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

In addition to art paper such as watercolor paper, Kent paper, and printmaking paper, Japan is home to washi (和紙), traditional Japanese paper infused with a unique aesthetic sensibility and craftsmanship. Its delicate and beautiful qualities have garnered attention from artists both in Japan and around the world.

Even when made from the same raw materials, washi 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 making.

This article highlights the charm, characteristics, and tips for choosing washi paper available at PIGMENT TOKYO. You’ll find guidance to help you select the perfect washi for your creative needs.

Table of Contents The history of paper and washi paper Basic Characteristics and Longevity of Washi Raw Materials of Washi Shoshi (Papermaking) : How Handmade Washi is Made Paper Terminology: Units and Sizes How to Choose Washi: 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 aquatic grass) crosswise and pressing them together.

In addition to papyrus, various materials such as wood, bamboo, leaves, and animal skins have been used all over the world as writing surfaces.

The earliest paper resembling what we know today was discovered to have been made in China 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.

Based on this historical background, the roots of Japanese paper are thought to lie in papermaking techniques introduced from the Asian continent. Initially, old hemp cloths were used as raw materials, but over time, unique Japanese materials and methods were developed. Gradually, the bark of the kozo paper mulberry tree, a relative of the kazinoki mulberry, became the primary material for washi.

* Cai Lun (蔡倫)… a 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 Longevity of Washi

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

Characteristics: The paper surface is uniform and smooth

Color: Natural color (pale beige) or natural white

pH: Neutral to weakly alkaline

Storage: Suitable for long-term storage, resistant to oxidation

Moisture absorption: High

*pH (Pager)...Hydrogen ion index. A measure that represents acidity, neutrality, and alkalinity.

As written language developed, various types of paper were created around the world. Among them, washi stands out for its exceptional thinness, strength, and durability which are closely tied to its raw materials and papermaking methods called shoshi (抄紙)*.

The raw materials used in washi paper have longer fibers than pulp used in western paper, and are less likely to discolor or alter.

In addition, in the process called "Shajuku (煮熟)*", which softens the fibers of the raw material, the raw material is treated over time in a neutral to slightly alkaline environment, making the paper less likely to oxidize or deteriorate.

This method of treatment supports the high shelf life of washi paper.

Furthermore, washi paper also absorbs and releases moisture, making it suitable for the Japanese climate where there is a large difference in dryness and wetness. For this reason, washi has not only been used as a base material for calligraphy and paintings, but also as fittings such as shoji screens and fusuma (fusuma).

*Shajuku (煮熟)...The process of simmering the raw fibers in hot water with wood ash or alkaline chemicals (such as soda ash). This is done to soften the fibers and make it easier to remove impurities.

*Shoshi (抄紙)...The process and techniques of making paper by shaping.

Raw Materials of Washi

Traditional Japanese paper making methods mainly use bast fibers from plants such as  kozo (paper mulberry), mitsumata, and gampi skin. Bast fiber is the fibers collected from the bast, located outside the woody part of the stem.

Both have longer and stronger fibers than other paper materials, making them suitable for making thin, strong paper, which is a characteristic of washi paper.

Also, depending on the type of paper and the purpose, hemp, bamboo, and kuwa(mulberry fibers) are used. In modern times, paper is also made by mixing kozo with wood pulp.

Shoshi (抄紙) : How Handmade Washi is Made

While the process may vary depending on the type of washi and the region where it is made, the following explanation is based on the general papermaking process for kozo washi, a type of handmade Japanese paper made from paper mulberry (kozo).

Preparation of Raw Materials for Washi

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

When it is ready for papermaking, the outer black and green bark is scraped off, and the fibers are soaked in water for a full day and overnight.

 This Shajuku (boiling) process is essential not only for softening the fibers, but also for removing dusts and other unwanted substances.

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 called koukai (叩解)* is 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 the intended purpose of the paper.

◾️Nagashi-zuki Method

Most washi made today uses the nagashi-zuki method. This technique is characterized by a distinctive scooping motion and the use of neri, a natural viscous agent.

Using a  tool called a 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 pulps evenly in thin layers, forming a uniform sheet of paper. This unique method is deeply rooted in Japanese papermaking tradition.

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

*Suketa (簀桁)... A tool 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 is a vegetable mucus (paper making agent) extracted from the roots of Tororoaoi and the bark of Noriutsugi, and is an essential material for making washi paper.

Add water, paper material, and neri to the sukifune and stir well, and the slime of the neri will wrap around the fibers, dispersing the fibers without entanglement. As a result, the paper can be made evenly and neatly.

It also thickens moderately in the water, allowing the fibers to float in the water for a long time.

◾️Tame-zuki Method

A traditional method of papermaking that has been passed down through generations, tame-zuki differs from nagashi-zuki primarily in that it typically does not use neri, a plant-based viscous agent.

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

In this method, the fine pulp—created by the process of koudai ( thoroughly beating the fibers)—is allowed to disperse naturally in water. The papermaker then forms the sheet with a single scoop.

After scooping, the suketa (a screen and frame used in hand papermaking) is kept still, allowing the water to drain naturally. As the pulp settles on its own, the fibers stabilize, resulting in a beautifully dense and substantial sheet of paper.

Tame-zuki is actually the more common method in many hand-papermaking traditions outside Japan.

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Paper Terminology: Units and Sizes

In Japan, unique units are used to describe the size and weight of paper. Here we will explain the main unit descriptions of the paper handled by PIGMENT TOKYO and the sizes unique to Japan.

There are variations in sizes of the paper making tools as they vary depending on the origin. When purchasing Japanese paper, please check the dimensions on the product page.

Paper Units and Terminology

These are the units and terms listed on the PIGMENT TOKYO product page. Please refer to this when purchasing.

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How to Choose Washi: Types and Their Features

Here are the papers sold at PIGMENT TOKYO.

※Please note that thickness and weight may vary depending on the product.

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

(Product details as of October 15, 2025)

This article also summarizes each paper’s features with diagrams, which may help you find the right one.

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).

Some types combine different features, so you can choose according to your needs or preferences.

Paper color: Cream / White

◾️Mizarashi: Cream

This 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.

※This product is colored using dyes after the materials have been bleached once.

Kozo Mulberry Paper (Unsized, Cream),  Kozo Mulberry Paper (Unsized, White)

◾️Sarashi: White

This type has undergone a bleaching process, resulting in a bright white surface.

The increased light reflectivity and color accuracy make them ideal for color-based artworks and printing.

There are two main bleaching methods:

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

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

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: Whether the paper is treated with dosa sizing or not is indicated in the paper type chart as follows:

 Dosa ⚪︎: Dosa-Sized (treated)

 Dosa ×: Unsized (not treated, raw)

◾️ Unsized: No Sizing Treatment

Since no sizing treatment is applied, the paper retains its natural texture and feel.

This type of paper allows paint and ink to spread and bleed freely, making it ideal for creating soft, blurred effects.

 It’s perfect for artists who want to apply sizing themselves or who want to emphasize the paper’s fiber texture with bold, dynamic techniques like Hatsuboku* (a sumi ink technique).

*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’s especially common in sumi-e (Japanese ink painting).

In this article, you can see how the ink and watercolor paint spreads differently depending on whether or not the dosa is treated.

◾️Dosa-Sized : With Sizing Treatment

This paper has been pre-treated with an appropriate amount of dosa sizing, making it ideal for those who want to skip the sizing step or are using washi as a substrate 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 effects and can be used as a drawing surface.

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

For more details on applying dosa sizing, please refer to this 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: 11:00-17:00 45 minutes each session / 5 sessions in total
    11:00 –11:45　12:00 –13:00　14:15 –15:00　15:15 –16:00　16:15 –17:00

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

 Age: High school students and older

 Languages: Japanese and English

*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 Products Available on Event Day Only

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 (screen frames) in postcard size

*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 : 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 deterioration caused by oxidation and excellent for long-term preservation.

Because it is unbleached, the paper retains the natural texture and appearance of the kozo fiber. It is widely used in professional settings such as restoration materials, reinforcement and backing of artworks, and the creation of art pieces.

Tengucho Roll 3.8g/㎡ / 9g/㎡

This is a premium washi paper roll 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.

Tengucho 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.

Chlorine-free bleached and neutral pH, this paper offers excellent durability suitable for long-term preservation, preventing oxidation and deterioration.

Produced with high-precision machine papermaking technology, this ultra-thin washi has an exceptionally uniform and smooth finish, boasting transparency and lightness that make the paper almost imperceptible.

It has been used internationally in cultural heritage restoration projects, including Michelangelo’s fresco restorations and in museums worldwide, earning a prestigious reputation.

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Other traditional Washi

Mitsumata Paper

It 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 printing making techniques including lithography, etching, silkscreen, and woodprinting in addition to suibokuga  (ink painting ) and Nihonga (Japanese painting).

Hemp paper

Kumohadamashi : Kumohada Hemp Washi Paper

Kumohadamashi is made from strong fibers of kozo and hemp, making it highly durable and long-term storage possible.

The unique texture created by the intertwining of fibers creates a cloud-like look, and its name comes from its name.

The paper texture is almost smooth, yet maintains a natural texture, combining firm thickness and flexibility. The brush texture stands out, and the pigments and ink color are beautifully finished. This is a versatile paper that is not just about artworks, but also has a wide range of uses, including calligraphy, ink painting, and covering.

Shin-Mashi: RefinesdHemp Washi Paper

Shin-mashi is a neutral washi paper made by a machine, with stable quality and suitable for long-term storage. Hemp, kozo and sansui are used as raw materials, and they combine the advantages of both Unhana Hemp Paper and Sansui Paper. The texture is even more fine than the cloud-hashi hemp paper, and the paper quality can be used for finer expressions.

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PIGMENT TOKYO original paper material and next-generation paper made in Japan

We will introduce original paper materials proposed by PIGMENT TOKYO, as well as next-generation Japanese paper that will lead to the creation of new works.

Kozo x Mitsumata Double Layered 3×6 size

It is made in a t Double structure, with long and durable kozo on the bottom layer, and fine and smooth kozo on the top layer. While the kozo gives the paper a firm strength and firmness, the kozo gives the paper a smooth surface, creating a soft luster and natural whiteness. This is an elegant and easy-to-use two-layer paper that makes use of the characteristics of Kozo and Mitsumata.

Bamboo x Kozo Mixed Paper

This is a hybrid paper made from a mixture of bamboo pulp and kozo, which combines strength and softness.

It has a heavier and stronger feel than regular bamboo washi paper, and can be used alone without sticking it to the backing.

The paper is extremely thick at 500g/㎡, so it cannot be rolled up, but it can also be used for prints and lithographs, and can be used as is for work without lining or reinforcement.

It has a smooth texture that is suitable for writing, and a firm thickness and firmness, making it an expressive paper suitable for a variety of purposes.

This article introduces the use of bamboo and kozo mixed paper with sample images.

Bamboo Washi Paper

This is an environmentally friendly washi paper developed by Awagami Factory.

It emphasizes the good absorption of paint and the appearance of the surface, and is characterized by a softer texture than cotton paper.

Made with strong, flexible bamboo fibers and recycled pulp made from recycled materials, it combines natural materials with modern functionality.

Bamboo grows quickly and is easily decomposed naturally in the soil, and does not require fertilizers or pesticides. Because it regenerates quickly, it is one of the materials that is attracting attention as an alternative resource to protect forests.

*About the front of Bamboo Washi Paper

Unlike typical paper, the slightly rougher ones are finished as the surface.

However, since the back side can also be used, you can use both sides differently depending on the expression and purpose.

The feel of the brush and the absorption and texture of the paint and ink differ, so please try the surface you like before actually creating it.

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

It makes the most of the absorbency of ink and the beauty of its bleed. Compared to ordinary kozo paper and cotton paper, it has a softer texture.

You can enjoy the natural bleeding and rich ink colors, similar to the Chinese main art paper.

Bamboo Washi Paper for watercolor  (with Dosa-Sized/strong dosa)

It has a strong anti-bleeding treatment, creating beautiful color and sharp lines.

The surface is smooth and the brush can be carried smoothly. It is also perfect for watercolor expressions that want to reduce bleeding.

It can be used for a wide range of purposes, including watercolor painting, lithograph, copperplate painting, silkscreen, and letterpress printing.

YUPO paper α

This is a new type of paper developed using Japan's advanced papermaking technology. It has different possibilities for expression than Japanese paper, expanding the range of creativity.

The main ingredient is polypropylene, which is resistant to water and is resistant to tears, and the surface is smooth and has high storage properties. It also takes into consideration the environment and resources.

Furthermore, there is no difference between the front and back, and it is less likely to bleed or affect paint or ink, so both sides can be used.

Compatibility between YUPO Paper α and various art supplies

It goes well with a variety of colouring materials, and using foil stamping techniques allows you to create a unique texture that is different from that of ordinary paper.

In addition, we recommend using fixing solutions such as Fixa Chief to improve fixing after drawing. 

Compatibility with YUPO Paper

PIGMENT TOKYO Paper Tickness × Color Bleeding Control

This chart compares the "thickness" and "tendency to bleed with paints or inks" of papers available at PIGMENT TOKYO. Please use it as a reference when selecting paper.

*Please note that due to the handmade nature of certain papers, individual variations may occur.
*The degree of bleeding may vary depending on the type of paint or ink used.
*Bleeding in this chart refers to a combination of both "bleed-through" and "feathering."
*Due to space limitations, this chart provides only an approximate placement. Please use it as a general guide.

Wash paper is not just a material or a base material, but rather an object that expands the possibilities of expression by interacting with the work.

Choosing the most suitable piece according to your purpose and technique is not only a great way to improve the perfection of your work, but also bring out your own unique expression.

Please come and experience the deep world of washi paper and find a piece that will bring new life to your creations.

References

Awagami Factory (Fuji Paper Company Association)

Awagami Factory（Online store）

和紙のいろは（Japanese Only）
washi paper basics

Hidaka Washi Limited Company

Hidakawashi