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The practical starting point: cotton versus cellulose, the right weight, and where value actually sits.
How to read the label, what the codes tell you, and why names and marketing are not enough.
A direct comparison of two benchmark papers, with clear differences in handling, lifting, and surface character.
At a glance
Paper is the most consequential decision. 300gsm 100% cotton cold press is the right starting point for most painters. It handles water without buckling, takes correction, and responds honestly to the brush. Wood-pulp papers are cheaper and noticeably worse.
Student-grade paint is a reasonable starting point. The honest case for upgrading to professional grade is made in the relevant articles, not assumed here. What matters is pigment load and lightfastness — and both are addressable on a limited budget if you choose carefully.
Pigment codes tell you what you are actually buying. PB29, PY43, PR101 — these identify the colouring agent regardless of brand name or marketing. Single-pigment paints mix more cleanly. Two paints with different names and prices may contain the same pigment.
Brush quality matters less than brush type. A size 6 round Kolinsky sable will outlast a dozen cheap synthetics and hold a point under pressure. Good synthetic brushes — Silver Black Velvet is the most cited — have closed the gap considerably for beginners and painters who prefer not to use animal hair.
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A core watercolour palette: the paints that never leave
Materials Palettes Guide A palette of six to ten well-chosen single-pigment colours covers most mixing needs. The difficulty is knowing which six to ten. 8 min read Building a core watercolour palette is one of the first real decisions a painter faces, and the advice available rarely helps. Twelve colours are recommended, then twenty, then…
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Lightfastness in watercolour: which pigments last
Materials Pigments Guide Lightfastness in watercolour is not a technical nicety. It is the difference between a painting that holds its colour for a generation and one that looks washed out within a few years of being hung near a window. The question of which paints will last is simpler to answer than most advice…
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Single pigment watercolours: what they are and why they mix better
Materials Pigments Guide Single-pigment watercolours contain exactly one colourant, identified by a Colour Index code printed on the label. When paints mix badly and produce colours that are dull or muddy, the problem is usually too many pigments meeting on the paper at once. Knowing which paints are single-pigment, and why that matters, resolves most…
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Granulating pigments in watercolour: what causes it and how to use it
Materials Pigments Guide Granulation is not a flaw and it is not random. It is a physical property of certain pigments that can be predicted, controlled, and used to considerable effect. 8 min read At a glance Granulation is a property of the pigment, not the paper. Certain pigments have particles heavy or large enough…
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Watercolour half pans vs tubes: which format suits how you work
Materials Paint Comparison The choice between half pans and tubes is not about seriousness or style. It is about how you mix, where you paint, and how much you use. 8 min read At a glance Pans suit outdoor and location painters. Compact, portable, no mixing time. The right choice if you paint away from…
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Five essentials for a watercolour travel kit: what to pack for plein-air painting
Materials Paint Guide Five items that cover the practical gap between painting at home and painting on location, chosen to work for a beginner's first outdoor session and a practised painter's regular kit. 7 min read At a glance A pan set in a tin is more practical than tubes. Half-pans travel cleanly, reactivate easily,…
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Sizing in watercolour paper: what it does and why it matters
Materials Paper Guide Sizing in watercolour paper is what prevents paint from sinking straight into the fibres the moment your brush touches the surface. Reading time Without it, the paper behaves like blotting paper: pigment disappears, edges spread without control, and any attempt to lift or rework a passage is futile. Understanding how sizing works,…
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Cotton vs wood pulp watercolour paper: is the difference worth the price
Materials Paper Comparison The choice between cotton vs wood pulp watercolour paper comes down to one practical question: how much will you push the surface? Cotton paper is more expensive. In many situations, that extra cost is earned. In others, it is not. 8 min read The choice between cotton vs wood pulp watercolour paper…
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How to stretch watercolour paper: method and when it is actually necessary
Materials Paper Guide Whether you need to stretch watercolour paper depends on weight, format, and how wet you paint. Reading time Knowing how to stretch watercolour paper is a useful skill, but it is not a universal requirement. Whether you need to stretch at all depends on three things: the weight of the paper, the…
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Watercolour blocks vs pads vs loose sheets: which format to use when
Materials Paper Comparison The choice between watercolour blocks vs pads vs sheets affects whether your paper stays flat, how much preparation your painting requires, and what you spend per sheet. It is not a quality decision. It is a workflow decision, and the right answer depends on how and where you work. 8 min read…
Recommended materials
These are the four products a painter starting with watercolour in the UK should own before anything else. Each is chosen on tested performance, not availability or price point alone.
What matters, and what does not
Paper weight is given in both gsm and lb because UK suppliers use both. 300gsm and 140lb refer to the same weight measured in different systems. 300gsm is the practical minimum for working wet with any confidence. Below that, paper buckles and the medium stops behaving predictably.
Lightfastness ratings follow the ASTM scale used by manufacturers. ASTM I and II are considered lightfast for artists’ use. Anything rated III or lower will fade — this applies across all brands, including expensive ones. The rating appears on the tube or pan label. Check it before buying, not after.
Pigment codes identify the actual colouring agent in a paint regardless of what the manufacturer has named it. PB29 is French ultramarine across every brand that uses it. PY43 is yellow ochre. Knowing the code tells you how a colour will mix, whether it will granulate, and whether it will last. The Handprint pigment database (opens in new tab) is the most complete independent reference for this.
On brushes: Kolinsky sable holds more water, returns to its point more reliably, and has a spring that most synthetics still do not match. For painters working in detail or loading a brush for wet washes, it is worth the cost. The Da Vinci Casaneo (opens in new tab) and Silver Black Velvet ranges are the most commonly recommended synthetics and perform well at this level.
What watercolour paper should a beginner buy in the UK?
Start with a 300gsm cold press paper made from 100% cotton. Saunders Waterford and Bockingford are both available from UK suppliers and represent good value at this stage. Avoid wood-pulp papers — they are cheaper but buckle badly and do not hold washes well.
What is the difference between 140lb and 300gsm watercolour paper?
They are the same weight measured in different systems. 140lb (imperial) and 300gsm (metric) both refer to paper heavy enough to hold moderate amounts of water without significant buckling. For wet, heavily saturated work, stretch the paper or move to a heavier block regardless of which measurement your supplier uses.
Is professional watercolour paint worth the extra cost?
For most painters, yes — once you have the basic technique. Professional-grade paints contain higher concentrations of pigment, fewer fillers, and more consistent lightfastness. The difference is visible in washes and mixes. Student-grade paint is a reasonable starting point but it does limit what you can see your work doing.
What do pigment codes mean on watercolour paints?
Pigment codes identify the actual colouring agent in a paint — PB29 is ultramarine blue, PY43 is raw sienna, and so on. Knowing the code tells you what you are actually buying, regardless of the brand name on the tube. It also tells you how a colour will behave: its transparency, granulation tendency, and lightfastness. Single-pigment paints mix more cleanly than convenience mixtures.
What is the difference between Kolinsky sable and synthetic watercolour brushes?
Kolinsky sable holds more water, returns to its point more reliably, and has a spring that most synthetics do not match. For painters who work in detail or rely on a loaded brush for wet washes, it is worth the cost. Good synthetic brushes — Silver Black Velvet is the most cited — have closed the gap considerably and are a sound choice for beginners or painters who prefer not to use animal hair.
What watercolour palette is best for studio use?
A porcelain palette with separate wells for individual colours and a generous mixing area. Porcelain keeps colours clean, is easy to wipe, and does not stain the way plastic does over time. For travel, a sealed metal pan palette with a lid that doubles as a mixing surface is the practical choice.