It is a matter of great importance that the paper on which painting is done should be well considered, in order that as few difficulties as possible may arise. The word difficulty is used here as the result of much experience, as pitfalls and mortification meet one at every turn when the paper takes the color washes in an eccentric way. More will be said later on, and examples given showing the bewildering manner in which certain papers behave. All these difficulties, however, vanish as more experience is gained, but in the earliest efforts it is absolutely necessary that a paper be used which shall present as few peculiarities as possible. And here it may be said, that without any doubt the student in his early water-color work must use a pure white paper with a moderately smooth surface, which should be of one of the lighter makes, and not rough. It is more satisfactory, however, for the student to make his own choice, but always within this limitation: that the paper must be white, moderately smooth, and capable of taking a wash easily, and this any art or hobby store will be able to supply. The list of papers given at the bottom of the page are arranged in order of difficulty, No. 1 being suitable for the beginner, and so on in sequence.
Certain papers should in the earlier stages of study be avoided by the student. Tinted papers are bad because they give an appearance of quality to work which otherwise would have nothing to recommend it. Such papers are also likely to induce the use of body color, which cannot be too severely condemned. The matter of body color will be duly considered later on. Heavy card stock is another white paper which is admirable for water-color painting, but owing to its want of substance, in case there is any washing out to be done, this paper is apt to be disappointing for the beginner. For advanced students, David Cox paper is beautiful in its substance, although difficult to work, as the washes when first applied have a different appearance from that which they assume when dry. Moreover, this paper is very difficult to wash, so that the perfection of effects in its use is obtained only when the work is quite direct and no lifting of color is necessary.
Very absorbent papers should be avoided until a complete mastery of technique has been acquired, and the surface, or substance of the medium worked on has ceased to afford any real difficulty to the painter. As the student advances in knowledge and experience the particular paper used becomes a matter of individual taste, and then endless indeed are the varieties from which to choose.
Before leaving the subject, it may be as well to point out that many of the pure white papers, being very finely prepared and dressed in order to get the brilliant whiteness, are rendered more or less difficult to work on owing to this process of manufacture. In order, however, to make such papers quite workable, it is only necessary to give them a good bath in cold water, when most of the offending material will be removed. With these few remarks of what are considered the best papers to be used in the early days of working in water-colors, and those which should be avoided, the student is left to learn by inquiry and experience which quality, tone, and surface are best suited to his requirements. by Rich
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