art papers complete 2014

F i n e A r t P a p e r sE u r o p e / T h e A m e r i c a s & A u s t r a l i a

A s i a

November 2014

2 PaPer is fragile ! No returNs or exchaNges are allowed order: 800-950-6111 or: 212-473-7705.

A R T P A P E R S

S W A T C H B O O K SSwatch books are assembled by hand. Each swatch is 3 x 5" Individual swatches of most of our papers are also available. You may request up to 3 swatches at no charge.Additional 3 x 5" swatches are then $1.00 each. Maximun 10 samples.We DO NOT cut samples from sheets smaller than 12 x 16" - in these cases, you must purchase full sheets.

Papers are arranged in alphabetical order under the name of the mill that produces them or by the country of origin.

T A B l E O f C O N T E N T S

arches aquarelle 2.00arpa, ca'oliver & capellades 10.00art spectrum colorfix 6.00Bhutan 10.00Bockingford & saunders 5.00canson Mi teintes 5.00cave Papers 10.00chinese Papers 8.00chinese silks 15.00chinese woven & texture Mats 20.00corkskin 6.00czech Velke losiny 2.00digital Papers 10.00durotone/speckletone 3.00fabriano artistico 4.00 elle erre 3.00 ingres/roma/rosaspina/tiepolo 4.00 Murillo 3.00 tiziano 4.00flint Paper 1.50foils and Metallics 25.00glassine 1.50

hahnemhle 10.00india Khadi indian handmades 10.00 sanganeer 5.00Japan art Papers handmade 30.00 art Papers gampi/Mitsumata 20.00 art Papers Machine-made 15.00 Bicchu gampi & tanai 10.00 gifu Machine-mades 4.00 iwano handmades 30.00 izumo Mitsumata-shi 10.00 Mingei-shi colors 3.00 ogura/ogura lace 3.00 shikibu gampi 12.00 shikibu Kizukishi 9.00 Yatsuo 10.00Japan world cloth Book cloth 30.00Korean hanji colors 8.00lanaquarelle 2.00Magnani 10.00Mexican huun/ Papel de amate 6.00Museum Board 2.00

Nepal chautara lokta 10.00 Khadi himilayan/lhakpa 8.00Printmaking / drawing 30.00richeson Pastel 4.00rolls (papers available in rolls) european & american 20.00 oriental 15.00sabertooth Pastel 1.00saint armand Mill 25.00t.h. saunders & Bockingford 6.00sennelier le carte Pastel 5.00speckletone/durotone 3.00strathmore 4.00stardream 6.00texlibris & texlifil Book cloth 15.00Thailand Printing & Painting 4.00translucent Vellum / tracing 8.00twinrocker handmades 20.00Velour/Velour Premium Pastel 4.00wood grain & Veneer 20.00Zerkall 6.00

Swatch books 2Introduction and Paper Basics 3 - 4Paper Applications 5Papers for Storage 6Papers Europe / The Americas & Australia 7 - 75Prices Europe / The Americas & Australia 76 - 87Roll Papers - Europe & The Americas 88 - 90Roll Papers - Asia 91- 92

Africa 93Bhutan 97 - 98China 99 - 101Egypt 102India 103 - 112Indonesia 112Japan 113 - 159Korea 160 - 161Nepal 162 -171Philippines 171Thailand 172 - 173Prices - Asia 174 - 183Glossary 184 - 185

Note: decorative papers are illustrated in full color on our website - swatch books of those are no longer being assembled.


A R T P A P E R S - E u r o p e / T h e A m e r i c a s & A u s t r a l i a

By definition, "Paper" is a substance composed of macerated cellulose fibers first suspended in a vat of water and then re-structured into sheets by means of a mould.

To make paper is a relatively simple process - to make good paper is often the result of a lifetime of labor and learning.

What type of cellulose is used, where it is grown, how the fiber is broken down, the type of mould used, the method of getting the mould in and out of the water and the way that the sheet is dried are the elements of the papermakers' art.

This is what determines what they pass on to us.Now it is your turn. Now you must paint, draw, print, cut, paste, fold, mutilate or perform whatever is fueled by your inspiration!

To help you make your selection, here are some basic ideas and facts about paper to consider:

fiber ContentThe length of the broken-down fibers, their bulk, absorbency, the expansion and contraction that takes place when they are subjected to water are all factors that determine the finished sheet.

longer fibers like cotton, flax and hemp create a stronger network of interlocking fibers. That strength is especially important for sheets that will be folded, erased or stretched.

shorter fibers like wood pulp or wheat straw add bulk and are less likely to stretch or contract, so they are excellent for techniques such as embossing.

Blending different fibers in different amounts imparts qualities derived from each of the fibers.

"rag" refers to fibers that were originally spun into fabric before they were broken down into pulp for paper. This style of pulp has the longest fiber length and potentially, the greatest strength.Most papers made today do not use "rag" in their composition but rather use the raw fiber such as seed cotton.

Most papers in this catalog do not use fibers without the addition of sizing. to say that a wood pulp paper with it's shorter fibers is more absorbent than a cotton sheet with longer fibers is only accurate if both of those sheets are identical in every other way. in fact, a shorter fiber (which will absorb more water) can absorb more sizing, so it is possible that the wood pulp sheet will result in a harder, less absorbent material.

fibers such as linen and gampi have a natural element that encases the fiber that acts as a type of sizing. Papers made of these will withstand certain techniques without additional sizing. however, as water eventually penetrates this casing these fibers experience extreme expansion and contraction. for example, sheets made by cave Papers that are made on a 18 x 24" mould measure as much as an inch smaller when we receive them. This style of paper will expand and contract dramatically each time they are subjected to moisture, even the humidity or dryness of the atmosphere.one should never reject a paper because of some belief that one fiber is inferior to another. Modern papermakers have access to many resources and usually select the fiber based on desired results. it is much more important that a paper be neutral ph. fiber has nothing to do with pH.

SizingMost western papers in this catalog use some sort of sizing. Most asian papers do not.

traditionally, sizing is composed of starch, animal based glues (such as gelatine,) or plastic polymers. sizing actually repels water, so the amount added to the vat and /or applied after the sheets are formed will determine moisture absorption and the expansion and contraction of the sheet.

watercolor papers are not made to accept water, but to repel it. This allows for longer working time, keeping the integrity of the surface before fibers have time to react to the water in the paint.

lightly sized or unsized papers absorb moisture evenly and quickly, which makes them ideal for printing or techniques like sumi-e painting where the gesture of the stroke and the load of the brush are to be recorded by the paper.

wetting lightly sized sheets in one place and not another causes swelling of the fibers in those places, giving the sheet hills and valleys that are difficult to work on and require that the sheet be re-flattened by re-wetting the entire sheet and/or apply pressure.

sizing can usually be removed by soaking the sheet in tepid or hot water.

sizing can be added to a sheet either in the form of a surface sizing or by dipping the paper into prepared size solution. type of materials used for sizing depends on the desired results and ease of application.



Method of Manufacturealthough these descriptions are oversimplifications and there is much variation within each category, generally speaking, sheets comparable in fiber and sizing will have the following characteristics:

Handmade Papers have little or no grain direction, the most interlocking fibers - providing greater strength, are softer and have more bulk because they are not subjected to extreme sources of heat or pressure.Mouldmade Papers have a distinct grain direction from the rotation of the cylinder machine. Because these machines run at a slow speed, the sheets will have good strength from interlocking fibers. Mouldmade papers are firmer and flatter than handmade papers because of the pressure used to dry and surface the sheets.Machinemade Papers have a pronounced grain direction with less interlocking fibers than handmade or mouldmade sheets and are very hard and flat because of the use of extreme heat and pressure to dry and surface the sheets.

Weight / Surface Texture when considering papers comparable to each other in fiber and sizing, heavier papers are relatively stronger, will withstand more handling and will buckle less. lighter weight papers are easier to fold and tear and have less memory of rolling. Paintings done on light weight sheets are also easier to flatten.Papers with greater texture will dry more evenly without puddling because they have greater surface area that distributes moisture more evenly across the surface. smooth sheets offer the greatest precision in drawing and painting, but the flatness of the surface is the most vulnerable and unforgiving when it comes to erasure or poor handling.

GRAMS vS. POuNDSwe use gram weights in this catalog because this allows you to compare the weights of a given sheet without considering the size of the sheet. a paper 300 gr/M2 is half the weight of a sheet that is 600 gr/M2 or twice as heavy as one that is 150gr/M2. look at the gram weight of papers that you are familiar with and you will be able to compare those sheets to others in this catalog.The pound system that most artists are familiar with is the european system given to artists watercolor papers. to say that a sheet is 140 pounds actually means that one ream (500 sheets) weighs 140 pounds. however, if the sheet size varies, so will its weight, even though it is the same paper. if the 140 pound sheet is 22 x 30 then that same paper, half that size would weigh 70 pounds. By only considering pound weights, customers are often tricked into buying the wrong sheet. arches 260 pound is much lighter than arches 300 pound simply because the 300 pound in this case is 22 x 30 while the 260 pound is 25 x 40.The commercial paper market uses a pound-based system using the M weight (weight of 1000 sheets.) This system is useful to determine weights, but one must know the basis size and the number of sheets in the carton before you can directly compare one sheet to another. to determine pound weight from the gram weight you can use this formula: Gram Weight x .267 x Square Inches of the Sheet 374 = Ream Weight. Ream Weight x 2 = M Weight.

METRIC CONvERSIONSlength1 inch = 2.54 centimeters1 inch = .0254 Meters1 foot = .3048 Meters1 Yard = .9144 Meters

length1 centimeter = .3937 inches1 Meter = 39.37 inches1 Meter = 3.2808 feet1 Meter = 1.0936 Yards



PAPER APPlICATIONS

WATERCOlOR PAPERSwatercolor papers have more sizing. That sizing repels water, allowing more manipulation on the surface, more open time and less buckling of the sheet. The more texture, the more dispersion of pigment and the more even the distribution of water. a smooth watercolor paper will buckle more than a rougher sheet; a thicker sheet will buckle less than a lighter weight one. More absorbent sheets "freeze" the stroke, but do not allow for as much wet-into-wet treatments.Arches Bockingford Canson Montval Cave Papers Fabriano Artistico Hahnemhle Watercolor Lanaquarelle Magnani Acquarello Multi-Media St. Armand T.H. Saunders Waterford Stillman & Birn Strathmore Twinrocker Czech Velke Losiny Van Gelder Noblesse

PRINTMAKING PAPERSalmost all papers can be used for some type of printmaking. usually, "printmaking papers" have less sizing, making them more pliable, more absorbent in order that they can take moisture and ink evenly into their fibers. some printing techniques work better with harder papers, others with softer. soaking the sheet in a water bath can remove sizing and make the fibers more receptive. Alcantara Arches Cover Arches 88 Arpa Capellades Cave Papers Coventry Crane's Domestic Etching Fabriano Rosaspina & Tiepolo Folio Hahnemhle Copperplate / Durer & German Etching Johannot Lenox Magnani Incisione / Pescia / Revere / Velata & Vergata Mexican Rives BFK Rives Papier de Lin Somerset St. Armand Stonehenge Twinrocker Zerkall Bookweight & Copperplate

Printmaking - lETTERPRESS & BOOK ARTSlighter weight, lightly sized papers fold more easily and are more suitable for the book format. They are also excellent for all drawing techniques.

Printmaking - SIlKSCREENJust about anything can be silkscreened, even very rough papers, but most printers prefer a very flat, smooth surface as it offers direct contact with the screen. lightly sized or unsized papers draw the ink into the surface and prevent smearing and shorten the drying time between multiple screens.

Printmaking- WOODBlOCK & MONOPRINTwhen a press is used, most absorbent sheets can be adapted for block printing and monoprint. when hand printing is used, lighter weight sheets are easier to burnish and transfer more ink from the block or plate. a clear sheet of acetate or mylar when burnishing prevents abrasion of the paper while allowing you to see the progress of the transfer.

Printmaking - DIGITAl ARTalthough there are papers specifically coated for digital printing, other papers can be used sucessfully for different results. remember that ink jet printers use water-based inks that will spread on papers with less sizing. Printmaking grades produce a softer image. watercolor papers with more sizing will have less spread. whiter papers offer more contrast. smoother papers give more precise application of each pixel of color.

PlATINuM & PHOTO PROCESSESThe specific technique, the formulation of emulsion, even atmospheric conditions effect the final results of alternate-photo-processes. The sizing, the ph and the buffering agents in the paper are also factors. different makings of the same paper can have slight variations, which would not matter to most users, but will yield dramatic differences to the platinum printer. testing is essential!Arches Aquarelle / Platine Canson Opalux Capellades Paladio Magnani Revere Platinum Stonehenge Strathmore 1-ply Bristol Twinrocker van Gelder Simili Japon

CAllIGRAPHY, PEN & INKtexture and absorbency of a calligraphy paper is a personal choice. some like a little tooth to prevent smearing; others want an absolutely smooth surface with sufficient sizing to keep the ink high on the surface. type of pen or brush, style of nib and the scale of the calligraphy are also factors to be considered.Arches Aquarelle Hot Pressed Arches Text Cranes Coventry Smooth Hahnemhle Ingres Hot Pressed Watercolor Papers Parchment Genuine & Imitation Pergamenata PLike Stillman & Birn Strathmore Bristol Translucent Vellum Zerkall Book & Ingres

PASTEl & CHARCOAlalthough some people like smooth papers, the majority of artists using pastel or charcoal want a paper with enough tooth to hold the pigment and allow layering. The amount of tooth and the hardness of the sheet will determine where the pigment sits, the amount of build-up possible, erasure, blending and the need for fixatives to set the layers.Art Spectrum Canson fabriano Ingres, Murillo, Tiziano & Roma Hahnemhle Bugra Butten & Ingres Pastel Cloth Richeson unison Sabertooth Sennelier Pastel Card Somerset Textured Strathmore Charcoal Twinrocker Velour Zerkall Ingres

SIlvERPOINTclay-coated materials are used for this technique that predates the rennaissance. Various metals can also be used including gold, brass and copper. The papers listed here work quite well, but are limited in their tone and aesthetic. You can coat your own paper for metal-point. traditional techniques use animal glue or gelatine mixed with pigment on a smooth surface. or you can avoid cooking glue by layering chinese white watercolor or white gouache. These can be tinted with watercolor or pigment. sand the surface with ultra-fine sandpaper or raw silk to eliminate brush strokes.Legion Art Coated Cover New York Central Clay Coat Plike Mc Coy Clay Coat Terraskin


P A P E R S f O R S T O R A G E

INTERlEAvING Neutral ph white. 60 gram.

Sheets 1 25 100 500 25 x 38 .75 .68 .59 .53

COATED INTERlEAvING Neutral ph. slick coating reduces static electricity making it useful for pastel and charcoal drawings - even those that have not been fixed.

Sheets 1 25 100 500 25 x 38 .75 .68 .59 .53

lENS TISSuE - RAYON Machine-made in Japan from 100% rayon. Neutral ph.

Sheets 1 25 100 500 24 x 36 1.35 1.22 1.13 1.02

lENS TISSuE - HEMP Machine-made in Japan from 100% Manila hemp. Neutral ph.

Sheets 1 25 100 500 24 x 36 2.35 2.09 1.94 1.74

JAPANESE INTERlEAvING ASA GAMI off -white, 100% Manila hemp. Thin tissue.

HP 14 - 25 Sheets Rolled Sale 31 x 43 45.00

lINECO TISSuE Neutral ph. white. 16 gram.

Rolls Sale 40 x 250 ft. 75.50

fOlDER STOCK - PERMA-DuR acid-free, lignin-free buffered cardstock. Manilla color. 2 weights.

Sheets Sale .010 32 x 40 6.00 .020 30 x 40 8.50

GlASSINE - MuSEuM GRADE 25 pound. - 48 gram. slick, almost transparent. interleaving. white. tested by curators of major museums, this glassine remains neutral ph. for a longer duration - even in adverse conditions.

Sheets 1 25 100 50024 x 36 .55 .50 .45 .4136 x 48 1.10 .99 .92 .83

Rolls Sale 12 x 20 yards 8.0018 x 20 yards 11.2518 x 100 yards 44.5024 x 20 yards 14.0524 x 100 yards 56.0036 x 20 yards 19.1036 x 100 yards 81.0042 x 20 yards 23.2542 x 100 yards 91.8048 x 20 yards 25.5048 x 100 yards 103.2560 x 20 yards 31.5060 x 100 yards 125.50

50 sheet Pads Sale8 x 11 5.0013 x 19 7.7517 x 22 15.00

GlASSINE - HEAvYWEIGHT 37 pound - 68 gram.

Sheets 1 25 100 500 24 x 36 .90 .84 .75 .70

Rolls Sale 36 x 20 yards 26.5036 x 100 yards 112.5048 x 20 yards 35.7548 x 100 yards 143.75

BORDEN & RIlEY #30 BOND Neutral ph. 20 pound. smooth, white bond for wrapping.

Rolls Sale 15 x 25 yards 9.2518 x 25 yards 9.8024 x 25 yards 13.1030 x 25 yards 16.3036 x 25 yards 19.5042 x 25 yards 22.7848 x 25 yards 23.8560 x 25 yards 32.55

MOHAWK vElluM COOl WHITE & SOfT WHITE Machine-made, sulphite pulp. Neutral ph. 60 lb. text.

Sheets 1 25 100 50025 x 38 .75 .68 .63 .56

MOHAWK vIA SMOOTH lIGHT GREY resembles newsprint. Neutral ph. 70 lb. text.

Sheets 1 25 100 50025 x 38 .85 .77 .71 .64

STRATHMORE BARRIER 100% buffered cotton. Neutral ph. Natural.

Sheets 1 25 10032 x 40 2.10 1.87 1.73

TISSuE -ACID fREENeutral ph. un-buffered, virgin pulp. No deckles. white.

Packages of 480 Sheets Sale 24 x 36 95.00

TYvEK - Museum Grade Machine-made from synthetic fiber. Neutral ph. strong, untearable - moisture resistant.

Sheets 1 25 100 500 24 x 36 3.75 3.38 3.13 2.81

Rolls Sale 36 x 10 yards 65.00 36 x 50 yards 181.00 60 x 10 yards 79.00 60 x 50 yards 299.00

YuPO 100% polypropylene. waterproof, stain resistant and istrong. white. Neutral ph.

26 x 40" 1 25 100 500 155 gram 6.40 5.75 5.34 4.79197 gram 8.60 7.72 7.16 6.43390 gram 12.15 10.91 10.12 9.09

Rolls Sale 60 x 10 yards - 197 gram 140.00

Hundreds of pH neutral sheets could be used for storage and presentation. Our most popular are listed here. Neutral pH materials will only remain stable if all factors - including heat and light - are kept at ideal levels that are difficult to maintain outside of museum conditions. Buffered items will cease to absorb or neutralize acids after time. It is highly recommended that you refresh storage materials after several years or if you should notice discoloration of the interleaving material or the items being stored.



ARCHES - France hand papermaking in the towns of arches and archette can be traced back to 1492 where papermakers took advantage of the pure waters of the rue de razon. today, arches papers are made on cylinder mould machines by The arjomari Paper group. The name Arjomari is composed from the first 2 letters from four of the original mills: arches, Johannot, Marais and rives - signifying that the reputation of their papers is the result of fine traditions derived from the people who helped to develop them over the centuries.

Arches papers are known for their strength and versatility. All Arches papers are watermarked sheets made of 100% cotton, have 2 natural deckled edges and 2 torn edges and are neutral pH.

Arches Aquarelle Natural White & Bright Whiteinternally and externally sized for watercolor. watermarked and chop-marked.

Arches Covercold Pressed surface. light internal sizing.

Arches MBM INGRES (MICHAllET)originally designed for Jean auguste dominique ingres. laid surface with light texture for drawing.

Arches Oilcold Pressed watercolor paper with clear surface sizing for direct painting in oil. will also accept watercolor and drawing techniques for multi-media applications.

Arches Platinehot Pressed surface. specially sized for platinum printing.

Arches 88 Silkscreenhot Pressed. unsized (waterleaf ) to absorb ink freely, which speeds drying, avoiding build-up and glare.

Arches Text WoveArches Text laid Creamlightly textured, book-weight sheets designed for printing and drawing.

arches aquarelle hot Press - Bright white

arches aquarelle cold Press - Bright white

arches aquarelle rough - traditional white arches Platine arches 88 silkscreen

arches cover Buff arches cover white arches cover Black

arches text wove arches text laid cream arches MBM (scanned on black)



ARPA HANDMADES - Spainhandmade from a blend of cotton and linen with substantial interior sizing and light texture. 4 deckles. Neutral ph.Interior sizing allows for a full range of drawing, printing & some watercolor techniques. The beautifully pigmented sheets show good light-fast properties.

arpa light Blue arpa lavender

arpa ivory white arpa Pale Pink arpa salmon arpa terracotta arpa Medium grey arpa light grey

arpa Burgundy arpa Navy arpa Medium Blue arpa sage arpa Medium green arpa chocolate



ART SPECTRuM COlORfIx - Australia Machine-made in australia. acid free watercolor paper screened with a fine-toothed pastel primer. colorfix can withstand erasure while maintaining the receptive qualities of the surface. Pastel and charcoal need little fixative. The sheet size includes a " border of uncoated white paper. No deckles.Coated "sanded" surface for soft pastel, oil pastels & crayon or painting in oil without additional priming.

art spectrum sand art spectrum white art spectrum Natural

art spectrum rich Beige art spectrum fresh grey art spectrum Blue haze art spectrum storm art spectrum ultramarine

art spectrum australian grey art spectrum soft umber art spectrum elephant grey

art spectrum olive art spectrum leaf art spectrum rose grey art spectrum aubergine

art spectrum Burnt sienna art spectrum terracotta art spectrum Burnt umber art spectrum Burgundy art spectrum Black



BOCKINGfORD WHITE & TINTS - EnglandMouldmade in england by the st. cuthberts Mill. 100% high alpha cellulose. Neutral ph. No deckles. internally and externally sized for watercolor. cold Pressed surface. Bright white and colors inspired by tinted english watercolor sheets from the time of constable and turner.

BAMBOO - USAMachine-made of 90% bamboo, 10% cotton. Bamboo grows rapidly, requires a fraction of the water needed to grow cotton, needs no fertilizers and produces more oxygen while consuming more carbon dioxide than trees. eco friendly. Neutral ph. No deckles. For offset, letterpress and drawing.

BlOTTER - USA - Machine made from 100% high alpha cellulose. waterleaf (no sizing) to absorb water readily. Neutral ph.

AlCANTARA - Italy limited quantities available.100% cotton, handmade in italy by sicars. Neutral ph. cold pressed, surface. 4 deckles. lightly sized.Uses: drawing, printing & some watercolor techniques.

alcantara green alcantara Yellow alcantara grey

Bamboo usa Blotter

Bockingford oatmeal Bockingford cream Bockingford robin's egg

Bockingford Blue Bockingford grey

Bockingford white



BRAZILIAN HANDMADE BANANAhandmade of 100% recycled banana fiber. crisp sheet with a mottled appearance. 4 deckles. translucent and crrisp with a smooth finish on one side or extra rough surface in three neutral tones. Neutral ph.

Brazil Banana Brown Brazil Banana Pink Brazil Banana Mustard Brazil Banana orange Brazil Banana red Brazil Banana Black

Brazil Banana cream Brazil Banana tan

Brazil Banana Purple Brazil Banana Blue Brazil Banana green Brazil Banana forest



CA l'OlIvER BARCElONA COlORS - Spainlimited quantities available.handmade in Barcelona of 50% cotton. cold pressed surface. Neutral ph. 4 deckles.

CANSON - Francea member of the arjowiggins Paper group, canson dates back to 1557 when the Montgolfier family established the Vidalon Mill on the banks of the rhone. today, canson is known throught the world for their production of fine quality machinemade papers for fine art and creative purposes.Widely respected for integrity and strength, Canson sheets are suitable for drawing, book arts and craft.

Canson Ingres - Machine-made of 65% cotton. Neutral ph (except black) laid surface. lightfast colors. No deckles.

ca l'oliver cream ca l'oliver Blue ca l'oliver Pastel Blue

ca l'oliver Purple ca l'oliver lavender ca l'oliver Navy

ca l'oliver Pastel Yellow

canson ingres white 01 ingres cream 48 ingres Black 50 ingres sky 39 ingres Moonstone 52 ingres steel 55



Canson Mi Teintes - Machine-made of 65% cotton. Neutral ph (except Black). lightfast colors. No deckles.

Mi-teintes 335 white Mi-teintes 110 lily Mi-teintes 111 ivory Mi-teintes 112 eggshell Mi-teintes 407 cream

Mi-teintes 101 Pale Yellow Mi-teintes 103 dawn Pink Mi-teintes 350 honeysuckle Mi-teintes 470 champagne Mi-teintes 340 oyster

Mi-teintes 374 hemp Mi-teintes 384 Buff Mi-teintes 504 amber Mi-teintes 115 Mystic orange Mi-teintes 130 red earth

Mi-teintes 502 Bisque Mi-teintes 501 tobacco Mi-teintes 133 sepia Mi-teintes 503 Burgundy Mi-teintes 352 orchid

Mi-teintes 336 sand Mi-teintes 429 felt grey Mi-teintes 431 steel Mi-teintes 345 dark grey Mi-teintes 448 ivy




Mi-teintes 343 Pearl Mi-teintes 426 Moonstone Mi-teintes 122 flannel grey Mi-teintes 131 twilight Mi-teintes 575 Viridian

Mi-teintes 120 Pearl Pale Mi-teintes 354 sky Mi-teintes 105 wave green Mi-teintes 475 green Mi-teintes 480 light green

Mi-teintes 590 royal Blue Mi-teintes 490 light Blue Mi-teintes 119 south sea Mi-teintes 100 lime Mi-teintes 107 anise

Mi-teintes 140 indigo Mi-teintes 425 Black Mi-teintes 400 canary Mi-teintes 553 cadmium Yellow

Mi-teintes 453 orange Mi-teintes 506 Poppy Mi-teintes 505 red Mi-teintes 116 Bordeaux Mi-teintes 114 raspberry



Canson Opalux - Machine-made from 100% cotton. extra-heavy translucent tracing vellum. Neutral ph. No deckles.Canson Montval 1059 - Machine-made of sulphite. heavily textured watercolor paper. Neutral ph. white. 2 deckles.Canson Satin - Machine-made of 100% sulphite. extra heavy weight, translucent vellum. Neutral ph. No deckles.Canson vidalon 90 - Machine-made of 100% sulphite. translucent vellum. Neutral ph. No deckles.


Mi-teintes 102 azure Mi-teintes 104 lilac Mi-teintes 113 Parma Mi-teintes 507 Violet Mi-teintes 117 Plum

Mi-teintes 595 turquoise Mi-teintes 495 Blue Mi-teintes 150 cobalt Mi-teintes 118 icy Blue

canson Montval 1059 canson Vidalon 90 gram canson opalux 180 gram canson satin 230 gram



CAPEllADES HANDMADES - Spainhandmade papers produced in the oldest existing mill in spain. The capellades is now a paper museum that teaches and promotes traditional papermaking. all styles are neutral ph. 4 deckles.For drawing, chine colle, printmaking and book arts.



CAPEllADES HANDMADES - Spainhandmade papers produced in the oldest existing mill in spain. The capellades is now a paper museum that teaches and promotes traditional papermaking. all styles are neutral ph. 4 deckles.

Capellades Abaca - 100% abaca. translucent sheets with a smooth mottled surface.Capellades #1 letter - smooth, laid surface with shield watermark. white.Capellades #4 Book laid- laid sheets in both a smooth and rough surface. white.Capellades #6 Cover - heavy weight sheets with an even, light texture. Capellades Garabatotranslucent, 100% abaca base sheet with "scribbled" decorative swirls made by applying wet paper pulp from a squeeze bottle to the newly formed sheets before couching.

Capellades Platinum - 100% cotton specially formulated for platinum printing.Capellades Sisal - greyed-cream color sheet made of 100% sisal. Very strong with a slight tooth.Capellades Watermark - laid sheet with large, elaborate paper-press watermark.

capellades abaca lime capellades abaca orange capellades abaca Magenta capellades abaca white

capellades #1 letter capellades abaca Violet capellades abaca turquoise capellades abaca Black

capellades Blue cover capellades Pink cover capellades dull green cover capellades white cover

capellades Black cover capellades ochre cover capellades terra cotta cover capellades sisal

capellades #4 Book laid rough

capellades Platinum



capellades garabato lime & turquoise

capellades garabato white & white

capellades garabato tan & Pink luster capellades garabato Violet & red capellades garabato grey & white

capellades watermark



CAvE PAPERS - USAhandmade in Minnesota by Bridget o'Malley and amanda degener, these are some of the finest and most beautiful handmade papers available today. The sheets are gelatine sized and loft-dried which results in papers that are exceptionally strong and have an amazing crispness. in addition to the natural colorations of the fibers used, some of the sheets have been hand-dyed which results in remarkable warmth and depth of tonality. The size of the papers will vary due to the extreme shrinkage of the flax fibers during loft drying. all papers have four deckles and are archival. The walnut dyed and tow flax sheets may contain matter which does not meet with Library of Congress standards.

Alphabet - cotton rag with printed letters. Series A

Blue Jean - recycled blue denim. Series A

Black flax - Belgian flax dyed with indigo and walnut. gelatine sized. Series B

Cloudy Sky - Three pigmented vats of pigmented cotton are randomly poured into the mould resulting in a swirling, cloud-like pattern. each sheet is unique and both sides of each sheet will be different. Series B

Galaxy - Belgian flax, dyed black. sized and sprinkled with flecks of mica & silver leaf. Series G

Granite - Pigmented 100% Belgian flax. Series B

Green Crackle & O'Malley Crackle flax100% Belgian flax sheets are coated with gelatine, crumpled and dyed. Series B

Indigo flax - Belgian flax colored with indigo dye. gelatine sized for stability. Series B

layered Indigo flax & layered Indigo BlackBelgian flax sheets are repeatedly dipped into indigo dye, creating overlapping veils of color. each sheet is one-of-a-kind. gelatine sized for added stability. Series B

lime - Pigmented Belgian flax. Series B

Natural flax - 100% Belgian flax. Natural, pale grey tone. Series A

Ochre - Pigmented Belgian flax. Series A

Persimmon - following the Japanese tradition, green persimmon juice is aged, applied to the sheet and then smoked to set the dye. warm, pinkish-brown which darkens with age. Series P

Tangerine / Terracotta / Turquoise - Pigmented Belgian flax. Series B

Walnut Dyed flax - Belgian flax sheets with walnut dye. gelatine sized for added stability. Series A

Walnut Dyed Red flax - red iron oxide pigment is used to color the Belgian flax sheet and then hand coated with walnut dye. gelatine sized for added stability. Series A

cave cloudy sky

cave galaxy



cave Blue Jeans cave walnut dyed red flax cave walnut dyed flax

cave granite

cave alphabet

cave Persimmon

cave o'Malley crackle flax cave Natural flax cave indigo flax

cave green crackle flax cave Black flax



cave terracotta flax cave turquoise flax cave lime flax

cave tangerine flax cave layered indigo flax

cave ochre flax

cave layered indigo Black flax



COlORPlAN - EnglandMachine-made text and card stock. 100% sulphite. lightly textured, matte surface.good lightfast properties. No deckles. Neutral ph.Color Plan sheets are suitable for letterpress, drawing, book arts, crafts and display.

color Plan Pristine white color Plan Natural color Plan Vellum white color Plan Mist

color Plan white frost

color Plan cool grey color Plan cool Blue color Plan Pale grey color Plan real grey

color Plan racing green color Plan amethyst color Plan claret color Plan harvest

color Plan Black ebony color Plan Bitter chocolate color Plan Bagdad Brown color Plan Nubuck Brown

color Plan imperial Blue color Plan dark grey color Plan smoke



COlORPlAN - EnglandMachine-made text and card stock. 100% sulphite. lightly textured, matte surface.good lightfast properties. No deckles. Neutral ph.Color Plan sheets are suitable for letterpress, drawing, book arts, crafts and display.

color Plan scarlet color Plan Mandarin orange color Plan citrine color Plan factory Yellow

color Plan fuchsia color Plan candy Pink color Plan sorbet color Plan Pistachio green

color Plan lavender color Plan Purple color Plan azure color Plan Powder green

color Plan adriatic Blue color Plan tabriz Blue color Plan royal Blue color Plan sapphire

color Plan turquoise color Plan Mid green color Plan lockwood color Plan forest

color Plan Bright red



COquIllE STIPPlE PAPER - USAMachine-made in the u.s. Neutral ph. No deckles. white card with embossed stipple pattern to create half-tone efffects when used with soft pencils, lith crayons and pastel.

COSTA RICAN HANDMADESThese unusual and beautiful handmades utilize waste materials from the farming industry in costa rica. The government encourages the use of these materials because without the recycling of these overly abundant, natural wastes, the ecological balance of the forests and the animals that depend on them are threatened. all papers have 4 deckles and are neutral ph.

Costa Rican Bambu - light natural banana fibers with green bamboo leaves smooth one side.Costa Rican Cafe Crema - Banana fibers with coffee shells give this sheet its rough texture.Costa Rican Mescla Oscura - deep brown banana fiber with small flecks of black bark.Costa Rican Paz - Mix of cotton and banana with letters and words from recycled newpapers.

CRANES CREST lAID / CRANES CREST WOvE - USAMachine-made in the u.s. from 100% cotton. watermarked sheets. No deckles. ivory white.

CRANES COvERMachine-made from 100% cotton. smooth surface suitable for delicate detail. No deckles. its permanence and surface make this paper excellent for printing valuable documents, certificates, diplomas, citations.

COvENTRY RAG - USAMachine-made in the u.s. from 100% cotton. Neutral ph. No deckles. available in smooth and vellum surfaces. Versitile, all purpose sheets for mixed media, silk screen, drawing, letterpress and offset.

costa rica Mescla oscura costa rica Bambu costa rica Paz

costa rica cafe crema

coquille stipple coventry rag Vellum coventry rag smooth

crane's crest laid

crane's crest wove

crane's cover fluorescent white crane's cover Pearl white



CZECH REPuBLIC HANDMADES VELKE LOSINYfounded in 1596 in the small village of Velke losiny, this mill has survived for centuries not only the ravages of war, but also an infamous witch trial after which the wife of the owner of the mill was burned at the stake! Made of a mixture of cotton and linen rag, these strong, crisp sheets are fully sized and loft-dried making them suitable for most techniques including drawing, painting and printmaking. all sheets are neutral ph. 4 deckles.Moldau - 60% cotton, 40% linen. white wove. fabric-like, rough surface.Moravia White & Ivory - 85% cotton, 15% linen. lightly textured with a fine woven pattern.Prague - 85% cotton, 15% linen. - laid sheets. smooth.

czech Moldau czech Moravia

czech Prague ivory czech Prague white



DOMESTIC ETCHING - USAMachine-made of 50% cotton. Neutral ph. No deckles. off-white. designed as a reasonably priced proofing sheet for etching, the cotton content gives this sheet versitility for drawing and other printing techniques.

DRAWING 60 lB. PENNY SKETCH #10

DRAWING 90 lB. SKETCH vElluM #116 - USA - inexpensive, white drawing paper. Neutral ph. Machine-made by Borden & riley.

DuROTONE - USA Machine-made from recycled paper by the french Paper co. Neutral ph versions of the papers they resemble. No deckles.Tough and inexpensive, Durotone and Speckletone papers are suitable for most techniques and do well with erasure and even light watercolor.

EvOlON AP - USANon-woven micro-fiber of polyester & nylon. exceptionally strong and tear resistant, evolon can absorb up to 5 times its weight in water without buckling, expanding or shrinking. Neutral ph.This synthetic "non-paper" material works well for litho, letterpress, etching and mono-printing.Or use as a blotter that remains flat and can be used indefinately.Evolon can be primed or painted on directly. Can be sewn or used for sculptural applications.Archival quality also makes it excellent for storage.

durotone Newsprint extra white durotone Newsprint white durotone Newsprint aged

evolon aP

durotone Butcher orange cover durotone Butcher off-white text durotone Packing Brown wrap

domestic etching drawing 60 lb. Penny sketch (on black) drawing 90 lb. sketch Vellum



fABRIANO - Italylocated in italy along the river giano, cartiere Miliani fabriano is a massive operation comprised of numerous mills, each with their own special grades of paper. Both handmade and mouldmade operations exist today, utilizing traditions that began in the 13th century, continued through the renaissance when their sheets were used by Michelangelo and raphael and are evident now, centuries later, in their wide selection of papers. The fabriano papermakers can be credited with several innovations in papermaking including the use of gelatine instead of starch as a sizing and the invention of the hydraulic hammer for pulp preparation. But the creation of the watermark is perhaps its most significant contribution as it allowed for the first time, the identification of the sheet of paper, its maker, and as in the case of specialty watermarks such as those used in official documents, the user of the sheet. fabriano is still known for its intricate watermarks including photo-watermarks used in italian currency. All fabriano papers are neutral pH.True work-horses of the paper world, Fabriano sheets can be used for a full range of drawing, printing and mixed media techniques.

Fabriano Artistico Traditional White & Artistico Extra White "uno"Mouldmade from 100% cotton rag. internally and externally sized. extra white includes a "soft press" surface which is smoother than cold press. 2 deckles, 2 cut edges (as of 2008.)

Fabriano Eco WhiteMachine-made from 100% post-consumer waste. using 50% hydro-power production and respecting the Kyoto protocol, this fsc certified paper is made without chlorine bleach. No deckles.

fabriano artistico extra white soft Press fabriano artistico traditional white cold Press fabriano artistico extra white rough

fabriano artistico traditional white hot Press fabriano eco



Fabriano Elle ErreMachinemade from100% high alpha cellulose. linrear fabric-like surface one side, smooth on the other. No deckles.

fabriano elle erre 00 - white elle erre 30 - china elle erre 15 - Black

fabriano elle erre 29 - light grey felted elle erre 02 - Pearl grey elle erre 06 - Brown elle erre 22 - graphite grey

elle erre 01 - wheat elle erre 03 - light Brown elle erre 19 - Burnt umber elle erre 28 - Vendonne elle erre 14 - Navy

elle erre 17 - cream elle erre 8 - orange elle erre 7 - Yellow elle erre 11 - forest green elle erre 20 - sky Blue

elle erre 27 - cherry elle erre 26 - light orange elle erre 25 - lemon elle erre 10 - Pea green elle erre 13 - azure Blue

elle erre 09 - Bright red elle erre 16 - rose elle erre 23 - fuchsia elle erre 04 - Purple elle erre 18 - light Blue



Fabriano Murillo - Mouldmade from 25% cotton and sulphite. Very heavy, roughly textured surface. No deckles. Internally sized for multimedia.Fabriano Roma - handmade from 100% cotton. chain-laid surface with the romulus and remus watermark. lightly sized. 4 deckles. Drawing.

ingres 721 - ice white ingres 703 - white ingres 701 - hazel ingres 702 - ivory ingres 704 - ash grey ingres 619 / 719 - Black

Fabriano Ingres - Machine-made of cotton & sulphite. embossed, laid surface on one side, smooth on the other. No deckles. Drawing & letterpress.

Murillo 908 - Bright white Murillo 901 - ivory white Murillo 902 - cream Murillo 912 - Mustard

Murillo 904 - Pearl Murillo 903 -grey Murillo 905 - Beige Murillo 927 - red

Murillo 918 - Black Murillo 911 forest green Murillo 915 - umber Murillo 907 - rust

Murillo 928 - Blue Murillo 910 - olive Murillo 913 - havanna Murillo 916 - dark Brown

roma 104 - raffaelo cream (watermark is 4" wide) roma 103 - Michaelangelo - ivory white



Fabriano RosaspinaMouldmade from 40% cotton. 2 deckles. Printmaking and drawing.

Fabriano Studio WatercolorMachinemade of cotton and alpha cellulose. hot Press and cold Press. No deckles.

Fabriano TiepoloMould-made of 100% cotton. cold Pressed with watermark. 2 deckles, 2 torn edges. Printmaking.

Fabriano TizianoMouldmade from 40% cotton. cold Pressed. Very lightfast. No deckles. Drawing, letterpress & display.

fabriano rosaspina cream

fabriano rosaspina white fabriano tiepolo fabriano studio hot Press & cold Press

fabriano tiziano 7 - raw sienna

tiziano 9 - coffee tiziano 6 - tan tiziano 44 - gold tiziano 21 - orange tiziano 41 - fire red

tiziano 5 - custard tiziano 20 - lemon tiziano 4 - Putty tiziano 22 - red tiziano 25 - Pink

tiziano 2 - cream tiziano 40 - ivory tiziano 3 - Banana tiziano 1 - white



fOlIO - USAMachine-made of 100% cotton. Neutral ph. cold Pressed. 22 x 30 sheets have 2 deckles. 38 x 50 sheets have no deckles.Drawing and printing.

tiziano 46 - aquamarine tiziano 23 - Burgundy tiziano 24 - Violet tiziano 45 - iris tiziano 33 - lilac

tiziano 32 - light grey tiziano 15 - Pale Blue tiziano 16 - dust Blue tiziano 17 - sky Blue tiziano 18 - turquoise

tiziano 26 - grey tiziano 31 - Black tiziano 42 - Blue Night tiziano 39 - indigo tiziano 19 - ultramarine

tiziano 27 - grey Pink tiziano 28 - grey felt tiziano 29 fog grey tiziano 30 - dark grey tiziano 14 - Moss

tiziano 12 - Kelly green tiziano 37 - Pool table green tiziano 43 - Pistachio tiziano 11 - Pale olive tiziano 13 - sage green

folio antique folio white

Fabriano Tiziano - Mouldmade from 40% cotton. cold Pressed. Very lightfast. No deckles. Drawing, letterpress & display.



HAHNEMHlE - Germanyon february 27, 1584, duke erich issued a proclamation stating that papermaker Martin spiess was allowed to establish a mill to supply his highness and his domain with fine handmade papers. in 1886, carl hahne, gave the mill the name hahnemhle and became the supplier of many european houses of nobility. Bttenpapierfabrik hahnemhle installed their first cylinder machines in 1925 yet continued to make handmade sheets until 1967 when it converted entirely to mouldmade production. The mill has been highly regarded by many of the world's finest printing houses and continues to advance in production for all techniques, including digital reproduction. Mould-made sheets have 2 deckles, 2 torn edges. Machine-mades have no deckles.

Hahnemhle is a small mill with paper makers that have had years of experience. Their skills are obvious in their consistent results. High alpha cellulose sheets perform with more strength and wear ability than many cotton sheets from other mills, tactile, lightweight sheets can be repeatedly erased with minimal abrasion and the pigmented tones of the Ingres and Burgra lines are subtle, unique and highly light fast. All sheets are neutral pH.

Bugra 309 - white Bugra 300 - Butter Bugra 310 - archive (with wool inclusions) Bugra 319 - sapphire Bugra320 - Pink

Bugra 305 - Blue (laid side shown above) Bugra 305 Blue (smooth side shown above) Bugra 321 - lilac Bugra 314 - antique rose

Bugra 312 - evergreen Bugra 308 - Mint Bugra 307 - fawn Bugra 302 - chamois Bugra 304 - Mocha Bugra 313 - Black

Hahnemhle Bugra BttenMould-made of 100% high alpha cellulose. wide-laid tectured surface on one side and subtle, mottled tonality on the reverse with a smoother surface.

Bugra 315 - Bright white

Bugra 317 - Marble grey Bugra 306 - grey Bugra 316 - caramel Bugra 303 - Mango Bugra 311 - Brick Bugra 322 - Burgundy



Hahnemhle Biblio - Mould-made of 100% high alpha cellulose. wove surface. opaque white.Hahnemhle Copperplate - Mould made of 100% high alpha cellulose. Vellum surface.Hahnemhle Durer Etching - Mould-made from 100% cotton. Vellum surface. white.Hahnemhle German Etching - Mould-made of 75% cotton, 25% high alpha cellulose.Hahnemhle Gutenberg laid - Mould-made of 100% high alpha cellulose. laid surface. Hahnemhle Heine - Mould-made of 100% high alpha cellulose. smooth, chain-laid surface. Hahnemhle Ingres - Mould-made from high alpha cellulose. textured, laid surface.

hahnemhle Biblio

copperplate / durer / german etch Bright white hahnemhle copperplate warm white hahnemhle guttenberg laid

hahnemhle german etching Natural white hahnemhle german etching Black hahnemhle heine

ingres 100 - white ingres 102 - antique ingres 103 - custard ingres 105 - green grey ingres 107 - rose

ingres 108 - camel ingres 109 - light grey ingres 110 - smoke ingres 112 - Blue green ingres 113 - sky Blue

ingres 114 - Black ingres 115 - orange ingres 116 - deep green ingres 117 - silver grey ingres 118 - earth



Hahnemhle Natur Cover - Machine-made of high alpha cellulose. fine, vellum surface. Hahnemhle Schiller - Mould-made of 100% high alpha cellulose. soft, textured white Hahnemhle Student Prinz - Machine-made of 100% high alpha cellulose. smooth one side, cold pressed the other. sized.

Hahnemhle Torchon - Machine-made of100% high alpha cellulose. rough. Bright white.Hahnemhle Watercolor - Mould-made from 100% cotton. cold pressed surface. white

hahnemhle Natur cover - white hahnemhle Natur cover - grey hahnemhle Natur cover Black

hahnemhle Natur cover cream

hahnemhle Natur cover - green-grey hahnemhle schiller

hahnemhle student Prinz hahnemhle torchon hahnemhle watercolor



HuuN YuCATAN HANDMADE - MexicoNot actually a paper, this is the Yucatan's version of Papel de amate. The sheets are made by shaping sanseveria and cattail fibers onto a flat surface and then placing them in the sun to dry. examples of huun can be traced back to the ancient aztecs. These sheets, made by Mark callaghan, have one very rough side created by the fork-like instrument that spreads the pulp while the other side is very smooth as they are formed on stone or glass surfaces. Neutral ph with 4 natural edges.

huun Natural - (smooth front) huun Natural (rough Back) huun Bleached huun Mottled with cattail



HuuN YuCATAN HANDMADE - Mexico

huun Mustard solid huun Mustard with cattail huun orange with cattail huun orange solid

huun light green solid huun light green with cattail huun red with cattail huun red solid

huun dark green solid huun dark green with cattail huun Purple with cattail huun Purple solid

huun turquoise solid huun turquoise with cattail huun lilac with cattail huun lilac solid

huun Black solid huun Mustard with cattail huun Blue with cattail huun Blue solid

huun light Brown solid huun light Brown with cattail huun dark Brown with cattail huun dark Brown solid



lANAquAREllE - FranceThe lana Mill was founded in the village of duxelles in the 15th century and prospered because of its location near monasteries and universities that required quantities of paper. in 1795 the mill was re-equipped with cylindrical machines that made it possible for the mill to keep up with the ever increasing demand for their sheets. lana has undergone many changes and owners over the centuries and today only produces their lanaquarelle watercolor grade in hot press and cold press.Mouldmade from 100% cotton. Neutral ph. gelatine sized. 2 deckles, 2 torn edges.

INDEx PAPER (SCOTT, fRANKlIN) - USAMachine-made in u.s. from sulphite. smooth index paper, similar to oaktag. No deckles.

JOHANNOT - FranceMouldmade in france by arjomari & wiggins. 75% cotton, 25% esparto. Neutral ph. cold Pressed. white. esparto pulp adds absorbency and helps to produce this paper's unique surface. 2 natural deckles, 2 torn edges.

lEGION ART COATED COvER - USA Machine-made in the u.s. of 100% high alpha cellulose with a smooth, matte finish created by a fine clay coating. Neutral ph. No deckles. white.suitable for silver point and fine drawing techniques. The clay coating produces very rich, dark tones, but allows for little erasure.

lENOx 100 - USA also see ROllSMachine-made in u.s. from 100% cotton. Neutral ph and buffered. cold Pressed. No deckles. white.A favorite in the studio for proofing, drawing, screen printing and multi-media.

lETTRA - USAMachine made in the u.s. by crane's of 100% cotton. lettra is designed for letterpress printing and offers a softer surface and bulkier sheet to maximize the impression of the press. also suitable for drawing and other printmaking techniques. No deckles.

lenox lettra fluorescent white lettra Pearl white lettra ecru

lanaquarelle cold Press lanaquarelle hot Press

Johannot

index

legion art coated (with silverpoint above)



MC COY ClAY COATED COvER - USA Machine-made in the u.s. with a satin-like smooth finish created by a fine clay coating. suitable for silver point and fine drawing techniques. The clay coating produces very rich, dark tones, but allows for little erasure. No deckles. white.

lANGDEll luSTER - USA handmade by Maple street Paper company. 100% cotton with the addition of mica particles to give these sheets a subtle sparkle. 4 deckles.The durable surface makes these sheets good for printmaking, drawing and painting - limited supply

luster Burnt umber luster slate luster rose luster Plum luster azul

luster chartreuse luster Yellow luster tangerine luster atlantic Blue luster Periwinkle

luster Butter luster soft white luster Pale Pink luster celedon luster Pale green

luster gold luster araurcana luster silver

langdell luster cream

Mc coy clay coated (with silverpoint above)



MAGNANI - ItalyMagnani Papers date back to the 15th century when papermaking was first recorded along the river Pescia near the town of Pescia, italy. By the 18th century, Magnani was exported throughout europe with notable customers that included Napoleon Bonaparte, The crown family of italy and most of the other rul-ing families of europe, who chose the mill because of their ability to produce special watermarked sheets for official documents. today, the cylinder mould machines at the mill make the currency for many countries around the globe. in the 19th and 20th centuries the ancient, hand-papermaking mill, le carta, worked directly with artists such as de chirico, annigoni and Morandi to develop their own special papers with personalized watermarks. With Magnani's introduction of their new, extensive line of reasonably priced Revere printing papers, the Mill continues to expand their selection of fine art papers that address specific needs of today's artists. Although focusing on printmaking grades, Magnani papers are able to withstand a wide variety of techniques including drawing and painting. All sheets are neutral pH.

Magnani Acquerello Cold Press / Acquerello Portofino Hot PressMouldmade from100% cotton, fully sized for watercolor. Neutral ph. 2 deckles, 2 torn edges.

Magnani AnnigoniMouldmade from100% cotton. Pigmented, light tan color with fine flecking of black wool fibers. Neutral ph. 2 deckles, 2 torn edges. lightly textured, annigoni takes erasure well and can withstand light washes.

Magnani Arturo Stationery & CardMouldmade from100% high alpha cellulose. This is the paper used for the arturo line of fine stationery. Neutral ph. No deckles. The toothy surface is also great for drawing, gouache and printmaking techniques.

Magnani acquerello cold Press Magnani acquerello Portofino hot Press Magnani annigoni

Magnani arturo Bright white Magnani arturo soft white Magnani arturo Buttercream Magnani arturo lavender

Magnani arturo stone Magnani arturo Blue Magnani arturo Pink Magnani arturo celedon



Magnani firenzePartially handmade, 100% cotton. Neutral ph. 4 deckles. Pronounced laid line pattern. 4 deckles. Neutral ph.

Magnani IncisioneMouldmade from 50% cotton, 50% sulphite. Neutral ph. 2 deckles, 2 torn edges. Bright white with a smooth surface.

Magnani Pescia SatinatoMouldmade from100% cotton. Neutral ph. 2 deckles, 2 torn edges. smooth surface. This dense, finely made printmaking paper can be used for many drawing techniques and will also take some warercolor.

Magnani Platinum RevereMouldmade from100% cotton specially formulated for platinum photograhic processes. Neutral ph. 2 deckles, 2 torn edges.

Magnani firenze Brown Magnani firenze Navy Magnani firenze Black

Magnani incisione

Magnani Pescia Bright white Magnani Pescia soft white Magnani Pescia cream

Magnani Pescia Blue Magnani Pescia grey Magnani Platinum revere

MAGNANI - Italy



Magnani RevereMouldmade from100% cotton. Neutral ph. 2 deckles, 2 torn edges. Printing & drawing.

Magnani velata Mould-madeMouldmade from100% sulphite. Neutral ph. 2 deckles, 2 cut edges. lightly textured, wove finish

Magnani velata & vergata Handmadeshandmade from100% cotton. Neutral ph. 4 deckles. "Velata"(wove) surface and "Vergata (laid) surface.

Magnani revere ivory - suede surface Magnani revere Bisque - suede surface Magnani revere Black - suede surface

Magnani revere Polar white - silk surface Magnani revere standard white - felt surface Magnani revere warm white - suede surface

Silk is the smoothest of the Revere papers felt is the roughest of the Revere papers

Suede is the middle texture of the Revere papers

Magnani Velata Mould-made

Magnani Velata handmade - white Magnani Vergata handmade - ivory

MAGNANI - Italy



MExICAN PAPEl DE AMATE - Mexico from the otomi indians, Paper de amate is not actually a paper. for centuries, they have been formed by pounding fig tree bark into sheets and drying them in the sun. 4 natural edges. Neutral ph.

Mexican amate - ivory Mexican amate - Brown Mexican amate - Mottled Mexican amate - tan (color varies)



MExICAN PAPEl DE AMATE - Mexico

Mexican amate - sage Mexican amate - Pink Mexican amate - teal Mexican amate - Multi color solid

Mexican amate - lace Mottled (on black) Mexican amate - lace Brown (on white) Mexican amate -woven Multicolor (on black)

Mexican amate - woven Brown (on black) Mexican amate - woven Mottled (on white) Mexican amate -woven ivory (on black)

MExICAN All PuRPOSE HANDMADE - Mexico Made from 20% cotton with 80% recycled papers, externally sized to accept most drawing and painting techniques yet soft and strong enough for letterpress and printmaking. Neutral ph.

Mexican all Purpose - white & ivory



MOulIN de lARROquE & MOulIN du POMBIE - France The larroque Mill, in existence for centuries, utilized traditional hand paper making techniques. although the mill is still in existence and producing some grades, our sheets were made over a decade ago by george duchene who operated both handmade and mould-made production. all are 100% cotton and neutral ph.supplies are limited.

Moulin de larroque - Bergerac antique Moulin de larroque - Bergerac Pale Pink felt Moulin de larroque - Bergerac Pale grey felt

Moulin de larroque - calcaire Moulin du Pombie - Mouchetes olive Moulin du Pombie - Mouchetes grey

Moulin du Pombie - Mouchetes Blue Moulin du Pombie - Mouchetes almond green Moulin du Pombie - Mouchetes Brown

Moulin de larroque - colombe lilac Moulin de larroque - colombe Burgundy Moulin du Pombie - Moutarde



PARCHMENT (GENuINE)traditionally prepared skins for bookbinding, religious documents, certificates, illuminated manuscripts and painting.

Our selection of skins varies greatly due to availability from our suppliers.

Please inquire for current stock.

Sheepskin

CalfskinDeerskinGoatskin

MOHAWK vElluM - USAMachine-made from 100% high alpha cellulose. 60 lb. text paper. Neutral ph. No deckles. MOHAWK vIA SMOOTH lIGHT GREY - USAMachine-made from 100% high alpha cellulose. 70 lb. text paper. Neutral ph. No deckles.

MulTI-MEDIA / AquAREllE - USAMachine-made ifrom100% cotton. heavy internal sizing makes this economical paper suitable for most painting techniques. double sided sheets allow for additional versatility. Neutral ph. 2 deckles.

NEWSPRINT - USA - Machinemade in the u.s. of sulphite. smooth and rough.

OAKTAG - USA - Machine-made. hard, smooth surface. off-white.

PARCHMENT ANTIquE GOlDTONE - Machine-made from sulphite..

Mohawk Vellum cool white Mohawk Vellum soft white Mohawk Via Vellum light grey

oaktag Newsprint Parchment antique goldtone

Multi-Media aquarelle



PERGAMENATA - ItalyMachine-made in italy. 100% high alpha cellulose. translucent parchment. Neutral ph. No deckles.

PlIKE - ItalyMachinemade by gruppo cordenons of 100% sulphite. The name "Plike" comes from "plastic-like" in that these sheets have an unique touch, evocative of plastic or rubber. The surface is water resistant, yet is porous enough to accept watermedia and other techniques with minimum buckling. The smooth surface accepts silver point beautifully and holds detail even with pastel. however, this specially coated surface does not erase well. Neutral ph. No deckles.

RICHARD DE BAS - Franceauvergne is the site of the Val de laga Mill of the Moulin a richard de Bas, one of the oldest mills in france. its papers still bear the watermark composed of a heart crossed by waves to represent the laga river and the date of the mills inception, 1326. They are handmade from cotton rag and linters beaten by wooden mallets powered by the river. internally sized. Neutral ph. 4 deckles. our sheets are vintage from 20 years ago and supplies are limited.

Richard de Bas Normal laid - laid surface with white cotton threads.lRichard de Bas Apta laid Brick Red - heavy chain laid (more widely spaced than Normal)

Pergamenata white - 160 gram (seen on black) Pergamenata Natural - 160 gram (seen on black) Pergamenata Natural - 230 gram (seen on black)

Plike ivory (with pencil & silverpoint)

Plike white (silverpoint) Plike graphite Plike Black Plike Brown Plike red

richard de Bas - apta Brick red richard de Bas - light Blue richard de Bas - chamois richard de Bas - Maroon



RICHESON'S uNISON PREMIuM PASTEl SuRfACE - USAMachine-made in the u.s. designed by the Jack richeson company in conjunction with the makers of unison Pastels, these durable sheets can withstand rub-bing, erasure and even watercolor techniques and still maintain their specially designed, toothy surface. acid free paper screened with a fine-toothed pastel primer. Pastel and charcoal need little fixative. The sheet size includes a " border of uncoated white paper. No deckles.

RISING DRAWING BRISTOl - USAMachinemade in the u.s. of 100% sulphite. off-white tone is heavily sized to handle many techniques. No deckles. Neutral ph.

richeson storm grey richeson sandstone richeson Marble

richeson clay richeson light umber richeson terracotta

richeson shale richeson Black richeson white

rising Bristol Vellum finish rising Bristol Plate finish



RIvES - FranceMouldmade in france by The arjomari Paper group, the same mill that produces arches and Johannot. These sheets of 100% cotton are without a doubt, some of the papers most often requested by artists. although known as printing papers, their light sizing and exceptional strength even after soaking, makes these papers versatile for many applications. all arjomari papers are Neutral ph. 2 deckles, 2 torn edges (except where noted.)

Rives BfK - soft white, cream, grey, and tan in 22 x 30 size are cut from 30 x 44 sheets and have 1 deckle, 2 torn edges and 1 cut edge.

Rives Heavyweight & lightweightwove surface, similar to BfK but in 2 lighter weights. Buff (cream) and white (an off-white tone that does not correspond to BfK white.)

Rives Papier de lin also see Rolls25% linen and 75% cotton rag. Natural deckles are exaggerated. linen fiber adds strength and gives this paper a surface that is highly textured without a mechanical look. Moulin du gue watermark.

RuBBING PAPER "OlDSTONE" - USAMachinemade for oldstone rubbing Products of rayon & sulphite. durable, soft surface specifically designed for rubbing techniques using crayons and graphite sticks. No deckles.

rives BfK white rives BfK soft white rives BfK cream

rives BfK grey rives BfK tan

rives lightweight & heavyweight white rives lightweight & heavyweight Buff rives de lin

rubbing Paper "oldstone" (seen on black & white)



Ruscombe Mill Blued Hemp & flax Broad laidModeled after antique wrapping papers which were made of diverse fibers such as rope, colored cotton and old linen clothes.

Ruscombe Mill Deep Beige - cotton rag and linen flax. wove.

Ruscombe Mill "Machine-age" Compatible Cold Cream Wove cotton rag and flax, colored to resemble aged paper, particularily those used during the industrial revolution .

Ruscombe Mill Margaux Estampe Cream - 100% cotton linter for printmaking.

Ruscombe Mill Paille - 75% linen rag and 25% cotton rag. strong surface for drawing & washes.

Ruscombe Gelatine-sized WatercolorThese remarkable sheets are made with flax, hemp and cotton rag. This formulation, along with vigorous beating of the fibers are inspired by papermaking techniques approved by The royal watercolor society in england during the 18th and 19th centuries. externally sized in a hot bath of gelatine and then loft dried.

Ruscombe Oatmeal - cotton, linen and oatmeal husks..Ruscombe Thomas Girtin laidlinen, hemp and cotton rag. Modeled after a wrapping paper that this President of the royal watercolor society preferred.

RuSCOMBE MIll HANDMADES - Franceowned and operated by chris and Jane Bingham, the mill was established in the cotswold village of ruscombe, england in 1990 and relocated to france in 1995. These exquisite sheets are made from cotton rag and flax fibers and recreate the techniques and styles of papers found in the 17th, 18th and 19th centuries. Most of the varieties were inspired by specific antique papers found in museum collections that were once favored by english artists, printers and bookmakers. The mill provides papers to major libraries and museums including the louvre and the french National library, for the restoration of their works on paper. all are neutral ph. 4 deckles.

ruscombe deep Beige ruscombe Machine-age cold cream ruscombe Paille

ruscombe Blued hemp & flax Broad laid

ruscombe Margaux estampe cream

ruscombe gelatine-sized oatmeal ruscombe gelatine-sized Thomas girtin laid



Ruscombe Mill queen Anne ColorsMade of a cotton rag and flax in an assortment of rich, heavily pigmented, saturated colors that are copies of sheets found in antique books.

Ruscombe Mill queen Anne Cotton Wove & laidMade of a blend of cotton rag, and flax. The 25 gram sheets are a marvel of papermaking skills!

ruscombe - 25 gram Pale laid ruscombe - 120 gram Pale wove ruscombe - 90 gram dark wove ruscombe - 120 gram dark wove

(on black background)

ruscombe - cartridge green ruscombe - sugar Bag Blue green ruscombe - strong granite Blue laid ruscombe - library green

ruscombe - Pamphlet Blue ruscombe - Murky Pink ruscombe - ruth's red ruscombe - snuff Brown

(on black background) (on black background) (on black background)

RuSCOMBE MIll HANDMADES - France



SAINT ARMAND HANDMADES - CanadaThe st. armand Mill of Montreal, canada is owned and operated by david carruthers and his wife, denise lapointe. established in 1979 on the shores of the lachine canal, the mill re-created the ancient craft of papermaking in a modern context. New York central and saint armand have worked together since those early days - when handmade paper was mainly european and unknown to the american market. saint armand's papers have changed radically over the years, but most notably since 1992 when the mill acquired a holland beater and was able to prepare all their own pulps. Pulping now begins with recycled rags from cotton cut-offs from the textile industry. Basic cotton is usually obtained from white tee shirts; blues from blue denim. locally grown linen, flax, straw and sisal are also employed.The sheets are air dried, internally sized and exceptionally strong even when wet, making them ideal for printing, bookbinding and drawing techniques. all have 4 deckles and are neutral ph.

St. Armand Dominion AquarelleMade from 75% cotton rag with 25% linen rag. internally and externally sized for watercolor. white, medium-rough finish.

St. Armand Aquarelle100% cotton rag. internally sized with starch for watercolor and mixed media. Medium-rough finish.



St. Armand Printing & Drawing - 100% cotton rag internally sized for a wide range of techniques. Please note: The colors may vary substantially from making to making.

saint armand - gold saint armand - caribou tan saint armand - dove grey saint armand - dark Brown

saint armand - light Blue saint armand - dark Blue Jean saint armand - charcoal saint armand - Black denim

saint armand - white

saint armand - ivory

saint armand - lemon



saint armand - aquamarine saint armand - spring green saint armand - fern green saint armand - elephant grey

saint armand - sand saint armand - olive saint armand - lime saint armand - Mineral green

saint armand - terracotta saint armand - tomato saint armand - tangerine saint armand - orange

saint armand - slate grey saint armand - Pearl grey saint armand - Pink saint armand - red

saint armand - lilac saint armand - Prune saint armand - Burgundy saint armand - Mauve

SAINT ARMAND HANDMADES - Canada



St. Armand Specialty SheetsMarsh Grass white, cold pressed surface with marsh grass inclusions.Money white, rough surface with shreaded canadian dollar inclusions.Saskatchewan Very rough surface and natural color comes from recycled flax straw.Special Etching Blend of cotton and abaca. soft white. cold Pressed.

St. Armand Text laidlinen and cotton rag. laid finish in the style of 17th century drawing and printing papers.

saint armand text - frobisher white saint armand text - rivire rouge saint armand text - innis Pale earth saint armand text - Palliser earth

saint armand - Money saint armand - Marsh grass saint armand - saskatchewan

saint armand text - linen white saint armand text - dark linen saint armand text - rideau ivory

saint armand special etching

saint armand text - crowsnest Black saint armand text - tangerine saint armand text - ungava Blue saint armand text - gasp Jade green

SAINT ARMAND HANDMADES - Canada



SAINT ARMAND CANAl MOulDMADESMade on one of the only fourdrinier machines that remains in North america, these sheets get their incredible strength from rag clippings recycled from the textile industry, sisal, jute and flax straw from local farmers. This fourdrinier, is a historical, 1947 machine, made in scotland that was re-installed at saint armand by david carruthers in 1992. The machine runs very slowly, which most simulates the hand processes and although the sheets have a distinct grain direction, will fold against the grain without cracking - making them ideal for book arts and embossing. 2 deckles, 2 cut edges. Neutral ph.

saint armand canal - Jute & cotton canal - cotton with leaves canal - cotton with Peat canal - cotton & silk Threads

saint armand canal - sisal cream saint armand canal - sisal coffee saint armand canal - sisal currant saint armand canal - sisal cucumber

saint armand canal - cream cotton

canal white cotton canal Black denim canal Blue Jeans canal tan cotton canal grey cotton canal orange cotton

saint armand canal - linen wrapper Brown (sheets are wrinkled and irregular) saint armand canal - linen wrapper white (sheets are wrinkled and irregular)

seen on black background

saint armand canal - ontario flax Natural saint armand canal - flax grey saint armand canal - flax & cotton



T.H.SAuNDERS WATERfORD - England Mouldmade in wells, england at st. cuthbert's Mill from 100% cotton. st. cuthbert's, owned by the inveresk group of Papermakers, is one of the world's largest producers of archival papers specifically designed for the fine art market. wells, in the somerset area, was once the home of several fine paper mills because of its location near the river axe. st. cuthbert's Mill is the last of these to remain in commercial operation, but continues the english traditions of making fine watercolor papers that began with other mills such as wookey hole and whatman.Neutral ph. 2 deckles, 2 torn edges. watermarked.

SAINT ARMAND SABERTOOTH PASTEl II Mould-made in canada of 100% cotton. Prepared for pastel with marble dust in a pigmented, latex base. Neutral ph. 2 deckles.

saunders hot Press - traditional white saunders cold Press - high white saunders rough - traditional white

sabertooth light Blue sabertooth dark Blue sabertooth dark grey sabertooth light grey sabertooth olive

sabertooth white sabertooth cream sabertooth salmon sabertooth Brown



SENNElIER lA CARTE PASTEl a lightweight, neutral ph board is coated and pigmented with very fine vegetable fiber particles to grab and hold pastel. This unique surface remains soft and slightly dusty, acting almost like a layer of pastel that will blend and alter the tones that you apply.

sennelier le carte - 6 salmon sennelier le carte - 8 light green sennelier le carte - 7 Van dych Brown

sennelier le carte - 9 dark green sennelier le carte - 10 light Blue sennelier le carte - 11 dark Blue

sennelier le carte - 12 light grey sennelier le carte - 13 dark grey sennelier le carte - 14 charcoal

sennelier le carte - 1 antique white sennelier le carte - 2 sand sennelier le carte - 3 sienna sennelier le carte - 4 umber

sennelier le carte - 5 Peach



SOMERSET - EnglandMouldmade in wells, england at st. cuthbert's Mill from 100% cotton. st. cuthbert's, owned by the inveresk group of Papermakers, is also the manufacturer of t.h. saunders watercolor papers. st. cuthbert's was one of the first mills to specialize in mouldmade, archival papers specifically designed for the fine art market. The mill has one of the oldest cylinder machines in existence and also has one of the largest machines, manufacturing papers up to 60" wide. The somerset line is highly regarded for its durability, consistency and range of products for all printing techniques including digital reproduction. The lightly sized sheets also work well for drawing techniques where minimal erasure is needed. somerset textured is excellent for soft pastel.All sheets are Neutral pH. 2 Deckles, 2 torn edges. Watermarked.

Satin is the smoothest surface of Somerset

velvet is the medium surface of Somerset

Textured is the roughest surface of Somerset

somerset Book radient white somerset Book white somerset Book soft white

somerset satin white somerset Velvet radient white somerset textured cream

somerset textured soft white

somerset Velvet Newsprint grey somerset Velvet antique somerset Velvet Buff



SPECKlETONE - USArecycled machine-made by the french Paper company from post-consumer waste. wood shavings and other wood particles are added for character. Neutral ph. No deckles.

STARWHITE - USAMachine-made from sulphite. Neutral ph. No deckles. hard, smooth surface. large format.

speckletone cream speckletone old green speckletone Natural

speckletone Brown speckletone chocolate speckletone Black

starwhite

speckletone Madiero Beach speckletone Kraft speckletone oatmeal

speckletone olive speckletone wine



STONEHENGE - USAMachine-made from 100% cotton. Neutral ph and buffered. 2 deckles, 2 cut edges.Stonehenge is one of our most popular grades - offering dependability, consistency and range of sizes - all at an economical price.For drawing, silkscreen and most printmaking techniques, book arts and light watercolor.

stonehenge Polar white stonehenge warm white stonehenge cream

stonehenge white

stonehenge fawn tan stonehenge Natural stonehenge Pearl grey

stonehenge Kraft stonehenge Pale Blue stonehenge steel grey

STIllMAN & BIRN ART PAPER - NetherlandsMachine-made from high alpha cellulose. internally and externally sized sheets with remarkable durability with both wet and dry media. handles repeated erasure with little haloing. Neutral ph and buffered. No deckles.This range can also be found in the Stillman & Birn line of bound books and pads.For technical pen and all drawing techniques, silkscreen, book arts and watercolor.

s & B alpha Vellum s & B Beta cold Press s & B delta cold Press s & B gamma Vellum

s & B epsillon / Zeta smooth



STRATHMORE - USAone of the most well known and respected mills in the united states that specializes in high quality machinemade papers. all sheets neutral ph.

Strathmore Alexis Drawing - 100% alpha cellulose. light texture. off-white. No deckles.

Strathmore Alexis Watercolor - 100% alpha cellulose. rough. No deckles. 2 deckles.

Strathmore Aquarius IIcotton and synthetic fibers. Neutral ph. formulated to remain flat when wet.

Strathmore Bristol "fairfield" Series 300economical, 100% sulphite. 2-ply Plate (smooth) or Vellum (light texture.). white. No deckles.

Strathmore Bristol Series 500100% cotton. Plate (smooth, high) and Kid (Vellum, Medium, regular) surfaces. No deckles.

Strathmore Charcoal - 100% cotton. laid, textured surface. 2 deckles.

strathmore Blue grey strathmore Pottery green strathmore cadet Blue strathmore storm grey strathmore Velvet grey

strathmore Bright white strathmore rose grey strathmore fog Blue strathmore golden Brown strathmore Peachblow

strathmore charcoal white strathmore series 300 Bristol Vellum surface strathmore series 500 Bristol Vellum surface

strathmore aquarius ii watercolor strathmore series 3

art papers complete 2014

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