As shown in “Red Hibiscus” (#120404 ), subject elements and spatial planes are usually differentiated primarily through changes in hue, value, and saturation (chroma) rather than by drawn lines—although line may be incorporated—and some or all edges may be indistinct or entirely lost.

This approach is in contrast with more precisely rendered images in which all evidence of brushwork and blending are hidden or minimized. Unlike the photorealistic approach, a painterly piece takes advantage of the unique qualities and expressiveness of the medium itself to help convey what the artist wants to say through the work.

However, I periodically I need to “stop and smell the roses” by returning to my favorite medium. This time I did so by trying to apply many of the lessons that I’ve been studying to see if I’ve really learned them well enough to translate the principles into watercolor work.

Composition principles, control of values and saturation levels, use of complementary hues and their resulting gray tones, use of temperature in modeling forms, and even a renewed confidence in drawing all came into play in “Gramma’s Roses” (#120401), shown above.

I’ll always continue to strive for improvement, and in the process, … I’m having fun.

Directions indicate that multiple coats increase absorbency, so I decided to prepare a canvas panel sectioned roughly into thirds, which I would give one, two, and three coats, respectively, of the absorbent ground to test for my own edification.

I began by coating a 16”x20” pre-gessoed canvas panel with a single coat of the ground. I dipped my brush into water before applying the ground to make it easier to spread, but otherwise did not thin it. After it had dried for several hours, I taped off the left third and coated the remainder with a second coat, which I permitted to dry overnight before applying a third coat to farthest right third. The three sections were separated with pencil lines for easier identification.

After the third coat was dry, I applied separate washes of two watercolor paints, Winsor blue, red shade (phthalocyanine blue RS, aka PB15) and burnt sienna (a synthetic iron oxide red, PR101) across all three portions of the panel. Both paints have a staining quality, which is preferable for glazing purposes. Near the top of each, I lifted out swaths through both color blocks while they were still wet, both with a dry paper towel and with a damp brush. Once the base color had dried, I applied separate glazes of both colors over each of the color blocks. Finally, I again lifted a swath from the bottom of each dried color block with a damp brush. (The illustration above shows the finished test panel.)

The following day, the effect of the absorbent ground became considerably more apparent when I ran water over the entire panel and scrubbed it with a gentle brush. Most of the color washed off, but the absorbent ground had been stained to some extent by both base coats. The more layers of ground I had used, the more stain remained, as shown below.

Conclusions: Does the absorbent ground improve paint retention? Yes!
Does the number of coats make a difference? With each successive layer of ground, the paint lifted less readily, although within a couple hours after painting, with a bit more effort and a damp brush, paint could be lifted out from even the triple application. After the paint had dried overnight, however, both paints had stained the ground and become more difficult to lift. It appears that the ground continues to absorb the stain until both the paint and the underlying ground have thoroughly dried (the ground having been remoistened by the application of wet paint). The more coats of ground there are, the longer they take to thoroughly dry, hence the more stain they absorb.

Recommendations: If glazing is to be used on (pre-gessoed) canvas, I would recommend, first, applying a minimum of three coats of the absorbent ground before beginning a painting and, second, leaving the base coat of paint to dry overnight or longer before applying subsequent glazes.

Additional notes: According to directions, “Due to the fragile, absorbent quality of the ground, finished paintings need to be protected.” Whether this protection must be in the form of glass or the equivalent or whether a spray varnish will suffice is not specified. Since my primary reason for using canvas instead of paper is to leave an exposed surface, my own inclination would be to opt for some kind of protective varnish or sealer rather than a glass or acrylic cover sheet. Such a solution might or might not be adequate—only experience will tell.

A photo I had shot in Venice inspired me to play with light and shadow in a rather abstract manner, depicted in “Harlequin Nights” (#120206), above. I began by blocking in a relatively literal sketch but allowed the composition to develop organically as I progressed. This meant building it in layers, glazing and blending, sometimes repeatedly, in various areas. And that required keeping the paint blendable and spreadable.

The Open Acrylics spread easily and afforded me a far longer working time than even the Interactive Acrylics had (see the two previous blogs). It was a great painting experience.

I tend to complete most of a painting in one session or at least in one day. A few touchups might follow in the next day or two, but in general, there is little call for “unlocking” dried paint (as Atelier terms it in regard to their Interactives). As I had discovered with the Interactives, rubbing alcohol (kept in a small spray bottle for convenience) allowed me to soften the drying Open Acrylic paint, when needed, enough that the dried paint could be lifted or wiped away from either the canvas or the palette, and it softened paint that had started to dry on my palette when water was no longer enough to do the trick. I did use the Thinner to help keep the last bits of paint from drying too quickly on my palette, but I didn’t feel a need for it most of the time.

As with the Interactives, the Open Acrylics cleaned up easily in water, while the last traces of color wiped off my palette with a squirt of rubbing alcohol. And, like the Interactives, there was no objectionable or sharp odor.

Of the two manufacturers, Golden Open is much easier to work with, provides considerably longer working time, and seems less gimmicky and more down-to-earth in its product. When it’s time to reorder, I’ll go with Golden Open.

I began with a flat, warm, mid-tone, ochre-like wash with a standard acrylic, so it wouldn’t lift if I needed to rework any over-layers very deeply.

As the underlayer of standard acrylic dried and cured, I was aware of the sharp odor of the product and realized that there had been no such odors when I had used the Interactive acrylics. This is a factor worth considering in our household, since my husband is sensitive to a lot of chemicals and solvents—one reason I don’t use oil paints.

While the base coat dried, I planned the composition from my reference photos, sleeping on it (figuratively speaking) to give my subconscious some play. Then, value study in hand, I set to work. The peculiar angles of the old hilltop village made the perspective appear out of whack, but I stuck with it, taking considerable artistic license in simplification and interpretation of the scene.

I did use the reworkability of the Interactive acrylics, including the so-called “unlocking formula” (that smells and acts like rubbing alcohol, which, by the way, can also be used to “unlock” the set paint). As the painting was nearing completion, I realized that the stonework in the focal area was darker than I’d originally intended. Though it looked weathered and old, it had lost the golden glow that is so typical of much of the Italian countryside. So, using the “unlocking formula,” I gently wiped off some of the upper layers, sometimes taking it all the way down to the ochre base coat. A soft gold glow reappeared, and I was happier with the result.

A month later, I was still uncomfortable about several aspects of my “finished” painting, so I went back to work. Using the unlocking formula and alcohol, I wiped away some of the dried paint and reworked several areas. The Interactive acrylics made that possible. I don’t particularly like the texture of the paint, though, when I attempt to “unlock” what has dried on the palette. I find it much preferable to squeeze out more, fresh from the tube. So I found the “unlocking formula” more useful for removing unwanted paint than for making dried paint workable.

The Interactive Acrylics did make painting—and repainting—easier. But it isn’t ideal. Neither was the result. I still prefer watercolor.

Rather than discard the failed painting, I determined to rework the canvas using a relatively new product that had come to my attention and that I thought was worth investigating—Atelier Interactive Acrylics, by Chroma.

What, you may ask, is a watercolorist doing using acrylics? I will admit that I have used acrylics in the past but was discouraged because they dried so quickly in Southwest Florida’s low humidity. I much preferred working with watercolors, with which I can control the fluidity and rehydrate paint that has dried in my palette. Atelier Interactive Acrylic, however, can be rewetted when it becomes tacky—or even dry—on either the palette or the canvas. I thought that this might be a solution to my problem.

I had ordered an introductory set, which includes a good range of preselected paint colors, three different additives for various purposes, an empty spray bottle for distilled water (to “unlock” the drying paint), and a DVD that offers tips on composition, perspective, values, and color (though no explanation of how to use the additives, which are roughly explained on printed inserts). The set also includes an informative color chart for the line that lists, among other things, the pigments used in each—very helpful for making informed selections.

Washing the watercolors off the canvas under running water left enough stain to act as a guiding sketch. My subject had been a repeat of the one I used in “Anticipation,” composed slightly differently on the larger ground. I set up my palette, chose a few appropriate brushes, and roughly laid in the background and foreground colors. Then I tackled the clustered figures, blocking in the larger areas of color and gradually refining them. I didn’t use any of the additives.

In the process of painting, of course, the Interactive paint, which I had applied quite wet and fluid, watercolor style, began to dry. Following directions, I sprayed the drying paint on both the canvas and the palette and continued working. The paint did indeed become workable again, and I was able to blend with previously laid color rather than simply over-painting in layers, as I would normally have had to do with a standard acrylic.

Being thin, the rewetted paint did have a tendency to lift more than I would have preferred, as I moved it around on the canvas, but that was due more to the thin initial washes, which I was going back into to rework, than to a fault of either the paint or canvas itself.

I liked the result, and yes, I will use these acrylics again. Maybe I’ll try a thicker application next time—more like oils—and see how that works. Stay tuned.

Despite my decision to use the pad canvas only after affixing individual sheets to stretcher bars, I decided to try it stretched only with clips. Firmly clamped to a backing board, my second sheet of canvas held its shape well and appeared to lose little area due to shrinkage.

In placing the subject, I mentally included the margin space on all sides to allow for later stretching and shrinkage. (Refer to the Faces and Figures gallery to see the finished proportions of “Anticipation.”)

When I applied glazes on this type of canvas surface, I found that lifting was still almost as much of a problem as it had been on the stretched and gessoed canvas (Joe Miller’s brand) I had used previously (see blog for January 1, 2012). So, when I decided I needed a final glaze to warm the foreground, I set the painting aside for several days to dry thoroughly (front and back) before spraying it with fixatif. Only when that was dry did I lay in my last applications of paint.

I had not used this type of fixatif before (Krylon Workable Fixatif), but it was called “workable” and stated that it “allows easy rework.” However, apparently that holds true only for the stated “pencil, pastel, and chalk,” not for watercolor. The watercolor beaded up on the fixed surface, and though I was able to do a bit of retouching, it was not satisfactory.

Out of desperation, I recoated the painting with the varnish (Krylon Gallery Series UV Archival varnish) I had used on my first canvas, hoping that that would provide a more friendly working surface that would accept top coats of watercolor. The paint continued to bead up, failing to adhere smoothly to the surface.

One of the few advantages of the seal appears to be that I can wipe off failed attempts without fear of leaving stains and smears behind.

Another advantage (admittedly a major consideration) is the UV protection it offers for any paintings that will not be shielded by UV-protective glass.

I would be interested to hear from others who may have found alternative fixatifs or sealers over which additional layers of watercolor can satisfactorily be applied.

However, I decided to try using it as I would a pad of watercolor paper, as I supposed was intended. Using bulldog clips, I fastened the canvas pad back against the backing board, set it up on my easel, and got to work. After wetting, the canvas didn’t stretch but actually shrank. Where the canvas was clipped to the board, shrinkage was negligible, but areas that I had failed to clip shrank enough to form noticeable ripples in the fabric as it pulled diagonally against the clips. Having worked primarily with paper and stretched canvas in the past, I had not expected this to occur to such an extent.

In this case, to encourage more even shrinkage, before applying fixative, I reversed the canvas and, leaving it entirely unstretched, I sprayed the back with water, spreading the moisture with my hands to ensure even coverage. Then I allowed it to dry thoroughly. Most of the ripples disappeared as the canvas dried. Overall, the 20”x16” canvas lost approximately ½” in length (in width as seen in the horizontal orientation below) and ¼” in width (or in height as shown in the illustration).

Lessons learned: 1) Use the sheets singly, rather than on the provided pad, and 2) Stretch even page-like sheets of canvas before painting—it’s shrinkable cotton fabric, not paper. Whether on stretcher bars or by affixing the canvas to a sturdy backing, the canvas must be stretched before wetting. I will use 12”x16” stretcher bars for the remaining sheets, to allow enough edge to wrap around the bars.

More about my experience with the canvas next time.

The spray varnish (Krylon Gallery Series UV Archival varnish) I had used successfully on canvas did not work so well on paper, leaving white flecks where I had expected a clear, even finish.

Rechecking the canvas I had sprayed previously, to see if I had overlooked a similar problem with that, I found white filaments, about 1/32” long, scattered across the surface of the canvas. But were they from the spray or from some other source? They did not look like the flecks left on the paper, and I was able to brush them off with no difficulty, which I was not able to do with the flecks on the paper surface, so I judged that they were not from the spray. More likely they were some form of dust, though I couldn’t figure out what would have produced the regular, elongated shape of those flecks. It continues to baffle me. But that issue is beyond the realm of this blog.

Although I was fairly certain that the new painting (the one on paper) had been completely dry, I supposed that it was possible that it had not been and that, as the varnish hit it, some of the color lifted off. But I couldn’t be sure. Or perhaps I had applied my second coat too soon after the initial misting. Whatever the cause, the damage was done.

I allowed the varnish to dry completely on the paper before attempting to retouch that painting by applying a top coat. Would it adhere? Or would the varnish reject it? I could find out only by trying.

Once the varnish had dried, I was able to apply a top coat of paint. Despite my fears, it did adhere, and it did improve the appearance of the painting. I was also able to tweak a few areas that I had overlooked previously. However, I did not feel that it brought the image quality back to what it had been before it was sprayed (see below). And I did not attempt to reapply the protective varnish over the final layer of paint.

In the future, I won’t be varnishing any more paintings on paper unless there’s an overriding reason to do so.

This discovery told me two things: first, that the painting was “erasable;” and second, that all colors to be applied had to be mixed either on the palette or while still wet on the painting surface. The entire work had to be more carefully planned than usual. Value contrasts would have to be optimal from the beginning, not relying on second coats to adjust color or value except to entirely lift all color out of an area.

I took advantage of the erasability by reworking the background, which had appeared streaky after the initial application. In fact, I reworked the background several times to test the effect of a variety of brushes on the surface and to evaluate several different background treatments. I also signed the painting in three different ways, erasing the dark-against-light versions and eventually lifting the lettering out of dark-pigmented area on my final version.

The erasability posed an additional problem—that of permanence. If the surface should become wet, the image could be ruined. This is true of any watercolor painting, which is one reason works on paper are usually displayed behind glass. One advantage of canvas, however, is that it does not normally need glass for protection, since it’s considerably sturdier than paper. In fact, canvas often does better without glass, since an enclosed framework can trap dampness in as well as keeping dust and moisture out, thereby promoting the growth of mildew.

So, in lieu of glass, when the painting was finished to my liking, I coated it with three layers of UV-protective, archival spray varnish to protect the surface from water and UV damage.

In the near future I expect to be experimenting with canvas primed specifically for watercolor use, and possibly watercolor-specific primers on standard canvas, to evaluate whether there might be better canvas alternatives more compatible with my painting approach.

I would welcome comments and suggestions from any of my readers who have already explored and found answers to these issues.