20 artistMarch 2021 http://www.painters-online.co.ukGOUACHE
G
ouache has a great, velvety
texture that results in a very
smooth, solid appearance, yet
by working on a slightly more
textured paper, or board, the results
can be very different. The most obvious
way to achieve more texture is to use
one of the many watercolour papers
available. For example, a Hot PressedThe importance of
textured surfaces
In the second of three articles aimed at newcomers
to gouache, Robert Brindley explains how to
create a textured surface for your support in order
to increase the interest in your painting
paper will result in a very smooth finish
and pleasing effect. However, I find that
without any texture the paint can slip
around too much and any layering of
paint can easily disturb the underlying
layer. It’s also worth bearing in mind
that dry brushing and scumbling
become less effective or non-existent
on a smooth surface.
A Not paper has
a slightly textured
finish that is very
easy to work on and
aids the execution of
dry brushwork and
scumbling. Rough paper
will provide interesting
textures, although it is
a little more difficult
to work as the brush
seems to drag more
and it’s easy to lose any
sensitivity and ‘feel’
through the brush. You
may find that more
colour is used on a
rougher surface and also
you may need to use
more layers to achieve
what you are after.Texturing your own surface
When painting with gouache I now tend
to work on paper or board that I have
textured myself. For certain subjects I
prefer a more random texture and less
drag on the brush. I use any fairly thick,
good-quality paper or board, to which I
apply one coat of acrylic primer. When
dry I apply texture paste using a 12- or
25mm flat brush, criss-crossing the
brushstrokes to give a random texture.
By varying the quantity of texture paste
used – spreading it thinner, or thicker- I can achieve many different painting
surfaces. Finally, I add another coat of
acrylic primer.
Final evaluation
When I reach the final stage of painting
I always take time for evaluation by
asking myself some of the following
questions:- Does the composition work? A
successful painting should have a visual
path through the painting, leading to
the focal point. - Does the tonal sequence work? Tone
is all important, therefore it is prudent
to carry out a few small, tonal studies
before starting to paint. - Does the colour harmony work? After
tone it is important to ensure that the
colour harmony works. Never have too
many strident colours opposing each
other in your paintings.
Robert Brindley
is a member of the Royal Society
of Marine Artists. His book Painting
Landscapes in Oils is published by
Crowood Press (www.crowood.com) and
his four DVDs are available from Town
House Films
http://www.townhousefilms.co.uk
http://www.robertbrindley.comt Sparkling Light, Grand
Canal, Venice, gouache,
93 6in (21 3 15cm).
The support is a fairly
heavily textured, acrylic
primed mount board, tinted
with a burnt sienna ground.
If you look carefully you will
see where the texture paste
has been applied more
thickly, producing an almost
impasto effect