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CAL-IN is pleased to present our Distribution of the Ruscombe PaperMill product line for Latin America. For more information, please contact your local CAL-IN or COBEAL representative.
To read more about the Ruscombe PaperMill approach to quality, click here.
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To read more about the Ruscombe PaperMill approach to quality, click here.
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RUSCOMBE PAPER MILL
has endeavored to manufacture a range of art papers to meet most
painting, drawing and printing needs. In particular the mill has
carefully researched the characteristics of the originals to reproduce,
as faithfully as possible, a range of papers close to those used
by certain well-known English watercolor painters of the late 18th
century, amongst them:
J.M.W.
Turner |
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The papers are characterized in two styles and are either NEUTRAL SIZED AND FLAT DRIED or LOFT DRIED AND GELATIN SIZED In the former case a chemical neutral size is added to the paper pulp during manufacture and cures whilst the paper is dried in a flat restrained condition, providing a less textured surface ideal for all drawing techniques as well as for painting. For the latter the use of traditional fibers of flax and hemp has been increased and are key components, which, complemented by vigorous beating and blending of the fibres, natural loft drying and tub gelatin sizing, produce a tough durable sheet, not readily matched by mold made papers. LOFT DRYING allows the longer fibers of each sheet to contract naturally and combine in the open air to adopt the felt mark character of the eventual surface finish. The sheets are therefore generally not flat and some shrinkage takes place which renders the sheet slightly smaller than the nominal dimensions of the mold. GELATIN SIZING is the second key component. Each sheet absorbs the gelatin in a hot bath of the liquid and is then allowed to dry slowly over a few days. The gelatin hardens gently and continues to improve as it ages over a few months. This process provides a surface which ensure smooth brushwork, pen & ink. Other techniques such as scratching out and wash lift off are attainable with confidence. Most papers will need to be prepared by soaking and drying taped to a board to stretch them and to provide a drum tight surface on which to work. We supply details of this process.
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THE COLLECTION AZUR
DE TURNER - neutral sized A replica of
one of the blue papers produced by an English mill between 1810
and 1835 for J.M.W. Turner (1775 - 1851) the famous English watercolor
artist. From 1820 Turner used many of these papers during his travels
in Belgium, Italy, Germany and France. The shade of this paper allows
watercolor artists to be more adventurous than is possible with
a plain white sheet.
Along
with a long fibered cotton content, the paper contains a substantial
proportion of refined linen pulp and hemp to produce a tough and
durable working sheet. The granite like separation and liveliness
of the sheet are achieved by the combination of a white pulp to
which a small proportion of blue and black dyed fibres is carefully
blended after beating. REF SIZE/IN. SIZE/CMS TYPE LBS GM2 SURFACE 075 30 x 22 76 x 56 wove 90 200 Satin 125 20 x 15 51 x 38 wove 110 240 NOT |
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MÉDOC VÉLIN - neutral sized
David Cox (1783-1859)
another English landscape painter, chose a different sort of handmade
paper, with Scottish origins, intended for the wrapping of sugar.
From 1836 this paper was made on wove molds. This paper has a warm
buff tone which takes white highlights well, especially for portrait
drawing.
REF SIZE/IN. SIZE/CMS TYPE LBS GM2 SURFACE
077 30 x 22 76 x 56 wove 100 220 NOT
BLANC ANCIEN - neutral sized
John Sell Cotman
(1782-1842) used a softly hued, off-white wove paper for his landscapes.
Ruscombe Paper Mill's sheet is made from cotton and refined hemp
to give this agreeable look and a tough linen surface for heavy
working in the wet.
30 x 22 76 x 56 wove 140 300 NOT
30 x 22 76 x 56 wove 90 200 HP
30 x 22 76 x 56 laid 90 200 NOT
REF SIZE/IN. SIZE/CMS TYPE LBS GM2 SURFACE
091 30 x 22 76 x 56 wove 140 290 NOT
122 20 x 15 51 x 38 wove 110 240 NOT
INDIA OFFICE DRAWING - neutral sized
This reproduction
of a paper originally introduced for conservation purposes has been
introduced as an art paper for drawing and pen and ink work. The
paper is made from cotton and linen, tinted to a deep beige with
added black fibers.
REF SIZE/IN. SIZE/CMS TYPE LBS GM2 SURFACE
166 30 x 22 76 x 56 wove 85 180 NOT
WHISTLER's OLIVE - neutral sized
A deep olive toned drawing paper, reproduction of an earlier paper, De wint, made from cotton and linen.
REF SIZE/IN. SIZE/CMS TYPE LBS GM2 SURFACE
193 30 x 22 76 x 56 wove 85 180 SATIN
TURNER'S BLUE - gelatin sized
A similar formula to that of the Azur but with added advantage of the traditional manufacturing techniques.
REF SIZE/IN. SIZE/CMS TYPE LBS GM2 SURFACE
30 x 22 76 x 56 wove 90 200 NOT
DAVID COX HANDMADE - gelatin sized
A natural hemp rich paper of luminous beige tone with visible fiber inclusions.
REF SIZE/IN. SIZE/CMS TYPE LBS GM2 SURFACE
30 x 22 76 x 56 wove 90 200 NOT
JOSHUA CRISTALL's WHITE - gelatin sized
Named after a prominent and several times president of the Royal Watercolour Society, the paper is a muted white, using cotton, refined hemp and linen to give the agreeable look and tough surface.
REF SIZE/IN. SIZE/CMS TYPE LBS GM2 SURFACE
30 x 22 76 x 56 wove 90 200 NOT
30 x 22 76 x 56 wove 140 300 NOT
30 x 22 76 x 56 wove 90 200 HP
THOMAS GIRTIN LAID - gelatin sized
Interpretations of two typical broad laid papers preferred by Girtin. He often used a simple wrapping paper in the laid form, made from raw materials such as rope, colored cottons, old linen colored cloth. Similar traces of these fibers can be seen in our modern blued version of the paper.
REF SIZE/IN. SIZE/CMS TYPE LBS GM2 SURFACE
30 x 22 76 x 56 laid 90 200 NOT
30 x 22 76 x 56 laid 90 200 NOT
WHISTLER'S OLIVE - gelatin sized
A similar formula to that of the neutral sized paper but with the added advantage of the traditional techniques
REF SIZE/IN. SIZE/CMS TYPE LBS GM2 SURFACE
30 x 22 76 x 56 wove 90 200 NOT
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