by Kat Powell, posted by Deb Shaw
Some of the workshop participants getting ready for a final critique with Carrie Di Constanzo. L to R: Mary Jo Newman, Carrie Di Costanzo, Suzanne Bassani, Janice Sharp, Carol Readhead, Melanie Campbell-Carter, Kathlyn Powell. Missing from photo: Patricia Mark, Alyse Ochniak. Photo by Teri Kuwahara, © 2018.
What a fabulous experience! We were honored to have the awe-inspiring Carrie Di Costanzo for a workshop on the use of gouache in botanical art. First of all, Carrie’s work is beyond exquisite — I suspect I was not alone in getting goosebumps while gazing at her originals. They are miraculous in their refinement and perfection. Although Carrie works her magic in other media such as egg tempera and watercolor as well, it is her masterful handling of gouache that we focused on for those wonderful three days.
We all had a choice of working on a large deodar cedar cone, kumquats on a branch, loquats on a branch, or tulips. One participant requested a cactus as a subject, and The Huntington very kindly supplied that subject as well.
Reviewing artwork with Carrie Di Constanzo. L to R: Teri Kuwahara, Carrie Di Costanzo, Suzanne Bassani, Janice Sharp, Carol Readhead, Mary Jo Newman, Melanie Carter-Campbell. Missing from photo: Patricia Mark, Alyse Ochniak. Photo by Kathlyn Powell, © 2018.
Carrie demonstrated several ways of using gouache, as the medium is quite versatile. She showed her favored method of laying down a pale “wash” of her mixed paint that consisted of a highly controlled stippling using her amazingly fast feathery stroke of dilute gouache on a dry brush. Texture was instantiated from the start and retained throughout with this technique. Subsequent layers were laid down with generally successively more concentrated pigments with the occasional unifying dry brush wash over. She worked from light to dark in this method, somewhat reminiscent of watercolor.
She also demonstrated an approach using titanium white mixed to varying degrees into her colors to opacify and smooth the deposition of color and it had a depth and richness rivaling oils while retaining the luscious velvety matte surface of gouache. Indeed, in this approach, the handling is more like that of oils or acrylics and many renowned artists such as James Gurney use this method. [See some of James Gurney’s favorite gouache artists here.] Lights do not necessarily need to be retained and working dark to light is possible. Highlights and light structures such as Melanie’s cactus spines can be directly added on top.
Carrie showed us that gouache is like watercolor in re-solubility but has a higher pigment load, yielding greater opacity. It can be used in a watercolor way with wet, dilute translucent washes retaining the light of the paper, building up to a gorgeous matte depth of color. It can also, again, be used somewhat like oils or acrylics, with light pigments over dark. This allows for going over sections with many layers until one is satisfied, without harming the surface or looking overworked. Thus, you can push a painting further. One can also use gouache to exquisite effect on toned papers, like botanical artist Albert R. Valentien did. Carrie showed us how she creates a toned sheet for such an approach.
Carrie encouraged us to use the method that we felt most comfortable with and everyone had their own unique look to their paintings, and all were lovely. The medium was adaptable to each person’s individual style of painting.
A Little About Gouache:
Gouache has a history that goes back to the 9th Century. Illuminated manuscripts and Persian and Mughal miniatures were painted using opaque watercolors mixed with white or on white priming. Chinese white was also freely used in Western watercolors in the nineteenth century as “body colors”, distinguished by their beautiful precision (see, for example, the watercolor and body color work of William Trost Richards). For many subjects, such as landscapes, body color made it possible.
Zinc white (Chinese white) as a pigment had become available in Europe in the mid-19th century (although in use in Persia, India and China since at least the 12th century) and thus at least partially displaced the more opaque but very toxic lead white. It is no wonder that artists happily explored the possibilities of this new pigment! (Especially en plein air, once pigments were packed into tubes.) We are lucky to have access to nontoxic, very opaque titanium white (introduced 1921) as well as zinc white.
Gouache was favored by commercial artists during the twentieth century for its beauty, speed of drying, and matte surface which the camera loves — it is renowned for reproducing extremely well. It got a bit of a bad rap because of the fugitive quality of many of the paints then in use — pieces were made for the camera rather than the frame, so archival lightfast pigments were not always employed. Now, however, we have beautiful, fully lightfast gouache pigments available to us from numerous pigmenters. Also, the medium suffered some stigma in the pretentious “Fine Art” vs “illustration” controversy.
Technical instruction in gouache has become very difficult to come by over the last few decades, so I cherish the training we were so fortunate to obtain with a Master Artist like Carrie. I personally have longed for this type and quality of didactics for nearly half a century. Opacity is another dimension of control which enhances the ability to work the magic of mimesis.
Profound thanks to Carrie Di Costanzo, a real treasure both artistically and as a person, to the Education Committee for bringing her, to The Huntington for hosting us, to Patricia Mark for supplying subjects and to BAGSC for everything!
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