Hand Papermaking Newsletter is publishedfour times per year. In summer and winter it ismailed with the journal Hand Papermaking, andin spring and autumn it is distributed separately.Annual subscriptions include both publications:$50 in North America or $75 overseas. Two yearrates are discounted: $95 in North America or$145 overseas. To subscribe, send a check to theaddress below, call or fax us to use Visa or MasterCard, or visit our website. Foreign subscribers mayuse a credit card, or pay in U.S. dollars via moneyorder or check marked payable through a U.S.bank. For more subscription information, or a listof back issue contents and availability, contact:Hand Papermaking, Inc.PO Box 1070, Beltsville, MD 20704-1070Phone: (800) 821-6604 or (301) 220-2393Fax: (301) 220-2394E-mail: info@handpapermaking.orgWeb: www.handpapermaking.orgThe deadline for the next newsletter (April 2009)is February 15. Please direct all correspondence tothe address above. We encourage letters from oursubscribers on any relevant topic. We also solicitcomments on articles in Hand Papermakingmagazine, questions or remarks for newslettercolumnists, and news of special events or activities.Classified ads are $1.00 per word with a 10-wordminimum. Rates for display ads are availableupon request.Hand Papermaking is a 501(c)(3) non-profitorganization. Staff: Tom Bannister, ExecutiveDirector; Mina Takahashi, Magazine Editor;Shireen Holman, Newsletter Editor; Mary Tasillo,Ads & Listings; Deborah Selk, Portfolio Binder.Board of Directors: Cathleen A. Baker, SidneyBerger, Shannon Brock, Inge Bruggeman, GeorgiaDeal, Gail Deery, Jim Escalante, Helen Hiebert,Ann Marie Kennedy, Barbara Lippman, AndreaPeterson, Margaret Prentice, John Risseeuw, BeckWhitehead. Board of Advisors: Timothy Barrett,Simon Blattner, Gregor R. Campbell, MindellDubansky, Jane M. Farmer, Helen C. Frederick,Elaine Koretsky, James Sitter, Claire Van Vliet,James Yarnell. Co-founders: Amanda Degenerand Michael Durgin.Dear Subscribers, Quite a number of you have been loyal subscribers since Hand Papermaking’s firstmagazine issues in the mid-1980s. Many more recent subscribers have opted to purchase acomplete set of back issues. You all know the tremendous value of the 23 volumes of HandPapermaking on your library shelf, and you know that we are honored to have a special placein your collection.But how do you find a particular topic within the magazines? How do you quickly locatethat brilliant article you remember reading years ago? The need for a current index is amongthe most common remarks received from our annual mailing that requests your comments.Well, we listened, formed a committee, discussed the matter, and ultimately came up withsomething we think is better than an index.Take a look at our new keyword search function at http://search.handpapermaking.organd try a few words or phrases. For example, type “drying” and Claire Van Vliet’s Summer1987 plans for a drying box is on top of the long list. Type “spirit” and that great sample ofThai spirit money collected for us in Summer 1990 by Dorothy Field is the first match. Try“Bill of Rights” and our Summer 2001 story with a sample of conservation support paper forthe historic document, is followed by an article on the controversial Summer 1992 Bill ofRights broadside created by John Risseeuw and others at ASU’s Pyracantha Press. In additionto topics, you can also search for names of authors and artists.The results are weighted so that best matches are listed first. Clicking on the title tells youwhere to find the article and usually offers the first paragraph or so as a taste. As always, wewelcome your suggestions for improving this new subscriber resource.                        Tom Bannister> IN MEMORIAMPaul Robbert (1928-2008) was an internationally recognized artist and an early innovator inpaper art. While serving on the faculty of Western Michigan University, he established theirpapermaking curriculum. He inspired many young artists with his experimental approach andspirit, and was known as a dedicated mentor and advisor. Paul was also a founding memberof the Kalamazoo Book Arts Center. In addition, he was an inventor, and made and sold the“Cranberry Lake” vacuum table, one of the only ones available at the time. See Paul’s exceptionalarticle on the theory, use, and construction of vacuum tables in the Summer 1991 issue of HandPapermaking. Paul was well loved by all who knew him and will be sorely missed.HAND PAPERMAKING publishes a series of limited-edition portfolios, each on a differenttheme, showcasing distinctivehandmadepapers.The papers areprotected inimprinted foldersand described in a handbound booklet; each set of papers reside in a custom-made clamshellbox. Editions limited to 150 and sell for $495.Innovative Printmaking on Handmade PaperThe Art of Pulp PaintingCalligraphy and Handmade PaperInsured postage is $15 in the US or $35 elsewhere. Ask about standing orders and ourtraveling exhibitions program. Go to our website, call (800) 821-6604 or fax (301) 220-2394 toplace an order. To view images and complete prospectus, visit:www.handpapermaking.orghand papermaking newsletter > ALONG THE PAPER ROAD...This regular feature offers paper musings fromElaine Koretsky—renowned paper historian,researcher, and traveler. In this issue, she previewsher new research project, and describes the expandeddisplay venue for the Museum of InternationalPaper History.Ihave just discovered, to my astonishment,that this “Paper Road” column of mine hasalready completed its tenth year. That meansforty articles in Hand Papermaking Newsletter,plus a few in the magazine, and many morein other publications.Unfortunately, I am a very slow writer,but I have so many new adventures andmisadventures “Along the Paper Road,” thatI simply cannot stop writing about them.Right now I have already planned anotherexpedition to parts of China that I have notyet explored. Undoubtedly, that will resultin further exciting experiences. First of all, Iplan to do more research into “rice paper,”the material that has no connection withrice, and is not paper. I have already writtenabout the subject in the April and July 2006issues of Hand Papermaking Newsletter. Thismisnamed rice paper is a paper-like materialthat is shaved from the pith of Tetrapanaxpapyriferum. My information was gatheredon a visit to Taiwan in 1987, which resultedin a film that I produced showing how itwas made and its uses. An important useof the material was in the making of smallpaintings of Chinese scenes, which becamepopular tourist souvenirs in the 1800s andearly 1900s. Now these“pith paintings” havebecome expensive collectors’ items, featured inspecial museum exhibitions.In my garden ofpapermaking plantsI am cultivating twomagnificent specimensof Tetrapanax, purchasedfrom “Plant Delights” inNorth Carolina. The firstone I bought is two yearsold, the trunk growing rapidly from twelveinches to now over six feet in height, witheach leaf measuring nearly two feet across.The nursery recently advertised anotherspecies of Tetrapanax, which they calledTetrapanax papyriferum (Steroidal Giant). Icould not resist buying it, although I askedif the plant needed weekly steroids. Thatwas not necessary, and the young plant isgrowing vigorously, already sprouting leavesmore than two feet across. Unfortunately,the plants are not hardy in our northern climate, and they will have to fight for indoorspace this winter in my house, competingwith seventy-seven other potted plants.My new research will focus on GuizhouProvince in Southwest China,where our friend Wu Zeng Ouhas located a tremendous fieldof Tetrapanax papyriferum. Inaddition, last year I discovered atthe Guangzhou Art Museum thatthe Museum Director, Dr. Cunjie,had visited a remote village inGuizhou that still produced thispith “paper.” That was aboutsix years ago, but Wu will tryto locate the place and maybewe can find people who still areinvolved in the use of the pith.Donna Koretsky will be joiningmy husband and me, and Donnaplans that next year she will leada group of papermakers to theseparts of China.The other area that we shallbe exploring is Xishuangbannain the tropical, southernmostpart of Yunnan Province. There are many socalled “minorities” who live there–Bai, Hui,Yi, Hani, Miao, Yao, Lahu, et al. Each grouphas its own culture and customs, and thisshould be fascinating. In particular, I hopeto see a certain tree, Antiaris toxicaria (Upastree) that has been used in the past for barkclothing. At a museum in Kunming, China,I have seen displayed an entire outfit ofbeaten bark from this tree. It was used bypeople in Xishuangbanna because the barkcontains a poisonous substance that wardsoff insects. I learned that the tree also growsin Vietnam, where indigenous people usedits poison to make deadly darts. (Note: I amnot planning to add this plant to my gardenof papermaking plants.)Meanwhile, I am starting a new endeavorto display more works from my large collection of papermaking artifacts. The collectionis housed in Brookline, Massachusetts, at theResearch Institute of Paper History & Technology, which includes the Museum of International Paper History that I direct. Onlypart of the collection can be formally exhibited at the Museum, so it is fortunate thatwe have been offered another venue—thenewly renovated studio of Carriage HousePaper at 245 Kent Avenue, Brooklyn, NewYork. Donna Koretsky has built a lovely gallery space and I plan a new themed exhibitthere every six months or so. We had hopedto open early in September, but constructionat the space was very slow. However, now wehave our first exhibit, “Before Paper,” onview there. “Before Paper” features mankind’s methods of communication beforethe Chinese invented paper more than 2,300years ago. World history has been recordedon stone, clay, bone, animal skins, papyrus,wood strips, metal, and even leaves—notonly palm leaves, but also leaves of tobaccoand mulberry (see photo above). Althoughmost of those materials fell into disuse as thecraft of papermaking spread outfrom China, it is amazing thatsome are still utilized even todayfor special purposes. On view areartifacts, books, tools, and writings from many countries andcultures.A special feature at the exhibitis an unusual and very humorous film that was produced inFrance in the 1960s. The title is“Un Monde Sans Papier,” whichmeans literally “A World WithoutPaper.” I had seen the film a couple of times in Europe, when myfriend Fred Siegenthaler, a Swisspaper artist, showed it at paperconferences; ever since then Ihoped to locate a copy of it. Afew months ago I telephonedFred and asked what happenedto his film. He replied that hehad donated it to the Basel Paper Museumin Switzerland, but he would ask the museumpeople about it. When I spoke with Fredagain, he said that the film was still at themuseum and nothing had been done withit, but if I were interested, the museum waswilling to have it converted into DVD form,provided I would share the cost with them.I readily agreed, and eventually received mycopy. The film was just as funny and cleveras I remembered, and I think papermakers,as well as others, will truly enjoy it.The second exhibition at the gallery willconcentrate on the origin of paper in China,with subsequent exhibits focusing on particularcountries and processes. Undoubtedly, I shallnever run out of ideas or materials for thesefuture exhibitions or articles.I’m often wary of teaching a papermakingworkshop in a studio I’m not familiarwith or in a space that has no papermakingequipment. I guess I’m spoiled because Ilearned to make paper in a studio that waswell equipped and I’ve got professionalequipment in my own studio. So whenasked to teach papermaking elsewhere, Ifind myself intimidated with the prospectof carting pulp and equipment to and fro.Paper artist Mary Leto has some uniquemethods for taking her papermaking workshops on the road, and I’d like to share afew of them with you.I remember visiting Leto in her studioyears ago and seeing her cute little dryingsystem. It is tiny—just 12” x 12”—but what aWell-known author and teacher Helen Hiebertoffers helpful guidance and tips gleaned from artists she has worked with over the years. Here shedescribes Mary Leto’s portable drying system andher system for traveling felts.> UNIQUE TECHNIQUEJanuary 2009 just a bit larger than the felts. For one-dayworkshops (in which there is no time to usethe triwall drying system), students thentransfer their sheets to newspaper to takehome. After a workshop, Leto just snips theyarn loops and washes the felts.Leto is careful about dryingthings thoroughly to preventmold. She keeps her felts on arolling wire cart that she takesoutside from time to time toair out. She does the same withher triwall when it is stored inthe milk cartons.For pulp transportation,Leto uses half-gallon or one-gallon plasticmilk jugs with the tops cut off to make awide opening, leaving the handle intact.She takes all of the pulp to workshops thisway—the jugs stack nicely in a milk crateand sit under or near each vat being usedduring a workshop, where they can be usedas scoops to replenish the slurry. They canbe thrown out at end of class or sent homewith students who want leftover pulp.Needless to say, these are much easier tocarry than five-gallon buckets!perfect size for drying small sheets made byparticipants in a workshop. She uses triwallcardboard cut to 12” x 12” and 12” x 24”. Herblotters are cut to the same size and nestled inbetween the cardboard, and the whole systemfits nicely into a milk crate for easy transport.And she can just store them as isin her studio, ready to go to thenext workshop.Triwall is a triple layer ofnormal cardboard that is gluedtogether commercially to makea heavy corrugated board.You can find it at commercialpackaging suppliers, but theirminimum order is often high. Leto makesher own triwall by cutting up cardboardcartons that are made up of single or doublecorrugated sheets. After cutting them tosize (for example, 12” x 12”) she holds threesingle sheets together and joins them ontwo opposite sides using different coloredduct tapes. The duct tape holds up for years,keeps the cardboard from warping, anddoesn’t interfere with the air flow or drying (the sides which are not corrugated aretaped together, leaving the corrugation openfor air flow). She varies the color of the ducttape to help sort the paper she is drying—bystudent or paper type. For this drying system,Leto uses a small box fan; she also uses thesame system for a larger drying box utilizinga 20” box fan. If you are not familiar withthis type of drying system, it is described indetail in my books, Papermaking with GardenPlants & Common Weeds and The Papermaker’sCompanion.As you can see, Leto is organized. She’s gota great system for her traveling felts, too. Shecollects old army blankets and other smoothwool blankets and cuts them to size, againorganizing them by color (one color blanket iscut to one size for easy identification). Whenshe teaches adults, she gives each studenta different colored stack to make individualposts and to prevent mix-ups.For young children and difficult locations(like teaching outside in a windy setting),Leto creates “felt posts.” She stacks five felts(12” x 12” squares) and, using a darningneedle, loosely sews a loop of yarn (thiscan be color coordinated, too) through allfive pieces at one corner. She then ties thefelts together, making as many bundlesas needed for the class (see photo). Eachstudent can make three sheets of paper withone of these bundles—­two pieces of felt areon the bottom, a sheet of paper is couchedon them, the next felt is flipped over, another sheet is couched, etc., with one felt lefton the top.Mary had an intern construct a simpleportable hydraulic press (based on designsby Jana Pullman—more on that in anothercolumn). The felt and paper posts can allbe loaded into it for pressing—the press isBased in Philadelphia, Winifred Radolan operatesan itinerant teaching papermill, and has taughtpapermaking to thousands of adults and children.In this column, Winnie describes an adult enrichment workshop she taught at the Yale Center forBritish Art.> TEACHING HAND PAPERMAKINGIthoroughly enjoy every opportunity I haveto introduce a new audience, youngstersand adults alike, to the magic of creating paperby hand. But every now and again I havean extraordinary teaching adventure suchas the one I embarked upon on Saturday,November 18, in New Haven, Connecticut.I was asked to conduct the first in a seriesof three adult enrichment workshops inconjunction with the Yale Center for BritishArt’s exhibit, “Sun, Wind and Rain: The Artof David Cox.”David Cox (1783 – 1859) was a pre-eminentBritish landscape and watercolor artist duringthe first half of the nineteenth century. Hismagnificent watercolors exemplified his lifelong concerns of capturing the atmosphericeffects of light and weather on the Englishand Welsh countryside. While his frequentsubstrate was fine Whatman Mill handmadewove paper, he also developed a fondnessfor using lesser quality ream wrappers,made of linen sailcloth. He often used theimperfections in this packaging grade paperas opportunities, such as when he addedwings to an encapsulated speck to create abird in flight.Entitled “Pulp and Paint Transformed:the Art and Preservation of Watercolors,”the free workshops offered museum patronsthree opportunities to experience methodsand materials associated with Cox’s artform. In addition to attending “The Art ofPapermaking” with me, participants couldtake “Watercolor Painting, Techniques andProcesses” with Chris Engstrom, of the Creative Arts Workshop, the following Saturday.On the third Saturday, the British Museum’sChief Paper Conservator, Theresa FairbanksHarris, provided an in-depth insider’s lookat the “Art and Preservation of Watercolors”in the conservation labs.When planning for my 3-hour workshopI decided to pack two short introductoryvideos plus a small sampling of handmadepapers skimmed from the top of my “bursting at the seams” teaching box. The firstvideo, “The Paper Trail,” designed for ayoung audience, condenses the more thantwo thousand-year history of papermakingdown to only four minutes, enthusiasticallydelivered by a fourth grader from Atlanta,Georgia. Produced by the Institute of PaperScience, it features many artifacts fromthe collection of the American Museumof Papermaking. After viewing the secondvideo, a Dutch re-enactment of paperproduction in a hand papermill, everyonewould have a rudimentary understandingof the intense labor involved in makingthe paper that Cox used for his paintings.I packed examples of linen and cotton ragpapers as well as unusual plant fiber sheets.I also included some samples of paper artthat featured techniques of pulp layering,embedding, embossing, stenciling, and pulppainting. Expectations for the workshopwere not to make watercolor paper, but tointroduce the creative possibilities involvedin the art of hand papermaking.Because this was not my first workshopfor the British Museum, I called ahead toremind the education team that their spaceand my equipment could be “maxed out”with fifteen adults. Wanting me to have agood turnout of participants, and allowingfor the probability of a few “no-shows,”the staff registered eighteen for the day.Of course, in a testament to the allure andmagic of papermaking, all eighteen peoplematerialized. I hoped that the group wouldinclude a couple or family who wouldn’tmind sharing moulds and deckles andcouching stations.Museum Education staff members JenniferKowitt and Amy Gelbach scrambled to helparriving students settle in. We quickly setup an additional table on which to place thethree vats of pigmented cotton/abaca pulp.When Chris Engstrom, watercolor instructorfor the next workshop, asked if he could observe, I enthusiastically welcomed him andput him right to work. The water for the vatswas in unwieldy 5-gallon watercooler jugs, sohis first great service was some weight lifting,followed by careful pouring.hand papermaking newsletter Pamela S. Wood of Arizona makes one-ofa-kind books from her handmade papers.She explores the Internet seeking out notablepaper-related sites. This time she has found aninteresting site of a commercial paper companybased in Germany.> ON-LINEI kept my introduction as brief as possible so that we could engage the cozy andanticipatory group with pulp as soon as possible, giving everyone ample time to makeand embellish several sheets of paper. Assoon as each person had successfully pulledand couched a plain sheet, I demonstratedsimple layering techniques and turnedthem loose on the vats. I set up a couple ofsmaller vats containing pigmented shortfiber cotton on the couching tables aroundthe room. I was glad to have packed my premade screen stencil designs for use in thesemini-vats, as this cut down on crowdingat the bigger vats. And finally, I dispersedthe small containers of pulp paint amongstthe work stations. This finely beaten andpigmented cotton, thickened slightly withmethylcellulose, could be applied directlyto the couched sheet, or first squirted bypipette onto the mould, then transferred tothe layered base sheet of paper.The time passed quickly as this wonderfully enthusiastic group shared pulp,equipment, and creativity in making paper.Jennifer, Chris, and Amy anticipated everyneed as they circulated through the roomto assist with any minor pulp emergencies.Almost before I realized, it was time topress everyone’s post and explain drying options, then mobilize the clean-up efforts.To press the paper, I had my portable ArnoldGrummer press, and some dry syntheticchamois to sandwich around their posts. Ihave always offered two drying options, eachrequiring a different amount of pressure/water removal in the press. In Option 1, thefast overnight method, lightly pressed sheetsare laid flat next to one another on a Formicacounter or facsimile. A dry towel is placedover the paper, which is then rolled overby a rolling pin to adhere it to the counter.This method yields a two-sided (smooth andtextured) sheet, which is dry by the next dayand can easily be peeled from the countertop. Generally, most students opt for thismethod. In Option 2, I press as much waterout of the paper as Arnold’s press and mymuscle will allow. I instruct students to layertheir hard-pressed papers between blottersor paper towels and underneath a stackof all the heavy books at their disposal. If,every day, for up to a week (depending onatmospheric conditions), the wet blottingmaterials are replaced with dry ones and thedrying paper is re-stacked under constantweight, flat paper that is identical on bothsides can be achieved. For the very first timein my papermaking years, the entire groupchose the more labor intensive Option 2 fordrying their production of about eight sheetsof paper apiece. I didn’t know whether to admire everyone’s commitment, or suspect anacross-the-board lack of home counter space!Thanks to the great organizational skillsof Jennifer, Amy, and Chris, cleaning upwas accomplished swiftly. This allowed mejust enough time to visit the gallery andhave a peek at the outstanding watercolorand oil landscapes of David Cox. And I’malso grateful to Linda Friedlander, Curator of Education, and Theresa FairbanksHarris for giving me the opportunity to be apart of the programming surrounding thisfabulous exhibit!This newsletter column began 12 years ago whenthe wonders of the Internet were still new formany of our readers. This will be Pam’s finalcolumn and we greatly appreciate all her work.In my wanderings through the Internet Ican be amazed by what I find. This timeI have found the site of a large paper company based in Germany. It is a commercialpaper company; however, I really think itmerits a closer look. Let’s enter by going towww.gmund.com.On the top right you have a languagechoice of English or German. The openingsplash page is simple, with a horizontal$0/3"%."$)*/&
$0.1"/:.&$)"/*$"-
&26*1.&/5'03
5)&
(3"1)*$
"354

4*/$&
'JOF
BSU
QSJOUNBLJOH
QSFTTFT
GPS
XPPEDVUTMJOPDVUT
XPPE
FOHSBWJOH
NFUBM
SFMJFG
FUDIJOH
DPMMPHSBQIT
NPOPUZQFT
FNCPTTNFOUT
FUD/FX
6TFE
$VTUPN
%FTJHOT
4PVUI
8BSOFS
4USFFU
8IJUFIBMM
.*
1I







'BY

XXXDPOSBENBDIJOFDPNJanuary 2009 band of menu items. I am going to save thebest for last, so we will work around andskip past “Slide Show” for now. Why haveyour cake first? Click on the first item—astack of paper called “Products.” Up pops awonderful close up photo of rolls of coloredpaper. Press the dot that says “more,” andyou get a photo of a stack of swatch books,as well as a complete product list above. Byclicking on any one of the Gmund products,you get the information contained in thecorresponding swatch book, including allthe specifications, usages, resources, andapplications for that paper. These are essentially virtual swatch books.Skipping “Slide Show” for now, we moveon to “Environment.” Here is the completecorporate charter on the production of theirpaper. Water, raw materials, and wasteare critical issues; they want us to knowthat they are an environmentally friendlycompany.The next three menu items are new papers from their product list that have beensingled out. The first, Gmund Shade, seemsrather unique. It is a commercial paper thathas the delicate look and feel of traditionalJapanese paper. This is where I hate theweb—I am definitely a person who musttouch. This is a paper I would want to holdand feel. Gmund 3, another new product, isreminiscent of woven fabric. It is made by amulti-stage embossing process that revealsdifferent facets in the paper from everyangle. Once again, I’d love to get my handson this paper. Gmund’s papers have beenprimarily developed for offset, letterpress,engraving, or silkscreen printing. However, they now have another new product,Gmund Digital, for small print runs fordigital projects. It looks as though I will bechecking these out at a future time. The lastitem is the shopping, which looks very easy.Having saved the best for last, we moveback to the “Slide Show.” I must admit, thebiggest reason I loved this site is the photography. The photos in the slide show areremarkable. You can pretend to be gettingthe tour with a guide and you will be walking from room to room in their productionplant. A wonderful detail is the blue enamelwall signs in three languages, German, English, and French. The first part of the tourclearly shows an older area where paper ismade by hand. There is even an old-fashioned telephone next to an ancient desk.The slides include a nice balance of closeups and wide-angled shots. You then moveon to the modern equipment, peeking intothe “Hollander Hall” and the “Ink Metering”room, looking close up at gears and grinders and huge rolls of paper, and watchingemployees pigment, stack, count, sort, andwrap sheets and sheets of paper. Even thesample room is an organized dream.This is a very interesting site, showinga commercial paper company with a handpapermaking production component.Gmund documents its production fabulously—the only things missing are water,sound, and smell.Our Paper History column began in 2003, writtenby Peter Hopkins. Cathleen Baker took over threeyears ago, and we thank her sincerely for herinsight and inspiration. She passes the baton toMaureen and Simon Green who will write on thetopic beginning with the next issue.> PAPER HISTORY> PROFILES IN PAPERSusan Gosin co-founded Dieu Donné Press &Paper in 1976. She regularly lectures and teachespapermaking, and has compiled a significantcollection of interviews with noted personalitiesin the hand papermaking community. This is thecontinuation of the column about Victòria Rabal,begun in the last issue.In 1986 Victòria joined European colleaguesFred Siegenthaler, Sophie Dawson, JohnGerard, Anne Vilsbøll, Julie Lawson, Dorothea Eimert, and Ray Tomasso to form theInternational Association of Papermakersand Artists (IAPMA). As she was preparingfor the first IAPMA conference, which wasto take place at Capellades in June 1987, shesuffered a terrible accident. While takinga tour group through the cellar of the museum, which houses the eighteenth centurymill, she was pulled into a working stamper.She broke bones in her head, spine, andback. She was pregnant at the time, and,miraculously, not only did she survive, butso did her baby. With characteristic determination she overcame partial paralysis intime to greet her IAPMA friends for theconference at the Capellades Museum.Although this kind of personal detail is notalways included in a professional profile, Ithought that this incident was so revealingof Victòria’s heroic character as well as of herdeep commitment to and love of handmadepaper and the art that springs forth from it,that it is as much a part of her professionalstory as it is of her personal life.As director of Capellades, and aided byher capable staff which has now grown totwelve, Victòria has continued to expand theprograms she first envisioned in the 1980s.The four floors of the museum, and thebasement floor that houses the eighteenthcentury mill have been renovated. Visitorsare greeted at the entrance with a professionally designed permanent exhibit highlighting the history of papermaking. Thereis also a store on the ground floor, stockedwith books about paper and printing,children’s books, artists’ books for seriouscollectors, stationery, sheets of Capelladeshandmade paper, and a wide range of handmade paper products.Many of the 22,000 schoolchildren and10,000 others who visit the museum yearlymake their way downstairs to the workinghistoric mill to make a few sheets of whiteand colored cotton paper as part of theirtour. The mill is also used to manufacturelimited quantities of production paper,which is sold in the Capellades store and tointernational paper vendors.In the fall of 2008, the floor directlyabove the permanent paper exhibit andstore will be opened to the public with a newpermanent exhibition of the history of printing and its relationship to papermaking.Classes in calligraphy and printing will beadded to complement the roster of classesoffered in papermaking.The second floor, above the printingexhibit, is reserved for the permanent collection of fine books, including a Diderotfirst edition. The second floor also housesa library of books on papermaking and printing, which is available online to scholars atthe University of Barcelona. A permanentarchive of paper includes an extensive collection from area mills as well examples ofpaper dating back to the thirteenth century.On the same floor as the library and archiveis a professionally equipped laboratory fortesting pulp and paper.Victòria has always been interested in themultiple facets of papermaking, in its colorfulhistory as a commercial endeavor throughoutthe world, and its cultural distinction in thehistory of mankind. In 2005, with the helpof the European Commission, she collaborated with her colleagues at Papiermühle AlteGladbach in Germany and Kuovola RegionFederation of Municipalities in Finland tocreate a three-year program of meetings forEuropean paper museums. This resulted inthe publication of an informative and beautifully designed brochure and map identifyingEuropean papermill museums that makepaper, historic papermills and paper museums,and technical museums of papermaking. Anypaper enthusiast interested in European handmade papers will find this a valuable resource.Victòria’s role as curator and collaboratorincludes her responsibilities on the top floorof the museum, the mill’s former dryingloft, which now serves as a noncommercialgallery for the exhibition of contemporaryhand papermaking newsletter Š™Ž››Š’• ‘ŽюћёњюёђȱюѝђџȱӕȱќќјȱџѡѠŠ™Ž›Š’ȱž™™•’ŽœŠ ȱ’‹›ŽȱȮȱ›¢ȱž•™ȱȮȱ’’ŸŽœ’ŽœȱȮȱšž’™ŽȱȮȱœŠ›‹•’ȱŠȱ‹’’ȱž™™•’ŽœŽ‘ŒŽ•ȱȮȱœȱȮȱšž’™ŽȱȮȱœŠ›ȱȮȱŽ ’ȱž™™•’ŽœȱȮȱ’’ȱœœŠ••ǰȱ ›’Žǰȱ›ȱŽȬŠ’•ȱ›ȱ¢ž›ȱ›ŽŽȱŒŠŠ•žŽŗřśȱŽ¡’ȱž›ǰȱ’ȱŚŠŽ›•ǰȱŠ›’ǰȱŠŠŠȱŘȱŚŗȬŞŖŖȬŚŘŗȬŜŞŘŜ’ȓ™Š™Ž››Š’•ǯŒŠŠ¡ȱŗȬśŗşȬŞŞŚȬşŜśś‘Ĵ™DZȦȦ   ǯ™Š™Ž››Š’•ǯŒŠOak Knoll Books & Press800-996-2556 (p)302-328-7274 (f)www.oakknoll.comoakknoll@oakknoll.comPure Paper $85.00Order No.100264all you need to know aboutpapermaking andpaperartart. Since 1993, the 440-square-meter loft hasbeen the exhibition site of three or four showsa year that showcase art using handmadepaper as a critical component of the finishedwork or as the vehicle of artistic expression.In addition to her various collaborations asdirector of Capellades, Victòria designs handmade paper costumes for operas and musicalproductions, and produces pulp-paintedimages for limited editions of artists’ bookspublished by John Gerard. Examples of herpulp painting imagery can also be found inHand Papermaking’s portfolio The Art of PulpPainting. Currently, she exhibits her art inBarcelona at N2 Galeria.For a quarter of a century, the MuseuMolí Paperer de Capellades has flourishedunder the guiding vision and clear leadership of its gifted director. It is uniqueamong other European paper museumsand historic mills because of the qualityof its educational programs and archivalproduction paper, and also because of thecontributions it makes through artisticcollaborations and exhibitions. VictòriaRabal’s identity, first and foremost asan artist, has motivated her to embrace the myriad possibilities that handpapermaking offers to students, teachers,historians, scientists, and artists. I encourage any paper enthusiast traveling toEurope to visit Capellades and, if possible,the director herself. For Internet travelSidney Berger, a professor at Simmons Collegein Boston and Director of the Phillips Library atPeabody Essex Museum, has been collecting andresearching decorated paper for over thirty years.This column continues Sid’s discussion of crepepaper and its various uses, especially the marvelousHasegawa books.> DECORATED PAPERIn my last column I spoke of crepe paperas a decorative art, with a glance at crepepaper books. These papers are quite lovely,with their ability to stretch like Spandex andtheir cloth-like touch. I can find little aboutits history, though on the Web I did find thefollowing:“Crepe” or “crêpe” generally refers to aspecific weave of lightweight fabric, originated in the late 1700’s, which is crinkledand slightly elastic in the hand. Crepepaper is a general descriptive term forpaper that imitates the effect of the fabric.Crepe paper is made by a water process,which imparts the texture onto ordinarilysmooth paper. It was critical to the invention of masking tape! The accordionedtexture allows the tape to partially adhereto the surface, making it easily removable.ers, please visit www.mmp-capellades.netand www.victoriarabal.com to see some ofVictòria Rabal’s work.(http://www.wilsonart.com/design/statement/viewarticle.asp?articleid=45)Unfortunately, this is not explicit about theinvention of crepe paper nor does it discuss itsactual manufacture, except in general (and notterribly convincing) words.In a website on paper dolls, the followingappears:“[I]n the 1880s, Dennison ManufacturingCompany added crepe paper to their line,starting a trend that lasted for about fortyyears. Crepe paper added dimension tothe costumes of paper dolls and providedcountless hours of fun for children athome and in schools” (http://www.opdag.com/History .html).Again, nothing on history or manufacture,though a date is given. But this does not indicate when or where the paper was invented.Another website (http://int.kateigaho.com/spr05/chirimenbon-books.html) says,“Although crepe paper had been used inJapan as early as 1800 for single-sheetprints, Hasegawa is thought to be the firstto use it for complete books.”By 1893, this lovely paper was beingused to make flowers and other decorativeproducts. In a June 18, 1893, article titled“Evolution of Crepe Paper,” in The New YorkTimes we find:January 2009 Papermaking Kits & Supplies•Beginner books and kits•Classroom kits for K-12•Paper and Book Press•New! Abaca by sheet or balewww.arnoldgrummer.comwholesale inquiries welcomeHAND PAPERMAKING lovesto hear from readers. What’s youropinion? What’s happening?What’s on your mind? Send yourletters to the editor by email:newseditor@handpapermaking.orgWhen success in working in the plain surface paper was achieved [in making paperflowers] it was an easy step to wider fields.The exquisite Japanese crêpe paper wasseized upon, opening up an almost unlimited vista of decorative possibilities. Thispaper is a delicately finished product ofthe manufacturer’s art, made with whatmight be called a corrugated surface. It issoft to the touch, yet very strong in fibre.It was, of course strong because it wascertainly made of kozo fibers, those long,thin, strong fibers used in conservationpapers and for prints and paintings.The manufacture is described this way:The corrugation is simply the result ofsome mechanical manipulation whichcreases the originally smooth paper intotiny folds or tucks that run across its widthso that lengthwise a piece of it is capable ofbeing stretched to twice its length. It is thisquality of stretching which gives it specialvalue in making many of the dainty thingsproduced by the clever fingers that havebecome skilled in its use....It is hard toconvey an idea of the beauty of the materialand its brilliant softness; as, however, itlooks more like the fabric it undertakes toimitate—the woven crêpe—than anythingelse, this comparison is adequate description and sufficient praise.(See the full article with a query ofnytimes.com.)Though crepe paper had many uses,perhaps its most exquisite use was in thelovely books produced in Japan for export,mostly printed by “Takejiro Hasegawa, MeijiJapan’s Preeminent Publisher of WoodBlock-Illustrated Crepe-Paper Books.” Thisis in quotation marks, because it is the titleof a wonderful exhibition catalog of thesebooks. The author, Frederic A. Sharf, did aremarkable job pulling together information about these books and their publisher(Salem, MA: Peabody Essex Museum, 1994;Peabody Essex Museum Collections, Vol. 130,No. 4). Much of the following information isdrawn from this source.In 1884, Takejiro Hasegawa set up apublishing house in Tokyo; he was 31 yearsold. He recognized an enormous Westernaudience for his books, and he hit on theidea of doing many books aimed at them.He knew Western scholars who could dotranslations for him, and he knew some ofthe finest wood-block illustrators of his dayin Japan. He had fine illustrations done onwood blocks, printing done by a Japaneseprinter with Western equipment, and binding done in Japan, “probably performed in acottage-industry setting” (Sharf, 11).The earliest books were the JapaneseFairy Tales Series, rendered into English,German, and French, and all copyrightedon August 17, 1885, under the imprintof Kobunsha. These early volumes hadblack-and-white illustrations and had plainbrown-paper wrappers.> TO BE CONTINUED in the next issue.hand papermaking newsletter PAPERMAKING SUPPLIESP.O. Box 413, Brookston, Indiana 47923 USAOrders: (800) 757-TWIN (8946) Info: (765) 563-3119Fax: (765) 563-TWIN (8946) Web: www.twinrocker.comFREE CATALOGREADY-TO-USE-PULPCustom-made in our Hollander beatersto suit your needs&the largest selection of handmade papers and:FIBERSPIGMENTSBOOKSADDITIVESBOOKBINDING SUPPLIES1BQFS
$POOFDUJPO
JT
ZPVS
QSFNJFS
SFTPVSDF

GPS
mOF
BSU
BOE
EFDPSBUJWF
QBQFST8JUI
PöDFT
JO
UIF
6OJUFE
4UBUFT
BOE
5PLZP

1BQFS
$POOFDUJPO
MJOLT
QBQFS
DPOOPJTTFVST

JO
UIF
8FTU
UP
CFBVUJGVM
QBQFST
GSPN
UIF
&BTU/PX
BWBJMBCMF
0/-:
BU
1BQFS
$POOFDUJPOOFXMZ
BDRVJSFE
MJOF
PG
QBQFST
GSPN

UIF
PMEFTU
XBTIJ
TUPSF
JO
UIF
64"1BQFS
$POOFDUJPO
*OUFSOBUJPOBM
MMD
%PZMF
"WFOVF
1SPWJEFODF
3*
5PMM
'SFF





XXXQBQFSDPOOFDUJPODPNGPS
NPSF
JOGPSNBUJPO
QMFBTF
TFFX X XDPEF Y GPVOEBU JPOPSH/ Ê -   " Ê   
" 8Ê  / ,
/"
Ê ""Ê
,ÊEÊ-9*"-1:fej`[\i`e^
k_\
9ffb
Xj
X
Nfib
f]
8ik
8F
BSF
HBUIFSJOH
UPHFUIFS
PO
UIF
6OJWFSTJUZ
PG
$BMJGPSOJB
#FSLFMFZ
DBNQVT
B
DPOHSFTT
PG
UIF
XPSMEµT
¾OFTU
CPPL
BSUJTUT
BOE
BSUJTBOT
QSJWBUF
QSFTTFT
DVSBUPST
DPMMFDUPST
BOE
TDIPMBST
JO
UIF
TQJSJU
PG
BO
0ME
8FTU
SFOEF[WPVT

5IF
CPPLGBJS
XJMM
TIPXDBTF
DPOUFNQPSBSZ
BSUJTUµT
CPPLT
¾OF
QSFTT
BOE
¾OF
BSU
FEJUJPOT
BOE
JO
BEEJUJPO
XJMM
GFBUVSF
CPPLCJOEFST
IBOE
QBQFSNBLFST
CPPLTFMMFST
CJCMJPQIJMF
PSHBOJ[BUJPOT
BOE
FEVDBUJPOBM
QSPHSBNT
JO
UIF
CPPL
BSUT

5IF
4BO
'SBODJTDP
#BZ
"SFBµT
MJCSBSJFT
CPPL
BSUT
BOE
CJCMJPQIJMF
PSHBOJ[BUJPOT
XJMM
IPTU
BEEJUJPOBM
FWFOUT
FYIJCJUT

SFDFQUJPOT
EVSJOH
UIF
XFFL
UIBU
QSFDFFET
UIF
4BO
'SBODJTDP
*OUFSOBUJPOBM
"OUJRVBSJBO
#PPL
'BJS

5IJT
XJMM
CF
BO
IJTUPSJD
²$0%&9
XFFL³
PO
UIF
HSBOE
TDBMF
GPSHJOH
BIFBE
JO
UIF
HSFBU
4BO
'SBODJTDP
USBEJUJPO   , 1
, 9 Ê ™ ‡ £ £ ] Ê Ó ä ä ™The PaperwrightBritt Quinlan, OwnerA paper making supply business providing Canada andthe United States with papermaking kits, pulps, fi bres, mouldsand equipment, pigments, workshops, handmade papers andbookbinding supplies. We specialize in custom built wove and laid molds and personalized service for our clients.International orders are welcome.Call 613-440-0580 or e-mail brittq@trytel.comor visit www.paperwright.caJanuary 2009 Mary Tasillo is a papermaker, book artist, andmixed media maven based in Philadelphia. Sheteaches workshops nationally. Here Mary talksabout environmentally friendly ways to make art.> FOR BEGINNERSGreen living is increasingly on themind, especially in the post-industrialcountries that have, on the whole, forgottenhow to do this. My art practice is the onearea in my life where I will make all exceptions. I will waste as much paper as I needto in order to get a print to the right qualityand shape; I will, as one friend put it, easilyspend more money on book cloth than ona pair of pants; and I will happily order myfibers from distances across which I wouldnever source my food.Recently I have been thinking that thereis no reason to leave sustainable practicesout of this area of my life. While I deeplyvalue artistic production, and even theproduction of multiples, this practice doesnot take place outside the ecosystem uponwhich we depend. Further, what we mightconsider to be good for a piece of paper, e.g.,the longevity of its color through pigmenting, might not be as good for our healthor the environment’s. I tended to be rathercasual about my contact with commercialpigments, until I was at Penland School ofCraft, where any water containing pigmentis disposed of as a hazardous material. I’ma little more likely to wear gloves while pigmenting these days.Papermaking is a medium with substantialopportunity to develop an environmentallyresponsible art making practice. I recentlyhad the opportunity to speak with WashingtonDC-area artist Patterson Clark about hispapermaking process using fibers and fuelfrom local invasive plants. Thus, not only ishe making paper from local fibers, but he isalso removing non-native species that threaten the balance of the local ecosystem. Clarkhas developed a working system that mightspark some ideas for your own process.To cook the bast fibers that he harvests,Clark burns the woody leftovers from theplants (Paper and White varieties of Mulberry, Tree of Heaven, English Ivy, Rose ofSharon) on a portable wood stove.The fibers are cooked in rainwater, collectedin a barrel, with potash lye made from woodash from the stove. When the fire dies out,Clark allows the fibers to steep for ten hoursin the cooking liquor, wrapping the cookingpot in two thick wool blankets to conserveheat as the bast completes its cook.Some bi-products of this process lendthemselves to other parts of Clark’s art making. The black cooking liquor can be neutralized with vinegar and rendered into a pHneutral potassium acetate ink for printingor drawing. Charcoal from the woodstovecan also be used for drawing or ink. Thedowned weed trees that Clark sometimesuses as firewood can also be milled intolumber for printing blocks, picture framing,or bas-relief carving. Wiry bast fibers fromsome plants, once cooked, can be used tomake brushes, as well.If local plant fibers are unappealing orinaccessible (i.e., you live in the midst ofurban concrete), consider what materialsyou might recycle. Printmakers and bookartists produce plenty of scraps of cotton ragthat can be re-processed into new papers.In fact, are you re-processing scraps andjunk sheets of your own papers? Quiltersand sewers also produce scrap fibers,which are often natural fibers suitable forpapermaking. How can you tap into thesesupplies and make use of the waste of othercreative practices? Also investigate industrial sources. If you are anywhere in thevicinity of a paper or fabric mill, can youaccess their off-cuts?How can you conserve your water andelectricity use? I suggest re-using water thatyou’ve strained from your vats or your beaterwhen you can. Cut a little off your electricityusage by adding torn and cut fibers to thebeater before starting the beater rather thantearing linters as the beater circulates.Finally, know what you are putting intoyour paper and in contact with your skin.Material Safety Data Sheets should be available for any additives you purchase to putinto your paper. These can help you determine how to properly handle and disposeof chemicals, polymers, and pigments. Andas Monona Rossol, a materials safety expertwho conducted a fantastic training I hadthe opportunity to attend, says: “remember,Mother Nature is not on your side.” That isto say that using natural materials does notmean you should abandon all precaution.This statement was made in the context ofdiscussing citrus-based cleaners, which dohave toxins that will sit in your liver. Thereis nothing wrong with using vinegar, bakingsoda, and water when doing some seriousscrubbing in the studio. I know a papermaker who experienced a severe reaction whenmaking paper from green gingko leaves. So,experiment—one can’t innovate without boldexperimentation—but proceed with at least alittle bit of caution!And finally, build on the knowledgeof your fellow papermakers. The YahooPapermaking group, for example, is a greatresource for finding out about local plantsthat are good for papermaking in your area.Incorporating some of these ideas intoyour art making will put you on your way toincorporating your art practice into a moresustainable life.> more for beginners at:handpapermaking.org/beginnerListings for specific workshops and otherevents in the following categories areoffered free of charge on a space-availablebasis. The deadline for the April Newsletter is February 15. Contact each facilitydirectly for additional information or afull schedule. Teachers: Tell your studentsabout Hand Papermaking! Brochuresand handouts can be mailed to you oryour institution.Email: info@handpapermaking.org> CLASSES AND WORKSHOPSAsheville BookWorks, Asheville, NC, (828)255-8444, www.bookworksasheville.com.Hands-on workshops including bookbinding, printmaking, decorative paper, andbasic papermaking.Suminagashi, Marbling and Box Making,February 13 -16, with Steve Pittelkow. Learnboth Japanese and acrylic marbling to create aportfolio of beautiful papers for projects, usingyour papers to cover boxes as you make simplebut elegant structures with ordinary tools.Paste Paper: Historical and ContemporarySurface Design, March 28-29, with Larry LouFoster. Learn traditional combed and pulledpatterns as well as contemporary variations ofthe same, making “block printed” papers, using‘pattern jigs’ for editions and finishing papers.Paper Sculpture, April 20-22, with FrankBrannon. Explore two different forms of papersculpture by using various papermaking fibers.Atelier Cirkel, Brasschaat, Belgium, 0032-3633 05 89, www.ateliercirkel.be.Handmade Paper, February 7 or April 18,with Denies Van Loon. Experiment withpigments and fibers to create papers and asmall dimensional piece.John C. Campbell Folk School, Brasstown,NC, (704) 837-2775, www.folkschool.org.Classes in papermaking and other crafts inthe mountains of western North Carolina.Advanced Watercolor Marbling & Paste PaperExtravaganza, January 11-17, with MimiSchleicher. Explore a variety of techniques,controlled and abstract, for marbling, followedby an introduction to paste papers.Handmade Paper: Expanding the Possibilities,January 18-17, with Claudia Lee. Use a varietyof pulps and cooked plants to create newways to work with paper pulp.Japanese (Eastern) Papermaking, May 3-9,with Rajeania Snider. Explore fiber preparation, sheet forming (both traditional andmodern adaptations), and a wide variety ofdecorative techniques.hand papermaking newsletter 10Carriage House Paper, Brooklyn, NY, (800)669-8781, www.carriagehousepaper.com.Papermaking workshops offered in a newstudio space. Visit website for winter/springworkshop schedule.Circle of Life Studio and Summer Gallery,Eagle River, WI, (715) 479-9737,www.circleoflifestudio.com. Offering weeklypapermaking workshops June through September, and by special arrangement all year.Columbia College Chicago Center for Bookand Paper Arts, Chicago, IL, (312) 344-6630,www.bookandpaper.org. Papermaking classesin spacious downtown studios.Desert Paper, Book and Wax, Tucson, AZ, www.papermakingresources.com. Papermaking,book, and mixed media encaustic workshops,as well as consulting and studio rental.Dieu Donné Papermill, New York, NY, (212)226-0573, www.dieudonne.org. Beginningand advanced papermaking classes foradults and children.Gail Harker Creative Studies Center, OakHarbor, WA, (360) 279-2105, www.gailcreativestudies.com. Offering courses in textile arts.Adventures in Papermaking, March 20-22,with Lisa Harkins. Create a wide variety ofpaper samples, learning to make both flatand dimensional paper and to prepare arange of fibers.Green Heron Book Arts, Forest Grove, Oregon.Classes in book and paper arts at the AccidentalBookMaker. Contact pagrass@aol.com formore information.Magnolia Editions, Oakland, CA, (510) 839-5268, www.magnoliapaper.com. Workshopsin papermaking, printmaking, and book arts.Maine Media Workshops, Rockport, Maine,(877) 577-7700, www.theworkshops.com.Year-round classes in multiple media.Papermaking, February 8-14, with BernieVinzani. Develop an understanding of thehistorical aspects of paper while learning toprepare and color fiber, form sheets, watermark, dry, and finish your paper.Minnesota Center for Book Arts, Minneapolis, MN, (612) 215-2520, www.mnbookarts.org. Classes at the Open Book center forbook and literary arts.Paper Circle, Nelsonville, OH, (740) 753-3374, www.papercircle.org, papercircle@frognet.net. Call or e-mail for informationabout upcoming paper classes.Open Studio, second Saturdays, with studioartists. Gain new skills while working onthemed, relaxed projects.Japanese Paper Making, May 9, with SaraGilfert.From Plants to Paper, June 6, with Sara Gilfertand Susie Thompson. Create sheets from daylilies, asparagus, and more.The Papertrail, Waterloo, Ontario, Canada,(800) 421-6826, www.papertrail.ca. Classes inpapermaking, marbling, and related arts andstudio rental scheduled on an as-needed basis.PapierWespe (PaperWasp), Aegidigasse 3/Hof,1060 Wien, Austria, (0676) 77-33-153,office@papierwespe.at, www.papierwespe.at.Workshops in English and German taught bypaper specialists in downtown Vienna.Penland School, Penland, NC, (828) 765-2359, www.penland.org. A full program ofcraft workshops, including papermaking.Subjective Color, June 21-July 3, with MinaTakahashi. Explore how fiber and colorcome together to create a nuanced palette inpapermaking, utilizing a range of Westernand Asian fibers with a variety of coloringagents including artist pigments, fiber-reactive synthetic dyes, and natural dyes.Paper in Three Dimensions, July 19-August 4,with Helen Hiebert. Take paper from twodimensions to three through paper foldingand cutting, model making, papermakingand other techniques; papermaking techniqueswill include overbeaten and translucentpulps, watermarking, and embedding wire,string, or reed to give the paper structuralform.Pyramid Atlantic, Silver Spring, MD, (301)608-9101, www.pyramidatlanticartcenter.org.Workshops in papermaking, printmaking,and book arts.Papermaking Society, First and Third Thursdays, with Gretchen Schermerhorn. Bringsnacks, discuss papermaking techniques, andmake as many sheets of paper as you can.Robert C. Williams Paper Museum, Atlanta, GA,(404) 894-5726, http://ipst.gatech.edu/amp/.Japanese Papermaking, June 22-26, withBerwyn Hung. Learn each stage of thepapermaking process, from fiber collectionand preparation to making the paper usingtraditional Japanese methods.Southwest School of Art & Craft, San Antonio,TX, (210) 224-1848, www.swschool.org.Classes at the Picante Paper Studio. Specialpapermaking classes can be scheduled forone person or a group; please contact BeckWhitehead for more information.Advanced Studio Rental, most Wednesdays,with alternate days and instruction availableupon request. Use of the Picante studio andequipment.Papermaking Saturday, January 31, or February28, with Linda Draper. Create paper in anenvironment that is somewhere between aclass and an open studio.Stone and Paper Art Center, L.L.C., Mandeville, LA, (504) 674-9232, www.stoneandpaper.com. Hand Papermaking, selected Saturdays,with Mary Elain Bernard. Learn Easternand Western methods of making paper andincorporate local plant fibers.Valley Ridge Art Studio, Muscoda, WI,(608) 250-5028, www.valleyridgeartstudio.com. Workshops in papermaking, bookmaking, photography, writing, etc.Paper Batiking Extraordinaire, February 7-8,with Kathy Malkasian.Paper and Fabric Marbling, April 4-5, withGalen Berry. Learn to make beautiful,multicolored patterned papers includingtraditional patterns like the Peacock, StoneMarble, Spanish Wave, Feather, Nonpareil,French curl and more.West Dean College, Chichester, West Sussex, U.K., (0)1243 811301, short.course@westdean.org.uk, www.westdean.org.uk.Hand Marbling on Paper and Fabric, February27-March 1, with Christopher Rowlatt. Makesamplers of traditional patterns and developyour own work while learning every stage ofthe marbling process.Hand Marbled Papers, April 23-27, withVictoria Hall. Explore suminagashi whilelearning traditional patterns and the historyof paper marbling.Recycled Papermaking for Artwork and Decorative Objects, May 22-25, with Carol Farrow.Experiment with paper pulps made from reused paper ephemera to create cards, books,containers and artworks.Informing Paper: Recycled Paper Pulp Vesselsand Vintage Paper Casting, May 28-31, withMagie Hollingworth. Explore ways of formingorganic vessels with recycled paper pulp andcasting with handmade and vintage papers.Women’s Studio Workshop, Rosendale, NY12472, (845) 658-9133, info@wsworkshop.org. Summer Arts Institute includes workshops in papermaking, printmaking, bookarts, photography, and other media.Armatures for Sculptural Papermaking, July6-10, with Chris Petrone and Ellen Kucera.Create sculpture from the inside out withelegant armatures covered in skin-like paper, using basket weaving and welding techniques to create more complex armatures.Advanced Armatures for Sculptural Papermaking,July 13-17, with Ellen Kucera and Chris Petrone.Translate recent work into armatures and handmade paper sculptures through one-on-onediscussions with the instructors.January 2009 11WOMEN’SSTUDIOWORKSHOPGrantsInternshipsResidenciesWorkshopsPapermakingBook ArtsPrintmakingCeramicsPhotographywww.wsworkshop.orgP.O. Box 489Rosendale, New York, 12472845.658.9133CBPA is dedicated to the teaching and exploration of conceptand craft at the intersections of bookmaking, visual arts, andlanguage. As the home of the Interdisciplinary MFA in Book &Paper, we are invested in fostering the production of art thatexplores the creative potential of printing, papermaking, andbookbinding.In support of this mission, we teach workshops, produceexhibitions in our gallery, sponsor artist residencies, hostconferences, publish artists’ books, and a periodical dedicated tocritical inquiry.This is a 60 credit hour Master of Fine Arts in which studentsdevelop a personal focus within the book & paper arts, stretchingand expanding the art form in many directions while consideringthe book as an intermedia device that includes various kinds oftexts and images. Understanding the past, present and future ofthe book & paper arts and the relationship to the culture fromwhich they spring is stressed, as is technical mastery and thedevelopment of a strong personal voice.JAB is dedicated to providing a forum for critical, theoretical, andcreative engagement with artists’ books. JAB is now published atthe Columbia College Chicago Center for Book and Paper Arts.Our mission is to develop the field of artists books by means ofcritical discourse and creative exploration of the intersectionsof book arts, artists books, poetry, photography, experimentalliterature, and other book related creative endeavors.www.bookandpaper.org312.344.6630Center for Book & Paper Arts1104 S. Wabash Ave., 2nd flChicago, IL 60605 The CenTer for Book & PaPer arTs Mfa in inTerdisCiPlinary Book & PaPer arTs JAB: The JournAl of ArTisTs’ BooksMAGNOLIAPapermaking SuppliesHandmade PaperWorkshopsBooksMon - Fri 10 - 5 Sat 10 - 3Call or write for a catalogueand workshop schedule:Magnolia Editions2527 Magnolia Street, Oakland, CA 94607telephone: 510/839-5268fax: 510/893-8334www.magnoliapaper.comhand papermaking newsletter 12  $&' $) #%(( &' #&" %%! '') '$( "()'$)  %+  ""$(*'             EMBOSSED PAPERSHand Printed Embossed Paperfor the Graphic and Book ArtsMargaret Ahrens Sahlstrand ~ sahlstrand@fairpoint.net12060 Highway 10, Ellensburg, WA 98926, tel/fax 509.964.2341)For more information, please contact:David Reina, (718) 486-0262, reinadesigns@aol.com79 Guernsey Street, Brooklyn, New York 11222, USADavid Reina Designs Inc.Providers of quality equipment for the hand papermakerfor over twenty years . . . offering Hollander Beaters,Hydraulic Presses, and Paper Drying Systems.Dorothy FieldPaper and ThresholdThe Paradox ofSpiritual Connectionin Asian CulturesForeword by Jane M. FarmerAvailable in cloth andin sheets for binding.Order online:thelegacypress.comThe Legacy PressBooks about the Printing,Paper, and Bookbinding Arts> EVENTSArt, Fact, and Artifact: The Book in Timeand Place is the First College Book Art Association Biennial Conference, taking placeJanuary 8-10 and hosted by the Universityof Iowa Center for the Book (UICB). Theconference seeks to bridge the worlds ofbook art, book history, cultural criticism,and curatorial work through appreciation ofthe book as an aesthetic sensorium. Eventsinclude tours of UICB’s papermakingfacilities as well as papermaking and otherdemonstrations. More information canbe found at http://uicb.grad.uiowa.edu/uicb-cbaa-conference/.The Southern Graphics Council Conference2009, featuring panels, exhibitions at over40 locations around Chicago, and demonstrations, will be held at Columbia College,Chicago, March 25-29. The theme of thisyear’s conference is Global Implications.The schedule this year includes demonstrations in hand papermaking by Jen Thomas,Yukie Kobayashi, and Gretchen Schermerhorn and a panel discussion on Printmaking and Papermaking in India. Details areavailable on the Internet at:www.colum.edu/SpecialEvents/Southern_Graphics_Council/index.php.The 20th IAPMA Congress meets in Tasmania March 26-30 in the coastal town of Bur-> more classes and workshops athandpapermaking.org/listings.htmnie, home to Australia’s largest handmadepaper mill. The conference theme is Paper ofthe New World and Rejuvenation of the Creative Spirit. Events include workshops andlectures and a juried exhibition. The programcan be viewed at www.iapmacongress2009.com.au.The Hybrid Book: Intersection and Intermedia, an International Book Art Conferenceand Fair, takes place on June 4-6, 2009 inPhiladelphia, Pennsylvania. Hosted by TheUniversity of the Arts, The Hybrid Bookseeks to explore how book art representsa multi-arts forum: two-dimensional,three-dimensional, and time-based, one inwhich design, fine arts, craft, language, andnew technologies combine, compete, andintersect. Events include panel discussions,including artists working with handmadepaper; exhibitions, and a fair. For information or to register, please visit www.hybridbook.org, or email hybridbook@yahoo.com.The Minnesota Center for Book Arts presentsthe Book Art Biennial 2009, to be held July23-26 in Minneapolis. Through a combination of presentations by leaders in the field,peer discussion sessions and hands-onworkshops, Book Art Biennial participantswill explore the theme Mature Content—theArtist’s Book as Advocate, placing specialemphasis on the efficacy of artists’ books asagents of social change and activism. TheCross Pollination: Papermaking and Encaustic,July 20-24, with Tatana Kellner and CynthiaWinika. Create collages utilizing layering,translucency and opacity, stenciling, pulppainting, burnishing and more, incorporating papermaking and basic encaustictechniques .Asian Papermaking, July 27-31, with TatianaGinsberg. Investigate all aspects of Asianpapermaking in-depth, with a focus on Japanese-style nagashizuki sheet formation andexploration of decorative techniques.Pulp Painting, August 3-7, with ShannonBrock. Combine 2-D image making and 3-Dsculptural papermaking, developing imagesby layering and overlapping thin veils of pulp.Artists! Go Green: Natural Dyes for Paper,Fiber and Painting, August 10-14, with RitaSchwab. Learn to use specific parts of plantsfor color extraction to use as dyes, to addtexture and color in papermaking and toprocess them into paints.Paper Clay Workshop: Form and Surface, July27-31, with Elizabeth Kendall. Make tilesfrom clay with cellulose fiber incorporatedinto the clay body, exploring decoration techniques and discussing slab construction.January 2009 13keynote speakers will be John Risseeuw andPhilip Zimmerman. A centerpiece of theBook Art Biennial will be the presentationof The MCBA Prize, a new award recognizing book art from across the field andaround the world. More information will beavailable at www.mnbookarts.org. For questions regarding Book Art Biennial 2009or The MCBA Prize, contact MCBA ArtisticDirector Jeff Rathermel at jrathermel@mnbookarts.org.The Friends of Dard Hunter meet annuallyto enjoy speakers, presentations, tours oflocal paper and book arts facilities, a tradeshow, auction, and banquet. Scholarshipsare available to those with financial need.For information on this conference visitwww.friendsofdardhunter.org. The 2009meeting will be held in Atlanta, Georgia.Pulp Function, curated by Lloyd Herman,founding Director of the Smithsonian’s Renwick Gallery, will be at the Plains Art Museum, Fargo, North Dakota, through February 8. It then travels to the James MichenerMuseum, Doylestown, Pennsylvania, whereit will be on view March 14 through June 28.Art made from paper pulp; recycled paper;cardboard; papier mache; and cut, folded,or otherwise manipulated paper is featured.For more information, visit www.fullercraft.org or www.thenic.org.The World of Yugen: Japanese Paper Artworks by Kyoko Ibe is on display throughJanuary 4 at Krannart Art Museum, University of Illinois, Champagne-Urbana. Thereis an opening on August 28 at 5:00 andadditional related programs planned. Theinstallation of large scale hanging paper willbe accompanied by a separate exhibit of Ibe’slatest two-dimensional washi works. Moredetails are available at www.kam.uiuc.edu.Before Paper will be on display throughFebruary at the new Carriage House Gallery,245 Kent Avenue, Brooklyn, New York. Theexhibition spotlights methods of humancommunication before paper was invented,including stone, clay, bone, animal skins,papyrus, leaves, wood strips, and metal.Artifacts illustrating a world without paperwill be on display alongside documentaryfilms and books showing many of the ancientprocesses. Gallery hours are every Thursday,2-6 pm. For other hours, call (718) 599-7857. This exhibition is the first of a seriesarranged by the Museum of InternationalPaper History. The sponsoring organizationis The Institute of Paper History & Technologyat 8 Evans Road, Brookline, Massachusetts, oronline at www.papermakinghistory.org.Time Travelers, work by Joan Giordano, ison display through January 5 at SerranoContemporary at 547 West 27th Street,5th Floor, New York City, New York. Moreinformation can be found by calling (212)239-1271 or visiting serranocontemporary.com. For images of work by the artist, visitwww.joangiordano.com.The handmade paper work of Drew Shiflettwill be on view at Lesley Heller Gallerythrough January 31. The gallery is at 16 East77th Street, New York City, New York. Thegallery can be contacted at (212) 410-6120or Lesley@lesleyheller.com. More information about the artist can be found at:www.drewshiflett.com.Minnesota artist Marjorie Alexander’shandmade paper piece “Mantle of Concern”is included in Miniartextil, an InternationalTextile Contemporary Art Exhibition, thiswinter, in Como, Italy. It will then travel toRome and Paris. The theme of the exhibitionis “Matrix Natura.” The exhibition website isat www.miniartextil.it. For more information, email the artist at marge@maralex.com.Women’s Studio Workshop in Rosendale,New York, presents the work of BarbaraBiesinghoff in the Binnewater Arts CenterGallery from January 9 through January 30.As an Artists’ Book Resident at Women’sStudio Workshop, Beisinghoff worked inthe papermaking, etching, and letterpressstudios. The exhibition will be followed bythe work of Laura Moriarty in February,and the work of WSW Interns Laura Beyer,Carolyn Baginski, and Kristen Jasionowskiin March. For location and details call(845)658-9133 or visit www.wsworkshop.org.Tatiana Ginsberg and Jenn Figg present“Shadowlandscape” as part of the exhibitionEphemerality at the Schuylkill Center forEnvironmental Education in Philadelphia,Pennsylvania. The piece is an animation ofan enormous “shadow” made of recycledhandmade paper scraps, filmed over thecourse of a single day on the Center’sgrounds, as it moves, evolves, and disintegrates. The show, which also includes workby Sarah Phillips, Matt Pych, Theresa Rose,and Claudia Sbrissa, opens January 12,with a reception and artists’ talk on January17, and runs through April 12. For moreinformation, visit www.schuylkillcenter.orgor call (215) 482-7300.Project Runway, organized by the Robert C.Williams Paper Museum of Atlanta, opensat Atlanta’s Hartsfield-Jackson InternationalAirport on January 12. The juried exhibitwill showcase clothing and accessoriesmade entirely from paper, including ballgowns, business suits, stilettos, hats, vestsand much more created by paper artists> EXHIBITSfrom around the world. The exhibit runsthrough January 12, 2010, after which ittravels to La Sala Galeria de Arte in Santiago,Chile. For more information, call (404) 894-7840 or visit www.ipst.gatech.edu/amp.Spend a day or weekend immersed in apapermaking workshop at Tidewater Cottageand Studio in Del Haven, NJ. A two-blockwalk from the beach and moments fromVictorian Cape May, the Cottage provides aquiet retreat space with seashore ambience.The fully equipped paper studio is availablefor rental and workshops. For info contactWinnie Radolan at winnie.r@verizon.net.Cultural Collaborative, a small non-profitworking with children in Ghana, WestAfrica, is looking for papermakers andbookbinders to volunteer to teach the kidsnext summer. If interested contact aba@culturalcollaborative.org. For informationon Cultural Collaborative, visit:www.culturalcollaborative.org.The Creative Residency program in VisualArts at The Banff Centre, Alberta, Canada,provides studio facilities and support forartists working in a broad range of media,including painting, drawing, performance,ceramics, book arts, textile art, papermaking,sculpture, installation, photography, andmore. Visit www.banffcentre.ca for information about residencies and facilities, orcontact Wendy Tokaryk at wendy_tokaryk@banffcentre.ca or (403) 762-6402.Artists experienced in papermaking are invited to apply for the opportunity to spend upto three months working in the Paper Studioat the Southwest School of Art & Craft. Artistsare expected to provide their own transportation and materials. Housing may be available,but is not guaranteed. Collaborations will beconsidered. For further information contactSSAC, 300 Augusta, San Antonio, TX 78205,(210) 224-1848, www.swschool.org.Women’s Studio Workshop offers severalopportunities for artists working inpapermaking and book arts. A year-longinternship program gives young artistscreative support, culminating in an exhibition, in return for their assistance with theon-going operations of the facility, includingassisting WSW’s Artists-in-Residence withtheir projects and participating in WSW’sSummer Arts Institute classes as studioassistants. Studio fellowships are designedto provide concentrated work time for artiststo explore new ideas in a dynamic and supportive community of women artists. Fordetails on these and other programs, visitwww.wsworkshop.org.> OPPORTUNITIEShand papermaking newsletter 14Bring us your questions! HandPapermaking Newsletter relaunches itsQ & A column. Help us get started:please submit your questions abouthandmade paper to newsletter@handpapermaking.org, be they wacky,obscure, off-the-wall, or even run ofthe mill. Next, look for answers byguest columnists in upcoming issuesof the newsletter.
&WBOT
3PBE
#SPPLMJOF
.BTTBDIVTFUUT
UFM

GBY

%JSFDUPS
&MBJOF
,PSFUTLZ

QBQFSSPBE!HNBJMDPNXFCTJUF
XXXQBQFSNBLJOHIJTUPSZPSH
,FOU
"WFOVF
#SPPLMZO
/FX
:PSL
UFMGBY
16-1
PSEFST
FNBJM
JOGP!DBSSJBHFIPVTFQBQFSDPNXFCTJUF
DBSSJBHFIPVTFQBQFSDPN1BQFS
.VTFVN1BQFSNBLJOH
4UVEJP5FDIOJDBM
3FTFBSDI8PSLTIPQT
BOE
-FDUVSFT#PPLT
BOE
7JEFPT1BQFSNBLJOH
5PVST1BQFSNBLJOH
4VQQMJFT
t
8PSLTIPQT4UVEJP
3FOUBM
t
)BOENBEF
1BQFS$BSSJBHF
)PVTF
1BQFS 1BQFS
)JTUPSZ

5FDIOPMPHZ5IF
3FTFBSDI
*OTUJUVUF
PG
1BQFS
JT
B
OPOQSPm
U
PSHBOJ[BUJPO
TVQQPSUJOH
B
NVTFVN
PG
JOUFSOBUJPOBM
QBQFSNBLJOH
BOE
B
DPNQMFUF
QBQFSNBLJOH
GBDJMJUZ
)PVST
BSF
CZ
BQQPJOUNFOU
1MFBTF
DBMM
PS
XSJUF
GPS
B
CSPDIVSF
BCPVU
PVS
BDUJWJUJFT



$BMM
PS
XSJUF
GPS
B
DBUBMPHVF
BOE
XPSLTIPQ
TDIFEVMF1BQFSNBLJOH
4VQQMJFT1VMQT

'JCFST1JHNFOUT"EEJUJWFT#PPLT&RVJQNFOU3FTFBSDI
*OTUJUVUF
PG8&
.07&%> CALLS FOR ENTRIESThe Ice House seeks entries for the juriedexhibit Handmade Paper & Artist Books, totake place in April 2009 in Berkeley, WestVirginia. Submit up to ten images for consideration by January 2. Submission detailscan be found at http://members.toast.net/rpingevans, or contact curator Jane Pingfor more information at (304) 754-7558 orjpingevans@yahoo.com.The MCBA Prize, a new award recognizing book art from across the field andaround the world, celebrates the diversityof book art. A distinguished panel of jurors,themselves leaders in the field, will selectfive finalists, with the announcement of thewinning work at a gala event culminatingBook Art Biennial 2009. Further details,submission guidelines and entry forms forThe MCBA Prize are available for downloadfrom www.mnbookarts.org. For questionsregarding The MCBA Prize, contact MCBAArtistic Director Jeff Rathermel at:jrathermel@mnbookarts.org.My Paper, My Land, a postcard show held tocoincide with the 2009 IAPMA Congressin Burnie, Tasmania, invites entries of mailart. Works should reflect where you comefrom and contain at least eighty percentpaper. The size should be ten by fifteencentimeters. Please send works through themail, preferably with postage stamp andpostmark, to Gail Stiffe, 11 Keltie Street,Glen Iris, Victoria 3146, Australia. CreativePaper’s Gallery will display the postcardsfor one month and on the web. For moredetails, contact info@gailstiffe.com.Works should be sent by March 1.Conrad Wilde Gallery of Tucson, AZ is reviewing submissions from artists working withhandmade and machine made paperfor a 2009exhibition. View the General Call for Submissions at www.conradwildegallery.com. Submissions for the paper exhibition are due March3, 2009. The gallery also seeks proposals forworkshops. Questions may be addressed toinfo@conradwildegallery.com.Carriage House Paper will sponsor a 2 1/2week expedition to papermaking areas insouthwest China and northern Thailand inFebruary 2009, visiting remote villages whereancient hand skills have been practiced forcenturies. These areas have spectacular scenicbeauty and remarkable cultures. Specificinformation will be available in the fall. Formore information, contact Donna Koretskyat donna@carriagehousepaper.com or call(718) 599-7857.A new gallery, Space On Dobbin, openedat the end of September 2008, at DobbinMews, the building complex owned by Robbin Ami Silverberg and her husband andartist András Böröcz, and housing DobbinMill and Dobbin Books. The gallery is connected to their non-profit, Alma on DobbinInc., an organization that promotes crosscultural exchange between the US and traditional underserved cultural communities.The opening event was a lecture given byWillem Boshoff, a South African artist, whospoke about his work, “Garden of Words,”consisting of installations about the 15,000endangered plant species in the world.The Traditional Papermaking Village Projectis underway at Baang, Hungduan, Ifugao> MISCELLANEOUSJanuary 2009 15> CLASSIFIEDSProvince, the Republic of the Philippines.The project involves making paper fromrice harvested using traditional methodsand other native fibers; papermaking isscheduled to start in January. A fundraisingworkshop will be offered June 26-30, 2009focusing on Oryza sative, or rice straw. Formore information, contact Asao Shimuraat asaoshimura@yahoo.com.The Paper Industry International Hall ofFame in Appleton, Wisconsin, included DardHunter among its 2008 honorees. DardHunter III spoke on behalf of his grandfather about the importance of the handmadepaper community. For more information anda complete list of Inductees, call (920) 380-7491 or visit www.paperhall.orgDonna Allgaier-Lamberti’s process of making paper from plants is featured in theOctober-November 2008 issue of CountryWoman Magazine. The article spans threemagazine pages and includes twelve colorphotographs, and is the result of two days inthe studio during September 2007.To view the feature on the Internet, go towww.countrywomanmagazine.com andfollow the link titled “Paper Caper.”The Combat Paper Project, a collaborationinvolving war veterans, activists, and artists,has a new website at www.combatpaper.org.The site features information on upcomingworkshops and lectures, exhibitions, imagegallery, and more.Classifieds in Hand Papermaking Newslettercost $1.00 per word, with a 10-word minimum.Payment is due in advance of publication.Paper Equipment: 5 lb. Valley Beater plusmore. Please contact David, rpmstudio@mac.com.Little Critter Hollander Beaters, sized from3/4# to 10# capacity. Contact Mark Lander,51 Hodgsons Rd, RD2, Rangiora 7472,New Zealand; ph 0064 3 3103132;email: lander-gallery3@xtra.co.nz.Cotton Linter Pulp. All quantities available.Call Gold’s Artworks, Inc. 1-800-356-2306.Papermaking Supplies and Equipment.Various fibers, chemicals, pigments, etc.Call Penny at (704) 840-8189 or emailclaypenny@gmail.com> more classifieds athandpapermaking.org/listings.htmHand Papermaking continues to offerSelected Paper Artists, 2004, featuring62 images of contemporary artwork by19 paper artists juried from the HandPapermaking Artist Registry. Twoversions of this collection are on sale:purchase a set of slides for $200 plus $10postage, or purchase a CD-ROM for $35postpaid. Both include a 48-page bookletincluding image descriptions and artiststatements, plus an introduction andhistory of the project. Juried from over 500current slides, this generous sampling ofstunning imagery demonstrates a wide varietyof techniques. These inspiring imagesmake an excellent classroom presentation.They are the perfect solution for educators,publicists, scholars, and curators lookingfor unique talent. They present a helpfuloverview for newcomers. They are an inspiration to anyone interested in handmadepaper art. To place an order send $210 forthe set of slides or $35 for the CD-ROM toHand Papermaking, PO Box 1070, Beltsville, MD 20704. Or call (800) 821-6604or (301) 220-2393. Additional informationabout Hand Papermaking’s Artist Registrycan be found at:www.handpapermaking.org.hand papermaking newsletter hand papermaking newsletter 16tPheH������� P���� � B��� A���Papermaking SuppliesRaw Fibre – Dry Pulp – AdditivesPigments – Equipment – BooksMarbling and Bookbinding SuppliesMethocel – Inks – Equipment – BooksBoard – Sewing Supplies – Binding PostsCall, write, or e-mail for your free catalogue135 Lexington Court, Unit 4Waterloo, Ontario, Canada N2J 4RI1-800-421-6826info@papertrail.caFax 1-519-884-9655h�p://www.papertrail.caMAGNOLIAPapermaking SuppliesHandmade PaperWorkshopsBooksMon - Fri 10 - 5 Sat 10 - 3Call or write for a catalogueand workshop schedule:Magnolia Editions2527 Magnolia Street, Oakland, CA 94607telephone: 510/839-5268fax: 510/893-8334www.magnoliapaper.comTimothy Moorepaper molds &bookbinding tools14450 Behling Road Concord, MI 49237 (517) 524-6318scobeymoore@frontiernet.netwww.timothymooretools.comHAND PAPERMAKING, INC.box 1070, beltsville, md 20704non-profit org. presortu.s. postagePAIDso md permit no. !
 

 



 


  
!




"

,+*

)
(+'



" &%$++#
!
 "

!
 " 

 
 "


!> SPECIAL THANKSHand Papermaking would like to thank thefollowing people and organizations who havemade direct contributions to further our mission.As a non-profit organization, we rely on the supportof our subscribers and contributors to continue operating. All donations are greatly appreciated and aretax deductible. Call or write for more informationon giving levels and premiums.Benefactors: Barbara Lippman, DavidMarshall & Alan Wiesenthal. Underwriters:Cathleen A. Baker, Sidney Berger & MicheleCloonan, Tom & Lore Burger, Ali Fujino,Susan Gosin, Hiromi Paper International,Mary Lou Manor, Charles E. Morgan, Marilyn& Steve Sward, Nancy & Mark Tomasko,Beck Whitehead, Pamela S. Wood. Sponsors:Gail Deery, Jane M. Farmer, Helen Frederick, Eve Ingalls Von Staden, Ingrid RoseCompany, Joyce Kierejczyk, Peter Newland& Robyn Johnson, Margaret Prentice, AnilRevri, Kimberly Schenck, Scott R. Skinner.Donors: Grimanesa Amoros, Timothy Barrett, Nancy Cohen, Nita Colgate, WilliamDane, Mona Dukess, Martha Duran, KarlaElling, Lori B. Goodman, Helen Hiebert,Rick Johnson, Sally Wood Johnson, ElaineKoretsky, Hedi Kyle, Andrea Peterson, NancyPobanz, Brian Queen, Winifred Radolan,Dianne L. Reeves, John L. Risseeuw, Mary C.Schlosser, R. H. Starr, Jr., Claire Van Vliet,Tom Weideman. Supporters: Lynne Allen,Marjorie & Harold Alexander, Martha Anderson, Lois D. Augur, James Barton, LoraBrueck, Inge Bruggeman, T. Patterson Clark,Rona Conti, Charles Cooper, Wavell Cowan,Elizabeth Curren, Jennifer Davies, DianneDolan, Jonathan Fairbanks, David LanceGoines, Dorothy Fall, Kathy Fitzgerald,Sara Gilfert, Deborah Hamburger, TheresaFairbanks Harris, Helen Hiebert, BarbaraHunter, Mildred Monat Isaacs, LouKaufman, Allye Kranish, Elaine Koretsky,M. P. Marion, Gordon Marshall, EdwinMartin, Joyce McDaniel, Marion Melody,Ann Montanaro, Patricia L. O’Neal, Harry& Sandra Reese, S.A. Scharf, Pam Scheinman, Agnes Schlenke, Jessica Spring,Karen Steiner, Marie Sturken, SheilaSturrock, Betty Sweren, Betty Ustun, ElsiVassdal-Ellis, Anne Williams, Women’sStudio Workshop, Kathy Wosika. Friends:Dorothy Berman, Linda Costello, RosalindFink, Sue Ann Foster, Steve & BonnieHeller, Ellen Kulka, Kathy A. Ludwig inhonor of E. Shirley Baker, Kyle Olmon,Adie Pena, Natalia Romero, Ellen Rubin,Thomas Stritch, Robin Sutton, DagmarVrkljan-Kubastova, Dale Weyermann.In-Kind: Laurence Barker, Carol Barton,Sid Berger & Michele Cloonan, GeorgiaDeal, Janet DeBoer, Rose Folsom, PeterFord, Helen Frederick, Helen Hiebert,Le Madeleine Restaurant, Lisa Hill, PeterHopkins, Sukey Hughes, Emily Martin,Russell Maret, Drew Matott, Ken Polinskie,Preservation Technologies, PyramidAtlantic, Britt Quinlan, Amy Richard,Gretchen Schermerhorn, Shawn Sheehy,Bonnie Stahlecker, Betty Sweren, TraderJoe’s, Claire Van Vliet, Whole Foods.aRemembering Marilyn Sward, Hand Papermaking was touched and gratefulto receive very generous gifts in her honor from Cathleen A. Baker, Timothy Barrett, Paul Denhoed,Helen Frederick, Susan Gosin, Lois & Gordon James, John Risseeuw, Karen Stahlecker, and Jody Williams.Recognizing Hand Papermaking’s 20thanniversary in 2006, the Board of Directorspledged an initial gift of $10,000 to launch theHand Papermaking Endowment Fund. We nowhave nearly $40,000 received or pledged thanksto the generosity of:   *49er Books, Marjorie& Harold Alexander, Grimanesa Amoros,Martin Antonetti, *Shirah Miriam (Mimi)Aumann, *Cathleen A. Baker, *Tom Balbo,*Timothy Barrett, *Sidney Berger & MicheleCloonan, Marcia Blake, Rochelle Brown,Inge Bruggeman, *Tom & Lore Burger,Nita Colgate, Georgia Deal, Gail Deery, PaulDenhoed, *Jeanne M. Drewes, Bryan C. Ellison, *Jane M. Farmer, *Fifth Floor Foundation, Betty Fiske, *Helen Frederick, JeanFreeburg, *Sara Gilfert, *Susan Gosin, HelenHiebert, Peter Hopkins, *Lois and GordonJames, *Sally Wood Johnson, Julie Jones,Kristin Kavanagh, *David Kimball, *ElaineKoretsky, *Karen Kunc, Abby & Mitch Leigh,*Barbara Lippman, *Winifred Lutz, *SusanM. Mackin-Dolan, Mary Lou Manor, AllegraMarquart, *David Marshall & Alan Wiesenthal, Anne & Robert McKeown, Jesse Munn,*Peter Newland Fund of the Greater EverettCommunity Foundation, *Margaret Prentice,*Preservation Technologies, L.P., John L.Risseeuw, *Michelle Samour, *Peter Sowiski,R. H. Starr, Jr., Karen Stahlecker, *Marilyn &Steve Sward, Betty Sweren, *Gibby Waitzkin,*Tom Weideman, *Beck Whitehead, *PaulWong & John Colella, *Pamela & Gary Wood.*Founding Contributor

‍