Working on Handmade Paper
So in an effort to better manage my time, I began yet another painting on handmade paper. This really helps me to not force my bear painting along. I can take the time I need to make decisions, without feeling guilty about not painting. I think once I actually begin putting in color on the bear, I will work exclusively on it.
This White Wolf is on an 8 1/2 x 11 piece of handmade paper. It does have deckling, but in an effort to get it in one scan, (instead of two) we lost the deckled edges.
The paper is quite soft, so my usual practice of drawing and erasing really can’t happen. To work around this, I could project the image. OR I could draw it out on something else, like tracing paper. Place the final drawing over the handmade paper and redraw the lines. This forms a barely visible indentation on the handmade paper. Carbon paper would also work, but the lines would be quite harsh and may not get completely covered by the oil pastel. (Besides, finding carbon paper these days, is like looking for something out of the stone age.)
Archivability on handmade Paper
Oils can cause degradation of paper, so it is always wise to research your art materials when working with oil pastels. Since I have started working with handmade paper, archivability is a concern. Thus I began looking in earnest for more information and started experimenting.
I tried a few different gessos and found the oil pastel didn’t adhere as well, as I am used to. I had almost given up hope of working with the handmade paper, until I looked at the various oil pastel brands. Most resources said that there is no need for a gesso or primer to be applied, if the oil pastels were made using inert oils (like mineral oil). Holbein and Sennelier are made with inert oils. I couldn’t find any information regarding my other main brand Caran D’Ache. Perhaps I will contact the manufacturer. If I do so I will post about what I learn.
How to make paper
I asked Connie to explain the process of making paper. She did such an excellent informative description of the process, I thought I would post it tomorrow.
Tags: handmade paper, oil pastels, wolves
Hi, Mona. Very nice wolf, what kind of mounting are you thinking for the wolf? I use Saral transfer paper which comes in several colors and in rolls. I can look on wet canvas to check on the type of oil in the Caran D’Ache, though I imangine they are much the same as the Holbeins and Senneliers. I don’t know why right this minute, but the posters on wet canvas talk about priming their paper — I will recheck on that, but come to think of it I some work on Mi Tientes without priming, and certainly, your rag board is not primed — so it may be a nonissue. I will look their today and post back here later today. Angela
Angela, I will mount him on Bainbridge Artcare acidfree foamboard (like the buffalo) and then mount that on a suede (also acid free) matboard. Probably ultrmarine blue or a purple. The spacing casts shadows and accentuates the deckling. My wolf is more purple in color than comes across in my photo.
The only reason to the prime paper is when the oil pastels are made with chemically active oils (like linseed.) I think many of the student grade and most likely all child grade oil pastels should be done on a primed paper. Though frankly these type of pastels are prone to fading, so their longevity is in question anyway.
It would be great if you’d ask about the Caran D’Ache. Thank you! I am hoping they are made with inert oils, but who knows? I went to there website and it had little in the way of technical specifications.
*gasp* your white wolf is beautiful!
Hi again Mona — according to the Oil Pastel Society Caran D’Ache Neopastels meet the definition they have for an oil pastel — that is …”using wax and inert oils as a binder…” The Oil Pastel Society says that all such oil pastels can be “applied to any paper, rigid support or fabric support without technical restraaints, allowing the artist complete freedom of expression while maintaining archival stability.” Some artists on the OP forum of wet canvas believe that only coated papers should be used for OP’s for archivability– but obviously The Oil Pastel Society does not believe this is necessary as they say OP’s as defined above are acid free. Hope this helps. Angela
Thank you Undaunted. I think I may do another wolf in black soon. I had a lot of fun with her.
Angela, Thanks for checking on the Caran D’Ache. I think the gesso issue is why I joined wetcanvas in the first place. But I got too many contradictory answers to the question, I thought it best to scap the idea. I am feeling comfortable with it now though. I really like the handmade look. I need to get better at working small though.