HAND PAPERMAK ING

N E W S L E T T E R

Number 82, April 2008

Newsletter Editor: Shireen Holman Advertising & Listings: Mary Tasillo

Columnists: Cathleen A. Baker, Sidney Berger, Susan Gosin, Helen Hiebert, Elaine Koretsky, Winifred Radolan, Mary Tasillo, Pamela Wood.

Hand Papermaking Newsletter is published four

times per year. In summer and winter it is mailed

with the journal Hand Papermaking, and in

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The deadline for the next newsletter (July 2008)

is May 15. Please direct all correspondence to the

address above. We encourage letters from our

subscribers on any relevant topic. We also solicit

comments on articles in Hand Papermaking

magazine, questions or remarks for newsletter

columnists, and news of special events or activities.

Classified ads are 75 cents per word. Rates for

display ads are available upon request.

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

organization. Staff: Tom Bannister, Executive

Director; Mina Takahashi, Magazine Editor;

Shireen Holman, Newsletter Editor; Mary Tasillo,

Ads & Listings; Deborah Selk, Portfolio Binder.

Board of Directors: Cathleen A. Baker, Sidney

Berger, Shannon Brock, Inge Bruggeman, Georgia

Deal, Gail Deery, Jim Escalante, Helen Hiebert,

Ann Marie Kennedy, Barbara Lippman, Andrea

Peterson, Margaret Prentice, John Risseeuw, Beck

Whitehead. Board of Advisors: Timothy Barrett,

Simon Blattner, Gregor R. Campbell, Mindell

Dubansky, Jane M. Farmer, Helen C. Frederick,

Elaine Koretsky, James Sitter, Marilyn Sward,

Claire Van Vliet, James Yarnell. Co-founders:

Amanda Degener and Michael Durgin.

Dear Hand Papermaking Readers,

Jules Heller, artist, printmaker, papermaker, administrator, died on December 28, 2007,

in Scottsdale, Arizona. Born in New York in 1919, Jules Heller was the well-known author of

Papermaking, the first book to examine papermaking as a fine art medium, in 1978. He was

also the author of Printmaking Today, the first complete studio manual for printmaking, in

1958. A life-long printmaker and Dean-emeritus of Arizona State University, Jules taught at

the University of Southern California from 1947 to 1961, after which he became the founding

Dean of the College of Fine Arts at Penn State University. In 1969, he went to York University

in Toronto to found the first Canadian College of Fine Arts, and in 1976 came to Arizona

State University.

Upon arriving at ASU, Jules was completing the text of Papermaking, and his enthusiasm

for papermaking led him to establish a well-equipped mill in basement rooms on campus,

from which he taught graduate students. When Dean’s duties pulled him away from teaching,

his students taught other students. In 1980, he was instrumental in creating a faculty

position in book arts, which I was honored to fill. I began teaching papermaking in his mill

a few years later, and have done so ever since. He was always generous and supportive of all

papermaking activities at ASU.

The Jules Heller Print Study Room at the Arizona State University Art Museum is named

in his honor, and includes more than 4,000 prints. It may be viewed at: http://asuartmuseum.

asu.edu/collections/prcat.htm.

Jules is survived by his wife Gloria and daughters Nancy and Jill. He will be missed for his

commitment not only to the printed arts and paper, but to art that has a social and political

purpose. Many who knew Jules Heller described him as a “gentleman,” and remark that he

also will be greatly missed for his fine sense of humor and wit.

Sincerely,

John Risseeuw

Dear Friends,

As many of you already know, Aiko’s Art Materials will close on April 11, 2008. I appreciate

all that the book, paper and print communities have done for us during our 54 year existence.

It has been a pleasure meeting so many wonderful people, and I am hopeful that our paths

will cross again. Your support has been tremendous, and your friendship has truly been

heartwarming.

Thank you and best wishes,

Chuck Izui / Aiko’s Art Materials

UPCOMING!

Our 10th Annual Online Auction awaits your bidding April 19-26... see page 19.

An exclusive northeastern event supports Hand Papermaking June 29 ... see page 16.

The Summer 2008 issue spotlights the working artist, including an extensive

Papermaking Studio Guide and three exceptional paper samples... see a preview at

www.handpapermaking.org/UpcomingMag.html

ALONG THE PAPER ROAD...

This regular feature offers paper musings from

Elaine Koretsky—renowned paper historian,

researcher, and traveler. Here Elaine describes

the production of mammoth sheets of paper in

southwestern China.

Last November I embarked upon a

new project along the paper road,

sparked by a newspaper article describing

a papermaking village in the Gaoling

Mountains in western Yunnan Province. The

article was written five years ago, and despite

how rapidly traditions seem to be dying out

throughout China, I thought it worthwhile to

track it down. Fortunately, my good friends

in China enjoy a challenge. They found

out that the village was somewhere in the

vicinity of Teng Chong, which had been an

important center for hand papermaking

until fairly recently, when the Teng Chong

Xuan Zhi Mill closed down. I had visited

there and documented their papermaking in

1993 and 1994, but I was not aware of other

papermaking activity in that area.

Since I do not travel half way around

the world to visit only one village, I planned

other investigations as well. Therefore, I

arranged for a month of ambitious travel.

First we flew non-stop for sixteen hours

from New York to Hong Kong where we

thoroughly enjoyed five days with our lovely

friends Han Rui and Guang Lin at their

spacious apartment at the new Hong Kong

University of Science and Technology, where

Guang Lin is now a Professor. The impressive

academic complex is entirely vertical,

built on the side of a cliff, sloping down to

the sea. It was reminiscent of sojourns in

Darjeeling and Gangtok, where our hotels

were just hanging off the edge of the mountains.

Our friends had spent a summer at

our house the previous year, after Guang

Lin received his PhD at Harvard in Chinese

Economic History, and kept insisting that

we come to Hong Kong to visit them.

In advance, Han Rui did some research

for me on the subject of tung cao zhi, the socalled

“rice paper” that is neither paper nor

made from rice.1 She found that the Hong

Kong Museum of Art had a display of “rice

paper” paintings, and accompanied us to

see the works and talk with the conservators

there. They showed me a magnificent catalog

of such paintings that had been exhibited

recently at the Guangzhou Art Museum.

That was very fortunate, because Guangzhou

was our next stop, and I had already arranged

for our wonderful friend and guide, Wu Zeng

Ou, to meet us there around noon to help

with explorations for another several days.

Wu comes from Guizhou Province, but he is

ready to go anywhere.

Sidney and I took the train from Hong

Kong to Guangzhou; Wu flew in from the

Guiyang airport in Guizhou, and despite

joint train and plane delays, we managed

to find each other at the cavernous Guangzhou

Railway station. Because of the long

delays, however, we only had time to take

a taxi to the museum and spend an hour

there, as we were already booked on a late

afternoon flight to Huangshan in Anhui

Province. But it was a very productive hour.

We met Dr. Cheng Cunjie, Director of the

Museum, and looked at the pith paintings

that were still on view, although their special

exhibition had already ended. I asked Dr.

Cheng if there was still a catalog available

for purchase. He disappeared immediately,

and returned shortly to present me with the

handsome catalog that he specially inscribed

with a message to me.

Then he showed us something quite

unexpected. In 2002 he had seen the tung

cao zhi made in a small village in Guizhou

Province, and had filmed the process. He

projected the CD for us, and I was astounded.

He had seen the same process that I

documented in 1987 in Taiwan, and now has

disappeared from there. It was an extraordinary

coincidence that our friend Wu was

with us at the museum, since he could find

out if the tung cao zhi is still being made in

Guizhou. If so, I shall soon be planning my

next expedition to China.

We managed to arrive at the airport in

time for our flight to Huangshan, but it was

a close call. When we reached the Huangshan

airport, Wu surveyed the taxi stand for

a good prospect to drive us through Anhui

Province for four days, including Jing Xian,

the site of our 1982 arrest by the People’s

Police for the crime of visiting a commune

where we photographed the making of

bamboo toilet paper. However, I had learned

from a friend, Nancy Tomasko2, that now it

was much easier to visit the hand papermakers

of Jing County (note: Xian=County

in Chinese).

Nancy told me to look for the papermaking

fibers drying on the hillsides as

we approached Jing County. I followed her

advice, kept my eyes fixed on the side of the

road, and spotted the spectacular scene of

qing tan3 and rice straw fiber spread up a

high hill. Nearby we noticed a building operated

by the Red Star Paper Co. that houses

a hand papermaking demonstration of xuan

zhi, the fine paper made for calligraphy and

painting. As I traveled throughout China,

I noticed that the Chinese government is

promoting all kinds of cultural activities and

interesting processes that could contribute

to tourism. I watched the papermaking

demonstration, but my real goal was to visit

hand papermakers in their own paper mills.

I had the name of a particular papermaker,

and a vague address, and we started

driving through Ding Jia Qiao village. We

never found the person we were seeking,

but suddenly came to a street where packs

of paper were drying on the ground next to

a row of buildings. Immediately we stopped

to investigate and discovered we had stumbled

upon the Ching Qing paper mill that

was making enormous sheets of xuan zhi.

There was no objection to our visit and

our photography of their work. Each sheet

measured 17 x 7.5 feet, requiring a team of

fourteen papermakers. It was incredible,

and I filmed the entire process of producing

these mammoth sheets.

Fourteen men surrounded the huge

vat, five on each long side, and one or two

on each end. One man at the end was the

leader and shouted the commands.

The fiber, which was the inner bark of

qing tan, was pumped directly into the vat.

A wooden framework, with two detachable

deckle sticks, supported the massive

bamboo screen. On one long edge I noticed

three large metal rings attached. At a signal,

the workers lowered the front edge of the

mould into the vat and scooped up a layer

of pulp. Then they leveled out the pulp

on the surface of the screen, threw off the

excess water, and made a second dip in the

opposite direction, again throwing off the

excess water. Next, they raised the mould

from the vat, removed it and left it propped

up against the vat, while they picked up the

screen, folding it somewhat to form a cradle

with the sheet inside; it was carried by six

men on each long side to the couching area.

I observed hooks suspended from

pulleys close to the ceiling; quickly three

workers placed the hooks into the rings on

the edge of the screen and the others pulled

on ropes that raised the hooked edge of the

screen up to the ceiling.

The vertically hanging screen now slid

on tracks so that the bottom of the screen

was parallel to the long edge of the post. The

screen was lowered slightly so that workers

could place the newly formed sheet of paper

correctly on the edge of the post. Gradually the

screen was lowered so that it fell properly on

the previously couched sheets of paper. When

the non-couched long edge of the screen is a

few inches above the long edge of the post, the

hooks are removed and the long edge of the

screen is manually lowered in place.

Then the

edge of the

screen that was

first lowered

on the post is

pulled up and

across the post

manually until

the screen is

fully removed.

Finally, the

screen is carried

back in the

form of a cradle

by six men on

each side and

returned to the

frame in the vat to start the sheet formation

process again.

When approximately 160 sheets have

been made, the post is pressed while in

place, with an arrangement that utilizes

blocks of wood, steel beams, and a group of

hydraulic jacks placed at intervals around

the post. After pressing, the post is divided

into blocks about four inches thick and put

out on the road alongside the building to dry

out until the next day. We returned the next

day to see the last step, watching a worker

carefully pull one damp sheet at a time

from the block of papers that was standing

against a wall. He folded each sheet as he

removed it, and handed it to another worker

who brought it into the drying room. There

I saw two men brushing the huge sheet

onto the heated wall; one man stood on sawhorses

and brushed the top half of the sheet;

the other stood on the ground and worked

on the lower half.

I purchased four of these huge sheets, at

a cost of 500 yuan each, totaling $278.00,

which was understandably expensive.

However, I never bargain with papermakers

when I buy their paper or tools; I appreciate

their hard work. Perhaps I overpaid this

time, because the boss of the paper mill

took us out for lunch, and then gave me a

huge bundle of 100 sheets of handmade paper,

27.5 x 53 inches, with watermarks along

one edge of each sheet. All of the paper

was made entirely from qing tan fiber, a specialty

of Jing County, which I have not seen

used in other papermaking areas of China.

Many Chinese artists and calligraphers

maintain that the best xuan zhi is made in

Jing County.

We visited other workshops in Jing County

where I documented procedures of sizing

and coloring the handmade paper and also

various ways of producing both decorative

and decorated papers. Of course I purchased

a lot more paper.

After leaving Anhui Province we flew

to Kunming, hoping to find the paper mill

in the Gaoling Mountains. In Kunming six

other adventurous people joined our expedition.

We had some extraordinary experiences,

perhaps more than our participants expected.

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 discusses techniques for making watermarks.

Someone viewing a watermarked sheet

of paper for the first time will inevitably

wonder how it got there (at least we

papermakers will). If you take a look at a

mould with a watermarked design on it

and compare it to a freshly made piece of

paper created on that mould, you can start

to understand the magic: the sheet of paper

looks embossed (or debossed if the design

was recessed in the mould, which is the case

in many light and shade watermarks). When

a sheet of paper is formed, the fibers are

evenly dispersed across the mould, creating

a flat sheet of paper. If wires or other

materials are sewn or adhered to the mould

surface, they protrude into the sheet when it

is formed, making it thinner in those areas.

After pressing and drying, however, the

embossed (or debossed) pattern is no longer

as visible—the sheets appear to be flat and

the images are only visible when viewed in a

certain light.

Perhaps the simplest watermark is the

papermaker’s tear (as in cry, not rip), which

looks like a watermark in a finished sheet of

paper. Technically it isn’t a watermark since

it is not created by attaching something to

the mould surface. The tear is created by

a drop of water hitting the surface of a wet

sheet of paper and displacing the fiber.

Traditional watermarks were made by

sewing or soldering wire to the surface of

the papermaking mould. These types of

watermarks are fairly permanent. Sewing

wire to the mould is tedious, and once the

watermark is attached, it takes a long time

to remove, so why go to the effort unless

you plan to keep it on there permanently?

I traveled to Wookey Hole Mill in England

this past summer, where I saw moulds from

as early as the 1930s. When a company

needed to have paper made, they ordered

a mould with their watermark on it and all

of the sheets made on the mould had that

mark. You can imagine the stockpile of

moulds and the expense of making them all.

I was fortunate to find a set to purchase and

have been tediously removing the existing

watermark so that I can make my own work

with the mould.

Pulp preparation is very important for

watermarks, especially since watermarked

images are practically invisible. My favorite

pulp is cotton linter, 1st or 2nd cut, slightly

overbeaten in my Hollander for two to three

hours. This cuts the fibers short so that they

fill in the little gaps of the watermark design.

I’ve also tried overbeaten abaca, which

is effective and makes for an even subtler

watermark due to the translucency of abaca.

I am not an expert in using Eastern fibers,

but I have seen many lovely and unique

watermarked papers made with them.

One technique I’ve experimented with

for a long time (adapted from a technique

I learned at Dieu DonnО Papermill when I

worked there) is creating a watermark with

a thin, flexible, adhesive-backed material.

This technique works especially well for

hard-edged precise line-drawn images.

There are a variety of materials you can use

for the actual watermark, which are all easy

to cut with an X-Acto knife and have an

adhesive backing which allows them to be

stuck to the mould. They come in several

forms: Buttercut, available from Carriage

House Paper; Sure Stamp, from Dharma

Trading Co. in California; or Craft Magnet,

available at your local craft store (Craft Magnet

is slightly tougher to cut).

The line drawing you start with should

be a single line if possible—with a continuous

image—so that you don’t end up with

many little pieces to attach to the mould.

Following are a series of steps I take in

preparing my watermark:

1. Using glue stick, tack a photocopied

drawing of your watermark to the reverse

side (the peel-off part) of the adhesivebacked

material.

2. Use a sharp blade to carefully cut out the

image. Remove the excess material and then

peel off the backing material along with your

photocopy. Your design will appear backwards

when you stick it to your mould, but after making

a sheet of paper it will be right-reading.

3. Position your watermark on a dry mould.

4. Make a sheet of paper. Your sheet should

be thick enough so that the design you’ve

attached is covered with pulp. Once you have

formed the sheet, you should see a faint outline

of the attached design. If the sheet is too

thin, you will end up with holes in the paper.

If it is too thick, you risk not being able to see

the watermark in the sheet.

So, what do you do with your sheets with

practically invisible images? There are many

artistic applications for water-marks, and here

are a few that I’ve seen: artwork displayed on a

light box; lamps or lanterns with watermarked

images on the shades; pages in a book—as

you lift the page, the light catches the watermark,

or if you have a watermarked sheet

in a light-colored paper on top of a darker

paper in the page behind it, the image will

be visible without illumination.

Another technique for watermarks is to

double couch a light-colored watermarked

sheet onto a darker sheet to reveal the image

without backlighting.

The original purpose of the watermark

is unknown, but the first watermarks were

often used as emblems or symbols rather

than an artistic feature within a sheet.

Historians today often use watermarks as

a way to identify when and where a sheet

of paper was made. Papermakers today can

inscribe their papers with their own secret

that historians from another generation will

be left to discover.

TEACHING HAND PAPERMAKING

Based in Philadelphia, Winifred Radolan operates

an itinerant teaching papermill, and has taught

papermaking to thousands of adults and children.

Winnie describes how she and a group of 6th

graders created a permanent paper sculpture for

their school.

In just a few minutes I’ll be packing my

pulp-mobile and heading for the Maurice

and Everett Haines 6th Grade Center, where

I’ve spent many of my winter teaching

days. It has been an unusual and refreshing

experience in that I rarely do twenty-day artist

residencies, and this is the first time I’ve

taught in a school in which the entire student

body is made up of 6th graders. Due

to the rapid expansion of families in the

well-heeled New Jersey community where

the school is located, the middle school was

bursting at the seams with students. The

township built a new facility and elected to

leave all the 6th graders at Haines. What a

splendid idea, as these young people don’t

experience the peer pressure to be more

mature than they are ready to be.

I am working with forty-four “Challenge

Art” elective students who are divided into

two groups, one that I see on “A-days” and

the other on “B-days,” for their one-hour

class period. In addition, either “A-day” or

“B-day” students may elect to work with me

during their lunch hour, which precedes

the regularly scheduled class, or stay after

school. So far, no one has chosen to bring

a lunch and spend that first hour with

me. But that time has proven to be most

beneficial for my organizing and setting up

the focus of the day’s activities. A handful

of really dedicated students stay after school

every day, and have really carried the project

forward while chattering incessantly about

6th grade matters!

During the planning meeting for this

residency I learned that the principal wished

for me to work with students to create a permanent

wall installation for the school out

of paper. The wall area where the piece is to

be mounted is at the end of a corridor and

by a busy door, but the principal seemed

most willing to have a Plexiglas box built to

protect the art.

Six of the residency days fell in December

before Christmas break. I decided to

dedicate these days to presenting a brief

history and the techniques of papermaking

to the students. During these classes each

child made two sheets of layered paper,

then folded and stitched them to make a

single signature pamphlet book. While the

children have all been excited to have the opportunity

to work on an art legacy they could

leave to their school, I really wanted them

to have a personal memento of their twenty

days of working with me. The little books

were a big hit!

The handmade paper wall installation

that we are now finishing is a three-dimensional

line drawing in basket reed, with

selected spaces wrapped in high shrinkage

pigmented abaca and flax. Students have

been working in teams to design and tie

the reed units before covering them with

paper. At present, selected areas of the units

are being embellished with embroidery

floss stitchery. And today we will begin to

assemble the reed sculptures onto two 28” x

42” canvas panels.

I’ve been really impressed at how well

this loosely structured group has taken to

the concept of collaboration. In the beginning

I paired students to fabricate the reed

units, both so that they could assist each

other in creating a flowing design and in

tying secure knots. As individual sculptures

began to reach completion, I discussed

selecting areas to highlight with a pulp

wrap and demonstrated how to manipulate

the high shrinkage paper. Some students

proved more adept at this procedure,

while others preferred to form paper on

the moulds, albeit with a fair amount of

patience for the slow drainage times. And

there was a dedicated team who wished to

create yet more reed structures than the

designated wall will hold!

Finally, I was surprised at how both

girls and boys all took a stab at free-form

embroidery to create surface embellishment

on the pieces. You might have guessed that

the “teacher’s challenge” award was equally

divided between needle threading and getting

students to remember to leave enough

to knot at the end of a thread path. Much

teacher intervention was required in these

two areas.

Early attempts to involve students in

arranging the sculptural units on the two

stretched canvas bases have proven more

chaotic than a game of free-form musical

chairs, as there are as many opinions

as children. I believe I will select a very

intimate group of helpers to position and

hold the 3D pieces while I stitch them to the

canvas with fishing line. I am very proud

of all the 6th graders in the “Challenge

Art” classes for their dedication to a project

that required not only thoughtful design

decisions, but nimble fingers and patience

as well. I am looking forward to seeing the

pieces completed this week, and will miss

working with this energetic and exciting

group of young people and their teacher.

We have had great fun!

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. Here Pam has found interesting information

about the history of the paper industry in Ontario.

Just when you get paper files in order, now

it seems that you have to get virtual files

organized as well. Yikes, I made a return

visit to my trusty bookmarks folder and

what a mess! (Just like my closet.) Anyway, it

was fortunate that I did my revisit—I almost

deleted a wonderful site that had been

totally redesigned. I had saved it initially

because I wanted to report how lackluster it

was. Not any more!

Let’s take a

trip to Ontario,

Canada. The URL

is www.archives.

gov.on.ca/english/

exhibits/paper/.

The site gives

you the feeling of

being in a museum,

without having to leave your chair or

showing your pass to the guard.

The improved Papermaking in Ontario

site was updated in 2005. It is from the Archives

of Ontario, part of a larger Ministry of

Ontario Government site. There are several

videos in this archive. At the bottom, there

are free downloads for Windows Media

player and Quicktime. There is a text choice

of English or French.

Just taking the time to scroll the Home

page will provide a visual treat. The design

motif is an album; the photos even have

the old style black photo corners; the type

font is that of a typewriter; and the paper

includes watermarks. All are simple touches

that work well. Scrolling is the major way

to navigate this site. The photos can be

‘clicked’ to enlarge them, and in some cases

the type can be enlarged as well.

Ontario was considered Upper Canada.

In the late 1700s, when the country was

growing, paper was getting more and more

expensive. So to stimulate the possible

mills, the government held a contest of

sorts. Lo and behold, there was a taker, resulting

in the first paper mill in Ontario.

The second link describes the history

of the increase in demand for paper in the

1900s, and the growth of the pulp and paper

industry in Canada. The building of the

Canadian Pacific Railway contributed to the

economic boom in the area. (I am reminded

of the great Gordon Lightfoot song.)

The ‘Company Profiles’ section explains

the details of half a dozen major mills and

their respective roles in paper production.

An interesting tidbit—paper and power

plants go together. We papermakers always

knew that. Wink! Now everyone can see

why. It is in these profiles that you can see

videos of archival footage of the surrounding

towns and the rivers on which the mills

are located. A bit dry, but considering that

this is an archive, the contents follow the

harnessing of the timber and the water, the

essence of commercial paper production.

‘Papermaking Today’ updates us on the

major changes that have taken place since

the mid-twentieth century. With expansion

came the need to look for recycled sources.

This is an important part of the story that

takes the viewer full circle.

Now I guess I will have to get back to my

New Year cleaning up of bookmarks. Sigh,

I’d rather make paper, although I would

have missed this excellent site.

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 Part II of

an article about the use of wove paper in an early

American publication.

The examination of wove paper that

American publisher Isaiah Thomas

used to print a 1795 edition of Charlotte

Smith’s Elegiac Sonnets proved very interesting.

The William L. Clements Library at the

University of Michigan owns two copies:

one that had never been bound and one

with a half leather binding with marbled

paper sides.

This latter copy is probably a contemporary

binding. It is a tight back (the leather

spine adhered directly to the text block), is

difficult to open, and the covers are loose.

Because of the fragile condition of this copy,

only its tipped-in plates were examined.

While Dard Hunter wrote in Papermaking:

The History and Technique of an Ancient Craft

that the intaglio plates in this book—five

in all—were printed on laid paper, four of

the five plates in the Clements copy were

printed on wove paper (probably the same

as the text paper). When the book is closed,

this plate sticks out slightly from the rest of

the trimmed text block, perhaps indicating

that it was tipped into the book later.

If this is the case, the plate may have

been printed at another time on different

paper. It should be noted, however, that the

plates could not viewed on a light box or

held up to a light source, but rather, were

examined with the use of a light in sheet

form that can be slipped into a book to view

a page in transmitted light. Unfortunately,

this light source is not very strong. Therefore,

while I am quite sure about these findings,

I cannot be positive. (It is also inadvisable to

make hard-and-fast conclusions about many

aspects of printed or bound material after the

examination of only a few copies.)

The second Clements Library copy is rare

indeed because it has never been bound. The

printed sheets were simply torn apart into

folios, folded, and gathered into signatures.

There are no sewing stations,

and no plates are tipped

on. Fortuitously, the folios

could be opened out into the

printing imposition, and the

dimensions of the full sheet are

about 15.5 x 18.5 inches with the

deckle edges intact. The format

is duodecimo—twelve pages

printed on one side of the full

sheet. There are ten signatures,

each having six leaves, and a

partial one (A (A2), B (B2), C (C2),

D (D2), E (E2), F (F2), G (G2), H

(H2), I (I2), K (K2), L (four leaves);

no J) for a total of 128 pages. The

largest untrimmed page size is

6.25 x 4 inches; the trimmed text

block measured 5.25 x 3.5 inches.

Interestingly Thomas noted in the

“Directions to the Binder”: “Cut

the book as large each way as it

will bear.”

When a signature is laid out

on the light box, it is apparent

that the parallel, evenly spaced

shadows, seen in the image above

running horizontally across the

pages, were caused by sewing the

wove cover of the papermaking

mould directly onto the supporting

ribs underneath.

Additionally, a few wavering

shadows ran perpendicular to

these, and the author would be

pleased to learn of possible explanations

for these. “Papermaker’s

tears” are seen in this paper, as

well as wood debris, probably from

the papermaking equipment, a few

colored threads, and iron specks.

Where the paper was protected

from contact with acidic materials,

it is a light cream color, but otherwise,

it is a warm grayish-brown,

possibly from excess alum used in

gelatin sizing.

To quantify the range of thick

and thin areas, the first page with a

deckle edge in each signature was

measured with a micrometer, taking a measurement

one-quarter inch inside the deckle

edge at the bottom of the page and a second

at the same distance from the torn edge at

the top of that page. The table above groups

signatures in twos because they came from

the same full sheet. The results are in mils,

1/1000 inch.

These measurements indicate that there

are substantial thickness

variations, easily seen in the

images above and felt with

the hands. (Note: Some measurements

fell in the thicker,

“rib shadow” areas.) Thickness

differences can result

in poorly printed areas, but

generally, this printing was

uniform. The paper would

have been dampened before

printing, and this “plumps”

up the sheet, making printing

unevenly dense paper more successful.

The impression into the

paper was deep, indicating that

substantial pressure was generated

by Thomas’s Columbian

Press and that the paper was

strong and pliable.

The warp and weft of the

woven metal cover can be seen

in this image; the ruler divisions

are millimeters. In raking light,

the texture imparted by the

woven felt, on which the paper

was couched, can be seen, but

in normal light, the paper has a

relatively smooth surface with

an almost velvety finish, a nice

complement to the hairline

stems of some of the typefaces

used on the title page.

To our eyes, there is little

that is remarkable about the

wove paper used in Thomas’s

publication, but in the waning

years of the eighteenth century,

those Americans interested

in book production, including

papermaking, would have

found it very intriguing. That

Thomas hoped that others

would “raise an emulation”

to produce books on “superior

paper with more delicate

engravings” perhaps indicates

disappointment in the paper he

used for Elegiac Sonnets.

Donna Koretsky was undoubtedly the

youngest hand papermaker to participate

in the First Conference of Hand Papermakers

in Appleton, Wisconsin in 1975.

And though she was a young teenager, she

was as enthusiastic about meeting fellow papermakers

for the first time as her mother,

Elaine, and the other adults in attendance.

Though Elaine and Donna were relatively

new to hand papermaking and self taught,

their experience using plant fibers harvested

from their garden contributed to the discussion

about traditional rag papermaking and

new artistic applications of the process.

Donna had learned how to make paper by

hand a year earlier when she came home

from school one day and found her mother

absorbed in following instructions garnered

from Dard Hunter and John Mason books

on preparing and making sheets from harvested

plants. Immediately, she joined her

mother at the vat in their “kitchen mill” and

thus began a unique papermaking partnership.

Shortly thereafter, they purchased the

carriage house next door with the prerequisite

floor drain already installed and began

assembling equipment, officially opening as

Carriage House in 1975.

Donna and Elaine worked together in all

aspects of production and research at Carriage

House for their first year of operation.

Donna also accompanied Elaine to purchase

Amies’ moulds at J. Barcham Green in

England. In 1976, she left Boston to study

art at the University of California at Santa

Cruz. Though the art department at Santa

Cruz did not include papermaking, with the

help of Chuck Hilger, an artist she’d met at

the 1978 papermaking conference held by

the World Print Council in San Francisco,

Donna was able to continue papermaking

in his studio in Santa Cruz. Chuck had

perfected using the vacuum table as a tool for

making high relief and sculptural forms with

paper pulp. Under Chuck’s guidance, Donna

adapted his techniques and the use of cotton

pulp to create a finished body of work, which

she exhibited in Santa Cruz and Boston. It

was at this time that she was introduced to a

fellow Santa Cruz student known as “Peter

Papermaker,” none other than Peter Thomas,

who, like Donna on the East Coast, frequented

craft fairs during summer vacation,

selling handmade paper art and conducting

hand papermaking workshops.

It was also during these college years

that Donna absorbed extensive information

about coloring agents and fiber research

in the use of abaca and flax that Elaine and

other papermakers were actively pursuing.

During her visits to California papermakers

such as Don Farnsworth and Garner

Tullis she was exposed to the growing influx

of information on Japanese papermaking

on the one hand, and to new experimental

approaches to using paper pulp for a means

of creating art, on the other. Needless to say,

Donna was in the right place at the right

time to take advantage of the cross fertilization

that was occurring from east coast to

west in the United States, from Western to

Asian craft traditions, and from historical

techniques to newly invented applications in

hand papermaking.

Upon completion of her undergraduate

studies, Donna returned to Boston just in

time to help Elaine and Bernie Toale with

the final preparations of the 1980 Boston

International Hand Papermaking Conference.

The conference brought together an

exceptionally wide range of national and

international hand papermaking experts

and practicing artists. During the conference,

Donna was introduced to people who,

in very different ways, have played a pivotal

role in the definitive aspects of her life:

family and business, art and travel. Donna

met Winifred Lutz when she gave a casting

demonstration using flax and high shrinkage

pulps with three-dimensional forms.

Winifred’s research and art inspired Donna

to apply these techniques to her own work,

which had a profound and long lasting influence

on her art. (Here is Donna in 1980

at an exhibit of her work.)

At the conference, she also deepened her

friendship with Asao Shimura, a Japanese

hand papermaker she had originally met in

1975 in Appleton, Wisconsin. The following

year Donna began regular trips to Asia, initially

to study hand papermaking, by joining

Asao on his first washi tour in Japan.

During the 1980s, important trips to

other Asian countries quickly followed her

first washi tour with Asao, which included

meeting Japan’s national treasure, Eishiro

Abe. In 1987, she helped Asao organize his

tenth washi tour, traveling with other paper

diehards such as Amanda Degener and

Richard Flavin to the snow country of Japan

to find examples of “Niigata” paper. Besides

group trips with colleagues and her family,

Donna traveled, in the 1980s, to many European

hand papermills as well as to remote

papermaking sites in rural areas of Korea,

Vietnam, Burma, Thailand, and Nepal.

The book about Burmese bamboo

papermaking, entitled The Goldbeaters of

Mandalay, is an exquisite example of the

years of joint research that Donna and

Elaine Koretky collected together over many

shared and individual trips in the 1980s.

However, as Donna recalls, perhaps one of

her most vivid trips was to Nepal in 1986

when she and a guide trekked deep into the

Nepalese countryside for a week to visit a

rural pocket of farmer/papermakers making

traditional Daphne sheets of handmade

paper. Living amongst the local Nepalese,

participating in the rituals of village life,

even sleeping in the manger, so to speak,

with the livestock became as important a

part of the experience as finding the elusive

papermakers.

When Elaine and Donna hosted a second

conference in 1985 in Boston, “A Gathering

Of Papermakers,” Donna met another

colleague, David Reina, whose interest in

hand papermaking equipment would one

day complement her commitment to the

field. Donna’s role as the youngest devotee

within the nucleus of the group who had

launched the revival and reinvention of

hand papermaking has given her a unique

standing and perspective. Though her

mother, Elaine, mentored and nurtured her

first curiosity about papermaking, early on

Donna demonstrated a precocious interest

of her own that soon matured into a full

business partnership in all the activities of

research, education, and paper production

at Carriage House as well as an ongoing

and independent interest in exploring

papermaking as an art form.

With added responsibilities in running

the activities and business of Carriage

House, which moved from Boston

to Brooklyn in 1993, it was not until 1995

that Donna, with husband, David Reina,

returned to Asia, this time to Indonesia.

And though this was not a professional trip,

Donna and David were wedded as much

to their shared interest in papermaking as

to each other, finding time to track down

examples of tree bark paper, as described

by Dard Hunter, as well as the bark paper

books of the “Batak” tribe.

In 1994, Carriage House Paper officially

opened in Brooklyn, New York, and two

years later, Shannon Brock joined Donna as

Art Director. Also in 1996 their son James

was born to Donna and David, and then, in

1997, daughter Monel joined the family. For

more than a decade in Brooklyn, the Koretsky/

Reina family, along with the invaluable

Shannon Brock and various assistants, has

served papermakers by providing both the

professional equipment that David fabricates

and a wide range of supplies and services

necessary to the growing community

of hand papermakers and paper artists. This

past summer,

Carriage House

Paper moved

from shared

quarters with

the family down

a few blocks to

a beautifully

renovated ground floor space next door to

David’s machine shop.

The new space houses Carriage House

Paper’s supply business while plans are

being drawn up to add a wet floor studio.

A museum display area for future exhibitions

from Elaine’s extraordinary collection

of paper artifacts, presently archived in The

Paper Museum and Research Institute of

Paper History & Technology in the original

carriage house in Boston, will also be added

to the new Brooklyn location. These new

arrangements will allow Donna to return

to the old studio once again, to make her

own art using the papermaking process that

has become her life. In the new storefront,

which houses Carriage House Paper, Elaine

can begin to share her exceptional collection

with a whole new audience in greater

New York. This is as much a turning point

in Donna Koretsky’s varied yet integrated

life in papermaking as it is a new phase

of business for Carriage House Paper and

the interrelated lives of this extraordinary

family.

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 issue, Sid discusses chiyogami papers.

For me, one of the great joys of collecting

decorated papers is the discovery

of new and unusual Japanese decorative

techniques. Even the “old” techniques, as

in chiyogami papers, are exciting since the

Japanese are masters at coming up with

more and more and still more patterns. The

seemingly endless number of decorative papers

from Japan keeps me going back time

and again to my sources to see what is new.

For this column I will explore the remarkable

chiyogami papers—amazing no less for

their beauty than for their range of patterns.

My wife and I have in our collection, for

instance, one set of chiyogami sample books

consisting of forty-three volumes, each with

about one hundred sample sheets. A single

pattern might be represented by five or seven

different color combinations. And a single

sample book from a different company contains

between five hundred and fifty and six

hundred sample sheets. The range of colors,

color combinations, and designs is truly

astonishing. As these papers have a great

many uses—such as screens, room dividers,

umbrellas, origami, packaging and gift wrapping,

and many more—there

continues to be

a need for such a variety of patterns.

The technique of decorating

these papers comes

from the decoration of

fabrics, mostly the silks

used for kimonos. Early

chiyogami papers were

printed from woodblocks,

but for at least a century

and a half, stencils have

been employed to create

these remarkable papers.

According to Tatsugoro

Hirose, “the word chiyo (“thousand generations”)

occurs in congratulatory phrases

used at happy occasions.... Others think

that the word may be derived from the name

of the Chiyoda Palace, the center of old Edo.

Whatever the truth may be, it is at least certain

that chiyogami was known in the Edo

period (1603-1867).”1 “Gami,” like the cognate

form “kami,” is the Japanese word for

“paper.” Ann Herring speaks of the “cumbersome

but extraordinarily versatile multicolor

woodblock-printing technique early in the

second half of the eighteenth century” (p. 15),

noting also that there were “other yet older

forms of embellishment, such as tinting, appliquО,

hand-coloring, spatter printing, and

stencil painting.” She adds, “Any number of

these techniques could be, and frequently

were, blended to achieve special effects. In

particular, the latter three processes were

regularly combined in the production of

attractive, gracefully decorated papers known

to us collectively as fuki-bokashi” (p. 15).

Western inventions, particularly “mechanical

printing techniques [of ] the Meiji

era” allowed the artists to replace woodblocks

with stencils (Herring, p. 15). Today’s

chiyogami papers, while being produced in a

much smaller range of designs than,

say, as late as the 1960s, are still

abundant. One website alone carries

hundreds of them.2

The stencil method of chiyogami

production, which is the focus here,

uses katazome, made from katagami.

3 A good literature exists on

these stencils (see below for a short

bibliography), which were hand cut

using several fine tools. The paper

completely different when produced with different

palettes. In our collection we have several

chiyogami papers with truly remarkable

designs, produced in what must be at least a

dozen colors. This means that at least a dozen

stencils had to be cut to produce the picture.

This column has given just a brief

description of the hand-stencil method of

production. Other techniques are equally

worthy of study. The chiyogami papers are

of such beauty that it is impossible to do

justice to them in words. The stencils themselves

are works of art and must be seen in

collections to be fully appreciated. Seek out

these collections: you’re in for a treat.

1. Quoted from Herring, The World of Chiyogami:

Hand-printed Patterned Papers of Japan, 7. Lucy Birmingham

Fujii even pushes the date of kategami—the

stencils used in the decoration—back to the Nara period

(710-794), “when leather goods such as saddle stirrups

and warrior’s [sic] helmets were decorated with the stencil

designs” (see “Isa Toshihiko: Beauty of Stencil Dyeing,”

6/5/2007, at www.acejapan.or.jp/acl/reviews/49momat.

htm; accessed 2/10/08).

2. See the Japanese Paper Place site: http://japanesepaperplace.

com/abt-japanese-paper/about-washi.htm;

accessed 2/10/08.

3. Fred Siegenthaler derives the word “katagami” from the

two Japanese words “katai” (hard) and “gami” (paper). See

his Siebdruck-Papiere/Papier de l’Impression au Cadre/

Silk Screen Printed Paper. Susanna Campbell Kuo, however,

says “Katagami means literally ‘pattern paper.’ See her

“Stencils and the Rise of Popular Textiles,” in Tai, Carved

Paper: The Art of the Japanese Stencil, 5. The katazome

are the actual stencils made from the kategami paper. Kuo

says that “katazome” means “pattern dyeing” (p. 5).

4. Clarence Hornung says that the layers of paper were

“laminated together,” and the stencil paper “was then

treated with a hard-drying oil” to waterproof it. See his

Traditional Japanese Stencil Designs, viii.

5. Kuo says, “Over the centuries, the small communities of

Shiroko, Jike, and Ejima ... generated millions of stencils,

most of which were of exceptionally high quality in design

and execution.” See her “The Ise Stencil Industry,” in

Carved Paper, 45.

Bibliography:

Fujii, Lucy Birmingham. Isa Toshihiko: Beauty of

Stencil Dyeing. Crafts Gallery, The National Museum

of Modern Art, Tokyo. April 26 - June 26, 2005;

www.acejapan.or.jp/acl/reviews/49momat.htm (accessed

2/10/08).

Hornung, Clarence, ed. Traditional Japanese Stencil

Designs. New York: Dover, 1985.

Herring, Ann. The World of Chiyogami: Hand-printed

Patterned Papers of Japan. New York, Tokyo, and San

Francisco: Kodansha, 1987.

Japan Crafts Sourcebook: A Guide to Today’s Traditional

handmade Objects. Intro. by Diane Durston. Tokyo,

New York, and London: Kodansha, 1996.

Katagami / Katazome / Paper Stencils for Dyeing: The

Yoshioka Collection. Trans. by Ai Fukui and Judith A.

Clancy. Kyoto: Shikosha Publishing Co., 1989.

Siegenthaler, Fred. Siebdruck-Papiere/Papier de

l’Impression au Cadre/Silk Screen Printed Paper.

Switzerland: n.p., n.d.

Spero, James. Japanese Stencil Designs. New York:

Dover, 1991.

Tai, Susan Shin-Tsu, ed. Carved Paper: The Art of the

Japanese Stencil. New York and Tokyo: Santa Barbara

Museum of Art and Weatherhill, 1998.

itself was multi-layered

kozo paper, impregnated

with persimmon

juice, and then oiled

to make it waterproof.4

Sometimes the paper

was smoke-cured after

the juice was soaked

into it, supposedly to

add strength.

Fujii says, “the actual cutting requires

enormous concentration and skill. A single

mistake can ruin an entire sheet so perfectionism

is a must” (see note 1). Hornung says

the papers were stacked up for cutting, and

he identifies the following tools used to cut

the stencils: “a type of awl (kiri-bori) with a

small semicircular blade to cut minute holes.

Another thin blade with a steeply diagonal

edge and needle-like point, called tsuki-bori,

was held by the fingers like a pencil and

pushed away from the cutter. Thin blades

with straight, curved or fluted edges called

ichimai-zuki were held vertically and pushed

into the stack of paper for special effects.

Then there were a variety of punch-like

knives (dogu-bori) used to created the minute

patterns known as komon” (p. viii).

The number of patterns is dizzying,

for the artists looked everywhere for their

inspiration. Hornung says, “To attempt an

inventory of these sources of inspiration

would be as hopeless as trying to count the

heavenly bodies on a clear, starry night” (p. v).

He cites the heavens, the natural and botanical

world in all of its

complexity and variety

(including all kinds of

geographical shapes

and phenomena),

birds and mammals,

amphibians, insects,

and a vast array of geometrical

shapes, along

with human beings

and the trappings of

life: umbrellas, toys,

children and adults performing a vast range

of activities, clothing, dolls, all kinds of

games, gates, spools, swords and arrows,

tassels, drinking vessels, and so on. And

many sheets combine two, three, four, or

more of these motifs.5

Some of the patterns are simple, but

most require thousands of holes cut into the

stencil. And for some, the pattern requires

large areas of pigment, which means that

there are quite large openings in the stencil.

Some of the elements of the

pattern, then, are “floating,” not

attached (or just barely attached) to

other parts of the stencil paper; so

for this kind of stencil the paper is

attached to a fine mesh that backs

the whole katazome.

They are then printed out in

several colors, and varying color

combinations that will make two

sheets with identical patterns look

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. Her topic for this issue: Printing Technologies

and Handmade Paper 101.

In the last issue, I discussed a method for

using computer and laser printing technologies

with handmade paper in order to work

large. In this issue, we will take a step back

and cover some basic tips and ideas for using

printing technologies on our handmade paper.

Handmade paper being an old technology,

we take it for granted that we can apply

other old technologies to it—letterpress,

drawing, writing. What about new technologies?

You can print on your paper via inkjet

printer, photocopier, or laser printer.

What kind of handmade paper can I use with

these more recent printing technologies?

A crisp rather than soft sheet of paper will

feed best through your printer. You may have

a little more leeway with an inkjet printer,

as the way it feeds makes it possible to back

a soft or tissue-thin paper with a sheet of

conventional printer paper for printing. How

is a crisper sheet achieved? Generally, a pulp

that has been Hollander-beaten rather than

blender-processed will be crisper. Longer

beating times produce a paper with more

rattle. Fibers such as abaca and flax produce

a crisper paper than cotton does.

The surface smoothness of your paper

affects the print quality and the ease with

which your machine handles the paper. The

surface quality is affected by the way you dry

your paper, as well as by the material onto

which you couch your wet sheets, and the

surface of your mould. Some papermakers

add calcium carbonate to pulp to achieve a

smoother surface. Couching onto pellon as

opposed to felts creates a smoother paper.

Restraint drying processes tend to produce

a less textured surface than does air drying.

Drying on glass produces a much slicker

surface than drying on varnished wood.

Then again, you might like some texture in

your paper surface. The aesthetic quality of

both the printing and the paper is affected

by all of these variables.

I have run wrinkly sheets of very sturdy

abaca/flax through the inkjet printer, and

was surprised to find how well the printer

handled it. It seems to iron those wrinkles

right out for the printing process. However,

you are more likely to get renegade ink

smudges where the paper is raised. The

printing process may also be less forgiving

when printing detailed images and larger

uninterrupted areas, than when printing

text or line-based images.

Industrial Papermaking Felts

Super Thick, Super Absorbent, Super Durable

Perfect for wet pressing and restraint drying

Complete felts, or cut to your specifications

Peter Hopkins (802) 823-5405

peter.hopkins@comcast.net

What about the deckle edge?

A deckle edge is no barrier to running

your paper through a photocopier or printer.

The primary concern when retaining the

deckle edge is registration and alignment,

which may not be quite as tight as it could

be with a straight edge. This is of course

true whether you are printing via letterpress,

etching press, or inkjet. If registration

and alignment are of concern, mind how

you feed the paper into your printer since

the deckled paper corners are not precisely

square. It may take some experimentation

to figure out which edge you need to line

up primarily to achieve the best results, but

once you settle on lining up your paper at

the right edge of the paper feed tray, keep

lining up at that right edge. I have also

found that, when printing an edition, it is

best to feed fewer sheets at a time than I

would with a cut edge and a commercial

paper.

I suggest allowing a greater margin for

error by printing more extras than you usually

would, since your machine may have

trouble handling a few of the handmade

paper sheets. I also recommend using the

manual feed tray on a laser printer or photocopier

rather than feeding from a drawer.

What print settings should I use?

The answer: well, that depends. Printers

are all different, and print differently when

set to different paper types. Obviously none

of those pre-settings reads “Mary’s Flax-

Hemp 2008.” So it behooves you to run

test prints at different settings to see which

results you might like best—and the presetting

that achieves this might be counterintuitive.

If I pull heavyweight sheets from my

Flax-Hemp recipe, this does not necessarily

mean that the cardstock setting will produce

the best results.

What about paper coatings?

Some people recommend the product

Ink Aid, which is designed to coat papers

for inkjet printing. Anything you coat your

paper with is going to affect the paper quality,

and your coating method will affect the

surface as well. Did you use a brush or a

sponge? Did you dip it? Roll it out with a

rubber roller?

Anything else?

A few words on inclusions. You wouldn’t

want to damage your printing technology

of choice by using paper with dimensional

inclusions such as hard plant materials. Of

course, the print quality over these areas is

going to be uneven anyway. Also, to reiterate

a point from my last column, anything

printed on an inkjet printer with a conventional

cartridge will bleed if it gets wet, so

when choosing a printing technology, take

into consideration how you will be using

these prints. Do you plan to incorporate the

print into a wet collage? Will you be mounting

it with a wet wheat starch paste? Laser

and photocopy prints are more stable in

regard to moisture, and using pigment and

archival ink cartridges in your inkjet printer

will also produce a more stable print.

Experiment. Test before committing

yourself to fifty copies of something. And

don’t be afraid of sending the deckle edge

off through new technologies.

> more for beginners at:

handpapermaking.org/beginner

Listings for specific workshops and other

events in the following categories are offered

free of charge on a space-available basis.

The deadline for the July Newsletter is

May 15. Contact each facility directly for

additional information or a full schedule.

Teachers: Tell your students about Hand

Papermaking! Brochures and handouts can

be mailed to you or your institution.

> CLASSES AND WORKSHOPS

April 2008 15

Papermaking, May 25-31, with Bernie

Vinzani. Develop an understanding of the

historical aspects of paper while learning fiber

preparation, sheet forming, watermarking,

drying, and finishing.

Minnesota Center for Book Arts, Minneapolis,

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

org. Classes at the Open Book center for

book and literary arts.

Flower Power Family Workshop, April 12, with staff

instructor. Pull cotton flower-shaped sheets.

Shaped Papers and Books, April 19 & 26, with

Betsy Dollar. Explore the possibilities of

shaped deckles and stencils in western-style

papermaking.

Pulp Painting Family Workshop, April 20,

with staff instructor. Learn traditional Western

papermaking while experimenting with

contemporary paper art.

Preschool Papermaking Family Workshop, May

15, with staff instructor.

Old Ways Book Arts Tools and Workshops,

near Santa, ID, (208) 245-3043, www.geocities.

com/oldways_id/, oldway@imbris.com.

Old Ways of Making Books from Raw Materials,

June 26-July 11, with Jim Croft. Learn

to create book arts tools by hand, process

hemp and flax for paper and thread, hand

papermaking, and how to make books with

wooden boards and brass clasps.

Paper Scissors Stone, Castletown, Caithness,

Scotland, 01847 851 449, info@joannebkaar.

com, www.joannebkaar.com. Paper and book

arts workshops held in the recently refurbished

Castlehill Heritage Centre.

Silkpaper Making, April 20, with Joanne B.

Kaar. Dye silk fiber in brilliant colors and

use it to make silkpaper.

Pulp Papermaking, April 27, with Joanne B.

Kaar. Use bamboo and linen half-stuff to

make your own handmade paper utilizing

several decorative techniques.

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, April 26-27. Foundation

Course, May 10-11, with Beatrix Mapalagama.

Fibre Processing: Japanese and Nepalese Paper,

May 12-13, with Beatrix Mapalagama.

Creative Papermaking, May 14-15, with Beatrix

Mapalagama.

Paperobjects, May 16-17, with Beatrix Mapalagama.

Papertextils, September 20-21.

Decorative Papers, October 24-26.

Handmade Books, November 20-23.

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

www.penland.org. A full program of craft

workshops, including papermaking.

Fresh Cuttings, April 26-May 2, with BОatrice

Coron. Create paper images and tools for

producing paper cutout editions, incorporating

techniques for stenciling, pochoir, simple popups,

and three-dimensional paper cutting.

Paper & Light, July 6-8, with Ann Marie Kennedy.

Learn about the myriad ways in which

light and paper interact, using several sheet

forming techniques to produce paper with

sculptural possibilities and image-based

applications.

Color Joomchi, August 10-22, with Jiyoung

Chung. Use low-tech hands-on processes,

adapting this traditional Korean handmade

paper technique to contemporary two- and

three-dimensional art.

A Survey of Decorative Paper Techniques, August

10-22, with Steve Pittelkow. Use Japanese

methods, paste paper, and marbling

techniques to build a portfolio of papers and

construct objets d’art.

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

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

papermaking and a variety of crafts.

Illuminated Paper Structures, May 30-June 3,

with Helen Hiebert. Use hand papermaking

techniques such as combining armatures and

wet sheets to create lamps, screens, and more.

Garden Papers, July 25-29, with Mary Hark.

Use materials from the garden as well

as kozo and gampi to make papers with

unique textures and rich natural colors.

Pyramid Atlantic, Silver Spring, MD, (301)

608-9101, www.pyramidatlanticartcenter.

org. Workshops in papermaking, printmaking,

and book arts.

Papermaking Society, Wednesdays, with

Gretchen Schermerhorn. Bring snacks,

discuss papermaking techniques, and make

as many sheets of paper as you can.

Sculptural Papermaking, April 2, 9, & 16,

with Gretchen Schermerhorn. Create

unique sculptures utilizing armatures,

direct casting methods, and plaster molds.

Rhode Island School of Design, Providence,

RI, (800) 364-7473. Continuing education

through the Summer Institute of Graphic

Design Studies.

Paper, Print, Book, June 30-August 5, with

Suzi Cozzens. Experiment with handmade

paper, then apply image-making techniques

and bind into books.

Robert C. Williams Paper Museum, Atlanta,

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

Teacher’s Japanese Papermaking Workshop,

June 23-27, with Berwyn Hung. Learn about

the history of Japanese papermaking and fiber

preparation, and get 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.

Pastepapers, April 18, with Leigh McLellan.

Produce colorful, vibrantly patterned papers

using multiple techniques of this centuriesold

process.

Seastone Papers, West Tisbury, MA, (508)

693-5786, www.seastonepapers.com. Summer

paper workshops in Martha’s Vineyard

taught by Sandy Bernat.

Wet Bound Books, April 13. Work with wet fiber

as paint using squeeze bottles, brushes,

stencils, and free hand application to a book

from pulp.

Polaroid Transfers and Emulsion Lifts, April

19 or May 10. Transform your slides or

photographs to create fresco-like images on

a variety of paper surfaces

Wet and Wild Basics, Mondays in July and

August. A brief introduction to the basic

steps in the papermaking process.

Sievers School of Fiber Arts, Washington

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

sieversschool.com. Summer workshops on

an island in Lake Michigan.

Beginning Papermaking, July 25-27, with

Thomas Grade. Spend a weekend learning

two- and three-dimensional handmade

paper techniques.

Paper: Varying Degrees & Beyond, July 27-

August 1, with Thomas Grade. Learn a

broad spectrum of techniques for forming

handmade papers.

Make & Use Silk Fiber “Paper,” August 1-3,

with Deb Menz. Create fabric from unspun

silk fibers and address many applications

for this material.

Handmade Paper Lampshades, August 29-31,

with Michelle Workowski. Use handmade

papers, barks, and fibers to make as many

lampshades as time will allow.

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, April 1, with studio

instructors. Learn how to make paper the

color, shape, and size you want.

Valley Ridge Art Studio, Muscoda, WI,

(608) 250-5028, www.valleyridgeartstudio.

com. Workshops in papermaking, bookmaking,

photography, writing, etc.

Paper Marbling, May 31-June 1, with Galen

Berry. Learn to make beautiful, multicolored

patterned papers, including traditional patterns

like the Peacock, Stone Marble, Spanish

Wave, Feather, Nonpareil, etc.

West Dean College, Chichester, West Sussex,

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

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

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.

Hand Marbling on Paper and Fabric for Beginners,

June 13-15, with Christopher Rowlatt. Create

styles found in traditional marbling and

then explore the medium freely, learning to

prepare numerous pigment dye recipes.

Papermaking as a Creative Medium, September

18-21, with Carol Farrow. Explore the

versatility of paper and gain knowledge of

Western papermaking techniques, including

two and three-dimensional forms.

Patterned Papers for Books and Decorative

Uses, October 26-30, with Victoria Hall.

Make paste papers, dip-dyed papers, and

suminagashi marbled papers.

Wisconsin Center for Book and Paper Arts,

Madison, WI, (608) 284-8394, wcpaperarts@

hotmail.com, 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.

Sculptural Papermaking, July 14-18, with

Ellen Kucera and Chris Petrone. Learn a

variety of armature making techniques and

methods for covering forms with handmade

abaca and flax paper.

Pulp Painting: Beyond the Squeeze Bottle, July

21-25, with Shannon Brock. Combine 2D

image-making techniques with 3D sculptural

papermaking to create seamless paper forms.

Cross Pollination: Papermaking and Encaustic,

July 28-August 1, with Chris Petrone and

Laura Moriarty. Create layered collages,

combining hand papermaking and encaustic

techniques.

Introduction to Asian Papermaking, August

4-8, with Kare Carr. Learn each step of Japanese

and Nepalese papermaking techniques

using kozo, from building a mould to preparing

the fiber, to forming sheets.

Western Papermaking: Cotton, Flax, Abaca,

and Non-Traditional Fibers, August 11-15,

with Eugenie Barron. Explore the unique

characteristics of a variety of fibers, activating

the surface, color, or texture of the sheets.

>more classes and workshops at

handpapermaking.org/listings.htm

> EVENTS

April 2008 17

MAGNOLIA

Papermaking Supplies

Handmade Paper

Workshops

Books

Mon - Fri 10 - 5 Sat 10 - 3

Call or write for a catalogue

and workshop schedule:

Magnolia Editions

2527 Magnolia Street, Oakland, CA 94607

telephone: 510/839-5268

fax: 510/893-8334

www.magnoliapaper.com

Tidewater Cottage & Papermaking Studio

in Del Haven, New Jersey, celebrates its

inauguration with an Open House on April

27. This opportunity for a papermaking and

related arts retreat at the New Jersey shore

offers the option of workshops or studio

rental with consultation. For details on the

Open House or the Tidewater Cottage &

Studio, contact Winnie Radolan at winnie.r@

verizon.net.

The Combat Paper Project goes on tour

this spring and summer. This collaborative

project initiated by Iraq Veterans Against the

War and Drew Cameron and Drew Matott

of the Green Door Studio in Burlington,

Vermont, engages veterans in reclaiming

their uniforms by transforming them into

handmade paper. For the tour schedule and

associated events, visit www.greendoorstudio.

net/combatpaper/combatpaper.html.

Paper & Book Intensive 2008 will be held

at Arrowmont School of Arts and Crafts in

Gatlinburg, TN from May 14 through May 25.

The online brochure can be viewed at www.

paperbookintensive.org. In its twenty-fifth

year, PBI offers classes in book arts, bookbinding,

and papermaking, combined with

lectures, discussions, and shared meals. This

summer’s papermaking courses include

Shadow Play with Paul Wong and Innovative

Pulp Application and Stenciling with Andrea

Peterson.

Collective Workshops 2008, an eleven-day

residential conference offering hands-on

courses in book, paper and print techniques,

will be July 4-15 at Wellington

College in Berkshire, England. Students will

choose three courses from ten offerings that

include Papermaking with Jim Patterson,

Paper Washing and Bleaching with Karen

Vidler, and Historical & Contemporary

Pastepapers with Mark Walmsley. The first

event of its kind in the UK, this conference

aims to challenge, encourage, stimulate,

and entertain. The limit of sixty participants

gives everybody the chance to get to know

each other. To receive a brochure or join the mailing

list, email info@collectiveworkshops.org.

What It Takes: Fine Craft on Martha’s

Vineyard is a series of events taking place

July 13 through August 8 at the Featherstone

Center for the Arts, featuring six Island

artists. Exhibitions, lectures, workshops,

and studio tours will highlight local work in

paper, tapestry, ceramics, and multimedia.

For details, visit www.featherstonearts.org

or call (508) 693-1850.

The Friends of Dard Hunter meets annually

to enjoy speakers, presentations, tours of

local paper and book arts facilities, a trade

show, auction, and banquet. Scholarships

are available to those with financial need.

For information on this conference visit

www.friendsofdardhunter.org. Plan ahead

for the 2008 meeting, October 23-26, in

Kona, Hawaii.

The 20th IAPMA Congress meets in Tasmania

in 2009 in the coastal town of Burnie,

home to Australia’s largest handmade

paper mill. The conference theme is Paper

of the New World and Rejuvenation of the

Creative Spirit. Events include workshops

and lectures and a juried exhibition. Preregistration

is now available. Visit www.

creativepapertas.com.au for more information

or contact Joanna Gair at manager@

creativepapertas.com.au.

The 10th Biennial Pyramid Atlantic Book

Arts Fair and Conference will take place

November 7-9 in Silver Spring, Maryland,

at the newly erected Cafritz Art Center at

Montgomery College of Art and Design.

The event connects international artists

to collectors and scholars of the book arts

through a dynamic book fair, stimulating

conference lectures, exhibitions, panel discussions

and events. Visit www.bookartsfair.

org for all the details.

Origami-USA will hold its 50th convention

this year in New York, June 27-30. The

group anticipates 800-1000 attendees from

around the world. See www.Origami-USA.

org for more information.

EXHIBITS

> CALLS FOR ENTRIES

The Friends of Dard Hunter invites proposals

for demonstrations and presentations

for the 2008 Annual Meeting in Kona,

Hawaii, which takes place October 23-26.

Demonstrations should be 30-45 minutes

in length and have little equipment needs,

with little to no water, due to the venue.

Presentations should be 20-45 minutes

in length and reflect the art, craft, and

scholarship that the organization promotes.

Proposals are due May 1. To receive the

complete call for proposals, contact Frank

Brannon at frankbrannon@hotmail.com.

The 2nd Annual SLV Folk Arts and Fiber

Festival actively seeks papermakers and

bookbinders to teach workshops or participate

in the vendor’s fair. The event takes

place July 11-13 in Monte Vista, Colorado. All

applications will be considered. Go to www.

slvfest.com for more information or email

admin@slvfest.com with questions.

The Miniature Book Society invites entries

to the 2008 Miniature Book Competition

and Exhibition. To qualify, a book must

measure no more than three inches in any

dimension and must have been published

in a multiple copy edition (one of a kind

books are not eligible) within the two-year

period April 2006 through April 2008. Submissions

utilizing handmade paper are encouraged.

Rules for entries are on the MBS website,

www.mbs.org. Questions can be directed to the

Chair, Neale M. Albert at nma8156@yahoo.

com. Entries are due April 15.

April 2008 19

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 yearlong internship program

gives young artists creative support,

culminating in an exhibition, in return for

their assistance with the ongoing 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. 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.

Cultural Collaborative, a small non-profit

working with children in Ghana, West

Africa, is looking for papermakers and

bookbinders to volunteer to teach the kids

next summer. If interested contact aba@

culturalcollaborative.org. For information

on Cultural Collaborative, visit www.culturalcollaborative.

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. In the spring of

2008, The Banff Centre offers the thematic

residency “Making Artistic Inquiry Visible.”

Visit www.banffcentre.ca for information

about residencies and facilities, or contact

Wendy Tokaryk at wendy_tokaryk@banffcentre.

ca or (403) 762-6402.

Spring internship positions in the areas

of Art Administration, Archive, Gallery,

and Studio are available at Dieu DonnО,

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. Visit

www.dieudonne.org for complete details.

> OPPORTUNITIES

The next book from Claire Van Vliet’s

Janus Press will be Papermaking at Hayle

Mill, 1808-1987. Due in June, the 68-page

text by Maureen Green surveys the family

papermaking activities over 180 years, with

illustrations, and sixteen watermarks from

as early as 1817 to the one that was made

for the last paper made at the mill, Finale,

on which the book is printed. A portfolio

of historic photographs, papers, and map

is also included, all in a clamshell box.

Request details from The Janus Press, 101

Schoolhouse Road, Newark, VT 05871.

The Activated Page: Handmade Paper and

the Artist’s Book is the latest publication produced

by Jae Rossman’s jenny-press, exploring

the artmaking practice of individual artists

for whom handmade paper is distinctive

to their work and not-for-profit institutions

that support hand papermaking. The cover

features a die-cut and flaps that unfold to

reveal paper samples by participants. Details

are available at www.jennypress.com.

Dieu DonnО announces the release of Watermark

Self-Portrait, a new limited edition by

artist Chuck Close. The light and shade watermark

image is taken from Chuck Close’s

daguerreotype photographs. Watermark

Self-Portrait was developed with the artist,

Crane & Company, Dieu DonnО Papermill,

and Susan Gosin of Dieu DonnО Press, and

produced in an edition of 35. To inquire

about subscription, please contact Catherine

C. Parker at (212) 226-0573.

> PUBLICATIONS

Classifieds in the Hand Papermaking Newsletter

cost 75 cents per word, with no minimum. Payment

is due in advance of publication.

Paper Press for sale. Versatile, hydraulic

papermaking press with separate stainless

steel couching / drain rolling table. Press

sheets up to 32” x 42” with up to 40 tons of

pressure. Email beverlysky@aol.com

Cotton Linter Pulp. All quantities available.

Call Gold’s Artworks, Inc. 1-800-356-2306.

Handmade paper mill for sale. Well-established

with large inventory. See ad on page 13.

bookbinding tools

14450 Behling Road

Concord, MI 49237

(517) 524-6318

scobeymoore@frontiernet.net

www.timothymooretools.com

HAND PAPERMAKING, INC.

box 1070, beltsville, md 20704

non-profit org. presort

u.s. postage

PAID

so md 􀀓􀀑􀀘

permit no. 􀀒􀀔􀀗􀀙

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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. We

now have nearly $40,000 received or pledged

thanks to the generosity of:

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: Barbara Lippman, David Marshall

& Alan Wiesenthal. Underwriters: Cathleen

A. Baker, Sidney Berger & Michele Cloonan,

Tom & Lore Burger, Ali Fujino, Susan Gosin,

Hiromi Paper Int’l, Mary Lou Manor, Charles

E. Morgan, Nancy & Mark Tomasko, Beck

Whitehead, Pamela S. Wood. Sponsors: Gail

Deery, Jane M. Farmer, Helen Frederick, Eve

Ingalls Von Staden, Ingrid Rose Company,

Joyce Kierejczyk, Peter Newland & Robyn

Johnson, Margaret Prentice, Anil Revri,

Kimberly Schenck, Scott R. Skinner, Marilyn

Sward. Donors: Grimanesa Amoros, Timothy

Barrett, Nancy Cohen, Nita Colgate, William

Dane, Mona Dukess, Martha Duran, Karla

Elling, Lori B. Goodman, Helen Hiebert, Rick

Johnson, Sally Wood Johnson, Elaine Koretsky,

Hedi Kyle, Andrea Peterson, Nancy Pobanz,

Brian Queen, Winifred Radolan, Dianne L.

Reeves, John L. Risseeuw, Mary C. Schlosser,

R. H. Starr, Jr., Claire Van Vliet, Tom Weideman.

Supporters: Marjorie & Harold Alexander,

Lois D. Augur, Inge Bruggeman, Charles

Cooper, Wavell Cowan, David Lance Goines,

Helen Hiebert, Mildred Monat Isaacs, Lou

Kaufman, Elaine Koretsky, M. P. Marion, Edwin

Martin, Marion Melody, Patricia L. O’Neal,

Harry & Sandra Reese, Pam Scheinman,

Agnes Schlenke, Jessica Spring, Marie Sturken,

Betty Sweren, Elsi Vassdal-Ellis, Women’s

Studio Workshop, Kathy Wosika. Friends:

Annie Alexander, Anonymous, Ellen K. Berg,

Elena Osterwalder Bonny, Patricia Zobel Canaday,

Nancy O. Daley, Janet Higgins, Courtney

Hudson, Charlotte Johnson, Marcie Kauss, Pat

Feeney Murrell, Joanne Olsen, Camille Riner,

Sally Rose, Gretchen Schermerhorn, Laurie

Shelton, Margaret P. Spoor, Bonnie Stahlecker,

Taiko Suzuki, Marjorie Tomchuk.

Hand Papermaking is especially grateful to

the Fifth Floor Foundation of New York for

its recent grant in support of the magazine.

49er Books, Marjorie & Harold Alexander,

Martin Antonetti, Shirah Miriam (Mimi) Aumann,

Cathleen A. Baker, Tom Balbo, Timothy

Barrett, Sidney Berger & Michele Cloonan,

Marcia Blake, Inge Bruggeman, Tom & Lore

Burger, Nita Colgate, Georgia Deal, Gail Deery,

Jeanne M. Drewes, Bryan C. Ellison, Jane

Farmer, Helen Frederick, Jean Freeburg, Sara

Gilfert, Susan Gosin, Helen Hiebert, Peter

Hopkins, Lois & Gordon James, Sally Wood

Johnson, Julie Jones, Kristin Kavanagh, David

Kimball, Elaine Koretsky, Karen Kunc, 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., John

L. Risseeuw, 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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