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

N E W S L E T T E R

Number 80, October 2007

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

Hand Papermaking Newsletter is published

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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, Sid Berger,

Inge Bruggeman, Georgia Deal, Gail Deery,

Helen Hiebert, Peter Hopkins, Barbara Lippman,

David Marshall, Cynthia Reuter Mowery, Andrea

Peterson, Margaret Prentice, John Risseeuw, 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 Readers,

The Friends of Dard Hunter holds its 26th annual meeting here later this month. See

page 9 for details on what is sure to be an unforgettable experience. I hope to see many of

you, and I also hope that you will join me in expressing appreciation to the organization’s

outgoing Executive Director, Marion “Betsy” Cluff.

I met Betsy in 1991. She was teaching a workshop on the Victorian craft of making

paper beads. An outsider would have thought this a jewelry-making class, and I suppose it

was, but with a modern twist. She used the opportunity to inspire people to see the sculptural

possibilities of paper on an intimate scale. This desire to do more than expected is the trait I

have come to value most in Betsy as our rapport has grown and strengthened over the years.

We both later served on the board of the Oregon Book Arts Guild. I was really still just

getting to know her but invited her to the ceremony in Portland’s Forest Park when my wife

and I married. The train carrying us and our wedding party from Seattle to Portland was late,

so we were not able to oversee the preparations. We finally arrived, happily discovering that

Betsy had organized the site and hung the paper decorations and directed arriving guests.

Her first words to us: “What more can I do for you?”

We stayed in touch while she was in Alabama earning an MFA in Book Arts. I was

delighted when she landed the new job with The Friends of Dard Hunter since it would allow

us to work together professionally. For over a decade, Betsy has poured her heart and soul

into this part-time job with full-time responsibilities.

She coordinates the logistics and the publications of the organization, and maintains

the database of members. She designs their newsletter and membership directory and gets

them in the mail. She provides continuity for the organization and “herds the cats” who plan

annual gatherings of paper aficionados. There are over 500 members of The Friends of Dard

Hunter. I am sure that every one of them has called on Betsy for guidance at one time or

another. No outsider could ever understand all she does, but her friends (and The Friends)

appreciate her boundless enthusiasm and her unwavering desire to simply help out where

she can, doing more than expected.

We all love the marvelous field of hand papermaking. The field is better because of Betsy.

Sincerely,

Tom Bannister

Upcoming in the next Hand Papermaking Magazine (Winter 2007): The Research Issue

Len Rosenband on pre-industrial French papermaking from an economic historian’s perspective

~ Elaine Koretsky recounts her 30+ years of field research in traditional hand papermaking ~

Eugenie Barron on Douglass Morse Howell’s research-oriented approach to the art and craft of

hand papermaking ~ Wavell Cowan ruminates on the scientific mind ~ Tim Barrett discusses

research as a path in papermaking ~ Jane Ingram Allen on Donga paper from Yunnan province,

China ~ Cathleen Baker reviews Elaine Koretsky’s A Tribute to Dard Hunter (DVD) ~ Loreto Apilado

reviews Jane Ingram Allen’s publication Made in Taiwan ~ Michelle Samour on the exhibition

Pulp Function at the Fuller Craft Museum ~ Jane Farmer on artist Mick Fredrickson ~ Josep

Asunción reviews Fujiwara Yuki’s recent exhibition at Capellades Paper Mill Museum, Spain ~

PAPER SAMPLES: Desert fiber paper by Marcia McClellan & Katherine Nicholson from their art

installation on migrant issues; Donga paper from Yunnan province, China

ALONG THE PAPER ROAD...

This regular feature offers paper musings from

Elaine Koretsky – renowned paper historian,

researcher, and traveler. Elaine recently returned

from Britain and shares a few experiences.

My paper road research rarely takes me

to Europe, except for conferences or teaching

commitments. In the new millennium the

score was: Asia, eleven expeditions; Europe,

only four. The year 2007, however, presented

an interesting opportunity to visit Great

Britain as a participant at the Congress of the

International Association of Papermakers and

Paper Artists, in Oxford, England. I planned

to attend the six-day conference, followed by

ten days in London, where I could examine

a wealth of Asian treasures brought back by

British explorers.

The conference yielded some important

historical information. We visited the Frogmore

Mill in Apsley, home of the world’s first

commercial papermaking machine, originally

built in 1803. It was developed by the Fourdrinier

brothers, patterned somewhat after an

earlier machine invented by Nicolas Robert.

The Fourdrinier machine, however, became

the prototype for all future commercial machines.

The steam-driven equipment we saw at

Frogmore still had some parts that dated to the

early nineteenth century, although during the

ensuing two centuries many refinements took

place. Nevertheless, the current machine enabled

us to see most of its operations clearly, as

it was not entirely encased, as are the modern

Fourdriniers in most mills. We could witness

the flow of pulp – first down onto a moving,

endless wire screen; then onto an endless felt

that passed around rollers that pressed and

dried the paper that had been formed; and

finally ending with a giant roll of paper. Today,

Frogmore Mill is involved solely with recycling

waste paper to produce 100% recycled new

paper, which is used mainly by the schools

throughout the area.

We heard an interesting lecture by Jim

Patterson, who operates the Two Rivers Paper

Company in Somerset, which makes handmade

paper for watercolor artists. He produces

a very high quality paper, and talked about

the difficulty of marketing this paper at the

high price it merited, which would enable him

to earn a living. In contrast, Lawrence Toms

told us about his background in marketing.

He recently started a new hand papermaking

venture in Wales, concentrating on “Sheep Poo

Paper,” made from animal feces. This was not

a new idea, as I had visited the elephant training

center in Northern Thailand, where elephants

were painting on paper that had been

handmade from the elephants’ poo. Lawrence,

however, was devising all kinds of products

from the sheep poo, using his remarkable

marketing skills to quickly gain tremendous

profit for his company.

Our conference also had an Asian flavor,

as twenty-three Korean paper artists attended

the event. Some gave a dance wearing dresses

from Korean hanji, the wonderfully strong

paper made by hand from mulberry fiber. And

in the two exhibits of IAPMA members’ paper

art, the talented Korean artists displayed some

very handsome and unusual works. It was a

fascinating counterpoint to the remarkable art

of the other members.

After the conference, I remained in

London to carry out my own research. I was

particularly eager to see old “Silk Road” documents

that had been brought to England in the

early 1900s by the British explorer Aurel Stein.

I had set up an appointment in advance with

Susan Whitfield, Director of the International

Dunhuang Project at the British Library. I

spent two days there talking with Susan about

her research and mine. The research staff in

her department all enjoyed my film “The Last

Papermakers on the Ancient Silk Road.” Apparently,

none of them had ever observed traditional

hand papermaking. Susan brought out a

number of ancient documents that I wished to

examine, including Tibetan manuscripts, and

fourth century Sogdian manuscripts from Central

Asia, found in the Dunhuang garrisons. I

was permitted not only to examine them, but

also to photograph the fragile papers using

transmitted light.

Another day I met with Laura Artemis,

the head Conservator at the Wellcome Institute

Library. Laura gave us a tour of the conservation

facilities, which were state of the art. Their

manuscript collection is largely Indian and

Islamic, and that proved interesting to inspect.

Later that day I visited the conservation studio

of Suzanne Press, a private conservator who

has a large collection of “rice paper” paintings

(the misnamed

“rice paper” is not

made from rice, nor

is it paper). More

correctly, the material

should be called

“pith paper,” made

from the pith of

Tetrapanax papyrifera.

I examined

Suzanne’s collection

and observed

the intricate repairs

she had made on

this very fragile and

brittle material that

was used for small

Chinese paintings, mainly in the nineteenth

century. Since I had documented the making

of pith paper in Taiwan, I was very eager to

obtain a painting for my collection, and I acquired

a very beautiful example from Suzanne.

I also had the opportunity to examine the

extraordinary art work of Suzanne’s husband,

Graham Day. Many of his paintings were created

on handmade paper, combining elements

of marbling, suminigashi, and perspective,

with unusual subjects.

I spent the following day at the British

Museum, where I had been invited to give a

lecture at the Paper Conservation Department.

Joanne Kosek, the department head, had also

asked conservators from other institutions to

attend my program. I had an enthusiastic audience,

and judging from their many questions,

I felt they thoroughly enjoyed my presentation

on developments in hand papermaking

through the centuries. I was pleased that

Joanne requested six of my documentary films

for the museum collection.

After my lecture, I spent a fascinating afternoon

inspecting the scroll mounting workshop

in the conservation department. This

area consisted of a large room, the floor of

which was completely made of tatami, except

for a narrow perimeter where one could take

off one’s shoes. I watched a Chinese woman

skillfully mounting a scroll, and discovered,

to my astonishment, that she originally had

worked at the old Shanghai Museum that I

had visited in 1982. She was Jin Xian Qiu, now

the Senior Conservator of Chinese Paintings

at the British Museum. Jin remembered the

Assistant Director at the Shanghai Museum,

Huang Xun Pei, who had very kindly shown

me beautiful old papers, and allowed me to

photograph them. Subsequently, the old museum

was replaced by a handsome contemporary

museum that I have also visited. I even met

Huang there again. But rules had changed,

and the old papers that I had admired were

stored away. The exhibits were all under glass,

and photography was prohibited. Jin Xian Qui

talked to me extensively about the different

qualities of xuan zhi, the fine handmade paper

used by artists and calligraphers. She showed

me how to feel the differences between the

finest papers and those of lesser quality. She

presented me with some sheets of old paper

for my collection, and offered to help me identify

some papers that I had bought in Beijing

years previously.

My final research took place at Kew

Gardens, where I had made an appointment

to visit their herbarium. An herbarium is a repository

of dried plant specimens collected by

botanists from all over the world. Kew Gardens

has the largest in the world. In particular I

wished to examine plants of the Thymelaeaceae

family, in order to sort out disputes among

botanists about the nomenclature of some of

the species. Many traditional hand papermakers

I have documented in Asia use the fiber

from plants in this family. A list of these plants

includes: in Japan, mitsumata (Edgeworthia

chrysantha, E. papyrifera, E. gardneri); gampi

(Wikstroemia indica, W. diplomorpha,); in Israel,

mitnan (Thymelaea microphylla); in Tibet,

(Stellera chamaejasme); in Nepal, Sikkim, and

Bhutan, daphne (Daphne bholua); in Vietnam,

do, (Rhamnoneuron balansae); in Yunnan Province,

China, stringbush (Wikstroemia delavyi).

I had hoped to see the living plants of the

Thymelaeaceae at Kew, but the various species

are scattered throughout the enormous gardens

there, making such a project unfeasible.

In November, however, I shall be exploring

Southwest China and plan to continue my

quest to examine most of these species at the

Kunming Botanical Garden.

UNIQUE TECHNIQUE

Well-known author and teacher Helen Hiebert

offers helpful guidance and tips gleaned from

artists she has worked with over the years. In this

issue Helen describes several production secrets

developed by Ron Rich.

I have been thinking a lot about innovations

that come about due to repetitive actions,

and how production papermakers have come

up with ways to streamline and increase their

production. For example, they may make

changes that enable them to make fewer movements,

or because of consideration for the

bottom line. Of course, on the flipside, and,

perhaps more often from the artists’ perspective,

some things are just worth waiting for.

But more on that later.

Here in Portland, Oblation Papers

& Press specializes in custom handmade

wedding invitations and cards that it sells

nationally. In order to increase the vatperson’s

production, owner Ron Rich developed a clever

idea. While on a research trip in France, he’d

seen papermakers using air compression to

agitate their vats at Moulin de la Roche – a

system which has the same effect as the traditional

English “hog” in the bottom of a vat. The

hog is a sort of paddle wheel which continually

stirs the paper pulp so the papermaker saves

time by not having to agitate the vat by hand.

Ron devised his own forced air system by running

a flexible compressor hose from an air

compressor up over the top of the vat (where

he installed a water filter) and into the bottom

of the papermaking vat (a very deep vat –

about 24”). This tube connects to a matrix of

piping which runs around the perimeter of

the bottom of the vat and has parallel pipes

connecting to it at eight-inch intervals. The

matrix is constructed of rigid half-inch diameter

CPVC pipe, perforated with 1/8” diameter

holes drilled into it at eight-inch intervals,

and directed upward. Just prior to forming a

sheet, the papermaker steps on a foot pedal in

front of the vat to release a burst of air from

the compressor, which in turn blows through

the holes to stir up the vat. The compressor is

housed in the beater room to contain its noise.

At the recent annual meeting of

the International Association of Hand

Papermakers and Paper Artists in Oxford,

England, the keynote speaker was Jim

Patterson of Two Rivers Paper Company, a

production mill specializing in fine handmade

watercolor papers. He spoke about two

interesting techniques he uses prior to and

during couching. Traditionally, moulds are

made in pairs – two moulds and one deckle –

so that the papermaker can pull a sheet

of paper, remove the deckle, slide it to the

coucher (a person who couches the paper)

and then use the deckle to form another

sheet on the second mould. By the time the

second sheet is handed over to the coucher,

the first sheet has been couched and the

papermaker starts the routine again. Jim uses

a modified vacuum table to assist in draining

his sheets. This removes some of the excess

water in the sheet and speeds up draining

the mould, which is particularly important

for the very heavy weight watercolor papers

that Two Rivers produces. Nick Pearson, who

was also at the Congress and develops unique

paper features for British banknotes, uses

a similar vacuum system for watermarked

papers. He finds that the extra drainage aids

in couching, which is important for producing

clear watermarked images. Without proper

drainage, it is easy for the sheet to slide during

couching, creating stretch marks in the sheet

and distorting it.

Jim’s system works as follows. He has a

vacuum box alongside the vat, about six inches

deep and large enough to support his biggest

moulds. The vacuum connects to a conventional

domestic wet & dry type cleaner about

half way up the side of the box. A connection

in the bottom of the box drains water into a

small pump which ingeniously recycles the

water into his beaters. The top of the box has

supporting metal struts (similar to the underside

of a hand-mould) upon which a stainless

steel mesh is affixed. On top of that is a piece

of foam-backed carpet with a rectangle cut

out of its center. The outer edge of the carpet

is air-sealed to the edges of the box with duct

tape. When a mould and deckle with a newly

formed sheet is placed on the vacuum table,

the bottom edges of the mould seal against the

carpet, and water is sucked out through the

rectangular hole, falls to the bottom of the box,

and is drawn off by the pump.

Jim talked about another unique

technique involving his unconventional felts.

He attaches light weight, industrial woven

felts to each side of a perforated sheet of stiff

1/8” thick plastic (with holes every quarter

of an inch). The knap side is on the outside

of each side of this composite “felt,” which

virtually eliminates two-sided texture in the

finished paper. This rigid couching surface

eliminates the “camel’s hump” that is common

as the post of paper increases in height, makes

couching easier, and causes less crushing. The

felts often require a light spray of fresh water

before couching.

TEACHING HAND PAPERMAKING

Based in Philadelphia, Winifred Radolan operates

an itinerant teaching papermill, and has taught

papermaking to thousands of adults and children.

Here Winnie teaches campers the fine art of popup

paper construction.

Among the many reasons I look forward

to summer is the opportunity for Winnie’s

Paperworks to share papermaking adventures

with various children’s camp groups. One such

camp, probably my favorite, is held at Perkins

Center for the Arts in Moorestown, New Jersey.

Over the years that I’ve worked with young

people at Camp Perkins, I’ve designed more

than a few projects that have become history

under the category “what was I thinking!”

The structure of the campers’ half-day

just lends itself to imagining projects that one

could liken to a “rabbit being pulled from a

hat.” Each session is two weeks

in length. Children are divided

into four age-related groups, the

Reds, Oranges, Greens, and Blues.

During the first week, I work with

Reds and Oranges, roughly ages

six through eight, for 1½ hours

each on Monday, Wednesday and

Friday. There are other artists

teaching on Tuesdays and Thursdays.

During the second week, the

Blue and Green nine- and ten-year-olds work

with me for the same amount of time. In a

world of perfect order I should have 4½ hours

with each of four groups of approximately

fifteen children in order to complete a project

worthy of display at the “art exhibit” held on

the camp’s Final Performance Friday. Keep in

mind it’s never a perfect world. Some days the

bus delivers campers half an hour late. The

Orange and Red groups each had eighteen

children this session, and the extra children

in each group proved “extra challenging,” too.

And Final Performance Friday classes are only

one (highly charged with excitement) hour in

length! One must consider all these possibilities

when planning a miracle art activity!

So the “rabbit-out-of-a-hat” project we did

this summer was a handmade paper popup

page “Wishing Tree Garden.” In the first

session with the children, I introduced them

to the Japanese tradition of writing a wish or

prayer on a strip of paper, then tying it to a

tree. About half the children were also receiving

their introduction to making paper by

hand, while the others were veteran campers.

Each of the children made a piece of paper 6”

x 11” in size, to be used for the pop-up folder,

and a plain sheet to be cut for collaged decoration.

During our second meeting everyone

learned to layer colors on two sheets of paper

which would later be used to cut out the

garden elements. I pressed and restraint-dried

all the paper on luan drying boards so that it

would be ready to assemble during our third

meeting two days later.

Pulling the pop-ups off with six-, sevenand

eight-year-olds required some serious

planning and able assistance from counselors

and junior helpers. I created “fun-foam” stencils

that could be traced to make the wishing

tree and garden bushes. I had the children

fold their handmade paper and, with the assistance

of counselors, trace the stencils along

the folds. Some of the children needed cutting

help. All received guidance gluing and placing

the pop-up tabs so that the gardens would

actually rise up. While children were awaiting

their one-on-one assembly assistance, they

were busy embellishing their gardens with

details applied with colored markers.

On Final Performance Friday there was

an amazing display of sixty-five pop-up “Wishing

Tree Gardens” that represented about sixteen

hours of students’ work. For at least half

the children it was their first papermaking experience

as well as their first pop-up construction.

While it was a great deal of work, there

were many pride-conveying smiles as campers

showed their parents their pop-up gardens. I

am, however, pulling a much simpler “rabbitfrom-

my-hat” for my current camp project!

ON-LINE

Pamela S. Wood of Arizona makes one-of-a-kind

books from her handmade papers. She explores

the internet seeking out notable paper-related sites.

Pam has unearthed some unusual paper videos.

Drama is becoming more and more fashionable.

People take ordinary, mundane activities

and, in a sweeping motion, they concoct a

melodrama. To me, papermaking would never

be considered a dramatic endeavor. Tiring,

wet, and mechanical, yes, but dramatic – no

way! Well, way. After all these years of surfing

the web for paper sites, I have now found that

papermaking is “high” drama. Like it or not, I

must admit this is unique.

The drama begins as we head to

Belgium. Twenty minutes from Brussels, in

the town of Alsemberg (region of Beersel)

in the province of Flemish Brabant, can be

found The Papiermolen Herisem, Voormalig

Kartonfabriek Winderickx – The Herisem

Papermill and Winderickx Cardboard Factory

(website at www.herisem.be).

When you open the splash page, you

see an old, family-style photo. You get your

choice of language – Dutch, French, English,

or Polish. I’m going for English. On the top

menu bar are the major topics. The details are

on the left.

Starting with

history, we learn

that the factory’s

history dates back to

the eighth century,

with the roots of

the name Herisem.

Clicking down the

left you find the fourteenth century, then the

eighteenth and nineteenth centuries, and,

finally, the twentieth. All are important to the

background to the factory.

Now let’s click the top bar choice “Museum/

Monument.” Scrolling down to the right

corner of the second picture, you will get to

watch a short movie about the industrial process

of paper manufacture. While the movie

is in Flemish, you can easily understand what

is going on. A melodrama is not hindered

by language. Beware, there is lots of noise!

You will want

your speaker

on, but not too

high. You’ll see

authentic clothes,

down to the

wooden clogs.

The best detail is

the placing of the

wet paper on the

sunlit grass to

dry. Nice touch.

At the left, click

the bar “Handmade

paper.”

Here you will get

a second movie.

The rags are

being brought

up in the factory

for separating,

tearing, and button removal. This movie is the

start of the high drama. Not just buttons are

being removed from the old clothes. It is easy

to tell that this was a movie made for television.

Stay with it to the end of the sound – I

told you this site is dramatic.

The next topic, under “The cardboard factory

Winderickx,” is “Steam Engine.” Now you

can see the third movie, with all the sounds

of getting the engine and plant rolling with

power. Working under these conditions probably

made lots of folks deaf.

“Museum - projects” shows highlights of

the museum’s reconstruction and preservation.

The Tavern was an old factory iron works,

which has been turned into a restaurant The

conference rooms once housed the cardboard,

ragloft, and drying rooms, and the current

lodge house is the former dry stock warehouse.

Scrolling down you view the final movie

about the blacksmith and sometime dentist.

Thank God, dentistry has made advances since

this period.

Finally, one can make arrangements to

stay, tour, and even dine. Despite the high

drama, I could use a retreat. Brussels might

just be the answer. However, I want to add that

the site proves that drama and papermaking,

like oil and water, don’t mix well. This may

be a better location for tourists than for

papermaking studies.

A final P.S.: I tried to contact this museum

twice, by email, but have not gotten an

answer. Maybe I wasn’t dramatic enough. So I

can only say you might need to be persistent.

Or loud.

PAPER HISTORY

Cathleen A. Baker, PhD, is Senior Paper Conservator

at the University of Michigan Library. She

is author of By His Own Labor: The Biography

of Dard Hunter and proprietor of The Legacy

Press (www.legacy-press.com), specializing in

the printing, paper, and bookbinding arts. This

is the third and last installment about the early

papermaking activities of Dard Hunter.

Dard Hunter ended “The Lost Art of Making

Books,” published in March 1915, with the

prophetic words:

…better still, the book should be the work of one

man alone. In this way, and only this, will the

volume be truly his. There must be a better understanding

between the three arts [papermaking,

typefounding, and printing] and when this better

understanding exists we will produce the much

talked of, but seldom seen, book harmonious.1

At about this time, Ralph M. Pearson, a fine

printmaker, arranged with Hunter to make

a book for the Chicago Society of Etchers,

of which Pearson was a founding member.

The Etching of Figures by William Aspenwall

Bradley was to be a keepsake for the Society’s

members, and the deadline for 250 copies was

December 1915. Hunter had nine months to

make the paper, to finish cutting and handcasting

his type, and to print the book – ample

time as long as all went according to plan. That

March, Hunter ordered a pair of antique-laid

moulds, 16.5 x 23.5 inches, from W. Green,

Son and Waite company, and he also bought a

second-hand Washington hand press. In April,

he prepared 100 pounds of new unbleached

cuttings but immediately ran into problems;

the paper looked more like parchment. He

wrote Charles Jacobs, a paper company owner,

asking for advice. Jacobs arranged for a “size

expert” to visit Hunter’s mill in Marlborough,

N.Y., and later reported:

…Upon informing him that you had boiled the

new rags in chloride of lime [calcium hypochlorite]

he informed me that you should have attempted

to dissolve the original soluble oils by the use of

weak caustic soda [sodium hydroxide], then,

later boiling in chloride of lime. By the use

of the chloride of lime alone you will always

parchmentize your stock.2

While Hunter was pleased to show Pearson

sheets of decent paper at the end of April, the

new antique-laid moulds had not yet arrived.

Although reassured that they had been sent,

by mid-September, they had still not arrived.

Hunter wrote Pearson that the book could not

be completed by December, and a three-month

extension was granted; finally the moulds,

misplaced for several months, arrived. To one

of them, Hunter sewed two watermarks in

diagonally opposite corners: the DH-in-a-heart

in one (illustrated in the last article) and in the

other, a star press

set in a circle

with the words

Chicago Society

of Etchers.

Hunter

had decided on

a quarto format,

measuring 8.25

x 11.75 inches.

Including the text

pages and endsheets, three and a half pieces

of paper were required per book, or about

750 sheets – one and a half reams – for the

project. Examination of several copies of The

Etching of Figures reveals that the paper in most

copies is badly stained with brown spotting

called “foxing” and overall areas of brown

discoloration. Foxing, often associated with

iron deposits in the paper, which become sites

for cellulose breakdown, results in a small,

brown spot. The overall staining was probably

caused by uneven evaporation of water from

the sheet that could have occurred during the

initial loft drying, the sizing and subsequent

drying, or drying of the re-dampened, printed

sheets. None of these faults were noticeable

at the time the paper was made, and it was

impossible for Hunter to know that the sheets

were bad. Other problems in the paper that did

pass muster, however, exhibit “cloudy” formation

and many knots (clumps of fiber), hard

enough to break type.

Finally in February or March 1916, Hunter

finished printing The Etching of Figures, and

the collated books were sent to The Oakwood

Binders (Sterling Lord and Peter Franck). In

the foreword, Hunter summarized his goals:

Most modern book printing produced by the revivalists

tries to imitate this old work by using the

most modern methods. Mr. Hunter’s idea, during

many years of research and experiment, which

has culminated in the production of this book, has

been to work as the sixteenth century printers did,

using, so far as possible, the same tools, materials

and methods. By this means, it is hoped, the

same general characteristics that are so pleasing

in many of the early volumes, will, at least in a

measure, be found in this book.

Though Hunter probably lost money on this

book, he gained immeasurably in experience.

The Chicago Society of Etchers was so pleased

with The Etching of Figures they immediately

commissioned him to print a second keepsake

due in December 1916. This time he managed

to deliver The Etching of Contemporary

Life by Frank Weitenkampf on time. Generally

the paper quality in Contemporary Life is

a vast improvement over Hunter’s first effort.

Only occasionally has foxing developed, and

the wavy, brown discolorations and knots are

rare. Although somewhat thick, this paper has

more of the look and feel of early printed-book

papers. In 1917, Hunter produced a third (and

his last keepsake) for the Chicago Society of

Etchers. This is the so-called J. C. Vondrous

folio, printed on a half-sheet of his antique-laid

paper, probably left over from Contemporary

Life. By this time, the Hunters had moved out

of Mill House, which was up for sale.

With The Etching

of Contemporary

Life, Hunter came

as close as he ever

would to the “book

harmonious.” It was

the last book for

which he personally

made all of the

paper, although in

subsequent, limited

edition books, he

used his own type

and printed them on

a hand press. Except

for some experiments

with watermarking done in his Lime

Rock Mill in the late 1920s, Hunter never

again made paper in substantial amounts,

devoting his time instead to researching

and publishing books about the history of

papermaking as practiced around the world.

1 Dard Hunter, “The Lost Art of Making

Books,” The Miscellany 2, no. 1 (1915): 6.

2 Charles Drury Jacobs to Dard Hunter, 12

April 1915.

PAPER SCIENCE

John Bordley is F. B. Williams Professor and

Chair of the Chemistry department at Sewanee:

The University of the South. John’s final column

focuses on polarity.

I have been asked to conclude this series

of articles on Paper Science. I have tried to

present some fundamental chemistry, as it pertains

to paper, in a readable, not-too-technical

form. But, apparently, many readers have been

overwhelmed and have tuned out. There is no

sense talking about even more complicated

topics if the basics are not being understood.

So I will end by saying that if you are talking

about cellulose in water suspensions, the

main thing to think about is polarity. Polarity

arises from an uneven distribution of electrical

charge in a substance; some areas become

more positive and some more negative. Opposite

charges attract each other; like charges

repel each other. Any additive to a water

solution of paper pulp is interacting with the

polar nature of the cellulose. If a salt like alum

(aluminum sulfate or potassium aluminum

sulfate) is added, then one of the resulting ions

is typically ‘active’ and the others are ‘inactive.’

Thus, potassium ions and sulfate ions do virtually

nothing in water – they just sit there. But

the aluminum ions are both relatively small

in size and high in charge, leading to a high

charge density (defined as charge/volume).

This high charge density attracts electron

pairs from the water molecules and makes it

possible for some of the hydrogen in the water

molecules to leave the water as H+ ions (each

H ion leaves the electron pair it was sharing

with the oxygen atom with the oxygen atom!).

These H+ ions decrease the pH of the water to

about 4 or 5, a solution about as acidic as a solution

of vinegar or of lemon juice. The acidic

solution then attacks the cellulose molecules

and causes disintegration.

Cellulose fibers in water suspension

contain many charged sites – an equal number

of slightly positive sites and slightly negative

sites. The cellulose fibers bond to the water

using these positive and negatives sites, and

when the water is removed, the cellulose fibers

bond with each other. If a salt (a material made

up of positively charged cations and of negatively

charged anions) is added, more charged

species are added to the solution. As with the

alum mentioned above, usually either the

cation or the anion that is added is innocuous.

But the other ion is reactive and is attracted to

the area of the cellulose that is of the opposite

charge. Now the cellulose contains an excess of

one charge and can bond with another charged

species that is added. For example, retention

aids interact with the cellulose fibers to create

charged regions which then can interact with

pigments. Formation aids are adsorbed on the

fiber surfaces and cause repulsion between

the surfaces, making it easier for fibers to slip

by each other in the water solution and not

to interact with each other until the fibers are

matting together to form the paper.

Charges. Charges. Polarity. Polarity. These

are the fundamentals of paper chemistry.

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. Sue recently

caught up with paper pioneer Laurence Barker.

In the past columns, I have drawn many

of the profiles of contemporary papermakers

from the list of participants who attended the

first hand papermaking conference held in

Appleton, Wisconsin in 1975. Most of the fifty

hand papermakers who gathered together for

the first time, as well as the handful of committed

few who could not attend, owed their

professional interest in hand papermaking

either directly or indirectly to one very

important teacher, Laurence Barker. Though

Barker’s contribution to the hand papermaking

movement has been documented before, its

importance bears repeating as a beloved tale

for lifers in the field as well as for fresh young

papermakers emerging out of contemporary

university programs.

Though Dard Hunter and Douglass

Howell, each in their distinctive ways, rescued,

revitalized, and revolutionized the practice

and application of hand papermaking in the

United States in the twentieth century, it was

Laurence Barker who, through his teaching

and his art, fostered an important new aspect

of the living tradition of hand papermaking as

we know it today. As all roads lead to Rome,

so all papermaking paths wind their way back

to Cranbrook Academy of Art in the 1960s

when Laurence Barker established the first

educational hand papermill for his students in

the printmaking department at Cranbrook. It

is worth noting that for centuries experienced

craftsmen taught the knowledge of hand

papermaking to trainees at mills throughout

the world. With the advent of the twentieth

century, professional schools dedicated to

paper science for the commercial industry

included limited review of historical aspects

of papermaking; however, professional

research and practice of the ancient craft

was not part of the standard curriculum. The

hand papermaking classes Barker taught at

Cranbrook were not only the first offered to

college students but also the first offered to art

students rather than commercial papermakers.

This change in approach permanently altered

the very nature of hand papermaking in the

United States.

It all started with a sheet of paper. In

1962, one of Barker’s students showed him a

sheet of Douglass Howell’s handmade paper.

As an innovative printmaker, Barker was immediately

struck with the possibility of using

this unusual paper to expand the potential

of the printed image. He contacted Douglass

Howell and arranged a two-week tutorial at his

studio to learn the process. It should be noted

that though Howell often gave introductory

papermaking demonstrations, there was no

established facility nor an ongoing program

for educational purposes at that time. Besides

Barker, only one other artist, Golda Lewis, had

sought Howell out for in-depth instruction.

Barker learned Howell-style papermaking

following his preference for making sheets

of paper from old linen rags in the Western

tradition. And, though Howell himself was

experimenting with a wide range of two- and

three-dimensional techniques to create his

own art, he did not introduce other artists to

hand papermaking as an art medium. Instead,

he limited his instruction to the craft of making

fine sheets of paper and his collaboration

to the production of custom designed sheets

for print editions and drawing. And, though

artists of his time, such as Jackson Pollock

and Larry Rivers, used his paper, they did not

take the next step and use the process to

create imagery.

Barker, however, immediately grasped the

latent expressive potential of the papermaking

process and how it could become an integral

partner to image making. Excited about

exploring the possibilities in his

own work, and with a desire to share

them with his printmaking students

at Cranbrook, Barker returned to

Michigan motivated to track down

the equipment and locate space for

a papermill. The stars were aligned,

and, with support from the school,

he was able to accomplish his goal

in 1963. For the next seven years,

Barker instructed his printmaking students as

well as students from other disciplines how to

make paper. These students formed the nucleus

of the hand papermaking movement, and

upon graduation continued to play a pivotal

role in the development and research of hand

papermaking in the twentieth century. Many,

such as Walter Hamady, Aris Koutroulis, John

Koller, Roland Poska, Winifred Lutz, and Tim

Barrett, established important facilities and

university programs in the field.

While at Cranbrook, Laurence Barker,

with his student, John Koller, and publisher,

Ken Tyler, began professional collaborations

making custom designed paper for innovative

print editions for artists such as Roy Lichtenstein.

And, when, in 1970, Barker relocated

his papermill and studio to Barcelona, Spain,

he continued offering his unique papers to

Spanish artists such as Joan Miro and Antonio

Tapies. His multiple roles as artist, teacher,

and collaborator continued in Spain and the

United States for the next three decades: as

director of the Smithsonian Institute Print

Workshop in Barcelona in 1972, as visiting

artist at The Cleveland School of Art from

1979-1980, and as an advisor and instructor

for The Barcelona Paper Workshop in 1980.

During this period and since the late

1990s, Barker has continued to develop his

own art, working in studios in Spain and

Florida, producing new bodies of work each

decade that reflect his unique vision and deep

knowledge of both print and paper. Though his

two-dimensional abstract images often evolve

into high relief and even three-dimensional

works of art, they characteristically display his

training as a printmaker and his feel for the

textural nuances unique to handmade paper.

The distinctive combination of boldness and

subtlety that defines his work also reflects his

innate elegance, sophistication, and playfulness

as an artist and as a teacher.

Laurence Barker’s work has been exhibited

throughout the United States, Europe, and

Japan. It is also in the permanent collections of

many European and American institutions, including

the Library of Congress, the Brooklyn

Museum, and the Art Institute of Chicago.

For paper enthusiasts interested in

further reading about Laurence Barker, I

strongly recommend two back issues of Hand

Papermaking: Volume 3, Number 1 (Summer

1988), which features an interview with him,

and Volume 12, Number 1 (Summer 1997),

which features an article by him.

Recently I had the great pleasure to catch

up with Laurence Barker, as he has relocated

to the United States. Ironically, he divides his

time between family in Texas and old friends

in, none other than, Bloomfield Hills, Michigan,

a stone’s throw from Cranbrook! He has

come full circle and is full

of wonderful stories from

his enchanted life in art

and his unique journey

in the world of hand

papermaking. He will

be speaking at the Dard

Hunter Conference this

coming October, an event

not to be missed!

Frontón, 2001

Etching on Handmade Paper, 22.75” x 31”

DECORATED PAPER

Sidney Berger, a professor at Simmons College

in Boston and Director of the Phillips Library at

Peabody Essex Museum, has been collecting and

researching decorated paper for over thirty years.

In this installment, Sid describes Bill Seymour’s

trough, bench, and machine marbling.

Decorated papers have myriad uses, and

in the world of books the most common use

is for bindings: as endsheets and to cover the

boards. The two most common kinds of decorated

papers for these uses are marbled and

paste, though in the nineteenth century blockprinted

papers were exceptionally popular.

Some marbled papers are easily identified.

For instance, certain Cockerell marbled

patterns are discernible from 30 feet away.

Another paper, mottled and in several colors,

is also easily identifiable. That is, someone

seeing it might say, “I’ve seen that before.” But

though it is common, little was known about

it until a short three-part article appeared in

1988 in Matrix, volume 8. This little piece,

with contributions by Tanya Schmoller, William

Bull, and William Seymour, was tantalizing

because it gave only sketchy information.

Five years later the Dutch bookseller Frits Knuf

published a little book called Sample Book of

Seymour. This was mostly a sample book, and

the introduction to it gave the same sketchy

information that had appeared in Matrix.

In brief: I did some extensive research,

found the nephew (William Seymour) of

the paper decorator (Edward Seymour), and

wrote a book about him and his papers. It was

published last year by Oak Knoll Press: Edward

Seymour & The Fancy Paper Company. When

the book was published, an editor at Oak Knoll

Press had tacked on a subtitle: “The Story of

a British Marbled Paper Manufacturer.” I was

not thrilled with this, but I was convinced that

potential buyers needed to know what the book

was about, so I let it go. In fact, Seymour’s

most recognizable papers were not marbled in

the traditional sense, and that is the thrust of

this column.

In the extensive archive of the Fancy Paper

Company that Bill Seymour opened up to

me, I learned that the most familiar Seymour

papers – the ones identifiable from yards away

and that grace the covers and endpapers of

hundreds of thousands of books – were not

marbled at all. Seymour used three methods of

paper decoration, one quite common, one less

so, and the third of his own invention.

The first, traditional marbling, I needn’t

describe since readers of Hand Papermaking

will know what that is. He preferred this kind

of paper decoration to the other two, but it took

much more time and expertise, and thus produced

a more expensive paper – not affordable

to most of his clients who were doing edition

binding. He called this “trough marbling,” a

traditional term since it is done in a trough.

The second kind he called “bench

marbling,” since it was done at a bench, with

no trough. It is an adaptation of a bookbinder’s

technique of patterning leather. The wet

sheet was placed on a stiff board and liquid

pigments were dropped or spread over the

sheet, sometimes with Seymour lifting the

board from one edge and letting the colors

run over the sheet. Using this method,

bookbinders got a variety of effects with

their leathers, including what is called “tree

calf” or “tree marble,” so named because the

pattern came out looking like a tree trunk

with spreading branches. The word “marble”

in there was something of a misnomer if

one understood the traditional method of

marbling: transferring a pattern from the

surface of a size to a surface placed on it. The

surface receiving the pattern could be paper,

plastic, wood, cloth, leather, or any other

material to which the pigments would adhere.

This method, bench marbling, though

not real marbling, allowed Seymour to speed

up the process and produce more sheets per

day, and the final product was an attractive

decorated paper. But that wasn’t good enough

for Seymour because orders for his papers

exceeded his ability to churn them out. So he

mechanized the process.

To understand the whole process, you’ll

have to read my book. But in a nutshell:

Seymour devised a machine with a giant roll

of paper on one side. The machine dripped

pigments onto the paper, which was rolling

across a conveyor belt beneath the dripping

brushes. Of course, he could not get repeating

patterns with this method, but he got what he

called “splashes,” the randomly falling droplets

spreading in a variety of ways depending on

several variables: the distance the paper was

from the brushes that dropped the pigments;

the kinds of brushes he used; the kinds of

pigments; the chemicals he mixed with the

pigments; the angle of the drops; the density of

the drops; the size of the drops; the mixture of

colors (one, two, three, or more); whether the

sheet had a wash or two on it or was just plain

white; and so forth. It was an ingenious device

that produced some lovely papers.

Not all the papers were attractive. It

depended on the mixture and density of colors

and the other variables. But most of them were

charming, and they were clearly one-of-a-kind.

So they gave the appearance of a handmade

product, and the bookbinders and publishers

who were Seymour’s main customers loved

them and bought them by the ream.

Some of his customers were paper

distributors and artist-supply companies, so

when they marketed his papers, they gave

them numbers and names of the companies,

obscuring their origin. For example, Samuel

Jones & Co. distributed the papers under

their own numbers and called them “Parian

marbles”; they called them Butterfly Brand

papers. E. Becker Ltd. of London advertised

them as “their own” papers, and called them

“Ever Best Fancy Papers.” So Seymour got no

credit for his work.

Seymour himself called these machinemade

papers “Art Marbles.” With the first word

he meant “artificial,” recognizing that they

were not real marbled sheets.

The Oak Knoll book has 20 original samples

tipped in – a good place to see what they

looked like. I think you’ll recognize them. The

story is much more complex than this brief

summary indicates, but it is worth knowing

about trough, bench, and machine marbling,

three different methods of decorating paper.

FOR BEGINNERS

Mary Tasillo is a papermaker, book artist, and

mixed media maven based in Philadelphia. She

works at the Center for the Conservation of Art

and Historic Artifacts, and teaches workshops

nationally. Mary’s topic today is wet collage and

inclusions.

What happens when you incorporate dry

materials into your wet paper pieces? Suppose

you have some small scraps of a patterned red

paper you adore that would look stellar in the

maroon sheets you are now pulling. You can

collage these scraps into your paper.

First, however, you’ll want to test the paper

to see whether or not the color bleeds. Dip

a small piece or corner in water; then press

it briefly between heavy pellon, white scrap

paper, or blotter, and see whether the color

transfers. If no color transfers, you’re good to

go. But if it does, you have some decisions to

make. Some bleed may be okay with you, but

you should be aware that this color will bleed

through your sheet of paper. The color will also

transfer to the pellon or felts that come into

contact with the wet sheet, and quite possibly,

depending on the amount of bleeding, onto

other sheets that you’ve couched or pressed on

top. Also watch out for whether or not you see

lateral bleeding. If the color not only transfers

to your test material but also spreads out

beyond the edges of the paper scrap, that color

is going to spread out in your collage as well.

If you are considering using materials

that bleed, also take care in choosing a drying

method. Do you want that red to offset onto

your drying blotters? Or is this sheet a better

candidate for drying on a board or on its

pellon?

Happily, our hypothetical piece of red

paper does not bleed at all. We’ve pulled a base

sheet. We have two methods at our disposal

for incorporating our collage piece: adhesive or

non-adhesive.

To include the piece without adhesive use,

wet the red piece of paper – wet it thoroughly

by dunking in water or using a spray bottle.

This will reduce buckling as our collage dries;

since paper expands when it’s wet and shrinks

as it dries, we want to keep all elements of our

sheet of paper behaving similarly.

Next, trap the red paper on the base sheet

with a new layer of pulp. Form a second sheet

and pull out an area of pulp that will create a

window to expose the center of your inclusion.

Couch this layer on top of your base sheet

and inclusion. Ensure that the edges of your

inclusion are covered completely. An alternate

method to creating this window to showcase

your inclusion is to hold a pellon or craft foam

stencil on your mould as you form your second

layer, removing the stencil once the water has

drained from the sheet. If you are using thin,

translucent veil layers, you might also cover

the entire inclusion with this second layer,

allowing your inclusion to be slightly muted or

obscured by the pulp. Just keep in mind that

your veil layer might be more opaque once it

dries than it appears when wet.

An adhesive method is recommended for

larger inclusions or if you want some edges

of your inclusion exposed. Use a thin methyl

cellulose mixture to adhere the addition to the

base sheet either by brushing it onto the back

of the sheet of red paper or by dipping the red

sheet into a dish of methyl cellulose.

You can include your own prints and

drawings into your work if you’ve used inks

that are waterproof. Photocopies and laser

prints also work well. However, avoid inkjetprinted

items as they will bleed. You might

also try to incorporate slightly dimensional objects

such as lace, rickrack, buttons, or string.

Dip the string directly into your vat to pick

up a layer of pulp and then lay it across your

sheet. You’ve just added your inclusion and

veil layer in one fell swoop. Remember that

when adding dimensional objects, you should

consider pressing these sheets separately and

using suitable drying methods.

For some tips on including plant materials,

take a look at Marilyn Sward’s column in

Hand Papermaking Newsletter, Number 68.

Don’t be surprised if not every sheet

comes out as planned at first. It takes time

to learn to predict how a wet collage will look

when dry. With these tricks at your disposal,

though, you will be able to turn each sheet into

a piece of art.

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 January Newsletter is

November 7. Contact each facility directly for

additional information or a full schedule.

CLASSES AND WORKSHOPS

Arrowmont School of Arts and Crafts, Gatlinburg,

TN, (865) 436-5860, www.arrowmont.

org. Classes and workshops in a variety of

disciplines, including papermaking.

Art New England, Bennington, VT, (617)

879-7175, www.massartplus.org/ane, Nancy.

Mccarthy@massart.edu. Week-long summer

workshops in a range of media.

Asheville BookWorks, Asheville, NC, (828)

255-8444, www.bookworksasheville.com.

Hands-on workshops including bookbinding,

printmaking, decorative paper, and basic

papermaking.

Atelier Cirkel, Brasschaat, Belgium, 0032-3

633 05 89, www.ateliercirkel.be.

Papierscheppen, Mondays, October 8-November

19, with Denies Van Loon. Learn to work

with several basic fibers and experiment with

a variety of additives, culminating in your

own personal project, such as book structures,

sculptural work, or collages.

The Banff Centre, Banff, Alberta, Canada,

(800) 565-9989 or (403) 762-6180,

www.banffcentre.ca. Contact wendy_

tokaryk@banffcentre.ca for registration info.

Bear Creek Paperworks, Columbia, MO, (573)

442-3360, www.bearcreekpaperworks.com.

Workshops in paper and book arts; some

workshops can be taken for academic credit

through Central Methodist University. Contact

Leandra Spangler at leandra@bearcreekpaper

works.com for more information.

Brookfield Craft Center, Brookfield, CT, (203)

775-4526, www.brookfieldcraftcenter.org.

Workshops at a colonial vintage campus 75

miles north of New York City.

Pulp Painted Vessels, October 13-14, with Shannon

Brock. Explore sculptural and image making

possibilities of handmade paper vessels

using high shrinkage abaca, armatures, and

finely beaten pigmented pulp.

John C. Campbell Folk School, Brasstown, NC,

(704) 837-2775, www.folkschool.org. Classes in

papermaking and other crafts in the mountains

of western North Carolina.

Cinderella Papers, October 21-26, with Bob

Meadows and Joyce Sievers. Experiment with

a wide variety of surface techniques using

watercolor, gesso, spackle, markers, stamps,

and more; utilize these papers in several book

formats.

Recycling – Paper Surprises!, April 20-26, 2008,

with Rajeania Snider. Recycle your junk mail

and plant materials into unique stationery and

books, utilizing basic papermaking techniques

and learn to build your own equipment.

Making Paper for Small Projects, May 11-17,

2008, with Claudia Lee. Make your own

mould and deckle for forming sheets from traditional

fibers, recycled materials, and plants,

then turn these sheets into a variety of objects.

Canadian Bookbinders and Book Artists Guild,

Toronto, ON, (416) 581-1071, cbbag@ccbag.ca,

www.cbbag.ca. Book and paper workshops located

on-site in Toronto and in off-site studios.

Carriage House Paper, Brooklyn, NY, (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, New York, NY, (212) 481-

0295, www.centerforbookarts.org. Dozens of

book and paper workshops offered in midtown

Manhattan.

Cutting for Design, October 6-7, with Beatrice

Coron. Learn to use papercutting techniques

as imagery and tools for stenciling and experiment

with 3D structures for artist books.

Columbia College Chicago Center for Book

and Paper Arts, Chicago, IL, (312) 344-6630,

www.bookandpaper.org. Papermaking classes

in spacious downtown studios.

Paper Narrative with Beginning Papermaking,

October 27-28, with Pam Paulsrud. Using various

paper fibers, pigmented pulps, stencils,

custom deckles, and Western sheet forming

techniques, explore hand papermaking as an

art-making medium.

Intro to Japanese Papermaking & Bookbinding,

November 17-18, with Aaron Kohl. Delve into

the materials and techniques used to produce

Japanese style paper using hand beaten kozo

and stab bound books.

Katazome: Rice Paste Resist, November 3, with

Akemi Nakano Cohn. Create images on washi

using this rice paste resist method with paint.

Cottage Industry Technology Center, 20 Russet

St., SSS Village, 1811 Marikina City, Philippines,

(632) 942-3974, LorEto.DA@gmail.com

or bookendshere2002@yahoo.com.

Dieu Donné Papermill, New York, NY, (212)

226-0573, www.dieudonne.org. Beginning and

advanced papermaking classes for adults and

children.

Basic Papermaking, October 3, November 7, or

December 19, with staff instructor. Learn the

basic papermaking process, including how to

make paper at home.

Open Studio, October 15, November 12, or

December 10, with staff instructor. Experiment

on your own with studio pulps, making sheets

up to 11 x 14 inches.

Frogman’s Press & Gallery, Beresford, SD,

(605) 763-5082, www.frogmans.net.

Fuller Craft Museum, Brockton, MA, (508)

588-6000, www.fullercraft.org. Presenting a

series of workshops and lectures in conjunction

with the current Pulp Function exhibit.

Paper Cutting, Dec 1, with Ann Kroncik.

Grafton Arts Fest, Grafton, Australia. (02)

6643 1528 or artsfestgrafton@bigpond.com.

Spring and fall workshops in a range of media.

From Paper to Book, October 1-7, with Gail

Stiffe. Make your own mould and deckle and

use recycled and plant fiber pulps to produce

art papers, which you will then bind in four

different ways.

The Hall of Awa Japanese Handmade Paper,

141 Kawahigashi, Yamakawa-cho, Yoshinogawashi,

Tokushima 779-3401, Japan, fax 81-883-

42-6085, www.awagami.com.

Haystack Mountain School of Crafts, Deer Isle,

ME, (207) 348-2306, www.haystack-mtn.org.

Workshops in various disciplines, including

papermaking and book arts.

Historic RittenhouseTown, Philadelphia, PA,

(215) 843-2228, www.rittenhousetown.org.

Summer paper arts workshop series at the

site of America’s first paper mill. For further

information, call (215) 438-5711 or email

programs@rittenhousetown.org.

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, Oakland, CA, (510) 839-

5268, www.magnoliapaper.com. Workshops in

papermaking, printmaking, and book arts.

Minnesota Center for Book Arts, Minneapolis,

MN, (612) 215-2520, www.mnbookarts.org.

Classes at the Open Book center for book and

literary arts.

Japanese Papermaking: Sparkling, Brilliant, and

Bright, October 6-7, with Mandy Brannan.

Cook, beat, and pigment kozo and gampi fibers

to stretch the idea of papermaking beyond

the norm.

Marbling Open Studio, October 20, with Lin

Lacy. Bring your own paint and paper; everything

else is supplied during this self-directed

evening.

New Directions with Handmade Paper Using

Text and Images, October 22, with Mandy Brannan.

Combine your favorite handmade papers

with small pieces of printed prose, poetry,

maps, and printed diagrams; create backgrounds

that will enhance your collages.

Paper Circle, Nelsonville, OH, (740) 753-3374,

www.papercircle.org, papercircle@frognet.net.

Call or e-mail for information about upcoming

paper classes this fall.

The Paper Studio, Tempe, AZ, (480) 557-5700,

www.paperstudio.com. Classes in book arts,

papermaking, printmaking, and alternative

photographic processes.

Papermaking from the Garden & Grocery, October

20 or 21, with Cecile Webster. Make paper

from grocery store and garden items such as

artichoke leaves, scallions, celery, pineapple

tops, corn husks, rosemary and other fibers,

taking home a collection of decorative sheets.

The Papertrail, Waterloo, Ontario, Canada,

(800) 421-6826, www.papertrail.ca. Classes in

papermaking, marbling, and related arts and

studio rental scheduled on an as-needed basis.

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.

Paper Jewelry, December 1-2, with Babsi Daum,

Du Fei, Christina Leitner, and Andrea Schreiber.

Work together with four artists to create

one piece of paper jewelry.

Penland School, Penland, NC, (828) 765-2359,

www.penland.org. A full program of craft

workshops, including papermaking.

Peters Valley Craft Center, Layton, NJ, (973)

948-5200, www.pvcrafts.org. Workshops in

papermaking and a variety of craft.

Pyramid Atlantic, Silver Spring, MD, (301)

608-9101, www.pyramidatlanticartcenter.org.

Workshops in papermaking, printmaking, and

book arts.

Non-Adhesive Paper Manipulation: Folding, Scoring,

Tearing, and Embossing, October 2. Using

wet and dry methods develop new skills or

refining these skills that are intrinsic to all the

book arts.

Non-Adhesive Paper Manipulation: Paper Cutting

and Punching, October 9. Discuss a variety

of approaches, procedures, hand tools, tool

maintenance, handling, and ergonomics; learn

an easy method of sharpening and stropping

knives and chisels.

Introduction to Adhesives: Materials and Recipes,

October 16. Learn the various properties,

limitations, and aging properties of many

adhesives, as well as various methods for cooking

wheat starch paste and for preparation of

methylcellulose.

Introduction to Adhesives: Usage and Applications,

October 23. Building on skills learned

in the first session, discuss a variety of

approaches, applications, procedures, hand

tools, tool maintenance, adhesive handling,

and ergonomics; learn how to use adhesives

quickly and efficiently.

From Paper to Prints, October 8, 15, and 22,

with Gretchen Schermerhorn. Make papers

from fibers such as kozo, flax, cotton, and

abaca incorporating found objects and experimenting

with color; then use these papers for

various printmaking techniques.

One Night Papermaking, November 28, with

Andrea Hull. Get a quick introduction to Western

papermaking by learning to form sheets

and couching them for drying, with a taste of

optional enhancements – experimenting with

colors, inclusions, and pulp painting.

Pulp Painting, December 1-2, with Ellen Hill.

Learn to pull base sheets of paper (up to 18”

by 18”), and then explore a variety of materials

and techniques for creating pulp-painted images

that become part of the paper.

Robert C. Williams Paper Museum, Atlanta,

GA, (404) 894-5726, http://ipst.gatech.

edu/amp/.

Papermaking and Bookbinding Teacher’s Workshop

I, January 19, with Marcia Watt. Make

paste paper and learn four or five simple book

structures.

Papermaking and Bookbinding Teacher’s Workshop

II, February 9, with Berwyn Hung. Make

paper and learn an open spine binding.

Teacher’s Japanese Papermaking Workshop, June

23-27, with Berwyn Hung. Learn about the history

of Japanese papermaking and fiber preparation,

as well as getting hands-on experience

in sheet forming and Japanese stab bindings.

San Francisco Center for the Book, San Francisco,

CA, (415) 565-0545, www.sfcb.org. Book

arts classes and events year-round.

Paper Repair, September 23, with Erika Lindensmith.

Learn to make archival paper repairs

to your books and personal documents using

wheat starch paste, Japanese papers, and

methylcellulose.

Three Day Marbling Intensive, November 27-29,

with Mary Beaton. Learn the basics of paper

marbling in both the Turkish and Japanese

traditions, from preparing the materials to creating

the patterns to making the print on the

paper; experiment with traditional methods

and experimental and unusual techniques.

Pastepapers, November 30, with Leigh McLellan.

Produce colorful, vibrantly patterned

papers using multiple techniques of this

centuries-old process.

Sievers School of Fiber Arts, Washington

Island, WI 54246, (920) 847-2264, www.

sieversschool.com. Summer workshops on an

island in Lake Michigan.

Snow Farm, The New England Craft Program,

Williamsburg, MA (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, San Antonio,

TX, (210) 224-1848, www.swschool.org.

Classes at the Picante Paper Studio.

Advanced Studio Rental, most Wednesdays,

with Beck Whitehead. Use the Picante studio

and equipment. Some instruction is available

upon request.

Papermaking Saturday, one Saturday each

month, with Linda Draper. Create paper in

an environment that is somewhere between a

class and an open studio.

Making Your Own Paper, October 2 or November

6, with studio instructors. Learn how

to make paper the color, shape, and size you

want.

Kozo, October 4 and 11, with Linda Draper.

Learn the steps of preparing kozo into pulp

and beautiful sheets of paper.

Flax Plus Color, November 10, with Beck

Whitehead. Explore this beautiful fiber

that can be prepared in many ways, colors

beautifully, and is great for pulp painting and

sculptural work.

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

LA, (504) 674-9232.

Nagashasuki with Mary-Elaine C. Bernard,

selected Saturdays. Learn this Eastern method

of making paper and incorporate local plant

fibers.

Valley Ridge Art Studio, Muscoda, WI, (608)

250-5028, www.valleyridgeartstudio.com.

Workshops in papermaking, bookmaking,

photography, writing, etc.

West Dean College, Chichester, West Sussex,

U.K., (0)1243 811301, short.course@westdean.

org.uk, www.westdean.org.uk.

Hand Marbling on Paper and Fabric for Beginners,

February 15-17, with Christopher Rowlatt.

Create styles found in traditional marbling and

then explore the medium freely, learning to

prepare numerous pigment dye recipes.

An Introduction to Papermaking and Its Decorative

Uses, March 13-16, with Jonathan Korejko.

Learn to manipulate paper pulp, forming

sheets for decorative objects, adding materials

from the environment, and using the papers

in three-dimensional ways.

Recycled Papermaking for Artwork and Decorative

Objects, May 23-26, with Carol Farrow.

Experiment with paper pulps made from

re-used paper ephemera, learning about paper

selection, forming sheets, casting, laminating,

embossing, embedding, sizing, and coloring.

Wisconsin Center for Book and Paper

Arts, Madison, WI, (608) 284-8394,

wcpaperarts@hotmail.com, http://www.wibookandpaper.

org. Offering tutorial programs in

hand papermaking and decorative papers.

Women’s Studio Workshop, Rosendale, NY

12472, (845) 658-9133, info@wsworkshop.org.

Summer Arts Institute includes workshops in

papermaking, printmaking, book arts, photography,

and other media.

EVENTS

The Friends of Dard Hunter will meet in

Washington, DC, October 18-20 at the historic

Carnegie Institution. The keynote speaker is

Jane Milosch of the Renwick Gallery. Other

speakers include Sylvia Albro, Laurence

Barker, Colin Browne, Helen Hiebert, Drew

Luan Matott, and Samantha Sheesley. Small

groups will enjoy behind-the-scenes tours

the Folger Library, Library of Congress,

Smithsonian American Museum of Art,

National Museum of Women in the Arts,

National Archives, Smithsonian Renwick

Gallery, and more. Exhibitions and openings

will take place all over town. Pyramid Atlantic

will host studio demonstrations and a festive

reception. A trade fair and auction are also

planned; the event concludes with a gala

banquet. For last-minute information on

this conference email jill@littlewoodstudios.

com or call (800) 821-6604 or visit www.

friendsofdardhunter.org. Plan ahead for the

2008 meeting in Kona, Hawaii.

Asheville BookWorks hosts a lecture by Steve

Miller, coordinator of the MFA Program

in Book Arts at the University of Alabama,

on October 4 at 7:00 pm. In addition to

speaking about book arts and letterpress, he

will discuss his experiences with the Cuba

Book Projects, which has collaboratively

produced bilingual limited edition books with

printmakers, papermakers, and bookbinders

in Cuba. For more information visit www.

bookworksasheville.com.

The Fuller Craft Museum, Brockton, Massachusetts,

offers a Lecture Series by Pulp Function

artists, bringing the exhibitors together

with visitors to offer a richer context for viewing

the work. The Sunday afternoon lecturers

include Joyce Utting Schutter on October 7

and Anna Kronick on December 2. For details,

visit www.fullercraft.org or (508) 588-6000.

Dieu Donné Papermill is pleased to announce

the grand opening of its new space at 315 West

36th Street. Join in celebrating the move to

this 7,000 square foot ground floor location

of expanded space for their studio, gallery, and

archive, by coming to an Auction Event on

October 18. More information can be found at

www.dieudonne.org.

The 6th Annual Book Arts Jam in Los Altos

Hills, California is a one-day celebration,

bringing together those working in the allied

fields of letterpress printing, papermaking,

printmaking, photography, collage, and paper

decoration with audiences. The Jam encourages

visitors to learn, explore, and create

through demonstrations, hands-on projects,

and displays. Sponsored by Bay Area Book Artists

and Foothill College, the event takes place

on October 20, 2007. For more information,

contact info@bookartsjam.org or visit www.

bayareabookartists.org.

EXHIBITS

The Bank of England Museum in London

presents Security By Design, an exhibition

looking at the design of paper money over

the past three centuries. It will include a

section on papermaking with papermaking

demonstrations on select days. The

exhibit runs through October 26, 2007.

Further information can be found at www.

bankofengland.co.uk or by emailing

museum@bankofengland.co.uk.

Wood, Paper, Ink: Japanese and Chinese

Woodblocks from the Dard Hunter Collection,

is on view at the Robert C. Williams Paper

Museum in Atlanta September 4 through

December 14. This exhibition includes an array

of Japanese and Chinese woodblocks and

prints from the 16th-20th centuries and woodblocks

collected by Dard Hunter. For further

details call (404) 894-7840 or visit www.ipst.

edu/amp. In January, look for Against the Tide:

A Review of Three Independent American Presses,

focusing on contemporary American presses

that follow in the tradition of Dard Hunter.

Fiber Art International 2007, a juried exhibition

of contemporary fiber art, including handmade

paper, is on view at the Mint Museum

of Craft + Design in Charlotte, North Carolina,

from September 15 through February 24. It

will then move to The Clay Center for the Arts

and Sciences of West Virginia in Charleston in

April and travel through the summer of 2009.

For more information, visit www.fiberartinternational.

com.

A solo exhibition, Robbin Ami Silverberg:

Dobbin Books will be on display September

8-October 27 in Tübingen, Germany, at Galerie

DRUCK & BUCH. Visit www.druckundbuch.

de for details.

Fuller Craft Museum presents an exhibition

entitled Pulp Function curated by Lloyd Herman,

founding Director of the Smithsonian’s

Renwick Gallery. The exhibit runs through

January 6, 2008 at Fuller Craft Museum

in Brockton, Massachusetts, and will travel

through 2010, including the Plains Art Museum,

North Dakota and the James Michener

Museum, Pennsylvania. Art made from paper

pulp; recycled paper; cardboard; papier mache;

and cut, folded, or otherwise manipulated

paper will be featured. For more information

visit www.fullercraft.org.

Paper Circle in Nelsonville, Ohio, will be

exhibiting the work of several paper and book

artists. The work of Mary Manusos is on

display September 28-November 27. Following

will be the work of Jonathan Silbert from

November 30 to January 23 and Susan Urano

from January 25- March 26. Beth Holyoke

and Bob Lazuka will be featured in the gallery

in the spring and summer of 2008. For

more information or to view images of past

exhibitions, visit www.papercircle.org or call

(740) 753-3374.

Dieu Donné shows its inaugural “Per Square

Foot” Benefit Exhibition September 6-October

8 at its new gallery at 315 West 36th Street,

New York City. A grand opening reception

will occur on September 25, with an auction

of exhibition works to follow in October. The

show features 150 new works on handmade

paper, created by renowned and emerging

artists specifically for the event. Artists include

Lesley Dill, Arturo Herrera, Jim Hodges,

Willian Kentridge, Glenn Ligon, Kiki Smith,

Daniel Zeller, and many others. Complete

information is available at www.dieudonne.

org. A show of works by Polly Apfelbaum

entitled “Basic Divisions” will follow, running

October 13 through November 21.

The Fiber Art Center in Amherst, Massachusetts,

presents Fiber and the Book Artist II, an

invitational group exhibition featuring unique

books that utilize a spectrum of fiber art techniques,

including handmade and manipulated

paper. The exhibition runs through October

27. For more information, visit http://www.

fiberartcenter.com or call (413) 256-1818.

Book Artists’ Response to Death and Memory,

curated by Maria G. Pisano, will be at the

University of Wisconsin - Milwaukee, from

September 15 - November 2007. The exhibit

and the accompanying free lecture, will present

work of artists who use the book form,

some including handmade paper, to create

works dealing with death. These books are

powerful mementos, and even as they focus on

death, they commemorate life. For additional

information please contact Special Collections

at (414) 229-4345 or libspecial@uwm.edu.

Primarily Paper: An International Exhibition

featuring the work of Roberto Mannino,

Michelle Samour, and Peter Sowiski, and

Frasassi, a multimedia installation by Lynn

Sures, will be featured in the galleries at

Pyramid Atlantic Art Center in Silver Spring,

Maryland, from October 1 to November 1.

The artists of Primarily Paper incorporate

paper into their practice in ways that reveal

the versatility and beauty of this material.

Frasassi evokes the ambience of the depths of

a cave through sight and sound. The opening

reception and artists’ talk will be on October

6. Visit www.pyramidatlanticartcenter.org for

details and gallery hours.

The Friends of Dard Hunter Juried Exhibition

will be on display in the Adams Bank lobby at

1821 Georgia Avenue in Silver Spring, Maryland

from October 10 through November 7.

Juried by Mina Takahashi, this exhibition highlights

the work of members of the Friends. An

opening reception will be held in conjunction

with the organization’s annual conference.

Details at www.friendsofdardhunter.org.

Paper Awareness XI, an exhibition of the Guild

of Papermakers, will be held from October 14

through November 10 at the Cheltenham Art

Center, just outside of Philadelphia, Pennsylvania.

An opening reception will be held

on October 14. The exhibition will showcase

a broad range of both 2D and 3D work in

handmade paper by over 40 members of the

Guild, which has been bringing national artists

together since 1991 to share their artistic and

technical experiences. For more information

on the exhibition visit www.cheltenhamarts.

org or contact Winnie Radolan, Guild Founding

Director, at winnie.r@verizon.net.

Papel Mexicano opens at the Center for Book

and Paper, Columbia College, Chicago, on

November 3 and runs through December 15.

A wide-ranging display of paper from Mexico

includes a Dia de los Muertos altar in honor

of Dard Hunter, painted creatures and masks,

amate figures and a plethora of papel picado.

Contributions of Chicago Mexican-Americans

will also be exhibited with the help of

Columbia’s Latino Alliance members. An

opening reception will be held November 2

from 5:30-7:30 pm. For more information, visit

www.colum.edu/book_and_paper or call the

Center at (312) 344-6630.

Papierwespe’s Paper Jewelry exhibition presents

a selection of jewelry made from artists

around the world. The exhibition will be open

December 1-3 and 7-9 in downtown Vienna,

Austria. For further information, Paperwespe

can be contacted at (0676) 77-33-153,

office@papierwespe.at, or www.papierwespe.at.

Water Ways: Interpretations by Nancy Cohen

is a 50-foot sculptural installation on display

until January 6 at The Noyes Museum of Art

in Oceanville, New Jersey. In her work, Cohen

uses hundreds of translucent handmade

papers and marsh grasses to create organic

structures, shaped over a meandering wire

armature, evoking the beauty and movement

of waterways. Visit www.noyesmuseum.org or

call (609) 652-8848.

Of Paper continues at Montpelier Arts Center

in Laurel, Maryland, until October 26, featuring

the work of Pat Alexander, Leslie Berns,

Elizabeth Buger, Irene Chan, Leah Cooper,

Dick D’Agostino, Georgia Deal, Amanda Degener,

Helen Frederick, Ben Furgal, Tai Hwa

Goh, Ellen Hill, Brece Honeycutt, Ellen Mears

Kennedy, Anil Revri, Gretchen Schermerhorn,

and Veronica Szalus. For gallery hours and

directions call (301) 953-1993.

CALLS FOR ENTRIES

The Robert C. Williams Paper Museum is

pleased to announce the opening of applications

for our newest juried exhibition: The

Paper Runway. The juried exhibition will

feature 40 individual works of clothing and

accessories made from handmade paper.

The exhibit will be displayed at the Atlanta

Hartsfield-Jackson International Airport from

September 2008 to August 2009. The Museo

des Belles Artes (the National Museum of Fine

Arts) in Santiago, Chile in will feature the exhibition

in 2009. Submission information and

entry form can be found on the Museum’s web

site at www.ipst.gatech.edu/amp under exhibitions.

Entries are due November 30, 2007. For

additional information, contact Cindy Bowden

at cindy.bowden@ipst.gatech.edu.

The Susan Hensel Gallery in Minneapolis

solicits entries for Reader’s Art 8: Handmade

With Care. The gallery is seeking artists

books/bookobjects that have the emphasis

on the mark of the hand, with special weight

given to submissions using handmade paper.

The submission deadline is January 15, 2008

and the show will take place in March and

April. For complete submission

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.

Art Administration, Archive, Gallery, and Studio

Internship positions are available for Fall

2007 at Dieu Donné Papermill, a non-profit

artist workspace dedicated to contemporary art

in the hand papermaking process in New York

City. Participants earn credits toward classes

and studio time and university or high school

credit may be available through participating

institutions. Visit www.dieudonne.org for

complete details.

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.

Women’s Studio Workshop offers several opportunities

for artists working in papermaking

and book arts. A six-month internship

program gives young artists creative support,

culminating in an exhibition, in return for

their assistance with the on-going operations

of the facility, including assisting WSW’s

Artists-in-Residence with their projects and

participating in WSW’s Summer Arts Institute

classes as studio assistants. The deadline for

Spring Term is October 15, and March 15 is the

deadline for Fall Term. Studio fellowships are

designed to provide concentrated work time

for artists to explore new ideas in a dynamic

and supportive community of women artists.

For details on these and other programs, visit

www.wsworkshop.org.

TRAVEL

Carriage House Paper and The Research

Institute of Paper History are very excited

to sponsor A Papermaker’s Tour of China,

November 1-19, 2007. Led by Donna Koretsky

and Elaine Koretsky, this expedition focuses on

traditional hand papermaking and printing in

Sichuan and Yunnan Provinces, along with the

fascinating cultures of these areas. Elaine has

documented old papermaking in 43 villages in

China since 1976, but some areas have already

lost their traditional ways. She is excited to

visit five more remote villages where paper is

still made with the old methods on this trip.

For complete information about the trip, contact:

donna@carriagehousepaper.com.

PUBLICATIONS

Velma Bolyard’s story of gathering up and

making paper from birds’ nests, 24 Nests,

has been published letterpress by Carol Blinn

at Warwick Press. Each volume includes a

sample of the paper. The prospectus can be

viewed at www.warwickpress.com.

The Fall 2007 issue of Tucson Home Magazine

features handmade paper in “3 of a Kind: Meet

a Trio of Local Paper Artists” which includes

the work of Junardi Armstrong, Catherine

Nash, and Gertrude Wait. For more information

about this publication, visit www.tusconhomemagazine.

com.

MISCELLANEOUS

Robbin Ami Silverberg would like to announce

that Dobbin Mill & Dobbin Books

will re-open its doors this fall in a newly built,

more beautiful building at the old location:

50-52 Dobbin Street. Same telephone number

– (718) 388-9631 – and email address:

dobbinmill@earthlink.net.

Dieu Donné Papermill has moved to the new

address of 315 West 36th Street, Suite 101, New

York, NY 10018-6515 in Manhattan. Phone

lines remain the same: (212) 226-0573.

Ann Alaia Woods, a contributing artist to the

forthcoming Hand Papermaking Calligraphy

and Handmade Paper Portfolio, has been

named the World Champ PEN in the World

Handwriting Contest for the third year in a

row.

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: 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 www.

handpapermaking.org.

SPECIAL THANKS

Hand Papermaking would like to thank the following

people and organizations who have made

direct contributions to further our mission. 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.

Benefactors: The Fifth Floor Foundation,

Barbara Lippman, David Marshall & Alan

Wiesenthal. Underwriters: Charles E. Morgan,

Peter Newland Fund of the Greater Everett

Community Foundation, John L. Risseeuw,

Marilyn Sward. Sponsors: Jane M. Farmer,

Peter Hopkins, Abby & Mitch Leigh, Nancy

Norton Tomasko, Anil Revri, Kimberly

Schenck, Scott R. Skinner, Beck Whitehead,

Pamela S. Wood. Donors: Grimanesa Amoros,

Cathleen A. Baker, Eugenie Barron, Simon

& Kimberly Blattner, Nita Colgate, William J.

Dane, Mona Dukess, Lori B. Goodman, Helen

Hiebert, Lois James, Kristin Kavanagh, Joyce

Kierejczyk, Betty L. Kjelson, Dianne L. Reeves,

Mary C. Schlosser, Marvin Spomer, R. H.

Starr, Jr., William J. Wagner, Marcia Widenor.

Supporters: Susan K. Abrams, Rochelle Brown,

Inge Bruggeman, Bertram Cohen, Wavell

Cowan, Amanda Degener, Linda Draper,

Martha Duran, Gail Fishberg, Eve Ingalls Von

Staden, Rick Johnson, Lou Kaufman, Betty

Kjelson, Hedi Kyle, Edwin Martin, Dennis

Morris, Patricia L. O’Neal, Andrea Peterson,

Agnes Schlenke, Kathleen Stevenson, Tom

Weideman, Ellie Winberg, Kathy Wosika.

Recognizing Hand Papermaking’s 20th

anniversary in 2006, the Board of Directors

pledged an initial gift of $10,000 to launch the

Hand Papermaking Endowment Fund, with

a challenge to match this gift by year’s end.

Exceeding this initial target, we now have over

$30,000 received or pledged toward our 2007 goal

of $40,000 thanks to the generosity of:

49er Books, Marjorie & Harold Alexander,

Martin Antonetti, Shirah Miriam (Mimi)

Aumann, Cathleen A. Baker, Tom Balbo,

Timothy Barrett, Sidney Berger, Marcia Blake,

Inge Bruggeman, Tom & Lore Burger, Nita

Colgate, Georgia Deal, Gail Deery, Jeanne M.

Drewes, Bryan C. Ellison, Jane Farmer, Helen

Frederick, Sara Gilfert, Susan Gosin, Helen

Hiebert, Peter Hopkins, Lois & Gordon James,

Julie Jones, Kristin Kavanagh, David Kimball,

Elaine Koretsky, Abby & Mitch Leigh, Barbara

Lippman, Winifred Lutz, Allegra Marquart,

David Marshall & Alan Wiesenthal, Anne and

Robert McKeown, Jesse Munn, Peter Newland

Fund of the Greater Everett Community

Foundation, Margaret Prentice, Preservation

Technologies L.P., Michelle Samour, Peter

Sowiski, R. H. Starr, Jr., Marilyn Sward, Betty

Sweren, Gibby Waitzkin, Tom Weideman,

Beck Whitehead, Pamela and Gary Wood.

Please consider becoming a Founding Contributor

to the endowment thereby assuring the long-term

future of Hand Papermaking. For more information

about this campaign, or to make a pledge,

contact Tom Bannister at (800) 821-6604 or visit

www.handpapermaking.org/Endowment.html.

Thank you!

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