Jeffrey Watts on Gouache Jeflrey Watts grew up around gouache. “My father did archi- tectural renderings,” he says, "so even as a child I knew what itcould do." These days Watts sees gouache as an effective training medium and one that he uses to make skeiches ard try out compositional ideas for larger ol paintings. “Its great teaching tol,” he says, “because artists are forced to put down one area of olor next to another, leaving 3 hard edge, almost as though they are building a mosaic. When you are tezching students how to turn a form by locking at Color and temperature 2 it changes across an area, they éis- cover they cant blend right away with gouache as they can swith ofl. Instead, students have to really work to get the val: ues right, and then go hack and soften edges later. Soit sa ‘medium that teaches discipline and control.” Gouache dees Ihave some negative properties, according to Watts. “You have ‘to get used tothe idea that the color isn't always the same when i's dy," he says. “Some pigments geta lite lighter and othere can ge! litle darker. Italo requires very dei ‘ate touch in handling, especially when overpainting. Ifyou ate using a wet layer of light-colored paint over a dark area it can easily start ssw to pull up the dark and muddy the Coastal Lagoon color It iakes stucents awhile to learn Yee as 2005, exactly how much water to mix into the neti the ait gouache to keep it opaque but not too thick” On the other hand, says Wats, gouache is very quick adit is much more forgiving than watercolor “You can sofien edges and paint over things. and you can even build to 2 delicate impaso,” he says, Bes ofall the brillant matte quality of gouache color is unparalleled. “Gouache gets used a lot as a commercial ‘medium because it reproduces so well” says Wats. “Gouache is so a great traveling medium I’ ight and clean, and you have the option of working on location exsily and getting an opaque painting without having to use ol.” Inhis own work, Watts says gouache allows him “to doa complete small color study and actually create a neat tie painting so I getan immediate feel for the balance and look ofthe proposed pictur." Other sketches le makes in gouache are ofien just thumbnailsize, quick compositional ‘ideas that the gouache brings to life with just a few strokes. ‘Watts say that he Fels gousche works best on a faiay small scale, Used large it can feel a litle at and stretched, but ana modest scale, its vibrant color can give a brillant and gert- ke intensity tothe work. “I's an unsung medium.” he says. “Iustrators and designers seem to know about it ‘more than fine ast. I'm often sur prised that I don't see it used more. Entering the Souk by Jefe Wats, 2008, brusche, 36 Eaton th arts woresco.on(Chasch Intettor, tly.Gouache The word gouache comes from the Italian word guaz- 20, which means a splash of paint. Gouache is an ‘opaque medium consisting of pigment and finely ground chalk, bound with gum arabic. The pigment sits on the chalk carrier to give a very brilliant, clean. ‘mate finish. Variations on the medium have been used since the 1ath century and, in modern times, it was used by such artists as Van Gogh, Klee, and. Picasso. It is highly prized by designers ang illustra- tors, both for its speed of use and the fact that it repro- duces so well. Itean be rewetted aftr it has dried to soften edges. Because itis opaque, gouache allows for ‘overpainting, although great care in application is required hecause new layers will rewet and loosen l cers underneath. Its generally used on paper and is more effective on smoother papers than traditional watercolor because itis designed to sit on the surface rather than Soak into the fibers ofthe paper. Gouache is sold in tubes in a wide variety of colors. For Fine art, attention should be paid to the permanence of each pigment, as many of the colors sold to designers are fugitive and will fade. Most manufacturers provide a permanence scale for their products. Use of UV glass in framing is probably a good ides. . Comparative Table of Water-Based Media Egg Tempera Pros Very delicate hardin, clear color, sharp scges, great lyeing posses Very pemanet Can be varristied for protection, Cons: Cannot pit wetinwet very wel. Canrat bullé «Fay troasio. Requires carci preparation Casein Pros: Clean, clear color, especially in the hghts. Shaip edges and clean glazes yet it stil alows for ‘a modest amount of wet-n-vet painting. Very permanent. Commercial casein paint is available in tubes, Can be varnished for protection. Cone: Carnot be usad on a flexible surface such as ‘amas. Does not alow for heavy impasto panting, Darks ate olten not very lustrous. Requires careful preparation if you choose to mix your own color. Gouache Pros: Brillant matte color. Can be put down as a Derfect ‘lat surface. Provides opacty end can be used a9 an impasto, Very quick to use, Con be rewetted. Very delicate brushwork shows up well Edges are siarp and clear Wide renge of colors avaiable. Cons: Because it can be rewetted, too much over- ‘working wil quickly make the paint look soggy. Not {good for glazing tochniquos. Surface is extremly delicate and must be protected. Many of the col ors are not very permanent. Cannot be varnished and must be exhibited behind glass Acrylic Pros: Extremely versatile, Can be used in 2 wide ‘arity of techniques trom clear glazes to hea impestos. Wide avaizblty of mediums, gels, and modeling pastes allows the artist many options. ‘Sta:Wet pelettes now allow acrylic to be mxed ike cilon the palette where it will stay wet for days. Imperius to wator when cry, allowing extremly clean glazng and sharp edges. A retarder, 0° sprayed water, allows wetinet painting, ‘opaque acrylic surface never quite es the depth oF luster of ol paint. The surface cen often look a ite pastc or gunmed. Used transparently on paper, it doesr't delve the beauty of true watercolor. Requires careful and immediate washing of brushes after use. 103