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Only the Best (paper, that is!)
It’s exciting when a new product comes along. Trying new things can spark enthusiasm, get the creative juices flowing, and sometimes re-affirm your current ways. That is why we are introducing an exciting new printmaking paper for fine art printing, which we think is great.
But first, I had some thoughts about what makes a really good paper that I wanted to pass on to help you in deciding whether or not this new paper is one you want to try.
Once, while working in our Victoria store location, I was asked by a customer on the phone “What is your very best paper?”
When I asked them what medium they would be working in, I was stymied when they did not want to answer my question. I gather they were hoping for some kind of universal answer as they just asked me again “What is your best paper?”
Well, here it is, years later, and the same principle applies. There is no “best” paper in any absolute sense. The true answer to that customer’s question still remains a counter-question: “Best for which medium?” "Best for which situation?"
For example, if you have 40 students in a classroom, a restricted budget and you want them to do a lot of quick, loose sketches on large paper, then the “best” paper for you is probably newsprint! Similarly, a really expensive high quality sheet of watercolour paper will only cause frustration and despair if you are trying to use it for etching. And a paper that printmakers rave about will cause gnashing of teeth and pulling of hair among traditional watercolourists, as the paper has sizing in it designed to accept ink, not watercolour (see below).
Sometimes it is possible to use papers for a wide range of purposes. Stonehenge is an extremely popular paper for this very reason. Intended for printmaking, it is often also used for drawing (in charcoal, pencil, pastel or pen and ink), embossing, and even painting in acrylics or watercolours.
Artists will also use a medium on a paper not originally intended for it precisely because they have discovered unique effects that way, have developed their own innovative style or technique, or like to explore and be challenged. That is, after all, part of the artistic process.
A good question that is often asked is: “Do you have 100% rag paper?” This is somewhat more specific than a question about “good” or “best” papers, but it is also potentially misleading. Yes, 100% rag is good, however, there is no guarantee that all 100% rag papers will suit your intended use.
Another important factor in how a paper performs is its “sizing”. I do not mean how big the sheet is, but how much size (glue, starch, gelatin, Aquapel™) has been added to the paper either during pulping or after the sheet is formed (or both). It is much rarer for people to ask: “What is the size used on this paper?” Yet it is actually a defining factor in what medium it will best suit.
Most watercolour paper is sized to help slow down the absorption of the paint. This lets the painter play with washes, create gradations, scrub and repaint, lift colour off and correct mistakes. Watercolour sheets are quite stiff as a result, with a durable surface.
On the other hand, printmaking papers usually range from waterleaf (meaning a sheet of unsized paper) to light to moderate sizing. The paper is meant to “grab” ink from the plate, block or screen right away, without bleeding, spreading or smearing. The sheets are more pliable and as a rule they have a softer surface.
So, to really know what paper is best for your purposes, you need to ask specific questions. Sizing, rag content, surface texture, intended use, weight, colour, sheet dimensions; all of these things combine to contribute to a paper’s performance both in the actual art process and over time.
With all that said, our newest printmaking paper is Revere, and it is 100% Rag and available in a range of colours and weights. We have included a PDF article from American Artist printmaking magazine which offers some opinions by artists and printmakers who have tried these papers. Is it right for you? Only you can decide, based on what your specific needs are.
| Forms | File size |
|---|---|
| aaSep09FullArticleLowRes.pdf | 941.63 KB |
Upcoming Demos
Refine your skills, learn something new, or get inspired by other artists sharing their ideas and methods. Visiting Artist and Staff Demos are informative, free and happening at an Opus near you.
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Beyond the JPEG Presentation: Using Digital Images as a Starting Point
Sat, February 11th, 2:00 pm - 4:00 pm
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Pouring Medium & Other Fluid Mediums
Sat, February 11th, 2:00 pm - 3:00 pm
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Mixed Media with Acrylic Grounds
(Victoria)Sat, February 11th, 2:00 pm - 3:00 pm
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Intro to Digital Grounds & Mediums
(Langley)Sat, February 11th, 2:00 pm - 3:00 pm
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Patterns and Stencils for Mixed Media
(Kelowna)Sat, February 11th, 2:00 pm - 3:00 pm

Comments
Question for Ruth>
I am looking for a lightweight but strong paper to paste( with wheat paste) on to foamcore. I want then to sponge it with a textured wash. These boards are to mount large collages on for an upcoming exhibition in Feb. The size I want them to be is about 44x30 -each one will have 2 or 3 images that go together but will have space between. I am thinking possibly rice paper--but do you have any suggestions?
Thanks---long time customer from Regina!
Thanks for your question Antoinette.
Collage is an area where it is hard to give “pat” answers to questions, since it often involves artists using non-standard materials and techniques to produce their work. However, I do have some opinions and ideas that I’d like to share.
One of my first thoughts was a concern over the use of foamcore. I know that the great advantage of foamcore is that a large piece will be rigid and yet lightweight, however, the disadvantage is archival performance. The face of acid-free foamcore may be OK for a while, but the centre may “off gas” and leach into the paper face over time. For archival purposes, the best backings are such things as heavy paper, primed canvas, primed wood panels or rag mat board.
If you are concerned about the backing warping or buckling, here is a tip for correcting that. Place the piece face down on a clean, dry surface, tape down on all sides and apply a single, even coat of gesso, brushing in a horizontal direction. Allow to dry thoroughly, and then apply a second coat of gesso, brushing in a vertical direction. Remove the tape when the second coat is dry; the collage should be flat.
Wood panels can also be “cradled” to prevent warping. We do stock these at Opus, tosee what they look like check out our store photos:
https://store.opusframing.com/sagro/storefront/store.php?mode=browsecate...
If you want to use lightweight papers for the collaging process, rice paper, mulberry paper, and a lot of the papers made in Asia are suitable because, although they’re thin, they are made with fibres that are naturally longer and stronger than the cotton in Western-style rag papers. An alternate adhesive choice is acrylic medium. Good quality acrylic mediums are made to be permanent elements of works of art, so they are archivally sound.
Here are a couple of links to sites with good collaging information and suggestions:
http://www.stuffthatsticks.com/collagetips.html
http://www.collagecollege.com/starting.html
And finally, make samples and test anything that you are uncertain about before committing to a major work. I hope this helps you, and I would love to see your final results.
All the best in art and life,
Ruth
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