So, can we see what you did?
Can you use it as a scratchboard surface too? Can you scratch away to
white and maybe play with texture too?
816 Valerie Dr.
Raleigh, NC 27606
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Linda Feltner wrote:
> Hi All:
> I just completed a watercolor painting on the Ampersand Aquabord. A
> half-sheet was given to me from a friend to try out. Apparently it has
> a clay surface on a masonite base, and it's stamped Claybord Textured
> on the back. Now after doing the painting, I'm reading more about the
> marketing lingo.
> >From the first, I noted that it takes the pigment gently from the
> brush, and it does allow a familiar wet and wet technique to mingle
> colors. It's not quite like cold press, in that it will leave harder
> edges. But it's not quite as hard as hot press. Any unwanted edges can
> be very easily picked up, or blended away. It has a slight tendency to
> pool up within a stroke. The pigment does have a remarkable ability to
> be picked up. With cold press watercolor paper, it takes several
> strokes with a thirsty brush to pick up granular pigment (vs. staining
> pigment). With this product, it comes up in one stroke. The absorbency
> isn't the same as cold press. It will not have those really subtle
> bleeds that fade off to nothing. The technique of waiting till the
> sheen drys off to apply more pigment to a washy wash didn't allow for
> the same blending. However, it does stay moist a long time. It's just
> a bit different. If I waited a bit to apply more pigment, the stroke
> had to be light, so it wouldn't disturb the wet pigment beneath.
> The technique I found successful with this surface and absorbency, was
> a "painterly" one. I left the early background strokes as is, leaving
> them with various hard edges, and the distant hills had a rather
> cloudy look, with the peaks of the texture showing through. Rather
> than go back and try to overpaint the mountains, I found I liked the
> fresh stroke, and it led me to choose this painterly stroke, that
> stayed consistent throughout the picture.
> I used an old round sable brush that has its point long eroded. It's a
> favorite brush of mine to use on tree foliage, it's very blunt, but
> has long hairs to hold a good amount of liquid. So, with daubing the
> longer blunt brush, I achieved what I called this "painterly"
> technique or more Impressionistic technique.
> It does take fine lines, too. The horns and eyes of the pronghorn, and
> the insect in the grass, needed some fine strokes, and the surface
> held this well, even though it has a texture.
> I'll use this surface again, even though I love cold press watercolor
> paper. This has been fun, allowing me to try a technique I haven't
> used in a long time, and stretching my imagination.
> Thought I'd share my thoughts. I hope someone else tries it and lets
> us know what they think.
> Happy Spring, Happy Painting,
> Linda M. Feltner Artist, LLC
> P.O. Box 325
> Hereford, AZ 85615
> (520) 803-0538
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