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Derivan Concertina Style Sketchbook
All media watercolour paper. Limited edition size.
Artists and Designers Books are a work of art in itself.
These Concertina style sketchbooks allow you can create a dynamic storybook piece with your illustrations, text and collage. Span and connect your ideas in one continuous format rather than separate sections or record a landscape, cityscape or seascape in one panoramic view.
A unique version of the traditional Illustrated Japanese Scroll (Emakimono) used in the 16th century, this concertina style sketchbook is finished in black fabric wrapped heavy covers and an elastic fastener to easily keep it safe for transport and storage.
Perfect for depicting long panoramic views, story board-like sequences, a project or fashion design portfolio, architectural lay-outs, or as a photo and presentation album.
These sketchbooks are suitable for all drawing (pencil, charcoal, pastels, markers) and water-based media (ink, watercolour, gouache) and it features one long sheet of paper folded into 18 workable pages.
The lenght of the paper in these Concertina style books was carefully cosider to allow artists to create their art projects or studies, in special limited editions, where you can make evident the creative process development is as valuable as the final results.
The thick paper (watercolour medium surface texture, 350gsm) in these sketchbooks is suitable for wet media as it is more resistant to distortion and buckling when compared to thinner stock, and is also less likely to allow the artwork to bleed through to the other side of the paper.
Although suitable for many types of art, it is best to avoid the use of oil paint as this may stain the paper and cause it to deteriorate.
Each sketchbook features an elastic strap to keep the concertina pages compacted and secured when not in use and has the Derivan logo discreetly embossed on the front cover.
While oil paints are traditionally associated with their historical use on canvas, they can also be used on paper as long as this has been suitable prepared with the use of an acrylic (water-based) gesso or primer.
So is it possible to use oil paints directly on paper without a primer?
If potential longevity and discolouration issues are not a problem, then yes it is. However if your intention is to produce long lasting works of art on paper suitable for framing, exhibition, sale or ownership, adequate preparation of your paper surface is crucial and very important.
Without the use of a primer, the linseed oil that forms a good part of many traditional oil paints will “soak” through the paper, creating oil stains. These stains are the visual warning that oil has reached the paper, or canvas, fibers and the oxidization of the oil and deterioration of the substrate is taking place. Over time, these stains will dry the paper fibres, causing them to become brittle and prone to cracking and flaking. The oil can also accelerate the acidification of the cellulose/paper fibres making discolorations darker and more apparent.
As mentioned previously, priming (or sealing and preparing) would be your first consideration if you decide to use oil-based materials on paper in the production of your art. At any point in time, if you would like to keep these artworks intact for years of enjoyment to come, you must then think of preparing to some degree your paper surface.
Each individual artwork project will require different approaches to the number of coats, the method and the extent of the preparation. Wether is a sketchbook page; a pad sheet or a work on a larger scale, applying gesso to paper follows much the same process as required for canvas application.
Using a soft-bristled square brush, apply approximately two to three layers of gesso (depending on the planned thickness of the oil painting layer; glazing will require less than if you chose a heavy impasto technique) allowing time to dry between each coat.
Best method, for larger scale works, is to stretch the paper to a solid surface with tape, in much the same way watercolour artists do.
Use a standard acrylic gesso, which is suitable for both oil and acrylic paints, instead of a specialty artists oil painting primer The application of these straight on the paper surface will defeat the purpose of protecting the paper fibres against oil absorption and decay.
Oil based primers are chemically similar to oil paints, which makes them a more compatible duo but the application of these directly on paper (or canvas for that matter) is not recommended. If the use of these primers is crucial to the artwork’s intention, then the surface must be treated and prepared thoroughly first using an acrylic (water-based) gesso or sealer (following the steps above). This will prevent the oil based diluent component to come into direct contact with the paper fibres.
Consider also this:
Another consideration is the weight of the paper you choose. Obviously lightweight tissue papers are not the best choice, but anything over approximately 120-150gsm is a good place to start (drawing Cartridge papers are generally 120gsm in weight).
Lightweight papers tend to ‘buckle’ with the use of a water based gesso. While thicker papers are the best choice to minimise this problem, specially if you decide your project will requires more than two coats of primer and, even more crucial, if you decide to use oil based primers.
Many papers and cardboards are suitable for priming. As a general rule, the thicker the paper, the better it will be for gesso application. However, the best papers are those labeled as Acid Free. Widely available at art stores, Acid Free papers are made using alkaline paper making technology. Basically, this means the pH of the pulp that is used to form the paper is above 7 (neutral) on the pH scale, a gradation that assess acidity and alkalinity. The paper is also buffered with an alkaline reserve, such as calcium carbonate, to neutralize acid compounds absorbed from the atmosphere or through age.
In a nutshell, acid free papers are less likely to degrade and discolour with time, which means the longevity of any artwork created on them is also increased. However, plain non acid-free cardboards and papers can still be used if the artist is either experimenting or unconcerned about the life span of the art piece. Industrial packaging can provide sources for potential oil painting options as it is often thick and comes in interesting colours and textures. The other advantage of cheap materials is that they are also likely to encourage experimentation, as the artist may not be concerned about the cost in terms of wastage.