Bockingford is one of the worlds most loved watercolour/watercolor papers, which is only made at St Cuthberts Mill, near Wells, Somerset. It is cylinder mould made using the purest wood pulp to give an archival paper (internally sized with a neutral pH). Used by both professionals and amateur artists, for the papers excellent paint removal properties and for having quite a hard surface which resists scrubbing, scrapping and also takes masking fluid well. The imperial sheets have straight edges.

Within the Bockingford range the 535gm² (250lb) White or 425gm² (200lb) White are the papers that I use on a regular basis. I do prefer the extra weight of the 535gm² (250lb) paper even when compared to the 425gm² (200lb) but both are wonderful to paint on, both having the same slightly textured surface. I stretch both these papers having cut it to the size required from full sheets. Depending on your output of paintings art shops (or via the internet) now offer paper in large packs (10 to 100 sheets) at good discount. Don't forget to store the sheets flat and away from damp or temperature change.

The Bockingford Extra Rough surface has been developed in response to artists' demand for an alternative to the CP/Not surface in the Bockingford range. Like all the Bockingford range the Extra Rough is mould made from the purest cellulose fibre. It has an extremely forgiving paint surface allowing frequent changes to work e.g. lifting, scrubbing and masking fluid. It is acid-free and buffered to protect from atmospheric contamination, internally sized, highly light fast and colour stable.

Bockingford Watercolour/Watercolor paper is available in 5 weights ranging from 150gm² (72lb) to 535gm² (250lb). In the most popular weight 300gm² (140lb), Bockingford is available in 5 tints (cream, grey, eggshell, blue and oatmeal).

Saunders Waterford is the highest quality watercolour/watercolor paper offered by St Cuthberts Mill. Mould made using 100% cotton and the only paper to be endorsed by the Royal Watercolour Society of England; this is a paper of pure luxury. Although I have only used this paper for watercolour/watercolor painting and drawing, other artist use it for Intaglio, Silkscreen and Hand Lithography. The paper costs (depending on source) about twice that of the Bockingford.

The paper is a warm white and both internally and surface sized with gelatine and is buffered against atmospheric contamination giving very good archival permanence (neutral pH). This size strengthens the paper allowing lifting, scrubbing and corrections to be made without damage to the surface. Full size sheets have four natural deckled edges and come with a watermark, plus an embossed mark in the left corner to prove authenticity.

Saunders Waterford is available in three surface finishes. HP (Hot Pressed) which is great for high detail paintings. CP (NOT) is a good intermediate surface, which is great for most types of paintings. The Rough is a fantastic surface for landscapes and seascapes where the surface really works with the painting.

Arches Aquarelle is considered one of the finest watercolour/watercolor papers made today. It is 100% cotton fibre (sometimes known as Rag Paper), acid free, and made for more than a hundred years on a cylinder mould machine by Arjomari of France. This process, in which the pulp gradually settles and drains on a slowly rotating screen-covered cylinder, results in a paper that has a uniquely hand-made look and feel. With long fibers, this thick, stable sheet is beautiful, durable and moderately resistant to scrubbing, lifting etc.

The Rough and Cold Pressed sheet are gelatine sized, while the Hot Pressed sheets are internally and surface sized. The sheets are then air dried, have four deckled edges and before leaving the mill each is hand inspected for strict quality control. The Arches paper is watermarked and also stamped in the corner of each sheet. The paper costs (depending on source) about three times that of the Bockingford.

Arches Aquarelle is available in three surface finishes. Like the other papers above suitability for technique etc is the same. HP (Hot Pressed) is better for highly detailed paintings. CP (NOT) is a good all round surface. The Rough is a fantastic surface for looser landscapes and seascapes where the surface really works with the painting.

The following materials are required:

1. A number of thick boards (the pull of the a full sheet of drying paper is immense) for each size of paper (quarter, half and full Imperial - for the most economical use of the paper). I have boards dedicated to each size.

2. Watercolour/Watercolor Paper (cut to the size your require)

3. Gum Paper Tape (masking tape is not strong enough)

4. Bath or Tray (needs to be bigger than the sheet of paper)

5. Water

Method:

1. Place a sheet of watercolour/watercolor paper (fully submerged) in a bath (or tray) of cold water for a few minutes (5 to 15 at the most, give heavy paper near the upper end of this time).

2. While the paper is soaking cut the gum tape to a length longer than the paper.

3. Check the board is free from any protrusions/dirt that 'will' show when the paper is dry.

4. Remove the paper from the water and hold vertical while the majority of the water drains off.

5. Then place the paper centrally on the board.

6. To wet the gum tape, dip one of the four pieces into the water and then lift out of the water and holding one end, using other hand run the full length of the tape between two fingers stopping at the other end (this removes most of the water). Note: most tapes will try to curl at this point but you'll have hold of both ends.

7. Next place the tape to cover the paper by 1/4" (5 to 10mm). This is best done by positioning one end down on the board while holding the other end clear and than as you lower the second end line it up with the first end.

8. Run your hand over the tape to push it down onto board and paper. Repeat for the other three sides.

9. Leave the board flat in a location that is away from being walked on/over, anything jumping on it (pets etc) or near a heat source (it needs to dry slowly for a number of hours - best overnight). This time factor is the main reason for have a number of boards with paper stretched and ready for painting. Add yes, the odd error will happen, tape splitting etc, even after years of practice.

Paper and Gum Tape Removal:

1. With a sharp knife, run it around the very edge/lip of the paper (cutting through the gum tape only), do a long edge then a short edge to release some of the tension. While cutting the gum tape may or will split or crack due to the release of the tension (it is normal).

2. When the watercolour/watercolor paper has been removed a small lip is left on the gum tape thats remained stuck to the board allowing you to pull most of the tape off (pull from lip edge side across the width of the tape - inside to outside).

3. I leave the rest on until six or more painting have been done, not only does it provide a guide for the placing of the tape for the next painting (I use one size of painting on each board) but is easier to remove when there's more layers.

4. The gum tape remaining around the painting boarder can be removed by cutting 1/2" from each side.
   
   

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