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Watercolor & gouache Perfectly simple
At one time all paint was water based and a lot like gouache to use,
The pigments chosen tended to make a relatively opaque paint and
transparency was seen as a great fault. Paper did not exist and the
papyrus used and the walls of buildings and tombs did not suit
transparent paints. The colors tended to be limited and suited bold
graphic styles then prevalent.
Ancient Egyptian art typified this use of relatively opaque waterbased paints. All the pigments used with the exception of Egyptian Blue Frit tended to natirally make opaque or semiopaque paints. Egyptian Blue Frit was dark so its natural translucency still covered well. Colors tended to be applied as pure colors with a minimum of mixing if any. This paint could cover well anyway but was often applied thinly over a layer of white.
It wasn't until after the widespread introduction of paper and changed
art tastes that required the use of a wide range of colors, many of
which were transparent that the modern materials of watercolor and
gouache were born. The idea of adding gums to pigments to help them
stick to surfaces is ancient, and the inks used by medieval
illuminators in bibles was quite like watercolor in many ways, but it
was Durer wanting to do some 'sketching' on his journey to Italy who
was probably the first artist to use watercolor in a way that we would
recognize in the form of transparent washes on paper for its own sake.
His
apprenticeship had been in a studio making woodcuts for the Nuremberg
Chronicle and some of the woodcuts were tinted with transparent colors
in gum and it seems this was the beginning of Durer's famous use of
both media.
Gouache has an origin lost in time but we do know that the name may
have originally been applied to Tempera by the Italians and that the
idea of adding chalk to make watercolor opaque developed some time
later. As the ancients knew, opacity is valuable for many ways of
painting, but the new idea of adding chalk in carefully measured
amounts to interact with and enhance the color meant that virtually any
color could now be opaque. Gouache as we understand the term has been
in
existence for at least 200 years. During the late 19th and the 20th
century the demand for 'designers colors' meant that gouache ceased to
be regarded for a time as serious art materials as bright pigments of
dubious character became normal in most ranges of gouache color. Today
as designers abandon paint for photoshop, gouache is returning to a
focus on the needs of professional fine artist's. There are many that
love the juicy qualities of these paints. I am sure the ancient
Egyptians would totally agree.
Related Links:
Oils and Alkyds
Acrylics and
Tempera
Encaustic and
Fresco
Drawing media
Watercolor Transparent
paint, the delicate touch.
Watercolor was once made as hard cakes, the pigment ground with water
and gum then allowed to harden. it kept very well that way, but the
colors tended to weak due ti the difficulty of dissolving sufficient
color when needed. The discovery that a small amount of glycerin and
honey could make 'semi moist' cakes was a revelation and this is the
form that most artist's are familiar with as pan or half pan type
watercolors. They are easy to make in this form and there are those
that believe that it is the form that provides the best balance between
the purity of the pigment and usability. The desire for strong 'hits'
of color by many modern artist's however has lead to the increasing
adoption of a watercolor that is more liquid and storable in a tube.
It's viscosity is such that the paint when squeezed from the tube
should not run and should not display excess gum solution when properly
made this way. This tube paint requires more additives than the pan
watercolor, but there are many creative benefits to watercolor of this
type. it should be noted that the maker of paint in the studio is more
likely to use their paint while fresh and so can maximize the pigment
ratio in ways not available to a manufacturer who needs to assume that
paint made today may not be touched for many weeks, months, or years.
Gouache Strong, bold,
and punchy,
The addition of chalk to all but the most opaque pigments tends to lend
a natural smoothness to this paint. The gums are similar to watercolor
but the paint is made more liquid, a consistency like cream makes a
very user friendly gouache. it is normal to store the made up paint in
glass jars, and top up with water to make up for evaporation.
References
Alberti, L B, On Painting 1435
(Penguin Classics)
Cellini, B, The Life Of Benvenuto
Cellini, finished 1562 but not published until 1730
(Heron)
Cennini, C d'A, The Craftsman's
Handbook. 1437 (Dover)
Doerner, M, The Materials Of The Artist And Their Use
In Painting, 1921 (Harcourt Brace)
Eastlake, Sir C L, Materials For A History Of Oil
Painting, 1847 (Dover)
Feller, R L, Artists Pigments 1986
(National Gallery Of Art / Cambridge University)
Gettens, R J, and Stout, G L, Painting
Materials: A Short Encyclopedia, 1942
(Dover)
Gottsegen, M D, A Manual Of Painting Materials And
Techniques, 1987 (Harper & Row)
Maire, F, Colors: What They Are And What To Expect Of
Them, 1910 (Drake)
Mayer, R, The Artists Handbook Of Materials And
Techniques, fifth edition 1991 (Faber
& Faber)
Merrifield, Mrs. M P, Medieval And Renaissance Treatises
On
The Arts Of Painting 1849 (Dover)
Muther, R, The History Of Painting From The Fourth
Century To The Early Nineteenth Century, 1907 (Putnam)
Parkhurst, D B, The Painter In Oil 1898
(Lothrop, Lee & Shepard)
Patton, T C, Pigment Handbook, 1973
(Wiley)
Porter, N Webster's Revised Unabridged
Dictionary, 1913 (Merriam)
Pliny, The Elder (Gaius Plinius), Natural
History, 77 AD (Penguin Classics)
Roy, A Artist's Pigments: A Handbook Of
Their History And Characteristics, 1994
(Oxford University Press)
Taubs, F, A Guide To Traditional And Modern Painting
Methods, 1963 (Thames & Hudson)
Theophilus, On Divers Arts, 1125 (Dover)
Various, Encyclopedia Britannica,
fifteenth edition 1981 (Encyclopedia Britannica, Inc)
Various, Paint And Painting, 1982,
(Winsor & Newton / The Tate Gallery)
Various, The Artist's Colormen's
Story, 1984 (Winsor & Newton)
Vasari, G, The Lives Of The Most Excellent Painters,
Sculptors And Architects, 1568 (Penguin Classics)
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