Each Wednesday for 22 weeks, I'll be sharing artwork that was done on paper from a Schut Papier sampler. I'll be giving you a little information about each of the papers.
(Note: Because the next two Wednesdays are Christmas Eve, and New Year's Eve, Watercolor Wednesday with Schut will be not be posted. It will return on January 7th!)
Schut Artist Drawing Paper, 120 g/m2:82 lbs
Good erasability; light grain; extra white; acid-free; pH-neutral; for pen, pencil, charcoal, crayon, and pastel.
I've been impressed with this paper's ability to hold up to watercolor. I thought for sure I'd see curling and buckling and dimpling at this weight, even though the heavier weights have done well. And I did get more dimpling, but mostly along the edges. The paper did not curl or buckle, even though I thoroughly saturated, lifted color and re-painted. It did get over-worked quickly in those areas, but I've have actual watercolor paper that did worse.
You get three drawings this week, because I did a bleedthrumanade (got lemons, make lemonade; got marker bleed-through, make bleedthrumanade), where I color the front of the page with alcohol markers, then do linework of one kind, then I turn the page and do linework on the back, using the color that has bled through from the front.
For the most part, I've felt that these Schut Sample papers have been too rough or thick for alcohol markers. Most watercolor papers are hard on a fabric tip because of the tooth on the page. While there isn't a lot of tooth on this paper, there is some but I didn't see any evidence of fraying.
The outcome of my tests:
(Note: Because the next two Wednesdays are Christmas Eve, and New Year's Eve, Watercolor Wednesday with Schut will be not be posted. It will return on January 7th!)
Schut Artist Drawing Paper, 120 g/m2:82 lbs
Good erasability; light grain; extra white; acid-free; pH-neutral; for pen, pencil, charcoal, crayon, and pastel.
I've been impressed with this paper's ability to hold up to watercolor. I thought for sure I'd see curling and buckling and dimpling at this weight, even though the heavier weights have done well. And I did get more dimpling, but mostly along the edges. The paper did not curl or buckle, even though I thoroughly saturated, lifted color and re-painted. It did get over-worked quickly in those areas, but I've have actual watercolor paper that did worse.
You get three drawings this week, because I did a bleedthrumanade (got lemons, make lemonade; got marker bleed-through, make bleedthrumanade), where I color the front of the page with alcohol markers, then do linework of one kind, then I turn the page and do linework on the back, using the color that has bled through from the front.
For the most part, I've felt that these Schut Sample papers have been too rough or thick for alcohol markers. Most watercolor papers are hard on a fabric tip because of the tooth on the page. While there isn't a lot of tooth on this paper, there is some but I didn't see any evidence of fraying.
The outcome of my tests:
- With watercolor--
- colors bright
- washes moved well
- color lifted some, but paper became overworked easily
- flecks of darker color remained in lifted areas
- paper dimpled along the edges
- no buckling
- no curling
- With alcohol markers
- bleed-through was about 50% (I'd expected more)
- Colors were bright (but not as bright as I had expected)
- didn't seem to fray fabric tips
- ink dried quickly
- no feathering with ink used for linework over alcohol marker color
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| This painting is my adaptation of an exercise from 'The Encylopedia of Watercolor Landscape Techniques' by Hazel Sloan |
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Front of Page--Marker color applied to this side. 
Back of Page - Line work done to color that bled through from the front of the page
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