Clairefontaine Paint-ON Multi-Techniques A Grain Pad A4 250g 20 sheets

The Clairefontaine Paint-ON à Grain A4 is a heavyweight multi-technique pad for artists who need a single surface that handles serious wet and dry media without compromise. At 250 g/m² the cellulose stock behaves closer to illustration board than standard drawing paper — remaining flat under moderate to heavy water exposure and handling overlapping layers of watercolor, acrylic, gouache, and heavy Indian ink without tearing, pilling, or warping. The dual-sided surface design gives a high-tooth grained face for dry media including pastel, chalk, charcoal, and graphite, and a flat smooth reverse for precision calligraphy, technical fineliners, and ink wash detail work.

The A4 format covers studio assignments, portfolio entries, and daily multi-media projects at a manageable scale. Top-glued binding for clean, damage-free sheet separation. Acid-free, pH-neutral, and PEFC certified for long-term archival stability.

Technical Details

• Format: A4 — Sheet count: 20
• Paper weight: 250 g/m²
• Paper composition: 100% cellulose
• Paper color: Extra-white
• Surface: Dual-sided — raised grain front, smooth reverse
• Binding: Top glued — clean tear, no fraying
• Recommended media: Watercolor, acrylic, gouache, heavy Indian ink, fineliner, charcoal, soft pastel, colored pencil
• Certification: PEFC certified — acid-free, pH-neutral

Common Questions

• How does the 250 g/m² weight compare to standard drawing pads? Standard multi-technique pads typically run between 90–160 g/m². At 250 g/m², the Paint-ON stock is significantly thicker and more structurally rigid — closer to illustration board — giving it substantially better resistance to buckling under heavy wet media applications.
• Can full watercolor washes be applied without the paper warping? Yes. The 250 g/m² weight handles moderate to heavy watercolor washes without significant warping. For very large pooled washes on the A4 format, allowing each layer to dry fully before applying the next minimizes any minor surface movement.
• Which surface side is best for mixed wet and dry work in the same piece? The grained front face works best as the primary working surface for mixed technique — the tooth grips dry media while still absorbing wet media effectively. The smooth reverse is better suited when precision ink or marker work is the primary technique.