As this painting progressed, it was clear that 1. You get what you pay for, and 2. The painter could have done a better job on this test drive. She is duly chastened. Be all that as it may, let's take a look at how it went.
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| Laying down the first layer on the tree areas. |
For paper that lets the paint sit on the surface, it sure doesn't allow much lifting when one gets the first layer too dark.
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| The wash for the foreground was a bit dicey, darn it. |
The same thing happened on the water area as I tried to lay in a graduated wash that happened in the sky. It just wouldn't go down smoothly. Between the buckling and the strange absorption properties, the paint was just not having it. However, after it dries, it smooths back down beautifully flat.
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| The finished piece. Meh- I'm going to have to try it again! |
The background tree area is too dark, but that's not the paper's fault. Instead of planning to lay in the grey I wanted and then lift it out to the value I desired, I should have started much lighter and gone darker gradually. It's a different way to think as I plan ahead when I use this paper.
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| The paper pulled itself free of the bound edge as it got wet, causing it to be less of a watercolor block and more of a nuisance. |
As the paper got wet, the block began to pull itself apart. The glue around the two edges released. The next painting may be more difficult with the edges pulled up. I may have to tape it. For myself, I can work around the limitations of this paper as I use the block. As a travel book it rates right smack in the middle of 'average' for quality. As a studio paper, save your money and go for Arches. It's worth more than double the price for its workability and strength.
Thanks for stopping by! Alice
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