Tag: mineral paper

Etched Stone Paper Sketchbook

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I purchased the A4 size, about 8”x12”.

I started using mineral paper over four years ago, and I was immediately intrigued. I first purchased a Terraskin sketchbook, which was awesome because the paper was thicker than another brand I purchased later, after Terraskin disappeared. I also purchased ten single sheets of 14 pt paper, very thick and impossible to find any more.

When Etched started promoting this new sketchbook a few months ago, I bought one right away. I already knew about the pluses and minuses of stone paper (eco/water-free production, waterproof, and takes most mediums, but not archival so use a UV spray and/or frame behind museum glass), so I put in my order without thinking too hard about the price tag of $50.

The sketchbook is nice, the paper thick enough to be far better than other stone paper notebooks, and I like it so far. The only thing I was surprised by is that my sketchbook was shipped from China and took several weeks to get through customs. It would have been much appreciated to have been given information about where the book was shipping from.

Categories: Art Ink Pen

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Inktober

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This is the second 18”x12” painting I’ve done lately, which is big for me. I drew/painted theses two ponies on Terraskin mineral paper

Using India ink has been eye opening. It’s lightfast, permanent, and waterproof. It’s available in many colors, and it’s mostly transparent. It can be a stick, liquid in a bottle, or markers. I guess I never thought about how perfect it is as a medium.

This little fawn is on Ampersand Claybord.

I think it creates beautiful, glowing colors. Unlike watercolor, I don’t overmix and create mud. I wanted to add a little opacity as well as some white here and there, however, so I bought a bottle of Dr. Martins’s Bombay white. That, along with the few dozen Faber-Castell Pitt Brush Pens should hold me for awhile.

I sketched this pony very quickly and liked it so much that I completed the larger one above the next night. The second one is more true to the photo I took.

I’ve learned to work from light to dark as once the ink is down, it’s not possible to lift it unless working on a surface like Claybord or Duralar. I’ve also learned to use washes and glazes. I don’t quite know how such an art supply fiend like me has managed to miss ink as a medium all these years. I’m pleased I finally found it.