Watercolor paper--what works?
Over the past few years I've been lamenting the lack of a good, friendly watercolor paper for beginners. The old Bienfang Watchung paper was so user-friendly. It was hard enough to allow corrections, very white, and affordable. Unfortunately, it wasn't acid-free or pH neutral, so my beginning paintings have all discolored. And, of course, the paper is no longer available. Two other excellent, reasonably priced papers have also gone by the wayside: Grumbacher Capri and Arches Archette. Both were a little more expensive than Watchung, but had the look of a more professional grade of paper.
The good news is that most student papers are now pH neutral or acid-free, so they won't discolor or soften over time. The bad news is that they make streaky watercolor washes and soak up the paint so even relatively non-staining colors can't be lifted. More experienced painters use them without problems, but they're frustrating for beginners. My students have a hard time with Strathmore pads, Winsor & Newton Cotman and Canson Montval papers. I've always liked Montval, but it's too smooth for beginners, who need a paper with more tooth that will hold water on the surface longer. When Watchung, Capri and Archette disappeared, I switched to Bockingford, which was also relatively smooth but still made good washes. Guess what. Bockingford is gone, or at least no longer imported into the U.S.
If student artists stick with 140# or higher papers they can paint on both sides and cut the cost in half. I've noticed a trend toward my students working smaller now that paper prices have escalated and that's too bad. There isn't anything wrong with doing small paintings, but the freedom and spontaneity of working with watercolor on half sheet or larger size papers is missing on a small format.
Here's my short list of favorite papers (140# or 300# cold press):
Arches--tough and scrubbable, off-white
Winsor & Newton--whiter than Arches, a little less tough, but a lovely paper
Fabriano Uno--a little off-white, less rough and tough, but a nice paper
Langton by Daler-Rowney--good paper, a little less expensive, but not easy to find
Whatman--long a favorite of many watercolor painters in the U.K. and U.S.; a good paper
There are many more papers available, but I haven't tried them all--too many papers, too little time. Here are some comments I've heard from students and other artists about other papers.
Twinrocker handmade papers--elegant, expensive
Yupo--synthetic "paper" fun to work on but can be frustrating
Fredrix watercolor canvas--gaining in popularity. Why use expensive watercolors on canvas instead of acryics?
Claybord textured panels--haven't tried them yet
Kilimanjaro--problems with washes
Crescent Watercolor Board--smoother than my favorites, like the backing support
Crescent or Bainbridge Illustration Board--only in CP or rough, medium-weight or heavy
What are your favorites? Good or bad experiences with paper? I'm still looking for a reasonably priced 140# cold press paper for beginners.
The good news is that most student papers are now pH neutral or acid-free, so they won't discolor or soften over time. The bad news is that they make streaky watercolor washes and soak up the paint so even relatively non-staining colors can't be lifted. More experienced painters use them without problems, but they're frustrating for beginners. My students have a hard time with Strathmore pads, Winsor & Newton Cotman and Canson Montval papers. I've always liked Montval, but it's too smooth for beginners, who need a paper with more tooth that will hold water on the surface longer. When Watchung, Capri and Archette disappeared, I switched to Bockingford, which was also relatively smooth but still made good washes. Guess what. Bockingford is gone, or at least no longer imported into the U.S.
If student artists stick with 140# or higher papers they can paint on both sides and cut the cost in half. I've noticed a trend toward my students working smaller now that paper prices have escalated and that's too bad. There isn't anything wrong with doing small paintings, but the freedom and spontaneity of working with watercolor on half sheet or larger size papers is missing on a small format.
Here's my short list of favorite papers (140# or 300# cold press):
Arches--tough and scrubbable, off-white
Winsor & Newton--whiter than Arches, a little less tough, but a lovely paper
Fabriano Uno--a little off-white, less rough and tough, but a nice paper
Langton by Daler-Rowney--good paper, a little less expensive, but not easy to find
Whatman--long a favorite of many watercolor painters in the U.K. and U.S.; a good paper
There are many more papers available, but I haven't tried them all--too many papers, too little time. Here are some comments I've heard from students and other artists about other papers.
Twinrocker handmade papers--elegant, expensive
Yupo--synthetic "paper" fun to work on but can be frustrating
Fredrix watercolor canvas--gaining in popularity. Why use expensive watercolors on canvas instead of acryics?
Claybord textured panels--haven't tried them yet
Kilimanjaro--problems with washes
Crescent Watercolor Board--smoother than my favorites, like the backing support
Crescent or Bainbridge Illustration Board--only in CP or rough, medium-weight or heavy
What are your favorites? Good or bad experiences with paper? I'm still looking for a reasonably priced 140# cold press paper for beginners.
Labels: tutorials, watercolor paper
posted by Nita at 8:42 AM
11 Comments:
I prefer Arches 140 lb. cold press for most of my work. Several years ago I got a pack with bad sizing, but for the most part it has been a terrific paper. I also have a small stash of Fabriano Uno 300 lb. hot press that I occasionally use (and love) for flowers.
I use W&N CP 140# almost exclusively, not because it's the best, but because my LAS bought a whole bunch on special and I get it relatively cheaply.
I do like it with two caveats: first, it won't take a lot of scrubbing; second, I don't soak it and stretch it because it changes the surface tooh, and I don't like the 'feel' of the changes surface.
FWIW
pat
Arches 140 cold press for me too. Can't stand Fabriano (just me! I know other artists who love it...). I rarely uses anything else, because I've got so used to this one and it does exactly what I want it to.
Bockingford actually is still available in the US....Art Purveyors sells it (they have it drop-shipped from Inveresk, the importer).
Google Art Purveyors, a very user-friendly art supply source, in my experience...
Thanks for the tip. Art Purveyors looks like a good company. They do have Bockingford paper, but not in the blocks, which my students seem to like.
I appreciate your advice. I'm still looking for engraved raised Watercolor paper... maybe I'm not wording it right... but my first very good watercolor was something I did at age 16, and it was on a relief-paper of grapes. The paper was smooth, white, and raised for the grapes, but I had to fill it in...
I wonder if you're thinking of "embossed paper"? You might try googling that and see what you can find.
I use and like Arches 140 lb cold press. It is available locally and I feel I can depend on its characteristics. However, my new favorite is Saunders Waterford 200#CP, which I buy through Cheap Joe's catalogue when it's on sale. It comes 10 full sheets/pk or in blocks. It is not as white as some papers; but that seems to make little difference for my use. It stands up to lots of glazing, scrubbing and there is less buckling when working wet than with 140 lb papers. I especially like it for portraits. I am currently experimenting with 140# CP Fabriano Artistico Extra White, which has a new sizing throughout. So far, I find it easier to use than other soft Fabriano papers I've tried. It's also available at local art stores in my area.
Dear Nita, I just purchased 300#HP paper in several brands. Several of my books and DVDs have suggested its use for more detailed work. Arches soaks up paint like a blotter--needs to be repainted the next AM. Fabriano Artistico and Saunders 260# HP hold color beautifully; but, I have a hard time "tickling" for softened or "lost" edges on all of them--causes horrible backruns. I've been doing that technique for years wi 140#CP and am suddenly frustrated by the same technique on 300#HP. Is there something more to know when working on 300# HP? Thanks!
I'm still partial to Arches, whether 140# or 300#. I've found Waterford to be too soft and Anonymous has had a different experience with it. As for the 300# soaking up the color, many papers do this and the only solution is to use more paint and less water. You might cut one of your sheets into smaller pieces and experiment with different ways of applying the paints. Try Winsor & Newton's "Prepared Size" medium, which puts another layer of size on the paper. Or add a drop of gum arabic to your mixtures to make them more intense.
Waterford, W & N and Arches #140 CP are favorites that handle masking and lifting fairly well, altho the latter is always a dice roll. Seems Arches sizing is somewhat changeable. Saunders Waterford, even though not as bright as many creates a "soft" image that is very pleasant for landscapes and offers a reasonable "hardness" for easier lifting. As for soaking, prior to stretching, BE CAREFUL OF BATHTUBS! Bathtubs often have a bit of soap or shampoo detergent left clinging to the surface, so it's important to at least rinse well before filling! The result can be a virtual "sizing removal" on Arches paper especially, but I've noticed that shorter-term, five minutes or less, to be the maximum length without effect. Beyond that, the sizing is affected and the paper, no matter the brand, becomes a bit like blotter paper with all sorts of dull surprises in store for the entire painting process. Better to soak the paper with a sponge or water spray and not risk getting detergents, oil or soap-scum on it, then stretch it. Perhaps a sheet of aluminum or plasticized formica that can be wiped before laying the sheet down on it, would be a good prelude to the soak and stretch process. These steps can prevent a "bad" painting experience with disastrous results.
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