Start here
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.
-
Watercolour palettes compared: plastic, metal and porcelain mixing surfaces
Plastic, enamelled metal and porcelain palettes behave differently. Choose by mixing visibility, weight, cleaning and where you paint.
-
Mop vs quill vs round watercolour brushes
Mop, quill and round brushes overlap, but their construction changes capacity, control and the marks they favour.
-
Watercolour brush sizes explained: what the numbers really tell you
Brush size numbers are relative, not universal. Learn how to compare dimensions, capacity and marks instead.
-
Artist vs student watercolour paints: what really changes
What changes between artist and student watercolour paints, what does not, and when an upgrade is worth making.
-
Transparent vs opaque watercolour pigments: what changes on the paper
What transparent, semi-transparent, semi-opaque and opaque mean on paper, why ratings vary, and how to test your own paint.
-
Staining vs non-staining watercolours: what changes on the paper
Staining describes how firmly dried watercolour resists lifting. Learn what it changes and how to test your own paint and paper.
-
How to care for watercolour brushes: the habits that make them last
A one-minute routine for rinsing, reshaping, drying and storing natural and synthetic watercolour brushes.
-
Kolinsky sable vs synthetic brushes: is the difference worth the price
Compare natural and synthetic watercolour brushes by water holding, point, spring, durability, care, ethics and value.
-
Earth pigments in watercolour: PY43, PR101 and why the codes matter
A practical guide to the natural and synthetic iron oxides behind ochres, siennas, umbers and earth reds.
-
Where to buy watercolour paper in the US: a practical guide
A practical guide to comparing US watercolour-paper suppliers by paper specification, format, quantity and delivery practicality.
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.