FAQs

What is a giclée print?

Which is the best file format to store my work?

What are the dimensions of the papers?

How do I store my paper?

How do I copyright my work when high resolution reproductions can be achieved today using scanners?

Why does the colours on my monitor not look the same as those on the reproduction?

Do I have to calibrate specific settings on the printer prior to printing? When do I use a profile?

Why use an ICC profile?

What to do when paper curls?

Which grammages can conventional printers work with?

Does Hahnemühle recommend any specific printer?

Why use Hahnemühle papers?

Is the paper available as a roll?

What is the difference between a calendered, matte, rough, extra rough and torchon surface?

Smooth, calendered surfaces

Calendered paper acquires its very smooth, glossy surface by being compressed between heated rollers after leaving the paper machine. Watercolours appear that much more brilliant on this surface. Glossy surfaces are excellent for the finest detailed drawings, glazes and washes, where the paint can be removed again. These papers are however not as suitable for large-scale wet in wet work.

Matte surfaces

Matte surfaces are used for delicate paintings and are suitable for beginners because of their slightly irregular surface that impacts only slightly on brush control and paint flow. These surfaces can be recommended for all watercolour painters who like to work with fine details. Users can obtain full brush strokes in the wet in dry technique and even glowing colour gradation using the wet in wet technique.

Rough surfaces are integrated in the painting and produce bold pictures with relief effects.

The rough, irregular, grainy structure makes watercolours appear more vivid and is the most popular surface. The textured surface is created either directly during production on the cylinder mould machine or by an embossing process after production.

Rapid brush strokes on dry surfaces, lightly applied, leave unpainted areas on the surface. White “points of light” in the hollows of the surface that have not filled with paint lend the painting an attractive appearance. In the wet painting technique, the deeper areas take on more colour. This creates light/dark effects that contribute to the brilliancy of the colours. Paint can be removed from these papers right down to the original white. (Exceptions to this are papers containing rag). This surface is ideal for atmospheric paintings, for two-dimensional colour application and for extreme wet in wet techniques.

Extra rough surfaces.

This distinctive surface emphasizes the “points of light” effect. When using this surface it is best to work with the wet technique using ready mixed paints.

The term torchon comes from the French and is associated with a very coarse linen structure.

Papers with this designation have a distinctive undulating surface structure. Paints flow differently on these papers than on the other watercolour papers. With wet in wet most colours bleed a lot and produce prominent halos. In addition the colour is integrated into the sizing creating brilliant pictures. Torchon papers are not suitable for beginners but are predestined for experienced painters.

As a rule of thumb:

If you want to paint in more detail and realistically then matte surfaces are recommended. For generous, painterly methods or grainy techniques rough and torchon surfaces are more suitable.

Which watercolour paper is the correct one?

What is the difference between mould-made watercolour paper and akademie watercolour paper?

The difference and hence the difference in name of both product lines stems from the different production processes and the resulting paper quality. Two types of machine are employed in the production process, the Fourdrinier machine and the cylinder mould machine. The Fourdrinier machine uses a continuous wire or screen that moves along like an endless belt. The stock or water pulp is sprayed or dropped onto the moving wire. This belt is vibrated along prompting the water to drain out through the wire leaving behind the pulp that solidifies into an endless sheet of paper. This process ensures that the fibres are deposited in one direction only, impacting on paint flow thus ensuring the predictability of the colour gradation. Up to 110 m of paper/min are produced on the Fourdrinier machine.

By contrast traditional paper production uses a cylinder mould machine where the cylinder is immersed in a vat full of pulp slurry. Water is pumped out of the cylinder whilst the cylinder rotates. The rotating motion means that the fibres are deposited haphazardly onto the circulating felt producing the sheets of paper. On genuine mould made papers the pigment flow is therefore not predictable, so these papers are reserved for more experienced artists. The slower the cylinder rotates during production, the higher the quality of the finished product. These high-quality mould made papers have 4 deckle edges. Up to 14 m paper/min are produced on the cylinder mould machine. The term “mould made paper” was originally used to describe handmade papers (from the vat). The present-day automated production resembles handmade production in the slow, careful production process. Hahnemühle is one of the few artist paper companies worldwide that continues to use this production process today.

Pads or single sheets

Pads are recommended for everyday use. The high quality Hahnemühle watercolour pads are gummed on all sides with a gauze strip that ensures optimal flatness of the paper. The finished painting is removed from the pad using a folding tool once it has completely dried and has smoothed out.

Single sheet

Single sheets, in the case of mould made paper with genuine deckle edges and watermark, offer an even higher quality painting surface as a result of their attractive appearance. Especially for wet in wet painting technique these sheets can be dampened in water for hours without being damaged. Before painting the larger sheets should be stretched over a strong supporting surface (chipboard panel) using adhesive tape or tacks.