Two Rivers has a unique random surface texture unlike the mechanically even weave of most other branded papers. This also means that there is not a right or wrong side as both sides are identical.
The largest output at Two Rivers is of the famous TR and DeNimes handmade artists paper. This is the paper of choice for many of the country’s finest artists.
It is incredibly hard sized, allowing the painter the luxury of pushing paint around for much longer than with more absorbent artists papers. Because the paint is not drawn into the paper the pigment dries to a sharp and brilliant finish. The inclusion of linen in its make-up results in an unusually tough surface which will resist much lifting out, scrubbing and re-working.
As well as watercolour, our papers are used for other media including pastels, oils, printmaking, photographic processes and many types of mixed media.
“I just want to register my thanks for producing what I think is your most beautiful watercolour paper yet. I have just completed my first painting on one of the Fauve 16 by 20 sheets that I purchased from you recently. What really impressed me also is the ability of the paper to take almost any amount of washing out, even if heavily done to remove a dark or staining colour. At 200 lb no stretching is required, I simply use a good masking tape to hold paper to board and to retain hard edges to the painting as required. A warm hairdryer makes removing the masking tape safer and easier on completion.
I have a feeling that the Fauve will be my paper size of choice for a majority of my paintings from now on. I will recommend the use of Two Rivers Paper to any and every Watercolour artist I meet or am in contact with.
Thank you once again for a first class product.”
— Customer – March 2018
“Two Rivers was an absolute joy to use. It is a heavier weight paper and the colours were… positively sumptuous and the effects of wet into wet were excellent. It accepts multiple washes well, and was still pretty good for line work and resisted damage to the surface from scrubbing, scratching and removal of masking fluid. You could lift colour off easily and the surface was easy to work wet or dry. This is a beautiful paper.”
— Liz Butler RWS Artists & Illustrators Magazine – May 2000