HAND PAPERMAK ING N E W S L E T T E R

Number 92, October 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.

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Hand PapermakingNewsletter is published quarterly. Annual subscriptions are $55 in NorthAmerica or $80 overseas, including two issues of the journal Hand Papermaking. Two-yearrates are discounted: $105 in North America or $155 overseas. To subscribe,send a check to the address below, call or fax us to use Visa or MasterCard, orvisit our website. Foreign subscribers may use a credit card, or pay in U.S.dollars via money order or check marked payable through a U.S. bank. For moresubscription 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 Fax: (301) 220-2394 E-mail:info@handpapermaking.org Web: www.handpapermaking.org

The deadline for the next newsletter (January 2011)is November 7. Please direct all correspondence to the address above. Weencourage letters from our subscribers on any relevant topic. We also solicitcomments on articles in Hand Papermaking magazine, questions or remarks fornewsletter columnists, and news of special events or activities. Classified adsare $2.00 per word with a 10-word minimum. Rates for display ads are availableupon request.

Hand Papermaking is a 501(c)(3)non-profit organization. Staff: Tom Bannister, Executive Director; MinaTakahashi, Magazine Editor; Shireen Holman, Newsletter Editor; Mary Tasillo,Advertising and Listings. Board of Directors: Sidney Berger, Frank Brannon, ShannonBrock, Inge Bruggeman, Zina Castañuela, Jeffrey Cooper, Georgia Deal, GailDeery, Jim Escalante, Susan Gosin, Ann Marie Kennedy, Andrea Peterson, MargaretPrentice, Gibby Waitzkin, Eileen Wallace, Beck Whitehead. Board of Advisors:Timothy Barrett, Simon Blattner, Gregor R. Campbell, Mindell Dubansky, Jane M.Farmer, Helen C. Frederick, Dard Hunter III, Elaine Koretsky, James Sitter,Claire Van Vliet. Co-founders: Amanda Degener and Michael Durgin.

Dear HandPapermaking,
The Paper Museum in Silkeborg, Denmark, is indanger of closing. I am asking those in support of keeping the tradition ofhand papermaking alive to sign our letter of protest on our website www. papirmuseet.dk.Below follows a short version of our history. Until 1844 Silkeborg was only awater mill and a big farm, both had been broke for 22 years, and the onlyreason that the place carried a name was due the ruins of an old castle calledSilkeborg. Just north of Copenhagen the Drewsen family had since 1660 beenrunning a paper mill, Standmøllen. In 1829 the owner of the mill, JohanDrewsen, installed the first paper machine. This was the first machine inScandinavia. His son Michael Drewsen clearly saw the future in this invention,but he soon realised that the river north of Copenhagen was no good—too littlewater during summer and the water was very dirty—so he started looking for abetter place, a place for a modern paper mill. His attention was drawn to “adeserted place called Silkeborg.” Not much good could be said about the place,alone in the heathery hills of Jutland, but it had a big river, the Gudenå. Theclean water was very important, and it also had a waterfall of four meters.Furthermore, all goods could be transported with barges on the river. MichaelDrewsen broke with the old tradition of placing a paper mill just on theoutskirts of a big city where you could find the raw material, rags. Insteadclean water was essential to his plans to make paper of fine quality. Drewsenwas awarded the land by the king, and in April 1844 he arrived in Silkeborgwith his family and 27 craftsmen, and they started to build the paper mill fromthe bare ground. He hired all the workmen he could find in the nearby villagesand the construction of the mill was going very fast, and by mid-October thefactory building was finished along with a canal that would lead turbine waterto the waterwheels. The rest of the year was used to equip the mill with thevery newest in machine technology from Bryan Donkin in London. On the 1st ofJanuary 1845 the paper machine started to run (and it is impressive that it hasbeen running day and night until just ten years ago, when production wasstopped). Two years later the town of Silkeborg was founded and the town didbenefit in many ways from the energy and enterprise of Michael Drewsen. Themill was the largest in Denmark and one of the most modern facilities inNorthern Europe at the time (see image of the mill as it was in 1864). Muchlater in 1899 it was decided that the old paper mill in Copenhagen had toclose. At the same time it was the ambition of Silkeborg to make the paper forbanknotes. They had be to made by hand, so the papermakers from Copenhagen weremoved to Silkeborg, and by 1909 Silkeborg got the contract for making the paperfor The National Bank. The mill bloomed in the beginning of the century. Theproduction of handmade banknotes ended in 1962, and from that time allbanknotes were made on machine, but the handmade production continued with twodouble vats making share certificates, fine writing and laboratory paper. Thisproduction was brought to an end in 1990, but luckily the building was sealedwith big padlocks, so no one could enter the old vatroom, in Danish called‘Bøtten.’ Fourteen years later this became The Paper Museum in Silkeborg as somany people had hoped, because paper production, Drewsen, and the SilkeborgPapermill are the basis of everything in town. The Paper Museum is very uniquein the sense that all the production equipment is on its original site andstill running. The museum is supported by the Guild of Papermakers, which doesits best to keep the craftsmanship at the very best, and still trains new papermakersto carry on the craft. The museum has approximately 7000 visitors eachyear—tourists, guided groups, and school classes. The museum also hosts paper-artexhibitions and artist workshops, among them “Paper Make’s Dance” and “Wherethe Silkroad Ends,” a title which unfortunately now has a sinister tone withthe announced closure of the paper museum. The town of Silkeborg has to makesevere budget cuts, and the museum has lost all support from the town, a decisionno one can understand. The latest developments bring a bit of light, as theboard of the paper museum has convinced the Cultural Council of the town tosupport the museum with a smaller amount, that will make it possible for the museumto survive in 2011 in a reduced form on a volunteer basis. This leaves us a bitof time to seek other possibilities. The Council was presented with thesignatures that were collected on our webpage as well as those collected at themuseum, at that time 1100 signatures, but please continue to sign as we believeit made an impression. Thanks and best regards, Bent Schmidt Nielsen bs@papirmuseet.dk

>ALONG THE PAPER ROAD... This regular feature offers paper musings from ElaineKoretsky—renowned paper historian, researcher, and traveler. Here Elaine andpaper historian Christine Harrison embark on a hunt for paper treasurespreserved in eight trunks. In my April 2010 “Paper Road” article in HandPapermaking Newsletter, I mentioned the need for a volunteer to help make aninventory of eight trunks of handmade paper collected from 1920 to 1941 by Dr.Floyd McClure, Professor of Botany at Lingnan University in Canton, China. Iwas astonished and overjoyed to receive an e-mail from Christine Harrison, awell known British paper historian. Chris is about to be awarded a PhD degreeat the University of Lincoln in Great Britain, for her research into the lifeand work of Jacob Christian Schaeffer, the unsung pioneer of wood pulppapermaking. Chris arrived here on June 29 with great enthusiasm, and weimmediately began work on our monumental project. Dr. McClure is world famousfor classification of the bamboos, a large and complicated plant family. Unlikeother botanists who are mainly interested in plant classification, Dr. McClurebecame deeply involved in the use of bamboo in papermaking, and actually spenta week at a papermaker’s hut to observe and record all the processes in themaking of paper by hand. In 1928 Dr. McClure completed his thesis, titledChinese Handmade Paper, for a Master of Science degree at Ohio StateUniversity. When I acquired Dr. McClure’s paper collection from Mrs. McClure,with permission to publish her husband’s thesis, I persuaded Henry Morris topublish it, including forty paper samples from Trunk #8.1 Chris and I were veryexcited about finding all sorts of paper treasures in the trunks. Dr. McClurenot only collected handmade papers from all over China, carefully recordingtheir place of origin, fibers used, and uses of the paper, but also collected amyriad of books written or printed on Chinese handmade paper. For instance, in1938 he visited Dard Hunter, who gave him a whole group of paper samples leftover from Hunter’s book Primitive Papermaking.2 Another treasure was a copy ofLady Precious Stream, a Tang Dynasty love story based on an opera from 713A.D., which became a popular play in Europe and the United States. The littlebook is complete with original drawings, text in Chinese and English, and abeautiful cover in full color. Another trunk revealed a valuable facsimile ofthe Ti’en-Kung K’ai-wu, by Sung Ying-Hsing, translated as Chinese Technology inthe 17th century, or The Creations of Nature and Man.3 Every Chinese person isaware of this important book. It is a virtual encyclopedia of the major industrialtechniques of its time, including textiles, mining, silk production,agriculture, papermaking, et al. Dr. McClure’s facsimile, in perfect condition,is fantastic. Its paper, printing, and binding with wood covers are typical ofancient Chinese books. The text is entirely in Chinese, but the accompanying drawingsgive vivid descriptions of the techniques used in China for all the industries.We noticed that in other books we found in the various trunks, their drawings wereoften based on those found in the Ti’en- Kung K’ai-wu. As we waded through thepiles of paper in the trunks, it was obvious that Dr. McClure focused on papermade from bamboo, but he collected everything that dealt with handmade paper.His many friends knew of his keen interest in papermaking, and sent him allkinds of pertinent books, materials, writings, and paper samples. We foundpaper from Kochi, Japan, and from Taunggyi in Burma, all made from mulberry; hereceived a special paper from Macao used for wrapping the heads of salt fish sothey would not get wormy while drying. The W. R. Grace Co. in Paramonea, Peru,sent paper made from sugar cane (bagasse). A missionary friend in Korea, BruceHunt, sent four photos of Korean papermaking, with descriptions. Miss MargaretMoninger, another missionary, sent him a fascinating article she wrote,accompanied with samples, about papermaking in “Stone Bridge Village” on HainanIsland, where she worked. The Karnaphuli Paper Mills In Pakistan sent samplesof their papers, including quality and size. Other treasures we discovered: 1.Sheet of paper with the watermark “Vidalon-Haut” (France, 18th century); andanother, “Prat Dumas & CBrevettes” (France). 2. Group of intricate papercutouts, a skill developed in China by villagers in rural areas, and eventuallyspread to other cultures in many parts of the world. 3. Tibetan prayer book onhandmade paper. 4. Folder of reproductions from famous Chinese artists, withtitles and the artists’ names. 5. Group of photos showing the entire process ofmaking paper from bamboo. 6. Booklet of samples showing 100 decorated papers,bought in Foshan City, Guangzhou Province.4 7. A small group of decoratedhandmade paper coins, held together by a thin leather cord with an old Chinese coinattached. The coins are “spirit money” meant to be burned ceremonially toaccompany a deceased person in the next world. 8. A long coil of paper coins,also made from handmade paper, but left plain, not decorated. 9. Several pageswith Latin script, from a religious book published in Florence, Italy, 1492.The paper is definitely handmade, but not in good condition, showingconsiderable foxing. However, it is the oldest documented paper in our museum. 10.Mostly, the trunks contain tremendous information about Chinese hand papermaking,particularly the use of bamboo, since Dr. McClure’s focus is the classificationof the many types of bamboo.5 11. There are many more fascinating artifacts wediscovered in the trunks, including an old drying brush for brushing newlyformed paper sheets onto a wall, and even part of an old bamboo screen from apapermaking village. Suddenly I realized that we should plan a futureexhibition at our paper museum that will highlight Dr. McClure’s extraordinary collection.Meanwhile, our current exhibits, “Before Paper,” showing at our Brookline, Massachusettslocation, and “The Origin of Paper in China,” shown now in Brooklyn, New York,have been well received by paper historians and the general public. Bothexhibits are accompanied by limited edition catalogues illustrated in fullcolor (only fifty copies each). “Before Paper” has fifty-five pages with ahandsome front and back cover of hand made, beaten bark (tapa from thePolynesian Islands). “The Origin of Paper in China” has fifty-four pages, alsofully illustrated in color, plus sixteen paper samples, some of which come fromthe McClure collection, and may be more than one hundred years old. Thecatalogues cost $30 each, and are available at the two museum locations, or bycontacting the International Paper Museum (tel: 617-232- 1636; e-mail:paperroad@gmail.com). On July 19 we arrived at Trunk #8, in which Dr. McClurehad carefully placed all his bundles of 4” x 6” papers that he hoped to use inhis proposed book. While Henry Morris was contemplating the feasibility ofpublishing such a book, those bundles of papers were lined up on my living roomfloor for at least a year. At last, Henry decided to proceed with the project,and the bundles remained on the floor for another year while I figured out aproper description for each of them, and then selected the most interestingones for the book. I was delighted that Dr. McClure’s book was finallypublished, with thirty-five tippedin samples. All the rest of his collection islovingly preserved at our International Paper Museum in Brookline. It was hardfor Chris and me to say good-bye to each other and to our long, fascinatingproject. Chris decided to mark her departure by determining if she could fitinto Trunk #8. She easily climbed in and emerged triumphantly holding some bundlesof samples. End Notes 1. Floyd Alonzo McClure, Chinese Handmade Paper, editedand with a preface by Elaine Koretsky (Newtown, PA: Bird & Bull Press,1986). 2. Dard Hunter, Primitive Papermaking (Chillicothe, OH: Mountain HousePress, 1927). 3. Sung Ying-Hsing, Ti’en-Kung K’ai-wu, trans. E-Tu Zen Sun andShiou-Chuan Sun (University Park, PA: Pennsylvania State University Press,1966). 4. Hans Schmoller discovered and purchased a group of Chinese decoratedpapers, which I found to be nearly identical to the small sample book of Dr.McClure. A book of these papers was subsequently published by Bird & BullPress, Newtown, PA, 1987. The title is Decorated Papers – Chinoiserie For Threeby Hans and Tanya Schmoller and Henry Morris. 5. Floyd Alonzo McClure, TheBamboos, (Boston, MA: Harvard University Press, 1966, and Washington, DC:Smithsonian Institution Press, 1993).

> TEACHING HAND PAPERMAKING Based inPhiladelphia, Winifred Radolan operates an itinerant teaching papermill, andhas taught papermaking to thousands of adults and children. This column is parttwo of Winnie’s adventures in a New Jersey elementary school.  In my previous column I recounted introducingthe entire elementary-aged population of the Bret Harte School in Cherry Hill,New Jersey to the charms of wildflower (rather than dandelion) inclusions intheir first sheets of blue jean rag paper. Here I’ll continue to describe myadventures with the seventy-five fifth graders as we collaborated on thecreation of our low relief sculptural flax installation. I had the opportunityto work with each of the three fifth grade classes for five hour-long periods,or a total of fifteen hours. In addition, I was most fortunate to have theassistance of a few parent volunteers in the classroom with the students. Introductionof the project included a look at the three basic materials we would use tocreate our installation— basket reed, raw flax, which everyone agreed smelled likea stable, and waxed polyester cord,  purchasedbut not presented as “cat-gut” or sinew. I showed photographic examples of previoussimilar works as I touted the advantages of collaborating with students fromall three fifth grade classes—an only slightly smoother sell than the dandelioninclusions turned out to be! And I quickly realized that with merely a coupleweeks of school remaining before summer vacation, there were bound to be focusissues, but I had parental help most days. In describing armature constructionto each paired team of young artists, I used the example of our human skeletonframework determining our height and carrying our form. I moved on to describethe water-soaked reed as capable of creating an abstract linear “doodle in space.”Bending it into recognizable Mickey Mouse ears, pretzels, or hats was not our aim,but rather, they should create a flowing and overlapping line that definesinteresting shapes where it intersects. Each “doodle” was to start with an ovalshape somewhere between the size of a lemon and a grapefruit. And as thearmatures continued to develop, there were empty cardboard packaging “measuringboxes” within which the 3-D designs must fit, so that we could somewhatstandardize size and maintain low relief. The greatest learning challengeturned out to be tying square knots at each reed intersection to hold thearmatures securely together. The knot-tying lesson, with large visual aids andmuch individual practice, needed to be repeated at the beginning of eacharmature construction session. There were, however, several instances in which findingloose knots was most welcome, as it made the repair of the inevitable “mouse ears”so much easier. And the eventual flax application would tie things up quitenicely. Creating many of these armatures over a period of time has alwayspresented a growing storage challenge. This was especially true at Bret Harte,where the classroom was normally shared by two art teachers and severalunrelated classes. So we were allotted a 6’ folding table in the hallway forstorage. I brought a sheet to cover the growing shapely mysterious mounds offorms, which all survived! After cooking two generous pounds of raw flax insoda ash to remove non-cellulose materials, I beat each batch for six hours inmy Hollander, and then divided the pulp into three parts. The children selectedgreen and purple to pigment 2/3 of the fiber, allowing the final third toremain its natural color. Available time would not allow the students to form allthe slow-draining sheets of paper that we used in the installation. This meantthat I pre-formed a good portion of it ahead of time, taking it to class stackedbetween layers of pellon interfacing. I did want everyone to make one piece toexperience the vast difference in sheet forming between their initial papers ofblue jean rag and the very slow and slippery flax. There was a definite“gross-out factor” linked to the color and texture of the mucilaginous flaxthat made it the favorite vat of the fifth grade boys! It was fortunate thatone resident art teacher had recently completed an “op-art” assignment with thechildren, in which they had made textured patterns in a big line doodle,creating a “loopy checkerboard” design of alternating empty and filled spaces.We translated this concept into 3-D as I explained tearing the very strong flaxsheets into slightly larger pieces than the armature segment to be wrapped.This allowed them to bend the flax edges around the reed and pinch it to itselfto fuse together. Everyone was amazed at how the fibers became their own“glue,” and mesmerized by how the shapes changed as the shrinking and drying flaxpulled on the reed armatures, further collaborating in the design process. Imounted cotton canvas onto four stretcher frames, each measuring 24” x 36,” readyfor the final assembly of the many sculptural units. On the final two mornings ofthe residency (sans students) several parents gathered enthusiastically toarrange their students’ creations on the panels. We used clear monofilament tohand stitch the units to the canvas, propping the frames up on sawhorses foreasy access to both sides of the panels. As there had been much practice withsquare knotting, this aspect, while time consuming, went quite smoothly. It wasa great pleasure to have this final assembly help from the parents, who hadmany ideas about where the installation should finally hang. I suspect it willbe a surprise to all the returning students in September.

> PAPER HISTORY Maureen and Simon Green,from the United Kingdom, write a joint column on Paper History. Maureen is apaper historian, and author of Papermaking at Hayle Mill 1808-1987. Simon wasthe last of the Green family to run Hayle Mill, in the U.K. He providesconsulting services to papermakers worldwide. “Speaking out loud” is a briefhistory of paper loudspeaker cones, and Hayle Mill’s involvement in theirdevelopment.

Myfather Rémy Green always told me that the world’s first seamless loudspeaker coneswere invented at Hayle Mill; recent research indicates this may not have beenthe case. Loudspeakers are surprisingly complex products. The earliestloudspeaker seems to have been installed by Johann Philipp Reis in thetelephone he invented in 1861 although this clearly had limitations. The earlypaper loudspeakers had true cones, made by cutting a triangular sector out of adisc, bending into a cone and gluing the seam. This seam impaired the acoustic properties.On 14th October 1932 Arthur Millbourn and Company Limited of Tuckenay Mill in Devonapplied for a patent for an improved method of producing loudspeaker cones, andthis was granted on 4th May 1933. However this application referred to existingmethods of forming seamless cones and Hayle Mill was receiving orders as earlyas November 1931 according to Hayle Mill’s “Cones” record book. This book containsmostly day-to-day records of sales, bonuses, discussions with customers, etc. Unfortunatelythere is not a great deal about the process but some details are given in a memomade by Rémy in 1973. Essentially the cones were formed in a type of vacuumsheet making machine using a specially shaped wire mesh cone. A deep deckle boxwas filled from below with water, a measured amount of pulp was added, vacuumapplied, and after the sheet was formed it was ejected by a blast of steam frombelow. The rough sketch shown here is from a drawing found on the back of anenvelope. The damp cone was put into a modified second hand hat press which wasgas heated. Cones could be easily damaged at every stage and there seem to havebeen problems with low gas pressure. Build up of soot deposits could reduce theworking temperature. The cones were made to order for a number of specialistloudspeaker component suppliers. Apart from supplying various electrical andother fittings these companies could also add textile reinforcements. One ofour best customers was the first one, R. O. Bridger & Co. of Clerkenwell inLondon, for their Grantona range of diaphragms. The Cones book contains twoblueprints illustrating eightythree different profiles. These in turn requiredjust as many forming wires and sets of dies for the hat presses. Some of thesemay have been used for other customers as well. Clearly quality control was aproblem; issues included too many thin places and not being strong enough.Strength was particularly important due to the method of fitting the cone into thespeaker framework. Some customers continued “using the American instead.” Othercustomers implied that the American supplier was active before Hayle Mill, whichraises the question of who pioneered production there. Some 6.25% of the 460,000cones made from 30th November 1931 to 19th November 1932 were returned bycustomers for defects. Strength, of course, depended on materials and beating.Black cones (the most common) were made of: 112 lbs old black rags 56 lbs newblack cuttings 25 lbs Kraft pulp (from sheets) 2 lbs black colour reasonableproportions of broke Beaten hard for 5 or 6 hours For the strongest cones itappears that Kraft pulp, beaten by A. E. Reed & Co. Ltd. of Aylesford(eight miles away) was sent over wet in sacks. Other materials included thestrongest rags used normally for vellum paper, “Mexican” (could this have been sisal?)and “100% Mulberry” which seems rather unlikely. However we did use such fibrefor the Bruce Rogers Bible printed at the time and now in the Library ofCongress. Some customers treated our cones with “dope” but the composition of thisis not stated. When I first visited Sanganer, near Jaipur, India in 1985 I wasdelighted to find loudspeaker cones being made in many households on a cottageindustry basis. The cones were hand drained on moulds with a deep, circulardeckle box made of copper. The raw material was new black umbrella cuttings. Onsubsequent visits in the 1990s I could not find any production in Sanganer butit may well have been continuing there. The Wikipedia article states that conesare still often made from paper but suggests (perhaps speculatively) thatcarbon fibre, Kevlar, fibreglass, hemp, or bamboo fibres may be added for extrastiffness for the high end of the market. In his 1973 memorandum Rémy commentsthat Ernie Webb from the Loft was in charge of operations under Rémy Green, andshifts were worked day and night (using six suction boxes). He concludes “Itsaved us from probable bankruptcy at an awkward time.” > 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. In this column Sid continues his discussion of papersample books—specifically Japanese sample books—and talks about the differencebetween “paper sample books” and paper samples in books. In my last column(Hand Papermaking Newsletter No. 91, July 2010) I spent some time trying todefine what a paper sample book is. The definition must remain fuzzy sincethere are so many things that might be called “sample books.” (But see below.) Imentioned, of course, the Stevens- Nelson Company treasure Specimens (c. 1953) andthe Tesuki Washi Taikan (1974) from Mainichi Shinbunsha in Japan, since these areperhaps the best known and most cited such collections of samples. Let me stay withJapanese papers for this column since the Japanese have produced hosts ofsample books from the modest to the spectacular, like the Tesuki. In 1993 mywife and I acquired a treasure that is not well known: Current Handmade Papers ofJapan (Kochi: All Japan Handmade Washi Association, 1992). Three largelandscape-format volumes, with a text in Japanese and English, offer a superbdisplay of 350 papers, each 7” x 5” sample tipped into a window in a foldedsheet. The text in the 100-page first volume gives a history of Japanese papers,with discussions of papermaking areas, an essay on the elegance of Washi, and achapter by Kenichi Miyazaki (translated by Richard Flavin) on “Tools andMaterials.” The other two giant volumes contain the samples, generously sizedand labeled in both languages. I can find no limitation in the colophon, butthe production is so sumptuous it could not have been produced in greatnumbers. No production will ever rival the Tesuki, but this one, weighing in atclose to 20 pounds, is a worthy offering in the “paper sample book” realm. Itis a sumptuous production, filled with beautiful papers. Before this set cameout, Yasuo Kume published Tesuki Washi Shuho: Fine Handmade Papers of Japan(Tokyo: Yushodo, 1979)—in Japanese—now quite scarce. This four-volumemasterpiece was followed the next year by a three-volume duallanguage versionthat is more common. It is exceptional in its production, beauty, and opulence.As with the previous item, this has a 113-page English text. It contains 207large samples (11 ¾” x 7 ¼”), with interleaved printed sheets containing much information,including a paragraph about each paper’s uses, manufacture, fibers, and soforth. This is a well of information about Japanese handmade papers of thetime, and a feast for the eyes, in the production and in the samples. Both setsare housed in folding cases with wooden clasps, and with only 200 copies of thelatter produced, it is scarce and pricey. Sample books have three mainfunctions: 1) to sell papers (a purely commercial intent); 2) to show off (orto present with pride the body of work of a papermaker, a company, or acountry, for instance), as with the two sets described above; and 3) to presentscholarship about papers. This third function is tricky, since many books arewritten for scholarly purposes, so are they, strictly speaking, “sample books”?Many such academic texts, however, are filled with paper samples. So there canbe a fine distinction between scholarship and “showing off.” Henry Morris, ofthe Bird & Bull Press (which has published many books on paper), told methat good texts may be important, scholarly, and informative, but they are hardto sell; but add a bunch of samples and they are more appealing to his clients.His excellent book Japonica is an example (North Hills, PA: B&B Press,1981. See photo.). Its bibliography on Japanese books on paper and its essay onDard Hunter’s Chiyogami collection are important, but Henry contends that the50 tipped- or bound-in samples sold the book. It is scholarly, but it becomes a“paper sample book” because of its tip-ins. The same may be said of myforthcoming volume on Chiyogami: the text is scholarly and filled withinformation, never brought together before (at least in English) on thesubject; but the 20+ large Chiyogami beautiful, and these are more likely tosell the book than is the text. The deluxe edition of Sukey Hughes’s well knownWashi: The World of Japanese Paper (Tokyo, New York, and San Francisco: Kodansha,1978) is another of these hybrid volumes: scholarly text, but the deluxe volumehas dozens of tipped-in samples, allowing this volume to fall into the categoryof “paper sample book” (while the regular edition, lacking the samples, fallsoutside this rubric). In my two columns on sample books, I have barelyscratched the surface of this fascinating genre. I may write that book some day,but I don’t know if I have the stamina.

> FOR BEGINNERS Mary Tasillo is a papermaker,book artist, and mixed media maven based in Philadelphia. She teaches workshopsnationally. Here Mary explains the uses of various pulp additives.

The fibers you use and the way you preparethem can produce a vast array of papers; you can stretch this range ofproperties even further by combining additives with your pulp. You might dothis to affect the surface of the paper, the way it accepts ink, its opacity,or its pH. One of the most common additives in Western style papermaking is sizing.A ketone dimer sizing such as those sold by papermaking suppliers is asynthetic liquid mixed into your pulp after beating to prevent ink frombleeding when applied to the dried paper. Alternately, paper can be externallysized with gelatin after it has dried. Some ketone dimer sizing can double as retentionaid (or retention agent). Retention aid may be purchased in powder or liquid formand helps pigment adhere to the fiber. Directions for use vary with supplier.When using the ketone dimer sizing as retention agent, the pulp is thoroughlymixed with this additive before mixing in pigment. When using a separateretention agent, this is often mixed in after the pigment, causing the pigmentthat had been floating around in the water to suddenly cling to the fiber withseeming magic, clearing the water of pigment and indicating that the pulp isnot over-pigmented and thus should not bleed. I have found that pigments are absorbedmost readily when using retention agents provided by the same supplier as thepigments. Certain pigments will adhere more readily than others. The particularpigments that give you trouble may vary with the make-up of your water. Formationaid (synthetically, polyethylene oxide or PEO) can have several effects. Formationaid is a slippery, slightly gelatinous liquid that aids in Japanesestyle sheetformation. Formation aid gives a smooth flow to the fibers, and thus is oftenadded to pulp paint to help control its spread. It also slows the drainage of thepulp, so can be utilized in work in the deckle box or in creating very largesheets of paper where the manipulation of the mould in sheet formation isslower. Coagulant (polyacrylamide powder or PNS) can also act as a formationaid if no other additives are present in the pulp and will act as a flocculent,causing fibers to clump. This can be used to decorative effect, adding flocculatedfibers of one color to a vat of another color. Natural formation aids includetororo-aoi, a root that traditionally supplied this additive for Japanese-stylepapermaking, and okra. Calcium carbonate can be added to pulp as an alkaline tolower the pH, and will make the resulting paper more opaque as it fills thespaces between the fibers. This can be desirable for digital or other printing processes.(See “For Beginners” in Hand Papermaking Newsletter #82 for more on makingpaper for digital printing.) Read the manufacturer’s directions to start, andexperiment to expand the range of effects you can create with your handmade paper.Keep detailed records in your paper sample book so you can reproduce your mostsuccessful proportions. This is especially important once you bring these papersinto other creative processes that have their own sets of variables. > morefor beginners at newsletter.handpapermaking.org/beginner

Listings for specific workshops and other eventsin the following categories are offered free of charge on a space-available basis.The deadline for the January 2011 Newsletter is November 7. Contact each facilitydirectly for additional information or a full schedule. Teachers: Tell your studentsabout Hand Papermaking! Brochures and handouts can be mailed to you or yourinstitution. Email newsletter@handpapermaking.org.

>CLASSES AND WORKSHOPS Asheville BookWorks, Asheville, NC, (828) 255-8444,www.bookworksasheville .com. Hands-on workshops including bookbinding,printmaking, decorative paper, and basic papermaking. Pulp to Paper:Introductory Papermaking, October 2-3, with Frank Brannon. Learn techniques forforming sheets of hand-made paper using pulp prepared in the Reina beater. PulpPainting: Beyond the Squeeze Bottle, October 16-17, with Shannon Brock. Developimages by layering and overlapping thin veils of pulp using multiple moulds andvats of pigmented pulp, along with contact paper, dental syringes, paintbrushesand squeeze bottles. Papermaking from Local Fibers, November 5- 7, with FrankBrannon. Use pulp prepared from tree, shrub, and flower fibers to form sheets. PapermakingII, December 3-5, with Frank Brannon. Learn to use the Hollander beater toprocess various fibers and improve your sheet formation. The Boston PaperCollective, Boston, MA (614) 282-4016, www.bostonpapercollective .com . Classesin papermaking and marbling, as well as studio rental and special projects. Marbling,October 10, with studio instructors. Japanese Decorative Papers and SimpleBookbinding, October 16, with studio instructors. Sculptural Paper, October30-31, with studio instructors. Japanese Lamps, November 6-7, with studio instructors.John C. Campbell Folk School, Brasstown, NC, (704) 837-2775,www.folkschool.org. Classes in papermaking and other crafts in the mountains ofwestern North Carolina. Paper Bead Jewelry & Paper Boxes, October 29-31,with Judy Anderson. Create colorful, one-of-a-kind pieces of jewelry frompaper. Advanced Paper Marbling and Curiosity Boxes, January 16-22, with MimiSchleicher. Begin with closely-controlled marble pattern making, thenexperiment with abstract, figurative, floral and landscape images, finallyincorporating papers into dimensional objects. Making Paper Without a Studio,March 6-12, with Claudia Lee. Explore the basics of hand papermaking, startingwith how to set up a low-tech studio at home. Shifu - Paper Weaving, March6-12, with Lynn Pollard. Learn to cut paper and add twist to weave paperfabric, incorporating ink designs. Recycle, Rebound Papermaking, April 17-23, withRajeania Snider. Recycle your junk mail and plant material into uniquestationery and books via basic papermaking processes. Carriage House Paper,Brooklyn, NY, (800) 669-8781, www.carriagehousepaper.com. Papermaking workshopsoffered in a new studio space. Visit website for workshop schedule. ColumbiaCollege Chicago Center for Book and Paper Arts, Chicago, IL, (312) 344-6630, www.bookandpaper.org.Papermaking classes in spacious downtown studios. Desert Paper, Book and Wax,Tucson, AZ, (520) 740-1673. 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, October12, November 2, or December 7, with staff instructor. Learn the basic papermakingprocess, as well as various artistic techniques. Creative Techniques forArtists with Open Studio, October 19, November 9, or December 14, with staffinstructor. Explore advanced techniques and their application for two- andthree-dimensional projects, with a different focus at each session; experimenton your own with studio pulps, making sheets up to 11 x 14 inches. EurekaSprings School of the Arts, Eureka Springs, AR, (479) 253-5384, www.esart school.org.Offering learning opportunities in multiple media including fiber arts. HaystackMountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack-mtn .org.Workshops in various disciplines, including papermaking and book arts. HelenHiebert Studio, Portland, OR, www.helenhiebertstudio.com, helen@ enlightenedpapers.com.One-day papermaking and lamp making workshops and Thursday evening open studiosfor experienced papermakers in North Portland. Beginning Papermaking:Sustainability, October 9, with Helen Hiebert. Create a portfolio of papersfrom recycled materials. Shadow Lantern, October 29, with Helen Hiebert. Createa shadow lantern from lightweight wood panels and paper. Beginning Papermaking:Found Objects, November 6, with Helen Hiebert. Add items to your wet sheets tomake unique collages and decorative papers. Winter Lights, December 4, withHelen Hiebert. Learn to make a traditional collapsible paper lantern. HookPottery Paper, LaPorte, IN, (219) 362-9478, jonandrea@hookpotterypaper .com,www.hookpotterypaper.com. Classes in papermaking and pottery and a residency programin northern Indiana. 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. MagnoliaEditions, Oakland, CA, (510) 839- 5268, www.magnoliapaper.com. Workshops inpapermaking, printmaking, and book arts. MayBe Studio, Abita Springs,Louisiana, (985) 893-3184. Hand Papermaking, selected Saturdays, withMary-Elaine Bernard. Learn Eastern and Western methods of making paper and incorporatelocal plant fibers. Minnesota Center for Book Arts, Minneapolis, MN, (612)215-2520, www.mnbookarts.org. Classes at the Open Book center for book andliterary arts. Open Studio: Marbling, October 9, with Amy Pleticha. Developindependent projects in the company of other artists. Paper as Narrative,October 9-10, with Jessica Peterson. Explore pulp painting, inclusions, andother techniques while considering handmade paper as an integral part ofartist’s book imagery. Open Studio: Papermaking (Cotton Rag), November 13, withAmy Pleticha. Hone papermaking techniques while working in the company of otherartists. Open Studio: Paste Paper, December 11, with Amy Pleticha. Patternpapers with pigmented paste and methyl cellulose. Morgan Art of PapermakingConservatory and Educational Foundation, Cleveland, OH, (216) 361-9255,http://morganconservatory .org . Workshops in hand papermaking and the arts ofthe book in an innovative green environment. Paper Circle, Nelsonville, OH,(740) 753- 3374, www.papercircle.org, papercircle@ frognet.net. Call or e-mailfor information about upcoming paper classes. Open Studio, second Saturdays,with studio artists. Gain new skills while working on themed, relaxed projects.The Paper Studio, Tempe, AZ, (480) 557-5700, www.paperstudio.com. Classes inbook arts, papermaking, printmaking, and alternative photographic processes. ThePapertrail, New Dundee, Ontario, Canada, (800) 421-6826, www.papertrail .ca.Classes in papermaking, marbling, and related arts and studio rental scheduledon an as-needed basis. PapierWespe (PaperWasp), Aegidigasse 3/Hof, 1060 Wien,Austria, (0676) 77- 33-153, office@papierwespe.at, www.papier wespe.at.Workshops in English and German taught by paper specialists in downtown Vienna.Wasp School, October 30 – November 7, with Beatrix Mapalagama and Gangolf Ulbricht.Focus on historic papers, creative papermaking, paper objects and Japanese papermakingin this annual intensive workshop. Penland School, Penland, NC, (828) 765- 2359,www.penland.org . A full program of craft workshops, including papermaking. Surface& Structure: Paper & Book, March 13- May 6, with Amy Jacobs. PetersValley Craft Center, Layton, NJ, (973) 948-5200, www.pvcrafts.org. Workshops inpapermaking and a variety of crafts. 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 GretchenSchermerhorn. Bring snacks, discuss papermaking techniques, and make as manysheets of paper as you can. Cut Paper: Pull, Print, & Create, October 19, 26,& 27, with Sabeth Jackson and Beth Parthum. Print and collage using papermade during the first session, and linoleum block carvings printed during thesecond session. Ridgetop Studios, Soquel, CA, (831) 476-6302,john@babcockart.com, www.babcockart.com. Papermaking, September 18, with John Babcock.Create paper using historical and experimental methods at the Santa Cruz Museumof Art & History. Sarvisberry Studio and Gallery, Floyd, VA, (540)745-6330, www.sarvisberry.com. Experience handmade paper in the heart of theBlue Ridge Mountains. Bookbinding Workshop, November 13-14, with Georgia Dealand Gibby Waitzkin. Learn alternative book structures to use with fine art andhandmade papers. Open Studio Days, call for schedule. Make your own paper andwork on personal projects. Seastone Papers, West Tisbury, Martha’s Vineyard,MA, (508) 693-5786, www.seastonepapers.com. Scheduled classes, open studio, andprivate workshops in hand papermaking, surface design, and book arts. Forfurther information, email Sandy Bernat at sandy@seastonepapers.com. Collagewith Pulp Fiber and Pulp Paint, October 4, with Sandy Bernat. Laminate wet pigmentedpulps to create a painterly surface. Large Pulp Painting, October 11, withSandy Bernat. Create art papers at a larger scale. 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,creating sheets of paper that can be used for making books and elegantstationery. The Society for Contemporary Craft, Pittsburgh, PA, (412) 261-7003,www .contemporarycraft.org. Classes in fiber, book art, and other media inPittsburgh’s Strip District. Southwest School of Art, San Antonio, TX, (210)224-1848, www.swschool.org. Classes at the Picante Paper Studio. Individual classescan be scheduled for one person or a group; please contact Beck Whitehead bhwhitehead@swschool.orgfor more information. Studio time, consultation and instruction available mostTuesdays, Wednesdays and selected Saturdays with Beck Whitehead. Making YourOwn Paper, October 2, with Beck Whitehead. Learn how to make paper the color,shape and size you want for multiple uses. Special Papers: High Shrinkage,October 23-24, with Beck Whitehead. Discover some new papermaking fibers,working with highly beaten fibers over armatures. Writing for the Artist Book,February 12, 13, 19, and 20, with Audrey Niffenegger and Beck Whitehead.Explore writing, papermaking, and book arts within this team-taught course. Kozoand Mitsumata, January 19, 26, and February 2, with Susan Mackin Dolan. Use twofibers for Japanese style papermaking. Valley Ridge Art Studio, Muscoda, WI, (608)250-5028, www.valleyridgeartstudio .com. Workshops in papermaking, bookmaking,photography, writing, etc. 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 programsin hand papermaking and decorative papers. Woodwalk Gallery, Egg Harbor, WI, (920)868-2912, kcchristian@itol.com, www.WoodwalkGallery.com. Classes in handmadepaper and natural materials.

> EVENTS The Morgan Conservatory will holdits Third Annual Open House and Silent Auction on October 2, featuring anevening of entertainment, food, and art. The Morgan Conservatory is located at1754 E. 47th Street in Cleveland, Ohio. Check the website at http://morganconservatory.org for more information as the date approaches, or call (216) 361-9255. Riverof Life: Bread of Life, a community handmade paper installation, will be createdin conjunction with the opening of The Springfield-Greene County Botanical Centerin Missouri, facilitated by paper artist Shirah Miriam Aumann. On October 16, communityparticipants will participate in pouring a large river created from recycled pigmentedpapers, which will cross the landscape, breaking down over the course of theseasons and germinating seeds in the process. For more information, contact theartist at (417) 739-9124 or thewatermill@ centurytel.net. The Friends of DardHunter Annual Meeting will be held October 18-24 in Gatlinburg, Tennessee onthe grounds of Arrowmont School of Arts and Crafts. Three days of workshopstaught by leaders in the field will be followed by two days of presentationsand demonstrations by artists, scientists, and travelers in the field of handpapermaking. The Friends of Dard Hunter is an organization that connects and educateshand papermakers worldwide, welcoming everyone, at any level of skill orknowledge, as learning about paper is a lifelong pursuit. For information onthis conference visit www.friendsofdardhunter .org. Also see www.arrowmont.org.2011 will feature regional meetings during the month of October and in 2012 theFriends of Dard Hunter will hold a joint meeting with the InternationalAssociation of Hand Papermakers and Paper Artists at Morgan Conservatory inCleveland, Ohio. Elaine Koretsky will be lecturing on the history of paper andits relation to the invention of postage stamps on November 18 at 7:30 p.m. atthe Spellman Museum of Stamps and Postal History in Weston, Massachusetts inconjunction with an exhibition of artifacts on philately. For more information,call (781) 768-8367. The 2nd Annual Branson Banana Bash will be held November18-21 at Table Rock Lake, Branson, Missouri. Last year, a dozen papermakersfrom all over the United States and Canada came together to process and sharefiber from 35-40 banana trunks, agri-waste that would have otherwise beendiscarded. For details on joining in this year for a unique experience on theshores of beautiful Table Rock Lake in Ozark Mountain Country, contact Shirah Miriam“Mimi” Aumann at thewatermill@ centurytel.net.

>EXHIBITS The Gallery at Paper Circle in Nelsonville, Ohio features the work ofOhio origami artists through November 19. For more information and galleryhours, visit www .papercircle.org or call (740) 753-3374. Paper Circle is proudto announce the launch of O-gami, our new line of origami papers designed forwet-folding, or any application needing archival, water-resiliant sheets. Seewww.papercircle.org. It’s in the Pulp: The Art of Papermaking in Santa Cruz highlightsthe work of local artists including Charles Hilger, John Babcock, Susana Arias,and Peter Thomas at the Santa Cruz Museum of Art & History at the McPhersonCenter. The exhibition explores how these artists use the same two dimensionalmedium with vastly different 2-D and 3-D results, and examines the role of thearea in the 1970’s and 1980’s renaissance of hand papermaking. It is on viewthrough November 14. For more information, call (831) 429-1964 or visit www.santacruzmah.org.Yale Arts Library presents Material Meets Metaphor: A Half Century of Book Artby Richard Minsky through November 29. The exhibition covers 50 years ofMinsky’s work — from a 1960 sample book, used when he started his firstletterpress printing business at age 13, to “Self-Portrait 2010,” a book thatdocuments the evolution of a canvas, from pencil sketch through many layers ofoil paint. The work includes Minsky’s experiments with inkjet printing onhandmade paper in the late 1980s and early 1990s, as well as editions printedon Dieu Donne paper he commissioned with a “MINSKY” watermark. More informationabout the exhibition is available at: http:// minsky.com/yale_2010.htm. Forhours and location information, visit http://www .library.yale.edu/arts/ orcall (203) 432-2645. The Robert C. Williams Paper Museum presents Twinrocker:Forty Years of Hand Papermaking, on display through December 17, showcasing theimpact that Twinrocker’s founders Kathryn and Howard Clark have had on handpapermaking in the United States over the past four decades. The exhibitionwill be followed by Hidden Treasures: Marbling from the Permanent CollectionJanuary 27 through March. For more information, contact the Museum at (404)894-7840 or visit www.ipst .gatech.edu/amp. Before Paper is on display at theBrookline, Massachusetts location of the International Paper Museum throughDecember 30. The exhibition shows the materials used for communication and artbefore the invention of paper. The Museum is open Monday afternoons from 2-5,and will show an extraordinary French movie (with English subtitles), “A WorldWithout Paper”, produced in Paris in 1960. Film times on Mondays are 2:30,3:30, and 4:30. There is no admission charge. Other times are available byappointment by calling (617) 232-1636. More information can also be found atwww.papermakinghistory.org. The Wisconsin River Papermaking Museum exhibitsComing Home to Wisconsin -- Dard Hunter, the Man Who Knew Paper, featuringartifacts and depicting Hunter’s adventures centered around papermaking. Theexhibit is on loan from the Robert C. Williams American Museum of Papermaking, andwill be on view through the end of 2010. The museum, located at 730 First Avenuein Wisconsin Rapids, is open to the public from 1 p.m. to 4 p.m. Tuesdays andThursdays, except holidays. For more information, call (715) 424-3037. PapermakerRobbin Ami Silverberg will exhibit a paper and sound installation, Nothing Is,Until Uttered in a Clear Voice, at the At Home Gallery Contemporary Art Center,Synagogue Samorin, Slovakia, through the month of October, as well as participatingin the group exhibition You Are Here: The Psychogeography of the City at the PrattManhattan Gallery, 144 W. 14th Street, New York City, September 23 to November 6,and Novel Abstractions at Reyes & Davis Gallery in Washington, DC, untilOctober 16. Projections and Reflections, a collaboration by Sally Wood Johnson,paper artist, and Dorothy Hindman, composer, will open September 10 in theDurbin Gallery of the Kennedy Art Center at Birmingham-Southern College, Alabama.The installation is supported by a grant from the Alabama State Council on the Arts.Major museums across the state will host the installation in 2011. For galleryinformation, visit www.bsc.edu/academics/art/durbin.cfm or call (800) 523-5793.CCAC (Clifton Cultural Arts Center, 3711 Clifton Avenue , Cincinnati) ishonored to host this exhibit exploring mental illness: Maxine Seelenbinder-Apke’slarge installation takes us through a decade of loneliness, fear, and faith asshe comes to terms with her son’s journey with paranoid schizophrenia, her owndepression, and our society’s views of mental illness. (October 7-30). Seewww.cliftonculturalarts.org or contact msa@cinci.rr.com. Washi and Beyond featureshandmade paper from all over Japan, focusing on its practical uses andpossibilities. The exhibit is scheduled October 15-27 at Japan TraditionalCraft Center in Tokyo. Lectures and workshops are also planned. Emailwagamido@gmail .com or visit www.kougei.or.jp/english/

>OPPORTUNITIES The Southwest School of Art & Craft is looking for aversatile book and letterpress artist to teach classes in an adjunct capacitywith the possibility of a full-time position. An M.F.A. is required. Pleasecontact Beck Whitehead, Chair, Book Arts & Papermaking Department for moreinformation. (210) 224-1848 or bhwhitehead@swschool.org. Penland School ofCraft in western North Carolina is accepting applications for its three-yearresidency for full-time, selfsupporting artists at transitional points in theircareers. Applications for residencies starting in 2011 are due October 28. Bookand paper artists are invited to apply, alongside artists in several other disciplines,in this residency cycle. For more information, visit www.penland.org or call (828)765-5753.

>PUBLICATIONS AND VIDEOS A recent Women’s Studio Workshop blog post of interestto hand papermakers features the Art Farm Project. Women’s Studio Workshopworked with SCA (Student Conservation Association) and an Americorp coordinatorto fence in and develop property for the project, where experimental (and sometried-and-true) fibers are grown for hand papermaking. They are also in theprocess of developing an online database for paper recipes that will be accessibleby the public. Visit http://blog.wsworkshop.org/. 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 .handeyemagazine.com to readthe full articles. Hand Papermaking announces number nine in the series ofdistinctive portfolios of handmade papers...Handmade Paper in Motion. Thisextraordinary assortment of collaborative artwork--14 pieces by 28artists--features pop-ups, movable devices, and other forms of dynamic paper engineering.The motion and imagery is enhanced physically and conceptually by the use ofhandmade paper designed and made specifically for each edition. A custommade clamshellbox houses the work, each in a protective folder imprinted with the artists’names. A handbound booklet contains statements from each artist and a commissionedessay by well-known pop-up collector and author Ann Montanaro, who founded theMovable Book Society. The edition is limited to 150. Request further informationby writing or calling: Hand Papermaking, PO Box 1070, Beltsville, MD 20704,(800) 821-6604 or (301) 220-2393, info@handpapermaking.org. Watch and share athree-minute video at youtube.com/watch?v=MyKHkntH3tA and help John Cutronepromote the fundraising project to raise $30,000 for a new hand papermakingstudio at FAU’s Jaffe Center for Book Arts. The goal is to have the studio renovatedand operating by January 2011. If you would like to help, contact John at his JCBAoffice (jcutrone@fau.edu) or phone (561) 297-0455.

>CLASSIFIEDS Classifieds in the Hand Papermaking Newsletter cost $2 per word,with a 10-word minimum. Payment is due in advance of publication. Seekingexperienced boxmaker. Edition of 55. References. debraweier@hotmail.com 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.com

>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, ElizabethCurren, Laoni Davis, Georgia Deal, Gail Deery, Benjamin J. Dineen, LaurieDohring, Linda Draper, Martha Duran, Karla Elling, Federal Judicial Center inMemory of Alan Wiesenthal, Dorothy Field, Kathy Fitzgerald, Kathryn Flannery, LindaGardiner, Sara Gilfert, Lori B. Goodman, Joan Hall, Robert Hauser, Connie Hershey,Helen Hiebert, Peter Hopkins, Rick Johnson, Sally Wood Johnson, Lou Kaufman,Ann Marie Kennedy, Ellen Mears Kennedy, Joyce Kierejczyk, David Kimball, SandyKinnee, Elaine Koretsky, Georgeann K. Kuhl, Barbara Landes, Jill Littlewood,Susan M. Mackin-Dolan, Mary Lou Manor, Anne Moreau, Dennis Morris, JanetOberla, Nancy Pobanz, Margaret Prentice, Brian Queen, Dianne L. Reeves, MargaretAhrens Sahlstrand, Michelle Samour, Miriam Schaer, Mary C. Schlosser, MaxineSeelenbinder-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, AmandaDegener, Arnold & Mabel Grummer, Theresa Fairbanks Harris, Kristin Kavanagh,Karen Kunc, Hedi Kyle, M. P. Marion, Edwin Martin, Kate Martinson, MarionMelody, Kathryn Menard, Paulette Mulligan, Catherine Nash, Jim Neal, Jill Parisi,Lauren Pearlman, Kim Schiedermayer, Leslie K. Smith, Jessica Spring, BonnieStahlecker, Karen Steiner, Marie Sturken, Marjorie Tomchuk, Christy Wise, Alan& Ann Alaia Woods, Kathy Wosika. In-Kind: Zina Castañuela, Georgia Deal, JanetDeBoer, Paul Denhoed, Jim Escalante, Peter Ford, Hook Pottery Paper, Peter Hopkins,Rick McSorley, Britt Quinlan, Amy Richard, USDA Beltsville Agricultural ResearchCenter, Gibby Waitzkin. Founding Contributors to the Hand PapermakingEndowment: 49er Books, Shirah Miriam (Mimi) Aumann, Cathleen A. Baker, TomBalbo, Timothy Barrett, Sidney Berger & Michele Cloonan, Tom & LoreBurger, Jeanne M. Drewes, Jane M. Farmer, Fifth Floor Foundation, HelenFrederick, Sara Gilfert, Susan Gosin, Joan Hall, Lois and Gordon James, SallyWood Johnson, David Kimball, Elaine Koretsky, Karen Kunc, Barbara Lippman,Winifred Lutz, Susan M. Mackin- Dolan, David Marshall & Alan Wiesenthal, PeterNewland Fund of the Greater Everett Community Foundation, Margaret Prentice, PreservationTechnologies, L.P., Michelle Samour, Peter Sowiski, Marilyn & Steve Sward,Gibby Waitzkin, Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela& Gary Wood.

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