Saturday, October 19, 2024

All About Paper - Part IV - Handling


Part IV – Handling (Conclusion)

In this final chapter on All About Watercolor Paper I will discuss the proper methods for the handling and storage of paper to ensure best results and maximum longevity. 

Unused watercolor paper should be stored in a cool, dry place that is free from extreme temperature, light, and humidity. Sizing is a necessary additive to paper, and it will deteriorate with age – paper needs to be used in a timely manner before the sizing has decomposed and the paper becomes too absorbent. Extreme differences in temperature will cause the fibers in the paper to expand and contract, and each time they will contract less – causing the paper to become softer and more absorbent. Moisture and humidity cause the same problems, and need to be avoided for the same reasons.

Never soak and “stretch” your paper. Many of us learned to do this in art school, but it’s an old wives’ tale that has been repeated for generations and it is actually quite harmful to the paper. There are still some artists who soak their paper out of habit because it is the way they were taught and they simply don't know better, but it's really not a good thing and that's why you don't see it in books anymore, nor will you see any artists who have been correctly trained doing this archaic process. 

Paper is not made by knitting or weaving fibers like the construction of cloth – it is made by matting loose lint fibers, more like the construction of felt. Stretching it will actually thin the surface and weaken it. It's not knitted or woven, so the fibers, if stretched, will pull away from each other and weaken the paper. It will not 'shrink' like a woven or knitted object -- the fibers are not long enough and there are no spun yarns or threads pulling it from edge to edge.

Soaking will also remove the sizing that has been added by the paper manufacturer. Sizing is a starch or gelatin that is added to the paper as a stabilizer, and it makes the paper stiff, and it controls the rate and amount of water/paint absorption. Without sizing, paper becomes limp, and you cannot use any lifting techniques to remove paint, masking fluid would be difficult or impossible to remove, etc. Soaking also changes the texture of the paper. Manufacturers use engineered presses to create a calculated and uniform compressed surface on the papers. Soaking expands the fibers, removing the benefits of compression. The paper will become easy to damage, and can then pill or tear under any sort of light rubbing, such as using an eraser or with brushstrokes from painting. The combination of sizing and compression in the manufacturing process is what makes the paper a usable substrate for painting.

Larger paintings in particular need heavier paper, and artists who like to work wet -- washes and glazes-- should also use heavy paper. Lighter papers are fine for practicing brushstrokes, or for small projects like note cards or miniatures, or for work that is executed with little water. Blocked paper is different, and blocked paper will hold it’s shape much better than loose paper. However, even with blocks there is still an issue with the weight-to-size ratio, so blocks are not generally made in sizes larger than 18x24.

Soaking results in a paper that is softer, weaker, and more absorbent. To avoid paper buckling while painting, the key is to use the right weight of paper that can handle that amount of water. If your paper buckles, then you need to use a heavier weight.   

Read the other articles in this series: 

All About Paper - Part I - Surface Textures 

 All About Paper - Part II -- Sizing Matters

All About Paper - Part III - Weight 

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Annie Strack is an industry trained expert in the uses and properties of artist materials. She is a Brand Ambassador for Hahnemuehle Paper and several other companies, and teaches at art centers, art supply stores, and workshops around the world.  


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posted by Annie Strack @ 4:24 PM   0 Comments

Sunday, October 13, 2024

October news

 I'm happy to announce that my painting "Into Darkness" received the 7th Place Award in the Georgia Watercolor Society 45th Exhibition! 

Into the Darkness, 12x16 watercolor by Annie Strack

And my painting "Out of the Darkness" juried into the Kentucky Watercolor Society 47th International Exhibition!

Out of the Darkness, 12x9 watercolor by Annie Strack

Last week I judged the art entries at the Unionville Fair -- something I've been doing for the last 12 or 13 years. 



I also replaced the ballast in one of the lights in my studio. I have two florescent ceiling fixtures in my studio and you may recall that I replaced the other one a couple of years ago. This one died a few weeks ago and forced me to fix it, too. I'm getting pretty handy at minor little home repair jobs like this. I couldn't decide which brightness level to choose for the LED bulbs, so I went with one of each, lol! I think it balances out fairly well. 



In other news, I didn't go to the National Watercolor Society Opening Reception in California this weekend, after all. Another NWS Board Member wanted to go and be in charge of the event, so I stepped aside. I went last year, and that's enough for me. I am retiring from the Board of the National Watercolor Society in January, so I'm perfectly okay with someone else taking my place at the reception. I traded in my airfare and 4 nights of hotel in California for a two-week vacation in the Virgin Islands for hubby and myself -- I think I got a good deal! 

posted by Annie Strack @ 2:35 PM   0 Comments

All images and content copyright Annie Strack 2024. Although I occasionally receive compensation for some posts, I always give my honest opinions, findings, beliefs, or experiences on those topics or products. The views and opinions expressed on this blog are purely my own.