a list of all published books since

the last catalogue which is entitled Two

Decades of Hamady and The Perishable Press

Limited, University of Missouri, St. Louis,

1984. And there is an in-depth article in the

Wisconsin Academy Review from fall 2005,

Volume 51, Number 4, which compliments

the catalogue essay for Juxtamorphing Space.

For more information and critical essays of

his work please check the Internet.

DECORATED PAPER

Sidney Berger, a professor at Simmons College

in Boston, has been collecting and researching

decorated paper for over thirty years. In this column,

Sid outlines basic decorating techniques

that take place during paper production.

This column is about Decorated Papers.

In a newsletter for the journal Hand

Papermaking one expects to find hand crafts

as part of the focus. And it is true that a

good deal of decoration comes from the

actual papermaking process. There is an

aesthetic in anything handmade, even if it is

not decorated. An unadorned but beautifully

made piece of paper will usually elicit the

same kind of reaction that a lovely painting

or sculpture will. I have seen it hundreds of

times: people holding an exquisite sheet of,

say, Barcham Greene paper up to the light

and saying, “Beautiful!”

But also, in the papermaking process

itself the maker can do many things to

enhance the beauty of the final product.

Note that this is not post-production, but

in the act of producing. I will look at postproduction

techniques in future columns.

For now, I wish to consider some basic

decorating techniques.

To reiterate: the paper thesaurus committee

in Leipzig that I am involved with

made the clear distinction between decorative

and decorated papers. The former

receive their decoration in the making; the

latter have decoration added on to them.

What are some of the features of

handmade paper that could be seen as

decorative (not decorated)? Color; texture

(e.g., embossed or debossed, smooth or

“grainy”); softness or flexibility; shape;

weight; fiber distribution; the presence of

inclusions, either embedded or dipped from

among the loose fibers in the vat; even the

presence of fragrances.

It is easy to put dyes of various kinds

into the papermaker’s vat and produce

colored papers. It is just as simple to throw

all kinds of inclusions into the vat: fine metallic

threads, silk or wool or even synthetic

threads of various colors and thicknesses,

bits of torn newspapers, silica flakes, small

colored rubber bands (I did this with Don

Farnsworth back in the early 1970s; I still

have the paper), glitter, leaves or flower

petals, and anything else your imagination

leads you to.

Add sand to the vat and you get a paper

that is colored with the sand (whatever

colors of sand you used), and the paper also

takes on a texture and possibly a sheen.

Textures can be achieved if one uses a heavily

textured felt to couch onto. Or the sheet

can be couched onto a felt on top of which

is some textured object, like a leaf or a wire

screen. Part of the hand-papermaking process

is the pressing of the sheets, and they

can be pressed against an endless number

of materials (screens, ribbons, wires, sticks,

leaves, cloths, Popsicle sticks, grasses, and

on and on), producing an embossed surface.

We have a book called Circus, done by the

Circle Press, in which the pages contain

debossed images (that is, images that

emerge from the sheets, not embossed, or

pressed into the sheets) of circus performers

like bareback riders and jugglers and

clowns. The pages were pressed over appropriately

shaped wires in the formation of the

paper. Just use your imagination!

Using different-patterned screens on

the hand mould, stencils over the screens,

or fine jets of water during the sheet formation,

one can produce lace papers or papers

with attractive patterns. Double couching

with various kinds of manipulation of

deckles can produce wild and wonderful

deckled edges, multi-layered, multi-colored

sheets, or sheets with some of the top layer

of couched paper pulled away in various

manners.

A couple of things I have experimented

with in my papermaking: couching a sheet

and then dipping a second, moving the

fibers around on the surface of the mould

with my finger or a tool, and then couching

the second over the first. Or combine this

with embedding – putting stuff between

the two layers. My earliest experiments with

this produced some outrageous papers. I

used laces (as did Douglass Howell, who

was famous for his lace papers – distinctly

different from the lace papers of Japan),

ribbons, leaves, string, and even a business

card. This last item was a bust since, when

the paper dried, I couldn’t see the card at

all, other than the suggestion of a raised

rectangle in one corner.

Don Farnsworth showed me another

technique: couching the first sheet, laying

all kinds of stuff on it, laying out a long

string in a pattern, couching a second sheet

over the first, and then carefully pulling

away the string, which pulls away the pulp

of the top layer, exposing the things embedded.

Some of the ribbons I embedded stuck

out of the sheets by an inch or two.

By shaping your deckle, you can make

shaped papers. We have sheets shaped like

a rabbit, a hat, a banana, a duck, and other

forms. We also have sheets in geometric

shapes: stars, circles, crescents, and so forth.

Finally, paper can be decorated in its

formation by varying the density of the fibers.

You know, of course, that this produces

places in the paper which are thinner or

thicker than the sheet around those places,

and they emerge as watermarks. That term,

by the way, is a misnomer: it has little to do

with water. Take any hand mould and affix

to its surface, for example, a piece of wire

in the shape of a letter. When the mould

is dipped, the fibers fall more thinly where

the wire is than around it, so the final sheet

is thinner where the wire was. Hold it up

to the light and more light shines through

where the paper is thin. Voila! A watermark.

You can achieve the same effect by taping,

say, masking tape over the surface of the

screen. I have created geometric watermarks

with ease using this technique.

In our collection we have a few little

letters, formed in wire, that were created

to be affixed to the screen. They were once

available commercially. You could buy, for

instance, all the letters you needed for a

name or for the words “Hand Made.” They

came in different “typefaces” – I guess it

would be more accurate to call them “watermark

faces.”

Another kind of decoration in the sheet

formation is the three-plane watermark.

This is made from a screen that has been

pressed between a male and female die,

producing three different levels of screen:

the basic screen level, the indented level

where the screen has been embossed, and

the raised level, where the screen has been

debossed. When you form a sheet and

hold it up to the light, the sheet will allow a

uniform amount of light through over most

of the paper, but a darker image will appear

where the screen was embossed. The deeper

layer took in more fibers, thus making the

sheet thicker. So less light shines through.

And where the sheet was debossed, fewer

fibers settled on that raised area, so the

paper is thinner at that point. More light

shines through. We have such a screen,

and we can place it over the surface of one

of our moulds and make a fine three-plane

watermark. Then we can turn it over and

reverse the image: what was darker in the

watermark becomes lighter and vice versa.

The last kind of watermark I shall

deal with here, under the rubric of papers

decorated in the papermaking process, is

the shadowmark (also called light-and-shade

watermark or chiaroscuro watermark). It is

made the same way the three-plane one is

formed, that is, it is made on a screen that is

pressed between a male and female die. But

rather than having a screen with only three

levels of depth, you wind up with a screen

with many gradations of depths. If anyone

is interested, I will describe the technique of

making such a screen in a later column. The

result of such a process is a breathtaking

image that emerges, as with all watermarks,

when the sheet is held up to the light. Our

collection contains many of these, with images

of the Mona Lisa, popes, buildings, a

cave, a Santa Claus, and many others.

(A parenthetical note: If you hold a full

sheet up to the light, you may see more than

one watermark. Traditionally papermakers

would put in pictures of their logos, names

of their mills, names of the customers who

commissioned the paper, dates, cities, words

like “British Hand Made,” city names, or

other images or words. The main one of

these, maybe the large logo, is called the

“watermark,” the other is called the “countermark.”

There is no term that I know of

beyond these two for sheets that have three

or more watermarks in them.)

Making paper that is decorated in its

formation can be aesthetic, challenging,

and really fun. Try it. The possibilities are

endless.

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 July Newsletter is May 15.

Contact each facility directly for additional

information or a full schedule.

Teachers: Tell your students about Hand

Papermaking! Brochures and handouts can

be mailed to you or your institution. Email

<info@handpapermaking.org>.

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.

Arrowmont School of Arts and Crafts, Box

567, Gatlinburg, TN 37738, (865) 436-5860,

<www.arrowmont.org>. Classes and workshops

in a variety of disciplines, including

papermaking.

Color, Paper, Action, July 30-August 5, with

Lynn Sures. Try painting with paper pulp

for a liberating, spontaneous, and exciting

experience, both artistically and athletically!

Brookfield Craft Center, 286 Whisconier

Road, Brookfield, CT 06804, (203) 775-

4526, <brkfldcrft@aol.com>, <www.brookfieldcraftcenter.

org>. A wide variety of craft

workshops at a colonial vintage campus 75

miles north of New York City.

Paper Sculpture, May 27-28, with Lanette

Barber. Work with pulp and sheets to create

sculptural forms over wire armatures, constructed

forms, or pre-made forms.

Basic Papermaking, June 10-11, with Shannon

Brock. Practice pulp preparation, sheet

forming, the use of additives, pressing and

drying, plus much more.

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.

It Came from the East – Oriental Papermaking,

April 30-May 5, with Rajeania Snider.

Take a papermaking tour of the mysterious

East from Nepal to Japan, China, and Egypt.

Make Your Paper and Marble It!, May 21-26,

with Monita Mahoney. Make handmade

papers in colors galore, then add the magic

of marbling.

Papermaking – Western Style, July 2-7, with

Claudia Lee. Cook plants, recycle paper, and

process purchased fibers, then add color

with pigment and natural dyes; next, learn

to sheetform, laminate, emboss, and layer.

Marble and Paste: Pretty Paper Duet, July

30-August 4, with Nancy Lawrence. Learn

the basics of both marbling and paste paper

decoration.

Carriage House Paper, 8 Evans Road,

Brookline, MA 02445, (617) 232-1636,

<chpaper@aol.com> or <paperroad@

aol.com>.

3-D Papermaking-in-Depth, July 3-7, with

Elaine Koretsky, Donna Koretsky, and

Shannon Brock. Learn methods of creating

purely paper sculptures as well as armature

building plus various methods of using pulp

including pouring, dipping, piecing, and

pulp spraying with high- and low-shrinkage

pulps.

Carriage House Paper, 79 Guernsey St.,

Brooklyn, NY 11222, (800) 669-8781,

<www.carriagehousepaper.com>. A full

program of beginning and advanced

papermaking classes taught by Donna

Koretsky and Shannon Brock.

Introduction to Papermaking, May 6 or July 24.

Contemporary Watermarks, May 7. Design

personal watermarks using wire, buttercut,

magnetic sheeting and puff paints.

Sculptural Papermaking, May 20-21. Learn

various techniques of armature building;

combine them with high shrinkage pulps.

Exotic Fibers, June 3-4. Create paper from

unusual fibers such as true hemp, kenaf,

and pineapple, as well as home grown

banana and kozo.

Vacuum Table Mania, June 10. Using our

new 4’x6’ Reina vacuum table, create low

and high relief, large, small, free-form, and

shaped works.

2-d Papermaking-in-Depth, June 19-23. Learn

a different aspect of sheet formation each

day including Western and Asian styles, as

well as pulp pouring, pulp painting, pulp

spraying, and use of vacuum table.

Pulp Spraying, July 22. Make really big paper

using this innovative technique.

Pulp Pouring, July 23. Easily form large 30” x

40” sheets without a vat.

Pulp Painting, July 25. Explore the world of

image making using overbeaten, pigmented

flax with paint brushes.

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.

Columbia College Chicago Center for Book

and Paper Arts, 1104 S. Wabash, Chicago, IL

60604, (312) 344-6630, <www.bookandpaper.

org>. Classes in paper 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.

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 16-23,

with Linda Lemon. Collect and process the

locally available plant fibers into paper while

exploring various media and techniques.

Haystack Mountain School of Crafts, PO

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

2306, <www.haystack-mtn.org>. Workshops

in various disciplines, including papermaking

and book arts.

Paper and Light, June 4-16, with Jennifer

Morrow Wilson. Use the inherent qualities

of handmade paper and the structural

potential of other materials to craft threedimensional

forms.

Image and Design in Hand Papermaking, July

30-August 18, with Beck Whitehead. Explore

hand papermaking to create multiple sheets

for an edition or one-of-a-kind images.

Historic RittenhouseTown, 206 Lincoln

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

2228, <www.rittenhousetown.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.

Magnolia Editions, 2527 Magnolia St.,

Oakland, CA 94607, (510) 839-5268, <www.

magnoliapaper.com>. Workshops in papermaking,

printmaking, and book arts.

Japanese Papermaking, April 29, with Carol

Brighton. Learn to make traditional washi

step-by-step from cooking and beating the

fiber to sheet formation and drying.

Papermaking for Teachers, May 13, with David

Kimball. Learn simple mould and deckle

making, pulp processing and recycling,

pressing and drying, the formation of

shapes and patterns, adding inclusions in

paper, all scaled down for easy application in

a classroom setting.

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.

Watermarks, April 22-23, with Bridget

O’Malley. Form many sheets of paper after

creating watermarks from wire, adhesivebacked

material, and fabric paints.

Japanese Decorative Paper Techniques, April

29 or 30, with Jeff Rathermel. Practice three

methods of decoration using pre-made

sheets of mulberry paper.

Japanese Papermaking and Decoration, May

2, 9, 16 & 23, with Jana Pullman. After

forming many sheets, explore a variety of

decorative techniques such as dragon paper,

marbling, and fold-and-dye.

Paper Circle, PO Box 117, Nelsonville, OH

45764, (740) 753-3374, <papercircle@

frognet.net>. Upcoming classes include the

following; call or e-mail for specific dates

and times.

From Plants to Paper, with Sara Gilfert

and Andrea Anderson. Focus on the basic

process of making paper from plants and

vegetables.

Origami and Beyond, with sculptor Yasue

Sakaoka. Learn the basics of origami and go

beyond the form to create new designs.

Pulp Bowls, with Amy Lipka. Make colorful

and sturdy bowls at home using recycled

pulp.

Wet Collage, with Peg Rhein. Learn the

basics of embossing, relief, and wet collage

on handmade sheets.

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, <office@papierwespe.at>, <www.

papierwespe.at>. Workshops in English

and German taught by paper specialists in

downtown Vienna.

Paperclay, August 11-13, with Mag. art.

Margit Gerle.

Large 2d Paperworks, September 29-October 1,

with Beatrix Mapalagama.

12 Sheets of Paper = One Calendar, October

20-22, with Babsi Daum.

Peninsula Art School, Box 304, Fish

Creek, WI 54212, (920) 868-3455 <www.

peninsulaartschool.com>. Classes in

papermaking and other crafts for all ages,

held in Door County, Wisconsin.

Penland School, Penland, NC 28765,

(828) 765-2359, <www.penland.org>. A

full program of craft workshops, including

papermaking and book arts.

Illuminated Paper Sculptures, July 23-August

8, with Helen Hiebert. Create a sampling

of lamps, lanterns, screens, sculpture, and

other structures that lend themselves to

illuminating handmade paper.

Make Paper: Make Books, August 27-September

2, with Peter Thomas. Each day, make

decorative and text-quality sheets and a

small-scale book using that paper.

Peters Valley Craft Center, 19 Kuhn Road,

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

pvcrafts.org>. Workshops in a variety of

craft, including papermaking.

Hand Cast Artist’s Paper from Rubber Moulds,

June 23-27, with John Baker. Design a

mould using flexible rubber and plaster, and

cast low relief and three-dimensional forms.

Paper Batik: Color, Design & Embellishment,

July 21-25, with Billi R.S. Rothove. Gain

hands-on experience with the techniques

used to create surface design and detailed

imagery on paper using the traditional hot

wax batik process.

Flax to the Max, August 11-13, with Amanda

Degener. Make Belgium Flax papers and

surface treat them with various natural dyes,

pigments, and patterns.

Fiber Sculpture/Eastern Paper, September

2-5, with Lewis Knauss. Combine off-loom

weaving techniques such as wrapping, twining,

knotting, etc., with handmade kozo/

gampi paper producing lightweight sculpture.

Pyramid Atlantic, 8230 Georgia Avenue,

Silver Spring, MD 20912, (301) 608-9101,

<www.pyramidatlanticartcenter.org>. Workshops

in papermaking, printmaking, and

book arts.

Eastern Sheet Forming: Exploring the Possibilities,

April 1-2, Michelle Samour. Learn traditional

Eastern sheet forming techniques

using primarily kozo and gampi, and also

work with some garden fibers such as iris

and corn.

Translucent Casting in Handmade Paper,

April 15-16, with Amanda Degener. Using

techniques developed by Winifred Lutz,

make strong, translucent sculptures with

and without an armature.

Mask Making & Pulp Painting, May 6 & 13,

with Amanda Degener and Steve Prince.

Apply multicolored pulp to plaster molds

and add mixed media finishes.

Robert C. Williams Paper Museum, 500

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

894-7840, <www.ipst.edu/amp>.

Make Your Own Stationery, May 6. Make

beautiful envelopes, note cards, and letters

to share with your family and friends.

San Francisco Center for the Book, 300 De

Haro, San Francisco, CA 94103, (415) 565-

0545, <www.sfcb.org>. Book arts classes and

events year-round.

Antiqued and Weathered Papers, April 21,

with Dayle Doroshow. Create a selection of

papers with a unique, timeworn look.

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.

Handmade Paper Lampshades, May 12-14,

with Michelle Workowski. Make your own

custom lampshade, choosing from a variety

of handmade papers, and various barks and

fibers to trim it.

Paper: Varying Degrees, July 16-21, with Tom

Grade. Become skilled at a broad spectrum

of techniques while working with a variety

of fibers.

Beginning Papermaking, July 21-23, with Tom

Grade. Discover a array of basic techniques,

such as molding, casting, embossing, embedding,

and air brush dyeing.

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.

10 hand papermaking newsletter

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.

Turkish Paper Marbling, June 10-11, with

John Charles Bielik. Learn to marble paper

for books and related applications such as

stationary and packaging using an alum-free

Turkish paper marbling technique.

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.

Women’s Studio Workshop, PO Box 489,

Rosendale, NY 12472, (845) 658-9133,

<info@wsworkshop.org>. Summer Arts

Institute includes workshops in papermaking,

printmaking, book arts, photography,

and other media.

EVENTS

Ambar Past and two shaman/papermakers

from Taller Lenateros will visit the

Palace of the Governors in Santa Fe, New

Mexico, July 11-16. There will be a number

of programs and talks presented, centering

on Mayan and Pre-Columbian writing and

books, as well as contemporary Mexican

book and paper. For further information

e-mail <tleech@mnm.state.nm.us> or call

(505) 476-5096.

The Friends of Dard Hunter will meet

in Chillicothe, Ohio, October 19-21. The

Friends meet annually to enjoy speakers,

presentations, tours of local paper and

book arts facilities, a trade show, auction,

and banquet. This meeting celebrates the

group’s 25th anniversary. 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>.

From June 10 until September 10 the sixth

Holland Paper Biennial will take place at the

Rijswijk Museum and the CODA / Apeldoorns

Museum. The event will consist of

an exhibition of the work of 28 international

paper artists in both museums; a publication

entitled Paper takes flight; a shop selling

books and paper; and a grand paper fair on

the last day of the event where artists, papermakers,

and paper merchants will display

and sell their wares. For more information

about the Holland Paper Biennial, visit

these websites: <www.hollandpapierbiennale.

nl>, <www.museumryswyk.nl> or

<www.coda-apeldoorn.nl>.

IAPMA, the International Association of

Hand Papermakers and Paper Artists, will

hold its 2006 Congress at Steyrermühl in

Austria, August 3-9. Enjoy workshops, demonstrations,

and presentations in a historic

papermaking town. Steyrermühl’s 110-year

tradition as a paper place centers on the old

paper mill – today turned into an Industrial

Museum and Convention Centre. This fully

operating paper factory inspired the theme

of the congress: Industry Art Paper. Located

on the banks of the river Traun the renovated

mill has retained the original character of

the former paper production hall, resulting

in a stylish combination of industrial architecture

and modern event facilities. Accommodation

is provided for about 60 persons;

small hotels and guesthouses in the vicinity

will host other participants. Eva M. Juras

is taking care of registration and congress

payments: Tulpenstraße 20, 51427 Bergisch

Gladbach, Germany. Phone 49-2204-678-

72. Fax 49-2204-96-14-28. E-mail

<evajuras@aol.com>. To find out more

about the Congress itself, the venue, and

region: <www.iapma.info>, <www.papiermuseum.

at>, <www.salzkammergut.co.at>.

Pyramid Atlantic will be demonstrating the

art of Japanese papermaking at the 45th Annual

Sakura Matsuri Japanese Street Festival

on April 08 from 11:00am - 6:00pm in

Washington, DC (Pennsylvania Avenue, NW

between 11th and 13th Streets). For further

details call (301) 608-9101, or visit <www.

pyramidatlanticartcenter.org>.

Frogman’s Press & Gallery is proud to announce

the 25th Anniversary Frogman’s

Print & Paper Workshop taking place

July 3 through July 15, at the University

of South Dakota campus in Vermillion,

South Dakota. A session in papermaking by

Maryanne Ellison Simmons is among the

fifteen classes offered. Exhibits, exchanges,

barbeques, fireworks, and a closing banquet

are also planned. Register before April 15 at

<www.frogmans.net> or call (605) 763-5082

or e-mail <info@frogmans.net>.

The Guild of American Paper Cutters will

hold its national conference June 22-24

at Southwest School of Art & Craft. View

works by international papercutters, demonstrations,

and purchase papercuttings and

supplies. On exhibit June 22 - August 12 is

the work of regional papercutters Jad Fair,

Jorge Rosano, and Kathleen Trenchard, with

an opening reception on June 22 at 5:30pm.

For information, call (210) 224-1848 or visit

<www.swschool.org>.

The Geelong Forum 2006 takes place

September 24-30 in a lovely setting 30-45

minutes from Melbourne, Australia. Classes

include Color and Texture in Handmade Paper

taught by Gail Stiffe. For details contact

<tafta@iinet.net.au>.

Steve Pittelkow, an entertaining and

accomplished marbler, will present

hundreds of years of decorative paper lore

in a multimedia presentation, A Brief

History of Decorative Paper, May 16 from

7:00-9:00pm. Contact Minnesota Center

for Book Arts at (612)215-2520 or visit

<www.mnbookarts.org>.

EXHIBITS

The Yale Center for British Art presents

an exhibition that explores how advances

in the technology of papermaking affected

the development of watercolor painting in

eighteenth-century England. Entitled Mr.

Whatman’s Mill: Papermaking and the Art

of Watercolor in Eighteenth Century Britain,

the exhibition will be on view until June 4,

and will feature a number of extraordinary

works, including watercolors by J. M. W.

Turner, Thomas Gainsborough, and other

prominent artists, as well as rare books,

etchings, photos, and video. More information

is available at <www.yale.edu/ycba> or

call (203) 432-2853. A publication accompanies

the exhibition.

Beck Whitehead: New and Recent Works is

on display through June 16 at the Robert C.

Williams Paper Museum, 500 10th Street

NW, Atlanta, GA 30332, (404) 894-7840,

<www.ipst.edu/amp>. This exhibit of recent

works spotlights the artist’s innovative

approach to pulp painting.

On June 11 Mani Wall and A Sacred Geography

opens at UCLA’s Fowler Museum of

Art. The book of the same name features

sonnets of the Himalaya by Sienna Craig

printed on pulp painted paper made by

Mary Heebner. Also featured are large

paintings (Mani Wall series) based on the

same striped motif of the pulp painted

folios, and photos of the places Sienna

writes of by Macduff Everton. For further

information call (310) 825-4361 or e-mail

<fowlerws@arts.ucla.edu>.

In response to the 27 named storms of

2005, Pyramid Atlantic Art Center is

presenting Art from the Gulf: Reflections

on Katrina, May 9-June 16, with an opening

reception May 9 from 6:30-8:30. The

exhibition serves as a platform from which

25 Gulf Coast artists address rebirth/

renewal. The common bond between all

the artists is handmade paper composed of

abaca, Maryland Mulberry, and Wye Oak

(a tree felled in Hurricane Isabel in 2003).

More information from Pyramid Atlantic,

8230 Georgia Avenue, Silver Spring, MD

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

pyramidatlanticartcenter.org>.

april 2006 11

The work of international paper artists is on

exhibit June 10 until September 10 during

the Holland Paper Biennial at the Rijswijk

Museum and the CODA / Apeldoorns

Museum. The 28 artists are: Lucia Barata

(Brazil), Dominique De Beir (France),

Sjef Henderickx (the Netherlands), Jae Ko

(South Korea/U.S.), Lucille Moroni (France),

Naoko Serino (Japan), Ingrid Siliakus (the

Netherlands), Marjolein van der Stoep (the

Netherlands), Luis Acosta (the Netherlands/

Argentina), Marjolijn van den Assem (the

Netherlands), Kwang-young Chun (South

Korea), Jean-Claude Correia (France), Mels

Dees (the Netherlands), Claude Frossard

(Switzerland), Manabu Hangai (Japan),

Eve Ingalls (United States), Tomoko Ishida

(Japan), Rolf A. Kluenter (China/Germany),

Ayuk Kuperus (the Netherlands), Miriam

Londoño (the Netherlands/Colombia),

Hans Jürgen Simon (Germany), Vroegop/

Schoonveld (the Netherlands) Valerie Buess

(Germany), Betty Friedman (United States),

John Gerard (Germany/U.S.), Karel Martens

(the Netherlands), Pavlos (Greece/France),

Margit Rijnaard (the Netherlands). For more

information visit these websites: <www.

hollandpapierbiennale.nl>, <www.museumryswyk.

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

write to: Museum Rijswijk, Holland Paper

Biennial 2006, Herenstraat 67, nl-2282 br,

Rijswijk, The Netherlands.

Lesa Hepburn has an upcoming exhibition

at the Pine Rivers Regional Art Gallery in

Queensland, Australia, from July 5 until August

19. Wallpaper Artifice consists of large

(over four meters) handmade wallpapers,

and Pulp Fiction: Stories from the Environment

is a series of handmade paper and

folded paper works produced by students

of the North Lakes State College where

Hepburn was artist-in-residence last year.

The exhibition will also include a series of

workshops for adults and children. More

information can be obtained via email to

<lesa@lesahepburn.com>.

Upcoming Paper Circle exhibitions in Nelsonville,

Ohio, include New Works in Paper

by Jane Tumas-Serna of Marietta, Ohio,

until April 25; Prints on Handmade Paper by

Scott Smith of Huntsville, Alabama, April

28 to June 27; Paper Things by Jenny Zingler

of Athens, Ohio, June 30 to September

5; Books by Eileen Wallace of Chillicothe,

Ohio, with selections from the Dard

Hunter Mansion Collection, September 8

to October 24. Call or email (740) 753-3374

or <papercircle@frognet.net> or see <www.

papercircle.org>.

The humorous handmade paper paintings

of Oklahoma artist Sue Clancy are on exhibit

until April 20 in the Access-Meed Gallery

on the campus of Miami Dade College

in Miami, Florida. Contact the artist at (405)

321-6350 or <artist@telepath.com>.

Paper artist Mary Heebner will present an

installation of the Bodhisattvas at Ayutthaya

scrolls and the related artists book,

Full Lotus at the Better Together Conference

connecting libraries and museums

held at Cerritos Public Library April 8-10

(http://btconference.info). Each of the

scrolls measure 10’ in length x 50”, printed

with photographic images on a handmade

gampi paper. Other elements include

brick, rose blossoms, 4x6 snapshots, glass

beds, and bamboo. More details from

<mary@maryheebner.com>.

Facts on the Ground, an exhibition of

handmade paper sculpture by Eve Ingalls, is

on view until April 22 at SOHO20/Chelsea

Gallery, 511 West 25th Street in New York,

NY. For further details phone/fax (609)

924-5885 or e-mail <eveingalls@verizon.net>.

Unbroken is an exhibition of new sculpture

and drawings in handmade paper, glass,

and mixed media by Nancy Cohen. The

exhibit continues until April 15 at Heidi

Cho Gallery, 522 W. 23rd Street, New

York, NY 10011, (212) 255-6783, <www.

heidichogallery.com>.

CALLS FOR ENTRIES

The eighth portfolio in Hand Papermaking’s

ongoing series will feature Calligraphy on

Handmade Paper. We envision a collection

that features single characters, or small

groups of characters, including non-roman

alphabets. Hand lettering is encouraged

but we also will allow printing and imaging

processes which include relief, intaglio,

litho, silkscreen, and digital as well as

editioning techniques in hand papermaking

such as watermarks, stenciled pulp, and

other wet-stage techniques. Whatever

the method, the jury will look for entries

that demonstrate the equal importance of

calligraphic image and well-made paper. We

welcome entries from individual artists as

well as collaborations between papermakers

and calligraphers. Jurors and invited artists

are Timothy Barrett, Thomas Ingmire,

Nancy Ruth Leavitt, and Katie MacGregor.

The commissioned essay will be written by

Rose Folsom, editor of Letter Arts Review.

Each selected participant will be asked to

produce 150 finished pieces, 10”x8”, plus

two proofs for the archive and exhibitions.

Entries are due to Hand Papermaking no

later than October 1, 2006. Selected artists

must send in their full edition of 150+2 by

May 1, 2007. View the complete call for

entries at <www.handpapermaking.org> or

call (800) 821-6604 to have a copy mailed.

The Fiberarts Guild of Pittsburgh is sponsoring

the 19th FiberArt International 2007.

Deadline is August 18, 2006. $35 entry fee

for three entries. Details by calling (412) 521-

2547 or <www.fiberartinternational.org>.

PapierWespe Studio in Vienna, Austria,

is planning a paper jewelry exhibition

in December, 2007. To participate mail

five to ten digital images of your works

to <office@papierwespe.at> no later than

April, 2007. The entries will be juried.

Selected artists will be notified by e-mail.

Heart & Hands 2 will exhibit at the

University of Nebraska in Lincoln and

Omaha the best examples of books made

in the last two years by graduate and

undergraduate students in accredited

academic institutions. Use of handmade

paper is encouraged. The juror is Timothy

Ely. Purchase prizes will be awarded. For

details and the entry form follow the H&H2

link at <www.nebraskabookartscenter.org>.

Entries (books not slides) must be received

between October 2 and 13, 2006.

TRAVEL

Carriage House Paper will sponsor a

Papermaking Tour to China, approximately

August 16-September 2. Join this 2 1/2

week expedition to Yunnan and Guizhou

Provinces in southwest China, and visit

remote villages of papermaking where

ancient hand skills have been practiced

for centuries. For details, contact Donna

Koretsky at <chpaper@aol.com> or phone

(718) 599-7857.

Explore the wonders of Mexican bark paper

with a trip to visit the Otomi Indians of

San Pablito. The Mexican Bark Paper and

Book Workshop will be held in both San

Pablito and Pozos, Mexico. Tentative dates

are in late April or early May, 2006. E-mail

Carol Tyroler at <ctyroler@netzero.net> for

more information or call (505) 466-4465.

Check out where the bookmaking workshop

will be held at Pozos by viewing <www.

colectivadepozos.com>.

OPPORTUNITIES

The Creative Residency program in Visual

Arts at The Banff Centre, Alberta, Canada,

provides studio facilities and support for

artists working in a broad range of media,

including painting, drawing, performance,

ceramics, book arts, textile art, papermaking,

sculpture, installation, photography,

and more. Visit <www.banffcentre.ca/va/

residencies/> or contact Wendy Tokaryk at

<wendy_tokaryk@banffcentre.ca> or (403)

762-6402.

Northumbria University in Newcastle

upon Tyne offers a new MA in Preventive

Conservation, coordinated by former British

Museum paper conservator Jean Brown. Email

<jean.brown@unn.ac.uk> for details.

12 hand papermaking newsletter

PUBLICATIONS

Jane Ingram Allen announces a new book,

Made in Taiwan: An American Papermaking

Artist’s Journey around Taiwan, featuring

art with handmade paper from 135 different

plants from 14 places in Taiwan. This 256-

page book in English and Chinese is the

result of the author’s 18 months in Taiwan

as a Fulbright Scholar and artist in residence.

The artist used local plants to make

handmade paper for 55 artworks reflecting

her experience of each time and place. The

book provides information about the unique

culture of each place and tells how to make

paper from the 135 different plants used. For

additional information and ordering instructions

visit <www.janeingramallen.com>.

Papermaking With Garden Plants & Common

Weeds: An Eco-Friendly Approach by

Helen Hiebert was re-released in a 112-page

trade paperback earlier this year by Storey

Publishing (ISBN 1-58017-622-4). The fullcolor

book with photographs throughout

presents basic papermaking techniques in

illustrated step-by-step instructions that

make it easy to create a variety of organic

papers. Hiebert describes how to collect,

harvest, and process the plant fibers and

then create sheets using both Western and

Japanese techniques. The book also features

profiles of papermakers from around the

world, highlighting their techniques.

The Artist Workspace Residency: A Guide

for Artists and A Guide for Arts Organizations

are two new publications produced

by the New York State Artist Workspace

Consortium (NYSAWC). They are designed

to help make the most of a residency and

understand how the workspace model advances

careers. These guides are available

free of charge at <www.nysawc.org>.

The Story of Paper-Making, an account of

papermaking from its earliest known record

to the present time, published in 1901 by

J.W. Butler Paper Co., is among the books

that one can read online at <www.lostcrafts.

com>. This advertising-supported site also

features several early bookbinding titles.

A special publication entitled Paper takes

flight (ISBN 90-73803-07-1) will accompany

the 2006 Holland Paper Biennial. The

compiler of the book is again the wellknown

paper artist Peter Gentenaar. The

inspiration for the theme of the book is

the article by the anthropologist and paper

restoration specialist René Teijgeler, who

remained in Iraq with the Netherlands

Army in 2003/2004 to assist in ensuring

that as much of the Iraqi cultural heritage as

possible was preserved. Other articles about

paper and adversity have been gathered

together to complement Teijgeler’s story.

Purchase price is €59.95. For more information

visit <www.hollandpapierbiennale.nl>,

or <www.museumryswyk.nl> or write to:

Museum Rijswijk, Holland Paper Biennial

2006, Herenstraat 67, nl-2282 br,

Rijswijk, The Netherlands.

CLASSIFIEDS

Classifieds cost 75 cents per word, with no

minimum. Payment is due in advance.

Reina stainless steel 2 lb. beater with casters,

counter and plexi covers. Stainless roll

and tub. Used for about 5 years. Very good

condition. Well maintained. $5000. Please

e-mail for photos: <RonRichhome@msn.

com> or call 503-295-5967.

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: David Marshall and Alan

Wiesenthal, Charles E. Morgan. Underwriters:

Bobbie Lippman. Sponsors: Jane

Farmer, Helen Frederick, Peter Newland

and Robyn Johnson, Pamela S. Wood.

Donors: Grimanesa Amoros, Cathleen A.

Baker, Simon & Kimberly Blattner, Inge

Bruggeman, Gail Deery, Michael Durgin,

Lori B. Goodman, Susan Gosin, Lois James,

Ellen Mears Kennedy, Elaine Koretsky, Mary

Lou Manor, Margaret Prentice, Dianne L.

Reeves, John L. Risseeuw, Michelle Samour,

Agnes Schlenke, Marilyn Sward, Claire

Van Vliet, Becky Whitehead, Ellie Winberg.

Supporters: Marjorie & Harold Alexander,

Shirah Miriam (Mimi) Aumann, Valerie T.

Bechtol, Joanne R. Davis, Amanda Degener,

Martha Duran, Frank Gallo, Patricia Grass,

Peter Hopkins, Courtney Hudson, Kristin

Kavanagh, Ann S. Miller, Nancy Norton Tomasko,

Ralph Ocker, Lise Poulsen, Mary C.

Schlosser, Maxine Seelenbinder-Apke, Lynn

Sures, Kathy Wosika. Friends: Lois D. Augur,

Valerie Binder, Patricia Zobel Canaday, Jennifer

Davies, Gilda Ellis, Kathryn Flannery,

Elizabeth Frater-Allen, Julie Jones, Betty L.

Kjelson, Edwin Martin, Dennis Morris, Bonnie

Stahlecker, Marie Sturken, Taiko Suzuki,

Betty Sweren, Alan R. Taylor, Carla J. Tenret.

In-kind: Adobe Systems, Campbell-Logan

Bindery, Greg Markim, Inc., Hiromi Paper.

And Hand Papermaking is especially

grateful to The Gladys Krieble Delmas

Foundation, The Drachen Foundation,

Lucile G. Hicks, and Allen K. Mears, for

their generous support of our upcoming

20th-anniversary magazine.

IN MEMORIAM

We regret to inform our readers that artist

Alan Shields passed away in December

2005 at the age of 61. A memorial was held

at Paula Cooper Gallery in New York City

on January 25, 2006. Susan Gosin remembers

Shields in the upcoming issue of the

magazine.

A memorial service for Hugh Hanson was

held on December 19 in Pennsylvania with

over two hundred people in attendance. The

service honored Hugh, his many accomplishments,

and his enormous contribution

to the papermaking community. See letter

on page 2 from Cindy Bowden.

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