In addition to the award-winning journal and newsletter, Hand Papermaking is known for its distinctive series of portfolios. These exceptional collections of paper art are a vital source of revenue supporting the organization’s non-profit activities, but this program is much more than a fund raiser. The portfolios serve as motivating and educational tools, inspiring novice and professional papermakers alike to new levels of achievement. The portfolios provide an archival record, showcasing the work being done in our time by leading paper artists. And Hand Papermaking’s portfolios promote the use and enjoyment of handmade paper, by inspiring an appreciation for the art and encouraging an appetite for the aesthetic appeal unique to handmade paper.
Each of the portfolio compilations are housed in a custom clamshell box. Each artwork is enclosed in a protective folder imprinted with the artist’s name. A handbound booklet with letterpress printed cover contains a commissioned essay; plus artist statements, biographical details, and contact information. The available portfolios are priced at $595. Editions are limited to 150. Ask about standing order discounts.
2012, number ten, Handmade Paper: Fiber Exposed!
This collection spotlights unusual and creative interactions between fibers. Eugenie Barron wrote the essay. Copies available.
2010, number nine,
Handmade Paper in Motion.
This venture features pop-ups and other forms of paper engineering utilizing handmade paper. Four notable jurors chose 28 artists. Essay by Ann Montanaro. Copies available.
2008, number eight, Calligraphy and Handmade Paper. Twenty-eight artists contributed to this portfolio, focusing on the inherent artistry and meaning of the calligraphic mark as it interacts with the handmade paper. The essayist is Rose Folsom of Letter Arts Review. Copies available.
2006, number seven, The Art of Pulp Painting. Seventeen 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. Copies available.
2004, number six, Innovative Printmaking on Handmade Paper. Twenty juried prints represent a wide range of printmaking techniques – traditional, contemporary, and experimental. The essay was written by Eric Denker of the Corcoran and National Gallery of Art. Copies available.
2002, number five, Watermarks in Handmade Paper: Modern and Historic. 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. The box features letterpress-printed lining paper patterned with wire watermark images. Helen Hiebert of Enlightened Papers wrote the essay. Edition sold out.
2000, number four, Old Ways, New Views: Photographic Processes on Handmade Paper. 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. Edition of 100 sold out.
1998, number three, Handmade Paper in Nepal: Tradition and Change. 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. Edition sold out.
1996, number two, Opacity and Translucency: Letterpress Printing on Handmade Paper. With discerning 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. Edition sold out.
1994, number one, Design and Pattern in Decorated Papers: Wet and Dry Techniques. 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. Edition sold out.