Made in the Japanese tradition of light weight, semi translucent papers.
The finish is a 'laid' finish - a laid finish originally meant watermark images from the wire sieve used to make the paper that lead to a ribbed appearance - a finish prized still by many artists today that dates back to early Asian paper making around the 12th century! The modern version is of course not made in quite the same way but the ribbed appearance is applied like a sheet covering watermark. It looks great, though!
If you're looking for something delicate and expressive, this is a fantastic representation of traditional sumi-e papers, most often used in calligraphy art. It's also used in the making of decals for surfboards etc - basically, a print is coated with polyurethane or similar, and the unprinted paper goes clear leaving just the image on show!
Please note: Specifications are provided as a guide only.
We try very hard to keep these up to date and correct, but if a particular specification is really critical to you, then please double check the specification directly with the manufacturer. Some features may of course have caveats not fully described here.
To get more information about a particular specification, use the arrow to get a 'Specxplanation'.
Papers are constructed in two main ways:
Resin Coated papers are the modern approach. These use less fibre and replace the fibre with resin (a nice name for plastic). This means these papers are cheap, strong and robust, but tend to be less attractive to the touch and accept less ink. They tend to have a clinical appearance and it's hard to write on the back of them. They tend to be popular in the consumer and wedding/portrait markets.
Fibre Based papers are traditional papers made without plastic, using only plant fibres. These tend to accept more ink and have a more attractive appearance, and these are the papers most of our customers favour.
What is the paper base made from?
Wood Pulp - the most common and cheapest
Alpha Cellulose - the best part of wood pulp, separated. Generally tested as archival as cotton etc
Cotton - the most common fine art paper fibre
Bamboo - an ecologically friendly alternative to cotton
Mulberry & more - many other plant fibres can be used to make archival paper
In 'gsm' - grams per square metre.
Not, technically, the same as paper thickness, but obviously correlated. The heft of the paper. European art papers are traditionally generally around the 300gsm mark. Asian papers historically tended to be lighter, 100 to 200 gsm.
Papers with a higher GSM tend to have more opacity, i.e. you see less through them.
What is the surface texture of the paper?
We divide this into six groups. We go by the appearance of the actual paper and not what the manufacturer might label the box with!
Matte - smooth and texture
Gloss - semi, gloss, and high gloss
Double Sided - special case papers that are printable to full quality on both sides.
What is the white tone of the paper?
Cool White - a paper with a distinctly cool (blue) tone
Bright White - A paper that is brighter than non brightened papers, but not overly cool
White - a natural clean white tone for an art paper - most Photo Rag papers fall here
Warm - a distinctly warmer, creamier paper
Pearlescent - a distinct warm grey tone (generally found only with metallic papers)
These days almost all papers are microporous coated - meaning they'll accept inks from both dye based and pigment printers well.
In years past, some papers had a swellable coating - designed to give a greater life to prints with dye based inks but this approach has fallen out of favour.
Pigment Inks (use matte black)
Dye Based Inks
What ink type (dye and/or pigments) can you use with the paper?
Also, if using pigment inks and you have a choice, should you use the Matte Black or Photo Black ink?
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