New Paper Based Film

Dumb as the Lomography site can be, I look at it most every day. There are good things mixed in with the bad.

Today, it's Film Washi http://lomig.fr/index-en.html I know we APUGers could make this ourselves, but here it is in most popular (and less popular) formats.

Just thought you'd like to know.

Hello Bruce,

That Film Washi have been reported at APUG few months ago. I think the exciting thing about that paper , it is coated on japanese paper. Some thousand dollars catalogs been printed on that paper and it makes the very thick catalogs lightweight. And the surface and color of the paper is most liked. If it is lightweight , it would be cheap to get from japan via post also. I think some platin printers are working to print on japanese papers and may be it would be more difficult to keep that paper flat when it is wet. I dont know it is wood cellulose based or rice based also.

I think its worth to open a thread on japanese papers and others I dont know like chinese silk.

I am using a 8mm bolex camera as picture taker and it might not too different of scan these positives compared to these papers

It seems to me it is very good product and I liked the results.

Umut

Washi - Traditional Japanese Paper and Film Washi

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 remained fewer than 350 families still engaged in the production of paper by hand.
History
Raw Materials
Methods of Production
Features of Washi
Uses for Washi
This handmade paper, Kozo Tissue Sasa, uses long kozo fibre for decorative effect.



Durable and valuable, traditionally washi was used again and again. Here old accounting books have been repurposed into paper floor mats.
HISTORY

Though paper was originally made in China in the first century, the art was brought to Japan in 610 AD by Buddhist monks who produced it for writing sutras.

By the year 800, Japan's skill in papermaking was unrivalled, and from these ancient beginnings have come papers unbelievable in their range of colour, texture and design.

It was not until the 13th century that knowledge of papermaking reached Europe - 600 years after the Japanese had begun to produce it.

By the late 1800's, there were in Japan more than 100,000 families making paper by hand. Then with the introduction from Europe of mechanized papermaking technology and as things "Western" became sought after including curtains (not shoji) and French printmaking papers (not kozo), production declined until by 1983 only 479 papermaking families were left. Today the few remaining families struggle to compete in the world market with handmade papers from India, Thailand and Nepal, where a lower cost of living makes it possible to produce papers more cheaply.

RAW MATERIALS

The inner barks of three plants — kozo, mitsumata and gampi — 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.

Other fibres such as hemp, abaca, rayon, horsehair, and silver or gold foil are some-times used for paper or mixed in with the other fibres for decorative effect.

METHODS OF PRODUCTION

Branches of the (kozo, gampi or mitsumata) bush are trimmed, soaked, the bark removed, and the tough pliant inner bark laboriously separated, cleaned, then pounded and stretched.

The addition of the pounded fibre to a liquid solution, combined with tororo-aoi (fermented hibiscus root) as a mucilage, produces a paste-like substance when it is mixed.

It is this "paste" which is tossed until evenly spread on a bamboo mesh screen (called a su) to form each sheet of paper. The sheets are piled up wet, and later laid out to dry on wood in the sun or indoors on a heated dryer.

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.


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.

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-collé (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.

Sumi-e 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. For contemporary examples of art made with Japanese papers, please enjoy our online "inspiration gallery."

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,

one long thread on it (there was a url link here which no longer exists)

washi papers can be very thin like tissue or not so thin, but dense.
if it is thin it would be exceedingly difficult to process
( they like to fall apart when wet )
and if it is thicker, it isn't much different than other papers
on the market like cold pressed papers without lots of fibers.

...

that said, i look forward to
others' experience with this new product !
john

Mustafa Umut Sarac said:

Washi is the Japanese word...

Click to expand...

Thanks Mustafa, that is really interesting!

Film Washi , Washi Traditional Japanese Papers and Use of Them

Digital Printing on Washi
More and more artists are turning to digital printing as a part of their production, and so are looking
for more interesting surfaces to print on than the standard digital papers available. Washi can be that
surface. The subtle liveliness of the fibre shows through the ink with softer results, and because washi
is generally more absorbent than western papers the paper and ink appear integrated rather than the
ink sitting on the surface. Since most types of Japanese paper are not specifically made for digital
print it is imperative that you test the paper you would like to use on the printer you will be using for
your project. What follows are some things to consider:

TIPS & THINGS TO CONSIDER
• papers with a smooth, non-fluffy surface will work best to avoid clogged ink nozzles
• kozo papers will generally produce softer-looking images
• for most detailed images gampi papers are ideal because of their inherently crisp surface
and 'non-bleeding' quality
• colours will appear less intense on thinner papers as there is less fibre to reflect light:
great for ethereal effects
• if you want to try very thin papers they should be printed with a heavier backing paper,
gently taped down with removable tape (backing absorbs bleed-through and also
prevents paper jams)
• try coating papers with a light gelatin sizing or inkAid if they are too absorbent

PAPER SUGGESTIONS
• Gampi Torinoko, a popular high quality opaque sheet gives consistently excellent results
• Gampi Smooth is a thinner, more translucent and very economical paper with good
results
• sized kozo papers such as Kizuki Kozo Natural & White (handmade, best quality) or
Kozuke White & Ivory (machine-made, economical) offer good results (Kozuke White is
available in roll format)
• Gozen is a handmade paper which is very lightly sized and works well

REFERENCES
inkAid coatings, www.inkaid1.com

Painters and Drawers

Back to top
Kozo papers with extra weight like seichosen or Kurotani #4 are useable with all water-based media as long as the artist does not use heavy washes. Most Japanese paper shrinks somewhat when wet, though some are sized to prevent shrinkage. Acrylic paint and gouache are both very effective on washi. Oil paints are not recommended. It's best to keep your brush and paint on the dry side.

For drawing, all Japanese papers are possible, depending on the media used. Conte, soft charcoal, graphite (softer leads) and coloured pencils are all suitable on kozo papers. Gampi papers have a natural sizing which makes them good for pen and ink, and the sheen of the paper makes a beautiful ground for drawing. Pastels need a paper with some tooth like Moriki kozo or any Kurotani paper.

Drawing and painting are usually most effective if some of the beautiful surface of the paper itself is left to breathe or speak and is not completely filled in.

Printmakers

Back to top
Printmakers can get a range of unique effects with Japanese paper, and if the paper is made the traditional way, any printmaking technique can work with almost any paper.

100% kozo papers - Handmade excellently prepared kozo papers without chlorine bleaching such as Hosokawa, Seichosen and papers from Kurotani, are the hardiest and are great for woodblock printing, monoprints and linocuts. Thin kozo papers are good for chine-collé. They have good absorbency even when very thin because the careful preparation of the fibre creates an even receptivity to ink and moisture. Their great wet strength makes them also appropriate for etching, though they are better misted rather than soaked. The fine texture of a well-made sheet of kozo means that it is used more effectively when there are areas of the paper left unprinted to go hand-in-hand with the artist's work.

100% mitsumata - Mitsumata paper often has a more creamy tone than kozo, has a shorter fibre than kozo which makes it not quite as strong, and is even more absorbent than its hardier cousin. It is especially good for relief prints especially when the artist wants soft edges on printed areas rather than very clear definition. Seikosen, Mitsumata Tissue and Izumo dyed papers are some of the papers we carry made from mitsumata.

100% gampi paper favoured by Rembrandt for his etchings, gampi papers hold the inked line with amazing delicacy yet depth. If clarity of image is desired, this fibre is the one to choose. Gampi tends to shrink when it is wet, so it can be tricky to use for chine-collé. To get around this problem a paper called gampi-etching was developed with a thin layer of gampi on top of a much heavier cotton and sulphite base. Thinner versions of gampi are wonderful for lithography as the sleekness of the surface prevents the fibre pulling off onto the roller and we have a wide range of weights of gampi

Film Washi - Washi Traditional Japanese Papers and source

http://www.japanesepaperplace.com/

Sample photograph of highest quality washi conservation papers.

Thanks, Mustafa. I wasn't aware of this.