In addition to the magazine and newsletter, Hand Papermaking also produces a series of limited-edition portfolios of handmade papers. Since 1994, we have published fourteen portfolios featuring handmade paper produced by more than 230 leading contemporary paper artists. These portfolios, which have been collected by prominent paper collectors and renowned institutions such as the Metropolitan Museum of Art, Yale University, and the Robert C. Williams Museum of Papermaking (among many others), serve as repositories of knowledge on paper decoration, papermaking with a wide range of materials, paper manipulation, and art-making with paper.
Shop Portfolios16 works examine a complex and weighty theme: The ways color in paper open us up to connection with others and transform our understanding of the materials and of our community.
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Sixteen intriguing works that explore the liminal, undefined, unextreme, marginal, and middling. Essay by portfolio curator Frida Baranek.
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Emerging and established artists partner as equals to create fifteen works. Essay by curator Tatiana Ginsberg.
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Nineteen compelling artworks investigate an intriguing concept. Commissioned essay by Buzz Spector.
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Eighteen works demonstrate how fiber can be the primary medium to create imagery, concept, and content. Essay by Eugénie Barron.
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A lively group of pop-ups, movable devices, and other forms of dynamic paper engineering enhanced physically and conceptually by the use of hand-made paper. Moveable Book Society founder Ann Montanaro wrote the essay.
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Twenty-eight artists collaborated to produce fifteen works featuring calligraphic marks, words, and short passages interacting with custom handmade paper. The essayist is Rose Folsom of 'Letter Arts Review'.
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Eighteen 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.
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Twenty juried prints represent a wide range of printmaking techniques – traditional, contemporary, and experimental. The essayist is Eric Denker of the National Gallery of Art.
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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. Helen Hiebert wrote the essay.
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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, Professor of Art at Arizona State University.
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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.
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With sensitive 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.
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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.
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