• 25% Cotton Cold Pressed Fabriano Watercolour paper
• A3 Size , 300gsm , 12 Sheets
• Paper sourced from Fabriano , Italy

Features:

• The Fabriano Watercolour paper is made of a valuable mixture of lignin free cellulose and cotton 25%.
• The absence of acid guarantees the inalterbility over time of the paper.
• Produced with 100% of ECF pulp (Elemental Chlorine Free).
• FSC certified from forests responsibly managed respectful of enviromental, social and economic standards.
• It is sized intemally and externally, guaranteeing optimal absorbance.
• The quality / price ratio of this paper guarantees an exceptional offer for students of fine arts school and beginners.
• Ideal for watercolour, tempera, gouache, acrylic, ink and drawing.

Understanding the Different Grades of Watercolor Paper

Hot pressed (Left) is super smooth. No texture with this paper. This paper doesn’t suck up the water as fast as the cold pressed, allowing you to play around more, like re-wetting edges of pigment.

• Very little pigment penetrates beyond sitting on the surface.
• Hot pressed is not adequate for general watercolor painting.
• It’s suitable for fine detail, such as pen and ink.
• This type of paper works well with gouache.
• Wet-on-wet application with diffusion will not work.
• Glazing will lift the underlayer.

Cold press watercolor paper (Middle) has texture. Little bumps and grooves holds in the water and pigment. It really sucks up the water pretty quickly. Cold press is a good choice when you want to convey texture in your subject.

• Some pigment penetrates deeper into the fibers.
• A painting on this type of paper ends up with a nice velvety look.
• Diffused wet-into-wet application can be achieved on cold pressed, but there’s a risk of losing the forms from excessive pigment bleeding. The artist working with this paper must be quite skilled at controlling the degree of fugitive paint.
• It works well for scraping out rocks with a credit card when painting landscapes.
• Cold pressed is not optimal for glazing because the new layer tends to disturb the first layer.
• It’s too smooth to apply the dry brush technique many artists use to create bushes and trees when creating landscapes.
• This type of paper makes it easier to spray off an area that needs correction.
• It has an excellent surface for combining pastels with watercolor, especially pan pastels.

Rough Watercolour Paper (Right) is the roughest texture.

• The pigment seeps even deeper into the fibers of rough paper.
• The wet-into-wet application works well on this type of surface.
• Glazing works better because the paper grips the first layer quite well.
• It does not work well for scraping out rocks when painting landscapes.
• The rougher surface is conducive to dry brushing, which is great for creating the illusion of foliage.
• It’s harder to remove unwanted paint (with water from a spray bottle).