Newsletter 6 Papers, canvas and linen

What papers do I use?

Good quality watercolour paper is the key to a successful painting, yes even when practising, it is the only way you learn what your paper can do

Never roll your paper Why? you break the fibres in the paper, always lay it flat and avoid putting your fingers onto the paper, your fingers can be greasy

• If you practice on cheap watercolour paper, you will hinder your progress as the cheap paper will never give you good results
• Watercolour papers do vary in surface texture and thickness. NOT surface (not hot pressed and medium tooth) It is the most generally used and good for beginners. The texture is good for all washes and allows detail
• Hot pressed watercolour paper is smooth if you are inexperienced, it can be a little slippery. It is ideal for fine detail and pencil or pen and washes.
• Rough watercolour paper is great for large paintings and textured effects.
• The weight (thickness) of the paper can vary. The higher the weight the more absorbent the paper allowing lots of washes.
• Watercolour blocks are pre-stretched and will not buckle usually around 300 gsm

Papers for drawing

• Remove the paper from the drawing pad and rest on a drawing board this is good for the posture you will make you be more relaxed
• Use a spare sheet of clean paper to rest your hand Why? to stop smudging your work

Canvas or linen?

Canvas and linen differ in texture, strength, and durability

• It is good to start on a firm canvas board. Some artists like a smooth surface however to begin with I do recommend a canvas board with a tooth.
• Be cautious of cheap canvas boards, they are hard to use the rub-in technique and absorb your oil paints, resulting in a dull finish. You can apply a prime colour down to counteract this

• You can also glue canvas to a  board with water-based glue or buy it lose and tape it to a board with masking tape

• Stretched canvases do spring but are great when you get used to them. The disadvantage is that you are controlled by the size of the canvas. On a board, you can crop the edges.

• Cheap stretched canvas will absorb the paint so prime with gesso, Cheap canvases are good, to begin with, but they can rip easily, and the stretchers are not recommended if you wish to exhibit your work
• Linen is strong and durable and remains the preferred surface for many artists. But it is expensive. I stretch my own linen, so I buy it in a roll that is already primed rather than already stretched on a frame
• I also use a gesso board for smaller works, they are excellent if plein air painting. They have a slippery surface with no tooth but are great for quick drying and transporting. The superior quality gesso ground does not dull colours.