I have spent years experimenting with different brands of papers. The problem with this is that I had just got used to how the paint flowed on the paper as I came to the end of the pad. But I have always used cold pressed with a not or rough surface. I always use a fairly thick 300gsm/140lb and do choose acid-free if you would like the colours to still be the same after a few years. Suppliers often have off-cuts which are much cheaper and are just loose sheets instead of being gummed all the way around on 4 sides. At the moment I'm using Arches, you can really misuse it, scrapping scratching and masking tape comes off without taking the paper with it. You can even apply masking fluid on top of a glaze. You do however need to work the colour in it doesn't soak in as with some other papers.
Even though I use a fairly heavy paper (300gsm) I still stretch it. There are many ways to do this this is my method.
- Soak the paper for approx. 10 minutes (i throw it in the bath).
- Remove from the water and immediately place on a wooden board. I use a fairly thin soft wood
- Dab off excess water with kitchen paper and staple to the wooden board about 0.5 - 1cm from the edge at about 10cm intervals (you have to use the stapler openned up). It's important not to staple too close to the edge. The paper will contract as it dries and staples too close to the edge will just rip through the paper.
- You will have a painting that has staple marks around the edge but that part of the finished painting can either be trimmed or it will be under the mounting board anyway.
I never had much sucess either with masking tape (it got wet and didn't stick) or gummed paper tape (after the first painting it built up into a ridge and had to be scrapped off). I have seen a handy device called a Kebaartmate by Ben Haslem, which I haven't yet tried, it looks good .... to be continued