Part 2:

“Anchoring the Paper, Holding the Glow”

When a water-based painting meets light and space, the choice of substrate becomes more than support — it becomes part of the work’s dialogue with its frame, its depth, and its display. Mounting watercolour on a rigid surface shifts the tradition of under-glass framing and invites a different relationship to material, surface, texture and light.

Below are several substrate options, each with its positive and limiting aspects, so that you can make an informed choice aligned with your aesthetic, collection and conservation goals.

1. Wood Panels

Jackson’s Wooden Panel

• Pluses: Rigid and naturally warm, wood-panels prevent the buckling or rippling of paper that can occur in humid or variable climates. A sealed wood panel offers a firm base, allows for edge‐treatments (paint wrap, exposed raw edge) and can tolerate display without the need for glazing.
• Minuses: Wood is a natural material with inherent risks: it can off-gas, warp, or change dimension with humidity. As a framer’s forum notes: “wood is fundamentally un-archival… it can twist and deform with the environment and contains all sorts of oils and other undesirable stuff.” The Picture Framers Grumble Surface preparation is essential (sealing both front and back, ensuring the surface is inert) and mounting a finished work rather than starting on the panel may reduce risk. Art by Allison Dakin+1
• Recommendation: If you choose wood, use a quality panel (cradled/birch or basswood), seal front/back, and consider mounting the paper as you finish the painting rather than completely beforehand.

2. Hardboard / MDF Panels (Engineered Board)

Richeson Hardboard Panel

• Pluses: These panels are economical, flat, and stable compared to many raw woods. For mounting paper they offer a reliably smooth surface and can more easily take a sealant or gel medium. The tutorial from PaintingDemos outlines a method for mounting watercolour to board using gel medium. ARTiful: painting demos
• Minuses: Engineered boards often contain resins, adhesives or fibers which may out-gas or become brittle over time. Some purists consider them less archival, particularly for important works. The “reversibility” aspect of mounting becomes more compromised. The Picture Framers Grumble
• Recommendation: For works that will be displayed or sold, ensure the board is pH-neutral, sealed, and that you clearly document the mounting method (especially if future conservation might be required).

3. Aluminum & Metal-Composite Panels

Jackson’s Aluminium Panel

• Pluses: Metal panels, especially aluminum, provide ultra-rigid, flat, smooth surfaces which don’t warp, absorb moisture minimally, and have excellent dimensional stability. The product description highlights that aluminium art panels “can easily be stored in damp studios where traditional painting surfaces would warp.”
• Minuses: Metal demands proper mounting adhesives, and the interface between the watercolour paper and metal may require special surface preparation (e.g., watercolour ground, sanding, adhesion layer). Also, the look of metal may read more modern or industrial — possibly shifting the visual tone of a work intended to retain a more classic watercolor aesthetic.
• Recommendation: Ideal for works intended for modern spaces or where environmental control is challenging. Treat the surface, use an archival adhesive, and consider a narrow spacer or float mount if you still wish to maintain the sense of paper “on” substrate rather than glued flat.

4. Dedicated WaterMedia Panels (Pre-coated for Watercolour)

American Easel WaterMedia Panel

• Pluses: These are manufactured for watercolour and mixed-media, combining the benefits of rigid support with a surface textured for watercolour handling. They offer a ready-to-use solution and reduce risk of paper mounting.
• Minuses: Some watercolour purists argue that paper mounted to its own substrate retains the subtle “breathing” of paper rather than fixed ground of a panel. Also, the feel (absorbency, edge behaviour) might differ from traditional paper.
• Recommendation: A strong option for smaller works, experiments, or when mounting isn’t viable. Still apply a varnish or protective layer as you would for mounted paper, to fit your “protecting watercolour with glass and varnish” theme.

Considerations Across All Substrates

• Sealing: Pre-sealing (front and back) helps control moisture exchange and off-gassing. The Reddit thread discussed sealing wood with gloss medium to avoid warping and off-gassing. Reddit
• Adhesives: Use acid-free, archival adhesives or mounting mediums. Avoid contact adhesives that cannot be reversed if conservation becomes necessary.
• Mounting timing: Many recommend mounting the paper after painting rather than pre-mounting so you ensure you like the work and reduce risk of distortion. Art by Allison Dakin+1
• Edge & finish options: Mounted works allow for different visual treatments—flush edge, exposed panel edge, wrap, or floating. Choose according to how the light will play and how the viewer is invited in.
• Display environment: Even a well-mounted work benefits from protection: UV-filtering glass or glazing, controlled humidity, and stable environments. Your first article’s theme—“protecting watercolour with glass and varnish”—still applies.
• Document the process: Especially for pieces intended for sale or long-term display, include a note of media, substrate and mounting method. That transparency supports future care.

Linking Substrate Choices to Your Framing Workflow

In the last post you explored the glass-and-varnish layer of protection. In this second part, choosing the substrate becomes the foundation of that system. Think of it as:

• Surface (the substrate) → Mounting (adhesion) → Finish (varnish or glass + final display).
  By specifying the substrate, you’re defining how the light will interact with the paper, how the paper will hold its form, and how the work will age. For example, a paper mounted to metal will reflect differently and feel different to the viewer’s gaze than paper floated behind glass. The substrate choice becomes part of the aesthetic retention of light.