Carol Herd’s survey was initiated to gain support for an independent hand papermaking program at the University of Illinois, Urbana-Campaign. In 1987, Frank Gallo’s classes there, introduced in 1981, were thriving. (Our survey turned up the unfortunate fact that these classes ended about ten years ago.) In Hand Papermaking, Carol Herd reported: "The final survey was distributed in May, 1987, to about 1,000 of the 4,000 or more universities and colleges in the United States. Two hundred forty-nine surveys were returned for a 25% response rate overall." We chose to conduct a more selected mailing to sites identified for their hand papermaking instruction, as published by the College Art Association’s Directory of Master of Fine Arts Programs in the Visual Arts, the Friends of Dard Hunter membership list, and an internet studies opportunities list. From this information and further suggestions made by initial survey recipients, we mailed 130 four-page surveys and received 40 returns. From the 40 completed surveys, we conducted follow-up, in-depth phone interviews with more than half of the respondents.  The vast majority of the respondents represent colleges or universities. However, seven non-profit arts organizations and five for-profit papermaking businesses that regularly teach both accredited and non-accredited classes and workshops are included in the survey. We did not contact seasonal workshops or part-time educational programs even though these educational venues, such as the Paper Book Intensive, have regularly, over the course of many years, offered specialized instruction, often by teachers drawn from institutions that we did include. Also, this survey focused on instruction offered at schools and facilities rather than on the individuals who teach at them. Before we review the results of our survey, we want to describe some of the work undertaken thus far in the creation of the Hand Papermaking Fellowship. This will give a clearer picture of the impetus for the survey and will help reveal any possible biases in the method and results of the survey. With the establishment of hand papermaking classes at Cranbrook Academy of Art by Laurence Barker in 1963, hand papermaking has now been taught for credit at the college level throughout the United States continuously for almost four decades. The interest and study of hand papermaking referred to in this article has grown out of the revival of hand papermaking in art departments. It is distinct from technical or historical study at institutions such as The Institute of Paper Science and Technology, which offer instruction in the commercial aspects of papermaking. These hand papermaking classes are usually offered through the art department in the printmaking or book arts program. This status has not changed in forty years; there are no independent hand papermaking programs in schools to date. Likewise, instructors for accredited hand papermaking classes usually have a Master of Fine Arts in Visual Arts, often in printmaking, even though a substantial amount of their time is spent teaching papermaking. To our knowledge there is no degree program in hand papermaking yet. This last fact triggers a whole series of questions. How are we preserving the wealth of knowledge of the craft that has been recovered in the past forty years? How are we recording the new knowledge we have gained? How are we passing on this knowledge and mentoring the skills for the next generation? How are we nurturing new research and work in our field on both the student and professional level? How can we establish standards within our field in an educational and professional context? In exploring these issues we engaged many colleagues in discussion. One model, from the field of fine printmaking, suggested some solutions. Many are familiar with The Tamarind Institute and its master program to professionally train and certify lithographers. This educational certification program, initiated in 1960 by June Wayne to prepare and promote fine lithography, has been a critical component in the renaissance of fine printmaking. With the advice of Wayne and critical feedback from voices in our field (such as Cindy Bowden and Laura Lieberman at the Robert C. Williams American Museum of Papermaking), we asked Tim Barrett, Lynn Amlie, and Marilyn Sward to join us on a steering committee to oversee the fellowship project. We wanted this group to work through ideas and begin the groundwork for a master hand papermaking fellowship program. We continue to work on the master fellowship program and are very pleased with how it is evolving. Organizing the survey replies and having the opportunity to personally speak to so many colleagues has been rewarding, inspiring, surprising, and immeasurably helpful in understanding how best to help hand papermaking survive and thrive in the twenty-first century. For the sake of comparing the results of Carol Herd's 1987 survey to those we gathered in 2000, we follow here the format of Herd’s 1988 article and, when applicable, we present updated tables. Herd’s first table, "Departmental Affiliation of Papermaking Classes" lists the categories of Printmaking, Fibers, Painting, Drawing, Sculpture, and General, with entries in each. We have not included this table because the majority of respondents simply listed the printmaking or book arts program in the art department as the affiliation and studio site. Although degrees are not offered in papermaking, accredited universities and school programs—which comprised about three-fourths of the survey respondents—offer Bachelor of Arts, Bachelor of Fine Arts, Master of Arts, and Master of Fine Arts degrees in the visual arts. Instructors described students as concentrating their studies and work in hand papermaking but did not speak of it formally as a major or minor. In evaluating the extent to which hand papermaking is an important component in student work, we note that many distinctions have broken down in the description of art forms, majors, and program categories. It is difficult to isolate the use of any single medium, especially one like handmade paper, which can be used just as comfortably for three-dimensional as two-dimensional work. Similar to the 1987 survey, ours revealed that introductory hand papermaking classes are offered once a year, sometimes followed by a more specialized, intermediate class. As in 1987, class size still ranges from ten to twenty students. In most school settings, advanced instruction is done as independent study and is tailored to the student’s interests and work. Speaking to instructors, we found an eclectic range of specialized, in-depth instruction offered, not so much in the college or university setting as at for-profit and not-for-profit papermaking facilities. However, these classes, which reflect the specific research and preoccupation of the papermaker who teaches them, are not always accredited. While it is difficult to generalize about these non-university sites, we found that instruction usually followed a workshop or intensive format, rather than a semester-long schedule. In this context, for-profit and not-for-profit organizations regularly instructed many more students per year, often between one and two hundred each. One of the purposes of our survey was to find out what is common to the hand papermaking curriculum taught throughout the United States. We discovered that the instructors are the most critical factor. Their interests dictate the depth and detail of the subjects covered. In some cases, including at schools once critical to the spread of hand papermaking, a program ceased to exist after a key instructor stopped teaching. In the case of the University of Illinois, Frank Gallo retired; after Cranbrook, Laurence Baker moved to Spain. Even schools such as Wayne State University and The University of Wisconsin at Madison—both centers of activity for decades, under Aris Koutroulis and Walter Hamady, respectively—have seen interest wane as new teachers and students follow other interests, in fields such as the electronic arts. However, new schools such as The University of Iowa, under the guidance of Tim Barrett, Lynn Amlie, and Robert Glasgow, and Columbia College (Chicago), under Marilyn Sward and Bill Drendel, thrive as creative centers for education and research in papermaking. Despite the importance of specific individuals to some programs, we have nonetheless followed Herd’s example, summarizing and presenting our information in table form. Table 1 refers to the subjects most often covered in hand papermaking classes. In summarizing these results, we find that the majority of instructors give their students some historical background of the craft as well as an overview of the field today. Fewer than half of the schools surveyed include elementary paper chemistry in their curriculum and only a few cover paper conservation. The vast majority of respondents concentrate on pulp and papermaking, with a strong emphasis on fibers and pulp preparation. We were surprised that the list of fibers used in 2000 correlated so closely with those used in 1987. Even though teachers reported using cotton linters and abaca most often, they noted equal interest in traditional Western, Eastern, and non-traditional fibers. In our follow-up conversations we discovered that this certainly does not mean that the current generation of students are trained to step into the shoes of traditional hand papermakers in Japan or Italy. But, for their own art production, at least, the students have discovered the inherent qualities of these distinct fibers. The high tallies for subjects (in Table 1) that cover two-dimensional art techniques reinforce our observation that teachers and students are most interested in how papermaking can be used as an art medium. This includes papermaking both for direct, individual expression and as a support or partner with other processes, such as printing or photography. There appears to be slightly less interest in sculptural applications. However, there is clear support for traditional sheet forming as a critical component of most book arts programs. (The book arts program at the University of Alabama, which includes hand papermaking, is part of The School of Library and Information Science.) There is enough interest in hand papermaking at the University of Iowa that the three instructors there teach the traditional craft, book arts applications, and art techniques, all in specialized classes and at different facilities. Virtually all hand papermaking courses are studio classes using demonstrations and a hands-on approach.  Academic study, both historical and critical, is limited.  No classroom textbook or master compendium has been compiled to date, although selected texts by Dard Hunter, Bernie Toale, Lillian Bell, Elaine Koretsky, Tim Barrett, Silvie Turner, Sophie Dawson, Sukey Hughes, Marilyn Sward and Helen Hiebert, among others, are recommended for the topics they address.  However, these texts are often available as reference material only; rarely are they required reading and most often students are not tested on the material in them.  Students are usually graded on the quality and quantity of their art work rather than their knowledge of the field. In 1988 Carol Herd wrote, "As evidence of the relative youth of the field as a formal discipline, many of the instructors report being self-taught in papermaking, often as working artists, although a vast majority of those reporting had an MFA." Today, although the field is fourteen years older, the majority of respondents still consider themselves self-taught but have supplemented their own experimentation informally with workshops and instruction from colleagues. Those teaching formally in accredited college and university departments have advanced degrees, usually an MFA in visual art. A new generation of college level teachers, such as Cynthia Thompson at the Memphis College of Art, are returning to the school environment (Thompson has an MFA in visual art, received formal instruction in papermaking from Rutgers University, and has work experience in the non-profit world at Dieu Donné Papermill). This generation will undoubtedly offer a broad range of instruction. We found it interesting that the Memphis College of Art position, established by Dolph Smith in 1979, is one of the few paid faculty positions in papermaking. In most college-level schools, papermaking professors are drawn from the book arts, printmaking, and fiber arts programs. Although schools seem reluctant to formally fund a papermaking faculty position, those surveyed all provide annual budgets for papermaking supplies and equipment. More than half the respondents reported over 1,000 square feet of space designated for papermaking, while eleven replied that their facility occupies less than 550 square feet. A few sites, such as the University of Iowa with 2,800 square feet and Twinrocker with close to 10,000 square feet, reflect the seriousness of their commitment, in a school setting on the one hand and in business on the other. As Table 3 indicates, almost all sites have the basics of a Western-style papermaking facility, including a Hollander beater, Western moulds, vats, felts, a press, and some type of drying system. A vacuum table, blenders, a whiz mixer, and a pulp sprayer are the contemporary complement to traditional equipment. If size or scale reflect commitment, four facilities have twenty-five pound Hollander beaters and ten have more than one beater in the studio. Approximately half the respondents listed Eastern moulds as part of their equipment inventory. If there has been a shift in interest since schools were surveyed in 1987, it has been from using opaque cotton pulp, often for casting, to a broad appreciation for a wide variety of pulps and translucent papers made using either a Japanese, Western, or hybrid method. However, experimentation—whether in the making of sheets of paper or works of art—is still the order of the day. The results of the survey and our follow-up phone interviews reveal an increased level of maturity in the field and in the teaching of hand papermaking in the United States.  Indicative of this commitment is the fact that over one-third of the institutions polled offer internships or work exchange programs for students.  While students and instructors regularly turn to their backyards and linen closets for fiber and fabric for their pulp, a half-dozen supply houses throughout the country offer an increased range of inventory in supplies and equipment. This reflects both the growth of the field and a degree of standardization. These businesses, whose customers now number in the thousands, regularly offer technical assistance in all aspects of contemporary hand papermaking. In the forty years since Cranbrook, we have witnessed the initial wave of interest in hand papermaking sweep across the country and settle to flourish in over 130 institutions throughout the United States. All of these sites offer classes annually. A number of facilities have evolved into distinct models of instruction for different kinds of hand papermaking, be it sheet production for book arts at the University of Alabama, research and production at the University of Iowa, or art applications at Columbia College, to name just a few. We at Rutgers University and Dieu Donné Papermill have been part of two distinct opportunities in the field. In 1990, Gail initiated a hand papermaking program at the Mason Gross School of the Arts, Rutgers University. Under the auspices of The Rutgers Center For Innovative Print and Paper (RCIPP), the fine art publishing vehicle within the visual arts department, professional artists and students share printmaking and papermaking studios. Through a series of courses, independent studies, and internships, undergraduate and graduate students learn all aspects of papermaking: history, technique, production, and artistic applications. Each year at RCIPP, more than twenty visiting artists representing diverse cultural backgrounds and artistic disciplines expose students to a wide range of conceptual ideas and collaborative techniques during their funded residences. Students can assist on the professional level as interns, working side-by-side with master printers, papermakers, and artists in the production of editioned paper and print projects. Although teaching opportunities in hand papermaking on the college level are still limited, graduating students from Rutgers have found positions at non-profit organizations and businesses such as Pyramid Atlantic and Carriage House. Currently, half of the staff at Dieu Donné Papermill are former Rutgers students. Over the past twenty-five years, Dieu Donné Papermill’s role in education and instruction has evolved from informal, hands-on training of staff new to the field to a multi-structured formal program for children, adults, professional artists, and teachers, both on- and off-site. Accredited classes for the New School and specialized hand papermaking workshops for hundreds of artists and teachers comprise on-site classes. Off-site, over twenty-five hundred children are taught in the greater New York City area each year. Dieu Donné’s staff regularly teach college-level classes at universities and other sites, such as Penland. In the past twenty-five years, hundreds of interns and work exchange students have received hands-on training in a professional context at Dieu Donné. Our findings reveal a serious and long-term commitment by instructors and the institutions they represent to teaching hand papermaking on the college level. This commitment is measured by growth since the findings in the Herd survey, in time, space, and human resources, all with financial backing. Many schools have offered hand papermaking classes for two decades. All schools have designated studio space and professional classroom equipment. Annually, these institutions provide budgets for instructors’ fees and for supplies. The steady demand by interested students and the engaging energy of inspired instructors has created and nurtured this commitment to hand papermaking in the twenty-first century. Those of us involved in structuring the Master Hand Papermaking Fellowship want to tap into the resources currently available in the field. Through communication with our colleagues, we will begin to map out for future students and teachers what we know and what should be passed on, at the undergraduate, graduate, and postgraduate level. A Master Hand Papermaking fellowship would serve as a drawing board and vehicle of communication for these critical issues, while providing funds to sustain and promote individuals actively expanding our field.  The authors wish to acknowledge the assistance of Lila Elshakry, who helped compile the data from the completed surveys.  Selected Texts Used in Papermaking Curricula Timothy Barrett, Japanese Papermaking, Weatherhill, New York, 1983.Lilian A. Bell, Papyrus, Tapa, Amate & Rice Paper, Liliaceae Press, McMinnville, Oregon, 1985.Lilian A. Bell, Plant Fibers for Papermaking, Liliaceae Press, McMinnville, Oregon, 1984.Sophie Dawson, The Art and Craft of Papermaking, Lark Books, Asheville, North Carolina, 1992.Helen Hiebert, The Papermaker's Companion, Storey Books, Pownal, Vermont, 2000.Helen Hiebert, Papermaking with Plants, Storey Books, Pownal, Vermont, 1998.Sukey Hughes, Washi, Kodansha, Tokyo, 1978.Dard Hunter, Papermaking: The History and Technique of an Ancient Craft, Dover, New York, 1978.Elaine Koretsky, Color for the Hand Papermaker, Carriage House Press, Brookline, Massachusetts, 1983.Marilyn Sward and Catherine Reeve, The New Photography, Da Capo Press, New York, 1986.Bernie Toale, The Art of Papermaking, Davis Publications, Worcester, Massachusetts, 1983.Silvie Turner, Handmade Paper Today, Lund Humphries, London, 1983.[tables for Gail Deery / Sue Gosin article]  Table 1 - Subjects Covered in the Papermaking Curriculum Subject                                                                        Number*Fiber and Pulp Preparation                                           36Western Sheet Forming                                                36Dyeing Pulp and Pigmenting Pulp                                  35Embedding Materials                                                    35Multiple Couching and / or Laminations             35Pulp Painting                                                                 34Shaped Deckles                                                           34Bookbinding                                                                 33Overview and History                                                   32Pulp Casting                                                                 28Printing with Handmade Paper                          27Eastern Sheet Forming                                      25Watermarking                                                               23Vacuum Forming                                                          21Mold Making                                                               20Photographic Techniques with Handmade Paper           20Pulp  Spraying                                                              17Paper Chemistry                                                           16Paper Conservation                                                        5 * Out of 40 surveys.  ____________________________________________________________  Table 2 - Primary Fibers Used in Papermaking Programs Fiber                                                               Number*Plant Fibers                                                      33Cotton Linters                                                  32Abaca (Pulp Sheets)                                         30Linen                                                                29Cotton Rag                                                       27Japanese Fibers (kozo, mitsumata, gampi)         27Flax                                                                  26Cotton Half-stuff                                               17 * Out of 40 surveys. _____________________________________________________________  Table 3 - Types of Equipment Equipment                              Number*Western Moulds                       37Vats                                         36Felts                                         35Paper Drying System                34Presses                                     34Hollander Beaters                     29Blenders                                   28Vacuum Tables             26Eastern Mould  s                       23Pulp Sprayers                           13Whiz Mixers                             12Hydropulpers                             5Stampers                                    1  * Out of 40 surveys. _____________________________________________________________  Table 4 - Studio Space Square Feet for Studio           NumberOver 1000                               19Under 1000                              11