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Acrylic Techniques

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acrylic is extremely exciting medium to work with and today I want to explore painting with acrylic directly on white canvas on a gray canvas on a wood panel board and on a Masonite clayboard I want to start to explore some of the exciting experimental directions with Fluid acrylics on paper and some collage approaches rice paper in acrylic using metallics and interference colors and finally I want to go on location and show you how I work when I paint with acrylic outside these are the materials that I'll be using in this program first I'll be using a standard body acrylic paint sometimes called heavy body acrylic I'll have both colors plus white these are the brushes that I'll be using in the program first a water media brush and a stiffer bristle brush commonly called an easel painting brush both of these brushes it's very important to keep moist while painting acrylic dries very quickly so you must keep these bristles wet at the end of the day make sure that you clean that brush with soap and water so the brush will last  other paints that I'll be using in the program our first of all Summit Alex  I'll be using some interference colors some Fluid acrylics and some acrylic watercolors  I'll be using the spray bottle to keep my paint on the palate moist  I'll also be demin reading a discussing acrylic gesso  some modeling paste acrylic gels matte and gloss mediums and some acrylic retarder to keep the paint from drying too quickly for my next few demonstrations I'll be using this pallet I start with a piece of double strength glass and place behind it a white piece of mat board and draw circle with Cove symbols for primary secondary and intermediate color  does heavy body acrylic starts with the primary yellow which is cadmium Lem I'm on either side I place white one to mix with the cool colors and when the mixed with warm colors my intermediate yellow-orange is cadmium Orange my secondary orange is cadmium red orange the cadmium red medium is my intermediate red orange while my primary red is connected on Crimson the intermediate red violet is aqua Violet and the secondary Violet is dioxazine purple the intermediate blue violet is ultramarine blue while the primary blue is they loci 9 blue  back to the intermediate Bluegreen it's phthalo turquoise the secondary green is permanent green deep while the intermediate yellow is permanent green light  what does first study I'm going to be working with the Ranchos Church in Taos New Mexico I'm going to be working directly with acrylic on white gesso canvas many times when I start with his white canvas visual is the color that I want to use and to start with I'm going to lay this color down which is kind of a mix between a red orange and a red violet and a bit of red and it's going to be an undertone eventually and I'm putting us in transparently notice these brushes I'm using now or a stiff brush and them this is a much different brush that works well on a canvas come back to the red orange and a bit of red and just kind of lay this in surrounding this shape so I'm going to come in here first and start the build  this kind of distant Mountain form in  I'm using it fairly thick now is laying ass down dragging across the canvas and bringing it in to that red orange and pull that right through I started just sketching with a little bit of acrylic kind of mixing a brownish tone just to give me a little bit of a structure to start from moving almost to the yellow yellow orange  neutralize and paint right up against this mountain for me sometimes I'll let some of the canvas to show through Rock canvas can be a good part of the composition using a paint thin and some areas and much thicker and others  but just now kinda get a nice paint quality as I work through this  I come back with a deep blue green allowing some of that red orange 2 go through  can be quite exciting if you let that color work for you  I want this to look like there's maybe a little trees up on the ridge breaking into some of that red let that melt in with some of that other color get some nice juicy qualities going on in the composition  in the background possibly I'll have just a hint of yellow green neutral varying that green to make it appear like there's sunlight in it  background on the tree forms  so I'm just working negatively  I get some of this color happening down in the foreground neutralizing some of it again working against us and warming some of it up to repeat some of that color that's in that background area so I've got the Reds being repeated towards the four and picking up the greens as well  sometimes stents and I've come back to very thin area sing about acrylic  is it works very quickly it dries very quickly and you can cover a lot of territory in short period of time  okay now I'm go move into the church before I go too far  and try to get a feeling of strong sunlight  so I'm coming in and just  drag this a crust letting some of that campus work Pharmacy get that feeling of sunlight that's how I'm not painting everything  and I'll very that occasionally Missy cool at down get this feeling of sunlight moving right across the church and sometimes just leave some of that rock campus Wrecking Crew  coming in with its complement a little a little bit of blue violet Grey now hit little bit of this manly this in this to give it a little cool and with warm you put that cool right up against the strong warm tone that'll pop that out not much value change in terms of darks and lights  but good warm to Cool Change terms of intensity  SA I'm trying to get a feeling of strong sunlight here this guy is this right into it in drag some of this right over that cool  again letting this canvas do a lot of the work for me and say this roughness of the campus the texture can be a very exciting part have the paint and that's why would choose a canvas like this  the shadows for the Vegas are applied now and I come in with this kind warmer Violet in up against the edge for men with a little cooler neutralized blue violet maybe a couple more notes Here in there I don't mind those. Notes weather like that's enough Ranger  I'm just finishing a sketch for this next study this particular sketches done on gray tone Prime gesso campus I'm starting with a limited palette for the study and I'm going to start fairly transparent working with the color and start a little darker just washing lower some of this drawing  I can still see through it  but I want to get some darks in here because I'm going to be painting negga play around some of these forms later on  as I work here is changing color a little bit but I'm adding a little white to this passage  and developing a little bit of vertical still working fairly thin I'll come back later and work a little juicier with the paint and it's important if I'm working with this particular colortone canvas  I think it's important that I leave some of that campus in other words I don't want to paint entirely over the whole thing  let some of that gray work for me  Panda it can be much more interesting and if I just totally paint it out  now before I go too far I'm going to hit this geranium color  and within that again work with the various color families so it's not moving up to a little warmer orange with little white added to it and then down to a cooler Violet red and not we have got the whole family of color Within this passage  and is much richer than if I just take one red  and is it with little white in a little black you see this is what color is all about and how I can do some real exciting things for you coming in with a bit of green  in through here  I'll bring that right down see all that warm green now  starts to live in the painting up man of Stardust wish these different greens get some of that moving into the composition this is just a little bit of yellow and a touch of orange again against the gray  and this is going to live in that up a little bit and again I can paint around this shape  SA Taiwan  and this contrast coming in a little lighter is going to give me a little stronger value contrast you see using that gray as a starting point and then working from there you know don't just stay with one color that works but very that color  you know what I mean by what is varying that if you have a yellow that's working  very the yellow within the yellow family  so that there's more life into that yellow I want to come back now and pick up a little bit of that warm  yellow tone into the leaf farms just a little more and by doing that that's going to repeat some of this color in a little different way this is a yellow yellow orange  and will bring a little bit of that quality of the sunlight into  this part of the pain add this thick opaque yellow white to the edge of the window to set off some of this uranium form and you know I like this juicy paint it's not I find it artist many times an acre working awfully thin let that paint MP paint come in thicker I let that stroke say the form whatever it is this is going to just give me a little more of a highlight  who's that right how are the composition I'm going to come back in with a little bit of an aqua violet and move into this geranium and put just a few notes  to start to show the the flower form and who's almost there Contour line here  but just enough to  give us some information so you can see the form flower without going too far so this point I'm going to stop and study it and see if it needs any more I don't go too far and I think I'd rather keep it simple have a simple direct statement about this plower so I'm going to stop and call it good please  I'm going to be working on a wood veneer and actually keep that raw wood tone  I've actually take a note this is a panel that you could buy an art supply store  and just coated it with a matte medium to seal the wood it's a beautiful tone and so when I do this painting I'm going to be working with a mountain kind of winter sane and I want to keep it just in kind of yellow yellow oranges oranges in blue blue violets violets I want a key it in what's the wood so I can leave some of that tone and let that radiates through show the beauty of the wood I'm going to start with just a diagonal shape  starting up here and hitting that tune see how that color is a compliment of that wood which is just kind of a neutralized yellow-orange or what we might see is Sienna  that's a beautiful color here in mixing in a violet orange  blue mix and I'll just start in with these real strong Lively darks  and you know all the trees are Norm Marvis Bruce tone I'm coming in with more of the blue violets violets  those because  it's going to work with the with the wood panel and that's what I'm most interested in I want to get that color to work in the peace  so I'm varying the blue so it's not all the same blue as I move back in through here and just work with some of these patterns minimix very pale Cerulean opaque sky is coming very opaque and build this right over  the wood so this is going to be an opaque that will Define  the sky area  as I move across the sky area I add a little more to warm it up so it just feels like we're moving a bit towards sunlight  I paint around some of these tree farms and let some of this beautiful wood panel show through so I'll just play with some of these patterns and work with some of those negatives  it's important occasionally to get back and study the do you so you're not always up to close and I want to leave some of that wood showing so not going to paint it all out but working with the tones within this wood panel and I work a little warmer and cooler here I'm adding just a touch of Orange  to it  and I'll drag some of that right in diagonally I take this yellow white and move along the snow Edge instead of just hand with a white again I use this white with a little yellow in it want a good white can you hit that first and as I break up that play some Come a Little Closer I'll change it  and each time I warm it a little more  in through here to be like some ice patterns on the river oldest  snow and ice  that really is nice to paint because it breaks up the space and simplifies forms whenever working with us  I don't want the reflections to overpower me  so I'll just kind of hit the little bit of this  and pick it up a little bit over but keep it very simple I'm trying to move into little bit of a soft diagonal moving back not  not a total horizontal  just a couple more touches here can I'm going to stop because I think this is just about where I wanted to be  I think it's better to keep it simpler than to go too far you can lose the freshness that you're after in the composition  I think I'll stop right here subject for my next painting is going to be the Oregon coast on a gray stormy day I'll be working with acrylic directly on a Masonite board panel  and this is a panel  Masonite panel that is coated with clay and I tweeted a lot to what I think would be like working with fresco painting because the paint just melts into this clay and absorbs into it and you get the beautiful marks lot of people will work with those panels adjustable panel difference from this little and that it's not absorbent  I'm working from a sketch and I did long the Oregon coast on a real kind of grade A you say here I'm working pretty transparent to start with and  getting a bit of warm in there and come in with kind of a warm color those brushstroke somebody's brushstrokes just show that's part of the excitement to me about painting leaving that Mark letting it chill weather them  trying to cover it up make it look too smooth and so on come back to a green you know there was a great day there was a lot of green on that Hillside so I want to want to get some of that in there and repeat some of it  but those marks just happen the movie get over to the other side now  and  play some of this young  just to get some of these shapes going  establish this the thing to remember is you can always come back at any time working this way and and build your color change the color  do whatever you want with it  but we'll just lay down in set the little bit of cooler tone towards the bottom this was at a low tide  I'm going to come back and hit a real pale gray go up by the house here it was up on the cliff  inpaint negatively surround this transparent now I'm using more paint  and I'm going to paint right around that and manguera  does put a little warm in here this is just a  so I added a little bit of yellow yellow orange to this even all this is at grade A I just like  coming in with a little warm so you know this paint is much thicker it's a nice contrast to the thinnest  of the year of the transparent tones that I put in earlier I'm just painting negatively I own this building now I'm going to come in with a strong light and the value here is going to be very subtle between the background Anda the sky between the water and the sky here  but even though it settle one is warm  when is cool how come in  with the some of these sand tones and come back to a very thin  wash been through here let that melt right in use acrylic play board  twitch advantage I want to to utilize this the way it should be used  Sage time I'm warming this up and putting this down in a very thin parent way  so I go from a little warmer to a bit cooler I add a little Violet as I move diagonally down this Mountain Cliff Edge and let it set off that yellow green you give it a little more formal more solidity help that composition abstract Lee that's what I  wanted to do  finally I just wanted to add a few Little Segal just to liven up the sky and when I do these of course I want those marks to not all be the plane  this point I think I'll stop and take a look at it and see if it needs anything if not call it good the subject for my next scene is please in the middle I'll be working very loose and Abstract Lee with very Vivid transparent luminous color with Fluid acrylics  adjust play play Fluid acrylics out on the palate and notice how rich the color is you can get the most Vivid beautiful color working with this approach  going to start by just putting in some rich color know if you're interested in kind of a who would approach working with this Rich luminous color and this is a good medium to work with I'm going to very this  turns a color again moving up to a yellow in some areas this is going to be stop of a scene of a josam California poppies  that are going to be very kind of loose and impressionistic so I want to get this are just popping in here you seem very nice color just getting it very strong and displaying in some different impressions I'm going to come back into this background and just lay some how long ribs in red violets in through here  this eventually hopefully will look like poppies off in the distance in a field  transparently I come in with this orange and just develop a few poppy forms yellows yellow oranges oranges and even some red oranges to stay in that family but to give a little variation of this beautiful luminous transparent color you can still take water melt at down but notice how luminous that color is even when I do that now I come in with , this wrong deep transparent Vivid color of the fluid acrylic to set off those red oranges and reds of the background poppies in the meadow so even though the still has a good body to it it's much more fluid High concentration of pigment and just incredible color I can come in with a little more of a yellow  yellow green as it comes forward and just lay down on but  where are you you coming close to the  to the poppies  I want this dark to show so I'll bring this strong Bluegreen right in against that again and paint negatively to set off this form and just let it happen  Missy be a lot of fun come in with a little red grey some of that down popping another one I'm coming in with just a little bit of violin cuz I'm using the violent hero probably want to pick that up somewhere else  but sing  to be right for the painting I'll do that and cool it down little ultramarine  why do the same colors this different consistency of the pain Missy again we'll just make this a go go make this going to repeat some of those other shapes in the composition coming in with some deep neutralize greens very dark and luminous and maybe just come in with a  tip the brush  put some linear Marc's in here back to real deep deep tone again  set this color off and with that violet let's come back to that yellow green down in through here  build some nice little negative patterns in here a bit cooler  renew shapes in here tie this all together as it comes down into the foreground  but lot of this I want to keep very loose and splashing you know you could course developed this anyway that you want you can come in and tighten it up if you want to with more detail but I think you'd lose a lot of the fighting  quality that you end up with a painting  the day is approached in this matter and I think the Fluid acrylics call for that kind of a I think I'm going to finish it this point  I hope it's a parent how luminous is fluid acrylic is I think if you give it a shot you're going to really enjoy it  this next study I want to show how the interference colors in the metallic paints work the interference colors are by themselves just a dull cream lifeless color but they have a high concentration of Micah that's added to it when I paint this on here you'll see a distinct change as it moves across what's the blue the dark field of blue that I painted on just with a standard body of acrylic this is an orange interference color  now I'm sing on an interference violet and it will have a little different look but again you can see how that change the color as you can see the glaze of this interference color will give the under color of pearlescent quality also an interesting development in acrylic medium is the development of metallics here I'm using a green gold metallic that you can use this by itself are you can combine it with color you see I'm just sending it down now but also there many other colors available this is a pale gold here has a slightly different quality a rich gold  which I like a lot again being able to thin it down you could paint this in glaze it right over the top of a color and then I also have an aluminum out they have Copper's available here is an aluminum that has a cool quality to the metallic this isn't something you use for every painting but for the right painting it can be quite exciting I like to use it for my collage pieces  this next sing is going to be working with acrylic rice paper collage I'll be working with heavy body acrylics transparent translucent and opaque I'll be working with the textures of the rice paper metallic acrylics and interference colors I'll start abstractly but later will pull it in to a more representational landscape I want to show you how I'd approach an acrylic watch  the first thing I'm going to do is just wet this rice paper I'm going to be using various textures of rice paper on this piece and I'm painting this  we just water right now and letting that soak in  now I'm going to tear  this pay where I've what that on the stand rice paper where the water is this should tear off basically in shape that I want after tearing that shape I'm going to remove it and start to apply some acrylic gel curly gel is simply the Palmer medium  plastic base  Anna strong concentration is very clear but it can be used as a glue  and I want to I'm working on a what color board for support here and I'm just going to apply this and while wet put that piece of rice paper down that though I prepared  I'm just applying this and if I get some nice crinkles in the paper that's fine because I want that to be a part of the painting so I'm now just mixing the acrylic gel in applying it over the top as well now I take this more text roll rice paper and just tear it and let those fibers work for me now I want this to be in the areas that I want more emphasis so I'll come in here and just follow some of this movement and I have laying this down emphasizing this diagonal movement again using this acrylic gel as an adhesive I'm starting by just putting in some warm across the rice paper and letting the creases the textures all tell me where this painting wants to go will this approach you know you can you could have a subject in mind the many times I find it fun too  to not have any specific thing in mind at all  Seattle's rough-textured fibers give you some interesting texture and so I'm dragging just to heal of a large 2 inch brush across this to to let the fibers show  I had a little cool blue violet to set off some of the warm  restrain pause living room Survivor start to show  I'm adding some of are ferrets color to the paint to give it that pearlescent quality  so now there's a little bit of true that starting to happen in the composition  and neutralizing Sumerians I'll leave some areas just as now I scumble some of the rich gold metallics just developing this letting that metallic work little pale gold in little bit of a  the rich gold what does the right into the rest of the painting at this point very abstract and I'm going to just turn the painting at different angles to see which way I want to proceed but I decided  on this piece I'm going to work vertically  and I'm going to come in here with just a few little forms and break the space up  and take this right off the edge bring some of these forms in here  breaking some of these shapes up and kind of an interesting way and start to read  this is a  Hello nice diagonal tree form sometimes a little more add a little orange to it so that we don't see all that paint the same and relates to some of the color that's down below will just  pick that up in there and overlap some of those forms now I'm going to Mixel Bella Blu  and hit a few of these tones bring in from kind of a negative to bring some of these shapes out a little more  so that those are going to read a little more like branches keep that very pale just enough two to give it some value chain so you can see those shapes  finally I'm adding a little warm light to develop these forms that are sheep forms that I use and some of my paintings just going to  put a couple marks I see him  in the Landscaping a lot of where is where I live and travel this particular approach to my painting process I call in intervision when I start with the rice paper in the kryllyk gel and the color application the texture of the paper I'm not sure where it's going to go  as this is now finished what's an abstracted piece but it's leaning towards landscape and I'm really enjoying the pain  it's a beautiful late Autumn after turn in the High Country and I've chosen this site to spend a day painting with nature I'm going to be working with acrylic today I'm going to use it then transparent turn paper but I'll also be using it as a heavy body thicker paint  time starting with just a large brush and just toning play for trying to match what that tell her on the mountain behind there is like I'm going to start with that same color mix and just do a little bit of a compositional sketch getting some of this Aspen  and I want to do a little bit of the line  I'll be painting very juicy later on so I'm not concerned about getting this line in the way it'll become apart of the composition so I'm looking for a nice little diagonal rhythm turn this mountain form moving up and breaking this plane just as it is a nature there  so I'm using name two colors  knowing that I'm going to have some strong intensity  it back here I want that yellow of the Aspen to kind of be set for me so I'm starting with some washers and later I'll be coming in a little more opaque  buildings please form  and I might look for some of that Rhythm of the mountain in the background  I move in with a little larger brush building some of these shapes just kind of referring to that background mountain and stay with a very limited tone let that paint just move right down the picture plane I want eventually to have a real nice relationship between the transparent and the opaque  this is just a foil for the rest of the painting come down a little cooler as I go through here I get a little bit of a creamy tone and start to build a little bit into this mountain pattern with these cream this is a color should I sent right up into that background area  part of that mountain  and roll this way that right tender  and let it interact with that undertow I don't want it to be too let it die together let some of that melt right into the wetter surface  so I'm just working on the Purge masses at this point not trying to get too detailed at all but just get some good large shapes going and then how come in even lighter and pick up this area Pub of here and I'm going pick up the Skype and work it right through this is a nice juicy passage of the composition and I'll just lay down in direct  can usually it's important to miss those color so the paint so that it's not too not going to dry out on you get that shape going I'm looking for a nice little Contour  say this will go right through the Aspen  that's right up there take a little water this then that right out KSI move in here I'm going to come in a little darker into this lower area I want there to be some texture and contrast  in through here just kind of a background tone that I'll be working from so  this will set off some of the tones of the Aspen later on so I'm thinking value here and this looking seeing the composition and laying that down letting some of this just bleed for me  in through there this is just kind of a nice darker shape I'm also going to be thinking about text you with this painting it's very important part of it with all these trees and these are some of those tree textures and shapes that I Sing Down in the photograph so I just want to get a general  head of loose texture happen get that going in there  going to start with a more neutral lightest  yellow yellow yellow orange and I'll build  to the stronger you and this pop this right in  now this I want to be a little more neutralize because kind of the undertone if you look up at that Aspen you'll see some of that color as kind of a backdrop and now I'm using these stiffer bristle brushes and I'm going to just pop in some of the strong color  you can see how that works how with the complementary undertone  that's what it's all about with the color and I'll start who hit some of these Aspen forms and I'll be coming in with a little bit of a warm wife  just a little bit  but the school kind of a gray white is a good wife to start with and we'll just get that in there establish some of this turn  as it moves in and out of the  paint it again I'm looking for a nice little rhythm that's going to carry me through  and I look up nature will reveal itself it'll show you some things if you play attention to it will mix that yellow yellow orange an Play the song pretty much pure Hugh at this point I'm starting to listen more to the painting then the subject and looking at these shapes making sure that they're going to tie together you see how that just adds a nice little life it's in the same family but it's not the same color this is a little more of it touch of a green yellow  and I want to have a little that happening  in the pain right over here upper left  can I come in with a bear snag or Tree Farm it needs this what needs this  to add a little more weight to the side and I'll just pick up a shape that I Play Somewhere in the composition where the trees and bring that right into it I want just a little more texture and just get that brush the right consistency  and I want to hit just a little bit drag a little of this into this lower dark so that dark is not quite so isolated resume just using my very lightly hitting that lower area  please last touches  will make all the difference paint  sometimes just one or two strokes can tie the painting all together  I'm going to stop at this point I've enjoyed the day it's been a lot of fun there's not a better way to spend an autumn day communing with nature I just explored a variety of approaches in acrylic and I hope it's some of these approaches can help you with your pain

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