First up, Fabriano Rosaspina in White and Ivory. No external sizing, 60% cotton rag, two deckle edges. Known as an underutilized printmaking paper; it has an excellent surface quality, a matte finish, and soaks up the ink like a sponge, and the ivory colored paper is really interesting. It's more tan than yellowish despite my shadowed and off-color photos. (I took the photos in my studio at night, so the lighting was pretty uneven). I really like this paper. I soaked it the recommended 30 minutes and it printed just beautifully This paper is a keeper. Interesting trivia: Italian paper mill Fabriano was started in 1264 and was the first to harness water power for pulping.
|Fabriano Rosaspina White|
|Fabriano Rosaspina Ivory|
|Fabriano Tiepolo Soft White|
Next up, Awagami paper. I received a large sample pack of Awagami papers and only tested five of several papers that were recommended for printmaking. The sample sheets were smaller, so I used a Solarplate and Akua ink for testing. These are Japanese papers (washi), so they are made of either bamboo or mulbery (kozo). Some of the papers in the sampler were for sumi, watercolor, drawing, etc. and had unusual textures and colors. I just focused on the printmaking papers.
Don't call these rice papers though...there is no such thing. The Japanese do not make paper from rice, never have.
Bamboo paper printmaking, 170g/m3, soaked for 5 minutes
Kitakata HM, 100g/m3, dipped in water
Shiramine NM-5, 110g/m3, soaked for 2 minutes
Bottom two prints, left to right:
Bunkoshi, 70g/m3, dipped in water
Bamboo paper printmaking, 250g/m3, soaked for 10 minutes
The labels of each are shown on the front, but I actually printed on the correct side of the paper, so I did a little photoshopping so you can see the label on the front.
|Backside of the Awagami paper tests|
Tomorrow I'm going to be teaching the Solarplate class to the non-toxic printmaking students. I will take photos of course. Wish me luck!