Other books about paper that are worth building extra shelves for...not that it's something I would ever do!
Jules Heller Papermaking: How to Make Handmade Paper for Printmaking, Drawing, Painting, Relief and Cast Forms, Book Arts, and Mixed Media
Bo Rudin Making Paper: A Look into the History of an Ancient Craft
Herbert Holik Handbook of Paper and Board
Leonard M Rosenband Papermaking in Eighteenth-Century France: Management, Labor, and Revolution at the Montgolfier Mill, 1761-1805
Magnani Pescia Blue/Cream/White
|This paper is thick and soft and of an unusual light blue color. Pescia also comes in a beautiful cream and pure white. The surface is very smooth with no grain. Tears or cuts remarkably well. Basically "acts" like Arches 88 but better quality all around. |
It works well wet or dry, shrinks evenly (so it registers well), and takes much abuse so it is equally suitable for hand or press printing. It embosses well because of the thickness and will take many layers of ink. It also accepts engravings and other printmaking methods, truly a king of papers.
Pine Creek Escapade is printed on Pescia.
|This is a thick, cardboard-feeling, chunky and tough paper. It absorbs the ink well, but has to be soaked to print because in its dry state it is HARD! |
It comes in the pictured Chestnut and many other bright and buff colors. The cream Murillo is especially attractive. It has a distinct wavy pattern which will show in the finished print. After soaking and drying it is likely that it will buckle much like watercolor paper, so it has to be dried under weights between blotters.
Murillo Chestnut was used for Hija Del Sol.
|A meaty, German mould-made paper with very distinct waves running through the fibers. It is hard to the touch and medium weight, has to be dampened for printing. The waves will show through the finished print, so if you don't like that, don't use it. |
It absorbs the ink readily, although dry printing does not yield good results. The warmth of the tan paper is difficult to find in others, except Arches tan and Kitakata. Renaissance was printed on Niggeden.
A very affordable all printmaking purposes paper. Advantages are numerous: comes in a variety of soft colors and black, it is a Western heavy paper ideally suited for both woodcuts and wood engravings, embosses well, prints great wet or dry.
It is lightly sized internally, so it is a bit harder (non-spongy) than the Magnani papers. It tears great and with a nice imitation deckle edge. Comes in all sizes. Behaves in every occasion and comes in a wide range of creams, tans and off whites. I know we printmakers are supposed to use more expensive papers, but this is a definite winner with me and I can't see a downside.
Also comes in rolls.