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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 author emphasizes the relevance of paper in people's lives and traces the history of papermaking. The author discusses how printing became a tool for intellectual awakening with the establishment of universities and how the first settlers have regarded paper. The author also points out the importance of good quality paper for artists and printers.

The article offers information on the process of color printing for the painting, "Deserted," by Edward W. Watson. It states that Watson uses oil color and a Japanese handmade printing paper called Goyu, which is capable of absorbing all the pigments one might care to apply with several blocks. He also uses screw press for rapid printing because blocks of varying thicknesses can be used in succession without a single adjustment of the press.

The article profiles Jack Eisner, a three dimensional (3D) cut out artist. Eisner's interest in paper design began as he was growing up in Poland where its people are known to be adept in using paper and scissors. Upon returning to England, he got his first formal training at Cooper Union then traveled to America and studied at the New York Industrial Art School. After working with lithographic firms in New York, he went free lance and concentrated in 3D work.

The article discusses the problem of how an artist will know if the paper on which he works will remain white and strong and if the common wood-pulp variety that turns brown will become fragile and crumbly on aging. It cites artist James Craig's view that there is nothing wrong with wood fiber per se but the additives used in their manufacture and its consequent presence in the finished stock can make these papers bad. It says that those who prefer pure rag watercolor paper should make colored papers for use in collage.

The article discusses the painting techniques of artist Maxfield Parrish. It discusses Parrish's inherent interest in technical matters and concern for perfection in his work. Parrish's drawings in the late 1890s were made on Steinbach watercolor paper with ink, pencil, lithographic crayon and wash. Some of his creations are featured, which include an illustration for the book "Knickerbocker's History of New York," by Washington Irving.

The article offers information on the art of monotyping of artists. It reports that time-honored medium oil paint thinned with poppy oil is usually used in monotyping where if printed on Japanese Hosho paper. It presents the ways to get the prints featured in the article including the preparation of the transparent celluloid sheet, the drawing made from lithographic crayons number 5 and 1.

The article features artist Dick Crocker and his watercolor paintings. In doing sketches, Crocker prefers to use a 3B carbon pencil and a sketch pad. He was born in Newark, New Jersey in 1891 and was educated at the Art Students League, at the Newark School of Fine & Industrial Art, and privately under Henry Gasser. He is a member of such organizations as the American Watercolor Society and Allied Artists of America.