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For the last month I have been testing different types of Japanese papers either printing directly on a large sheet of paper or with Chine-collé. I tried printing the same image for all of the papers. They have all been photographed at the same time in the same light using a ColorChercker Passport to maintain color accuracy. With that said, the photos will never do justice to the subtle beauty of the papers. The plate was linearized for Somerset Satin and normally I would do the same for each type of paper, but in this case I wanted to show how the different papers print with the same image. I used 50% Gamblin Portland Black and 50% Graphic Chemical Graphite with a touch of EZ-Wipe. For the Chine-collé process I wet the paper by misting it then use a powdered sugar sprinkler, I sprinkle dry wheat paste onto the back of the paper and place it on the plate and run it through the press with watercolor paper that is also already damp.
For all the images, after a week of letting them dry, I lightly mist them and put them in a dry mount press with just the weight of the top of the press on it at the lowest heat setting and let it sit there for 20 minutes. This worked well with all of them except for the Sekishu Torinoko Gampi Paper. That paper really works best as Chine-collé if you want it perfectly flat. If you don’t mind it a little wrinkled then leave it as it is. With all of these papers, I use a sheet of heavy, smooth paper behind them and you have to be careful when pulling them off the backing paper to not crease them.
Wetting the paper
There are a few ways to wet the paper. First is to soak two sheets of watercolor paper and layer the aper in between and let it sit for 15 minutes. The second way, and how I did it most of the time like this, is to use a plant mister like this one: https://www.ebay.com/itm/Maruhachi-Industry-Dahlia-Spray-Accumulator-320ml-Automatic-2-4977938000029-/163816511126?hash=item2624399696
I lightly mist both sides of the paper.
Torinoko Gampishi Art White Extra Heavy HK-0018
$23
https://shop.paperconnection.com/collections/gampi/products/torinoko-gampishi-art-white-hk-0018
I tried this paper after seeing the amazing print of Keith Schreiber who uses a similar paper for platinum printing. This is by far my favorite paper for printing. It is very thick and doesn’t need much soaking I sprayed this one water and blotted it dry. I tried soaking it, but when I printed it, the ink ran outside the plate when printed. You also have to be careful when tearing it because it leaves permanent creases in it. The paper is a nice cream color and tends to print with a little more contrast than the other papers. This paper is easy t mount and frame because unlike most of the other papers, it is not transparent.
Here is some info about the paper from the supplier:
Paper Connection stocks a series of vintage Torinoko hailing from the southwestern region of Japan. This exclusive line is handcrafted by a group of papermakers who have been recognized by the government as individuals who carry on the tradition of hand papermaking, some deemed National Treasures.
Torinoko literally means "chicken's child" and is used to refer to an egg's shell. The exquisite sheen of an eggshell describes this gampi paper's surface.
Gampishi Art White HW is a gorgeous, unusually extra heavy weight washi. Often used in printmaking including Mokuhanga and letterpress, it works equally well with painting and drawing. This is a multi-ply sheet made of mostly Gampi, a washi worthy of acclaim.
ph-neutral, gampi & sulphite pulp;
Sheet Size: 22" x 30"
Weight: 235 g/m2
Color: Natural
Deckle: all 4 sides
Torinoko Gampishi Art White Extra Heavy HK-0018
Torinoko Gampishi Art White Extra Heavy HK-0018
Sekishu Torinoko Gampi Paper
This paper is my second favorite because it is the opposite of the Torinoko Gampishi. It is very delicate and very transparent. The paper has a pearlescent look to it and handles smooth transitions and detail better than any other the other papers. It prints as if it was a platinum print, but can still hold the blacks and details. I would recommend using a sheet of paper between the Sekishu and the blankets because it will bleed through. That is the case with most of the thin Japanese papers. To prepare it, it just needs a light spraying and blotting or just put it between two sheets of damp watercolor paper. You can print this paper without backing, but it is very delicate. I would suggest printing this using Chine Colle onto heavier paper. You could also use it for backing with gold leaf. It is also used by platinum printers.
Handmade in Japan by Kubota, 100% Sekishu Gampi. Thin, shiny and transparent. Excellent for printmaking (Platinum printing), backing and ideal for conservation work.
Sheet Size: 21" x 28"
Weight: 20g/m2
Color: Natural
Sekishu Torinoko Gampi Paper
Sekishu Torinoko Gampi Paper
When you talk about Japanese papers, this is the paper most people will think of. It is a nice mixture of strength and translucency. Very easy to work with, just spray or put between two damp sheets of watercolor paper. As for contrast and dynamic range, I would put it inbetween the Sekishu Gampi and the Torinoko Gampishi.
Handmade in Japan, produced in Ogawa-cho, Saitama prefecture, 100% Japanese Kozo. Very strong paper with long fibers, slightly toned. Ideal for mounting, hinging and block printing.
Sheet Size: 25" x 36".
Weight: 40g/m2
Color: Natural
Deckle: all 4 sides
Hosokawa Ohban Paper (Hoshokawa-Shi)
Hosokawa Ohban Paper (Hoshokawa-Shi)
Khadi Bhutanese Resho Paper
This one is a curve ball and just wanted to try something really different. It is a really dark color and has lots of twigs and other leaf parts in it. This might work well for special project where you want to draw attention to the paper.
Resho and Tsasho are artists’ handmade paper made from the inner bark or bast fibre of de-nar, a Bhutanese variety of lokta. De-nar has a darker tone and harder surface than both Nepalese lokta and mitsumata. It is a native plant of the Himalayan foothills found above 3000 metres. De-nar is a sustainable and renewable resource. Plants are cropped above ground level and can be reharvested after 3-4 years.
For drawing in ink, calligraphy, printmaking.
Sheet size: 24" x 31"
Weight: 90 GSM (Woven)
Color: medium brown
Deckle: all 4 sides
Resho is made using the traditional Himalayan floating mould method in which the pulp is poured onto the paper frame. The paper is sun dried on the frame. The size and color of this paper varies often giving each sheet a ‘rustic’ appearance.
Khadi Bhutanese Resho Paper
Khadi Bhutanese Resho Paper
Heavy Kozo Paper
I originally bought this paper to make platinum prints, but when I wanted to try Chine Colle I started with this paper. One size seems to be lightly sized and smoother. I found the prints to come out really well with good contrast and higher dmax than I would get with Somerset Satin. It is a good overall paper, but for the price, I think there are better papers for photogravure. I just spray this and blot it.
Machinemade in Japan from 50% kozo and 50% abaca. Ph neutral and unbuffered.
Heavy Kozo is an excellent paper choice for platinum/palladium prints, cyanotypes, van dykes, kallitypes and most other hand coated processes. It has a natural white color, smooth surface, and wove texture with no laid lines. When printed in platinum/palladium, this paper prints deep blacks with smooth mid-tones and highlights. The kozo fibers have a characteristic surface similar to silk fabric. Heavy Kozo does not have as much sparkle as the Light Kozo, but this heavier paper has light satin or velvet sheen. This surface quality can add to the depth and liveliness of a print. This paper coats well with either a brush or coating rods, although most people will probably find that brush coating is preferable. At 90 grams/ square meter (gsm) weight it is about as thick a light cardstock. This paper is very strong when wet. The paper is made from 50% kozo and 50% abaca. Kozo is the inner bark of mulberry tree seedlings, producing a naturally white paper fiber which is very strong and long lasting. Kozo is one of the most important fibers in traditional Japanese papermaking. Abaca is also known as "manila hemp", and it has a long history in Asian papermaking traditions. Abaca is considered by many authorities to be the strongest commercially used plant fiber. Also consider Light Kozo, a similar but lighter weight Japanese paper.
Sheet size: 25" x 38"
Weight: 90 GSM (Woven)
Color: Natural White
Deckle: no deckles
Heavy Kozo Paper
Heavy Kozo Paper
Shiramine Paper Sheets
A very cheap and bright white paper. It is my least favorite paper that I have tried. It has a bit of contrast to it and is very sharp as well. I spray it and blot it.
A heavyweight natural white paper ideal for a multi use art paper. Especially used for printmaking, drawing, ink jet and letterpress. 30% Thai Kozo and 70% Pulp
Sheet Size: 25" x 38"
Weight: 110 gsm
Color: White
Deckle: no deckles
Shiramine Paper Sheets
Shiramine Paper Sheets
February 3, 2020 Updates
ECG-3 Shikibu Gampi #3 Natural (50 g/m²)
$48.50
https://store.hiromipaper.com/collections/100-japanese-gampi/products/ecg-3-shikibu-gampi-3-natural?fbclid=IwAR1hv3p5WMy2h-xhz9yKKtQW7vsNlOrqUDISPTh2FZcjFo4nYV0Uh8dL0wA
Echizen Gampi is of exceptional quality. Its weight gives it a wonderful body, excellent for art and conservation uses.
Handmade.
Made with 100% Japanese Gampi, no sizing.
Sheet Size: 25" x 37"
Weight: 50 g/m²
Color: #3 Off white
Deckle: deckled
Sekishu Torinoko Gampi Paper With Gold Leaf
$18.99
This paper is my second favorite because it is the opposite of the Torinoko Gampishi. It is very delicate and very transparent. The paper has a pearlescent look to it and handles smooth transitions and detail better than any other the other papers. It prints as if it was a platinum print, but can still hold the blacks and details. I would recommend using a sheet of paper between the Sekishu and the blankets because it will bleed through. That is the case with most of the thin Japanese papers. To prepare it, it just needs a light spraying and blotting or just put it between two sheets of damp watercolor paper. You can print this paper without backing, but it is very delicate. I would suggest printing this using Chine Colle onto heavier paper. You can see it backed with gold leaf below. It is also used by platinum printers.
Handmade in Japan by Kubota, 100% Sekishu Gampi. Thin, shiny and transparent. Excellent for printmaking (Platinum printing), backing and ideal for conservation work.
Sheet Size: 21" x 28"
Weight: 20g/m2
Color: Natural
Sekishu Torinoko Gampi Paper With Gold Leaf
Sekishu Torinoko Gampi Paper With Gold Leaf
A Few Extra Images
Torinoko Gampishi Art White Extra Heavy HK-0018
Torinoko Gampishi Art White Extra Heavy HK-0018
