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WET TECHNIQUES (solvent : water)

Gouache and acrylic are appropriately considered as wet techniques. Nevertheless due to the high content of gum or artificial binders, these paints can be used on almost all materials which accept water as long as they are thick enough and sufficiently sized to handle the humidity.

Choosing the colour

The choice of the paper’s colour depends on the opacity of the colour and the requirement for luminosity and contrast. These factors vary depending on the shade of the paper (from black to white and including the whole spectrum of colours.)

If the colours are transparent (watercolour, ink, certain acrylics) white paper is the most adapted (the desired luminosity will depend on the whiteness.)

If the colours are opaque (gouache, some acrylics) and therefore covering, all shades can be used.

Choosing the type of pulp

There are two vegetable fibre pulps (cotton and cellulose). Their conservation qualities and their costs are relatively different.

• Cotton has a remarkable natural whiteness. It guarantees perfect regularity of water absorption and ensures maximum conservation. See the FONTAINE papers. FONTAINE

• CLAIREFONTAINE’s cellulose paper is suitable for everyday work because of its lower pricing while still offering a natural whiteness and excellent fade resistance. ETIVAL

Choosing the weight

The weight of the paper has a direct impact on the price but above all its ability to conserve its flat surface.

• A light paper will be used for quick application using little water
• A heavy paper is more adapted to work requiring a lot of water.

Choosing the texture and the grain

The grain of the paper (semi-gloss, fine, rough grain) depends on the degree of precision desired.)

• Very detailed = smooth surface (felt tip drawing, ink and pen drawing, detailed watercolours.
• Softer results = grained surface ( quick sketching, overall impression)

Choosing the packaging

Selection from the many types of paper (books, pads, sheets and rolls) depends on its use whether it is for carrying around, travelling, studio work, or preparatory work for large scale works.

In terms of the pads, bound 4 sides blocks are available which allow very wet application while guaranteeing a perfectly flat work once dry (ideal for medium and large format outdoor work.)

Furthermore, above and beyond these criteria, CLAIREFONTAINE has developed a quality of paper available only in white and 360g which is well adapted to all wet techniques. It facilitates the work while encouraging colour adhesion and noticeably increases the amount of reworking time.

WET TECHNIQUES (solvents : oils, turpentine and others)

Paper destined for oils is unique in its oil-resistance which protects its fibres from solvent attacks. Because of this the choices are reduced to the packaging. Nevertheless it is important to understand its specifics:

• Colour: white: allows the use of both opaque and transparent colours
• Pulp: 100% wood: it is strong and inexpensive.
• Weight 240g: it is sufficiently rigid for easy framing.
• Grain; canvas: neither too fine nor to pronounced, it is adapted to all types of work: portraiture, landscapes, still lifes.
• Packaging: The choice among the different packagings will be dictated by your requirements.