Short answer
There is no single best watercolor paper for everyone, but a good default for most painters is a 100% cotton, cold press paper at 140 lb (300 gsm). Arches is the name most often called the standard, and other cotton papers such as Fabriano Artistico and Saunders Waterford are widely used by professionals too. Cheaper cotton and cellulose papers can work well for practice, studies and beginners.
The right choice depends on your budget, your style and how much water you use. The sections below explain what actually differs between papers so you can judge for yourself.
What makes a paper good for watercolor
Three things matter most: what the paper is made from, how it is sized, and how heavy it is.
Fiber: cotton versus wood pulp
Artist-grade watercolor paper is usually made from cotton, sometimes called cotton rag. Cotton fibers hold water well, tolerate scrubbing and lifting, and tend to stay flat and keep color bright. Student-grade papers are often made from wood pulp (cellulose), or a blend of pulp and cotton. They are cheaper and fine for many uses, but they can be less forgiving when you rework an area, and some brands buckle or pill more easily.
Sizing
Sizing is a coating (often gelatin, or a synthetic alternative) in and on the paper that controls how fast it absorbs water. With less sizing, paint sinks in quickly and washes can look flat. With well-sized paper, pigment sits and flows longer on the surface, which gives you more time to blend and lift. If a paper seems to swallow your paint, sizing is a likely reason.
Weight
Weight is given in pounds (lb) or grams per square meter (gsm). Common weights are 90 lb (about 190 gsm), 140 lb (300 gsm) and 300 lb (about 640 gsm). Heavier paper holds more water and resists buckling. See the weight section below for when stretching is worth it.
Texture: hot press, cold press and rough
- Hot press is smooth. It suits fine detail, pen and ink with watercolor, botanical work and small illustrations. Washes can behave a little differently because the paint moves easily across the flat surface.
- Cold press (called “Not” in some countries) has a moderate tooth. It is the most popular choice and a sensible starting point for general painting.
- Rough has a pronounced texture. It suits loose, expressive work and gives strong granulation, but fine details are harder to control.
If you are unsure, buy a small amount of each in one brand and paint the same simple wash on all three.
Weight and when you need to stretch
Paper at 140 lb (300 gsm) is generally treated as a practical minimum for wet techniques. Lighter paper such as 90 lb tends to ripple when wet, so many painters tape it down or stretch it first. Paper at 300 lb is stiff enough that it often stays flat without any preparation. Watercolor blocks, which are glued on all four sides, are another way to keep paper flat. For the full process, see how to prepare and stretch watercolor paper.
Well-known brands compared
These are broad impressions rather than rankings, and individual sheets and batches vary.
| Brand | Typical character |
|---|---|
| Arches | 100% cotton, widely used, forgiving of lifting and layering |
| Fabriano Artistico | 100% cotton, mould-made, popular for absorbency and bright color |
| Saunders Waterford | 100% cotton, English mill, well liked for general work |
| Canson (artist lines) | Range from student to artist level; check which line you are buying |
| Strathmore | Student and professional lines; again check the specific line |
| Budget cotton brands | Can offer cotton paper at lower cost, worth trying for practice |
Whether Arches or Fabriano is better is mostly a matter of preference. Some painters find one more absorbent or one more textured than the other, so trying a sheet of each is the most reliable way to decide. The same applies to Canson versus Strathmore: compare the specific lines (for example student versus artist grade) rather than the brand names alone.
Can you use mixed media or regular paper?
Yes, with limits. Mixed media paper handles some water and can be fine for sketching, light washes and practice. It is typically not sized or built like true watercolor paper, so heavy washes can buckle it and layering may lift or pill the surface. Ordinary printer or sketchbook paper is thinner still and best kept for dry or very light work. If you plan to paint seriously, even an inexpensive pad labeled for watercolor will usually perform better.
Which paper for which job
- Learning and practice: an affordable student-grade or budget cotton pad in cold press.
- Finished paintings and heavy washes: 100% cotton, 140 lb or heavier.
- Fine detail and illustration: hot press.
- Expressive, textured effects: rough.
- Painting outdoors: a block or a stiff board-mounted sheet to avoid carrying tape and boards; see plein air painting in watercolor.
- Special surfaces: if you want something other than paper, see watercolor on vellum or watercolor on wood.
If you are also deciding on a sheet size, see standard watercolor sizes. And if you are unsure whether to dampen the sheet before you start, read should you wet watercolor paper first.
Common mistakes with paper
Painters often blame their skills when the paper is the problem. A few frequent issues:
- Using very thin paper with lots of water and not stretching it.
- Scrubbing and reworking paper that was not designed for it.
- Switching paper often, so you never learn how one surface behaves.
- Painting on the wrong side without realizing; most papers can be used on either side, but some painters prefer the side where the watermark reads correctly.
FAQ
Which watercolor paper is smoother?
Hot press paper is the smoothest. Cold press has a light texture, and rough has the heaviest.
Is 100% cotton always necessary?
No. It is a good choice for finished work, but beginners can learn a lot on decent student paper.
Should I buy sheets, pads or blocks?
Sheets are usually the best value and let you choose your size. Pads are convenient. Blocks keep paper flat without stretching but cost more per sheet.