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View Poll Results: What is your favorite side?
Rough side 25 17.24%
Soft side 65 44.83%
Both depending on the subject 27 18.62%
I don't like Canson Mi-Teinte 28 19.31%
Voters: 145. You may not vote on this poll

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Old 10-12-2006, 10:05 AM
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Dot Hoffman Dot Hoffman is offline
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Re: Canson Mi-Teintes: which side and why?

What interesting discussion. The instructor in my first pastel class, and actually another instructor in a later pastel class as well, said to use Canson, but I really don't like it at all! Like so many others here, the "rough" side really turns me off and the smooth side doesn't hold enough. I like Wallis and ColorFix the best, but usually buy ColorFix because of the price. I don't mind that the sanded papers "eat" my pastels; better that than not being able to put down any more pastel because there is no tooth. I do mostly landscapes and still lifes, so I need to be able to layer.
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Old 10-17-2006, 07:01 AM
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Re: Canson Mi-Teintes: which side and why?

I use Canson, smooth side only, in dark shades. I can get many layers by using a light spray between the layers. I have tried pastel board but have had trouble with pastel coming off onto the mount, and it's too expensive. Wallis is awful for me - I tried all sorts of ways to cover the horrible white and none of them were successful - though the darker coloured Wallis might work better,
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Old 11-03-2006, 03:39 AM
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Donna A Donna A is offline
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Re: Canson Mi-Teintes: which side and why?

I never liked that "official" front side of the Canson with that mechanical pattern that makes me think that someone forgot to put all the manhole covers back on. :-)

What surprised me soooo much eventually was finding that Canson papers fade, the darker, usually the more fading. I had several sheets stored on flat, open-ended shelf with about 4" of vertical clearance. The papers ended up laying there in the shade of the shelves, perhaps 4" back from the front edge of the shelf so NO sun could possibly get to it---yet the Canson papers faded. I took the navy Canson and another dark and medium or two to our next MidAmerica Pastel Society meeting. One of our members, marvelous painter and human, John Roush, was then using Canson always for his gorgeous small pastels---and was concernedl He had a number of different colors and quite a stock of it. He cut sections of different Canson colors---pieces wider than a large index card and as high, and mounted them on foam core board, then covered half of each color with very opaque black paper and hung this fade test in a south window at that Autumn time. After less than two months, he took down the test strips to check them----and he was so surprised that such a clear difference between the protected areas and the uncovered areas had happened in such a short time (for color fade tests) particularly when going into Winter when the periods of sunlight were considerably shorter each day.

John brought the test panel to the MAPS meeting and showed everyone the fading. He told us that he was going to stop using Canson, and would use up the rest of that paper as back covers for his framed paintings (where the light could not get to the paper.) He gave me the test panel and I've looked at it several times over the last several years. Pretty amazing. Some of you who use Canson regularly might like to make a test chart for yourself. Hanging the test in a south window speeds up the process to let you know what could happen over several years.

Another MAPS member, and long-time professional who lives two states away was on the phone with me one day and we were talking about this issue. She said she used the darker colored Cansons---but it didn't matter because she covered it up completely with her pastels. When she came to town the next week, I got to see a number of her very large and lovely paintings. I immediately named the color of each paper she was using. She could not imagine how I could "guess." Geee----paper showing through alllll over the place----and each painting was carefully keyed to the color of the paper. That rich, deep burgundy was going to fade to a lighter, grayish mauve. She moved on to Colourfix when she saw the test panel John had done.

Another friend and fun, great human, Terry Ludwig, whom most of you all must know or know of, loves his canson, but he does indeed rub a whole layer of his lovely soft pastels all over the paper as a base for his painting---and I do believe that protects the color integrity of the paper pretty well. But he really, really rubs a good layer of pastel allllll over the paper surface!

Light colors are already light, so they are not going to fade. Just something good to be aware of.

I had used some Canson early on in my pastel painting in the early 80's, but having had a very active printmaking studio creating mostly large etching landscapes, I had sooo much wonderful rag paper on hand, some of it in mellow colors, so I tended to use that the most and usually did pastels which were 28"x40" or 33"x 44" and such, depending on the size of the rag paper. And eventually other options became available--including archival sanded papers by Wallis and Art Spectrum Colourfix, the latter being my most favorite.

We all do need to experiment to see what really fits with our expression, our style of painting. And it is really good to know any shortcomings of our materials so that we can take that into account. Take good care! Donna ;-}
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Old 11-04-2006, 02:14 PM
PeggyB PeggyB is offline
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Re: Canson Mi-Teintes: which side and why?

To me, Canson is a good student grade paper, but I don't personally use it for any of my work. Many students I have are very new to pastels, and tend to not want to invest too much money initially into their supplies. Therefore, a set of Faber Castell Goldfaber pastels and a couple sheets of Canson paper (one warm and one cool gray) is enough to get them started. However, after the first couple weeks, almost all of them are "hooked", and they quickly move on to buying better and more pastels and Colourfix paper! I'm very upfront with them in that I tell them that the Canson papers will fade as will student grade pastels, but at this point they are students learning about the medium. When they ask if they can use hair spray as a fixative, I tell them something similar: hair spray will destroy your paper, but it is up to them to decide if they want to use it. In the instance of fixative, I do however encourage them to use "real" fixatives that don't darken the pastels, and they usually go along with that once they see the difference that I illustrate. They do use all of their Canson paper, but learn to layer by spraying often with Las Caux workable or Grumbacher final fixative - some even prefer it.

There was one time I had to use Canson for a demonstration. I'd been asked to drive to Portland (Oregon) to demonstrate Sennelier pastels on Le Carte paper for the grand opening of an art supply store. I was told all supplies would be there for me so not to bring any of my own. Well, the paper hadn't arrived, and the only pastel paper they had was Canson - I had to spend 6 hours working on Canson paper with the soft Sennelier pastels! The only saving grace was they did have Las Caux fixative, and before the end of the day I'd sold every can of Las Caux they had in stock with my demonstration!! People even came back to the store to watch my progress. That painting went on to be accepted into a major multi-medium competition in California, and then I sold it here in Washington. It was painted on red/orange, and you can see some of the red under the layers. I always hoped the fixative helped screen the paper color even thought it is framed under UV glass.

Red Earth


Peggy
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Old 11-09-2006, 07:16 AM
lwood lwood is offline
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Re: Canson Mi-Teintes: which side and why?

I'd use either side so I voted both. The textured side is a different style and approach that is harder to learn but more interesting when mastered. Nothing wrong with Canson, as long as you understand it doesn't take alot of layers and not much abuse. You have to get it right the first time so the planning must be more careful. If your style is more deep layering and overpainting then you'll probably get into trouble with Canson. I think it's good for the beginner because it enforces disipline in the approach and it's inexpensive.
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Old 11-14-2006, 04:33 AM
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Re: Canson Mi-Teintes: which side and why?

I personally 'love' Canson, the smoothside is what I use all the time.
I am not a big fan of the rough side, although I have seen others who have produced great work with it.
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Old 11-15-2006, 03:54 AM
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Katherine T Katherine T is offline
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Re: Canson Mi-Teintes: which side and why?

Thanks for the information about the lightfastness Donna. I've certainly noticed the darker shades fading dramatically.

I must confess even knowing that I'll probably still keep using the lighter shades for my coloured pencil work when I find white to be just too harsh as a colour to work on. As you say lighter shades are not going to fade so much.
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Old 11-23-2006, 09:47 PM
DennisH DennisH is offline
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Re: Canson Mi-Teintes: which side and why?

Hi! I don't post as often as I probably should. I am also new to pastels and love this site and the ability to learn through reading all of the discussions on the various topics dealing with pastels.

I have had a few art lessons, and never really realized that there is a "right side or a wrong side to any of the pastel papers I've used. Granted, to-date, I have only had experience with Canson and ArtSpectrum. To me, and this may actually indicate how "inexperienced" I really am -- I see value in all the various brands and types of pastel supports. I think its a personal choice, probably driven by the subject, and your technique as a pastelist.
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Old 11-24-2006, 08:06 AM
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Katherine T Katherine T is offline
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Re: Canson Mi-Teintes: which side and why?

I was putting a link about Canson Mi Teintes Paper into one of my squidoo lenses this week and noticed that they were making a big thing about the Mi Teintes being light fast. I note that Dick Blick is also characterising Mi-Teintes as lightfast

Maybe what we're seeing is batches of old paper being used up - either by us or in art suppliers?

If they have made it lightfast I wonder how you're supposed to know?

Howard - do you have any answers?
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Old 12-06-2006, 08:09 PM
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Re: Canson Mi-Teintes: which side and why?

I placed my vote on "can't stand the stuff" The pebbled side frustrates me no end and the smooth side just won't take enough layers for me. Ihave tons of the stuff too, but think I can use the smooth side for drawings and colored pencil. I love the textured or sanded papers. Dianna Ponting introduced me to La Carte and I think I will be using it more now.
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Old 12-27-2006, 02:22 AM
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Re: Canson Mi-Teintes: which side and why?

I find the smooth side to be preferable by far, although since DF Gray likes the rough side, and gets such marvelous results, it does tempt me to use the rough side sometimes, especially when you want the ground to influence the whole painting. The lightfastness issue is very distressing though!

I like to use canson for figure drawing and sketches, but I don't think I'd use it for a large piece that I was planning on selling. Having the strong background colors are terrific in figure drawing, I have one on a muted purple ("twilight" I think) and using just a lightish white, black and burnt sienna contes I got a nice range of values. But with the fading issue, it would be difficult to frame properly.

My preferred paper is Wallis with various tinted backgrounds using Createx airbrush colors to tint the background in advance. I like colorfix, but haven't ordered any lately, and Sennellier LaCarte is good too, just don't use any water on it!

My biggest disapointments have been watercolor paper (not enough tooth and too white!!!) and Hannemuhle paper (bland colors and a funny pattern plus expensive!)
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Old 12-27-2006, 11:07 AM
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Re: Canson Mi-Teintes: which side and why?

I used Canson for many years as a beginner. But with my multi-layering style and heavy hand, the Canson was frustrating. I was very happy when I discovered Windberg (not sure if still sold - made in Canada, I believe) sanded paper. Then I discovered LaCarte and later Kitty Wallis created her fabulous paper. An artist friend of mine, Fred Somers (referenced earlier in this thread), has used Canson for decades. His style is very direct with small amounts of pastel. Currently, he even uses sandpaper to sand the surface (back side) of Canson paper. The mechanical side of Canson is very annoying. I still have some Canson around the house but use it for craft projects instead. Current pastel artists should be very pleased with the variety of art supplies for pastel artists (paper and brands of pastels). The supplies make creating art more of a pleasure instead of a frustration.
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Old 12-28-2006, 03:18 PM
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Bill Foehringer Bill Foehringer is offline
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Re: Canson Mi-Teintes: which side and why?

I don't use it any more. I prefer Wallis paper. I can tint it any way I want so the white museum grade is not a problem. My next step might be to make my own sanded panels.
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Old 04-10-2007, 04:23 PM
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Mike_Beeman Mike_Beeman is offline
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Re: Canson Mi-Teintes: which side and why?

I don't know how anyone could not like Canson paper...it was just made for pastels of all sorts!!!
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Old 04-13-2007, 07:00 AM
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Re: Canson Mi-Teintes: which side and why?

Hmmm, this is very interesting. I first started out using cheap pastel paper books in various shades, and cheap pastels - what a waste and an eye opener! A gave them to my local kids art group for practice.
I bought a set of Winsor & Newton pastels - what a difference, and especially so when I upgraded to Canson Mi. I thought I was working with Rolls Royce style equipment. Now though I feel as if I'm missing out on something with the lack of support for Canson I've read on here so far.
Has anyone got any helpful suggestions for a good, fair priced paper in England? No doubt I will have to get it by mail, so the weight of paper will be a consideration when purchasing.
All help as usualy, gratefully received.
Regards,
Pabs
 


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