Photos from the Washi workshop

Today we held a washi workshop for a lady and her two daughters (and their dog Willow, who was not paying much attention to the proceedings). The lack of names in this post is not because I’m trying for anonymity, but because I’m not sure how to spell the daughters’ names!

They had taken a stab at making washi before but needed a bit of hands-on guidance to smooth out a few parts of the process.

Although we cooked up a fresh batch of kozo, we actually made the paper with some kozo left over from our PEI trip that we had stored in the freezer. As a result we could get on with the papermaking fairly early in the day.

We also experimented with a few sources of formation aid. I had some mallow roots which I had collected and stored in the freezer; crushing these in water produced some formation aid but it was too weak to use for Japanese sheetforming. We also had a package of frozen okra which I had bought the day before; this produced decent formation aid (much stronger than the mallow roots) but one package of okra was not enough for the large vat I had. Finally, I had some true tororo-aoi roots and stems that I had grown about 5 years ago and frozen; these produced copious amounts of strong neri which we ended up using to make the paper.

By the end of the day we were able to make some half-decent sheets of washi and couch them off without damaging them. They are now pressing under light weights which I will increase tomorrow morning.

One piece of equipment used in PEI which I could not find was the piece of no-see-um netting that I had attached to my su. So we ended up doing without, but eventually made sheets that couched off reasonably easily.

Beating kozo

Everyone took a turn at beating the kozo from the freezer. Even though it had already been beaten, it was still somewhat coarse and lumpy and any extra beating would improve it.

Closing the keta

Everything was ready for making the first sheet. Here I was closing the keta to hold the su in place.

Barbara sheetforming

Mom trying her hand at forming a sheet of washi

Couching off the sheet

Preparing to lay the sheet (still on the su) onto the post.

Using a smaller sugeta

Using a smaller sugeta to form sheets.

Sheet of paper on the su

The keta has been opened up to reveal the sheet of paper on the su. This su is just the plain bamboo screening with no heavier handle sticks top and bottom, so before lifting the su we would fold it over to form a small folded edge to the sheet. The goal was to make for easier separation of the sheet from the su when couching off.

Western-formed sheet

We made one sheet using western-style dip action on a western-style mould and deckle with a piece of no-see-um netting over the mould’s screen. This is the resulting wet sheet on the netting backlit.

Western sheetforming

As a diversion from the Japanese sheetforming, which can be frustrating and tiring, we also put together a western-style papermaking setup.

Western sheetforming

Both daughters took advantage of the change of pace offered by the western sheetforming.

After dinner I spent about 90 minutes making more washi sheets since I seemed to have found my groove. Although we gave the bark cooked that day an initial beating, we never used any of it as the supply from the freezer was enough. The unused tororo-aoi roots were returned to the freezer; I hope the thaw and re-freeze doesn’t weaken their neri too much.

We still have the suspense of seeing how well the sheets separate after pressing. I am still unsure as to how dry the post should be when peeling the sheets off for final drying

Preparations for the Washi workshop

In preparation for the Washi workshop we are holding tomorrow, I had to scrounge for all the equipment involved. The last time I used all of this stuff was at the Yahoo Papermaking group’s east-coast gathering in 2010. Since at the time we had recently moved both our home and our business, all the bits and pieces were scattered about in various storage spaces when we returned home from the gathering.

One thing that needed repair was by beating/chopping block, which had a corner break off it at the 2010 gathering. I had to track down the pieces, figure out how to clamp the broken piece in, and glue it on with epoxy cement.

Lily took some of these photos, which explains the low camera angle.

Broken-off corner

This is the corner that broke off the beating board. The dark patches are the resorcinol glue originally used to build the board.

Cement application

The main part of the board is clamped in the woodworking vise, and I’m applying the epoxy to the broken surface.

All glued up

The surface is all coated with epoxy. The board is backed with foam rubber and a soft cloth so it does not shift too much in use.

Applying glue to the broken corner

After a test fit of the broken piece did not show enough glue transfer (because of poor contact) I decided to apply epoxy to the corner piece as well.

All clamped in place

The corner is clamped in place with two pipe clamps to hold the corner in and one more clamp to keep the two pieces aligned properly. The white stuff is offcuts of the polyethylene we use to make our moulds and deckles (the epoxy does not stick to it).

All fixed

The beating board, all ready to go again. The backing cloth will be repaired with a bit of double-sided tape

Monotype paint colour matching—Nailed it!

My use of a photo editor to measure the hue and saturation of the paint colours paid off. I had inferred that I had to add to my new paint a mix of two parts red and one part blue. The correction hue at full saturation was a reddish magenta, but the mixed paint I added was a dark reddish brown. I think the resulting gray is about as close as I can get when trying to match gloss and semi-gloss paint.

Under room lighting

This shows samples under room lighting. Lower right is the good match, upper right is the previous match, and the small part in between is the colour reference I am using.

Under flash

These are the same parts illuminated with the camera flash. The part in the upper right is much more obviously too blue-green.

My suspicion is that the original paint is a mix of litharge (basic lead carbonate, aka white lead) and carbon black, both of which are somewhat warmer tones that the modern gray paint which is more likely titanium dioxide and possibly iron oxide black.

Colour-matching Monotype Parts

In my projects to refurbish my Monotype pump and install a latch mechanism, I am now at the stage of needing to repaint some parts, and I am finding it to be a tricky job.

For one thing, In can’t rely on the colour on other parts of my caster because they aren’t clean enough to use as a standard. The dirt on them is sufficiently tenacious that any attempt to clean them would also remove some of the paint.

As a result I instead have to use some new (or like-new) parts from my parts stock, and in doing so I am finding that Monotype did not seem to be consistent in its colour choice. I selected one (unidentified) part which seemed to be the correct colour to match the rest of my caster, and I’m now trying to get a matching paint.

I only need a half-pint of paint, and paint stores are generally unable to tint such small quantities. Furthermore, this is a rust-preventing metal paint, for which tinting choices are limited.

I have started with gray paint as a base, and I felt that the actual paint colour was bluer and darker than the paint I had, so (in a small cup) I mixed up several shades with a bit of blue and/or black added. I thought I was close (and it was getting late) so I painted all but one of the parts. Upon finishing I looked at them and felt they were way too blue, so I will have to try again on a second coat.

I took photos of some of the colours I had mixed alongside the reference part, and the colour-picker in the photo editor is telling me that the target colour is lighter and oranger than my original gray, just the opposite of what I thought! I tried to take the photo in a manner to avoid the specular reflection from the gloss paint, but the gloss reflection may still be messing up my measurements.

Colour Samples and Reference

Various colour paint samples are on the left, and the reference part are on the right.

Colour Samples Blurred

This is the same photo blurred to allow reasonable measurement of the colours in the photo editor.

Papertrail Mould and Deckle Sets

I have started a tree of pages in this site to provide some details on some of our products. This tree can be reached through the “Products” link in the menu bar of any page.

From there, links within the pages drill down hierarchically through our products.

I have also added a new Post category “Things we sell” which will be used to announce new regular products and also new pages within the “Products” tree. This is in distinction from the “For Sale” category which lists items which are not regular products, including close-outs, one-of-a-kind products, and items not at all related to book arts.

To start things off I have added pages for our mould and deckle sets.Papertrail Moulds

Public comments are now enabled

I’ve just changed our blog settings to allow anyone to comment on new postings. I hope I won’t be creating myself too much of a spam problem by doing so.

I also issued a direct command to MySQL to enable comments on all the existing articles as well, so if there is anything you really feel deserved comment, you can now go back and speak (or at least type) your mind.

Papermaking at the Waterloo Mini Maker Faire

Our papermaking demonstration at the Waterloo Mini Maker Faire was a great success!

We set up inside the Kitchener City Hall Rotunda to be ready for the opening at 10 am on Saturday, but members of the public were already streaming in and eagerly touring the booths.  We brought our portable papermaking set-up, which (in part) consists of smaller vats inside bigger vats to catch the water, and our portable paper press. The pulp we were using was made from recycled glossy flyers, and the finished paper was surprisingly smooth and beautiful.

We pulped the left over brochures from last year's Rural Routes Studio Tour.

We pulped some leftover brochures from last year’s Rural Routes Studio Tour.

Still-wet paper made from the brochures

Here are some  5×7″ sheets, pressed, but still wet.

Finished paper made from brochures

Here is one 5×7″ sheet and two business card sized sheets (made by Lily), now dry. To the eye it appears light gray with dark flecks in it, but under a microscope you can see multicoloured bits from the original brochure printing.

As soon as I was set up, I started making paper using a 5×7″ mould and deckle.  Once I had about ten sheets made, I set up my press in one of the big vats, and pressed the excess water out of the post, making the sheets dry enough to handle. I set that post aside, and started making paper again. When people came to our table, I would pull a sheet to show them how it was done, then ask them if they would like to make a sheet. If they were willing, I would hand them the mould and deckle to let them try it themselves.  Once their sheet was couched off, I would give them a sheet from the earlier post in trade for the one they just made, placed in a folded legal size sheet of regular paper for protection.  People seemed thrilled, especially children.  I had set up a little step stool by my table so that smaller kids could give it a try.  Most kids love doing things that are wet and messy, and while papermaking is wet and seems messy, it’s actually quite easy to clean up after. I saw the same looks of delight on the faces of the  grown-ups as on the children.

I had to do several pressings during the day to keep up the supply of sheets to hand out.  In all, I think I gave away at least 70 or 80 sheets of paper. It was fun to be able to give so many people a chance to dip their hands in pulp for the first time.  There was also a great deal of interest in the examples of marbling and letterpress printing I had brought with me.

My daughter, Lily, was a great help to me throughout the day.  She would take a turn demonstrating the papermaking with her little mould and deckle, which makes paper the size of a business card.  Kevin also took his turn demonstrating, and this allowed me to take a look around at the other exhibitors at the Faire.

Lily making paper

Lily demonstrating papermaking at the Waterloo Mini Maker Faire

By the time we packed up at 6 pm we were completely out of pulp; next year I’ll have to bring more.  I’m really looking forward to participating in this event again.

Thank you for reading my first-ever blog post.

Fiat Lux

I finally got new lighting installed in my basement workshop. The old lighting was essentially two single fixtures with 60- or 100-watt-equivalent CFL bulbs in them. The new lighting is 8 dual 48″ T8 fluorescent fixtures.

Original lighting

This is about half the workshop with the original lighting. The steel beam in the upper right divides the workshop in two and occasionally tries to do the same to my head.

New lighting

This is the same view of the workshop with the new lighting.

Old at New exposure

This shows the same shot again with only the original lighting, but with the camera forced to use the same exposure as it did with the new lighting.

To be fair, that is a lot more wattage, but it is also spread through the room, especially into the corners.

Needless to say, I will no longer require task lighting for simple things like finding something in the tool cabinet!

Now I just have to clean up. By the way, that dark pile in the middle of the floor is some of the swarf from making a new part for my Monotype caster.

Crossheads reinstalled on Monotype pump head

The two press-fit parts that I probably should never have disassembled on my Monotype caster pump head are now back together again.

Upper crossheads

As mentioned in my previous post I had already reassembled the Pump Body Spring Rod 31H1 and its crosshead 31H2 and nut. I put this assembly into its sleeve (a31H11) and collar stop (31H16), and slid the whole thing into its proper place on the caster. Without its spring, the part would stay in place by itself. I also installed the Stop Post (31H8) to act as a guide for positioning the other crosshead.

Then I slid the piston operating rod (19H) into its hole. It was a snug fit through the lower crossblock (19H1) which required pounding with a rubber mallet. I had the hole for the taper pin roughly lined up so I could visually verify that I had the rod at the correct height. Then I locked two nuts against each other on the top of the rod and use this to rotate the rod until I could insert the taper pin and tap it home.

This allowed me to install the upper crosshead (19H3) using the Stop Post as a guide to its orientation. As with the other upper crossblock, this one went on by striking it with a rubber mallet, then using the nut to draw it home.

Things then had to come apart again, for painting and installation of other parts. I removed the taper pin, and found that the piston operating rod could be removed from the lower crossblock by rotating the machine’s drive shaft until the rod rose to its uppermost position, placing a spacer under the crosshead, and rotating the drive shaft back to where the pump would be idle. There was enough force available for this to draw the rod partway out of the lower crossblock. This process was repeated several times using taller and taller spacers until the rod was free of the crossblock.

Both rods with crossblocks installed are now waiting for their paint job.

Washi Workshop Wednesday, June 26th 2013

We will be holding an impromptu workshop on making washi (Japanese-style paper) on Wednesday, June 26th 2013 from 10am to 5pm at our store in New Dundee, and we have room for a couple more people.

This will be a rather unstructured workshop, where we will be working with several batches of paper in different stages of production, in order to fit all the steps into a single day. I certainly don’t claim to be an expert on making washi, so this will be somewhat of a discovery session for all of us.

The fee for this workshop is $65 per person (plus HST), which includes materials. If you are interested in this, please contact us for more information.

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