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
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Papermaking, and in spring and autumn it is
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Hand Papermaking, Inc.
PO Box 1070, Beltsville, MD 20704-1070
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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
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comments on articles in Hand Papermaking
magazine, questions or remarks for newsletter
columnists, and news of special events or activities.
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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: 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.