{"id":1424227,"date":"2021-04-15T15:49:34","date_gmt":"2021-04-15T14:49:34","guid":{"rendered":"https:\/\/www.jacksonsart.com\/blog\/?p=1424227"},"modified":"2026-09-02T16:14:34","modified_gmt":"2026-09-02T15:14:34","slug":"a-guide-to-watercolour-paper","status":"publish","type":"post","link":"https:\/\/www.jacksonsart.com\/blog\/2021\/04\/15\/a-guide-to-watercolour-paper\/","title":{"rendered":"Everything You Need to Know About Watercolour Paper"},"content":{"rendered":"
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Watercolour paper<\/a> is a versatile surface with a degree of absorbency that allows transparent colour to appear at its most luminous. While primarily used with watercolour paints, it can also be used for acrylics, gouache, pastels, pencils, graphite, charcoal, and even be primed for oil. Many options are 100% cotton, offering a durable and archival support for various mediums. If you’re unfamiliar with any watercolour paper terms, click on the underlined words to read their definitions.<\/p>\n

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Contents<\/h2>\n

What is Watercolour Paper Made of?<\/a><\/strong><\/p>\n

Texture<\/a><\/strong><\/p>\n

Colour<\/a><\/strong><\/p>\n

Sizing<\/a><\/strong><\/p>\n

Why Does Paper Buckle When Wet?<\/a><\/strong><\/p>\n

How to Stretch Watercolour Paper<\/a><\/strong><\/p>\n

Is There a Correct Side to Work on Watercolour Paper?<\/a><\/strong><\/p>\n

What is a Deckle Edge?<\/a><\/strong><\/p>\n

Watercolour Paper Comparison Table<\/a><\/strong><\/p>\n

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What is Watercolour Paper Made of?<\/h2>\n

The pulp<\/a> that watercolour paper is composed of determines its strength, abrasion resistance<\/a>, longevity, and price.<\/p>\n

Acid-free Wood Pulp<\/h2>\n

The most affordable watercolour papers and those found in many watercolour sketchbooks are made from wood pulp that has had naturally occurring acidic components, like lignin, removed. These papers resist discolouration and yellowing, but they are less durable than cotton papers.<\/p>\n

Cotton Linters<\/h2>\n

Cotton linters<\/a> are the purest source of cellulose and their fibres are longer than in wood-free pulp, making a durable paper that can take heavy treatment. Most 100% cotton watercolour papers are made using cotton linters.<\/p>\n

A Blend of Acid-free Wood Pulp and Cotton Linters<\/h2>\n

Adding a percentage of cotton linters to these papers increases strength and durability, while making them more affordable than 100% cotton watercolour paper.<\/p>\n

Cotton Rag<\/h2>\n

Cotton rag papers are made from recycled cotton textiles, which use the longest fibers from the cotton plant. These rags produce stronger paper than cotton linters alone because the fibers are mechanically beaten to maintain their length.<\/p>\n

Cotton and Linen Rag Blend<\/h3>\n

In addition to cotton rag, some papermakers add recycled linen cloth to their papers. Linen is derived from flax and is even stronger than cotton. Its long, thin fibres interlock with the cotton fibres, adding even more durability.<\/p>\n

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\"handmade<\/a>
Left:<\/strong> Jackson\u2019s Eco Paper<\/a>, 100% cotton rag
Right:<\/strong> Jackson\u2019s Two Rivers<\/a>, cotton and linen rag blend<\/figcaption><\/figure>\n

Texture<\/h2>\n

Hot pressed paper<\/strong> has the least textured surface, having been pressed between hot metal rollers during production. It is favoured by those who like to work delicately with a lot of detail, such as botanical artists. Hot pressed paper tends to be the least absorbent of all of the textures, and watery washes can sit on the surface for a long time. Beyond watercolour painting, hot pressed watercolour paper makes an excellent support for detailed pen, ink and graphite drawing.<\/p>\n

Cold pressed (NOT) paper<\/strong> is made by pressing the sheet through cold metal rollers, and it has a slight texture to it. It is the most popular watercolour paper surface to work on because it is well adapted to many painting approaches. The paint will sink a little into the dimples on the surface of the paper, but it will also be sympathetic to some more detailed work. Cold pressed paper tends to be a little more absorbent than hot pressed paper.<\/p>\n

Rough paper<\/strong> is the roughest texture paper available, it is pressed between sheets of textured felt during the drying process and is not pressed between smooth rollers. The heavier texture enhances granulating<\/a> effects. This paper surface is suited to bold, expressive painting techniques.<\/p>\n

While hot pressed, NOT, and rough are used almost universally by watercolour paper manufacturers to describe the texture of their papers, the actual surface textures vary greatly between manufacturers. Or even between batches (particularly with handmade papers).<\/p>\n

\"hot<\/a>
Left:<\/strong> Granulating pigment on rough watercolour paper
Right: <\/strong>Hot pressed, cold pressed (NOT), and rough watercolour paper (left to right)<\/figcaption><\/figure>\n
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Return to top of page<\/a><\/p>\n

Colour<\/h2>\n

Because watercolour paint<\/a> is transparent, the colour of the paper, even different shades of white, will affect everything on top of it in both the painted and unpainted areas. The colour of 100% cotton watercolour papers vary depending on whether it is tub sized or not (external gelatine<\/a> sizing will impart a slight brownish tinge), the purity of the water used in production, and the raw materials used for manufacture. Many 100% cotton papers are an off-white colour which is often referred to as \u2018traditional\u2019 white. Some ranges have a separate line of \u2018extra-white\u2019 or \u2018high-white\u2019 alongside their traditional white papers.<\/p>\n

Optical brightening agents, or OBAs<\/a>, can be added to the pulp during production to make the paper whiter and brighter. These brightening agents are prone to deteriorating over time, which can cause a colour shift in the artwork as the paper fades to off-white. Because of this, makers of archival<\/a> standard watercolour papers avoid the use of optical brightening agents and add a lightfast<\/a> white pigment, like titanium dioxide, instead. Lightfast extra-white watercolour paper appears noticeably whiter than traditional white papers but is not as white as optically brightened paper. This is because adding too much pigment to the stock can compromise the bonding strength between the paper fibres.<\/p>\n

Similarly to extra-white watercolour papers, tinted and black watercolour papers, such as Bockingford Tinted and Stonehenge Aqua Black, are made by adding lightfast pigments to the stock. Khadi Handmade Black watercolour paper is made using black cotton rags. However, because the dyes used in the rags are not lightfast, the paper is prone to fading, particularly if exposed to sunlight.<\/p>\n

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\"black<\/a>
From left to right:<\/strong> Stonehenge Aqua Black<\/a>, Somerset Black Velvet<\/a>, Khadi Handmade Black<\/a>, Royal Talens Van Gogh Black<\/a>.<\/figcaption><\/figure>\n

Watercolour Paper Sizing<\/h2>\n

Watercolour paper should be absorbent enough to stabilise the paint, but not so absorbent that the colour becomes dull. Sizing provides a little water resistance, so that the paint does not sink too much into the paper, and partially sits on the surface. Watercolour paper can be sized internally, externally, or both, with gelatine<\/a>, starch<\/a>, or a synthetic size like Alkyl Ketene Dimer<\/a>. Internal sizing is when the size is added to the water and pulp mixture before the paper has been made. External sizing (also known as tub sizing) is when the formed sheets of paper are pulled through a gelatine bath. Some papers are both externally and internally sized which increases the wet strength of the paper. Papers that are externally and internally sized are usually best for masking fluid<\/a>.<\/p>\n

Watercolour paper manufacturers size their paper in different ways. To test how a paper is sized, apply a wash of semi-dilute paint without attempting to work it into the paper. Papers treated with a lot of size, known as hard-sized papers, resist water, causing dilute washes to sit on the surface or even bead up. A feathery ‘tide mark’ around the edges of the wash, formed as the paint sits on the surface and the pigment migrates, is another indicator of a hard-sized paper. Hard-sized paper has higher abrasion resistance<\/a>, and tends to withstand more vigorous painting techniques, like scrubbing and reworking of the paint. It is also ideal for lifting techniques because the colour does not penetrate the fibres of the paper and is more easily removed (depending on how staining the pigment is).<\/p>\n

\"hard<\/a>
The ‘feathery’ effect of very hard sizing<\/figcaption><\/figure>\n
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Less Heavily Sized Papers<\/h2>\n

Watercolour papers that are less heavily sized (often called soft-sized papers) absorb paint more readily, making them ideal for techniques like glazing, where transparent layers are applied over previous colours. These papers may also have a softer surface texture. Handmade sheets are individually sized, meaning the sizing can vary from sheet to sheet, adding character to the paper. Synthetic and gelatine sizing can break down when exposed to detergents in soap, cleaning products, or brush cleaners, causing the paper to become highly absorbent like blotting paper. To avoid this, soak watercolour paper in a dedicated tray rather than a bath or sink, and ensure all soap residue is removed. Also remember to rinse brushes thoroughly after using brush cleaner.<\/p>\n

Return to top of page<\/a><\/p>\n

Why Does Paper Buckle When Wet?<\/h2>\n

Buckling occurs when paper fibres expand due to moisture. Using minimal water in your technique will result in little to no buckling. For wetter applications, heavier weight paper (425gsm and above) will buckle less.<\/p>\n

\"watercolour<\/a>
Buckling watercolour paper<\/figcaption><\/figure>\n
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Stretching watercolour paper involves saturating the paper with water to expand it, fixing it to a board with gumstrip around the edges, and allowing it to dry before painting. This preparation ensures a completely flat surface.<\/p>\n

Our article How to Flatten a Cockled Watercolour Painting<\/a> offers advice on fixing a buckled watercolour painting. <\/p>\n

How to Stretch Watercolour Paper<\/h2>\n

What you will need: <\/strong><\/p>\n