Each PaletteMomento piece is an original, made to order and finished entirely by hand.
Built to last and easy to install. Every piece is made to look right on the wall and stay that way for years.
Make it truly yours. Beyond size and color, we can paint almost anything you can imagine.
Every painting is created the slow way, by hand, by real painters, one canvas at a time.
Nothing leaves the studio that you have not already seen and signed off. We work with you at every step, so there are no surprises on arrival.
Packed the way your project needs it. Prices are EXW our Shenzhen studio, so the freight stays visible and separate.
Any size outside this list is produced to your dimensions at the same rate.
Rolled Canvas
Frameless Stretched
Black Frame
White Frame
Wood Frame
Silver Frame
Gold FrameWhatsApp: usually an immediate reply. Email: usually within 12 hours.
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We paint every piece to order in Dafen, Shenzhen, so the size, the palette and the finish are all decided by your project rather than by what happens to be in stock. You see photographs of the finished canvas before it ships, and nothing leaves the studio until you approve it. Trade pricing starts at one piece, and the rate improves as the count goes up.
The dress in this painting is not laid on flat. Every color block, from the ruby reds to the orange, pink, and green squares, is a thick slab of paint that stands off the canvas. In morning light those blocks look bright and open, while the straw sunhat glows a soft, pale gold. Under a lamp in the evening, each raised block throws a small shadow along one edge, so the dress deepens and the whole figure gains weight. Even the quiet gray-teal wall on the left, troweled on like worn plaster, picks up that changing light and shifts from cool to warm as the day turns.
An entryway is the strongest placement, on the narrow wall beside the door that wider art always leaves bare. The piece meets people with a burst of summer as they arrive, since the woman in her sunhat seems to be strolling into the room. In a living room, set it on a plain wall near the seating so the ruby and teal blocks lift the whole palette. In a bedroom it belongs on the wall that is seen first thing, so the bright dress opens the day on a warm note. The vertical shape fits all three, filling the kind of upright wall that wider art leaves bare.
Each canvas is painted by hand, so a run of these will carry small differences from piece to piece. The pose and the hat keep their shape on every canvas, and the ruby and teal stay in the same proportions. The impasto marks across the hat and the background vary from one to the next, which is inside a normal and acceptable range. If a set of rooms needs matching, we paint the run against one reference canvas.
Thick paint over a figure means two stages and drying in between. Budget about ten business days for one to five pieces, rising to about fifteen for twenty. The hat is where most of the texture sits, so a version with a quieter hat runs a little faster if the schedule matters more than the relief.
A single figure walking in a wide straw sunhat is a subject painters return to again and again, because it carries a mood without telling a story. The woman here is shown in clean profile, mid-stride, dressed in a patchwork of ruby, orange, and green. She is not a portrait of anyone in particular. She stands for an easy, unhurried summer day, the kind of walk taken for its own sake. Figures at leisure like this have long been associated with warmth, freedom, and time that belongs to you.
A photograph of the same woman would give you her exact features, the weave of the hat, the seams of the dress. This painting does the opposite and keeps almost none of that detail. The face is a few calm planes in profile, the hair a mass of dark curls, while the dress is a stack of pure color blocks with no pattern drawn in. What you lose in likeness you gain in feeling, since the eye reads the blazing reds and cool teals as pure mood before it works out the shapes.
The canvas is split down the middle into two moods. The left third is a quiet, weathered wall in gray, teal, and muted green, troweled on flatly like old plaster. The right two-thirds is where everything happens, as the woman strides across a bright mosaic of pink, orange, coral, and blue blocks. Her ruby-and-green dress is the loudest note, set against the darker column of her hair. That split makes the piece work, since the calm gray side gives your eye a rest before it returns to the color.
The surface begins with gesso, a primer that grips the paint while guarding against cracking later on. The background wall and the base shapes of the figure are laid in first, then left to dry into a firm foundation. On top of that dried layer, the color blocks of the dress and the mosaic behind her are built with a palette knife. Each slab is pressed on and left standing, so its raised edge stays sharp. Because the paint is this thick, every stage needs drying time, so a piece like this is measured in days, then packed only once the relief has cured.
Bold figurative wall art like this earns a spot where a room needs a lift of color and a clear focal point. An entryway is the strongest placement, since the tall shape suits a narrow wall while the bright dress makes a warm first impression as you come and go. It also holds a living room, hung near the seating so the reds and teals set the tone for softer furnishings. A bedroom works too, on the wall a bed faces. The one rule worth keeping is a calm, simple wall in white or soft gray.
Want to build a sunny, walk-in-the-Mediterranean feel around this strolling figure? For a color echo, the bright blue and orange harbor houses canvas (IA60) picks up the same warm reds and oranges of her dress, so the two read as one holiday palette. For a quieter counterweight, the blue and green hazy bay village canvas (IA61) offers a calm, hazy landscape that lets this bolder figure keep the focus.
For placement in an entryway or above a console, choose a width about two-thirds of the furniture or wall segment below, and center the piece around 57 to 60 inches from the floor. Every size is painted to order, and you approve photos of your finished canvas before it ships.
She is not a specific person but a figure at leisure, a woman in a wide straw sunhat strolling in a patchwork dress of ruby, orange, pink, and green. She is painted in profile from thick palette-knife blocks, so she reads as a mood of easy summer rather than a portrait.
Yes. You can ask for cooler blues and greens for a calmer look, a warmer run of reds and corals for more heat, or a softer background wall. Each canvas is repainted by hand to your direction, so the color balance is set by you, not filtered from the original.
A calm, simple wall works best, so white, soft gray, or greige let the ruby-and-teal dress carry the color. A strongly colored wall competes with the figure and dulls both, so keep the background quiet.
An entryway is the strongest spot, since the tall vertical shape fits a narrow wall and the bright dress greets people at the door. It also works in a living room near the seating, or in a bedroom on the wall you see first each morning.
On a narrow entry wall, let the vertical format run tall, because the upright shape is the point. Above a console, keep the width to roughly two-thirds of the furniture below, centered near 57 to 60 inches from the floor.
It will match closely, though not block for block, since every dress is built up by hand with a knife. That small difference is exactly what marks it as an original rather than a print. You approve photos of your own canvas before it ships.
A dry, soft brush is all it needs for dusting, and damp cloths should stay off the raised color blocks. Long hours of direct sun will age any oil surface, so choose a spot with indirect light.
No minimum, and trade pricing applies from the first canvas. Buyers often order one to see the impasto in person before scaling up, which we encourage on the heavier textured designs because the relief does not photograph the way it looks on a wall.