I use a natural Waterford 140 CP. I like that it has more seizing than most and the paint is easy to work. It is not as tough as Arches but I'm not real rough on paper. The most I do is scratch in something at the end. I slap the paint down and leave it. Color changes are made with glazes.
What paper are you using and what about it do you like?
Whatever you are doing, it is good.
I have always used Arches 140 cold press block for most of my smaller paintings. When I work on larger paintings, I use Arches 300 lb cold press. These papers seem to take the color well the first time so that when I glaze I can still see the layers of color, one of the things I just love about transparent watercolor painting. I am getting ready to use Strathmore 140 cold press. I'll let you know what I think of this paper. I use a Canon Montval sketchbook. As a side note, I use Winsor Newton watercolors.
Do you stretch your papers and what is your preferred method?
I painted on Strathmore most of the way through college. It was what was in the school store. Back then we were taught to wet & tape to stretch the paper. Now days it's Gatorboard & clips and I'm not real good at keeping it down with them because I like to pick the paper up and turn it to make thing flow in a direction I like.
I use a few WN colors but I really like DaVinci. They are very smooth and I like the way they move on the Waterford paper.
Hands down, I like Arches 300 lb cold pressed. I glaze a lot and the valleys of the paper don't fill up too quickly with pigment. I'm too lazy to stretch paper too. but even the heavier paper buckles a little, so when I'm finished with a painting, I lightly spray the backside with water, and then place it between two pieces of acid free paper and lay book on it - overnight.
Also like painting with acrylic on watercolor canvas. Have done a few oils on watercolor canvas, but have not sold them coz want to see how they fare over time.
www.loriwords.com
Joan McKasson taught me to iron the back side of the painting. Then you don't have to wait.
Yes, I did try the iron, but Sondra Freckelton pointed out that ironing can sometimes flatted the bumps and make it like hot pressed paper. The bumps is what give me the luminosity I crave - especially the big bumps on 300lb, so I don't want to risk losing that. For hot pressed paper, and perhaps 140 or 90 pound - sounds like a great idea!
I have not ever found that to be a problem. Maybe the temp is an issue. I do it before framing, especially the pieces for show because judges don't like to see the paper rippling at the mat. (I'm sorry, I'm sure I am stating what is already known)
No need for apology. If it works for you, then other folks on the forum should be aware of it. hey there's no one way to do anything when it comes to artwork. I'm all for experimentation and individual preferences.
Your paintings are really great! So you just keep on ironing away.... do you iron clothes as well
Not a chance! If it can't come out of the drier ready to wear, it's headed for goodwill. I'm retired and trying to paint! I don't have time for ironing clothes. I draw the line at ironing paintings.
Hey, I'm with you - I visit my iron.... maybe once a year... OK back to painting stuff.
Am doing more experimenting with watercolor canvas.
I don't think I'll go there. I'm still learning paper. A watercolorist friend is doing alot of it. It kinda sits on the surface until it dries and you have to work flat. But the colors are brilliant. I think it makes watercolor another medium.
I used to ONLY use Arches CP 40, but I've since discovered Fabriano and I love it's texture and forgiveness...
Yes, I went through a Fabriano phase too. In fact, I still keep a few sheets around. I like the warm natural.
Listen guys, keep this kind of discussion going.There are a lot of us that do not paint in WC.Your talk is a help to me, anyway.
I may not ever iron a sheet of paper, but at least I know about it!
Thanks!
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