paper
Cartridge paper is a good general-purpose drawing paper. Poor-quality paper is lightweight, with little or no sizing, and tends to yellow with age; heavier cartridge paper is more versatile and is likely to be acid-free.
The surface of cartridge paper varies between brands. It is usually fairly smooth, but with a fine-grained texture. Its colour is variable, too, ranging from a bright white to a mellow cream.
Bristol paper
Bristol paper, or Bristol board, is made from two or more layers of paper bonded together to make a thick sheet. It has a smooth surface which is ideal for fine line drawing, and is also perfect for pen-and-ink work.
Japanese papers
Michael Hyam uses Japanese paper for many of his preparatory portrait studies. The thin, absorbent texture helps him to achieve great sensitivity of line and wash tone.
Michael Hyam
Study of Bernadette Ink on Japanese paper 25 × 17.5cm (10 × 7in)
Specialist paper shops offer a range of Japanese handmade rice papers which are suitable for drawing, watercolour and gouache techniques. These papers are very thin and delicate, with some unusual surface patterns. Japanese papers are very absorbent; they tend to soak up ink or paint, creating hazy, soft-edged shapes of a delicate and elegant nature.
Indian papers
Handmade Indian papers are more robust than Japanese papers, with a surface similar to rough watercolour paper. They are inexpensive and come in a range of tints as well as white and cream. They make an excellent support for soft drawing media such as charcoal, and for wash drawings.
Texture
The texture, or ‘tooth’, of the paper has a direct influence on the character and appearance of the drawn marks. An uncoated, unpressed paper, such as Ingres, has plenty of natural tooth to bite and hold powdery drawing media such as charcoal, chalk and pastel. Rough textures are also suited to bold work, as they emphasize the drawn marks and become part of the drawing.
For fine pencil work and pen-and-ink drawing, a smooth surface is preferred; pen nibs can snag on a rough surface and the ink will spread, preventing clean lines.
Colour
The choice of colour and tone can make a positive contribution to the picture when using coloured drawing materials such as pastel and coloured pencil. Toned papers provide a good middle ground from which to work up to the lights and down to the darks.
Sketchbooks
Naomi Russell
Sketchbook Ink on paper 15 × 10cm (6 × 4in)
Sketchbooks with a spiral binding can be held in one hand while drawing; some have tear-off, perforated sheets, while others come in book form so you can work right across the spread. A small sketchbook, about 15 × 10cm (6 × 4in), fits conveniently into a pocket and can be taken out when inspiration strikes. A larger book, though bulkier, offers more scope for large-scale studies, such as landscapes.
Making paper by hand
Handmade papers are produced by pulping cotton fibres and sizing agents in a vat of water. The paper-maker places a wooden frame, or deckle, over a flat screen made of wire mesh; this is lowered into the pulp and lifted out horizontally. Water drains out through the holes in the wire screen, leaving the fibres in the pulp deposited as a flat sheet on the mesh surface. The deckle is then removed; fibres trapped under the frame produce the ‘deckle edge’, a feature of most handmade paper. Each wet sheet is transferred onto a piece of woollen felt, and when a number of sheets have been sandwiched into a ‘post’ they are pressed to remove excess water. The sheets are then laid out on screens to dry (some makers use the traditional method of drying over ropes). This is known as loft drying, and results in paper with better dimensional stability than machine-made papers because humidity is released at a slower rate.
Weight
Heavy papers made of 100 per cent cotton are preferred for permanent work, as they are sturdy and can take a lot of working and erasing without damage. They are also less prone to wrinkling when using ink and watercolour washes. Cheaper woodpulp and lightweight papers, some of which are now made from eco-friendly, recycled paper, are fine for sketches and practice work.
Supports and media
These drawings on different types of paper demonstrate the importance of the support.
Kay Gallwey
Mr Bill Charcoal, chalk and wash on paper 12.5 × 20cm (5 × 8in)
In Kay Gallwey’s lively sketch, beige Ingres paper provides a soft mid-tone which shows through the drawn marks, tying them together.
Naomi Russell
Little Red Rooster Oil pastel and gold ink on tissue paper 39 × 49cm (15½ × 19½in)
Naomi Russell used coloured tissue paper, crumpled and then smoothed out, for this charming study.
Sarah Donaldson
Still Life with Pumpkins Watercolour on Indian paper 40 × 28.5cm (16 × 11½in)
The rough surface of handmade Indian paper imparts an attractive texture to watercolour washes in Sarah Donaldson’s still life.
SEE ALSO
| PENCILS | Equally capable of producing a quick sketch or a finely worked drawing, the pencil is the most immediate, versatile and sensitive of the drawing media. It can be used, on one hand, for great subtlety and delicacy, and, on the other, for striking boldness and vigour; you can produce a soft, velvety quality or a crisp sharpness. One of the pencil’s most attractive characteristics is the ease with which line and tone can be combined in one drawing. |
How pencils are made
In
