Finally, the Silver Light ...
You probably remember from my previous posts that the watercolor paper you choose can have a huge impact on the quality of your work. You can save some money by using poor quality paper, but you will find that watercolor pigments do not respond well to cheap surfaces, making some techniques difficult. This inhibits and usually demotivates artists from working in watercolor. You also don't want paper that will start to fall apart when you use rough techniques (such as scrubbing, scratching, rubbing). Thanks to Art Paper, I was able to test the PALAZZO block "Oranienbaum's Silver Light". It is a paper designed for painting with watercolors, gouache and drawing with pastels. I believe that it is also perfect for workshop graphics. I decided to make dryout for my cat Nela. Then, I applied a printing ink to the matrix made in the dry needle technique. I soaked the paper from the Palazzo block in warm water for 3 minutes. After pulling it out, I drained the excess water from the surface of the paper. I put the paper against the matrix and made a print. In the photo you can see what the drypoint looks like with the beloved Nela in black and white. I made another print on the same Palazzo paper. After the printing ink has dried, I secured the area with painter's tape, soaked the paper in selected places and painted it with watercolor. I am very pleased with the results achieved. Judge for yourself.
Moreover, on the PALAZZO block "Oranienbaum's Silver Light", thanks to their unique paper structure, the dry pigments contained in the pastels gain very good adhesion to the substrate. It is also important that the paper is acid-free and durable. There are many different types of watercolor paper on the market, and even when you narrow down your selection to the best varieties, it often comes down to personal preference. In this Palazzo block, the paper is acid-free, so that the work done remains in good condition for a long time.
There are two main classes of watercolor paper: artistic quality and student quality. Artistic quality, sometimes referred to as archival paper, is acid-free and designed to last. Papers that are not acid free will turn yellow and brittle over time. If you're a beginner or just practice, high-quality student paper is fine, but the paint won't work as well and don't expect your painting to stand the test of time.
Manufacturing
Watercolor paper is typically produced by one of three processes: handcrafted, formed, or machine-made. Personally, I prefer handmade paper. It is the best and made of mold is in second place for me. Both are very durable, stable and should not deform when used intensively. Both have irregular surface textures which are fun to paint. I love these irregularities! If you are buying quality paper for artists, it should be handmade or formed. Remember that high-quality paper for students is usually machine-made, although it is cheaper, it is prone to deformation and damage when soaked.
Soul
The paper is made of a mixture of water and cellulose fibers. In high-quality artist papers, these fibers should be 100% cotton, which makes them strong yet flexible. Cheaper papers are made from wood pulp or sometimes a combination of cotton and other cellulose fibers. If you care about durability, or plan to use multiple scrubbing, scraping, gluing and masking techniques, you should use 100% cotton paper that can withstand this. This Palazzo Block is made of thick premium paper 300gr / m2 in A3 format and 50% cotton fiber content. The paper is two-sided. The right side of the sheet has a distinct granular structure, while the left side is smoother. Something for everyone, depending on on preferences. After drying, the paper, after multiple layers, does not soften and does not fray, it retains its original density. If you work in wet-in-wet techniques, working on this papuer will be difficult. I did the test and unfortunately the pigments of the paint were very bright, after applying the second background layer through brush strokes the paint from the first layer smeared (see photo). Palazzo block paper Oranienbaum's Silver Light is not suitable for wet techniques. On the other hand, in dry on wet or dry on dry techniques, it works very well. In particular, I recommend it for workshop graphics and techniques mixed with watercolor because it is definitely cheaper than graphic paper, has a wonderful structure and an ideal format for making prints (you do not have to cut parts from the entire sheet).
Grammage
The weight of watercolor paper is not a proof of quality, as the best paper comes in both high and low grammages. For me personally, weight is very important, as lighter papers need to be stretched before use and can bend or wrinkle when wet. Heavyweight paper can absorb more water and rarely needs stretching.
Facture
The texture is a subjective matter based on personal preferences and painting style. We can distinguish hot pressed paper that has a smooth, hard surface. Some artists like hot-pressed paper for detailed work, but others find it too slippery, making ink control difficult. Personally, I only use it for portraits and illustrations. There is also cold-pressed paper, sometimes misleadingly referred to as "not NOT paper", meaning it is not hot-embossed. It is the most versatile and popular texture, suitable for both beginners and experienced painters, as its slightly rough surface lends itself to both detailed work and smooth washing. I also use this kind of paper in my works. Finally we have what is called rough paper, which has a pronounced tooth, which is good for painting because it gives them some kind of luminosity. The Palazzo paper is double-sided, one side is more textured and the other side is less. You can do twice as many jobs on different surfaces.
Hue
Most watercolor papers are white or cream colored as they allow light to be bounced off its surface, giving the clear watercolor paint a luminescent appearance. Many watercolors also leave scraps of paper as a substitute for white paint. You can purchase watercolor paper of different colors or shades and create different moods and effects.
Watercolor blocks are a good alternative to sheets if you don't want to go to the trouble of stretching the paper in advance. Watercolor blocks are a stack of sheets joined together on all sides by glue. You paint on the top sheet, and once it dries, the paper will not warp or bend. Then you cut it off the stack with a knife and the next sheet is ready for use. The Palazzo watercolor block has a hard and thick back cover made of stiffened cardboard, which makes it easier to work and allows you to paint at home, in the studio and outdoors without using an easel.
