With so many different kinds and brands of art supplies available, selecting materials to make art has the potential to be a confusing and overwhelming experience.  That’s why Muse Art and Design is a place where artists can find not only art supplies, but helpful information about materials and techniques. You’ll always find someone who’s glad to talk to you about your art and help you find solutions to get the results you want.
Along with links, tips, and updates, this page contains articles with helpful explanations to some of the most common questions we hear from both beginners and experts. Visit this page frequently to read new articles and postings. You can find articles relating to various topics by clicking on the “tags” in the column on the right side of this page. If there’s a topic you’d like us to address, please send us an email!

There are three main kinds of charcoal: powdered, compressed, and willow or vine.

Powdered charcoal is the most basic type because it is an ingredient in compressed charcoal. Powdered charcoal is well suited to ‘toning’ large areas of a surface, but can also be very messy.

Compressed charcoal is made of powdered charcoal held together with a binder of gum or wax. Compressed charcoal comes in a range of softnesses based on the ratio of powdered charcoal to binder. Generally, however, compressed charcoal is harder than willow and vine. Because of its hardness, compressed charcoal will better maintain its shape and can be sharpened for higer detail drawing, which makes it especially useful for drawing finer lines, textures, and details. Advantages of compressed charcoal include being generally more break resistant, and sometimes blacker than willow or vine.  Disadvantages of compressed charcoal are that it can bleed and discolor paint or any wet media put on top of it, and it is generally harder to completely erase.  The “leads” in charcoal pencils are made of compressed charcoal.

Willow and vine charcoals are made from sections of grape vine and willow branches respectively, which have been burnt to a precise degree of hardness. Because this kind of charcoal contains no binding agent, it erases more completely and works well for sketching out a composition on a canvas prior to painting. Willow and vine charcoals are often very soft and powdery, and it can be less suitable for rendering fine, crisp images.

Regardless of the type of charcoal you choose to work in, it is always important to preserve your work by fixing your surface with some kind of fixative. No amount of fixative, however, will ever make a charcoal drawing completely smudge proof, so they still need to be protected with materials such as glassine sheets or framed under glass.

A final, crucial note for artists new to the charcoal medium: (even though it may feel intuitive) do not blend charcoal with your bare fingers. Besides being very messy, the oils on your fingers can yellow the surface, darken your charcoal, and actually create a less even, blotchy ground. Blending stomps and tortillons are drawing tools made out of tightly wrapped paper that are ideal for blending charcoal and other powdery media.

The opacity or hiding strength of a paint describes how it interacts with light. Opaque paints are more reflective (not to be confused with “shiny”). They cover and hide what’s under them. Transparent (or translucent) paints allow more light to pass through them. They are ‘see through’. Learning about and observing the opacity or transparency of paints enables artists to have greater command over techniques like glazing, layering, optical color mixing, or avoiding pentimento, a bothersome effect where paint becomes more transparent as it dries, revealing what’s underneath.

Paints are rarely perfectly opaque or transparent. Most paints fall somewhere between completely opaque and completely transparent. The term semi-transparent describes paints that show a balance of opacity and transparency. When paints consist of a mixture of pigments, opaque pigments will usually override transparent ones and the mixture will be opaque. This interaction is important to consider on your pallete since a transparent pigment, even if it seems very strong and dark (like phthalo green, for example) will be dramatically altered by adding even small amounts of an opaque pigment such as titanium white.

Most paint makers indicate on the tube some measure of opacity along with series and color index codes. A common visual code to indicate opacity or transparency is the use of small circles on paint labels and charts, with the circle filled in for opaque, open for transparent, and filled in half-way for semi-opaque/semi-transparent.  Many paint makers also provide actual hand painted swatches, either on the tubes themselves, on display racks, or on charts that show the opacity or transparency of each color of paint.

Paint manufacturers generally group their selection of artist-grade paints into 5 or 6 distinct series, according to the cost of the pigments used in each color of paint. These series are marked on the tube, generally with numbers (series 1, series 2, etc.). Paints with lower series numbers are less expensive, while higher series numbers are more expensive.

Manufacturers use series numbers because there can be big differences in the costs of pigments. The natural mineral-pigments in colors like cobalt, cadmium and vermillion are more rare than other pigments, expensive to extract from the ground and process into refined pigments, so they have higher series numbers, which reflect their higher price. Whites, blacks, earth tones, and many synthetic pigments are more plentiful, less costly to produce and, therefore, have lower series numbers.

Importantly, lower series number paints, while they may be cheaper, are not necessarily lesser quality. Remember that a manufacturer’s series-numbered paints are all artist-grade paints, as opposed to student-grade paints.  Artist-grade paints contain larger amounts of high-quality pigments as well as better quality vehicles (binders). So, while napthol red, labeled by some manufacturers as series 2, is less expensive than cadmium red, labeled by some manufacturers as series 5, the napthol red is still a high-quality paint that can justify its place on the artist’s pallets.

When buying paints, series numbers make pricing easy, but the more significant propertie of a paint are better determined by other information found on the tube, such as the pigment’s color index code, its lightfastness, the opacity of the paint, and the makeup of the vehicle in which the pigment is suspended.

Although most people have a specific idea of what they are looking for when they ask for “vellum,” the term vellum is actually used describe a variety of different types of paper. Some vellum papers are heavy, while others are thin and transparent. What these papers have in common is the smooth, even quality of their surface.

Historically, vellum wasn’t paper at all, but a kind of parchment made from treated animal hide. This kind of vellum is hard to find today, although bookbinders still use it sometimes for high-end productions. Because it was expensive and difficult to make, this animal-based vellum was, in its time, the most valued kind of writing surface available. It was durable and so smooth that lengthy compositions could be written or drawn out with no risk ink spots or tears.

Vellum today (paper vellum) is not made out of animal hides. It is generally made of cotton, wood pulp, synthetic materials or some combination of those items. Paper vellum usually refers to two distinct kinds of paper: translucent, or “drafting” vellum and bristol vellum:
Drafting vellum, sometimes called design vellum, is semi-transparent, or translucent, which makes it a fantastic option for tracing or technical drawing.
Bristol vellum, also referred to as vellum-surface bristol, is thick and is often used with heavier media, as well as in printing. Although vellum-surface bristol is quite smooth, its surface is distinguished by a somewhat velvety feel, which has a little more texture than bristols that are marked “smooth” or “plate”.
Both drafting vellum and bristol vellum work well for fine lines made with pencil or ink, and hold up well to repeated erasing.

Another type of material commonly referred to as vellum is translucent plastic or paper in thin sheets that can be clear, white, or colored.  Other than being thin enough to allow light through, there is no specific weight, texture or set of qualities that specifically defines this type of material as vellum.

People frequently express an unfounded concern that painting with oils is dangerous and toxic. They’d like to experiment with oils but are nervous that oils are environmentally hazardous and a danger to their health. These concerns are based largely on common misconceptions.

There is nothing inherently toxic about oil paints in particular.  In general, oil paints consist of pigment suspended in a binder,usually linseed oil (from flax seeds), and sometimes safflower oil, poppy oil, or walnut oil.  These binder substances are natural, plant-based and non-toxic.

The two areas of concern that artists should be familiar with when working with any art materials are handling of pigments and clean-up/disposal:

All paints – oils, acrylics and watercolors alike – contain pigment particles. Some pigments can have adverse physical effects if ingested or regularly applied to soft skin. It’s important for artists to educate themselves on what chemicals they are working with on their pallets. Lead, cadmium and mercurial sulfides are the prime offenders, though the risk they pose in art materials is marginal, especially when skin contact or inhalation of any vapors is kept to a minimum. The greatest danger would come from actually eating or ingesting these chemicals. Artists should never put paint, brushes, or tools in their mouth and should never use the same containers for paints as for foods or drinks. Artists who make their own paints and use powdered pigments should always wear a facemask. There are a number of great resources on the web to help artists educate themselves about pigments and their physical properties. Princeton University has compiled a comprehensive Art Safety Guide that is very useful.

Because it is easiest to thin oil paints and clean them from brushes using solvents, many people closely associate oil painting with the use of toxic solvents.  Turpentine is perhaps the best know solvent used in oil painting, but also one of the most toxic. The good news is that for most applications and techniques, turpentine is unnecessary.  It is even possible to paint without the use of any solvents at all. Two excellent resources for painting without solvents or using safer solvents are Portland-area paint makers, M.Graham and Gamblin.  M.Graham makes their oil paints with walnut oil, which is lighter bodied and clearer than linseed oil.  It is easy to clean brushes and extend paints with walnut oil, eliminating the need for any solvents at all.  If your painting style requires thin, faster-drying applications of paint or thinning of paint mediums, Gamblin, a leader in studio safety, makes Gamsol, one of the highest quality and safest solvents available.  Gamblin painting mediums provide many solutions for studio safety for all types of painting techniques.  Any solvent should be disposed of properly by storing in a leakproof container and taking to an approved collection facility for hazardous materials.  Unused paints of any kind should be allowed to dry, scraped from a palette and disposed of with solids, not washed down the drain.

So, rest assured. There is nothing especially dangerous about oil paints. Caution should be taken whenever dealing with chemical substances (no matter what kind of paint they’re in), but with a little care and knowledge, artists can avoid any risk to their health and the environment.

There are three primary types of sketchbook binding: hard-bound, spiral-bound and tape-bound.

Hard-bound sketchbooks have a hard cover and a sewn joint, just like a hard-bound book. These sketchbooks generally contain medium weight paper, about 70 lb. Hard-bound sketchbooks are the toughest and sometimes the expensive. They take more wear and tear, and generally survive longer than spiral or tape-bound books. Depending on the quality and method of binding, hard-bound sketchbooks often do not lay flat when opened all the way, so they can be difficult to use for larger drawings or for writing. Hard-bound sketchbooks are also less likely to have perforated pages, so they’re better thought of as real archival sketchbooks.

Spiral-bound sketchbooks sometimes have hard covers but their covers often consist of a hard back cover and a thick paper front. Because of this construction, spiral-bound books are a little less hardy than hard-bound sketchbooks. Spiral-bound sketchbooks open flat when put on a surface, so they can be good for ink and paint washes. Spiral-bound sketchbooks often have perforated pages, so pages are easy to remove and have a clean edge for presentation, duplication, mounting, or framing

Tape-bound sketchbooks generally have fewer pages than hard-bound and spiral-bound sketchbooks and do not have substantial covers. Tape-bound sketchbooks are not rugged, long lasting sketchbooks. Sketchbooks bound in this manner come in a wide variety of surface types and weights, ranging from very thin tissue and tracing paper to heavy bristol and vellum papers. Sometimes, tape-bound sketchbook pages are perforated, but often the pages are held in by a line of adhesive so it is not difficult to pull them out.

Regardless of the method of binding used, sketchbook covers vary widely in materials, color and design.  With so many variables to consider, your aesthetic preference regarding the cover might ultimately be the deciding factor in which sketchbook choose.

Along with paper weight and surface, there are a number of additional factors that differentiate sketchbook papers for different uses or preferences.

Some papers, advertised as “green” or environmentally friendly, are made of recycled materials or fibers that do not come from trees. These papers are sometimes not bleached and therefore have a brown or gray tint, or irregular flecks. Other eco-friendly papers are made in wind-powered or hydro-powered paper mills.

Many papers are acid free. This designation means that the paper has a neutral pH (around 7). Acid-free papers should be selected for work intended to last for long periods of time because papers with higher acid content will deteriorate much faster. For most cellulose-based papers, acid-free also means that lignin and sulfur have been removed from the paper. These are the ingredients in wood-based papers that fade ink and turn paper yellow over time.

Cotton and cotton-rag paper do not contain cellulose and are naturally acid-free. Cotton-based papers are also stronger, often thicker, hold up better to a lot of erasing, and perform well for wet media such as watercolor or ink washes. Cotton is often blended with cellulose to add strength and durability to paper. Premium archival papers will often list a ratio of cotton and wood fiber.

Papers intended for wet media (paints or inks) are made with sizing, a starch or gelatin that is either included in the paper pulp during the paper-making process, or is applied to the surface of the paper.  Sizing prevents liquid from absorbing too quickly into the paper, allowing some working time to lift, lighten, or move paints or inks by applying more water.  Sizing also helps protect the paper from getting too soggy, which can result in tearing and wrinkling.  Sizing can also help prevent finer ink or paint lines from spreading and feathering.  Sketchbooks intended for wet media should indicate on the cover that the paper is sized.

Some sketchbooks are made for specialized uses like field drawing or multiple media. These sketchbooks often contain a variety of paper types in one book, mixing lined pages for writing with blank pages for drawing. Other sketchbooks have gridded pages for drafting sketches and isometric drawings.

Sketchbooks come in a variety of sizes from very large to very small.

Smaller sketchbooks are often hard-bound and sometimes have an elastic band to hold them closed.  Sketchbooks larger than 11″x14″ are often called sketchpads and are often spiral or tape-bound.

When it comes to larger and smaller sized sketchbooks, there are many options, not all of which conform to standard sizes.  In the U.S., common sketchbook sizes include 4″x6″, 5″x7″, 7″x10″, 8.5″x11″, 9″x12″, and 11″x14″ for hard-covered sketchbooks, and 14″x17″, 18″x24″, and 24″x36″ for spiral-bound and tape-bound pads.  Other sizes are available as well, including metric-sized papers that conform to ISO (International Organization for Standardization) standards.  Note that other than 8.5″x11″,some sizes common to office papers or photography paper such as 11″x17″ and 8″x10″ are usually not found in sketchbooks.

In recent years, there has been a trend toward square sketchbooks and “landscape” sizes, in which the binding is on the short side of a long rectangle.  These sizes are especially effective for unusual compositions and sketchbooks intended as collections of finished drawings.

When choosing a sketchbook, consider not only the scale of drawing you would like to do, but also how convenient it will be to carry a given size around with you.  Ease of use can make all the difference in staying engaged in the creative process!

For artists, sketchbooks are essential. They provide an easy place to record ideas, make studies, and experiment with new techniques. Sometimes sketchbooks themselves are treated as finished pieces of art. Typically, however, sketchbooks are personal journals or archives that artists can refer back to in order to remind themselves of ideas or keep a record of their progress. Since sketchbooks need to stand the test of time, they need to be sturdy, conveniently sized and suitable to the type of media that an artist uses.

The next few posts will address some of the many variables to consider when choosing a sketchbook, including paper surface, paper weight, quality of paper, sketchbook size, and type of binding.

Sketchbook paper comes in a wide variety of surfaces and weights, each suited to a different range of media:

Surfaces are described as having more or less “tooth,” or roughness in texture. The more toothy the paper, the rougher its surface. Rougher surfaces are generally found more in thicker papers. Thick, toothy surfaces hold on to more of the drawing or painting medium and are better for high contrast and lower detail works. Toothier papers are well suited to charcoal, crayon and pastels, ink washes and watercolor, or any work that utilizes the texture of the paper for aesthetic effect. Smoother surfaces take up less media and are better suited to more detailed work. Very lightweight papers like tissue paper, and lightweight sketch paper are usually smooth, but thicker papers like bristol and some painting paper are also smooth. Smoother surfaces are ideal for graphite pencil, colored pencil, and ink pens. Smoother papers are also more likely to be bleedproof, meaning that ink or color washes won’t spread and “feather” across the surface.

Weights (relating to thickness) of paper are standardized and defined by the International Organization for Standardization and are often listed in grams per square meter (gsm), or in pounds, the standard of measurement more familiar to most artists in the U.S.  Following are some of the most common weights of paper found in sketchbooks and drawing pads.  (all measurements are approximate):

• 25 lb (approx 40 gsm):  tracing paper
• 30-35 lb (approx 45-50 gsm):  newsprint
• 50-60 lb (approx 75-90 gsm):  sketching or practice paper — thick enough to work on with pencils, charcoal, or pastels, but usually too thin for ink or most markers, which may bleed through.
  
• 70-80 lb (approx 100-130 gsm): drawing paper suitable for finished artwork in most media.  Paper any lighter than 70lb will usually be thin enough to see through to drawings or materials underneath.
• 90-110 lb (approx 180-260 gsm):  heavy-weight drawing paper, bristol, multi-media papers.  Weight in this range is similar to card stock or light poster board.
• Heavier papers, up to 140 lb (approx 300 gsm) or more, are most often used for painting rather than drawing.  When found in sketchbooks, they are usually rougher papers intended as watercolor journals or to remove for painting on individual sheets.

Watercolor paper comes in a variety of styles and is generally described by its weight and the quality of its surface.

There are numerous weights of watercolor paper measured in pounds per ream or grams per square meter.  The papers that are used most frequently and most widely available are:

90 lb (190 gsm)
140 lb (300 gsm)
300 lb (638 gsm)

90 lb watercolor paper is closer to the thickness of paper found in sketchbooks, and is most suitable for quick pieces with more sketch-like applications of paint.  This lighter paper is less expensive and often used to learn and practice brush strokes and color theory.

140 lb paper is used most often for finished paintings.  The weight is sufficient to handle a lot of paint and water, yet it is light-weight enough to mat and frame easily.  Most watercolor paper is made from cotton, which holds up well to water, but will shrink as the paper dries.  Paintings for which most of the paper surface will be covered with paint or that will use lot of water to wet the surface must be taped down or stretched before painting to prevent buckling.

Any watercolor paper weighing less than 356 gsm (260 lb) can buckle or wrinkle if not mounted. Paper of this thickness is often sold as a stacked block of pages, or “watercolor block”. In order to avoid paper-wrinkling, paint directly onto the block and then use a palette knife or razor to remove the top layer once it has dried.

Heavier papers are obviously thicker and less prone to wrinkling and warping when used. Thicker paper can take heavier applications of paint and work better for multi-media projects.  300 lb paper is almost board-like in its stiffness and does not require taping, stretching, or mounting.