"Acrylics enable me to be fearless." --Rhonda Franks, p88
A exhibit of the flexibility of the medium and what's being performed with it this present day, AcrylicWorks 2 good points gorgeous work from a hundred+ of today's best artists. jam-packed with radical suggestions, satisfied injuries and never-ending percentages, this second quantity of the easiest of Acrylic portray makes a speciality of how artists companion with acrylics for leap forward discoveries and breakout results.
greater than a hundred twenty five work from a hundred+ modern artists
Artist insights at the whys and hows at the back of the paintings
an exhilarating number of types and methods, from intentional ways to wildly improvisational brushstrokes
various matters, together with landscapes, humans, nonetheless lifes, animals and abstracts
Acrylic paint permits the artist to play with textures, splashes, drippings, a number of instruments and brushes...all the whereas unhindered by means of drying time. It deals the facility to paintings a portray rainy or dry, quickly or gradual, in any variety of layers with no the necessity pull oneself out of it. it really is that experience of freedom that breeds the type of experimentation featured in those pages. Artist and paintings fans alike will locate clean proposal in those own and artistic breakthroughs.
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Additional info for Acrylicworks 2: Radical Breakthroughs
Step 6 I add a mixture of violet and ultramarine blue to emphasize the outermost edges of the petals. Then, working from dark to light, add sap green and burnt umber to the background to give depth to the painting. I spend some time experimenting with these areas, playing with different brushes and varied brushstrokes. indd 54 2/7/15 2:43 5:01 pm Text Job: 07-61260 Title: WalterFoster - CS24 The Art of Painting Flowers in Oil and Acrylic DTP: FF Page: 54 Step 7 To create the focal point—the heart of the orchid—I lay down alizarin crimson, cadmium barium orange, and phthalo violet.
And for the red peonies, I use cadmium red medium. I also add magenta to the alizarin crimson in the foreground flower. The vase is simply gray and the table is blocked in with yellow ochre. Step 5 In this step, I begin to add darker values (the shadows on the flowers), keeping in mind the shapes I am painting and the texture of the petals. I use a darker-value gray for the white peony. For the pink peony, I use a darker pink made with alizarin crimson and a darker gray. The dark red is a mixture of alizarin crimson and cadmium red medium.
Step 2 Next, I load a ¼-inch brush with sap green and outline the leaves and foliage around the blossom. Using the same brush, I use deep yellow to paint the petal outlines, followed by burnt sienna to delineate the center. indd 56 2/7/15 2:43 5:01 pm Text Job: 07-61260 Title: WalterFoster - CS24 The Art of Painting Flowers in Oil and Acrylic DTP: FF Page: 56 Step 3 With ½-inch flat brush with a crisp edge, I begin filling in the center with burnt umber. I use short, multidirectional strokes to create clean edges between the petals.