Artist Ken Avidor sketches the International Art Materials Association (NAMTA) Trade Show held May 1-3, 2013 in Minneapolis, Minnesota. Ken captures the essence of this annual event through his sketch montages complete with captions.

Demonstrating our 400 Series Toned Sketch paper, Ken blended into the background of the event while documenting the various interactions and conversations between the Strathmore team, art material distributors and art retailers as they discussed new products at the show.  If you attended this trade show, you might recognize yourself… or other industry “characters” in his pen, colored pencil and pastel pencil drawings.   Ken is an artist, illustrator and cartoonist from St. Paul, Minnesota.

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Strathmore’s high quality fine art papers are now available in an expanded offering of large rolls. These specialty grades typically cannot be found in roll format and provide artists with the convenience and flexibility of creating without traditional size limitations. Perfect for either practice of techniques or finished artwork.

Check out the following new Items:

300 Series Newsprint
300 Series Charcoal
300 Series Bristol, Smooth
300 Series Bristol, Vellum
400 Series Recycled Sketch
400 Series Drawing
400 Series Recycled Drawing
400 Series Layout Bond
400 Series Toned Sketch, Gray
400 Series Toned Sketch, Tan
400 Series Mixed Media
500 Series Mixed Media

For more artist freedom, try our expanded offering of Fine Art Rolls.  Sold at Fine Art Retailers. 

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Create contrast and variation in your under painting or drawing.  Lightly mist your surface creating some wet and dry areas.  This will help vary the edges of your lines from hard to soft. You can use this technique at any point in your painting. Here Robert uses Caran D’Arche Neocolor II water-soluble crayons for his under drawing. The wet and dry misted surface creates variation in his lines.  He also creates contrast in his lines by varying the pressure while drawing with the crayon.

Mix but do not over-mix colors. For example, if you are mixing two colors, mix them “halfway” so you have a variety of color instead of just one color.

Use transparent layers to create depth. Take the opportunity to build numerous layers of transparent paint using watered down acrylics versus only thick, opaque layers. Robert also mixes white with his acrylics to achieve opacity, and then uses “hit or miss techniques” throughout his painting, making sure that the under paintings and drawings show through.

Use a liner brush to create linear interest.   Many artists use liner brushes to sign their paintings.  Robert really enjoys using a liner brush throughout his paintings, almost using it like a pencil.  He adds random, linear strokes, mixing thick and thin strokes as well as long and short, choppy strokes.  He encourages artists to experiment and try a liner brush to see if they enjoy painting with it.

To find out more about Robert’s techniques and tips, join our 2013 Online Workshops!  Classes are self paced and will remain open until December 31, 2013. For more information.

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Answer from Strathmore:
Vellum is used to describe a paper finish and a paper type, which can be confusing. Our Bristol and Mixed Media papers feature a vellum finish. When you look straight on, a vellum finish might look a bit smooth but at an angle, you will see subtle, roughness or tooth that helps “grab” dry media.

You might also hear the term vellum to describe a paper such as “translucent vellum.” In this context, vellum comes from a French term which refers to a parchment made from calf skin. However, today’s vellum papers are technically not true parchment papers. Instead they are constructed of wood or cotton fibers and are typically translucent or semi-translucent to resemble traditional vellum parchment.

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I really enjoy drawing on toned paper since I can let much of the paper show through and simply add a few accents of white chalk for highlights. For this drawing I’ve selected the tan Strathmore® 400 Series Toned Sketch paper that features one of my drawings on the cover.

1. I tend to start with the nose when doing a profile, since it gives me a lot of good landmarks to measure from for other features. When doing a straight-on portrait, I usually begin with the eyes.

2. At this point, I just map out the proportions correctly and do not put much thought into modeling or shading. I really like the sweep of the design from the woman’s face, down the front of her cloak to the chicken she’s holding. With that as my focus, I plan to leave a lot out that would take away from this area of interest. I often find that the most important part of a drawing or painting is what you decide to leave out and how you simplify what you render.

3. Once I map out the proportions, I start blocking in some of the large dark shapes of the face. Notice that I treat the entire eye-socket as a single, dark shape. Always start with large, simple masses of dark and light, and then go into the details on top of that. As you approach each area, continuously compare it to the lightest lights and darkest darks of the subject and ask yourself where it falls in relation to those extremes. It is very difficult to identify a particular value in isolation. Always compare it!

4. Use white chalk to define a few of the light areas. Use your white chalk sparingly, because if it starts to bleed too much into the charcoal you will get a muddiness that you might not want.

5. Whatever you are drawing, think in terms of abstract lines and shapes. You are not drawing a nose or lips or a tree, but only the light and dark shapes and patterns that make up this object. The longer I paint, the more I embrace this lesson.

This is a relatively quick drawing that took me about three hours total. You can see in the final drawing how I only include the parts that interest me and help create a strong design. If I render her entire figure and everything in the background, it will have a lot less impact, in my opinion.

To read the entire article and find out more about Scott, download our Winter 2013 Artist eNewsletter.

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 Artist Mike Sheehan recently created live sketches of jazz musicians using Strathmore's 400 Series Toned Gray paper with pens for a new series of paintings.

Mike is a graduate of the Art Center College of Design in Pasadena, CA. His range of experience includes working for Walt Disney Imagineering, the Animation Attaction for California Adventure, and a variety of design fields inlcuding toys and fashion accessories.

Throughout his career, Mike has been a studio and plein air oil painter, but has always kept sketchbooks to maintain his skills, refine ideas for projects and paintings, and generate new ideas. From Mike’s perspective, “I love the interpretive aspect of sketching. You have to make decisions as to composition, what to leave in or to edit out. It’s a direct impression of the experience/place. I always say it’s like data entry for my brain. I remember everything about the experience when I sketch it. I don’t get the same feeling from a camera…”

See more of Mike’s work and sketches he’s done on Strathmore’s Toned Gray and Toned Tan Sketch on his website: http://mikesheehanstudio.com/dataviewer.asp?keyvalue=33270&page=ViewCollection&subkeyvalue=53829&startrec=1

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In Workshop 1, artists of all levels will gain the confidence and tools necessary to paint expressively on Strathmore 500 Series Mixed Media Paper and Boards. They will also learn valuable painting techniques that can easily be applied to any type of painting surface and subject matter.

For students who want to stock up on supplies early, following is a supply list for Workshop 1:

• Strathmore 500 Series Mixed Media Board, Sizes: 22”x30” or 16”x20,” 3 boards*
• Strathmore 500 Series Mixed Media Paper, (90 lb./190 gsm) Size: 22”x30,” 4 sheets*
• Acrylic Paint (Instructor uses Australian Green Gold, Magenta, Olive Green, Phthalo Blue,
  Titanium White)
• Acrylic Ink (Instructor uses Bright Red, Prussian Blue, Sepia)
• Compressed Charcoal
• Artist Crayons
• Spray Bottle
• Synthetic Brushes (Instructor uses #10 round, #12 round, #4 flat, 1” square wash, liner, sash)
• Palette Knife
• Paint Palette

*Note: If you are unable to locate 500 Series Mixed Media, try our 400 Series Mixed Media paper (140 lb./300 gsm), Size 18” x 24”

Registered students will receive an email prior to the start of the class with instructions on how to access the online classroom. If you are already registered, watch your email. Also, once the classroom is open, you will be able to access it from our website home page. If you haven't registered yet, visit: http://www.strathmoreartist.com/2013-online-workshop-series.html

We look forward to learning with you!

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Strathmore’s 100 Series Youth Line is designed for the young artist to ignite a life-long love of art. We believe providing artist-quality materials for kids is the best way to nurture talent and interest, and enhance the creative process.

With a wide variety of paper types and product features, young artists can explore their different artistic interests and begin to develop their craft.

Specially marked pads and packages include two project ideas with instructions created by Art Projects for Kids: Classroom Tested Art Projects for K-5 and beyond.

Check out some of the products in the 100 Series Youth line, which includes classic items like the Drawing Pad, Sketchbook and Paint Pad, inspirational items like the Imagination Pack, Story Drawing Book, and Construction Pad, and NEW items like the Marker and Mixed Media Pad.

We hope the products in this line inspire all the young artists to explore art and have fun doing it!

http://www.strathmoreartist.com/100-series.html

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Workshop 1: Abstract Fine Art Painting with Mixed Media
Instructor: Robert Joyner
Start date: March 1, 2013
Description: This course is designed to give artists of all levels the confidence and tools necessary to paint expressively on Strathmore® 500 Series Mixed Media paper. Learn valuable painting techniques that can easily be applied to any type of painting surface and subject matter.

Workshop 2: Sketching and Drawing with Toned Paper
Instructor: Stephen Cefalo
Start date: May 1, 2013
Description: Toned paper with black and white pencil brings a whole new dimension to drawing. Since the middle tones are already in Strathmore 400 Series Toned Sketch paper, it is possible to work in both light and dark tones, creating an instant sense of relief from the page. Integrating white pencil with black can be scary, but knowing the pitfalls to avoid can make it easier. With shared photo sources provided by the instructor, this class will lead students through essential toned paper techniques from the quick sketch to a fully realized drawing. Tonal drawings make excellent studies for paintings or stand alone as beautiful pieces. Practice these concepts in your toned paper sketchbook and you'll soon be ready to take on any subject with confidence!

Workshop 3: Artful Card-Making Techniques
Instructors: Jane LaFazio and Joanne Sharpe
Start date: September 3, 2013
Description: A blank card is much like a blank canvas. Unlimited potential! Jane will guide you in sketching and watercoloring an original card in a step-by-step, clear, easy method using Strathmore blank cards. She'll also show you how to artfully collage cards, with paper, fabric, glue and with stitching for all kinds of occasions. This workshop will inspire you to create original cards that will be cherished by those who receive them.
Artful Card-Making Techniques Artwork by Joanne Sharpe

Joanne Sharpe will share her popular artful lettering techniques and color rich design ideas to make a collection of whimsical cards. Explore a variety of playful hand lettering styles and simple illustrations to showcase greeting card sentiments and messages. Combine assorted mixed media techniques with creative lettering tools to adorn your mini masterpieces.

If you haven't registered, register today!  Once you are registered, we will email you in February with classroom log-in informatation.  We look forward to learning with you in 2013! 

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Fiber inclusions are fibers added to paper for the sole purpose of creating a decorative or visual effect. Our new 400 Series Recycled Toned Sketch papers incorporate the natural colors of two different types of inclusions – kraft fibers and plant material. The result is a soft, natural look compared to traditional art papers, such as pastel papers, which typically use dyed rayon fibers.

Kraft fiber is created from a specific pulp-making process that uses wood chips and results in very strong papers. Most cardboard boxes and grocery bags are manufactured from kraft fibers. In our case, we use a small amount of acid-free kraft fibers to create visual interest.

The unbleached kraft fibers in our Recycled Toned Sketch appear as fine strands throughout the paper and feature the kraft’s natural color which is brown or tan. You will also see random patterns of small flecks throughout the paper. This visual effect is created with plant materials (usually waste from another process) such as tree bark. For more information on new Toned Sketch paper.

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New Mixed Media Cards

Our 400 Series Mixed Media paper is now available in blank cards. Choose from three sizes: announcement, full size and slim. These heavy weight 140 lb. cards offer the attributes of a watercolor paper but with a vellum drawing finish. They are ideal for watercolor, gouache, acrylic, graphite, pen and ink, colored pencil, marker and collage. For more information about new Mixed Media Cards

New Photo Mount Cards with Classic Emboss

 
We've added a new Classic Embossed design to our Photo Mount Cards. Full size cards are available in 10, 50 and 100 count packages. These 80 lb. cover weight cards are ideal for mounting photos or artwork. Double-stick tabs are included to mount up to a 4" x 6" picture. For more information about new Photo Mount Cards - Classic Emboss

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Meet Scott Burdick, the artist who created the drawings featured on our new 400 Series Toned Sketch pads.

When we asked Scott to create art for the covers, we left the subject open. However, we asked that he incorporate the iconic thistle into each of his pieces, as is featured in all of the art for our 400 Series pad covers. The thistle has been a symbol of excellence in art papers since Strathmore’s early beginnings.

Strathmore asked Scott to share a bit about his pieces:

How did you interpret using the Strathmore Thistle for the pad cover artwork? 
In one pad, I used the Strathmore thistle in the hat of the Navajo man and in the other it is incorporated into the earring of the girl from San Miguelle, Mexico.

How did the Strathmore paper you used for the project affect your drawing techniques?
I really enjoyed the slickness of the paper, which allowed me to rub the charcoal in to create smooth tones where desired. Because of the tone, it also allowed me to leave much of the background simple and to add a few accents of white chalk to pop the highlights forward, rather than having to tone everything with charcoal as I usually have to do.

Which artists inspire you?
My favorite artists are Sargent, Zorn, Sorolla, Klimpt, Fechin and about two or three hundred others!

What advice would you give to beginning artists?
Drawing is the basis of everything. Concentrate on drawing exclusively from life for at least two or three years before doing much painting and it will pay dividend for the rest of your artistic life. 

About Scott: Scott Burdick was born in Chicago, Illinois in 1967 where his mother and father early on encouraged his interest in Art. "I spent a lot of time in hospitals as a child and remember my mother showing me how to transform simple shapes like circles, triangles, and squares into objects like planes, helicopters, and fish. It seemed such a magical thing and made spending so much time in casts and on crutches much more bearable," says Scott.

In high school, Scott began taking life-drawing classes at the American Academy of Art under the legendary Bill Parks. "Though I'd always loved drawing, it was Mr. Parks who filled me with the enthusiasm and discipline necessary to improve my skills. His love of painting and creative expression infected us all," explains Scott. After finishing the Academy, Scott continued his study informally with Richard Schmid at the Palette and Chisel Art Club, where he met his wife, painter Susan Lyon. "It's a wonderful thing being able to paint together all the time and grow as artists together," Scott says.

His ideas for paintings come from everywhere. "What makes a subject attractive to me are the same things that attract us all. The beauty of a young girl, the character of a weathered face, the solitude of a farm at sunset, or even the story itself behind someone or something that makes it interesting." Scott believes it is the job of the artist to recognize this when it happens, analyze why, and use his technical skills to convey the feeling to someone else. He notes that some paintings are as simple as stopping at the sight of something interesting, while others may take more time to research than to actually paint.

Today, Scott and Susan live in a rural area of North Carolina. Surrounded by forests and the foothills of the Appalachian Mountains, their house is a perfect resting place after the many trips they take throughout the world in search of subject matter to paint.

Scott has self-produced Online educational videos through his website and DVD's published through Lilidahl publications.

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Strathmore Artist Papers is excited to announce our 2013 Online Workshop Series program. Learn techniques from experienced artists through online videos and downloadable instructions. Get inspired from other students in our virtual classroom. Keep motivated with ideas and tips from your instructor.

We have inspiring new topics, a new schedule and an improved platform for our virtual classroom.   Here’s what we have planned:

Workshop 1: Abstract Fine Art Painting with Mixed Media
Start Date: March 1, 2013

Workshop 2: Sketching & Drawing with Toned Paper
Start Date:  May 1, 2013

Workshop 3: Artful Card-Making Techniques
Start Date:  September 3, 2013

Our online workshops are self-paced. Workshops are held in our virtual classroom website. Each workshop consists of four video lessons and supporting downloadable instructions. Students can participate in conversations on our discussion boards or share work in the classroom photo gallery. Once each workshop begins, it will remain open until December 31, 2013.

We will be making announcements on our web site, on Facebook and Twitter so please stay connected with us!  Also, please help us spread the news to others who might be interested in signing up for our FREE workshops by using the “Share This” button located at the top of this blog posting. 

Reserve your spot by registering today! 

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The top side and back side of papers manufactured on Fourdrinier paper machines (the most common type), have different physical and visual properties. The differences can be barely discernible or significant depending on the type of paper, felt, chemistry and fibers used.

In papermaking, the top side is called the felt side and the back side is called the wire side. The felt side finish of a textured paper is traditionally produced by a Dandy Roll, which is a wire cylinder that imparts a pattern onto the surface, or by a Marking Felt which resembles a woven, felt blanket that presses against the wet paper pulp. The dandy roll and felt, which varies by paper type, is what gives paper its distinct texture. For example, the felt used on drawing paper has a fine, slight texture. Felts used on cold press watercolor papers have a coarse, heavily textured pattern.

The wire side is named after a mesh screen at the beginning of the Fourdrinier that the wet pulp travels along. Water drains through the wire mesh and helps form the wet paper pulp into paper. During this process, the paper “picks up” some of the wire pattern.

The surface finish and working properties such as surface strength and absorbency are engineered into the felt side of the paper. That’s not to say that the back (or wire side) of all papers will not perform well. Many artists use the back sides of paper, for example, when working in sketchbooks. But for many types of paper, the top-to-back-side differences may be more obvious and the artist will prefer to work on the felt side.

What if you are unsure what side is the top or felt side of the paper? The felt side of paper typically has a larger, more irregular pattern and the wire side has a finer, regular mesh pattern that is rectangular or diamond-shaped. Since there is greater variability in felt patterns, it’s easier to identify the wire marks.

We marked the felt and wire sides of our 400 Series Mixed Media paper with a carbon smudge to make the patterns visible.

Felt side: Larger and irregular pattern

Wire side: Finer, regular pattern of the wire mesh

It is also easier to see the pattern by holding the paper up to a light source with the light striking at a very low angle (less than 10°). If you’d like, you can fold the paper so that you can compare both sides together.

If you are still having difficulty seeing the wire mesh pattern, you can wet a piece of the paper in water. Then let it stand a few minutes and examine it as described above. Wetting the paper can make the patterns more pronounced. Again, look for a regular mesh pattern of rectangle or diamond shapes to identify the wire or back side of the paper.

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Kari Foteff, Strathmore Senior Account manager, shares an image from the recent Mixed Media Card Workshop at Art Supply Warehouse in Westminster, CA. Several dozen participants had fun using Strathmore’s New Mixed Media Cards using Acrylic Gel Mediums, Acrylic, Decorative Papers, Crafters Workshop Stencils, Found Objects, Montana Markers, Montana New Spider Spray and New Princeton Catalyst Brushes.

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By artist Roz Stendahl

When Strathmore® first released their wire bound Visual Journals with 500 Series Mixed Media paper, I knew I’d met a paper I loved. I could hardly wait until the Strathmore 500 Series Mixed Media paper became available in 22" x 30" sheets. It meant I could bind my own books with this versatile paper. But it also meant that the Minnesota Center for Book Arts Visual Journal Collective could have a group project–making a journal with this paper. Thanks to a generous gift of paper from Strathmore, that’s exactly what thirty intrepid journal keepers did in May 2012.  Click here to see more about the collective.

The following group members agreed to share their thoughts about this paper and their approaches to journaling:

Above: Terri Myers Wentzka worked in pen and watercolor on 500 Series Mixed Media paper when sketching her toy polar bear.

Reviewer: Terri Myers Wentzka
Terri Myers Wentzka’s experience of the paper’s great qualities began at the binding stage. “While binding it into a small journal I immediately appreciated the paper’s clothlike feel, its heft, and the way that it was very easy to tear down into smaller pieces.” She worked “with gouache, watercolor, watercolor crayons and pencils, ink and collage in this journal. The paper handled all media without buckling and without any show-through of images from one side of the sheet to the other. I was able to do some lifting of watercolor without difficulty, and found that I could control the paint quite well.”

Above: Tina Wittmer gave the paper a full mixed media workout in this journal page using acrylics and ink pens.

Reviewer: Tina Wittmer
“I love this paper!” wrote Tina Wittmer. She mostly used acrylic paints on the pages of her journal and found that the paper held up beautifully to her techniques. “I tend to use a lot of layers of paint. I smear it around with an old credit card, my fingers, or paintbrushes. In this journal I added gesso to cover some parts of the pages and then added more paint on top with stencils or stamps. I have rubbed quite hard on some of my pages to remove paint layers and the paper has held up well."

Above: One of the multi-layered and textured pages created by Serena Mira Asta.

Reviewer: Serena Mira Asta
For Serena Mira Asta, Strathmore® 500 Series Mixed Media paper has become one of her favorites. Her next journal will be a Strathmore Hardbound Art Journal with 500 Series Mixed Media paper. She learned that:
• The paper reacted to watercolor as nicely as some of her favorite hot-press watercolor papers.
• The Micron pen had a fast feel on this surface and was a joy to use. The paper seemed to be made for it.
• Pencil worked great, giving her a smooth, responsive line.
• Pastels blended well with that creamy sense she likes.
Asta writes, “the paper laid flat, no matter how much water media I used. Granted, I didn’t douse the page with liquid, but there were times the work was wetter than I intended. This paper took everything I threw at it.”

Above: To test the paper, Jo Ann Musumeci divided one scene, Cedar Lake, into four quadrants on a page. She drew each quadrant in a different medium. Clockwise from left to right, colored ball point pen, Sharpies, colored pencil, and Cray-Pas on the lower left. She felt her experiment showed how the paper did a good job of manifesting the qualities of each medium–sharp lines for the pens, soft for colored pencils, and bright/broad for the Cray-Pas.

Reviewer: Jo Ann Musumeci
Jo Ann Musumeci approached her experiments with an eye for comparison. “I began testing the Strathmore® 500 Series paper with simple pen or pencil drawings and gradually moved through various media from gel pens, colored ball point pens, colored pencils, markers and Sharpies®, watercolor, Cray-Pas® and pen and ink.

Above: Roz Stendahl used gouache, inks, paper collage, and 3-dimensional collage (a medallion of Claybord™) and thread for one of her tests of 500 Series Mixed Media sheets.

Closing thoughts: Roz Stendahl
I think you can see how versatile this paper is from these visual journal keepers’ experiments. I have been in love with this paper since it first came out. You can see several blog posts concerning my own work with this paper here: RozWoundUp.Typepad.com. Use the blog’s search engine to search for references to this paper. I have found it perfect for painting with watercolor, gouache, acrylics, and inks. It’s my new go-to paper. I love that I can purchase it in sheets and make custom books out of it. But if you’re not a book binder, don’t despair. This paper is available in the 500 Series Mixed Media Visual Journal (wire bound) and it has just been released in their new Hardbound Art Journals as well. If you’re a visual journal artist you now have three ways to enjoy this paper.

About Roz Stendahl: is a graphic designer, artist, and life-time journal keeper. She teaches bookbinding and journaling at the Minnesota Center for Book Arts.

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Smyth sewing is a method of book binding where groups of folded pages (referred to as signatures) are stitched together using binder thread. Each folded signature is sewn together individually with multiple stiches and then joined with other signatures to create the complete book block. If you page through a Smyth-sewn book, you can see the thread stitches in the center fold of each signature.

Smyth-sewn binding is associated with durability and quality, and is able to stand up to years of wear and tear. This binding method is ideal for sketchbooks and journals since the pages lay flat.

Strathmore’s Hardbound Sketchbooks and new Hardbound Art Journals feature Smyth-sewn binding. For more information on our Hardbound Art Journals: http://www.strathmoreartist.com/hardbound-art-journals-feature.html

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Artist Caroline Jasper, featured in our Summer 2012 Artist eNewsletter, uses oils on Strathmore 500 Series Gemini 300lb. Cold Press Watercolor paper and explains her technique.

“I paint oils on watercolor paper (unexpected words from an artist who works in traditional oil paint). Because watercolor paper is not suitable for oil paint it must be prepped to protect it from the oils. I apply two coats of standard white acrylic gesso on the front surface (drying in between) and one coat on the back. Both seal the surface and counterbalance potential warping which is common in surfaces coated only on the front side.”

Caroline typically uses a full sheet of 22”x30” Gemini paper, and then cuts it into rectangles a little larger than 5”x7.” Next, she  attaches each small sturdy piece to a stiff piece of cardboard backing (about 8”x10”) using masking tape to cover about 1/8” around the edge. After this process, the paper is ready to be painted on. Caroline uses Strathmore’s Gemini paper because “the paper is rigid and not prone to ‘bends’. I like its thickness, stiffness and texture.” Caroline likes the idea of working on paper for making studies versus using stretched canvas or board, which to Caroline feels too “official, too important.” On a canvas, she starts to think of her painting as finished artwork instead of a study, and she likes to stay loose by taking a sketching approach. “Studies lead to a stronger painting” states Caroline.

Caroline also likes to paint on color ground, for which her trademark is red. By starting her colorful landscape and water scenes on red ground, she’s able to invigorate visual interaction against loosely applied color marks.

"Glint", 7"x5" oil on Strathmore 500 Series Gemini Watercolor

She also explains that her paintings are always about the light, which “can dramatize the most ordinary places.”

"Through" 7"x5" oil on Strathmore 500 Series Gemini Watercolor

"Light Down Petite", 5"x7" oil on Strathmore 500 Series Gemini Watercolor

To read more about Caroline Jasper and see more of her work, download the eNewsletter: http://www.strathmoreartist.com/tl_files/content/artistnewsletter/2012/artnews_summer2012.pdf

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Strathmore Artist Papers is proud of our heritage and legacy of producing quality fine art papers. It began on March 17, 1892 when Horace A. Moses turned the first shovel of dirt for a new paper mill in West Springfield, Massachusetts. Called the Mittineague Paper Company, the mill began producing writing papers, bookkeeping papers and cotton-fiber artist papers in December of 1892.

In the mid-1890’s, Mr. Moses made a trip to the Strathmore Valley in Scotland and became inspired by its beauty and the blooming August thistles. By 1895 Mr. Moses began using the phrase “Strathmore Quality” and the thistle as a symbol of the highest quality papers. The symbol of the thistle has taken on different appearances throughout the years, but it continues to signify excellence in art papers.

By the late 1890’s, charcoal paper along with illustration and drawing boards displayed the Strathmore brand. The above ad appeared in the October 1900 issue of Architectural Illustration Magazine.

By 1905, the Strathmore artist portfolio of professional grade papers included Detailed Drawing Paper along with Illustrating and Patent Office Board.

This early advertisement from the 1930’s in the Art Materials Trade News entices retailers to keep their shelves stocked with Strathmore papers. In that same period, we also created the slogan, “Paper is Part of the Picture.” This slogan continue to be part of our communication pieces.

In the 1940’s through 1950’s, Strathmore ran a series of advertisements that featured “Prominent Artist Users of Strathmore.” Norman Rockwell was one of a number of wellknown artists featured during this period. His ad appeared in American Artist and Famous Artists Magazine in 1957.

The 1940’s and 1950’s also saw rapid growth with the introduction of many Alexis (now 400 Series) papers and a line of blank greeting cards. Greeting card and illustration contests have woven their way in and out of the fabric of our marketing programs since the 1940’s.

In the 1960’s, Strathmore ran a series of ads featuring college students explaining why they use Strathmore. This ad campaign was memorable. We still receive calls from artists or family members looking for copies of the ads or information about the individuals featured.

By the mid-1970’s, three quality levels of Strathmore® papers addressed the needs of student, recreational and professional artists.

In 1974, 300 Series is developed and Alexis becomes 400 Series. Our premium 100% cotton papers take on the title 500 Series.

Today the Strathmore® brand represents a complete line of artist quality papers for all media and every level of expertise. This 120th anniversary we celebrate the proud heritage of Strathmore, and our commitment to ensure that the legacy of quality, performance and longevity lives on.

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Optical brighteners are additives that are used in paper manufacturing to increase the perceived “whiteness” of the paper. Their use results in a whiter and brighter appearance, which can be desirable for many paper types.

However, for fine art papers there are advantages to selecting papers that do not contain optical brightener additives (OBAs). First, the natural white color, or what is known as “optically dead” papers, will remain consistent under different lighting conditions. In contrast, the color of papers that contain optical brighteners can shift depending on light source. Using “optically dead” papers is especially important for artwork that will be scanned for high quality reproductions. Another advantage is that the color of OBA-free paper will remain more consistent over time. While OBAs enhance the perceived whiteness and brightness of papers, they can break down over time, causing color shifts.

Strathmore® 500 Series Drawing, Bristol, Watercolor, Mixed Media and Marker papers as well as our 500 Series Illustration and Mixed Media boards are considered optically dead. In addition, our 300 and 400 Series Sketch, Drawing, Bristol, Watercolor and Mixed Media papers are manufactured without adding any optical brighteners during the production process. Although no OBAs are added in the papermaking process of our 300 and 400 Series papers, trace amounts of optical brighteners can sometimes be present in the pulp used to create the papers.

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Paper is made up of individual fibers from materials such as wood or cotton fiber. In the papermaking process on a Fourdrinier paper machine (the most common type), the fibers align themselves in the direction of the vibrating wire mesh upon which the paper is formed. This is called the machine direction or grain direction. As the fibers travel through the machine on a vibrating mesh, they tend to line up in the same forward direction, parallel to the direction of the web or side edges of the paper. This is called the grain direction.

The grain direction of the paper is important when binding books, because paper is scored and folded. For bookbinding, you should always fold with the grain direction parallel to the fold and the spine of your binding. Folding parallel to the grain is easier and the paper is less likely to “crack,” create a rough fold and result in a bulky binding edge. It also helps book’s pages to turn easier, stay open and lay flatter.

A paper is called “grain long” if the grain is parallel to the paper's long side. If you are uncertain of the grain direction, there are techniques you can use to determine the direction in papers. If the grain direction is strong enough, you can identify the direction by “feel.” Take the sheet of paper in your hands and gently curl/bow the paper towards the middle, first in one direction and then in the other direction. The direction that bends more easily, with less resistance, is the grain direction.

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Artists need paper choices when it comes to hardbound books. Our new Hardbound Art Journals give artists the choice of high quality drawing, watercolor, mixed media, and toned sketch papers.

These books are available in a range of sizes: 5.5" x 8.5", 8.5" x 11", and 11" x 14". The cover is a sophisticated, lightly-textured dark chocolate brown, and a durable Smyth-sewn binding allows pages to lay flatter.

Available in 400 Series Recycled Drawing, 80lb. (130gsm); 400 Series Watercolor, 140lb. (300gsm); 500 Series Mixed Media, 90lb. (190gsm), 100% cotton; and 400 Series Toned Tan and Toned Gray, 80lb. (118gsm).

To learn more:

http://www.strathmoreartist.com/hardbound-art-journals-feature.html

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Warm tan and cool gray papers are toned specifically for sketching with a range of light and dark media. These acid-free papers are 100% recycled, containing 30% post-consumer fiber. Kraft and bark fibers also add natural, visual interest.

The 80lb. (118gsm) sketch paper features a medium drawing finish appropriate for graphite, chalk, charcoal, sketching stick, markers, china markers, colored pencils, pens and white gel pens.

Toned Sketch is available in fine art pads, rolls and hardbound art journals. For more information http://www.strathmoreartist.com/toned-sketch.html

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Strathmore is thrilled to be a supporting sponsor of a unique and exciting Urban Sketchers event: The 3^rd International Urban Sketching Symposium being held in Santo Domingo, Dominican Republic.

The Symposium is a three-day workshop that runs July 12-14, 2012. Artists from around the world meet to draw, learn, and participate in field sketching sessions, lectures, panels and exhibits. Each year participants gather in a different host city to get one-on-one interaction with local and international workshop instructors coming from every corner of the globe. Past Symposiums have been held in Lisbon, Portugal, and Portland, Oregon.

Urban Sketchers, a non-profit organization dedicated to raising the artistic, educational and storytelling value of on-location drawing, is the organizer of the Symposium. They are committed to promoting the practice of Urban Sketching and helping sketchers from around the world connect with each other.

As a part of our support for this year’s Santo Domingo Symposium, Strathmore is providing our new Toned Gray Hardbound Art Journal for each participant.

For more information on this event visit: http://sdq2012.urbansketchers.org/. For more information on Urban Sketchers: http://www.urbansketchers.org/

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http://www.education.com/slideshow/second-grade-green-toys-2012/art-journal-kit/

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