Rosa Chang, an artist, art administrator, writer, and gardener, champions harmony between humanity and nature. Her art, inspired by natural elements, spans diverse mediums. Currently, she's passionate about sharing Korean/Asian traditional Indigo and Natural Dye processes, as well as traditional fiber art processes, to foster cultural exchanges among diverse communities. Her debut picture book, My Indigo World, published in May 2023, earned nominations from prestigious awards, including the 2023 New York Public Library Best Book, the 2024 NSTA-CBC Outstanding Science Trade Book, the Best Children's Book of the Year 2024 Edition by Bank Street College of Education, and the 2024 Maryland's "Great Reads from Great Places" Library of Congress Children's Book Selection for the National Book Festival.

Mina Takahashi is the editor of Hand Papermaking. Formerly executive director of programs at Dieu Donné Papermill in New York, she directed artist residencies and publishing projects, curated exhibitions, and collaborated with artists in the studio. Trained originally in Japanese papermaking, she teaches and consults on the artistic and craft applications of hand papermaking across the country and internationally. She lives in upstate New York where she collaborates with artists in her papermaking studio, Round Top Paper.

Karen Kopacz is the designer of Hand Papermaking. She graduated from Columbia College with a BA in fine arts, minoring in fiction writing. For nearly 2 decades, Karen has worked and collaborated in the Twin Cities arts community as a designer, brand strategist, Web developer, and artist. In 2000, she founded Design for the Arts, partnering with organizations, businesses, and artists to develop and launch brands and creative initiatives. As director of online arts & literature magazine Mental Contagion (2000-2008), she was invited to be a panelist at the SXSW Interactive Festival for Fostering New Culture on the Internet.

Sophia Hotzler (she/her) is a papermaker, photographer, and crafter living in Minneapolis. She was first introduced to the skill of papermaking while attending the University of Manitoba, where she graduated in 2019 with a Bachelor of Fine Arts, with honors. She teaches paper classes at the Avon Hills Folk School and co-hosts a handmade paper exchange program based in Minneapolis. When she’s not in the vat pulling sheets, she can be found printing digital photographs and making journals with her handmade paper.

Esther Jihye Cho is a papermaker and woodworker based in New York City. Her sculptural work explores storytelling, identity, and cultural memory, examining the intersections of heritage, labor, and gender. A recipient of the 2017 Windgate-Lamar Fellowship, Cho has studied traditional Korean paper craft techniques in South Korea. She holds dual MFAs from the University of Wisconsin-Madison—one in Woodworking and Furniture Design and another in Design Studies, with a focus on papermaking and textiles.

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Gretchen Schermerhorn is a printmaker & papermaker, and is the executive director of Southern Graphics Council International, the largest membership organization dedicated to the art of printmaking. She received her MFA in Printmaking from Arizona State University and since then, she has completed artist residencies at The Women's Studio Workshop in New York, Columbia College Center for Book and Paper in Chicago, Seacourt Print Workshop in Northern Ireland, California State University and the Robert Rauschenberg Residency in Florida and Penland School of Crafts in North Carolina. Her prints, installations, and works on paper works have been exhibited around the country and internationally, and her work is part of the Montgomery County Public Art Trust, Anne Arundel Community College's print collection, and the Janet Turner Print Collection. She has received individual artist awards from both the Maryland State Arts Council and the Arts and Humanities Council of Montgomery County. She has taught Printmaking and Papermaking workshops at Arrowmont School of Arts & Crafts, Snow Farm-New England Craft, Touchstone Center for Crafts, Pyramid Atlantic Art Center, and Women's Studio Workshop, and at Universities such as Maryland Institute College of Art and Johns Hopkins.

Emily Duong is a paper artist, printmaker, and graphic designer currently based in New Jersey. Her works are known for their abstract subjects, which evoke a sense of infinite space and possibilities. She formerly served on the Committee at the International Association of Hand Papermakers and Paper Artists (IAPMA) as the Bulletin Editor.

Jenna Bonistalli is an artist and educator. She creates works with dimensional materials – paper, clay, thread, light and sound. Her work explores ecological time, attention and phenomena. Jenna earned a BA from New York University’s Gallatin School, an MSEd from Bank Street College of Education and an MFA in sculpture at the University of Iowa, with a focus in hand papermaking at the UI Center for the Book. She has been an artist-in-residence at Iowa Lakeside Lab, the Hambidge Center for Creative Arts and Sciences and the Sitka Center for Art and Ecology. Jenna currently lives in Los Angeles, CA and teaches in Studio Arts at Loyola Marymount University. She is endlessly inspired and fascinated by all things plants and paper.

Robert Chapman began making paper in March of 1987.
He spent his adult working life doing various forms of
commercial art, and retired in 2016. Luckily he now
spends every available moment in the studio 7 days a
week.

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Andrea Sherrill Evans (she/her) is a Baltimore-based visual artist and faculty member at Maryland Institute College of Art. Her work utilizes botanical-sourced drawing mediums and handmade paper to explore interconnection and resilience within the natural world. Evans received her BFA in Painting from Arizona State University and MFA at the School of the Museum of Fine Arts, Boston/Tufts University. Her work has been exhibited at locations including IA&A Hillyer (Washington, D.C.), C. Grimaldis Gallery (Baltimore, MD), Mother-in-Law’s (Germantown, NY), and Montserrat College of Art (Beverly, MA). Evans has attended residencies at Virginia Center for the Creative Arts and The Studios at MASS MoCA, and was a Denbo Fellow in Papermaking at Pyramid Atlantic Art Center. She is the recipient of the Maryland State Arts Council Individual Artist Award, the Massachusetts Cultural Council Artist Fellowship in Drawing, and the Marcella Brenner Grant for Faculty Development and Research at MICA. www.andreasherrillevans.com

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Jerushia Graham is the Museum Manager for the Robert C. Williams Museum of Papermaking, and she is an Atlanta-based printmaker, papermaker, book artist, and fiber artist who exhibits both nationally and internationally. Graham is a member of the Book/Print Artist/Scholar of Color Collective, the Movable Book Society, and the North American Hand Papermakers. Graham is interested in creating spaces for empathy and socially-minded introspection through her artwork, workshops, and curatorial projects.

Sanaz Haghani is an Iranian visual artist holding MFA with distinction in Art from the University of Georgia and BFA in Graphic Design from Sooreh University in Shiraz, Iran. She is adjunct professor at the Rowan Cabarrus Community College. Before joining RCCC, she worked as adjunct professor at the department of Printmaking and book arts, University of Georgia, and instructor of record in foundation drawing at Montana State University in Bozeman, Montana. Haghani also worked as a graphic designer for eight years in Iran where she taught graphic design and drawing courses. She has presented her work across the United States, i.e. the Museum of Contemporary Art of Georgia, the Georgia Museum of Art, the Missoula Art Museum, and she has exhibited internationally in multiple solo, group, and competitive exhibitions.  She has been one of the women artists in “Paper Routes – Women to Watch 2020” who was featured in “Voyage Atl,” “The Atlantan,” “Shutout Atlanta,” “The Hand Magazine,” “College Book Art Association,” “Mid-American Print Council Journal,” and “Burnaway” magazines.

Jaime Knight is a Taos, NM based artist, and educator whose practice investigates the radical intricacies of queer subjectivity. His research and material experimentation inform the creation of metaphorical objects, images, spaces and performances. He received his BFA from the University of New Mexico, an MA in Arts Education from San Francisco State University and an MFA from the University of Iowa. His work utilizes drawn and printed material, sculptural objects and installation. Jaime's interest in hand papermaking began in 2006 with a class at Penland lead by Helen Hiebert and he has continued to teach and make handmade paper since. In 2015 he restarted the long defunct papermaking program at the California College of the Arts. Upon moving back to New Mexico in 2023, he inhereted a Valley style beater and has been making paper in his home studio. He currently serves as chair of the Department of Fine Arts at the University of New Mexico Taos.

Cat Liu (they/any) is an artist who uses kinetic sculpture, book forms, printing, and handmade paper to explore invisibility, escapism, and secret identities. Their work is grounded in material-based research, with a particular focus on surface interaction, ecological processes, embedded forms of communication, and how materials become carriers of cultural, chemical, and environmental specificity. Cat received a Master of Fine Arts in Book Arts at the University of Iowa Center for the Book in 2019, after receiving several grants to study dyeing, printing, papermaking practices in China and Japan. Through these experiences, they became interested in how visible reactions of natural dyes form the basis of a sensory, interactive language. This led to a series of research-based artworks and publications, including an essay in Paper and Colour: Dyes Around the World (Legacy Press), in which detailed the development of plant-based intaglio inks designed to chemically interact with printing matrices. The research emphasized the role of experimentation in blending historical technique with contemporary applications—particularly in settings that prioritize sustainability, health safety, and accessibility. Currently, Cat is based in Tokyo,  Japan, researching tangible computing with Keio University Graduate School of Media Design’s Future Crafts Lab. There, they are exploring how combining aizome, papermaking, speculative design, and ethnocomputational creativity can be means of reskilling and regaining cultural agency.

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Anne Q McKeown is a visual artist who uses painted, drawn and collaged images to tell herstory. For seventeen years McKeown held the position of Master Papermaker at Brodsky Center, Mason Gross School of the Arts, Rutgers, the State University of New Jersey, where shecollaborated with nationally and internationally recognized artists to make multiples of theirwork using paper as a medium. In her own work she uses handmade paper both as substrate,and sculptural forms. Her different works are shown in galleries and on the internet. McKeown has worked with artists in collaboration and conducted workshops in Ireland, Germany, Japan, South Africa, Ghana, and Nigeria. The Be-Cause Look Book, a book of graphicimages of political and existential statements, was co-created and published in the 1970s. Hervisual work can also be found in several other published books. She is an author and Instructorof courses for Rutgers Arts Online. She has taught at Purchase College, University of Connecticut, and Pennsylvania Academy of Fine Art.

Veronica Y Pham is a papermaker, artist, and educator based in Burlington, VT. She received her MFA in Design Studies from the University of Wisconsin-Madison and currently teaches art and design at the University of Vermont. She works in traditional Vietnamese papermaking, advocating for the craft through transdisciplinary projects, exhibitions, collaborative writing and research. She has taught papermaking workshops at the Center of Southeast Asia Studies in Wisconsin, Chazen Art Museum, Minnesota Center for the Book, Penland School of Craft, and Paper Book Intensive at Ox-Bow School of Craft.

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Steph Rue is an artist and papermaker based in Sacramento, CA. She received her MFA at the University of Iowa Center for the Book, and studied traditional book and papermaking on a Fulbright to Korea in 2015. Steph is co-founder of the Korean American Artist Collective and co-founder of Hanji Edition, a publisher of limited edition works made with Korean paper.

Giselle Simon is the University Conservator and Director of Conservation and Collections Care at the University of Iowa Libraries. Her inter­est in books, prints and paper began at the Kansas City Art Insti­tute, where she received a BFA in print­mak­ing in 1990 and began a book conservation work at North­west­ern Uni­ver­sity Library in 1992. From 2001-2012 she worked at the Newberry Library in Chicago, first as Collections Conservator and then as Director of Conservation Services. She has taught book­bind­ing and con­ser­va­tion classes at Colum­bia Col­lege Chicago Cen­ter for the Book and Paper Arts, the Uni­ver­sity of Chicago’s Gra­ham School, and is currently adjunct faculty at the University of Iowa Center for the Book. She has served as a co-director of Paper and Book Intensive since 2010. Her work involves hand­made paper, both as a con­ser­va­tion mate­r­ial and print­ing surface.

Amanda Degener is co-founder of Hand Papermaking magazine and produces sculpture and artist books using handmade paper. She received an MFA in sculpture at Yale School of Art and a BA at Bennington College. Amanda travels internationally to show her artwork and conduct lectures and workshops. You can learn more about her work at http://amandadegener.com/.

Michael Durgin co-founded Hand Papermaking with Amanda Degener in 1986 and served as its editor for 18 years. He was first exposed to making paper by hand in 1980 and has studied and been deeply engaged in papermaking and book arts ever since. For the last few years, he has sold books for charities in Beijing, Silver Spring (Maryland), and Frankfurt (Germany), where he now lives. He was the guest editor of a special issue of Hand Papermaking (Winter 2014) devoted to China.