new york central fine art paper catalogue

F i n e A r t P a p e r sE u r o p e / T h e A m e r i c a s & A u s t r a l i a

A s i a

February 2015

2 PaPer is fragile ! No returNs or exchaNges are allowed order: 800-950-6111 or: 212-473-7705.

A R T P A P E R S

S W A T C H B O O K SSwatch 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.Additional 3 x 5" swatches are then $1.00 each. Maximum 10 samples.We DO NOT cut samples from sheets smaller than 12 x 16" - in these cases, you must purchase full sheets.

Papers are arranged in alphabetical order under the name of the mill that produces them or by the country of origin.

T A B l E O f C O N T E N T S

arches aquarelle 2.00arpa, ca'oliver & capellades 10.00art spectrum colorfix 6.00Bhutan 10.00Bockingford & saunders 5.00canson Mi teintes 5.00cave Papers 10.00chinese Papers 8.00chinese silk, satin & Brocade 20.00chinese woven & texture Mats 25.00color Plan 6.00corkskin 6.00czech Velke losiny 2.00digital Papers 10.00durotone/speckletone 3.00fabriano artistico 4.00 elle erre 3.00 ingres/roma/rosaspina/tiepolo 4.00 Murillo 3.00 tiziano 4.00flint Paper 1.50foils and Metallics 25.00

glassine 1.50hahnemühle 10.00india Khadi indian handmades 10.00 sanganeer 5.00Japan 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 10.00Japan world cloth Book cloth 30.00Korean hanji colors 8.00lanaquarelle 2.00Magnani 10.00Mexican huun/ Papel de amate 6.00

Museum Board 5.00Nepal chautara lokta 10.00 Khadi himilayan/lhakpa 8.00Printmaking / drawing 30.00richeson Pastel 4.00rolls (papers available in rolls) european & american 20.00 oriental 15.00sabertooth Pastel 1.00saint armand Mill 25.00t.h. saunders & Bockingford 6.00sennelier le carte Pastel 5.00speckletone/durotone 3.00strathmore 4.00stardream 6.00texlibris & texlifil Book cloth 15.00Thailand Printing & Painting 4.00translucent Vellum / tracing 8.00twinrocker handmades 20.00Velour/Velour Premium Pastel 4.00wood grain & Veneer 20.00Zerkall 6.00

Swatch Books 2Introduction and Paper Basics 3 - 4Paper Applications 5Papers for Storage 6Papers Europe / The Americas & Australia 7 - 75Prices Europe / The Americas & Australia 77 - 88Roll Papers - Europe & The Americas 89 - 93Africa 94Bhutan 95 - 99China 100-102Egypt 103India 104 - 113

Indonesia 113Japan 114 - 162Korea 163 - 164Nepal 165 -174Philippines 174Thailand 175 - 176Prices - Asia 177 - 186Roll Papers - Asia 187 - 192Digital Papers 193 - 196Boards 197 - 198Stationery 199 - 201Glossary 202 - 203

Note: decorative papers are illustrated in full color on our website - swatch books are no longer being assembled.


A R T P A P E R S - E u r o p e / T h e A m e r i c a s & A u s t r a l i a

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 ContentThe 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.

SizingMost “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 re-wetting 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.



Method of Manufacturealthough 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. POuNDSwe 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 CONvERSIONSlength1 inch = 2.54 centimeters1 inch = .0254 Meters1 foot = .3048 Meters1 Yard = .9144 Meters

length1 centimeter = .3937 inches1 Meter = 39.37 inches1 Meter = 3.2808 feet1 Meter = 1.0936 Yards



PAPER APPlICATIONS

WATERCOlOR PAPERSwatercolor 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 PAPERSalmost 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 ARTSlighter weight, lightly sized papers fold more easily and are more suitable for the book format. They are also excellent for all drawing techniques.

Printmaking - SIlKSCREENJust 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 & MONOPRINTwhen 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 ARTalthough 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 PROCESSESThe 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 & INKtexture 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 & CHARCOAlalthough 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

SIlvERPOINTclay-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


P A P E R S f O R S T O R A G E

INTERlEAvING Neutral ph white. 60 gram.

Sheets 1 25 100 500 25 x 38 .80 .72 .67 .60

COATED INTERlEAvING Neutral ph. slick coating reduces static electricity making it useful for pastel and charcoal drawings - even those that have not been fixed.

Sheets 1 25 100 500 25 x 38 .75 .68 .59 .53

lENS TISSuE - RAYON Machine-made in Japan from 100% rayon. Neutral ph.

Sheets 1 25 100 500 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 25 100 500 24 x 36 2.35 2.09 1.94 1.74

JAPANESE INTERlEAvINGASA GAMI off -white, 100% Manila hemp. 20 gram.MORI TISSuENeutral ph, sulphite. Buffered tissue. 20 gram.PuRE GuARDun-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 80.00Pure Guard 43 x 30 meters 100.00

lINECO TISSuE Neutral ph. white. 16 gram.

Rolls Sale 40 x 250 ft. 75.50

fOlDER STOCK - PERMA-DuR acid-free, lignin-free buffered cardstock. Manilla color. 2 weights.

Sheets Sale .010 – 32 x 40 6.00 .020 – 30 x 40 8.50

GlASSINE - MuSEuM GRADE 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.

Sheets 1 25 100 50024 x 36 .55 .50 .45 .4136 x 48 1.10 .99 .92 .83

Rolls Sale 12 x 20 yards 8.0018 x 20 yards 11.2518 x 100 yards 44.5024 x 20 yards 14.0524 x 100 yards 56.0036 x 20 yards 19.1036 x 100 yards 81.0042 x 20 yards 23.2542 x 100 yards 91.8048 x 20 yards 25.5048 x 100 yards 103.2560 x 20 yards 31.5060 x 100 yards 125.50

50 sheet Pads Sale8½ x 11 5.0013 x 19 7.7517 x 22 15.00

GlASSINE - HEAvYWEIGHT 37 pound - 68 gram.

Sheets 1 25 100 500 24 x 36 .90 .84 .75 .70

Rolls Sale 36 x 20 yards 26.5036 x 100 yards 112.5048 x 20 yards 35.7548 x 100 yards 143.75

BORDEN & RIlEY #30 BOND Neutral ph. 20 pound. smooth, white bond for wrapping. 65 grams

Rolls Sale 15 x 25 yards 9.7018 x 25 yards 10.2624 x 25 yards 13.7330 x 25 yards 17.1136 x 25 yards 20.4542 x 25 yards 23.9248 x 25 yards 27.3260 x 25 yards 34.18

MOHAWK vElluM COOl WHITE & SOfT WHITE Machine-made, sulphite pulp. Neutral ph. 60 lb. text.

Sheets 1 25 100 50025 x 38 1.00 .90 .84 .75

MOHAWK vIA SMOOTH lIGHT GREY resembles newsprint. Neutral ph. 70 lb. text.

Sheets 1 25 100 50025 x 38 1.10 .99 .92 .83

STRATHMORE BARRIER 100% buffered cotton. Neutral ph. Natural.

Sheets 1 25 10032 x 40 2.10 1.87 1.73

TISSuE -ACID fREENeutral ph. un-buffered, virgin pulp. No deckles. white.

Packages of 480 Sheets Sale 24 x 36 97.50

TYvEK - Museum Grade Machine-made from synthetic fiber. Neutral ph. strong, ‘untearable’ - moisture resistant.

Sheets 1 25 100 500 24 x 36 3.75 3.38 3.13 2.81

Rolls Sale 36 x 10 yards 65.00 36 x 50 yards 181.00 60 x 10 yards 79.00 60 x 50 yards 299.00

YuPO 100% polypropylene. waterproof, stain resistant and istrong. white. Neutral ph.

26 x 40" 1 25 100 500 155 gram 6.80 6.13 5.67 5.10197 gram 9.15 8.22 7.62 6.84390 gram 12.90 11.61 10.77 9.68

Rolls Sale 30 x 10 yards - 197 gram 94.0060 x 10 yards - 197 gram 149.00

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.



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 Whiteinternally and externally sized for watercolor. watermarked and chop-marked.

Arches Covercold Pressed surface. light internal sizing.

Arches MBM INGRES (MICHAllET)originally designed for Jean auguste dominique ingres. laid surface with light texture for drawing.

Arches Oilcold Pressed watercolor paper with clear surface sizing for direct painting in oil. will also accept watercolor and drawing techniques for multi-media applications.

Arches Platinehot Pressed surface. specially sized for platinum printing.

Arches 88 Silkscreenhot Pressed. unsized (waterleaf ) to absorb ink freely, which speeds drying, avoiding build-up and glare.

Arches Text WoveArches Text laid Creamlightly textured, book-weight sheets designed for printing and drawing.

arches aquarelle hot Press - Bright white

arches aquarelle cold Press - Bright white

arches aquarelle rough - traditional white arches Platine arches 88 silkscreen

arches cover Buff arches cover white arches cover Black

arches text wove arches text laid cream arches MBM (scanned on black)



ARPA HANDMADES - Spainhandmade 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



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 art spectrum Black



BOCKINGfORD WHITE & TINTS - EnglandMouldmade 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.

BAMBOO - USAMachine-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.

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.

alcantara green alcantara Yellow alcantara grey

Bamboo usa Blotter

Bockingford oatmeal Bockingford cream Bockingford robin's egg

Bockingford Blue Bockingford grey

Bockingford white



BRAZILIAN HANDMADE BANANAhandmade 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 Brown Brazil Banana Pink Brazil Banana Mustard Brazil Banana orange Brazil Banana red Brazil Banana Black

Brazil Banana cream Brazil Banana tan

Brazil Banana Purple Brazil Banana Blue Brazil Banana green Brazil Banana forest



CA l'OlIvER BARCElONA COlORS - Spainlimited quantities available.handmade in Barcelona of 50% cotton. cold pressed surface. Neutral ph. 4 deckles.

CANSON - Francea 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.

ca l'oliver cream ca l'oliver Blue ca l'oliver Pastel Blue

ca l'oliver Purple ca l'oliver lavender ca l'oliver Navy

ca l'oliver Pastel Yellow

canson ingres white 01 ingres cream 48 ingres Black 50 ingres sky 39 ingres Moonstone 52 ingres steel 55



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




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 505 red Mi-teintes 116 Bordeaux Mi-teintes 114 raspberry



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.


Mi-teintes 102 azure Mi-teintes 104 lilac Mi-teintes 113 Parma Mi-teintes 507 Violet Mi-teintes 117 Plum

Mi-teintes 595 turquoise Mi-teintes 495 Blue Mi-teintes 150 cobalt Mi-teintes 118 icy Blue

canson Montval 1059 canson Vidalon 90 gram canson opalux 180 gram canson satin 230 gram



CAPEllADES HANDMADES - Spainhandmade 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.



CAPEllADES HANDMADES - Spainhandmade 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 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 Garabatotranslucent, 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 abaca lime capellades abaca orange capellades abaca Magenta capellades abaca white

capellades #1 letter capellades abaca Violet capellades abaca turquoise capellades abaca Black

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

capellades #4 Book laid rough

capellades Platinum



capellades garabato lime & turquoise

capellades garabato white & white

capellades garabato tan & Pink luster capellades garabato Violet & red capellades garabato grey & white

capellades watermark



CAvE PAPERS - USAhandmade 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 flax100% 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 BlackBelgian 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

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

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

cave cloudy sky

cave galaxy



cave Blue Jeans cave walnut dyed red flax cave walnut dyed flax

cave granite

cave alphabet

cave Persimmon

cave o'Malley crackle flax cave Natural flax cave indigo flax

cave green crackle flax cave Black flax



cave terracotta flax cave turquoise flax cave lime flax

cave tangerine flax cave layered indigo flax

cave ochre flax

cave layered indigo Black flax



COlORPlAN - EnglandMachine-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 Pristine white color Plan Natural color Plan Vellum white color Plan Mist

color Plan white frost

color Plan cool grey color Plan cool Blue color Plan Pale grey color Plan real grey

color Plan racing green color Plan amethyst color Plan claret color Plan harvest

color Plan Black ebony color Plan Bitter chocolate color Plan Bagdad Brown color Plan Nubuck Brown

color Plan imperial Blue color Plan dark grey color Plan smoke



COlORPlAN - EnglandMachine-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 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

color Plan Bright red



COquIllE STIPPlE PAPER - USAMachine-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.

COSTA RICAN HANDMADESThese 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 Bambu - light natural banana fibers with green bamboo leaves smooth one side.Costa Rican Cafe Crema - Banana fibers with coffee shells give this sheet its rough texture.Costa Rican Mescla Oscura - deep brown banana fiber with small flecks of black bark.Costa Rican Paz - Mix of cotton and banana with letters and words from recycled newpapers.

CRANE’S CREST lAID / CRANE’S CREST WOvE - USAMachine-made in the u.s. from 100% cotton. watermarked sheets. No deckles. ivory white.

CRANE’S COvERMachine-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.

COvENTRY RAG - USAMachine-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.

costa rica Mescla oscura costa rica Bambu costa rica Paz

costa rica cafe crema

coquille stipple coventry rag Vellum coventry rag smooth

crane's crest laid

crane's crest wove

crane's cover fluorescent white crane's cover Pearl white



CZECH REPuBLIC HANDMADES VELKE LOSINYfounded 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 loft-dried 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



DOMESTIC ETCHING - USAMachine-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.

durotone Newsprint extra white durotone Newsprint white durotone Newsprint aged

durotone Butcher orange cover durotone Butcher off-white text durotone Packing Brown wrap

domestic etching drawing 60 lb. Penny sketch (on black) drawing 90 lb. sketch Vellum



EvOlON AP - USANon-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



fABRIANO - Italylocated 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 WhiteMachine-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 extra white soft Press fabriano artistico traditional white cold Press fabriano artistico extra white rough

fabriano artistico traditional white hot Press fabriano eco



Fabriano Elle ErreMachinemade 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



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.

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

roma 104 - raffaelo cream (watermark is 4" wide) roma 103 - Michaelangelo - ivory white



Fabriano RosaspinaMouldmade from 40% cotton. 2 deckles. Printmaking and drawing.

Fabriano Studio WatercolorMachinemade of cotton and alpha cellulose. hot Press and cold Press. No deckles.

Fabriano TiepoloMould-made of 100% cotton. cold Pressed with watermark. 2 deckles, 2 torn edges. Printmaking.

Fabriano TizianoMouldmade from 40% cotton. cold Pressed. Very lightfast. No deckles. Drawing, letterpress & display.

fabriano rosaspina cream

fabriano rosaspina white fabriano tiepolo fabriano studio hot Press & cold Press

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



fOlIO - USAMachine-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.

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 antique folio white

Fabriano Tiziano - Mouldmade from 40% cotton. cold Pressed. Very lightfast. No deckles. Drawing, letterpress & display.



HAHNEMüHlE - Germanyon 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.

Bugra 309 - white Bugra 300 - Butter 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 312 - evergreen Bugra 308 - Mint Bugra 307 - fawn Bugra 302 - chamois Bugra 304 - Mocha Bugra 313 - Black

Hahnemühle Bugra BüttenMould-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 317 - Marble grey Bugra 306 - grey Bugra 316 - caramel Bugra 303 - Mango Bugra 311 - Brick Bugra 322 - Burgundy



Hahnemühle Biblio - Mould-made of 100% high alpha cellulose. wove surface. opaque white.Hahnemühle Copperplate - Mould made of 100% high alpha cellulose. Vellum surface.Hahnemühle Durer Etching - Mould-made from 100% cotton. Vellum surface. white.Hahnemühle German Etching - Mould-made of 75% cotton, 25% high alpha cellulose.Hahnemühle Gutenberg laid - Mould-made of 100% high alpha cellulose. laid surface. Hahnemühle Heine - Mould-made of 100% high alpha cellulose. smooth, chain-laid surface. Hahnemühle Ingres - Mould-made from high alpha cellulose. textured, laid surface.

hahnemÜhle Biblio

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



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 - white hahnemÜhle Natur cover - grey hahnemÜhle Natur cover Black

hahnemÜhle Natur cover cream

hahnemÜhle Natur cover - green-grey hahnemÜhle schiller

hahnemÜhle student Prinz hahnemÜhle torchon hahnemÜhle watercolor



HuuN YuCATAN HANDMADE - MexicoNot 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



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



lANAquAREllE - FranceThe 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 re-equipped 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.

INDEx PAPER (SCOTT, fRANKlIN) - USAMachine-made in u.s. from sulphite. smooth index paper, similar to oaktag. No deckles.

JOHANNOT - FranceMouldmade 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.

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.

lENOx 100 - USA also see ROllSMachine-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 - USAMachine 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

lanaquarelle cold Press lanaquarelle hot Press

Johannot

index

legion art coated (with silverpoint above)



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.

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

luster Burnt umber luster slate luster rose luster Plum luster azul

luster chartreuse luster Yellow luster tangerine luster atlantic Blue luster Periwinkle

luster Butter luster soft white luster Pale Pink luster celedon luster Pale green

luster gold luster araurcana luster silver

langdell luster cream

Mc coy clay coated (with silverpoint above)



MAGNANI - ItalyMagnani 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 rul-ing 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 / Acquerello Portofino Hot PressMouldmade from100% cotton, fully sized for watercolor. Neutral ph. 2 deckles, 2 torn edges.

Magnani AnnigoniMouldmade 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 & CardMouldmade 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 acquerello cold Press Magnani acquerello Portofino hot Press Magnani annigoni

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



Magnani firenzePartially handmade, 100% cotton. Neutral ph. 4 deckles. Pronounced laid line pattern. 4 deckles. Neutral ph.

Magnani IncisioneMouldmade from 50% cotton, 50% sulphite. Neutral ph. 2 deckles, 2 torn edges. Bright white with a smooth surface.

Magnani Pescia SatinatoMouldmade 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 RevereMouldmade from100% cotton specially formulated for platinum photograhic processes. Neutral ph. 2 deckles, 2 torn edges.

Magnani firenze Brown Magnani firenze Navy Magnani firenze Black

Magnani incisione

Magnani Pescia Bright white Magnani Pescia soft white Magnani Pescia cream

Magnani Pescia Blue Magnani Pescia grey Magnani Platinum revere

MAGNANI - Italy



Magnani RevereMouldmade from100% cotton. Neutral ph. 2 deckles, 2 torn edges. Printing & drawing.

Magnani velata Mould-madeMouldmade from100% sulphite. Neutral ph. 2 deckles, 2 cut edges. lightly textured, wove finish

Magnani velata & vergata Handmadeshandmade from100% cotton. Neutral ph. 4 deckles. "Velata"(wove) surface and "Vergata (laid) surface.

Magnani revere ivory - suede surface Magnani revere Bisque - suede surface Magnani revere Black - suede surface

Magnani revere Polar white - silk surface Magnani revere standard white - felt surface Magnani revere warm white - suede surface

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 Velata Mould-made

Magnani Velata handmade - white Magnani Vergata handmade - ivory

MAGNANI - Italy



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 Mexican amate - Brown Mexican amate - Mottled Mexican amate - tan (color varies)



MExICAN PAPEl DE AMATE - Mexico

Mexican amate - sage Mexican amate - Pink Mexican amate - teal Mexican amate - Multi color solid

Mexican amate - lace Mottled (on black) Mexican amate - lace Brown (on white) Mexican amate -woven Multicolor (on black)

Mexican amate - woven Brown (on black) Mexican amate - woven Mottled (on white) Mexican amate -woven ivory (on black)

MExICAN All PuRPOSE HANDMADE - Mexico 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



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



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

CalfskinDeerskinGoatskin

MOHAWK vElluM - USAMachine-made from 100% high alpha cellulose. 60 lb. text paper. Neutral ph. No deckles. MOHAWK vIA SMOOTH lIGHT GREY - USAMachine-made from 100% high alpha cellulose. 70 lb. text paper. Neutral ph. No deckles.

MulTI-MEDIA / AquAREllE - USAMachine-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..

Mohawk Vellum cool white Mohawk Vellum soft white Mohawk Via Vellum light grey

oaktag Newsprint Parchment antique goldtone

Multi-Media aquarelle



PERGAMENATA - ItalyMachine-made in italy. 100% high alpha cellulose. translucent parchment. Neutral ph. No deckles.

PlIKE - ItalyMachinemade 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.

RICHARD DE BAS - Franceauvergne 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.lRichard de Bas Apta laid Brick Red - heavy chain laid (more widely spaced than Normal)

Pergamenata white - 160 gram (seen on black) Pergamenata Natural - 160 gram (seen on black) Pergamenata Natural - 230 gram (seen on black)

Plike ivory (with pencil & silverpoint)

Plike white (silverpoint) Plike graphite 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



RICHESON'S uNISON PREMIuM PASTEl SuRfACE - USAMachine-made in the u.s. designed by the Jack richeson company in conjunction with the makers of unison Pastels, these durable sheets can withstand rub-bing, 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 - USAMachinemade in the u.s. of 100% sulphite. off-white tone is heavily sized to handle many techniques. No deckles. Neutral ph.

richeson storm grey richeson sandstone richeson Marble

richeson clay richeson light umber richeson terracotta

richeson shale richeson Black richeson white

rising Bristol Vellum finish rising Bristol Plate finish



RIvES - FranceMouldmade 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 & lightweightwove 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 Rolls25% 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" - USAMachinemade for oldstone rubbing Products of rayon & sulphite. durable, soft surface specifically designed for rubbing techniques using crayons and graphite sticks. No deckles.

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

rubbing Paper "oldstone" (seen on black & white)



Ruscombe Mill Blued Hemp & flax Broad laidModeled 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 Mill Paille - 75% linen rag and 25% cotton rag. strong surface for drawing & washes.

Ruscombe Gelatine-sized WatercolorThese 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 laidlinen, hemp and cotton rag. Modeled after a wrapping paper that this President of the royal watercolor society preferred.

RuSCOMBE MIll HANDMADES - Franceowned 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 deep Beige ruscombe Machine-age cold cream ruscombe Paille

ruscombe Blued hemp & flax Broad laid

ruscombe Margaux estampe cream

ruscombe gelatine-sized oatmeal ruscombe gelatine-sized Thomas girtin laid



Ruscombe Mill queen Anne ColorsMade 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 & laidMade of a blend of cotton rag, and flax. The 25 gram sheets are a marvel of papermaking skills!

ruscombe - 25 gram Pale laid ruscombe - 120 gram Pale wove ruscombe - 90 gram dark wove ruscombe - 120 gram dark wove

(on black background)

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

(on black background) (on black background) (on black background)

RuSCOMBE MIll HANDMADES - France



SAINT ARMAND HANDMADES - CanadaThe 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 AquarelleMade from 75% cotton rag with 25% linen rag. internally and externally sized for watercolor. white, medium-rough finish.

St. Armand Aquarelle100% cotton rag. internally sized with starch for watercolor and mixed media. Medium-rough finish.



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

saint armand - white

saint armand - ivory

saint armand - lemon



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

SAINT ARMAND HANDMADES - Canada



St. Armand Specialty SheetsMarsh 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 laidlinen and cotton rag. laid finish in the style of 17th century drawing and printing papers.

saint armand text - frobisher white saint armand text - rivière rouge saint armand text - innis Pale earth saint armand text - Palliser earth

saint armand - Money saint armand - Marsh grass saint armand - saskatchewan

saint armand text - linen white saint armand text - dark linen saint armand text - rideau ivory

saint armand special etching

saint armand text - crowsnest Black saint armand text - tangerine saint armand text - ungava Blue saint armand text - gaspé Jade green

SAINT ARMAND HANDMADES - Canada



SAINT ARMAND CANAl MOulDMADESMade 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 - Jute & cotton canal - cotton with leaves canal - cotton with Peat canal - cotton & silk Threads

saint armand canal - sisal cream saint armand canal - sisal coffee saint armand canal - sisal currant saint armand canal - sisal cucumber

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 - linen wrapper Brown (sheets are wrinkled and irregular) saint armand canal - linen wrapper white (sheets are wrinkled and irregular)

seen on black background

saint armand canal - ontario flax Natural saint armand canal - flax grey saint armand canal - flax & cotton



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.

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

sabertooth light Blue sabertooth dark Blue sabertooth dark grey sabertooth light grey sabertooth olive

sabertooth white sabertooth cream sabertooth salmon sabertooth Brown



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 - 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

sennelier le carte - 1 antique white sennelier le carte - 2 sand sennelier le carte - 3 sienna sennelier le carte - 4 umber

sennelier le carte - 5 Peach



SOMERSET - EnglandMouldmade 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.

Satin is the smoothest surface of Somerset

velvet is the medium surface of Somerset

Textured is the roughest surface of Somerset

somerset Book radient white somerset Book white somerset Book soft white

somerset satin white somerset Velvet radient white somerset textured cream

somerset textured soft white

somerset Velvet Newsprint grey somerset Velvet antique somerset Velvet Buff

SERIO ulTRA-BlACK - ItalyMachine-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



SPECKlETONE - USArecycled 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 - USAMachine-made from sulphite. Neutral ph. No deckles. hard, smooth surface. large format.

speckletone cream speckletone old green speckletone Natural

speckletone Brown speckletone chocolate speckletone Black

starwhite

speckletone Madiero Beach speckletone Kraft speckletone oatmeal

speckletone olive speckletone wine



STONEHENGE - USAMachine-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 Polar white stonehenge warm white stonehenge cream

stonehenge white

stonehenge fawn tan stonehenge Natural stonehenge Pearl grey

stonehenge Kraft stonehenge Pale Blue stonehenge steel grey

STIllMAN & BIRN ART PAPER - NetherlandsMachine-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 alpha Vellum s & B Beta cold Press s & B delta cold Press s & B gamma Vellum

s & B epsillon / Zeta smooth



STRATHMORE - USAone 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 IIcotton and synthetic fibers. Neutral ph. formulated to remain flat when wet.

Strathmore Bristol "fairfield" Series 300economical, 100% sulphite. 2-ply Plate (smooth) or Vellum (light texture.). white. No deckles.

Strathmore Bristol Series 500100% cotton. Plate (smooth, high) and Kid (Vellum, Medium, regular) surfaces. No deckles.

Strathmore Charcoal - 100% cotton. laid, textured surface. 2 deckles.

strathmore Blue grey strathmore Pottery green strathmore cadet Blue strathmore storm grey strathmore Velvet grey

strathmore Bright white strathmore rose grey strathmore fog Blue strathmore golden Brown strathmore Peachblow

strathmore charcoal white strathmore series 300 Bristol Vellum surface strathmore series 500 Bristol Vellum surface

strathmore aquarius ii watercolor strathmore series 300 Bristol Plate surface strathmore series 500 Bristol Plate surface

strathmore alexis watercolor (series 400)

strathmore alexis drawing (series 400)



SuPERfINE - USA - Machine-made by the Mohawk Paper company from high alpha cellulose. smooth surface. Neutral ph. No deckles.

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.

TERRASKIN - Stone Paper - CanadaManufactured 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

superfine smooth white superfine smooth soft white

translucent chartham 63 gram translucent chartham 90 gram translucent chartham 112 gram translucent chartham 180 gram

scanned on black background and decorative sheet to show translucency



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



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



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

TRANSluCENT GlASSINE



TWINROCKER HANDMADES - USAestablished 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.

twinrocker white cotton rag laid - text weight twinrocker white cotton rag wove - text weight

text weight scanned on black & white to show translucencytext weight scanned on black & white to show translucency



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

TWINROCKER HANDMADES - USA



twinrocker watercolor cold Press (with chop) twinrocker watercolor hot Press twinrocker watercolor rough

twinrocker cream twinrocker white & cream showing the feather deckle

twinrocker all-Purpose white cold Press




twinrocker abaca unbleached (100% abaca) twinrocker abaca Bleached (100% abaca) twinrocker Patriot

twinrocker May linen twinrocker Pale dusty rose twinrocker sherwin's Beach

twinrocker abaca willow creek twinrocker double xx twinrocker turner Blue

twinrocker sagebrush twinrocker simon's green twinrocker charcoal abaca with fleck twinrocker charcoal abaca




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.

vAN GElDER / SCHuT PAPERS - Hollandfounded 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.

u-art 400 - rough u-art 500 - Medium rough u-art 600 - Medium smooth u-art 800 - smooth

Van gelder - Noblesse Van gelder - laurier Van gelder - salland Van gelder - simili Japon



vElOuR PREMIuM PASTEl - GermanyMachine-made by hahnemühle. 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 Premium 609 - light grey Velour Premium 602 - Middle grey Velour Premium 606 - dark grey Velour Premium 604 - green

Velour Premium 610 - Black Velour Premium 608 - ochre Velour Premium 607 - sand

Velour Premium 601 - white Velour Premium 603 - Yellow Velour Premium 605 - orange

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

Velour Medalion gold heavyweight



YuPO - USAsynthetic "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.

ZAAN - Hollandhandmade 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.

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.



ZERKALL - GermanyThe 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 Book Smooth & vellum - cotton rag and high alpha cellulose.

Zerkall Book laid Smooth & vellum - cotton rag and high alpha cellulose.

Zerkall Copperplate - 25% cotton. cold Pressed.

Zerkall laid Cover - cotton and high alpha cellulose. smooth laid.

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


scanned on white and black to show translucency scanned on white and black to show translucency

Zerkall Book Vellum 145 gram white Zerkall copperplate

Zerkall Book laid smooth 125 gram white Zerkall Book laid Vellum 125 gram white

Zerkall laid cover white Zerkall laid cover cream Zerkall laid cover Mint Zerkall laid cover light Blue



Zerkall frankfurtcotton 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 lithoZerkall 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.

Zerkall Nideggen

scanned on white and black to show translucency scanned on white and black to show translucency

Nideggen and Frankfurt have an unusual laid surface - replicating sheets that were formed by stretching a cloth across the mould

Zerkall frankfurt cream Zerkall frankfurt smooth white

Zerkall litho Zerkall satin 902



Zerkall ingres 05 - cobalt Blue Zerkall ingres 12 - red Zerkall ingres 10 - orange

Zerkall ingres 602 - light Blue Zerkall ingres 02 - grey Zerkall ingres 04 - light green

Zerkall ingres 03 - Bluestone Zerkall ingres 08 - earth Zerkall ingres 07 - sand

Zerkall ingres 01 - white Zerkall ingres 601 - Mint Zerkall ingres 09 - tan

Zerkall ingres 606 - ivory Zerkall ingres 06 - cream

Zerkall Ingres - 100% high alpha cellulose. slightly textured, laid surface.


A R T P A P E R - P R I C E S E u r o p e / T h e A m e r i c a s & A u s t r a l i a


Paper size gr/M2 1 25 100 500

■ watercolor ■ small format■ specific use ■ Book arts ■ large format■ drawing ■ Pen & ink ■ letterpress■ Printmaking

■ ■ ■ ■ ■ ■ ■ ■ ■

Alcantara Colors 19½ x 27½ 160 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 4.07 70 lb. Cold Pressed 16 x 20 300 4.75 4.28 3.74 3.49 140 lb. HP, CP, R 22 x 30 300 7.80 7.02 6.13 5.72 300 lb. HP, CP, R 22 x 30 640 17.85 16.06 14.09 13.15 400 lb. Cold Pressed or Rough 22 x 30 850 23.50 20.97 18.39 17.17 260 lb. HP, CP, R 25½ x 40 356 15.30 13.77 12.07 11.26 555 lb. Cold Pressed or Rough 29½ x 41 640 37.55 33.80 29.62 27.64 1114 lb. Cold Pressed or Rough 40 x 60 640 82.30 74.07 64.94 60.61 Arches Aquarelle Bright White 140 lb. Hot Pressed or Cold Pressed 22 x 30 300 7.80 7.02 6.13 5.72 300 lb. Hot Pressed or Cold Pressed 22 x 30 640 17.85 16.06 14.09 13.15 Arches Cover also see Rolls White or Buff 19½ x 25½ 250 4.40 3.96 3.46 3.23 White or Buff 22 x 30 250 5.60 5.04 4.39 4.10 White 24¾ x 35¼ 270 8.35 7.50 6.96 6.25 White or Buff 29 x 41 270 10.80 9.72 8.52 7.95 White 31½ x 47 300 14.65 13.19 11.53 10.76 Black 30 x 44 250 13.75 12.38 10.83 10.11

Arches MBM MBM Ingres (Michallet) 19¾ x 25½ 130 3.75 3.38 3.04 2.63

Arches Oil 22 x 30 300 7.95 7.16 6.64 5.96

Arches Platine 22 x 30 310 9.10 8.19 7.17 6.69 30 x 44 310 21.10 18.99 17.60 15.81

Arches 88 Silkscreen 22 x 30 300 6.70 6.03 5.18 4.83 30 x 42 350 14.65 13.19 11.56 10.79

Arches Text Laid Cream 25½ x 40 120 4.98 - last of stockArches Text Wove White 25½ x 40 120 5.25 4.71 4.37 3.93

Arpa Ivory 8 x 12 220 1.75 1.57 1.45Arpa All Colors 19½ x 25½ 200 12.00 10.80 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 1.68Bamboo 27½ x 39 265 4.65 4.15 3.85 3.46 Blotter 24 x 38 360 3.95 3.55 3.30 2.96Blotter 40 x 60 360 10.30 9.27 8.60 7.73Blotter "Neenah" 26 x 40 427 4.25 3.83 3.55 3.19

Bockingford 90 lb. Cold Pressed White 22 x 30 190 3.00 2.70 2.51 2.25

■ ■ ■ ■

■ ■ ■ ■ Hot Press

■

■ ■ ■

■

■ ■ ■

■- pre-sized for direct painting in oil

■- platinum & alternate photo processes

■- waterleaf (unsized) for silkscreen

■ ■ ■ ■ ■ ■ ■ ■

■ ■ ■ ■

■- sanded surface for pastel

■ ■ ■ ■

■- waterleaf (un-sized) for absorbency

■ ■ ■

P A P e R A S S O R T M e N T P O L I C y

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.





■ ■ ■ ■ ■ ■ ■ ■ ■

Bockingford 140 lb. Cold Pressed White 22 x 30 300 4.50 4.05 3.76 3.38Bockingford Colors 140 lb. Cold Pressed 22 x 30 300 4.50 4.05 3.76 3.38 Brazilian Banana Smooth All Colors 19½ x 27½ 80 12.80 11.52 10.69Brazilian Banana Rough Cream, Tan, Brown 19½ x 27½ 80 12.80 11.52 10.69

Ca L'Oliver All colors 19 x 24 200 10.00 - last of stock

Canson Ingres 19½ x 25½ 100 1.40 1.26 1.17 1.05Canson Mi-Tientes 19½ x 25½ 160 2.00 1.80 1.67 1.50Canson Opalux 19½ x 25½ 180 3.15 2.84 2.63 2.36Canson Montval 22 x 30 300 2.55 2.30 2.10 1.89Canson Satin 26 x 40 230 4.50 4.05 3.76 3.38Canson Vidalon 19½ x 25½ 90 2.00 1.80 1.67 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

Chartham - see Translucent Vellum - Chartham

Color Plan All colors 25 x 38 135 1.65 1.48 1.35 1.21Colorplan All Colors 25 x 38 270 3.25 2.92 2.71 2.44

Colorplan Black / Dark Grey / Real Grey / Smoke / Frost White 25 x 38 350 4.05 3.65 3.37 3.03 25 x 38 540 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 23 x 30 235 2.80 2.52 2.33 2.09 Vellum White 30 x 44 290 5.85 5.27 7.87 4.38 Vellum White 38 x 50 290 8.30 7.45 6.90 6.20 Vellum White 38 x 50 320 10.20 9.18 8.51 7.64 Vellum White 44 x 60 320 14.10 12.69 11.77 10.57 Smooth White 38 x 50 290 8.30 7.45 6.90 6.20 Smooth White 38 x 50 335 10.65 9.58 8.89 7.98 Smooth White 40 x 55 335 12.20 10.97 10.18 9.14

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Crane's Crest Laid & Wove 23 x 35 90 1.45 1.31 1.22 1.16xCrane’s Cover Fluorescent, Pearl White 26 x 40 171 5.40 4.86 4.51 4.05

Czech Handmades Moldau 11½ x 16½ 280 4.60 4.14 3.84 16½ x 23 280 7.80 7.02 6.51 22 x 30 280 13.10 11.79 10.94 Moravia White & Ivory 4 x 6 440 1.60 1.44 1.34 4 x 8 440 1.80 1.62 1.50 6 x 8 440 2.40 2.16 2.00 Moravia White 5 x 5 440 1.70 1.53 1.42 6 x 6 440 1.90 1.71 1.59 7 x 7 440 2.25 2.03 1.88 8 x 8 440 2.60 2.34 2.17 8 x 11½ 240 3.20 2.88 2.67 8 x 11½ 440 3.90 3.51 3.26 11½ x 16½ 240 4.10 3.69 3.42 16½ x 23 240 7.00 6.30 5.85 22 x 30 360 11.60 10.44 9.69 Prague 8 x 11½ 120 1.90 1.71 1.59 11½ x 16½ 120 2.80 2.52 2.34 16½ x 23 120 5.50 4.95 4.59 8 x 11½ 170 2.40 2.16 2.00 11½ x 16½ 170 3.30 2.97 2.76 16½ x 23 170 6.20 5.58 5.18

Domestic etching 26 x 40 175 3.25 2.90 2.69 2.42

Drawing 60 lb. Penny Sketch #10 18 x 24 100 122.00 - package of 500 sheetsDrawing 60 lb. Penny Sketch #10 24 x 36 100 244.00 - package of 500 sheetsDrawing 90 lb. Sketch Vellum #116 18 x 24 180 219.00 - package of 500 sheetsDrawing 90 lb. Sketch Vellum #116 24 x 36 180 438.00 - package of 500 sheets

Durotone Butcher Paper 25 x 38 76 1.10 .99 .92 .83 Butcher Orange Cover 26 x 40 216 2.00 1.80 1.67 1.50 Newsprint Aged 25 x 38 90 1.10 .99 .92 .83 Newsprint extra White 25 x 38 90 1.10 .99 .92 .83 Newsprint White 25 x 38 90 1.10 .99 .92 .83 Packing Kraft 25 x 38 108 1.10 .99 .92 .83 Packing Kraft 26 x 40 216 2.00 1.80 1.67 1.50

evolon ap 22 x 30 58 3.00 2.70 2.51 2.25evolon ap 22 x 30 98 3.60 3.24 3.01 2.70evolon ap 22 x 30 168 6.00 5.40 5.01 4.50

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 21.91Fabriano 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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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 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 3.39Fabriano Studio Watercolor 22 x 30 200 1.95 1.75 1.60 1.44Fabriano 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 4.53Fabriano 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

Folio White & Antique 22 x 30 250 2.80 2.50 2.30 2.07Folio Antique 38 x 50 250 7.80 - last of stock

Glassine Colors - see Translucent Glassine

Hahneműhle Biblio White 30¾ x 41¾ 150 3.90 3.51 3.26 2.93 Bugra Black 33 x 41 130 6.20 5.58 5.18 4.65 Bugra All other colors 33 x 41 130 4.60 4.14 3.84 3.45 Bugra 305x / 312x / 322x only 37 x 48 260 7.00 6.30 5.85 Copperplate Bright White, Warm White 22 x 30 300 3.60 3.24 3.01 2.70 Copperplate Bright White, Warm White 31½ x 47 300 9.10 8.19 7.60 6.83 Durer etch Bright White 22 x 30 300 5.90 5.31 4.93 4.43 Durer etch Bright White 31½ x 47 300 11.10 9.99 9.27 8.33 German etching Natural White 22 x 30 300 5.60 5.04 4.68 4.20 German etching Bright White 30 x 42 300 10.50 9.45 8.77 7.88 German etching Natural 30 x 42 300 10.50 9.45 8.77 7.88 German etch Black 31½ x 47 300 19.50 17.55 16.28 14.63 Guttenberg Laid 31 x 41 130 5.30 4.77 4.43 3.98 Heine Soft White 15 x 18 150 1.70 1.53 1.42 1.28 Ingres Black 18¾ x 24¾ 95 1.50 1.35 1.25 1.13 Ingres Colors 18¾ x 24¾ 95 1.20 1.08 1.00 0.90 Natur Black 28 x 39 280 7.10 6.39 5.93 5.33 Natur Colors 28 x 39 300 4.90 4.41 4.09 3.68 Natur Text 28 x 39 120 2.10 1.89 1.75 1.58 Schiller White 24 x 35 150 3.10 2.79 2.59 2.33 Student Prinz Bright White 17 x 24 150 1.00 0.90 0.84 0.75 Torchon Bright White 19 x 24½ 275 2.00 1.80 1.67 1.50 Watercolor 140 lb. Cold Pressed 13 x 19 300 2.70 2.43 2.25 2.03 Watercolor 140 lb. Cold Pressed 22 x 30 300 6.20 5.58 5.18 4.65

Huun Bleached, Natural, Mottled 8 x 12 150 1.75 1.57 1.45 12 x 17 150 3.50 3.15 2.92 22 x 34 150 15.00 13.50 12.52Huun Colors 8 x 12 150 1.75 1.57 1.45

Index / Oaktag Lightweight (Scott, Franklin) 22½ x 28½ 150 .75 .68 .63 .56

Johannot 19½ x 25½ 125 2.65 2.38 2.19 1.97 22 x 30 240 5.35 4.80 4.45 3.99

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Lanaquarelle 140 lb. Hot Press, Cold Press 22 x 30 300 8.00 7.20 6.66 5.98 300 lb. Hot Press, Cold Press 22 x 30 640 17.40 15.66 14.50 13.02 1114 lb. Hot Press 40 x 60 640 66.15 59.55 55.21 49.59

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

Lenox 100 22 x 30 250 2.80 2.52 2.30 2.07 26 x 40 250 4.30 3.87 3.59 3.22 38 x 50 250 7.90 7.11 6.58 5.91

Letra Fluorescent White & Pearl White 25 x 38 120 1.95 1.75 1.61 1.45Letra ecru, Fluorescent White & Pearl White 26 x 40 300 4.70 4.23 3.90 3.50

MCCoy Clay Coated Cover 26 x 40 165 2.50 2.25 2.08 1.87

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 19 x 26 130 8.50 7.65 7.10 Velata Handmade & Vergata Handmade 19 x 26 270 10.00 9.00 8.35

Mexican Papel de Amate All Styles 16 x 24½ 150 8.50 7.65 7.10

Mexican All Purpose Handmade 19½ x 23½ 200 6.00 5.40 5.01

Mohawk Vellum Cool White, Soft White 25 x 38 89 1.00 .90 .84 .75Mohawk Via Smooth Light Grey 25 x 38 104 1.10 .99 .92 .83

Moulin de Larroque & Moulin du Pombie Colombe Handmades 20 x 26 250 7.50 - last of stock All Other Larroque & Pombie 20 x 26 250 5.00 - last of stock

Multi-media 140 lb. Cold Press 22 x 30 300 4.15 3.74 3.47 3.11

Newsprint Rough or Smooth 18 x 24 55.00 - package of 500 Sheets 24 x 36 105.00 - package of 500 Sheets


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Oaktag Lightweight 24 x 36 150 1.00 .90 .84 .75Oaktag Heavyweight 24 x 36 300 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 27½ x 39 160 6.25 5.63 5.22 4.69Pergamenata White, Natural 27½ x 39 230 6.90 6.20 5.74 5.15

PLike White, Ivory & Black 28 x 40 140 2.50 2.25 2.09 1.88PLike White, Black, Red, Graphite, Chocolate 28 x 40 330 5.75 5.18 4.80 4.31

Richeson Pastel 24 x 36 300 13.60 12.24 11.32 10.17

Rising Bristol 2 Ply Smooth & Vellum 22 x 30 241 2.20 1.97 1.83 1.65Rising Bristol 3 Ply Smooth & Vellum 22 x 30 362 3.15 2.83 2.62 2.36

Richard de Bas Apta Brick Laid 20 x 26 240 10.00 - last of stock Normal Laid Colors 20 x 26 240 5.00 - last of stock

Rives BFK White 19½ x 25½ 180 3.55 3.19 2.94 1.72 19½ x 25½ 250 4.35 3.92 3.43 3.20 22 x 30 250 5.55 5.00 4.36 4.07 24¾ x 35¼ 270 8.95 8.05 7.46 6.70 29 x 41 270 11.05 9.95 8.72 8.14 30 x 44 280 12.05 10.85 9.51 8.87 31½ x 47 300 14.65 13.19 11.53 10.76 Rives BFK Off-White, Cream, Grey, Tan 22 x 30 280 6.60 5.94 5.18 4.83Rives BFK Cream, Grey, Tan 30 x 44 280 12.60 11.34 9.90 9.24 Rives Heavyweight White or Buff 19 x 26 175 3.75 3.38 3.13 2.81Rives Heavyweight White or Buff 26 x 40 175 6.90 6.21 5.76 5.18 Rives Lightweight White or Buff 19 x 26 115 2.70 2.43 2.25 2.03Rives Lightweight White or Buff 26 x 40 115 4.90 4.40 4.07 3.66

Rives Papier de Lin 22 x 30 270 7.00 6.30 5.86 5.26Rives Papier de Lin 31 x 47 300 19.70 17.70 16.42 14.72

Rubbing Paper 27 x 36 50 2.75

Ruscombe Blued Hemp & Flax Broad laid 22 x 30 200 14.00 - last of stock. Deep Beige 22 x 30 200 15.50 - last of stock. Gelatine Sized Thomas Girtin Laid 22 x 30 200 22.40 - last of stock. Gelatine Sized Watercolor Oatmeal 18¾ x 23½ 250 17.95 - last of stock. Machine-age Compatible Cold Cream 20 x 27 100 15.50 - last of stock. Margaux estampe Cream 22 x 30 200 20.00 - last of stock. Pastelle Color Paille 22 x 30 240 15.50 - last of stock. Queen Anne Pale Laid 20 x 27 25 25.00 - last of stock. Queen Anne Pale Wove 20 x 27 120 12.80 - last of stock. Queen Anne Dark Wove 20 x 27 90 12.80 - last of stock. 20 x 27 120 12.80 - last of stock. Queen Anne Colors 20 x 27 90 12.80 - last of stock.

Sabertooth 22 x 30 250 10.00 9.00 8.42 7.50

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SAINT ARMAND Dominion Aquarelle 18 x 24 320 7.00 6.30 5.85 5.25 22 x 30 320 10.00 9.00 8.35 7.50 Aquarelle Rectangles 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 Aquarelle Squares 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 Aquarelle Oval 12 x 18 Oval 300 6.00 5.40 4.86 4.50 Aquarelle Circles 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

Printing & Drawing All Colors 22 x 30 200 8.00 7.20 6.68 6.00 Special etching 22 x 30 250 8.00 7.20 6.68 6.00 Text Weights 18 x 24 85 6.00 5.40 4.86 4.50

Saint Armand Canal Linen Wrapper 20 x 30 60 4.00 3.60 3.34 3.00 All Other Canal Papers 20 x 30 250 4.00 3.60 3.34 3.00

T.H.Saunders 90 lb. Hot Pressed, Cold Pressed, Rough 22 x 30 180 4.00 3.60 3.34 3.00 140 lb. Hot Pressed, Cold Pressed, Rough 22 x 30 285 6.20 5.58 5.18 4.65 200 lb. Hot Pressed, Cold Pressed ONLy 22 x 30 425 11.00 9.90 9.19 8.25 300 lb. Hot Pressed, Cold Pressed, Rough 22 x 30 638 13.50 12.15 11.27 10.13 260 lb. Hot Pressed, Cold Pressed, Rough 26 x 40 356 11.70 10.53 9.77 8.78 1090 lb. Hot Pressed, Cold Pressed ONLy 40 x 60 638 70.25 63.23 58.66 52.69

Sennelier La Carte Pastel 19½ x 25½ 400 15.15 13.63 12.63 11.34

Serio Ultra Black 28 x 40 115 2.00 1.80 1.67 1.50Serio Ultra Black 28 x 40 280 4.90 4.41 4.09 3.68Serio Ultra Black 28 x 40 370 6.40 5.76 5.34 4.80Serio Ultra Black 28 x 40 680 12.80 11.52 10.69 9.60

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 4.93Somerset 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 5.57Somerset 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 23.89Somerset 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 23.89Somerset 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

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Speckletone Black 26 x 40 216 2.50 2.25 2.09 1.88Speckletone Chocolate, Olive, Wine 26 x 40 270 2.50 2.25 2.09 1.88Speckletone All Other Colors 26 x 40 216 2.00 1.80 1.67 1.50

Starwhite 35 x 46 200 4.50 4.05 - last of stock

Stillman & Birn Alpha & Gamma 22 x 30 150 3.25 2.93 2.72 2.45 Beta & Delta 22 x 30 270 4.95 4.46 4.14 3.72 epsilon 22 x 30 150 3.25 2.93 2.72 2.45 Zeta 22 x 30 270 4.95 4.46 4.14 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 19 x 24 163 .80 .72 0.63 0.57 Alexis Watercolor 22 x 30 277 2.40 2.15 2.00 1.79 Aquarius II 22 x 30 150 5.60 5.03 4.67 4.19 Charcoal All Colors 19 x 25 100 1.60 1.40 1.30 1.17

Bristol Series 300 2 Ply Plate, Vellum 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 2.69 2 ply 23 x 29 250 6.60 5.95 5.51 4.95 30 x 40 250 11.55 10.40 9.61 8.63 3 ply 23 x 29 375 10.10 9.10 8.41 7.55 30 x 40 375 17.60 15.85 14.69 13.19 4 ply 23 x 29 500 13.60 12.20 11.32 10.17 30 x 40 500 23.85 21.45 19.90 17.87 Bristol Series 500 Kid (Vellum) Finish 1 ply 23 x 29 125 2.80 2.50 2.30 2.07 2 ply 23 x 29 250 5.85 5.25 4.87 4.37 30 x 40 250 10.25 9.25 8.54 7.67 3 ply 23 x 29 375 8.95 8.05 7.45 6.69 30 x 40 375 15.60 14.05 13.02 11.69 4 ply 23 x 29 500 12.15 10.95 10.12 9.09 30 x 40 500 21.20 19.10 17.70 15.89

Superfine White, Soft White (80 pound text) 25 x 38 118 1.30 1.17 1.09 .98Superfine White, Soft White (80 pound cover) 26 x 40 216 2.50 2.25 2.09 1.88

TerraSkin 4 Point Transluscent 28 x 40 100 microns 3.25 2.93 2.71 2.44TerraSkin 8 Point White 28 x 40 200 microns 4.50 4.05 3.76 3.38TerraSkin 10 Point Translucent 28 x 40 250 microns 8.00 7.20 6.68 6.00TerraSkin 12 Point White 28 x 40 300 microns 9.00 8.10 7.52 6.75TerraSkin 16 Point White 25 x 35 400 microns 8.50 7.65 7.10 6.38

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A R T P A P e R - P R I C e S e u r o p e / T h e A m e r i c a s & A u s t r a l i a

85 PAPeR IS FRAGILe ! NO ReTURNS OR exCHANGeS ARe ALLOWeD ORDeR: 800-950-6111 or: 212-473-7705.

Paper Size Gr/M2 1 25 100 500

■Watercolor ■Small Format■Specific Use ■Book Arts ■Large Format■Drawing ■Pen & Ink■Letterpress■Printmaking

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Borden & Riley Trace 35A - AmberSize List Sale

12 x 50 yards 14.30 11.4418 x 50 yards 19.82 15.8624 x 50 yards 25.25 20.20

Borden & Riley Trace 35C - CanarySize List Sale

12 x 50 yards 14.30 11.4418 x 50 yards 19.82 15.8624 x 50 yards 25.25 20.20

Borden & Riley Trace 35W - WhiteSize List Sale

6 x 50 yards 7.57 6.0612 x 50 yards 14.30 11.4418 x 50 yards 19.82 15.8624 x 50 yards 25.25 20.2030 x 50 yards 31.63 25.3036 x 50 yards 37.85 30.2842 x 50 yards 44.20 35.3648 x 50 yards 48.71 38.97

TRANSLUCeNT VeLLUM / TRACe / GLASSINe

Borden & Riley Trace 90 19 x 25 90 1.25 1.13 1.04 .94Borden & Riley Trace 51 19 x 25 40 .50 .45 .42 .38

Canson Opalux 19½ x 25½ 180 3.15 2.84 2.63 2.368Canson Satin 26 x 40 230 4.50 4.05 3.76 3.38Canson Vidalon 19½ x 25½ 90 2.00 1.80 1.67 1.50

Chartham Natural Clear 25 x 38 63 1.25 1.13 1.05 .95 25 x 38 90 2.25 2.03 1.89 1.70 25 x 38 112 2.75 2.48 2.30 2.07 25 x 38 180 4.00 3.60 3.34 3.00

Clearprint Plain 24 x 36 75 2.30 2.07 1.92 1.73Clearprint Gridded 4 / 8 / 10 / 24 x 36 75 3.20 2.88 2.67 2.40

Glassine Natural 24 x 36 50 .55 .50 .45 .41Glassine Heavyweight Natural 24 x 36 70 .90 .84 .75 .68Glassine Colors 24 x 36 50 .80 .72 .67 .60

Translucent Colors 25 x 38 112 2.50 2.24 2.08 1.87Translucent Gold & Platinum Pearlized 25 x 38 112 2.50 2.24 2.08 1.87

Wyndstone Vellum 5 point 25 x 38 165 2.55 2.30 2.13 1.92

Borden & Riley Trace 51Size List Sale

12 x 20 yards 7.92 6.3418 x 20 yards 11.20 8.9624 x 20 yards 13.17 10.5436 x 20 yards 22.34 17.8742 x 20 yards 26.15 20.92

Borden & Riley Trace 51HSize List Sale

12 x 20 yards 10.75 8.6018 x 20 yards 14.53 11.6224 x 20 yards 19.48 15.5836 x 20 yards 29.22 23.3842 x 20 yards 34.10 27.2848 x 20 yards 39.81 31.85

Borden & Riley Trace 90Size List Sale

36 x 10 yards 41.04 32.8336 x 20 yards 79.61 63.6936 x 50 yards 193.12 154.5042 x 10 yards 48.06 38.4542 x 20 yards 92.68 74.1442 x 50 yards 225.37 180.30

TRACe / VeLLUM ROLLS

Canson Vidalon 90Size List Sale

36 x 10 yards 60.65 48.52

Clearprint 1000 H PlainSize List Sale

18 x 5 yards 13.00 11.7018 x 20 yards 42.25 38.0324 x 5 yards 17.00 15.3024 x 20 yards 53.85 48.4730 x 20 yards 62.15 55.9436 x 5 yards 26.60 23.9436 x 20 yards 71.25 64.1342 x 20 yards 86.50 77.8548 x 20 yards 99.45 89.5154 x 20 yards 111.95 100.7660 x 20 yards 123.85 111.4772 x 20 yards 148.65 133.79

Clearprint 1000 H-4 GriddedClearprint 1000 H-8 GriddedClearprint 1000 H-10 GriddedSize List Sale

36 x 20 yards 98.00 78.4042 x 20 yards 114.55 91.64

■ ■ ■ ■■- not recommended for techniques using water

■- 100% cotton, can handle water-based techniques

■- for interleaving, but can use like a trace




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TWINROCKeR Abaca, Bleached CP 22 x 30 200 11.55 10.40 9.64 Abaca, Unbleached 18 x 24 200 8.80 7.92 7.35 Abaca, Unbleached Pinkish 22 x 30 200 11.55 10.40 9.64 Abaca, Unbleached Greyish 22 x 30 200 11.55 10.40 9.64 Arthur's Prairie Laid 22 x 30 150 10.40 9.36 8.68 Arthur's Prairie Wove 22 x 30 150 10.40 9.36 8.68

Biscuit 23 x 30 150 10.40 9.36 8.68 B-Buff Wove 18 x 24 150 7.90 7.11 6.60 B-Buff Wove 22 x 30 150 10.40 9.36 8.68

Calligraphy Cream Hot Press 9 x 12 200 6.00 5.40 5.01 Calligraphy Cream Hot Press 9 x 12 Feather 200 6.00 5.40 5.01 Calligraphy Cream Hot Press 14 x 17 200 8.95 8.06 7.48 Calligraphy Cream Hot Press 22 x 30 250 12.55 11.30 10.49 Calligraphy Cream Laid Hot Press 22 x 30 150 11.40 9.36 8.68 Calligraphy Cream Wove Hot Press 22 x 30 150 11.40 9.36 8.68

Charcoal Abaca 22 x 30 150 10.40 9.36 8.68 Charcoal Abaca with Fleck 22 x 30 150 10.40 9.36 8.68 Cream 6" Circle Feather 200 2.80 2.52 2.34 Cream 6 x 8 Feather 200 2.80 2.52 2.34 Cream 22 x 30 150 10.40 9.36 8.68

Delphi Laid 22 x 30 150 10.40 9.36 8.68 Delphi Wove 22 x 30 150 10.40 9.36 8.68 Double xx 18 x 24 250 11.00 9.90 9.19 Double xx 22 x 30 150 10.40 9.36 8.68 Dusty Rose Pale 18 x 24 250 11.00 9.90 8.68

eighteenth Century Laid 22 x 30 150 10.40 9.36 8.68 eighteenth Century Wove 22 x 30 150 10.40 9.36 8.68 emily Dickinson 23 x 32 120 11.90 10.71 9.94

Lorraine 22 x 30 150 10.40 9.36 8.68

May Linen 9 x 12 200 5.75 5.18 4.80 May Linen 9 x 12 Feather 200 5.75 5.18 4.80 May Linen 16 x 20 200 9.25 8.33 7.72 May Linen 16 x 21 Feather 250 9.60 8.64 8.02 May Linen 18 x 24 200 9.60 8.64 8.02 May Linen 22 x 30 250 11.90 10.71 9.94 May Linen 12" Circle Feather 250 7.40 6.66 6.18 May Linen 18" Circle Feather 250 9.60 8.64 8.02

Not Quite White 19 x 25 150 8.80 7.92 7.35

Patriot 18 x 24 250 11.00 9.90 9.19 Patriot 22 x 30 250 13.50 12.15 11.27

Rotunda Laid 22 x 30 120 10.40 9.36 8.68 Rotunda Wove 22 x 30 120 10.40 9.36 8.68

Sagebrush Text Cold Press 22 x 30 150 10.40 9.36 8.68 Sagebrush Cold Press & Rough 22 x 30 200 11.55 10.40 9.64 Sagebrush Hot Press 22 x 30 200 12.65 11.39 10.56 Sherwin Beach 20 x 30 175 8.60 7.74 7.18 Simon’s Green Cold Press 22 x 30 200 11.55 10.40 9.64 Simon's Green Hot Press 22 x 30 200 12.65 11.39 10.56

Turner Blue 22 x 30 150 10.40 9.36 8.68 Turner Blue 22 x 30 200 11.55 10.40 9.64

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Paper Size Gr/M2 1 25 100


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TWINROCKeR

Watercolor White Hot Press 9 x 12 200 7.80 7.02 6.51 9 x 12 Feather 200 7.80 7.02 6.51 10 x 14 200 8.70 7.83 7.26 10 x 14 Feather 200 8.70 7.83 7.26 16 x 20 200 12.25 11.03 10.23 16 x 21 Feather 200 12.25 11.03 10.23 10 x 20 Feather 200 9.35 8.42 7.81 15 x 22½ 250 11.20 10.08 9.35 18 x 24 200 12.60 11.34 10.52 22 x 30 250 15.50 13.95 12.94 30 x 40 300 43.70 39.33 36.49 34 x 48 300 60.70 54.63 50.68

Watercolor White Cold Press 9 x 12 200 7.05 6.35 5.89 9 x 12 Feather 200 7.05 6.35 5.89 10 x 14 200 7.90 7.11 6.60 10 x 14 Feather 200 7.90 7.11 6.60 16 x 20 200 11.10 9.99 9.27 16 x 21 Feather 200 11.10 9.99 9.27 15 x 22½ 250 10.10 9.09 8.43 18 x 24 200 11.45 10.31 9.56 22 x 30 250 14.00 12.60 11.69 30 x 40 300 39.70 35.73 33.15 34 x 48 300 55.05 49.55 45.97

Watercolor White Rough 9 x 12 Feather 200 6.40 5.76 5.34 10 x 14 Feather 200 7.20 6.48 6.01 14 x 14 Feather 200 8.70 7.83 7.26 16 x 21 Feather 200 10.10 9.09 8.43 18 x 24 200 10.10 9.09 8.43 22 x 30 250 12.70 11.43 10.60

White All Purpose Hot Press 4 x 20 Feather 200 5.95 5.36 4.97 18 x 24 200 10.60 9.54 8.85 22 x 30 200 13.10 11.79 10.94

White All Purpose Cold Press 14 x 14 Feather 200 7.95 7.16 6.65 14 x 17 200 7.95 7.16 6.65 18 x 24 200 9.60 8.64 8.02 22 x 30 200 11.90 10.71 9.94 7 x 28 Feather 200 8.00 7.20 6.68 6" Circle Feather 200 2.80 2.52 2.34 6" Heart Feather 200 2.80 2.52 2.34 6 x 8 Feather 200 2.80 2.52 2.34 9 x 12 Feather 200 5.70 5.13 4.76 10 x 14 Feather 200 6.60 5.94 5.51 16 x 21 Feather 200 9.60 8.64 8.02 12" Circle Feather 200 7.40 6.66 6.18 18 " Circle Feather 200 9.60 8.64 8.02 White Cotton Rag Laid 22 x 30 150 10.40 9.36 8.68 White Cotton Rag Wove 22 x 30 150 10.40 9.36 8.68

yale Antique Laid 22 x 30 120 10.40 9.36 8.68 yale Antique Wove 22 x 30 120 10.40 9.36 8.68

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UArt 800 (finest) / 600 / 500 / 400 (roughest) 27 x 40 250 15.25 13.73 12.74 11.45

Van Gelder / Schut Laurier 30 x 44 250 9.00 8.10 7.52 6.75 Salland 30 x 44 300 11.00 9.90 9.19 8.25 Noblisse 140 Cold Press 22 x 30 300 6.25 5.63 5.23 2.25 Simili Japon 25 x 37¾ 130 4.00 3.60 3.34 3.00 Simili Japon 25 x 37¾ 225 6.00 5.40 5.01 4.50

Velour Premium Pastel 19 x 27 190 5.60 5.04 4.68 4.20

Velour Heavyweight 20 x 26 185 5.00 4.50 4.18 3.75Velour Lightweight 20 x 26 145 3.00 2.70 2.51 2.25

yupo 26 x 40 155 6.80 6.13 5.67 5.10yupo 26 x 40 197 9.15 8.22 7.62 6.84yupo 26 x 40 390 12.90 11.61 10.77 9.68

Zaan Light Grey 8 x 12 200 4.25 3.83 3.55Zaan Light Grey 25 x 29 200 18.50 16.65 15.45

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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■- flocked surface for pastel

■- flocked surface for pastel■- flocked surface for pastel

■- synthetic sheet strong, non-buckling

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MeTRIC CONVeRSIONSLength1 Inch = 2.54 Centimeters1 Inch = .0254 Meters1 Foot = .3048 Meters1 yard = .9144 Meters

Length1 Centimeter = .3937 Inches1 Meter = 39.37 Inches1 Meter = 3.2808 Feet1 Meter = 1.0936 yards

A R T P A P e R - R O L L S e u r o p e & T h e A m e r i c a s


Aquabee #892 Bogus 100% Post consumer waste. Grey with light texture.

Arches Aquarelle100% cotton. Sized for watercolor. Neutral pH.Arches Cover100% cotton. For printmaking and drawing. Neutral pH.Arches en Tout Cas25% Cotton. One smooth side, one cold pressed. Sized for watercolor. Neutral pH.Arches Oil 140 Cold Press100% Cotton. Pre-coated for direct painting with oil.Bockingford 140 Cold Pressed Watercolor100% High alpha cellulose. Fully sized cold press. Neutral pH.

Butcher Paper White & BlackBleed-proof, coated 1 side. Food safe.Canson Mi-Teintes65% cotton. Textured for pastel. Neutral pH.

Roll Size G/m2 PriceAquabee 892 36 x 10 yards 140 23.95Arches Aquarelle 140 Hot Press 43½ x 10 yards 300 220.00 140 Cold Press 43½ x 10 yards 300 220.00 140 Rough 43½ x 10 yards 300 220.00 260 Hot Press 51½ x 10 yards 356 260.00 260 Cold Press 51½ x 10 yards 356 230.00 260 Rough 51½ x 10 yards 356 230.00

Arches Cover White 42 x 10 yards 300 160.00 42 x 20 yards 300 320.00 42 x 100 yards 300 1223.00

Arches en Tout Cas 51½ x 10 yards 280 155.00

Arches Oil 51 x 10 yards 300 226.00Bockingford 60 x 10 yards 300 168.00Butcher White or Black 30 x 50 feet 40 15.00Canson 335 White 59 x 11 yards 160 96.00Canson 425 Black 59 x 11 yards 160 96.00

Aqua Bee 892 Bogus Arches Cover White Bockingford

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



Borden & Riley #10 Penny Sketch60 pound, white drawing paper with a light tooth. Neutral pH.

Borden & Riley #30 Signwriter's Bond20 pound, smooth, white bond. Neutral pH.

Borden & Riley #116 Sketch Vellum90 pound, smooth white multi-purpose paper. Neutral pH.

Borden & Riley #214 Normandy SketchVellum surface, soft white paper for drawing. Neutral pH.

Borden & Riley #234 Paper for PensUltra-smooth, brilliant white paper for drawing. Neutral pH.

Borden & Riley #400 Laid Charcoal WhiteBorden & Riley #410 Laid Charcoal GreyBorden & Riley #420 Laid Charcoal BlackLaid, textured papers. Neutral pH.

Borden & Riley #627 100% Rag DrawingTextured, 100% cotton for most medium. Neutral pH.

Borden & Riley #880 Royal SketchLightly textured, for most medium. Neutral pH.

Borden & Riley 10 Penny 36 x 20 yards 150 18.47 30 Bond 15 x 25 yards 65 9.70 18 x 25 yards 65 10.26 24 x 25 yards 65 13.73 30 x 25 yards 65 17.11 36 x 25 yards 65 20.45 42 x 25 yards 65 23.92 48 x 25 yards 65 27.32 60 x 25 yards 65 34.18 116 Sketch Vellum 36 x 10 yards 185 17.24 48 x 10 yards 185 22.95 60 x 10 yards 185 28.53 214 Normandy 36 x 10 yards 150 19.93 234 Paper for Pens 36 x 10 yards 190 33.64 400 White Charcoal 36 x 10 yards 170 43.00 410 Grey Charcoal 36 x 10 yards 170 41.86 420 Black Charcoal 36 x 10 yards 170 44.18 627 Rag Drawing 36 x 10 yards 175 44.97 880 Royal Sketch 36 x 10 yards 185 35.65

Borden & Riley - 30 Signwriters Bond Borden & Riley - 10 Penny Sketch Borden & Riley - 116 Sketch Vellum

Borden & Riley - 627 100% Rag Drawing Borden & Riley - 400 Borden & Riley - 410 Grey Borden & Riley - 420 Black

Borden & Riley - 234 Paper for Pens Borden & Riley - 214 Normandy Sketch Borden & Riley - 880 Royal Sketch

Note: papers were scanned on black and white background to show translucency

91



Drawing & Framing100% cotton. Neutral pH. Smooth surface. No deckles. White. Drop ScreenFire-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 apNon-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 Accademia100% sulphite with a fine tooth. White. Neutral pH.Fabriano ArtisticoMouldmade of 100% cotton. Sized fror watercolor. Neutral pH.Fabriano Studio WatercolorCotton & sulphite. Sized. Cold Pressed.Neutral pH.Fabriano Tiziano White100% sulphite. Textured for pastel. White. Neutral pH.

Roll Size G/m2 PriceDrawing & Framing 60 x 20 yards 250 323.00Drawing & Framing 72 x 20 yards 250 380.00Drop Screen 47" wide - Price per yard 15.00evolon 80 x 20 yards 58 280.00evolon 80 x 15 yards 98 295.00evolon 80 x 10 yards 168 320.00Fabriano Accademia 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 300 230.00 140 Cold Press 55 x 11 yards 300 230.00 140 Rough 55 x 11 yards 300 230.00

Fabriano Artistico extra White 140 Hot Press 55 x 11 yards 300 230.00 140 Soft Press 55 x 11 yards 300 230.00 140 Cold Press 55 x 11 yards 300 230.00 140 Rough 55 x 11 yards 300 230.00

Fabriano Studio 59 x 11 yards 300 150.00

Fabriano Tiziano White 59 x 11 yards 160 115.00

Drawing & Framing Drop Screen Evolon 58 gram

Fabriano Artistico Hot Press Traditional White Fabriano Artistico Soft Press Extra White Evolon 98 gram

Fabriano Tiziano Fabriano Accademia Fabriano Studio Watercolor

Fabriano Artistico Cold Press Traditional White Fabriano Artistico Rough Extra White Evolon 168 gram



Hahneműhle Copperplate Bright & Warm White100% Sulphite. Printmaking with a light texture. Neutral pH.Hahneműhle German etching Black75% Cotton. Dense black with a light texture. Neutral pH.

KraftLanaquarelle Hot PressMould-made. 100% cotton fully sized for watercolor. Neutral pH.LenoxMachine-made of 100% cotton. Light texture. Neutral pH.

Newsprint Rough & Smooth

No-Seam Back DropMachine-made of sulphite. White Black Grey.

Rives BFK Mould-made of 100 % cotton. Lightly sized. Neutral pH.

Rives De LinMould-made of cotton & linen. Rough surface. Neutral pH.

Saint Armand Canal RagMouldmade of 100% cotton rag. Exceptionally strong. Neutral pH.

Roll Size G/m2 PriceHahnemuhle Copperplate 49 x 22 yards 350 410.00 German etch Black 49 x 10 yards 350 340.00 German etch Black 49 x 25 yards 350 675.00Kraft 36 x 25 yards 100 32.75Kraft 48 x 25 yards 100 44.00Kraft 60 x 25 yards 100 57.60Lanaquarelle Hot Press 51 x 11 yards 640 635.00Lenox 60 x 20 yards 250 335.00Lenox 72 x 20 yards 250 396.00Newsprint 36 x 50 yards 60 17.05No-Seam White 107 x 12 yards 185 61.25No-Seam Black or Grey 107 x 12 yards 185 74.50Rives BFK 42 x 10 yards 300 150.00Rives BFK 42 x 20 yards 300 300.00Rives BFK 42 x 100 yards 300 1232.00Rives De Lin 52 x 20 yards 350 540.00Saint Armand 11 x 8 yards 250 20.00Saint Armand 21 x 8 yards 250 40.00

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 Saint Armand Canal Rag White



T.H. Saunders WaterfordMouldmade of 100% cotton. Sized for watercolor. Neutral pH.

Stonehenge Machine-made of 100% cotton. Neutral pH.

Strathmore Alexis 400 DrawingStrathmore Alexis 400 WatercolorMachine-made of sulphite. Neutral pH.

Sunray Smooth & TextureMouldmade in England of 100% cotton. Lightly sized for printmaking techniques, yet strong enough for drawing and painting

TerraSkin 12 pointMachine-made of 80% calcium carbonate, 20% resin.

yupoSynthetic, 100% polypropylene. Waterproof, stain resistant and incredibly strong. White. Neutral pH.

T.H. Saunders - Traditional White 90 Cold Pressed 42 x 10 yards 185 135.00 140 Hot Pressed 60 x 10 yards 280 250.00 140 Cold Pressed 60 x 10 yards 280 250.00 200 Hot Pressed 60 x 10 yards 425 370.00 200 Hot Pressed 60 x 20 yards 425 660.00 200 Hot Pressed 60 x 100 yards 425 2635.00T.H. Saunders - High White 140 Hot Pressed 60 x 10 yards 280 270.00 140 Cold Pressed 60 x 10 yards 280 270.00Stonehenge White 50 x 10 yards 250 175.00 White 50 x 140 yards 250 1434.00 White 50 x 140 yards 320 1598.00 Cream/Natural/Warm 50 x 10 yards 250 175.00 Pearl/Steel/Kraft/Fawn 50 x 10 yards 250 187.00 Black 50 x 10 yards 250 244.00StrathmoreDrawing 42 x 10 yards 185 21.00StrathmoreWatercolor 42 x 10 yards 300 53.00Sunray Smooth & Texture 60 x 10 yards 300 250.00TerraSkin 12 Point 40 x 20 feet 125.00yupo 30 x 10 yards 197 149.00yupo 60 x 10 yards 197 94.00

T.H.Saunders Hot Press White T.H.Saunters Cold Press High White Sunray Smooth Sunray Texture

Strathmore Watercolor Strathmore Drawinge TerraSkin 12 point Yupo

Stonehenge White Warm White Natural Cream Fawn Kraft Pearl Grey Steel Grey Black



Note: sheets were scanned on black and white background to show translucency

AfricAn MApepA pApersHandmade 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 DungDung 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 Tissue100% Kozo. Thin, crisp, translucent sheets with exaggerated deckles.

Mapepa Zambeizi Elephant Dung Mapepa Giraffe Dung

A r T p A p e r s - A f r i c a

Mapepa Ncube Pale Terracotta Tissue (on black and white)

Mapepa Bvumbe Blue Tissue (on black and white) Mapepa Zambezi Tissue (on black and white)

95 PAPEr IS frAGIlE ! No rETurNS or ExcHANGES ArE AllowED orDEr: 800-950-6111 or: 212-473-7705.

A r T p A p e r s - B h u t a n

BhuTAn hAnDMADe pApersNestled 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.



Tenzin BhuTAn hAnDMADesNorbu 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 Daphne - Japanese style of 100% Bhutanese daphne.

Bhutan Tenzin Dekar - Japanese style of 100% Bhutanese daphne.

Bhutan Tenzin Denak - Traditional Bhutanese style of 100% Bhutanese daphne.

Bhutan Tenzin egeworthia - Japanese style of 100% Egeworthia (Bhutanese kozo.)

Bhutan Tenzin Jute - Traditional Bhutanese style of 100% jute. Dark Natural.

Bhutan Tenzin MitsumataJapanese style from 100% mitsumata, these sheets have a soft touch and a slight luster.

Bhutan Tenzin rural TsarshoTraditional Bhutanese style of 50% mitsumata & 50% daphne. Distinctive, broad laid surface.

Bhutan Tenzin rural Tsarsho Dyed & BleachedTraditional-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 shawaTraditional 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


Note: sheets were scanned on black and white background to show translucencyA r T p A p e r s - B h u t a n

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 Medium 30 gram Bhutan Shawa (shows front and back of sheet)

Bhutan Denak Kap Thin 15 gram


Note: sheets were scanned on black and white background to show translucencyA r T p A p e r s - B h u t a n

Bhutan rural Tsarsho Dyed Tong fu Bhutan rural Tsarsho & Small Sheets

Bhutan rural Tsarsho Bleached (on black & white )

Bhutan rural Tsarsho Dyed Khempa

Bhutan rural Tsarsho Dyed Dama

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 Bhutan Jute



KhADi BhuTAn hAnDMADesMade 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 reshoTraditional 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 TsashoTraditional-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 LaminatedJapanese style of 100% Natural Egeworthia (kozo). Two sheets laminated toghether to make this smooth, heavyweight sheet with a lovely, subtle sheen. Natural.


Bhutan Khadi Jingshi Tsasho

Bhutan Khadi Tsasho

Bhutan Khadi Denar JDK

Bhutan Khadi resho Bhutan Egeworthia laminated



chinese pAperschina 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 hAnDMADesSheets 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 BarkMade 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.

A r T p A p e r s - C h i n a

chinese An-Jing Pang Pi large sheets of chinese papers arrive lightly folded into bolts, like fabric.

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



YueMei chinese hAnDMADeslaid 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 Antique - 100% Qin-tan. Thin, pigment dyed sheets.

Yuemei Dan - Qin-tan and dao-cao fibers. Soft, smooth surface. Very absorbent.

Yuemei Dou Bean - Qin-tan and dao-cao fibers. Smooth surface. lightly sized.

Yuemei Jing-pi - Qin-tan fiber. Slightly textured. Sized. 2 ply. Natural white.

Yuemei Mao Bian #3 - Bamboo and Qin-tan fiber made on a very fine laid mould.

Yuemei pao - Qin-tan and dao-cao fibers. Scratchy surface with flecks of fiber.

Yuemei Tortoise - 100% sulphite. Made on a mould that has a tortoise shell design.

Yuemei 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



YueMei chinese hAnDwoven siLKs Yuemei Juan silkThis 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 Mounted100% 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 Mounted - Grey Juan Silk Mounted - Pink Juan Silk Mounted - Black

Juan Silk Mounted - Blue Juan Silk Mounted - lavender Juan Silk Mounted - Purple

Juan Silk unmounted Golden (on black at left, on white above) Juan Silk Mounted - Golden Juan Silk Mounted - white



egYpTiAn pApYrusGenuine 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.

A r T p A p e r s - E g y p t

seen above from bottom to top: Papryus Fermented - Papryus Lightly Flecked - Papryus Heavily Flecked - Papryus Natural


inDiAThe 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 hAnDMADesHandmade 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.

A r T p A p e r s - I n d i a



KhADi inDiAn hAnDMADesHandmade 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 (sugar cane) and cotton.

Khadi Indian Banana smooth & rough - 100% cotton with flecks of banana bark.

Khadi Indian chapri colorsMade 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 - Bagasse Smooth Khadi Indiai - Bagasse rough

Khadi India - Banana Smooth Khadi India - Banana rough

Khadi India Chapri Green

Khadi India Chapri Red

Khadi India - Gunny Smooth Khadi India - Gunny rough

Khadi India- cotton Text Medium Khadi India - cotton Text Smooth Khadi India - Gunny Text Smooth Khadi India - Gunny Text Medium



Khadi India cotton colorsThese 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 - Stone cotton Khadi India - Ash Grey cotton Khadi India - Powder Blue cotton

Khadi India - Almond 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 Khadi India - Black cotton Khadi India - Violet cotton



Khadi Indian Khadi Indian sunn hemp contemporary100% 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



MhK JuTe inDiAn hAnDMADesMade 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 India - MHK Jute Natural



sAngAner inDiAn hAnDMADesHandmade in the Sanganeer region of India. Exceptionally strong and multi-purpose. Neutral pH. 4 deckles.

Indian Sanganer Allah Bux Jute30% Jute, 70% cotton. warm grey tone. cold Pressed surface

Indian Sanganer grassJute, 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 hemp70% sunn hemp, 30% cotton. warm light tan with hemp fibers. cold Pressed.

Indian Sanganer rajastan straw100% cotton with straw inclusions. Smooth. white

Indian Sanganer wool100% cotton. white with fine, multi- colored wool threads.


Indian Sanganeer Kagzi Jute

Indian Sanganeer Salin Sunn Hemp

Indian Sanganeer Allah Bux Jute

Indian Sanganeer rajastan Straw Indian Sanganeer wool Indian Sanganeer Grass



shizen inDiAn hAnDMADesIndian Shizen watercolor rough100% cotton rag, internally and externally sized for watercolor. rough surface. 4deckles. Neutral pH.

Indian Shizen pastel colors100% cotton rag with light sizing and a soft, smooth surface. Neutral pH. 4 deckles.


Indian Shizen watercolor rough Indian Shizen Pastel - white Indian Shizen Pastel - Ivory



shizen inDiAn hAnDMADe in pAcKAgesIndian Shizen watercolor100% cotton rag sized for watercolor. circles, squares and rectangles in 5 sheet celo-packs.

Indian Shizen pastel colors100% cotton rag with light sizing and a soft, smooth surface. In packages of 25 sheets.


Indian Shizen Pastel - Green Indian Shizen Pastel - Black Indian Shizen Pastel - Tan Indian Shizen Pastel - cocoa

Indian Shizen Pastel - Army Green

Indian Shizen Pastel - Grey

Indian Shizen Pastel - Blue

Indian Shizen Pastel - Purple Grey


TAJA inDiAn hAnDMADes100% cotton rag sized for watercolor. cold press surface. color of sheets changes with the specific batch of cotton rag use to make the sheets4 Deckles. Neutral pH.




inDonesiAn hAnDMADesIndonesia Bamboo writingBamboo and mixed fiber. light tan with fabric-like texture. No Deckles.

Indonesia silkIndonesian kozo. A very crudly made, yet charming tissue weight sheet. No Deckles.

India Jute & silkHandmade sheets of jute and white silk threads. Soft, durable surface. No deckles.

India Lime Text & coverHandmade 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 handmadeHandmade sheets of 100% banana that have a wonderful crispness and have a smooth surface. 4 Deckles. Neutral pH.

A r T p A p e r s - I n d i a & I n d o n e s i a

Indian lime Text & cover

Indian Jute & Silk

Indonesia Bamboo writing

Indian Saakaar Banana Heavyweight

Indonesia Silk


A r T p A p e r s - J a p a n

JApAnese pApersNo 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.


properties of fibers & Methods used in Japanese papersKozo - KizukishiKozo 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, Nazekawa- the 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.

gampiA 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.

Mitsumatafor 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.

hempA 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 BlendsSulphite 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 papersregardless 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 pApersIt 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.

A R T P A P E R S - J a p a n


Uda-Gami

Uda-Gami

Gampi Udaban

Jougami

Okawara

Uwa Senka

Mizota Udaban

Mura Udaban


size paper4 x 6 Shojoshi5 x 5½ Shikishi Mini 6 x 8 Etchu card7 x 10 Mura Binsen7 x 10 Yukyu Natural7½ x 7½ Kakishibu-Shi7¼ x 18½ Jougami8 x 11½ Mitsumata letter8½ x 11 Mohachi8½ x 11¾ Shojoshi8½ x 8½ Mohachi9 x 12 Hanshi9½ x 10½ Shikishi Kochi

size paper9½ x 11½ Izumo Mingei 9½ x 11½ Shikishi 10 x 13 Taniai10 x 13¾ Mohachi10 x 14 Shojoshi11 x 15 Kakishibu-Shi11 x 15¼ ogunigami11¼ x 15 oguni chiri11¾ x 16½ Gampi Tissue 12 x 16 Kikuchi12 x 16 okawara12 x 16 uwa Senka12 x 24 Mizota Hanban

size paper12½ x 18 Nara fukinushi12½ x 18 Shojoshi12½ x 19½ Izumo 12½ x 57 Mizota udaban12½ x 58 uda-Gami 12½ x 58 uda-Gami Thin 13 x 15 Tamura Koban13½ x 16 Kozo Koban13½ x 16 Mura rokubu14 x 38 okawara14 x 38½ uwa Senka long15½ x 17¾ Kozoshi 14 15½ x 19 Tosa Kasagami

size paper16 x 20 Kitakata 16 x 22 Hosho Student16 x 25 Mohachi16 x 56 Gampi udaban16 x 56 Mura udaban16½ x 22 Hosho Kozo16½ x 22 Hosho Natural16½ x 22½ Gampi Bicchu17 x 22 Iyo Glazed17 x 23 Gampi Yamaguchi17 x 23½ Dry Tear Tissue17½ x 22 Gampi Yamaguchi17½ x 25½ Gasench

size paper18 x 21½ Iwano Hosho 18 x 24 Gampi Yamaguchi18 x 24 Silk Tissue18 x 25 okawara Student19 x 24 Hosho Professional20 x 25 Iwano #3520 x 26 Kochi 20 x 26 Toyama20 x 26 Kozoshi DHM1320 x 30 Shikibu Gampis20 x 31¾ Gampi PP1920½ x 28 Sekishu-Hanshi21 x 28½ Sekishu Gampi 21 x 29 Goyu21 x 30½ Tengucho HM21 x 31 Gampi Double-Sided21 x 31 Izumo Mitsumata21 x 31 Masa 21 x 31 Morisa21 x 31 Torinoko HM21½ x 31 Gifu 21½ x 38½ Mitsumata Pink22 x 22 Mohachi22 x 27½ Mitsumata Tissue22 x 30 Gampi Torinoko22 x 30 Kozo Gampi22 x 30 Mohachi22½ x 35¼ Hosokawa ohban23½ x 35 rayon M032124 x 33½ Gampi Yuki24 x 33½ Mulberry24 x 35½ Shikibu 27 & 1124 x 36 Hosho Professional24 x 36 Hosokawa Student24 x 36 Kizukishi24 x 36 Nishinouchi N124 x 37 Sugikawashi24 x 37 lens Tissue 24 x 39 Kizuki Kozo 24 x 39 Sekishu 24.8 x 37 Gampi unryu-shi24½ x 39 Kaji Natural24½ x 36 Zairai24½ x 38½ Gampishi usuyou24½ x 38½ Kankoshi 24½ x 38½ Kozoshi HK24½ x 38½ Shoji24¾ x 35¼ Kozo Gampi24¾ x 36½ Salago K24¾ x 37 Akatosashi24¾ x 37 Gampi f124¾ x 39 Inshu Kozo 00324¾ x 39 Inshu Kozo 00525 ¼ x 36¼ Hon Mino 25 x 33 Tosazome Purple25 x 34½ Gifu 25 x 35 Harukaze SH425 x 36¼ Hon Mino25 x 37 Gampi f225 x 37 Gampi layered25 x 37 Gampi Smooth #43

Japanese Papers Arranged by Size

papers in traditional scroll formats seen below

continued next page


size paper25 x 37 Gampi Toyo25 x 37 Gozen Sized25 x 37 Inshu Kozo 01625 x 37 Inshu Mitsumata25 x 37 Kikura Kozo25 x 37 Kozo Moriki25 x 37 Kozuke white25 x 37 Manila Hemp25 x 37 Mitsumata / Salago25 x 37 Mitsumata fuji25 x 37 Mitsumata umeda25 x 37 rayon Gauze25 x 37 Shikibu Gampi-shi 25 x 37 Shikibu Kizukishi25 x 37 Tengucho cT

size paper25 x 37 Yatsuo25 x 38 Gampi c25 x 38 Gampi HM 525 x 38 Gampi MM 25 x 38 Gifu 25 x 38 Kakishibu-Shi25 x 38 Katazome Genshi25 x 38 Kihada Kozo Dyed25 x 38 Kozoshi HM25 x 38 Kozoshi MM25 x 38 Mingei-shi25 x 38 Mino-Gami HM325 x 38 Misu with clay 25 x 38 Mulberry25 x 38 Sansui SH8


gram paper5 Tengucho Thin9 lens Tissue9 Tengucho cT9 Tengucho10 Gampishi usuyou10 Silk Tissue11 Hon Mino HP0411 Tengucho Handmade)12 Dry Tear Tissue12 Gampi Tissue A313 Gampi c - HM3313 Shikibu Gampi-shi 13 Yuku-shi Snow14 Kizukishi14 Kochi Natural 15 Gampi Bicchu 15 Gampi MM 18 &1915 Hon Mino HP0216 Manila Hempe16 Yame Kozo Hadakura16 Yuku-shi 17 Inshu Kozo 00317 Sekishu Gampi HP60 18 Shikibu Kozo Dyed19 Hon Mino HP0520 Dry Tear Tissue20 Gampi f220 Gampi MM20 20 Gifu 14 Moon Peach20 Gifu 18 washi Sized20 Gifu Green Tea 20 Hanshi20 Inshu Gampi 0120 Inshu Kozo 00520 Inshu Mitsumata20 Izumo Mitsumata-shi20 Misu with clay 20 Mitsumata letter

gram paper20 Mitsumata Tissue20 Shikibu Mitsumata21 Gampi Yamaguchi21 Kikura Kozo21 Kozoshi HM221 Sekishu-Hanshi 22 Kozoshi M020322 Taniai24 Gampi Toyo MM2424 Kaji Natural24 Kozoshi MM124 Mino-Gami HM324 Mitsumata & Salago24 Mitsumata fuji24 Mitsumata umeda24 Mura Binsen24 Sansui SH8 25 Akatosashi25 Gifu 0825 Nara fukinushi25 Nishinouchi N000425 rayon Gauze25 Shigure SH1526 Shikibu Gampi-shi26 Shikibu Kozo-shi 2726 uda-Gami Thin27 Yuku-shi Snow Bleached28 Gampi Yamaguchi28 Kihosen Kana writing29 Mitsumata Pink & Grey30 Gampi Yamaguchi30 Gifu 0230 Hon-Mino HP0130 Jougami30 Kihada Kozo Dyed30 Kitakata30 Kozoshi HK002230 Nishinouchi N0002

gram paper30 Sekishu30 Senka-Shi HM3530 Tamura Koban30 walnut Kururu Kozo31 Gampi HM 531 Kozoshi M0207-232 Gampi Smooth #4332 Seichosen 32 Seiko-Sen 33 Inshu rydudou33 Mizota Hanban33 otoshi Medium35 Gasenchi Echizen35 Honen Sized35 Inshu Kozo 01635 Izumo Mingei35 Kiraku Kozo35 Kozoshi HK002335 Mura rokubu36 Gampi Yamaguchi36 Kozoshi MM236 ogunigami36 Zairai38 Harukaze SH438 Senka-Shi HM3639 Hosokawa Student39 Yukyu Natural40 Gozen Sized40 Hosokawa ohban40 Iwano #19 #5 40 Kozo Moriki40 Mingei-shi colors40 Vegetable Papers40 Yatsuo41 Yuku-shi Snow Bleached43 Kizuki Kozo 44 Kikura Kozo44 Kozoshi M0202

Japanese papers arranged by size - continued from previous page

Japanese Papers Arranged by Gram Weight

size paper25 x 38 Shigure SH1525 x 38 Shikoku Gampi 25 x 38 Shiramine 25 x 38 Silk Tissue25 x 38 Takefu25 x 38 Tengucho 25 x 38 Tosa Kozo #825 x 38 Vegetable Papers25 x 38 walnut Kururu25 x 38 Yame Kozo25 x 38 Yuku-shi 25 x 38½ Honen Sized25 x 38½ Inshu Gampi 0125 x 38½ Sakamoto25 x 38½ Senka-Shi

gram paper44 Kozuke white44 Senka-Shi HM3745 Daitoshi Extra-Thick45 Echizen Hanga Dosa45 Gampi Yuki45 Gifu 2145 Iwano Shikoshi colors45 Kakishibu-Shi Kozo45 Mingei-shi Natural45 Mulberry45 Nishinouchi N000145 Shoji46 okawara Student 46 Tosa Kasagami49 Seichoshi-Homare 49 uda-Gami HM4150 Gampi f150 Gampi layered50 Gampi udaban50 Goyu50 Iwano #1750 Katazome Genshi50 rayon M032150 Tosa Kozo #855 Inshu rydudou555 Kozo Koban55 Kozoshi HK002755 uwa Senka56 Kozoshi M0206 M020760 Gifu Mino colors60 Iwano #3060 Nishinouchi N0003 60 oguni chiri60 okawara MM60 Torinoko Brushstrokes60 Toyama64 Mura udaban65 Hosho Iyo

gram paper65 Salago K70 Izumo Mitsumata70 Kawashi70 Masa 70 Morisa75 Gampi Double-Sided79 Kozoshi uwazen 80 Kozoshi M0207-3 80 Sakamoto80 Sugikawashi83 Kankoshi HK006285 Hosho85 Iwano #24 #34 #32 #3385 Iyo Glazed90 Gampi unryu-shi #190 Tosa Hanga95 Hosho Student Grade100 Gampi Torinoko100 Kikuchi100 Takefu109 Kochi110 Mashi110 Sakamoto Heavy110 Shiramine 116 Kozoshi Misumi 1118 Kozo Gampi120 Shikoku Gampi125 Torinoko Handmade132 Kozoshi Kochi-Shi176 Kozo Gampi185 Mohachi Handmade194 Kozoshi DHM14 200 Iwano #35200 Shojoshi240 Torinoko MMN300 Etchu card300 Mohachi Handmade300 Shikishi500 Mohachi Handmade

size paper25 x 39 Kiraku Kozo25½ x 38 Tosa Hanga25½ x 34½ Kozoshi uwazen 25½ x 38 Kozo Misumi25½ x 38½ Hon-Mino26 x 38 Echizen Hanga26 x 39 Kawashi26½ x 38 Inshu rydudou27½ x 39 Hosho Iyo27½ x 53½ Kihosen Kana28 x 53½ Iwano #1728½ x 41 Nishinouchi29 x 56 Nishinouchi29½ x 40 Seichoshi29½ x 55 Seichosen

size paper29½ x 55 Seiko-Sen 29½ x 56 otoshi Medium30 x 56 Daitoshi31 x 43 Torinoko Brushstrok31 x 47 Mohachi36 x 72 Torinoko MM 38 x 74 okawara MM 42½ x 77½ Iwano 60 x 84 Mashi Thick


5 grams

10 grams

15 grams

20 grams25 grams

30 grams

35 grams

40 grams


Incremental weights of Japanese papers scanned on decorative and black background to illustrate relative translucency


45 grams

50 grams

55 grams

60 grams65 grams

70 grams

75 grams

80 grams


Incremental weights of Japanese papers scanned on decorative and black background to illustrate relative translucency




Japan AkatosashiHandmade 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-ThickHandmade. 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 TissueMachine-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 DosaHandmade. 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 cardHandmade. 100% kozo. Small, heavy-weight card has distinctive laid lines from the papermaking screen. Neutral pH. 4 deckles. white .

Daitoshi Extra-Thick Dry Tear Hinging Tissue 12 gram Dry Tear Hinging Tissue 20 gram

Akatosashi

Echizen Hanga Dosa Etchu card




Japan gampi Bicchu Torinoko handmadeHandmade. 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 Gampi Bicchu 12 Beige Gampi Bicchu 10 carnelian Gampi Bicchu 5 Grey

Gampi Bicchu 8 Pinkl Gampi Bicchu 6 rose Gampi Bicchu 9 Plum




Japan gampi MM18 natural & MM19 white - Hiromi CollectionJapan gampi MM20 natural & whiteMachine- made of 100% Japanese gampi. Extra fine quality. Neutral pH. 2 Deckles, 2 cut edges.

Japan gampi Double-sidedTwo sheets of machine-made, 100% Philippine gampi laminated together. Neutral pH. No deckles.

Japan gampi f1 & f2Machine-made. 100% gampi. Neutral pH. 2 Deckles. Natural.

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

Gampi MM19 white Gampi MM20 white Gampi MM20 Natural

Gampi MM18 Natural

Gampi Double Sided Gampi f2 Gampi f1




Japan gampi-c hM33 Natural - Hiromi CollectionHandmade. 100% Gampi. Neutral pH. 4 Deckles.

Japan Gampi hM5 off-white - Hiromi CollectionHandmade. 90% Gampi, 10% Kozo. Neutral pH. 4 Deckles. off-white.

Japan gampi LayeredMachine-made. 100% gampi tissue mounted onto sulphite base. Neutral pH. 2 Deckles. white

Japan gampi smooth 43Machinemade. Gampi with flecks of bark. Neutral pH. No Deckles.

Japan gampi Tissue A3Handmade of 100% Japanese gampi. Small, A3 format sheets. Neutral pH. 4 deckles. Natural.

Japan gampi Torinoko white & naturalHandmade 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 A3 Gampi Torinoko white Gampi Torinoko Natural

Gampi 43

Gampi-c HM33

Gampi HM5

Gampi layered




Japan gampi Toyo natural MM24Machine-made. 95% Philippine gampi 5% straw. Neutral pH. 2 Deckles. Natural.

Japan gampi udabanHandmade. 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 #1Machinemade. Smooth, lustrous natural background with inclusions of gampi bark. 2 Deckles.

Japan gampi YamaguchiHandmade from 100% Japanese gampi. conservation quality, lustrous surface. Neutral pH. 4 deckles.

Japan gampi YukiHandmade from 100% Philippine gampi. Neutral pH. 4 deckles.

Gampi Yamaguchi 30 gram Gampi Yamaguchi 36 gram Gampi Yuki

Gampi Yamaguchi 21 gram Gampi Yamaguchi 28 gram Gampi unryu-shi #1

Gampi udaban Gampi usuyou Natural Gampi usuyou Milk whit

Gampi Toyo MM24




Japan gifu MAchine-MADesMachine-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 02 Kozo Natural Gifu 08 Kozo white Gifu 18 washi Sized

Gifu Green Tea light Tone Gifu Green Tea Deep Tone Gifu 14 Moon Peach Medium Gifu 21 Moon Peach Heavy

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




Japan gasenchi echizenHandmade from mitsumata and sulphite. Neutral pH. laid tissue weight. No deckles. white.

Japan goyuHandmadeof kozo and sulphite pulp. Neutral pH. Soft surface. 4 deckles.

Japan gozen sizedHandmade from 100% Japanese kozo. Internal sizing allows for absorbency without excessive bleeding. Neutral pH. 4 deckles.

Japan hanshiMachinemade from sulphite. lightweight, student grade sumie paper. cut edges. 100 sheet packages.

Japan harukaze sh4 - Hiromi CollectionMould- made of 20% Bleached Kozo, 80% Sulphite. Neutral pH. 2 Deckles, 2 torn edges.

Japan hiryu sh12 - Hiromi CollectionMould-made of bleached kozo, black kozo, sulphite and recycled paper. Neutral pH. 2 Deckles, 2 torn edges.

Japan honen sizedMachine-made from Kozo and sulphite. Neutral pH. Sized, smooth surface. 2 deckles.Honen was a favorite at Aiko's in Chicago.

Goyu Gozen Sized Hanshi

Gasenchi Echizen

Harukaze SH4 Hiryu SH12 Honen Sized




Japan hon Misu-gamiHandmade 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.

Japan hon-Mino-gami - Hiromi Collection HP01-5Mino-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.

Hon Mino HP01 - 30 gram Hon Mino HP02 - uso 15 gram Hon Mino HP04 - Thin 11 gram Hon Mino HP05 - chochin 19 gram




hoshoHosho 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 professionalHandmade 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.

Japan hosho iyo - Handmade from kozo and sulphite. Neutral pH. 4 deckles.

Japan hosokawa ohbanHandmade 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 studentHandmade in the Hosokawa Prefecture of 70% Thai kozo & 20% sulphite. Neutral pH. 4 deckles.

Hosho Professional

Hosho Kozo

Hosho Natural Hosho Student Hosho Iyo

Hosokawa ohban Hosokawa Student




inshu prefecTure Known primarily for industrial papers, the Inshu Prefecture also has papermakers with exceptional skills using the finest quality materials.

Japan Inshu gampi 01Handmade 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 Kozo 003 & 005 - Handmade of 100% Japanese kozo. conservation quality with an almost lustrous surface. Neutral pH. 4 Deckles. Japan Inshu Kozo 016 - Machine-made. Smooth finish with excellent sheet formation. Neutral pH. 2 Deckles. off-white.Japan Inshu Mitsumata natural & white - Handmade. 100% Mitsumata. Smooth, crisp tissue. Neutral pH. 4 Deckles. white and Natural.Japan Inshu rydudou Kozo - Mould-made of 100% Thai kozo. conservation quality with an almost lustrous surface. Neutral pH. 4 Deckles.

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




iwAno hAnDMADesNational 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 nisohMade 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 hoshoThis 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 Mitsumata100% 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.




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 Iwano 15 - Shikoshi Brown Black Iwano 13 - Shikoshi Purple Iwano 14 - Shikoshi Vermillion




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 Izumo Mitsumata Thick Natural 70 gram Izumo Mitsumata Thick white 70 gram


J a p a n - A r T p A p e r s



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

Izumo Mitsumata 9 - white (35 gram) Izumo Mitsumata 124 - Natural Izumo Mitsumata 160 - Amber





Japan iyo glazedHandmade 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 KozoHandmade 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.

Japan Kankoshi - Handmade of kozo and sulphite. Scratchy surface. Neutral pH. 4 Deckles.

Japan Katazome genshiMould-made of chinese kozo and abaca. often used for katazome stencil techniques. Neutral pH. 4 Deckles.

Japan KawashiMachine-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 DyedMade 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 writingHandmade 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.

Iyo Glazed

Jougami

Kaji Natural

Kankoshi Kihada Kozo Dyed

Katazome Genshi Kikuchi

Kawashi Kihosen Kana writing Kakishibu-Shi




Japan Kikura KozoMachine-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 handmadeHandmade 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-made90% 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.


Kikura Kozo 21 gram Kikura Kozo 44 gram

Kiraku Kozo Kitakata Machine-made

Kitakata Handmade Natural Kitakata Handmade Greenish



Japan Kizuki KozoHandmade 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 TorinokoshiHandmade 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.

Kizuki white Kitzuki Natural

Kochi white Kochi Natural

Kizukishi Kozo Koban Natural Kozo Gampi Torinokoshi



Note: sheets were scanned on black and white background to show translucencyA R T P A P E R S - J a p a n

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 MorikiHandmade of kozo and sulphite. Neutral pH. Strong somewhat crisp surface. 4 deckles. Beautiful colors dyed in the style of the Moriki family.



Kozo-shi hAnDMADesJapan Kozo-shi hM2 white- 100% Thai Kozo. A very clear, even lightweight sheet. Neutral pH. 4 Deckles.

Japan Kozo-shi uwazen natural DhM940% Kozo, 60% sulphite. Thick with strong dosa sizing. Excellent for printmaking and western techniques.

Japan Kozo-shi Misumi DhM11 - Natural. 30% Kozo, 70% sulphite. Heavyweight, dosa sized sheet.

Japan Kozo-shi Kochi-shi DhM13 - Natural. 30% Kozo, 70% sulphite. Thick with strong dosa sizing..

Japan Kozo-shi DhM14 natural - 30% Kozo, 70% sulphite. Thick with strong dosa sizing.. Neutral pH. 4 Deckles.

Japan Kozo-shi hK series - Handmade of kozo & sulphite. crisp sheets in various weights and tones. Neutral pH. 4 Deckles.


Kozo-shi HM2 Kozo-shi uwazen DHM9 Kozo-shi Misumi DHM11

Kozo-shi HK23 white Kozo-shi HK23 Natural Kozo-shi HK27

Kozo-shi HK22 Kozo-shi DHM14 Kozo-shi Kochi-shi DHM13



Kozo-shi MAchine-MADesJapan 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.


Kozo-shi M0203 Kozo-shi M0202 Kozo-shi M0207-2

Kozo Thick white Kozo Thick Natural Kozo-shi M0207-3

Kozo-shi MM1 Natural Kozo-shi MM2 white Kozo-shi M0207

Kozo-shi M0206 Kozuke white Kozuke Ivory


Note: sheets were scanned on black and white background to show translucencyA r T p A p e r s - J a p a n

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 BlueMachinemade 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 handmadeHandmade 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 rayon Manila Hemp Natural Manila Hemp Ice Blue

lens Tissue Manila Hemp

Masa cool white (smooth side shown above)

Masa Soft white (rough side shown above)

Mashi Thick Mashi Thick which is available sized with dosa or without, has a wonderful, rough surface.



Japan Mingei-shi natural sh35Mould-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 colorsHandmade from a blend of kozo and sulphite. Neutral pH. Dyed sheets. 2 Deckles. 2 torn edges.


Mingei-shi Grey Green Mingei-shi Beige Mingei-shi lemon Mingei-shi Spring Green

Mingei-shi Natural SH35

Mingei-shi Pale umber Mingei-shi lavender Mingei-shi Magenta Mingei-shi red orange

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 hp55Handmade from 100% kozo. Neutral pH. Distinctive, laid surface from the unusual sou made of split bamboo. 4 deckles. Natural.

Mino-Gami HM3 Misu with clay Pigment



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 udaban refers to the traditional sheet sizes. Neutral pH. 4 Deckles..


Mitsumata fuji Mitsumata letter Size Mitsumata umeda

Mizota Hanban & udaban Mitsumata Pink Mitsumata Grey

Mitsumata & Salago

Mitsumata Tissue



MohAchi hAnDMADeDeveloped 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.

Japan Morisa Machinemade of kozo and sulphite. Neutral pH. one side smooth, one textured. No deckles.


Mohachi

Morisa MM26 Haijiro Morissa MM25 Azabu Morisa MM23 Shirakabe



Japan MulberryHandmade 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 udabanHandmade 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.

nArA fuKinushi nATurAL DYeD uDAHandmade 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.

Nara fukinishi Dyed Indigo Nara fukinishi Dyed Akebi Nara fukinishi Dyed Sakaki

Nara fukinishi Dyed Mimosa Nara fukinishi Dyed Mugwort Nara fukinishi Dyed cherry

Mura udaban

Mulberry

Mura rokubu



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 oguraHandmade from Manila hemp, kozo & sulphite. Neutral pH (Natural only). 4 deckles. coarse, heavily textured surface with swirls of fiber.

nishinouchiHandmade 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.


ogura Jade ogura Violet ogura Antique rose

ogura Natural ogura Grey ogura light Brown

Nishinouchi 1 Natural Nishinouchi 2 white Single Thick Nishinouchi 3 white Double Thick Nishinouchi 4

Natsume 4002 oguni Gami oguni chiri



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 gradeHandmade 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.

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 KHandmade of 100% Philippine gampi. Smooth, lustrous surface. Neutral pH. 4 deckles.

Japan sakamotoMachine--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 Collectionoff-white. Mould-made of 10% kozo, 70% sulphite, 15% recycled paper, 5% rayon. Neutral pH. 2 deckles.


okawara Handmade okawara Machine-made Pinkish Natural okawara Machine-made Greenish Natural

okawara Student Grade

otoshi Medium

rayon M0321 Sakamoto 80 gram

rayon Gauze Sansui SH8 Salago K



Japan seichoshi-homare Kozo Japan seichosen Kozo Japan seiko-sen MitsumataHandmade 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.

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 CollectionJapan sekishu-hanshi Mare hp07 - Hiromi CollectionHandmade 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 CollectionHandmade 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.


Seichoshi-Homare Seichosen Seiko-Sen

Sekishu-Hanshi Tsuru HP06 Sekishu-Hanshi Mare HP07 Sekishu Torinoko Gampi HP60

Sekishu Natural Sekishu white



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 & sulphiteJapan shikishi Mohachi - Handmade of hemp, cotton & Ssulphite

Japan senka-shi hM35-37 - Hiromi CollectionHandmade 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 Collectionoff-white. Mould-made of 50% Kozo, 50% Sulphite. A thin, crisp sheet with subtle, cloud-like swirls of fibers.


Senka-Shi HM35 (30 gram) Senka-Shi HM36 (38 gram) Senka-Shi HM 37 (44 gram)

Shigure SH15



shiKiBu JApAnese hAnDMADesThe 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


Note: sheets were scanned on black and white background to show translucencyA R T P A P E R S - J a p a n

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



Japan shikibu Kizukishi Kozo Dyed100% 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 Shikibu Kozo 1 - Deep Natural Shikibu Kozo 2 - light Tan Shikibu Kozo 3 - Tan



Japan shikibu Kozo-shi #27100% Japanese kozo. off-white tonality with an exaggerated laid pattern. Neutral pH. 4 Deckles.

Japan shikibu Mitsumata-shi100% Japanese Mitsumata. off-white tonality with a warm, lustrous sheen. Although the sheets are ultra-smooth, they have a remarkable, fabric-like visual texture because of the unusual sou. Neutral pH. 4 Deckles.


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

Shikibu Kozo #27 Shikibu Mitsumata-shi



Japan shikoku surface gampiA 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 CollectionMould-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. A middle weight, moderately priced, Aiko favorite.

Japan shojoshiMouldmade 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 sugikawashiHandmade in the style of traditional bark papers of ancient Japan from pulverized cedar bark and hemp fibers. Brown Neutral pH. 4 deckles.

Shikoku Surface Gampi white

Shikoku Surface Gampi Deep Natural

Shikoku Surface Gampi white

Shoji

Shojoshi

Silk Tissue Sugikawashi



TAniAi hAnDMADeHandmade 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.

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.

Tamura Koban Takefu Natural (textured side seen above) Takefu Nwhite (smooth side seen above)

Taniai 12 - Yabumao-zome

Taniai 4 - Benigara-zome

Taniai 7 - Yamazakura-zome Dark Taniai 6 -Yamazakura-zome Taniai 12 Akatsuchi-zome Taniai 9 - Aizome



Japan Tengucho hM1 handmade- Hiromi Collectiononly 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 handmadeMade as above of 100% kozo prepared by cooking in caustic soda making this paper less expensive.

Japan Tengujoushi handmade DyedHandmade of 100% Kozo and hand-dyed. colors will vary from batch to batch. 4 Deckles.

Tengujoushi Dyed - Yellow Green Tengujoushi Dyed - Green Tengujoushi Dyed - rose Tengujoushi Dyed - red

Tengujoushi Dyed - lavender Tengujoushi Dyed - Pale Blue Tengujoushi Dyed - Pale Pink

Tengujoushi Dyed - Pale Brown

Tengucho HM1 & cS



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



Japan Torinoko handmadeKozo and sulphite blend. Neutral pH. Soft,absorbent yet strong. 4 Deckles.

Japan Torinoko Machine-made white natural & Black100% 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 strokesMachine-made of 100% sulphite. Absorbent sheet embossed with brush strokes to resemble those usually found on handmade sheets. Neutral pH. No deckles.

Japan Tosa KasagamiHandmade of 100% kozo. lovely sheet formation with visible fine fibers and a soft, scratchy surface. 4 Deckles. Neutral pH.

Torinoko Black Tosa Kasagami

Torinoko Handmade Torinoko Brush Strokes

Torinoko white (textured side seen above) Torinoko Natural (smooth side seen above)



Tosa Hanga Tosa Kozo #8 Natural

Tosa Maruishi Tosa Kozo #8 white

Japan Tosa hangaHandmade 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 & whiteHandmade of kozo and wood pulp. Internally sized. Dense, even sheet formation. Excellent for printing techniques. 4 Deckles. Neutral pH.

Japan Tosa MaruishiHandmade in the Kochi Prefecture from kozo and sulphite. Thick, sturdy, internally sized sheet used extensively for printmaking. Neutral pH. 4 deckles.

Japan Tosazome purpleHandmade 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.

Tosazome Purple



Japan Toyama - Handmade from 100% kozo. Smooth surface embedded with visible light fibers. 4 deckles.

Japan uda-gami hM40 & hM41 - Hiromi Collectionoff-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 & LongHandmade 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.

walnut Dyed Kururu Kozo uwa Senka uda-Gami HM40 uda-Gami HM41

Vegetable - Melon Vegetable - onion Vegetable - Sweet Potato Vegetable - corn

Vegetable - Horse radish


Toyama



Japan YatsuoHandmade from kozo and sulphite pulp. Neutral pH. Strong, soft surface. 4 deckles. colors will vary somewhat from batch to batch.

Yatsuo A13 - Natural Yatsuo A1 - white

Yatsuo B2 - Beige Yatsuo B25 - Kraft Yatsuo B27 - Tan Yatsuo c4 - Brown

Yatsuo B18 lime Yatsuo E3 - Apple Green Yatsuo B12 - Yellow Yatsuo B15 - Mustard

Yatsuo c10 - Green Yatsuo B6 - cloud Blue Yatsuo B7 - Grey Blue Yatsuo c7 - Taupe

Yatsuo c30 - Graize Yatsuo B8 - Green Grey Yatsuo B22 - Blue Green Yatsuo B4 - Grey




Japan YatsuoHandmade from kozo and sulphite pulp. Neutral pH. Strong, soft surface. 4 deckles. colors will vary somewhat from batch to batch.

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 Yame Kozo hadakuraHandmade from 100% kozo, these conservation grade tissues are dyed in 4 tones of natural. Neutral pH. 4 Deckles.

Japan Yuku-shi snow Bleached handmadesHandmade 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 naturalHandmade from kozo. Small, lightweight sheets. Neutral pH. 4 Deckles.

Japan zaireiMachine-made of 50% sulphite, Thai kozo, abaca and straw. Thins, crisp sheet works well in digital applications. Neutral pH. white.


Yame Kozo 1 Yame Kozo 2 Yame Kozo 3 Yame Zozo 4

Yuku-shi 13 gram Yuku-shi 16 gram Yuku-shi 27 gram Yuku-shi 41 gram

Yukyu Natural Zairei


Note: sheets were scanned on black and white background to show translucencyA r T p A p e r s - K o r e a

KoreAMaking 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 colorsHandmade 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


Note: sheets were scanned on black and white background to show translucencyA r T p A p e r s - K o r e a

Korea hanji colors - Handmade of 100% dak (Korean mulberry) Soft surface with swirls of fibers and laid marks. Neutral pH. 4 Deckles.

Korea hanji oiledHandmade 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 - K19 Blue Korean Hanji - K85 chocolate Korean Hanji - K12 lavender Korean Hanji - K67 umber

Korean Hanji oiled Korean Hanji Mulberry Mix Korean Hanji Stone Grey

Korean Hanji - K25 Dark Blue Korean Hanji - K6 red Korean Hanji - K78 Plum Korean Hanji - K59 olive

Korean Hanji - K89 Black Korean Hanji - K66 Dark Green Korean Hanji - K64 Green


nepALNepalese 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.

A r T p A p e r s - N e p a l



Nepal Banana TissueHandmade from recycled banana bark. crisp tissue with swirls of fine fibers and bark flecks. 4 Deckles.

Nepal chautara LoktaHandmade 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 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 - olive Brown Nepal chautara lokta - olive Green Nepal chautara lokta - Moss Nepal chautara lokta - Jade

Nepal Banana Tissue Nepal chautara lokta - Yellow Nepal chautara lokta - Natural light Nepal chautara Natural Heavy





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 - 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 JazzTranslucent handmade paper laminated onto gauze-like fabric, lightly creped and dyed. Very strong. Neutral pH. No deckles.


Nepal Jazz - Aubergine Nepal Jazz - Saddle Tan

Nepal Jazz claret Nepal Jazz - Grey

Nepal Jazz - olive Green (back side with gauze shown above) Nepal Jazz - Granite



KhADi hiMALAYAn hAnDMADesKhadi 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 Himalayan Traditional L100% Daphne cooked in lye from wood ash. cloudy sheet formation. Made using the traditional Nepalese techniques.


Nepal Khadi - l5 Natural Nepal l10 Natural



Nepal Khadi Himalayan Traditional L100% 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.


Nepal Khadi - l20 Natural Nepal l40 Natural

Nepal Khadi - Jl3 Nepal Jl4

Nepal Khadi - JM3 Mitsumata Nepal JM4 Mitsumata



Nepal Khadi Himalayan Traditional n1 natural & Dyed100% Daphne. cooked in caustic soda and bleached. cloudy sheet formation with visible fibers and flecks.


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



LhAKpA hAnDMADesThese 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.


Nepal lhakpa 20 gram Nepal lhakpa 40 gram Nepal lhakpa 60 gram Nepal lhakpa Black

Smooth side shown rough side shown


Note: sheets were scanned on black and white background to show translucencyA r T p A p e r s - N e p a l / P h i l i p p i n e s

Nepal Transparent DeerskinDeerskins 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 hAnDMADesPhilippine 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.

Philippine Gan Philippine Ning



ThAiLAnDPapermaking 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 Garden Plain Smooth Thai Garden Plain rough

Thai Mulberry Bleached 45 gram Thai Mulberry un-bleached 45 gram Thai Mulberry un-bleached 15 gram


Note: sheets were scanned on black and white background to show translucencyA r T p A p e r s - T h a i l a n d

Thailand Mulberry Machine-made colors - 100% Thai kozo. Neutral pH. 2 deckles.

Thailand TissueHandmade 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.

Thai Mulberry Sky Blue Thai Mulberry Pear Thai Mulberry Purple Thai Mulberry Black

Thai Mulberry Tea Thai Mulberry Mustard Thai Mulberry red

Thailand Tissue 10 gram Thailand Tissue 25 gram Thailand Tissue 30 gram

A R T P A P E R - P R I C E S A S I A



■ small format■ special remarks ■ large format

■ g K M ■ ■

g - gampi K - Kozo M - Mitsumata

AFRICABanana Tissue 18 x 25 30 4.00 - last of stockBvumbe Blue Tissue 18 x 25 30 4.00 - last of stockGiraffe Dung 16 x 22 200 4.00 - last of stockNcube Terracotta Tissue 18 x 25 30 4.00 - last of stockZambezi Tissue 18 x 25 30 4.00 - last of stockZambezi Elephant Dung 18 x 25 200 5.00 - last of stock

BHUTANBhutan Khadi Denar JDK 23 x 31 100 4.40 3.96 3.67 Jingshi Tsasho 23 x 31 100 6.00 5.40 5.01 Resho 21 x 28 90 5.00 4.50 4.18 Tsasho Natural 23 x 31 100 7.10 6.39 5.93 Bhutan Egeworthia Laminated 24 x 39 250 9.00 8.10 7.52 Bhutan Tenzin Handmades Daphne Thick Natural BHU 113 21 x 34 180 9.60 8.64 8.02 Dekar #4 Natural Medium Weight 9 x 12 30 2.60 2.34 2.17 Dekar #5 Natural Thin 9 x 12 10 2.20 1.98 1.84 Dekar #7 Natural - size A7 6 x 8 60 2.50 2.25 2.09 Dekar #8 Natural 4 x 6 120 1.80 1.62 1.50 Dekar #9 Dark Natural 4 x 6 120 1.80 1.62 1.50 Dekar #4 Natural Medium Weight 9 x 12 30 2.60 2.34 2.17 Denak Kap Medium Natural 21 x 32 30 7.70 6.93 6.43 Denak Kap Thin Natural 21 x 32 15 5.90 5.31 4.93 Denak Trongsa P1 Natural 33½ x 51 120 54.90 49.41 45.84 Denak Trongsa P2 Natural 33½ x 51 50 40.00 36.00 33.40 Egeworthia Natural BHU 111 21 x 34 45 7.00 6.30 5.85 Egeworthia White BHU 112 21 x 34 45 6.50 5.85 5.43 Jute #6 Dark Natural 9 x 12 60 2.50 2.25 2.09 Mitsumata Thin Natural BHU 04 21 x 29½ 10 5.40 4.86 4.51 Mitsumata Natural BHU 05 21 x 34 60 4.00 3.60 3.34 Mitsumata White BHU 06 21 x 34 60 4.50 4.05 3.76 Mitsumata Thick White BHU 07 21 x 34 120 9.00 8.10 7.52 Rural Tsarsho BHU09 21 x 34 200 6.00 5.40 5.01 Rural Tsarsho Dyed 12 x 18 200 5.00 4.50 4.18 Shawa BHU03 21 x 29½ 180 11.00 9.90 9.19

■ - imperfect, yet unusual & beautiful sheets

■ - 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.





■ g K M ■ ■


CHINAChina 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 Yuemei Chinese Antique 25 x 25 25 2.25 2.03 Dan 27 x 54 24 5.85 5.43 4.88 Dou Bean 27 x 54 24 5.85 5.43 4.88 Jing-pi 33 x 60 48 15.00 14.03 12.60 Mao Bian #3 27 x 27 48 2.25 2.03 Pao 25 x 25 25 2.25 2.03 Tortoise 27 x 54 22 8.35 7.50 Yu-Jade 25 x 52 48 9.20 8.25

Yuemei Juan Silk White & Golden un-mounted 32 " wide 19.50 - per yard

Yuemei Juan Silk Mounted White 26 x 36 30.00 27.00Yuemei Juan Silk Mounted All Other Colors 8½ x 11 2.50 2.25Yuemei Juan Silk Mounted All Other Colors 26 x 36 20.00 18.00

EGYPTPapyrus Natural 6 x 9 150 2.00 1.80 1.67 1.50 8 x 12 150 2.50 2.25 2.09 1.88 12 x 16 150 3.60 3.24 3.01 2.70 16 x 24 150 5.50 4.95 4.59 4.13 24 x 31 150 14.00 12.60 11.69 10.50

Papyrus Flecked Light or Heavy 12 x 16 150 4.30 3.87 3.59 3.23 16 x 24 150 6.30 5.67 5.26 4.73

Papyrus Fermented 8 x 12 150 2.60 2.34 2.17 1.95 12 x 16 150 4.10 3.69 3.42 3.08 16 x 24 150 5.90 5.31 4.93 4.43 24 x 31 150 15.00 13.50 12.53 11.25

■ - well made sheets for sumi-e painting & printing

■ - well made sheets for sumi-e painting & printing

■ - pre-sized silk for sumi-e painting & printing

■ - pre-sized & mounted silk for painting & printing

■ - for drawing, painting, collage, book arts

P A P E R A S S O R T M E N T P O L I C Y

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.





■ g K M ■ ■


INDIAKhadi Bagasse Smooth or Rough 22 x 30 210 4.40 3.96 3.67 3.30 Banana Smooth or Rough 22 x 30 310 4.40 3.96 3.67 3.30 Chapri Colors .22 x 30 100 2.25 last of stock Cotton Colors - Rough 22 x 30 210 4.40 3.96 3.67 3.30 Gunny Sack Smooth or Rough 22 x 30 210 4.40 3.96 3.67 3.30 Islamic Sunn Hemp 22 x 30 100 Currently unavailable Sunn Hemp 22 x 30 100 4.40 3.96 3.67 3.30

Khadi Watercolor Smooth or Rough 22 x 30 210 4.40 3.96 3.67 3.30 Watercolor Smooth or Rough 22 x 30 320 5.50 4.95 4.59 4.13 Watercolor Smooth or Rough 27 x 41 320 9.00 8.12 7.53 6.77 Watercolor Smooth or Rough 22 x 30 640 8.40 7.52 6.98 6.27 Watercolor Rough 8¼ x 11½ 640 2.75 2.48 2.30 2.06 Watercolor Rough 11¾ x 16½ 640 4.25 3.83 3.55 3.19 Watercolor Rough 13½ x 27½ 320 3.10 2.77 2.57 2.31 Watercolor Rough 22" circle 320 5.00 4.50 4.13 3.71 Watercolor Rough 27 x 41 640 14.75 13.27 12.31 11.06 Watercolor Rough "Great White" 31 x 78 400 55.00 49.50 45.93 41.25 Watercolor Rough "Atlas" 39 x 54 400 42.50 38.21 35.45 31.85 Watercolor Rough "Banyan" 43 x 63 400 55.00 38.21 35.45 31.85

Khadi Watercolor Packages White Rough A7 2 x 3 150 3.50 - package of 20 sheets White Rough A6 4¼ x 5¾ 150 5.60 - package of 20 sheets White Rough A5 5¾ x 8¼ 150 8.25 - package of 20 sheets White Rough A4 8¼ x 11½ 150 12.60 - package of 20 sheets White Rough A4 8¼ x 11½ 320 18.50 - package of 20 sheets White Rough 8¼ x 8¼ 320 14.00 - package of 20 sheets White Rough 11¾ x 11¾ 320 24.00 - package of 20 sheets White Rough 11¾ x 16½ 320 28.00 - package of 20 sheets White Rough 12 Circles 320 26.00 - package of 20 sheets

Khadi Mouldmade Text - Cotton & Gunny 18 x 24 100 2.00 1.80 1.67 1.50

MHK Jute Single-weight, Natural 22 x 30 170 8.00 7.20MHK Jute Double-weight, Natural 22 x 30 340 12.00 10.80MHK Jute Double-weight, Stained 22 x 30 340 12.00 10.80

Saakaar Banana Heavy 25 x 35 150 5.25 - last of stockSanganer All styles 22 x 30 200 3.00 2.70 2.43 2.18

Shizen Pastel Color 19 x 25 185 2.75 2.48 2.30 2.06Shizen Professional Watercolor 140 Rough 22 x 30 300 5.00 4.50 4.18 3.57Shizen Professional Watercolor Packages White Rough 8 x 8 300 8.50 - package of 5 sheets White Rough 9 x 12 300 9.50 - package of 5 sheets White Rough 6 x 18 300 13.00 - package of 5 sheets White Rough 12 x 18 300 14.00 - package of 5 sheets White Rough 6" circles 300 16.50 - package of 5 sheets White Rough 8" circles 300 18.50 - package of 5 sheets

Taja Watercolor Smooth Cream 22 x 30 200 3.25 Rough White 26 x 39 300 8.25 Rough White 42 x 53 300 50.00

INDONESIABamboo Writing 25 x 38 50 - 75 2.75 3.48Silk Paper 20 x 30 20 2.00 1.80

■ - strong fibers, sized for multi-media

■ - strong, 100% cotton rag, sized for watercolor

■ - rare papers in the tradition of Persian book pages

■ - 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

■ - Crudely made, yet unique surfaces





■ g K M ■ ■


JAPANAkatosashi 24¾ x 37 25 7.75 6.97 6.46 5.81 Daitoshi Extra-Thick 30 x 56 45 15.00 13.50 12.53 11.25

Dry Tear Hinging Tissue 17 x 23½ 12 8.74 7.87 7.30 6.56 17 x 23½ 20 9.34 8.41 7.80 7.01 Echizen Hanga Dosa 26 x 38 45 31.50 28.35 26.30 23.63

Etchu Card 6 x 8 300 2.50 2.25 2.09 1.88 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 25 x 38 13 22.50 20.25 18.79 16.88 Gampi HM 5 25 x 38 31 20.50 18.45 17.12 15.38 Gampi Natural MM18S 25 x 38 15 14.70 13.23 12.27 11.03 Gampi White MM19S 25 x 38 15 8.00 7.20 6.68 6.00 Gampi Natural MM20 25 x 38 20 19.00 17.10 15.87 14.25 Gampi White MM20 25 x 38 20 12.80 11.52 10.69 9.60 Gampi Toyo Natural MM24 25 x 37 24 5.50 4.95 4.59 4.13

Gampi F1 24¾ x 37 50 9.50 8.55 7.93 7.13Gampi F2 25 x 37 20 11.20 10.08 9.35 8.40Gampi Double-Sided 21 x 31 75 9.50 8.55 7.93 7.13Gampi Layered 25 x 37 50 8.00 7.20 6.68 6.00Gampi Smooth #43 25 x 37 32 6.00 5.40 5.01 4.50Gampi Tissue A3 11¾ x 16½ 12 8.00 7.20 6.68 6.00Gampi Torinoko 22 x 30 100 22.00 19.80 18.37 16.50Gampi Toyo MM24 25 x 37 24 5.50 4.95 4.59 4.13Gampi Udaban 16 x 56 50 18.00 16.20 15.03 13.50

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

Gampi Yamaguchi 18 x 24 21 16.00 14.40 13.36 12.00 17½ x 22 28 19.00 17.10 15.87 14.25 17 x 23 30 19.50 17.55 16.28 14.63 17 x 23 36 20.00 18.00 16.70 15.00

Gampi Yuki 24 x 33½ 45 14.00 12.60 11.69 10.50

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

Gozen Sized 25 x 37 40 16.00 14.40 13.36 12.00

Goyu 21 x 29 50 6.10 5.49 5.09 4.58

Hanshi 9 x 12 20 10.60 - package of 100 sheets

■ - specially harvested kozo gives this sheet its color

■

■ - conservation grade for hinging & repair

■ - dosa sized

■

G ■

G

G

G ■■ - lustrous surface, dried between metal plates

G

G

G

■ - made in the style of Chinese sumi-e papers

■ - affordable machine-mades

■ - dosa sized

■ - practice paper, great for book binding projects





■ g K M ■ ■


JAPANHarukaze 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

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 2.33Hosho Iyo 27½ x 39 65 10.00 9.00 8.35 7.50

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

Iyo Glazed 17 x 22 85 3.70 3.33 3.09 2.78 Izumo Mingei Mitsumata-shi Colors 25 x 37 35 19.00 17.10 15.87 14.25Izumo Mingei Mitsumata-shi White Thin 21 x 31 20 12.00 10.80Izumo Mingei Mitsumata-shi White or Natural 9½ x 11½ 70 9.50 8.55Izumo Mingei Mitsumata-shi White or Natural 12½ x 19½ 70 20.00 18.00 Jougami 7¼ x 18½ 30 4.00 3.60 3.34 3.00

Kaji Natural 24½ x 39 24 6.90 6.21 5.76 5.18

Kakishibu-Shi Kozo 25 x 38 50 inquireKakishibu-Shi Kozo 7½ x 7½ 45 5.50 4.95 4.59 4.13Kakishibu-Shi Kozo 11 x 15 45 12.00 10.80 10.02 9.00

Kankoshi HK0062 24½ x 38½ 83 10.00 9.00 8.35 7.50

■ - conservation grade K


■ - dosa sized

■ - soft, absorbent grades for block prints & sumi-e


■ - conservation grade G K K K M M K K

■ - 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 ■

■ - dried on metal to give a smooth surface

■ - conservation grade, lustrous sheets M

■ - heavy weight lustrous sheets M ■

■ - small scroll format ■

■ - persimmon dyed

■ - unusual, scratchy surface with a deep tone





■ g K M ■ ■


JAPANKawashi 26 x 39 70 4.40 3.96 3.67 3.30

Kihada Kozo Dyed 25 x 38 30 18.00 16.20Kihosen Kana Writing HK0001 27½ x 53½ 28 10.00 9.00 8.35 7.50Kikuchi 12 x 16 100 5.50 4.95 4.59 4.13

Kikura Kozo 25 x 37 21 3.80 3.42 3.17 2.85Kikura Kozo 25 x 37 44 5.65 5.09 4.71 4.23

Kiraku Kozo 25 x 39 35 7.20 6.48 6.01 5.40Kitakata Natural, Greenish 16 x 20 30 2.90 2.61 2.42 2.18Kitakata Machine-made 25 x 38 30 7.50 6.75 6.26 5.63Kizuki Kozo White & Natural 24 x 39 43 12.00 10.80 10.02 9.00

Kizukishi 24 x 36 14 19.05 17.15 15.91 14.25

Kochi White 20 x 26 109 8.25 7.43 6.88 6.18Kochi Natural 24 x 36 14 9.00 8.10 7.52 6.75

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 25 x 37 40 13.50 12.15 11.27 10.13Kozo Moriki Colors 25 x 37 40 13.50 12.15

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 11.25Kozoshi 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 6.38Kozoshi 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

Kozo Thick White & Natural 25 x 38 70 7.85 7.07 6.55 5.89

Kozuke White & Ivory 25 x 37 44 4.20 3.78 3.51 3.15

Lens Tissue Manilla Hemp 24 x 37 9 2.34 2.11 1.95 1.76Lens Tissue Rayon 24 x 37 9 1.50 1.35 1.24 1.11 Manila Hemp Natural & Ice Blue 25 x 37 16 2.34 2.11 1.95 1.76

Masa Cold White & Soft White- also see rolls 21 x 31 70 1.10 .99 .92 .83

■ - works well with digital printers

■ - made in the style of Chinese sumi-e papers ■ K ■

■ - Philippine gampi - great for printing■ - Philippine gampi - great for printing / digital■ - conservation grade K


■ - thick, smooth surface for printing & painting

■ - rare, lustrous sheets of gampi & kozo

■ G K M ■ ■

■ - limited availability

■ - kozo blends

■ - dosa sized ■ - dosa sized ■ - dosa sized ■ - dosa sized

■ - kozo blends

■ - kozo blends

■ - kozo blends

■ - 90% kozo with slight translucency

■ - kozo blends high quality, economical

■ - thin for repair, interleaving, collage

■ - thin for repair, interleaving, collage

■ - student grade double-sided sheet





■ g K M ■ ■


JAPANMashi Thick Nama 60 x 84 110 250.00Mashi Thick Dosa Sized 60 x 84 110 300.00

Mingei-shi Natural SH35 25 x 38 45 6.00 5.40 5.01 4.50Mingei-shi Colors 25 x 38 40 6.80 6.12 5.68 5.10

Mino-Gami HM3 25 x 38 24 10.60 9.54 8.85 7.95

Misu with Clay Pigment - Hiromi Collection 25 x 38 20 8.50 7.65 7.10 6.38

Mitsumata Fuji 25 x 37 24 6.70 6.03 5.59 4.69Mitsumata & Salago 25 x 37 24 5.00 4.50 4.18 3.75Mitsumata Letter 8 x 11½ 20 3.00 2.70 2.51 2.25Mitsumata Tissue 22 x 27½ 20 7.50 6.75 6.26 5.63Mitsumata Umeda Kochi 25 x 37 24 20.00 18.00 16.70 15.00

Mizota Hanban 12 x 24 33 8.00 7.20 6.68 6.00Mizota Udaban 12½ x 57 33 12.00 10.80 10.02 9.00

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 3.60Mulberry 25 x 38 45 5.00 4.50 4.18 3.75

Mura Binsen 7 x 10 24 2.00 1.80 1.67 1.50Mura Rokubu 13½ x 16 35 5.00 4.50 4.18 3.75Mura Udaban 16 x 56 64 18.00 16.20 15.03 13.50 Nara Fukinushi Natural Dyed Uda 12½ x 18 25 12.00 10.80 10.02 9.00

Natsume 4007 24 x 36 75 11.00

Nishinouchi N0001 Natural 24 x 36 45 18.00 - Last of stock N0002 Ohban White1 Sou 28½ x 41 30 24.00 - Last of stock N0003 Ohban White 2 Sou 28½ x 41 60 48.50 - Last of stock N0004 Gaseban White 29 x 56 25 30.00 - Last of stock

Oguni Chiri 11¼ x 15 60 7.00 6.30 5.85 5.25Ogunigami 11 x 15¼ 36 9.50 8.55 7.93 7.13

Ogura Natural 24 x 36 108 10.65 9.59 8.89 7.99Ogura Colors 24 x 36 108 7.00 6.30 - last of stock

Okawara Handmade 12 x 16 60 3.90 3.51 3.26 2.93Okawara Handmade 14 x 38 60 6.20 5.58 5.18 4.65

Okawara Machine Made Pinkish Natural 38 x 74 60 19.30 17.37 16.11 14.47 Greenish Natural 38 x 74 60 14.10 12.69 11.77 10.58Okawara Student Grade 18 x 25 46 4.10 3.68 3.39 3.05

Otoshi Medium HK0024 29½ x 56 33 11.60 10.44 9.69 8.70

Rayon Gauze 25 x 37 25 3.00 2.70 2.51 2.25Rayon M0321 23½ x 35 50 4.40 3.96 3.67 3.30

■ - highest quality hemp & kozo ■■ - highest quality hemp & kozo, dosa sized ■


■ - clay added for stability, pronounced su markings

M■ - smooth surface works well with digital printers M ■■ - fine tissue M■ - conservation grade M

■ - scroll format ■■ - scroll format ■

■ - heavyweight & sized ■

■ - heavyweight & sized ■

■ - very popular kozo blend

■ ■■ - magnificent scroll ■

■ - made & dyed by master papermaker ■

■ - highest quality kozo

■ ■

■ - well known favorite K ■■ - scroll format K ■

■ ■

■

■ - thin & strong





■ g K M ■ ■


JAPANSakamoto 25 x 38½ 80 4.20 3.78 3.51 3.15Sakamoto Heavy 25 x 38½ 110 4.50 4.05 3.76 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 25.89 23.25Seichosen HM22 - Hiromi Collection 29½ x 55 32 32.80 29.52 27.39 24.60Seiko-Sen HM23 - Hiromi Collection 29½ x 55 32 34.50 31.05 28.81 25.88 Sekishu Natural 24 x 39 30 7.90 7.11 6.60 5.93Sekishu White 24 x 39 30 7.55 6.77 6.28 5.64

Sekishu-Hanshi Tsuru HP06 20½ x 28 21 13.35 12.01 11.14 10.01Sekishu-Hanshi Mare HP07 20½ x 28 21 17.60 15.84 14.70 13.20Sekishu-Hanshi Mare Small - (cut edges) 9¾ x 13¾ 25 5.00 4.50 4.18 3.75 Sekishu Torinoko Gampi HP60 21 x 28½ 17 19.20 17.28 16.02 14.39

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

Shigure SH15 - Hiromi Collection 25 x 38 25 9.90 8.91 8.27 7.43 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

Gampi-shi Colors 20 x 30 13 16.76 15.08 13.99 12.57 Kizukishi Kozo Dyed 25 x 37 18 16.76 15.08 13.99 12.57 Kozo-shi 27 24 x 35½ 26 19.20 17.28 Mitsumata-shi 11 21½ x 33 20 19.20 17.28

Shikishi Kochi White & Natural 9½ x 10½ 300 12.50 11.25 10.44 9.38Shikishi Kochi Black 9½ x 11½ 300 14.40 12.94 11.99 10.77Shikishi Mini White or Natural 5 x 5½ 300 3.00 2.70 2.51 2.25

Shikoku Surface Gampi Deep Natural 25 x 38 120 14.90 13.41 12.44 11.18Shikoku Surface Gampi White 25 x 38 120 10.95 9.85 9.13 8.21 Shiramine MM5 - Hiromi Collection 25 x 38 110 7.30 6.57 6.10 5.48

Shoji 24½ x 38½ 45 8.50 7.65 7.10 6.38

Shojoshi 4 x 6 200 1.40 1.26 1.17 1.05 8½ x 11¾ 200 4.65 4.18 3.86 3.47 10 x 14 200 6.55 5.89 5.46 4.91 12½ x 18 200 8.90 7.99 7.40 6.65

Silk Tissue 18 x 24 10 2.80 2.52 2.34 2.10 25 x 38 10 5.20 4.68 4.34 3.90

Sugikawashi 24 x 37 80 12.00 10.80

Tamura Koban 13 x 15 30 4.00 3.60 3.34 3.00

■ - conservation grade K■ - conservation grade K ■■ - conservation grade M ■

■ - 80% kozo makes this a stong, versitile sheet

■ - conservation grade K■ - conservation grade K

■ - finest G

■ - conservation grade K■ - conservation grade K■ - conservation grade K

■ - conservation grade G G G G

G K K M

■ ■ ■

■ - gampi mounted to heavier stock good for digital

■ ■ ■ ■

■ - tissue G

■ -made in the tradition of ancient Japan

■





■ g K M ■ ■


JAPANTengucho Handmade - Hiromi Collection HM1 Tengucho White 21 x 30½ 9 15.00 13.50 12.53 11.25Tengucho 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

Taniai 10 x 13 22 4.50 4.10

Torinoko Handmade 21 x 31 125 9.00 8.10 7.52

Torinoko MMN105 White or Natural 36 x 72 240 13.20 11.88 11.02 9.90Torinoko MMN105B Black 36 x 72 240 17.20 15.48 14.36 12.90Torinoko Brushstrokes 31 x 43 60 6.50 5.85 5.43 4.88 Tosa Hanga 25½ x 38 90 17.30 15.57 14.45 12.98Tosa Kasagami 15½ x 19 46 8.50 7.65 7.10 6.38Tosa Kozo #8 Natural & White 25 x 38 50 9.60 8.64 8.02 7.20Tosa Maruishi 25 x 38 100 26.10 23.49 21.79 19.58

Tosazome Purple 25 x 33 120 30.00Toyama 20 x 26 60 9.00 8.10 7.52 6.75

Uda-Gami Thin HM40 - Hiromi Collection 12½ x 58 26 18.00 16.20 15.03 13.50Uda-Gami Medium HM41 - Hiromi Collection 12½ x 58 49 22.00 19.80 18.37 16.50

Uwa Senka Small 12 x 16 55 3.00 2.70 2.51 2.25Uwa Senka Long 14 x 38½ 55 7.50 6.75 6.26 5.63

Vegetable Papers 25 x 38 40 12.00 10.80 10.02 9.00

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 8.77 7.88

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 16.53 14.85 25 x 38 27 26.40 23.74 22.03 19.79 25 x 38 41 29.34 26.41 24.50 22.01

Yukyu Natural 7 x 10 39 2.50 2.25 2.09 1.88 Zairai 24½ x 36 36 4.10 3.69 3.42 3.08


■ - conservation grade K■ - conservation grade K

■

■ ■

■ - heavyweight and internally sized for printing ■

■ - heavyweight and internally sized for printing

■ - conservation grade K ■■ - conservation grade K ■

K ■ K ■



■

■ - works well for digital printing





■ g K M ■ ■


186

KOREAHanji Colors 25 x 37 40 5.00 4.50 4.18 3.75Hanji Oiled 30 x 56 40 50.00Hanji Mulberry Mix 26 x 38 40 10.00 9.00 8.35Hanji Stone Grey 30 x 57 40 20.00

NEPALChautara Lokta Natural 20 x 26 20 2.50 2.25 2.09 1.88Chautara Lokta Natural & Colors 20 x 26 65 4.25 3.83 3.56 3.20

Jazz 19 x 29 60 5.20 4.68 4.34 3.90

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 16 x 20 (approximate) 35.00

PHILIPPINESGan 27½ x 53 18 7.70 6.85 6.34 5.69Ning 27½ x 53 18 5.80 5.25 4.82 4.33

THAILANDGarden Plain Smooth 22 x 30 100 3.75 3.37 3.13 2.81Garden Plain Rough 22 x 30 100 2.90 2.61 2.42 2.18Mulberry 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 3.00Tissue 19 x 21½ 10 1.30 1.17 1.09 0.98Tissue 19 x 21½ 25 1.30 1.17 1.09 0.98Tissue 31½ x 39 30 4.00 3.60 3.34 3.00

■ - Korean Dak■ - Oiled surface deepens in color over time■ - Korean Dak & Kozo blend■ - Korean Dak & grey stone pigment ■

■ - Nepalese gampi■ - Nepalese gampi

■ - tissue mounted on gauze makes these very strong

■ - Nepalese mitsumata M

G

G

G

G ■ G ■ G G ■ G ■ G ■ G ■ G

■ - imperfect skin membranes used for pounding gold

K ■ G ■

K K

K K K K K K K


A R T P A P E R - R O L L S J a p a n

Roll Size G/m2 PriceChiri 36 x 10 yards 36 80.00Daitoku 75½ x 22 yards 105 320.00Gampi MM 18 Natural 38 x 10 yards 15 220.00 MM 19 White 38 x 10 yards 15 142.00 MM 20 Natural 38 x 10 yards 20 315.00 MM 20 White 38 x 10 yards 20 210.00Gampi Kashiki 39 x 10 yards 8 185.50Gampi Kashiki 39 x 10 yards 19 269.00Gampi Kashiki 39 x 10 yards 25 386.00Gampi Toyo MM24 43 x 11 yards 24 79.00Haini 38 x 60 yards 5 626.00

The following Japanese papers are also sold by the yard. Roll Width G/m2 YardColor Kozo (limited stock) 38 5 19.00Gampi Kashiki 39 8 18.55Gampi Kashiki 39 19 26.90Gampi Kashiki 39 25 38.63Haini 38 5 17.40

Japan Chiri Natural100% kozo fiber. Neutral pH. Tan, with fibers and dark brown flakes.

Japan Color Kozo HPCR-CO100% 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 WhiteKozo and sulphite blend. Wide, heavyweight paper. Neutral pH.

Japan Gampi MM 18-19 / MM 20 Natural & White100% 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 Natural100% Japanese gampi. Neutral pH.

Japan Gampi Toyo MM 24 Natural95% Philippine gampi, 5% straw. Neutral pH.

Japan Haini White100% Tosa kozo. Exceptionally fine quality. White. Neutral pH.

Chiri Color Kozo Daitoku

Gampi 20 White Gampi 20 Natural Gampi Kashiki 19 gram

Gampi 19 White Gampi 18 Natural Gampi Kashiki 18 gram

Haini Gampi Toyo MM24 Gampi Kashiki 25 gram


Due to the fragility of the material, we cannot roll down more than 10 continuous yards of any paper.


Japan Haruki WhiteMachine-made in Japan from 100% Kozo. "Cloud Dragon Paper." White with long swirls of white kozo fibers. Neutral pH.

Japan Hosho Thick White100% sulphite. Thick, opaque and soft. White. Neutral pH.

Japan Kikura Kozo NaturalKozo and sulphite. Strong, cloudy formation. Neutral pH.

Japan Kinwashi White & Cream & Golden UnryuManila hemp and sulphite pulp. Smooth with fine, straw-like fibers.

Japan Kitakata Natural90% Philippine gampi. Neutral pH.

Japan Kozo-shi MM1 Natural30% kozo & sulphite. Natural. Neutral pH.

Japan Kozo-shi 206 Natural Sized & Kozo 207 WhiteKozo & sulphite blend. Neutral pH.

Roll Size G/m2 PriceHaruki 38 x 10 yards 73 142.50Hosho Thick 45 x 22 yards 140 240.00Haruki 38 x 10 yards 73 142.50Hosho Thick 45 x 10 yards 140 162.50Kikura Kozo 38 x 10 yards 21 60.00Kikura Kozo 38 x 10 yards 44 82.50Kikura Kozo 38 x 10 yards 65 123.00Kinwashi GoldenUnryu 38 x 10 yards 55 70.00Kinwashi Cream 36 x 10 yards 55 69.00Kinwashi White 36 x 10 yards 55 69.00Kitakata 38 x 10 yards 30 97.50Kitakata 16 x 10 yards 35 42.00Kozo-shi MM1 47 x 65 yards 38 475.00Kozo 206 Natural Sized 38 x 10 yards 56 62.00Kozo 207 White 38 x 10 yards 56 70.00

The following Japanese paper is also sold by the yard. Roll Width G/m2 YardKozo-shi MM1 47 38 10.85

Haruki Kikura 21 gram Kikura 44 gram

Kinwashi White Kinwashi Natural Kinwashi Unryu

Hosho Thick Kitakata Natural



Kozo-shi 206 Kozo-shi 207 Kozo-shi MM1



Japan Kozo Thick White & Natural90% kozo. Neutral pH.

Japan Kozuke White & Ivory70% kozo. Neutral pH.

Japan Kumogarashi10% kozo, 90% manila hemp.

Japan Masa Cool White & Soft White100 % sulphite. One side smooth, one side Cold Pressed. No deckles.

Japan Misu WhiteExceptionally fine, 100% Japanese kozo. Neutral pH.

Japan Mulberry& Mulberry HeavyweightA blend of sulphite and kozo. Neutral pH. White

Roll Size G/m2 PriceKozo Thick White or Natural 38 x 10 yards 70 115.00Kozuke White or Ivory 38 x 10 yards 44 60.00Kozuke White or Ivory 38 x 65 yards 44 306.00Kumogarashi 38 x 10 yards 27 69.00Masa Cool or Soft White 42 x 30 yards 77 80.00Misu 39 x 10 yards 24 178.00Misu 39 x 60 yards 24 625.00Mulberry 27 x 10 yards 26 35.00Mulberry 38 x 10 yards 26 40.00Mulberry Heavy Weight 27 x 10 yards 52 55.00Mulberry Heavy Weight 38 x 10 yards 52 75.00

The following Japanese paper is also sold by the yard. Roll Width G/m2 YardMisu 39 35 19.00




Kozo Thick White Kozo Thick Natural Misu

Kozuke White Kozuke Ivory

Japanese Mulberry Heavyweight 52 gram Masa Soft White (textured side shown above) Kumogarashi

Japanese Mulberry 26 gram Masa Cool White (smooth side shown above)


Japan Ogura Lace - Asarakusui Natural100% manila hemp. Pierced, lace-like surface. Natural tone.

Japan Okawara NaturalMachine-made of Kozo and Sulphite. Smooth one side, light texture on the other. Natural. Neutral pH.

Japan Sekishu Off-White100% 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 & WhiteA 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.

Japan Shiramine White40% Japanese kozo, 60% sulphite. Heavy weight. Neutral pH.

Roll Size G/m2 PriceOgura Lace 47 x 10 yards 27 65.00Okawara 38 x 10 yards 60 88.00Sekishu 38 x 66 yards 10 452.00Sekishu 38 x 66 yards 15 495.00Sekishu 38 x 66 yards 20 520.00Sekishu 38 x 66 yards 25 545.00Sekishu 38 x 66 yards 30 580.00Shikoku Gampi White 38 x 11 yards 110 155.00Shikoku Gampi Natural 38 x 11 yards 110 240.00Shiramine 40 x 10 yards 107 160.00Shiramine 40 x 54 yards 107 580.00

The following Japanese papers are also sold by the yard. Roll Width G/m2 YardSekishu 38 10 12.55Sekishu 38 15 13.70Sekishu 38 20 14.40Sekishu 38 25 15.10Sekishu 38 30 16.10




Shikoku Surface Gampi Deep Natural Ogura Lace - Asarakusui Sekishu 20 gram

Shikoku Surface Gampi White Sekishu 30 gram Sekishu 25 gram

Sekishu 10 gram

Sekishu 15 gram

Okawara

Shiramine


Thailand MulberryMachine-made in Thailand. 100% kozo. Neutral pH.

Thailand UnryuMachine-made in Thailand. 100% kozo. Neutral pH.

Japan Sumi-e WhiteMachine-made in Japan. Cold Pressed. No deckles. White.

Japan Tengucho WhiteVery 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 & Natural100% sulphite. Heavy weight with a durable surface. Neutral pH.

Japan Torinoko White & Natural100% sulphite. Heavy weight with a durable surface. Neutral pH.

Roll Size G/m2 PriceSumi-e 8 x 20 feet 30 8.90Sumi-e 11 x 20 yards 30 16.50Sumi-e 18 x 10 yards 30 13.50Takefu White & Natural 38 x 20 yards 100 130.00Tengucho W1 38 x 20 yards 9 60.00Tengucho 5 gram 38 x 20 yards 5 93.00Tengucho 3 gram 38 x 11 yards 3 71.00Torinoko White/Natural 79 x 22 yards 235 385.00

Roll Size G/m2 PriceMulberry Bleached 37 x 11 yards 45 56.00Mulberry Unbleached 37 x 11 yards 45 56.00Unryu White & Black 39 x 11 yards 25 58.00

A R T P A P E R - R O L L S J a p a n & T h a i l a n d


Takefu Natural (textured side seen above) Takefu White (smooth side seen above) Tengucho W1 9 gram

Sumi-e Kozo Torinoko White (textured side seen above) Tengucho Thin 5 gram

Sumi-e Hosho Torinoko Natural (smooth side seen above) Tengucho 3 gram

Thai Mulberry Un-Bleached Thai Mulberry Bleached Thai Unryu White Thai Unryu Black


JAPANESE CONSERvATION TISSUESMachine-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 HPCR50Used 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 HPCR51Almost transparent gauze similar to Atsukuchi Rayon Paper.

Japan Polypropylene HPCR52Polypropylene does not expand as much as rayon when wet.Japan Mesh Paper HPCR53For blotting, covering work areas and wrapping for storage.Roll Size G/m2 Roll YardHPCR 50 37 x 60 meters 52 160.00 4.75HPCR 51 39 x 100 meters 12 215.00 3.50HPCR 51 39 x 100 meters 18 240.00 4.00HPCR 52 39 x 60 meters 20 229.00 5.00HPCR 53 39 x 50 meters 15 Limited supply 6.00


JAPANESE INTERLEAvING TISSUESJapan Mori TissueMachine made of 100% sulphite in the Kochi Prefecture.Neutral pH, buffered tissue for interleaving. Also used for printing labels for lamination.

Japan Pure GuardMachine made of 100% sulphite in the Kochi Prefecture.Un- buffered, neutral pH tissue for interleaving. Roll Size G/m2 RollMori 35 x 50 meters 20 80.00Pure Guard 43 x 30 meters 45 100.00

A R T P A P E R - R O L L S J a p a n C o n s e r v a t i o n T i s s u e s


HPCR50 Atsukuchi Rayon Thick

HPCR51-12 Usukuchi Rayon Thin 12 gram

HPCR51-18 Usukuchi Rayon Thin 18 gram

HPCR52 Polypropylene

HPCR53 Mesh

Mori Tissue

Pure Guard

193 PAPER IS FRAGILE ! NO RETURNS OR ExCHANGES ARE ALLOWED ORDER: 800-950-6111 or: 212-473-7705.

ARCHES / CANSON / RIvES DIGITALAll 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 PhotographiqueCanson Photographique - Duo Sided - Machine made. White. Ultra-smooth surface.

Arches Digital BFK Rives - Mould made. White. Vellum surface.

Ink-jet papers Size Gr/M2 1 25 100 500Arches velin Digital 17 x 22 250 8.10 7.29 6.74 6.05Arches Aquarelle Digital 17 x 22 240 8.10 7.29 6.74 6.05Arches / Canson Edition Digital 17 x 22 310 7.70 6.93 6.41 5.76Arches / Canson Photographique Digital 17 x 22 210 6.30 5.67 5.25 4.71Arches / Canson Photographique Duo Digital 17 x 22 220 7.60 6.85 6.34 5.69Arches / BFK Rives Digital 17 x 22 310 10.00 9.00 8.35 7.50

INNOvA DIGITALMuseum 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, bright white surface.

Innova Digital Photo Smooth CottonInnova Digital Photo Smooth Cotton Duo 2-Sided - Mouldmade of 100% cotton. Ultra-smooth, white surface.Ink-jet papers Size Gr/M2 1 25 100 500Innova Photo FibaPrint 17 x 22 280 5.05 4.52 4.20 3.77Innova Photo Smooth Cotton 17 x 22 215 5.70 5.63 4.76 4.28Innova Photo Smooth Cotton 17 x 22 310 6.72 6.04 5.61 5.04Innova Photo Smooth Duo 17 x 22 255 9.90 8.87 8.23 7.39

COLORADO DIGITAL GLOSSMachine-made of 100% sulphite. Photo style in gloss finish. Neutral pH.

Ink-jet papers Size Gr/M2 1 25 100 500Colorado Digital Gloss 17 x 22 245 6.75 6.06 5.62 5.05

ENTRADA DIGITAL BRIGHT WHITEMachine-made of 100% cotton. Coated both sides. Neutral pH.

Ink-jet papers Size Gr/M2 1 25 100 500Entrada Digital Bright White 17 x 22 190 6.00 5.39 5.00 4.49Entrada Digital Bright White 17 x 22 300 6.35 5.71 5.30 4.76

D I G I T A L P A P E R S

Arches Cover Digital

Arches Aquarelle Digital

Entrada Digital

Innova Photo FibaPrint Digital

Innova Photo Smooth Digital

BFK Digital Canson Edition / Photographique Digital Colorado Gloss Digital


HAHNEMüHLE DIGITAL PAPERSMade 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 Size Gr/M2 1 25 100 500Digital Allegretto 17 x 22 210 6.35 5.73 5.31 4.77Digital Albrecht Durer 17 x 22 210 8.00 7.19 6.68 6.00Digital German Etching 17 x 22 310 8.70 7.83 7.27 6.53Digital Natural Art Duo 17 x 22 256 9.00 8.10 7.52 6.75Digital Photo Rag 17 x 22 188 7.35 6.59 6.11 5.49Digital Photo Rag 17 x 22 308 9.80 8.79 8.15 7.32Digital Photo Rag Duo-Sided 17 x 22 276 11.15 10.00 9.28 8.33Digital William Turner 17 x 22 190 7.45 6.67 6.19 5.56Digital William Turner 17 x 22 310 9.80 8.80 8.16 7.33Digital Torchon 17 x 22 285 8.25 7.39 6.86 6.16

HAHNEMüHLE DIGITAL PAPER PADS

Soft Felt - Allegretto - 160 gramCoarse Felt - Albrecht Durer - 210 gramHeavy Parchment - Torchon - 285 gram 15 sheet pads 8½ x 11 10.00


HahnemÜhle Photo Rag Digital HahnemÜhle German Etch Digitall HahnemÜhle Albrecht Durer Digital

HahnemÜhle Natural Art Digital HahnemÜhle Torchon Digital

HahnemÜhle Allegretto Digital

HahnemÜhle William Turner Digital


SOMERSET ENHANCED DIGITALMould-made in England of 100% cotton. Neutral pH. Radiant White.

Ink-jet papers Size Gr/M2 1 25 100 500Lumijet 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 8½ x 11 300 2.20 1.98 1.83 1.65Somerset Satin 11 x 17 300 4.35 3.92 3.63 3.26Somerset Satin 13 x 19 300 5.30 4.77 4.42 3.96Somerset Satin 17 x 22 300 8.15 7.32 6.80 6.10Somerset velvet 8½ x 11 225 2.20 1.98 1.83 1.65Somerset velvet 11 x 17 225 4.00 3.60 3.32 3.45Somerset velvet 13 x 19 225 4.60 4.14 3.84 3.45Somerset velvet 17 x 22 225 7.50 6.75 6.25 5.60Somerset velvet 13 x 11 yard roll 255 129.00Somerset velvet 24 x 11 yard roll 255 212.00Somerset velvet 36 x 11 yard roll 255 288.00

LUMIJET SILK DIGITAL BOOKWEIGHT DUOMachine-made. Neutral pH. Coated both sides. White.

MUSEO DIGITALMachine-made in the U.S. by Crane's of 100% cotton. Neutral pH. White.

JAPANESE DIGITAL PAPERSAsuka White & NaturalMachinemade of sulphite. Smooth surface coated on both sides. Neutral pH.Ink-jet papers Size Gr/M2 1 25 100 500Asuka White & Natural 17 x 22 48 1.80 1.62 1.50 1.35Asuka White & Natural 17 x 22 75 2.00 1.80 1.67 1.50Asuka White & Natural 17 x 22 150 3.00 2.70 2.51 2.25Asuka White & Natural 44 x 20 meter roll 48 98.00Asuka White & Natural 44 x 20 meter roll 75 132.00Asuka White & Natural 44 x 20 meter roll 150 265.00

Note: Japanese papers were scanned on black and white background to show translucency

Asuka Natural 48 gram Asuka White 75 gram Asuka Natural 150 gram

Somerset Enhanced Satin Somerset Enhanced Velvet

LumiJet Silk Digital

Museo Digital



JAPANESE DIGITAL PAPERS

AyaMachinemade 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 500Aya White 8½ x 11 125 2.40 2.16 2.00 1.80Aya White A2 16½ x 23¼ 125 7.75 6.95 6.48 5.82

Aya White 44 x 15 meter roll 125 326.25

Digital KozoMachinemade of kozo and sulphite. Translucent sheet coated on both sides for digital printing. Neutral pH. White. No deckles.Ink-jet papers Size Gr/M2 1 25 100 500Kozo White 8½ x 11 70 2.00 1.80 1.67 1.50

Kozo White 44 x 15 meter roll 70 410.00

Niyodo KozoMachinemade 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 500Niyoda Kozo White 17 x 22 25 4.00 3.60 3.34 3.00

Niyoda Kozo White 8½ x 11 48 1.25 1.12 1.04 .93Niyoda Kozo White 13 x 19 48 2.90 2.61 2.42 2.18 Niyoda Kozo White 17 x 22 48 4.50 4.05 3.76 3.38

Niyoda Kozo White 43 x 20 meter roll 48 455.00

Niyodo WhiteMachinemade 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 500Niyoda White 8½ x 11 63 1.10 .99 .92 .83Niyoda White 13 x 19 63 2.40 2.16 2.00 1.80Niyoda White 17 x 22 63 4.00 3.60 3.34 3.00

Niyoda White 43 x 20 meter roll 63 404.50


Aya White Digital

Note: Japanese papers were scanned on black and white background to show translucency

Kozo Digital

Niyoda Kozo 25 Digital 25 gram

Niyoda White Digital

Niyoda Kozo 25 Digital 48 gram


M U S E U M & C O N S E Rv A T I O N B O A R D S

197

RISING MUSEUM BOARDS100% cotton, neutral pH. / archival board. Buffered for stability. Ply Size 1 25 100 500Black 2 Ply 32 x 40 12.35 11.10 10.29 9.24 4 Ply 32 x 40 24.70 22.22 20.60 18.50 4 Ply 40 x 60 46.30 41.67 38.66 34.72

Cream, Ivory, Olde White, Polar White 4 Ply 32 x 40 18.70 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

White, Warm White, Antique, Natural, Polar White 2 ply 32 x 40 9.35 8.41 7.80 7.01 4 ply 32 x 40 18.70 16.83 15.60 14.01 4 Ply 40 x 60 35.10 31.59 29.27 36.29 8 ply 32 x 40 47.10 42.67 39.30 35.30 8 ply 40 x 60 88.50 79.65 73.88 66.34White 4 Ply 48 x 96 95.10 85.59 79.41 71.32 4 Ply 60 x 104 128.30 115.47 107.13 93.23

RISING PHOTOMOUNT BOARD100% cotton, neutral pH. / archival board. Not buffered. Ply Size 1 25 100 500White 4 Ply 32 x 40 23.20 20.88 19.34 17.37

Polar White White Antique Natural

Black Medium Grey Neutral Grey Fawn Zinc

Warm White Olde White Cream Ivory

CONSERvATION BOARD100% sulphite, neutral pH. / archival board. Buffered for stability. Ply Size 1 25 100 500Sno-White, White 4 Ply 32 x 40 12.35 11.10 10.29 9.24

Conservatiom Sno-White Conservstion White


ARCHES WATERCOLOR BOARDS100% cotton, mould-made Arches mounted onto archival board. Hot Press Cold Press

BINDER’S BOARD – ACID-FREE Neutral pH grey board.

CHIPBOARDGrey industrial pulpboard.

CORRUGATED Industrial kraft paper with 1/8" corrugated core.

FOMECORE FIREPROOFFOMECORE FOMECORE ARCHIvALTwo sheets of smooth, white paper with a foam core.

FOMECORE BLACKBlack foam with a black paper front and back.

GATORBOARDVery strong, rigid fomecore board with industrial paper backing.

MULTIMEDIA ARTBOARDA 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 BOARDInexpensive 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 BOARDSESDEE Commercial GradeMade in England. Clay-coated cardstock in inked (Black) or uninked (White). For illustration and reverse drawing.

SCRATCHART STUDENT GRADEInexpensive scratchboard for school and studio.

STRATHMORE ILLUSTRATION100% cotton, white on white illustration board available in Regular (Kid) and High (Hot Pressed) surfaces.

TASKBOARDArchitectural model-making board that is very easy to cut, sand, bend and glue. 1/16" Thick.

Board Size 1 25 100Arches Watercolor Hot Press / Cold Press 20 x 30 12.40Binder's Board .067 20 x 30¼ 3.96 3.57 3.01 .067 30¼ x 40¼ 7.20 6.49 6.02 .082 20 x 30¼ 4.96 4.46 3.76 .082 30¼ x 40¼ 9.00 8.11 7.52 .098 20 x 30¼ 5.95 5.35 4.51 .098 30¼ x 40¼ 10.80 9.73 9.03Chipboard 1/32" (#53) 29 x 45 1.35 1.22 1.13 1/16" (#27) 34 x 45 2.50 2.25 2.09 1/8" (#17) 30 x 40 4.60 4.14 3.84 3/16" (#10) 30 x 40 7.30 6.57 6.10Corrugated 24 x 36 1.45 1.31 1.22 30 x 40 1.95 1.76 1.64 36 x 48 2.80 2.52 2.34 40 x 60 3.65 3.29 3.05 48 x 96 8.50 7.65 7.10Fomecore Fireproof 3/16" 48 x 96 34.00 30.60 28.39Fomecore 3/16" Thick 8 x 10 1.20 1.08 1.00 9 x 12 1.50 1.35 1.25 11 x 14 2.40 2.16 2.00 16 x 20 2.75 2.48 2.30 20 x 30 3.05 2.75 2.55 30 x 40 4.75 4.28 3.97 40 x 60 9.60 8.64 8.02 48 x 96 16.85 15.17 14.07 1/2" Thick 48 x 96 37.50 33.75 31.31Fomecore Archival 3/16" Thick 32 x 40 10.60 9.54 8.85 40 x 60 16.40 14.76 13.69Fomecore Black 3/16" Thick 20 x 30 3.95 3.56 3.30 32 x 40 7.80 7.02 6.51Gatorboard 1/2" Thick 48 x 96 110.00 99.00 91.85Poster Board White 6 ply 22 x 28 1.03 .93 .87 Colors 6 Ply 22 x 28 1.55 1.40 1.29Scratch Board Esdee White 9 x 12 7.00 12 x 19 14.00 19 x 24 28.00 Black 9 x 12 7.50 12 x 19 14.50 19 x 24 28.50Scratch Board Scratch Art White 11 x 14 1.25 22 x 28 2.95 Black 11 x 14 1.50 22 x 28 3.50Strathmore Illustration Lightweight vellum 22 x 30 9.89 vellum Heavyweight 20 x 30 11.99 30 x 40 23.99 High Heavyweight 20 x 30 13.99 30 x 40 27.99Taskboard 20 x 30 6.00 5.40 5.01

B O A R D S


MAGNANI ARTURO - WHITESMouldmade in Italy from 100% high alpha cellulose. Neutral pH. 260 gram cards /120 gram envelopes. White or Soft White.Item Description Size 1 100 500 1000800 E Euro- style Wedding Envelope to hold envelope 700EWG 6½ x 8½ 1.30 .81 .75 .68700 EWG Euro- style Wedding Envelope with unglued flap. 6¼ x 8¼ 1.20 .74 .69 .62700 E Euro- style Wedding Envelope 6¼ x 8¼ 1.30 .84 .78 .70700 S Single "Euro- style" Wedding Card 6 x 8 .65 .39 .37 .33700 LC Folded "Euro- style" Wedding Card 7¾ x 11¾ 1.00 .62 .58 .52

600 E Invitation Envelope 4¾ x 7 .80 .50 .46 .41600 S Single Invitation Card 4½ x 6¾ .40 .23 .21 .19600 LC Folded Invitation Card 6¾ x 9 .60 .36 .34 .30600 AC Long Folded Invitation Card 4½ x 13½ .60 .36 .34 .30

500 E R.S.v.P. Envelope 3½ x 5½ .60 .36 .34 .30500 SC Single R.S.v.P. Card 3¼ x 5¼ .30 .17 .15 .14500 LC Folded R.S.v.P. Card 5¼ x 6¾ .55 .35 .32 .29

400 E Calling Card Envelope 2¾ x 4 .55 .34 .31 .28400 SC Calling Card 2½ x 3¾ .35 .21 .20 .18

7 SQE Wedding Envelope 7½ x 7½ 1.65 1.06 .98 .887 SQEWG Wedding Envelope with unglued flap 7¼ x 7¼ 1.65 1.06 .98 .887 SQS Wedding Card 7 x 7 .85 .53 .49 .44 6 SQE Invitation Envelope 6½ x 6½ 1.05 .67 .62 .566 SQS Single Invitation Card 6¼ x 6¼ .70 .42 .39 .356 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 .555 SQSC Single R.S.v.P. Card 5¼ x 5¼ .50 .31 .29 .265 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 1.14650 TC Tea Invitation Heavyweight Single Card 4 x 9 .90 .57 .53 .48650 E Tea Invitation Envelope 4¼ x 9 1.85 1.17 1.08 .97550 MC Monarch Heavyweight Card 3 x 7 .70 .43 .40 .36550 E Monarch Envelope 4 x 7½ 1.50 .94 .87 .78450 PC Heavyweight Place Card 4 x 4 .40 .25 .23 .21

S T A T I O N E R Y


FABRIANO MEDIOEvALISMouldmade in Italy from 100% high alpha cellulose with an off-white, cold pressed surface and torn edges. Neutral pH.Description Size 1 100 500 1000206 E Invitation Envelope 4½ x 7 .99 .64 .59 .53206 S Single Invitation Card 4½ x 6¾ .46 .30 .27 .25206 L Folded Invitation Card 6¾ x 9 .73 .47 .43 .39206 A Long Folded Invitation Card 4½ x 13½ .73 .47 .43 .39207 E Euro- style Wedding Envelope 6¼ x 8¼ .49 .95 .88 .79207 S Single "Euro- style" Wedding Card 6 x 8 .80 .51 .47 .43207 L Folded "Euro- style" Wedding Card 8 x 12 1.24 .80 .74 .66208 E R.S.v.P. Envelope 3½ x 5½ .71 .45 .42 .38208 S Single R.S.v.P. Card 3¼ x 5¼ .34 .22 .20 .18208 L Folded R.S.v.P. Card 5¼ x 7 .70 .45 .42 .37209 E Calling Card Envelope 2¾ x 4 .68 .44 .40 .36209 S Calling Card 2½ x 3¾ .42 .27 .25 .23

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 Description Size 1 100 500 1000800 E Envelope 6½ x 8½ 1.50 .94 .87 .79700 EWG Envelope - no glue 6¼ x 8¼ 1.35 .86 .80 .72700 E Inner Envelope 6¼ x 8¼ 1.40 .88 .82 .73700 S Single Card 6 x 8 .70 .44 .41 .37700 LC Folded Card 7¾ x 11¾ 1.15 .72 .67 .60

600 E Envelope 4¾ x 7 .90 .57 .53 .48600 S Single Card 4½ x 6¾ .45 .27 .25 .22600 LC Folded Card 6¾ x 9 .70 .42 .39 .35600 AC Long Folded Card 4½ x 13½ .65 .40 .37 .33

500 E Envelope 3½ x 5½ .70 .42 .39 .35500 SC Single Card 3¼ x 5¼ .30 .19 .18 .16500 LC Folded Card 5¼ x 6¾ .65 .41 .38 .34

400 E Envelope 2¾ x 4 .65 .39 .36 .33400 SC Calling Card 2½ x 3¾ .40 .24 .23 .20

S T A T I O N E R Y


S T A T I O N E R Y

AMALFI STATIONERYHandmade 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 Size 1 100 500Calling Card 2¾ x 3¾ .65 .40 .36

Flat Cards (Invitation) 4½ x 6½ 1.05 .63 .58Double Flat Cards (Invitation) Folds to 4½ x 6½ 1.35 .81 .75Envelope 4¾ x 6¾ 1.35 .81 .75

Long Flat Card 4¼ x 8 1.20 .72 .67Double Long Flat Card Folds to 4¼ x 8 1.50 .90 .84Envelope 4½ x 8¼ 1.50 .90 .84

Informal Note (Double RSvP) Folds to 3¼ x 5 1.05 .63 .58RSvP Card 3¼ x 5 .90 .54 .50RSvP Envelope 3½ x 5¼ 1.05 .63 .58

Amalfi Watermark Stationery Lightweight 8¼ x 12¼ 1.35 .81 .75Amalfi Watermark Stationery Heavyweight 8¼ x 12¼ 1.65 .99 .92Envelope (Fold sheets in thirds) 4¼ x 8½ 1.50 .90 .84Envelope (Fold sheets in half ) 6½ x 9 1.80 1.08 1.00

Angel Watermark Stationery Lightweight 8¾ x 12¼ 1.35 .81 .75Angel Watermark Wedding Heavyweight 8¾ x 12¼ 1.65 .99 .92Envelope (Fold sheets in quarters) 4¾ x 7 1.35 .81 .75Envelope (Fold sheets in half ) 6½ x 9 1.80 1.08 1.00

Wedding Cards Heavyweight - two deckles 6¼ x 8¾ 1.50 .90 .84Envelope 6½ x 9 1.80 1.08 1.00

Angel Watermark

Crest Watermark

3½" tall - centered at bottom of the sheet

5" tall - centered on the sheet


G L O S S A R Y O F P A P E R T E R M S

KOZOA 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. LAIDA 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 LaidRefers to a paper in which the laid lines are more prominent and spaced further apart.LB./REAMThe 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 FLAXThe 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 DRYINGDamp 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.

MACHINE-MADEPaper 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.MITSUMATAA 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.MOULDA 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.MOULDMADEPaper 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.

NEUTRAL PHThe 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 PAPERA 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.ROUGHThe natural, grainy surface of paper formed by the texture of the felts and/or dried without re-pressing.SIZINGA 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 SizingThe 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 SizingPapers are passed through a vat of solution, usually of gelatine, after their manufacture to increase resistance to moisture.SUThe removable, flexible surface of a Japanese papermaking mould. It is usually made of bamboo strips, woven together with silk cords.

SULPHITE PULPChemical 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.vELLUMA 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.WATERLEAFA paper containing no sizing.WATERMARKA 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.WOvEThe 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.



ABACAThe 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 FREEAcidic 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.)

ALKALIChemicals 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.BASTA fiber derived from the inner bark or stems of plants and includes linen, hemp, jute, ramie, gampi, mitsumata and mulberry.BLEACHINGA 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.BUFFERINGThe 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.CALENDERINGA pressing process which smooths or glazes the sheet during the finishing process.CALIPERMeasurement of thickness usually expressed in thousandths of an inch. One point or one mil equals one thousandth of an inch.CELLULOSEThe 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.

COUCHINGRefers 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."COTTONA 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 LintersThe 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 RagMade 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.

G L O S S A R Y O F P A P E R T E R M S

DAPHNEKnown 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.DECKLEThe removeable part of a paper mould which establishes the sheet size and holds the pulp in place while the sheet is formed.Deckle EdgeThe 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.DOSAMost commonly used sizing in Japanese papermaking made from animal glue and alum.

ESPARTOThe 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 SIDESurface characteristics that result from the material used to couch and dry the sheets. The felt side is considered the front of the sheet.

GAMPIA 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 DIRECTIONTerm 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.HANDMADEPrepared 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.

HEMPA 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 CELLULOSEThe purest form of wood pulp that has been processed without acids and considered to have the same longevity as cotton.HOLLANDER BEATERA 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.

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