Hey it's May,

Special for you this week: I had a conversation with hand papermaker Kelsey Pike from Sustainable Paper+Craft. 🎉 Please enjoy, bc I sure did!

— May

May Babcock Founder of Paperslurry, papermaking artist at maybabcock.com, and self-proclaimed paper + plant nerd.

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​A Conversation with Hand Papermaker Kelsey Pike from Sustainable Paper+Craft​

Based in Kansas City, Missouri, Kelsey Pike from Sustainable Paper +Craft makes and sells stunning handmade papers for printmakers, artists, and other creatives. In addition to running a small business, Kelsey has recently written Modern Papermaking: Techniques in Handmade Paper, a super helpful, must-have, how-to guidebook for aspiring hand papermakers. Kelsey is also the founder of a collaborative art studio, Cherry Pit Collective. I’m so honored and excited that the amazing Kelsey Pike was willing to answer my questions for Paperslurry, so please enjoy our conversation.
— May Babcock

May Babcock: Tell me about how you were introduced to hand papermaking. What was the best thing about making paper that drew you to the process?

Kelsey Pike: I was first introduced to hand papermaking in 2010 when I took a materials & methods class in college. What really drew me to the process was how tactile it is, and all the magical watery sounds. It sounds cheesy, but from the time I pulled my first sheet, I knew it was the craft for me.

MB: I’ve always been impressed by how you’ve established a viable small business selling handmade paper. How did you get started, and how has your business changed to now?

KP: I started my Etsy shop in late 2010 after making handmade paper sketchbooks as part of a studio project. Those sold quickly so I expanded to selling loose paper sheets for other artists and that’s when things began to build. Over the years, I invested in equipment, expanded my space, and in 2020, I transitioned to making paper full-time. I've also embraced custom orders, allowing me to create unique blends, colors, and weights to fit specific projects, whether that’s paper with a subtle color gradient or sheets with inclusions like gold leaf or fabric pieces.

In 2021, I started offering the Monthly Paper Parcel subscription, where artists receive a curated selection of limited-edition, experimental papers each month. The business continues to evolve as needed, based on the needs and requests of artists. Now, I’m focused on sustaining production, training apprentices, writing and teaching.

MB: What kind of artists buy and use your handmade papers? What art mediums become elevated because of the handmade paper, and why?

KP: I receive orders from a wide range of artists, but I especially see a lot of printmakers, particularly those working with woodblock and linoleum block printing. The way the blocks emboss on my Mixed Media paper is something they (and I!) really love. Many artists love the ability to order a completely custom paper color, above and beyond what they could get in any commercially made paper. I love when artists tag me on social media and share their work—it's always exciting to see the variety of mediums people use with my paper, including collage, screen printing, paper weaving, drawing, bookbinding, and both acrylic and watercolor painting.

In addition to fine artists, I also get requests for wedding stationery and unique packing materials, like earring cards. One of my longest-standing, recurring orders comes from an artist who uses my paper for typewriter poetry! I think handmade paper means something different for every artist—it could represent quality, tradition, elegance, or even rugged craftsmanship. What I love most is seeing how the art and the paper come together as a collaboration.

MB: What’s your best piece of advice for someone who wants to start a production handmade paper business, something you wish you knew when first starting out?

KP: My best advice is to start by honing your craft. Spend hours, days, and months learning and becoming an expert. Travel to learn from the masters, read the big books and never stop practicing! Also, understand your costs and don’t undervalue your own labor. Pricing is a challenge, but it's critical to be realistic about how much time and resources go into such a production. I wish I had focused on pricing my work earlier on—it took a lot of trial and error!

MB: You’re also the founder of an awesome communal art space, Cherry Pit Collective. Could you share a bit about how and why the collective space was started?

KP: The idea came from my own need for more space to grow my papermaking practice and the realization that I wanted to share space with others, in a way I missed from art school. It's an incredible community where members can share ideas, collaborate, and support one another. Personally, it's also been a great way to ensure a consistent flow of creative ideas and talented folks to collaborate with!

Cherry Pit Collective is a communal studio space for artists, makers, and creatives, where the work and vision of women are emphasized and celebrated. Members work together to support and promote each other through a shared workspace and jointly share work, costs, benefits, and risks. Monthly programming includes classes and events for skill sharing within our community and to foster collaboration over competition. All are welcome to apply for studio spaces and to attend our events, but female-identifying artists and members of other marginalized communities are prioritized. We host craft fairs, public events, and about a dozen art workshops each month, all led by our member artists!

MB: I was happy to see your new book published the other year, Modern Papermaking: Techniques in Handmade Paper. Can you tell us about who the book is for, ideally? And what’s your favorite part of the book?

KP: Modern Papermaking is written for beginners, but it also offers plenty of valuable information for experienced papermakers. It starts with the basics—how to make your own mould and deckle, and recycle paper in a blender to make your first sheets. The book also includes a section on professional techniques, with calculations for creating sheets of consistent thickness, and my step-by-step guide for grading and sorting papers. My favorite part is the color recipes section, which features samples and formulas for 30 beautiful blended colors.

MB: And last but not least, if you had to pick one favorite handmade paper product you’re making now in the studio, what fiber is it? And why would someone absolutely LOVE it?

KP: I’m currently very into the EcoSketch paper sets! The paper is made from a blend of recycled cotton printmaking paper (donated cutoffs from local printshops), abaca fibers, and hemp. The abaca provides strength and surface resilience. Cotton adds bulk and softness, and using scraps cuts down on costs, making this an affordable paper for quick sketches. At the end of beating, we add hemp rope that’s been pre-cut into ¼” lengths (thank you interns!), which creates a visually textured surface that gives the paper a lovely, antique feel. Each season, I do a production run with 10 colors. Selling them in limited runs and sets means I’m not locked into specific color recipes, and if I feel like the colors should be lightened up for spring, it has that flexibility. I tend toward earthy colors in mid-range tones, making these sets perfect for two-tone drawings with conte, or charcoal, pastel, acrylic, ink and gouache.

Kelsey Pike (she/her) is a papermaker, printmaker, and art teacher in Kansas City, Missouri. Through her business, Sustainable Paper+Craft, she creates fine handmade papers and custom, hand-carved rubber stamps. She has been in love with the obscure and tedious art form of hand papermaking since she first tried it in art school in 2009. Turning things like rags and raw plant fibers into paper is a kind of magic! She hopes that her paper inspires others to make beautiful things with it. Visit www.sustainablepapercraft.com to shop, and follow Kelsey on Instagram @kelseypikepapercraft​