This painting was done on another paper from my Legion Paper Sampler, Fabriano Artistico 90# rough, Tradional White.
I've used Fabriano's 140# cold pressed traditional white in the past, but this was my first try using the rough. Many 'rough' papers are challenging, being highly absorbant with uneven surfaces, and Artistico is one of the more popular 'go-to' professional papers.
I didn't notice too much difference in flow, granulation, or brightness. Overall, the paper is just a bit more textured than the cold pressed. This would be a good paper for those who want something that would give you a wider range of possible effects, but wouldn't be exceptionally challenging.
Besides testing out the paper, I was playing with negative painting. I couldn't resist adding some detail to the seahorse, but I tried to keep my shapes simple and otherwise stick to the negative painting scheme.
I only used two colors, Daniel Smith's Lunar Blue and M Graham's Maroon Perylene. Lunar Blue is basically black, but it has particles of bright blue that can pop out given enough water and the right tooth. I didn't get quite as much of the blue as I hoped, but you can see it here and there. Maroon Perylene is a low intensity color, but next to the Lunar blue it almost glows (though it doesn't show as much in the scan).
Information from Legion Paper's Fabriano Artistico Page:
Mouldmade in Italy Calligraphy
100% Cotton Intaglio
Neutral pH Letterpress
Acid Free Offset
Internally & externally sized Pen & Ink
Specialty Paper Pastel & Charcoal
If you've used Fabriano Artistico before, and have noticed that the paper seems a bit different from what you are used to, the Legion Company has a note explaining changes that have been made to the paper.
"This range of 100% cotton watercolor papers has experienced changes over the last 10 years, creating some confusion we hope to clarify here: The cold-pressed surface textures have been modified, surface qualities such as soft-pressed have been discontinued, the sheet is no longer 4 deckled edges (2 natural & 2 cut edges) and the range is no longer watermarked.
It is also important to note that the paper has a "running watermark" along the long dimension - it is not localized like most sheets."
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