Ed 440909

DOCUMENT RESUME
ED 440 909 SO 031 615
AUTHOR Vickerman, Kathrine D.

TITLE Papermaking: Then and Now. A History of Hand Papermaking
from Its Beginning, Plus a Process for Using Natural Fibers
To Make Paper.
PUB DATE 1995-00-00
NOTE 93p.; Photographs by Lyssa O'Riley.
PUB TYPE Guides Non-Classroom (055) -- Reports Descriptive (141)
EDRS PRICE MF01/PC04 Plus Postage.
DESCRIPTORS Art Education; Art History; Elementary Secondary Education;
*Handicrafts; *Paper (Material)
IDENTIFIERS Applied Arts; *Grasses; Historical Background; Historical
Research; *Papermaking
ABSTRACT
In addition to a historic overview of papermaking, this book
explains the painstaking process of papermaking and details the results of
actually making paper from samples of grass gathered from Arizona to
;:ianesota, and Maine to California, including 11 sL.a;:es ana :iimates. The
book describes how to teach papermaking and offers a list of equipment
suppliers as resources for help getting started. A study of the effects of
rainfall and altitude on the grasses used in making paper was conducted. The
handmade paper shown in this book is only an example of what can be
accomplished. Since there are so many different varieties of grass, this
project has only scratched the surface of the potential for decorative paper
made from grasses. The book is divided into the following sections: (1) "The
Beginning of Papermaking"; (2) "Renaissance of Hand Papermaking"; (3)
"Chemistry of Hand Papermaking"; (4) "A Little Bit about Grasses"; (5)
"Papermaking from Grasses"; (6) "Papermaking Results"; and (7) "Teaching Hand
Papermaking." (Contains 25 resources and 13 relevant Web sites.) (BT)
Reproductions supplied by EDRS are the best that can be made

from the original document.
Papermaking:
Then and Now
Kathrine D. Vickerman
Cr)
O PERMISSION TO REPRODUCE AND
DISSEMINATE THIS MATERIAL HAS
BEEN GRANTED BY
U.S. DEPARTMENT OF EDUCATION
Office s Educational Research and Improvement
EDUCICfIONAL RESOURCES INFORMATION
CENTER (ERIC)
This document has been reproduced as
received from the person or organization
Kak wine. D. originating it.

Minor changes have been made to
i_c_Key_mfora improve reproduction quality.
TO 1%DUCATIONAL RESOURCES Points of view or opinions stated in this

INF MATION CENTER (ERIC) document do not necessarily represent
1 official OERI position or policy.
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2
Papermaking:
Then and Now
A history of hand papermaking from

its beginning, plus a process for
using natural fibers to make paper.
Kathrine D. Vickerman, MA
Photographs by
Lyssa O'Riley
3
Papermaking: Then and Now
Table of Contents
Acknowledgments
Introduction ii
The Beginning of Papermaking 1
Renaissance of Hand Papermaking 19
Chemistry of Hand Papermaking 23
A Little Bit About Grasses 29
Papermaking from Grasses 31
Papermaking Results 34
Teaching Hand Papermaking 77
Bibliography 82
Papermaking Equipment Suppliers 85
4
Acknowledgments
Yes, this book is about making paper by hand but it also covers a lot more. It
reflects institutional support of employees and the cooperation of departments working
together. I believe this book reflects the cooperation of family and friends. It projects a
variety of interests of many people. And, hopefully, it will become a resource for paper-
makers in the future.
Basically, projects like this cannot happen without help from many sources. In
this case, I owe a great amount of gratitude to the Idaho State University Professional
Development Committee for selecting my proposal. I also owe a large amount of grati-
tude to the Director of Academic Outreach, Karen Skinner, for supporting my profes-
sional leave. And my co-worker, Susan Williams, for taking up the slack in my absence.
Eternal gratitude to Barbara Twomey for the time spent gathering grass through-
out the southwest and to both the Twomeys for the use of their vehicle. And to the many
others that gathered and brought grasses to meCarol and Gary Speer, Deanna and
LeRoy Schwartz, Fairfax O'Riley, Greg and Doug Vickerman, Diane Peterson, Renee
and Dan Galliher. Thank you Madison and Kason Twomey for the lessons in economics
and for making the trip so enjoyable.
A special thank you to Marjorie Slotten, who not only helped gather grass, but
also performed herculean efforts to edit the book. And also thanks to ISU professor
emeritus Karl Holte who, with great patience and understanding, helped me identify
many of the grasses gathered.
The wonderful photographs were taken by Lyssa O'Riley. This book would not
be nearly as exciting without her work, time, and energy. When she agreed to be the
photographer, I realized this project would really be a success.
Thank you to all,

Kathrine Vickerman
5
Introduction
In addition to an historic overview of papermaking, this book explains the painstaking

process of papermaking and details the results of actually making paper from samples of
grass gathered from Arizona to Minnesota and Maine to California 11 different states
and climates. The book goes on to describe how to teach papermaking and offers a list of
equipment suppliers to help the novice papermaker get started.
Through a Professional Leave funded by Idaho State University, a study of the effects of
rainfall and altitude on the grasses used in making paper was conducted. By traveling
throughout the United States and by coercing friends and relatives to bring samples of
grass, 30 different samples were taken. Each sample was 1 - 2 pounds of raw fiber
(grass) to be processed as described in pages 31-70 to end up as sheets of paper.
The handmade paper shown in the book is only an example what can be accomplished.
Since there are so many different varieties of grass, this project has only scratched the
surface of the potential for decorative paper made from grasses.
ii
6
The Beginning of Papermaking
Paper, according to the Webster's Dictionary definition, is "a substance made in
the form of thin sheets or leaves from rags, straw, bark, wood, or other fibrous materials
for various uses." Dard Hunter (1925) qualified that description by stating that true paper
must be made from fiber that has been macerated until each individual
filament is a separate unit with the fibers intermixed with water, and by the
use of a sieve-like screen, the fibers lifted from the water in the form of a
type of stratum, the water draining through small openings of the screen
leaving a sheet of matted fiber upon the screen's surface. This thin layer of
intertwined fiber is paper.
Although Hunter's description of handmade paper is lengthy, it describes the process
which still remains much the same today.
Any attempt at understanding making paper by hand in today's world and the
influences of nature on the fibers used, will be augmented by researching papermaking
from the beginning. So, what do we think of in connection with paper? Material used
for writing or printing, of course. In other words, a means for conveying ideas and
thoughts. Was paper the first medium for doing this? No! Oral transmission was the
earliest method of handing down information from generation to generation. This was,
however, not a very satisfactory method of keeping the story straight.
In general, writing developed in three stages: pictographic writing, ideographic or
hieroglyphic writing, and phonetic writingfirst with syllabic signs and then with
alphabetic characters. Although no exact date can be given for the development of
writing, it can be traced through Egyptian and Babylonian artifacts to at least 4000 B.C.
The first records of writing have been found on stone, clay, metal, wood, wax
tablets, ivory, leaves, bark, papyrus, and parchment. Engravings on stone have revealed
information about the early Chinese civilization and the Ten Commandments were said to
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be engraved on stone.
Hieroglyphics stamped on
clay tablets have produced
Fig. 1. Vattnan making a sheet of paper.
most of the history of Coacher bolding the mac& after couching the thee: on to the pile.
Chaldea, Babylonia, and

Assyria. The Greeks used
metal plates for their
engravings but the Romans
favored ivory. Other early
writing materials included
scraped leather and
parchment made from skins
of sheep and goats. The
papyrus plant produced the
closest approach to paper:
Many papyri have been
found in an excellent state
of preservation in the
ancient Egyptian tombs.
The Pisse is said to have
been written about 2500
B.C.
Those who write
about the history of
papermaking agree that it
was invented about 105 The vothoute of an old Chi note Paper.mil/.
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A.D. in China. The credit is generally given to Ts'ai Lun, a eunuch of the Imperial Court.
Lun's method of papermaking was based much the same as that of wasps. Wasps chew
plants to make their nests, producing a material much resembling paper. Lun suggested
the use of old silk garments, pulped and made into sheets to be written on with ink in
place of the bamboo tablets and stylus then in use. Whether he actually invented
papermaking or just reported it to the Emperor, Lun is honored in history for his role in
developing a material that revolutionized his country. Eventually Ts'ai-Lun was given
the honorary title, Marquis of Long-Ting, and the government gave him as salary, the
land tax and the crops of three hundred villages. Alas, fame and a place of stature was,
even then, hard to hold onto in China. As the story goes, Ts'ai-Lun got himself crosswise
with the next Emperor and poisoned himself.
Early Chinese paper appears to have been made from a suspension of hemp waste
in water; then washed, soaked, and beaten to a pulp with a wooden mallet. A paper
mould, probably a sieve of coarsely woven silk stretched in a four-sided bamboo frame,
was used to dip up the fiber slurry from the vat and hold it for drying. The sheets were
dried in an oven. Later a smooth material (probably finer woven silk) was used to cover
the mold which allowed the papermakers to free the newly formed sheet to dry on a flat
surface, usually the walls of their houses. This not only increased production of paper but
produced a much finer paper. The Chinese called their folded sheets a pan and the flat
sheets a fan. One hundred sheets of paper made a tao, five hundred sheets a to -tao.
Eventually, tree bark, bamboo, and other plant fibers were used in addition to hemp.
Documents found by Sir Aurel Stein at the Lop-Nor site in Turkestan show that
the Chinese quickly brought the art of papermaking to a high degree of perfection but
after the middle of the 8th century the quality of their paper rapidly deteriorated. The
oldest paper, about 151 A.D. was very thin, transparent, and of a very white color. In the
5th century the papers were all thick and of a dull buff color, while those of the latter half
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of the 6th and the 7th centuries were golden yellow and once again thin. Towards the end
of the 7th century the papers became more brittle and hard; the fibers were not so long
and the paper was more easily torn. By the beginning of the 8th century the paper was
thick, flabby, and of dull buff color with an uneven texture that gave a poor resistance to
ink. This deter- ioration in paper quality would indicate that good raw material became
harder and harder to find.
Although papermaking was a closely guarded secret in China for 500 years, thr
process migrated to Korea sometime around the 6th century A.D. Paper pulp in Korea
was prepared from fibers of hemp, rattan, mulberry, bamboo, rice straw, and seaweed.
Eventually a Buddhist monk, Dokyo, from Korea introduced papermaking to the
Japanese. Dokyo was chief physician and adviser to the Japanese Empress Shotoku. To
Shotoku's zeal for Buddhism the world owes its first certain and clearly attested record of
printing upon paper with wooden blocks. The Empress ordered the printing of a million
charms to be placed in a million tiny wooden pagodas in about 770 A.D.
As papermaking moved to
Japan, three plants were
discovered that produced thin
translucent papers of exceptional
quality. The first and most
common paper was made from
the inner bark of the mulberry
treecalled kozo. Later, gampi
and mitsumata were produced
from the inner fibers of small
shrublike plantsWitzstroemia
canescens and Edgeworthia
. itn oldJapanue Paper.mill showing all :Ix prima in operation.
5.
papyrifera. At first the Japanese used paper only for official records and documentation.
Washi is the Japanese word for paper. It does not stand for rice paper only, as has
been observed in Western thinking. Actually, rice had almost no place in Japanese
papermaking until the 17th century. Washi, to the Japanese, was a material and a medium
of expression, yet it was also an expression in itselfit occupied a place where man's
inner world and his external statements meet. Washi was more than experiencing a
special beauty. It was viewed as warm, tender, human, quiet. The Japanese added a
spirituality to hand papermaking, often using it for clothing and accessories. They
The valman making a 'beet of paper on the mould
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believed paper lived harmoniously with nature; their homes were never built without it.
The recorded Japanese attitude toward paper and papermaking support what Toale
writes in his book, The Art of Papermaking (1983). According to Toale, "the Japanese
believe that the beauty of paper lies in the suppleness, transparency, surface qualities, and
strength of the sheet." To
achieve this quality of
paper, the process was
laborious and time
consuming. Traditionally,
the plants were cultivated
during the spring and
summer, then papermaking
became a fall and winter
activity after plants were
harvested.
In 751 A.D. the

papermaking skill spread Bearing hozo pulp with wooden hammers or inallete.
via a war to Samarkand.

Samarkand was in
possession of the Turks, but two Turkish chiefs quarreled. The Turks of Ferghana
appealed to the Chinese for help against the Turks of Tashkand and between them they
subdued Tashkand. The neighboring Arabs did not approve of this and the Arab governor
of Khorasan made war against the Turks of Ferghana and defeated them, pursuing them
as far as the frontiers of China. In this pursuit they captured Chinese prisoners, some of
whom were papermakers. The prisoners were forced to divulge their trade secrets and
teach their craft to the Arabs.
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The Arabs called paper Kaghadh, a corruption of the Chinese name of Kak-dz.
Later they adopted the Persian word Kaghad for papera curious word also used by the
Indians modified to Kaghdi, which was derived from the word Kagh meaning noise.
This, perhaps, alluded to either the rustling sound made by paper or the noise of the
stampers or hammers of the paper mill.
The Arabs or Samarkandis made their paper from linen rags. Linen, which is
woven from flax and has fibers approximately one inch long, was the strongest Arabs
until the 17th century when cotton was introduced and mixed with it. No paper from
around the 10th and 11th century had any trace of cotton. It was made entirely of hemp
and flax, woven first into linen and used only after it had outlived any other purpose.
From Samarkand, papermaking spread to Bagdad in the 8th century and into
Damascus, Egypt, and Morocco by the 10th century. In Egypt, the seat of the
papermaking industry was Cairo. In 1437 there is mention of a paper market in
Damascus, where paper, pens, and ink were sold. Besides Damascus, the paper industry
flourished at Tiberias, Tripoli, Hama, and also Hieropolis.
According to official documents of Kashmire, papermaking was introduced into
the country by King Zanulabin (1420-1470). The King himself brought papermakers
from Samarkand and gave them facilities in Kashmir. Records show that he made a
special journey to Samarkand to get the papermakers, giving them lands in suitable places
in which to settle. Kashmir paper was for many years highly prized in India, being
largely, used in the court of Moghul Emperors. Four qualities of paper were usually
made:
1. Famashi, made from pulp containing two parts of hemp to every seventeen
parts of rag (linen). This paper was very fine, with a high glaze.
2. Dabmuchti, made from pulp containing three parts of hemp fiber to 117 parts
of rag.
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8.
3. Kalamdani, the paper in general use, contained no hemp and was usually sold
in the bazaars.
4. Rangamez, a colored, rough paper used for packing purposes.
India followed the example of most other countries in failing to hand down any
records of the early history of papermaking. Although very little is known of the early
history of papermaking in India, it is certain that many thousands of people were
employed in mills in various parts of the country. Their raw materials appear to have
consisted mainly of jute, hemp ropes, and rags. Most of the paper made in India was
used for account books by merchants and moneylenders. Records show that the Indians
never quite approached the Chinese or Japanese in skill as papermakers.
One account of the process used in India describes the paper made as very
inferior, made by very simple procedures. A shallow well eight feet in diameter and four
feet deep was dug; a block of hard wood inserted into the middle. A heavy hammer or
wooden beater was placed on the side of the well poised so that a man standing on its
center could move it up and down by lifting either leg, causing its head to fall on the
wooden block, beating into a pulp the materials used for papermaking. A second man
stood in the well to keep the materials to be beaten in the proper place. Apparently, the
Indians used anything they could get for paper, such as old cloths, old tents, and any other
available material. When rags were not available they used the bark of shrubs. After the
pulp was sufficiently beaten, it was mixed with a little quantity of water in reservoirs.
The workmen dipped their moulds (made of thin shreds of bamboo) into the vats,
removed the sheet of paper, and hung it up to dry.
For nearly 60 years, Great Britain put such restrictions on the making of paper in
India that it nearly died out. In 1882, John Lockwood Kipling, father of Rudyard
Kipling, protested the use of imported paper and the fact that the British required local
paper be sold at a much higher price, but to no avail. After World War II, however, all
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9.
restrictions on papermaking were lifted starting a revival of the traditional crafts which
Mahatma Gandhi had
launched in 1930.
The fact that it
took nearly 500 years
for papermaking to
reach Europe is not
too surprising. Early
paper was disfavored
by the Christian world
as a manifestation of
Moslem culture; a
1221 decree from the
The vatroom of a papermill at Fahriano in the middle of the 15th century. All the Amami
Pope declaredc'all are Chown in detail; the that king made on the mould; a thee: king couched on to the jilt ; boys parting
the than from the felts; men parting the than from each other; and the great pnwa.
official documents
written on paper were invalid. It does appear that papermaking was introduced in Spain
by the Moors who had mills at Zativa, Valencia, and Toledo about the middle of the 12th
century. Spain was probably the first European country to manufacture handmade paper.
The town of Zativa was an important center of paper manufacturing around 1144.
According to Clapperton (1980) "paper there was prepared as nowhere else in the
civilized universe, and was sent both East and West." However, on the fall of the
Moorish power, the industry passed into the hands of the less skillful Christians, who
made inferior papers.
Italy was probably the second European country in which papermaking was
practiced. The earliest evidence of papermaking shows that paper of excellent quality
was being made, and a large number of mills were firmly established for a good many
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years at Fabriano by 1270. According to dated documents, a paper mill there was given
to the monks of the monastery of Montefano by a certain Temperanze d'Albatuccio in
1278. In 1980 on this same site, one could see the enormous paper mills of the Cartiere
Pietro Miliani, one of the largest concerns in the world engaged in the manufacture of
handmade and machine made paper of every description.
Many of the Italian papermakers started to emigrate because of the great demand
for paper in foreign countries. The departure of so many of the craftsmen became such a
serious problem toward the end of the 14th century that several decrees were passed
prohibiting this emigration. Too late! Papermaking was on the move.
A very romantic story of the introduction of papermaking into France is as
follows: Jean de Montgolfier went to the Crusades and was unfortunate enough to be
taken prisoner, and to be kept confined for some years in the city of Damascus. In this
civilized and busy city he had ample opportunity for observing the Saracen arts and
crafts, and he became interested in their method of making paper. When he was released
from captivity he returned home to France, bringing with him a knowledge of the art of
papermaking and, thus, established the paper industiy in France.
Old records show that in 1190, Raymond, bishop of Lodeve, gave permission for
one or more paper mills to be constructed in the Herault region, on condition that an
annual quitrent of three measures of barley be paid to him.
Once the papermaking industry became established in France, trouble arose over
the difficulty of obtaining rags, the only raw material then in use. This trouble created
constant anxiety for papermakers and retarded papermaking in every country, almost as
soon as the art was started. Even in the early days in France, papermaking came under
government control. In 1398 the French papermakers at Troyes were diminishing the size
of their molds so the paper was reduced in size "about one good finger in width and
breadth," and were also counterfeiting the signs of one another. In order to control the
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thievery,
authorities ordered
that all papers
should be of
definite
dimensions, that
none should make
better paper than
the others, and that
each should have a
different sign with
which to sign his
paper. -"11111imappror
In 1799, the 141111111P'-
Frenchman,
Nicolas-Louis
Robert invented a
machine in which
the pulp was
delivered to an
endless traveling
wire cloth by a sort
An old German paper mill, from a 16th Century woodcut.
of revolving fan, Coortesp of lmol llot,Uvr roper ifuserim o' 31.1.T.
passed between
small squeeze rolls, and wound up in the wet condition in a roll. This was then removed,
the paper unwound, passed through press rolls, and hung up to dry. The rights to all the
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12.
machines were later acquired by Henry and Sealy Fourdrinier, who had financed and
promoted the machines. Thus, the new invention became known as Fourdrinier
Machines.
There is a great deal of conflicting information regarding the actual establishment
of the papermaking industry in Germany and the different dates given vary by as much as
70 years. Some writers claim that Cologne and Mayence had the earliest mills (about
1320). Others declare that Augsburg was the original place. The diary of the papermaker
who built and equipped the mill in Nuremberg shows definitely, however, that paper was
made during the 14th century there. This mill was established by Ullman Stromer,
probably a merchant, who in the course of his trading journeys to Northern Italy had seen
paper mills in operation.
Although paper seems to have made its first appearance in Holland during the
early part of the 14th century, it was imported from Italy and France. The first attempts
to manufacture paper in Holland were made towards the end of the 15th century, when
imported paper had deteriorated in quality and became difficult to obtain as a result of the
violent conflicts taking place in the Republic of the United Provinces. Also, this inferior
quality paper became very expensive.
The apparent founder of the papermaking industry in Holland in 1613 was a
Frenchman, Martin Orges. An inscription on his tomb says that he was 'the earliest
maker of paper in Guelderland.' However, the famous white papers of Holland which
made such a reputation for the Dutch papermakers of the 17th and 18th centuries were
made in the Northern districts. Holland's biggest mark in the papermaking industry
though, came with the creation of the Hollander Beater. This was the greatest advance in
papermaking that had taken place since the invention of the craft in China about 1500
years earlier. Up until this time, papermaking material had always been pulped by means
of stampers, a slow and costly procedure. The Hollander Beater revolutionized
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papermaking and was the first step toward the mass production of paper which was soon
to follow.
Papermaking came to England relatively late and was one of the results of the
Edict of Nates, published in France at the end of the 16th century, permitting the
toleration of Protestants. When the Edict was revoked, Protestants (many of them
Huguenot papermakers) fled for their lives from France to England.
Some records say the first English papermaker was John Tate, who established a
paper mill near Hertford about 1490. Paper made by Tate was used for a Bull of Pope
Alexander VI in 1494 and also for the supplement to it in 1495. Tate's paper was used for
an edition of Chaucer in 1498, and for de Word's edition of the Golden Legend. Tate's
venture into papermaking, however, did not succeed.
Papermaking had to undergo a change that converted it from an Eastern writing
material to a Western material able to take the water-based writing inks made with ox gall
and lampblack. These substances had a somewhat acidic nature which permitted the use
of a quill pen without scratching up the surface of the paper. Thus, the English chose
macerated cotton or linen rags rather than raw vegetable fiber sized with glue to make
paper. Through sorting, cleaning, and processing, the rags were macerated into a pulp.
The pulp was then dipped to form sheets of paper. The sheets were stacked between
woolen cloths and squeezed to remove excess water and then dried. Many papermaking
ventures in England were not a success due to the scarcity of rags. Also, the English
papermakers failed to produce paper of sufficiently high quality to compete in the current
market.
Even though the English did not make superior paper and were not as successful
as some other countries, the following poem illustrates that they did have great
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admiration for the craft and recognized its worthiness. The following example is taken
from a lengthy Old English poem of around 20 stanzas written by Thomas Churchyard in
1588.
A DESCRIPTION and playne Discourse of PAPER, and the

whole benefites that Paper brings, with rehearsall and
setting foorth in Verse a Paper Myll built nere
Darthford, by an High Germaine, called
MASTER SPILMAN, Jeweller to the
QUEENES MAJESTIE.
When sence of man sought out what Science was,

And found each Art, through wit and study great,
Before long proofe could bring great thinges to passe,
In judging head did many a hammer beat:
But triall had, experience prooved good,
For practise skill, on certaine surety stoode:
Then ignorance blinde gave learned knowledge place,
So studious mine gaynde glory, wealth and grace.
I prayse the man that first did paper make,

The onely thing that sets all vertues forth:
It shoes newe bookes, and keepes old workes awake,
Much more of price than all this world is worth:
It witnesse beares of frendship, time and troth,
And is the tromp of vice and vertue both,
Without whose helpe, no hap nor wealth is won,
And by whose ayde great workes and deedes are done.'
i. Reprinted from a unique quarto pamphlet housed in the Bodeian Library, Oxford.
The migration of papermaking to America resulted from the immigration in 1690

of a Dutch papermaker, William Rittenhouse, his son, Klaus, and William Bradford.
Bradford later became New York's first printer and published the first newspaper in the
colonies. Rittenhouse established the first paper mill in America on the banks of
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Wissahickon Creek in
Germantown, Pennsylvania.
Rittenhouse's mill had a very
small capacity and a day's work
for three men might be 4.5
reams of newspaper, 20 x 30
inches. Thus, the mill might
produce annually from 1200 to
1500 reams of paper of all
sorts. Although this seems like laterite- otos early American papa -milt
a very small number, it should

be remembered that
newspapers were started only after 1700, and there was little correspondence and very
few books creating very little need for paper. This mill remained the only one in America
until around 1710. It should be noted that all paper was made by hand very much in the
manner employed by the ancient Chinese, except for minor improvements. The pulp was
placed in a dipping vat to which it was conveyed by buckets. The mould was dipped
almost vertically into the pulp, turned to a horizontal position and raised evenly, allowing
the pulp to collect on the bottom of the mould and the water to drain through. The excess
pulp was allowed to flow over the back portion of the mould, which was surrounded by a
removable edge or 'decide,' which acted like a fence to retain the pulp on the mould.
Inverting the mould onto papermaker's felt where the sheet would stay allowed paper to
be made much faster than drying on the mould.
Because Great Britain objected to the establishment of any business which would
interfere with her exports, the Stamp Act of 1765 was enacted. This was an attempt by
Great Britain to control papermaking in the colonies and keep colonists under British
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rule. The Stamp Act is said to have been a major contributing factor to the discontent of
the colonists and may have precipitated the Revolutionary War.
By 1810, however, there were at least 185 paper mills in the United States. Mills
began to spread throughout Pennsylvania and into the other colonies via fledgling
papermakers who trained at the first established mills. One mill supplied Benjamin
Franklin with large quantities of paper for his printing and publishing activities.
Throughout the first 150 years of papermaking in America, the crying need of the
papermakers everywhere was for rags, which were very hard to come by in sufficient
quantities to keep the mills going. The shortage was more acute in America than in
England. Judging by the appeals, resolutions of councils, advertisements in the press,
and proclamations, the papermakers did everything possible to encourage the saving and
collecting of linen rags. Apprehension about the supply of rags was evident in the
creativity of advertising. Apparently, it was thought that poetry might convince the ladies
to save, save, save.
Sweet ladies, pray be not offended,
Nor mind the jest of sneering wags;
No harm, believe us, is intended,
When humbly we request your rags.
The scraps, which you reject, unfit

To clothe the tenant of a hovel,
May shine in sentiment and wit,
And help to make a charming novel.
The cap exalted thoughts will raise,

The ruffle in description flourish;
whilst on the glowing work we gaze,
The thought will love excite and nourish.
Each beau in study will engage,

His fancy doubtless will be warmer,
When writing on the milk-white page,
Which once, perhaps, adom'd his charmer.
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Though foreigners may sneer and vapour,

We no longer forc'd their books to buy,
Our gentle Belles will furnish paper,
Our sighing Beau will wit supply.
A History of Lewis County in the State of New York (1860), p. 181FB Hough
Despite the creative advertising, colonial papermakers faced a persistent shortage

of raw material. Paper at that time was made from cotton, linen, and hemp; the primary
source for these fibers was clothing. The frugal colonists, however, mended their clothes
and wore them for very long periods of time. They were not in the habit of discarding
their clothes for collection. The entreaties became official appeals by the colonial
government once it was realized the shortage was critical. Alas, neither money nor
patriotism could produce what was in short supply. Not only were rags scarce, they were
generally in poor condition. Added to the poor condition of the rags was unfiltered water
in the stamper, often laden with a variety of foreign matter. The resulting paper made by
American papermakers was brown or dark in color, displaying a rage of impurities.
The first machine to make a continuous roll of paper was invented by the
Frenchman Nicholas-Louis Robert and when it was imported to America commercial
papermaking exploded. In 1809, amid great secrecy, Thomas Gilpin built the first
cylinder machine in America at Brandywine Creek, Pennsylvania. It produced a sheet 30
feet wide at a rate of 60 feet per minute. The first Fourdrinier machine in the United
States was imported from England in 1829 and erected in Saugerties, New York. The
second was built in Connecticut by a mechanic, George Spafford, and his friend, James
Phelps.
Because of the scarcity of rags, American papermakers began experimenting with
alternative raw materials as early as the 1790's. Fibers tested included tree bark, bagasse,
straw, cornstalks and finally woodpulp. It was not until 1844 that the groundwood
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18.
process came into being when Charles Fenerty of Halifax, Nova Scotia, created a sheet of
paper to prove that wood could be reduced by a chafing machine and manufactured into
paper. That same year in Germany, Keller patented a woodpulp grinding machine which
he sold to Henry Voelter, who improved it by 1847. The Pagenstecher brothers imported
two Voelter grinders and set up for business in Curtisville (now Interlaken),
Massachusetts in 1867. This was the first commercial groundwood mill in the United
States. Their first sale of pulp was to the Smith Paper Company of Lee, Massachusetts,
at 8 cents per pound.
Although the Pagenstecher brothers did not establish the first commercial
groundwood mill until 1867, experimentation on processes began much earlier. There
were three chemical processes for reducing wood to pulp. The first was the soda process,
developed in 1851 by Hugh Burgess and Charles Watt who secured an American patent in
1854. The first mill to use this process was built on the Schuylkill River near
Philadelphia in 1855.
The second chemical method for pulp making was the sulfite process invented by
Benjamin C. Tilghman. An improvement of this process was used by the Richmond
Paper Company, built in 1882 at East Providence, Rhode Island.
The third chemical process for the preparation of fibers from wood was developed
by Dahl in Germany in 1883. Other processes have been developed but these three
processes account for the bulk of papermaking fibers in commercial production.
The 19th century saw more changes and progress in the paper industry than took
place during all preceding time since the inception of the art in China. The foremost
changes of this era were the development of the paperpulp machine and the use of wood
and other fibrous materials as substitutes for rags. The modern paper mill is a highly
complex industrial facility. Although the principles of papermaking have not
fundamentally changed for many years, a papermaker from Imperial China or pre-
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19.
industrial Europe would be hard pressed to recognize his craft among all the equipment
of a modern mill. The increased use of paper products required commercial production.
Thus, handmade papermaking began a steady decline and nearly died out completely in
the late 19th and early 20th century.
Renaissance of Hand Papermaking

The world of hand papermaking may never have surfaced again except for the
dedication of one man. Dard Hunter, foremost authority on the history of papermaking,
devoted his life to researching, collecting, writing, and publishing the world's history of
hand papermaking and printing. In his book, Pioneer Papermaking in America (1952),
Hunter states;
When the paper-machine came into use in this country, the hand moulds,
both plain and watermarked, were eventually cast aside as having served
their purpose. The discarded moulds were soon adapted by the nearby
farmers for use in sifting grain and many of the moulds were worn out and
destroyed in this commonplace service.
To counteract the decline of hand papermaking, Hunter spent his life researching
historical methods, wrote two books, and established his own hand papermaking mill on
the Salmon Fells Kill, Lime Rock, Connecticut. By the time of his death in 1966, he was
credited with a renaissance in hand papermaking that has since seen continual growth.
Both traditionally and historically paper has been used for practical purposes, first
to record current events and then as a way to disburse information. The renaissance of
handmade paper was advanced even more during the 1950's and 1960's when it began to
be used as an art medium. Douglass Morse Howell is credited as the major source of the
growth in awareness of paper's sculptural potential. Howell's original contribution was
to focus attention on the nature of handmade paper in terms of the structure of its making.
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20.
He concentrated on processing linen and flax for paper without adding chemicals, using
only water and the action of the Hollander beater. Howell was immersed in varieties of
ways of forming materials which led to an exploration of papermaking unrelated to
specific use. In other words, he simply wanted to see what would happen.
Most artwork in handmade paper is based to some degree on the premise that an
idea can be found or amplified by examining a material and discovering how it behaves.
The range of visual and tactile qualities possible through making paper by hand is
dramatic. There are three approaches to papermaking: manipulation, pulp making, and
metaphors in the procedures. Most emphasis is on manipulation of the paper pulp. There
is an array of techniques for patterning and coloring pulp, spraying, stenciling, pouring,
as well as adding embedments or layers of color, making embossments or casting
freehand.
Pulpmaking has been accorded less attention as a way of controlling the final
appearance of the work of art but once the pulp is made, alternatives proliferate. Casting
is one example of an alternative use of papermaking pulp. Most cast paper is made by
pressing prepared pulp, or by laminating small pieces of lightly pressed paper, into a
plaster or latex mould which then functions on its own as a bas-relief. Paper pulp can be
hand moulded or cast to assume almost any shape and size.
Many artists take inspiration from the pace and structure of papermaking
procedures. They say the transformation of the raw fibers through beating, the wave of
the pulp washing across the surface of the mould, the layering of sheets during couching,
and the rhythmic, cyclic nature of the whole enterprise are perceived as metaphors.
Contemporary artists are interested in using plant fibers for their work because the
fibers have unique properties like lustre, transparency, and great strength in very thin
paper. Artists have gone beyond the paper surface to manipulate the pulp into aesthetic
statements. This has resulted in the need for a broader spectrum of pulp qualities than
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offered by the use of rag pulps and a greater variety than is offered by wood pulp. It is
also important to note that plant fibers are more available than rag pulp and easier to
process than wood.
Truly, the Chinese method of making and finishing paper is the same as that
which is in use at the present time with only minor improvements in equipment. During
the long journey of the art from the Celestial empire to Europe, through Persia, Arabia,
Egypt, Morocco, and fmally to America, the quality of the paper deteriorated badly. Most
of the Arabic paper and all the European paper of the middle ages was much poorer in
color, texture, surface, and general writing quality than was made in China one thousand
years earlier. It is no wonder the art of hand papermaking gave way to industrialization.
However, a renewal of the attitude of ancient papermakers, to establish a rapport
with the pulp which brings to the paper a harmony and texture that is unobtainable in
machine paper, has become evident in the many papers used in sculptures and
bookmaking. Lee S. McDonald wrote that he had witnessed an evolution "beginning
with the revival of hand papermaking (almost a lost art) to papermaking concerns
expanding to embrace the ecosystem." In the making of paper by hand, no one sheet
must be like another, for the objective in the artistry of papermaking is not to make the
same paper time and again. Folding and bending of paper and the shaping of prints has
led artists to explore new fields with the side, front, and even the back of the paper
becoming important to the viewing of the work.
The methods and materials emphasized in the process of hand papermaking
possess the advantage of simplicity of equipment. They restore to the artist-craftsman a
wholeness of control and involvement in the process of papermaking, beginning with the
selection of raw plant materials, through appropriate methods of cooking and beating, to
casting and sheet formation. The visual and tactile qualities of papers made from plant
fibers are rich, diverse, and very distinctive. Variations of surface quality, sheet density,
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and subtle coloration add substantially to the palette of the papermaker. Hand
papermaking allows the artist-craftsman to use plant materials readily available in the
area of residence and work.
The revival of hand papermaking in this country has been paralleled by an
increased emphasis placed upon the book as a means of artistic expression. The
renaissance of papermaking over the last two decades with artists and writers printing
books on their own private presses has been phenomenal. Interest in small limited
editions has been contributed to the revival of many of the traditional crafts associated
with fine book production such as typesetting, bookbinding, and the handmade paper
used for books. The handmade paper book has become a particular creative challenge to
artists attracted by the intimate nature and direct involvement allowed by the
papermaking process. A limited-edition book, utilizing handmade paper in its
construction, is a book with its own character. For many artists the book presents an
opportunity for sculptural expression and handmade paper itself becomes the subject
matter.
In most countries of the Western world until the late 1950's, papermaking
survived only in museums as a thing of the past. In India, China, Burma, and Thailand it
was still alive, but barely. At present, only in Japan where a papermaker is deemed a
"Living Treasure" does he get the respect deserved. Today, thanks to the devotion of
Dard Hunter and others, hand papermaking has taken an upturn and there are several
small mills/studios located across the United States. They not only offer handmade paper
in many sizes and colors, but in addition, they sell supplies from raw fibers and prepared
pulp to papermaking equipment. In addition, most mills offer papermaking workshops to
increase their visibility. Thus, the art and craft of hand papermaking continues to
experience a growth in interest and production.
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23.
Chemistry of Papermaking
What an astonishing chemical factory is the living plant! Utilizing the energy of
the sun, it transforms inorganic materialsoxygen and carbon dioxide from the air,
minerals in the soil, and water into carbohydrates and also into chemically distinct
materials such as the oils of the olive and the flaxseed. Through its roots the living plant
absorbs water from the soil. Through microscopic pores in its leaves it takes in carbon
dioxide gas from the atmosphere. With the aid of chlorophyll, the green matter found in
all plants, and using the energy of the sun, water and carbon dioxide unite to form
carbohydrate units and oxygen.
Careful study of a mature flowering plant will show that it is made up of
structural elements of two kinds: fibers and cells which some say function much like
bricks and mortar. The fibers and cells are aggregated together into compound tissues.
The strength of paper made from plants is due to the strength and cohesion of the fibers,
which may be natural fibers or fractions thereof.
There are two distinct categories of fibers: raw unprocessed fibers and partly
processed fibers which can include ready-to-use pulps. Raw fibers are usually in the
form of long, loose strands and are classified according to their location in the plant.
These fibers require some kind of treatment, usually cooking in an alkaline solution to
remove non-cellulose impurities as well as beating to render them suitable for
papermaking. Bast or inner bark fibers, such as flax, hemp, and kozo, contain some of
the longest fibers. Leaf stem fibers, such as abaca, sisal and yucca, offer a comparatively
shorter range of fiber but still produce a strong, crisp paper. Kapok and cotton are
examples of "seed-hair" fibers (covering around the seeds).
Processed fibers are cooked and partially beaten fibers (half-stuff) that are sold in
dry, compressed sheet form and as woven rags. Cotton and linen fabric scraps, or rags
from the textile industry, are good examples. Ready-to-use pulps are pre-beaten to
24.
customer specification.
Raw fibers that may be obtained from various plants fall into these categories:
1. fruit fibers like cotton seed hairs
2. wood fibers like those from deciduous and coniferous trees
3. bast fibers
4. leaf fibers
5. grass fibers
The last threebast,
leaf, and grassare
most used by hand
papermakers.
Bast fibers are
those collected from
0
the inner bark or
Hemp fiber, unbeaten. Hemp fiber beaten for the production
phloem, the of very thin papers. Note the very com-
plete longitudinal splitting of fibers.
transportation tissue
of the plant through
which water is
supplied to the plant
and food produced in
the leaves is carried to
be stored in the roots.
Bast fibers are long,
slender, and strong.
Examples are: Sulfate fiber from pine, unbeaten. Sulfate fiber from pine, beaten extreme-
mulberry tree, okra, ly hard. Note that the fibers split much
less than hemp, but tend to mash off.
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25.
milk weed, flax, hollyhock, and thistle.

Leaf fibers are shorter and more opaque than bast fibers and generally produce a
paper with a rougher textureused in the box industry and for heavy weight card stock.
Examples are: sisal, pineapple, yucca, and raffia.
Grass fibers produce the shortest and most brittle papermaking fibers. The yield
per volume of dry grass fiber is low but more available. Examples are: corn stocks,
bamboo, bulrushes, beach grass, sugar cane, wheat, and rice straw.
Another factor affecting paper is the season that plants are harvested which affects
the fiber length and paper color. Soil also affects the plant's growth. Geographic
location, differences in soil types, site quality, availability of moisture, and age of plant,
shrub, or tree are influences on fibers. Whitney (1978) declared that paper is a sheet
material made by bonding together many very small discrete elements called fibers. He
says that a material is fibrous if its elements are slender, threadlike, and filamentous; that
is, one dimension is very much greater than the other two. Fibers may be composed of
animal, vegetable, mineral, or synthetic materials. Vegetable fibers are called natural
fibers because they grow in nature. Information on plant fibers is scattered, sketchy, and
only rarely specific with respect to fiber preparation for papermaking.
Webster's Dictionary describes cellulose as "an inert substance constituting the
chief part (cell walls) of ordinary wood, linen, paper, rayon, etc. It is a carbohydrate...of
the same percentage as starch, and is wholly convertible into glucose by hydrolysis. It is
tasteless, white, odorless, nonvolatile, and is insoluble in water. It is part of a class of
substances call polymers."
Cellulose, being the predominating constituent of plant tissues, can be described
as the structural basis of the vegetable world. It never occurs in the plant in the free state
but always in admixture or combination with other groups: members of the fatty series;
the aromatic series; the pectic group or more or less oxidized, and acid, derivatives of the
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26.
carbohydrates. All paper made from plant fibers is made of cellulose in one form or
another and in different degrees of purity. Cellulose is a carbohydrate having the
empirical formula C6H1005, from which its composition may be calculated to be:
carbon 44.4%; hydrogen 6.2%; and oxygen 49.4%. While treating various kinds of
woods with all sorts of different chemicals, the Frenchman Anselme Payeu was the first
to recognize cellulose as a definite substance in 1839. Eighteen years later the German
Fritz Schultze separated cellulose from lignin and identified them both.
Cellulose is a
polymer composed of a
great many glucose radicals
linked with one another to
form chains. The number of
glucose radicals which
combine to form one
cellulose molecule can
range from a few to many thousands. This figure is called the degree of polymerization
(DP). Generally, the higher the DP value, the greater the strength of the fiber. For
instance, the DP of cotton is said to range from 3,500 to 10,000; the DP of wood cellulose
is 1,500 to 2,000. The glucose radicals are arranged parallel as seen in the illustration. It
is somewhat important for the papermaker to determine the amount of cellulose in the
fiber, the nature of the cellulose, plus the ease with which it can be obtained from the
fiber.
Cellulose is the basis of all natural fibers. Chemically speaking, cellulose is a
polymer of glucose, which is a common sugar. Cellulose and glucose are carbohydrates,
which means that they are composed of carbon, hydrogen, and oxygen. Cellulose has a
great affinity for water and cellulose molecules also have a great affinity for each other,
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especially when they are wet. The portion of a plant in which papermakers are interested
is the cellulose fiber. Papermaking fibers are hollow tubes of cellulose. The extent to
which the inside of this tube is fractured determines the flexibility of the fiber. A more
flexible fiber will intertwine more completely and will be compacted more easily during
sheet forming and pressing.
In order to be made suitable for papermaking, the cellulose portion of the plant
must first be separated from substances that are not cellulose: for example, lignin, pith,
woody shive, cors, and fats. Higher cellulose content and less lignin is considered more
desirable for hand papermaking. Lignin and other non-cellulosic substances are
dissolved out of the fibers by alkaline cooking. Some papermakers prefer soda ash over
stronger alkali such as lye, because the former provides a more gentle cook. Rinsing very
well is extremely important to flush out the non-cellulosic substances that have been
removed from the fiber and to get rid of the alkali used in the cooking.
In the papermaking processes, the aim is the absorption of water and the
promotion of bonding, both of which make a stronger sheet of paper. However, as water
goes through its cycles it picks up impurities which reflect the composition of the
atmosphere and the earth's crust. Rainwater can dissolve gases such as oxygen, carbon
dioxide, sulphur, and nitrogen dioxide as well as absorb soluble and insoluble matter. It
may also contain organic matter caused by industrial contamination of the atmosphere as
well as that evolved from vegetation and even contain concentrated deposits of limestone,
magnesite, iron ore, gypsum, copper ore, sulphur, and other compounds. Thus, water can
change the finished product in handmade paper.
A simplified description of the process of papermaking includes the following
steps:
1. select and gather plant fibers
2. soak plant fibers in water
3. boil the fibers in alkali
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4. beat fibers
5. add coagulant to a vat of water
6. add plant fiber to the vat of water and mix gently with hands
7. gather fibers onto a mould
8. tilt gently to distribute the fibres evenly on the mould screen
9. remove deckle and couch fiber onto felt or pellon
10. press excess water from fibers
11. dry paper either in drying box or by brushing onto a flat surface
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29.
A Little Bit About Grasses
When most people think about grasses, they think of the green grass that they
have to keep watered and mowed all summer long. Actually, grasses are herbs with
round or flattened (never 3-angled) usually hollow stems solid at the joints, and 2-ranked,
alternate, parallel-veined leaves, composed of two partsthe sheath, which surrounds the
stem like a tube split down one side and the blade, which is usually strap-shaped flat,
folded, or with rolled margins. The grass plants may be annual or perennial. The root,
stem, and leaves are the vegetative part of the plant and the flowers are the perpetuating
of the species part. In grasses the vegetative parts are more uniform and characteristic
than in most other families.
Of all the world's flowering plants, the grasses are probably the most important to
man. They contribute tremendously to the earth's green mantle of vegetation; they are
the source of the principal foods of man and his domestic animals; they hold the hills,
plains and mountains against the destructive erosive forces of wind and water. Since
man's existence depends directly or indirectly almost entirely on the grasses, it should
make this part of the vegetable kingdom the most interesting. Aside from their useful-
ness, the beauty and graceful forms of grasses are unsurpassed by any other plants.
There are over five thousand kinds or species of grasses in the world and fourteen
hundred of these are found in the United States alone. Probably there is not a county in
the United States where less than 50 to 100 species of grasses are to be found. Some will
be very common and conspicuous, but others will be rare and hard to find.
Harrington (1977) points out that the great civilizations of mankind have almost
invariably developed in the midst of extensive grasslands. This is because the most
important food producers are almost exclusively to be found in the grass family; for
example, wheat and oats. The entire grazing industry is likely to be based primarily on
grasses.
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30.
Grasses are easy to collect and prepare so it is important to take good specimens.
This makes working with the pulp much easier. For the purpose of hand papermaking, it
is not necessary to disturb the roots which allows the grasses to grow again, thus guarding
against extinction. By cutting only the top portion of grasses, hand papermakers can
produce paper in a variety of styles without worrying about the ecological consequences.
Grass may be collected green or dry. However, green grass must be allowed to dry at
least 30 days before processing. Whether a grass sample is collected green or dry may
affect the final color of the paper.
Grasses are, however, considered to be relatively hard to identify. Grasses and
grasslike plants constitute a large group with many of the genera containing large num-
bers of species. Identification has been done on as many as possible of the grasses used
for this project. It should be noted that this project is not about identifying grasses as
much as using them in papermaking. A documentation of the process and the resulting
paper made from each type of grass gathered has been done. Photos of the grasses and
the area where they were collected have also been included.
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31.
Papermaking From Grasses

General Information
Want to make paper but don't have many resources? Think about grass as a raw,
natural fiber. It is possible for teachers who are on limited budgets to offer students an
opportunity to experience hand papermaking for very little investment and inventory.
Grasses produce the shortest and most brittle papermaking fibers and the yield per
volume of dry fiber is low but the geographic distribution is so broad and availability so
great that grasses make an excellent choice.
Grasses can make paper in a variety of colors and textures. Some grasses are
hollow stemmed and buoyant in water, which makes them difficult to cook. Some
grasses are so tender they turn to mush when cooked. But with a little patience and some
trial and error, any grass can become a beautiful sheet of paper.
Making paper wih natural fibers is the most fun when done in the Eastern method
but the Western method can be used. Japanese or Eastern deckle and su are very expen-
sive. The Japanese mould is worth the money but if one cannot be afforded, then use a
more economical Western method mould. To press the paper, it must be couched be-
tween pieces of felt or pellon. Felts are more expensive but absorb more water. Both felt
and pellon can be purchased anywhere that material or sewing supplies are sold.
The fiber pulp should be added to a tub containing water and a "coagulant." After
each sheet of paper is "formed" in the mould, it is "couched" onto a felt/pellon. When
several sheets have been couched they form a "stack" of paper that must be pressed so the
excess water will drain off. The pressed sheets are then put into a dryer box or "brushed"
onto a hard surface. The hard surface can be glass, plexiglass, or walls.
This book lists the results of papermaking using 30 different collections of grass.
Approximately the same amount of grass was collected from different locations through-
out the United States.
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Grass Collection
Grass can be collected green or already dry. Green grass will require enough
more raw material to allow for natural shrinkage that occurs while drying. If the paper-
maker does not have a pre-designed amount of paper expected as a finished product, then
shrinkage will not be a concern.
A grass with bigger and longer stems will make less pulp than grass that is softer.
The amount of stem in a grass is determined by several factors; type of grass, altitude,
rainfall, heat.
Grass Preparation
Generally, soaking grass for 24 hours is enough. Longer soaks may result in very
smelly pulp and the resulting paper will be a drab trey color. If the grass has grown very
long, the papermaker may want to cut it up before cooking. Smaller pieces fit into a large
cooking pot easier and will be easier to handle throughout the process.
Most grasses can be sufficiently cooked in one hour. Two to three tablespoons of
alkali added to two gallons of water (enough to cover the grass) will soften the mass.
After cooking, the pulp must be rinsed very well to remove the extraneous material,
sugars, starch, wax, and lignin which are brought out by the causticrinse at least 15
minutes.
Then the fun begins. Each batch of pulp must be beaten to further soften and
break up the fibers. Place the damp fibers on a hard surface and beat them with a wooden
or rubber mallet or club. Oak boards specifically made for beating pulp can be purchased
through papermaking equipment suppliers. Beating time will vary much as cooking time
but most grasses can be pulped in 20 minutes. To test if the fibers have separated, place a
small amount of pulp in a glass of water and shake thoroughly. Hold this up to a light
and examine the suspension. It should appear as small, fine, individual fibers. If the
grass pulp still contains alot of harsh stems, they can be removed throughout the beating
process.
BEST COPY MAILABLE
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Papermaking
Prepare the pulp and add it to water that contains coagulant. Dip the mould into
the pulp, shake gently, and allow the excess water to drain off. Couch the pulp onto felts
or pellon. After a stack has been couched, it needs to be pressed. This can be accom-
plished by the use of C-clamps if you don't have a hydraulic press. Place the stack onto a
3/4 inch plywood board, cover with another 3/4 inch plywood board and clamp together
slowly. Increase the pressure each time the water stops dripping until the handle won't
turn anymore. Remove the clamps, and the top board. The stack of paper should be
fairly firm.
If a drying box is available, remove the sheets of paper from the felts and set them
in the dryer between blotters. If a drying box is not available, take each sheet from the
felts and brush them onto a flat surface. Once the paper is dry, it should be pressed
overnight so it will remain flat. A dry stack of paper can be pressed (ironed) by placing a
heavy object such as a stack of books on it.
Conclusion
The purpose of this project was to determine if the amount of rainfall or the
altitude of an area would affect the finished product of handmade paper. Not all of the
samples of grass collected are the same, although all are from the grass family.
On the following pages a description of each sample shows that grasses collected
in higher altitudes produced fewer sheets per pound of fiber. The reason appears to be
because grasses growing at higher elevations have much stockier stems which must be
removed before paper can be formed. Removing the stems leaves less pulp. The same is
true of the lowest altitudes if the area experiences heavy rainfall.
Grass collected from extremely dry areas was not as full of stems but the pulp did
not form well. The resulting paper was hard to remove from the felts and didn't brush
onto the hard surface as easily. Grasses collected from 2000 to 6500 feet with rainfall
between 10 to 25 inches seemed to work the best.
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34.
Grass Type Unidentified
Location Ogunquit, Maine
Date Gathered June 20
Altitude 20 feet
Average Annual Rainfall 46 inches
Process
Amount Gathered 2 pounds Gathered Green Gathered Dry
Drying Time one month Precook Preparation 24 hours soak in

warm water
Cooking Time 1 hour boiling Alkali 2 tablespoons
Rinsing Time 15 minutes continuous clear running water
Beating Method rubber mallet Beating Time 15 minutes
Forming Method Western Formation Aid poly(acrylanich)

(PNS) coagulant
Paper Results
Number of sheets 16 Size of sheets 8 x 10 inches
Forming and
Parting Characteristics The first sheets came out thick with small fine stem pieces
throughout. The final sheets came out tissue thin. This
pulp couched, pressed and brushed very easy.
Paper Strength Strong
Appearance A very light tan with dark brown flecks. The thick sheets
are very stiff, almost like cardboard. The tissue thin sheets
are very flexible and lovely.
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35.
Grass Type Foxtail Barley

Location Cedar City, Utah
Altitude 6450 feet
Average Annual Rainfall 17.3 inches
Process

warm water
Beating Method rubber mallot Beating Time 20 minutes
Forming Method Western Formation Aid PNS
Paper Results
Number of Sheets 13 Size of Sheets 8 x 10 inches
Forming and
Parting Characteristics Even though the stems were long, they were flexible so the
pulp was soft. Sheets formed and pressed very easily.
Sheets came out full size with very few holes.
Paper Strength Very strong crisp
Appearance Light tan color with occasional yellow and green stems
throughout. Also, many small brown seeds. Very
interesting. It did wrinkle (shrink) more than others.
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36.
Grass Type Clasping Leaf Pepper and Cheat
Location Dinosaur, Colorado
Altitude 4767 feet
Process
Amount Gathered 1 1/2 pounds Gathered Green Gathered Dry
Drying Time One month Precook Preparation 24 hours soak in

warm water
Rinsing Time 15 minutes continuous running clear water
Beating Method rubber mallet Beating Time 25 minutes
Paper Results
Forming and
Parting Characteristics Even with extra beating time, there was no pulponly
stems and seeds. The seeds are very large and very sticky.
The pulp stuck to the pellon. The only way to achieve a
sheet of paper was to add kozo to the batch and remove as
many stems as possible.
Paper Strength Without kozo-very weak and full of holes. With kozo-quite
strong
Appearance Very disappointing. The grass was a beautiful purple but

what little pulp there was turned out grey. The final paper
with kozo added was a nice cream color with large red
seeds but the sheets were thick.
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A
The foxtail barley in the

fields by Cedar City, Utah
was so beautiful and
graceful in June. Cedar City
is located near Zion and Bryce
Canyon National Parks.
On the other side of Utah,

the area around Moab is
much more arid. Grass was
hard to find. ,-. ----
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Grass Type Cheat
Location Near North Rim Grand Canyon, Arizona
Altitude 6500 feet
Process
Amount Gathered 1 pound Gathered Green Gathered Dry

warm water
Cooking Time 1 hour boiling Alkali 1 tablespoon
Paper Results
Forming and
Parting Characteristics Although this grass was similar to the grass found in
Dinosaur, Colorado, it had quite a lot more pulp and the
seeds were smaller. Couching and brushing were very
difficult. The wet pulp was very easily torn.
Paper Strength Final paper is quite strong but has uneven edges and some
holes.
Appearance This was also disappointing. The grass had such a lovely
purple color that didn't hold through the processing. Final
sheets are dingy grey with lots of purple seeds.
44
39.
Grass Type Brome
Location Northeastern Nebraska
Date Gathered July 1
Altitude 1788 feet
Process

warm water
Paper Results
Forming and
Parting Characteristics Even though more grass was gathered, there were so many
large stems that would not beat into pulp, so there were
less final sheets. Once the stems were removed, the pulp
tended to stick to the pellon. This pulp was very difficult.
Paper Strength Tissue thin sheets that have lots of flexibility
Appearance Final sheets have a pale celery green color. A very fine
pulp with small stemmy pieces and a few large dark seeds
throughout. The finished paper smells like dry hay.
45
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47
42.
Grass Type Prairie Wedge
Location Marble Canyon, Arizona
Altitude 3200 feet
Process
Drying Time none Precook Preparation 24 hour soak in

warm water
Paper Results
Forming and
Parting Characteristics A very fine pulp that couched, pressed and brushed very
easy. Raw material did not result in as much pulp.
Paper Strength Tissue thin sheets, very flexible.
Appearance Light yellow pulp with small stem material throughout.
48
43.
Grass Type Threeawn
Location Apache Reservation, Arizona
Altitude 2000 feet
Process
Drying Time none Precook Preparation 24 hours soak in

warm water
Paper Results
Forming and
Parting Characteristics A very fine pulp that was easily couched, pressed, and
brushed onto plexiglass. This pulp formed nice full sheets
without any holes.
Paper Strength Fairly thin to medium thick sheets.
Appearance Light tan with some small stem material throughout which
gave a light texture to the surface. This was one of the
nicest batches of paper made from the grasses.
49
The highway through Marble
Canyon near Show Low,
Arizona offers magnificent
views of huge mesas and
rock outcroppings.
Grass is scarce but the drive
through the desert is a
wonderful experience.
BEST COPY AVAILABLE

50
The desert west of Phoenix, Arizona
provides multiple vegetation.
Further on into the Apache

Reservation the mountains
change the view and grass
is more plentiful.
51
46.
Grass Type Not really a grasssmall shrub
Location Marble Canyon, Arizona
Altitude 3200 feet
Process

warm water
Paper Results
Forming and
Parting Characteristics At first there were so many stems that sheets would not
form. After removal of large stiff stems, the pulp was very
fine and made tissue thin paper but full of holes. Tended to
stick to the pellon.
Paper Strength First sheets were not paper. Final sheets were tissue thin -
crisp.
Appearance Pale yellow-green with light colored stems throughout.

This grass had a very strong odor when it was gathered and
the smell carried through the processing and into the
finished paper. Not at all satisfactory.
52
47.
Grass Type Bluegrass
Location Flaming Gorge, Wyoming
Altitude 6269 feet
Process

warm watr
Paper Results
Forming and
Parting Characteristics Heavy stems were removed leaving a fine pulp that
couched, pressed, and brushed very easy.
Paper Strength Thin and flexible but very strong.
Appearance A very light yellow thin sheet of paper with thread-like

particles throughout. This was one of the best papers made.
53
r
N
.V
:::t° t.it4 ° tt. ,g7
4:
4A
Highway 139 in northern Colorado flows through a ranching valley over Douglas Pass. It is not a superhighway
but it was a wonderful drive. The clasping leaf pepper and cheat grass was gathered in Dinosaur, the last
town in Colorado on highway 40.
The Flaming Gorge area in southern Wyoming is spectacular.

The grass gathered along this route made some of the best paper.
BEST COPY AVAILABLE
54
Scouring rush and horsetail
along the Animas River in
Colorado.
1.1
4
a<
ti N
55
50.
Grass Type Scouring Rush and Horsetail

Location Animas River, Colorado
Altitude 4416 feet
Process

warm water
Paper Results
Forming and
Parting Characteristics The reed did not pulp outjust broke up into small pieces
so an equal amount of kozo was added. This combination
allowed easy couching, pressing, and brushing.
Paper Strength Exceptionally strong - some sheets were too thick but some
were quite thin and flexible.
Appearance A very interesting pattern created by the short pieces of

reed that remain dark against alight tan background.
56
51.
Location Cedar City, Utah
Altitude 6450 feet
Process

warm water

.
Paper Results
Forming and
Parting Characteristics Required removal of heavy stems. Very seedy. Seeds stuck
to the pellon so some sheets tore apart before they could be
brushed onto the plexiglass.
Paper Strength Most sheets had holes and some lost part of the edges.
Appearance Light golden background with small brownish stems and

large dark seeds. If it had formed better sheets, it would
have been lovely paper with an interesting texture.
57
The drive through Arizona from Flagstaff to 4
Phoenix through Sodona present; a large
variety of plant life and a major change in
elevation from over 7000 down to 2000 feet. '4
"1,
5.444
BEST COPY AVAILABLE
58
59
54.
Grass Type Reed Grass
Location Sierra Nevada Mountains
Altitude 7000
Process

warm water
Paper Results
Forming and
Parting Characteristics There were some large stems that had to be removed.
Resulting pulp was easily formed into sheetscouched,
pressed, and brushed. The first sheets were a little thick
but final sheets were like tissue paper.
Paper Strength Strong-thick sheets very stiff; thin sheets quite flexible.
Appearance A fine tan pulp with some yellow and some green fibers
throughout. Also, a lot of fine brown seeds gave added
texture.
60
55.
Grass Type Reed Grass

Location Togwotee Pass, Wyoming
Date Gathered May 19
Altitude 9658 feet
Process
Amount Gathered 1 1/2 pounds Gathered Green ii Gathered Dry
Drying Time Precook Preparation 48 hours soak in
warm water
Paper Results
Forming and
Parting Characteristics Too many large stems that wouldn't pulp up had to be
removed leaving very little pulp. Only about 3 sheets were
well formed.
Paper Strength Poor quality
Appearance Fiber was soaked too long. Pulp turned out very grey.
Short fibers in the few nice sheets are almost black which
resulted in a nice design. Generally not a very satisfactory
batch of pulp with poor paper.
61
Red Canyon near South Pass, Wyoming offers one of
the most spectacular views in the region. Towgotee
Pass still had a lot of snow and grass was scarce.
Upper photo was taken at the lower edge of Bear Lake

in Idaho. Mountains in background were snow capped.
Lower photo is Calaveras Big Trees State Park near

Arnold, California. The grass from this area made
excellent paper.
62
57.

Location Red Canyon, Wyoming
Altitude 8000 feet
Process
Amount Gathered 1 1/2 pounds Gathered Green ii Gathered Dry
Drying Time Precook Preparation 48 hour soak in
warm water
Rinsing Time 15 minutes continuous clear water
Paper Results
Forming and
Parting Characteristics A lot of small stems that wouldn't pulp up required a lot of
extra work to couch, press, and brush onto the plexiglass.
Appearance Soaked too long resulting in a grey pulp. Also, so many

small stems resulted in a very coarse paper. An interesting
design and texture were created by the black fibers and
yellow stems, but overall not a very nice looking paper.
S3
58.
Grass Type Bush Grass

Location Bear Lake, Idaho
Altitude 5900 feet
Process

warm water
Paper Results
Forming and
Parting Characteristics Pulp wouldn't form sheets by itself so kozo was added.
Resulting sheets couched, pressed, and brushed very easy.
Paper Strength Poor quality without kozovery strong with it.
Appearance Very fine pulp with few stems. A tannish-grey color with
dark brown fibers throughout. Two days is just too long to
soak the fiber. The color becomes greyish. This paper
turned out well with a little extra work but was grey.
64
59.
Grass Type Crested Wheat

Location Rock Springs, Wyoming
Altitude 6374 feet
Process
Drying Time Precook Preparation 48 hours soak in warm water
Paper Results
Forming and
Parting Characteristics First sheets were too full of stempaper like cardboard.
Once the stems were removed the sheets had some holes
but generally formed thin crisp sheets.
Paper Strength With stem material, very strong. Without so many stems,
paper was thinner and more flexible.
Appearance Light avocado green with texture created by small, small

seeds and fine yellow stem material. Final paper was quite
nice but required a lot of extra work.
65
60.
Grass Type Beardgrass or Blue Stem

Location Columbia, Missouri
Date Gathered April 15
Altitude 757 feet
Process
Drying Time Precook Preparation 24 hours soak in warm water
Paper Results
Number of Sheets 6 Size of Sheets 8 X 10 inches
Forming and
Parting Characteristics Too many large stems that would not pulp up. Once the
stems were removed there was very little pulp left. Also,
this pulp was a little sticky.
Appearance A nice rich red color but most of it was too thick. Only 2
sheets were of any quality. It takes too much raw material
to end up with any paper.
86
We collected
grass while walking
past a river near
Norwood, Massachusetts
A duck was swimming
near the far bank.
P,,7.;;fislagrager.
67
55
'41.44,401
3.0.334.
'VP
44'
"
rk
V.,,,3413
744 ''''°-°'ft 4, -wt54.- ,,:-,0:
%...', '4o
-
, «,
SSS
4434,4,
More rain and lower elevation

along the east coast produces
an abundance of grasses.
The top picture is of the Maine
coastline and the bottom
picture is Massachusetts.
-- 41-4, 7'
:,
68
63.
Grass Type Orchard

Location Norwood, Massachusetts
Altitude 137 feet
Process

warm water
Paper Results
Forming and
Parting Characteristics A heavily textured pulp that was very sticky. Some sheets
stuck to the pellon.
Paper Strength Soft and flexible but strong.
Appearance A beautiful dark green flecked with black and yellow

fibers. The sheets are so soft they are more like material
than paper. Results were wonderful but required a lot of
extra work.
69
64.
Grass Type Blue Stem

Location Knoxville, Tennessee
Altitude 981 feet
Process

warm water
Paper Results
Forming and
Parting Characteristics A very fine pulp once the large stems were removed.
Couched, pressed, and brushed onto plexiglass very easy.
Paper Strength First sheets were very thick and strong. Final sheets were
tissue thin but still quite strong.
Appearance A reddish tan color textured with yellow and brown fibers.
Quite nice.
70
65.
Grass Type India Lovegrass

Location Arnold, California
Altitude 3800 feet
Process Gathered Dry

2 pounds Gathered Green
Amount Gathered
Precook Preparation 24 hours soak in
Drying Time one month warm water
Alkali 2 tablespoons
Cooking Time 1 hour boiling
Beating Time 20 minutes

Beating Method rubber mallot
Formation Aid PNS
Forming Method Western
Paper Results Size of Sheets 8 x 10 inches

Number of Sheets 14
Forming and and brushed

Parting Characteristics A very nice fine pulp that couched, pressed,
very easy.
Paper Strength Tissue thin but strong and crisp.

yellow
Appearance A pale yellow-green paper textured with a few
fibers and some long thin brown seeds. Quite nice paper.
71
66.
Grass Type Giant or Common Reed
Location Norwood, Massachusetts
Date Gathered June, 24
Altitude 137 feet
Process

warm water
Paper Results
Forming and
Parting Characteristics Large stems had to be removed leaving a rich thick pulp.
However, it tended to stick to the pellon a little.
Paper Strength Strong but flexible.
Appearance A light gold color full of tiny, tiny brown seeds and some
long green fibers. Very differentone of my favorites.
72
67.
Grass Type Timothy

Location South Dakota
Date Gathered August 10
Altitude 1300 feet
Process

warm water
Paper Results
Forming and
Parting Characteristics A thick pulp that couched, pressed and brushed onto the
plexiglass very easily.
Paper Strength Strong, first sheets were quite thick but final sheets were
tissue thin.
Appearance A grey-green paper with lots of yellow fibers and some thin
brown seeds adding a lot of texture. This paper smells a lot
like hay.
73
68.
Grass Type Cheat

Location Pocatello, Idaho
Altitude 4500 feet
Process

warm water
Paper Results
Forming and
Parting Characteristics Large stems had to be removed leaving seeds and not much
pulp. There were so many seeds kozo had to be added to
create pulp. This paper wrinkled badly when dry.
Appearance A light grey-green color with lots of dark medium sized

seeds. The kozo stands out against the grass color instead
of blending into the natural color.
74
69.
Grass Type Canary

Location Minnesota
Date Gathered August 12
Altitude 900 feet
Process

warm water
Paper Results
Forming and
Parting Characteristics After large stems were removed, a wonderful pulp was
created that couched, pressed, and brushed very easy.
Paper Strength Tissue thin and flexible but strong-crisp.
Appearance A variegated green with a feathery fiber design accented by

a few dark seeds.
75
70.
Grass Type Red Threeawn/Aristida

Location The new puppy ate paper stating the location so ???
Date Gathered First part of June
Altitude
Average Annual Rainfall
Process

warm water
Paper Results
Forming and
Parting Characteristics A bit sticky and quite stemmy but the sheets formed and
brushed fairly easy.
Appearance A pale yellow color filled with darker yellow seeds and
some yellow and green stems. This was the first paper
made in this research project. If given a second chance,
remove the stems first, this grass would make some nice
paper.
6
71.
Grass Type Bunch

Location The new puppy ate the paper listing this location
Date Gathered First part of June
Altitude
Average Annual Rainfall
Process
2 pounds Gathered Green Gathered Dry
Amount Gathered
Precook Preparation 24 hours soak in
Drying Time one month
warm water
1 hour boiling Alkali 2 tablespoons

Cooking Time
rubber mallot Beating Time 20 minutes

Beating Methcod
Western Formation Aid PNS

Forming Method
Paper Results
Size of Sheets 8 x 10 inches
Number of Sheets 11
Forming and
Parting Characteristics A fine pulp with kozo added for some reason (which I can't
remember). Couched, pressed and brushed onto the
plexiglass very easy.
Appearance A very pale tan with small gold fibers throughout. This
was another of the first papers made. A second chance of
making this paper without kozo should be given to this type
of grass also.
77
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79
74.
Grass Type Wheat Grass

Location Show Low, Arizona
Altitude 6414 feet
Process

warm water
Paper Results
Forming and
Parting Characteristics Fine pulp filled with soft long fibers. Couched, pressed,
and brushed very easily.
Paper Strength Strong - medium to tissue thin paper.
Appearance A yellow-gold color with long gold and green fibers adding
texture to the paper.
80
75.

Location Moab, Utah
Altitude 4042 feet
Process

warm water
Paper Results
Number of Sheets 9 (sort of) Size of Sheets 8 x 10 inches
Forming and
Parting Characteristics Pulp was full of stems that had to be removed. For some
reason, this pulp stuck to the pellon. Sheets were full of
holes and tore very easy when brushed onto the plexiglass.
Appearance Can't even call this paper. It just wouldn't work, no matter
what was tried. Color was a very drab grey. A big
disappointment.
81
76.
Grass Type Needle and Thread

Location Flagstaff, Arizona
Altitude 7123 feet
Process

warm water
Paper Results
Forming and
Parting Characteristics A fine pulp with lots of large stems that had to be removed.
It should have worked once the stems were removed but it
didn't. It stuck to the pellon.
Paper Strength Poor quality.
Appearance A beautiful gold color with dark gold fibers throughout.

Unfortunately, it just didn't form sheets at all well and
wouldn't release from the pellon. Very disappointing.
82
77.
Teaching Papermaking
Papermaking is now being taught by many, many art teachers in grades
Kindergarden through 12, as well as courses for adults in the community and at the
college level. Children love itaccording to Martha Blowen (1998) in a review of
Gloria Zmolek Smith's book on papermaking, Teaching Hand Papermaking: A Classroom
Guide. 1995. Smith's book gives a fresh perspective and new ways of working with
children through papermaking. Other authors who are teaching papermaking to children
as well as adults are David Watson in Creative Hand Papermalcing, 1991. Watson gives
simplified suggestions for reducing the work of papermaking. Sophie Dawson's beautiful
book, The Art and Craft of Hand Papermaking, addresses the creativeness of
papermaking.
A resurgence of interest in papermaking has been fostered by an increased interest
in bookmaking. Many writers are now presenting their work in original books they have
put together themselves out of paper they have hand made.
Methods of papermaking and teaching papermaking vary considerably depending
upon what equipment is available and what results are expected. From homemade deckle
and frame to prefornied kits; from pre-macerated pulp to handpicked natural fibers,
papermaking provides opportunities to introduce some basic chemistry and
environmental issues to students. From small amounts produced in a kitchen by one
person to production by classes in public
school systems, papermaking offers artistic
possibilities of homemade paper, limited
only by the imagination of the papermaker.
Modern hand papermaking is based
on two distinct methods, one Western and
one Eastern. Western hand papermaking is
83
78.
the craft most familiar to Americans or Europeans. Raw material consists mostly of linen
or cotton rags or various types of processed new cotton fiber. The cellulose fiber is
beaten into a pulp using the Hollander beater and diluted in a vat of water. Individual
sheets are then formed using a flat sieve-like tool called a mould. Scooping up pulp from
the vat, the papermaker shakes the mouldbut only slightlyto even the sheet as the
water drains from the mould. Each new sheet of paper is couched, or transferred, to a felt
blanket; another felt is used to cover the damp sheet and the process is repeated until a
pile, or post, (stack) is accumulated. The post is pressed to squeese out as much water as
possible and the paper is then separated from the felts and dried in lofts or in specially
designed machines.
The raw material for Eastern papermaking usually consists of bast fiber, or the
white inner bark of certain small trees. The bark, most commonly of kozo (mulberry
tree), is stripped from the inner wood, cleaned, cooked, cleaned again, and then beaten
very lightly. The prepared fiber is mixed into a vat of water along with a viscous
formation aid necessary to disperse the long fibers and control the drainage rate.
Individual sheets are made by sloshing the viscous vat mixture repeatedly across the
surface of the mould. In papermaking mills, sheets are then couched one atop the next
with the aid of a flexible removable mould covering called the su. No interleaving felts
are required mainly due to the long length of the bast fibers. The wet post of paper is
pressed, and the individual sheets are parted while damp and brushed onto heated metal
surfaces or boards for drying. The school or home papermaker can couch the sheet
immediately onto a smooth surface such as plastic or glass, remove the mould, and allow
to dry.
Twentieth century papermakers operate under a different compulsion than our
pioneer predecessors. Today's artisans are exploring, discovering, and rediscovering
ways of manipulating the chemistry, magic, and beauty of cellulose fibers. Papers used
for art work require a different set of criteria. The paper should certainly last as long as
84
79.
any other material also used in the artwork.

Permanence and durability describe the longevity of paper. Durability refers to
the condition in which usage is taken into account; normal wear and tear. Permanence is
resistance to the effects of time, brought about either by internal factors in the
composition of the paper or by external factors in the environment.
There are some hazards in hand papermaking that should be brought to the
attention of papermaking instructors, especially instructors of children. Some wood and
plant materials can cause allergic reactions and skin irritation. The alkaline soda ash and
lye are highly corrosive upon skin and eye contact, inhalation, and ingestion. Boiling
solutions of these alkaline materials can be very dangerous because of the risk of boiling
over and the fact that steam will contain trapped alkali. If chlorine bleach is used to
whiten the pulp, it can cause skin, eye, and respiratory irritation. Machanical beaters can
trap hands in the blades when cleaning out the pulp. Large amounts of water present
hazards if splashed onto electrical outlets or other electrical equipment. Some coloring
pigments can be hazardous. Hand papermaking is fun for all ages but instructors must
adopt the "safety first" motto.
The following approach to handmade papermaking presented by the staff of the
Ontario Science Centre is reasonably easy to understand and can be used to teach in
elementary as well as secondary school.
1. Make yourself a wooden screen from scrap pieces of wood. (This should be
somewhere near 8" x 8" x 1").
2. Staple fly screening tightly and smoothly across the frame. Nylon fly
screening is easier on fingers and doesn't rust.
3. In a blender, mash up an old Christmas, birthday, or report card along with
some potato peels, or carrot peels, or any vegetable fiber you happen to have
around. You'll have to experiment.
85
80.
4. Dump the mixture (called pulp) into a pail, tub, or kitchen sink filled with
about four inches of water.
5. Then grasp your screen in both hands, place it in the tub. Shake it gently from
side to side, and in a single straight motion lift the screen out of the tub. The
water will rush through the screening, but the fiber will have evenly coated the
screen. Remember, try to keep the screen levelif it tips, half the paper will
be really thick, and half will be too thin.
6. Now, to get the paper off the screen (this is the tricky part). Locate a
stack of old newspapers, cover with clean white paper, and place on a table
Take your screen, turn it over, and place it on the newspaper/white paper
stack. Mop up the excess water with a sponge; then very, very carefully lift up
the screen. Your paper will remain on the newspaper stack. Next step is to
iron the paper dry after putting another sheet of white paper over the new
paper.
Students have made paper by hand from carrots,
grass, straw, banana peels, old fish nets, artichoke hearts,
hemp rope, horse chestnuts, various weeds, seeds, lint from
clothes dryers, silk, sawdust, moss, leaves of trees, pine
cones, potatoes, roof shingles, marsh-
mallow, nettles, oak, willow bark, yucca,
and many different flowers. Most of the
experimental materials can be obtained
locally.
Much of the equipment needed
for papermaking on a small scale can be
found in your household. You will need
a set of non-corrosive measuring
86
81.
spoonseither stainless steel or heavy plastic. Try to make your measurements as

consistent as possible. You will also need a strainer and a large boiling pot. Again,
stainless steel with a fine mesh is a good choice for the strainer. The boiling pot may be
enameled but make sure there are no chips in the enamel. A Pyrex measuring cup will
also be needed. Plastic measuring cups are not suitable as they tend to corrode and can
melt with hot liquids.
Many fibers such as cotton and abaca can be pulped with a regular kitchen
blender. This is hard on the blender so don't expect it to last very long. A blender is a
good substitute if a beater is not available.
For safety wear rubber gloves and safety glasses. If you are using powdered
pigments to color your pulp, a face mask is also suggested. Elaine Koretsky's book,
Color for the Hand Papermaker, has many safety suggestions, references, and lists of
equipment and supplies.
A large rubber tub was used to hold the fiber and water. A strainer and large
enameled pot were used to boil and rinse fibers. C-clamps in combination with pieces of
3/4 inch plywood were used for pressing the excess water out of the stacked sheets of
paper. A wide, soft paint brush was used to brush the paper sheets onto a plexiglass
surface. (Picture on page 74.)
87
82.
BIBLIOGRAPHY
Barrett, T. (1983). Japanese Papermaking Traditions. Tools, and Techniques. New York/
Tokyo: John Weatherhill, Inc.
Bell, L. (1990). Plant Fibers for Papermaking. Chelsia: Bookcrafters.

Chase, A. (1964). First Book of Grasses. Baltimore: Port City Press, Inc.
Clapperton, R.H. (1980). Paper. Ann Arbor and London: ????
Cross, C.F. and Bevan, E.J. (1936). A Text-Book of Paper-making. London: E. & F.N.
SPGN, Ltd.
Dawson, S. and Turner, S. (1995). A Hand Papermaker's Sourcebook. New York: Lyons
and Burford, Publishers.

Harrington, H.D. (1977). How To Identify Grasses. Athens: Swallow Press, Ohio
University Press.
Haynes, W. (1953). Cellulose The Chemical That Grows. Garden City: Doubleday &
Co., Inc.
Heller, J. (1978). Papermaking. New York: Watson-Guptill Publications.
Hitchcock, A.S. (1971). Manual of the Grasses of the United States. New York: Dover
Publications, Inc.
Hughes, S. (1978). Washi: the World of Japanese Paper. Tokeyo/New York: Kodanska
International Ltd.
Humphries, C.J. and Press, J.R. (1979). Grasses. Sedges. and Rushes. Poole: Blandford
Press Ltd.
88
83.
Knobel, E. (1977). Field Guide to the Grasses, Sedges and Rushes of the United States.
New York: Dover Publications, Inc.

Koretsky, E. (1983). Color For the Hand Papermaker. Boston: Carriage House Press.
Long, P. and Levering, R. (1979). PaperArt & Technology. San Francisco: World
Print Council.
Pohl, R.W. (1954). How to Know the Grasses. Dubuque: Wm. C. Brown Company
Publishers.
Premchand, N. (1995). Off the Deckle Edge. Bombey: Ankur Project.
Schlosser, L. (1979). A History of Paper. PaperArt & Technology. San Francisco:
World Print Council.

Smith, P. (1982. Making Paper. New York: American Craft Council and International
Paper Company.
Studley, V. (1977). The Art & Craft of Handmade Paper. Ontario: Van Nostrand
Reinhold Lmt.
Sutermeister, E. (1954). The Story of Papermaking. Boston: S.D. Warren Company.
Toale, B. (1983). The Art of Papermaking. Worcester: Davis Publications, Inc.

Turner, S. and Skiold, B. (1983). Handmade Paper Today. New York: Frederic C. Bell.
Whitney, R. (1979). PaperArt & Technology. San Francisco: World Print Council.
Zmolek-Smith, G. (1995). Teaching Hand Papermaking: A Classroom Guide. Cedar
Rapids:\ Z Paperpress.
//homearts.com/c1g/tours/
89
84.
//home. earthink.net/finepaper/history
filupus.northern. edu: 9 0/natsource/GRA S SES/
www.cqiar.org/IRRI/RiceWeb/Paper
www.cbbag.co/Papermalcing
www. greatplains. org/npresource/ 1 9 98/ppregion/bird
www. greatplains.org/resource/ 1 9 98/gras svar/
www.hostas.cotn/grasses/grass-links
www.ipst.edu/amp/inventn
www.lhham.com.sq/workshop
www.lib.ksu.edu/wildflower/grass
www.nativegrasses.com
www.prairiefrontier.com/pages/prargras/prairegrs
90
85.
Paper and Papermaking

Equipment Suppliers
Edwin Amies & Sons

Hay le Mill
Maidstone, Kent
ME15 6XQ U.K.
Western moulds
Appleton Mills
PO Box 1899
Appleton, WI 54913
Felts
Davis Hodges Hollander Beater

Colorado Instrument
2200 Central Avenue Suite E
Boulder, CO 80301
Beaters
Dieu Donne Press and Paper

3 Crosby Street
New York, NY 10013
Cotton and linen rag, cotton linter, wet or dried pulps.
Carriage House Handmade Papers

8 Evans Road
Brookline, MA -2146 U.S.A.
Kozo and mitsumata. Bleached and unbleached abaca, sisal, and Indian hemp pulps.
Any quantity. Internal size, retention aids, pigments, Western moulds, drying brush,
hand beating paddles, books.
91
86.
Cooper/Taylor Molds, Ltd.
18414 Lynton Road
Cleveland, OH 44122
Mold kits.
Fezandie and Sperrle

111 8th Avenue
New York, NY 1001
Dry pigment
James F. Gormely
7072 Speir Falls Road
Gansevoort, NY 12831 U.S.A.
Beaters, used
Lee S. McDonald Fine Hand Papermaking Equipment

523 Medford Street
Charlestown, MA 02129 U.S.A.
Kozo, mitsumata, gampi, and abaca. Abaca, sisal, and flax pulps. Cotton rag half-stuff,
bleached and unbleached cotton rag, cotton linters, ramie, flax tow, and Belgian line
flax. Any quantity.
Simple nagashi-zuki moulds and imported Korean su. Placements, sha material, splint
stock, and threads for making su. Mesh material for drain baskets, beating sticks, sheet
plastic, wheat starch, synthetic formation aids, pH test strips, pigments, retention aids,
and loading agents. Western moulds, felts, nonwoven fabric, gelatin, and alum. Stamp-
ers and other custom equipment.
Magnolia Editions
2527 Magnolia Street
Oakland, CA 94607
Abaca, cotton linters, cotton rag, Spanish flax, hemp linters, hemp raw, kozo, gampi.
Casting pulp, cotton linter pulp, cotton rag pulp, abaca sheet pulp, pigmenting pulp.
Cooked kozo, rinsed and unbeaten.
92
87.
Additives, Pigments, Moulds (Japanese and Western), vat, drying brush, hand
beating paddles, hydropulper and mixer, pulp sprayer, books.
Mobay Chemical Corporation

Dyestuff Division
PO Box 385
Union Metropolitan Park
Union, NJ 07083
Dyes, water-dispersed pigments, retention agents.
Shimura Asao
Cannabis Press
431 Fukuhara, Kasama-shi
Ibaraki-ken 309-15 Japan
Kozo, mitsumata, and gampi. Usually small or medium quantities.

Japanese moulds and su, drying brushes, and other special requests from Japan.
Twinrocker Handmade Paper

Brookson, IN 47923 U.S.A.
Abaca, sisal, and other pulps, dry or fully prepared (concentrated and wet).
Custom presses, beaters, and other specialized hand papermaking equipment.
Internal size, retention aids, pigments, gelatin, books, and other supplies.
Voith, Inc.
P.O. Box 2337
Appleton, WI 56911 U.S.A.
Beaters, new. Laboratory flat diaphragm screens.
93
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DOCUMENT RESUME

ED 440 909 SO 031 615

AUTHOR Vickerman, Kathrine D.

Reproductions supplied by EDRS are the best that can be made

Kak wine. D. originating it.

TO 1%DUCATIONAL RESOURCES Points of view or opinions stated in this

BEST COPY AVAILABLE

A history of hand papermaking from

The Beginning of Papermaking 1

Renaissance of Hand Papermaking 19

Chemistry of Hand Papermaking 23

A Little Bit About Grasses 29

Papermaking from Grasses 31

Teaching Hand Papermaking 77

Papermaking Equipment Suppliers 85

Thank you to all,

In addition to an historic overview of papermaking, this book explains the painstaking

Chaldea, Babylonia, and

The valman making a 'beet of paper on the mould

BEST COPY AVAILABLE

In 751 A.D. the

via a war to Samarkand.

BEST COPY AVAILABLE 17

A DESCRIPTION and playne Discourse of PAPER, and the

When sence of man sought out what Science was,

I prayse the man that first did paper make,

The migration of papermaking to America resulted from the immigration in 1690

a very small number, it should

The scraps, which you reject, unfit

The cap exalted thoughts will raise,

Each beau in study will engage,

Though foreigners may sneer and vapour,

Despite the creative advertising, colonial papermakers faced a persistent shortage

Renaissance of Hand Papermaking

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milk weed, flax, hollyhock, and thistle.

Papermaking From Grasses

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Drying Time one month Precook Preparation 24 hours soak in

Cooking Time 1 hour boiling Alkali 2 tablespoons

Rinsing Time 15 minutes continuous clear running water

Beating Method rubber mallet Beating Time 15 minutes

Forming Method Western Formation Aid poly(acrylanich)

Paper Strength Strong

Grass Type Foxtail Barley

Drying Time one month Precook Preparation 24 hours soak in

Cooking Time 1 hour boiling Alkali 2 tablespoons

Rinsing Time 15 minutes continuous clear running water

Beating Method rubber mallot Beating Time 20 minutes

Forming Method Western Formation Aid PNS

Paper Strength Very strong crisp

Drying Time One month Precook Preparation 24 hours soak in

Cooking Time 1 hour boiling Alkali 2 tablespoons

Rinsing Time 15 minutes continuous running clear water

Beating Method rubber mallet Beating Time 25 minutes

Forming Method Western Formation Aid PNS

Appearance Very disappointing. The grass was a beautiful purple but

The foxtail barley in the

On the other side of Utah,

BEST COPY AVAILABLE