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All About Acrylic Painting
All About Acrylic Painting
All About Acrylic Painting
edges of the tape are stuck down firmly and don't paint too thickly on the edges,
otherwise you won't get a clean line when you lift it.
Acrylic Painting Tip 9: Washing-up Liquid with Masking Fluid
Masking fluid can be used with acrylics washes, as well as watercolours. Once masking
fluid has dried in a brush, it's nearly impossible to remove. Dipping a brush into some
washing-up liquid first makes it easier to wash masking fluid out of a brush.
Acrylic Painting Tip 10: Using Acrylic Paint as a Glue for Collage
Provided it's used fairly thickly and the item to be stuck isn't too heavy, acrylic paint
will work as a glue in a ylics are extremely versatile, fast-drying paints, and can be used
straight from the tube like oils or thinned with water or a medium and used like
watercolours. And a lot in-between. Here are a few tips to help you get started painting
with acrylics.
Acrylic Painting Tip 1: Keeping Acrylic Paints Workable
Because acrylics dry so fast, squeeze only a little paint out of a tube. If you're using a
'normal' plastic palette invest in a spray bottle so you can spray a fine mist over the
paint regularly to keep it moist. 'Stay-wet' palettes where the paint sits on a sheet of
wax paper place on top of a damp piece of watercolour paper eliminate the need to do
this, but generally don't have a hole for your thumb so are more awkward to hold in
your hand.
Acrylic Painting Tip 2: Blot your Brushes
Keep a piece of paper towel or cloth next to your water jar and get into the habit of
wiping your brushes on it after you rise them. This prevents water drops running down
the ferrule and onto your painting, making blotches.
Acrylic Painting Tip 3: Opaque or Transparent
If applied thickly either straight from the tube or with very little water added or if
mixed with a little white, all acrylic colours can be opaque. If diluted, they can be used
like watercolours or for airbrushing.
Acrylic Painting Tip 4: Acrylic vs Watercolour Washes
When an acrylic wash dries, it's permanent and, unlike a watercolour wash, is insoluble
and can be over-painted without fear of disturbing the existing wash. The colours of
subsequent washes mix optically with the earlier ones. A watercolour glaze can be lifted
out using water and a cloth.
Acrylic Painting Tip 5: Think Thin When Thinking Glazes
If you want transparent glazes, these should be built up in thin layers; a heavy layer will
produce a glossy surface.
Acrylic Painting Tip 6: Improve Flow Without Losing Colour
To increase the flow of a colour with minimal loss of colour strength, use flowimprover medium rather than just water.
Acrylic Painting Tip 7: Blending Acrylic Paints
Because acrylics dry rapidly, you need to work fast if you wish to blend colours. If
you're working on paper, dampening the paper will increase your working time.
end up with uneven paint. Trial and error will show you exactly how much water is too
much; it's quite a bit.
What should I wear when painting with acrylics?
Because acrylics don't wash out easily once they're dry, it's advisable to wear old
clothes, an apron, or overall when painting. No matter how careful you are, at some
stage you will get paint on your clothes! Some artists simply wipe their brushes on their
clothes, instead of a cloth. Don't forget to wear old shoes too! I sometimes paint
barefoot, but if Im painting standing up (which I do unless Im really tired) by the end
of the day my feet will be letting me know that they wouldve preferred some
cushioning under them.
What else do I need to start painting with acrylics?
Clean water -- one jar for washing your brushes and the other for mixing water.
A cloth or paper towels to wipe your brushes and hands on.
One of the very first decisions you must make when you start painting is what sort of
paint to use. This Q&A will help you decide between the most commonly used paints:
oils, acrylics, watercolors, and pastels. Or take the quiz: Painting Personality Quiz:
What Paint Should You Use?
Are these the only types of paint available?
No, acrylics, oils, and watercolors are the mostly widely used. Pastels and watercolor
pencils are popular cross-over drawing/painting mediums; painterly effects can be
achieved with them while retaining the immediacy of drawing. Other painting media are
gouache, tempera, and encaustic. Special paints are used for painting on silk or fabric,
which are heat set (usually with an iron) to stop them washing out.
What are the advantages of each?
Acrylics: Dries very fast. Mixed with water or mediums/gels. Brushes cleaned
with water. Once dried, can be overpainted without disturbing underlying layers.
Can be used thickly (impasto), like oils, or in thin washes, like watercolor.
Water-resistant, so good for murals. Works as a glue, so good for collages.
Oils: Dries slowly, allowing plenty of time to work and to blend colors. Once
dried, can be overpainted without disturbing underlying layers. Rich, deep colors
which maintain their intensity when dry. Can be used thickly or in thin, smooth
glazes. Then there's the status factor, oils being what the Old Masters used.
(Take the quiz: Acrylics or Oils? to help you decide.)
Watercolors: Mixed with water and brushes cleaned with water. Paint can be
lifted off by rewetting. If paint squeezed from a tube has dried, it becomes
reusable if you add water. This is, afterall, the state pans or blocks of watercolor
come in (see How To Choose Between Pan and Tube Watercolors).
Pastels: There's no waiting for pastels to dry. Colors are mixed on the paper, not
on a palette, by overlaying or blending them (see Basic Techniques for Pastels).
A wide range of colors are available. No brushes to clean. Easy to use outside
the studio. Oil-based pastels can be thinned and blended with turpentine, or
scrapped off to reveal colors underneath, known as sgraffito.
Acrylics: Dries very fast, though working time can be increased by adding
retarding medium to paint or spraying water on a painting. Completely
waterproof once dried, so cannot be removed by rewetting the paint. Difficult to
remove from a brush if it's dried in it. Except when used in thin washes, colors
dry a bit darker than when applied.
Oils: Mixed with solvents and oils, so need to work in a well-ventilated area.
Slow-drying, so consider working on several paintings at once. Have to wait
several months to ensure a painting is dry before it can be varnished. Brushes
need to be cleaned with white spirit or similar solvent. Water-based oils are
produced by several paint manufacturers.
Watercolors: Being quite transparent, it's hard to rectify or hide mistakes in a
watercolor painting. Need to allow for colours being lighter once they've dried
than how they appeared when you painted. There is no white paint in
watercolor; the white comes from the paper you're painting on.
Pastels: Usually requires a greater range of colours to create a picture than for
other media. Different brands and pigments vary in softness. Soft pastel works
tend to be liable to smudging and the pastel coming off the support. This can be
prevented by using a spray-on fixative, taping a piece of tracing paper over it, or
framing it with a mount that keeps it away from the glass.
What other things should I consider when deciding what paint to use?
Cost: Watercolors are the cheapest to set yourself up with; all you need buy is a
set of basic colors, a brush or two of different sizes, some paper, plus a board
and brown gummed tape if you intend to stretch the paper.
Poison hazards: If you've small children, you may not want to have the solvents
used in oil painting lying around. Some people are also allergic to the solvents
low-odour versions are available, as are water-based oil paints. Soft pastels can
product a lot of dust; be careful to minimise the amount you inhale. For
example, don't blow on your work to remove loose pastel. Poisonous pigments,
such as Cadmium red, are usually available as a non-toxic hue (not that any
paint is made to be eaten!).
Before You Buy: Take a look at these tips on buying acrylic, oil, watercolor,
and pastel painting supplies.
"Could you please tell me the correct way of applying modeling paste to create texture,
for instance tree bark or water? Should it be applied in thin layers then dried, then
more added, or do you build up texture all at once?" -- Angie
Answer:
How you apply modeling paste to create texture in a painting depends on what type of
paste it is, how thick you wish it to be, and what support you're painting on.
Using a rigid support (such as wood or board) rather than a flexible one (such as canvas
or paper) means the painting won't flex or bend. This reduces the risk of dried modeling
paste cracking. How flexible or stiff a modeling paste is when it's dry depends on what
type it is and how thickly you use it.
Question: Will Acrylic Paints be Harmed by Freezing Temperatures?
"How are acrylic paints affected by cold and possible freezing? We're moving to a
village where the temperatures are sub-zero eight months of the year. During the move
our stuff will be subjected to the elements for many hours. I'm also sure that freezing
power outages will be a factor at some stage during our time there.
"Will acrylic paints thaw out and be fine, or will it be altered beyond usability? An oil
painter told me oils are not much affected by being frozen; she stored hers in a garage
one winter and they froze but she had no problems with them afterward. I don't know if
acrylics would fare the same." -- BB
Answer:
The information about oil paints not being negatively impacted by freezing is right, but
then they don't contain resins like acrylic paints do (or mix with water). Unfortunately
acrylic paints don't like extreme cold, and you may have to consider switching to oils
when you move (traditional oils, not water-based) or some other medium.
In one of its Just Paint magazines, the acrylic paint manufacturer Golden says acrylic
artists paints (and acrylic house paints) should not be used if the "temperature is below
about 5C (about 40F) or when the temperature is expected to fall below this level for
4 to 8 hours after the paint was applied. The reason is that strong, coherent films cannot
form at low temperatures, and even if the film later becomes warm, it will never
recover. ... To be on the safe side, [acrylics] should be used only at temperatures above
10C (about 50F), and the painting should be kept above this temperature for several
days after it has dried. Acrylics painted and dried under cold conditions may look OK,
but the films will be less durable and more vulnerable to cracking. Oils, on the other
hand can be used at freezing temperatures or below."
uestion: How Fast Does Acrylic Paint Dry Once It's Out of the Tube?
"As a newbie just beginning to dabble in painting, I am curious about the average
drying time for acrylic paint. I realize the time will vary depending on moisture content,
but I would like an idea before spending a lot of money on paint that will dry before I
can use it. Once it is out of the tube, are we talking minutes, seconds, or hours before it
becomes unusable?" -- Ron
Answer:
It's minutes before acrylic paint is dry after you've squeezed it out, especially if the paint
is thin and the weather hot. However, paint in a tube with the cap on stays usable for
years (just don't leave the tube lying in the sun or next to a heater).
So if you want to squeeze acrylic colors onto a palette to have available as you work, a
moisture-retaining palette is essential. You can make one using a piece of watercolor
paper or thin sponge with a piece of baking parchment on top, or buy one. Provided you
ensure the watercolor paper stays damp, the paint will stay workable (except where it's
very thin). An airtight lid or piece of plastic wrap over the top will keep it workable
overnight or when you stop for a break.
Other options are to mix your colors on the canvas as you work, or working straight
from tube without a palette at all. These approaches can be harder for a newbie as you
make "mistakes" on your actual painting and need to be very willing to rework sections
or paint them out to start again. But I like doing it because it feels like I'm not wasting
paint on a palette.
You can buy retarder medium, or there are brands of acrylic designed to give a longer
working time. M. Graham gives a working time of about an hour, while Interactive can
be reworked for a while longer than most with a spray of water or their unlocking
medium. In July 2008 Golden released Open Acrylics which has an extended working
time, more like oil paint (read review). Brands of acrylic can be mixed, so you should
consider trying a few. (See also: How to Assess a New Paint Brand)
It also depends what you're painting on. If it's a very absorbent surface (e.g. unused
sheet of watercolor paper), the paint will dry faster than on a less absorbent surface (e.g.
onto a layer of dry acrylic paint). You can increase the working time by dampening the
surface before you start to paint, and by misting water over it as you work. Obviously
you don't want to overdo it as then your paint will dilute and run down in streaks.
Question: What Can I Add to Acrylic Paint to Thicken It Up?
My problem is that my acrylic paint is too runny. Is there some everyday, household
product that can be used to thicken the paint? My husband suggested corn starch. What
do you think? -- Judy S.
Answer:
While corn starch or flour may well thicken it up, I'd be hesitant to add it to paint
because it's likely to affect the longevity of the painting. Also, when you mix it with
water it makes a hideous, slimy paste that I can't see would be pleasant to work with. I'd
personally opt to spend a little money on a texture gel or modeling paste that's made
with the same resins etc. that acrylic paints are, and then you wouldn't have to worry
about it.
Check on the label to see whether the gel or paste will dry clear or opaque, matt or
gloss, and whether it will influence the color of the paint if you mix it in. Some pastes
look white, but dry clear; others have fillers in them that influence the intensity of the
paint color.
Texture gels or pastes are water based, so it's easy to clean up your brushes or painting
knives after using it. You can either mix the texture gel with your paint, or use it to
build up texture first and then paint over it. Some you can even carve back into.
Various acrylic-paint manufactures produce such pastes, with a price tag related to the
brand. Something such as Winsor and Newton's modeling paste in their cheaper Galeria
acrylic range for starters.
Question: How Much Water and/or Medium Can I Add to Acrylic Paint?
"Are there any guidelines regarding what ratio of acrylic paint from the tube to medium
I should use?" -- Diane
Answer:
When it comes to thinning acrylics, the only 'rule' is to not mix acrylic paint with more
than 50 per cent water. Any more than this and it may loose its adhesive qualities and
peel off at some stage. You can mix in as much acrylic medium (glazing, texture paste,
etc) as you like because it's got the acrylic resin in it that acts as the 'glue' that makes the
paint 'stick'. (Golden describe their mediums as 'colorless paint'! )
If you're new to glazing, I recommend taking a small container and mixing some paint
with 50 percent water (judge it by volume), then mixing the two together thoroughly, to
get a feel for just how much water this is.
Acrylic paint mediums range from thin glazing mediums to thick impasto mediums,
with all sorts in between. The variety of acrylic paint mediums you can buy can seem
overwhelming, but they can be grouped together by type and use. This creates a more
manageable number to deal with and explore.
Why would you use a medium with your acrylics at all? To extend what you can do
with your paint, to change its properties and try new techniques. Browse through this
list to get an idea of the possibilities.
Some glazing mediums seem milky white but dry clear without changing the color. If in
doubt, do a test before using it on a painting.
GLAZE: The term used for a thin, transparent layer of paint, particularly in oil painting
and acrylics. Glazes are used on top of one another to build up depth and modify colors
in a painting. A glaze must be completely dry before another is applied on top.
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Instead of mixing paint on a palette and then applying it to a canvas, you can also build
up color by painting glazes. It is a painting technique that requires a bit of patience as
each glaze or layer needs to be totally dry before the next is applied, though with
acrylics, of course, you don't have to wait very long.
You also need enough knowledge of color mixing or color theory to be able to predict
what color(s) you're going to get.
This glazing demo shows how color on a leaf was built up from an initial layer of blue,
into a leaf that's red and purple. Let's get started...
If you want to know more about the principles of painting glazes, read this FAQ on
Painting Glazes using acrylics or oils.
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The first step is to block in the colors of the basic shapes in your painting. The colors
you use will be determined by the ultimate color you wish to create.
This painting (of which the photo shows only a detail) is of an abstracted strelitzia or
bird of paradise flower and leaf. I wanted the background as a flat orange without
anything else going on, so that was painted in as I intended it to be in the final painting.
The part of the flower that was to be included would be a fairly realistic yellow-orange,
so that was blocked in yellow with the intention of glazing over it to create form. The
leaf I wanted to be an unrealistic red and purple rather than a natural green, so that was
blocked in blue with the knowledge that I would then glaze over it with red.
As glazing is transparent, it's important to have your brush strokes going in the correct
direction starting with this initial stage as they will show through every layer or glaze.
With flowers, paint in the 'direction of growth'.
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This photo shows the blue leaf glazed over with red. I was using cadmium red, which is
an opaque red rather than a transparent red. By varying the thickness of the paint I was
able to control how much blue showed through (from almost nothing to quite a lot) to
create the various areas of shadow. This creates a feeling of form to what previously
was just a flat area of blue.
You need to be careful (and work quickly) when glazing with an opaque color with
acrylics. If it dries before you've got the result you want with that particular glaze, it'll
obscure everything you've done underneath.
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At this stage, some red has been glazed onto the yellow parts of the flower, creating
orange. The result varies from a pale to an intense orange, depending on how thinly the
glaze was spread.
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At this stage, some blue has been glazed over the yellow parts of the flower, creating a
greenish shadow to give it form. If you compare the painting at this stage to the initial
stage, you'll see that what was an intense and dominant blue has been transformed by
glazing.
Additionally, using the same blues and reds on the different parts of the painting created
a harmonizing effect, tying the separate parts together.
Different pigments have different covering properties. Some are extremely transparent,
barely showing on top of another color. Others are extremely opaque, hiding what's
beneath. Considering this, and not just what the color is, can enhance a subject. For
example, using a transparent blue in a sky gives a greater feeling of airiness than an
opaque blue will. Compiling a chart of the colors you regularly use, such as the one
above, shows at a glance how transparent or opaque a color is.
You Will Need:
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Sort out your colors in an order that makes sense to you, such as the color
spectrum (rainbow).
Mix up a little of each color. Paint a vertical stripe of each. Wait for them to dry.
Paint horizontal stripes for all the colors, in the same order.
If you're using a ruler, wipe the edge after each stripe so you don't contaminate
the next one.
Record the names of the colors next to each stripe.
Opaque pigments are dense and tend to block out other colors. This makes them
ideal for subjects that are solid and heavy, such as tree trunks.
Transparent pigments are light and airy, barely showing on top of other colors.
This makes them ideal for atmospheric subjects such as a misty morning or
diaphanous fabrics.
Semi-transparent are somewhere between the two.
With time, you won't have to refer to the chart, but will instinctively know the
properties of a particular color. Until then, stick the chart up on the wall where
you can see it while you're painting.
See Also:
Paint Tube Labels.
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The details of Monet's cathedral painting show the colors he avoided using simple black
for shadows.
Think about how much is truly black in nature. Shadows are not simply black nor a
darker version of the color of the object. They contain the complementary color of the
object.
Take, for example, the shadow on a yellow object. If you mix black and yellow, you get
an unattractive olive green. Instead of using this for the shadow, use a deep purple.
Purple being the complementary color of yellow, both will look more vibrant. If you
can't figure out what colors are in the shadows, simplify what you're looking at by
placing your hand or a piece of white paper next to the bit you're having trouble with,
then look again.
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Varying the amount of white added to these mixes creates several of gray.
An expanded version of my chart includes mixtures using Indian red, Venetian red, and
Van Dyke brown. You get a different set of grays depending on which 'brown' you mix
in with the Prussian and Alizarin.
I truly believe that an artist could spend a lifetime exploring color and the results of
color mixing, there are just so many possibilities and results. Color mixing is something
beginners often shy away from. Dont, rather learn the few fundamentals, embrace the
challenge and get mixing. At worst youll produce mud colors; if you dont want to
waste the paint by throwing it away, use it with some white to do a tonal exercise, or
underpainting. Here are some tips to help you with color mixing that I wish Id known
far earlier than I did.
Color Mixing Tip No 1: Add Dark to Light
It takes only a little of a dark color to change a light color, but it takes considerably
more of a light color to change a dark one. So, for example, always add blue to white to
darken it, rather than trying to lighten the blue by adding white.
Color Mixing Tip No 2: Add Opaque to Transparent
The same applies when mixing an opaque color and a transparent one. Add a little of the
opaque color to the transparent one, rather than the other way round. The opaque color
has a far greater strength or influence than a transparent color.
Color Mixing Tip No 3: Stick to Single Pigments
For the brightest, most intense results, check that the two colors you are mixing are each
made from one pigment only, so youre mixing only two pigments. Artists quality
paints normally list the pigment(s) in a color on the tube's label.
Color Mixing Tip No 4: Mixing the Perfect Browns and Greys
Mix ideal browns and grays that harmonize with a painting by creating them from
complementary colors (red/green; yellow/purple; blue/orange) in the palette youve
used in that painting, rather than colors you havent used. Varying the proportions of
each color will create quite a range.
Color Mixing Tip No 5: Dont Overmix
If, when you mix two colors together on a palette, you dont mix and mix until theyre
totally, utterly, definitely combined, but stop a little bit beforehand, you get a far more
interesting result when you put the mixed color down on paper or canvas. The result is a
color thats intriguing, varies slightly across the area youve applied it, not flat and
consistent.
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How much information appears on the label of a paint tube (or jar) and where it is on a
label varies from manufacturer to manufacturer, but good artist's quality paints will
typically list the following:
Paints made in the USA have information regarding conformance to various ASTM
standards e.g. ASTM D4236 (Standard Practice for labeling Art Materials for Chronic
Health Hazards), D4302 (Standard Specification for Artist's Oil, Resin-Oil, and Alykd
Paints), D5098 (Standard Specification for Artist's Acrylic Dispersion paints), as well as
the required health warnings.
Another common piece of information on a paint tube label is an indication of the series
it belongs to. This is the manufacturer's grouping of colors into various price bands.
Some manufacturers use letters (e.g. Series A, Series B) and others numbers (e.g. Series
1, Series 2). The higher the letter or number, the more expensive the paint.
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Whether a color is
opaque (covers up what's beneath it) or transparent is of greatest importance to painters
who work with glazes to build up color, rather than mixing on a palette. Not very many
manufacturers provide this information on the paint tube label, so it's something you
have to learn and remember (see: Testing Opacity/Transparency).
A few paint manufacturers indicate whether a color is opaque, transparent, or semitransparent on the tube. The acrylic paint manufacturer Golden makes it easy to judge
how opaque or transparent a color is by having a swatch of the color painted on the
label over a series of printed black bars. The swatch also enables you to judge the final
dried color, rather than having to rely on a printed version of the color. If you notice
some variation in the swatches between tubes, this is because they're painted by hand,
not by machine.
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The system or scale used for rating the lightfastness of a paint and printed on the label
depends on where it was manufactured. Two widely used systems are the ASTM and
Blue Wool systems.
The American Standard Test Measure (ASTM) gives ratings from I to V. I is excellent,
II very good, III fair or non-permanent in artist's paints, IV and V pigments are rated
poor and very poor, and not used in artist's quality paints. (For details, read ASTM
D4303-03.)
The British system (Blue Wool Standard) gives a rating from one to eight. Ratings of
one to three mean a color is fugitive and you can expect it to change within 20 years.
Ratings of four or five means a color's lightfastness is fair, and shouldn't change for
between 20 and 100 years. A rating of six is very good and a rating of seven or eight is
excellent; you'll be unlikely to live long enough to see any change.
Equivalents on the two scales:
ASTM I = Blue Woolscale 7 and 8.
ASTM II = Blue Woolscale 6.
ASTM III = Blue Woolscale 4 and 5.
ASTM IV = Blue Woolscale 2 and 3.
ASTM V = Blue Woolscale 1.
Lightfastness is something every serious artist should be aware of and decide for
themselves how they want to deal with it. Know your paint manufacturer and whether
their lightfastness information is to be trusted. It doesn't take much to conduct a simple
lightfastness test, other than time. Decide what colors you're going to use from a
position of knowledge, not ignorance, about lightfastness. While you may aspire to be
listed alongside the likes of Turner, Van Gogh, and Whistler, it's surely not as an artist
who used fugitive paints.
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What's actually in a tube of paint and the reason it's a hue is yet another instance of
where, as an artist, you really need to know your pigments and colors.
1. Blocking In
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This is an approach I use very rarely, but find useful when I know that I want to let part
of the foreground in a painting intrude into the background, such as waves dashing up a
sea cliff. When I don't want to have to try to fit the background in around the
foreground right at the end.
See: Painting Demo: Sky Before Sea
Remember a paintbrush is not simply a tool for coloring-in shapes, but that the direction
of the brushmarks will influence the result. Even if you feel as if you're coloring-in a
drawing, it's not the kind a five-year-old will do (not even a gifted one).
See: Painting Demo: Detailed Drawing First and Paint With the Contours, Not Against
Image Rghirardi
This is an approach that requires patience, and is not for anyone who's in a rush to get a
painting finished or to get the colors sorted. Instead, it involves first creating a
monochrome version of the painting that is as finished as the final painting will be, then
glazing color over this. For it to work, you need to glaze with transparent colors, not
opaque. Otherwise the form or definition created by light and dark tones of the
underpainting will be lost.
Depending on what you use for the underpainting, it can be called different things.
Grisaille = grays or browns. Verdaccio = green-grays. Imprimatura = transparent
underpainting.
See: How to Test if a Paint Color is Opaque or Transparent and Tips for Painting Glazes
inspiration from the 'Group of Seven', the French Impressionists, and the writing of
Bahai Faith. From the regular workshops I teach Ive seen how beginners (and notsuch-beginners) repeat the same mistakes, time and again. My hope is that this list will
help stop you making these mistakes in your paintings."
1. Using repetitive brush strokes: these put the viewer to sleep. Use a variety of brush
strokes.
2. Applying scratchy, dry, scumbled strokes: these look cheap, afraid, stingy, not
masterful.
3. Tippy-tapping paint and poking it on the canvas: this is not bingo and your brush is
not a bingo dobber.
4. Concentrating on one area of the canvas while neglecting the rest: the whole of the
canvas is important.
5. Mixing paint on the canvas: finalise your colours on your palette.
6. Not taking the time to study your subject: if you dont know your subject, how can
you paint it?
7. Using too many colors: use three or four with white and see how many variations you
can arrive at.
8. Adding detail: this cheapens the work and you end up talking down to your audience.
9. Painting what you know and not what you see: remember mistake number six.
10. Stealing small pockets of time: allow yourself ample time to work, otherwise you
may lose your initial inspiration.
11. Listening to admirers: paint alone as much as possible and avoid seeking others
opinions until you find your own.
12. Being stingy with paint: use lots and, yes, you will waste some.
13. Changing to small brushes: stay with the larger brushes as long as possible.
14. Using too much white: this makes paintings chalky and cold.
15. Adding bits and pieces in your composition: keep things in larger groups.
16. Putting paint on simply because you dont want to waste it: youll waste your
painting this way.
17. Scrubbing the paint on: instead, lay it on and leave it.
18. Fixing every mistake: good paintings are full of wonderful accidents that the artist
refused to fix.
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19. Thinking too much: painting is a doing, feeling thing and not a thinking, intellectual
thing.
20. Losing the big shapes and values: remember mistake number six.
21. Trying to paint like somebody else or another painting you saw: be yourself and be
honest. You cant hide anything in a painting.
22. Worrying about the results: trust your instinct and trust yourself.
This list of commonly made painting mistakes is an extract from Brian Simons book 7
Steps to a Successful Painting, and used with permission. Brian says the book evolved
from his years of teaching people from all walks of life to paint with acrylics. "It
represents the heart of my 18-hour workshop program and is enormous fun for young
and old."
dictating what ought to be in it and looking over your shoulder will feed back into your
other paintings.
If you think your paintings are too tight and controlled, this collection of tips and
techniques to try should help. Don't dismiss a technique without giving it a good try as
while it may seem unlikely or perhaps even daft, you may well be very surprised by the
results. There is, of course, no 'magical' way to suddenly loosen up the way you work.
Like everything else in painting it's a goal you have to pursue. But one that is achievable
through practise and persistence.
Tip 1. Use the 'wrong' hand:
If you're left-handed, put your brush in your right hand, and if you're right-handed, put it
in your left. It'll feel awkward and you won't be able to paint as precisely as you can
with your dominant hand. This lack of co-ordination also means that you can't get into
that automatic paint mode where your brain says "I know what an apple [for example]
looks like" and you paint an idealistic apple rather than the one in front of you.
Tip 2. Work in the dark:
Well, not complete darkness, but in reduced light where you can't see every last bit of
detail. Try lighting a still-life with a strong lamp from one side (oblique light). Or if you
can't change the light, squint your eyes so the lights and darks in your subject become
stronger.
Tip 3. Leave stuff out:
Our brains are quite adept at filling in missing details, so you needn't put down every
single thing. Take a long hard look at your subject, trying to decide which are the
essential bits. Put down these only, and then decide whether you want more detail or
not. You'll be surprised at how little can be necessary to capture the essence of
something.
Tip 4. Don't paint outlines:
Objects are three-dimensional, they don't have outlines. If you're unsure about this, look
at your body and see if you've got an outline or if you're 3-D. You do have an 'edge'
when you look at e.g. your leg, but as you move, so this changes. Instead of drawing an
outline (or painting one) and then filling it in, paint the object as a whole.
Tip 5. Let the paint drip:
Load your brush with lots of dripping colour and let it run down the surface of your
painting as you apply it to the 'right' place. Don't tidy up the drips. They add a fluidity.
Tip 6. Try unrealistic colours:
Instead of worrying whether you've got accurate colours, try some that are completely
unrealistic. Paint a self-portrait in your favourite colours rather than skin tones. The
result will probably be a lot more emotive and certainly dramatic.
Tip 7. Paint with water:
First paint your subject with clean water only (okay, not if you're using oils!). This
familiarises you with your subject. Then introduce colour, which'll flow into the wet
areas. Don't try to stop the paint from spreading or worry about the colours becoming
'wrong'. Wait until you've finished, then see if you like the result.
Tip 8. Apply masking fluid:
Masking fluid enables you to block out areas a watercolour so you don't have to worry
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about accidentally painting there. For example, instead of painstakingly trying to paint
around the petals of a white daisy, paint the petals in masking fluid first. You can then
paint freely safe in the knowledge that your white petals will appear pristine when you
rub off the masking fluid (do it as soon as your painting is dry; it becomes harder to
remove the longer it's on the paper).
Tip 9. Use a BIG brush:
Painting with a big brush makes it hard to put down detail. A big brush encourages you
to use your whole arm to make broad, sweeping strokes. Use a flat brush not a round
one because you're wanting to increase significantly the width of the painting strokes
you make.
Tip 10. Use a ridiculously long brush:
Take a stick at least a metre/yard long and tape it to the handle of your brush. Put a large
piece of paper on the floor. Now paint. The long brush handle exaggerates the
movement of your hand and arm, creating longer marks on the paper than you'd usually
make. Don't fight this by trying to make smaller movements!
Learn to Paint
If you're wanting to learn how to paint, have just begun painting, or wish to refresh your
knowledge on some essential technique, this is the place to start.
1.
2.
3.
4.
5.
6.
7.
8.
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Having decided you'd like to learn to paint, you need to decide what paint you're going
to use. The four main choices are: oils, acrylics, watercolors, and pastel. It's a very
personal choice, and if you don't get on with one type of paint, be sure to try another.
I believe in buying the best quality paint you can afford that still lets you feel you can
play or experiment with it. You need to feel able to paint over something that's not
working, or scrape it off, rather than desperately trying to keep it because of the cost of
the paint you've used. Here you'll find advice and tips on selecting suitable art supplies
to start painting.
There are certain essential or fundamental painting techniques that apply regardless of
what type of paint you're using.
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Once you've got your paints and brushes, you're ready to start painting. But what
exactly is it that you're going to be doing. Find out how to approach your first-ever
painting.
Painting Tips
Learn from the experiences of other artists through these painting tips. Some will save
you time, some will save you paint. All will save you learning the hard way.
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Find answers to numerous painting problems and questions on all aspects of painting.
You'll find solutions for issues associated with a specific type of paint and to things that
apply generally when you're learning to paint, such as color mixing.
Photos are an extremely useful tool for a painter. Find out how to make the most of your
reference photos, and browse the collections of free artist's reference photos to find
inspiration.
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Acrylic is a versatile paint that's great when you"re learning to paint (but it's definitely
not just for beginners!) as it's easy to use, simple to hide mistakes, and can be painted on
almost any surface.
Oil paint is what the Old Masters used and can produce beautiful results. It's a paint
choice that requires patience as it dries slowly, but that also means you've lots of time to
rework sections.
Many beginners start with watercolor because it's easy to understand how to use it and
you just need some paint, a brush, and paper. But easy to use doesn't mean it's quick to
master, so allow yourself time to get to grips with the potential of watercolors.
Pastel is a great choice if you like to see immediate results as there"s no waiting for
paint to dry. It's a versatile choice that offers a range of techniques and approaches.
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While oils, acrylics, watercolors, and pastels are the most common choices, they're by
no means the only options available to you. Explore some of the other types of painting
and paints.
Egg Tempera
Water Soluble Oil Paint
Watercolor Pencils
Mixed Media Painting
Encaustic Painting
Encaustic Painting
Digital Art
Fabric Painting
Fine Art Prints and Giclee Prints
Step-by-Step Chinese Painting Demonstration
Every artist has days when they feel uninspired and uncreative, but it's just a bump in
the road, it doesn't mean your desire or ability to paint has deserted you. Here's help on
getting over a creative block and getting your enthusiasm back.
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Once you've finished a painting there are still two possible steps left, varnishing it to
protect it, and framing it for display. Whether you do these depends on the type of paint
you use and what you painted on.
Making a living from selling your paintings isn't easy, but it can be done. Like any other
career, in order to be a successful painter you need to work at it and strive for your
goals.
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Each month a new painting project is set with the intention of encouraging you to
explore new subjects and/or techniques, to challenge yourself in a new way, and to
kickstart your creativity.
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Follow the development of paintings from start to finish in this collection of step-bystep painting demonstrations and tutorials.
Self-Portrait Demo
Expressive Figure Painting Demo
Desert Landscape with Tree Painting Demo
Abstracted Landscape Demo
Abstract Demo
Abstracted Cityscape Painting Demo
White Horse Painting Demo
Watch artists at work in this collection of short video painting demos, which includes
technique demonstrations and start-to-finished paintings.
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Knowledge of color theory and color mixing is one of the most important aspects of
painting. Don't let the word 'theory' intimidate you, it's not about memorizing facts, but
rather about practical experimentation. Color is, after all, a fundamental aspect of
painting.
Composition is about how elements are arranged or organized in a painting. There are
certain rules, or fundamentals, every painter ought to be familiar with -- even if you're
intend on breaking the rules.
Perspective Tutorials
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A spectacular landscape makes my fingers itch to paint it. Find out more about how to
approach a landscape painting, including deciding what to include or leave out.
In the century or so since abstract art first hit the Western art world, we've learned to
take much of it for granted though it's still probably the most misunderstood form of
painting. Learn more about what exactly is meant by abstract art, and how to approach
the creation of this style of painting.
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The human figure is a very appealing subject for a painting, but presents an array of
challenges, not least getting the proportions right so the result looks like a human and
not an alien.
The beauty of animals can make for gorgeous paintings, but there are various unique
challenges, not least of which is painting fur and feathers!
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A still life is one of the most exciting subjects for a painting as you've got so much
control over what you include, how you arrange the elements, and how you light it.
Studying and copies the work of famous painters and the Old Masters is both inspiring
and instructional. Looking at a painting you wish you'd painted will motivate you to try
something similar, while studying the way an artist worked and making a copy of a
painting helps improve your own work.
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development of clarity in gels and/or mediums, one can allow a painting to clear, store it
away and later notice that it has become cloudy. The film may have only been partly
cured, and is soft enough to allow moisture from the air to penetrate, turning it slightly
milky again. Given enough time for more complete drying, these properties should
improve dramatically.
DRYING EFFECTS
Utilizing the Quick-Drying Tendencies
The naturally quick drying time of acrylics can also be a great benefit. Many of the most
successful uses of acrylic paint come from people taking advantage of this property,
which allows for painting over almost immediately. Unique acrylic glazing techniques,
hard-edged applications and quick manipulation of the painting surface would not be
possible without these very rapid drying properties.
Application of Additional Layers of Acrylic Paint
There are no limitations on applying additional acrylic paint layers. That is, an artist can
apply acrylic paints while the underpainting is still wet, just skinned over, or has dried
for several years. If one is going to apply oils over an acrylic underpainting, then a
proper curing time should be allowed to be sure the acrylics are completely dry. For thin
films on canvas, this can be 1 to 3 days. Thicker films on less porous supports like
masonite may take several weeks to dry sufficiently to ensure proper adhesion.
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Varnishing Considerations
For varnishing, it is best to wait until a painting is completely dry. Otherwise, an
excessive level of water and/or solvent may be trapped, which could result in clouding
or poor initial adhesion of the varnish. This is more important when the varnish forms a
relatively tight, non-permeable film, such as is the case with GOLDEN MSA Varnish.
When using more permeable varnishes, such as GOLDEN Polymer Varnish, this is less
crucial.
Another critical element to consider when varnishing is the substrate. A canvas will
allow trapped moisture, retarders and other additives to escape, while metal, masonite or
plywood make this migration difficult, and can influence adhesion of the varnish layer.
In extreme cases, it can cause delamination or cracking of the varnish. (Refer to the
GOLDEN Varnish Information Sheet for a more through understanding of these
properties). Generally, the painting should not feel cool, excessively soft or tacky. All of
these symptoms indicate an uncured acrylic paint film.
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Some people prefer to lightly mist the paint on their palettes. This can be a very
effective technique to provide more open time. A simple plant mister, easily obtained at
a hardware store, may be filled with water (we recommend distilled or de-ionized) or a
10:1 water/retarder mixture for this purpose. Note again that excessive levels of retarder
will result in a weakened paint film that remains sticky. Excessive spraying may cause
colors to drip, or to stain the support in an undesirable manner.
Moisture-Retaining Palettes
On the market are several covered varieties of moisture-retaining palettes that help keep
acrylic paints in working condition. The most effective is the Stay-Wet Palette, which
takes advantage of what we know about acrylic drying: that is, if one can control the
atmosphere, they control the acrylic. The Stay-Wet Palette is a large plastic tray on
which a large, flat sponge is placed. After soaking the sponge in water, a special filter
paper is placed over it, and the paper acts as a palette surface. The filter paper allows
water vapor to permeate, keeping the paints moist. If the sponge stays wet, paints will
remain wet for hours without the use of a retarder. This palette has a cover to further
extend working time. Some artists have suggested that this tool slightly dilutes acrylic
colors, but if you plan to work outdoors with acrylics on a palette, it may be of great
benefit.
When paint dries on a glass or plastic palette, the best way for removal is to saturate the
dried surface with water, using a very wet sponge or rag. After a period of 3-5 minutes,
the paint should be softened and can easily be scraped or peeled off.
Slowing Drying on the Substrate Surface
Canvas and other substrates should be sealed to reduce absorbency, which will aid in
keeping acrylic paints wet on the surface. Several years ago an artist called us,
complaining that our Heavy Body Acrylic was drying too quickly on her paper. When
she first encountered the problem, she decided to slow down the drying by adding more
water to the paint. Intuitively, her approach made sense, but when she added water, the
paint dried even more quickly. In this case, the drying was not dictated by evaporation
as much as by absorption into the substrate (paper). The paper was not sealed in any
way. As she thinned the paint, it had less hold-out and the water was absorbed more
easily into the paper. Had she sealed the surface first with GOLDEN Polymer Medium
or a skim coat of GOLDEN Soft Gel Gloss, the substrate would not have absorbed as
much water, and drying would have occurred mostly by evaporation.
Increasing Humidity
A cool air humidifier may prove useful to increase the localized relative humidity, and
thus slow the drying process. Directing the cool moisture flow on the painting surface
will maximize the effect. A cheaper way to achieve a similar result is to use a plant
mister set on a very light spray setting. Spraying across the surface at regular intervals
will dramatically lengthen the wet time of the paint.
Soaking the Back of the Canvas
Another technique to retard drying capitalizes on the permeability of acrylic gesso.
After allowing the gesso layers to completely dry, attach the canvas to a temporary
stretcher. Soak the back of the canvas with water, and/or attach wet rags or sponges to
the back of the canvas. You have now created a stay-wet canvas. The dried gesso acts as
a semi-permeable membrane, allowing water through to keep the paint moist. This
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technique allows you to paint in relatively thin glazes for hours with acrylics, but
beware of some limitations. Cotton canvas may shrink, causing the stretcher to warp
and make restretching a necessity. Also, the water may wash impurities out of the
canvas and into the paint film. In severe cases this causes noticeable discoloration.
These problems will be minimized or eliminated by using scoured (washed) cotton
canvas. Or use polyester canvas, which is not dimensionally sensitive to water and does
not contain the contaminants found in unwashed cotton canvas.
PAINT STORAGE
To prevent paint from drying out in storage, be sure not to place it near blowers or
heaters. All plastic containers are slightly porous and allow a small amount of water
vapor to escape. Also, it is critical to clean the threads of lids and jars. If paint
accumulates on these surfaces, the tops will not seal properly and the paints will begin
to dry out. Some artists suggest spraying a small amount of water on top of the paint to
keep the paint fresh. When spraying, use distilled or de-ionized water to avoid
contaminating the paint. Paints will stay quite well in most basements, but should not be
frozen. Although most acrylic paints will sustain several freeze-thaw cycles, freezing is
not advisable.
Disclaimer
The above information is based on research and testing done by Golden Artist Colors,
Inc., and is provided as a basis for understanding the potential uses of the products
mentioned. Due to the numerous variables in methods, materials and conditions of
producing art, Golden Artist Colors, Inc. cannot be sure the product will be right for
you. Therefore, we urge product users to test each application to ensure all individual
project requirements are met. While we believe the above information is accurate, WE
MAKE NO EXPRESS OR IMPLIED WARRANTIES OF MERCHANTABILITY OR
FITNESS FOR A PARTICULAR PURPOSE, and we shall in no event be liable for any
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