Skip navigation

Tag Archives: Aquarius II paper

Wow! I tried Strathmore Aquarius II watercolor paper for just painting on! I like it a lot! It responds like a mix between hotpress and coldpress. It allows for more wet and wet applications like coldpress. Like hotpress, the pigment sinks into it rapidly and stays with little lifting qualities. The surface feels softer, to the touch, than hotpress paper does.  It is only 90 lbs worth of paper but I am finding that it does allow for layering. I had used this paper, exclusively, for my supports for gessoed watercolors because the paper did not buckle when the gesso was applied to it.  If you read up about this paper, you find it is made up of synthetic and natural cotton fiber. I guess the synthetic part is why it does not buckle so much when the gesso is applied. I did, however, get some waviness to the paper but not the buckling that I experience with other papers.

Those of you who have noticed that I am not visiting as often. It is NOT because I don’t want to. I will get there! My slow down is temporary but am involved with a lengthy obligation that takes me away from my normal schedule.  Thank you for your patience and your continued support, here, on this art blog.  I love to draw and paint so I will be back to my previous blogging when I can.

This week, in watercolor  plus class we are going to watercolor on a gessoed surface.  In order to do this, we have to prepare our support. I use a synthetic paper that I order called Aquarius II by Strathmore. This is only because it does not buckle like other papers when the gesso is applied to the surface.

We also need a bottle of white gesso and a bristle brush to apply it with. I lay my Aquarius paper on newspaper, Squirt a dollop of gesso on the center of the paper and stroke outward with the bristle brush until the entire surface is covered. The bristle brush leaves behind grooves in the gesso that enhance the texture of the paper. Before the paper dries, I hold it up to the light to make sure that I have covered the surface.  This will also reveal the texture of the surface you have created.

I then allow the surface to dry. An hour usually does it unless you have applied it rather thick.  Most of the time, I prepare several papers and allow them to dry overnight before painting on them.

I, usually tape my paper to a board because I like a white border around my paintings, but this is not necessary as your  surface will not buckle much if at all. Many artists clip their paper or just tape the corners to a board to work on this surface.

Graphite will show through the watercolor on this surface, so I always use watercolor and draw the image with a brush.  Watercolor crayon can also be used.

Once the drawing is done, I begin to lay in my color. The one thing to note about painting on this surface is that it requires very “little water”. I like to say I apply creamy pigment.  This surface is easier to work on than Yupo, but it still is similar. I work the colors in next to each other. If it gets a little muddy, you can wet it with a damp cloth and wipe the pigment off the surface or lift small areas of pigment with a damp brush. You can create highlights by using a damp brush or whiten back to the surface using the edge of a Mr. Clean eraser. Thus, there are numerous ways you can correct mistakes. However, I have not found a way to layer. A new layer of pigment removes and mixes with the first layer. Sometimes this creates mud. I like to scumble two or three colors together, much like you see with the shaded areas of the pup and the background.

I keep adding color and scumbling until I get close to the image I wish to portray.

In the final step, I punch the darks in where I think they are needed most. Once the painting is completely dry, I spray the surface with acrylic matte fixative. Otherwise, any water that may contact the surface of the painting will affect it.

Other watercolor on gesso paintings that I have done can be found here, here, and here.