We can explore 3 ways that watercolour paper is special compared to other types of paper.
The first way watercolour paper is different from other paper is its weight. When painting, the amount of water you use will determine how the paper will react. The thinner paper will distort or bend, while thicker paper can manage the water without warping. 140lb /300gsm is considered the standard weight for watercolour paper. Heavy weight paper is used by painters that enjoy working very wet with watercolours. Many professional watercolourists only use 300 lb / 640 gsm paper for their projects.
Watercolour paper – since it uses water – needs to be more absorbent than traditional paper. This is why watercolour paper uses cotton intertwined in its fibres. This is also the reason watercolour paper doesn’t warp or buckle under water as quickly as traditional paper – such as computer paper, drawing paper, and even Bristol paper (which is much thicker in appearance compared to other papers).
Texture (also known as the “tooth” of the paper) is key when painting with watercolour. As one would guess – the more “tooth” or bumps to the paper – the more absorbent the paper will be.
Watercolour needs an absorbent surface in order to adhere properly. However, the paper shouldn’t be so soft and absorbent that all the colour sinks in and the structure of the paper is compromised.
If you choose the right surface, it can greatly enhance the appearance of your artwork. There are 3 surfaces of watercolour paper: Rough, hot-pressed (HP), and cold-pressed (NOT).
A pronounced, varied texture, great for a textured, loose feel. The deep pits in the paper are brilliant if you want to get the most out of the granulation of your watercolour paints. This heavily textured paper is well suited to those with a loose watercolour painting style.
Watercolour paper with a very smooth surface and almost no tooth. Good for painting detailed paintings and creating very smooth washes. It is great for artists looking to render their subjects in fine detail. This paper is popular with illustrators and designers as it gives a flat finish good for reproduction.
It’s the paper texture in-between rough and hot-pressed paper; having a slightly textured surface favoured by beginners, this paper is sometimes called NOT. The Not stands for “Not Hot pressed” It is compatible with a variety of techniques and applications.
Watercolour papers come in three textures, the texture of the painting will affect how it feels to use different effects in your work and the appearance of the finished piece.
This paper has a textured surface, which can create lovely jagged effects and texture but can make it harder to achieve smooth blends.
Cold press paper is sometimes called ‘not’ paper. This sits in the middle of paper finishes – it has some texture but a more even surface than rough paper. Cold press watercolour paper has little pockets on its surface that hold more water, giving you time to blend and create wet-on-wet effects.
Smooth or hot press watercolour paper has a sleek surface that’s great for layering and creating fine details. However, because there are no tiny pockets for the water, it dries faster which means you’ll have less time to blend or create effects. It can also dry unevenly, creating a patchy finish that some people don’t like.
What watercolour paper type you choose is down to personal preference – you can always test all three to see which suits you best. But for the best watercolour paper for beginners, go for cold press to start with – it’s a happy medium.
In general, watercolour papers are made from one of two materials: cotton or wood pulp.
100% cotton papers are professional quality, and are considered to offer the very best painting surface. Cotton gives incomparable stability and ensures that you work will stand the test of time.
Arches watercolour paper is considered one of the most premium brands, Arches 100% cotton paper is considered to offer the very best painting surface, they receive the highest ratings from artists around the world.
In general,100% cotton watercolour paper is more professional than 100% wood pulp paper. Wood pulp paper is also called student grade paper.
100% cotton paper is often high-end and looked at as an artist grade paper. The cotton construction proves a high degree of stability and absorbs water easier and can handle a higher load of colour, giving access to more techniques on one sheet. Cotton paper can stand up to much heavier brushing and paint removal without tearing or pilling. You can literally scrub cotton paper under running water without tearing it. 100% cotton paper is also often acid-free which prevents yellowing and discolouration of your paintings over time.
100 % wood pulp paper is not as strong and resilient as cotton paper , and it absorbs liquid at a much slower rate than cotton paper. Because Cotton paper can absorb and hold more water than wood pulp paper this means that wet into wet painting works much better on cotton paper as the paper stays moist for longer. Painting wet into wet on wood pulp paper is much more likely to result in ugly back runs.
However, 100% cotton paper is more expensive than 100% wood pulp paper and is seen as more of an investment or artists tool rather than a standard work surface.
Watercolour is different to any other medium, cheap paper is a false economy as it will never give you great results. It was never going to produce good results because the paint just sank straight into it and didn’t flow properly. Professional grade paper is often made from a long-staple cotton fibre. This allows the artist to do complex blending, washings, and more to really demonstrate their talents.
Professional-grade watercolour paper usually is 100% cotton paper, which can stand up to much heavier brushing and paint removal without tearing or pilling. You can literally scrub cotton paper under running water without tearing it. This is great if you need to lift out large areas of colour without damaging the paper surface.
Professional-grade watercolour paper can absorb and hold more water than wood pulp paper this means that wet into wet painting works much better on cotton paper as the paper stays moist for longer. Painting wet into wet on wood pulp paper is much more likely to result in ugly back runs.
Colours tend to retain their vibrancy much better on professional-grade watercolour paper.
100% cotton paper is naturally acid free. This means that your work will remain in good condition for longer and won’t deteriorate and turn yellow like wood pulp paper.
If you’re looking to save some money, buying many sheets and cutting them down to size can be more economical than buying blocks. Sheets also come with deckled edges (sometimes not on all sides depending what size sheet you purchase). A deckled edge is an edge that looks like it has a natural tear. It’s beautiful and some artists want this edge. Just keep in mind if you cut down your sheets you’ll loose the edge on some sides!
Most watercolour paper is sold in standard single sheets which are around 22×30 inches (56×76 cm). These are great in the studio but cumbersome when painting outdoors. Artist Paper Club offers a range of different size and shape paper sheets to fulfill your needs.
Blocks are the most convenient as they are glued down on multiple sides and allow you to paint without taping down your paper. Because it is held down on all sides means that it is essentially “taped down” for you.
Blocks are good when painting on location as the paper stays flat then, once the painting is finished, can be removed by inserting a blunt knife in the opening at the top and running it around the page.
Watercolour paper pads are great for painting outdoors or for practicing. Mostly found in student grade papers, pads can come either taped on one side so you can tear off one sheet at a time or wire bound so you can flip the page when you are done painting on it.
A watercolour block is a pad of watercolour paper that’s bound on all sides with a coating of a rubber like material. You paint on the top sheet of paper and then remove it after it dries flat. To separate the painting from the block, insert a dull palette knife into the gap in the binding and run it around all four edges.
Here is the process we recommend for removing sheets:
1. Do your painting on the pad BEFORE removing the sheet of paper.
2. Wait until paint is completely dry. Flip over the cover and look for the area where there is an unglued opening on the cover spine.
3. Stand the block up with the opening located on the top.
4. Insert our leaf opener between the first and second sheets.
5. Gently run the opener around the edge of the sheet, rotating the block counter clockwise while moving the leaf in the opposite direction.
6. Continue splitting the glue until the sheet breaks away. Remove any remaining glue from the top sheet using your fingers.
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