Painting in Gouache, Part 1
Gouache is not as common a medium for fine art now as it should be, in my opinion! Gouache is mostly used in the present time by illustrators and designers because the colors are brilliant, they dry fast, and they are opaque like oils. Unlike watercolors which require working from light to dark and reserving the white of the paper for lighter areas, you can work from dark to light with gouache.
It is an old medium. It was used in the 14th century (and probably earlier) and known also as “bodycolor.” Wikipedia states: “Gouache differs from watercolor in that the particles are larger, the ratio of pigment to water is much higher, and an additional, inert, white pigment such as chalk is also present. Like all watermedia, it is diluted with water. (Gum Arabic is also present as a binding agent, just as in watercolor.) This makes gouache heavier and more opaque, with greater reflective qualities.”
Some artists of note who have used it often: Albrecht Durer, Peter Paul Rubens, Anthony Van Dyck, Nicolas Poussin, Edgar Degas, and others. I’d say that was good company!
As a matter of interest, I thought I’d include some photos of the progression of my last painting “Meeting of Curious Minds,” which is mostly gouache, with some watercolor.
I used a multiple-ply acid-free cotton rag illustration board for the paper support. While you could use watercolor paper with gouache if you used thin washes, most of the time you must use a stiff inflexible support for gouache, as the thicker parts of gouache painting will crack if the support is bent.
After sketching the basic lines of the piece, I painted an undercoat for the tree, the hollow, and the owl to give me some basic tonal values to work with. It all looks rather ghostly so far.
I next worked further on the owl, adding more darker areas over which I would use white gouache later on. The beauty of gouache is that you can paint dark colors as an undercoat and, depending on how transparent you make your gouache strokes, you can allow that undercoat of fur or feathers to show, as they often do in nature. I figure that if I mess up here, it’s not worth continuing. So I always tend to do the hardest parts first so that if I do make irreversible mistakes, I don’t waste too much time!
In the photo below, I’ve finished the owl, adding pure white feathery strokes of a fairly well-loaded brush. I’ve worked on the aged, non-growing wood of the madrone nesting hole, and also darkened the interior of the hole so that the owl is seen in better contrast. Now I must work on the rest of the trunk.
I see that in order to bring out the contrast between the rich hues of the tree trunk and the craggier, lighter bark that lives on top of the smoother trunk underneath, I have to make the background much darker than I have so far. So out comes a darker brown, as well as the first greens of the poison oak that has insinuated itself onto the tree. The hummingbird also begins to appear.
To be continued…