Over a year ago, I was in The Camera Store looking at photo paper for printing and came across a package of Moab Moenkopi Unryu 13X19 paper. I didn’t buy it until later but that was the beginning of the journey. I started researching Japanese papers, leading me to several Calgary art supply stores. I bought several kinds, including handmade sheets made partly from mulberry bush and called Washi. I really like a type called Unryu, or Cloud Dragon. This translucent paper is highlighted throughout with strands of the mulberry fibers. I bought several thick sheets – 25”x37” - and started experimenting.
I discovered I didn’t have to reinvent the wheel as there is a whole movement of people using inkjet printers to print on surfaces besides photo paper. It isn’t viable to print directly on the washi paper because the surface is porous and won’t hold the ink. It needs to be coated and I found companies selling liquid coatings to prepare surfaces, including paper, for inkjet printing. I ordered several of these products and began to experiment. The material is brushed on the paper and left to dry. Two coats are desirable. Cutting and flattening the curled paper makes it run through the printer smoothly. I also experimented with using a carrier board and the straight paper path on my printer.
Last March, our family visited a street art fair in Tucson, where I saw a photographer’s display of photos printed on large sheets of washi paper. He was selling large, framed portraits of flowers looking gorgeous on the translucent surface of the highly textured paper. I recognized I could use photos of my backyard sunflowers as subjects for my prints.
Beginning to understand the settings required in Lightroom to print properly, I was struck by how much the ambient light affects the prints. Thanks to the texture of the paper, I loved how they looked when backlit. Obviously framing a print by sticking the photo onto a mat, placing the mat onto a piece of glass, placing this into a frame and then sealing off the back of the frame with a board cuts off the possibility of backlighting.
That led to a trial of sandwiching the washi prints between two back-to-back mats, placing these between two pieces of acrylic and taping the edges with cloth tape to hold the whole thing together. Essentially, they are suncatchers. Placed on a window ledge, they look different at night and throughout the day depending on the sun’s position.
As for the Moenkopi Unryu paper, it also turns out beautiful translucent prints but is much warmer than the paper I coated myself. For my taste, it’s suitable for subjects other than flowers and is also much more expensive. I’m enjoying printing on both and learning from the process.
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