Question and Answer Index
A Note About Packaging Tape
Many watercolorists have contacted me about brown paper packaging tape, used in taping down the watercolor paper prior to use. This proves to be often difficult to find, but I'm happy to say I've been able to find a supply and now have some available, which I'm able to offer to those who have trouble - or no success - in finding a supplier.
Gummed brown paper packaging tape comes in 25 yard and 50 yard long rolls, both of which come in standard 2 3/4" (7 cm) width. Rolls 25 yards in length are $5.35 plus postage, and 50 yard rolls $8.75 plus postage (US funds). Included is a sponge for removing excess water and I enclose instructions for use and application as well, for those who are just beginning - or as some of you have told me - are just getting back into watercolors. Please just let me know where you live when you drop me a line, so I can compute postage for mailing the tape to your location. I always ship the most inexpensive way unless you would like it faster. I can ship worldwide.
Just drop me an e-mail:
- James Smith jnresrch@mailcity.com
Question:
Rusty T.
Answer:
From my experience it is the best, but this does not mean that there may not be other, newer adhesives/tapes which may be able to do a similar job, even if developed for applications other than the art field. The main problem of course is that the adhesives must be compatible with and workable in a water based environment. For example the adhesive on scotch tape does not work well in a humid environment and after exposure to water peels away from the clear cello backing becoming non-sticky in the extreme.
When taping down your watercolor bear in mind the adhesive on the tape should be just wet enough to stick to the dry painting board and the still-damp paper. Over-wetting the tape or immersing the tape in water will remove too much gum resulting in the tape becoming ineffective in securing the paper to the board.
Question:
Carl M.
Answer:
Unlike photographs, the pigments used in watercolor can be resistant to long term effects of both low level light and low level humidity if protected and your watercolor painting can literally last forever if cared for properly. Archived watercolors by Albrecht Dürer painted on paper in the 1500's survive today, as do Chinese works 1300 years old, dating from the 8th century. So if cared for properly this original watercolor should forseeably be in good condition many years from now.
Having said this however, I should point out that unlike oil paints watercolors do not harden with age, and so the best way to preserve your work is most definately by sealing it behind glass. This customary way of displaying a watercolor will provide long term protection against dust, dampness and contamination from handling the artwork. The only criteria in this case is that the watercolor should not be allowed to come in direct contact with the interior side of the glass, something which is prevented by the insertion of an acid-free matboard cut to suit the size of the painting, and inserted within the frame, acting as both an esthetic accent and a spacer between the watercolor and the glass.
Non-glare glass will prevent annoying reflections from light sources at night and daylight during the daytime hours, but has the slight disadvantage of blurring fine detail slightly, upon very close inspection. Although more expensive than ordinary glass, the results are normally worth the difference. Ordinary glass will of course work just as well in sealing the watercolor from direct contact with dust and air, and in many instances may even be preferred by some to the mat finish of non-glare. If in doubt, a visit to a framing store will give an opportunity to view samples of both. Needless to say, glass should be handled with great care, as both cut and broken edges can be extremely dangerous, not to mention any minute chips left on the work surface, or flying through the air.
Regarding plexiglass, this acrylic sheeting substitute has the advantage of being both unbreakable and much lighter than window glass. It also is available in normal or non-glare finishes - as well as ultraviolet-filtering acrylic for high value or aged paper - and can be cut by either a saw, or by scribing and breaking. The main disadvantage, other than the fact it normally costs substantially more than glass is that it can scratch very easily and great care has to be taken in handling and cleaning. Never use a glass or commercial cleaner on acrylic sheeting, opting instead for mild dishwashing soap in warm water, applied with a very soft cloth. And it bears mentioning as well that cut edges on plexigalss can be almost as sharp as glass, and can cut very deeply.
In regards to the frame itself, this is very much dependent upon personal taste and materials available, especially for one who is constructing the frame themself. I have often matted and framed my own watercolors, using many different types and styles of frame and matboard, but am aware in this case your personal taste, or surroundings where your watercolor will be hung may not be served with the artistic choices in color - for both frame or mat - which I would choose in order to complement a specific watercolor.
Frames can be of wood or metal and can be of any design or color, although the most elaborate frames are usually saved for oil paintings and tend to look a bit 'heavy' and out of place on a watercolor. One has the choice of multiple color and design wooden frames, as well as metal frames of silver or gold in color, either in bright, or with a burnished finish, which often goes very nicely with watercolors.
Question:
Bill H.
Answer:
Non-stretching of heavier papers has the added advantage of not requiring an additional wait for the wet paper to dry, as well as much less preparation before getting down to actually applying the paints. Utilizing the sheet of paper as is also enables these heavier papers to be used for unique applications and special presentations, for example surface mounting in front of the matboard when framing - instead of being viewed through the normal bevel-cut window in the mat - thus emphasizing the natural hand-made edge of the sheet.
As a final note, the measure used in classifying the thickness of watercolor papers is routinely defined in pounds, which refers to the total weight of 480 sheets - or one ream - of paper, a term which has been in use for many centuries.
Question:
I'm open to suggestions on fixing such things, but what I would really like to do is to lock in my work once it is done, so that no such damage can happen. Are there any fixatives or glosses that are safe to use and do not distort the painting?
Wesley J
Answer:
Having said this however, I seldom have the need of utilizing actual fixatives in my watercolor work as any finished paintings which I am not framing behind glass in the forseeable future I simply seal in a brand new, sized poly bag and tape the end securely shut. This not only nicely protects my completed watercolors on a temporary basis from dampness and water but also against dust and handling as well. Thus protected I then file them away in my Completed Watercolors case for additional protection, which is both waterproof and bend resistant.
I do occasionally have need of utilizing an aerosol spray fixative to help protect specific watercolor paintings or illustrations in special circumstances, and this helps shield the finished painting not only from humidity and wetness, but fingerprints and handling as well. I've had very good results in both the application of this fixative as a surface protection and in its long term durability - and stability - in regards to watercolors. I normally apply fixative only to certain custom painted watercolors which will be handled by clients or illustrations I am sending to editorial departments at magazines or publishers, where the staff may not always realize the fragility of the medium.
Since watercolor painting utilizes water as the medium which holds the pigment particles in suspension during the application process, after the water dries the pigments are left in a dry state, simply adhered to the surface of the paper. Unlike oil paints these pigments do not harden or become tough or resilient with age, and because of this care must be taken to protect the painting from any form of water. While small changes in atmosheric humidity should not normally effect a watercolor or the paper on which it is painted save for possible slight curling of the paper, exposure to high humidity or direct contact with water, as you noted, can result in damage to the pigments. The best way to prevent such damage is matting and framing securely behind glass as soon as possible.
Of course all the old masters preserved their work just this way, in its original state, using nothing more to protect their painting other than glass and a sealed dust-proof frame. Even today this is a viewpoint which many watercolor purists would still agree with, frowning upon the use of a fixative or any other kind of preservative, pointing out instead that watercolors and the paper they are painted on should be left in their original state, thus allowing them to breath freely.
Watercolor pigments, unlike photographic emulsions can be resistant against long term effects of both light and humidity and they can literally last forever if cared for properly. Watercolors by Albrecht Dürer painted on paper in the 1500's survive today, as do Chinese works 1300 years old, dating from the 8th century AD. So under protected conditions, watercolors painted today should forseeably be in good condition 500 years from now!
If you do decide to use fixative to protect your paintings I have found one must be careful to give an even coat during the application process, as well as not holding the spray too close to the painting, both of which can leave shiny patches when dry, or a barely visible mottled pattern.
I usually apply the spray outdoors, either early in the morning or late evening when wind is non existant, or inside in an uninhabited room during wind or rain. Also bear in mind that spray fixative like most other aerosol products utilizes a petroleum base as a distillant, which is dangerous to inhale. It can also create a highly explosive mixture in a room or enclosed space if applied in substantial quantities, so application should take place far away from any sparks or flame.
Various manufacturers market fixative products, but the specific product I have used for 16 years is Krylon Crystal Clear spray coating, made by Borden. Product number is 41303 and the information on this and seven additional fixatives is available at http://www.krylon.com/
As a last word, in regards to the dirt hitting the delicately shaded yellow white area in one of your watercolors, depending on the density of the paper and whether the dirt has absorbed into the watercolor pigment or is sitting on top you might want to try the edge of a very sharp knife, scratching gently sideways at the dirt but not hard enough to dig through the yellow pigment layer into the paper. This remedy often works very well for me, especially on smooth watercolor paper, since with rough papaer there is always the chance of scraping the tops off the ripples and leaving white highlights from the paper. Also keep in mind that a truly sharp knife will cut more than watercolor paper, very nicely.
Question:
K. Gower
Answer:
Good-intentioned advice on this matter, even if the principle and method is sound may be of miminal value, since so many variables are in play here. Wet-on-wet and even wet-on-dry washes vary considerably depending upon the paper weight, texture, finish, manufacture, and absorption of the paper, not to mention the quantity of water, the relative humidity of the day you are painting, and type of pigment used.
The best - and most effective - means of judging the timing for watercolor washes, in my experience, is twofold. Firstly, choose the paper that you either feel the most comfortable with, or gives you the best results with the paints and brushes you are using. And stick with it. At least for all - or the majority of - your wet-on-wet work. This will make the results more uniform and remedy any discrepensies incurred between textures, weights, or brands of paper. Whereas I have employed multiple weights and manufactures of paper over the years, when I want a response I am sure of I always stick with the one that I am totally familiar with, a 90-lb hot pressed, bright white paper. This ensures that I get an even flow of wash across the smooth paper finish, and that I get a predictable result, since I know the properties of the paper so well.
The second, and I have found this to be the most infallable point, is to become so thoroughly versed in using and getting to know your choice of paper that you can effectively judge not only how it will respond to the wash, but also the exact instant at which to add the new wash of color to the drying paper. One may still at times be making an educated guess, but it will be one which will be much more accurate.
This does not mean that you must always necessarily work with the same paper, especially if price is a factor, but at least use the paper that will give you the best results for your most important works. Years ago I did lots of practice on very cheap paper, starting with an ordinary heavy bond taped to my board, and got to know the properties of watercolor long before I produced a painting that I was proud of - or even satisfied with! Practice with applying a wash can be of great help on an otherwise useless piece of paper. Simply lay on test washes with varying amounts of water over the previous wash, at differing time intervals to allow for various stages of drying, and compare the results. Then practice lifting them off with paper towel, brushes, or a sponge, again at different stages of drying. If you're like me, this will seem a waste of time, but can be of great help in pre-guessing what the wash will do and, what you can do if it goes wrong!
During all my painting I always keep two paper towels handy, one for absorbing excess water from my brushes, and a second clean one within immediate reach for emergency blotting of a wash gone wrong. When this occasionally happens, even though a blotted-away wash may sometimes ruin the pristine whiteness of the paper, and the previous wash underneath, all is not lost, since I've often salvaged an accident by reassessing, and then carefully reworking the specific section of the painting to take advantage of the new option that has presented itself.
When a wash presents itself that I am less than satisfied with, I will often make some minor modifications after the wash and the paper have dried thoroughly. If it has dried unevenly and is darker than I want in some areas than others, I carefully re-wet the selected segments with a small amount of clear water, and gently tone down the pigment to lighten the offending area. This also works well for softening a particularly harsh brush edge, which I very gently blot away after wetting with clear water, lifting off a bit of the excess color.
I also routinely add more color to a tame segment of wash by rewetting - again after the paper is thoroughly dry - with a brush charged with a bit more pigment. I find all these techniques work well providing I am patient and work away deliberately, one step at a time.
Question:
Ganga T.
Answer:
My suggestion in this instance, if the painting is too far advanced to re-stretch, would be to continue as best as possible, attempting to prevent the wash from flowing off the 'hills' and settling along the 'valleys' in the paper by applying as little water as possible, and stroking the brush back and forth parallel with the ripples, to minimize wash and pigment accumulation.
If this remedial action proves futile, the only option - save a striking watercolor success due to the fortuitous rippled pattern - would be either a buckled watercolor painting, or unfortunately, restreching of the paper.
Restretching paper is not as straightforward as original stretching, considering that first of all the tape remnants must be removed as best as possible. This requires a thorough soaking of both the tape and paper, or more simply, the removal of the tape from all four sides by cutting it free from the paper along the inside edge of the tape. This method reduces the size of the finished painting by about an inch (3 cm) but has the advantage of being neater and less time-consuming, as well as completly removing all traces of the tape.
Regarding the successful completion of the stretching process, it is important to note that both the paper and tape must be totally dry before any painting takes place, even if we are tempted to start the painting as soon as possible!
Although differing causes may contribute to tape failure (including an inferior taping product) the most common factor is that of applying too much water to the gummed surface during the application process, or the soaked paper being too wet when taped in place. Excess water compromises the fastness of the tape by diluting the gum, thereby rendering the remaining adhesive too weak to withstand the lateral pressures of the drying paper. This scenario has occasionally happened to me, either by the paper itself pulling free, or the tape slipping loose from the backboard as it dries. Invariably the only remedy to this problem is to remove the paper from the board, re-soak and tape it down a second time! A wise habit is to rub the tape well into place, then inspect it a second time when half dry, rubbing down the tape again, just to be sure.
For smaller sections of pulled-free paper or tape, I employ a quick remedy for successfully reattaching the loose spot. This must be done BEFORE any color washes are applied however, and before ripple marks form. Simply use small amounts of wood glue to restick the tape in place. Apply sparingly with a flat toothpick or wooden coffee stir-stick, under the offending edge of paper or tape. If left to dry thoroughly before use, and protected from liberal amounts of water during the painting process, this will often save long and laborious re-stretching, with satisfactory results.
Question:
Wendy L.
Answer:
It is important to bear in mind however, that since packaging tape is manufactured from acid paper it will eventually have an effect on the more stable acid-free watercolor paper. So leaving the tape - or even some of it - on the finished painting is definately not an option.
The simplest and most direct solution to this dilemma is not to attempt removal of the tape at all, opting instead to separate the painting from the tape, by cutting the paper free.
This cut-away process has the disadvantage of diminishing your overall painting size by 1/2" to 1" (12 to 25 mm), but accomplishes removal of the tape in an easy and efficient manner, in addition to removing the acidity of the packaging tape from the acid-free watercolor paper. The only criteria is that you use a non-flexable cutting edge with a rubber-backing or anti-skid coating, so that your knife blade won't slip sideways as you're exerting pressure on it. This eliminates any chance of cutting into the painted surface, when you're only halfway along your cut.
A second consideration for caution is if your painting support has any amount of wood grain, or previous cuts in the surface. Without proper attention, these could also lead the blade of your knife astray from the inside edge of the tape, as you cut along the straightedge.
As far as the loss of paper area is concerned, I find it's a minimal consideration, weighed against the easy and complete removal of both the acid problem and tape mess, in a relatively short time. I simply use the minimum width of paper necessary to hold the paper in place as it dries: a quarter inch is plenty on small paintings as the 'tug' exerted from a piece of drying paper this size is relatively small, and half an inch on larger paintings - including standard 22 x 30" (60 x 75 cm) sheets - is adequate, provided you make sure the tape is rubbed down well when you mount it, and again after a few minutes, so it won't pull free as it drys.
After cutting along my pencil line, I simply lift the painting out of the center, leaving the tape and a quarter- or half-inch rim of paper still adhered to the board. I then pull the dry strip of tape - with the adhered strip of watercolor paper included - off the board, and remove any remaining tape layer, along with the adhesive, with water. Simply place the painting board in a sink and pour a small stream of very hot water over the remnants, until it loosens, and falls away in a matter of a few seconds.
Question:
C. Taylor
Answer:
The vibrancy of watercolors in a finished painting depends upon several variables, including both primary (constructive) factors, which are controlled directly by the artist, and secondary (environmental) factors caused indirectly by the paper texture used and the setting in which the painting is hung.
As you mention, the degree of color intensity is greatly determined by amount of color pigment used, both in broad washes and very fine details or hilights. This degree of pigment use is the principle determinator and can be controlled or altered solely by the artist. Careful judgement is required to both maximize the pigments and still maintain a vibrant paper transparency. In some cases I simply add slightly more pigment to my washes and apply a second thin coat of color, to take the watercolor to a richness that I'm satisfied with.
A second artistic method to add vibrancy in a watercolor - although not directly to do with paper transpaency - is by the careful selection of light tones juxtaposed next to darker tones in the same painting. This technique manages to fool the eyes into seeing a deeper intensity in dark colors while at the same time giving more sparkle, and seemingly added brightness, to lighter colors. This of course varies with each painting but has the disadvantage of usually being the most effective where lots of pigment has been applied!
In addition to these primary artistic factors however, pigment vibrancy can be altered very slightly by the environment in which your painting is hung. This is because watercolors primarily depends upon the reflection of light to instill in them the life and vibrancy of color they invariably transmit to the eye.
Some degree of vibrancy or depth of color may be altered here, especially if the painting is lit from the front, where reflected light from the fixture adds its own glare of whiteness. This can be even more enhanced by an extremely white light, as in the case of flourescent lighting, where light bounces off the painting surface and paper and reflects back to us with a whiter, albeit marginally paler property.
Non-white light tends to be the best in showing vibrancy and richness of color and this is especially the case with rough paper textures, lit from an oblique angle. Here the light shines across the paper surface, hilighting the tooth of the paper and leaving a shadow of slightly deeper color in the hollows of the paper.
This same effect is less noticeable but still visible to a lesser extent with rippled or slightly buckled papers, the result of either not mounting the paper at all or in a way that allows shallow undulations. Again the slight variations (if any) would only be noticed on the peaks and in the valleys (by someone with very good eyesight!) but this would have little effect in overall color brightness or vibrancy.
Whenever I'm not satisfied that my colors are deep enough, I usually review in my mind what effect I want to achieve in the finished painting, and act accordingly, either by adding more color or simply continuing with my watercolor.
Question:
T. Daley
Answer:
We've all seen the bright hilights and diamond-like sparkles produced by a brilliant sun on water at, or around midday, whether the body of water be a wave-filled ocean vista, a nearly calm lake, or merely a wind-ruffled puddle in a parking lot. The effect can be both stunning and magical, and quite often blinding in its intensity. And sometimes deceptively difficult to capture on paper.
Intense visual observation of water diamonds and how they act in sunlight - individually and in a group - even for a short period of time can be of help here, but the best method from a simply portrayal point of view is to capture a single instant with a photograph. Then we can refer to, or simply copy, what was captured by the film.
The problem in capturing the effect on watercolor paper, and even in our minds eye, is that what we are watching is actually a series of inter-mingled sparkles and reflections, constantly changing and altering their shape, position, and reflective angles as we watch. What we are seeing is a sort of liquid mirror, conforming its many facets to the liquid texture of the water's surface.
As a general rule, with a nearly calm or rippled water I normally apply small amounts of masking fluid at the critical relection points on the top or breaking curve of the ripples, paint my water in varying hues of blues and greys, then rub off the masking when I'm done to reveal brilliant white highlights in exactly the right spots. If too much white is visible in certain areas, I simply tone down the patch with a bit of thin wash.
The higher the wind and chop, the more facets or tiny 'mirrors' reflect back at our eyes, and the smaller the reflective area. In rougher seas, I reduce the amount of masking fluid to tiny dots, or use none at all, often preferring to scrap off the paint instead, by using a very sharp knife after the painting is finished, and the paper thoroughly dry. Scrape only at the very spot where the sun's image is reflected, or in the case of overcast scudding chop, only along the top of the waves, where the wind tears the water into shreds and white-caps.
Hold the knife on an angle so as not to cut through the paper, but scrape through all the paint to expose the pure white paper below. It will look quite rough close-up, but becomes the perfect representation of riled water and fuming spray for your painting. Scrape a little bit at a time so as not to remove too much paint from any given area, and keep stepping back from your work to judge when enough has been removed for the effect you desire. This may take some practice, as paper texture and durability will determine how much pressure you may exert.
I use both a fine-point exacto knife for fine hilights and a snap-off-blade cutting knife, held at a more oblique angle, for larger, rougher areas. But be sure and grip the handle only, as both also do an excellent job in cutting fingers as well as paper.
As far as ripple effects and reflected images distorted by moving water,
both windspeed - or lack of it - and swell intensity also play a major role in the degree of distortion. The simplist, least distorted reflections are produced by an almost glass-smooth surface under nearly calm conditions. Painting techniques aren't as critical here as the ability to judge the degree of distortion required under the circumstances, from a few lazy S-curves of a yacht's mast in a quiet harbour to the haphazard kaleidoscope of reflected boat and sky in a choppy, unstable sea.
Referring to a photograph for reference can be a great help here, or even several photos, where you can choose the segments of water which are closest to what you are trying to portray. I keep on hand a Water File-Folder, containing photos of water diamonds, reflections or distortions that I've taken as reference shots, along with other assorted bits and pieces of waves, surf and ocean scenes clipped from magazine articles and advertisements, or even newspapers. Even just studying a good photograph can sometimes go a long way in achieving excellent results when putting your own water on the paper.
Question:
- P. Tucker
Answer:
Painting watercolor requires a lot of thought beforehand and some conscious decisions of what areas you want as highlights.
When you're all done, rub off the masking fluid and admire your work. If the pure white of the paper is too bright, or if there's too much of it, you can tone it down with a little yellow or light green.
Once you get the hang of painting vibrant foliage it will not only add immensely to your paintings, but can also be an intriguing process, watching your watercolor "Polaroid" develop before your eyes, layer by layer.
Answer:
In choosing and using paper, you have to make judgments on the texture, weight and long-term durability requirements of the specific painting you are working on or, your long-term likes and dislikes.
There are a few commonsense exceptions, however. For paintings you plan to offer for sale, where quality and durability is important, don't use cheap paper. Likewise, just like we wouldn't normally use a Mercedes convertible to take our first driving lessons, neither is it necessary to take Watercolor For Beginners on 200-pound acid-free Arches, 100% rag paper.
As far as expense is concerned, generally the more expensive the paper, the heavier and more resilient and durable it is.
If you're doing any serious painting and you're not using acid-free paper, you should consider doing so, especially if your paintings may end up for sale, display, or as family heirlooms! (A few phone calls to various suppliers will give you some good price comparisons.) "Normal" paper as we know it - since the beginning of the Industrial Revolution - has acid inherent in it's composition, a left-over from the modern paper-making process. This promotes eventual discoloring, breakdown and crumbling of the paper, the same as those old newspapers up in the attic that have turned yellow and are disintegrating around the edges.
Some experts would say you should use acid-free paper for every watercolor you produce - since we can't always predict when "just another sketch" may become the Painting Of The Year! This can be solved by doing your experiments and sketches on the least expensive acid-free you can find and save the "best" - most expensive - for your more serious attempts at painting.
Answer:
We can achieve this two ways:
In the case of oil paints, acrylics, and some other mediums - high in both pigment opacity and surface gloss - light from the viewer's side of the painting simply reflects off the hardened paint surface, adding depth and vibrancy to the already highlighted areas.
With the dull, almost matte finish of watercolors however, we must harness the reflection of light in a different - and more difficult manner. in this case, the reflectivity does not emanate from the surface of the paint, but rather, from behind it. The translucence provided by thin layers - and in some places, no layers of watercolor allows the luminescence of the white paper to show through, thus adding a warm, reflected glow from behind the paint.
Too much over-painting, or too many layers obscure this effect and the painting becomes dead, lacking even the surface reflection of oil or acrylic paints.
Occasionally watercolorists will add a small amount of gum arabic to their water to impart a surface shine to the finished colors, emulating the effect inherent in oils. But this can't compete with the warm, glowing tones produced by light reflected from underneath, illuminating the translucent layers of watercolor from behind.
Answer:
As you get more proficient in painting, I would suggest you switch to watercolor paper - a type specially designed for the wetness of watercolor and the punishment of brushes.
Unless you use heavy weight papers - anything over 200 pound weight or more - the standard procedure for preparing watercolor paper for painting is to stretch and mount it on a rigid backboard. This process will keep your paper perfectly flat and wrinkle-free for the duration of your painting, regardless how wet it becomes - be it for 2 hours or 2 weeks. The process is quite simple, but since it involves pre-soaking of the paper, at least 2 hours of lead time are required before you can paint on the dried surface, so plan ahead.
The ideal backboard is either a drawing board, or ½" plywood, although masonite can make an adequate stand-in for smaller paintings. (Larger sheets of paper can exert tremendous tension while drying and may bend masonite or ¼" plywood into a good substitute for a curved Roman shield!) Choose a backboard at least 2" larger than your paper (ie: 24 x 32" [60x80 cm] for a standard 22 x 30" [56x76 cm] sheet of WC paper)
A word of caution here, however: Bare (unpainted) plywood & masonite can impart a dark wood-coloured stain to the paper as it dries - I know from experience - it happened to me (but only once!) The simple solution to this is a coat of flat latex or alkyd primer paint. This does a good job in stain-proofing both plywood and masonite and also performs the secondary job of preventing the wood from absorbing any water.
Cut the tape to length beforehand, allowing overlap at each corner. Wet the tape and stick in place, allowing a ½" (1 cm) overlap along the edge of the paper, then rub it down well, several times. Good bonding with both the paper and support is imperative, as the force exerted by drying paper is tremendous. If not rubbed down properly, it can pull free while drying, leaving us little choice but to repeat the whole process!
And even so it looks fine, resist the temptation to begin painting while the paper is still damp. It should be thoroughly dry before you start applying paints.
Masking tape or scotch tape do not make acceptable substitutes. Neither will stick to wet paper, as the adhesives used on the backing are not water-compatable.
Question:
Is the "old-timey" brown paper with glue on the back (which has to be soaked) the only and best tape to use when stretching a soaked watercolor paper? Thanks,
Brown paper packaging tape may not be the only tape currently available, but it does an excellant job of holding the paper in place while it dries, and after the water has evaporated. In the past brown packaging tape was a common everyday item, used for everything from securing parcels sent by post, to wrapping the wedge of cheese freshly cut from the wheel by the corner grocer, and of course for taping down watercolor paper to prevent buckling when the paper was re-wet during the painting process.
I won a very nice Watercolor painting, by a local artist and I would like to put my workshop skills to work. I understand a lot of the info on protection but I can't find info on whether I should put glass or plexi glass over it when I frame it. If so what kind of glass: non-glare, plain or plexi glass etc. Can you help ?
The answer to this question depends primarily on 3 factors: your personal taste, your budget and the degree of glare you want to tolerate from the glass.
Is it necessary to stretch the heaviest water color paper?
Watercolor papers with weights exceeding 200 pounds do not require stretching, as the density of the paper renders the paper with sufficient structural strength to withstand buckling when in a wet state.
I have damaged two of my completed watercolors -- once with small water spots that I did not see until long-dried and which I could touch up and the second time with dirt hitting a delicately shaded yellow-white area and which I still have not figured out how to deal with it.
I know the feeling when an errant water spot or two lands on a nicely finished watercolor and one has to engineer a restorative operation on an otherwise perfect painting, a happenstance which leaves the artist with a less than enthusiastic chore at the best of times. I have been in this position at least a few times, when the feeling is compounded by the hindsight that if only the painting had been somehow covered or protected I would have been spared the effort.
When adding a second colour to a wet wash the usual advice is to wait for the shine to go off first so that the second colour does not spread too much. Let's say that the second colour is going to be a hazy impression of a poppy. I have the greatest difficulty in judging the moment when the second colour should be added.
Any advice please?
A very concise question, and one only wishes the answer could be as straightforward. Although waiting for the shine to go off is a very good rule of thumb for wet-on-wet work, in practice this may not always be the case, depending upon what results you are after. As all watercolorists know, watercolor as a medium is notoriously hard to predict, or control, and in this case the type of effect, or extent of spread required depends solely upon three factors: the personal tastes of the artist, the amount of water used to float the new color wash into place, and, as mentioned in your question, the precise moment at which this desired effect will take place.
I guess I made a mistake in using very thin watercolour paper (cold pressed
Arches). I did stretch the paper but when I started painting, even though
the colours were applied lightly with the least amount of water, the paper
started buckling slightly. I don't want to throw it away as it seems a pity
to throw away a perfectly good sketch.
Is there any way to save my work ?
And I would also like to know where I could have gone wrong in stretching
the paper.
I have used many brands of paper over the years, including Arches, and have yet to experience trouble with buckling watercolor paper unless the paper 'slips' free from the tape during the drying process. I am a little surprised in this instance that the paper - even if of a very thin weight - still buckles when the water is applied. A sheet of watercolor paper in my experience, if taped securely in place, and dried properly before use, will refrain from buckling, or rippling when the wash is applied.
Would you please suggest ways of removing a finished watercolour which has been taped
down to a board. I find the packaging tape wants to stick to the watercolour paper when
I try to pull it off.
Thanks,
When I first started out with watercolors I ran across this same problem, as all the sources which told me how to apply the tape, and for what reason, never bothered to explain how to remove it again! Peeling it away after the painting is completed can be very messy, and invariably leaves a thin layer of the tape - and the glue layer - still adhered to both the paper and the painting support. Other methods such as scraping can be more frustrating and even messier, leaving one with the urge to frame it immediately, in order to hide the remnants behind the mat! 
I have a question for you - if the watercolour paper is not stretched completely as you describe, does this affect the vibrancy of the colours? Normally I tape my paper down and then lay in a very wet wash of clear water. I let this dry thoroughly, then begin painting. I don't have any buckling problems, but sometimes my colours are just too wan!
I may not be using enough pigment, but I also want to preserve some of the transparency of the paper. Thanks so much for your time.
Yours truly,
A very good question, especially since washes that are too thin versus too much pigment can be a watercolorist's guessing game depending on the color in question, the transparency of the pigment and the experience of the painter. A bit like a balancing act in a scientific equation, with a just a few more technical ruffles added for good measure.
No matter what attempts I make I cannot seem to make realistic water or the highlights that come with it at about midday (that sparkle and
give it that gleam which is hard to look at in real life).
Also how do you create the ripple effect and create the reflected images slightly distorted in water? Greatly appreciate your time answering these questions.
Unlike the horizon line, the yacht, or even the gulls in a seascape or marine watercolor, painting and rendering a life-like water surface - with its myriad relections and diamond-points of reflected sunlight - can be as difficult as attempting to mentally freeze one single scene from the non-stop images in a fast-paced film. Accurately painted ripples, reflections and sparkles can add unparalled realism to any painting, and can even give the observer the uncanny feeling of actually looking at water.
Both techniques work well for me, and often I'll employ both in the same painting. This was the case in "Rounding Fastnet" (right), an action painting with lots of rough sea and breaking chop, used to add dramatic interest to the sentinel lighthouse and surging yacht. The lighter reflective patches of water were achieved with masking fluid and minimal color application, while the foam and spray, and the surf breaking on the Fastnet Light were scratched in after the painting was complete, using a very sharp knife.
"I'm currently taking art lessons in watercolour with the eventual aim of offering my paintings for sale.
I find I'm good at envisioning what I want to portray and how I want to show it, but I'm having difficulty in converting that vision into a 3-dimensional reality with the paint.
For example, a simple line of green trees at the end of a field comes out too dark and overbearing. It looks more like a solid green WALL than trees. I've tried adding lighter greens on top, but that doesn't work too well.
How do I get a more realistic green that's less heavy and looks more like real foliage?"
I know the feeling - I went through it when I began watercolor, until I learned the most important watercolor rule: I had to stop thinking in terms of the logical Dark-to-Light application of oil paints where one puts on the darkest greens first and work our way up to the lightest, by adding the dappled sunlight. This is a great sequence for oils, but in watercolor you always start light and finish dark, beginning with the brightest sunlight and ending with the darkest, coolest shadows, leaving varying amounts of each color uncovered by the next, darker, shade. (To many beginners this seems a completely backwards approach).
Choose the areas you want as bright highlights first (i.e. sun-dappled leaves [summer], or snow-covered branches [winter!]). Mask these small areas with masking fluid, saving the pure white paper for later, when all the other paint is on. Then add your lightest yellow or yellow-green next - this will represent the warm tones of sunlight, and add as many more intermediate tones of green as need be, each one always darker than the last. Refer to a color photograph if need be to help visualize the texture of lights and darks (squinting helps to reduce the complexity into manageable variations). And remember to add the last, darkest paint sparingly. You can always add more - but it's difficult (or downright impossible) in watercolor to get it off again, once too much goes on.
Question:
"My problem is paper. For something as simple as watercolor there seem to be so many types: smooth, medium and rough; light, medium and heavy. (And some of them are awfully expensive!)
Is one type better than another?
What type of WC paper would you suggest?"
L. Bolten
Much of the answer to this question, unfortunately for the answer, lies in your own personal preferences, almost like deciding which type of vehicle to buy: it depends on your own taste, requirements, and how much you want to spend.
As far as paper texture (finish), all watercolorists have their preference - even if just by acclimatization. After using a paper and/or brand that works well for you for a long while, you tend to want to keep a winning combination. How do you know? Well, the best way is to experiment on different types of paper until you're happy with the results it gives.
My personal preference (although I also use other brands) is hot-pressed, 90-pound Arches. Firstly, because the even distribution of the watercolor and the finished product it provides is what I'm looking for in my illustrations. Next, because the smooth finish provides an unblemished surface for minute detail. And lastly because I'm familiar with the way it handles watercolors.
Question:
"Everything I've read on watercolor painting always says 'Put the watercolor on sparingly', 'Don't overpaint', 'Keep it light'...
What's the reason, and the theory behind this?"
All paintings rely upon light to make powerful - even epic - statements.
Firstly, by mimicking the visual effects of light with the careful use and juxtaposition of the paint colours themselves. This makes warm highlights even more pronounced by superimposing them against a darker colour, adding interest, depth and even drama to the work. And secondly, by actually harnessing atmospheric light to impart a vibrancy and aliveness to the work by reflecting light back to the beholder.
Question:
"Since I'm 65 and decided to add even more busy-ness to my retirement, I just took up watercolour!
I bought a cheap paint set and so far, I’ve painted 4 paintings (which I'm rather pleased with) but have one problem that's rather frustrating: the paper starts to cockle as soon as I begin the painting and gets worse before I finish.
How do I keep the paper from buckling as soon as I put the paint to it?
I'm just using ordinary paper thus far (nothing fancy - photocopy-type stuff). Is that the problem?"
- F. Roberts
Any thin paper can be expected to buckle with the application of water. Photocopy paper certainly is no exception, and in fact is more prone to do so because its extreme thinness and paper-pulp construction was engineered with only dry air usage in mind. (Even in relatively low humidity, you'll notice the edges begin to curl.)
When you're ready to begin, the first step is to soak your paper in water. For small sizes use a sink or basin, for larger sheets, a wallpaper tray or the bathtub. Leave it soaking for a few minutes - enough time for the paper to swell and expand to maximum size. Next, remove the paper from the water, draining off any excess. Lay it face up on your backboard (yes, WC paper has a 'front' and 'back' - just look at the watermark!) Use a sponge to remove any remaining wetness, then fasten it in place to the backboard using brown paper packaging tape.
Lastly, I have a query of my own regarding watercolor paper: I normally use Arches (French) Winsor & Newton and occasionally Strathmore (both English) and Grumbacher (American).
Are there brands of WC paper made in Ireland or Scotland? If so, where and by whom are they manufactured.
Additional information on weights, availability in North America, and prices would also be great. Email address and URL would be appreciated.
- James Smith jnresrch@mailcity.com
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