Volume 32, Number 1 marks Hand Papermaking’s commitment to printing the magazine in full color going forward! In this issue, we look at the use of paper as cloth and fabric. In addition to technical discussions of how paper has been used in the production of textiles, we hear from makers about the aesthetic, symbolic, and working properties of paper that make it a compelling material for weft and warp.

Carolina Larrea outlines her practice of shifu-making as an active woven meditation.

Velma Bolyard shares powerful testimonials on shifu’s capacity to facilitate healing, accompanied by a sample of her North Country shifu.

Mandy Coppes-Martin recounts her travels with two other paper artists working with paper thread, Atsuko Yamagata and Asao Shimura.

Steph Rue introduces us to the extraordinary paper weavings of Emiko Nakano.

Aimee Lee offers her thoughts on transforming paper into textile.

Dorothy Field tells us about Kim Kyung’s unique collection of Korean objects made using paper-textile techniques.

Steeve Buckridge brings forth new scholarship into Jamaica’s early-colonial lace-bark-cloth production.

Erica Spitzer Rasmussen writes about her remarkable paper garments.

Andrea Peterson interviews Melanie Teresa Bohrer on her performative art practice with paper as shroud.

Michael Gill speaks with Julie McLaughlin about her artwork in kimono form.

Julie Poitras Santos describes Katarina Weslien’s art project “Walking Kailash,” alongside a momigami sample made by Andrea Peterson.

Jordana Munk Martin writes about large-scale paper tapestries by Nancy Cohen.

And we hear from Anke Neumann about her beguiling jewelry made of paper and light.