![]() ![]() Hopefully it goes without saying, never use your paints straight out of the tube, unless of course you're looking for maximum saturation of colour. If you find paint is being pulled out of the lower layers from a subsequent coat of paint, the chances are you have diluted the paint too much, your brush is not soft enough, or you are trying to paint with too many strokes. The beauty of gouache is it dries incredibly quickly. The width of the tree was built up using the same base colour (essentially yellow ochre), and then darker shades of brown were added over the top. The paint was loaded thickly onto a round watercolor brush and the length of the tree added in almost one stroke. To get some more fluidity into the gouache, some acrylic gloss gel medium was added to the paint for the tree mix. To soften the edges on the distant buildings on the right, a damp hogs hair bristle brush was used, scrubbing back a little of the paint. It also dries so quickly that there's not much time to think about edges. Working on wood means you cannot add much water (if any) to your gouache. The Winsor & Newton primary red really takes dominance, and care must be taken to only use the smallest amounts to warm your colors. There's nothing wrong in darkening your gouache colors with black and lightening with white, though this does reduce the chroma. Having an introductory set forces you to mix your colors, and by keeping a limited palette, it's more likely you can maintain some sort of harmony beyond that of mud. With all the details and abstraction going into the figures and trees, it makes a lot of sense to get the big areas in place beforehand. The ground at this stage is placed in rather crudely for further refinement with later layers. The sky was roughed in with a flat watercolor brush (hog's haired brushes were attempted, but pulled off as much paint as they put on), each stroke was pulled in a slightly different direction to the last, and generally after one or two strokes, more paint has to be added, so it is a good idea to mix plenty of paint before you start. The panel was then toned with yellow ochre that had been slightly watered down, creating a nice warm middle tone on which to paint. Fixative was sprayed over this to seal it and prevent the charcoal from mixing with the gouache paint. The drawing process was done with charcoal, very rapidly as it comprised of just a few lines to mark out the building on the left and those on the right. The sanding was skipped in this instance so that the brushstrokes might add a little to the final texture. If working in oils it is better to apply several coats, sanding between applications. This provides a surface on which you can use gouache, oil paints, charcoal or many other mediums. The plywood was painted with acrylic gesso. Acrylic primed Plywood, approximately 11inches by 7.5inches.Flat hog's hair bristle brush (very moderate use for softening the occasional edge).Basic watercolor brushes (rounds and flats). ![]() In this demonstration, an introductory Winsor & Newton set was used, and from these basic colors: yellow ochre, primary red, primary yellow, ultramarine blue, ivory black and zinc white were chosen. There are a number of manufacturers who produce gouache paint.No doubt this is a source of contention that will outlive us all! Art Materials Most online dictionaries will tell you it rhymes with squash, and to pronounce it g-wash, but gouache is a French word and is more likely to be pronounced goo-ash. Some of its first usage in art can be traced back to the 15th century. It is broken down by water, which is why gouache can be watered down and used much like watercolor, however it may also be used in a more opaque fashion as its particles are larger than that of watercolor. Gum arabic comes from the acacia tree, and forms a non-toxic type of glue. This art lesson sits happily within the watercolor lessons section because gouache is essentially watercolor, and like watercolor, is mixed with gum arabic. Whilst Loir was not explicitly an impressionist painter, much of his work does encompass the same spirit and some of his looser paintings are certainly impressionistic. The impressionist painting lesson that follows is made after Luigi Loir, who in his day was known to paint the 'Paris of Parisians' and was largely admired in is time but is not so well known today. His techniques influenced the Paris born artist, Claude Monet, one of the founders of the impressionist movement. One of the greatest influences came from Joseph Turner and his late experimentation with expressionism. Many historical artists have painted in a loose fashion when sketching, and it may be easy to look at their style and attribute it to impressionism. ![]()
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