One of the questions I get asked most often at exhibitions is some version of: "Will it fade?" or "How should I look after it?" It is a completely reasonable concern. You have just spent money on an original piece of art. You want it to last.
The good news is that watercolours on quality cotton paper, properly framed and stored, will outlast almost any of us. There are watercolours in museum collections that are 300 years old and still vivid. The bad news is that poor framing, direct sunlight, and damp can cause real damage surprisingly quickly. This guide covers everything I know — both as a practising artist and as someone who has learned a few things the hard way.
Light is the main enemy
The biggest threat to any painting — watercolour, oil, or print — is ultraviolet light. UV causes pigments to fade over time. Some colours are more lightfast than others (pigments are rated on a lightfastness scale from I — excellent — to V — fugitive), but even the best pigments benefit from protection.
What this means in practice:
- Never hang a watercolour in direct sunlight or opposite a large south-facing window. A wall that receives indirect or diffuse light is fine.
- UV-filtering glass or acrylic in the frame makes a significant difference. Museum glass (99% UV protection) is the gold standard. Standard picture glass filters about 50–65% of UV.
- Artificial light matters too. LED lighting has low UV output and is much safer than fluorescent tubes. If you are spotlighting art, LEDs are the right choice.
The right frame matters more than the glass
Watercolours must be framed under glass, mounted with an acid-free mat, and never allowed to touch the glass. If the painting surface comes into contact with the glass, moisture can cause cockling, sticking, and eventually mould.
The mat (also called a mount) serves several purposes:
- It creates an air gap between the paper and the glass
- It provides a visual border that lets the eye rest before hitting the edge of the painting
- If acid-free, it prevents the mat itself from becoming a source of degradation
Always ask for acid-free, conservation-grade materials when framing. Cheap card mats yellow over time and can cause discolouration at the edge of the painting.
The frame itself should be sealed at the back — a rigid backing board plus tape or brown paper over the joints — to prevent dust and insects getting in. A small amount of air circulation is fine. A gap that lets in grit is not.
Humidity and temperature
Paper is hygroscopic — it absorbs and releases moisture from the air. Significant swings in relative humidity cause paper to expand and contract, which is why unframed watercolours can cockle. Once properly stretched, taped, or framed behind glass, this is much less of an issue. But it is worth knowing:
- Avoid hanging paintings on exterior walls in British homes. External walls are often colder and can create condensation at the back of the frame, leading to damp and mould.
- Bathrooms and kitchens are not ideal for original watercolours because of the humidity spikes. Prints in these rooms are a better idea.
- Ideal conditions are roughly 40–55% relative humidity and 18–22°C — which is normal living-room conditions in a well-heated British home.
Storing unframed watercolours
If you have paintings that are not yet framed — or if you are storing work in a studio or portfolio — the key principles are:
- Interleave with acid-free tissue, not ordinary tissue paper or newspaper. Newspaper is highly acidic and will transfer to your work over time.
- Store flat, not rolled (rolling can crack dried paint, especially gouache or heavily pigmented areas).
- Use a flat plan chest or a portfolio case rather than a cardboard box — cardboard is often acidic and can be a habitat for silverfish.
- Keep dry and dark — a cupboard or plan chest in a stable-temperature room is ideal. Not a garage, attic, or basement.
Cleaning and handling
Watercolours behind glass should never need cleaning on the painted surface. Clean the glass with a soft cloth and a little glass cleaner (spray onto the cloth, not the frame). Never spray directly at a framed painting — moisture can seep around the edges.
When handling unframed work, hold it by the edges or wear clean cotton gloves. Finger oils and grease are invisible but acidic, and over decades they leave marks. This matters more for prints and limited editions than for originals, but it is a good habit.
What to look for when buying a framed watercolour
When you purchase a framed original watercolour — whether from me or any other artist — it is worth checking:
- Is there a mat (mount) creating a gap between paper and glass? There should be.
- Does the mat look acid-free (white or cream with no discolouration)? Yellowing mats are a sign of poor-quality materials.
- Is the backing sealed? Lift the painting slightly — is the back properly enclosed?
- Does the framer have any documentation for the materials used? Reputable framers will use conservation-grade materials and should be happy to confirm this.
All my framed originals are mounted on acid-free conservation mat board with UV-filtering glass. The backing is sealed with acid-free tape. If you are ever unsure about a piece you have bought from me, just get in touch — I am always happy to advise.
A note on varnish
Unlike oil paintings, watercolours are not varnished. The luminosity and transparency of the medium comes from light passing through the pigment to the white paper underneath — a varnish layer would interfere with this entirely. The protection for a watercolour comes from the framing, not from surface coatings.
Some artists use a fixative on their work, but this is controversial in the watercolour world and I personally do not use it. Good-quality, lightfast pigments on cotton paper, properly framed, do not need it.
Passing it on
The most meaningful thing about caring for an original painting is that it can genuinely outlast you. A watercolour on 300gsm cotton paper, stored in acid-free conditions with UV protection, can last hundreds of years. The paper it is painted on was made to last. The pigments — if lightfast — were made to last. What it needs is the right environment and a little attention.
If you are thinking about commissioning a watercolour as an heirloom or a meaningful gift, that longevity is part of the value. Visit my commission page to learn more about the process, or browse the gallery if you are looking for something ready to frame.
