Anyone who is new to art would probably wonder about this. Naturally it is an important consideration, according to the type of paint you use. Watercolour paper can be bought in three varieties. "Not" (Cold Pressed), "HP" (Hot Pressed), and Rough.
"Not" or "Cold Pressed" for starters, when it is made, runs through cold rollers which presses the surface smooth. This would be a good paper to begin with, as it is not loaded with texture.
If you have small detailed work, a textured paper really is what you need. "HP" would be my choice as it is nice and smooth as it has been pressed through hot rollers, like an iron in fact. Washes do not hold very well on this, so I wouldn't even try to do one.
Rough is a very well textured paper which can be very effective as the paint does not always reach the raised surface. Probably not good for a beginner to use though.
Many artists like to stretch their own paper, though if you are a novice, wrinkling could be a problem. You will find that if the paper is wet, it really does stretch, but not necessarily so that it will be even all four ways.
Here I will explain how to stretch paper. This you should always do first. Collect together the following items. A smallish bowl with water in, a natural sponge, scissors, plus brown gummed paper on the roll.
Cut four strips of the gummed paper, making sure that they are longer than the four sides of your paper. Then you need to, with your sponge, wet it completely in the bowl and in turn, wet your paper.
Starting from the middle you need to gradually flatten your work out on a flat surface or board. This can be done with a clean rag or even the side of your hand. All that you need to do then, is to tape the paper down with the gummed strips. You will need the gummed paper moist for this.
This has to now be left to dry out naturally, so that it will not have a wrinkled effect. At this stage, when it is finished, it is what artists call their support. This is the best you can have for watercolouring.
The support plays a big role in watercolour painting, as it affects the way the paint is held on the surface, how the paint responds, or the ease with which the brush moves over the surface.
The aim of your work is for it to have a decent finish to it and the transparency of watercolours can make it a bit puzzling at times to use. In fact, if you have white paper it will always, and you will need to be aware of this, be the lightest part of your work. So yes, the support is vital.
Paper comes in different grades by weight. If the paper is heavy it will take water well, whereas if it is light, it will wrinkle and get distorted. Heavy papers are a joy to work with, but are expensive.
Various choices are are at hand in our shops. Ready stretched pads which have glue all round. Ready perforated and spiralled pads with hard backs, or simply just sold by the sheet. These are what you have to choose from for watercolours.
"Not" or "Cold Pressed" for starters, when it is made, runs through cold rollers which presses the surface smooth. This would be a good paper to begin with, as it is not loaded with texture.
If you have small detailed work, a textured paper really is what you need. "HP" would be my choice as it is nice and smooth as it has been pressed through hot rollers, like an iron in fact. Washes do not hold very well on this, so I wouldn't even try to do one.
Rough is a very well textured paper which can be very effective as the paint does not always reach the raised surface. Probably not good for a beginner to use though.
Many artists like to stretch their own paper, though if you are a novice, wrinkling could be a problem. You will find that if the paper is wet, it really does stretch, but not necessarily so that it will be even all four ways.
Here I will explain how to stretch paper. This you should always do first. Collect together the following items. A smallish bowl with water in, a natural sponge, scissors, plus brown gummed paper on the roll.
Cut four strips of the gummed paper, making sure that they are longer than the four sides of your paper. Then you need to, with your sponge, wet it completely in the bowl and in turn, wet your paper.
Starting from the middle you need to gradually flatten your work out on a flat surface or board. This can be done with a clean rag or even the side of your hand. All that you need to do then, is to tape the paper down with the gummed strips. You will need the gummed paper moist for this.
This has to now be left to dry out naturally, so that it will not have a wrinkled effect. At this stage, when it is finished, it is what artists call their support. This is the best you can have for watercolouring.
The support plays a big role in watercolour painting, as it affects the way the paint is held on the surface, how the paint responds, or the ease with which the brush moves over the surface.
The aim of your work is for it to have a decent finish to it and the transparency of watercolours can make it a bit puzzling at times to use. In fact, if you have white paper it will always, and you will need to be aware of this, be the lightest part of your work. So yes, the support is vital.
Paper comes in different grades by weight. If the paper is heavy it will take water well, whereas if it is light, it will wrinkle and get distorted. Heavy papers are a joy to work with, but are expensive.
Various choices are are at hand in our shops. Ready stretched pads which have glue all round. Ready perforated and spiralled pads with hard backs, or simply just sold by the sheet. These are what you have to choose from for watercolours.
About the Author:
Want to find more interesting "How To" guides such as this one? Anna Meenaghan, the creator of this guide and also a contemporary artist, runs a online art community where she also provides help for artists and art lovers alike. As a contemporary painter I found it of great benefit to myself. Comment by Michael Bruckner.
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