HAND PAPERMAKING

NEWSLETTER

Number 68, October 2004

Newsletter Editor: Tom Bannister. Columnists: Peter Hopkins, Elaine Koretsky, Winifred Radolan, Marilyn Sward, Pamela Wood.

Hand Papermaking Newsletter is published

four times per year. In summer and winter it is

distributed with the magazine, Hand Papermaking,

and in spring and autumn it is mailed

separately. The Newsletter is available on a

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dollars via money order or check marked payable

through a U.S. bank. For more subscription

information, or a list of back issue contents and

availability, call, fax, write, or e-mail:

Hand Papermaking, Inc.

PO Box 77027

Washington, DC 20013-7027

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 2005) is November 7. Please direct

all correspondence to the address above. We

encourage letters from our subscribers on any

relevant topic. We also solicit comments on

articles in Hand Papermaking magazine,

questions or remarks for newsletter columnists,

and news of special events or activities. Classified

ads are 75 cents per word with no minimum.

Rates for display ads are available upon request.

Hand Papermaking is a 501(c)(3) non-profit

organization. Staff: Tom Bannister, Managing

Director; Cathleen A. Baker, Interim Editor.

Board of Directors: Lynn Amlie, Martin

Antonei, Amanda Degener, Mindell Dubansky,

Helen Hiebert, Peter Hopkins, Barbara Lippman,

David Marshall, John Risseeuw, Lynn Sures,

Marilyn Sward, Mina Takahashi. Board of

Advisors: Cathleen A. Baker, Timothy Barrett,

Simon Blaner, Gregor R. Campbell, Jane

Farmer, Helen C. Frederick, Elaine Koretsky,

James Sier, Claire Van Vliet, James Yarnell.

Co-founders: Amanda Degener, Michael Durgin.

Dear Readers,

Hand Papermaking is very pleased to announce the availability of

Selected Paper Artists, 2004, featuring 62 images of contemporary artwork by

19 paper artists juried from the Hand Papermaking Artist Registry.

Two versions of this collection are on sale now: purchase a set of slides for

$200 plus $10 postage, or purchase a CD-ROM for $35 postpaid. Both include a

48-page booklet including image descriptions and artist statements, plus an

introduction and history of the project.

Juried from over 500 current slides, this generous sampling of stunning

imagery demonstrates a wide variety of techniques. These inspiring images make

an excellent classroom presentation. They are the perfect solution for educators,

publicists, scholars, and curators looking for unique talent. They present a helpful

overview for newcomers. They are an inspiration to anyone interested in handmade

paper art.

The artists featured are Grimanesa Amoros of New York, NY; Roberley Ann

Bell of Batavia, NY; Nancy Cohen of Jersey City, NJ; Susan C. Cus of West Sussex,

UK; Amanda Degener of Minneapolis, MN; Betsy Dollar of Boulder, CO; Jennie

Frederick of Kansas City, MO; Coo Geller of London, UK; Pat Gentenaar-Torley of

Rijswijk, Netherlands; Lori B. Goodman of Eureka, CA; Joan Hall of St Louis, MO;

Susan Warner Keene of Toronto, Ontario, Canada; Joyce McDaniel of Boston, MA;

Jacki Parry of Glasgow, Scotland, UK; Erica Spitzer Rasmussen of St. Paul, MN;

Robbin Ami Silverberg of Brooklyn, NY; Cynthia Thompson of Memphis, TN;

Beck Whitehead of San Antonio, TX; and Therese Zemlin of Andover, MA.

The jurors were Teri Williams, curator at Robert C. Williams’ American

Museum of Papermaking; Karen Stahlecker, award-winning and widely exhibited

paper artist; and Mina Takahashi, formerly of Dieu Donné Papermill and new

editor of Hand Papermaking magazine.

To place an order send $210 for the set of slides or $35 for the CD-ROM to

Hand Papermaking, PO Box 77027, Washington, DC 20013. Or call (800) 821-6604 or

(301) 220-2393. Additional information about Hand Papermaking’s Artist Registry

can be found at <www.handpapermaking.org>.

Thank you for your support,

Hand Papermaking Registry Committee

UPCOMING IN THE WINTER 2004 ISSUE

Jennie Frederick describes Lacandon bark paper (with sample) ~ Jana Pullman looks

at incunabula manuscripts to reveal aspects of 15th-century papermaking ~ Bette Fiske

notes the status of Japanese hand papermaking following a recent visit ~ Gerhard Banik

and Irene Brueckle write about the relationship between paper and water from a conservation

perspective ~ Terry Boone, Lynn Kidder, and Jesse Munn update the Library of

Congress’ Endpaper Project ~ Peter Hopkins reviews Gin Petty’s A Papermaker’s Season ~

Cathleen Baker offers an interdisciplinary perspective of paper through study of papermaking

history, technology, materials, uses, and conservation/preservation.

2 HAND PAPERMAKING NEWSLETTER

ALONG THE PAPER ROAD...

This regular feature offers paper musings from

Elaine Koretsky--renowned paper historian,

researcher, and traveler. In this article, Elaine

relates 1993 and 2002 experiences in Burma.

1993 featured an exciting and

exhausting expedition on my paper road.

My husband and I left Boston for China

on October 25, to follow the southern

“Silk Road” through the Gobi and Taklamakan

deserts, searching for vestiges of

hand papermaking that might still

remain. We were rewarded by finding

hand papermaking in the oasis city of

Khotan, in the extreme northwestern

part of China1. Next we flew to Chengdu

in Sichuan Province to visit a group of

papermakers in MaVillage, where we

had filmed their work in 1986. Now we

were into videography, and wanted to

document their papermaking with our

new camcorder. We accomplished this

successfully,2 and on November 19 flew

to Kunming in Yunnan Province, to

start a difficult journey by car along the

old “Burma Road” right into Lashio in

Burma. This turned out to be another

extraordinary adventure, particularly the

part where we were smuggled in and out

of China, but that is a separate chapter on

the paper road.

Right now I shall relate the story of

our final experience in the lengthy 1993

expedition. On December 14 we flew

from China to Chiang Mai in northern

Thailand, where we rented a comfortable

car and proceeded to Mai Sae, at the Thai/

Burmese border. On the way we stopped

to document again the papermakers at

Bon Mai Mok Jam, whom we had visited

in 1991.3 At the Mai Sae border crossing

we checked in with the Burmese

authorities to determine how to travel

up to Keng Tung (also transliterated as

Kyaing Tong or Chiang Tung). Keng Tung

is located in the extreme eastern part of

Burma, close to the borders of both Laos

and China in addition to Thailand. It is

the capital of the eastern Shan State of

Burma, but also called “Capital of the

Golden Triangle,” referring to its central

position in a flourishing opium trade that

extended to its border neighbors.

We received a four-day visa, allowing

one day to drive up to Keng Tung, spend

two full days there, with return on the

fourth day. The authorities provided us

with a vehicle and driver from Mai Sae,

and an English-speaking guide while in

Keng Tung.

I was delighted to finally be allowed

to visit Keng Tung, which was off limits to

foreigners until this year. In 1982, when

I first began investigating the unusual

bamboo paper made in Burma as a substrate

for the beating of gold leaf, I had

learned from Professor U Maung Maung

at Mandalay University that he had seen

goldbeating in Keng Tung some years

previously. At last I had the opportunity

to travel there. The big question would

be how to locate the gold beaters. The

drive from Mai Sae was the norm for me,

namely, traveling on bad roads for seven

hours, a distance of only 163 km., curled

up like a pretzel, in an elderly, cramped

pick-up truck. We passed through incredibly

beautiful forests, terraced farmlands,

and occasionally a village inhabited by

one of the colorful hill-tribes that occupy

this mountainous area.

The next morning when our

young guide Naw Kham appeared, I

immediately told him that I was hoping

to locate gold beaters and papermakers

somewhere in the area. He had no direct

knowledge of this, but we set off to

explore Keng Tung and its environs. We

visited two villages where Akha people

live in simple houses with woven bamboo

sides and thatched roofs. At the first village,

we saw the entire process of indigo

dyeing, including the growing of the

indigofera plants. The second one was

noted for its weaving. It seemed that at

every house a woman was working at a

backstrap loom, and the work produced

was magnificent. I purchased several

skillfully woven bags decorated with

beads and old coins. We spent time at the

marketplace, where we were surrounded

by many different hill tribe peoples of the

area. In addition to the Akha, there are

Shan, Lahu and Wa groups, each with its

own distinctive national dress and elaborate

jewelry. At the market I bought some

handmade paper and our guide learned

that it was made at Kyaing Kong Village.

We drove out there right away and found

a very small papermaking operation.

The fiber used was paper mulberry, and

the sheets formed by pouring the hand

beaten pulp onto moulds floating in a

concrete vat. Nearby was Yun Khong village,

where 70 families made earthenware

pots. We watched the firing of the pots

in an open pit where straw was burned

as fuel, and we visited Wat Jong Kham, a

magnificent pagoda and monastery built

700 years ago. So far, we had found no

evidence of gold beating, but Naw Kham

promised to make more inquiries.

The next morning our guide

appeared with another man, Sae Thip,

whom he introduced as a very knowledgeable

person who might be able to

better help us with our investigations.

Sae Thip was incredible and invaluable.

When we asked about gold beating, he

immediately said that he would take us

to visit one of the old gold beaters. First

we drove to Sae Thip’s home and printing

shop, The Khemerat Press. We met his

elderly father, who had printed the Keng

Tung newspaper until it was banned by

the Burmese military government. His

father had also been a Sawbwa, one of the

rulers when the Shan States had a feudal

system, prior to 1947. Sae Thip showed

us his antique Chinese printing press

and old typefaces. He still maintained

the printing shop, doing general printing

and copy work for the needs of the community.

We returned to the marketplace,

and our new friend showed us where we

could purchase parabeik, which are the

accordion-fold books used for writing

Buddhist scriptures. We learned from the

shopkeeper that his brother was a scribe

who produces the prayer books, and that

the paper for the books was made in Wan

Long Village, about eight miles from

Keng Tung. Now we had an itinerary for

the rest of the day.

We drove to the house of U Lone

Kawn, who graciously welcomed us. He

was a man of 64 years, and had retired

from gold beating 25 years previously.

He told us that he not only beat the gold

for gilding, but also made the type of

paper necessary for the beating. We asked

about his tools, and he proudly brought

out his gold beating hammer. I already

owned a hammer, purchased from one

of the young gold beaters whom I met

in Mandalay. That hammer was a simple

one, albeit it antique, originally used

by the goldbeater’s grandfather many

decades ago. U Lone Kawn’s hammer

was extraordinary, with an ornate head

cast in bronze, and a hand carved wood

handle. I could make out the chisel marks

on the wood, although the wood was

smooth and polished. And he showed us

his packets of burnished paper wrapped

in the leather sheaths that were used in

the goldbeating process. He obviously

treasured the worn leather packets that

symbolized his former livelihood. All the

artifacts were very impressive, and we

asked if he would pose with them for a

photograph. He agreed, and suggested

we go outside where he had a large wood

stump on which he used to beat. Then he

OCTOBER 2004 3

excused himself to go upstairs, reappearing

dressed in traditional Shan clothing

that is rarely seen anymore. Obviously,

he wanted us to photograph him just

as he looked 25 years ago, when he was

performing this work. After the photography,

I asked Sae Thip if it was proper

to inquire if U Lone Kawn would sell the

hammer to me, explaining that it would

be safely kept in my museum, where I

had many Burmese artifacts on display.

Sae Thip assured me that it was all right,

and translated what I had said to U Lone

Kawn. So I purchased the beautiful hammer

and gave assurance that it would be

properly displayed. U Lone Kawn seemed

very pleased and also offered to sell me

a special hammer that he had used to

pound the gold itself into thin ribbons

that he would cut into small pieces for

the goldbeating process. I bought that as

well. In addition, U Lone Lawn presented

me with a sheet of his burnished paper

from one of his precious packets. I would

have happily bought the entire packet,

but I was shy about asking for the last of

his artifacts. However, after we said our

farewells and expressed appreciation for

the interview and photo opportunity, and

were getting back into our pickup truck,

U Lone Kawn remembered one more item

from his past career. It was a buffalo horn

that he had used to burnish his handmade

paper, and he generously gave it to

me as an additional gift. Eleven years had

passed since I had heard about goldbeating

in Keng Tung, and now finally I had

met this kindly man.

Sae Thip took us to other places. We

drove seven miles to Wan Long, a village

of papermaking that was difficult to

reach because we had to cross waterswollen

streams and circumvent many

rice paddies. But our old wheezing pickup

truck managed to get there. We found

five families making paper from paper

mulberry. Their methods were similar to

those of Kyaing Kong, namely, making

sheets of paper by pouring the beaten

pulp onto a mould floating in water. The

papermakers affirmed that their paper

was mainly used for the making of parabeik.

Our next stop was the house where

the parabeik were made. We saw how the

books were produced, and we watched

the scribes at work writing the Buddhist

prayers. The short trip to Keng Tung was

certainly an important one for my documentation

of papermaking in Burma. The

following morning we drove back to the

Mae Sai border, flew on to Bangkok, and

then back home.

I treasured the artifacts I collected

on that brief trip, and hoped that I might

return to this remote part of the country.

Years passed, and I often thought about

U Lone Kawn and Sae Thip. Finally, in

2002 I decided to make another trip to

Keng Tung.

To be continued in the January 2005 issue.

1 Videotape: “The Last Papermakers on

the Ancient Silk Road”, publ. 1993.

2 Videotape: “Papermaking in China”,

publ. 1993.

3 No motorcycles this time! See Hand

Papermaking Newsletter #65, January 2004.

BEGINNER TOPICS

Marilyn Sward is a well-known paper artist,

teacher, and administrator. In this issue, she

discusses flower inclusions.

As I write this the gardens are in

full bloom and when you read it many

gardens will still have flowers. One of

the longest blooming makes one of the

best additives for hand papermaking:

the marigold. The blooms of this hardy

plant yield a wide range of bright yellow

to deep orange petals which hold their

color when added to paper pulp. They

may be pressed in a simple flower press

or allowed to dry on a screen. The seeds

that cling to the petals may be removed

or used (artistic license). Keep in mind

that you may get some bleed in the sheets

from many types of flower petals. Marigold

has little bleed.

Other flowers I have used are

Monarda (bee balm) in a broad range

of colors from blue to bright red, and a

wide variety of straw flowers. The latter I

often pre-boil to hydrate them. This helps

them blend with the pulp and reduces the

chance for bleeding.

You may wish to retain the character

of the whole flower, or perhaps try a fern.

This may be accomplished by pressing

them in a flower press and, when dry,

laying them into the couched sheets.

With this method, the entire flower may

be utilized, or the various dried petals

may be arranged to create unique or

imaginary plants.

I prefer to use abaca pulp for flower

inclusions. It is easy to pulp in a blender

and makes a sheet that responds well to

inclusions and natural plant materials.

For those of you in apartments or without

gardens I suggest watching for municipal

parks and botanical gardens to change

their plantings. They discard many

wonderful materials that can be used

both for inclusions and for pulp. But pulp

from plant is another topic. For now, go

harvest, and enjoy your gardens in paper

all winter long.

TEACHING HAND PAPERMAKING

Based in Philadelphia, Winifred Radolan

operates an itinerant teaching papermill,

and has taught papermaking to thousands

of adults and children. In this issue, Winnie

makes washi windsocks.

When school’s out for summer, “Ms.

Winnie” gets to go to camp and make

paper. For the first time, this past summer

I was invited to be part of the Friends of

the Japanese House and Garden’s Japanese

Cultural Camp. For several years, tops on

my list of annual paper adventures has

been to demonstrate the making of washi

at one of the organization’s festivals.

Shofusu, built in a 16th-century Japanese

style of architecture, was a gift from the

America-Japan Society of Tokyo to our

country in 1958. Located in West Fairmount

Park, Philadelphia, it remains

one of the most beautiful and restful

destinations our city has to offer. A week

of day camp at Shofusu might include

experiences with origami, haiku, Ikebana,

Japanese language and culture, meditation,

and this year--to my great delight--

making washi!

I decided to direct our papermaking

toward the Japanese tradition of flying

carp windsocks to celebrate Boy’s Day,

May 5th. I cut a mylar stencil with outline

marks for eyes, fins, tail, and a few scales

to assist the campers in the basic design of

their fish. Then I prepared a soupy, brushon

batch of black cotton pulp paint to

apply to their washi through the stencil.

And finally, I filled squirt bottles with

brightly colored pulp paint for campers to

use to bring their fish to life.

The twelve campers, who ranged

in age from seven to thirteen years,

learned a little of the history and traditional

methods of Japanese papermaking

as they viewed illustrations of all the

steps. Then, to establish a flow of

activities that kept everyone engaged,

we divided ourselves into groups of

4 HAND PAPERMAKING NEWSLETTER

kozo-beaters, washi-makers, and

pulp-painters. Everyone cycled through

each step. (I arrived with pre-beaten fiber

for the first day and each kozo-beater

group prepared pulp for the following

week’s group.)

To the accompaniment of steady

semi-rhythmic kozo beating, each camper,

with my assistance, formed a sheet of

washi that measured 11x17 inches. The

mylar was laid atop the washi and black

pulp paint was brushed over the stencil to

settle into the openings, marking off eyes,

fins, tail, etc. Then, with a good shake (finger

over the pulp paint bottle opening),

and uttering the mantra “less-is-more,”

everyone began to pulp-paint their carp

into Technicolor life. We pressed all the

papers, and brushed them out on drying

boards. Later in the week the camp staff

assisted the kids in assembling their fishy

creations into 3-D windsocks.

And thanks to the halcyon beauty

of Shofusu and its surrounding gardens,

my long-time karma of seeming to choose

the hottest of July days for washi-day was

BROKEN!

ON-LINE

Pamela S. Wood of Arizona makes one-of-akind

books from her handmade papers. She

explores the internet seeking out notable

paper-related sites. In this issue, Pam explores

a bit of Britain.

Across the Atlantic we go to jolly

ol’ England for a visit to the Griffen Mill

website at <www.griffenmill.com>.

While the site’s design is rather simple,

it is effective. There is something for

everyone and it is easy to explore. Loaded

with history, Griffen Mill’s website offers

subtle and hidden treasures that make

surfing fun. But how can you not have

fun in England, even if this visit is merely

vicarious? Open the home page to view a

papermaker at work over the vat. As you

will see, the mill works today filling orders

of handmade bookbinding and conservation

papers made in the traditional

manner from cotton, linen, and hemp.

Let’s go directly to the most interesting

part of the site: “Griffen Mill Scrapbook.”

Scroll down to the first subheading:

“Common Handmade Papermaking

Terms.” Admittedly, the first term caught

my attention. Did you know that an “ass”

is the curved wooden fitting on the bridge

of the vat? The coucher props the paper

mould against the ass to drain surplus

water from the newly formed sheet. This

list of terms makes a nice reference (for

papermakers or scrabble players) and

many of the terms are illustrated. As

the old adage goes, a picture is worth

a thousand words. Scroll down further

past “What is a Sheet of Paper?” to find a

papermaking recipe from 1918 and paper

mineral additives used in the early 20th

century. Still scrolling down, there is a

good reference book section, including

some seldom-seen British texts. Further

on (keep scrolling!) there are wonderful

images of traditional equipment and

papermakers at work. All good things

must come to an end, but this section of

the website certainly gets my vote for the

longest scroll.

What else does this site offer? Click

on “Book Binding and Restoration” to

see descriptions and swatches of papers

that Griffen Mill produces, some from

very old recipes. Click on “Historic Wall

Paper” to read a fascinating article about

their wallpaper restoration project following

the fire at Uppark House in the south

of England. Click on “Handmade Tissue”

to see the fabulous Griffen watermark

and a full line of repair tissue.

The second-best part of this website

I have left for last. Click on “Griffen Mill

Links and Snippets” and navigate to the

poem titled Wry Look at Papermills and

Their Customers (with Apologies to Lewis

Carroll). Definitely stay to the bitter end,

it is worth it. What a great piece! Here’s a

short excerpt:

“Shrewd Lawyers love within its folds

To practice night and day;

Richer Bankers change it into gold

in a financial way;

Great men of thought and letters on

The milk white surface trace.

Rich jewels and precious gems are bound

within its soft embrace.”

PAPER HISTORY

Peter Hopkins is a media relations consultant

specializing in environmentally responsible

papermaking and the history of papermaking.

In this issue, he offers some eloquent

Calls for Rags.

Throughout the first 175 years of

papermaking in the United States, cotton

and linen rags were the papermakers’ raw

material. From 1690, until the widespread

use of wood fiber in the post-Civil War

era, the demand for rags for papermaking

many times outstripped supply.

Mill owners, newspaper editors,

legislators, and other influential citizens

were constantly appealing to the public

to practice the frugality of saving their

rags, while encouraging the manufacture

of paper. Many of these entreaties were

enthusiastic, to say the least. Following

are some of the more entertaining:

From the Boston News-Letter of 1769:

“Rags are as beauties that concealed lie,

But when as paper, how they charm the

eye;

Pray save your rags, new beauties to

discover,

For paper truly every one’s a lover.

By Pen and Press such knowledge is

displayed

As wouldn’t exist, if Paper was not made.

Wisdom of things, mysterious, divine,

Illustriously doth on Paper shine.”

From the Journals of the Provincial Congress

of Massachusetts, 1774:

“Therefore. Resolved, That it be recommended,

and it is by this Congress

accordingly recommended, to every

family in the province, to preserve all

their linen, and cotton and linen rags, in

order that a manufacture so useful and

advantageous to this country, may be

suitably encouraged; and it is also recommended

to our several towns to take such

further measures for the encouragement

of the manufacture aforesaid, as they

shall think proper.”

From the Massachusetts Spy, 1778:

“It is earnestly requested that the fair

daughters of Liberty in this extensive

country would not neglect to serve their

country by saving, for the Paper Mill at

Sutton, all Linen and Cotton-and-Linen

Rags, be they ever so small, as they are

equally good for the purpose of making

paper as those that are larger. A bag hung

up at one corner of a room would be the

means of saving many which would be

otherwise lost. If the ladies should not

make a fortune by that piece of economy,

they will at least have the satisfaction of

knowing that they are doing an essential

service to the community.”

From papermaker Seth Hawley, 1808:

“If the necessary stock is denied the paper

mills, young maidens much languish in

vain for tender epistles from their respective

swains; bachelors may be reduced

to the necessity of a personal attendance

upon the fair, when a written communicaOCTOBER

2004 5

tion would be an excellent substitute.

For clean cotton and linen rags of every

color and description, matrons can be furnished

with bibles, spectacles and snuff;

mothers with grammars, spelling books

and primers for their children; and young

misses may be supplied with bonnets,

ribbons and ear rings for the decoration

of their persons, by means of which they

may obtain husbands, or by sending them

to the mill, they may receive cash.”

And, finally, from the North Carolina

Gazette, 1777:

“...If a sufficient quantity of rags can be

had, they will be able to supply the state

with all sorts of paper. They therefore

request the favour of the Public, and more

particularly they Mistresses of Families,

and the Ladies in general, whose more

peculiar Province, it is, to have all their

Rags and scraps of Linen of all Sorts; old

Thread Stockings, Thrums from their

Linen Looms and every kind of Linen

is useful. As this Undertaking is Novel,

saving of Rags may perhaps be thought

too trifling, and below the Notice of the

good Matrons of the State; but when they

consider they are aiding and assisting

in a necessary Manufacture, and when

the young Ladies are assured, that by

the sending to the Paper Mill an old

Handkerchief, no longer fit to cover their

snowy Breasts, there is a Possibility of

its returning to them again in the more

pleasing form of a Billet Doux from

their Lovers.”

Listings for specific workshops and

other events in the following categories

are offered free of charge on a

space-available basis. The deadline for

the January Newsletter is November 7.

Contact each facility directly for

additional information or a full schedule.

CLASSES AND WORKSHOPS

Amagansett Applied Arts, 11 Indian

Wells Hwy., PO Box 1336, Amagansett,

NY 11930, (631) 267-2787, <www.a3arts.

org>. Papermaking classes on the eastern

end of Long Island.

Brookfield Craft Center, 286 Whisconier

Road, Brookfield, CT 06804, (203) 775-

4526, <www.brookfieldcraftcenter.org>.

Craft workshops at a colonial vintage

campus 75 miles from New York City.

Arrowmont School of Arts and Crafts,

Box 567, Gatlinburg, TN 37738, (865)

436-5860, <www.arrowmont.org>. Classes

and workshops in a variety of disciplines,

including papermaking.

Beautiful Paper: An Intro to Marbling,

October 10-16 with Nancy Dunn Lawrence.

Explore the magical process of

marbling, creating designs and having

fun with color.

Woven Baskets of Painted Paper, October

29-31 with Patti Quinn Hill. Cut your

paper into strips using a pasta cutter, then

weave one-of-a-kind baskets.

John C. Campbell Folk School, Route

1, Box 14A, Brasstown, NC 28902, (704)

837-2775, <www.folkschool.org>. Classes

in papermaking and other crafts in the

mountains of western North Carolina.

Papermaking, Western Style, October 3-9

with Claudia Lee. Learn the basics

of hand papermaking in the Western

tradition.

Papermaking to Books, Pulp to Pages,

October 17-23 with Rajeania Snider.

Create books--from producing the paper

pages and making decorative covers to

binding--using inexpensive equipment

and materials.

Paper Bead Jewelry & Paper Boxes,

October 29-31 with Judy Anderson.

Create colorful, one-of-a-kind pieces of

jewelry from paper.

Origami: Elegant and Fun Decorations

and Gifts, December 5-11 with Marsha

Whitney. Learn to read folding diagrams,

design your own models, and transform

paper into elegant decorations.

Exotic Decorative Paper Techniques,

January 16-22, with Mimi Schleicher.

Focus on watercolor marbling, with emphasis

on contemporary and traditional

pattern making.

It Came from the East: Oriental Papermaking,

March 6-11, with Rajeania Snider.

Explore fiber preparation, sheet forming,

and a wide variety of decorative

techniques as practiced in Nepal, Japan,

China, and Egypt.

Carriage House Paper, 79 Guernsey

St., Brooklyn, NY 11222, (800) 669-8781,

<www.carriagehousepaper.com>. Call for

current offerings.

The Clearing, PO Box 65, Ellison Bay, WI

54210, (920) 854-4088, toll-free (877) 854-

3225, <www.theclearing.org>. A residential

school for adults in Door County.

Center for Book Arts, 28 West 27th Street,

New York, NY 10001, (212) 481-0295,

<www.centerforbookarts.org>. Dozens of

book and paper workshops offered.

Paper Treatments, December 13-17 with

Laurel Parker.

Working at the Speed of Light: From Paper

to Book in Two Days, November 6-7 with

Robbin Ami Silverberg.

Columbia College Chicago Center for

Book and Paper Arts, 1104 S. Wabash,

Chicago, IL 60604, (312) 344-6630, <www.

bookandpaper.org>. Classes in papermaking

and book arts.

Dieu Donné Papermill, 433 Broome

Street, New York, NY 10013-2622, (212)

226-0573, <www.dieudonne.org>. Beginning

and advanced papermaking classes

for adults and children.

Haystack Mountain School of Crafts, PO

Box 518, Deer Isle, ME 04627, (207) 348-

2306, <www.haystack-mtn.org>. Workshops

in various disciplines, including

papermaking and book arts.

La Font du Ciel, La Chambary, Charrus,

F-07230 Saint André Lachamp, France,

<pfpfrerick@aol.com>, <www.frerick.de>.

Papermaking workshops at the east

foothills of the Cevennes.

Magnolia Editions, 2527 Magnolia St.,

Oakland, CA 94607, (510) 839-5268,

<www.magnoliapaper.com>. Workshops

in papermaking, printmaking, book arts.

Minnesota Center for Book Arts, 1011

Washington Avenue South, Suite 100,

Minneapolis, MN 55415, (612) 215-2520,

<www.mnbookarts.org>. Classes at the

Open Book center for book/literary arts.

Advanced Papermaking, Tuesday evenings,

September 28 - November 9, with

Jeff Rathermel. Advance your skills and

create paper for your own projects.

Traditional Marbling, October 16-17 with

Galen Berry. Take a new look at this

ancient crafts.

Western Papermaking, October 16-17 with

Bridget O’Malley. Learn pulp preparation,

sheet forming, and several decorative

techniques, plus cooking and beating

plant materials.

Watermarks, November 6-7 with Bridget

O’Malley. Learn which pulps make the

best watermarks and create a variety of

marks using wire, adhesive backed materials,

and fabric paint.

6 HAND PAPERMAKING NEWSLETTER

North Country Studio Workshops,

PO Box 875, Hanover, NH 03755, (603)

795-2889, <www.northcountrystudioworkshops.

org>. Fourteen advanced-level

classes held at Bennington College in

Vermont, including:

Basketry: Sculptural Paper, January 26-30,

2005, with Mary Merkel-Hess. Explore

the three-dimensional possibilities of

paper, either as vessels and baskets or

as sculpture.

The Papertrail, 135 Lexington Court,

Unit 4, Waterloo, Ontario, Canada N2J

4R1, (800) 421-6826, <www.papertrail.ca>.

Classes in papermaking, marbling, and

related arts.

PapierWespe (PaperWasp), Aegidigasse

3/Hof, 1060 Wien, Austria, (0676) 77-33-

153, <papierwespe@chello.at>, <www.

papierwespe.at>. Workshops in English

and German taught by paper specialists

in downtown Vienna.

High Tension Paper, October 15-17, with

Roberto Mannino. Learn about overbeaten

flax and abaca, three dimensional

techniques, internal flexible armatures,

shaping with hot sand, and more.

Experimental Jewelry, November 27-28,

with Christina Leitner. Find out about the

history and current applications of paper

thread, and create extraordinary pieces

of jewelry.

Pyramid Atlantic, 8230 Georgia Avenue,

Silver Spring, MD 20912, (301) 608-9101,

<www.pyramidatlanticartcenter.org>.

Workshops in papermaking, printmaking,

and book arts.

Prints on Handmade Sheets, Tuesday

evenings, September 28 - October 26,

with Mary Ashton. Learn basic techniques,

create your own paper, and print

in a limited edition.

Paste Papers, October 2-3, with Deena

Schnitman. Using some provided tools

and some you make yourself, create

designs that are uniquely yours.

Paper Bowls and Plates, November 6-7,

with Sue Fox Hirshman. Combine cast

paper with other dissimilar materials,

have fun with colored pulp, and make

small mixed media vessels.

A Sculptural Dialogue with Paper,

December 4-5, with Eve Ingalls. Maximize

the unique qualities that hand papermaking

brings to sculptural form.

Peninsula Art School, Box 304, Fish

Creek, WI 54212, (920) 868-3455 <www.

peninsulaartschool.com>. Classes in

papermaking and other crafts for all ages,

held in Door County, Wisconsin.

Penland School, Penland, NC 28765,

(828) 765-2359, <www.penland.org>. A

full program of craft workshops, including

papermaking and book arts.

Peters Valley Craft Center, 19 Kuhn

Road, Layton, NJ 07851, (973) 948-5200,

<www.pvcrafts.org>. Workshops in a variety

of craft, including papermaking.

Rhode Island School of Design,

2 College St., Providence, RI 02903, (800)

364-7473 ext. 2. Continuing education

through the Summer Institute of Graphic

Design Studies.

The Robert C. Williams American

Museum of Papermaking, 500 10th Street

NW, Atlanta, GA 30332, (404) 894-7840,

<www.ipst.edu/amp>.

Holiday Paper Crafts, December 4 with

Museum staff. Enjoy a family workshop

and make paper crafts and ornaments for

the holidays.

Georgia and Papermaking--A Hands-on

Historic Look at Our Past, March 19, 2005.

Step back to 1804, walk around historic

Scull Shoals with archeologist Jack Wynn,

then make paper from cotton/linen rags.

San Francisco Center for the Book, 300

De Haro, San Francisco, CA 94103, (415)

565-0545, <www.sfcb.org>. Book arts

classes and events year-round.

Surface Magic: New Techniques in

Decorative Papers, October 22 with Peggy

Skycraft. Learn to make richly colored

decorative papers using exotic surface

techniques.

Image Transfers on Paper, Fabric & More,

October 29 & November 5 with Richard

Elliott. Learn more than 30 processes

for transferring photocopied images,

laser and inkjet prints, and magazine

photos onto paper, fabric, wood, and

other surfaces.

Pastepapers, December 10 with Leigh

McLellan. Create colorful, vibrant patterns

using a centuries-old process.

Seastone Papers, PO Box 331, West Tisbury,

Martha’s Vineyard, MA 02575, (508)

693-5786, <www.seastonepapers.com>.

Workshops in papermaking and book arts

taught by Sandy Bernat.

Sievers School of Fiber Arts, PO Box 100,

Washington Island, WI 54246, (920) 847-

2264, <sievers@itol.com>, <www.sieversschool.

com>. Summer workshops on an

island in Lake Michigan.

Snow Farm, The New England Craft

Program, 5 Clary Road, Williamsburg,

MA 01096, (413) 268-3101, <www.snowfarm>.

Study in a pastoral setting near the

five-college communities of Amherst and

Northampton.

Papermaking from Natural Fibers, October

9-11, with Sheryl Jaffe. Collect local

organic materials then add abaca, flax,

and kozo to make Japanese and Western

style papers.

Southwest School of Art & Craft, 300

Augusta, San Antonio, TX 78205, (210)

224-1848, fax (210) 224-9337, <www.

swschool.org>. Classes and workshops

including papermaking, book arts, and

surface design.

Paper Color, October 2, with Jo Etta Jupe.

Practice and discuss methods of achieving

intense color.

Papermaking: Folders, Cards & Pockets,

October 9, with Jo Etta Jupe. Discover options

for manipulating paper during the

wet stage.

Intermediate and Advanced Papermaking,

Tuesdays, November 2 - December 14,

with Beck Whitehead. Gain additional

instruction on specific techniques.

Botanical Paper, November 6-7, with Jo

Etta Jupe. Make paper from a variety of

plants grown regionally.

Stone and Paper Art Center, L.L.C., 2020

Woodrow Street, Mandeville, LA 70448,

(504) 674-9232, fax (504) 674-9227.

Nagashasuki with Mary-Elaine C.

Bernard, selected Saturdays. Learn this

Eastern method of making paper and

incorporate local plant fibers.

Valley Ridge Art Studio, 115 S. Franklin

St., #303, Madison, WI 53703, (608) 250-

5028, <www.valleyridgeartstudio.com>.

Workshops in papermaking, bookmaking,

photography, writing, etc.

Women’s Studio Workshop, PO Box 489,

Rosendale, NY 12472, (914) 658-9133,

<http://wsworkshop.org>. Summer Arts

Institute includes workshops in papermaking,

printmaking, book arts, photography,

and other media.

OCTOBER 2004 7

CONFERENCES & SPECIAL EVENTS

The Friends of Dard Hunter will meet in

San Antonio, Texas, October 20-23. The

Friends meet annually to enjoy speakers,

presentations, tours of local paper and

book arts facilities, a trade show, auction,

and banquet. Some scholarships will be

available to those with financial need.

The 2005 gathering will be in Salt Lake

City, and the 2006 meeting returns to

Dard Hunter’s hometown of Chillicothe,

Ohio. For more information write to the

Friends of Dard Hunter, PO Box 773, Lake

Oswego, OR 97034, or call (503) 699-8653

or visit <www.friendsofdardhunter.org>.

IAPMA, the International Association

of Hand Papermakers and Paper Artists,

will hold its 2005 Congress at the Banff

Centre in Banff, Alberta, August 12-17,

2005. Enjoy workshops, demonstrations,

and presentations in a beautiful

setting. Non-members welcome. For

further information, contact Elizabeth

Crammond, telephone (416) 769-4886 or

<ecrammond@look.ca>.

Pyramid Atlantic is dedicated to teaching,

promoting, and nurturing hand papermaking,

printmaking, digital media, and

the book arts. The organization’s 2004

Washington Book Arts Conference and

Fair is scheduled November 19-21. Two

panels and a special presentation are

scheduled at the elegantly restored American

Film Institute. Over forty dealers will

exhibit. All events will take place within

walking distance of Pyramid Atlantic’s

new building in downtown Silver Spring,

Maryland, conveniently located to the DC

Metro system’s red line. Phone (301) 608-

9101 for further information. This premier

event is the longest-running book arts fair

in the US.

Melbourne Paper Arts, Australia’s

premiere paper arts and crafts event,

will take place October 23-24 at St. Kilda

Town Hall in Melbourne. Visit <www.

studioastarte.com.au/paperarts> for

further information.

Printmaking Relevance/Resonance, the

biennial conference of the Mid America

Print Council, takes place October 6-9 at

the University of Nebraska in Lincoln.

Demonstrations in printmaking, papermaking,

and book arts are planned; plus

speakers, presentations, and exhibits. For

further details call Karen Kunc at (402)

472-5541 or e-mail <kkunc1@unl.edu>.

Join the Robert C. Williams American

Museum of Papermaking on Friday,

October 2, from 5:00–7:00pm, for the

opening of a new papermaking studio

and greenhouse. Learn how to grow your

own paper fibers and see the new studio

for making paper and hosting advanced

papermaking classes and workshops. The

studio and greenhouse are located at 575

14th Street in Atlanta. The event is free,

but please RSVP for the celebration: (404)

894-6663 or (404) 894-7840.

EXHIBITS & COMPETITIONS

November 1 is the deadline for Hand

Papermaking’s next portfolio featuring

Pulp Painting. This will be the seventh

of the series started in 1994. Within the

broad field of handmade paper art,

pulp painting is an emerging specialty

attracting many artists with backgrounds

in painting, drawing, printmaking, and

other disciplines. To create a pulp painting,

specially prepared pulps are applied

to a freshly made sheet of handmade

paper in a number of ways, sometimes

with the aid of stencils, sometimes

freehand, resulting in a finished sheet of

paper that fully incorporates the image.

The distinction between substrate and

medium does not apply. Consequently,

the jury will select entries that demonstrate

the equal importance of visual

image and well-made paper, and entries

that most successfully combine the two

will be given priority. The edition size

will be 150 plus 2 artist’s proofs. This

juried collection will follow the format of

earlier portfolios: selected pieces will each

be placed in folders and will accompany

a booklet with a commissioned essay and

artists’ statements, all housed in a clothcovered,

drop-spine box. Participating

artists will receive a copy of the portfolio

in exchange for their edition of prints.

Based on previous portfolio sales, this

new edition is expected to be purchased

by major museums and rare book collections,

both private and public. The deadline

for entries is November 1, 2004. The

jury’s selections will be made in January,

2005. Statements will be due in the spring,

editioned prints will be due early summer,

and the completed portfolios will

be available by the end of 2005. For more

details and a full Call for Entries, please

visit <www.handpapermaking.org> or

call (301) 220-2393.

Upcoming exhibitions at the Robert

C. Williams American Museum of

Papermaking include: Recent Works by

Cynthia Thompson through November

24; and Recent Works by Beck Whitehead,

December 9, 2004 through February 25,

2005 (reception on December 9 at 5:00pm.

For more information, contact Teri

Williams at (404) 894-6663.

The annual exhibition showing paper art

at PapierWespe (PaperWasp) currently

presents: Hand Papermaking’s Watermarks

in Handmade Paper Portfolio; Christina

Leitner’s Works with Paperthread; Sophia

Brandtner’s Woodcuts on Handmade Paper;

Karin Muhlert’s Objects; Roberto Mannino’s

2D series; Beatrix Mapalagama’s

Used installation; and Edition Ps. Maliano

book edition on handmade paper, printed

in Niloprint. For further details contact

PapierWespe (PaperWasp), Aegidigasse

3/Hof, 1060 Wien, Austria, (0676) 77-33-

153, <papierwespe@chello.at>, <www.

papierwespe.at>.

An exhibition of Jane Ingram Allen’s

installation art Made in Taiwan - Taipei Site

Maps will be at the Essex Art Center, 56

Island Street in Lawrence, Massachusetts

(near Boston) until October 22. The works

are suspended from the ceiling and are

created from handmade paper and other

materials collected in Taiwan. The map

images are of many different areas in and

around Taipei where the artist lived for

six months. Her work continues through

July 2005 with a Fulbright Scholar Award,

and is expanded to cover all of Taiwan,

making “site maps” with handmade

paper from the plants and other materials

collected in that place. For more information

see <www.janeingramallen.com>.

2004 marks the 10th Anniversary of the

Columbia College Chicago Center for

Book and Paper Arts. Since its inception

in 1994 by a group of local artists, the

Center has become a hub for the book and

paper arts; helping and instructing artists

along the way, and being helped, itself, by

countless generous people. To celebrate,

the Center has mounted an exhibition

featuring the work of friends, alumni,

and compatriots. The exhibition of artist

books, traditional bookbinding, papermaking,

and letterpress is a milestone

exemplifying the Center’s accomplishments,

and is on view until October 23

at 1104 S. Wabash in Chicago. Call (312)

344-6630 for more information.

8 HAND PAPERMAKING NEWSLETTER

Paper Possibilities: Contemporary Paper

Works by Taiwanese and Chinese Artists,

curated by Jane Ingram Allen, is on

display through October at McQuade

Library Gallery, Merrimack College,

in North Andover, Massachusetts.

Artists selected for the exhibition reflect

concerns with contemporary issues and

include such techniques as paper cutting,

printmaking, sculpture, photography,

installation art, papermaking, and mixed

media. For more information see <www.

janeingramallen.com>

During November and December,

Neilson Library at Smith College in

Northampton, Massachusetts, presents an

exhibit of selected works from Hand

Papermaking’s portfolios. Since 1994

when Design and Pattern in Decorated

Papers: Wet and Dry Techniques was

published, until last year when Innovative

Printmaking on Handmade Paper was

published, over 100 paper artists have

been juried into the collections. Both

portfolios mentioned above will be on

display in their entirety and many pieces

from the other four portfolios will also be

displayed. This is a rare opportunity to

see some of the finest contemporary and

traditional artwork on handmade paper

at one venue. For further information call

Barbara B. Blumenthal at (413) 585-2906.

Papermaking Invitational is on view until

November 13 at Ursuline Hall Gallery

of Southwest School of Art & Craft,

featuring works of handmade paper in

conjunction with the Friends of Dard

Hunter Conference. For further information

contact SSAC, 300 Augusta, San

Antonio, TX 78205, (210) 224-1848, <www.

swschool.org>.

TRAVEL

Lamia Ink! inc. is offering a travel and

exhibition opportunity March 30 through

April 14, 2005. The Japan Artbridge

Project--”Washi” will focus on Japanese

paper and papermaking and will also

include special creative/journal writing

workshops along with papermaking and

bookmaking workshop sessions. In addition

to the studio visits and the exhibition

in Kyoto, the group will visit some of the

finest papermills in Japan on Shikoku

Island and surrounding areas in and

around Kyoto. Artists must pay travel

costs and submit four slides, resume, and

50-word narrative bio or artist statement.

For copy of complete details, guidelines,

and application send SASE: Lamia Ink!

inc., PO Box 202, Prince Street Station,

New York, NY 10012 or visit <www.

LamiaInk.org>.

OPPORTUNITIES

A new paper market is being organized

by PapierWespe for the winter holiday

season in Vienna. Works by artists who

use handmade paper will be sold on commission.

Those interested in applying for

the market should contact: PapierWespe

(PaperWasp), Aegidigasse 3/Hof, 1060

Wien, Austria, <office@papierwespe.at>.

Fellowship Grants at Women’s Studio

Workshop are designed to provide concentrated

work time in the printmaking,

silkscreen, hand papermaking, photography,

letterpress, and clay studios. Fellowships

are awarded through a jury process.

Recipients pay $200 per week, approximately

one-fifth the actual cost. To apply,

send an application form, resume, 6-10

slides, a letter of interest, and SASE to

WSW, Box 489, Rosendale, NY 12472. The

deadline for Spring fellowships (March -

June) is November 1.

Artists experienced in papermaking are

invited to apply for the opportunity to

spend up to three months working in the

Paper Studio at the Southwest School

of Art & Craft. Artists are expected to

provide their own transportation and

materials. Housing may be available, but

is not guaranteed. Collaborations will

be considered. For further information

contact SSAC, 300 Augusta, San Antonio,

TX 78205, (210) 224-1848, <www.

swschool.org>.

The Creative Residencies program in

Media & Visual Arts at The Banff Centre,

Alberta, Canada, provides studio facilities

and support for artists working in a broad

range of media, including photography,

sculpture, print media and papermaking,

ceramics, painting, performance, architecture,

new media, television, video, curatorial

and critical studies, and textiles.

Visit <www.banffcentre.ca> or call (800)

565-9989 or (403) 762-6180.

MISCELLANEOUS

The San Francisco Museum of

Craft+Design--a new museum dedicated

to celebrating, promoting, and fostering

the art, artists, and culture of contemporary

craft and design--opens in San

Francisco’s Union Square district October

23. The Museum will showcase a rich

series of diverse craft and design exhibitions

and create a vital program of education

and community outreach that infuses

a modern interpretation in the traditional

definition and understanding of craft and

design. Following its grand opening, the

new museum will be open to the public

free of charge through the end of the

year. The Museum is located at 550 Sutter

Street. To become a member, sponsor, or

for more information, call (415) 773-0303,

email info@sfmcd.org or visit <www.

sfmcd.org>.

Hand Papermaking is pleased to

announce the selection of a guest editor

for its Winter 2004 magazine. Cathleen

A. Baker, an advisor to the organization

and former board member, will compile

and edit the issue as Hand Papermaking

transitions from the editorship of Michael

Durgin to Mina Takahashi. Formerly a

teacher of the conservation of works of

art on paper, Ms. Baker is the author of

“By His Own Labor: The Biography of

Dard Hunter.”

The Society of Marbling is an international

organization dedicated to the

promotion and preservation of the art

of marbling. For information, contact

Marie Palowoda, 2605 W. 19th Street

Road, Greeley, CO 80634, <mariep@

despammed.com>. Also available is

the International Directory of Marblers and

Resource Guide featuring 313 listings.

Hand Papermaking offers an attractive

clamshell box to hold back issues

of the magazine in style. Our friends at

Campbell-Logan Bindery in Minneapolis,

makers of the original Hand Papermaking

storage clamshell, are again providing

these beautiful and practical boxes--each

one holds approximately twenty-five

magazines. To place an order, send $75

postpaid in the U.S., plus $10 postage

outside the U.S., to Hand Papermaking,

PO Box 77027, Washington, DC 20013. Or

call (800) 821-6604 or (301) 220-2393.

OCTOBER 2004 9

STRIP IN AD FOR

CARRIAGE HOUSE

STRIP IN AD FOR

PAPER HIST & TECH

CLASSIFIEDS

Classifieds in the Hand Papermaking

Newsletter cost 75 cents per word, with no

minimum. Payment is due in advance

of publication.

The DyeWorks: Your source for Natural

Dye Extracts and Earth Oxides. Excellent

Prices. www.thedyeworks.com

(303) 530-4777

Book Arts Classified offers free ads and

listings to subscribers. Send $16 for one

year, $30 for two years to: Page Two, Inc.,

PO Box 77167, Washington, DC 20013.

For Sale: Postcards produced in 1995

by Crane & Co., made of recycled U.S.

currency, Limited quantities available.

Light green background with dark green

decorative border. Label included with

packet of 10. $15.00 postage paid. Bertram

Cohen, 169 Marlborough St., Boston, MA

02116-1830, (617) 247-4754.

SPECIAL THANKS

Hand Papermaking would like to thank the

following people who have made direct contributions

to our organization. As a non-profit

organization, we rely on the support of our

subscribers and contributors to continue operating.

All donations are greatly appreciated

and are tax deductible. Call or write for more

information on giving levels and premiums.

Patrons: Susan Gosin, David B. Marshall

Jr., Charles E. Morgan. Underwriters:

Mina Takahashi. Sponsors: Nancy Bloch,

Kathy Crump, Jane Farmer, Marilyn

Sward. Donors: Aiko’s Art Materials,

Martin Antonetti, Deborah Astley, Simon

& Kimberly Blattner, Mindell Dubansky,

Helen Frederick, Helen Hiebert, William

Hosken, Lois James, Ellen Mears

Kennedy, David Kimball, Elaine Koretsky,

Joyce Kierejczyk, Mary Lou Manor,

Nancy Martin, Peter Newland, Dianne

L. Reeves, Kimberly Schenck, Richard H.

Schimmelpfeng, Agnes Schlenke,

R. H. Starr Jr., Claire Van Vliet, Shirley

B. Waters, Marcia Widenor.

Supporters: Lynn Amlie, Grimanesa

Amoros, Cathleen A. Baker, Jonathan

H. Barber, Valerie T. Bechtol, The Book

Club of California, Katiri Berry, Carla

A. Castellani, Wavell Cowan, Joanne R.

Davis, Amanda Degener, The Drachen

Foundation, Karla Elling, Cynthia J.

Fay, Kathryn Flannery, Sara Gilfert, Joan

Giordano, Susan Gosin, Hugh B. Hanson,

Peter Hopkins, Courtney Hudson, Kristin

Kavanagh, Karen Kunc, Tom Leech,

Ann S. Miller, Michelle Samour, Mary C.

Schlosser, Peter Sowiski, Kathleen Stevenson,

Lynn Sures, Ellie Winberg, Pamela S.

Wood, Kathy Wosika, Dorothy Yu.

Auction Donors: Lynn Amlie, Tom

Bannister, Sid Berger, Crane Paper Co.,

Amanda Degener, Mindell Dubansky,

Jennie Frederick, Helen Gold-berg, Greg

Markim, Inc., Peter Hopkins, Donna

Koretsky & Elaine Koretsky, Lee Scott

McDonald, Minnesota Center for Book

Arts, Gangolf Ulbricht, Marilyn Wold.

And Hand Papermaking is especially

grateful to the Fifth Floor Foundation

of New York for its generous grant in

support of the magazine.

10 HAND PAPERMAKING NEWSLETTER

STRIP IN AD FOR

DAVID REINA DESIGNS

STRIP IN AD FOR

TWINROCKER

STRIP IN AD FOR

WSW

STRIP IN AD FOR

CHICAGO CTR FOR BOOK & PAPER

OCTOBER 2004 11

STRIP IN AD FOR

MAGNOLIA

STRIP IN AD FOR

PAPERTRAIL

STRIP IN AD FOR

DIEU DONNE

STRIP IN AD FOR

GOLD’S

STRIP IN AD FOR

TIMOTHY MOORE

12 HAND PA

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