Painting with Acrylics

Painting with Acrylics

Ian Coleman

Language: English

Pages: 176

ISBN: 1847978835

Format: PDF / Kindle (mobi) / ePub

Learn how to get the most out of acrylic paints with this guide's clear instructions and photographic examples

Acrylics are a versatile and exciting medium, but how can you get the most from these paints? This book shows you how. With step-by-step examples, it explains the core brush skills for a beginner. For those with more experience, it introduces a range of techniques so you can learn, for example, how to blend your colors, use transparent washes to create tones, and paint multiple layers of thick and thin textures to give your work subtlety. The paints are so forgiving that there are no rules, just opportunities to have fun and experiment with their great potential. There are eleven classic paint techniques featured. With Ian's clear instruction, this book guides you through the principles of handling the paint, which can be applied to any style of painting, however loose, expressive, or abstract it may be. With focus on brush skills to achieve a range of styles and finishes, and a range of examples including people, still life, abstract, and animals, this clear, instructional guide will be of interest to artists wanting to learn acrylics, and those interested in graphic design, commercial illustration, and natural history.

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the traditional soft pencil rubbed on the underside. Fig. 4.17. Fig. 4.18 No water in the mix (inset). Fig. 4.19 Dry background. THE FOREGROUND (Fig. 4.19) With the hog bristle detail brush, mix up a mid purple by adding Dioxazine Purple to Titanium White straight from the tube. No water is needed. Load the brush and wipe the excess off the sides. (Fig. 4.20) Using the blade of the brush, start from under the sun and zig-zag your way down with gentle strokes. Your marks may not be

All provide a solid, opaque white with a fine tooth. Gesso in its various stages of drying out in its containers provides useful options according to whether a dryer or a runnier gesso is required. For these rock effects a medium to dry gesso is preferred. Old gesso can also come in handy! Fig. 8.4. GESSO ROCK TIPS KEEP THE BLADE PARALLEL: Get that suction of the gesso on the surface in small rotations with spaces. FLATTEN THE GESSO AS IT’S ALMOST DRY: This will remove any peaks and create

size • Imagetrace® paper Technique Blocking in the Background If you are using a piece of loose canvas, tape it to a board with masking tape top and bottom and lay it flat. Make sure your image lies within the edges by about 6cm, so the sweeping brush strokes don’t catch the canvas edges and pick up blobs of paint and dust. Take your tube of Phthalo Blue Green Shade and squirt a 3cm line directly near the top of the canvas (Fig. 11.9). Dampen your smaller bristle brush, and wipe off the

brush. No water. Make sure the paint is dispersed through the bristles, and drag off any excess paint so no blobs are visible. As you start painting, try to get a ‘light dusting’ effect as you drag the brush at 45 degrees or less (Fig. 11.28). Starting at the top with the forehead and imagining you are replicating the light coming from above, gently apply the paint (Fig. 11.29). Fig. 11.28 (inset) Mid blue mix. Fig. 11.29. You may feel there’s not enough paint in the brush, however it will

which takes all sorts of handling, especially multiple layers of thick and thin textures and best of all it’s very forgiving with mistakes. In a nutshell there are no rules with Acrylics. Acrylic paintings can take on so many styles with results that look like flowing watercolours, solid gouache colours or luscious oil paintings. The type of painting you would like to create is achievable with this versatile medium. The core techniques in this book illustrate what you can do with a limited set

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