Washi: Traditional Japanese Paper That Lasts for Centuries
What Is Washi and How It’s Made
Washi is a type of handmade paper from Japan. It’s made using natural fibers pulled from the inner bark of specific plants. These include the kōzo plant, which is a type of paper mulberry, the gampi tree, and the mitsumata shrub. These fibers are what make washi stronger and more flexible than regular wood pulp paper.
It’s not made in a factory like standard printer paper. Washi is crafted by hand, using a slow and careful process that’s been passed down through generations. Because of how it’s made, the paper comes out tougher, smoother, and far more durable. This makes it a preferred choice for both practical use and delicate art forms.
Washi in Japanese Art and Daily Life
Washi has deep roots in Japanese culture. It’s not just art paper. It was used for everything from clothing and toys to household items and ceremonial decorations. Artists made origami, Japanese calligraphy (called shodō), and woodblock prints (known as ukiyo-e) on washi. Shinto priests used it for their robes, ritual tools, and even for making paper statues of the Buddha.
This paper is also known for being incredibly long-lasting. Museums and libraries around the world use washi to restore and preserve old books, documents, and paintings. Institutions like the Louvre and the Vatican count on washi because it holds up for over a thousand years. It’s thin, but not weak. It bends without breaking and can be removed cleanly with just a little water. That’s why conservators trust it.
In 1998, athletes who won medals in the Winter Paralympics were given wreaths made from washi. That might seem like a small detail, but it shows how the material is still respected and celebrated today.
How Washi Evolved Over Time
Paper first arrived in Japan from China through Korea around the 7th century. But the Japanese didn't just copy it. They adapted and improved the technique during the Heian period. Around the early 800s, they developed a method called nagashi-suki, which added a thick, glue-like substance called mucilage to the mix. This was an upgrade from the earlier tame-suki method and helped make the paper even stronger.
Thanks to this change, washi became more than just writing paper. It started showing up in religious rituals. People used it to make paper streamers like gohei, ōnusa, and shide at Shinto shrines. It also became a decorative element. Books like the Kokin Wakashū were covered in washi lined with gold and silver, turning them into beautiful keepsakes as well as texts.
Washi’s Role in Ceremonies and Culture
In the Muromachi period, washi found a new role in formal settings. Samurai families used it for ceremonial origami at weddings and during gift exchanges. By the time of the Sengoku and Edo periods, origami had become a form of entertainment too. People folded paper cranes and other shapes just for fun. That’s when recreational origami really took off.
Washi also played a big part in Japan’s print culture. During the Edo period, it was used to make books and woodblock prints for everyday people. These weren't high-end art pieces. They were mass-produced and affordable, yet still made on sturdy, handmade paper. Washi was essential for getting stories, news, and images into the hands of regular folks.
Washi as a Cultural Treasure
Because of its long history and connection to Japanese identity, washi is recognized by UNESCO as an intangible cultural heritage. That means it’s seen as a craft worth protecting, not just for what it is but for how it’s made and what it represents. Washi isn’t just paper. It’s part of a centuries-old tradition that blends art, utility, and care for materials.
How Washi Is Made: A Hands-On Process Rooted in Winter Work
Washi is made in a way that looks a lot like how regular paper is made, but the difference is in the details. Most of the work is done by hand. The process is slow, careful, and usually done in the cold months. Winter is tradition; it’s necessary. Cold, clean water plays a big part in making strong, high-quality washi. The chill keeps bacteria from breaking down the fibers, and the cold tightens the fibers, which gives the finished paper that sharp, crisp texture people look for.
For centuries, farmers in Japan took on this task during the off-season. Making washi was winter work that helped bring in extra money when farming paused. That seasonal rhythm is still part of washi’s story.
From Mulberry Branch to Finished Fiber
The main ingredient in washi is the paper mulberry plant. It’s used more than any other fiber. The branches are first boiled, then the bark is stripped off and dried. After that, the fibers go through another round of boiling, this time in lye. This step removes anything that would weaken the paper, like starch, fat, or tannins. Once boiled, the fibers are washed clean in running water to get rid of the lye.
After that, the fibers are bleached. This can be done chemically, or the old-school way: by laying the fibers in a protected part of a stream and letting sunlight and water do the work. Any bits of bark or dirt that are still stuck in the fibers are picked out by hand, one piece at a time. Then the clean fibers are laid out on flat rocks or boards and beaten until soft.
Turning Plant Pulp Into Washi Sheets
Once the fibers are ready, they’re rolled into wet pulp and mixed in a vat with water. Something sticky needs to be added so the long fibers don’t clump together. Traditionally, this thickener is neri, a jelly-like substance made from the roots of the tororo aoi plant. Some papermakers now use a synthetic version called polyethylene oxide, or PEO.
From here, there are two ways to form the sheets of paper. The first is nagashi-zuki, where the pulp mixture with neri is scooped onto a screen and shaken lightly. This method makes thin, delicate sheets. The second is tame-zuki, which skips the neri and produces a thicker paper. Both techniques involve spreading the fibers evenly by hand so the sheet dries smooth and strong.
Each sheet of washi goes through this slow and steady process, from raw plant to finished paper. That’s what gives it its character and strength.
Complete List of Washi
Awa Aizomegami and Awajigami
Awa Aizomegami is blue‑dyed Awa paper from Tokushima. It uses indigo dye and kozo fibers. It feels soft but resists tearing and moisture. Craftsmen use it for decorative paper and stationery.
Awajigami, or Awagami, covers all washi from Yoshinogawa in Tokushima. It is thin yet strong. It can be dyed, printed, used in crafts, or ink‑jet printing. The mill has over eight generations of experience.
Bashōshi, Bitchū Torinokogami, Birutangami
Bashōshi is paper made from banana‑plant fibers. It is slightly textured and used for artistic crafts.
Bitchū Torinokogami hails from Okayama. It is bright, smooth, and used in print and calligraphy.
Birutangami is from Hida region. It’s known for a fine, uniform finish. It molds well for lanterns and screens.
Chigusagami, Chirimen, Chochingami
Chigusagami is decorative paper printed with botanical or seasonal motifs. It’s used for gift wrap and origami.
Chirimen or Chirimengami is crepe‑textured paper. It feels like silk crepe. It folds easily into smooth, ruffled shapes.
Chochingami is thick, durable paper used in lantern construction. It holds shape and filters light softly.
Danshi
Danshi is creased, ribbed paper. It dates back to 746 CE. Artisans added tiny wrinkles to create texture. It was once used for official notices. Today it’s prized for gift wrapping and craftwork in Echizen.
Etchu Washi and Related Types
Etchu washi is made in Toyama Prefecture. It’s known for its natural tone and durability. It uses kozo, mitsumata, and gampi fibers.
Etchu Katasomegami is decorated with stencil patterns. It’s used in textile arts and printmaking.
Echizen Bijutsu Kogeishi refers to decorative arts paper from Echizen. It carries embossed or printed patterns for crafts.
Echizen Hoshoshi and Torinokogami
Echizen Hoshoshi is official document paper. It’s made from 100 % kozo. It feels warm, strong, and clean. Samurai and nobles used it. It remains a top‑quality paper
Jackson's Art Supplies.
Echizen Torinokogami, or bird‑child paper, is named for its smooth, off‑white tone. It resists insects and ages well. It’s used for prints, screens, and diplomas.
Edo Chiyogami and Karakami
Edo Chiyogami is colorful printed paper from old Tokyo. It features repeating designs. It’s used in origami, décor, and packaging.
Edo Karakami is stenciled wall paper used in interiors. It has floral or geometric motifs, often gilt.
Gokayama Washi
Gokayama washi is handmade in Gokayama village, known for heavy snowfall. It is thick, textured, and ideal for binding, repair work, and restoration. It stands up to moisture and age like other mountain papers
Haigushi, Honminogami, and Hosokawagami
Haigushi is a rare, regional washi known for its rustic texture and slight warmth. It has a soft feel and subtle natural color from local fibers. Craftsmen use it for art and interior surfaces where a quiet, organic vibe is desired.
Honminogami is a high-grade, plain sheet prized for its clean surface and stability. It’s made from pure fibers, beaten finely for uniformity. This paper is common in calligraphy and painting. Its crisp finish makes brushstrokes sharp and precise.
Hosokawagami comes from a historic papermaking village. It’s a thin, almost translucent washi with fine texture. It’s strong despite the delicate look. Makers use it in restoration and overlays, as well as crafts that need a lightweight, elegant paper.
Inshu Gasenshi and Ise‑Washi
Inshu Gasenshi, also called Inshu washi, comes from eastern Tottori Prefecture. Artisans have been making it for over 1,000 years. It blends mulberry, mitsumata, and gampi fibers using cold, clear stream water. The result is soft and flexible, yet durable. Calligraphers love it because ink flows smoothly and brushes glide twice as fast. It is used for shoji screens, calligraphy papers and crafts, staying true to traditional craftsmanship.
Ise‑Washi comes from Mie Prefecture and is famous for its stencil‑cut patterns (katagami). It’s often referred to as Ise‑katagami when used as a stencil template. Ise‑Washi is sturdy and precise. It holds cut shapes cleanly and resists fraying. Artisans use it for kimono textiles, stencils, and decorative papers.
Iyo Hoshoshi and Izumo Mingeishi
Iyo Hoshoshi is a fine writing paper made in Ehime Prefecture. It’s smooth and tight, ideal for official letters and printing. It resists ink bleed, giving sharp, clean results. The weight and finish feel substantial, even as a handmade sheet.
Izumo Mingeishi, also called Izumo folk craft paper, comes from Shimane Prefecture. Its paper‑making tradition dates back to the Tempyo era. It blends kozo, gampi, and mitsumata. The result is strong, glossy, and resistant to insects and decay. Artisans use a subtle nagashi‑zuki method with less neri for a refined feel. It’s used for fine stationery, prints, lamps, book covers, and business cards.
Jumonjigami
Jumonjigami is a spiritual washi used in religious settings and temple usage. It is treated with rites, often inscribed or stamped with sacred symbols. It has a protective reputation, used in talismans or as offering paper. The texture is sturdy but gentle, meant to carry spiritual meaning as well as words or prayers.
Maniaigami
Maniaigami, also known as Najioshi, is a coarse, sturdy paper made by mixing minerals like clay into gampi fibers. It was used for sliding doors and folding screens. Its rugged texture made it ideal for decorative, functional surfaces.
Marumorigami
Little documentation exists online, but Marumorigami likely refers to a local handmade variety. Artisans may add unique textures or finishes. Without clear sources, it's safe to say it’s a niche, regional specialty.
Mashi
Mashi is another lesser-known type. It seems to be a local, handmade paper distinguished by subtle texture changes. Exact details are scarce online, suggesting it’s rare or used in limited crafts.
Mimitsugami
Not widely documented in public sources. Likely a niche, locally produced paper with unique fiber mix or local heritage. Specific details are unavailable online.
Mino Bijutsu Kogeishi
A decorative art paper from Mino city. It features embossed patterns or printed motifs. It is used in crafts, book covers, and artwork.
Mino washi (Minogami)
Made in Gifu’s Mino region from kozo, mitsumata, and gampi fibers. Known for its whiteness, thinness, toughness, and translucency. Production began in the Nara period and is still UNESCO‑protected. Used in shoji screens, lanterns, fans, art, and document restoration worldwide.
Misugami
No detailed info found on mainstream sources. Likely a small local variety with unique texture or purpose.
Miyachigami & Miyamagami
These appear to be region-specific washi papers. Details aren’t found online, suggesting they are rare or artisan-led small-batch papers.
Momigami
A lightly kneaded or crumpled paper that becomes soft and leather-like. It molds easily into shapes and is used in crafts and bookbinding.
Najio Torinokogami
A strong, smooth “bird child” paper from Najio region, used like other Torinokogami: bright, off‑white, resistant to insects, often for prints and diplomas.
Naogami
Little information available. Likely a regional paper similar to Torinokogami with local characteristics.
Nishijima Gasenshi
No detailed records online. Likely a local paper variant made in Nishijima, possibly gasenshi style, meaning recycled or rougher base.
Nishi no Uchigami
Sparse data found. Likely refers to washi from Nishi-no-Uchi area, a local craft paper with regional features.
Obara Bijutsu Kogeishi
A decorative craft paper from Obara region. It’s embossed or printed for use in art, scrolls, and crafts.
Ogunigami
No clear data found. Likely a local paper variety.
Ohmi Ganpishi
Traditional glossy paper made from gampi fiber in the Ohmi region (present-day Shiga Prefecture). It resists insects and aging, ideal for calligraphy and art.
Sanchushi
No mainstream data available. Likely a small local or artisan paper type.
Sekishu Hanshi
A high-quality writing paper from Sekishu (Shimane Prefecture). Known for smooth surface and fine texture, used for calligraphy and formal documents.
Senkashi
Little documented. Probably a niche, regional paper, perhaps handmade for artistic use.
Shinsatsushi
Rarely mentioned online. Likely a specialty paper variant.
Shiroishigami
Paper from Shiroishi region. Possibly strong and thick, used for craft or restoration.
Shuzenjigami
Sparse information. Likely refers to handmade paper from Shuzenji area in Shizuoka Prefecture.
Sugiharagami (Suibaragami)
Made since medieval times by adding rice flour to kozo fibers. Smooth texture, once used by the warrior class.
Suruga Yunogami
A paper from Suruga region (Shizuoka). Details scarce online but likely tied to Yunogami town heritage.
Tosa Washi, Tosa Bijutsu Kogeishi, Tosa Shodō Yōshi, Tosa Tengujyoshi
Tosa washi comes from Kochi Prefecture, especially around Tosa City and Ino. It’s one of Japan’s top three papers, alongside Echizen and Mino. It’s incredibly thin yet strong. Some sheets, like Tosa Tengujyoshi, measure just 0.03 mm - among the world’s slimmest. Makers use mulberry, mitsumata, and gampi fibers, plus pristine river water, to reach that fine strength.
Tosa Bijutsu Kogeishi is the decorative art branch of Tosa paper, often embossed or colored for crafts.
Tosa Shodō Yōshi is the writing variety, made smooth and absorbent for calligraphy.
Tosa Tengujyoshi is that super-thin form used in restoring cultural items and conservation work.
Tozanshi, Tsurutagami
Tozanshi is a regional paper; details on its origin and use are sparse. It likely comes from local kōzo fibers and displays the same durability as other handmade Japanese papers. Tsurutagami, literally “crane paper,” is named after its smooth, radiant surface. Craftsmen use it in decorative arts like lanterns and screens, where light and texture both matter.
Udagami, Uchiyama Shojigami, Usuminogami
Udagami, also called Kuzugami, comes from Yoshino in Nara. It is soft, elastic, and resists insects thanks to clay added during the process. It holds shape well when rolled, making it a favorite backing for hanging scrolls.
Uchiyama Shojigami is handmade around Uchiyama; its name suggests use in shoji screens, prized for smooth texture and translucency.
Usuminogami, or thin Mino paper, originates from Gifu. It’s ultra-fine, almost tissue-like, yet durable. Its lightweight nature makes it perfect for delicate crafts or intricate printwork.
Wakasa Katasomegami
This stencil-dyed paper comes from the Wakasa region. Artisans use carved templates to apply patterns, typically floral or geometric, onto paper. The result is vivid, reusable decorative sheets used for gift-wrap, screens, and interior art.
Yamegami, Yanagifugami, Yasudagami, Yoshinogami
Yamegami comes from Yame in Fukuoka Prefecture. It tends to be durable and multipurpose, used for crafts, lanterns, and restoration - a local staple.
Yanagifugami is a willow-fiber paper, with gentle texture and resilience, ideal for printmaking and handmade books.
Yasudagami is from Yasuda, likely Kochi’s Yasuda town. It carries local fiber blends for strong, slightly coarse sheets used in packaging and crafts.
Yoshinogami, from Yoshino in Nara, is made alongside Udagami. It undergoes the "Subuse" process (pre-pressing while wet) to tighten fibers and control size changes. The end result is a fine, smooth sheet used in lacquer filtering or scroll backing.
Ganpishi: Japan’s Rare Handmade Paper from the Wild Ganpi Plant
What Ganpishi Is and Why It’s Rare
Ganpishi is a traditional Japanese paper made from the fibers of the ganpi plant. This plant is naturally found in the wild and isn’t easy to grow, which is why ganpishi has always been made in small batches. Compared to mulberry paper (called choshi) and hemp paper (mashi), ganpishi has always been the rarest of the three.
This paper used to be called hishi, and it’s known for its glossy surface. It holds up well over time and resists insects, which makes it especially valuable for preserving writing and artwork. Ganpi fibers are naturally smooth, so the paper has a soft, even texture that works well for brushwork and fine calligraphy.
Ganpishi in Ancient and Heian-Era Japan
Some of the oldest papers in Japan, including those stored in the Shōsōin archive, were made with a mix of ganpi and mulberry fibers. This blend gave the paper both strength and smoothness.
During the Heian period, high-quality ganpishi was called usuyou. This type of paper was thin and elegant. Court women used it for writing letters and poems in kana script, and also for wrapping gifts. Ganpishi wasn’t just practical. It was also beautiful. Decorative versions were created during this time, showing just how much attention went into making it not only useful but visually refined.
Ganpishi Variations in the Kamakura and Muromachi Periods
By the Kamakura and Muromachi periods, two main types of ganpishi had taken shape. One was torinokogami, or “chicken paper.” It got this name because of its soft yellow tint, similar to an eggshell. The other was maniaigami, which translates to “paper that fits the space.” This version was sized to match half a fusuma screen panel.
When used for screen coverings, artisans added powdered stone to the paper. This reduced its stretchiness and made it fire-resistant, which was useful for interiors. Aside from writing, ganpishi was also used for painting, and even by Christian missionaries in Japan as parchment.
Ganpishi Production Through the Edo Period
In the Edo period, ganpishi was made in ten regions across Japan. But only two areas kept producing it without pause: Echizen, now part of Fukui Prefecture, and Settsu, in modern Osaka. These regions became known for their steady craftsmanship and quality output.
Over time, as modern paper-making took over, ganpishi production dropped fast. Still, it didn’t disappear completely. Today, it’s mostly used for specialty crafts, calligraphy on fusuma screens, and gilded paper that has gold added to its surface.
Modern Ganpishi and Its Role in Craft Revival
Ganpishi found a new audience in the 20th century, thanks to the work of Abe Eishirō. He was a master papermaker born in 1902 who created thick, high-grade ganpishi that drew praise from Yanagi Muneyoshi, the founder of Japan’s Arts and Crafts movement. Yanagi admired Abe’s work, which helped start a new wave of interest in traditional craft papers.
This revival didn’t turn ganpishi into a mass product. It stayed rare, but its value grew among artists and collectors. People today still use it for handcrafts, calligraphy, and specialty decorations. Even in limited supply, ganpishi remains one of the most prized and refined handmade papers in Japan.
Kōzogami: Handmade Japanese Tissue Paper from the Kōzo Plant
What Kōzogami Is and Why It Matters
Kōzogami is a traditional Japanese tissue paper made from the inner bark of the kōzo plant, also known as the paper mulberry tree. It's a thin paper, but don’t let that fool you. It’s incredibly strong and flexible. The long fibers from the kōzo bark are what give the paper its durability. That’s why it’s one of the most widely used materials in traditional Japanese papermaking.
Japanese tissue made from kōzo comes in different colors and thicknesses. It's perfect for repairing books and artworks, thanks to how stable and tear-resistant it is. Most conservation work involving paper uses kōzogami because it holds up well over time. Though papers made from gampi and mitsumata are also used, kōzo is the go-to material for book mending, printmaking, and restoration.
And it’s not just for books and old prints. This tissue paper is also used for crafting, especially in making kites or covering airplane models, where a mix of strength and lightness is key.
Different Types of Kōzogami and Their Uses
There are many types of paper made entirely or mostly from kōzo, each designed for a specific job. Some are made for conservation, some for printing, and others for mounting or mending. For example, Goyu paper contains 90 percent kōzo and is often used for printing and mounting hinges. Hosokawa ohban is made from 100 percent kōzo and is thicker than most other Japanese papers. It works well as a backing for maps and documents.
Okawara, Kaji, Misu, and Kizukushi are all lightweight kōzo papers used for conservation and repair. Then there’s Sekishu Mare and Sekishu Bashi Tsuru, both made entirely from kōzo and known for their use in printmaking and art conservation. UNESCO even listed these as part of the world’s intangible cultural heritage.
For more delicate work, Sekishu kōzogami mare and Sekishu kōzogami turu are made from 100 percent kōzo and used specifically for mending. Udagami, another full-kōzo tissue, is used for fixing artworks on paper.
Gampi and Mitsumata Papers
While kōzogami is the most common, Japanese tissue is also made from other plants. One is gampi, which produces a softer and shinier paper. Sekishu Torinoko Gampi is a type made entirely from gampi. It has a smooth surface with a natural sheen and is mostly used to repair paper artworks.
The mitsumata plant creates a creamy, silky paper with a slight gloss. Kitakata paper is a good example. It’s made from a type of Philippine gampi called salago. It’s mainly used in printmaking because of its feel and finish.
How Kōzogami Is Made by Hand
The process starts with harvesting the kōzo plant, usually in the fall or spring. Fall bark is better quality, so it’s preferred when available. After cutting the branches, they’re steamed in large pots until the bark softens. Once soft, the bark is peeled off and laid out in the sun to dry. At this point, it’s called kuro-kawa, or black bark.
To turn this black bark into usable paper, it first needs to be cleaned. The dry bark is soaked in water and then scraped with a knife to remove the dark outer layer. What’s left is the white inner bark, which is then rinsed and sun-dried again.
Next, the white bark is boiled in a lye solution for about an hour and left to steam longer. This softens the fibers even more. The lye is then washed out with clean water. After that, the bark is bleached. One way is by placing it in a shallow stream and letting fresh water run through it over time. This is called kawa zarashi, or stream bleaching.
Another method is known as ko-arai, or small bleaching. In this case, the fibers are laid on boards and beaten with sticks to loosen them. Then they’re packed into cloth bags and rinsed in clear running water.
Once the bleaching is done, the bark is cleaned again through a step called chiri-tori. This is a slow process where leftover bark bits, tough fibers, and any dirt are picked out by hand. For smaller pieces, sharp pins are sometimes used. The clean fibers are rolled into small balls and then beaten to separate and soften them.
This long, detailed process is what makes kōzogami such a reliable and respected paper. It’s made by hand with care, and every step affects how the final sheet looks, feels, and holds up over time.
How Japanese Tissue Paper Is Made and Used for Book and Paper Conservation
Adding Neri to the Kōzo Fibers
Once the kōzo fibers are cleaned and beaten, they’re usually mixed with something called neri. Neri is a thick, slippery substance made from the roots of the tororo-aoi plant. It’s not just added for texture. Neri helps the fibers float more evenly in water. It also slows down how fast the water drains, which lets the papermaker form a smoother, better sheet.
The papermaker then mixes about 30 percent pulp with 70 percent water in a large vat. More neri might be added at this stage, depending on the texture and type of paper being made.
How Thin Sheets of Kōzo Paper Are Formed
The most common way to shape sheets of washi is through a method called nagashi-zuki. This is ideal for making thin sheets. The mixture is scooped up with a screen, then swirled back and forth. The movement locks the fibers together across the screen and spreads them evenly. That movement, plus the mucilage in the water, helps keep the paper thin but strong.
There’s another method, called tame-zuki, that skips the neri altogether. That one’s better for forming thicker paper since the water drains faster.
Drying, Pressing, and Finishing the Paper
After the sheet forms, it’s placed on a flat wooden board and left to dry overnight. The next day, it gets pressed to remove the rest of the water. Then, the sheet is brushed out smooth and placed on a drying board in the sun. Once it’s fully dry, it’s peeled off the board and trimmed to size.
Why Japanese Tissue Is Used in Conservation Work
Japanese tissue paper is one of the best materials for fixing paper. It’s used all over the world by book conservators and paper restorers. It comes in different weights, thicknesses, and shades. That makes it easy to match with the paper that’s being repaired.
It’s used to mend tears, repair broken book hinges, reinforce folded pages, or even back full sheets of paper that are fragile or torn. The conservator picks a tissue color that matches the original as closely as possible. They also choose a thickness that suits the job.
How to Mend a Tear Using Japanese Tissue
To repair a torn page, the first step is to line up the torn edges. If the paper overlaps, a bit of paste can be added to hold the edges in place while mending.
Next, the conservator tears off a narrow strip of Japanese tissue from a larger sheet. This is done with a water tear. The repair area is wetted along the edge where the tissue will be pulled away. The strip is then torn with the fingers, not cut, so that it ends with soft, feathered edges. These feathered fibers help the repair hold better and blend in more naturally once dry.
Paste is applied to the tissue strip, starting in the middle and moving outward. Then, it’s laid paste-side down across the tear. A little bit of the tissue strip is left hanging over the edge and trimmed off later once everything is dry. A dry brush is used to smooth out the tissue over the tear, again brushing outward from the center.
The page is then placed between a few layers to protect it while drying. These layers usually include blotting paper, PET film or glass boards, and a layer of Reemay fabric. This setup prevents the paste from sticking to anything and helps dry the page evenly. A light weight is added on top, and everything is left to dry.
Using Japanese Tissue for Hinge Repairs
Japanese tissue is also used when fixing broken or weak book hinges. If the original flyleaf (the page attached to the inside of the cover) is damaged or loose, a new one can be tipped in first using a narrow strip of adhesive.
During hinge repair, it’s important to use a small support the same height as the book’s spine. This keeps pressure off the hinge and helps the mend last longer.
Water Tearing and Hinge Repair with Japanese Tissue
When working with Japanese tissue for book repair, especially for fixing hinges, it’s important to tear the paper with water. This keeps the edges soft and helps it blend with the book’s surface. The piece you tear should be wide and long enough to fully cover the hinge area, plus about three-eighths of an inch on either side. That extra bit ensures the repair holds.
Once the tissue is ready, paste gets brushed on starting from the center and spreading outward. Then the tissue is placed carefully over the hinge. A dry brush is used to press it down flat. This keeps it smooth and helps it stick evenly.
To stop the hinge from sticking shut while drying, a sheet of PET film is placed between the parts. Then some weight is added until everything dries. This keeps the repair clean and aligned.
Repairing a Loose Signature with Japanese Paper
If an entire signature has come loose from a book, meaning a folded group of pages, you can fix it with Japanese paper too. The first step is to sew the signature onto a strip of strong Japanese tissue. Once that’s done, you paste the new strip into the book along the joint where the tissue meets the original signature. This method creates a new hinge, letting the signature sit securely back in place.
Washi in Kite Building and Model Airplanes
Washi paper has been used to make kites for hundreds of years in Japan and other parts of Asia. It's light, flexible, and tough enough to hold its shape in the wind. Traditionally, the paper is stretched over a bamboo frame and sometimes reinforced with silk. These materials give the kite balance, flight, and resilience.
Washi also shows up in a different kind of craft such as model airplanes. Since the early 1800s, builders have used washi to cover the wings and frame of small planes. They needed something light but strong, and washi fit that need. While most washi used today in these models is made from either abaca or wood pulp, abaca performs much better. It holds together under tension and resists tearing. Wood pulp versions are weaker and break down faster.
Gampi and mitsumata paper might look good, but their strength when wet can be unpredictable. Even abaca needs a wet-strength additive, or else it can soften too much when exposed to moisture. Without that additive, the paper can almost dissolve on contact with water.
Everyday Uses of Washi Before the 20th Century
Before Western-style paper became common in Japan, washi was used for just about everything. Not just for writing or art, but in practical, daily tasks too. Part of this was because there were no other paper options in Japan at the time. But the other reason is simple: washi worked better. Its strength, flexibility, and lightness made it more useful than other materials in many situations.
Washi in Watchmaking
Even today, washi finds a place in precise, high-detail work. One example is in the making of watch dials. Washi’s smooth surface and fine texture make it a good fit for intricate designs and small, exact parts.
