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Stretching paper

Stretching watercolour paper prior to painting provides a taut surface that will stop it from 'cockling' - or buckling - when the paint is applied. Very heavy papers will not necessarily need to be stretched as it will be able to take a lot more water laying on it.

Items required for stretching paper are:
A shallow tray large enough to submerge the paper without creasing the paper
A clean, smooth flat board
Gum strip
A soft sponge

1. Immerse the paper in water. Lift out and shake off excess.

stretching paper step one

2. Position on a flat board and smooth down with a sponge. Ensure that the paper is uniformly damp.

Stretching paper step 2

3. Cut strips of wide gum strip to length and wet back with a damp sponge. Again, ensure that it is uniformly wet.

Stretching paper step 3

4. Lay a strip over all four edges of the paper. The strips should overlap each other at the ends and, along their entire length, be half on the paper and half on the board.

Stretching paper step 4

Aim to have all areas of the paper and the gum strip at the same dampness so that they all dry in the same time.

 

 

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Watercolour paper heading

Selection of cold and hot pressed papers

Watercolour papers come in three types - Rough, Not and Hot pressed. This guide lists each of their usual characteristics but it should be noted that papers differ with different manufacturers. It is always best to look at the papers 'in the flesh' and judge which would be the most suitable for your style or effects you would like to achieve.

Rough

Papers in this category have a grainy, undulating surface that is uneven and full of irregularities, ridges and indentations. This is as a result of taking on the texture of the blankets between which they are pressed.

They are usually available in heavier weights making it thicker and stiffer and can be used without stretching. Although all papers will last if stored in the correct way, the more rigid rough papers are more likely to resist tearing and stand rough storage.

They have a tendency to be the most absorbent of the three categories meaning that the colour will soak into the paper quickly resulting in fewer water or drying marks. Washes will appear smooth. The extra 'facets' of the paper allow more light to be reflected making the colours really shine bright but it will not take numerous washes laid over each other as they absorb down into a dull finish.

Rough papers are good for looser painting styles where the paint can be dabbed on and left to mix and blend in a natural, undisciplined way with little interference from the artist.

Rough papers available at Curtisward
Arches Aquarelle 300gms/140lb
Saunders Waterford 300gms/140lb
Bockingford 300gms/140lb

Watercolour paper

Cold Pressed (NOT)

Cold pressed paper is rough paper that has been run through a cold press a second time flattening the texture a little although the texture can remain quite prominent depending on the manufacturer. They are usually referred to as 'Not' as in not Hot-pressed.

They are sized internally as well as on the surface allowing for some absorbency and enabling wet paint to be manipultaed to a higher degree than on rough papers. This means that smooth washes can be achieved as well as interesting watermark effects where larger quanties of paint are left to pool.

The surface can be dull which can result in the paint lacking sharpness and intensity. Mixing the paint a little brighter than required will overcome this.
On the whole, this is a versatile paper that can be used with many watercolour techniques. It is absorbant enough to take flat washes but is durable enough to take texturing techniques such as sgraffito, where the surface is scratched or even sanded.

Not papers available at Curtisward
Bockingford 190gms/90lb
Bockingford 300gms/140lb
Arches Aquarelle 185gms/90lb
Arches Aquarelle 300gms/140lb
Saunders Waterford 190gms/90lb
Saunders Waterford 300gms/140lb
Fabriano Aristico 200gms
Fabriano Aristico 300gms/140lb

papers

Hot pressed

Hot pressed papers are a result of running the paper through a hot press to 'iron out' the texture and leave a very smooth surface. They are then usually heavily sized. With this type of finish, washes can be repelled which makes the paint puddle easily causing pronounced watermarks known as cissing.

If this is not the intended effect, the addition of ox gall to the water will reduce the surface tension of the water and allow the paint to flow better.

The paper will, however, accept many washes laid over each other and works particularly well working wet-in wet. But it really comes into its own for 'tight' detailed painting such as botanical or scientific illustration. The paint is not affected by any surface undulation and so the artist can control the brush strokes and the way the paint goes on in a precise manner.

Hot pressed papers available at Curtisward
Arches Aquarelle 185gms/90lb
Saunders Waterford 190gms/90lb
Sanders Waterford 300gms/140lb
Fabriano Aristico 200gms/
Fabriano Aristico 300gms/140lb

watercolour papers

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