Watercolor Paper: 5 Things You May Not Know

Watercolor is a fascinating medium, but oftentimes beginners are presented with conflicting information… or none at all. Add to that confusion the myriad choices of watercolor papers available, and it's no wonder that many would-be watercolor artists either quit before they ever get started or make poor choices that result in failure.

And it's not just beginners that suffer from faulty information. I've even heard lifelong watercolorist debating the facts below. So let's clear the confusion (or at least some of it) by exploring 5 important things that you may not know about watercolor paper— but you really need to! Before we begin, remember...

When it comes to art supplies, purchase the best that you can afford.

Artists or professional grade papers will nearly always perform better than student or studio grade papers. From there, the choices can seem endless in regards to cold-pressed vs hot-pressed vs rough and when contemplating weight and format (pad, sheets, blocks, etc).

This article won't tackle what paper you should use, which is strictly a personal preference, but instead focuses on what you need to know to choose and use the best paper for you!

A page in my sketchbook that showcases an upside-down watermark. As a general rule, the position and side of the paper really doesn't matter.

A page in my sketchbook that showcases an upside-down watermark. As a general rule, the position and side of the paper really doesn't matter.

1. There is no front/back/correct side or surface.

I've been asked this question so often that I've lost count. I've even read articles and forum posts where seasoned artists attempt to advise others on which side of the watercolor paper is the "front" or which edge is the "top."

It's time to lay these fallacies to rest.

Depending on how the paper is manufactured, each side could appear exactly the same, have a slightly different pattern or surface, or even major differences. For example, dual-purpose papers often have one smooth side and one textured.

Unless it's a watercolor board or canvas that has only one surface prepped for watercolor (the "backside" is usually reserved for mounting), the only rule is...

Use whichever side of watercolor paper that you prefer.

To save money, I often use both sides of my watercolor paper. And whether to leave the deckled edge and/or watermark alone, paint over it, or remove it through trimming is also nothing more than personal preference. Because just like in the Kilimanjaro sketchbook above, the brand's watermark is simply a watermark. Nothing more. So feel free to be... well, free with your watercolor paper!

Closely compare the pounds and grams in these two samples. Hmmm... so which one is thicker? Here's a tip: When it comes to paper, go with grams.

Closely compare the pounds and grams in these two samples. Hmmm... so which one is thicker? Here's a tip: When it comes to paper, go with grams.

2. Don't focus on pounds.

Isn't it about time someone told you that?  One way watercolor papers are classified is according to weight. But I'm guessing that you don't really care about the actual "weight" of the paper but instead are interested in its thickness. Paper weight (not necessarily the same thing as thickness, but it usually translates) is measured either in grams per square meter (gsm) and/or pounds per ream (lb).

There are two major problems when judging paper according to pounds per ream. One, though a ream is typically comprised of 500 sheets, it doesn't have to be. Two, the sheets of paper in a ream can be any size. So if you're looking at the pounds (e.g. 90lb, 140lb, etc) per ream, you aren't getting an accurate comparison or gauge between papers unless you also know the ream size and number of sheets for every single paper that you're considering. And who really cares about all that (besides paper manufacturers)?

Thankfully, a meter is always a meter, so gsm is a highly accurate measurement and the best way to truly know what you are getting.

When paper is measured in grams per square meter, its weight will remain constant regardless of the size or number of sheets. So pretend you're into the metric system and go to the grams… unless you really are into the metric system, and then kudos to your country for getting it right.

(If you're still confused, Blick has a great article with further explanation about paper weights.)

Wow, look at those prices jump! Weightier papers cost a lot more, but don't get caught up in conspicuous consumption. All of the weights of this particular brand are excellent papers.

Wow, look at those prices jump! Weightier papers cost a lot more, but don't get caught up in conspicuous consumption. All of the weights of this particular brand are excellent papers.

3. Weight is not indicative of quality.

Contrary to popular belief, heavier papers won't necessarily paint better. In fact, I don't even like most 300lb (oh excuse me, 638gsm) paper, and I'm not alone. Thicker papers cost a whole heck of a lot more and tend to be more absorbent, which doesn't work for me because I prefer my pigments to float.

We often try to apply Bounty's "thicker quicker picker upper" mentality to watercolor paper. But what works for paper towels doesn't always fly in the face of watercolor paper, because whether or not a thicker paper will work for you depends a lot on what you are doing with it. Plus, there's some pretty junky albeit thick papers out there.

When it comes to watercolor paper, quality goes way beyond thickness and weight.

Instead, paper quality is much more dependent upon pulp composite, manufacturing processes, and other things. In other words, don't don't judge a paper by its heft. Instead, the only way to really judge a paper is how well it works for you.

So if you find a 105gsm, all-cotton, mold-made paper that paints like a dream, by all means, stick with it and ignore the heavy-weight stuff.

Two samples of 140# CP paper from the same company. Their full sheets (left) are consistently smoother and appear slightly different than their block papers (right).

Two samples of 140# CP paper from the same company. Their full sheets (left) are consistently smoother and appear slightly different than their block papers (right).

4. Blocks, pads, and sheets of the same brand labeled exactly the same may behave differently.

Watercolor paper is available in sheets, rolls, blocks, boards, and various types of pads (spiral, glue-bound, etc). Sometimes a manufacturer will use different processes for producing the paper for each product… but they won't always tell you. If the resulting paper can be labeled the same, (e.g. "300gsm, cold-pressed, bright white") that's the label that goes on them all.

However, the paper may not perform the same. I know this firsthand, because it has happened to me several times. (For example, see my review of Arches' Field Notebook.)

Also, depending on the handling processes between sheets, pads, blocks, and sketchbooks— not only during production but also during shipment, storage, and sales— stark changes can happen to what initially began as a uniform paper.

Just because you love a paper in one format doesn't guarantee that you will love it across the board.

Many artists have lost a pretty penny by banking on this assumption; for example, purchasing 50 sheets (at a nonreturnable clearance price) of a paper that they loved in block format. Learn from their experiences so you won't follow in their footsteps.

It's hard to see it in the photo, but this sheet has a uniform crimp caused by a factory goof. This flaw runs the entire length of the paper.

It's hard to see it in the photo, but this sheet has a uniform crimp caused by a factory goof. This flaw runs the entire length of the paper.

5. Quality control varies.

High-end paper manufacturers try extremely hard to produce a consistent product, but issues can still arise. If a paper you've loved for years all of a sudden starts misbehaving, it's highly unlikely that you've lost your artistic touch. A much more reasonable explanation is that the paper is at fault.

Watercolor papers may vary from batch to batch & sometimes within a batch.

Occasionally (and much more often in student grade papers), something goes wrong in the manufacturing or delivery process— the factory's air conditioner breaks down or a worker sneezes on a paper roll. Sometimes ingredients are substituted or changed without public notice. Any and all of these things can result in variations in the finished product, even from sheet to sheet.

If you're accustomed to a particular paper, you may notice these slight (and sometimes not so slight) changes. If a paper you've loved suddenly loses its touch or fails to perform, most manufacturers and retail establishments will happily work with you on an exchange or a refund.