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.
Look at the upper right corner before anything else. A citrus branch reaches into the frame there, and each orange fruit is a single thick daub of paint with dark leaves cut in around it. The branch does a quiet job for the whole picture, since it sits close to your eye while the far shore sits miles away, which stretches the space between them. Its warm orange also answers the terracotta rooftops below, so the corner never feels pasted on. Cover the branch with your hand and the view flattens into a postcard. Uncover it and the depth returns.
This painting carries two strong color families, terracotta orange in the roofs and open blue across the bay, so the wall behind it should stay neutral. Warm white and cream are the safest choices, keeping the town sunny. Pale sand works too, echoing the stone walls of the houses in the scene. If you want more color, a muted gray-blue pulls the bay forward, though it should stay several shades lighter than the painted water. Avoid orange or rust walls, because they cancel the roofs instead of framing them. These pairings hold up in a dining room, a home office, or a living room alike.
A printed version of this scene would give you the image but not the surface. Here the roof tiles are short ridged strokes that physically rise off the canvas, while the bay is worked in stippled texture that catches side light. Under an evening lamp, those ridges throw tiny shadows, so the town seems to shift as you move past it. A flat print stays identical from every angle at every hour. The texture is also why the whites of the houses stay lively, since raised paint reflects light in more directions than ink can.
Terracotta and blue is a pairing that reads as Mediterranean instantly, which does a lot of work in a room that needs a sense of place. The rooftops give the composition structure so it holds from across a lobby. There is no glass over the surface, so nothing reflects a spotlight and nothing cracks in transit. Light dusting is all the maintenance it needs. If a canvas is damaged years later, the design is still ours and we can paint it again.
Terracotta rooftops seen from above have long been associated with settled comfort, since they show a town that has sheltered people for generations. Citrus carries its own history along the Mediterranean, where orange trees have long stood for abundance and hospitality. Both readings live in this Mediterranean rooftop painting on canvas. The clay-red roofs stack down the hillside in the foreground, while the fruit-heavy branch reaches in from the upper right as if you stood beneath it. The scene places you on a warm terrace above the town without needing a single figure.
Everything is built from a high vantage point. Rooftops fill the lower right in warm orange planes with cream walls between them. The bay sweeps across the middle in layered blues, while a pale shoreline of distant buildings runs along the far side of the water. A flower bank of gold, orange, and pink tumbles through the lower left corner. Overhead, the citrus branch closes the top edge like a curtain pulled partway back. Because near and far are stacked this clearly, the scene keeps its depth even at smaller sizes.
Before any color arrives, the canvas receives a gesso primer for adhesion and crack resistance. The blue of the bay and the soft cloud-streaked sky are laid in as the first fields, then left to dry fully. The roof tiles, the citrus fruits, and the flower bank follow in thicker strokes over that cured base, which is how their ridges stay sharp instead of slumping. Drying time separates the sessions, so one canvas comes together over days. A complete cure comes last, before the painting is packed.
As terracotta and blue wall art for a dining room, it does the work of a window, opening the wall onto open water while meals happen beneath it. A home office suits it just as well, because a long view toward a far shoreline gives tired eyes a genuine resting distance between screen sessions. In a living room, the panoramic format stretches generously above a sofa. Whichever room you choose, favor warm white or cream walls, since the roofs glow hottest against a clean neutral.
Thinking about company for these rooftops on a larger wall? The magenta and orange abstract flower garden painting (CA21) echoes the citrus branch and the flower bank directly, so the two canvases share one warm palette across the room. The magenta and blue impasto flower painting (CA20) approaches from the other side, picking up the blues of the bay and returning them with bolder color, which suits a wall meant to build energy.
For a spot above a sideboard or sofa, pick a width about two-thirds of the furniture's width, then center the painting 57 to 60 inches from the floor. The wide format is made for long walls that need stretching. Each size is painted to order, and you approve photos of your finished canvas before it travels to you.
You are looking down from a hillside over a coastal town, with clay-orange tile roofs in the foreground and a wide blue bay beyond. A citrus branch heavy with orange fruit hangs into the top right corner, while flowers in gold and pink spill through the lower left.
Yes, it is painted as a framing device, as if you were viewing the bay from beneath the tree. It also gives the upper corner a warmth that balances the flower bank below, so the composition stays even.
Warm white or cream lets the roofs glow, while pale sand echoes the house walls in the scene. A muted gray-blue can work when kept lighter than the painted bay. Strong orange or rust walls fight the roofs, so avoid those.
It can. The roofs can move toward a softer clay pink, or the bay toward a deeper teal, and the studio repaints those passages by hand following your notes. Real customization means the painting adapts to the room rather than the other way around.
The palette and the scene stay the same, though the exact strokes in the roofs and the bay differ a little from canvas to canvas. That is normal for hand-painted work. You see and approve photos of your own painting before it leaves the studio.
Use a dry soft-bristled brush to lift dust from the ridged roofs and the stippled sea. Never take a wet cloth to the relief. Choose a wall that avoids hard afternoon sun.
As coastal town art for a home office, it gives your eyes a real distance to rest at between screen sessions, since the bay stretches toward a far shoreline. The peaceful subject adds calm without going bland. It hangs just as well over a dining table for the same reason.
Choose a width around two-thirds of the sideboard, centered 57 to 60 inches from the floor. The panoramic shape suits long furniture especially well. All sizes are painted to order.