HAND PAPERMAKING NEWSLETTER Number 94, April 2011

Newsletter Editor: Shireen Holman Advertising & Listings: Mary Tasillo Desktop Production: Amy Richard Columnists: Sidney Berger, Susan Gosin, Maureen and Simon Green, Helen Hiebert, Elaine Koretsky, Winifred Radolan, Mary Tasillo.

Hand Papermaking Newsletter is published Dear Hand Papermaking, quarterly. Annual subscriptions are $55 in North Cindy Bowden was Director of the Robert C. Williams American Museum of America or $80 overseas, including two issues of Papermaking from 1991 until December of 2010. During this time we saw a deepening the journal Hand Papermaking. Two year rates and elaborating of the museum and its collections. Significant historic and contempo- are discounted: $105 in North America or $155 rary art works, papers, and books have been added to the archive. Extensive traveling overseas. To subscribe, send a check to the address exhibitions have spread the word far and wide about the world of handmade paper. A below, call or fax us to use Visa or MasterCard, beautiful exhibition space was created at the museum and has consistently shown world- or visit our website. Foreign subscribers may use a class work related to handmade papers. Under Cindy’s leadership the George W. Mead credit card, or pay in U.S. dollars via money order Paper Education Center doubled the size of the museum and created new exhibition or check marked payable through a U.S. bank. area and classroom space for the many workshops offered by the staff on a weekly basis. For more subscription information, or a list of Through good times and challenging times Cindy kept a firm hand at the wheel and back issue contents and availability, contact: guided the museum forward, always forward. Hand Papermaking, Inc. Cindy has moved on to yet a new series of exciting challenges as Director of the PO Box 1070, Beltsville, MD 20704-1070 American Association of Woodturners based in St. Paul, Minnesota. In January she left Phone: (800) 821-6604 or (301) 220-2393 Atlanta for the wild and snowy Midwest to direct the activities of a much larger organization, though part of her heart will always reside with the paper museum. We wish her well on Fax: (301) 220-2394 this new adventure! Interim Director Teri Williams is a seasoned professional who will E-mail: [email protected] be leading the museum as it makes its next steps forward, and we look forward to work- Web: www.handpapermaking.org ing with her. The deadline for the next newsletter (July 2011) Steve Miller is May 15. Please direct all correspondence to the Chair of the Advisory Board address above. We encourage letters from our subscribers on any relevant topic. We also solicit comments on articles in Hand Papermaking maga- Dear Readers, zine, questions or remarks for newsletter columnists, It’s our 25th anniversary year, full of creative energy and news of special events or activities. Classified ads and extraordinary activities. The upcoming Summer are $2.00 per word with a 10-word minimum. Rates issue of our magazine will focus on the surprising, for display ads are available upon request. wondrous, and astonishing nature of handmade paper; perhaps you’ll find a special treat inside your copy, and Hand Papermaking is a 501(c)(3) non-profit just wait until you see the center spread! The amazing organization. Staff: Tom Bannister, Executive pop-ups in our latest portfolio will raise eyebrows in Director; Mina Takahashi, Magazine Editor; varied venues throughout the year, and a call for entries Shireen Holman, Newsletter Editor; Mary Tasillo, is now circulating for the next one. A rare assembly of Advertising and Listings. surprise leaders will convene at a weekend retreat to imagine the Board of Directors: Sidney Berger, Frank Bran- future of Hand Papermaking—the field in general and non, Shannon Brock, Zina Castañuela, Jeffrey our organization in particular. Twenty-five noted papermakers, one selected from each Cooper, Georgia Deal, Susan Mackin Dolan, Jim year of our magazine, contributed paper samples for a commemorative book; see it at Escalante, Susan Gosin, Ann Marie Kennedy, www.handpapermaking.org/anniversary and consider giving gift copies to your paper- Anne Q. McKeown, Julie McLaughlin, Andrea maker friends. Peterson, Margaret Prentice, Amy Richard, Gibby Our anniversary committee has planned a number of surprise parties and I hope Waitzkin, Eileen Wallace, Beck Whitehead. to see you at one or more of these worldwide gatherings. They will be small get-togeth- Board of Advisors: Timothy Barrett, Simon ers, mostly in people’s homes and studios, often featuring a surprise guest papermaker. Blattner, Gregor R. Campbell, Mindell Duban- We’ll take photos and video, then weave the documentation into a cohesive presentation sky, Jane M. Farmer, Helen C. Frederick, Dard promoting our anniversary. Perhaps we could still plan a party at your place? Take a look Hunter III, Elaine Koretsky, James Sitter, Claire at http://events.handpapermaking.org for the latest schedule. Van Vliet. Co-founders: Amanda Degener and Thank you all for your enthusiastic support, making all these special celebrations Michael Durgin. possible, and ensuring a bright future for Hand Papermaking. Tom Bannister april 2011  Dear Editor, and many other purposes. In addition to screen is its slowness. This created the need Paul Denhoed’s excellent article on Tim beaten bark being used for writing, paper for a large number of papermaking screens. Barrett filled me in on some of Tim’s earlier made from silk was also utilized. There seems to be no Chinese literature history and his thought processes. It’s a Ling translates into English a definition mentioning the invention of a detachable very welcome addition and truly instructive. of silk paper from a Chinese dictionary, Shuo screen so that multiple sheets of paper could I wanted to add that what has always struck Wen Chieh Tzi, compiled by Hsu Chen at the be made by dipping the mould into the pulp me when I’ve been lucky enough to hear end of the first century AD: “Paper is a sheet and transferring the wet sheet onto another Tim speak is the way he honors the humanity of intertwined fibres of silk waste well beaten surface, thereby eliminating the need for of his fellow papermakers, both historic and in water and lifted out of the water in the form many moulds. However, early papers of the current, in the deepest way. He’s created a of a thin layer by the medium of a screen.” He second century AD, found in the Dunhuang great model for all of us to follow. believes that the idea probably developed from caves, exhibit line and chain markings, show- the manufacture of silk thread, since the silk ing that a bamboo screen was used to form Best, cocoons had to be boiled first, and rinsed on the sheets.6 Dorothy Field a screen. Silk waste remained on the screen, Another Chinese historian, Juzhong Victoria, BC, Canada and when dry was peeled off and used as a Yang, agrees with Pan Jixing and Shun- writing or painting surface.3 Sheng Ling. He wrote, “During > ALONG THE PAPER ROAD... I discovered another refer- the period from 770 B.C. to 221 ence to silk cocoon paper in B.C., paper was made out of This regular feature offers paper musings from 1986, when I interviewed Dr. extracted cocoon waddings. It is Elaine Koretsky—renowned paper historian, Aijaz A. Bandey, Director of the the first stage in the history of researcher, and traveler. This column is a reprint of Shri Pratap Singh Museum in Chinese papermaking. In West an essay about the origin of paper that Elaine wrote Srinagar, Kashmir, India. The Han Dynasty, people found for the International Paper Museum’s catalog. Museum has an important that the worn linen fabrics can y Paper Road research just hit another collection of ancient Chinese also be made into paper in the Mimpasse. Our two brutal snowstorms books and artifacts. Dr. Bandey emphasized same way. However, this kind of cocoon in January not only prevented me from visit- that in the past, paper had been made from waddings and fabric waddings could not ing Harvard University museums to investi- beaten silk cocoons. He cited a painting, be mass produced due to some limitations. gate early Chinese paper that was supposedly “Namat Nama,” the earliest Moghul painting, However, in the East Han Dynasty, Cai Lun made from beaten silk cocoons, but also composed of a layer of woven silk, then a layer began to use newly emerged sharp steel - created a power outage that eliminated the of beaten silk cocoon paper. He also told me cutting tools to cut materials before pound ing pulp, and the craft of handmade pulp use of my computer to write a new article for that he possessed a book written on the silk was recorded then, which marked the inven- the April issue of Hand Papermaking Newslet- cocoon paper, which he kept for safety at his tion of papermaking. Cai Lun’s invention ter. Therefore, my current article is a reprint own home, and would bring it to the Museum had a historical impact on Chinese history of of the essay I wrote for the catalog of the the next day for my inspection. Unfortunately, - International Paper Museum’s exhibit “The I was unable to spend another day in Kashmir. ancient times from the aspect of the utiliza tion of materials and craft.”7 Origin of Paper in China.” Dr. Bandey suggested I look for such books at the British Museum in London or the Metro- . Sponsored by the International Paper Historians (IPH). For a From Bark Beating and Silk Waste to the politan Museum in New York. Remarkable Invention of Paper complete review of this conference, see the IPH website, www.paper According to Dard Hunter, the Chinese history.org. The International Paper Museum also has a film available How paper was invented and who produced and used silk paper before 300 BC, about the 999 seminar. invented the process has long been a contro- and continued its use for centuries, until the . Ling Shun-Sheng, “Bark Cloth Culture and the Invention of 4 Paper-making in Ancient China,” Bulletin of the Institute of Ethnology, versy in China. The subject was vehemently invention of paper eventually supplanted it. Academia Sinica (Taipei), Number 11 (Spring 96). discussed at a professional seminar in Xi’an, One of the earliest true papers, accord- 3. Jonathan M. Bloom, Paper Before Print (New Haven: Yale Univer- China, in 1999, attended by paper historians, ing to the paper historian Pan Jixing, is the sity Press, 00), 3-3. archaeologists, and representatives of China’s so-called “Baqiao” paper discovered in a 4. Dard Hunter, Papermaking-The History and Technique of an Ancient Pulp and Paper Institute.1 One group insisted tomb in Chang’an, China. Apparently it was Craft (New York: Alfred A. Knopf, 943). that Cai Lun was the inventor, while others made by pouring beaten hemp pulp onto a 5. Pan Jixing, Handmade Papers of the World (Tokyo: Takeo Co., Ltd., presented proof that paper had been found cloth screen, probably similar to the process 979), 9-4. that pre-dated the birth of Cai Lun. I have documented still used today in 6. I have examined and photographed some of these papers, which are part of the Pelliot collection at the Bibliotheque Nationale in Because of my own expeditions to Guizhou and Xinjiang Provinces. Pan Jixing Paris, France. remote areas throughout Asia to document believes that people in the 7. Juzhong Yang, Ancient Papermaking in China, publ. by CIP, 00, traditional hand papermaking countryside, familiar with the pp. -. villages, as well as areas that beating of bark fibre, adapted have been involved in the the method of producing silk > TEACHING HAND PAPERMAKING beating of bark fiber, I agree waste, but instead of cocoons, with the writings of Ling beat to a pulp the inner bark of Based in Philadelphia, Winifred Radolan operates Shun-Sheng, a noted Chinese trees and waste materials from an itinerant teaching papermill, and has taught papermaking to thousands of adults and children. archaeologist, who wrote an 5 hemp rags and fishnets. Here Winnie describes her class at Yale University. article “Bark Cloth Culture and Shun-sheng Lin writes that the Invention of Paper-making in Ancient the use of the inner bark materials, particu- wice a year I get the opportunity to China,” published by the Academy of Science larly in the mulberry family (Moraceae) main- T“wow” my friends with the statement, in Taipei, 1961.2 Ling’s article is complex. But ly used for bark cloth and bark paper, may “I’m driving to New Haven, Connecticut, he emphasizes that bark beating was carried have been Cai Lun’s great contribution to the tomorrow to teach at Yale!” In the fall on throughout southern China since the refinement of paper. However, the drawback I have the unparalleled treat of being a fourth century BC. The material produced to the method of pouring pulp onto a screen guest papermaking instructor for Theresa was used for writing, clothing, wrappings, and letting the newly formed sheet dry on the Fairbanks-Harris’s art history students in

 Hand Papermaking Newsletter her paper/book conservation lab the twelve students had each > PAPER HISTORY at Yale University’s Center for pulled and couched their first British Art. And early in January sheets of handmade paper. And Maureen and Simon Green, from the United of this year my eight-hour round then, in measured increments, I Kingdom, write a joint column on Paper History. trip was to bring an afternoon of introduced layering colors, using Maureen is a paper historian, and author of papermaking to Siobhan Liddell’s stencils, and applying pulp paint Papermaking at Hayle Mill 1808-1987. Simon exciting paper sculpture class. with both small pipettes and was the last of the Green family to run Hayle As I composed my pack- larger squirt bottles. Before long Mill, in the U.K. He provides consulting services ing list for the trip (vats, moulds all the equipment I had packed to papermakers worldwide. In this column, “A and deckles, stencils, couching was wet and in enthusiastic use. tale of snakes and twigs,” Simon and Maureen materials, pulp and pulp paint, Two hours pass rather discuss papermaking moulds and their history. press and blankets), I kept an ear quickly when everyone is having to the weather forecast, hoping so much fun! Before we were any crafts are defined by their tools. desperately for a lack of white ready, it was time to assemble MThe potter’s wheel comes to mind and precipitation. I was most fortu- everyone’s paper into a large post, yet there are many ways of forming pottery nate that the “weather event” waited to occur and press it between synthetic chamois in without a wheel. However, it’s hard to until the following two days! My drive north my portable Arnold Grummer paper press. think of a way of making traditional paper was smooth and uneventful. Because no other classes were scheduled by hand without a mould. The invention The class was only two hours in length, to meet in the room before this class’s next of paper required the tool and yet surpris- so I allotted a short introductory time to view meeting, I showed everyone how to lay ingly little is written on the history of the the paper samples from the recent Dard the pressed papers out on the tabletops to papermaking mould. Hunter Keepsake Exchange. The varied restraint-dry them. If the promised snow This thought came to me when trying to collection gave students a hint of the many didn’t pile up, the students could return on research a pair of moulds before posting them faces and voices that can be expressed with Thursday to discover their beautiful creations onto my new papermoulds site.1 And the more handmade paper. It was just enough entice- both dry and flat! I thought about it, the ment to have everyone anxious to roll up My non-papermaking friends have often stranger it seems. their sleeves and dive into my vats. marveled that I am willing to drive eight When paper was A quick explanation of the sources hours in one day to teach a two-hour class, first invented, probably of the pulp (pigmented cotton/abaca and remarking that I must be a little loco, or that in China, the general denim) that filled the vats was followed by a I really must love what I do. And there is a view is that the floating demonstration on forming a sheet of paper great deal of truth to both those theories, but mould technique was with the mould and deckle. In short order mostly, I DO love my days at Yale! used. In this process

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april 2011 3 the mould consists of a rectangular wooden transferring the wet sheet onto a post of wire as we know it was originally hand laid or bamboo frame with some sort of strain- sheets ready for pressing. What is unclear is without a loom. This technique is still used ing fabric attached to its bottom edge. The quite where or when this removable screen in India for chapris and Ron MacDonald, who whole mould is immersed in a vat of clean was replaced by a fixed, metal one.3 However makes moulds near Maidstone in England, water so that the inside of the mould is this type of construction must have preceded will make hand laid covers to order. In 1756 filled, prepared stuff is added, agitated with the general introduction of watermarks, as James Whatman made the first European the fingers, and the mould lifted out with early as 1282 AD in Fabriano, Italy. None wove paper. John Balston discussed in detail suitable shaking or rocking. Once the sheet of these early European moulds survive, the way early wove moulds were constructed is set, the whole mould is leant against a post the earliest examples dating from the third as well as many other aspects of mould- or a wall to dry. Apart from the challenge of quarter of the eighteenth century, according making.5 A major factor was to avoid the forming even sheets, the main problem is to Edo Loeber.4 (Edo was the pre-eminent underlying wooden ribs creating a “shadow” that many moulds are needed as they cannot expert on European moulds who studied all around the chain lines, as was normal with be reused until the paper is dried. the main collections in historic mills. His single faced laid moulds, where the face wire The use of a flexible, removable strain- archives include some 13,000 immaculately is in fact the only layer and is sewn directly to ing screen is generally thought to be a later detailed sketches and 10,000 photographs. the ribs. By about 1830 the modern method development. This is still the most common His book contains a wonderful selection of of constructing both wove and double approach to sheet formation in Asia. It is his drawings and explains mouldmaking faced laid moulds had been developed. The also the direct predecessor of the rigid laid in far more detail than is possible here.) bottom layer of cloth is called the “back- mould used in Europe. The screen—vari- However we may fairly safely assume they ing wire” and consists of laid lines spaced ously known as xi (China),2 su (Japan), tsha resembled single faced laid moulds in collec- several millimetres apart being separated by (Bhutan), and chapri (India)—only flexes tions from the nineteenth and twentieth several complete twists of the “chain lines” in one direction, of course. The “laid lines” centuries. Initially the laid cover may have (known as “twist wires” by the mouldmaker). are more or less rigid and normally made been made entirely from drawn copper wire, This is sewn to the ribs. Above that “guide of split bamboo or whole pieces of grass or the economic production of which seems wires” run at right angles to the laid lines, reeds and they form the draining surface. to date from 800-900 AD (though wire being stretched between tacks driven into The “chain lines” were frequently made drawing is another field with little written the frame, usually two to three guide wires from horsehair, but silk, cotton, and other history). The mould frame may have been between adjacent ribs. Finally the face wire threads are also used. In India many chapris made from a variety of timbers. Although (either wove or laid) is sewn down and the are now made from nylon (both laid and mahogany became the main wood of choice result should be a completely clear “look- chain lines). in England in the nineteenth century, I have through” for wove paper and only the image The fact that the screen is flexible and seen mould frames apparently made from of the face wire for laid paper. removable permits the oriental method of both oak and softwoods. The “cover” or “face” My own collection of moulds includes

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4 Hand Papermaking Newsletter examples of all of the techniques above By showing their own name prominently, some generic comments about marbling as well as light and shade and line water- a reasonable inference would be that the and then talk about some of the more marks. The earliest mould in the collection paper was for their own use or for sale as important practitioners in this country. is watermarked J Larking 1817—probably part of a product such as a ledger. However By the twelfth century the Japanese John Larking of Upper Mill, East Malling if the ouroboros symbol is for a customer, were practicing suminagashi, decorating near Maidstone. Initially they were cata- why should Waterlow’s name feature so sheets with inks floated on the surface of logued by Edo Loeber in about 1980. The prominently? a size. The size was almost certainly water, catalogue6 has had further detail added We may never know the answers to and the colors either adhered to the surface to it as I have obtained it but much detail these questions, but what they illustrate of the sheet or penetrated the less- or is missing, often including the names of is how much history is encapsulated in non-sized sheets such that the pattern was mouldmakers and dates. Apart from the a piece of paper or the moulds it was visible on both surfaces. moulds themselves, we have a number made on. If you have a theory on these or Speculation has it that sheets of of other sources of information. These any other moulds please do not hesitate suminagashi made it to the West on the include a vellum bound “mould book” to place a comment on the papermoulds trade routes and Westerners, fascinated which appears to list all purchases of website. by the papers, and wishing to emulate new moulds as well as alterations such D. Hunter, Papermaking: The History them, created marbling as their equivalent. as adding watermarks. However I am and Technique of an Ancient Craft (New Whether it was in Persia or Turkey or India doubtful that it is complete and it may only York: Alfred A. Knopf, 1943) (reproduced or Indianapolis is not known for sure. But record work done by Edwin Amies and Son by Dover Publications, 1978) also contains by the beginning of the sixteenth century who supplied most of our moulds. In 2010 quite a lot of information about moulds. marbling existed in the Middle East. I photographed about 60 pairs of the most In the West it had many uses, primary historically interesting moulds and I am 1. http://papermoulds.typepad.com. of which was probably for bookbinding. progressively uploading them to the site. 2. Thanks to Elaine Koretsky for this information. It would be The decorated papers could be used for interesting to know how far westwards derivatives of this term (or The moulds referred to at the start of its root) travelled. endsheets or for covers in favor of the more this article are a particularly beautiful pair, 3. Jonathan Bloom implies that it was a European invention. He expensive leather or vellum. So the origi- 7 listed as M207. They were made by Amies also mentions various aspects of moulds. J. N. Bloom, Paper before nal marbled papers were seen as second- in June print: the history and impact of paper in the Islamic World (New ary elements of books. That is, they were 1894 Haven: Yale University Press, 2001). produced to be cut up to adorn other things. and are 4. E. G. Loeber, Paper Mould and Mouldmaker (Amsterdam: Paper Publications Society, 1982). Only in the nineteenth century did Turkish double marblers develop ways to make representa- 5. J. N. Balston, The Whatmans and Wove Paper; Its Invention and faced Development in the West. Research into the Origins of Wove Paper and tional patterns (like the well known Turkish laid of Genuine Loom-Woven Wire-cloth (Maidstone: J. N. Balston, 1998). flowers–usually tulips), and sheets were moulds with a 6. http://papermoulds.typepad.com/simon-barcham-greens-pap/ created as works of art in themselves, not to sheet size of 400 catalogue.html. be cut up to adorn other objects. x 517 mm (or 15¾ 7. http://papermoulds.typepad.com/photos/m_207_waterlow_ Enough about generic remarks. x 20-inch in old sons_ltd_l/m-207-a-waterlow-sons-ltd-london-2-sheet-mould.html. There has been an explosion of interest in money). Half 8. For example Wikipedia states “The Ouroboros often represents self-reflexivity or cyclicality, especially in the sense of marbling in this country since Rosamond the sheet carries something constantly re-creating itself, the eternal return, and Loring’s books on the subject came out: a conventional other things perceived as cycles that begin anew as soon as they Marbled Papers (1933) and Decorated Book watermark— end ...” and a lot more besides. http://en.wikipedia.org/wiki/ Papers (1942; 2nd ed., with additional mate- Ouroboros. Waterlow & Sons rial, 1952; and later editions). Today there 9. http://www.legendarydartmoor.co.uk/christ_fagg.htm. London—but are hundreds of practicing marblers in the the other half is U.S., some producing exquisite original mysterious. > DECORATED PAPER patterns. If the sheet were folded in half, for a I would like to highlight several ledger for example, each watermark would Sidney Berger, a professor at Simmons College marblers in this and my next column, and be in the middle of a page. The snake in Boston and Director of the Phillips Library at the ideal place to begin is with one of the looked familiar but what sort of symbol Peabody Essex Museum, has been collecting and great marblers in history (not just in the was it? And what is inside the oval it researching decorated paper for over thirty years. United States), Christopher Weimann. creates? This column is Part I of a discussion of marbling I call him “great” for two reasons. First, Waterlow and Sons was established and influential marblers. his passionate immersion in the medium in 1810 and became one of the country’s led him to be one of the exceptional scholars largest printers of stamps and bank notes n all the columns on decorated paper in the field. He didn’t just take a workshop as well as more general printing, including Ithat I have written for this newsletter, I and announce himself to be a marbler. many transport posters. They were regular have not yet broached the topic of marbling. He wanted to know everything there was customers of ours and we had a number Amazing! When one talks of paper decora- to know about the art, and he studied for of moulds with their watermarks although tion, marbling should be near the top of the years to take in as much as he could about this is the only pair that survives. The list of techniques of ornamentation. the history and the literature of marbling, snake eating its tail (an ‘ouroboros’) can be For the audience of Hand Papermaking, theory and practice, pigment creation, tool tracked down on the web easily enough.8 I needn’t go into history or technique too making, and more. And second, he became After rejecting thoughts of asparagus and much. I assume my readers know a good a truly gifted marbler himself. He had stud- other options I have tentatively concluded deal about these things. (If I am mistaken, ied color theory, color matching, and leather that the bundle inside the oval may repre- and people out there want some histori- finishing in a New Jersey leather manufac- sent a bundle of twigs such as an Ashen cal notes and technical advice, please let turing firm. He was a brilliant colorist, and Faggot on a fire.9 I have found nothing me know. I could write two books on the the papers he produced prove this. Nothing that could link this symbol with Waterlow. subject.) What I would like to do is make flashy, garish, or brassy.

april 2011 5 What is dazzling about his papers well known for. These floral marbles are still > FOR BEGINNERS is their design and execution. He was sought after by collectors. especially adept at one technique that had A wonderful memorial volume about Mary Tasillo is a papermaker, book artist, and disappeared from the world and that was Chris came out in 1991, three years after his mixed media maven based in Philadelphia. She misunderstood in the twentieth century. untimely death at the age of only 42. This is teaches workshops nationally. This is a continua- As Phoebe Easton, the marbling historian, an excellent read. It’s Christopher Weimann tion of a previous “Beginners” column on methods wrote, he was one of the great scholars of (1946-1988): A Tribute (Tübingen, Germany: for editioning. Near Eastern marbling. “Mastery of the Jäckle-Sönmez), conceived and written by marbling process enabled him to reproduce Ingrid Weimann, with additional contribu- n the July 2010 issue of Hand Papermaking some of the paintings by the use of stencils tions by several prominent paper scholars. INewsletter (91:7) I discussed techniques for and resist techniques. He was, apparently, All copies have samples of his marbling editioning imagery within your handmade the first marbler to study the paintings seri- tipped in, and the text and color illustrations paper, including some stencil techniques that ously. Art historians, untutored in marbling, of his art are excellent. took their inspiration from contemporary [believed] that the paintings were collage In my next column I will mention watermarking techniques. In this issue, I take creations” (The Guild of Book Workers News- other important marblers and the magazine a step back to consider editioning handmade letter, No. 62 [February 1989]: 5). Scientific Ink and Gall, the longest-running and most paper at its most basic. What does it mean to analysis at the Los Angeles County Museum important marbling publication I know of edition a blank sheet of paper? of Art proved that the paintings were done (unfortunately now defunct). Check it out, if Any time a papermaker sets out to with stencils and resist work, corroborating you have a chance. create multiple papers that are the same, we Chris’s scholarship. might use the word “editioning.” This skill can come in handy to create a consistent But he did not stop there. He proved HAND PAPERMAKING loves to that the technique was still possible to batch of papers to use in making a book, as do. He produced a number of remark- hear from readers. the base for a print edition, or in considering a product (e.g., a handmade paper business able “paintings” with multiple marbles, What’s your opinion? laid down on a single sheet, with perfect might rely on editioning to produce a type of registration. The cover of the magazine Fine What’s happening? paper that a customer might choose to order Print for October 1983 shows his brilliant What’s on your mind? repeatedly over time). Practicing editioning composition in marbling, a lion capturing a can also hone the papermaker’s technique, gazelle. This followed his dynamic marbled Send your letters to the editor: as it requires acute mindfulness as to the density of pigments and additives, as well as flower on Fine Print’s cover for July 1981, a [email protected] signature piece, with its multiple stems and of the pulp in the vat. bright red blossoms–a design he became So how does one achieve this consistency?

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Classes Studio Services (&*LZhi(+i]HigZZi The studio now offers three distinct classes for The studio specializes in collaborative, custom CZlNdg`!CN&%%&- serious artists and creators to explore the potential paper and publishing projects. Visual artists work in i'&'''+%*,( of handmade paper: Introduction to Contemporary collaboration with highly skilled artistic staff to create ['&'''++%-- Papermaking, Creative Techniques for Artists, and Open both unique and editioned two- and three-dimensional lll#Y^ZjYdccZ#dg\ Studio. All sessions are three-hours in duration and works. The studio also produces handmade papers include assistance from artistic staff. See our website with museum archival standards while also allowing the for descriptions, dates and times. artist freedom with materials of their choice. Please call to arrange a consultation with artistic staff.

6 Hand Papermaking Newsletter 1) Pulp, pigments, and additives. measuring by pulling a sheet and then penetrate the paper. One use of watermarks, Using a scale for weighing not only gathering the pulp from the mould historically and today, has been to identify the your fiber, but also your pigments and into a measuring cup while it is still provenance of the paper. Dard Hunter added additives, along with keeping scrupu- fairly wet. Add a little bit of water until to his watermark, the bull and branch, with lous notes in a paper recipe notebook, it approximates the consistency of the each project he worked on, thus using the will allow you to reproduce your results pulp from which you are pulling. Also, watermark to identify not only the paper’s when making another batch of pulp. the amount of water in your vat will creator but also its edition. Contemporary (Be sure to attach a scrap of the fin- change over time. You might change papermakers use a variety of materials to ished paper to the recipe!) whether you allow your wet sheets to create watermarks, some less of a commit- drain over or away from the vat to help ment to the mould than the sewn-on variety. 2) Sheet formation. To maintain a control the water level in the vat. consistent sheet thickness, you must Adhesive backed vinyl and magnetic sheeting continually monitor both your wet 3) Predictable behaviors. And of can be used. Cut your design from the mate- sheets and the density of pulp in the course the more consistent you are rial using an X-ACTO blade or a laser cutter, vat as you form your paper. As you pull in the way you form your sheets, the if you can access one. Adhere the design to sheet after sheet, you will establish a materials with which your paper comes the surface of your dry mould, exerting even regular rhythm for replenishing the in contact (couching felts, drying ma- pressure from both sides. These materi- vat, likely adding more pulp every 1-3 terials, etc.), and the methods you use als can stay on your mould for repeat use. sheets. The frequency and amount of to press and dry your paper, the more I’ve found that magnetic sheeting can be the replenishing will somewhat depend consistent the resulting paper will removed and re-adhered to the mould for upon the size of your vat relative to be. That wet sheet of paper takes the repeat use, while thinner vinyls will not stand the size of your mould, e.g. you will impression of every thing that happens up to such manipulation. A note on water- notice a rapidly diminishing sheet to it along the way. marks: you will find that certain pulps better thickness pulling 12 x 18-inch sheets lend themselves to creating beautiful water- from a small table top vat as opposed So how do watermarks play into all marks than others. I first learned to create to pulling postcard-sized sheets from of this? The watermark is a design in your watermarked pages using a short-fibered, a large vat. (And of course one hopes paper that is primarily visible when the well-brushed cotton rag pulp. that if you set out to pull postcard-sized paper is held up to light. It is created through Practice makes perfect, and the practice sheets from a large vat of pulp, you applying a dimensional drawing to the of editioning is one of the finest ways to are using a deckle that allows you to mould, traditionally made of wire sewn onto finesse your sheet forming techniques. pull multiple postcard sheets at once.) the mould. When the sheet is formed, the How much pulp do you lose from paper is slightly thinner where the wire is, > more for beginners at the vat with each pull? You may try thus creating an area where more light can newsletter.handpapermaking.org/beginner

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april 2011 7 Paper as Narrative, May 21, with Jessica Peterson. Pulp Printing, April 9, with Melinda Cross. Use Listings for specific workshops and other Experiment with pulp painting, inclusions, and paper pulp to create an editionable image shortly events in the following categories are surface treatments, considering how to use paper after a new sheet is pulled. offered free of charge on a space-avail- as a component of a book’s narrative. Spring Papermaking: Embeddings and Inclusions, able basis. The deadline for the July 2011 Papermaking II, June 17-19, with Frank Brannon. April 16, with Zoe Culbertson. Create sheets that Learn to use the Hollander beater to process include cherry and plum blossom petals. Newsletter is May 15. Contact each facili various fibers and improve your sheet formation. ty directly for additional information John C. Campbell Folk School, Brasstown, NC, or a full schedule. Teachers: Tell your Bear Creek Paperworks, Columbia, MO, (573) (704) 837-2775, www.folkschool.org. Classes in students about Hand Papermaking! 442-3360, www.bearcreekpaperworks.com. papermaking and other crafts in the mountains Workshops in paper and book arts; some of western North Carolina. Brochures and handouts can be mailed workshops can be taken for academic credit Recycle, Rebound Papermaking, April 17-23, with to you or your institution. Email through Central Methodist University. Contact Rajeania Snider. Recycle your junk mail and Leandra Spangler at leandra@bearcreekpaper- plant material into unique stationery and books [email protected] works.com for more information. via basic papermaking processes. Hand Papermaking: Experimentation and Kozo Kites, July 17-23, with Julie Jones. Make Exploration, June 20-24, with Leandra kozo paper and transform the paper into kites. > CLASSES AND WORKSHOPS Spangler. Experiment with a wide range of Green Papermaking, September 16-18, with Frank papermaking techniques, constructing a Brannon. Learn the complete process of making Arrowmont School of Arts and Crafts, Gatlin- mould and deckle for use. burg, TN, (865) 436-5860, www.arrowmont paper by hand from regional fibers while exam- .org. Classes and workshops in a variety of Flat to Form: Using Paper as a Sculptural ining issues of environmental sustainability. disciplines, including papermaking. Medium, July 18-22, with Leandra Spangler. Turn flat papers into beautiful forms, using a Carriage House Paper, Brooklyn, N Y, (800) Extreme Papermaking, May 29-June 4, with variety of wet and dry techniques. 669-8781, www.carriagehousepaper.com. Julie McLaughlin. Create large 6 x 9-foot sheets Papermaking workshops offered in a new studio of kozo paper, using the finished sheets in a The Boston Paper Collective, Boston, MA (614) space. Visit website for workshop schedule. variety of aways. 282-4016, www.bostonpapercollective.com. Pushing the Boundaries Through Sculptural Classes in papermaking and marbling, as well Center for Book Arts, New York, N Y, (212) 481- Papermaking, July 3-9, with Jo Stealey. Integrate as studio rental and special projects, as well 0295, www.centerforbookarts.org. Dozens of paper, fiber, basketry, and sculptural processes. as Open Papermaking Nights on the second book and paper workshops offered in midtown Thursday of each month at 6:30 p.m. Manhattan. Asheville BookWorks, Asheville, NC, (828) 255- Washi Papermaking, March 27, with Zoe Japanese Natural Colorants for Paper, May 14-15, 8444, www.bookworksasheville.com. Hands-on with Tatiana Ginsburg. Prepare dyestuffs from Culbertson. Learn Japanese papermaking workshops including bookbinding, printmaking, a number of plant materials, learning to size decorative paper, and basic papermaking. using traditional methods.

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 Hand Papermaking Newsletter and treat papers, to dip, brush, and resist dye, information, call (215) 438-5711 or email Open Studio, second Saturdays, with studio art- and to understand the effects of different mor- [email protected]. ists. Gain new skills while working on themed, dants, working with your own papers as well relaxed projects. as Japanese kozo. Hook Pottery Paper, LaPorte, IN, (219) Shaping Paper...Beaten Flax, April 2, with Ann Paper Marbling, June 25-26, with Lauren 362-9478, jonandrea@hookpotterypaper Silverman. Explore the sculptural possibilities Rowland. Create your own marbled papers .com, www.hookpotterypaper.com. Classes of high-shrinkage flax fibers. using water-based Turkish techniques. in papermaking and pottery and a residency program in northern Indiana. Papermakers of Victoria, at Box Hill Community Circle of Life Studio and Summer Gallery, Plant Fiber Intensive, August 18-20, with Arts Centre, Whitehorse, Victoria, Australia, Eagle River, WI, (715) 479-9737, www.circleof Andrea Peterson. phone 9885 2479. lifestudio.com. Offering weekly papermaking Grass Fibers Intensive, September 15-17, with workshops June through September, and by Andrea Peterson. The Papertrail, New Dundee, Ontario, Canada, special arrangement all year. (800) 421-6826, www.papertrail.ca. Classes in International Printing Museum, Carson, CA, papermaking, marbling, and related arts and Columbia College Chicago Center for Book [email protected], studio rental scheduled on an as-needed basis. and Paper Arts, Chicago, IL, (312) 344-6630, www.printmuseum.org. www.bookandpaper.org. Papermaking classes PapierWespe (PaperWasp), Aegidigasse 3/Hof, in spacious downtown studios. Introduction to Papermaking, April 16, with staff 1060 Wien, Austria, (0676) 77-33-153, office instructor. Learn the basic techniques for @papierwespe.at, www.papierwespe.at. Work- Dieu Donné Papermill, New York, N Y, (212) making your own paper, along with the history shops in English and German taught by paper 226-0573, www.dieudonne.org. Beginning and of handmade paper in the Western tradition, with specialists in downtown Vienna. an emphasis on portable techniques. advanced papermaking classes for adults and Paper Cups, May 20-21, with Beatrix Mapal- children. Magnolia Editions, Oakland, CA, (510) 839- agama. Explore multiple ways to create vessels Introduction to Contemporary Papermaking, 5268, www.magnoliapaper.com. Workshops in using wet paper pulp. March 1, or April 5, with staff instructor. Learn papermaking, printmaking, and book arts. Watermark, June 10-12, with Roberto Mannino. the basic papermaking process, as well as Investigate alternative techniques to creating a various artistic techniques. Maine Media Workshops, Rockport, Maine, line-based watermark. Creative Techniques for Artists with Open Studio, (877) 577-7700, www.theworkshops.com. Year- Relief from High Shrinkage Fiber, June 13-14, March 8, or April 12, with staff instructor. round classes in multiple media. with Roberto Mannino. Layer pulps, incorpo- Explore advanced techniques and their applica- rating high shrinkage fibers and controlled tion for two- and three-dimensional projects, MayBe Studio, Abita Springs, Louisiana, (985) drying to create works of art. with a different focus at each session; experi- 893-3184. Japanese Paper, November 4-6, with Beatrix Ma- ment on your own with studio pulps, making Hand Papermaking, selected Saturdays, with palagama. Use a range of fibers to create papers sheets up to 11 x 14 inches. Mary-Elaine Bernard. Learn Eastern and West- using Japanese papermaking techniques. ern methods of making paper and incorporate Gail Harker Creative Studies Center, Oak Harbor, local plant fibers. Penland School, Penland, NC, (828) 765-2359, WA, (360) 279-2105, www.gailcreativestudies.com. www.penland.org. A full program of craft Offering courses in textile arts. Minnesota Center for Book Arts, Minneapolis, workshops, including papermaking. Papermaking: From Pulp to Portfolio, June 3-5 or MN, (612) 215-2520, www.mnbookarts.org. Surface & Structure: Paper & Book, March 13- July 30-31, with Lisa Harkins. Learn the basics Classes at the Open Book center for book and May 6, with Amy Jacobs. Create paper from a of hand papermaking using accessible tools literary arts. range of fibers, and using a range of decorative and supplies. Open Studio: Marbling, April 9, with Amy techniques, using these papers for two- and Pleticha. Work on your own decorative papers three-dimensional artworks as well as a variety Haystack Mountain School of Crafts, Deer Isle, in the company of other artists. of binding structures. ME, (207) 348-2306, www.haystack-mtn.org. Workshops in various disciplines, including Introduction to Marbling, April 30-May 1, with Paper Marbling, A to Z, July 24 - August 9, papermaking and book arts. Mary Holland. Learn to select and mix materi- with Steve Pittelkow. From watercolor to acrylic, als and paints while learning several marbling from intricate patterns to freehand designs, Paper: Making and Marking, June 26 - July patterns, and become familiar with the full every detail will be revealed as we build or 8, with Susan Warner Keene. Build a vo- range of marbling tools. enhance our knowledge of paper marbling from cabulary of marks and formats that can be the ground up. used throughout the various stages of the Morgan Art of Papermaking Conservatory and papermaking process. Educational Foundation, Cleveland, OH, (216) Deconstruct/Reconstruct: Plant Fibers for 3-D 361-9255, http://morganconservatory.org. Work- Papermaking, August 14-26, with Winnie Radolan. Drawing fiber and inspiration from Helen Hiebert Studio, Portland, OR, shops in hand papermaking and the arts of the plant structures, explore a variety of possibili- www.helenhiebertstudio.com, helen@enlight book in an innovative green environment. ties for 3-D papermaking with a range of colors ened papers.com. One-day papermaking and and textures. lamp making workshops and Thursday evening Old Ways Book Arts Tools and Workshops, near Santa, ID, (208) 245-3043, traditional- open studios for experienced papermakers in Pyramid Atlantic, Silver Spring, MD, (301) North Portland. [email protected], http://www.traditional- hand.com/oldway/. 608-9101, www.pyramidatlanticartcenter.org. Basic Papermaking, April 2, with Helen Workshops in papermaking, printmaking, and Hiebert. Learn to pull sheets of paper and to Old Ways of Making Books from Raw Materials, book arts. incorporate an array of artistic techniques. August 10-25, with Jim Croft. Learn to create book arts tools by hand, how to process hemp and Papermaking Society, First and Third Thursdays, Chochin (Collapsible Paper Lanterns), May 15, flax for paper and thread, hand papermaking, and with Gretchen Schermerhorn. Bring snacks, with Helen Hiebert. Create your own collapsible how to make books with wooden boards and brass discuss papermaking techniques, and make as paper lantern, exploring a variety of shapes. clasps in this fourteen day workshop. many sheets of paper as you can. Spill, Splatter, Seep, Dip, Tear: Paper Staining Historic RittenhouseTown, Philadelphia, PA, Paper Circle, Nelsonville, OH, (740) 753-3374, Techniques, March 19, with Laura Kinneberg. (215) 843-2228, www.rittenhousetown.org. www.papercircle.org, [email protected]. Learn techniques for working pigmenting Summer paper arts workshop series at the Call or e-mail for information about upcoming agents into paper while still damp, resulting in site of America’s first paper mill. For further paper classes. amorphous areas of color. april 2011 9 Thick and Thin: Sculptural Paper Techniques, April text and drawing papers with colored paste, Women’s Studio Workshop, Rosendale, NY 2, with Laura Kinneberg. Form and manipulate then drawing, stamping, combing, or pressing 12472, (845) 658-9133, [email protected]. wet sheets of paper for draping over armatures. and pulling apart the surfaces. Summer Arts Institute includes workshops in Pull and Bind!, April 5 & 12, with Bath Par- papermaking, printmaking, book arts, photog- thum and Patricia Lee. Make your own paper, Sarvisberry Studio and Gallery, Floyd, VA, raphy, and other media. incorporating decorative elements, and bind it (540) 745-6330, www.sarvisberry.com. Experi- into a hardcover book. ence handmade paper in the heart of the Blue Woodwalk Gallery, Egg Harbor, WI, (920) Ridge Mountains. Simple Paper Sculpture, April 8 & 15, with Beth 868-2912, [email protected], www.Wood Parthum. Cast abaca sheets over various objects, Open Studio Days, call for schedule. Make your walkGallery.com. Classes in handmade paper creating forms for a sculpture collage. own paper and work on personal projects. and natural materials. Personal Geographies, April 16 & 23, with Seastone Papers, West Tisbury, Martha’s > more classes and workshops at Gretchen Schermerhorn and Sabeth Jackson. Vineyard, MA, (508) 693-5786, www.seastone- newsletter.handpapermaking.org/listings.htm Learn to prepare and pigment pulp, pull papers.com. Scheduled classes, open studio, sheets, and incorporate decorative elements, and private workshops in hand papermaking, creating a personal relief map. surface design, and book arts. For further > EVENTS Introduction to Western Papermaking, April 30, information, email Sandy Bernat at sandy@ with Laura Kinneberg. Discover the basics of seastonepapers.com. Southern Graphics Council International will Western papermaking, from preparing pulp to hold its annual conference in Saint Louis, pressing and drying. Southwest School of Art, San Antonio, TX, Missouri, this year on the campus of Wash- (210) 224-1848, www.swschool.org. Classes at ington University from March 16-19. Events Robert C. Williams Paper Museum, Atlanta, GA, the Picante Paper Studio open to all. Individual of interest to papermakers include the panel (404) 894-5726, http://ipst.gatech.edu/amp/. papermaking classes can be scheduled for one “Papermaking: Why We Don’t Play Close to the Teachers’ Japanese Papermaking Workshop, June person or a group; please contact Beck Whitehead at [email protected] for more informa- Vest” featuring Anne Queeney McKeown, 20-24, with Berwyn Hung. Learn all aspects of Michelle Samour, Beck Whitehead, and the Japanese papermaking process, includ- tion. Studio time, consultation and instruction available most Tuesdays, Wednesdays, and select chaired by Lynn Sures; the demonstration ing building a sugeta and learning Japanese “Pulp Painting and Beyond” including John bookbinding. Saturdays with Beck Whitehead. The Southwest School of Art will add a BFA program, beginning Babcock, Shannon Brock, Joan Hall, Lois James, Anne Queeney McKeown, Michelle San Francisco Center for the Book, San Fran- with a freshman class, in the Fall of 2013. cisco, CA, (415) 565-0545, www.sfcb.org. Book Samour, Peter Sowiski, Lynn Sures, and Beck arts classes and events year-round. Wisconsin Center for Book and Paper Arts, Whitehead; and Open Graduate Studios, Madison, WI, (608) 284-8394, wcpaperarts@ including work in papermaking by Master of Pastepapers, April 15, with Leigh McLellan. hotmail.com. Offering tutorial programs in Fine Arts students. For further details, visit Create colorful, vibrant patterns by covering hand papermaking and decorative papers. http://sgci2011.sam foxschool.wustl.edu/.

As the home of an Interdisciplinary MFA in Book and Paper, CBPA is invested in fostering the production of art that explores the creative potential of printing, papermaking, and bookbinding. In support of this mission, we teach workshops, produce exhibitions in our gallery, sponsor artist residencies, host conferences, publish artists’ books and JAB, The Journal of Artists’ Books, a periodical dedicated to critical inquiry.

NOW AVAILABLE: Marilyn Sward: Speaking in Paper (©2010)

This important catalog documents the first retrospective exhibition for Marilyn Sward, visionary advocate for papermaking and true pioneer in the field. The full color publication features essays by Jeff Abell, Tom Bannister, Audrey Niffenegger, Pamela Paulsrud, and Steve Woodall. $25; Includes shipping and handling; To purchase, call 312.369.6630.

Center for Book & Paper Arts 1104 S. Wabash Avenue, 2nd floor Chicago, IL 60605 www.bookandpaper.org • 312.369.6630

0 Hand Papermaking Newsletter HAND PAPERMAKING publishes a series of limited-edition portfolios, each on a different theme, showcasing distinctive handmade papers. The papers are protected in imprinted folders and described in a handbound booklet; each set of papers reside in a custom clamshell box. Editions limited to 150, selling for $595 plus postage ($15 US, $35 elsewhere). Innovative Printmaking on Handmade Paper The Art of Pulp Painting • Calligraphy and Handmade Paper Handmade Paper in Motion Ask about standing order discounts. To order or view images Gallery & Studio and complete prospectus, visit www.handpapermaking.org

Photography and papermaking studio, working with natural fibers, botanical objects, …certain to become a standard reference for and salvaged items conservators, curators and librarians, collectors, and anyone else with an interest in nineteenth- century works on paper. —Timothy Barrett

From the Hand to the Machine Nineteenth-century American paper and mediums: technologies, materials, and conservation by Cathleen A. Baker To order this book & other titles published by The Legacy Press, visit http://www.thelegacypress.com/

(0%266('3$3(56 +DQG3ULQWHG(PERVVHG3DSHUEMBOSSED PAPERS IRUWKH*UDSKLFDQG%RRN$UWV 0DUJDUHW$KUHQV6DKOVWUDQGHandprinted a VDKOVWUDQG#IDLUSRLQWQHW Embossed Paper Sample Book $9.00 +LJKZD\(OOHQVEXUJ:$WHOID[ Margaret Ahrens Sahlstrand Rt. 4, Box 279 Ellensburg, WA 98926 USA 509 / 964 2341 ICOSA STUDIO and PAPERMILL The Paperwright Britt Quinlan, Owner A paper making supply business providing Canada and the United States with papermaking kits, pulps, fi bres, moulds and equipment, pigments, workshops, handmade papers and bookbinding supplies. We specialize in custom built wove Sarvisberry Gallery & Studio and laid molds and personalized service for our clients. 174 Sarvisberry Lane, SW, Floyd, VA International orders are welcome. www.sarvisberry.com [email protected] 540 -745-6330 (By appointment only) Call 613-440-0580 or e-mail [email protected] or visit www.paperwright.ca

april 2011  Southern Graphics Council International will PBI 2011 will be held at Ox-Bow, in Saugautck, Touch: Beyond Sight, an exhibition of work hold its annual conference in Saint Louis, Michigan, May 16-27, with classes taught by designed to be experienced through touch, is on Missouri, this year on the campus of Wash- Carol Barton, Jean Buescher Bartlett, Denise view at the Noyes Museum of Art in Oceanville, ington University from March 16-19. Events Carbone, Andrea Dezsö, Ann Frellsen, Nancy New Jersey, through May 22, with an opening of interest to papermakers include the panel Levitt, Bridget O’Malley, Julia Miller, John reception on March 4. The exhibit includes eight “Papermaking: Why We Don’t Play Close to the Townsend, and Martin Vinaver. See www sculptures in handmade paper by Carol Cole. For Vest” featuring Anne Queeney McKeown, .paperbookintensive.org for all the details. more information, visit www.noyesmuseum.org. Michelle Samour, Beck Whitehead, and chaired by Lynn Sures; the demonstration The International Association of Hand Paper- Two concurrent installations in handmade “Pulp Painting and Beyond” including John makers and Paper Artists will convene again in paper, featuring work by Rie Hachiyanagi Babcock, Shannon Brock, Joan Hall, Lois 2012, October 17-21, in a joint meeting with the and Tatiana Ginsburg will be on view at Open James, Anne Queeney McKeown, Michelle Friends of Dard Hunter at the Morgan Conser- Square in Holyoke, Massachusetts, through Samour, Peter Sowiski, Lynn Sures, and Beck vatory in Cleveland, Ohio. See more details as April 11. Rie Hachiyanagi’s installation is Whitehead; and Open Graduate Studios, the congress evolves at www.iapma.info. including work in papermaking by Master of entitled “Paper City: Trace” (in the fourth floor Fine Arts students. For further details, visit The Newport Paper Arts Festival happens April gallery) and Tatiana Ginsberg’s work (in the http://sgci2011 .samfoxschool.wustl.edu/. 15-17. For more information and to register second floor gallery) is called “La Perouse’s Last Letters.” For directions and further infor- The Friends of Dard Hunter will hold regional contact: PO Box 1315, Newport, OR 97365, or call (541) 265-6569, or visit www.coastarts.org mation please visit http://opensquare.com or meetings in October 2011 on the East Coast, call (413) 532-5057. West Coast, in the Midwest, and in England. The and click on Visual Art Center. Friends of Dard Hunter is an organization that Paper Work: In, On, and Of Paper V opens connects and educates hand papermakers world- > EXHIBITS March 11 at The Foundry Art Centre in Saint wide, welcoming everyone, at any level of skill or Charles, Missouri. This juried exhibition knowledge, as learning about paper is a lifelong Helen Hiebert’s Mother Tree installation, com- features art that utilizes paper as its main pursuit. For information on this conference as bining handmade paper forms with crochet component. There will be an opening recep- details develop visit www.friendsofdardhunter tion March 11, and the exhibition runs through .org. In 2012 the Friends of Dard Hunter will elements, is on view in the Philadelphia area as part of Process and Product, a national April 29. Visit www.foundryartcentre.org or hold a joint meeting with the International Asso- call (636) 255-0270 for details. ciation of Hand Papermakers and Paper Artists invitational exhibition of book art, handmade paper, and print work at Cheltenham Center at Morgan Conservatory in Cleveland, Ohio. Uncommon Threads: The Fiber Show at Art- for the Arts. Evidence of the artists’ process is works Gallery in Trenton, NJ, is on view March Focus on Book Arts announces its biennial on display alongside the finished pieces. The 19 through April 16, with an opening reception conference, June 22-26, at Pacific University in exhibition runs through April 4. For more on March 19. The exhibition includes work in Forest Grove, Oregon. See www.focusonboo- information, visit www.cheltenhamarts.org or handmade paper. Visit www.artworkstrenton karts.org to preview course offerings, lectures, call (215) 379-4660. .org for further information. and other activities.

the Papertrail H������� P���� � B��� A��� Papermaking Supplies Raw Fibre – Dry Pulp – Additives Pigments – Equipment – Books Marbling and Bookbinding Supplies Methocel – Inks – Equipment – Books Board – Sewing Supplies – Binding Posts Call, write, or e-mail for your free catalogue 1450 Bridge Street, PO Box 484 New Dundee, Ont, Canada N0B 2E0 1-800-421-6826 Fax 1-519-884-9655 [email protected] h�p://www.papertrail.ca

 Hand Papermaking Newsletter april 2011 3 Hand Voice and Vision: Artists’ Books from The University of Iowa Center for the Book is episode on the shore of Widgeon Cove where Women’s Studio Workshop, curated by Kathy proud to announce the offering of an MFA de- sheets are made using a floating mould. To Walkup, is the most comprehensive exhibition gree in the book arts, beginning Fall 2011. This order the DVD, request show #213 from www of WSW’s books to date. It will travel through interdisciplinary program will study the art of .incrediblemaine.com or call (207) 798-6535. 2013 to venues around the country, including the book, both as a hands-on practice and as a University of Southern Maine (March 15 - April historical and cultural phenomenon. Emphasis Paper Art I - 173 International Paper Artists 30), Smith College (September 6 - December areas will include papermaking, printing, is a new book featuring the work of members 20), Vassar College, and Scripps College. More digital bookwork, calligraphy, bookbinding, of IAPMA (International Association of Hand about the exhibition, catalogue and related events artist bookwork, and supporting coursework in Papermakers and Artists). More information, can be found at www.handvoicevision.com. the history of the book. For more information, including images, can be found at www.iapma visit http://book.grad.uiowa.edu/ or call .info, or by contacting [email protected]. Korean-American Joomchi includes artworks (319) 335-0447. Did you miss last year’s Friends of Dard made by renowned Korean paper artists, Hunter conference in Tennessee? Take a look along with traditional Joomchi works. Curator Minnesota Center for Book Arts now offers two at these video hightlihts... http://www.youtube Jiyoung Chung has introduced the Joomchi Book Arts Certificate programs of study, begin- .com/watch?v=KU282gomsMc art form to the United States by teaching art- ning January 2011, to recognize dedicated adult ists and fine arts students. The exhibit is now students who complete significant coursework in the book arts and demonstrate knowledge If you enjoyed the article in Hand Papermak- traveling in Korea to “With Artists Founda- ing’s Winter 2010 issue about the Pulp Paint- tion Gallery” in Haeyirl Culture Village and and proficiency across book arts disciplines, including hand papermaking, binding, printing, ing Symposium at Southwest School of Art, to the Cheongju Craft Museum. Chung will look for the two-hour documentary film to be have solo Joomchi exhibitions and workshops and design. The Core Certificate in Book Arts is designed to recognize the achievements of relased soon. Watch the trailer at in England, Finland, and Australia in 2011 http://vimeo.com/20146199 and 2012. Visit http://handsofkorea.com for a student who has attained a broad knowledge further information. in the fundamentals of book arts, as well as a more in-depth understanding in one or more > MISCELLANEOUS The Gallery at the Paper Circle in Nelsonville, areas or techniques. Students must complete a uniform Core Curriculum, as well as a number Ohio will feature the work of paper and book Papermaking moulds are beautiful and have of elective courses within defined categories. artist Eileen Wallace during the month of May. been the defining tool for the craft for the last After earning the Core Certificate, one may pur- For more information and gallery hours, visit two thousand years. For the last year Simon www.papercircle.org or call (740) 753-3374. sue an Advanced Certificate in Book Arts. The Advanced Certificate is designed to recognize Green has been photographing his extensive and support the work of individuals who choose collection of papermaking moulds and is Michelle Samour will be having a one person now posting them to http://papermoulds exhibition, “Truth and Transience,” at the to seriously pursue advanced-level independent .typepad .com/. There are very few collections Houston Center for Contemporary Craft, projects in one or more areas of book arts. For of moulds in the world and, although a few 4848 Main Street, Houston, TX 77002; more information, visit www.mnbookarts.org or www.crafthouston.org. It will run from call (612) 215-2520. moulds are on display in paper museums, the March 25 until May 15. main collections are not generally accessible to Artists experienced in papermaking are invited the public. to apply for the opportunity to spend up to > CALLS FOR ENTRIES three months working in the Paper Studio at Mary Hark, artist and Assistant Professor at the the Southwest School of Art & Craft. Artists University of Wisconsin-Madison, was one of The tenth portfolio in Hand Papermaking’s are expected to provide their own transporta- four individuals awarded the 2010 GO Inge- tion and materials. Housing may be available, limited-edition series—Handmade Paper: nuity Award, for her work in Kumasi, Ghana. but is not guaranteed. Collaborations will be Fiber Exposed!—will spotlight a broad The award celebrates innovation and enables considered. For further information contact recipients to share their skills with young range of paper fibers, and the unique SSAC, 300 Augusta, San Antonio, TX 78205, people in developing nations. In collaboration qualities inherent in a sheet when fiber is (210) 224-1848, www.swschool.org. expertly manipulated by the papermaker. with local artists and educators, Mary helped es- Read the Call for Entries at http://portfo tablish a local income-generating papermaking lios.handpapermaking.org/no10 and note > PUBLICATIONS AND VIDEOS enterprise that makes use of invasive plant the entry deadline of August 15, 2011. fibers. This award will support ongoing engage- A short film from 1976 featuringHayle Mill, ment of youth at this paper studio.

> OPPORTUNITIES made by Anglia TV and describing all the processes in making fine paper including a Correction… We regret an error in the photo section devoted to making and fitting a water- caption on page 35 the Winter 2010 issue of The Fabriano, Italy, Paper/Print/Book Inten- mark to a mould, is viewable at www.youtube Hand Papermaking magazine. Padma Nambisan sive will take place June 14-29, 2011. Pyramid .com/watch?v=Xs3PfwOItto. appears at the far right (not left) in the photo. Atlantic Art Center will sponsor the course, led by artist Lynn Sures in conjunction with Pulp-Based Computing is a project affiliated Giorgio Pellegrini of the Museum of Paper and with MIT’s Media Lab that involves embedding > CLASSIFIEDS Watermark, Fabriano, Italy. The course will electro-active inks, conductive threads, and offer students two weeks of intensive study at smart materials directly into paper during the Classifieds in the Hand Papermaking Newsletter the Museum with time to enjoy the beautiful hand papermaking process. For a short video cost $2 per word, with a 10-word minimum. Marche region. Traditional Italian book arts of the process, and a bibliography, visit Payment is due in advance of publication. topics covered will be papermaking, water- http://web.media.mit.edu/~marcelo/paper mark-making, intaglio printmaking, marbling /index.html. Little Critter Hollander Beaters, sized from and leather binding. Instruction will be given 3/4# to 10# capacity. Contact Mark Lander, by noted Italian masters in these techniques. Maine Public Television recently broadcast 51 Hodgsons Rd, RD2, Rangiora 7472, For photos of last summer’s trip, visit www. a half-hour segment of Incredible Maine that New Zealand; ph 0064 3 3103132; email lynnsures.com and go to “Workshops.” To regis- featured the papermaking and pulp painting [email protected]. ter, contact Jose Dominguez, Director of Pyramid of Georgeann Kuhl. The host visits the artist’s Atlantic Art Center at jdominguez@pyramid-at studio, where techniques are demonstrated and Cotton Linter Pulp. All quantities available. lantic.org. The registration deadline is April 1. finished work is described, and wraps up the Call Gold’s Artworks, Inc. 1-800-356-2306.

4 Hand Papermaking Newsletter april 2011 5 > SPECIAL THANKS

Hand Papermaking would like to thank in Dolan, Drachen Foundation, Linda Draper, Gitomer, Jean Gumpper, Susan Hersey, Joan the following people and organizations who Karla Elling, Cynthia J. Fay, Kathy Fitzgerald, Kopchik, Fran Kornfeld, Deborah Sharpe- have made direct contributions to further our Rose Folsom, Jennie Frederick in memory of Lunstead, Joe Sites, Bonnie Stahlecker, Susan mission. As a non-profit organization, we rely Vivian Frederick, Sara Gilfert, Lori B. Good- Stewart, Monica Villars, Robert Walp. on the support of our subscribers and contribu- man, Guild of Papermakers, Robert Hauser, In-Kind: Adobe Systems Inc., Zina Castañuela, tors to continue operating. All donations are Linda L. V. Illgner, Lou Kaufman, Ann Marie Janet DeBoer, Gail Deery, Paul Denhoed, greatly appreciated and are tax deductible. Kennedy, David Kimball, Karen Kunc, Barba- Jim Escalante, Peter Ford, Hook Pottery Call or write for more information on giving ra Landes, Roberto Mannino, Joyce McDan- Paper, Rick McSorley, Microsoft Corporate levels and premiums. iel, Julie McLaughlin, Dennis Morris, Nancy Citizenship, Britt Quinlan, Amy Richard, Pobanz, Pyramid Atlantic, Brian Queen, USDA Beltsville Agricultural Research Benefactors: Anonymous, Timothy Barrett, Harry & Sandra Reese, Dianne L. Reeves, Center, Gibby Waitzkin, Beck Whitehead. Gibby Waitzkin. Patrons: Tom Balbo, Sid Carolyn A. Riley, Michelle Samour, Mary C. Founding Contributors to the Hand Papermaking Berger & Michèle Cloonan, Jeffrey Cooper, Schlosser, Betty Sweren, Claire Van Vliet, Endowment: 49er Books, Shirah Miriam Barbara Lippman, David Marshall, John L. Anna Velez, Aviva Weiner, Paul Wong & John (Mimi) Aumann, Cathleen A. Baker, Tom Risseeuw. Underwriters: Michael Durgin, Colella, Therese Zemlin. Supporters: Annie Balbo, Timothy Barrett, Sidney Berger & Peter Newland & Robyn Johnson, Gordon & Alexander, Lois D. Augur, John Babcock, Michele Cloonan, Tom & Lore Burger, Jeffrey Roswitha Smale, Nancy & Mark Tomasko, James Barton, Inge Bruggeman, Bob & Cooper, Jeanne M. Drewes, Jane M. Farmer, Beck Whitehead, Pamela & Gary Wood. Annie Cicale, Nancy O. Daley, Martha Duran, Fifth Floor Foundation, Helen Frederick, Sponsors: Cathleen A. Baker, Tom & Lore Ted Gast, Tatiana Ginsberg, Eve Ingalls Von Sara Gilfert, Susan Gosin, Joan Hall, Lois Burger, Greg Campbell, William Dane, Gail Staden, Sally Wood Johnson, Kristin Kava- and Gordon James, Sally Wood Johnson, Deery, Jane Farmer, Fifth Floor Founda- nagh, Joyce Kierejczyk, Betty L. Kjelson, Hedi David Kimball, Elaine Koretsky, Karen Kunc, tion, Helen Frederick, Helen Hiebert, Lois Kyle, Anita Liebeskind, M. P. Marion, Edwin Barbara Lippman, Winifred Lutz, Susan & Gordon James, Mary Lou Manor, Andrea Martin, Linda Mcneil, Kathryn Menard, M. Mackin-Dolan, David Marshall & Alan Peterson, Margaret Prentice, Kimberly Margaret Miller, Catherine Nash, Patricia L. Wiesenthal, Peter Newland Fund of the Schenck, Richard H. Schimmelpfeng, Eileen O’Neal, Mary O’Shaughnessy, Elspeth Pope, Greater Everett Community Foundation, Wallace. Donors: Patricia M. Anderson, Eric Timothy Ray, Carolyn A. Riley, Robbin Ami Margaret Prentice, Preservation Technolo- Avery, Carol J. Blinn, Carla A. Castellani, Silverberg, Allan Thenen, Sue Tihansky, April gies, L.P., Michelle Samour, Peter Sowiski, Codex Foundation, Nancy Cohen, Rona Vollmer, Women’s Studio Workshop, Kathy Marilyn & Steve Sward, Gibby Waitzkin, Tom Conti, Wavell Cowan, Paula Cox, Jennifer Wosika. Friends: Anonymous, Gerry Brock, Weideman, Beck Whitehead, Paul Wong & Davies, Burgess A. Dell-Wilson, Susan Mack- Carol Cole, Dale Emmart-Lieberman, Arlene John Colella, Pamela & Gary Wood.

HAND PAPERMAKING

Hand Papermaking celebrates its 25th anniversary in 2011 with a special publication featuring paper samples from 25 renowned papermakers: Amanda Degener, Kathryn and Howard Clark, Richard Flavin, Helmut Becker, Anne Vilsboll, Susan Gosin, Margaret Sahlstrand, Asao Shimura, Neil Bonham, Margaret Prentice, Katie Macgregor and Bernie Vinzani, Beck Whitehead, Tim Barrett, Mark Lander, Peter Thomas, Karen Stahlecker, Beverly Sky, Tom Leech, John Risseeuw, Elaine and Donna Koretsky, 
Helen Hiebert, Paul Denhoed, Helen Frederick, Roberto Mannino, and Steve In 2011 Hand Papermaking Miller. This book of samples features a plans to party! Celebrations are taking place worldwide in letterpress-printed cover commissioned homes, studios, and galler- from one of four distinguished mills. ies. These “surprise parties” “Hand Papermaking 25” sells for $65 per are a grassroots effort to connect with old friends and copy plus postage ($4 in North America reach out to newcomers. and $9 overseas). Or get four copies with Watch your mail for invi- four different covers for $200 postpaid. tations to parties near you Order at www.handpapermaking.org and see the full lineup at events.handpapermaking.org or call (301) 220-2393 or mail payment to and join the fun at facebook P.O. Box 1070, Beltsville, MD 20704. .com/handpapermaking

6 Hand Papermaking Newsletter