Paint with Gouache
Multiple people have come to my website in recent years as a result of doing web searches on painting in gouache (pronounced “gwosh” or “goo-wash”), probably led there by the numerous gouache paintings listed on the site. . There is conflicting information published on this topic. Accordingly, this article is to help you better understand this opaque watercolor medium based on over thirty-five years of experience in its use and as a professional art educator.
Supposedly, the ancient Egyptians first used this paint and later the Italians refined its use, from which we get the word that originates as aguazzo or guazzo. This is said to refer to “mud” or “watercolor paint, splatter”. It is sometimes used interchangeably as a body color and designer colors. Guazzo was also supposedly an idiom to describe the 16th century technique of applying oil paints on tempera. However, gouache paintings were exploited by illuminated manuscript artists and later became popular with some European decorative, landscape and nature artists such as Albrecht Dürer. Because opaque paints dry quickly and can be applied in a uniform, flat tone, during the 19th century gouache was often a favorite with architectural and advertising illustrators; hence the painting received its nickname “designer colors.”
A gouache paint body is made up of several elements, including a pigment and an opacity agent. These density additives differ by manufacturer. Some contain blanc fixe (French for permanent white); in this case its barium sulfate (also used as a filler in papers). Other manufacturers incorporate calcium carbonate, more commonly known as chalk, or “precipitated” chalk (technique for synthetics). When the water container is emptied to rinse the brushes during this painting process, the thickening material can be seen as mud at the bottom of the container. Gum arabic is the binding agent that all gouache paint manufacturers adopt to fuse ingredients together. In some cases, glycerin and preservatives are also mixed. The main differences between transparent and opaque watercolors is the addition of a chalky substance and the amount of gum arabic; gouache contains a higher concentration of the latter. When gouache is applied as a filling, it is the gum arabic that can give dried paint a pearly patina. If it is used too thick, as with tempera, the paint will crack. Typically, a gouache paint will have a dull surface appearance. This makes it ideal for photographic reproduction purposes and is another reason it has been popular with illustrators.
Some sources I have read say that gouache only comes in tubes. That is not like that. I have a set of Pelikan brand trays that I acquired in my teens when I started using this type of paint in the mid-1970s. These so-called “pastel” molds have the advantage of being able to acquire colored pastels. replaceable and a built-in paddle. Because gouache paints can be re-moistened and reworked when dry, as the pastels drain, you can squeeze the tube paints into the pastel receptacles. Gouache tubes are said to have a 3-5 year shelf life, which is when the tubes solidify. When this happens I break the tubes and use the dry form just like I do with the cake variety. Sometimes I use a single-edged razor blade to trim the amounts needed on a trowel. Apparently gouache can also be purchased in liquid form, but only in small black or white jars. These are probably the only two available because they are the two colors that are used in the largest quantities and the high opacity content causes sedimentation in the jars.
Some benefits and uses of gouache have already been discussed, but there is more. Because gouache painting materials are easily transportable and dry fast, like transparent colors, they are ideal for outdoor pieces (outdoor painting) and some artists have used gouache as preliminary sketches for larger oil paintings. As previously stated, gouache can be re-moistened after it dries, so outdoor paints can be reworked in the studio. This quality also allows the colors to gradually blend and blend on the surface of the paint. Additionally, gouache works well on tinted papers and can also serve as a base paint for pastels.
Transparent wet-on-wet, dry brush, and splatter watercolor techniques can also be achieved with gouache. However, due to the opacity of the material, paints do not bleed or bloom both wet-on-wet and transparent colors. Liquid masking agents can also be used to block out areas and make them white, although most gouache artists just take advantage of white paint. As you may know, “glazing” in paint is the process of painting one thin, diluted layer of color over another. Again, due to the chalky substance in gouache, many believe that gouache glazing cannot be used. However, to solve the problem of the base paint mixing with the thinned paint as the enamel is applied. I spray a single coat of fixer (the same material used in pencils, chalk, and pastels to prevent smudging) over the work and let it dry. Then I apply an area, particularly for the shadows. There are two concerns in doing this. First of all, the fixer can’t be too thick or the paint you put on top will drip and won’t cover. The second must also be taken into account and planned. You can change the color, especially by removing thin layers of white areas. I will address this again when I talk about finishing paints. In addition, I have also successfully used gouache for air brushing, as in the “Family Outing” and “Morning Stretch” boxes.
The ability to blend with other water-based paints is another admirable feature of gouache, especially clear watercolors. It has been said that gouache does not mix well with acrylics because the paint will swell, think of it as curd, like cottage cheese. I’ve never had this problem, but I also don’t use a lot of gouache from tubes that are added directly with acrylic paint, just small amounts. The way I mix them works quite well. However, since acrylic dries like plastic with a slippery surface, painting gouache over acrylics requires applying a thin coat of fixer for the gouache to adhere.
Any watercolor paper used for transparent watercolor painting can be used with gouache. Plain or hot-pressed serrated papers 140 lbs. Or thicker work well. I prefer to use mounted rag paper called a watercolor board made by Crescent. Another paper that I have had success with is a four-ply rag paper used in museum montage. This paper I wet it and then I stretch it on a wooden frame made one by two. The softened cotton paper is then stretched and stapled as it would a canvas.
When it comes to finishing and displaying gouache paintings, there are numerous aspects to consider. The most common way to approach framed gouache is to handle the same as you do with clear, matted, framed watercolors under glass. In the mid-1980s I stopped using this method for three reasons. A gouache painting, “Misty Warm December”, in which she had participated in a National Wildlife Art Collector’s Society exhibit in Minneapolis, Minnesota, was disqualified from the competition by the judges because they thought the original was a print, not They saw brush strokes on the surface of the paper, it had a smooth, flat surface appearance and was under a white carpet.
The second reason has two inherent problems that arise with shipping paintings under glass. One is the increased transportation cost due to weight compared to non-glass paints and the other is breakage. To address these issues, I took a look at how acrylics were handled. Gouache paints can be finished with any acrylic varnish medium; however, a few coats of fixer should be sprayed so that the acrylic varnish does not stain the paint. This will remove the dull, chalky appearance of the gouache and the pieces will look like oils. These images I put directly on frames without glass. For whatever reason, I have noticed that images with a high gloss varnish tend to sell faster than others.
The third reason I prefer acrylic varnish to gouache is the richness and depth it brings to the color qualities of the finished product. Obviously this means that the colors will change somewhat. Consequently, you should practice with this technique several times to familiarize yourself with how it affects paintings. When it comes to creating the illusion of water and making it feel really wet, there is no other type of paint I have worked with that does the same job. Since whites tend to fade, to get strong whites and other bright colors, I mix acrylics.
As with any watercolor, transparent or opaque, no matter how the work is framed when exposed, make sure they are out of direct sunlight and are not exposed to long-term fluorescent lights, as these emit a low level of UV rays. radiation that will eventually fade colors, unless under UV protective glass.
Hopefully, you’ve gotten a feel for this versatile gouache medium and aren’t afraid to try it yourself. If you have any questions, feel free to contact me.