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WATERCOLOR

Watercolor papers have more sizing than other papers. That sizing actually repels the watercolor, allowing more manipulation on the surface, more open time and less buckling of the sheet. The more texture, the more dispersion of pigment and the more even the distribution of water. A smooth watercolor paper will buckle more than a rougher sheet; a thicker sheet will buckle less than a lighter weight one. More absorbent sheets "freeze" the stroke, but do not allow for as much wet-into-wet treatments.

PRINTMAKING - LETTERPRESS & BOOK ARTS

Lighter weight, lightly sized papers fold more easily and are more suitable for the book format. They are also excellent for all drawing techniques.

PRINTMAKING - WOODBLOCK & MONOPRINT

When a press is used, most absorbent sheets can be adapted for block printing and monoprint. When hand printing is used, lighther weight sheets are easier to burnish and transfer more ink from the block or plate. Using a clear sheet of acetate or mylar over the sheet when burnishing prevents abrasion of the paper while allowing you to see the progress of the transfer.

PRINTMAKING - DIGITAL ART

Although these are papers specifically coated for digital printing, other papers can be used successfully for less photographic results. Remember that ink jet printers use water-based inks and like all watercolors, these inks will spread on papers with less sizing. Printmaking grades produce a softer image. Watercolor papers with more sizing will have less spread. Whiter papers offer more contrast for the translucent inks. Smoother papers give more precise application of each pixel of color. Machinemade sheets are harder; handmade sheets can have variations from sheet to sheet and even across the surface of one sheet.

PRINTMAKING - SILKSCREEN

Just about anything can be silkscreened, even very rough papers, but most printers prefer a very flat, smooth surface as it offers direct contact with the screen. Lightly sized or unsized papers draw the ink into the surface and prevent smearing and shorten the drying time between multiple colors or screens.

REPAIR & CONSERVATION

Thinner, stronger fibered papers are usually desired for restoration. Matching a similar paper and color to the original is the goal for repairing old or damaged works. Archival quality is a major consideration. The collections listed below offer a good starting point as each line has a variety of weights, tones and fibers.

SILVERPOINT

Clay-coated materials are used for this technique that predates the Renaissance. Various metals can also be used including gold, brass and copper. The papers listed here work quite well, but are limited to their tone and aesthetic. You can coat your own paper for metal-point. Traditional techniques use animal glue or gelatine mixed with pigment on a smooth surface. Or you can avoid cooking glue by layering Chinese white watercolor or white gouache. These can be tinted with watercolor or pigment. Sand the surface with almost bald, ultra-fine sandpaper or raw silk to eliminate brush strokes.

SOME SUGGESTIONS IN PAPER CATEGORIES

EXTRA ROUGH TEXTURES

Designer Corrugated * Embosso Textured Papers * Fabriano Artistico & Esportazione * HMP Brussels * Indian Coral Reef * Indian Punjabi * Moulin de Larroque Colombe * Richard de Bas Patchwork * Rives Papier de Lin* Rossi Waffle * Thai Bird's Nest * Thai Embossed * Wave Cover * Wyndstone Mica

BLACK PAPERS

Arches Cover * Black Coverstock * Canford * Canson Mi-Teintes* Canson Ingres* Chromolux * Fabriano Ingres * Fabriano Tiziano * Fabriano Murillo* Flint * Hahnemühle Bugra Butten * Hahnemühle Ingres * Hahnemühle German Etching * Indian Coral Reef * Khadi Indian Colors * Japanese Kyosei-shi* Japanese Kozo Moriki * Japanese Yatsuo * Moulin de Larroque * Somerset Black * Stonehenge Black * Strathmore Charcoal * Thai Mulberry * Thai Unryu

COLORED PAPERS

Canford * Canson Mi-Teintes * Canson Ingres * Chromolux * Elephant Hide * Fabriano Elle Erre * Fabriano Ingres * Fabriano Murillo * Fabriano Roma * Fabriano Tiziano * Flint Papers * * Hahnemühle Bugra Butten * Hahnemühle Ingres * Japanese Kyosei-shi * Japanese Mingei-shi * Japanese Yatsuo * Japanese Echizen Kizukishi * Moulin de Larroque * Moulin du Pombie * Queen Anne Handmades * Richard de Bas* St. Armand * Spanish Handmades * Speckletone * Thai Papers * Van Gelder Ingres * Velour Papers

FLORAL INCLUSIONS

Indian Floral Text * Indian Sanganeer * Indonesian Handmades * Japanese Echizen Washi * Japanese Unryushi Benibana * Langdell Handmades * Nepalese Handmades * Thailalnd Garden * Mexican de Ponte Flores * Moulin du Pombie Fleur * Richard de Bas Florales * Twinrocker Blumenfeld

METALLIC PAPERS

Antique Foils * Canford Metallic * Chinese * Taiwan Pearlized * Chromolux Metallics * Eanescent * Evergreen Metallics * Foil Papers & Textures * Foil Mirror * Indian Metallics * Japanese Metallics * Japanese Shimizu * Japanese Eboshi * Japanese Urban Metal * Stardream * Thailand Metallics

LARGE SHEET FORMAT

Arches Aquarelle & Cover * Chinese Handmades * Coventry * Folio * Hahnemühle Copperplate * Japanese Hiromi Collection * Japanese Iwano * Japanese Okawara * Japanese Tosa Washi * Korean Handmades * Lanaquarelle * Lenox * Nepal Lhakpa Handmades * Mexican Papel de AMate * Somerset * Stonehenge * Textile Design Papers.

SMALL SHEET FORMAT

Czech Velke Losiny * Hahnemühle Calligraphy * HMP + Indian Khadi * Indian Nujabi * Indian Punjab * Nepal Lhakpa Handmades * Japan Shojoshi * Japan Shikishi * Handmade & Mouldmade Stationery * Twinrocker

NON PAPER SURFACES

Technically, paper is made of macerated cellulose fibers that have been suspended in water and then re-structured into sheets by means of a mould. This website contains several materials that are not real papers, but can be used in similar manners

Chinese Handwoven Silks * Corkskin * Egyptian Papyrus * Genuine Parchment * Huun Amate * Indian Plastic Paper * Japanese Cobweb & Waffle * Vegetable Papyrus * Worldcloth Bookcloth * Wood Veneer * Yupo

VINTAGE PAPERS

"Vintage" in this catalog, refers to papers that are still available for sale, yet are no longer manufactured - and cannot be replaced. Over the years, we have had larger selections of these rarities (and perhaps, someday, we may acquire more). While they last, we have some remaining of the following:

J Green * J. B. Green * Whatman * Wookey Hole * Japanese Vintage

PLATINUM & PHOTO PROCESSES

The specific technique, the formulation of emulsion, even atmospheric conditions affect the final results of alternate-photo-processes. The sizing, the pH and the buffering agents in the paper are also factors to consider. Different makings of the same paper can have slight variations, which would not matter to most users, but will yield dramatic differences to the plantinum printer. Testing is essential!

PASTEL & CHARCOAL

Although some people like smooth papers, the majority of artists using pastel or charcoal want a paper with enough tooth to hold the pigment and allow layering. The amount of tooth and the hardness of the sheet will determine where the pigment sits, the amount of build-up possible, erasure, blending and the need for fixatives to set the layers.

CALLIGRAPHY, PEN & INK

Texture and absorbency of a calligraphy paper is a personal choice. Some like a little tooth to prevent smearing; others want an absolutely smooth surface with sufficient sizing to keep the ink high on the surface. Type of pen or brush, style of nib and the scale of the calligraphy are also factors to be considered.