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The article deals with a test made on the 17 different Revere papers introduced by Legion Paper. The Revere papers that were produced by the Italian mill Cartiera Magnani which was founded in 1404 were distributed to several artists, master painters and teachers in order to best determine how artists can use them in their studios. Among the people who were given papers to sample are Center for Contemporary Printmaking artistic director and master printer Anthony Kirk, author Julia Ayres, and artist and teacher Carol Wax.

Presents an article on the approach in making tinted portrait with the use of colored pencils. Selection of the tinted paper to use for the portrait; Approach in posing the subject; Guidelines in drawing the portrait.

Presents an article on using colored pencils for paintings. Advantages of using the medium; Reason colored pencils have attracted artists in growing numbers; Purpose of the author for working on black paper.

Discusses the making of monotypes using the four primaries of commercial printing as of February 2004. Colors of the four primaries of commercial printing; Characteristics of Akua Intaglio inks; Qualities of the Arches 88 paper; Materials used for manipulating or lifting color from the plate.

Focuses on the drawing techniques of artist Pat Averill. Reasons for preferring colored pencil as her medium; Effect of colored pencil on sanded paper; Favorite subject of the artist.

Presents tips for choosing the best pastel support papers in pastel painting. Comparison between machine-made papers and handmade papers; Ways to find out one's preference for paper; Description of an acid-free paper; Ways to ensure permanence and longevity of pastel paintings.

Presents advice from Judith C. Walsh, on selecting and using papers for an artwork. Position of Walsh at the National Gallery of Art; Factors that can affect the longevity of an artwork on paper; Painting with oil colors on unprimed paper.

Discusses the use of paper in paintings. History of paper; Factors contributing to strength; Varieties; Process of adding alkaline reserve at the pulp stage.

Focuses on the use of colored papers in painting. Process of coloring; Dyes and pigments; Light and its effects; Storage; Framing; Displaying tips; Color effects; Transparent watercolor; Gouache; Soft pastel.

The author discusses how to make a landscape painting using wet paper. Several factors to be considered in working wet-in-wet include controlling and being sensitive to the dampness of the paper, amount of water mixed with the paint and performance of the brush. To establish the arrangement of colors and forms, a compositional study of the subject is necessary. The next step is to choose a sheet of Arches paper or Chinese or Indian Village paper and soak it in water. Tape the paper into a sheet of plywood and start painting while the paper is still wet.

The article offers tips on painting with watercolors. The author suggests the use of white paper, utilizing her "torn paper" project that introduces a respect for the surface. The exercise serves to isolate light areas so that analysis, adjustments, and arrangements of the patterns can be undertaken. She adds that a "light" box which she devised helps students see light shapes that help complement the subject of the painting. She adds further that adjustments are effortlessly made with torn paper by moving the pieces across the work.

The article provides information on artist Ron Bayford. He was born on November 16, 1927 in London, England and was once a telephone operator at the General Post Office and director of the Caravan Gallery in New York. He prefers soft papers like French Canson papers, American Strathmore drawing papers, and the English George Rowney absorbent watercolor paper with a slight gray cast and buttery texture. A description of some of his works is provided.

The author discusses his approach to watercolor painting with an illustration using his work "John and Ann Krisik." He uses butcher paper instead of watercolor paper because the latter's absorbancy reduces the ability to put out mistakes. He makes pencil drawings of his models to the scale they would appear in the painting and transfer them to the carbon paper with colors varying in accordance to the needs of the painting. He also uses scratch lines to eliminate the unwanted depth of the painting.

The article provides a discussion on the type face that goes best with any given illustration. It is stated that the type face sets an illustration's texture scale, and that to know the right type face for an illustration, one must be sensitive to movement and texture. It is also mentioned that factors like paper, ink, and the reader's lighting, play a great part in the selection of the type face.

The article focuses on the effectiveness of scratchboard when used as a graphic medium for illustrative drawing. It states that this medium is more efficient than any other black-and-white medium, specifically on coarse paper-stock like a newsprint. The author suggests that artists should always bear in mind that they need to be conscious with the tone values as well as masses event if a scratchboard is considered as a line medium.

The author describes the strokes and styles of his pen-and-ink drawings. He mentions that he works directly on bond paper with the use of a pencil to draw the illustration's major figure or the entire composition. He adds that most of the time, he has developed the important figure or face to a very high degree in ink and pen before he secures the over-all design of the artwork.

The article offers techniques in creating lithographs. It notes that the most common approach is the one used by lithographer Stow Wengenroth in which lithographic crayon is used like a pencil. First is to use a number 4 crayon to draw the main lines on the tracing paper and then grain the stone. Second is to brush the etching fluid on the stone in preparation for the printing of the drawing. Third is to remove the crayon drawing from the stone while the dots and lines remain in the grease and absorbed by the stone.

The article details the process of manufacturing artist's papers. It cites the importance of water, power and cellulose fibers in producing paper and explains some concepts in papermaking such as fillers, sizing, and coloring. It illustrates how the artist's papers are made from a mixture of rag fibers. The four stages of the papermaking process which includes forming, pressing, drying, and calendering are also described.

The article provides information about watercolor artist Zoltan Szabo. He prefers an imported 300-pound paper with medium-rough, cold pressed surface due to its ability to lend itself to dry-brush touches without being too coarse. He only uses four or five colors in her large palette when painting, and his favorite colors include cadmium lemon pale, phthalocyanine blue, and Hooker's green deep.

The article discusses how to prepare a surface for easel-painting. The surface which is used in painting is called a ground, which can be a stretch of linen in oil painting, a paper for watercolor, and the plaster wall in fresco. A ground is said to be important as it allows quick and confident work and is essential for the mechanical structure, survival and luminosity of the art. Tips on how to prepare a canvas and how to select a good ready made canvas are also provided.

The article presents several kinds of watercolor papers and offers advice on how to select the right one in terms of the medium and technique employed. Manufactured in Italy, France, and England, finest papers are named and letter coded as rough (R), hot pressed (HP), and cold pressed (CP). Weight of paper ranges from 50 to 300 pounds in a ream of 500 sheets, and as a rule, 70-pound paper or more is recommended for watercolor. Images of different kinds of paper with paint results are presented such as wet and dry techniques on a 54-pound rough paper.

The article features artist Edmond J. Fitzgerald and describes his technique in watercolor paintings. Fitzgerald considers excellent paper as the Stradivarius of the watercolorist. The artist believes that raw material and handcraft involved in its manufacture are important things to consider when choosing paper for watercolor painting.

The article focuses on candid sketching. The author implies that candid sketching while commuting opens a path of interest, experience and satisfaction. He explains direct style of drawing as a rendering in a continuous line that overlaps the shape and parts, and indirect style is the composition planned in a light line while a contour line drawing is directly composed and controlled only by observation. He also suggests drawing paper pads, 2B pencil and various pens for this kind of drawing.

The author shares her techniques for creating watercolor paintings. According to the author, her painting of a particular theme is based on her knowledge of the subject. The author creates thumbnail sketches to create a detailed painting. When painting, the author prefers to use a rough paper as a medium and selects paints based on her color sense.

The article presents a brief history of papermaking from its origin in the Orient in the first century to the Western World in the twelfth century. Chinese eunuch Ts'ai Lun invented the paper in 105 A.D. The papermaking process slowly moved westward into Damascus and Egypt in the tenth century and then came into Europe. Then printing multiple impressions from movable type was invented. The first paper mill in the U.S. was erected in 1690 in Germantown, Pennsylvania, by German papermaker William Rittenhouse who had emigrated to Pennsylvania.

The article discusses the artists' considerations in choosing the right paper for their works. It discusses the qualities which the fine artist look for in a watercolor paper including proper amount of water repellency, right degree of receptiveness and proper size. It also discusses the preferences of a fine artist in choosing the painting paper and other materials such as the oil painting paper, Bristol boards and tracing and visualizing papers.

The article describes the art of hand marbling. The method of decorating paper called hand marbling traces its origins to 16th and 17th century Europe. The name was derived from the designs that are made to look like marble and the technique is based on floating colors that are achieved by using an oily substance on an aqueous base. Other areas where marbling can be used are in dress materials, gift wrap papers and wall papers.

The article discusses the basic principles in calligraphy. To start, a type of paper that is smooth and not too absorbent can be used to write on. It is stated that the ink used should be thin but not watery, and free flowing, with thinned down opaque colors working well with practice. The author shares that a pen with a wide nib, about 1/8 of an inch, is best to start with.

The article analyzes two distinct methods of using the pencil with "Weeping Beech Tree" and "Honey Locust Trees" drawings by Ernest W. Watson as subjects. It describes the broad stroke technique wherein the pencil leads are worn down on a rough piece of paper until they make strokes as wide as the lead's diameter. The article also defines the other technique as using a paper with a heavy clay coating and a sharp tooth.

The article presents a reprint of the article "New Trends in Colored Paper," by Nicholas A. Meyer, which appeared in an issue of the "Editor's Notebook," published by the American Association of Industrial Editors. It discusses the trends in using colored paper in communications materials such as business papers, house organs and magazines and specifies the uses of colored paper such as to attract attention. It discusses the considerations in using ground wood paper, lightweight paper, coated paper and white paper and the elementary measures of color.

The author relates his preferences in making a watercolor painting. He says that he favors either 140-pound soaked and mounted, or 300-pound unmounted, cold-pressed or rough paper. He shares that he uses a Number 12 of finest red sable brush that can hold many colors and points well, and a number 6 and a number 2 for more detailed work. He also mentions that he emotionally keyed up while painting and expressed his feeling directly on paper.

The article presents questions and answers related to art including the availability of clay-coated drawing papers, the use of wax as a medium or varnish, and how artists are transferring photo and drawing references onto canvas.

The article presents questions and answers related to art. A person inquires about a sizing product that can be used on watercolor paper to prevent the masking fluid from lifting up bits of paper. Another asks about the archival issues that can arise from adding egg-yolk emulsion to watercolor.

Answers several questions about painting. Difference between an imprimatura and a colored ground; Definition of Claude glass; Comparison of hot-pressed, cold-pressed and rough paper.

The article presents questions and answers related to art, including how to resolve the presence of oil stain on the back of a canvas for oil painting, the kind of substances were used in pastel painting during the era of Odilon Redon and Edgar Degas, specifically in 1870-1890, and the kind of paper used, if handmade or machine-manufactured.

The author describes John Constable's "Evening Landscape After Rain," an oil painting on paper created in 1820. A description is given about the artist's style of landscapes as able to capture natural and fleeting effects than an Impressionist, and the type of paper he uses. He analyzes the knowledge and skill shown by Constable in handling the subject of his sketch, the gradations within the clouds, the timing to get the work completed and the medium used as probably a drier, fat oil mixed with turps and varnish.

The article presents questions and answers related to art including methods for making slides indoors with limited equipment, the process of coloring a paper and the kinds of dye that are used in coloring.

The article presents questions and answers related to painting including how to get rid of insects in one's supply of paper, whether galleries accept only stretched canvases, and bulbs that are best for a painting studio.

The article presents questions and answers related to technical issues about painting, including the advantages and disadvantages of acrylic, and the sale of watercolors on wood pulp papers in which alkali reserve was intended to prevent eventual yellowing of the paper, such as the Wei T'o treated pulp paper.

The article discusses the procedure on painting in watercolor with spontaniety. Basic considerations include the establishment of a design and color pattern through mental visualization or sketches. Other measures are cited including the introduction of charcoal or pencil lines into the medium such as a cold-pressed paper on a drawing board.

In the article, the author discusses his painting techniques using watercolor as a medium. He claims that all his watercolor paintings were finished on the spot, except the work titled "Path in Central Park." He explains that the park is not an ideal place to paint. The materials that he used in painting are also cited, including a 300-pound medium-surface paper, brushes and palette.

The article provides a discussion on artist Sidney Raynes' oil paintings on paper. It notes that painting in oil on paper is a rarely practiced technique because consumers prefer oil paintings on a traditional canvas. Raynes prefers painting on paper because the conté crayon lines retain most of their firmness during the painting process. She paints on a heavy, cold-pressed watercolor paper on a one-eighth inch cardboard.

The article presents two common difficulties in watercolor painting and discusses the solutions employed by the author. It explains how Polaroid sunglasses can deal with the intense glare of the sun when painting outdoors. It also gives reasons for the use of rough mounted paper to lessen damages caused by forceful handling or by strong wind. A brief explanation of the author's watercolor piece, "The Wreck," is also included.

The author relates his work as a watercolor painter and his techniques. He mentioned that before painting his first watercolor, he worked as a commercial artist for 10 years. He states that he uses 72-pound rough paper stretched on drawing boards, and 20 hard whole pan boxes as color outfits. A brief biographical account of the artist is also provided.

The article discusses the technique of soft ground etching. According to the author, once a plate has been etched, it is either a success or not. He says it is true that when thick opaque paper is used, it is impossible to see through it and add lines to the plate. He adds further that it is possible to see the lines that have been bitten in the first batch of etchings after the plate is grounded the second time and covered with a clean sheet of architectural paper. Only the lines drawn the second time are touched by acid, just like in straight etching.

The article provides information on the different uses of tracing paper in art. It says that U.S. artist and muralist Hildreth Meiere uses this special paper for watercolor sketches as well as studies for murals. According to the author, some illustrators like to use tracing paper for their final pen drawings. The advantages of tracing paper over other types of paper specifically when it comes to stubborn pencil lines are also discussed.

The article discusses the different important aspects of charcoal drawing using a lead pencil. It says that charcoal is a medium of various uses in the world of art, which is known for its flexibility that makes it practical for experiments. According to the author, the charcoal's flexibility is highly important in experimental work as it can be used to make changes easily. The characteristics of a good paper for charcoal drawing and the details of the Brown's Mill study for color prints are also discussed.

The article examines two oil paintings on paper, namely, the "Arcy Sur Cure," by Sherman Hoeflich, and the "Barges on the Stour," by John Constable. The author describes Hoeflich's work as painted in the manner and technique of gouache while Constable's work is described as painted on the spot under the direct inspiration of nature. The author also points out that Constable usually sketched before his subject, painted quickly and habitually toned his working surface in advance.

Provides information on new art materials, as of October 2005. Stephen Quiller Professional Watercolor line by Jack Richeson & Co.; Canson Digital Art & Photo line of fine-art printing paper.