HAND PAPERMAK ING

N E W S L E T T E R

Number 88, October 2009

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

Columnists: Sidney Berger, Susan Gosin, Maureen and Simon Green, Helen Hiebert, Elaine Koretsky, Winifred Radolan, Mary Tasillo.

Hand Papermaking Newsletter is published

four times per year. In summer and winter it

is sent with the journal Hand Papermaking,

and in spring and autumn it is distributed

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more subscription information, or a list of back

issue contents and availability, contact:

Hand Papermaking, Inc.

PO Box 1070, Beltsville, MD 20704-1070

Phone: (800) 821-6604 or (301) 220-2393

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The deadline for the next newsletter (January

2010) is November 7. Please direct all correspondence

to the address above. We encourage

letters from our subscribers on any relevant topic.

We also solicit comments on articles in Hand

Papermaking magazine, questions or remarks

for newsletter columnists, and news of special

events or activities. Classified ads are $2.00

per word with a 10-word minimum. 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, Advertising and Listings.

Board of Directors: Sidney Berger, Frank

Brannon, Shannon Brock, Inge Bruggeman,

Georgia Deal, Gail Deery, Jim Escalante,

Susan Gosin, Helen Hiebert, Ann Marie

Kennedy, Barbara Lippman, Andrea Peterson,

Margaret Prentice, Gibby Waitzkin,

Beck Whitehead. Board of Advisors: Timothy

Barrett, Simon Blattner, Gregor R. Campbell,

Mindell Dubansky, Jane M. Farmer, Helen C.

Frederick, Elaine Koretsky, James Sitter, Claire

Van Vliet. Co-founders: Amanda Degener and

Michael Durgin.

Dear Fellow Lovers of Handmade Paper,

Five years from now a new kind of environmental paper project will be established in my

home province in the northern Philippines. It is a combination of earth-friendly and self-sustaining

farm, and creative studio papermill. It has its own source of paper fibers, mainly four

varieties of paper mulberry in combination with indigenous fibers growing in and around the

farm. It is located on 2Ч acres of agricultural land with a year-round supply of spring water. It

will produce green paper art and handmade paper. The farm will not only grow natural fibers

but also organic food for the facility. It will evolve slowly, from the drawing board, to developing

the farm, to fabricating equipment and building the studio papermill. We will send

occasional updates, and in five years time you are all most WELCOME.

Loreto D. Apilado

Mulberry Art Papermill and Ecofarm, LorEto.DA@gmail.com

Dear Hand Papermaking Readers,

In 2003, our 100% recycled hand papermaking studio

set a world’s record by making the world’s largest sheet

of handmade paper. With fifty volunteers ranging from

four to seventy years old, we constructed a piece of

paper that was 22Ч x 30 feet in size. After showing the

paper off at the local farmer’s market, the paper was

cut and the pieces sold to raise funds for the local land

trust. You can read more about how we did it at: www.twistedlimbpaper.com/worlds_largest/, but

I challenge and encourage others to break our record and to use the novelty of this creative

project to raise money for a good cause in your community. Please contact me through our

website if you have questions!

Sheryl Woodhouse-Keese

Founding Artist, Twisted Limb Paperworks,

Bloomington, Indiana

Dear Papermakers,

Last summer when I gallery sat for Margaret Lockwood

and Allin Walker at Woodwalk Gallery in Door County, Wisconsin,

visitors would walk into the big historical barn that

is situated on the edge of old farm fields skirted with woods

beyond. Some would say, “this is the way Door County used

to be,” as they looked up into the rough hewn rafters and

listened to the low murmur of breezes passing through the

open slats. The barn was built in 1890.

This is the atmosphere in which I teach. Classes at the

new Woodwalk Handmade Paper Center are about “love of

place” of Door County and its natural beauty. Students learn

the craft of handmade paper. In some of the classes we work with natural materials partly

gathered from the area. I show how to work them into an art project and combine them with

handmade paper. Other classes focus on studying the local plants, flowers, and trees, and

transforming their beauty into designs made with handmade paper. Branches, bark, grasses,

leaves, and other wild fiber are worked into sculptural projects. Care in gathering is also part

of the teaching. The classes are structured differently but they all use handmade paper, which

is so versatile, malleable, and accessible to everyone as a craft and art form. These projects

are designed to accommodate different ages—adults, children, grandchildren, and families,

too. What fun to see a family enjoy themselves over handmade paper! The Handmade Paper

Center is listed on the Woodwalk website: www.WoodwalkGallery.com/news/page/2

Kirsten Christianson

Algoma, Wisconsin

> ALONG THE PAPER ROAD...

This regular feature offers paper musings from

Elaine Koretsky—renowned paper historian,

researcher, and traveler. Here Elaine explains

the process used to make the bark clothing she

described in her last column.

> TEACHING HAND PAPERMAKING

Based in Philadelphia, Winifred Radolan operates

an itinerant teaching papermill, and has

taught papermaking to thousands of adults and

children. In this column, Winnie talks about

one of her workshops this past summer at the

Tidewater Cottage and Studio.

At the 2008 Friends of Dard Hunter

meeting I mentioned an extraordinary

form of beaten bark made by farmers in the

Xishuangbanna area of Southwest China.

The bark comes from the Upas tree, Antiaris

toxicaria, which contains a deadly poison,

used by hunters to coat arrow tips. The

farmers believed that clothing made from

the bark of this tree would ward off insects,

forming a protection as they worked in

their fields. I had seen this tree bark outfit

displayed at a museum in Kunming, China.

The subject intrigued me. After the Dard

Hunter conference, my husband and I set

off for China again, on a new expedition.

In advance, I wrote to my Chinese contacts

in Kunming, Yunnan Province, stating

that I wanted to spend about ten days in

that part of China, particularly in Xishuangbanna,

to locate people who were familiar

with this type of beaten bark. This proved

to be a difficult matter, but I persisted and

finally, we located a farmer, Boyihan, who

still remembered the now defunct process

of beating bark. He agreed to make for me

a jacket, trousers, and hat from this poisonous

tree. I had hoped to watch the process

he used, but he explained it would take him

at least twelve days, and we had already

used up our allotted time.

A few months later my Chinese guide

wrote that the outfit was ready, and I made

plans to return to China in March 2009.

We drove down to Xishuangbanna, and

met with Boyihan again. I was thrilled with

the bark clothing he had made for me,

but I still hoped to find out how he did it.

Boyihan brought out the beating tool he

used, and showed me the whole process in

pantomime.

To start, Boyihan related that he went

into the forest and cut down the Antiaris

toxicaria tree. Out of this enormous tree,

which is about 300 feet high, with a 30-inch

diameter, he cut a six-foot section of the

trunk. Then he began beating that entire

trunk section head-on, using a two-pound

iron hammer. After hours of beating, when

he determined that the bark was loosened,

he began beating down at the top of the

bark layer, all the way around the circumference

of the trunk section. Finally, he had

loosened the bark sufficiently, and he was

able to pull down the entire bark layer, an

operation similar to skinning a snake. Now

Boyihan had a huge tube of bark, which

he brought to a river. He suspended the

tube of bark on a heavy rod in the river and

began beating the bark again. This was the

final beating, and accomplished two things.

The poisonous sap of the tree was washed

away, and the black outer bark was removed.

The entire beating procedure took many days.

Now Boyihan brought the bark tube back

to his house and hung it again on a rod in a

horizontal position to dry.

He placed several rocks inside the bottom

of the tube to keep the piece from shriveling

or shrinking while drying.

The final steps were cutting the tube to

make the clothing. He used half the tube for

the trousers and half for the jacket. To form

the trousers, Boyihan simply made a slit up

the length of one tube corresponding to the

length of a man’s leg. Then he stitched together

the two inside lengths. For the jacket,

he made one cut the entire length of the

second tube and cut two openings for the

sleeves, which had been formed by beating

two branches of the tree the same way as he

had worked on the tree trunk. He stitched

the tubular sleeves onto the jacket and also

stitched on a leftover piece to make a collar.

The extraordinary part is that his method

of making bark cloth was entirely different

from the methods used by the natives of the

Polynesian islands who make tapa; also different

from the amatl making of Mexico; and

the making of bark cloth in Uganda, Africa.

In all these places, the fiber used comes from

trees of the Moraceae family (Ficus species).

Antiaris toxicaria is also a Moraceae.

When I spent a week working with

a family at Fasi village in Nuku’Alofa in

1990, it was wonderful to be part of their

work that is so important in Tongan life. I

selected a branch of mulberry, bit the end

of it, and pulled off the bark. It was easy to

do, because the mulberry is fresh, green,

and full of moisture. I scraped off the outer

bark, and then continuously beat the inner

bark to make a piece of bark cloth. The

fiber is not cooked. In Mexico the process

is different, as the inner bark of mulberry

is cooked before it is beaten. In Uganda,

the Mutuba tree, Ficus natalensis, is used to

make bark cloth. The worker makes a lateral

slit at the top and bottom of the tree trunk,

and one vertical cut. Then the entire piece

of bark can be stripped from the tree. The

tree has the unusual capacity to renew its

bark if proper care is taken, by protecting

For quite a few years it has been my “lament

with levity” that when the hottest and

most humid summer day manifests itself

in the Delaware Valley, it must indicate

that I am trying to run a washi workshop

during this inappropriate season. But while

traditional winter’s

cold weather and water

make the process less

challenging, who can

resist a good outdoor

hose-down after a day

immersed in kozo

thickened with sticky

neri! This year I

scheduled my classes at

Bucks County Community

College in Pennsylvania,

my annual washi

days at Philadelphia’s

Fairmount Park Japanese House, and a daylong

Japanese paper workshop at Tidewater

Studio in New Jersey, all within a fortnight,

so as not to risk spreading my heat wave

throughout the whole summer.

With a very busy week of teaching ahead

of me in Philadelphia, I needed to soak and

cook my two pounds of Thai kozo and one

pound of Philippine gampi in New Jersey

the weekend before the Tidewater workshop.

I planned to do chiri (bark) picking

and hand beating of a pound of each of the

fibers with the six people who had signed

up for the class. But I “cheated” on the

beating of the remaining pound of kozo

that I wanted to pigment by throwing it in

the Hollander beater for a light half hour

of separating and brushing the fibers. This

would allow me to introduce retention aid

and pigment to the kozo a few days ahead of

time in order to optimize color attachment.

Fortunately my week of Japanese

papermaking in Philadelphia went pretty

smoothly. My studio assistant at Bucks

had spent the same weekend cooking two

pounds each of kozo and gampi. With thirthe

teen students, we had no trouble beating the

inner bark by hand swiftly, but not soundlessly!

Fibers and neri remained fresh over

the course of the week due to the classroom’s

goose-bump efficient air conditioning.

However, during the very steamy hot

morning spent making washi with young

campers in Fairmount Park, the kids gave

out only moments before the formation aid

did, but happily not before everyone had

formed at least one good sheet.

So, by Friday I was headed south to Tidewater

to complete the last minute preparations

for Saturday’s adventures in washi.

Tidewater Cottage and Studio, located a few

minutes north of Historic Cape May, New

Jersey, is a full service papermaking studio

which allows me to offer workshops and

provide studio access, as well as a comfortably

furnished home which invites weekend

or week-long artist retreats. I had just

finished pigmenting kozo with three colors

and pre-mixing the necessary batches of

formation aid and coagulant, when my first

visitor arrived. Friend and paper artist Jill

Powers, from Colorado, had been vacationing

with family at a neighboring seashore

resort and stopped by to say a quick “hello.”

While we were talking, Margaret Rhein and

her husband arrived. Peg (Margaret) had

generously bid on this workshop, helping to

support Hand Papermaking’s Annual Auction.

Taking time to sit down and visit with

Jill, Peg, and Stu proved a great way to “kick

off” the workshop. Later Friday evening

we were joined by paper artist and friend,

Marlene Adler.

After Saturday morning’s walk on the

beach with my dogs, Marlene, Peg, and I decided

to start picking the chiri from the kozo

and gampi while we awaited the arrival of the

remaining four papermakers. Bobbie Adams,

Barbara Bradley, and Erin Robin, all Guild of

Papermakers members, had previous Japanese

papermaking experience. It was to be

Lisa Hamilton’s first attempt at washi. They

all missed the opportunity to pick chiri due

to the extremely high

volume of shore traffic

that morning. But no

one was exempt from

the ceremonial handpounding

with mallets

to beat the fibers to a

pulp.

After showing

everyone Tidewater’s

baby kozo tree and

torroro aoi seedlings,

we were all treated to

viewing some special

treasures that Peg brought along to share,

which she had inherited from Mildred

Fischer, an early papermaker and educator

with a special interest in Japanese paper.

There were some beautiful examples of

spun paper thread and shifu, the cloth

that was woven from the thread. There

were examples of orizomigami, folded

and dyed kozo paper. Peg also brought an

authentic and beautiful su-keta, pounding

mallet, and brush, all from Mildred.

It was great to be able to show the “real

thing,” because the su-ketas that I use are

my makeshift art stretch frames sandwiching

a bamboo brush mat with no-seeum

mosquito netting affixed to one side.

Due to our late start, it was early afternoon

before we were all dancing the kozo

across our sus. There were six vats of fiber to

alternate between—clean kozo and gampi, a

mixed chiri vat with a little rose-of-sharon fiber

added, and straight kozo pigmented gold,

turquoise, and purple. We made both traditional

plain sheets as well as watermarked,

stenciled, and layered sheets with inclusions.

Before we realized how quickly the afternoon

had passed, it was suppertime—fatigue and

hunger had descended upon us. There had

been a mid-afternoon pressing, so we had

the opportunity to brush our first round of

washi onto boards, which rapidly dried in the

sun. The later afternoon papers were lightly

pressed to be sent home with folks on their

couching pellons. And thanks to everyone

pitching in with clean-up, we were able to

wrap up a great day of washi and camaraderie

just in time to view a dramatic Delaware

Bay sunset.

> PAPER HISTORY

Maureen and Simon Green, from the United

Kingdom, write a joint column on Paper History.

Maureen is a paper historian, and author

of Papermaking at Hayle Mill 1808-1987.

Simon was the last of the Green family to run

Hayle Mill, in the U.K. He provides consulting

services to papermakers worldwide. This is the

first part of an article, entitled Oxfeet and

Trotters, about gelatin sizing at Hayle Mill.

When the first European paper mills

were established in Spain in the

eleventh century, the paper made was sized

using rice or wheat starch. Richard Hills

described sizing techniques in Kashmir as

similar to ‘applying butter to bread.’1 After

the size had dried on sheets, they would be

hand burnished using a polished stone.

By 1280, Italian papermakers introduced

the practice of sizing paper with gelatine

made from the hooves, horns, and hides of

animals. Gelatine remained the dominant

sizing agent through nearly six centuries.

Until the introduction of gelatine in prepared,

powder form, a familiar sight at mills

was the delivery of large quantities of what

the trade referred to as fleshings. These were

purchased either direct from abattoirs and

tanneries or via rag or other similar merchants.

Upon delivery, the fleshings were

placed in sacks and left in the mill pond to

soak before rinsing them thoroughly in cold

water to remove any residual lime—a form

of crude preservative.

Making and applying gelatine size was a

complex business and a knowledgeable and

competent sizer was a valued employee for

any mill. The Hayle Mill archives contain

many ledgers filled with information

concerning the day-to-day running of the

business. A number of these ledgers are devoted

to the exacting task of gelatine sizing

paper. One ledger dating from 1852 to 1857

contains a typical recipe employed by the

Mill throughout the nineteenth century.

The Way Longley Made Size.

10 cwt. Oxfeet and Trotters in equal

proportions from 11 to 12lbs Alum per

cwt. After the Feet are well washed and

in the copper light the fire and soon after

the grease begins to rise, begin to skim it

off and continue to do so until there is no

more grease. When it has boiled about 3Ч

hours, put in 1/3 of the soap you intend to

add, boil 3 or 4 minutes and then add 6

or 7 lbs Alum, well pounded, and stir it

at the top for 3 or 4 minutes. Then begin

to draw off first time—put the Alum in

lumps in a shoot so that the size shall

dissolve it as it runs off. Draw off as long

as it runs clear. Then fill the copper again

and let it boil gently till the Feet are quite

brought to a pulp. Keep running as long

as there is any grease or refuse on the top

and then add remainder of the soap and

the same quantity of Alum as in first

boiling—the second boiling takes about 12

hours—slow boiling.2

A valuable by-product was the left over

fleshings which were sold to farmers as a

fertiliser. This was traditionally the Sizer’s

perk until Jack Barcham Green found out

that the Sizer made more than his wages

in selling spent fleshings. After that the

company sold the used fleshings!

The alum referred to in Longley’s recipe

would have been aluminium potassium

sulphate [AIK (SO4)2 12 (H2O)] later often replaced

by a cheaper alternative, aluminium

sulphate [Al2 (SO4)3 or Al2 O12 S3]3. The role of

the alum was threefold: to stabilise the solution;

act as a preservative, and to render the

gelatine resistant to ink penetration. While

developing a watercolour paper for the Royal

Society of Painters in Water Colour [RWS]

in 1895, Herbert Green maintained that

alum ‘rendered the size more viscous.’ He

considered the addition of alum ‘necessary

in these days when such hard sized papers

were asked for.’ Artists in particular were

interested in obtaining papers resilient to a

considerable amount of erasure and abuse.

Damp paper saturated with gelatine

proved an excellent breeding ground for

mould—a term covering a variety of fungal

and bacterial infections. Many mills added

some form of antiseptic or fungicide to the

size in order to combat this—often to no

avail. In 1895, Herbert Green informed the

artist John William North, founder of the

O.W. Paper & Arts Company, that paper

sized in the month of August was particularly

vulnerable to mould. In the case of

Antiquarian, the size and weight of the

paper meant it could only be made during

certain months of the year. In the twentieth

century formaldehyde (CH2O) was considered

the most reliable preservative until it

was discontinued for health reasons.

Once the size had been prepared, it could

be diluted to any desired strength depending

on the type of paper to be treated. One thing

missing from Longley’s recipe are the temperatures

necessary to treat each stage. These

were adjusted accordingly throughout the

make and critical to the success of each mix.

Once the paper had been dried, the

sheets were delivered to the Size House.

Until the process was mechanised in the

mid-nineteenth century, the paper was

divided into ‘spurs’—the number of sheets

in each determined by the thickness of the

paper being treated. However, even with

the invention and installation of sizing

machines in mills, many clients preferred

their papers hand-sized whereby each spur

was clamped between wooden planks and

manually dipped into the size bath, as can

be seen in the accompanying photograph

from the Simon Barcham Green Collection.

After dipping, the newly sized sheets

were taken back to the loft to be dried. Not

only were the temperatures arrived at for

each cooking stage critical, the drying of the

paper was temperature sensitive as well.

According to Jack Green:

The temperatures in the loft in which

the paper is being laid out to dry should

not be over 600F. (150C.). It should rise

gradually, starting from about 600F.

(150C.) to 700F. (210F.) after 24 hours,

then to 800F. (270C.) after 48 hours and

to 900F. (320C.) after 72 hours.

He also warned that:

Sized paper must neither be spread out

nor hung up in too thick spurs or handfuls

of it will stain, nor too thin or it will be

cockly and dry too rapidly.4

In order to achieve a hard-sized finish,

dried sheets were put through the process

twice or, in the case of security makes and

for some artists such as Sir William Russell

Flint, three times.

During the twentieth century, most papermills

(including Hayle Mill) stopped making

their own size and bought processed size

from specialist manufacturers. In the 1960s,

problems arose in procuring good quality

size, which led to Simon Green researching

what was available and how it was processed.

He visited Croda Gelatine Ltd in Beverley,

East York—one of the largest manufacturers

of a wide range of gelatine products.

Skin and bones remained the main sources

of gelatine and there was a high degree of

selection of particular materials according

to the end use. The extraction method was

also similar in principle to the old methods

but far more sophisticated, with close control

over a number of parameters. Products could

come from differing stages of extraction and

were then refined to varying extents.

The coarse varieties became a range of

glues whereas the purest products were used

in the food and photographic industries.

Tests included chemical and biological purity

and gel strength, which could be measured

in a number of ways. He selected a type of

food grade gelatine. After the solution (or

sol) of gelatine in water was purified and

concentrated to a suitable strength it was

then gelled by running it on to a continuously

moving, polished, chilled metal

cylinder. The gel was then scraped off the

cylinder and pulverised before being dried

by spraying into a heated air chamber.

At the Mill, the gelatine powder was

dissolved in warm water at a controlled

temperature and potash alum was added in

set proportions before being passed to the

size bath. The strength of the solution was

measured with a hydrometer5 in, believe it

or not, degrees Twaddle. The temperature

of the gelatine and the speed of the size

machine were closely controlled.

For many purposes, gelatine was the

ideal size since, if properly undertaken, it

made the paper fully resistant to water (and

to some extent oil) without being repellent,

greatly increased the strength and durability

of the paper, and allowed erasure without

damage. However it was very time consuming

and expensive, and a high proportion of

paper had to be resized if it failed to meet

rigorous testing after drying and months

of maturing. It is not, therefore, surprising

that papermakers sought a cheaper and

more reliable sizing method. Sadly throughout

the nineteenth and most of the twentieth

century, the favoured size was rosin and

alum—often with disastrous effects on

permanence.

1. R. L. Hills, Papermaking in Britain 1488-1988, p. 27.

2. 1 cwt (hundredweight) = 112 lb = 50.8 kg.

3. However potash alum was still added to gelatine size at Hayle

Mill until 1974 when tub sizing was ended. Papermakers’ Alum

(Aluminium sSulphate) was however used as a beater additive to help

retain pigments.

4. J. B. Green, Paper Making by Hand in 1967, pp.20-21.

5. Simon Green replaced this with sugar refractometer in about

PROFILES IN PAPER

Susan Gosin co-founded Dieu DonnО Press

& Paper in 1976. She regularly lectures and

teaches papermaking, and has compiled a

significant collection of interviews with noted

personalities in the hand papermaking community.

This column is part one of her profile

of Douglass Howell.

In all of the columns I have written thus

far profiling pioneers in the revival of

hand papermaking, the influence of one

papermaker, whether noted or not, has

always been in the background. Most of us

practicing some form of papermaking today

are direct descendants in the family tree

of hand papermakers started by Douglass

Howell. Though Dard Hunter, before him,

and Laurence Barker, after him, were critical

links in the revival of the craft through

research, writing, and teaching, it was

Douglass Howell who brought a new vision

to the process, reinventing it as an artistic

medium. Howell invented new applications

of hand papermaking and in doing

so created a unique language of expression

for artists. Simply put, Howell pioneered

the majority of techniques we use today to

create two- and three-dimensional art in

paper pulp.

Born in New York City in 1906, Howell’s

distinctive approach to making paper and

art began with his upbringing and education

in Florence, Italy, under the encouragement

of his American mother and the

mentorship of Guido Biaggi, Director of the

Medici Library, the Laurentiana. It was Biaggi

who introduced Howell to the world of

original drawings and printed books by the

Renaissance masters, teaching him that the

quality of the art is dependent on the artist’s

choice of materials. While Biaggi exposed

the young Howell to great art and introduced

him to the Italian tradition of fine

craftsmanship, his mother included him

in her circle of contemporary artists and

writers such as Ezra Pound, and producer,

Gordon Craig. Though Howell received

a business degree from the University of

Turin and worked in the banking industry

for several years in Italy and New York during

the 1920s, by the Depression he had left

the world of banking to pursue a career in

the arts.

It was during this period that Howell

put together a living as an artist, a writer,

and even the literary agent for friends Ezra

Pound and Gordon Craig. His interest in

woodcut printing led him to track down

fine paper from Harrison Elliot of the Japan

Paper Company. Elliot’s avid appreciation of

handmade paper and his Hollander beater

inspired Howell to do research about Dard

Hunter at the New York Public Library.

However, in 1941, Howell was drafted

into the army and until the end of World

War II served in intelligence and combat

in Europe. But before leaving France to

return to the United States, he followed up

his growing interest in fine paper, visiting

Maurice Peraudeau at Richard de Bas Mill

in Ambert, France.

Upon returning to New York City in

1946, he found a studio at 29 Grand Street

in what is popularly known today as Soho

(only a block away from Dieu Donné’s first

home, thirty years later). Not long after moving

in, he ran into a new neighbor, Alice

Orcutt, a descendant of a long line of American

publishers and printers who, coincidentally,

was also friends with Guido Biaggi.

Three weeks later they married and within a

year began a family and a business in hand

papermaking and fine printing. Douglass

bought a Washington press, and, after doing

some research, had a beater fabricated according

to his designs. Using the bathtub as

a vat, Alice remembers hanging both diapers

> PROFILES IN PAPER

and papermaking felts on the line as the

young family and fledgling business grew in

tandem in downtown New York.

Howell was able to make limited quantities

of handmade paper that he used to

print poetry, selling his work at bookstores

such as Scribner’s and Brentano’s. He also

brought his paper to printmaker William

Stanley Hayter and other artists at Atelier

17, such as Joan MirЧ, encouraging them to

try his handmade paper. Artist Anne Ryan,

known for her abstract paper compositions,

found Howell’s paper ideal for her collages.

However, the Howells struggled to make

ends meet in New York City and decided

to take up an offer to set up their papermill

in an art community in Pepperell, Massachusetts.

Packing up their worldly possessions

and traveling north in a blizzard, the

Howells discovered that the “Art Colony”

was in fact a home for displaced souls from

the war and that there was little feasibility of

success for any kind of endeavor. Douglass

Howell, his pregnant wife, Alice, and their

one-year-old son stayed just long enough,

eating their meals in the unheated barn, to

realize they needed to think of a new plan.

Alice temporarily moved in with her parents

in Rhode Island while Douglass returned to

New York to find new work.

Though Douglass was committed to hand

papermaking, the reality of supporting his

young family came first. He secured a day

job as an engraver at Cartier. With the help

of family friends, the Howells moved to

a small house in Westbury, Long Island.

Here, Douglass was able to set up a studio

and papermill in the basement, working

into the wee hours conducting experiments,

making paper, and designing his stainless

steel beater, #2. Howell’s handmade paper

began to receive recognition.

In 1947, the Brooklyn Public Library

exhibited his paper and the Museum of

Fine Arts in Boston purchased a collection

of Howell’s paper. Howell put together a

“Green Box” of sample papers and hand

papermaking illustrations that he exhibited

at schools and libraries. Howell’s son,

Timothy, remembers accompanying his

father often to lectures and workshops; one

was for a live television broadcast from the

Empire State Building.

The 1950s were fertile; they brought two

more children to the household and proved

to be a steady period of artistic exploration

in the studio. With some flax seeds that

Alice gave to Douglass, he was able to grow

and harvest plant fiber. Previously, most

of his research and production had been

focused on using recycled linen rag for

his handmade paper. During this period,

Douglass began experimenting extensively

with flax pulp, its preparation in the beater,

and its expressive qualities in art. He dipped

wooden armatures that were draped with

string into vats of long fiber flax pulp that

clung to the string, creating unique pieces

of sculpture. He developed an extensive

series of what he called self-illuminated

sculptures using this technique.

Those familiar with Alan Shield’s body

of art beginning two decades later will

recognize the similar method utilized by

both artists. In 1953, this work of Howell’s

was exhibited as paper lamps at the America

House. He also began to experiment drawing

with thread, dropping designs onto the

surface of wet sheets, a form of what he

called “synchronic drawing.” These “controlled/

planned accidents” have a quality of

freshness that invokes another master of

chance, John Cage. It is interesting to note

that while Howell employed synchronicity in

his art, his wife, Alice, was studying the work

of Carl Jung and eventually became a worldrenowned

scholar and author in the field.

DECORATED PAPER

Sidney Berger, a professor at Simmons College

in Boston and Director of the Phillips Library

at Peabody Essex Museum, has been collecting

and researching decorated paper for over thirty

years. Here Sid discusses the variety and beauty

of paste papers.

In looking over the columns I have written

for Hand Papermaking over the last few

years, I notice that I have neglected a paper

decoration technique that is widely practiced

and has centuries of history: paste paper

decoration.

When Rosamond Loring was experimenting

with marbling and paste decoration, she

decided that she would abandon marbling

in favor of paste because she found the latter

easier to produce and it allowed for the

greater expression of one’s imagination. And

it’s true: making paste papers is so easy that

one can become fairly expert at it in a short

time, and there is no limit to the decorations

one can come up with in this medium. I

give workshops in this technique, and my

students—new to the art—often make paste

papers that outstrip in beauty anything I have

ever produced, and they create designs that

I have never seen before. This is part of the

magic of paste papers.

According to Richard Wolfe, in his extensively

researched Marbled Paper: Its History,

Techniques, and Patterns (Philadelphia: University

of Pennsylvania Press, 1990), the earliest

paste papers probably come from Augsburg

and other south Germany workshops, and

were in use by around 1600 (p. 24). In

my article for the January 2008 issue of

the Hand Papermaking Newsletter (81:6) on

Dutch gilt papers, I mention that the Dutch

gilts were used as substitutes for leather. The

same goes for paste papers, since they replaced

leather as an attractive, manipulable,

easy-to-make material, perfectly suitable for

bindings, a use to which they were put from

the 1730s onward (see Wolfe, p. 24).

Perhaps the most famous of the historical

paste papers were those made “in the

Saxon town of Herrnhut in about 1765, and

it was there, during the next fifty years or

more, that this form of paper decoration attained

its highest level of perfection” (Wolfe,

pp. 24 f.). He adds, “‘Herrnhut papers,’ as

they came to be popularly known, achieved

their superior quality through the bright yet

tasteful colors employed in their making,

and the symmetrical yet charming repeat

patterns they contained” (p. 25).

As is typical in the production of early

decorated paper (“early” meaning from

before the nineteenth century), the makers

were anonymous. One can imagine a bookbinder

trying to save money, looking at ex-

pensive pelts and thinking,

“There must be a cheaper

way to cover books, and in

such a way that the books

don’t give up much in

attractiveness.” Paper was

the perfect material, and

paste decoration was one

solution.

(Parenthetically, one

of our goals as collectors

of decorated papers is to give

credit where it is due. That is,

we wish to bring recognition to

those whose artistic efforts are

used by others. Too often we

will find on a book the name of

the author and publisher, the

printer and binder, and even the

papermaker and the designer of

the typeface. But the marbler or

paste paper artist whose work

adorns the covers or endsheets

of a book is seldom mentioned. By having

representative papers from many artists in

our collection, and by showing who these

artists are for the sheets, we hope future

scholars will be able to identify these otherwise

unnamed people. Since binders were

probably the first users of these papers,

they were probably also the original makers

of them. The fact that most book bindings

themselves are unsigned

explains why they did not

identify themselves as the

makers of the decorated

papers on the books.)

Loring discusses

the many early types

of paste papers in her

classic volume Decorated

Book Papers (the most

recent edition of which

is Cambridge, MA: Houghton

Library, Harvard College

Library, 2007). She says that

two kinds of paste papers

were made: those in which

the paste is manipulated after

it has been spread over the

sheet, and those which she

calls “printed paste papers” on

which the patterns are printed

in paste from woodblocks (on

which the paste was substituted

for ink) (see Loring, p. 65).

As I have said, the variations in paste

decoration are endless. MichПle V. Cloonan

explains that there are three basic methods

of making paste papers: “printed, direct

design, and combination” (Early Bindings

in Paper (London: Mansell, 1991), p. 70).

She adds, “These can be broken down into

several techniques or designs: spattered,

combed, brushed, printed, pulled, daubed,

vinegar and combination” (pp. 70-71). In part

2 of this column I shall talk more about the

actual techniques and the materials one

must use.

Let me conclude part 1 of this piece by

saying that in the world of decorated papers,

paste papers take a leading role, chronologically

and artistically. True, papers were

decorated in the fifteenth century with

wood-block design, but in sheer numbers,

paste papers outstrip block-printed ones in

abundance. And for variety and beauty, one

can hardly find a medium with more variations.

(One might say the same for marbled

papers, and I admit that these two decorative

techniques are at the top of all censuses

of paper adornment.) The two examples

pictured here are by Veronica Ruzicka (top)

and Elisabeth Hyder.

> FOR BEGINNERS

Mary Tasillo is a papermaker, book artist, and

mixed media maven based in Philadelphia. She

teaches workshops nationally. In this column

Mary explains different ways of assessing pulp

and paper during the papermaking process.

When you are starting out as a papermaker,

it can be a challenge to judge

when you’ve completed certain steps of the

papermaking process, such as when your pulp

is done, or when your paper is completely dry.

Other aspects require some testing no matter

how familiar you are with the process. For example,

in order to make sure that your paper

is archival, you need to be able to measure the

pH of your pulp. Here, we will address several

tests for assessing your pulp and paper.

1) Pulp “Doneness”

How can you tell if your pulp is ready for

sheet forming? After some practice, I am

able to tell through a combination of timing

the beating, eyeballing the pulp, and sticking

my hand in it to assess its fluffiness. But

when I’m unsure, I might use the jar test.

Take a small clear jar—a baby food jar is of

sufficient size. Fill two-thirds to three-quarters

of the jar with water; then add a pinch

of processed pulp (without actually pinching

it and compressing the fibers!). Shake the

jar to disperse the fibers through the water.

Do they disperse evenly? You are looking

for a fine cloud of suspended fibers, without

clumping or knots. If you notice clumping,

beat your fiber longer until it disperses.

2) pH

If you are aiming to make an archivally

sound paper, assessing the pH of your pulp

with a basic paper strip test, known as a

litmus test, can be useful. Even if you are

working with fibers that have been cooked

with a caustic (such as soda ash) to achieve

a neutral pH, if the water you add to hydrate

and beat the fibers is not pH neutral, the

overall acidity or alkalinity of your paper

may be affected. It should also be noted

that fibers cooked in caustic that have not

been adequately rinsed may still be strongly

alkaline. The pH test strips assess your pulp

on the standard scale of 0 to 14, where 7 is pH

neutral. Simply dip the paper strip into the

pulp and allow it to sit for a minute; the paper

changes color to indicate the pH. Compare the

color of your strip to the color chart provided

with the strips. A slightly alkaline pH reading

of 8-9 is ideal to buffer the paper’s pH against

acidity in the environment.

What can you do if your paper is too

acidic? Calcium carbonate is an alkaline

buffer that can be added to help neutralize

your pulp. Note that this substance is also a

filler that makes for a more opaque paper.

If you determine that your water source is

adversely affecting the neutrality of your

pulp, it may be time to research some sort

of water filtration.

3) Paper Dryness

However you are drying your paper, it can

be easy to confuse dry-to-the-touch with dry

paper, particularly when you are impatient

and enthusiastic about your new paper. One

touch test to use when testing paper for

dryness is a temperature test. If the paper

feels cool to the touch, it is not yet fully dry.

Give it some fresh blotting material and put

it back under weight (if it is drying under restraint)

for another day. You might also take

one sheet out and expose it to the air to see

whether it curls. If it warps quickly, leave the

rest of the paper to dry longer.

Keeping these three tests in mind, you will

be able to prevent some of the common problems

faced by the beginning papermaker.

> 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 January Newsletter

is November 7. Contact each facility

directly for additional information or a

full schedule. Teachers: Tell your students

about Hand Papermaking! Brochures and

handouts can be mailed to you or your

institution. Email:

newsletter@handpapermaking.org

> CLASSES AND WORKSHOPS

Arrowmont School of Arts and Crafts,

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

arrowmont.org. Classes and workshops

in a variety of disciplines, including

papermaking.

Marbling Papers: From Basics to Beyond,

October 16-18, with Pat Thomas.

Asheville BookWorks, Asheville, NC,

(828) 255-8444, www.bookworksasheville.

com. Hands-on workshops including

bookbinding, printmaking, decorative paper,

and basic papermaking.

Introduction to Papermaking, October 9-11,

with Amy Jacobs. Learn the basics of

papermaking with a focus on sheet forming.

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.

Marbling and Paste Paper, October 18-24, with

Annie Cicale. Produce stacks of beautiful

paper using these two paper decorating

techniques that are popular with book artists.

Make the Paper and Print It, November 8-14,

with Frank Brannon. Form beautiful sheets

of paper from cotton, flax, and abaca fibers,

exploring linoleum and wood block printing

on the newly-made sheets.

Carriage House Paper, Brooklyn, NY, (800)

669-8781, www.carriagehousepaper.com.

Visit website for workshop schedule.

Center for Contemporary Printmaking,

Norwalk, CT, (203) 899-7999,

www.contemprints.org.

Paper in Dimension: Introduction to

Sculptural Handmade Paper, October 3-4,

with Jeanine Esposito. Experiment with

dimensional paper sculpture, including

draping, layering, casting, armature,

embedding, and sewing techniques.

Columbia College Chicago Center for Book

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

www.bookandpaper.org. Papermaking

classes in spacious downtown studios.

Cheap Papermaking Days, October 24 or

25, with Zina Castenuela or Sara Andrews.

Learn the basics of sheet forming, couching,

pressing, and drying.

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,

November 3, or December 1, with staff

instructor. Learn the basic papermaking

process, as well as various artistic

techniques.

Open Studio, October 14, November 11,

or December 16, with staff instructor.

Experiment on your own with studio pulps,

making sheets up to 11 x 14 inches.

Creative Techniques for Artists, October 21,

November 18, or December 9, with staff

instructor. Explore advanced techniques

and their application for two- and threedimensional

projects, with a different focus

at each session.

Gail Harker Creative Studies Center,

Oak Harbor, WA, (360) 279-2105, www

.gailcreativestudies.com. Offering courses in

textile arts.

Adventures in Papermaking, November

13-15, with Lisa Harkins. Develop skills in

sheet forming, casting, adding color and

inclusions, and processing plant fibers from

your garden.

Hook Pottery Paper, LaPorte, IN, (219) 362-

9478, jonandrea@hookpotterypaper.com,

www.hookpotterypaper.com. Classes in

papermaking and pottery and a residency

program in northern Indiana.

Paper Marbling, October 3, with Andrea

Peterson. Use handmade papers as the basis

for Western-style marbling.

Papermaking and Printmaking, October 31

and November 7, 14, & 21, with Andrea

Peterson. Explore paper making techniques

that can enhance the printed image and

add relief printing to create a limited

edition.

Open Paper Studio, November 28-29, with

Andrea Peterson. Work independently with

prepared pulps.

Minnesota Center for Book Arts,

Minneapolis, MN, (612) 215-2520,

www.mnbookarts.org. Classes at the Open

Book center for book and literary arts.

Introduction to Marbling, October 10, with

Lin Lacy. Learn to prepare materials and

produce several patterns, incorporating

traditional designs and contemporary

materials to create decorative papers.

Marbling Open Studio, November 21,

with Lin Lacy. Hone your skills working

independently under the watchful eye of an

experienced marbler.

Papermaking Open Studio, November 21,

with Lin Lacy. Hone your sheet-pulling

technique working with a featured fiber.

Japanese Papermaking and Decorating,

December 5-6, with Jana Pullman. Learn

the tools and techniques used in basics of

Japanese style papermaking; then learn the

decorating techniques of “dragon paper”

(Unryu Shi), marbling (Sumi Nagashi) and

fold dye (Shibori-Zome).

Morgan Art of Papermaking Conservatory

and Educational Foundation, Cleveland, OH,

(216) 361-9255, http://morganconservatory

.org. Workshops in hand papermaking and

the arts of the book in an innovative green

environment.

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 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.

Pyramid Atlantic, Silver Spring, MD, (301)

608-9101, www.pyramidatlanticartcenter.org.

Workshops in papermaking, printmaking,

and book arts.

Papermaking Society, First and Third Thursdays,

with Gretchen Schermerhorn. Bring snacks,

discuss papermaking techniques, and make

as many sheets of paper as you can.

Pulp Printing, October 24 or November 14,

with Gretchen Schermerhorn. Learn how

to do pulp printing and stenciling to print

detailed imagery into the handmade paper,

exposing an image onto a screen mesh, and

then spraying colored, finely-beaten pulp

through the screen onto the cotton sheets.

Ridgetop Studios, Soquel, CA, (831) 476-6302,

john@babcockart.com, www.babcockart.com.

An Introduction to Papermaking: Working

with Natural Fibers, November 7-8, with John

Babcock. Use historical methods as well as

experimental techniques to make handmade

paper from garden fibers and kozo.

HAND PAPERMAKING

regional happenings

You are cordially invited to join us in the Boston area on

Sunday, October 4. Enjoy lunch with Lee McDonald

hosted by the Boston Paper Collective, a mini-seminar

in the afternoon with Sid Berger, and a festive exhibition

opening with Elaine Koretsky, while supporting the nonprofit

programs of Hand Papermaking.

From 11:30 until 1:30 we’ll gather for a casual lunch at the

home of Lee McDonald, where he will regale us with stories

from the early days of the hand papermaking renaissance,

talk about his latest beater, and introduce

the Boston Paper Collective. Lee began as a Twinrocker

apprentice in the mid-1970s and he’s been designing/building

papermaking equipment ever since.

Next, a few minutes away at the home of Sid Berger and

Michele Cloonan, from 2:00 until 4:30, professor Berger

will teach us how to recognize and describe paper characteristics

and aspects of paper decoration, using rare papers

from his amazing collection to illustrate. Sid has been

collecting and researching paper for nearly 40 years and

was recently part of an international team of scholars developing

a thesaurus of paper terms. He directs the Phillips

Library at Peabody Essex Museum.

At 5:00 our group is invited to join a gala event, with

wine and cheese, to celebrate the opening of the exhibition

“Before Paper” at Elaine Koretsky’s International Paper

Museum at The Research Institute of Paper History and

Technology. Located in a 100-year old building originally

used as a carriage house, the Museum holds a tremendous

collection of books, handmade paper, and artifacts

collected by the Koretskys during several decades of

field research worldwide.

This unique opportunity is limited to 20 guests, and priority

will be given to current subscribers. Sign up now by

calling Hand Papermaking at (800) 821-6604. Participants

are asked to make a $75 tax-deductible donation.

www.handpapermaking.org/events

Robert C. Williams Paper Museum, Atlanta,

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

Teachers’ Japanese Papermaking Workshop,

June 21-25, 2010, with Berwyn Hung. Study

Japanese papermaking in-depth, from

its history through its practice, including

construction of a sugeta.

San Francisco Center for the Book, San

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

Book arts classes and events year-round.

Pastepapers, December 4, with Leigh McLellan.

Create colorful, vibrant patterns by covering

beautiful charcoal drawing paper with paste

and then drawing, stamping, combing, or

pressing and pulling apart the surfaces.

Sarvisberry Studio and Gallery, Floyd, VA,

(540) 745-6330.

Handmade Paper Workshop with Local Plants

and Fibers, October 3-4, with Gibby Waitzkin

and Georgia Deal. Learn to make paper

using local plants and embedded botanicals,

from garden fibers to finished piece.

Seastone Papers, West Tisbury, MA, (508)

693-5786. Scheduled papermaking and book

workshops listed at www.seastonepapers.com;

contact Sandy Bernat for more information

on open studio and private workshops for

adults and children.

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 of paper studio

and equipment for private instruction upon

request for use by paper artists.

Papermaking Saturday, select Saturdays, with Beck

Whitehead. Work on independent projects with

instruction available in the morning.

Special Fibers: Pulp Painting, October 31,

with Beck Whitehead. Learn pulp painting

techniques using abaca, flax, and cotton rag.

Kozo and High Shrinkage Fiber: Unusual

3D Techniques, November 7-8, with Melissa

J. Craig. Explore the creation of moulds,

armatures, and mounting strategies to make

free-standing paper sculptures through a

combination of lectures, demonstrations,

and hands-on lessons.

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 Cottage and Studio, Del Haven, NJ.

Day workshops and weekend or week-long

retreats in a fully equipped paper studio, 10

minutes north of Cape May, New Jersey. For a

schedule or information about studio rental

with instruction, e-mail Winnie Radolan at

winnie.r@verizon.net.

West Dean College, Chichester, West

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

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

Informing Paper: Recycled Paper Pulp Vessels

and Vintage Paper Casting, March 21-24, with

Magie Hollingworth. Explore ways of forming

organic vessels with recycled paper pulp and

casting with handmade and vintage papers.

> EVENTS

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 visit

www.friendsofdardhunter.org. The 2009

meeting will be held October 15-18 in

Atlanta, Georgia, taking full advantage of all

the Robert C. Williams American Museum

of Papermaking has to offer.

The International Association of Hand

Papermakers and Paper Artists will convene

again in 2010, September 9-13, at the Hanji

Theme Park in Wonju, Korea, about 1 Ч hours

from Seoul. There will be a paper festival, four

exhibitions, presentations, and workshops.

Korean, Japanese, and Chinese papermakers will

be invited, in addition to IAPMA members,

to share their paper processes. See more

details as the congress evolves at www.

iapma.info.

> more events at

handpapermaking.org/events

> more classes and workshops at

handpapermaking.org/listings.htm

> EXHIBITS

Robbin Ami Silverberg will have a solo

exhibition at the Petofi Irodalmi (Literature)

Museum in Budapest, opening on

September 3. The museum address is:

KЗrolyi MihЗly utca 16, H-1053 Budapest,

Hungary. More information about the

museum can be found at www.pim.hu.

You Were Here: Fiber Art Postcards, an

exhibit at Tohono Chul Park, Tuscon,

Arizona, is on display September 10

through November 16. Postcards in Wish

You Were Here will document real or

imagined places, trips, experiences, or events

in Arizona, and feature a variety of fiber art

techniques including handmade paper. For

details, visit www.tohonochulpark.org or call

(520) 742-6455.

On September 17, Jill Littlewood’s exhibit

“Death and Other Lives” opens with a

gallery talk at Bluseed Studios in Saranac

Lake, New York. This installation is made

of 200 panels of handmade paper with

drawings, pulp paintings, collage, printing,

and calligraphy on the theme of death.

Coinciding with the exhibition, Jill will

lead workshops in pulp painting and on

art that deals with social issues. For more

information, visit www.bluseedstudios.org,

or call (518) 891-3799.

The Origin of Paper in China has a

gala opening on

International Paper Museum, 31 Grand

Street, Brooklyn, New York. Regular hours

are Thursdays, 2:00-5:00 PM. For further

details, call (718) 599-7858. The exhibition

Before Paper, which was shown in New York,

will now be on display at the Massachusetts

location of the International Paper Museum.

The opening celebration is scheduled for

cember 6. For

1636 or visit www.papermakinghistory.org.

The Robert C. Williams Paper Museum of

Atlanta hosts two exhibitions in conjunction

with the Friends of Dard Hunter Annual

Meeting. “Sukey Hughes and the World of

Japanese Paper: A Return to the Source”

opens October 15 and runs through January

28. “Make An Impression! The Art of

Combining Handmade Paper and Print”

is open October 16 through January 4. For

more information, call (404) 894-7840 or

visit www.ipst.gatech.edu/amp.

War Work: Artists Engage Iraq and Other

Wars will be on view at Carleton College,

Northfield, Minnesota, from October 22

to November 18. The exhibition includes

book, paper, and print artists Sandow Birk,

Daniel Heyman, John Risseeuw, Ehren Till,

Megan Vossler, the Combat Paper Project,

and more. For more information, call

(507) 222-4469 or (507) 222-4342, or visit

http://apps.carleton.edu/campus/gallery.

The exhibit will then be at The Art Museum

at the College of Wooster from January 12 to

February 28.

Book Bombs, a collaborative project by

Mary Tasillo and Michelle Wilson, will be on

display January 8 through March 31 at various

locations in Philadelphia, Pennsylvania, as

part of the inaugural Philagrafika2010 Print

Quadrennial. Book Bombs is a series of prints

and zines, some featuring paper handmade

from urban invasive fibers, examining the

many uses of public park spaces, installed

in just these public spaces. The project

is already underway, as documented at

http://bookbombing.blogspot.com, and

details will also be available through

Philagrafika2010, reachable at (215) 557-8433 or

www.philagrafika2010.org.

Project Runway, organized by the Robert

C. Williams Paper Museum of Atlanta,

is on view at Atlanta’s Hartsfield-Jackson

International Airport. The juried exhibit

showcases clothing and accessories made

entirely from paper, including ball gowns,

business suits, stilettos, hats, vests, and

much more, created by paper artists from

around the world. The exhibit runs through

January 12, 2010, after which it travels to La

Sala Galeria de Arte in Santiago, Chile. For

more information, call (404) 894-7840 or

visit www.ipst.gatech.edu/amp.

PUBLICATIONS AND VIDEOS

The Legacy Press has recently published

Killing Green: An Account of Hand

Papermaking in China by Elaine Koretsky.

The book chronicles the author’s many

field expeditions over more than a quarter

century, including excursions to remote

villages that represent unbroken traditions

in papermaking by hand. From the Takli-

makan and Gobi Deserts to the Himalayas,

Elaine Koretsky interviewed papermakers,

recorded their histories, and documented

their processes. Visit www.thelegacypress.com

for more details and to place an order.

Shoichi Ida: USA Remembers, edited by

Jane M. Farmer, is a fond look at the artwork,

projects, and lasting friendships that Japanese

artist Shoichi Ida made in his many visits to

the United States. Shoichi Ida had a special

gift for combining media to create artworks,

including dimensional uses of traditional

papers in his early prints, collaboration with

Japanese papermakers, as well as making

his own papers for mixed media works.

This facility and their personal compatibility

inspired the presentation to Ida and Robert

Rauschenberg of the Award for Excellence in

International Cultural Exchange at the closing

exhibition of the New American Paperworks

exhibition at the University of Maryland in

1986. Available at www.blurb.com (go to

Bookstore, search for Shoichi Ida).

Paper Art I — 173 International Paper

Artists is a new book featuring the paper artwork

of members of IAPMA (International

Association of Hand Papermakers and

Artists). More information, including

images, can be found at www.iapma.info ,

or by contacting president@iapma.info.

The Summer 2009 issue of Hand

Papermaking featured work by E.V. Day. A

short video filmed at Dieu DonnО shows the

creation of her monotypes in handmade paper,

with the help of collaborators Catherine Cox

and Akemi Martin. Browse to www.youtube

.com/watch?v=NMVzsJX0EbI or search

YouTube for EV Day.

In the August 14 inaugural episode of The

Tomorrow Show, host Mo Rocca takes a 12Ч

minute look at the future of paper. Among

the highlights, an interview with paper museum

curator Cindy Bowden, and a visit to

a house made of “papercrete” which is 80%

cellulose and 20% masonry. Visit www.cbs

news.com and search for Tomorrow Show.

More than a 100 handmade paper sculptures

by Peter Gentenaar were recently

hung in the abbey church of Saint Riquier,

in Northern France. A video of the work

courtesy of classiquenews.com—including

an interview with the artist—can be seen at

www.gentenaar-torley.nl/Films_P_E.html

in just these public spaces. The project

is already underway, as documented at

http://bookbombing.blogspot.com, and

details will also be available through

Philagrafika2010, reachable at (215) 557-8433 or

www.philagrafika2010.org.

Project Runway, organized by the Robert

C. Williams Paper Museum of Atlanta,

is on view at Atlanta’s Hartsfield-Jackson

International Airport. The juried exhibit

showcases clothing and accessories made

entirely from paper, including ball gowns,

business suits, stilettos, hats, vests, and

much more, created by paper artists from

around the world. The exhibit runs through

January 12, 2010, after which it travels to La

Sala Galeria de Arte in Santiago, Chile. For

more information, call (404) 894-7840 or

visit www.ipst.gatech.edu/amp.

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 year-long internship program

gives young artists creative support, culminating

in an exhibition, in return for their

assistance with the on-going operations

of the facility, including assisting WSW’s

Artists-in-Residence with their projects and

participating in WSW’s Summer Arts

Institute classes as studio assistants.

For details on these and other programs,

CLASSIFIEDS

For Sale: Beautiful, hardly used, 2 lb Reina

Beater, Twinrocker Press, LS McDonaldtype

drying box, moulds, deckles, fiber, all

excellent condition, will sell complete studio or

individual items, best offer. ltell@comcast.net

2010 Mino Washi Calendar arriving late

November 2009. Available exclusively

through Paper Connection International.

This limited-edition, hand-crafted calendar

is made from 100% kozo papers. Each of

the 12 months is hand printed using paper

stencils designed by Kiyoko Hasegawa of

Mino, Japan; all can be framed as high-quality

prints. Reserve now while quantities last at

(877) 434-1234.

Looking for a clean 10-pound beater.

Ron@oblationpapers.com

Used Reina Beater for sale. Excellent

condition, Western Massachusetts, must pick

up. $6,000.00 OBO; inquire about other

equipment. eclipsedpaper@verizon .net

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.

For Sale: A Critter Hand Papermaking

Beater made by Mark Lander. Like-new

condition. $2000.00 including shipping.

Contact Mary Hark at hark@wisc .edu or

(608) 230-5999.

SPECIAL THANKS

Hand Papermaking would like to thank the

following people and organizations who have

made direct contributions to further our mission.

As a non-profit organization, we rely on the

support of our subscribers and contributors to

continue operating. All donations are greatly

appreciated and are tax deductible. Call or

write for more information on giving levels and

premiums.

Patrons: Susan Gosin, Barbara Lippman,

David Marshall & Alan Wiesenthal, Gibby

Waitzkin. Underwriters: Cathleen A. Baker,

Sid Berger & Michele Cloonan, Charles E.

Morgan, Peter Newland & Robyn Johnson,

Nancy & Mark Tomasko, Beck Whitehead,

Pamela S. Wood. Sponsors: Michael Durgin,

Jim Escalante, Jane Farmer, Andrea Peterson,

Margaret Prentice, Kimberly Schenck.

Donors: Eric Avery, Inge Bruggeman, Tom

& Lore Burger, William Dane, Gail Deery,

Paul Denhoed, Cynthia J. Fay, Gail Fishberg,

Kathryn Flannery, Helen Frederick, Lori B.

Goodman, Robert Hauser, Helen Hiebert,

Barbara Hunter, Eve Ingalls Von Staden,

Ingrid Rose Company, Lois & Gordon

James, Rick Johnson, Ann Marie Kennedy,

Elaine Koretsky, Karen Kunc, Mary Lou Manor,

Gordon Marshall, Heather Leigh McGarvie,

Betsy Miraglia, Catherine Nash, Janet

Oberla, Nancy Pobanz, Dianne L. Reeves,

John L. Risseeuw, Mary C. Schlosser, Karen

Stahlecker, Helmuth A. Stahlecker Jr.,

R. H. Starr Jr., Stephen Sward, Betty Ustun,

Kathy Wosika. Supporters: Annie Alexander,

Marjorie & Harold Alexander, Lynne Allen,

Grimanesa Amoros, Martha Anderson, Lois

D. Augur, Shirah Miriam (Mimi) Aumann,

Eugenie Barron, Lora Brueck, T. Patterson

Clark, Nancy Cohen, Rona Conti, Charles

Cooper, Elizabeth Curren, Jennifer Davies,

Dianne Dolan, Jonathan Fairbanks, Theresa

Fairbanks Harris, Dorothy Fall, Lynn Feldman,

Kathy Fitzgerald, Sara Gilfert, Lou Kaufman,

Kristin Kavanagh, Betty L. Kjelson, Allye

Kranish, Gordon Marshall, Edwin Martin,

Joyce McDaniel, Ann Montanaro, S.A. Scharf,

Pam Scheinman, Peter Sowiski, Jessica

Spring, Marie Sturken, Sheila Sturrock,

Betty Sweren, Anne Williams, Therese Zemlin.

Friends: Pat Alexander, Tatiana Ginsberg,

David Lance Goines. In-Kind: Carol Barton,

Janet DeBoer, Paul Denhoed, Peter Ford,

Helen Hiebert, Peter Hopkins, Russell

Maret, Drew Matott, Rick McSorley, Pyramid

Atlantic, Britt Quinlan, Amy Richard,

Beverly Sky, Lynn Sures, USDA Beltsville

Agricultural Research Center. Founding

Contributors to the Hand Papermaking Endowment:

49er Books, Shirah Miriam (Mimi)

Aumann, Cathleen A. Baker, Tom Balbo,

Timothy Barrett, Sidney Berger & Michele

Cloonan, Tom & Lore Burger, Jeanne M.

Drewes, Jane M. Farmer, Fifth Floor Foundation,

Helen Frederick, Sara Gilfert, Susan

Gosin, Lois and Gordon James, Sally Wood

Johnson, David Kimball, Elaine Koretsky,

Karen Kunc, Barbara Lippman, Winifred

Lutz, Susan M. Mackin-Dolan, David

Marshall & Alan Wiesenthal, Peter Newland

Fund of the Greater Everett Community

Foundation, Margaret Prentice, Preservation

Technologies, L.P., Michelle Samour, Peter

Sowiski, Marilyn & Steve Sward, Gibby

Waitzkin, Tom Weideman, Beck Whitehead,

Paul Wong & John Colella, Pamela & Gary

Wood.

Hand Papermaking especially appreciates

the generosity of Beverly Sky, who recently

donated her custom paper press, raising

$1700 to support our non-profit programs.

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