Testing Holbein Acryla Gouache: Stage 1

Holbein-acryla-gouache-1a-1-170319

Owing to an unusual period of ill health I have been off work for several months and have not been able to contribute to this blog, but at last I am able to continue…

For some time I have been considering how to create relatively quick works on canvas – that is, quick to paint, and quick to offer for sale. Although I would love to paint in oils, it isn’t practical when work needs to be ready to sell without much delay. Oil paints need to dry out really thoroughly, and even then the canvas cannot be varnished for another six months. It’s a slow process.

Many artists use acrylic paints as a substitute for this reason, but I have never been able to get on with acrylics. I’m sure the fault is mine, but I just don’t like them, and I don’t like working with them either.

Looking into different types of acrylic paint very recently, in the hope of finding something which would provide a different approach, I happened upon acrylic gouache. I’m still not quite sure exactly what this is, but it’s some kind of compromise between gouache – an opaque water-based paint which is resoluble when dry – and acrylic paints, which are not resoluble when dry and can thus be overpainted with impunity, but cannot be blended with the layers beneath.

Intrigued, I bought a small selection of the highest quality acrylic gouache paints I could find in the UK – the Holbein Acryla Gouache range, which is manufactured in Japan. Holbein only make artists’ quality paints, and they are highly pigmented.

I had intended to try the acrylic gouache for illustration work, especially in cases where fine details need to be added over a scene painted in traditional watercolour – for example, when creating illustrations of animals and birds.

But at the same time I was starting to think about whether it might be possible to use watercolour techniques on canvas, though of course not with watercolour paints. Looking around online I discovered some tutorial clips by the American tutor Charles Harrington, who has produced both books and video tutorials on how to use watercolour techniques with acrylics.

Intrigued, I decided to try this out with the Holbein Acryla Gouache, rather than with acrylics proper in the first instance, and this is my preliminary experiment.

It’s too soon to draw any definite conclusions – those will follow in a future blog post – especially as the work was still wet when I photographed it this evening, but I certainly formed some immediate impressions…

As this was a test, I just used a relatively cheap canvas board (a pre-prepared sheet of thick cardboard covered with primed canvas), and it quickly became obvious that a much finer grained support would be required for these relatively delicate paints.

Holbein-acryla-gouache-1a-2-170319

However, I was very pleasantly surprised by the ease of working with these paints, and their “sympathy” for wet-in-wet techniques. They are much more forgiving in some ways than traditional watercolour, and you can mess around with them on the canvas for quite some time providing you keep it wet.

I actually used a layer of clean water on the canvas to start with, as I would on paper – a technique which is hardly conventional when painting on canvas! However, it worked remarkably well, and unlike traditional acrylic paints, these Acryla Gouache paints did not dry out on either the plastic palette or the canvas during a session of about 45 minutes. Had I been using traditional acrylics I would have needed to add a retarder to stop them drying, and even then I’ve found they dry much too quickly. But these Holbein paints stayed wet and workable in a most impressive way, even allowing me to lift them back off the canvas with a clean brush quite a long time after the paint had been applied. In fact, by using this wet-in-wet technique on the non-absorbent primed canvas, the work stayed wet and workable for much longer than watercolour paints on paper, providing new possibilities for blending and reworking which watercolour doesn’t offer.

The colours, despite conventional names in most cases, were not quite as I expected, and I will need to adapt my mixing techniques to suit them. But despite being gouache, and acrylic gouache at that, they are evidently capable of considerable transparency, as you can see in the photos. All the white areas and pale areas are the white primed canvas support showing through.

These paints have very little body, however, and ultimately may prove unsuitable for works on canvas unless the ground is very fine indeed. A fine linen canvas is likely to be more suitable than a coarse cotton one, and would be worth trying if the rest of this preliminary experiment works out well. But at present that remains to be seen…

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