Deffner & Johann Spotlight

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. 

Photo: taken by Hiromi Katayama at the IADA Berlin congress of Ralph-Uwe Johann & Maren Dummler

 

In 2015, Deffner & Johann presented a video on “Parchment Restoration” with paper restorer Maren Dümmler, using washi from Hiromi Paper.

View the video on youtube here.

“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.”

– https://www.deffner-johann.de

Artist Feature: John Zabrucky

Artist Feature: John Zabrucky

By Oren Giladi

John Zabrucky is an artist and designer living in Los Angeles. He both works in the film industry and creates independent bodies of art using our various handmade papers. The majority of his works are drawings and collages done on our Yucatan and Bhutan papers.   John has been drawing on our papers for years. In his studio we leafed through hundreds of works and picked out a few highlighting multiple techniques.   

John Zabrucky on Bhutan and Yucatan

From Japan: Hiroya Yamashita from Yamaji Paper mill in Fukui

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
67 gsm
With sizing
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.

Artist Feature: John Wigmore

John Wigmore

We had the pleasure of visiting the studio of lighting designer and artist, John Wigmore. He combines the elements of sculpture, painting, and installation with Japanese papers for his lighting installations for both show rooms and personal clients. This time, we were able to ask a couple of questions and learn more about John and his work.

Q: Can you tell us a little about your artist background and company?

A: I graduated from UCSC with a BA in Art Studio and mainly concentrated on painting and sculpture. I got interested in natural materials and found that I enjoyed working with paper in my sculptures. I was looking at a lot of James Turrell and Robert Irwin at the time in the early 90’s and began making my light sculptures in NYC from Okawara paper combined with a heavyweight watercolor paper.

Print on Harukaze, kozo layers.

Celebrate Hiromi Paper’s 25th Anniversary with Us!

Date: September 28th, 2013 (Saturday)
Time: 6.30 p.m. to 8:30 p.m.
Location: Hiromi Paper, Bergamot Station.
2525 Michigan Ave, Suite G-9
Santa Monica, CA 90404

25 years ago Hiromi Paper opened to serve a connection between Japanese paper-makers and artists around the world. This year we will be celebrating our quarter century anniversary and we would love to have you join in on our festivities! An evening reception will take place right at Bergamot Station, where our retail store is located. We will also be joined by paper-makers from Kochi and Fukui, Japan. Stop by for some drinks, grub, and to mingle with fellow paper/art lovers and makers! There will also be a special 25% discount off all items in-store on the day of the reception party.

Please RSVP by calling or emailing.

Check out our new aprons, which we will be selling for $15.00! Contact us for more information.

“Unbelievable!”

By Hasegawa Satoshi
Translations by Yuki

This spring marks my 20th year since coming to the city of Mino and learning the art of paper-making. Since then, I have encountered a certain situation several times when meeting with foreigners upon explaining that I have been creating paper by hand with traditional methods.

“Unbelievable!” they would say.

I have been told that by numerous foreigners. In hearing them out I have learned that Japan is a country that is well-known for advanced technology in car manufacturing and electronics, so they cannot imagine that a Japanese person my age can still be making washi with his hands.

The Difference Between Washi and Machine-Made (Western) Paper

By Sugihara Yoshinao
Translations by Yuki

“What makes washi and machine-made (western) paper so different?”

There are many explanations for this argument, which can be classified into numerous sections. For example, grouping by materials, paper-making methods, and production location. This time, I will present to you one example.

Washi Collection Books

By Ageta Tsuyoshi
Translations by Yuki

With 10 years in the making, this washi collection is limited edition, with English translations, and highly recommended for collectors or paper lovers, libraries, museums, and institutions. Order with us to avoid paying extra shipping costs from Japan.

Newsletter Feedback

Thank you M.B. for your feedback on our recently mailed World of Washi Newsletter via postcard(image below). We definitely appreciate getting mail the “old-fashion” way as well. *postcard is of a polychrome vase in the form of fish from The British Museum, 1365 BC

Taking Part in Recreating Ancient Paper

By Hasegawa Satoshi
Maker of Usu-Mino, Hon-Mino, and Cho-chin
Translated by Yona & Yuki

This summer, we were given an opportunity to work with the Tokyo University Historiography Department on their research of restoring paper used in ancient Japanese documents. Normally, paper cannot be produced in the summer, so this was just the right occasion. Papers from ancient times each have their own unique expression, so it was fascinating just to be able to observe each one.

This time, we attempted to cook Kozo fibers with wood ash in order to recreate these ancient papers. Wood ash leaves a different fragrant in the air than soda ash, quite like the smell of cocoa. When kozo bark is cooked until tender, it also looks as if it were smeared with ash. There were also unexpected occurences, but they became meaningful experiences for us. Upon completion of the paper, we can’t say we were completely satisfied with the results. We were able to cook with wood ash easier than we thought, on the other hand, beating the kozo fibers was unexpectedly difficult(due to the wood ash leaving Kozo fibers longer than if using caustic soda).

We had expected the tools used to make paper in those days to be different from now. But, trial after trial, we were able to come up with different ideas. Because we had to guess the methods used from several hundred years ago and what went on in the maker’s heads, we had to jump into the past in our discussions with the fellow artisans. We were deeply moved by it emotionally.

Opinions on the changes from washi making techniques since ancient times differ according to researchers, it also feels like no prominent theory has been agreed upon as of yet. I myself have had questioned the various theories from researchers until now. But participating in such experiments from a craftsman’s standpoint, I have come away with the impression that there are things I can help collaborate with. And with it, I hope to share with everyone the results.

Wood Ash Process

Drying Boards