The Hand Papermaking Paper Portfolios are exceptional, curated, themed collections of handmade papers that showcase the best, most innovative work being done in our time by leading paper artists.

COMING SOON! (in 2020), In Between
Sixteen intriguing works that explore the liminal, undefined, unextreme, marginal, and middling. Essay by curator Frida Baranek. BUY NOW and GET A DEEP DISCOUNT!

2016, Intergenerationality: Collaborations in Handmade Paper
Emerging and established artists partner as equals to create fifteen works. Essay by curator Tatiana Ginsberg. 

2014, Negative Space in Handmade Paper: Picturing the Void
Nineteen compelling artworks investigate an ingtriguing concept. Commissioned essay by Buzz Spector.

2012, Handmade Paper: Fiber Exposed!
This collection spotlights unusual and creative interactions between fibers. Eugenie Barron wrote the essay.

2010, Handmade Paper in Motion
This venture features pop-ups and other forms of paper engineering utilizing handmade paper. Four notable jurors chose 28 artists. Essay by Ann Montanaro.

2008, Calligraphy and Handmade Paper
Twenty-eight artists contributed to this portfolio, focusing on the inherent artistry and meaning of the calligraphic mark as it interacts with the handmade paper. The essayist is Rose Folsom of Letter Arts Review.

2006, The Art of Pulp Painting
Seventeen works are included in this assortment of alluring imagery, featuring the unique medium of pulp painting where artists work not only on paper, but in paper. Jane Glaubinger of the Cleveland Museum of Art wrote the essay.

2004, Innovative Printmaking on Handmade Paper
Twenty juried prints represent a wide range of printmaking techniques – traditional, contemporary, and experimental. The essay was written by Eric Denker of the Corcoran and National Gallery of Art.

In addition to the award-winning journal and newsletter, Hand Papermaking is known for its distinctive series of portfolios. These exceptional collections of paper art are a vital source of revenue supporting the organization’s non-profit activities, but this program is much more than a fund raiser. The portfolios serve as motivating and educational tools, inspiring novice and professional papermakers alike to new levels of achievement. The portfolios provide an archival record, showcasing the work being done in our time by leading paper artists. And Hand Papermaking’s portfolios promote the use and enjoyment of handmade paper, by inspiring an appreciation for the art and encouraging an appetite for the aesthetic appeal unique to handmade paper.

2002, Watermarks in Handmade Paper: Modern and Historic
Presents seventeen watermarked sheets – five were formed on historic moulds, twelve were produced especially for this edition, in folders with die-cut openings on both sides. The box features letterpress-printed lining paper patterned with wire watermark images. Helen Hiebert wrote the essay. Edition sold out.

2000, Old Ways, New Views: Photographic Processes on Handmade Paper
Seventeen artworks produced by twenty-five respected papermakers and photographers offer an uncommon integration of the historic arts of photography and papermaking. The essay was written by John Risseeuw. Edition of 100 sold out.

1998, Handmade Paper in Nepal: Tradition and Change
The specimens for this edition come from a single source, paper historian and artist Dorothy Field. During numerous trips to Nepal, she met with papermakers, discerned their methods, and collected their papers. Edition sold out.

1996, Opacity and Translucency: Letterpress Printing on Handmade Paper
With discerning interaction between paper and printing, these works of art either break new ground or exemplify the finest traditional techniques. Essay by Michael Peich of Aralia Press. Edition sold out.

1994, Design and Pattern in Decorated Papers: Wet and Dry Techniques
Twenty-one artists participated in this initial venture, showcasing marbling, paste paper, and other techniques for decorating paper. The essay was written by Sanrdra Kroupa. Edition sold out.