Download E-books Acrylic Illuminations: Reflective and Luminous Acrylic Painting Techniques PDF

By Nancy Reyner

50 brilliant techniques...for paintings that shines above the rest!

From the writer of the best-selling books Acrylic Revolution and Acrylic Innovation, this ebook blazes new artistic territory with 50 concepts that harness the creative strength of sunshine. starting from refined glazing on steel leaf, to pearly sheens, to boldly coloured optical results and shiny surfboard finishes, those ways symbolize the main asked points of Nancy Reyner's renowned workshops.

  • 50 crowd pleasing thoughts function steel leaf, reflective paints, pouring, fluorescent and phosphorescent paints, refractive layering and optical colour effects.
  • Possibilities are vividly illustrated with varied paintings from forty four artists.
  • A "Crash path on Acrylic" bankruptcy deals an summary of ways to exploit those flexible paints and items to their fullest potential.

This hands-on consultant offers transparent step by step instructions to effectively execute those new and intriguing concepts. discover matte epidermis development, sheen transferring, embedding gadgets, patinas and polished stone results. Use those ways for natural, summary or practical styles...as backgrounds, best layers, or accents layered in between...combine, test, and enable your work shine.

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The floor adjustments how the skin accepts paint (see options eleven, 33 and 34). Pastes, comparable to mild Molding Paste, Coarse Molding Paste, Crackle Paste and Pumice Gel, make nice absorbent grounds for growing watercolor results. Nonabsorbent or sleek grounds, although, repel washes, developing strange variegated results (see method 34). Nonabsorbent grounds comprise Molding Paste, any gloss medium or gel similar to delicate Gel Gloss, and pouring mediums. top effects are acquired whilst grounds are allowed to dry at the very least in a single day prior to using washes. elevate the washy influence through spraying the dried grounds with water ahead of utilising washes. The gold leaf heritage is noticeable via layers of obvious and opaque paint shades. those are received methods: diluting paint colour with water to create a wash and combining paint colour with mediums to create a glaze. panorama & GALACTIC dirt Nancy Reyner Acrylic and gold leaf on panel, forty eight" × 60" (122cm × 152cm) WASHES as opposed to GLAZES A wash and glaze are either phrases for obvious functions of colour, in spite of the fact that one is made with water, breaking down the binder, whereas the opposite makes use of mediums, protecting a wealthy polymer content material permitting greater overlaying strength. (See part four: crucial guidance for Pouring, because the descriptions there of wash pours and lined pours parallel the variations among washes and glazes. ) Washes and stains are effortless to exploit on absorbent surfaces or layers (usually matte). A glaze is better used on a nonabsorbent floor or layer, (usually glossy). for those who desire to observe a clear layer of colour, take a second to examine the skin absorbency. whether it is matte then use a wash, whether it is modern, use a glaze. whether it is matte and also you might really use a glaze, practice a coat of gloss medium, allow it dry, then follow the glaze. The opposite is correct besides. in the event that your floor is sleek and also you are looking to observe a wash, first practice a product with a clear grit, like a transparent acrylic gesso or acrylic matte medium over the gloss to alter the outside. GLAZING advice whilst might glazing be a suitable process? Glazing shifts underlying colours. it really is more often than not used as a clear layer of colour utilized over an present colour layer. Let’s say you painted a pragmatic portrait and the outside tone grew to become out to be too yellow. utilising a clear layer of pink (yellow’s contrary at the colour wheel) might neutralize the yellow, correcting the outside tone. The trick is in utilising the pink lightly, subtly and transparently. glossy paint colours (i. e. Quinacridones, Phthalos, Dioxazines) are obvious whilst used thinly yet are difficult to exploit on my own as glazes. smooth paints are so shiny they simply overpower any colours beneath and will practice streaky. including a slow-drying medium in a 1:1 ratio (or extra) will ease program and tone down the depth of colour, even for a high-powered Dioxazine pink. continually make a glaze combination beginning with medium and slowly including to it very small quantities of paint colour. combine good with a knife, and try it periodically to work out whether it is the perfect transparency via brush utilising the glaze blend onto a scrap floor.

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