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  Japanese
  Techniques (Washi)
 
 
  
    | Formation Aid  | 
    General Studio Safety | 
    Papermaking Studio Safety | 
   
  
    Materials
      & Supplies 
      Prepared  Raw Fiber  | 
    Fibers | 
    Vat
      Set-up   
      Sheetforming   
      Drying | 
    Classroom
      Set-up | 
   
  
      
         
      Features of Washi | 
    
      
        Warmth -- literally warmer to the touch, washi feels soft and
        creates a feeling of warmth in the viewer. Its tactile qualities make it
        wonderful for invitations and books.  
        Body -- since the fibres are left long and pounded and stretched
        rather than chopped, washi has a deceptive strength. Pure-fibred washi
        can even be sewn and was used for armour and kimono-lining in earlier
        times.  
        Strength -- the length of the fibres and the nature of the raw
        materials ensure that washi is highly workable when wet. Thus it is
        excellent for papier mache, and etching in which the paper must be
        soaked. These long fibres produce a luxurious deckle edge, the rough
        edge which marks a handmade paper.  
        Soft translucency -- kozo and mitsumata are naturally translucent
        fibres, a quality specific to paper from the East. As such, it is used
        regularly for the transmission of light.  
        Absorbency -- the nature of the fibres creates a ready absorption
        of inks and dyes. Papers that are "pure fibred" and dyed will
        result in much denser and more vibrant colour when fabric or watercolour
        dyes are applied.  
        Flexibility -- since the fibres position themselves at random,
        there is no real grain to washi. This gives the paper a resistance to
        creasing, wrinkling and tearing - and means it can be used more like
        cloth, for covering books, or boxes etc.  
        Lightness -- washi weighs much less than other papers of equal
        thickness. As a paper for books, it can create texts of apparent
        weightlessness.  
        Low acidity -- traditionally-made Japanese papers are truly
        acid-free if they are unbleached and unsized. Examples of printed papers
        exist in perfect condition in Japan from 1000 years ago. Today, papers
        from the village of Kurotani are among the finest archival papers.  
        Decoration -- for centuries, colourful designs applied by
        woodblock or handcut stencils have created vividly characteristic
        papers, for decorative use. Recently, silkscreened chiyogami (small
        repeated-patterned paper) is available in an unbelievable range and
        widely used by craftspeople. Although made by machine, the quality
        available is about 70% kozo and comes in hundreds of patterns. 
        
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    | Uses of Washi | 
    
      
        Printing -- the special absorbency, strength and texture of washi
        results in unique images. Traditional Japanese printing was done by
        woodblock, but washi is also effectively used for wood engraving,
        linoblock, or letterpress techniques. It responds well to embossing, and
        can be used effectively for multi-colour lithographs and chine-colle
        (etching). Rembrandt often used Japanese paper for his fine etchings,
        David Milne painted on gampi tissue, and Canadian Inuit have for some
        years used washi to elicit the best results in their stone and stencil
        prints.  
        Collage -- The broad range of textures, colours and patterns of
        the paper, and its wet strength, make washi a highly appropriate
        material for collage. Chiri papers, with their bark fragments and
        chiyogami are favourites for collage though all washi is suitable. In
        recent years, artists often paint watercolour over richly collaged
        "canvases".  
        Lighting -- Washi has been used traditionally in screens and
        lamps and more recently in shutters and blinds to utilize its
        translucency. Mino, 'silk', seikaiha and unryu are commonly used. After
        being moistened, washi will shrink slightly when it dries, thereby
        tightening it more securely on a frame.  
        Bookbinding -- Washi's strength and flexibility make it excellent
        for book covers and end papers or for book sleeves and boxes. Its wet
        strength makes it ideal repair tissue. Kyoseishi, ungei heavy, 'silk',
        chiri and chiyogami are among those strong enough for book covers.
        Usumino and Kurotani #16 make especially strong repair tissue, but
        tengu, mino, and yame are also suitable.  
        Sumie and Shodo -- Japanese printing and brush-writing using
        sumi, a natural carbon-based ink, are at their best on washi. Ise, kai,
        mino and all Kurotani papers are a few particular favourites for this
        use.  
        Many traditional uses of the paper have endured: origami, kites, doll
        and umbrella-making and unparalleled packaging. Today, its uses are
        limitless: paper jewellery; to cover mats in framing; used as a
        background for photography and to develop photographs on; to cover walls
        and furniture; to produce memorable wedding invitations and for a host
        of graphic design and public relations promotions. 
        - As time goes on, modern technology replaces much of the traditional
          process. Still there are those papermakers left who will not
          compromise. According to the Japanese, 
 
       
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    | Storing Fiber | 
    Dry Raw Fiber
      
        - Can be stored indefinitely.
 
        - Keep dry in order to prevent mildew.
 
       
      Cooked Fiber
      
        - Keep covered in water in refrigerator for a week, sometimes
          longer.  Check regulary.
 
        - Do not redry for future use.
 
        - Can freeze cooked pulp to store for a long time.
 
       
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© Beth LaCour 1999
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