![]() ![]() The high-quality Japanese kozo used in most Kizuki, 100% kozo washi, makes it an incredibly stable paper, leading to it being one of the most popular papers for traditional craftsman and artists. (Vollmer 121) Having a stable paper that does not expand or contract much is crucial to maintain proper registration. Japanese kozo creates a stronger and more stable paper. Kozo grown in warmer regions outside of Japan grown at a much more rapid rate, leading to a weaker and coarser fiber. The two main kozo fiber types used are either Japanese or Thai kozo. The majority of washi made for mokuhanga is made of kozo, while mitsumata and gampi are also sometimes used. The type and percentage of fibers used also makes a significant difference in the functionality of washi. ![]() Many artists today use much thicker and more heavily sized papers than in the past leading to the highly textural images iconic to contemporary mokuhanga. Too thick of paper can be hard to get rich and even impressions. Thin paper also can easily become oversaturated with pigment, not allowing for many impressions. Too thin of paper, like much of the washi available at art supply stores in the US, can be hard to handle when damp and will tear much more easily. Often artists choose to add their own sizing to alter absorption rates for certain effects or even to adjust for changes in climate or temperature.Īnother consideration when choosing paper is the thickness of the paper. Although unsized washi is not immediately suitable for mokuhanga, many artists do still use them by sizing them themselves. With unsized paper it is possible to print single colors or allow the colors to bleed as an aesthetic choice, but typically is not what most artists starting out learning mokuhanga are looking for. Much of the washi available outside of Japan is unsized and meant for other artistic practices than mokuhanga. ![]() It is usually easy to tell which side by feeling or looking for the smooth side of the paper. Most washi made specifically for mokuhanga has a light coating of sizing applied to one side of the paper. Too much sizing can also block pigment from absorbing into the paper. Sizing, typically animal glue and alum, prevents colors from bleeding into each other when printing multiple layers. One of the first things to look for when searching for mokuhanga paper is whether or not it is sized. When considering which washi to try, a few of the most important factors to consider are sizing, thickness, fibers used, and what you want to get out of your paper. While any washi can potentially work each has its own characteristics, ways it must be treated before printing, and certain limitations. Washi is a general term that refers to handmade Japanese papers. Due to its durability and stability, washi is typically the only choice for experienced printmakers. Most are too weak due to their short fibers and they expand and contract too much to keep accurate registration. Some western papers can be used for mokuhanga if there are no other options, but for the most part they are unsuitable for mokuhanga. There are countless vendors, offering countless papers, but often their papers are inadequate and misleading in description to the untrained artist. Choosing which papers to start with can be a frustrating task for artists just beginning to learn mokuhanga. ![]()
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