By Nancy Reyner
From the writer of the best-selling books Acrylic Revolution and Acrylic Innovation, this e-book blazes new artistic territory with 50 options that harness the creative energy of sunshine. starting from refined glazing on steel leaf, to pearly sheens, to boldly coloured optical results and shiny surfboard finishes, those techniques symbolize the main asked features of Nancy Reyner's renowned workshops.
50 crowd pleasing ideas function steel leaf, reflective paints, pouring, fluorescent and phosphorescent paints, refractive layering and optical colour effects.
Possibilities are vividly illustrated with diversified paintings from forty four artists.
A "Crash direction on Acrylic" bankruptcy deals an outline of the way to take advantage of those flexible paints and items to their fullest potential.
This hands-on advisor offers transparent step by step instructions to effectively execute those new and intriguing concepts. discover matte dermis building, sheen moving, embedding items, patinas and polished stone results. Use those methods for natural, summary or lifelike styles...as backgrounds, most sensible layers, or accents layered in between...combine, test, and enable your work shine.
Read Online or Download Acrylic Illuminations: Reflective and Luminous Acrylic Painting Techniques PDF
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Extra resources for Acrylic Illuminations: Reflective and Luminous Acrylic Painting Techniques
You will observe that some paints so dye the paper that they cannot easily be removed, while others are so soluble that, following application, they can be wet with water and blotted or wiped away with little effort. Inasmuch as various brands of paint differ one from another in all such characteristics, we can give you only general suggestions. You must learn through experimenting with your own paints. Comparative Washes — Choose a fairly large sheet paper — half-imperial ( 15" x 22" ) will do nicely.
20. Water-resistance test EXERCISE 8: Opacity of Color — In Fig. 21 a line of black waterproof ink was painted across the paper. This was then superimposed with various colors. Some of these — cadmium red, cadmium yellow and emerald green, for instance — nearly hid the line. Such opaque colors can be very valuable when one wishes to hide or disguise unpleasant passages but should not be used in full strength when it is desirable to have underlying color or detail show through. Test your colors in some such manner.
A wide-brimmed hat can prove invaluable, or, if you use dark eyeglasses, be sure that the lenses are neutral, not colored. THE EQUIPMENT 31 Blotters; Rags; Sponge — Always have plenty of clean blotters within reach. Rags and paper tissues also have various uses. A sponge is extremely helpful not only when mounting paper, but for softening or removing offending areas and for scrubbing out high lights. — As the artist often uses the pencil on his paper, he should keep a small assortment on hand. The degree known as HB, being medium, is good for all-around work, though much depends on whether the paper is smooth or rough, damp or dry.