HAN D P APERMAK I NG

N E W S L E T T E R

Number 76, October 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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PO Box 1070, Beltsville, MD 20704-1070

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The deadline for the next newsletter (January

2007) is November 7. 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

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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.

20th-anniversary challenge campaign begins

Be a “Founding Contributor” to the Hand Papermaking Endowment Fund

To honor the past twenty years of Hand Papermaking magazine, and to ensure its

future, the board of directors is pleased to announce the launch of the 20th-Anniversary

Challenge Campaign. Funds raised and pledged through this campaign will be used to

start an endowment fund.

“We are thrilled with the enthusiasm and commitment of the board in undertaking

an endowment campaign during this important anniversary year,” said board chair

Marilyn Sward. “We hope our subscribers and friends will join with the board and

give enthusiastic and monetary support to this exciting initiative. When we think of all

the information and beauty contained in the first twenty years of Hand Papermaking

magazine, it inspires us to reach our goal and ensure the availability of this valuable

resource for the next twenty years and more. This endowment will secure Hand

Papermaking’s future for those young papermakers and enthusiasts we are currently

training and encouraging.”

To launch the 20th-Anniversary Challenge, the board has pledged an initial gift of

$10,000, which it hopes to match with gifts from readers and subscribers by

December 31. Donors pledging $500 and more will be acknowledged as founding

contributors to the Hand Papermaking Endowment Fund. We anticipate raising as

much as $40,000 in the first phase of the campaign. The 20th-Anniversary Challenge

Campaign committee members are Marilyn Sward, Gail Deery, and Bobbie Lippman.

For more information about this campaign, or to make a pledge, contact Tom Bannister

at (800) 821-6604 or <info@handpapermaking.org>.

Paper in Flight is a series of workshops, studio demonstrations, lectures, exhibitions, a

symposium, and benefi t dinner event exploring how handmade paper has been used in

humankind’s attempt to leave the ground and soar above. Join us October 24-28, 2006.

October 24, 25, or 26: Take an afternoon class making paper kites and/or hot-air balloons.

October 27: Enjoy morning kite and papermaking demos, and an evening with Lesley Dill.

October 28: Don’t miss the big Paper in Flight events! Our free afternoon symposium

and exhibit is followed by a festive benefit dinner. See page 20 to make your reservations

now or visit <www.handpapermaking.org/anniversary> for all the details. See you soon!

Dear Hand Papermaking,

I read Timothy Barrett’s article “Washi at

War” with great interest (Summer 2006

magazine). I thought you might be interested

in this image of a section of a washi

balloon that was sent to my grandfather by

John C. Simpson of British Columbia in

July 1945. The paper is rather stiff, a little

brittle but easy to bend and probably twice,

maybe three times the thickness of present

day Sekishu. It is in excellent condition

despite its crossing of the Pacific Ocean,

landing in a forest, being sent through the

U.S. Post Office and my saving it for all

these years.

Best regards,

Joan Iversen Goswell

Valencia, Pennsylvania

ALONG THE PAPER ROAD...

This regular feature offers paper musings from

Elaine Koretsky – renowned paper historian, researcher,

and traveler. In this issue, Elaine tells

the story of her long-awaited return to Tibet.

Twenty years ago I wrote about

papermaking in Tibet and China for the

first issue of Hand Papermaking, Volume

One, Number One. Although my search for

hand papermaking was fruitless in Tibet, I

located the unusual plant that the Tibetans

traditionally used to make paper, Stellera

chamaejasme. The plant grows wild, high in

the Himalayas, where little else can flourish.

The Tibetans had discovered that the root

fiber of this plant could produce a wonderful,

strong paper for their sacred writings.

A few years after my extraordinary 1985

month-long expedition to Tibet, I learned

from my friend, the Chinese paper historian

Dr. Pan Jixing, that there was still one

Tibetan family making paper in Nyemo, a

town southwest of Lhasa.

For many years I longed to return to

Tibet, and finally, in 2003, I realized this

ambition. Swiss friends had sent me information

that the Pakhong Printing House in

Dege, idle for many years but not destroyed

in the Cultural Revolution, was now going

strong, printing the ancient Tibetan sutras.

In addition, the printing house was also

permitted to make the old Tibetan paper.

Dege was described in an Air France

in-flight magazine as “…a village lost in

the wilderness of the huge Tibetan plateau,

nestled between cliffs and whipped all

winter long by an icy wind, which hides

a unique rare pearl: its printing house.”

The town lies in eastern Tibet, but when

the Chinese took over the entire territory

of Tibet, they changed the borders, so that

Dege and many other Tibetan cities and

towns became part of Sichuan Province. I

had read vivid, stirring accounts of working

and traveling in that area by the medical

missionary Dr. Albert Shelton and the

botanist Joseph Rock during the years 1903

to 1949. The fighting between the Chinese

and Tibetans, and among the different

Tibetan factions had dissipated after the

Chinese assumed total control, so I asked

my friends in Yunnan Province if they

could arrange a trip for me traveling from

northern Yunnan to northwest Sichuan.

But they declared it was still too dangerous

a route – a combination of bandits, very

poor roads, and threat of landslides. They

suggested I fly to Chengdu, capital of

Sichuan Province, and start from there.

Based on my prior experiences with

many guides, some of whom were wonderful,

while others proved disastrous, I knew

it was essential to find the right person who

understood my research projects. To that

end, I enlisted the aid of Wu Zeng Ou, who

had been invaluable in Guizhou Province

during my research projects there. He had

never traveled to Sichuan or Tibet, but he

was a clever and resourceful young man,

and I was confident of his ability to maneuver

through difficulties.

Wu was delighted at the challenge of

traveling to Dege and was aware of potential

problems. We planned out a route and he

agreed to meet us in Chengdu. In advance

he had obtained a rugged vehicle for the

expedition, a four-wheel drive late-model

Mitsubishi, with a V6 engine and a high

chassis. Best of all, the driver had traveled

to Dege several times and was completely

familiar with the rough route and

unpredictable delays.

On the morning of August 23, we

left in the rain for the three-day journey

to Dege. We detoured slightly to visit

the extraordinary Dujiangyan irrigation

project, where we inspected the original

Min River dam, built in the third century

BC during the Western Han dynasty,

when paper was first invented in China.

The dam is a remarkable example of early

engineering and still functions to divert

water for agriculture. We walked around

the ancient Erwang Temple, perched on

a cliff, affording us fantastic views of the

countryside. The temple was built in 494

AD to honor Li Bing, the brilliant engineer

who devised the amazing dam.

At 1:30 p.m. we continued our drive

west, following a tributary of the Min River

through the Qionglai Shan (mountains) to

our first destination, Rilong town. As we

followed the raging river, we enjoyed the

mountain scenery while our driver expertly

wound around the steep slopes, maneuvering

one hairpin turn after another. We kept

driving higher, reaching altitudes of 10,000

feet or more, encountering rain and fog.

Soon it was dusk, with visibility steadily

decreasing. After a brief stop at a roadside

restaurant, we drove on with the vehicle’s

yellow hazard lights constantly blinking. By

8:00 p.m. we began descending into a valley,

and I spotted a bizarre apparition down

below. It was a circle of brilliant flashing

lights that resembled exploding fireworks.

As we drew closer, I could make out a hazy

cluster of buildings. We had arrived at the

Jin Kun hotel in Rilong. The Jin Kun was

unbelievable – a luxurious, four-star hotel in

the middle of nowhere, with two towers of

bright colored bulbs flashing off and on to

simulate a firework display. Rilong itself is

such a small town that it rarely shows up on

a map of Sichuan Province. After the day’s

arduous journey from Chengdu, we appreciated

the fine dinner at the hotel restaurant

and its other amenities, while we rested and

prepared for the following day.

Next morning we departed for the

town of Dao Fu, estimated at a distance

of 300 km. The weather had improved

and we delighted in the profusion of

marigolds, cosmos, hollyhocks, petunias

and geraniums covering the mountain

slopes. Very few vehicles were on the road,

and we proceeded at a good clip. By 11:00

a.m. we had nearly reached the outskirts of

Xiao Jin County, when a massive boulder,

followed by other rocks, roared down the

mountainside onto the road. A van in front

of us had fortunately stopped in time. The

three occupants were already moving the

rocks away when our jeep pulled up behind

them. Our driver and Wu jumped out to

help, and eventually we were on our way

again. At a nearby village, a farmer related

that only two months ago, on June 13, 2003,

a devastating landslide had occurred here. It

happened at midnight, lasted five minutes

and destroyed 26 homes. Fifteen people

were killed out of the thirty families in the

small village. The landslide hit another

village behind this one, destroying the

houses of fifty families. All along the road

we saw the remains of ruined homes and

prayer flags hanging from the trees. The

villagers told us that although there are

frequent rockslides in this area, a landslide

of this magnitude had only happened once

in their memory, 100 years previously.

At noon we reached Donba County,

where we stopped for a lunch of yak, pork,

and mushrooms. The ride now was pleasant

as we passed fields under cultivation

and typical Tibetan villages. But two hours

later, both weather and road deteriorated

again. The road was bumpy and muddy, the

sky was overcast, and we even saw some

snow. Our vehicle crawled along, stopping

frequently because often the road allowed

only one way of traffic, and we had to wait

for oncoming vehicles to pass. We made a

brief stop near the town of Bamei, where

I noticed a small Tibetan monastery. From

the road I videotaped the monastery and

the sounds of the monks chanting. By 7:00

p.m. we finally arrived at the Shambala

Hotel in Daofu.

We left at 8:00 a.m. the next morning

to begin the third and final day of our

arduous journey to Dege. It was another

magnificent drive. Travel through these

areas was reminiscent of our 1985 expedition

in Tibet, but there was one important

difference. In 1985 we traveled through the

south central part of Tibet, a very arid area,

where we viewed the spectacular landscapes

in shades of gray and white. But here in

eastern Tibet, rainfall was abundant. On

one side we passed sculptured terraces of

wheat and barley fields; on the other, we saw

trees, shrubs and brilliant flowering plants

growing up the mountains. In the distance

was the backdrop of the snowy Himalayan

peaks. After we passed the city of Ganzi,

where we stopped for lunch, our route led

us over the highest part of the journey. We

crossed the Chola Shan (mountain range),

stopping at the highest point of the Qin

Er Shan pass, at 5050 meters (over 15,000

feet), to photograph the Tibetan shrine

there, bedecked with hundreds of fluttering

prayer flags. As we began descending

the mountain, a brief, sudden rainstorm

engulfed us and magically a huge rainbow

appeared below, emerging from a panorama

of cliffs. It was awesome.

By 7:00 p.m. we reached Dege, which

lies at an altitude of 12,000 ft. (4,000 m.),

the same as Lhasa. We settled in for the

next two nights at the Qin Er Hotel, where

facilities were minimal, but breakfast in

the morning was phenomenal. It featured

delicious rice porridge with roasted peanuts,

pickled turnips, hard-boiled eggs, pork-filled

baozi (dumplings) and traditional Tibetan

yak butter tea. Dege is built on the side of

a cliff, and is basically a vertical city. Below

our hotel was the street where the Pakhong

printing house was located, and we discovered

a flight of stairs that was a good shortcut.

The printing house, started in 1729,

was a simple four-story structure, built

in typical Tibetan style. Brightly painted

columns supported the front entrance. Men

and women in traditional Tibetan attire circumambulated

the building twirling prayer

wheels as they walked in the customary

clockwise direction.

We paid the entry fees for visiting the

Pakhong and for permission to photograph.

The fee included the services of a young

English-speaking guide. She took us on a

tour of the printing facilities, pointing out

the thousands of wood blocks, some dating

back to the start of the printing house. One

hundred people work here, printing the

sutras entirely by hand. Two men working

in tandem with perfect precision print each

page separately. One man inks the block;

the other places a sheet of paper on the

block, runs a brayer over it and lays aside

the sheet. They work so swiftly it is difficult

to figure out who is doing what. Meanwhile,

another worker collects the inked sheets

and takes them away to dry in a loft. We saw

other workers busily delivering more wood

blocks to the printers and collecting the

blocks that are no longer needed. The paper

that is used for printing the sutras is not

handmade as in the past. However, there

are special printings of religious subjects

produced on handmade paper. Our guide

led us to that part of the Pakhong, where we

observed two men printing from very large

woodblocks. The printings were for sale,

and I was invited to select a wood block that

the men would print, using paper made by

the Tibetans at the printing house. Immediately,

the men set to work to produce my

selection. When the work was finished, they

hung it up to dry, and I agreed to return

after we visited the hand papermaking

operation.

Now we walked across the street to

the building that housed the papermaking.

Outside, in the courtyard, I noticed two

large concrete vats. The front door opened

directly into a large room where eight

Tibetan women were at work. We met

the leader of the group, Zhe Zhu, who

informed us that she had learned traditional

papermaking from her mother. The other

women learned the skill from her. They

use the roots of Stellera chamaejasme for the

raw material, the same as the Tibetans we

had interviewed in 1985. The plant grows

wild in the Dege area, and the papermakers

can readily gather enough for their needs.

The Tibetan word for the plant is Ajolijo; in

Chinese, Da Lang Du.

We watched the entire process of

papermaking, which was a fairly simple

procedure. First,

they smashed

each root with

a mallet and removed

the woody

interior, which

was discarded.

The next step

was cleaning

the bast fiber by

removal of the

outer bark, a

time-consuming

process. All the papermakers were engaged

in that cleaning when we walked in, and

they worked at it constantly when they were

not doing something else. Then they cooked

the fiber in a pot on their wood stove for two

hours, using soda ash in the cook. They did

a cooking every three days. Finally, the beating

began. One woman put several handfuls

of fiber into a stone mortar, enough for 15

sheets of paper, and started beating with

a wooden mallet. A second woman joined

her and they beat together with alternating

strokes for about an hour. We were told that

the mortar was more than 300 years old,

older than the printing house. Originally it

was used for pounding herbs that were used

in traditional Tibetan medicine. Toward the

end of the beating time, the worker took

out a pinch of pulp, put it into a glass of

water, and gave it to Zhe Zhu to determine

if the pulp was sufficiently beaten. When

Zhe Zhu decided the pulp was ready, it was

put into a large cylindrical

container called a ja-tom,

which resembled a butter

churn. Water was added,

and the plunger of the jatom

was vigorously moved

up and down to thoroughly

mix the pulp with water.

After the mixing, the papermaker

poured the pulp

into a bucket, and we went

out to the courtyard to

watch the sheet forming.

The mould was a simple wood frame

with fabric stretched on one side. First the

papermaker wet the mould thoroughly and

set it in the vat of water, where it floated.

Another woman started to pour the pulp

onto the mould. She put in three dippers

full, and then two other women began

dispersing the pulp in the water. When they

were satisfied that they had formed an even

sheet, they raised the mould from the vat

and let it drain. After sufficient drainage,

one woman carried the mould away to let

the paper dry in the sun. The final step was

removal of the dry sheet. The papermaker

gently pulled the sheet from the mould and

folded it in half. The sheets were very large,

27.5 by 39 inches (70 x 100 cm).

We said good-bye to the papermakers

very reluctantly. The entire process had

been absolutely mesmerizing, especially

since I had waited so many years for this

experience. Now my documentation was

complete. I returned to the printing house

to collect the Buddhist printing that I had

commissioned, which remained a lovely

remembrance of this day of fulfillment.

BEGINNER TOPICS

Well-known author and teacher Helen Hiebert

offers helpful tips and guidance for newcomers.

Her column below takes a fresh approach, on

the topic of vacuums for papermaking.

This column is taking a new form

as I write for this issue. I’ll still write a

how-to column, highlighting traditional

and alternative papermaking techniques.

I would love to hear from any of you

with comments or suggestions for future

columns. Thank you.

I’m always amazed when I stumble

across yet another innovative use of a

household tool in papermaking. The

wet-vac is one such tool, and I’ve seen it

used in a variety of ways.

The first time I saw a vacuum used for

papermaking was at the Penland School in

North Carolina, where, coincidentally, I am

now teaching a 2-1/2 week workshop. I was

taking a papermaking class and the instructor

showed us how to couch sheets of paper

directly onto a 4 x 4 foot silkscreen which

was stretched over a wooden frame. After

filling up the screen with several freshly

made sheets of paper in various sizes and

shapes, she got out the wetvac

and sucked the water out

of the sheets from the back

side of the silkscreen, which

simulated pressing. I couldn’t

believe it! This eliminated

several pieces of papermaking

equipment. No need for

felts, a press, or a restraint drying system.

We left the sheets of the screen to dry in

the sun, and when they were dry, we peeled

them off and they had a smooth surface

(the texture of the silkscreen) on the back.

I think this technique can be credited to

Nance O’Banion, who set it up for Penland

many years ago. At this session, I tried it

out again on various silkscreens, ranging

from course to fine (180 mesh), and they all

worked. As with any new technique, I had

a couple of sheets rip, and one peeled off

the screen while drying, but I had success

with all types of fibers, ranging from kozo to

cotton to overbeaten flax and abaca. I found

that having the screen horizontal while

couching worked best (afterwards, I stood

the screens up vertically for drying). I also

used a sponge and pressed through the back

of the mould while couching.

Another use which is perhaps more

common is the vacuum table, which can be

used for pressing dimensional sheets of paper.

There are many types of vacuum tables,

but I won’t go into detail here, because you

can find instructions on building your own

vacuum table in the Summer 1991 issue of

Hand Papermaking magazine.

At a recent Guild of Bookworkers

conference though, which I attended in the

Fall of 2005 because it was held in Portland,

Oregon where I live, I saw a nifty vacuum

bag developed by Nicholas Yeager, which

was devised to be used in tandem with a

special type of blotter to remove water from

paper during book repair. This got me to

thinking about those large resealable bags

you can buy to store clothes in – aka space

bags. You put your clothing in and then

hook a household vacuum nozzle to suck

the extra air out of the bag. At some point

in my life I actually purchased some of

these for clothing, and luckily I found one

and it was empty when I decided to do my

papermaking experiment. I thought I could

hook up a wet-vac to one of these bags to

suck water out of a dimensional sheet of

paper. It would act just like a vacuum table,

and since I don’t have one, it seemed like

a worthy experiment. And besides that, I

could transport this bag easily for teaching

and we could use this method in studios

without vacuum tables. Once again, all we’d

need was the wet vac. So I tried it, and it

worked pretty well!

If you have a wet vac and a space bag,

here’s what you do. You need something

rigid to set your paper on to keep your sheet

of paper from just

curling up completely.

You can drill small

holes in a board

that fits into the bag

(waterproof the board, too, if you will use it

repeatedly), or rig up something simple by

taping a piece of fluorescent lighting grid

with a piece of wire window mesh over the

top. It is important that the surface have

holes in it, so the water can move easily

when the vacuum is on. Next, place a piece

of pellon on top, followed by the item you’d

like to press: a relief type object, which can’t

be completely 3D. And finally, place a piece

of freshly made wet paper which has been

lightly pressed on top of the object. You can

cover your sheet of paper with a thin pellon,

but it isn’t necessary. Seal the bag and place

the vacuum attachment on the bag.

Depending on the fit of the vacuum

nozzle, you might need to duct tape it to seal

it. Turn on the vacuum and your bag should

deflate as water is sucked out, pressing your

sheet of paper. Remove everything from the

bag, keeping it all intact, and leave it to dry.

Your paper needs to remain in contact with

the relief object until the sheet is completely

dry, which could take 12-48 hours.

TEACHING HAND PAPERMAKING

Based in Philadelphia, Winifred Radolan operates

an itinerant teaching papermill, and has

taught papermaking to thousands of adults and

children. In this issue Winnie takes eight students

along the path of an 18th-century pioneer.

Today there are many among us who

glance at our gardens with a curious eye

towards the type of unique papers we can

make from the plants therein. But what

must it have been like to be one of those

mid-1700s pioneers in search of alternative

fibers to deal with the incredible linen and

cotton rag shortage threatening papermakers.

Hundreds of years before the many

recipes of Lillian Bell and the clear guidance

of Helen Hiebert could be found on

local bookshelves, Jacob Christian Shaffer

embarked upon an eight year odyssey

(1763–1772) of experimenting with over sixty

different plants from his garden and local

fields. He left a seven volume treatise with

accompanying paper samples that led the

way for later experimenters to be successful

with alternative fibers for paper.

This past July, I had the incredible

privilege to work at the Robert C. Williams

Paper Museum with eight adult students,

learning about Dr. Shaffer and his fascinating

experiments and attempting to “follow

in his footsteps” somewhat, making a

variety of plant fiber papers. On the first

day of the week-long workshop while I was

traveling to Atlanta, Cindy Bowden, Teri

Williams, and Fran Rottenburg introduced

students to the Museum and the history of

papermaking in the old and new worlds.

Cindy gave the group a special glimpse of

the Rare Book Collection. And Juan Chevere

had everyone building their very own

moulds and deckles.

As I arrived at the Museum on Tuesday

it was difficult to contain my joy upon

viewing the new George W. Mead Paper

Education Center for my first time. I wish I

could have lingered longer with its comprehensive

exhibit, “From Hand to Machine:

the Evolution of Papermaking.” But I was

drawn immediately to the well designed

and equipped classroom/studio where I

would be spending the next four days. Here

was a papermaker/educator’s dream space,

complete with a brand new Reina Hollander

beater, great sinks, vat tables, a big press,

marble drying rack, and lots of tables, counters,

and storage spaces. What a treat!

I had learned enough to share with my

students about the life, times, and works

of Shaffer by reading Dard Hunter’s book,

remembering Chris Harrison’s presentation

at the Friends’ Conference a couple years

ago, and with the expert tutelage of Doug

Stone. He is doing research and translation

of Shaffer’s works in preparation for the

Museum’s upcoming exhibition this fall. We

had a rare look at all seven volumes of the

Shaffer books that are in the Museum’s collection.

Among my favorite samples in the

books were thread made out of poplar down

and woven into paper cloth, and a small

piece of lace made out of aloe fibers.

We left the Shaffer volumes and moved

on to looking through my (for once, and

especially for this occasion, well organized)

extensive plant fiber samples as I

introduced bast, leaf, seed hair, and grass

fiber categories of cellulose. We discussed

when and what plant fibers to harvest, then

how to cook, beat, and process them into

paper. And everyone received a homework

assignment: “Go home with this celery,

these onions, these artichokes, corn husks,

beet stems, etc., and come back tomorrow

with them all cooked and rinsed. Then we’ll

blend them, fill vats, and no more sitting

and staying dry this week – let’s make some

paper with those new moulds and deckles!”

Anyone who enjoys making paper from

their gardens is well aware of how labor

intensive the process is. So I did much of

the fiber harvesting, preparation, and cooking

before arriving in Atlanta. I left a part

of each step to be done on site with the students,

but shipped two big boxes of a variety

of prepared materials all ready to try out in

that new Reina beater. While I didn’t come

close to Shaffer’s list of over sixty types of

paper, we did have fourteen different plants

in addition to those veggies. I believe the

Museum’s intern staff can attest to washing

two dozen vats up at the end of the week!

The workshop was designed to bring

teachers up to speed on how they can bring

papermaking into their schools. So we

addressed classroom set-up; crowd maintenance;

blender, whiz mixer, and hand

beating fiber preparation; cooking veggies

without caustic; and the history, science,

and art curriculum correlations. We explored

the process using modest materials

for sheet forming, pressing, and drying.

Everyone had the opportunity to participate

in the various steps of fiber preparation.

We steamed Rose of Sharon twigs,

then stripped them, cooked them in caustic,

and hand beat them to a pulp. We snipped

banana leaves and cooked them as well. We

gave that new Hollander a workout, beating

cotton and abaca as our foundation fibers,

then adding day lily leaves, jobe’s tears,

cattail seed hair and stalk fibers, down of

thistle, orchid leaves, and other delights!

We hand beat the milkweed and dogbane

fibers and set up eastern vats for them and

the Rose of Sharon. Everyone made plain

samples sheets from each fiber. Then I pigmented

some well-beaten cotton fiber and

we worked with layers of color, stencils, and

inclusions.

The week of papermaking, sharing,

creativity, and friendship passed way too

quickly. Juan Chevere kept the studio

humming and somehow

kept up with our fiber

frenzy (here he is with

Erica Warshawsky

restraint drying paper).

The steadfast interns

got stuck with filling,

emptying, carrying,

watching pots boil, and lots of clean-up!

What an outstanding team! The students

made some beautiful papers and shared

exciting ideas. The space was a pure joy to

work in. And we all agreed we are looking

forward to re-visiting the Museum when

the Jacob Christian Shaffer Exhibit is up,

October 12 – December 22, 2006.

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. In this installment Pam takes to

the sky, visiting an inspiring site about kites.

I have a special place that I go to

recharge my spiritual batteries. This place

is all about kites, and no matter what time

of year, no matter the weather, kites are out

in full force. Mostly I’m like a toddler too

young to completely grasp what is going on,

but the whole process brings a smile to my

face. Kites are somehow primal; they take

us back to the carefree days of our youth.

Kites have a direct historical connection to

handmade paper, but for me, here’s the connection:

making paper is fun, and making

and flying kites is fun! Point your browser

to <www.drachen.org> and let’s get flying!

Drachen is a German word for kite or

dragon. The non-profit organization that

runs this site offers a wealth of information;

just about everything you want to know

about kites is here somewhere.

Start with “About Kites” and view the

kite history timeline for an overview. “Kite

Basics” covers the who, what, why, where,

and how; including launching, landing

control, and a very important wind speed

chart. Glance at the glossary to stay up to

speed with all the lingo. The section on

“Kite Building” is huge. Here is all you need

to know to do it yourself, or click over to the

on-line store to purchase kits and materials.

Before you move on, try tying some basic

knots – they even have animation to show

you how they are tied. This is so cool.

Perhaps you will be interested in “Kite

Cultures.” Many societies have integrated

kites into their lives much like we have

embraced, say, baseball. In countries like

Cambodia, China, Guatemala, India, Japan,

and Taiwan, kites are a very big deal. Another

fascinating topic is “Art Kites.” Here

we go way beyond basic diamond shapes as

unique artistry meets up with the science of

flight. I would love to see these creations in

the sky. “Kites in Sports” is another section

of the site that will astonish you. These folks

are very intense.

“Kite Research” introduces you to

projects with whales, bats, and insects. Kites

were commonly used for 19th-century research

prior to the invention of flight. “Kite

Workshops” are offered for teachers, or you

can just take a class for your own personal

enrichment. Hey, you can even get funding

to make kiting part of your college degree.

Truly, this is a great place to rekindle

childhood memories, gain a greater understanding

of the kite world, and perhaps

create your own paper kite.

If you do find yourself in the studio

and want to make sure your groovy kite will

actually fly, there’s some additional science

on the NASA web site at <www.grc.nasa.

gov/WWW/K-12/airplane/kite1.html>. Load

the section titled “wing warping” and the diagram

will work by sliding the control right

or left, depending on whether you want

mechanics, lift force, altitude, etc. Further

down, you come to a graphic depiction of

kite launch and flight. No matter if you hit

the highlights or delve deeper, this site will

help anyone understand basic aerodynamics,

without having to be a rocket scientist.

Here’s one last little goodie for you.

How many times have you cursed in disgust

while wrangling with lengthy URLs? There

is a great tool, free, that will turn giant

URLs into tiny ones. Try <http://tinyurl.

com/znaa6> to get to the URL listed above.

Now I’m ready to leave the virtual

world and head out into the sun, the wind,

and a clear blue sky!

PAPER HISTORY

Cathleen A. Baker, PhD, is Senior Paper

Conservator at the University of Michigan

Libraries. She has written books about Dard

Hunter and John DePol, and is proprietor of

The Legacy Press, specializing in the printing,

paper and book arts. A Samuel H. Kress

Conservation Publication Fellow, she is writing

a book on nineteenth-century American paper

and papermaking. Here is part two of her threepart

article on the J Whatman-countermarked,

handmade paper used for J. J. Audubon’s

monumental, The Birds of America (London,

1826–1838).

The visible wire watermark or

countermark in a handmade sheet occurs

as the fibrous pulp settles on a wove or

laid wire cover fixed to the bottom frame

of the papermaker’s hand mould. Because

the pulp is thinner on top of the raised

wires, in transmitted light, the mark is

seen as a lighter image within the denser

sheet. Strictly speaking, watermarks are

images or figurative designs such as the

Fool’s Cap and Pro Patria. Countermarks

usually comprise the name or initials of the

papermaker or mill, and sometimes, a date.

Countermarks and watermarks are often

found on opposing – countering – halves of

a sheet of paper; countermarks are usually

found in the left half.

Prior to 1794, countermark dates

did not necessarily indicate when English

papers were made because mill owners did

not routinely make a new wire mark with

every new year. Any date was more likely

to indicate when the mould was made or

recovered. Peter Bower notes that, in 1794,

parliament passed a law requiring mill

owners to countermark printing papers

with the year it was manufactured. By 1811,

when the act was repealed, most English

mills had become accustomed to changing

the date annually.

The two types of countermarks found

on the sheets of the printed Plates of The

Birds of America were outlined, broad letters

set out in small capitals with titling- or

display-numerals; all were centered on two

or three lines (“1832” is an example):

J Whatman J Whatman

1832 Turkey Mill

1832

Because “J Whatman” is in both countermarks,

it is not unreasonable to assume

that the papers were made in mills owned

by the family of the renowned English

papermakers, James Whatman I or II. That

is, however, not the case.

In 1740, James Whatman I (d. 1759)

married the widow of the owner of Turkey

Mill in Maidstone in Kent county. It had

been a textile mill, so-called because of

Turkish red fulling cloth for which it had

been famous, but it was re-erected into a

papermill. Following visits to celebrated

European paper mills, Whatman brought

home the knowledge to make better paper

than had been made previously in England.

The Turkey Mill specialized in

drawing, writing, and copperplate paper,

and by 1760, the reputation of Whatman

papers had spread throughout England,

Europe, and America. Whatman I is also

credited with the manufacture of the first

western “wove” paper in about 1755; papers

made prior to this were antique laid. This

change in the paper mould cover came

about because John Baskerville, English

printer and type-designer, disliked the irregular

surface of antique laid paper and

asked Whatman to make a smooth-surfaced

paper. The “wove” (also “vellum”) surface

was produced by replacing the undulating

laid and chain wire cover with a fine, plain

weave wire cloth. All of the paper used for

The Birds of America is wove.

Following his father’s death, in 1762,

the control of the business was handed over

to James Whatman II (1741–1798). Whatman

II made further improvements to the

quality of paper made in his mills, until

they rivaled French papers. In 1794, Whatman

II sold his four papermills to three

partners: Thomas and Finch Hollingworth,

and William Balston; the

latter had been in Whatman’s

employ for twenty years.

The mills were Turkey Mill,

Poll Mill, Loose Mill, all

in or near Maidstone, and

Hollingbourne Mill, located

near Leeds. This partnership

lasted until 1805, when the Hollingworth

brothers assumed ownership of the three

Maidstone mills, and Balston took control

of the Leeds mill. Balston eventually built a

large mill at Maidstone, called Springfield

Mill because the site had abundant, pure

spring water, essential for making quality

writing and drawing papers.

Also with the 1794 sale went the rights

to the countermarks J Whatman / Turkey

Mill and J Whatman. When the partnership

dissolved 1805, the Hollingworth firm

retained the exclusive use of the J Whatman

/ Turkey Mill countermark, while Balston

owned the J Whatman countermark. By

1810, the two companies were competitors

manufacturing similar large-sized, writing

and copperplate printing papers, including

Double Elephant, the paper used for the

Plates in Audubon’s monumental work. In

1859, the two firms signed an agreement

that limited the use of the countermarks

J Whatman and J Whatman / Turkey Mill

to handmade papers. In return for a large

monetary payment, the Hollingworth company

agreed not to use either countermark,

although, by then, no Hollingworth mill

was making paper by hand.

When considering the quality of the

papers made in the two mills as found in

The Birds of America, Emory Hanaburgh

noted that

The “Turkey Mill” paper was of lighter

weight than the “J. Whatman,” generally

took on a slight drab tinge in the

course of time, and the colors painted

thereon softened in tone. The paper

having the “J. Whatman” watermark

only was heavy, maintained its sparkling

white, if kept under proper conditions,

and held the colors as brilliant

as on the day they were applied. To

the collector it is a question of choice

whether he prefers time softened coloring

or outstanding brilliance.1

It is not clear whether Hanaburgh was

aware that the papers were made by two

different firms. Following the examination

of The Birds of America owned by Syracuse

University, the author can confirm that the

J Whatman / Turkey Mill papers used in

1832 were superior in quality to those made

by the same mill in 1837; the later papers

are now quite discolored. On the other

hand, the J Whatman papers, with very few

exceptions, now seem to be superior to the

J Whatman / Turkey Mill papers regardless

of date of manufacture. In the last part

in this series, the characteristics of these

“Whatman” papers will be discussed.

Above: Countermark on Plate 428, “Townsend’s

Sandpiper”: J Whatman / 1838 (H: 6.0 cm; W: 22.0

cm). Dark vertical line is a fold in the paper.

1 Emory F. Hanaburgh, Audubon’s “Birds of

America.” A Check List of First Issues of the Plates in

the First Folio Edition 1828–1838 (Buchanan, N.Y.:

Emory F. Hanaburgh, 1941), 3.

Further Reading:

Balston, Thomas. William Balston, Paper Maker,

1759–1849. 1954. Reprint, New York and London:

Garland Publishing, Inc., 1979.

Bower, Peter. “Reading the Paper: Context and

Interpretation in the Analysis of Paper” Hand

Papermaking vol. 20, no. 2 (Winter 2005): 24–29.

PAPER SCIENCE

John Bordley is F. B. Williams Professor and

Chair of the Chemistry department at Sewanee:

The University of the South. In this issue, John

introduces cellulose, a polymer of glucose.

Using the ideas of charged species

(January ‘05), intermolecular and intramolecular

bonding (April ‘05), water (October

‘05), alcohols (January ‘06), and polyhydroxy

aldehydes and ketones (April ‘06),

we encountered glucose in the previous

newsletter (July ‘06). Of all the possible

six-carbon sugars, also called saccharides,

glucose is the monosaccharide of interest in

paper chemistry. This chapter shows how

glucose units can combine with each other

to form dimers (disaccharides, units made

of two sugar units) and eventually polymers

(polysaccharides, units made of many sugar

units). One possible polymer, starch, will

be of interest when additives are discussed

in the next article. The other polymer, cellulose,

is of major interest and the topic for

this issue!

In the last installment, Glucose and

other sugars: polyhydroxy aldehydes and

ketones, one diagram showed how the

three-dimensional, ring structure of glucose

was formed by part of the molecule folding

around on itself and attacking another part

(left). Another view of this same structure

with a better three-dimensional representation

is also shown (right).

Next, two monosaccharides can combine

to form a disaccharide. A well-known

disaccharide (dimer) is sucrose, composed

of one fructose monomer and one glucose

monomer. A water molecule is particularly

stable and can be released as two sugar

molecules come close to each other and

actually join. The reaction to form the disaccharide

is known as a condensation reaction

or a dehydration synthesis. If two glucose

monomers joined, the structure would be:

This kind of dehydration synthesis reaction

can continue, at both ends of the dimer,

and long chains of monomer units can

polymerize. The polymer we are interested

in, cellulose, is made up of just glucose

monomers, all joined at the β position:

Notice the two 'open bonds' at each

end of the polymer. These indicate that the

structure continues at both ends. An actual

cellulose molecule ends somewhere (!) and

would be terminated with –OH groups.

In unaltered, “native” wood, there are

about 10,000 glucose monomer units per

cellulose molecule. In highly bleached kraft

pulps, there are fewer than 1000 glucose

units. Typical wood samples are about 40-50

percent cellulose; cotton is almost 100%

cellulose. Physically, cellulose is a white,

solid material.

The polyhydroxy property of sugars

is still a feature of cellulose and is very

important, because it is possible for intermolecular,

hydrogen bonding to occur with

surrounding water molecules. During the

beating process, fibrillation occurs and there

are many sites for water to attach to the cellulose

molecules, hydrating the fibers.

The water acts somewhat like a ‘match

maker’. You can imagine one strand of

cellulose with some –OH groups involved

with hydrogen bonds with nearby water

molecules. Then there is a nearby strand of

cellulose, also hydrogen bonded to the same

water molecules. In the diagrams below,

dotted lines (- - - -) indicate hydrogen bonds.

In the drying process, water evaporates,

and the hydrogen bonds that occurred

between the cellulose molecules and water

now reform between the adjacent cellulose

molecules, which are all properly lined up.

Acknowledgement: Thanks to my

friend and colleague Ed Kirven, for help

with the chemical structures. Next: Additives

to cellulose.

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 of John Koller,

the man behind HMP paper.

Those of you who’ve had a chance to

read some of my previous “Paper Profiles”

have seen John Koller’s name mentioned

before in conjunction with other hand papermakers

who initiated the revival of hand

papermaking in the second half of the 20th

century. And, of course, many of you know

of and use his HMP paper. Though HMP

paper is perhaps better known than the man

who makes the paper, their subtle, consistent

quality reflect only part of the history

behind HMP.

Recently, I got a chance to travel to

Woodstock Valley to visit John and Kathy

Koller at their home and the site of the

HMP Mill. As we sat in the kitchen of their

bucolic corner of northeast Connecticut, I

began to understand how this thoughtful

artist’s commitment to production hand

papermaking had evolved over the course

of four decades. As they told me the story

of their life in hand papermaking, John and

Kathy often turned to each other to coax

out the details of how they first discovered

handmade paper and how papermaking

helped define their life together. As I’m sure

many of you might agree, hand papermaking

is as much a “calling” as it is a “profession”

in this day and age.

Thus, John began his narrative by

saying that his life involvement in papermaking

was “a series of happy accidents as

opposed to a planned career choice.” His

and Kathy’s discovery of handmade paper

occurred in 1966, when they came across

a “chunky and crusty embossed handmade

paper piece” that Roland Poska was selling

at the Milwaukee Art Fair. Not only did that

encounter lead to their first art purchase

but it also led to an influential friendship

with Poska. Roland Poska had learned hand

papermaking at Cranbrook School of Art

while studying printmaking with Laurence

Barker and encouraged John to do the same

for graduate school. Though his undergraduate

degree from Concordia College

was in preparation for the ministry, classes

in studio art at the University of Wisconsin,

Milwaukee, prepared him for graduate

school at Cranbrook.

Koller recalled Laurence Barker’s

program as very similar to what Walter

Hamady had experienced just a few years

earlier at Cranbrook: “Our graduate curriculum

consisted of learning all the fine

printmaking processes, including making

a book and at least one batch of our own

rag handmade paper; considering the size

of the mill, it really was “closet papermaking.”

Readers may recall that I used that

very description in an earlier column

when describing the mill where I learned

papermaking from Walter Hamady at the

University of Wisconsin, Madison, in the

mid 1970s. I mentioned this to John Koller

and it prompted a discussion about the fact

that though hand papermaking offers vast

potential as an art medium because of it’s

history as a craft, fine art departments too

often view hand papermaking as marginal

and if it were not for dedicated and enlightened

teachers like Laurence Barker and

Walter Hamady the contribution that hand

papermaking has and continues to make

for fine artists working in all the visual arts

would not be available.

Because of Laurence Barker’s extraordinary

enthusiasm for both printmaking and

papermaking, Cranbrook in the late 1960s

and into the 1970s was a hotbed of activity.

Barker invited the legendary master printer

and publisher Ken Tyler to be a guest artist

in 1970. Intrigued by the handmade paper

being made at the school, Tyler commissioned

Barker and Koller to make custom

paper for a Roy Lichtenstein print he was

publishing. The paper John made for Tyler

was similar to almost all the paper that was

produced at Cranbrook. It was 100% cotton

paper from used diaper rags and it was

waterleaf, or unsized. As John recalls, using

pulp and the hand papermaking process to

create imagery was not a common practice

at the school at that time. Nor was there

much knowledge of how to size and color

pulp; if you wanted colored paper you

found, cut up, and beat colored rags. This

first collaboration with Tyler while John was

still a student led to an important professional

partnership for the two men and

served as an equally important catalyst in

the developing partnership of printmaking

and papermaking

When John graduated from Cranbrook

in 1970, he took a teaching position at

the University of Connecticut and quickly

proceeded to assemble a hand papermill as

a new addition to the printmaking facility.

Though his printmaking students were

very enthusiastic about papermaking, the

school stopped supporting it and when he

left the school two years later he took the

equipment with him to relocate the mill in

the ground floor of his home. Ken Tyler had

recently relocated from Los Angeles to New

York and was interested in more custom

paper for prints. Wary of the insecurity of a

career in teaching, John and Kathy decided

to become professional hand papermakers.

With the encouragement of others interested

in custom orders (e.g., Jack Robinson

and Vera Freeman of Andrews, Nelson and

Whitehead Co., wholesalers of fine specialty

paper; Steve Steinberg of New York Central

Supply, also a connoisseur and retailer of

fine paper; and Bernard Guerlain, agent for

Arjomari-Prioux) John and Kathy began producing

thousands of sheets a year in orders

of 100 to 500 sheets.

To quote John’s writing from June

of 1977: “The primary reward for us as

papermakers is the independence we have

as self-employed craftsmen. We are able

to make our living under conditions we

find ideal. Our family life and our work

are integrated.” Further, he writes, “We

are currently one of the three commercial

hand papermills in the United States. The

other two, Twinrocker and Farnsworth and

Serpa, both have larger operations than our

own.” He concludes with these thoughts,

“We produce what is basically a luxury item

by virtue of physical labor. This means an

unpredictable market and little chance to

accumulate wealth. However the facts of our

daily life outweigh future uncertainties.”

The slow, Zen-like rhythm of production

papermaking set against the unhurried

life of rural Connecticut of the 1970s was

periodically energized when John collaborated

at HMP with Ken Tyler and his artists,

such as Frank Stella, Ron Davis, and Ellsworth

Kelly. Working shoulder to shoulder

on ground-breaking innovations with Ken

heralded in a new era in the role hand papermaking

played as an expressive art medium.

And though John and Kathy enjoyed

the intimacy of sharing their mill and home

with these extraordinary artists, even took

delight in watching Ellsworth Kelly teach

their daughter how to draw at the kitchen

table, he found the quiet rhythm of sheet

forming more suited to his nature. And by

1978, Ken Tyler, always enthusiastic about

exploring new possibilities, added a sophisticated

papermaking facility to his printmaking

studio in New York to continue his

papermaking collaborations on site. Though

the focus of work at HMP was custom sheet

production by the mid 1980s, an earlier

collaboration with Clinton Hill evolved into

both an enduring professional relationship

and a rewarding friendship which spanned

30 years of biannual collaborations at HMP.

And though Koller did not publish or seek

out contract studio work, occasionally artists

such as Michelle Stuart from New York and

Nancy Genn from California traveled to

HMP to collaborate on new work.

John created a line of stock paper in

standard sizes but found that the greatest

demand was for custom orders. In the years

following his collaborative work with artists,

John, himself, has made the thousands of

sheets of HMP paper with no assistance

except for the help of Kathy when, together,

they pulled the 32” x 46” sheets. As he says,

partner papermaking is like dancing and

he’s found no better partner than his wife.

And though he no longer makes the thirty

thousand sheets per year of his production

heyday, decades ago, he still fills orders for

custom sheets of paper mainly for fine art

and letterpress printers. However, when you

tour his immaculate studio and mill, it is

not so much the evidence of a centuries-old

tradition that strikes the eye but of a distinctive

body of art which hangs on the studio

walls, evidence of John’s equal commitment

to making his own art. On display is

a remarkable arrangement of three-dimensional

heads inspired by Matisse’s drawings

formed from leftover pulp, and hanging on

another wall are “chunky” pulp canvasses

which vibrate with abstract patterned color.

It is too bad that John Koller is known

only for his beautiful custom HMP sheets

of paper and not these inventive works of

playful color. But for the man who wrote in

1977, “most noteworthy of paper’s qualities

is what might be called it’s humility – in a

sense, it’s quiet service,” perhaps joyful self

expression is a private endeavor.

DECORATED PAPER

Sidney Berger, a professor at Simmons College

in Boston, has been collecting and researching

decorated paper for over thirty years. Here Sid

reveals a little of his own background while

extolling the numerous benefits of collecting

handmade and decorated paper, thus highly

recommending this eccentric passion!

The collector gene has been in me

since my early childhood when one of my

aunts gave me and my brother a huge tin of

foreign and American postage stamps. So it

is not surprising that when my professional

life exposed me to books as artifacts, I began

collecting in earnest all the things having to

do with them.

As a budding medievalist in grad

school, I wanted to learn all I could about

Medieval manuscripts. In 1972 I took a

six-week institute on Medieval Codicology:

the study of the Medieval book. I also took

some workshops on papermaking from

Roger Levenson of the Tamalpais Press

in Berkeley. And I began incorporating

what I learned into my teaching, primarily

of the History of the Book course, but

also in a series of workshops I offered

in papermaking, paper decoration, book

collection, book appraisal, Medieval books,

and handpress printing.

The classes were enriched by my being

able to expose the students to original

materials and hands-on experiences.

Thanks to Muir Dawson, I made my own

hand paper mold. It was a bit crude, but I

have made thousands of sheets on it over

the last 35 years and it is still in fine shape.

I experimented over the years with making

decorated papers of various kinds, and I still

bring many sheets to class to show students

the endless potential of this fascinating

medium.

So what impact has this mania had on

my life? To begin with, my wife and I have

put together a fine collection of beautiful

papers, and we have learned a great deal

about paper decorating techniques from

them. This alone brings us a good deal of

satisfaction and lots of information. Both

of us have published and spoken publicly

about paper, and we were able to do much

of our research based in good part on our

own collection.

Second, as the reputation of our

collection has spread, an increasing number

of people have come to visit us. For me, this

has been the most enriching result of our

collecting: getting to know many wonderful

people who seem to be as interested in

paper as we are. Many of them understand

our passion; a few of them understand

my madness. Every year when I teach

my History of the Book class, I bring the

students to the house for a buffet and a

viewing of the papers. The collection has

brought many people into our lives.

A third effect of this endeavor is that

the walls of our house are adorned with

some absolutely lovely sheets. We have

displayed papers from Chris Weimann,

Graham Day, Dick Wolfe, Mohammed

Zachariya, Milena Hughes, and Feridun

Osgoren and other Turkish marblers. In

our storage cabinets we have some of the

most beautiful papers in the world. I feel a

deep sense of satisfaction and contentment

being able to go to the collection just to flip

through the folders of marbles, watermarks,

paste papers, and so forth.

The collection also gives us the thrill

of the chase. We hunt for new and curious

papers, unfamiliar artists, and creative

decorative techniques all the time. In my

last column I mentioned that we have a

wide array of unusual papers. Every time I

come across (and acquire) something new,

it gives me a jolt of satisfaction while it adds

to the store of my knowledge.

As I have suggested, all of the papers

enable me to be a more thorough teacher,

for my classes and the workshops I conduct.

In Leipzig I met Gisela Reschke, Ilona

Hesse, and Susanne Krause, excellent paper

artists. I featured some of their brilliant

paste papers in the last workshop I gave,

and it was instructive to see how students

tried to come up with patterns modeled on

them.

A sixth effect of our collecting is the

doors that have opened to us. Michèle

and I got a fine guided tour of a paper

museum in Tokyo and another guided

tour (thanks to Hiromi) of the papermaking

village in Echizen. Henk Porck of

the Koninklijke Bibliotheek in the Hague

and Frieder Schmidt at the Deutsche

Bucherei in Leipzig opened their collections

to us, and have become good friends.

The opportunities that we have had thanks

to our paper interests have enriched our

lives.

My infatuation with the exquisite

marbled papers of Karli Frigge led to a long

friendship, and to my writing a book about

this incomparable artist. For Karli and also

for Graham Day I was instrumental in

mounting exhibitions of their work. I got

to meet Phoebe Easton, Elaine and Sidney

Koretsky, Henry Morris, Norma Rubovits,

Milena Hughes, Patti and Mimi Schleicher,

Laura Sims, Marie Palowoda, Dick Wolfe,

Diane Maurer, Claire Bolton, Marie Ange

Doizy, Iris Nevins, Nedin Sonmez, Vi

Wilson, and many others, thanks to the papers.

Other friendships have led me to the

writing of The Hand Made Papers of Japan

and Edward Seymour and the Fancy Paper

Company. In working on these books, I got

to meet family members of the subjects of

my scholarship, and I have had a ball doing

the research.

I have been asked, “How has your

paper collection affected your life?” My

response is, “It is my life.”

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.

Marbling on Paper, Fabric & Wood, October

27-29, with Pat K. Thomas. Engage in a

weekend swirl of marbling basics on paper,

with tangents into fabric and wood.

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.

Suminagashi, October 21, with Paulette

Rosen. Discover the ancient and beautiful

technique of printing from liquid sumi ink

floating on water.

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.

Parchment Craft-Paper Lace, October 22-27,

with Pat Pietras. Cut, emboss, and perforate

parchment paper, creating delicate lace-like

designs.

Paper Bead Jewelry & Paper Boxes, October

27-29 with Judy Anderson. Create colorful,

one-of-a-kind pieces of jewelry from paper.

Paper and the Stitch, October 29-November

4, with Claudia Lee. Make sheets of handmade

flax and abaca papers, then pigment,

dye, and print the sheets to create an assortment

of materials for stitching.

Pop-ups and Paper Construction, November

12-17, with Margaret Estes. Create kinetic

sculptures of paper using simple materials

and imagination.

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.

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 papermaking and

book arts.

Tuscan Papers, October 14-15, with Rhiannon

Alpers. Create paper from the plants and

herbs that grow around the Tuscan region

of Italy.

Cheap Papermaking Day, November 4 or

5, with Lisa Switalski or Kirstin Demer.

Introduce yourself to the basics of papermaking

– sheet forming, couching, pressing

and drying – in one action-packed day.

Cottage Industry Technology Center,

20 Russet St., SSS Village, 1811

Marikina City, Philippines, (632) 942-

3974, <LorEto.DA@gmail.com> or

<bookendshere2002@yahoo.com>.

Handmade Paper Arts and Crafts, October

17-18, with Loreto Apilado. Learn the basic

techniques of making unique picture

frames, photo albums, scrap books, book

boxes, or jewelry boxes using handmade

paper.

Dieu Donné Papermill, 433 Broome Street,

New York, NY 10013-2622, (212) 226-0573,

<www.dieudonne.org>. Beginning and

advanced papermaking classes for adults

and children.

Basic Papermaking, October 19 or November

15 or December 7, with staff instructor.

Gain a general overview of the papermaking

process.

Open Studio, October 23 or November 13 or

December 11, with staff instructor. Experiment

on your own.

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.

Frogman’s Press & Gallery, 105 North

Third Street, Beresford, SD 57004, (605)

763-5082, <info@frogmans.net>, <www.

frogmans.net>.

Paper is Just the Beginning, July 9-14, 2007

(register by April 15), with Lynn Sures. Create

artist-made paper which varies in shape,

pattern, color, thickness, surface texture,

scale, and edge, from abaca and kozo pulps.

The Hall of Awa Japanese Handmade Paper,

141 Kawahigashi, Yamakawa-cho, Yoshinogawashi,

Tokushima 779-3401, Japan, fax

81-883-42-6085, <www.awagami.com>.

Harvesting Mitsumata for Papermaking,

March 4-5. After harvesting, steaming, peeling

the outer bark, and processing the white

bark, spend a day making paper from this

fiber rich in tradition.

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.

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.

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.

Paste Paper, October 18, with Steve Pittelkow.

Learn this simple but sophisticated

method of decorating paper.

Fine Papermaking at Home, November 4, Jeff

Rathermel. Spend an information-packed

day getting all your questions answered

about making paper at home without heavy

equipment.

Paper Circle, PO Box 117, Nelsonville,

OH 45764, (740) 753-3374,

<papercircle@frognet.net>. Call or e-mail

for upcoming classes.

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.

12 Sheets of Paper = One Calendar, October

20-22, with Babsi Daum.

Penland School, Penland, NC 28765,

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

full program of craft workshops, including

papermaking and book arts.

Peters Valley Craft Center, 19 Kuhn Road,

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

pvcrafts.org>. Workshops in a variety of

craft, including papermaking.

Pyramid Atlantic, 8230 Georgia Avenue,

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

<www.pyramidatlanticartcenter.org>. Workshops

in papermaking, printmaking, and

book arts.

Japanese Papermaking and Origami, October

7-8, with Yukie Kobayashi. Learn traditional

Japanese papermaking and use the paper

for origami.

Watermarks: Revealing and De-coding,

October 14-15, with Michelle Samour. Use

several techniques, materials (thread, foam,

vinyl) and fibers (cotton, abaca, kozo) to create

a variety of watermarked sheets.

Introduction to Papermaking, November

2, with Gretchen Schermerhorn. Gain

an overview of papermaking history and

techniques.

Suminagashi, November 4, with Jake Benson.

Study both traditional and contemporary

forms of suminagashi marbling.

Paper Twofold, November 11-12, with

Gretchen Schermerhorn. Create folded 3-D

structures with your own handmade kozo,

abaca, and gampi papers.

Handmade Paper in Three Dimensions,

November 18-19, with Eve Ingalls. Learn

paper construction techniques including

building with wire and cloth armatures,

using high and low shrinkage pulps, and

casting with paper.

Pulp Painting, December 9-10, with Ellen

Hill. Pull base sheets of paper (up to 18 by

18), then explore materials and techniques

for creating pulp painted images that become

part of the paper.

Robert C. Williams Paper Museum, 500

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

894-5726, <www.ipst.edu/amp>.

Basic Decorative Papermaking, October 10

- November 14, Tuesday evenings, with Katy

DeMent. Experiment with traditional and

modern papermaking techniques.

From Plants to Paper, October 21, with Mona

Waterhouse. Make your own unique papers

using a variety of plants and grasses.

Advanced Japanese Papermaking, January

13, with Berwyn Hung. Learn advanced

techniques in making beautiful kozo

Japanese paper.

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, December 2,

with Dayle Doroshow. Create a selection of

papers that imitate the wear of time.

Image Transfers on Paper, Fabric and More,

December 9, with Richard Elliott. Discover

more than 30 processes for transferring

photocopied images, laser and inkjet prints,

and magazine photos onto paper, fabric,

wood, and other surfaces.

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.

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.

Nightlights with Paper Shades, October 14,

with Linda Draper. Exploring the translucent

quality of paper, learn how to apply wet

paper to night-light forms.

Botanical Paper, November 4-5, with Jo Etta

Jupe. Beginning with a variety of plants

grown regionally, learn how to make paper

using simple pieces of equipment, as well

as studio equipment such as the hollander

beater.

Stone and Paper Art Center, L.L.C., 2020

Woodrow Street, Mandeville, LA 70448,

(504) 674-9232, fax (504) 674-9227.

Nagashasuki with Mary-Elaine C. Bernard,

selected Saturdays. Learn this Eastern

method of making paper and incorporate

local plant fibers.

Valley Ridge Art Studio, 1825 Witek Road,

Muscoda, Wisconsin, (608) 250-5028, <kath

ym@valleyridgeartstudio.com>, <www.

valleyridgeartstudio.com>. Workshops in

papermaking, bookmaking, photography,

writing, etc.

Silk Paper Making, October 1, with Karen

Wallace. Use silk fibers to create versatile,

colorful papers that can be used in a variety

of projects.

Wisconsin Center for Paper Arts, 811 Williamson,

Madison, WI 53703, (608) 284-

8394, <wcpaperarts@hotmail.com>.

Women’s Studio Workshop, PO Box 489,

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

<info@wsworkshop.org>. Summer Arts

Institute includes workshops in papermaking,

printmaking, book arts, photography,

and other media.

EVENTS

Hand Papermaking invites you to its festive

20th-anniversary events on October 28. See

page 20 or visit <www.handpapermaking.

org/anniversary>.

The Guild of Bookworkers celebrates 100

years with a conference in New York City

October 12-14. Among the many noted

speakers, Cathleen A. Baker will discuss

“Hand Papermaking in the 20th Century.”

From 1907 when the last mill in America

making handmade paper ceased production,

to Dard Hunter’s achievements revitalizing

the craft, to the efforts of Twinrocker Handmade

Paper, and beyond, Cathy chronicles

handmade paper’s slow but steady revival.

Further information about the GBW Centennial

Celebration can be found at <http://

gbw100nyc.tripod.com>.

The 28th Congress of the International

Association of Paper Historians takes place

October 5-8 in Capellades and Barcelona,

Spain. This year’s theme is Hispano-Arabic

Paper & Paper Museums and their Influence.

In addition to the working sessions,

participants will tour the Capellades Paper

Mill and Museum, Munné Family Papermill,

Miró Foundation Restoration Dept,

Archives of the Crown of Aragón, and the

Montserrat Library and Archives. For info

e-mail <congress@mmp-capellades.net>.

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>.

IAPMA, the International Association of

Hand Papermakers and Paper Artists, will

hold its 19th Congress at Wadham College

in Oxford, England, from July 30 - August

3, 2007. For more information contact

<hilarysussum@googlemail.com>. To find

out more about the organization and the

Congress, visit: <www.iapma.info>.

Dieu Donné Papermill’s 7th Annual Benefit

Auction takes place October 4th at The Gallery

at Metropolitan Pavilion, 125 West 18th

Street, New York, NY. Individual tickets are

$125. Contact Peter Russo at (212) 226-0573.

Carol Tyroler will teach Amate papermaking,

October 20-26 in San Pablito and

Pozos, Mexico. See <www.colectivadepozos.

com/programsworkshops.html> or contact

Carol at <ctyroler@cybermesa.com>,

(505) 466-4465, (505) 770-1238.

EXHIBITS

Hand Papermaking, The Drachen Foundation,

Hiromi Paper Int’l, and Maryland

Institute College of Art are pleased to

present Paper in Flight, an exhibition in

Baltimore exploring the use of washi,

handmade Japanese paper, as a medium

for the art form of kite making, September

25 through December 4 in MICA’s all-glass

Brown Center. Towering over the space is

a stunning 10-foot art kite by Lesley Dill,

commissioned for Hand Papermaking’s

20th anniversary. In addition, the exhibit

also includes contemporary and traditional

kites recently completed in Kochi, Japan,

by nine international kite artists. Call (800)

821-6604 or visit <www.handpapermaking.

org> for more information.

The College Park Aviation Museum

presents Hot-Air Balloons of Handmade

Paper, November 3 through December 31,

featuring two-foot artist-made balloons

overlooking the famous airstrip. Historical

information and artifacts accompany

the exhibit. Call (800) 821-6604 or visit

<www.handpapermaking.org> for more

information.

The Robert C. Williams Paper Museum

presents, from October 12 through December

22, Jacob Christian Schaffer: The

Book, the Man and the Fibres, chronicling

the paper experimentation of this Renaissance

man of the 1700s. His writings being

translated for this exhibit include recipes for

paper using cabbage stalks, wasp nests, and

even asbestos. For further details contact

Robert C. Williams Paper Museum, 500

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

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

Upcoming Paper Circle exhibitions in

Nelsonville, Ohio, include Books by Eileen

Wallace of Chillicothe, Ohio, with selections

from the Dard Hunter Mansion Collection,

through October 24. Call or email (740)

753-3374 or <papercircle@frognet.net> or

see <www.papercircle.org>.

The Japan Foundation, Toronto, is proud

to present Found in Translation: Interpreting

Elements of Japanese Design, curated

by Arlene Gehring. The exhibit focuses on

Japanese design aesthetics and techniques

as practiced by four fibre and paper artists

living in Canada. Through their work,

Nieves Carrasco, Marta Dal Farro, Judith

Fielder and Lorraine Pritchard speak of

Japanese tradition in an artistic language of

their own. The exhibit is on view from October

13, 2006 - January 19, 2007 at the Japan

Foundation, 131 Bloor Street West, 2nd

Floor of the Colonnade, Toronto, Ontario.

For further details call (416) 966-1600 or

e-mail <tmiki@jftor.org>.

The Stairway Gallery presents the First

Paperworks Exhibition and Workshops

featuring the works of Loreto Apilado,

Penny Reyes-Velasco, Bencab, Pandy

Aviado, Rishab Tibon, Tess Pasola, Tony

Gonzales, and other paper artists. January

through February, 2007. The artists will

use shredded, demonetized Philippine

money as the main material, turning it

into pulp or collage art mixed with other

media, or as paper canvasses. For further

details contact Stairway Gallery, Imacron

Media Center Bldg., 115 Kamuning Road,

Quezon City, Philippines, (632) 920-1375,

<penny@stairwaygallery.com>, or see

<www.stairwaygallery.com>.

The Finnish Paper Art Gallery presents the

work of Sirkka Könönen through August;

Anna-Liisa Troberg, September through

November; and Jany Vyborna-Turunen,

December through January 2007. For further

details contact The Finnish Paper Art

Gallery, FIN-45700 Kuusankoski, Finland.

The Gallery is part of the Kymen Paviljonki

complex on Highway 6 at Kuusankoski. It is

open daily from 9 am to 8 pm and admission

is free.

Transplant, by Ellen Hill and Carien Quiroga,

is a collaborative installation consisting

of a field of 24 human female torsos created

from handmade paper, December 2-31.

There is a reception on December 2 from

6:30-9:00 pm at Pyramid Atlantic, 8230

Georgia Avenue, Silver Spring, MD 20912,

<www.pyramidatlanticartcenter.org>.

Carrion: A Cartography of Roadkill is an

installation by Elysa Voshell, on view until

October 2 at Airspace, 4013 Chestnut St.,

Philadelphia, PA 19104. The physicality of

hanging sculptures, which are constructed

from cast handmade paper and dyed

bookbinding thread, forms a contrast to

the distanced, static nature of satellite-image

screenprints that form a cityscape on

the wall. Gallery hours by appointment.

Contact: Edward M. Epstein, Coordinator,

at (215) 694-8719 or Elysa Voshell at (267)

254-4229.

New Work by Yukie Kobayashi is on exhibit

until October 29 in the auditorium of The

Madeira School, 8328 Georgetown Pike,

McLean, VA 22102, (703) 556-8200.

CALLS FOR ENTRIES

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

before June 15.

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 10, 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.

Fuller Craft Museum invites artists to

submit materials for the exhibition Pulp

Function curated by Lloyd Herman, founding

Director of the Smithsonian’s Renwick

Gallery. The exhibition opens May 19, 2007,

at Fuller Craft Museum, and will travel

through 2010. Art made from paper pulp;

recycled paper; cardboard; papier mache;

and cut, folded, or otherwise manipulated

paper will be considered. The submission

deadline is October 1, 2006. For more information

and complete submission requirements,

please go to: <www.fullercraft.org>.

Erica Rasmussen is presenting a lecture/

demo at the May 2007 Surface Design

Association conference entitled “From

Bubblewrap to Bottlecaps: Embellishing

Handmade Paper with Everyday Media.”

During the slide section she will be showing

examples of low-tech methods for surfacing

paper with inexpensive and commonplace

materials like red wine, beet juice, rusty

washers, tomato paste, and instant cocoa.

Your contributions of non-traditional or

non-conventional sheets would be most

appreciated. Verbal credit will be given to

artists/craftspeople. Please send slides and

contact information to Prof. Erica Rasmussen,

Metropolitan State University, 1380

Energy Lane #205, St. Paul, MN 55108 or

e-mail

TRAVEL

The Rittenhouse European Tour takes

place April 25- May 9, 2007. Tour the

homeland of William Rittenhouse the

founder of RittenhouseTown and the first

papermaker in North America. The tour

will travel to many locations throughout

Germany and Netherlands. The tour will be

led by John Ruth, a minister, author, and

filmmaker from Harlyesville, Pennsylvania.

He teaches history through storytelling.

He knows points of interest on both

Rittenhouse and Mennonite history. Mary

Rittenhouse Schwartzentruber organized

this tour and will act as the administrator.

For the complete tour itinerary or for more

information, please call (215) 438-5711 or

email <info@rittenhousetown.org>.

OPPORTUNITIES

The internship program at Dieu Donné

Papermill provides first-hand experience

for students and those looking to further

their interest in papermaking and arts

administration. Prior studio-setting experience

is strongly suggested. An application

and more details are available at <www.

dieudonne.org>.

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. Applications are now being

accepted for November/December residencies.

Visit <www.banffcentre.ca/va/

residencies/> or contact Wendy Tokaryk at

<wendy_tokaryk@banffcentre.ca> or (403)

762-6402.

Fellowship Grants at Women’s Studio

Workshop are designed to provide concentrated

work time in the printmaking,

silkscreen, hand papermaking, photography,

letterpress, and clay studios. Fellowships are

awarded through a jury process. Recipients

pay $200 per week, approximately one-fifth

the actual cost. To apply, send an application

form, resume, 6-10 slides, a letter of interest,

and SASE to WSW, Box 489, Rosendale,

NY 12472. The deadline for Spring fellowships

(March - June) is November 1.

Artists experienced in papermaking are

invited to apply for the opportunity to spend

up to three months working in the Paper

Studio at the Southwest School of Art &

Craft. Artists are expected to provide their

own transportation and materials. Housing

may be available, but is not guaranteed. Collaborations

will be considered. For further

information contact SSAC, 300 Augusta,

San Antonio, TX 78205, (210) 224-1848,

<www.swschool.org>.

PUBLICATIONS

Marjorie Alexander has announced that her

video The Idin Papermill is now available

both in tape and DVD format. This video

was filmed in Lampang, Thailand in 2003.

After a brief description of Thailand, the

journey leads through a bamboo thicket

to the papermill of Supan and Praewpan

Promsen in what was once a rice field.

Marjorie and Supan narrate a thirty-minute

pictorial of the entire mill and the specific

process used for making the unique papers

created at The Idin Papermill. The price is

$25.00 for either the VHS tape in NTSC or

the DVD. Information and ordering can be

obtained from <maralex@maralex.com>.

Paper Textiles by Christina Leitner (ISBN

071367444X) was recently published by

A & C Black of London. The first part of

the 190-page hardcover deals with history

– 1000 years in the Orient, 100 years in

the West; the second part with techniques

and projects, covering weaving, knitting,

plaiting, crocheting, etc.; and the third part

is a 40-page gallery of the work of 12 leading

international artists.

Jane Ingram Allen has published 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>.

The Story of Paper-Making, an account of

papermaking from its earliest known record

down to the present time, published in 1901

by J.W. Butler Paper Company, is among

the books that one can read online at <www.

lostcrafts.com>. This advertising-supported

site also features several early bookbinding

titles.

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 individual tips and

techniques.

A special publication entitled Paper takes

flight (ISBN 90-73803-07-1) accompanied

the 2006 Holland Paper Biennial. The

compiler of the book was 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 by the editorial team 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.

Hand Papermaking continues to offer

Selected Paper Artists, 2004, featuring

62 images of contemporary artwork by

19 paper artists juried from the Hand

Papermaking Artist Registry. Two versions

of this collection are on sale now: purchase

a set of slides for $200 plus $10 postage, or

purchase a CD-ROM for $35 postpaid. Both

include a 48-page booklet including image

descriptions and artist statements, plus

an introduction and history of the project.

Juried from over 500 current slides, this

generous sampling of stunning imagery

demonstrates a wide variety of techniques.

These inspiring images make an excellent

classroom presentation. They are the perfect

solution for educators, publicists, scholars,

and curators looking for unique talent. They

present a helpful overview for newcomers.

They are an inspiration to anyone interested

in handmade paper art. To place an order

send $210 for the set of slides or $35 for the

CD-ROM to Hand Papermaking, PO Box

1070, Beltsville, MD 20704. Or call (800)

821-6604 or (301) 220-2393. Additional

information about Hand Papermaking’s

Artist Registry can be found at

MISCELLANEOUS

The Society of Marbling is an international

organization dedicated to the promotion

and preservation of the art of marbling. For

information, contact Marie Palowoda, 2605

W. 19th Street Road, Greeley, CO 80634,

<marie-p@despammed.com>. Also available

is the International Directory of Marblers

and Resource Guide featuring 313 listings.

Hand Papermaking publishes a biennial

series of limited-edition portfolios, each on

a different theme, showcasing distinctive

handmade papers. Each paper is protected

in an imprinted folder and described in a

handbound booklet; each set resides in a

custom-made clamshell box. The editions

are limited to 150, and four of seven portfolios

remain available for sale. They are:

Handmade Paper in Nepal: Tradition &

Change, priced at $195

Watermarks in Handmade Paper: Modern

and Historic, priced at $265

Innovative Printmaking on Handmade Paper,

priced at $495.

The Art of Pulp Painting, priced at $495.

Postage for each is $15 in the US or $30

elsewhere.

Ask about our standing order program.

Call (800) 821-6604 or (301) 220-2394

to order, or view images and complete

prospectus at <www.handpapermaking.

org>. The eighth portfolio in the series will

feature calligraphy (see page 11).

CORRECTION

On page 10 of the Summer 2006 “Paper in

Flight” issue of Hand Papermaking magazine

(Vol. 21, No. 1) the photograph of the

balloon is incorrectly identified as another

image of the handmade paper balloon

found in Alturas, California shown on page

8. The image on page 10 is of a rubberized

silk balloon developed by the Imperial

Japanese Navy but later rejected, in favor of

the handmade paper balloon, because of its

excessive weight.

CLASSIFIEDS

Classifieds in the Hand Papermaking

Newsletter cost 75 cents per word, with no

minimum. Payment is due in advance of

publication.

Fine Art Paper Business Opportunity:

Have you always had a hankering to be in

the paper business? Do you have the desire

to ensure beautiful paper gets into the

hands of those that need it? If your answer

is “YES” to either these questions, please

send resume and contact info to:

<paperbizopportunity@gmail.com>.

SPECIAL THANKS

Hand Papermaking would like to thank

the following people who have made direct

contributions to our organization. As a nonprofit

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 & Alan Wiesenthal,

Charles E. Morgan. Underwriters: Bobbie

Lippman. Sponsors: Jane Farmer, Helen

Frederick, Peter Newland & Robyn Johnson,

Pamela S. Wood. Donors: Grimanesa

Amoros, Cathleen A. Baker, Simon &

Kimberly Blattner, Gail Deery, Michael

Durgin, Lori B. Goodman, Susan Gosin,

Helen Hiebert, Lois James, Elaine Koretsky,

Mary Lou Manor, Dianne L. Reeves,

John L. Risseeuw, Michelle Samour,

Kimberly Schenck, Agnes Schlenke, R.

H. Starr, Jr., Marilyn Sward, Claire Van

Vliet, Becky Whitehead, Ellie Winberg.

Supporters: Marjorie & Harold Alexander,

Shirah Miriam (Mimi) Aumann, Valerie

T. Bechtol, Bonnie Bernell, Joanne R.

Davis, Amanda Degener, Linda Draper,

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, Marcia Widenor, Kathy Wosika.

In-Kind: Adobe Systems, Campbell-Logan

Bindery, Arnold Grummer’s, Hiromi

Paper International, Val Lucas, Maryland

Institute College of Art, Paper Connection

International.

This year’s anniversary activities are made

possible with the generosity of: Carole

A. Alameddine, Shirah Miriam (Mimi)

Aumann, Cathleen A. Baker, Bonnie

Bernell, Inge Bruggeman, Amanda

Degener, Gail Deery, Linda Draper, Kathy

Fitzgerald, Shirley Freriks, Helen Hiebert,

Elaine Koretsky, Mary C. Leto, Val Lucas,

David Marshall & Alan Wiesenthal,

Margaret Prentice, Dianne L. Reeves, Jann

Selleck, Marilyn Sward, Gibby Waitzkin,

Becky Whitehead, Marcia Widenor,

Pamela S. Wood.

And Hand Papermaking is especially

grateful to the following organizations and

individuals for their generous support of

our 20th-anniversary magazine:

The Gladys Krieble Delmas Foundation

The Drachen Foundation

The Fifth Floor Foundation

Cathleen A. Baker, Inge Bruggeman,

Mindell Dubansky, Lou Hicks, Helen

Hiebert, Allen K. Mears, Elaine Koretsky,

Russell Maret, David Marshall, Margaret

Prentice, Marilyn Sward, Becky Whitehead.

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