HAND PAPERMAK ING

N E W S L E T T E R

Number 91, July 2010

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.

HandPapermaking Newsletter is published quarterly. Annual subscriptions are $55 in NorthAmerica or $80 overseas, including two issues of the journal Hand Papermaking. Twoyear rates are discounted: $105 in North America or $155 overseas. Tosubscribe, send a check to the address below, call or fax us to use Visa orMasterCard, or visit our website. Foreign subscribers may use a credit card, orpay in U.S. dollars via money order or check marked payable through a U.S.bank. For more subscription information, or a list of back issue contents andavailability, contact: Hand Papermaking, Inc. PO Box 1070, Beltsville, MD20704-1070 Phone: (800) 821-6604 or (301) 220-2393 Fax: (301) 220-2394 E-mail:info@handpapermaking.org Web: www.handpapermaking.org

Thedeadline for the next newsletter (October 2010) is August 15. Please direct allcorrespondence to the address above. We encourage letters from our subscriberson any relevant topic. We also solicit comments on articles in Hand Papermakingmagazine, questions or remarks for newsletter columnists, and news of specialevents or activities. Classified ads are $2.00 per word with a 10-word minimum.Rates for display ads are available upon request.

HandPapermaking is a 501(c)(3) non-profit organization. Staff: Tom Bannister,Executive Director; Mina Takahashi, Magazine Editor; Shireen Holman, NewsletterEditor; Mary Tasillo, Advertising and Listings.

Boardof Directors: Sidney Berger, Frank Brannon, Shannon Brock, Inge Bruggeman, ZinaCastañuela, Jeffrey Cooper, Georgia Deal, Gail Deery, Jim Escalante, SusanGosin, Ann Marie Kennedy, Andrea Peterson, Margaret Prentice, Gibby Waitzkin,Eileen Wallace, Beck Whitehead. Board of Advisors: Timothy Barrett, SimonBlattner, Gregor R. Campbell, Mindell Dubansky, Jane M. Farmer, Helen C. Frederick,Dard Hunter III, Elaine Koretsky, James Sitter, Claire Van Vliet. Co-founders: AmandaDegener and Michael Durgin.

DearHand Papermaking,

Thanksto your readers and thousands of other papermakers—professional and novice, eldersand wee ones—Treewhispers turns ten this year. It has been an amazing decade— timefor new growth and blossoming, time of great autumn beauty and time ofdormancy— each season significant to the growth of the project. Treewhispers isan ongoing international collaboration involving handmade paper, art andstories honoring trees as a symbol and resource. The project has been presentedin a multitude of venues while gathering round, handmade papers fromparticipants around the world. On the papers, contributors have remembered atree or the spirit of a tree through text and/or imagery. Some contributionsare simply a magnificent example of beautiful handmade paper. The papers are thenbound together to create large tree assemblages, ultimately a forest of hangingpaper rounds for the growing, ever-changing installation. The art of all theseparticipants has been exhibited at colleges, museums, libraries and artcenters. There is a beauty seen when the work of professional artists isdisplayed alongside elementary school class projects. There is a synchronicitywhich has always surrounded Treewhispers—even from its inception—which cameabout on a warm summer day sitting on Marilyn Sward’s front porch in Evanston,so many years ago. After my own visionary bike ride through the forestpreserve, I stopped at her house to drop off artwork that she was gathering foran exhibit with instructions on where to leave it if she wasn’t home. Ascoincidence would have it, she was home. What followed was an unfolding of ashared idea—a collaboration which was simply waiting. We ended up brainstormingfor hours, knowing the ideas being conceived were not about us, but ratherabout the trees, the earth, the people, and paper—and most importantly, thestories and their connections. What came next was a flurry of papermaking atMarilyn’s studio set in the deep woods of northern Wisconsin. We made hundredsof pieces of paper in “rounds” mimicking the shaved ring of the treesthemselves. These hundreds of paper rounds were then used to launch the project“Treewhispers” at the International Papermakers Conference in Italy. I canstill remember vividly when we bound our first “tree” from paper roundssubmitted by an elementary school teacher in Gurnee —who directed it from anart cart; we schlepped buckets of pulp and papermaking equipment to the FieldMuseum, the Morton Arboretum and the Kohl Children’s Museum to share our lovefor paper, for the earth—teaching others a simple papermaking techniqueinvolving recycled paper. The project has been an impetus for many to learnabout the art, craft and chemistry of papermaking by calligraphy andpapermaking guilds, colleges and universities, elementary and high schools,home schools, nursery schools, 4H groups and Scout troops. Students from Washingtonincluded the project in their art and science fair—explaining the origin of paperand hydrogen bonding while demonstrating the process of papermaking. Professionalartists have created work specifically for the project; writers have sharedtheir stories; and biologists, foresters, and botanists have shared thetechnical view from their field in stories and pictures. Child life specialistshave worked with children in the hospital setting—tearing and shredding paper,sometimes their own drawings to make something new. Parents have writtenstories for children too young to write and young adults have gleaned storiesfrom their elderly friends in the nursing home, too crippled to hold a pen. Weheard countless stories about trees from people who thought they knew none. Westrung lots and lots of paper trees. The website (www.treewhipsers.com) has providedan alternate forum for story sharing and connecting to others around the world.The project has provided a space for pausing and remembering a tree, perhaps providinga brief moment of gratitude to the miraculous aspects of trees. The stories arepersonal experiences and observations where details merge into awareness, wheretogether we create a panoramic vision of our earthly experience. From a handfulof paper rounds to a forest that resonates with the many hands that createdit—these ten years have been a remarkable journey. It is a fitting tribute tomy late friend and mentor Marilyn Sward, that guests will walk through the Treewhispersforest on June 9 at the Columbia College Chicago Center for Book and Paperopening: Marilyn Sward: Speaking in Paper. The exhibit continues through August21. Please join in this celebration of Marilyn’s incredible journey thattouched and inspired so many—her life woven through the creative process while simultaneouslybuilding community. She was an important artist during a critical period whenhand papermaking was coming into its own as a fine art medium. Her passion isexhibited in her artwork, alternative photographic process, travel journalsthat contain the richness of the excursions and the forest of Treewhispers whichcontinues to grow, gathering handmade paper with artwork, poetry, stories—connectingstill.

PamelaPaulsrud Wilmette, Illinois

Artworkon page one by Erin Cramer (top) and Karen Hewson. Read “Marilyn Sward:Speaking in Paper” exhibition catalog essays by Audrey Niffenegger, Jeff Abell,and Tom Bannister at http:// magazine.handpapermaking.org/web-only/ and orderthe catalog from Columbia College Chicago Center for Book and Paper Arts.  

“Weall know how to make paper, or at least can find a mentor to ask if we do not.In the acquisition of that skill lies a challenge. The paper can be made, butwhat does it say? The medium needs not just to be controlled: it must be taughtto speak.” Marilyn Sward, 2003  

>ALONG THE PAPER ROAD...

Thisregular feature offers paper musings from Elaine Koretsky—renowned paperhistorian, researcher, and traveler. In this column, Elaine talks aboutpaper-related events and lectures she has recently attended.

Despitemy current disability (a fractured hip that required a total hip replacement),I am constantly busy with fascinating paper-related activities that do notinvolve distant travel. In February I was invited to attend a special programat Harvard University, titled “Early Papers: Techniques and Transmissions,”featuring Professor Timothy Barrett (University of Iowa) and Professor JonathanBloom (Boston College and Virginia University). It was a remarkable event, startingin the morning with a tour of the Weissman Preservation Center, where wewatched nearly a dozen highly skilled conservators expertly repairingmanuscripts, rare books, prints, maps, and other unique works of Harvard’s specialcollections. In the afternoon, Tim Barrett discussed “Early Modern European PapermakingTechniques—Precedents, Highpoints, and Lowpoints.” Jonathan spoke about “Paperin the Medieval Mediterranean World.” Since my own field of paper researchcenters on an earlier period of time when paper originated in China, and even earliermaterials that mankind used for communication and art before the invention ofpaper, I was delighted to hear about later times when papermaking had spreadwest out of China. In March another event occurred, coincidentally alsosponsored by Harvard University. Two friends of mine, Therese Weber, a talentedartist working with handmade paper, and Christoph Baumer, an archaeologist andsuperb photographer, arrived from Switzerland. Christoph had been invited tolecture at the Harvard Divinity School on the subject of his recent finds ofartifacts and remains of old buildings that showed the presence of NestorianChristianity in Central Asia. He is a leading explorer of that area and has ledthree expeditions through the Taklamakan desert. Christoph’s photos of hisfinds in the Taklamakan were fascinating. While Christoph was setting up hislecture, Therese stayed at my place examining my enormous collection of handmadepapers, papermaking tools, and artifacts from all over Asia and Europe. Shepresented me with her latest book, The Language of Paper—A History of 2,000Years. Originally published in German, but now translated into English, it is afantastic book, well written, with magnificent color photos, and a great additionto a papermaker’s library. In my last Paper Road article, I mentioned that I amseeking a volunteer to help catalogue my McClure Collection this summer.Meanwhile, I opened one of the trunks to look for my original inventory oftheir contents, and pulled out a folder marked “Paper-like Materials.” I peekedinside it, finding a smaller folder marked “ant paper,” accompanied by a cardstating “Found in Autumn, 1929, in an earthenware jar in our back yard—made bylarge (black?) ants.” The so-called “paper” is light brown, 7” x 3”, rathershapeless, consisting of two or three layers. It is definitely cohesive—does notfall apart when picked up. The next article that I write will focus on other bizarrepaper-like materials.  

>UNIQUE TECHNIQUE

Well-knownauthor and teacher Helen Hiebert offers helpful guidance and tips gleaned from artistsshe has worked with over the years. “To restrain or not to restrain, that isthe question,” is how Helen describes various approaches to making flat paperartwork with dimensional qualities.  

Workingat Dieu Donné Papermill in the early 1990s, I had the opportunity to get abird’s eye view (literally peering down from the mezzanine office where I worked)of many artists working collaboratively in the studio with artistic directorPaul Wong and his assistants. One artist who worked there for a number of yearswas Bart Wasserman, the first artist to make work at Dieu Donné when theylaunched the artist collaboration program in 1987. Wasserman’s techniqueinvolved making one solid sheet of paper with cotton or linen rag, which wouldbecome his base sheet. A second sheet of paper would then be formed using theother fiber (linen or cotton rag), and Wasserman would alter the sheet while itwas still on the mould by moving the pulp around with a straight edge. Thisaltered sheet would then be couched on top of the base sheet to create thework. At that time, all of the paper and flat artwork made at Dieu Donné wasdried between cotton sheets. This meant that each day, the sheets had to beexchanged—the damp cloths were removed and hung up to dry and fresh cloths wereplaced between the sheets and carefully smoothed out to prevent marking thepaper. This was a lengthy process, taking sometimes up to two weeks to dry abatch of paper, but it has its rewards, some of which are evidenced inWasserman’s work. In this case, the magic happened during the drying process.The cotton and linen fibers dry at different rates, resulting in varying ratesof shrinkage. By using the exchange drying method, the collaborators at DieuDonné were able to check the works daily to see when the fibers started to moveand react to each other. By varying the amount of weight on top of the sheetsas they dried, topographic-like surfaces were created. I have seen otherapproaches to making flat artwork with a bit of dimension (and I’m sure thereare many others—do tell!). One involves the same sort of pulp layering thatWasserman did, with a different drying method. A couple of years ago, I invitedRoberta Aylward into my studio because I felt her imagery lent itself to this particulartechnique. Here’s what we did: I made a thin solid sheet of overbeaten bleachedabaca paper. I then made a thick second sheet of grey pigmented cotton, andAylward used a stencil to sculpt the sheet on the mould, creating a sheet of shapedpaper. The shaped sheet was then couched onto the abaca base sheet. After pressingthe work, we loaded it into a triwall corrugated cardboard restraint dryingsystem and placed a piece of felt, cut to the same size and shape of the greycotton sheet, right on top of that shape. As the sheet dried, the grey cottonsheet was held flat and the air was able to travel all around it so that theabaca base sheet shrank and puckered, creating a sense of animated movement.There are two contemporary artists who use this technique in their artwork thatare worth looking up: Roberto Mannino (www.robertomannino .it) and Susan WarnerKeene (www.susan warnerkeene.com/current_work_2). I have experimented with oneother method that results in a similar restraint system and effect. Thistechnique can be performed with just one sheet of paper (no need to layer thepulps, although this could produce interesting effects) and I would recommendusing overbeaten pulp. Simply make a sheet of paper, press it and then transferit to a surface which can be nailed into and is at least as big as the sheet ofpaper. Next, simply nail the sheet to the surface (you’ll have to experiment withthis technique and come up with your own format for where to place the nails),leave it to dry, and when you return you’ll discover a low-relief sculptural form.Carefully remove the nails to free the dry sheet of paper. The sheet pictured herewas made using this method. The main difference between this technique and theones described above are the resulting nail holes.

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>TEACHING HAND PAPERMAKING

Basedin Philadelphia, Winifred Radolan operates an itinerant teaching papermill, andhas taught papermaking to thousands of adults and children. This is part one ofWinnie’s description of her twenty-day residency at a New Jersey elementaryschool.

Duringa season in which I’ve been experiencing a dearth of artist residencies, myrecent call to meet with the principal and some parent partners at the BretHarte Elementary School in Cherry Hill, New Jersey, was most welcome news.During a two-hour planning meeting, held a month ago, we scheduled eighteenclasses of children into appropriate time slots over the course of the upcomingtwenty-day residency. It was their wish for me to make paper with every childin kindergarten though fifth grade, as well as to focus on guiding the fifthgrade classes in the creation of a low-relief sculptural flax installation,which is to be their graduating gift to the school. In a year of budget cutsand belt tightening, class size has increased to twenty-five students, withshortened “special periods” of forty minutes each. Fortunately, however, theywere able to give me hour-long blocks of time to work with students on thesculptural project. And I was promised plenty of parent volunteers, a new andmost welcome experience for me. I realized I would have difficulty achieving myusual multi-colored paper layering routine with the larger class size and the shortertime. I estimated that it would take five minutes for the children to enter theclassroom, “eye-up” the newcomer, and settle into their seats. I decided toshorten my paper introduction to five minutes, leaving thirty minutes to makepaper with the twentyfive students. So, to “jazz-up” the blue jean pulp I hadprepared for their single sheets of paper, I decided dandelion flower petals werethe way to go. I plucked a big saucepan full from my garden, then parboiledthem for five minutes. I processed them lightly in the blender and packed themin a plastic container, all ready to add small handfuls to the vat of pulp asneeded. On the first day of the residency I had the opportunity to practice mytiming with three classes. I positioned my parent volunteers strategicallyaround the room with different jobs. One was assigned to making sure each studentwrote their name and room number in pencil on a small tab of paper. Anotherwould distribute the “Papermaking Word Search” activity, which the childrenwould work on while awaiting their turn at the vat. A third parent was stationedup front with me to assist students in shifting the pellon with their newly couchedsheet of paper, complete with name tag, to the pressing post. By my thirdgroup, I even had my timing honed to allow the class to watch me squeeze thewater out of the post of paper in my portable press, then begin to lay sheetsout on boards and “roll-press” them under synthetic chamois for restraint drying.But all morning my beautiful dandelion inclusions were getting no love. So Ifinally asked one fifth grade girl if she liked the dandelions in her paper andher reply was, “Not really!” Perhaps she didn’t care much for flowers, or wasplagued by allergies? “Oh, I LOVE flowers!” A puzzled glance at my parenthelper brought forth the explanation, “Around here dandelions are consideredweeds, and great efforts are made to eradicate them from our lawns.” My furtherattempts to point out how delicious the leaves are in a salad, or that awonderful drink is made out of dandelions were to no avail in this neighborhoodof manicured lawns! So henceforth I’ve been referring to my petal inclusions as“wildflowers” plucked from my “liberty lawn,” which is chemical free to protectthe well water! Now, seven days into this residency, I haven’t seen all theclasses yet, nor gotten too far with the fifth grade project. But I’m rapidlybeing spoiled with all the parent volunteers. I’m really going to appreciate theirhelp in assisting the fifth graders as they face the challenges of securelytying the reed armatures for their flax installation. By now the “Bret HartePapermill” is humming along at peak efficiency. This past Friday afternoon,three classes, totaling seventy students, passed through the vats within a120-minute time frame, which included an unexpected and exciting fire drill aswell—whew! For the next two weeks the school is holding grade level testing,and no special activities are permitted during that event. So I am cooking andbeating the high shrinkage flax the fifth graders will use to wrap the reed armaturesmentioned above. My next column will describe how those adventures unfold, so staytuned!  

>PAPER HISTORY

Kingdom,write a joint column on Paper History. Maureen is a paper historian, and authorof Papermaking at Hayle Mill 1808-1987. Simon was the last of the Green familyto run Hayle Mill, in the U.K. He provides consulting services to papermakersworldwide. This column, entitled “One of them flitted to America,” relates the historyand mystery of Gurney’s Mill.  

TheLoose Valley, South of Maidstone, England was a hive of industry for many hundredsof years. Apart from agricultural activities, there were tanneries and thirteenwatermills, of which ten had some involvement in papermaking for part of theirlives. Old Mill (later called Gurney’s Mill), on the outskirts of Loose villagewas bought by William Harris in 1689. Until 1687 it had been a fulling mill,1but Harris or his immediate predecessor converted it to papermaking. TheWhatman family, and friends of the Harris family owned the tanyards locatednext to Gurney’s Mill. James Whatman later operated the renowned Turkey Mill onthe other side of Maidstone, of which he gained possession when he married hisfriend Richard Harris’ widow Ann, in 1740. During the eighteenth century, Gurney’sMill was successively owned by papermakers William Quelch, Stephen Scott,Abraham Musgrove, Abraham Hillyer, and Henry French—all in the space of thirtyyears. The French family owned the Mill until 1796, but after a couple of very briefperiods it was listed in the Rate Book as being occupied by Russell &Edmeads. In 1805 William and John Edmeads are listed in rate books as the soleoccupiers before they were declared bankrupt in 1813. From 1814 until at least1847 the Mill was owned by various members of the Hollingworth family, who hadbought Turkey Mill from James Whatman II in 1794. In 1851 the Mill was occupiedby Henry Gurney & Son, and the 1859 Kelly’s Directory lists them asmillboard manufacturers. The mill used to make very fine boards from variousmaterials including old rags and old coal sacks, used primarily in bookbindingbut also by artists as a painting support. The rag chopper, beaters, and otherequipment were driven by a 14-foot diameter overshot waterwheel and a steamengine. After being formed by hand and pressed, the boards were either dried ina coke-fired kiln or in the sun by laying in a nearby meadow. In a letter toJack Barcham Green in 1962, his brother Barry Green described how the Mill wasclosed down suddenly under extraordinary circumstances sometime in 1908,perhaps slightly earlier. “One morning one brother failed to appear at the mill& the two other brothers discovered that he had ‘flitted’ (to America).They returned to the mill, dismissed the staff, and literally then and there,closed the mill, locked the doors & never returned to it.” Following thebrother’s swift departure, the mill was sold by auction in that year, includingall fixtures and fittings. However the new owner appears to have left it vacantand locked up. Barry continues: It was about ten years after the sudden closurethat I and a cousin broke into the mill through a window. Everything was justas it was left, even down to pennies on the office desk, correspondence litteredabout, pens still in inkpots and quantities of account books on the shelves. Inone part of the mill there was an old apron still hanging on its peg. Thebeaters were still full of pulp & big expensive hydraulic presses (put injust before the closure) had boards still in them but the presses were allrusted up. In the middle of the mill, presumably to get the necessary height,was a church organ complete, but as the leather of the bellows was perished wewere unable to get a squeak out of the organ. The father of the three brothers& father of 23 children, Gurney had also been a maker & repairer oforgans. Another hobby was watch making (or assembling?).2 Gurney’s Mill, at thetime of the shutdown, was specialising in the manufacture of a new roofcovering developed from normal millboard, all manufactured by hand. This comprisedtwo (or more) paper plies with a thin steel wire mesh sandwiched between them.The wires were about ¼” apart. Barry said the boards were about 3’ x 7’ which suggeststhat the sheets were formed on moulds with a deckle box employing some sort oflifting system. Once dried the boards were treated with a waterproof dressing. Someyears after Barry’s ‘visit,’ Gurney’s Mill was purchased by his uncle Laurence whopulled the ruins down to provide a better setting for the Mill House, which survivesto this day. Barry’s father Herbert took a good deal of the untreated stock andsome years later used it on a barn roof, treating it with two coats of tar.This was never satisfactory, mainly because the steel mesh quickly rusted. Althoughwe will never know why one brother ‘flitted’ to America or why the other twoabandoned the building in such a hurry, leaving everything in situ, we canperhaps speculate that the roof covering product, which had required heavyinvestment, had not been a success. This may have caused the brothers to fallout over money. The question remains—where did the brothers go, and whathappened to the one who went to America? This article is largely based on BarryGreen’s letter and “The Loose Watermills (Part 1),” R. J. Spain, ArchæologiaCantiania Volume LXXXVII, pp 54-61, 1972. A second part of the article waspublished in 1973, covering the northern end of the valley. . Fulling is afinishing process for woollen cloth involving beating the wet cloth withfuller’s earth and often urine to remove animal greases and dirt andconsolidate the cloth. The wooden hammers could be converted to papermakingstampers. . I still own a fine gold watch made by Gurney for John Barcham GreenI, although he may have assembled watches from parts made elsewhere.  

>DECORATED PAPER

SidneyBerger, a professor at Simmons College in Boston and Director of the PhillipsLibrary at Peabody Essex Museum, has been collecting and researching decoratedpaper for over thirty years. Here Sid discusses paper sample books—what theyare, and their many variations.

Fora few years I have been thinking about writing a book on paper sample books. Inour collection, my wife and I have thousands of them, and there are dozens ofthousands of them out there. Just about every paper company in history neededto advertise its wares, and the best way to show potential clients what papers wereavailable from their firm was to create sample books of all the papers theysold. My study, if I have the stamina to get to it, will be a massiveundertaking, not only because there are so many of these things out there, butalso because they come in so many sizes and shapes, with so many kinds ofbindings (or non-bindings, as when a few sheets of sample papers are slippedinto an envelope or are merely stapled together), showing so many kinds ofpapers, from so many manufacturers, with so many artists involved in theirmanufacture, that trying to give a comprehensive showing and a thorough coverageof them will be a challenge. I mentioned a few sheets stapled or slipped intoan envelope. Do these constitute a “paper sample book”? If the definition ofthis genre includes a commercial purpose, then the staple or envelope willconstitute a kind of binding— or a container of sorts—and the papers canloosely fall under the rubric of “paper sample book,” despite the fact that itis definitely not a book. Maybe I will need to come up with a more generalterm. Hence, part of the challenge will be defining what a paper sample bookis. The obvious definition is that it is a book with samples of papers. Andmany of these are instantly recognizable. But many companies—especiallycommercial mills like Champion and Simpson—publish little books or bookletswith fascinating texts on many printing-related topics, and while these looklike publications about the topics, they are often really demonstrations of howthe companies’ papers can be used. Is this a book on various methods ofprinting, or is it a sampler showing how different kinds of printing techniquesand inks will look on this company’s specialty papers? If it is presented as apamphlet or monograph, it looks like an informative publication about thesubject matter of its text. But it may really be a sample book showing off thepapers of the mill. Or, really, it is both—a scholarly (or creative) text and apaper sample book. One does not preclude the other. Another phenomenon thatcomplicates the definition of “paper sample book” is whether the item was madefor commercial or noncommercial purposes. A commercial use is pretty clear:Here is a showing of our papers; this is a listing of the sizes and weights it comein, the materials it is made from (not always given), how the paper can beused, and the prices. Once you see a price list, you know you have atraditional paper sample book. But what about the famous, fabulous productionfrom Stevens Nelson Paper Company, Specimens (1953)? This magnificent volume,with a leather spine, decorated paper over boards, and presented in a slipcase(cheaply made and almost always shabby or missing), showing 107 of the finestpapers in the world, was really not aimed to sell the papers. It was more ashowing, a glorification of some spectacularly beautiful papers printed by someof the world’s best printers, and designed by brilliant graphic artists. Isthis a “paper sample book” in the traditional sense? Not really. Look also atthe magnificent Tesuki Washi Taikan, published by Mainichi Shinbunsha in Japan(1974). This “paper sample book” is really five gigantic cartons, each weighingabout 30 pounds, holding folders that contain about 1,000 sheets of the finesthandmade Japanese papers. Each box contains, as well, a volume, the text ofwhich explains what is in each of the cartons. The entire production is not inthe form of a book. Nor are there any prices given since this was not reallyintended to be a sales tool. It is a celebration of the pinnacle of achievementin the paper world that the Japanese justifiably were proud to show off. Isthis a “paper sample book”? In a sense it is, but not in the traditional sense.It is hard to imagine a more elaborate and attractive paper sample book, but inthe West we had companies like the German Aschaffenburg Paper Mill, which, atits height in the production of decorated papers (in the first decades of thetwentieth century), published several absolutely mindboggling sample booksshowing thousands of decorated papers. It is hard to imagine a single companyproducing, at one time in history, such a fabulous array of papers. And theirsample books are in demand. In the book I hope to write some day, I will lookgenerically at paper sample books, but I will also have chapters on some of themore famous companies who have produced them. The Japan Paper Company is wellknown for its wonderful sample books, as are its successor companies, StevensNelson and Andrews/Nelson/ Whitehead. And many private papermakers have madetheir own sample books, also worth a chapter on them. The Fabriano company hasissued a host of small, attractive sample books, and commercial manufacturersof paper have issued hosts of them. The subject matter of all of them variesimmensely, not always focusing on paper, as I have suggested. Also, there arebooks displaying papers for printing, but some of the best such booklets arefrom paste-paper makers, marblers, and other artists. Not long ago I got asample book of the modern Dutch gilt papers of a team of artists in Edinburgh. Ifany of my readers can think of particular angles on this subject, specifictopics they want to see me write about, papermakers who have done their ownsample books, or anything else on this subject I should consider, pleasecontact me at sid@pem.org. More on this in future columns.

>more on paper sample books in the Summer 2001 issue of Hand Papermaking  

>FOR BEGINNERS

MaryTasillo is a papermaker, book artist, and mixed media maven based inPhiladelphia. She teaches workshops nationally. In this column, Mary describessome methods for making paper for editioning.

Ifyou’ve created a post of wet sheets, you’ve used a fundamental technique of editioning—registration—toplace your wet sheets in the same spot on your felts to build up a pile thatwill press evenly. If you want to create an edition of paper art—multiple piecesof the same image, either as a finished piece or as the basis for incorporatingprintmaking techniques—you will build on those same registration skills tocreate a consistent edition of handmade paper. How might one reproduce imageryin handmade paper? There are a number of stencil techniques that one might usein editioning, paralleling the printmaking techniques of pochoir orscreenprint. One might also use a watermark as part of the process, arguably aprocess parallel to relief printing. (See the next issue’s column for an in-depthdiscussion of watermarking for the beginning papermaker.) The basic principle isthat one can create a registration system to land all elements of the image inthe same place every time by having one mould for each layer of paper pulp, andkeeping all moulds to the exact same size. Thus your registration systembecomes the simple act of lining up two adjacent edges of the mould with theedges of your felt or pellon, just as you would in building up a post of plainpaper. One generally wants to start with a base sheet of paper created from astronger pulp. A cotton-abaca mixture is my most frequently used base sheet. Ifprocessing in a Reina beater, I would beat this mixture of half-stuff for anhour to an hour-and-a-half at a level of 5. In other words, I’m beating it longenough to form a nice smooth sheet, but not so long that it will be slowdraining or shrink very much as it dries, and I’m keeping the roll bar highenough that the fibers will stay on the longer side to create a stronger sheet.I size the paper internally with ketone dimer sizing, available from yourpapermaking supplier. The base sheet creates the canvas, or paper, upon whichone can build imagery (to mix metaphors thoroughly). There are multiple stencilmaterials that one can use to create imagery. A different pulp is ideal forbuilding up these shaped areas of color. I make a veil pulp from cotton ragbeaten for four hours in the Reina beater, and gradually taken down to a levelof 2 during the beating process. This creates a finer pulp, with shorter fiberlength, that will fill in the irregular shapes of a stencil more crisply thanwould the longer fibers of the base sheet pulp described above. This pulpshould be sized as well, and the ketone dimer sizing acts additionally as aretention agent to aid in pigmenting the pulp to your liking. Stencil Technique#1: A pellon stencil can be created. Cut a piece of heavy-weight non-fusibleinterfacing to the size of your mould. Then use an XActo knife or scissors tocut out the shape of your first layer of imagery. The pellon can then be wettedand lined up on your mould before you put the deckle in place. The more exactlyyou cut your pellon to line up with the edges of the mould, and the moreexactly you line it up as you place it on your mould, the more exact your registration,or placement of the image, will be on the base sheet. Note that the pellon mustbe placed on your mould backwards, or wrong-reading, so that when the layer iscouched onto the base sheet, it will end up right-reading. You may want to markyour pellon with permanent marker to give yourself an extra visual cue as towhich way to place it. Once your pellon stencil and deckle are in place, pull asheet of veil pulp. Once the excess water has drained, you can remove not onlyyour deckle, but carefully remove the pellon from your mould. Then couch theshaped sheet of veil pulp directly onto your base sheet, using the sameregistration edges you used to place your base sheet onto your felts. StencilTechnique #2: There are a number of adhesive-backed materials that can be cutand adhered directly to the surface of your mould for the duration of yourpapermaking session, thus eliminating the need to continually re-place yourstencil on your mould and resulting in more precise registration. (As shown inthis photo by Miriam Singer.) Materials such as magnetic sheeting and“buttercut,” sold by papermaking suppliers as watermark materials, can also beused as stencils. These materials can also be found at office, art, and craftsuppliers. As above, cut the sheet to the size of your mould. Place thematerial with the adhesive backing facing up. Draw your stencil on this backingso that it appears right-reading. Use a knife to cut out your stencil. Thenremove the adhesive backing, flip the stencil over, and place it directly onto yourmould. Now the image appears wrong-reading. Flip your mould over and applypressure by hand to fully adhere the stencil to the mould. Now you can placethe deckle over the stencil and pull a sheet. Because this stencil will remainin place as you couch the sheet, you will need to pay attention to how denselythe veil vat is charged. If your sheet is too thin, i.e., the drained pulp onthe mould is thinner than the stencil material, you will have trouble couchingthe veil layer and you should add more pulp to the vat to achieve a thickerveil layer. Once your layer has drained, you will likely notice extra pulp onthe surface of the stencil that will adhere to your piece when you couch the veillayer unless you clean it off. I recommend using a dental syringe filled with cleanwater to wash excess pulp off of the stencil before couching. If you haveaccess to a vinyl cutting machine, a successful adhesive stencil can also becreated this way. If you are adding more than two veil layers, do a light handpressing every two or three layers. Place a piece of pellon over the paper, anduse a sponge to apply light even pressure over the whole piece, absorbingexcess water in the process. This helps adhere previous layers for stability, reducingthe danger of pulling anything up as you couch new layers. Once you have builtup the needed veil layers, place a sheet of pellon (note that pellon is less likelythan the traditional felt to disturb fine veil layers, so even if you areplacing felts between each sheet, I recommend including a layer of pellon overthe top of the sheet as well) over your completed sheet, and start over againwith the base sheet, using the same registration system you used for the firstpiece. Thus you will be able to construct an edition in handmade paper,suitable for incorporating with print techniques if desired. If you use thesepapers for printmaking, consider trimming the deckle edge if tight registrationis needed.

>more for beginners at handpapermaking.org/beginner  

Listingsfor specific workshops and other events in the following categories are offeredfree of charge on a space-available basis. The deadline for the October Newsletteris August 15. Email: newsletter@handpapermaking.org  

>CLASSES AND WORKSHOPS

ArrowmontSchool of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www .arrowmont.org.Classes and workshops in a variety of disciplines, including papermaking. DynamicDimensional Design, July 18-24, with Joan Michaels Paque. Experiment with thetechniques of pleat and twist folding, origami, pop-ups, tessellations anddimensional weaving with various media for applications in sculpture, clay, metal,fabrics, jewelry, books, and boxes. Exploring Paper’s Potential, September 19-25,with Claudia Lee. Explore low-cast reliefs, hand-formed images, embossing, landscape-likesheets, and three-dimensional forms.  ArtNew England, Bennington, VT, (617) 879-7175, www.massart.edu/ane, Nancy .Mccarthy@massart.edu.Week-long summer workshops in a range of media. Asheville BookWorks, Asheville,NC, (828) 255-8444, www.bookworksasheville.com. Hands-on workshops includingbookbinding, printmaking, decorative paper, and basic papermaking. PastePapers: Historical & Contemporary Surface Design, August 18-19, with LarryLou Foster. Learn traditional combed and pulled patterns as well ascontemporary variations, making “block printed” papers, using ‘pattern jigs’for editions and finishing papers. Pulp to Paper: Introductory Papermaking, August28-29 or October 2-3, with Frank Brannon. Learn techniques for forming sheetsof handmade paper using pulp prepared in the Reina beater. Papermaking fromLocal Fibers, November 5- 7, with Frank Brannon. Use pulp prepared from tree,shrub, and flower fibers to form sheets. Papermaking II, December 3-5, withFrank Brannon. Learn to use the Hollander beater to process various fibers andimprove your sheet formation. The Banff Centre, Banff, Alberta, Canada, (800)565-9989 or (403) 762-6180, www .banffcentre.ca. Contact wendy_to karyk@banffcentre.cafor registration info. Bear Creek Paperworks, Columbia, MO, (573) 442-3360,www.bearcreekpaperworks. com. Workshops in paper and book arts; some workshopscan be taken for academic credit through Central Methodist University. ContactLeandra Spangler at leandra@bearcreekpaperworks. com for more information. Flatto Form: Using Paper as a Sculptural Medium, June 28-July 2, with LeandraSpangler. Learn to turn flat sheets of beautiful papers into three-dimensionalforms using both wet and dry techniques. Hand Papermaking: Experimentation& Exploration, July 26-July 30, with Leandra Spangler. Create a wide rangeof papers from techniques including flat sheet forming, layering color blocks,layering shapes of color, shaping pulps by hand, creating textures, pulppainting, and wet collage. The Boston Paper Collective, Boston, MA (614)282-4016, www.bostonpapercollective. com. Classes in papermaking and marbling, aswell as studio rental and special projects. John C. Campbell Folk School, Brasstown,NC, (704) 837-2775, www.folkschool.org. Classes in papermaking and other craftsin the mountains of western North Carolina. Three-Dimensional Paper Making,July 4-9, with Claudia Lee. Learn basic papermaking techniques and discover howto form both wet and dry sheets of paper into sculptural artwork. GatheredFibers Papermaking, August 22-27, with Rajeania Snider. Create unusual and beautifulpapers from natural plant materials gathered in the wild, from flower beds, oreven kitchen scraps. Canadian Bookbinders and Book Artists Guild, Toronto, ON,(416) 581-1071, cbbag@ ccbag.ca, www.cbbag.ca. Book and paper workshops locatedon-site in Toronto and in off-site studios. Carriage House Paper, Brookline,MA, (617) 232-1636, chpaper@aol.com or paperroad@ aol.com. 3-DPapermaking-in-Depth, June 27-July 1, with Donna Koretsky, Shannon Brock, and ElaineKoretsky. Use overbeaten pulp with collapsible wood and other armatures to createpaper sculptures. Carriage House Paper, Brooklyn, NY, (800) 669-8781, www.carriagehousepaper.com.Papermaking workshops offered in a new studio space. Beginning Papermaking,July 17 or August 10, with Shannon Brock. Form sheets and explore thepossibilities of lamination, embedding, and collage. Open Studio, July 20, withShannon Brock. Work on an individual papermaking project using a variety ofpulps in various colors, and moulds up to 11”x14”. Sculptural Papermaking, July27-28, with Shannon Brock. Work with metal, wood, and fabric armatures combinedwith high shrinkage fibers to achieve hollow, seamless cast paper. ContemporaryWatermarks, August 11, with Shannon Brock. Create personal watermarks usingwire, buttercut, magnetic sheeting, and puff paint. Center for Book Arts, NewYork, NY, (212) 481-0295, www.centerforbookarts.org. Dozens of book and paperworkshops offered in midtown Manhattan. Circle of Life Studio and SummerGallery, Eagle River, WI, (715) 479-9737, www.circleofli festudio.com. Offeringweekly papermaking workshops June through September, and by special arrangementall year. Columbia College Chicago Center for Book and Paper Arts, Chicago, IL,(312) 344-6630, www.bookandpaper.org. Papermaking classes in spacious downtownstudios. Cottage Industry Technology Center, 20 Russet St., SSS Village,Marikina City, Philippines. Workshops, demonstrations and technical consultancyin a variety of crafts and livelihoods, including hand papermaking and relatedcrafts. Contact Loreto D. Apilado at LorEto.DA@gmail.com or bookendshere2002@ yahoo.comor (632) 942-3974. Desert Paper, Book and Wax, Tucson, AZ, (520) 740-1673,www.papermakingresources. com. Papermaking, book, and mixed media encausticworkshops, as well as consulting and studio rental. Dieu Donné Papermill, NewYork, NY, (212) 226-0573, www.dieudonne.org. Beginning and advanced papermakingclasses for adults and children. Introduction to Contemporary Papermaking, July13, or August 3, with staff instructor. Learn the basic papermaking process, aswell as various artistic techniques. Creative Techniques for Artists with Open Studio,July 20, or August 10, with staff instructor. Explore advanced techniques andtheir application for two- and threedimensional projects, with a differentfocus at each session; experiment on your own with studio pulps, making sheetsup to 11 x 14 inches. Eureka Springs School of the Arts, Eureka Springs, AR,(479) 253-5384, www.esart school.org. Offering learning opportunities inmultiple media including fiber arts. Flat to Form: Using Paper as a Sculptural Medium,June 28-July 2, with Leandra Spangler. Learn to turn flat sheets of beautifulpapers into three-dimensional forms by casting and by creating reed, stick, orwire sculptural forms as armatures. Gail Harker Creative Studies Center, Oak Harbor,WA, (360) 279-2105, www.gail creativestudies.com. Offering courses in textilearts. Grafton Arts Fest, Grafton, Australia, (02) 6643 1528 orartsfestgrafton@bigpond.com, www.artsfestgrafton.com. Spring and fall workshopsin a range of media. Green Heron Book Arts, Forest Grove, Oregon. Classes inbook and paper arts at the Accidental BookMaker. Contact pagrass@ aol.com formore 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 Summer Handmade PaperWorkshop, August 12-15, with staff instructors. Learn traditional Japanesepapermaking methods, including preparing kozo bark, beating the fiber, dryingthe paper, and dyeing. Haystack Mountain School of Crafts, Deer Isle, ME, (207)348-2306, www.haystackmtn. org. Workshops in various disciplines, includingpapermaking and book arts. Short Cuts: Papercutting, July 18-30, with BeatriceCoron. Create paper images and objects, as well as stencils, for printing smalleditions and learn techniques for dimensional and large paper works. HandmadePaper and Some Artists’ Books, August 1-13, with Amanda Degener. Work with BelgiumFlax fiber and several book structures to create one of a kind works incorporatingtext, images, 2D or 3D paper, and structure. Helen Hiebert Studio, Portland,OR, www .helenhiebertstudio.com, helen@enlightened papers.com. One-daypapermaking and lamp making workshops in North Portland. HistoricRittenhouseTown, Philadelphia, PA, (215) 843-2228, www.rittenhousetown.org. Summerpaper arts workshop series at the site of America’s first paper mill. Forfurther information, call (215) 438-5711 or email programs@rittenhousetown.org.Japanese Collage, July 17, with Andrea Snyder. Learn traditional Japanesecollage on washi papers. Papermaking from Invasive Plants, July 18, with LouiseBarteau Chodoff. Learn how to make beautiful hand-made paper from non-nativeplants such as Garlic Mustard and Japanese Knotweed. 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 to Print, July 21- July 24, with Andrea Peterson. Make thin “Japanesestyle” papers utilizing kozo as a fiber, playing with other pigmented pulps toadd spot colors or stenciled images on the sheets, and then adding a reliefprint to the papers. International Printing Museum, Carson, CA,bookarts@printmuseum.org, www .printmuseum.org. Papermaking classes at BookArts Institute. Kalamazoo Book Arts Center, Kalamazoo, Michigan, (269)373-4938, info@ kalbookarts.org, www.kalbookarts.org. Classes in book printingand binding, printmaking, hand papermaking, and creative writing. KentuckMuseum, Northport, Alabama, (205) 758-1257, kentuck@kentuck.org, www.kentuck.org.Workshops and festival in craft media and contemporary arts. Papermaking, June28-July 1, with Katy DeMent. La Font du Ciel, La Chambary, Charrus, F-07230Saint André Lachamp, France, pfpfrerick@aol.com, www.frerick.de. Papermakingworkshops at the east foothills of the Cevennes taught by Helmut Frerick. MagnoliaEditions, Oakland, CA, (510) 839- 5268, www.magnoliapaper.com. Workshops inpapermaking, printmaking, and book arts. Minnesota Center for Book Arts,Minneapolis, MN, (612) 215-2520, www.mnbookarts.org. Classes at the Open Bookcenter for book and literary arts. Open Studio: Papermaking (Flax), July 10, withstaff instructor. Get into the vat, hone your technique pulling sheets, andenjoy the fellowship of other artists. Open Studio: Marbling, August 14, withstaff instructor. Work on your own projects in the company of other artists ina friendly and supportive environment. Morgan Art of Papermaking Conservatory andEducational Foundation, Cleveland, OH, (216) 361-9255, http://morganconserva tory.org.Workshops in hand papermaking and the arts of the book in an innovative greenenvironment. Unusual 3D Techniques (Kozo and High Shrinkage Fiber), July31-August 1, with Melissa Jay Craig. Learn sculptural techniques including thecreation of molds, armatures, and mounting strategies through a combination ofdemonstrations, lectures, and hands-on papermaking sessions. Hanji: KoreanPapermaking, Felting, and Weaving, August 7-8, with Aimee Lee. Prepare fiberfrom mulberry bark, making sheets using the unique side-to-side Korean formationmethod, and experiment with joomchi paper felting, and jiseung paper weavingtechniques. Old Ways Book Arts Tools and Workshops, near Santa, ID, (208) 245-3043,oldway@ imbris.com. Old Ways of Making Books from Raw Materials, June 29 - July14, with Jim Croft. Create book arts tools by hand, process hemp and flax forpaper and thread, make paper, and make books with wooden boards and brassclasps. Paper Circle, Nelsonville, OH, (740) 753- 3374, www.papercircle.org,papercircle@ frognet.net. Call or e-mail for information about upcoming paperclasses. Open Studio, second Saturdays, with studio artists. Gain new skillswhile 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, New Dundee, 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 specialistsin downtown Vienna. Wasp School, October 30 – November 7, with BeatrixMapalagama and Gangolf Ulbricht. Focus on historic papers, creativepapermaking, paper objects, and Japanese papermaking in this annual intensiveworkshop. Penland School, Penland, NC, (828) 765- 2359, www.penland.org. A fullprogram of craft workshops, including papermaking. Unlimited PapermakingPossibilities, June 27-July 9, with Andrea Peterson. Explore pigmented pulps,free-form pulp drawing, sprayed fibers, hand-cut stencils, and photographicstenciling using a range of fibers, including wheat straw, cattails, cotton,and abaca. Pulp Dyna-Matrix, August 15-27, with Paul Wong. Learn pulp imagingtechniques developed at Dieu Donné, including coloring and mixing pulps, hand-cutmylar stenciling, blow-outs, simple to sophisticated watermarks, andpulp-painting techniques using stencils. Peters Valley Craft Center, Layton,NJ, (973) 948-5200, www.pvcrafts.org. Workshops in papermaking and a variety ofcrafts. Turkish (Ebru) Silk & Paper Marbling, September 4-6, with RichardAldorasi. Explore the preparation of the wide range of colors used in Turkish(ebru) marbling, creating patterns that are then transferred onto a variety ofrice papers and silk fabrics. Pyramid Atlantic, Silver Spring, MD, (301) 608-9101,www.pyramidatlanticartcenter .org. Workshops in papermaking, printmaking, andbook arts. Papermaking Society, First and Third Thursdays, with GretchenSchermerhorn. Bring snacks, discuss papermaking techniques, and make as manysheets of paper as you can. Robert C. Williams Paper Museum, Atlanta, GA, (404)894-5726, http://ipst.gatech .edu/amp/. San Francisco Center for the Book, San Francisco,CA, (415) 565-0545, www.sfcb.org. Book arts classes and events year-round. Tippedand Torn: Basic Paper Mending for Books and Documents, August 17, with HannahTashjian. Learn the basics of paper repair in this class for beginners. SarvisberryStudio and Gallery, Floyd, VA, (540) 745-6330, www.sarvisberry.com. PulpPainting, July 10-11, with Gibby Waitzkin and Georgia Deal. Explore the image makingpossibilities of handmade paper through pigmenting, pulp painting, and imagetransfers into wet sheets. Seastone Papers, West Tisbury, Martha’s Vineyard,MA, (508) 693-5786, www.sea stonepapers.com, sandy@seastonepapers. com.Scheduled classes, open studio, and private workshops in hand papermaking, surfacedesign, and book arts. Wet and Wild Basics, July 5, with Sandy Bernat. Explorethe basic steps in the papermaking process as well as creative papermakingtechniques using colorful cotton and abaca fibers. Pulp Painted and Pressed,July 6, with Sandy Bernat. Create larger pulp art pieces up to 20 by 28 inches,mixing your own pulp paint to obtain a wide range of colors. Seaweed in Paper, July19, with Sandy Bernat. Gather and prepare seaweed to include in pigmented pulpand to use as surface design. Early Bird Series One, July 20-23, with Sandy Bernat.Work with new techniques in this series of morning workshops, including formingpaper, decorative papers, collage with fiber and pulp paint, and large pulppainting. Sievers School of Fiber Arts, Washington Island, WI 54246, (920)847-2264, www .sieversschool.com. Summer workshops on an island in LakeMichigan. Variations in Pulp, July 27-30, with Thomas Grade. Explore a broadspectrum of techniques, from the beaten bark forms of Mexico to the floatingmoulds of Asia to the Western techniques of pulp painting, pulp spraying, andcasting. Variations in Pulp: Extended, July 27-August 1, with Thomas Grade.Explore a broad spectrum of two- and three-dimensional techniques, withextended studio time. Paper Mosaics & Paste Painting, August 20-22, withLorrie Grainger Abdo. Use paint, paste and a variety of texturing tools todecorate sheets of paper, which will then be incorporated into paper mosaicsand other projects. Handmade Paper Lampshades, August 27-29, with MichelleWorkowski. Make your own custom lampshade, choosing from a variety of handmadepapers, and various barks and fibers to trim it. Snow Farm, The New EnglandCraft Program, Williamsburg, MA, (413) 268-3101, www.snowfarm.org. Study in apastoral setting near the five-college communities of Amherst and Northampton. TheArt of Papermaking, October 30-31, with Sally Duback. Make paper pulps from cottonand linens provided by the instructor and fabrics brought by the students, creatingsheets of paper that can be used for making books and elegant stationery. TheSociety for Contemporary Craft, Pittsburgh, PA, (412) 261-7003, www.contempo rarycraft.org.Classes in fiber, book art, and other media in Pittsburgh’s Strip District. SouthwestSchool of Art & Craft, San Antonio, TX, (210) 224-1848, www.swschool.org. Classesat the Picante Paper Studio. Advanced Studio Rental, most Wednesdays, with BeckWhitehead. Use of paper studio and equipment for private instruction upon requestfor use by paper artists. Papermaking Saturday, select Saturdays, with BeckWhitehead. Work on independent projects with instruction available in themorning. Making Your Own Paper, August 10, with Beck Whitehead. Learn how tomake paper the color, shape, and size you want for multiple uses. Stone andPaper Art Center, L.L.C., Mandeville, LA, (504) 674-9232. Hand Papermaking,selected Saturdays, with Mary Elain Bernard. Learn Eastern and Western methodsof making paper, and incorporate local plant fibers. Tidewater Cottage andStudio, Del Haven, NJ. Tidewater is offering workshops as “Traveling Tides”through May 2012 while the Cottage and Studio accommodate a Coast Guard family.To invite Winnie to bring a papermaking workshop to your area, contact her atwinnie.r @verizon.net. University of West England, Bristol, U.K., (0)01173284810, sca.cpd@uwe.ac.uk, www.bookarts.uwe.ac.uk. Classes offered throughContinuing Professional Development at the School of Creative Arts. ValleyRidge Art Studio, Muscoda, WI, (608) 250-5028, www.valleyridgeartstudio. com.Workshops in papermaking, bookmaking, photography, writing, etc. Papermakingwith Plant Fiber, August 7-8, with Nancee Wipperfurth. Create paper of texturalearth tones and feathery deckle edges, from fiber preparation to pullingsheets. The Weaving Works, Seattle, WA, (206) 524-1221,weavingworks@speakeasy.net, www.weavingworks.com. Fiber and book arts classesin Seattle’s University District. Wisconsin Center for Book and Paper Arts, Madison,WI, (608) 284-8394, wcpaperarts@ hotmail.com. Offering tutorial programs in handpapermaking and decorative papers. Women’s Studio Workshop, Rosendale, NY 12472,(845) 658-9133, info@wsworkshop.org. Summer Arts Institute includes workshops inpapermaking, printmaking, book arts, photography, and other media. SculpturalPaper: Unusual 3D Techniques, July 5-9, with Melissa Jay Craig. Make compellingthree-dimensional paper forms using kozo and high-shrinkage fibers, with fiberreactive dyes to provide brilliant color. Sculptural Papermaking: AdvancedArmatures, July 12-16, with Pamela Wallace. Expand skills in sculpturalarmatures and papermaking, including techniques of soldering and welding. FromPaper To Print, July 19-23, with Gretchen Schermerhorn. Create customized handmadepapers for monoprint, relief, and intaglio printmaking, incorporating stencil work,pulp printing, and chine collé. Paper + Dye: Japanese Papermaking and NaturalColors, July 26-30, with Tatiana Ginsberg. Explore methods of coloring fiberbefore the sheet forming process, and discover how nagashizuki, the Japanese- stylemethod of sheet formation, can be used to your creative advantage while layeringand manipulating colored fibers. Cross Pollination: Paper and Encaustic, August2-5, with Tatana Kellner & Cynthia Winika. Create papers using a variety ofhand papermaking techniques including layering, embedding, translucency andopacity, stenciling, pulp painting, and embossing, and then apply encaustic tothese papers. Woodwalk Gallery, Egg Harbor, WI, (920) 868-2912,kcchristian@itol.com, www .WoodwalkGallery.com. Classes in handmade paper andnatural materials. Keep up with the latest news from HAND PAPERMAKING http://blog.handpapermaking.orgNow we’re on Facebook too. See you there!

>EVENTS Paper & Book Intensive is a working sabbatical for practitioners andmotivated beginners in the book arts, papermaking, and conservation. Dailyclass sessions are combined with lectures, discussions, and shared meals, topromote unusual levels of exchange and inspiration. PBI 2010 will be held atthe University of Maine at Machias from July 11 to July 22. The UMM campus housesthe book arts and papermaking facilities directed by Bernie Vinzani, and isnear the studios of Gray Parrot, Katie MacGregor, Walter Tisdale and Nancy Leavitt.Classes in papermaking include Paper Sculpture with Frank Brannon, JapaneseNatural Colorants for Paper with Tatiana Ginsberg, and Can You Match This? withKatie MacGregor. For more information, visit www.paperbookintensive.org or call(205) 348-2398. The International Association of Hand Papermakers and PaperArtists will convene again in 2010, September 9-13, at the Hanji Theme Park inWonju, Korea, about 1ó hours from Seoul. There will be a paper festival, fourexhibitions, presentations, and workshops. Korean, Japanese, and Chinese papermakerswill be invited in addition to IAPMA members to share their paper processes.See more details as the congress evolves at www.iapma.info.

TheFriends of Dard Hunter Annual Meeting will be held October 18-24 in Gatlinburg,Tennessee, on the grounds of Arrowmont School of Arts and Crafts. Three days ofworkshops taught by leaders in the field will be followed by two days ofpresentations, demonstrations, an art show, auctions, and a trade fair. Thecampus setting of Arrowmont encourages relaxation and creation, with plenty oftime to catch up with old friends. Those interested in paper, books, printing, andfiber arts, or involved in the science, teaching, global studies, and socialscience of those disciplines, will feel at home and inspired at thisconference. Scholarships are available to those with financial need. For informationvisit www.friendsofdardhunter. org. Also see www.arrowmont.org. 2011 willfeature regional meetings during the month of October and in 2012 the Friends ofDard Hunter will hold a joint meeting with the International Association ofHand Papermakers and Paper Artists at Morgan Conservatory in Cleveland, Ohio.

The2nd Annual Branson Banana Bash will be held November 18-21 at Table Rock Lake,Branson, Missouri. Last year, a dozen papermakers from all over the United Statesand Canada came together to process and share fiber from 35-40 banana trunks, agri-wastethat would have otherwise been discarded. For details on joining in this year fora unique experience on the shores of beautiful Table Rock Lake in OzarkMountain Country, contact Shirah Miriam “Mimi” Aumann at thewatermill@centurytel.net

>EXHIBITS

TheHolland Paper Biennial, an exhibition of work by international paper artistswill be staged for the 8th time at Museum Rijswijk and CODA Apeldoorn untilSeptember 12. In addition, a traditional paper fair will be held in thecourtyard of the Museum Rijswijk and in the Oude Kerk (Old Church) opposite onSunday, September 12. A catalogue in Dutch and English will accompany theBiennial. For further information see www.hollandpapierbiennale.nl The Galleryat the Paper Circle in Nelsonville, Ohio features an exhibit of EileenWallace’s work through July 28. Other artists on the exhibition calendar forthe year include Viki Blinn (July 30 through September 17) and the work of Ohioorigami artists (September 24 through November 19). For more information and galleryhours, visit www.papercircle .org or call (740) 753-3374. Tatiana Ginsberg’sand Kristin Alana Baum’s outdoor site-specific installation Blue Bower is partof the inaugural exhibition at the new Stevens Point Sculpture Park in StevensPoint, Wisconsin. The park will hold its opening celebration on June 12 (www .stevenspointsculpturepark.org).Blue Bower consists of a pair of lashed willow fences, inviting visitors toenter and move through the space between them. Tied to a lattice of twinearound the fences and surrounding saplings, are small strips of blue handmade paper.Dyed with natural indigo and printed with words significant to the project,these are paper offerings inspired by the omikuji seen at Japanese shrines,placed for the elements to take away with time. Visitors are invited to add toor replenish these papers with words of their own (hopes, wishes, questions,etc). The piece will be allowed to return to the earth on site over the nextthree years. Book Bombs, a collaboration between paper artists Michelle Wilsonand Mary Tasillo, has work on view in two venues in Baltimore this summer.Fibrile is an installation of denim paper cut into the shapes of endangered Chesapeake-regionplant species, wheat pasted to the back of an abandoned building as part of theAxis Alley project. The project opens May 23 with a reception and alley walk,and will be on view through the coming months. Visithttp://axisalley.wordpress.com for more information. Book Bombs prints on paperfrom invasive plant species will also be on view as part of The Whole Gallery’sexhibit Sign Language, running through July 19. The Whole Gallery is located at405 West Franklin Street, Baltimore, Maryland. Visit http:// wholegallery.blogspot.comfor hours, or visit www.bookbombs.net for project details. Paper! is on view atLost Coast Culture Machine, a new contemporary art space and papermakingfacility in Fort Bragg, California, through August 1. This exhibition, featuringpaper artists from across the country, kicks off the opening of the papermakingstudios. Lost Coast Culture Machine is located at 190 East Elm Street in FortBragg, and on the web at lostcoastculturemachine.org. For more information,call (707) 961-1600. The work of paper artist Gretchen Schermerhorn will be on viewin the gallery at Women’s Studio Workshop in Rosendale, New York, July 6through August 2. Schermerhorn was an artist in residence at Women’s Studio Workshopin December and will be teaching there in July. For more information, contact Women’sStudio Workshop at (845) 658-9133 or info@wsworkshop.org. Perkins Center forthe Arts in Collingswood, New Jersey, hosts Paper Awareness XII, an exhibitionof the work of the members of the Guild of Papermakers. The exhibition willopen with a Second Saturday reception on July 10, and will be on view throughAugust 7. The Guild of Papermakers, established in 1991, is a gathering of artistswho work in and with handmade paper, with the common goal of sharing theirartistic and technical experience and increasing public awareness surrounding paperas an art form. For hours and directions, call (856) 833-0109 or visitwww.perkins center.org. To find out more about the Guild of Papermakers andview member work, visit www.guildofpapermakers.com. Columbia College Chicago’sCenter for Book and Paper Arts hosts the exhibit Marilyn Sward: Speaking inPaper through August 20. Marilyn Sward was far more than a beloved teacher andcommunity builder. She was an important artist during a critical period whenhandmade paper was coming into its own as a fine art medium. Curated by herCBPA colleague Audrey Niffenegger, with Pamela Paulsrud and Stephen DeSantis,this exhibition spans four decades of the ground-breaking work that inspiredmany to follow in her footsteps. For hours and directions, call (312) 369-6630or visit www.bookandpaper.org. The Paper Runway, organized by the Robert C.Williams Paper Museum of Atlanta, is on view at the Houston Center forContemporary Craft from June 5 through September 5. It will then travel to LaSala Galeria de Arte in Santiago, Chile. The juried exhibit showcases clothingand accessories made entirely from paper, including ball gowns, business suits,stilettos, hats, vests, and much more created by paper artists from around theworld. For more information, call (404) 894-7840 or visitwww.ipst.gatech.edu/amp. Before Paper is on view through September 18 at theInternational Paper Museum, 31 Grand Street, Brooklyn, New York. Exhibitfeatures materials used before the invention of paper, including stone, animalskins, palm leaves, wood strips, metal, and bone. Regular hours are Thursdays,2:00-5:00 PM. For further details, call (718) 599-7858 and visit www .papermakinghistory.org.Papermaker Robbin Ami Silverberg will exhibit a paper and sound installation, NothingIs, Until Uttered in a Clear Voice, at Home Gallery Contemporary Art Center,Synagogue Samorin, Slovakia, from September 3 through the month of October,following an August residency. She will also participate in the group exhibitionThe Psychogeography of the City: Artists mapping New York’s Emotional Terrainat the Pratt Manhattan Gallery, 144 W. 14th Street, New York City, September 23to November 6. Projections and Reflections, a collaboration by Sally WoodJohnson, paper artist, and Dorothy Hindman, composer, will open September 10 inthe Durbin Gallery of the Kennedy Art Center at Birmingham- Southern College,Alabama. The installation is supported by a grant from the Alabama StateCouncil on the Arts. Major museums across the state will host the installationin 2011. For gallery infor mation, visit www.bsc.edu/academics/art/ durbin.cfmor call (800) 523-5793. The Robert C. Williams Paper Museum presentsTwinrocker: Forty Years of Hand Papermaking, on display September 23 throughDecember 17. The exhibit showcases the impact that Twinrocker Handmade Paper’sfounders, Kathryn and Howard Clark, have had on hand papermaking in the UnitedStates over the past four decades. This 40th anniversary exhibit at the Museummarks the first time this collection has ever been on public view. For moreinformation, contact the Museum at (404) 894-7840 or visitwww.ipst.gatech.edu/amp. > more exhibits at handpapermaking.org/listings.htmCultural Collaborative, a small non-profit working with children in Ghana, WestAfrica, is looking for papermakers and bookbinders to volunteer to teach thekids next summer. If interested contact aba@ culturalcollaborative.org. Forinformation on Cultural Collaborative, visit www.culturalcollaborative.org. TheCreative Residency program in Visual Arts at The Banff Centre, Alberta, Canada,provides studio facilities and support for artists working in a broad range of media,including painting, drawing, performance, ceramics, book arts, textile art,papermaking, sculpture, installation, photography, and more. Visit www.banff centre.cafor information about residencies and facilities, or contact Wendy Tokaryk atwendy_tokaryk@banff centre.ca or (403) 762-6402. Artists experienced inpapermaking are invited to apply for the opportunity to spend up to threemonths working in the Paper Studio at the Southwest School of Art & Craft.Artists are expected to provide their own transportation and materials. Housingmay be available, but is not guaranteed. Collaborations will be considered. Forfurther information contact SSAC, 300 Augusta, San Antonio, TX 78205, (210)224-1848, www.swschool.org. Women’s Studio Workshop offers several opportunitiesfor artists working in papermaking and book arts. A year-long internshipprogram gives young artists creative support, culminating in an exhibition, inreturn for their assistance with the on-going operations of the facility, includingassisting WSW’s Artists-in- Residence with their projects and participating inWSW’s Summer Arts Institute classes as studio assistants. Studio fellowships aredesigned to provide concentrated work time for artists to explore new ideas ina dynamic and supportive community of women artists. For details on these andother programs, visit www.wsworkshop.org.

> OPPORTUNITIES Hand/Eye: A Magazine AboutConnecting Cultures and Inspiring Action featured paper artists as part oftheir April 22 blog entries, with articles about Velma Bolyard, Aimee Lee,Donna Rhae Marder, and ConfettiSystem. Visit www.handeyemaga zine.com to readthe full articles.

>PUBLICATIONS AND VIDEOS Cathleen A. Baker is pleased to announce that her book,From the Hand to the Machine: Nineteenth-Century American Paper andMediums—Technologies, Materials, Characteristics, and Conservation, will be publishedby The Legacy Press in Fall 2010. Paper and book conservators are faced with theproblem of identifying a bewildering array of papers and mediums that comprise nineteenth-centuryartifacts in order to develop appropriate conservation treatments. Bakerdiscusses these problems and also provides recommendations for the preservationof such artifacts. Until this book, basic information about the many kinds ofpaper manufactured throughout the century and the mediums applied to them hasnot been available in one resource. Information is presented in easilyunderstood language for professional conservators and non-professionals alike.Additionally, much of the information remains relevant because the basictechnologies of papermaking, printing, writing, drawing, and watercolorpainting are essentially unchanged, and therefore, contemporary papermakers,printers, and artists will find information that is pertinent to theirendeavors. The 500-page book is well illustrated with over 300 black and whiteand color images. It is based on Dr. Baker’s extensive knowledge accumulated overnearly forty years as a paper conservator, educator, and scholar, as well as abook arts practitioner. Baker received the Samuel H. Kress ConservationPublication Fellowship to prepare the manuscript. For more information, visitThe Legacy Press website: www .thelegacypress.com. Hand Papermaking announcesnumber nine in the series of distinctive portfolios of handmadepapers...Handmade Paper in Motion. This extraordinary assortment ofcollaborative artwork—14 pieces by 28 artists—features pop-ups, movable devices,and other forms of dynamic paper engineering. The motion and imagery isenhanced physically and conceptually by the use of handmade paper designed andmade specifically for each edition. A custom-made clamshell box houses the work,each in a protective folder imprinted with the artists’ names. A handbound bookletcontains statements from each artist and a commissioned essay by wellknown pop-upcollector and author Ann Montanaro, who founded the Movable Book Society. Theedition is limited to 150 and a special pre-publication price is offered untilSeptember 30. Request further information or place your order by writing orcalling: Hand Papermaking, PO Box 1070, Beltsville, MD 20704, (800) 821-6604 or(301) 220-2393, info@handpapermaking.org.  

>CORRECTION In Sidney Berger’s article, “Dutch Gilt Papers as Substitutes forLeather,” in the Winter 2009 issue of Hand Papermaking, he identified a Dutchgilt paper, done in a diamond-shaped pattern, as being made by Susan Doncaster;it is actually from John and Jane Jeffreys in Edinburgh, done about six monthsago.  

>MISCELLANEOUS The Papertrail Handmade Paper and Book Arts has moved from itsWaterloo location to the nearby village of New Dundee, Ontario. The postaladdress has changed to 1450 Bridge St, PO Box 484, New Dundee ON N0B 2E0,Canada, while phone number (1-800-421-6826), fax number (519-884- 9655), e-mail(info@papertrail.ca) and web site (www.papertrail.ca) all remain the same asbefore. This new location will allow for better store hours for people who wantto drop in, and will also give The Papertrail more time for papermaking. MaryHark, artist and Assistant Professor at the University of Wisconsin-Madison, wasone of four individuals awarded the 2010 GO Ingenuity Award, for her work inKumasi, Ghana. The award celebrates innovation and enables recipients to sharetheir skills with young people in developing nations. In collaboration withlocal artists and educators, Mary Hark helped establish a localincome-generating papermaking enterprise that makes use of invasive plant fibers.This award will support ongoing engagement of youth at this paper studio. Peterand Donna Thomas are making a Book Arts Road Trip across the country in a homemadeGypsy wagon. They are visiting libraries and booksellers, and sharing their expertisein both academic and community- based book arts centers. They would also liketo travel to homes and studios of papermakers and book artists to create collaborativeprojects. If you would like to become part of the adventure, or have them visityour community, contact them at (831) 475-1455 or peteranddonna@cruzio.com. Theyare also documenting their journey at http://wanderingbookartists.blogspot.com.Hand Papermaking celebrates its twenty-fifth anniversary in 2011 with a specialpublication bringing together 25 renowned papermakers. Representing aparticular year in which they were featured, each will produce a distinctivenew paper specimen for this commemorative book. “Hand Papermaking 25” will beissued on October 1, 2010 at $65 per copy. An attractive pre-publication priceof $50 is offered until September 30, 2010. Postage is $4 in North America and$9 overseas. Order at www.handpapermaking.org or call 301-220-2393. HANDPAPERMAKING loves to hear from readers. What’s your opinion? What’s happening? What’son your mind? Send your letters to the editor by email: newseditor@handpapermaking.org  

>CLASSIFIEDS Classifieds in the Hand Papermaking Newsletter cost $2 per word,with a 10-word minimum. Payment is due in advance of publication. LittleCritter Hollander Beaters, sized from 3/4# to 10# capacity. Contact MarkLander, 51 Hodgsons Rd, RD2, Rangiora 7472, New Zealand; ph 0064 3 3103132;email landergallery3@ xtra.co.nz. Cotton Linter Pulp. All quantities available.Call Gold’s Artworks, Inc. 1-800-356-2306. Unbleached abaca bale sale. 275 lbs,350 sheets +/-. $750 plus shipping. Contact kim@arnoldgrummer.com for details. PaperEquipment. 5 lb Valley Beater plus more. Please contact David, rpmstudio@ mac.comFor Sale: Beautiful, hardly used, 2 lb Reina Beater, Twin Rocker Press, LSMcDonald- type drying box, molds, deckles, fiber, all excellent condition, willsell complete studio or individual items, best offer. ltell@ comcast.net UsedReina Beater for sale. Excellent condition, Western Massachusetts, must pick up.$6,000.00 OBO; Inquire about other equipment: eclipsedpaper@verizon.net  

>SPECIAL THANKS Hand Papermaking would like to thank the following people andorganizations who have made direct contributions to further our mission. As anon-profit organization, we rely on the support of our subscribers andcontributors to continue operating. All donations are greatly appreciated andare tax deductible. Call or write for more information on giving levels andpremiums. Benefactors: Timothy Barrett, Gibby Waitzkin. Patrons: Anonymous, TomBalbo, Barbara Lippman, David Marshall, John L. Risseeuw, Gordon & RoswithaSmale. Underwriters: Sid Berger & Michèle Cloonan, Peter Newland &Robyn Johnson, Robert J. Strauss, Nancy & Mark Tomasko, Beck Whitehead,Pamela & Gary Wood. Sponsors: Cathleen A. Baker, Inge Bruggeman, Tom &Lore Burger, Greg Campbell, Jeffrey Cooper, Michael Durgin, Jim Escalante, JaneFarmer, Fifth Floor Foundation, Helen Frederick, Lois & Gordon James,Andrea Peterson, Laura M. Roe, Ingrid Rose, Kimberly Schenck. Donors: MariaBarbosa, James Barton, Marcia Blake, Carolee Campbell, Nancy Cohen, Elizabeth Curren,Laoni Davis, Georgia Deal, Gail Deery, Benjamin J. Dineen, Laurie Dohring, LindaDraper, Martha Duran, Karla Elling, Federal Judicial Center in Memory of Alan Wiesenthal,Dorothy Field, Kathy Fitzgerald, Kathryn Flannery, Linda Gardiner, Sara Gilfert,Lori B. Goodman, Joan Hall, Robert Hauser, Connie Hershey, Helen Hiebert, PeterHopkins, Rick Johnson, Sally Wood Johnson, Lou Kaufman, Ann Marie Kennedy, EllenMears Kennedy, Joyce Kierejczyk, David Kimball, Sandy Kinnee, Elaine Koretsky, GeorgeannK. Kuhl, Barbara Landes, Jill Littlewood, Susan M. Mackin-Dolan, Mary LouManor, Anne Moreau, Dennis Morris, Janet Oberla, Nancy Pobanz, Margaret Prentice,Brian Queen, Dianne L. Reeves, Margaret Ahrens Sahlstrand, Michelle Samour, MiriamSchaer, Mary C. Schlosser, Maxine Seelenbinder-Apke, Helmuth A. Stahlecker Jr.M.D., Betty Sweren, Kaarina Tienhaara, Ray Tomasso, Dale Weyermann, Paul Wong &John Colella, Therese Zemlin. Supporters: Mary Ashton, Lois D. Augur, Shirah Miriam(Mimi) Aumann, Nicholas Basbanes, Jacqueline Brody, Carla A. Castellani, Rona Conti,Jennifer Davies, Amanda Degener, Arnold & Mabel Grummer, Theresa Fairbanks Harris,Kristin Kavanagh, Karen Kunc, Hedi Kyle, M. P. Marion, Edwin Martin, Kate Martinson,Marion Melody, Kathryn Menard, Paulette Mulligan, Catherine Nash, Jim Neal, JillParisi, Lauren Pearlman, Kim Schiedermayer, Leslie K. Smith, Jessica Spring,Karen Steiner, Marie Sturken, Marjorie Tomchuk, Christy Wise, Alan & AnnAlaia Woods, Kathy Wosika. In-Kind: Zina Castañuela, Georgia Deal, JanetDeBoer, Paul Denhoed, Jim Escalante, Peter Ford, Peter Hopkins, Rick McSorley,Britt Quinlan, Amy Richard, USDA Beltsville Agricultural Research Center, GibbyWaitzkin. 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, SusanGosin, Lois and Gordon James, Sally Wood Johnson, David Kimball, ElaineKoretsky, Karen Kunc, Barbara Lippman, Winifred Lutz, Susan M. Mackin-Dolan,David Marshall & Alan Wiesenthal, Peter Newland Fund of the Greater EverettCommunity Foundation, Margaret Prentice, Preservation Technologies, L.P.,Michelle Samour, Peter Sowiski, Marilyn & Steve Sward, Gibby Waitzkin, TomWeideman, Beck Whitehead, Paul Wong & John Colella, Pamela & Gary Wood.

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