Blue Lake Paper-Mill
Cotton Rag Acid Free Paper Distributor.
WHAT MAKES BLUE LAKE FINE ART PAPER SPECIAL?
- 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
- 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
It also has a fairly clean pencil erasure (not a smear like some expensive
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
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
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,
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:email@example.com