Name: Shirley Boudreaux

Title of Lesson- Wonder - Emphasis: Wonder with Water and the

World
Grade Level: 9th to 12th grades Art I, II, III, & IV.
Rationale & Goals:
The goal for this lesson is to have each student comprehend new ways
of thinking about art and the ways they make art. The lesson
challenges each student to find wonder in everything they do,
everything they think about, and everything they see. This lesson is
important because we need to have wonder in our everyday lives, so
that each student can expand their ideas about art and ways of making
art. By using traditional and nontraditional materials this way to show
that there can be a meaningful and something marvelous about the
exploration of art in the world around us. Through this lesson each
student will learn about their own ability to create art using art
materials including unusual and upcyclable materials.
Missouri GLSs
STRAND I:
1. Select and apply two-dimensional media, techniques, and
processes to communicate ideas and solve challenging visual art
problems.
2. Select and apply three-dimensional media, techniques, and
processes to communicate ideas and solve challenging visual art
problems.
3. Communicate ideas about subject matter and themes in artworks
created for various purposes.
4. Select and apply two dimensional media, technique and
processes to communicate ideas and solve challenging visual art
problems.
STRAND II:
1. Select and use elements of art for their effect in communicating
ideas through artwork.
2. Select and use principles of art for their effect in communicating
ideas through artwork.
STRAND III:
1. Investigate the nature of art and discuss responses to artworks.
2. Analyze and evaluate art using art vocabulary.
STRAND IV:
1. Explain connections between visual art and performing arts.
2. Explain the connections between visual art and communication
arts, math, science or social studies.
STRAND V:
1. Compare and contrast artworks from different historical time periods
and/or cultures.
1

National Standards:
(1.)
Understanding and applying media, techniques, and processes.
Students apply media, techniques, and processes with sufficient skill,
confidence, and sensitivity that their intentions are carried out in their
artworks. Students conceive and create works of visual art that
demonstrate an understanding of how the communication of their
ideas relates to the media, techniques, and processes they use.
(2.)
Using knowledge of structures and functions. Students demonstrate
the ability to form and defend judgments about the characteristics and
structures to accomplish commercial, personal, communal, or other
purposes of art. Students evaluate the effectiveness of artworks in
terms of organizational structures and functions. Students create
artworks that use organizational principles and functions to solve
specific visual arts problems.
(3.)
Choosing and evaluating a range of subject matter, symbols, and
ideas. Students apply subjects, symbols, and ideas in their artworks
and use the skills gained to solve problems in daily life.
(5.)
Reflecting upon and assessing the characteristics and merits of their
work and the work of others. Students identify intentions of those
creating artworks, explore the implications of various purposes, and
justify their analyses of purposes in particular works. Students reflect
analytically on various interpretations as a means for understanding
and evaluating works of visual art
Artists and Artwork:
Jeff Koons
Florian Maier-Aichen
Cao Fei.
David Finch
El Anatausirles
Zach Helm
Enduring Big Idea (High School): Wonder
To Wonder is to open the mind.
Art is wonder in and of itself.
Wonder is the feeling of the philosopher, and philosophy begins
in wonder Plato.
Mr. Magoriums Wonder Emporium The book, the movie or both
can be used in this lesson with the Soundtrack playing in the
background. https://www.youtube.com/watch?v=Grsk5tfoXvg

Soundtrack: Mr. Magoriums Wonder Emporium Original Motion

Picture by Alexandre Desplat, Aaron Zigman & Hollywood
studios.
They will incorporate in some way the saying of Isaac Newton
into their books I do not know what I may appear to the world;
but to myself I seem to have been only like a boy, playing on the
seashore, and diverting myself in now and then finding a
smoother pebble or a prettier shell than ordinary, whilst the
great ocean of truth lay all undiscovered before me. -Isaac
Newton
The students will incorporate each of the four sections in to their
book -Papermaking, Bookbinding, Watermark, and Suminagashi
for this lesson into an art book. This lesson will challenge each
students perceptions of his or her artwork. Investigating
Wonder through what we see and what we dont see. I want to
challenge their perception of objects and the use of materials
and find ways to incorporate these into their artwork through
thought processes that help encourage creativity.

Investigative Essential Questions High School:

-What kind of meaning does wonder create?
-How can art capture wonder?
-How can you produce wonder through art?
-Why is it important to wonder?
-How can you appropriate a wonder?
-What does handmade say about wonder?
-What other materials talk about wonder?
-What other materials can you use that show wonder?
-How can you incorporate a watermark in your book?
-What does having a watermark in your book say?
-Where did the watermark come from?
-How can you incorporate Suminagashi in your book?
-Where did Suminagashi come from?
-What does handmade paper say about your book?
-What other materials can be used to make paper?
-How can you incorporate used materials into your artwork?
-What other materials can you use that show wonder?
-How did adding text help the meaning of Wonder?
-Why did you choose the materials you chose?
-What impact did this make?
-How do the materials you chose affect a work of art?
-What kind of meaning does it create?
Key Instructional Concepts High School:
Creating wonder from different culture and environment that are

over 2000 years old.

Understanding in what culture have been creating things from
wonder.
Understand what we use today in art and where it came from?
Aware of the environment and what nature has to offer us.

Students will understand each process of making paper, watermarks,

Bookbinding, and Suminagashi. They will be aware of the origin of
these materials and which cultures have been creating them for over
2000 years. They will become aware of the environment and what
nature has to offer us. They will expand their traditional art critiques
and analysis through power point presentations and websites.
Constraints:
Developmentally
Drying time
Clean up time
Tool safety
Mask and gloves
Wet floors
Room size
Storage
Space
Cross-Curricular Opportunities (High School):
Mass Media Communications
Social Studies
History
Chemistry
Language Arts
Mathematics
Philosophy
Developmental Needs and differentiation (High School):
Repetition of instruction
Rephrasing questions
Modeling of tasks
Visual and auditory cues
Assignment breakdown
Wait time for responses
Specialty tools
http://schoolsneedart.weebly.com/accommodations.html

Assessments/Rubrics:
Formative
Sketch book proposal Artist journal
One on one discussion
Class Discussion
In class critique
Artist statement
Portfolio photos
Class presentations
Gallery exhibition
In-process documentation
Visual Thing Strategies VTS

Summative
Rubric
Written reflection
Opportunities (High School):
With each of these materials, each student will have a wide variety of
choices to create their art-binding book. They will be allowed to make
value judgments about which materials will best fit their purpose and
foster creativity throughout the processes of creating this art book.
Summative Unit Evaluation (High School):
Evaluate each student at the beginning of the lesson to determine
which goals will help each student. Then again in the middle of the
lesson with a one on one evaluation to determine if that student has
progressed to the goals that have been set. Then, again at the end of
the lesson, to measure their progress in each skill and have they
improved.
Objectives:
The student will examine different ideas that contain images of wonder
and discuss ways that wonder can change their artwork. Each student
will understand the wonder of water in the art making process. First is
the papermaking processing, pulling pulp fibers into sheets of paper
from a vat of water with a mold and deckle. Designing and making a
watermark on a deckle that they will use in the papermaking process.
They will work with Jacquard marbling ink, this ink floats on top of the
water to create a background on half or the whole page of their hand
pulled papers. Last they will bind their finished pages into book form
with the chain stitched binding to create a finished book on wonder.
Lesson #1: Watermark

The watermark is a recognizable image or a pattern in paper that

appears as various shades of lightness when viewed by a transmitted
light. This is caused by the thickness or density of the variations in the
paper. Watermarks have been used on postage stamps, currency and
government documents. Watermarks help to discourage the making of
counterfeit (fake or replicas) products. There are two main ways of
producing a watermark in paper. The dandy roll process and the more
complex cylinder mould process. For this lesson we are going to make
a watermark as we pull each sheet of paper for the book.
How to make a watermark:
Sketch your watermark design on a piece of paper. Using the sketch as
a pattern cut the design into magnetic paper. This needs to fit the mold
window screen. Place the cutout where you want the watermarks to be
placed on your paper, and then secure the design to the mold with a
staple gun.
Lesson #2: Papermaking
Papermaking has been traced back to China round 105 CE. These
sheets of paper were made of mulberry and other fibers along with
fishnets, old rags and hemp waste. Paper has been used in China for
wrapping and padding since the 2nd century BCE, but paper used for
writing as a medium became widespread by the 3rd century and we had
toilet paper by the 6th century. Paper was used in a bag form to help
preserve tea and later the Song Dynasty was the first government to
issue paper as printed money. Today, papermaking machines invented
by Charles Fenerty and a German named F.G. Keller make most of the
paper made today. These machines use wood to make the pulp in
papermaking. These two men started a new era of papermaking and
ended over 2000 years of handmade paper.
How to make pulp from linters:
First: soak the Abaca or Cotton linters in water for over an hour. Then
tear the linter into small 1 inch size squares.
Second: using a Hollander beater (this type of beater is table-sized or
bigger water tub with a grinding wheel), Hi pulpier or a wiz mixer (an
electric paint stirrer on an electric drill) to beat the linter pieces in
water for 30 minutes. Add 2 TBSP internal sizing before you drain the
pulp from the beater, if this paper is to be used for watercolor,
printmaking, painting or Suminagashi.
Making a sheet of handmade paper (HMP):
-Fill a vat full with water and add 2-3 cups of pulp depending on the
size of the vat and the thickness of the paper you would like. Add
formation aid, this helps to increase the thickness of the water and

helps to decrease the draining time when pulling a sheet of paper. Hog
the vat by immersing both hands in the vat and shaking them softly
below the water line. Do this between each sheet of paper.
-Using a mold and deckle, you will pull a sheet of paper. The deckle
(frame alone) fits over the mold (mesh screen over a frame). Holding
the mold and deckle with both hands on either side with the deckle on
top, with the mesh screen facing up, lower it vertically into the vat.
Gradually tilt it horizontally on the bottom of the vat towards you,
making sure it is well below the surface of the water. Let the water
drain for 15-20 seconds. Gently lift the deckle frame off and set it to
the side.
-Turn the mold over and couch it onto a wet felt. The easiest way to get
the wet sheet off the mold is to rock it onto a wet felt. To remove the
excess water from the couched sheet of wet paper, Place another felt
on top of the wet sheet stack 10 high, this is call a post.
-Pressing To press the stack of wet sheets of paper you need to use a
hydraulic press, but a wet vacuuming can be used in its place. This s
done by placing the post on a table then added a silkscreen like fabric
on top, the cover with plastic and vacuum out the water. The sheet
remains on the screen until dry.
-Restraint, dry your paper for 24 hours. A restrained dryer is a flat
weight that presses the paper between screens that allow airflow
around the paper.
Vocabulary:
Beater, Couch, Felt, Mould, Deckle, Press, Laid, Wove, Vat,
Papermakers tears, Pull, Toothy describing the paper, Fiber,
Formation aid, Internal sizing, External/surface sizing, Gampi, Abaca,
Flax, Kozo, Pulp, Pulp balls, Overbeat, Charge, Retted, Couch, Double
couch, Hogging the vat, Pulp painting, Watermark, Slurry
Books:
The Papermakers Companion The Ultimate Guide to Making and Using
Handmade Paper by Helen Hiebert.

RECIPES FOR PAPERMAKING

SIZING
All pulp is sized with a ketene dimmer emulsions that has a neutral pH
and meets archival standards. Add 2 tablespoons per pound of pulp.
Sizing should be kept refrigerated.
METHYL CELLULOSE
This is used as a glue to adhere paper to itself or other materials. It
may be used alone to make very hard, crisp glue or with PVA glue to
create more flexible glue. This is archival glue used by archivists and
7

bookbinders. When used in combination the two glues can be mixed in

any combination, but 50/50 is a good place to start. Papermakers use
MC by itself as glue when casting or gluing pieces of paper together.
2 cups boiling water
16 teaspoons methylcellulose powder
2 cups ice water
Mix MC in boiling water. When thoroughly mixed add ice water. The
shock treatment of hot to cold causes the MC to become gelatinous
and sticky. Thin to preferred consistency when ready to use.
FORMATION AID
Formation aid, also called neri, is actually polyethylene oxide (PEO). In
powder form, it is a synthetic version of tororo-aoi, a plant grown in
Japan for use in the nagashizuki style of Japanese papermaking. It is
used in the making of thin papers from long-fibered pulps, and is also
invaluable in the techniques of pulp painting and pulp spraying. It is
completely compatible with all other additives (e.g., retention agent
and sizing).
The powder should be mixed with cold water in the following
proportion: 1/2 teaspoon to 1 blender full of water. IMPORTANT: Only
mix up enough formation aid for a few days use, although it will last
longer if kept refrigerated. Once the powder is dissolved in water, its
shelf life is limited, and will probably be ineffective in a couple of
weeks. The dry powder has a shelf life of over a year, provided it is
stored in an airtight container, in a dry place.
1. Fill blender 3/4 full of cold water
2. Start blender on low setting
3. Remove center of lid and slowly add 1/2 tsp. of formation aid
4. Replace lid and increase speed of blender until it sounds as
though the beater is working harder.
5. Remove liquid and place in container. Repeat until make
quantity need.
6. If took thick add more water.
Lesson #3: Suminagashi
The word Suminagashi translates literally as spilled ink. Centuries
before the art of marbleizing papers was practiced in Western cultures,
Japanese craftsmen created patterns by floating ink on the surface of
water and transferring it to a sheet of paper. Because the nature of
water is ever-changing and constantly moving, Suminagashi printers
are viewed as great masters of control. Each monoprint is like a
fingerprint unique and unreproducible. Video:
https://www.youtube.com/watch?v=llLlFcq3K3U#t=164
Book: http://www.amazon.com/Suminagashi-Japanese-MarblingPractical-Guide/dp/0500276498/ref=sr_1_6?
ie=UTF8&qid=1414686350&sr=8-6&keywords=Suminagashi+ink
8

How to use Suminagashi inks:

Prepare the dyes you've chosen by mixing 1 teaspoon of the dye, 1
drop of surfactant solution, and 1 teaspoon of water in the watercolormixing tray. In one of the tray's wells, mix 1 teaspoon of water and 1
drop of surfactant solution. Mix each one, using a different brush for
each color and for the water and surfactant solution.
Fill the marbling tray with 2 inches of water. Using the brush in one ink
color, allow the brush to soak up dye, touch the brush to the surface of
the water. Next, touch the brush with surfactant solution in the middle
of the color you've just applied to the water-filled tray. Keep alternating
between colors and surfactant solutions until you've formed a number
of concentric rings of color. Remember that the more rings you create,
the more visually appealing your Suminagashi paper will be.
To make a pattern with the inks, you can comb through the water by
using a single strand of hair or simply blow gently on the surface.
Slowly lay a sheet on the top of the water and ink. Letting the paper
absorb most of the ink, lift off the paper, and now place each paper out
to dry, this will take over an hour.
Lesson 4 Alter pages
Alter each page by changing to make something else in its place.
Altering book pages can be done through adding one or more things.
Each student will alter each page by adding - Collage, Stamp,
Embossing, Sewing, Embellish, Paint, Draw, Glue, Foil, Safety pins,
Wax, Stencils, Ink, Paper clay, Cutting, Wire, Metal, Fabric.
Lesson 5: Bookbinding
In all probability, bookbinding originated somewhere in India, where
religious sutras were copied on palm leaves. Buddhist monks took the
idea through to Persia, Afghanistan, and Iran to China in the first
century BC. Bookbinding is the process of physically assembling a book
from a number of folded or unfolded sheets of paper or other material.
It usually involves attaching a book cover to the resulting textbook.
Books have a personal confidence to discover the wonder of another
world and be amazing, speculative, surprising, extraordinary,
phenomenal, and marvelous of what you can find inside of each new
book. This lesson introduces students to the basics of making books
using a chain stitching process. The size of a book can vary to adapt to
scrapbooks, sketchbooks, notebooks or journals. Styles of binding can
differ as well. Eastern stab binding and accordion folded books are
common handmade styles. Most covers are made from Japanese handmade papers. Alternative materials can be used like cloth, metal, tree
9

bark, wire, reed, found objects, and leather.

How to make chain stitch:
Chain stitch looks a bit like a crochet chain going horizontally across
the spine. Use a thread that really sets off the spine something thick or
heavy.
Prepare any number of signatures. Then mark and poke holes in the
signatures, the number of holes can be either odd or even. Mark and
poke corresponding holes in the covers, pacing them about on the
edge of the spine. Start sewing inside the signature. Sew out of the top
hole of the signature, through the top hole of the back cover, and back
into the top hole of the signature. Tie off the end inside the signature.
Then stitch down to the next hole. Repeat, sewing a circle into the
cover and back into the signature. Continue this process down the
signature. At the bottom stitch, dont sew back into the first signature:
instead, sew into the new signature. Sew up to the next hole. Then
rather that sewing thought the cover sews completely under the
adjacent stitch in the first signature and return to the current
signature.
Repeat, sewing up to the next hole and under the adjacent stitch
continue this process up the signature, keeping in mind that the last
stitch must connect to the next signature.
Repeat adding a signature and sewing under the previous stitches,
until only on signature remains to be attached. The last signature must
connect to the front cover as well as to the previous stitches. Sew
under the previous stitch.
Then as part of the same stitch, sew through the cover from inside to
the outside. Sew into the last signature, placing the needle so that the
thread crosses under itself. Continue up or down the signature and tie
off the last stitch inside the signature.
Vocabulary:
Chain stitch, Horizontally, Spine, Davidboard, and Signatures.
Books:
Cover by Cover Creative Techniques for Making Beautiful Books,
Journals & Albums by Shereen LaPlantz.
Final Project:
Day to Day Plan:
Week 1
Day 1:
Introduce the art assignment.
Show a Wonder power point that introduces all material and
10

techniques.
Potential outcomes of their book and what they can look like.
What other artists have done.
Brainstorming ideas for their book.
Day 2:
Introduce of the history of papermaking, watermark, and
bookbinding.
Connect #1 - 15 to 20 minutes of the movie Mr. Magoriums
Wonder Emporium https://www.youtube.com/watch?
v=Grsk5tfoXvg
Connect #2 - VTS Images (15 to 20 minutes)
Connect #3 - Peer Discussion: Discussion about materials that
will/can be used inside of their art books. Have each student pick
an object that they would like used inside of their own book.
Then state why they would like that object in their book.
Day 3:
Demo drawings line, shape, form, crosshatch, horizon line,
layer, plane, shape, value, and vertical.
Draw out ideas. (20 to 40 new sketches)
In a sketchbook each student will draw out his or her ideas for
each page in the bind book.
Day 4:
Pick out the design and work on their layout for their watermark.
Day 5:
Demo cutting out and adhering to the deckle
Cutout and adhere their watermark to the deckle.
Week 2
Day 1:
(Video) https://www.youtube.com/watch?v=p2WXBZQ3S18
Class discussion about the history of papermaking.
Show papermaking materials.
Safety rules
Demo pulling paper with mold and deckle.
Day 2:
(Wet Day) Papermaking Pull sheets of paper and watermark
paper.
Day 3:
(Wet Day) Papermaking Pull sheets of paper and watermark
paper.
Day 4:
(Wet Day) Papermaking Pull sheets of paper and watermark
paper.
Day 5:

11

(Wet Day) Papermaking Pull sheets of paper and watermark

paper.
Week 3
Day 1:
(Wet Day) Papermaking Pull sheets of paper and watermark
paper.
Day 2:
One on One Discussion, Group Discussion.
(Video) https://www.youtube.com/watch?
v=FXbrgTE8jEY&list=PLmG0KWMM8cYO-ZJMVSJpCGvfrLGYVPO_P
Class discussion about the history of suminagashi.

Demo Suminagashi Water/ink, marbling.

Day 3:
Demo Suminagashi
(Wet Day) Suminagashi on pulled handmade paper.
Day 4:
(Wet Day) Suminagashi on pulled handmade paper.
Day 5:
(Wet Day) Suminagashi on pulled handmade paper.
Week 4
Day 1: One on One Discussion
Group Discussion.
Student working on planning out their pages
Day 2
Demo -Alter pages
By taking away - Cutting, Hole punch, Gap, Break, Tear
By adding - Collage, Stamp, Embossing, Sewing, Embellish, Paint,
Draw, Glue, Foil, Safety pins, Wax, Stencils, Ink, Paper clay,
Cutting, Wire, Metal, Fabric.
Day 3:
Alter pages
By taking away - Cutting, Hole punch, Gap, Break, Tear
By adding - Collage, Stamp, Embossing, Sewing, Embellish, Paint,
Draw, Glue, Foil, Safety pins, Wax, Stencils, Ink, Paper clay,
Cutting, Wire, Metal, Fabric.
Day 4:
Alter pages
By taking away - Cutting, Hole punch, Gap, Break, Tear
By adding - Collage, Stamp, Embossing, Sewing, Embellish, Paint,
Draw, Glue, Foil, Safety pins, Wax, Stencils, Ink, Paper clay,
Cutting, Wire, Metal, Fabric.
Day 5:

12

Alter pages
By taking away - Cutting, Hole punch, Gap, Break, Tear
By adding - Collage, Stamp, Embossing, Sewing, Embellish, Paint,
Draw, Glue, Foil, Safety pins, Wax, Stencils, Ink, Paper clay,
Cutting, Wire, Metal, Fabric.
Week 5
Day 1:
One on One Discussion
Group Discussion.
(Video) https://www.youtube.com/watch?v=ue52htX3j0k
Class discussion about the history of bookbinding.

Day 2
Demo on the Chain Stitch
Bookbinding
Day 3:
Bookbinding
Alter (modify or adjust) pages
Day 4:
Bookbinding
Alter (modify or adjust) pages
Day 5:
Final in class critique
Artist Statement
Portfolio Photos
Class presentations
Gallery Exhibition
Materials, Teaching Resources/References:
PowerPoints
Handouts
Movie
Plant Fiber/Pulp/Linter
David Board
Wax linen
Ink
Tray
Brushes
Mold and Deckle
Vat
Water
Formation aid
Press
Felts
13

Sizing
Paint
Pencil
Pen
Paint
Paintbrush
Hollander Beater
Cellulose
Post/Felts
Squeegee
Mop
Drying rack
PVA glue
Collage materials
Stamp
Embossing tools
Sewing thread
Sewing machine
Embellishments
Paint
Draw
Foil
Safety pins
Wax, Stencils
Ink
Paper clay
Cutting
Wire
Metal
Fabric
Teacher Reflection:
How will each student be evaluated in this lesson and is it successful? I
will evaluate by doing a list with indicators in each section of the
lesson. Three times over the course of the lesson they will be able to
change or re-evaluate their artwork to make sure that their final
product will be successful.
Each student will discuss their final project in a full class critique to
help them understand the lesson and to help judge whether or not they
grasped the lesson. Throughout the creative process, I will help guide
each students thinking by asking them to show me the drawings,
sketches, and written forms on why they chose to create each piece of
paper the way they did. This will prompt them to make value
judgments in their processes. In the end discussion, I will ask them to
share the material they most enjoyed, found most unique, or
unexpected and how these materials contributed to their final
14

products.
BOOKS, WEBSITES & SUPPLIERS
Asuncin, Joseph. The Complete Book of Papermaking. New York: Lark
Books, 2001.
Bell, Lilian. Plant Fibers for Papermaking. Oregon: Liliaceae Press, 1995.
Carriage House Paper
Hand Papermaking
Hiebert, Helen. Papermaking with Garden Plants & Common Weeds.
Vermont: Storey Books, 1998.
Hunter, Dard. Papermaking in the Classroom
Karr, Joanne B. Paper Making and Bookbinding: Coastal Inspirations.
East Sussex, England: Guild of Master Craftsman Publication Ltd, 2003.
Lorente, Marie-Jeanne. The Art of Papermaking with Plants (Paperback)
Petty, Gin. Bookbinding Journal
Reimer-Epp, Heidi and Mary Reimer. Encyclopedia Of Papermaking And
Bookbinding. London: Running Press, 2002.
Saddington, Marianne. Making Your Own Paper. Vermont: Storey
Communications, 1993.
Talas Bookbinding Supplies
Twinrocker Handmade Paper
http://www.incredibleart.org/lessons/middle/Elizabethpaper.htm#sthash.A6I3Jdnh.dpuf
Dard Hunder Papermaking.com
http://www.dardhunter.com/papermaking.htm
Hiebert, Helen http://www.amazon.com/Papermakers-CompanionUltimate-Making-Handmade-ebook/dp/B00AJQG4UA/ref=sr_1_3?
s=books&ie=UTF8&qid=1414378522&sr=13&keywords=helen+hiebert
Watermark in papermaking in Holland, and England
http://www.amazon.com/Watermarks-Holland-England-CenturiesInterconnection/dp/157898632X/ref=sr_1_3?
ie=UTF8&qid=1414378788&sr=83&keywords=watermark+papermaking
American Watermark http://www.amazon.com/American-Watermarks1690-1835-Thomas-Gravell/dp/1584560681/ref=sr_1_4?
ie=UTF8&qid=1414378872&sr=84&keywords=watermark+papermaking
Marbling Japanese suminagashi http://www.amazon.com/MARBLINGJAPANESE-SUMINAGASHI-Aitoh-Co/dp/B000H6CM4Y/ref=sr_1_2?
ie=UTF8&qid=1414379010&sr=8-2&keywords=Suminagashi
Suminagashi Japanese Marbling Practical
http://www.amazon.com/Suminagashi-Japanese-Marbling-PracticalGuide/dp/0500276498/ref=sr_1_3?ie=UTF8&qid=1414379062&sr=83&keywords=Suminagashi

15

Cover to Cover http://www.amazon.com/Cover-To-Creative-TechniquesBeautiful/dp/0937274879/ref=sr_1_24?

ie=UTF8&qid=1414379147&sr=8-24&keywords=bookbinding
Mr. Magoriums Wonder Emporium
http://www.imdb.com/title/tt0457419/
LIST OF SUPPLIERS:
Carriage House Papers
sizing,
79 Guernsey St.
beaten to order pulps
Brooklyn, New York 11222
Tel: 800-669-8781

fibers, pigments, chemicals:

Twinrocker
supplies
RR#2
Brookston, Indiana 47923

all types of papermaking

Golds Artworks, Inc.

cotton linters
2100 N. Pine St.
formation)
Lumberton, North Carolina 28358
Tel: 800-356-2306
Allens Basketworks
and related supplies
P.O. Box 82638
Portland, Oregon 97202
Tel: 800-284-7333
Royalwood Ltd.
related supplies
517 Woodville Rd.
Mansfield, Ohio 44907
Tel: 1-800-526-1630
www.RoyalwoodLtd.com

pigments, retention aid,

cheapest prices for

(12R good for casting & sheet

reed, waxed linen

Reed, waxed linen and

16