Learn to paint in Acrylic paints - Step by Step
An email newsletter from Golden paints today has provided a new perspective on the sealing of hardboard (eg Masonite) prior to painting with acrylics. In brief:1) With Golden Open acrylics, the…Continue
I never was a fan of the wood palettes while oil painting as the warm background distorted my sense of colour. Then came the white disposable palette pads. They were OK, but made it hard to judge…Continue
No, not a pictorial print, the text type! One painting I have been working on dates back about 30 years since it was started, and at this point probably has over 40 layers of glazes. Yeah, the fun…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.
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
This also came up in Paul's post and I don't recall doing an update. In early 2015 The jury was still out regards the future availability of cadmium based pigments. There was a formal proposal in Europe that would have completely banned cadmiums due to health and environmental concerns.
Later in the year the proposal was rejected, partially based upon submissions from artists, professional organizations, and manufacturers. Had it been passed, these pigments would likely have…Continue
Once upon a time, when acrylics were relatively new to artists, we had problems mixing our colours. Not only was there this strange colour shift as the paint dried, but our mixes got muddy (as in Yuk!) very quickly.
Reference to this can be found in many books and videos, and is often repeated by those of us who started out in oils and never had problems before. So what gives?
Some sources suggest that limiting the number of pigments that are present in a given mixture will…Continue
This will only make sense if you have read Parts 1 and 2.
Cerulean Blue was at one point my primary blue for skies and water, and I could not understand why it was not more popular among artists. The obvious teal hue makes me wonder now why I was so slow to catch on. If you look at the mass tint, it is also clear that Cerulean will never result in a decent dark blue, the intensity just isn't there. The same applies to Cobalt Blue. Their relatively low tinting strength also makes them…Continue