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FAQ

I use a variety of handmade kozo type papers ranging in textures and weights from 30-80 gsm. Generally, the thinner the paper, the easier to use, however, the heavier the paper, the better the results. For beginners, I recommend “Ma” paper offered at Oriental Art Supply https://orientalartsupply.com/?ref=s4S6IXC2

For my monochromatic, traditional prints, I exclusively grind my own ink from sumi ink sticks. It gives me much more control over consistency for whatever application I need it for. Bottled inks are fine, but they usually are not true sumi ink, rather a pigment that is made to mimic sumi ink. These work fine, but I prefer to customize true sumi to match the results that I seek. For both ink sticks and bottled inks, try https://orientalartsupply.com/?ref=s4S6IXC2

Depending on how fresh (or not fresh) the subject is, the paper will smell for a few days. But the urauchi process (wet mounting) will immediately eliminate all odors and the paper will smell as if new.

That’s completely up to you. But I usually make six attempts on a single subject. My first and second attempts are what I need to dial in my process. By the third and fourth, I should be getting the results that I want. If I am unable to achieve it by my sixth attempt, I will put the specimen away and give myself some time to think about how to go about it on another day.

Other than rendering in the eye, I prefer to keep it as-is. If I were to add, embellish, or fix something afterwards, it will appear that way and I find it displeasing. The print no longer is a print and begins to move towards a painting. Rather than try to improve a mediocre print, I find it a much better use of time to try again and make an effort to improve my process. This is a self-imposed rule. You as the artist are free to do whatever you wish. That is the beauty of art.
 
Absolutely. As long as I keep my printing sessions short (a couple hours) and the fish remains cold. True sumi ink is non-toxic and water soluble so it washes off easily.