PERSONAL PROJECT – OPTION 2 – Site Specific piece – Development of ideas 1

Today I have researched suitable papers for part of the substrate for my personal project. Previously I had used some Japanese papers that worked really well with encaustic wax ( but didn’t try the resin) although I didn’t make a record of which I used or paid too much attention to the provenance of the papers.

For this project I will as I want to consider the sustainability aspect at every possible point to minimise its impact.

I have researched these 4 companies

  1. http://rakushikan.com/en/tesuki/more.html – as recommended by my tutor
  2. http://www.gfsmith.com/papersmith – as recommended by my tutor
  3. http://www.lawrence.co.uk/shop/Japanese-paper- printmaking-p1.html#.U3NW6_FOXIU – I have ordered a sample set of papers to assess their benefits before I place an order for larger sheets but mainly to make a reference and keep track of costs etc.
  4. http://store.falkiners.com/store/category/95/451/Washi-for-Art-%26-Printmaking-/I have ordered the Kozo papers and specialist book binding thread to hand stitch my samples and to add some authenticity when I stitch the reclaimed dictionary pages. Not sure if it waxed or not. I really want both, waxed for ease of stitching paper but not waxed so that I can perhaps dye it ( pale colours) for any high light stitching that I may want to add.

I have ordered the Kozo papers as the description is the best for sustainability as the crops renew annually and offers the least environmental impact.

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Copied from http://store.falkiners.com/store/category/95/451/Washi-for-Art-%26-Printmaking-/

Washi For Art & Printmaking

Japanese Paper (Washi) is prized for its many excellent properties including its warmth and tactile qualities, strength and low acidity. Traditionally-made Japanese papers are truly acid-free if they are unbleached and unsized. Examples of printed papers exist in perfect condition in Japan from 1000 years ago.

The flexibility in grain direction in washi and resistance to creasing makes it perfect for covering books and boxes. The translucency of certain sheets makes them ideal for lighting and screen making. The wet strength and absorbency of washi means it is perfect for a huge array of printmaking techniques. Many traditional uses of the paper have endured: origami, kites, doll and umbrella-making and unparalleled packaging. Today, its uses are limitless: paper jewellery; to cover mats in framing; used as a background for photography and to develop photographs on; to cover walls and furniture; to produce memorable wedding invitations and for a host of graphic design and public relations promotions.

The inner barks of three plants – kozo, mitsumata and gampi – are used primarily in making washi although other fibres are sometimes mixed in with the other fibres for decorative effect.

Kozo (paper mulberry) is said to be the masculine element, the protector, thick and strong. It is the most widely used fibre, and the strongest. It is grown as a farm crop, and regenerates annually, so no forests are depleted in the process.

Mitsumata is the “feminine element”: graceful, delicate, soft and modest. Mitsumata takes longer to grow and is thus a more expensive paper. It is indigenous to Japan and is also grown as a crop.

Gampi was the earliest and is considered to be the noblest fibre, noted for its richness, dignity and longevity. It has an exquisite natural sheen, and is often made into very thin tissues used in book conservation and chine-collé printmaking. Gampi has a natural ‘sized’ finish which does not bleed when written or painted on.

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This entry was posted in LEVEL 2 - TEXTILES 2 : Contemporary Practice, Option 2 - A site-specific piece, PART 5 Personal project and tagged . Bookmark the permalink.

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