Last year we introduced a new, complete line of printmaking paper in sheets and pads. This year, we're excited to announce that we've added even more printmaking surfaces and now have full sized Printmaking Greeting Cards!
These soft, strong & durable printmaking cards are ideal for a wide variety of printmaking techniques including relief, lithography, intaglio, screen printing and more. The paper is a natural white color and absorbs large amounts of ink.
- Printmaking Card Weight: 280 g/m2
- Printmaking Envelope Weight: 104g/m2
- Printmaking Card Size: 5" x 6.875"
- Printmaking Envelope Size: 5.25" x 7.25"
- Availalbe in packs of 10, 50 and 100 cards and envelopes
- Acid Free
- Made in the USA
Click here for more information.
Colored pencil has met its match!
We are excited to introduce our new 400 Series Colored Pencil pads this February!
It can be difficult and intimidating choosing the right quality paper specifically for colored pencil. To make it easier for all artists to enjoy this versatile medium, we are now offering Colored Pencil paper in convenient wire bound pads.
Strathmore 400 Series Colored Pencil Paper provides a clean white, toothy surface that is ideal for a variety of colored pencil techniques. Smooth, even coverage can be achieved, and the heavy weight combined with the vellum surface allows for the application of multiple layers. The durable surface can stand up to repeated erasures and reworking. It is also excellent for use with pencil, charcoal, and sketching stick.
Strathmore 400 Series Colored Pencil Paper:
- 100lb. (163gsm)
- Medium surface
- Stands up to repeated erasing and reworking
- Durable wire binding
- “Actual Size” sheets
- Acid free
- Made in the USA
- Available in 9” x 12”, 11” x 14”, or 18” x 24” pads
See more here: Colored Pencil Paper
The following blog was written by Artist Pamela Corwin:
My coming of art isn’t one that is normal. My name is Pamela Corwin, and I’m actually a wildlife and fisheries biologist here in South Carolina. I didn’t go to school for art. I surely didn’t have time to take any art classes, except in high school. I was a double major in biology and anthropology and like a lot of college students, I felt as if I had to save the world. I wanted to make a difference. I wanted to find that niche I belonged to and provide that voice that actually mattered. But how? The answer to that question didn’t come until many years later.
After college, I joined the South Carolina Army National Guard and obtained my first real job as a biologist. Then to complicate things, I started attending graduate school. Art was the least of my worries and something that I thought was left in the past. I was studying our fine-feathered friends and witnessed the full capacity of what nature can offer to a studying soul.
The Army, on the other hand, was quite a wild ride, so to speak. I had my fair share of Army life along with my battles (what we call our sisters and brothers in arms) but some of my battles had way more than their fair share. Some were coming back with PTSD; some were missing legs and arms. So I started volunteering at a veteran’s shelter here in Charleston, S.C. After all of those years with no art in my life, I picked up some art supplies (of course, Strathmore paper) and started having art therapy with these veterans. I didn’t really draw or paint; I was just there for support. I was there to show them, and eventually myself, that art is a form of therapy that speaks without words.
After I graduated from graduate school, I started having a little free time and one day, out of the blue, I decided to paint a brown trout as a birthday card. I honestly didn’t think any skills would come back but as soon as I picked up that watercolor brush, it was there. Every brush stroke felt as if it had never left. Once the trout was finished, and I had given it to my husband, he showed it to someone at our headquarters and ideas started brewing. They were coming up with a program for anglers that catch trophy fish. This was called the Trophy Angler Program and the certificates were to have fish artwork painted by me. So I started painting fish.
Then the S.C. Wildlife Magazine asked if I would start painting for them. Of course, who could say no!? So I started painting for the magazine. Most of it was wildlife or related to the outdoors then one day, a light bulb came on. I finally knew the answer to my question I had in college. Not many artists truly experience wildlife and the outdoors as a biologist would. I knew the biology, the movements, the colors, and everything relating to our flora and fauna. So my second career as an artist began and my voice developed. I became a conservation artist, or in the biology community, the “artistic biologist”.
When it comes to painting, I study everything I can about the subject (if it isn’t something I already study as a biologist). But why? Everyone can paint from a photo; but it takes an understanding of the subject to truly portray it on paper. I’ve also developed the same sense of “soul” when it comes to commissions. I get a lot of pet commissions. I’m a huge animal lover and when someone comes to me asking if I can paint their dog, they’re not asking to paint the photo. They’re asking to paint the emotions, the love, and the happiness that their pet provided. I know how hard it is to lose a pet (if that were the case), especially when they’re considered part of the family. That energy is put into every painting I do.
One day, I was contacted by a fisherman that wanted me to paint the fish he caught and released. He didn’t want a fish mounted; he wanted the fish in it’s natural environment. So a new type of commission was started: I dubbed it the “catch, release, and paint” commission. It has been a huge hit, especially with rare/keystone fishes.
Even with these commissions, I always kept asking myself “why me?”. One day, someone finally told me it was my unique style of painting with watercolors. I don’t like “loose” painting and use the paintbrush like I would a colored pencil, and I have learned that paper is a HUGE part of my style. I ONLY use Strathmore 400 Series Watercolor paper. Ever since I was a little girl, I’ve used Strathmore paper. I even prefer the Bristol paper for my colored pencil pieces and can honestly say the paper holds true. My parents still have paintings and drawings from 25 years ago hanging in the house (I’m celebrating my 2nd annual 29th birthday this year).
So with little training and just a natural ability to paint, I’ve created a world where I can get away from stress but still maintain a positive foothold. I donate a lot of original paintings and prints to various non-profit organizations to raise funds for conservation efforts. I strongly believe that every child should witness the wonders and splendor that nature has to offer. I don’t want to show my grandchildren and great grandchildren animals that were once wild, only to be found in zoos. Wendell Berry once said, “We can learn about it [conservation] from exceptional people of our own culture, and from other cultures less destructive than ours. I am speaking of the life of a man who knows that the world is not given by his fathers, but borrowed from his children; who has undertaken to cherish it and do it no damage, not because he is duty-bound, but because he loves the world and loves his children…” With this said, my motive isn’t monetary gains; it isn’t fame and fortune; it is to help preserve something we all share for generations to come.
Here at Strathmore, we're proud to provide high quality fine art papers that artists can depend on. We've been serving artist needs for over 120 years and we believe better quality paper gives artists the best possible chance to be successful.
Take a moment to watch our new video, which gives a bit of background on who we are and what we're all about.
Selecing the right paper for your preferred medium is one of the most important decisions you can make as an artist. We’ve got a great tool available for download on our website to help you make that important decision - our Paper Selector Guide
The Dry Media Paper Guide and the Wet Media Paper Guide provide ratings by paper types for the full range of media. Papers that are suitable for a particular medium are rated as good, very good or excellent, making it easier for you to find the best surface to meet your specific needs.
Access it here: http://www.strathmoreartist.com/paper-media-guide.html
ANNOUNCING OUR FREE STRATHMORE 2015 ONLINE WORKSHOPS!
We have inspiring new topics for our virtual classroom, and we're excited to introduce 3 new experienced and talented artist-instructors for our free online workshops! We're also excited to welcome back Instructor Traci Bautista, who was a hit for our 2012 Online Workshops! Here's what we have planned:
Workshop 1: Bold, Expressive & Unconventional Printmaking
Instructor: Traci Bautista
Start Date: March 2, 2015
Workshop 2: Loose and Expressive Acrylic Painting
Instructor: Patti Mollica
Start Date: May 4, 2014
Workshop 3: Exploring Pen & Ink
Part 1: Hand Lettering & Calligraphy
Instructor: Maureen "Marzi" Wilson
Start Date: September 7, 2015
Workshop 3: Exploring Pen & Ink
Part 2: Drawing
Instructor: Alphonso Dunn
Start Date: September 21, 2015
Learn techniques from experienced artists through online videos and downloadable instructions. Get inspired by other students in our virtual classroom. Keep motivated with ideas and tips from your instructors. Share all the fun on Facebook, Twitter and Instagram with #StrathmoreWorkshops.
If you already have a registered student account, there is no need to re-register. If you haven’t signed up yet, you can do so for free here: Register
HAPPY HOLIDAYS FROM STRATHMORE AND GENERAL PENCIL! Our Holiday Gift Giveaway is loaded with all sorts of goodies for DRAWING! We've included Sketch, Drawing, Heavyweight Drawing, Bristol Vellum, Toned Tan & Toned Gray Pads, and a Hardbound Mixed Media Art Journal. A special thanks to General Pencil for donating the perfect pack of drawing materials to go with our paper products!
Enter below before 11:59pm CST on Thursday, Dec. 25, 2014 for a chance to win!
Six names will be randomly selected to win one each of the following items:
- One 400 Series Toned Gray Sketchbook, 5.5"x8.5"
- One 400 Series Toned Tan Sketchbook, 9"x12"
- One 400 Series Sketch pad, 9"x12"
- One 400 Series Heavyweight Drawing pad, 9"x12"
- One 400 Series Drawing pad, 9"x12"
- One 300 Series Bristol Vellum pad, 9"x12"
- One 500 Series Mixed Media Hardbound Art Journal, 8.5"x11"
- One General Pencil Pack which includes 1 each:
Artist Brent Anderson is using his artistic talent in a beautiful, generous and moving way. A few years ago, Brent felt called to create and donate portraits for the families of children with cancer. Unsure of what the reaction may be, he shied away from this idea and pursued art in other ways. Then just this past July, he decided he couldn’t shake his desire to pursue his idea any longer. With the encouragement of his wife, he made his first terrifying phone call to a local hospital. The reaction he received was the best he could have hoped for – he was welcomed with open arms and hospitals and families have been exceedingly receptive.
Currently, Brent works with Child Life Departments of local hospitals to identify families who could be blessed with a portrait. He visits with the families to explain the program. The family gives Brent a number of photos to choose from, and Brent creates his drawing. When it is complete, he presents it to the family along with a certificate that allows them to have the portrait custom framed. The families do not have to pay a dime for any of it. Brent has applied for a 501c3 non-profit status and will call the company “In My Father's Eyes”.
Brent has been drawing as long as he can remember. He is self-taught and has an amazing natural ability. He uses Strathmore 300 Series Bristol paper and Pentel mechanical pencils & leads for the detail work in his drawings. All the portraits he creates for the program are graphite only. Once finished, they are sprayed with a Krylon fixative.
Thank you Brent for sharing your amazing story and talent with us, and thank you for the program you’ve created. If you’re interested in learning about how you can help this program expand, contact Brent Anderson at firstname.lastname@example.org.
We often get questions about how to remove sheets from our watercolor blocks, which are glued along all four edges. Check out our short video which demonstrates the process:
Having the paper glued along all four edges eliminates the need for stretching the paper prior to painting. You can load the water on and not only will your top sheet dry nice and flat, the sheet underneath will be clean and ready for use after the top sheet is removed. For more information on our watercolor blocks, click here.
The Fall Issue of our Artist Newsletter is here! Click here to download the article.
Here's a look at what's inside:
Drawing as Process
By: John Rise
This Issue features a thoughtful investigation of drawing as a process by Artist & Professor John Rise. John, who teaches Drawing at the Savannah College of Art and Design, gives us an inside look at his love for graphite as a medium and discusses the proposition that the process an artist experiences while drawing is potentially more important than the outcome of the final piece.
Featured Product: Heavyweight Drawing Pads
Strathmore® 400 Series Heavyweight Drawing has been one of our most popular papers since 1940. Previously this 100 lb. (163 g/m2) cream colored paper was only available in sheets and rolls. Now Strathmore is introducing 5 convenient pad sizes to the Heavyweight Drawing family. Find out more in the Artist Newsletter.
Card Art Submission
Strathmore is accepting submissions of spring and summer themed artwork created on any Strathmore Greeting Card product. Entrants have a chance to win cash and card prizes! Get more details and submission information in the Artist Newsletter.
Questions from our Website
Download the Artist Newsletter to get answers to frequently asked questions about our new line of Printmaking Papers, such as: What is the difference between wood and cotton fiber printmaking papers? Can all of your printmaking papers be soaked prior to printing? Why are there so many sizes of your Printmaking pads?
If you haven't subscribed to our quarterly Artist Newsletter, sign up for free here!