Sketchbooks and paper

In this section, I’ll be talking about the types of paper and sketchbooks I use in the various works I like to do.

Paper-

Acid free versus recycled:

The jist of it all is that non acid free paper will yellow and deteriorate over time. Depending on how much acid is in the paper, a very short amount of time. If you choose to use a “recycled” paper stalk for your works, be aware that the paper will likely go yellow within a year. This is fine for practicing and whatnot, but be aware that bad paper is generally frowned on by people looking to buy art. This however does not apply when the art itself is meant to look that way. As an example, I know an artist that creates his works on old newspaper. The yellowing paper is a part of his creation and the buyers know this.  

As a rule, I only use acid free, even in sketching and I don’t care about the results. Be aware of which company you’re buying your paper from too. Usually, when the wood has been formed into the sheets that will be cut into the individual pieces of paper, they just stray a solution on both sides of the sheets that neutralizes the pH in the paper. Some companies do a better job of it than others.

From Wikipedia (http://en.wikipedia.org/wiki/Acid-free_paper

Acid-free paper is paper that infused in water yields a neutral or basic pH (7 or slightly greater). It can be made from anycellulose fiber as long as the active acid pulp is eliminated during processing. It is also lignin and sulfur free.^[1] Acid-free paper addresses the problem of preserving documents for long periods.

Paper made from wood-based pulp that has not had its lignin removed goes yellow and deteriorates over time.^[2] When exposed to light and/or heat, the molecules in the acidic paper will break down even faster.^[3] It was only in the 1930s that the effects of wood-pulp paper became known, whenWilliam Barrow (a librarian) published a report about the deterioration of acidic paper in the libraries.^[4] For fear of the gradual disintegration of written materials, measures have been taken to improve the quality of paper.

During production, acid-free paper may be treated with a mild base (usually calcium or magnesium bicarbonate) to neutralize the natural acidsoccurring in wood pulp, and it may also be buffered to prevent the formation of additional acids (as may develop from the application of sizing).

The bicarbonate is added in excess, to supply the paper with an alkaline reserve to provide protection from further attack by acids remaining in the paper or supplied by the environment (e.g. atmospheric sulfur dioxide).^[5] The bicarbonate during drying loses carbon dioxide and water and is converted to calcium carbonate or magnesium carbonate. In order for paper to last at least 100 years it must have an alkaline reserve of 2% or more.^[6]

Today, much of the commercially produced paper is acid-free,^[7] but this is largely the result of a shift from china clay to (cheaper) chalk as the main filler material in the pulp: chalk reacts with acids, and therefore requires the pulp to be chemically neutral or alkaline. The sizing additives mixed into the pulp and/or applied to the surface of the paper must also be acid-free.

Alkaline paper has a life expectancy of over 1,000 years for the best paper and 500 years for average grades.^[8] The making of alkaline paper has several other advantages in addition to the preservation benefits afforded to the publications and documents printed on it. Because there are fewer corrosive chemicals used in making alkaline paper, the process is much easier on the machinery, reducing downtime and maintenance, and extending the machinery's useful life. The process is also significantly more environmentally friendly. Waste water and byproducts of the papermaking process can be recycled; energy can be saved in the drying and refining process; and alkaline paper can be more easily recycled.^[9]

The weight of the paper I usually prefer to use is 65lbs paper. Depending on the application, I might go up to 100 or 110 lbs paper. 65 lb paper is thin enough to be practical but not so that it easily tears.

The jist of this is the density of the paper.

From Wikipedia: (http://en.wikipedia.org/wiki/Paper_density)

Sketchbooks:

The two brands of sketchbooks I use most often come from Cachet and Canson. These are usually readily available just about anywhere, including places like Walmart or Target. Sizes I go for vary. Usually I opt for the 8.5 x11” variety. Those usually go between $7-18 depending. Then there’s my other favorite, the Moleskine sketchbook. These are pretty nice and pretty pricey. The 8.5x11” variety is like $30, but the paper is thicker and smoother. One little problem is that it seems the moleskines have like a yellow tint to them. Pretty sure its something the manufacturer puts on since it tends to erase off. Just something to be aware of.

I choose my sketchbooks specifically for their size, portability, and whether or not I plan on taking out any of the paper. For example, if it’s a sketchbook I plan to only do studies and works for myself, it’ll be a hardbound sketchbook  with the glued or sewn spine. Otherwise, if I plan on doing works that will be taken out and sold (for example) it’ll be a spiral bound sketchbook since I can tear out pages and cut off the excess.

All my sketchbooks are of smooth tooth. Tooth is defined as the smoothness and texture of the paper. They vary from glossy to heavy tooth.glossy would be like a glossy photograph, super smooth and reflective. Really of no real use to a graphite or charcoal artist, the medium doesn’t stick to the paper. Charcoal users usually prefer a medium to heavy tooth paper so the charcoal particals have something to grab onto. I prefer a smooth tooth, right around the texture of printer paper (though printer paper is a little more on the smoother side then I usually prefer). Which should you use? That’s usually a personal preference up to the artist. I’d recommend going to an art supply store, feeling the papers yourself and experimenting. If you really have no idea, then start with your basic sketchbook and then decide if you want a smother or rougher tooth.

Another ritual I do when I’m picking out a sketchbook is that I’ll open the book to a random page and I’ll tilt the paper up to the light so see how consistent the grain of the paper is and if there are any imperfections. Nothing ruins my mood faster than spending time on a piece, just to discover there is/are significant imperfections in the paper that ruins the piece before I even finish.