How to Choose the Right Paper for Watercolour, Acrylic or Mixed-Media

For many artists, paper is an afterthought. We speak of pigments, brushes and technique, yet rarely pause to consider the surface that holds everything together. In truth, paper is not a passive support. It shapes the behaviour of water, the vibrancy of colour and the longevity of the work itself. Choosing the right paper is therefore not a technical footnote but an artistic decision.

Whether you are working in watercolour, acrylic or a hybrid mixed-media language, understanding paper will transform the way you paint.

Understanding the Basics

Before turning to specific media, it helps to understand three essential qualities.

Weight refers to the thickness of the paper, measured in pounds or grams per square metre. Water-based media require heavier sheets because they absorb moisture. Lighter papers buckle easily unless stretched or taped down. For serious watercolour work, 300 gsm is considered the standard. Heavier papers such as 425 gsm or 640 gsm offer even greater stability and can often be used without stretching.

Fibre content affects durability and texture. Cotton paper, often labelled as 100 per cent cotton or rag, is widely regarded as superior. It is stronger, more absorbent and ages gracefully. Wood pulp papers are more affordable and suitable for practice or study but may not have the same archival quality.

Sizing determines how the paper absorbs water. Internal sizing is mixed into the pulp, while external sizing is applied to the surface. Good sizing allows paint to sit on the paper long enough to manipulate washes before it sinks in.

These fundamentals apply across media, but each technique has its own demands.

Choosing Paper for Watercolour

Watercolour is perhaps the medium most sensitive to paper choice. The interaction between pigment, water and fibre defines the character of the work.

Surface Texture

Watercolour papers are typically available in three surfaces:

Hot pressed paper is smooth, with minimal tooth. It is excellent for fine detail, botanical studies and precise line work. Illustrators often favour it because pen and ink glide cleanly across the surface.

Cold pressed, sometimes labelled NOT, has a gentle texture. It is the most versatile option, balancing control and expressive mark-making. Many artists consider it the ideal all-round choice.

Rough paper has a pronounced texture. It enhances granulation and creates lively broken washes. Landscapes often benefit from this surface, where texture can echo natural forms.

Weight and Stretching

A 300 gsm sheet is usually sufficient for most watercolour techniques. If you work with heavy washes, repeated layering or large formats, 425 gsm or 640 gsm provides additional resilience. Thinner papers may need stretching before painting to prevent buckling.

Cotton vs Cellulose

Professional watercolour artists often choose 100 per cent cotton paper for its strength and responsiveness. It absorbs water evenly and allows for lifting and reworking. Student-grade cellulose papers are suitable for studies and experimentation but can dry unevenly.

Archival Considerations

Look for acid-free, archival paper if longevity matters. Museums and collectors expect works on stable supports. Investing in good paper is not indulgence but foresight.

Choosing Paper for Acrylic

Acrylic is more forgiving than watercolour, yet paper choice still matters. Acrylic paint contains water but also polymer binders that form a flexible film when dry.

Weight and Strength

Because acrylic can be applied thickly, choose a heavy paper. At minimum, 300 gsm is recommended. Mixed-media or acrylic-specific papers are often 300 gsm to 400 gsm and designed to handle wet layers without warping excessively.

Surface and Tooth

Unlike watercolour, acrylic benefits from a surface with some tooth. This helps the paint adhere properly. Smooth hot pressed paper may cause paint to sit too slickly unless primed.

Many artists apply a layer of gesso before painting. Gesso seals the paper, reduces absorption and creates a ground similar to canvas. If you plan to build up impasto or collage elements, priming is advisable.

Acrylic Paper Pads

Several manufacturers produce pads specifically labelled for acrylic. These sheets are often textured and pre-sized to handle heavier paint. They are convenient for studies and portable work.

Longevity

Acrylic forms a plastic film as it dries. If applied heavily on thin paper, it can cause cracking over time. Choosing a robust, acid-free sheet helps maintain structural integrity.

Choosing Paper for Mixed-Media

Mixed-media work demands flexibility. When combining watercolour, acrylic, ink, pencil or collage, the paper must withstand varied techniques.

Versatility Is Key

Mixed-media papers are engineered to balance absorbency and strength. They are typically around 250 gsm to 300 gsm, though heavier options exist. The surface is usually lightly textured, accommodating both wet and dry media.

If your practice involves heavy collage, stitching or repeated wet layers, consider stepping up to a heavier watercolour paper instead of standard mixed-media pads.

Absorbency Balance

Too much absorbency can dull colours and cause feathering with ink. Too little can make watercolour bead uncontrollably. A good mixed-media paper strikes a middle ground.

Experimentation

Mixed-media artists often benefit from testing several papers before committing to a large project. Small sample sheets can reveal how materials interact.

Practical Questions to Ask Yourself

Selecting paper becomes easier when guided by intention. Consider the following:

• Will the work be layered extensively with water?
• Do you require fine detail or expressive texture?
• Is the piece intended for sale or exhibition?
• Will it be framed under glass or displayed openly?
• Are you working in a sketchbook or on loose sheets?

If you are preparing work for galleries or collectors, archival quality should be non-negotiable. For sketching and studies, more economical options may suffice.

Blocks, Sheets or Pads?

Watercolour blocks are glued on all sides and reduce buckling, making them convenient for outdoor painting. Loose sheets offer flexibility and can be torn or deckled. Pads are portable and practical for travel or classes.

Artists who paint en plein air often appreciate blocks for their stability. Studio artists may prefer large sheets that can be cut to custom sizes.

Sustainability and Ethical Considerations

Increasingly, artists are attentive to environmental impact. Some manufacturers use sustainably sourced cotton linters or recycled fibres. While cotton rag paper is durable, its production also carries environmental implications. Researching brands that commit to responsible practices can align your materials with your values.

Testing Before Committing

Even within the same category, papers differ. Two cold pressed cotton sheets from different manufacturers may behave distinctly. The only reliable method is testing.

Create small swatches. Apply washes, lift pigment, add layers and let them dry fully. Observe how colours shift. Note how the surface responds to scrubbing or erasing. These experiments build familiarity and confidence.

Over time, many artists settle on one or two preferred papers. Consistency can become part of a recognisable visual language.

The Relationship Between Artist and Surface

Paper is not neutral. A rough surface may encourage bold, broken colour. A smooth one invites precision. Heavier sheets allow fearless saturation. Lighter sheets demand restraint. Choosing paper is therefore not merely technical. It is conceptual. It shapes the rhythm of the hand and the mood of the image.

For emerging artists, the abundance of options can feel overwhelming. Yet the solution is simple: understand your medium, test thoughtfully and invest where it matters most. Good paper does not guarantee a successful painting, but poor paper can limit even the most skilful hand.

In the end, the right paper is the one that supports your intention without resistance. It should feel like a collaborator rather than an obstacle. When that happens, technique and material align, and the painting breathes more freely.