these examples, the artist has chosen a smooth texture for the nude study (below), which is perfectly appropriate for the tone and texture of the flesh. The winter-evening snow scene (centre) is ideally suited for a medium-texture paper which conveys the effect of misty light and captures the subtle grain of the snow. A rough-texture paper (bottom) communicates the solidity of the building and the dampness of the weather to the viewer.
Choosing watercolour papers
Choice of watercolour papers is very much a matter of personal preference; one artist’s favourite may be another artist’s poison. The chart below is intended only as a guide to a versatile selection of widely available papers. They have all been tried and tested by professional watercolour artists; however, your own assessment may be quite different.
Paper content
Apart from water, the main ingredient in making paper is cellulose fibres, derived from either cotton or woodpulp. Cotton is used for high-grade papers, woodpulp for others. Some papers contain a blend of cotton and other cellulose fibres, offering a compromise between cost and quality.
Cotton rag
The best paper is made from 100 per cent cotton. Although the term ‘rag paper’ is still used, the raw material nowadays is natural cotton linters. Rag papers are very strong, yet pliable, and withstand demanding techniques.
Woodpulp
Woodpulp produces a more economical, but less durable, paper. Confusingly, papers made of 100 per cent woodpulp are sometimes advertised as ‘woodfree’; this is a technical term meaning wood broken down by chemical means, rather than mechanical ones – it does not signify that the paper has not been made from wood. Mechanical woodpulp still contains lignin, which releases acids into the paper over a period of time, causing it to yellow and embrittle. The chemical woodpulp used in woodfree paper is processed to remove all the lignin.
Weight
The weight (thickness) of watercolour paper traditionally refers to the weight of a ream (500 sheets) of a given size, most often imperial (about 22 × 30in or 56 × 76cm). For instance, a 72lb paper is a light paper, 500 sheets of which weigh 72lb. The more accurate metric equivalent of grammes per square metre (gsm) is now common. Lighter papers (less than 300gsm/140lb) tend to buckle and wrinkle when washes are applied, and need wetting and stretching on a board before use. Heavier grades don’t need to be stretched unless you intend to flood the paper with washes.
Absorbency and sizing
All watercolour paper is internally sized to varying degrees, to control its absorbency and produce a more receptive working surface. Heavy sizing produces a hard surface with little absorption and a long drying time; this allows you to push the paint around on the surface. Colours remain brilliant, as they are not dulled by sinking into the paper. Lightly sized papers are softer and more absorbent, with a shorter drying time. Alterations are more difficult because the paint sinks into the fibres of the paper, but absorbent papers are suited to direct, expressive painting methods.
Internal sizing
Internal, or ‘engine’ sizing means that size is added to the paper at the pulp stage, and contained in the body of the paper. Internal sizing renders the paper robust and prevents colour washes cross-bleeding beneath the paper surface, even when it has been abraded.
Surface sizing
Many watercolour papers are also surface-sized, which is done by being passed through a tub of gelatin size (hence the term ‘tub-sized’). Surface sizing not only reduces the absorbency of the paper but it also produces a more luminous wash (on absorbent papers, colours tend to dry far paler than they appear as a wet wash). It also reduces 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
