Question:
I hear watercolor easily fades and therefore is not to be considered
a permanent medium like oils. Is this true?
Answer:
Unfortunately, this misconception may be repeated at even the most
respected levels of the art community. The idea that watercolor
is not as permanent as oil paints appears to be without solid foundation.
Some of this misconception may come from the fact early European
watercolors were painted in tints (which may appear "faded" to the
untrained eye).
When we speak of "permanence" relative to fine art pigments, we
usually mean there will be no visual change noticable to the human
eye during a period of one hundred years. Certainly it is true that
watercolor paint is susceptible to damage from light, humidity and
radiation. But that is true of pigments used in the creation of
all fine art paints, including oil paint.
Watercolor paint is made with finely ground pigments - essentially
the same pigments that are used in oil painting. An aqueous solution
of gum (gum arabic) is used as a binder (glue). To say that watercolors
are liable to fade more quickly due to daylight because they are
applied in a thin film, or do not have the protection of the binder
enjoyed by pigments bound in oil is I believe a half truth ... well
meaning perhaps, but not the whole truth of the matter. If we think
about the various techniques employed by painters, oils can be -
and often are - applied in a thin film-like layer also. And, from
an archival perspective, a point could be made that the use of gum
arabic might be preferred over oil as a binder.
Even after extreme dilution, watercolor paint has the ability to
adhere to and be absorbed by the fibers of the paper. Not so with
some other mediums whose support is other than paper. The ability
of the paper to absorb and hold pigment/paint particles deep within
those fibers is of equal importance to the adhesiveness of the gum
in binding the color to the paper. Indeed, it could again be argued
that the "hills and valleys" on the surface of the paper provide
watercolor paint additional protection; protection similar to what
the earth's hills and valleys provide to vegetation. In a similar
way, watercolor paint is protected from some of the damage of daylight
and radiation as the sun moves over the painting's surface. I think
it fair to note that thickly applied paint is more likely to peal,
chip, or flake off due to the ravages of time.
Further, since watercolors are usually protected under glass, they
have an added barrier from environmental problems such as humidity,
dust, grime, accidental scratches, greasy fingers, etc.
When permanent, durable (lightfast) watercolor pigments/paints are
applied to professional grade watercolor papers, and kept under
the same normal conditions as other objects of art, watercolor paintings
are as permanent as any other medium.
Recommended reading:
1. "Fourth
Edition, Revised and Expanded. The Artist's Handbook of Material
and Techniques," by Ralph Mayer. Viking Press, 1981. ISBN 0-670-13666-2
2. "The
Wilcox Guide to the Best Watercolor Paints," Artways, 1991.
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PAPER
PERMANENCE
Question:
Perdom me, no speak english. I am a woman of Guatemala, Central
America, paint in watercolor but now I receive information about
the Gvarro watercolor paper made in Spain. I hear it is not good
for a pigment permanenci? This is my question.
Answer:
I'm not familiar with the watercolor paper you describe. If you
have not done so, you might consider asking your supplier for information
relative to the product's permanence or contacting the paper company
direct.
Another possibility is to test the paper yourself. If the pH measures
within an acceptable range, you can probably assume the paper is
of sufficient quality to be considered "permanent." Colorfast pH
Strips, or a similar product, can be used to test the pH of paper.
Colorfast pH Strips are small lengths of chemically treated paper
that are, as the advertising indicates, "uniquely accurate" in measuring
pH. They permit testing the full pH range of 0 to 14 using one single
strip. The measurement is accurate to a sensitivity of 0.5. The
Strips are advertised as "Safe: no 'available' toxic" ingredients.
The product is distributed via EM Laboratories, Inc., associate
of E. Merck, Darmstadt, West Germany. The address is, 500 Executive
Blvd., Elmsford, N.Y. 10523. Telephone: (914) 592-4660.
Before attempting a pH test, some general background information
may be helpful. Historically, artist papers have been constructed
from various fibers ... including - but not limited to - papyrus,
parchment, vellum and linen. Several European countries have taken
great pride in creating quality paper, as has Egypt, China, Japan,
Korea, the United States of America ... as well as many other countries.
For a paper to meet the requirements of permanency it must meet
certain standards, regardless of how or where it is made.
Over the years, the best permanent papers have been made from linen
rags. Linen is usually created from the fiber of the flax plant,
or more rarely from the fiber of the hemp plant. True vellum and
parchment papers are traditionally made from the skins of animals
such as goats, calves, and sheep; as a rule the younger the animal
skin the better the paper quality. Of course much of the paper made
today is mass produced by machines.
Contemporary manufacturing techniques seem to have replaced "linen"
with "cotton" content. From a contemporary standpoint, there would
seem to be little value in arguing the difference in - or degree
of - permanence between artist papers made of "linen" or "cotton."
Relative to current guidelines for permanence, the industry seems
to have come to accept as standard papers that contain a minimum
of 50% to the maximum 100% cotton rag content.
Additionally, for a paper to be traditionally accepted as permanent,
all materials used in its construction, including sizing, glues,
etc., must support permanency. It is best if minimal or - better
yet - no chemicals at all are used in the process of creation. If
chemicals are used, processing must leave the chemicals in a neutralized
state. There can be no residual metallic particles in the paper.
Nothing may contribute to - a change of color, or darkening, or
becoming brittle with age - given normal conditions of care.
Recently, chemically treated papers buffered to a neutral pH seem
to be gaining acceptance in various fields of usage. In many cases
the buffered papers, sometimes called "neutral pH" are considered
as "permanent," or of "museum archival" quality.
I'm a long way from having a scientific background - or being an
expert in the paper field - but some years ago I had reason to do
a little research into this area. I'll share the results here. My
notes indicate I was told by the Strathmore Paper Company that a
pH range of 7.5 to 9 would be considered "museum archival" quality.
Papers that are referred to as "neutral pH" measure out to around
7.5 - 8.5 pH, or slightly alkaline! Sometimes even up to pH 9! The
acid range of course is pH 0 to 7, and the closer to the pH of 7
... the more a paper resists aging. Apparently we can expect a 100%
rag paper, pH 5, to last without any perceptible visual change,
given normal wear and tear, 100 to 200 years! That surely meets
the permanency requirement!
The maxim of "the only constant is change" seems to apply with regard
to paper production. We have gone from hand-made papers to mostly
machine made, mass production papers. Frequently, as a paper becomes
mass produced, the need for chemical treatment increases. It is
probably reasonable to add that today, there is some indication
of a minor resurgence of quality, hand-made paper, customarily created
by small, independent paper manufacturers, or artist's whose specialty
is paper making . Then too, there are a few watercolor painters
who find a sense of pride and accomplishment in creating and painting
on hand-made papers they themselves have created. Of course, the
quality of hand-made - and machine made - papers can vary from poor
to very good to excellent.
Moving beyond the scope of your question, perhaps I can offer some
basic advice to anyone trying to make a decision with regard to
paper selection. Certainly, the paper on which one chooses to paint
is among the more important tools of the watercolor painter. Some
would contend it is the most important tool of the watercolorist!
Selecting a paper is made more difficult in that there are many
brands from which to choose. In addition, each brand usually features
papers of different qualities; for different media; of many sizes,
textures and thickness (weights), etc. It can become quite confusing
and an area worthy of study onto itself.
However, like most areas of watercolor painting, the decision making
process for the artist can be both simple or ... quite complex.
The simple answer is to use a paper of a professional construction
referred to as "permanent." Still, even in this rather narrow area,
there is much division amongst watercolor painters as to what constitutes
the "best" paper. And from an artistic sense, perhaps this is good.
It seems most watercolor painters will generally agree a paper constructed
of 100% linen or cotton paper is most desirable - brands, weights,
kind, texture, etc., is open to debate.
In some instances, budgetary or other personal considerations may
place a limit on one's choices. In such cases, the decision becomes
somewhat more varied and complex. It would be difficult, if not
impossible, to outline all the possible variations here. But a few
suggestions follow.
First determine intention. Is the work intended as, (1) part of
a learning process, (2) for financial gain or sale, or (3) for personal
enjoyment or amusement? Let's take one at a time.
(1) Part of a learning process. Here, an argument can be made for
using student grade paper ... as well as professional grade paper.
If one intends to "dabble," a student grade paper would probably
be a reasonable choice, if for no other reason but economics. If
however, the learning process is part of a greater educational experience
... which might lead to being a professional painter, an argument
could be made to use the best quality paper possible. In this way
the student will most quickly gain valuable experience with regard
to the paper of choice. Another factor to consider is - and this
one is often overlooked - one never knows how valuable "student"
work may be in years to come. It's an important consideration not
only from the obvious "future financial gain" standpoint, but also
from the sentimental and developmental perspective as well. Looking
back over 30 or 40 years of work can be enormously helpful in helping
an artist to understand his/her own interests and developmental
progression, as well as provide an invaluable resource upon which
to base future work.
(2) Painting as a professional, for financial gain or sale. In this
case, only the best will do. I believe those of us who paint for
a living have an obligation to use only professional quality materials.
Now there are those who would not agree with my assessment, and
they would have an equally valid point of view. As someone once
said, just because an artist uses professional materials "does not
a professional make." But, we'll leave that for some future discussion.
However if permanence is a requirement, selecting paper is quite
easy. Just be sure whatever paper you select has 100% cotton/linen
rag content (or at least a minimum 50% cotton/linen rag content).
Then too as mentioned earlier, some papers are of what is called
"neutral pH," and are sold as archival/permanent quality.
(3) For personal enjoyment or amusement. It is sometimes fun to
work on paper other than what might be considered normal watercolor
paper. This can be accomplished on both inexpensive student grade
and the more expensive professional grades of paper. I often work
on a vellum surfaced paper made by Strathmore, which is intended
for illustration. When I began doing this far too many years ago,
I was told - instructed - not to do so because it was not a "fine
artist's watercolor paper" but was intended for "commercial" use.
This never made sense to me especially considering it is of permanent,
professional quality ... so I continued using it and still do today.
Evidently I was not alone in this decision because today many other
painters use the same kind of paper and consider it not out of the
ordinary at all! Although I will note I have just recently been
working on another paper for a "change of pace." Actually, I'm still
looking for some of the "cheap" paper one of my favorite watercolor
instructors used many years ago. It took watercolor like a blotter,
but he could make it "sing!" Unfortunately, it is no longer made.
And ... time marches on!
In conclusion, once intention is determined, the decision making
process regarding watercolor paper is much easier. I encourage everyone
to start out using the "tried and true" and then at some future
time to - if you haven't already - "experiment, experiment, experiment!"
ADDITIONAL INFORMATION: May be obtained at the Winsor
& Newton web site.
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COLOR
PREMIX
Question:
Do you, as a general rule, premix a variety of colors in gradual
hues in separate wells to achieve soft tonal variations or do you
apply a color at one side of a subject, then add water to make a
gradated wash?
Short
Answer: Actually, I use both methods ... as well as a few others
also! I don't have a set method by which each piece of work is created.
Longer
Answer: If I'm working on a full sheet of watercolor paper (approximately
22" x 32") or larger, I often (but not always) pre-mix paints and
temporarily store them in separate wells, plates, or some other
kind of container (cans, bowls, etc). I do this only for the main
hues of a particular painting.
When working half-sheets or smaller, my habit is to pretty much
mix the paints as I go along. At times I will spontaneously pre-mix
colors on the palette and apply them to the paper. At other times,
I'll mix my colors directly on the surface of the paper (scrubbing,
twisting, pushing, pulling, etc.). At other times, I'll use both
methods concurrently.
Finally, all of the above information - while well intentioned -
MAY be somewhat misleading. For example if your question was generated
by a painting like "Hansen Hallmark," the above comments would then
be very misleading. In that particular work, the subtle value and
hue changes primarily came about as the result of using an air-brush
(not normally thought of as a typical method of glazing).
At some point in the painting, I wanted to develop some larger shapes
... less intense in hue and darker in value, to contrast with the
bright, smaller areas that had developed. However, I do not ALWAYS
use an airbrush! I just happened to use it in that particular painting.
The result I was seeking could have been accomplished in a number
of ways. For example one could have added instead, glazes/washes,
or used a "bug-sprayer/atomizer," or applied the paint with a mouth
or bulb atomizer, or tooth-brush splatter, etc.
ADDITIONAL INFORMATION: May be obtained at the Winsor
& Newton web site.
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GLAZING
Question:
When I see a painting of an object that is painted with startling
realism (in watercolor) and the artist remarks that "such and such
a dark color" was achieved by laying glazes, how MANY layers (and
are they of the same hue, just repeated?
Short
Answer: One, but usually two or more layers are used to achieve
a glaze. The hues may be the same or different, based on the effect
one wishes to achieve. The degree of darkness will of course vary
... depending on factors such as intensity of color, hue, value,
etc. As you might imagine, like watercolor painting itself, the
technique of glazing can be quite simple ... or rather complex.
Longer
Answer: The technique of glazing one or more colors over another
is sometimes referred to as the "indirect" method, because the INDIRECT
application of two or more layers are required to obtain the final
result. When one applies the colors more DIRECTLY - that is all
at one time, letting them mingle, or intermix on the paper - the
method is said to be "direct." In truth, most artists today probably
use both a direct (single wash/glaze) and indirect (multiple washes/glazes)
methods.
Laying glazes, is also sometimes referred to as "grisaille." It
is a fairly standard watercolor method or technique. Glazing was
commonly used by the "old masters" until about the mid-nineteenth
century. Compositions were developed in glazes of light and dark
values, using black, white, and neutral earth colors to help develop
the form in the objects or areas of interest. Finally, a single
transparent hue was glazed over the already developed forms. This
final step helped develop a harmonious, unified color scheme to
the entire painting.
The hue, tint, or shade of glazes, may be the same or different,
as one chooses. Results will vary - depending on the order of application,
the hue, tint, or shade of the colors used and which color is applied
over the other. If orange is glazed over blue for example, the result
will be a grayed-BLUE. The orange affects (or neutralizes) the blue.
However, if blue is glazed over orange, the result will be a grayed-ORANGE
with the blue affecting (or neutralizing) the orange. Try it! Also,
here are a few other combinations that work well when glazed one
over the other: Burnt Sienna and Ultramarine Blue, Black and Viridian,
or Vermillion and Ultramarine Blue. Of course there are many other
colors one could use as well.
I've heard and read about artist's who swear you should not overlay
any more than three glazes (washes), while others say the number
is almost without limit! So it is with many or most of the subjective
issues involving art. I recently read of a painter who maintains
she applies more than 100 glazes (washes) per painting! Her final
glazes appeared gorgeous! Frankly, laying in that many glazes would
drive me batty, but to each his/her own!
Glazes can have many uses. As earlier mentioned, they can be used
to develop form. They can also create ugly or ... beautiful optical
effects (like a haze)! And, they can be used to pull colors together,
to unify unrelated colors as well as make them more harmonious with
one another. Note too that the terms "glaze," and "wash" or "glaze
over glaze" and "wash over wash" are often used inter-changeably
in watercolor painting.
Probably of major importance relative to technique, is that each
layer of paint be absolutely dry before the next layer (glaze) is
applied. Succeeding layers (glazes) are best applied in a very direct,
confident manner. The goal is to deliver the brush stroke(s) as
quickly, softly, and authoritatively as possible. It is generally
considered helpful to attempt to administer the brush stroke in
a horizontal manner, almost parallel to the paper surface so as
to disturb the underlayer as little as possible.
If the underlayer is not absolutely dry or is somehow "roughed up"
by the applicator (brush), it (the underlayer) may be inadvertently
disturbed by the glaze overlay. This usually contributes to a "sullied"
or "muddy" wash. At times though, this "breech of technique" can
be used to one's benefit! It's probably best to experiment and develop
preferences that most satisfy one's personal approach to painting.
When trying to keep the glazes as pure as possible, it is usually
advisable to apply an opaque glaze/wash over a dried staining (transparent)
paint glaze/wash. Or better yet, glazing staining colors over staining
colors should result in the purest glaze of all! It is usually not
recommended to apply staining colors over opaque colors, as this
can also contribute to the "sullied" or "muddy" wash mentioned above.
Then again depending on one's intentions, some interesting effects
can be achieved by willingly breaking the "rules!"
It is helpful to remember that within the realm of what is called
"transparent watercolor" ... there are various DEGREES of transparency
and opaqueness! In the case of transparent watercolor, transparency
is relative. For example the following four colors - among others
- are generally considered as belonging to what is commonly called
transparent watercolor: Alizarin Crimson, Yellow Ochre, Prussian
Blue, and Cobalt Blue.
Of the afore mentioned colors, the two most transparent are Alizarin
Crimson, and Prussian Blue; the two less transparent (or more opaque)
would be Yellow Ochre and Cobalt Blue. Of course opaque colors can
be made more transparent by adding a greater than normal amount
of water to the paint and then applying the color in a thin wash.
Also mixing opaque colors with staining colors tends to make the
opaque colors less opaque and more transparent ... while mixing
transparent colors with opaque colors, tends to makes the staining
colors less transparent and more opaque! Fun, huh!
Finally, those of us - beginner or pro - who consider ourselves
"students of watercolor" may find the following bit of information
interesting. Ralph Mayer, in "The Artist's Handbook," mentions the
use of distilled water as a mixing agent of choice because, "...
the paint with its finely dispersed particles exhibits colloidal
characteristics, and the salts and impurities in ordinary water
might interfere with these. Salts are also likely to form a cloudy
layer on the picture. Almost all painters ignore the advice to use
distilled water for dilution during the painting or pictures, considering
it an over-refinement, but very impure water or sea water must not
be used for this purpose."
ADDITIONAL INFORMATION: May be obtained at the Winsor
& Newton web site.
Recommended reading:
1. "Third
Edition, Revised and Expanded. The Artist's Handbook of Material
and Techniques," by Ralph Mayer. Viking Press, 1970.
2. "The
Wilcox Guide to the Best Watercolor Paints," Artways, 1991.
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