Painting with Acrylics
Format: PDF / Kindle (mobi) / ePub
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.
and not a round ‘point’. It is useful to use the little finger as a support to get either thick or thin lines or uniform lines. Fig. 3.57. (Fig. 3.58) Check the lines and re-trace them as a guide for your brush. However, do them as lightly as possible. Fig. 3.58. (Fig. 3.59) After the black lines are completed, the last bit of tweaking makes all the difference. Dab the white highlight on the eyes and the light brown around the iris (Fig. 3.60). Little areas in the ears might need sharpening
10 × 12in canvas board is my preferred choice because it has the canvas tooth and there’s no give in the surface tension. However, stretched canvas and gessoed MDF make good alternatives. MDF provides a smoother and therefore a more slippery mark. Have a spare piece of canvas to make the initial colour mixes before transferring them to the painting and mixing and blending further. MATERIALS NEEDED Preparation: • 10 × 12in canvas board • White Gesso • 2in wide bristle brush for background
Line drawing supplied enlarged to size • (Tracing paper if creating your own line drawing) • Tracing pen or 6H pencil • Imagetrace® paper Painting stage: • �in flat synthetic for main work • 2in Hog flat brush for tinting • �in short flat bristle No. 8 • �in Royal No.8 Soft Grip Synthetic flat brush • Winsor & Newton Designer 222 No. 6 Detail Brush • Kitchen towel • Background colours: Cadmium Red and Phthalo Blue Green shade and Payne’s Grey • Flesh colours: Burnt Umber,
brush in sympathetic directions over the body. You can just see the drawing under the gesso (Fig. 13.13). Normally this would be in a cross-section direction or diagonally, but not in parallel with the form. Let that dry thoroughly before using the accurate outline trace. (Fig. 13.12) The rough trace taped in position and traced through. Fig. 13.12. Fig. 13.13. Fig. 13.14 No. 16 Hog brush. (Fig. 13.15) With the Imagetrace® paper in position, trace through your pencil tracing or the one
dilute those tones with a tint. Fig. 13.43. (Fig. 13.44) A diluted mix of opaque blue is applied a few times until it is just showing. Let each coat dry for a minute before going over it. Fig. 13.44. (Fig. 13.45) The very edge of the figure reflection is reapplied. The water surface is put in with a semi-transparent white mix and a centre white highlight in the middle, and further light blue reflections are added on the neck. Darker blue (a mix of Payne’s Grey with blue and a little white) is