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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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