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

Number 94, April 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 for the next newsletter (July2011) is May 15. Please direct all correspondence to the address above. Weencourage letters from our subscribers on any relevant topic. We also solicit commentson articles in Hand Papermaking magazine, questions or remarks for newslettercolumnists, and news of special events or activities.  

Classified ads are$2.00 per word with a 10-word minimum. Rates for display ads are available uponrequest. Hand Papermaking is a 501(c)(3) non-profit organization. Staff: TomBannister, Executive Director; Mina Takahashi, Magazine Editor; Shireen Holman,Newsletter Editor; Mary Tasillo, Advertising and Listings.  

Board ofDirectors: Sidney Berger, Frank Brannon, Shannon Brock, Zina Castañuela,Jeffrey Cooper, Georgia Deal, Susan Mackin Dolan, Jim Escalante, Susan Gosin,Ann Marie Kennedy, Anne Q. McKeown, Julie McLaughlin, Andrea Peterson, MargaretPrentice, Amy Richard, Gibby Waitzkin, Eileen Wallace, Beck Whitehead. Board ofAdvisors: Timothy Barrett, Simon Blattner, Gregor R. Campbell, MindellDubansky, Jane M. Farmer, Helen C. Frederick, Dard Hunter III, Elaine Koretsky,James Sitter, Claire Van Vliet. Co-founders: Amanda Degener and Michael Durgin.

Dear Hand Papermaking, Cindy Bowden wasDirector of the Robert C. Williams American Museum of Papermaking from 1991until December of 2010. During this time we saw a deepening and elaborating ofthe museum and its collections. Significant historic and contemporary artworks, papers, and books have been added to the archive. Extensive traveling exhibitionshave spread the word far and wide about the world of handmade paper. A beautifulexhibition space was created at the museum and has consistently shown worldclasswork related to handmade papers. Under Cindy’s leadership the George W. Mead PaperEducation Center doubled the size of the museum and created new exhibition areaand classroom space for the many workshops offered by the staff on a weeklybasis. Through good times and challenging times Cindy kept a firm hand at thewheel and guided the museum forward, always forward. Cindy has moved on to yeta new series of exciting challenges as Director of the American Association ofWoodturners based in St. Paul, Minnesota. In January she left Atlanta for thewild and snowy Midwest to direct the activities of a much larger organization, thoughpart of her heart will always reside with the paper museum. We wish her well onthis new adventure! Interim Director Teri Williams is a seasoned professionalwho will be leading the museum as it makes its next steps forward, and we lookforward to working with her. Steve Miller Chair of the Advisory Board

Dear Readers, It’s our 25th anniversary year,full of creative energy and extraordinary activities. The upcoming Summer issueof our magazine will focus on the surprising, wondrous, and astonishing natureof handmade paper; perhaps you’ll find a special treat inside your copy, and justwait until you see the center spread! The amazing pop-ups in our latestportfolio will raise eyebrows in varied venues throughout the year, and a callfor entries is now circulating for the next one. A rare assembly of leaderswill convene at a weekend retreat to imagine the future of Hand Papermaking—thefield in general and our organization in particular. Twenty-five notedpapermakers, one selected from each year of our magazine, contributed papersamples for a commemorative book; see it at www.handpapermaking.org/anniversaryand consider giving gift copies to your papermaker friends. Our anniversarycommittee has planned a number of surprise parties and I hope to see you at oneor more of these worldwide gatherings. They will be small get-togethers, mostlyin people’s homes and studios, often featuring a surprise guest papermaker. We’lltake photos and video, then weave the documentation into a cohesivepresentation promoting our anniversary. Perhaps we could still plan a party atyour place? Take a look at http://events.handpapermaking.org for the latestschedule. Thank you all for your enthusiastic support, making all these specialcelebrations possible, and ensuring a bright future for Hand Papermaking. TomBannister

Dear Editor, Paul Denhoed’s excellent articleon Tim Barrett filled me in on some of Tim’s earlier history and his thoughtprocesses. It’s a very welcome addition and truly instructive. I wanted to addthat what has always struck me when I’ve been lucky enough to hear Tim speak isthe way he honors the humanity of his fellow papermakers, both historic and current,in the deepest way. He’s created a great model for all of us to follow. Best, DorothyField Victoria, BC, Canada

> ALONG THE PAPER ROAD... This regularfeature offers paper musings from Elaine Koretsky—renowned paper historian, researcher,and traveler. This column is a reprint of an essay about the origin of paperthat Elaine wrote for the International Paper Museum’s catalog.

My Paper Road research just hit another impasse.Our two brutal snowstorms in January not only prevented me from visiting HarvardUniversity museums to investigate early Chinese paper that was supposedly madefrom beaten silk cocoons, but also created a power outage that eliminated the useof my computer to write a new article for the April issue of Hand PapermakingNewsletter. Therefore, my current article is a reprint of the essay I wrote forthe catalog of the International Paper Museum’s exhibit “The Origin of Paper inChina.” From Bark Beating and Silk Waste to the Remarkable Invention of Paper Howpaper was invented and who invented the process has long been a controversy inChina. The subject was vehemently discussed at a professional seminar in Xi’an,China, in 1999, attended by paper historians, archaeologists, andrepresentatives of China’s Pulp and Paper Institute.1 One group insisted thatCai Lun was the inventor, while others presented proof that paper had beenfound that pre-dated the birth of Cai Lun. Because of my own expeditions to remoteareas throughout Asia to document traditional hand papermaking villages, aswell as areas that have been involved in the beating of bark fiber, I agree withthe writings of Ling Shun-Sheng, a noted Chinese archaeologist, who wrote an article“Bark Cloth Culture and the Invention of Paper-making in Ancient China,”published by the Academy of Science in Taipei, 1961.2 Ling’s article iscomplex. But he emphasizes that bark beating was carried on throughout southernChina since the fourth century BC. The material produced was used for writing,clothing, wrappings, and many other purposes. In addition to beaten bark beingused for writing, paper made from silk was also utilized. Ling translates intoEnglish a definition of silk paper from a Chinese dictionary, Shuo Wen ChiehTzi, compiled by Hsu Chen at the end of the first century AD: “Paper is a sheetof intertwined fibres of silk waste well beaten in water and lifted out of thewater in the form of a thin layer by the medium of a screen.” He believes thatthe idea probably developed from the manufacture of silk thread, since the silkcocoons had to be boiled first, and rinsed on a screen. Silk waste remained onthe screen, and when dry was peeled off and used as a writing or paintingsurface.3 I discovered another reference to silk cocoon paper in 1986, when Iinterviewed Dr. Aijaz A. Bandey, Director of the Shri Pratap Singh Museum in Srinagar,Kashmir, India. The Museum has an important collection of ancient Chinese booksand artifacts. Dr. Bandey emphasized that in the past, paper had been made frombeaten silk cocoons. He cited a painting, “Namat Nama,” the earliest Moghulpainting, composed of a layer of woven silk, then a layer of beaten silk cocoonpaper. He also told me that he possessed a book written on the silk cocoonpaper, which he kept for safety at his own home, and would bring it to the Museumthe next day for my inspection. Unfortunately, I was unable to spend anotherday in Kashmir. Dr. Bandey suggested I look for such books at the BritishMuseum in London or the Metropolitan Museum in New York. According to DardHunter, the Chinese produced and used silk paper before 300 BC, and continuedits use for centuries, until the invention of paper eventually supplanted it.4 Oneof the earliest true papers, according to the paper historian Pan Jixing, isthe so-called “Baqiao” paper discovered in a tomb in Chang’an, China.Apparently it was made by pouring beaten hemp pulp onto a cloth screen,probably similar to the process I have documented still used today in Guizhouand Xinjiang Provinces. Pan Jixing believes that people in the countryside,familiar with the beating of bark fibre, adapted the method of producing silk waste,but instead of cocoons, beat to a pulp the inner bark of trees and wastematerials from hemp rags and fishnets.5 Shun-sheng Lin writes that the use ofthe inner bark materials, particularly in the mulberry family (Moraceae) mainlyused for bark cloth and bark paper, may have been Cai Lun’s great contributionto the refinement of paper. However, the drawback to the method of pouring pulponto a screen and letting the newly formed sheet dry on the screen is itsslowness. This created the need for a large number of papermaking screens. Thereseems to be no Chinese literature mentioning the invention of a detachable screenso that multiple sheets of paper could be made by dipping the mould into thepulp and transferring the wet sheet onto another surface, thereby eliminatingthe need for many moulds. However, early papers of the second century AD, foundin the Dunhuang caves, exhibit line and chain markings, showing that a bambooscreen was used to form the sheets.6 Another Chinese historian, Juzhong Yang,agrees with Pan Jixing and Shun- Sheng Ling. He wrote, “During the period from770 B.C. to 221 B.C., paper was made out of extracted cocoon waddings. It is thefirst stage in the history of Chinese papermaking. In West Han Dynasty, peoplefound that the worn linen fabrics can also be made into paper in the same way.However, this kind of cocoon waddings and fabric waddings could not be massproduced due to some limitations. However, in the East Han Dynasty, Cai Lun beganto use newly emerged sharp steel cutting tools to cut materials before poundingpulp, and the craft of handmade pulp was recorded then, which marked the inventionof papermaking. Cai Lun’s invention had a historical impact on Chinese historyof ancient times from the aspect of the utilization of materials and craft.”7 .Sponsored by the International Paper Historians (IPH). For a complete review ofthis conference, see the IPH website, www.paper history.org. The InternationalPaper Museum also has a film available about the 999 seminar. . LingShun-Sheng, “Bark Cloth Culture and the Invention of Paper-making in AncientChina,” Bulletin of the Institute of Ethnology, Academia Sinica (Taipei),Number 11 (Spring 96 ). 3. Jonathan M. Bloom, Paper Before Print (New Haven:Yale University Press, 00 ), 3 -3 . 4. Dard Hunter, Papermaking-The History andTechnique of an Ancient Craft (New York: Alfred A. Knopf, 943). 5. Pan Jixing,Handmade Papers of the World (Tokyo: Takeo Co., Ltd., 979), 9-4 . 6. I haveexamined and photographed some of these papers, which are part of the Pelliotcollection at the Bibliotheque Nationale in Paris, France. 7. Juzhong Yang,Ancient Papermaking in China, publ. by CIP, 00 , pp. 1-2..

> TEACHING HAND PAPERMAKING Based inPhiladelphia, Winifred Radolan operates an itinerant teaching papermill, andhas taught papermaking to thousands of adults and children. Here Winniedescribes her class at Yale University.

Twice a year I getthe opportunity to “wow” my friends with the statement, “I’m driving to NewHaven, Connecticut, tomorrow to teach at Yale!” In the fall I have theunparalleled treat of being a guest papermaking instructor for Theresa Fairbanks-Harris’sart history students in her paper/book conservation lab at Yale University’sCenter for British Art. And early in January of this year my eight-hour round tripwas to bring an afternoon of papermaking to Siobhan Liddell’s exciting papersculpture class. As I composed my packing list for the trip (vats, moulds anddeckles, stencils, couching materials, pulp and pulp paint, press andblankets), I kept an ear to the weather forecast, hoping desperately for a lackof white precipitation. I was most fortunate that the “weather event” waited tooccur until the following two days! My drive north was smooth and uneventful. Theclass was only two hours in length, so I allotted a short introductory time toview the paper samples from the recent Dard Hunter Keepsake Exchange. Thevaried collection gave students a hint of the many faces and voices that can beexpressed with handmade paper. It was just enough enticement to have everyoneanxious to roll up their sleeves and dive into my vats. A quick explanation ofthe sources of the pulp (pigmented cotton/abaca and denim) that filled the vatswas followed by a demonstration on forming a sheet of paper with the mould anddeckle. In short order the twelve students had each pulled and couched theirfirst sheets of handmade paper. And then, in measured increments, I introducedlayering colors, using stencils, and applying pulp paint with both smallpipettes and larger squirt bottles. Before long all the equipment I had packed waswet and in enthusiastic use. Two hours pass rather quickly when everyone ishaving so much fun! Before we were ready, it was time to assemble everyone’spaper into a large post, and press it between synthetic chamois in my portableArnold Grummer paper press. Because no other classes were scheduled to meet inthe room before this class’s next meeting, I showed everyone how to lay thepressed papers out on the tabletops to restraint-dry them. If the promised snowdidn’t pile up, the students could return on Thursday to discover theirbeautiful creations both dry and flat! My non-papermaking friends have often marveledthat I am willing to drive eight hours in one day to teach a two-hour class, remarkingthat I must be a little loco, or that I really must love what I do. And thereis a great deal of truth to both those theories, but mostly, I DO love my daysat Yale! Maureen and Simon Green, from the United Kingdom, write a joint columnon Paper History. Maureen is a paper historian, and author of Papermaking atHayle Mill 1808-1987. Simon was the last of the Green family to run Hayle Mill,in the U.K. He provides consulting services to papermakers worldwide. In thiscolumn, “A tale of snakes and twigs,” Simon and Maureen discuss papermakingmoulds and their history.

> PAPER HISTORY

Maureen and SimonGreen, from the United Kingdom, write a joint column on Paper History. Maureenis a paper 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. In this column, “A tale of snakesand twigs,” Simon and Maureen discuss papermaking moulds and their history.

Many crafts are defined by their tools. Thepotter’s wheel comes to mind and yet there are many ways of forming pottery withouta wheel. However, it’s hard to think of a way of making traditional paper byhand without a mould. The invention of paper required the tool and yet surprisinglylittle is written on the history of the papermaking mould. This thought came tome when trying to research a pair of moulds before posting them onto my newpapermoulds site.1 And the more I thought about it, the stranger it seems. Whenpaper was first invented, probably in China, the general view is that thefloating mould technique was used. In this process the mould consists of arectangular wooden or bamboo frame with some sort of straining fabric attachedto its bottom edge. The whole mould is immersed in a vat of clean water so thatthe inside of the mould is filled, prepared stuff is added, agitated with thefingers, and the mould lifted out with suitable shaking or rocking. Once thesheet is set, the whole mould is leant against a post or a wall to dry. Apartfrom the challenge of forming even sheets, the main problem is that many mouldsare needed as they cannot be reused until the paper is dried. The use of aflexible, removable straining screen is generally thought to be a later development.This is still the most common approach to sheet formation in Asia. It is alsothe direct predecessor of the rigid laid mould used in Europe. The screen—variouslyknown as xi (China),2 su (Japan), tsha (Bhutan), and chapri (India)—only flexesin one direction, of course. The “laid lines” are more or less rigid andnormally made of split bamboo or whole pieces of grass or reeds and they formthe draining surface. The “chain lines” were frequently made from horsehair,but silk, cotton, and other threads are also used. In India many chapris arenow made from nylon (both laid and chain lines). The fact that the screen isflexible and removable permits the oriental method of transferring the wetsheet onto a post of sheets ready for pressing. What is unclear is quite whereor when this removable screen was replaced by a fixed, metal one.3 However thistype of construction must have preceded the general introduction of watermarks,as early as 1282 AD in Fabriano, Italy. None of these early European mouldssurvive, the earliest examples dating from the third quarter of the eighteenthcentury, according to Edo Loeber.4 (Edo was the pre-eminent expert on Europeanmoulds who studied all the main collections in historic mills. His archivesinclude some 13,000 immaculately detailed sketches and 10,000 photographs. Hisbook contains a wonderful selection of his drawings and explains mouldmaking infar more detail than is possible here.) However we may fairly safely assumethey resembled single faced laid moulds in collections from the nineteenth andtwentieth centuries. Initially the laid cover may have been made entirely fromdrawn copper wire, the economic production of which seems to date from 800-900AD (though wire drawing is another field with little written history). Themould frame may have been made from a variety of timbers. Although mahoganybecame the main wood of choice in England in the nineteenth century, I have seenmould frames apparently made from both oak and softwoods. The “cover” or “face”wire as we know it was originally hand laid without a loom. This technique isstill used in India for chapris and Ron MacDonald, who makes moulds nearMaidstone in England, will make hand laid covers to order. In 1756 JamesWhatman made the first European wove paper. John Balston discussed in detail theway early wove moulds were constructed as well as many other aspects ofmouldmaking. 5 A major factor was to avoid the underlying wooden ribs creatinga “shadow” around the chain lines, as was normal with single faced laid moulds,where the face wire is in fact the only layer and is sewn directly to the ribs.By about 1830 the modern method of constructing both wove and double faced laidmoulds had been developed. The bottom layer of cloth is called the “backing wire”and consists of laid lines spaced several millimetres apart being separated by severalcomplete twists of the “chain lines” (known as “twist wires” by themouldmaker). This is sewn to the ribs. Above that “guide wires” run at rightangles to the laid lines, being stretched between tacks driven into the frame,usually two to three guide wires between adjacent ribs. Finally the face wire (eitherwove or laid) is sewn down and the result should be a completely clear“lookthrough” for wove paper and only the image of the face wire for laidpaper. My own collection of moulds includes examples of all of the techniquesabove as well as light and shade and line watermarks. The earliest mould in thecollection is watermarked J Larking 1817—probably John Larking of Upper Mill,East Malling near Maidstone. Initially they were catalogued by Edo Loeber inabout 1980. The catalogue6 has had further detail added to it as I haveobtained it but much detail is missing, often including the names of mouldmakersand dates. Apart from the moulds themselves, we have a number of other sourcesof information. These include a vellum bound “mould book” which appears to listall purchases of new moulds as well as alterations such as adding watermarks.However I am doubtful that it is complete and it may only record work done byEdwin Amies and Son who supplied most of our moulds. In 2010 I photographedabout 60 pairs of the most historically interesting moulds and I am progressivelyuploading them to the site. The moulds referred to at the start of this articleare a particularly beautiful pair, listed as M207.7 They were made by Amies inJune 1894 and are double faced laid moulds with a sheet size of 400 x 517 mm(or 15¾ x 20-inch in old money). Half the sheet carries a conventional watermark—Waterlow & Sons London—but the other half is mysterious. If the sheet werefolded in half, for a ledger for example, each watermark would be in the middleof a page. The snake looked familiar but what sort of symbol was it? And whatis inside the oval it creates? Waterlow and Sons was established in 1810 andbecame one of the country’s largest printers of stamps and bank notes as wellas more general printing, including many transport posters. They were regular customersof ours and we had a number of moulds with their watermarks although this isthe only pair that survives. The snake eating its tail (an ‘ouroboros’) can be trackeddown on the web easily enough.8 After rejecting thoughts of asparagus and otheroptions I have tentatively concluded that the bundle inside the oval mayrepresent a bundle of twigs such as an Ashen Faggot on a fire.9 I have foundnothing that could link this symbol with Waterlow. By showing their own nameprominently, a reasonable inference would be that the paper was for their ownuse or for sale as part of a product such as a ledger. However if the ouroborossymbol is for a customer, why should Waterlow’s name feature so prominently? Wemay never know the answers to these questions, but what they illustrate is howmuch history is encapsulated in a piece of paper or the moulds it was made on.If you have a theory on these or any other moulds please do not hesitate toplace a comment on the papermoulds website. D. Hunter, Papermaking: The Historyand Technique of an Ancient Craft (New York: Alfred A. Knopf, 1943) (reproducedby Dover Publications, 1978) also contains quite a lot of information aboutmoulds. 1. http://papermoulds.typepad.com. 2. Thanks to Elaine Koretsky forthis information. It would be interesting to know how far westwards derivativesof this term (or its root) travelled. 3. Jonathan Bloom implies that it was aEuropean invention. He also mentions various aspects of moulds. J. N. Bloom,Paper before print: the history and impact of paper in the Islamic World (New Haven:Yale University Press, 2001). 4. E. G. Loeber, Paper Mould and Mouldmaker(Amsterdam: Paper Publications Society, 1982). 5. J. N. Balston, The Whatmansand Wove Paper; Its Invention and Development in the West. Research into theOrigins of Wove Paper and of Genuine Loom-Woven Wire-cloth (Maidstone: J. N.Balston, 1998). 6. http://papermoulds.typepad.com/simon-barcham-greens-pap/ catalogue.html.7. http://papermoulds.typepad.com/photos/m_207_waterlow_ sons_ltd_l/m-207-a-waterlow-sons-ltd-london-2-sheet-mould.html.8. For example Wikipedia states “The Ouroboros often representsself-reflexivity or cyclicality, especially in the sense of somethingconstantly re-creating itself, the eternal return, and other things perceivedas cycles that begin anew as soon as they end ...” and a lot more besides.http://en.wikipedia.org/wiki/ Ouroboros. 9. http://www.legendarydartmoor.co.uk/christ_fagg.htm.

> DECORATED PAPER Sidney Berger, aprofessor at Simmons College in Boston and Director of the Phillips Library at PeabodyEssex Museum, has been collecting and researching decorated paper for overthirty years. This column is Part I of a discussion of marbling and influentialmarblers.

In all the columns on decorated paper that Ihave written for this newsletter, I have not yet broached the topic ofmarbling. Amazing! When one talks of paper decoration, marbling should be nearthe top of the list of techniques of ornamentation. For the audience of HandPapermaking, I needn’t go into history or technique too much. I assume myreaders know a good deal about these things. (If I am mistaken, and people outthere want some historical notes and technical advice, please let me know. Icould write two books on the subject.) What I would like to do is make somegeneric comments about marbling and then talk about some of the more importantpractitioners in this country. By the twelfth century the Japanese werepracticing suminagashi, decorating sheets with inks floated on the surface of asize. The size was almost certainly water, and the colors either adhered to thesurface of the sheet or penetrated the less- or non-sized sheets such that thepattern was visible on both surfaces. Speculation has it that sheets of suminagashimade it to the West on the trade routes and Westerners, fascinated by thepapers, and wishing to emulate them, created marbling as their equivalent. Whetherit was in Persia or Turkey or India or Indianapolis is not known for sure. But bythe beginning of the sixteenth century marbling existed in the Middle East. Inthe West it had many uses, primary of which was probably for bookbinding. Thedecorated papers could be used for endsheets or for covers in favor of the moreexpensive leather or vellum. So the original marbled papers were seen assecondary elements of books. That is, they were produced to be cut up to adornother things. Only in the nineteenth century did Turkish marblers develop waysto make representational patterns (like the well known Turkish flowers–usuallytulips), and sheets were created as works of art in themselves, not to be cutup to adorn other objects. Enough about generic remarks. There has been anexplosion of interest in marbling in this country since Rosamond Loring’s bookson the subject came out: Marbled Papers (1933) and Decorated Book Papers (1942;2nd ed., with additional material, 1952; and later editions). Today there arehundreds of practicing marblers in the U.S., some producing exquisite original patterns.I would like to highlight several marblers in this and my next column, and theideal place to begin is with one of the great marblers in history (not just inthe United States), Christopher Weimann. I call him “great” for two reasons.First, his passionate immersion in the medium led him to be one of theexceptional scholars in the field. He didn’t just take a workshop and announcehimself to be a marbler. He wanted to know everything there was to know aboutthe art, and he studied for years to take in as much as he could about thehistory and the literature of marbling, theory and practice, pigment creation,tool making, and more. And second, he became a truly gifted marbler himself. Hehad studied color theory, color matching, and leather finishing in a New Jerseyleather manufacturing firm. He was a brilliant colorist, and the papers heproduced prove this. Nothing flashy, garish, or brassy. What is dazzling abouthis papers is their design and execution. He was especially adept at one techniquethat had disappeared from the world and that was misunderstood in the twentiethcentury. As Phoebe Easton, the marbling historian, wrote, he was one of thegreat scholars of Near Eastern marbling. “Mastery of the marbling processenabled him to reproduce some of the paintings by the use of stencils andresist techniques. He was, apparently, the first marbler to study the paintingsseriously. Art historians, untutored in marbling, [believed] that the paintingswere collage creations” (The Guild of Book Workers Newsletter, No. 62 [February1989]: 5). Scientific analysis at the Los Angeles County Museum of Art provedthat the paintings were done with stencils and resist work, corroborating Chris’sscholarship. But he did not stop there. He proved that the technique was stillpossible to do. He produced a number of remarkable “paintings” with multiplemarbles, laid down on a single sheet, with perfect registration. The cover ofthe magazine Fine Print for October 1983 shows his brilliant composition inmarbling, a lion capturing a gazelle. This followed his dynamic marbled floweron Fine Print’s cover for July 1981, a signature piece, with its multiple stemsand bright red blossoms–a design he became well known for. These floral marblesare still sought after by collectors. A wonderful memorial volume about Chriscame out in 1991, three years after his untimely death at the age of only 42.This is an excellent read. It’s Christopher Weimann (1946-1988): A Tribute(Tübingen, Germany: Jäckle-Sönmez), conceived and written by Ingrid Weimann,with additional contributions by several prominent paper scholars. All copieshave samples of his marbling tipped in, and the text and color illustrations ofhis art are excellent. In my next column I will mention other importantmarblers and the magazine Ink and Gall, the longest-running and most importantmarbling publication I know of (unfortunately now defunct). Check it out, if youhave a chance.

HANDPAPERMAKING loves to hear from readers. What’s your opinion? What’s happening? What’son your mind? Send your letters to the editor: newseditor@handpapermaking.org

>FOR BEGINNERS Mary Tasillo is a papermaker, book artist, and mixed media mavenbased in Philadelphia. She teaches workshops nationally. This is a continuationof a previous “Beginners” column on methods for editioning.

Inthe July 2010 issue of Hand Papermaking Newsletter (91:7) I discussedtechniques for editioning imagery within your handmade paper, including somestencil techniques that took their inspiration from contemporary watermarkingtechniques. In this issue, I take a step back to consider editioning handmade paperat its most basic. What does it mean to edition a blank sheet of paper? Any timea papermaker sets out to create multiple papers that are the same, we might usethe word “editioning.” This skill can come in handy to create a consistent batchof papers to use in making a book, as the base for a print edition, or inconsidering a product (e.g., a handmade paper business might rely on editioningto produce a type of paper that a customer might choose to order repeatedlyover time). Practicing editioning can also hone the papermaker’s technique, asit requires acute mindfulness as to the density of pigments and additives, aswell as of the pulp in the vat. So how does one achieve this consistency? 1)Pulp, pigments, and additives. Using a scale for weighing not only your fiber,but also your pigments and additives, along with keeping scrupulous notes in apaper recipe notebook, will allow you to reproduce your results when makinganother batch of pulp. (Be sure to attach a scrap of the finished paper to therecipe!) 2) Sheet formation. To maintain a consistent sheet thickness, you mustcontinually monitor both your wet sheets and the density of pulp in the vat asyou form your paper. As you pull sheet after sheet, you will establish a regularrhythm for replenishing the vat, likely adding more pulp every 1-3 sheets. Thefrequency and amount of the replenishing will somewhat depend upon the size ofyour vat relative to the size of your mould, e.g. you will notice a rapidlydiminishing sheet thickness pulling 12 x 18-inch sheets from a small table topvat as opposed to pulling postcard-sized sheets from a large vat. (And ofcourse one hopes that if you set out to pull postcard-sized sheets from a largevat of pulp, you are using a deckle that allows you to pull multiple postcardsheets at once.) How much pulp do you lose from the vat with each pull? You maytry measuring by pulling a sheet and then gathering the pulp from the mould intoa measuring cup while it is still fairly wet. Add a little bit of water until itapproximates the consistency of the pulp from which you are pulling. Also, theamount of water in your vat will change over time. You might change whether youallow your wet sheets to drain over or away from the vat to help control thewater level in the vat. 3) Predictable behaviors. And of course the moreconsistent you are in the way you form your sheets, the materials with whichyour paper comes in contact (couching felts, drying materials, etc.), and themethods you use to press and dry your paper, the more consistent the resultingpaper will be. That wet sheet of paper takes the impression of every thing thathappens to it along the way. So how do watermarks play into all of this? Thewatermark is a design in your paper that is primarily visible when the paper isheld up to light. It is created through applying a dimensional drawing to the mould,traditionally made of wire sewn onto the mould. When the sheet is formed, the paperis slightly thinner where the wire is, thus creating an area where more lightcan penetrate the paper. One use of watermarks, historically and today, hasbeen to identify the provenance of the paper. Dard Hunter added to hiswatermark, the bull and branch, with each project he worked on, thus using the watermarkto identify not only the paper’s creator but also its edition. Contemporary papermakersuse a variety of materials to create watermarks, some less of a commitment tothe mould than the sewn-on variety. Adhesive backed vinyl and magnetic sheetingcan be used. Cut your design from the material using an X-ACTO blade or a lasercutter, if you can access one. Adhere the design to the surface of your drymould, exerting even pressure from both sides. These materials can stay on yourmould for repeat use. I’ve found that magnetic sheeting can be removed andre-adhered to the mould for repeat use, while thinner vinyls will not stand upto such manipulation. A note on watermarks: you will find that certain pulpsbetter lend themselves to creating beautiful watermarks than others. I firstlearned to create watermarked pages using a short-fibered, well-brushed cottonrag pulp. Practice makes perfect, and the practice of editioning is one of thefinest ways to finesse your sheet forming techniques. > more for beginnersat 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 July 2011 Newsletter is May 15. Contact each facili tydirectly 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

ArrowmontSchool of Arts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont .org.Classes and workshops in a variety of disciplines, including papermaking. ExtremePapermaking, May 29-June 4, with Julie McLaughlin. Create large 6 x 9-footsheets of kozo paper, using the finished sheets in a variety of aways. Pushingthe Boundaries Through Sculptural Papermaking, July 3-9, with Jo Stealey.Integrate paper, fiber, basketry, and sculptural processes. Asheville BookWorks,Asheville, NC, (828) 255- 8444, www.bookworksasheville.com. Hands-on workshopsincluding bookbinding, printmaking, decorative paper, and basic papermaking. Paperas Narrative, May 21, with Jessica Peterson. Experiment with pulp painting,inclusions, and surface treatments, considering how to use paper as a componentof a book’s narrative. Papermaking II, June 17-19, with Frank Brannon. Learn touse the Hollander beater to process various fibers and improve your sheetformation. 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. Contact LeandraSpangler at leandra@bearcreekpaperworks. com for more information. HandPapermaking: Experimentation and Exploration, June 20-24, with Leandra Spangler.Experiment with a wide range of papermaking techniques, constructing a mouldand deckle for use. Flat to Form: Using Paper as a Sculptural Medium, July18-22, with Leandra Spangler. Turn flat papers into beautiful forms, using a varietyof wet and dry techniques. The Boston Paper Collective, Boston, MA (614) 282-4016,www.bostonpapercollective.com. Classes in papermaking and marbling, as well asstudio rental and special projects, as well as Open Papermaking Nights on thesecond Thursday of each month at 6:30 p.m. Washi Papermaking, March 27, withZoe Culbertson. Learn Japanese papermaking using traditional methods. PulpPrinting, April 9, with Melinda Cross. Use paper pulp to create an editionableimage shortly after a new sheet is pulled. Spring Papermaking: Embeddings andInclusions, April 16, with Zoe Culbertson. Create sheets that include cherryand plum blossom petals. John C. Campbell Folk School, Brasstown, NC, (704)837-2775, www.folkschool.org. Classes in papermaking and other crafts in themountains of western North Carolina. Recycle, Rebound Papermaking, April 17-23,with Rajeania Snider. Recycle your junk mail and plant material into uniquestationery and books via basic papermaking processes. Kozo Kites, July 17-23,with Julie Jones. Make kozo paper and transform the paper into kites. GreenPapermaking, September 16-18, with Frank Brannon. Learn the complete process ofmaking paper by hand from regional fibers while examining issues ofenvironmental sustainability. Carriage House Paper, Brooklyn, NY, (800) 669-8781,www.carriagehousepaper.com. Papermaking workshops offered in a new studio space.Visit website for workshop schedule. Center for Book Arts, New York, NY, (212)481- 0295, www.centerforbookarts.org. Dozens of book and paper workshopsoffered in midtown Manhattan. Japanese Natural Colorants for Paper, May 14-15, withTatiana Ginsburg. Prepare dyestuffs from a number of plant materials, learningto size and treat papers, to dip, brush, and resist dye, and to understand theeffects of different mordants, working with your own papers as well as Japanesekozo. Paper Marbling, June 25-26, with Lauren Rowland. Create your own marbledpapers using water-based Turkish techniques. Circle of Life Studio and SummerGallery, Eagle River, WI, (715) 479-9737, www.circleof lifestudio.com. Offeringweekly papermaking workshops June through September, and by special arrangementall year. Columbia College Chicago Center for Book and Paper Arts, Chicago, IL,(312) 344-6630, www.bookandpaper.org. Papermaking classes in spacious downtownstudios. Dieu Donné Papermill, New York, NY, (212) 226-0573, www.dieudonne.org.Beginning and advanced papermaking classes for adults and children. Introductionto Contemporary Papermaking, March 1, or April 5, with staff instructor. Learn thebasic papermaking process, as well as various artistic techniques. CreativeTechniques for Artists with Open Studio, March 8, or April 12, with staffinstructor. Explore advanced techniques and their application for two- andthree-dimensional projects, with a different focus at each session; experiment onyour own with studio pulps, making sheets up to 11 x 14 inches. Gail HarkerCreative Studies Center, Oak Harbor, WA, (360) 279-2105,www.gailcreativestudies.com. Offering courses in textile arts. Papermaking:From Pulp to Portfolio, June 3-5 or July 30-31, with Lisa Harkins. Learn thebasics of hand papermaking using accessible tools and supplies. HaystackMountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack-mtn.org.Workshops in various disciplines, including papermaking and book arts. Paper:Making and Marking, June 26 - July 8, with Susan Warner Keene. Build avocabulary of marks and formats that can be used throughout the various stagesof the papermaking process. Helen Hiebert Studio, Portland, OR, www.helenhiebertstudio.com,helen@enlight ened papers.com. One-day papermaking and lamp making workshopsand Thursday evening open studios for experienced papermakers in NorthPortland. Basic Papermaking, April 2, with Helen Hiebert. Learn to pull sheetsof paper and to incorporate an array of artistic techniques. Chochin(Collapsible Paper Lanterns), May 15, with Helen Hiebert. Create your owncollapsible paper lantern, exploring a variety of shapes. HistoricRittenhouseTown, Philadelphia, PA, (215) 843-2228, www.rittenhousetown.org. Summerpaper arts workshop series at the site of America’s first paper mill. Forfurther information, call (215) 438-5711 or email programs@rittenhousetown.org.Hook Pottery Paper, LaPorte, IN, (219) 362-9478, jonandrea@hookpotterypaper .com,www.hookpotterypaper.com. Classes in papermaking and pottery and a residency programin northern Indiana. Plant Fiber Intensive, August 18-20, with Andrea Peterson.Grass Fibers Intensive, September 15-17, with Andrea Peterson. InternationalPrinting Museum, Carson, CA, bookarts@printmuseum.org, www.printmuseum.org. Introductionto Papermaking, April 16, with staff instructor. Learn the basic techniques formaking your own paper, along with the history of handmade paper in the Westerntradition, with an emphasis on portable techniques. Magnolia Editions, Oakland,CA, (510) 839- 5268, www.magnoliapaper.com. Workshops in papermaking,printmaking, and book arts. Maine Media Workshops, Rockport, Maine, (877)577-7700, www.theworkshops.com. Yearround classes in multiple media. MayBeStudio, Abita Springs, Louisiana, (985) 893-3184. Hand Papermaking, selectedSaturdays, with Mary-Elaine Bernard. Learn Eastern and Western methods ofmaking paper and incorporate local plant fibers. Minnesota Center for BookArts, Minneapolis, MN, (612) 215-2520, www.mnbookarts.org. Classes at the OpenBook center for book and literary arts. Open Studio: Marbling, April 9, withAmy Pleticha. Work on your own decorative papers in the company of otherartists. Introduction to Marbling, April 30-May 1, with Mary Holland. Learn toselect and mix materials and paints while learning several marbling patterns,and become familiar with the full range of marbling tools. Morgan Art ofPapermaking Conservatory 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. Old Ways Book Arts Tools andWorkshops, near Santa, ID, (208) 245-3043, traditionalhand@ gmail.com,http://www.traditionalhand. com/oldway/. Old Ways of Making Books from RawMaterials, August 10-25, with Jim Croft. Learn to create book arts tools byhand, how to process hemp and flax for paper and thread, hand papermaking, and howto make books with wooden boards and brass clasps in this fourteen dayworkshop. Paper Circle, Nelsonville, OH, (740) 753-3374, www.papercircle.org,papercircle@frognet.net. Call or e-mail for information about upcoming paperclasses. Open Studio, second Saturdays, with studio artists. Gain new skillswhile working on themed, relaxed projects. Shaping Paper...Beaten Flax, April2, with Ann Silverman. Explore the sculptural possibilities of high-shrinkageflax fibers. Papermakers of Victoria, at Box Hill Community Arts Centre,Whitehorse, Victoria, Australia, phone 9885 2479. The Papertrail, New Dundee,Ontario, Canada, (800) 421-6826, www.papertrail.ca. Classes in papermaking,marbling, and related arts and studio rental scheduled on an as-needed basis. PapierWespe(PaperWasp), Aegidigasse 3/Hof, 1060 Wien, Austria, (0676) 77-33-153, office @papierwespe.at,www.papierwespe.at. Workshops in English and German taught by paper specialistsin downtown Vienna. Paper Cups, May 20-21, with Beatrix Mapalagama. Exploremultiple ways to create vessels using wet paper pulp. Watermark, June 10-12,with Roberto Mannino. Investigate alternative techniques to creating a line-basedwatermark. Relief from High Shrinkage Fiber, June 13-14, with Roberto Mannino.Layer pulps, incorporating high shrinkage fibers and controlled drying tocreate works of art. Japanese Paper, November 4-6, with Beatrix Mapalagama. Usea range of fibers to create papers using Japanese papermaking techniques. PenlandSchool, 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. Create paper from a range of fibers, and using a range ofdecorative techniques, using these papers for two- and three-dimensionalartworks as well as a variety of binding structures. Paper Marbling, A to Z,July 24 - August 9, with Steve Pittelkow. From watercolor to acrylic, fromintricate patterns to freehand designs, every detail will be revealed as webuild or enhance our knowledge of paper marbling from the ground up. Deconstruct/Reconstruct:Plant Fibers for 3-D Papermaking, August 14-26, with Winnie Radolan. Drawingfiber and inspiration from plant structures, explore a variety of possibilitiesfor 3-D papermaking with a range of colors and textures. Pyramid Atlantic,Silver Spring, MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshopsin papermaking, printmaking, and book arts. Papermaking Society, First andThird Thursdays, with Gretchen Schermerhorn. Bring snacks, discuss papermakingtechniques, and make as many sheets of paper as you can. Spill, Splatter, Seep,Dip, Tear: Paper Staining Techniques, March 19, with Laura Kinneberg. Learntechniques for working pigmenting agents into paper while still damp, resultingin amorphous areas of color. Thick and Thin: Sculptural Paper Techniques, April2, with Laura Kinneberg. Form and manipulate wet sheets of paper for drapingover armatures. Pull and Bind!, April 5 & 12, with Bath Parthum andPatricia Lee. Make your own paper, incorporating decorative elements, and bindit into a hardcover book. Simple Paper Sculpture, April 8 & 15, with Beth Parthum.Cast abaca sheets over various objects, creating forms for a sculpture collage.Personal Geographies, April 16 & 23, with Gretchen Schermerhorn and SabethJackson. Learn to prepare and pigment pulp, pull sheets, and incorporatedecorative elements, creating a personal relief map. Introduction to WesternPapermaking, April 30, with Laura Kinneberg. Discover the basics of Westernpapermaking, from preparing pulp to pressing and drying. Robert C. WilliamsPaper Museum, Atlanta, GA, (404) 894-5726, http://ipst.gatech.edu/amp/. Teachers’Japanese Papermaking Workshop, June 20-24, with Berwyn Hung. Learn all aspectsof the Japanese papermaking process, including building a sugeta and learningJapanese bookbinding. San Francisco Center for the Book, San Francisco, CA,(415) 565-0545, www.sfcb.org. Book arts classes and events year-round. Pastepapers,April 15, with Leigh McLellan. Create colorful, vibrant patterns by covering textand drawing papers with colored paste, then drawing, stamping, combing, orpressing and pulling apart the surfaces. Sarvisberry Studio and Gallery, Floyd,VA, (540) 745-6330, www.sarvisberry.com. Experience handmade paper in the heartof the Blue Ridge Mountains. Open Studio Days, call for schedule. Make your ownpaper and work 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. SouthwestSchool of Art, San Antonio, TX, (210) 224-1848, www.swschool.org. Classes at thePicante Paper Studio open to all. Individual papermaking classes can bescheduled for one person or a group; please contact Beck Whitehead atbhwhitehead@swschool.org for more information. Studio time, consultation andinstruction available most Tuesdays, Wednesdays, and select Saturdays with BeckWhitehead. The Southwest School of Art will add a BFA program, beginning with afreshman class, in the Fall of 2013. Wisconsin Center for Book and Paper Arts, Madison,WI, (608) 284-8394, wcpaperarts@ hotmail.com. Offering tutorial programs in handpapermaking and decorative papers. Women’s Studio Workshop, Rosendale, NY 12472,(845) 658-9133, info@wsworkshop.org. Summer Arts Institute includes workshopsin papermaking, printmaking, book arts, photography, and other media. WoodwalkGallery, Egg Harbor, WI, (920) 868-2912, kcchristian@itol.com, www.Wood walkGallery.com.Classes in handmade paper and natural materials.

>more classes and workshops at newsletter.handpapermaking.org/listings.htm

>EVENTS Southern Graphics Council International will hold its annual conferencein Saint Louis, Missouri, this year on the campus of Washington University fromMarch 16-19. Events of interest to papermakers include the panel “Papermaking:Why We Don’t Play Close to the Vest” featuring Anne Queeney McKeown, MichelleSamour, Beck Whitehead, and chaired by Lynn Sures; the demonstration “PulpPainting and Beyond” including John Babcock, Shannon Brock, Joan Hall, Lois James,Anne Queeney McKeown, Michelle Samour, Peter Sowiski, Lynn Sures, and Beck Whitehead;and Open Graduate Studios, including work in papermaking by Master of Fine Artsstudents. For further details, visit http://sgci2011.sam foxschool.wustl.edu/. SouthernGraphics Council International will hold its annual conference in Saint Louis, Missouri,this year on the campus of Washington University from March 16-19. Events ofinterest to papermakers include the panel “Papermaking: Why We Don’t Play Closeto the Vest” featuring Anne Queeney McKeown, Michelle Samour, Beck Whitehead,and chaired by Lynn Sures; the demonstration “Pulp Painting and Beyond”including John Babcock, Shannon Brock, Joan Hall, Lois James, Anne QueeneyMcKeown, Michelle Samour, Peter Sowiski, Lynn Sures, and Beck Whitehead; andOpen Graduate Studios, including work in papermaking by Master of Fine Artsstudents. For further details, visit http://sgci2011 .samfoxschool.wustl.edu/. TheFriends of Dard Hunter will hold regional meetings in October 2011 on the EastCoast, West Coast, in the Midwest, and in England. The Friends of Dard Hunteris an organization 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. Focus on Book Arts announcesits biennial conference, June 22-26, at Pacific University in Forest Grove,Oregon. See www.focusonbookarts. org to preview course offerings, lectures, andother activities. PBI 2011 will be held at Ox-Bow, in Saugautck, Michigan, May16-27, with classes taught by Carol Barton, Jean Buescher Bartlett, Denise Carbone,Andrea Dezsö, Ann Frellsen, Nancy Levitt, Bridget O’Malley, Julia Miller, John Townsend,and Martin Vinaver. See www .paperbookintensive.org for all the details. TheInternational Association of Hand Papermakers and Paper Artists will conveneagain in 2012, October 17-21, in a joint meeting with the Friends of DardHunter at the Morgan Conservatory in Cleveland, Ohio. See more details as thecongress evolves at www.iapma.info. The Newport Paper Arts Festival happensApril 15-17. For more information and to register contact: PO Box 1315,Newport, OR 97365, or call (541) 265-6569, or visit www.coastarts.org and clickon Visual Art Center.

>EXHIBITS Helen Hiebert’s Mother Tree installation, combining handmade paperforms with crochet elements, is on view in the Philadelphia area as part ofProcess and Product, a national invitational exhibition of book art, handmade paper,and print work at Cheltenham Center for the Arts. Evidence of the artists’process is on display alongside the finished pieces. The exhibition runsthrough April 4. For more information, visit www.cheltenhamarts.org or call(215) 379-4660. Touch: Beyond Sight, an exhibition of work designed to beexperienced through touch, is on view at the Noyes Museum of Art in Oceanville,New Jersey, through May 22, with an opening reception on March 4. The exhibitincludes eight sculptures in handmade paper by Carol Cole. For moreinformation, visit www.noyesmuseum.org. Two concurrent installations inhandmade paper, featuring work by Rie Hachiyanagi and Tatiana Ginsburg will beon view at Open Square in Holyoke, Massachusetts, through April 11. RieHachiyanagi’s installation is entitled “Paper City: Trace” (in the fourth floorgallery) and Tatiana Ginsberg’s work (in the second floor gallery) is called“La Perouse’s Last Letters.” For directions and further information pleasevisit http://opensquare.com or call (413) 532-5057. Paper Work: In, On, and OfPaper V opens March 11 at The Foundry Art Centre in Saint Charles, Missouri.This juried exhibition features art that utilizes paper as its main component.There will be an opening reception March 11, and the exhibition runs through April29. Visit www.foundryartcentre.org or call (636) 255-0270 for details. UncommonThreads: The Fiber Show at Artworks Gallery in Trenton, NJ, is on view March 19through April 16, with an opening reception on March 19. The exhibitionincludes work in handmade paper. Visit www.artworkstrenton .org for furtherinformation. Hand Voice and Vision: Artists’ Books from Women’s StudioWorkshop, curated by Kathy Walkup, is the most comprehensive exhibition ofWSW’s books to date. It will travel through 2013 to venues around the country,including University of Southern Maine (March 15 - April 30), Smith College(September 6 - December 20), Vassar College, and Scripps College. More aboutthe exhibition, catalogue and related events can be found atwww.handvoicevision.com. Korean-American Joomchi includes artworks made byrenowned Korean paper artists, along with traditional Joomchi works. Curator JiyoungChung has introduced the Joomchi art form to the United States by teachingartists and fine arts students. The exhibit is now traveling in Korea to “WithArtists Foundation Gallery” in Haeyirl Culture Village and to the CheongjuCraft Museum. Chung will have solo Joomchi exhibitions and workshops inEngland, Finland, and Australia in 2011 and 2012. Visit http://handsofkorea.comfor further information. The Gallery at the Paper Circle in Nelsonville, Ohiowill feature the work of paper and book artist Eileen Wallace during the monthof May. For more information and gallery hours, visit www.papercircle.org orcall (740) 753-3374. Michelle Samour will be having a one person exhibition,“Truth and Transience,” at the Houston Center for Contemporary Craft, 4848 MainStreet, Houston, TX 77002; www.crafthouston.org. It will run from March 25until May 15.

>CALLS FOR ENTRIES The tenth portfolio in H and Papermaking’s limited-editionseries—Handmade Paper: Fiber Exposed!—will spotlight a broad range of paper fibers, and the unique qualities inherent in a sheet when f iber is expertlymanipulated by the papermaker. Read the Call for Entries at http://portfo lios.handpapermaking.org/no10and note the entry deadline of A ugust 15, 2011.

>OPPORTUNITIES The Fabriano, Italy, Paper/Print/Book Intensive will take placeJune 14-29, 2011. Pyramid Atlantic Art Center will sponsor the course, led byartist Lynn Sures in conjunction with Giorgio Pellegrini of the Museum of Paperand Watermark, Fabriano, Italy. The course will offer students two weeks ofintensive study at the Museum with time to enjoy the beautiful Marche region.Traditional Italian book arts topics covered will be papermaking, watermark- making,intaglio printmaking, marbling and leather binding. Instruction will be given bynoted Italian masters in these techniques. For photos of last summer’s trip,visit www. lynnsures.com and go to “Workshops.” To register, contact Jose Dominguez,Director of Pyramid Atlantic Art Center at jdominguez@pyramid-at lantic.org.The registration deadline is April 1.

TheUniversity of Iowa Center for the Book is proud to announce the offering of anMFA degree in the book arts, beginning Fall 2011. This interdisciplinaryprogram will study the art of the book, both as a hands-on practice and as a historicaland cultural phenomenon. Emphasis areas will include papermaking, printing, digitalbookwork, calligraphy, bookbinding, artist bookwork, and supporting courseworkin the history of the book. For more information, visithttp://book.grad.uiowa.edu/ or call (319) 335-0447. Minnesota Center for BookArts now offers two Book Arts Certificate programs of study, beginning January2011, to recognize dedicated adult students who complete significant courseworkin the book arts and demonstrate knowledge and proficiency across book artsdisciplines, including hand papermaking, binding, printing, and design. TheCore Certificate in Book Arts is designed to recognize the achievements of astudent who has attained a broad knowledge in the fundamentals of book arts, aswell as a more in-depth understanding in one or more areas or techniques.Students must complete a uniform Core Curriculum, as well as a number ofelective courses within defined categories. After earning the Core Certificate,one may pursue an Advanced Certificate in Book Arts. The Advanced Certificateis designed to recognize and support the work of individuals who choose toseriously pursue advanced-level independent projects in one or more areas ofbook arts. For more information, visit www.mnbookarts.org or call (612)215-2520. Artists experienced in papermaking are invited to apply for theopportunity to spend up to three months working in the Paper Studio at theSouthwest School of Art & Craft. Artists are expected to provide their owntransportation and materials. Housing may be available, but is not guaranteed.Collaborations will be considered. For further information contact SSAC, 300Augusta, San Antonio, TX 78205, (210) 224-1848, www.swschool.org.

>PUBLICATIONS AND VIDEOS A short film from 1976 featuring Hayle Mill, made byAnglia TV and describing all the processes in making fine paper including a sectiondevoted to making and fitting a watermark to a mould, is viewable atwww.youtube .com/watch?v=Xs3PfwOItto. Pulp-Based Computing is a projectaffiliated with MIT’s Media Lab that involves embedding electro-active inks,conductive threads, and smart materials directly into paper during the handpapermaking process. For a short video of the process, and a bibliography,visit http://web.media.mit.edu/~marcelo/paper /index.html. Maine PublicTelevision recently broadcast a half-hour segment of Incredible Maine that featuredthe papermaking and pulp painting of Georgeann Kuhl. The host visits theartist’s studio, where techniques are demonstrated and finished work isdescribed, and wraps up the episode on the shore of Widgeon Cove where sheetsare made using a floating mould. To order the DVD, request show #213 from www .incrediblemaine.comor call (207) 798-6535. Paper Art I - 173 International Paper Artists is a newbook featuring the work of members of IAPMA (International Association of Hand Papermakersand Artists). More information, including images, can be found at www.iapma .info,or by contacting president@iapma.info. Did you miss last year’s Friends of DardHunter conference in Tennessee? Take a look at these video hightlihts...http://www.youtube .com/watch?v=KU282gomsMc If you enjoyed the article in HandPapermaking’s Winter 2010 issue about the Pulp Painting Symposium at SouthwestSchool of Art, look for the two-hour documentary film to be relased soon. Watchthe trailer at http://vimeo.com/20146199

> MISCELLANEOUS Papermaking moulds arebeautiful and have been the defining tool for the craft for the last twothousand years. For the last year Simon Green has been photographing hisextensive collection of papermaking moulds and is now posting them tohttp://papermoulds .typepad .com/. There are very few collections of moulds inthe world and, although a few moulds are on display in paper museums, the maincollections are not generally accessible to the public. Mary Hark, artist andAssistant Professor at the University of Wisconsin-Madison, was one of fourindividuals awarded the 2010 GO Ingenuity Award, for her work in Kumasi, Ghana.The award celebrates innovation and enables recipients to share their skillswith young people in developing nations. In collaboration with local artistsand educators, Mary helped establish a local income-generating papermaking enterprisethat makes use of invasive plant fibers. This award will support ongoing engagementof youth at this paper studio. Correction… We regret an error in the photo captionon page 35 the Winter 2010 issue of Hand Papermaking magazine. Padma Nambisan appearsat the far right (not left) in the photo.

>CLASSIFIEDS Classifieds in the HandPapermaking Newsletter cost $2 per word, with a 10-word minimum. Payment is duein advance of publication. Little Critter Hollander Beaters, sized from 3/4# to10# capacity. Contact Mark Lander, 51 Hodgsons Rd, RD2, Rangiora 7472, NewZealand; ph 0064 3 3103132; email lander-gallery3@xtra.co.nz. Cotton LinterPulp. All quantities available. Call Gold’s Artworks, Inc. 1-800-356-2306.

>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: Anonymous, Timothy Barrett, Gibby Waitzkin. Patrons: TomBalbo, Sid Berger & Michèle Cloonan, Jeffrey Cooper, Barbara Lippman, DavidMarshall, John L. Risseeuw. Underwriters: Michael Durgin, Peter Newland &Robyn Johnson, Gordon & Roswitha Smale, Nancy & Mark Tomasko, Beck Whitehead,Pamela & Gary Wood. Sponsors: Cathleen A. Baker, Tom & Lore Burger,Greg Campbell, William Dane, Gail Deery, Jane Farmer, Fifth Floor Foundation, HelenFrederick, Helen Hiebert, Lois & Gordon James, Mary Lou Manor, Andrea Peterson,Margaret Prentice, Kimberly Schenck, Richard H. Schimmelpfeng, Eileen Wallace.Donors: Patricia M. Anderson, Eric Avery, Carol J. Blinn, Carla A. Castellani, CodexFoundation, Nancy Cohen, Rona Conti, Wavell Cowan, Paula Cox, Jennifer Davies,Burgess A. Dell-Wilson, Susan Mackin Dolan, Drachen Foundation, Linda Draper, KarlaElling, Cynthia J. Fay, Kathy Fitzgerald, Rose Folsom, Jennie Frederick inmemory of Vivian Frederick, Sara Gilfert, Lori B. Goodman, Guild ofPapermakers, Robert Hauser, Linda L. V. Illgner, Lou Kaufman, Ann Marie Kennedy,David Kimball, Karen Kunc, Barbara Landes, Roberto Mannino, Joyce McDaniel, JulieMcLaughlin, Dennis Morris, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Harry& Sandra Reese, Dianne L. Reeves, Carolyn A. Riley, Michelle Samour, MaryC. Schlosser, Betty Sweren, Claire Van Vliet, Anna Velez, Aviva Weiner, PaulWong & John Colella, Therese Zemlin. Supporters: Annie Alexander, Lois D.Augur, John Babcock, James Barton, Inge Bruggeman, Bob & Annie Cicale,Nancy O. Daley, Martha Duran, Ted Gast, Tatiana Ginsberg, Eve Ingalls Von Staden,Sally Wood Johnson, Kristin Kavanagh, Joyce Kierejczyk, Betty L. Kjelson, Hedi Kyle,Anita Liebeskind, M. P. Marion, Edwin Martin, Linda Mcneil, Kathryn Menard, MargaretMiller, Catherine Nash, Patricia L. O’Neal, Mary O’Shaughnessy, Elspeth Pope, TimothyRay, Carolyn A. Riley, Robbin Ami Silverberg, Allan Thenen, Sue Tihansky, AprilVollmer, Women’s Studio Workshop, Kathy Wosika. Friends: Anonymous, GerryBrock, Carol Cole, Dale Emmart-Lieberman, Arlene Gitomer, Jean Gumpper, SusanHersey, Joan Kopchik, Fran Kornfeld, Deborah Sharpe- Lunstead, Joe Sites,Bonnie Stahlecker, Susan Stewart, Monica Villars, Robert Walp. In-Kind: AdobeSystems Inc., Zina Castañuela, Janet DeBoer, Gail Deery, Paul Denhoed, JimEscalante, Peter Ford, Hook Pottery Paper, Rick McSorley, Microsoft Corporate Citizenship,Britt Quinlan, Amy Richard, USDA Beltsville Agricultural Research Center, GibbyWaitzkin, Beck Whitehead. Founding Contributors to the Hand Papermaking Endowment:49er Books, Shirah Miriam (Mimi) Aumann, Cathleen A. Baker, Tom Balbo, TimothyBarrett, Sidney Berger & Michele Cloonan, Tom & Lore Burger, Jeffrey Cooper,Jeanne M. Drewes, Jane M. Farmer, Fifth Floor Foundation, Helen Frederick, SaraGilfert, Susan Gosin, Joan Hall, Lois and Gordon James, Sally Wood Johnson, DavidKimball, Elaine Koretsky, Karen Kunc, Barbara Lippman, Winifred Lutz, Susan M.Mackin-Dolan, David Marshall & Alan Wiesenthal, Peter Newland Fund of the GreaterEverett 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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