Ref 970.- Watercolor.- Painting over a modeling paste layer and this one; over cold press paper

 I have been using very extensively as textured ground for watercolors, gouache and acrylic. It works great! When dry it's very, very absorbent and you will have no issues with the paint coming off the paste. I laid down the molding paste after a detailing sketch indicating basically shadows and darker areas, then fix to avoid stains, marks and/or blots, thereafter apply with an spatula the molding paste  let it dry completely (a day or so) you can then mix and slathered with the wc and/or paint above it. The dry molding paste just sucks it right up. for my next painting I paint over it

Your bigger worry is choosing the appropriate support for the molding paste. It ought to be fairly rigid, so the paste stays in place and doesn't crack or chip off. It's a little bit flexible, but I wouldn't take chances. I used Gvarro paper  240 gr rough wc paper, the gouache paint "White & blue" reflections were made with opaque watercolor (gouache) below and above modeling paste which is partially transparent and give the 3D sense when it applied correctly (the tickness of modeling paste is really quite minimal but enough to créate a good job

                                     " The mermaid song"

Ref 969.- Watercolor;.- Texturing .-Sanding a dry wash
This technique is done on a dry wash and works very well to retrieve specks of the white of the paper. It’s also often used to render the effect of light on water
I took advantage of this technique to sand some specific areas but basically the
trunk of the front tres,  (after sanding operation I overlay yellowish color to reinforce the mood)

The sandpaper I use is; drywall sandpaper grit #100, you need to take extra care in your first try, but result it is pretty good
The initial color wash it was first lifted off selectively with a tissue paper  to carve lighter areas to complete light texturing. and also partially basically for branches, the background trunks were lifted off with a thirsty brush while paper still wet
                                 "A new dawn it is always a new start"

 

Ref 968.- Gouache.- Some gouache properties

Gouache painting techniques are usually used on watercolour paper, white or tinted.
You can also use coloured pastel paper or mount board.
I would recommend heavier papers to give a more stable surface for the paint, especially if you like to paint in numerous layers.
They are also best preserved under glass using a mount
Gouache paint is designed to be applied fairly thickly; diluted with too much water and they can 'powder off'; applied in too many thick layers and they have a tendency to crack.
The cracking is due to the under layers, absorbing the water and Gum Arabic out of the newly applied paint, but it only become apparent when dry.
'Less layers are best layers' with Gouache!
I especially like them for small and detailed paintings, give them a try, they can be very rewarding, I did my following painting over colored pastel light blue paper Strathmore 500 series, without layering

      
                       "Time flies over us but leaves good memories"

Ref 967 .- Watercolor  "Saturated wet paper technique"

"Pterois Volitans" < it´s the fish name
 After completely wet the paper I kept in this way by spraying additional  water on the back of the paper and selectively at the front>
(Notes; thoroughly soaking, will allow for easy lifting of colors off the page, shapes then are lighter in value than the negative background with soft edges as it dries in some way, easier to define)

Ref 965/966; Markers.- Sketchs with markers & graphite diluted as an underbase or gouache selective application to highlight
This was a kind of experiment trying to conform floor texturization with the help of graphite dilutes and applied with brush, fixed and then just markers utilization, this drawings were made as a breaking time to work in a different subjects refference made from a Ferreri I found into the web full of reflections

Ref 966 Whithin this exercise, I applied gouache into the floor and in some áreas beside the markers , like I said just exercises which I want also to share

 

Ref 964.-Gouache.-  Gouache over silver colored cardboard

 

In terms of paint, transparent watercolor is, of course, the closest relative to gouache.  They can be used in very similar ways, but also with completely different methods.  Many artists have used the two together, presumably laying the groundwork with watercolor, then adding more opaque gouache strokes over it.  Some mix white gouache with transparent watercolor to make it more opaque, and many use white gouache for touchups and highlights.  For me, pure gouache offers the best of both worlds, allowing me to use thin transparent washes when desired, and thicker more opaque passages when I need to

 

I have read that some watercolor societies don’t recognize gouache, and that some watercolor shows and competitions don’t accept gouache.  I don’t consider myself a watercolorist.  I am simply a painter who uses a water soluble paint.
This time I use gouache, due it has a very better cover effect in this type of cardboard, The hair was made with diluted gouache paint as it fade to the extremes
 

 

 

 

Ref 963 Watercolor.- Keeping the paper "damp" for painting

This is the result of this process;

                 "Behavior is the mirror from which we reflect our image"

Most of my previous exercises regarding throwing paint, wet on wet, and/or wet on damp  give an idea however
there are so many factors that matter (such as paper texture and weight, the amount of water, the thickness of pigment or the timing). With that being said, there’s something magical about the way colors flow and blend with each other, creating a beautiful, striking effect
Here are some tips and tricks that can help you
Choose the right paper
The texture of the paper plays an important role when you paint wet in wet. Hot pressed paper is less absorbent, so colors will float on the surface longer
My personal favorite for wet-in-wet technique is cold-pressed,140-pound, 100-percent cotton watercolor paper
Catch the right moment
If you apply paint when the paper is shiny wet, colors will spread over the large area of your painting, producing undefined shapes. When you need to make a soft, but not too diffused brush stroke, just wait until the surface is no longer glossy, but still damp and cool to the touch
Lift with a “thirsty” brush and/or absorbent paper
As long as the paper is still wet, you can easily make corrections if something goes wrong. Just blot your brush thoroughly and lift the paint back off the paper. In some cases, you may need to add clean water to the surface before lifting. The trick here is that the damp but blotted brush absorbs more water than it releases, so it will quickly pick the wet color up from your painting
Use a hair dryer
Use a hair dryer when painting wet in wet, and you won’t have to get bored waiting for the paper to dry to a perfect consistency
Use damp fabric to retain moisture (main advice)
If you need paper to stay wet for a longer period of time, you can take a moisture-resistant surface (I used plexiglás underneath), place a thin damp cotton fabric on it, and then put a sheet of paper, moistened from both sides, on top of this “sandwich”. With this simple trick, the paper will lay flat and retain water for several hours
In this way I overlaid 3 or more layers of red color making from it, a deep red without stainong marks, and for the wáter reflections I tilted the paper to get a gradual change of colors