{"id":1322743,"date":"2023-09-18T14:34:41","date_gmt":"2023-09-18T20:34:41","guid":{"rendered":"https:\/\/www.artistsnetwork.com\/?p=1322743"},"modified":"2023-09-12T14:37:29","modified_gmt":"2023-09-12T20:37:29","slug":"grab-and-go-using-gouache-for-plein-air","status":"publish","type":"post","link":"https:\/\/www.artistsnetwork.com\/art-mediums\/grab-and-go-using-gouache-for-plein-air\/","title":{"rendered":"Grab and Go: Using Gouache for Plein Air"},"content":{"rendered":"\n

For ease of use and portability, gouache makes a perfect plein air sketching medium.<\/h2>\n\n\n\n

I\u2019m a plein air artist who spends half the year in New Mexico. While hitting the trails for sketching excursions, I discovered a hidden canyon not far from my studio. The quiet and beauty has become a daily inspiration. Most times, it\u2019s just me, the wind in the pines and a canyon wren or two. After an hour or so, I return from my canyon, relaxed, rejuvenated and at peace with the world.<\/p>\n\n\n\n

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Because I hike along some rather steep cliffs, I keep my sketching kit light (see My Materials, opposite). Also, I want these outings to be more about \u201cbeing in a place\u201d rather than \u201cmessing with gear.\u201d My kit centers around a 14-pan Caran d\u2019Ache Studio Gouache set.<\/p>\n\n\n\n

You may ask, Why gouache and not watercolor? I could use watercolor for these sketches, but the opacity of gouache is more suitable for my painting approach. As an oil and pastel artist, I\u2019ve always been a fan of broken color and scumbling\u2014two techniques I find more amenable to opaque gouache than to transparent watercolor. Gouache\u2019s opacity also allows me to correct mistakes and eliminates the need to save the lights. Instead, I can punch in highlights toward the end. As the need arises, I can also use gouache transparently; when thinned enough, it produces stained-glass-like effects, similar to those of watercolor.<\/p>\n\n\n\n

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I suggested the texture of the cliff rocks in Cliffside Juniper (gouache, 5×8) with dry brushed paint used opaquely. For the foliage, I first dabbed on thinned gouache followed by opaque blots. The tree highlights are white.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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I painted most of Juniper Trunk (gouache, 5×8) transparently but used opaque gray and white for the highlights and the shadowed bark.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Although some of the snow in Rock and Snow (gouache, 5×8) is simply the white of the paper, I also applied opaque white thickly in certain areas to convey three dimensions and to define the shape of the shadow.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Gouache Set<\/h2>\n\n\n\n

My Caran d\u2019Ache gouache set includes some rather saturated colors. Since my canyon is mostly rock wall plus trees and bushes, I use mostly the earth colors with just a few of the others. The greens are a bit garish for my purposes, so I tone them down with a little brown. On the other hand, I\u2019ve taken this kit to Scotland (see Stromness Wash and Uig, Scotland, page \u2022\u2022), and the variety of greens is exactly what I need there. Not all of the colors are lightfast, but this isn\u2019t a problem for me because I use the gouache set only for sketching, and those sketches stay protected from light, closed within my sketchbook. I don\u2019t intend to display them, but I may use them as references for studio paintings.<\/p>\n\n\n\n

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I prefer pan rather than tube colors for two reasons. First, the pans are more convenient because they come together in a metal tin with a lid that\u2019s good for mixing small amounts of color. Tubes tend to get squashed in my pack. Second, using pan gouache saves me money. I waste tube paint because I squeeze out more than I need. Also, pan gouache is easier to re-wet, which extends the usability of the paint. Pan gouache can even reduce expenses on brushes because, in the arid Southwest, tube gouache quickly develops a skin that gets so thick, that puncturing it with a brush can damage the bristles. The Caran d\u2019Ache set comes with a tube of white, but I put out just the tiniest amount\u2014and only when I need it, typically for highlights.<\/p>\n\n\n\n

My Materials<\/h2>\n\n\n\n
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\u2713<\/p>\n<\/div>\n\n\n\n

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PAINT: 14-pan Caran d\u2019Ache Studio Gouache set, which includes pans of yellow, lemon yellow, vermilion, carmine lake, magenta, ultramarine blue, cyan, malachite green, yellow green, emerald green, ochre, brown, gray and black, plus a small tube of white<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u2713<\/p>\n<\/div>\n\n\n\n

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SURFACE: 5×8 Pentalic Aqua Journal<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u2713<\/p>\n<\/div>\n\n\n\n

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\u00a0BRUSHES: Richeson Plein Air Travel Brush set, which has seven short-handled brushes: \u00bc-, 1\u00bd- and \u00be-inch flats; Nos. 2, 4, 6 and 8 rounds<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u2713<\/p>\n<\/div>\n\n\n\n

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OTHER: watercolor pencil; container for water and water bottle, a few paper towels, a sheet of plastic or other stiff material for a painting backboard (for working from my lap), clamps to hold everything together, egg-crate foam (optional back cushion)<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Caran d’Ache Gouache Studio 15 Assorted Colors Set in Metal Tin<\/h3>\n\n\n\n
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SHOP NOW<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Pentalic 5″ x 8″ Aqua Journal, Watercolor<\/h3>\n\n\n\n
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SHOP NOW<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Jack Richeson Watermedia Pocket Plein Air Brush Set<\/h3>\n\n\n\n
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SHOP NOW<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

Journal<\/h2>\n\n\n\n

I scrub a lot when I paint, but the 140-lb. cold-pressed paper in the Pentalic sketchbook is durable and can take a beating. It buckles only slightly, even with a heavy wash. The pages are sewn into signatures and lie flat, so if I want to use two pages for a wider, 5×16 sketch, I can do so. Sometimes, when the weather is cool and damp\u2014as in Scotland\u2014and my sketch hasn\u2019t quite dried, I\u2019ll lay a paper towel over it and close the book, protecting both the new painting and the older painting on the opposite page. An elastic band on the journal not only keeps it closed with the paper towel in place but also prevents damage to the pages when I cram the journal into my pack.<\/p>\n\n\n\n

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For Ponderosa Pine (gouache, 5×8), I painted the opaque highlights on the tree, including the orange-lit areas of the bark. For the sky I first applied a thin wash of gouache and then added opaque notes of blue for a richer, darker look.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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To capture the texture of the rocks in Stromness Wash (gouache, 5×8), I dragged a brush loaded with opaque gouache across an earlier wash.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Brushes and Pencils<\/h2>\n\n\n\n

The Caran d\u2019Ache kit includes a small brush, but I tend to be rough on brushes, so I\u2019ve found the Richeson brush set to be the perfect supplement. The flats and rounds have synthetic bristles that are quite durable. I also keep a small water-color pencil tucked into my brush set, which I use to draw a simple, light compositional sketch before I begin painting. I prefer this to graphite because the watercolor line will dis-solve somewhat and, if I\u2019m lucky, enhance the final result (although I don\u2019t mind lines showing through). An earth-color watercolor pencil works well if I\u2019m painting a close-up of trees or rocks; a gray-blue is good if I\u2019m including sky.<\/p>\n\n\n\n

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The opacity of gouache was particularly useful in adding colorful bits of highlighting to the foreground rocks in Uig, Scotland (gouache, 5×8).<\/figcaption><\/figure>\n\n\n\n

Although I\u2019m a dedicated oil and pastel plein air painter, I find my gouache kit fits my sketching needs perfectly. Whether hiking locally or flying to Scotland, I\u2019m happy to leave my other paints at home and pack my gouache kit instead.\u00a0<\/p>\n\n\n\n

Demo: Juniper in Gouache<\/h2>\n\n\n\n

With my minimal painting kit, I\u2019m always ready for a quick sketch.<\/p>\n\n\n\n

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Step 1<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Step 1<\/h3>\n\n\n\n

In my sketchbook, I first lightly drew the shape of the juniper with watercolor pencil. I chose a blue pencil because it would add a nice temperature contrast to the warm colors I planned to use when painting.\u00a0The brown speckles are from an overly aggressive treatment of a sketch on the opposite page. I didn\u2019t mind them because\u00a0 I knew they\u2019d add interest to the final sketch.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Step 2<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Step 2<\/h3>\n\n\n\n

I like to block in tree shadows first because,\u00a0 in the canyon, the light seems to move especially fast. I used a gray wash for this.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Step 3<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Step 3<\/h3>\n\n\n\n

I started applying transparent color, thinning the gouache enough so it acted more like watercolor. I used a darker, thicker wash mixture of black and brown to draw the lines denoting form in the tree.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Step 4<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Step 4<\/h3>\n\n\n\n

Next, I began laying in areas of more opaque paint, especially in the foliage. Then I washed in some warm foreground colors\u2014yellows, reds and browns. I added a touch of cooler red and magenta to the cast shadows.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Step 5<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Step 5<\/h3>\n\n\n\n

Using the edge of my brush, I scrubbed dark notes into the shadow areas. The brush, which was fairly dry, left sharp-edged marks.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Final<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Step 6<\/h3>\n\n\n\n

In the final stage of Canyon Juniper (gouache, 8×5), I added texture to the bark, being careful to keep the brush fairly dry.\u00a0 Juniper bark can be quite light where sunlight hits it, so I used fully opaque white to add a few highlights. On the other hand, junipers often have shreds of warm, dark bark, especially in the shadows. To convey the feeling of that shredded bark, I filled my brush with opaque brown gouache and tapped it gently for a spatter pattern.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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This article originally appeared in Watercolor Artist<\/em>. Subscribe now so you don’t miss any great art instruction, inspiration, and articles like this one.<\/p>\n<\/div>\n\n\n\n

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This article contains affiliate links that help us earn a small commission from purchases \u2014 at no additional cost to you. We are grateful for your support.<\/em><\/em><\/p>\n\n\n\n

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Michael Chesley Johnson Workshops<\/h2>\n\n\n\n

Pastelist Michael Chesley Johnson (mchesleyjohnson.com) is the author of Outdoor Study to Studio: Take Your Plein Air Painting to the Next Level and other books and is also a painting instructor who\u2019s featured in several Artists Network TV videos (artistsnetwork.com\/store). He teaches painting workshops throughout the United States.<\/p>\n\n\n\n

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From Study to Studio (Studio-only Version)<\/a><\/h3>\n\n\n\n

ArtFest
Mesa, Arizona
Oct 26, 2023
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REGISTER NOW<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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From Outdoor Study to Studio (Plein Air and Studio Version)<\/a><\/h3>\n\n\n\n

ArtFest
Mesa, Arizona
Oct 27-28, 2023
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REGISTER NOW<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

…<\/p>\n","protected":false},"author":249431,"featured_media":1322771,"comment_status":"open","ping_status":"open","sticky":false,"template":"page-templates\/new-article-page.php","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16768,16791,277976,16810,277673],"tags":[],"acf":[],"yoast_head":"\nGrab and Go: Using Gouache for Plein Air | Artists Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.artistsnetwork.com\/art-mediums\/grab-and-go-using-gouache-for-plein-air\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Grab and Go: Using Gouache for Plein Air\" \/>\n<meta property=\"og:description\" content=\"…\" \/>\n<meta property=\"og:url\" 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