Complete Artist’s Manual: The Definitive Guide to Materials and Techniques for Painting and Drawing. Simon Jennings
the risk of fibre lift when you are removing masking material and lifting out washes of colour.
Tinted papers
Most watercolour paper is either white or off-white, in order to reflect the maximum amount of light back through the transparent washes of colour. Some manufacturers, however, specialize in a range of tinted papers, and these are often used when painting with body colour or gouache.
You should always check that the tinted paper you buy is sufficiently lightfast. Good-quality papers will not fade under normal conditions, but cheaper paper may not be as permanent as the colours that are laid on it, and in time the change could affect the overall tone of your painting.
Many artists prefer to apply their own tint by laying a very thin wash on white paper.
Watercolour sheets
Watercolour paper is most commonly sold in sheet form. In addition, many mills supply their papers in rolls, which are more economical, and pads. Spiral-bound pads are particularly useful for when you are working outdoors. They are available in a wide range of sizes, although they usually contain 300gsm (140lb) Not paper.
Watercolour blocks
These comprise sheets of watercolour paper which are ‘glued’ together round the edges with gum. This block of paper is mounted on a backing board. A watercolour block removes the need for stretching paper.
When the painting is completed, the top sheet is removed by sliding a palette knife between the top sheet and the one below. Although more expensive than loose sheets, watercolour blocks are convenient and time-saving for artists.
Watercolour boards
Watercolour board is yet another way of avoiding the need to stretch paper. It consists of watercolour paper which is mounted onto a strong backing board in order to improve its performance with heavy washes.
Try before you buy
Smooth-texture paper
Medium-texture paper
Rough-texture paper
Trial and error can be a costly affair, given the price of the average sheet of watercolour paper. However, most paper manufacturers produce swatches or pochettes – booklets containing small samples of their ranges. These provide an excellent and inexpensive means of trying out several types of paper.
Trevor Chamberlain
Reclining Nude; Snow, Late-evening Effect; Showery Evening, Isleworth All watercolour on paper Various dimensions
Texture
There are three different textures of watercolour paper: (from top to bottom) hot-pressed or HP (smooth), Not or cold-pressed (medium grain) and rough. Each manufacturer’s range is likely to have a slightly different feel.
Handmade papers
Esportazione
by Fabriano
Surfaces: Not and rough Weights: 200, 315, 600gsm
Content: 100% cotton rag, tub-sized
A robust, textured surface that stands up to erasure and scrubbing and carries washes without sinking. Four deckle edges. Watermarked.
Richard de Bas
by Richard de Bas
Surfaces: HP, Not and rough
Weight: 480gsm
Content: 100% cotton rag, internally sized
A thick, robust paper with a fibrous texture. Washes fuse into the paper structure. Four deckle edges.
Watermarked.
Indian
by Khadi
Surfaces: HP and Not
Weights: 200, 300gsm
Content: 100% cotton rag, internally sized
A strong paper, able to withstand wear and tear. Lifting out colour is easy, and masking fluid rubs off well.
Artists’ Paper
Surface: Not
Weights: 175, 250gsm
Content: 100% cotton rag, tub-sized, loft-dried; buffered with calcium carbonate
Gently absorbent, but robust and firm. Also available in cream, oatmeal and grey. Four deckle edges.
Mould-made papers
Arches Aquarelle
by Canson
Surfaces: HP, Not and rough
Weights: 185, 300, 640, 850gsm
Content: 100% cotton rag, tub-sized, air-dried
A warm white paper with a robust, yet soft, texture. Carries washes without undue absorption. Resists scrubbing and scratching. Lifting out is difficult, and fibre-lift occurs when masking fluid is removed.
Lana Aquarelle
by Lana
Surfaces: HP, Not and rough
Weights: 185, 300, 600gsm
Content: 100% cotton rag, tub-sized
A good, textured surface. Lifting out and removal of masking fluid are easy. All weights stand up well to washes without undue buckling.
Bockingford
by Inveresk
Surface: Not
Weights: 190, 300, 425, 535gsm
Content: 100% cotton rag, internally sized, buffered with calcium carbonate
A versatile, economical paper, robust yet absorbent. Lifting out is easy; masking fluid comes away cleanly. 30Ogsm also in tints.
Saunders Waterford
by St Cuthbert’s Mill
Surfaces: HP, Not and rough
Weights: 190, 300, 356, 640gsm
Content: 100% cotton rag, internally and gelatine sized
A stable, firm paper, which is resistant to cockling, and with a sympathetic surface. Scrubbing, lifting out and masking are easy.
| Weights of watercolour paper |