My beloved papers No.1

2026/03/22 14:49

Dear all collectors,

Before I knew it, three years had passed since I dedicated myself to phatogravure printing. Or rather, it's only been three years of accumulated experience. For me, this technique has finally moved beyond a vague understanding and I'm beginning to grasp glimpses of a technique that's close to being certain. Each time I work with this technique, I find it appealing in a way that's different from so-called authentic analog photography. This is because, while Photogravure falls within the category of "photography," it's a technique closer to craft. What I find interesting is that they're achieving a rich gradation from black to white not through the chemical reaction of iron salt, but through the color variations created by the ink. And what excites me the most, needless to say, is choosing the "paper" for the print. I have primarily used what is known as printmaking paper, mostly manufactured in European workshops. These papers have taught me about the long history and techniques of printmaking. However, I still feel that there is much I don't know, and that my skills have not yet reached the highest level. And another thing is the rich world of "Washi" paper from my homeland, Japan.
The ability to choose "paper" as the medium of expression in printmaking feels like being granted immense freedom as a "photographer." It's the joy of choosing paper with a texture, sheen, and thickness that I personally like, rather than commercially produced, manufactured goods. My printing process begins the moment I pick up the bundle of paper I've acquired and consider what size to cut it to at my workbench. It might be similar to the feeling a tailor has when they have a beautiful piece of fabric and place scissors in their right hand and pattern paper in their left. That's why I'm always focused on discovering "new papers" when I'm out and about. I've learned the hard way that expensive paper doesn't always produce better results. This is especially true considering the compatibility with the relatively small press I use, the artwork I use for photogravure, and the inks I use. In my three years of experience, I've found that surprisingly few papers have brought out the best in my work. Of course, expensive papers with a good reputation can be good in some cases, but often it's the inexpensive papers that make me happy. That's why I feel an overwhelming sense of joy when I look at the towering piles of paper. When I'm creating the layout, I find myself selecting the most suitable paper for each piece. Using different paper is like listening to the same piece of music performed by different musicians. There's no single right answer when it comes to paper selection. It's simply a matter of whether the choice of paper brings out the charm of the piece. Take a good look at the paper used in the works I post, and if something moves you, then that piece is truly "a work made for you."

This time, I'd like to introduce two types of paper that I love…

One is Robert, a Japanese watercolor and printmaking paper. This paper is readily available at any standard art supply store and is inexpensive for its size. Of course, it is a machine-made product. The surface is smooth and has a unique creamy color. While I certainly love the rich texture and fibers of Hahnemühle and Véran Arches paper, I prefer Robert's neutral and rigid finish. Perhaps this is because my own artistic style emphasizes sharp edges. I'm glad that I was able to choose the paper I should print on as a starting point. It gives me the confidence that if I can produce satisfactory prints on this paper, I can create good work on any paper. I want to explore more of the wonderful papers from France, Germany, and other European countries. But for now, being able to print Robert is my greatest joy.
Another type is Washi, a Ganpi paper called Katagami-Genshi, manufactured by the Awagami Workshop in Tokushima. I initially tried Washi paper, which has a texture similar to Western paper, and then used the famous thin Kitakata paper for a while. They taught me about technical aspects that are different from "Western paper" and a completely different world of expression. However, Washi already possesses a powerful and unique worldview that encompasses it all, and sometimes that atmosphere surpasses the world I express. As a Japanese person, I love the texture and fabric of Washi, but at the same time, there were times when I felt wary of it. It was at that time that I happened to be introduced to this paper. At first glance, it has a plain and unremarkable texture. However, the way it quietly enhances the finished work has captivated me.