AA Acrylic F10 BLAD Web

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T E C H N I Q U E S

by

the Editors of

American Artist

3

Since acrylics were introduced in the 1950s, a

wide variety of mediums and additives have been

designed. Experimenting with these materials in

conjunction with acrylics can often lead to new ways of

working and produce a variety of effects that give a freshlook to your paintings.

The range of materials for acrylic painters to experiment

with continues to grow. In addition to the mediums and

pastes discussed in the previous article, artists can mix a

variety of additives with the paint, including fluorescent pig-

ments, iridescent glazes (made with mica chips to give the

appearance of shifting color as you walk by the painting),marble dust for texture, or glass beads to add reflectivity. If

this werent enough, one can apply acrylics with anything

from traditional brushes to palette knives to spray guns and

even cake decorators, with their wide assortment of icing

nozzles.

One artist who loves to experiment with acrylics is

Katherine Chang Liu of Westlake, California. While her

paintings are generally abstract and based on personal

ideas and reflections, she sometimes depicts a recogniz-

able object. When I first started painting, I worked in a land-

scape tradition with watercolors, says Liu. Then as I began

to build up more layers in my paintings, I thought acrylics

would better fit my method and personality. Now, I work

in acrylics mixed with water or acrylic mediums to achieve

thinner or thicker layers of paint.

Above:Raft, by David Newton, 1993,stucco and acrylic on canvas, 18 x 18.Collection Michelle Weisman.

Opposite page, above:Temptation, by Katherine Chang Liu, 1996,mixed media, 30 x 50. Collection Hansen,Jacobson, Teller & Hoberman.

Opposite page, below:

New Cycle, Same Spin, by Katherine Chang Liu, 1995,mixed media, 34 x 34. Collection Hong Kong University ofScience and Technology, Kowtoon, Hong Kong.

Experimenting with

Acrylics


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The initial lay-in. I establish the large shapes as well as therough value and color relationships without bothering with a

preliminary drawing. At this point, I step back and see if thecomposition satisfies me before going ahead.

I complete the painting by gradually adjusting shapes andrefining. I arrange the easel so I can look back and forthfrom the scene to my painting with minimal effort.


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S U B J E C T M A T T E R

by

Marcia Burtt

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Even in the 1950s, when I was a high-school stu-

dent taking my first summer painting course, I

resisted working in oils. I felt more comfortable

with watercolor and pastel, so I thinned the oils as much

as I could to make them dry faster. By the time I startedgraduate school, acrylics had arrived on the scene, and I

took to them like a duck to water. They dried fast and thin,

enabling me to continually rework areas without losing

the paints freshness. If my first thin wash worked, I could

leave it alone, enjoy its brilliance, and have it almost pass

for a watercolor. If I wanted to rework or adjust shapesa

more common occurrenceI could immediately paint over

the dry layer and treat it as an underpainting.

Ive now been an acrylic landscape painter for nearly fif-

teen years and am still crazy about the medium. In order

to adapt to the requirements of painting on location, Ive

devised a simple paint- and time-saving system for success-

fully working outdoors in acrylics.

M A T E R I A L S

There are five elements I focus on in respect to materials:

paint box, spray bottle, easel, palette, and substrate. My

paint box is a three-tier fishing-tackle box with molded divid-

ers to hold my colors (I use one compartment for each

color). The molded dividers are important because paint

can leak from one compartment to another if the divid-

ers are the slip-in kind. I squeeze enough color into each

Above:Evening From the Ridge, 1993, acrylic, 20 x 20. CollectionRosemary and Bernard Parent.

Opposite page, above:Spring Light at the Wilcox Property, 1995, acrylic, 24 x 20.Collection the artist.

Plein Air Acrylics:

One Artists Methods


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C O L O R

by

Bonnie Brown Fergus

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Mixing Acrylics:

Triads

Acrylic paint is a very flexible medium to work with,

but in order to use it more effectively, Ive devel-

oped my own system of mixing the primary colors

to create other hues. My method of working relies on color

charts I experiment with to help me map out the colors Ineed for a given painting.

T H E P R E L I M I N A R Y S T E P S

To begin, I prime both sides of a sheet of Arches 300 lb

watercolor paper with two coats of soft gel matte medium.

While doing so, I also prepare a small 8" x 8" piece to use

as a color card for the painting. This essential tool helps me

maintain an accurate record of the various colors Ive used

in my paintings and remember unusual ones.

After the priming is dry, I sort through my slides to find a

subject. I take all my own photos and often combine two

or more for the final composition. For Summer Song, for

example, I chose an arrangement of

flowers and a vase. I first projected

the vase onto the primed paper and

then carefully rendered it in graph-

ite, making sure to capture all the

details of the intricate pattern. Next,

I projected the flowers. Because I

used two different slides, I made

sure the flowers appeared to fit into

the vase. (Sometimes this means I

must adjust the projections so the

Above:Chart 1.This color chart shows how the three primary colors,when mixed together in equal amounts, produce aneutral tone.

Chart 2.When two primaries are mixed together, the result is asecondary color. This chart shows the three pairs ofcomplementary colors (red and green, blue and orange,and yellow and purple).

Opposite Page:Michigan Memories (detail),1995, acrylic, 25 x 25.Collection Mr. and Mrs. Jack Myers.

Chart 1

Chart 2


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Learn Acrylic Paintingcontents from the Masters!

The well-known artist-instructors featured inAmerican Artist

magazine have come together to teach the techniques, tips, and

tricks for creating stunning acrylic paintings! Inside youll find:

Painting advice from the pros, including Cary Parks Schwartz,Christopher Williard, Hugh Greer, Bonnie Brown Gergus,

Harvey Gordon, Marcia Burtt, and more.

The fundamentals of acrylic painting, beginning with the

history and development of the medium, as well as the

basic techniques.

Acrylics unique properties and a detailed comparison of water-

based paints such as egg tempera, casein, and gouache.

Step-by-step demonstrations of unique techniques that explorethe versatility of acrylics.

The fundamentals of selecting and mixing colors, including

basic color theory and creating a personalized color chart.

Perfect for both beginning and experienced artists alike,American Artist

Guide to Acrylic Paintingthoroughly explores the joy of working with the

medium.

American Artistmagazine has been a widely read and well-respected

resource for over 70 years; an essential tool for artists, both professional

and beginner. Every issue is filled with step-by-step demonstrations, techni-

cal Q&A, in-depth artist profiles, and more.

Paperback, 8 x 10, 128 pages

ISBN 978-1-59668-268-9, $24.95

Available September 2010

Basics:

History and Development ofAcrylics

The Characteristics of Acrylics thatAppeal to Artists

Iridescent and Interference Colors Acrylics: Gels & Mediums, Methods

& Materials

Techniques:

Carey Parks Schwartz: GainingConfidence With Acrylics

Hugh Greer: How to Layer Acrylics Ellen Rolli: Painting Coach Maximizing the Versatility of Acrylics

Subject Matter: Plein Air Acrylics: One Artists

Methods The Contents of Your Drawer Interiors and the Versatility

of Acrylics Finding Your Own Way in Acrylics

Color:

Mixing Acrylics: Triads

Stephen Quiller: Color Choicesthat Improve Watermedia Painting

Creating Vibrant Color withAcrylic Glazes

Documents

AA Acrylic F10 BLAD Web