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Stretching Watercolor Paper

For decades, watercolorists have used simple yet effective ways to hold their saturated watercolor paper flat as it dries. The purpose for this "stretching" is to insure a flat, pillow-free surface on which to work and to allow the painting to dry flat for ease of mounting and framing. Some of the simple, direct methods of stretching include the use of tacks and different types of tape. Newer materials now exist to simplify the process, but many artists stand by their tried and true methods.

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But before you can stretch a sheet, there are tips that will help insure success. Perhaps the most crucial step in proper paper stretching is the degree of soak given the paper. Some professionals prefer to "spot dampen" their paper, allowing a very specific control of wet-on-wet work. This can be accomplished by using a mist sprayer to saturate certain areas within the full sheet area. Sprayers that have a very light spray broadcast--those that spray very small droplets--work best.

Such sprayers can be purchased at art material supply stores. Mist methods also work very well for watercolor blocks, which cannot be totally immersed.

When overall, thorough dampening is desired, a deep soaking is considered the best idea. This total submersion affords the fastest and most fully saturated soak. Some care should be exercised, however. If paper is allowed to soak too long it can become fragile and is easily damaged. If not soaked long enough, it will resist stretching, may not be evenly "opened" to pigment and might not flatten smoothly. An average of 30 to 45 minutes usually works best for mid-weight papers. Really heavy papers may require a longer soak, so some experimentation will help. Warm water slightly speeds the saturation process, but avoid hot water.

Where to soak the paper is always a consideration. Obvious choices include the bathtub; but, in studio situations, other options might be needed. Special trays are available up to around 30" x 20". Alternatively, builders' supply outlets offer trays for mixing mortar or potting mixes, and these large trays are perfect for soaking sheets of watercolor paper. Some artists use small children's wading pools for full sheets or oversized papers.

Remember to allow the soaked paper to rest for a short time after removal from the water. Lift and hold the paper by the two top corners, which will shed excess surface water. Then lay the paper in a draft-free area to let the moisture even out. After about 10 minutes, the paper is ready to stretch.

One benefit of thorough soaking is the ease of paper sizing at that softened, pliable stage. It is very easy to size dampened paper and to create a feathered edge simply by pulling the wet paper into sections. For exact sizing, decide on the dimensions desired. Lay the dampened paper over a sharp edge, like that of a counter or desk. Gently pull the paper down, using the sharp edge as a cutting device. The result will be a straight tear and a soft-deckle edge.

Once the paper is evenly saturated, the stretching can begin. A board of some sort is required to which the thoroughly dampened paper can be attached. The old world purist's method is to tack the edges of the paper to a wooden board using thumbtacks. But, over time, the perimeter of the board begins to deteriorate. A more modern method is to attach the wet paper with gummed mounting tape (brown packaging tape), which grips the edges of the wet paper and holds it fast to the board. (Allow a 1" overlap on all sides of the paper to insure a good grip.) With the tape attached to the wet paper edge, simply moisten the dry side and stick it to the mounting board. This taping method works well on Masonite and wood. New specialty tapes are also available that are self-adhesive, clear and waterproof, yet capable of holding dampened paper. They are sold by the roll at art supply centers.

Perhaps the most interesting of the stretching methods are the new clamp and strip systems. These make fast work of preparation. Some of these boards employ a rigid plastic wrap-around edge that surrounds the outer border of the paper as it attaches to the backing board. The wraparound edge is held firmly in place with a second tap-in strip, easily and quickly assembled with a lightweight mallet. The hold is strong, facilitating all weights of paper up to 300 pound.

Other systems use a tap-in strip and slot along the outer edges of the mounting board. The paper is caught between the groove and the stretcher strip, thereby locking the paper in place. One advantage of this style of stretcher is that it goes on very quickly and holds weights up to 140 pound. This system allows for the efficient use of lighter weight papers.

Any of these stretching methods can also assist in flattening watercolors that have become buckled over time or those that were initially painted without some form of stretching device. To stretch a completed watercolor, mist the back side of the paper. Allow this mist to soak in, and then repeat. It may require as many as four or five mists, but the paper will slowly absorb the moisture and soften. It is then ready for stretching/flattening.


 

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