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Blue Lake Paper-Mill

Cotton Rag Acid Free Paper Distributor.


Blue Lake Paper-Mill, cotton rag acid free paper distributor.




  • 100% cotton rag (not the lesser quality "linters").
  • ACID FREE (not just neutralized acid-containing paper).
  • Made from water completely free of IRON (no rust sots in 40 years time).
  • Four REAL deckled edges (random).
  • Each sheet is PRE-STRETCHED for PERMANENT FLATNESS (except 1550 x 700mm specials) - UNIQUE to this papermill.
  • Texture - The face is a moderate "cold pressed" style with the back being medium rough - both sides equally useable. We believe there are few or NO imported art papers with this dual characteristic.
  • BOTH internal and surface sized as are the best art papers.
  • ALL papers are highly resistant to fungal attack (laboratory tested in Sydney, Australia, 1999).
    Styles are then designed for special use. The following special papers are created using the foundation paper:


"R20" was launched during January 2000 for general use (but firstly a world-class watercolour paper). Named for a completely NEW surface size (R20) developed at the Blue Lake.
The paper moderately resists tape or masking fluid removal or scrubbing off washes.
It also has a fairly clean pencil erasure (not a smear like some expensive papers).
Pigment washes granulate well. Pigments (like UltraBlue) which are normally able to appear granulated do so wonderfully as one stand sback and looks at them!! Few other peapers do this so well (we used to think that this was entirely to do with rough texture. Texture contributes a little, but it is really mostly to do with surface tension).
Good for charcoal, pastel, gouache, acrylic etc, not specifically for pencil drawing.


Emu print is embossed with a tiny emu footprint in the corner, signifying a 'tough bird'. Previously we had a complicated paper range of printmaking papers and printmakers expressed puzzlement about which they should be using. However, after researching the new coating we have now rolled all characteristicws into this one paper.

Both internal size/wet strength added - dampens quite well for hand printing.
The coating takes ink readily while protecting the fibres from sticking to the plate and lifting.
Cotton fibres provide a good "cushion" for the plate to press flat and pick up fine lines. Therefore, texture does not need to be supersmooth like some harder papers - interesting textures remain.
A recent exhibition at the "Local Images Gallery" in South Australia of nine artist/printmakers (etchings, linocuts and lithographs) were all on Blue Lake Emuprint paper.
Aboriginal linocut artists in the Northern Territory of Australia use Emuprint for large print runs.
Colours available: Brilliant White and Warm White only (except for special runs). All normal sizes.


"Brolga", the most recent development, stems from the Japanese request for alcohhol-based ink resistant paer, with an unchanged appearance. We failed somewhat in this request, however the resultant paper was great for OIL paint (but not water washes). Later research from Emuprint work gave a watercolour ability to this paper as well, making a true MULTI-MEDIA paper.

While now only partially resistant to turps penetration (some artists use this character for special effects), Brolga is completely resistant when using an Alkyd medium like AS#4 or Gel medium. Such quick drying Alkyd mediums are now pretty standard for most oil painters.

Why use paper for oils? A lot of artists have had a longing for a paper to paint on without having to spoil it's paperly appearance by covering it with gesso. Paper gives a great TOOTH (much, much cheaper than canvas and it preserves better than works on canvas (refer conservator, Tate Gallery, London)). With firm backing the paper needs no glass cover when framed, or can be float mounted showing deckled edges.

Recent useage of "Brolga" includes:

"Bark" painters (mainly acrylic) in Arnhem land (Australia), use mostly sheets in 1000 x 700mm sizes at 640gsm.
Oil portrait of Graham. Bishop of the Murray by Claire Souter, 2001.
Winning painting of the John Shaw Neilson Prize 2001 by Jackie Ellis (mixed media) and also two runners-up.
Winner year 2000 Heysen Prize for watercolour by Bob Loundt.
"Layers of the Land" exhibition at the New Land Gallery, Port Adelaide saw 10 separate works on "Brolga" (W/C and oils).
November 2001 exhibition of 45 large oils at 80 x 50cm by Claire Souter all on "Brolga".
International oil painter, Jeremy Holton uses "Brolga" paper, www.peach.asn.au

Tough surface size resists much scrubbing or masking removal.
Granulation effect with watercolour washes is excellent
OIL PAINT suitability (we do not know of any comparable paper on the market which can make these broad claims).
Good for oil pastels, dry pastels, charcoal, watercolour, ink, acrylic, oil paints, etc.
Pencil applies well, but does not erase all that cleanly (like Arches).


Both Emuprint and Brolga have good characteristics for this (particularly Emuprint) and look great in art reproductions - yet we have no hard research results at this date (November 2001). We await reports from new users in Australia and the USA and laboratory results from the USA.

Maurice Wilson ~ Blue Lake Papermill ~ 5 Pollard Close. Mount Gambier 5290 Australia
Ph: +61-8-8725 2393 Fax: +61-8-8725 2295 email:wilsonme@dodo.com.au