A sheet lifted from a papermaking vat still has further work ahead of it. Yamanashi’s Ichikawa Daimon account separates forming, pressing out water and drying, giving a reader more useful distinctions than the single description handmade paper.
Technique and structure
The reference describes washing and bleaching prepared fibres, then beating them with a beater to loosen them. The loosened fibres and neri are stirred in the vat and formed with a sugeta. After sheet formation, a press removes water; for drying, a brush attaches the sheet to a dryer. Selection and trimming appear after these stages. The brush in this sequence handles the formed sheet at the dryer: it should not be mistaken for the sheet-forming screen or treated as evidence that pressing and drying are the same operation.
Read the material and finish separately
The main materials listed are kozo and mitsumata, and the production area is Ichikawamisato. This identifies a local reference process, not a fixed blend ratio or a specification for every sheet from the area.
For a paper enquiry, ask what fibres and finish the actual sheet has and whether it suits the intended drawing or writing medium. Hand production alone does not answer those questions.
For international readers
The process gives no universal absorbency, archival-life or ink-compatibility rating. Confirm such properties for the actual paper rather than inferring them from the word washi.
Global shipping and buying
Current inventory and international delivery are unverified. No affiliate links are used.
日本語
市川大門手漉和紙：紙漉きの後に分かれる搾水と乾燥
市川大門手漉和紙の資料では、繊維とねりを簀桁で漉く工程の後、プレス機で水をしぼり、乾燥機へ刷毛で貼り付けて乾かす工程を分けています。紙漉き・搾水・乾燥を同じ作業とせず、主原料の楮・三椏と実際の紙の配合や用途も別に確認するための解説です。