In Volume 34, Number 1, Hand Papermaking examines and celebrates the “we.” Collaboration is a core aspect of our medium, our practitioners, and our output. At its essence, papermaking is a “we” process in which fiber partners with water, through hydrogen bonding, to create paper. In this issue, our authors discuss methodologies and sensibilities of collaboration in the studio, and issues surrounding authorship, agency, and the multiplying effect in collaborative practices.
Amy Hughes traces Kenneth Tyler’s ground-breaking use of handmade paper with his artists for publishing projects at Gemini G.E.L.
Katharine DeLamater discusses how the role of collaborator has evolved from historical models and ways in which the field can acknowledge new forms of assisted and shared authorship.
Frida Baranek and Joan Hall share their conversation about their fruitful give and take in the studio.
Winifred Lutz and faculty collaborators at the Kansas City Art Institute outline Lutz’s extraordinary exhibition project combining an immersive learning process for KCAI students and the creation of an ambitious site-integrated installation for the KCAI Crossroads Gallery.
Accompanied by a sample of Combat Paper, Drew Cameron reflects on the project, which after fifteen years and countless workshops for war veterans, continues to be a critical resource that engages the participatory art model.
Lynn Sures speaks with paleoanthropologist Rick Potts about mutual endeavors in science and art to discover and interpret human origins.
Andrea Peterson and Brien Beidler contribute a paper sample and provide twin accounts on how they worked together to design Beidler Blue Laid, a new “contemporary historic” bookbinding paper.
And the issue closes with Michael Durgin’s take on “Papier Global 4,” an international triennial of paper art which took place last year in Deggendorf, Germany.