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

Number 96, October 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 NorthAmerica or $80 overseas, including two issues of the journal Hand Papermaking. Twoyear rates are discounted: $105 in North America or $155 overseas. Tosubscribe, send a check to the address below, call or fax us to use Visa orMasterCard, or visit our website. Foreign subscribers may use a credit card, orpay in U.S. dollars via money order or check marked payable through a U.S.bank. For more subscription information, or a list of back issue contents andavailability, contact:

Hand Papermaking, Inc. PO Box 1070,Beltsville, MD 20704-1070 Phone: (800) 821-6604 or (301) 220-2393 Fax: (301)220-2394 E-mail: info@handpapermaking.org Web: www.handpapermaking.org

The deadline for the next newsletter (January 2012)is November 15. Please direct all correspondence to the address above. Weencourage letters from our subscribers on any relevant topic. We also solicitcomments on articles in Hand Papermaking magazine, questions or remarks fornewsletter columnists, and news of special events or activities. Classified adsare $2.00 per word with a 10-word minimum. Rates for display ads are availableupon request. Hand Papermaking is a 501(c)(3) non-profit organization. Staff:Tom Bannister, Executive Director; Mina Takahashi, Magazine Editor; ShireenHolman, Newsletter Editor; Mary Tasillo, Advertising and Listings.

Board of Directors: 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, Margaret Prentice, Amy Richard, Gibby Waitzkin, Eileen Wallace,Beck Whitehead. Board of Advisors: Timothy Barrett, Simon Blattner, Gregor R.Campbell, Kathryn and Howard Clark, Mindell Dubansky, Jane M. Farmer, Helen C. Frederick,Dard Hunter III, Elaine Koretsky, James Sitter, Claire Van Vliet. Co-founders: AmandaDegener and Michael Durgin.

DearSubscribers, I am President of the Surface Design Association, and I wanted tolet you know about the current issue of our journal, which features paper andbooks. The Surface Design Association defines its focus as the coloring,patterning, and structuring of fiber and fabric, and its mission as thecreative exploration of processes such as dyeing, painting, printing,stitching, embellishing, quilting, weaving, knitting, felting, and papermaking.Although last on the list, papermaking receives the same attention as the otherdisciplines. Paper & Books is the theme of the Summer 2011 issue of SurfaceDesign Journal, SDA’s quarterly magazine. Summing up thecontents, Journal editor Patricia Malarcher writes: “one meets papermaking as afocus of research,a means toward expressive artwork, an economic stimulus in a developingcountry, a form of therapy.” Coverage includes the strong personal work ofMary Hark as well as an ambitious papermaking project she initiated in Ghana, JiyoungChung’s contemporary interpretations of traditional Korean joomchi,and the Combat Paper Project through which veterans of wars are invited totransform military uniforms into handmade paper. Leslie Nobler’sartist books inspiredby historic Jewish prayer books encased in fabric andMarguerite Jay Gignoux’s 24-foot long book of miniature pages are amongthe book projects represented in the issue. One article discusses the use ofthe paper that is all around us as recyclable material. Concludingher editorial, Malarcher observed: “At this point in the 21st century, most of us areparticipants in a grand papermaking enterprise. As we diligently gatherup junk mail and yesterday’s news to drop in recycling bins, each scrap becomesan investment in the continuation of an ancient heritage.” Journalsubscriptions come with SDA membership, but single issues can be orderedby clicking on “Marketplace” on the home page of SDA’s website: www.surfacedesign. org. Forinformation on other member benefits, including individual pages formembers’ profiles, click on “Get Involved,” also on the home page. Articles on SDA’srecent biennial conference, held in Minneapolis in June, appear in our dynamic NewsBlog atwww.surfacedesign.org/newsblog/. Members also receive a monthly eNewsfilled with timely information on the organization, events, and opportunities. Candace Edgerley Arlington,Virginia

INMEMORIAM Allof us at Hand Papermaking were saddened to hear that James Yarnell passed awayon July 19. He was 94 years old. There was a service on August 18 at theWichita Art Museum. Jim served on our Board of Advisors for many years. He wastalented, generous, witty, and always ended his correspondence with the phraseKeep Breathin’! Seepage 5 of this newsletter for an article on Jim by Peter Thomas, withadditional remembrances by Lee McDonald, Lucy Wallingford, and Howard Clark.Tributes may be sent to the family via www.dlwichita.com

Dear Editor, I amcontacting you in hopes that you will spread the word about a project I wish todevelop. I am interested in repurposing my cutting room fabric waste intopaper. The paper would then be used for my hangtags and packaging. Let meprovide a little background. I am a Rhode Island School of Design graduate withan additional degree in textile development from the Fashion Institute ofTechnology, and 10 years experience developing and designing artisanal productsfor the women’s and children’s markets. This past year, I launched an ecoconsciouschildren’s collection which was very well received in its first season, gainingdistribution in the Caribbean as well as selling in better boutiques across theUSA. I am continually looking for ways to further develop sustainability in mysupply chain. My collection’s name, Taravat (meaning fresh and new in Persian)invokes this mission to implement a fresh approach by creating a successful,commercial collection, using non-traditional, sustainable resources to aid inreducing the negative impact of the textile/garment industry on theenvironment. The fabric I currently source is unbleached, certified organiccotton which I then dye with low impact reactive dyes and finish without theuse of chemicals Certified organic cotton is non GMO, pesticide free and pickedby hand, thus eliminating the use of toxic defoliants and reducing energy use.As a sustainable entrepreneur, closed loops are a central theme in my supplychain. Developing a way to use fabric scraps as a resource for my businesswould be a wonderful way to reduce my waste by creating a closed loop at theend of my production cycle. I am searching for a papermaker or group ofpapermakers who would be interested in working with my cutting room scraps,which would need to be made into pulp, then into paper. I want to use that paperfor my hangtags and perhaps packaging. I believe this concept is a greatopportunity to keep craft alive and to re-use waste innovatively. It is my goalto make this project scalable, collaborative, and educational, providing anoutlet for creativity in a mutually beneficial arrangement. I would sincerelyappreciate your encouraging any interested artist(s) in your community ofskilled craftspeople to contact me. Thanks so much for your consideration. BestRegards, Evan Elizabeth McCauley Founder, Creative Director, Taravat LLC (646)543-7351; info@taravatkids.com; www.taravatkids.com

> ALONG THE PAPER ROAD... This regularfeature offers paper musings from Elaine Koretsky—renowned paperhistorian, researcher,and traveler. Elaine and Donna Koretsky continue their research into makingpaper from beaten silk cocoons. Look for more on their results in a futureissue.

> TEACHING HANDPAPERMAKING  Based inPhiladelphia, Winifred Radolan operates an itinerant teaching papermill, and hastaught papermaking to thousands of adults and children. In this column Winniedescribes a workshop in making paper from vegetables.

On an evening in mid-April, after a long andchallenging winter, I received a phone call from my friend Cindy Bowden, inquiringabout my availability the second weekend in May. Since Cindy’scalls often kick-offsome kind of adventure, I responded that there was nothing on my calendar I couldn’twiggle around. It seems she had been invited by the Maine Craft Council to teach aworkshop on making paper from veggies, and she asked if I’d like to goalong tohelp. As more details unfolded, it turned out that we’d be teaching atHaystack MountainSchool of Crafts in Deer Isle, Maine, where the opening weekend of the season isdedicated to workshops offered by the Maine Craft Council for their membership.I was ecstatic to be invited along! Cindy had been recently transplanted fromthe American Museum of Papermaking in Atlanta, Georgia, to the AmericanAssociation of Wood Turners in St. Paul, Minnesota. Since her move includedmany new responsibilities and travel requirements, I wished to do whateveradvanced preparations I could to contribute to the Haystack weekend. This includedalerting Cindy, who had never been to Maine, to the fact that cabins andstudios on Deer Isle, where spring is slow to arrive, would not be heated, butwe could expect the most delicious food to be served in the main dining hall,with hot drinks available at all times! And I also promised to pack my many plantfiber samples and perhaps some precooked fibers. As it turned out, I managed totuck three bags of cooked, dried, and quite flattened plant materials inbetween all the thermal undies, warm socks, and sweaters packed into my onecarry-on suitcase. The official workshop started on Thursday evening after acommunity welcoming dinner that Cindy and I almost missed due to flight delays.We met with our four students, three of whom were newcomers to vats of paperpulp. Cindy gave a most interesting presentation on the history of papermakingand I followed with my discussion of bast, leaf, seed hair, and grass sourcesof fiber from plants, with accompanying paper samples to view. A quick surveyof the studio revealed a Reina Hollander beater, a large hydraulic press, dryingbox, moulds and deckles, plenty of vats and buckets, but none of the cotton andabaca linters Cindy had pre-requested. It seems that Haystack staff hadmistaken drying box blotters for linters and thought there were plenty insupply. And so the adventures began! On Friday morning we had our first opportunityto exercise our papermaking ingenuity. It turned out that overnight shippingfrom a supplier was not an option on Deer Isle on a weekend. Meanwhile, I hadlocated a stash of very tired blotters that could be used to stretch ourvegetable fibers nicely. And, as the four students had also somehow notreceived instructions to pack veggies with their undies, a shopping possewas organized to descend upon a local supermarket. While two of the students remainedat the studio with me as I located cooking pots, got the propane stove fired up,set up vats, and started beating the first load of blotters, the two localstudents drove Cindy to the market. I would have loved to be a “flyon the wall” to observe the facial expression of the cashier as she rang up $90worth of rhubarb, celery, leeks, fennel, artichoke, beets, chard, asparagus,and red and white onions! There would be much chopping, cooking, rinsing, andblending ahead. I was glad to have my pre-cooked dandelion petals and cannaleaves ready in vats so that everyone could form some beautiful sheets of paperto entice them further into the chopping and cooking they were about to do. Oursolution to keeping the cold, damp studio warm was to schedule constant cookingof our veggies throughout the next three days. In addition, we ensured ourselvesplenty of visitors from concurrent workshops on campus, as the room was not onlywarm, but also emitted a scrumptious aroma! After everyone had completedindividual paper samples from the various vegetable vats, Cindy demonstratedtechniques of embedding inclusions and layering fibers for furtherexperimentation. Because the drying box wouldn’t have quite enough time to performeffectively in a couple of cold days (and because I’d already purged the damaged blotters),we decided to import space heaters from people’s cabins and board restraint-drythe sheets of paper. It turned out to be very visually appealing evidence of ourprogress. We dedicated Sunday morning to a massive studio clean-up effort,followed by a paper identification session. I guided everyone through aJapanese stab binding so that they would have a sample booklet of their veggiepapers. The final morning treat was a massive studio walk-through so that allartists could view what had been produced in the various workshops. In additionto papermaking, sessions were being held in sewing machine embroidery,ceramics, iron works, basketry, wood working, and jewelry. It was remarkable tosee what had been accomplished in such a short time. After leaving Deer Isle,Cindy and I spent Sunday afternoon driving through Acadia National Park. Evenin the rain the views were simply breathtaking. We ended our wonderful adventurewith a Maine lobster dinner. I was so glad I had been able to “wigglemy calendar around” so that I could be part of this outstanding weekend!

> 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. This column is about papersplitting, for forgers and others. That’ll do nicely1

In these cash-strapped days, we are all lookingforward to making our money go that little bit further. It was ever thus as ourarchives from 150 year ago reveal. In the nineteenth century, postalcorrespondence was the main form of remote communication. With up to five maildeliveries a day in some areas, John Barcham Green could write to his wife Emmain the morning and get a reply in the afternoon— and they did thiseven when both were at home at night! These were short letters or cards butsome letters were longer and we have thousands of examples in the archives. Inpart of a letter from Gloucester on September 4, 1862, to John Barcham Green, RobertDrake wrote: The rapid daily return of the Bank Paper to the establishment forfresh notes from Country Bankers, for some time to come—must alone be agreat troublelabour and expense in addition to the reduction, great reduction of the circulationby the universal distrust of the public. That the present Notes will asspeedily as possible be called in, I think therefore, there can be not doubt—Aspurious £10 was passed to a Butcher, in this City in the Market last Saturday :-upon finding its way into the hands of Bank at Cirencester they had some doubtsabout it, but undecided that they telegraphed the number to the Bank in London,and learned that it must be forged: this is remarkable, as shewing howdifficult it is for even Bankers, to distinguish a genuine from a forged note. Onerecommendation of any plan for a new Note, would surely be, its speediestadaptation—before all others, in addition to cheapness; and would not theseproperties be probably the characteristics of my idea? Enclosed with thisletter is a cutting from the ‘Bath Journal’ Mr Thomas Millare, a native of Bath,now one of the Queen’s bookbinders, under the librarian at Windsor Castle, hasdiscovered a method of splitting bank-notes or any other sheets of paper. Therecan be no mistake about the matter, as we have now before us a copy of a leafof own journal completely split in two. The engravings are brought out moreclearly by the process and when mounted on cardboard present a strikinglyimproved appearance. The discovery is applied by Mr Millard to practical use inprint-mounting, and in repairing torn leaves of books, which he can soskilfully manage that the junction of the new and old paper can with difficultybe distinguished. The mounting of old prints upon paper is also so completethat the specimens we have seen seem impressed upon the original paper.Unscrupulous people would certainly turn this plan of banknote splitting toprofitable account if they could find it out, inasmuch as the halves could bemade as stiff as the whole, the blank parts could be printed in imitation ofthe original, and the water-mark would, of course, be perfect. A contemporarysays that “Mr Millard has devised a method of manufacturing paper that cannot besplit, and bankers will, probably, soon be compelled to make use of this invention;but this, we understand, is a mistake. Mr Millard, to prevent the difficulty whichmight arise to the Bank of England from having their water-mark left on blankpieces of paper, upon which might be printed facsimiles of their notes,suggests a plan for the prevention of the fraud.” Although we do notknow anything about Robert Drake, clearly many minds—criminal andotherwise—were turned to this subject. It would be fascinating to know howMillare’s invention prevented paper splitting. Whilst splitting soundshazardous, goodsystems can actually make it routine. In 1901 the great bookbinder DouglasCockerell explained the technique he used: “The paper to be split shouldbe well pastedon both sides with a thickish paste, and fine linen or jaconet placed on eachside. It is then nipped in the press to make the linen stick all over, and leftto dry. If the two pieces of jaconet are carefully pulled apart when dry, halfthe paper should be attached to each, unless at any point the paste has failedto stick, when the paper will tear. The jaconet and paper attached must be putinto warm water until the split paper floats off.”2 As the Berlin wallweakened and eventually fell, Western paper conservators learned with someastonishment that their East Germany counterparts had developed a productionline approach to conservation using paper splitting. This was pioneered by Dr.Wolfgang Wächter, Chief Restorer, Deutsche Bücherei in Leipzigin the 1980s.3Althoughreference is made to the technique dating back to 1848, I believe I recallreference to it being used in Arabia much earlier. Nevertheless it seems thatthe development by W. Baldwin, an English restorer at the renowned printdealers P. Colnaghi, attracted the attention of the Bank of England who allegedlypaid him compensation to reveal the technique to them rather than use it for wrongfulpurposes.4Papersplitting is a useful technique, not only for forgers but also papermakers. Thepapermaking process inevitably segregates fibres and other material, particularlyloadings from the wire side to the felt side of the sheet. This can be particularlyimportant for heavily loaded machine made papers. It would be useful to knowthe percentage of a particular loading at various levels in the sheet but howcould this be done? The answer is repeated sheet splitting. A paper in July2010 describes how up to 14 layers can be separated using a heat seallamination technique5, and I recallhearing of an alternative, using rollers chilled below freezing point, thatcould yield 16layers. Now I know times are tough, but rather than splitting greenbacks, Ihope readers will find positive as well as creative uses for this technique! 1. With apologiesto the American Express Company 2. Douglas Cockerell, Bookbinding and the Careof Books (London: Pitman, 1978, © 1901), 63-64. 3.http://www.clir.org/pubs/cpanews/cpanl79. html andhttp://www.archival.com/newsletters/ apnewsvol8no1.pdf 4.http://cool.conservation-us.org/jaic/articles/ jaic39-03-001_2.html 5.http://www.innventia.com/upload/Reports%20 (public)/Innventia%20report%2071.pdf

> PROFILES IN PAPER Guest columnistPeter Thomas has written this tribute to Jim Yarnell, with added contributions fromLee McDonald, Lucy Wallingford, and Howie Clark.

R. James “Jim” Yarnell was apapermaker, photographer,pilot, artist, bookmaker, and life member of the Friends of Dard Hunter. Hedied Tuesday, July 19, 2011, in Wichita, Kansas, at age 94. Jim was influentialin the renaissance of hand papermaking in the 70s, both through hiscontributions to conferences and to publications. I first met Jim Yarnell in 1976, atwhat I remember being called “the second international meeting of hand papermakers,”held in Santa Barbara, California, in conjunction with The Handmade Paper Objectshow at the Santa Barbara Museum of Art. I had recently reinvented a way to makepaper by hand, and was demonstrating “ye olde methods ofpapermaking” at theRenaissance Pleasure Faires, but I really didn’t know a thing aboutpapermaking. Iwas making pulp in a blender. At that conference they were talking about hydration andfibrillation and I didn’t have a clue what it was all about, and no one would explaina thing until I met Jim Yarnell. He was handing out a single sheet flyer he hadprinted, titled “Der Hollander,” which described how to build a Hollander beater.I knew I needed one. He said it was easy, explained how they worked, and withhis encouragement I built my own beater. Jim was a man who was knowledgeable,funny, encouraging, inspiring, and just plain friendly all at the same time. Ionce asked him why he started making paper and he told me it was because of thecottonwood trees. When they lost all their fluff it was all over the place inWichita and he just decided he should use it to make paper. I was never sure ifhe was telling the truth about this or just pulling my leg. The July 22, 2011,edition of The Wichita Eagle published a profile of Jim written by Amy ReneeLeiker. She includes this biographical information:1 Mr. Yarnell wasborn Jan. 18, 1917, in Little River. At 10, he moved to Wichita with hisparents, Roy and Ruby Yarnell. His lifelong love of hand-crafting art startedyoung. As a Boy Scout, he built a kayak by hand. . . . After graduating from NorthHigh School—where he met his future wife, Ann Holmes—Mr. Yarnell opened aphotography studio. Mr. Yarnell joined the Army in February 1942, workingthrough the ranks to become a staff sergeant. He served as a World War IIcombat photographer and earned a Bronze Star for his service in Burma and India. . . . In1952, Beechcraft hired him as supervisor of photography. While working atBeechcraft, he flew to numerous American landmarks, capturing the landscape onfilm for a 1961 book called “This Is My Land.” . . . Mr. Yarnell retired fromBeechcraft in 1982. He spent the last 30 years of his life making books, painting,and presenting slide shows of whimsical mailboxes he photographed over theyears. I started making miniature books around 1980, and the first nationalmeeting of miniature book publishers was in 1983. Imagine my surprise to findJim Yarnell there when I arrived. It turned out that as well as being a papermakerhe also printed miniature books on his own handmade paper. His miniature book “Specimens”is probably one of my favoritebooks about papermaking. The text accompanying the paper he made from Aspen reads asfollows: “Aspen is the western relative of poplar and is very big in thecalendar trade because of its white bark and brilliant yellowfall coloring…It is also the very favorite food of the western beaver. Don’tever loan this book to a beaver…” I saw a good bit of him in the years that followed.Once a year we met at Miniature Book Society meetings and then again at Friendsof Dard Hunter meetings where he was noted for his brilliant wit and more brilliantplaid pants. I remember him at the 1987 FDH conference in Reno. He was part ofa roundtable presentation on building beaters. Everyone else showed slides, butJim pulled out a 2 x 2 x 1 foot box, set it on the table, pulled off the lid.Inside was a miniature over/under Umpherston beater, made from clear Plexiglas,which he had made specifically for the occasion. He called it his cocktailbeater (in honor of the fact that the meeting was being held in a casino/ bar).He turned it on; it ran. We were all astounded, and soon drunk. He wasinventive, smart, funny, and we all loved him. Jim’s wife had healthproblems and he stoppedtraveling. We lost contact. A few years ago I began to wonder what was up. I triedcalling but the phone just rang. I wrote to him and never heard back, but myletters were not returned by the post office. I tried calling folks with thelast name of Yarnell in Wichita, but none could tell me about him. Finally lastyear, because of Howie Clark, who told me that some of Jim’s photos had recently beendonated the Wichita Art Museum, I made contact with his daughter. It turned outJim was still alive, but had dementia. We routed our Wandering Book Artists tripthrough Wichita to say our farewells. He died a few months later. His familygave me the Plexiglas cocktail beater and I will bring the beater to themeeting in Santa Barbara so we can all drink a toast to Jim and say farewell toa good friend of handmade paper. I asked Lee McDonald, Lucy Wallingford, andHowie Clark if they would also write a bit about Jim for this article. Theircontributions follow: Lee S. McDonald: Jim Yarnell was a generous man:generous with his time, his spirit, his laughter, and his humor. He loved paperand shared his knowledge freely with those around him. Jim showed up at earlyFDH meetings with stories of Hollander beaters he had made that looked likesteamboats and others that looked like your basement plumbing. They werewonderful machines. He was interested in making machines that people couldafford—and he was inventive: since he had worked in the aircraft industry he wasable to gather odd parts together and through his contacts was able to haveparts fabricated the way he wanted them. When I actually saw the machines he hadmade I was inspired to try my luck at building beaters. It’s a bitdifferent to gofrom making one beater to making something that you can repeat over and over withoutdriving yourself crazy. Jim helped me immensely. He gave me the patterns to makethe aluminum rolls. He gave encouragement all throughout the process. I namedthe first over/under beaters I built the Oak Park Beater in honor of his contribution,after the private press name he used for the books he printed. I shall alwaysremember him, and any remembrance is always accompanied with a smile. Here’sto Jim! He shall be missed. Lucy Wallingford: When I was about twenty-two Istarted making paper in the printmaking department of Kansas City ArtInstitute. No one at the school made paper, so I was starting from scratch. Igraduated and moved to Moab, Utah, because I was in love with the red rocks,and I continued making bad blender paper in my living room. At that time therewas only one book on papermaking, the one by Jules Heller. I read every word inthat book many times, trying to glean information. It was frustrating, theytalked about beaters and moulds and deckles but they never explained how tomake one or even showed one up close so you could copy it. FinallyI realized I needed to go find a teacher or at least someone who could show me a realmould and deckle. Since I was in Moab, everyone who could help me was far away.So I decided to just pick the person from the book I most wanted to meet. OnceI thought about it that way, it was obvious. Heller features many people inthat book, people all over America who were each making paper in their studio,rediscovering an old craft. But of all those incredible people Jim Yarnell stoodout. He had contributed a photo essay of beating paper, using a beater hedesigned and built himself, which he called the Irving E. Lee. His humor camethrough in the captions to those photos. He was not selfimportant; he wasfunny. In 1982 I wrote him a letter on my soft paper with rose petals in it,and about four days later he called me on the phone! It turned out that Jim wasalso in love with the red rocks, so a letter from Moab got his attention. Hehad spent a lot of time in the Utah desert many years previously. We talkedabout the desert and we talked about papermaking and he invited me to Wichita tosee his paper studio. I rode the Greyhound Bus over there, and stayed with himand his wife. During the day we made paper together. He was incrediblygenerous. He gave me some stock to make moulds and deckles out of. He also gaveme some of his tiny books, where he made the paper, printed the book using an oldpress, and then bound those pages into books. INCREDIBLE. Back home I was ableto make some equipment like Jim’s and finally I was making real paper. We stayed intouch and about a year later he called me up and told me he didn’t need theIrving E. Lee anymore and he wanted to give it to me. I couldn’t believe it; hewas giving me a beater! The only piece of equipment I couldn’t have figured outhow to make myself. We decided to meet at Hovenweep National Monument down nearthe Four Corners. I remember driving into the campground and there was Jim inan old truck, with the Irving E. Lee in the back. I parked my van next to himand in greeting he said “I’m pretty sure we have the only beater in thiscampground.” The two of us wrestled that huge, heavy beater into my van andafter a camp dinner and a good sleep I drove back to Moab. Jim was just asgenerous with other young papermakers as he was with me. At the Friends of DardHunter Paper Museum annual meetings he was like a rock star. He always had timeto talk to anyone who had questions about papermaking and bookbinding. I hadlost touch with him over the years. I quit going to the meetings and justfocused on my business. I wish I had called him each year to talk to him abouthow things were going. I miss him now. He was a true friend. To sum it all up…JimYarnell was a mentor for many of us, an important member of the handpapermaking community, and he will be missed. Howie Clark: We first met Jim bymail through Arnold Grummer. While I’m sure he was at the first handpapermaking conference at the Paper Museum in Appleton that Joe Wilfer puttogether, I think he visited us before that on the farm. He and his friend BillJackson came out in Jim’s Jeep wagon painted like a Navajo blanket. From thattime on we mainly saw him at Friends’ conferences. I visited Jim in 1978 on myway back from the (pre-Friends) conference in San Francisco. I had just startedmaking beaters and had the prototype in my van. Bill Jackson set up aworkshop/beater demo at the Art School at Wichita State, where, despite Jim andBill’s enthusiasm, no one at the school was much interested. During that visithe showed me his book, “This is My Land.” Up to that point I knew him to be afun and interesting guy, but during our discussion I began to realize what anextraordinary individual Jim was. His knowledge was encyclopedic, not only thehistory and aesthetics of books and art, airplanes, business, politics, music,etc., he also understood the technical details in depth and if it wasbuildable, he had probably built one. I remember that he was building a violin(!) at that time. He was a great supporter of the Friends of Dard Hunter; hisdonations to the auction were always the best. He was rather like the StatesmanEmeritus of hand papermaking and the book arts. He represented the very best ofthe private press movement and his skills were awe inspiring. The mostmemorable time I spent with Jim was at the Paper History conference that Timput together at Iowa. Late one evening Jim, Leonard Schlosser, and I, andperhaps a few others, talked hand papermaking for several hours. I was sittingat the feet of the Masters but was included in a wide-ranging discussion ofeverything from the derivation of “hot press” to marketing to manufacturing tocraftsmanship. It was one the highest points in my career as a papermaker. Handpapermaking and the book arts in America would be different, and far less interesting,but for Jim Yarnell. 1. www.kansas.com/2011/07/22/1943085/photographer-book-creator-jim.html HAND PAPERMAKING loves to hear from readers. What’syour opinion? What’s happening? What’s on your mind? Send your letters to theeditor: newseditor@handpapermaking.org

>DECORATED PAPER SidneyBerger, a professor at Simmons College in Boston and Director of the PhillipsLibrary at Peabody Essex Museum, has been collecting and researching decoratedpaper for over thirty years. “More on Marbling (3)” is the finalinstallment in Sid’s series about marbled papers.

I ended my lastcolumn with some words on a number of excellent paper decorators, mostlymarblers, whose work showed a combination of great technical skill andexcellent color sense. One cannot talk about this art without mentioning PollyFox, a superb marbler and—perhaps more important—the genius (with Dexter Ing) behindInk & Gall, the longest-running marbling publication that I know of. Thefirst issue, in June 1987, appeared just before the storied Marblers Gatheringin Santa Fe, New Mexico, of 1989. In fact, the enthusiasm for marbling generatedby Ink & Gall may have been the catalyst for the gathering. There is a largeand growing literature on marbling in English, but it is instructive to observethat a great proportion of that literature comes after the appearance of thiswonderful journal. For the benefit of all who wish to know the bibliographicalend of marbling, here is an accurate listing of every issue of the journal, showingthe bibliographical peculiarities of its numbering, along with an inventory of thenewsletters the journal editors put out. The journal Issue 1 = Vol. 1,No. 1 (June 1987) Issue 2 = Vol. 1, No. 2 (Autumn 1987) Issue 3 = Vol. 1, No. 3(Winter 1987) Issue 4 = Vol. 1, No. 4 (Spring 1988) Issue 5 = Vol. 2, No. 1(Summer 1988) Issue 6 = Vol. 2, No. 2 (Autumn 1988) Issue 7 = Vol. 2, No. 3(Winter 1988/89) Issue 8 = Vol. 2, No. 4 & Vol. 3, No. 1 (Spring/Summer1989) Issue 9 = Vol. 3, No. 2 (Winter 1989/90) Issue 10 = Vol. 4, No. 1 (Summer1990) Issue 11 = Vol. 4. No; 2 (Winter 1990) Issue 12 = Vol. 5, No. 1 (Summer1991) Issue 13 = Vol. 5, No. 2 (Winter 1991) Issue 14 = Vol. 6, No. 1 (Summer1992) Issue 15 = Vol. 6, No. 2 (Winter 1992) Issue 16 = Vol. 7, No. 1 (Summer1993) Issue 17 = Vol. 7, No. 2 (Winter 1993) The newsletter No. 1 (Autumn 1989)No. 2 (Spring 1990) No. 3 (Autumn 1990) No. 4 (Spring 1991) No. 5 (Autumn 1991)No. 6 (Spring 1992) No. 7 (Autumn 1992) No. 8 (Spring 1993) No. 9 (Autumn 1993)This seems to be the full run of the Ink & Gall publications. [Please note:I am missing Newsletter Issue No. 5, Autumn 1991. If anyone has this, I would begrateful to get a copy of it (Xerox would do). Thank you! Sid] These volumescontain a goldmine of information about marbling, and they are a must-read foranyone interested in the history of the craft in this country. In my files isalso a most sobering communiqué from the editors, Polly and Dexter. The firsttwo paragraphs read: During the hot and windy afternoon of May5, 1996, a wildland fire—later named the Hondo Fire—blazed across the Sangre deCristo mountains from San Cristobal through Lama to Questa, New Mexico,destroying all that was in its path. This complete, total devastation devouredour house, marbling studio, publishing office, library, and their entire contents. Wehad only enough time to save our cats, dog, and llamas. All personal and workrelated contents were completely destroyed. We are fortunate that no peoplesuffered serious injury of loss of life. The destruction included all back issuesof the marbling journal Ink & Gall and all the issue that was ready to goto press along with the inventory of our edition of the seminal work by Josef Halfer,The Progress of the Marbling Art, and Marbling on Fabric and AMarbler’s Companionby Polly Fox. This was a terrible loss to the world of scholarship and tomarbling in particular. A “rival” journal from a few years before, Marbling Bath, thevaliant work of Rochele Brener and Carl Weis, came out in only two issues: Vol.1, No. 1 (Spring 1994) and Vol. 2, No. 1 (Spring/Summer 1995). There was no Vol.1, No. 2. More recently, Jemma Lewis, in the U.K., has begun a marblingnewsletter, Marbling Times, which will basically be a short online publication,focused primarily on Jemma’s own work. I will conclude my trio of pieces on marblingby adding a few names of note: Montse Buxo and Antonio Velez Celemin, in Spain, have beenproducing absolutely knockout patterns in marbling for several years. Get toknow their work! You will be amazed. Iris Nevins, whose book Spanish Marbling(in both editions) is a gem (as are her other titles), makes perhaps the best classicalpatterns around. Nedim Sonmez, has put out a series of books showing hisbrilliant technical skill in producing marbles with fish and spirals, flowers,and other designs that are amazing. Garrett Dixon’s marbling is truly beautiful, and heis also a fine scholar on the history and technique of this medium. Iapologize toall those others out there whose lovely papers I just don’t have the space to writeabout here. Last word: Please send me information about your favoritemarbler(s). I need more of these lovely papers. Write to: sid@pem .org. Thanksvery much.

> FOR BEGINNERS Mary Tasillo is apapermaker, book artist, and mixed media maven based in Philadelphia. She teachesworkshops nationally. This is a continuation of Mary’s column from thelast issue, on basic andexperimental couching and drying surfaces. She resumes with an explanation ofrestraint drying.

While a stack drying system requires a strongpressing of the wet paper for best results, restraint drying calls for only a lightpressing so as to leave more water in the paper, helping it adhere to itsrestraining surface. Once it’s been pressed, the paper can be brushed or rolled outonto the board using a soft brush, brayer, or even a rolling pin, starting fromthe center and working out to the edges of the paper. The object is to get aneven contact with the restraining surface from edge to edge of the damp sheet.Sometimes, a small scrap of dry paper is placed under the edge of the new sheetat one spot to aid in lifting the paper once it’s dried. Humidity andtemperature will affect whether your paper maintains contact with the surfaceand dries flat, or whether it cockles and pulls away from the drying surface. Ihave found restraint drying in hot and dry climates to be much more challengingthan in cooler humid environments. If you are concerned about cockling, you mightuse a thin layer of methylcellulose to help adhere the paper to the restraint, aswell as taking this into consideration in determining where to place yourdrying surfaces in relation to the sun or sources of air. Paper that cocklescan always be tamed again by misting it with water and making use of stackdrying methods as a finishing touch—bringing some of the advantages of stack drying toyour pages in a speedier time frame. Experimental Surfaces What is theseverest danger you risk in choosing an unconventional surface on which tocouch? The worst thing that could happen is that your paper could stick, and you couldruin the sheet peeling it off your drying surface. That being said,perhaps you’ll discover something interesting. Low-relief sculptural paper castingsometimes involves casting paper over small or low-depth objects to dry. Oftenthis is accomplished by placing the objects on a sheet of Plexiglas and castingonto this surface. See Marilyn Sward’s column on Dimensional Paper Art inHand Papermaking Newsletter #67 (July, 2004). You might also consider how adrying surface can become part of your piece. How can a window be used not onlyas a drying surface but also as a display environment for your paper art? A fewof years ago, Bridget Elmer taught a papermaking workshop at AshevilleBookWorks as part of her Fibre Libre project (see http://flatbedsplendor. com/wiki/index.php/Fibre_Libre).She related the experiences of some workshop participants who decided to seewhat would happen if they dried some sheets on the parking lot surface or onthe hood of a car. (A word to the wise: rumor has it that the dried paperseemed to have inextricably fused to the car’s hood, turning the actionintomore of an experiment on the car than an experiment on the paper.) In parts of Asia,large sheets of paper are placed on the ground and dried on hillsides—explaininginpart rumors of papermakers just drying their papers on the lawn. Again,there are no wrong answers— though there may be mistakes. However, this is part ofthe discovery process of experimenting. Drying paper on the lawn will not makea suitable letterpress printing paper, but it might lend just the texture you needfor the handmade paper pieces of an installation project. Consider the end use,and feel empowered to play.

Listingsfor specific workshops and other events in the following categories are offeredfree of charge on a space-available basis. The deadline for the January 2012Newsletter is November 15. Contact each facility directly for additionalinformation or a full schedule. Teachers: Tell your students aboutHand Papermaking! Brochures and handouts can be mailed to you or your institution. Emailnewsletter@handpapermaking.org.

>CLASSES AND WORKSHOPS Asheville BookWorks, Asheville, NC, (828) 255-8444,www.bookworksasheville.com. Hands-on workshops including bookbinding, printmaking,decorative paper, and basic papermaking. Papermaking I, November 12-13, withFrank Brannon. Learn sheet forming techniques using beater-prepared pulp. PapermakingII, December 2-4, with Frank Brannon. Learn to use the Hollander beater toprocess various fibers and improve your sheet formation. Atlanta PrintmakersStudio, Atlanta, Georgia, www.atlantaprintmakersstudio.org, info@atlantaprintmakersstudio.org.Paper Marbling, November 5, with Marcia Watt. Learn all the steps to create 10different historical decorative paper patterns.  Carriage House Paper, Brooklyn, NY, (800) 669-8781,www.carriagehousepaper.com. Papermaking workshops offered in a new studiospace. Visit website for workshop schedule. Center for Book Arts, New York, NY,(212) 481-0295, www.centerforbookarts .org. Dozens of book and paper workshops offeredin midtown Manhattan. Portable Papermaking, October 22-23, with Melissa JayCraig. Learn tricks and tools for making paper in any location. Circle of LifeStudio and Summer Gallery, Eagle River, WI, (715) 479-9737, www.circle oflifestudio.com.Offering weekly papermaking workshops June through September, and by specialarrangement all year. Columbia College Chicago Center for Book and Paper Arts,Chicago, IL, (312) 344-6630, www.bookandpaper.org. Papermaking classes inspacious downtown studios. Dieu Donné Papermill, New York, NY, (212) 226-0573,www.dieudonne.org. Beginning and advanced papermaking classes for adults andchildren. Creative Techniques for Artists with Open Studio, October 25,November 8, or December 13, with staff instructor. Explore advanced techniquesand their application for two- and three-dimensional projects, with a differentfocus at each session; experiment on your own with studio pulps, making sheetsup to 11 x 14 inches. Introduction to Contemporary Papermaking, November 1 orDecember 6, with staff instructor. Learn the basic papermaking process. TheHall of Awa Japanese Handmade Paper, 141 Kawahigashi, Yamakawa-cho, Yoshinogawashi,Tokushima 779-3401, Japan, fax 81-883-42-6085, www.awagami.com. Washi Workshop,November 2-6, with staff instructor. Explore traditional Japanese methods formaking paper from kozo, from bark preparation to drying. Haystack MountainSchool of Crafts, Deer Isle, ME, (207) 348-2306, www.haystackmtn. org.Workshops in various disciplines, including papermaking and book arts. HelenHiebert Studio, Portland, OR, www .helenhiebertstudio.com, helen@helen hiebertstudio.com.One-day papermaking and lamp making workshops and Thursday evening open studiosfor experienced paper makers in North Portland. Hook Pottery Paper, LaPorte,IN, (291) 362-9478, jonandrea@hookpotterypaper .com, www.hookpotterypaper.com.Classes in papermaking and pottery and a residency program in northern Indiana.Intensive Open Paper Studio, September 24, with Andrea Peterson. Acquire newtechniques while working independently with a variety of pulps an fibers. InternationalPrinting Museum, Carson, CA, bookarts@printmuseum.org, www.printmuseum.org. Introductionto Papermaking, November 5, with staff instructor. Learn the basic techniquesfor making your own paper, along with the history of handmade paper in theWestern tradition. Inter-Ocean Curiosity Studio, Englewood, CO, (303) 789-0282.For more information on papermaking workshops with Ray Tomasso, contact him atray@raytomasso .com or (303) 552-8256. Basic Hand Papermaking, September 24 or October8, with Ray Tomasso. Learn Western sheet formation and sculptural casting techniques.Minnesota Center for Book Arts, Minneapolis, MN, (612) 215-2520, www.mnbookarts.org. Classes at the Open Book center for book and literary arts. BeaterTraining, October 11 or December 6, with staff instructor. Learn proper safety proceduresand use of MCBA’s three Hollander beaters as a pre-requisite to renting studiotime. Open Studio: Paper Beater, October 18 or December 13, with staffinstructor. Beat pulp for future studio use. Open Studio: Paste Paper, November1, with staff instructor. Create decorative papers of an infinite variety ofcolors and designs using pigmented paste in the company of other artists. OpenStudio: Marbling, November 12, with staff instructor. Work on your owndecorative papers in the company of other artists. Open Studio: Papermaking(B.Y.O. Fibers), October 22 or December 17, with staff instructor. Get into thevat, hone your sheetpulling technique, and enjoy the fellowship of otherartists, using your own previously beaten fibers. Introduction to Book Arts,September 22- October 20, with Sarah Peters, Suzanne Hughes, Sue Bjerke, andSara Parr. Explore the Western tradition of papermaking and paper marbling,create handmade books, and learn to letterpress print. Paper from Plants,September 24-25, with Emily Hoisington. Cook, beat, and form sheets of paperwith a variety of textures from natural materials. Abaca Lamps and Lanterns,December 3-4, with Helen Hiebert. Explore how to embed string, wire, and otherstiff yet flexible materials between sheets of handmade abaca paper, manipulating dried paper into forms ranging from lamps and lanterns to sculpturalobjects. Morgan Art of Papermaking Conservatory and Educational Foundation,Cleveland, OH, (216) 361-9255, http://morganconserva tory.org. Workshops inhand papermaking and the arts of the book in an innovative green environment. PaperCircle, Nelsonville, OH, (740) 753- 3374, www.papercircle.org, papercircle@ frognet.net.Call or e-mail for information about upcoming paper classes. Open Studio,second Saturdays, with studio artists. Gain new skills while working on themed,relaxed projects. The Papertrail, New Dundee, Ontario, Canada, (800) 421-6826,www.papertrail. ca. Classes in papermaking, marbling, and related arts andstudio 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. 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 craftworkshops, including papermaking. Peters Valley Craft Center, Layton, NJ, (973)948-5200, www.pvcrafts.org. Workshops in papermaking and a variety of crafts. PyramidAtlantic, Silver Spring, MD, (301) 608-9101, www.pyramidatlanticartcenter. org.Workshops in papermaking, printmaking, and book arts. Papermaking Society,First and Third Thursdays, with Gretchen Schermerhorn. Bring snacks, discusspapermaking techniques, and make as many sheets of paper as you can. Introductionto Papermaking, November 27, with Gretchen Schermerhorn or Laura Kinneberg. Learnto prepare fibers in the Hollander beater, how to form sheets of paper and how tocolor pulp with aqueous pigments. Harvest Paper, October 15, with Laura Kinneberg.Harvest plant scraps to turn into unique, seasonal paper. Casting a Bas ReliefPaper Sculpture, October 27, November 3, 10, and 17, with Lynette Spencer. Castcotton paper to create a three dimensional sculpture. Robert C. Williams PaperMuseum, Atlanta, GA, (404) 894-5726, http://ipst.gatech.edu/ amp/ MarblingTechniques, February 4, 2012, with Marcia Watt. Explore the process of Turkish marbling.Teachers’ Japanese Papermaking Workshop, June 18-22, 2012, with Berwyn Hung.Learn all aspects of the Japanese papermaking process, including building asugeta 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. Southwest School of Art, SanAntonio, TX, (210) 224-1848, www.swschool.org. Classes at the Picante PaperStudio. Individual papermaking classes can be scheduled for one person or a group;please contact Beck Whitehead at bhwhitehead@swschool.org for more information.Studio time, consultation and instruction available most Tuesdays, Wednesdays,and select Saturdays with Beck Whitehead. The Southwest School of Art will adda BFA program, beginning with a freshman class, in the Fall of 2013. BeginningPapermaking, Tuesdays September 20 to November 8, with Laura Wood. Learn how tomake paper the color, shape, and size you want for multiple uses includingsculpturally wrapping paper around an armature. Papermaking Saturdays, October15, November 19, or December 3, with Beck Whitehead. Botanical PaperLightshades, October 8-9, with Jo Etta Jupe and Linda Draper. Form sheets usingshaped deckles and simple decorative techniques, attaching sheets to lampshadeframes. Art in Cut Paper, October 15, with Laura Schultz. Learnscherenschnitte, a papercutting technique from Germany and the Netherlands. EncausticTechniques on Handmade Paper, October 28-30, with Michelle Belto. Women’sStudio Workshop, Rosendale, NY 12472, (845) 658-9133, info@wsworkshop .org.Summer Arts Institute includes workshops in papermaking, printmaking, book arts,photography, and other media.

>PUBLICATIONS AND VIDEOS ArtsMemphisTV presents a piece on Dolph Smith at http://youtu.be/hgo2pzrogz4 DolphSmith has over 1200 works incollections, and has been featured often in books and journals. He wrote awhimsical piece on paper airplanes in the Summer 1990 issue of Hand Papermakingmagazine. Inthe late 1970s he developed a Hand Papermaking and Book Arts program called “TheFlying Vat” at Memphis College of Art, where he taught for thirty years. TheSummer 2011 issue of Surface Design Magazine is devoted to paperand books. Articles and images include the work of Mary Hark, the Combat PaperProject, Amy Jacobs, and book makers and paper artists in Santa Cruz,California. For more information,go to: www.surfacedesign .org/publications/sda-journal. DieuDonné presentsThe Triumph of Night, a sculptural suite in handmade paper by Richard Tuttle.First forming wet pulp into “sandcastles,” Tuttle then altered these brightly pigmentedstructures by various actions and manipulations. Collaborating with artisticdirector Paul Wong, Tuttle uses this highly structured system of creation, manipulation,and destruction to challenge paper as a vehicle for art-making. For pricing informationabout this edition, or to schedule an appointment to view the work in person,please contact Rebecca Lax at rlax@ dieudonne.org or Kathleen Flynn at kflynn@ dieudonne.orgor call (212) 226-0573. Anne Vilsboll: The Language of Paper was recentlypublished. It is a richly illustrated work with English text on 352 pages,linen binding, and dust cover. For more details contact annevilsboll@gmail.com Pulp-BasedComputing isa project affiliated with MIT’s Media Lab that involves embedding electro-activeinks, conductive threads, and smart materials directly into paper during thehand papermaking process. For a short video of the process, and a bibliography,visit http://web.media.mit. edu/~marcelo/paper/index.html. ArnoldGrummer’s latest book—Trash-to- Treasure Papermaking—offers simple, time tested techniquesin a colorful, easy read format for eco-creative kids, families, and classrooms.An extensive project section will inspire paper fans and enthusiastic recyclersfrom ages 8 to 80! The 216 pages, in full color, feature photo stepouts for makingpaper and d-i-y equipment: simple handmolds and a paper press. ISBN 978-1- 60342-547-6.Available at Amazon, Barnes & Noble, or www.arnoldgrummer.com for anautographed copy. Dieu Donné is pleased to feature two editions inhandmade paper created by James Siena: Floppy Combs and When I Was Ten,produced in collaboration with artistic director Paul Wong. Inorder to bring the artist’s drawings to life in paper, Siena scribed his twoimages in clay slabs, from which a rubber mold was made. Black cotton pulp wascast into the molds by hand, and attached to a backing sheet of high-shrinkagefiber. The pieces were dried slowly to enhance the shrinkage and buckling ofthe sheets as the two different fibers pulled against each other. Forinformation about these editions, please contact Rebecca Lax atrlax@dieudonne.org or Kathleen Flynn at kflynn@dieudonne.org or call (212)226-0573.> more publications and videos at handpapermaking.org/listings.htm

> MISCELLANEOUS Pyramid Atlantic Art Center in Silver Spring,Maryland, is offering free one-year membership to eligible members of the militaryand their families. Pyramid Atlantic is a contemporary arts center dedicated tothe creation and appreciation of hand papermaking, printmaking, digital arts,and the art of the book. Membership includes free once a month “members only”nights featuring free hands-on activities such as screen printing orbookmaking, free once a month VIP tours of the current exhibition, and more.For additional information, please contact Jose Dominguez at jdominguez@pyramid-atlantic.orgor (301) 608-9101. Papermaking moulds are beautiful and have been the definingtool for the craft for the last two thousand years. For the last year SimonGreen has been photographing his extensive collection of papermaking moulds andis now posting them to http://papermoulds. typepad.com/. There are very few collectionsof moulds in the world and, although a few moulds are on display in papermuseums, the main collections are not generally accessible to the public. TheStudio Protector: The Artist’s Guide to Emergencies, a first of its kindemergency preparedness and recovery toolkit for artists is now available fromCERF+ (Craft Emergency Relief Fund + Artists’ Emergency Resources), a nationalnonprofit headquartered in Montpelier, Vermont. CERF+ has provided grants,loans, and brokered assistance from manufacturers, suppliers, and showpromoters to craft artists who have suffered career-threatening emergencies. Theorganization’s recent name change from the Craft Emergency Relief Fund to CERF+formally added “Artists’ Emergency Resources” to its menu of programs,providing informational resources on emergency readiness, response, andrecovery geared to the needs all types of artists. The toolkit is available atwww.studioprotector.org.

>CLASSIFIEDS Classifiedsin the Hand Papermaking Newsletter cost $2 per word, with a 10-word minimum. Paymentis due in advance of publication. For Sale: Hollander Beater,(Davis-Hodges). In great condition, used 1 1/2 pounder. $2,500.00 firm,shipping not included. Will send pictures to serious, interested buyers. PerlaKopeloff, Alamosa, Colorado fiberspace@hotmail.com LittleCritter Hollander Beaters, sized from 3/4# to 10# capacity. Contact Mark Lander,51 Hodgsons Rd, RD2, Rangiora 7472, New Zealand; ph 0064 3 3103132; emaillandergallery3@ xtra.co.nz. Cotton Linter Pulp. All quantities available. CallGold’s Artworks, Inc. 1-800-356-2306. Personal Items for sale: Handmade paper:760 sheets 9”x 22” crisbrook1975 barcham green watermark - cream / “apricot” Beloved beater: well used 2 lbDavis Hodges Paper press yoke: sturdyaluminum 40” wide, opening 36”wide, height 37” (used with large boards & tirejack to press large handmade sheets) Indian reed capri paper mould, 24x30 Assortedwire moulds, well used,24x32 & smaller Felts: large & small orange well-used Pulppainting: DouglassHowell 1954- 55, 34”x24” Ian Hugo (husband anais nin) atelier 17 engravings & platesEtching press: small 7” metal roller 16” bed Contact AlexandraSoteriou, (973) 238-1750, 36 Sunrise Drive, Hawthorne, NJ 07506, alexandra@worldpaperusa.com

>SPECIAL THANKS HandPapermaking would like to thank the following people and organizations who havemade direct contributions to further our mission. As a non-profit organization,we rely on the support of our subscribers and contributors to continueoperating. All donations are greatly appreciated and are tax deductible. Callor write for more information on giving levels and premiums. Benefactors:Anonymous, Timothy Barrett, Gibby Waitzkin. Patrons: Tom Balbo,Sid Berger & Michèle Cloonan, Jeffrey Cooper, Barbara Lippman, DavidMarshall, John L. Risseeuw. Underwriters: Susan Mackin Dolan, 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, Helen Frederick, Helen Hiebert, Ingrid Rose Company,Lois & Gordon James, Mary Lou Manor, Andrea Peterson, Margaret Prentice,Kimberly Schenck, Richard H. Schimmelpfeng, Eileen Wallace. Donors: MaryAustin, Patricia M. Anderson, Eric Avery, Carol J. Blinn, Carla A. Castellani, SarahCreighton, Codex Foundation, Nancy Cohen, Rona Conti, Wavell Cowan, Paula Cox,Jennifer Davies, Burgess A. Dell-Wilson, Drachen Foundation, Linda Draper,Karla Elling, Cynthia J. Fay, Kathy Fitzgerald, Rose Folsom, JennieFrederick inmemory of Vivian Frederick, Sara Gilfert, Lori B. Goodman, Guild ofPapermakers, Susan Gosin, Robert Hauser, Linda L. V. Illgner, Lou Kaufman, AnnMarie Kennedy, David Kimball, Karen Kunc, Barbara Landes, Anita Liebeskind,Ruth Lingen, Roberto Mannino, Joyce McDaniel, Julie McLaughlin,Dennis Morris, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Harry & SandraReese, Dianne L. Reeves, Carolyn A. Riley, Michelle Samour, Mary C. Schlosser, RobbinAmi Silverberg, Jean Stufflebeem, Betty Sweren, Claire Van Vliet,Anna Velez, AvivaWeiner, Ann Williams, Paul Wong & John Colella, Therese Zemlin. Supporters:Annie Alexander, Lois D. Augur, Barbara Babcock, John Babcock, Eugenie Barron, JamesBarton, Paola Biola, Inge Bruggeman, June Burden, Bob & Annie Cicale, PattersonClark, Lee Cooper, Nancy O. Daley, Lauren DuBeau, Martha Duran, Ted Gast,Tatiana Ginsberg, Christine Higgins, Lisa Hill, Tracy Honn, Timothy Howell, EveIngalls Von Staden, Sally Wood Johnson, Kristin Kavanagh, JoyceKierejczyk, Betty L. Kjelson,Hedi Kyle, Mary Leto, Anita Liebeskind, M. P. Marion, Edwin Martin, Anne McKeown,Linda McNeil, Kathryn Menard, Margaret Miller, Catherine Nash, Patricia L. O’Neal,Mary O’Shaughnessy, Cheryl Parisi, Elspeth Pope, Timothy Ray, Rona Richter,Carolyn A. Riley, Kim Schiedermayer, Agnes Schlenke, Susan Spak, Allan Thenen,Sue Tihansky, Joanna Torow, April Vollmer, Judith Welbourn, Women’sStudio Workshop,Kathy Wosika. Friends: Elizabeth Curren, Marian Dirda, Frances Hodsdon, FrancesHunter, Wendy Ingram, Elizabeth Johanna, Joan Kopchik, Annette Lindstrom, MonicaMarrone, Diana Marto, Martha Maxim, Amy Richard, Deborah Stone, TerryTomlinson, Saaraliisa Ylitalo. In-Kind: Adobe Systems Inc., Zina Castañuela,Janet DeBoer, Gail Deery, Paul Denhoed, Jim Escalante, Peter Ford, Holler Farm,Hook Pottery Paper, Rick McSorley, Microsoft Corporate Citizenship, TheMorgan Conservatory,Britt Quinlan, Amy Richard, Shawn Sheehy, USDA Beltsville Agricultural ResearchCenter, Gibby Waitzkin, BeckWhitehead. Founding Contributors to the Hand Papermaking Endowment: 49er Books,Shirah Miriam (Mimi) Aumann, Cathleen A. Baker, Tom Balbo, Timothy Barrett,Sidney Berger & Michèle 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,David Kimball, Elaine Koretsky, Karen Kunc, Barbara Lippman,Winifred Lutz, Susan M. Mackin- Dolan, David Marshall & Alan Wiesenthal, PeterNewland Fund of the Greater Everett Community Foundation, Margaret Prentice, PreservationTechnologies, L.P., Michelle Samour, Peter Sowiski, Marilyn & Steve Sward,Gibby Waitzkin, Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela& Gary Wood.

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