I’ve been asked more times than I can count: “Can I swap synthetic brushes for natural-hair when working in gouache?” It’s a great question, especially as gouache sits somewhere between transparent watercolor and opaque acrylic in its behaviour. I decided to run a practical test in my...
Jan 28, 2026
• by Éloïse Martin
Latest News from Sonriseartists Co
I love experiments that sit between drawing and printmaking — processes that respond to touch, time and chance. Cyanotype is one of those magical techniques: simple to set up, fast to learn, and endlessly generous when combined with collage. Over the last few years I’ve been exploring small, hybrid prints that start with cyanotype exposures and are finished with collage, gouache, ink and...
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I often get asked whether the finish you choose for a piece — glossy, satin or matte — actually changes the perceived depth and vibrancy of colour, especially in mixed-media work where papers, inks, gouache and acrylic interact in unpredictable ways. To answer that, I ran a simple, practical test with three widely used archival varnishes and documented how each affected colour depth, texture...
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I often get asked whether student or professional gouache is the better choice for illustration work. It’s a practical question with no single correct answer — it depends on your goals, budget and the life you expect your work to lead. Over the years I’ve used both types extensively, teaching students and producing finished pieces for publication, so here I’m sharing what I look for when...
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I often get asked how I keep my brushes in good shape while avoiding harsh solvents. Over the years I’ve moved almost entirely to solvent-free methods for everyday cleaning and only use substitutes with caution for deep cleaning. Below I share the practical, hands-on routine I use in the studio — simple, repeatable steps that protect your tools, your health and the longevity of your brushes...
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When I first saw Mara Singh’s series of abstract landscapes, I felt like I was stepping into the hush between memory and weather. There’s a particular hush in her work — layered, tactile surfaces that seem both held and dissolving, like a remembered shoreline after the tide has emptied. I invited Mara to the studio to talk through the ways she translates memory into paint, and what came out...
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I often return to glazing with acrylics when I want colour depth that feels almost like light passing through layers — that luminous, jewel-like effect you associate with oil glazes, but achieved with acrylics’ faster drying time and versatility. Over the years I’ve developed a step-by-step approach that balances control and serendipity. Here I’ll walk you through my process on a prepared...
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I love the tactile, layered quality of textured paintings. Capturing that texture for social media can feel frustrating—flat phone photos that don't show depth, harsh shadows that swallow subtle glazes, or blown-out highlights that erase impasto. Over the years I've developed several straightforward approaches that work without a light tent, using things most of us already have: window light,...
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Working in a compact studio doesn’t have to feel like a compromise. Over the years I’ve learned that small corners, properly thought through, become powerful workflow zones for mixed-media practice. They don’t need to be glamorous or expensive — they need to be intentional. Below I share the ways I break down tiny spaces, prioritise tasks, and kit them out so a 2m x 2m corner can support...
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I like to think of a colour recipe library as a toolbox that travels with me from one project to the next. Over the years I’ve developed a system that helps me recreate consistent palettes—whether I’m working on a series of small gouache studies, a mixed-media commission, or translating a palette into digital illustrations. The trick isn’t just in mixing the right hues; it’s in...
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I switched to Schmincke Horadam Gouache for my studio sketching routine about nine months ago, and the change surprised me in small, practical ways — and in some bigger, more creative ones too. I’d been using a mix of Winsor & Newton Designers’ Gouache and student tubes when I wanted quick colour studies, and acrylic when I needed fast, matte blocks of colour. The move to Schmincke felt...
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