HAN D P A P E R M A K I NG

N E W S L E T T E R

Number 75, July 2006

Newsletter Editor: Tom Bannister. Columnists: Cathleen A. Baker, Sidney Berger, John Bordley, Susan Gosin, Helen Hiebert, Elaine Koretsky, Winifred Radolan, 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 regular basis only to subscribers to the

magazine. Annual subscriptions to the magazine

are $45 in the U.S., $50 in Canada and Mexico,

and $55 overseas. Discounts are available for

two-year subscriptions. To subscribe, send a

check to the address below, call or fax us to use

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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 more subscription

information, or a list of back issue contents and

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

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 (October

2006) is August. 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, Executive

Director; Mina Takahashi, Magazine Editor.

Board of Directors: Cathleen A. Baker, Inge

Bruggeman, Gail Deery, Helen Hiebert, Peter

Hopkins, Barbara Lippman, David Marshall,

Margaret Prentice, John Risseeuw, Marilyn

Sward, Beck Whitehead. Board of Advisors:

Timothy Barrett, Simon Blattner, Gregor R.

Campbell, Mindell Dubansky, Jane Farmer,

Helen C. Frederick, Elaine Koretsky, James Sitter,

Claire Van Vliet, James Yarnell. Co-founders:

Amanda Degener and Michael Durgin.

SAVE THE DATE... SATURDAY, OCTOBER 28 !

Please join us to celebrate the 20th anniversary of Hand Papermaking.

Our uplifting theme is Paper in Flight!

Spend the afternoon at Maryland Institute College of Art in Baltimore

for the unveiling of a stunning 10-foot handmade kite by Lesley Dill,

commissioned for our anniversary. During this free event we will hear

artists and specialists on this unique art medium, view exhibitions of kites

and handmade paper artworks, honor the magazine’s founders, and enjoy

the company of friends and colleagues devoted to hand papermaking.

In the evening, we continue our paper-in-flight celebration at a dinner,

benefiting Hand Papermaking, overlooking the runway lights at the historic

College Park Airport near Washington,

DC. Please join noted curator

Jane Farmer for dinner and drinks

under a festive display of handmade

paper hot-air balloons and kites.

Mark October 28 on your calendar

now! For more details

call 800/821-6604 or email

<info@handpapermaking.org>.

CALL FOR ENTRIES...

The eighth portfolio in Hand Papermaking’s ongoing series will feature calligraphy

on handmade paper. We envision a collection that features single characters, or small

groups of characters, including non-roman alphabets. Hand lettering is encouraged but

we also will allow printing and imaging processes which include relief, intaglio, litho,

silkscreen, and digital as well as editioning techniques in hand papermaking such as watermarks,

stenciled pulp, and other wet-stage techniques. Whatever the method, the jury

will look for entries that demonstrate the equal importance of calligraphic image and

well-made paper. We welcome entries from individual artists as well as collaborations

between papermakers and calligraphers. Jurors and invited artists are Timothy Barrett,

Thomas Ingmire, Nancy Ruth Leavitt, and Katie MacGregor. The commissioned essay

will be written by Rose Folsom, editor of Letter Arts Review. Each selected participant will

be asked to produce 150 finished pieces, 10”x8”, plus two proofs for the archive and exhibitions.

Entries are due to Hand Papermaking no later than October 1, 2006. Selected

artists must send in their full edition of 150+2 by May 1, 2007. View the complete call for

entries at <www.handpapermaking.org> or call (800) 821-6604 to have a copy mailed.

LETTERS

Dear Readers,

For a new project I am working on, I am

trying to get caught up on international hand

papermaking projects that are using hand

papermaking – and products using hand papermaking

alone or in conjunction with other

handicrafts – as a means for preserving cultural

traditions and/or as a means for providing

supplemental incomes to the participants.

I am particularly interested in such

projects in mountain areas and in areas that

are also working to develop and encourage

eco-tourism. I am interested in any projects

that combine traditional hand papermaking

with the recycling of waste paper, the use of

industrial or agricultural by-products, or fine

art uses for paper.

Of course I am also always interested in

learning about new artists – and updates from

old friends worldwide – who use paper as a

medium for the making of fine art.

Please contact me at: Jane M. Farmer,

PO Box 2974, Santa Fe, NM 87504-2974,

<janemfarmer@stanfordalumni.org>.

ALONG THE PAPER ROAD...

This regular feature offers paper musings from

Elaine Koretsky – renowned paper historian,

researcher, and traveler. Here Elaine concludes

the article she began last issue, chronicling two

expeditions to Taiwan researching “rice paper,” the

unusual material that is neither rice nor paper.

Now in 2006, more than 18 years since

our adventure in finding a tung-tsau tso

workshop, I returned to Taiwan. I hoped to

finish my research by locating a place where

the Tetrapanax was grown and processed for

sale to the rice paper makers. I wrote to my old

friends who had shared in that 1987 search,

and they all replied with words of welcome.

In addition I contacted an American friend,

the paper artist Jane Ingram Allen, who was

living in Taiwan courtesy of a Fulbright grant.

She was very enthusiastic about our forthcoming

visit and volunteered to help with my

Tetrapanax search. In anticipation of our new

Taiwan expedition, I prepared a video showing

the entire process of making tung-tsau tso that

we had witnessed in Hsin-chu.

Meanwhile, there had been new developments

in the Taiwan paper scene. The

Su Ho Memorial Paper Museum had been

established in Taipei in 1995. The museum

features temporary exhibitions, and had just

sponsored one on tung-tsau tso in 2005. On

our first day in Taipei, we toured the paper

museum, guided by our friend Chen Ta-Chuan,

the paper artist and historian. We learned

that the tung-tsau tso workshop people we

had documented in 1987 had left Taiwan and

returned to Mainland China. And we were told

that there was no one now in Taiwan making

this unusual material, still called “rice paper.”

Further, we were told that the process had now

been mechanized in Guangzhou (Guangdong

Province, China). I realized that my video may

now be the only active record of tung-tsau tso in

a typical workshop. I showed my video to the

museum staff, who were delighted to see the

vivid documentation of the old process as it

actually had been done in Hsin-chu City.

On the second day of our visit, Wang

Kuo-Tsai called for us and we went to the paper

laboratory of the Forestry Institute, where

I lectured on tung-tsau tso. I showed both my

video “Rice Paper in Taiwan” and also “Sheet

Formation Around the World” to a large group

of graduate students and staff. Wang showed

me his latest work with handmade paper,

which was extraordinary. Recently he had an

exhibition of his work, consisting of a series

of magnificent decorative papers, plus a group

of paintings by contemporary artists who

used Wang’s handmade paper. He presented

to me his exhibition catalog, a handsome,

hard-bound, 182-page volume in full color.

Later that day we went to the National Palace

Museum to see a special exhibit of ancient

manuscripts.

The following days

we spent in search of the

Tetrapanax papyriferum. We

drove up to the Yangmin

Shan National Park with a

friend of Jane’s, Kuei Nei,

who translated for us. She

told us that the Tetrapanax

grows everywhere in Taiwan,

and we could even

see it along the roadways. As we were driving

I was constantly on the lookout for our plant,

but never spotted one. At the park we met

with Dr. Chen, a botanist, and we all began

hunting for a Tetrapanax plant. We were totally

unsuccessful, although Dr. Chen pointed out

a number of beautiful and rare trees. I began

to feel that finding the tung-tsau plant might

be as difficult as locating the tung-tsau-tso

workshop had been.

Our next stop was Taichung, which we

reached by train. Jane and Tim Allen met us at

the train station, and we all drove out to Miaoli

County, where Jane knew that a large group of

aboriginal Taiwanese lived. We stopped first at

Shitan, a Hakka village that had started a small

museum showing the old handicrafts of that

area. The Hakka people are not aborigines.

They emigrated from Mainland China several

hundred years ago, bringing their customs

with them. They had made paper by hand

here, up on the mountainside, and there still

remained a grinding wheel for producing

bamboo pulp, which they used for the making

of ceremonial papers. Now the museum had

revived papermaking, and we watched a man

forming small sheets of bamboo paper on a

western style mould.

We drove on further, to Nanjihuang, a

mountainous settlement inhabited by the

Atayal1 aborigines. Here I had the opportunity

to interview a young man, Gao Ming Kuang,

who also gave his Atayal name, Ivan Dai Mu.

He was very much aware of the growing and

processing of the Tetrapanax, although his

tribe had stopped this production many years

ago. Ivan related that the plant was grown over

the whole mountainside, and it was actually

cultivated by the people. He said that the wild

plants were not suitable for the tung-tsau-tso.

Typically, the plant was grown for two years,

and its branches cut in the fall, six inches

above the ground. To remove the pith from the

bark of the branches, they cut a pole from the

Zhii Mu tree and struck this into the interior

of the Tetrapanax branch, which forced out

the white pith. The final step was drying the

pith pieces in the sun, which took three to

four days. This kept the pith from turning

brown. Now the completely dry pith stalks

were bundled up and sold to the workshops in

Hsin-chu and also to Japan, where the material

was used to make artificial flowers. Although

we could not go to the distant mountain where

the Tetrapanax was still growing, now in a wild

state, I felt that my interview with Ivan Dai Mu

was enormously productive, and brought my

tung-tsau tso research to a satisfactory conclusion.

Our next visit on this trip was to the Forestry

Department of the National University

of Taiwan. Here we met another 1987 friend,

Professor Chang Feng-Jyi, who showed

us all his new acquisitions pertaining

to handmade paper, including artifacts,

books, calligraphy, and art works. He was

still working with the indigenous fibers

of Taiwan, and we saw his immense

storehouse of fibers. He also was very

pleased to see my video on tung-tsau tso,

and suggested we visit the greenhouse of

the Museum of Natural Science, where

they had several Tetrapanax plants. Alas,

the only one that could be found was a small

plant that was growing together with a palm in

the same pot. Then Professor Chang took us

to the immense tropical forest greenhouse. No

Tetrapanax here either, but the staff was eager

to see my video and thoroughly enjoyed it.

We finished the 2006 Taiwan adventure

with two more paper happenings. At the

Taichung Cultural Center we viewed Jane’s

spectacular “site maps,” which were based on

her work in many parts of Taiwan, reflecting

her experience with each place and its culture.

At the Museum of Art we were fortunate to

arrive at the opening of a calligraphy exhibit.

The entire Taiwan experience, both in

1987 and 2006, was marvelous. The only

thing I missed was seeing large fields of Tetrapanax

under cultivation. However, judging

from the response I received for the “Rice-

Paper in Taiwan” video, I realized that my

documentation of this process was something

unique. I was extremely grateful to all the

Taiwanese, plus Jane and Tim Allen, who

contributed to my research.

1 Taiwan recognizes nine different tribes of

aborigines, who may have arrived in Taiwan

10,000 years ago, mainly from China and

Malaysia, plus other Austronesian cultures.

BEGINNER TOPICS

Well-known author and teacher Helen Hiebert

offers helpful tips and guidance for newcomers

based on her popular books. Here she summarizes

some of the numerous processes for drying paper.

There are many drying methods and

most of them are fairly simple. Some things to

consider when choosing a system are climate,

space, and the look of your finished sheets. I

recommend starting simply. There is no need

to invest in an elaborate system – I have seen

beautiful high-quality papers that were made

using basic equipment.

The climate can affect how quickly your

paper dries. The more humid or damp it is,

the longer it will take to dry papers, unless you

control the environment with an air conditioner

or dehumidifier. Where you will dry

your papers is another consideration. You can

hang them on a clothes line, dry them in spurs

(4-5 sheets pressed together), lay them out to

dry on a table or on a rack, brush them onto

boards or walls, or set up a drying system (see

below). The method of drying you choose will

affect the texture of your papers as well. Experiment

with different techniques to see which

you like. Take several sheets of paper and try

drying each one with a different method and

compare the results, noting differences in size,

shape, surface, and texture.

In some countries in the Far East, papers

are not pressed at all, but are dried directly on

the moulds on which they were formed. The

sheets stick to the screen surface as they dry.

When dry, the sheets can be peeled off the

moulds. This system requires many moulds

and it is typically used in arid climates where

the sun dries the sheets rapidly, so that the

moulds can be reused. Although the system

requires the use of many moulds, it does eliminate

the need of a press and a drying set-up.

Another process I’ve seen that did not require

a press or a drying set-up was developed

by Nance O’Banion. She had a series of 4’ x

8’ wooden frames with silk-screen stretched

across them. She couched freshly formed

sheets of paper directly onto a screen which

could be propped against the a wall. Many

sheets could be couched onto one of these

screens, and they were either left in the sun to

dry or the water was sucked out of them from

the back by running a wet-vac over the screen.

Another simple method of drying is airdrying

– just let your sheets of paper dry on

the surface upon which they were couched. I

recommend couching onto interfacing if you

are going to air-dry because it dries quickly.

You can spread them out on screens or on a

rack so that air circulates around them, or you

can hang them on a clothesline to dry. You can

also pin the interfacing to a wall or board, to

hold it taut as it dries. When dry, just peel the

sheets off of the interfacing. The sheets might

cockle (curl) slightly – you can put them under

clean, heavy books or boards to flatten. If they

are still cockled, gently mist them with water

to help them relax and put them under weight

between blotters or newspaper. If you like the

cockling, you can also try removing your damp

papers from the interfacing before they dry –

usually this will cause them to cockle even more.

You can get some interesting results with

air drying paper. If you used a high-shrinkage

pulp, such as abaca or flax and let it air dry, it

would shrivel and wrinkle creating a highly

textured sheet. You can also make paper,

couch and sponge press the sheets and work

sculpturally over an armature or cast the paper

into a form.

You can also try exchange-drying: dry

your sheets of paper between newspapers,

cloths, or blotters – any absorbent material

which will wick moisture from the paper. After

they have been pressed, interleave the sheets

between one of these materials and form a

stack. Put a board on top and some heavy

books or another heavy object to restrain the

paper as it dries. Change the interleaving material

daily until the sheets are dry (otherwise,

they will mold instead of drying). This can take

anywhere from a day to a week, depending on

the humidity level, the fiber, and the paper’s

thickness.

During the advent of papermaking in

Europe, a system called loft-drying was developed.

Sheets of paper were actually hung in

lofts (top stories of buildings) to dry, where the

air was considered the cleanest and the warmest.

The sheets were first pressed into spurs,

which prevented them from cockling very

much as they dried.

To loft-dry your sheets, you must first

press them. After pressing, separate them

from their felts and pile them in stacks of four

to six sheets (depending on the thickness of

the sheets). Each pile is called a spur. Pile the

sheets one on top of the other and line them

up one exactly on top of the other, rotating

every other sheet so that they are piled in a

different fashion to even out any inequalities.

Put a felt in between each spur and form a

post of spurs.

Put this post in the press again and press

a second time, this time pressing just until you

see drops of water forming at the edges of the

felts. More pressure could inhibit separating

the sheets when they are dry. After pressing,

each spur should be stuck together. You can

hang the spurs on a clothesline with clothespins,

or you can lay them flat on a rack or

screens. (Make sure they get air from all sides

so they dry evenly.) In Europe, they hung the

sheets from wooden poles with clothespin-like

clips that did not mar the surface of the sheet.

Alternately, you can drape the spurs over plastic

tubing or thick ropes (in Europe, the tradition

was to hang the sheets over ropes woven

from cow or horse hair coated with beeswax).

Test the material you use to make sure it

won’t stain your paper. Jana Pullman of Western

Slope in Minneapolis makes a nifty drying

rack system which is ideal for drying spurs.

If you can control the air circulation, you

should try to direct it to come in contact with

the breadth of the sheets and not the edges

for the least amount of cockling. When dry,

separate the spurs by starting at one corner

and peeling the sheets of each spur apart

in one fluid motion. Separate the spurs in

halves: if you have a spur of four, first divide it

into pairs, then separate the pairs into single

sheets. Your sheets will probably cockle to

some degree, but they can be flattened with

another pressing. Make a stack of individual

sheets, rotating them again and press them

again to flatten. If the sheets cockle a lot, you

may need to gently moisten them to relax

them. You can do this with a spray mister

before pressing.

At Taos Paperworks in New Mexico, I

saw an innovative loft-drying system. A long

wooden pole that was approximately 6” in

diameter was rigged to the ceiling on a pulley

system. It was lowered and spurs of papers

were draped over it before it was hoisted to

the ceiling, out of the way as the sheets dried.

Then the pole was lowered again and the dry

sheets were removed.

In China, Japan, and other Eastern countries,

wet sheets of paper are brushed onto

boards or walls for drying. The sheets stick to

the boards and then are peeled off when dry.

The paper takes on the finish of the board or

wall, showing the grain or texture on the side

of the sheet that was stuck to the surface. You

can use almost any smooth surface for drying

papers, such as wood, metal, glass, Plexiglas,

or Formica. You can even brush your sheets

onto plaster walls, as is common in India,

where the walls are heated by the sun and the

sheets dry quickly.

To board dry, press your sheets – they

should not be quite fully pressed, or they won’t

stick to the boards. Lift one sheet from its felt

and lay it on the drying surface. Use a rubber

brayer or wide paint brush to fix the sheet to

the surface. If brushing onto a vertical surface,

there is a technique you can use to adhere it

while keeping it from falling to the ground.

Start by brushing diagonally from the center

towards the upper right corner of the sheet.

While holding the upper left corner with your

fingers, brush from the upper right corner to

the bottom left corner. Next brush the from the

center to the upper left corner and then continue

brushing from the center out to adhere

the rest of the sheet. Cover the entire surface

of the sheet, brushing with firm, even strokes.

If the sheets were pressed correctly, you should

be able to brush firmly without damaging

the sheet’s surface. The edges must be well

adhered because they will dry the fastest and

could pop off the drying surface. If the edges

curl before the sheets are dry, they will shrink

more than the rest of the sheet and will be difficult

to flatten.

Some fibers shrink a lot when drying and

will pop off of boards before they are dry. You

can try applying methyl cellulose to the edges

of the sheets as you apply them to the boards

to help them stay adhered until dry. If you are

drying your sheets outside, you might try starting

them in the shade and then moving them

into the sun after they are somewhat dry. This

allows them to dry slowly and might prevent

them from popping off.

When dry, peel the sheets of paper off

the boards. Start at one corner and peel in one

fluid motion. If you have a problem releasing

the corner, try using a razor blade to lift it, but

be careful not to damage the drying surface.

A drying box is the highest-tech system

I’ve seen, and all it requires is some cotton

printing blotters, bi-wall or tri-wall cardboard

(two or three layers of cardboard laminated

together), plastic sheeting, and a box fan. The

laminated cardboard is a bit costly, but this

system is very efficient, yielding flat and dry

papers in about 24 hours. This system can

dry many sheets at a time and is designed for

production papermaking. I wouldn’t bother

with it if you are not planning to make paper

on a regular basis.

The system works as follows. Your paper

sits on blotters, which are absorbent and act as

a barrier between the cardboard and the paper.

The air from the fan blows through the channels

in the cardboard, which dries the blotters

and subsequently, the papers. When purchasing

cardboard to make your own drying box,

make sure that the channels run in the direction

of the length of the system (not the width

of the fan). I suggest getting the cardboard as

wide as the fan and no longer than one-and-ahalf

times the width. You will need one piece

of bi-wall or tri-wall and four blotters per layer,

and you can stack the drying system up to the

height of your fan. You will have to do a bit of

calculating to figure out how many blotters

and how many pieces of cardboard you need.

David Reina manufactures and sells a

nicely-designed drying box based on this type

of system, with a built in screw press on top to

ensure that the papers dry flat. This is also nice

because you don’t have to lift weights onto the

system each time. (See David’s display ad on

page 14.) You can also build your own drying

box with the help of an article and plans by

Claire Van Vliet in the Summer 1987 issue of

Hand Papermaking magazine.

Portions excerpted from The Papermaker’s

Companion, © 2000, with permission from

Storey Publishing <www.storey.com>.

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 she introduces papermaking to both

inner-city and suburban children and compares

the teaching experience.

During this very busy spring season

before the close of the school year I find myself

with a couple more days to complete each of

two simultaneous art residencies that on the

surface have been as different as night and day.

Both teaching opportunities have been funded

by the state arts council, which places artists in

a school to work with two or three core groups

of students for a ten day period. One school is

in the heart of the city, while the other is in the

“well heeled” outlying suburbs. Because the

time I’ve spent working with these two groups

has dovetailed, there have been many opportunities

to reflect on the benefits and challenges

of each experience.

During the short planning meeting with

the principal of the city school I requested two

consecutive hour time blocks to work with the

school’s two fourth grade classes, in each of

which there are twenty-eight students. I also

asked to be able to set up the papermaking

vats in one room and have each class come to

me, rather than having to slosh vats of pulp

and water throughout the building. I spoke

with the classroom teachers about having the

students make handmade paper and accordion

structure books, and they chose the general

theme of “My Family” for the project.

My suburban school’s art teacher had

written a grandiose proposal to the state arts

council that entailed making handmade paper

and book structures with all 250 third, fourth

and fifth graders – in ten days. It took a two

hour planning session to dance around with

the possibilities and impossibilities of this

scenario. We agreed that during the first five

days of the project I would make pulp painted

paper covers with the entire group of students.

Because he really wanted all the children to

have the opportunity to work with me, he was

willing to cut machine made paper pages to

complete the books for all 250 kids. And he

was willing to work on content with them

between my papermaking and book assembling

visits. The third graders would construct

an accordion/pocket book, the fourth graders

would do a simple stab-binding structure, and

the fifth graders would make tunnel books.

The general theme chosen was “Nature in

Springtime.”

While the city school is only a half hour

drive from home, the set-up has been challenging.

Because my residency hours fall immediately

between the beginning of the school day

and lunchtime, there have been no students or

custodial helping hands to assist in getting all

my equipment from my car across the schoolyard

and down steps to the basement cafeteria,

which is, incidentally, a long dark hallway away

from the water source. I have invested in a

sturdy “hand-truck,” which is no good at all for

moving five gallon buckets of water down that

long hallway by the way! In contrast, it’s an

hour and a half drive through rush hour traffic

each morning before I arrive at my suburban

school. The students have helped me load and

unload all my papermaking “stuff,” which

could remain in the bright, cheerful, and visually

stimulating art room for the entire week of

papermaking.

Mostly new to the process, the children

from both the city and suburban groups have

learned papermaking terminology and techniques

as they made their very first sheets of

paper with me during these residencies. The

city group had three vats of brightly pigmented

cotton/abaca pulp from which they pulled and

couched sheets of paper right under my watchful

eye. They transported these fresh sheets

back to their cafeteria tables on wet blankets.

Embedding, layering, and stenciling entailed

scooping pulp from these same monitored vats

and carrying it back to their work spaces on

the moulds to place on their base sheets. This

method kept water hazards and flying pulp

potentials to a minimum. I pressed everyone’s

paper during the sessions, but then transported

it home with me to board-dry, as there was

no room or time for this at the school.

Because this group of suburban children

possessed better impulse control and listening

skills, and most importantly, had an art teacher

with enough papermaking experience to help,

I was able to give them more pulp latitude. After

pulling and couching base sheets of cotton/

abaca from the main vat, they had individual

mini-vats of pigmented cotton pulp paint at

their art tables from which they could gather

stencil veil colors and apply linear details using

pipettes to dispense colors. We were able to

press and restraint-dry all the paper right in

the art room while all the children watched.

The young city papermakers have all

completed five sheets of handmade paper for

their accordion book structures. About half

of them have actually followed through with

bringing in family photos, Xeroxed copies of

which were embedded in their pages. Step by

carefully monitored step, we’ve folded strips of

machine-made paper into accordion spines for

their books. The classroom teacher and I have

assisted with the gluing in of everyone’s pages.

This week we will work into the pages with

colored pencils and markers, adding titles, text

and captions to tell their family stories.

The suburban art teacher has started

students working on content for their books.

The third graders have been illustrating

nature’s creatures on small squares of paper

that will slip into the pockets we create

while folding their accordion pages. We’ll

assist students as they wrap and glue their

handmade paper around mat board, then fold

their pocket/accordion pages and attach them

between two five-inch square boards. Fourth

graders have been leaf printing on their pages,

which we will stab bind together to make

journals for them to take on a sketching field

trip to an arboretum. And fifth graders have

been collaging cut colored paper shapes to

make scenes from nature on their book pages.

There will be carefully monitored accordion

spine folding and gluing for this group as well.

Each group has had its challenges.

Although I’ve traveled one-third the distance

and seen one-fifth fewer students with my city

group than with the suburban group, I’m far

more exhausted after a city day. This is due

to trying to keep a lid on, and teach through

their normal conversational tones, which can

only be measured in decibels. These far more

vociferous students need lots of extra patience.

The sheer numbers of suburban students and

therefore the limited time I’ve had to spend

with each group would not have been my ideal

choice. But their art teacher has gone above

and beyond to make it come together and

we’ve had fun with the multitudes.

At the culmination of each residency we

have a “Book Arts Show” planned. During

this time the young artists will be accepting

admiration and congratulations from their

peers and parents, and fielding any questions

about the creation of their work. The city

school children will be showing their books

to the first, second, and third graders, while

the suburban children have also scheduled a

reception and mini-workshop for interested

parents. Whatever the differences have been

in working with the two groups, I’m sure from

my past experiences that all the children will

be equally proud of their accomplishments

and eager to share their work.

ON-LINE

Pamela S. Wood of Arizona makes one-of-a-kind

books from her handmade papers. She explores the

internet seeking out notable paper-related sites. In

this installment Pam steers us through the site of a

renowned commercial mill.

Life on the web resembles a vat of paper

pulp. The swirling pulp can totally capture

your attention until you draw something valuable

from it. Visiting <www.crane.com> taught

me this. This site was good before, not all that

exciting, but good. Now it has been vastly updated,

and comes alive with excellent graphics

and video supporting very interesting content.

Let me start at the beginning because

the site is deceiving at first. You initially enter

the store and must scroll down past a myriad

of retail stationery products. Go directly to

the bottom of the page and click where it says

“About Us.” Now, exploring links on the leftside

navigation panel will

keep you busy for a while.

Crane & Co. has a

fascinating history, clicking

the “Timeline” link offers

a good overview with

significant dates from 1648

until this present day. One

might say that papermaking

is the stuff revolution is

made of (see 1776).

The next link is their “Featured Story:

When Paper was a Medium of Invention.” I’ll

bet you didn’t know that boats have been made

from paper and were used as sailing vessels.

Yep. There’s a link at the bottom that whisks

you off to learn everything you want to know

about paper boats.

My favorite is next, titled “Crane & Co.

Video.” Here, with the help of your favorite

media player (download one if you need to),

you can watch a full-length video about Crane

Paper. From the company’s beginnings making

paper by hand in 1801, through the various

innovations in manufacturing, the current

Crane president personally tells us the story.

Sit back and enjoy that second cup of coffee

or tea while the video details papermaking

history and culture, including a 2001 tour of

the Crane plant plus insight into traditional

engraving and watermarks. If you have never

watched a video on your computer, ask a teenager

for assistance!

Going back to the left-side navigation

pane, read more about the processes introduced

in the video. I think it is also important

to note that Crane’s is an environmentally

responsible company, making wise use of

water and sticking with 100% cotton papers

while competitors chopped down trees. It

would be great if all our corporations were as

eco-sensitive.

For me, revisiting the Crane website was

well worth the time. By ducking the retail

sales pitches I was able to appreciate the pure

beauty of swirling pulp, even in a commercial

factory setting.

PAPER HISTORY

Cathleen A. Baker, PhD, is Senior Paper Conservator

at the University of Michigan Libraries.

She has written books about Dard Hunter and

John DePol, and is proprietor of The Legacy Press,

specializing in the printing, paper and book arts.

A Samuel H. Kress Conservation Publication

Fellow, she is writing a book on nineteenth-century

American paper and papermaking. This and the

next two issues feature the J Whatman-countermarked,

handmade paper used for J. J. Audubon’s

monumental, The Birds of America (London,

1826–1838).

John James Audubon, born in 1785 in

Haiti, was the son of a French captain and

his mistress. At age six, the boy was taken to

France to live with the Audubon family, and

when eighteen, he moved to Mill Grove, Pennsylvania

to live on his father’s plantation. From

1803 through 1826, Audubon spent much of

his time studying birds, making sketches and

ornithological notes. Legend has it that, in

1810, Audubon met the Scottish ornithologist,

Alexander Wilson, who nearly sold the young

man a subscription to his illustrated book, a

large quarto titled, American Ornithology; or

the Natural History of Birds of the United States

(Philadelphia, 1808–1814). Audubon felt that

his own drawings were superior to Wilson’s,

and at that point, his obsession to publish

what would be The Birds of America began.

By 1824, Audubon was painting birds

primarily in watercolors, adding pastel, chalk

and crayon in areas where a “feathery” effect

was desired. If more sheen or color saturation

was required, he used a glaze, probably glair

(egg white). According to Marshall Davidson,

“Almost all the drawings were done on Whatman

paper, the watermark of which contains

the year the paper was made, and it has been

possible to determine some dates on that basis

(although Audubon occasionally cut up the

paper and used a piece that did not bear the

watermark.”1 This wove paper was handmade

and imported from England. Hard gelatinsized

to prevent aqueous media from running,

this writing/drawing paper was ideally suited

for the precise quality of watercolor application

required to accurately portray the birds and

their habitats.

In May 1826, after failing to find a

publisher in Philadelphia, Audubon set out for

England. He spent the first few months publicly

exhibiting his drawings, which generated

interest in his artistic endeavors. This encouraged

him to start a subscription list for his

proposed publication, and while he thought

300 subscribers would eventually sign up, the

total number probably did not exceed 200.

Because Audubon wanted the

birds to be printed life-size, he chose a

large, handmade sheet called “Double

Elephant,” which measured 26.75 x 40

inches (only one-fifth of the printed

plates actually required that size). “Antiquarian”

or “Double Atlas” were even

larger sheets, measuring 53 x 31 and

55 x 31.25 inches respectively, and they

could have been used for many of the

largest birds, such as the Flamingo,

which had to be contorted in order to fit within

the confines of the “Double Elephant” sheet.

These three papers were the largest known to

be made by hand in England at the time, and

they were sold as either writing, or copperplate

and writing paper.

Audubon issued The Birds of America

in Numbers, each consisting of five Plates.

The first Plate in each Number is a large-size

image, almost filling the slightly trimmed

sheet, measuring about 38.5 x 26.5 inches; the

second Plate was medium size; and the last

three, small-size Plates. In 1827, Audubon

issued a prospectus announcing that the work

would comprise 400 Plates, but ultimately, the

work comprised 435 Plates containing about

457 species of birds usually bound in four volumes:

Volumes 1, 2 and 3 each with 100 Plates

and Volume 4 with 135 Plates.

Once Audubon settled on the dimensions

of The Birds of America, he went in search of an

engraver who could undertake the production.

In November 1826, William Home Lizars of

Edinburgh was contracted to print the first two

Numbers (ten Plates), while Audubon traveled

the country selling subscriptions. In London

in June 1827, Audubon received news that

Lizars’s colorers had gone on strike and work

was at a standstill. Audubon soon engaged

Robert Havell Sr., a London engraver of considerable

reputation. To help out, Havell’s son,

Robert Jr., engraved the copper plates while his

father supervised the printing and coloring.

This arrangement continued until 1830, after

which time, Havell Jr. supervised all work until

the project’s completion in 1838. For a hundred

sets of one Number (500 prints), Havell

charged Audubon £114–16–0, which included

the copper plates; the engraving, printing, and

coloring; one ream of paper (ca. 500 sheets);

and the “tin cases” to send the Numbers to

each subscriber. These prices remained in

effect until 1838.

Closely following the original watercolor,

the lines were etched into the surface of the

copper plate with retouching done with the

burin. The areas of shadow, tone, and texture

were done using the aquatint process. When

the copper plate was ready for proofing, the

master printer inked it up, wiped off all plate

tone, and pulled a black proof on dampened

paper. This was then inspected by Havell and

if necessary, corrections were made to the

plate. Once approved, the final proof went to

the colorers, who applied the watercolors and

glazes, again following the original painting.

The finished proof and the original were then

sent to Audubon for his authorization. Once

approval was received, Havell printed the edition

of that Plate.

At first, the production rate was rather

slow as details were worked out

between artist and printer. Another

delay was the time it took for proofs

and original drawings to cross the Atlantic

via sailing ships, a one-way trip

lasting several months. From 1827 to

1831, sets of approximately twentyfive

Plates were completed, and by

the end of this period, additional

Numbers were being reprinted for

new and future subscribers. Between

1834 and 1838, production had doubled to

fifty new Plates per annum. On 20 June 1838,

approximately 87,000 Plates had been printed

and colored. Audubon noted that the cost of

the entire publication was about £28,910,

or $115,640. This cost included the paper of

which more than 174 reams were required.

The second part of this series will feature the

two mills that produced the Double Elephant

paper used in this extraordinary enterprise.

1 New-York Historical Society, The Original

Water-Color Paintings by John James Audubon

for The Birds of America, introduction by Marshall

B. Davidson. 2 vols. (New York: American

Heritage Publishing Co. Inc., 1966), I:xxxi.

Further reading:

Fries, Waldemar H. The Double Elephant Folio.

The Story of Audubon’s Birds of America. Chicago:

American Library Association, 1973.

PAPER SCIENCE

John Bordley is F. B. Williams Professor and

Chair of the Chemistry department at Sewanee:

The University of the South. In this issue, John

talks about glucose and other sugars before

moving on to cellulose.

Aldehydes, ketones, the possibility of

multiple hydroxyl (-OH) groups per molecule,

and some basic organic chemistry nomenclature

were introduced in the previous installment:

Polyhydroxy aldehydes and ketones with an

introduction to organic nomenclature.

Sugars are actually the name given to the

simplest (and sweet!) carbohydrates. Literally

“hydrate of carbon”, carbohydrates do have formulas

of the type Cx(H2O)y, where x and y are

integers. However, there are no water molecules.

Rather, each C is bonded to one H atom

and to one –OH group, and the carbohydrates

are – no surprise – polyhydroxy aldehydes and

ketones. The aldehydes are called aldoses; the

ketones are ketoses, and the prefixes pentand

hex- are used to signify the number of C

atoms. Glucose, of particular concern to paper

chemists, is a six-carbon aldehyde, an aldohexose;

fructose, a common sugar in fruits, is a

six-carbon ketone, a ketohexose.

These linear structures are commonly

seen and do allow one to notice that for the C

atoms in the middle of a molecule the H and

the OH could be on either side of the C-C-C

chain. There are 16 different possible arrangements

of these H and OH groups; glucose

is just one of the possibilities. Mannose,

xylose, and arabinose, each with a unique

arrangement of H and OH groups in three

dimensions, are other aldohexoses that will be

important in a later chapter.

In my previous article (April 2006

Newsletter) it was mentioned that a C atom is

involved in four bonds with other atoms. In

three dimensions, the angle from one bonded

atom to the C atom to another bonded atom

is about 109°, the so-called tetrahedral bond

angle since the central C atom is in the middle

of a tetrahedron (literally four faces) with a

bonded atom at each corner of the tetrahedron.

Two-dimensional pictures are drawn, but one

must remember that the structures are actually

three-dimensional.

In my prior article (January 2006 Newsletter)

it was shown that the O atom in the

carbonyl group, the functional group of the

aldehyde or ketone, pulls the bonded electrons

toward itself. This makes the O atom slightly

negative, and, more important at the moment,

makes the C atom in the carbonyl group

slightly positive. Each O in an OH group also

pulls electrons toward itself and becomes

slightly negative. Therefore there is an attraction

of the O in an OH group to the C in the

carbonyl group IF proper three-dimensional

geometry can be maintained. It turns out

that in five-membered rings and in six-membered

rings the tetrahedral bond angle can be

preserved. Thus the O of the OH group on C

atom number 5 (see the diagram above) can

fold around and be attracted to the carbonyl

C, C atom number 1. The H atom that was

on the OH group that attacked the carbonyl C

migrates to the O atom that was the carbonyl

O. A ring is formed and is the way that sugars

exist predominately in water. Notice that the

attacking O atom becomes one of the atoms

in the six-membered ring. C atom number 6

hangs out in space.

Glucose folds around on itself, and O atom of

the -OH group on C atom #5 aligns itself to

attack the carbonyl C atom, C atom #1. [N.B.

Each C atom is numbered, though not all C

atoms are explicitly shown with the letter ‘C’.

The intersecting of four bonds at a numbered

position indicates the presence of a C atom.]

The O atom in the carbonyl group can either

be in the α position, left, or the β position,

right. The α and β positions become important

in the formation of the polymers cellulose and

starch. Next: Cellulose – a polymer of glucose.

PROFILES IN PAPER

Susan Gosin co-founded Dieu Donné Press &

Paper in 1976. She regularly lectures and teaches

papermaking, and has compiled a significant

collection of interviews with noted personalities

in the hand papermaking community. Here

she writes about Ken Tyler, one of the leading

contributors to our field.

As I have previously written in this

column, many of the artists who initiated the

hand papermaking movement in the United

States gathered together for the first time

at the First Hand Papermaking Conference

in 1975 in Appleton, Wisconsin. All of

these hand papermakers could trace their

papermaking lineage, directly or indirectly,

to Laurence Barker and his training with

Douglass Howell. This “Paper Profile” is about

a printer/publisher who became one of the

most important contributors to the revival

of hand papermaking and whose role in the

development of the field was as distinct from

other papermakers as it was influential.

Ken Tyler became involved with hand

papermaking as a fine art publisher looking

for both technical solutions and cutting edge

innovation to add to his repertoire for fine

print collaborations. Early in his training as

a lithographer at the Tamarind Workshop in

1963, he tested the printing qualities of available

domestic and European papers. Later as

technical director of Tamarind (1964-65) and

then as founder of Gemini Ltd, Workshop

(1965), he developed working relationships

with commercial papermakers at S.D. Warren

Company in Maine and Zellerbach Paper

Company in Los Angeles to research and

develop new surfaces, colors, and sizes such as

the oversized 3 x 6 foot Curtis rag paper used

for Robert Rauschenberg’s print “Booster” in

1967. While at Tamarind, he was also introduced

to Elie d’Humieres, the president of Arjomari-

Prioux’s fine paper division; the makers

of two classic French papers: Arches and Rives.

During the next decade, Tyler worked closely

with d’Humieres to improve and expand

the Arlomari-Prioux line of fine art papers,

developing a family of acid free papers named

“Infinity” which set an industry standard for

archival qualities. He also developed a special

smooth surface paper named “Arches 88”,

which was widely used as a silkscreen paper.

After a decade of fine print and commercial

paper research, Tyler visited Cranbrook

Academy of Art as a guest artist in 1970. Intrigued

by the hand papermaking of Laurence

Barker and his student, John Koller, Tyler

commissioned them to make sheets of paper

for a Roy Lichtenstein print series, “Modern

Heads”, 1972. This led to future collaborations

with Koller when he established his HMP Mill

in Connecticut. It also motivated Tyler to delve

more deeply into the opportunities that both

commercial and handmade paper held for the

artist. For a series of deeply embossed prints

by Josef Albers produced during 1969-1971,

Tyler worked with the Rochester Paper Company

in Michigan to refine a machine-made,

neutral ph, alpha wood pulp paper that would

retain a matte surface under intense pressure.

He also developed with Rochester an acid free

rag board, named “Gemini Rag Board”, that

was first used for Frank Stella’s 1972 “Race

Track” screenprints.

Then in 1973, Tyler, Elie d’Humieres, and

Vera Freeman (of Andrews Nelson Whitehead,

the NYC fine paper importers), joined forces

to arrange the mill rental of Richard de Bas

Mill in Ambert, France for Robert Rauschenberg.

Using preprinted images, dyed cotton

pulp, and cookie cutter templates, the team of

master printers and hand papermakers helped

Rauschenberg pioneer a new method of onsite

studio collaboration and make some of the first

iconic works of art in handmade paper. This

groundbreaking project revealed the potential

that papermaking held, not just as the support

for an image but as an integral part of it. After

relocating to Bedford, New York (1974), Tyler

worked closely with John Koller at HMP Mill

to introduce artists such as Ellsworth Kelly and

Ron Davis to this untapped potential. Tyler

even constructed a three dimensional paper

mould for a series of Frank Stella editions so

that John Koller could “pull,” not cast, threedimensional

handmade sheets, which Stella

colored with dyed pulp.

Anxious to explore larger scale works, he

constructed his own papermill at Tyler Graphics

in early 1978 and launched the new facility

by creating over 300 unique colored paper

pulp images with Ken Noland. David Hockney

visited Tyler Graphics in the summer of that

year. Though Hockney had not intended to

stay, nor try his hand at papermaking, Tyler

persuaded him to give it a try. During the next

forty-nine days, Tyler assisted Hockney as

he worked feverishly creating a body of pulp

paintings of such fluidity, color, and scale

that they are acknowledged masterpieces of

Hockney’s as well as of the artistic potential of

the papermaking process. These “Paper Pools”

which were created purely from paper pulp,

brought widespread public attention to hand

papermaking, while securing critical approval

of the process as a legitimate art medium.

In the 1980s, Tyler returned to using the

role of handmade paper as a substrate and

partner for fine printing in the lithographs,

woodcuts, and etchings that he published

with artists such as Frank Stella, Robert

Motherwell, James Rosenquist, and Helen

Frankenthaler. The artist-designed custom

paper manufactured at Tyler’s facility for these

multi-media editions often included multiple

layers of sprayed and stenciled colored pulp,

as well as various forms of surface printing.

Tyler continued to encourage and support

artists who were eager to include papermaking

as a part of the image making process. James

Rosenquist took advantage of this generosity

to push the boundaries of scale in his editions

of paper and print art. Using oversized deckle

boxes to create giant 5 x 10 foot sheets of handmade

paper, Rosenquist was then suspended

on scaffolding that rolled above the freshly

made paper so that he could spray colored

pulp into stencils to create the background for

the collaged images. “Time Dust,” created in

1992 and measuring 35 feet in length, was the

last and longest of these paper murals.

In the signature style he developed

over decades of exploring and exploiting the

unique marriage of paper and print, Ken Tyler

continued to create editions of some of the

most sophisticated art from a stable of the

most extraordinary 20th century artists. But

as the millennium approached, Tyler sought

and found a new home for his state of the art

facility. Working with the Singapore government,

Tyler relocated his shop and reopened it

as The Singapore Tyler Print Institute where it

continues, into the 21st century, the tradition

of fine art collaboration, which Tyler helped to

define for decades in The United States.

Today, Ken Tyler has retired from printing

and continues giving lectures and workshops

around the world. Currently he is visiting Professor

at the Royal College of Art, London, and

working on publishing a series of photo/print

journals in collaboration with the National Gallery

of Art, Canberra, Australia, which has the

largest archive of his 40 years of printmaking.

DECORATED PAPER

Sidney Berger, a professor at Simmons College

in Boston, has been collecting and researching

decorated paper for over thirty years. In this issue,

Sid describes some papers from his collection best

categorized as “unusual.”

For this issue I would like to begin a dialogue

with our readers about unusual papers.

For as long as there has been paper, makers

have striven to change the product to achieve

different effects: in strength, size, opacity,

function, and so forth. And of course, in

decoration. There has always been a tendency

for blank spaces to be filled in and for people

to want to add adornment or some kind of

originality to a medium. Papermakers over the

centuries have found more and more ways of

adding decoration to their sheets. No art or

craft remains static. Artists are always striving

for new ways to enhance their medium.

The earliest papers were made from kozo,

mitsumata, and gampi. When paper came

west, makers made changes forced by the fact

that they did not have those fibers. Changes

manifested themselves, naturally, in the fibers

and methods of manufacture of Western

papermakers. And in both hemispheres,

decoration of various kinds continued to

evolve. The enhancements came in the

mixtures of, the inclusions added to, and in

the distribution of the fibers; the shapes and

colors of the sheets; the remarkable variety of

applications onto the surface of the papers;

the textures of the sheets; and so forth. Some

changes were to make the paper more useful,

stronger, larger, longer lasting, more beautiful,

or more unusual.

In our collection my wife and I have some

strange, unusual, and sometimes quite bizarre

papers, some decorated in the traditional sense

(they started out plain and then got decorated

with applications of various kinds and myriad

patterns onto the surface of the sheets), and

some decorative in that they are simply so

different from others. Let me clarify this last

notion. If a simply plain white sheet is made

in a really unusual way, or from a particularly

unusual material, that unusualness came

from an artistic or imaginative mind. This is

what I call “unusual” paper, and because of its

strangeness of manufacture or material, I find

it artistic or decorated in its own way.

I wish to mention some of the more

unusual papers in our collection, with the

hope that readers will contact me with their

own experiences with or knowledge of other

such strange papers.

In the processing of the fibers (the act

of macerating them to break them down to

tiny pieces before they are dropped into the

vat), one can naturally use the method of the

ancient papermakers and hit them against a

board or anvil with a stick, put them into a

stamping mill, use a Hollander beater, or even

employ the handy kitchen blender for some

fibers. But it took some serious imagination

to allow nature to do the maceration. Papermakers

in Tasmania have let kangaroos do

the hard work. In our collection we have Roo

Poo paper, made from the (already-chewed-up)

droppings of kangaroos. It lies proudly next to

our Zimbabwean elephant dung paper (a type

also made in Sri Lanka). On the web I have

seen references to paper made from the dung

of wild horses and from blue rhinos. There is

originality and insight at work! And though

the papers are plain – perfectly suited for art or

printing – they have their own aesthetic in the

imagination that went into their “discovery.”

The brilliant Canadian artist and bookbinder

Louise Genest once gave me a sheet

of her paper and asked me to identify what it

was made of. I couldn’t. It was quite smooth

on one side and textured on the other. The left

side of the sheet was unadorned, and was sort

of creamy, off-white with a slight brownish

tint. The right side had tiny dark inclusions in

it. It was made from tea bags. When I learned

this, I could see that she had used bags of

different textures and sizes, shapes and colors,

and had joined them practically invisibly with

an adhesive. It’s quite lovely.

8 hand papermaking newsletter

We recently got from Hiromi Paper a

small collection of vegetable papyrus. Strictly

speaking, this is not paper since it is not made

from macerated, matted fibers. But I thought

I’d mention it here since it comes in flat

“sheets” like paper and is remarkably lovely

and imaginatively composed. It is made from

several kinds of vegetables: carrots, apples,

beets, daikon radishes, cucumbers, kiwi, and

kohlrabi. It is purely decorative since each leaf

retains the look of the original material, so

it probably cannot be printed on or used for

painting or printmaking. But here is imagination

gone wild. It is called “papyrus” because

strips of the vegetables are joined the way

papyrus strips are (in layers) and then are

pressed until they dry.

I read in a footnote to an article once

long ago about a scientist making paper

from crustacean shells. After many hours of

research, and thanks to the Internet, I located

him at a research laboratory (I believe at MIT),

and learned of his project: to harvest the vast

quantities of crustacean shells from the ocean

floor and try to make paper from it. He succeeded,

but found that the cost would have

been prohibitive since it was tremendously

expensive to harvest the raw materials, macerate

them properly, and make the papers. In my

phone conversation with him, I learned of his

work using chitin and chitosan, from which

he made a serviceable paper. I asked him for

a sample and he told me that in the testing of

the sheets he made, he destroyed most of what

he produced. I was able to get a small sample

of the paper, and it is white and strong and

quite attractive. But that’s probably all there is

in the world since he dropped the project.

The Japanese have been masters of papermaking

since about the 7th century, when they

learned the craft from the Chinese. Today the

Japanese produce perhaps the most varied array

of papers coming from any country in the

world. (In the last, say, 75 years, the number of

papermakers in Japan has diminished, and the

number of papers has also been reduced, but

they still are quite inventive in their products.)

Cork paper and wood veneer paper (the latter

of which has also been made in Italy) are quite

unusual. As with vegetable papyrus, neither

is a true paper, but they can be used in many

ways in bookmaking and printing.

Among the more unusual papers I have

from Japan are some that many of us have

seen: sheets with butterfly wings embedded in

them. This paper is not really uncommon, but

to have most of a whole bug in the sheet must

qualify as “unusual.” When one looks closely,

however, what is visible is the little piece of

printed paper that is put in between the two

wings to look like a thorax and abdomen. I am

sure that if the entire butterfly were embedded,

the juicy parts would leave a nasty stain.

Another item from Japan that we have is

a group of maybe the most unusual watermarks

I have ever seen. It is a little book containing

twenty erotic watermarks. Shaped and

functioning like a pillow book, the pamphlet

has no text other than the words (in Japanese)

“Garden of Delight” on a cover label. I have

never seen another of these, and I would like

to know from our readers if they know of any

other copies.

On a visit to Korea a few years ago, my

wife and I stopped into the conservation studio

of a Mrs. Chi-Sun Park, who at the time was

working on Japanese room-dividing screens

for the Los Angeles Museum of Art. She

showed me a piece of absolutely lovely paper,

beautiful not for the fibers it was made from

but because of the pattern it had in it. The

paper looked as if it had been embossed or

something. It had, from top to bottom, long

rows (about one inch in width) of crimped

lines in it, the crimped columns divided by

a straight but also crimped narrow line, also

running the full height of the sheet. It was

kozo paper that had been tightly wrapped

around a flat stick (like a wooden ruler), then

forced down over the stick till it crimped down

to a fifth or even a tenth of its original height.

The artist used a little mallet to tap the sheet

down the stick. When it was crimped as far

as she could get it, she lay the stick on its side

and then tamped down the paper over the stick

to flatten it out as much as she could. Then the

sheet was unrolled and pulled apart, leaving

a beautiful decorative piece of paper, adorned

with the pattern of the crimping. The kozo is

quite strong, and yet soft, so the sheet looked

and felt something like a fine bed spread with

an attractive ribbed pattern in it.

Another unusual paper I acquired from

the superb German papermaker Gangolf

Ulbricht, whose output is represented by a remarkable

number of handmade, watermarked,

printing, printmaking, and book conservation

papers. He asked me, when I visited him

in his studio, if I had ever seen the world’s

thinnest paper. I had some beautiful Japanese

sheets that, I thought, could qualify for that

title. He showed me his mending tissue, so

thin that when he blew on it, it floated up into

the air and hovered there for a moment before

gently wafting down. When you hold it in your

hands, you can barely feel it. It is made from

the finest web of kozo imaginable.

These are examples of a few of the

oddball things I have encountered in the paper

world. Future columns will pick up on this

theme, discussing the amazing artistry and

inventiveness of papermakers throughout the

world. I would love to hear from our readers

about their own such “encounters.”

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 October Newsletter is

August 15. Contact each facility directly for

additional information or a full schedule.

Teachers: Tell your students about Hand

Papermaking! Brochures and handouts can

be mailed to you or your institution. Email

<info@handpapermaking.org>.

CLASSES AND WORKSHOPS

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.

Color, Paper, Action, July 30-August 5, with

Lynn Sures. Try painting with paper pulp for a

liberating, spontaneous, and exciting experience,

both artistically and athletically!

Designing Paper, September 24-30, with

Claudia Lee. Working with flax, kozo, and

other plant fibers, explore the design potential

of different types of pulps beaten for different

lengths of time.

Brookfield Craft Center, 286 Whisconier Road,

Brookfield, CT 06804, (203) 775-4526, <www.

brookfieldcraftcenter.org>. A wide variety of

craft workshops at a colonial vintage campus

75 miles north of New York City.

Pulp Painting, August 19-20, with Shannon

Brock. Use multiple moulds and vats of pigmented

pulp, along with contact paper, dental

syringes, paintbrushes, and squeeze bottles

to create imagery enhanced by layering and

overlapping thin veils of pulp and color.

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, July 2-7, with

Claudia Lee. Cook plants, recycle paper, and

process purchased fibers, then add color with

pigment and natural dyes; next, learn to sheetform,

laminate, emboss, and layer.

Marble and Paste: Pretty Paper Duet, July 30-

August 4, with Nancy Lawrence. Learn the

basics of marbling and paste paper decoration.

Parchment Craft-Paper Lace, October 22-27,

with Pat Pietras.

Paper Bead Jewelry & Paper Boxes, October 27-

29 with Judy Anderson.

Carriage House Paper, 8 Evans Road, Brookline,

MA 02445, (617) 232-1636, <chpaper@

aol.com> or <paperroad@aol.com>.

3-D Papermaking-in-Depth, July 3-7, with Elaine

Koretsky, Donna Koretsky, and Shannon

Brock. Learn methods of creating purely paper

sculptures as well as armature building plus

various methods of using pulp including

pouring, dipping, piecing, and pulp spraying

with high- and low-shrinkage pulps.

Carriage House Paper, 79 Guernsey St.,

Brooklyn, NY 11222, (800) 669-8781, <www.

carriagehousepaper.com>. A full program of

beginning and advanced papermaking classes

by Donna Koretsky and Shannon Brock.

Introduction to Papermaking, July 24.

Pulp Spraying, July 22. Make really big paper

using this innovative technique.

Pulp Pouring, July 23. Easily form large 30” x

40” sheets without a vat.

Pulp Painting, July 25. Explore the world of image

making using overbeaten, pigmented flax

with paint brushes.

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.

Suminagashi Paper Decoration, August 5, with

Yukari Hayashida. Make decorative paper with

basic techniques and simple preparations.

Paper Marbling, August 26-27, with Lauren

Rowland. Practice the basics of water-based

(Turkish) paper marbling using acrylic and

tempera paints.

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.

Paste Papers, July 8-9, with Camille Winer.

Develop a passion for paste paper, using

various tools found around the house.

Paper Marbling, July 15-16, with Barbara Metz.

Produce traditional patterns as well as more

adventuresome, one-of-a-kind pieces.

The Best BIG PAPER Workshop Ever!, August

5-6, with Shawn Sheehy. Make enormous

sheets using a variety of rock star fibers, and

dry the sheets using the Center’s new largeformat

stack dryer.

Dieu Donné Papermill, 433 Broome Street,

New York, NY 10013-2622, (212) 226-0573,

<www.dieudonne.org>. Beginning and advanced

classes for adults and children.

Feather River Art Camp, 484 Lake Park Ave.,

PMB Box 186, Oakland, CA 94610, (510) 601-

1619. Art camp for adults in the Sierra foothills

near Quincy, California.

Handmade Paper & Mixed Media, July 16-23,

with Linda Lemon. Collect and process the

locally available plant fibers into paper while

exploring various media and techniques.

The Hall of Awa Japanese Handmade Paper,

141 Kawahigashi, Yamakawa-cho, Yoshinogawashi,

Tokushima 779-3401, Japan,

fax 81-883-42-6085, <www.awagami.com>.

Annual Summer Workshop, August 21-26.

Process kozo bark and make it into sheets of

washi using traditional methods.

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.

Image and Design in Hand Papermaking, July

30-August 18, with Beck Whitehead. Explore

hand papermaking to create multiple sheets

for an edition or one-of-a-kind images.

Soul’s Kitchen: The Making and Keeping of Craft

Artists’ Journals, September 3-9, with Paulus

Berensohn. Make soft and hard-backed Coptic

journals and various pamphlet forms while

exploring paste paper painting.

Historic RittenhouseTown, 206 Lincoln Drive,

Philadelphia, PA 19144, (215) 843-2228, <www.

rittenhousetown.org>. Summer workshop

series on hand papermaking and other paper

arts topics at the site of America’s first paper

mill.

Momigami and Paste Painting, July 8, with

Richard Aldorasi. Explore two unique techniques

for decorating paper.

Japanese Papermaking, July 15, with Christine

Dellandre. Introduce yourself to kozo, gampi,

and abaca fibers; learn to build an inexpensive

Japanese paper mould.

Paper Casting, July 22, with Carol Royer.

Create a three-dimensional mold out of lowtemperature

wax then use paper pulp in the

form to create an original work of art.

Family Papermaking, July 23, August 1, or

September 17, with Catherine Browne. After a

basic introduction, spend a day experimenting.

Leaf Onto Paper: Nature Printing on Handmade

Paper, August 20, with Charlotte Elsner. Without

a press, print the detail and beauty of plant

forms from gardens and the wild.

Introduction to Suminagashi and Turkish Marbling,

August 26, with Richard Aldorasi. Create

swirling patterns of color and capture them on

handmade linen paper and other surfaces.

Breaking the Mold: Fun with Papermaking,

August 27, Catherine Browne. Make a paper

bowl, small three dimensional forms, and

books from the vat.

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 taught by Helmut Frerick.

Magnolia Editions, 2527 Magnolia St.,

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

<www.magnoliapaper.com>. Workshops in

papermaking, printmaking, and 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

and literary arts.

Paper Vessels, July 8 and 15, with Erica Spitzer

Rasmussen. Explore simple yet elegant

methods of manipulating paper into threedimensional

forms.

Western Papermaking I, August 26, with Jana

Pullman. Introduce yourself to the basic process

of Western papermaking.

Western Papermaking II, August 27, with Jana

Pullman. Learn pigmenting, dyeing with natural

compounds, organic inclusions, external

sizing and simple decorative techniques.

Paper Circle, PO Box 117, Nelsonville, OH

45764, (740) 753-3374, <papercircle@frognet.

net>. Upcoming classes include the following;

call or e-mail for specific dates and times.

From Plants to Paper, with Sara Gilfert and

Andrea Anderson. Focus on the basic process

of making paper from plants and vegetables.

Origami and Beyond, with sculptor Yasue

Sakaoka. Learn the basics of origami and then

go beyond the form to create new designs.

Pulp Bowls, with Amy Lipka. Make colorful and

sturdy bowls at home using recycled pulp.

Wet Collage, with Peg Rhein. Learn the basics

of embossing, relief, and wet collage on handmade

sheets.

Papermakers of Victoria, at Box Hill Community

Arts Centre, Whitehorse, Victoria,

Australia, phone 9885 2479.

Make Paper from Plants, July 8-9, with Gail

Stiffe.. Learn how to turn common garden

plants and weeds into paper, then experiment

with high-shrinkage papers.

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,

<office@papierwespe.at>, <www.papierwespe.

at>. Workshops in English and German taught

by paper specialists in downtown Vienna.

Paperclay, August 11-13, with Mag. art. Margit

Gerle.

Large 2D Paperworks, September 29-October 1,

with Beatrix Mapalagama.

12 Sheets of Paper = One Calendar, October 20-

22, with Babsi Daum.

Penland School, Penland, NC 28765, (828)

765-2359, <www.penland.org>. A full program

of craft workshops, including papermaking

and book arts.

Illuminated Paper Sculptures, July 23-August

8, with Helen Hiebert. Create a sampling of

lamps, lanterns, screens, sculpture, and other

structures that lend themselves to illuminating

handmade paper.

Make Paper: Make Books, August 27-September

2, with Peter Thomas. Each day, make decorative

and text-quality sheets and a small-scale

book using that paper.

Peters Valley Craft Center, 19 Kuhn Road,

Layton, NJ 07851, (973) 948-5200, <www.

pvcrafts.org>. Workshops in a variety of craft.

Paper Batik: Color, Design & Embellishment, July

21-25, with Billi R.S. Rothove. Gain hands-on

experience with the techniques used to create

surface design and detailed imagery on paper

using the traditional hot wax batik process.

Flax to the Max, August 11-13, with Amanda

Degener. Make Belgium Flax papers and

surface treat them with various natural dyes,

pigments, and patterns.

Fiber Sculpture/Eastern Paper, September 2-5,

with Lewis Knauss. Combine off-loom weaving

techniques such as wrapping, twining,

knotting, etc., with handmade kozo and gampi

paper to produce lightweight sculpture.

Pyramid Atlantic, 8230 Georgia Avenue, Silver

Spring, MD 20912, (301) 608-9101, <www.

pyramidatlanticartcenter.org>. Workshops in

papermaking, printmaking, and book arts.

Pulp Painting, July 24-26, with Lynn Sures.

Working on a large scale using the deckle box,

the vacuum table, and the pulp sprayer, experience

the freedom inherent in pulp painting.

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.

Robert C. Williams Paper Museum, 500 10th

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

7840, <www.ipst.edu/amp>.

Papermaking with Alternative Fibers, July 10-14,

with Winnie Radolan. Expand your curriculum

with this week-long intensive specifically

designed for teachers.

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.

Turkish Marbling, August 4, with Mary Beaton.

Make traditional patterns, and experiment with

unusual techniques.

Pastepapers, August 18, with Leigh McLellan.

Create vibrant patterns by covering charcoal

paper with paste and then drawing, stamping,

combing, or pulling in the paste.

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.

Paper: Varying Degrees, July 16-21, with Tom

Grade. Become skilled at a broad spectrum of

techniques working with a variety of fibers.

Beginning Papermaking, July 21-23, with Tom

Grade. Discover a array of basic techniques,

such as molding, casting, embossing, embedding,

and air brush dyeing.

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 printmaking.

Sculptural Paper, July 15-16, with Amy Gerhauser.

Learn new sculpture processes and

become familiar with contemporary installation

art while bringing your own sculpture

concept to fruition.

Papermaking Saturday, July 29 or August 12,

with Linda Draper. Work on their own projects,

from shared vats or set up a personal vat.

Easy Envelopes, Watermarks & Pre-folded, August

9-16, with Linda Draper. Learn several ways

to create envelopes, to make paper with folds

built in, and easy ways to create watermarks in

your sheets of paper.

Valley Ridge Art Studio, 1825 Witek Road,

Muscoda, Wisconsin, (608) 250-5028,

<kathym@valleyridgeartstudio.com>, <www.

valleyridgeartstudio.com>. Workshops in

papermaking, bookmaking, photography,

writing, etc.

Silk Paper Making, October 1, with Karen Wallace.

Use silk fibers to create versatile, colorful

papers that can be used in a variety of projects.

Women’s Studio Workshop, PO Box 489,

Rosendale, NY 12472, (845) 658-9133,

<info@wsworkshop.org>. Summer Arts

Institute includes workshops in papermaking,

printmaking, book arts, photography, and

other media.

EVENTS

Hand Papermaking invites you to its festive

20th-anniversary events in the afternoon and

evening of October 28. See page one.

The Guild of Bookworkers celebrates 100 years

with a conference in New York City October 12-

14. Among the many noted speakers, Cathleen

A. Baker will discuss “Hand Papermaking

in the 20th Century.” From 1907 when the

last mill in America making handmade

paper ceased production, to Dard Hunter’s

achievements revitalizing the craft, to the

efforts of Twinrocker Handmade Paper, and

beyond, Cathy chronicles handmade paper’s

slow but steady revival. Further information

about the GBW Centennial Celebration can

be found at <http://gbw100nyc.tripod.com>.

Registration deadline is September 12.

The 28th Congress of the International Association

of Paper Historians takes place October

5-8 in Capellades and Barcelona, Spain. This

year’s theme is Hispano-Arabic Paper & Paper

Museums and their Influence. In addition to

the working sessions, participants will tour the

Capellades Paper Mill and Museum, Munné

Family Papermill, Miró Foundation Restoration

Dept, Archives of the Crown of Aragón,

and the Montserrat Library and Archives. For

further information e-mail <congress@mmpcapellades.

net>.

Ambar Past and two shaman/papermakers

from Taller Lenateros will visit the Palace of

the Governors in Santa Fe, New Mexico, July

11-16. There will be a number of programs

and talks presented, centering on Mayan and

Pre-Columbian writing and books, as well as

contemporary Mexican book and paper. For

further information e-mail <tleech@mnm.

state.nm.us> or call (505) 476-5096.

The Friends of Dard Hunter will meet

in Chillicothe, Ohio, October 19-21. The

Friends meet annually to enjoy speakers,

presentations, tours of local paper and book

arts facilities, a trade show, auction, and

banquet. This meeting celebrates the group’s

25th anniversary. Some scholarships will be

available to those with financial need. 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>.

Until September 10 the sixth Holland Paper

Biennial is taking place at the Rijswijk Museum

and the CODA / Apeldoorns Museum.

The event consists of an exhibition of the work

of 28 international paper artists; a publication

entitled Paper takes flight; a shop selling books

and paper; and a grand paper fair on the last

day of the event where artists, papermakers,

and paper merchants will display and sell their

wares. For more information visit these websites:

<www.hollandpapierbiennale.nl>, <www.

museumryswyk.nl> or <www.coda-apeldoorn.

nl> or write to: Museum Rijswijk, Holland Paper

Biennial 2006, Herenstraat 67, NL-2282

BR, Rijswijk, The Netherlands.

IAPMA, the International Association of Hand

Papermakers and Paper Artists, will hold its

2006 Congress at Steyrermühl in Austria,

August 3-9. Enjoy workshops, demonstrations,

and presentations in a historic papermaking

town. Steyrermühl’s 110-year tradition as a

paper place centers on the old paper mill –

today turned into an Industrial Museum and

Convention Centre. This fully operating paper

factory inspired the theme of the congress:

Industry Art Paper. Located on the banks

of the river Traun the renovated mill has

retained the original character of the former

paper production hall, resulting in a stylish

combination of industrial architecture and

modern event facilities. Accommodation is

provided for about 60 persons; small hotels

and guesthouses in the vicinity will host

other participants. Eva M. Juras is taking

care of registration and congress payments:

Tulpenstraße 20, 51427 Bergisch Gladbach,

Germany. Phone 49-2204-678-72. Fax 49-

2204-96-14-28. E-mail <evajuras@aol.com>.

To find out more about the Congress itself, the

venue, and region, visit: <www.iapma.info>

<www.papiermuseum.at>

<www.salzkammergut.co.at>

Frogman’s Press & Gallery is proud to announce

the 25th Anniversary Frogman’s Print

& Paper Workshop taking place July 3 through

July 15, at the University of South Dakota campus

in Vermillion, South Dakota. A session in

papermaking by Maryanne Ellison Simmons

is among the fifteen classes offered. Exhibits,

exchanges, barbeques, fireworks, and a closing

banquet are also planned. Call (605) 763-5082

or e-mail <info@frogmans.net>.

The Geelong Forum 2006 takes place

September 24-30 in a lovely setting 30-45

minutes from Melbourne, Australia. Classes

include Color and Texture in Handmade Paper

taught by Gail Stiffe. For details contact

<tafta@iinet.net.au>.

The British Association of Paper Historians

will convene September 27-29 in St Omer,

France, just south of Calais. Enjoy speakers

on a wide range of subjects and tours to local

mills including the Maison du Papier, a paper

museum with water-driven stampers, where

participants will have the opportunity to make

some paper. For further information see

<www.baph.org.uk>.

EXHIBITS

The Finnish Paper Art Gallery presents the

work of Sirkka Könönen through August;

Anna-Liisa Troberg, September through November;

and Jany Vyborna-Turunen, December

through January 2007. For further details contact

The Finnish Paper Art Gallery, FIN-45700

Kuusankoski, Finland. The Gallery is part of

the Kymen Paviljonki complex on Highway 6

at Kuusankoski. It is open daily from 9 am to

8 pm and admission is free.

Hand Papermaking, The Drachen Foundation,

Hiromi Paper Int’l, and Maryland Institute

College of Art are pleased to present an exhibition

in Baltimore exploring the use of washi,

handmade Japanese paper, as a medium

for the art form of kite making, September

25 through December 4 in MICA’s all-glass

Brown Center. Towering over the space is

a stunning 10-foot art kite by Lesley Dill,

commissioned for Hand Papermaking’s 20th

anniversary. In addition, the exhibit includes

28 contemporary and traditional kites recently

completed in Kochi, Japan, by nine international

kite artists. Call (800) 821-6604 or visit

<www.handpapermaking.org> for details.

The College Park Aviation Museum presents

Hot-Air Balloons of Handmade Paper,

November 3 through December 31, featuring

three-foot artist-made balloons overlooking the

famous airstrip. Historical information and

artifacts accompany the exhibit. Call (800) 821-

6604 or visit <www.handpapermaking.org>

for more information.

The Robert C. Williams Paper Museum

presents Watermarks: The Hidden Art, July

20 until September 22, exploring watermarks

from around the world. From October 12

through December 22, view Jacob Christian

Schaffer: The Book, the Man and the Fibres,

chronicling the paper experimentation of this

Renaissance man of the 1700s. His writings

being translated for this exhibit include recipes

for paper using cabbage stalks, wasp nests,

and even asbestos. For further details contact

Robert C. Williams Paper Museum, 500 10th

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

7840, <www.ipst.edu/amp>.

A Decade of Papermaking is an exhibition

highlighting ten years of work in handmade

paper by artists who have taken workshops at

June Tyler’s studio, Pondside Pulp & Paper,

from 1995-2005. The exhibit will run July 21 -

August 25 at the Mariea Brown and Raymond

Loft Galleries, Chenango County Council of

the Arts, 27 West Main Street, Norwich, NY.

For further information, contact Deb Whitman,

Gallery Director at (607) 336-2787 or

e-mail <gallery@chenangoarts.org> or June

Tyler at <tylerpaper@aol.com>. A catalog will

be available.

Diana Marto is exhibiting her Whale Guardian

Installation in a juried show at the Pacific

Grove Art Center located at 568 Lighthouse

Ave., Pacific Grove, California. The installation

consists of 12 suspended cast paper whale

bones, a plaster and paper cranium, with a

film of the artist dancing with her sculptures

by the sea interspersed with images of mother

and baby whales in the birthing lagoons of

Mexico. On view until July 13; call for gallery

hours: (831) 375-2208.

The Guild of American Paper Cutters recently

held its national conference at Southwest

School of Art & Craft. On exhibit until August

12 is the work of papercutters Jad Fair, Jorge

Rosano, and Kathleen Trenchard. For details:

(210) 224-1848 or <www.swschool.org>.

The work of international paper artists is on

exhibit until September 10 during the Holland

Paper Biennial at the Rijswijk Museum and

the CODA / Apeldoorns Museum. The 28

artists are: Lucia Barata (Brazil), Dominique

De Beir (France), Sjef Henderickx (the Netherlands),

Jae Ko (South Korea/U.S.), Lucille

Moroni (France), Naoko Serino (Japan), Ingrid

Siliakus (the Netherlands), Marjolein van

der Stoep (the Netherlands), Luis Acosta (the

Netherlands/Argentina), Marjolijn van den

Assem (the Netherlands), Kwang-young Chun

(South Korea), Jean-Claude Correia (France),

Mels Dees (the Netherlands), Claude Frossard

(Switzerland), Manabu Hangai (Japan), Eve

Ingalls (United States), Tomoko Ishida (Japan),

Rolf A. Kluenter (China/Germany), Ayuk

Kuperus (the Netherlands), Miriam Londoño

(the Netherlands/Colombia), Hans Jürgen

Simon (Germany), Vroegop/Schoonveld (the

Netherlands) Valerie Buess (Germany), Betty

Friedman (United States), John Gerard (Germany/

U.S.), Karel Martens (the Netherlands),

Pavlos (Greece/France), Margit Rijnaard (the

Netherlands). For more information visit these

websites: <www.hollandpapierbiennale.nl>,

<www.museumryswyk.nl> or <www.codaapeldoorn.

nl> or write to: Museum Rijswijk,

Holland Paper Biennial 2006, Herenstraat 67,

NL-2282 BR, Rijswijk, The Netherlands.

Lesa Hepburn has an exhibition at the Pine

Rivers Regional Art Gallery in Queensland,

Australia, from July 5 until August 19. Wallpaper

Artifice consists of large (over four meters)

handmade wallpapers, and Pulp Fiction: Stories

from the Environment is a series of handmade

paper and folded paper works produced by

students of the North Lakes State College

where Hepburn was artist-in-residence last

year. The exhibition will also include a series

of workshops for adults and children. More

information can be obtained via email to

<lesa@lesahepburn.com>.

Upcoming Paper Circle exhibitions in Nelsonville,

Ohio, include Paper Things by Jenny

Zingler of Athens, Ohio, June 30 to September

5; Books by Eileen Wallace of Chillicothe, Ohio,

with selections from the Dard Hunter Mansion

Collection, September 8 to October 24. Call or

email (740) 753-3374 or <papercircle@frognet.

net> or see <www.papercircle.org>.

Until September 10 Mani Wall and A Sacred

Geography is on view at UCLA’s Fowler Museum

of Art. The book of the same name features

sonnets of the Himalaya by Sienna Craig

printed on pulp painted paper made by Mary

Heebner. Also featured are large paintings

(Mani Wall series) based on the same striped

motif of the pulp painted folios, and photos

of the places Sienna writes of by Macduff

Everton. For further information call (310) 825-

4361 or e-mail <fowlerws@arts.ucla.edu>.

TRAVEL

Carriage House Paper will sponsor a

Papermaking Tour to China, approximately

August 16-September 2. Join this 2 1/2 week

expedition to Yunnan and Guizhou Provinces

in southwest China, and visit remote villages

of papermaking where ancient hand skills

have been practiced for centuries. For details,

contact Donna Koretsky at <chpaper@aol.

com> or phone (718) 599-7857.

OPPORTUNITIES

Columbia College Chicago Center for Book

& Paper Arts is seeking a Studio Technician.

The Center has state of the art studios in book

binding, hand papermaking, and letterpress

printing, in a beautiful and spacious facility.

The 30-hour-per-week position requires

working familiarity with the equipment and

tools utilized in papermaking, book-binding,

and letterpress printing. Strong interpersonal

communication skills are essential. Some

evening hours required. Candidates interested

in this position should send a letter of interest,

outlining their qualifications for the position, a

current resume, and two letters of recommendation

to: Jeff Abell, Acting Chair, Interdisciplinary

Arts Dept., Columbia College Chicago,

600 S. Michigan Ave., Chicago, IL 60605.

The internship program at Dieu Donné

Papermill provides first-hand experience for

students and those looking to further their

interest in papermaking and arts administration.

Prior studio-setting experience is strongly

suggested. An application and more details are

available at <www.dieudonne.org>.

The Creative Residency program in Visual

Arts at The Banff Centre, Alberta, Canada,

provides studio facilities and 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/va/residencies/>

or contact Wendy Tokaryk at <wendy_

tokaryk@banffcentre.ca> or (403) 762-6402.

PUBLICATIONS

Marjorie Alexander has announced that her

video The Idin Papermill is now available

both in tape and DVD format. This video was

filmed in Lampang, Thailand in 2003. After a

brief description of Thailand, the journey leads

through a bamboo thicket to the papermill of

Supan and Praewpan Promsen in what was

once a rice field. Marjorie and Supan narrate

a thirty-minute pictorial of the entire mill

and the specific process used for making the

unique papers created at The Idin Papermill.

The price is $25.00 for either the VHS tape in

NTSC or the DVD. Information and ordering

can be obtained from

Paper Textiles by Christina Leitner (ISBN

071367444x) was recently published by A & C

Black of London. The first part of the 190-page

hardcover deals with history – 1000 years in

the Orient, 100 years in the West; the second

part with techniques and projects, covering

weaving, knitting, plaiting, crocheting, etc.;

and the third part is a 40-page gallery of the

work of 12 leading international artists.

CLASSIFIEDS

Classifieds in the Hand Papermaking Newsletter

cost 75 cents per word, with no minimum.

Payment is due in advance of publication.

Papermaking equipment for sale: beater –

Mark Lander design, vat, dry box,

student mould/deckle. Contact Debby

for more information: (978) 335-4236,

<echoartdv@yahoo.com>.

Reina stainless steel 2 lb. beater with casters,

counter and plexi covers. Stainless roll and

tub. Used for about 5 years. Very good condition.

Well maintained. $5000. Please e-mail

for photos: <RonRichhome@msn.com> or call

503-295-5967.

SPECIAL THANKS

Hand Papermaking would like to thank

the following people who have made direct

contributions to our organization. As a nonprofit

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: David Marshall & Alan Wiesenthal,

Charles E. Morgan. Underwriters: Bobbie

Lippman. Sponsors: Jane Farmer, Helen

Frederick, Peter Newland & Robyn Johnson,

Pamela S. Wood. Donors: Grimanesa Amoros,

Cathleen A. Baker, Simon & Kimberly Blattner,

Gail Deery, Michael Durgin, Lori B. Goodman,

Susan Gosin, Helen Hiebert, Lois James,

Elaine Koretsky, Mary Lou Manor, Dianne L.

Reeves, John L. Risseeuw, Michelle Samour,

Kimberly Schenck, Agnes Schlenke, R. H.

Starr, Jr., Marilyn Sward, Claire Van Vliet,

Becky Whitehead, Ellie Winberg. Supporters:

Marjorie & Harold Alexander, Shirah Miriam

(Mimi) Aumann, Valerie T. Bechtol, Joanne

R. Davis, Amanda Degener, Martha Duran,

Frank Gallo, Patricia Grass, Peter Hopkins,

Courtney Hudson, Kristin Kavanagh, Ann

S. Miller, Nancy Norton Tomasko, Ralph

Ocker, Lise Poulsen, Mary C. Schlosser,

Maxine Seelenbinder-Apke, Lynn Sures, Kathy

Wosika. Friends: Jacqueline Mallegni, Allan

Thenen. In-Kind: Adobe Systems, Campbell-

Logan Bindery, Arnold Grummer’s, Hiromi

Paper International, Maryland Institute

College of Art. Auction Donors: Arnold

Grummer’s, Cathleen A. Baker, Sidney E.

Berger, Neal Bonham, Book Arts Program

of Marriott Library at University of Utah,

Inge Bruggeman, Columbia College Chicago

Center for Book & Paper Arts, The Drachen

Foundation, Mindell Dubansky, Helen

Hiebert, Peter Hopkins, Elaine Koretsky,

LeeMcDonald, Katherine Nicholson at ASU,

David A. Russell, Gene Valentine.

And Hand Papermaking is especially grateful to

the following organizations and individuals for

their generous support of the special magazine

issue celebrating our 20th-anniversary:

The Drachen Foundation

The Gladys Krieble Delmas Foundation

The Fifth Floor Foundation

Cathleen A. Baker, Inge Bruggeman, Mindell

Dubansky, Lucile G. Hicks, Helen Hiebert,

Allen K. Mears, Elaine Koretsky, Russell Maret,

David Marshall & Alan Wiesenthal, Margaret

Prentice, Marilyn Sward, Becky Whitehead.

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