Thank you so much for your very kind comments. The paper I use most frequently is Arches cold pressed, 140lb/300gsm. Some people have said they find it has too much tooth for them, although it is not yet the truly rough variety which Arches offers. I actually enjoy using it very much. This illustration for instance was done on this paper: http://pics.livejournal.com/himmapaan/pic/00003w88
I sometimes use their satin smooth hot pressed, though more often for personal work, for some reason. Not out of deliberate decision so much as it just seems to happen this way. The hot pressed is of course easier for penwork, though one can't quite get the same effects in the washes. The paper is also whiter and less warm than the cold pressed. This is on hot pressed: http://pics.livejournal.com/himmapaan/pic/0000z3x4
Some of the Rubáiyát illustrations were done on some old Fabriano Artistico which I had left over. I adore this paper; unfortunately, they changed the recipe some time ago and no longer produce them the same way, I'm very disappointed. The old kind had an almost chain and laid surface. I think they may have changed the sizing too. This was on the old Fabriano: http://pics.livejournal.com/himmapaan/pic/0000rby9
I want to point out too that only one of the Rubáiyát illustrations was inked in first (this one: http://pics.livejournal.com/himmapaan/pic/00002r83). All the others had the linework done at almost the last stage with watercolour and gouache, and that is how I work now (this project in some ways marked that change. I still draw with ink, but rarely for colour pieces now). I'm hoping to post a few entries at some point to show some of the working stages.
Hmmm, so in one way you have answered my question , in that, clearly you are able to attain that wonderful mottled texture no matter WHICH paper you use. So it is in the HAND and not the paper --lol... I am aware of the papers you are mentioning, (I used the old Fab cp one also years ago-) - now I am going back and forth betw Arches CP, HP and Fab Artistico HP. I just started one on Arches CP yesterday... I will see if I can maintain that level of control over the background washes. But yes, the finer lines seem too scratchy to me compared to the HP papers (I do not use ink at all anymore, just the pencil line).
I have a question for you -- maybe you have an opinion... surely you are aware of Gennady Spirin's amazing watercolor work -- I am interested in his textures because of the granulation in the washes - I am doing a book with large areas of snow and textures like that --- well, he states that he uses Arches also - is it your opinion that he uses HP or CP? (If you have an opinion). And if he uses CP, how on earth can he have so much control over the pencil lines that they look as if they were drawn on silk? Any idea?
OK I have answered my own question: I spoke with a woman who has some of Spirin's work in her gallery --- hot press. SO the texture is in the paint, not the paper (sorry to be having a conversation with myself here, but thought it might be interesting...)
Anyway, I will enjoy seeing more of your work as you post it, you are truly gifted. Ellen
Gennady SpirinhimmapaanFebruary 18 2010, 22:00:30 UTC
Don't apologise at all! I'm very much interested; as you've rightly guessed, I adore Spirin's work, too.
How intriguing; hot pressed indeed! I could have felt sure it was cold pressed; my initial thought was that one could still get clean lines on cold pressed if the pencil was continually kept sharp (troublesome though it could be), or by working larger. But looking at his work again, HP makes sense. Some pigments, as I'm certain you know, have granulating properties which can be exploited for their effect, like Cobalt blue, for instance. Though the wetness of the paper and other considerations factor, too. He evidently has control over these. Fascinating.
Re: Gennady SpirinhimmapaanFebruary 19 2010, 00:51:36 UTC
Well yes I too thought at first that he must work super-large, but then I was looking at some of his originals yesterday that are exhibited on various online sites, and it was clear that they were done 100%. So then I contacted one of the gallery owners. She did not have the work in front of her but she said it was definitely hot-press. She has been to his studio and had the privilege of watching him over his shoulder as he worked! - drawing, tho, not painting. But nonetheless! Yes it is totally the granulating properties. Thanks for sharing this discussion with me. Ellen
Thank you so much for your very kind comments. The paper I use most frequently is Arches cold pressed, 140lb/300gsm. Some people have said they find it has too much tooth for them, although it is not yet the truly rough variety which Arches offers. I actually enjoy using it very much. This illustration for instance was done on this paper: http://pics.livejournal.com/himmapaan/pic/00003w88
I sometimes use their satin smooth hot pressed, though more often for personal work, for some reason. Not out of deliberate decision so much as it just seems to happen this way. The hot pressed is of course easier for penwork, though one can't quite get the same effects in the washes. The paper is also whiter and less warm than the cold pressed. This is on hot pressed: http://pics.livejournal.com/himmapaan/pic/0000z3x4
Some of the Rubáiyát illustrations were done on some old Fabriano Artistico which I had left over. I adore this paper; unfortunately, they changed the recipe some time ago and no longer produce them the same way, I'm very disappointed. The old kind had an almost chain and laid surface. I think they may have changed the sizing too. This was on the old Fabriano: http://pics.livejournal.com/himmapaan/pic/0000rby9
I want to point out too that only one of the Rubáiyát illustrations was inked in first (this one: http://pics.livejournal.com/himmapaan/pic/00002r83). All the others had the linework done at almost the last stage with watercolour and gouache, and that is how I work now (this project in some ways marked that change. I still draw with ink, but rarely for colour pieces now). I'm hoping to post a few entries at some point to show some of the working stages.
Niroot
Reply
I am aware of the papers you are mentioning, (I used the old Fab cp one also years ago-) - now I am going back and forth betw Arches CP, HP and Fab Artistico HP. I just started one on Arches CP yesterday... I will see if I can maintain that level of control over the background washes. But yes, the finer lines seem too scratchy to me compared to the HP papers (I do not use ink at all anymore, just the pencil line).
I have a question for you -- maybe you have an opinion... surely you are aware of Gennady Spirin's amazing watercolor work -- I am interested in his textures because of the granulation in the washes - I am doing a book with large areas of snow and textures like that --- well, he states that he uses Arches also - is it your opinion that he uses HP or CP? (If you have an opinion). And if he uses CP, how on earth can he have so much control over the pencil lines that they look as if they were drawn on silk? Any idea?
OK thanks again for your reply...
Ellen
Reply
Anyway, I will enjoy seeing more of your work as you post it, you are truly gifted.
Ellen
Reply
How intriguing; hot pressed indeed! I could have felt sure it was cold pressed; my initial thought was that one could still get clean lines on cold pressed if the pencil was continually kept sharp (troublesome though it could be), or by working larger. But looking at his work again, HP makes sense. Some pigments, as I'm certain you know, have granulating properties which can be exploited for their effect, like Cobalt blue, for instance. Though the wetness of the paper and other considerations factor, too. He evidently has control over these. Fascinating.
Reply
Yes it is totally the granulating properties.
Thanks for sharing this discussion with me.
Ellen
Reply
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