Fabriano, a brand with a rich heritage dating back to 1264, has consistently delivered exceptional quality from its paper mills. The techniques pioneered by their master paper makers reflect the brand's commitment to excellence. Moreover, Fabriano's dedication to sustainable practices, demonstrated by the extensive use of hydroelectric power in their manufacturing, reinforces its position as a responsible industry leader. Below, we explore the Fabriano Unica Paper.
Fabriano Unica
A testament to Fabriano's legacy, is a paper crafted with precision and expertise. Comprising 50% cotton fibres, this paper is specifically designed for excellence in all printmaking techniques. Its softness and flexibility make it equally suitable for dry techniques, setting it apart as a versatile medium for artists. Fabriano Unica are available in pads (A4 and A3) and single sheets (50x70cm).
Technical Specifications:
The paper's natural grain mirrors the appearance of handmade paper, enhancing the visual appeal of your creations. This unique feature adds a distinctive touch to pencil and charcoal work, highlighting how suitable it is for various techniques, making it very adaptable.
With most artists, the choice of paper is pivotal, and Fabriano Unica stands out as a symbol of quality and versatility. From printmaking to dry techniques, this paper excels in various artistic applications. This paper also offers artists fantastic value for money without compromising on quality.
Check out the new products here or visit our full Fabriano range here.
Image Credits
Sandra Manchester
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Pink Pig was created in 1992 by Nick Wilson. He understood the value & importance of high quality paper and artist materials, aiming to produce a product that is tailored to the needs of artists and art students. With a background in art, design and printmaking he was well equipped for this task. 30 years later and Pink Pig are supplying schools and colleges, expanding into the retail sector and used by artists up and down the UK and further afield. The iconic colourful covers came from the idea that the artist should have ownership and choice when it came to all aspects of their work. Allowing artists to reflect their personality with the pads they use.
These covers are all handmade in Yorkshire, Great Britain. Each Thai Mulberry sheet is oxygen bleached and made from non-toxic dyes, with the interior greyboard being made from 100% recycled post-consumer waste. Meaning the entire cover is environmentally friendly and sustainable. In general, the company is driven to reduce waste and be as eco-friendly as possible whilst still providing an exceptional product. In fact the cardboard boxes used to ship Pink Pig pads are made from 65% recycled material with the additional Kraft boxes being 100% recyclable.
All paper used in their pads is FSC Certified, meaning it has been sourced sustainably or recycled where possible. As a company they are proud of their low carbon footprint and look to reduce it even further in the years to come, with products that can be fully recycled when used.
The pads come with a wide range of papers to choose from, with toned papers, black paper and watercolour paper being extremely popular lines in the company's arsenal. But despite the popularity of these additional papers the main pink pig cartridge paper is by far the best seller. The paper is a high quality, acid-free drawing cartridge that can be used with all media. The paper is 150gsm and made from pure (virgin) pulp, which won’t degrade over time due to the lack of acid in its construction. The paper is also classed as “twin wire” which essentially means there are two single sheets bonded together to create a paper that can be used on both sizes without damaging the reverse. It has a good tooth to its surface also which provides great grip and texture for pencils, pastels or charcoal. The paper comes in a standard “bright” white colour and an off-white almost cream colour.
You will be hard pressed to find a company that produces pads with such a high level of customisation available. With the sizing, colour of cover and type/colour of paper all being up to the choice of the artist they can literally make a pad to suit anyone's needs. The pads are actually quite popular with urban sketchers as their lightweight yet durable construction lends itself to the demands of working plein air. Seeing this the company decided to produce a collaboration with expert paper makers, St Cuthberts Mill. This merging of the two brands produced a Pink Pig Bockingford pad which, as the name implies, contains sheets of Bockingford watercolour paper. The English-made paper is 300gsm (140lb) and has a slightly textured “Not” surface that works expertly with most wet media.
To say the brand emerged from a simple drawn design done in a day trip to the Yorkshire Dales, it has come extremely far and looks to the future as it develops and progresses over time.
Image Credits
Sandra Manchester
]]>Fineliners & Promarkers: The paper works brilliantly with the Promarkers allowing blending and lots of development. In the image below, I used a very loose fineliner sketch to start me off, the fineliners work perfectly well with the paper but attempts at cross hatching and traditional comic inking using these pens has shown that the paper is simply too dense and fineliners perform much better on smoother paper.
Watercolour/Watercolour Pencil Crayons: The pad is superb for this kind of work, whether you’re using traditional watercolour pans, paints, or pencil crayons. The paper will happily accept the water and even working wet on wet proved to be fine – with the caveat that like all papers it will distort if soaked.
In this piece I started with heavy ink line and then coloured using Inktense pencil crayons, a second set of washes was applied then before over-working with dry pencil crayons and splatting.
Biro: I often produce very rough sketches in biro, whether they be drafts or underdrawings for a more developed colour piece. As you can see the tonal range is still there and while you must work a little harder than on a cheaper pad it’s totally fine. The only thing is that the quality of the pad means that you simply won’t want to produce roughs and throw away sketches because it feels like sacrilege.
Pencil: These pads are fine for pencil but they’re not into excessive erasing (who is) and you will have to work harder for tones than with a smoother paper.
This fella was created using a 2b, 4B, 6B and finished with undiluted ink.
Acrylics: You can use acrylics, but I wouldn’t recommend it, without being able to tape down the edges the paper struggles with such a heavy medium. I tend to build colour using washes and to be frank it was hard work; I wasn’t convinced the paper was going to stand up to further work so I abandoned play. However, having given the paper time to dry it had no problems accepting further washes and some biro to tighten my image. In short: you can but I wouldn’t.
In conclusion the pad was a real joy to use and would make the perfect gift for the artist in your life, especially if that artist happens to be you, anyway I’ve finished this one I’m going to nip off and grab a fresh one from the Perfect Paper Company!
Click Here to view our entire Khadi Papers range.
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Here at Perfect Paper, we understand the importance of where the paper has come from, how it is sourced and how it is made. We also understand that you want to know the exact same thing so you can make the best conscious decision when choosing the right paper for your needs, especially when it comes to having a vegan-friendly paper. This Basic Breakdown Blog will explore some of the best vegan papers on the market and see how this type of paper is produced.
What's the difference between vegan and non-vegan paper?
Well… nothing much. Paper quality remains the same. The same ingredients such as the fibre (cotton or cellulose) that is used will be the same for vegan and non-vegan alternatives. The key difference is the size that is added.
What is size and why is it important?
We have a detailed Basic Breakdown Blog about this already that we highly recommend you read if you want to know more. However, in a really simple term. Paper fibres can be really absorbent when a size isn’t used - think of tissue paper, things like ink and paint can easily bleed through which might not be the effect you're after, however, some artists use this to their advantage. You add a size to prevent this from happening. This is done either when the paper is still being made and is a pulp mixture that has not been formed (internal sizing) or it is added after the sheet has been made and is fully dried (external sizing); you can also do both to one single sheet which is what some companies do like Khadi. A gelatine size has been used to do this for centuries, and this is when the paper no longer becomes vegan friendly.
Hahnemuhle Watercolour Toned Paper - A Vegan Friendly Paper
Is there an alternative vegan-friendly size?
Yes! There are now plant-based and synthetic sizing alternatives that are just as good as a gelatine size and can do the same job without harming any living animals in the process. It is added just as a gelatine size would within the paper making process. Some companies have started using alternative sizing on some products, some companies such as Hahnemuhle use it throughout their entire range.
Recommended Products
As more people become conscious of what paper they use, more companies are producing products that fit into a more environmentally and animal friendly ethos. We have a large range of products that are vegan friendly that cover various different mediums. Here are some of the products we highly recommend.
For Watercolour & Alcohol Inks - Yupo Paper Pads
Yupo Pads are made in the USA using synthetic paper which is machine made. The sketchbook contains 10 pages of 100% polypropylene which makes it completely waterproof, exceptionally strong and acid-free. These sheets have no internal or external sizing which makes them genuinely vegan friendly.
For Pastels - Clairefontaine Pastelmat Paper
Pastelmat is the only vegan-friendly pastel card with specific retaining pigments. As far as Clairefontaine are aware their nearest competitors make this card with non-vegan friendly elements. This paper is PEFC certified from sourced, recyclable materials so it is very eco-friendly and has a unique mechanical strength and flexibility as well as being 100% natural. It is also available in single sheets and pads.
For Sketching - Seawhite of Brighton Eco Sketchpads
Seawhite Eco Sketchpads are handmade using high-quality materials within the UK. The pad is made with organic waste such as corn cobs using hydro-electric power, making them environmentally friendly paper. These sheets are ECO innovative ecological papers that are genuinely acid-free. If you are wanting a sketchbook that is not only vegan friendly but also eco friendly, this is one of the best on the market.
For Mixed Media - Pebeo Pop Art Canvas Pad
Pebeo Canvas Pads are designed to be used with various paints. They use a synthetic size internally and externally on paper that is made from 100% cotton. The paper inside the pad has been primed with a universal primer meaning it can take Oil, Acrylic, Gouache and even Watercolour Paints. As the paper is pre-primed the pad can be painted onto straight away. It is a brilliant starter pad to work with if you want to begin using canvas.
Our Recommended Brand - Hahnemühle
Hahnemühle is one of the most environmentally responsible art supply companies operating today. Their papers have a traditional, archival feel and are made with sustainable materials that are 100% responsibly sourced, in line with their Green Rooster eco initiative. They also have the biggest range of vegan and vegan friendly products in the modern art supply market which is why we are highlighting the brand as a whole and not one particular product, check out the range here.
Making sure the paper you use has been responsibly sourced and produced is something that can be highly important, but also a very daunting task to undergo yourself. We hope this blog has simplified this process. We have plenty of other vegan friendly products on our website, click here to see our range.
Image Credits;
Sandra Manchester
We wanted to highlight a medium that has been used for centuries and is classed as a close cousin of watercolours. This is obviously the opaque gouache. Its renowned opacity comes from the addition of an opaque white element being added to a watercolour, gum arabic mixture. Primarily used by designers, illustrators and industry professionals, this medium can be used to great effect in many ways. Good for large areas of block colour and interestingly good for dynamic landscapes, as its layering ability gives the artist room to create more depth in an image than perhaps with the transparent watercolours. Or at the very least to utilise the layering to produce unique effects.
It is similar to watercolours though in the way it can be re-wet when dried and dries to a matt finish. The paint becomes infused with the paper and leaves a deep mark that can be painted upon when dry. As both mediums are water based they can be used in tandem to some unique effects. The transparent watercolour paint can be used over gouache to create new depth and a range of colours. Additionally clean up is done the same which saves a lot of time and effort on the artists part.
Daler Rowney Gouache
Gouache typically contains larger particles of pigment than found in traditional watercolours and as such the ratio of pigment to binder (such as Gum Arabic) is far higher. Additionally, fillers may have been added to add body to the paint, the filler is typically a white substance such as chalk. The combination of larger pigment particles and the chalk body makes the paint far heavier than traditional watercolour paint, and gives the gouache greater reflective qualities and lowers the opacity. This does come with some downsides however as gouache paint typically experiences noticeable colour shift from when it is wet to dry. This can make it rather challenging to maintain certain colour mixes over multiple painting sessions.
Gouache can be used on a variety of papers with watercolour paper being the most common. As it is essentially watercolour with an opaque element the watercolour paper can function in a similar manner, absorbing the wet media and often leaving a chalky finish. As well as typical watercolour paper gouache can be used on mixed media paper, heavy cartridge or even pastel paper if used without an excess of water.
As it has an extremely efficient covering power with its opacity giving a rapid layering ability unmatched by any other painting medium. Its rapid drying time combined with the layering abilities means it is a perfect medium for use “En plein air”. With other mediums the time taken between layers can be hours, days or weeks, whereas with gouache a thin layer can be dry in minutes. This lends itself well to direct painting techniques and most pieces done in gouache can be done in one sitting.
Click Here if you would like to see our Gouache range.
Image Credits:
Sandra Manchester
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Linocut or Lino for short is a form of relief printing that is done in a similar manner to woodcut but instead uses a piece of linoleum as the surface in which the design is engraved. Invented in the 19th century as floor covering it became popular for artist and printmaking use in the 20th century. Its ease of cutting compared to wood made it a desirable surface to carve into, as there is no grain, cuts can be done in any direction with little to no resistance or unexpected results. Famous artists over the past decades such as Pablo Picasso and Henri Matisse have used lino for its unique effects and tactile, printed finish.
Before printing it is advised (especially for a beginner) to mark out their desired print/design onto the surface of the lino with a washable marker or pencil. This way the cuts will be more precise and give the artist a better idea of how deep and many cuts are needed to gain their desired effect. As the depth of lino is typically around 3.2mm there is enough lino to create some depth of field effects with cuts. Deeper, wider cuts into the block will have less of a chance to pick up any ink residue when rolling, whereas layers shaved at the top may pick up flecks of ink pre-printing.
InkyDog Studio uses Linocutting for her print work.
Lino is done in the negative, so when carving the artist needs to remove any areas they do not want ink on. For example if you were doing a print of a window and wanted a good effect, the artist would cut away the lino in between the panes. So when inked and printed the frames will be the only things printing, giving it a good look and finish. Despite normally working in the negative you can be creative with it and utilise different ‘negatives’ where printing is occurring in unique ways.
A design is cut into the surface of the lino with a sharp chisel knife. The knife is specially designed to work with lino and typically comes in either a V-shape or a U-shape. The differing shapes also come in a variety of sizes allowing for fine detail cuts or broader, more area coverage cuts. When the desired cutting has been achieved the block is laid down on a flat surface and inked with a roller (known as a brayer). The goal is to get an even spread of ink over the full block to ensure a smooth and crisp finished print. The ink used is typically a water-based specifically made block printing ink that is designed to be used for printing. Using normal acrylic (or other) paints will not work as effectively and will most likely muddy the image and block up the roller. Acrylic paints can be used with Lino however, but must first be mixed with a specific printing medium prior.
Essdee Lino Cutting Sheets
The inked lino block is then left on the hard surface and a piece of material (most likely paper - handmade paper works perfectly with this technique) is pressed onto its surface for a few moments before being carefully removed. And just like that, you have a lino print. The lino block can be used back to back for prints, but will lose clarity and depth of colour as the ink is slowly removed with each print. When carved a block can be washed and reused unlimited times, making it a very sustainable method of working.
Lino is available on our website in a few varieties. The softcut is, as its name implies, a slightly softer and easier to cut version of standard lino, typically beige in colour the block performs in exactly the same way as standard lino but with an easier cutting surface. The mastercut on the other hand is slightly thicker than a normal lino block, coming in at 4mm. This extra thickness gives the block more strength than standard lino meaning it can take finer detailed work better and won’t crumble or break when used with a printing press.
For our full range of linocut products click here or click on the images below.
Image Credits;
Sandra Manchester
Inkydog Studios
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There is a modern trend towards sustainability in not only the paper industry but in all aspects of modern life. The aim is to reduce deforestation, water use, greenhouse gas emission and fossil fuel consumption. Sustainable papermaking is one of the ways we can do this, by using materials that will naturally regenerate over time and materials that are non-harmful to the environment when used.
As individuals become more and more knowledgeable about the materials they would like to use in their process handmade paper has seen a boost in popularity over recent years. Artists and crafters seem to adore its unique, textured and purposeful makeup, and utilise it for a variety of techniques. As the name suggests, handmade papers are made by hand in a batch process not a continuous roll as found on papermaking machines. This batch process means that sheets will all have unique colouring and textures. This unique makeup is one of the reasons these sheets are desirable, as the varying tones and textures showcase the natural process that goes into making them.
As the 21st century progresses it is becoming more and more pertinent for artists to seek out sustainable materials that don't affect the environment in a negative way. Khadi Papers are a leader in sustainable paper making as all of their products are made in a sustainable manner.
Their cotton that is used for paper making comes from off cuts of cotton t-shirts which arrive in massive jute sacks. The cotton is then used in the manufacturing process with the jute being recycled as paper also. None of the paper produced by Khadi are made from wood pulp and as such there is no negative repercussion on India's forests.
Deforestation is the clearing of forested land for the purposes of farming or using the timber for production and manufacturing. Whilst positive in concept, giving farmers space to store livestock and grow crops. When done on a larger scale deforestation can become a big issue for the environment and the local fauna. In actuality, the paper industry is one of the biggest drivers of this deforestation, accounting for roughly 20 percent of deforestation in the 2000’s. As one fifth of the world deforestation is done by paper manufacturers, companies like Khadi set to change the norm and showcase how paper can be made in a sustainable and eco-friendly manner.
For example, Lokta paper is a completely sustainable paper. The bark is stripped from the lokta bush above ground level, this maintains the plants radial root, allowing it to re-grow in 3-4 years for another harvest. The trimmings are then used as fuel for other parts of the process. Khadi Papers have developed a method of using soda ash instead of caustic soda when preparing the lokta fibres, this non toxic method not only produces stronger, more durable paper but it also can be reused. As the run-off can be used as a fertiliser for crops, the whole process in this way is eco-friendly and sustainable.
One of the key ingredients in paper making is water, and the whole process is dependent on it. Khadi collects water from their own bore well which captures rainwater, to then use in their papermaking process. The “virgin” water is used for the white papers as it doesn't have any colouring or tints to it. Then it is recycled for the light tones, then the dark tones and any crop fibre papers. The final run-off is also PH neutral as no chlorine or bleach has been used in the manufacturing process, and thus the water can be used for other things. Clairefontaine also use a similar process and only use water from the nature reserve their mill is on.
Image Credits:
Sandra Manchester
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Handmade paper has seen a recent spike in interest over the previous few years. The natural surface and sustainable manufacturing process are an alluring concept to many progressive artists. Most handmade papers are made by using a mould, which is typically a frame with a rigid, flat screen. The mould is dipped into a vat of wet pulp before being lightly shaken to distribute the fibres evenly and to drain off any excess water. The fibres remaining are then dried either by the sun or fans which dry the paper swiftly. If a smooth surface is desired the paper is run through rollers that are either heated for a hot press (extra smooth) finish or cold rollers leaving a not finish (cold press). There isn't one specific company who makes handmade paper as it can even be made at home with a screen, recycled paper and a bit of patience.
Over the previous decade demand for handmade papers has grown. The Khadi paper mill reported a 15% increase last financial year and the year prior and there seems to be no slowing down now. As the internet becomes more and more the central pillar of our modern lives, handmade papers can connect us on some level back to a tactile and traditional way of working. The imperfections on the sheets lends to the feeling of heritage and allows the artist to explore the paper on their own, finding the best use that suits them.
Handmade paper can be used for a wide variety of techniques depending on the paper you are using. For example, Khadi Papers are renowned for their use as a watercolour paper, despite the lighter weights not specifically being classed as such. Watercolourists flock to use these sheets as they have a unique feel and texture and have a genuinely rough surface compared to machine made papers. As well as being used for watercolour work handmade paper is used for scrapbooking and collage as it has a unique texture and surface quality that cannot be found anywhere else. The sheets are vibrant and exclusive, having unique characteristics between even the same batch.
For our full range of Handmade Papers click here.
Image Credits;
Sandra Manchester
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For watercolour work there are two main brush types available to the practising artist, Sable and Synthetic. Whilst functionally they perform the same jobs and can be used to produce similar results they are both unique and offer benefits and negatives exclusive to the variant.
Beginning with the often cheaper option with Synthetic brushes. These brushes have fine, soft hairs that are smooth in finish and suitable for most wet media. The soft bristles allow for more colour to be loaded into the brush and then dispensed onto the paper. The soft feel of the hairs allows for a lack of brush strokes on the paper, giving more of a smooth finish, ideal for watercolour painting. Synthetic brushes are also a good all round tool for any artist as their fine hairs give way to buttery smooth blending without the need for a more expensive brush.
Daler Rowney Aquafine Sable (front) and Synthetic Paint Brushes
Following on from this, it is quite a big difference in cost between a sable and synthetic brush. This cheaper price point allows the synthetic brushes to act as more of a work-horse brush without worry that an expensive brush is being damaged. This idea also means that using acrylics or masking fluid is also best done with a cheaper synthetic brush to maintain the quality of more expensive specialist brushes. Despite this however they are still an extremely useful and versatile brush type that can be used for a variety of techniques and with many mediums. A good all rounder with potential for detailing and large area coverage.
Sable brushes on the other hand are designed for precise, expressive mark-making. Featuring extremely fine hairs that can hold far more paint than a typical synthetic. If properly stored and cared for these brushes can last a lifetime and should be looked at as an investment in your process. Designed for fine working, they should not be used with acrylics or oils as these paints can be damaging to the hairs.
Winsor & Newton Professional Watercolour Sable Brushes
As they can last such a long time they are actually quite economical, one larger purchase of a good sable may last longer than repeated purchases of synthetic brushes. The hair found on sable brushes is typically from the tail of a Kolinsky, which is a species of weasel. This makes the hair extremely durable and as stated the brush will last an extremely long time if cared for correctly and outcast inferior brushes. With this type of sable the hair has a series of tiny interlocking scales that make up each strand. These scales contribute to the brushes ability to carry a vast amount of colour, this in turn allows for larger areas to be covered without reloading the brush. Lastly due to the high quality of the hairs they have a natural ability to “spring back” and maintain shape during painting more so than other brush types.
Overall both brush types have positives and negatives, with one suited for detailing and expressive work with the other being more of a work-horse brush that can be used for a variety of jobs.
Image Credits;
Sandra Manchester
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Lokta paper is a sustainable, 100% natural alternative to machine made papers commonly available in the art market today. The paper itself is made from inner bark found in high elevation shrubs and bushes. Called an evergreen shrub or the lokta bush by locals, they are an extremely sustainable resource as when cut back they can double in size. The bushes require trimming every 3-4 years, and this trim and re-trim of the leaves causes the bushes to grow back faster. Essentially the more lokta harvested the more to be harvested next time. Lokta is produced all across Nepal in as many as 22 districts, however modern lokta production is typically produced in Kathmandu and Janakpur.
Compared to a-typical paper, the lokta is insect and humidity resistant giving it excellent preservational qualities. These long lasting effects are what makes the paper so unique and suited to a range of specific jobs. Over the centuries official government documents and sacred religious texts have been made with lokta, its resistance to the elements allow it to survive up to 3000 years. The world's oldest surviving documents are known to have been printed on lokta 2000 years ago.
To make the lokta paper, the collected flowers are boiled and cooked for around 8 hours until the mixture has become a smooth paste/pulp. The paste is then placed onto a frame and spread out by hand to ensure complete even coverage. The frame is then lifted and tilted to get an accurate finish. The resulting frame is then left in the sun to dry. When exposed to the sun the paper begins to form, as each sheet is left to dry individually they all vary in colour, texture and finish. During this part of the process dye can be added before the drying process has been completed. The making of the paper requires just the skin of the bushes and not the whole shrub, as the shrub is not used for paper, the villagers can use them for fuel. In this manner the process becomes sustainable, leaving no waste during the manufacturing.
During the late 20th century the popularity of Lokta paper in the western world grew and an increase in demand meant that international exporting of the paper became possible. The handmade paper industry in Nepal is growing at a rate of 15% per year and doesn’t seem to be slowing down. Despite being used originally for sacred religious texts and government documents it is used today for a wide variety of reasons. Such as prayer books, restaurant menus, wrapping paper, packaging and even chocolate packaging.
For artists this paper is useful as it fills a good number of roles. The thicker stock paper can be used for interesting charcoal and pastel works whereas the lighter weight papers is well suited for printmaking and collage/mixed media work. The two standard variants of the paper are Lokta Natural and Lokta Natural Rough. The main difference here being that the rough has far more of a surface texture than the standard. The standard paper is available in three thicknesses, Lo1, Lo3 and Lo5. With 1 being the thinnest and 5 being the thickest. The rough is available in one standard weight and is extremely thick and resilient. The paper has a textured surface that is fantastic as a print or for very textured works. Coloured Lokta is typically smoother in texture and thinner, being similar to the Lo1, in thickness. It is dyed in a variety of colours and has a deep, rich tone to its surface. Excellent for gift wrap or for collage work. The paper has a slight texture and each sheet can vary in colour slightly due to the sun drying process. Lastly there is the Lokta Tissue Paper, an extremely thin variant of the lokta paper being only 15gsm. The paper has natural fiber inclusions and has a subtle texture.
The use of lokta has grown and grown over the previous decades and will do so in the future as its sustainability draws many progressive artists to its unique surface. For all of our lokta products see our listings here.
Image Credits;
Sandra Manchester
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Sizing is a highly important and integral element when creating paper, we thought it was so important that it deserved it’s own blog. We quickly covered what sizing is in our Basic Breakdown Blog of Paper as sizing is something that happens in the paper making process and we suggest you give that blog a read as we think it’s full of useful information. However, we wanted to go into further detail so you can see why sizing paper is an important step and why you should make sure whether a product is sized or not; in it’s most simplest term, a size is used so the paper becomes less-absorbent which is really important with something like watercolour because so much water is needed.
Unsized Paper
Two of the main ingredients in paper are fibres and water. These fibres usually come as cotton or cellulose depending on the quality. Fibres generally love water which is perfect when you are in the process of creating the paper as it can soak up the water in the vat of the machine to make the paper pulp mixture. However, if a size isn’t added during this process it means the fibres love of water is still within the paper once it is shaped and dried.
The unsized paper, also known as ‘waterleaf’, now has the ability to absorb fluids readily and instantly like it did before it was paper. Fluids will be able to spread randomly and bleed through on the sheet. It’s love of water may not be a desired element when creating art, this type of absorption is something you can’t exactly control and as an artist - depending on what you want to achieve - you may want to control this.
You can still purchase paper that is unsized such as blotting paper, paper towels and tissues as well as some artist paper. However if you want to use something that needs water like watercolour or something that is known for bleeding such as Promarkers, we suggest purchasing appropriate paper that is specifically made for that medium.
Ink on sized Khadi Paper
Sized Paper
A paper is sized so it becomes more water-resistant and less absorbent, this will also highly reduce or eliminate bleeding as it coats the cellulose fibres. Additionally it also protects the sheets from breakdown due to oxidation and slows down its ageing. Sizing can also add adhesive qualities and strengthens the sheet, so it really is an important step when making paper.
There are two sizing methods you could use; you can add the sizing agent either internally or externally as well as using both sizing methods on one singular sheet which is something high quality paper does;
Internal Sizing is combined whilst the paper is still a mixture of water and fibre. The Beater (also known as a refiner or a vat if you are making paper by hand) is the mechanical device for paper pulp and is considered the most crucial part to the paper making process as various other ingredients can be added during this time along with the pulp fibres such as fillers and dyes. It is an oval-shaped tank that includes bars and a rotating beater roll. The pulp slurry mixture of water and fibre rotates between the bars resulting in the formation of paper, whilst it is this mixture, the other ingredients are added before moving on to the next stage.
You can include a minimal amount of internal sizing, this process is called slack-sizing which means it is only slightly water resistant. Adding a larger amount of size means it can withstand plenty of water and can be used for offset printing; this is called hard-sized.
External Sizing is applied after the paper has been formed. Also known as surface sizing, this process can be more time consuming. However unlike internal sizing it adds a protective coating to the sheet itself. External sizing is something you can easily do at home compared to internal sizing (unless you are making your own paper). There are three sizing methods and for each method the sheet has to be completely dry before adding the size. The three methods are;
Brushing - Using a brush, you paint on the size and can add multiple coats if you wish.
Spraying - To begin you combine the size with water and then spray onto the paper.
Tub Sizing - You soak the sheets in a tub of size which is then pressed.
The Paper-Making Process
Solution
The solution of a size can vary, one of the most common is a gelatine size. This type of size has been used for centuries, however, without additionally adding potassium aluminium sulphate (alum) it can deteriorate quickly. Adding alum to the size has become more of a recent addition and means that their is some control to the growth of bacteria which helps the ageing of the sheet.
There are also plant-based and synthetic alternatives, which makes the paper animal-free and something that you should keep an eye out for if you are a vegan, Hahnemühle is a brand that only uses synthetic sizing.
Sized Arches Pad
The key thing to remember is that for any type of sizing it improves printability, protects the sheet, gives the surface extra strength and makes the paper water resistant.
Image Credit:
Sandra Manchester
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Watercolour paper is specially made to prevent warping and allow the absorption of colour into its surface. Paper pads typically come in two formats, Pads and Blocks, this Basic Breakdown will highlight the difference between these two formats whilst also looking at single watercolour sheets.
Both pads and blocks are essentially the same thing save for one main difference. Pads have a singular bind, typically either a ring bind or a glue/gum bind along one edge. This allows for sheets to be removed with ease and stretched onto a board. This is especially necessary if the paper is of a lower weight as being used straight into the sketchpad would most likely result in warping.
Blocks on the other hand are glued/gummed on all four sides. This glue bind gives the pad its block name as it is a block of watercolour paper. The paper is easier to paint onto straight away as the glue on all edges prevents warping or cockling. To remove sheets from a block pad a craft knife is used to slice around individual pieces, for stretching or display.
Both pads and blocks are good for beginners and professionals alike and most practising artists will choose based on their tastes.
Bockingford Watercolour Block (Rough)
As an alternative to both Blocks and Pads there are loose sheets of watercolour paper. By comparison to the pads you get far less paper by square inch however depending on the paper chosen it can be a far more economical choice. Loose sheets are an excellent option for any artist wanting to explore multiple work surfaces. The cost of three sheets of varying textures will typically equate to the cost of a standard watercolour pad. Pads are most likely made containing one texture finish, such as a rough or smooth pad.
Loose sheets give the artist room to experiment with these different textures without the need for having multiple pads of paper. Additionally as the sheets are available as singles they can be used at any size the artist requires. Either used whole as a larger size work surface or cut down into smaller sizes loose sheets are excellent at providing sizes that are unavailable in pads or blocks.
Bockingford Watercolour Single Sheets
Image Credits;
Title and Product Images - Sandra Manchester
Watercolour painting is one of the three main painting methods available to the modern artist with the others being oil and acrylic. Of the three mediums it is perhaps the most accessible but least forgiving. Extremely popular with hobbyists, illustrators and fine artists alike. Watercolour paint is found in two distinct formats, this blog aims to highlight the differences between them and provide a reasonable explanation for the use of both.
What is paint?
Before we compare the difference, we must understand what paint actually is - Paint in its simplest form is merely colour and glue added together to make a paste or block of colour. This paste can then be applied to a surface. Watercolour paint is more specifically made by mixing pigment with gum arabic and a small amount of glycerin.
Is the paint in pans and tubes the same?
Yes, once the paint mixture is together it can then be put into tubes where it retains the paste like consistency or left to dry, before being cut into small rectangles called pans.The paint within a pan and a tube is identical and would produce near enough the same effects when used.
If the paint is the same, what is the difference between them?
Typically those who mix their own colours would use tubes as the direct application of colour is crucial in maintaining specific colour mixes. For many it is easier to squeeze the desired amount of colour from a tube rather than pick it up from a pan. Additionally most modern companies favour tube watercolours over pans.
On the other hand, pans are quite useful in the right situations. When travelling or working plein air pans can be a useful alternative to tubes as they typically cause less mess and are easier to transport. The pans aren’t messy when dried and can be stored in specific pan cases. Most artists will customise their case with colours that match the palette they desire. This is a good way to have consistent results when working with watercolours.
Overall pans and tubes do the same thing but in a slightly different way. It is up to the individual to determine which of the two better suits their needs and buy accordingly.
We have some high-quality watercolour products that will go with pans or tubes, Click Here to check out the range.
Image Credits:
Title Image - Sandra Manchester
Image 1 - Nick Collins from Pexels
Image 2 - Ylanite Kopppens from Pexels
Watercolour paper comes in a number of different varieties with cellulose (Wood Pulp) and cotton being the two most popular. This blog aims to highlight the pros and cons of both and showcase the differences between them.
Cellulose is made from a wood pulp that is chemically treated to work with watercolour paints. The paper is thus quite inexpensive and is often looked at as an alternative to the higher quality cotton paper. Yet despite this paper being lacking in quality it makes up for it in affordability being a favorite of amateur artists and students alike. For single layer work this paper works well but for more complex, layered works the paper can cockle and warp, showcasing its lack of durability.
Clairefontaine Paint On; Multi-Technique 100% Cellulose Paper
By contrast 100% cotton paper is often high-end and looked at as an artist grade paper. The cotton construction proves a high degree of stability and is far more durable than its cellulose counterpart. The cotton absorbs water easier and can handle a higher load of colour, giving access to more techniques on one sheet. 100% cotton paper is also often acid-free which prevents yellowing and discolouration of your paintings over time. However cotton is more expensive than cellulose and is seen as more of an investment or artists tool rather than a standard work surface.
Arches Single Sheet 100% Cotton Paper
Both types of paper are available on our website for purchase.
Image Credit:
Sandra Manchester
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Within this Basic Breakdown Blog our in-house artist talks about what a panel is, they quickly explore the difference between primed and unprimed and also compare it to canvas. If you are wanting to try a surface that isn’t paper, we highly recommend a panel surface.
What is a Panel?
Simply put, a Panel is a piece of board, most likely a sturdy, resilient piece of wood that has been cut to a specific size before being primed or left with a wooden finish. Panels are an excellent alternative to traditional canvas, its solid hardback feel allows for extremely aggressive work with both brush and knife, the rigidity of the material doesn't give you any ‘bounce’ when using these techniques and thus is quite suited for textured impasto projects. In addition to its usefulness as a hard board, the fine grain surface allows for extreme detail to be achieved. Especially with oil paints, the blendability of these panels is very high, the extra smooth surface is perfectly suited for tight detail work, portraiture and fine detail painting. In addition, because of their small depth they are typically far easier to store than even standard edge canvases.
Primed vs Unprimed
A primer is a ground or gesso that is applied to a work surface prior to painting, the application of this primer allows for paint to be properly absorbed without losing colour, intensity or feel. There are numerous types of primer but the most commonly used in industry today is an acrylic gesso primer. This primer is applied in layers until the desired effect is achieved, after drying the primer can then be sanded down to gain a smoother finish.
There are a few schools of thought when it comes to primed vs unprimed. Foremost, unprimed materials such as panels or mdf are extremely absorbent and will soak up paint that is applied. The colour will become faded and more paint will be needed to gain the desired effect. Primer solves this problem as it often allows for the colour to be readily applied when dry.
Artists may perhaps want to buy unprimed canvas or panels as they like to use their own primer, with a specific formula that is tailored to their needs. In the past there was a large price differentiation between primed materials and unprimed, however in recent years this gap has reduced due to most manufacturers priming their products as standard.
Pictured Above: Seawhite Wooden Panel and Ampersand Gessobord
Panel vs Canvas
Traditional canvas has been used by practising artists for centuries, its feel, texture and sizing can all be decided by the individual using it. Yet this age old technique has, in recent years, become somewhat diminished in favour of more efficient, modern work surfaces. These days most canvases are stretched for the user, removing an element of personality and despite canvases enduring popularity, the hard backed, resilient surface of artist panels has become a desirable surface to work onto.
Compared to canvas, panels are typically finished far smoother, either due to them being left unprimed, or because the primer has been sanded down to provide a fine grain effect. They are rigid and strong, tough enough to endure even the harshest use with brush or knife. Because they have not been stretched over a wooden frame they do not suffer from the ‘bounce’ of a canvas. A ‘bounce’ is essentially the canvas material being stretched back as the artist pushes into the surface, this is not an issue with boards and panels as their backing is hard and complete, going over the whole work area. In addition to its hard surface, Panels typically have a smooth finish to their surface, which in turn allows for extremely detailed work to be completed without any texture interrupting.
Despite looking very similar and typically being placed together. It’s easy to get confused and think they are the same product, however they are vastly different from one another. Here is a Basic Breakdown Blog to explore the difference between Layout and Marker Paper;
They are very similar
First of all, let's not deny that they are a very similar paper. When you plan to purchase paper the two most important things you look at to make sure that paper is suitable is weight and texture - and on the surface - marker and layout paper look the same. They are both lightweight (being under 100gsm) with extremely smooth surfaces.
Production
Most of the paper making process will be the same, especially to achieve the smooth paper surface. However one of the main differences between the two is the wax treatment that is added on the reverse side of the marker paper sheet. This treatment is what makes the paper bleedproof and something that is needed with every marker sheet. Winsor and Newton Marker paper is a great example of this and will not bleed through onto the next sheet or make the ink run which is something that is needed when doing something like cartoons drawings.
Uses
One of the key differences between marker and layout is that they have dramatically different capabilities - Marker Papers are used for alcohol markers and Layout Papers are used for developing ideas and getting a layout of the final product. One can be used with vibrant and colourful inks, whilst the other can be used with a technical pencil.
Weight
We already know that both sheets are thin and light, however, layout paper is around 45gsm which makes it very similar in weight as tracing paper (and something you can use layout paper for). Marker paper is around 70gsm, making it a little thicker, it's also not as translucent and not ideal for things like tracing.
Image to the left: Winsor & Newton Marker Pad
Image to the right: Seawhite Layout Pad
Economical
To be honest, there isn’t much of a comparable difference with this, we just think it’s great to highlight how economical they are. Both pads average out at about 50 sheets and it can be a lot cheaper to purchase a high quality layout or marker pad compared to a high quality cartridge pad.
Overall, we haven’t gone into great detail here, but we don’t think we have to. Both products are great, the main question you need to answer is - what will I be using on it? If it’s just alcohol markers, go with marker paper. If it’s mainly for ideas and sketching with pen and pencil, go for a layout pad. If you want something even more versatile you should also check out our Bristol Board.
Image Credits:
Sandra Manchester
It is extremely crucial for you to understand that to achieve the perfect results from an art project, you need to choose the correct and right paper for the medium you are using. For example, you wouldn’t choose a really thin paper like tracing paper for a watercolour or oil piece. The paper would more than likely break or become wavy and disfigured, which isn’t something you would generally want unless you were trying to achieve something very experimental. For the normal artists and projects out there, you would want something that does its job properly.
But this is perhaps where it gets complicated, there are so many different variations and things an artist needs to consider before even thinking about purchasing that product; which is why we have created this simple, easy to follow blog that explains everything you need to know about paper and the paper making process.
A Basic Breakdown of Paper
The Fibre
Before we look at how paper is made, first let’s look at its ingredients. The two most important things it needs is water and fibre. A variety of plant sources can be used for the fibre, however, the two most common are;
Cotton - Considered to be one of the best fibres you can have, 100% cotton rag paper is typically the highest quality. The duration of this paper can last more than 100 years and is commonly hand-made when it is being produced. It can handle things like heavy erasing, it doesn’t show wear and is a really strong paper.
Cellulose - Usually made from wood pulp, and although this fibre can also be very high in quality it is also a lot more acidic which makes it not as long lasting as cotton. However, things can be added to help with this.
Cotton Fibres
When it comes to the fibre that is used, you really want something that is high in quality especially for when it’s for a professional piece because a strong and durable paper is much better. Fibres like cotton or long natural unbleached virgin fibres are more suited and are usually contained within professional artist quality sketchbooks, paper and pads.
How it’s Made
This could easily be a blog on its own, in the most simplistic description, there are two ways it could be made;
Hand-made paper - Involves someone creating each sheet separately and by hand. Khadi Paper is one of the best examples for this. The mixture goes into a mould (also known as a deckle) and then hung to dry - a deckle edge is usually formed from this, click here to read our Basic Breakdown Blog on the deckle edge. One thing to note here is that each sheet will be different because every sheet is made by hand, although they do try to keep it consistent.
Machine-made paper - Is created by using a machine, the two main industry standard types are the Cylinder and Fourdrinier. Both consist of a vat that is constantly rotating and has the mixture in. Although the different machines provide a different filtration process, once that is done it would be then dried in a similar way. A deckle edge can be created but more commonly machine-made paper provides a cut edge when it’s finished.
How it is made will really be down to personal preference. Most brands focus on quality and consistency, especially when it comes to machine-made paper. However, there is such a uniqueness to hand-made paper that it really is down to you. If you are new to art we would suggest using machine-made paper more as it is smoother and more unified, so you can get use to the technique first.
Khadi Papers Handmade Process
Rough, Smooth and Everything In-between
One thing that you have probably noticed when looking at paper is that it says whether it is rough or smooth; this is the finish and the texture the final product has. The surface of the paper is just as important as the weight. If you want to do more bold and expressive art or want to work with things like watercolour, rough paper would be highly recommended as there is more ‘tooth’ to it, meaning the medium you use will latch on well. In comparison, a smooth paper has no texture. This allows the medium to sit on the top layer, and not get lost in the texture which is great for finer details and botanical work, for example markers, inks and fine liners would be more suited for smooth paper.
Most sketchbooks would typically say rough or smooth but when you start looking at more specific pads, such as watercolour, they might say something else. A good example of this is Bockingford, they label it slightly different, but this difference will give you more of an indication as to how the paper was finished.
The labels used could be;
Rough - More texture than cold pressed, and highly recommended for landscape paintings as it can show more depth and structure.
Cold Press - Middle of the range paper meaning it is slightly textured but not as much as rough. This paper is used the most and we would recommend that you go for this kind of paper if you are new to something like watercolour.
Not/Cold Press - This term is used instead of cold press. A ‘Not’ sheet just means that it is not hot pressed.
Hot Press - Very smooth paper. During the production process sheets are run through a heated roller or plate that smooths out the texture like an iron, leaving a flat, featureless surface.
Texture of Paper
Additionally, when looking at something like Bristol paper you would see just two surface types; Smooth and Vellum. Vellum is simply paper that has more tooth to it but still smooth to touch which is something perfect for coloured pencil and pastels. There are other terms, but the ones above are the most used.
Sizing
Paper is usually sized to make it more water-resistant and less absorbent which is highly important when it comes to watercolour or inks. It also means that it will highly reduce or eliminate bleeding as well as protecting the fibres of the paper from breaking down due to oxidation. If the sizing is a neutral pH it would make the paper acid-free as well which helps with the deterioration of the paper. Sizing is usually done through gelatine, however, brands such as Hahnemühle only use a synthetic size alternative so it is vegan-friendly. There are two methods to size a paper with some products using both to protect the paper even further.
The methods used are;
Internal sizing - Added whilst the paper is still a pulp mixture.
External, tub or surface sizing - Added onto a dry sheet.
Sized Paper - so it doesn't Bleed
Weight
The weight of the paper determines what exactly you can do on that sheet, it is important to get this right unless you are experimenting. GSM is the system of measurement we use as it is the metric system way of weighing paper, the other two systems is ‘basis weight’ and ‘caliper’. It stands for ‘grams per square meter’ - which means the weight (also known as a grammage) of a sheet is equivalent to one square meter size.
What you need to understand is the higher the GSM, the heavier and thicker the paper. This means it will be able to absorb more water, paint, ink and any other medium used. Things like layering and using different mediums will be more feasible.
Here is a list of the most common weights with their most common uses;
40gsm - Tracing paper
45gsm - 50gsm: Newsprint
75gsm - 90gsm: Sketching, writing and dry mediums. It’s thick enough for things like pencil, charcoal and pastels (soft or hard). Could be used for ink or markers but they may bleed through. With limited water usage, watercolour can also be used on this paper, however, we highly recommend something a lot thicker.
100gsm - 130gsm: Sketching, drawing and dry mediums. This thickness is great for finished artwork (especially for dry art techniques), will bleed less and is a lot more suitable for wet techniques.
180gsm - 260gsm: Heavy-weight, bristol and watercolour. It is a great multi-media paper whilst also very suitable for watercolour and wet techniques.
300gsm or over: Heavy-weight papers. Less likely to be used for drawing but it is still a good paper for that. More commonly used for all types of painting, it holds wet techniques very well. Good for a watercolour journal.
Although we have tried to cover everything within this, if you are still unsure, here are some common art techniques and what we suggest would be the best weight of paper to purchase - Watercolour (300gsm), Drawing (130gsm), Sketching (90gsm), Bristol (260gsm) and Charcoal (95gsm).
Formats of Paper
Formats
Paper comes in many styles and formats. It is really down to personal preference on what format to use, the four main formats you would see are;
Single Sheets - Great for experimenting as you can purchase different variations for the same price as a sketchbook. However, you need to consider that you may have to tape it to a board so it would remain flat when you are working (especially when working with watercolour).
Sketchbooks - Very convenient for travelling with. More suitable with dry techniques but you would probably need to remove the sheets out of the sketchbook for wet techniques, like single sheets, it would need to be secured into place.
Blocks - Once again convenient for travelling with, however, compared to a sketchbook all four sides are glued together meaning it’s great for watercolour and you wouldn’t need to tape it onto a board. The only inconvenience is that you can only use one sheet at a time.
Rolls - Useful for when you have found your preferred paper, it’s especially economical if you only use one style of paper.
Sizes
Similar to formats, when considering the size of the paper or sketchbook you want it is all really down to personal preference. As a good starting point A4 and A5 are the most common sizes, they aren’t too big or too small and are perfect for traveling. We also provide a great selection of square, landscape and portrait options. Check out our size guide below to illustrate the difference in this.
Image Credits
Product Shots and Size Guide - Sandra Manchester
Paper Process - Khadi Website
Cotton Fibres - Pixabay
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You found the perfect paper, but it is offered in various different binds. Do you know what bind best suits your needs? Here is a Basic Breakdown of the different binds out there and some key information on what it means for the sketchbook.
The Four Most Common Binds (and It’s Anatomy)
Hard-Cover Binding
This is one of the best binding techniques and typically one of the most secure. In basic terms the pages inside are sewn together as one or in sections (thread / stitch bind). It is then glued together and then finally glued to the cover’s spine. The cover that is used is typically thick card with some type of cloth over it - providing more quality to the book (also known as hardback). They are the most well-presented books and are highly durable, however, they can be more expensive and weigh more due to the cover itself.
Can it open-flat? Typically, yes. It is dependent on the cover, things like Khadi and Hahnemühle can easily open flat.
Can you draw across the gutter (bind)? Yes, unless there is additional tape around that area for support. Overall most sketchbooks can do this.
Khadi Papers Hardback Sketchbook
Soft-Cover Binding
Known as perfect binding, this is one sketchbook that you will have typically seen. It is lower in quality compared to its hard-cover counterpart and pages are glued together with a strong glue. The cover is usually cardboard on the back for more support and a coat or laminated thick paper on the front for protection (also known as paperback). Pages may be easier to tear out and because of the glue will typically leave a straight edge. It is a more economical book but is less durable.
Can it open-flat? Maybe. It is dependent on the pad you choose and how secure the glue is, as in some cases sheets could fall out.
Can you draw across the gutter? No, as mentioned it all depends on the glue. With this style of pad, you would generally not want to do this and just want the use of single sheets.
Daler Rowney Watercolour Langton Pad
Staple Binding
One of the most economical sketchbooks, staple (or saddle-stitch) binding is typically used for short term purposes. With the paper folded in half, creased and then stapled in the middle to keep the pages as one. This bind, and style of book is similar to a magazine. It can be easily damaged as the cover is typically paper as well. This type of sketchbook also uses a smaller page count and has a fairly quick turnaround in production.
Can it open-flat? Yes, probably one of the best binds to do this with.
Can you draw across the gutter? Yes, but bear in mind that there will be staples.
Seawhite Eco Starter Sketchbook
Spiral / Wire Binding
Using a spiral bind involves a metal or plastic coil to hold the sheets together. The bind is usually one piece that is threaded through punch holes of the paper. One of the benefits for this sketchbook is that it has the flexibility to open 360 degrees without breaking the spine which makes this bind useful for writing. The wire bind is like the spiral bind with the only distinct difference being separate rings. Both binds do get mixed up with each other because of how similar they are, with the more common term used for both being Spiral Bind. Both binds are economical to make and are very durable depending on the cover. The covers can be a range of hardback and paperback.
Can it open-flat? Yes, as mentioned it can do 360 degrees and can easily open-flat.
Can you draw across the gutter? No, the bind will be in the way.
Other Binds
Thread-Bind
This can either be stitched all the way through or section-stitched which involves each separate section being sewn into the following section all along the spine. Thread is used for this type of bind and is one of the most secure forms of binding. It is also the first stage of the hard-cover bind but can be left on its own without a cover with the stitching exposed.
Loop Stitched
Similar to a staple bind, however, instead of a metal staple it is a metal loop. This loop is on the outside of the spine so it can easily be secured into a ring binder.
Tape Bound
An adhesive tape is used to wrap around the spine. This is usually fixed onto a bind that has been stitched together for reinforcement.
Side Stitched
Wire is used to stitch through the cover and pages instead of along the spine. To hide the stitch and wire it is often covered up.
These are the most common binds you would find and want for a sketchbook, however, there are plenty of binds out in the market.
Which Bind Suits Your Need
One thing we haven’t fully covered yet is what art techniques best suit what bind, and well, we can’t really say. Picking the bind that suits you best would really be dependent on your preference of bind and what paper you need.
However, one key question to consider when choosing a sketchbook is, do you easily want the sheets to come out or do you want something that keeps sheets in? Binds that are glued in, like the soft-cover bind, can easily be removable compared to a hard-cover bind. If you want sheets to stay secure in your sketchbook go for a hard-cover or spiral bind.
We could suggest things like spiral binds are more suitable for writing and calligraphy. However, if you want to do a watercolour in a spiral bound sketchbook and the paper is suitable for watercolour, there is nothing stopping you. That’s one of the best things about arts and crafts; you have the freedom to do what you want, and how you go about doing it, is totally up to you.
We would recommend reading our Basic Breakdown Blog on paper to help with what kind of paper you are looking for. Click Here to view that blog.
Image Credits:
Sandra Manchester
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You may have heard of the term ‘deckle edge’ but not really understood what this meant. Depending on what you want, having this kind of sheet might help or hinder the final look of the piece. Here is a quick basic breakdown explaining everything you need to know about a deckle edge.
What is a Deckle Edge?
It is an uneven, ragged and feathery edge to a paper.
Deckle-Edge on Handmade Paper
How do you get it?
Originally it was a byproduct of producing handmade paper. The process includes the paper pulp mixture being poured into a wooden or bamboo mould (also called a deckle). Once in the mould and shaped, it is then hung to dry. From this process excess mixture can seep out and once that dries it leaves the uneven edge.
What is its history?
It is a natural artifact that has been around as long as the creation of paper (25-220 AD). In the 1800s the invention of the first paper machine emerged (the Foundrier Machine), this machine produced long rolls of sheets, all symmetrical with a straight ‘cut edge’. This did make deckle edge paper obsolete at the time and was only really seen as a status symbol.
Khadi Papers Papermaking Process
What about now?
Handmade paper along with its deckle edge is now very popular, especially with artists and printmakers. Because of this popularity there has been a rise in artificial deckle edges made by machines. However it is still a hallmark for traditional handmade paper.
What can it be used for?
You can use any art technique on deckle edge paper, it just depends on what you want your artwork to be on. Some of it’s most popular uses are things like wedding invitations, greeting cards and craft projects especially because of the unique look it has. As we mentioned before, printmakers are also very fond of this styled edge.
Handmade Paper used for Various Craft Projects
Who makes this paper?
Many companies make handmade paper and machine made paper that can replicate this finish. We would suggest looking at Khadi Papers as they produce traditional handmade Indian papers, their products are professional, high-quality and unique. Other brands like Saunders Waterford make one-off products like the Watercolour Fat Pad, compared to Khadi this paper is made using a machine, however, the quality and finish makes it feel handmade.
How would I frame the paper?
Handmade paper is a very nice quality paper that would look great in a frame. Simply mounting it on coloured card would complement it really well.
A deckle edge can be a controversial topic, especially when it comes to machines making it, however, here at Perfect Paper we love this style of finish. It adds something a bit different and can really make your artwork stand out.
Khadi Paper Deckle-Edged Products
We stock a large variety of deckle edge products, Click Here to view our range.
Image Credits:
Sandra Manchester
Hand-Made Process - Khadi Website
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