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.