I love the contrast between thin and thick paint areas. It looks like you painted thinly with the underpainting, and then went back and modified with thicker paint?
Your observation is correct Jeremy, I started with the paint quite thin but not watery. I could still easily paint wet-into-wet and the underlying layer easily took the paint off my brush. I gradually built up thicker texture.
Keeping the paint thin isn't the problem with acrylics. Building up thick impastos is much harder. Ultimately it may prove too difficult but I still have a lot of experimentation to do.
Many thanks for the feedback. I'll let you know how the show went.
Thanks for the feedback Jim. I'm glad there's enough depth to the videos that they warrant multiple viewings. I do try to edit them down to the bare essentials.
My daughter will be filming our opening tonight so I will edit a portion and put it on the site. It is the largest exhibition of my wife's work that we've ever had. It takes her so long to do a painting she rarely has more than four or five paintings in the studio.
What medium / glaze did you use to temporarily lighten the paint so it would not be darker when dry? I couldn't quite see the bottle when you held it up on the video. You did mention " glaze " but Golden has several mediums that you could have been using. Windsor Newton claims that their new Artist's Acrylic paint doesn't darken; have you tried it? Your videos are very calm and clear and show the actual brush work without the typical speeded-up activity; it's much appreciated.
I was using Golden Acrylic's Acrylic Glazing Liquid. It is specially formulated to be slow drying. It might have been replaced by their Open Acrylics medium now.
I haven't tried the Windsor Newton acrylics. It does seem intriguing that they have somehow formulated a perfectly clear medium which is a huge breakthrough. Let me know how it works if you ever try it.
Great video Brad. Good luck at the show.
ReplyDeleteI love the contrast between thin and thick paint areas. It looks like you painted thinly with the underpainting, and then went back and modified with thicker paint?
Your observation is correct Jeremy, I started with the paint quite thin but not watery. I could still easily paint wet-into-wet and the underlying layer easily took the paint off my brush. I gradually built up thicker texture.
ReplyDeleteKeeping the paint thin isn't the problem with acrylics. Building up thick impastos is much harder. Ultimately it may prove too difficult but I still have a lot of experimentation to do.
Many thanks for the feedback. I'll let you know how the show went.
It always helps me to watch each segment more than once to let your information sink in. Thanks and good luck with your show.
ReplyDeleteThanks for the feedback Jim. I'm glad there's enough depth to the videos that they warrant multiple viewings. I do try to edit them down to the bare essentials.
ReplyDeleteMy daughter will be filming our opening tonight so I will edit a portion and put it on the site. It is the largest exhibition of my wife's work that we've ever had. It takes her so long to do a painting she rarely has more than four or five paintings in the studio.
What medium / glaze did you use to temporarily lighten the paint so it would not be darker when dry? I couldn't quite see the bottle when you held it up on the video. You did mention " glaze " but Golden has several mediums that you could have been using. Windsor Newton claims that their new Artist's Acrylic paint doesn't darken; have you tried it? Your videos are very calm and clear and show the actual brush work without the typical speeded-up activity; it's much appreciated.
ReplyDeleteSteve,
ReplyDeleteI was using Golden Acrylic's Acrylic Glazing Liquid. It is specially formulated to be slow drying. It might have been replaced by their Open Acrylics medium now.
I haven't tried the Windsor Newton acrylics. It does seem intriguing that they have somehow formulated a perfectly clear medium which is a huge breakthrough. Let me know how it works if you ever try it.