Choosing the right watercolor paper is just as important as selecting your brushes or pigments.
The types of watercolor paper you use directly affect how your artwork turns out, whether you’re layering washes, experimenting with textures, or aiming for fine detail.
Understanding the differences between papers like cold press, hot press, and rough is essential for achieving the effects you want.
By the end of this article, you’ll know which watercolor paper weights work best for your techniques, the pros and cons of cotton versus cellulose paper, and how different textures impact your painting.
I’ll walk you through everything you need to know about watercolor blocks, pads, sheets, and even sketchbooks.
Whether you’re new to watercolors or looking to refine your approach, this guide will help you make informed decisions on the best paper for your next project.
Understanding Watercolour Paper Composition

Watercolour paper is more than just a surface to paint on. Its composition directly affects how paint behaves, which ultimately impacts the outcome of your work.
Materials Used in Watercolour Paper
The most common material used in high-quality watercolour paper is cotton. Cotton fibers create a durable, absorbent paper that handles wet media like watercolour with ease. This type of paper is often referred to as cotton rag paper.
Cotton-based papers are often archival quality, which means they resist yellowing and can last for decades without deterioration.
For more affordable options, wood pulp paper is common in student-grade or practice watercolour paper.
It’s made from cellulose, which doesn’t absorb water as well as cotton, and tends to warp or buckle more easily. However, for quick studies or experimental work, it’s a reasonable choice.
Some handmade watercolor papers are a combination of these fibers, offering a unique texture that varies from sheet to sheet.
Sizing and Water Absorbency
Watercolour paper is usually treated with a substance called sizing. This is crucial. Without sizing, water and paint would soak into the paper too quickly, making it hard to control your washes or create wet-on-wet techniques.
Sizing acts as a barrier, slowing down absorption so you can layer or manipulate your paint. The two types of sizing are internal and external.
Internal sizing is mixed into the paper pulp itself, while external sizing is applied to the surface after the paper is made.
Watercolor paper absorbency varies by brand and quality. Arches watercolor paper is known for its reliable sizing, providing an even, controlled absorption that works well for fine details and layered techniques.
Brands like Canson and Strathmore have different sizing properties that can impact the flow and blending of pigments.
Texture and Weight
The surface texture of watercolor paper—whether cold press, hot press, or rough—has a significant effect on your painting style.
- Cold press paper is lightly textured, offering a balance between smoothness and texture. It’s great for most techniques, from fine details to broader washes.
- Hot press paper is very smooth, allowing for more precise lines and less absorbency. It’s favored by illustrators or those who want more control over their brushstrokes.
- Rough watercolor paper has a heavily textured surface, which enhances the granulation effect of pigments and is ideal for bold, expressive work.
In addition to texture, the weight of watercolor paper matters. Most artists use paper that’s at least 140 lb (300 gsm), which resists warping under wet washes.
Heavier paper, like 300 lb (640 gsm), doesn’t require stretching and handles multiple washes better.
However, student-grade watercolor paper typically falls around 90 lb, making it prone to buckling if it’s not properly stretched.
Common Pitfalls
One of the common issues is paper buckling when using lighter papers without stretching them. This can distort your work, making it difficult to achieve flat washes.
Similarly, if you choose a paper with poor water retention, your paint can dry unevenly, leaving unwanted marks or streaks.
Finally, selecting the wrong texture for your technique—such as using hot press paper for wet techniques—can result in a lack of blending or wash control.
Paper Surface Types and Their Artistic Applications
Cold Press Paper
Cold press paper has a lightly textured surface. It’s often referred to as “not” paper because it’s not hot pressed. The texture is subtle, making it versatile for most painting styles.
For me, it’s the go-to option when I need a balance between detail and texture. Watercolor washes lay down smoothly, but I can still achieve some texture when dry brushing.
The light tooth grabs onto the pigment without overpowering the work, which is especially helpful for techniques like layering or glazing.
Brands like Arches and Canson have good cold press options, and I’ve found that the 140 lb paper works best without warping when you’re working with moderate amounts of water.
Hot Press Paper
Hot press paper is smooth. Really smooth. No texture.
It’s the ideal choice for artists who want control. That’s why I use it when doing watercolor illustrations where precision is crucial. Lines stay sharp, and details don’t get lost in the tooth of the paper.
When I’m working with gouache or ink washes, hot press is perfect because the paint sits on the surface longer, giving me more time to manipulate it before it sinks in.
But, here’s the thing—because it’s so smooth, blending can be tricky. The paint doesn’t flow as easily across the surface compared to cold press.
Also, on a humid day, drying times can be frustratingly slow.
Strathmore and Fabriano make good hot press options, especially in watercolor blocks that avoid the hassle of stretching.
Rough Watercolor Paper
Rough paper is exactly that—rough. The texture is pronounced, creating deep valleys where pigments collect.
This type is a favorite when I want to play with texture and grain, especially in granulating pigments. The rough surface exaggerates the way colors settle, giving an expressive, unpredictable finish.
It’s perfect for landscapes or anything where I want an organic, textured feel. However, trying to create fine lines or precision is a nightmare.
The brush skips across the ridges, which can be an issue if you’re looking for control. In those cases, I avoid rough paper altogether.
When it comes to types of watercolor paper, knowing the surface texture you need is critical. It directly impacts how the paint flows and whether the paper works with—or against—your technique.
Paper Weights and Their Importance

Watercolor paper weight is more than just a number on a label. It directly affects how your paper behaves when wet and how durable it is during multiple washes.
90 lb Paper
90 lb paper is the lightest you’ll commonly find in watercolor pads. It’s often used for quick studies or practice because it’s cheap and easy to find. But let’s be honest: it warps.
You’re going to deal with a lot of buckling if you don’t stretch it properly beforehand. If you’re doing any significant amount of wet-on-wet technique, this weight is more of a hassle than it’s worth.
I mostly avoid it unless I’m sketching out ideas before committing to heavier paper.
140 lb Paper
This is the most popular choice for watercolor artists. 140 lb paper provides a solid balance between durability and affordability.
It’s thick enough to handle most techniques, from wet washes to dry brushing, without needing to stretch it.
That’s why it’s my go-to for finished pieces. Still, if you go really heavy on the water, you might notice a little warping at the edges.
You can tape it down, but be careful with the tape—you don’t want to rip up the surface sizing when you remove it.
Brands like Arches and Canson offer 140 lb cold press sheets that hold up well under multiple washes without turning into a soggy mess. For me, this weight hits the sweet spot between performance and ease of use.
300 lb Paper
300 lb paper is a beast. It’s so thick that you can skip the stretching process entirely. No buckling, no warping, just smooth, flat paper regardless of how much water you throw at it.
The texture is perfect for layering, and the extra weight means you can really push your pigments to create deep, saturated colors.
That said, it’s pricey. I save it for more important projects where I know the piece will go through multiple washes or need some intense scrubbing.
It’s also less common in stores, so you might need to special order it if you’re picky about your brand. But once you try 300 lb rough watercolor paper, you’ll understand why it’s worth every penny.
Common Pitfalls
The biggest mistake I see is using too light a paper for heavy watercolor washes. Student-grade watercolor paper, like 90 lb, just can’t handle the moisture and ends up buckling. Or worse, the paint absorbency becomes uneven, leaving streaks and uneven tones.
Watercolour Paper Formats and Usage
Watercolor Blocks
A watercolor block is a stack of paper glued on all four sides. It’s great because you don’t need to stretch the paper or tape it down—just paint directly on it.
The tension from the glue keeps the paper flat as you work, no matter how much water you use.
Arches makes excellent blocks that are sturdy and hold up through multiple washes. When you’re done, you simply slide a palette knife around the edge to remove the top sheet.
I use blocks for plein air painting or when I need portability. They eliminate the need for a board or stretching materials, making them perfect for travel or quick studies.
Watercolor Pads
Watercolor pads are convenient but less stable than blocks. They’re sheets bound at one edge, and you can tear them out as needed. With pads, you’ll likely need to stretch the paper, especially if it’s under 140 lb, because it’s prone to warping.
They’re good for practice or rough drafts, where the final result doesn’t need to be flawless.
I often use Canson pads when I’m testing out color combinations or brush techniques. But if you’re doing something serious, like a final piece, you’ll want to stretch the sheet or switch to a block or loose paper.
Watercolor Sheets
Loose watercolor sheets give you total flexibility. You can buy them individually in large sizes, which is perfect if you’re working on something big.
I usually tape the sheets down onto a board to keep them flat while painting. The advantage here is customization—cut them to any size, experiment with formats.
Most of my more significant works start with a full-size sheet from Saunders Waterford. I prefer 300 lb paper for larger projects because I can skip stretching. It saves time, and the thickness of the paper holds up to heavy washes.
Watercolor Sketchbooks
A watercolor sketchbook is essential for practice and sketching on the go. The paper in these books is typically lighter—90 lb or 140 lb—so it’s not ideal for extensive wet washes. Still, it’s perfect for quick studies, rough compositions, or just experimenting with techniques.
I carry one everywhere. It’s where ideas happen, where I try out new pigments, or experiment with watercolor textures.
Strathmore makes sketchbooks that are great for on-the-fly work but don’t expect them to hold up under too much water.
Common Pitfalls
One mistake? Using the wrong format for your painting style. Student-grade watercolor paper in a pad is never going to perform as well as archival-quality cotton sheets.
The Nuances of Paper Colour and Tinting
The color of watercolor paper may seem subtle, but it plays a significant role in how your final artwork looks. Most watercolor paper comes in varying shades of white, from bright white to natural, warmer tones.
Bright White Paper
Bright white paper is the go-to when you want your colors to pop. The high contrast between the pigments and the paper’s surface enhances vibrancy, making colors appear more intense.
If you’re working with watercolor illustrations or highly saturated washes, bright white helps maintain clarity and sharpness. Arches and Fabriano both offer bright white options that allow the pigments to remain true to their original hue.
However, the starkness can sometimes feel too clinical, especially in softer, more atmospheric work.
Natural White Paper
Natural white paper has a slightly warmer tone. It’s less glaring than bright white, which can give your paintings a more muted, subtle quality.
I find that it works well for landscapes or any work where I’m trying to create a softer, more organic feel. It doesn’t fight with the paint.
Instead, it allows the pigments to settle naturally into the composition. Canson produces some beautiful natural white sheets that have just the right warmth without dulling down the colors too much.
Tinted Watercolor Paper
Tinted watercolor paper comes in off-white, cream, or even light shades of grey or blue. It’s useful when you want to add a particular mood or tone before even applying paint.
Tinted paper can help reduce the brightness of watercolor textures, allowing you to focus on subtle contrasts.
Hahnemühle makes tinted papers that work well with light washes, though the tint will affect the transparency of your pigments.
Common Pitfalls
A major issue is choosing paper that doesn’t align with your desired color outcome. If you’re using natural fibers like cotton, and your colors aren’t turning out as expected, it could be that your paper’s base tone is interfering with your palette.
Bright white may push your highlights too far, while natural tints might dull everything down unexpectedly. Always consider the impact of your paper’s tone on your final work.
Common Challenges and Solutions in Using Watercolour Paper

Paper Buckling
Buckling is inevitable when using lighter papers. Even 140 lb watercolor paper can buckle under heavy washes if not prepped correctly.
The solution? Stretch the paper before painting. You can tape it down or use a watercolor board with clips. If you’re impatient, opt for 300 lb paper—it’s thick enough to handle multiple washes without warping.
Uneven Paint Absorption
When the paint dries unevenly or leaves streaks, it’s often due to poor paper absorbency. Cheaper student-grade watercolor paper is notorious for this. I stick to cotton watercolor paper for consistent results.
It absorbs water evenly, allowing for smooth transitions in wet-on-wet techniques. If the problem persists, check the sizing on your paper.
Some papers have more surface sizing, which can be adjusted by lightly rinsing the sheet before painting.
Lifting Paint
Unintended lifting of paint can be frustrating, especially if you’re using a paper with too much sizing.
Handmade watercolor paper and certain pulp watercolor paper types might cause the paint to lift when you don’t want it to.
I’ve found that using papers like Arches or Saunders Waterford, which have reliable sizing, minimizes unwanted lifting.
If it’s still an issue, switch to hot press paper—its smooth surface allows for more precise control over how the paint interacts with the paper.
Common Pitfalls
One of the biggest mistakes? Not knowing the limits of your types of watercolor paper. For example, using rough watercolor paper when you need fine detail or choosing the wrong paper texture for your painting technique.
Top Watercolour Paper Brands and Their Features
Arches
Arches is my go-to when I need something dependable. Their cold press paper is well-known for having a consistent texture and excellent watercolor absorbency.
It’s made from 100% cotton fibers, which makes it durable enough to withstand heavy washes and wet-on-wet techniques. I’ve pushed Arches paper to its limit with layering and it holds up every time without breaking down.
Their hot press option is perfect for detailed work, but honestly, it’s their rough texture paper that stands out for landscapes.
You get a lot of granulation, especially when using granulating pigments. The texture grabs onto the paint in all the right ways.
Fabriano
Fabriano’s Artistico line offers watercolor sheets and blocks that work just as well for beginners as they do for pros. The paper is mold-made and 100% cotton, so it’s durable and can handle scrubbing if needed.
The bright white option gives incredible vibrancy to your pigments, while the natural white has that warmer tone I like for more muted works.
They also have a student-grade watercolor paper called Fabriano Studio, but it’s made with wood pulp and doesn’t perform the same way as their Artistico line.
Saunders Waterford
When I want something archival that’ll last, I reach for Saunders Waterford. It’s acid-free and made from pure cotton rag paper, making it ideal for works that need to endure.
The cold press texture is slightly softer than Arches but still provides enough tooth for dry brushing or heavy washes.
Their 300 lb paper is thick enough that you don’t have to worry about stretching or buckling—no matter how much water you throw at it.
Canson
Canson has a variety of options, but I stick to their Montval watercolor paper for practice. It’s not as high-end as the others, but it’s reliable enough for sketchbooks or smaller works.
It’s cellulose-based, so it’s a bit more prone to warping under too much water, but for light washes or quick studies, it does the job.
Hahnemühle
Hahnemühle is all about texture. Their rough watercolor paper is aggressive, and if you’re into creating texture-heavy work, this is the one to try. It’s handmade, so the surface has slight variations that add character.
I’ve found it to be particularly good for expressive, loose styles. It doesn’t absorb as fast as Arches, which means your wet washes stay wet longer, giving you time to manipulate the pigments.
Practical Tips for Watercolour Paper Maintenance and Storage

Preventing Warping
If you’re using lighter paper—anything below 300 lb—warping is going to happen. Stretch the paper before you begin painting.
Get it wet, tape it down onto a board, and let it dry flat. Once dry, you’ll have a much more stable surface.
For watercolor pads, you can also use clips or a board to keep everything in place. But honestly, if you’re like me and hate dealing with warped paper, just invest in heavier cotton watercolor paper like Saunders Waterford or Arches.
Keeping Sheets Clean
Watercolor paper can pick up oils from your hands, dust, or even stains from the environment.
Use a clean surface when handling the paper, and avoid touching the painting surface directly.
I usually wear gloves or at least try to handle the edges. It’s especially crucial with bright white paper, where every smudge shows.
Store the paper in a flat drawer, ideally with protective layers between sheets to prevent dust and dirt from settling.
Avoiding Paper Yellowing
If you’re working with acid-free watercolor paper like Fabriano or Hahnemühle, you’re already ahead.
Acid-free papers are less likely to yellow over time. But it’s still smart to store your paper in a dry, cool place, away from direct sunlight. Sun exposure can cause even the best archival-quality paper to deteriorate.
Storing Loose Sheets
Loose watercolor sheets should be stored flat, never rolled. Keep them in a large portfolio or flat file drawer. I separate mine with glassine sheets to avoid any friction between them.
This prevents the surface from getting scratched, which can happen more easily than you’d expect. If you’re short on space, use a large, sturdy envelope, but avoid cramming them together.
Protecting Finished Work
Once your work is done, if you’re planning to keep it unframed for a while, store it properly. Use acid-free tissue paper or glassine between the sheets to avoid any transfer of paint.
Even if it’s dry, pigments can sometimes rub off if stored poorly, especially if you’ve used rough texture paper. Don’t stack finished pieces directly on top of each other without protection.
FAQ on Types Of Watercolor Paper
What is the best type of watercolor paper for beginners?
For beginners, 140 lb cold press paper is usually the best starting point. It strikes a balance between absorbency and texture, making it forgiving enough for practice.
Brands like Canson offer affordable options that hold up well without requiring complicated prep like stretching.
How do I choose the right paper texture?
Choosing between cold press, hot press, or rough depends on your painting style. Cold press is versatile, great for most techniques.
Hot press is smooth, perfect for fine details. Rough is ideal for textured, expressive work. Test them to see how each handles your preferred techniques.
What’s the difference between cotton and cellulose paper?
Cotton watercolor paper is more durable and absorbent, making it ideal for professional work or heavy washes.
Cellulose paper, made from wood pulp, is cheaper but less durable, and tends to warp more under water. Cotton gives better results for most watercolor techniques.
Should I stretch my watercolor paper?
Stretching is important for lighter papers, like 90 lb or 140 lb sheets, to prevent buckling.
Heavier papers, such as 300 lb, don’t need stretching because their weight keeps them flat during wet washes. You can use watercolor blocks to avoid the stretching process entirely.
Can I use watercolor paper for other mediums?
Yes, but it depends on the medium. Watercolor paper works well with other water-based media like gouache and ink.
However, its absorbency might not be ideal for dry media like colored pencils. You may find better results using mixed media paper for such combinations.
How do I prevent watercolor paper from warping?
Prevent warping by stretching lighter paper before use. Another option is to tape the paper down to a board.
Alternatively, you can avoid warping by choosing 300 lb paper, which is thick enough to remain flat even during heavy wet-on-wet techniques.
How long does watercolor paper last?
Good-quality acid-free watercolor paper can last for decades without yellowing or deteriorating, especially if it’s stored correctly.
Papers from brands like Arches or Saunders Waterford, made from cotton fibers, are archival and won’t degrade over time.
What are watercolor blocks used for?
A watercolor block holds paper glued on all sides, keeping it flat during painting. It’s useful for avoiding warping without stretching the paper.
Arches and Fabriano make reliable blocks that work well for both travel and studio work.
Is rough watercolor paper good for detailed work?
No, rough watercolor paper isn’t ideal for fine details. Its heavy texture creates unpredictable lines and absorbs pigments unevenly.
For detailed work, you’ll want to use hot press paper, which has a smooth surface that allows for precision and control in your brushstrokes.
How does paper weight affect painting?
Paper weight affects how much water the paper can handle without warping. 140 lb paper is the most common, but it may require stretching.
300 lb paper is heavier and doesn’t warp, making it ideal for painters who use a lot of water or multiple layers in their work.
Conclusion
Understanding the different types of watercolor paper is essential for getting the best results in your artwork.
Whether you’re working with cold press, hot press, or rough paper, each type has its unique characteristics that influence how the paint behaves.
Choosing between cotton or cellulose paper, knowing the right paper weight, and deciding whether to use watercolor blocks or loose sheets can significantly impact your painting experience.
By now, you should have a solid grasp of which papers suit your style and techniques. Keep in mind that the right paper is key to mastering watercolor textures, wet-on-wet techniques, or even precise detailing.
Experiment with different brands like Arches, Canson, and Fabriano to find what works best for your projects.
Ultimately, your choice of paper will either enhance or limit the effects you want to achieve, so always select wisely based on your artistic goals.