News page of the Step by Step Art website

The Mystery of Moulin du Roy: Where Did Canson's Beloved Watercolour Paper Go (And Where Is It Now)?

7/6/2025

If you're a watercolour artist who loves the beautiful texture and performance of Canson Moulin du Roy paper, you might have felt a pang of frustration recently. You've likely searched the official Canson website, expecting to find detailed product information, only to come up empty-handed.

You're not alone in your confusion, and it's a completely valid frustration. So, what exactly is the story behind Canson Moulin du Roy, and why is it so elusive on the official brand site?

Old Canson Moulin du Roy watercolour paper, showing pads and sheets with textured, naturally torn deckled edges.

A nostalgic glimpse at the original design of Moulin du Roy paper pads and sheets, featuring those beautiful deckled edges.

Moulin du Roy has a storied history, long celebrated for its 100% cotton composition and cylinder mould-made quality, offering a feel akin to handmade paper. It became a firm favourite among artists for its excellent absorbency, strength, and ability to allow for lifting and reworking.

However, the paper faced a period of uncertainty. While Canson initially produced it, at one point it was discontinued and replaced by other Canson lines. To the relief of many artists, production was thankfully resumed a few years ago.

Crucially, the manufacturing of Moulin du Roy was transferred to the renowned English paper mill, St. Cuthberts Mill. Yes, the same mill that produces other beloved papers like Saunders Waterford and Bockingford! Despite this change in production, the paper is still sold under the Canson Moulin du Roy brand name.

Screenshot of the home page of St Cuthberts Mill in England, UK

Click to visit the website of St Cuthberts Mill

Why Isn't It on Canson's Website (Or St. Cuthberts Mill's)?

This is where the confusion truly sets in, and it's a very common question for artists:

Canson's Strategy: As a large paper conglomerate, Canson has an immense range of products. They likely choose to highlight products they produce entirely in-house or newer lines they are actively promoting on their main website. Moulin du Roy, while a classic, might be considered a heritage product with its distribution handled primarily by retailers. Their website might simply not be structured to showcase every single paper they offer, especially those with external manufacturing arrangements.
Manufacturing vs. Branding: St. Cuthberts Mill produces the paper for Canson under a licensing agreement. Their own website focuses on their proprietary brands (Saunders Waterford, Bockingford, etc.). They aren't typically going to promote another company's brand, even if they are the ones making it.
Reliance on Retailers: Both Canson and St. Cuthberts Mill likely rely heavily on specialist art supply retailers to carry and describe Moulin du Roy. These retailers often include the key details, such as "now produced at St. Cuthberts Mill," in their product listings.

This creates a frustrating information gap for artists seeking details directly from the source. You're left navigating various retailer sites, hoping to piece together the full picture.

The Information You're Looking For (And Where to Find It)

Despite its elusive nature on official brand sites, you can still find comprehensive details about Canson Moulin du Roy:

Manufacturing Method: It's 100% cotton and mould-made on a traditional cylinder machine, giving it a texture similar to handmade paper.
Sizing: Moulin du Roy is internally and surface-sized with synthetic (AKD) or plant-based sizing. This means it's vegan-friendly and does not contain animal derivatives like gelatin, which is common in many other watercolour papers. This also contributes to its excellent lifting properties.
Surfaces and Weight: It's available in Hot Pressed (smooth) and NOT (cold pressed/medium texture) surfaces, typically in 300gsm (140lb) weight.
Availability: You'll primarily find it at reputable online and brick-and-mortar art supply stores. These are the best resources for current stock.
Reputation for Quality: It garnered a reputation as a high-quality, 100% cotton, mould-made paper with excellent working properties, including good absorbency and the ability to handle lifting and reworking. Its smooth (Hot Pressed) surface was particularly favoured by botanical and detailed artists.
Artist Disappointment at Discontinuation: The strong reaction and disappointment from artists when Canson initially discontinued it (before St. Cuthberts Mill resumed production) is a clear indicator of its popularity and the loyalty it commanded. Artists actively lamented its absence and called for its return.

The Case of the Missing Deckled Edges: Why Moulin du Roy Looks Different

A detailed view of the original Moulin du Roy watercolour paper, highlighting its classic deckled edge and the unique watermark: "Moulin Du Roy Canson France.

Deckled edges, the beautifully feathery, untrimmed edges characteristic of traditionally made, mould-made papers, were a feature of the original Canson-made Moulin du Roy. However, the current paper produced by St. Cuthberts Mill no longer has them; instead, sheets now have four straight, machine-cut sides. This shift doesn't signify a decline in quality – many high-quality, mould-made papers are sold with trimmed edges. For Moulin du Roy specifically, this change was likely part of Canson's specifications to St. Cuthberts Mill when production resumed. This decision would align with strategic goals: enhancing manufacturing efficiency by optimising yield from paper rolls and streamlining cutting for standard sizes.

Is Canson Moulin du Roy Watercolour Paper Available Internationally?

A common question artists have about Canson Moulin du Roy watercolour paper, especially given its unique manufacturing story, is its international availability. Acquiring Moulin du Roy outside the UK may involve looking at UK-based retailers who offer international shipping. While its roots are in France (via Canson) and its current manufacturing in the UK (at St. Cuthberts Mill), this high-quality paper is distributed through some art supply networks across the globe, but it's not currently extensively available.

The UK remains the most reliable hub for purchasing Canson Moulin du Roy, thanks to its proximity to the St. Cuthberts Mill production. You'll have the most success finding it at these well-known, dedicated art supply stores:

If you're outside the UK, looking to acquire Canson Moulin du Roy paper, you'll find reliable worldwide shipping options available from both Jackson's Art Supplies and Bromleys Art Supplies.

Screenshot from www.jacksonsart.com - dated 07.06.2025 - Click to visit the product page.

The Canson Moulin Du Roy watercolor paper made by St Cuthberts Mill in the UK and sold online at www.jacksonsart.com

Screenshot from www.jacksonsart.com - Date: 7th of June 2025 - Click the image to visit the product page.

Canson Moulin du Roy at www.artsupplies.co.uk

Screenshot from www.artsupplies.co.uk - 7th June 2025 - Click the image to visit the product page.

For artists avoiding animal derivatives, Canson Moulin du Roy is internally and surface-sized using synthetic (AKD) or plant-based agents, making it entirely vegan-friendly with no animal derivatives. This also contributes to its reliable lifting properties.

Share Your Experience!

We hope this deep dive has helped clarify the mystery surrounding Canson Moulin du Roy watercolour paper. Its unique journey from factory to studio is fascinating!

Now, we'd love to hear from you:

Have you had a chance to work with Canson Moulin du Roy paper?
If you've tried both the original Canson-made version and the current St. Cuthberts Mill production, what differences (if any!) have you noticed in its handling, texture, or performance?
Do you have a preference between the old and new, or any tips for working with this paper?
Share your thoughts and experiences in the comments below – your insights are incredibly valuable to fellow artists!

0 Comments

Tinted Bockingford NOT Watercolour Paper: A Comprehensive Guide to Its Features and Benefits

28/2/2025

0 Comments

For artists seeking a reliable and versatile surface, Tinted Bockingford NOT watercolour paper stands out as a remarkable choice. Manufactured by St Cuthberts Mill in England, this mould-made paper combines archival quality with a distinctive texture, offering a unique blend of performance and aesthetic appeal. Available in a range of subtle tints—blue, cream, eggshell, grey, and oatmeal—this paper elevates artwork by providing an instant mood-setting backdrop. Whether you’re a professional artist or an enthusiastic beginner, understanding the properties of this paper can transform your creative process. This article delves into its key features, practical applications, and finer details, ensuring you have all the information needed to make the most of this exceptional paper.

Six sheets of Tinted Bockingford NOT watercolour paper in blue, cream, eggshell, grey, oatmeal, and white, arranged side by side.

Display of Tinted Bockingford NOT paper tints: blue, cream, eggshell, grey, oatmeal, alongside the standard white variant.

Technical Specifications and Durability

Material Quality: Built to Last

Crafted from 100% high alpha cellulose, Tinted Bockingford NOT watercolour paper is acid-free and buffered with calcium carbonate, ensuring long-term stability. Its pH-neutral composition and absence of optical brightening agents guarantee that colours remain stable and resistant to fading when exposed to light. Rated at 140lb (300gsm), the paper is robust enough to handle heavy washes without buckling, provided it’s stretched or taped as recommended by St Cuthberts Mill. This archival quality ensures that your artwork endures, making it a trusted choice for pieces intended for display or sale.

Practical Specifications

Available in the following sizes:

Full imperial sheets measuring 30 x 22 inches (76 x 56 cm)
Half imperial sheets measuring 15 x 22 inches (38 x 56 cm) (Ken Bromley art store Only)
Quarter imperial sheets measuring 11 x 15 inches (28 x 38 cm) (Ken Bromley art store Only)

Tinted Bockingford NOT watercolour paper features rotary-trimmed edges for a clean, professional finish. Its cold-pressed surface strikes a balance between smoothness and texture, providing grip for pigment without the roughness of a “Rough” finish. Internally sized and wood-free, it maintains structural integrity under wet conditions, though stretching is advised for watercolorists using heavy washes. The paper’s 300gsm weight offers durability without excessive bulk, making it manageable for both studio and plein air work.

Visit the official St Cuthbert's Mill Bockingford NOT website page

Versatility Beyond Watercolour

While designed for watercolour, Tinted Bockingford’s utility extends to a variety of media. Its texture and strength make it an excellent drawing paper, accommodating pencils, charcoal, gouache, pastel, pen and ink, and even printmaking. The tinted backgrounds enhance these applications, offering a fresh alternative to stark white surfaces. Artists have noted its tolerance for multiple layers of coloured pencils and its compatibility with erasers, achieving professional finishes suitable for gallery exhibition. This versatility broadens its appeal, catering to mixed-media artists and those exploring diverse techniques.

Close-up view of Tinted Bockingford NOT paper’s cold-pressed texture, revealing its subtle, irregular surface pattern

Close-up of the distinctive cold-pressed (NOT) texture on Tinted Bockingford paper, showcasing its unique surface quality.

Key Features of Tinted Bockingford NOT Watercolour Paper

Exceptional Pigment Retention: A Standout Feature

One of the most compelling attributes of Tinted Bockingford NOT watercolour paper is its extraordinary ability to capture and hold pigment. Artists using high-quality pencils, will find that even a light touch yields vibrant, saturated colour transfer. This characteristic minimises the effort required to achieve bold, impactful hues, making it an efficient choice for detailed works like portraits or intricate illustrations. The paper’s surface, created using natural woollen felts, provides a random, cold-pressed (NOT) texture that enhances pigment adhesion, ensuring colours remain vivid and true without excessive layering.

Tinted Options: Setting the Mood

Unlike traditional white watercolour papers, Tinted Bockingford offers five distinct hues that add an immediate atmospheric dimension to your work. The transparency of watercolour paint means the paper’s base colour influences both painted and unpainted areas, allowing artists to subtly alter the mood or time of day depicted. Blue evokes serene twilight scenes, grey suggests moody, overcast skies, while cream and oatmeal lend warmth to portraits or landscapes. Eggshell provides a soft, neutral base that complements a wide range of subjects. These tints, though pale, invite experimentation, making the paper a favourite for artists aiming to infuse their pieces with emotional depth from the outset.

Seamless Blending: Effortless Transitions

Blending is where Tinted Bockingford truly excels, setting it apart from many other papers in its class. The surface allows for smooth, effortless transitions between colours, requiring minimal pressure or manipulation. In a practical test with a portrait, initial layers of skin-tone colours blended seamlessly when adjusted with a secondary tone. However, a word of caution: the paper’s strong pigment retention can pose challenges with opaque blending tools. For instance, using Derwent Drawing’s Chinese white to blend proved problematic, as its opacity overwhelmed underlying tones due to the paper’s receptive nature. This unique trait—while a strength—requires careful selection of blending mediums to avoid oversaturation. Opting for less opaque tones or tools can yield harmonious results, preserving the artwork’s intended subtlety.

Close-up of an unblended coloured pencil portrait on grey-tinted Bockingford NOT watercolour paper, showing distinct pencil strokes.

Initial stage of a coloured pencil portrait on grey-tinted Bockingford NOT paper, prior to blending

Close-up of a blended coloured pencil portrait on grey-tinted Bockingford NOT watercolour paper, displaying smooth tonal transitions

Finished coloured pencil portrait on grey-tinted Bockingford NOT paper, showcasing seamless blending results

The paper’s capacity to accept multiple layers without losing integrity is a boon for artists who build complexity over time. Unlike many surfaces that resist additional pigment as layers accumulate, Tinted Bockingford remains responsive, allowing for rich, multi-dimensional compositions. Should mistakes occur, its excellent colour-lifting abilities shine through—pigment erases easily, offering a forgiving canvas for refinement. In one instance, an erroneous application of white pencil lifted effortlessly, enabling a swift correction with an alternative tone. This adaptability makes it ideal for both meticulous planning and spontaneous experimentation.

Layering and Correction: A Forgiving Surface

Enhanced Layering Capacity

Tinted Bockingford NOT watercolour paper demonstrates a remarkable ability to accommodate extensive layering, distinguishing it as a standout medium for artists working with varied pencil grades. This surface readily accepts both soft pencils—ideal for establishing base layers and backgrounds—and harder pencils suited to rendering fine details, without reaching a point of saturation where pigment begins to slide off. In our experience, most papers exhibit a threshold beyond which additional layers become increasingly difficult to apply effectively. However, Tinted Bockingford defies this norm, maintaining its receptiveness even as colours accumulate. This exceptional performance stems from its superior pigment retention, which eliminates the need for heavy-handed applications, allowing for a fluid and effortless buildup of numerous layers—a quality we have rarely encountered in other papers.

Chaffinch on Grey Tinted Bockingford NOT Watercolour Paper using Derwent Drawing pencils

Upon initial evaluation, one of the most striking attributes we observed was the exceptional manner in which the paper captures and retains pigment. For the Chaffinch portrait illustrated above, we employed the Derwent Drawing pencils, and were notably impressed by the minimal effort required to achieve robust colour transfer onto the surface. The paper’s receptive quality ensures that even a light application yields impressive saturation, making it an ideal medium for artists seeking efficiency and depth in their work. When exploring the blending capabilities, it facilitates seamless blending with remarkable ease, requiring only minimal manipulation to achieve smooth transitions between hues.

Female Portrait on Grey Tinted Bockingford NOT Watercolour Paper using Caran d'Ache Luminance and Derwent Drawing pencils

For our second trial, we chose a vibrant portrait. We began by laying down the foundational colours constituting the skin tones of the portrait. Initially, we opted to blend these tones using Derwent Drawing’s Chinese white. However, this proved to be an oversight on our part. Given the paper’s exceptional pigment adhesion—previously noted as a strength—the opaque nature of the Chinese white overwhelmed and saturated the underlying colours, muting the subtleties we had intended to preserve.

Drawing of an oriental lady in a lace black dress and a combination of dry blending and Zest-it solvent blending, executed with Derwent Drawing pencils and Caran d’Ache Luminance on Tinted Bockingford NOT paper

Combination of dry blending and Zest-it solvent blending, using Derwent Drawing pencils and Caran d’Ache Luminance on Tinted Bockingford NOT paper.

This experience was unprecedented in our work with various pencil ranges, as typically, the challenge lies in layering additional colours as the surface becomes less receptive with each application. In contrast, this paper demonstrates a unique capacity to accept multiple layers effortlessly, maintaining its integrity and responsiveness throughout the process. Recognising our misstep, we promptly adjusted our approach. The white pencil, fortunately, erased with ease—a testament to the paper’s versatility and forgiveness—allowing us to refine our technique without compromising the artwork. We then selected an alternative tone for blending, which proved far more harmonious with the existing colours and enabled us to achieve the desired effect.

Blending with Zest-it on Tinted Bockingford NOT paper

Close-up of a female portrait on Tinted Bockingford NOT paper, showing blended Zest-it watercolour pen areas next to unblended pencil strokes

Female portrait on Tinted Bockingford NOT paper, demonstrating Zest-it watercolour pen blending alongside unblended pencil work

Tinted Bockingford NOT watercolour paper proves to be an exemplary surface for combining Zest-it pencil blend with coloured pencils, yielding impressive results for artists seeking refined textures and expansive coverage. Its exceptional pigment retention ensures that the pencils’ colours adhere vividly to the surface, creating a robust foundation that enhances the effectiveness of the Zest-it solvent. When applied, this blending medium produces a remarkably smooth finish, facilitating effortless transitions across larger areas and enabling the creation of soft, tonal backgrounds. This synergy between the paper’s receptive qualities and the solvent’s blending capabilities allows artists to achieve a polished, seamless effect with minimal effort, making it an ideal choice for both detailed compositions and atmospheric expanses.

Art Insights and Availability

User Insights: Real-World Performance

Feedback from artists underscores the paper’s strengths and quirks. Many praise its subtle tints and quality at an affordable price point, noting its suitability for portraiture and atmospheric landscapes. However, some have observed that the tints are less saturated than expected, requiring adjustments in technique to maximize their effect. Packaging issues, such as occasional dents in shipping, suggest a need for improved protection, though these rarely impact the final mounted piece. Overall, users appreciate its forgiving nature and professional-grade results, often citing it as a go-to for both practice and exhibition-quality work.

Availability and Considerations

Tinted Bockingford is widely available through art supply retailers like Jackson’s Art Supplies and Bromleys in the UK, though some regions, such as the US, report difficulty sourcing the tinted option. Offered in single sheets or packs, it’s accessible for artists wanting to test its capabilities. Priced competitively for its quality, it strikes a balance between premium cotton papers like Saunders Waterford and more budget-friendly options, making it a practical choice for regular use.

If you are looking to purchase some of this paper, you can click the links below. Both Ken Bromley and Jackson's Art ship worldwide, but be aware that shipping may be expensive.

KEN BROMLEY'S ART SUPPLIES

jackson's art

Tinted Bockingford NOT watercolour paper is confirmed to be vegan-friendly, making it an ethical choice for artists mindful of animal-derived materials. Produced by St Cuthberts Mill in the UK, this paper is mould-made from 100% high alpha cellulose and internally sized with a synthetic, animal-free sizing agent, avoiding the use of gelatin commonly found in some traditional papers. While its distinctive cold-pressed (NOT) texture is created using natural woollen felts, this process does not incorporate animal products into the paper itself, ensuring it aligns with vegan standards.

Please share this article with fellow artists or enthusiasts who might benefit from exploring Tinted Bockingford NOT paper’s unique qualities.

We’ve explored the unique qualities of Tinted Bockingford NOT paper—from its pigment retention to its blending prowess. Have you tried this paper in your own projects? Share your experiences or favourite techniques in the comments below—we’d love to hear from you!

0 Comments

The Mystery of Moulin du Roy: Where Did Canson's Beloved Watercolour Paper Go (And Where Is It Now)?

Why Isn't It on Canson's Website (Or St. Cuthberts Mill's)?

The Information You're Looking For (And Where to Find It)

The Case of the Missing Deckled Edges: Why Moulin du Roy Looks Different

Is Canson Moulin du Roy Watercolour Paper Available Internationally?

Tinted Bockingford NOT Watercolour Paper: A Comprehensive Guide to Its Features and Benefits

Technical Specifications and Durability

Material Quality: Built to Last

Practical Specifications

Versatility Beyond Watercolour

Key Features of Tinted Bockingford NOT Watercolour Paper

Exceptional Pigment Retention: A Standout Feature

Tinted Options: Setting the Mood

Seamless Blending: Effortless Transitions

Layering and Correction: A Forgiving Surface

Enhanced Layering Capacity

Chaffinch on Grey Tinted Bockingford NOT Watercolour Paper using Derwent Drawing pencils

Female Portrait on Grey Tinted Bockingford NOT Watercolour Paper using Caran d'Ache Luminance and Derwent Drawing pencils

Blending with Zest-it on Tinted Bockingford NOT paper

Art Insights and Availability

User Insights: Real-World Performance

Availability and Considerations

Author

Archives

Categories

SOCIAL MEDIA

INFORMATION

PAGES OF INTEREST