Exactly when to choose schmincke gouache versus student brands for colourfast underpaintings in mixed-media work

I remember the first time I decided to use gouache as an underpainting in a mixed‑media piece: I wanted the tonal clarity of a waterbased wash but also the ability to repaint and layer without muddying. The result taught me a lot about the differences between student and artist‑grade gouaches — not just in colour and finish, but in longevity, re‑wetting behaviour and how they survive being worked over with acrylics, inks and collage.

In this piece I’ll walk you through exactly when I reach for Schmincke Horadam (their artist gouache) and when a more economical student brand is perfectly fine for colourfast underpaintings in mixed‑media work. I’ll explain the practical trade‑offs — permanence, opacity, binder strength, re‑wetting, and sealing — and share testing and workflow tips that you can use straight away in the studio.

What I mean by a “colourfast underpainting”

When I talk about colourfast underpaintings I mean painted layers that are intended to remain visually stable and not shift, stain, or lift as you build further layers. In mixed media this usually means a gouache or wash that provides tone, temperature or local colour, which will then be worked over with acrylic, collage, ink or dry media. The key qualities I want from such a layer are:

Lightfastness and permanence — the pigments shouldn’t fade quickly if the work is for sale or exhibition.

Minimal staining — the undercolour should not seep through or change visible layers above it.

Predictable re‑wetting behaviour — I need to be able to glaze, lift or reactivate edges without losing control.

Good opacity or transparent behaviour — depending on whether I want the underpainting to show through or be hidden.

Why Schmincke (Horadam) is my go‑to for permanence

I use Schmincke Horadam when permanence matters — commission work, pieces destined for exhibition or sale, or any work where I want the underpainting to remain true over time. Schmincke’s artist gouache is made with high‑quality pigments and a stronger binder system (gum arabic formulated for gouache) which delivers:

Better lightfastness — many Horadam colours are rated highly for permanence. That matters if you’re creating a piece for display or sale.

Consistent reactivation — Horadam rewets predictably. You can lift or soften edges without the paint dissolving into a muddy residue.

Richer, cleaner mixes — because the pigments are purer and the handling is smoother, mixes stay cleaner and less muddy.

Uniform finish — artist gouache tends to dry with a more velvety, even surface which is helpful when you want to layer media over it.

For example, I often use Schmincke for underpaintings in portrait work. The stability of the colour means that when I overlay transparent glazes of acrylic or ink the mid‑tones and skin undertones remain true rather than shifting toward muted or brownish tones, which can happen with lower‑grade pigments.

When student gouache is perfectly fine — and even preferable

Student brands (Daler‑Rowney Graduate or Schmincke Akademie, Winsor & Newton Designer’s Gouache sometimes sits between categories) have their place. They are less expensive, generally more opaque (due to higher filler content), and often quite robust for sketching, studies and experimental work. I use student gouache when:

I’m testing compositions or colour relationships — I don’t want to invest in expensive paints for exploratory work.

The piece is a study or practice piece — if permanence isn’t required, student gouache gives immediate visual feedback at lower cost.

I want more matte, high‑opacity blocks for collage or cut‑outs — some student gouaches have fillers that produce a flatter, uniformly opaque surface useful for graphic elements.

I’m working on surfaces that will be sealed with an isolating layer or varnish — if you plan to permanently overpaint or encapsulate the underpainting, pigment longevity becomes less crucial.

Student paints are not a shortcut if you care about archival quality, but they are excellent for roughs, preparatory underpaintings and teaching situations. They’re also great if you want a punchy, flat area of colour that will be covered partially by collage or opaque acrylic paint.

Practical tests I always run before committing

Before I use any gouache as an underpainting that will survive further work, I run a few quick tests on scrap material — this takes ten minutes but prevents headaches later.

Lightfastness check — look up the pigment codes (PB29, PR101, etc.) on the tube and verify ratings; prefer pigments with ASTM I/II or equivalent for work intended to last.

Re‑wetting test — let a swatch dry, then dampen an edge with a brush and see how the paint lifts or softens. Horadam behaves predictably; some student paints can become gummy or smear.

Overpaint test — apply a swatch, let dry, then paint acrylic over it and see if the undercolour bleeds through or alters the upper layer’s tone.

Adhesion test — scuff the surface lightly and try a light wash over the top; if the underpaint flakes off or shifts, you’ll need to re‑consider substrate preparation or sealing.

Substrate and sealing: as important as pigment quality

Even the best gouache will behave badly on the wrong surface. For underpaintings I favour heavyweight watercolour paper (300gsm+) or primed boards. On canvas I either size the surface with a thin acrylic gesso or I work with acrylic base layers and treat gouache as a quick tonal stage rather than a finalised underlayer.

Sealing is crucial in mixed media. If you plan multiple passes of wet media, an isolation spray or a very light mist of workable fixative helps prevent gouache from reactivating unexpectedly. For final protection, acrylic isolation coats are great — they lock the gouache in and allow you to work safely on top with acrylics, oils (carefully), collage and inks.

Workflow recipes I use

Quick tonal underpainting (study): student gouache thinned to a wash on 300gsm paper. No sealing, used for rapid decision‑making before a final piece.

Permanent underpainting (exhibition work): Schmincke Horadam for key mid‑tones and colour decisions. Let dry fully, then apply a thin acrylic isolation coat before glazing with acrylics or inks.

Mixed approach: student gouache for broad, graphic areas and Schmincke for delicate colour work (faces, subtle shifts). Seal only the Schmincke areas if needed with a localized spray.

Practical palette choices

For underpaintings I stick to a compact, reliable palette: a warm and cool primary pair, a neutral earth (PR101 or PBr7 variants) and a cool blue (PB29 variants). If I’m using Schmincke I choose single‑pigment colours where possible — they mix cleanly and the lightfastness is usually documented. With student paint, accept that mixtures may dull faster and plan for that in the colour relationships you want to preserve.

Characteristic	Schmincke Horadam (Artist)	Student Brands
Permanence	High, documented	Variable, often lower
Re‑wetting	Predictable, clean	Can be gummy or stain
Opacity	Balanced, consistent	Often higher due to fillers
Cost	Higher	Lower, economical
Best use	Exhibition/commission underpaintings	Studies, experiments, graphic blocks

Ultimately, the decision between Schmincke and a student brand comes down to the intended lifespan of the work, budget and how the underpainting will be used in the final piece. I’ve learned to treat gouache not just as a colour choice but as a structural element of my mixed‑media process: choose the right material for the job, test it, and prepare your surface accordingly — that way your underpainting behaves exactly as you intend as the work develops.