Last Updated on : November 4th, 2025

For many artists, paper is an essential companion that supports the creative process, from initial idea sketches to the final artwork.

Other than art paper such as watercolor paper, Kent paper, and printmaking paper, Japan is home to washi (和紙), traditional Japanese paper, which carries a unique aesthetic sensibility and is made with great craftsmanship. Washi paper’s delicate and beautiful qualities have caught attention from artists both in Japan and around the world. 

Even when made from the same raw materials, washi paper varies greatly in texture and appearance depending on the region of production and manufacturing techniques. It is said that “there are as many types of washi as there are papermakers,” reflecting the profound depth of washi paper-making.

This article highlights the charm, characteristics and tips for choosing the right paper for your creative needs from the washi selection available at PIGMENT TOKYO. 

Contents The History of Paper and Washi Basic Characteristics and Preservability of Washi Paper Raw Materials of Washi Paper Shoshi (Papermaking) : How Handmade Washi is Made Paper Terminology: Units and Sizes How to Choose Washi Paper: Types and Their Features

The History of Paper and Washi Paper

The origin of paper is believed to be papyrus, which was made in ancient Egypt. The word “papyrus” is also the root of the English word “paper.” However, the papermaking method at that time was very different from today. It was made by laying the stems of the papyrus plant (a type of water grass) crosswise and pressing them together.

Other than papyrus, various materials such as wood, bamboo, leaves and animal skins have been used all over the world as materials for writing surfaces.

The earliest paper similar to what we know today was discovered in China and it was made around the 2nd century BCE. According to the “Biography of Cai Lun (蔡倫)*” in the Book of the Later Han (後漢書)*, an ancient Chinese historical text from the Han Dynasty, the raw materials used at that time included hemp cloth, recycled old fabrics, fishing nets and tree bark.

These historical backgrounds also tell us that the origins of washi paper lie in papermaking techniques introduced from the Asian continent. 

In earlier times, old hemp cloths were used as raw materials, but over time, unique Japanese materials and methods were developed. Bark of the kozo (paper mulberry) and its relative, kazinoki mulberry (broussonetia papyrifera), gradually became the primary material used for making washi.

* Cai Lun (蔡倫)… an eunuch and official of the Eastern Han Dynasty, traditionally credited with inventing or significantly improving the papermaking process.

*Book of the Later Han (後漢書)...an official historical record documenting the annals and biographies of the Later Han Dynasty (approximately 25 to 220 AD).

Basic Characteristics and Preservability of Washi Paper

Although there are slight differences depending on the types of washi, here are the basic characteristics and durability of washi paper.

Characteristics: Smooth surface

Color: Warm white or soft white

pH: Neutral to slightly alkaline

Preservability: Suitable for long-term storage and resistant to oxidation

Moisture Absorption: Excellent

*pH…  a scale that measures how acidic or alkaline a substance is, ranging from 0 to 14. It reflects the concentration of hydrogen ions in a substance.

With the development of handwriting systems, various types of paper emerged around the world. Among them, washi paper stands out for its unique combination of thinness and durability, along with exceptional longevity. This is because of the raw materials and papermaking methods called shoshi (抄紙)*.

The fibers used in washi paper are longer than the pulp fibers commonly used in machine-made paper and they create better resistance to discoloration and aging.

Moreover, in the process called shajuku (煮熟)*, the raw fibers are slowly boiled in neutral to slightly alkaline hot water, which slows down the paper's oxidation and aging.

This treatment method supports the high durability of washi paper.

Moreover, washi paper has the ability to absorb and release moisture, making it well-suited to Japan’s climate with its extreme changes between dry and humid conditions. For this reason, washi paper has long been used not only as a substrate for calligraphy and painting but also in traditional architectural elements and interiors such as shoji (paper-covered sliding windows and doors) and fusuma (sliding doors and partitions).

*Shajuku (煮熟)...A process of boiling raw plant fibers in hot water mixed with wood ash or alkaline agents (such as soda ash) to soften the fibers and remove impurities.

*Shoshi (抄紙)...The processes or techniques of making paper by hand involve scooping pulp and forming sheets.

Raw Materials of Washi Paper

In the traditional washi papermaking method called shoshi, bast fibers from plants such as kozo (paper mulberry), mitsumata and gampi are mainly used.

Bast fiber is a fiber substance obtained from the inner bark (sometimes called “skins”), which is outside the woody part of the stem.

All of these fibers are longer and stronger compared to other papermaking materials, making them well-suited for producing washi paper, which is known for its thinness and durability. 

Furthermore, depending on the paper type and purpose of use, fibers from hemp, bamboo and kuwa (mulberry or white mulberry) are utilized in the production. Nowadays, washi papers blended with kozo (paper mulberry) and wood pulp are produced as well.

Shoshi (抄紙) : How Handmade Washi is Made

Although the processes vary depending on the type of washi paper and the region where it is made, the following explanation is based on the general papermaking method for kozo mulberry paper.

Preparation of Raw Materials for Washi Paper

After harvesting, kozo (paper mulberry) is steamed and then sun-dried before being stored.

When getting ready for papermaking, the outer black bark and inner bark are peeled off.

After soaking them in water for 24 hours, the fibers are boiled in an alkaline solution. This shajuku (boiling) process is essential not only for softening the fibers, but also for removing dust and impurities.

Boiled fibers are rinsed with water several times to gently remove remaining impurities. Then, the cleaned fibers are beaten to loosen and separate them. This process is called koukai (叩解)*, breaking the fiber into paper pulp that is ready to use as raw paper material.

*Koukai (叩解) , also called Dakai (打解) is the process of beating fibers into finer pulp using a wooden hammer on a stone slab or wooden board. Nowadays, mechanical fiber beaters and powered mills are commonly used for this process.

Methods of Scooping Pulp in Papermaking

In Japanese papermaking, there are two main methods of scooping pulp: nagashi-zuki (流し漉き) and tame-zuki (溜め漉き). The choice of method depends on the type of raw materials used and what paper is made for.

◾️Nagashi-zuki Method

Most washi paper today is made with the nagashi-zuki method. This method is known for its unique scooping motion and the use of neri*, a natural viscous agent.

Using a paper mold like a frame called suketa (簀桁)*, the papermaker repeatedly scoops the pulp and moves the frame back and forth in both vertical and horizontal directions. This motion spreads the pulp evenly in thin layers, forming a uniform sheet of paper. This unique method is deeply rooted in Japanese papermaking tradition.

Note: The scooping technique can vary depending on the type of paper and the region in Japan where it is made.

*Suketa (簀桁)... A mold and deckle used in hand papermaking. It consists of two parts: the su (簀), a screen woven from thin bamboo and sedge strips using strong silk thread and the keta (桁), a frame typically made of cypress wood.

*Neri...A plant-based viscous agent used in washi making. The name may vary depending on the region.

【Neri in Papermaking】

Neri is a plant-based viscous substance extracted from the roots of tororo-aoi (sunset hibiscus) or the bark of plants like nori-utsugi (panicle hydrangea).

It is an essential material in traditional washi papermaking.

When neri is added to a large container (called sukifune, 漉き舟) with water and pulp, the mixture is thoroughly stirred, allowing the sticky nature of the neri to coat the fibers and to keep them evenly dispersed without clumping together. This results in the paper being formed as a sheet without unevenness.

Moreover, the neri slightly thickens the water, allowing the fibers to stay spread out and suspended in the water for a longer time.

◾️Tame-zuki Method

Tame-zuki is a traditional method of papermaking that has been passed down through generations.

The main difference between the two methods is that tame-zuki does not use neri.

(Note: Some types of washi made with tame-zuki may still contain neri.)

In this method, beat fine pulp created by the koudai process is used, so the pulp disperses naturally in water, then, a sheet of paper is formed with a single scoop.

After scooping the pulp, the suketa (mold and deckle) is kept still, allowing the water to drain naturally. As the pulp settles on its own, it results in a beautifully dense and substantial sheet of paper.
Tame-zuki is actually a more common method in many hand papermaking traditions outside of Japan.

Paper Terminology: Units and Sizes

In Japan, specific units are used to describe paper size and weight. Here, we introduce the main units and traditional sizes used to describe papers available at PIGMENT TOKYO.

Because the sizes of suketa (mold and deckle) vary by region, there are different variations in paper dimensions. When purchasing washi paper on our website, please check the product page for the right measurements.

Paper Units and Terms

These are the units and terms used on PIGMENT TOKYO’s product pages.

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How to Choose Washi Paper: Types and Their Features

Here are the washi papers available for purchase at PIGMENT TOKYO.

*Thickness and weight descriptions may vary by product.

*For the latest product information and details, please check each product page.

(Product details as of October 15, 2025)

In this article, each paper’s characteristics are compared with diagrams, which may help you find the right paper more easily.

Kozo Mulberry Paper

Kozo mulberry paper is categorized into several types based on paper color and whether it has been treated with dosa (a sizing agent to prevent ink bleeding).

There are several varieties that combine different features, such as colors and with or without dosa sizing, so you can choose according to your needs and preferences.

Colors of Washi : Cream / White

◾️Mizarashi (未晒): Cream

Mizarashi type has a warm white tone that reflects the color of raw kozo fiber.

It’s ideal for those who appreciate the organic look and feel of natural materials.

Note: Kozo Mulberry Paper (Unsized, Cream) and Kozo Mulberry Paper (Dosa-Sized, Cream) are made from bleached kozo fibers that are then dyed to achieve their warm white color.

◾️Sarashi (晒): White

Sarashi refers to a type of washi paper that has undergone a bleaching process, resulting in a bright white finish.

With excellent light reflectivity and vibrant color reproduction, it’s well-suited for color-focused artworks and printmaking.

There are two main bleaching methods:

・Natural bleaching: Using natural elements like sunlight, flowing water and snow. This method results in a soft, natural white color.

・Chemical bleaching: Using chemicals such as chlorine. This produces a bright, vivid white tone.

Note: The bleaching method varies depending on the product.

Sizing : Dosa Treatment

Washi can be divided into two categories based on whether it has been treated with dosa sizing to reduce ink and paint bleeding or left untreated to maintain absorbency: Dosa-Sized and Unsized (Raw).

Note: In the following paper chart, whether treated with dosa sizing or not is indicated as below:

・Dosa ×: Unsized (not treated, raw)

◾️ Unsized: No Sizing Treatment

The paper keeps the original texture and natural feel since no sizing treatment is applied to it.

Unsized paper allows paint and ink to spread and bleed freely, making it ideal for creating soft, blurred effects.
Furthermore, it is perfect for artists who want to adjust their own dosa sizing thickness and placement to paper or who want to paint with dynamic techniques like hatsuboku* (ink splashing).

*Hatsuboku (溌墨) … a traditional East Asian ink painting technique where ink is splashed or flicked onto paper or canvas to create spontaneous, expressive effects. It is often seen in sumi-e (Japanese ink painting).

In this article, you can see how dosa sizing treatment affects the way ink and watercolor paints spread out and are absorbed in washi paper.

◾️Dosa-Sized : With Sizing Treatment

Dosa-sized paper has been pre-treated with an appropriate amount of dosa solution, making it ideal for those who want to skip the sizing process or are painting on washi for the first time.

Dosa-sized paper not only reduces the bleeding of paint and ink but also improves pigment adhesion. 

It’s suitable for controlled, less bleeding painting expression and is also perfect as a drawing surface.

If you choose to apply dosa sizing yourself, you’ll need to adjust the concentration of the dosa solution and the number of coatings according to the paper’s thickness, your preferred effects, and the paint you use.

For more details on applying dosa sizing, please refer to the following article.

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[One-Day Only: November 15] Papermaking Workshop at PIGMENT TOKYO

To celebrate our 10th anniversary, PIGMENT TOKYO is hosting a special workshop in collaboration with Awagami Factory, a renowned washi manufacturer from Tokushima Prefecture.
You’ll have the chance to learn about the history, materials, and production process of traditional washi, then try your hand at making a postcard-sized sheet yourself.
This is a rare opportunity to experience and connect with paper, usually only available at Awagami’s studio in Tokushima.

By deeply understanding and engaging with paper as an artistic material, you’re sure to discover new ideas that will open up new creative avenues.

We invite you to enjoy this inspiring and educational experience!

[Special Workshop]  Awagami Factory Presents: Understanding and Experiencing Papermaking 

Date: Saturday, November 15, 2025

Venue: PIGMENT TOKYO

Time: 11:00 AM – 5:00 PM, five sessions of 45 minutes each

　　　 11:00 –11:45　12:00 –13:00　14:15 –15:00　15:15 –16:00　16:15 –17:00

Fee: JPY 3,960 (tax included, materials  included)

Age: High school students and older

Languages: Japanese and English

Reservations: Special Workshops 

*For more details, please check the reservation page.

What You Can Experience

・ A lecture on the history, materials, and production process of washi paper.

・Hands-on papermaking experience creating postcard-sized sheets

You can take home the paper you make, kept moist in a protective case and bag.

*Please note that the paper will need to be fully dried at home.

【Special Items Available Only on Event Day】

On November 15, papermaking tools and kits will be available for purchase at PIGMENT TOKYO.

Anyone visiting the store that day can buy them, including:

・Papermaking starter kits

・Suketa (mold and deckle) for postcard size paper

*Quantities are limited. 

*Please note these items are not available on the PIGMENT TOKYO online shop.

About Awagami Factory

Awagami Factory carries on the 1,300-year tradition of Awa Washi while producing high-quality washi suited to modern creative needs.

They create environmentally conscious and innovative papers such as Bamboo Washi made from bamboo fibers and PIGMENT TOKYO’s original Bamboo x Kozo Mixed Paper.

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Tengujo / Tengucho : Thin Kozo Mulberry Paper

Tengucho is an extremely thin and delicate kozo paper. Although it is primarily produced for restoration purposes, it is also widely used in art and display applications.

When applied over a painted surface, it can produce an effect similar to the urazaishiki*  technique used in silk paintings.

Note: Sold by the roll only.

*urazaishiki (裏彩色)...a traditional Japanese painting technique where colors are applied to the back side of a silk painting, creating a soft, glowing effect when viewed from the front.

Fuji Kozo Roll : Thin Kozo Mulberry Paper

This is a high-quality unbleached washi paper roll made from 100% domestically grown kozo mulberry fibers cultivated by Awagami Factory in Tokushima Prefecture.

It is a neutral paper with a pH of 7.5 to 9 or higher, making it resistant to damage caused by oxidation and excellent for long-term preservation.

Because it is unbleached, the paper has the natural texture and appearance of the kozo fiber. It is widely used in professional environments as a restoration material, for reinforcing and urauchi backing artworks, and for creating art pieces.

Tengucho Roll 3.8g/㎡ & 9g/㎡

This premium washi paper roll is made by Awagami Factory, using 100% kozo fibers.

It is a chlorine-free bleached, neutral paper with a pH of 7.5 to 9 or higher (acid-free), making it suitable for long-term preservation.

Tengujo Roll 2g/㎡

This is Tosa Tengujo paper from Hidaka Washi in Kochi Prefecture, known for its high-quality washi products. Made from 100% kozo fibers, it is one of the world’s thinnest washi papers at just 2.0 g/m².

It offers excellent durability suitable for long-term storage, preventing oxidation and aging, as it is chlorine-free, bleached neutral paper.

This ultra-thin Tengujo Roll is produced through high-precision machine papermaking technology, and has an exceptionally uniform and smooth finish, boasting transparency and lightness that make the paper almost unnoticeable.

It has been used in international restoration projects, including Michelangelo’s fresco restorations and other cultural asset restorations at museums worldwide, earning high international recognition.

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Other Traditional Washi

Mitsumata Washi Paper

This washi features a thin, flexible fiber structure made of 100% mitsumata* plant.

The paper surface is smooth and absorbs ink and paint well, making it perfect for artwork with delicate touch.

Paper quality is very high and suitable for many printmaking techniques including lithography, etching, silkscreen, and woodblock printing (both oil- and water-based) in addition to suibokuga (sumi-e ink painting ) and Nihonga (Japanese painting).

*Mitsumata(三椏)...Edgeworthia chrysantha,​​ a traditional Japanese paper fiber.

Mashi : Hemp Washi Paper

Kumohada Mashi: Kumohada Hemp Paper>

Kumohada Mashi is a durable, long-lasting paper made from a strong blend of kozo (paper mulberry) and hemp fibers. Its name Kumohada*  (雲肌), meaning “cloud skin,” comes from the unique, cloud-like texture formed by the natural intertwining of fibers during the papermaking process.

It has a soft smooth surface, enough thickness, and flexibility, offering excellent brush response and enhancing the colors of pigments and ink beautifully.

Kumohada Mashi is not only popular as a painting base, but also for calligraphy, suibokuga (sumi-e ink painting),hyoso mounting, and many other purposes.

Shin Mashi: Refined Hemp Washi Paper

Shin Mashi  is a machine-made, neutral pH washi known for its stable quality and excellent suitability for long-term preservation. It is crafted from a blend of hemp, kozo (paper mulberry), and mitsumata fibers, combining the best qualities of both Kumohada Mashi and Mitsumata paper.

Its surface texture is even finer than Kumohada Mashi, making it ideal for delicate and detailed painting techniques.

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PIGMENT TOKYO Original Washi & Japan’s Next-Generation Papers

From here, let’s take a closer look at PIGMENT TOKYO’s original washi paper, along with a selection of next-generation Japanese-made papers, each designed to inspire new forms of creativity and artistic expression.

Kozo × Mitsumata　Double Layered Paper

This dual-layered washi paper is crafted from two types of fibers:

The bottom layer uses kozo, known for its long and durable fibers, while the top layer is made from mitsumata, which features finer fibers and a smoother texture.

Kozo provides the paper with strength and flexibility, while mitsumata contributes a silky surface, soft luster, and natural whiteness.

By layering both kozo and mitsumata fibers, this refined and easy-to-handle washi achieves a perfect balance of elegance and functionality.

Bamboo × Kozo　Mixed Paper

This hybrid paper combines the strength and softness of both bamboo pulp and kozo fibers.

Bamboo × Kozo Mixed Paper offers a heavier and more durable feel compared to standard bamboo washi, allowing it to be used on its own without mounting on a board or panel.

With an exceptionally thick weight of 500 g/m², the paper cannot be rolled, but it is well-suited for printmaking techniques such as woodblock printing and lithography. 

This paper is a perfect substrate for artworks on its own, requiring no urauchi backing or reinforcement.

It features a smooth texture ideal even for writing. This expressive heavy washi is suitable for a wide range of creative applications.

Here's an article showing the images of drawing on the Bamboo × Kozo Mixed Paper with different tools.

Bamboo Washi Paper

This environmentally conscious washi paper was developed by Awagami Factory.
Bamboo washi paper is designed with a focus on excellent paint absorbency and surface quality, it offers a softer texture compared to cotton papers.

The paper is made using strong yet flexible bamboo fibers blended with recycled pulp, which is a collaboration of natural materials and modern functionality.
Bamboo grows rapidly, decomposes naturally in soil, and requires no fertilizers or pesticides. 

Its quick regeneration makes it a highly sustainable alternative that helps protect forests.

＊About “Front Side” of Bamboo Washi Paper

Unlike most paper, the side with a slightly rough texture is considered the front.

However, both sides provide excellent surfaces for painting, allowing artists to choose based on their intended expression.
Since the texture, absorbency, and adhesion of ink and paint vary between the two sides, we recommend testing both before starting your final artwork.

Bamboo Washi Paper for Suibokuga (Japanese Ink Painting) — Unsized

It maximizes ink absorbency and natural bleeding effect, allowing you to appreciate beautiful sumi ink techniques.  Compared to typical kozo or cotton papers, it features a smoother, softer quality.

You can enjoy the gentle, soft spreading of ink on the paper, creating beautiful tonal variations　reminiscent of traditional Chinese Xuan paper.

Bamboo Washi Paper for Watercolor — Strong Dosa Sizing

It is treated with strong dosa sizing to control ink and paint bleeding, allowing for vibrant colors and sharp, precise lines.
The paper’s soft surface allows for smooth brush movement, making it ideal for watercolor techniques that require minimal color bleeding.

IThis washi paper is also well-suited for lithography, etching, silkscreen, and letterpress printing.

YUPO paper α

This innovative paper is developed using Japan’s advanced papermaking technology. It offers unique creative possibilities that distinguish it from traditional washi paper.

YUPO Paper α is mainly made from polypropylene, providing excellent water resistance and high tear resistance. Its surface is ultra-fine and smooth, ensuring excellent preservation and long-term usability.

Additionally, it is designed and produced with careful consideration of environmental and resource sustainability.

Because there is no difference between the front and back sides and it does not absorb paints or inks, both sides can be used equally for paint applications.

Compatibility of YUPO Paper α with Various Art Materials

It works excellently with a wide variety of art materials, and when applying metal leaf on it, it produces a strong luster that differs from that on regular washi paper.

Moreover, to improve the permanence of your artwork after drawing on YUPO Paper α, we recommend using fixatives or other sealing sprays.

PIGMENT TOKYO Chart: Paper Thickness and Bleeding Behavior

The chart below shows the papers available at PIGMENT TOKYO, comparing their thickness and tendency to bleed when using paints or inks. Please use this as a reference when selecting paper for your artwork.

Note:

・Handmade papers may vary slightly between individual sheets.

・Bleeding behavior may vary depending on the type of art materials used.

・The bleeding levels shown here are based on a combined assessment of surface bleeding and bleed-through.

・Due to space limitations, this chart provides a general overview only. Please use it as a rough reference.

Washi is not just a material or substrate for many artists.It expands ideas and possibilities of their creativity through the process of working with them.

Choosing the right washi according to your purpose and painting technique not only enhances the quality of your artwork but also marks the first step toward bringing out your unique style.

We invite you to explore the profound world of washi and discover a sheet that will inspire and elevate your creative journey.

References

Awagami Factory

  Washi Paper Basics

HIDAKAWASHI