Back in October 2019, Hiromi made a trip to the papermaking village of San Pablito in Puebla, Mexico to visit the Amate Paper makers. The village is situated on a mountainside, a five hour drive away from Mexico City. There, Efrain Daza and his family produce Amate paper using methods passed down from precolonial times.
Amate paper is an ancient bark paper first produced by the Aztec and Mayan civilizations. Amate was used in these societies for codices and ceremonial cut-outs. Amate paper was threatened with extinction in the mid-1800’s. Efrain’s family, belonging to the Otomi people, have been producing paper for three generations.
Amate paper is made with bark from the Jonote tree, which is first soaked or boiled, and then worked by hand. The intensity of the original dark brown fibers comes from the natural color of the harvested bark. Subtle changes lead to subtle changes in color between each batch. Bleaching and dying are employed to produce papers in a range of colors suitable for painting and drawing, in addition to decorative uses.
While lighter solid color papers provide a stable surface for painters and artisans to build color and image upon, a range of papers use negative space to create subtle patterns that contrast uniform repetition with the natural contours of the raw materials.
Amate papers can be made in various designs, sizes, and colors—contact Hiromi paper to inquire about special orders
Above, the Yoshino river, with its pebbled edges, flows elegantly through Nara, where our Uda Gami and Nara Natural Dyed paper series are made. (pic: Yukako Ando)
Every two years, Hiromi Paper staff lead a tour through Japan visiting papermakers, toolmakers, and conservationists to gain further understanding of the world of Washi. The tour is heavily focused on conservation, thus we visit mostly the artisans who are producing papers used for conservation and restoration. As usual, the tour began in Kyoto, then traveled on a chartered bus through Japan visiting prefectures like Kochi, Shimane, Fukui, Gifu, and Nara. Participants stay in nearby accommodations and eat what is locally available. During the tour the artisans show how they are making the papers that many of our customers have come to know so well. Here, HPI staff Yuka presents what she saw and what she heard during this year’s tour.
Washi was not made in the summer because the tororoaoi (neri) would lose its viscosity…
In a lightly air-conditioned traditional Japanese house, with the back and forth motion of rocking the suketa (papermaking mould), traditional handmade Japanese paper is made.
The light that shines through the studio windows are ever so warm and subtle, glistening on the water surface. The well water is cold to the touch. Inside the vat are the soft kozo fibers, floating in a solution of tororoaoi and water. The papermaking studios are quiet and calming, and draws us in.
Contrary to the stillness of the studio, the scorching sun continues to heat up the outdoors, with an uncontrollable amount of sweat rushing out. This year’s Hiromi Paper Washi Tour took place in the lingering summer heat, for seven days in the beginning of September. We visited six regions, twelve studios, and four paper museums.
The hot summertime is an ideal time for papermakers to accept visitors, due to the lack of papermaking work (papermaking is primarily done in the cold months), but the participants and Hiromi Paper staff felt as if we were all on a summer camp, battling the heat and humidity, unique to Japanese summers.
Upon visiting six different regions and twelve studios, I realized that there were various styles in papermaking. The preparation work, materials used, how the suketa (papermaking screen/mould) is moved, how the papers are dried, are all a bit different depending on the region. Due to this slight variation, it’s not possible to simply group “washi” into one category.
Each papermaker or region’s unique papermaking style has been passed down for generations and will be passed onto future generations as well.
THE YOUNG GENERATION ALSO HARD AT WORK
IN BETWEEN THE OLD AND YOUNG GENERATION ARE: Hiroyoshi Chinzei of Hidaka Washi, Kiyoko Urabe making Usu Mino paper, Masayuki Fukunishi of Uda-gami, Uekubo san of Hon Misu gami, and Norimasa Abe making Izumo Mingei paper.
I don’t want to reveal what the subtle differences in papermaking styles are just yet, but perhaps you’d like to consider finding out for yourself on the next Washi Tour…?
Supported by the presence of beautiful mountains and natural water, there is great significance and depth in the traditions of papermaking, passed down from generations past. To meet the people that make the papers and to learn about the backstory is helpful in becoming one step closer to washi. I am grateful to all of the papermakers and craftsmen that I met throughout the tour, and wish them all the best in their future endeavors.
Washi Tour Route: Tosa Washi Museum / Hamada Washi (handmade Tengucho) / Hidaka
Washi (machine-made Tengucho) / Mr. Yamaomto (Japanese papermaking tool maker) /
SHIMANE: Abe Eishiro Memorial Hall / Shinichiro and Norimasa Abe (Izumo Mingei
papermaker) / Otaki Shrine (Paper shrine) / Iwano Paper Mill (large-sie handmade papermaker)/ Yamaki Seishi (Gampi papermaker) / Ichibei Iwano (National Living Treasure) / Igarashi Paper Mill (large-size handmade papermaker) / Kiyoko Urabe (Usu Mino papermaker) / Mino Washi Museum / Masayuki Fukunishi (Yoshino Uda-gami papermaker) / Ryoji Uekubo (Hon Misu papermaker) / Mr. Sekichi of Bokusendo (Conservation studio)
For more information about our Biannual Washi Tour, email email@example.com.
ALL IMAGES ARE COPYRIGHT HIROMI PAPER, INC. For use of images you can inquire at firstname.lastname@example.org. All photos taken by Yukako Ando.
Our 30th Anniversary Reception and Workshop Extravaganza is fast approaching! The second of our FOUR workshop stations that we’ll reveal today is Chigiri-e. The Japanese art form of Chigiri-e is now well over 1,000 years old dating back to the Heian Period. Chigiri-e neared death in the 1800s but the creation of Tengujo/Tengucho provided a new way of approaching the method. In Japanese chigiru roughly translates to “tear” and e translates to “image”, “picture”, or “painting” thus Chigiri-e can be roughly translated as “torn picture”. More accurately though, Chigiri-e is, an image made of thin pieces of Japanese paper torn and shredded and then affixed to a stiffer surface, such as board or thick paper stock, and adhered with PVA, Funori, Fueki-kun nori, or Jin Shofu.
Thin layers of Washi (Japanese paper) allow the artist to build depth, perspective, and value in the image. Skilled Chigiri-e artists can achieve a sophistication reminiscent of watercolor paintings, however, it can be an art form suitable for all ages–from children to older communities. All of the different kinds of Washi (Japanese papers) possess many characteristics that lend themselves well to different techniques.
Tengujo/Tengucho, Color Kozo, and Color Gampi, for instance, can be used to layer on color and value due to it’s highly translucent nature. It can be used to quickly and subtly cover large swaths of space with color or texture.
The fibers of Kinwashi,Unryu, and Amate Swirl can be easily dissected from their surfaces to create gestures that resemble branches, stems, flower stamen, hair, etc.
Now available in store only is the Cavepaper Scrap Pack ($9.00) which comes filled with ends and bits of Cavepaper’s experiments and left overs, often one-of-a-kind pieces. These are helpful in adding unusual textures and patterns to your Chigiri-e.
We’re looking back at work by Laura Viñas this month. Through her work Viñas explores the psychological reality about self-contextualization and memory. Painting Tengucho 5g and 9g papers with watercolors, Viñas transforms the seemingly delicate sheets into powerful haunting images of landscapes alluding to the Pampa region of South America– a vast expanse of low-lying flat fields that unfurl in every direction that you look towards the horizon. Viñas work asks us to look into the image on the surface of the Tengucho paper and once there to try to look past it and get lost in the illusory expanse, and to consider the space behind the paper as part of what’s directly confronting us in each painting or installation.
In the words of the artist:
My subject matter deals with the perception of landscape in order to create new places. These new places are a mental construction, and in them the object of my work is embedded: time deposits, memory and distance. At the same time, it allows me to research into the concealed and enigmatic side of these objects. I choose my materials with precision: thin rice papers, watercolors and photography.Furthermore, I restrict the color palette, the vanishing points, and materials in order to fully develop my creativity and concentration. I manipulate nature and light as an abstraction, to generate a mirror where the viewer finds himself. –Laura Viñas’ artist statement
Keiji Oki is the third generation Mohachi papermaker. Mohachi is an extra heavy weight yet soft paper. It is sized internally, making the papers suitable for printmaking, painting and ink-jet printing.
Can you tell us a little about the history of Mohachi paper?
From the Edo period, the Oki mill originally made only Hosho papers. It was only from early Showa period that first generation Mohachi Oki became interested in making a Japanese watercolor paper for western painting. The beginning of WWII prompted the development of a thick Japanese paper, since the supply at the time was all western papers that could not be imported during the war. This type of paper was invented with guidance from Mr. Hakutei Ishii (painter and print artist, one of the fathers of the sosaku hanga (creative print) movement) It was named “MO” paper, from the first two letters of Mr. Mohachi Oki.
Post-war, once the production of MO Mohachi paper normalized, the production of larger sized papers and printmaking papers began. These papers were not for mokuhanga, but for methods such as lithography, etching and silkscreen.
Any new papers that you’d like to try making?
I’d like to try making papers using the same materials as the Mohachi paper, but cater to new needs of artists or printmakers. That is how the largest size 31″ x 47″ Mohachi paper was developed, because there was a higher demand for larger paper for artists to use.
What is your view on the future of washi?
I’d like to focus on promoting the large variety of papers that Echizen has and showing the world what Echizen Washi has to offer. Also, I am still in the process of thinking of ways to keep Mohachi papers relevant and increase demand.
Any hobbies outside of papermaking?
I like to climb mountains and run marathons in my free time. My current goal is to climb as many mountains as I can in the “100 Famous Japanese Mountains” list.
See artist feature to read about how artist Sal Taylor Kidd uses the Mohachi in her printing.
This month we are excited to introduce Deffner & Johann, German distributor of Hiromi Paper’s conservation papers, materials, and more. Deffner & Johann’s dedication to product innovation has made them a great partner in promoting special papers and materials across Europe.
In 2015, Deffner & Johann presented a video on “Parchment Restoration” with paper restorer Maren Dümmler, using washi from Hiromi Paper.
“Deffner & Johann is a leading supplier of materials, tools and equipment for conservation & restoration, care of historical monuments and for those practising traditional craft techniques. We also supply design solutions for fitting out workshops and studios. In over 135 years of its history, the company has made a name for itself far beyond the borders of German speaking countries as a specialist wholesaler of products for use in all aspects of the conservation of cultural goods.
Our customers include well known museums at home and abroad, public and private archives, restoration & conservation studios, trades and crafts workshops and discerning artists as well as universities and research institutions specialising in conservation training. We refine our range continually in close consultation with our customers. This co-operation drives us forward and forms a substantial part of our company’s philosophy.”
In our quest for the most color fast kozo paper, Hiromi Paper has collaborated with Echizen papermaker, Hiroya Yamashita, to create the Hiroya color series. Here are some questions we had for Hiroya about the new color series:
Paper profile: Weight, Size, Material, Sizing, and Cooked with?
50% Kozo, 35% Pulp, 15% Manila Hemp
Cooked with caustic soda
How did you get into papermaking?
I started papermaking about 13 years ago, when I was 23 years old. The mill is my family business, so it was a smooth transition into the world of papermaking.
Can you tell us the process of developing this paper?
The base of Hiroya Paper is a handmade paper that we had originally been making at the mill, with a mixture of local-grown kozo, pulp and Manila hemp. I felt that it was important to use as much local ingredients as possible, since I knew this paper was going to be used internationally.
What do you find yourself doing when not making paper?
I love cycling, playing golf, and of course eating myself full of sushi!
Please leave a few words for our readers if you have any:
I’m always open for new suggestions or opinions on what kind of papers overseas customers want! Please let us papermakers know, and we will try our best to fulfill those requests!
How were the colors of Hiroya Paper developed?
In order to achieve better, long-lasting colors, I outsourced to a different company for their assistance to dye the papers after the papers were formed. What is the significance of the coloring?
The pigments used are what were traditionally used to dye kimono textiles, and are much less likely to fade over time.
How are the colors applied to the papers?
The colors are screen-printed onto the papers, all by hand.
The exhibition will be open to the public until September 20th, 2015.
The Rembrandt House which once was his home is now a historical monument and museum, commemorating Rembrandt’s life and work located in Amsterdam. He lived and worked in this house from 1639 to 1658. Although the interior has been reconstructed since then, the overall architecture remains the same as it was in his time.
Rembrandt and Gampi Written By: Bruce Meade The news got to Rembrandt quickly. The first trade ships from Japan had just dropped anchor in Amsterdam harbor. And among the exotic treasures in their holds was rumored to be a rare, beautiful paper. Luminescent, incredibly lightweight, yet more than strong enough to hold a printer’s ink. Rembrandt hurried through a maze of alleyways to the shop of the paper merchant. The artist arrived just as the new sheets from Japan were being carefully stacked on wooden shelves. “Gampi”, stated the merchant. “Made from the bark of a shrub that grows only in the wild. Quite expensive.” Continue reading “Rembrandt and Gampi by Bruce Meade”