Granularity

Aside from acknowledging particles of sand on a beach, I had given little thought to granularity. And then, many years ago, I was startled into wakefulness by a programmer at our weekly business planning meeting. It was the first time I heard the question, “How granular do you want it?” I was working for a dot-com at the time, right before the year 2000, and most of my associates were from the tech side, where ‘granular’ was a well-used shorthand descriptor that indicated the relative depth of detail, which in their case, usually meant the description of an approach or solution that involved complex computer language, both for operating systems and applications. His question was serious.

I occupied the marketing side, where we didn’t often deal at a granular level as the concepts that inspired customer desire were often emotional, vaguer, and more ephemeral. That simple word, granular well illustrated the gap between us in our respective backgrounds and ways of thinking. He asked because he knew we’d fall asleep if he took the deep dive. He was right. We only wanted the conceptual highlights. And the assurances that we were moving forward. Unfortunately, it did not matter and was of no consequence as we soon perished as many other dot-coms from that era.

And now, I am immersed in the study and practice of the art of watercolors. And I encounter the word once more. What does it mean for this art? When confronted with ground paint pigments in a watery substrate, granularity matters again. It’s on a much smaller scale now, but important nonetheless. In the context of watercolor, it’s the physics of the heavier pigment grains settling in the rough depressions of the textured watercolor paper due to gravity and the uneven depositing of such sedimentary particles. Yet another piece of the puzzle that contributes to unexpected outcomes that painters experience in this aqueous medium. It can be semi-manageable and madly out of control, often yielding surprising results.

Dry, ground-up pigments are mixed with binders to make the paints that watercolor artists use, either in tube form or in pans. Non-granulating pigments disperse evenly with water, covering the paper smoothly, equally, or nearly so in color and texture. Granulating pigments are often heavier and have a larger particle size which leads them to more easily separate from their binder on wet paper, the granules migrating and depositing into the depressions, the valleys, on the textured surface of the watercolor paper. While granulation can occur on smooth paper, cold press, and rough paper provide the most opportunity to showcase the physics of granulation.

And once dry, the effect is visually magnified with a grainy appearance of the tiny flakes arranged in a way that can be stunningly beautiful. The effect is often sought by landscape painters and others who want to achieve a noticeably textured appearance, which can seem like visual alchemy. Some cany manufacturers have noticed that interest from artists and have created specialty paints that play to this effect. Schmincke sells a specialty range titled ‘Super Granulating.’ Daniel Smith markets their extra granulating paint in a distinct range labeled ’Primatek.’

As I play with my watercolors, exploring wet on wet skies and reflections in water, I find the results of granulation absolutely enchanting. I eagerly anticipate putting pigment to paper, wondering what will be revealed. The process is a voyage of discovery, a new world of even more dramatic visual effects. And now, finally, I can eagerly say, “Yes, let’s get granular! Real granular!” Release the magic, and let the fun begin!