While taking a break from work this week (as well as from the always overwhelming news especially with the tragic reports this week from the already unimaginably devastated Syria), I came across four colored bottles perched side-by-side at the back of a shelf in a store. As they were priced to sell, I bought them with the thought that they’d be great for watercolor projects. Painting glass objects is something I see watercolor artists do all the time–at least online– and many of them exhibit a great deal of talent in their work. This seemed like a good exercise for me at this point. So I propped them up on my angled drafting table, where they picked up the daylight, and considered what would be involved.
Today I decided that I’d use the new-on-the-market L’Aquarelle Canson Heritage 140 lb. hot press paper. I’d noticed in the past month that it takes watercolor very well without being too absorbent so I hoped to achieve a more transparent look with the bottle project. As with any paper, it takes some testing to figure out how much paint to apply for different results.
First, though, I did a draft on a smaller piece of Canson cold press watercolor paper in a sketchbook I’ve come to like for carrying around outdoors; the paper quality is great and the spiral notebook opens flat and is light. As I did this, I considered how to match the colors of the actual bottles.
The amber-yellow glass bottle in my small collection suddenly reminded me of the largish tube I have of the so-called “brown pink” watercolor paint by Sennelier. I know that this paint, despite its storied history as a favorite of the likes of John Singer Sargent, is controversial due to its suspected or proven problems with lightfastness. I have not tested it but I did want to use it for this watercolor as I suspected that the “brown pink” shade would come close to matching the yellow-green tint of the glass bottle, and I was right.
As you can see, I do have a lot of the brown pink paint (which says right on the tube “N.R.”, meaning “not rated” (for lightfastness) and, fortunately, I discovered that I like its effects on paper very much.
Today’s experts on watercolor paints would probably advise against using it at all, but certainly for art you are not selling–and art you are doing in the privacy of your own home!–it must be ok. (The reason experts advise against using such “fugitive” paints is that they have a reputation for not holding their color under prolonged exposure to light. Introducing paintings into the art market using fugitive paints tends to compromise the ability of other watercolor artists, who don’t use fugitive paints, to get the best prices for their art work, according to these arguments.)
Following some sketching to get a bit more confident drawing the bottles, I turned to the larger sheet of watercolor paper, taped to a strong board. I used a bit of masking fluid to hold some small spaces white on the bottles, and also used some drafting tape to cover up the surface of the drafting table depicted in the drawing.
Toward the end of the day, my painting looked like this (photo below). The project held my attention as I am not accustomed to trying to achieve the transparency of glass in watercolor. The bottles also have some decorative effects which I tried partially to capture. I will keep the bottles handy to practice more transparent watercolor painting–perhaps even fugitively, with my one or two of my favorite fugitive watercolors.