Lupines, Paper and Masking Fluid

• After doing detailed drawings, color studies and developing my composition, the next step is to bring the subject to life…to create the illusion of a 3D image on the two dimensional paper. So as I paint, my focus is on light and shadow, which is how we see shapes.

Columbia Gorge Lupine (Lupinus latifolius x serviceus) and Carey’s Balsamroot (Balsamorhiza careyana) watercolor painting in progress.

Choice of Paper

But before I could start painting, I had to decide what type of paper to use. I tested six different 100% rag, hot pressed watercolor papers, and found that each one had subtle differences, for instance the way washes flowed and settled, the intensity of the color of pigments once they dried, and especially in the ability to lift paint. At the end of this post, I’ll list my findings. I thought it was interesting that they are very similar to the results of other botanical artists who have tested the same papers recently, so I will give links to other artists tests as well. In the end, I decided to use the beautiful paper made by the French company, Moulin du Roy. It had especially high marks in the ability to lift dry paint without marring the surface and barely leaving any color behind, even for staining pigments. The only down-side to the paper is that pigments looked slightly faded after drying compared to the same washes on different brands. I felt that I could overcome this by added layering and brighter mixes.

Painting Hairy Leaves

Painting the shadows between hairs on a lupine leaf with a OOO size Winsor & Newton brush.

After transferring my composition to the paper, I started in on the most challenging part of the painting, the lupine leaves.  Lupinus latifolius x serviceus is native to the Columbia Gorge, near where I live in the Pacific Northwest, and one of its identifying characteristics is it’s hairy leaves and stems, so they are a crucial part of a botanical painting of the plant.

I used a crow quill nib #512 to apply slightly watered down Pebeo drawing gum in very small strokes on the leaves and stems of the lupine, then did some light washes over the dried masking fluid. Pebeo Drawing Gum is thinner than others I have used, so works well for very delicate lines. After the wash completely dried, I gently removed the mask with a tissue. Next I painted darker strokes on the leaves, which were actually shadows between the hairs.  This process took me much longer than I expected, but now I can move on to other parts of the painting, except for a few final touches.

Results of Paper Tests & Links

I lined up 5 different papers on my table and did the same test on each one, one after the next, and I could readily see the differences in papers.  I highly recommend doing your own tests on various papers because it is so revealing and some papers may suit your technique of painting better than others.

My test of Fabriano Artistico HP 140 lb Extra White paper. I did the same trials on each type of paper.

I’ll just give a brief description of my results. Please keep in mind that all of these papers are top quality and beautifully made. I’ve seen beautiful paintings on each one, so any would be suitable for botanical art. The differences are subtle, and some at least may be due to personal technique.

• Fabriano Artistico HP 140 lb Extra White–perfect in every way!  This is paper I have had for awhile, and alas I only have a half sheet left.  Due to Fabriano’s production problems, I probably won’t be able to get more of this quality paper for a couple of years until after they have adjusted their machinery.  See links below for more information.
• Fabriano Artistico HP 300 lb Extra White–pretty good but edges not smooth like the older stock 140 lb paper.  This is recently purchased paper and noticeably different from the above.
• Arches Aquarelle HP 300 lb–The paper seemed absorbent and I found edges quite difficult.  Non-staining pigment lifted well but staining pigment did not lift at all.
• Sanders Waterford HP 140 lb Natural–Washes were smooth but edges dried unevenly, I couldn’t lift pigment at all, even the non-staining.
• Moulin du Roy HP 300 lb–smooth washes, nice edges and both non-staining and staining pigments lifted well, only faint color is left behind for the staining pigment.  Strangely, color seems to fade when the paint dries more than the other brands.  This is very tough paper and takes multiple layers well and lifting doesn’t damage the surface at all.

Katherine Tyrell of Making A Mark blog has covered the topic of Fabriano’s paper issues thoroughly. Here and here she describes the problem with links to more information, here she describes a meeting with Fabriano representatives and the results of a blind test of various papers by 10 leading botanical artists. Sandrine Maugy was at the meeting with Fabriano as well, and wrote a very informative and interesting blog post about it and her own tests.

The level of concern about the Fabriano paper is an indication of it’s perfect suitability for botanical art, and the loyalty of its users.  I am impressed by Fabriano’s willingness to answer questions and address the issues artists have had with the recent changes in the paper.