Paper preparation

Here’s the paper I will use for the current print. I’ve got 25 pieces of Kitaro’s Kizuki, and 5 pieces of a few other kinds I had lying around that I will use for testing. Because this is a really small print, I picked a sheet of the Kizuki that was on the thin side. It’s a completely handmade product, and there’s actually noticeable variation in the thickness.

I’m applying a small dot of clear nail polish to one corner – the corner that will be inserted into the corner kento (registration notch) – of each piece of paper. This is a trick I learned from the printers at Mokuhankan. For a simple print with only one or two impressions it wouldn’t be that important, but reinforcing this corner prevents it from wearing and changing shape with repeated impressions. That way it’s possible to get precise registration every time.

Here’s how the paper is placed when printing. I’m demonstrating with a block for a different print. First the corner is inserted into the corner notch on the right, then it’s placed against the little ledge on the bottom left, then laid flat on the block. It’s not necessary to reinforce the edge on the bottom left, but the corner can easily wear if it’s not strengthened!

Balcones Canyonlands – first run finished!

I apologize for not posting much in the way of in-progress notes about this print. There are some things I’d like to talk about, and I might get to them eventually. But in the mean time, I’m done! Here are some shots of the prints drying.

This print run included 30 prints – 4 on Shin Torinoko as practice prints, 20 on Kitaro’s (https://www.washi-kitaro.com/) Kizuki, and 6 on the Shin Hosho I ordered from Matsumura-san. There’s some variation in thickness in each of these washi batches. One of the sheets from Kitaro was noticeably thicker than the others; this didn’t seem to affect the printing very much, though. The Shin Hosho sheet I used was thinner than any of the sheets I used for the Naoshima Coast print, and I really liked printing on it! It was easy to get a smooth, intense impression. You might remember I struggled with smooth impressions on the Naoshima print. I think if all the sheets had been like this one, printing would have been a piece of cake!

Here’s an example of the finished print, held so the embossing can be seen. This is one of the Shin Hosho sheets, but the Kizuki prints also turned out quite nicely; the paper color is a little creamier on those.

I’m pretty happy with how these turned out.

Almost oops!

Some time ago, before the plague times, I ordered and received some very nice washi from a papermaker in Echizen. It’s really lovely, smooth, good weight, 100% kozo, and ALREADY SIZED! I am looking forward to EMS shipping starting up from Japan again so I can order some more. What I received was a very high quality product, clean and uniform in texture and sizing.

My coworker, Corax the black cat, really enjoyed playing in the box. He’d get in, and scratch scratch tap tap. Hours of entertainment. I finally got around to flattening the box and putting it in recycling. But wait — what’s that? There was something taped to the bottom with that typical Japanese brown fabric-reinforced tape, wrapped in brown paper the same color as the surrounding cardboard. I’m glad I noticed! It was a sample book.

This is a pretty fancy sample book.

The paper on the cover has some really interesting iridescent patterning, and when you let light shine through it, it looks like the fibers that provide the pattern are denser than the rest.

At the end of the booklet was another price list (same prices), on a paper that has another interesting pattern of iridescence. And that’s the back of the booklet, with their contact info.

I’m looking forward to getting some more of this paper!