Every so often a product comes along that quietly moves the goalposts. This is one of them.
Watercolour has always come with one polite little rule: thou shalt paint on paper. Lovely, absorbent, properly sized watercolour paper. Stray onto glass or metal and your paint simply beads up, slides about and sulks. Well — not any more. Winsor & Newton's new Multi-Surface Preparation is a brush-on watercolour ground that turns almost any surface into one your watercolours will happily cling to. And we're rather excited about it.
So what actually is it?
Think of it as a primer with a very specific job: giving slippery, non-absorbent surfaces just enough “tooth” for watercolour to grab onto. You brush a thin coat onto your chosen surface, let it dry, and that's it — you can now paint on it exactly as you would a sheet of cold-press paper. Lifts, blends, granulation, soft edges, the lot. All the watercolour behaviour you know and love, just somewhere it's never worked before.
It comes in two versions, and which you reach for depends on the effect you're after:
White lays down a bright, opaque base. Colours sing against it just as they do on a fresh sheet of paper, so this is your go-to when you want that classic luminous watercolour finish — even on something dark, shiny or downright unpromising.
Transparent does the same clever job but stays beautifully see-through, letting the colour, grain or shine of the surface beneath show right through your painting. Perfect for stained-glass-style panels, decorated bottles, painting over photographs, and mixed-media work with real depth.
What can you paint on now?
Short answer: a gloriously long list. Both versions work on glass, metal, wood, ceramic, plastic, acetate, stone and primed canvas — and plenty besides. A few ideas to get the cogs turning:
- Ceramics and glassware — decorate plain mugs, vases, jars and tiles
- Wood — sketchbook covers, frames, trinket boxes, off-cuts and driftwood
- Glass — faux stained-glass panels, painted bottles, window ornaments
- Metal — tins, lockets, signage and found objects
- Photographs and prints — paint straight over the top for mixed-media pieces
- Acetate and film — overlays, animation cels and layered work
If it was never meant to take watercolour, it probably can now.
How to use it (it's genuinely easy)
- Clean your surface. Make sure it's free of grease, dust and fingerprints so the preparation can grip. A wipe with a little alcohol on very glossy surfaces helps no end.
- Brush on a thin, even coat. Use a soft brush and don't overload it. One smooth layer is plenty; a second thin coat gives extra tooth on the slickest surfaces.
- Let it dry. Give it time to cure properly before you paint — a few hours is sensible, and overnight is never a bad idea for the trickiest surfaces.
- Paint as normal. Reach for your usual watercolours and away you go. It behaves just like paper — so you can lift, glaze and build up layers to your heart's content.
- Want it to last? Once your painting is finished and bone dry, a suitable varnish or fixative will protect it, especially on anything that'll be handled.
A 250ml pot goes a long way, since you're only ever laying down thin coats — so it's far better value than it first looks.
Why we love it
Because it deletes the word “can't” from watercolour. It opens the door to commissions, gifts, decorations and experiments that simply weren't on the table before — all using the paints already sitting in your palette. Whether you're a seasoned watercolourist itching to break the rules or someone who fancies turning a plain mug into something special, this is a brilliant, low-risk way to play.
Ready to give it a go?
Both the White and Transparent Multi-Surface Preparation are in stock now at Bradbury Art, 250ml each. Grab one of each and you've got every surface — opaque or see-through — covered.
Shop W&N Multi-Surface Preparation — White →
Shop W&N Multi-Surface Preparation — Transparent →
We can't wait to see what you paint on next. Tag us in your creations — the more unexpected the surface, the better.
