Which Paper? invites the reader on a quest led by the book's subtitle, A Guide to Choosing and Using Fine Papers. The reader is guided by author Silvie Turner on a comprehensive exploration of the world of paper, through sections titled "Qualities of Paper," "Paper in Practice," and "Uses for Paper." Turner, a consultant and lecturer who lives and works in London, is described on the book's back cover as having had "an interest in paper and papermakers for over twenty years." She is "well known for documenting handmade paper throughout the world" and has authored many studies on the craft of papermaking and on artists' uses of paper pulp as a creative medium. The book focuses on handmade and mouldmade papers produced worldwide for use by artists. The author wants the reader to learn about the qualities of paper and to select from among the most suitable papers available for each artistic application, whether watercolor, drawing, calligraphy, etc. Turner reasons that if we understand how paper is made, what qualities distinguish one paper from another, and which qualities are best suited for the artistic application we have in mind, then we will appreciate paper and select the best one for our project. The author accomplishes her intention admirably. Paper from three production categories are explored--handmade, mouldmade, and machine-made. Handmade paper today follows the age-old, traditional method of making a liquid pulp and scooping an amount of pulp into a mould by hand. Mouldmade paper, common in Europe, and manufactured to simulate handmade papers, is considered by some to be half handmade and half machine-made. A cylinder mould machine uses similar raw materials as found in handmade paper but creates paper in a continuous roll. Mouldmade paper can be produced faster, more evenly, and on a much larger scale than handmade paper. The pulp used for machine-made papers and the speed of manufacturing and drying the paper is different from either handmade or mouldmade papers. Because of the vast range and quantity, less attention is given to machine-made papers in this book. Before Turner describes each category of paper, she devotes ten pages to paper specifications. This section includes a description of furnish (ingredients), sizing, grain, watermarks, surface finish, deckle edges, weight, whiteness or color, quantity, opacity, and permanence. These commonplace specifications are full of interesting information that may be applied to all three categories of paper. For instance, a paper's ingredients contribute to its distinctive characteristics. Cellulose fibers from plant sources form the raw materials of all paper pulp. Cotton linters are the primary fiber used currently in handmade and mouldmade papermaking; linters are made from the shorter fibers of the cotton plant that remain after the longer fibers are removed for the manufacture of thread. Cotton is 100% cellulose and is also acid free, which means paper made with cotton linters will not deteriorate or yellow with age. The quality of a paper being acid free is extremely important from the viewpoint of all artists. Acid-free paper will withstand the test of time. The artist's talent and effort will not be wasted by being produced on ephemeral paper. The chapter on handmade papers covers hand papermakers, inconsistencies in a handmade sheet, descriptions of some handmade paper mills, and information about European, American, Japanese, Indian, Himalayan, and Thai handmade papers. Most important is a list of handmade papers, in alphabetical order, each with a complete description of the paper. The descriptions often have line drawings of the paper's watermark, followed by a brief history of the mill and a list of specifications similar to those noted above. The descriptions conclude with recommended applications for use. Similar lists of papers are in the chapters on mouldmade paper and machine-made paper. These lists are one of the most valuable parts of the book. They provide information for the reader who is referring to the chapter titled "Uses for Paper." The reader may cross reference this list with the descriptions in the handmade and mouldmade sections to learn more about the qualities of each paper. The descriptions would also be useful when shopping via mail-order. If only the name and price are listed in a catalog, the reader may refer to Which Paper? to select a paper of just the right surface, weight, color, and size to confirm that a particular paper is suited for her or his selected artistic endeavor. The author is careful to acknowledge that her lists are not complete, and she encourages all readers to contact local suppliers for information. She also encourages readers to contact her with their reaction to the book, suggestions for the book, and comments concerning the availability of certain papers. The chapter titled "Paper in Practice" is full of useful, brief guidelines for using paper. The reader could spend time in many workshops and classes before learning as much information as is provided here for handling, tearing, trimming, gluing, storing, mounting, and framing paper, as well as mending damaged paper and caring for artistic works on paper. Twenty-seven pages of "Appendices" include a chronology and history of papermaking, a table of paper sizes and conversions, a glossary, a fine paper address list, an alphabetical list of papers, and an index. Which Paper? has a horizontal format. There is not a colophon, but the text paper appears to be dull coated with fairly good opacity and an accommodating surface for making notes. Most of the book is laid out in two easy-to-read columns per page, with the descriptions of the papers occupying three columns on each page. The typography is appropriate and pleasing. Approximately forty-eight black and white photographs and line illustrations work well with the text. None of the photos or illustrations are credited, but all are good and of a consistent reproductive quality. The perfect binding withstood several months of my reading, note making, carrying, and referring to, and shows no sign of loosening. The tone of the text is knowledgeable, thorough, readable, and sincere. Silvie Turner knows paper and cares greatly that she communicates as much information as she can to the reader. One flaw in the copy is the quantity of proofreading errors and inconsistencies. None interfere with one's enjoyment or comprehension of the book, but they are plentiful. This book is a "good read" from cover to cover, a comprehensive reference book, and would be a great gift for paper lovers and paper users. Which Paper? will be a fine addition to the book shelves of students, professionals, and friends of the fields of papermaking, fine art, graphic design, fine and commercial printing, calligraphy, book design, and other related pursuits.
