HAND PAPERMAKING N E W S L E T T E R

Number 93, January 2011

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

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

Hand PapermakingNewsletter is published quarterly. Annual subscriptions are $55 in North Americaor $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 forthe next newsletter (April 2011) is February 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. Hand Papermaking is a501(c)(3) non-profit organization. Staff: Tom Bannister, Executive Director;Mina Takahashi, Magazine Editor; Shireen Holman, Newsletter Editor; MaryTasillo, Advertising and Listings.

Board ofDirectors: Sidney Berger, Frank Brannon, Shannon Brock, Inge Bruggeman, Zina Castañuela,Jeffrey Cooper, Georgia Deal, Gail Deery, Jim Escalante, Susan Gosin, Ann MarieKennedy, Andrea Peterson, Margaret Prentice, 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 HunterIII, Elaine Koretsky, James Sitter, Claire Van Vliet. Co-founders: AmandaDegener and Michael Durgin.

Dear Readers,

Everyone lovesHand Papermaking’s ninth portfolio which features pop-ups and other eyebrow-raisingexamples of paper engineering. The premiere exhibition here in Oregon lastSeptember was a great success, and sales are going quite well. Now we arebusily planning ahead to the next portfolio, and we hope that you will considersubmitting an entry to our jury. The tenth portfolio in our limited-editionseries—Handmade Paper: Fiber Exposed!— will spotlight a broad range of paperfibers, and the unique qualities inherent in a sheet when fiber is expertlymanipulated by the papermaker. So often when appreciating an artwork made withhandmade paper we learn only later, perhaps after reading technical details,that the artistic concept featured a particular fiber. In this portfolio,qualities of fiber will be obvious at first glance, and fiber will be theprimary medium to create decoration and imagery. We encourage you to read thecomplete Call for Entries at http://portfolios.handpaper making.org/no10 andsee if your work is a good fit for this theme. The entry deadline is August 15.Margaret Prentice, Portfolio Committee Chair Dear Papermakers, I would like toshare the details of a distinctive project one of our students is working on incentral Minnesota. Ellory Eggermont, a senior art major at the College of SaintBenedict, has developed a signature paper for Saint Ben’s that combines anecological awareness of the region with the distinctive history of the school.Working with faculty and staff from art, literary arts, biology, andenvironmental studies, she created a paper with a blend of three fibers. Thesefibers include: big blue stem, a native prairie grass; reed canary grass, aninvasive species; and flax, a plant that was historically grown and used forcloth by the Sisters of the Order of Saint Benedict, founders of the college. Thesignature paper is only the beginning of a new interest in hand papermaking atthe College of Saint Benedict, a school for women, and its partner institution,Saint John’s University, a school for men. In the fall of 2010, our first papermakingclass was taught through the Saint John’s Arboretum’s “Hands on the Land”program. Students in this class did further research into which local plantmaterials make usable paper. Such a class will become a regular courseoffering. Our goal is to continue the multi-disciplinary exploration ofpapermaking at our liberal arts institutions long into the future. If you areinterested in learning more about Ellory’s project, please check out this shortvideo: http://www.csbsju .edu/Prairie-Grass.htm. Scott Murphy, AssistantProfessor of Art College of Saint Benedict and Saint John’s University St.Joseph, Minnesota, and Collegeville, Minnesota

> ALONG THEPAPER ROAD... This regular feature offers paper musings from ElaineKoretsky—renowned paper historian, researcher, and traveler. In this columnElaine describes her recent visits to historic paper mills in France.

I have just returned from a fascinating conferenceof the International Paper Historians, held in Angoulême, France, October 7-11,2010. For many years I have been a member of that organization, and recentlywas awarded the distinction of “honorary member.” The conference was wellplanned, with visits to historic paper mills and wonderful lectures by wellinformedpaper historians, conservation experts, and paper mill owners. In 1991 myhusband and I, along with Ray Tomasso, had driven through central France afterattending a meeting of IAPMA (International Association of Hand Papermakers andPaper Artists) in Basle, Switzerland. Our intention was to locate working papermills, and we succeeded to some degree. We reached the Moulin Richard de Bas inAmbert, a restored mill, located in an area where many hand papermaking mills onceexisted. Richard de Bas is operated mainly as a museum and a sales outlet for thepapers made at another mill nearby that is under the same ownership. Visiting theproduction mill is not possible, so the restored mill gives demonstrations of handpapermaking, and I was permitted to form a sheet of paper there. (The photoshown here, at Moulin Richard de Bas, and the following one at Moulin deLaroque Couze were both taken by Sidney Koretsky.) Near Lalinde we came acrossa working mill, Moulin de Couze. The mill owner, Monsieur Georges Duchene, was notfriendly, declared that Ray was an industrial spy, and expelled him from themill. However, Sidney and I not only were allowed into the mill, but also were permittedto take photos. It was extremely interesting to see that the papermakers there haddevised a counter balance system to help in the making of large sheets ofpaper, something that we had never seen in Western style papermaking. We alsofound another restored mill, Moulin du Verger at Puymoyen. The Director wasJacques Brejoux. The paper made here was geared toward purchase by tourists,but the mill also makes a good deal of paper for restoration purposes. It wasquite a coincidence that the 2010 IPH conference in Angoulême included a visitto the Moulin du Verger, still directed by Jacques Brejoux. When we inspected theinterior of the mill, I noticed a vat filled with pulp, with a mould next toit, and suddenly took the opportunity to form a sheet of paper and couch it ona nearby post of papers. Later, Jacques Brejoux mentioned that he had noticedme making the sheet of paper. This photo was taken by Inge van Wegens. Anothermill we inspected in Angoulême was “Papeteries de Vaux” in Payzac, directed byPierre Thibaud. It was particularly interesting, as the fiber used here isstraw of various sorts—for instance, rice straw, wheat straw, and rye straw. MonsieurThibaud was very generous, and presented me with a lovely sheet of rye strawpaper, a welcome addition to our museum collection. Amazingly, the followingweek, at the Friends of Dard Hunter annual conference, held at Arrowmont Schoolin Gatlinburg, Tennessee, I met Monsieur Brejoux again. He was the invitedhonorary speaker at the conference. He was a dynamic speaker and truly one ofthe conference stars. I was astonished when he not only recognized me, but alsotold me that he had brought along the sheet of paper I had made at his mill!That was a very generous act on his part, and I was thrilled.

  >UNIQUE TECHNIQUE Well-known author and teacher Helen Hiebert offers helpfulguidance and tips gleaned from artists she has worked with over the years. Inthis column, “Visible vs. Invisible Watermarks,” Helen describes her techniquefor making watermarked sheets for her new artist’s book.

I’ve been interested in watermarking eversince I discovered the process. How fascinating, to discover a hidden image ina sheet of paper as it catches the light! While working on a recent project, Icame up with a new technique (for me, at least) after several unsuccessfulattempts to replicate a technique I’d originally done with ease. My firstwatermarking experience was in a workshop with Mina Takahashi at Dieu DonnéPapermill. We worked with kozo and made thin translucent sheets incorporatingsimple watermarks. I recall cutting out a simple spiral design from a sheet ofdry office paper, laying it on top of the wet su and pulling the sheet of paperusing the traditional Japanese method of multiple dips. The resulting sheet wasmuch thinner on top of the paper cutout, making the spiral visible (orinvisible). A couple of years later, Andrea Peterson gave me a sheet of papershe’d made which was a double couched sheet consisting of a white cotton basesheet with a watermarked kozo sheet on top. The kozo was so thin that thewatermark pattern worked more like a stencil, allowing the pulp to slip off itand just fill in the areas on her mould that had no watermark image. Whencouched onto the white cotton base sheet, the absence of pulp in the image areacaused the image to show through in white—quite a striking effect. When I setout to make the prototype for my recent artist’s book, Alpha, Beta, …, I wastrying to create one thing, which I’ll explain in a moment, but ended up havingto revert to a technique similar to the one Andrea used. One thing to noteabout watermarks is that heavily pigmented pulp can block the watermarkingeffect. I learned this the hard way once, when I made an entire batch of holidaycards using a green pulp, only to discover the next day, when I pulled them fromthe drying system, that the watermark was no longer visible. It had been maskedby the pigment. The paper I wanted to create for Alpha, Beta, … was a darkburgundy paper with an alphabet pattern on it that would be visible on thesheet surface without the need for illumination. I’d seen this effect before,where the way in which the pigment drains during sheet forming creates a haloaround the edges of the watermark image on the mould, thus highlighting theimage in the resulting sheet of paper. After consulting the article I wrote inthe July 2009 issue of Hand Papermaking Newsletter (87:3) profiling a techniqueSue Gosin had used, and talking with a few colleagues who use pigmentsfrequently, I over-saturated my cotton linter pulp with pigment and added retentionaid, but not quite enough to hold all of the pigment to the pulp. I hadbeginner’s luck! As I pulled my sheets, the pigment settled at the edges of thewatermark as the sheet drained, creating an outline that appeared slightlydarker than the rest of the sheet. You could see the alphabet pattern in thesheet. Unfortunately, when I tried to replicate this time and again, I hadvarying results, and I wasn’t happy with any of them. Finally, I recalled thesheet that Andrea had shown me years before and decided to attempt a similar techniquewith two layers of cotton paper. This technique worked! Here’s what I did: Ibeat two batches of pulp: one batch was a mixture of 75% cotton linter and 25%abaca beaten for 1ó hours in my Hollander beater. This batch remained white.The second batch was pure cotton linter, beaten hard for 2 hours, resulting ina finely beaten pulp. I pigmented the second batch to create a burgundy coloredpulp and fully retained the pigment using retention aid. I hand cut mywatermark using an X-Acto knife and a Sure Stamp Flexible Printing Plate (athin rubber sheet material available from http://www .dharmatrading.com). SureStamp has an adhesive backing, so it was easy to adhere to the laid surface ofmy mould. I set up two vats, one with the white cotton/abaca blend, the otherwith the burgundy cotton pulp. I pulled a thick base sheet in the white andcouched it on a felt. Then, using the mould with the watermarked alphabetadhered to it, I dipped into the burgundy vat, which had very little pulp init. The Sure Stamp is about 1/16 of an inch thick and the pulp slipped off it andfilled in the low areas on the mould. When couched onto the white sheet, the burgundyimage appears in stark contrast to the watermarked alphabet pattern.

>TEACHING HAND PAPERMAKING Based in Philadelphia, Winifred Radolan operates anitinerant teaching papermill, and has taught papermaking to thousands of adultsand children. Here Winnie’s summer camp group creates Greek God Story Vesselswith cast pulp and colored inclusions.

Inspired with the summer camp theme of “Heroes,Myths and Legends,” most of Perkins Center’s teaching artists were ready to hitthe ground running with ideas for a variety of art experiences. Since one of mycolleagues had already signed up for a book-making project, I was encouraged tochannel my papermaking adventures with the children in a different direction. Iwas scheduled for three mornings of working with the eight- to elevenyear- olds,so I decided to have them create Greek God Story Vessels, casting pigmented cottonlinter pulp into plastic bowls, and using included imagery from the Greekpantheon. A trip to one of my favorite dollar stores led me to find thirty-sixnicely shaped and sized clear plastic bowls with lids. The “bowl-molds” werejust a bit larger than generous cereal bowls and had high sides that wouldenable our “story vessel” to have room for included imagery. The lids would allowme to teach the children how to cast the bottom of their bowls on one day, thenkeep the work moist until the second day, when we would cast up the sides withour inclusions. Next, I went on an Internet search through Google and BingImages for clip art pictures of Greek gods and monsters. I was specificallysearching for black and white line drawings, as I wished to divide thestudents’ time that first day between adding color to the images, independentof my attention, and learning the “patty-cake” casting method in small groupswith me. To prepare my images I was most fortunate to avail myself of mysister’s Photoshop expertise. She re-sized and grouped the images appropriatelyon two pages. I transferred her efforts onto a memory stick and proceeded toobtain xeroxed, and thus waterproof, copies of both sheets for the thirty-sixcampers. After purchasing a couple of new sets of colored pencils for thestudents to use for enhancing their inclusions, I was ready to visit the locallibrary and raid its collection of Greek mythology books. Although not unfamiliarwith the subject matter, I was quite rusty. It had been a few years since my collegestudies of Greek literature or since reading the children’s versions to mykids. I had a great deal planned for those two 1½-hour sessions on the firstmorning with my young campers. In addition to presenting the theme of Greekgods and monsters and referencing the tradition of Greek vessels bearingpictorial legends, I had to introduce paper casting. I found that at least halfthe campers were more up to speed with Greek legends than I was. Many studentsarrived with their own books, and one young lady had a whole backpack crammedwith her collection! She became my “go-to gal” whenever my memory failed mewith story details. Students were encouraged to select five or six of theirfavorite characters to include on the sides of their vessels, and then addcolored pencil to the images. Counselors were enlisted to read passages fromthe books as children had questions about specific characters. This division oflabor allowed me to work with groups of five to six children at a time for thecasting lesson. I had placed a sloppy wet mix of each of three colors of 2ndcut cotton linter pulp into shoebox-sized plastic containers. Each containerwas equipped with its own small wire strainer (the type used to strain seedsfrom orange juice). Children were to scoop a golf ball-sized amount of pulpfrom the container, then turn it out into the palm of their free hand. Afterthey had patty-caked it back and forth between their palms once or twice toalign the fibers smoothly, they were instructed to lay the pulp into the bottomof their plastic casting bowls. Then I showed them how to gently lift puddlingwater out with a sponge, without actually pressing the pulp. Everyone repeatedthis process until they had layered the bottoms of their bowls with adjoining patty-cakedpulp, either using a single color or a combination of colors. Since the next classmeeting was two days later, we labeled lids with the students’ names, covered thebowls, and stored them until our next session. Two days later the task was towet the xeroxed inclusions and affix them, with the aid of surface tension, tothe walls of their bowls. Again, I worked with divided groups of children sothat I could keep an eye on issues of too much or too little pulp, too much ortoo little water, or pulp advancing over the top edges of their bowls. Once thewalls of their vessels were filled with pulp and inclusions, they wereinstructed on sponge-pressing with gradually increasing pressure all the wayaround the bowls until almost no more water could be removed—a time consumingprocedure. I can think of only one benefit of the over 100-degree temperaturesthat we experienced over these three days of camp. Since the bowls had to bedry and ready to take home within two days, we ended day two by placing thebowls outdoors in the sun to bake. On the final day of our meeting we found theGreek Story Vessels completely dry and happily shrinking ever so slightly awayfrom their plastic bowl molds. Finishing details were applied with metallicmarkers. Then each child coated his/her story bowl with a layer of PolyadamPolymer medium for added strength and glow. Again the sun was our friend andthe vessels were dry right on time for the final exhibit. Parents and campersboth seemed very pleased with the end results. As extreme heat and humidity arenot my ideal working conditions, I was just pleased with the END! And since Idid not need to send drying vessels home in their plastic molds, I will repeatthis adventure sometime in the future!

> 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. This column is an excerpt from anissue of Paper Making, describing the making of “Antiquarian.”

Wenever know what we will find when rooting about in the Hayle Mill Archive. Onerecently opened bundle contained a number of trade and other journals. The followingexcerpt from a June 1, 1888 issue of Paper Making reflects the style and spiritof the age in which it was written, as well as containing a fascinating descriptionof making Antiquarian at Springfield Mill, Maidstone. A trip into Kent isalways a pleasure, and especially at this time of the year, when the “Garden ofEngland” is to be seen to every advantage. To me this experience wasadditionally interesting, as the journey to Maidstone afforded an opportunityof again looking upon a once familiar scene. To add the final touch to theremembrance of past days, I determined to go down by the 4.18 p.m. train fromCannon-street, which I felt bound to recognise as an old institution. Just asthe train was starting, Mr. F. Leunig came rushing up the platform and weshared the carriage together as far as Dartford. Here, adjoining the oldPhoenix Mills, stands the new mill belonging to the Paper Fibre Company, atwhich straw pulp is made.1 I failed to see the Northfleet Mills, built since I waslast down this line, and in due time, after passing Strood, a familiar smell stoleinto the carriage as we neared Snodland. I noticed considerable extension ofthe old mill premises, particularly on the Brook side. After passing this mill,the train soon reached Maidstone, the “paper city” of our country. Having beenhospitably entertained by Mr. Amies2, a gentleman whose name is well known tothe trade, my host and self presented ourselves on Wednesday morning atSpringfield Paper Mills, and were kindly welcomed by Mr. Balston.3 I may heresay that this gentleman very courteously granted me permission to see themanufacture of the celebrated Whatman “Antiquarian” drawing paper. This paperis known all over the wide world and justly renowned for its several featuresof excellence, which have been so long and faithfully maintained that the name ofthis special paper is everywhere accepted as the perfection of manufacture. Manyof my readers may feel somewhat curious as to the origin of the name “Antiquarian.”I believe that many years ago, when the Whatman papers were made at TurkeyMill, the Antiquarian Society wanted a larger sized sheet than was on theWhatman list, and this wish was at once complied with.4 This sheet from thattime has always been called “Antiquarian.” This, I should say, is the probablesource of the special name of the paper. The origins of the various trade namesof paper is a very interesting subject, and I give this instance as an example.Antiquarian paper measures 53 in. by 31 in., and weighs 240 lbs to the ream,and is made of pure linen and cotton rags. It is a fine white colour, and isused for drawings, plans, surveys, &c., of a large size. This special paperis made at this mill only, and as its manufacture is a process of greatinterest, and unique in its character, I considered that the proper and theonly way to describe it, was to see the actual manipulation and modus operandiemployed. I therefore, asked Messrs. Balston their kind permission to see“Antiquarian” made, a request which was complied with in the readiest manner bya complimentary invitation to visit Springfield Mill. Springfield Mill,standing on nearly five acres of ground, is situated on the north bank of theMedway, just on the outskirts of Maidstone. It was built by Mr. WilliamBalston, who had been in business with Mr. J. Whatman, and was started in 1807.At this time it had ten vats, which have been added to from time to time, untilthey now number seventeen. On November 29th 1862, the northern half of the millwas burnt down. It was rebuilt, and again started in six weeks.5 This was amost destructive fire, as over £30,000 worth of property was destroyed.6 Ofcourse in this mill there are very many features of quite extraordinary interestin the form of old machinery, which, though in these days of advancements, maybe considered out of date, possess a strong claim upon, I may say, theaffectionate regard of the firm, who have every reason to look upon them as oldand trusty, tried servants. Among this list I may specialise a steam engine ofabout 38 h.p. This engine was put up here by the great James Watt, and was theninth engine constructed with a fly-wheel. Nowadays this engine may be regardedas a curiosity, but for all that it is still useful. Springfield, I believe,was the first paper mill worked by steam power, and Mr. Balston informed methat, judging from the contents of an old letter to his grandfather, the ideaof working a paper mill by steam was much “sniffed at,” and apparently despisedby the authorities of eighty years since.7 The founder of Springfield inventedcertain “stirrers” for the “chests,” and also a sort of clock connected witheach engine and beater, which showed the exact time they had been running. Thereare employed at Springfield Mill about 100 paper-makers including apprentices,about 160 women in the salle, and 130 rag sorters. A great variety of papers ismade. The heaviest sort made is 340 lbs. per ream, and the lightest 7 lbs. Thelargest sheet is “Antiquarian” which is 53 in. by 31 in. And the smallest isfoolscap, 17 in. by 13 ó in. I would like to mention here that Mr Balstonkindly presented me with two sheets of paper, both containing the “J. Whatman”mark, one made at Turkey Mill on June 8th, 1788, and the other at Springfieldin 1807. As specimens of paper, both sheets are very interesting. The differentweights and sizes between the sorts named above are very numerous, and need notbe specified here. One special point of interest struck me in the fact thatMessrs. Balston have had three generations of the same family (Sharp) asforemen in succession. The grandfather of the present foreman was the foremanin the time of the present proprietor’s grandfather in 1815. This, I think, is aninteresting fact, and is convincing and most agreeable testimony to the happyrelations which have existed, as still exist, between the firm and their employees.I may here say that I was considerably impressed with both the size and generalcharacter of Springfield Mill. The vats are in three houses, and to the firstof these we accordingly proceeded. Here, in a well-lighted and lofty room, warmand very clean also, was the making of “Antiquarian” being conducted. The firstthing which struck my notice was the condition of the paper-makers, who eachhad his trousers tucked up as high as possible, close to the thigh, his legsand feet being bare. This was something quite novel; but it soon becameapparent that there was wisdom in the condition of déshabille. There was so muchwater about during the paper making operations that the above unusualprecautions soon appeared a very sensible matter. I counted altogether ten menand a boy fully occupied in the process of making this paper, sheet by sheet,and they were distributed as follows: Three paper makers – that is to say, twomen at the mould, and one man to work the lifting and dipping apparatus; oneman and a boy were employed in taking the sheets and holding each up to drain; fourmen were couching, and two others at the hydraulic press. The process begins bythe man at the lifting apparatus dipping the mould into the vat. I may say thatthe moulds used for “Antiquarian” are very large and consequently very heavy,thereby requiring something more than one pair of hands to work them. The sheetof paper is also not only heavy, but of such a size that one paper-maker couldnot handle it. Some mechanical power is therefore sought to aid thepaper-maker, and this is supplied by a lifting gear, whereby the moulds can bereadily handled. I believe in olden days the mould was suspended by a block andtackle from the vat-room roof and worked by chains; but in the present case avery simple and effective arrangement is employed, which seems to be thoroughlyunder the control of the two paper-makers, who give the suspended mould theproper motion for the production of the sheet. The lifting apparatus or“pulley” or “lever” as it is called, consists of a species of see-saw, with aman at one end and the mould at the other. The latter end has two metal rodshanging from it, each end of which is so contrived that it can fit round a pinof copper let into the side of the mould. The “pulley” man lifts up his end ofthe pulley, when the other end descends, and now the two vat men orpaper-makers fit the rods round the mould pin, and allow the pulley man to dipthe mould lower until it is in the pulp in the vat. The pulley man, who standsa few yards behind the paper-makers, sees when to raise the mould out of thevat, and does so, when the paper-makers at once take hold of the mould and byeasy movements so manipulate the pulp upon the mould as to properly completethe sheet. As soon as this is done, the pulley man chalks down a mark tosignify that a sheet is made. Another man at the vat side takes the mould, releasesit from the deckle and passes it to a boy, who holds the mould upright and atan angle to allow of proper drainage. This only requires a momentary pause whentwo of the couchers come and carry off the mould and stand its edge uprightupon the felt. It is then very carefully laid down upon the felt, all four menpressing the back of the mould to allow the sheet to part comfortably and tolay upon the felt. The mould is then passed to the vat again by the other twocouchers, and whilst they are doing so, the first two, who brought the mould tothe felt, are laying another felt upon the sheet of paper just made. I may saythat the deckle is passed into a shallow tank of water before being handed backto the vat so that it shall always be perfectly clean. This process went oncontinuously and without any loss of time. Every movement was exact to a degreeand could not be accomplished with any sense of greater accuracy by a machine. Therewas no symptom of flurry or delay, all went on precisely, deliberately, yet exactly.To me the work appeared to be somewhat stiff and well calculated to try anyweak hand; but the exactitude and careful consideration with which each littledetail of manufacture was carried out, must contribute much ease to the work.As soon as thirteen sheets were made, a zinc plate and several layers of feltwere put upon the sheets, and another thirteen were added, until a “post” wascompleted, namely sixty-five sheets. Then the making stopped; the pulley manmade a note of this event in chalk; the couchers helped to run the “post” tothe hydraulic press; the two packers set the press working to press the new “post,”whilst all hands sat down for a few minutes to rest. Mr. Balston now verykindly showed me the large vat house, where business was equally earnest. There– as if by way of contrast – the first vat was employed in making a thin bankpaper, sometimes called “devil’s nose.” How this name originated I don’t know.I always understood that this paper was very difficult to felt, but I saw nosuch trouble here. My readers, of course, are well aware that thin banks are asgreat a speciality at Springfield Mill as “Antiquarian” and other drawingpapers. From this vat house we proceeded through the finishing houses, and in eachand every room I noticed with considerable pleasure the nice, cleanly andorderly state in which the mill is kept. It seems ridiculous to think that apaper mill should be a dirty factory. To look at a new, clean sheet of paper, nobodywould ever imagine it possible to make such a thing, if a preliminary inspectionof some mills were indulged in. I don’t think dirt is necessary in any millwhere paper is made, and I must say that Springfield is a strong instance tosupport this theory of mine. Another feature which struck me was the attention,quietude, and interest in their work everywhere displayed by the mill hands. Isaw several notices, all of excellent import, upon the building walls. One of thisrelated to an old and very baneful practice that used to prevail, let me say,in the dark days. This was the crowding of a whole week’s work into three days,or even less time. I observed that Messrs. Balston don’t allow any workman tomake more than time and a half. I am sure this is a most sensible rule, andwill be found a safeguard against much of that carelessness, rushing and wantof detail which marked papers in past days.8 Paper mill hands would always dowell to consider that their reputation, their character, and abilities, and, infact, they themselves are represented in the mill products, and nothing reallygood can ever be achieved without the exercise of proper care, and close andinterested devotion to duty. At present the Whatman papers are just as good asever they were, and I should say, are even better. This result can only beobtained by the united attention of all hands to the achievement of success,and nothing struck me more forcibly, on my visit to Springfield Mills, than thereality of this fact. In conclusion, I know that my readers will join inthanking Messrs. Balston for according me the privilege of seeing theinteresting process which I have attempted to describe above. It is not alwaysan easy task to give an account of any pleasant experience in that particular languagewhich shall convey the best impression to an outside audience; but if I havesucceeded in imparting, say, a fractional part of the interest which this visitexcited in my mind, I shall be perfectly satisfied. “The Doctor”9 In 1957Springfield Mill ceased production of handmade papers. In 2007 the mill andbusiness was bought by the UK branch of G E Healthcare Life Sciences Limited, adivision of the General Electric Company. The papers manufactured atSpringfield Mill now include a number of highly specialized papers for use inmedicine, including paper used in DNA profiling, all of which are machinemanufactured. 1. Phoenix Mill, Dartford, was built and operated by T H Saunders.2. The Amies family were renowned mouldmakers. 3. William Balston (1759-1849)completed building Springfield Mill in 1807. The author would have beenreferring to Richard J. Balston, William Balston’s grandson. 4. In 1773 JamesWhatman the younger was commissioned by the Society of Antiquaries to makelarge sheets (53 inches x 31 inches or 134.6 cm x 78.7 cm) to print an engravingbased on Edward Edwards’ painting Le Champ de Drap d’Or (The field of the Clothof Gold) in 1774. Prior to this the size of sheets had been restricted to thespan of a vatman’s arms. 5. It was generally accepted that the fire wasdeliberately started by a disgruntled ex-employee. 6. Roughly £2,110,000 or3,309,219 USD in 2010. 7. This is incorrect; Springfield Mill was believed to bethe sixth paper mill to use steam power at the time. 8. This alludes to thepractice of agreeing terms with the vatmen to make a certain amount of paperwithin a specific time-frame. If the men finished early, they were awarded fullpay and enjoyed a short break as well. 9. The ‘Doctor’ was most probably W. F.Catcheside who also edited several other paper and print related journals atthe time under the same pseudonym.

> DECORATED PAPER Sidney Berger, aprofessor at Simmons College in Boston and Director of the Phillips Library atPeabody Essex Museum, has been collecting and researching decorated paper forover thirty years. In this column, “Great Papers. Where Do You Get Them All?”Sid shares his joyful sense of discovery when he finds decorated papers in all sortsof places.

Four years ago, after nine consecutive days ofrain, we had a terrible flood in our basement, where most of our library andall of our paper collection are stored. With the waters rising, I raced backand forth from the collections, up the fourteen steps to the first floor,carrying hastily packed boxes of books (starting, of course, from the bottomshelves) and armloads of papers from the cabinets in which they were stored. Morethan 300 cartons of books and a mountain of papers from the map cases and flatfiles wound up all over the house. All of the carefully organized papercollection was, within about twelve hours of feverish activity, totallyshuffled and disorganized and messed up. But I saved all of the papers and mostof the books. The papers were safe, but absolutely inaccessible. Four monthsafter the flood, I was scheduled to give an illustrated talk on the marbledpapers in the collection, so I got out Marie Palowoda’s wonderful directory ofmarblers and started making calls. I was able to contact many of them, andthrough purchase and gift, I was able to put together a slide show of dozens ofbeautiful papers from these wonderful artists. That was a golden opportunityfor me to add to the collection. I was really forced to do it, since otherwiseI would have had nothing to show in my talk. But that is obviously not the onlysource of papers for us. In fact, the many visitors to our house to see thecollection often ask, “Where do you get them all?” Of course, we keep our eyespeeled, wherever we go, for papers. As we always do in a new city, we go to theantiquarian book shops. Sometimes they have papers or prints (among which wemay find decorated papers). In Bonn, Germany, we saw a print dealer. Prints arepapers decorated with art. So we figured they might have . . . we didn’t knowwhat, but my sixth sense told me to go in there. In a rack of old engravings Iwas flipping through, my eye spotted something that made me catch my breath andmy heart did a skip and a chuckle: two magnificent, mint-condition,mid-18th-century pieces of Dutch gilt paper. Two of them! Naturally we boughtthem, and the dealer offered to ship them. What! And let them out of our hands?No way! We had them wrapped and I toted them around for the rest of the trip. Ona recent outing to Helsinki (tacked onto a trip to a conference), we sought outa bookbinder who was recommended to us by an antiquarian-book seller. Bindersusually have stashes of decorated papers, and in this case we were notdisappointed. The old gent showed us to some flat files of papers he was usingand selling to other binders. Some nice papers there, and we made a modestlittle pile of them—maybe eighteen sheets or so. Then I asked, “Do you have anyolder papers?” He said that he had bought the shop of a superannuated binder,and he had a whole cabinet of the old guy’s papers. He wasn’t using them andwas willing to make us a deal if we bought a bunch of them. About 150 sheetsand a monstrous tube of papers later, we walked out of the shop with a trove offine additions to the Clooberg collection. This was a lucky find: paste papers fromthe ’20s and ’30s, block-printed sheets, old marbles, embossed papers, and whatnot.They are now happily ensconced in our map cases. Beyond going to bookstores,binders, and the artists themselves who make the papers, we have other sources.Booksellers in various countries know of our collection and we get quotes nowand then from Germany, England, or elsewhere. We love to host people who make papers,and we might even give them room and board if they add some of their papers to ourcollection. A small price to pay! We prowl around the booths at book fairswhenever there is one in driving range. Best of all are the ephemera fairs. Itry to get to Hartford, Connecticut, twice a year to attend Papermania, one ofthe best such venues of all for paper. PaperMANIA is right. I go nuts there. Thereis no end to what one can find. At a recent Papermania I found a huge, fat bookof images that the dealer could not identify. They look like logos for anadvertising agent, he told me. I recognized them at once: nearly 900 rubbingsof watermarks from dandy rolls, dating from about 1909-1915. On the cover ofthe post binder was a label for a dandy roll manufacturer. That spectacular findnow sits in our basement overlooking our two dandy rolls. My wife and I makeour own paste papers. We get gifts from friends and relatives. We have acollection of business envelopes with wonderful patterns printed on theinsides. Decorated paper is all around us, and if you know where to look, youcan add to your collection every day. Which is not often enough for me!

> FOR BEGINNERS Mary Tasillo is apapermaker, book artist, and mixed media maven based in Philadelphia. She teachesworkshops nationally. Here Mary describes a method for making large sheets ofpaper by tiling smaller wet sheets.

The January 2008 issue of Hand Papermaking Newsletter(81:7) addressed a method for working large through tiling dry sheets. In thisissue I’d like to discuss some tips and techniques for tiling wet sheets into alarger sheet of paper, inspired largely by a 47 x 63-inch piece I made withMichelle Wilson as part of our Book Bombs collaboration. We constructed thislarge sheet from 11 x 14-inch sheets in a bare basement, laying a tarp directlyonto the basement floor and covering that with canvas cloth. We pulled a wetsheet of paper (consider using pulps with longer fibers for strength whileworking) and couched it onto a sheet of interfacing placed over a base offelts. Then we placed a second sheet of interfacing and another felt over thewet sheet and pressed lightly by hand. (A rolling pin or small board would workas well.) This first sheet was then placed in the upper right hand corner ofthe canvas working base. We continued to pull sheets. The second sheet wasplaced to the left of the first, overlapping it by about 1.5 inches. This seamwas then pressed together by tapping along its length with the flatter fingerprintside of the fingertips. Your seams will likely be visible, especially when usingmore transparent pulps such as abaca and flax, but keeping your sheetsrelatively wet by pressing them only lightly before laying them down allows youto merge the seams less obtrusively. Continue creating a row across, tappingeach seam together as you work. Once you’ve reached the desired width of yoursheet, you can then start a second row, now laying each new sheet over both thesheet above it and the sheet adjacent to it. Once you have constructed a baseof the desired size, you should press the paper further. Michelle and I wentover the sheet with dry felts and additional hand pressure before adding pulppainting elements to the sheet, working with stenciling techniques. When wewere finished with the paper, we allowed it to sit for a little bit to allowthe stenciled elements to settle into the paper (initially this wet pulp tendedto sit a bit on top of the base sheet until the water could be absorbed intothe sheet) before providing another round of hand pressing. The trick at thisstage is finding a way to let air circulate around your paper to allow it todry without growing mold. Depending on the size of your paper and canvas, andthe materials you have at your disposal, you might transfer the sheet to alarge screen (keeping it on the canvas at least through the first part of thedrying process to maintain a stable surface under the wet sheet) or dryingrack. You might also hang the canvas in some manner—clipping either side of thecanvas to two clotheslines, for example. The key thing is to get that paperaway from the plastic tarp! The plastic tarp on cement floor provided us with agood solid working surface for pressing the paper, but it traps moisture,keeping the paper from drying. Papermakers are by nature and of necessity problemsolvers, so you will find the solution that responds to the materials availableto you in your studio, giving you the freedom to work as large as your workingspace allows.

> more for beginners at newsletter.handpapermaking.org/beginner

Listings for specific workshops and otherevents in the following categories are offered free of charge on aspaceavailable basis. The deadline for the April 2011 Newsletter is February 15.Contact each facili ty directly for additional information or a full schedule.Teachers: Tell your students about Hand Papermaking! Brochures and handouts canbe mailed to you or your institution. Email newsletter@handpapermaking.org

> CLASSES AND WORKSHOPS AshevilleBookWorks, Asheville, NC, (828) 255-8444, www.bookworksasheville .com. Hands-onworkshops including bookbinding, printmaking, decorative paper, and basicpapermaking. Papermaking II, December 3-5 or June 17- 19, with Frank Brannon.Learn to use the Hollander beater to process various fibers and improve yoursheet formation. Papermaking I, January 29-30 or March 5-6, with Frank Brannon.Learn sheet forming techniques using beater-prepared pulp. Paper as Narrative,May 21, with Jessica Peterson. Experiment with pulp painting, inclusions, andsurface treatments, considering how to use paper as a component of a book’snarrative. 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. Papermakingfrom Plants, February 5, with Leandra Spangler. Make paper from common plants,from harvesting to cooking to beating to forming sheets.  The Boston Paper Collective, Boston, MA (614)282-4016, www.bostonpapercollective .com. Classes in papermaking and marbling, aswell as studio rental and special projects. Open Papermaking Nights on thesecond Thursday of each month at 6:30 p.m. John C. Campbell Folk School,Brasstown, NC, (704) 837-2775, www.folkschool.org. Classes in papermaking andother crafts in the mountains of western North Carolina. Advanced PaperMarbling and Curiosity Boxes, January 16-22, with Mimi Schleicher. Begin withclosely-controlled marble pattern making, then experiment with abstract,figurative, floral and landscape images, finally incorporating papers into dimensionalobjects. Making Paper Without a Studio, March 6-12, with Claudia Lee. Explorethe basics of hand papermaking, starting with how to set up a low-tech studioat home. Shifu - Paper Weaving, March 6-12, with Lynn Pollard. Learn to cutpaper and add twist to weave paper fabric, incorporating ink designs. Recycle,Rebound Papermaking, April 17- 23, with Rajeania Snider. Recycle your junk mailand plant material into unique stationery and books via basic papermaking processes.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. Encaustic and Paper,February 6, with Catherine Nash. Combine translucent encaustic waxes withcollage, assemblage, book arts, printmaking, and mixed media: stencils, paperbatik, photocopy transfer, layering for atmospheric depth and more. WesternPapermaking: Get Your Hands Wet, February 19, with Catherine Nash. Make handmadepaper from plant fibers, recycled papers, and more; learn basic sheet forming, experimentwith raindrop paper, textural embossments, and simple pulp painting. Paper fromPlants: Focus on Japanese Papermaking, February 20, with Catherine Nash. Tryyour hand at a simple adaptation of an ancient technique using traditional gampiand kozo barks as well as varied local plants for thin, gorgeous, translucentpaper. Dieu Donné Papermill, New York, NY, (212) 226-0573, www.dieudonne.org.Beginning and advanced papermaking classes for adults and children. Introductionto Contemporary Papermaking, December 7, with staff instructor. Learn the basicpapermaking process, as well as various artistic techniques. CreativeTechniques for Artists with Open Studio, December 14, with staff instructor. Exploreadvanced techniques and their application for two- and three-dimensional projects,with a different focus at each session; experiment on your own with studio pulps,making sheets up to 11 x 14 inches. Gail Harker Creative Studies Center, Oak Harbor,WA, (360) 279-2105, www.gailcreativestudies.com. Offering courses in textilearts. Papermaking: From Pulp to Portfolio, June 3-5 or July 30-31, with LisaHarkins. Learn the basics of hand papermaking using accessible tools andsupplies. Helen Hiebert Studio, Portland, OR, www.helenhiebertstudio.com,helen@ enlightenedpapers.com. One-day papermaking and lamp making workshops andThursday evening open studios for experienced papermakers in North Portland. HookPottery Paper, LaPorte, IN, (219) 362-9478, jonandrea@hookpotterypaper .com,www.hookpotterypaper.com. Classes in papermaking and pottery and a residency programin northern Indiana. Paper Circle, Nelsonville, OH, (740) 753- 3374,www.papercircle.org, papercircle@ frognet.net. Call or e-mail for information aboutupcoming paper classes. Open Studio, second Saturdays, with studio artists.Gain new skills while working on themed, relaxed projects. Penland School, Penland,NC, (828) 765- 2359, www.penland.org. A full program of craft workshops,including papermaking. Surface & Structure: Paper & Book, March 13- May6, with Amy Jacobs. Pyramid Atlantic, Silver Spring, MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshops in papermaking, printmaking, and book arts. PapermakingSociety, First and Third Thursdays, with Gretchen Schermerhorn. Bring snacks,discuss papermaking techniques, and make as many sheets of paper as you can. PersonalGeographies, January 15 & 22, with Gretchen Schermerhorn and Sabeth Jackson.Learn to prepare and pigment pulp, pull sheets, and incorporate decorative elements.Introduction to Papermaking, February 12, with Beth Parthum. LearnWestern-style papermaking using cotton and abaca. Robert C. Williams PaperMuseum, Atlanta, GA, (404) 894-5726, http://ipst.gatech .edu/amp/. Paper andInk from Plants, February 5, with Marcia Watt. Use locally available plants to makepaper and ink. Teachers’ Japanese Papermaking Workshop, June 20-24, with BerwynHung. Learn all aspects of the Japanese papermaking process, including buildinga sugeta and learning Japanese bookbinding. Sarvisberry Studio and Gallery,Floyd, VA, (540) 745-6330, www.sarvisberry.com. Experience handmade paper inthe heart of the Blue Ridge Mountains. Open Studio Days, call for schedule.Make your own paper and work on personal projects. The Society for ContemporaryCraft, Pittsburgh, PA, (412) 261-7003, www.contemp orarycraft.org. Classes infiber, book art, and other media in Pittsburgh’s Strip District. Plant Fibersfor Artist Papers, March 5, with Winnie Radolan. Discover the multi-sensory appealof handmade papers produced from a variety of garden and field harvested plant materials.Wet Binding Journal, March 6, with Winnie Radolan. Create a book entirely ofhandmade paper, bound in the pressing and drying process. Southwest School ofArt, San Antonio, TX, (210) 224-1848, www.swschool.org. Classes at the PicantePaper Studio open to all. Individual papermaking classes can be scheduled forone person or a group; please contact Beck Whitehead at bhwhitehead@ swschool.orgfor more information. Studio time, consultation and instruction available mostTuesdays, Wednesdays and select Saturdays with Beck Whitehead. The SouthwestSchool of Art will add a BFA program, beginning with a freshman class, in theFall of 2013. Kozo and Mitsumata, January 19, 26, and February 2, with SusanMackin Dolan. Use two fibers for Japanese style papermaking. Writing for theArtist Book, February 12, 13, 19, and 20, with Audrey Niffenegger and Beck Whitehead.Explore writing, papermaking, and book arts within this team-taught course.

> EVENTS The International Association ofHand Papermakers and Paper Artists will convene again in 2012, October 17-21,in a joint meeting with the Friends of Dard Hunter at the Morgan Conservatoryin Cleveland, Ohio. See more details as the congress evolves at www.iapma.info.Kala Art Institute in collaboration with the CODEX Foundation is offeringworkshops February 5 in San Francisco in conjunction with the opening of thethird CODEX International Bookfair and Symposium. The workshop instructorsinclude Denise Lapointe, Montreal-based papermaker and artist, amongst otherbook artists and printmakers from around the world. For more information, visitthe CODEX Foundation website at www.codex foundation.org or call (510)849-0673. The Guild of Papermakers will host a lecture by Aimee Lee on Hanji –Korean Papermaking, given at the University of the Arts in Philadelphia on themorning of February 26 and open to all. Aimee Lee has studied Koreanpapermaking extensively. This summer she was in residence at the MorganConservancy for Paper in Ohio, where she constructed the only Korean papermakingstudio in the US, then conducted an amazing workshop. See more about Aimee on:http://vimeo.com/aimeelee. For more information about attending the lecture,please contact Winnie Radolan at winnie.r@verizon.net. The Friends of DardHunter will hold regional meetings in October 2011 be held on the East Coast,West Coast, in the Midwest, and in England. The Friends of Dard Hunter is anorganization that connects and educates hand papermakers worldwide, welcomingeveryone, at any level of skill or knowledge, as learning about paper is alifelong pursuit. For information on this conference as details develop visitwww.friendsofdardhunter.org. In 2012 the Friends of Dard Hunter will hold ajoint meeting with the International Association of Hand Papermakers and PaperArtists at Morgan Conservatory in Cleveland, Ohio.

>EXHIBITS Korean-American Joomchi includes artworks made by renowned Koreanpaper artists, along with traditional Joomchi works. Curator Jiyoung Chung has introducedthe Joomchi art form to the United States by teaching artists and fine artsstudents. The exhibit is now traveling in Korea to “With Artists FoundationGallery” in Haeyirl Culture Village and to the Cheongju Craft Museum. Chungwill have solo Joomchi exhibitions and workshops in England, Finland, andAustralia in 2011 and 2012. Visit http://handsofkorea.com for furtherinformation. The Gallery at the Paper Circle in Nelsonville, Ohio announcesthese upcoming exhibits: Mike Walker and Maggie Weston, presenting a new bodyof watercolor work on handmade paper; bookmaker Stephanie Sherwood; SusieThompson, Paper Circle’s resident artist; and paper and book artist EileenWallace. For more information and gallery hours, visit www .papercircle.org or call(740) 753-3374. The Robert C. Williams Paper Museum presents Hidden Treasures:Marbling from the Permanent Collection, January 27 through March. For moreinformation, contact the Museum at (404) 894-7840 or visit www.ipst.gatech.edu/amp.Before Paper is on display at the Brookline, Massachusetts location of theInternational Paper Museum through June 30, 2011. The exhibition shows thematerials used for communication and art before the invention of paper. TheMuseum is open Monday afternoons from 2-5, and will show an extraordinaryFrench movie (with English subtitles), “A World Without Paper,” produced inParis in 1960. Film times on Mondays are 2:30, 3:30, and 4:30. There is noadmission charge. Other times are available by appointment by calling (617) 232-1636.More information can also be found at www.papermakinghistory.org. Also don’tmiss The Origin of Paper in China through March 30 at the organization’s Brooklyn,New York location. Tatiana Ginsberg’s and Kristin Alana Baum’s outdoor sitespecific installation Blue Bower is part of the inaugural exhibition at the newStevens Point Sculpture Park in Stevens Point, Wisconsin (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 handmadepaper. Dyed with natural indigo and printed with words significant to theproject, 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. The New Jersey Vietnam Veterans’ Memorial Foundation (Holmdel, NJ)will host the exhibit “Combat Paper” at the Vietnam Era Museum & EducationCenter through February 26, 2011. The exhibit coincides with a veterans’ papermakingworkshop. For further details visit www.combatpaper.org. HAND PAPERMAKING lovesto hear from readers. What’s your opinion? What’s happening? What’s on yourmind? Send your letters to the editor: newseditor@handpapermaking.org

>PUBLICATIONS AND VIDEOS The Legacy Press announces From the Hand to theMachine, Nineteenth-Century American Paper and Mediums: Technologies, Materials,and Conservation by Cathleen A. Baker, paper and book conservator. This bookprovides basic information about the many kinds of paper manufactured throughoutthe nineteenth century, and the mediums applied to them, in one resource forconservators and papermakers of all skill levels. For more information visit www.thelegacypress.com.Aimee Lee has posted a slideshow with narration of the process of building the firstAmerican hanji studio in Cleveland at the Morgan Conservatory.It can be viewedonline at www.youtube.com/ watch?v=dAWB1dOysd0. The handmade paper and bookwork of Robbin Ami Silverberg was profiled in an article in the September 18New York Culture section of The Wall Street Journal. You can view a slideshowand the article at http://tinyurl.com/22rj3nz. Watch and share a three-minutevideo at youtube.com/watch?v=MyKHkntH3tA and help John Cutrone promote the fundraisingproject to raise $30,000 for a new hand papermaking studio at FAU’s JaffeCenter for Book Arts. The goal is to have the studio renovated and operating byearly 2011. If you would like to help, contact John at his JCBA office(jcutrone@fau.edu) or phone (561) 297-0455. Creative Paper Jewelry has beenrecently published by Sixth & Spring Books of New York. The 128-pagepaperback by Dafna Yarom includes 20 designs with step-bystep instructions andover 75 color photos. $19.95 from your favorite bookseller (ISBN 978-1-936096-06-0).Hand Papermaking has published number nine in the series of distinctiveportfolios of handmade papers...Handmade Paper in Motion. This extraordinaryassortment of collaborative artwork--14 pieces by 28 artists--features pop-ups,movable devices, and other forms of dynamic paper engineering. The motion andimagery is enhanced physically and conceptually by the use of handmade paperdesigned and made specifically for each edition. A custommade clamshell boxhouses 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 popup collector and author Ann Montanaro, who founded theMovable Book Society. The edition is limited to 150. Request furtherinformation or place your order by writing or calling: Hand Papermaking, PO Box1070, Beltsville, MD 20704, (800) 821-6604 or (301) 220-2393, info@ handpapermaking.org.

> CLASSIFIEDS Classifieds in the HandPapermaking Newsletter cost $2 per word, with a 10-word minimum. Payment is duein advance of publication. Seeking experienced boxmaker. Edition of 55.References. debraweier@hotmail.com Little Critter Hollander Beaters, sized from3/4# to 10# capacity. Contact Mark Lander, 51 Hodgsons Rd, RD2, Rangiora 7472, NewZealand; ph 0064 3 3103132; email landergallery3@xtra.co.nz. Cotton LinterPulp. All quantities available. Call Gold’s Artworks, Inc. 1-800-356-2306. PaperEquipment. 5 lb Valley Beater plus more. Please contact David, rpmstudio@ mac.comHandmade 2011 Mino Washi Calendars available; exclusively from PaperConnection. Contact: (401) 454-1436, www.paper connection.com.

> SPECIAL THANKS Hand Papermaking wouldlike to thank the following people and organizations who have made directcontributions to further our mission. As a non-profit organization, we rely onthe support of our subscribers and contributors to continue operating. Alldonations are greatly appreciated and are tax deductible. Call or write formore information on giving levels and premiums. Benefactors: Timothy Barrett,Gibby Waitzkin. Patrons: Anonymous, Tom Balbo, Barbara Lippman, David Marshall,John L. Risseeuw, Gordon & Roswitha Smale. Underwriters: Sid Berger &Michèle Cloonan, Peter Newland & Robyn Johnson, Robert J. Strauss, Nancy& Mark Tomasko, Beck Whitehead, Pamela & Gary Wood. Sponsors: CathleenA. Baker, Inge Bruggeman, Tom & Lore Burger, Greg Campbell, Jeffrey Cooper,Michael Durgin, Jim Escalante, Jane Farmer, Fifth Floor Foundation, HelenFrederick, Lois & Gordon James, Andrea Peterson, Laura M. Roe, Ingrid Rose,Kimberly Schenck. Donors: Maria Barbosa, James Barton, Marcia Blake, CaroleeCampbell, Nancy Cohen, Elizabeth Curren, Laoni Davis, Georgia Deal, Gail Deery,Benjamin J. Dineen, Laurie Dohring, Linda Draper, Martha Duran, Karla Elling,Federal Judicial Center in Memory of Alan Wiesenthal, Dorothy Field, KathyFitzgerald, Kathryn Flannery, Linda Gardiner, Sara Gilfert, Lori B. Goodman, JoanHall, Robert Hauser, Connie Hershey, Helen Hiebert, Peter Hopkins, RickJohnson, Sally Wood Johnson, Lou Kaufman, Ann Marie Kennedy, Ellen MearsKennedy, 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,Miriam Schaer, Mary C. Schlosser, Maxine Seelenbinder-Apke, Helmuth A. StahleckerJr. M.D., Betty Sweren, Kaarina Tienhaara, Ray Tomasso, Dale Weyermann, PaulWong & John Colella, Therese Zemlin. Supporters: Mary Ashton, Lois D.Augur, Shirah Miriam (Mimi) Aumann, Nicholas Basbanes, Jacqueline Brody, CarlaA. Castellani, Rona Conti, Jennifer Davies, Amanda Degener, Arnold & MabelGrummer, 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, Jill Parisi, Lauren Pearlman, KimSchiedermayer, Leslie K. Smith, Jessica Spring, Bonnie Stahlecker, KarenSteiner, Marie Sturken, Marjorie Tomchuk, Christy Wise, Alan & Ann Alaia Woods,Kathy Wosika. In-Kind: Zina Castañuela, Georgia Deal, Janet DeBoer, Paul Denhoed,Jim Escalante, Peter Ford, Hook Pottery Paper, Peter Hopkins, Rick McSorley, BrittQuinlan, 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, Joan Hall, Lois and Gordon James, Sally Wood Johnson, David Kimball,Elaine Koretsky, Karen Kunc, Barbara Lippman, Winifred Lutz, Susan M.Mackin-Dolan, David Marshall & Alan Wiesenthal, Peter Newland Fund of theGreater Everett Community Foundation, Margaret Prentice, Preservation Technologies,L.P., Michelle Samour, Peter Sowiski, Marilyn & Steve Sward, Gibby Waitzkin,Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela & Gary Wood.

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