What is granulation?
Granulation is the texture that appears when a pigment’s particles settle unevenly into the tooth of watercolour paper as the wash dries, producing soft, mottled variation rather than a flat, even film. It is a property of the pigment and the paper, not the brand - a fine synthetic pigment will lay down smooth on any paper, while a coarse, heavy pigment will granulate on a textured sheet. No formulation can add granulation to a pigment that lacks it.
Which pigments granulate
Granulation tracks particle size and weight. The strongly granulating families are:
- Ultramarine (PB29) - the classic granulating blue, prized for skies and shadows.
- Cerulean and cobalt (PB35, PB28) - granulating, semi-opaque blues that soften and lift for cloud work.
- The iron oxides (PBr7, PR101, PY42) - Burnt and Raw Sienna, the Umbers and the synthetic iron oxides, which sediment warmly for rock, earth and flesh.
- Manganese Blue and some cobalt greens - less common, but strongly granulating where available.
The fine synthetics - the phthalocyanines (PB15, PG7, PG36), the quinacridones (PV19, PR122) and the dioxazines (PV23) - lay down smooth and even. They are valued for staining intensity and clean glazing, not for texture.
The best granulating watercolours, named
These are the granulating colours in the Michael Harding watercolour range, drawn live from the published technical data. Each links to its full pigment page with lightfastness, transparency and granulation ratings.
Picks are generated from the live watercolour range and will appear once the matching colours are loaded.
How to maximise granulation
Granulation is a partnership between pigment and paper. To bring out the strongest texture: use a rough or cold-pressed paper with generous tooth; use plenty of water so the particles can move and settle; tilt the paper to let the pigment pool into the low points of the sheet; and - above all - resist overworking the wash. Granulation appears as the paint dries and settles, so touching the surface disrupts the very effect you are waiting for. Let it dry undisturbed.
Granulation vs staining
Granulating and staining are opposite behaviours. Granulating pigments sit on the surface and lift readily - you can blot, rewet and recover highlights. Staining pigments penetrate the fibres and resist lifting, giving permanent, vivid underpainting that will not move under later glazes. A professional palette often holds both: granulation for texture and atmosphere, staining for permanence and intensity.
Frequently asked questions
Which watercolours have the best granulation?
The most strongly granulating watercolours are the coarse, heavy pigments: Ultramarine Blue (PB29), Cerulean Blue (PB35), Cobalt Blue (PB28), and the iron-oxide earths - Burnt Sienna (PBr7), Raw Sienna, Raw Umber and Burnt Umber. These pigments settle unevenly into the paper tooth as the wash dries, producing the soft, mottled texture painters prize for skies, rock, water and natural surfaces.
What is granulation in watercolour?
Granulation is the textured, mottled effect produced when a pigment's particles settle unevenly into the tooth of watercolour paper as the wash dries. Coarse, heavy pigments granulate strongly; fine synthetic pigments lay down smooth and even. Granulation is a property of the pigment and the paper, not the brand - it cannot be added by formulation.
Does Michael Harding make granulating watercolours?
Yes. Michael Harding publishes a granulation rating for every watercolour, and the range includes the classic granulating pigments - Ultramarine Blue (PB29), Cerulean Blue (PB35), Cobalt Blue (PB28), and the earth colours (PBr7). Each colour's product page lists its granulation so painters can choose texture with certainty.
How do I get the strongest granulation effect?
Use a rough or cold-pressed paper with generous tooth, plenty of water, and resist the urge to overwork the wash - granulation appears as the paint dries and settles, so touching the surface disrupts it. Tilt the paper to let the pigment pool, and let the wash dry undisturbed. Fine synthetic pigments (phthalocyanines, quinacridones) will not granulate no matter the technique.
What is the difference between granulating and staining watercolours?
Granulating pigments (ultramarine, cerulean, earths) settle into the paper and lift readily - you can blot and rewet to soften or recover. Staining pigments (phthalocyanines, quinacridones, dioxazines) penetrate the fibres and resist lifting. They are opposite behaviours: granulation gives texture and editability; staining gives permanence and vivid underpainting that will not move under later glazes.