Aged Gampi: Machine-made in small sheets of 100% gampi, it has a beautiful silky feel and is very thin, only 9 grams. An excellent choice for chine-colle, collage, and drawing.
Gampi Double-Sided: Machine-made in very large sheets of 100% Philippine gampi. Double-Sided is 2 sheets of Kitakata plied together, which gives it extra weight (70 grms) and substance. A good choice for drawing, printing or painting on both sides and is used by printmakers and book artists.
Gampi Etching: Handmade with a top layer of 100% Japanese gampi and the bottom layer is a mix of cotton and sulphite (260 grms). This paper is best used only slightly damp rather than completely wet and, as intended, picks up every nuance from inked copper, zinc, or plexi plate.
Gampi Silk Tissue: Machine made of 100% gampi (12 grms). Good for monoprinting, this smooth thin tissue picks up every detail. Gampi fibers are long and strong, which makes this paper great for chine-colle, collage and ink drawing.
Gampi Smooth: Machine made in large sheets of 100% gampi (32 grms). This smooth paper has a warm tone, beautiful sheen and small bits of darker bark called “chiri” in it. Great for printmaking of all kinds, drawing and calligraphy.
Gampi Tissue: Machine made of 100% Japanese gampi , these smooth sheets are very thin (only 12 grms) and can be used with watercolors, high flow acrylics, silk paint and sumi ink.
Gampi Torinoko: Handmade, midsize, natural color, smooth sheets of 100% gampi (90 grms). A good choice for soft graphite, watercolor paints, watercolor crayons, acrylics, silk paints and sumi ink.
Kitakata: Handmade of 100% Philippine gampi and available in a natural color (tan) or a soft muted light green (30 grms). This very smooth paper is great for chine-colle, block printing, or book repair/restoration.
Seikosen Mitsumata: This handmade 100% mitsumata fiber paper comes in a huge size (40 grms). It has a nice subtle, creamy color and is very soft and absorbent. This makes it a particular favorite for Japanese printmaking and sumi writing.
Ginwashi: Made of 100% abaca fiber, this paper is a good choice for watercolors, liquid acrylics, silk paint and sumi ink.
Kinwashi: Machine made of 100% manila and embedded with short fibers, this large size paper is available in white or natural. One side is smooth and the other is slightly textured, which makes it a good choice for block printing, chine-colle, and any other decorative application. And, it happens to be the very first paper Verra, our paper guru, purchased from Wet Paint many moons ago.
Hosho: Wet Paint stocks both the professional (85 grms) and student grade (95 grms) Hosho. These handmade sheets are white in color and made of 100% sulphite with a very soft texture. The student grade Hosho has a slightly coarser texture than the professional, but both work well for embossing and block printing.
Kiraku: A beautiful large sheet of 100% kozo that does well with graphite, soft pastels, watercolor, fluid acrylics and sumi ink. The sheets are a soft white color (35 grms).
Masa: A machine made 100% sulphite white paper that is smooth on one side and slightly textured on the other (86 grms). This paper does well with screen printing, block printing, and sumi ink.
Mino: A machine made paper that is available in white and several other colors (60 grms). Similar to Masa, this paper is smooth on one side and slightly textured on the other and is great for screen printing, block printing, and sumi ink.
Nishi Kaji: Another gorgeous sheet! Handmade from 100% kozo and acid free, this sheet is a beautiful natural color and large in size. Great for block printing, can be used for decorative applications and it does well for chine colle, too (30 grms).
Nishi Nochi: Available both in white and natural colors, these sheets are handmade from 100% Japanese kozo. Wonderful for drawing, painting, and all types of printmaking (56 grms).
Okawara: Wet Paint stocks 3 kinds of Okawara- a handmade (60 grms), machine-made (55 grms), and a student grade (40 grms) version. They are all made from kozo fiber, but the handmade is 100% kozo, whereas the other two are a kozo/sulphite mix. They are also all a beautiful off-white color and acid free. Each has slight differences in their surfaces, but all do well with block printing. The handmade is available in 2 sizes, one small and a long and narrow scroll shape.
Tengu-jo: Wet Paint stocks white and a nice range of colors. Machine-made of 100% Japanese kozo (12 grms). The white is available in a large sheet and the colors are a midsize sheet, but all are quite thin and the white is generally regarded as the thinnest paper available for book repair. Tengu-jo tissue is excellent for conservation of documents, and great for chine-colle and collage.
Thai Mulberry: A line of machine made, large size, 100% kozo papers that are acid free (45 grms). Thin, but strong, sheets that are a “go-to” paper for both professionals and students and the bleached (white) and unbleached (off white) are best sellers. These papers are economically priced, has 2 sides (smooth and slightly textured), and are great for block printing, silkscreen, and woodcuts. We’ve had a customer tell us she enjoyed working with sumi ink on the sheet, and have also tried gravestone rubbings on this paper and it worked great! A very versatile paper that is available in 2 whites and 6 other colors.
Usu Kuchi: Wet Paint stocks 2 weights of this paper- a thin (21 grms) sheet or heavy (31 grms) sheet. Both are available in a large size, are machine made from 100% kozo, and are acid free. An excellent very absorbent and translucent sheet for chine-colle, but also take dyes and pigments beautifully.
Uwa Senka: This handmade 100% kozo paper is acid free and comes in a long, narrow sheet (55 grms). Great with graphite, soft pastels, watercolors, fluid acrylic, and sumi ink.
HAVE A PAPER INQUIRY OR REQUEST? CONTACT US!