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.
Or email support@palettemomento.com
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.
Find the ragged white band that cuts across the middle of this canvas. Everything in the painting organizes itself around that one stroke. Above it, cream and gold washes stay light and atmospheric, while below it thin drips begin their run down through beige and rust. It also marks the temperature line, since the deep crimson field on the right presses against it without ever flooding into the pale left half. Cover the streak with your hand and the composition loses its center. That single pass of white is doing quiet structural work for everything around it.
The safest walls for this canvas are the ones already living inside it. Warm white and cream let the left half of the painting blend into the room, while the crimson edge supplies all the drama on its own. Greige and soft gray work too, since the painting's own gray washes give them something to answer. In a living room with tan leather, or a home office with walnut shelving, the warm palette pulls the furniture together. The one wall to avoid is anything strongly colored, because a bold wall would fight the crimson field instead of framing it.
Each canvas is painted by hand, so a run of these will carry small differences from piece to piece. The layers keep their order on every canvas and the crimson, orange and cream stay in the same proportions, so a group of these reads as a set rather than as separate paintings. What varies is where each layer breaks over the one below, and that sits inside a normal and acceptable range. If a project needs the pieces closer, we paint the run against one reference canvas.
Layered work needs each pass dry before the next, so the drying is the schedule. Count on roughly nine business days for one to five pieces, and about thirteen for a run of twenty. A batch is more efficient than single pieces here, because the whole run moves through each layer together. Larger sizes add drying time rather than painting time.
Most homes have one wall that never gets solved, usually behind the sofa or facing the entry, too large for small frames yet too visible to leave bare. This canvas is shaped for exactly that job. Its left side stays soft, with washes of cream and pale gray that give the eye somewhere to rest, while its right side builds through orange into a crimson field that can hold a whole room's attention. Because the palette runs from near white to deep red, it connects with almost any warm furnishing you already own. One large canvas settles a difficult wall faster than a cluster of small frames.
The painting reads from left to right, moving from calm into heat. Soft ivory and beige washes open the composition, then warm gold gathers near the center, where a ragged white streak cuts across the canvas like a horizon line. Right of that line the color intensifies, passing through burnt orange into the deep crimson band at the edge. Dark brown patches anchor the middle, while thin drips run down from the central band and mark the surface as honestly hand-worked. The structure is easy to feel, with calm held on the left and intensity held on the right.
The layering here is real. Each canvas is primed with gesso so the paint grips the surface and resists cracking, then the pale base washes of cream and gray go on first, drying completely. The warmer zones are built over that cured ground in separate sessions, with the orange and crimson field deepened layer by layer and the white streak pulled across last so its edges stay crisp. The drips are left where they fall. Where paint thickens into low ridges near the center, side light picks out genuine texture, which no print can reproduce. Full curing comes before packing.
This warm abstract suits more rooms than its bold right edge suggests. In a living room it hangs comfortably above a sofa in cream, gray, or leather brown, where the crimson field picks up any warm accent nearby. In a home office it gives the eye a resting place with movement but no subject to distract. A bedroom takes the cozier reading, especially if the softer left half is what you see first from the door. It also sits well in mid-century, industrial, and warm minimalist rooms, since all three lean on quiet neutrals with one strong accent.
Most people buy art one size too small, then wonder why the wall still feels empty. A canvas with fields this broad is safe to size generously, because the composition has no fine details that distance could hide. Above a sofa or bed, aim for a width around two thirds of the furniture below. On an open wall, let the vertical format run tall, with the center landing near 57 to 60 inches from the floor, the height galleries use. Since every piece is painted to order, the proportions can be matched to the wall exactly instead of rounded to a stock size.
Building a warm wall around this crimson and orange abstract? The gold and yellow sunflower bouquet relief painting (TA37) echoes the same fiery warmth in its golden petals, so the two feel like close relatives, with a real bloom pressed into the surface. The soft terracotta and gray wabi-sabi painting (WA03) is the quiet counterweight, since its hushed terracotta settles the room while staying in the warm family, so the spotlight stays here.
Above a console or credenza, aim for a width near two-thirds of the furniture, and set the center around 57 to 60 inches from the floor. Each size is painted to order, so you see photos of the finished piece before it ever leaves our studio.
The left half holds soft ivory, cream, and pale gray washes with patches of warm gold. The right half deepens through burnt orange into crimson red, with dark brown accents through the middle. A ragged white streak crosses the center, and thin drips run down the lower half.
Yes. They come from the wet layering process and are left in place deliberately as part of the finished design. On the wall they read as a natural record of how the painting was built.
Warm white, cream, greige, and soft gray all frame it well, because they extend the painting's own quiet side. Avoid strongly colored walls, which compete with the crimson field. Test a swatch in your light, since warm neutrals shift between day and evening.
Yes. The crimson can soften toward terracotta or rust, or the whole palette can lean lighter with more cream. Each canvas is repainted by hand to your direction rather than filtered, so describe the balance you want and we will match it.
Yes, because it offers movement without a subject that pulls attention. The warm palette keeps a work room from feeling sterile, while the soft left half gives the eye a place to rest between screens.
Dust occasionally with a dry, soft brush. Avoid damp cloths, especially over the ridged passages near the center. Keep the canvas out of prolonged direct sun so the crimson stays deep.
Very closely, though drips and washes form slightly differently on every hand-painted piece. That variation is part of owning a painting instead of a print. You approve photos of your own canvas before it ships.
A width around two thirds of the sofa is the reliable rule. If the wall is tall, this vertical design can scale up further without crowding the room. Center it near 57 to 60 inches from the floor.