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Made in Switzerland by Ilford

Ilford Galerie Tesuki-Washi Echizen Warmtone Smooth 110gsm

A warm toned, smooth handmade Japanese Washi paper made with a mixture of Hemp and Kozo fibres.

6 by 4in 50 Sheet Box (sku: PILWESW_2004942) $92.00
A4 10 Sheet Box (sku: PILWESW_2004943) $63.00
A3+ 10 Sheet Box (sku: PILWESW_2004944) $127.00
A3+ 10 Sheet Box - Deckle Edge (sku: PILWESW_2004945) $141.00
A2 10 Sheet Box (sku: PILWESW_2004946) $211.00
A1 5 Sheet Box - Deckle Edge (sku: PILWESW_2004947) $190.00
Ilford Galerie Tesuki-Washi Echizen Warmtone Smooth 110gsm Master Image
Galerie Tesuki Washi Echizen Warmtone Smooth 110
Ilford Galerie Tesuki-Washi Echizen Warmtone Smooth 110gsm Master Image Ilford Galerie Tesuki-Washi Echizen Warmtone Smooth 110gsm Image

Description

Ilford Galerie Tesuki-Washi Echizen Warmtone is a true handmade Japanese Washi fine art paper. The Echizen area, where the washi base paper is produced, has a history spanning over 1500 years.

  • True hand-made Japanese paper
  • Strong traditional paper using 40% mulberry and 60% hemp
  • High quality black and white images
  • Smooth textured surface
  • No optical brighteners
  • Acid free

The washi paper is carefully handmade one by one and is valued by many artists for its quality and use for reproducing their artwork. Tesuki-Washi EchiZen Warmtone Smooth has a natural flexibility and is especially suitable for monochrome photo reproduction. This beautiful paper is further enhanced using Ilford’s original coating recipe.

Construction - Fibre Based

Construction

Fibre Based

Substrate - Washi<br>(acid free)

Substrate

Washi
(acid free)

Paper Weight - 110 gsm

Paper Weight

110 gsm

Surface Texture - Matte, Smooth

Surface Texture

Matte, Smooth

White Tone - Warm

White Tone

Warm

Optical Brighteners? - No

Optical Brighteners?

Specifications

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'.

  • Construction
    Fibre Based

    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.

  • Substrate
    Washi

    What is the paper base made from?

    Possibilities include:

    • 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
  • Coating
    Microporous

    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.

  • Paper Weight
    110 gsm

    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.

  • Surface Texture
    Matte, Smooth

    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.
  • White Tone
    Warm

    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)
  • Compatible Inks
    Pigment Inks (use matte black)

    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?

  • Acid Free?

    Is this paper acid free?

    Acid in paper leads to earlier yellowing and the paper will also become brittle more quickly. Thus for a paper to be archival, it needs to be acid free.

    Papers which are not acid free are generally best used for proofing (test printing), and shorter term purposes. That is, they are not considered to be a fine art level product, or suitable for print sales into the art or professional photography markets.

    This does not, of course, mean these papers will vanish or discolour overnight - they generally still have life-spans suitable for commercial work and above or on par with e.g. typical photo chemistry papers. They are thus suitable to markets like signage, or the decor market (e.g. print sales for kiddies bedrooms, for example) - but should be avoided if you're trying to sell your work as a serious art level product.

    In general, papers made from cotton are naturally acid free, which is one reason they are often favoured. Other fibres, like Kozo, are also naturally acid free. High grade wood pulp papers can also be made to be acid free, however, if the lignin/acid is removed from the pulp.

  • Optical Brighteners?

    Does the paper contain chemicals in it to brighten its appearance?

    More on this here.

  • Full Specifications
  • Paper Type To Use In Driver

Also In This Range

Ilford Galerie Washi Torinoko 110gsm
A traditional Japanese Washi (rice) paper with a fine textured surface.
N.B. Please visit the full listing for important info on some variants.
  • ConstructionFibre Based
  • Made FromWashi
  • Paper Weight110gsm
  • Surface TextureMatte, Smooth
  • White ToneWhite
  • Acid Free?
  • Optical Brighteners?
More info
Ilford Galerie Tesuki-Washi Echizen 110gsm
A lightly textured, hand produced Japanese Washi paper composed of Mulberry and Hemp fibres.
  • ConstructionFibre Based
  • Made FromWashi
  • Paper Weight110gsm
  • Surface TextureMatte, Textured
  • White ToneWhite
  • Acid Free?
  • Optical Brighteners?
More info
Ilford Galerie Tesuki-Washi Echizen Smooth 110gsm
A smooth, lightly textured Japanese Washi paper composed of Hemp and Mulberry delivering high quality black and white printing results.
  • ConstructionFibre Based
  • Made FromWashi
  • Paper Weight110gsm
  • Surface TextureMatte, Smooth
  • White ToneWhite
  • Acid Free?
  • Optical Brighteners?
More info
Ilford Galerie Tesuki-Washi Echizen Warmtone 110gsm
A warm-white toned, textured handmade Japanese Washi paper made with a mix of Hemp and Kozo fibres.
  • ConstructionFibre Based
  • Made FromWashi
  • Paper Weight110gsm
  • Surface TextureMatte, Textured
  • White ToneWarm
  • Acid Free?
  • Optical Brighteners?
More info