Part IV – Handling (Conclusion)
In this final chapter on All About Watercolor Paper I will discuss the proper methods for the handling and storage of paper to ensure best results and maximum longevity.
Unused watercolor paper should be stored in a cool, dry
place that is free from extreme temperature, light, and humidity. Sizing is a
necessary additive to paper, and it will deteriorate with age – paper needs to
be used in a timely manner before the sizing has decomposed and the paper
becomes too absorbent. Extreme differences in temperature will cause the fibers
in the paper to expand and contract, and each time they will contract less –
causing the paper to become softer and more absorbent. Moisture and humidity
cause the same problems, and need to be avoided for the same reasons.
Never soak and “stretch” your paper. Many of us learned to
do this in art school, but it’s an old wives’ tale that has been repeated for
generations and it is actually quite harmful to the paper. There are still some
artists who soak their paper out of habit because it is the way they were
taught and they simply don't know better, but it's really not a good thing and that's why you don't see it in
books anymore, nor will you see any artists who have been correctly trained doing this archaic process.
Paper is not made by knitting or weaving fibers like the
construction of cloth – it is made by matting loose lint fibers, more like the
construction of felt. Stretching it will actually thin the surface and weaken
it. It's not knitted or woven, so the fibers, if stretched, will pull away from
each other and weaken the paper. It will not 'shrink' like a woven or knitted
object -- the fibers are not long enough and there are no spun yarns or threads
pulling it from edge to edge.
Soaking will also remove the sizing that has been added by
the paper manufacturer. Sizing is a starch or gelatin that is added to the
paper as a stabilizer, and it makes the paper stiff, and it controls the rate
and amount of water/paint absorption. Without sizing, paper becomes limp, and
you cannot use any lifting techniques to remove paint, masking fluid would be
difficult or impossible to remove, etc. Soaking also changes the texture of the
paper. Manufacturers use engineered presses to create a calculated and uniform
compressed surface on the papers. Soaking expands the fibers, removing the
benefits of compression. The paper will become easy to damage, and can then
pill or tear under any sort of light rubbing, such as using an eraser or with
brushstrokes from painting. The combination of sizing and compression in the
manufacturing process is what makes the paper a usable substrate for painting.
Larger paintings in particular need heavier paper, and
artists who like to work wet -- washes and glazes-- should also use heavy
paper. Lighter papers are fine for practicing brushstrokes, or for small
projects like note cards or miniatures, or for work that is executed with
little water. Blocked paper is different, and blocked paper will hold it’s
shape much better than loose paper. However, even with blocks there is still an
issue with the weight-to-size ratio, so blocks are not generally made in sizes
larger than 18x24.
Soaking results in a paper that is softer, weaker, and more
absorbent. To avoid paper buckling while painting, the key is to use the right
weight of paper that can handle that amount of water. If your paper buckles,
then you need to use a heavier weight.
Read the other articles in this series:
All About Paper - Part I - Surface Textures
All About Paper - Part II -- Sizing Matters
All About Paper - Part III - Weight
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Annie Strack is an industry trained expert in the uses and properties of artist materials. She is a Brand Ambassador for Hahnemuehle Paper and several other companies, and teaches at art centers, art supply stores, and workshops around the world.
