Any tips for acrylic painting
el
keith o'connor (tinmangallery.com
keith
el <elr...@yahoo.com> wrote in message
news:5c69753c.0202...@posting.google.com...
Nik Maack
> What's your favorite tip for painting with acrylics?
I use a toilet seat lid for a palette, and I recommend you all do the
same. Not only does it work fantastically well -- it keeps you humble.
Nik
Chillie Benes
says...
>
>What's your favorite tip for painting with acrylics?
Don't thin exclusively with water.
Use clear acrylic medium (varnish) also.
keith o'connor (tinmangallery.com
special non stick coating are very easy to clean - just scrape off the dried
paint with a plastic spatula but, don't let your toilet seat know - those
toilet seats get very hostile when they find out there is someone new in
your life. I once had one that threatened to cut it off.
keith
Nik Maack <nikm...@sympatico.ca> wrote in message
news:3C772655...@sympatico.ca...
Chillie Benes
>I use a toilet seat lid for a palette
I presume you're always are a gentleman and
leave it "down" when you're finished...
Nerd Gerl
(assuming "them" are a bunch of little globs squirted from the tube).
============
Naked Angel Art: http://www.rcip.com/nerdgerl "Welcome To Heaven"
elr...@yahoo.com (el) wrote in message news:<5c69753c.0202...@posting.google.com>...
Chillie Benes
says...
>
>You can keep 'em wet for a little bit by laying saran wrap over them
>(assuming "them" are a bunch of little globs squirted from the tube).
Or save your emptied yogurt cups and the
lids. Tightly closed you can keep the
paint liquid for a long time. I put a dab
of the paint on the lid to let me know
what color is contained therein.
el
What about Golden (tm) vs everything else?
What about mixing brands?
Truest Blue Yellow and Red?
Wilfred Luvew
says...
>What about Golden (tm) vs everything else?
More expensive but considered the "best" by
those who use that brand regularly.
>What about mixing brands?
No problem, but why would you pay Golden
prices (pardon the pun) and then mix them
with something cheaper? As for mixing, see
the next answer, below...
>Truest Blue Yellow and Red?
I presume you mean which colors will give
the cleanest intermediates when mixed together?
Presumably each manufacturer formulates
their colors to mix clean intermediates.
But the cheaper brands may not always
give clean results - in my experience.
It takes experimentation with whatever
paints you are using to find which give the
cleanest colors when mixed together.
Caren
small magazine, or a few sheets of white paper). I keep 2, one to use, one
to switch to when the first gets too messy. I use a palette knife to move
clean remaining paint to the new bag/palette. Then move the foam core board
from the old one to a new ziplock bag and toss the messy one in the trash.
I also like the feel of the plastic. Seem to be able to retain just the
right amount of water from spray bottle of water.
I store the palette in a plastic box with tight lid or leave it on my
worktable with a board on top with a weight on top of that to keep seal
tight.
--
Caren F. Keyser
cke...@cfl.rr.com
"keith o'connor (tinmangallery.com" <scot...@rogers.com> wrote in message
news:2UTd8.3874$qQ....@news2.bloor.is...
Caren
I like the consistency of their jar paint better when I use it.
As for colors, in my opinion ( and others may see things differently)
Ultramarine Blue, Cadmium Red Medium, Cadmium Yellow Medium are primary
colors. I also like Burnt Sienna to round out my primary palette. And
Titanium White of course. You can paint anything with these 4 colors!
--
Caren F. Keyser
cke...@cfl.rr.com
"el" <elr...@yahoo.com> wrote in message
news:5c69753c.02030...@posting.google.com...
NightMist
>I actually prefer liquitex. I like that they label transparent vs. opaque.
>I like the consistency of their jar paint better when I use it.
>
>As for colors, in my opinion ( and others may see things differently)
>Ultramarine Blue, Cadmium Red Medium, Cadmium Yellow Medium are primary
>colors. I also like Burnt Sienna to round out my primary palette. And
>Titanium White of course. You can paint anything with these 4 colors!
>
I have a serious dislike of liquitex these days.
I did use it for some years, it was the best available option for a
long time.
Their use of opacifiers in the quinocridone colors totally makes them
unusable for me. Their lableing is frustrating, I have learned to
read their lables front back and sideways if I am in a position where
I _have_ to buy a tube of their paint (rare these days as I am much
more careful about stocking than I used to be).
They used to be very well labled, but as they introduced a lot of
mixed colors they got kind of slack about it. I have found some of
the doctored colors to be of a displeasing consistancy as well.
I have switched to Golden and I am very happy with it.
You can mix brands, if you trial and error a bit before trying it.
It doesn't seem like it should make a difference, but when you
actually mix the colors on your pallette, you will find some oddities.
Certain colors will mix strangely. I have a bunch of tubes of paint
that I never use scattered on the bottom of my paintbox just because
they either aren't up to snuff (mostly) or behave wierdly when mixed
with my 'regular' paints. I have pretty much taught my family that
"on sale" does not necessarily equal something I want.
Truest bunch of primaries? Well Golden makes specific color therory
primaries, but I haven't tried them, no need. This is something I
just don't think about, I use the colors I need to get the effects I
want. Though most of what I have are different shades, temperatures
and opacities of red, yellow and blue. (G) Other than that I have
some quinocridone violet and magenta, neutral earths, black and white.
Barbara
>"el" <elr...@yahoo.com> wrote in message
>news:5c69753c.02030...@posting.google.com...
>> Some great and funny ideas for keeping your piants alive.
>>
>> What about Golden (tm) vs everything else?
>>
>> What about mixing brands?
>>
>> Truest Blue Yellow and Red?
>>
>
>
--
everybody is somebodys chew toy
Jiri Borsky
> I have switched to Golden and I am very happy with it.
So have I, and so am I.
The exception is both Burnt Sienna and Raw Sienna, where pigment in
Rowney's acrylic paint seems (to me) more lively, more transparent.
Jiri Borsky
http://www.borsky.dial.pipex.com/
Wilfred Luvew
>The exception is both Burnt Sienna and Raw Sienna, where pigment in
>Rowney's acrylic paint seems (to me) more lively, more transparent.
>
>Jiri Borsky
>http://www.borsky.dial.pipex.com/
Sienna SHOULD be ground pure earth
pigment, which wouldn't be transparent.
Maybe Rowney is formulating from dyes
and calling it sienna?
Jiri Borsky
>
> In article <3C906F...@dialz.pipexz.comz>, bor...@dialz.pipexz.comz says...
>
> >The exception is both Burnt Sienna and Raw Sienna, where pigment in
> >Rowney's acrylic paint seems (to me) more lively, more transparent.
>
> pigment, which wouldn't be transparent.
> Maybe Rowney is formulating from dyes
> and calling it sienna?
According to my knowledge and experience, both Raw and especially
Burnt Sienna were always slighly (or: semi-) transparent pigments.
OK, not as clear as lakes, but not as opaque as Venetian Red (to
compare directly one earth with another earth).
I often glaze with B Sienna, as did countless other painters before me.
Jiri Borsky
http://www.borsky.dial.pipex.com/
Wilfred Luvew
>According to my knowledge and experience, both Raw and especially
>Burnt Sienna were always slighly (or: semi-) transparent pigments.
My real question was in your comparison of
Rowney acrylic products to Golden. I was
actually wondering if the Rowney siennas
were more transparent because they were
made from something other than pure sienna
pigments, like so many brands seem to be
these days. I am alarmed by the number
of brands that used to be considered
professional quality that are now labeling
their colors as if they still use the pure
pigments of old but are instead using new
cheaper simulated pigments while labeling them
with the old standby names.
NightMist
wrote:
I wouldn't expect this to be true of a sienna, lets face it, iron
oxide is cheap. Sienna has always been one of the less expensive
colors. I'd bet that the color would be more expensive if you
synthesized it. I would guess that the difference Jiri is seeing
probably comes from the pigments coming from different sources, or the
pigment to binder ratio.
I don't mind the use of the synthetic pigments with the old names so
much, if it is obvious they are phaseing out the old names and just
want people to know that it is essentially the same color. I can't
speak to oils, but I know that this seems to be the case with most of
the better lines of acrylics. Since acrylics make more use of the
synthetic pigments the oils and watercolors (or so I have been led to
believe), perhaps it has just taken time for lableing to come up to
speed.
Barbara
Esther Aigh
>I wouldn't expect this to be true of a sienna, lets face it, iron
>oxide is cheap. Sienna has always been one of the less expensive
>colors. I'd bet that the color would be more expensive if you
>synthesized it. I would guess that the difference Jiri is seeing
>probably comes from the pigments coming from different sources, or the
>pigment to binder ratio.
I agree. Well said. It's probably more to do with
my thinking processes. I never have thought
of sienna as being a "transparent" color. But
I do see where Jiri is coming from on this.
Compared to some colors sold, that are heavy in
fillers, I guess the un-adulterated sienna would
be more transparent.
>I don't mind the use of the synthetic pigments with the old names so
>much
Unfortunately for us, it doesn't matter much
whether we mind or not. The trend is toward
whatever can be found nowadays. And since
some of the traditional pigments are no longer
commercially available, we'll be satisfied with
whatever we're sold that has a reasonable
resemblance to the traditional even though it
may not endure more than a generation or two.
NightMist
wrote:
>In article <3c926e71...@news.madbbs.com>, nigh...@uir.zzn.com says...
>
>
>>I don't mind the use of the synthetic pigments with the old names so
>>much
>
>Unfortunately for us, it doesn't matter much
>whether we mind or not. The trend is toward
>whatever can be found nowadays. And since
>some of the traditional pigments are no longer
>commercially available, we'll be satisfied with
>whatever we're sold that has a reasonable
>resemblance to the traditional even though it
>may not endure more than a generation or two.
>
>
I had more been thinking along the lines of pigments that are
replaceing traditional ones that have proved to be fugitive, like the
madders, toxic, like vermillion, or unstable in an acrylic binder,
like prussion blue.
While you can still get madder derived colors, or true vemillion for
that matter, you will always see them labled with the addtion of
'genuine' to the name. (or you should anyway, so far as I know the
genuine pigments are only available in oils which is not my medium)
The color vermillion is still available, but I doubt very much that
anyone buying a tube actually expects the pigment to be cinnabar!
As I said, synthetics have always been more common to acrylics,
particularly since certain of the traditional pigments just don't work
in acrylic. Golden is very good about labling, and if you check their
website you can discover exactly what is used for whatever color you
are wondering about. There is also information about how to mix some
of the 'historical' colors with what they sell. There are some that
are direct exchanges, but they lable them as what they are, rather
than what they look like.
Esther Aigh
>As I said, synthetics have always been more common to acrylics,
>particularly since certain of the traditional pigments just don't work
>in acrylic.
Have you ever written Guerra Pigments and asked
for their specifications? They have a web site,
I THINK. It's a great source for those who are
believers in "traditional" pigments, and their
uses in acrylic mediums. I don't happen to be
one of those who has the patience to deal with
making my own paints, so I choose to stick with
the UTRECHT line.
Jiri Borsky
Sienna has always been one of the less expensive
> >colors. I'd bet that the color would be more expensive if you
> >synthesized it. I would guess that the difference Jiri is seeing
> >probably comes from the pigments coming from different sources, or the
> >pigment to binder ratio.
>
> I agree. Well said. It's probably more to do with
> my thinking processes. I never have thought
> of sienna as being a "transparent" color. But
> I do see where Jiri is coming from on this.
> Compared to some colors sold, that are heavy in
> fillers, I guess the un-adulterated sienna would
> be more transparent.
I rather doubt that I have ever handled an adulterated Sienna, as any
extender or filler would be of very similar cost as this earth.
Siennas and Ochres are dirt-cheap.
Nightmist has put her finger on it - different sources.
I seem to have read that the best deposits of another earth, Terra
Verte have now been exhausted. Terra Verte was part of my palette when
I still worked in oils, and it used to vary wildly from colourman to
colourman. I have not seen it in acrylics.
There is a jar of it (as of most known pigments) in dry form on my studio
shelf, but the hue is insipid, reminiscent of dull, weak, chalky and
over-extended oxide of chromium.
The good Terra Verte of the old days used to be darker, lovely olive/khaki
colour and also rather semi-transparent in nature.
IIRC the old Venetians used to underpaint flesh with it.
I am sorry to be harping on this semi-transparency string here.
It plays an important part in my technique based on successive paint
layers (as opposed to 'a la prima', or 'au premier coup' approaches).
Jiri Borsky
http://www.borsky.dial.pipex.com/
Esther Aigh
>> Compared to some colors sold, that are heavy in
>> fillers, I guess the un-adulterated sienna would
>> be more transparent.
>
>I rather doubt that I have ever handled an adulterated Sienna, as any
>extender or filler would be of very similar cost as this earth.
>Siennas and Ochres are dirt-cheap.
I think perhaps you mis-read what I wrote.
I wasn't implying that siennas were sold
with fillers - I was comparing the "opaque
vs transparent" qualities of colors that
ARE heavy with fillers versus those LIKE
sienna that are pure pigment with no filler
(or if you prefer, substrate).
Caren
to acrylics...
Fill an old windex or other spray bottle with water and spritz your palette
frequently to keep the paint moist but not in puddles.
keep the palette in a tightly covered container like an artists staywet
palette box or a plastic covered baking pan.
Never leave the palette without spritzing it and covering it with something
with a weight on top. I have a mosonite board. When I am done painting for
the day I put the proper tight fitting lid on the box. Because it is tight
fitting it is too hard to put on and off every time I step away. the board
works for a while, even overnight actually.
The palette can be stored in the freezer in its air tight container too.
Just takes a few minutes for it to thaw out. Since I have found more air
tight containers though, I don't ever bother with freezing any more.
Also, keep a folded paper towel on your work table to remove excess water
from your brush.
See my other post about the zip lock bag as a palette
--
Caren F. Keyser
cke...@cfl.rr.com
"el" <elr...@yahoo.com> wrote in message
news:5c69753c.0202...@posting.google.com...
Jiri Borsky
Yes, I have interpreted it differently from your intentions.
No doubt you are aware that some pure pigments, without any fillers,
are by nature very, very opaque.
(Unlike your seasonal pseudonyms :-)))
Jiri Borsky
Jiri Borsky
(snip)
> The palette can be stored in the freezer in its air tight container too.
> Just takes a few minutes for it to thaw out. Since I have found more air
> tight containers though, I don't ever bother with freezing any more.
???
I have grave doubts about freezing acrylic paint and suspect it could
seriously interfere with the polymer emulsion and its subsequent ability
to form a sound film.
It usually says: "Prevent from freezing", at least on cans of commercial
acrylic house-paint.
Jiri Borsky
Esther Aigh
>No doubt you are aware that some pure pigments, without any fillers,
>are by nature very, very opaque.
>(Unlike your seasonal pseudonyms :-)))
Why do I get the feeling this is a
very circular conversation, like
the seasons???
Esther Aigh
>I have grave doubts about freezing acrylic paint and suspect it could
>seriously interfere with the polymer emulsion and its subsequent ability
>to form a sound film.
Me too. It's okay to put your oil paints
in the freezer but I'd never freeze acrylics.
Wm. Ferguson
actually), but this was fascinating. I'm an accomplished musician and a writer,
but I just had my second child, and I need a different outlet. I had no idea how
engrossing painting could be. (Or how I could have lived 35 years without ever
remembering painting a single picture.) I have almost no idea what you all are
talking about, with all the polymers and siennas and toxic pigments, but I like
your passion.
May I further the kind of dumbed-down aspect of the question and ask this:
What brushes do I need to get started? I'm a little intimidated right now, so I'm
not painting on a surface much larger than, say, 6 inches by 6 inches. Thanks.
Peter H.M. Brooks
"Wm. Ferguson" <vze2...@verizon.net> wrote in message
> May I further the kind of dumbed-down aspect of the question and
ask this:
> What brushes do I need to get started? I'm a little intimidated right
now, so I'm
> not painting on a surface much larger than, say, 6 inches by 6 inches.
Thanks.
>
or even conte. All of these are nice for warming up and getting back
into the swing.
--
A car that will not go is not a car at all. - Birkett
Karsales (Harrow) Lts. v. Wallis 1956
Esther Aigh
> May I further the kind of dumbed-down aspect of the question and ask this:
>What brushes do I need to get started? I'm a little intimidated right now, so
I'
>m
>not painting on a surface much larger than, say, 6 inches by 6 inches. Thanks.
First of all, don't limit yourself with the
small size. That makes no sense at all - at least
to me. You can buy really economical paint boards
already primed and ready to paint on. I would
start with at least 16 X 20 and even better would
be 18 X 24 (inches). You can also buy pre-stretched
canvas for a bit more money, also already primed
and ready to paint on.
As for brushes, there are nylon bristle brushes
that are made specifically for acrylic painting.
A couple of sizes in each shape should get you
started - rounds, flats, etc. Add to the brush
collection as your painting style dictates. Small
detailed strokes require small detailing brushes
versus broad expressive strokes that can be done
with larger brushes or even your fingers!
First rule of keeping the brushes from being
ruined is to ALWAYS keep them wet when in use.
Suspend the bristles in a container of water
when in use and you can leave them there indefinitely
until you're ready to put them away for storage,
at which time wash them thoroughly with a mild
soapy water solution, then rinse in clear water.
NightMist
<vze2...@verizon.net> wrote:
>My God! What an amazing thread. I am utterly new to painting (about two weeks,
>actually), but this was fascinating. I'm an accomplished musician and a writer,
>but I just had my second child, and I need a different outlet. I had no idea how
>engrossing painting could be. (Or how I could have lived 35 years without ever
>remembering painting a single picture.) I have almost no idea what you all are
>talking about, with all the polymers and siennas and toxic pigments, but I like
>your passion.
> May I further the kind of dumbed-down aspect of the question and ask this:
>What brushes do I need to get started? I'm a little intimidated right now, so I'm
>not painting on a surface much larger than, say, 6 inches by 6 inches. Thanks.
>
A good many people find painting small to be more difficult than
painting large. Whatever you like though :)
So far as brushes go, I usually recomend abject beginners start out
with brights. They are the easiest to control (for most people it
seems). So far as the actual fibers go, that is going to take some
trial and error on your part to determine what works best for you.
Don't be surprised if your tastes in that area change as your skill
develops and your style evolves. Several of the mail order art supply
places regularly offer brush grab bags. Get one if you find one, you
will get several brushes you never would have thought of buying, and
an assortment of fibers to try out. I'm a compulsive brush grab bag
buyer. (G)
Usually you get what you pay for with brushes, but some of the
synthetics have really surprised me.
Barbara
boiled bristle and mongoose by personal preference
Caren
are overly shy about getting started, I have found that you get some
gesso,(that's the white stuff they coat canvas with) and put about two coats
on some sheets of cut out brown paper bag to create a good play around
surface. For that matter, if you have some white house paint, you could
paint some onto the bags for an even cheaper alternative. Once you have
this, then start spreading some paint on. Try a lot of paint and a little
paint. Try putting one color on one edge of the brush and another color on
the other edge of the brush. Just play around with it till the
putting-paint-on-surface hurdle has been explored thoroughly. Thin some
with water and wash that over some of the dry areas. Let us know how you
are doing.
--
Caren F. Keyser
cke...@cfl.rr.com
<as...@jklwerui.sd> wrote in message
news:MPG.1700eca3c...@news-server.bak.rr.com...
> In article <a76fps$bnk$1...@ctb-nnrp1.saix.net>, pe...@new.co.za says...
> >
> > "Wm. Ferguson" <vze2...@verizon.net> wrote in message
> > > May I further the kind of dumbed-down aspect of the question and
> > ask this:
> > > What brushes do I need to get started? I'm a little intimidated right
> > now, so I'm
> > > not painting on a surface much larger than, say, 6 inches by 6 inches.
> > Thanks.
> > >
> > Why not try charcoal on big sheets of paper, or pencil, or pen & ink -
> > or even conte. All of these are nice for warming up and getting back
> > into the swing.
>
> Good suggestion. Something else to try:
>
> Use an easel and a large (24 x 36 inch or so) drawing board. Use
> "bulldog" clips to attach some full sheets of newspaper (plain newsprint
> or already printed). Use a 1 inch wide house painting brush and liquid
> poster paint, or india ink, and draw big stuff, using as much of the
> paper as possible. It's best to stand up for this exercise so that you
> are using the large muscles of the arm, rather than the tiny muscles of
> the hand. With practice, you will gain the strength and control you need
> to draw and paint confidently.
>
> The reason for using newspaper, a big wide brush, and poster paint is to
> put aside the worry about wasting materials or making something "nice".
> You can make a mess and throw out your drawings without guilt.
>
> You'll know when you are ready to progress to charcoal / pencil / conte /
> paints on better paper.
>
> As for selecting brushes for acrylic painting, don't go so cheap that the
> brush hairs fall out and end up in your picture. Go for brushes that hold
> their shape well rather than sticking out all over. Natural hog bristle
> is okay but I prefer the synthetic nylon equivalent. Clean them up well
> with soap and warm water when you're done; dried-on acrylic will ruin
> brushes.
>
Wm. Ferguson
And I learned a valuable lesson: anything you say can and will be held against
you. I made the mistake of mentioning imaginary dimensions as an aside --
painting on a surface of, say, 6 by 6 inches -- just as a way of talking about
brush sizes. I had no idea that I would create an accidental furor! (A
terribly, terribly small furor, I realize, as furors go.) So let's pretend I
never said anything of the kind.
But still, I don't know what the difference between a bright and a flat is.
What's a filbert for? How do you paint precise lines?
Again, thanks for the generosity of the posts.
Esther Aigh
> But still, I don't know what the difference between a bright and a flat
is.
>What's a filbert for? How do you paint precise lines?
>Again, thanks for the generosity of the posts.
Do a search online for "art supplies." Many
sites have photos of paintbrushes. Then
call or email the companies you find and ask
them to send you catalogs. You'll find
photos of actual brushes - especially in the
larger catalogs like Daniel Smith's.
Actual shapes/sizes differ between brush
makers, as do sizes. One brush makers No. 8 may
be another's No. 6 or 10. Just as one brush makers
bright may be another makers flat.
In general:
A bright is shorter-bristled (stiffer) than a flat.
A flat has longer, more supple bristles than a bright.
A filbert is a flat that has had the bristles trimmed
to a curved shape. I've never found a use for this
particular brush and I've been painting for MANY years.
Brushes for fine lines are called "script liners" and/or
"riggers" and have very long supple bristles. You
may have to resort to buying a watercolor brush to
get these fine-line tools. Very small "rounds" with
long bristles are also good for fine lines.
There is no "rule" for when to use a particular
brush. MOST artists I know would tell you that
"you can never have too many brushes." That's
certainly true in my case. And the only way to
find out what works for you in any given situation
is to do the painting and find out.
Here's a hint for getting fine lines - or several
hints-in-one:
I use the edge of a painting knife for fine
straight lines. You can also thin your paint to
a flowing consistency and use an ordinary ink
pen nib. For short lines, a round toothpick comes
in handy. And once you get your technique down,
scratching into an area of wet paint with a pointed
tool can work magic, especially if there is a
strongly contrasting underpainting. I've even
dipped a long string into paint and "snapped" it
against the canvas to give an interesting linear
element. Or dip the edge of a thin piece of
cardboard into the paint for another linear effect.
Remember - there are no rules and those who would
give you rules to follow should be telling you
to break the rules instead - ie; invent your own.
NightMist
<vze2...@verizon.net> wrote:
>Well, thanks for all the replies to my inaugural post. It was all illuminating.
>And I learned a valuable lesson: anything you say can and will be held against
>you. I made the mistake of mentioning imaginary dimensions as an aside --
>painting on a surface of, say, 6 by 6 inches -- just as a way of talking about
>brush sizes. I had no idea that I would create an accidental furor! (A
>terribly, terribly small furor, I realize, as furors go.) So let's pretend I
>never said anything of the kind.
> But still, I don't know what the difference between a bright and a flat is.
>What's a filbert for? How do you paint precise lines?
>Again, thanks for the generosity of the posts.
A bright is the same shape as a flat, but the filiments are not as
long.
I use filberts a lot. You can get a stroke that is similar to one you
would get with a flat, but with softer edges. You can also use it to
paint lines of varying fineness. A versatile brush.
As to precise lines....
There are several ways to get them if you need them.
Holding the brush handle against a bridge or mal stick as you make
your stroke is one of the most common ways, painting over a drawn
guideline is another, frisket is yet third.
Truly, if you are just starting out I would beware of overmuch
precision. There is indeed a time and place for it in painting, but
it can really bog you down when you are just starting out. There is
not near so much precision in a painting as you might think.
Barbara
Beware the hard edges....