Introduction

Watercolour is one of the favourite mediums employed by artists.
It is made from glycerine (formerly honey), gum Arabic and highly concentrated crushed pigments. Perfectly transparent, the colours are fresh and luminous.
The progress of the last few years in the colour industry has continued to improve the vivaciousness and the strength of the pigments.
Packaged as a paste in mini tubes and in mini palettes when dry, they are easily transportable.
Watercolour is very easy to use. Just dilute a small quantity with plenty of water to obtain a large quantity of colour that can be used as a wash on the paper with a thick brush.
To paint, it is best to start with the lightest shade. In order to obtain the desired shade, blend a drop of colour with plenty of water. The watercolour is transparent and the whiteness of the paper will give excellent results.
For a pure white just leave the paper blank. This is called “in reserve”.
Some manufacturers sell gum made from liquid latex which is very effective for protecting the surface that is to remain white. Applied with a brush (which can not then be reused for painting) or with a cotton bud, it is completely waterproof once dry. Rubbing gently with a finger to remove it reveals the white paper beneath.
The whiteness of the paper determines the luminosity of the work because the colour of the paper blends with the applied colours. For example a bright blue on a yellowish paper will give a shade of green.
Depending on the desired effect, the paper can either be dampened before use in order to encourage the diffusion of the colours or instead can be employed dry to make use of the grain.
These methods can be used consecutively or simultaneously.
Here again the paper plays a capital role because too porous, it will absorb most of the colour and will lose its luminosity.
Moreover an irregular absorption will provoke surface deformations and encourage colour bleeding.
The success of the work depends as much on the choice of paper (type of pulp, weight and grain) as the colours.

Pulp type

Papers made from 100% cotton offer the best inertia and therefore ensure the best storage over time: the Gutenberg bible would no longer exist if it had not been printed on cotton based paper.
The paper absorbs water uniformly and reduces the risks of warping.

Papers made from 100% cellulose (wood fibres), acid free with natural Ph (2 to 3% calcium carbonate to protect the paper from exterior acid aggressions) also ensures long life without deterioration. CLAIREFONTAINE paper is guaranteed 100 years.

Weight

This is an important factor for watercolours where water tends to warp the paper. It is important to select a paper which wrinkles as little as possible but is adapted to the painting technique, whether it be very wet, slow, almost dry, fast…
CLAIREFONTAINE offers a wide range from 200g to 535g/m2
The 200g is the best value for money.
The more standard 300g offers the maximum guarantee of success when the technique has not yet been completely mastered.

Texture (grain)

Watercolour papers are available with several types of surface:
Rough grain: a very pronounced texture creating particular effects
Medium grain: less pronounced the most currently used.
Fine grain, whose uniformity and smoothness gives it silkiness, a silk grain whose surface is sleek and soft to the touch.

Both sides are of equal standard so either can be used. However in order to make the best paper choice, there are two rules of thumb:

• If working with a very wet media, the colour will be drawn to the pockets in the uneven surface and once dry these areas will appear darker.
• If working using a dry technique it is the asperities of the grain which will retain the colour and the hollows remain white.

In fact there is no fast and hard rule except that it is difficult to achieve fine detail on a very grainy paper.
Generally smooth papers are used for portraiture or detailed work, heavy grained papers for landscapes and compositions where textural effects are of utmost importance.
Aspiring artists each have their preferences and make their choices depending on the desired end result.

Packaging

Several types of packaging are available: loose sheets, bound (spiral or gum), and bound on 4 sides watercolour blocks, all in several formats.
Practicality, format, weight and media will all help to determine your choice.
Obviously the paper will not warp if little water is used and the loose or bound sheets are ideal.
However for wetter techniques the risk of paper deformation is much greater. To avoid this it is necessary to employ the “stretching” technique using four sided bound pads. Once dry the sheet which has reverted to its original form can be separated from the pad. Stretching link

Recommended uses:
In the studio = loose sheets, pads and gummed blocks.
Outside work with damp technique = bound pads (ideal for travellers)
Outside work with wet technique = bound blocks