Stella Arbelàez and I painted along with a gouache and color theory workshop video. It is fun learning new painting skills with another artist. Only 3 tubes of gouache along with white were needed for the workshop. Since I was borrowing the dabs of gouache from Stella, I was very conservative about how much paint I used. On a few occasions I used some of my watercolors when the gouache ran low. The colors used were Red, Yellow and Blue which are the primary colors. Any other color can be mixed from those three colors. There was no use of black on the palette. Instead, the instructor focused on how to best mix warm blacks and cool blacks. All the variations were so subtle.
The gouache colors used are very pure and thus very dark and full of pigment. Very often white would need to be mixed into the color to differentiate one color from another. Being able to paint a light color on top of a dark color was a thrilling change for me, since I have only worked with thin washes of watercolor for years.
The instructor had us mix a gradation between two complimentary colors. He picked yellow and purple. In the middle of the mixture the colors neutralize or become muddy. This is important since most colors seen in nature are not pure and vibrant, they have to be muddied up a bit. My everyday palette is organized so that complimentary colors are opposite one another. I often will find myself mixing complimentary colors to make them less vibrant.
We all worked from the same reference which was a scene of a market in Flushing or Queens New York under the elevated subway tracks. Having lived in NYC for 10 years I was very familiar with the scene. It reminded me of the early morning fish market I used to sketch at the southern tip of New York City. It would be great to return to the fish market again since I know I could capture the scene so much better than I did way back in the late 1980s.
I love finding colors while mixing. That is why I used to love to paint in oils. I stopped using oils simply because I never want to leave any trace of paint behind when working on location. I work fast and sloppy so the change of oils getting on my hands and then on a carpet of cushion are pretty high. Working gouache into my everyday kit seems like a good compromise. I can keep part of the sketch fluid with thin washes and them add opaque paint in areas where it is most needed.
If I were to use thick paint as I did in this workshop then it would become necessary to start working smaller. For me the biggest challenge is to always try to keep the brush clean. I might be painting in the darks and then decide to try and paint a bright and light color. The darker color always seems to find a way to hide deep inside the bristles and then muddy up the light color I was hoping to paint. Plenty of experimentation is going to be needed.
I purchased a small landscape hardbound sketchbook that I will try and use at the Orlando International Fringe Festival in May. That is where I will experiment with using gouache for the first time extensively. There are so many other supplies I would like to get, but I am living out of a backpack right now and don’t want to carry too much weight.