Fine Art Papers Europe / The Americas & Australia Asia February 2015
ART PAPERS Papers are arranged in alphabetical order under the name of the mill that produces them or by the country of origin.
Table of contents Swatch Books 2 Introduction and Paper Basics 3-4 Paper Applications 5 Papers for Storage 6 Papers Europe / The Americas & Australia 7 - 75 Prices Europe / The Americas & Australia 77 - 88 Roll Papers - Europe & The Americas 89 - 93 Africa 94 Bhutan 95 - 99 China 100-102 Egypt 103 India 104 - 113
Indonesia 113 Japan 114 - 162 Korea 163 - 164 Nepal 165 -174 Philippines 174 Thailand 175 - 176 Prices - Asia 177 - 186 Roll Papers - Asia 187 - 192 Digital Papers 193 - 196 Boards 197 - 198 Stationery 199 - 201 Glossary 202 - 203
SWATCH BOOKS Swatch books are assembled by hand. Each swatch is 3 x 5" Individual swatches of most of our papers are also available. You may request up to 3 swatches at no charge. Maximum 10 samples. Additional 3 x 5" swatches are then $1.00 each. We DO NOT cut samples from sheets smaller than 12 x 16" - in these cases, you must purchase full sheets. Arches Aquarelle 2.00 Arpa, Ca'Oliver & Capellades 10.00 Art Spectrum Colorfix 6.00 Bhutan 10.00 Bockingford & Saunders 5.00 Canson Mi Teintes 5.00 Cave Papers 10.00 Chinese Papers 8.00 Chinese Silk, Satin & Brocade 20.00 Chinese Woven & Texture Mats 25.00 Color Plan 6.00 Corkskin 6.00 Czech Velke Losiny 2.00 Digital Papers 10.00 Durotone/Speckletone 3.00 Fabriano Artistico 4.00 Elle Erre 3.00 Ingres/Roma/Rosaspina/Tiepolo 4.00 Murillo 3.00 Tiziano 4.00 Flint Paper 1.50 Foils and Metallics 25.00
Glassine 1.50 Hahnem端hle 10.00 India Khadi Indian Handmades 10.00 Sanganeer 5.00 Japan Art Papers Handmade 30.00 Art Papers Gampi/Mitsumata 20.00 Art Papers Machine-made 15.00 Bicchu Gampi & Tanai 10.00 Gifu Machine-mades 4.00 Iwano Handmades 30.00 Izumo Mitsumata-shi 10.00 Mingei-shi Colors 3.00 Ogura/Ogura Lace 3.00 Shikibu Gampi 12.00 Shikibu Kizukishi 12.00 Yatsuo 10.00 Japan World Cloth Book Cloth 30.00 Korean Hanji Colors 8.00 Lanaquarelle 2.00 Magnani 10.00 Mexican Huun/ Papel de Amate 6.00
Museum Board 5.00 Nepal Chautara Lokta 10.00 Khadi Himilayan/Lhakpa 8.00 Printmaking / Drawing 30.00 Richeson Pastel 4.00 Rolls (papers available in rolls) European & American 20.00 Oriental 15.00 Sabertooth Pastel 1.00 Saint Armand Mill 25.00 T.H. Saunders & Bockingford 6.00 Sennelier Le Carte Pastel 5.00 Speckletone/Durotone 3.00 Strathmore 4.00 Stardream 6.00 TexLibris & TexLifil Book Cloth 15.00 Thailand Printing & Painting 4.00 Translucent Vellum / Tracing 8.00 Twinrocker Handmades 20.00 Velour/Velour Premium Pastel 4.00 Wood Grain & Veneer 20.00 Zerkall 6.00
Note: decorative papers are illustrated in full color on our website - swatch books are no longer being assembled.
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Paper is fragile !
No returns or exchanges are allowed
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ART PAPERS - Europe / The Americas & Australia By definition, "Paper" is a substance composed of macerated cellulose fibers first suspended in a vat of water and then re-structured into sheets by means of a mould. To make paper is a relatively simple process - to make good paper is often the result of a lifetime of labor and learning. What type of cellulose is used, where it is grown, how the fiber is broken down, the type of mould used, the method of getting the mould in and out of the water and the way that the sheet is dried are the elements of the papermakers' art. This is what determines what they pass on to us. Now it is your turn. Now you must paint, draw, print, cut, paste, fold, mutilate or perform whatever is fueled by your inspiration! To help you make your selection, here are some basic ideas and facts about paper to consider: Fiber Content
The length of the broken-down fibers, their bulk, absorbency, the expansion and contraction that takes place when they are subjected to water are all factors that determine the finished sheet. Longer fibers like cotton, flax and hemp create a stronger network of interlocking fibers. That strength is especially important for sheets that will be folded, erased or stretched. Shorter fibers like wood pulp or wheat straw add bulk and are less likely to stretch or contract, so they are excellent for techniques such as embossing. Blending different fibers in different amounts imparts qualities derived from each of the fibers. "Rag" refers to fibers that were originally spun into fabric before they were broken down into pulp for paper. This style of pulp has the longest fiber length and potentially, the greatest strength. Most papers made today do not use "rag" in their composition but rather use the raw fiber such as seed cotton. Most papers in this catalog do not use fibers without the addition of sizing. To say that a wood pulp paper with it's shorter fibers is more absorbent than a cotton sheet with longer fibers is only accurate if both of those sheets are identical in every other way. In fact, a shorter fiber (which will absorb more water) can absorb more sizing, so it is possible that the wood pulp sheet will result in a harder, less absorbent material. Fibers such as linen and gampi have a natural element that encases the fiber that acts as a type of sizing. Papers made of these will withstand certain techniques without additional sizing. However, as water eventually penetrates this casing these fibers experience extreme expansion and contraction. For example, sheets made by Cave Papers that are made on a 18 x 24" mould measure as much as an inch smaller when we receive them. This style of paper will expand and contract dramatically each time they are subjected to moisture, even the humidity or dryness of the atmosphere. One should never reject a paper because of some belief that one fiber is inferior to another. Modern papermakers have access to many resources and usually select the fiber based on desired results. It is much more important that a paper be neutral pH. Fiber has nothing to do with pH.
Sizing
Most “Western” papers in this catalog use some sort of sizing. Most “Asian” papers do not. Traditionally, sizing is composed of starch, animal based glues (such as gelatine,) or plastic polymers. Sizing actually repels water, so the amount added to the vat and /or applied after the sheets are formed will determine moisture absorption and the expansion and contraction of the sheet. Watercolor papers are not made to accept water, but to repel it. This allows for longer working time, keeping the integrity of the surface before fibers have time to react to the water in the paint. Lightly sized or unsized papers absorb moisture evenly and quickly, which makes them ideal for printing or techniques like sumi-e painting where the gesture of the stroke and the load of the brush are to be “recorded” by the paper. Wetting lightly sized sheets in one place and not another causes swelling of the fibers in those places, giving the sheet “hills and valleys” that are difficult to work on and require that the sheet be re-flattened by rewetting the entire sheet and/or apply pressure. Sizing can usually be removed by soaking the sheet in tepid or hot water. Sizing can be added to a sheet either in the form of a surface sizing or by dipping the paper into prepared size solution. Type of materials used for sizing depends on the desired results and ease of application.
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Paper is fragile !
No returns or exchanges are allowed
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ART PAPERS - Europe / The Americas & Australia Method of Manufacture
Although these descriptions are oversimplifications and there is much variation within each category, generally speaking, sheets comparable in fiber and sizing will have the following characteristics: Handmade Papers have little or no grain direction, the most interlocking fibers - providing greater strength, are softer and have more bulk because they are not subjected to extreme sources of heat or pressure. Mouldmade Papers have a distinct grain direction from the rotation of the cylinder machine. Because these machines run at a slow speed, the sheets will have good strength from interlocking fibers. Mouldmade papers are firmer and flatter than handmade papers because of the pressure used to dry and surface the sheets. Machinemade Papers have a pronounced grain direction with less interlocking fibers than handmade or mouldmade sheets and are very hard and flat because of the use of extreme heat and pressure to dry and surface the sheets.
Weight / Surface Texture
When considering papers comparable to each other in fiber and sizing, heavier papers are relatively stronger, will withstand more handling and will buckle less. Lighter weight papers are easier to fold and tear and have less “memory” of rolling. Paintings done on light weight sheets are also easier to flatten. Papers with greater texture will dry more evenly without puddling because they have greater surface area that distributes moisture more evenly across the surface. Smooth sheets offer the greatest precision in drawing and painting, but the flatness of the surface is the most vulnerable and unforgiving when it comes to erasure or poor handling.
Grams vs. Pounds
We use gram weights in this catalog because this allows you to compare the weights of a given sheet without considering the size of the sheet. A paper 300 Gr/M2 is half the weight of a sheet that is 600 Gr/M2 or twice as heavy as one that is 150Gr/M2. Look at the gram weight of papers that you are familiar with and you will be able to compare those sheets to others in this catalog. The pound system that most artists are familiar with is the European system given to artists’ watercolor papers. To say that a sheet is 140 pounds actually means that one ream (500 sheets) weighs 140 pounds. However, if the sheet size varies, so will its weight, even though it is the same paper. If the 140 pound sheet is 22 x 30” then that same paper, half that size would weigh 70 pounds. By only considering pound weights, customers are often tricked into buying the wrong sheet. Arches 260 pound is much lighter than Arches 300 pound simply because the 300 pound in this case is 22 x 30” while the 260 pound is 25½ x 40”. The commercial paper market uses a pound-based system using the “M weight” (weight of 1000 sheets.) This system is useful to determine weights, but one must know the basis size and the number of sheets in the carton before you can directly compare one sheet to another. To determine pound weight from the gram weight you can use this formula: Gram Weight x .267 x Square Inches of the Sheet ÷ 374 = Ream Weight. Ream Weight x 2 = M Weight.
Metric Conversions Length
1 Inch = 1 Inch = 1 Foot = 1 Yard =
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Paper is fragile !
2.54 Centimeters .0254 Meters .3048 Meters .9144 Meters
No returns or exchanges are allowed
Length
1 Centimeter = 1 Meter = 1 Meter = 1 Meter =
.3937 Inches 39.37 Inches 3.2808 Feet 1.0936 Yards
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ART PAPERS - Europe / The Americas & Australia Paper Applications Watercolor Papers Watercolor papers have more sizing. That sizing repels water, allowing more manipulation on the surface, more open time and less buckling of the sheet. The more texture, the more dispersion of pigment and the more even the distribution of water. A smooth watercolor paper will buckle more than a rougher sheet; a thicker sheet will buckle less than a lighter weight one. More absorbent sheets "freeze" the stroke, but do not allow for as much wet-into-wet treatments. Arches • Bockingford • Canson Montval • Cave Papers • Fabriano Artistico • Hahnemühle Watercolor • Lanaquarelle • Magnani Acquarello Multi-Media • St. Armand • T.H. Saunders Waterford • Stillman & Birn • Strathmore • Twinrocker • Czech Velke Losiny • Van Gelder Noblesse Printmaking Papers Almost all papers can be used for some type of printmaking. Usually, "printmaking papers" have less sizing, making them more pliable, more absorbent in order that they can take moisture and ink evenly into their fibers. Some printing techniques work better with harder papers, others with softer. Soaking the sheet in a water bath can remove sizing and make the fibers more receptive. Alcantara • Arches Cover • Arches 88 • Arpa • Capellades • Cave Papers • Coventry • Crane's • Domestic Etching • Fabriano Rosaspina & Tiepolo • Folio • Hahnemühle Copperplate / Durer & German Etching • Johannot • Lenox • Magnani Incisione / Pescia / Revere / Velata & Vergata Mexican • Rives BFK • Rives Papier de Lin • Somerset • St. Armand • Stonehenge • Twinrocker • Zerkall Bookweight & Copperplate Printmaking - Letterpress & Book Arts Lighter weight, lightly sized papers fold more easily and are more suitable for the book format. They are also excellent for all drawing techniques. Printmaking - Silkscreen Just about anything can be silkscreened, even very rough papers, but most printers prefer a very flat, smooth surface as it offers direct contact with the screen. Lightly sized or unsized papers draw the ink into the surface and prevent smearing and shorten the drying time between multiple screens. Printmaking- Woodblock & Monoprint When a press is used, most absorbent sheets can be adapted for block printing and monoprint. When hand printing is used, lighter weight sheets are easier to burnish and transfer more ink from the block or plate. A clear sheet of acetate or mylar when burnishing prevents abrasion of the paper while allowing you to see the progress of the transfer. Printmaking - Digital Art Although there are papers specifically coated for digital printing, other papers can be used sucessfully for different results. Remember that ink jet printers use water-based inks that will spread on papers with less sizing. Printmaking grades produce a softer image. Watercolor papers with more sizing will have less spread. Whiter papers offer more contrast. Smoother papers give more precise application of each pixel of color. Platinum & Photo Processes The specific technique, the formulation of emulsion, even atmospheric conditions effect the final results of alternate-photo-processes. The sizing, the pH and the buffering agents in the paper are also factors. Different makings of the same paper can have slight variations, which would not matter to most users, but will yield dramatic differences to the platinum printer. Testing is essential! Arches Aquarelle / Platine • Canson Opalux • Capellades Paladio • Magnani Revere Platinum • Stonehenge • Strathmore 1-ply Bristol • Twinrocker Van Gelder Simili Japon Calligraphy, Pen & Ink Texture and absorbency of a calligraphy paper is a personal choice. Some like a little tooth to prevent smearing; others want an absolutely smooth surface with sufficient sizing to keep the ink high on the surface. Type of pen or brush, style of nib and the scale of the calligraphy are also factors to be considered. Arches Aquarelle Hot Pressed • Arches Text • Cranes • Coventry Smooth • Hahnemühle Ingres Hot Pressed Watercolor Papers • Parchment Genuine & Imitation • Pergamenata • PLike • Stillman & Birn • Strathmore Bristol • Translucent Vellum Zerkall Book & Ingres Pastel & Charcoal Although some people like smooth papers, the majority of artists using pastel or charcoal want a paper with enough tooth to hold the pigment and allow layering. The amount of tooth and the hardness of the sheet will determine where the pigment sits, the amount of build-up possible, erasure, blending and the need for fixatives to set the layers. Art Spectrum • Canson • Fabriano Ingres, Murillo, Tiziano & Roma • Hahnemühle Bugra Butten & Ingres • Pastel Cloth • Richeson Unison • Sabertooth • Sennelier Pastel Card • Somerset Textured • Strathmore Charcoal • Twinrocker • Velour • Zerkall Ingres Silverpoint Clay-coated materials are used for this technique that predates the Rennaissance. Various metals can also be used including gold, brass and copper. The papers listed here work quite well, but are limited in their tone and aesthetic. You can coat your own paper for metal-point. Traditional techniques use animal glue or gelatine mixed with pigment on a smooth surface. Or you can avoid cooking glue by layering Chinese white watercolor or white gouache. These can be tinted with watercolor or pigment. Sand the surface with ultra-fine sandpaper or raw silk to eliminate brush strokes. Legion Art Coated Cover • New York Central Clay Coat • Plike • Mc Coy Clay Coat • Terraskin
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Paper is fragile !
No returns or exchanges are allowed
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PAPERS FOR STORAGE Hundreds of pH neutral sheets could be used for storage and presentation. Our most popular are listed here. Neutral pH materials will only remain stable if all factors - including heat and light - are kept at ideal levels that are difficult to maintain outside of museum conditions. Buffered items will cease to absorb or neutralize acids after time. It is highly recommended that you refresh storage materials after several years or if you should notice discoloration of the interleaving material or the items being stored. GLASSINE - MUSEUM GRADE
INTERLEAVING
MOHAWK VELLUM COOL WHITE & SOFT WHITE
25 pound. - 48 gram. Slick, almost transparent. interleaving. White. Tested by curators of major museums, this glassine remains neutral pH. for a longer duration - even in adverse conditions.
Neutral pH White. 60 gram.
Sheets
COATED INTERLEAVING
1
100
500
Rolls
Sale
24 x 36 .55 36 x 48 1.10
25
.50 .99
.45 .92
12 x 20 yards 18 x 20 yards 18 x 100 yards 24 x 20 yards 24 x 100 yards 36 x 20 yards 36 x 100 yards 42 x 20 yards 42 x 100 yards 48 x 20 yards 48 x 100 yards 60 x 20 yards 60 x 100 yards
50 sheet Pads 8½ x 11 13 x 19 17 x 22
.41 .83
8.00 11.25 44.50 14.05 56.00 19.10 81.00 23.25 91.80 25.50 103.25 31.50 125.50
Sale
5.00 7.75 15.00
GLASSINE - HEAVYWEIGHT
37 pound - 68 gram.
Sheets
24 x 36
1
.90
25
.84
100 .75
Rolls 36 x 20 yards 36 x 100 yards 48 x 20 yards 48 x 100 yards
500 .70
Sale
26.50 112.50 35.75 143.75
BORDEN & RILEY #30 BOND
Sheets
25 x 38
1
.80
25
.72
100
Neutral pH. Slick coating reduces static electricity making it useful for pastel and charcoal drawings - even those that have not been fixed.
Sheets
25 x 38
1
.75
25
.68
100
Machine-made in Japan from 100% rayon. Neutral pH.
1
25
100
Paper is fragile !
500
24 x 36 1.50 1.35 1.25 1.13
LENS TISSUE - HEMP
Machine-made in Japan from 100% Manila hemp. Neutral pH.
Sheets
1
25
24 x 36 2.35 2.09
100
500
1.94
1.74
JAPANESE INTERLEAVING ASA GAMI Off -White, 100% Manila Hemp. 20 gram. Mori Tissue Neutral pH, sulphite. Buffered tissue. 20 gram. Pure Guard Un-buffered, neutral pH sulphite tissue. 45 gram.
Japanese Interleaving
Sale
Asa Gami 31 x 43" 25 sheet roll 45.00 Mori 35 x 50 meters 80.00 Pure Guard 43 x 30 meters 100.00
LINECO TISSUE
Rolls
6
.53
LENS TISSUE - RAYON
Sheets
Machine-made, sulphite pulp. Neutral pH. 60 lb. text. 25 x 38
1
25
40 x 250 ft.
Sale
75.50
FOLDER STOCK - PERMA-DUR
Sheets Sale
No returns or exchanges are allowed
500
MOHAWK VIA SMOOTH LIGHT GREY
Resembles newsprint. Neutral pH. 70 lb. text.
Sheets
1
25
100
.92
500 .83
STRATHMORE BARRIER
100% buffered cotton. Neutral pH. Natural.
Sheets
1
32 x 40 2.10
25
1.87
100
1.73
TISSUE -ACID FREE
Neutral pH. Un-buffered, virgin pulp. No deckles. White.
Packages of 480 Sheets 24 x 36
Sale
97.50
TYVEK - Museum Grade
Machine-made from synthetic fiber. Neutral pH. Strong, ‘untearable’ - moisture resistant.
Sheets
1
25
24 x 36 3.75 3.38
100
3.13
Rolls 36 x 10 yards 36 x 50 yards 60 x 10 yards 60 x 50 yards
500
2.81
Sale
65.00 181.00 79.00 299.00
YUPO
100% polypropylene. Waterproof, stain resistant and istrong. White. Neutral pH.
Acid-free, lignin-free buffered cardstock. Manilla color. 2 weights. .010 – 32 x 40 .020 – 30 x 40
100
1.00 .90 .84 .75
25 x 38 1.10 .99
Rolls
9.70 10.26 13.73 17.11 20.45 23.92 27.32 34.18
500
.59
Neutral pH. White. 16 gram.
Sale
.60
Sheets
Neutral pH. 20 pound. Smooth, white bond for wrapping. 65 grams 15 x 25 yards 18 x 25 yards 24 x 25 yards 30 x 25 yards 36 x 25 yards 42 x 25 yards 48 x 25 yards 60 x 25 yards
500
.67
26 x 40"
1
25
100
155 gram 6.80 6.13 5.67 197 gram 9.15 8.22 7.62 390 gram 12.90 11.61 10.77
Rolls 30 x 10 yards - 197 gram 60 x 10 yards - 197 gram
6.00 8.50
order: 800-950-6111 or: 212-473-7705.
500
5.10 6.84 9.68
Sale
94.00 149.00
ART PAPERS - Europe / The Americas & Australia
Arches - France
Hand papermaking in the towns of Arches and Archette can be traced back to 1492 where papermakers took advantage of the pure waters of the Rue de Razon. Today, Arches papers are made on cylinder mould machines by The Arjomari Paper Group. The name Arjomari is composed from the first 2 letters from four of the original mills: Arches, Johannot, Marais and Rives - signifying that the reputation of their papers is the result of fine traditions derived from the people who helped to develop them over the centuries. Arches papers are known for their strength and versatility. All Arches papers are watermarked sheets made of 100% cotton, have 2 natural deckled edges and 2 torn edges and are neutral pH.
Arches Aquarelle Natural White & Bright White
Internally and externally sized for watercolor. Watermarked and chop-marked.
Arches Cover
Cold Pressed surface. Light internal sizing.
Arches MBM INGRES (MICHALLET)
Originally designed for Jean Auguste Dominique Ingres. Laid surface with light texture for drawing.
Arches Oil
Arches Aquarelle Hot Press - Bright White
Cold Pressed watercolor paper with clear surface sizing for direct painting in oil. Will also accept watercolor and drawing techniques for multi-media applications.
Arches Platine
Hot Pressed surface. Specially sized for platinum printing.
Arches 88 Silkscreen
Hot Pressed. Unsized (waterleaf ) to absorb ink freely, which speeds drying, avoiding build-up and glare.
Arches Text Wove Arches Text Laid Cream
Lightly textured, book-weight sheets designed for printing and drawing.
Arches Aquarelle Cold Press - Bright White
Arches Cover Buff Arches Cover White Arches Cover Black
Arches Text Wove Arches Text Laid Cream Arches MBM (scanned on black)
Arches Aquarelle Rough - Traditional White Arches Platine Arches 88 Silkscreen
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ART PAPERS - Europe / The Americas & Australia
ARPA Handmades - Spain
Handmade from a blend of cotton and linen with substantial interior sizing and light texture. 4 Deckles. Neutral pH. Interior sizing allows for a full range of drawing, printing & some watercolor techniques. The beautifully pigmented sheets show good light-fast properties.
Arpa Light Blue Arpa Lavender
Arpa Ivory White Arpa Pale Pink Arpa Salmon Arpa Terracotta Arpa Medium Grey Arpa Light Grey
Arpa Burgundy Arpa Navy Arpa Medium Blue Arpa Sage Arpa Medium Green Arpa Chocolate
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Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Europe / The Americas & Australia
Art Spectrum Colorfix - Australia
Machine-made in Australia. Acid free watercolor paper screened with a fine-toothed pastel primer. Colorfix can withstand erasure while maintaining the receptive qualities of the surface. Pastel and charcoal need little fixative. The sheet size includes a ½" border of uncoated white paper. No deckles. Coated "sanded" surface for soft pastel, oil pastels & crayon or painting in oil without additional priming.
Art Spectrum Sand Art Spectrum White Art Spectrum Natural
Art Spectrum Rich Beige Art Spectrum Fresh Grey
Art Spectrum Blue Haze Art Spectrum Storm Art Spectrum Ultramarine
Art Spectrum Australian Grey Art Spectrum Soft Umber
Art Spectrum Elephant Grey
Art Spectrum Olive Art Spectrum Leaf Art Spectrum Rose Grey
Art Spectrum Aubergine
Art Spectrum Burnt Sienna Art Spectrum Terracotta Art Spectrum Burnt Umber Art Spectrum Burgundy
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Paper is fragile !
No returns or exchanges are allowed
Art Spectrum Black
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ART PAPERS - Europe / The Americas & Australia
Alcantara Green Alcantara Yellow Alcantara Grey
alcantara - Italy
limited quantities available.
100% cotton, handmade in Italy by Sicars. Neutral pH. Cold pressed, surface. 4 deckles. Lightly sized. Uses: drawing, printing & some watercolor techniques.
Bamboo - USA
Machine-made of 90% bamboo, 10% cotton. Bamboo grows rapidly, requires a fraction of the water needed to grow cotton, needs no fertilizers and produces more oxygen while consuming more carbon dioxide than trees. ECO friendly. Neutral pH. No deckles. For offset, letterpress and drawing.
BLOTTER - USA - Machine made from 100% high alpha cellulose. Waterleaf (no sizing) to absorb water readily. Neutral pH.
Bamboo USA
Blotter
Bockingford Oatmeal
Bockingford Cream
Bockingford Robin's Egg
Bockingford Blue
Bockingford Grey
Bockingford White & Tints - England
Mouldmade in England by the St. Cuthberts Mill. 100% high alpha cellulose. Neutral pH. No deckles. Internally and externally sized for watercolor. Cold Pressed surface. Bright white and colors inspired by tinted English watercolor sheets from the time of Constable and Turner. Bockingford White
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Paper is fragile !
No returns or exchanges are allowed
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ART PAPERS - Europe / The Americas & Australia
Brazil Banana Brown
Brazil Banana Pink
Brazil Banana Mustard
Brazil Banana Orange
Brazil Banana Red
Brazil Banana Black
Brazil Banana Purple
Brazil Banana Blue
Brazil Banana Green
Brazil Banana Forest
Brazilian Handmade Banana
Handmade of 100% recycled banana fiber. Crisp sheet with a mottled appearance. 4 Deckles. Translucent and crrisp with a smooth finish on one side or extra rough surface in three neutral tones. Neutral pH. Brazil Banana Cream
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Brazil Banana Tan
Paper is fragile !
No returns or exchanges are allowed
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ART PAPERS - Europe / The Americas & Australia
Ca L'Oliver Cream Ca L'Oliver Blue Ca L'Oliver Pastel Blue
Ca L'Oliver Barcelona Colors - Spain limited quantities available.
Handmade in Barcelona of 50% cotton. Cold pressed surface. Neutral pH. 4 Deckles.
Ca L'Oliver Pastel Yellow
Ca L'Oliver Purple Ca L'Oliver Lavender Ca L'Oliver Navy
Canson - France
A member of the Arjowiggins Paper Group, Canson dates back to 1557 when the Montgolfier Family established the Vidalon Mill on the banks of the Rhone. Today, Canson is known throught the world for their production of fine quality machinemade papers for fine art and creative purposes. Widely respected for integrity and strength, Canson sheets are suitable for drawing, book arts and craft.
Canson Ingres - Machine-made of 65% cotton. Neutral pH (except black) Laid surface. Lightfast colors. No deckles.
Canson Ingres White 01 Ingres Cream 48 Ingres Black 50 Ingres Sky 39
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Paper is fragile !
No returns or exchanges are allowed
Ingres Moonstone 52 Ingres Steel 55
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ART PAPERS - Europe / The Americas & Australia
Canson Mi Teintes - Machine-made of 65% cotton. Neutral pH (except Black). Lightfast colors. No deckles.
Mi-Teintes 335 White
Mi-Teintes 110 Lily
Mi-Teintes 111 Ivory
Mi-Teintes 112 Eggshell
Mi-Teintes 407 Cream
Mi-Teintes 101 Pale Yellow
Mi-Teintes 103 Dawn Pink
Mi-Teintes 350 Honeysuckle
Mi-Teintes 470 Champagne
Mi-Teintes 340 Oyster
Mi-Teintes 374 Hemp
Mi-Teintes 384 Buff
Mi-Teintes 504 Amber
Mi-Teintes 115 Mystic Orange
Mi-Teintes 130 Red Earth
Mi-Teintes 502 Bisque
Mi-Teintes 501 Tobacco
Mi-Teintes 133 Sepia
Mi-Teintes 503 Burgundy
Mi-Teintes 352 Orchid
Mi-Teintes 336 Sand
Mi-Teintes 429 Felt Grey
Mi-Teintes 431 Steel
Mi-Teintes 345 Dark Grey
Mi-Teintes 448 Ivy
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Canson Mi Teintes - Machine-made of 65% cotton. Neutral pH (except Black). Lightfast colors. No deckles.
Mi-Teintes 343 Pearl
Mi-Teintes 426 Moonstone
Mi-Teintes 122 Flannel Grey
Mi-Teintes 131 Twilight
Mi-Teintes 575 Viridian
Mi-Teintes 120 Pearl Pale
Mi-Teintes 354 Sky
Mi-Teintes 105 Wave Green
Mi-Teintes 475 Green
Mi-Teintes 480 Light Green
Mi-Teintes 590 Royal Blue
Mi-Teintes 490 Light Blue
Mi-Teintes 119 South Sea
Mi-Teintes 100 Lime
Mi-Teintes 107 Anise
Mi-Teintes 140 Indigo
Mi-Teintes 425 Black
Mi-Teintes 400 Canary
Mi-Teintes 553 Cadmium Yellow
Mi-Teintes 453 Orange
Mi-Teintes 506 Poppy
Mi-Teintes 116 Bordeaux
Mi-Teintes 114 Raspberry
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Paper is fragile !
Mi-Teintes 505 Red
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ART PAPERS - Europe / The Americas & Australia
Canson Mi Teintes - Machine-made of 65% cotton. Neutral pH (except Black). Lightfast colors. No deckles.
Mi-Teintes 102 Azure
Mi-Teintes 104 Lilac
Mi-Teintes 113 Parma
Mi-Teintes 507 Violet
Mi-Teintes 595 Turquoise
Mi-Teintes 495 Blue
Mi-Teintes 150 Cobalt
Mi-Teintes 118 Icy Blue
Mi-Teintes 117 Plum
Canson Opalux - Machine-made from 100% cotton. Extra-heavy translucent tracing vellum. Neutral pH. No deckles. Canson Montval 1059 - Machine-made of sulphite. Heavily textured watercolor paper. Neutral pH. White. 2 Deckles. Canson Satin - Machine-made of 100% sulphite. Extra heavy weight, translucent vellum. Neutral pH. No deckles. Canson Vidalon 90 - Machine-made of 100% sulphite. Translucent vellum. Neutral pH. No deckles.
Canson Montval 1059 Canson Vidalon 90 gram
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Paper is fragile !
Canson Opalux 180 gram Canson Satin 230 gram
No returns or exchanges are allowed
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ART PAPERS - Europe / The Americas & Australia
Capellades Handmades - Spain
Handmade papers produced in the oldest existing mill in Spain. The Capellades is now a paper museum that teaches and promotes traditional papermaking. All styles are neutral pH. 4 Deckles. For drawing, chine colle, printmaking and book arts.
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Capellades Abaca Lime Capellades Abaca Orange
Capellades Abaca Magenta Capellades Abaca White
Capellades #1 Letter Capellades Abaca Violet
Capellades Abaca Turquoise Capellades Abaca Black
Capellades Handmades - Spain
Handmade papers produced in the oldest existing mill in Spain. The Capellades is now a paper museum that teaches and promotes traditional papermaking. All styles are neutral pH. 4 Deckles.
Capellades #4 Book Laid Rough
Capellades Abaca - 100% Abaca. Translucent sheets with a smooth mottled surface. Capellades #1 Letter - Smooth, laid surface with shield watermark. White. Capellades #4 Book Laid- Laid sheets in both a smooth and rough surface. White. Capellades #6 Cover - Heavy weight sheets with an even, light texture. Capellades Garabato
Translucent, 100% abaca base sheet with "scribbled" decorative swirls made by applying wet paper pulp from a squeeze bottle to the newly formed sheets before couching.
Capellades Platinum - 100% cotton specially formulated for platinum printing. Capellades Sisal - Greyed-cream color sheet made of 100% sisal. Very strong with a slight tooth. Capellades Watermark - Laid sheet with large, elaborate paper-press watermark. Capellades Platinum
Capellades Blue Cover Capellades Pink Cover
Capellades Dull Green Cover Capellades White Cover
Capellades Black Cover Capellades Ochre Cover
Capellades Terra Cotta Cover Capellades Sisal
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Capellades Garabato Lime & Turquoise
Capellades Garabato White & White
Capellades Watermark
Capellades Garabato Tan & Pink Luster
Capellades Garabato Violet & Red
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Paper is fragile !
No returns or exchanges are allowed
Capellades Garabato Grey & White order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Europe / The Americas & Australia
Cave Papers - USA
Handmade in Minnesota by Bridget O'Malley and Amanda Degener, these are some of the finest and most beautiful handmade papers available today. The sheets are gelatine sized and loft-dried which results in papers that are exceptionally strong and have an amazing crispness. In addition to the natural colorations of the fibers used, some of the sheets have been hand-dyed which results in remarkable warmth and depth of tonality. The size of the papers will vary due to the extreme shrinkage of the flax fibers during loft drying. All papers have four deckles and are archival. The walnut dyed and tow flax sheets may contain matter which does not meet with Library of Congress standards. Alphabet - Cotton rag with printed letters. Series A Blue Jean - Recycled blue denim. Series A Black Flax - Belgian flax dyed with indigo and walnut. Gelatine sized. Series B Cloudy Sky - Three pigmented vats of pigmented cotton are randomly poured into the mould resulting in a swirling, cloud-like pattern. Each sheet is unique and both sides of each sheet will be different. Series B Galaxy - Belgian flax, dyed black. Sized and sprinkled with flecks of mica & silver leaf. Series G Granite - Pigmented 100% Belgian flax. Series B Green Crackle & O'Malley Crackle Flax 100% Belgian flax sheets are coated with gelatine, crumpled and dyed. Series B Indigo Flax - Belgian flax colored with indigo dye. Gelatine sized for stability. Series B Layered Indigo Flax & Layered Indigo Black Belgian flax sheets are repeatedly dipped into indigo dye, creating overlapping veils of color. Each sheet is one-of-a-kind. Gelatine sized for added stability. Series B Cave Cloudy Sky
Lime - Pigmented Belgian flax. Series B Natural Flax - 100% Belgian flax. Natural, pale grey tone. Series A Ochre - Pigmented Belgian flax. Series A Persimmon - Following the Japanese tradition, green persimmon juice is aged, applied to the sheet and then smoked to set the dye. Warm, pinkish-brown which darkens with age. Series P Tangerine / Terracotta / Turquoise - Pigmented Belgian flax. Series B Walnut Dyed Flax - Belgian flax sheets with walnut dye. Gelatine sized for added stability. Series A
Cave Galaxy
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Paper is fragile !
Walnut Dyed Red Flax - Red iron oxide pigment is used to color the Belgian flax sheet and then hand coated with walnut dye. Gelatine sized for added stability. Series A No returns or exchanges are allowed
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ART PAPERS - Europe / The Americas & Australia
Cave Blue Jeans Cave Walnut Dyed Red Flax Cave Walnut Dyed Flax
Cave Granite
Cave Alphabet
Cave Persimmon
Cave Green Crackle Flax Cave Black Flax
Cave O'Malley Crackle Flax Cave Natural Flax Cave Indigo Flax
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Cave Ochre Flax
Cave Layered Indigo Black Flax
Cave Tangerine Flax Cave Layered Indigo Flax
Cave Terracotta Flax Cave Turquoise Flax Cave Lime Flax
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
ColorPLAN - England
Machine-made text and card stock. 100% sulphite. Lightly textured, matte surface. Good lightfast properties. No deckles. Neutral pH. Color Plan sheets are suitable for letterpress, drawing, book arts, crafts and display.
Color Plan White Frost
Color Plan Pristine White Color Plan Natural Color Plan Vellum White Color Plan Mist
Color Plan Cool Grey Color Plan Cool Blue Color Plan Pale Grey Color Plan Real Grey
Color Plan Imperial Blue Color Plan Dark Grey Color Plan Smoke
Color Plan Black Ebony Color Plan Bitter Chocolate Color Plan Bagdad Brown Color Plan Nubuck Brown
Color Plan Racing Green Color Plan Amethyst Color Plan Claret Color Plan Harvest
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
ColorPLAN - England
Machine-made text and card stock. 100% sulphite. Lightly textured, matte surface. Good lightfast properties. No deckles. Neutral pH. Color Plan sheets are suitable for letterpress, drawing, book arts, crafts and display.
Color Plan Bright Red
Color Plan Scarlet Color Plan Mandarin Orange Color Plan Citrine Color Plan Factory Yellow
Color Plan Fuchsia Color Plan Candy Pink Color Plan Sorbet Color Plan Pistachio Green
Color Plan Lavender Color Plan Purple Color Plan Azure Color Plan Powder Green
Color Plan Adriatic Blue Color Plan Tabriz Blue Color Plan Royal Blue Color Plan Sapphire
Color Plan Turquoise Color Plan Mid Green Color Plan Lockwood Color Plan Forest
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Coquille Stipple Coventry Rag Vellum Coventry Rag Smooth
COquille Stipple Paper - USA
Machine-made in the U.S. Neutral pH. No deckles. White card with embossed stipple pattern to create half-tone efffects when used with soft pencils, lith crayons and pastel.
COVENTRY RAG - USA
Crane's Crest Laid
Machine-made in the U.S. from 100% cotton. Neutral pH. No deckles. Available in smooth and vellum surfaces. Versitile, all purpose sheets for mixed media, silk screen, drawing, letterpress and offset.
Crane’s Crest Laid / Crane’s Crest Wove - USA
Machine-made in the U.S. from 100% cotton. Watermarked sheets. No deckles. Ivory White.
Crane’s Cover
Machine-made from 100% cotton. Smooth surface suitable for delicate detail. No deckles. Its permanence and surface make this paper excellent for printing valuable documents, certificates, diplomas, citations. Crane's Crest Wove
Crane's Cover Fluorescent White Crane's Cover Pearl White
Costa Rica Mescla Oscura Costa Rica Bambu Costa Rica Paz
Costa rican Handmades
These unusual and beautiful handmades utilize waste materials from the farming industry in Costa Rica. The government encourages the use of these materials because without the recycling of these overly abundant, natural wastes, the ecological balance of the forests and the animals that depend on them are threatened. All papers have 4 deckles and are neutral pH.
Costa Rican Costa Rican Costa Rican Costa Rican
Bambu - Light natural banana fibers with green bamboo leaves Smooth one side. Cafe Crema - Banana fibers with coffee shells give this sheet its rough texture. Mescla Oscura - Deep brown banana fiber with small flecks of black bark. Paz - Mix of cotton and banana with letters and words from recycled newpapers.
Costa Rica Cafe Crema
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
czech republic handmades Velke losiny
Founded in 1596 in the small village of Velke Losiny, this mill has survived for centuries not only the ravages of war, but also an infamous witch trial after which the wife of the owner of the mill was burned at the stake! Made of a mixture of cotton and linen rag, these strong, crisp sheets are fully sized and loftdried making them suitable for most techniques including drawing, painting and printmaking. All sheets are neutral pH. 4 deckles. Moldau - 60% cotton, 40% linen. White wove. Fabric-like, rough surface. Moravia White & Ivory - 85% cotton, 15% linen. Lightly textured with a fine woven pattern. Prague - 85% cotton, 15% linen. - Laid sheets. Smooth.
Czech Moldau Czech Moravia
Czech Prague Ivory Czech Prague White
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Domestic Etching Drawing 60 lb. Penny Sketch (on black) Drawing 90 lb. Sketch Vellum
Durotone Butcher Orange Cover Durotone Butcher Off-White Text Durotone Packing Brown Wrap
Durotone Newsprint Extra White Durotone Newsprint White Durotone Newsprint Aged
Domestic Etching - USA
Machine-made of 50% cotton. Neutral pH. No deckles. Off-white. Designed as a reasonably priced proofing sheet for etching, the cotton content gives this sheet versitility for drawing and other printing techniques.
Drawing 60 lb. Penny Sketch #10 Drawing 90 lb. Sketch Vellum #116 - USA - Inexpensive, white drawing paper. Neutral pH. Machine-made by Borden & Riley. DUROTONE - USA
Machine-made from recycled paper by the French Paper Co. Neutral pH versions of the papers they resemble. No deckles. Tough and inexpensive, Durotone and Speckletone papers are suitable for most techniques and do well with erasure and even light watercolor.
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Evolon AP - USA
Non-woven micro-fiber of polyester & nylon. Exceptionally strong and tear resistant, Evolon can absorb up to 5 times its weight in water without buckling, expanding or shrinking. Neutral pH. This synthetic "non-paper" material works well for litho, letterpress, etching and mono-printing. Or use as a blotter that remains flat and can be used indefinately. Evolon can be primed or painted on directly. Can be sewn or used for sculptural applications. Archival quality also makes it excellent for storage. Available in sheets and 80" wide rolls.
Evolon 58 gram Evolon 98 gram Evolon 168 gram
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Fabriano - Italy
Located in Italy along the River Giano, Cartiere Miliani Fabriano is a massive operation comprised of numerous mills, each with their own special grades of paper. Both handmade and mouldmade operations exist today, utilizing traditions that began in the 13th century, continued through the Renaissance when their sheets were used by Michelangelo and Raphael and are evident now, centuries later, in their wide selection of papers. The Fabriano papermakers can be credited with several innovations in papermaking including the use of gelatine instead of starch as a sizing and the invention of the hydraulic hammer for pulp preparation. But the creation of the watermark is perhaps its most significant contribution as it allowed for the first time, the identification of the sheet of paper, its maker, and as in the case of specialty watermarks such as those used in official documents, the user of the sheet. Fabriano is still known for its intricate watermarks including photo-watermarks used in Italian currency. All Fabriano papers are neutral pH. True work-horses of the paper world, Fabriano sheets can be used for a full range of drawing, printing and mixed media techniques.
Fabriano Artistico Traditional White & Artistico Extra White "Uno"
Mouldmade from 100% cotton rag. Internally and externally sized. Extra White includes a "soft press" surface which is smoother than cold press. 2 deckles, 2 cut edges (as of 2008.)
Fabriano Eco White
Machine-made from 100% post-consumer waste. Using 50% hydro-power production and respecting the Kyoto protocol, this FSC certified paper is made without chlorine bleach. No deckles.
Fabriano Artistico Traditional White Hot Press Fabriano Eco
Fabriano Artistico Extra White Soft Press Fabriano Artistico Traditional White Cold Press Fabriano Artistico Extra White Rough
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Fabriano Elle Erre
Machinemade from100% high alpha cellulose. Linrear fabric-like surface one side, smooth on the other. No deckles.
Fabriano Elle Erre 00 - White Elle Erre 30 - China Elle Erre 15 - Black
Fabriano Elle Erre 29 - Light Grey Felted Elle Erre 02 - Pearl Grey Elle Erre 06 - Brown Elle Erre 22 - Graphite Grey
Elle Erre 01 - Wheat Elle Erre 03 - Light Brown Elle Erre 19 - Burnt Umber Elle Erre 28 - Vendonne Elle Erre 14 - Navy
Elle Erre 17 - Cream Elle Erre 8 - Orange Elle Erre 7 - Yellow Elle Erre 11 - Forest Green Elle Erre 20 - Sky Blue
Elle Erre 27 - Cherry Elle Erre 26 - Light Orange Elle Erre 25 - Lemon Elle Erre 10 - Pea Green Elle Erre 13 - Azure Blue
Elle Erre 09 - Bright Red Elle Erre 16 - Rose Elle Erre 23 - Fuchsia Elle Erre 04 - Purple Elle Erre 18 - Light Blue
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Ingres 721 - Ice White Ingres 703 - White Ingres 701 - Hazel Ingres 702 - Ivory Ingres 704 - Ash Grey Ingres 619 / 719 - Black
Fabriano Ingres - Machine-made of cotton & sulphite. Embossed, laid surface on one side, smooth on the other. No Deckles. Drawing & letterpress.
Murillo 908 - Bright White
Murillo 901 - Ivory White
Murillo 902 - Cream
Murillo 912 - Mustard
Murillo 904 - Pearl
Murillo 903 -Grey
Murillo 905 - Beige
Murillo 927 - Red
Murillo 918 - Black
Murillo 911 Forest Green
Murillo 915 - Umber
Murillo 907 - Rust
Murillo 928 - Blue
Murillo 910 - Olive
Murillo 913 - Havanna
Murillo 916 - Dark Brown
Fabriano Murillo - Mouldmade from 25% cotton and sulphite. Very heavy, roughly textured surface. No deckles. Internally sized for multimedia. Fabriano Roma - Handmade from 100% cotton. Chain-laid surface with the Romulus and Remus watermark. Lightly sized. 4 deckles. Drawing.
Roma 104 - Raffaelo Cream (watermark is 4" wide) Roma 103 - Michaelangelo - Ivory White
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Fabriano Rosaspina
Mouldmade from 40% cotton. 2 deckles. Printmaking and drawing.
Fabriano Studio Watercolor
Machinemade of cotton and alpha cellulose. Hot Press and Cold Press. No deckles.
Fabriano Rosaspina Cream
Fabriano Rosaspina White Fabriano Tiepolo Fabriano Studio Hot Press & Cold Press
Fabriano Tiepolo
Mould-made of 100% cotton. Cold Pressed with watermark. 2 deckles, 2 torn edges. Printmaking.
Fabriano Tiziano
Mouldmade from 40% cotton. Cold Pressed. Very lightfast. No deckles. Drawing, letterpress & display. Fabriano Tiziano 7 - Raw Sienna
Tiziano 9 - Coffee Tiziano 6 - Tan Tiziano 44 - Gold Tiziano 21 - Orange Tiziano 41 - Fire Red
Tiziano 5 - Custard Tiziano 20 - Lemon Tiziano 4 - Putty Tiziano 22 - Red Tiziano 25 - Pink
Tiziano 2 - Cream Tiziano 40 - Ivory Tiziano 3 - Banana Tiziano 1 - White
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia Fabriano Tiziano - Mouldmade from 40% cotton. Cold Pressed. Very lightfast. No deckles. Drawing, letterpress & display.
Tiziano 46 - Aquamarine Tiziano 23 - Burgundy Tiziano 24 - Violet Tiziano 45 - Iris Tiziano 33 - Lilac
Tiziano 32 - Light Grey Tiziano 15 - Pale Blue Tiziano 16 - Dust Blue Tiziano 17 - Sky Blue Tiziano 18 - Turquoise
Tiziano 26 - Grey Tiziano 31 - Black Tiziano 42 - Blue Night Tiziano 39 - Indigo Tiziano 19 - Ultramarine
Tiziano 27 - Grey Pink Tiziano 28 - Grey Felt Tiziano 29 Fog Grey Tiziano 30 - Dark Grey Tiziano 14 - Moss
Tiziano 12 - Kelly Green
Tiziano 37 - Pool Table Green Tiziano 43 - Pistachio Tiziano 11 - Pale Olive Tiziano 13 - Sage Green
FOLIO - USA
Machine-made of 100% cotton. Neutral pH. Cold Pressed. 22 x 30 sheets have 2 deckles. 38 x 50 sheets have no deckles. Drawing and printing.
Folio Antique
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Paper is fragile !
Folio White No returns or exchanges are allowed
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ART PAPERS - Europe / The Americas & Australia
Hahnemühle - Germany
On February 27, 1584, Duke Erich issued a proclamation stating that papermaker Martin Spiess was allowed to establish a mill to supply His Highness and His Domain with fine handmade papers. In 1886, Carl Hahne, gave the mill the name Hahnemühle and became the supplier of many European houses of nobility. Büttenpapierfabrik Hahnemühle installed their first cylinder machines in 1925 yet continued to make handmade sheets until 1967 when it converted entirely to mouldmade production. The mill has been highly regarded by many of the world's finest printing houses and continues to advance in production for all techniques, including digital reproduction. Mould-made sheets have 2 deckles, 2 torn edges. Machine-mades have no deckles. Hahnemühle is a small mill with paper makers that have had years of experience. Their skills are obvious in their consistent results. High alpha cellulose sheets perform with more strength and wear ability than many cotton sheets from other mills, tactile, lightweight sheets can be repeatedly erased with minimal abrasion and the pigmented tones of the Ingres and Burgra lines are subtle, unique and highly light fast. All sheets are neutral pH.
Hahnemühle Bugra Bütten
Mould-made of 100% high alpha cellulose. Wide-laid tectured surface on one side and subtle, mottled tonality on the reverse with a smoother surface.
Bugra 315 - Bright White
Bugra 309 - White
Bugra 310 - Archive (with wool inclusions)
Bugra 319 - Sapphire
Bugra320 - Pink
Bugra 305 - Blue (laid side shown above)
Bugra 305 Blue (smooth side shown above)
Bugra 321 - Lilac
Bugra 314 - Antique Rose
Bugra 317 - Marble Grey Bugra 306 - Grey
Bugra 316 - Caramel
Bugra 303 - Mango
Bugra 311 - Brick
Bugra 322 - Burgundy
Bugra 312 - Evergreen
Bugra 307 - Fawn
Bugra 302 - Chamois
Bugra 304 - Mocha
Bugra 313 - Black
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Bugra 300 - Butter
Bugra 308 - Mint
Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
HahnemÜhle Biblio
Hahnemühle Hahnemühle Hahnemühle Hahnemühle Hahnemühle Hahnemühle Hahnemühle
Biblio - Mould-made of 100% high alpha cellulose. Wove surface. Opaque white. Copperplate - Mould made of 100% high alpha cellulose. Vellum surface. Durer Etching - Mould-made from 100% cotton. Vellum surface. White. German Etching - Mould-made of 75% cotton, 25% high alpha cellulose. Gutenberg Laid - Mould-made of 100% high alpha cellulose. Laid surface. Heine - Mould-made of 100% high alpha cellulose. Smooth, chain-laid surface. Ingres - Mould-made from high alpha cellulose. Textured, laid surface.
Copperplate / Durer / German Etch Bright White HahnemÜhle Copperplate Warm White HahnemÜhle Guttenberg Laid
HahnemÜhle German Etching Natural White HahnemÜhle German Etching Black HahnemÜhle Heine
Ingres 100 - White Ingres 102 - Antique Ingres 103 - Custard Ingres 105 - Green Grey Ingres 107 - Rose
Ingres 108 - Camel Ingres 109 - Light Grey Ingres 110 - Smoke Ingres 112 - Blue Green Ingres 113 - Sky Blue
Ingres 114 - Black Ingres 115 - Orange Ingres 116 - Deep Green Ingres 117 - Silver Grey Ingres 118 - Earth
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
HahnemÜhle Natur Cover - White HahnemÜhle Natur Cover - Grey HahnemÜhle Natur Cover Black
Hahnemühle Natur Cover - Machine-made of high alpha cellulose. Fine, vellum surface. Hahnemühle Schiller - Mould-made of 100% high alpha cellulose. Soft, textured white Hahnemühle Student Prinz - Machine-made of 100% high alpha cellulose. Smooth one side, cold pressed the other. Sized.
Hahnemühle Torchon - Machine-made of100% high alpha cellulose. Rough. Bright White. Hahnemühle Watercolor - Mould-made from 100% cotton. Cold pressed surface. White HahnemÜhle Natur Cover Cream
HahnemÜhle Natur Cover - Green-Grey HahnemÜhle Schiller
HahnemÜhle Student Prinz HahnemÜhle Torchon HahnemÜhle Watercolor
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
HUUN Yucatan handmade - Mexico
Not actually a paper, this is the Yucatan's version of Papel de Amate. The sheets are made by shaping sanseveria and cattail fibers onto a flat surface and then placing them in the sun to dry. Examples of Huun can be traced back to the ancient Aztecs. These sheets, made by Mark Callaghan, have one very rough side created by the fork-like instrument that spreads the pulp while the other side is very smooth as they are formed on stone or glass surfaces. Neutral pH with 4 natural edges.
Huun Natural - (Smooth Front) Huun Natural (Rough Back) Huun Bleached Huun Mottled with Cattail
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia HUUN Yucatan handmade - Mexico
Huun Mustard Solid Huun Mustard with Cattail Huun Orange with Cattail Huun Orange Solid
Huun Light Green Solid Huun Light Green with Cattail Huun Red with Cattail Huun Red Solid
Huun Dark Green Solid Huun Dark Green with Cattail Huun Purple with Cattail Huun Purple Solid
Huun Turquoise Solid Huun Turquoise with Cattail Huun Lilac with Cattail Huun Lilac Solid
Huun Black Solid Huun Mustard with Cattail Huun Blue with Cattail Huun Blue Solid
Huun Light Brown Solid Huun Light Brown with Cattail Huun Dark Brown with Cattail Huun Dark Brown Solid
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia INDEX paper (Scott, franklin) - USA
Machine-made in U.S. from sulphite. Smooth index paper, similar to oaktag. No deckles.
Johannot - France
Mouldmade in France by Arjomari & Wiggins. 75% cotton, 25% esparto. Neutral pH. Cold Pressed. White. Esparto pulp adds absorbency and helps to produce this paper's unique surface. 2 natural deckles, 2 torn edges. Index
Lanaquarelle - France
The Lana Mill was founded in the village of Duxelles in the 15th century and prospered because of its location near monasteries and universities that required quantities of paper. In 1795 the mill was reequipped with cylindrical machines that made it possible for the mill to keep up with the ever increasing demand for their sheets. Lana has undergone many changes and owners over the centuries and today only produces their Lanaquarelle watercolor grade in Hot press and Cold press. Mouldmade from 100% cotton. Neutral pH. Gelatine sized. 2 deckles, 2 torn edges.
Johannot
Lanaquarelle Cold Press Lanaquarelle Hot Press
Legion art Coated Cover - USA
Machine-made in the U.S. of 100% high alpha cellulose with a smooth, matte finish created by a fine clay coating. Neutral pH. No deckles. White. Suitable for silver point and fine drawing techniques. The clay coating produces very rich, dark tones, but allows for little erasure. Legion Art Coated
(with Silverpoint above)
Lenox 100 - USA also see Rolls
Machine-made in U.S. from 100% cotton. Neutral pH and buffered. Cold Pressed. No deckles. White. A favorite in the studio for proofing, drawing, screen printing and multi-media.
Lettra - USa
Machine made in the U.S. by Crane's of 100% cotton. Lettra is designed for letterpress printing and offers a softer surface and bulkier sheet to maximize the impression of the press. Also suitable for drawing and other printmaking techniques. No deckles.
Lenox Lettra Fluorescent White Lettra Pearl White Lettra Ecru
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Langdell Luster - USA
Handmade by Maple Street Paper Company. 100% Cotton with the addition of mica particles to give these sheets a subtle sparkle. 4 deckles. The durable surface makes these sheets good for printmaking, drawing and painting - limited supply
Langdell Luster Cream
Luster Butter Luster Soft White Luster Pale Pink Luster Celedon Luster Pale Green
Luster Gold Luster Araurcana Luster Silver
Luster Burnt Umber Luster Slate Luster Rose Luster Plum Luster Azul
Luster Chartreuse Luster Yellow Luster Tangerine Luster Atlantic Blue Luster Periwinkle
MC Coy Clay Coated Cover - USA
Machine-made in the U.S. with a satin-like smooth finish created by a fine clay coating. Suitable for silver point and fine drawing techniques. The clay coating produces very rich, dark tones, but allows for little erasure. No deckles. White.
MC Coy Clay Coated
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(with silverpoint above)
Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Magnani - Italy
Magnani Papers date back to the 15th century when papermaking was first recorded along the River Pescia near the town of Pescia, Italy. By the 18th century, Magnani was exported throughout Europe with notable customers that included Napoleon Bonaparte, The Crown Family of Italy and most of the other ruling families of Europe, who chose the mill because of their ability to produce special watermarked sheets for official documents. Today, the cylinder mould machines at the mill make the currency for many countries around the globe. In the 19th and 20th centuries the ancient, hand-papermaking mill, Le Carta, worked directly with artists such as De Chirico, Annigoni and Morandi to develop their own special papers with personalized watermarks. With Magnani's introduction of their new, extensive line of reasonably priced Revere printing papers, the Mill continues to expand their selection of fine art papers that address specific needs of today's artists. Although focusing on printmaking grades, Magnani papers are able to withstand a wide variety of techniques including drawing and painting. All sheets are neutral pH.
Magnani Acquerello Cold Press
Magnani Acquerello Portofino Hot Press
Magnani Annigoni
Magnani Acquerello Cold Press / Acquerello Portofino Hot Press Mouldmade from100% cotton, fully sized for watercolor. Neutral pH. 2 deckles, 2 torn edges.
Magnani Annigoni
Mouldmade from100% cotton. Pigmented, light tan color with fine flecking of black wool fibers. Neutral pH. 2 deckles, 2 torn edges. Lightly textured, Annigoni takes erasure well and can withstand light washes.
Magnani Arturo Stationery & Card
Mouldmade from100% high alpha cellulose. This is the paper used for the Arturo line of fine stationery. Neutral pH. No Deckles. The toothy surface is also great for drawing, gouache and printmaking techniques.
Magnani Arturo Bright White
Magnani Arturo Soft White
Magnani Arturo Buttercream
Magnani Arturo Lavender
Magnani Arturo Stone
Magnani Arturo Blue
Magnani Arturo Pink
Magnani Arturo Celedon
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ART PAPERS - Europe / The Americas & Australia
Magnani - Italy
Magnani Firenze Brown
Magnani Firenze Navy
Magnani Firenze Black
Magnani Firenze Partially handmade, 100% cotton. Neutral pH. 4 Deckles. Pronounced laid line pattern. 4 Deckles. Neutral pH.
Magnani Incisione
Mouldmade from 50% cotton, 50% sulphite. Neutral pH. 2 deckles, 2 torn edges. Bright White with a smooth surface.
Magnani Pescia Satinato
Mouldmade from100% cotton. Neutral pH. 2 deckles, 2 torn edges. Smooth surface. This dense, finely made printmaking paper can be used for many drawing techniques and will also take some warercolor.
Magnani Platinum Revere
Mouldmade from100% cotton specially formulated for platinum photograhic processes. Neutral pH. 2 deckles, 2 torn edges. Magnani Incisione
Magnani Pescia Bright White
Magnani Pescia Soft White
Magnani Pescia Cream
Magnani Pescia Blue
Magnani Pescia Grey
Magnani Platinum Revere
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ART PAPERS - Europe / The Americas & Australia
Magnani - Italy
Silk is the smoothest of the Revere papers
Felt is the roughest of the Revere papers
Suede is the middle texture of the Revere papers
Magnani Revere Polar White - Silk Surface
Magnani Revere Standard White - Felt Surface
Magnani Revere Warm White - Suede Surface
Magnani Revere Ivory - Suede Surface
Magnani Revere Bisque - Suede Surface
Magnani Revere Black - Suede Surface
Magnani Revere
Mouldmade from100% cotton. Neutral pH. 2 deckles, 2 torn edges. Printing & Drawing.
Magnani Velata Mould-made
Mouldmade from100% sulphite. Neutral pH. 2 Deckles, 2 cut edges. Lightly textured, wove finish
Magnani Velata & Vergata Handmades Handmade from100% cotton. Neutral pH. 4 Deckles. "Velata"(wove) surface and "Vergata (laid) surface. Magnani Velata Mould-made
Magnani Velata Handmade - White
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Paper is fragile !
Magnani Vergata Handmade - Ivory
No returns or exchanges are allowed
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ART PAPERS - Europe / The Americas & Australia
Mexican PAPEL DE AMATE - Mexico
From the Otomi Indians, Paper de Amate is not actually a paper. For centuries, they have been formed by pounding fig tree bark into sheets and drying them in the sun. 4 natural edges. Neutral pH.
Mexican Amate - Ivory
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Paper is fragile !
Mexican Amate - Brown
Mexican Amate - Mottled
No returns or exchanges are allowed
Mexican Amate - Tan (color varies)
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Europe / The Americas & Australia Mexican PAPEL DE AMATE - Mexico
Mexican Amate - Sage
Mexican Amate - Pink
Mexican Amate - Lace Mottled
Mexican Amate - Woven Brown
(on black)
(on black)
Mexican Amate - Teal
Mexican Amate - Multi Color Solid
Mexican Amate - Lace Brown (on white)
Mexican Amate -Woven Multicolor
Mexican Amate - Woven Mottled (on white)
Mexican Amate -Woven Ivory
Mexican All Purpose Handmade - Mexico
(on black)
(on black)
Made from 20% cotton with 80% recycled papers, externally sized to accept most drawing and painting techniques yet soft and strong enough for letterpress and printmaking. Neutral pH.
Mexican All Purpose - White & Ivory
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Moulin de Larroque & Moulin du pombie - France
The Larroque Mill, in existence for centuries, utilized traditional hand paper making techniques. Although the mill is still in existence and producing some grades, our sheets were made over a decade ago by George Duchene who operated both handmade and mould-made production. All are 100% cotton and neutral pH. Supplies are limited.
Moulin de Larroque - Bergerac Antique
Moulin de Larroque - Bergerac Pale Pink Felt
Moulin de Larroque - Bergerac Pale Grey Felt
Moulin de Larroque - Calcaire
Moulin du Pombie - Mouchetes Olive
Moulin du Pombie - Mouchetes Grey
Moulin du Pombie - Mouchetes Blue
Moulin du Pombie - Mouchetes Almond Green
Moulin du Pombie - Mouchetes Brown
Moulin de Larroque - Colombe Lilac
Moulin de Larroque - Colombe Burgundy
Moulin du Pombie - Moutarde
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ART PAPERS - Europe / The Americas & Australia
Mohawk Vellum Cool White
Mohawk Vellum Soft White
Mohawk Via Vellum Light Grey
MOHAWK VELLUM - USA
Machine-made from 100% high alpha cellulose. 60 lb. text paper. Neutral pH. No deckles.
MOHAWK Via Smooth Light Grey - USA
Machine-made from 100% high alpha cellulose. 70 lb. text paper. Neutral pH. No deckles.
Multi-media / aquarelle - USA
Machine-made ifrom100% cotton. Heavy internal sizing makes this economical paper suitable for most painting techniques. Double sided sheets allow for additional versatility. Neutral pH. 2 deckles.
Newsprint - USA - Machinemade in the U.S. of sulphite. Smooth and Rough. Oaktag - USA - Machine-made. Hard, smooth surface. Off-White. Parchment Antique Goldtone - Machine-made from sulphite.. Multi-Media Aquarelle
Oaktag
Newsprint
Parchment Antique Goldtone
PARCHMENT (Genuine)
Traditionally prepared skins for bookbinding, religious documents, certificates, illuminated manuscripts and painting.
Our selection of skins varies greatly due to availability from our suppliers. Please inquire for current stock. Sheepskin Calfskin Deerskin Goatskin
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ART PAPERS - Europe / The Americas & Australia
Pergamenata White - 160 gram (seen on black)
Pergamenata Natural - 160 gram (seen on black)
Pergamenata Natural - 230 gram (seen on black)
PERGAMENATA - Italy
Machine-made in Italy. 100% high alpha cellulose. Translucent parchment. Neutral pH. No deckles.
PLike - Italy
PLike Ivory (with pencil & silverpoint)
PLike White
(silverpoint)
PLike Graphite
Machinemade by Gruppo Cordenons of 100% sulphite. The name "Plike" comes from "plastic-like" in that these sheets have an unique touch, evocative of plastic or rubber. The surface is water resistant, yet is porous enough to accept watermedia and other techniques with minimum buckling. The smooth surface accepts silver point beautifully and holds detail even with pastel. However, this specially coated surface does not erase well. Neutral pH. No deckles.
PLike Black
PLike Brown
PLike Red
Richard de Bas - Apta Brick Red Richard de Bas - Light Blue Richard de Bas - Chamois Richard de Bas - Maroon
Richard de Bas - France
Auvergne is the site of the Val de Laga Mill of the Moulin a Richard de Bas, one of the oldest mills in France. Its papers still bear the watermark composed of a heart crossed by waves to represent the Laga River and the date of the mill’s inception, 1326. They are handmade from cotton rag and linters beaten by wooden mallets powered by the river. Internally sized. Neutral pH. 4 deckles. Our sheets are vintage from 20 years ago and supplies are limited.
Richard de Bas Normal Laid - Laid surface with white cotton threads.l Richard de Bas Apta Laid Brick Red - Heavy chain laid (more widely spaced than Normal)
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ART PAPERS - Europe / The Americas & Australia
Richeson Shale Richeson Black Richeson White
Richeson Storm Grey Richeson Sandstone Richeson Marble
Richeson Clay Richeson Light Umber Richeson Terracotta
Richeson's Unison Premium Pastel Surface - USA
Machine-made in the U.S. Designed by the Jack Richeson Company in conjunction with the makers of Unison Pastels, these durable sheets can withstand rubbing, erasure and even watercolor techniques and still maintain their specially designed, toothy surface. Acid free paper screened with a fine-toothed pastel primer. Pastel and charcoal need little fixative. The sheet size includes a ½" border of uncoated white paper. No deckles.
Rising Drawing Bristol - USA
Machinemade in the U.S. of 100% sulphite. Off-white tone is heavily sized to handle many techniques. No deckles. Neutral pH.
Rising Bristol Vellum Finish Rising Bristol Plate Finish
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ART PAPERS - Europe / The Americas & Australia
Rives BFK White Rives BFK Soft White Rives BFK Cream
Rives BFK Grey Rives BFK Tan
Rives Lightweight & Heavyweight White Rives Lightweight & Heavyweight Buff Rives de Lin
Rives
- France
Mouldmade in France by The Arjomari Paper Group, the same mill that produces Arches and Johannot. These sheets of 100% cotton are without a doubt, some of the papers most often requested by artists. Although known as printing papers, their light sizing and exceptional strength even after soaking, makes these papers versatile for many applications. All Arjomari papers are Neutral pH. 2 Deckles, 2 torn edges (except where noted.)
Rives BFK - Soft White, Cream, Grey, and Tan in 22 x 30 size are cut from 30 x 44 sheets and have 1 deckle, 2 torn edges and 1 cut edge.
Rives Heavyweight & Lightweight
Wove surface, similar to BFK but in 2 lighter weights. Buff (cream) and White (an Off-white tone that does not correspond to BFK White.)
Rives Papier de Lin also see Rolls
25% linen and 75% cotton rag. Natural deckles are exaggerated. Linen fiber adds strength and gives this paper a surface that is highly textured without a mechanical look. “Moulin du Gue� watermark.
Rubbing Paper "OldStone" - USA
Machinemade for Oldstone Rubbing Products of rayon & sulphite. Durable, soft surface specifically designed for rubbing techniques using crayons and graphite sticks. No deckles. Rubbing Paper "Oldstone" (seen on black & white)
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Ruscombe mill Handmades
- France
Owned and operated by Chris and Jane Bingham, the mill was established in the Cotswold village of Ruscombe, England in 1990 and relocated to France in 1995. These exquisite sheets are made from cotton rag and flax fibers and recreate the techniques and styles of papers found in the 17th, 18th and 19th centuries. Most of the varieties were inspired by specific antique papers found in museum collections that were once favored by English artists, printers and bookmakers. The mill provides papers to major libraries and museums including the Louvre and the French National Library, for the restoration of their works on paper. All are neutral pH. 4 Deckles.
Ruscombe Mill Blued Hemp & Flax Broad Laid
Modeled after antique wrapping papers which were made of diverse fibers such as rope, colored cotton and old linen clothes.
Ruscombe Mill Deep Beige - Cotton rag and linen flax. Wove. Ruscombe Mill "Machine-age" Compatible Cold Cream Wove
Cotton rag and flax, colored to resemble aged paper, particularily those used during the industrial revolution .
Ruscombe Mill Margaux Estampe Cream - 100% cotton linter for printmaking. Ruscombe Blued Hemp & Flax Broad Laid
Ruscombe Mill Paille - 75% linen rag and 25% cotton rag. Strong surface for drawing & washes.
Ruscombe Deep Beige Ruscombe Machine-Age Cold Cream Ruscombe Paille
Ruscombe Gelatine-sized Watercolor
These remarkable sheets are made with flax, hemp and cotton rag. This formulation, along with vigorous beating of the fibers are inspired by papermaking techniques approved by The Royal Watercolor Society in England during the 18th and 19th centuries. Externally sized in a hot bath of gelatine and then loft dried.
Ruscombe Oatmeal - Cotton, linen and oatmeal husks.. Ruscombe Thomas Girtin Laid
Linen, hemp and cotton rag. Modeled after a wrapping paper that this President of the Royal Watercolor Society preferred. Ruscombe Margaux Estampe Cream
Ruscombe Gelatine-sized Oatmeal Ruscombe Gelatine-sized Thomas Girtin Laid
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ART PAPERS - Europe / The Americas & Australia Ruscombe mill Handmades - France
(on black background)
(on black background)
(on black background)
(on black background)
Ruscombe - 25 gram Pale Laid Ruscombe - 120 gram Pale Wove Ruscombe - 90 gram Dark Wove Ruscombe - 120 gram Dark Wove
Ruscombe - Cartridge Green Ruscombe - Sugar Bag Blue Green
Ruscombe - Strong Granite Blue Laid Ruscombe - Library Green
Ruscombe - Pamphlet Blue Ruscombe - Murky Pink Ruscombe - Ruth's Red Ruscombe - Snuff Brown
Ruscombe Mill Queen Anne Colors
Made of a cotton rag and flax in an assortment of rich, heavily pigmented, saturated colors that are copies of sheets found in antique books.
Ruscombe Mill Queen Anne Cotton Wove & Laid
Made of a blend of cotton rag, and flax. The 25 gram sheets are a marvel of papermaking skills!
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ART PAPERS - Europe / The Americas & Australia
Saint ARMAND Handmades
- Canada
The St. Armand Mill of Montreal, Canada is owned and operated by David Carruthers and his wife, Denise Lapointe. Established in 1979 on the shores of the Lachine Canal, the mill re-created the ancient craft of papermaking in a modern context. New York Central and Saint Armand have worked together since those early days - when handmade paper was mainly European and unknown to the American market. Saint Armand's papers have changed radically over the years, but most notably since 1992 when the mill acquired a Holland beater and was able to prepare all their own pulps. Pulping now begins with recycled rags from cotton cut-offs from the textile industry. Basic cotton is usually obtained from white tee shirts; blues from blue denim. Locally grown linen, flax, straw and sisal are also employed. The sheets are air dried, internally sized and exceptionally strong even when wet, making them ideal for printing, bookbinding and drawing techniques. All have 4 deckles and are neutral pH.
St. Armand Dominion Aquarelle
Made from 75% cotton rag with 25% linen rag. Internally and externally sized for watercolor. White, medium-rough finish.
St. Armand Aquarelle
100% Cotton rag. Internally sized with starch for watercolor and mixed media. Medium-Rough finish.
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ART PAPERS - Europe / The Americas & Australia
Saint Armand - White
Saint Armand - Ivory
Saint Armand - Lemon
St. Armand Printing & Drawing - 100% cotton rag internally sized for a wide range of techniques. Please note: The colors may vary substantially from making to making.
Saint Armand - Gold Saint Armand - Caribou Tan Saint Armand - Dove Grey Saint Armand - Dark Brown
Saint Armand - Light Blue Saint Armand - Dark Blue Jean Saint Armand - Charcoal Saint Armand - Black Denim
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ART PAPERS - Europe / The Americas & Australia Saint ARMAND Handmades - Canada
Saint Armand - Aquamarine Saint Armand - Spring Green Saint Armand - Fern Green Saint Armand - Elephant Grey
Saint Armand - Sand Saint Armand - Olive Saint Armand - Lime Saint Armand - Mineral Green
Saint Armand - Terracotta Saint Armand - Tomato Saint Armand - Tangerine Saint Armand - Orange
Saint Armand - Slate Grey Saint Armand - Pearl Grey Saint Armand - Pink Saint Armand - Red
Saint Armand - Lilac Saint Armand - Prune Saint Armand - Burgundy Saint Armand - Mauve
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ART PAPERS - Europe / The Americas & Australia Saint ARMAND Handmades - Canada
Saint Armand - Money Saint Armand - Marsh Grass Saint Armand - Saskatchewan
St. Armand Specialty Sheets
Marsh Grass White, cold pressed surface with marsh grass inclusions. Money White, rough surface with shreaded Canadian Dollar inclusions. Saskatchewan Very rough surface and natural color comes from recycled flax straw. Special Etching Blend of cotton and abaca. Soft White. Cold Pressed.
St. Armand Text Laid
Linen and cotton rag. Laid finish in the style of 17th century drawing and printing papers. Saint Armand Special Etching
Saint Armand Text - Linen White Saint Armand Text - Dark Linen Saint Armand Text - Rideau Ivory
Saint Armand Text - Frobisher White Saint Armand Text - Rivière Rouge Saint Armand Text - Innis Pale Earth Saint Armand Text - Palliser Earth
Saint Armand Text - Crowsnest Black Saint Armand Text - Tangerine Saint Armand Text - Ungava Blue Saint Armand Text - GaspĂŠ Jade Green
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ART PAPERS - Europe / The Americas & Australia
Saint ARMAND Canal Mouldmades Made on one of the only Fourdrinier machines that remains in North America, these sheets get their incredible strength from rag clippings recycled from the textile industry, sisal, jute and flax straw from local farmers. This Fourdrinier, is a historical, 1947 machine, made in Scotland that was re-installed at Saint Armand by David Carruthers in 1992. The machine runs very slowly, which most simulates the hand processes and although the sheets have a distinct grain direction, will fold against the grain without cracking - making them ideal for book arts and embossing. 2 deckles, 2 cut edges. Neutral pH. Saint Armand Canal - Cream Cotton
Canal White Cotton Canal Black Denim Canal Blue Jeans Canal Tan Cotton Canal Grey Cotton Canal Orange Cotton
Saint Armand Canal - Jute & Cotton Canal - Cotton with Leaves Canal - Cotton with Peat Canal - Cotton & Silk Threads
seen on black background Saint Armand Canal - Linen Wrapper Brown (sheets are wrinkled and irregular) Saint Armand Canal - Linen Wrapper White (sheets are wrinkled and irregular)
Saint Armand Canal - Ontario Flax Natural Saint Armand Canal - Flax Grey Saint Armand Canal - Flax & Cotton
Saint Armand Canal - Sisal Cream Saint Armand Canal - Sisal Coffee Saint Armand Canal - Sisal Currant Saint Armand Canal - Sisal Cucumber
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Sabertooth White Sabertooth Cream Sabertooth Salmon Sabertooth Brown
Sabertooth Light Blue Sabertooth Dark Blue Sabertooth Dark Grey Sabertooth Light Grey Sabertooth Olive
Saint ARmand Sabertooth Pastel II
Mould-made in Canada of 100% cotton. Prepared for pastel with marble dust in a pigmented, latex base. Neutral pH. 2 Deckles.
Saunders Hot Press - Traditional White Saunders Cold Press - High White Saunders Rough - Traditional White
T.H.Saunders Waterford
- England
Mouldmade in Wells, England at St. Cuthbert's Mill from 100% cotton. St. Cuthbert's, owned by the Inveresk Group of Papermakers, is one of the world's largest producers of archival papers specifically designed for the fine art market. Wells, in the Somerset area, was once the home of several fine paper mills because of its location near the River Axe. St. Cuthbert's Mill is the last of these to remain in commercial operation, but continues the English traditions of making fine watercolor papers that began with other mills such as Wookey Hole and Whatman. Neutral pH. 2 Deckles, 2 torn edges. Watermarked.
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Sennelier La Carte Pastel
A lightweight, neutral pH board is coated and pigmented with very fine vegetable fiber particles to grab and hold pastel. This unique surface remains soft and slightly dusty, acting almost like a layer of pastel that will blend and alter the tones that you apply.
Sennelier Le Carte - 5 Peach
Sennelier Le Carte - 1 Antique White Sennelier Le Carte - 2 Sand Sennelier Le Carte - 3 Sienna Sennelier Le Carte - 4 Umber
Sennelier Le Carte - 6 Salmon Sennelier Le Carte - 8 Light Green Sennelier Le Carte - 7 Van Dych Brown
Sennelier Le Carte - 9 Dark Green Sennelier Le Carte - 10 Light Blue Sennelier Le Carte - 11 Dark Blue
Sennelier Le Carte - 12 Light Grey Sennelier Le Carte - 13 Dark Grey Sennelier Le Carte - 14 Charcoal
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Serio Ultra-Black
- Italy
Machine-made by Fedrigoni of high alpha cellulose and colored to an extremely dense black tonality without the use of carbon-based dyes. The matte surface has a very slight tooth which makes it ideal for fine drawing and printing techniques. Available in 4 weights. Serio Ultra-Black is Neutral pH. No Deckles.
Serio Ultra-Black
Somerset Book Radient White Somerset Book White Somerset Book Soft White
Velvet is the medium surface of Somerset
Somerset Textured Soft White
Satin is the smoothest surface of Somerset
Textured is the roughest surface of Somerset
Somerset Satin White Somerset Velvet Radient White Somerset Textured Cream
Somerset Velvet Newsprint Grey Somerset Velvet Antique Somerset Velvet Buff
Somerset
- England
Mouldmade in Wells, England at St. Cuthbert's Mill from 100% cotton. St. Cuthbert's, owned by the Inveresk Group of Papermakers, is also the manufacturer of T.H. Saunders Watercolor papers. St. Cuthbert's was one of the first mills to specialize in mouldmade, archival papers specifically designed for the fine art market. The mill has one of the oldest cylinder machines in existence and also has one of the largest machines, manufacturing papers up to 60" wide. The Somerset line is highly regarded for its durability, consistency and range of products for all printing techniques including digital reproduction. The lightly sized sheets also work well for drawing techniques where minimal erasure is needed. Somerset textured is excellent for soft pastel. All sheets are Neutral pH. 2 Deckles, 2 torn edges. Watermarked.
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ART PAPERS - Europe / The Americas & Australia
Speckletone Cream Speckletone Old Green Speckletone Natural
Speckletone Madiero Beach Speckletone Kraft Speckletone Oatmeal
Speckletone Brown Speckletone Chocolate Speckletone Black
Speckletone Olive Speckletone Wine
Speckletone - USA
Recycled machine-made by the French Paper Company from post-consumer waste. Wood shavings and other wood particles are added for character. Neutral pH. No deckles.
Starwhite - USA
Machine-made from sulphite. Neutral pH. No deckles. Hard, smooth surface. Large format. Starwhite
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia
Stonehenge - USA
Machine-made from 100% cotton. Neutral pH and buffered. 2 Deckles, 2 cut edges. Stonehenge is one of our most popular grades - offering dependability, consistency and range of sizes - all at an economical price. For drawing, silkscreen and most printmaking techniques, book arts and light watercolor.
Stonehenge White
Stonehenge Polar White Stonehenge Warm White Stonehenge Cream
Stonehenge Fawn Tan Stonehenge Natural Stonehenge Pearl Grey
Stonehenge Kraft Stonehenge Pale Blue Stonehenge Steel Grey
Stillman & Birn Art Paper - Netherlands
Machine-made from high alpha cellulose. Internally and externally sized sheets with remarkable durability with both wet and dry media. Handles repeated erasure with little haloing. Neutral pH and buffered. No deckles. This range can also be found in the Stillman & Birn line of bound books and pads. For technical pen and all drawing techniques, silkscreen, book arts and watercolor. S & B Epsillon / Zeta Smooth
S & B Alpha Vellum S & B Beta Cold Press S & B Delta Cold Press S & B Gamma Vellum
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ART PAPERS - Europe / The Americas & Australia
STrathmore
- USA
One of the most well known and respected mills in the United States that specializes in high quality machinemade papers. All sheets neutral pH.
Strathmore Alexis Drawing - 100% alpha cellulose. Light texture. Off-White. No deckles. Strathmore Alexis Watercolor - 100% alpha cellulose. Rough. No deckles. 2 Deckles. Strathmore Aquarius II Strathmore Alexis Drawing (series 400)
Cotton and synthetic fibers. Neutral pH. Formulated to remain flat when wet.
Strathmore Bristol "Fairfield" Series 300 Economical, 100% sulphite. 2-ply Plate (smooth) or Vellum (light texture.). White. No deckles.
Strathmore Bristol Series 500
100% cotton. Plate (Smooth, High) and Kid (Vellum, Medium, Regular) surfaces. No deckles.
Strathmore Charcoal - 100% cotton. Laid, textured surface. 2 deckles. Strathmore Alexis Watercolor (series 400)
Strathmore Aquarius II Watercolor Strathmore series 300 Bristol Plate Surface Strathmore series 500 Bristol Plate Surface
Strathmore Charcoal White Strathmore series 300 Bristol Vellum Surface Strathmore series 500 Bristol Vellum Surface
Strathmore Bright White Strathmore Rose Grey Strathmore Fog Blue Strathmore Golden Brown Strathmore Peachblow
Strathmore Blue Grey Strathmore Pottery Green Strathmore Cadet Blue Strathmore Storm Grey Strathmore Velvet Grey
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Paper is fragile !
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ART PAPERS - Europe / The Americas & Australia Superfine - USA - Machine-made by the Mohawk Paper Company from high alpha cellulose. Smooth surface. Neutral pH. No deckles.
Superfine Smooth White Superfine Smooth Soft White
TerraSkin - Stone Paper - Canada
Manufactured of 80% calcium carbonate and 20% non-toxic PE-Polyetheylene resin, TerraSkin is not actually a paper - although it performs in much the same way. The mineral base gives this sheet a soft, buttery feeling with a slight tooth that will hold pencil and dry mediums, while the resin gives the sheet incredible strength. TerraSkin will not buckle when wet; it is water-resistant, mould-resistant, flexible and tear-proof. It can be deformed by pulling or pressing objects into the sheet. However, once the sheet has been distorted it cannot return to its original, flat condition. Biodegradable, eco -friendly and neutral pH. TerraSkin does not require priming for direct painting in oils. It accepts most art techniques including watercolor, drawing, silkscreen, lithography and can be sewn and stretched for sculptural applications. Also works well with silverpoint.
Terraskin was scanned over black (above) and white background to show translucency and coloration of the relative thicknesses.
Terraskin 4 point Terraskin 8 point (pencil)
Terraskin 10 point (silverpoint) Terraskin 12 point Terraskin 16 point
Translucent Vellum / Trace / Glassine
A collection of natural and colored translucent papers from various manufacturers. All are machine-made of 100% sulphite and are neutral pH. For tracing and drawing, letterpress printing and decorative applications. These papers curl and ripple unforgivingly when wet. Not recommended for techniques that involve water.
scanned on black background and decorative sheet to show translucency
Translucent Chartham 63 gram Translucent Chartham 90 gram Translucent Chartham 112 gram Translucent Chartham 180 gram
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ART PAPERS - Europe / The Americas & Australia Translucent Vellum & Trace - scanned on black background and decorative sheet to show translucency
Canson Satin 230 gram Canson Opalux 180 gram Canson Wyndstone Vellum 165 gram
Clearprint
Borden & Riley 90 gram Canson Vidalon 90 gram
Clearprint Gridded 4 to the inch
Borden & Riley Trace 51H
Clearprint Gridded 8 to the inch
Borden & Riley Trace 35C - Canary
Borden & Riley Trace 51
Clearprint Gridded 10 to the inch
Borden & Riley Trace 35A - Amber
Borden & Riley Trace 35W - White
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ART PAPERS - Europe / The Americas & Australia Translucent Vellum - Colors - scanned on white background and decorative sheet to show translucency
Vellum Color - Spring Ochre
Vellum Color - Leaf Green
Vellum Color - Yellow
Vellum Color - Ivory
Vellum Color - Chartreuse
Vellum Color - Mango
Vellum Color - Racing Green
Vellum Color - Spring Green
Vellum Color - Red
Vellum Color - Turquoise
Vellum Color - Violet
Vellum Color - Blush Deep
Vellum Color - Pastel Surf Blue
Vellum Color - Indigo
Vellum Color - Smoke
Vellum Color - Gold Pearlized
Vellum Color - Platinum Pearlized
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ART PAPERS - Europe / The Americas & Australia Translucent Glassine
Translucent Glassine - Natural Lightweight Translucent Glassine - Natural Heavyweight
Translucent Glassine - Chocolate Translucent Glassine - Canary
Translucent Glassine - Dark Blue Translucent Glassine - Pink
Translucent Glassine - Red Translucent Glassine - Black
Translucent Glassine - Green Translucent Glassine - Purple
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ART PAPERS - Europe / The Americas & Australia
TWINROCKER HANDMADES
- USA
Established in 1971 in Indiana by Kathryn and Howard Clark, Twinrocker has been instrumental in the revival of handmade paper in the U.S. The mill is now co-owned and operated by Travis Becker, a master printmaker who was trained by Kathryn to carry on the tradition and move into the future. All papers are Neutral pH and are made from natural fibers such as coton, cotton rag and abaca and colored with lightfast pigments. Internally sized. Watercolor grades are internally and externally gelatin tub-sized. All sheets have 4 deckles. Some are made with an exaggerated, scalloped edge is known as a “feather� deckle. All sheets are 100% Cotton unless noted otherwise.
text weight scanned on black & white to show translucency
text weight scanned on black & white to show translucency
Twinrocker White Cotton Rag Laid - Text Weight Twinrocker White Cotton Rag Wove - Text Weight
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Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Europe / The Americas & Australia TWINROCKER HANDMADES - USA
Twinrocker Not Quite White Twinrocker Cream Twinrocker B-Buff
Twinrocker Yale Twinrocker 18th Century Twinrocker Biscuit
Twinrocker Emily Dickinson Twinrocker Rotunda Twinrocker Delphi
Twinrocker Lorraine Twinrocker Chapin Twinrocker Arthur's Prairie
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Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Europe / The Americas & Australia TWINROCKER HANDMADES - USA
Twinrocker All-Purpose White Cold Press
Twinrocker Cream Twinrocker White & Cream showing the Feather Deckle
Twinrocker Watercolor Cold Press (with chop) Twinrocker Watercolor Hot Press Twinrocker Watercolor Rough
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Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Europe / The Americas & Australia TWINROCKER HANDMADES - USA
Twinrocker Abaca Unbleached (100% Abaca) Twinrocker Abaca Bleached (100% Abaca) Twinrocker Patriot
Twinrocker May Linen Twinrocker Pale Dusty Rose Twinrocker Sherwin's Beach
Twinrocker Sagebrush Twinrocker Simon's Green
Twinrocker Charcoal Abaca with Fleck Twinrocker Charcoal Abaca
Twinrocker Abaca Willow Creek Twinrocker Double XX Twinrocker Turner Blue
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Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Europe / The Americas & Australia U-ART Premium Sanded Pastel Paper - USA - also see rolls.
Made in the style of the German "Ersta" sand papers, UArt machine-made sheets look like the originals, but are now made acid free. The natural sand color coating is available in 4 different degrees. #800 is the finest, #400 is the roughest. All handle pastel, holding the stroke and allowing for multiple layers with little or no fixatives. The durable surface can withstand blending and lifting of color without loss of tooth. The finer grades are perfect for color pencil and other drawing techniques. No deckles.
U-Art 400 - Rough U-Art 500 - Medium Rough U-Art 600 - Medium Smooth U-Art 800 - Smooth
Van Gelder / Schut Papers - Holland
Founded in 1618, the Van Gelder Mill has been in the hands of the Schut Family since 1710. Papierfabriek Schut as it is now known, is the only specialized mill left in Eastern Holland. In 1800, to learn from other cultures and paper traditions, the Van Gelder technicians travelled to Japan and as a result, developed Simili Japon which was their homage to some of the lustrous kozo and gampi sheets that they discovered there. All of the papers that they now produce, their surfaces, watermarks and tonalities, are based on original handmade styles that date back as far as 100 years.
Van Gelder Noblesse Watercolor - 100% Cotton internally and externally sized for watercolor. Cold Press surface. Neutral pH. 2 deckles. Van Gelder Laurier - 100% Cotton. Internally sized, medium textured sheet for printing and drawing. Neutral pH. 2 deckles. Van Gelder Salland - 50% Cotton. Internally sized, textured sheet for mixed media, printing and drawing Neutral pH. 2 deckles. Van Gelder Simili Japon - Cotton and high alpha cellulose. Beautiful, satin smooth wove surface. Neutral pH. 2 deckles.
Van Gelder - Noblesse
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Paper is fragile !
Van Gelder - Laurier
Van Gelder - Salland
No returns or exchanges are allowed
Van Gelder - Simili Japon
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Europe / The Americas & Australia
Velour Premium 601 - White
Velour Premium 603 - Yellow
Velour Premium 610 - Black
Velour Premium 608 - Ochre
Velour Premium 607 - Sand
Velour Premium 609 - Light Grey
Velour Premium 602 - Middle Grey
Velour Premium 606 - Dark Grey
Velour Premium 605 - Orange
Velour Premium 604 - Green
Velour Premium Pastel - Germany
Machine-made by Hahnem端hle. Flocked surface that provides excellent tooth. Resistes scratching and fading. No deckles. Neutral pH. For drawing, display and letterpress printing.
Velour - USA - Machine-made,flocked sheets for display and pastel. Two weights depending on color. Scuffs easily. No deckles. Not pH. neutral. Velour Medalion Gold Heavyweight
Velour Black Heavyweight
Velour Light Blue Heavyweight
Velour Grey Lightweight
Velour Red Lightweight
Velour Grey Heavyweight
Velour White Heavyweight
Velour Royal Blue Heavyweight
Velour Orange Heavyweight
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Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Europe / The Americas & Australia
Yupo - USA
Synthetic "paper" machinemade in the U.S. of 100% polypropylene. Yupo is waterproof, stain resistant and incredibly strong. Accepts most printing techniques and offers a unique surface for water media as the paper is dimenensionally stable and will not buckle. No deckles. Neutral pH.
Yupo
Zaan sheets often have discoloration and surface stains because of the manner that the sheets have been loft dried. We do not feel that these imperfections reduce the beauty of this remarkable paper.
Zaan - Holland
Handmade in Holland at Der Schoolmeister, the last of the wind papermills. Recently restored, the mill is once again in operation, making traditional sheets from the flax grown around the mill (as a source of linseed oil) and textured by pressing onto linen blankets.These line-dried, waterleaf sheets are highly absorbent, yet remarkably strong. 4 deckles. Neutral pH.
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Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Europe / The Americas & Australia
Zerkall
- Germany
The Zerkall Mill had its origins in the 16th century and has been owned and operated by the Renker Family for four generations. Mixing exacting amounts of cotton rag and high alpha cellulose, their sheets are strong, yet able to absorb without bleeding. Although the mill only manufactures mouldmade papers, due to the slow running speeds of their machines, Zerkall sheets have a wonderful touch - seeming more like handmade sheets than most mould-made papers. Their sheets mirror papers of the past while incorporating modern technology to insure stability and permanence. All sheets have 2 Deckles, 2 torn edges and are Neutral pH.
Zerkall Zerkall Zerkall Zerkall
Book Smooth & Vellum - Cotton rag and high alpha cellulose. Book Laid Smooth & Vellum - Cotton rag and high alpha cellulose. Copperplate - 25% cotton. Cold Pressed. Laid Cover - Cotton and high alpha cellulose. Smooth laid.
scanned on white and black to show translucency
Zerkall Book Smooth 100 gram White
Zerkall Book 145 gram Soft White
Zerkall Book 145 gram Cream
scanned on white and black to show translucency
Zerkall Book Vellum 145 gram White
scanned on white and black to show translucency
Zerkall Copperplate
scanned on white and black to show translucency
Zerkall Book Laid Smooth 125 gram White
Zerkall Book Laid Vellum 125 gram White
Zerkall Laid Cover White
Zerkall Laid Cover Mint
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Paper is fragile !
Zerkall Laid Cover Cream
No returns or exchanges are allowed
Zerkall Laid Cover Light Blue
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Europe / The Americas & Australia Zerkall Frankfurt
Cotton and high alpha cellulose. Unusual, wavy laid surface replicates sheets that were formed by stretching a cloth across the mould to give the sheet a fine, smooth surface without plating.
Zerkall Litho Zerkall Nideggen - Cotton and high alpha cellulose. Wavy laid surface similar to Zerkall Frankfurt (above.) Tan with tiny black flecking. Zerkall Satin Wove #902 - Cotton and high alpha cellulose. Smooth finish. White. Nideggen and Frankfurt have an unusual laid surface - replicating sheets that were formed by stretching a cloth across the mould
Zerkall Nideggen scanned on white and black to show translucency
scanned on white and black to show translucency
Zerkall Frankfurt Cream
Zerkall Frankfurt Smooth White
Zerkall Litho
Zerkall Satin 902
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Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Europe / The Americas & Australia Zerkall Ingres - 100% high alpha cellulose. Slightly textured, laid surface.
scanned on white and black to show translucency
Zerkall Ingres 606 - Ivory
Zerkall Ingres 06 - Cream
Zerkall Ingres 01 - White
Zerkall Ingres 601 - Mint
Zerkall Ingres 09 - Tan
Zerkall Ingres 03 - Bluestone
Zerkall Ingres 08 - Earth
Zerkall Ingres 07 - Sand
Zerkall Ingres 602 - Light Blue
Zerkall Ingres 02 - Grey
Zerkall Ingres 04 - Light Green
Zerkall Ingres 05 - Cobalt Blue
Zerkall Ingres 12 - Red
Zerkall Ingres 10 - Orange
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Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
Europe / The Americas & Australia
■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2 Alcantara Colors
19½ x 27½
160
1 25 100 500 ■ 5.00 - last of stock
Arches Aquarelle Natural White also see Rolls 90 lb. HP, CP, R 22 x 30 185 5.55 5.00 4.36 70 lb. Cold Pressed 16 x 20 300 4.75 4.28 3.74 140 lb. HP, CP, R 22 x 30 300 7.80 7.02 6.13 300 lb. HP, CP, R 22 x 30 640 17.85 16.06 14.09 400 lb. Cold Pressed or Rough 22 x 30 850 23.50 20.97 18.39 260 lb. HP, CP, R 25½ x 40 356 15.30 13.77 12.07 555 lb. Cold Pressed or Rough 29½ x 41 640 37.55 33.80 29.62 1114 lb. Cold Pressed or Rough 40 x 60 640 82.30 74.07 64.94 Arches Aquarelle Bright White 140 lb. Hot Pressed or Cold Pressed 22 x 30 300 7.80 7.02 6.13 300 lb. Hot Pressed or Cold Pressed 22 x 30 640 17.85 16.06 14.09 Arches Cover also see Rolls White or Buff 19½ x 25½ 250 4.40 3.96 3.46 White or Buff 22 x 30 250 5.60 5.04 4.39 White 24¾ x 35¼ 270 8.35 7.50 6.96 White or Buff 29 x 41 270 10.80 9.72 8.52 White 31½ x 47 300 14.65 13.19 11.53 Black 30 x 44 250 13.75 12.38 10.83
4.07 3.49 5.72 13.15 17.17 11.26 27.64 60.61
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130
3.75
3.38
3.04
2.63
Arches Oil
22 x 30
300
7.95
7.16
6.64
5.96
■ - pre-sized for direct painting in oil
Arches Platine
22 x 30 30 x 44
310 310
9.10 21.10
8.19 18.99
7.17 17.60
6.69 15.81
■ - platinum & alternate photo processes
Arches 88 Silkscreen
22 x 30 30 x 42
300 350
6.70 14.65
6.03 13.19
5.18 11.56
4.83 10.79
■ - waterleaf (unsized) for silkscreen
Arches Text Laid Cream Arches Text Wove White
25½ x 40 25½ x 40
120 120
4.98 - last of stock 5.25 4.71 4.37
3.93
Arpa Ivory Arpa All Colors
8 x 12 19½ x 25½
220 200
1.75 12.00
1.57 10.80
1.45 10.02
Art Spectrum Colorfix
19½ x 27½
340
11.70
10.53
9.77
8.78
Bamboo 27½ x 39 105 2.25 2.02 1.87 1.68 Bamboo 27½ x 39 265 4.65 4.15 3.85 3.46 Blotter 24 x 38 360 3.95 3.55 3.30 2.96 Blotter 40 x 60 360 10.30 9.27 8.60 7.73 Blotter "Neenah" 26 x 40 427 4.25 3.83 3.55 3.19
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2.70
2.51
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25 Sheet Price - 25 - 99 sheets of one paper, one color, one weight, one size. 100 Sheet Price - 100 - 499 sheets assorted - no less than 10 sheets of each item.* 500 Sheet Price - 500 sheets assorted - no less than 25 sheets of each item.* *"Item" refers to one paper, one color, one weight, one size.
Paper is fragile ! No returns or exchanges are allowed
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Paper Assortment policy
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■ - sanded surface for pastel
190
5.72 13.15
19¾ x 25½
22 x 30
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Arches MBM MBM Ingres (Michallet)
Bockingford 90 lb. Cold Pressed White
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order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
Europe / The Americas & Australia
■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2
1 25 100 500 ■
Bockingford 140 lb. Cold Pressed White 22 x 30 300 4.50 4.05 Bockingford Colors 140 lb. Cold Pressed 22 x 30 300 4.50 4.05 Brazilian Banana Smooth All Colors 19½ x 27½ 80 12.80 11.52 Brazilian Banana Rough Cream, Tan, Brown 19½ x 27½ 80 12.80 11.52 Ca L'Oliver All colors
19 x 24
200
Canson Ingres Canson Mi-Tientes Canson Opalux Canson Montval Canson Satin Canson Vidalon
19½ x 25½ 19½ x 25½ 19½ x 25½ 22 x 30 26 x 40 19½ x 25½
100 160 180 300 230 90
3.76 3.76
1.26 1.80 2.84 2.30 4.05 1.80
10.69 10.69
1.17 1.67 2.63 2.10 3.76 1.67
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3.38 3.38
10.00 - last of stock 1.40 2.00 3.15 2.55 4.50 2.00
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1.05 1.50 2.36 1.89 3.38 1.50
Capellades Abaca All Colors 12 x 17 30 4.00 3.60 3.34 Abaca White ONLY 20 x 25½ 45 10.00 9.00 8.35 Letter #1 8 x 10½ 75 2.50 2.25 2.09 Book #4 Smooth & Rough 12 x 17 125 4.00 3.60 3.34 Cover #6 12 x 17 250 6.50 5.85 5.43 Cover White 15½ x 19½ 250 12.50 11.25 10.44 Garabato Tan / Lime / Violet 15½ x 19½ 50 8.00 7.20 6.68 Garabato Grey / White 22 x 24 50 12.60 11.34 10.52 Pladium 15½ x 19½ 250 10.00 9.00 8.35 Sisal 12 x 17 250 4.00 3.60 3.34 Sisal 15½ x 19½ 250 7.50 6.75 6.26 Watermark 11 x 14¼ 90 4.50 4.05 3.76 Cave Papers Price Series A - Alphabet Granite Natural Flax Ochre Walnut Dyed Flax Walnut Dyed Red Flax 17 x 22 200 13.00 11.70 10.86 22 x 30 200 20.00 18.00 16.700 Price Series B - Black Flax Blue Jean Cloudy Sky Egyptian Tow Flax Green Crackle Indigo Flax Layered Indigo Lime O'Malley Crackle Flax Tangerine Terracotta Turquoise 17 x 22 200 16.00 14.40 13.36 22 x 30 200 24.00 21.60 20.04 Galaxy 17 x 22 200 18.00 16.20 15.03 22 x 30 200 26.00 23.40 21.71 Persimmon 17 x 22 200 23.00 20.70 19.21 22 x 30 200 32.00 28.80 26.22
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■ - platinum & alternate photo processes
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Chartham - see Translucent Vellum - Chartham Color Plan All colors Colorplan All Colors
25 x 38 25 x 38
135 1.65 1.48 1.35 1.21 270 3.25 2.92 2.71 2.44
Colorplan Black / Dark Grey / Real Grey / Smoke / Frost White 25 x 38 25 x 38
350 4.05 3.65 3.37 3.03 540 5.55 4.97 4.690 4.17
Coquille Stipple
22 x 30
250
3.25
2.93
2.72
2.45
Coventry Vellum White Vellum White Vellum White Vellum White Vellum White Smooth White Smooth White Smooth White
23 x 30 30 x 44 38 x 50 38 x 50 44 x 60 38 x 50 38 x 50 40 x 55
235 290 290 320 320 290 335 335
2.80 5.85 8.30 10.20 14.10 8.30 10.65 12.20
2.52 5.27 7.45 9.18 12.69 7.45 9.58 10.97
2.33 7.87 6.90 8.51 11.77 6.90 8.89 10.18
2.09 4.38 6.20 7.64 10.57 6.20 7.98 9.14
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■ - special texture for half-tone effects with dry media
Paper is fragile ! No returns or exchanges are allowed
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ART PAPER - PRICES
Europe / The Americas & Australia
■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2
1 25 100 500 ■
Crane's Crest Laid & Wove Crane’s Cover Fluorescent, Pearl White
23 x 35 26 x 40
90 1.45 1.31 1.22 1.16x 171 5.40 4.86 4.51 4.05
Czech Handmades Moldau Moravia White & Ivory Moravia White Prague
11½ x 16½ 16½ x 23 22 x 30 4 x 6 4 x 8 6 x 8 5 x 5 6 x 6 7 x 7 8 x 8 8 x 11½ 8 x 11½ 11½ x 16½ 16½ x 23 22 x 30 8 x 11½ 11½ x 16½ 16½ x 23 8 x 11½ 11½ x 16½ 16½ x 23
280 280 280 440 440 440 440 440 440 440 240 440 240 240 360 120 120 120 170 170 170
4.60 7.80 13.10 1.60 1.80 2.40 1.70 1.90 2.25 2.60 3.20 3.90 4.10 7.00 11.60 1.90 2.80 5.50 2.40 3.30 6.20
4.14 7.02 11.79 1.44 1.62 2.16 1.53 1.71 2.03 2.34 2.88 3.51 3.69 6.30 10.44 1.71 2.52 4.95 2.16 2.97 5.58
3.84 6.51 10.94 1.34 1.50 2.00 1.42 1.59 1.88 2.17 2.67 3.26 3.42 5.85 9.69 1.59 2.34 4.59 2.00 2.76 5.18
Domestic Etching
26 x 40
175
3.25
2.90
2.69
Drawing 60 lb. Penny Sketch #10 Drawing 60 lb. Penny Sketch #10 Drawing 90 lb. Sketch Vellum #116 Drawing 90 lb. Sketch Vellum #116
18 x 24 24 x 36 18 x 24 24 x 36
100 100 180 180
Durotone Butcher Paper Butcher Orange Cover Newsprint Aged Newsprint Extra White Newsprint White Packing Kraft Packing Kraft
25 x 38 26 x 40 25 x 38 25 x 38 25 x 38 25 x 38 26 x 40
76 216 90 90 90 108 216
1.10 2.00 1.10 1.10 1.10 1.10 2.00
.99 1.80 .99 .99 .99 .99 1.80
.92 1.67 .92 .92 .92 .92 1.67
.83 1.50 .83 .83 .83 .83 1.50
Evolon ap Evolon ap Evolon ap
22 x 30 22 x 30 22 x 30
58 98 168
3.00 3.60 6.00
2.70 3.24 5.40
2.51 3.01 5.01
2.25 2.70 4.50
2.42
122.00 - package of 500 sheets 244.00 - package of 500 sheets 219.00 - package of 500 sheets 438.00 - package of 500 sheets
Fabriano Artistico Traditional White 90 lb. Hot & Cold Press, Rough 22 x 30 200 4.75 4.27 3.96 3.56 140 lb. Hot & Cold Press, Rough 22 x 30 300 6.50 5.81 5.39 4.85 300 lb. Hot & Cold Press, Rough 22 x 30 640 14.95 13.45 12.46 11.19 555 lb. Hot Press, Cold Press 29½ x 41 640 29.25 26.31 24.40 21.91 Fabriano Artistico Extra White 140 lb. Hot, Soft & Cold Press, Rough 22 x 30 300 6.50 5.81 5.39 4.85 300 lb. Hot, Soft & Cold Press, Rough 22 x 30 640 14.95 13.45 12.46 11.19 555 lb. Hot Press, Cold Press 29½ x 41 640 29.25 26.31 24.40 21.91 Fabriano Eco White 56 pound 19½ x 25½ 120 .70 .63 .56 .50 94 pound 20 x 25½ 200 1.15 1.03 .95 .85 Fabriano Elle Erre 19½ x 27½ 220 1.85 1.66 1.52 1.37 Fabriano Ingres 700 Series Colors 27½ x 39 160 3.50 3.15 2.92 2.63 Ingres 619 Black 27½ x 39 90 1.75 1.54 1.43
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Paper is fragile ! No returns or exchanges are allowed
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order: 800-950-6111 or: 212-473-7705.
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ART PAPER - PRICES
Europe / The Americas & Australia
■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2
1 25 100 500 ■
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■ ■ ■ ■ Fabriano Murillo 901 902 903 904 905 908 912 913 27½ x 39 360 6.50 5.85 5.40 4.85 910 911 915 928 27½ x 39 360 7.15 6.43 5.82 5.40 907 918 925 927 27½ x 39 360 9.10 8.20 7.57 6.80 Fabriano Roma 103, 104 19 x 26 130 14.85 13.37 12.39 11.13 ■ - unusual, wide laid surface for charcoal & drawing ■ ■ ■ Fabriano Rosaspina White and Cream 27½ x 39 220 5.20 4.67 4.31 3.88 White and Cream 27½ x 39 285 6.65 5.99 5.54 4.97 ■ ■ Fabriano Studio Watercolor 29½ x 42 300 4.55 4.10 3.77 3.39 Fabriano Studio Watercolor 22 x 30 200 1.95 1.75 1.60 1.44 Fabriano Studio Watercolor 22 x 30 300 2.60 2.34 2.14 1.93 ■ ■ ■ Fabriano Tiepolo 22 x 30 290 6.05 5.44 5.04 4.53 Fabriano Tiepolo 27½ x 39 160 8.90 8.01 7.43 6.65 Fabriano Tiziano
27½ x 39
160
3.90
3.51
3.26
2.93
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22 x 30 38 x 50
250 250
2.80 2.50 2.30 7.80 - last of stock
2.07
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2.93 4.65 3.45
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Glassine Colors - see Translucent Glassine Hahneműhle Biblio White 30¾ x 41¾ 150 3.90 3.51 Bugra Black 33 x 41 130 6.20 5.58 Bugra All other colors 33 x 41 130 4.60 4.14 Bugra 305x / 312x / 322x only 37 x 48 260 7.00 6.30 Copperplate Bright White, Warm White 22 x 30 300 3.60 3.24 Copperplate Bright White, Warm White 31½ x 47 300 9.10 8.19 Durer Etch Bright White 22 x 30 300 5.90 5.31 Durer Etch Bright White 31½ x 47 300 11.10 9.99 German Etching Natural White 22 x 30 300 5.60 5.04 German Etching Bright White 30 x 42 300 10.50 9.45 German Etching Natural 30 x 42 300 10.50 9.45 German Etch Black 31½ x 47 300 19.50 17.55 Guttenberg Laid 31 x 41 130 5.30 4.77 Heine Soft White 15 x 18 150 1.70 1.53 Ingres Black 18¾ x 24¾ 95 1.50 1.35 Ingres Colors 18¾ x 24¾ 95 1.20 1.08 Natur Black 28 x 39 280 7.10 6.39 Natur Colors 28 x 39 300 4.90 4.41 Natur Text 28 x 39 120 2.10 1.89 Schiller White 24 x 35 150 3.10 2.79 Student Prinz Bright White 17 x 24 150 1.00 0.90 Torchon Bright White 19 x 24½ 275 2.00 1.80 Watercolor 140 lb. Cold Pressed 13 x 19 300 2.70 2.43 Watercolor 140 lb. Cold Pressed 22 x 30 300 6.20 5.58
3.01 7.60
2.70 6.83
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4.93 9.27 4.68 8.77 8.77 16.28 4.43 1.42 1.25 1.00 5.93 4.09 1.75 2.59 0.84 1.67 2.25 5.18
4.43 8.33 4.20 7.88 7.88 14.63 3.98 1.28 1.13 0.90 5.33 3.68 1.58 2.33 0.75 1.50 2.03 4.65
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Huun Bleached, Natural, Mottled Huun Colors
1.45 2.92 12.52 1.45
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8 x 12 12 x 17 22 x 34 8 x 12
19½ x 25½ 22 x 30
150 150 150 150
125 240
1.75 3.50 15.00 1.75
2.65 5.35
1.57 3.15 13.50 1.57
2.38 4.80
2.19 4.45
Paper is fragile ! No returns or exchanges are allowed
1.97 3.99
order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
Europe / The Americas & Australia
■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2
1 25 100 500 ■
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Lanaquarelle 140 lb. Hot Press, Cold Press 300 lb. Hot Press, Cold Press 1114 lb. Hot Press
22 x 30 22 x 30 40 x 60
300 640 640
8.00 17.40 66.15
Langdell Handmades Luster
19 x 25
140
13.00 - last of stock
Legion Art Coated Cover
26 x 40
300
3.20
2.87
2.66
2.39
■ - clay coated surface for silverpoint and drawing
Lenox 100
22 x 30 26 x 40 38 x 50
250 250 250
2.80 4.30 7.90
2.52 3.87 7.11
2.30 3.59 6.58
2.07 3.22 5.91
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Letra Fluorescent White & Pearl White 25 x 38 Letra Ecru, Fluorescent White & Pearl White 26 x 40
120 300
1.95 4.70
1.75 4.23
1.61 3.90
1.45 3.50
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MCCoy Clay Coated Cover
165 2.50 2.25 2.08 1.87
26 x 40
7.20 15.66 59.55
6.66 14.50 55.21
5.98 13.02 49.59
Magnani Acquerello 140 lb. Hot Press / Cold Press 22 x 30 250 5.50 4.96 4.60 4.13 Acquerello 275 lb. Hot Press / Cold Press 22 x 30 520 11.75 10.57 9.81 8.81 Annigoni 27½ x 39¼ 250 8.95 8.03 7.45 6.69 Arturo Stationery All Colors 25 x 38 120 2.45 2.20 2.03 1.81 Arturo Card All Colors 25 x 38 260 4.05 3.64 3.37 3.03 Firenze 19 x 26 130 9.10 - last of stock Incisione White 27½ x 39¼ 310 5.55 4.99 4.63 4.16 Pescia Satinato All Colors 22 x 30 300 6.00 5.40 5.01 4.50 Magnani Revere Book 26 x 40 120 3.20 2.85 2.65 2.38 Magnani Revere Book 26 x 40 175 4.30 3.87 3.59 3.22 Platinum Revere 22 x 30 145 - currently not available Platinum Revere 22 x 30 300 - currently not available Platinum Revere 30 x 44 300 - currently not available Revere Felt Polar / Standard / Ivory 22 x 30 250 3.75 3.37 3.12 2.81 Revere Felt Polar / Standard / Ivory 30 x 44 300 8.65 7.78 7.22 6.49 Revere Felt Standard / Ivory 42 x 56½ 330 12.70 11.41 10.58 9.51 Revere Silk All Colors 22 x 30 250 3.75 3.37 3.12 2.81 Revere Silk All Colors 30 x 44 300 8.65 7.78 7.22 6.49 Revere Suede Black 22 x 30 250 4.95 4.44 4.12 3.70 Revere Suede Black 30 x 44 300 11.75 10.57 9.80 8.81 Revere Suede All Colors 22 x 30 250 3.75 3.37 3.12 2.81 Revere Suede All Colors 30 x 44 300 8.65 7.78 7.22 6.49 Velata (Wove) 27¾ x 39¾ 120 1.95 1.74 1.61 1.45 27¾ x 39¾ 140 2.35 2.08 1.93 1.74 27¾ x 39¾ 200 3.20 2.88 2.67 2.40
Velata Handmade & Vergata Handmade Velata Handmade & Vergata Handmade
■ Hot Press
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7.10 8.35
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Mexican Papel de Amate All Styles
16 x 24½
150
8.50
7.65
7.10
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■
Mexican All Purpose Handmade
19½ x 23½
200
6.00
5.40
5.01
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Mohawk Vellum Cool White, Soft White Mohawk Via Smooth Light Grey
25 x 38 89 25 x 38 104
1.00 .90 .84 .75 1.10 .99 .92 .83
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Moulin de Larroque & Moulin du Pombie Colombe Handmades All Other Larroque & Pombie
■
■
■
■
20 x 26 20 x 26
250 250
7.50 - last of stock 5.00 - last of stock
Multi-media 140 lb. Cold Press
22 x 30
300
4.15
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■
Newsprint Rough or Smooth
18 x 24 24 x 36
81
Paper is fragile ! No returns or exchanges are allowed
■
■
■ - formulated for platinum printing
7.65 9.00
55.00 - package of 500 Sheets 105.00 - package of 500 Sheets
■
■ Hot Press ■ Hot Press
8.50 10.00
3.11
■ - clay coated surface for silverpoint and drawing
130 270
3.47
■
19 x 26 19 x 26
3.74
■
■ - sketching, proofing
order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
Europe / The Americas & Australia
■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2
1 25 100 500 ■
■ ■
■
■
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Oaktag Lightweight Oaktag Heavyweight
24 x 36 24 x 36
150 1.00 .90 .84 .75 300 1.75 1.58 1.48 1.31
■
Parchment Antique
26 x 38
90
1.40 1.26 1.17 1.05
■
■
■
■
Pergamenata White, Natural Pergamenata White, Natural
27½ x 39 27½ x 39
160 230
6.25 6.90
5.63 6.20
5.22 5.74
4.69 5.15
■
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■
PLike White, Ivory & Black 28 x 40 PLike White, Black, Red, Graphite, Chocolate 28 x 40
140 330
2.50 5.75
2.25 5.18
2.09 4.80
1.88 4.31
■ - rubbery surface for silverpoint, drawing letterpress
Richeson Pastel
24 x 36
300
13.60
12.24
11.32
10.17
Rising Bristol 2 Ply Smooth & Vellum Rising Bristol 3 Ply Smooth & Vellum
22 x 30 22 x 30
241 362
2.20 3.15
1.97 2.83
1.83 2.62
1.65 2.36
Richard de Bas Apta Brick Laid Normal Laid Colors
20 x 26 20 x 26
240 240
10.00 - last of stock 5.00 - last of stock
Rives BFK White 19½ x 25½ 180 3.55 3.19 19½ x 25½ 250 4.35 3.92 22 x 30 250 5.55 5.00 24¾ x 35¼ 270 8.95 8.05 29 x 41 270 11.05 9.95 30 x 44 280 12.05 10.85 31½ x 47 300 14.65 13.19 Rives BFK Off-White, Cream, Grey, Tan 22 x 30 280 6.60 5.94 Rives BFK Cream, Grey, Tan 30 x 44 280 12.60 11.34 Rives Heavyweight White or Buff 19 x 26 175 3.75 3.38 Rives Heavyweight White or Buff 26 x 40 175 6.90 6.21 Rives Lightweight White or Buff 19 x 26 115 2.70 2.43 Rives Lightweight White or Buff 26 x 40 115 4.90 4.40
2.94 3.43 4.36 7.46 8.72 9.51 11.53
1.72 3.20 4.07 6.70 8.14 8.87 10.76
5.18 9.90
4.83 9.24
3.13 5.76
2.81 5.18
2.25 4.07
2.03 3.66
Rives Papier de Lin Rives Papier de Lin
22 x 30 31 x 47
270 300
7.00 19.70
5.86 16.42
5.26 14.72
Rubbing Paper
27 x 36
50
2.75
Ruscombe Blued Hemp & Flax Broad laid Deep Beige Gelatine Sized Thomas Girtin Laid Gelatine Sized Watercolor Oatmeal Machine-age Compatible Cold Cream Margaux Estampe Cream Pastelle Color Paille Queen Anne Pale Laid Queen Anne Pale Wove Queen Anne Dark Wove Queen Anne Colors
22 x 30 22 x 30 22 x 30 18¾ x 23½ 20 x 27 22 x 30 22 x 30 20 x 27 20 x 27 20 x 27 20 x 27 20 x 27
200 200 200 250 100 200 240 25 120 90 120 90
Sabertooth
22 x 30
250 10.00 9.00 8.42 7.50
82
6.30 17.70
Paper is fragile ! No returns or exchanges are allowed
■ - sanded surface for pastel ■ - technical drawing
■
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■ - strong and soft for rubbing techniques
14.00 - last of stock. 15.50 - last of stock. 22.40 - last of stock. 17.95 - last of stock. 15.50 - last of stock. 20.00 - last of stock. 15.50 - last of stock. 25.00 - last of stock. 12.80 - last of stock. 12.80 - last of stock. 12.80 - last of stock. 12.80 - last of stock.
■
■ ■
■
■
■
■
■ - sanded surface for pastel
order: 800-950-6111 or: 212-473-7705.
■
■
ART PAPER - PRICES
Europe / The Americas & Australia
■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2
1 25 100 500 ■
■ ■
■
■
■
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SAINT ARMAND Dominion Aquarelle Aquarelle Rectangles Aquarelle Squares Aquarelle Oval Aquarelle Circles
18 x 24 320 7.00 6.30 5.85 5.25 22 x 30 320 10.00 9.00 8.35 7.50 10 x 14 320 3.50 3.15 2.92 2.63 14 x 20 320 4.50 4.05 3.76 3.38 8 x 24 320 4.50 4.05 3.76 3.38 10 x 30 320 6.00 5.40 5.01 4.50 30 x 40 320 30.00 27.00 25.05 22.50 36 x 48 320 40.00 36.00 33.40 30.00 12 x 12 320 4.50 4.05 3.76 3.38 18 x 18 320 6.00 5.40 5.01 4.50 22 x 22 320 10.00 9.00 8.35 7.50 30 x 30 320 30.00 27.00 25.05 22.50 36 x 36 320 40.00 36.00 33.40 30.00 12 x 18 Oval 300 6.00 5.40 4.86 4.50 12" Diameter 300 4.50 4.05 3.76 3.38 18" Diameter 320 6.00 5.40 4.86 4.50 22" Diameter 320 10.00 9.00 8.35 7.50 30" Diameter 320 30.00 27.00 25.05 22.50 36" Diameter 320 40.00 36.00 33.40 30.00
22 x 30 22 x 30 18 x 24
200 250 85
Saint Armand Canal Linen Wrapper All Other Canal Papers
20 x 30 20 x 30
60 4.00 3.60 3.34 3.00 250 4.00 3.60 3.34 3.00
T.H.Saunders 90 lb. Hot Pressed, Cold Pressed, Rough 140 lb. Hot Pressed, Cold Pressed, Rough 200 lb. Hot Pressed, Cold Pressed ONLY 300 lb. Hot Pressed, Cold Pressed, Rough 260 lb. Hot Pressed, Cold Pressed, Rough 1090 lb. Hot Pressed, Cold Pressed ONLY
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22 x 30 22 x 30 22 x 30 22 x 30 26 x 40 40 x 60
180 285 425 638 356 638
4.00 6.20 11.00 13.50 11.70 70.25
3.60 5.58 9.90 12.15 10.53 63.23
3.34 5.18 9.19 11.27 9.77 58.66
3.00 4.65 8.25 10.13 8.78 52.69
■
■
Sennelier La Carte Pastel
19½ x 25½
400
15.15
13.63
12.63
11.34
■ - coated surface for pastel
Serio Ultra Black Serio Ultra Black Serio Ultra Black Serio Ultra Black
28 x 40 28 x 40 28 x 40 28 x 40
115 280 370 680
2.00 4.90 6.40 12.80
1.80 4.41 5.76 11.52
1.67 4.09 5.34 10.69
1.50 3.68 4.80 9.60
Printing & Drawing All Colors Special Etching Text Weights
8.00 8.00 6.00
7.20 7.20 5.40
6.68 6.68 4.86
6.00 6.00 4.50
Somerset Book Wove Radiant White, White, Soft White 26 x 40 115 4.35 3.90 3.62 3.25 Radiant White, White, Soft White 26 x 40 175 6.60 5.91 5.48 4.93 Somerset Book Wove Radiant White, White, Soft White 26 x 40 115 4.90 4.41 4.09 3.68 Radiant White, White, Soft White 26 x 40 175 7.45 6.70 6.20 5.57 Somerset Satin White 22 x 30 250 5.95 5.36 4.96 4.46 White 30 x 44 300 15.00 13.50 12.52 11.24 Soft White 22 x 30 300 7.10 6.39 5.93 5.33 Radiant White 35 x 46¾ 500 31.90 28.71 26.60 23.89 Somerset Textured White, Soft White, Cream 22 x 30 250 5.95 5.36 4.96 4.46 White, Soft White, Cream 30 x 44 300 15.00 13.50 12.52 11.24 Radiant White 35 x 46¾ 500 31.90 28.70 26.60 23.89 Somerset Velvet All Colors 22 x 30 250 5.95 5.36 4.96 4.46 White, Soft White 30 x 44 300 15.00 13.50 12.52 11.24 Radiant, Buff, Antique, Newsprint 30 x 44 280 14.00 12.60 11.68 10.49 Radiant White 35 x 46¾ 330 22.20 19.96 18.51 16.63
83
Paper is fragile ! No returns or exchanges are allowed
■
■ ■
■
■ ■
■ - abaca & cotton blended for etching ■ - delicate.laid papers for drawing ■ -heavily textured sheets for collage ■ ■ ■ ■ ■ ■ Hot Press
■ - extremely dense black sheets ■ ■ ■
■
■
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■
order: 800-950-6111 or: 212-473-7705.
■
ART PAPER - PRICES
Europe / The Americas & Australia
■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2
1 25 100 500 ■
Speckletone Black Speckletone Chocolate, Olive, Wine Speckletone All Other Colors
26 x 40 26 x 40 26 x 40
216 2.50 2.25 2.09 1.88 270 2.50 2.25 2.09 1.88 216 2.00 1.80 1.67 1.50
Starwhite
35 x 46
200
4.50
2.45 3.72 2.45 3.72
Stonehenge White 22 x 30 250 3.00 2.70 2.47 2.22 White Lightweight 26 x 40 135 2.00 1.80 1.67 1.50 White 26 x 40 250 4.75 4.26 3.94 3.54 White 30 x 44 250 5.90 5.30 4.90 4.40 White 30 x 44 320 7.95 7.15 6.61 5.94 White 38 x 50 250 8.60 7.72 7.15 6.42 Warm White 22 x 30 250 3.00 2.70 2.47 2.22 Warm White 30 x 44 250 5.90 5.30 4.90 4.40 Natural / Cream / Polar White 22 x 30 250 3.00 2.70 2.47 2.22 Kraft / Tan (Fawn) / Pearl Grey 22 x 30 250 3.20 2.88 2.65 2.37 Black 22 x 30 250 3.90 3.51 4.07 3.65 Strathmore Alexis Drawing Alexis Watercolor Aquarius II Charcoal All Colors
19 x 24 22 x 30 22 x 30 19 x 25
163 277 150 100
.80 2.40 5.60 1.60
.72 2.15 5.03 1.40
0.63 2.00 4.67 1.30
0.57 1.79 4.19 1.17
22½ x 28½
250
1.95
1.72
1.60
1.43
Bristol Series 500 Plate (Smooth) Finish 1 ply 23 x 29 125 3.60 3.25 3.00 2 ply 23 x 29 250 6.60 5.95 5.51 30 x 40 250 11.55 10.40 9.61 3 ply 23 x 29 375 10.10 9.10 8.41 30 x 40 375 17.60 15.85 14.69 4 ply 23 x 29 500 13.60 12.20 11.32 30 x 40 500 23.85 21.45 19.90 Bristol Series 500 Kid (Vellum) Finish 1 ply 23 x 29 125 2.80 2.50 2.30 2 ply 23 x 29 250 5.85 5.25 4.87 30 x 40 250 10.25 9.25 8.54 3 ply 23 x 29 375 8.95 8.05 7.45 30 x 40 375 15.60 14.05 13.02 4 ply 23 x 29 500 12.15 10.95 10.12 30 x 40 500 21.20 19.10 17.70 Superfine White, Soft White (80 pound text) 25 x 38 Superfine White, Soft White (80 pound cover) 26 x 40
TerraSkin 4 Point Transluscent TerraSkin 8 Point White TerraSkin 10 Point Translucent TerraSkin 12 Point White TerraSkin 16 Point White
84
28 x 40 28 x 40 28 x 40 28 x 40 25 x 35
2.69 4.95 8.63 7.55 13.19 10.17 17.87 2.07 4.37 7.67 6.69 11.69 9.09 15.89
118 1.30 1.17 1.09 .98 216 2.50 2.25 2.09 1.88
100 microns 200 microns 250 microns 300 microns 400 microns
3.25 4.50 8.00 9.00 8.50
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4.05 - last of stock
Stillman & Birn Alpha & Gamma 22 x 30 150 3.25 2.93 2.72 Beta & Delta 22 x 30 270 4.95 4.46 4.14 Epsilon 22 x 30 150 3.25 2.93 2.72 Zeta 22 x 30 270 4.95 4.46 4.14
Bristol Series 300 2 Ply Plate, Vellum
■ ■
2.93 4.05 7.20 8.10 7.65
2.71 3.76 6.68 7.52 7.10
Paper is fragile ! No returns or exchanges are allowed
2.44 3.38 6.00 6.75 6.38
■
■ ■ ■ ■ - synthetic fiber added to keep sheets flat when wet ■ ■ ■ - studio grade bristol for drawing and ink ■ - professional grade bristol for drawing and ink ■
■
■
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■
■
■ - substrate designed for strength & stability
order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
Europe / The Americas & Australia
■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper
Size Gr/M2
1 25 100 500 ■
TRANSLUCENT VELLUM / TRACE / GLASSINE
■ ■
■
■
■
■ ■
■
■ ■ ■ ■ ■ - not recommended for techniques using water
Borden & Riley Trace 90 Borden & Riley Trace 51
19 x 25 19 x 25
90 40
1.25 .50
1.13 .45
1.04 .42
.94 .38
Canson Opalux Canson Satin Canson Vidalon
19½ x 25½ 26 x 40 19½ x 25½
180 230 90
3.15 4.50 2.00
2.84 4.05 1.80
2.63 3.76 1.67
2.368 3.38 1.50
Chartham Natural Clear
25 x 38 25 x 38 25 x 38 25 x 38
63 90 112 180
1.25 2.25 2.75 4.00
1.13 1.05 .95 2.03 1.89 1.70 2.48 2.30 2.07 3.60 3.34 3.00
Clearprint Plain Clearprint Gridded 4 / 8 / 10 /
24 x 36 24 x 36
75 75
2.30 3.20
2.07 2.88
1.92 2.67
1.73 2.40
Glassine Natural Glassine Heavyweight Natural Glassine Colors
24 x 36 24 x 36 24 x 36
50 70 50
.55 .90 .80
.50 .84 .72
.45 .75 .67
.41 .68 .60
Translucent Colors Translucent Gold & Platinum Pearlized
25 x 38 25 x 38
112 2.50 2.24 2.08 1.87 112 2.50 2.24 2.08 1.87
Wyndstone Vellum 5 point
25 x 38
165 2.55 2.30 2.13 1.92
■ - 100% cotton, can handle water-based techniques ■ - for interleaving, but can use like a trace
Trace / Vellum Rolls Borden & Riley Trace 35A - Amber Size
List Sale
12 x 50 yards 18 x 50 yards 24 x 50 yards
14.30 11.44 19.82 15.86 25.25 20.20
Borden & Riley Trace 35C - Canary Size
List Sale
12 x 50 yards 18 x 50 yards 24 x 50 yards
14.30 11.44 19.82 15.86 25.25 20.20
Borden & Riley Trace 35W - White Size
List Sale
6 x 50 yards 12 x 50 yards 18 x 50 yards 24 x 50 yards 30 x 50 yards 36 x 50 yards 42 x 50 yards 48 x 50 yards
7.57 6.06 14.30 11.44 19.82 15.86 25.25 20.20 31.63 25.30 37.85 30.28 44.20 35.36 48.71 38.97
85
Borden & Riley Trace 51 Size
12 x 20 yards 18 x 20 yards 24 x 20 yards 36 x 20 yards 42 x 20 yards
List Sale
7.92 11.20 13.17 22.34 26.15
6.34 8.96 10.54 17.87 20.92
Borden & Riley Trace 51H
Size
12 x 20 yards 18 x 20 yards 24 x 20 yards 36 x 20 yards 42 x 20 yards 48 x 20 yards
List Sale
10.75 14.53 19.48 29.22 34.10 39.81
8.60 11.62 15.58 23.38 27.28 31.85
Borden & Riley Trace 90
Size
36 x 10 yards 36 x 20 yards 36 x 50 yards 42 x 10 yards 42 x 20 yards 42 x 50 yards
List Sale
41.04 79.61 193.12 48.06 92.68 225.37
Paper is fragile ! No returns or exchanges are allowed
32.83 63.69 154.50 38.45 74.14 180.30
Canson Vidalon 90 Size
List Sale
36 x 10 yards
60.65 48.52
Clearprint 1000 H Plain Size
List Sale
18 x 5 yards 18 x 20 yards 24 x 5 yards 24 x 20 yards 30 x 20 yards 36 x 5 yards 36 x 20 yards 42 x 20 yards 48 x 20 yards 54 x 20 yards 60 x 20 yards 72 x 20 yards
13.00 11.70 42.25 38.03 17.00 15.30 53.85 48.47 62.15 55.94 26.60 23.94 71.25 64.13 86.50 77.85 99.45 89.51 111.95 100.76 123.85 111.47 148.65 133.79
Clearprint 1000 H-4 Gridded Clearprint 1000 H-8 Gridded Clearprint 1000 H-10 Gridded Size
List Sale
36 x 20 yards 42 x 20 Yards
98.00 78.40 114.55 91.64
order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
Europe / The Americas & Australia
■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper
Size Gr/M2 1 25 100 ■
TWINROCKER Abaca, Bleached CP Abaca, Unbleached Abaca, Unbleached Pinkish Abaca, Unbleached Greyish Arthur's Prairie Laid Arthur's Prairie Wove
22 x 30 18 x 24 22 x 30 22 x 30 22 x 30 22 x 30
200 200 200 200 150 150
11.55 10.40 9.64 8.80 7.92 7.35 11.55 10.40 9.64 11.55 10.40 9.64 10.40 9.36 8.68 10.40 9.36 8.68
Biscuit B-Buff Wove B-Buff Wove
23 x 30 18 x 24 22 x 30
150 150 150
10.40 7.90 10.40
9.36 7.11 9.36
8.68 6.60 8.68
Calligraphy Cream Hot Press 9 x 12 Calligraphy Cream Hot Press 9 x 12 Feather Calligraphy Cream Hot Press 14 x 17 Calligraphy Cream Hot Press 22 x 30 Calligraphy Cream Laid Hot Press 22 x 30 Calligraphy Cream Wove Hot Press 22 x 30
200 200 200 250 150 150
6.00 6.00 8.95 12.55 11.40 11.40
5.40 5.40 8.06 11.30 9.36 9.36
5.01 5.01 7.48 10.49 8.68 8.68
Charcoal Abaca Charcoal Abaca with Fleck Cream Cream Cream
22 x 30 22 x 30 6" Circle Feather 6 x 8 Feather 22 x 30
150 150 200 200 150
10.40 10.40 2.80 2.80 10.40
9.36 9.36 2.52 2.52 9.36
8.68 8.68 2.34 2.34 8.68
Delphi Laid Delphi Wove Double XX Double XX Dusty Rose Pale
22 x 30 22 x 30 18 x 24 22 x 30 18 x 24
150 150 250 150 250
10.40 10.40 11.00 10.40 11.00
9.36 9.36 9.90 9.36 9.90
8.68 8.68 9.19 8.68 8.68
Eighteenth Century Laid Eighteenth Century Wove Emily Dickinson
22 x 30 22 x 30 23 x 32
150 150 120
10.40 10.40 11.90
9.36 9.36 10.71
8.68 8.68 9.94
Lorraine
22 x 30
150
10.40
9.36
8.68
May Linen May Linen May Linen May Linen May Linen May Linen May Linen May Linen
9 x 12 9 x 12 Feather 16 x 20 16 x 21 Feather 18 x 24 22 x 30 12" Circle Feather 18" Circle Feather
200 200 200 250 200 250 250 250
5.75 5.75 9.25 9.60 9.60 11.90 7.40 9.60
5.18 5.18 8.33 8.64 8.64 10.71 6.66 8.64
Not Quite White
19 x 25
150
8.80
Patriot Patriot
18 x 24 22 x 30
250 250
Rotunda Laid Rotunda Wove
22 x 30 22 x 30
Sagebrush Text Cold Press Sagebrush Cold Press & Rough Sagebrush Hot Press Sherwin Beach Simon’s Green Cold Press Simon's Green Hot Press
Turner Blue Turner Blue
86
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■ - specifically sized for pen & brush
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4.80 4.80 7.72 8.02 8.02 9.94 6.18 8.02
7.92
7.35
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11.00 13.50
9.90 12.15
9.19 11.27
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120 120
10.40 10.40
9.36 9.36
8.68 8.68
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22 x 30 22 x 30 22 x 30 20 x 30 22 x 30 22 x 30
150 200 200 175 200 200
10.40 11.55 12.65 8.60 11.55 12.65
9.36 10.40 11.39 7.74 10.40 11.39
8.68 9.64 10.56 7.18 9.64 10.56
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22 x 30 22 x 30
150 200
10.40 11.55
9.36 10.40
8.68 9.64
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■
Paper is fragile ! No returns or exchanges are allowed
■ ■
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■
order: 800-950-6111 or: 212-473-7705.
■
ART PAPER - PRICES
Europe / The Americas & Australia
■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper
Size Gr/M2 1 25 100 ■
■ ■
■
■
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TWINROCKER Watercolor White Hot Press
9 x 12 9 x 12 Feather 10 x 14 10 x 14 Feather 16 x 20 16 x 21 Feather 10 x 20 Feather 15 x 22½ 18 x 24 22 x 30 30 x 40 34 x 48
200 200 200 200 200 200 200 250 200 250 300 300
7.80 7.80 8.70 8.70 12.25 12.25 9.35 11.20 12.60 15.50 43.70 60.70
7.02 7.02 7.83 7.83 11.03 11.03 8.42 10.08 11.34 13.95 39.33 54.63
6.51 6.51 7.26 7.26 10.23 10.23 7.81 9.35 10.52 12.94 36.49 50.68
Watercolor White Cold Press
9 x 12 9 x 12 Feather 10 x 14 10 x 14 Feather 16 x 20 16 x 21 Feather 15 x 22½ 18 x 24 22 x 30 30 x 40 34 x 48
200 200 200 200 200 200 250 200 250 300 300
7.05 7.05 7.90 7.90 11.10 11.10 10.10 11.45 14.00 39.70 55.05
6.35 6.35 7.11 7.11 9.99 9.99 9.09 10.31 12.60 35.73 49.55
5.89 5.89 6.60 6.60 9.27 9.27 8.43 9.56 11.69 33.15 45.97
Watercolor White Rough
9 x 12 Feather 10 x 14 Feather 14 x 14 Feather 16 x 21 Feather 18 x 24 22 x 30
200 200 200 200 200 250
6.40 7.20 8.70 10.10 10.10 12.70
5.76 6.48 7.83 9.09 9.09 11.43
5.34 6.01 7.26 8.43 8.43 10.60
White All Purpose Hot Press
4 x 20 Feather 18 x 24 22 x 30
200 200 200
5.95 10.60 13.10
5.36 9.54 11.79
4.97 8.85 10.94
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White All Purpose Cold Press 14 x 14 Feather 200 7.95 7.16 14 x 17 200 7.95 7.16 18 x 24 200 9.60 8.64 22 x 30 200 11.90 10.71 7 x 28 Feather 200 8.00 7.20 6" Circle Feather 200 2.80 2.52 6" Heart Feather 200 2.80 2.52 6 x 8 Feather 200 2.80 2.52 9 x 12 Feather 200 5.70 5.13 10 x 14 Feather 200 6.60 5.94 16 x 21 Feather 200 9.60 8.64 12" Circle Feather 200 7.40 6.66 18 " Circle Feather 200 9.60 8.64 White Cotton Rag Laid 22 x 30 150 10.40 9.36 White Cotton Rag Wove 22 x 30 150 10.40 9.36
6.65 6.65 8.02 9.94 6.68 2.34 2.34 2.34 4.76 5.51 8.02 6.18 8.02
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Yale Antique Laid Yale Antique Wove
8.68 8.68
87
22 x 30 22 x 30
120 120
10.40 10.40
9.36 9.36
Paper is fragile ! No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
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ART PAPER - PRICES
Europe / The Americas & Australia
■ Specific Use ■ Watercolor ■ Printmaking ■ Drawing ■ Book Arts ■ Letterpress ■ Pen & Ink ■ Small Format ■ Large Format Paper Size Gr/M2
1 25 100 500 ■ 15.25
13.73
12.74
11.45
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UArt 800 (finest) / 600 / 500 / 400 (roughest) 27 x 40
250
Van Gelder / Schut Laurier Salland Noblisse 140 Cold Press Simili Japon Simili Japon
30 x 44 30 x 44 22 x 30 25 x 37¾ 25 x 37¾
250 9.00 300 11.00 300 6.25 130 4.00 225 6.00
Velour Premium Pastel
19 x 27
190 5.60 5.04 4.68 4.20
■ - flocked surface for pastel
Velour Heavyweight Velour Lightweight
20 x 26 20 x 26
185 145
5.00 3.00
4.50 2.70
4.18 2.51
3.75 2.25
■ - flocked surface for pastel ■ - flocked surface for pastel
Yupo Yupo Yupo
26 x 40 26 x 40 26 x 40
155 197 390
6.80 9.15 12.90
6.13 8.22 11.61
5.67 7.62 10.77
5.10 6.84 9.68
■ - synthetic sheet strong, non-buckling
Zaan Light Grey Zaan Light Grey
8 x 12 25 x 29
200 200
4.25 18.50
3.83 16.65
3.55 15.45
8.10 7.52 6.75 9.90 9.19 8.25 5.63 5.23 2.25 3.60 3.34 3.00 5.40 5.01 4.50
Zerkall Book Smooth & Vellum White Only 20¾ x 30 100 3.40 3.06 2.84 2.55 Book Smooth & Vellum White 20¾ x 30 145 3.80 3.42 3.17 2.85 Book Laid 24 x 34 125 4.35 3.91 3.63 3.26 Copperplate 22 x 30 250 4.30 3.88 3.60 3.23 Copperplate 30 x 42 250 8.00 7.21 6.69 6.01 Frankfurt White, Cream Vellum 25 x 38 120 4.95 4.46 4.14 3.72 Frankfurt White, Cream Smooth 21 x 29½ 120 3.10 2.77 2.57 2.31 Ingres All Colors 19 x 25 90 1.65 1.46 1.36 1.22 Laid Cover 19 x 25 225 4.50 4.05 3.76 3.38 Litho 22 x 30 250 5.95 5.35 4.95 4.45 Litho 30 x 42 250 10.30 9.25 8.57 7.69 Nideggen 25 x 38 120 5.05 4.53 4.20 3.77 Satin Wove 902 25 x 30 225 6.00 5.40 5.01 4.50
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Metric Conversions Length
1 Inch = 1 Inch = 1 Foot = 1 Yard =
88
2.54 Centimeters .0254 Meters .3048 Meters .9144 Meters
Length
1 Centimeter = 1 Meter = 1 Meter = 1 Meter =
Paper is fragile ! No returns or exchanges are allowed
.3937 Inches 39.37 Inches 3.2808 Feet 1.0936 Yards
order: 800-950-6111 or: 212-473-7705.
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ART PAPER - ROLLS
Europe & The Americas
Aqua Bee 892 Bogus
Arches Cover White
Arches Aquarelle Hot Press
Arches En Tout Cas - double sided, rolls have one cold press surface and one smoother surface
Arches Aquarelle Cold Press
Butcher Paper White - coated one side
Butcher Paper Black - coated one side
Arches Aquarelle Rough
Canson Mi-Teintes 335 White
Canson Mi-Teintes 425 Black
Aquabee #892 Bogus 100% Post consumer waste. Grey with light texture. Arches Aquarelle 100% cotton. Sized for watercolor. Neutral pH. Arches Cover 100% cotton. For printmaking and drawing. Neutral pH. Arches En Tout Cas 25% Cotton. One smooth side, one cold pressed. Sized for watercolor. Neutral pH. Arches Oil 140 Cold Press 100% Cotton. Pre-coated for direct painting with oil. Bockingford 140 Cold Pressed Watercolor 100% High alpha cellulose. Fully sized cold press. Neutral pH. Butcher Paper White & Black Bleed-proof, coated 1 side. Food safe. Canson Mi-Teintes 65% cotton. Textured for pastel. Neutral pH.
89
Bockingford
Roll Aquabee 892 Arches Aquarelle 140 Hot Press 140 Cold Press 140 Rough 260 Hot Press 260 Cold Press 260 Rough
Size G/m2 36 x 10 yards 140 43½ 43½ 43½ 51½ 51½ 51½
Price 23.95
x 10 yards x 10 yards x 10 yards x 10 yards x 10 yards x 10 yards
300 300 300 356 356 356
220.00 220.00 220.00 260.00 230.00 230.00
Arches Cover White
42 x 10 yards 42 x 20 yards 42 x 100 yards
300 300 300
160.00 320.00 1223.00
Arches En Tout Cas
51½ x 10 yards
280
155.00
300 300 40 160 160
226.00 168.00 15.00 96.00 96.00
Arches Oil Bockingford Butcher White or Black Canson 335 White Canson 425 Black
Paper is fragile ! No returns or exchanges are allowed
51 x 10 yards 60 x 10 yards 30 x 50 feet 59 x 11 yards 59 x 11 yards
order: 800-950-6111 or: 212-473-7705.
ART PAPER - ROLLS
Europe & The Americas Note: papers were scanned on black and white background to show translucency
Borden & Riley - 30 Signwriters Bond
Borden & Riley - 10 Penny Sketch
Borden & Riley - 234 Paper for Pens
Borden & Riley - 214 Normandy Sketch
Borden & Riley - 627 100% Rag Drawing
Borden & Riley - 400
Borden & Riley #10 Penny Sketch 60 pound, white drawing paper with a light tooth. Neutral pH. Borden & Riley #30 Signwriter's Bond 20 pound, smooth, white bond. Neutral pH. Borden & Riley #116 Sketch Vellum 90 pound, smooth white multi-purpose paper. Neutral pH. Borden & Riley #214 Normandy Sketch Vellum surface, soft white paper for drawing. Neutral pH. Borden & Riley #234 Paper for Pens Ultra-smooth, brilliant white paper for drawing. Neutral pH. Borden & Riley #400 Laid Charcoal White Borden & Riley #410 Laid Charcoal Grey Borden & Riley #420 Laid Charcoal Black Laid, textured papers. Neutral pH. Borden & Riley #627 100% Rag Drawing Textured, 100% cotton for most medium. Neutral pH. Borden & Riley #880 Royal Sketch Lightly textured, for most medium. Neutral pH.
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Borden & Riley - 116 Sketch Vellum
Borden & Riley - 880 Royal Sketch
Borden & Riley - 410 Grey
Borden & Riley - 420 Black
Borden & Riley 10 Penny 36 x 20 yards 30 Bond 15 x 25 yards 18 x 25 yards 24 x 25 yards 30 x 25 yards 36 x 25 yards 42 x 25 yards 48 x 25 yards 60 x 25 yards 116 Sketch Vellum 36 x 10 yards 48 x 10 yards 60 x 10 yards 214 Normandy 36 x 10 yards 234 Paper for Pens 36 x 10 yards 400 White Charcoal 36 x 10 yards 410 Grey Charcoal 36 x 10 yards 420 Black Charcoal 36 x 10 yards 627 Rag Drawing 36 x 10 yards 880 Royal Sketch 36 x 10 yards
Paper is fragile ! No returns or exchanges are allowed
150 18.47 65 9.70 65 10.26 65 13.73 65 17.11 65 20.45 65 23.92 65 27.32 65 34.18 185 17.24 185 22.95 185 28.53 150 19.93 190 33.64 170 43.00 170 41.86 170 44.18 175 44.97 185 35.65
order: 800-950-6111 or: 212-473-7705.
ART PAPER - ROLLS
Europe & The Americas Note: papers were scanned on black and white background to show translucency
Drawing & Framing
Drop Screen
Evolon 58 gram
Fabriano Artistico Hot Press Traditional White
Fabriano Artistico Soft Press Extra White
Evolon 98 gram
Fabriano Artistico Cold Press Traditional White
Fabriano Artistico Rough Extra White
Evolon 168 gram
Fabriano Tiziano
Fabriano Accademia
Fabriano Studio Watercolor
Drawing & Framing
100% cotton. Neutral pH. Smooth surface. No deckles. White.
Drop Screen Fire-proof, non-woven material composed of paper, fiberglass and polyester. It has many applications where scale and strength are necessary in a lightweight material. It can be painted, printed and sewn. Drop Screen is translucent and has visible swirls of fibers, somewhat similar to a Japanese paper. White. Evolon ap
Non-woven micro-fiber of polyester & nylon. Exceptionally strong and tear resistant, Evolon can absorb up to 5 times its weight in water without buckling, expanding or shrinking. Neutral pH.
Fabriano Accademia 100% sulphite with a fine tooth. White. Neutral pH. Fabriano Artistico Mouldmade of 100% cotton. Sized fror watercolor. Neutral pH. Fabriano Studio Watercolor Cotton & sulphite. Sized. Cold Pressed.Neutral pH. Fabriano Tiziano White 100% sulphite. Textured for pastel. White. Neutral pH.
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Roll Drawing & Framing Drawing & Framing Drop Screen Evolon Evolon Evolon Fabriano Accademia
Size G/m2 Price 60 x 20 yards 250 323.00 72 x 20 yards 250 380.00 47" wide - Price per yard 15.00 80 x 20 yards 58 280.00 80 x 15 yards 98 295.00 80 x 10 yards 168 320.00 55 x 11 yards 160 46.00 55 x 11 yards 200 53.00
Fabriano Artistico Traditional White 140 Hot Press 55 x 11 yards 140 Cold Press 55 x 11 yards 140 Rough 55 x 11 yards
300 300 300
230.00 230.00 230.00
Fabriano Artistico Extra White 140 Hot Press 55 x 11 yards 140 Soft Press 55 x 11 yards 140 Cold Press 55 x 11 yards 140 Rough 55 x 11 yards
300 300 300 300
230.00 230.00 230.00 230.00
Fabriano Studio
59 x 11 yards
300
150.00
Fabriano Tiziano White 59 x 11 yards
160
115.00
ART PAPER - ROLLS
Europe & The Americas
Hahneműhle Copperplate BrightWhite
Hahneműhle Copperplate Warm White
Hahneműhle German Etch Black
Kraft
Lenox
Rives BFK
Newsprint
Lanaquarelle
Rives De Lin
No Seam White
No Seam Grey
No Seam Black
Hahneműhle Copperplate Bright & Warm White 100% Sulphite. Printmaking with a light texture. Neutral pH. Hahneműhle German Etching Black 75% Cotton. Dense black with a light texture. Neutral pH. Kraft Lanaquarelle Hot Press Mould-made. 100% cotton fully sized for watercolor. Neutral pH. Lenox Machine-made of 100% cotton. Light texture. Neutral pH. Newsprint Rough & Smooth No-Seam Back Drop Machine-made of sulphite. White Black Grey. Rives BFK Mould-made of 100 % cotton. Lightly sized. Neutral pH. Rives De Lin Mould-made of cotton & linen. Rough surface. Neutral pH. Saint Armand Canal Rag Mouldmade of 100% cotton rag. Exceptionally strong. Neutral pH.
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Saint Armand Canal Rag White
Roll Size G/m2 Hahnemuhle Copperplate 49 x 22 yards 350 German Etch Black 49 x 10 yards 350 German Etch Black 49 x 25 yards 350 Kraft 36 x 25 yards 100 Kraft 48 x 25 yards 100 Kraft 60 x 25 yards 100 Lanaquarelle Hot Press 51 x 11 yards 640 Lenox 60 x 20 yards 250 Lenox 72 x 20 yards 250 Newsprint 36 x 50 yards 60 No-Seam White 107 x 12 yards 185 No-Seam Black or Grey 107 x 12 yards 185 Rives BFK 42 x 10 yards 300 Rives BFK 42 x 20 yards 300 Rives BFK 42 x 100 yards 300 Rives De Lin 52 x 20 yards 350 Saint Armand 11 x 8 yards 250 Saint Armand 21 x 8 yards 250
Paper is fragile ! No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
Price 410.00 340.00 675.00 32.75 44.00 57.60 635.00 335.00 396.00 17.05 61.25 74.50 150.00 300.00 1232.00 540.00 20.00 40.00
ART PAPER - ROLLS
Europe & The Americas Note: papers were scanned on black and white background to show translucency
T.H.Saunders Hot Press White
Stonehenge White
Strathmore Watercolor
T.H.Saunters Cold Press High White Sunray Smooth
Warm White
Natural
Cream
Strathmore Drawinge
Fawn
Kraft
TerraSkin 12 point
Sunray Texture
Pearl Grey
Steel Grey
Black
Yupo
T.H. Saunders Waterford Mouldmade of 100% cotton. Sized for watercolor. Neutral pH.
T.H. Saunders - Traditional White 90 Cold Pressed 42 x 10 yards 185 140 Hot Pressed 60 x 10 yards 280 140 Cold Pressed 60 x 10 yards 280 Stonehenge 200 Hot Pressed 60 x 10 yards 425 Machine-made of 100% cotton. Neutral pH. 200 Hot Pressed 60 x 20 yards 425 200 Hot Pressed 60 x 100 yards 425 Strathmore Alexis 400 Drawing T.H. Saunders - High White Strathmore Alexis 400 Watercolor 140 Hot Pressed 60 x 10 yards 280 Machine-made of sulphite. Neutral pH. 140 Cold Pressed 60 x 10 yards 280 Sunray Smooth & Texture Stonehenge Mouldmade in England of 100% cotton. Lightly sized for printmaking White 50 x 10 yards 250 techniques, yet strong enough for drawing and painting White 50 x 140 yards 250 White 50 x 140 yards 320 Cream/Natural/Warm 50 x 10 yards 250 TerraSkin 12 point Pearl/Steel/Kraft/Fawn 50 x 10 yards 250 Machine-made of 80% calcium carbonate, 20% resin. Black 50 x 10 yards 250 StrathmoreDrawing 42 x 10 yards 185 Yupo StrathmoreWatercolor 42 x 10 yards 300 Synthetic, 100% polypropylene. Waterproof, stain resistant and incredibly strong. White. Neutral pH. Sunray Smooth & Texture 60 x 10 yards 300 TerraSkin 12 Point 40 x 20 feet Yupo 30 x 10 yards 197 Yupo 60 x 10 yards 197
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Paper is fragile ! No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
135.00 250.00 250.00 370.00 660.00 2635.00 270.00 270.00 175.00 1434.00 1598.00 175.00 187.00 244.00 21.00 53.00 250.00 125.00 149.00 94.00
ART PAPERS - Africa
Note: sheets were scanned on black and white background to show translucency
African Mapepa Papers
Handmade in Zimbabwe, South Africa from indigenous fibers. Papermaking has only recently been developed in this area as a means to create new work opportunities for the craftspeople in the communities and villages. These earthy, irregular, textural sheets use local, readily found plants which are quickly replenished, maintaining ecological stability, reducing dependance on the forests and thus, protecting wildlife and other natural resources. The sheets are inconsistent. There will always be variations. All sheets are lignin free and neutral pH. 4 Deckles.
African Mapepa Dung
Dung has been used in African art and rituals for centuries with the belief that the spirit of these wild, respected animals is transferred to the object in which it is used. These animals rely primarily on grasses and bark as their diet. The plants that survive the heat and lack of rainfall of Africa are tough, fiberous and low in nutrition requiring the animal to consume massive amounts and consequently passing much of these difficult to digest fibers in a semi-digested state. In other words, the animal acts as a papermaker's beater to help prepare the fibers! The dung is cooked and mixed with other fibers for stability.
African Mapepa Mulberry Tissue
100% Kozo. Thin, crisp, translucent sheets with exaggerated deckles.
Mapepa Zambeizi Elephant Dung
Mapepa Ncube Pale Terracotta Tissue
Mapepa Bvumbe Blue Tissue
94
Mapepa Giraffe Dung
(on black and white)
(on black and white)
Paper is fragile !
Mapepa Zambezi Tissue
No returns or exchanges are allowed
(on black and white)
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Bhutan
Bhutan Handmade papers Nestled in the Eastern Himalayas, the beautiful Kingdom of Bhutan has been a center of spirituality for various factions of the Buddhist faith. The papermaking traditions in Bhutan reflect the mingling of these different cultures - with influences from Japan, Nepal and Northern India. The most traditional styles are similar to Nepalese papers made on a screen called a tame suki which is constructed of split bamboo. The tame suki allows for excess water and pulp to run through the screen and produces a soft, thick sheet with a pronounced laid surface.Other varieties are made in the Japanese Nagashizuki style where excess pulp is thrown off the side of the screen and results in finer, thinner sheet formations. Sheets are usually dried by couching them directly to the sunny side of the paper mill's outside walls. All papers are neutral pH and have 4 natural deckles.
95
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Bhutan
Note: sheets were scanned on black and white background to show translucency
Tenzin Bhutan HAndmades
Norbu Tenzin was trained in both traditional Bhutanese and Japanese papermaking techniques and is now the owner of The Jungshin Paper Factory in Bhutan. His papers are unsized and totally chemical free.
Bhutan Tenzin Bhutan Tenzin Bhutan Tenzin Bhutan Tenzin Bhutan Tenzin Bhutan Tenzin
Daphne - Japanese style of 100% Bhutanese daphne. Dekar - Japanese style of 100% Bhutanese daphne. Denak - Traditional Bhutanese style of 100% Bhutanese daphne. Egeworthia - Japanese style of 100% Egeworthia (Bhutanese kozo.) Jute - Traditional Bhutanese style of 100% jute. Dark Natural. Mitsumata
Japanese style from 100% mitsumata, these sheets have a soft touch and a slight luster.
Bhutan Tenzin Rural Tsarsho Traditional Bhutanese style of 50% mitsumata & 50% daphne. Distinctive, broad laid surface.
Bhutan Tenzin Rural Tsarsho Dyed & Bleached
Traditional-style, of mitsumata & daphne. These heavy weight sheets have a distinctive, laid surface. Hand dyed with native pigments to beautiful tonalities. As with all hand-dyed sheets, color will vary from batch to batch and even sheet to sheet.
Bhutan Tenzin Shawa
Traditional Bhutanese handmade of mitsumata and creeping vines. Dark brown laid paper, flecked with fine, chocolate bark. Dried on metal to give a smooth finish. Back side is lighter color. Bhutan Daphne Thick
96
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Bhutan
Note: sheets were scanned on black and white background to show translucency
Bhutan Mitsumata White 60 gram
Bhutan Mitsumata Natural 60 gram
Bhutan Mitsumata Thick White 120 gram
Bhutan Mitsumata Thin 10 gram
Bhutan Egeworthia White 45 gram
Bhutan Egeworthia Natural 45 gram
Bhutan Denak Kap Thin 15 gram
Bhutan Denak Kap Medium 30 gram
97
Paper is fragile !
Bhutan Shawa (shows front and back of sheet) No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Bhutan
Note: sheets were scanned on black and white background to show translucency
Bhutan Rural Tsarsho Dyed Khempa
Bhutan Rural Tsarsho Dyed Dama
Bhutan Rural Tsarsho Dyed Tong Fu
Bhutan Rural Tsarsho & Small Sheets
Bhutan Rural Tsarsho Bleached (on black & white )
Bhutan Rural Tsarsho Dyed Green
Bhutan Rural Tsarsho Dyed Yellow
Bhutan Rural Tsarsho Natural (large sheets)
Bhutan Rural Tsarsho Dyed Indigo
Bhutan Rural Tsarsho Dyed Madder
Bhutan Dekar Natural
98
Paper is fragile !
No returns or exchanges are allowed
Bhutan Jute
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Bhutan
Note: sheets were scanned on black and white background to show translucency
Bhutan Khadi Jingshi Tsasho
Khadi Bhutan Handmades
Made by a papermaker called Gonpola in the town of Bomdeling which is a 2-3 hour walk from the nearest road, these sheets are made of denar - which is the Bhutanese variety of daphne.
Bhutan Khadi Denar JDK - Made in the Japanese tradition from Bhutanese daphne. Bhutan Khadi Jingshi Tsasho - Made in the Japanese tradition to mimic the traditional
Bhutanese sheet.
Bhutan Khadi Resho
Traditional Bhutanese handmade. Resho means "cotton" which refers to the use of a cotton cloth over the mould to eliminate the impressions of the bamboo screen.
Bhutan Khadi Tsasho
Bhutan Khadi Tsasho
Traditional-style, Bhutanese handmade of natural lokta fibers. The word "tsasho" translates as "bamboo" which refers to the use of a split bamboo mould. Tone varies from batch to batch.
Bhutan Egeworthia Laminated
Japanese style of 100% Natural Egeworthia (kozo). Two sheets laminated toghether to make this smooth, heavyweight sheet with a lovely, subtle sheen. Natural. Bhutan Khadi Denar JDK
Bhutan Khadi Resho
99
Paper is fragile !
Bhutan Egeworthia Laminated
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - China
Note: sheets were scanned on black and white background to show translucency
Chinese An-Jing Pang Pi Large sheets of Chinese papers arrive lightly folded into bolts, like fabric.
Chinese Papers
China is credited with the invention of paper. The magical substance was so highly prized by the emperor that the secret of its manufacture was closely guarded in order that mere mortals would be unable to possess this amazing creation. Fortunately for the rest of the world, the technique eventually spread all over China and was later learned by the Japanese - who in turn, also became great masters. China and Japan were responsible for the spread of papermaking throughout the East - into Korea, Southeast Asia, Nepal, Northern and Southern India and like the spice and silk trades, into the Western World.
An-Jing Chinese Handmades
Sheets from the Xian County of Anhui Province made following papermaking traditions that have been handed down for over 1000 years. Regarded throughout China as some of the finest papers available, An-Jing papers utilize locally grown bast fibers such as mulberry, blue sandlewood, hemp and dragon whisker grass. All sheets are neutral pH. Sheets arrive folded into bolts which is a traditional method of storing the large sheets. Folds usually come out with use or moisture.
An-Jing Clean Bark
Made from 100% blue sandlewood (bast) fiber. "Clean Bark" refers to the preparation of the fibers where dark, outer bark has been carefully removed, resulting in unbleached sheets with pure, clean tonalities and sheet formation. Sized sheets will hold a crisper line. No deckles.
An-Jing Pang Pi - 100% unbleached mulberry. This giant, strong sheet has a natural tone with flecks and swirls of mulberry fiber. 4 Deckles.
Chinese An-Jing Clean Bark Un-sized 20 gram Chinese An-Jing Clean Bark Sized 20 gram Chinese An-Jing Clean Bark Sized 30 gram
100
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - China
Note: sheets were scanned on black and white background to show translucency
Yuemei CHINESE HANDMADES
Laid papers from Mainland China made from sulphite, Qin-tan (Chinese kozo) and Dao-cao (rice straw) which is added to increase softness and absorbency. Yumei papers are designed for Oriental painting, book arts and printmaking techniques. All papers are Neutral pH and have cut edges.
Yuemei Yuemei Yuemei Yuemei Yuemei Yuemei Yuemei Yuemei
Antique - 100% Qin-tan. Thin, pigment dyed sheets. Dan - Qin-tan and dao-cao fibers. Soft, smooth surface. Very absorbent. Dou Bean - Qin-tan and dao-cao fibers. Smooth surface. Lightly sized. Jing-Pi - Qin-tan fiber. Slightly textured. Sized. 2 ply. Natural white. Mao Bian #3 - Bamboo and Qin-tan fiber made on a very fine laid mould. Pao - Qin-tan and dao-cao fibers. Scratchy surface with flecks of fiber. Tortoise - 100% sulphite. Made on a mould that has a tortoise shell design. Yu-Jade - Qin-tan fiber with some Dao-cao. 2 ply. Sized. Smooth.
Chinese Yuemei Dan Chinese Yuemei Antique - Pearl Grey Chinese Yuemei Antique - Burnt Umber
Chinese Yuemei Tortoise Chinese Yuemei Dou Bean Chinese Yuemei Jing-Pi
Chinese Yuemei Mao Bian #3 Chinese Yuemei Pao Chinese Yuemei Yu-Jade
101
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - China
Note: sheets were scanned on black and white background to show translucency
Yuemei Chinese Handwoven Silks Yuemei Juan Silk
This is not paper!! 100% hand woven silk which has been pre-starched making it possible to paint or print on it directly with all waterbased media.
Yuemei Juan Silk Mounted
100% hand woven, starched silk mounted on paper. Paint on directly or run through your ink-jet printer. Paper-backed silks are hand mounted with water soluble adhesives and can de-laminate if too much water is applied Juan Silk Unmounted Natural (on black at left, on white above)
Juan Silk Unmounted Golden (on black at left, on white above)
Juan Silk Mounted - Golden
Juan Silk Mounted - White
Juan Silk Mounted - Grey
Juan Silk Mounted - Pink
Juan Silk Mounted - Black
Juan Silk Mounted - Blue
Juan Silk Mounted - Lavender
Juan Silk Mounted - Purple
102
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Egypt
seen above from bottom to top: Papryus Fermented - Papryus Lightly Flecked - Papryus Heavily Flecked - Papryus Natural
Egyptian PAPYRUS
Genuine papyrus handmade in Egypt. 4 natural edges. Stems of the papyrus plant are slit into flat strips that are assembled into two layers - one of rows of horizontal strips topped with another of rows of verticle strips. These are then dried in the sun. As the water (H2O) evaporates, the pieces fuse together because the hydrogen atoms bond with each other. No glue or additives are needed. The Egyptians figured this out thousands of years ago and their dry climate allowed this substance to withstand the test of time! Papyrus will accept many techniques: ink, gouache, pencil and most drawing media - just use water sparingly - or the extra hydrogen atoms in the water will cause the sheets to separate once again.
103
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - India
india
The papers of India are as varied as the culture that produces them, from the wildly vibrant decorative marble papers to the simplicity of the more utilitarian, traditional sheets. India first learned papermaking through their contacts with China, Japan and Nepal but developed its own unique style and technique of papermaking based on different artistic requirements and the use of indigenous fibers such as hemp, jute and cotton. These fibers must be prepared differently from kozo or gampi and necessitated the creation of a different style of moulds and vats for the papermaking process. India also invented the use of starch as a sizing as well as polishing sheets with an agate burnisher to reduce absorption and hold fine detail. Because of its location as a major hub in the spice and silk trade, India is credited with the introduction of papermaking techniques into the Western World. Papermaking in India has grown extensively since the 1940’s, when Gandhi helped to establish the first handmade paper factory in Poona utilizing unwanted rags from the garment industry and providing jobs for many of India's poor.
Khadi Indian Handmades
Handmade for Nigel MacFarlane and Barbara Bliss, this collection is a result of their personal interest in the promotion of quality controlled, handmade papers in India, Nepal and Thailand. All have 4 Deckles and are are neutral pH.
104
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - India
Note: sheets were scanned on black and white background to show translucency
Khadi India - Bagasse Smooth
Khadi Indiai - Bagasse Rough
Khadi India - Banana Smooth
Khadi India - Banana Rough
Khadi Indian Handmades
Handmade for Nigel MacFarlane and Barbara Bliss, this collection is a result of their personal interest in the promotion of quality controlled, handmade papers in India, Nepal and Thailand. All have 4 Deckles and are are neutral pH. Color will vary from batch to batch based on the natural color of the raw materials used.
Khadi Indian Bagasse Smooth & Rough - Bagasse Khadi India Chapri Green
(sugar cane) and cotton.
Khadi Indian Banana Smooth & Rough - 100% cotton with flecks of banana bark. Khadi Indian Chapri Colors
Made in the Chapri region in the North of India. 100% cotton sheets made on a special laid mould. Smooth surface..
Khadi Indian Gunny Sack Smooth & Rough - 100% gunny sack. Khadi Indian Mould-made Cotton Text - 100% cotton rag. Khadi Indian Mould-made Gunny Text - 100% gunny sack. Khadi India Chapri Red
Khadi India - Gunny Smooth
Khadi India - Gunny Rough
Khadi India- Cotton Text Medium
Khadi India - Cotton Text Smooth
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Khadi India - Gunny Text Smooth
Khadi India - Gunny Text Medium
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ART PAPERS - India
Note: sheets were scanned on black and white background to show translucency
Khadi India Cotton Colors These sheets are made from 100% ‘khadda’ - handspun cotton rag derived from tailor’s cuttings which makes these sheets exceptionally strong. Internally sized to accept a wide variety of drawing and painting techniques. All have a rough surface, except black - which is available in a rough and smooth. 4 Deckles. Neutral pH.
Khadi India - Almond Cotton
Khadi India - Stone Cotton
Khadi India - Ash Grey Cotton
Khadi India - Powder Blue Cotton
Khadi India - Coffee Cotton
Khadi India - Mango Cotton
Khadi India - Ochre Cotton
Khadi India - Indian Orange Cotton
Khadi India - Indian Red Cotton
Khadi India - Indian Pink Cotton
Khadi India- Parrot Green Cotton
Khadi India - Black Smooth Cotton
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Khadi India - Black Cotton
Khadi India - Violet Cotton
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ART PAPERS - India
Note: sheets were scanned on black and white background to show translucency
Khadi Indian Khadi Indian Sunn Hemp Contemporary
100% hemp from grain bags. Smooth. This is a traditionally made sheet in the style of those made for Indian and Persian miniatures. Strong, smooth finish with wheat starch sizing. Natural.
Khadi Indian Watercolor
Handmade at a mill established in Karnataka, South India. These sheets are made from 100% ‘khadda’ unbleached, handspun cotton rag derived from tailor’s cuttings, which gives these sheets their exceptional strength. All are tub sized with gelatine. Neutral pH. 4 deckles. Khadi India - Sunn Hemp Contemporary
Khadi India - Watercolor Rough
Khadi India - Watercolor Smooth
Khadi India - Watercolor Packages
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ART PAPERS - India
Note: sheets were scanned on black and white background to show translucency
MHK Jute Indian Handmades
Made by Mohammed Hussein Khagzi, these 100% jute papers are made using the most traditional Indian methods of papermaking. Single weight sheets are formed on a chapri (laid) mould and are laminated together during the papermaking process to create heavier sheets. They are brushed onto exterior plaster walls to dry. A dilute starch solution is used as a surface sizing and the sheets have been polished with an agate burnisher to a beautiful, soft sheen. Very beautiful and unusual. All neutral pH with 4 deckles.
MHK Jute Lightweight - Single-weight sheets. Natural tone. MHK Jute Heavyweight - Double weight sheets made by laminating two single-weight sheets together. Natural tone. MHK Jute Heavyweight Stained - Double weight sheets that have been stained with an irregular wash of brown earth.
India - MHK Jute Stained
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ART PAPERS - India
Note: sheets were scanned on black and white background to show translucency
Indian Sanganeer Allah Bux Jute
Sanganer indiaN handmades
Handmade in the Sanganeer region of India. Exceptionally strong and multi-purpose. Neutral pH. 4 deckles. Indian Sanganeer Salin Sunn Hemp
Indian Sanganer Allah Bux Jute 30% Jute, 70% Cotton. Warm grey tone. Cold Pressed surface
Indian Sanganer Grass Jute, Cotton. and wild grass. Light grey speckled with grass. Cold Pressed.
Indian Sanganer Kagzi Jute 70% Jute, 30% Cotton. Warm light grey speckled with fibers. Cold Pressed.
Indian Sanganer Salim Sunn Hemp 70% sunn hemp, 30% cotton. Warm light tan with hemp fibers. Cold Pressed.
Indian Sanganer Rajastan Straw
100% cotton with straw inclusions. Smooth. White
Indian Sanganer Wool
100% cotton. White with fine, multi- colored wool threads. Indian Sanganeer Kagzi Jute
Indian Sanganeer Rajastan Straw
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Indian Sanganeer Wool No returns or exchanges are allowed
Indian Sanganeer Grass order: 800-950-6111 or: 212-473-7705.
ART PAPERS - India
Note: sheets were scanned on black and white background to show translucency
Shizen indiaN handmades Indian Shizen Watercolor Rough 100% Cotton rag, internally and externally sized for watercolor. Rough surface. 4deckles. Neutral pH.
Indian Shizen Pastel Colors 100% Cotton rag with light sizing and a soft, smooth surface. Neutral pH. 4 deckles.
Indian Shizen Watercolor Rough
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Indian Shizen Pastel - White No returns or exchanges are allowed
Indian Shizen Pastel - Ivory order: 800-950-6111 or: 212-473-7705.
ART PAPERS - India
Indian Shizen Pastel - Green
Indian Shizen Pastel - Black
Note: sheets were scanned on black and white background to show translucency
Indian Shizen Pastel - Tan
Indian Shizen Pastel - Cocoa
Indian Shizen Pastel - Army Green
Indian Shizen Pastel - Grey
Indian Shizen Pastel - Purple Grey
Shizen indiaN handmade in Packages Indian Shizen Watercolor 100% Cotton rag sized for watercolor. Circles, squares and rectangles in 5 sheet celo-packs.
Indian Shizen Pastel Colors 100% Cotton rag with light sizing and a soft, smooth surface. In packages of 25 sheets.
Indian Shizen Pastel - Blue
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ART PAPERS - India
TaJa indiaN handmades 100% Cotton rag sized for watercolor. Cold press surface. Color of sheets changes with the specific batch of cotton rag use to make the sheets 4 Deckles. Neutral pH.
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ART PAPERS - India & Indonesia
Note: sheets were scanned on black and white background to show translucency
Indian Lime Text & Cover
Indian Jute & Silk
India Jute & Silk
Handmade sheets of jute and white silk threads. Soft, durable surface. No deckles.
India Lime Text & Cover
Handmade sheets of 100% cotton rag with a smooth surface. Intense, lime color. Text sheets have no deckles, cover weight has 4 Deckles.
India Saakaar Banana Handmade
Handmade sheets of 100% banana that have a wonderful crispness and have a smooth surface. 4 Deckles. Neutral pH.
Indonesia Bamboo Writing
Indian Saakaar Banana Heavyweight
Indonesian handmades
Indonesia Bamboo Writing
Bamboo and mixed fiber. Light tan with fabric-like texture. No Deckles.
Indonesia Silk
Indonesian kozo. A very crudly made, yet charming tissue weight sheet. No Deckles.
Indonesia Silk
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ART PAPERS - Japan
Japanese Papers
No other culture has used paper for as many different purposes as has the Japanese. Specific papers are made for lanterns, room dividers, screens, clothing, fans, toys, wallets, wrapping, painting and calligraphy, to name just a few. The exceptional respect for nature and harmony, beauty and tradition that the Japanese exhibit toward all things is evident in their skill and attitude toward papermaking. In keeping with the philosophy of Zen, the purest white sheet should reflect the beauty of the natural fiber as well as the inner harmony of the papermaker. The demand for Japanese papers has resulted in the mechanization of many traditional methods. However, hand papermaking techniques which require the fibers to be washed, cooked and formed into sheets are still practiced according to family tradition in many rural areas. Each paper has its own character, like the personal signature of the individual papermaker, and is therefore difficult to duplicate from generation to generation. The natural fibers used in Japanese papermaking – kozo, gampi, and mitsumata, are extremely durable and strong. The papers are usually unsized as papermakers prefer to vary the fiber content to create different weights and levels of absorption. They are excellent for wood block printing, oriental watercolor painting and calligraphy, chine colle and rubbing craft. The variety of surfaces and colors also offer a wide range of possibilities for collage, and decorative and display purposes. Because of their strength and purity, many of the lighter weight sheets are extensively used for paper restoration.
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A R T PA P E R S - J a p a n
Properties of Fibers & Methods used in Japanese Papers Kozo - Kizukishi
Kozo is a variety of mulberry that grows wild in Japan. The word, kizukishi, means that a paper is made from 100% kozo. The kozo fiber is long and very tough, making it versatile for both thick and extremely thin sheets. Kizukishi sheets are remarkably strong and crisp, regardless of their weight. For example, Tengucho, made on a silk covered bamboo mould, is one of the thinnest papers, yet it is used extensively for repair and relining paintings. Variations in climate yield different characteristics in the kozo and, consequently, in the resulting sheets. Papers are often identified with a particular area because of the kozo that has been used to make it as well as for the reputation of its papermakers. Kozo grown in colder climates tends to yield sheets that are more resilliant and crisp, while kozo from warmer areas has more bulk and produces sheets with softness and greater absorbency. The natural tone of 100% kozo sheets results from the preparation of the fiber. The bark is made up of three layers: Kurokawa- the black outer layer, Nazekawathe green middle layer and Shirokawa - the white inner layer. In most cases the kurokawa is completely stripped off and the nazekawa is carefully scraped away with a knife. If a natural tone is desired, some of the nazekawa will be left behind before the kozo is dried. The dried bark is soaked and cooked in an alkali solution to soften the fibers and then rinsed and cleaned once again. For the whitest sheets possible, the pulp is bleached using natural processes such as sun or snow or chemically treated with sodium hypochlorite. A few papers have the addition of the black kurokawa which deepens the color and produces remarkable, rich tonalities.
Gampi
A bast fiber plant with long, thin, shiny fibers of uniform thickness. Although gampi grows wild in much of the Far East, it cannot be cultivated - making it difficult to harvest. In order to produce clear, even sheets, all preparation must be done by hand. This has resulted in a sharp decline in its use for paper making. Gampi yields a strong, crisp sheet that is translucent with almost no visible fibers. These papers have a very smooth surface with a satin-like sheen that becomes more apparent as the sheet becomes thinner.
Mitsumata
For centuries, mitsumata was the preferred material for calligraphy and gold-leaf papers. A bast fiber shrub which mostly grows in Western Japan and other Far Eastern countries, it is flexible and elastic and its fibers are of uniform thickness with blunt ends. It has a shorter fiber length than kozo or gampi which produces a more absorbent, softer sheet with a smooth, lustrous surface similar to gampi. Mitsumata in its natural tone has a distinctive pink cast.
Hemp
A strong bast fiber similar to linen, but with a tendency to split during the beating process, producing a harder, coarser paper with a scratchy surface. One of the oldest recorded fibers used for making paper.
Sulphite & Sulphite Blends
Sulphite is chemical wood-pulp obtained by cutting wood into small pieces and cooking it with calcium bisulphate or sodium sulphite to remove natural resins and break down the cellulose fibers. Sulphite has a short fiber length so Japanese papers with high percentages can be less strong than those of kozo, gampi or mitsumata. However, the sulphite increases bulk, softness and absorbency, - which are important qualities for a variety of techniques. Hosho - one of the sheets preferred by Ukiyo-e printers, usually contains high percentages of sulphite.
Dosa Sizing & Un-sized
Most Japanese papers are unsized, a few have internal or external sizing. The traditional sizing used is dosa - an animal based gelatine.
Handmade, Mould-made & Machine-made papers
Regardless of the fibers used or the addition of sizing, the method of formation also affects the resulting paper. Machine processes will produce sheets that are harder than those made by hand even if they have the exact same fiber content. Unlike Western fibers, much of the preparation of kozo, mitsumata and gampi must be done by hand and because the majority of Japanese art papers sheets are thinner than Western, the machines often run at slower speeds, allowing for even, consistent sheet formation.
Selecting Japanese Papers
It can be a daunting task to select Japanese papers when you can see and touch the actual sheets. To select from written descriptions requires that you take the time to look carefully for atributes that are important to your purpose. If size or weight is a major consideration, the lists on the next page may help to narrow your search. Those looking for large formats should also see the Roll Section of this catalog. If strength is also a factor, consider sheets with higher percentages of kozo, gampi or mitsumata.
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A R T PA P E R S - J a p a n papers in traditional scroll formats seen below
size paper
Mura Udaban
Jougami
Uda-Gami
Uwa Senka
Okawara
Mizota Udaban
Gampi Udaban
Uda-Gami
Japanese Papers Arranged by Size size paper
size paper
size paper
size paper
4 x 6 5 x 5½ 6 x 8 7 x 10 7 x 10 7½ x 7½ 7¼ x 18½ 8 x 11½ 8½ x 11 8½ x 11¾ 8½ x 8½ 9 x 12 9½ x 10½
9½ x 11½ Izumo Mingei 9½ x 11½ Shikishi 10 x 13 Taniai 10 x 13¾ Mohachi 10 x 14 Shojoshi 11 x 15 Kakishibu-Shi 11 x 15¼ Ogunigami 11¼ x 15 Oguni Chiri 11¾ x 16½ Gampi Tissue 12 x 16 Kikuchi 12 x 16 Okawara 12 x 16 Uwa Senka 12 x 24 Mizota Hanban
12½ x 18 Nara Fukinushi 12½ x 18 Shojoshi 12½ x 19½ Izumo 12½ x 57 Mizota Udaban 12½ x 58 Uda-Gami 12½ x 58 Uda-Gami Thin 13 x 15 Tamura Koban 13½ x 16 Kozo Koban 13½ x 16 Mura Rokubu 14 x 38 Okawara 14 x 38½ Uwa Senka Long 15½ x 17¾ Kozoshi 14 15½ x 19 Tosa Kasagami
16 x 20 16 x 22 16 x 25 16 x 56 16 x 56 16½ x 22 16½ x 22 16½ x 22½ 17 x 22 17 x 23 17 x 23½ 17½ x 22 17½ x 25½
Shojoshi Shikishi Mini Etchu Card Mura Binsen Yukyu Natural Kakishibu-Shi Jougami Mitsumata Letter Mohachi Shojoshi Mohachi Hanshi Shikishi Kochi
Kitakata Hosho Student Mohachi Gampi Udaban Mura Udaban Hosho Kozo Hosho Natural Gampi Bicchu Iyo Glazed Gampi Yamaguchi Dry Tear Tissue Gampi Yamaguchi Gasench
18 x 21½ Iwano Hosho 18 x 24 Gampi Yamaguchi 18 x 24 Silk Tissue 18 x 25 Okawara Student 19 x 24 Hosho Professional 20 x 25 Iwano #35 20 x 26 Kochi 20 x 26 Toyama 20 x 26 Kozoshi DHM13 20 x 30 Shikibu Gampis 20 x 31¾ Gampi PP19 20½ x 28 Sekishu-Hanshi 21 x 28½ Sekishu Gampi 21 x 29 Goyu 21 x 30½ Tengucho HM 21 x 31 Gampi Double-Sided 21 x 31 Izumo Mitsumata 21 x 31 Masa 21 x 31 Morisa 21 x 31 Torinoko HM 21½ x 31 Gifu 21½ x 38½ Mitsumata Pink 22 x 22 Mohachi 22 x 27½ Mitsumata Tissue 22 x 30 Gampi Torinoko 22 x 30 Kozo Gampi 22 x 30 Mohachi 22½ x 35¼ Hosokawa Ohban 23½ x 35 Rayon M0321 24 x 33½ Gampi Yuki 24 x 33½ Mulberry 24 x 35½ Shikibu 27 & 11 24 x 36 Hosho Professional 24 x 36 Hosokawa Student 24 x 36 Kizukishi 24 x 36 Nishinouchi N1 24 x 37 Sugikawashi 24 x 37 Lens Tissue 24 x 39 Kizuki Kozo 24 x 39 Sekishu 24.8 x 37 Gampi Unryu-shi 24½ x 39 Kaji Natural 24½ x 36 Zairai 24½ x 38½ Gampishi Usuyou 24½ x 38½ Kankoshi 24½ x 38½ Kozoshi HK 24½ x 38½ Shoji 24¾ x 35¼ Kozo Gampi 24¾ x 36½ Salago K 24¾ x 37 Akatosashi 24¾ x 37 Gampi F1 24¾ x 39 Inshu Kozo 003 24¾ x 39 Inshu Kozo 005 25 ¼ x 36¼ Hon Mino 25 x 33 Tosazome Purple 25 x 34½ Gifu 25 x 35 Harukaze SH4 25 x 36¼ Hon Mino 25 x 37 Gampi F2 25 x 37 Gampi Layered 25 x 37 Gampi Smooth #43
continued next page
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A R T PA P E R S - J a p a n Japanese papers arranged by size - continued from previous page size paper
size paper
size paper
size paper
size paper
25 x 37 Gampi Toyo 25 x 37 Gozen Sized 25 x 37 Inshu Kozo 016 25 x 37 Inshu Mitsumata 25 x 37 Kikura Kozo 25 x 37 Kozo Moriki 25 x 37 Kozuke White 25 x 37 Manila Hemp 25 x 37 Mitsumata / Salago 25 x 37 Mitsumata Fuji 25 x 37 Mitsumata Umeda 25 x 37 Rayon Gauze 25 x 37 Shikibu Gampi-shi 25 x 37 Shikibu Kizukishi 25 x 37 Tengucho CT
25 x 37 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38
25 x 38 Shigure SH15 25 x 38 Shikoku Gampi 25 x 38 Shiramine 25 x 38 Silk Tissue 25 x 38 Takefu 25 x 38 Tengucho 25 x 38 Tosa Kozo #8 25 x 38 Vegetable Papers 25 x 38 Walnut Kururu 25 x 38 Yame Kozo 25 x 38 Yuku-shi 25 x 38½ Honen Sized 25 x 38½ Inshu Gampi 01 25 x 38½ Sakamoto 25 x 38½ Senka-Shi
25 x 39 25½ x 38 25½ x 34½ 25½ x 38 25½ x 38½ 26 x 38 26 x 39 26½ x 38 27½ x 39 27½ x 53½ 28 x 53½ 28½ x 41 29 x 56 29½ x 40 29½ x 55
Kiraku Kozo Tosa Hanga Kozoshi Uwazen Kozo Misumi Hon-Mino Echizen Hanga Kawashi Inshu Rydudou Hosho Iyo Kihosen Kana Iwano #17 Nishinouchi Nishinouchi Seichoshi Seichosen
29½ x 55 Seiko-Sen 29½ x 56 Otoshi Medium 30 x 56 Daitoshi 31 x 43 Torinoko Brushstrok 31 x 47 Mohachi 36 x 72 Torinoko MM 38 x 74 Okawara MM 42½ x 77½ Iwano 60 x 84 Mashi Thick
gram paper 30 Sekishu 30 Senka-Shi HM35 30 Tamura Koban 30 Walnut Kururu Kozo 31 Gampi HM 5 31 Kozoshi M0207-2 32 Gampi Smooth #43 32 Seichosen 32 Seiko-Sen 33 Inshu Rydudou 33 Mizota Hanban 33 Otoshi Medium 35 Gasenchi Echizen 35 Honen Sized 35 Inshu Kozo 016 35 Izumo Mingei 35 Kiraku Kozo 35 Kozoshi HK0023 35 Mura Rokubu 36 Gampi Yamaguchi 36 Kozoshi MM2 36 Ogunigami 36 Zairai 38 Harukaze SH4 38 Senka-Shi HM36 39 Hosokawa Student 39 Yukyu Natural 40 Gozen Sized 40 Hosokawa Ohban 40 Iwano #19 #5 40 Kozo Moriki 40 Mingei-shi Colors 40 Vegetable Papers 40 Yatsuo 41 Yuku-shi Snow Bleached 43 Kizuki Kozo 44 Kikura Kozo 44 Kozoshi M0202
gram paper 44 Kozuke White 44 Senka-Shi HM37 45 Daitoshi Extra-Thick 45 Echizen Hanga Dosa 45 Gampi Yuki 45 Gifu 21 45 Iwano Shikoshi Colors 45 Kakishibu-Shi Kozo 45 Mingei-shi Natural 45 Mulberry 45 Nishinouchi N0001 45 Shoji 46 Okawara Student 46 Tosa Kasagami 49 Seichoshi-Homare 49 Uda-Gami HM41 50 Gampi F1 50 Gampi Layered 50 Gampi Udaban 50 Goyu 50 Iwano #17 50 Katazome Genshi 50 Rayon M0321 50 Tosa Kozo #8 55 Inshu Rydudou5 55 Kozo Koban 55 Kozoshi HK0027 55 Uwa Senka 56 Kozoshi M0206 M0207 60 Gifu Mino Colors 60 Iwano #30 60 Nishinouchi N0003 60 Oguni Chiri 60 Okawara MM 60 Torinoko Brushstrokes 60 Toyama 64 Mura Udaban 65 Hosho Iyo
gram paper 65 Salago K 70 Izumo Mitsumata 70 Kawashi 70 Masa 70 Morisa 75 Gampi Double-Sided 79 Kozoshi Uwazen 80 Kozoshi M0207-3 80 Sakamoto 80 Sugikawashi 83 Kankoshi HK0062 85 Hosho 85 Iwano #24 #34 #32 #33 85 Iyo Glazed 90 Gampi Unryu-shi #1 90 Tosa Hanga 95 Hosho Student Grade 100 Gampi Torinoko 100 Kikuchi 100 Takefu 109 Kochi 110 Mashi 110 Sakamoto Heavy 110 Shiramine 116 Kozoshi Misumi 1 118 Kozo Gampi 120 Shikoku Gampi 125 Torinoko Handmade 132 Kozoshi Kochi-Shi 176 Kozo Gampi 185 Mohachi Handmade 194 Kozoshi DHM14 200 Iwano #35 200 Shojoshi 240 Torinoko MMN 300 Etchu Card 300 Mohachi Handmade 300 Shikishi 500 Mohachi Handmade
Yatsuo Gampi C Gampi HM 5 Gampi MM Gifu Kakishibu-Shi Katazome Genshi Kihada Kozo Dyed Kozoshi HM Kozoshi MM Mingei-shi Mino-Gami HM3 Misu with Clay Mulberry Sansui SH8
Japanese Papers Arranged by Gram Weight gram paper 5 Tengucho Thin 9 Lens Tissue 9 Tengucho CT 9 Tengucho 10 Gampishi Usuyou 10 Silk Tissue 11 Hon Mino HP04 11 Tengucho Handmade) 12 Dry Tear Tissue 12 Gampi Tissue A3 13 Gampi C - HM33 13 Shikibu Gampi-shi 13 Yuku-shi Snow 14 Kizukishi 14 Kochi Natural 15 Gampi Bicchu 15 Gampi MM 18 &19 15 Hon Mino HP02 16 Manila Hempe 16 Yame Kozo Hadakura 16 Yuku-shi 17 Inshu Kozo 003 17 Sekishu Gampi HP60 18 Shikibu Kozo Dyed 19 Hon Mino HP05 20 Dry Tear Tissue 20 Gampi F2 20 Gampi MM20 20 Gifu 14 Moon Peach 20 Gifu 18 Washi Sized 20 Gifu Green Tea 20 Hanshi 20 Inshu Gampi 01 20 Inshu Kozo 005 20 Inshu Mitsumata 20 Izumo Mitsumata-shi 20 Misu with Clay 20 Mitsumata Letter
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gram paper 20 Mitsumata Tissue 20 Shikibu Mitsumata 21 Gampi Yamaguchi 21 Kikura Kozo 21 Kozoshi HM2 21 Sekishu-Hanshi 22 Kozoshi M0203 22 Taniai 24 Gampi Toyo MM24 24 Kaji Natural 24 Kozoshi MM1 24 Mino-Gami HM3 24 Mitsumata & Salago 24 Mitsumata Fuji 24 Mitsumata Umeda 24 Mura Binsen 24 Sansui SH8 25 Akatosashi 25 Gifu 08 25 Nara Fukinushi 25 Nishinouchi N0004 25 Rayon Gauze 25 Shigure SH15 26 Shikibu Gampi-shi 26 Shikibu Kozo-shi 27 26 Uda-Gami Thin 27 Yuku-shi Snow Bleached 28 Gampi Yamaguchi 28 Kihosen Kana Writing 29 Mitsumata Pink & Grey 30 Gampi Yamaguchi 30 Gifu 02 30 Hon-Mino HP01 30 Jougami 30 Kihada Kozo Dyed 30 Kitakata 30 Kozoshi HK0022 30 Nishinouchi N0002
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A R T PA P E R S - J a p a n
40 grams
5 grams
35 grams
10 grams
30 grams
15 grams
25 grams
20 grams
Incremental weights of Japanese papers scanned on decorative and black background to illustrate relative translucency
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A R T PA P E R S - J a p a n
80 grams
45 grams
75 grams
50 grams
70 grams
55 grams
65 grams
60 grams
Incremental weights of Japanese papers scanned on decorative and black background to illustrate relative translucency
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AR A RT T PP A A PP E E RRSS -- JJaappaann
Note: sheets were scanned on black and white background to show translucency
Japan Akatosashi
Handmade of 70% Thai kozo harvested at a specific time to create this deep natural sheet. Made in the Kochi Prefecture. Neutral pH. 4 Deckles.
Japan Daitoshi Extra-Thick
Handmade. Kozo mix. Made by Yasushi Ozaki in the Kochi Prefecture. 4 Deckles. Neutral pH.White. As is traditional in Japan, Daitoshi arrives from Japan lightly folded into a bolt.
Japan Dry Tear Hinging Tissue
Machine-made. Japanese Kozo. Archival paper with assorted sizes of tear lines to use for hinging and repair. No Deckles. The hinging tissue can also be used for more decorative effects in chine colle and collage.
Japan Echizen Hanga Dosa
Handmade. Kozo and wood pulp. Dosa sized to reduce bleeding. 4 Deckles. Neutral pH. Natural.
This is a sturdy and beautiful sheet. The dosa sizing allows this paper to work for more Western techniques and digital prints.
Japan Etchu Card
Handmade. 100% kozo. Small, heavy-weight card has distinctive laid lines from the papermaking screen. Neutral pH. 4 deckles. White . Akatosashi
Daitoshi Extra-Thick
Echizen Hanga Dosa
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Dry Tear Hinging Tissue 12 gram
Dry Tear Hinging Tissue 20 gram
Etchu Card No returns or exchanges are allowed
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A R T PA P E R S - J a p a n
Note: sheets were scanned on black and white background to show translucency
Japan Gampi Bicchu Torinoko Handmade
Handmade. 100% gampi and hand-dyed with natural, vegetable dyes. These stunning, small sheets are remarkable for their beautiful tones and lustrous surface. Dried on antique wooden planks, their surface is embossed with a subtle "ghost" of the woodgrain. Neutral pH. 4 Deckles.
Gampi Bicchu 71 Natural
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Gampi Bicchu 8 Pinkl
Gampi Bicchu 6 Rose
Gampi Bicchu 9 Plum
Gampi Bicchu 12 Beige
Gampi Bicchu 10 Carnelian
Gampi Bicchu 5 Grey
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A R T PA P E R S - J a p a n
Note: sheets were scanned on black and white background to show translucency
Gampi Bicchu 4 Walnut
Gampi Bicchu 2 Dark Tan
Gampi Bicchu 13 Deep Ochre
Gampi Bicchu 3 Umber
Gampi Bicchu 1 Tan
Gampi Bicchu 14 Light Ochre
Japan Gampi MM18 Natural & MM19 White - Hiromi Collection Japan Gampi MM20 Natural & White Machine- made of 100% Japanese gampi. Extra fine quality. Neutral pH. 2 Deckles, 2 cut edges.
Japan Gampi Double-Sided
Two sheets of machine-made, 100% Philippine gampi laminated together. Neutral pH. No deckles.
Japan Gampi F1 & F2
Machine-made. 100% gampi. Neutral pH. 2 Deckles. Natural. Gampi MM18 Natural
Gampi MM19 White
Gampi MM20 White
Gampi MM20 Natural
Gampi Double Sided
Gampi F2
Gampi F1
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A R T PA P E R S - J a p a n
Note: sheets were scanned on black and white background to show translucency
Gampi-C HM33
Gampi HM5
Japan Gampi-C HM33 Natural - Hiromi Collection Handmade. 100% Gampi. Neutral pH. 4 Deckles.
Japan Gampi HM5 Off-White - Hiromi Collection
Handmade. 90% Gampi, 10% Kozo. Neutral pH. 4 Deckles. Off-white.
Japan Gampi Layered
Machine-made. 100% gampi tissue mounted onto sulphite base. Neutral pH. 2 Deckles. White
Japan Gampi Smooth 43
Machinemade. Gampi with flecks of bark. Neutral pH. No Deckles.
Japan Gampi Tissue A3 Gampi Layered
Handmade of 100% Japanese gampi. Small, A3 format sheets. Neutral pH. 4 deckles. Natural.
Japan Gampi Torinoko White & Natural
Handmade of 100% Philippine gampi. A recreation of paper made by the late Masao Seki by Kensho Ishimoto of the Kochi Prefecture. Opaque sheets dried between metal plates to create a smooth, shimmering surface. 4 Deckles. Neutral pH.
Gampi 43
Gampi A3
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Gampi Torinoko Natural order: 800-950-6111 or: 212-473-7705.
A R T PA P E R S - J a p a n
Note: sheets were scanned on black and white background to show translucency
Japan Gampi Toyo Natural MM24
Machine-made. 95% Philippine gampi 5% straw. Neutral pH. 2 Deckles. Natural.
Japan Gampi Udaban
Handmade. 100% gampi. Smooth with a pronounced laid pattern in a scroll format. Neutral pH. 4 Deckles.
Japan Gampishi Usuyou - Machinemade of 100% Gampi. 2 Deckles. Neutral pH. Japan Gampi Unryu-shi #1
Machinemade. Smooth, lustrous natural background with inclusions of gampi bark. 2 Deckles.
Japan Gampi Yamaguchi
Handmade from 100% Japanese gampi. Conservation quality, lustrous surface. Neutral pH. 4 deckles.
Japan Gampi Yuki
Handmade from 100% Philippine gampi. Neutral pH. 4 deckles. Gampi Toyo MM24
Gampi Udaban
Gampi Usuyou Natural
Gampi Usuyou Milk Whit
Gampi Yamaguchi 21 gram
Gampi Yamaguchi 28 gram
Gampi Unryu-shi #1
Gampi Yamaguchi 30 gram
Gampi Yamaguchi 36 gram
Gampi Yuki
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A R T PA P E R S - J a p a n
Gifu 02 Kozo Natural
Gifu Green Tea Light Tone
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Gifu 08 Kozo White
Gifu Green Tea Deep Tone
Gifu 18 Washi Sized
Gifu 14 Moon Peach Medium
Gifu 21 Moon Peach Heavy
Japan Gifu Machine-mades
Machine-made in the Mino Prefecture, these economical sheets are internally sized making them useful for many techniques including ink jet and laser printing. All are blends of kozo and sulphite and are double sided - with one smooth and one lightly textured. Neutral pH. No deckles.
Gifu Mino 300 - Pure White
Gifu Mino 24 - Taupe
Gifu Mino 30 - Clay
Gifu Mino 326 - Wild Grape
Gifu Mino 23 - Silver Grey
Gifu Mino - 27 Curry
Gifu Mino - 302 Fire
Gifu Mino 25 - Lavender
Gifu Mino 301 - Teal
Gifu Mino 29 - Mountain Apple
Gifu Mino 28 - Roasted Tea
Gifu Mino 26 - Plum
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A R T PA P E R S - J a p a n
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Japan Gasenchi Echizen
Handmade from mitsumata and sulphite. Neutral pH. Laid tissue weight. No deckles. White.
Japan Goyu
Handmadeof kozo and sulphite pulp. Neutral pH. Soft surface. 4 deckles.
Japan Gozen Sized
Handmade from 100% Japanese kozo. Internal sizing allows for absorbency without excessive bleeding. Neutral pH. 4 deckles.
Japan Hanshi
Machinemade from sulphite. Lightweight, student grade sumie paper. Cut edges. 100 sheet packages.
Japan Harukaze SH4 - Hiromi Collection
Mould- made of 20% Bleached Kozo, 80% Sulphite. Neutral pH. 2 Deckles, 2 torn edges.
Japan Hiryu SH12 - Hiromi Collection
Mould-made of bleached kozo, black kozo, sulphite and recycled paper. Neutral pH. 2 Deckles, 2 torn edges.
Japan Honen Sized
Machine-made from Kozo and sulphite. Neutral pH. Sized, smooth surface. 2 deckles.
Honen was a favorite at Aiko's in Chicago. Gasenchi Echizen
Goyu
Gozen Sized
Hanshi
Harukaze SH4
Hiryu SH12
Honen Sized
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A R T PA P E R S - J a p a n
Hon Mino HP01 - 30 gram
Hon Mino HP02 - Uso 15 gram
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Hon Mino HP04 - Thin 11 gram
Hon Mino HP05 - Chochin 19 gram
Japan Hon-Mino-Gami - Hiromi Collection HP01-5
Mino-Gami papers have been highly praised since the year 702 when their quality won them the honor of being used for official documents. In 1969, the techniques of Hon-Mino-Gami were designated as Important Cultural Properties and five members of this community were selected as National Living Treasures of Japan. The papers listed below are made by students of these five papermaking masters, including Mr. and Mrs. Furuta - who continued to make these grades well into their 80's. They are of 100% Nasu Kozo which is grown in the Ibaragi Prefecture and has a shorter fiber than other kozo. This kozo gives these sheets their special texture and warmth. Sheets are formed in the winter months only as the cool temperatures result in a much finer, crisper sheet. New York Central and Hiromi International are honored to be exclusive distributors of these rare, beautiful papers in the United States. All are off-white and have 4 Deckles. Neutral pH. Traditional names have been given to each grade, however, the only difference is the weight of the paper. Color can vary from the specific batch of kozo harvested.
Mino Gami is one of three groups of papers designated as an Important Intangible Cultural Treasure by the Japanese Government.
Japan Hon Misu-Gami Handmade in the Nara Prefecture, Hon Misu-Gami was chosen as a "selected traditional technique" by the Japanese Ministry of Culture in 1977. These sheets are made by Ryoji Uekubo - the only remaining paper maker who follows the traditions that have been in his family for generations. Misu-gami is made of 100% Tosa kozo with the addition of gofun - ground seashell - which helps to reduce expansion and shrinkage when wet. The sheets are also dried using an unusual method called subuse where the wet sheets are placed directly from the Su (bamboo screen) onto the drying board instead of the regular process of stacking the wet sheets and pressing overnight. The subuse method creates finished papers that are much softer. These soft and dimensionally more stable sheets are especially good for prints with multiple registration and for mounting - such as scroll backing.
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HOSHO
Hosho translates as "document paper" which reflects the tradition of its use. Originally made during the 14th century of 100% kozo, hosho was considered a luxury item reserved for the aristocracy. Over the years, many varieties of hosho have been made, adding sulphite pulp for softness and absorbency. Hosho was the preferred paper for Ukiyo-e printmaking.
Japan Hosho Professional Handmade of sulphite. Neutral pH. One side smooth, one cold pressed. 4 Deckles. White.
Japan Hosho Kozo - Handmade of 100% Japanese kozo. Neutral pH. Unsized. 4 deckles. Japan Hosho Natural - Handmade of sulphite pulp. Neutral pH. Soft white. 4 Deckles. Japan Hosho Student Grade - Handmade of sulphite, scratchy surface. Neutral pH. 2 Deckles. Hosho Professional
Japan Hosho Iyo - Handmade from kozo and sulphite. Neutral pH. 4 deckles. Japan Hosokawa Ohban
Handmade from 100% Hosokawa kozo. Neutral pH. Smooth surface. 4 deckles. Dark natural with fine visible fibers and flecks. 4 deckles.
Hosokawa is known for its kozo. This sheet is remarkably strong! It also has a beautiful sheet formation, with fine lustrous fibers. Hosokawa washi is one of three groups of papers designated as an Important Intangible Cultural Treasure by the Japanese Government.
Japan Hosokawa Student
Handmade in the Hosokawa Prefecture of 70% Thai kozo & 20% sulphite. Neutral pH. 4 deckles.
Hosho Kozo
Hosho Natural
Hosokawa Ohban
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Hosho Student
Hosho Iyo
Hosokawa Student No returns or exchanges are allowed
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Inshu Gampi 01
Inshu Kozo 016
Inshu Kozo 003
Inshu Kozo 005
Inshu Mitsumata White
Inshu Mitsumata Natural
Inshu Rydudou 33 gram
Inshu Rydudou 55 gram
Inshu Prefecture
Known primarily for industrial papers, the Inshu Prefecture also has papermakers with exceptional skills using the finest quality materials.
Japan Inshu Gampi 01
Handmade of 100% Japanese gampi. The papermaker imploys few modern techniques and prepares his gampi using a handmade mallet. Thin, sheer tissue. Neutral pH. 4 Deckles. Natural.
Japan Inshu Japan Inshu Japan Inshu Japan Inshu
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Kozo 003 & 005 - Handmade of 100% Japanese kozo. Conservation quality with an almost lustrous surface. Neutral pH. 4 Deckles. Kozo 016 - Machine-made. Smooth finish with excellent sheet formation. Neutral pH. 2 Deckles. Off-White. Mitsumata Natural & White - Handmade. 100% Mitsumata. Smooth, crisp tissue. Neutral pH. 4 Deckles. White and Natural. Rydudou Kozo - Mould-made of 100% Thai kozo. Conservation quality with an almost lustrous surface. Neutral pH. 4 Deckles.
Paper is fragile !
No returns or exchanges are allowed
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A R T PA P E R S - J a p a n ART PAPERS - Japan
Iwano Handmades
National Living Treasure Mr. Heizburo Iwano is known throughout Japan as one of the last papermakers to specialize in thick, large scale sheets for printing, calligraphy and conservation. Of the few papermakers who have supplied us with large format sheets in the past, some have now died, while others are too old to continue to make them. Iwano Handmades are exceptional not only in their scale, but in their quality and consistency -attributes that result from generations of papermaking skills that have been handed down within the Iwano family. Truly some of the finest papers available in the world today! All sheets are neutral pH and have 4 natural deckles.
Japan Iwano Handmades Akamashi Natural - Made of kozo and hemp. Natural tonality in a scratchy, absorbent sheet. Japan Iwano Handmades Echizen Gasen Nisoh
Made of wood pulp and kozo. The sheets are made by layering thin sheets together to create a thicker, more opaque sheet that is highly absorbent. For sumi-e painting and block printing.
Japan Iwano Handmades Echizen Kizuki Hosho
This paper is known throughout Japan as the finest Hosho paper available today that rivals those used by Ukiyo-e printers. Most Hosho sheets are made of wood pulp while this is made of the finest, 100% Japanese kozo. Off-white.
Japan Iwano Handmades Hanga-shi Gampi - Gampi and wood pulp. Opaque with a smooth surface and slight luster. White. Japan Iwano Handmades Hanga-shi Kozo - Kozo and wood pulp. Heavyweight, smooth surface. White and Natural. Japan Iwano Handmades Hanga-shi Mitsumata
100% Mitsumata. Luxurious, mottled sheet with a satin smooth surface. The mitsumata fiber imparts a very faint sheen. Remarkably beautiful!
Japan Iwano Handmades Kumo Hadamashi - 100% Kozo with dosa sizing. Prized thoughout Japan as one of the finest printmaking papers.. Japan Iwano Handmades Shikoshi Colors - Dyed sheets made of kozo and gampi. The papers have a subtle sheen and deep rich tonalities. Japan Iwano Handmades Shiromashi Dosa - 100% hemp with dosa sizing. These sheets have a wonderful, scratchy surface. Natural tone.
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A R T PA P E R S - J a p a n
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Iwano 17 - Echizen Gasen Nisoh
Iwano 19 - Asamashi Natural
Iwano 24 - Kumo Hadamashi
Iwano 35 - Hanga-shi Mitsumata
Iwano 34 - Hanga-shi Gampi
Iwano 30 - Echizen Kizuki Hosho
Iwano 5 - Shiromashi Dosa
Iwano 33 - Hanga-shi Kozo Natural
Iwano 32 - Hanga-shi Kozo White
Iwano 12 - Shikoshi Indigo
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Iwano 15 - Shikoshi Brown Black
Iwano 13 - Shikoshi Purple
No returns or exchanges are allowed
Iwano 14 - Shikoshi Vermillion
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A R T PA P E R S - J a p a n
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Izumo Mingei Mitsumata-shi
Following family traditions, these beautiful sheets are handmade of 100% mitsumata by the grandsons of the late Mr. Eishiro Abe - the very first papermaker to be designated as a National Living Treasure by the Japanese Government. Mitsumata yields a sheet that has a smooth, lustrous quality similar to gampi, but with a warmer, softer touch. The web of fine fibers absorbs the colorants with a slight irregularity, giving the sheets especially rich, shimmering tonalities. 4 Deckles. Neutral pH.
Izumo Mitsumata Thin 20 gram
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Izumo Mitsumata Thick Natural 70 gram No returns or exchanges are allowed
Izumo Mitsumata Thick White 70 gram order: 800-950-6111 or: 212-473-7705.
A R T PA P E R S - J a p a n
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Japan - ART PAPERS
Izumo Mitsumata 9 - White (35 gram)
Izumo Mitsumata 124 - Natural
Izumo Mitsumata 160 - Amber
Izumo Mitsumata 121 - Dark Blue
Izumo Mitsumata 177 - Raw Umber
Izumo Mitsumata 195 - Pale Pink
Izumo Mitsumata 123 - Silver Grey
Izumo Mitsumata 199 - Blue Grey
Izumo Mitsumata 131 - Pale Rose Grey
Izumo Mitsumata 132 - Burgundy
Izumo Mitsumata 116 - Lilac
Izumo Mitsumata 151 - Rose
Izumo Mitsumata 163 - Black
Izumo Mitsumata 36 - Brick
Izumo Mitsumata 122 - Red
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A RT T PP A A PP E E RRSS -- JJaappaann AR
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Japan Iyo Glazed
Handmade from 100% sulphite. Rough one side, smooth one side. Dried on metal panels, the smooth side has a slightly harder surface that acts as a type of sizing. 4 deckles.
Japan Jougami - Handmade of 70% kozo 30% sulphite. Small sheets. Neutral pH. 4 deckles. Japan Kaji Natural - Handmade from 100% kozo. Neutral pH. 4 deckles. Japan Kakishibu-Shi Kozo
Handmade of 70% Kozo, 30% sulphite. Colored with fermented persimmon juice to a rich mahogany brown that darkens with age. Persimmon acts as a natural bug repellent and reduces the absorbency of the sheet. 4 Deckles.
Iyo Glazed
Japan Kankoshi - Handmade of kozo and sulphite. Scratchy surface. Neutral pH. 4 Deckles. Japan Katazome Genshi
Mould-made of Chinese kozo and abaca. Often used for katazome stencil techniques. Neutral pH. 4 Deckles.
Japan Kawashi
Machine-made of 70% sulphite, Thai kozo and abaca. Thin and crisp, this uncoated paper paper works well with digital printers. Neutral pH. Natural.
Japan Kihada Kozo Dyed
Jougami
Made in the Toyama Prefecture of kozo & kozo black bark and hand-dyed with kihada - a natural vegetable dye that produces an unusual dull mustard color. Because kihada is a natural insect repellant, this paper was traditionally used for sacred and valuable texts. Yellow.
Japan Kihosen Kana Writing
Handmade from a mixture of kozo and sulphite. Chinese style sumi-e painting paper made in Japan using Japanese fibers. These "gasenchi" papers with their distinctive, tightly laid surface are becoming exceptionally rare. Large, lightly folded sheets. No deckles.
Japan Kikuchi - Handmade from kozo & sulphite. Neutral pH. A heavyweight version of Okawara. Kaji Natural
Kankoshi
Kihada Kozo Dyed
Katazome Genshi
Kikuchi
Kawashi
Kihosen Kana Writing
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A R T PA P E R S - J a p a n
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Kikura Kozo 21 gram
Kikura Kozo 44 gram
Kiraku Kozo
Kitakata Machine-made
Kitakata Handmade Natural
Kitakata Handmade Greenish
Japan Kikura Kozo Machine-made of kozo & sulphite. Neutral pH. Strong with cloudy sheet formation. No deckles.
Japan Kiraku Kozo Handmade of kozo. Neutral pH. Strong sheet with an even sheet formation. Neutral pH. 4 deckles.
Japan Kitakata Handmade
Handmade from 90% Philippine gampi and sulphite. Neutral pH. Smooth opaque surface. 4 deckles. Natural or Greenish-buff.
A favorite for many years, Kitakata's smooth surface and gampi content make it responsive for printing, painting and digital work.
Japan Kitakata Machine-made
90% Philippine gampi and sulphite. Neutral pH. Smooth surface. 2 deckles.
Sheets of the same grade available in rolls. The gampi content and smooth surface make this excellent for a range of techniques - including printing, digital and drawing.
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A R T PA P E R S - J a p a n
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Kizuki White
Kitzuki Natural
Kizukishi
Kozo Koban Natural
Kochi White
Kozo Gampi Torinokoshi
Kochi Natural
Japan Kizuki Kozo
Handmade from 100% Thai kozo fiber. Smooth, fine surface with an even sheet formation. One of the whitest sheets available that uses no chemical whiteners. Neutral pH. 4 deckles. Natural & White
Japan Kizukishi - Handmade from 100% Japanese kozo. Neutral pH. Conservation grade. Very strong tissue weight. 4 deckles. Off-white. Japan Kochi - Handmade from kozo and sulphite pulp. Neutral pH. 4 deckles. White and Natural. Japan Kozo Gampi Torinokoshi Handmade of kozo and gampi. Smooth surface of satin-like, lustrous fibers. Off-white. 4 Deckles.
These rare, beautiful, heavyweight sheets have a shimmering, mottled "mother of pearl" surface.
Japan Kozo Koban Natural - Handmade of 100% kozo. Small sheets with substance and weight. Neutral pH. 4 deckles.
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Kozo Moriki Natural White
Kozo Moriki Pale Yellow
Kozo Moriki Kincha Ochre
Kozo Moriki Kochega Walnut
Kozo Moriki Avocado
Kozo Moriki Orange
Kozo Moriki Purple
Kozo Moriki Sea Green
Kozo Moriki Hot Orange
Kozo Moriki Kochega Wisteria
Kozo Moriki Forest Green
Kozo Moriki Burnt Orange
Kozo Moriki Fuchsia
Kozo Moriki Red
Kozo Moriki Blood Orange
Japan Kozo Moriki
Handmade of kozo and sulphite. Neutral pH. Strong somewhat crisp surface. 4 deckles. Beautiful colors dyed in the style of the Moriki Family.
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A R T PA P E R S - J a p a n
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Kozo-shi HM2
Kozo-shi Uwazen DHM9
Kozo-shi Misumi DHM11
Kozo-shi HK22
Kozo-shi DHM14
Kozo-shi Kochi-shi DHM13
Kozo-shi HK23 White
Kozo-shi HK23 Natural
Kozo-shi HK27
Kozo-shi Handmades Japan Kozo-shi HM2 White- 100% Thai Kozo. A very clear, even lightweight sheet. Neutral pH. 4 Deckles. Japan Kozo-shi Uwazen Natural DHM9 40% Kozo, 60% sulphite. Thick with strong dosa sizing. Excellent for printmaking and Western techniques.
Japan Japan Japan Japan
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Kozo-shi Misumi DHM11 - Natural. 30% Kozo, 70% sulphite. Heavyweight, dosa sized sheet. Kozo-shi Kochi-Shi DHM13 - Natural. 30% Kozo, 70% sulphite. Thick with strong dosa sizing.. Kozo-shi DHM14 Natural - 30% Kozo, 70% sulphite. Thick with strong dosa sizing.. Neutral pH. 4 Deckles. Kozo-shi HK Series - Handmade of kozo & sulphite. Crisp sheets in various weights and tones. Neutral pH. 4 Deckles.
Paper is fragile !
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A R T PA P E R S - J a p a n
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Kozo-shi MM1 Natural
Kozo-shi MM2 White
Kozo-shi M0207
Kozo-shi M0203
Kozo-shi M0202
Kozo-shi M0207-2
Kozo Thick White
Kozo Thick Natural
Kozo-shi M0207-3
Kozo-shi M0206
Kozuke White
Kozuke Ivory
Kozo-shi Machine-mades Japan Kozo-shi MM1 Natural - 30% Kozo, 70% Sulphite Thin and strong. Neutral pH. 2 Deckles. Japan Kozo-shi MM2 White - 70% Bleached Kozo, 30% Sulphite. . Neutral pH. 2 Deckles. Japan Kozo-shi M0200 Series -Kozo mix. Crisp sheets in various weights and tones. Neutral pH. 2 Deckles. Japan Kozo Thick White & Natural - 90% Kozo, 10% Sulphite Thick and strong with internal sizing . Neutral pH. 2 Deckles. Japan Kozuke White & Ivory
Machine-made of 70% kozo. Fine, even sheet formation internally sized for strength & durability. Neutral pH. 4 deckles.
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ART PAPERS - Japan
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Japan Lens Tissue Manilla Hemp - Machinemade of Manilla hemp. Neutral pH. No deckles. Japan Lens Tissue Rayon - Machinemade of 100% rayon. Neutral pH. No deckles. Japan Manila Hemp Natural & Ice Blue Machinemade of 100% Manila hemp. Neutral pH. Crisp sheet with a satin-like sheen. No deckles.
Japan Masa - Machinemade of sulphite. Neutral pH. One side smooth, one textured. No deckles. Japan Mashi Thick Handmade
Handmade by Kanetoshi Ozaki in the Kochi Prefecture of 50% kozo & 50% hemp. The addition of the hemp fibers gives these sheets their strength, color and scratchy surface. The Dosa sizing adds additional surface resiliency. Natural off-white tone. 2 Deckles. Neutral pH. Lens Tissue Manila Hemp
Lens Tissue Rayon
Manila Hemp Natural
Manila Hemp Ice Blue
Masa Cool White (smooth side shown above)
Masa Soft White (rough side shown above)
Mashi Thick
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Mashi Thick which is available sized with dosa or without, has a wonderful, rough surface. Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
A R T PA P E R S - J a p a n
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Japan Mingei-shi Natural SH35
Mould-made of 40% Kozo, 60% Sulphite. Mingei-Shi translates as"folk craft paper." Traditionally used for making dolls and toys and printing into decorative sheets. 2 Deckles. 2 torn edges. Neutral pH.
Japan Mingei-shi Colors
Handmade from a blend of kozo and sulphite. Neutral pH. Dyed sheets. 2 Deckles. 2 torn edges. Mingei-shi Natural SH35
Mingei-shi Grey Green
Mingei-shi Beige
Mingei-shi Lemon
Mingei-shi Spring Green
Mingei-shi Pale Umber
Mingei-shi Lavender
Mingei-shi Magenta
Mingei-shi Red Orange
Mino-Gami HM3
Misu with Clay Pigment
Japan Mino-Gami HM3 - Off-white Mino tissue. Thin yet strong, this paper is ideal for conservation, mounting and repair. 100% Nasu Kozo. Neutral pH. 4 Deckles.
Mino Gami is one of three groups of papers designated as an Important Intangible Cultural Treasure by the Japanese Government.
Japan Misu with Clay Pigment HP55
Handmade from 100% kozo. Neutral pH. Distinctive, laid surface from the unusual sou made of split bamboo. 4 deckles. Natural.
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A R T PA P E R S - J a p a n
Mitsumata Fuji
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Mitsumata Letter Size
Mitsumata Umeda
Japan Mitsumata Fuji - Handmade from 100% Chinese mitsumata. Neutral pH. 4 deckles. Japan Mitsumata Letter - Handmade from 100% mitsumata. Neutral pH. 4 deckles.. Japan Mitsumata Umeda- Handmade from 100% Japanese mitsumata in Echizen Prefecture by
master paper maker Mr. Umeda. Neutral pH. 4 deckles..
Japan Mitsumata & Salago - Machine-made from mitsumata and Philippine gampi (salago). Neutral pH. 4 deckles.
Japan Mitsumata Tissue - Handmade from 100% mitsumata. Neutral pH. 4 deckles. Japan Mitsumata Pink & Grey - Handmade from 100% mitsumata. Neutral pH. 4 deckles. Thin and crisp with magnificent markings from the wooden drying planks.
Japan Mizota Hanban & Mizota Udaban - Handmade of 100% kozo. Hanban and Mitsumata & Salago
Udaban refers to the traditional sheet sizes. Neutral pH. 4 Deckles..
Mitsumata Tissue
Mizota Hanban & Udaban
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Mitsumata Pink No returns or exchanges are allowed
Mitsumata Grey order: 800-950-6111 or: 212-473-7705.
A R T PA P E R S - J a p a n
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Mohachi Handmade
Developed by master papermaker Mohachi Oki, these exceptionally heavyweight sheets are made of hemp, cotton and sulphite. They are also internally sized to give remarkable strength and allow them to perform not only for traditional Japanese, but Western printmaking techniques as well. White with a soft, smooth surface. 4 Deckles. Neutral pH.
Morisa MM26 Haijiro
Morissa MM25 Azabu
Morisa MM23 Shirakabe
Japan Morisa
Machinemade of kozo and sulphite. Neutral pH. One side smooth, one textured. No deckles. Mohachi
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Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Japan
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Japan Mulberry
Handmade of kozo and sulphite. 4 deckles. Neutral pH. White.
One of the first Japanese papers widely distributed in the U.S., our version is closely matched to the original. Soft, strong and versatile .
Japan Mura Rokubu - Handmade of 100% kozo. Off-white with a lightly sratchy surface.
Neutral pH. 4 Deckles.
Japan Mura Udaban
Handmade of 100% kozo. Scroll format. Dried on wooden boards, these distinctive sheets have subtle embossed markings form the boards and a beautiful, deep natural tone. Neutral pH. 4 Deckles. Mulberry
Mura Rokubu
Nara Fukinushi Natural Dyed Uda
Handmade of 100% kozo grown in the Nara Prefecture and made and dyed by National Living Treasure Mr. Hiroyuki Fukinushi. The sheets are colored by soaking the sheets for a full day in traditional, fade resistant, natural dyes. The resulting color depends on the growing season, humidity, temperature and therefore will vary from batch to batch and sometimes from sheet to sheet. 4 Deckles. Neutral pH. Mura Udaban
Nara Fukinishi Dyed Indigo
Nara Fukinishi Dyed Akebi
Nara Fukinishi Dyed Sakaki
Nara Fukinishi Dyed Mimosa
Nara Fukinishi Dyed Mugwort
Nara Fukinishi Dyed Cherry
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A R T PA P E R S - J a p a n
Nishinouchi 1 Natural
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Nishinouchi 2 White Single Thick
Nishinouchi 3 White Double Thick
Nishinouchi 4
Nishinouchi
Handmade of Hosokawa kozo which is considered some of the finest grown in Japan. Exceptionally strong and beautiful. 4 Deckles. The udaban sheets are available in one weight (1 sou) and in a double weight where two sheets are couched together (2 sou.)
Hosokawa washi is one of three groups of papers designated as an Important Intangible Cultural Treasure by the Japanese Government.
Natsume 4002 Oguni Gami Oguni Chiri
Japan Natsume 4002 Handmade from 100% kozo. Smooth white with shiny white fibers. Neutral pH. 4 deckles.
Japan Oguni Chiri & Ogunigami - Handmade from 100% kozo. Neutral pH. 4 deckles. Japan Ogura
Handmade from Manila hemp, kozo & sulphite. Neutral pH (Natural only). 4 deckles. Coarse, heavily textured surface with swirls of fiber.
Ogura Natural Ogura Grey Ogura Light Brown
Ogura Jade Ogura Violet Ogura Antique Rose
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A R T PA P E R S - J a p a n
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Okawara Handmade Okawara Machine-made Pinkish Natural Okawara Machine-made Greenish Natural
Japan Okawara Handmade - 100% kozo. Neutral pH. Fine laid texture. 4 deckles. Japan Okawara Machine Made - Kozo and sulphite. Neutral pH. 2 deckles. Japan Okawara Student Grade Handmade from kozo and sulphite. Neutral pH. 2 deckles. All varieties of Okawara are well known for their scale, value and performance.
Japan Otoshi Medium Weight - Handmade of kozo and sulphite by Mr. Masahige
Tomokusa. Neutral pH. 4 Deckles. Okawara Student Grade
Japan Rayon M0321 - Machine-made on Shikoku Island of 100% rayon. The sheets have a fabric-like touch and strength. Neutral pH. No deckles. Japan Rayon Gauze - Machine-made of 100% rayon. Neutral pH. No deckles. Japan Salago K
Handmade of 100% Philippine gampi. Smooth, lustrous surface. Neutral pH. 4 deckles.
Japan Sakamoto
Machine--made of Kozo & Sulphite. Smooth one side, textured on the other. Neutral pH. 2 deckles.
Another favorite paper originally carried by Aiko's in Chicago.
Japan Sansui SH8 - Hiromi Collection
Off-White. Mould-made of 10% kozo, 70% sulphite, 15% recycled paper, 5% rayon. Neutral pH. 2 deckles. Otoshi Medium
Rayon M0321
Sakamoto 80 gram
Rayon Gauze
Sansui SH8
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Salago K order: 800-950-6111 or: 212-473-7705.
A R T PA P E R S - J a p a n
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Seichoshi-Homare Seichosen
Seiko-Sen
Japan Seichoshi-Homare Kozo
Japan Seiko-Sen Mitsumata
Japan Seichosen Kozo
Handmade by Mr. Shigeru Osaki a National Living Treasure. His papers are designated as a Cultural Asset by the Japanese Government. Made in the winter when the cold temperature assures the crispness and purity of the sheet on a mould with a pronounced laid pattern and dried on ginko tree boards in the sunlight. The grain of those old wood panels is often visible in these stunning sheets. All fibers are harvested from the local mountains that surround the Ozaki home. Neutral pH. 4 Deckles.
Sekishu Natural
Sekishu White
Japan Sekishu - Handmade, 80% kozo and 20% sulphite. Neutral pH. 4 deckles. White and Natural.
Thin, strong, affordable and versatile, sekishu is used extensively for repair, hinging and lining fabrics for book binding .
Japan Sekishu-Hanshi Tsuru HP06 - Hiromi Collection Japan Sekishu-Hanshi Mare HP07 - Hiromi Collection
Handmade of 100% Japanese Sekishu kozo by Mr. Akira Kubota in the Shimane Prefecture, all of the green bark is left intact, resulting in a much stronger sheet and a unique, darker tone. Highly praised for restoration and for printing techniques. Tsuru is beaten and dried by machine while Mare is beaten by hand and dried on boards, resulting in a softer, finer sheet.
Japan Sekishu Torinoko Gampi HP60 - Hiromi Collection
Handmade of 100% Japanese gampi by Akira Kubota in the Shimane Prefecture. Dark natural tone gampi with a beautiful luster. Very strong.
Sekishu Hanshi is one of three groups of papers designated as an Important Intangible Cultural Treasure by the Japanese Government.
Sekishu-Hanshi Tsuru HP06
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Sekishu-Hanshi Mare HP07 No returns or exchanges are allowed
Sekishu Torinoko Gampi HP60 order: 800-950-6111 or: 212-473-7705.
A R T PA P E R S - J a p a n
Senka-Shi HM35 (30 gram)
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Senka-Shi HM36 (38 gram)
Senka-Shi HM 37 (44 gram)
Japan Senka-Shi HM35-37 - Hiromi Collection
Handmade of 100% Japanese kozo. These conservation grade papers are made by Yoshifumi Okatsu in the Kochi Prefecture. The differing weights are made by combining two thinner sheets into one during the papermaking process. Neutral pH. 4 Deckles.
Japan Shigure SH15 - Hiromi Collection
Off-White. Mould-made of 50% Kozo, 50% Sulphite. A thin, crisp sheet with subtle, cloud-like swirls of fibers.
Shigure SH15
Shikishi "Shikishi" refers to the very specific size of these sheets - which is small and not quite square. Traditionally used for calligraphy and the mounting of small paintings, these sheets would handle most other techniques as well. 4 Deckles. Neutral pH. Japan Shikishi Kochi - Handmade of kozo & sulphite. Smooth surface. Neutral pH. 4 Deckles. White or Natural. Japan Shikishi Mitsumata Kumohada - Handmade of mitsumata layered on top of a kozo base. Lustrous surface. Natural. Japan Shikishi Mini - Handmade of kozo & sulphite Japan Shikishi Mohachi - Handmade of hemp, cotton & Ssulphite
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ART PAPERS - Japan
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Shikibu Japanese Handmades
The Echizen prefecture is best known today for their extensive varieties of decorative, machinemade sheets, but for hundreds of years, the region has produced many of the finest handmade sheets found in Japan. Unlike other areas of Japan,where we see a decline in the tradition of papermaking, the Echizen Prefecture is experiencing a renaissance - with a new generation of papermakers learning and continuing the old and revered techniques of their masters. These sheets of exceptional quality and beauty were made by master papermaker Futoshi Umedo who specializes in papers made of gampi and mitsumata. All sheets are neutral pH.
Japan Shikibu Gampi-shi White & Colors.
100% Japanese Gampi. Magnificent, lustrous sheets in white, natural and hand-dyed in an array of colors. Neutral pH. 4 Deckles.
Shikibu Gampi 01 White 13 gram
Shikibu Gampi 03 White 26 gram
Shikibu Gampi 06 Natural 13 gram
Shikibu Gampi 08 Natural 20 gram
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A R T PA P E R S - J a p a n
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Shikibu Gampi 40 - Light Blue
Shikibu Gampi 36 - White
Shikibu Gampi 38 - Light Yellow
Shikibu Gampi 41 - Ice Blue
Shikibu Gampi 37 - Off-White
Shikibu Gampi 39 - Yellow
Shikibu Gampi 53 - Royal Blue
Shikibu Gampi 55 - Black
Shikibu Gampi 42 - Leaf Green
Shikibu Gampi 54 - Navy Blue
Shikibu Gampi 56 - Grey
Shikibu Gampi 43 - Green
Shikibu Gampi 52 - Purple
Shikibu Gampi 47 - Beige
Shikibu Gampi 44 - Olive Green
Shikibu Gampi 51 - Plum
Shikibu Gampi 45 - Light Tan
Shikibu Gampi 50 - Orange
Shikibu Gampi 48 - Pink
Shikibu Gampi 46 - Deep Tan
Shikibu Gampi 49 - Red
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A R T PA P E R S - J a p a n
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Japan Shikibu Kizukishi Kozo Dyed
100% Japanese kozo. These strong, sheer sheets are dyed in a subtle range of colors. The sheets are translucent even in the darker colors. The natural tones mimic those found in aged papers, making them particularly useful for restoration of aged documents, books and fabrics. Exceptional quality!
Shikibu Kozo 0 - White
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Shikibu Kozo 1 - Deep Natural
Shikibu Kozo 2 - Light Tan
No returns or exchanges are allowed
Shikibu Kozo 3 - Tan
order: 800-950-6111 or: 212-473-7705.
A R T PA P E R S - J a p a n
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Shikibu Kozo 6 - Silver Grey
Shikibu Kozo 7 - Smoke
Shikibu Kozo 16 - Light Blue
Shikibu Kozo 13 - Blue
Shikibu Kozo 5 - Sienna
Shikibu Kozo 4 - Brown
Shikibu Kozo 11 - Teal
Shikibu Kozo 14 - Navy
Shikibu Kozo 10 - Deep Red
Shikibu Kozo 9 - Amber
Shikibu Kozo 12 - Green
Shikibu Kozo 15 - Black
Japan Shikibu Kozo-shi #27
100% Japanese kozo. Off-white tonality with an exaggerated laid pattern. Neutral pH. 4 Deckles.
Japan Shikibu Mitsumata-shi
100% Japanese Mitsumata. Off-white tonality with a warm, lustrous sheen. Although the sheets are ultrasmooth, they have a remarkable, fabric-like visual texture because of the unusual sou. Neutral pH. 4 Deckles.
Shikibu Kozo #27
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Shikibu Mitsumata-shi No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
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Shikoku Surface Gampi White
Shikoku Surface Gampi Deep Natural
Shojoshi
Japan Shikoku Surface Gampi
A two layer, machinemade sheet. A thin sheet of lustrous, smooth gampi is fused together with an opaque base sheet of kozo, hemp and wood pulp. 2 Deckles. Neutral pH. White or Natural. Excellent for printing techniques including digital ink jet.
Japan Shiramine MM5- Hiromi Collection
Mould-made of 40% Kozo, 60% Sulphite. Dense sheet for printing and painting. Neutral pH. 2 deckles.
Japan Shoji- Handmade of kozo & sulphite. Neutral pH. 4 Deckles. White. Shikoku Surface Gampi White
A middle weight, moderately priced, Aiko favorite.
Japan Shojoshi
Mouldmade of 100% sulphite. These small, thick, sheets have one ultra-smooth surface and one scratchy surface. Excellent for Western printmaking and some drawing techniques. 4 Deckles. Neutral pH. Off-White.
Japan Silk Tissue - Machine-made from gampi and sulphite. Neutral pH. No deckles. Natural. Japan Sugikawashi
Handmade in the style of traditional bark papers of ancient Japan from pulverized cedar bark and hemp fibers. Brown Neutral pH. 4 deckles. Shoji
Silk Tissue
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Sugikawashi Paper is fragile !
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Tamura Koban
Takefu Natural (textured side seen above)
Takefu NWhite (smooth side seen above)
Japan Takefu - Machine-made of sulphite. Double-sided sheets - smooth & textured. Neutral pH. No deckles. Japan Tamura Koban - Handmade of 100% kozo. Crisp, sized sheet with a natural tone and delicate, laid lines. Neutral pH. 4 deckles.
Taniai 12 - Yabumao-zome
Taniai Handmade
Handmade by the Yoshioka Family in the Kochi Prefecture, these lovely, small sheets are made of 100% kozo. Materials and tools are prepared by hand including the dyes that are derived from local clays, barks and plants. Dried on gingko wood, the sheets have the impressions of the grain. Colors will vary from batch to batch. 4 Deckles. Neutral pH. Taniai 4 - Benigara-zome
Taniai 7 - Yamazakura-zome Dark
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Taniai 6 -Yamazakura-zome
Taniai 12 Akatsuchi-zome
No returns or exchanges are allowed
Taniai 9 - Aizome
order: 800-950-6111 or: 212-473-7705.
Note: sheets were scanned on black and white background to show translucency
Tengucho HM1 & CS
Japan Tengucho HM1 Handmade- Hiromi Collection
Only one family remains that can master the skill of making this incredible paper. The extreme agitation of the pulp when the sheets are formed, interlocks the kozo fibers to produce this ultra-fine, ultra-strong, sheer tissue. Made in the Kochi Prefecture by Hironao Hamada, a 4th generation paper maker who was trained and is the grandson of the National Living Treasure Mr. Sachio Hamada. The fibers are formed on a silk covered sou and are prepared by cooking in wood ash, making this variety especially stable and preferred for conservation. Neutral pH. 4 deckles. White.
Japan Tengucho CS Handmade
Made as above of 100% kozo prepared by cooking in caustic soda making this paper less expensive.
Japan Tengujoushi Handmade Dyed
Handmade of 100% Kozo and hand-dyed. Colors will vary from batch to batch. 4 Deckles. Tengujoushi Dyed - Pale Brown
Tengujoushi Dyed - Yellow Green
Tengujoushi Dyed - Lavender
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Tengujoushi Dyed - Green
Tengujoushi Dyed - Rose
Tengujoushi Dyed - Pale Blue No returns or exchanges are allowed
Tengujoushi Dyed - Red
Tengujoushi Dyed - Pale Pink order: 800-950-6111 or: 212-473-7705.
Note: sheets were scanned on black and white background to show translucency
Japan Tengucho Machine-made
White. 100% Thai Kozo cooked in caustic soda. Made in Kochi Prefecture on a machine designed only to make this sheer paper. Used for restoration and many collage techniques. Neutral pH.
Japan Tengucho CT Colors Machine-made
100% Thai Kozo. Thin and strong. For chine colle and many collage techniques. Neutral pH.
Tengucho Machine-made Thin 5 gram
Tengucho CT15 - Pale Blue
Tengucho CT02 - Pink
Tengucho Machine-made W1 9 gram
Tengucho CT11 - Royal Blue
Tengucho CT03 - Red
Tengucho CT18 - Beige
Tengucho CT12 - Purple
Tengucho CT08 - Tea Green
Tengucho CT19 - Chocolate
Tengucho CT10 - Black
Tengucho CT07 - Light Green
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ART PAPERS - Japan
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Torinoko Handmade
Torinoko Brush Strokes
Torinoko Black
Tosa Kasagami
Torinoko White (textured side seen above)
Torinoko Natural (smooth side seen above)
Japan Torinoko Handmade Kozo and sulphite blend. Neutral pH. Soft,absorbent yet strong. 4 Deckles.
Japan Torinoko Machine-made White Natural & Black
100% Sulphite. Used in Japan for Fusuma sliding doors, these sheets are also well suited for drawing and printmaking. Double- sided. Neutral pH No deckles.
Japan Torinoko Brush Strokes
Machine-made of 100% sulphite. Absorbent sheet embossed with brush strokes to resemble those usually found on handmade sheets. Neutral pH. No deckles.
Japan Tosa Kasagami
Handmade of 100% kozo. Lovely sheet formation with visible fine fibers and a soft, scratchy surface. 4 Deckles. Neutral pH.
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ART PAPERS - Japan
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Tosa Hanga
Tosa Kozo #8 Natural
Tosa Maruishi
Tosa Kozo #8 White
Tosazome Purple
Japan Tosa Hanga
Handmade in the Kochi Prefecture from kozo and sulphite. Thick, sturdy, internally sized sheet used extensively for printmaking. Neutral pH. 4 deckles.
Japan Tosa Kozo #8 Natural & White
Handmade of kozo and wood pulp. Internally sized. Dense, even sheet formation. Excellent for printing techniques. 4 Deckles. Neutral pH.
Japan Tosa Maruishi
Handmade in the Kochi Prefecture from kozo and sulphite. Thick, sturdy, internally sized sheet used extensively for printmaking. Neutral pH. 4 deckles.
Japan Tosazome Purple
Handmade of 100% Kozo and hand painted with dosa that has been colored with a natural plant dye. Uneven, purple tone that shows the brushstrokes. Very unusual and beautiful. 4 Deckles.
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ART PAPERS - Japan
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Toyama
Walnut Dyed Kururu Kozo Uwa Senka Uda-Gami HM40 Uda-Gami HM41
Vegetable - Melon
Vegetable - Onion
Vegetable - Sweet Potato
Vegetable - Corn
Japan Toyama - Handmade from 100% kozo. Smooth surface embedded with visible light fibers. 4 deckles. Japan Uda-Gami HM40 & HM41 - Hiromi Collection
Off-white. Uda clay is added to soften the paper, minimize stretching and shrinkage and to prevent worm damage. These sheets are made by Hiroyuki Fukinushi in the Nara Prefecture. Traditional scroll format.
Japan Uwa Senka Small & Long Handmade of 100% kozo. Soft surface with visible fibers and laid marks. Neutral pH. 4 Deckles.
Japan Vegetable Papers - Handmade from a mixture of kozo and vegetable fibers. 4 Deckles: Japan Walnut Dyed Kururu Kozo
Handmade of 100% kozo and hand dyed with natural walnut stain to a beautiful, pale brown tone. Color varies from batch to batch. 4 Deckles. Vegetable - Horse Radish
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ART PAPERS - Japan
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Yatsuo A13 - Natural
Yatsuo A1 - White
Yatsuo B2 - Beige
Yatsuo B25 - Kraft
Yatsuo B27 - Tan
Yatsuo C4 - Brown
Yatsuo C30 - Graize
Yatsuo B8 - Green Grey
Yatsuo B22 - Blue Green
Yatsuo B4 - Grey
Yatsuo C10 - Green
Yatsuo B6 - Cloud Blue
Yatsuo B7 - Grey Blue
Yatsuo C7 - Taupe
Yatsuo B18 Lime
Yatsuo E3 - Apple Green
Yatsuo B12 - Yellow
Yatsuo B15 - Mustard
Japan Yatsuo
Handmade from kozo and sulphite pulp. Neutral pH. Strong, soft surface. 4 deckles. Colors will vary somewhat from batch to batch.
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ART PAPERS - Japan
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Yatsuo C2 - Antique Rose
Yatsuo C8 - Coral
Yatsuo D4 - Dull Red
Yatsuo D1 - Bright Red
Yatsuo C3 - Wine
Yatsuo C16 - Maroon
Yatsuo D3 - Dark Red
Yatsuo E4 - Tomato
Yatsuo C12 - Dark Blue
Yatsuo C6 - Purple
Yatsuo C11 - Orange
Yatsuo B35 - Light Orange
Yatsuo D8 - Black
Yatsuo C3 - Blue Black
Yatsuo B33 - Pink
Yatsuo B32 - Peach
Yatsuo C19 - Aquamarine
Yatsuo E1 - Electric Blue
Yatsuo B28 - Lavender
Yatsuo B31 - Rose
Japan Yatsuo
Handmade from kozo and sulphite pulp. Neutral pH. Strong, soft surface. 4 deckles. Colors will vary somewhat from batch to batch.
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ART PAPERS - Japan
Yame Kozo 1
Yame Kozo 2
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Yame Kozo 3
Yame Zozo 4
Japan Yame Kozo Hadakura
Handmade from 100% kozo, these conservation grade tissues are dyed in 4 tones of natural. Neutral pH. 4 Deckles.
Yuku-shi 13 gram
Yuku-shi 16 gram
Yuku-shi 27 gram
Yuku-shi 41 gram
Japan Yuku-shi Snow Bleached Handmades
Handmade in Gokayama in northeast Japan near the Sea of Japan by Mr. Miyamoto. These sheets of 100% kozo are made following 1200 year old traditions that originated in this area because of its cold, snowy climate. Locally grown kozo is harvested, cleaned of the outer bark and impurities and then bleached in the snow for 7 - 10 days before the fiber is cooked, beaten by hand with a wooden mallet and formed into sheets. No machines or chemicals of any type are used in these processes, resulting in papers that are exceptionally pure. The sheets have a unique warm, natural tone. Neutral pH. 4 Deckles.
Japan Yukyu Natural
Handmade from kozo. Small, lightweight sheets. Neutral pH. 4 Deckles.
Japan Zairei
Machine-made of 50% sulphite, Thai kozo, abaca and straw. Thins, crisp sheet works well in digital applications. Neutral pH. White.
Yukyu Natural
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Zairei No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Korea
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KOREA
Making Hanji, the Korean word for paper has been practiced in Korea for many centuries where the process was first introduced by Japan and China. However, over the years, the Koreans improvised on those initial techniques and developed their own unique system - most notably creating a su (bamboo mould) suspended by a central hinging post that allowed sheets to be formed by collecting the layers of pulp in a side to side slapping fashion. Sheets made this way are known as webal. The Korean mulberry, called dak, used to make the sheets is a close relative of kozo and is prized for its strength and density. Japanese papermakers often import Korean dak for some of their own papers simply because of its difference from the kozo harvested in Japan. Sadly, the finest papers from Korea have become difficult to obtain and even in Korea, webal style papers are rare and costly. Today, like Japan, the Korean Government encourages traditional papermaking by recognizing special skills, giving official status to the artisans and their creations.
Korea Hanji Colors Handmade of 100% dak (Korean mulberry) Soft surface with swirls of fibers and laid marks. Neutral pH. 4 Deckles.
Korean Hanji - K7 Pale Lilac
Korean Hanji - K1 Pink
Korean Hanji - K11 Grey Pink
Korean Hanji - K20 Aquamarine
Korean Hanji - K46 Tan
Korean Hanji - K49 Celery
Korean Hanji - K57 Grey Green
Korean Hanji - K54 Mustard
Korean Hanji - K37 Yellow
Korean Hanji - K22 Putty
Korean Hanji - K21 Grey
Korean Hanji - K29 Lime
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ART PAPERS - Korea
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Korean Hanji - K89 Black
Korean Hanji - K66 Dark Green
Korean Hanji - K64 Green
Korean Hanji - K25 Dark Blue
Korean Hanji - K6 Red
Korean Hanji - K78 Plum
Korean Hanji - K59 Olive
Korean Hanji - K19 Blue
Korean Hanji - K85 Chocolate
Korean Hanji - K12 Lavender
Korean Hanji - K67 Umber
Korea Hanji Colors - Handmade of 100% dak (Korean mulberry) Soft surface with swirls of fibers and laid marks. Neutral pH. 4 Deckles. Korea Hanji Oiled Handmade of 100% dak, this paper has been treated with perila oil that darkens with age and light into uneven, yet remarkably beautiful amber tonalities. This style of paper was originally intended for architectural purposes and was applied in layers as flooring in traditional Korean homes. 4 Deckles.
Korea Hanji Mulberry Mix - Handmade of 50% dak and 50% kozo. Neutral pH. 4 Deckles. Korea Hanji Stone Grey - Handmade of 100% dak and pigmented with ground biotte stone. Neutral pH. 4 Deckles.
Korean Hanji Oiled
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Korean Hanji Mulberry Mix No returns or exchanges are allowed
Korean Hanji Stone Grey order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Nepal
Nepal
Nepalese paper making is an unusual hybrid of techniques that were influenced by both Japan and India. Because of the climate, the herding culture and the isolation of the area, paper making was usually performed by shepherds during the months that they attended their flocks near the forest edge. Because they travelled considerable distances from their villages, it was essential that most of the supplies needed could be found readily along the way. Daphne (Nepalese gampi) grows abundantly in high altitudes and is easily harvested. In their traditional manner of paper making, the fiber was pounded with stones to prepare the pulp before cooking in wood ash. A stream or even a ditch filled with water served as the vat. The moulds which were made of bamboo, were lightweight and portable. The sheet formation as then performed by placing the mould into the vat and floating the beaten pulp on top of the mould. When the fibers were distributed to the paper maker's satisfaction, the mould was then lifted from the vat and turned out onto wooden planks to dry in the sun. This technique produces delightfully inconsistent sheets, each with its own individual character, a smooth surface that faced the wood and a rough outer side. Sheet formation is cloudy with somewhat uneven clumps of pulp. But, paper makers and artists in Nepal are also aware of the more refined characteristics of Japanese papers and therefore, also construct sheets using Japanese methods. This includes controlled cleaning and cooking of the fiber and forming the sheets by lowering the mould into the vat of prepared pulp and vigorously agitating to distribute the fibers evenly before couching. As demand has grown for Nepalese goods, we see many more influences on the methods of the manufacturers. Some use one particular style, many use their own unique combination of techniques to produce these wonderful, useful papers. Because of presentation, it is often easy to forget that almost all Nepalese sheets are made of 100% gampi fiber (daphne or lokta) and therefore can perform in similar ways to their much more expensive, Japanese counterparts. Nepalese sheets are great for printing by hand, chine colle, sumi-e painting and drawing techniques where minimum erasure is required.
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ART PAPERS - Nepal
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Nepal Banana Tissue
Handmade from recycled banana bark. Crisp tissue with swirls of fine fibers and bark flecks. 4 Deckles.
Nepal Chautara Lokta
Handmade of 100% daphne in Traditional Nepalese fashion. However the pulp is cleaned of imperfections, cooked and beaten using modern techniques to yield sheets that are consistent and even. Smooth surface with a light sheen. Hand-dyed. 4 deckles. Neutral pH. Because dye crawls, sheets are darker on one side than the other and colors will vary from batch to batch.
Nepal Banana Tissue
Nepal Chautara Lokta - Yellow
Nepal Chautara Lokta - Natural Light Nepal Chautara Natural Heavy
Nepal Chautara Lokta - Gold
Nepal Chautara Lokta - Parrot Green
Nepal Chautara Lokta - Lime
Nepal Chautara Lokta - Grass
Nepal Chautara Lokta - Chestnut
Nepal Chautara Lokta - Kiwi
Nepal Chautara Lokta - Mint
Nepal Chautara Lokta - Sage
Nepal Chautara Lokta - Moss
Nepal Chautara Lokta - Jade
Nepal Chautara Lokta - Olive Brown Nepal Chautara Lokta - Olive Green
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ART PAPERS - Nepal
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Nepal Chautara Lokta - Black
Nepal Chautara Lokta - Forest
Nepal Chautara Lokta - Robbins Egg Nepal Chautara Lokta - Sea Green
Nepal Chautara Lokta - Teal Deep
Nepal Chautara Lokta - Navy
Nepal Chautara Lokta - Denim
Nepal Chautara Lokta - Light Blue
Nepal Chautara Lokta - Turquoise
Nepal Chautara Lokta - Sky Blue
Nepal Chautara Lokta - Royal Blue
Nepal Chautara Lokta - Sapphire
Nepal Chautara Lokta - Oyster
Nepal Chautara Lokta - Violet
Nepal Chautara Lokta - Purple
Nepal Chautara Lokta - Eggplant
Nepal Chautara Lokta
Handmade of 100% daphne in Traditional Nepalese fashion. However the pulp is cleaned of imperfections, cooked and beaten using modern techniques to yield sheets that are consistent and even. Smooth surface with a light sheen. Hand-dyed. 4 deckles. Neutral pH. Because dye crawls, sheets are darker on one side than the other and colors will vary from batch to batch.
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ART PAPERS - Nepal
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Nepal Chautara Lokta - Cranberry
Nepal Chautara Lokta - Burgundy
Nepal Chautara Lokta - Espresso
Nepal Chautara Lokta - Brick
Nepal Chautara Lokta - Red Earth
Nepal Chautara Lokta - Terra Cotta
Nepal Chautara Lokta - Deep Orange Nepal Chautara Lokta - Latte
Nepal Chautara Lokta - Fuchsia
Nepal Chautara Lokta - Red
Nepal Chautara Lokta - Pumpkin
Nepal Chautara Lokta - Clay
Nepal Chautara Lokta - Cerise
Nepal Chautara Lokta - Shrimp
Nepal Chautara Lokta - Pink
Nepal Chautara Lokta - Pebble
Nepal Chautara Lokta
Handmade of 100% daphne in Traditional Nepalese fashion. However the pulp is cleaned of imperfections, cooked and beaten using modern techniques to yield sheets that are consistent and even. Smooth surface with a light sheen. Hand-dyed. 4 deckles. Neutral pH. Because dye crawls, sheets are darker on one side than the other and colors will vary from batch to batch.
168
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Nepal
Note: sheets were scanned on black and white background to show translucency
Nepal Jazz - Aubergine
Nepal Jazz - Saddle Tan
Nepal Jazz Claret
Nepal Jazz - Grey
Nepal Jazz - Olive Green
Nepal Jazz - Granite
(back side with gauze shown above)
Nepal Jazz
Translucent handmade paper laminated onto gauze-like fabric, lightly creped and dyed. Very strong. Neutral pH. No deckles.
169
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Nepal
Note: sheets were scanned on black and white background to show translucency
Khadi Himalayan Handmades
Khadi Himalayan Handmades present some of the finest papers from Nepal in both Traditional and Japanese "washi" styles of paper making. Newly revised in 2010, Khadi Himalayan papers have abandoned modern influences and are now preparing all their fiber by hand, closely following centuries old techniques such as cooking in lye of wood ash to insure that these sheets maintain the integrity, resilience and strength of true Nepalese paper traditions. Neutral pH. 4 deckles. For printing and direct painting techniques, these daphne and mitsumata sheets have a crisp finish that allows for some drawing techniques including pen and pencil with light erasure.
Nepal Khadi - L5 Natural
Nepal L10 Natural
Nepal Khadi Himalayan Traditional L
100% Daphne cooked in lye from wood ash. Cloudy sheet formation. Made using the traditional Nepalese techniques.
170
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Nepal
Note: sheets were scanned on black and white background to show translucency
Nepal Khadi - L20 Natural
Nepal L40 Natural
Nepal Khadi - JL3
Nepal JL4
Nepal Khadi - JM3 Mitsumata
Nepal JM4 Mitsumata
Nepal Khadi Himalayan Traditional L
100% Daphne cooked in lye from wood ash. Cloudy sheet formation. Made using the traditional Nepalese techniques.
Nepal Khadi Himalayan Washi L 100% Daphne cooked in lye from wood ash. Made using the Japanese technique. Nepal Khadi Himalayan Mitsumata Washi 100% mitsumata cooked in lye from wood ash. Smooth surface. Made using the Japanese technique.
171
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Nepal
Note: sheets were scanned on black and white background to show translucency
Nepal Khadi - N1 Natural
Nepal Khadi - N1 Saffron
Nepal Khadi - N1 Rust
Nepal Khadi - N1 Fuchsia
Nepal Khadi - N1 Rose
Nepal Khadi - N1 Plum
Nepal Khadi - N1 Turquoise
Nepal Khadi - N1 Blue
Nepal Khadi - N1 Lime
Nepal Khadi - N1 Olive
Nepal Khadi - N1 Green
Nepal Khadi Himalayan Traditional N1 Natural & Dyed
100% Daphne. Cooked in caustic soda and bleached. Cloudy sheet formation with visible fibers and flecks.
172
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Nepal
Note: sheets were scanned on black and white background to show translucency
Lhakpa Handmades
These sheets are made in the Himalayas at the highest elevation that supports life using traditional Nepalese papermaking techniques. To insure the finer, cleaner sheets, Lhakpa has constructed their vats from concrete rather than utilizing a ditch or a pond. These are some of the largest handmade papers in the world and are exceptional examples of Nepalese papers. One rough side, one smooth. Neutral pH. 4 Deckles.
Smooth side shown
Nepal Lhakpa 20 gram
173
Paper is fragile !
Nepal Lhakpa 40 gram
Rough side shown
Nepal Lhakpa 60 gram
No returns or exchanges are allowed
Nepal Lhakpa Black
order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Nepal / Philippines
Note: sheets were scanned on black and white background to show translucency
Nepal Transparent Deerskin
Deerskins that have been pared down to a transparent membrane. Skins have irregular edges and imperfections. Traditionally used as interleaving in sacred texts. or pounding gold. Very unusual.
Philippine Gan
Philippine Ning
Philippine Handmades
Philippine paper making has been greatly influenced by Japan who favor Philippine gampi in some of their papers. The Philippines extend through different climates that yield a range of materials including gampi, kozo, abaca and salago palm.
Philippine Gan - 100% kozo. Natural with lightly textured surface. 4 deckles. Neutral pH. Philippine Ning - 100% Philippine gampi. Natural with a smooth, satin-like surface. 4 deckles. Neutral pH.
174
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
Note: sheets were scanned on black and white background to show translucency
Thai Garden Plain Smooth
Thai Garden Plain Rough
Thailand
Papermaking in Thailand has been practiced for many centuries. Their influences came from the north, having learned the papermaking processes from both Japan and Korea. Most Thai papers use kozo fiber which is plentiful and grows quickly in Thailand. Because of the warm climate, the kozo that is harvested produces sheet that are highly absorbent and have a soft and spongy touch. As in other Asian Cultures, Thai papers were primarily made by small clans of isolated people that lived in rural areas near to the necessary raw materials. Because of political unrest, during the years 1930 - 1970, papermaking neared extinction as the numbers of households fled from these areas. Fortunately, over the past decade, papermaking has once again emerged. Today, Thailand manufactures a vast array of traditional and inventive decorative sheets. The industry has now relocated within the major cities where it provides employment for many skilled crafts people and consolidates the work forces for both machine-made and handmade practices.
Thailand Garden Plain - Handmade of 100% Thai kozo. Soft, absorbent surface. Neutral pH. Off-white. 4 Deckles. Thailand Mulberry Machine-made Bleached - 100% Thai kozo. White. Neutral pH. 2 deckles. Thailand Mulberry Machine-made Un-bleached - 90% Thai kozo, 10% bamboo. Off-white. Neutral pH. 2 deckles.
Thai Mulberry Bleached 45 gram
175
Paper is fragile !
Thai Mulberry Un-bleached 45 gram No returns or exchanges are allowed
Thai Mulberry Un-bleached 15 gram order: 800-950-6111 or: 212-473-7705.
ART PAPERS - Thailand
Thai Mulberry Sky Blue
Note: sheets were scanned on black and white background to show translucency
Thai Mulberry Tea
Thai Mulberry Mustard
Thai Mulberry Red
Thai Mulberry Pear
Thai Mulberry Purple
Thai Mulberry Black
Thailand Mulberry Machine-made Colors - 100% Thai kozo. Neutral pH. 2 deckles. Thailand Tissue
Handmade from 100% Thai mulberry. Neutral pH. Traditional style, very light, gauze-like tissue made on moulds of woven cloth. 4 deckles. Natural. These charming sheets are uneven and may have small holes and imperfections. They also arrive lightly folded.
Thailand Tissue 10 gram
176
Paper is fragile !
Thailand Tissue 25 gram No returns or exchanges are allowed
Thailand Tissue 30 gram order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
ASIA
■ Special Remarks G - Gampi Paper Size Gr/M2
K - Kozo
M - Mitsumata ■ Small Format ■ Large Format
1 25 100 500 ■
G
K
M
■
■
AFRICA Banana Tissue Bvumbe Blue Tissue Giraffe Dung Ncube Terracotta Tissue Zambezi Tissue Zambezi Elephant Dung
18 x 25 18 x 25 16 x 22 18 x 25 18 x 25 18 x 25
30 30 200 30 30 200
4.00 - last of stock 4.00 - last of stock 4.00 - last of stock 4.00 - last of stock 4.00 - last of stock 5.00 - last of stock
■ - imperfect, yet unusual & beautiful sheets
BHUTAN Bhutan Khadi Denar JDK 23 x 31 100 4.40 3.96 Jingshi Tsasho 23 x 31 100 6.00 5.40 Resho 21 x 28 90 5.00 4.50 Tsasho Natural 23 x 31 100 7.10 6.39 Bhutan Egeworthia Laminated 24 x 39 250 9.00 8.10 Bhutan Tenzin Handmades Daphne Thick Natural BHU 113 21 x 34 180 9.60 8.64 Dekar #4 Natural Medium Weight 9 x 12 30 2.60 2.34 Dekar #5 Natural Thin 9 x 12 10 2.20 1.98 Dekar #7 Natural - size A7 6 x 8 60 2.50 2.25 Dekar #8 Natural 4 x 6 120 1.80 1.62 Dekar #9 Dark Natural 4 x 6 120 1.80 1.62 Dekar #4 Natural Medium Weight 9 x 12 30 2.60 2.34 Denak Kap Medium Natural 21 x 32 30 7.70 6.93 Denak Kap Thin Natural 21 x 32 15 5.90 5.31 Denak Trongsa P1 Natural 33½ x 51 120 54.90 49.41 Denak Trongsa P2 Natural 33½ x 51 50 40.00 36.00 Egeworthia Natural BHU 111 21 x 34 45 7.00 6.30 Egeworthia White BHU 112 21 x 34 45 6.50 5.85 Jute #6 Dark Natural 9 x 12 60 2.50 2.25 Mitsumata Thin Natural BHU 04 21 x 29½ 10 5.40 4.86 Mitsumata Natural BHU 05 21 x 34 60 4.00 3.60 Mitsumata White BHU 06 21 x 34 60 4.50 4.05 Mitsumata Thick White BHU 07 21 x 34 120 9.00 8.10 Rural Tsarsho BHU09 21 x 34 200 6.00 5.40 Rural Tsarsho Dyed 12 x 18 200 5.00 4.50 Shawa BHU03 21 x 29½ 180 11.00 9.90
3.67 5.01 4.18 5.93 7.52 8.02 2.17 1.84 2.09 1.50 1.50 2.17 6.43 4.93 45.84 33.40 5.85 5.43 2.09 4.51 3.34 3.76 7.52 5.01 4.18 9.19
■ - traditional sheets with distinct characteristics
■ - heavy weight with a mottled surface ■ - for printmaking, drawing and some watercolor G G ■ G ■ G ■ G ■ G ■ G G ■ G ■ K K
M M M
A Note on Asian Papers and their Applications: With the exception of Indian papers - which are often made more in the style of the West than of the East, most Asian papers have little or no internal sizing and rely on the fibers that are used to give the desired characteristics to the sheets that are produced. Throughout the East, when paper is the chosen ground to work on, it is absorbency and strength that the artist seeks - to record the accuracy or vitality of the sumi-e stroke or the nuance of the printer's ink. Even with those sheets that have in addition, been sized or have been made by mechanical processes, they are made with Eastern techniques in mind and may or may not be suitable for Western techniques - especially those that require wet-into-wet painting, hard pencils, nibs or other drawing materials and erasure. Although, even if you have no desire to use Asian papers in the manner for which they were originally made, the subtleties of tone and touch, their unique visual structure, sense of strength or fragility make the sheets in this section well worth the experimentation needed to incorporate them into your own work.
177
Paper is fragile ! No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
ASIA
■ Special Remarks G - Gampi Paper Size Gr/M2
M - Mitsumata ■ Small Format ■ Large Format
K - Kozo
1 25 100 500 ■
G
K
M
■
■
CHINA China An-Jing Clean Bark Un-sized 26 x 52 20 3.00 2.70 2.51 2.25 Clean Bark Sized 26 x 52 20 2.50 2.25 2.09 1.88 Clean Bark Sized 26 x 52 30 6.00 5.40 5.01 4.50
■ - well made sheets for sumi-e painting & printing
Yuemei Chinese Antique Dan Dou Bean Jing-pi Mao Bian #3 Pao Tortoise Yu-Jade
25 x 25 27 x 54 27 x 54 33 x 60 27 x 27 25 x 25 27 x 54 25 x 52
■ - well made sheets for sumi-e painting & printing
Yuemei Juan Silk White & Golden un-mounted
32 " wide
19.50 - per yard
Yuemei Juan Silk Mounted White Yuemei Juan Silk Mounted All Other Colors Yuemei Juan Silk Mounted All Other Colors
26 x 36 8½ x 11 26 x 36
30.00 2.50 20.00
25 24 24 48 48 25 22 48
2.25 5.85 5.85 15.00 2.25 2.25 8.35 9.20
2.03 5.43 5.43 14.03 2.03 2.03 7.50 8.25
4.88 4.88 12.60
■ - pre-sized silk for sumi-e painting & printing ■ - pre-sized & mounted silk for painting & printing
27.00 2.25 18.00
■ - for drawing, painting, collage, book arts
EGYPT Papyrus Natural
6 x 9 8 x 12 12 x 16 16 x 24 24 x 31
150 150 150 150 150
2.00 2.50 3.60 5.50 14.00
1.80 2.25 3.24 4.95 12.60
1.67 2.09 3.01 4.59 11.69
1.50 1.88 2.70 4.13 10.50
Papyrus Flecked Light or Heavy
12 x 16 16 x 24
150 150
4.30 6.30
3.87 5.67
3.59 5.26
3.23 4.73
Papyrus Fermented
8 x 12 12 x 16 16 x 24 24 x 31
150 150 150 150
2.60 4.10 5.90 15.00
2.34 3.69 5.31 13.50
2.17 3.42 4.93 12.53
1.95 3.08 4.43 11.25
Paper Assortment policy 25 Sheet Price - 25 - 99 sheets of one paper, one color, one weight, one size. 100 Sheet Price - 100 - 499 sheets assorted - no less than 10 sheets of each item.* 500 Sheet Price - 500 sheets assorted - no less than 25 sheets of each item.* *"Item" refers to one paper, one color, one weight, one size.
178
Paper is fragile ! No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
ASIA
■ Special Remarks G - Gampi Paper Size Gr/M2
M - Mitsumata ■ Small Format ■ Large Format
K - Kozo
1 25 100 500 ■
G
K
M
■
■
INDIA ■ - strong fibers, sized for multi-media
Khadi Bagasse Smooth or Rough Banana Smooth or Rough Chapri Colors Cotton Colors - Rough Gunny Sack Smooth or Rough Islamic Sunn Hemp Sunn Hemp
22 x 30 22 x 30 .22 x 30 22 x 30 22 x 30 22 x 30 22 x 30
210 310 100 210 210 100 100
Khadi Watercolor Smooth or Rough Watercolor Smooth or Rough Watercolor Smooth or Rough Watercolor Smooth or Rough Watercolor Rough Watercolor Rough Watercolor Rough Watercolor Rough Watercolor Rough Watercolor Rough "Great White" Watercolor Rough "Atlas" Watercolor Rough "Banyan"
22 x 30 22 x 30 27 x 41 22 x 30 8¼ x 11½ 11¾ x 16½ 13½ x 27½ 22" circle 27 x 41 31 x 78 39 x 54 43 x 63
210 320 320 640 640 640 320 320 640 400 400 400
4.40 5.50 9.00 8.40 2.75 4.25 3.10 5.00 14.75 55.00 42.50 55.00
Khadi Watercolor Packages White Rough A7 White Rough A6 White Rough A5 White Rough A4 White Rough A4 White Rough White Rough White Rough White Rough
2 x 3 4¼ x 5¾ 5¾ x 8¼ 8¼ x 11½ 8¼ x 11½ 8¼ x 8¼ 11¾ x 11¾ 11¾ x 16½ 12 Circles
150 150 150 150 320 320 320 320 320
3.50 - package of 20 sheets 5.60 - package of 20 sheets 8.25 - package of 20 sheets 12.60 - package of 20 sheets 18.50 - package of 20 sheets 14.00 - package of 20 sheets 24.00 - package of 20 sheets 28.00 - package of 20 sheets 26.00 - package of 20 sheets
Khadi Mouldmade Text - Cotton & Gunny
18 x 24
100
2.00
1.80
MHK Jute Single-weight, Natural MHK Jute Double-weight, Natural MHK Jute Double-weight, Stained
22 x 30 22 x 30 22 x 30
170 340 340
8.00 12.00 12.00
7.20 10.80 10.80
Saakaar Banana Heavy Sanganer All styles
25 x 35 22 x 30
150 200
5.25 - last of stock 3.00 2.70 2.43
2.18
Shizen Pastel Color Shizen Professional Watercolor 140 Rough Shizen Professional Watercolor Packages White Rough White Rough White Rough White Rough White Rough White Rough
19 x 25 22 x 30
185 300
2.75 5.00
2.06 3.57
8 x 8 9 x 12 6 x 18 12 x 18 6" circles 8" circles
300 300 300 300 300 300
8.50 - package of 5 sheets 9.50 - package of 5 sheets 13.00 - package of 5 sheets 14.00 - package of 5 sheets 16.50 - package of 5 sheets 18.50 - package of 5 sheets
22 x 30 26 x 39 42 x 53
200 300 300
3.25 8.25 50.00
25 x 38 20 x 30
50 - 75 20
Taja Watercolor Smooth Cream Rough White Rough White
4.40 3.96 3.67 4.40 3.96 3.67 2.25 last of stock 4.40 3.96 3.67 4.40 3.96 3.67 Currently unavailable 4.40 3.96 3.67 3.96 4.95 8.12 7.52 2.48 3.83 2.77 4.50 13.27 49.50 38.21 38.21
2.48 4.50
3.67 4.59 7.53 6.98 2.30 3.55 2.57 4.13 12.31 45.93 35.45 35.45
3.30 3.30 3.30 3.30 3.30 3.30 4.13 6.77 6.27 2.06 3.19 2.31 3.71 11.06 41.25 31.85 31.85
1.67
■ - strong, 100% cotton rag, sized for watercolor
1.50
■ - rare papers in the tradition of Persian book pages
2.30 4.18
■ - crisp sheets for drawing and printing ■ - strong fibers, sized for multi-media ■ - 100% cotton rag with soft, even surface ■ - 100% cotton rag internally & externally sized ■ - 100% cotton rag internally & externally sized
INDONESIA Bamboo Writing Silk Paper
179
2.75 2.00
3.48 1.80
Paper is fragile ! No returns or exchanges are allowed
■ - Crudely made, yet unique surfaces
order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
ASIA
■ Special Remarks G - Gampi Paper Size Gr/M2
M - Mitsumata ■ Small Format ■ Large Format
K - Kozo
1 25 100 500 ■
G
K
M
■
■
JAPAN Akatosashi 24¾ x 37 25 7.75 6.97 Daitoshi Extra-Thick 30 x 56 45 15.00 13.50 Dry Tear Hinging Tissue 17 x 23½ 12 8.74 7.87 17 x 23½ 20 9.34 8.41 Echizen Hanga Dosa 26 x 38 45 31.50 28.35
■ - specially harvested kozo gives this sheet its color
6.46
5.81
12.53
11.25
7.30 7.80
6.56 7.01
■ - conservation grade for hinging & repair
26.30
23.63
■ - dosa sized
Etchu Card 6 x 8 300 2.50 2.25 2.09 1.88 G Gampi Bicchu Torinoko Natural 71 16½ x 22½ 15 14.50 13.05 12.11 10.88 All Other Colors 16½ x 22½ 15 15.50 13.95 12.94 11.63 Gampi - Hiromi Collection Gampi C - HM33 Gampi HM 5 Gampi Natural MM18S Gampi White MM19S Gampi Natural MM20 Gampi White MM20 Gampi Toyo Natural MM24
25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 38 25 x 37
13 31 15 15 20 20 24
22.50 20.50 14.70 8.00 19.00 12.80 5.50
20.25 18.45 13.23 7.20 17.10 11.52 4.95
18.79 17.12 12.27 6.68 15.87 10.69 4.59
16.88 15.38 11.03 6.00 14.25 9.60 4.13
Gampi F1 Gampi F2 Gampi Double-Sided Gampi Layered Gampi Smooth #43 Gampi Tissue A3 Gampi Torinoko Gampi Toyo MM24 Gampi Udaban
24¾ x 37 25 x 37 21 x 31 25 x 37 25 x 37 11¾ x 16½ 22 x 30 25 x 37 16 x 56
50 20 75 50 32 12 100 24 50
9.50 11.20 9.50 8.00 6.00 8.00 22.00 5.50 18.00
8.55 10.08 8.55 7.20 5.40 7.20 19.80 4.95 16.20
7.93 9.35 7.93 6.68 5.01 6.68 18.37 4.59 15.03
7.13 8.40 7.13 6.00 4.50 6.00 16.50 4.13 13.50
G
G
■ ■
G ■ ■ - lustrous surface, dried between metal plates
Gampishi Usuyou Natural 24½ x 38½ 10 15.50 13.95 12.94 11.63 White 24½ x 38½ 10 10.60 9.54 8.85 7.95
G
Gampi Yamaguchi
18 x 24 17½ x 22 17 x 23 17 x 23
21 28 30 36
16.00 19.00 19.50 20.00
14.40 17.10 17.55 18.00
13.36 15.87 16.28 16.70
12.00 14.25 14.63 15.00
G
Gampi Yuki
24 x 33½
45
14.00
12.60
11.69
10.50
G
Gasenchi Echizen 17½ x 25½ 35 2.96 2.67 2.47 2.22 Gifu Machine-mades 02 Kozo Natural 25 x 38 30 4.50 4.05 3.76 3.38 08 Kozo White 25 x 38 25 3.50 3.15 2.92 2.63 Green Tea Medium Tone 21½ x 31 20 2.50 2.25 2.09 1.88 Green Tea Light Tone 21½ x 31 20 2.00 1.80 1.67 1.50 Mino Colors 21½ x 31 60 2.00 1.80 1.67 1.50 14 Moon Peach Medium 21½ x 31 20 2.50 2.25 2.09 1.88 21 Moon Peach Heavy 25 x 34½ 45 6.80 6.12 5.68 5.10 18 Washi Sized 25 x 34½ 20 4.50 4.05 3.76 3.38
■ - made in the style of Chinese sumi-e papers
Gozen Sized
25 x 37
40
16.00
14.40
13.36
12.00
■ - dosa sized
Goyu
21 x 29
50
6.10
5.49
5.09
4.58
Hanshi
9 x 12
20
180
10.60 - p ackage of 100 sheets
Paper is fragile ! No returns or exchanges are allowed
■ - affordable machine-mades
■ - practice paper, great for book binding projects
order: 800-950-6111 or: 212-473-7705.
■
ART PAPER - PRICES
ASIA
■ Special Remarks G - Gampi Paper Size Gr/M2
M - Mitsumata ■ Small Format ■ Large Format
K - Kozo
1 25 100 500 ■
G
K
M
■
■
JAPAN Harukaze SH4 - Hiromi Collection
25 x 35
38
4.76
4.28
3.97
3.57
Hiryu SH12 - Hiromi Collection
25 x 35
38
5.26
4.73
4.39
3.95
Hon-Mino-Gami - Hiromi Collection Hon-Mino-Gami HP01 25½ x 38½ 30 39.20 35.28 32.73 29.40 Uso-Mino-Gami HP02 25 ¼ x 36¼ 15 21.00 18.90 17.54 15.75 Uso-Mino Thin HP04 25 x 36¼ 11 21.00 18.90 17.54 15.75 Chochin HP05 25¼ x 36½ 19 23.90 21.51 19.96 17.93 Hon-Misu-Gami - Hiromi Collection
10 x 25½
35
15.00
13.50
■ - conservation grade
K
■ - conservation grade
K
Honen Sized 25 x 38½ 35 3.60 3.24 3.01 2.70 Hosho - Hiromi Collection Hosho Professional 19 x 24 85 3.80 3.42 3.17 2.85 Hosho Professional 24 x 36 85 11.00 9.90 9.19 8.25 Hosho Kozo 16½ x 22 85 8.00 7.20 Hosho Natural 16½ x 22 85 4.00 3.60 3.34 3.00 Hosho Student Grade 16 x 22 95 3.10 2.79 2.59 2.33 Hosho Iyo 27½ x 39 65 10.00 9.00 8.35 7.50
■ - dosa sized
Hosokawa Ohban 22½ x 35¼ 40 18.85 16.96 15.73 14.13 Inshu Gampi 01 25 x 38½ 20 24.00 21.60 20.04 18.00 Kozo 003 24¾ x 39 17 15.50 13.95 12.94 11.63 Kozo 005 24¾ x 39 20 17.00 15.30 14.20 12.75 Kozo 016 25 x 37 35 8.00 7.20 6.68 6.00 Mitsumata Natural 25 x 37 20 22.00 19.80 18.37 16.50 Mitsumata White 25 x 37 20 16.00 14.40 13.36 12.00 Rydudou Kozo 33 26½ x 38 33 10.00 9.00 8.35 7.50 Rydudou Kozo 55 26½ x 38 55 16.00 14.40 13.36 12.00 Iwano Handmades Akamashi Natural #19 42½ x 77½ 40 100.00 Echizen Gasen Nisoh #17 28 x 53½ 50 20.00 Echizen Kizuki Hosho #30 18 x 21½ 60 30.00 Hanga-shi Gampi #34 42½ x 77½ 85 260.00 Hanga-shi Kozo #32 & #33 42½ x 77½ 85 120.00 Hanga-shi Mitsumata #35 20 x 25 200 50.00 Kumo Hadamashi #24 42½ x 77½ 85 152.00 Shikoshi Colors #12, 13 14 15 42½ x 77½ 45 140.00 Shiromashi Dosa #5 42½ x 77½ 40 100.00
■ - conservation grade
Iyo Glazed 17 x 22 85 3.70 3.33 Izumo Mingei Mitsumata-shi Colors 25 x 37 35 19.00 17.10 Izumo Mingei Mitsumata-shi White Thin 21 x 31 20 12.00 10.80 Izumo Mingei Mitsumata-shi White or Natural 9½ x 11½ 70 9.50 8.55 Izumo Mingei Mitsumata-shi White or Natural 12½ x 19½ 70 20.00 18.00 Jougami 7¼ x 18½ 30 4.00 3.60
■ - conservation grade G K K K K K
M M
■ - some of the finest & largest papers made today ■ ■ - made in the style used by master ukiyo-e printers G ■ K ■ ■ - extraordinary surface and luster M ■ - internally sized & highly prized ■ ■ - deep color sheets often used with gold leaf ■ ■ - hemp and dosa sizing ■
2.78
■ - dried on metal to give a smooth surface
15.87
14.25
■ - conservation grade, lustrous sheets M ■ - heavy weight lustrous sheets M ■
3.34
3.00
24½ x 39
24
6.90
6.21
5.76
5.18
Kakishibu-Shi Kozo Kakishibu-Shi Kozo Kakishibu-Shi Kozo
25 x 38 7½ x 7½ 11 x 15
50 inquire 45 5.50 45 12.00
4.95 10.80
4.59 10.02
4.13 9.00
Kankoshi HK0062
24½ x 38½
83
9.00
8.35
7.50
181
K
3.09
Kaji Natural
10.00
■ - soft, absorbent grades for block prints & sumi-e
■ - small scroll format
■
■ - persimmon dyed
Paper is fragile ! No returns or exchanges are allowed
■ - unusual, scratchy surface with a deep tone
order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
ASIA
■ Special Remarks G - Gampi Paper Size Gr/M2
M - Mitsumata ■ Small Format ■ Large Format
K - Kozo
1 25 100 500 ■
G
K
M
■
■
JAPAN Kawashi
26 x 39
70
4.40
3.96
3.67
3.30
■ - works well with digital printers
Kihada Kozo Dyed Kihosen Kana Writing HK0001 Kikuchi
25 x 38 27½ x 53½ 12 x 16
30 28 100
18.00 10.00 5.50
16.20 9.00 4.95
8.35 4.59
7.50 4.13
■ - made in the style of Chinese sumi-e papers ■ K ■
Kikura Kozo Kikura Kozo
25 x 37 25 x 37
21 44
3.80 5.65
3.42 5.09
3.17 4.71
2.85 4.23
Kiraku Kozo Kitakata Natural, Greenish Kitakata Machine-made Kizuki Kozo White & Natural
25 x 39 16 x 20 25 x 38 24 x 39
35 30 30 43
7.20 2.90 7.50 12.00
6.48 2.61 6.75 10.80
6.01 2.42 6.26 10.02
5.40 2.18 5.63 9.00
Kizukishi
24 x 36
14
19.05
17.15
15.91
14.25
Kochi White Kochi Natural
20 x 26 24 x 36
109 14
8.25 9.00
7.43 8.10
6.88 7.52
6.18 6.75
■ - Philippine gampi - great for printing ■ - Philippine gampi - great for printing / digital ■ - conservation grade K ■ - conservation grade
K
■ - thick, smooth surface for printing & painting ■ - rare, lustrous sheets of gampi & kozo
Kozo Gampi Torinokoshi - Tosa Washi Collection HK0013 22 x 30 118 18.68 16.81 HK0016 24¾ x 35¼ 176 43.94 39.55 Kozo Koban
13½ x 16
55
4.00
3.60
3.34
3.00
Kozo Moriki Natural Kozo Moriki Colors
25 x 37 25 x 37
40 40
13.50 13.50
12.15 12.15
11.27
10.13
Kozoshi Handmades - Hiromi Collection Kozoshi HM2 25 x 38 21 9.00 8.10 7.52 6.75 Kozoshi Uwazen DHM9 25½ x 34½ 79 15.00 13.50 12.53 11.25 Kozoshi Misumi DHM11 25½ x 38 116 19.50 17.55 16.28 14.63 Kozoshi Kochi-Shi DHM13 20 x 26 132 12.00 10.80 10.02 9.00 Kozoshi DHM14 15½ x 17¾ 194 15.00 13.50 12.53 11.25 Kozoshi Machine-mades - Hiromi Collection Kozoshi MM1 25 x 38 24 5.60 5.04 4.68 4.20 Kozoshi MM2 25 x 38 36 5.30 4.77 4.43 3.98 Kozoshi Handmades - Tosa Washi Collection HK0022 Natural 24½ x 38½ 30 8.40 7.56 7.01 6.30 HK0023 Natural 24½ x 38½ 35 8.40 7.56 7.01 6.30 HK0023W White 24½ x 38½ 35 8.40 7.56 7.01 6.30 HK0027 Natural 24½ x 38½ 55 8.50 7.65 7.10 6.38 Kozoshi Machine-mades - Tosa Washi Collection M0202 Natural 24½ x 37 44 6.00 5.40 5.01 4.50 M0203 Natural 24½ x 37 22 4.00 3.60 3.34 3.00 M0206 Natural Sized 24½ x 37 56 3.60 3.24 3.01 2.70 M0207 White Sized 24½ x 37 56 4.00 3.60 3.34 3.00 M0207-2 White 24½ x 37 31 2.80 2.52 2.34 2.10 M0207-3 White 24½ x 37 80 8.20 7.38 6.85 6.15
■
G
K
M
■ - limited availability ■ - kozo blends ■ - dosa sized ■ - dosa sized ■ - dosa sized ■ - dosa sized ■ - kozo blends
■ - kozo blends
■ - kozo blends
Kozo Thick White & Natural
25 x 38
70
7.85
7.07
6.55
5.89
■ - 90% kozo with slight translucency
Kozuke White & Ivory
25 x 37
44
4.20
3.78
3.51
3.15
■ - kozo blends high quality, economical
Lens Tissue Manilla Hemp 24 x 37 9 2.34 Lens Tissue Rayon 24 x 37 9 1.50 Manila Hemp Natural & Ice Blue 25 x 37 16 2.34
2.11 1.35
1.95 1.24
1.76 1.11
■ - thin for repair, interleaving, collage
2.11
1.95
1.76
■ - thin for repair, interleaving, collage
.99
.92
.83
Masa Cold White & Soft White- also see rolls
182
21 x 31
70
1.10
Paper is fragile ! No returns or exchanges are allowed
■
■ - student grade double-sided sheet
order: 800-950-6111 or: 212-473-7705.
■
ART PAPER - PRICES
ASIA
■ Special Remarks G - Gampi Paper Size Gr/M2
M - Mitsumata ■ Small Format ■ Large Format
K - Kozo
1 25 100 500 ■
G
K
M
■
■
■ - highest quality hemp & kozo ■ - highest quality hemp & kozo, dosa sized
■ ■
JAPAN Mashi Thick Nama Mashi Thick Dosa Sized
60 x 84 60 x 84
110 110
250.00 300.00
Mingei-shi Natural SH35 Mingei-shi Colors
25 x 38 25 x 38
45 40
6.00 6.80
5.40 6.12
5.01 5.68
4.50 5.10
Mino-Gami HM3
25 x 38
24
10.60
9.54
8.85
7.95
■ - conservation grade
Misu with Clay Pigment - Hiromi Collection
25 x 38
20
8.50
7.65
7.10
6.38
■ - clay added for stability, pronounced su markings
Mitsumata Fuji Mitsumata & Salago Mitsumata Letter Mitsumata Tissue Mitsumata Umeda Kochi
25 x 37 25 x 37 8 x 11½ 22 x 27½ 25 x 37
24 24 20 20 24
6.70 5.00 3.00 7.50 20.00
6.03 4.50 2.70 6.75 18.00
5.59 4.18 2.51 6.26 16.70
4.69 3.75 2.25 5.63 15.00
Mizota Hanban Mizota Udaban
12 x 24 12½ x 57
33 33
8.00 12.00
7.20 10.80
6.68 10.02
6.00 9.00
K
M ■ - smooth surface works well with digital printers M ■ ■ - fine tissue M ■ - conservation grade M ■ - scroll format ■ ■ - scroll format
Mohachi Handmade 8½ x 8½ 300 8.00 7.20 6.68 6.00 8½ x 11 300 8.00 7.20 6.68 6.00 10 x 13¾ 300 10.00 9.00 8.35 7.50 16 x 25 185 12.00 10.80 10.02 9.00 22 x 22 300 18.00 16.20 15.03 13.50 22 x 30 300 18.20 16.38 15.20 13.65 31 x 47 500 169.20 152.28 141.28 126.90 Mulberry 24 x 33½ 45 4.80 4.32 4.01 3.60 Mulberry 25 x 38 45 5.00 4.50 4.18 3.75
■ - heavyweight & sized
■ - heavyweight & sized
Mura Binsen 7 x 10 24 2.00 1.80 Mura Rokubu 13½ x 16 35 5.00 4.50 Mura Udaban 16 x 56 64 18.00 16.20 Nara Fukinushi Natural Dyed Uda 12½ x 18 25 12.00 10.80
■
1.50 3.75 13.50
■ - magnificent scroll
■ ■
10.02
9.00
■ - made & dyed by master papermaker
■
24 x 36
75
11.00
Nishinouchi N0001 Natural N0002 Ohban White1 Sou N0003 Ohban White 2 Sou N0004 Gaseban White
24 x 36 28½ x 41 28½ x 41 29 x 56
45 30 60 25
18.00 - Last of stock 24.00 - Last of stock 48.50 - Last of stock 30.00 - Last of stock
Oguni Chiri Ogunigami
11¼ x 15 11 x 15¼
60 36
7.00 9.50
Ogura Natural Ogura Colors
24 x 36 24 x 36
108 108
10.65 7.00
Okawara Handmade Okawara Handmade
12 x 16 14 x 38
60 60
3.90 6.20
■
■
■ - very popular kozo blend
1.67 4.18 15.03
Natsume 4007
■
■ - highest quality kozo
6.30 8.55
5.85 7.93
5.25 7.13
■ ■
9.59 8.89 7.99 6.30 - last of stock 3.51 5.58
■ - well known favorite ■ - scroll format
K K
■ ■
3.26 5.18
2.93 4.65
Okawara Machine Made Pinkish Natural 38 x 74 60 19.30 17.37 16.11 Greenish Natural 38 x 74 60 14.10 12.69 11.77 Okawara Student Grade 18 x 25 46 4.10 3.68 3.39
14.47 10.58 3.05
■ ■
■
Otoshi Medium HK0024
29½ x 56
33
11.60
10.44
9.69
8.70
Rayon Gauze Rayon M0321
25 x 37 23½ x 35
25 50
3.00 4.40
2.70 3.96
2.51 3.67
2.25 3.30
■ - thin & strong
183
Paper is fragile ! No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
ASIA
■ Special Remarks G - Gampi Paper Size Gr/M2
M - Mitsumata ■ Small Format ■ Large Format
K - Kozo
1 25 100 500 ■
G
K
M
■
■
K K M
■ ■
JAPAN Sakamoto Sakamoto Heavy
25 x 38½ 25 x 38½
80 110
4.20 4.50
3.78 4.05
3.51 3.76
3.15 3.38
Sansui SH8 - Hiromi Collection
25 x 38
24
5.02 - last of stock
Seichoshi-Homare HK0009 29½ x 40 49 31.00 27.90 Seichosen HM22 - Hiromi Collection 29½ x 55 32 32.80 29.52 Seiko-Sen HM23 - Hiromi Collection 29½ x 55 32 34.50 31.05 Sekishu Natural 24 x 39 30 7.90 7.11 Sekishu White 24 x 39 30 7.55 6.77
25.89 27.39 28.81
23.25 24.60 25.88
6.60 6.28
5.93 5.64
Sekishu-Hanshi Tsuru HP06 20½ x 28 21 13.35 Sekishu-Hanshi Mare HP07 20½ x 28 21 17.60 Sekishu-Hanshi Mare Small - (cut edges) 9¾ x 13¾ 25 5.00 Sekishu Torinoko Gampi HP60 21 x 28½ 17 19.20
12.01 15.84 4.50
11.14 14.70 4.18
10.01 ■ - conservation grade 13.20 ■ - conservation grade 3.75
17.28
16.02
14.39
■ - conservation grade ■ - conservation grade ■ - conservation grade
■ - 80% kozo makes this a stong, versitile sheet
■ - finest
G
Senka-Shi HM35 - Hiromi Collection 25 x 38½ 30 14.45 13.00 12.06 10.83 HM36 25 x 38½ 38 16.90 15.21 14.11 12.68 HM37 25 x 38½ 44 18.80 16.92 15.70 14.10
■ - conservation grade ■ - conservation grade ■ - conservation grade
Shigure SH15 - Hiromi Collection 25 x 38 25 9.90 8.91 8.27 Shikibu Echizen Washi Handmades Gampi-shi 01 White 25 x 37 13 28.00 25.20 23.38 Gampi-shi 03 White 25 x 37 26 43.80 39.42 36.57 Gampi-shi 06 Natural 25 x 37 13 34.70 31.23 28.97 Gampi-shi 08 Natural 25 x 37 26 50.00 45.00 41.75
■ - conservation grade G G G G
Gampi-shi Colors Kizukishi Kozo Dyed Kozo-shi 27 Mitsumata-shi 11
Shikishi Kochi White & Natural Shikishi Kochi Black Shikishi Mini White or Natural
K K K
7.43
12.57 12.57
G K K
20 x 30 25 x 37 24 x 35½ 21½ x 33
13 18 26 20
16.76 16.76 19.20 19.20
15.08 15.08 17.28 17.28
13.99 13.99
9½ x 10½ 9½ x 11½ 5 x 5½
300 300 300
12.50 14.40 3.00
11.25 12.94 2.70
10.44 11.99 2.51
9.38 10.77 2.25
12.44 9.13
11.18 8.21
■ - gampi mounted to heavier stock good for digital
6.10
5.48
Shikoku Surface Gampi Deep Natural 25 x 38 120 14.90 13.41 Shikoku Surface Gampi White 25 x 38 120 10.95 9.85 Shiramine MM5 - Hiromi Collection 25 x 38 110 7.30 6.57 Shoji
24½ x 38½
45
8.50
7.65
7.10
6.38
Shojoshi
4 x 6 8½ x 11¾ 10 x 14 12½ x 18
200 200 200 200
1.40 4.65 6.55 8.90
1.26 4.18 5.89 7.99
1.17 3.86 5.46 7.40
1.05 3.47 4.91 6.65
Silk Tissue
18 x 24 25 x 38
10 10
2.80 5.20
2.52 4.68
2.34 4.34
Sugikawashi
24 x 37
80
12.00
10.80
Tamura Koban
13 x 15
30
4.00
3.60
184
K K
2.10 3.90
M
■ - tissue
■ ■ ■
■ ■ ■ ■
G
■ -made in the tradition of ancient Japan 3.34
3.00
Paper is fragile ! No returns or exchanges are allowed
■
order: 800-950-6111 or: 212-473-7705.
ART PAPER - PRICES
ASIA
■ Special Remarks G - Gampi Paper Size Gr/M2
M - Mitsumata ■ Small Format ■ Large Format
K - Kozo
1 25 100 500 ■
G
K
M
■
■
JAPAN Tengucho Handmade - Hiromi Collection HM1 Tengucho White 21 x 30½ 9 15.00 13.50 12.53 11.25 Tengucho Handmade (Caustic Soda) 21 x 30½ 11 6.98 6.28 5.83 5.24 Tengujoushi Handmade Dyed 21 x 30½ 9 9.50 8.55 7.93 7.13 Tengucho Machine-made Tengucho CT Colors 25 x 37 9 6.00 5.40 5.01 4.50 W1 Tengucho 25 x 38 9 2.10 1.89 1.75 1.58 W1T Tengucho Thin 25 x 38 5 4.60 4.14 3.84 3.45
■ - conservation grade
K
■ - conservation grade ■ - conservation grade
K K
Taniai
10 x 13
22
4.50
4.10
Torinoko Handmade
21 x 31
125
9.00
8.10
Torinoko MMN105 White or Natural 36 x 72 240 13.20 11.88 Torinoko MMN105B Black 36 x 72 240 17.20 15.48 Torinoko Brushstrokes 31 x 43 60 6.50 5.85 Tosa Hanga 25½ x 38 90 17.30 15.57 Tosa Kasagami 15½ x 19 46 8.50 7.65 Tosa Kozo #8 Natural & White 25 x 38 50 9.60 8.64 Tosa Maruishi 25 x 38 100 26.10 23.49 Tosazome Purple Toyama
25 x 33 20 x 26
■
7.52 11.02 9.90 14.36 12.90 5.43 4.88
14.45 12.98 7.10 6.38 8.02 7.20 21.79 19.58
■ - heavyweight and internally sized for printing ■ ■ - heavyweight and internally sized for printing
120 60
30.00 9.00
8.10
Uda-Gami Thin HM40 - Hiromi Collection 12½ x 58 Uda-Gami Medium HM41 - Hiromi Collection 12½ x 58
26 49
18.00 22.00
16.20 19.80
Uwa Senka Small Uwa Senka Long
12 x 16 14 x 38½
55 55
3.00 7.50
2.70 6.75
2.51 6.26
2.25 5.63
Vegetable Papers
25 x 38
40
12.00
10.80
10.02
9.00
8.77
7.88
7.52
6.75
15.03 13.50 18.37 16.50
■ - conservation grade ■ - conservation grade
K K
K K
■ - conservation grade
K
■ - conservation grade
K
■ ■
Walnut Dyed Kururu Kozo 25 x 38 30 20.00 18.00 Yame Kozo Hadakura S1 - S4
25 x 38
16
10.50
9.45
Yatsuo A Yatsuo 25 x 37 40 6.80 6.12 5.68 5.10 B & C Yatsuo 25 x 36 40 7.30 6.57 6.10 5.48 D & E Yatsuo 25 x 37 40 8.00 7.20 6.68 6.00 Yuku-shi Snow Bleached Handmades 25 x 38 13 16.98 25 x 38 16 19.80 17.82 25 x 38 27 26.40 23.74 25 x 38 41 29.34 26.41 Yukyu Natural 7 x 10 39 2.50 2.25 Zairai 24½ x 36 36 4.10 3.69
185
■ ■
16.53 22.03 24.50
14.85 19.79 22.01
2.09
1.88
3.42
3.08
■ - works well for digital printing
Paper is fragile ! No returns or exchanges are allowed
■
order: 800-950-6111 or: 212-473-7705.
■ ■
ART PAPER - PRICES
ASIA
■ Special Remarks G - Gampi Paper Size Gr/M2
K - Kozo
M - Mitsumata ■ Small Format ■ Large Format
1 25 100 500 ■
G
K
M
■
■
■ - Korean Dak ■ - Oiled surface deepens in color over time ■ - Korean Dak & Kozo blend ■ - Korean Dak & grey stone pigment
■
KOREA Hanji Colors Hanji Oiled Hanji Mulberry Mix Hanji Stone Grey
25 x 37 30 x 56 26 x 38 30 x 57
40 40 40 40
5.00 50.00 10.00 20.00
4.50
4.18
Chautara Lokta Natural Chautara Lokta Natural & Colors
20 x 26 20 x 26
20 65
Jazz
19 x 29
60
3.75
9.00
8.35
2.50 4.25
2.25 3.83
2.09 3.56
1.88 3.20
■ - Nepalese gampi ■ - Nepalese gampi
5.20
4.68
4.34
3.90
■ - tissue mounted on gauze makes these very strong
NEPAL
Khadi Himalayan Mitsumata JM3 20 x 32 30 4.40 3.96 3.67 3.30 Mitsumata JM4 20 x 32 60 5.00 4.50 4.18 3.75 Traditional L5 N 19 x 26 10 1.80 1.56 1.47 1.32 Traditional L10 N 19 x 26 30 1.80 1.56 1.47 1.32 Traditional L20 N 19 x 26 90 3.00 2.70 2.51 2.25 Traditional L40 N 19 x 26 140 4.40 3.96 3.67 3.30 Traditional N1 Natural 19 x 26 30 1.80 1.56 1.47 1.32 Traditional N1 Dyed 19 x 26 30 1.80 1.56 1.47 1.32 Washi L - JL 3. 20 x 32 30 4.40 3.96 3.67 3.30 Washi L - JL4 Smooth, medium weight. 20 x 32 60 4.40 3.96 3.67 3.30 Lhakpa Natural 8½ x 11 30 2.50 2.25 2.09 Natural 12½ x 18½ 50 4.00 3.60 3.34 Natural 27½ x 39 60 25.00 Natural 39 x 68 20 30.00 Natural 39 x 68 40 50.00 Natural 39 x 68 60 80.00 Natural 58 x 118 60 180.00 Black. 27½ x 39 150 25.00 Transparent Deerskin
■ - imperfect skin membranes used for pounding gold
16 x 20 (approximate)
35.00
■ - Nepalese mitsumata
M
G
G
G
G ■ G ■ G G ■ G ■ G ■ G ■ G
PHILIPPINES Gan Ning
27½ x 53 27½ x 53
18 18
7.70 5.80
6.85 5.25
6.34 4.82
5.69 4.33
■ K G ■
THAILAND Garden Plain Smooth 22 x 30 100 3.75 3.37 3.13 2.81 Garden Plain Rough 22 x 30 100 2.90 2.61 2.42 2.18 Mulberry Machinemade Bleached 25 x 37 45 4.00 3.60 3.34 3.00 Machinemade Colors 25 x 37 45 4.40 3.96 3.67 3.30 Machinemade Unbleached 25 x 37 15 1.75 1.58 1.46 1.31 Machinemade Unbleached 25 x 37 45 4.00 3.60 3.34 3.00 Tissue 19 x 21½ 10 1.30 1.17 1.09 0.98 Tissue 19 x 21½ 25 1.30 1.17 1.09 0.98 Tissue 31½ x 39 30 4.00 3.60 3.34 3.00
186
Paper is fragile ! No returns or exchanges are allowed
K K
K K K K K K K
order: 800-950-6111 or: 212-473-7705.
ART PAPER - ROLLS
Japan Note: papers were scanned on black and white background to show translucency
Chiri
Color Kozo
Daitoku
Gampi 19 White
Gampi 18 Natural
Gampi Kashiki 18 gram
Gampi 20 White
Gampi 20 Natural
Gampi Kashiki 19 gram
Haini
Gampi Toyo MM24
Gampi Kashiki 25 gram
Japan Chiri Natural
100% kozo fiber. Neutral pH. Tan, with fibers and dark brown flakes.
Japan Color Kozo HPCR-CO
100% Japanese kozo made by direct dye process into a color that is especially suited for the repair of old documents. Commissioned by the Tokyo Restoration Conservation Center. Neutral pH. (7.3)
Japan Daitoku White
Kozo and sulphite blend. Wide, heavyweight paper. Neutral pH.
Japan Gampi MM 18-19 / MM 20 Natural & White 100% gampi prepared by hand to insure quality and to avoid the use of chemicals that could effect the archival standards. Neutral pH.
Japan Gampi Kashiki Natural 100% Japanese gampi. Neutral pH.
Japan Gampi Toyo MM 24 Natural 95% Philippine gampi, 5% straw. Neutral pH.
Japan Haini White
100% Tosa kozo. Exceptionally fine quality. White. Neutral pH.
Roll Chiri Daitoku Gampi MM 18 Natural MM 19 White MM 20 Natural MM 20 White Gampi Kashiki Gampi Kashiki Gampi Kashiki Gampi Toyo MM24 Haini
Size G/m2 36 x 10 yards 36 75½ x 22 yards 105 38 x 10 yards 38 x 10 yards 38 x 10 yards 38 x 10 yards 39 x 10 yards 39 x 10 yards 39 x 10 yards 43 x 11 yards 38 x 60 yards
15 15 20 20 8 19 25 24 5
The following Japanese papers are also sold by the yard. Roll Width G/m2 Color Kozo (limited stock) 38 5 Gampi Kashiki 39 8 Gampi Kashiki 39 19 Gampi Kashiki 39 25 Haini 38 5
Price 80.00 320.00 220.00 142.00 315.00 210.00 185.50 269.00 386.00 79.00 626.00 Yard 19.00 18.55 26.90 38.63 17.40
Due to the fragility of the material, we cannot roll down more than 10 continuous yards of any paper.
187
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPER - ROLLS
Japan Note: papers were scanned on black and white background to show translucency
Hosho Thick
Kitakata Natural
Haruki
Kikura 21 gram
Kikura 44 gram
Kinwashi White
Kinwashi Natural
Kinwashi Unryu
Kozo-shi 206
Kozo-shi 207
Kozo-shi MM1
Japan Haruki White
Machine-made in Japan from 100% Kozo. "Cloud Dragon Paper." White with long swirls of white kozo fibers. Neutral pH.
Japan Hosho Thick White 100% sulphite. Thick, opaque and soft. White. Neutral pH.
Japan Kikura Kozo Natural Kozo and sulphite. Strong, cloudy formation. Neutral pH.
Japan Kinwashi White & Cream & Golden Unryu
Manila hemp and sulphite pulp. Smooth with fine, straw-like fibers.
Japan Kitakata Natural
90% Philippine gampi. Neutral pH.
Japan Kozo-shi MM1 Natural
30% kozo & sulphite. Natural. Neutral pH.
Japan Kozo-shi 206 Natural Sized & Kozo 207 White Kozo & sulphite blend. Neutral pH.
Roll Haruki Hosho Thick Haruki Hosho Thick Kikura Kozo Kikura Kozo Kikura Kozo Kinwashi GoldenUnryu Kinwashi Cream Kinwashi White Kitakata Kitakata Kozo-shi MM1 Kozo 206 Natural Sized Kozo 207 White
Size G/m2 Price 38 x 10 yards 73 142.50 45 x 22 yards 140 240.00 38 x 10 yards 73 142.50 45 x 10 yards 140 162.50 38 x 10 yards 21 60.00 38 x 10 yards 44 82.50 38 x 10 yards 65 123.00 38 x 10 yards 55 70.00 36 x 10 yards 55 69.00 36 x 10 yards 55 69.00 38 x 10 yards 30 97.50 16 x 10 yards 35 42.00 47 x 65 yards 38 475.00 38 x 10 yards 56 62.00 38 x 10 yards 56 70.00
The following Japanese paper is also sold by the yard. Roll Width G/m2 Kozo-shi MM1 47 38
Yard 10.85
Due to the fragility of the material, we cannot roll down more than 10 continuous yards of any paper.
188
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPER - ROLLS
Japan Note: papers were scanned on black and white background to show translucency
Kozo Thick White
Kozo Thick Natural
Kozuke White
Kozuke Ivory
Japanese Mulberry 26 gram
Masa Cool White (smooth side shown above)
Japanese Mulberry Heavyweight 52 gram
Masa Soft White (textured side shown above) Kumogarashi
Japan Kozo Thick White & Natural 90% kozo. Neutral pH.
Japan Kozuke White & Ivory 70% kozo. Neutral pH.
Japan Kumogarashi
10% kozo, 90% manila hemp.
Japan Masa Cool White & Soft White
100 % sulphite. One side smooth, one side Cold Pressed. No deckles.
Japan Misu White
Exceptionally fine, 100% Japanese kozo. Neutral pH.
Japan Mulberry& Mulberry Heavyweight
A blend of sulphite and kozo. Neutral pH. White
Misu
Roll Kozo Thick White or Natural Kozuke White or Ivory Kozuke White or Ivory Kumogarashi Masa Cool or Soft White Misu Misu Mulberry Mulberry Mulberry Heavy Weight Mulberry Heavy Weight
Size G/m2 38 x 10 yards 38 x 10 yards 38 x 65 yards 38 x 10 yards 42 x 30 yards 39 x 10 yards 39 x 60 yards 27 x 10 yards 38 x 10 yards 27 x 10 yards 38 x 10 yards
Price
70 115.00 44 60.00 44 306.00 27 69.00 77 80.00 24 178.00 24 625.00 26 35.00 26 40.00 52 55.00 52 75.00
The following Japanese paper is also sold by the yard. Roll Width G/m2 Yard Misu 39 35 19.00
Due to the fragility of the material, we cannot roll down more than 10 continuous yards of any paper.
189
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPER - ROLLS
Japan Note: papers were scanned on black and white background to show translucency
Okawara
Sekishu 10 gram
Shiramine
Sekishu 15 gram
Shikoku Surface Gampi Deep Natural
Ogura Lace - Asarakusui
Sekishu 20 gram
Shikoku Surface Gampi White
Sekishu 30 gram
Sekishu 25 gram
Japan Ogura Lace - Asarakusui Natural
100% manila hemp. Pierced, lace-like surface. Natural tone.
Japan Okawara Natural
Machine-made of Kozo and Sulphite. Smooth one side, light texture on the other. Natural. Neutral pH.
Japan Sekishu Off-White
100% Tosa kozo from the Kochi Prefecture. Special care is taken in the preparation of these fibers to insure the finest quality product.
Japan Shikoku Surface Gampi Natural & White
A two layer, machinemade sheet. A thin sheet of lustrous, smooth gampi is fused together with an opaque base sheet of kozo, hemp and wood pulp. Neutral pH.
Roll Ogura Lace Okawara Sekishu Sekishu Sekishu Sekishu Sekishu Shikoku Gampi White Shikoku Gampi Natural Shiramine Shiramine
Size G/m2 47 x 10 yards 27 38 x 10 yards 60 38 x 66 yards 10 38 x 66 yards 15 38 x 66 yards 20 38 x 66 yards 25 38 x 66 yards 30 38 x 11 yards 110 38 x 11 yards 110 40 x 10 yards 107 40 x 54 yards 107
Price 65.00 88.00 452.00 495.00 520.00 545.00 580.00 155.00 240.00 160.00 580.00
The following Japanese papers are also sold by the yard. Roll Width G/m2 Yard Japan Shiramine White Sekishu 38 10 12.55 40% Japanese kozo, 60% sulphite. Heavy weight. Neutral pH. Sekishu 38 15 13.70 Sekishu 38 20 14.40 Sekishu 38 25 15.10 Sekishu 38 30 16.10 Due to the fragility of the material, we cannot roll down more than 10 continuous yards of any paper.
190
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
ART PAPER - ROLLS
Japan & Thailand Note: papers were scanned on black and white background to show translucency
Sumi-e Hosho
Torinoko Natural (smooth side seen above)
Tengucho 3 gram
Sumi-e Kozo
Torinoko White (textured side seen above)
Tengucho Thin 5 gram
Takefu Natural (textured side seen above)
Takefu White (smooth side seen above)
Tengucho W1 9 gram
Japan Sumi-e White
Machine-made in Japan. Cold Pressed. No deckles. White.
Japan Tengucho White
Very sheer tissues prepared by cooking in caustic soda Neutral pH. Tengucho W1 - 100% Thai Kozo, made in Tokushima Prefecture. Tengucho Thin - 100% Thai Kozo, made in Kochi Prefecture. Tengucho 3 gram - 100% Japanese Kozo, made in Kochi Prefecture.
Japan Takefu White & Natural
Roll Sumi-e Sumi-e Sumi-e Takefu White & Natural Tengucho W1 Tengucho 5 gram Tengucho 3 gram Torinoko White/Natural
Size G/m2 8 x 20 feet 30 11 x 20 yards 30 18 x 10 yards 30 38 x 20 yards 100 38 x 20 yards 9 38 x 20 yards 5 38 x 11 yards 3 79 x 22 yards 235
Price 8.90 16.50 13.50 130.00 60.00 93.00 71.00 385.00
100% sulphite. Heavy weight with a durable surface. Neutral pH.
Japan Torinoko White & Natural
100% sulphite. Heavy weight with a durable surface. Neutral pH.
Thai Mulberry Un-Bleached
Thai Mulberry Bleached
Thailand Mulberry
Machine-made in Thailand. 100% kozo. Neutral pH.
Thailand Unryu
Machine-made in Thailand. 100% kozo. Neutral pH.
191
Paper is fragile !
Thai Unryu White
Thai Unryu Black
Roll Mulberry Bleached Mulberry Unbleached Unryu White & Black
No returns or exchanges are allowed
Size G/m2 37 x 11 yards 45 37 x 11 yards 45 39 x 11 yards 25
Price 56.00 56.00 58.00
order: 800-950-6111 or: 212-473-7705.
ART PAPER - ROLLS
Japan Conservation Tissues Note: papers were scanned on black and white background to show translucency
Japanese Conservation Tissues
Machine-made in Japan, these synthetic based materials are exceptionally strong even when wet, making them ideal for conservation, bookbinding and mounting. These products are paste resistant so it is possible to lay directly on freshly pasted areas before weighting them without worry of adhesion.
Japan Atsukuchi Rayon Paper Thick HPCR50
HPCR50 Atsukuchi Rayon Thick
Used as a blotting material since the rayon draws moisture away due to capillary action. Very strong. Rayon will expand when wet.
Japan Usukuchi Rayon Paper Thin HPCR51
Almost transparent gauze similar to Atsukuchi Rayon Paper.
HPCR51-12 Usukuchi Rayon Thin 12 gram
Japan Polypropylene HPCR52 Polypropylene does not expand as much as rayon when wet. Japan Mesh Paper HPCR53 For blotting, covering work areas and wrapping for storage.
Roll Size G/m2 Roll Yard HPCR 50 37 x 60 meters 52 160.00 4.75 HPCR 51 39 x 100 meters 12 215.00 3.50 HPCR 51 39 x 100 meters 18 240.00 4.00 HPCR 52 39 x 60 meters 20 229.00 5.00 HPCR 53 39 x 50 meters 15 Limited supply 6.00 HPCR51-18 Usukuchi Rayon Thin 18 gram
Due to the fragility of the material, we cannot roll down more than 10 continuous yards of any paper.
Japanese interleaving Tissues Japan Mori Tissue HPCR52 Polypropylene
Machine made of 100% sulphite in the Kochi Prefecture. Neutral pH, buffered tissue for interleaving. Also used for printing labels for lamination.
Japan Pure Guard
HPCR53 Mesh
Machine made of 100% sulphite in the Kochi Prefecture. Un- buffered, neutral pH tissue for interleaving. Roll Size G/m2 Roll Mori 35 x 50 meters 20 80.00 Pure Guard 43 x 30 meters 45 100.00
Mori Tissue
Pure Guard
192
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
digital papers Arches / Canson / Rives Digital
All 100% cotton with special coating for digital prints. Archival, museum quality.
Arches Velin Rag - Mouldmade. White. Cold pressed, textured surface. Aquarelle Rag - Mouldmade. Traditional-white. Cold pressed, textured surface. Canson Edition Rag - Machine made. White. Vellum surface. Canson Photographique Canson Photographique - Duo Sided - Machine made. White. Ultra-smooth surface. Arches Cover Digital
Arches Digital BFK Rives - Mould made. White. Vellum surface. Size Gr/M2
Ink-jet papers Arches Velin Digital Arches Aquarelle Digital Arches / Canson Edition Digital Arches / Canson Photographique Digital Arches / Canson Photographique Duo Digital Arches / BFK Rives Digital
17 x 22 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22
250 240 310 210 220 310
1 25 100 500 8.10 8.10 7.70 6.30 7.60 10.00
7.29 6.74 6.05 7.29 6.74 6.05 6.93 6.41 5.76 5.67 5.25 4.71 6.85 6.34 5.69 9.00 8.35 7.50
Arches Aquarelle Digital
BFK Digital
Canson Edition / Photographique Digital
Colorado Gloss Digital
Colorado Digital Gloss
Machine-made of 100% sulphite. Photo style in gloss finish. Neutral pH. Ink-jet papers Colorado Digital Gloss
Size Gr/M2 17 x 22
245
1 25 100 500 6.75
6.06
5.62
5.05
Entrada Digital Bright White
Machine-made of 100% cotton. Coated both sides. Neutral pH. Ink-jet papers Entrada Digital Bright White Entrada Digital Bright White
Size Gr/M2 17 x 22 17 x 22
190 300
1 25 100 500 6.00 6.35
5.39 5.71
5.00 5.30
Entrada Digital
4.49 4.76
Innova Digital
Museum grade, mouldmade papers from England. Compatible with dye and pigment based inks, the special coating creates a surface that is resistant to water, scuffing and abrasion making Innova ideal for portfolio presentations. Neutral pH.
Innova Digital Photo FibaPrint Ultra Smooth - Mouldmade of sulphite. Ultra-smooth,
Innova Photo FibaPrint Digital
bright white surface.
Innova Digital Photo Smooth Cotton Innova Digital Photo Smooth Cotton Duo 2-Sided - Mouldmade of 100% cotton. Ultra-
smooth, white surface.
Ink-jet papers Innova Photo FibaPrint Innova Photo Smooth Cotton Innova Photo Smooth Cotton Innova Photo Smooth Duo
Size Gr/M2 17 x 22 17 x 22 17 x 22 17 x 22
280 215 310 255
1 25 100 500 5.05 5.70 6.72 9.90
4.52 5.63 6.04 8.87
4.20 4.76 5.61 8.23
3.77 4.28 5.04 7.39
Innova Photo Smooth Digital
193
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
digital papers Hahnemühle Digital Papers
Made in Germany. Specially coated stock for home computers. Once printed, these papers stabilize the colors and make the prints less water soluble. All varieties are neutral pH.
Allegretto - Mould-made from high alpha cellulose. Off-white. Textured Surface. Albrecht Durer - Mould-made from high alpha cellulose. German Etching - Mould-made from high alpha cellulose. Natural Art Duo - Machine-made from high alpha cellulose. Natural White Smooth surface. Photo Rag - Machine-made from cotton and high alpha cellulose. Photo Rag Duo 2-Sided - Machine-made from cotton and high alpha cellulose. William Turner - Mould-made from high alpha cellulose. Torchon - Machine-made from high alpha cellulose. Rough surface. Ink-jet papers Digital Allegretto Digital Albrecht Durer Digital German Etching Digital Natural Art Duo Digital Photo Rag Digital Photo Rag Digital Photo Rag Duo-Sided Digital William Turner Digital William Turner Digital Torchon
Size Gr/M2 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22 17 x 22
1 25 100 500
210 6.35 5.73 5.31 4.77 210 8.00 7.19 6.68 6.00 310 8.70 7.83 7.27 6.53 256 9.00 8.10 7.52 6.75 188 7.35 6.59 6.11 5.49 308 9.80 8.79 8.15 7.32 276 11.15 10.00 9.28 8.33 190 7.45 6.67 6.19 5.56 310 9.80 8.80 8.16 7.33 285 8.25 7.39 6.86 6.16
HahnemÜhle Allegretto Digital
HahnemÜhle Photo Rag Digital
HahnemÜhle German Etch Digitall
HahnemÜhle Albrecht Durer Digital
HahnemÜhle Natural Art Digital
HahnemÜhle Torchon Digital
Hahnemühle Digital Paper Pads Soft Felt - Allegretto - 160 gram Coarse Felt - Albrecht Durer - 210 gram Heavy Parchment - Torchon - 285 gram
15 sheet pads
8½ x 11
10.00
HahnemÜhle William Turner Digital
194
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
digital papers Lumijet Silk Digital Bookweight Duo
Machine-made. Neutral pH. Coated both sides. White.
Museo Digital
Machine-made in the U.S. by Crane's of 100% cotton. Neutral pH. White.
LumiJet Silk Digital
Somerset Enhanced Satin
Somerset Enhanced Velvet
Somerset Enhanced Digital
Mould-made in England of 100% cotton. Neutral pH. Radiant White. Ink-jet papers
Size Gr/M2
1 25 100 500
Lumijet Digital
17 x 24
170
7.25
6.53
6.05
5.44
Museo Digital
17 x 22
250
6.80
6.12
5.65
5.07
Somerset Satin Somerset Satin Somerset Satin Somerset Satin Somerset Velvet Somerset Velvet Somerset Velvet Somerset Velvet Somerset Velvet Somerset Velvet Somerset Velvet
8½ x 11 11 x 17 13 x 19 17 x 22 8½ x 11 11 x 17 13 x 19 17 x 22 13 x 11 yard roll 24 x 11 yard roll 36 x 11 yard roll
300 2.20 300 4.35 300 5.30 300 8.15 225 2.20 225 4.00 225 4.60 225 7.50 255 129.00 255 212.00 255 288.00
Asuka Natural 48 gram
Museo Digital
1.98 1.83 1.65 3.92 3.63 3.26 4.77 4.42 3.96 7.32 6.80 6.10 1.98 1.83 1.65 3.60 3.32 3.45 4.14 3.84 3.45 6.75 6.25 5.60
Asuka White 75 gram
Asuka Natural 150 gram
Note: Japanese papers were scanned on black and white background to show translucency
Japanese Digital Papers Asuka White & Natural
Machinemade of sulphite. Smooth surface coated on both sides. Neutral pH. Ink-jet papers
Asuka White & Natural Asuka White & Natural Asuka White & Natural Asuka White & Natural Asuka White & Natural Asuka White & Natural
195
Paper is fragile !
Size Gr/M2 17 x 22 17 x 22 17 x 22 44 x 20 meter roll 44 x 20 meter roll 44 x 20 meter roll
48 75 150 48 75 150
1 25 100 500 1.80 2.00 3.00 98.00 132.00 265.00
1.62 1.80 2.70
1.50 1.67 2.51
1.35 1.50 2.25
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
digital papers Note: Japanese papers were scanned on black and white background to show translucency
Japanese Digital Papers Aya
Machinemade of hemp and sulphite. Smooth surface coated on both sides for digital printing. Neutral pH. White No deckles. Ink-jet papers
Size Gr/M2
1 25 100 500
Aya White Aya White A2
8½ x 11 16½ x 23¼
125 125
2.40 7.75
Aya White
44 x 15 meter roll
125
326.25
2.16 6.95
2.00 6.48
1.80 5.82
Digital Kozo
Machinemade of kozo and sulphite. Translucent sheet coated on both sides for digital printing. Neutral pH. White. No deckles. Ink-jet papers
Size Gr/M2
Aya White Digital
1 25 100 500
Kozo White
8½ x 11
70
2.00
Kozo White
44 x 15 meter roll
70
410.00
1.80
1.67
1.50
Niyodo Kozo
Machinemade of kozo and sulphite. Translucent sheets coated on both sides for digital printing. Neutral pH. White. No deckles. Ink-jet papers
Size Gr/M2
1 25 100 500
Niyoda Kozo White
17 x 22
25
4.00
3.60
3.34
3.00
Niyoda Kozo White Niyoda Kozo White Niyoda Kozo White
8½ x 11 13 x 19 17 x 22
48 48 48
1.25 2.90 4.50
1.12 2.61 4.05
1.04 2.42 3.76
.93 2.18 3.38
Niyoda Kozo White
43 x 20 meter roll
48
455.00
Kozo Digital
Niyodo White
Machinemade of kozo and sulphite. Translucent sheets coated on both sides for digital printing. Neutral pH. White. No deckles. Ink-jet papers
Size Gr/M2
1 25 100 500
Niyoda White Niyoda White Niyoda White
8½ x 11 13 x 19 17 x 22
63 63 63
1.10 2.40 4.00
Niyoda White
43 x 20 meter roll
63
404.50
.99 2.16 3.60
.92 2.00 3.34
.83 1.80 3.00
Niyoda Kozo 25 Digital 25 gram
Niyoda Kozo 25 Digital 48 gram
Niyoda White Digital
196
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
M U S E U M & C O N S E RV A T I O N B O A R D S
Polar White
White
Antique
Natural
Warm White
Olde White
Cream
Ivory
Black
Medium Grey
Neutral Grey
RISING MUSEUM BOARDS 100% cotton, neutral pH. / archival board. Buffered for stability. Ply Black 2 Ply 4 Ply 4 Ply
Size 32 x 40 32 x 40 40 x 60
1 12.35 24.70 46.30
25
100
500
11.10 22.22 41.67
10.29 20.60 38.66
9.24 18.50 34.72
16.83
15.60
14.01
Fawn, Light Grey, Neutral Grey, Grey, Zinc 4 Ply 32 x 40 19.80 17.82
16.54
14.85
Cream, Ivory, Olde White, Polar White 4 Ply 32 x 40 18.70
White, Warm White, Antique, Natural, Polar White 2 ply 32 x 40 9.35 8.41 7.80 4 ply 32 x 40 18.70 16.83 15.60 4 Ply 40 x 60 35.10 31.59 29.27 8 ply 32 x 40 47.10 42.67 39.30 8 ply 40 x 60 88.50 79.65 73.88 White 4 Ply 48 x 96 95.10 85.59 79.41 4 Ply 60 x 104 128.30 115.47 107.13
197
Paper is fragile !
7.01 14.01 36.29 35.30 66.34 71.32 93.23
Fawn
Zinc
rising Photomount Board 100% cotton, neutral pH. / archival board. Not buffered. Ply White 4 Ply
Size 32 x 40
Conservatiom Sno-White
1 23.20
25 20.88
100 19.34
500 17.37
Conservstion White
Conservation Board 100% sulphite, neutral pH. / archival board. Buffered for stability. Ply Size Sno-White, White 4 Ply 32 x 40
No returns or exchanges are allowed
1 12.35
25 11.10
100 10.29
order: 800-950-6111 or: 212-473-7705.
500 9.24
BOARDS Arches Watercolor Boards 100% cotton, mould-made Arches mounted onto archival board. Hot Press Cold Press Binder’s Board – Acid-free Neutral pH grey board. Chipboard Grey industrial pulpboard. CORRUGATED Industrial kraft paper with 1/8" corrugated core. FOMECORE FIREPROOF FOMECORE FOMECORE ARCHIVAL Two sheets of smooth, white paper with a foam core. FOMECORE Black Black foam with a black paper front and back.
GATORBOARD
Very strong, rigid fomecore board with industrial paper backing.
MULTIMEDIA ARTBOARD A neutral pH, non-buckling painting board made of resin-saturated, cellulose fibers for use with a wide range of media. The vellum surface is usable on both sides and requires no surface preparation. POSTER BOARD Inexpensive tagboard in 6 ply. Used extensively for mock-ups, mounting, model building as well as for posters. Brown, Canary, Coral, Dark Blue, Green, Grey, Light Blue, Olive, Orange, Red, White.
Scratch BoardS ESDEE Commercial Grade Made in England. Clay-coated cardstock in inked (Black) or uninked (White). For illustration and reverse drawing. SCRATCHART Student Grade Inexpensive scratchboard for school and studio. STRATHMORE ILLUSTRATION 100% cotton, white on white illustration board available in Regular (Kid) and High (Hot Pressed) surfaces. Taskboard Architectural model-making board that is very easy to cut, sand, bend and glue. 1/16" Thick.
198
Paper is fragile !
Board Size Arches Watercolor Hot Press / Cold Press 20 x 30 Binder's Board .067 20 x 30¼ .067 30¼ x 40¼ .082 20 x 30¼ .082 30¼ x 40¼ .098 20 x 30¼ .098 30¼ x 40¼ Chipboard 1/32" (#53) 29 x 45 1/16" (#27) 34 x 45 1/8" (#17) 30 x 40 3/16" (#10) 30 x 40 Corrugated 24 x 36 30 x 40 36 x 48 40 x 60 48 x 96 Fomecore Fireproof 3/16" 48 x 96 Fomecore 3/16" Thick 8 x 10 9 x 12 11 x 14 16 x 20 20 x 30 30 x 40 40 x 60 48 x 96 1/2" Thick 48 x 96 Fomecore Archival 3/16" Thick 32 x 40 40 x 60 Fomecore Black 3/16" Thick 20 x 30 32 x 40 Gatorboard 1/2" Thick 48 x 96 Poster Board White 6 ply 22 x 28 Colors 6 Ply 22 x 28 Scratch Board Esdee White 9 x 12 12 x 19 19 x 24 Black 9 x 12 12 x 19 19 x 24 Scratch Board Scratch Art White 11 x 14 22 x 28 Black 11 x 14 22 x 28 Strathmore Illustration Lightweight Vellum 22 x 30 Vellum Heavyweight 20 x 30 30 x 40 High Heavyweight 20 x 30 30 x 40 Taskboard 20 x 30
No returns or exchanges are allowed
1 25 100 12.40 3.96 7.20 4.96 9.00 5.95 10.80
3.57 6.49 4.46 8.11 5.35 9.73
3.01 6.02 3.76 7.52 4.51 9.03
1.35 2.50 4.60 7.30 1.45 1.95 2.80 3.65 8.50
1.22 2.25 4.14 6.57 1.31 1.76 2.52 3.29 7.65
1.13 2.09 3.84 6.10 1.22 1.64 2.34 3.05 7.10
34.00
30.60
28.39
1.20 1.50 2.40 2.75 3.05 4.75 9.60 16.85 37.50
1.08 1.35 2.16 2.48 2.75 4.28 8.64 15.17 33.75
1.00 1.25 2.00 2.30 2.55 3.97 8.02 14.07 31.31
10.60 16.40
9.54 14.76
8.85 13.69
3.95 7.80
3.56 7.02
3.30 6.51
110.00 99.00 91.85 1.03 .93 .87 1.55 1.40 1.29 7.00 14.00 28.00 7.50 14.50 28.50 1.25 2.95 1.50 3.50 9.89 11.99 23.99 13.99 27.99 6.00
5.40
order: 800-950-6111 or: 212-473-7705.
5.01
stationery
Magnani Arturo - Whites
Mouldmade in Italy from 100% high alpha cellulose. Neutral pH. 260 gram cards /120 gram envelopes. White or Soft White. Item 800 E 700 EWG 700 E 700 S 700 LC
Description Euro- style Wedding Envelope to hold envelope 700EWG Euro- style Wedding Envelope with unglued flap. Euro- style Wedding Envelope Single "Euro- style" Wedding Card Folded "Euro- style" Wedding Card
Size 6½ x 8½ 6¼ x 8¼ 6¼ x 8¼ 6 x 8 7¾ x 11¾
1 1.30 1.20 1.30 .65 1.00
100 .81 .74 .84 .39 .62
500 1000 .75 .68 .69 .62 .78 .70 .37 .33 .58 .52
600 E 600 S 600 LC 600 AC
Invitation Envelope Single Invitation Card Folded Invitation Card Long Folded Invitation Card
4¾ x 7 4½ x 6¾ 6¾ x 9 4½ x 13½
.80 .40 .60 .60
.50 .23 .36 .36
.46 .21 .34 .34
.41 .19 .30 .30
500 E 500 SC 500 LC
R.S.V.P. Envelope Single R.S.V.P. Card Folded R.S.V.P. Card
3½ x 5½ 3¼ x 5¼ 5¼ x 6¾
.60 .30 .55
.36 .17 .35
.34 .15 .32
.30 .14 .29
400 E 400 SC
Calling Card Envelope Calling Card
2¾ x 4 2½ x 3¾
.55 .35
.34 .21
.31 .20
.28 .18
7 SQE Wedding Envelope 7½ x 7½ 1.65 1.06 .98 .88 7 SQEWG Wedding Envelope with unglued flap 7¼ x 7¼ 1.65 1.06 .98 .88 7 SQS Wedding Card 7 x 7 .85 .53 .49 .44 6 SQE Invitation Envelope 6½ x 6½ 1.05 .67 .62 .56 6 SQS Single Invitation Card 6¼ x 6¼ .70 .42 .39 .35 6 SQLC Double Invitation Card 6¼ x 12½ 1.30 .82 .76 .68 5 SQE R.S.V.P. Envelope 5½ x 5½ 1.05 .66 .61 .55 5 SQSC Single R.S.V.P. Card 5¼ x 5¼ .50 .31 .29 .26 5 SQLC Double R.S.V.P. Card 5¼ x 10½ .95 .59 .55 .49 750 GC Gate Fold Heavyweight Folded Card (fits 700E Envelope) 7½ x 12 2.15 1.36 1.26 1.14 650 TC Tea Invitation Heavyweight Single Card 4 x 9 .90 .57 .53 .48 650 E Tea Invitation Envelope 4¼ x 9 1.85 1.17 1.08 .97 550 MC Monarch Heavyweight Card 3 x 7 .70 .43 .40 .36 550 E Monarch Envelope 4 x 7½ 1.50 .94 .87 .78 450 PC Heavyweight Place Card 4 x 4 .40 .25 .23 .21
199
Paper is fragile !
No returns or exchanges are allowed
order: 800-950-6111 or: 212-473-7705.
stationery Magnani Arturo - Color Cards & Envelopes Lavender
Light Blue
Pale Green
Pink
Stone Grey
Yellow
See more detailed descriptions on previous page. Master sheets of Arturo are also available Item 800 E 700 EWG 700 E 700 S 700 LC
Description Envelope Envelope - no glue Inner Envelope Single Card Folded Card
Size 6½ x 8½ 6¼ x 8¼ 6¼ x 8¼ 6 x 8 7¾ x 11¾
1 1.50 1.35 1.40 .70 1.15
100 .94 .86 .88 .44 .72
500 1000 .87 .79 .80 .72 .82 .73 .41 .37 .67 .60
600 E 600 S 600 LC 600 AC
Envelope Single Card Folded Card Long Folded Card
4¾ x 7 4½ x 6¾ 6¾ x 9 4½ x 13½
.90 .45 .70 .65
.57 .27 .42 .40
.53 .25 .39 .37
.48 .22 .35 .33
500 E 500 SC 500 LC
Envelope Single Card Folded Card
3½ x 5½ 3¼ x 5¼ 5¼ x 6¾
.70 .30 .65
.42 .19 .41
.39 .18 .38
.35 .16 .34
400 E 400 SC
Envelope Calling Card
2¾ x 4 2½ x 3¾
.65 .40
.39 .24
.36 .23
.33 .20
Fabriano Medioevalis
Mouldmade in Italy from 100% high alpha cellulose with an off-white, cold pressed surface and torn edges. Neutral pH. Description 206 E Invitation Envelope 206 S Single Invitation Card 206 L Folded Invitation Card 206 A Long Folded Invitation Card 207 E Euro- style Wedding Envelope 207 S Single "Euro- style" Wedding Card 207 L Folded "Euro- style" Wedding Card 208 E R.S.V.P. Envelope 208 S Single R.S.V.P. Card 208 L Folded R.S.V.P. Card 209 E Calling Card Envelope 209 S Calling Card
200
Paper is fragile !
Size 4½ x 7 4½ x 6¾ 6¾ x 9 4½ x 13½ 6¼ x 8¼ 6 x 8 8 x 12 3½ x 5½ 3¼ x 5¼ 5¼ x 7 2¾ x 4 2½ x 3¾
No returns or exchanges are allowed
1 .99 .46 .73 .73 .49 .80 1.24 .71 .34 .70 .68 .42
100 .64 .30 .47 .47 .95 .51 .80 .45 .22 .45 .44 .27
500 1000 .59 .53 .27 .25 .43 .39 .43 .39 .88 .79 .47 .43 .74 .66 .42 .38 .20 .18 .42 .37 .40 .36 .25 .23
order: 800-950-6111 or: 212-473-7705.
stationery
5" tall - centered on the sheet
Angel Watermark
AMALFI Stationery
Handmade from 100% cotton in Amalfi, Italy in a mill that has been producing papers since the 14th Century. The mill uses traditional methods and craftsmanship of papermaking that have been employed since the Middle Ages. Amalfi paper is a light cream with a soft feel and a cold pressed texture. All sheets and envelopes have deckle edges. Neutral pH. Item Calling Card
Size 2¾ x 3¾
1 .65
100 500 .40 .36
4½ x 6½ Folds to 4½ x 6½ 4¾ x 6¾
1.05 1.35 1.35
.63 .81 .81
.58 .75 .75
Long Flat Card Double Long Flat Card Envelope
4¼ x 8 Folds to 4¼ x 8 4½ x 8¼
1.20 1.50 1.50
.72 .90 .90
.67 .84 .84
Informal Note (Double RSVP) RSVP Card RSVP Envelope
Folds to 3¼ x 5 3¼ x 5 3½ x 5¼
1.05 .90 1.05
.63 .54 .63
.58 .50 .58
Amalfi Watermark Stationery Lightweight Amalfi Watermark Stationery Heavyweight Envelope (Fold sheets in thirds) Envelope (Fold sheets in half )
8¼ x 12¼ 8¼ x 12¼ 4¼ x 8½ 6½ x 9
1.35 1.65 1.50 1.80
.81 .99 .90 1.08
.75 .92 .84 1.00
Angel Watermark Stationery Lightweight Angel Watermark Wedding Heavyweight Envelope (Fold sheets in quarters) Envelope (Fold sheets in half )
8¾ x 12¼ 8¾ x 12¼ 4¾ x 7 6½ x 9
1.35 1.65 1.35 1.80
.81 .99 .81 1.08
.75 .92 .75 1.00
Wedding Cards Heavyweight - two deckles Envelope
6¼ x 8¾ 6½ x 9
1.50 1.80
.90 1.08
.84 1.00
Flat Cards (Invitation) Double Flat Cards (Invitation) Envelope
3½" tall - centered at bottom of the sheet Crest Watermark
201
Paper is fragile !
No returns or exchanges are allowed
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glossary of paper terms KOZO A variety of mulberry plants with exceptionally tough, strong fibers which grow wild in Japan and the Far East. Its long threads do not shrink or expand. The climate where the kozo is grown and harvested has a great effect on the qualities that the resulting sheets will possess. More than half of Asia’s paper is made from kozo fiber. LAID A type of screen covering for a mould consisting of a series of very fine vertical and horizontal wires constructed within the frame to allow for drainage. The surface of this screen leaves a laid line pattern in the surface of the paper. This laid pattern may vary widely. Chain Laid Refers to a paper in which the laid lines are more prominent and spaced further apart. LB./REAM The weight of 500 sheets (1 ream) of a paper of a given size. It is not a good comparative measure as it varies depending on a paper's size. LINEN/LINEN FLAX The fibers of the linen (or flax) plant are long and tubular with thicker walls than those of the cotton plant. In addition to the raw, unspun fibers, linen rags can also be used to make pulp for papermaking. Linen has an element within it that naturally repels water and thus acts as a sort of sizing. It yields a hard, strong paper, but is likely to expand and contract irratically as moisture effects the sheet. Because of this, it is a difficult fiber for the papermaker to work with and is not as commonly used as cotton in today's papermaking. LOFT DRYING Damp sheets are pinned or draped onto lines and allowed to dry slowly and naturally by the movement of air around them. This was traditionally done in the lofts of the mill - thus the term. The temperature and speed of drying will effect the resulting sheet. Loft dried sheets are usually more "alive" with a charateristic wavy surface and a remarkable "rattle" or crispness. The sheets can later be pressed or stretched to flatten. All of the finest watercolor papers were traditionally loft dried.
NEUTRAL pH The balance between acid and alkaline components. 7.0 is considered absolute neutral on a 14 point scale where 0.0 is the most acidic and 13 is the most alkaline. The numbers below 7.0 contain more acid; above are more alkaline. Neutral ph then, refers to materials that are between the range of 6.5 - 8.5. Papers may acquire acidity by frequent handling or improper storage. Often papers are buffered to reach correct pH and help maintain that range. RICE PAPER A common misnomer used to mean Oriental paper, the term probably comes from a misunderstanding by Westerners of the similarities between the vast amounts of water used in both the manufacturing of paper and the cultivation of rice in the rice paddies. There are no papers made of rice, as the plant's short fibers would produce sheets of poor quality - although rice starch was used as a sizing in some papermaking traditions. ROUGH The natural, grainy surface of paper formed by the texture of the felts and/ or dried without re-pressing. SIZING A solution of starch, gelatine, animal glue or synthetic materials added to the paper to make it more resistant to moisture and to control the level of absorption. Internal Sizing The solution is added to the wet pulp before forming the sheet. The most common internal sizing is rosin, from the resinous gums of pine trees, which is added to alum (aluminum sulphate). The alum helps the rosin adhere to the paper fibers and keeps it from dissolving in water. It also gives the paper a harder surface. Tub Sizing Papers are passed through a vat of solution, usually of gelatine, after their manufacture to increase resistance to moisture. SU The removable, flexible surface of a Japanese papermaking mould. It is usually made of bamboo strips, woven together with silk cords.
MACHINE-MADE Paper made in a continuous web using a Fourdrinier machine which allows the pulp to run over the polished surface of large, steam-heated cylinders and eventually out the end perfectly dry and ready to be cut into sheets. The speed of manufacturing will greatly effect the structure and qualities of the resulting paper. MITSUMATA A bast fiber shrub which mostly grows in Western Japan and other Far Eastern countries. The fibers are of uniform thickness with blunt ends. They are very flexible and elastic. and the resulting sheets have a softness to the touch and a subtle shimmering surface. Difficult to harvest and process for papermaking, mitsumata is no longer commonly used. MOULD A wooden frame fit with a laid or woven screen. With the removable deckle, it is used to form the wet pulp into a sheet of paper. MOULDMADE Paper made with a cylinder-mould machine invented in the 19th century to speed up the hand papermaking process yet to produce sheets with "handmade" qualities. The initial preparation of the pulp is similar to the handmade process, although pulpers and refiners are used instead of a beater. The cylinder machines, which take the place of the vatman, coucher, and layer, are covered with a metal screen that work at low speed. The pulp adheres to the screen and as the cylinder revolves, a layer of wet fibers is placed onto a wet felt and through press rolls which squeeze out the water. It is then dried against steam-heated metal cylinders. Watermarks can be accurately carried by the screen and two deckled edges can be produced using this machine.
SULPHITE PULP Chemical wood-pulp obtained by cutting wood into small pieces and cooking it with calcium bisulphate or sodium sulphite to remove natural resins and break down the cellulose fibers, making them more suitable for papermaking. A process developed during the Industrial Revolution to speed the preparation of the pulp, sulphite pulp can contain acids that, if not neutralized, can continue to effect the fibers and cause discoloration and deteoration. However, most sulphite pulps today are neuralized and buffered and can produce high quality papers with excellent aging properties. VELLUM A confusing term that has a several meanings, vellum is actually animal skin that has been prepared on both sides and has an even, fine texture. Today, the term can also refer to papers that have that fine textured surface or a translucent material that resembles the thinner forms of animal skin once used for illumination, pounding gold leaf and tracing. WATERLEAF A paper containing no sizing. WATERMARK A design or lettering that can be seen when the paper is held up to the light that may indicate its name, date, or identity. It is usually produced by carefully forming the wires of the laid or wove screen to vary the fiber density during the papermaking process. Photographic techniques have also been used to produce watermarks. WOVE The mould screen made by weaving together wires in both directions and similar in appearance to woven fabric. Woven papers were first introduced by The Whatman Mill and are without any significant directional pattern on their surface.
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glossary of paper terms ABACA The manila plant or abaca is cultivated in the Philippines, Asia and South America, where its long stalks and leaves are harvested for paper production. Manila fiber papers are very strong and are a natural light buff color. Also known as Manila Hemp, it is not actually a hemp fiber, but is related to the banana. ACID FREE Acidic on a pH scale ranges from 0.0 (most acidic) through 6.5 (almost neutral) with 7.0 as the center of the 14 point scale. The range between 6.5 to 8.5 is usually considered as Neutral pH. Technically then, the term Acid-Free can refer to anything with a pH of 6.0 through 14 (which is highly alkaline.) ALKALI Chemicals used in the cooking process to dissolve non-cellulose materials These include caustic soda, soda ash, lime and wood ash in Asian techniques and calcium bisulphate and sodium sulphite in Western techniques. BAST A fiber derived from the inner bark or stems of plants and includes linen, hemp, jute, ramie, gampi, mitsumata and mulberry. BLEACHING A chemical process to whiten the natural hue of raw materials. The resulting paper is not as strong or permanent as the natural fiber. Cotton is naturally white which makes bleaching less common. BUFFERING The addition of an alkaline substance, usuallly calcium or magnesium carbonate, to help absorb acids and to stabilize the pH balance. Buffered papers typically have a pH toward the alkaline (8.5) to offset excess acidity. CALENDERING A pressing process which smooths or glazes the sheet during the finishing process. CALIPER Measurement of thickness usually expressed in thousandths of an inch. One point or one mil equals one thousandth of an inch. CELLULOSE The main part of the cell wall of a plant and the basic substance of paper. Most plant material, with the exception of cotton, also contains varying amounts of other materials such as lignin, which must be removed before being used as paper pulp. COUCHING Refers to the process of removal, stacking or layering of the newly formed sheets. Different papermaking traditions couch in different ways including onto felts made of various materials (wool, linen, silk, etc.) which can give unique qualities and surfaces to the finished sheets. COLD PRESSED (C.P.) A surface between rough and smooth that is formed by running the sheets through cold polished metal rollers or, in hand papermaking, re-pressing the wet sheets without intermediate felts to smooth out any very rough surfaces. Also called "Not" as in "Not Hot Pressed." COTTON A seed hair fiber that easily yields the pure cellulose essential for papermaking. Cotton fibers are long, strong, and flexible and excellent for the production of fine papers. Papermakers use either cotton linters or cotton rag to produce papers. Cotton Linters The shorter fibers left behind after ginning the cotton. After they are washed and boiled, they are made into soft, blotter-like sheets to be used in hand papermaking. Cotton Rag Made from the textile cotton fibers used in the manufacture of cotton thread. These fibers are longer and tougher than the linter fibers. To make the pulp old cotton rags are broken down by papermakers.
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DAPHNE Known in Asia as the Nepal paper plant, it is a thin bast fiber with tapering ends and varying lengths native to Nepal and the Himalayas where it is used in hand papermaking. Nepalese Gampi. DECKLE The removeable part of a paper mould which establishes the sheet size and holds the pulp in place while the sheet is formed. Deckle Edge The rough, ragged, or wavy edges on all sides of handmade paper and two sides of mouldmade paper formed by small amounts of fiber trapped and thinned between the edges of the deckle and the mould during papermaking. DOSA Most commonly used sizing in Japanese papermaking made from animal glue and alum. ESPARTO The leaves of this tough, wiry North African grass produce a soft, elastic paper with an even texture. Esparto grass looks similar to hay; its fibers are short and tubular. It does not produce paper of great strength. FELT FINISH, FELT SIDE Surface characteristics that result from the material used to couch and dry the sheets. The felt side is considered the front of the sheet. GAMPI A bast fiber plant traditionally used in Japanese papermaking, with long, thin, shiny fibers of uniform thickness. Although gampi grows wild in much of the Far East, it has resisted cultivation and Japan now imports its fiber from China and Korea. This has resulted in a decline in its use in paper production. GRAIN DIRECTION Term used to indicate the direction that most of the fibers are arranged in a finished sheet of paper. Handmade papers have little grain direction as the fibers are usually agitated in all directions and the paermaking process is slow. Machinemade papers create specific grain direction from the rotation of the cylinder that contains the pulp and the speed by which the sheets are processed. Grain direction runs parallel to the natural deckles on a mouldmade sheet. A sheet folds with greater ease and is less likely to crack with the grain. Books should always be bound with the grain of the sheet parallel to the spine. GRAMS/METER2 Weight in grams of one square meter of paper. A good comparative measure that does not vary with paper size. HANDMADE Prepared pulp is placed in a basin (or vat) agitated to suspend it and then transferred onto a mould which creates the sheet. The type of fibers, how the pulp is transferred to the mould, the type of mould used, how the sheet is couched and dried varies greatly around the world and gives each style and type of paper its unique personality. HEMP A strong bast fiber similar to linen, but with a tendency to split during the beating process, producing a harder, coarser paper. One of the oldest paper fibers on record. HIGH ALPHA CELLULOSE The purest form of wood pulp that has been processed without acids and considered to have the same longevity as cotton. HOLLANDER BEATER A beating machine first introduced in Holland in 1680 which is used to efficiently crush and fibrillate the fibers of the raw material or rags to make pulp. HOT PRESSED (H.P.) The smooth surface of a sheet of paper made by passing it through hot metal plates or rollers.
Paper is fragile ! returns No returns or exchanges are allowed order: 800-950-6111 or: 212-473-7705. Paper is fragile ! No or exchanges are allowed order: 800-950-6111 or: 212-473-7705.