HAND PAPERMAK ING

N E W S L E T T E R

Number 83, July 2008

Newsletter Editor: Shireen Holman Advertising & Listings: Mary Tasillo Desktop Production: Amy Richard

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

Hand Papermaking Newsletter is published four

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The deadline for the next newsletter (October 2008)

is August 15. Please direct all correspondence to

the address above. We encourage letters from

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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 Subscribers,

In 2008 we are introducing a digital version of HAND PAPERMAKING NEWSLETTER.

Check it out at www.handpapermaking.org/newsletter. The traditional printed version you

now hold in your hands will still being published, in the same format subscribers have enjoyed

for 20 years. But now there is a choice.

The digital version looks the same as the printed version, but it can be read on your computer

screen or printed on your home printer. Subscribers choosing the digital version will receive

their newsletter about two weeks sooner. The digital version also features photos that can be

seen in a large color view, text that is searchable, direct advertiser links, and more bells and

whistles to come.

Subscribers will enjoy the first three 2008 newsletters in both formats. We ask that current

subscribers let us know a preference before September 1 so that the October issue of the

newsletter can be delivered in the format desired. Please send us an email (info@handpaper

making.org) indicating your preferred delivery method, and share any comments or suggestions

you may have.

Sincerely, Tom Bannister

Dear Readers,

I would like to let you know about the Traditional Papermaking Village Project that I am

developing in the village of Baang, Hungduan, in Ifugao Province, in the Philippines. The

purpose of the project is to provide jobs to the villagers using local materials and traditional

techniques. Rice is a major crop in this area, so handmade paper would be made from rice

straw (Oryza sativa). We are also planning to use piЦa (pineapple, Ananas comosus), Isabela

kozo (Paperifera kajinoki, paper mulberry from Isabela province), and saba banana (Musa

balbisiana) fibers. The villagers would support themselves selling sheets of paper as well as

souvenir items made from handmade paper. Eventually I envision adding an artist’s village

where artists could stay and create collaborative works.

Presently I am looking for sponsors for this project. My plan is for the village to open on

January 1, 2009. For more information, please contact me at the following address:

Asao Shimura/Cannabis Press (CP)

Poking, Kapangan

2613 Benguet, Philippines

asaoshimura@yahoo.com

Dear Papermakers,

Rumble, rumble, rumble … what is that sound? Why, it’s the low purring of a Critter Hollander

Beater! It is one of over 240 Critters created by Mark Lander of New Zealand in the

past ten years.

In May 1998, Mark heard the cry of many an itinerant papermaker all across the world and

set about to produce exactly what was needed: a workhorse that is lightweight, resilient, and

portable. When Mark created Critter #1 from bits and pieces, little did he realize that he had

just given birth to the “Critter Project!”

And Mark has a heart as large as his Critter Project. WomanCraft (www.womancraft.net),

part of Deborah’s Place charity in the Chicago area, is the grateful recipient of a 5# Critter that

has been in use since 1999. He has also donated time and talent in many situations where he

could promote hand papermaking and mentor new papermakers.

Mark Lander has given a great gift to the papermaking community all over the world,

making it possible for quality papers to be produced in garages and basements by beginners

as well as professional working artists. In furthering the promotion of hand papermaking,

his Critter Project has made him much revered by those who have become proud owners of a

Critter – and by those who also aspire to have one purring in a corner of their own world one

day.With gratitude and thanks on the tenth anniversary of the Critter,

Shirah Miriam (Mimi) Aumann

Reeds Spring, Missouri

use

as wrappers for round bricks of tea. It

> ALONG THE PAPER ROAD...

This regular feature offers paper musings from

Elaine Koretsky—renowned paper historian, researcher,

and traveler. In this issue Elaine continues

the account of her 2007 trip to China. Recent

natural disasters in Asia have raised concern about

the welfare of papermakers and paper villages. We

will keep our readers informed as we hear news.

After remarkable papermaking experiences

in Anhui Province, I went on to

more adventures in Yunnan and Sichuan

Provinces, accompanied by a small group

of people interested in paper history. Our

first stop in Yunnan was the village of

Longzhu in Heqing County. It is hard to

believe that this was my eighth visit to

this enclave of papermakers. The one-lane

dirt road winding through the mountains

had not changed much in the years since

1994, when Heqing County was an area

closed to foreigners. With persistence I

had managed that year to obtain permission

to see the papermakers there,

although photography was not allowed.

I shall always remember my feelings

when we had negotiated the mountain

terrain and finally descended into the

valley of the papermakers. When I looked

around, I saw only the mountain peaks

totally surrounding the village, and I felt

we had arrived in Shangri-la. To complete

the scene, I observed a group of four

papermakers under a shelter, on the other

side of the road alongside a fast-running

stream. As we started to walk across rocks

in the stream to reach the papermakers,

several wild horses came down from the

mountains toward us, delicately maneuvering

through the rushing water. It was

an incredible sight. Therefore, it should

not be surprising that I have returned to

Longzhu many times.

In 2007, however, I documented many

changes. In 1994 I had noticed that the

papermakers’ moulds and sheet formation

were unusual. The back of each

wooden frame was two inches high and

slightly curved. The moulds measured

29 x 29 inches, yielding a paper size of

21 inches square. To form a sheet, the

papermaker made two dips into the pulp

toward him, and after each dip vigorously

sloshed the pulp back and forth against

the high wooden back of the frame. His

motions were somewhat reminiscent

of the Japanese style of nagashizuki. He

tossed the excess water off at the back,

and then quickly slapped the back edge

of the mould on the surface of the vat

before couching it on his post of papers.

I inquired about the fiber used, and was

told it was paper mulberry. The papermakers

cut the trees and remove the

inner bark themselves. They cultivate

some of the mulberry trees, but also use

wild mulberry that they find about six

miles away. We did not actually observe

the cooking, which was done only once

a month. We learned that the fiber was

cooked twice, the first time with limestone

ash for three days; the second

cook, with wood ash, also for three days.

Then the fiber was rinsed in a pond,

which took about 15 days for soaking and

squeezing out the water. The papermakers

used a foot-operated stamper to beat

the fiber. When the pulp was mixed

with water in the vat, a formation aid,

obtained from the root of a certain pine

tree, Ketelleria evelyniana, was added.

The papermakers formed 610 sheets

in one post, pressing it with an ancient

winch-type wooden press. Later, a group

of women separated the sheets and

Dear Hand Papermaking Readers,

I thought readers might be interested in

hearing about origami airplanes in space

(information from a CNN.com article):

Takuo Toda, the head of the Japan Origami

Airplane Association, has wanted to

fly an origami shuttle to earth from space

since 1977. Finally the Japan Aerospace

Exploration Agency has become interested,

and is funding three years of feasibility

studies to see whether it would work. The

paper shuttles are made of sugar cane

fibers that are resistant to heat, wind, and

water. The theory is that their light weight

will minimize the friction that causes

damage to space vehicles during re-entry

into the Earth’s atmosphere. Tests on a

prototype have been conducted by Shinji

Suzuki, a professor at Tokyo University’s

Department of Aeronautics and Astronautics.

The prototype successfully survived

Mach 7 speeds and temperatures of 446

degrees Fahrenheit in a hypersonic wind

tunnel. Results from the project could

influence the future design of shuttles and

space probes.

Sincerely,

Beverly Sky

Somerville, Massachusetts

> LETTERS

HAND PAPERMAKING loves to hear

from readers. What’s your opinion?

What’s happening? What’s on your

mind? Send your letters to the editor by

email: newseditor@handpapermaking.org

July 2008

ing paper by hand in Suojia. Apparently

they have found a steady market for their

production.

The final papermaking operation we

saw in Yunnan Province was in Lijiang,

where Nakhi papermaking is demonstrated

to visitors. I had visited there on

previous expeditions, and was amused

to see a large photo of my husband and

myself now hanging on a wall. The

original site of Nakhi papermaking is in

Bai Di, a remote area in the mountains

that is difficult to reach, but thoroughly

worthwhile (I have been there twice). The

demonstration in Lijiang is fairly authentic,

and ancient equipment is displayed.

The group of people with me enjoyed seeing

this papermaking process, which is

unique.1 Everyone bought a considerable

amount of paper, but one

of my group, Chris Harrison,

a prominent British

paper conservator, wanted

to purchase the papermaker’s

apron, which bore the

workshop’s logo. The papermaker

thought about

it, and then declared that

the only person to whom

he would sell the apron

was me. I felt obliged to

buy it for my friend, so I

agreed. But there was a

second papermaker who

owned a similar apron and he wanted me

to buy his also. Therefore, I bought both,

and now Chris and I each have a distinctive

“Dongba Paper Workshop Apron”.

This article has concentrated on Yunnan

Province; further 2007 adventures

in Sichuan Province (where Elaine was

totally embarrassed—includes a fateful

photo) will be described in the next issue

of the newsletter.

1. For a description of Nakhi papermaking, see

“Artist’s Notes on Dongba papermaking” by Jane

Ingram Allen, HAND PAPERMAKING vol. 22,

no. 2, (Winter 2007).

At the October 2007 Friends of Dard

Hunter meeting in Washington,

D.C., I attended a presentation by Drew

Matott, who spoke about his Combat

Paper Project and a technique which he

calls pulp printing. In brief, the technique

involves pushing pulp through

a stencil onto a base sheet of freshly

couched paper. Many of us have experimented

with this technique (sometimes

called pulp stenciling), but what makes

Matott’s method unique is the way in

which he creates his stencils, as well as

his printing method.

Matott’s interest in printing with pulp

developed when he began performing

street interventions—interactive performances

in which he engaged participants

in papermaking on the street. He wanted

to incorporate text and sophisticated

imagery, and he needed a method that

was fast, since he could only hold the

attention of pedestrians on the street for

one or two minutes. Matott was looking

into having Mylar stencils cut with an

architectural plotter when he met Tim

Mosely from Silver Wattle Press (www

.silverwattlepress.com) at the CODEX

book fair. Mosely was using a technique

he’d developed to pulp print pages for

his artist books. Matott analyzed Mosely’s

technique and started experimenting

with silk screens and eventually developed

the following system for making

silk-screen stencils.

The silk screen that Matott has found

to work best with most imagery is 60

mesh. This is available from silk-screen

suppliers or large art supply stores like

Dick Blick. Matott prepares several

screens at a time, so that he has them

ready when he needs them. He also

prepares large screens (approximately

16”x20”), so that he has enough screen

for multiple smaller screens that he can

cut down as he needs them.

To prep the silk screen for transferring

an image, stretch it over a frame (simply

staple it over something like a canvas

stretcher) and coat it with a standard

photo silk-screen emulsion used for

textiles. Coat both sides of the screen

with the emulsion. After the emulsion

is dry, cut the screens off of the frames

and use them immediately, or store them

was very lovely paper, the sheets displaying

strands of unbeaten mulberry that

provided an interesting texture.

The original purpose of my expedition

was to locate papermakers in the

Gaoling Mountains of western Yunnan,

so next we headed in that direction, first

to the city of Tengchong. Years before I

had visited a hand papermaking mill on

the outskirts of that city, but the mill had

closed. We learned that many villages of

papermaking had once flourished in that

area, but only one remained, Guanyintan,

where a single family still made paper by

hand. We found the place, a mere tenminute

drive from our hotel, and I was

able to document the family’s final days

of papermaking; they planned to cease

operations within the month. Two women

were forming sheets of

paper from wood pulp

and mulberry fiber using

counter-balanced moulds

consisting of a wood frame

with a bamboo screen held

in place by two hinged

deckle sticks. The mulberry

fiber had been cooked

in lime and bleached.

Formation aid was used,

made from the Opuntia sp.

cactus. Beating was done

in a Hollander, and a screw

press used for pressing the

paper, with final drying by brushing the

sheets onto vertical heated plates.

To reach the papermakers in the Gaoling

Mountains, however, the trip took

more than four hours, driving on rough

roads along paddies of harvested rice, and

tobacco fields under cultivation, with a

stop at Jie Tou town for lunch. I inspected

the town’s lively marketplace, where I

saw many stalls selling handmade spirit

paper. Here our guide received directions

on how to find the papermakers, and

eventually we arrived at Suojia, although

the final several miles were very slow

as we followed a tractor whose friendly

driver agreed to show the way. We visited

one papermaking family that was making

spirit paper for burning as well as brightly

colored paper that was sold to dealers for

use in making decorative paper objects.

The processes and equipment were quite

similar to what we had seen in Guanyintan,

except that the fiber used was entirely

paper mulberry, and drying was done by

overlapping sheets on both the inside and

outside walls of their houses and then

brushing them to dry in the air. The most

astounding fact we learned here was that

there are currently forty-five families mak-

in a light tight container, like a black

contractor’s bag or a black bag for storing

photographic paper.

Now you are ready to transfer your

imagery onto the silk screen, but first you

need an image. You can use any black

and white image—a photocopied image

or a photo that has been altered in

Photoshop will both work well. You can

play around with the contrast and density

of your image on a photocopier or go into

Photoshop to adjust the image by using

image settings, curves, levels, and contrast

features. When you are satisfied with

your image, photocopy or print it onto a

transparency.

The next step involves exposing the

image from the transparency onto the

silk screen, which you can do in a variety

of ways. For each of these methods,

place your transparency with the image

on top of the silk screen (toner in direct

contact with screen emulsion) and then

put a piece of heavy glass on top to keep

it flat. To expose the image you can use a

silk-screen exposure bulb in a shop lamp

(these are available at silk-screen suppliers

or large art supply stores) with the

light on for approximately 12 minutes,

keeping the light a distance of 12” away

from the screen and glass. You should

always make a test exposure on a piece

of silk screen to test the length of your

exposure. If the emulsion washes out of

the non-image areas, the exposure wasn’t

long enough. If the emulsion won’t wash

out the exposure was too long. Adjust the

exposure time accordingly. If you have

access to a polymer plate machine (this

is Matott’s preferred method) you can

expose the image for 10-15 seconds; a

third method devised by Andrea Peterson

involves utilizing the power of the

sun to expose your silk screen using a

cyanotype method.

After making the contact print, use

a hose to spray water evenly onto both

sides of the silk screen for 2-3 minutes,

until you can see through the image

areas when you hold it up to the light. Be

careful, because the photo emulsion is

water-soluble and could start to dissolve.

To set the emulsion, bake the exposed

screen for 10 minutes at 125º or hang it

out to dry in the sun for an hour.

Now it is time to make your print. For

pulp, Matott usually beats one pound of

cotton linters with the roll down (listen

for that high-pitch grinding) in a Reina

beater for 4-6 hours until it is very short

(be careful that you don’t grind the beater

roll—watch for grey discoloration). He

has also tried using a roll of toilet paper,

which was successful when beaten in a

Valley Beater for 1 1/2 hours with all of

the weights on.

To print with pulp, first pull a base

sheet of paper and couch it. Now lay

your silk-screen stencil on top of the base

sheet. Matott uses a thick piece of pellon

to mask the edges of his image (for example,

a persons head) so that the sprayed

pulp doesn’t spray outside the image area.

Take a spritzer bottle (a simple gardening

spray bottle) and fill it with watered-down,

pigmented, over-beaten cotton mixed to

the consistency of maple syrup. Choose

the widest spray option on the bottle

and spritz aggressively through the silk

screen, as though you were putting glass

cleaner on a window. The force of the

spray is important because it pushes the

pulp through the screen. When you’ve

completed your print, pull the stencil off

the base sheet and rinse it off.

Now you can get creative. Play with

altering the color of your backing sheet

and print. Make duotones by spraying two

tones through the screen—they will bleed

together (like airbrushing). Layer the

same image multiple times by moving

the screen over different areas on the base

sheet. Take a body of text, lay that screen

down and place a screen with an image

over the top to create a double exposure.

The text will take on the shape of the

image. Mask image areas with pellon or

shaped deckles. Since the silk screen is

flexible, you can work sculpturally, too.

The sky is the limit. After completing

your prints, press and dry them as you

normally would.

The image you see here is a detail of a

pulp print called ‘Breaking Rank,’ created by

Drew Cameron and Drew Matott in 2008.

For more information about Drew

Matott and the Combat Paper Project,

visit www.greendoorstudio.net .

Based in Philadelphia, Winifred Radolan operates

an itinerant teaching papermill, and has taught

papermaking to thousands of adults and children.

Winnie calls this issue’s column “The Best Laid

Plans…or Be Sure to Have Plan B, Maybe C!”

Driving home from the planning

meeting I had with the principal of

Longfellow Elementary School and my

sponsoring art center, I harbored the

alarmingly recurring thought, “I just

agreed to do WHAT?” The two-hour session

was four times as long as meetings

usually run—this should have been my

first clue that it might be a white-knuckle

adventure! This residency was meant

to be a ground-breaking first time that

a whole school population, ages K-4th

grade, would “adopt” the horseshoe crab

through my conservation/papermaking

lesson. What took two hours of planning

was figuring out and scheduling the logistics

of working with as many students

in six days as I normally would see in ten,

and keeping it all on Mondays, with the

exception of a couple of national holidays.

And oh, by the way, the principal wanted

me to involve literacy in the project, as

well as have the students leave the school

with some lasting wall-mounted artwork.

As I mulled over the schedule it began

to make sense, although my hands hurt

in anticipation of all the work they would

do, helping the sheer number of children

who would need my assistance in making

paper in one day.

On the first two scheduled Mondays I

would meet five classes a day for one hour

each. I was certain that after one hour of

looking at and touching horseshoe crab

molts and models up close, students

and teachers alike would be intrigued by

this remarkable creature. On days three

and four of the residency I would guide

everyone in making their own take-home

piece of handmade paper. And on days

five and six the classes would view the artful

horseshoe crab video, “The Crabs, the

Birds and the Bay,” while each student

contributed his/her papermaking mark

to a 22” x 30” sheet of poured paper for the

class collaboration pulp paintings. I would

then press, dry, and mount the ten individual

Horseshoe Crab Pulp Paintings, to be wallmounted

outside each classroom’s door.

With a solid

plan in mind I

thought, “Let

the adventures

begin.”

Here is how

things have been

unfolding. On

days one and two I discovered that a very

disgruntled music teacher had not been

notified that she wouldn’t be able to hold

her class in the art room on my scheduled

Mondays. And all the students were

supposed to attend a “special music assembly”

with her kids performing, so she

was certain that I would have no students

in my 10:00 a.m. – 11:00 a.m. time slot!

I side-stepped these crises by electing to

have my classes meet next door in the

library. It had a space more conducive to

sitting in a circle on the floor and examining

treasures from my horseshoe crab

box anyway. As we progressed through

the five one-hour classes, I was astounded

to find only one or two children who had

even heard of horseshoe crabs! These

children live 1Ч hours away from the

beaches where the majority of East Coast

horseshoe crab mating and related bird

feeding frenzy occurs. I was also alarmed

to learn that instead of the promised

twenty-two-student class size, I actually

met with twenty-six to twenty-eight children

in each group, with whom, in weeks

three and four, I would have only one

hour to make paper!

Day three, my first papermaking day,

got off to a rocky Monday morning start.

The seriously diligent crossing guard had

not received the memo instructing her

to allow me to drive through the school

yard up to the rear basement door, where

I was to unload all the heavy papermaking

paraphernalia. This left me parking half

a block away on the street in front of the

school, then carrying everything up one

flight of steps and down two in order to

reach my destination, the art room. And

water access was a tiny hand sink in the

girl’s lavatory down the hall. In spite of

these logistical nightmares, I enjoyed

making paper with all 130 children each

day (nearly a new record for me, never to

be repeated!). I scaled back my usual pulp

layering process in order to fit everything

into the restricted time frame. Each child

pulled a “base sheet,” then carried it back

to the couching spot at his/her table. At

each table small dishes of pigmented pulp

paint and pipettes were available for the

children to apply design layers to their

sheets. Then, of course, I pressed all the

paper and brought it home to restraint dry

on luan boards.

Over the next weekend my daughter

helped me pour the large sheets of paper

for day five’s collaborative pulp paining

sessions. I prepared stencils of horseshoe

crabs and shore birds, as well as more

liquid pulp paint. As I packed the car that

morning, I was careful not to forget the

video and the horseshoe crab brochure for

each child. At the last minute I grabbed my

collection of children’s books which I had

shared with the students on day one. These

books became “Plan B” when the requested

VCR monitor was nowhere to be found.

Another exercise in flexibility arose

when none of the teachers recalled being

scheduled for the 10:00 a.m. time slot. All

four classes planned on arriving in the art

room at 11:00 a.m.! So I suggested splitting

the three kindergarten classes into

two half-hour sections from 1:00 – 2:00

p.m. Somehow it all worked out, giving

me free time to ventilate by writing this article.

When the VCR monitor finally materialized,

classes were quite engaged by the

video. This allowed small rotating groups

of three students each to make their paper

marks on the collaborative pulp painting,

and then return to viewing the film.

It is my hope that after I’ve completed

this residency some of the teachers

will work with their students to create

language/visual artworks to submit to

Ecological Research and Development

Group’s annual juried student arts competition,

“Young Voices.” But even if this

doesn’t materialize, I am certain that many

young people will have been introduced

to two of my

life’s passions,

papermaking

and horseshoe

crabs.

If you are

interested

in learning

more about

ERDG and viewing some of the student

artworks in “Young Voices,” please visit

www.horseshoecrab.org.

ON-LINE

What is common to paper, cooking,

and the web? The recipe, or URL

in the latter case, must work again and

again. I had originally picked a different

site for review, but, to my dismay, the

URL wouldn’t work—the server would

not let me load it. So maybe I will be able

to review it in the future. While this is not

uncommon to the web (which changes all

the time), flexibility, as in life, is the key.

Let us go to the

United Kingdom

and visit the British

Association of

Paper Historians,

at http://www

.baph.org.uk/.

This site is not

filled with technological

goodies;

just simple

web fare.

The splash

page gives us the basics of the group’s

purpose, which is “to act as a focal point

for sharing information on historical paper

research … by promoting contact between

those involved and by providing information

on current developments.” In addition,

they seek to arouse interest in papermaking

history, to promote the study of all aspects

of paper history, and to support centers

that preserve papermaking equipment and

archival records.

The menu buttons on the left direct

you to information about committee

members, the association’s events, and

the quarterly newsletter archives. You can

get to an index of articles in individual

newsletter issues, but you need to be

a member in order to read the articles

themselves.

Click on ‘General Reference.’ The

first of five items is the ‘Glossary of

Papermaking Terms.’ This glossary is

quite comprehensive, beginning with

abaca and ending with vat. No matter

how many times I see a terminology list,

I come away with something old becoming

new again. In this case, I discovered

that ass has a different meaning in relation

to papermaking!

The second item, ‘Paper Makers’ Index’

is still under construction. So, onto the

third, ‘Old English Paper Sizes.’ This is

fun, scrolling down through the names

and sizes. The main categories are Writing

Papers, Cut Writing Papers, Book

and Drawing Papers, Printing Papers,

Cartridge Papers, and Board. The papers

within each category have sheet sizes

listed in inches. This is a good chart and

reference for paper facts. Now you know

the size in inches of foolscap. No, it is not a

hat that a jester wears.

The next item is a suggested reading

list, and the final item consists of

summaries of the recommended books.

The comment for Dard Hunter’s book,

Papermaking: The History and Technique

of an Ancient Craft, sums up what many

in the United States believe as well: “This

book, for which there is, as yet, no comparable

publication, is a complete and

authoritative survey.” Amen. There are

many more books on the list that could

be helpful papermaking resources.

‘Picture Galleries’ is the sweetest part

of the site. You will get your choice of

four areas: items made of paper, such as

bank notes, customs stamps, historic engravings

and photos, and decorated end

papers; papermills; production of paper;

and watermarks. This gallery section is a

must for reference, as well as a true joy to

view, and definitely worth your time.

The last of the reference archives is

‘Paper History.’ These are essays, and

somewhat less pictorial. The sub categories

here are ‘Early History of Paper,’

‘First Papermill at Dartford,’ ‘History of

Papermaking in the United Kingdom,’

and ‘Paper - one of the most important

inventions of the last two millennia.’

So, there is something on this web

site for

everyone,

beginners

and

paper

gourmets

alike. It is

a simple

but well

done tool for paper research. At the

same time, it is just plain fun.

PS: In my last column, I was cleaning

up my bookmarks and I came across a

free download that easily separates dead,

non-working URLs from good ones.

With this tool, you do not have to open

each one to see if it is still a viable location.

Here is my free gift www.aignes

.com/deadlink.htm (it’s freeware), and

happy cleaning (special, for the first 20

readers only...).

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. Here Cathleen clarifies

the differences between ‘good’ and ‘bad’ paper.

As a paper conservator with almost

forty years experience, I have often

been asked: Is only handmade, rag paper

good? What the questioners are referencing

as “poor” paper attributes are those

they have observed, such as brittleness

and a brown color, and those they have

read about, such as acidity and the need

to deacidify. When trying to answer this

question, I have tried, at the very least,

to convey the idea that paper is good

when it eminently serves the purpose for

which it was made and when it has aged

without undergoing significant negative

changes to the furnish of the paper.1

Over the past 100 years, the notion has

grown that paper made from rag fibers

and formed by hand is, by definition,

so much better than paper made from

non-rag fibers, notably wood fibers, and

made on a machine. This simply is not

the case. Serviceable and stable paper is

good paper. “Good” is guaranteed as long

as the manufacturer, informed by a deep

understanding of how the paper can be

utilized to the best advantage, selects the

appropriate raw materials and method of

formation.

My idea of “good” paper was put to

a challenge recently while I conserved

ninety-seven maps bound in an eighteenth-

century atlas in the University of

Michigan’s Special Collections Library.2

While bound and without the aid of a

transmitted-light examination, the various

German-made (?) papers that comprise

this atlas look quite similar—they are

clearly laid and off-white in color. They exhibit

a range of condition from excellent

to poor (the latter based on damage from

external sources: water, dirt, insects, and

handling). The most significant tactile difference

between them is the gelatin sizing,

which ranges from well to middling to poor.

Once the maps were removed from the

binding and examined on a light table,

it was immediately obvious that, from a

papermaking point of view, they could not

have been more different.

After this examination, I classified the

papers into two types: fine (41 maps) and

coarse (56 maps). The fine papers exhibit

a relatively clear formation with few or

no defects, such as “papermaker’s tears”

or knots (clumps of fibers, denoting poor

beating). Most of the fine papers were not

watermarked, although a few sheets have

ones that are difficult to interpret due

to the density of the engraving and the

hand-applied watercolors overlying them.

Although there is little to distinguish the

fine from the coarse papers in normal

light, in transmitted light the coarse paper

is unbelievably “knotty”—the entire body

of the paper consists of knots that, in the

worst papers, often touch one another.

The image below is representative of this

coarse paper; the space within the latitude/

longitude grid is about 55 mm x 35 mm.

The coarse papers were invariably countermarked

AH or HA in the center of the

right or left half of the sheet, indicating that

the two moulds used to form these sheets

had watermarks

sewn onto opposite

halves of

the laid covers.

(The fact that this

paper is laid is

more easily seen

in raking light

than in transmitted!)

I cannot

help thinking that

if this handmade

paper were on the

market today, it

would be roundly condemned as terrible.

It is interesting, therefore, that the

“poor” quality of this paper did not dissuade

the printer from using it. While

a relief (letterpress) printer would have

found this paper unusable due to the

tendency of the knots to break or flatten

out the relatively soft type metal, they did

not present an insurmountable problem

for the intaglio printer. Prior to the nineteenth

century, all paper was dampened,

which softened it, making it more receptive

to the actions of the printing press,

and saving ink.

The pressure

of the common

press used to

print books was

light compared

to the more substantial

pressure

that was generated

from the

cylinder or rolling

press used

by the intaglio

printer. Therefore

the softened

knots in this coarse paper could be forced

into the engraved lines lying below the

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.

This is a column about the ‘maniacal collector.’

One of the pleasures of collecting

decorated papers is finding new

things. In fact, one of the frustrations

of collecting decorated papers is finding

new things, too. It is frustrating because

there is so much of it out there, and for

the maniacal collector (as I count myself),

no collection is complete without one of

every kind and pattern of paper.

As my recent column on Chiyogami

papers indicated, there is seemingly no

end to the patterns of these wonderful

sheets, and I want one of each. Impossible,

I know; but I still want one of each.

Part of the problem has to do with human

inventiveness. There are millions of patterns

out there, and seemingly endless techniques

of decorating paper, so no collection can ever

be complete. So I must content myself with

what I can find—and afford.

For this column I would like to look

at the lengths to which a collector will

> DECORATED PAPER

go to add to his holdings. That is, if I

see a decorated paper that I covet (and

that’s most of them), then I want it. For

the true maniacal collector there is no

difference between appreciating an object

and coveting it. This generic observation

about collecting can be supplemented by

other generic statements. For instance,

when you collect something, you can

never have too many. This is a truism for

collectors of all kinds.

Another observation: though we are all

on a limited budget of some size, to the

true maniacal collector, price has little to

do with what we want in our collections.

If we want something badly enough, we

will do everything in our power to acquire

it. I once had an aunt who collected

hats. During the Depression she was

walking to a bank to pay her monthly

rent—$50. All she had that month was

that $50. On the way she saw a $50 hat

in a window. She bought the hat and was

a month late on her rent.

One more truism for a collector is that

focus is a fuzzy concept. Every collector

I know branches out. I know someone

who started collecting hotel shampoos—

the little freebies your get on your sink.

She branched out to conditioners, then

to soaps, then to mouthwashes, then

to combs and sewing kits, and then to

shower caps. We all branch out. I am a

victim of this phenomenon.

My branching out started quite early

when I saw a small box covered in a lovely

Chiyogami paper, full of tiny Chiyogami

sheets for origami. The box contained

at least a hundred little pieces, so I had

to have it. It was the first of many. Our

collection now has scores of little and big

boxes covered, lined with, or containing

papers. There is even a stack of twelve

nesting pentagram-shaped boxes, each

covered with a different Mingei paper—

those attractive Japanese stenciled papers

done in a few colors.

Then there was a box of waxed paper

from the 1930s or ’40s, with its entire

waxed paper roll still in it. The graphics

on the box were nice and the old roll

was in perfect condition. It was a must

for the collection. This was followed by

a little flat box containing paper used

to polish silver, with the original papers

inside. It fell victim to my lust.

In an antique store I found a gem: a

small box, about two by three inches,

containing about twelve tiny paperwrapped

packages of perfumed papers,

each package containing ten tiny sheets.

This French confection indicated that the

tiny sheets were to be burned to release

the perfume into a stuffy room. So it’s a

paper box, containing paper packages,

containing paper “incense,” all beautifully

printed on blue papers. Had to have it!

A few years ago a British dealer, knowing

of my sickness, offered me a small

porcelain covered dish with a scene on it

commemorating the 250th anniversary

of a British paper mill. It didn’t fit anywhere

else in the world more perfectly

than it did in our collection. (Notice that

I say “our,” because my wife is wonderfully

indulgent and has added hundreds

of items to the collection herself. I

have a partner in crime, a sympathetic

mate—the one great treasure in the life

of a serious collector. If you are going

to collect with a passion, make sure you

have a consenting accomplice.)

One other axiom about collectors: every

collector I know learns how to justify

every purchase. We are Masters of Rationalization.

My first rationalization was

that the things I was buying could be

used in my teaching. I could take them

to class. (This rationalization made just

about everything I bought tax deductible,

since it was a professional expense.) But

when I bought an 8-foot-long 75-pound

dandy roll, a huge part of a commercial

papermaking machine that put watermarks

into machine-made paper, I could

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. In this issue she talks about learning

to adapt.

> FOR BEGINNERS

As a new papermaker who is unlikely

to have a fancy studio set up, you may

find yourself an itinerant papermaker,

making paper wherever you can finagle

access. If you’ve had the benefit of a

couple of different papermaking teachers,

you have discovered that there is no one

right way to do things. Teacher A instructs

you to do just what Teacher B announces

not carry it to class. So I invented a new

justification—a new strategy: I would

bring the students to the dandy roll. We

now have two magnificent dandy rolls.

In future columns I will talk about

other wonderful paper-decorated things

that have found their way to our collection.

Paper is perhaps the most useful,

malleable, and underrated material in

the world.

And I want more of it.

is a bad habit. Likewise, each studio is

different. What happens when you find

yourself in unfamiliar territory, with a

different beating system, or couching

directly to felts instead of pellon, or with a

loft rather than a restraint drying system?

A former professor (who, it must be said,

was a great advocate of my work) drove

me crazy when introducing the printmaking

shop.

This individual’s instructions were: “it’s

just like cooking in a different kitchen.”

The thing is, not all kitchens are created

equal. If I am used to cooking in a tiny

apartment kitchen, I might not know how

to use an industrial-sized stand mixer. If I

don’t have non-stick pans in my kitchen,

I might not know that by using a metal

spoon in your pan, I am ruining it.

By way of confession, I recently put

some wear and tear on a stack drying

system. Not all stack dryers are created

alike, and the stack dryer to which I was

accustomed would have my production

run dry in absolutely no longer than two

days. Well, here I was with a perpetually

damp stack dryer as I exchanged the still

damp paper for fresh wet sheets.

Second confession: my first impulse

was a wish for my own studio, built the

way I like it with vat tables that are low

enough for my own meager height and

stack dryers up to some serious production.

But as I rotated my way through

my 300 sheets, stacked in posts of ten

between felts, because there are only so

many large wet felts I can heft around,

I realized that I would not be learning

much of anything pulling this run in the

familiar studio I used in grad school. I

would never see what it does to couch

my sheets onto felts instead of pellon,

nor would I learn anything about how to

manage the wetness and surface texture

of the felt-couched sheets. I wouldn’t

have become good friends with the Valley

beater through which I ran a good seventeen

loads or so of pulp.

So don’t be afraid of cooking in different

kitchens. A papermaker’s greatest

strength is not a stellar shake at the vat,

but rather superhuman problem-solving

skills. The corollary is: don’t be afraid

to ask questions. A person can get so

accustomed to a familiar studio that one

forgets that things can be done any other

way. So: how do you clean your felts?

How do you load your stack dryer? How

long does it take for your paper to dry?

How do you press your paper? A papermaker

can answer these questions for a

familiar studio. But different pressing

procedures might work better for paper

couched on felts, for example. You’ll

never know until you try...or ask. Instead

of bemoaning your lack of personal

papermaking studio in your possibly

non-existent garage, get out there and

make paper promiscuously. Your studio

knowledge will grow to comprehensive

proportions and when you do get around

to putting together that ideal studio,

you’ll know exactly what works for you.

> more for beginners at:

‍

Arrowmont School of Arts and Crafts,

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

arrowmont.org. Classes and workshops

in a variety of disciplines, including

papermaking.

Sculptural Papermaking, July 27-August 2,

with Jo Stealey. Enhance your visual voice

through multi-media techniques and innovative

design.

Marbled Paper & Paste Paper Extravaganza,

August 3-9, with Mimi Schleicher. Create

sophisticated and complex designs yielding

gorgeous decorative papers.

Asheville BookWorks, Asheville, NC, (828)

255-8444, www.bookworksasheville.com.

Hands-on workshops including bookbinding,

printmaking, decorative paper, and

basic papermaking.

More Marbling on Paper and Cloth, August

23-24, with Steve Pittelkow. Learn intricate

and unusual patterns, including the Italian

hair vein, Spanish moirО, and other waved

patterns, as well as intricate flowers and

other designs.

Atelier Cirkel, Brasschaat, Belgium, 0032-3

633 05 89, www.ateliercirkel.be.

Working with Handmade Paper, September

20, with Denies Van Loon. Experiment with

color and fibers to make paper and some

small dimensional work.

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@bear

creekpaperworks.com for more information.

CabrilloArts Summer Workshops, Santa

Cruz, CA, (831) 479-6343, www.cabrillo.edu.

Intensive summer courses in the arts.

Making Paper: An Artist’s Exploration, July

28-August 8, with John Babcock. Explore

handmade paper using fibers and pigments

from around the world to create unique large

format art works.

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.

Japanese Papermaking, August 31-September

6, with Rajeania Snider. Explore fiber preparation,

sheet forming, and decorative techniques,

as well as building your own sugeta.

Making Paper for Small Projects, November

9-15, with Claudia Lee. Make your own

mould & deckle for forming sheets from

traditional fibers, recycled materials, and

plants, then turn these sheets into a variety

of objects.

Carriage House Paper, Brooklyn, NY , 800-

669-8781, www.carriagehousepaper.com.

Papermaking workshops offered in a new

studio space. Visit website for fall/winter

workshop schedule.

Center for Book Arts, New York, NY, (212)

481-0295, www.centerforbookarts.org. Dozens

of book and paper workshops offered in

midtown Manhattan.

Suminagashi Paper Decoration, July 12, with

Yukari Hayashida. Make decorative paper with

basic techniques and simple preparations.

Paper Marbling, August 23-24, with Lauren

Rowland. Learn the basics of water-based paper

marbling using acrylic and tempera paints.

Columbia College Chicago Center for Book

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

www.bookandpaper.org. Papermaking

classes in spacious downtown studios.

Papermaking 101, Tuesdays, June 3-July 8,

with Yukie Kobayashi. Learn the necessary

skills to create your own projects in hand

papermaking, from fiber preparation to

sheet formation to drying.

Intro to Marbling, June 28-29, with Loni

Diep and Brandy LaChapelle. Learn all the

basics of making marbled papers.

Creative Applications of Handmade Paper,

July 12, 19, 26, & 27, with Yukie Kobayashi.

Explore specific fiber preparation techniques

to use for your own artwork.

Cottage Industry Technology Center, 20

Russet St., SSS Village, Marikina City,

Philippines. Workshops, demonstrations

and technical consultancy in a variety of

crafts and livelihoods, including hand

papermaking and related crafts. Contact

LorEto.DA@gmail.com or bookendshere2002@

yahoo.com or (632) 942-3974.

Intensive Hand Papermaking, July 1–3, with

Loreto Apilado. Transform plants from fiber

to pulp to paper in 3 days.

Paper Product Adaptation, October 1, with

Loreto Apilado. Make handmade boxes and

journals.

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

226-0573, www.dieudonne.org. Beginning

and advanced papermaking classes for

adults and children.

Introduction to Contemporary Papermaking,

July 7, August 4, with staff instructor. Learn

the basic papermaking process, as well as

various artistic techniques.

Open Studio, July 16, August 13, with staff

instructor. Experiment on your own with

studio pulps, making sheets up to 11 x 14

inches.

Creative Techniques for Artists, July 23, August

20, with staff instructor. Explore different

advanced techniques in each session.

Green Heron Book Arts, Forest Grove, OR

Classes in book and paper arts at the Acciden

tal BookMaker. Contact pagrass@aol.com

for more information.

The Hall of Awa Japanese Handmade Paper,

141 Kawahigashi, Yamakawa-cho, Yoshinogawashi,

Tokushima 779-3401, Japan, fax

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

Annual Hand Papermaking Workshop, August

18-23, with staff instructor. Learn to make

traditional paper from kozo, from preparing

the bark to drying the finished sheets.

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.

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.

From Bubble Wrap to Bottle Caps: Embellishing

Handmade Paper with Everyday Media, July

7, 14, and 21, with Erica Spitzer Rasmussen.

Explore low-tech methods for surfacing

paper with inexpensive and commonplace

materials that can provide surprisingly

beautiful results.

Intro to Marbling, July 26, with Lin Lacy.

Learn the process and materials needed to

marble paper while creating several patterns.

Low Relief Papermaking, August 16, with Emily

Hoisington. Cast paper pulp using forms and

molds to create sculptural, low relief objects.

Marbling Open Studio, August 23, with Lin

Lacy. Work independently in an open marbling

session under the eye of an artist who

can answer questions and share tips.

Old Ways Book Arts Tools and Workshops,

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

ties.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 Circle, Nelsonville, OH, (740) 753-

3374, www.papercircle.org, papercircle@

frognet.net. Call or e-mail for information

about upcoming paper classes.

Open Studio, second Saturdays, with studio

artists. Gain new skills while working on

themed, relaxed projects.

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

www.paperstudio.com. Classes in book arts,

papermaking, printmaking, and alternative

photographic processes.

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.

Papertextils, September 20-21.

Decorative Papers, October 24-26. Explore

both historical and new techniques.

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

2359, www.penland.org. A full program of

craft workshops, including papermaking.

Paper & Light, July 6-18, 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 imagebased

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.

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.

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, including recycled materials, plant

fiber, enclosures, and dyes; then apply image-

making techniques and bind into books.

San Francisco Center for the Book, San

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

Book arts classes and events year-round.

Pastepapers Old and New, August 16, with

Michael Burke. Explore the joys of making

your own historical decorated papers, then

experiment with contemporary designs and

inventive techniques.

Seastone Papers, West Tisbury, MA, (508)

693-5786, www.seastonepapers.com. Workshops

in papermaking, surface design, and

book arts on the island of Martha’s Vineyard.

Seaweed in Paper, July 14 or August 11, with

Sandy Bernat. Collect, process, and incorporate

seaweed in surface design on wet fiber.

Wet Bound Books, July 7, July 21, or August

5, with Sandy Bernat. Work with wet fiber to

form images and bind books in wet pulp.

Pulp Painted and Pressed, July 22, with

Sandy Bernat. Create large art pieces using

pigmented pulp.

Wet and Wild Basics, August 4 or August

25, with Sandy Bernat. Explore the basics

of papermaking, manipulating wet pulp

through painting, lamination, and collage.

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. Special

papermaking classes can be scheduled for

one person or a group; please contact Beck

Whitehead for more information.

Advanced Studio Rental, most Wednesdays,

with Beck Whitehead. Use the Picante

studio and equipment; some instruction is

available upon request.

Making Your Own Paper, July 1, with Studio

Instructors. Learn the art of papermaking

through individualized instruction.

Papermaking Saturday, September 6, October

4, November 8, or December 6, with Linda

Draper. Create paper in an environment that

is somewhere between a class and an open

studio.

Sculptural Paper, July 12-13, with Amy Gerhauser.

Make paper to enclose and create

sculptural forms.

Low Relief and Textured Paper, October 18,

with staff instructor.

Special Fibers: Pineapple, Yucca, and Iris,

November 22, with staff instructor.

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

LA, (504) 674-9232,

www.stoneandpaper.com.

Hand Papermaking, selected Saturdays,

with Mary Elain Bernard. Learn Eastern

and Western methods of making paper and

incorporate local plant fibers.

Tidewater Papermaking Studio, Del Haven,

NJ. Papermaking retreats at the south New

Jersey shore. Papermaking studio rental

with instruction/consultation also available.

For further info contact Winnie.r@verizon.net

Japanese Papermaking, June 28-29, with

Winnie Radolan. Learn to transform inner

bark fibers from the paper mulberry tree

into special papers of great character.

Paper Basics, July 12-13, with Winnie Radolan.

Explore papermaking techniques from

basic sheet formatting to layering, embedding,

embossing, stenciling, and more.

Plant Fiber Papers, July 19-20, with Winnie

Radolan. Learn what and when to harvest

and how to cook and process fibers from

your garden cast-offs.

High Shrinkage Adventures, August 9-10,

with Winnie Radolan. Construct simple armatures

and wrap with high shrinkage pulp

to make experimental 3-D pieces.

Pulp, Sand, & Sea Immersion II, August 18-

22, with Winnie Radolan. Investigate pulp

painting, pouring large sheets, working with

Japanese fibers, and more.

West Dean College, Chichester, West Sussex,

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

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

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.

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 2-D

image-making techniques with 3-D 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, and 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:

CALLS FOR ENTRIES

The American Bamboo Society of

Amherst, Massachusetts, invites submission

of work using bamboo as material,

design source, or inspiration for the 2008

Annual Arts & Crafts Competition. For

submission details, email artsandcrafts@

americanbambook.org or call (413) 253-

0459. Submissions are due July 1.

My Paper, My Land, a postcard show

held to coincide with the 2009 IAPMA

Congress in Burnie, Tasmania, invites

entries of mail art. Works should reflect

where you come from and contain at least

eighty percent paper. The size should be

ten by fifteen centimeters. Please send

works through the mail, preferably with

postage stamp and postmark, to Gail

Stiffe, 11 Keltie Street, Glen Iris, Victoria

3146, Australia. Creative Paper’s Gallery

will display the postcards for one month

and on the web. For more details, contact

info@gailstiffe.com. Works should be

sent by March 1.

Conrad Wilde Gallery of Tucson, AZ is

reviewing submissions from book-making

artists working in all mediums for

inclusion in their group exhibition to be

held in September 2008, and from artists

working with handmade and machine

made paper for a 2009 exhibition. View

the General Call for Submissions at www

.conradwildegallery.com. Submissions

for the paper exhibition are due March 3,

2009. The gallery also seeks proposals for

workshops. Questions may be addressed

to info@conradwildegallery.com.

> EVENTS

You are invited to join Hand Papermaking

and Pyramid Atlantic in Silver Spring,

Maryland, on Saturday, August 2. During

afternoon tea beginning at 3:00, Tom

Bannister and Helen Frederick will

speak about why established artists work

with papermaking as an art form, and

Gretchen Schermerhorn will introduce

some notable up-and-coming paper artists

including Lisa Hill who is a featured

in the article ‘Why Beat Pulp?” in the

summer issue. Guests are welcome to

join Gretchen and Lisa in the papermill to

observe the making of a collaborative paperwork,

one of which you will take home

as a keepsake. The event concludes with

wine and cheese upstairs in the Pyramid

galleries for a personalized viewing of

four exhibitions: Fanciful Cravings by

Gretchen Schermerhorn and Maria Barbosa,

Printmakers Scratching the Surface,

Design and Pattern in Handmade Paper,

and Innovative Printmaking on Handmade

Paper. The cost is $55 per person, $50 of

which is a tax-deductible contribution

to Hand Papermaking. RSVP by calling

(800) 821-6604.

Collective Workshops 2008, an elevenday

residential conference offering handson

courses in book, paper, and print

techniques, will be held 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

U.K., 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@collective workshops.org.

The 2nd Annual SLV Folk Arts and Fiber

Festival takes place July 11-13 in Monte

Vista, Colorado, and features workshops

and a vendor fair. Go to www.slvfest.com

for more information or email admin@

slvfest.com with questions.

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, the 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.

Clay & Paper Camp for Kids will be

offered in Fennville, Michigan, with

papermaker Donna Allgaier-Lamberti

and potter Dawn Soltysiak at Khnemu

Gallery and White Oak Studio. The camp

will be held August 1 and August 8, and

will include instruction in making plant

fiber papers. For additional details, visit

www.KhnemuStudio.com or contact

Donna Allgaier-Lamberti at (269) 236-

0325 or wordspictures@yahoo.com.

Dieu Donné Benefit Auction takes place

October 14 and will honor David Kiehl,

curator of prints at the Whitney Museum

of American Art. The event will be held

at Metropolitan Pavilion in Manhattan

and will include a live and silent auction

of new works on handmade paper, made

especially for this event, by renowned

and emerging artists. An exhibition of

all donated works will be on view at Dieu

Donné from September 18–October 11. An

opening reception will be held Thursday,

Sept. 18, 6–8 p.m. For tickets or more

information, please contact Peter J. Russo,

Program Manager at (212) 226-0573.

The Friends of Dard Hunter meet 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: www.friendsofdardhunter.org.

The 2008 meeting will be held October

23-26 in Kona, Hawaii, at the Outrigger

Keauhou Beach Resort.

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.

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.

Pulp Function, curated by Lloyd Herman,

founding Director of the Smithsonian’s

Renwick Gallery, will be at the Nicolaysen

Art Museum and Discovery Center,

Casper, Wyoming from July 11 through

September 28. It will then travel to

the Plains Art Museum, Fargo, North

Dakota, and the James Michener Museum,

Doylestown, Pennsylvania. Art

made from paper pulp, recycled paper,

cardboard, and papier mache, and cut,

folded, or otherwise manipulated paper

is featured. For more information, visit

www.fullercraft.org or www.thenic.org.

Wake Up: Are We Desensitized? features

political work by three artists, including

work in handmade paper by Mary Tasillo.

The show, curated by Raleigh Caesar,

runs through July at the Pierro Gallery in

South Orange, New Jersey. Call (973) 378-

7754 or visit www.pierrogallery.org

Dieu DonnО Gallery presents Opportunity

as Community: Artists Select Artists, a

two-part show. Part One runs through

July 26 and Part Two is on display August

1 through September 6. For more

information, please contact Catherine C.

Parker, Gallery Director at (212) 226-0573

or cparker@dieudonne.org, or visit www

.dieudonne.org. Next the gallery will display

works donated to the benefit auction,

opening September 18.

Paper Circle in Nelsonville, Ohio, will be

exhibiting the work of several paper and

book artists. The work of Circle Round

the Square is on display in July. For more

information or to view images of past

exhibits visit www.papercircle.org or call

(740) 753-3374.

Uprooted: Handmade Paper on Canvas

is on view July 1 through July 31, featuring

the work of Donna Allgaier-Lamberti.

The show takes place at the South

Haven Memorial Library in Michigan,

and includes collages on canvas and cast

sculptural work using artist-made plantbased

paper. For directions and hours,

call the library at (269) 637-2403.

Play, a year-long evolving interdisciplinary

exhibit is open alongside The

Artistsbook Library at Proteus Gowanus

in Brooklyn. The process for creating

the exhibits and programs, co-curated

by Maddy Rosenberg, is an unfolding

of related art, books, artifacts, objects,

films, and performances, generated by

suggestions of visitors to the gallery, by

a growing number of artists and workers

in many disciplines, and by the rich

interdisciplinary resources of eight

collaborating non-profit organizations.

Work by paper and book maker Robbin

Ami Silverberg is included. Visit www

.proteusgowanus.com or call (718) 243-

1572 for location and hours.

Papierwespe’s Paper Jewelry exhibition

presents a selection of jewelry made

from artists around the world. The

exhibition will be at The Paper Museum

from June to November. For further information,

Papierwespe can be contacted

at (0676) 77-33-153, office@papierwespe

.at, or www.papierwespe.at. The Paper

Museum can be found at this website:

www.papiermuseum.at.

Really Big Paper is on view through July

12 at the Columbia College Chicago Center

for Book and Paper Art. The show

features Jill Littlewood’s full room installation

“Death and Other Lives” and Peter

Sowiski’s large scale pulp paintings that

investigate size with large-scale studies

of nightmarish fantasies of what we now

call WMDs. Visit www.bookandpaper.org

for details.

The 2008 Holland Paper Biennial takes

place June 10 through September 14 at

the Rijswijk Museum in The Netherlands.

An exhibition of contemporary,

international paper art will be accompanied

by a publication entitled Pure Paper.

On September 14 the traditional Grand

Paper Fair will again be held in the

courtyard entrance to the museum and

in the Oude Kerk (Old Church) opposite.

See www.museumryswyk.nl for further

information.

The work of Dick D’Agostino will be

presented in a solo paper light sculpture

show at Harmony Hall in Fort Washington,

Maryland. The show will run from

June 30 to September 2. Featured will

be 30 paper light sculptures of birds,

flowers, fish and abstracts. For more

information, visit www.pgparks.com or

www.dickdagostino.com.

How Do They Spend It? Kids and Paper

Money Around the World is on display

through September 2 at the Robert C.

Williams Paper Museum in Atlanta,

Georgia. Curated by a group of Georgia

Tech students, this show features currency

from around the world. For further

details call (404) 894-7840 or visit

http://ipst.gatech.edu/amp/.

Before Paper opens September 4 at the

new Carriage House Gallery, 245 Kent

Avenue, Brooklyn, New York, with a gala

reception from 4 to 7 p.m. The exhibition

features mankind’s ways of communication

before paper was invented,

including stone, clay, bone, animal skins,

papyrus, leaves, wood strips, and metal.

Artifacts illustrating a world without

paper will be on display alongside documentary

films and books showing many

of the ancient processes. Gallery hours

are every Thursday, 2-6 p.m., through

February. For other hours, call (718)

599-7857. This exhibition is the first of a

series arranged by the Museum of International

Paper History. The sponsoring

organization is The Institute of Paper

History & Technology at 8 Evans Road,

Brookline, Massachusetts, or online at

www.papermakinghistory.org.

Book Arts 8: New Moon 2 Full Moon

is an exhibition of artist’s books using

handmade paper, wood, bamboo,

recycled materials, and more. The show,

along with lectures, demonstrations,

workshops, and a mini-book fair, will

take place at Ortigas Foundation Library

in Pasig City, Metro Manila, Philippines,

October 7 - 22. Forfurther details please

visit www.ortigasfoundationlibrary.com.ph.

Work in handmade paper by Lisa Hill,

exploring the effects of change over

time within one’s identity, is part of the

MFA thesis exhibition at MICA July 1-12.

A reception is scheduled on July 11.

Contact lhill@his.com for details.

The World of Yugen: Japanese Paper Artworks

by Kyoko Ibe takes place August

29 through January 4 at Krannart Art

Museum, University of Illinois, Champagne-

Urbana. There is an opening on

August 28 at 5:00 and additional related

programs planned. The installation of

large scale hanging paper will be accompanied

by a separate exhibit of Ibe’s

latest two-dimensional washi works.

More details are available at www.kam

.uiuc.edu.

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 papermaking.

Visit www .banffcentre.ca for information

about residencies and facilities, or contact

Wendy Tokaryk at wendy_tokaryk@banff

centre.ca or (403) 762-6402.

Carriage House Paper will sponsor a 2 1/2

week expedition to papermaking areas in

southwest China and northern Thailand

in February 2009, visiting remote villages

where ancient hand skills have been

practiced for centuries. These areas have

spectacular scenic beauty and remarkable

cultures. Specific information will

be available in the fall. For more information,

contact Donna Koretsky at donna@

carriagehousepaper.com or call (718)

599-7857.

Paper, Print, and Book Intensive Study

in Fabriano, Italy will be offered July

13-26 with instructor Lynn Sures. The

course, co-sponsored by Pyramid Atlantic

Art Center and Giorgio Pellegrini of

the Museum of Paper and Watermark,

Fabriano, Italy, will address papermaking,

watermark making, intaglio printmaking,

and binding. Instruction will be given by

noted Italian masters in these techniques,

with language interpretation provided

by instructor Lynn Sures. Field trips

include such medieval cities as Assisi

and Gubbio, as well as natural landmarks.

For registration, contact Pyramid

Atlantic’s Director Jose Dominguez at

jdominquez@pyramid-atlantic.org.

Papermaking Equipment For Sale.

Moulds and deckles (makes 10x13 sheet)

great for teaching, some larger. 18x24 Lee

McDonald mahogany mould and deckle.

Pellons. Felts and blankets. 15-20 dyes

and pigments. New six-gallon wet-dry

vacuum. Linters. 28-inch hydrator with

3/4 horsepower motor attached to large

tank with spigot. One-gallon professional

Waring blender. Hand mixer. Nine black

mortar tubs, one larger tub. Utilatub on

legs with temperature control and hose.

3x4 epoxied water tray for printmakers.

Pails. Contact Zelda Tanenbaum at (516)

876-7373.

Little Critter Hollander Beaters, sized

from 3/4# to 10# capacity. Contact Mark

Lander, 51 Hodgsons Rd, RD2, Rangiora

7472, New Zealand; ph 0064 3 3103132;

email lander-gallery3@xtra.co.nz.

Cotton Linter Pulp. All quantities available.

Call Gold’s Artworks, Inc.

1-800-356-2306.

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.

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.

Benefactors: Barbara Lippman, David

Marshall & Alan Wiesenthal. Underwriters:

Cathleen A. Baker, Sidney Berger & Michele

Cloonan, Tom & Lore Burger, Ali Fujino,

Susan Gosin, Hiromi Paper International,

Mary Lou Manor, Charles E. Morgan, Marilyn

Sward, 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. 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, Karen Steiner, 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. In-Kind: Arnold Grummer’s,

Howard Aronson, Tom Bannister, Sid

Berger & Michele Cloonan, Hubert Bockle,

Marco Breuer, Colin Browne, Carriage

House Paper, Amanda Degener, Helen

Hiebert, Ellen Hill, Lisa Hill, Peter Hopkins,

Sukey Hughes, Chuck Izui, Julie Johnson,

Ann Marie Kennedy, Julie King, Bobbie

Lippman, Jill Littlewood, Magnolia Editions,

Roberto Mannino, Russell Maret, Diane

Maurer-Mathison, Pam Paulsrud, Andrea

Peterson, Pyramid Atlantic, Amy Richard,

Kari Rinn, John L. Risseeuw, Gretchen

Schermerhorn, Beck Whitehead.

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!

> SPECIAL THANKS 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:

*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 M. Farmer, *Helen Frederick,

Jean Freeburg, *Sara Gilfert, *Susan

Gosin, Helen Hiebert, Peter Hopkins, *Lois

and 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 & 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 & Gary Wood.

*Founding Contributor

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