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inkAID RTC (Ready To Coat) Japanese Washi Paper
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Washi is the Japanese word for the traditional papers made from the long inner fibres of three plants, wa meaning Japanese and shi meaning paper. As Japan rushes with the rest of the world into the 21st Century, and more modern technologies take over, machines produce similar-looking papers which have qualities very different from authentic washi. As of the fall of 2008, there remain fewer than 350 families still engaged in the production of paper by hand.
The inner barks of three plants, all native to Japan, are used primarily in the making washi. |
Kozo (paper mulberry) is said to be the masculine element, the protector, thick and strong. It is the most widely used fibre, and the strongest. It is grown as a farm crop, and regenerates annually, so no forests are depleted in the process.
Mitsumata is the "feminine element": graceful, delicate, soft and modest. Mitsumata takes longer to grow and is thus a more expensive paper. It is indigenous to Japan and is also grown as a crop.
Gampi was the earliest and is considered to be the noblest fibre, noted for its richness, dignity and longevity. It has an exquisite natural sheen, and is often made into very thin tissues used in book conservation and chine-collé printmaking. Gampi has a natural 'sized' finish which does not bleed when written or painted on.
Features of Washi
Warmth -- literally warmer to the touch than Western papers made of woodpulp, 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 maché, 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.
We have chosen 6 Japanese Washi papers based on color, texture, and design to offer in the inkAID RTC line.
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Kintoki White - 64 gsm |
Kinwashi Natural Dark - 80 gsm |
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Unryu White - 80 gsm |
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Unryu White - 35 gsm |
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Usu Kuchi - 65 gsm |
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Yasu Natural - 80 gsm |
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inkAID RTC Japanese Washi papers are available in sheet sizes of 8.5" x 11" to 17" x 22". Full sheet sizes, ranging from 24" x 36' to 31" x 43", depending upon the type of paper, are available. Contact sales for more information. A Sample Pack is available containing one 8.5" x 11" sheet of each paper. In addition, there is also a Paper Coating Kit containing one 8.5" x 11" sheet of each paper, an 8 oz. bottle of inkAID Clear Semi-Gloss coating, and a two inch wide foam brush.
inkAID RTC Japanese Washi papers can be coated with any of the inkAID coatings to provide a beautiful, vibrant image, but Clear Semi-Gloss is most commonly used.
A commonly used process for coating Japanese Washi paper is as follows:
- Lay the paper on a smooth, flat, non-absorbant surface. Plexiglas or an underlayment of butcher paper works well. You can tape down the edges of the paper if desired.
- Using a foam brush, apply a light coating of inkAID. Allow this dry thoroughly, usually overnight. Apply a second light coating, perpendicular to the first coating and allow to dry.
With some papers, hanging the sheet to dry helps minimize curling.
- If the paper has curled or waved after the first or second coat, place the sheet on a flat surface and put another flat surface on top, with some weight, to flatten the sheet before proceeding.
Hybrid Artist Stephen Schaub, of Indian Hill Imageworks, has put together a short video of his technique for hand coating papers with inkAID.
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