Strawberries from Liliya Holding
Thanks to Art Paper, I was able to test two sheets of Palazzo paper.
That paper is in the PALAZZO Elite Art watercolor pad "Smell of strawberries" in a 190x190 or 290x290 wad and in a micro-perforated Tour de France block 148x210 and 210x297. It is a premium torchon embossed paper. Torchon is a thick embossed paper ideal for painting, for example, landscapes. However, I decided to test this paper in monochrome figure painting. The second pinting was created by the sun using the beauty of nature in the form of leaves. In my next blog post, I will tell you in detail what the wonderful sun painting method is all about. In the meantime I leave you alone with the work of nature in the painting entitled Now I'm not going 'to wilt.
I think that the Palazzo paper, thanks to its torchon structure, looks very nice in this case. The structure of the paper emphasizes the qualities of the work and perfectly harmonizes with the theme of the work, referring to natural structures. Which we can observe in nature.
This paper has a rough, clear structure as it is dried during production without further extrusion. It also has a perfectly snow-white color. This type of paper is an ideal choice for those who prefer a clear texture, visible strokes, the "dry brush" technique. As you can see in my monochrome figure painting, the floor was made with this technique. If you do not know what the dry brush technique is, here is a short explanation. The dry brush technique involves painting with a dry brush, wiped off the paint. So worn that it almost stops leaving streaks on a flat surface with a kind of rough appearance. However, since some particles of the pigment in the paint will remain somewhere in the back of the bristles, rubbing it into the textures of our work will ensure that the protruding edges collect the paint, while the dimples and completely flat surfaces remain intact. This paper is suitable for dry techniques. The paint is very hard to wash off. When the coat dries, it is impossible to remove the paint. When the layer is not dry, the paint can be washed away, but the structure of the paper is disrupted, the fibers begin to roll. After the test, I believe that only one layer can be made on this Palazzo paper and the color should be toned immediately. Each subsequent layer disrupts the pigment of the previous layer. Paper does not tolerate any corrections, it does not forgive mistakes. As for the reproduction of colors and their saturation, I believe that after drying the color slightly fades and is dimmed. In the test, I used Payn's Gray of the White Nights.
Of course, the Palazzo paper is acid-free, so the work done remains in good condition for a long time. It is made of 100% cellulose.
