Many of the papers in our line work beautifully for shaping, molding, and creating 3D pieces of art. Recently a bride asked us about how to make a paper flower bouquet for her wedding, and we thought it sounded like a great idea! Many of our papers provide interesting textures and colors along with the appropriate weights that are needed to hold up to molding and shaping the paper. Also, using acid free, high quality paper is important to make sure the paper will last over time and won’t fade or deteriorate.
Here are the steps showing how we created our paper bouquet:
- Paper – we used 400 Series Toned Gray, 400 Series Drawing which has a beautiful, cream color, Gray Textured Paper, and a piece of polka dot scrapbook paper to add a pattern.
- Flower Wire – we used white
- Floral Stem Wire – we used white
- Pearl Flower Stamens
- Ribbon (to wrap the stem of the bouquet) – we used white
- Pearl Pins
- Glue Gun
Place a pearl flower stamen in the center of a flower wire and fold the flower wire in half over the center of the pearl flower stamen. Twist the wire together.
Cut a small square piece of paper (about 2"x2") and fold it in half. Choose whatever type of paper you want as the center of your flower.
Place the wire ontop of the folded square piece of paper with the tip of the triangle pointing down and let the pearl stamens come just above the paper. Glue the paper onto the wire using a glue gun.
Begin to roll the piece of paper so it wraps around the wire. Add a spot of glue half way through rolling it up, and on the inside as you are finishing rolling it up so it stays in place.
Cut flower petals from whichever paper you choose. We decided to do rounded flower petals that are about 3 inches in length, but you can experiment with different shapes.
Add the first flower petal to the wire by putting a line of glue across the bottom of the petal, then wrapping it around the wire and pinching the bottom together. Continue adding flowers in different spots around the wire by gluing the bottom of the petals, then wrapping them around the wire.
Once your flower is the size you’d like, wrap the wire stem with floral tape.
Follow the same steps to make as many flowers as you’d like your bouquet to have. Our bouquet has a total of 11 paper flowers.
After all of your flowers are made, gather them and arrange them in a bundle in your hand.
Once all flowers are in place and you are happy with how your bouquet looks, start wrapping all the stems together with floral tape.
Wrap the floral wire with your ribbon and use the pearl pins to secure the ribbon in place in the stem of the bouquet. Make sure to push the pins in at an angle so they don’t poke out the back side of the stem.
Voila! A beautiful paper flower bouquet that will last!
The selection of paper for shading techniques is influenced by the type of pencil used, the degree of darkness desired, the shading technique used, and the expression of the shading technique desired.
The key is to select a paper surface (medium or smooth) based upon the effects you’re looking to achieve. As a general rule, a medium or textured surface will be able to produce a more even, luminescent shade than a smooth surface.
Scroll to the bottom of this post to download a printable practice shading chart. Try printing it on a variety of drawing surfaces so you can experiement with each technique on different textures.
Graphite pencils are created by mixing and grinding graphite and clay together, then encasing them in wood. The proportion of graphite to clay mixture determines the hardness of the pencil and degree of darkness of the pencil mark. They are available in hardness from 9H (hardest) to 9B (softest). Softer grades produce broader and darker strokes and harder grades produce more precise and lighter strokes. H stands for Hardness, B stands for Black. There is also a pencil designation of F, for Fine Line. F is in-between B and H.
Shading is the technique of building tone through specific types of pencil applications. There are 4 basic types of shading techniques..
Hatching: Creating dark value (shades) by application of parallel lines. The closer together the lines the more even the resulting shade.
Crosshatching: Creating shades through a series of intersecting lines. The intersecting lines crisscross each other at various angles. The lines can be straight, scribbled or circular.
Stumping: Creating shades by “smudging” the applied shade. This is done by pressing and smearing the applied graphite with your finger, a soft cloth or a “stump”.
Stippling: Creating shades through a series of dots. Building up more dots closer together results in darker shading.
How to Shade
- Hold the pencil at approximately a 45º angle. Shading is done with the side of the pencil tip.
- You can move the pencil with your shoulder or wrist. Each produces different types of marks. Moving the pencil with your elbow and shoulder produces larger strokes that may be more expressive. This approach is usually used with large-scale drawings. Moving the pencil with your wrist produces smaller strokes that are less expressive. This approach is usually used for smaller-scale drawings.
- The harder you press during shading the darker the mark produced and the darker the shade. The softer the pencil grade, the darker the mark.
How to produce an even shade
- Start with a light pressure and increase pressure of application as you proceed in overlapping pencil strokes.
- Apply strokes in various overlapping angles and strokes. By overlapping at several different angles and directions the resulting shade will be more even with greater luminosity.
Textured vs Smooth Surface Paper
The smoother the paper grain the more difficult it will be to produce an even shade. Smooth paper surface cannot produce as great a range of tone (shade) as textured surface papers. Textured paper surfaces are usually chosen for shading as the texture of the paper makes shading easier and produces a greater range of tone that can be more evenly applied.
Smooth Surface Paper
It is difficult to shade evenly on smooth paper without using the Stump Technique. Smooth paper does not have the peaks (ridges) and valleys of a textured paper. This makes even, subtle shading difficult.
- Use a soft grade pencil – 2B and softer.
- Create desired shade.
- Use Stump Technique (smudging) to create even shade.
- Variation: On a scrap piece of paper apply soft pencil until shade is black. Rub finger, cloth or stump into the black shade. Then apply with your finger, cloth or stump directly to drawing paper surface. This will produce an even shade on smooth paper.
Textured paper surface should be thought of as being a 3-Dimensional surface, with peaks and valleys, not unlike a mountain chain. To achieve an even shade it is necessary to surround the peaks (paper texture) with graphite from all angles. This not only produces an even shade, but it is easier to achieve and has greater depth of tone.
The harder you press and the softer the graphite pencil the deeper you will go into the grain (valley) of the paper, producing a darker and darker shade. If a softer shade is desired, you can use the stump technique over the area you have shaded.
The visual difference between direct shading and stump (smudging) shading, is that the tone produced by the stump technique will be generally smoother and more even, but it will have less luminosity, since you are pressing the graphite into the grain (valley) of the paper surface.
Strathmore Textured Papers
The higher the grade of textured paper surfaces the deeper and more even the resulting shading will be. While all Strathmore Series – 200, 300, 400 and 500 will produce even, deep, luminescent shades, the 500 papers will produce the richest and deepest shade.
Strathmore Medium Surface Drawing Paper
Even, medium textured surface. Random surface produces subtle, rich shades that are expressive with great luminosity and sensitivity.
Click here to see all of our Drawing papers
Strathmore Bristol Vellum
Medium textured, random surface that is slightly more pronounced, (peaks and valleys slightly further apart than drawing paper), enabling paper to handle very soft graphite pencils.Produces shades that are extremely expressive, but not as sensitive as Strathmore medium surface drawing paper.
Click here to see all of our Bristol papers
Strathmore Charcoal Paper
Traditional “laid” finish. Produces shades that reflect the “mechanical” pattern of the laid finish surface.
Click here to see all of our Charcoal papers
Strathmore Pastel Paper
Deeper, medium textured surface. More pronounced peaks and valleys that are closer together than Bristol Vellum surface. Able to hold softer pencil applications without clogging.
Click here to see our Pastel papers
Strathmore Mixed Media Paper
Even, medium textured surface. This specialty paper has the attributes of a watercolor paper and handles wet media beautifully, but has a vellum drawing finish.
Click here to see our Mixed Media papers
Strathmnore Illustration Board & Illustration Board for Wet Media Vellum Surface
A soft vellum surface. The random texture is ideal for sublte and even shading.
Strathmore Smooth Papers
Strathmore 500 Series Plate Drawing or Plate Bristol papers are our very smoothest. The smoother the paper, the more difficult it can be to produce an even shade.
Smoother surfaces are ideal for thin line applications, mechanical pencils, and pen & ink. Some of our smooth surfaced papers include:
Download our free printable practice shading chart below. Print this chart on a variety of textured papers trimmed to 8.5x11 to practice each technique and see how they differ on each paper:
This week we ventured into our local streets of Appleton, Wisconsin and gave away bags of free art materials! Each person got 1 bag that included a random Strathmore pad and a couple complementary tools like graphite, erasers, and a sharpener.
We are calling the project “Create More, Share More, Strathmore”, and we plan on doing 2 more events locally this summer. The goal is to bring more art to our local community, inspire more people to get their creative juices flowing, and just do a random act of artistic kindness.
We hope you’ll be inspired to do your own random act of artistic kindness in your community by giving the gift of your art or art materials to someone who would appreciate it. Tell us about it using #CreateMoreShareMore on Facebook, Instagram or Twitter.
An extra special thanks goes out to our friends at General Pencil Company for donating some of their wonderful pencils and materials for the event!
Our Black Artist Tiles work with a wide range of mediums that let artists create unique and fun pieces. The black paper extremely versatile and works great with gel pens, white charcoal, colored pencil, crayons, oil pastels, chalk pastels, metallic inks, and other light media.
The short video below demonstrates just a few of the different things you can do on black paper:
The paper is 60lb (160gsm), acid free, and contains 30% post-consumer fiber.
If you haven't tried black paper yet, you can find it in a few different products types:
Black Artist Tiles (seen in video above):
-Available in 6"x6" pads
-Coming in 4"x4" packs this Fall 2015
400 Series Artagain® Coal Black Pads and Sheets:
-Available in 6"x9", 9"x12" and 12"x18" pads
-Available in 19"x25" sheets
400 Series Black Field Journals:
-Available in 7"x10" wire bound books
Also look for this beautiful black paper in full-sized cards & envelopes coming this fall!
Scroll down to enter for a chance to win our ULTIMATE PRINTMAKING GIVEAWAY that is loaded with all the goodies you need to get your creative mark-making on! A special thank you to Golden Artist Colors, Gelli Arts, and The Crafter's Workshop who generously donated products so we could put together this drool-worthy prize package that includes everything you need to get started: paper, cards, buttery paints, 2 round gel printing plates, 5 stencils, and a 4” rubber brayer.
Entry for giveaway ends at 11:59pm CST on Wednesday, July 1, 2015.
SIX names will be randomly selected to win the following items:
- One Strathmore 300 Series Printmaking Pad, 5”x7”
- One Strathmore 400 Series Printmaking Pad, 8”x10”
- One special edition 75 pack of Strathmore Printmaking Cards
- One Strathmore 300 Series Palette Paper pad, 9”x12”
- One set of 6 Golden OPEN Acrylics
- 2 Gelli Arts Round Gel Printing Plates (4” and 6”)
- 5 Stencils from The Crafters Workshop (3 small masks and two 6” stencils)
- One 4” Hard Rubber Brayer
Here's a bit more about the goodies you could win:
Strathmore Printmaking Pads, Cards & Palette Paper:
Our 5"x7" Lightweight Printmaking paper (120gsm) is perfect for practicing, proofing and relief printing. Our 8"x10" Heavyweight Printmaking paper (280gsm) is great for any type of printmaking technique. It can be soaked prior to printing, and has a soft, absorbant surface. Our full sized Printmaking Cards are made of the same 280gsm paper as our 400 Series Printmaking Pads. The package includes a total of 75 cards that are 5"x6.875", and 75 matching 5.25" x 7.25" envelopes.
Our 300 Series Palette Paper pad contains 40 poly-coated sheets that are 41lb (67gsm). They are to be used as disposable paint-mixing palettes, and work perfectly with the Golden Open acrylics and a brayer.
Golden OPEN Acrylics:
OPEN Acrylics are high-quality, slow-drying paints with a soft, buttery consistency. The increased working time of these colors expands their range to include more traditional techniques once only possible with oils. The slow-drying capability of OPEN Acrylics also makes them suitable for some printmaking techniques, including monoprinting with Gelli Plates.
Gelli Arts Round Gel Printing Plates:
Gel Printing Plates looks and feel like gelatin, but are durable, reusable and store at room temperature. Spread paint on the surface with a brayer or palette knife, add stencils or designs, and press paper on top to create a print. It's easy to clean and always ready for printing. The round design of these 4" and 6" plates open up new, fun possibilities for monoprints!
The Crafter's Workshop Stencils & Masks:
Stencils from the Crafter's Workshop are perfect compliments to Gel Printing Plates. Included in this prize package are 3 of the small stencil designs and two 6"x 6" stencils. Place them above, below, or inbetween your layers of paint on your Gel Printing Plate to create masks and unique designs. They can be easily rinsed clean with water.
To round it all out, we are also including a 4" Hard Rubber Brayer for each winner.
Enter below for a chance to win. Good luck!
We recently introduced a full line of Printmaking papers that covers the range of needs from beginners to professionals. We have some very helpful downloadable PDF's available that explain printmaking terminology, different printmaking techniques, and methods for creating monotypes.
Scroll to the bottom of this post for the downloadable PDFs.
Our full line of Printmaking papers includes a lightweight 300 Series paper, a heavyweight 400 Series paper, and a 100% cotton 500 Series paper. Each paper in the line serves a unique purpose:
300 Series Printmaking
-Perfect for practicing & proofing: If you don't want to risk using high-end, expensive paper for your proofs, the 300 Series is a great, affordable option that will still perform in a way that allows you to see how your final print will turn out.
-Also great for relief printing
-Available in pads: Since the 300 Series printmaking is availalbe in pre-cut, ready-frame pad sizes, the artist does not need to tear or trim sheets down, which helps save time and elimnate waste. It also makes it easier for artists to store the paper.
-Pad sizes include: 5"x7", 8"x10", 11"x14" and 18"x24".
-Made in the USA
400 Series Printmaking:
-Perfect for all types of printmaking techniques: The 400 Series Printmaking paper is manufactured to stand up to any type of printmaking process, yet it is more affordable than a traditional printmaking paper because it is a wood pulp sheet versus a cotton sheet. It can withstand soaking prior to printing, and has a soft, absorbant surface that works beautifully with printmaking inks.
-Available in pads: Since the 400 Series printmkaing paper is also availalbe in pre-cut, ready-frame pad sizes, the artist does not need to tear or trim sheets down, saving time and elimnating waste. It also makes it easier for artists to store the paper.
-Pad sizes include: 5"x7", 8"x10", 11"x14" and 18"x24". Also available in full sized 22"x30" sheets.
-Made in the USA
500 Series Printmaking:
-Perfect for all types of printmaking techniques: The 500 Series Printmaking paper performs for any type of printmaking process and can be soaked prior to printing. It is a super soft, absorbant sheet that is durable and has two deckled edges.
-Available in sheets: 20"x30"
-Made in the USA
One of the fun things about working with a brand that has a long history is looking back at the advertising of the past. Strathmore Artist Papers was founded in 1892, so looking through our archives is like a history class in American papermaking and advertising! A favorite campaign of ours is the “Prominent Artist Users of Strathmore” series of ads that ran in the 1950s and 1960s. Each ad featured a photo and information on a renowned professional artist and the reasons they trusted Strathmore for their work. Artists included fine artist Andrew Wyeth, graphic designer Saul Bass, and illustrators Albert Staehl and Norman Rockwell among others.
artwork by Erik Davis
What does it mean to stretch watercolor paper? Why & how should it be done?
Many artists soak or stretch their watercolor paper prior to painting. This is typically done on lighter-weight watercolor sheets to stop the paper from buckling when wet media is applied to the surface.
When watercolor is added, the moisture causes the surface to expand slightly on the wet side. The other side remains dry, causing bowing and buckling. This can be difficult for the artist to work with because the paint pools in valleys on the paper. Typically lighter weight sheets are more susceptible to buckling with heavy applications of water.
To resolve this issue, watercolor paper can be “soaked and stretched” so it remains completely flat when the artist begins painting.
Method 1 – Stretching paper to use later
- Watercolor paper
- Large clean tray for water: tray should have one dimension slightly longer than the smallest dimension of your sheet. For example, if you’re using an 11”x15” sheet of paper, your tray should be just over 11” on one side
- If you don’t have a tray, you can use a spray bottle instead
- Clean water
- Gummed paper tape/ butcher tape
- Paper towel or a sponge
- Sturdy board that won’t bend or warp that is just larger than your sheet – examples:
- Polystyrene Board
- Marine Ply
- Soak the sheet in a tray of clean, cold water. If your entire sheet does not fit inside the tray, hold the sheet at both ends and dip one end into the water. Pull the sheet through the water multiple times until each part has been fully submerged and the sheet is evenly soaked. If your sheet fits completely in the tray, set it inside to be fully submerged in the water. Sheets that are 90lb/190gsm or lighter can soak for about 3 minutes. Sheets that are 140lb/300gsm or heavier can soak up to 8 minutes.
Do not touch the surface of the paper while it is soaking. The paper becomes more fragile when wet and the oil from your fingers can show up as finger marks on the final painting. Consider wearing latex gloves during the soaking process.
- Carefully drain the water and place the soaked sheet on a clean, sturdy board.
- Use a clean paper towel or sponge to blot excess water from the sheet.
- Lightly wet gummed paper tape or butcher tape with a sponge or paintbrush (do not soak or use too much water on the tape as it will wash away the adhesive). Place along all four outer edges of the paper, covering just about ¼” of the paper.
- Let the paper dry overnight. Once the paper is dry, it will be stretched tight on the board and will not warp when watercolor is added. Create your painting while the sheet is still taped to the board. After your painting is completely dry, cut away the taped edges using a ruler and an X-acto knife. If you want to keep the existing edge of the paper, you can re-wet the tape and very carefully pull it up from the paper.
*If you don’t have a tray to use, you can place the sheet directly on your clean, sturdy board. Use a spray bottle with clean water to fully soak both sides of the sheet. Then follow steps 3-5 above.
Method 2 – Stretching paper to use immediately
- Watercolor paper
- Large brush
- Clean water
- Paper towel
- Sturdy board that won’t bend or warp that is just larger than your sheet – examples:
- Polystyrene Board
- Marine Ply
Lay your sheet of watercolor paper over the board.
- Using a large brush, saturate the front of the sheet completely with water (you can’t use too much, so be generous). Turn the paper over and do the same on the back side.
- Turn the sheet back over and let it sit face up for about 15 minutes.
- Roll 2 layers of clean paper towel over the sheet of paper and firmly press on all areas of the sheet to soak up any excess water.
- Start your painting while the sheet is still damp.
Jake Weidmann is 1 of 11 Master Penman in the world. We were fortunate enough to have Jake demoing in our booth at the 2015 Art Materials World Show where he worked on our new line of Strathmore Writing papers.
Watch this short video which features Jake scribing the words "Ornamental Penmanship."
Here is the finished piece:
Jake created a beautiful assortment while he was in our booth:
Jake is not only a talented calligrapher, but also an incredibly talented artists, sculptor and woodworker. Click here to see more of his work on his website.
To learn more about the Writing products that Jake demoed on, click here.
- Create art across a page spread
- Upload it to the Pass the Journal website where it will be tracked with a pin mark on a map
- Pass it on to another artist to continue the cycle
When you click the pin marks on the tracking map for each book, the artwork for that location is displayed as well as the profile of the artist who created the piece. The contributing artists have the choice of who to pass the journal to next. We’ll be following all 12 book’s journeys on the maps and we can’t wait to see where they all end up! Follow along with us and see the artwork inside the books! www.passthejournal.com