Readers may be familiar with machine-made papers produced using a commercial adaptation of this technique. I describe here the basic process, as I have interpreted it, to make handmade decorative sheets, as well as a variation that may be better suited to more spontaneous mark-making. I have reconstructed the process from brief references I have found in various sources. I developed my adaptation of the historical technique using North American materials at the University of Iowa Center for the Book, during my graduate studies there. It is one of the techniques I used in producing sheets for Hand Papermaking's watermark portfolio. In brief, fiber is hung over a metal shape, inverted onto a su, and then deposited onto a base sheet.
This technique yields an exciting result: the alignment of the fiber follows the contour of the shape used. Most papermakers know how to mix pulp with formation aid and then draw or paint it onto a base sheet. In that pulp painting technique, the alignment of the fibers within the drawn line is random and the applied fibers tend to become integrated into the base sheet. With the fibremark technique, the fibers align themselves perpendicular to the line of the drawing, even as that line changes direction. The individual fibers also tend to remain distinctly visible and seem to almost float above the surface of the base sheet.
I have found it difficult to track down the history of hikikakegami. A very brief description of the technique appears in the Tesuki Washi Taikan, which states that "the method for making this kind of paper was introduced for the first time in 1934" and that "the resulting paper is striking and unique."1 Sukey Hughes's book, Washi, also has a brief description, along with some helpful drawings.2 It has been suggested to me that the technique is especially prevalent (both historically and to date) in the Echizen region of Japan.3
Mitsumata has traditionally been used for the hung fiber in this process, because of its length and the way it reflects light (Most modern commercial papers use rayon, cut to a uniform length). I have tried using both kozo and gampi for the hung fiber, with generally poor results. Both fibers are longer than mitsumata and therefore have difficulty hanging over intricate shapes. I have not experimented with abaca, but it merits investigation. Surely there are other fibers that would work just as well. For the base sheet, essentially any fiber will work; I recommend a smooth sheet that allows the mitsumata to lie flat, and a fiber that will contrast with the shaped fiber in texture or color. Although kozo is all I have ever used, cotton or abaca also seem like suitable choices for base sheets. The commercial papers use wood pulp.
Fibremarking requires considerable planning and the building of some equipment. The matrix, upon which the fiber will be hung, is made of a series of bent metal shapes that look very much like cookie cutters. These are affixed to a rigid base. I have adapted everyday materials for these purposes: steel strapping (used mainly for hanging plumbing pipe) and baking cooling racks. The cooling racks are readily available up to about 10" x 15" at most department stores or discount shops.4 The strapping metal is available at any hardware store.
The metal ribbon is bent into the shape of the desired design, using a pair of pliers. If desired, a drawing can be prepared beforehand, against which the bent form can be matched. Although I have seen very complex patterns used on commercial, machine-made designs, I recommend keeping the shapes simple, especially at the start. Be careful not to get the lines of the drawing too near each other, because the fiber will tend to span metal edges placed in close proximity, which will blur the design in the finished sheets. I have found that lines should be at least 1/4" apart; 3/8" is even better. Shapes that are not large or open enough to be self-supporting can be given feet, using tin snips. Small grids, used multiple times, can be used to create an overall, repeat pattern on large base sheets.
Once all of the forms have been shaped, they must be affixed to the supporting grid. Ideally, this would be done by welding or soldering (for permanence) but for shorter production runs, two-part marine epoxy will work. The design image should read correctly as you look at it on the matrix from above (the side that will not be affixed to the grid). Turn all of the shapes upside down (a drawing may be helpful for positioning), and place the inverted grid on top of the shapes. Work on a hard and perfectly flat surface. Place a weight of some kind on top of the shapes and the grid, to hold everything in place while you glue. Be liberal enough with the epoxy that the shapes are well secured, but do not let the glue drip more than halfway down the sides of the shapes. I find it advantageous to work with multiple small batches of epoxy, which have hardened somewhat past the runny stage. Keep the weight on top of your structure during the gluing and curing stages to ensure that all of the shapes are secured properly, and that the tops of the shapes are all level and equidistant from the grid base. If the shapes are crooked in any way, you will have problems when you transfer the fiber. Once the glue cures, you will be ready for papermaking.
You will need a basic setup for nagashizuki-style sheet forming. A traditional vat setup is fine for forming the base sheet, but you will need two additional containers to make the fibremark. One container will be a vat for the shaped fiber (henceforth the "mitsumata vat"). This should be four to six inches deep and big enough for you to get the matrix, with your hands on either side, in and out of the vat, moving straight down and back up. For the transfer, you will need a flat-bottomed vessel at least one half inch deep. (I have successfully used aluminum oven liners with the edges turned up slightly; a photo tray would be ideal.) A deep container will work, but allow yourself enough space to maneuver and to see the bottom of the vat. The su needs to lie perfectly flat in this vat. It is an enviable luxury to have two su to work with—one for making the base sheets and one for the transfer process—but one su can be used for both steps. For the fiber transfer, a traditional sha (or a very fine mesh, such as no-seeum netting) should be attached to the su. A fine traditional su is best for this stage, but a homemade one would probably also work.
Once you have formed the base sheet and couched it onto a sheet of interfacing, move to the mitsumata vat. Mix up the vat with your hands, then lower the matrix vertically into the vat, grid-side down. Pull it back out, straight up, collecting the fiber onto the cookie cutter shapes in the process. Inspect the fiber to ensure that there is enough and that it covers all of the forms. Too little fiber will cause the image to be light or broken in areas; too much will cause the fiber to clump and the image to be unclear. You will need to experiment to determine the right consistency of pulp in the vat. I have found that the presence of wet fiber on the forms is subtle, at least with mitsumata.
Allow the form to drain momentarily then move to the transfer vat. The su should be on the bottom of the vat, with about a quarter inch of water above its surface (the su may float from its edge sticks). You may want to develop a registration system, depending on your project. Invert the matrix and lower it down to meet the su. Do not worry about fiber falling off of the forms as you lower the matrix; it will be held in place by capillary forces. As the form touches and breaks the surface of the water, the mitsumata fiber will release from the sides of the metal shapes.5 Ensure that all the fiber has released before you remove the form. You may find it necessary to lightly jostle the vat—while keeping a firm but delicate downward pressure on the back of the grid as it rests on top of the su—in order to create a wave, which will wash up against the forms, assisting in the release process. The fiber should remain floating just above (or rest on the surface of) the su and sha, in the pattern formed by the matrix. Place the matrix aside, then carefully pull the su up and out of the water; this will cause the aligned fiber to collect on its surface. Allow the su to drain momentarily, then couch the fiber down onto the base sheet. When removing the su, make sure that all of the fiber has transferred. You may find you need to flood the back of the su with formation water,6 or apply some pressure to the back of the su to complete the transfer. Finally, place a sheet of interfacing on top, onto which you can couch the next sheet.
As is true when pressing traditional nagashizuki-style sheets, slow and even pressure is necessary. I have dried sheets both in a stack dryer and against a heated metal plate (with the hung-fiber side against the plate). Both seem to work fine, but the metal dryer results in crisper sheets. The sheets must be absolutely dry before removing them from the dryer; otherwise the mitsumata fiber may stick to the dryer and separate from the base sheet.
I have found that, with a small modification to the technique, similar effects can be achieved in a more spontaneous manner, without the need of a third vat, an extra su, or the transfer step. While this method could be used with an entire grid of shapes, I believe it lends itself best to quickly and easily adding simpler and more open shapes to a base sheet. Holding the shape in your hand, drag it through the mitsumata vat, collecting the fibers on its edges. Place the inverted shape directly on an already-prepared base sheet where you want the design to appear. Using a squeeze bottle, very gently and carefully apply formation water to the form. As the formation water runs down the sides of the shape, it should release the fibers. Make sure the fiber has released on both sides, then remove the form. Note that the finished results with this method may be more crude and that it is more difficult than the vat method to get the fibers to consistently lie down flat and aligned.
Finally, I would like to note an interesting variation: making the shaped fiber drawings without a base sheet under them and using these shapes independently. This can be done exactly as described above, except the shaped fiber is transferred from the su (or the form, in the abbreviated method) directly onto bare interfacing.
Recreating the hikikakegami technique has been a real challenge, but the striking results are sufficient reward. Fibremarking embodies great potential for creative expression, and I intend to continue to experiment and conduct further research. I hope to share the results through my website, and I look forward to hearing from others who have experimented (or would like to experiment) with this process.7
Notes:
1. Tesuki Washi Taikan. Tokyo: Mainichi Newspapers, 1974. v. 2, p. 16-17.2. Washi: The World of Japanese Paper. Hughes, Sukey. Tokyo: Kodansha International, 1978. p. 224-225.3. This suggestion comes from Kayoko Moriki, a paper supplier in Japan. I hope to gather more details during my current research in Japan.4. It occurs to me that oven racks or refrigerator shelves might be suitable, but I have not tried either. A rust-resistant metal or a plastic coating would be important. 5. If any of the shapes sit above or below the others, they will not meet the water at the same time, and the fiber will release differently.6. "Formation water" is diluted formation aid, with at least as much water as full-strength formation aid. I believe Richard Flavin introduced me to this term. 7. I can be reached by e-mail at <snowback@mac.com>.