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.

The collaboration theme is the perfect setting for Tatiana Ginsberg’s insightful essay accompanying Intergenerationality, Hand Papermaking’s 2017 portfolio which paired artists from two generations.

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.

In Volume 33, Number 2, Hand Papermaking examines handpapermaking — the history, the craft, and art made in the medium — with a feminist lens. Today there is an unprecedented and widespread awareness of the devastating effects of patriarchal systems and structures imbedded throughout the culture. What can we learn from past, present, and future practice of hand papermaking to pulp the patriarchy?

Elizabeth Boyne makes the case that the earliest papermakers were most likely women. 

Erin Zona speaks with Ann Kalmbach and Tana Kellner about founding Women’s Studio Workshop in 1974. 

Melissa Hilliard Potter traces the history of the Los Angeles Woman’s Building and its impacts with two of its papermaking instructors, Sukey Hughes and Patricia Reis.

Ferris Olin interviews Judith Brodsky, along with Gail Deery and Anne McKeown, about the feminist origins of the Brodsky Center.

Alisha Adams profiles the People’s Paper Co-op’s Women in Reentry program.

Neysa Page-Lieberman introduces us to Seeds InService, an ecofeminist seed-saving and papermaking project by Melissa Hilliard Potter and Maggie Puckett in Chicago.

Feminist painter Natalie Frank describes her powerful experience with pulp painting.

Anne Osherson brings feminist context to the survey exhibition “Paper/Print.”

Two handmade paper samples round out the thematic focus of this issue:

• Kenaf paper, made at Women’s Studio Workshop;
• And Underpaper, by Margaret Mahan Sheppard and workshop participants in solidarity against sexual and domestic violence.

In addition, Jamye Jamison reviews an important exhibition of Rembrandt’s etchings that focuses on paper and a watermark identification project.

In Volume 33, Number 1, Hand Papermaking focuses on water: its central role in our process, the notion of “flow” in art produced in our aqueous medium, and the ways in which artists and papermakers are addressing the growing risks to our planet’s precious and finite water resources.

Simon Green provides a fascinating primer on water and its importance to papermaking.

Amy Richard tests out her hunch that the oxygen-rich papermaking studio may result in an enhanced sense of well-being.

Artist Michele Oka Doner muses on water’s capacity to connect us, fiber, and time immemorial.

Donna Gustafson introduces the work of Saul Melman who is employing ice, carbon, and water (hot and cold) to address climate change.

Jill Powers describes her environmentally grounded sculptural and installation work focused on ocean health; algae scientist Dr. Kathy Ann Miller weighs in on her interdisciplinary exchange with Powers.

Artists May Babcock and Megan Singleton share their conversation about their collaborative site-specific installation work that address human impact on waterways and watersheds.

Francine Weiss presents the dynamic paper sculpture of Rhode Island–based artist Joan Hall who investigates the effects of plastic pollution on oceans and marine life.

Sally Wood Johnson reminds us of the cyclical flow of water and nature, as she recycles her paper art from 1986 into a new work twenty-eight years later.

This issue also features three (!) distinctive paper samples:

• Simon Green documents the making of a custom paper order for Arion Press’s Moby-Dick, evoking the “cold and unyielding ocean;”
• Joan Hall contributes a sample from one of her large-scale, pulp-painted collagraph prints, related to her work, The New Normal: In with the Tide, that is featured on the cover of this issue;
• And paper marbler extraordinaire Steve Pittelkow presents a dazzling example of his work, using water movement to capture a moiré pattern on Tom Balbo’s signature engraver’s paper.

Volume 32, Number 2 of Hand Papermaking explores the evidentiary nature of paper, as well as its capacity to conceal secrets, and what a forensic analysis of paper can tell us about our culture.

Donald Farnsworth recounts his discovery of a special “maker’s mark” in a sheet of 17^th-century paper.

Tim Barrett instructs us on how to “listen” closely to paper.

Michael Durgin speaks with Marian Dirda on how the National Gallery of Art Paper Sample Collection sheds light on works of art on paper.

Amy Hughes explains how the NGA Paper Sample Collection helped her figure out how to conserve a Max Weber print.

Gary Frost hails the codex book structure as a key preservation device for paper.

Izhar Neumann follows a lead from an historical treatise to make a mould and paper from the samar plant; accompanied by a paper sample.

Barbara Rhodes outlines early methods for secret writing in handmade paper.

Frank Brannon and Jeff Marley talk about their site-specific paper installations.

Robert Riter introduces the work of Chris Davenport and Crane Giamo who both use handmade paper as applied ecological evidence for environmental forensics.

Susan Mackin Dolan interviews the artist Hong Hong.

And we close with a roundup of recent exhibitions, and reviews of two books: Minah Song’s take on Sylvia Albro’s book about the history of Fabriano, and Bernie Vinzani’s thoughts on Peter and Donna Thomases’ interviews with retired papermakers from Tuckenhay Mill.