Lifting Preparation for Watercolor: What It Does and How to Use It

Love reworking your watercolor paintings without damaging the paper? Let me show you a great trick that makes lifting color easier and safer!

I've been trying Lifting Preparation by Winsor & Newton, and I'm excited to walk you through exactly how it works. If you like lifting out areas to create clouds or soft light effects, this product might change how you paint!

What Is Lifting Preparation in Watercolor?

Let's start with the basics before diving into painting.

Lifting Preparation is a special liquid you apply to watercolor paper before painting. It acts like a primer that helps lift paint more easily later on.

A Primer for Lifting Color

This stuff is fantastic if you like to:

• Lift color to make clouds
• Lighten specific areas
• Rework parts of your painting without damaging the paper

I use it when I want to control how much color stays on the paper. It lets me take off pigment without too much scrubbing. That's super helpful when you don't want to peel or tear your paper.

Winsor & Newton's Lifting Preparation

I use the one by Winsor & Newton. When I paint it on, it's almost invisible. It dries slightly duller than the white of the paper, but not much. It's clear and very subtle. 

I blow-dry it to speed things up, and once dry, I can barely tell where I applied it unless I look really closely.

First Test: Applying Watercolor Over Treated vs. Untreated Paper

Now let's see how paint behaves on the paper with and without the Lifting Preparation.

Side-by-Side Painting Setup

I prep two areas on the same sheet of 100% cotton watercolor paper. On the left, I leave the paper plain. On the right, I apply Lifting Preparation. I mark the separation with a little squiggly line to keep track.

I want to see how each side reacts when I paint over them.

Painting with Winsor Blue

I start with Winsor Blue. It's a strong, staining color. When I apply it, I notice the paint goes on the same way on both sides. That's awesome! Even though the right side has Lifting Preparation, the feel and flow of the paint don't change at all.

It feels natural. No sticky texture. No weird streaks. Just smooth watercolor as usual.

Second Test: Adding Cobalt Blue Deep

Let's try a different color now to see what happens.

Using a Granulating Pigment

I paint Cobalt Blue Deep below the Winsor Blue. This color has more granulation—the pigment particles are larger. That makes it lift more easily than a staining color like Winsor Blue.

I want to test both:

• A staining color (Winsor Blue)
• A granulating color (Cobalt Blue Deep)

I blow-dry everything so we can see the dried results clearly.

How Lifting Preparation Affects Drying and Texture

So, how does Lifting Preparation affect the drying look? Let's find out.

Once dry, both sides show the same blooming and granulation. The Lifting Preparation doesn't affect how the paint dries or looks. That's a relief! It only affects how much paint you can lift off—nothing else changes.

Lifting Comparison: With vs. Without Preparation

Now for the fun part—lifting the paint!

Results on Winsor Blue

Winsor Blue is tough because it stains the paper. On the left side (no preparation), I press harder, but it just smears. I'm afraid to keep rubbing because the paper starts to peel. That's the risk with cotton paper—you can only push it so far.

On the right side (with Lifting Preparation), it lifts more easily! I don't need to use as much pressure, and I get a lighter result. So yes, the prep definitely helps.

Results on Cobalt Blue Deep

This one is exciting! The pigment almost rubs off entirely on the right side. With the Lifting Preparation, I can be super gentle and still get clean lifting. It's easier, softer, and doesn't damage the paper.

On the left, I have to rub a lot more, and even then, the color doesn't fully come off.

How Lifting Preparation Protects Your Paper

Let's talk about one of the best parts: protecting your paper.

A Barrier Against Overworking

With Lifting Preparation, it's like having a light barrier between the paint and paper. It keeps you from digging into the fibers when you lift paint. I can push things further without worrying about tears or rough patches.

Better for Reworking

This is so useful when I need to adjust areas more than once. The surface holds up better, and I get smoother results. It's a lifesaver when I want soft edges or rework a section multiple times!

Lifting vs. Gum Arabic: A Comparison

Let's clear something up—Lifting Preparation isn't the same as Gum Arabic.

Why Not Just Use Gum Arabic?

Gum Arabic can help with lifting. But here's the catch:

• It changes how the paint flows
• It affects the sheen and viscosity

That's why I like Lifting Preparation more for this purpose. It gives me the lifting benefit without changing how the paint behaves.

Techniques for Lifting Watercolor

Let's look at some lifting techniques I use in this test.

Paper Towel Blotting

Sometimes, I just blot with a clean, dry paper towel. It works great for lightening areas. With Lifting Preparation, this is super effective. I can lift more color without scrubbing.

Staining vs. Non-Staining Pigments

If you're working with:

• Staining pigments (like Winsor Blue): Lifting is harder.
• Non-staining or granulating pigments (like Cobalt Blue Deep): Lifting is easier, especially with Lifting Prep.

So, I always think about the pigment before deciding whether to use Lifting Preparation.

When Should You Use Lifting Preparation?

You don't need Lifting Prep all the time—but sometimes, it makes all the difference. I'd definitely recommend it when:

• You're using staining colors
• You plan to lift color multiple times
• You want soft clouds, highlights, or controlled textures

It gives you more control without changing the look or feel of your paint.

Final Thoughts

If you love watercolor and want an easier way to lift out color, especially when working with staining pigments, I recommend trying Lifting Preparation.

It doesn't change how your paint flows, but it gives you more flexibility and protects your paper in the process.