Cold press vs hot press watercolour paper: which should you use?
If you have ever stood in an art shop — or browsed online — and wondered what the difference is between cold press and hot press watercolour paper, you are not alone. It is one of the most common questions beginners ask, and one that even experienced painters sometimes feel uncertain about. The labels are not intuitive (why does the temperature of a roller matter to a painter?), and the wrong choice can make watercolour feel harder than it needs to be.
This guide explains exactly what cold press and hot press mean, how each surface behaves with paint, which styles and techniques each one suits, and — importantly — which one to start with if you are new to watercolour. We also cover rough press, the third surface type that tends to get overlooked, and explain what to look for in terms of weight and material.
What do cold press and hot press actually mean?
The terms refer to the manufacturing process, specifically to how the paper is finished after it is made.
Cold press paper is pressed through cold felt-covered rollers after it is formed. The felt texture and the cold pressing process leave a slightly bumpy, textured surface with a natural irregularity. This texture is sometimes called the paper's "tooth." In the UK, cold press watercolour paper is often labelled NOT — short for Not Hot Pressed — which means exactly the same thing.
Hot press paper is pressed through heated metal rollers, which smooths the surface almost completely flat. The result is a paper with very little texture and an almost velvety feel when you run your finger across it.
Both are proper watercolour papers, made to handle wet media without deteriorating. The difference is entirely in the surface texture — and that difference has a significant effect on how paint behaves.
How does cold press paper behave?
Cold press is the most popular watercolour paper, and for good reason. The textured surface gives paint somewhere to settle — pigment pools naturally in the tiny dips and grooves of the paper, creating the characteristic granulation and organic variation that most people associate with the look of watercolour. Loose washes, wet-on-wet blooms, and expressive brushwork all feel at home on cold press.
The texture also makes cold press more forgiving for beginners. Because the surface absorbs water readily and distributes it fairly evenly, washes tend to behave predictably. Uneven brushwork is softened by the texture, and minor inconsistencies in technique are less visible than they would be on a smooth surface.
Cold press dries relatively quickly compared to hot press, which means you need to work with some purpose when painting wet-on-wet — but this also means you can layer more easily, since each wash sets faster and the layers stay distinct.
Cold press is ideal for: landscapes, florals, loose and expressive painting, wet-on-wet techniques, beginners building confidence, and most general watercolour work.
How does hot press paper behave?
Hot press is a different experience entirely. The smooth surface means that paint sits on top of the paper rather than sinking into it — at least initially. This gives you more time to move pigment around, adjust edges, and lift colour back out before it sets. It also means that colours can appear more vivid and bright on hot press, because the smooth surface reflects more light than a textured one.
The flip side is that hot press is significantly less forgiving. Because the surface has no tooth to soften or absorb marks, every brushstroke, every wobble, and every uneven wash shows up clearly. Beginners often find hot press frustrating at first for exactly this reason — the paper shows your technique in unflinching detail.
Hot press also handles ink, pencil, and pen beautifully, which makes it the paper of choice for botanical illustration, technical drawing, and mixed media work where watercolour is combined with fine line detail.
Hot press is ideal for: botanical art, illustration, fine detail work, photo-realistic watercolour, mixed media combining watercolour with ink or pencil, and artists who want sharp, crisp edges and vivid colour.
What about rough press?
Rough press is the third surface type and the most textured of all. It is made in a similar way to cold press but with less pressing, which leaves a pronounced, uneven surface with deeper valleys and peaks than cold press.
Rough is not widely used by beginners, but it produces extraordinary effects in the right hands. Dry brush techniques — where an almost-dry brush is dragged across the surface — catch only the raised peaks of the paper, leaving the valleys as white flashes of unpainted paper. This is very effective for suggesting sparkle on water, texture in stonework, or light through foliage. Granulating pigments also behave dramatically on rough paper, separating and settling in ways that can look almost accidental and very beautiful.
Rough press is ideal for: expressive landscapes, seascapes, dry brush techniques, artists who want maximum texture and drama in their washes.
Cotton vs wood pulp: does it matter?
Yes, very much. Watercolour paper is made from one of two materials: cotton (sometimes called rag paper) or wood pulp (sometimes called cellulose paper).
Cotton paper is the gold standard. It is more absorbent, more durable, handles repeated wetting and drying without deteriorating, and allows colour to be lifted and reworked more cleanly. It also ages better — cotton paper is acid free and will not yellow or become brittle over time the way cheaper papers can.
Wood pulp paper is less expensive and perfectly adequate for practice, sketching, and learning. It is more fragile when wet, less forgiving of repeated reworking, and does not handle colour lifting as well as cotton. For finished work you intend to keep, frame, or sell, always use cotton paper.
The papers we stock at Craft and Canvas — Fabriano Classico 5, Saunders Waterford, and Bockingford — are all manufactured to high standards. Saunders Waterford is 100% cotton; Fabriano Classico 5 is a 50% cotton blend that sits between student and artist grade, offering excellent quality at a more accessible price point. Bockingford is a high-quality wood pulp paper that performs well above its price and is an ideal choice for learning and regular practice.
What weight of paper should you use?
Paper weight is measured in grams per square metre (gsm) or pounds (lb). The heavier the paper, the more water it can absorb without buckling.
The standard recommendation for watercolour is 300gsm (140lb). This weight handles most techniques well, stays reasonably flat when wet, and is available across all surface types and most brands. It is the right starting point for the majority of watercolour painters.
If you want to work very wet — large washes, wet-on-wet techniques, or loose experimental work — 640gsm (300lb) paper is significantly more resistant to buckling and does not need stretching before use. It is heavier and more expensive, but eliminates the frustration of a buckled surface almost entirely.
Lighter papers — 190gsm (90lb) and below — buckle noticeably when wet and are best used for quick sketches, colour tests, and practice rather than finished work.
Do you need to stretch watercolour paper?
Stretching is the process of wetting paper fully before painting and securing it flat while it dries, so that subsequent wetting during painting does not cause it to buckle. It is most relevant for lighter paper weights.
At 300gsm, many painters work directly on the paper without stretching, particularly if they are using a watercolour block (a pad glued on all four sides, which holds the paper flat while you work and prevents buckling). At 190gsm, stretching is usually necessary for anything beyond light work.
The simplest approach for beginners is to buy a watercolour block in 300gsm — this removes the need to stretch entirely and is how most of the papers we stock are available.
Which paper is right for you? A quick guide
The answer depends on what you want to paint and where you are in your painting journey.
If you are a beginner, start with cold press at 300gsm. It is the most forgiving, the most versatile, and the surface that gives you the classic watercolour experience. Fabriano Classico 5 cold press or Bockingford cold press are both excellent starting points at different price levels, with Classico 5 offering a step up in quality as your confidence grows.
If you are working on illustration, botanical art, or any subject that requires fine detail and sharp edges, try hot press. Fabriano Classico 5 hot press is a very capable surface for this kind of work, and Saunders Waterford hot press is worth exploring as your skills develop.
If you want to push into expressive, textured work and your technique is reasonably confident, rough press is worth exploring. Saunders Waterford rough is a particular favourite among landscape painters.
If you are unsure, buy a small selection of sheets in different surfaces from the same brand and do the same simple wash test on each one. Paint a flat wash, a wet-on-wet bloom, and a dry brush stroke. The difference in how each surface responds will tell you everything you need to know.
Frequently asked questions about watercolour paper
What does NOT mean on watercolour paper? NOT is simply an abbreviation of "Not Hot Pressed." It is the UK convention for labelling cold press paper and means exactly the same thing as CP (cold press). The two terms are interchangeable.
Is cold press or hot press better for beginners? Cold press. The textured surface is more forgiving of uneven brushwork, absorbs water more predictably, and gives you the natural granulation and organic variation that makes watercolour so distinctive. Most beginners find hot press frustrating at first because it shows every imperfection in technique.
Can you use watercolour on normal paper? You can, but the results are poor. Standard cartridge or printer paper buckles severely when wet, absorbs paint unevenly, and tears easily when reworked. Always use dedicated watercolour paper for anything beyond the most casual doodling.
What is the difference between Fabriano Classico 5 and Saunders Waterford? Both are stocked at Craft and Canvas. Fabriano Classico 5 is a 50% cotton blend with a slightly firmer surface that holds detail well and suits a range of watercolour styles from loose washes to more controlled work. Saunders Waterford is a 100% cotton paper with a softer surface that is particularly well suited to wet, loose painting and granulating pigments. For everyday painting and building confidence, Classico 5 is excellent value; for finished work and more demanding techniques, Saunders Waterford is hard to beat.
What is a watercolour block and do I need one? A watercolour block is a pad of paper glued on all four sides, which holds each sheet flat while you paint and prevents buckling without the need to stretch. Once finished, you slide a palette knife or similar tool under the top sheet to release it. Blocks are very practical for most painters — particularly beginners — and are available in cold press, hot press, and rough in most brands.
Does watercolour paper expire? Not in a practical sense, if stored well. Keep paper flat, away from moisture, and out of direct sunlight, and it will remain usable for many years. Some very old papers can yellow or become brittle, but this is rarely a concern with modern acid-free papers used within a reasonable timeframe.
Can you use acrylic paint on watercolour paper? Yes — heavier watercolour papers handle acrylic well, particularly for thin washes and mixed media work. The texture of cold press paper can give acrylic work an interesting quality that canvas does not. For heavy impasto acrylic, canvas or board is a better choice as the weight of thick paint can cause paper to buckle over time.
Shop watercolour paper at Craft and Canvas
We stock Fabriano Classico 5, Saunders Waterford, and Bockingford watercolour papers in a range of surfaces, weights, and formats — pads, blocks, and sheets — at our Hebden Bridge shop and online at craftandcanvas.co.uk. If you want to try before you commit to a full pad, individual sheets are available in store so you can test different surfaces without the expense of a full purchase.
Craft and Canvas | 3 Carlton Street, Hebden Bridge, HX7 8ER | craftandcanvas.co.uk