Many of my students and fellow artists have asked me what my favorite way to stretch watercolor paper is. James Fitzgerald and Tom Hill are two well know watercolor painters who have influenced the way I stretch paper.
James Fitzgerald is one of my favorite watercolor artists who died in 1972. what I learned about how he painted came from one of the few students he had who also became his patron; Ann Hubert. She told me that Jim would take a sponge and wet only the back of the watercolor page, drip the access water off, and place it wet side down on a non-absorbent surface (like formica board). Then with 1-inch tape he would tape a 1/2 inch border around the page and to the board locking in the moisture. She said he did this because wetting the back makes the washes come alive with brighter color and I have to agree. It also creates a softer edge in contrast than a dry back page. Applying washes on dry watercolor paper on both sides causes your washes to come out hard edged. When the wash is painted on a watercolor paper that is dry on the back, it dries from the outside in. The water pushes a lot of pigment to the wash's edge it creating a very sharp build up of paint at that edge. But when the painted wash is drawn into the page by water applied to the back of the page it reveals amazing grain of the paper and essentially dries evenly at the same time, creating a very soft edge. This is due to the physics of two water sources within close proximity of each other wanting to draw toward each, in this case water on both sides of the paper pulling toward each other wanting to join. Both ways of painting represent two great effects, but if you do not know about wetting the back of the page then chances are you won't get the unique bright color, soft edges and great grain which can be a superb beginning under-wash at the beginning of painting.
The other well know artist that influenced me and is still alive is Tom Hill. I once read in his book, "Color For The Watercolor Painter, New Enlarged Edition" on page 19 that it was possible to stretch a watercolor sheet on a wooden canvas stretcher. Tom says," This is my favorite method of stretching paper, especially when working in my studio." Published in 1975 by Watson-Guptill Publications; this way of stretching is easier to handle and not as messy when using 2-inch Kraft Butcher Tape. This Method intrigued me because I could stretch the paper, but I could also wet the back of the page with a spray bottle without getting any water on the painting surface.
Therefore my highly prized watercolor surface to paint on is a combination of cotton rag mold made or handmade papers papers that I have successfully stretched over the years on a wooden canvas stretcher. 1) It gives me the ability to brighten color and increase grain by pre-soaking the paper, letting it dry, and then wetting the back with a spray bottle just before painting. 2) It is light weight and the process is easy to do. I can make up several at a time and works well for large paintings in the studio. 3) When I remove the painting it is as if I ironed the painting, no wrinkles, no matter what the weight. Framers love it because it set in the matboard frame beautifully. 4) I can still tape a 1-inch border around the painting to establish the perimeters of the painting and no one would ever know I stretched the painting once it's removed and trimmed from the stretcher frame.
The following steps will reveal my watercolor stretching method.
Step 1: All watercolor paper up to 140 LB pressed should be stretched do to buckling when water is applied. I even like to stretch 300 LB pressed paper. Start with watercolor paper that is 100% cotton, not a wood fiber paper with a neutral PH rating. The paper should be 2 inches larger than the wooden canvas stretcher. The other materials you will need is a heavy duty staple gun with 1/4 inch staples. I use a Craftsman staple gun. You will need two large cotton bath towels larger than your paper to take off the access water. Then you will need a water tub to pre-soak your paper. For large sizes I use my bath tub. Make sure the water tub is clean of any detergent residue by rinsing it out first.
Step 2: Assemble the wooden canvas stretchers into a frame. I put at least two staples in the corner joints in the back of the stretcher to keep it from separating.
Step 3: Place paper sheet into a tub of cool water one page at a time to avoid papers sticking together. Immerse page completely under water and allow to soak for 10 to 30 minutes depending on the paper's weight. For 90 LB and handmade papers I soak them for no more than 15 minutes. 140 LB to 300 LB mold made papers can be soaked for longer depending on personal taste. You will have to experiment for yourself.
Step 4: After pre-soaking, take the paper out of the tub of water holding the paper by one corner to allow the access water to drip off until it stops.
Step 5: Place the watercolor page water mark side down between two large cotton towels on a table and continue to take off access water so that it does not soak the wooden stretcher frame when you attach it.
Step 6: Next place the stretcher frame on top of the paper on a table with the back of the stretcher face up.
Step 7: Next lift up the paper underneath with the stretcher so that the paper is facing you. You always want to pay attention to the surface that you are making on which you will be painting. Gently fold the paper over the stretcher with your thumbs in the middle of the page as you would a canvas. The paper is supple like cloth and this would be the best time to make sure that the stretcher is actually in the middle of the page before you staple.
Step 8: Then staple 3 tacks into the middle of each side of the paper as you would a canvas with each staple about 2 1/2 to three inches apart from each other. Then continue to staple one whole side of the paper until it is completely tacked down on all four sides.
Step 9: Hold the corner so that it faces you and make a hospital corner fold on the corners. Staple one tack along the edge of the fold. You are finished stretching after you have done all 4 corners!
Step 10: Allow the stretched paper to dry for about 2 hours. Do not try to quicken the process by placing near a heat source. It could warp the stretcher and even cause a fire. When I stretch more than one, I'll use the excess paper to create an air pocket as they lean against each other in the drying process.
Step 11: After they have dried the paper becomes taught. I then tape about a 1/2 -inch boarder all around the painting. After I have completed the painting I back out the 1/4-inch staples, remove the molded page and cut with wall paper scissors right on the fold. Now you have a watercolor page that looks as if it were ironed!
If this helps you I would love to hear about it. I also do public watercolor demonstrations at art societies, galleries and schools in my watercolor courses and workshops and would love to demonstrate this process for you or your group. If you would like to contact me just e-mail me at [email protected] or call me at 207-827-7573.
A very special thank you to Janet Blood who helped to take these photographs in my recent Technical Applications in Watercolor class. The paper I used in the photographs was a sheet of Gemini 140 LB cold pressed watercolor paper. Keep painting!
