For this demonstration we used Tyrian pink, subtly mixed with a touch of orange to obtain a soft, creamy and slightly desaturated tone.

You do not need to own the exact same pigment. The key is to create a delicate, low-saturation pink.

Working with the colors you already have is perfectly acceptable. Mastering the balance of tones is far more important than owning a specific pigment.

Yes. We usually print our drawings using a laser printer, which is the safest option because the ink does not react with water.

Inkjet printers can also work, but please note that the ink may dissolve when it comes into contact with water, which can slightly alter your drawing once you begin painting.

Absolutely.

You can mix your watercolors with white gouache to create the opaque effect required for the pearl.

Drying time mainly depends on the amount of water used.

In most cases, gouache dries within a few minutes.
A simple way to check is to observe the paper:

• If the paper is still warped or swollen, it likely contains excess moisture.

• You can gently tap the surface with your fingertip to confirm that it is completely dry before continuing.

Yes, and this is an important point.

Working on a slightly tilted surface (around 35–40°) greatly improves posture and reduces strain on the neck, shoulders and back, especially during long painting sessions.

A table easel is one of the best investments you can make if you intend to practice gouache regularly.

Yes.

We frequently use plastic templates with common gemstone cuts to ensure accurate proportions.
You will find recommended references in our free gouache supply list.

For certain projects we may also use Photoshop or Illustrator to create perfectly clean outlines before printing.

However, it is important to note that the artistic process itself remains entirely hand-painted in gouache.

Not at all.

Corrections are part of the learning process and every gouache artist goes through this stage.

You can correct mistakes by:

• repainting with the base color

• refining shapes with pencil

• lightly lifting paint with water and blotting paper

• allowing the surface to dry before repainting

Jewelry gouache is built layer by layer, and adjustments are completely normal.

We used to work with a grey paper produced by Antalis, which is unfortunately no longer manufactured.

The important characteristics are:

• Grey toned paper

• Smooth surface

• Minimum weight of 160 g/m²

We also recommend a suitable alternative in our free materials guide for jewelry gouache.

In major jewelry houses, designers often have the opportunity to see the gemstones in person, observing their color, cut etc.

This is invaluable when translating the stone into gouache.

However, when stones are not physically available, artists may work from high-quality photographs or gemological certificates such as those from the GIA.

We prefer not to answer this question in purely numerical terms.

The time required to complete a gouache is never simply the number of hours spent painting.
It is the result of years of observation, practice, experimentation and refinement.

Naturally, today we paint much faster than when we first began.

So if we had to answer honestly:
this type of piece can take anywhere from a few hours… to twenty years of experience.

Very few books exist on this highly specialized discipline, which is precisely why we published one ourselves.

Some jewelry houses also produce rare collection catalogues that contain beautiful gouache illustrations.

Another reference often mentioned is:

The Art of Jewelry Design - Galli, Rivière, Li

However, keep in mind that many of the techniques described date from the 1990s, and the aesthetics and gouache techniques used in Place Vendôme today have evolved significantly.

Absolutely.

Jewelry gouache remains one of the most powerful tools for communicating a design. It allows a client to visualize a piece long before it is created.

Digital renderings and AI can be useful tools, but they rarely convey the emotion, refinement and craftsmanship expected for pieces worth tens or hundreds of thousands of euros.

This is precisely why the great houses continue to rely on hand-painted gouache.

A designer who masters this technique holds a distinct advantage.

Yes, you can.

However, we personally prefer Titanium White for jewelry gouache because of its:

• exceptional opacity

• luminosity

• ability to create brilliant highlights

If you have the opportunity, we recommend trying both and comparing them yourself.

Yes, although it is a highly specialized profession.

Some jewelry houses employ dedicated gouache artists, while others expect designers themselves to master the technique.

In any case, developing strong gouache skills can open doors in:

• high jewelry design studios

• timepieces studios

• private commissions

The best starting point is the cabochon cut. We teach it in our course The Art of the Gouache.

Its smooth surface allows beginners to focus on:

• controlling gouache texture

• understanding light and volume

• building smooth gradients

Once comfortable with cabochons, the next step is typically the brilliant cut, which introduces faceting.

More complex cuts such as emerald and princess cuts usually come later, as they require greater precision and control.