Jennie Johnson, President of the Arizona Watercolor Society: "The paper has all the best features of hot press and cold press, without any of the drawbacks"
Julie Rearick, Secretary of the Alaska Watercolor Society: "I took a few of the sample blocks to my painting group and we all loved the paper!!! I can assure you that I will be passing the good word about your product to our membership and fellow artists."
Ron L. Jumper Jr., Aquanet member "The Acqua didn’t buckle like most papers do, even when it was soaked. It has a nice, soft texture and it works well for both wet-in-wet and hard-edged wet-on-dry techniques. It’s as good as any paper I’ve used of a comparable weight and surface texture…I look forward to trying the other varieties".
Louise Franco, Aquanet member: "For me the best results have come from working with a dryer brush and going back with a wet brush. The pigment is easily moved around on this paper. In fact, you can lift the color at will without leaving any telltale marks. I’ve been working on a painting of artichokes – cut open – and I painted one of the stems too short, so I lengthened it and painted it over another stem – believe me when I say this, you can’t tell that one of the stems had been shorter. This paper is amazing! Then I tried a also tried a small landscape with trees and water. Thought I’d use some frisket to save some white for birds on the water and thought for sure the frisket would dry right into the paper, not allowing me to rub it off. Well I was wrong! The frisket came off very easily. I was able to do a a very quick and simple lacey tablecloth with folds that was better than any other I’ve ever done because you can manipulate the paint so easily. Although I have been able to get hard edges (when working fairly dry), This paper allows you to make those edges smooth and rounded, even then you can drop in wonderful shadow colors which disperse beautifully if the paper is wet enough."
Eileen Korponay, Editor The Watercolour Gazette: "I love the way it takes glazes if one is careful not to abuse the paper. I enjoy the way it stays flat, even after repeat wettings. If it were in stores I would buy it."
Debra Edgerton, Art instructor Northern Arizona University; (working in oils) "I loved it because I could get a smoother look and continue to build up my paint without having to worry about lifting up the color or waiting for the first layer to dry. I’ll be working with this paper from now on".
Tony Onley, Federation of Canadian Artists: "I love your paper. It is particularly good for my style of painting. The colour retains all its richness but also I can pick out high lights by painting in shares with a Kleenex."
Nancy Moskowitz, Florida Watercolor Society: "No scrubbing and no need to worry about damaging it. Edges soften. Colors lift nearly completely with the gentlest touch. I felt like I could work the paper forever. And the pigments broke, mottled, textured so beautifully and without any effort on my part. The paper stayed flat as a board the whole time even though parts were completely dry and some very wet in wet. It is beautiful and fun. I like it I really like it."
Mary Helsaple, President of the Pike’s Peak Watercolor Society: "Many of our members used the samples and found the paper to be of exceptional value. I have fallen in love with this paper. From the first moment of putting on a wash and monitoring the fluidity of the blending colors, I was impressed".
