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1 PAPER TYPES for PRINTMAKING Choosing the Right Paper for An

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1 PAPER TYPES for PRINTMAKING Choosing the Right Paper for An VAF 253: Printmaking I Instructor: Micah Zavacky Spring 2019 Email: [email protected] PAPER TYPES FOR PRINTMAKING Choosing the right paper for an edition can be difficult, as many beautiful options exist in the world. In this handout, I am going to differentiate two main types of paper used for printmaking, and offer recommendations based on my printing experience. Generally, paper is distinguished by its country of origin, and can be classified as “Eastern” or “Western”. Eastern (Asia) Paper made from plant fibers, specifically in Japan (washi). “Rice paper”, “Japanese rice paper”, and “Japanese paper” are commonly used to refer to paper made in the East, despite a paper’s true country of origin. It is not correct to refer to all rice papers as Japanese, as not all rice papers are made in Japan. Rice paper is made from the rice paper plant. However, “rice paper” is often used as a catch-all term for Eastern papers, although many of these papers are not made from the rice paper plant. Paper made in Japan has a specific name, washi, which translates to, “Japanese paper”. > “Wa” meaning Japanese, and “shi” meaning paper. Traditionally, washi is made from the fibers of three plants: > gampi, mitzumata, and kozo (mulberry) (391) 1. Washi is made by hand in many Japanese villages, using one of the three plant fibers, above. At times, wood pulp is also added to provide additional absorbency and cushion. In contrast to Western paper, washi is made from plant fibers inside the bark of gampi, mitzumata, or kozo. Names of papers often refer to the towns or villages where the paper is made, and vary due to: > Percentage of plant fiber, where it’s from, did they grow it themselves, did they add pulp, did they add anything else? Western (European) Paper created in Europe or North America, specifically in France and Germany. CHOOSING PAPER The paper an artist uses to print on is a personal choice, and is often supported by printing experience. Over time, you become more attuned to what papers work best for certain printmaking processes, drawing, or priming paper for oil painting. There is no right or wrong when choosing paper, but I have provided some key characteristics and differences between Eastern and Western papers on the following page. 1 Printmaking: History and Process by Donald Saff and Deli Sacilotto. 1978. Print. 1 VAF 253: Printmaking I Instructor: Micah Zavacky Spring 2019 Email: [email protected] CHARACTERISTICS AND DIFFERENCES BETWEEN EASTERN AND WESTERN PAPER EASTERN Made from strong, tight, long, and resilient plant fibers. Delicate in appearance yet durable and long-lasting. Prone to wrinkling with heavy pressure/embossment. Easily wrinkled or denting when handling or tearing-down to paper size. The ink is absorbed by the paper which creates a print of exquisite quality and appearance. Stretches down as it is pulled through the press. Often, traces of the plant matter, bugs, and even hair can be found in the paper. Irregular edges often result in paper that is not square. At times, the paper may be smaller or larger than what you expect. More expensive and harder to find in common art stores; attainment often requires online ordering. WESTERN Made from wood pulp, and at times, cotton and linen. Heavy in appearance yet soft, flexible, malleable, and cushion-like. Handles heavy pressure very well, especially when damp. The surface is less likely to dint or wrinkle when handling. The ink sits more on the surface of the paper which can cause a print to appear cakey and over-inked if not printed properly. Stretches in all directions as it is pulled through the press. Very clean and pristine surface. Most often, the paper is square and the size you order. Many good options are affordable and available at common art stores. PAPER RECOMMENDATIONS Western Options Hahnemühle Copperplate > Excellent for intaglio and lithography. Absorbent, superior quality, and a surface that glows. > Great for silkscreen as well, but could absorb ink layers too quickly. May require more layers to combat absorbency and/or ink modification. BFK Rives > Affordable and versatile. Standard printmaking paper that works well for intaglio, relief, silkscreen, and lithography. Lenox 100 > Great drawing surface. > Excellent and affordable option for proofing in silkscreen and intaglio. > Inclined to wrinkle or bow when used for silkscreen, due to moisture. 2 VAF 253: Printmaking I Instructor: Micah Zavacky Spring 2019 Email: [email protected] PAPER RECOMMENDATIONS—Continued Western Options Rives Lightweight Stonehenge > Excellent drawing surface. > Slick quality makes it a good option for relief, due to less interference from the paper tooth. > Nice option for silkscreen, but moisture can result in bowing and wrinkling. > May be used for lithography, but sharpness of print may suffer. Arches 88 > High-quality, expensive, and excellent option for silkscreen. Some printmakers also like this paper for lithography. Canson Editions > Very affordable. > Many options exist to accommodate a variety of media needs. Eastern Options Mulberry (bleached or unbleached) > Tough and resilient paper. Beautiful choice for relief printmaking. > Great option for chine-collé. Kitakata > The original comes in an off-white, almost fleshy hue and is very feathery and cushiony compared to the hardness present in many other Eastern papers. The front side (printing side) is very smooth, and the back has a gridded texture. > You can also purchase green kitakata, which is a pale green hue. > A roll of kitakata can be bought instead of the 16” x 20” sheets. There are differences between the rolled and sheeted kitakata. The rolled version is as thin as tissue paper, and is incredibly fragile, but is exquisite in quality—excellent for chine-collé. Sekishu Okawara Masa Hoshu Goyu 3 .
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