Back in 2012 I offered a semi-review or a first look at the Canson Art Book One as a budget friendly offering for art journalers. The Canson Art Book Universal (CABU) is in the same series of sketchbooks but with a few differences. I won’t focus on the differences but what makes the CABU so great. I have the A5 or 5.5×8.5 inch size. The basic rundown of the CABU is that it has 224 pages of 96gsm (65lb) white paper. It is acid free, has no brighteners, and states it won’t yellow with age. The paper is smooth to the touch but has a nice tooth for pencils. The sketchbook has a classic pebbled faux leather grain coating over sturdy heavy boards. The corners of the cover are rounded but the book block is squared. The binding is a traditional Smythe stitch with heavyweight neutral grey end sheets. The back of the book has a nice roomy pocket and sports an elastic that was loose when I opened the package and has only gotten worse as the book has gotten older. I finally ripped the elastic off. Useless.Let’s talk about this paper, it’s lovely. The tooth is just right for sketching with pencils. The graphite glides over the surface. Though it is toothy it doesn’t grind the points down to a stump in moments rather, just the right amount is deposited no the paper and the points last well. Pencil feels amazing on this paper. It looks awesome too. The graphite seems to pop off the page, but shades well.
Fountain pens also fair well. Though there is a nice tooth to the page, it is very smooth when using a fountain pen. All mine felt great on the surface. My EF Eco was a tad bit scratchy but that pen is always a tad bit scratchy. All the inks that should exhibit sheen or glitter did, and whoa did they! Not one bled through either. Brush pens fair in much the same way- the ink looks great, the ink doesn’t bleed through.
One of my favorite ways of using the CABU is for mixed media and watercolors. The paper is great for collage and though it cockles a bit it is great for watercolor washes. IN fact I really have slopped some watercolor in this book and it never soaks through. The colors sits on top of the paper similar to the way they react on hot press. Lifting colors, so long as you aren’t using a color that stains, actually works. Softening hard edges works nicely. This has become my go to for portraiture practice. The paper is really just lovely.As it is a sketchbook it is only available in blanks pages. If you want to use this for writing, you can download one of Ana’s writing guides, over here.
In short if you are looking for a sketchbook that pretty much does it all reasonably well, the CABU will fit that bill. True it isn’t available in lined or dot grid, but the paper is so good you won’t really care once you get a writing guide. Continue reading
Iv'e been working on a variety of papers, settling on Canson's XL Watercolor paper, for a variety of reasons- it works well with the watercolors I'm using, it's cost is nice and it has a relatively smooth surface that my pens rather like. It's also got 2 sides, a right and a wrong, ot a front and a back; which ever way you prefer to call it, but I like the judgemental aspect of right and wrong… In this case. Any how.
One side has a little more tooth an grab to it than the other, this is the right side. The reverse side AKA WRONG is smoother. It also has less sizing… This affects a number of things- how ink and paint react with the surface. Less size means it's more absorbent.
This is good and bad.
It's bad when you use a mask. I applied a liquid frisket rather heavily to the surface of one of my paintings and the frisket grabbed to the paper so strongly it ripped when I removed it. Quite badly. It was crazy frustrating.
I went ahead with the mixed media piece anyway, knowing my paint would adhere the ripped pieces down and it would be okay, but I had to change my plans for color and other ideas for the image, and I know that the torn piece could come back to haunt me.
Additionally in my frisket/mask adventure I've found that the frisket REALLY doesn't like the spray inks. If the frisket is too thin the spray ink "leaks" through it. A total pain in the ass. So I've learned to put on one thin coat and then a heavier coat to seal it all up.
I reviewed the Canson XL Watercolor pad a few weeks back, mostly with inks and scraping of acrylic paint. I determined through that use that it would be #1 a great paper for binding into a journal #2 great for watercolor crayon and acrylic. I didn’t put it through its paces with watercolors.
I did this weekend.
I use a variety of watercolors from Holbein to Academy. This paper holds the colors true. For a cold pressed paper the paint absorbed just enough to dry quickly but allowed for easy lifting of color when needed. Some “student grade” watercolor paper sucks. Its cockles, it’s as absorbent as a paper towel, which is not the case with this paper. It’s good stuff.
Check out some of the images below, all are done on the XL watercolor paper. Vibrant saturated colors throughout.
I can without reservation recommend this paper for watercolors. It’s cheap enough for throwaway sketches and nice enough for finished work.
I picked up a Canson XL 30 sheet pad of CP 140# watercolor paper a few months back with the intent of comparing it to my favorite inexpensive paper, Strathmore 140# CP 400 series. It compares well.
First off, it comes in a glue bound pad which is good for bookbinding not good for art journaling. To me a glue binding is temporary and won’t last, I abuse my art journals and thus this pad would absolutely not hold up to my use. The paper folds in half easily and without cracking. This is a bonus if you are intending to make your own sketchbook or journal. The grain of this paper is along the short side, which again, is perfect for binding.
The paper is thinner and softer in feel to other 140# paper, specifically the Strathmore. It’s still stiff, but is not quite as stiff as cardboard. The cold pressed paper is textured more on one side than the other. The Canson CP is significantly less textured than most other CP papers I’ve used, and I’ve used a lot. The reverse size is significantly smoother than the front. You can feel and see the difference in texture. The amount of sizing is different too. The differing texture and sizing means that when binding you either let the different textures face each other OR you pull the pages out and face them together. It’s an extra step in binding that makes an art journal more pleasurable, versus getting into the journal and realizing each facing page responds to pen, ink, and watercolor differently. I find that annoying.
The paper handled ink like a dream. Even my fine and extra fine pointed fountain pens floated on its smoothish CP surface. Noodler’s bullet proof ink bonded with it well and other inks gave me a wonderful watercolor effect. The pages handled watercolor crayon like a dream and scraped acrylics like it was made for it. I noticed even with repeated brushing and scribbling layers of ink no pilling or pulling up of fibers. Either side handled them well. The reverse and smoother side was much more absorbent, so an even pull of credit card scraped acrylic got less coverage but was decent. The paper is heavy enough that I did not notice any wrinkling. Watercolors of course gave a cockling effect that soon relaxed as the paper dried.
This is a budget friendly pad of paper. I purchased it on sale for around $7; regular price is around $13 for the 11×15 in size. It’s not a bad price, especially for a pad that is easily folded up for making an art journal. I found it on Amazon (see below) for $4.59 in the 9×12 size, which is not bad at all. I was unable to find the 11×14 on Amazon but did find it on the Blick site for about $7.