The correct answer is it can be very important. For watercolours, for instance, you have three main types. "Rough," "Hot Pressed", known as HP like the sauce, and "Not" or "Cold Pressed". So, what do we know about them?
A good paper to start with perhaps would be the "Not" (Cold Pressed) variety as it does not have much texture to it. This is smooth, because when it is in manufacture it is pressed through cold rollers.
If the paper has been run through hot rollers, ("HP"), it will be textured as this has ironed effect to it. I wouldn't put a wash on it, as really, it would not hold this too well. Small scale, detailed work, is ideal for drawing on this paper.
Rough is a very well textured paper which can be very effective as the paint does not always reach the raised surface. Probably not good for a beginner to use though.
Many artists like to stretch their own paper, though if you are a novice, wrinkling could be a problem. You will find that if the paper is wet, it really does stretch, but not necessarily so that it will be even all four ways.
Therefore if you intend to stretch paper, the following has to be done first. Hopefully so that wrinkling does not occur. You will need a pair of scissors, a small bowl of water, a roll of brown gummed paper and a natural sponge.
Take the roll of gummed paper, measure and cut pieces of it longer than each side of your paper. Next step being to wet your sponge and then cover your paper in its entirety with it.
On a flat surface you need to start to flatten it out to get your smooth surface with the side of your hand. You need to start from the centre and move outwards. After this, tape all four sides down with your gummed strips.
Probably you will be thinking to yourself it still looks wrinkly, but have a little patience. Let it dry, and I do mean naturally, and it should dry flat. So now you have your support (this is what we call the stretched paper). Ideal paper for watercolours.
The support used is very important for your work. You will find this out, for instance, when you see whether your brush moves well over it, if the paint works well on it and also if it remains on the surface.
Various choices are are at hand in our shops. Ready stretched pads which have glue all round. Ready perforated and spiralled pads with hard backs, or simply just sold by the sheet. These are what you have to choose from for watercolours.
Papers used are important. If you use a heavy paper, water works very well, but then again, this is expensive. Lighter papers are more than likely to wrinkle and get out of shape. Bear in mind all paper is graded by weight.
Various choices are are at hand in our shops. Ready stretched pads which have glue all round. Ready perforated and spiralled pads with hard backs, or simply just sold by the sheet. These are what you have to choose from for watercolours.
A good paper to start with perhaps would be the "Not" (Cold Pressed) variety as it does not have much texture to it. This is smooth, because when it is in manufacture it is pressed through cold rollers.
If the paper has been run through hot rollers, ("HP"), it will be textured as this has ironed effect to it. I wouldn't put a wash on it, as really, it would not hold this too well. Small scale, detailed work, is ideal for drawing on this paper.
Rough is a very well textured paper which can be very effective as the paint does not always reach the raised surface. Probably not good for a beginner to use though.
Many artists like to stretch their own paper, though if you are a novice, wrinkling could be a problem. You will find that if the paper is wet, it really does stretch, but not necessarily so that it will be even all four ways.
Therefore if you intend to stretch paper, the following has to be done first. Hopefully so that wrinkling does not occur. You will need a pair of scissors, a small bowl of water, a roll of brown gummed paper and a natural sponge.
Take the roll of gummed paper, measure and cut pieces of it longer than each side of your paper. Next step being to wet your sponge and then cover your paper in its entirety with it.
On a flat surface you need to start to flatten it out to get your smooth surface with the side of your hand. You need to start from the centre and move outwards. After this, tape all four sides down with your gummed strips.
Probably you will be thinking to yourself it still looks wrinkly, but have a little patience. Let it dry, and I do mean naturally, and it should dry flat. So now you have your support (this is what we call the stretched paper). Ideal paper for watercolours.
The support used is very important for your work. You will find this out, for instance, when you see whether your brush moves well over it, if the paint works well on it and also if it remains on the surface.
Various choices are are at hand in our shops. Ready stretched pads which have glue all round. Ready perforated and spiralled pads with hard backs, or simply just sold by the sheet. These are what you have to choose from for watercolours.
Papers used are important. If you use a heavy paper, water works very well, but then again, this is expensive. Lighter papers are more than likely to wrinkle and get out of shape. Bear in mind all paper is graded by weight.
Various choices are are at hand in our shops. Ready stretched pads which have glue all round. Ready perforated and spiralled pads with hard backs, or simply just sold by the sheet. These are what you have to choose from for watercolours.
About the Author:
Want to discover more interesting "How To" guides such as this one? Anna Meenaghan, the creator of this guide and also a contemporary artist, runs a online art community where she also provides help for artists and art lovers alike. As a contemporary painter I find it of vast benefit to myself. Footnote by Michael Bruckner.
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