A unique version of the traditional Illustrated Japanese Scroll (Emakimono) used in the 16th century, this A5 concertina style sketchbook is finished with heavy black covers and an elastic fastener to keep it safe for transport and storage.
Perfect for depicting long panoramic views, story board-like sequences, a project or fashion design portfolio, architectural layouts, or as a photo and presentation album.
These sketchbooks are suitable for all drawing (pencil, charcoal, pastels, markers) and water-based media (ink, watercolour, gouache) and it features one long sheet of paper folded into 12 workable pages.
The length of the paper in these Concertina style books was carefully considered to allow artists to create their art projects or studies, in special limited editions, where you can make evident the creative process development is as valuable as the final results.
The thick paper (watercolour medium surface texture, 350gsm) in these sketchbooks is suitable for wet media as it is more resistant to distortion and buckling when compared to thinner stock, and is also less likely to allow the artwork to bleed through to the other side of the paper.
The distinctive product has the Derivan logo discreetly embossed on the front cover. These sketchbooks feature 350gsm cream-coloured medium surface-textured (Acid-Free) watercolour paper. Each sketchbook features an elastic strap to keep the concertina pages compacted and secured when not in use.
As with all artist papers suitable for mixed media and many types of art, it is best to avoid the use of oil paint as this will stain the paper and cause it to deteriorate over time but if properly primed, these books can accommodate oil mediums to a limited extent.
Using Oil-Based Products on Paper
While oil paints are traditionally associated with their historical use on canvas, they can also be used on paper as long as this has been suitably prepared with the use of an acrylic (water-based) gesso or primer.
So is it possible to use oil paints directly on paper without a primer?
If potential longevity and discolouration issues are not a problem, then yes it is. However, if you intend to produce long-lasting works of art on paper suitable for framing, exhibition, sale or ownership, adequate preparation of your paper surface is crucial and very important.
Without the use of a primer, the linseed oil that forms a good part of many traditional oil paints will “soak” through the paper, creating oil stains. These stains are the visual warning that oil has reached the paper, or canvas, fibres and the oxidization of the oil and deterioration of the substrate is taking place. Over time, these stains will dry the paper fibres, causing them to become brittle and prone to cracking and flaking. The oil can also accelerate the acidification of the cellulose/paper fibres making discolourations darker and more apparent.
As mentioned previously, priming (or sealing and preparing) would be your first consideration if you decide to use oil-based materials on paper in the production of your art. At any point in time, if you would like to keep these artworks intact for years of enjoyment to come, you must then think of preparing to some degree your paper surface.
Each artwork project will require different approaches to the number of coats, the method and the extent of the preparation. Whether it is a sketchbook page; a sketch pad sheet or a work on a larger scale, applying gesso to paper follows much the same process as required for canvas application.
Using a soft-bristled square brush, apply approximately two to three layers of gesso (depending on the planned thickness of the oil painting layer; glazing will require less than if you chose a heavy impasto technique) allowing time to dry between each coat.
The best method, for larger-scale works, is to stretch the paper to a solid surface with tape, in much the same way watercolour artists do.
Use a standard acrylic gesso, which is suitable for both oil and acrylic paints, instead of a speciality artists oil painting primer. The application of these straight onto the paper surface will defeat the purpose of protecting the paper fibres against oil absorption and decay.
Oil-based primers are chemically similar to oil paints, which makes them a more compatible duo but the application of these directly on paper (or canvas for that matter) is not recommended. If the use of these primers is crucial to the artwork’s intention, then the surface must be treated and prepared thoroughly first using an acrylic (water-based) gesso or sealer (following the steps above). This will prevent the oil-based diluent component to come into direct contact with the paper fibres.