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120 Posts
Papierqualität hat nichts mit der Stärke zu tun. Auch dünnes Material kann sehr gut
geeignet sein, besonders im Freien - aber dieses Papier sollte man auf eine Unterlage
aufziehen (Sperrholz mindestens 8 mm stark).
Das beste Papier, aber auch sehr teuer, ist ein 100% Hadern-Papier (Arches, Saunders
etc.), gran fine. Die Farbe beißt sich fest und Sie können unendliche Lasuren malen.
Dann gibt es Papier mit geringem Hadernanteil und reines Zellulose-Papier. Die beiden
sind billig, aber haben den Nachteil, dass sich die aufgetragenen Farben wieder anlösen.

Paper quality has nothing to do with the strength. Even thin material can be very well
suited, especially outdoors - but this paper should be absorbed onto a support (plywood
at least 8 mm thick).
The best paper, but also very expensive, is a 100% cotton rag paper (Arches, Saunders
etc.), gran fine. The color bites firmly and you can paint an infinite glazes. Then there's
paper with little rag share and pure cellulose paper. Both are cheap, but have the
disadvantage that dissolve the applied colors back.


· Registered
274 Posts
If I did the same thing each time the paper would be the same... But since I change image styles I have to change papers. For instance, if I want to create a highly granular image, utilizing paints which tend to settle out rapidly, I might choose a very rough paper or a cold pressed medium grain. A small work can do fine with thinner papers but for large ones, 22x30 300lb. Never mounted paper to a panel before since I distrust glues... Never found one to last or be non-bleeding.
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