Of course, the very breadth of this approach has its drawbacks, especially in such a slender book. In 144 pages (including end matter) Lamb and her contributors do not presume to convey a lot of detail. But this lively—at times, even breathless—little volume will pique the interest of many readers, enough to send them in search of the more detailed books that are mentioned in the bibliography. And it includes enough step-by-step instruction to be immediately useful to those who cannot wait to get their hands wet. Lamb writes with considerable enthusiasm and excitement about her subject. The book could have benefited from a stronger editor who would likely have caught some careless slips, redundancies, and even some contradictions between one chapter and another. A few more process illustrations would also make some of the descriptions more understandable for the beginner. These quibbles aside, Lamb does well at cramming a lot into this handbook. Her presentation is generally clear and straightforward, and it should be relatively easy for anyone to follow the steps she sets out. And again, she frequently cites more in-depth publications to which the curious (or confused) reader can turn for more information. Lamb includes chapters from three knowledgeable contributors: Eileen Foti and Anne Q. McKeown, both associated with the Rutgers Center for Innovative Print and Paper (RCIPP) in New Brunswick, New Jersey; and Charmian Pollok, a Scottish artist and papermaker. She also tapped the expertise of many other papermakers and artists, and had the run of the extensive slide libraries of the RCIPP and Dieu Donne Papermill (in New York City). Lamb includes many reproductions of works by artists famous and not-so-famous. Sometimes the Papermaking for Printmakers reviewed by pat almonrode papermaking for printmakers Elspeth Lamb, with chapters by Eileen Foti, Anne Q. McKeown, and Charmian Pollok. London: A&C Black Publishers, Ltd., 2006. From of the Printmaking Handbook series. 144 pages, 9 ¼ x 6 ¼ x ½ inches, color photographs throughout. Includes glossary, bibliography, resource lists, and index. £14.99 paperback. Roberley Bell, Always the Immigrant, 1998, detail: 3 x 3 x 5 inches, screen print on handmade flax paper, text, beeswax. All photos from Papermaking for Printmakers, courtesy of A&C Black Publishers, Ltd., London. Juan Sánchez, Cries and Pain, 2000, 27 x 53 inches, photo and hand-drawn silkscreen and water-based monoprint on shaped handmade cotton paper with pulp painting. Published by Dieu Donné Papermill and Lower East Side Printshop in a variable edition of 10.  juxtapositions are themselves interesting, as when Juan Sanchez's Cries and Pain (2000), a large, shaped, heavily pigmented black piece with brightly colored photo-silkscreen collage elements, is followed a few pages later by an intimate detail from Roberley Bell's 1998 wall installation, Always the Immigrant, showing a miniscule peaked-roof house flanked by small beeswax sculptures resembling biological organs. The house is made from cut-and-folded translucent flax and abaca paper printed with text and a vine-like design. Such pacing of images invites the reader to think more about the vast possibilities the medium offers. In her first chapter, Lamb covers the high points in the history of paper. Next, in chapters titled “Setting Up” and “Making a Simple Western-Style Mould and Deckle,” she goes through the basics of establishing a small-scale studio. “Setting Up” includes a fairly clear, step-by-step description of the Western method of sheet formation, illustrated by a series of process photos. It is as good a description as I have seen of sheet forming, a process that few really understand until they try it themselves. Unfortunately, her description of nagashizuki Japanese-style papermaking is more difficult to follow. It is illustrated with just one photo that shows very little of the process .Eileen Foti contributes chapters on pulp painting and watermarks. Her years of experience are evident in the clarity of her writing and the thoroughness with which she explores those topics. Along the way, in keeping with the book’s title, she makes practical suggestions on combining pulp painting or watermarks with printed imagery. Her discussion of registration techniques is illustrated with process photos of Chuck Close’s 2001 pulp painting tour de force, Self Portrait/Pulp, as well as a photo of Robert Cottingham’s stunning Component #5, from 2003. Photographs of other pulp painted works, some including printing, round out Foti’s section. Charmian Pollok provides an interesting chapter on “Papermaking From Native Scottish Plants.” The chapter is enlivened by some word choices that seem charmingly quirky and conversational, at least to an American reader: we are forewarned that scraping off the outer layer of nettle stems is “a rather fiddly process,” and instructed that fiber is cooked sufficiently when one can “squidge” it with one’s fingers and easily pull it apart. Pollok moves at a breakneck pace and includes a lot of information in her too-short chapter. She is careful to include the scientific names of all the plants she discusses, so the chapter should be helpful to papermakers both in and out of her native Scotland. Although it does not include photographs of any of the fibers, or of her processes ,the chapter does feature several of her works, including the totemic Boundary: Creag A’Mhadaidh, a nearly four-foot tall sculpture from 2001 made of “iron, paper handmade from recycled workwear, Scottish oak, and jute.” Lamb herself wrote the chapter titled “Printing on Handmade Papers,” and in it she features short comments from numerous print-and-paper artists, sharing their insights and experiences as to what works and what doesn’t. She and her contributors touch on such issues as ink absorption; “picking” (where paper fibers remain stuck to the ink that’s left on the print matrix after a print is pulled); printing on damp paper versus dry; pigmenting, sizing ,and calendering the paper; and working with chine collé. Most of the chapter is helpfully organized according to different printmaking methods. Since this chapter is presumably the heart of the book, it could have been a little longer and more extensive, and Lamb might have included some process photos. I was also reviews April Gornik, Halang Bay, 2004, 17 ½ x 29 inches, cotton base sheet with linen pulp paint and etching. Stenciled paper editioned by Megan Moorhouse, printed by Julia D’Amario, and published by Dieu Donné Papermill in an edition of 75. Charmian Pollok, Boundary: Creag A’Mhadaidh, 2001, 39 ½ x 47 ¼inches, iron, paper handmade from recycled work wear, Scottish oak,jute.44 • hand papermaking surprised that she did not offer any thoughts on oil-based as opposed to water-based inks. But the information that she does provide is useful and to-the-point. The last chapter, by Anne Q. McKeown, is a survey of some recent sculptural paper works. Here, the lack of process photos and step-by-step description is more than offset by the numerous reproductions of works, which range from overwhelming to delicate and from magisterial to whimsical. McKeown provides just enough description of how each of these pieces was made to encourage adventurous readers to adapt those techniques in the pursuit of their own visions. The book includes a worthwhile glossary and a good bibliography, as well as a list of paper studios and suppliers. While Papermaking for Printmakers presents little new for the artist with experience in papermaking and printmaking, it is a good introduction to both for the raw beginner, as well as a useful primer for artists who might want to expand from either medium into the other. Elspeth Lamb, Shuttle, 2000, 13 x 11inches, Japanese woodblock print on handmade kozo paper. Georgia Deal, Family Secret, 24 x 40 inches, stenciled pulp on cotton/abaca base sheet with silkscreen print and flocking of glass beads. Unique print produced at Pyramid Atlantic and Handprint Workshop, with support of the Maryland State Arts Council and the Prince George Arts Council. Robert Cottingham, Component #5, 2003, 60 x 40 inches, stenciled linen pulp on cotton base sheet.