Learn to paint in Acrylic paints - Step by Step
Golden's latest newsletter again deals with this issue, which is unique to acrylics (and latex paint). A new series of tests has confirmed that two coats of gloss medium under the gesso will control…Continue
I know that Karen's site is highly biased towards acrylics, but there are a number of members who use oils as well. For either medium, I would highly suggest that you either subscribe to Golden…Continue
Charles Eisener has not received any gifts yet
I started oil painting while in high school, and basically taught myself as we had no art program. First attempts were awful crude! And those 8x10 panels were just soooo big!
By the mid 50's I switched to acrylics as it took forever for knife paintings to dry, and the smell did not really please my parents. Unfortunately surface preparation was not a big issue back then, so a number of works fell victim to SID and got tossed out. That was not easy, but had to face the music.
Now retired, the paints are calling once more. Acrylics have changed a lot, and technical information is readily available to allow minimal risk of SID, for example. The colors from different manufacturers have a myriad of names, but can often be cross referenced via the actual pigment used. This is not infallible, as different quantities of the same pigment can produce different shades of paint, but it does provide useful comparisons.
Currently have two 16 x 20 panels on the go, both of which have multiple layers of glaze, plus a 9 x 12 based upon a photo taken a couple years back along the St Lawrence River in northern NY. There is no rush to finish these, so I am taking my time, and often go back and forth between pieces in the same session.
Before you can paint, you have to see. After my absence from the easel, I have to learn again to see.
This has been mentioned in several earlier blogs, but the latest Golden newsletter has another article on the topic, so maybe it is time to share an "update".
Acrylic paint dries due to the loss of water, either by evaporation or by absorption. The former can be controlled somewhat in the studio, but is harder to deal with en plein air. Two common devices are misters and the application of a moist film on the canvas, whether water or a medium of some type.
Absorption of water…Continue
Golden's latest newsletter is an eye-opener. As a direct result of their own research, they are discontinuing the use of Zinc Oxide in their oil colours. This is due to the extreme cracking and delamination noted in relatively fresh paint films (2 years and 10 years). Even dilution of Zinc White to under 2% in mixtures still produced the same degree of failure. Part of this is due to the interaction of the pigment with the fatty acids normally present in oil paints.
The main problem we seem to have with light is figuring out the quality of the source and how that affects everything else. The reason this is such a problem is because we do not see things as they are; we see what we have been conditioned to see. What colour is a banana? Or grass? Or an asphalt roadway? Conditioning gives us answers of yellow, green, and black, respectfully. In reality, these answers are often wrong.
CFL and traditional fluorescent tubes have a notable green…Continue