HAND PAPERMAKING N E W S L E T T E R 

Number 99, July 2012 

Newsletter Editor: Shireen Holman Advertising & Listings: Mary Tasillo Desktop Production: Amy Richard 

Columnists: Sidney Berger, Maureen and Simon Green, Helen Hiebert, Elaine Koretsky, Winifred Radolan, Mary Tasillo 

 Hand Papermaking Newsletter is published quarterly. Annual subscriptions are $55 in North America or $80 overseas, including two issues of the journal Hand Papermaking. Two year rates are discounted: $105 in North America or $155 overseas. To subscribe, send a check to the address below, call or fax us to use Visa or MasterCard, or visit our website. Foreign 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, contact: 

Hand Papermaking, Inc. 

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Phone: (800) 821-6604 or (301) 220-2393 

Fax: (301) 220-2394 

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The deadline for the next newsletter (October 2012) is August 15. 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 $2.00 per word with a 10-word 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; Shireen Holman, Newsletter Editor; Mary Tasillo, Advertising and Listings. 

Board of Directors: Sidney Berger, Frank Brannon, Shannon Brock, Zina Castañuela, Jeffrey Cooper, Georgia Deal, Susan Mackin Dolan, Jim Escalante, Susan Gosin, Anne Q. McKeown, Julie McLaughlin, Andrea Peterson, Amy Richard, Gibby Waitzkin, Eileen Wallace. Board of Advisors: Timothy Barrett, Simon Blattner, Gregor R. Campbell, Kathryn and Howard Clark, Mindell Dubansky, Jane M. Farmer, Helen C. Frederick, Dard Hunter III, Elaine Koretsky, James Sitter, Claire Van Vliet. Co-founders: Amanda Degener and Michael Durgin. 

Dear Readers, 

I wanted to let you know about a new papermaking workshop that is being established in Riga, Latvia. After returning from having studied papermaking and pulp painting with Beck Whitehead from 2008 to 2010 at the Southwest School of Art in San Antonio, Texas, I was hoping to find a paper workshop in one the Nordic countries, since I knew there were none in Latvia. The summer 2008 issue of Hand Papermaking listed two, one in Sweden, and the other in Finland. I wrote to both Nordic studios, and received a response from AUTELCO Production in Strängnäs, Sweden, informing me that the workshop owner, Lars Cronquist, had been sick for two years and his studio was closed. His family had decided to sell the equipment. After a brief email exchange with his wife Birgitta, I learned that someone else was interested in buying the Hollander beater, but the rest was available. The owner’s family wanted to give priority to a school or a buyer who would purchase all the equipment and materials at the same time. 

Not really expecting much, I told the Cronquist family that I would look for an art school that would be interested in acquiring the equipment to start its own papermaking studio. At the time, I happened to be having an exhibition in Riga of the pulp paintings I made during my stay in Texas. During the exhibit, I met people from the Riga art community who advised me to contact the Pardaugava Music and Art School. The principal of the school, Agnese Stage, was very interested in the paper studio and wanted to purchase it. She said that it would be possible to get financing within a year. We also learned that the price of this equipment would be reduced for the school. Ultimately, we got all the Swedish studio including a Peter Beater (originally bought from Peter Gentenaar), vacuum table, drying rack, small hydraulic press, moulds and deckles, working tables, refrigerator, shelves, vats, felts, buckets, paper samples, and many other things for about 1050 lats ($2100 USD) plus transportation (about 350 lats or $700 USD). 

In November 2010 I went to Strängnäs to see the equipment and to try out the Hollander beater. The visit was wonderful, and it turned out that the equipment was in perfect condition. In January 2011 I went back and helped pack up the studio and arrange transportation. 

Currently, the studio equipment is in a temporary location at the school, a dressing room next to showers. In this case, the shower room is essential for the studio because of the use of water. The new Cronquist Paper Studio now offers papermaking classes for school-aged children, as well as life-long education classes for adults, and education for pre-school children. We also plan seminars and workshops for art teachers in other Latvian schools. 

The school has an old building on its property which it is planning to remodel for the future paper studio. In order to do this, we need money for extensive repairs. We want to add a floor drain and windows, along with other restoration work. The good news is that we have already gotten one donation from Lions Club Oslo Tveita in Norway for the renovation. 

Ilze Dilane 

Riga, Latvia

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> ALONG THE PAPER ROAD... 

This regular feature offers paper musings from Elaine Koretsky—renowned paper historian, researcher, and traveler. Here we read about Elaine’s prize-winning paper plants. 

Along the paper road right now, I am reviewing my collection of plants used historically for the making of paper. 

In my first article sent to Hand Papermaking Newsletter in 1998, I wrote about mitsumata, Edgeworthia chrysantha, prominently used in Japanese papermaking along with kozo, broussonetia papyrifera, and gampi, wikstroemia indica. I already had dozens of paper samples collected from papermaking villages that I had visited in Asia, and I decided to show the plants used as fiber in papermaking. The mitsumata was growing well indoors in my plant room, along with abaca, musa textilis, plus a papyrus plant, Cyperus papyrus, a paper mulberry plant, and for a short time, tetrapanax papyrifera, often erroneously called ‘rice paper plant.’ Unfortunately, the tetrapanax developed mealy bugs and spider mite, which destroyed the poor plant. 

But the mitsumata developed fantastically, and developed bright yellow flowers. It was March when the Massachusetts Horticultural Society was holding its annual New England Spring Flower Show in Boston, a tradition that has been going on for almost two hundred years, and I entered the mitsumata in the exhibition. To my delight, the mitsumata won a “blue ribbon.” The next year I entered the plant again, and it looked so spectacular that it not only received another blue ribbon, but also was given the “Cunningham Award,” which is given for horticultural excellence. The award was a pewter plaque engraved with our names, Elaine and Sidney Koretsky. But I felt that the mitsumata should have had its name engraved instead of ours. This year, however, we have been experiencing rather strange weather. We had a winter that never was. First it was cold, then hot, then cold again. Suddenly my mitsumata plants began to lose their leaves, and did not flower as usual. 

Nevertheless, this year I have had success in growing a few cotton plants from seed, Gossypium hirsutis, indoors. One of them bloomed, producing large flowers that morphed into green pods that would eventually contain cotton fiber. The plant looked so vigorous that I decided to enter the cotton plant at the Flower Show this year. All the plants are judged by a panel of expert horticulturists in the morning, and prizes are awarded. 

In the afternoon we returned to the exhibition to view all the entries. Amazingly, we discovered our cotton plant had been given a blue ribbon. But also, a staff member of the Flower Show was standing near our plant, guarding it from throngs of onlookers, who were photographing the plant. The watchman was afraid that people would try to remove some of the cotton, so he was watching the plant carefully. He also admonished the visitors not to touch the cotton bolls. When we arrived, Neil Sanders, a writer for Massachusetts Horticultural Newsletter, told us how spectacular the plant was, and that he was planning to write an article about it for the next bulletin that the Massachusetts Horticultural Society publishes. He published the article “Cotton Comes to Boston,” which appeared on the Massachusetts Horticultural newsletter website (http://www.masshort.org/Features/Cotton- Comes-to-Boston). 

I am still grieving over the poor mitsumata, which may not revive. But at least I can rejoice about the cotton plant, and in early April I shall remove a few seeds from my cotton plant to continue my cultivation of cotton. 

> UNIQUE TECHNIQUE 

Well-known author and teacher Helen Hiebert offers helpful guidance and tips gleaned from artists she has worked with over the years. In this column, “Paper Casting,” Helen describes a low-relief casting technique. 

Last February I had the opportunity to spend a day at the School of the Museum of Fine Arts (SMFA) in Boston with artist and faculty member Michelle Samour and her papermaking students. I led them in papermaking experiments involving abaca, wire, string, and nails, and at the end of the class, Michelle did a demonstration featuring a unique casting technique that she learned years ago from Lynn Forgach, who ran Exeter Press and Paper in New York City. 

Michelle already had a low-relief plaster mold ready to cast, and explained how she had made it: first she created a positive out of a petroleum-based clay (the kind that doesn’t dry out). She laid this positive on a sheet of plastic taped to a table, and made a one-inch-high clay wall around the piece that conformed to the shape of the piece and was approximately one inch from the edge of the positive. Next, she poured molding plaster over the piece and up to the edge of the clay wall. She then made a second batch of plaster and waited until it was the thickness of mayonnaise, then poured it over the higher points of the clay, about ½” higher than the clay positive. The result was a low-relief plaster mold that was approximately ½”-1” thick on the back and one inch thick around its edge. Once it was set (it took approximately half an hour), she pulled the wet clay out of the mold. After drying for a week, the mold was ready to cast with paper. 

There are few things to note when creating a clay positive: you must not have undercuts; depending upon the fiber that will be used to cast the piece, fine details can be captured. For example, cotton linters beaten hard for 40 minutes and sized with an internal sizing produce a finished piece that is hard, strong, and detailed. Thin sheets of kozo or gampi can also be laid into the mold in a collage fashion, yielding a casting that is more fibrous, less detailed, and a bit more fragile, depending on the number of layers that are cast into the mold. 

For her demonstration, Michelle used the cotton linter mixture. She placed the mold face up on her vacuum table surface with a piece of pellon next to it that was slightly larger than the mold itself. Then she poured a one-inch-thick layer of pulp onto the pellon, making sure that it was slightly larger than the mold and leaving a border of exposed pellon. Next, she patted the surface of the pulp to make it into one uniformly thick “sheet.” Finally, she placed a second piece of pellon on top of the thick sheet and sponged some of the excess water to ensure that the sheet would not fall apart when lifted and placed into the mold. Note: it is important not to over sponge because a sheet that is too dry can be stiff and difficult to press into the relief areas of the mold. 

After removing the top layer of pellon, Michelle lifted the thick sheet (on its support pellon) and flipped it over onto the plaster mold. She carefully pressed on the back of the pellon, pushing the pulp into the relief areas of the mold and adjusting the overall sheet as needed. Once she had everything in place, she peeled off the pellon backing and worked the pulp into all of the nooks and crannies in the mold, applying pressure with her fingers and using a stencil brush in some areas. The edges of the pulp sheet that hung over the plaster were gently torn, leaving approximately one inch of extra pulp all around. As she worked, Michelle repaired any holes that appeared by spraying water around the area and then patched them with a piece of poured and pressed paper, tamping the two together with a stencil brush. She continued to tamp the entire sheet of paper with the brush. 

In order to create a nice edge to the piece, Michelle brushed a small amount of methylcellulose glue around the perimeter and folded the excess paper over onto itself to form a thicker edge for the piece. This edge is structurally necessary and also provides a flat and clean edge so that the finished piece can be hung on the wall. She then brushed a small amount of methylcellulose over the entire back of the piece to strengthen the paper and provide a slick surface for pressing the sheet even tighter into the mold. Caution should be taken not to use too much methylcellulose because it could seep through to the other side and cause the paper to stick to the mold. 

The last step involved pulling the edge of the paper slightly away from the edge of the mold to allow air to circulate around the paper and to encourage the paper to shrink slightly and separate from the mold. A fan can be placed blowing directly on the mold to speed up the drying. The drying time varies, depending on the thickness and the kind of fiber used, but it usually takes about 24 hours. When dry, the paper should pull away from the mold, but it might need some gentle coaxing.

> 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 column, Winnie describes a Japanese papermaking class in Philadelphia. 

This past February, five University of the Arts graduate students from the Book Arts program gathered with five Guild of Papermakers members to turn the “UArts” paper studio into our own little washi-world in Philadelphia. We began our two-day adventure with my brief presentation of Japanese papermaking history, accompanied by visuals that depicted the entire process from fiber harvest to drying and packaging completed paper. Samples of raw materials and finished papers were passed around for all to examine. I also explained the method I’d used to pre-soak and gently cook batches of kozo and gampi during the week, which were now ready for our further preparation. 

After the note-taking introduction everyone was ready to get their hands into the fiber. We gently doused the cooked Thai kozo and Philippine gampi through five clear water baths to rinse away the dissolved non-cellulose materials. Then we set up two chiri-picking teams to hand pick away, but not discard, any residual brown outer bark bits. With ten chiri-pickers working, the process was swift, but allowed chatter time for group bonding. 

My plan for the first day was to establish four vats from which to pull sheets, a bark-free and a chiri vat for each of the two fibers. 

Of course, having ten fiber pounders is also an efficient, but potentially cacophonous method to hand beat three pounds of cooked bast to a pulp! We divided the fiber into ten equal portions and wrung out as much water as our grips would allow. I explained that the first ten minutes of beating with the wooden meat tenderizers would separate and rub fiber against fiber in order to develop many raised fibrils, which could link together for strong bonding during sheet formation. I also emphasized that establishing a rhythmic beat would make the pounding session more tolerable, and fortunately, they were a musical group! After the initial beat, we began to gradually hydrate the wads of kozo and gampi with the addition of a tablespoon of water each time the spread and flattened pulp needed to be folded in on itself and turned over. 

When thirty to forty minutes of “drumming” had been accomplished, we did the fiber suspension test of shaking a pinch of pulp in a jar full of clear water. We had achieved that cloudy suspension of fiber just in time for a much needed quiet lunch break! 

With renewed energy and much post-pounding enthusiasm, it was time for everyone to set up their couching stations and observe how to prepare the four vats. While my improvised bamboo brush mat sus were soaking in water to become flexible, we suspended the kozo and gampi pulp, with and without chiri, in vats of cool water. I was pleased to have harvested a good crop of tororo aoi from my garden last fall, which enabled me to add the sticky secretion from the roots to our vats to help disperse and suspend the pulp, as well as to slow down the drainage rate. 

Once everyone had organized their workstations and selected one of the sugetas with which to work, it was time to demonstrate the nagashizuki method of repeated dips into the vats in order to build up a thin surface of gradually accumulating fiber layers. (Thanks to Nathalie Borozny for these photos showing the process.) 

Once a sheet was formed, I demonstrated removing it from the su by couching it onto pellon atop a wet couching blanket. In western fashion, I planned to have everyone separate sheets in their post with pellon. But I described the more traditional Japanese post as successively couched sheets separated only by thin threads running along the leading edge of each sheet. Fortunately, the “washi gods” were with us, and the four vats performed beautifully. I assisted everyone in forming and couching their initial sheets of washi, then just kept a watchful eye as they played in the vats of pulp until press time. 

Although traditional Japanese paper is generally pressed overnight with gradually increasing but gentle pressure, we accelerated the process to fifteen minutes for the sake of timing and efficiency. I wanted everyone to have the opportunity to brush their paper onto boards for overnight drying. One activity for our second day would be the opportunity to brush dried sheets of paper with konnyaku paste to experiment with momigami, a wrinkled paper/cloth technique. With that “dangling carrot” possibility, plus the promise of additional vats of pigmented pulp for workshop day two, I sent everyone home for a good evening’s rest. 

Day two of the workshop was to be our departure from the more traditional methods of forming sheets, with our plunge into color and exploration of playfully decorative techniques. With this intent, I had cooked, beaten, and pigmented three batches of gampi prior to the class. We played with layering graduated colors, jumping from pigmented vat to vat as we built up successive layers of fiber on our su. Using torn paper stencils to block areas on the su, we created color patterns within individual sheets. Spray-mist water bottles enabled us to create “rain papers” or literally, water-marked sheets. Some people brought natural inclusions to embed between the translucent layers of their papers. As mentioned earlier, I had prepared some konnyaku paste to be applied to dried sheets of washi in preparation for a successive hand-wrinkling and scrunching technique, used to achieve flexible, strong, and cloth-like results in paper. Participants took a break from the vats to experiment with this on their previous day’s paper. 

By the end of our second workshop day everyone had made their own treasure trove of beautiful Japanese papers. Although they had no idea about how long it took to strain a vat containing neri (or formation aid), all were pleased to learn that I had planned to leave the vats set up for my fortunate UArts evening class to use during the week. Even though Japanese papermaking is one of the most labor-intensive workshops to prepare for and conduct, it is still among the tops on my “favorite workshops” list. I look forward to the upcoming summer day devoted to pouring large sheets of Japanese paper outdoors with my papermaking friend! 

> PAPER HISTORY 

Maureen and Simon Green, from the United Kingdom, write a joint column on Paper History. Maureen is a paper historian, and author of Papermaking at Hayle Mill 1808-1987. Simon was the last of the Green family to run Hayle Mill. He provides consulting services to papermakers worldwide. “Paper Hangings” is an article describing the manufacture of wallpaper in the nineteenth century. 

Throughout the eighteenth century the fashion for covering walls with decorated paper gained in popularity, both to brighten the interiors of domestic and public buildings, and to provide a layer of insulation from draughts—in much the way large textile hangings were used in earlier centuries. Nowhere was this more evident than in France where the invention of the paper-making machine can be attributed, in part, to the increasing demand for relatively cheap and fashionable paper wall-coverings. 

Efforts to create a machine capable of replicating the complicated processes necessary to make paper by hand had been attempted before. But it was not until the challenge was taken up by Nicholas Louis Robert (1761-1828), an employee working for Pierre- François Didot-Saint-Léger, at his paper mill in Essonnes, near Paris, that the invention moved closer to becoming a reality. 

Prior to the invention of the paper machine, Antiquarian or Double Atlas remained the largest sheets available using James Whatman’s nine to eleven man working contrivance. If a customer required a size larger than this, a series of sheets would have been co-joined by laminating or gluing the edges together. 

In the nineteenth century the paper machine in combination with the invention of the rotary press transformed wallpaper production. By 1851, the year of the Great Exhibition, 5,500,000 pieces were produced in Britain to a value of £400,000.1 

While our column in Hand Papermaking Newsletter’s last issue contained material found in old newspaper clippings, this quarter’s offering is an article found in an 1878 edition of Chambers’s Encyclopædia and is a very concise description of how wallpaper was manufactured in the latter part of the nineteenth century.2 

PAPER-HANGINGS. This name is applied to the webs of paper, papiers peints of the French, usually decorated, with which interior walls are often covered. Previous to the invention of the paper-machine, sheets of paper of the size called Elephant, 22 by 32 inches, were pasted together, to make 12 yard lengths, before the pattern was imprinted; but this is now rendered unnecessary by the facility of making webs of any length.3 Upon the paper it is usual first to spread a ground-colour, with proper brushes, taking care to produce a perfectly smooth surface. The colours employed are opaque, and are mixed with size, and sometimes also with starch, and most of the ordinary pigments are used. In the early stages of the art, it was usual to have the patterns stencilled on the ground-colour. The stencilling plates were usually pieces of pasteboard, one being required for every differently-coloured portion of the pattern. 

Afterwards, wooden blocks were adopted similar to those used in calico-printing, made of pear or poplar wood, generally the width of the paper, forming, indeed, huge woodcuts, on which the pattern is in high relief. As many blocks are required as there are colours in the pattern, each bearing only so much of the pattern as is represented by the colour to which it is assigned. Of course the whole beauty of the work depends upon the nice adjustment of one portion of the pattern to another; and this is determined by guide-pins in the blocks, which are so managed as not to disfigure the surface with their points. The pattern-block being coated with its particular colour from the colour-tub, is laid on the paper, which is stretched out for the purpose on a table, and a lever is brought to bear upon it with sufficient pressure to make the whole of the block bear equally upon the paper. When one block has been printed the whole length piece is taken to the drying-room, and dried, previous to receiving the next colour; and it often happens that the same operations have to be repeated a dozen different times before the pattern is completed. 

This process is now being rapidly superseded by the cylinder printing-machines, which are of the same kind as are used in printing textile fabrics. In these machines, the pattern is engraved on a series of copper cylinders, and each part or colour has a separate cylinder, and an arrangement for keeping it constantly supplied with colour when working. The cylinders are so arranged as, by the sum of their revolutions, to make the pattern complete; so that as the web of paper passes the first, it receives the colour for one portion of the pattern, and reaches the second in exact time to have the next colour applied in the right places. In this way the entire piece only occupies a few seconds in receiving the complete decoration. 

The polished or glazed papers have the ground prepared with gypsum or plaster of Paris, and the surface dusted with finely-powdered steatite, or French chalk. When perfectly dry, this is rubbed hard with a burnishing-brush, until the whole is evenly polished. This is generally done before the pattern is printed, but in some cases pattern and ground are both printed. In making the flock-papers, the printing is done in the same way as in the block-printing, only, instead of coloured material, a composition called encaustic is printed on. 

It consists of linseed-oil, boiled with litharge, and ground up with white-lead; sufficient litharge is used to make it dry quickly, as it is very adhesive. The flock is prepared from the shearings of woollen cloths from the cloth-mills, by washing and dyeing the shearings to the various colours, then stove-drying and grinding them in a peculiar mill, which, in their brittle state, after leaving the stove, breaks them short. After this they are sifted, to obtain various degrees of fineness. By nice management, the prepared flock is so sprinkled over the whole of the printed surface as to coat the encaustic, and adhere evenly and firmly to it. The same adhesive material is used for printing in gold and other metals. The pattern being printed with the encaustic, gold or other metallic leaf is applied, and when it is properly fixed the loose metal is brushed away with a hare’s-foot or other soft brush. Some of the finest French papers have much of the pattern actually painted in by hand, a process which, of course, renders them very costly. 

Wallpaper purchased from shops today is, for the most part, printed on huge, fast commercial machines. However, a few companies maintain old traditions. One of these is Cole & Son in London where you can still see craftsmen at work making wallpaper as it is described above!4 View their video at youtu.be/VO6IDeqvouM 

1. Hills, R. L., Papermaking in Britain 1488- 1988 (London; Atlantic Highland: The Athlone Press, 1988), p. 91. 

2. Chambers’s Encyclopædia, A Dictionary of Universal Knowledge for the People, Vol. VII [revised] (London: W. and R. Chambers, 1878), 246-247. 

3. Paper sizes were not standardized until the twentieth century. It is for this reason that there is variance and inconsistency when dealing with nineteenth-century paper sizes. The article may have been referring to Double Elephant, usually about 27 x 40 inches, whereas Elephant was 28 x 23. Labarre, E.J., Dictionary and Encyclopædia of Paper and Paper-Making (Amsterdam: Swets & Zeitlinger, 1952), p.323: ‘In the early days of paper-staining in England a piece or roll of wallpaper was generally composed of a DOZEN sheets of paper pasted together end to end. Each sheet was roughly 22 ½ “ wide x 35” long (Double Demy), making a total length of approximately 11 ½ yards’. 

4. We recommend you look at www.cole-and-son.com/what_we_do.asp The company also has an App for your iPad with all the available patterns on it! 

> DECORATED PAPER 

Sidney Berger, a professor at Simmons College in Boston and Director of the Phillips Library at Peabody Essex Museum, has been collecting and researching decorated paper for over thirty years. Here Sid offers a testament to the tenacity of Thomas Tindale. 

My last column offered an outline of the enormous efforts that the Tindales (Thomas Keith and Harriet Ramsay) put forth to create their splendid set The Handmade Papers of Japan (Rutland, VT, and Tokyo: Tuttle, 1952). In this column I wish to flesh out the picture of Thomas’ personality and what the two of them did that produced such an amazing set of books. [I should reiterate from the earlier essay that Thomas clearly did the bulk of the work on the book, and when I speak of “Tindale,” I am referring to him.] 

Tindale was a prolific writer; his journal alone runs to about 1,000 pages, and there are many thousands of pages in his archive. A good deal of biographical information is available here, revealing him to be fascinated from early in his life with books and printing, and also showing how driven he was (coming from a poor family) to get an education. He got his B.A. at Stanford, took classes at the University of Chicago, and went on to a strong career as a consultant and advisor to many countries (such as Korea, Turkey, countries in Africa and the Middle East and Southeast Asia, Peru, Chile, Ecuador, Afghanistan, Yemen, and elsewhere). (For more biographical information see my book The Handmade Papers of Japan [Newtown, PA: Bird & Bull Press, 1998].) 

One of his personality traits, however, stands out: he had an obsessiveness that drove him to succeed, and when he got it into his head to do something, he found a way to do it. 

Tindale belonged to a travel club, of which members prided themselves on visiting greater and greater numbers of countries. Tindale led them all. In his voluminous archive there are lists of all the places he wished to travel to—diminishing over the years—and growing lists of places he had been to. 

The obsessiveness of this is evidenced in the way he went about everything in his life. He wanted to do everything well and thoroughly. This singlemindedness was what made The Handmade Papers of Japan such a superb book: he was able to convince Mr. [Yoshikuni] Seki to break up a fabulous collection of historic papers for inclusion in the edition; he had the charisma and drive to acquire a superb collection of modern handmade papers and to convince an important publisher—Tuttle—to take on the job; and he had the drive and concentration to complete the highly complex and labor-intensive job of creating this wonderful book. (Berger, pp. 24-25) 

In preparation for this massive project, Tindale wrote to universities asking them if they would be interested in acquiring such a study, he visited papermaking operations around Japan, he scoped out the artists who could help him, especially those who would make the watermarks, he looked at printing plants, he contacted Tuttle to see if they would be interested in being the publisher, and he planned out the whole production.In one letter to an unidentified “Ed” he wrote: 

Another interesting project which is progressing rapidly is a book on hand made paper which will include specimens of the most beautiful watermarking I have ever seen. We are planning an edition of two hundred and fifty copies, all paper including the cover and box to be hand made and all of the illustrations to be hand water colors on special Japan paper. The endpapers will be a Yoshida wood block print if I can talk him into doing it for us. . . . The Harvard College Library has subscribed for one just on the advance information that it might be forthcoming. (Berger, pp. 28-29) 

Tindale helped with the design, wrote the text, obtained all the materials for the printing and binding, commissioned the best artists to do the woodblock illustrations for each of the volumes and the portfolio in the set, got the Japanese government to allow the production of 20 special watermarks (and got the artists to make them), and even found the tusk from which he had made the little pegs that closed the chitsu (the box in which the volumes and portfolio were housed). He was able to do all this because he was obsessive in his profession. “From 1946 to 1951 he was the Advisor to the Japanese Civil Service, where he trained the officials and staff of the national Personnel Authority and the Prefectural and Municipal Authorities of Japan and the training staffs of all ministries and agencies in personnel and administrative management.” (Berger, p. 24). 

There is of course much more to say about the work that Tindale did on the production of this magnificent monument to Japanese hand papermaking. But I want to conclude with a note about the Tozai mon—the logo that adorns the book in many places. Designed almost certainly by Tindale himself, it consists of two superimposed Japanese characters, one for “East” and one for “West.” The old saying (from Rudyard Kipling’s “Barrack-room Ballads”) was that “East is East and West is West, and never the twain shall meet.” Tindale wanted to impart the message that East (all of his Japanese collaborators) and West (he, himself) could meet, and could work harmoniously to get good things done. The Handmade Papers of Japan is a testimony to this belief. 

> FOR BEGINNERS

Mary Tasillo is a papermaker, book artist, and mixed media maven based in Philadelphia. She teaches workshops nationally. Here Mary discusses cooking fibers with caustic. 

It is possible to construct a papermaking practice without cooking or using caustics if one purchases partially processed fibers in half-stuff sheet form or recycles existing paper fibers. However, to get more experimental with papermaking fibers it is likely that you’ll want to cook some of these fibers to help break them down and to neutralize their acid content. 

Fibers one cooks might include dried fibers purchased from a papermaking supplier (kozo or hemp) or hand collected plant fibers. Your cooking setup for fibers should be separate from your kitchen cooking setup. A hotplate set up in a well-ventilated space (outdoors if you are using lye) will prevent the sometimes strange smells of cooking fibers from permeating your studio or kitchen, and will protect your lungs from the potentially irritating fumes. [I once had a friend who was obsessed with pu-erh tea, which I could never drink because it reminded me so strongly of the smell of cooking flax.] 

Caustic generally refers to a strongly alkaline substance that displays corrosive properties—most commonly, in papermaking, soda ash or lye. Lime is also used in some Asian countries. These substances are useful in breaking down particularly tenacious plant fibers such as raw hemp, and in neutralizing the pH of pulp fibers by breaking down the acidic lignins that make paper non-archival. Lye is the stronger of the two caustics. It is recommended to begin by cooking with soda ash and only turn to cooking with lye when soda ash does not do the job. 

Because these materials are corrosive, it is important to protect yourself by wearing rubber gloves and eye protection and by observing a few rules. Use a cooking pot made of stainless steel or glass, or an (unchipped) enameled pot. Other materials can react with the caustic, causing your cooking pot to break down. When using lye, always cook outside. Cooking with soda ash should be done in a well-ventilated space to prevent fumes from irritating your lungs. 

The caustic should always be added to water, rather than the other way around, to prevent dangerous explosive splattering. 

Fibers should be soaked overnight prior to cooking. Water should be brought nearly to a boil in the cooking pot. One should use about 7 liters of water for every pound of fiber. The caustic can be measured out by weight or volume. Standard measurements include using 20% of the dry weight of the fiber being cooked if using soda ash (3.2 oz per pound) or 9% of the dry weight if using lye (1.4 oz per pound).This amount should be added to 1 cup of hot water (again, do not add the waterto the caustic) before adding it to the pot. Other measurement standardsinclude using 1 tablespoon of soda ash for every quart of water, or measuringthe pH of the cooking liquid until it is between 10 and 11. Add the soakedfibers and simmer, stirring and checking the fibers every 30 minutes. You canexpect a cook time of one to four hours for many fibers. Consider how easilythe fibers pull apart. You should be able to separate and pull them apart by hand,but you also want them to retain their length and not become mushy. Once thefibers are removed from the heat, they should be rinsed very thoroughly toremove all caustic—until the water is clear and the pH is neutral. Recommendedcaustics and measurements for various fibers can differ from papermaker topapermaker. For additional information about cooking with caustics, consult: TimothyBarrett, Japanese Papermaking: Traditions, Tools, and Techniques (New York andTokyo: Weatherhill, 1983). Includes information about cooking with lime. Arts-in-Company’sPapermaking web resource at www.arts-in-company.com/ paper/japanese/cook.html CatherineNash’s Resources for Papermaking www.papermakingresources.com/articles_ cooking.html.Includes a chart of recommended caustics and cook times for 41 plant fibers.

> more forbeginners at newsletter.handpapermaking.org/beginner Listings for specificworkshops and other events in the following categories are offered free ofcharge on a space-available basis. The deadline for the October 2012 Newsletteris August 15. Contact each facility directly for additional information or afull schedule. Teachers: Tell your students about Hand Papermaking! Brochuresand handouts can be mailed to you or your institution. Emailnewsletter@handpapermaking.org.

> CLASSES ANDWORKSHOPS  1890 Bryant Street Studio 308,San Francisco,

CA, www.rhiannonalpers.com, rhiannon

.alpers@gmail.com. Papermaking workshops

in the studio of Rhiannon Alpers. Watermarks, August 25,with Michelle Wilson. Learn the secret of turning your own images intowatermarks—images that hide within a sheet of paper but are visible when heldup to the light. Sculptural Paper Structures, September 15, with RhiannonAlpers. Create custom shaped paper sculptures from armatures and learn coveringtechniques for varied transparency effects. Arrowmont School of Arts andCrafts, Gatlinburg, TN, (865) 436-5860, www.arrowmont .org. Classes and workshopsin a variety of disciplines, including papermaking. A Cut Above, July 8-14,with Béatrice Coron. Create paper images and objects incorporating historicaltraditions and modern approaches to papercutting, exploring scale anddimensional works. Pushing the Boundaries with Sculptural Paper: Part 1, August5-11, with Jo Stealey. Integrate papermaking, fiber, basketry, and 3-dimensionalprocesses to explore handmade paper as sculpture while considering thepotential of these processes in your personal work. Exploring the Boundaries:Sculpting with Handmade Paper: Part 2, August 12-18, with Jo Stealey. Createtranslucent, skin-like paper to be used in sculptural processes, incorporatinglayers and surface treatments.

Asheville BookWorks, Asheville, NC, (828) 255-8444, www.ashevillebookworks.com. Hands-on workshops including bookbinding, printmaking, decorative paper, and basic papermaking. 

Papermaking II, August 10-12, with Frank Brannon. Learn to use the Hollander beater to process various fibers and improve your sheet formation. 

Papermaking I: Pulp to Paper, November 10-11, with Frank Brannon. Learn sheet forming techniques using beater-prepared pulp. 

Bear Creek Paperworks, Columbia, MO, (573) 442-3360, www.bearcreekpaperworks. com. Workshops in paper and book arts; some workshops can be taken for academic credit through Central Methodist University. 

Contact Leandra Spangler at leandra@bear creekpaperworks.com for more information. 

Hand Papermaking: Experimentation and Exploration, July 16–20, with Leandra Spangler. Experiment with a broad range of techniques using cotton linter pulp to make sheets that are stenciled, layered, shaped, and more. 

Carriage House Paper, Brookline, MA, (617) 232-1636, paperroad@gmail.com. 

3-D Papermaking in Depth, July 2-5, with Donna Koretsky, Shannon Brock, and Elaine Koretsky. Master a range of sculptural 

techniques including pulp painting combined with pulp pouring, laminations, collage, watermarking, use of stencils, vacuum table techniques, pulp spraying, Japanese papermaking, use of flax and other long-fibered pulps to create three-dimensional and relief forms, with the opportunity to produce a 4x6 foot or larger paper work. 

Carriage House Paper, Brooklyn, NY, (800) 669-8781, www.carriagehousepaper.com. Papermaking workshops offered in a new studio space. 

Sculptural Papermaking, July 28-29, with staff instructor. Work with metal, wood, and fabric armatures and high shrinkage fibers such as flax and abaca to achieve hollow, seamless forms. 

Intro to Papermaking, August 4, with staff instructor. Explore basic techniques of Western papermaking, from pulp preparation to drying. 

Circle of Life Studio and Summer Gallery, Eagle River, WI, (715) 479-9737, www.circle oflifestudio.com. Offering weekly papermaking workshops June through September, and by special arrangement all year. 

Columbia College Chicago Center for Book and Paper Arts, Chicago, IL, (312) 344-6630, www.bookandpaper.org. Papermaking classes in spacious downtown studios. 

Desert Paper, Book and Wax, Tucson, AZ, (520) 740-1673. Papermaking, book, and mixed media encaustic workshops, as well as consulting and studio rental. Visit www.papermaking resources.com for registration information. 

Dieu Donné Papermill, New York, NY, (212) 226-0573, www.dieudonne.org. Beginning and advanced papermaking classes for adults and children. 

Introduction to Contemporary Papermaking, July 10 or August 7, with staff instructor. Learn the basic papermaking process, as well as various artistic techniques. 

Creative Techniques for Artists with Open Studio, July 17 or August 14, with staff instructor. Explore advanced techniques and their application for two- and three-dimensional projects, with a different focus at each session; experiment on your own with studio pulps, making sheets up to 11 x 14 inches. 

Eureka Springs School of the Arts, Eureka Springs, AR, (479) 253-5384, www.esart school.org. Offering learning opportunities in multiple media including fiber arts. 

Hand Papermaking: Experimentation & Exploration, August 13-17, with Leandra Spangler. Use cotton linter pulp as the basis for many samples of handmade paper incorporating a range of collage and color techniques.

Gail Harker Creative Studies Center, Oak Harbor, WA, (360) 279-2105, www.gail creativestudies.com. Offering courses in textile arts. 

Papermaking: From Pulp to Portfolio, July 28-29, with Lisa Harkins. 

Green Heron Book Arts, Forest Grove, Oregon. Classes in book and paper arts at the Accidental BookMaker. Contact pagrass@aol.com for more information. 

Batik Paper, August 4-5, with Patricia Grass. Create beautiful papers using paraffin wax and fabric dye and experimenting with both traditional batik tools and found objects. 

The Hall of Awa Japanese Handmade Paper, 141 Kawahigashi, Yamakawa-cho, Yoshinogawashi, Tokushima 779-3401, Japan, fax 81-883-42-6085, www.awagami.com. 

Kozo Papermaking, August 14-19, with staff instructors. Learn basic kozo papermaking from fiber preparation to finished sheet in this six-day intensive. 

Haystack Mountain School of Crafts, Deer Isle, ME, (207) 348-2306, www.haystack-mtn.org. Workshops in various disciplines, including papermaking and book arts. Scholarships available. 

Joomchi and Beyond, July 15-27, with Jiyoung Chung. Become acquainted with the history, practice, and role of Joomchi in Korean society, as well as hands-on techniques and reinterpreted adaptations into contemporary art. 

Heron Cove Fine Arts, Point Prim, Prince Edward Island, Canada, (902) 659-2559, www.heroncovefinearts.com. Weekend and week-long workshops in papermaking, fiber arts, bookmaking, and photography. 

Paper Workshop, August 28-30, with Helen Hiebert. 

Hook Pottery Paper, LaPorte, IN, (291) 362-9478, jonandrea@hookpotterypaper. com, www.hookpotterypaper.com. Classes in papermaking and pottery and a residency program in northern Indiana. 

Beginning Papermaking, July 7, with Andrea Peterson. Learn the basics of creating paper from cotton t-shirts, denim, and wheat straw. 

Paper to Print, July 18-20, with Andrea Peterson. Make paper to enhance a linoleum print that is then printed over top. 

Open Paper Studio, August 4, with Andrea Peterson. Work independently from a variety of pulps. 

Natural Dyes & Making Veggie Leather, September 8, with Andrea Peterson. Create handmade papers with a leather look using natural dyes. 

Kalamazoo Book Arts Center, Kalamazoo, Michigan, (269) 373-4938, info@kalbook arts.org, www.kalbookarts.org. Classes in book printing and binding, printmaking, hand papermaking, and creative writing. 

Papermaking Splash, July 7, with Jeff Abshear. Create sheets of paper using colorful pulp painting and stenciling, and adding fibers. 

Long Ridge Farm, Westmoreland, NH, www .longridgefarm.com, (603) 313-8393. Fibers and dyes workshops on a sheep farm. 

Pulp Clouds: Hand Papermaking, August 3-5, with Velma Bolyard. Use locally sourced plants to create papers with a profound connection to place. 

Lost Coast Culture Machine, Fort Bragg, CA, www.lostcoastculturemachine.org, (707) 691-1600. An artist-run contemporary art space focusing on interdisciplinary and sustainable creative practice, offering workshops in papermaking. 

Large Sheet Production, July 22, with staff instructor. Work together to form large sheets using the vat and pulp sprayer. 

Magnolia Editions, Oakland, CA, (510) 839-5268, www.magnoliapaper.com. Workshops in papermaking, printmaking, and book arts. 

Minnesota Center for Book Arts, Minneapolis, MN, (612) 215-2520, www.mnbookarts .org. Classes at the Open Book center for book and literary arts. 

Beater Training, July 3 or August 7, with staff instructor. Learn beater operation, safety procedures, and cleaning for MCBA’s three beaters as a prerequisite to renting the beaters for your own use. 

Open Studio: Papermaking (B.Y.O. Fibers), July 14 or August 11, with staff instructor. Get into the vat, hone your sheet-pulling technique, and enjoy the fellowship of other artists, using your own previously beaten fibers. 

Papermaking for Letterpress, July 15 & 22, with Sarah Peters and Regula Russelle. Make two different papers for letterpress, printing on them in the second session. 

Your Paper, Your Books: Pushing Beyond the Accordion Book, August 1-5, with Amanda Degener and Julie Sirek. Create dyed papers from natural fibers for use in a series of variations on the accordion book. 

Introduction to Marbling, August 18-19, with Mary Holland. Learn several marbling patterns while making your own decorative papers. 

Paper Vessels, August 25 & September 1, with Erica Spitzer Rasmussen. Manipulate paper into traditional and non-traditional vessel forms. 

Morgan Art of Papermaking Conservatory and Educational Foundation, Cleveland, OH, (216) 361-9255, http://morganconservatory 

.org. Workshops in hand papermaking and the arts of the book in an innovative green environment. 

Paper Marbling, July 7-8, with Steve Pittelkow. Learn to prepare colors and create decorative papers using traditional marbling techniques in an intensive two-day workshop. 

Unusual 3D Techniques: Kozo, High-Shrinkage Fiber, & Color, July 21-22, with Melissa Jay Craig. Learn a range of sculptural techniques specific to working with kozo and high-shrinkage fiber. 

Paper Your Way - Learn, Experiment, Play, Make, July 28-29, with Tom Balbo. Explore stenciling and layering techniques with pigmented pulp to produce a stack of unique papers. 

Korean Papermaking and Allied Crafts, August 11-12, with Aimee Lee. Create hanji from fiber preparation to dried sheets, and learn the hanji manipulation techniques of joomchi and jiseung. 

Paper Line: Pulp Painting as Script, August 25-26, with Emily Cook. Pulp paint with high-shrinkage fibers to create dynamic dimensional drawings. 

Paper Circle, Nelsonville, OH, (740) 753-3374, www.papercircle.org, papercirclearts@gmail.com. Call or e-mail for information about upcoming paper classes. 

Open Studio, second Saturdays, with studio artists. Gain new skills while working on themed, relaxed projects. 

Circle Round the Square, June-July, with staff instructors. Children’s summer art intensive program in its 7th year. 

The Papertrail, New Dundee, Ontario, Canada, (800) 421-6826, www.papertrail .ca. Classes in papermaking, marbling, and related arts and studio rental scheduled on an as-needed basis. 

PapierWespe (PaperWasp), Klimschgasse 2/1, Vienna, Austria, (0676) 77-33-153, office@papierwespe.at, www.papierwespe.at. Workshops in English and German taught by paper specialists in downtown Vienna. 

Straw, Jeans, Sisal, September 1-2, with Beatrix Mapalgama. 

Classic Watermarking, October 6-8, with Boris Hammer. 

Peninsula School of Art, Fish Creek, WI, (920) 868-3455, www.PeninsulaSchoolOfArt .com. Classes in papermaking and other crafts for all ages, held in Door County, Wisconsin. 

The Topography of Handmade Paper, August 20-22, with Mary Hark. Develop a diverse portfolio of handmade papers created with a variety of materials, including local botanicals. 

Peters Valley Craft Center, Layton, NJ, (973) 948-5200, www.petersvalley.org. Workshops in papermaking and a variety of crafts. 

Explore the Art of Papermaking, August 17-21, with Winnie Radolan. Learn a broad range of papermaking techniques, incorporating both 2 and 3 dimensions and Eastern and Western sheet forming methods. 

Pyramid Atlantic, Silver Spring, MD, (301) 608-9101, www.pyramidatlanticartcenter.org. Workshops in papermaking, printmaking, and book arts. 

Papermaking Society, Third Thursdays. For details contact Associate Papermakers Laura Kinneberg and Lynette Spencer at pyramidpaper@gmail.com. 

Introduction to Papermaking, August 5, with Laura Kinneberg. Learn to prepare fibers in the Hollander beater, how to form sheets of paper and how to color pulp with aqueous pigments. 

Sarvisberry Studio and Gallery, Floyd, VA, (540) 745-6330, www.sarvisberry.com. Experience handmade paper in the heart of the Blue Ridge Mountains. 

Open Studio Days, call for schedule. Make your own paper and work on personal projects. 

Seastone Papers, West Tisbury, Martha’s Vineyard, MA, (508) 693-5786, www.seastone 

papers.com. Scheduled classes, open studio, and private workshops in hand papermaking, surface design, and book arts. For further information, email Sandy Bernat at sandy@ seastonepapers.com. 

Papermaking Sampler, July 5, July 17, August 8, or August 21, with Sandy Bernat. Layer and experiment with a range of pulps in this hand papermaking workshop. 

Sculptural Papermaking, July 10, with Sandy Bernat. Experiment with high-shrinkage abaca fibers, manipulating wet sheets over armatures to achieve dramatic effects as the paper dries. 

Sievers School of Fiber Arts, Washington Island, WI 54246, (920) 847-2264, www .sieversschool.com. Summer workshops on an island in Lake Michigan. 

Variations in Pulp, August 12-15 or August 12-17, with Thomas Grade. Incorporate a variety of fibers and techniques from sheet forming to pulp spraying and casting into your own studio work. 

Sitka Center for Art and Ecology, Otis, Oregon, (541) 994-5485, www.sitkacenter .org. Workshops and residencies in a range of media. 

Illuminated Paper Structures, July 16-18, with Helen Hiebert. Create a sampling of illuminated designs such as lampshades, window treatments, and festive lighting accessories. 

Papermaking with Plants, Anytime, Anywhere, August 10-12, with Jane Ingram Allen. Make handmade paper by gathering plant materials and cooking, beating, and making pulp, to form sheets using Western and Asian techniques. 

Southwest School of Art, San Antonio, TX, (210) 224-1848, www.swschool.org. Classes at the Picante Paper Studio. Individual papermaking classes can be scheduled for one person or a group; please contact Beck Whitehead at bhwhitehead@swschool.org for more information. 

Papermaking Saturdays, select Saturdays, with Beck Whitehead. Work on independent projects with consultation. 

Special Fibers: Flax & Linen, June 30, with Beck Whitehead. Experience a range of flax pulps, from plant to cloth and from textural to finely beaten. 

Women’s Studio Workshop, Rosendale, NY 12472, (845) 658-9133, info@wsworkshop .org. Summer Arts Institute includes workshops in papermaking, printmaking, book arts, photography, and other media. 

Unusual 3D Paper Techniques, July 9-13, with Melissa Jay Craig. Create compelling forms using high-shrinkage fibers, incorporating fiber reactive dyes for brilliant colors. 

More Paper for Papermakers, July 23-27, with Eugenie Barron. Expand your papermaking repertoire using a range of pulps and guided experimentation. 

Metal Armatures for Sculptural Hand Papermaking, July 30 - August 3, with Pamela J. Wallace. Learn to solder and weld a range of metals, creating armatures for highly beaten pulps. 

Japanese Papermaking, August 6-10, with Tatiana Ginsburg. Learn all aspects of traditional Japanese papermaking, from selection of fiber to cooking, picking, beating, sheet forming, pressing, and drying. 

From Paper to Print, August 13-17, with Gretchen Schermerhorn. Create customized and stenciled handmade papers for the application of printing techniques. 

Handmade Paper and Encaustic, August 20-24, with Tatana Kellner and Kelly McGrath. Create a variety of layered papers 

> EVENTS

The Korean Bojagi Forum, August 22-26 in Seoul, Korea, explores the art of wrapping cloth and its materials, including silk, ramie, hemp, and handmade paper. The program includes speakers, demonstrations, and workshops. Many renowned artists from the USA, Europe, and Asia have been invited to exhibit their contemporary bojagi-inspired art works, from functional wrappers to wearables, to creative interpretations in two-and three-dimensional works. Visit http:// 

handsofkorea.com for further information. 

The Friends of Dard Hunter will hold a joint meeting with IAPMA, the International Association of Hand Papermakers and Paper Artists, October 17-21, in Cleveland, Ohio, entitled Watermarks 2012. This opportunity for both papermaking organizations to convene will be hosted at the Morgan Conservatory. Activities include workshops and demonstrations, lectures, exhibitions, plus gallery and museum tours. For information or to register, visit www.friendsofdard hunter.org or www .iapma.info. 

Marilyn Wold will conduct a Papermaking Art Retreat on the Island of Kauai, Hawaii, January 19 to 26, 2013. The week will include papermaking with local plant fibers, and other arts. For more information, visit www .washiwildfibers.com. Call or email with questions: (503) 641-7162 or www.washi@ yahoo.com. 

Focus on Book Arts is now accepting proposals for workshops for its 2013 conference. The conference will be held June 25-30, 2013, at Pacific University in Forest Grove, Oregon. Please visit www.focusonbookarts.org for information and a submittal form. Proposals are due July 15. 

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> EXHIBITS 

The Morgan Conservatory hosts presence/ absence: new works in silk and paper, featuring work by Rebecca Cross. The exhibit runs through July 8. For more information, call (216) 391-9255 or visit www.morganconservatory.org. More information about the artist can be found at www.rebeccastextiles.com. 

The works of Joan Giordano will be on display at June Kelly Gallery at 166 Mercer Street, New York, New York. The exhibition takes place June 22 to July 31. For more information, visit www.junekellygallery.com or call (212) 226-1660. 

In, On, Of Paper features original paper art including handmade paper, paper sculpture, artist’s books, cut paper, stitched paper, and works on paper. This first biennial national exhibition, juried this year by Eileen Wallace, will be held at Paper Circle in Nelsonville, Ohio, from May 17 to August 16. Call (740) 753-3374 or email papercirclearts@gmail. com for additional information, or visit www papercirclearts.org. 

Material Assumptions: Paper as Dialogue takes place June 15 through August 11 at Columbia College Chicago’s Center for Book and Paper Arts. Featuring both works from the Dieu Donné archive, as well as newly commissioned works made by contemporary interdisciplinary artists using abaca and cotton handmade paper, this exhibition is about the discursive ways that artists approach paper as a medium, technology, and tool. For more information, visit http:// colum.edu/bookandpaper or call (312) 369-6630. 

The Robert C. Williams Paper Museum presents Marbled Papers: Selections from the Dard Hunter Collection. The exhibition will be on view through August 31. For information, visit www.ipst.gatech.edu/amp/ or call (404) 894-7840. 

Michelle Wilson will have one of her handmade paper artist books in Book Art as Witness, an exhibit curated by Maria Pisano at the Center for Book Arts in New York, New York. The exhibition runs from July 11 to September 15. The Center is located at 28 West 27th Street, 3rd Floor. For more information on the exhibition, please visit: www .centerforbookarts.org or call (212) 481-0295. 

The Art of Handmade Paper will be on display at Featherstone Center for the Arts on Martha’s Vineyard, Massachusetts, from September 16 through October 3. Curated by Sandy Bernat of Seastone Papers, the exhibit will highlight handmade paper as sculpture, pulp painting, installation, and assemblage. Artists featured include Shannon Brock, Melissa Jay Craig, Aimee Lee, Betsy Miraglia, Jane Eccles, Laurie Krasny Brown, Sheila Fane, Deborah Baldizar, and Kanta Lipsky. The exhibit includes a focus on the process and versatility of handmade paper art with video, demonstrations, and discussions. For additional information, visit www.featherstoneart.org or call (508) 693-1850. 

Holland Paper Biennial 2012 in Rijswijk and The Hague, the Netherlands, features paperworks. This year’s exhibition will include a focus on artworks referring to books and letters as co-host Museum Meer manno in The Hague specializes in books. The exhibition will take place September 4 - November 25. For more information about the Holland Paper Biennial you can visit the websites www.museumryswyk.nl or www.meermanno.nl or www.holland papierbiennale.nl. 

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> PUBLICATIONS AND VIDEOS 

Carol Barton’s The Pocket Paper Engineer Volume 3 covers the V-Fold pop-up and its many variations. Ten do-it-yourself projects can be constructed right out of the book. This is the final workbook in the series, covering some of the more challenging pop-up structures. Contact www.popularkinetics. com for more information. 

A segment on the Combat Paper Project aired on PBS NewsHour on April 30, featuring the New Jersey Combat Paper Project. The piece is viewable online at http://video .pbs.org/video/2229156127/ 

China Network Television presents a two-minute video introduction to the Ancient Art of Papermaking at http:// english.cntv.cn/program/cultureex press/20110919/103204.shtml 

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> MISCELLANEOUS

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Cathleen Baker is the recipient of the American Institute for Conservation’s Publication Award for her monograph From the Hand to the Machine, 19th Century American Paper and Mediums: Technologies, Materials, and Conservation. Published by Legacy Press in October 2010, the publication provides an accessible and readable history and reference book for conservators, curators, archivists, librarians, private collectors, and artists. It traces the technology of paper and the related trades of printing, printmaking, and drawing through a century of intense technological innovation and social change. 

Shirah Miriam Aumann has been awarded a Green Initiative Award by the City of Branson, Missouri, for her work with The Treehugger Papermill Project. Nominations are received annually to recognize the efforts of local individuals and businesses that have excelled at keeping the community and the world greener. As an educator in conjunction with the project, Aumann created 14 different tree-free papers during a 7-week period using agri-waste, post and pre-consumer wastes, invasive species, and waste created during the event. 

> CLASSIFIEDS 

Classifieds in the Hand Papermaking Newsletter cost $2 per word, with a 10-word minimum. Payment is due in advance of publication. 

Hollander Beater for sale: One of a kind solidly built machine. It is of old casting mechanics origin, with sturdy stands, manual lifting gear device, and complete copper protective covers. Built in the late 1950s and works perfectly fine. 3-4 metric tons, grinding cylinder diameter 1,300 mm, and its width is 1,000 mm. Easy to adjust precise grinding mechanism. Comes with a strong electrical motor and a 200 mm wide heavy-duty leather belt. The beater has been disassembled and is ready to be packed and shipped anywhere in the world from Csongrád, Hungary. Asking price is $9,800 plus shipping and handling. Contact Tom Farkash at (510) 253-5698 or ziggzaag@yahoo.com. 

Cotton Linter Pulp. All quantities available. Call Gold’s Artworks, Inc. 1-800-356-2306. 

> SPECIAL THANKS 

Hand Papermaking would like to thank the following people and organizations who have made direct contributions to further our mission. As a non-profit organization, we rely on the support of our subscribers and contributors to continue operating. All donations are greatly appreciated and are tax deductible. Call or write for more information on giving levels and premiums. 

Benefactors: Anonymous, Timothy Barrett, Gibby Waitzkin. Patrons: Jeffrey Cooper, Barbara Lippman, David Marshall. Underwriters: Tom Balbo, Sid Berger & Michèle Cloonan, Susan Gosin, Kimberly Schenck, Nancy & Mark Tomasko, Beck Whitehead, Pamela & Gary Wood. Sponsors: Cathleen A. Baker, Tom & Lore Burger, Michael Durgin, Gail Deery, Karla Elling, Jim Escalante, Jane Farmer, Fifth Floor Foundation, Helen Frederick, Helen Hiebert, Lois & Gordon James, Peter Newland & Robyn Johnson, Eileen Wallace. Donors: Marlene Adler, Shirah Miriam (Mimi) Aumann, James Barton, Simon Blattner, Nina Brooks, Colin Browne, John Cutrone, Benjamin J. Dineen, Susan Mackin Dolan, Kathy Fitzgerald, Sara Gilfert, Robert Hauser, Mervi Hjelmroos-Koski, Lou Kaufman, David Kimball, Betty L. Kjelson, Karen Kunc, Julie McLaughlin, Richard Minsky, Dennis Morris, Catherine Nash, Lissa Paul, Andrea Peterson, Nancy Pobanz, Pyramid Atlantic, Brian Queen, Harry & Sandra Reese, Michelle Samour, Richard H. Schimmelpfeng, Mary C. Schlosser, Peter Sowiski, Betty Sweren, Marjorie Tomchuk, Paul Wong & John Colella. Supporters: Emily Andersen, Lois D. Augur, Carol J. Blinn, Joyce Brodsky, Carla A. Castellani, Roseline Williams Cristanelli, Kathryn & Howard Clark, Nancy O. Daley, Jennifer Davies, Kathryn Flannery, Rose Folsom, Tatiana Ginsberg, Lori B. Goodman, Beverly Harrington, Susan Hersey, Cynthia Hogue, Courtney Hudson, Sally Wood Johnson, Kristin Kavanagh, Ellen Mears Kennedy, Hedi Kyle, M. P. Marion, Maria Pisano, Miriam Schaer, Erica Spitzer Rasmussen, Dianne L. Reeves, Linda Smith, George Thagard III, April Vollmer. Friends: Leroy Parker. In-Kind: Adobe Systems Inc., Sid Berger, Carol Blinn, Zina Castañuela, Janet DeBoer, Amanda Degener, Paul Denhoed, Susan Mackin Dolan, Drachen Foundation, Jim Escalante, Jane Farmer, Peter Ford, Jennie Frederick, Peter Hopkins, Susan Kristoferson, David Marshall, Diane Maurer- Mathison, Lee McDonald, Julie McLaughlin, Rick McSorley, Microsoft Corporate Citizenship, Steve Miller, Peter Newland, Andrea Peterson, Britt Quinlan, Amy Richard, Buzz Spector, StorterChilds Printing Company Inc., Marjorie Tomchuk, Pamela Wood. Founding Contributors to the Hand Papermaking Endowment: 49er Books, Shirah Miriam (Mimi) Aumann, Cathleen A. Baker, Tom Balbo, Timothy Barrett, Sidney Berger & Michele Cloonan, Tom & Lore Burger, Jeffrey Cooper, Jeanne M. Drewes, Jane M. Farmer, Fifth Floor Foundation, Helen Frederick, Sara Gilfert, Susan Gosin, Joan Hall, Lois and Gordon James, Sally Wood Johnson, David Kimball, Elaine Koretsky, Karen Kunc, Barbara Lippman, Winifred Lutz, Susan M. Mackin-Dolan, David Marshall, Peter Newland Fund of the Greater Everett Community Foundation, Margaret Prentice, Preservation Technologies, L.P., Michelle Samour, Peter Sowiski, Marilyn & Steve Sward, Betty Sweren, Gibby Waitzkin, Tom Weideman, Beck Whitehead, Paul Wong & John Colella, Pamela & Gary Wood.

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