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Tonya, I use W&N white designers gauche for anything I want to be subtle, I use it literally right out of the tube. Many times,I just add a little water to the tube tip with my thinnest brush, swirl a little to thin the tiny bit of paint still at the tip of the tube to then use it like that. When I need more, I’ll put a dot out on my porcelain palette. I love the effect and it can be thinned to give great effects like fuzz on peaches or highlights on cherries. I love how it naturally picks up a little color of the painting underneath so it looks natural if you use it thinly.
Thanks, Jen! Since I was a bit hesitant about the usefulness (and a bit intimated by the starkness) of a pure white, I ended up adding AJ’s French Gray to my palette and really like the opacity of it. It’s a great mixer when you want to add a little body to a translucent color or tone down a color. It’s been so handy that I’m sure when this tube is out, I’ll transition to a Titanium white so I’ll keep WN in mind. Appreciate your comment!
Last week “The Mind of Watercolor” of posted a video about Choosing an Opaque White to use over Watercolor. He compared using gauche and white inks both water solvable and permanent. In the comments he answered a question about the difference between Titanium white and Chinese white watercolor paint. I found his information about tinting and glazing over watercolor interesting. He also likes the Kuretake Comic White Ink 30. I have Daler Rowney Pro White as recommended by Jan for her sketching snow class.
You’re so welcome Tonya. I’m just starting Anna Mason’s courses and she uses a much opaquer white which I’ve put in a half pan and let dry. I’ll let you know how it works as opposed to how I use my tube white so far. Here’s an example of how I use the designers gauche. I left much of the highlights lighter but i don’t like the starkness of white paper usually so if I go to far and need to add more white or a sheen I add the white gauche. I did here quite liberally on the cherry hi lights.
I did one of Anna Mason’s free lessons, except I didn’t have all her colors. That’s when I realized I like really smooth transitions and subtle highlights. It used Kuretake Zig White Ink 30 and then painted over it.
Oh all of these cherries are fabulous! I’ve painted cherries also, but mine didn’t look near this lovely as both of yours. What is it about fruits that are so much fun to paint? I agree with Susan, the white discussion is extremely interesting! Who knew whites could be so exciting??? lol!
Awesome your taking Mason’s course, Jennifer!
I just recently saw some of her work and it’s lovely. I watched one of her quick videos and she uses a similar technique that I’ve used for a while. I’d love to take one of her online courses, but will have to save up for a bit and have the time to devote to it.
I’m curious – what kind of opaque white does she use?
Thank you everyone for the compliments on my cherries. Beverly, I was so lucky to get her course for an early Christmas present! Im so looking forward to a year of lessons! Anna Mason suggests Titanium White, OR Chinese White OR any White Gouache paint. Tonya, that’s also a great alternative. Anna Mason also has Davy’s Gray in her palette, can’t wait to see how she uses it for mixing.
I love using white more than leaving whites, sometimes the paper is just too stark!
Jennifer, let me know if Anna does use the Davy’s Gray for mixing. In her free courses, she’s used it for undercolor on shadows, but I haven’t seen her mix it yet. I do have one of her books, but haven’t had the chance to really look at it yet. I’ve got so many things going on, that I haven’t allowed myself to really sit down with it because it will distract me too much, and I do want to go over it thoroughly once I do start looking over it. I’ve been looking at her new book too – she’s got birds in it!
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