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NEW Awagami washi paper range

Date: 24-12-2022
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Awagami produces washi from natural fibers: Kozo, Bamboo, Mitsumata, Gampi and Hemp to create papers for Fine Art, Inkjet Printing, Crafts, Interior Design and Art Conservation. Awagami also collaborates with international artisans to explore new concepts that may prove suitable for washi papermaking.

 

Washi and the Environment

Since antiquity, Japanese washi has been made from renewable plant resources that reach maturity in 1-2 years. When compared to wood-based papers (that take dozens of years to mature and require many chemicals), washi is created with significantly less harm to our environment in a clean and eco-friendly manner. In the traditional spirit of Japan, Awagami papermaking maintains a caring and nurturing focus on the environment.

Awagami Washi and the Fujimori Family

6th generation, Minoru Fujimori took over the family business in 1945 determined to continue washi papermaking despite post-WWII difficulties. In 1970, Minoru-san was designated as an ‘Intangible Cultural Property of Tokushima’ in recognition of his skills. In 1976, Awagami washi was designated as a ‘Traditional Craft Industry’ and in 1986, Minoru Fujimori was further honored as Master Craftsman and awarded the ‘Sixth Class Order of Merit, Sacred Treasure’ by the Emperor.

Currently his son, Yoichi and family continue the papermaking tradition as their ancestors did before. In 2022, Yoichi-san became the second Awagami papermaker bestowed by the Emperor with the honorific of 'Order of the Sacred Treasure, Silver Rays'; a tremendous family accomplishment, indeed.  In an effort to preserve the craft and pass washi papermaking onto the next generation, the family has established a network of international partners that offer Awagami papers to worldwide artists.

Washi Paper Basics

Awagami washi papers are 100% solely made in Tokushima Japan. In order to keep up with international demand the mill makes both handmade and machine made papers. “Tamezuki“ and “Nagashizuki” are the two handmade methods employed; with Tamezuki being the older of the two methods.

Tamezuki - Papermaking in the ancient Heien period was described as follows: pulps such as kozo (mulberry), hemp and gampi were cut into small pieces and cooked in a mild alkaline solution. The cooked material was rinsed, cleaned and beaten to break down the fibers. The resulting pulp was then mixed with water and scooped onto a screened frame. Prior to any water drain, the papermaker gently shook the frame or ‘mould’ to even out the pulp distribution. The paper was formed by a single scoop in the vat. Newly formed sheets of paper were stacked on top of each other; separated by cloth to prevent them from sticking together. This method is similar to papermaking in the West.

Early Japanese papermakers astutely noticed that pulp containing gampi fibers had a slower drainage rate allowing the papermakers to repeatedly move the pulp mixture back and forth over the mould’s surface resulting in a stronger paper (with more evenly intertwined fibers). It was subsequently discovered that gampi releases a viscous liquid that actually changes the viscosity of the water resulting in this slower drainage rate. For some time, gampi fibers were added to other fibers to achieve this effect but since gampi is not cultivatable, it was difficult to obtain significant quantities. The key viscous material or “neri” was then extracted from other more readily available plants leading to the development of the “Nagashizuki” style of papermaking which yields the strong, thin and semi-translucent papers that has become synonymous with washi.

Harvesting & Processing the Kozo Fibre

Kozo fiber grows on the mountainside adjacent to the mill. The stalks are steamed for bark removal and hung out in bunches to dry. The soaked bark is carefully stepped upon and rubbed between the feet in running water to remove the loosened dark outer bark. Once the dark outer layer is removed, the ‘Aohada’ green layer is carefully scraped away with a knife. The amount of this Aohada removed determines the natural whiteness of the final paper. The cleaned “SHIROKAWA” or white bark is dried in a cool shaded area until ready for further processing.

The prepared bark is then cooked in an alkaline solution such as wood ash (or potash), caustic soda, or soda ash. The characteristic feel of washi is determined by the amount of non-cellulose materials contained in the fibers which are broken down in the cooking process. When a strong alkali is used, more of the non-cellulose materials are dissolved thus resulting in a softer paper. If more non-cellulose materials remain in the fiber, then the paper has more body. The following day, the cooked bark is removed and thoroughly rinsed in running water until there are no traces of the dark alkaline solution. If white paper is to be made, the fibers are bleached at this stage. Traditionally, natural bleaching methods involving running water, sunlight and snow were used. Nowadays various eco-friendly bleaching agents can also be used. The fibres are cleaned again and any scar tissue, buds, discolored areas etc. are carefully removed. The cleaned strips of damp fiber are now ready for beating on a wooden or stone surface. The separate strips are beaten until they become a mass of separated fibers. Today, beating is also done using automated ‘NAGINATA’ beaters. The beating process separates and roughens the surface of the fibers.

Basic Papermaking Tools

The fundamental tools required to create Japanese and Western papers are basically the same. The vat or ‘SUKIBUNE’ is traditionally made from pine or cypress with contemporary versions lined in stainless steel. The primary function of the sukibune is to hold the fiber-neri-water mixture but it has several attachments making it different from a Western vat. On the left/right side are two notched posts or ‘TORII’ supporting the ‘UMAGUWA’ (a large comb-like tool) used to mix the fibers in the vat. Inside the sukibune are two narrow boards or ‘OTTORI’ used to rest or support the ‘KETA’ (papermaking mould) when opening it to remove/insert the ‘SU’ (flexible screen). The major difference between Japanese and Western moulds is Western moulds have a removable deckle with an attached rigid screen while Japanese mould and deckles are actually hinged together with a flexible/removable screen.

Basic Papermaking Process

The beaten fiber is added to water in the sukibune. Neri solution is then added (the amount depends on the type of paper to be made). The Nagashizuki method requires the fiber mixture to be in constant motion over the surface of the screen. The actual motion involved varies according to the kind of fiber used, paper to be made and the individual papermaker. The screen and the completed sheet of paper are removed from the keta and in a smooth overhead motion from mould to the ‘SHITODAI’ or couching stand. When the entire screen with new sheet is laid on the post, the screen may be lifted. It’s carefully peeled off away from the papermaker and replaced in the mould.

The post of newly made papers is lightly weighted and allowed to drain naturally overnight. The next day, it is put into the ‘ASAKUKI’ or press and gradually pressed until 30% of the moisture is removed. The pressed papers are carefully removed one-by-one and brushed onto boards to dry naturally or onto a steam heated metal surface for quicker drying. The drying method, be it natural or mechanical, significantly affects the finished paper, so the drying is always matched with the particular type of paper being made.

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