Elisabeth recently wrote about a watercolour study: “I ended up re-emphasizing ……. and my three puddles of tinted wash got all muddled (literally:). The paper was cheap and although I stretched it, it buckled badly and I couldn’t really control my brushstrokes.”
Watercolour is an acquired taste, particularly when you try to do it right. Some time ago I read a book where the artist said that he gave up on stretching and just let the paper move around, flattening it afterwards. Hey! that’s for me I thought – and have never tried stretching since. That said, decent paper is a must (thicker, better) and quality has an impact. Careful fluid washes may be a problem, however that’s not my thing anyway! The glued pads are a good option too – almost like stretching.
I invariably use 140 lb. watercolour paper and typically carry two qualities: a cheap pad and one of decent quality: Arches when the price is right, however I do a lot of painting on Fabriano paper. I’ve tried most decent quality brands and like them all. Good calibre, 90-lb paper will warp easily, regardless of quality, and I would always choose a marginal quality, 140-lb sheet in preference! I use cold-pressed, although I like hot-pressed for more graphic work and have had good results with rough and also more expressive abstractions.
I do not stretch the paper first, although as I say, that means the paper will move around somewhat. Should you wish to stretch, there’s a lot of advice on stretching on the web and this site looked comprehensive: https://watercolorpainting.com/stretching-paper-bucking-the-buckle/
I do press flat when finished, slightly dampened on the back, between a few blank sheets of acid-free paper and 2 plates of glass, weighted with books. Some watercolourists will gently iron their work: I’ve tried it, but it still scares me.
As a footnote, it’s key that it’s real watercolour paper. If it does not say “Watercolour” it will not work. Watermedia, mixed media papers are not the same thing at all. The difference is in the cellulose sizing that prevents it from acting like blotting paper, allowing you to lift and move colour. I use a half sheet, 22”x 15” or similar and prefer to do small work on large, uncut sheets rather than be constrained by the edges of the paper.
Break-a-Brush!
David