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

Number 97, January 2012

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. 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 (April 2012)is February 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, Anne Q. McKeown, Julie McLaughlin, Andrea Peterson,Amy Richard, Gibby Waitzkin, Eileen Wallace. Board of Advisors: TimothyBarrett, Simon Blattner, Gregor R. Campbell, Kathryn and Howard Clark, 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 All, I wrote to you in the October 2010issue about the dark future awaiting Papirmuseet Bikuben, Silkeborg, Denmark.At that time it was decided in the city council that the Paper Museum shouldclose due to the poor condition of the city’s finances. Now, the very good newsis that we have been saved at the last minute. We will carry on with a smallbudget, and will in future be part of the cultural museum, Silkeborg Museum. Weare very happy about this development, especially because we believe it bringssome stability to our existence. Apart from informing you of the good events, Iwant to thank you all for your support and assistance by signing up and writingletters to our lord mayor—we think that all of this, along with all the localprotests (see photo: “Save the Paper Museum” in Danish), in the end made animpression and made sanity win this time. Thanks and best regards, Bent SchmidtNielsen Papirmuseet Bikuben Silkeborg, Denmark

Dear Fellow Hand Papermakers, I havevolunteered to set up a paper studio in Ethiopia on a friend’s land near thecapital. He has a suitable building with water and power. Our plan is to useagricultural waste in combination with textile remnants to make high qualitydecorative papers. We have many goals, one of which is to provide work/pridefor women living in a nearby community. A funder who lives in Ethiopia hasstepped forward, which has enabled me to buy hand papermaking equipment fromWoman Craft in Chicago. The people who worked at Woman Craft were sad to go outof business but are pleased to have their 3-pound beater passed on to thepeople in Ethiopia. My friend in Ethiopia is working on the legal aspects ofcreating the business, including getting shipping permission, all of which willtake a while. In the meantime I am collecting equipment and storing it in hisdaughter’s garage here in Minneapolis. When we get the green light from theauthorities in Ethiopia, which I guess will be sometime in early 2012, we willcrate and ship the equipment over. The purpose of this letter is to see if anyof you have extra hand papermaking equipment you could donate or sell (for lessthan market value) for this worthy cause. Items of particular interest: -Mouldsand deckles—larger sizes would be great. Even ones that need repair could befixed. -Press with hydraulic jack—something lightweight (like aluminum) wouldbe ideal. -Cooking pots on the large side—could be enamel but stainless steelwould be better. -Large felts or pellons. -Another beater would be great. Isthere one that needs TLC just sitting in someone’s basement or garage? Thankyou very much. Please contact me directly if you would like more informationabout what we are doing. Amanda Degener c/o Cave Paper Inc. 212 N.2nd Street • Minneapolis, MN 55401 SKYPE aldegener • phone: 612-998-8075 •email: cavepaper@gmail.com

DearFriends,  I’m sorry to report the passingof our friend, Mick Frederickson. His great sense of humor and passion for papermakingremained with him till his death on November 5th. He was 71. Mick caught the “paperbug” in the late 1970s and it never left him. He experimented with all kinds of pulp andsheet forming and was particularly passionate about pulp painting. He truly embracedthe aesthetic of “paper as art,” and an exhibition of his work mounted for amemorial tribute last week in Colorado Springs showed his amazing range of expressionusing paper pulp. Some of those pieces were described by Jane Farmer in her profileof Mick in the Winter, 2007 issue of Hand Papermaking, Vol 22, no. 2. He couldrecall friends and memories from 30 years of papermaking, and even when hisshort-term memory failed, he could pull your leg into thinking that everythingwas all right. He never gave up wanting to make art and paper. Up until hisdeath he taught a weekly art class at his assisted-living facility. Mick ismissed by his three children, seven grandchildren, and his long-time companion,Carole Stott. Contributions in his memory may be sent to the Santa Fe Centerfor Book Art and Printmaking, c/o Patricia Pearce, 164 Valley Drive,Santa Fe, NM 87501. TomLeech Santa Fe, New Mexico Dear Readers, Since 1998, New Zealander MarkLander has constructed and shipped over 270 of his Critter beaters. On November6 he announced,via the Yahoo paper group, his decision to close the project, citing aworsening economy since the recent earthquakes near his home. Mark’slightweight and portable hollanders filled a genuine need and resulted in acommunity of enthusiastic owners who endorsed the machine internationally. Hesays they were named ‘The Critters’ quite by chance; someone saw them andcommented that they would have to ‘Hunt up one of them Critters,’ and the namestuck. The hand papermaking world owes a debt of gratitude to Mark Lander, andwe wish him well in future endeavors. Tom Bannister

>ALONG THE PAPER ROAD... Thisregular feature offers paper musings from Elaine Koretsky—renowned paperhistorian, researcher, and traveler. In this column Elaine describes thepreliminary results of the research she and Donna Koretsky are conducting into papermade from silk cocoons.

In the April 2011issue of the Hand Papermaking Newsletter (#94) I discussed the controversy inChina over how paper was invented and who invented the process. LingShun-Sheng, a noted Chinese archaeologist, believes that both beaten bark and papermade from silk had been used for writing since the fourth century BC. Silkpaper was used in China for the printing of important books over a period ofmany years. The earliest book found, the Taoist classic of Lao Zi, wasfrom 168 BC. TheMawangdui Silk Texts (Chinese: ) are texts of Chinese philosophical and medicalworks written on silk and found at Mawangdui, in China, in 1973.They include some of the earliest attested manuscripts of existing textssuch as the I Ching, the Tao Te Ching, Strategies of the Warring States, aswell as previously unknown medical texts like Recipes for Fifty- Two Ailments.Scholars arranged them into silk books of twenty-eight kinds. Together theyamount to about 120,000 words covering military strategy, mathematics, cartography,and the six classical arts of ritual, music, archery, horsemanship, writing,and arithmetic. Another relatively recent mention of silk being made into paperis in a fascinating book about Chinese inventions which was writtenin 1982 by the China Science and Technology Palace Preparatory Committee for theexhibition “China, 7000 Years of Discovery.” The Ontario Science Centre inCanada sponsored the exhibit and accompanying book and the successful show wassubsequently presented at many museums throughout the United States, includingthe Museum of Science in Boston, where Donna Koretsky and I were volunteers toexplain the processes of papermaking to the public. More than a dozen Chineseinventions were demonstrated. However, the book that accompanied the exhibitcontained a lot more information. In particular, there was an entire chapter onpapermaking that verified the information on silk cocoon paper that I hadgathered from Ling Shun-Sheng’s writing. The authors concluded that “it was theaccidental manufacture of this silk floss paper that pointed the way toward themanufacture of paper from cheap materials such as plant fibers.” At this pointI want to introduce Mr. Bombyx Mori, whom we have nicknamed “Bombi.” (The photohere shows Bombi, with siblings.) With Bombi’s help, I was able to put my silkpaper theory to practice. Donna Koretsky and I raised Bombi along with ninety-nineof his silkworm siblings from their early larvae stage when they were barely .inch long. (Technically, silkworms are not worms, but larvae.) We first workedwith the silkworms to achieve the goal of watching a silkworm spin a silkcocoon around itself. In order for a silkworm to form a cocoon, it needs abranch or twig, to anchor itself to. A cardboard tube is useful, which Donna providedwhen a worm was ready to spin its cocoon. This was truly a wonder to witness asthe worm rotated its head and body, exuding silk in a figure eight pattern toform a perfect oval cocoon, which is translucent for about the first twelvehours. The cocoon becomes opaque as the worm exudes more silk, and after aboutthree days of continuous spinning, the worm finally rests. The equivalent ofabout one mile of a continuous strand of silk has been exuded to create this cocoonmarvel. The next step was to see if we could accomplish the feat of encouragingthe silkworms to produce a sheet of paper. To start, Donna placed ten silkwormson an elevated sheet of stiff mesh screening. The silkworms had already beeneating and growing for over thirty days so that each worm was nearly threeinches long. They eat mulberry leaves that grow on the tree Morus alba (whitemulberry), not the paper mulberry species, Broussonetia papyrifera, which iscommonly used for papermaking. Unfortunately, neither of us has a white mulberrygrowing in our gardens, so Donna purchased the proper food from the companythat sold the silkworms. When the silkworms were placed on the mesh, ready toexude their silk to form a cocoon, they had nothing to hold onto, and simply crawledback and forth along the mesh, exuding their silk as they moved along. Theywere looking for a corner where they could anchor themselves to start spinning cocoons,but could not find a place. They stayed on the mesh, some even carefullytraveling along the edge; only a few fell off. Finally, when all the silk hadbeen exuded, there was left a sheet of delicate silk paper, six inches square,and a little thicker along the perimeter. At this point the appearance was somewhatin between that of felt and paper, but as soon as we rinsed it in water, the threadscoalesced, and the result was undeniably paper! In 1995, I had a similar interestingcocoon experience In Shiqing Village, Guizhou Province. The villagers hadplaced on a flat wood surface a group of silkworms that were ready to exudetheir silk. The worms immediately started to work, crawling randomly in every direction,often on top of each other, and when they had finished, a piece of felt had beenformed. It was a thick piece composed of several layers that could be peeledapart. This was done, and the pieces of felt were used in decorating clothing.

> UNIQUE TECHNIQUE Well-known authorand teacher Helen Hiebert offers helpful guidance and tips gleaned from artistsshe has worked with over the years. Here Helen describes a wet embossingtechnique.

I know several hand papermakers who havegotten involved in hand papermaking through printmaking, and I’m sure that manyhave come to it this way. When you print on paper, at some point you end up thinkingabout the substrate you are printing on. And you have many choices: papers comein a variety of textures, shapes, sizes, and color. Many of these can bealtered using other processes (cutting and tearing can change the shape andsize; printing can add and change colors) but the texture of the paper surface(which can be altered through dry embossing) can become almost like a landscapein and of itself through wet embossing or casting during the papermaking process.I had the recent privilege of co-judging submissions to Hand Papermaking’s nextportfolio, Handmade Paper: Fiber Exposed! I was particularly intrigued by a wetembossing technique utilized by Kerri Cushman, who teaches papermaking, letterpress,and artists’ books at Longwood University in Virginia. When Kerri was ingraduate school, she experimented with a variety of embossing techniques usingcotton pulp and items varying in thickness, surface, and material. She testedmaterials ranging from Mylar with hot glue text stuck on it, to red pistachioshells and acorn caps. Recently, she picked up a stack of transparent HelveticaABC stencils from a colleague’s desk and decided to try embossing them, thistime using abaca as her pulp. She beat the abaca for forty-five minutes andselected it for its translucent quality, color, and rattle. Kerri’s embossingtechnique is fairly simple: form a sheet of paper; lay the stencil on top ofthe wet couched sheet; press the sheet; transfer it to a restraint dryer, makingsure that the sheet and stencil stay attached and aligned until dry; andfinally, remove the stencil. The resulting paper is debossed and smooth(similar to a hot press, or calendared paper) where the plastic stencil touchedthe wet sheet, in this case the negative space surrounding the letters. Theletters themselves become embossed, and the subtle surface is apparent only asa raking light hits the paper substrate. While at The Penland School in North Carolinalast summer, Kerri letterpress printed on her embossed alphabet paper withsix-inch wood type, and discovered this unique technique: the debossed areas inthe sheet suddenly appeared when color was added, glowing through therubberbased ink. Although she thought the raised areas would produce a darkerimage, they actually appeared lighter in color, causing the letters to float ontop of the darker negative spaces, which accepted more ink. The techniqueresembles a “ghost print” in printmaking terms, where you get a second printfrom the original plate without re-inking. In other words, where the plasticstencil touched the wet fiber and dried, it created smoother, recessed negativespaces, and when printed, the ink was readily absorbed by the paper in theseareas. The cut out stencil areas (the raised surfaces) were not as receptiveand slightly repelled the ink, giving dimension to the print. (If you look carefullyat the image pictured, you will notice that the background is speckled. This isthe result of the plastic stencil not adhering perfectly during the paper’sdrying process, resulting in blotchy raised areas which were not as receptiveto the ink). This unique technique reminds me of another embossing process Isaw utilized by a papermaker/ printmaker. Zelda Tanenbaum made paperfor a line of fine wedding invitations years ago when I was working at DieuDonné Papermill in New York City. She made thick sheets of cotton paper, whichshe dried and then dampened before “printing.” She had a collection of old lacelinens, and she would place a piece of lace on top of the damp sheet and run itthrough her etching press. The result was a series of beautiful lace papers,which she often rubbed with a metallic colored medium to highlight theembossing.

> TEACHING HANDPAPERMAKING Basedin Philadelphia, Winifred Radolan operates an itinerant teaching papermill, andhas taught papermaking to thousands of adults and children. This is adescription of one of Winnie’s garden harvest papermaking workshops.

I may not be overly fond of cooking to preparea meal, but I can happily spend hours, even days preparing and stirringstockpots of plant fibers to get ready for my garden harvest papermakingworkshops. One such occasion was just a few weeks ago, when I taught “A FallHarvest for Papermakers” at Artworks, Trenton, in New Jersey. Actually, whenpreparing the pulp for this group, I was fortunate to benefit from a massivetwo-week cooking session I had done over the summer while preparing fibers toteach at Penland. Early in August I dedicated many days to snipping, soaking, cooking,rinsing, and drying a good portion of my stash of pre-harvested plantmaterials. I had bags of pre-cooked and sun-dried canna, cattail, orchid leaf,iris, daylily, lariope, banana, gladiolas, and other fibers from which tochoose. I selected the first three to soak in water overnight before adding tothe cotton/abaca base fiber. Most frequently, when I offer this workshop tonewer papermakers I beat a load of one half abaca and one half cotton linterfor one hour in my Reina Hollander. I then divide the pulp into three batches. Leavinga third of the pulp in the beater, I add more water and one type of cooked and rinsedplant fiber. I run the beater until the plant fibers are broken down to an attractiveinclusion consistency within the pulp, which can add 15 – 30 minutesof beating time.I repeat this process with the other two thirds of the cotton/abaca, usingeither more or less plant material in each, in order to achieve three distinctpulps that vary in value, texture, and color. Sometimes I hit it, and othertimes I rely upon subtly colored finely beaten veil pulp vats that can be usedas top layer accents. I combine cotton with the abaca so that less experienced papermakerswon’t be frustrated with abaca’s potential to cockle, since they will be facedwith drying their paper at home. My five Artworks students were all gardeners,and therefore interested in knowing how, what, and when to harvest to maketheir own vats of pulp. So for the first hour of class we passed around my manysamples of bast, leaf, seed hair, and grass papers while I explained my harvesting,drying, cooking, and pulping techniques. We discussed snipping and weighing thefibers before their pre-cook soaking, and how much caustic needs be added to apapermaking-dedicated stockpot so that cooking could break down noncellulosic plantcomponents. I advised cooking outdoors and how to determine when the fiberswere done. I explained that after rinsing their plant materials they couldbreak them down further in their papermaking blender, in which, separately, theycould also hydrate small batches of purchased cotton and abaca linters, to be usedas base fibers. I also mentioned using a paint mixer with an electric drill tohydrate larger quantities, as well as the option to purchase pre-beaten pulp. Whileeveryone stood up to have a good stretch, I demonstrated how to set up vats asI charged the three I’d brought with cattail seed hair, canna leaves, and orchidleaves, each in bases of cotton/abaca. Two papermakers with previous experiencebrought Plexiglas upon which to couch, while the other three used my pellon ontop of blankets. After a quick demonstration on how to use the mould and deckleto form and couch a sheet of paper, the ready-to-getwet group dove into thevats!As the class progressed they experimented with layering, inclusions, andthe use of finely beaten and pigmented cotton veil pulp, which was gathered onstencil screens and couched as the top layer of embellishment. Par-boiled marigoldpetals from my garden made their way into one of the vats. The new papermakerswere able to benefit by watching the more experienced ones as they observed howcouching and drying on Plexiglas allowed the manipulation of pulp to create lowrelief textures. A collective groan went up when I announced it was time tostop sheet forming and progress to the next step. The only way to windproduction down to a halt in time to press the paper and address drying methodswas for me to start scooping out the vats! Given the option of restraint dryingon counter tops overnight as opposed to stack drying between paper towels andunder weights, involving up to a week of daily paper towel exchange, the threenew papermakers chose the former. While unloading the press and looking througheach happy papermaker’s stack of wet treasures, I felt my equivalent of a fine chef’ssatisfaction with having prepared and served a well-received meal!

> PAPER HISTORYMaureenand Simon Green, from the United Kingdom, write a joint column on Paper History.Maureen is a paper historian, and author of Papermaking at Hayle Mill 1808-1987.Simon was the last of the Green family to run Hayle Mill. He providesconsulting services to papermakers worldwide. Here Simon and Maureen discusspapermaking apprenticeships, and include an apprenticeship deed from 1767.

In 1952, Simon’s father, RémyGreen (JohnBarcham Green III), had a number of documents relating to papermaking historytranscribed from originals held in various institutions. The finished transcriptionswere subsequently bound into a volume entitled ‘Items of Historical Interest.’From a research point of view the volume is a cornucopia of miscellaneous informationrelating to papermaking and the histories of various mills. This eighteenthcentury Apprenticeship Deed is one document found in the volume. It is notsurprising to find it included, as the son of the John Pine mentioned in thedeed began to build Hayle Mill in partnership with Thomas Smith in1805,finishing the project in 1808. The apprentice in question, John Dann, who signed the originaldocument with an X indicating that he could neither read nor write, would haveconsidered himself fortunate to have secured an apprenticeship in a paper mill.Papermakers as a representative group were considered members of a widernetwork of ‘labour aristocrats’—highly skilled craftsmen who were well paid andcould expect to enjoy a high standard of living.1 At the time of the signing of thisdeed, John and Thomas Pine had owned and operated Otham Paper Mill with their brother,Samuel, for ten years and gained a reputation as manufacturers of fine paper.2 Otham Mill waslocated on the River Len, near Maidstone, in Kent. This Indenture WitnessethThat John Dann of the Parish of Loose in the County of Kent by and with theconsent and Approbation of his Fatherin- Law Thomas Collins of Maidstone in thesaid County Gardener doth put himself Apprentice to Messrs. Thomas & JohnPine of Maidstone aforesaid Paper Makers [annrs] and assigns to learn their artand with them after the manner of an Apprentice to serve from the Twenty Sixthday of February unto the full end and term of Seven years from thence nextensuing and fully to be compleat and ended during which term the saidApprentice his Masters faithfully shall or will serve their Secrets keep theirlawful command everywhere gladly do he shall do no damage to his said Mastersnor see it be done of others but to his power shall let or forthwith giveNotice to his said Masters of the same. The Good of his said Masters he shallnot waste nor the same without Licence of them to any give or lend Hurt to hissaid Masters he shall not do cause or procure to be done he shall neither buynor sell without his Masters Licence, Taverns Inns or Ale Houses he shall nothaunt Atlards Dice Tables or any other unlawfull Game he shall not play neithershall he engage in Matrimony from the service of his said Masters Day nor Nightabsent himself but in all things as an honest and faithful Apprentice shall andwill demean and behave himself toward his said Masters and during all the said term.And the said Thomas & John Pine in consideration of the services to beperformed by the said Apprentice do hereby covenant the promise with the saidApprentice that they Thomas & John Pine during the said term the said Apprenticein the art of Paper Making which they now shall teach and instruct or cause tobe taught and instructed the best way and manner that they can finding andallowing unto their said Apprentice sufficient Meat Drink Clothes WashingLodging and other necessaries during the said term. And for the trueperformance of all and every the Covenants and Agreements aforesaid either ofthe said Parties bindeth himself firmly by these Presents in Witness where ofthe Parties above said to these Indentures interchangeably have set their Handsand Seal the Twenty Sixth Day of February in the Seventh Year of the Reign ofour Sovereign Lord George the Third by the Grace of Great Britain France and IrelandKing Defender of the Faith and in the Year of our Lord 1767. The IndentureCovenant Article or Contract must bear date the days it is executed and whatmoney or other Thing is given or contracted for with the Clerk or Apprenticemust be inserted in words at length and the Duty Paid to the Stamp Office if inLondon or within the weekly Bills of Mortality within One Month after theExecution and if in the Country and out of said Bills of Mortality within TwoMonths to a Distributor of the Stamps or his Substitute otherwise the Indenturewill be void and the Master or Mistress forfeits fifty pounds and anotherpenalty and the Apprentice be disabled to follow his Trade or be made free. Papermakerswere an effective and organised labour force. By the nineteenth century, thegranting of apprenticeships was controlled by the papermakers’ union, ‘TheOriginal Society of Paper Makers’ [OSP], one of the earliest trade unions to appearin Britain. The OSP restricted the number of apprentices each mill was permittedto employ, in order to protect members’ interests. During a meeting of the VatPaper Makers, held at the Bell Hotel, Maidstone, 8 March 1853, the issue of increasing the numberof apprentices per vat was raised, much to the consternation of union memberswho viewed the request as means of hiring cheap labour to cut back on overtime.One delegate at the meeting, a Mr. Forsyth, argued that he ‘knew thedisposition and opinion of the men so well that he might say the Trade wouldnot comply with the proposition to have two apprentices instead of one—aForeman he worked under endeavoured to persuade his Master to have noApprentices for he used to say, one boy was a boy, two boys were only half aboy and three boys were no boy at all.’3 Whether he proved one boy, a half a boy orno boy, John Dann successfully completed his apprenticeship with the Pines atOtham Mill, becoming a Freeman of Maidstone in 1775.4 Successive membersof the Dann family became papermakers, including John Dann’s sons, John andWilliam. 1.E. J. Hobsbawm, Labouring Men, Studies in the History of Labour (London:Weidenfeld and Nicolson, 1964), p. 183. 2. J. N. Balston, The Elder James Whatman,England’s Greatest Paper Maker (1702-1759) (East Farleigh: J. N. Balston,St. Edmundsbury Press, 1992), Table XII. Balston wrote about the Pine’s and OthamMill: ‘Thomas jnr. was the Master Paper Maker here for the next19 years. Sincehe had to run his grocer’s business, he obviously had to delegate thepapermaking to (i) Simon and (ii) John. Otham Mill was purchased by the Pinesfrom Alexander Mathison in 1757. 3. The only surviving copy of Proceedingsat a Meeting of the Vat Paper Makers held at the Bell Hotel, Maidstone onTuesday 8th of March 1853 is held in the Hayle Mill Archives; however, The Birdand Bull Press published a facsimile of the original ‘Proceedings’ in1970. 4. Centre for Kentish Studies: ( Md/RF 1/2) Freemen Book 1734-1787

>DECORATED PAPER SidneyBerger, a professor at Simmons College in Boston and Director of the PhillipsLibrary at Peabody Essex Museum, has been collecting and researching decoratedpaper for over thirty years. In this column Sid discusses shadowmarks as acategory of paper decoration.

In Hand PapermakingNewsletter #72 (October 2005) I talked about the thesaurus I had created forEuropean libraries to catalog their paper collections. When that project began,the idea these libraries had was to come up with a controlled vocabulary for decoratedpapers, but several major issues arose during that first meeting in early 2005 inLeipzig. One was that we needed a good definition for the word “decorated”;we eventually had to settle for the twin notions of “decorated” and “decorative.”Decorated papers started out blank and then got decorated. Other papers haddecoration in their manufacture, so they were decorative; they had not beenmade and then decorated later. Another important concept had to be worked out.What constituted decoration? Several of the people at the meeting were adamantthat watermarks were simply incidental to the manufacturing process and werenot decorative. Others claimed that innumerable watermarks were created for theirbeauty and were absolutely decorative. It is true that many watermarks merely showa crest, spell out the name of the manufacturer, or have pictures of animals, buildings,implements, or dozens of other things, not to be a form of decoration, but mostlyto identify the manufacturer. But a whole category of watermarks has been designedas pure decoration; these are called shadowmarks, light-and-shade watermarks, orchiaroscuro watermarks. Many of these were developed to foil would-becounterfeiters since it is nearly impossible (or it was) to forge a watermark inpaper. But used to great effect, these marks are exquisitely beautiful; theyare works of art in themselves, and were developed as such, not as a way tocreate security paper. My wife and I have many of these in our collection (agood number of which were acquired from Hand Papermaking in one of theirauctions). Shadowmarks, developed in the late 1840s by WilliamHenry Smith, wereoriginally made by carving the pattern of the final image into wax, immersing itinto a galvanic bath, and creating a deposited metal coating on the wax. This wasused to make a male and a female die that was stamped into a heated woven meshscreen, impressing the pattern in multiple layers into the screen. The screen wasaffixed to a paper mold and where the screen was raised, fibers from the vatwould fall thinly; where the screen was impressed, fibers would pool morethickly. These made the sheet thinner or thicker, depending on the configurationof the screen at any point on it. The result was a watermark with many levelsof shading, from very light (where the screen stood up and allowed only a thinlayer of pulp to settle) to quite dark (where the screen was debossed, creatinga thicker accumulation of pulp, and causing the sheet to be thicker, so lesslight shined through). Perhaps the best-known shadowmarks are those created bythe Fabriano paper mill. Some are commemorative; some are virtuoso examples ofthe craft. These are sold at the Fabriano Museum as well as in some art storesin Europe and the U.S. Also, Dard Hunter, the great paper historian andauthor/printer, created a host of his own superb watermarks, some of himself andsome of his mill. While being great innovators in some areas, the Japanese arealso famous for taking the crafts of one culture and improving on them. Withlight-and-shade watermarks, they developed their own way of creating them: theTesuri-Kako-ho method. In Thomas and Harriet Tindale’s The Handmade Papers ofJapan (Tokyo and Rutland, VT: Tuttle, 1952) there is a portfolio of twentyexquisite watermarks made from this method. Lindsay J. Nakashima and JocelynWebb wrote about this art in Hand Papermaking Volume 14, no. 1 (Summer1999). It is called a “handrubbing” or “hand-burnishing” method, and they saythat it was developed in the late nineteenth century by a “cadre of Japaneseartisans working in the Imperial Paper Manufacturing Office atOji” (p. 6). Hereis their description of the method, the information taken from the Tindales: TheOji technique . . . involved engraving an illustrative design on a plate madeof wood, copper, bronze, antimony, or celluloid. Wet sheets of mitsumata paper. . . were couched individually and left to weep for five to ten minutes. Thewet paper was then placed directly on the face of the plate. Using a three-stepburnishing process, the papermakers rubbed the damp sheets against the plateuntil the paper accepted the image. A dry cotton cloth was stretched on a woodenframe and placed over the wet sheet, then rubbed with a piece of corrugatedcelluloid. The cloth was removed, and the paper was rubbed again, this timedirectly, with more finely corrugated celluloid. The wet sheet on the plate wasrubbed a third and final time, again directly, using an orchid leaf wrappedaround a roll of dry cloth. (p. 7) Another method of watermarking from Japanis mentioned in Sukey Hughes’s book Washi: The World of Japanese Paper (Tokyo, NewYork, San Francisco: Kodansha, 1978, p. 196), but since it is a secret, to beused only by the Japanese government for security paper, no description of itis given. The creation of these shadowmarks is a great art, and, in fact, many ofthem are reproductions of well known works of art In our collection we havereproductions of pieces by Picasso and Italian Renaissance artists, along witha wonderful Christmas “card” in the shape of a tall sheet of paper with asplendid Santa Claus watermark. And one of our beautiful Fabriano sheets has alarge image of a cave with stalagmites and stalactites so brilliantly renderedit is like looking at a photograph. These papers can be hung between sheets ofglass or Plexiglas over a window or with a light behind them. Or they can simplybe held up to the light and enjoyed for their beauty. Let me know if you find anyat a flea market. I want more!

> FOR BEGINNERS Mary Tasillo is apapermaker, book artist, and mixed media maven based in Philadelphia. Sheteaches workshops nationally. In this column Mary discusses selecting sourcefibers for optimal pulp.

When explaining hand papermaking to anon-papermaker, one often hears: “so, I assume you use wood to make paper.” Irecently heard Frank Brannon tell a great story about stripping inner bark onhis front pulp, e.g., flax, hemp, and cotton. Paper is by definition composedof cellulose fibers from plant materials. Thus, rags of natural fibers (cotton,including denim; linen; hemp; ramie) will make the best paper, as opposed tosynthetic materials, which do not break down the same way in the beating process.Papermaking is about experimentation, so don’t let these guidelines keep youfrom trying something. But understanding some basic principles of creatingquality pulp (the quality of the ingredients affects the outcome; certainfibers are better suited to certain processing methods; and paper is composedof cellulose) will aid you in more successful experimentation. In the next column,look for a discussion of documenting these experiments. > more for beginnersat newsletter.handpapermaking.org/beginner steps, opening himself to numerousinquiries from those passing by. One person asked him, “well, can’t you justget paper at Walmart?” Frank replied, “If you were going to buy someone aspecial gift, would you go to Walmart?” Fortunately, her response was, “I guessnot.” If you’re going to the trouble of making paper by hand, how do you selectfibers that ensure a specialty product? The papermaker has many options besidesgathering these raw plant materials and processing them from scratch. The earliestexperience most of us have with papermaking is creating recycled paper frompulp created in the blender. It stands to reason that the quality of thefinished paper depends largely on the quality of the paper going into theblender. I made my first paper in my mother’s kitchen from recycled newspaper.That is the saddest paper I’ve ever made, because of the poor quality (i.e.,short, acidic wood fibers) of the material making up the pulp. One can dramaticallyimprove the quality of finished sheets by recycling better paper, e.g., 100% cottonrag papers, or scraps of high quality handmade papers. The blender is not theideal pulp preparation machine—it cuts the fibers rather than beating orfibrillating them and has low power and capacity—but it has the distinctadvantage of being affordable, accessible, and portable. (Do not use the sameblender for paper and food.) In addition to processing recycled paper pulp, theblender can be used to process cotton linter and abaca half-stuff (partiallyprocessed fibers available from a papermaking supplier). Proper pre-soaking ofthe fibers, patience, and a high ratio of water to fiber is key. The blendercan also be used to process gathered plant and vegetable fibers. (See “BeginnerTopics” by Helen Hiebert in Hand Papermaking Newsletter #71[July 2005] and #72 [October 2005] for columns about harvesting and processing plantfibers.) Beating inner bark fibers by hand with a mallet retains optimal fiber lengthfor Eastern sheet formation methods. With access to a Hollander beater, one canprocess longer and tougher fibers into

Listings forspecific workshops and other events in the following categories are offeredfree of charge on a space-available basis. The deadline for the April 2012 Newsletteris February 15. Contact each facility directly for additional information or afull schedule. Teachers: Tell your students about Hand Papermaking! Brochuresand handouts can be mailed to you or your institution. Email newsletter@handpapermaking.org.

> CLASSES AND WORKSHOPS Arrowmont School ofArts and Crafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont .org. Classes andworkshops in a variety of disciplines, including papermaking. Papermaking, March22-25, with Claudia Lee. 3DPaper, June 10-16, with Melissa Jay Craig. Sculptural Paper, August5-18, with Jo Stealey. AshevilleBookWorks, Asheville, NC, (828) 255-8444, www.bookworksasheville.com. Hands-on workshopsincluding bookbinding, printmaking, decorative paper, and basic papermaking. PapermakingI: Pulp to Paper, March 24-25, with Frank Brannon. Learn sheet forming techniquesusing beater-prepared pulp. Paper Like Leather, Bark Like Thread: Korean PaperTechniques, April 14-15, with Aimee Lee. Learn techniques for working with thelong-fibered Korean hanji, including paper felting, hanji yarn, and cording& weaving. Papermaking Intensive, May 21, 22, 24, 25, & 26,with Frank Brannon. Focus on sheet formation, use of the paper beater, and theuse of a range of fibers in this five-day workshop. Bear Creek Paperworks,Columbia, MO, (573) 442-3360, www.bearcreekpaperworks .com. Workshops inpaper and book arts; some workshops can be taken for academic credit throughCentral Methodist University. Contact Leandra Spangler at leandra@bear creekpaperworks.comfor more information. The Boston Paper Collective, Boston, MA (614)282-4016, www.bostonpapercollective .com. Classes in papermaking and marbling,as well as studio rental, special projects, and Open Papermaking Nights on thesecond Thursday of each month at 6:30 p.m. John C. Campbell Folk School, Brasstown, NC,(704) 837-2775, www.folkschool.org. Classes in papermaking and other crafts inthe mountains of western North Carolina. Western Papermaking with an EasternTwist, January 8-14, with Claudia Lee. Expand the possibilities forworking with pulp while working with both Western and Eastern styles of sheetformation. Paper Pleasures, April 1-7, with Rajeania Snider. Explore thebasics of both 2D and 3D papermaking using materials and equipment that can befound in the home. Canadian Bookbinders and Book Artists Guild,Toronto, ON, (416) 581-1071, cbbag@ ccbag.ca, www.cbbag.ca. Book and paper workshopslocated on-site in Toronto and in off-site studios. Marbling Open Studio, April28 or 29, with PamBelshaw. Marble a stash of papers for your personal use. Carriage House Paper,Brooklyn, NY, (800) 669-8781, www.carriagehousepaper.com. Papermakingworkshops offered in a new studio space. Visit website for workshop schedule. ColumbiaCollege Chicago Center for Book and Paper Arts, Chicago, IL, (312)344-6630, www.bookandpaper.org.Papermaking classes in spacious downtown studios. Desert Paper, Book and Wax,Tucson, AZ, (520) 740-1673. Papermaking, book, and mixed mediaencaustic workshops, as well as consulting and studio rental. Visit www .papermakingresources.comfor registration information. Dieu Donné Papermill, New York, NY, (212) 226-0573,www.dieudonne.org. Beginning and advanced papermaking classes for adults andchildren. Gail Harker Creative Studies Center, Oak Harbor,WA, (360) 279-2105, www.gailcre ativestudies .com. Offering courses in textile arts. Papermaking:From Pulp to Portfolio, June 8-10 or July 28-29, with Lisa Harkins. The Hall of AwaJapanese Handmade Paper, 141 Kawahigashi, Yamakawa-cho, Yoshinogawashi, Tokushima779-3401, Japan, fax 81-883-42-6085, www.awagami.com. HarvestingMitsumata and Papermaking, February 11-12, with staff instructor. Learn toharvest, prepare, and make paper from the inner bark of mitsumata. HaystackMountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystackmtn. org. Workshopsin various disciplines, including papermaking and book arts. Scholarshipsavailable. Deadlines are March 1 for Scholarship applicants and April 1 for Regularapplicants. Joomchi and Beyond, July 15-27, with Jiyoung Chung. Becomeacquainted with the history, practice, and role of Joomchi in Korean society, aswell as hands-on techniques and reinterpreted adaptations into contemporaryart. Helen Hiebert Studio, Portland, OR, www .helenhiebertstudio.com,helen@helen hiebertstudio.com.One-day papermaking and lamp making workshops and Thursday evening open studiosfor experienced papermakers 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 programin northern Indiana. Magnolia Editions, Oakland, CA, (510) 839- 5268,www.magnoliapaper.com. Workshops in papermaking, printmaking, and bookarts. MayBe Studio, Abita Springs, Louisiana, (985) 893-3184. Hand Papermaking,selected Saturdays, with Mary-Elaine Bernard. Learn Eastern and Western methodsof making paper and incorporate local plant fibers. Minnesota Center for BookArts, Minneapolis, MN, (612) 215-2520, www.mnbookarts .org. Classes atthe Open Book center for book and literary arts. Morgan Art of PapermakingConservatory and Educational Foundation, Cleveland, OH,(216) 361-9255, http://morganconserva tory.org. Workshops in hand papermaking andthe arts of the book in an innovative green environment. Paper Circle,Nelsonville, OH, (740) 753-3374, www.papercircle.org, papercircle@ frognet.net. Callor e-mail for information about upcoming paper classes. Open Studio, secondSaturdays, 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 relatedarts, and studio rental scheduled on an as-needed basis. Pyramid Atlantic,Silver Spring, MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshops inpapermaking, printmaking, and book arts. Papermaking Society, First and ThirdThursdays, with Gretchen Schermerhorn. Bring snacks, discuss papermakingtechniques, and make as many sheets of paper as you can. Cast Paper Hands,January 23 & 30, with Lynette Spencer. Create detailed paper replicas usingplaster molds and cotton linter. Robert C. Williams Paper Museum, Atlanta, GA,(404) 894-5726, http://ipst.gatech.edu/ amp/. Marbling Techniques,February 4, with MarciaWatt. Explore the process of Turkish marbling. Teachers’ Japanese PapermakingWorkshop, June 18-22, with Berwyn Hung. Learn all aspects of the Japanese papermaking process,including building a sugeta and learning Japanese bookbinding. San FranciscoCenter for the Book, San Francisco, CA, (415) 565-0545, www.sfcb.org. Book arts classesand events year-round. Paste Papers, January 31, with Courtney Cerruti. Createoriginal, hand-patterned paste paper using this traditional decorative papertechnique. Tipped and Torn: Basic Paper Mending, March 24, with HannahTashjian. Learn the basicsof archival paper repair using wheat starch paste and Japanese papers. SarvisberryStudio and Gallery, Floyd, VA, (540) 745-6330, www.sarvisberry.com. Experience handmadepaper in the heart of the Blue Ridge Mountains. Open Studio Days, call for schedule.Make your own paper and work on personal projects. Women’s Studio Workshop,Rosendale, NY 12472, (845) 658-9133, info@wsworkshop .org. Summer ArtsInstitute includes workshops in papermaking, printmaking, book arts,photography, and other media. Southern Graphics Council International willhold their 40th Anniversary conference in New Orleans, Louisiana. The theme ofthe conference, taking place March 14-17, is NavigatingCurrents. SGCI seeks to advance the dialogue about printmaking, its education,and its processes. For more information on this conference, visit www.sgcinternational.org.The Friends of Dard Hunter will hold a joint meeting with IAPMA, theInternational Association of Hand Papermakers and PaperArtists, October 17-21 in Cleveland, Ohio. This opportunity for bothpapermaking organizations to convene will be hosted at the Morgan Conservatory.For information as plans develop, visit www.friends ofdardhunter.org orwww.iapma.info. > more events at newsletter.handpapermaking.org/listings.htmPulp: Works on Paper features works of and on paper, including prints, castpaper, and drawings that explore and manipulate the materiality of paperitself. The exhibition is on view at the Noyes Museum in Oceanville, NewJersey, through January 15. For information and gallery hours, call (609) 652-8848or visit www.noyesmuseum.org. Ray Tomasso: The Art of Paper is on view at NorlinLibrary, The University of Colorado, Boulder, through January 10. For moreinformation on this exhibition of collage works of rag paper, visitwww.raytomasso.com or http://ucblibraries.colorado.edu/norlin/.

Treewhispers willbe exhibited at Bridge and Joutras Galleries in the Regenstein Center at theChicago Botanic Garden, Glencoe, Illinois, January 14 throughApril 8. The exhibitionis an ongoing project, featuring discs of handmade paper with tree-related storiesand art which are installed both on the wall and as hanging tree trunks. For moreinformation, visit www.treewhispers .com or www.chicagobotanic.org. HollandPaper Biennial 2012 in Rijswijk and The Hague, the Netherlands features paperworks.This year’s exhibition will include a focus on artworks referring to books andletters, as co-host Museum Meermanno in The Hague specializes in books. Theexhibition will take place September 4– November 25. For more information abouttheHolland Paper Biennial you can visit the websites www.museumryswyk.nl or www .meermanno.nl or www.hollandpapierbien nale.nl. > more events at newsletter.handpapermaking.org/listings.htm

>CALLS FOR ENTRIES The9th International Biennial Symposium and Exhibition on Textile Art, Scythia 9,will take place June 19-24 in Kherson, Ukraine. The event willfeature an international juried exhibition of a broad spectrum of fiber arts, aconference on textile art, an artto- wear show, and workshops. Submission ofwork and original proposals are welcome through February 1. For information andentry forms, email anschnei@public .kherson.ua or visithttp://anschnei.public .kherson.ua. Treewhispers is an ongoing installation offlat handmade paper rounds with tree stories, poetry, and art. The projectcontinues to seek contributions. The project was started by Pamela Paulsrud andMarilyn Sward. For more information, visit http:// treewhispers.com/here/.

> OPPORTUNITIESCavePaper in Minneapolis has worked with over 80 interns since 1994. They are currently lookingfor enthusiastic people to work at least 6-8 hours per week with flexiblescheduling. Although interns are welcome all year, the best times are from Mayto September. Cave Paper interns become part of the production routine and, asa result, learn a variety of papermaking skills. Request more details fromcavepa per@gmail.com or call (612) 359-0645. The Creative Residency program inVisual Arts at The Banff Centre, Alberta, Canada, provides studio facilitiesand support for artists working in a broad range of media, including painting,drawing, performance, ceramics, book arts, textile art, papermaking, sculpture,installation, photography, and more. Visit www.banffcentre.ca for informationabout residencies and facilities, or contact Wendy Tokaryk at wendy_ tokaryk@banffcentre.caor (403) 762-6402. Artistsexperienced in papermaking are invited to apply for the opportunity to spend upto three months working in the Paper Studio at the Southwest School of Art& Craft. Artists are expected to provide their own transportation andmaterials. Housing may be available, but is not guaranteed. Collaborations willbe considered. For further information contact SSAC, 300 Augusta,San Antonio, TX 78205, (210) 224-1848, www.swschool.org. Women’s StudioWorkshop offers several opportunities for artists working in papermaking andbook arts. The internship program gives young artists creative support,culminating in an exhibition, in return for their assistance with the on-going operationsof the facility, including assisting WSW’s Artists-in-Residence with their projectsand participating in WSW’s Summer Arts Institute classes as studio assistants. Studiofellowships are designed to provide concentrated work time for artists toexplore new ideas in a dynamic and supportive community of women artists.Studio residencies support the creation of a new body of work. For details onthese and other programs, visit www.wsworkshop.org.

 > PUBLICATIONS AND VIDEOS Contemporary Paperand Encaustic, an e-publication that presents international artists whointegrate the two media in innovative and inspiring ways. It will include agallery of artworks by 40+ international artists who explore the diversity of papercombined with the unique properties of wax in collage and chine collé, photographyand printmaking techniques, sculptural paper, encaustic monoprinting and moltenpainting on paper, and in artists books. For more information, visit www .unitedstatesartists.org/user/catherinenashor www.papermakingresources.com. Hanji is a new Korean film blending drama anddocumentary by director Im Kwon-tack, which tells the story of traditionalKorean handmade paper, including contemporary efforts to preserve thetradition. The film revolves around the effort to restore the Jeonju Sago, theonly remaining annals of the Joseon Dynasty, which was recorded on this paper.Search for Hanji at twitchfilm .com to read a review. TED is anon-profit that started out in 1984 as a conference bringing together people fromthree worlds: Technology, Entertainment, Design. Since then, a considerable libraryof inspiring conference speeches have been compiled and offered online. View papercutter Beatrice Coron, for example, at www.ted.com/talks/beatrice_coron_stories_cut_from_paper.html Second Life is a 3D virtual world where users can socializeand create. Construct your avatar at secondlife.com and download a viewer.After some introductory tutorials, visit Beverly Schlee’s papermill (slurl.com/secondlife/Caledon%20SouthEnd/16/62/24) or try the Yale mill(slurl.com/secondlife/ Elihu%20Island/177/34/27) or use the search function toexplore your interests. The handmade paper of Michelle Wilson is featured in anOctober 20 post of Felt and Wire. To see images and read about Michelle’sprocess, visit http://www.feltandwire. com/2011/10/20/water-is-my-partneron- making-paper/.Catherine Nash is featured on the November 6 post of Lynette Haggard’sblog of artist interviews,discussing her work in handmade paper and encaustic, the handmade paper community,and her studio. The interview can be found at http://lynettehaggard. blogspot.com/2011/11/catherine-nash-tucson-az.html.

> CLASSIFIEDS Classifieds in theHand Papermaking Newsletter cost $2 per word, with a 10-word minimum.  After 48 Years, the Shadwell Papermill is Disbursing.Walter Hamady is accepting offers for the complete mill. See display ad on page9. DieuDonné seeks a full time studio collaborator. Candidates should have a minimum of2 years experience as a papermaker or printmaker in a professional studio. Candidatesmust also be detail oriented and able to work well in a team setting. Pleasesee NYSCA posting or email HR@dieudonne .org for a complete job description. CottonLinter Pulp. All quantities available. Call Gold’s Artworks, Inc.1-800-356-2306.

> SPECIALTHANKS 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, David Marshall, John L.Risseeuw. Underwriters: Susan Mackin Dolan, Michael Durgin, Peter Newland &Robyn Johnson, Gordon & Roswitha Smale, Nancy & Mark Tomasko, BeckWhitehead, Pamela & Gary Wood. Sponsors: Cathleen A. Baker, Tom & LoreBurger, Greg Campbell, William Dane, Gail Deery, Jane Farmer, Fifth FloorFoundation, 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: Mary Austin, Patricia M.Anderson, Eric Avery, Carol J. Blinn, Carla A. Castellani, Sarah Creighton, CodexFoundation, Nancy Cohen, Rona Conti, Wavell Cowan, Paula Cox, John Cutrone,Jennifer Davies, Burgess A. Dell-Wilson, Drachen Foundation, Linda Draper,Karla Elling, Cynthia J. Fay, Kathy Fitzgerald, Rose Folsom, Jennie Frederick inmemory of Vivian Frederick, Sara Gilfert, Lori B. Goodman, Guild ofPapermakers, Susan Gosin, Robert Hauser, Cynthia Hogue, Linda L. V. Illgner,Lou Kaufman, Ann Marie Kennedy, David Kimball, Karen Kunc, Barbara Landes,Anita Liebeskind, Ruth Lingen, Roberto Mannino, Joyce McDaniel, JulieMcLaughlin, Jane Metzger, Dennis Morris, Nancy Pobanz, Pyramid Atlantic, BrianQueen, Harry & Sandra Reese, Dianne L. Reeves, Carolyn A. Riley, MichelleSamour, Mary C. Schlosser, Robbin Ami Silverberg, Linda Smith, Peter Sowiski,Jean Stufflebeem, Betty Sweren, Claire Van Vliet, Anna Velez, Aviva Weiner, AnnWilliams, Paul Wong & John Colella, Therese Zemlin. Supporters: AnnieAlexander, Lois D. Augur, Barbara Babcock, John Babcock, Eugenie Barron, JamesBarton, Paola Biola, Joyce Brodsky, Inge Bruggeman, June Burden, Mary Chavez,Bob & Annie Cicale, Patterson Clark, Lee Cooper, Roseline WilliamsCristanelli, Nancy O. Daley, Iris Dozer, Lauren DuBeau, Martha Duran, DonnaEyring, Ted Gast, Tatiana Ginsberg, Anne & Tony Gully, Daniel & AncaIstrate, Barbara Hennessy, Christine Higgins, Lisa Hill, Tracy Honn, Timothy Howell,Eve Ingalls Von Staden, Sally Wood Johnson, Kristin Kavanagh, Joyce Kierejczyk,Betty L. Kjelson, Hedi Kyle, Mary Leto, Anita Liebeskind, M. P. Marion, Edwin Martin,Anne McKeown, Linda McNeil, Kathryn Menard, Julia Miller, Margaret Miller, LisaModola, Catherine Nash, Patricia L. O’Neal, Mary O’Shaughnessy, Cheryl Parisi,Maria Pisano, Elspeth Pope, Jana Lee Pullman, Erica Spitzer Rasmussen, TimothyRay, Rona Richter, Carolyn A. Riley, Kim Schiedermayer, Agnes Schlenke, SusanSpak, George Thagard III, Allan Thenen, Sue Tihansky, Joanna Torow, AprilVollmer, Judith Welbourn, Wendy White, Women’s Studio Workshop, Kathy Wosika.Friends: Karen Adams, Ruth Bardenstein, Sarah & Joshua Dickinson, GaryFrost, Wanda Garfield, Diana Godfrey, Kathy Godfrey, Linda Golden, Mark Hall, KerriHarding, Susan Hensel, Aimee Lee, Marsha Lehman, Sandra Luehrsen, Dan Mayer,Marcia McLellan, Paulette Myers- Rich, Katiri Neske, Laura Merrick Roe, GretchenSchermerhorn, Beverly Schlee, Kyle Schlesinger, James & Marilyn Sexton, GeneValentine, Claudia Whitefield, Brenda Williams, Kimberly Wood, Margaret Wood, MarilynWurzburger, Shannon Zachary. In-Kind: Adobe Systems Inc., Cathleen A. Baker,Timothy Barrett, Sid Berger, Frank Brannon, Carriage House Paper,Zina Castañuela,Kathryn & Howard Clark, Columbia College Chicago Center for Book and PaperArts, Janet DeBoer, Amanda Degener, Paul Denhoed, Dieu Donnè, Michael Durgin,Karla & Jim Elling, Jim Escalante, Peter Ford, Susan Gosin, Holler Farm,Dorothy Field, Helen Hiebert, Hook Pottery Paper, Amy Jacobs, Lois James, EllenKnudson, Donna & Elaine Koretsky, Georgeann Kuhl, Roberto Mannino, Julie McLaughlin,David B. Marshall, Rick McSorley, Microsoft Corporate Citizenship, SteveMiller, Minnesota Center for Book Arts, Lourene Miovski, The MorganConservatory, Catherine Nash, Peter Newland, Pyramid Atlantic, Britt Quinlan,Jeff Rathermel, Amy Richard, John Risseeuw, Margaret Sahlstrand, GretchenSchermerhorn, Chip Schilling, Shawn Sheehy, Slugfest Gallery, Jessica Spring,Lynn Sures, Bernie Vinzani, Gibby Waitzkin, Beck Whitehead, Pamela & GaryWood. Founding Contributors to the Hand Papermaking Endowment: 49erBooks, ShirahMiriam (Mimi) Aumann, Cathleen A. Baker, Tom Balbo, Timothy Barrett, SidneyBerger & Michele Cloonan, Tom & Lore Burger, Jeffrey Cooper, Jeanne M.Drewes, Jane M. Farmer, Fifth Floor Foundation, Helen Frederick, Sara Gilfert, SusanGosin, Joan Hall, Lois and Gordon James, Sally Wood Johnson, David Kimball, ElaineKoretsky, Karen Kunc, Barbara Lippman, Winifred Lutz, Susan M. Mackin- Dolan,David Marshall & Alan Wiesenthal, Peter Newland Fund of the Greater EverettCommunity Foundation, Margaret Prentice, Preservation Technologies, L.P.,Michelle Samour, Peter Sowiski, Marilyn & Steve Sward, Betty Sweren, GibbyWaitzkin, Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela& Gary Wood.

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