Khadi Paper Hardback Sketch Book HB5W Smooth 5" x 6.5" 210 gsm

I'd never used a Khadi papers book prior to this, but I'm now a believer. I do have quite a bit of experience with 100 percent cotton paper and I've used most of the current popular brands, including some that are as heavy as 300 gsm.This paper is different. It's thinner (I think only 190 to 210 gsm) but wow, you can really soak this paper in wash after wash and it doesn't buckle! It has a great off-white color that reproduces colors brilliantly and the deckled edges are really cool. The paper has some inconsistencies, but nothing that hinders the drawing and painting process.It handles pen and ink just fine and there is very little feathering and the lines remain pretty clean and tight. The paper handles watercolor beautifully and if you're a fan of granulating paints, the paper produces extraordinarily beautiful granulation patterns.I know these books are expensive, but treat yourself once in a while. These books are worth using particularly for watercolor artists looking for a terrific painting experience.

Beautiful hand-made paper that takes watercolor well.

Love Khadi paper, would like to get some bigger sheets.Shipping is a major problem

Beautiful handmade watercolour paper. If you're used to cylinder-mould short-fiber paper (most commercial watercolour paper is made this way), then you may be a little surprised by this paper.Khadi is made from long cotton fibers (which you can see when you look at the paper texture). The paper is 100% cotton, and is sized throughout. It's a cold-to-rough texture, somewhere in-between. Because it is hand-moulded, there will be variations in the paper--sometimes it's slightly thicker, other times it's thinner. Also, there does seem to be some variation in the sizing--this isn't contaminated, just the product of handmade paper. I find these things charming, as I purposefully bought the book because it was handmade. Lastly, occasionally there will be some lifted fiber or pulp in the paper--again a product of being handmade. If this bothers you, take a sharp razor or craft knife, and gently remove the fibers sticking up on the page.The cover is a very pretty natural light-brown/grey color with different colored fibers. I plan to do an inktense sketch on the cover, just because I think it would look nice. The texture and weight are also really unique and work well. There is a small black stamp on the back with the brand name. The edges of the paper are deckled, and add a unique and beautiful touch to this handmade book.It's bound pretty tightly--I have actually had to purposefully bend the spine back so it will lay flat. Once I did that a couple of times, it laid flat from that point forward.The paper can take quite a bit of water and many layers of inkwashes, and can still be used on the other side. Sometimes your ink or watercolour will spill through the binding awl holes, but, again, I think this comes down to what you consider charming. I really like the homemade, not-quite-perfect effect that it gives. Seems more personal.You can use your (non-alcohol) markers and liners, and they rarely bleed or bloom. The few instances where that happened, was also where I saw the sizing of the paper was different than the rest of the page.Watercolours look pretty brilliant on this natural white paper (I work with M. Graham, Winsor & Newton, Maimeri Blu, Holbein, Schmincke, and some Daniel Smith). I have a high-chroma botanical and landscape palette. So, since it is natural white, it won't be a brilliant, harsh optical white that you often see from brightened paper.You can draw lightly with pencil and erase without damaging the fibers. You can lay down a pretty even wash without problem. You can lift and scrub without damage, although the paper is moderately easy to stain. You can work with a wet wash for a decent amount of time (a couple of minutes) before it dries. I was able to glaze 3 layers, and none of the layers beneath moved. I was able to do some dry brush and scumbling, and the texture is very interesting (though may not be great for highly detailed botanical or portraiture). I've also found that my Rembrandt watercolour pencils work well with this paper. Even though the texture of this paper is very strong, once you put color on it, it doesn't distract from your overall composition.I was able to work a couple of layers of paint, before the paper began to bow and buckle slightly. I think this can easily be fixed if you just get some nice lay-flat clips, and clip down the edges of your paper while you're working, then allow it to dry. Also, just getting a nice rubber band to hold the book closed when you're finished, should help the pages lay flat again. Again, you can easily use both sides.I would venture to guess that you could easily use charcoal, gouache, acryla-gouache, and pastel on this paper (though would still advise for the charcoal and pastel that you use a fixative when finished). I wouldn't use this paper for lettering, as it can be very difficult thanks to the long fibers of the paper texture. And I'm not sure you'd want to use felt or alcohol markers, due to the texture. It may not bleed through, but I think it will tear your marker tips to shreds rather fast.I have used this book for urban and landscape sketching, some quick in-the-field nature studies, and just general sketching. I love that it's 100% cotton, which means it is archival and high quality--but it's also handmade. Which to me, is the best of both worlds. I imagine you could easily use this for quick portrait or figure studies without a problem :)