Once again I’m starting a new project and the paper I wanted to use is no longer available here.

Last year I engaged in PAPER TRIPLETEST in order to choose one from the three. With PAPER AFTERTEST the next day I settled for the OLDMILL 250GR and used it for the fifth album of CARTHAGO. I was focused on finding a paper that supports my style of drawing and inking – at the time, I was looking for a solution for BW pages only. With plans to work on comics directly in color I found OLDMILL 250GR lacking for that type of work. Although I managed to complete some samples, it felt more like fighting with paper than working with it:


As I tend to work in many glazes and molest the paper a lot, it has to be a kind that can endure the torture without turning to rag too soon (which sadly is not the case with OLDMILL). In the middle of last year’s testing  I performed also the PAPER COLORTEST and now wanted to use SCHOELLERSHAMMER AQUARELLE No10 as the new platform. But, once again, the one I want cannot be bought here and the quest for the replacement was set in motion, leading me to CARTISSIMA where the whole range of HAHNEMUHLE papers can be found. If they had only the blocks, I would have been forced to choose just one or two, but as they stock all the sorts in sheets also, I was lucky to buy a sample from each paper that intrigued me. I picked them from both categories, student and professional grade, as well a special one made from bamboo fibres. And two samples from LANA (which was bought by Hahnemuhle, or so I was told in the shop).

. . .

So the candidates were, from Hahnemuhle Akademie/student category:


From the mould-made professional category: 300GR MATT300GR CEZANNE300GR TURNER

along with LANAQUARELLE 300GR Grain Fine and LANAQUARELLE 300GR Torchon

And one paper from a special category: 265GR BAMBOO


Last evening I started the PAPER CIRCUS, testing them all side by side. Treating them at the same time with same pigments revealed their specific properties – it was intriguing to observe how they differ in character. I would say that BAMBOO and TURNER sit on the completely opposite sides – while the paint stayed wet on BAMBOO even when the papers I treated later already dried, TURNER is really thirsty and immediately drank the paint from the brush laid on it. Not only the time, but also the way of drying is completely different; the paint tends to settle on BAMBOO in blotches while on TURNER it granulates evenly.

. . .

Here are the swatches, the same pigments on each sample; sometimes it’s quite obvious how radically different the paint settles, sometimes the result are almost identical (as it is the case with two LANAQUARELLE papers, even though the surface textures are different). It would be too long to describe them all in detail, so I will try to be brief and general:

. . .

. . .

So, after this swatch-testing, the conclusion was that destiny played a trick on me. Again.

. . .

The one paper I would choose from this bunch is 300GR CEZANNE, but it is the only one they don’t have in the shop (I performed testing on a small manufacturer sample sheet they were kind enough to give me). I will have to wait for the next shipment in order to thoroughly test it and eventually use it. From the rest, I would go with BRITANNIA as it’s surface is great for drawing and for painting it seems to behave well (by the feel it resembles OLDMILL very much, but behaves better with watercolor) or LANAQUARELLE 300GR Grain Fine. The last one is gorgeous, but it’s surface, being more toothy, is somewhat more difficult for penciling and inking. For painting it’s great. BAMBOO, being so different, intrigued me to test it more.


Bear in mind that the goal of these tests is to find a paper that will suit me both for lineart and color work. Before you try to remind me that the HOT PRESSED watercolor paper was invented just for that purpose, let me say I tried several kinds but didn’t like none of them – to me they are neither pleasant to draw on nor appealing for painting. I’m looking for a paper that will be sufficiently smooth for the fountain pens I draw with, but still have the texture and properties that will enhance the granulation of pigments I love to use.


Using BAMBOO in a real-world simulation confirmed suspicions from the previous round. While it is nice to draw and ink on, with paint it behaves strangely, or at least not as I’m used to. Smaller areas with light glazes seem to do fine (the face, the sleeve and the sword handle), but the larger areas of wetter paint take long time to dry and settle unevenly (as on the cloak and background wash). Maybe with some work and adaptation of approach I could find a formula for it, but for now I ruled it out. As a side note, I found ONE OF THE RARE OPINIONS on this paper and the conclusion is different than mine.


As already said, 300GR BRITANNIA MATT is the most similar to OLDMILL in texture and feel and is a joy to draw on. Luckily, it behaves better in painting department and after the second round became a serious contender.


As is the case with the last one for today, LANAQUARELLE 300GR Grain Fine. What this paper lacks in comparison with BRITANNIA for drawing and inking (the surface being a bit more toothy and spongy) it makes up while painting, behaving greatly, allowing for fluid work with pigments that settle evenly and with pronounced powdery texture. I will also try the TORCHON version, but it looks as if they behave in a very similar fashion.

. . .

That’s it for today! But stay tuned as the PAPER CIRCUS will continue :-)




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Kompletan dijapazon Hahnemühle akvarel papira, Lanaquarelle i Fabriano pride, plus još brdo “svaštanečega” za crtanje, slikanje, štampu i ambalažu. Povrh svega, ljubazni ljudi koji vole i poznaju svoj asortiman, strpljivi, zanteresovani i dobronamerni. Testiram ponašanje raznih pigmenata na brdu papira koje sam dovukao od njih i uživam kao prase :-) Ko voli i ima potrebu za kvalitetnim papirom, od srca preporučujem radnju Cartissima:



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Belle ville au bord de mer;  l’occasion de revoir les amis Philippe Zytka, Christian Peultier, Thierry Gioux et Nuria Sayago, Stephane Crety, Claire Beaino et Luc Vinois; plaisir de rencontrer Annabel, Jerome Maffre, Fred Duval, Paolo Deplano et Silvia Fabris, Alain Poncelet, Ariel Olivetti, Philippe Ogaki et Patricia Lyfoung; la chance d’avoir chambre avec la vue sur la mer; l’opportunite de visiter la cathedrale, de se balader sur la plage, de s’eclater sur les vagues, de se regaler avec les repas et jouer mini-golf ! Tout ca grace a Jean-Pierre Surest et l’equipe entiere. Il y etait meme (et non un mais deux) magasins de materiel pour les artistes juste a cote ! Qui peut demander plus ?

Mes dames et messieurs, festival a Dieppe, parmi les meilleurs ! Merci a tous pour tout !

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Pour ma premiere affiche d’un festival en France, j’ai parti d’un superbe detail de cette jolie petite ville, le relief en bois sur la porte de cathedrale. Comme le dessin va etre imprimé en noir et blanc, en effet en bleu foncé et blanc car c’est la tradition de festival, j’ai voulu faire un dessin qui va etre riche deja sans couleurs et un peu plus contrasté que de habitude. Apres les années de stylo-plume, c’etait tres interessant d’encrer seulement avec le pinceau. Il me reste le travail en aquarelle quand-meme, car ULTIMUS devant la porte d’abbaye Saint Martin va etre utilisé aussi en couleurs pour l’ex libris et l’etiquette de champagne.


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