I occasionally use a similar technique but after thoroughly wetting the front and reverse sides of the paper I lay a evenly damp and flat cloth under the paper and on an impervious surface and then use a drier cloth to smooth the paper completely flat by motioning the smoothing cloth from the center to the edges. The paper remains flat and without the need to stretch or use tape. The artist who demonstrated this method learned it at art school in St Petersburg, Russia; I have not seen it used by anyone else. It allows wet working for an extended period.
I follow Konstantinos Sterkov and Anna Ivanova, both Russian. They wet the back of the paper, then the front and place it on the working surface and with a clean cloth take out the water of the figure they are going to paint. This gives you time to paint the first washes in a relaxed way.
Matthew can you demonstrate the method Ronald is explaining? I am still trying to understand it. I am new to watercolor and am learning about this now. Thanks Ronald for sharing.
Some time ago I stopped painting with taped paper, just because I wanted my painting to extend to the edges of the paper. Like you, both sides wet down. However, the thing I do, and allows for rotating the paper so that it can flow in directions I want, is to use a lightweight, varnished board. I have a piece of 3/8 inch thick plywood that I varnished. It is waterproof and does not warp. I place this on my easel, which I keep at a very shallow angle - like you, about 10-15 degrees. As the paper is sticking to the board because of the moisture, I take the board off the easel and move it around, tilting as I want. Then, I put it back and continue to paint. Warping and buckling of 140# paper does occur; however, this can be flattened. Spray the back of the dried painting and weight it down. You can even iron it to make it flat. Good watercolor paper is 100% cotton, and it can handle a hot iron quite well. There are videos out there which show these techniques. This video is helpful as you explain a lot of things which people sort of learn by accident, so thanks for posting!
I do the same, I bought some wood pallets intended to be painted on, and I did that so that I could set a project aside to dry for the next layer, and to have the freedom to move the piece around. That's exactly what I was thinking when he mentioned it being stuck to the surface, the board solves that problem, and like you said, allows for any tilt you desire. I hadn't considered ironing it, that's a great idea!
Oh, this is something I've noticed when working with this technique with cotton paper. I have some loose pre-cut sheets from pads, but I also recently acquired a giant roll of cansin heritage paper, so the pieces I cut are naturally curved. I use this "wet the paper on both sides" technique so the water will act as a glue against the board. You get more time to work on your wet-on-wet techniques and the paper doesn't fully dry to the touch because the back of it still is damp, so you still can make soft edges with your brush marks. Thank you very much for this video, as I thought I was the only one who had this sort of insight 😅
I could not agree more. I have been wetting the back of my paper and laying it down on my painting board for a few years now and just love how long I have to paint before my paint begins to dry. It truly transformed my paintings and helped me improve.
Thank you Matthew! That is the way I learned here in Finland. You are the first one in youtube I noticed using that technic. The paper really sticks on the surface and the metod gives much time to paint. I usually spray lots of water on both sides and kind of roll the paper towards the surface many times . Then paper is evenly wet and I just have to be patient and wait for the paper to settle. Before I start I check that the back side of the paper is not too wet to avoid backruns on the edges of the paper.
This is helpful. I use PVC corrugated sheets as a work surface. I love it because it's lightweight and easy to cut the sizes I need, besides, it's cheap. After watching your video, I wet the back of a piece of Arches and laid it on the PVC, wet the other side, and started painting wet in wet. Wow! The best of all worlds. It gave me the freedom to turn my work and the time savings of not having to tape the paper down. I painted the sky/clouds and the background for the landscape I'm doing. I didn't have much buckling, thankfully, but I did press the paper for a quick dry. Thanks again!
I tried the Andy Evansen way of putting water on both sides without tape. Didn't like it for a couple of reasons. 1) I don't care much for an entire wet on wet wash. Sometime I just want the sky wet and then I dry it before doing the middle ground. I sometimes like more control over my brush doing going around objects using wet on dry. 2) I like the clean border that tape gives once done and I never like when the paint on the front goes over the edge and under the paper if there is no tape. If your not careful you can have back-runs on the borders if you don't use any tape. Yes, it holds the paper down and gives you more "working time" doing it your way, but I find just taking a spritz bottle and putting the water where I need it when I need it gives me more control without saturating the paper with water.
As a person who must adapt how I paint due to neck & back damage must have my painting surface at a bit of tilt but don’t feel the need to the whole first wash of colors to be all wet on wet as a beginner (will lose control) for sure! Yours looks beautiful & one day maybe.
This has been standard watercolour practice for Russians & Ukrainians for decades upon decades.... I love painting this way HOWEVER I looooove a white border around my unframed work...
I paint like this about 90% of the time. I have found if I want a white border, I simply mask it with masking fluid. I've done this three times now and have had really good luck with the Windsor and Newton brand fluid. You have to control your water around the edges while painting to keep from getting bleed backs but it's not much of a problem.
Hi did watercolor paper tape I guess it could’ve been the quality of the paper itself but when I took it off it started ripping the sum of the paper off I’m glad that it’s on an area where the frame would cover it up. I’m thinking about not using that again then I may try on a better quality watercolor paper
team no tape! Mostly because I couldn't be bothered, originally. But I also tend to work on multiple pieces at one time, and if they're loose I can move them around easier. The waffling's just not that big a deal. It's easy enough to flatten it at the end and I am always so gratified after I'm done flattening it out to see it REALLY finished.
Wow, thanks! I totally get the idea, it just never occurred to me, but yes, the paper drying up while I am not quite ok with the sky is adding a layer of stress I really have no need for. I will definitely try this.
It’s great for especially landscapes and maybe initial portrait washes. For detailed wc such as botanicals and hyper realism non taping for me is more difficult. I do enjoy both methods and am able to slap a wet sheet on my glass desk but use gaterboard and tape for more detailed work. Very good suggestions.
I started doing this for some of my more complex landscapes when I began studying Javid Tabatabaei. It was the first I'd seen anyone do this and I had to try. First thing I noticed was yes, it keeps your paper workable far longer than just wetting the front (particularly using rough paper, imo) AND to my sometimes loose standards it didn't warp anywhere near the extent of expected. Taping / stretching paper is something so stressed, yet for me, often completely unnecessary. So that was awesome to discover. Thats something you talked about so not necessarily worth adding but about keeping the freedom of mobility when painting ; I see you have a gorgeous easel and work space, mine isn't nearly as beautiful but because I place my quarter sheets on a dry erase board to paint, I can pick up the whole board, turn it upside down, tip or tilt it - whatever. So I wouldn't want that concern to stop others from trying to paint this way. It's a lovely experience. Thanks for talking about this.
@@debbiemartin9005 thanks Debbie 💛 I was starting a new painting and my other surfaces had works in progress taped down on them and i just needed a flat, impenetrable surface for very wet washes and it's just something I happened to have around. Further along in the comments there's someone who recommends glass and says it works very well. I'm curious but also chronically clumsy so..
@@morgenmachen2400 Yes!! 😃 I started using a piece of glass from a cheap picture frame as a palette for acrylic, but, also being known for dropping things/cutting myself, I loved the idea of getting the edges beveled, but had no idea where I could get that done. Now I know. 🙌🏻🤩 Using your suggestion, I have a dry erase board that I’m going to use and see how it works. This video and the comments have been SO helpful!
I tried this today and you were so right! Skies are my nemesis and, although I'm still not at all satisfied, this gave me so much more time to correct the skies without overworking. Thank you for the encouragement
Thanks, Matt. One thing, I wet my paper both sides depending on the subject and approach, but as I wet it down on a sheet of glass it sticks really well and also you can pick it up and tilt it if needed to make washes flow. A sheet of perspex also works well and I guess is safer, although I had a glass guy bevel the edges so I can't cut myself.
Interesting. I use dry erase board. If you've ever experimented with that - what's your opinion on how it compares to the glass? If it's significantly better, I might be able to justify the risk. I'll try most anything once!
@Maiesha Akhand thanks Maiesha, I didn't see the comment until this morning@@alisonb3850 it's something one might use for work or school- a light weight, non porous surface that's used with erasable marker. They come in a large variety of sizes. A teacher may have one on the wall, in place of a chalk board. Im trying to convince myself to like the gatorboard (I believe this is the brand name of the board you described with the foam core). Mine is a good size - 22"x30" but the weight (or lack of it) creates an issue for me where by I'm constantly knocking it out of position or clear off my desk because any tap seems to launch it off. Sigh.
The thing I loved most about your advice was the section you make it clear that if this technique is not for you, don’t worry and just go back to the method that works best for the individual. My biggest fear from my channel and the advice I give is that people think it is the only way and the must follow the advice I am providing. I always try to point out art is about exploring all the possibilities, trying them all out and going with the ones that make you, as the artist, happy. Art should bring joy and peace to the mind. I personally think Art is so powerful in that individuals suffering with serious mental health issues can benefit hugely from art alongside professional medical care of course. But I think the art community is equally important.
I watched this video three months ago and was like, I could never do that. Now I mostly work on blocks. And the last two days I've been working with loose sheets and just did not want to put the work in. I remembered this video and tried it out. Thank you! I may never tape again.
Thank you Matthew for your video. I have not tried this technique as I'm always taping down by papers. But I will certainly give it a try. I especially liked knowing that this technique works well for the first wash to get those lights and the beautiful blending that watercolors accomplish. When my paper buckles I iron (140 lb cold press paper) on the back side and the paper returns to flat. This is of course after the painting has dries. This ironing technique can be done between layers if the paper buckles, but just make sure all the painting is dry. I use a dry iron, no steam, and a medium setting. Just a few minutes it takes to make your paper flat.
I just purchased a nice big piece of flat acrylic to paint on instead of a piece of breakable glass. That way I can lay it across my work surface or even my wooden board and wet the paper on both sides and it will stick to the acrylic. The only thing lacking about not taping the paper would be the white crisp edges. I haven't tried it yet but I am about to. Thanks for a great video. I'm so happy I found you on UA-cam. I needed new inspiration badly.
This is so mad as my art teacher at school in the 70's always thought that the watercolourists of the day (early 1800's) probably wetted the rear of the paper they used in the day. I would account for a lot of the output for some of the painter particularly Cox. Great stuff thanks for posting.
You can also still use your tape, paint it and then wet the whole page in a bathtub after you've painted it (really soak it). I also do it after I've kind of over worked a painting and don't like how it's turning out. It softens everything and has saved more paintings than I care to admit. I let it dry and then go back and sharpen edges or deepen color. This way you keep your taped frame. (Keep a paper towel close to stop the excess color run into the taped frame btw)
I literally had to rewind the first minute of this video because of how simple the solution to this situation (no nessassaryily a problem) is. You would think that excess water would mess with the consistency but probably not. I wonder now what type of paper should you use to maximize your effectiveness and the benefits. 👏🏾🙌🏾🙌🏾 Awesome work my friend!
I really could see a watercolor painting Book coming from you and will be the first to buy one. Loooking forward to more of your presentation ,thanks Matthew.
My favorite surface to put my paper on with or without tape is a dry erase board. It’s light and I even test paint colors on it. It’s also easy to maneuver and clean.
I was taught that the whole point of soaking the paper and taping it down is so that once it's dry, you can paint on it and the paper won't buckle. ie you stretch the paper
Thank you for sharing your knowledge and experience. I haven’t even begun to practice yet but I already feel I’ve learned so much from watching your videos. I will absolutely sign up for your class as soon as I am able to. Thank you!!
I love your videos and your painting style which I find similar to my favorite contemporary painter Andy Evansen. I have been working with watercolor blocks for a long time and that limits my abilty to keep the paper damp for more than a couple of minutes. I see the value of wetting both sides and I am definitely going to do more of it. Thanks for sharing.
This is a really good video 🤓 It just popped up on my wall. I used to tape creating a hard edge like a border. I like this method. You have a very calming presence. Made me want to keep watching. Pretty good since 3 minutes my max and I want to get back painting 😜 All the best from Nova Scotia 🇨🇦
My paintings curl and warp when I paint with my Designers Gouache, on 140lb paper. Either if I am doing a wash on a segment of it, or paint on to dry paper. At the end of the painting, I turn it over, and simply give the back a thin coat of colour, and it pulls the curled corners back, so when dry it's flat, especially if I flatten it under heavy books when dry. Also the paper then is more bendy and flexible than before.
Thanks for this video. Hubby & I haven't started painting yet, so there's no previous experience with how watercolor paper behaves anyway. It actually makes sense that wetting both sides evenly should reduce buckling, and adhere the paper to your paint board/surface, so we'll have to try this method. 🙂
To enable me to pick up the painting and move it around, I wet both side of the paper and apply it to a sheet of 4mm A3 perspex which is light and easy to move around.
I was taught painting like this in primary school (Steiner/Waldorf school). At the start of the lesson all paper (A3) would lay in a water tub. The teacher would then "drape" one sheet each to on our tables (no angle). It allows much time for wet in wet, it completely stops your paper from buckling and you can still tape it to a board if you want to with water activated tape (in case you want to be able to change location or orientation). We would also only be given primary colours. Pre mixed powder pigments in small bowls and no pallets. All mixing was done on paper, wet in wet. This would be ages (about) 7-12.
I heard about this some time ago and have just started to use it. I saturate both sides of the paper under a running tap of flowing water. I was never shown how to do it and am surprised at how little you wet the paper, at the moment I'm learning and use cartridge paper. I should also like to say I use perspex or aluminium as a board and the paper really clings to the board. I really like it as a method for laying down the first wash. I use the three primary colour method with black and white. I bought Acrylic rather than watercolour and am able to lay some very thick dense pigment when I need/want to. I appreciate it's all wrong but that's art. I'm just experimenting.
I might be old....BUT....I was trained to wet my water color paper....soak it.....pin it to a board.....let it dry then paint it. The result is a perfect finish. Wobbly water colors look very unmasterful.
Thank you so much for confirming what I’ve done, especially when I am traveling. I do use a board to carry my work; however, I don’t always tape it down. I also picked up a tip from another artist where he put his painting at a slight angle using a bored on top of ring binder, either 2 inch or less depending upon the angle you want.
Great video THANKYOU. I like to stretch paper. And use cotton rag which stays wet for ages. , I have tried other methods. But always return to stretching. Much appreciate THANKYOU
Matthew, if you use a piece of say clean gator board to lay your paper on, you can pick up the gator board and move it, tilt it, etc to get the wet-wet washes to move.
Not sure what's a gator board but been doing the same method but with a drawing board. I first tried taping my paper down after watching a video by watercolorish on how to stretch watercolour paper which I seemed to have a hard time doing. Then, I saw the simplified version by Matthew of wetting the back then the front and no tape. That stuck with me since then.
Recently I tried wetting both sides of the paper and THEN taping it down. Im relatively new to watercolor and paint mostly on 8 x 10. I can easily move it around. Thx for your info!
No, stretching the paper means to wet it on both sides and then tape it down and then let it go bone dry again before painting on it. That's much different than wetting the paper on both sides and then taping it down wet and just going at it with the paint, as shown in the video.
How about - wet to wet like you're describing - tape it down quick, or after first layer, onto a movable surface so you can tilt as you wish... Best of all worlds?
I have painted that way and I like it a lot. I also tape my paper when I want a border so that I can display the painting without a frame. The only con to wet both sides of the paper is that the watercolor creeps to the back and I sometimes like to paint on both sides of the paper. Like a journal
Andrew Pitt uses an acrylic frame on MDF backing board with a glued canvas hinge. This gives a natural white border on his paintings. He has a video on youtube: "Watercolour Materials and Equipment | Drawing board, paper, palette and paint" video (11:16 min). This setup could be used to create a border by leaving the outer border dry & wetting inside the frame.
4/14/2022 USA Grandpa Bill: I appreciate this video and your insights and can use them immediately. Also, I like in the comments the mention of the Russian artists who use a coth. I have a couple of unused Walmart tea towels I can use. Finally, as a 74-year-old person, I've found that by wetting the tile floor of the shower and laying down and wetting the top of my body I'm less likely to slide off into the drain. This helps a lot. Have a good day everyone.
Interesting. I've never used this technique. I've always stretched my paper with paper gum tape (fully immersed in water first), before letting it dry and therefore stretch tight as a drum. Alternatively (and most of the time) I use blocks of paper (mainly Arches). I'll give this a go. Great video.
This sounds like a great approach to painting with acrylic inks. The first washes can be done, then completely dried, then the paper could be stretched before working some more. That's my theory, anyway. I'll give it a try. 😉
I’ve done this from time to time (not as a technique so much as just when I’ve been lazy or not had tape around, especially earlier on) & 2 things occur to me: 1. If you’re worried about the con of not being able to tilt it at all because wetting the back causes it to stick, you could just wet it & stick it onto a surface like a drawing board/cutting board/cardboard slab that you can pick up & tilt freely (maybe you can’t go 90 degrees vertical without issue, but within reason I don’t see why you couldn’t get away with it). 2. If you aren’t planning to pick it up again anyway to rewet the back or anything, could you not just wet the back, lay it flat, & then tape around the very edges anyway (once it expands however much it’s going to, as you would if you were stretching paper)? Maybe you might need to use gummed tape or something, if normal tape wouldn’t stick to wet paper (although tbh with how sticky & prone to risking tearing the surface normal masking tape is, I kind of suspect it would stick just fine to wet paper), so you could have the best of both worlds? It might take some experimenting to find the right balance, application, & materials, but I would hesitate to presume that it’s a mutually exclusive dichotomy where you have to choose either black or white. If anyone has experimented with this, it would be interesting to hear about your experience.
I admire your innovative approach to securing watercolor paper using a wet sponge, effectively preventing buckling without the need for masking tape. However, I've encountered an issue when attempting this method. When working at an angle, I find that my paper dries too quickly before I can finish my work. After establishing the foundational layer with light colors, do you typically continue working wet-on-wet, or do you prefer to let the paper dry completely before proceeding? In instances where breaks are needed to allow the mind to rest, how do you manage to re-wet the paper to prevent any unwanted effects? If you choose to let the paper dry, how do you ensure it remains securely in place on the easel or table? Upon returning to the painting, how do you deal with the dried paper to keep it flat without the use of tape? Do you lightly mist it with water or use a damp sponge to adhere it to the surface? Furthermore, what precautions do you take to safeguard the initial layers of paint from disturbances or damage during subsequent layers or details once the paper has dried, and you need to continue working without tape? I'm also intrigued by your method of painting almost flat with a slight 10 percent angle. How do you prevent distortion of your scenes working from this angle? Traditional wisdom suggests working at an angle to avoid distortions, but I'm curious about your approach. Do you choose to sit up higher or stand while painting? Many artists recommend standing and working at an angle to maintain a distance from the painting and prevent distortions, but I mostly sit while painting. Could you share your insights into this aspect of your technique?
Brilliant! Thank you. Could use a piece of perspex or a thick-ish sheet of plastic stuck/glued onto... virtually any smooth surface of the right size. I can't wait to give it a go! [Also, just thought of those glass cutting boards with rounded edges.]
Thank you for sharing your insights on this! 😊 For the type of painting I do most of the time, taping is probably best, but I can see the benefit of giving this a try. 😊
I will just run the paper under the faucet. I often use pulp paper and it really helps the paint to move and work better. You just learn the curve with how much or less water to have in the paper.
Thanks for the video! Having watched some of your videos, I waited till 4.02 minutes, where you say the painting sticks to your surface, due to surface tension! So you are not faced with a wrinkled surface. I guessed that from the start, though taping the paper down is somehow also agreeable to those, who somehow get good results. It's something one must try!
Ok, never have thought about setting the paper up like that and I really like the idea. I will have to give this a try. Thanks for sharing the thing you like to do with watercolors.
I will try this, I will try on a lap desk that has a squishy base, then I can tilt if I want:) I’ve seen this a couple times now but your video has convinced me!
I haven't seen the advantages laid out so clearly - thanks for this. Though actually you could keep the flexibility of being able to tilt and turn your painting if you wet it both sides and lay it onto a board (without the taping of course) instead of putting the wet painting onto your table...
The thing is that I tried it today it went perfectly but then when I watched your video and saw that you were repainting the color of the sky I was just shocked that maybe my sky also needs more color and then when I came to my room-studio my painting was almost dry. Because when I try to repaint the sky and add more color it was always ugly so now with this technique I think the same but it was worth I tried to technique I tried my new palette and new paper
I've seen videos for this method demonstrated by Studio Ghibli artists for animation backgrounds. They used a hake brush to wet down both sides of the paper. I'm going to try it as soon as I get some new watercolor brushes.
Artist / author Linda Kemp who has watercolour book and videos about negative painting techniques, uses acrylic ( plastic sheet ) to “stick her wet paper to”.............therefore being able to display her finished art pieces, still having a deckled edge. She foes wet into wet this way. 👌🏼
Hey Matt! I shared this with my students to have them try it out. I am anxious to hear what they think. I will let you know how it goes. Keep up the good work!
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I occasionally use a similar technique but after thoroughly wetting the front and reverse sides of the paper I lay a evenly damp and flat cloth under the paper and on an impervious surface and then use a drier cloth to smooth the paper completely flat by motioning the smoothing cloth from the center to the edges. The paper remains flat and without the need to stretch or use tape. The artist who demonstrated this method learned it at art school in St Petersburg, Russia; I have not seen it used by anyone else. It allows wet working for an extended period.
That's really interesting. I may have to give that a try.
Fascinating!
I follow Konstantinos Sterkov and Anna Ivanova, both Russian. They wet the back of the paper, then the front and place it on the working surface and with a clean cloth take out the water of the figure they are going to paint. This gives you time to paint the first washes in a relaxed way.
Matthew can you demonstrate the method Ronald is explaining? I am still trying to understand it. I am new to watercolor and am learning about this now. Thanks Ronald for sharing.
@@jjsartjourney Here is Anna Ivanova using a dry cloth to remove the water from the center to the edges. ua-cam.com/video/-hNYLq-h2Gs/v-deo.html
Some time ago I stopped painting with taped paper, just because I wanted my painting to extend to the edges of the paper. Like you, both sides wet down. However, the thing I do, and allows for rotating the paper so that it can flow in directions I want, is to use a lightweight, varnished board. I have a piece of 3/8 inch thick plywood that I varnished. It is waterproof and does not warp. I place this on my easel, which I keep at a very shallow angle - like you, about 10-15 degrees. As the paper is sticking to the board because of the moisture, I take the board off the easel and move it around, tilting as I want. Then, I put it back and continue to paint. Warping and buckling of 140# paper does occur; however, this can be flattened. Spray the back of the dried painting and weight it down. You can even iron it to make it flat. Good watercolor paper is 100% cotton, and it can handle a hot iron quite well. There are videos out there which show these techniques.
This video is helpful as you explain a lot of things which people sort of learn by accident, so thanks for posting!
Glad you liked the tips! Glad you liked the video.
I use a piece of acrylic and the paper sticks easily to it.
I do the same, I bought some wood pallets intended to be painted on, and I did that so that I could set a project aside to dry for the next layer, and to have the freedom to move the piece around. That's exactly what I was thinking when he mentioned it being stuck to the surface, the board solves that problem, and like you said, allows for any tilt you desire.
I hadn't considered ironing it, that's a great idea!
Don't forget that you iron on the back side of the painting. Simple, but this mistake could be made.
My teacher told me that ironing a watercolor ages the pigments by twenty years.
Oh, this is something I've noticed when working with this technique with cotton paper. I have some loose pre-cut sheets from pads, but I also recently acquired a giant roll of cansin heritage paper, so the pieces I cut are naturally curved. I use this "wet the paper on both sides" technique so the water will act as a glue against the board. You get more time to work on your wet-on-wet techniques and the paper doesn't fully dry to the touch because the back of it still is damp, so you still can make soft edges with your brush marks. Thank you very much for this video, as I thought I was the only one who had this sort of insight 😅
Thank you for the kind words!
I could not agree more. I have been wetting the back of my paper and laying it down on my painting board for a few years now and just love how long I have to paint before my paint begins to dry. It truly transformed my paintings and helped me improve.
Thank you. I used to do this and stopped when I had so many people suggesting I tape my paper down. I'm going back, baby.
haha! do it!
Thank you Matthew! That is the way I learned here in Finland. You are the first one in youtube I noticed using that technic. The paper really sticks on the surface and the metod gives much time to paint. I usually spray lots of water on both sides and kind of roll the paper towards the surface many times . Then paper is evenly wet and I just have to be patient and wait for the paper to settle. Before I start I check that the back side of the paper is not too wet to avoid backruns on the edges of the paper.
This is helpful. I use PVC corrugated sheets as a work surface. I love it because it's lightweight and easy to cut the sizes I need, besides, it's cheap. After watching your video, I wet the back of a piece of Arches and laid it on the PVC, wet the other side, and started painting wet in wet. Wow! The best of all worlds. It gave me the freedom to turn my work and the time savings of not having to tape the paper down. I painted the sky/clouds and the background for the landscape I'm doing. I didn't have much buckling, thankfully, but I did press the paper for a quick dry. Thanks again!
I tried the Andy Evansen way of putting water on both sides without tape. Didn't like it for a couple of reasons. 1) I don't care much for an entire wet on wet wash. Sometime I just want the sky wet and then I dry it before doing the middle ground. I sometimes like more control over my brush doing going around objects using wet on dry. 2) I like the clean border that tape gives once done and I never like when the paint on the front goes over the edge and under the paper if there is no tape. If your not careful you can have back-runs on the borders if you don't use any tape. Yes, it holds the paper down and gives you more "working time" doing it your way, but I find just taking a spritz bottle and putting the water where I need it when I need it gives me more control without saturating the paper with water.
Sponging the surface can also remove the sizing which will make the paper over-absorbent.
As a person who must adapt how I paint due to neck & back damage must have my painting surface at a bit of tilt but don’t feel the need to the whole first wash of colors to be all wet on wet as a beginner (will lose control) for sure!
Yours looks beautiful & one day maybe.
This has been standard watercolour practice for Russians & Ukrainians for decades upon decades.... I love painting this way HOWEVER I looooove a white border around my unframed work...
I do miss the white border!
I paint like this about 90% of the time. I have found if I want a white border, I simply mask it with masking fluid. I've done this three times now and have had really good luck with the Windsor and Newton brand fluid. You have to control your water around the edges while painting to keep from getting bleed backs but it's not much of a problem.
@@donb5264 Never thought to do this - I’ll definitely give it a try, thanks
@@donb5264 i mean i would rather use the tape at that point if just want the white border, masking fluid is An hell of a mess for the brush etc
Hi did watercolor paper tape I guess it could’ve been the quality of the paper itself but when I took it off it started ripping the sum of the paper off I’m glad that it’s on an area where the frame would cover it up. I’m thinking about not using that again then I may try on a better quality watercolor paper
team no tape! Mostly because I couldn't be bothered, originally. But I also tend to work on multiple pieces at one time, and if they're loose I can move them around easier. The waffling's just not that big a deal. It's easy enough to flatten it at the end and I am always so gratified after I'm done flattening it out to see it REALLY finished.
Wow, thanks! I totally get the idea, it just never occurred to me, but yes, the paper drying up while I am not quite ok with the sky is adding a layer of stress I really have no need for. I will definitely try this.
Glad it was helpful!
It’s great for especially landscapes and maybe initial portrait washes. For detailed wc such as botanicals and hyper realism non taping for me is more difficult. I do enjoy both methods and am able to slap a wet sheet on my glass desk but use gaterboard and tape for more detailed work. Very good suggestions.
I started doing this for some of my more complex landscapes when I began studying Javid Tabatabaei. It was the first I'd seen anyone do this and I had to try. First thing I noticed was yes, it keeps your paper workable far longer than just wetting the front (particularly using rough paper, imo) AND to my sometimes loose standards it didn't warp anywhere near the extent of expected. Taping / stretching paper is something so stressed, yet for me, often completely unnecessary. So that was awesome to discover. Thats something you talked about so not necessarily worth adding but about keeping the freedom of mobility when painting ; I see you have a gorgeous easel and work space, mine isn't nearly as beautiful but because I place my quarter sheets on a dry erase board to paint, I can pick up the whole board, turn it upside down, tip or tilt it - whatever. So I wouldn't want that concern to stop others from trying to paint this way. It's a lovely experience. Thanks for talking about this.
Great solution! I was thinking something like this would resolve that small "con". Thanks! 🙏🏻
A dry erase board!!! 💡 I love that idea!
@@debbiemartin9005 thanks Debbie 💛 I was starting a new painting and my other surfaces had works in progress taped down on them and i just needed a flat, impenetrable surface for very wet washes and it's just something I happened to have around. Further along in the comments there's someone who recommends glass and says it works very well. I'm curious but also chronically clumsy so..
@@morgenmachen2400 Yes!! 😃
I started using a piece of glass from a cheap picture frame as a palette for acrylic, but, also being known for dropping things/cutting myself, I loved the idea of getting the edges beveled, but had no idea where I could get that done. Now I know. 🙌🏻🤩 Using your suggestion, I have a dry erase board that I’m going to use and see how it works.
This video and the comments have been SO helpful!
Thank you for crediting Andy Evansen in the description, and congratulations on your continued UA-cam success. This one was a hit!
I tried this today and you were so right! Skies are my nemesis and, although I'm still not at all satisfied, this gave me so much more time to correct the skies without overworking. Thank you for the encouragement
Thanks, Matt. One thing, I wet my paper both sides depending on the subject and approach, but as I wet it down on a sheet of glass it sticks really well and also you can pick it up and tilt it if needed to make washes flow. A sheet of perspex also works well and I guess is safer, although I had a glass guy bevel the edges so I can't cut myself.
Good idea, David. Thanks!
Glass? Try plexiglass, less arterial lacerations.
Interesting. I use dry erase board. If you've ever experimented with that - what's your opinion on how it compares to the glass? If it's significantly better, I might be able to justify the risk. I'll try most anything once!
@@alisonb3850 a dry-erase board is basically a whiteboard. A board you can use EXPO (AKA dry-erase marker) on.
@Maiesha Akhand thanks Maiesha, I didn't see the comment until this morning@@alisonb3850 it's something one might use for work or school- a light weight, non porous surface that's used with erasable marker. They come in a large variety of sizes. A teacher may have one on the wall, in place of a chalk board. Im trying to convince myself to like the gatorboard (I believe this is the brand name of the board you described with the foam core). Mine is a good size - 22"x30" but the weight (or lack of it) creates an issue for me where by I'm constantly knocking it out of position or clear off my desk because any tap seems to launch it off. Sigh.
Great explanation! And glad that you gave credit to Andy Evansen.
Thanks!
The thing I loved most about your advice was the section you make it clear that if this technique is not for you, don’t worry and just go back to the method that works best for the individual.
My biggest fear from my channel and the advice I give is that people think it is the only way and the must follow the advice I am providing. I always try to point out art is about exploring all the possibilities, trying them all out and going with the ones that make you, as the artist, happy. Art should bring joy and peace to the mind. I personally think Art is so powerful in that individuals suffering with serious mental health issues can benefit hugely from art alongside professional medical care of course. But I think the art community is equally important.
Great, points. Everyone has the method they are most comfortable with.
Just want to tell you how much I’m enjoying your videos!! So lucky to have this content on UA-cam
Slightly bending paper when wet, keeps paper flat. Great information. Thanks.
I watched this video three months ago and was like, I could never do that. Now I mostly work on blocks. And the last two days I've been working with loose sheets and just did not want to put the work in. I remembered this video and tried it out. Thank you! I may never tape again.
Thank you Matthew for your video. I have not tried this technique as I'm always taping down by papers. But I will certainly give it a try. I especially liked knowing that this technique works well for the first wash to get those lights and the beautiful blending that watercolors accomplish. When my paper buckles I iron (140 lb cold press paper) on the back side and the paper returns to flat. This is of course after the painting has dries. This ironing technique can be done between layers if the paper buckles, but just make sure all the painting is dry. I use a dry iron, no steam, and a medium setting. Just a few minutes it takes to make your paper flat.
I just purchased a nice big piece of flat acrylic to paint on instead of a piece of breakable glass. That way I can lay it across my work surface or even my wooden board and wet the paper on both sides and it will stick to the acrylic. The only thing lacking about not taping the paper would be the white crisp edges. I haven't tried it yet but I am about to. Thanks for a great video. I'm so happy I found you on UA-cam. I needed new inspiration badly.
This is so mad as my art teacher at school in the 70's always thought that the watercolourists of the day (early 1800's) probably wetted the rear of the paper they used in the day. I would account for a lot of the output for some of the painter particularly Cox. Great stuff thanks for posting.
Glad you liked it!
You can also still use your tape, paint it and then wet the whole page in a bathtub after you've painted it (really soak it). I also do it after I've kind of over worked a painting and don't like how it's turning out. It softens everything and has saved more paintings than I care to admit. I let it dry and then go back and sharpen edges or deepen color. This way you keep your taped frame. (Keep a paper towel close to stop the excess color run into the taped frame btw)
This is really insightful Matt... thank you!
You’re welcome!
I literally had to rewind the first minute of this video because of how simple the solution to this situation (no nessassaryily a problem) is. You would think that excess water would mess with the consistency but probably not.
I wonder now what type of paper should you use to maximize your effectiveness and the benefits. 👏🏾🙌🏾🙌🏾
Awesome work my friend!
Thank you! I use 140lb Saunders Waterford.
I love wetting both sides!!! It is so helpful with my paper drying too quickly, thank you.
I really could see a watercolor painting Book coming from you and will be the first to buy one. Loooking forward to more of your presentation ,thanks Matthew.
Thanks Robert, that’s so kind of you!
My favorite surface to put my paper on with or without tape is a dry erase board. It’s light and I even test paint colors on it. It’s also easy to maneuver and clean.
Good idea!
I was taught that the whole point of soaking the paper and taping it down is so that once it's dry, you can paint on it and the paper won't buckle. ie you stretch the paper
Thank you for sharing your knowledge and experience. I haven’t even begun to practice yet but I already feel I’ve learned so much from watching your videos. I will absolutely sign up for your class as soon as I am able to. Thank you!!
So glad to hear that. Best of luck to you!
Very new to watercolour, I have been struggling with wet on wet, I didn't know this way was a thing, thank you.
You’re welcome 😊
Thank you
Very clear Mathew, easy to understand, lovely slow pace, much appreciated, look forward to trying this out.
Thanks, Michelle! Glad you liked it.
I love your videos and your painting style which I find similar to my favorite contemporary painter Andy Evansen. I have been working with watercolor blocks for a long time and that limits my abilty to keep the paper damp for more than a couple of minutes. I see the value of wetting both sides and I am definitely going to do more of it. Thanks for sharing.
Saw similar technique at a Tony Couch workshop. He uses large sponge and wets both sides of the paper. His paintings are beautiful!
This is a really good video 🤓 It just popped up on my wall. I used to tape creating a hard edge like a border. I like this method. You have a very calming presence. Made me want to keep watching. Pretty good since 3 minutes my max and I want to get back painting 😜 All the best from Nova Scotia 🇨🇦
Thanks for watching and happy painting!
My paintings curl and warp when I paint with my Designers Gouache, on 140lb paper.
Either if I am doing a wash on a segment of it, or paint on to dry paper.
At the end of the painting, I turn it over, and simply give the back a thin coat of colour, and it pulls the curled corners back, so when dry it's flat, especially if I flatten it under heavy books when dry.
Also the paper then is more bendy and flexible than before.
Thanks for this video. Hubby & I haven't started painting yet, so there's no previous experience with how watercolor paper behaves anyway. It actually makes sense that wetting both sides evenly should reduce buckling, and adhere the paper to your paint board/surface, so we'll have to try this method. 🙂
Well, that’s something to consider and maybe I’ll give it a go.
To enable me to pick up the painting and move it around, I wet both side of the paper and apply it to a sheet of 4mm A3 perspex which is light and easy to move around.
Thank you. ✨
Welcome!
Thanks so much Matthew! Wishing you and your family a very Happy and Blessed Thanksgiving!
Thanks for sharing. I learned a lot from the video and the conversations below.
Glad you enjoyed it!
I was taught painting like this in primary school (Steiner/Waldorf school). At the start of the lesson all paper (A3) would lay in a water tub. The teacher would then "drape" one sheet each to on our tables (no angle).
It allows much time for wet in wet, it completely stops your paper from buckling and you can still tape it to a board if you want to with water activated tape (in case you want to be able to change location or orientation).
We would also only be given primary colours. Pre mixed powder pigments in small bowls and no pallets. All mixing was done on paper, wet in wet.
This would be ages (about) 7-12.
Wonderful suggestion!
Thank you and greetings from Brazil!
🇧🇷
Glad you liked it!
I heard about this some time ago and have just started to use it. I saturate both sides of the paper under a running tap of flowing water. I was never shown how to do it and am surprised at how little you wet the paper, at the moment I'm learning and use cartridge paper. I should also like to say I use perspex or aluminium as a board and the paper really clings to the board. I really like it as a method for laying down the first wash. I use the three primary colour method with black and white. I bought Acrylic rather than watercolour and am able to lay some very thick dense pigment when I need/want to. I appreciate it's all wrong but that's art. I'm just experimenting.
I might be old....BUT....I was trained to wet my water color paper....soak it.....pin it to a board.....let it dry then paint it. The result is a perfect finish. Wobbly water colors look very unmasterful.
Thank you so much for confirming what I’ve done, especially when I am traveling. I do use a board to carry my work; however, I don’t always tape it down. I also picked up a tip from another artist where he put his painting at a slight angle using a bored on top of ring binder, either 2 inch or less depending upon the angle you want.
Great video THANKYOU. I like to stretch paper. And use cotton rag which stays wet for ages. , I have tried other methods. But always return to stretching. Much appreciate THANKYOU
You're very welcome!
Very helpful video and comments too. I will definitely try out these techniques.
Thank you🤩🤩🤩
You’re welcome 😊
Matthew, if you use a piece of say clean gator board to lay your paper on, you can pick up the gator board and move it, tilt it, etc to get the wet-wet washes to move.
Oh I like that idea. Thanks!
Not sure what's a gator board but been doing the same method but with a drawing board. I first tried taping my paper down after watching a video by watercolorish on how to stretch watercolour paper which I seemed to have a hard time doing. Then, I saw the simplified version by Matthew of wetting the back then the front and no tape. That stuck with me since then.
@@_helmi Gator board is a trade name for a foam core board that is about 5mm thick. Lightweight and rigid.
Thank you for sharing!
An interesting approach. I will give it a try...
Excellent information and as a recent beginner the Evansen approach makes logical sense.....not that easy to work out yet, but working on it.
Yes, it takes some getting used to. I love it now though. Best of luck to you!
Recently I tried wetting both sides of the paper and THEN taping it down. Im relatively new to watercolor and paint mostly on 8 x 10. I can easily move it around. Thx for your info!
Nice! I think I tried that myself a while back.
That's called stretching it. That's what most watercolor artists do.
No, stretching the paper means to wet it on both sides and then tape it down and then let it go bone dry again before painting on it. That's much different than wetting the paper on both sides and then taping it down wet and just going at it with the paint, as shown in the video.
How about - wet to wet like you're describing - tape it down quick, or after first layer, onto a movable surface so you can tilt as you wish... Best of all worlds?
Someone here mentioned that the wet paper adheres best to glass, so I'm going to give that a try. Maybe my glass cutting mat for now.
I have painted that way and I like it a lot. I also tape my paper when I want a border so that I can display the painting without a frame. The only con to wet both sides of the paper is that the watercolor creeps to the back and I sometimes like to paint on both sides of the paper. Like a journal
Yes, good point. The back often gets some paint on it as well.
Andrew Pitt uses an acrylic frame on MDF backing board with a glued canvas hinge. This gives a natural white border on his paintings. He has a video on youtube: "Watercolour Materials and Equipment | Drawing board, paper, palette and paint" video (11:16 min). This setup could be used to create a border by leaving the outer border dry & wetting inside the frame.
Tried it, liked it! Thank you 👍
Glad to hear it!
4/14/2022 USA Grandpa Bill: I appreciate this video and your insights and can use them immediately. Also, I like in the comments the mention of the Russian artists who use a coth. I have a couple of unused Walmart tea towels I can use. Finally, as a 74-year-old person, I've found that by wetting the tile floor of the shower and laying down and wetting the top of my body I'm less likely to slide off into the drain. This helps a lot. Have a good day everyone.
Heehee
Interesting. I've never used this technique. I've always stretched my paper with paper gum tape (fully immersed in water first), before letting it dry and therefore stretch tight as a drum. Alternatively (and most of the time) I use blocks of paper (mainly Arches). I'll give this a go. Great video.
This sounds like a great approach to painting with acrylic inks. The first washes can be done, then completely dried, then the paper could be stretched before working some more. That's my theory, anyway. I'll give it a try. 😉
I’ve done this from time to time (not as a technique so much as just when I’ve been lazy or not had tape around, especially earlier on) & 2 things occur to me:
1. If you’re worried about the con of not being able to tilt it at all because wetting the back causes it to stick, you could just wet it & stick it onto a surface like a drawing board/cutting board/cardboard slab that you can pick up & tilt freely (maybe you can’t go 90 degrees vertical without issue, but within reason I don’t see why you couldn’t get away with it).
2. If you aren’t planning to pick it up again anyway to rewet the back or anything, could you not just wet the back, lay it flat, & then tape around the very edges anyway (once it expands however much it’s going to, as you would if you were stretching paper)? Maybe you might need to use gummed tape or something, if normal tape wouldn’t stick to wet paper (although tbh with how sticky & prone to risking tearing the surface normal masking tape is, I kind of suspect it would stick just fine to wet paper), so you could have the best of both worlds? It might take some experimenting to find the right balance, application, & materials, but I would hesitate to presume that it’s a mutually exclusive dichotomy where you have to choose either black or white.
If anyone has experimented with this, it would be interesting to hear about your experience.
Thanks man.
Happy to help
Wow... !!! My best friend, It's always great. We liked and enjoyed to the end. Thanks
Thank you for sharing this information on your work!🎨🥰
You are so welcome!
Matthew, thank you, what great ideas you have. Merry Christmas !!!
I admire your innovative approach to securing watercolor paper using a wet sponge, effectively preventing buckling without the need for masking tape. However, I've encountered an issue when attempting this method. When working at an angle, I find that my paper dries too quickly before I can finish my work. After establishing the foundational layer with light colors, do you typically continue working wet-on-wet, or do you prefer to let the paper dry completely before proceeding? In instances where breaks are needed to allow the mind to rest, how do you manage to re-wet the paper to prevent any unwanted effects?
If you choose to let the paper dry, how do you ensure it remains securely in place on the easel or table? Upon returning to the painting, how do you deal with the dried paper to keep it flat without the use of tape? Do you lightly mist it with water or use a damp sponge to adhere it to the surface?
Furthermore, what precautions do you take to safeguard the initial layers of paint from disturbances or damage during subsequent layers or details once the paper has dried, and you need to continue working without tape?
I'm also intrigued by your method of painting almost flat with a slight 10 percent angle. How do you prevent distortion of your scenes working from this angle? Traditional wisdom suggests working at an angle to avoid distortions, but I'm curious about your approach. Do you choose to sit up higher or stand while painting? Many artists recommend standing and working at an angle to maintain a distance from the painting and prevent distortions, but I mostly sit while painting. Could you share your insights into this aspect of your technique?
Brilliant! Thank you. Could use a piece of perspex or a thick-ish sheet of plastic stuck/glued onto... virtually any smooth surface of the right size. I can't wait to give it a go! [Also, just thought of those glass cutting boards with rounded edges.]
Yes, I think any of those would work fine. Best of luck to you!
Great video man!
thanks!
This is a useful tip. Many thanks.
Loving this technique - thanks for sharing Matthew :)
You're welcome!
super advise thanks
Muchas gracias
Great video. Clearly communicated and makes me want to give this a try🙂
Thanks!
Thank you for sharing your insights on this! 😊 For the type of painting I do most of the time, taping is probably best, but I can see the benefit of giving this a try. 😊
You're welcome! Glad you liked it.
I have tried to load your video but no joy🥴, was looking forward to it as. Have only just found your channel
Hello. Is this video not playing for you?
I can live with a bit of minor buckling -but I wonder how you can reserve the brightest white of the paper in small areas when using this method?
Good question, Richard. If I'm preserving the white of the paper I dampen the back and then avoid that area with the sponge on the front of the paper.
I will just run the paper under the faucet. I often use pulp paper and it really helps the paint to move and work better. You just learn the curve with how much or less water to have in the paper.
Thanks for the video!
Having watched some of your videos, I waited till 4.02 minutes, where you say the painting sticks to your surface, due to surface tension!
So you are not faced with a wrinkled surface.
I guessed that from the start, though taping the paper down is somehow also agreeable to those, who somehow get good results.
It's something one must try!
Ok, never have thought about setting the paper up like that and I really like the idea. I will have to give this a try. Thanks for sharing the thing you like to do with watercolors.
I will try this, I will try on a lap desk that has a squishy base, then I can tilt if I want:) I’ve seen this a couple times now but your video has convinced me!
You may want to look up how to stretch watercolor paper, using gum tape.
Awesome 👍👍👍
I haven't seen the advantages laid out so clearly - thanks for this. Though actually you could keep the flexibility of being able to tilt and turn your painting if you wet it both sides and lay it onto a board (without the taping of course) instead of putting the wet painting onto your table...
Very professional video. Keep it up!
Thanks, will do!
When you get the warping after the first wash just wet the back of the sheet where it’s warping up. Then it will stay flat again.
The thing is that I tried it today it went perfectly but then when I watched your video and saw that you were repainting the color of the sky I was just shocked that maybe my sky also needs more color and then when I came to my room-studio my painting was almost dry. Because when I try to repaint the sky and add more color it was always ugly so now with this technique I think the same but it was worth I tried to technique I tried my new palette and new paper
Very helpful tips. Thanks for sharing
Thank you, I have tried both taping and non-taping. Prefer no tape!
I've seen videos for this method demonstrated by Studio Ghibli artists for animation backgrounds. They used a hake brush to wet down both sides of the paper. I'm going to try it as soon as I get some new watercolor brushes.
Thank you for great information. It's an approach to try.
Artist / author Linda Kemp who has watercolour book and videos about negative painting techniques, uses acrylic ( plastic sheet ) to “stick her wet paper to”.............therefore being able to display her finished art pieces, still having a deckled edge. She foes wet into wet this way. 👌🏼
Interesting. So many different ways to do it.
I am such a shabby painter that I don't tape paper or have an order but the real reason is because I can turn my paper while painting.
Hey Matt! I shared this with my students to have them try it out. I am anxious to hear what they think. I will let you know how it goes. Keep up the good work!
Thanks Barry. I appreciate that!
How about combining both ways? Wetting the paper from both sides and then taping it down?
Q? What is the paper you use please? And what do you put the wet paper on?
Saunders 140lb cold press. I put the paper on my drafting table.