Focus on contemporary art in hand papermaking, with Mina Takahashi as new editor. We share her first Letter from the Editor:

It is with great pleasure that I write to you as the new editor of Hand Papermaking magazine. I have had such admiration for this publication and its founding editor Michael Durgin ever since I started my involvement in the field over fifteen years ago. It is a bit daunting to step into Michael’s shoes. Since 1986 he consistently put out a wonderful magazine—engaging and thoughtful, filled with important information that broadened thes cholarship. I know that you will join me in thanking Michael for his tremendous contribution to the field.

I would also like to take this opportunity to thank Cathy Baker for stepping in as guest editor of the Winter 2004 magazine in which she focused on conservation issues. Centering the magazine on a theme allows for a deeper investigation of a particular topic and provides a rich context for the related articles. In keeping with this practice, I have devoted my first issue of the magazine to contemporary art in hand papermaking.

Lauren Ross starts off the issue by introducing us to the work of San Antonio–based artist Dario Robleto. Elizabeth Finch interviews New York City artist Amanda Guest who has been utilizing the medium for over ten years as a form of drawing. Hand Papermaking is delighted to present a special paper tip-in created by Guest for this issue. A stunning exhibition of Chuck Close editions is currently touring the United States. Reena Jana looks specifically at Close’s handmade paper multiples that form an integral part of the exhibition. Susan Hagen reviews Winifred Lutz’s recent exhibition in Philadelphia and Dominique Nahas tells us in brief about gallery showings in New York City by Linda Cross, Abby Leigh, Leonardo Drew, and Jessica Stockholder. In addition, Amanda Degener reports on a new publication on papermaking and a lovely paper sample accompanies an article by Marilyn Sward and Chuck Izui remembering Aiko Nakane, a dear friend and supporter of the field.

With this issue, we are very happy to welcome Russell Maret as our new designer. Hand Papermaking has always been one of the most handsome journals out there due in large part to the efforts of ourl ong-time designer Jeff Atwell. When Jeff decided that this would be the right time for him to concentrate on other projects, we were very sorry to see him go, but it presented an opportunity to look at the design of the magazine with fresh eyes. Russell and I retained many of the magazine’s distinctive elements including the gallery-style page format, ample illustrations, and the elegant paper stock. We hope you enjoy some of the new aspects we have introduced here including revised typefaces, full-bleed illustrations, and more detailed information on the table of contents.

I am fortunate to be able to work in partnership with Hand Papermaking’s executive director Tom Bannister and the dedicated members on the board of directors. While the magazine’s permanent address is in Washington, DC, the staff, design team, board, and advisory board reside on both coasts and many points in between. One of our current goals is to develop our international ties. Along these lines, I will be focusing the next issue of the magazine on handmade paper collections around the world as well as presenting an array of reviews and articles on various topics.

In closing, I would like to express my gratitude to the Fifth Floor Foundation for its recent and generous support of Hand Papermaking magazine, to long-time and brand-new subscribers, and to Amanda Degener and Michael Durgin for founding this superb publication nineteen years ago.

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