AcrylicIlluminationsReflectiveandLuminousAcrylicPaintingTechniques

NancyReyner

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ContentsSpecialOffersIntroduction

AboutThisBookCrashCourseonAcrylic

YourAcrylicToolboxPigment/ColorAcrylicBinders:Mediums,GelsandPastesInventingWithYourToolboxApplicationTipsandMaterials

DistinctiveMetallicsEssentialTipsforMetallicsBasicapplicationofgoldleafMixingMetalLeafTexturedMetalSandingMetalLeafHighGlossLeafGoldLeafBackgroundsIntensifyMetallicHuesDecorativeDesignsSubtractiveGlazingTarnishEffectsFauxLeafPatinasDrawingonLeafGlitterandMetalFlakesMetalPaint

PrismaticEffectsEssentialTipsforReflectivePaintsMulticolorImprintVeilingLayerswithPastesMatteSkinsConstructionSoftMeltedEffects

MultipleLayeringFakeWaxUnderglowEffectsOverglowSheensPrismaticLayeringEmbeddedPearlizedColor

SecretTrickstoPouringEssentialTipsforPouringSurfboardFinishDirty-MixPoursTheSupremePourSmoothingPoursPouredGlazingDeepPouringEmbeddingObjectsPouringVeiledEffectsHaloStainingMetallicRainbowColorFieldStainingMarbleizingColorFieldsShapedEdgeWashesHardandSoftEdgePouring

Optical&LuminousEffectsEssentialTipsforOpticalandLuminousEffectsThePaintasItselfPolished“Stone”EffectsSheenShiftingSubtractiveMetallicGrisailleMetallicDrawingSurfacesStainedGlassEffectVeilingMetalLeafGlassRefractionPouringEmbeddedLeaf

FluorescentandPhosphorescentPaintsVibratingOpticalEffectsHighContrastContributingArtists

AbouttheAuthorDedicationAcknowledgmentsCopyright

IntroductionAboutThisBookArtenhancesourlives.Whetherweviewitforpleasureorcreateitasartists,artcanserveusinwaysbothprivateandpublic.Makingartjustforourselvesissimilartowritinginadiary:thewritingispersonalandnotmeanttobereadbyothers,eliminatingtheneedforediting.Ontheotherhand,artistsintendingtocommunicatethroughtheirworktootherswillfirstneedtograbsomeone’sattentionwiththeworkvisually.

Gettingattentionhasmoreupitssleevethanloudcolorsorprovocativeimagery.Thisbookoffersfiftywaysto“catchtheeye.”Therangeoftechniquesswingfromsubtleglazingonmetalleaf,topearlysheensofexoticbeetlewings,aswellasboldlycoloredopticaleffects.Similartomypreviousbooks,AcrylicRevolutionandAcrylicInnovation,AcrylicIlluminationsisarecipebookoftechniques,meanttobeusedlikeyouwouldacookbookforadinnerparty.Startbyselectingwhatinspiresyouandvarytheingredientstoyourliking.Incorporatethemintoyourcurrentprocessorallowthemtomoveyourworkinanewdirection.

Allofmybooks,likemyteaching,arecreatedwiththeintenttoofferwaysofinventing,notcopying.Step-by-stepinstructionallowsmasteryofatechnique.Itisuptothereadertotransformthetechniqueintoafinishedpaintingofhisorherchoice.Sometechniquesjustbythemselvescanproduceacompletepainting.Often,however,workingfurtherthanthetechniquedictateswillpushtheworkfromasingulartechniqueintoamoresatisfyingpainting.Usethetechniquesforpersonalorprofessionalwork,forabstractorrealisticstyles,asbackgrounds,toplayersorforaccentslayeredinbetween.Trycombiningseveraltechniquesinonepaintingbylayeringeachtechniqueseparately(seeTechnique19formultipletechniquelayering).Theinstructionsarenotsetinstone,butmeanttoinspireyoutochangethem,encouragingourwonderfulinnatesenseofplay.

I’dalsoliketoemphasizethattechniquesarenotstyles.Thismeansthateverytechniqueinthisbookcanbeusedtocreatearepresentationalorabstractimageinanystyle.Ihavepurposelyvariedtheartworkexamplesasreminders,hopefullydispellingamyththatworkinginacrylicalsomeansthattheworkmustbeabstract.Asanexample,thepouringtechniqueinTechnique26canbeusedtocreatesomeinterestingorganicandabstractforms,yetcanalsocreatebeautifullandscapeelementsandbackgroundsforstilllifeandportraits.

Eachtechniqueisdemonstratedwithconciseillustratedstepsandfinishedpaintingexamples.Abonuschapter,CrashCourseonAcrylic,opensthebookandoffersanoverviewonhowtouseacrylicpaintsandproductstotheirfullestpotential.Thisfirstchapterhasgreattipstoguideyouthroughanytechniqueyouchoosewithgreaterease.Pleasereadthissection,asevenexpertscanbenefit.Termsaredefined,whilegeneraltipsandinformationthatpertaintotechniquesareexplained,allowingafullerunderstandingofthetechnicalprocess.Thischapteraddsmultiplewaystoindividualizetechniquesbyexpandingandvaryingthemtoyourpreferences.

Theremainingfourchapterscontainfiftytechniques,groupedtogetherbyparticularmaterialsorvisualeffects.Specifictipsforthosetechniquesareincludedinthefirsttwopagesofeachchapter.Thesetippagesarevitaltoobtainbestresults.Pleasereadtheseastheycansaveyoubothtimeandmoney.

Bestwishesforinspiration,newideasandeye-catchingresults!

SECTION1

CrashCourseonAcrylic

Acrylicoffersawidevarietyofpaintingpossibilities.ThisexamplecombinesTechniques33,34and41.Thetechniquesinthisbookaremeanttobeself-explanatory.Yetthemoreweknowaboutthepaintandmediumthebetterwecanplayaroundwithinstructions,experimentingandchangingthemtosuitourownneeds.Thisfirstsectionisdedicatedtoexploringessentialaspectsofacrylicforthepainter.Readingthroughthissectionwillhopefullyequipyouwithhelpfulideasandtipsallowingmoreeaseandsuccesswiththefiftytechniquesthatfollow.

InworkshopsIoftenusethefollowinganalogytohelpstudentsunderstandthatacrylicisnot“justpaint.”Forme,acrylicpaintistoallothermediumsasPhotoshopistoatypewriter.ImagineonlyusingPhotoshoptotypealetter!WewouldbemissingoutonthevastpossibilitiesthatPhotoshophastooffer.It’sthesamewithacrylic.Toapproachacryliconlyasifwearepaintingwithoilorwatercolorwouldinhibitusfromitsbroadrangeofpaintingpotential.Tohelpexplainthisconcept,I’vecreatedachartcoveringanoverviewofacrylic

painting.Forthosewhodon’tlikecharts,keepreadingthepagesimmediatelyfollowingforanexplanationofeachfacetofthechart.

YourAcrylicToolbox

InventingwithYourToolbox

YourAcrylicToolboxForourpurposesaspainters,let’ssimplifytheconceptofpaintintotwocomponents:pigmentandbinder.Pigmentaddscolorwhilebindermakesitpaintable.Binder,alsoreferredtoasvehicleormedium,transformsthepigmentparticlesintoawetformcreatingasubstancewecanuseaspaint.Allpaintshavethesesametwomaincomponents.Oilpaintiscoloredpigmentheldtogetherwithoilasthebinder.Caseiniscoloredpigmentheldtogetherwithmilkasthebinder.Eggtemperauseseggasbinder.Watercolor’sbinderisnotwaterbutgumarabic.Acrylicpaintiscoloredpigmentheldtogetherwithacrylicbinder(alsoreferredtoaspolymerorplastic).

Whatevertermyouchoose,acrylicbinderscreatewonderfulpaint.Acrylicisnowconsideredthemostarchivalofallpaints.Itwon’tyelloworcracklikeoilandisnotdelicateandresolublelikewatercolor.Labsthattestthelongevityofacrylicforstabilityandpermanenceuseacceleratedtimetestingtosimulatewhatthepaintfilmwouldbeexposedto(suchaslight,dustandair)for500yearsormore.Eventhoughacrylichasonlybeenavailableasapaintforalittleoversevendecades,thesetestsverifyitsarchivalpotential.Otherfactorslikestorageconditions,qualityofsubstratesused,paintingmethods,andwhethertheartistincorporatedarchivalmaterialsandmethodssuchasvarnishingwithUVprotectionalsoplayaroleinapainting’sarchivalcapacity.

Acrylic—MoreThanJustPaintPaintstickersisatermandprocessinventedbytheartistwherebyacrylicispaintedontoself-stickvinylcreatinghomemade“stickers.”VELOCITY(INSTALLATION)JaneCallister

Acryliconcanvas(paintingonwall),acryliconfoamsculptures(floor)andacrylicpaintstickers(walls),72"×25"×12"(183cm×762cm×366cm).Courtesyoftheartist.

VELOCITY,(DETAIL)JaneCallisterAcryliconcanvas,48"×60"(122cm×152cm)Courtesyoftheartist.

Pigment/ColorThereareplentyofscientificarticlesonthistopic;however,forsimplicitywecanorganizeartistpaintcolorsintothreemaincategoriesbasedontheirpigments:mineral(alsocalledinorganic),modern(alsocalledorganic)andreflective(iridescentandinterferencepaints).Thepigmentsinthemineralcategory,aswellasthereflectivecategories,containbothnaturalandsyntheticpigments,whilepigmentsinthemoderncategoryareallsynthetic.

Modernpaintstendtohavenew-soundingnameslikePhthaloandQuinacridone,whilemineralpaintsusuallyhavefamiliar-soundingnameslikeOchre,CadmiumandBurntSienna.Ifyoucouldseepigmentparticlesinamicroscope,thepigmentsinthemineralcategorylooklikedustyboulderswhilethemodernonesresemblepiecesofstainedglass.Mineralcolorshaveaconsistenthuewhetherappliedthinly(torevealitsundertone)orthickly(tocreateitsmasstone),offermoreopaquecoverage,applyevenlywithabrush,anddrytoamattesheen.Moderncolorsareopaqueanddarkerinhuewhenappliedthickly,whilesuperbrightandtransparentwhenusedthinly.Moderncolorsappearstreakywhenbrushappliedduetothisdramaticvisualdifferencebetweenthickandthinapplicationsanddryglossy.Someotherdifferencesincludetintingstrengths.Mineralsgetimmediatelydullandchalkywhenwhiteisadded,whilemoderns“pop”orgetintenselybrighterwithasmallamountofwhite.Whenmixingcolors,modernsare“cleaner”anddon’tturnmuddyasfastasminerals.Modernsarepowerfulcolormixersthatstronglyaffecttheresultingcolorwhenaddedtoamixture.Reflectivepaintsreflectlightandrefractcolor.TheseuniquepigmentshavetheirownspecialsetofguidelinescoveredinmoredetailinSection3:EssentialTipsforReflectivePaints.

Thewidevarietyofacrylicpaintcolorsopenupincrediblepossibilitiesforabstractorrepresentationalimagery.SPACEANDTIMESandraDuranWilsonAcrylictransfersandcollageonaluminumwithpouredresin,8"×8"(20cm×20cm)

AcrylicBinders:Mediums,GelsandPastesVisitingtheacrylicsectionofanartstorecanbemind-boggling,yetmostproductsareeitherpaintorbinder.Painthascolorpigmentwithacrylicbinder(polymer),whiletheotherproductsrepresentvariousbindersthatcanbedividedintothreemaintypes:mediums,gelsandpastes.

Considerthechemist’sprocessformakingagoodpolymerpaintingbinder.Beginningwithahighqualitypolymerafewadditiveslikeretarderandmoldinhibitorareincludedforeaseofuseandstorage.Addingthickenercreatesthickermediumsandgels.Addingmoreretarderwillcreateaslow-dryingmedium.Addingmattingagentmakesmattemediumsorgels.Addingwhiteoropaquecomponentsmakespastes.Additionalmaterialssuchaspumice,glassbeads,metalandfiberareaddedtomakeunusualgels.Ofcourse,addingpigmentmakespaint.Forpaintersthereismuchtochoosefrom.Acrylicbindersarekeystointerestingnewspecialeffects,allowingopportunitiestochangenearlyallaspectsofthepaintandpaintingsurface.

Transparentvs.Translucentvs.OpaqueWhendry,themediumsandgelshaveturnedclearandglossy,whilethepastestillremainswhiteandopaque.Asmallswatchofmattemediumandmattegelareappliedtothebottomoftheirglosscounterpartstoshowthetranslucentqualityofmatteproducts.

Colorslookdeceivinglytintedwhenwet,butdrytotheirnaturalcolor.Thismeansthemoremediumsandgelsthatareaddedintoacolormixture,thegreaterthedifferenceincolorbetweenwetanddry.Pastesareanexceptionsincetheyarewhitewhenwetandstaywhitewhendry.Mixpastesintoyourpaintandthecolorsstayalmostthesamefromwettodry.

PAINTCONSISTENCYPolymer,whichisnaturallythin,combinedwithpigmentsmakesfluidpaints.Thickenersareaddedtothepolymertocreateheavy-bodiedpaints.Acrylicpaintisavailableready-madeinthesedifferentconsistencies:fluidandheavybody.Thickerpaintallowsfortexture,whilefluidsmakeiteasiertoobtainwatercolor-likeeffects,andsmoothorbrushlesspaintapplicationsresemblingenamelorgouache.Acrylicinks(high-flowandairbrushcolors)arethinnerthanfluidsandproduceinterestingresultswhenusedinsometechniquessuchaspouring(seeTechnique27).

Whatdoespaintconsistencymeantousaspainters?Acommonmisconceptionisthatfluidsaremerelyadilutedversionofheavy-bodiedpaints.Theircolorintensitiesarethesamesinceafluidpaintisnotadiluted

versionofthethickerpaint.Thepigment-to-binderratiosarethesameforboth,sopricepervolumeisalsothesame.Youwillnotsaveanymoneybydilutingheavybodypaintstocreateyourownfluidpaints.Let’ssayyouwantedawashywatercoloreffectwithnotexture.Ifyoustartwiththeheavybodypaintsyouwouldneedtoheavilydilutethemwithwater,whichalsoheavilydilutesthecolor’sintensity.Bystartingwithfluids,you’llneedlesswatertomakeawash,keepingthecolorintensitystrong.UNDERSTANDINGTRANSPARENCYEachtypeofbinder,aswellaseachpaintcolor,hasitsownqualityintermsoftransparencyversusopacity.Youcancustomizethetransparencyandopacityofpaintsbyaddingbinders.Transparentbinders(suchasglossmediumsorgels)allowanunderlyingcolor,imageorsurfacetoshowthrough,whileopaquebinders(suchaspastes)coverupwhateverisunderneath.Addingglossmediumsorgelstopaintincreasestransparency,whileaddingpastesincreasesopacity.Addingmattemediumsorgelstopaintcreatestranslucency,offeringopportunitiestoreplicatewaxandotherveilingeffects(seeTechniques17,20and45).Addingmoreorlessofeachoftheabovecreatesvaryingdegreesoftransparency,translucencyoropacity.Asanexample,glazesaremadebymixingverysmallamountsofpaintcolorintomediums.Substitutegelsformediumsinthisscenariotomakecontemporarytexturalglazes(readfurtherinthissectionformoreglazinginformation).

Insummary,mediumsarethinandpourable,smoothingthepaintorsurface.Gelsandpastesarethick,addingtexturetothepaintorsurface.Glossmediumsandgelsaretransparent,mattemediumsandgelsaretranslucent,andpastesareopaque.Additivessuchasretarderandflowreleasearenotacrylicbinders.Theseneedtobeusedincorrectproportionsasdescribedontheirproductlabels.

Dramaticcombinationsofpaintandbinders(gels,mediumsandpastes)areusedinthislarge-scalepaintingtocreateavarietyoftexture,sheens,transparenciesandcolorvibrancy.ROUNDMIDNIGHT

JimWaidAcryliconcanvas,72"×60"(183cm×152cm)

InventingWithYourToolboxWecancallourtoolboxcomponentsTheBigFour:paint,mediums,gelsandpastes.Bymixing,combiningandlayeringthesefourwecancustomize,change,experimentandinventinourpaintingprocess,materialsandart.WATERVERSUSMEDIUMSTherearetwochoicesforthinningacrylicpaint:wateroracrylicmedium.Waterbreaksdownthebinderinacrylic,andlikeasolvent,willthinthepaintsothatitappearslikewatercolorandwillresultinamattefinish.Addingacrylicmediumsinstead,whileminimizinganyadditionofwater,maintainstherich,glossyacrylicappearance.Themorewateryouadd,themoreitisaffectedbythesurfaceonwhichitisapplied.Upto30%wateraddedtopaintthinsthepaint,butstillallowsittocoatoverasurface.Adding60%ormorewatercreatesanover-dilutedwaterypaintcalledawash.Rubbingawashintoanabsorbentsurfacesoonlyahintofthecolorremainsiscalledastain.

Similarlywithmediums,addingmoreorlessmediumtopaintcreatesdifferentqualities.Upto30%mediumaddedtopaintwillthin(athickpaint)allowingthepainttocoatthesurface.Adding60%ormoremediumcreatesmoretransparency,oftencalledaglaze.

Addingwaterormediumarebothviablewaystochangethepaint;however,itishelpfultoknowthataddingeitherofthetwochoicesproducesverydifferentresults.Manytechniquesinthisbookrequiretheuseofoneortheotherwherealayerofpaintiscreatedbyawashusingwatertosinkintothesurfaceorelsemediumstocoatthesurfacebysittingontop.Whenpaintsinksintothesurface,thecolorislessintenseandhasamatteappearance.Whenpaintsitsontopofthesurface,theundilutedbinderenhancescolorintensityandappearsglossy.

Forpainttosinkdownintothesurfaceitneedstwocomponents:1)enoughwatermixedintothepainttocreateawashand2)surfaceabsorbency.Foracrylictositontop,ortolayer,keeptheuseofwatertoaminimumandinsteadaddanyamountofmediumsorgels.Youcanhavemorecontroloveryourpaintandpaintingeffectsbyavoidingcontinuallysprayingacrylicpaintwithwaterorhaphazardlyaddingwatertoslowdryingtimes.SURFACEABSORBENCYAsurfaceprimedwithgessoisabitmidstream,neitherabsorbentornon-absorbent,soapplyingwashesoveritwillnotalwaysgetgoodresults.Youcaneasilychangesurfaceabsorbencybyapplyingagroundbeforepainting.Agroundisanacrylicgelorpasteappliedoveraprimedorgessoedsurfaceandallowedtodrybeforepainting.Thegroundchangeshowthesurfaceacceptspaint(seeTechniques11,33and34).Pastes,suchasLightMoldingPaste,CoarseMoldingPaste,CracklePasteandPumiceGel,makegreatabsorbentgroundsforcreatingwatercoloreffects.Nonabsorbentorglossygrounds,however,repelwashes,creatingunusualvariegatedeffects(seeTechnique34).NonabsorbentgroundsincludeMoldingPaste,anyglossmediumorgelsuchasSoftGelGloss,andpouringmediums.Bestresultsareobtainedwhengroundsareallowedtodryatleastovernightbeforeapplyingwashes.Increasethewashyeffectbysprayingthedriedgroundswithwaterbeforeapplyingwashes.

Thegoldleafbackgroundisvisiblethroughlayersoftransparentandopaquepaintcolors.Theseareobtainedtwoways:dilutingpaintcolorwithwatertocreateawashandmixingpaintcolorwithmediumstocreateaglaze.LANDSCAPE&GALACTICDUSTNancyReynerAcrylicandgoldleafonpanel,48"×60"(122cm×152cm)WASHESVERSUSGLAZESAwashandglazearebothtermsfortransparentapplicationsofcolor,howeveroneismadewithwater,breakingdownthebinder,whiletheotherusesmediums,maintainingarichpolymercontentallowingbettercoveringpower.(SeeSection4:EssentialTipsforPouring,asthedescriptionsthereofwashpoursandcoatedpoursparallelthedifferencesbetweenwashesandglazes.)Washesandstainsareeasytouseonabsorbentsurfacesorlayers(usuallymatte).Aglazeisbestusedonanonabsorbentsurfaceorlayer,(usuallyglossy).Whenyouwishtoapplyatransparentlayerofcolor,takeamomenttolookatthesurfaceabsorbency.Ifitismattethenuseawash,ifitisglossy,useaglaze.Ifitismatteandyouwouldratheruseaglaze,applyacoatofglossmedium,letitdry,thenapplytheglaze.Thereverseistrueaswell.Ifyoursurfaceisglossyandyouwanttoapplyawash,firstapplyaproductwithatransparentgrit,likeaclearacrylicgessooracrylicmattemediumovertheglosstochangethesurface.

GLAZINGTIPSWhenwouldglazingbeanappropriatetechnique?Glazingshiftsunderlyingcolors.Itismainlyusedasatransparentlayerofcolorappliedoveranexistingcolorlayer.Let’ssayyoupaintedarealisticportraitandtheskintoneturnedouttobetooyellow.Applyingatransparentlayerofpurple(yellow’soppositeonthecolorwheel)wouldneutralizetheyellow,correctingtheskintone.Thetrickisinapplyingthepurpleevenly,subtlyandtransparently.

Modernpaintcolors(i.e.Quinacridones,Phthalos,Dioxazines)aretransparentwhenusedthinlybutaretrickytousealoneasglazes.Modernpaintsaresovibranttheyeasilyoverpoweranycolorsunderneathandmayapplystreaky.Addingaslow-dryingmediumina1:1ratio(ormore)willeaseapplicationandtonedowntheintensityofcolor,evenforahigh-poweredDioxazinePurple.

Alwaysmakeaglazemixturestartingwithmediumandslowlyaddingtoitverysmallamountsofpaintcolor.Mixwellwithaknife,andtestitperiodicallytoseeifitistherighttransparencybybrushapplyingtheglazemixtureontoascrapsurface.Quicklydrytheareawithablowdryertoseetheactualcolorwhendry(seeTechnique7forglazingovergoldleaf).

Avarietyoftechniquesareusedhereincludingwashpouringwetinwet,splashingintothewetpaint,andapplying“paintstickers”(inventedbytheartistbypaintingdirectlyontoself-stickvinyl).EXPELLEDJaneCallisterAcryliconcanvas,36"×72"(91cm×183cm)Courtesyoftheartist.USINGBINDERSWITHPAINTCombiningbinders(mediums,gelsandpastes)withpaintisakeypaintingtool,offeringopportunitiesforinventingandpersonalizingtechniquesandprocesses.Acrylicpaintsandbinderscanbelayeredinanyorder,aswellascombinedinanymixturewithnotechnicalproblemsorrisks.Forexample,mixingaglossgelwithamattegelmakesacustomsemiglossorsatingel.Combineanyacrylicgel,medium,pasteorcoloraltogetherinonemixturetoinventauniqueconcoctionthatwon’tyellow,crackorseparate.Beaware,though,thatsomemixingcancanceloutspecialqualities.Forexample,areflectivepaintwhenmixedwithtoomuchofanopaquepaintcolorwillnolongerbereflective.

Therearethreeeasywaystothinkaboutcombiningpaintwithbinders:

1.AddBinderIntoPainttoExtendorCustomize.Binderscanbeaddedintopaintasextenders,whichincreasethepaintquantitywithoutaddingmoreoftheexpensivepigmentedpaint.Addbindersintopainttochangeanyofthepaintqualities.Forinstance,addingglossgelslowsdownthedryingtime,whileaddingpastequickensdryingtimes.Glossgelsandmediumswillenhancecolorastheglossincreasesrefraction,whilematteproductscanmutecolor.Addgelsormediumstoincreasetransparency,oraddpastetoincreaseopacity.Gelscanaddtexturewhilemediumsenhanceleveling.Mixwhitepasteintoamineralpaintcolortotintorlightenitwithouttheusualchalkinessthatoccurswhenaddingwhitepaint.Addgelintoamodernpaintcolortoevenoutthedifferencebetweenitsdarkmasstoneandbrightundertone,allowingforanevenapplicationofpaint.Addgelstofluidpaintstothicken,andaddmediumstoheavybodypaintstothin.

2.LayerBinderUnderPaintasaGroundorWetLayer.AsmentionedpreviouslyinthissectiononSurfaceAbsorbency,binders(mediums,gelsorpastes)cancreateaground,changingsurfaceabsorbency.Manyspecialeffectsareobtainedthisway.Applygroundsinthebeginningoratanypointinthepaintingprocesstochangehowthepaintisabsorbedintothesurfaceoftheunderlyinglayer.Inadditiontoabsorbency,applyinggroundscansmoothortextureasurface,addcolor,andmakethesurfacereflectiveormatte.(SeeTechniques15,42and43forunusualgroundeffects.)

3.LayerBinderOverPainttoChangeSurfacesandSheens.Gels,pastesandmediumscanbeusedasoverlayers,appliedoverpaintorlayerstochangesheensandabsorbencies,protectunderlyingdelicatematerials,andaddorsmoothouttexture.Overlayeringcanbedoneunderoroveranyparticularpaintinglayer,givingmaximumflexibilityinthepaintingprocess.(SeeTechniques18and24forwetlayering.SeeTechniques16,22and45fordrylayering.SeeSection4:EssentialTipsforPouring.)

Multiplepouredlayersofcleargloss(Technique25)overlayersofpaintedcolorcreatealuminousquality.RAVEN’SMARK2BonnieTeitelbaumAcryliconpanel,18"×18"(46cm×46cm)

ApplicationTipsandMaterialsAcryliccanbeusedunderneathothermediums(suchasoil,gouache,watercolor,pastelorcasein)forunderpaintingsorcustomsurfaces.Avoidapplyingacrylicoveroil,encausticorothernon-acrylicmediums,ormixingtogetherinwetmixtures.Keepinmindthefollowing:

•Alayeriswhenonewetapplicationofpaintorproductsisappliedoveradryone.•Acrylicisaglue.Addmixedmediacollagematerialsintoacrylicpaintorbinderswhilewetandallwillstick.•Ingeneral,it’sbettertomixpaintwithaknife.Brushesaremeanttoholdpaint,whilekniveseasilyrelease

it.Mixabatchofpaintwithaknifeforaclean,homogenizedmixture.Useabrushformixingpaintinahodgepodgemanner,forapaintingtechniquecalleddirtybrushing.Aresidualamountofsoapfromprocessingsometimescreatesbubbleswithvigorousstirringorhandling.Avoidbubblesbymixingwithapaletteknifeinsteadofastiffbristlebrush,stirgentlyandavoidshaking.

•Asyoupaint,keepbrushesinwateruntilyoucancleanthemwellwithsoap.Soapremovespaintfromthebrushmoreeffectivelythanwateralone.Ifabrushinuseisleftoutofwatertoolong,paintwilldryonthebrush,makingitdifficulttoremovelater.Tomakecleaningeasier,slightlydampenthebrushbristleswithwaterbeforedippingthemintotheacrylicpaint.

•Acrylicshrinksorreducesdowninvolumebyabout30%asitdries.Thisismostnoticeablewhenusingthickapplications.Generally,applyapaintlayerthatisalittlethickerthanwhatyouwantatcompletion.

•Beawareofthe“tackyphase.”Whilethepaintisstillwet,itisverymalleable.Youcanscrapeit,wipeitoffandreworkitwithease.Asyoucontinuetoworkintothiswetpaint,however,itisalreadybeginningtodry.Onceitdriestothetouch,ithasawonderfullyresistantsurfaceonwhichyoucanoverlaynewpaintswithoutdisturbingwhatisunderneath.Itisbetweenthewetstageandthisdry-to-the-touchstagewhenproblemscanoccur.Betweenthewetanddrystages,theacrylicgetstacky,andcontinuedworkingoverthistackyareacancreateunwantedeffectssuchasstreakingorpullingasthepaintstickstoyourbrush.Initially,acrylicglidessmoothlyandeasily,butasitreachesthistackyphase,itwillbegintopullandfeeldifficulttomanipulate.Atthispoint,stoppaintinginthatarea,andmoveontoadryerareaofthepainting.Ifyouneedtokeepworkinginthetackyarea,useablow-dryerforaminutetodryitquickly,thenresumepainting.Avoidblow-dryingverythicklayers.Also,beawarethatthepaintonyourbrushwilldryquickly.Makeahabitofrinsingfrequentlytokeepthepaintfromgettingtackyonyourbrush.

•Donotfreezeunusedacrylicpaintsorproducts.Sometimesoilpaintersfreezetheexcesspaintontheirpalettestoprolongthepaints’life.Avoidthiswithacrylic.Acryliccontainsacertainamountofantifreeze,butafterafewfreeze-and-thawcycles,theunusedpaintwillnolongerbereliable.

ARCHIVALMETHODSANDMATERIALSTherearethreeacrylicproductsbestdefinedseparatelyfrompaintorbindercategories.Theyare:stainsealer,primerandvarnish.Eachisusedforspecificarchivalpurposes.Thismeansthatcorrectuseoftheseinyourworkwillkeepyourworklookingthewayyouwantforalongerperiodoftime.StainSealersApplyastainsealertothepaintingsupportinordertoavoidyellowingorstainingthatmayseepfromthesupportintolayersofacrylicpaintandproducts.Thickormultiplelayersofacrylicincreasechancesofthisstaining.Usecommercialstainblockersfoundinhomeimprovementandpaintstores,orfineartstainblockers(i.e.GAC100)availableinartstores.

PrimersApplyagoodqualityacrylicprimeroveranystainsealingtoaddadhesionbetweenthefirstlayerofpaintorgroundsappliedtothesubstrate.Acommonprimerusedforoilandacrylicpaintersisacrylicgesso.Acheapergessomaybeadequateforoilpainters.Primingisrecommendedforprotectingthesurfacefromdissolvingfromoilpaintingsolvents.Acrylic,though,willnotharmsubstratesandsoaprimerisnotneededforprotection.However,addedadhesionstrengthwithjustonecoatofagoodqualityacrylicprimerisrecommended.Thepaintingwillhaveabetterchanceofstayingintactifexposedtoharshclimatesituations.Avoidusinggessoasawhitepaint,asitmaycrackwhenusedthickly.Asupportorsubstratecomeswithitsownparticularabsorbencyquality,andprimingwithgessocanchangethatifdesired.WhenapplyingthicklayersofproductsasyourfirstlayeronasubstratesuchasPumiceGel,primingwithgessounderneathhelpsthelayertoadherebetter.Aprimedsupportusinggessowillinhibitwarpingifyouareworkingwithlotsofwaterorwashesofpaint.Therearemanyreasonsyoumayormaynotwanttoprimeyoursupport.Whenindoubtapplyonecoatofagoodwhitegessoasaprimeronyourraworsealedsupportbeforeapplyingpaintorotheracrylicproducts.VarnishesApplyoneormorecoatsofanarchival(fineartquality)paintingvarnishasafinalcoat.Archivalvarnishisremovable.Thisallowsthepaintingtobecleanedinthefuturebyremovingthevarnish.VarnishesareavailablewithaddedUVprotectiontokeepthecolorsfromfading,andcomeinyourchoiceofsheen(gloss,matteorsatin).Avoidusingvarnishinmid-layers;instead,useacrylicmediums.Varnishescanbebrushappliedoversmoothorslightlytexturedpaintings,butarebestsprayedforthinnerapplicationsandforhighlytexturedordelicatesurfaces.ChoosingArchivalMaterialsAmanufacturerinterestedinhighqualitypaintsforartistswillchooseagoodbinder.Thereareoverahundredpolymerscommerciallyavailable.Forfineart,polymerthatwillnotcrack,yelloworchangeinstructureorappearancefor500yearsormoreisrequiredtobeconsideredarchival.Water-basedcraftgluesandhousepaintusenon-archivalpolymersadequateforothernon-artpurposes.Choosingtousehighqualityartmaterialswillenableyourworktolastlongerinthewayitismeanttobeseen.

Thereareavastamountofchoicesinpaintcolors.Eachhasalightfastratinglistedonthecontainerorobtainablefromthepaintmanufacturer.Forexample,ifyouaregoingtopaintanoutdoormuralexposedtosunlight,choosepaintswithgoodlightfastratingstodiminishfading.AddingafinalapplicationofaUVvarnishhelpsevenmore.CAREANDSTORAGEAcrylichasatwo-partdryingprocess.Thefirstpartoftheacrylicdryingprocess,knownasdrytothetouch,meansthetoplayerofthepaintskinhasdriedduetotheevaporationofthewaterinthepaint.Thisallowsforfastlayering.Thesecondpartofthedryingprocess,thecuringphase,takesseveraldaystoseveralweeksforthepolymerto“lockdown”orfullycure.Theactualcuringtimeisdependentonthelayer’sthicknessandenvironmentalfactorsbutingeneralplanontwoweeks.Duringthistime,itisimportanttoallowairtoflowaroundthefinishedpainting,soavoidtightlywrappingthepainting,storingtheartworkinaclosedenvironmentorexposingittotemperaturesbelow50degreesFahrenheit.Ifyourpaintingfreezesduringthisphaseitmayneverrecoverenoughforthepainttocontinuecuringtoformastrongpaintfilmandbond.

Oncecuredtherearestillsomeconsiderationstoproperhandling.Whenwrappingyourpainting,besuretoonlyallowsmoothwrappingmaterialstotouchthepaintingsurface.Acrylicpaintingssofteninhottemperaturesandstiffenincold.Ifthepaintingiswrappedinbubblewrapwiththebubblesidetouchingthepainting’ssurface,whenitgetshot(i.e.whileintransport)theacrylicmaysoftenandtakeontheimpressionofthebubbles.Heatwillalsocauseittosticktoothersurfacesthatcontactit,especiallyforglossysurfaces.UsecardboardfortransportoranonstickplasticsuchasHighDensityPolyethylene(HDPE).Occasionallywipethepaintingoffwithadampclothtoremovedustandanyotherelementswhichmaycomethroughtotheuppersurfacelongafterthepaintingiscured.Bekindtoyourpaintings,theyareworthit.TOOLSANDSURFACESApplyacrylicpaintsandproductsonjustaboutanysurface,whetherflexiblelikecanvasandfabric,orrigidlikewoodandpanels.Thefewsurfacesthatacrylicwillnotsticktocanbeusedasremovablesurfacesformixingpalettesandcreatingskins(seeTechniques17and39).NonsticksurfacesincludeHDPEplasticusedforgarbagebagsandpaintingdropcloths,freezerpaper(notwaxedpaper),plasticwrap(notoneswithextracling),andprotectivereportcoversfoundinofficesupplystores.Applyamoldreleaseorreleasesprayontoglassforanothernonsticksurfaceoption.PleasenotethatacrylicwillsticktomostotherformsofPlexisurfaces.Adheringpainttoslicknon-acrylicsurfaceslikeglassandmetalshouldbestrengthenedbyapplyingacommercialprimerorlightsanding.

Toolsforapplyingpaintcanbeanything.Anytypeofbrushorknifewillwork.Experimentbyusinghomemadetools,objectsfoundathomeandothernonartitemslikecombs,feathers,hands,creditcardsandbrooms.Mixedmediaandothernonpaintmaterialssuchaspaperandobjectscanbeadheredintothepainting,butoftenarenotlightfast.Toreducefadingofthesenon-archivalmaterials,applyafinishingcoatusingaproductwithUVprotection.CUSTOMIZEDRYINGTIMESAcrylicgenerallydriesquick,makingiteasyforlayering.Acrylicdryingtimesvaryaccordingtoclimates.Wetandcoldclimatesslowdowndryingtime,whiledryandwarmclimatesspeeditup.Newslow-dryingacrylicpaints,recentlyintroducedonthemarket,areavailableinfineartstores(i.e.Golden’slineofslowdryingacryliccalledOpenofferingupto24houropen,orwet,time).Thethickerthepaintisappliedtothepaintingorpalettethemoretimeittakestodry.Likewise,ifthepaintisspreadoutthinlyonthepaintingsubstrateorpalette,itdriesfaster.Paintappliedonabsorbentsurfacesdriesfasterthanifthesurfaceisglossyandthereforenonabsorbent.Addingglossgel,retarder,slow-dryingmediumsorasmallamountofwaterintothepaintwillallslowdryingtimes.Usearoomhumidifiertoslowdrying.Toquickendryingtimesputthepaintinginthesun,nearaheater,nearcirculatingairsuchasanopenwindoworfan,blowdrywithahairdryer,addpasteintothepaint,orapplythinly.

Archivalmethodswereusedtokeepthispaintinglastinglonger.Onawoodpanel,onecoatofstainblockerusingGAC100wasapplied,followedbyonecoatofacrylicgesso.Afterpaintingwascomplete,afinalcoatofvarnishwithUVprotectionwasappliedtosealandprotectthepainting.THEBOOKOFCREATION(TRIPTYCH)NancyReynerAcrylicandgoldleafonpanel,36"×64"(91cm×163cm)

SECTIONTWO

DistinctiveMetallics

BLACKBOWLSherryLoehrAcrylicandgoldleafonboard24"×24"(61cm×61cm)

CollectionofRobertandCarolLambThehighsheenandreflectivequalitiesofmetalarequiteseductiveandeye-catching.Techniquesinthissectionincludematerialssuchasgoldleaf,metalleaf,sheetmetalandmetallicpaints.Goldleaf,inparticular,hasbeenusedthroughouthistoryforEasternChristianicons,illuminatedmanuscriptsandinpaintingsfromtheByzantineperiodtoMichelangelo.ModernartistssuchasGustavKlimtandcontemporaryartistssuchasDamienHirstcontinuetheaesthetic.

DESERTDUNESSuzanneDonazettiPaintedandwovencopper16"×24"(41cm×61cm)Photocredit:MikeMcKee

EssentialTipsforMetallicsMetalleafreferstosquaresofmetalhammeredintoverythinsheetssoldbetweenpiecesoftissueforeaseinhandlingandstoring.Metalleafcomesinmanyformsandiseasilyobtainedfromartstoresandgildingsupplycompanies.

Insomecasesusingrealgoldleafisessential,especiallyfortraditionalwatergildingmethods.Forthetechniquesinthisbookitisnotnecessarytouserealgoldleaf.Whenaleafsurfaceiseventuallycoveredwithlayersofpaint,mediumsorplacedovertexture,itisnotworthspendingtheextracostforrealgold.Imitationleafisstillmadeofmetalandhasitsownluminousmetallicsheenandqualities.Thedemonstrationsinthissectionthatuseimitationleafcanalsobeusedwithrealgoldleaf,thickersheetsofmetalormetalpaint.Feelfreetosubstitutemetalsheetingormetallicpaintsformosttechniquesinthissectionthatcallformetalleaf.

Leafneedsadhesivetoadheretoapaintingsurface.Therearetwotypesofadhesives(alsocalledglueorsize):water-basedorsolvent-based.Eitheronecanbeusedforthetechniquesinthissection.Thesolvent-basedadhesivelevelsouteasierforasmootherlook,butistoxic,soIpreferthenon-toxicwater-basedversion.Someimitationleafisavailablealreadypreparedwithglueononeside,butitsmeshtexturebecomesvisibleonthesurface.Ipreferusingthelooseorunpreparedleavesastheycanbeappliedwithoutthistexture.

Layeringgoldleafoverasurfaceiscalledgoldleafingorgilding.Traditionalwatergildingisthemostdifficultapproach,withitsprocessremainingvirtuallyunchangedforhundredsofyears.Watergildingproducesaverysmoothandglossysheenusefulforframingandiconpainting.Ipreferadheringleafwithsizewhichrevealstheartistshandandwillbetterintegratevisuallywithaddedpainttechniques.Thewatergildingtechniqueisnotincludedinthisbookasitrequiresabookinitselfandthereareothercomprehensiveonesalreadyavailable.

MetalPaintVersusMetalLeafThereisabigdifferenceinreflectivequalitiesbetweenthemetalpaintandmetalleaf,shownhere.FluidIridescentGold(Fine)paintisknifeappliedontheleft,whileimitationgoldleafisadheredontheright.Iridescentpaintsreflectmorethanregularpaints,butleafstillwinsoutregardinghighsheen.SeeTechnique5togetthemostreflectiveeffects.

GoldLeafandMetalLeafRealgoldleafisoftenconfusedwithimitationgoldleaf.Realgoldleafcomesinsquaresmeasuring3.25"×3.25"(8.3cm×8.3cm).Pricesvaryaccordingtothepriceofgold.Imitationgoldleafiscommonlyreferredtoasgoldleafbutismadewithacombinationofzincandcopper,containingnorealgold.Itcomesinsquaresmeasuring5.5"×5.5(14cm×14cm)andissignificantlycheaper.

MetalLeafComesinaWideVariety

Comparehowthegoldandsilverleafedbackgroundsinthesepaintingsevokewarmorcoolundertones.MOUNTAINPOEMINSILVER

NancyReynerAcrylicandsilverleafonpanel16"×12"(41cm×30cm)

STARGATENancyReyner

Acrylicandgoldleafonpanel48"×36"(122cm×91cm)

TECHNIQUE1

BasicapplicationofgoldleafCreateadramaticmetallicsurfacewithgoldleaforothertypesofmetalleafonmostpaintingsurfaces.Thelaststepinthisdemonstrationsealstheleaftoinhibittarnishing,andtoenhanceadhesionbetweenpaintandleaf.Formoreinformationonleaf,seeEssentialTipsforMetallics.

Beforeapplyingtheleaf,consideryourpreferenceforthefinaloutcome.Thesmootherthesurfaceundertheleaf,themoreglossyandshinytheleafappears,whileatexturedsurfacesuchascanvasorthosewithappliedtexturalgroundsofferasoftersatinappearance.PreparethesurfaceaccordinglybyfollowingTechnique5tosmoothasurfaceorTechnique3foraddingtexture.Thesmoothpremadewoodpanelusedinthistechniqueneedsnopreparation.Ifdesired,paintthesurfacewithyourpreferredacrylicpaintcolor.Itwillonlybevisibleinsmallareaswheretheleafdoesnotstick.

MaterialsListSubstrateAnypaintingsurfaceToolsAlargeflatsoftpaintbrush,asmallflatstiff-bristledpaintbrush,rag(orcottonballsorcheesecloth),waxedpaperProductsGoldormetalleafinsquaresheets,oilorwater-basedleafsizing,solvent-basedclearglossacrylic(i.e.MSAGlossVarnishforbrushapplicationorGolden’sArchivalSprayGloss)ForCleanUpWater,watercontainer,papertowelsorrags

STEP1ApplyAdhesivetotheSurfaceUsingasoftbrush,applyleafadhesive(alsocalledglueorsizing)tothedrysurfaceinaverythinlayer.Donotdilutethesizewithwatertothin,insteadworkquicklywithmoderatepressureonthebrushtospreaditthinly.Toavoidapplyingthickly,seehowfarasmallamountofsizingcanextendinsteadofcontinuallyloadingupthebrush.Letdryuntilsizinggoesfromwettotacky,about20minutesinaverageclimates.Thiscanstaytackyforupto24hoursgivingampletimetoapplytheleaf.Testforcorrecttackbytouchingtheappliedadhesivelightlywithyourknuckle.Ifsizeistackybutstillstaysonthesurfaceanddoesn’ttransfertoyourknuckle,it’sready.Likemostacrylicproducts,thesizingiswhitewhenwetanddriesclear.

STEP2HandlingtheMetalLeafCutapieceofwaxedpaperslightlylargerthenthesquareleaf.Lowerthisfirmlydownontotheleafandwiththesideofyourhandwipegentlyoverallthewaxpaperareacreatingstaticwhichtemporarilystickstheleaftothewaxpaper.

STEP3AdheretheLeafTheleaf,attachedtothewaxedpaper,cannowbeeasilycarriedtoyoursupportandpositionedovertheareaitwillbeplaced.Takeamomenttoseewhereit’sgoing,thenloweritdown.Rubgentlywithyourhandoverthewaxpaperandleafsotheleaftransfers,stickingtothesize.Removethewaxpaper.Repeatwithmoreleaf,allowingeachsquaretogenerouslyoverlapwitheachother,untilthesurfaceisfullyleafed.

STEP4FixGapsasNecessaryForgapsaccidentallyoccurringbetweensquares,simplyfillinwithsmallerpiecesofleafusingyourhand.

STEP5BurnishtheLeafUsingacottonball,softclothorcheesecloth,rubtheentiresurfaceusingfirmpressureoverwaxpapertoprotecttheleafwhileburnishingallleafedareas.

STEP6CleanoffExcessLeafGentlypickofftheexcessleafinoverlappedareasusingasmallstiffbristlebrush.Letdryatleastthreedays.

FinishedExampleSTEP7SealtheSurfaceSealingtheleafedsurfaceallowseasierapplicationsofsubsequentpaintlayers.Italsoprotectstheleaffromabrasivetechniquesthatusesandingorremovingpaintlayers.Sealingenhancesadhesionforpaintlayers(importantforsomeimitationleafthatiscoatedwithwaxbythemanufacturer).Sealinginhibitsimitationleaffromtarnishingbyexposuretoairorammonia(acommoningredientinacrylicproducts).Sealusingasprayfortexturedsurfacesorbrushapplyforlighttextureorsmoothsurfacesusingasolvent-basedclearglossacrylic.Companiesthatsellleafusuallysellanappropriatesealer.

Afterapplyingthesealer,letdryafewdaysthenapplyathincoatofanacrylic(polymer)glossmedium(donotdilutewithwater)foradditionalprotection.Theleafsurfaceisnowreadytooverpaintorusewithothertechniquesinthisbook.

TipsAlmostanysurfacecanbeusedforleafing,however,rigidsturdypanelsworkbestifplanningtocontinueoverpaintingtheleafwithothertechniquessuchassandingorpouring.Usealint-freeragtoapplythesizeinsteadofabrushforsmootherapplications.Sprayleafadhesivesareavailableifpreferred.Insteadofapplyingleafovertheentiresurface,applyleafoverpaintedorselectedareasofapaintingalreadyinprocess.

TECHNIQUE2

MixingMetalLeafCombineavarietyofmetalleafforadazzlingmetalliceffect.Forleafchoices,seeEssentialTipsforMetallicsatthebeginningofthissection.

MaterialsListSubstrateAnypaintingsurfacewithadhesiveapplied(seeStep1,Technique1)ToolsWaxpaper,flatsoftpaintbrush,flatstiff-bristledpaintbrush,rag(orcottonballsorcheesecloth)ProductsTwoormorevarietiesofmetalleaf,leafadhesiveForclean-upWater,watercontainer,papertowelsorrags

STEP1PrepareSurface,ThenRipMetalLeafinShapesPreparethesurfacebyfollowingStep1,Technique1toapplythesize.Sheetsofmetalleafcomesandwichedbetweentissue.Grasptheleafwiththetissueandgentlyriporcutintodesired

shapes.Thismulti-coloredleafiscalledVariegated.

TipSealtheleafsurfacetoinhibittarnishingandforeaseinoverpaintingtechniques(Step7,Technique1).

STEP2AdhereShapestotheSurfacePlacerippedleafshapeswheredesiredonthetackyadhesivesurface,usingthewaxpapermethodinStep2,Technique1orjustplacetheleafwithyourhandsaspictured.Allowleafshapestooverlap.Hereisredvariegatedleafandbluevariegatedleafappliedoverasmoothwoodpanelpre-paintedwithRedOxidethensizedwithawater-basedadhesive.

STEP3ContinuetoLeafinAreasContinuetouseavarietyofleaf.Hereimitationgoldleafcontraststheredandbluevariegatedonespreviouslyapplied.Applyleafinalldesiredareas.

STEP4FinishBurnishandcleanoffexcessleaf(Steps5and6,Technique1).Hereisthefinishedcombinationusingthreeleafvarieties.

Acombinationofleaftypesaddsavisualtexture.ContinuingfromTechnique2,Step4,additionalvariegatedleafisappliedonthebottom,whileotherareasareoverpaintedusingTechniques4,7and9.

CAIRNNancyReynerAcrylicandmetalleafonpanel40"×30"(102cm×76cm)

Variegatedgoldleafisappliedoverapaintedtexturedsurface.LEVITATEBonnieTeitelbaumAcrylicandgoldleafonpanel,16"×12"(41cm×30cm)

TECHNIQUE3

TexturedMetalMetalleaftakesonvariouspersonasvisuallyshiftingaccordingtowhatisunderneath.Atexturedsurfaceusingacrylicpastesandgelsunderleaflooksliketexturedmetal,withasoftreflectivequality.

Forthisdemonstration,awoodpanelsurfaceusesStep1,Technique34withknife-appliedMoldingPasteandblackpaintinasoftnaturaltexture.

MaterialsListPaint1ormoreacrylicpaintcolorsSubstrateAnyprimedpaintingsurfaceToolsPaintingknifeorothertexturaltool,largeflatsoftpaintbrush,smallflatstiff-bristledpaintbrush,rag(orcottonballsorcheesecloth),mixingpaletteorcontainerProductsAthickacrylicpasteorgel,aslow-dryingglossacrylicmedium,metalleaf,leafadhesive,waxpaper,solvent-basedclearglossacrylicsprayForclean-upWater,watercontainer,papertowelsorrags

STEP1AddTexturetotheSurfaceCombineapaintcolorwithanythickacrylicgelorpasteandmixwellwithaknife.Useenoughpaintcolorintothebindertokeepthecolorstrong.Applythemixturetothesurfacewithaknife.Usemoreforhighrelieforlessforlowrelief.Createtexturalpatternswithaknifeorothertool.

Imitationgoldleafoverlowrelieftexture

ImitationgoldleafoverhighrelieftextureSTEP2ApplyMetalLeafUseSteps1–7inTechnique1toapplytheleafandseal.

STEP3EmphasizeTexture(Optional)

Optionallyemphasizethetexturebyglazing.Combineapaintcolorwithaslow-dryingacrylicmediumina1:1ratioandmixwelltomakeaglaze.Brushapplytheglazeliberallyoverthesurface.Whilewet,gentlywipethemixtureoffwithaclean,dryrag.Leavesomeglazeinthelinesandcrevicescreatedfromthetexture.ThisglazecombinesCobaltTealandAcrylicGlazingLiquidGloss.

IdeasExperimentinStep1usingtexturalgelssuchasglassbeadgelorpumicegel.SubstituteiridescentpaintfortheleafinStep2.

TexturalToolsChoosefromawidevarietyoftoolstocreatetexture,includingeasilyaccessiblehouseholditemssuchascombsandcreditcards.

A“texturedmetal”techniqueisusedheretogreateffect.MoldingPaste,squeezedoutofaholeinaplasticbag,createsthistextureoncanvas,prepaintedwithredandyellow.Goldleafisappliedoverthetexture,andrubbedwithumberandblackforatarnishedeffect.KNOTTEDMayaMalioutinaAcrylicandgoldleafoncanvas30"×30"(76cm×76cm)

MoldingPastemixedwithiridescentpaintisappliedinacombedtexture.Collagedpaperscreatetheribbonlikedesigns.Interferenceglazesareaddedontoptoenhancethemetallicrefraction.SeeTechniques22and23.MERRILY,MERRILY,MERRILY,MERRILY2PatriciaForbesAcrylicandpapercollageonpanel24"×24"(61cm×61cm)

TECHNIQUE4

SandingMetalLeafFragmentsofcoloredpaintaddvisualcontrasttometalleafwiththissandingtechnique.Afunwaytocreateuniquesurfaceareasandunderpaintings.

MaterialsListPaint1ormoreacrylicpaintcolorsSubstrateArigidsturdypanel(eithersmoothortextured)leafedandsealed(Technique1)Tools120or240gritwaterproofsandpaper,papertowels,spraybottleorwatercontainer,largeflatsoftpaintbrush,smallflatstiff-bristledpaintbrush,rag(orcottonballsorcheesecloth)ProductsWater,acrylic(polymer)glossmedium,metalleaf,leafadhesive,waxpaper,solvent-basedglossacrylic

STEP1PreparetheSurfaceandPainttheMetalLeafStartwithanypaintingsurface.Choosetokeepthesurfacesmoothoraddtexture.HereatexturedsurfaceiscreatedfromStep1,Technique3.Followsteps1–7inTechnique1toapply

leafandseal.Brushapplyoneormorecoatsofanacrylicglossmediumasextraprotectionforsandinglater.Letfullydry.

Selectoneormoreacrylicpaintcolorsandliberallyapplyusingabrush,knifeorrag,coveringtheleafsurface.Thefollowingfluidpaintcolorsareappliedhere:QuinacridoneMagenta,TransparentRedIronOxide,CobaltBlueandGreenGold.Letfullydry.

STEP2WetSandinSelectAreasAddwatertothesurfacewithawatersprayerorbrushanddipsandpaperintowater.Rubsandpapervigorouslywithpressureoverpainttoremove.Wipefrequentlywitharagorpapertoweltotakeawaytheexcesspaint,continuouslyaddingwatersothereisalwayswaterbetweensandpaperandsurface.Sanduntilonlysomefragmentsofcolorremain.Letdry,thenapplyacoatofacrylicglossmediumtorestoremetallicsheen.

TheSurfaceAfterSandingRemnantsofpaintcolorsremainaftersanding,emphasizingtheunderlyingtexturedsurfaceandcreatinganinterestingappeal.

FinishedExampleRepeatwithothercolorsuntilsatisfied.HereRawUmberisappliedoverthepreviouslysandedsurface,thensandedagain.

CarbonBlackpaintissandedfromasmoothleafedsurfaceinthetopleftsection.Themiddlesectionshowssandedgreenpaintcolors.

LAVA&BLUELAKENancyReynerAcrylicandgoldleafonpanel48"×36"(122cm×91cm)

Startingwithanunleafedtexturedsurface,MicaceousIronOxideisappliedoverthetexturethensandedaddingtheantiqueeffectsvisibleonthebottomhalf.Afinalwashpour(Step2,Technique33)ofIridescentGoldaddsametallicshimmertothetophalf.LATEDAYAletaPippinAcryliconpanel6"×6"(15cm×15cm)

TECHNIQUE5

HighGlossLeafYoucanenhancethemetallicsheenofmetalleafandmetallicpaintswithsmoothsurfacesandglosslayers.

MaterialsListSubstrateAnysmoothpaintingsurfaceToolsAlargeflatsoftpaintbrush,asmallflatstiff-bristledpaintbrush,rag(orcottonballsorcheesecloth),waxedpaperProductsGoldormetalleafinsheets,oilorwaterbasedleafsizing,solvent-basedclearglossacrylic,acrylic(polymer)glossmediumorgelForcleanupWater,watercontainer,papertowelsorrags

FluidIridescentGold(Fine)brushappliedovercanvas.

FluidIridescentGold(Fine)knifeappliedoverasmoothsurface.

Imitationgoldleafappliedovercanvas.

Imitationgoldleafappliedoverasmoothsurface.

ENHANCINGMETALLICSHEENIridescentmetallicpaintsorleafovertexturedsurfacesyieldsoftlyreflectivesheens.Smoothunderlyingsurfaces,however,yieldhighlyreflectivesheens.Usethefollowingprocesstoenhancereflectivesheensformetallicpaintsormetalleaf.

1StartWithaSmoothSurfaceThesmootherthesurfacethehigherthereflectivesheen.Herearethreeoptions:

•Purchaseapanelpre-madewithasmoothsurface,suchashardboardormasonite.•Brushapplyapaintcolororacrylicgessoonthesurface.Letdry.WetsandasinstructedinStep1,

Technique12.•PouranacrylicmediumoverthesurfacefollowinginstructionsinTechnique25fora“surfboardfinish.”

2ApplyMetalLeafOverthesmoothsurface,applymetalleaffollowingallstepsinTechnique1.

3AddAdditionalGlossLayersAddinglayersofglossovertheleafincreasesthereflectivequality.Herearethreeoptionstotryoversealedleaf(Step7,Technique1):

•Brushapplyorsprayoneormorecoatsofacrylicglossmedium.Letitdryinbetweencoats.•Knifeapplyathickacrylicglossgelandletitdry.•PouraclearglossacrylicovertheleafusingTechnique25.

Acrylicpaintcolorcreatestheabstractlandscapeimageryandispaintedoverahighglossleafedsurface.Someoftheleafsurfacewasleftunpaintedsoitisstillvisible.

TURQUOISESKYNancyReynerAcrylicandgoldleafonpanel16"×12"(41cm×30cm)

Thissteelsurfaceiscoloredwithanacidpatina,embellishedwithacrylic,andfurtherenhancedwithafinalindustrialclearcoat.VEILDestinyAllisonAcidandacryliconsteel48"×48"(122cm×122cm)

TECHNIQUE6

GoldLeafBackgroundsAbackgroundingoldormetalleafcanaddauniqueappealtoyourpainting.Thistechniquesavestimeandmoneybyapplyingleafonlyindesiredareasafterpainting.SeeTechnique8toadddelicateleafdesignsoverapainting.

MaterialsListSubstrateAnypaintingsurfacepre-paintedwithanimageToolsAlargeflatsoftpaintbrush,asmallflatstiff-bristledpaintbrush,rag(orcottonballsorcheesecloth),waxpaperProductsGoldormetalleafinsheets,oilorwaterbasedleafsizing,solvent-basedclearglossacrylicForclean-upWater,watercontainer,papertowelsorrags

STEP1PaintanImageStartwithapaintingusinganytechniqueorstyle,optionallyleavingthebackgroundandotherareasunpaintedthatyouwantleafed.Thispaintingofbirdshasaskyleftblankforleafing.

STEP2AddColortoBackgroundDarkorbrightcolorsworkbestunderleaf,showingthroughonlyinsmallareasofleafimperfections.Ifneeded,paintareastobeleafedwithtraditionalRedOxide,CarbonBlackorabrightcolorsuchasPyrroleRedMedium.Letdry.

STEP3ApplyLeafFollowsteps1–4inTechnique1toapplysizeandleafoverselectedareas,buttingthesizeascloseaspossibletothepaintedimageryandcontinuingbyapplyingleafoverthesizedareas.Allowleaftoslightlyoverlapunsizedimageareas.BurnishasinstructedinStep5,Technique1.

TipForanypaintedareasaccidentallycoveredwithleaf,lightlysandofftheleafbeforesealing,ortouchupaftersealingbyoverpaintingtheunwantedleafareas.Foranygapswhereleafdidn’tgetcloseenoughtopaintedareas,touchupwithiridescent(ormetallic)paint.

STEP4CleanoffExcessLeafCleanoffexcessleaffollowingStep6,Technique1.Waitatleast3daysforthesizetofullycure.SealtheentiresurfaceusingStep7,Technique1,includingbothpaintedimageryandleaftogetanevensheen.Ifdesiredcontinuepaintingovertheleafwithglazes(Technique7),opaquepaintcolor,oranypreferredtechnique.

Thegoldleafbackgroundaddsstrikingcontrastandacontemporaryaesthetictoatraditionalstilllife.PLUMANTIQUE

SherryLoehrAcrylicandgoldleafonboard48"×36"(122cm×91cm)CollectionofAliceVargo

ContemporaryartistMichaelBergtusesthetraditionaltechniqueofeggtemperaandrealgoldleafonpanel,acombinationusedintheearlyRenaissanceforiconpaintingandreligiousaltarpieces.

THEGLANCEMichaelBergtEggtemperaandgoldleafonpanel40"×34"(102cm×86cm)

TECHNIQUE7

IntensifyMetallicHuesMetal’ssubtlecoloringshiftswhenviewedfromdifferentangles.Forexample,thegoldcoloringofgoldleafsubtlyflipsbetweenared-goldandgreen-gold.Steel,aluminumorsilvercanshiftbetweenyellowandviolet,whilecopperoftenshiftsbetweenblueandorange.Addingtransparentglazesofthosecolorswillintensifythecolorshift.Usethistechniqueonsurfacessuchasmetalsheet,realgoldleaf,imitationleafandmetallicpaint.FormoredramaticenhancementpourthesecolorsusingTechnique29.

MaterialsListPaintApairofcomplementaryacrylicpaintcolorsSubstrateMetalorleafedsurfacethatiseithersmoothortextured(ifleafed,sealbeforestartingasinStep7,Technique1)ToolsPaintingormixingknife,cupswithlids,lint-freeragorsmoothflatpaintbrushProductsSlow-dryingacrylicglossmedium(orretarderorglossgel)Forclean-upWater,watercontainer,papertowelsorrags

STEP1PreparePaintSelectapairofcomplementarycolorsandmixeachcolorintoaglazebycombiningthepaintcolorwithaslow-dryingmedium.HereQuinacridoneCrimsonandPermanentGreenLightareeachmixedwithAcrylicGlazingLiquidGlossina1:1ratio.Lidthecontainerstokeepthemfromdryingwhilecontinuingtothenextstep.

Forbestresultstestthemixture’stransparencyoverascrapsurface,todeterminethatthemetalisstillvisibleandreflectiveundertheglazewhendry.Transparencyisobtainedtwoways;byapplyingopaquecolorinverythinapplications,ortransparentcolorinthinorthickapplications.The1:1ratioisagoodstartingpoint,butcanbechangedtoaccommodatethecolorsyouchooseandthewayyouwork.Blowdrytospeeddryingtime,orwaituntilfullydrytoseethetruetransparencyandcolorintensityofyourglazemixture.

STEP2ApplytheGlazeUsearagforthinapplicationsorbrushapplyforthick.Sincethemixtureisslowdryingitcanberemovedeasilybywipingoffwithpapertoweldirectlyafterapplyingifapplicationisunsatisfactory.Forlargerareas,applyinsmallsizepatcheslikeaquilt,addinguncoloredslow-dryingmediumattheborderswhereonepatchwillmeettheothertoavoidaquiltedlookorheaviercolorapplicationsatedges.

TipsSubstituteAcrylicGlazingLiquidinStep1withotherslow-dryingmediumsoranyglossgelinthesameratio.Ifusingtheadditiveretarder,changetheratio10:1colortoretarder.Iftheglazecoloristooopaque,addmoremedium.Ifusingretarder,nowaddmoremedium.Ifthecolorintensityisnotenough,opttoapplyseverallayers,lettingeachdrybeforeapplyingthenext.

FinishedExampleRedandgreenglazesaddinteresttothisgoldleafsurface.

Metallichuesareintensifiedwithmanyglazesoftransparentcoloroveragoldleafedbackgroundkeepingthegoldgleamingthroughthepaintcolors.

PARADISEDavidL.DeVaryOilandgoldleafoncanvas58"×46"(147cm×117cm)

TECHNIQUE8

DecorativeDesignsMetalleafdesigns,patternsandembellishmentsonapaintingaddaccents,interestandvisualfocus.

MaterialsListSubstrateAnypaintingsurfacepre-paintedwithanimageorcolorToolsSmallpaintbrush(forintricatedesignareas)orlargepaintbrush(forbroaddesignareas),rag(orcottonballsorcheesecloth)ProductsGoldormetalleaf,leafadhesive,waxpaper.Forclean-upWater,watercontainer,papertowelsorrags

STEP1ApplyAdhesiveHereaknifeisdippedintoleafadhesivethendrizzledontoasurfacepaintedwithRedOxide,creatingfree-formpatterns.

STEP2ApplyLeafApplyleaf(Steps2–5,Technique1)overentiresurfaceorinexcessofyourdesign.Removeanyexcessleafplacedovernon-adhesiveareasfollowingStep6,Technique1.

AdhesiveDripAppliedFinishedexamplewithadhesivedroppedfromacookingbaster.

AdhesiveBrushAppliedFinishedexamplewithbrushappliedadhesiveinadesign.

Anexquisiteexampleofdevotionalart,atraditionalNewMexicanartform,usinggoldleafindelicatedesignwork,byawardwinningcontemporaryartistArleneCisnerosSena.Senausedtraditionalmaterialsincludinghomemadegesso,

naturalpigments,twenty-threekaratgoldleaf,pinesapvarnishonasugarpinepanel.NUESTRASEÑORADELCARMENArleneCisnerosSena28"×11"(71cm×28cm)Photocredit:CorriePhotography

IdeasApplyleafadhesiveusingabrushforintricatedesigns,ortryamoreabstractapproachbydrippingorpouringtheadhesiveinfree-formpatterns.Alternativelyusesqueezebottlesorpouradhesivedirectlyfromacontainer.

Forrepeatdesignsuseaready-madeorhandmadestencil.Placethestenciloverthepainting,tapingitsecurelyontothesurfacewithmaskingtape.Sprayadhesiveoverthestencilthenremovestencilcarefully.

Whateverapplicationmethodyouchooseforapplyingadhesive,letitdryatleast20minutesoruntiltackybeforecontinuing.

TECHNIQUE9

SubtractiveGlazingAdddramaticlightsanddarkstoanunderlyingcompositionwiththisplayfulandquicktechniqueovermetalsurfaces.Adarkluminousglazeiswipedawaytoreveallights,brightsandmid-tones.

MaterialsListPaintRedOxide,YellowOxide,CarbonBlack,IridescentSilver,IridescentCopperSubstrateAnysmoothorslightlytexturedmetalsurfaceoraleafedandsealedsurface(seeTechnique1)ToolsAlintfreerag,alargeflatpaintbrush,mixingpaletteorcup,mixingknife,rag(orcottonballsorcheesecloth)ProductsAslowdryingacrylic(polymer)glossmedium(oradd1partretarderto10partsmedium),Forclean-up:Water,watercontainer,papertowelsorrags

STEP1ApplyaDarkGlazeMixadark-coloredmetallicglazewiththefollowingformula:2partsCarbonBlack,2partsIridescentSilver,1partYellowOxide,1partRedOxide,6–8partsslow-dryingmedium,1partwater.Mixcolors,mediumandwaterthoroughlywithaknifeonapaletteorinacup.Usealarge,dry,flatbrushtoapplytheglazeliberallyovertheentiresurface.Iftheglazeapplicationisstreakyortoodarkgentlywipeoverthesurfacewitharagorpapertoweltosmoothandthinoutthelayer.Ifyoursurfaceislargeortheglazeisdryingtooquickly,applyglazeonlyonaportionofthesurface,continuingtoStep2forthatarea,thenrepeatforremainingareas.Continuetothenextstepwhilethislayerisstillwet.

STEP2RemoveGlazeinSelectAreasDecidewhereyouwantlighterormid-toneareasinyourcomposition.Wipethewetglazefirmlywithalint-freeragremovingitcompletelyforlightareas.Wipegentlyinotherareasleavingathinglazelayertocreatemid-toneareas.Allowtheglazetoremainonthesurfacefordarktonalareas.Iftheglazeiswipedoffanareamistakenly,simplyreapplymoreglazeandcontinue.Justlikeworkingonablackboard,thisprocessisverygiving,sosomeareascanbeadded,erased,thenaddedagain.Whensatisfiedwiththeoverallarrangementoflightsanddarks,letdry.

STEP3IntensifyWithMoreGlazeUsethesameglazefromStep1,oropttochangecolorstocreatemoreinterest.HereanewdarkglazeusingIridescentCopper,CarbonBlack,mediumandwaterisbrushappliedoversomedarkareasforemphasis.Completethepaintingusingopaqueandtransparentpaintcolorstofurtherdefineformsandadddetail.

Subtractiveglazingusingthedark-coloredmetallicglazeformulainTechnique9createsghostlikemountainsoveragoldleafsurface.TheleafarearevealedaftersubtractiveglazingusedTechnique7toaddredandgreenglazedcolorshifts.

EMERALDNancyReynerAcrylicandgoldleafonpanel53"×40"(135cm×102cm)

IdeasExpandandpersonalizethemetallicglazeformulainStep1bysubstitutingcolorsandchangingratios.Formorespecifichighlightsapplyopaquewhitepaint.Addvarietytotheunglazedmetalareaswithcoloredglazes(seeTechnique7).

TECHNIQUE10

TarnishEffectsExposuretoaircausesimitationgoldleaftotarnishovertime.Toquicklyobtainthisantiquequality,commercialtarnishsolutionsareavailable,butarestrongandwilldisintegratethemetalleaf.Thistechniqueusesammoniaforaneasy,inexpensivetarnish.Imitationgoldleafcontainscopperthatreactswithammoniatotarnish,aswillcopperleaf.Realgoldleafwillnottarnish.Toaddfauxpatinacoloring,seeTechnique11.

MaterialsListSubstrateAnypaintingsurfaceleafedwithimitationgoldorcopperleaf(Steps1–6,Technique1),leftunsealedProductsAcrylic(polymer)glossmedium,householdammonia,solvent-basedglossacrylicOtherLargeplasticgarbagebag,sawdustorwoodchips,bucketandsmallersizedcontainer

STEP1PreparetheSurfaceandCreateaDesign(Optional)HavereadyaleafedsurfaceusingimitationgoldorcopperleaffollowingTechnique1,steps1–6.Donotsealtheleafuntilallthestepsinthistechniquearecomplete.

Youcanopttoadddesignsbydrizzling,pouringorbrushapplyingacrylicglossmediumontheleaftocreateadesignthatwillresisttarnishinginareas.Hereacrylicglossmediumissqueezeddirectlyfromthebottleontotheleafsurfaceinlineardesigns.Letdryuntilacrylicturnsclear.Thethickerthemediumisapplied,theeasieritistopeelofflater.

STEP2PrepareSetupandPourAmmoniaUsingaplasticgarbagebagthatismuchlargerthantheleafedsurface,placealargebucketorcontainerinside.Addasmallercontainerinsidethebucketasapedestalandplaceagoodamountofsawdustinsidethebucketaroundthepedestaloroutsidethebucketbutinthegarbagebag.Placetheleafedsurfaceonthepedestalsoitisprotectedfromtouchingthesawdustandtheplasticbagwhenclosed.Forasofter,mottledeffectsprinkledrysawdustlightlyoversomeoftheleafedsurface,otherwisecontinueforanoveralldarkening.

Pourammoniaoverthesawdustmound(aboutonecupforapillow-sizedamountofsawdust).Avoidinhalingthefumes.Closethebagsecurely.Periodicallyopenthebagtocheckthetarnish

progress.Tarnishingcantake10minutesorallday.Whensatisfied,removethesurfacefromthebag.

STEP3FinishandSealImmediatelyremoveanyacrylicglossmediumbypickingitoffwithyourfingers(orletthemediumremainonthesurfacetoturnagreencolor).Here,lightlysprinkledsawdusthascreatedamottledeffect.FollowinstructionsinStep7,Technique1toseal.

OptionalEffectPlacetheleafsurfacefacedowndirectlyontheammoniasoaked-chipsforamoredramaticeffect.Thistarnishesquicklyandifleftonammoniatoolongwilldisintegratetheleaf.

Squaresofleafareintentionallyappliedwithgapsbetweenthemrevealingthedarkredunderpaintedsurface.Theleaftookonabeautifulgreenpatinaandalongwiththevaryingredpatchworkgridaddatexturalandaestheticinteresttothebackground,masterfullysettingofftheblendedskintonesintheportrait.ANALMOSTINSIGNIFICANTSHIFT(DETAIL)PamelaFrankelFiedlerOil,acrylicandgoldleafoncanvas48"×36"(122cm×91cm)

TECHNIQUE11

FauxLeafPatinasApatinaisatarnishthatcolorsordiscolorsmetal.Pre-madecommercialandfineartpatinasaretoostrongforthethinmetalleaf,andwilldissolvetheleafwhenapplied.Here’saneasyandfuntrickusingacrylicpastestofakecolorpatinas.TotarnishordarkentheleafwithoutanycolorortextureseeTechnique10.

MaterialsListPaintIridescentBronze,CarbonBlack,JenkinsGreen,TurquoisePhthaloSubstrateAnymetalsurface,orapaintingsurfaceusingleafandsealedasinTechnique1,orasurfacepaintedwithiridescentpaintsToolsPaintingknifeorotherapplicationtool,flatpaintbrush,containerormixingpaletteProductsAwhiteabsorbentacrylicpasteForCleanupWater,watercontainer

STEP1PreparetheSurfaceandApplyPasteStartwithametallicsurface.(i.e.LeafthesurfaceasinSteps1–7,Technique1.Useasheetmetalsurfaceorapplyiridescentpaint.)Whendryselectoneormoreacrylicpastesthatareabsorbent,whiteandopaque,suchasLightMoldingPaste,CoarseMoldingPaste,CracklePasteorFiberPaste.

Usingabrush,knifeorotherapplicationtool,applypasteoverone-thirdofthemetallicsurfaceinselectedareas.Varythethicknessofthepaste.Createthinlayersbyscrapingthepastebackwiththeknifeinsteadofdilutingthepastewithwater.Letdryovernight.

STEP2ApplyColorWashesInacontainerormixingpalette,combineIridescentBronzewithwater1:2tocreateawash.Wetthesurfacewellwithwaterusingaspraybottle,spongeorbrush.BrushorpourtheIridescentBronzewashoverthewaterysurface.Thewashwillseparateintorustandgreencolorsifyou’veaddedenoughwater.Leafareaswithnopasteappliednaturallyresistthewashessononeedtoblot.Letdryundisturbedonalevelsurface.

STEP3IntensifyColorWhendryasubtlepatinaeffectiscreated.Tointensifycolors,repeatStep2oneormoretimes.AddCarbonBlack,JenkinsGreenandTurquoisePhthalointothewashordripthesecolorsdirectlyintowashpuddlesalreadyonthesurface.Herethosecolorswereaddedandthepatinaeffectisintensified.

IdeaApplyingsmallamountsofmetallicflakegelslikeBlackMicaFlakeandGoldMicaFlakeinsomeareas,inadditiontothewhitepasteinStep1,willenhancetheoverallfauxpatinaeffect.

AtarnishorfauxpatinaeffectisobtainedhereusinganalternativetoTechnique11.Aglossy,colored,texturedsurfaceiscreatedusingamixtureofglossgelandpaintcolor.Appliedoverthis(Technique34)arewashesofIridescentGold,Bronze

andSilver.ThetophalfhasanadditionallayerofFinePumiceGelundertheIridescentwashesforasoftreflectiveeffect.SANDBARGailHendersonAcryliconboard14"×10"(36cm×25cm)

Unlikethedelicateleaf,thissteelsurfaceisstrongenoughtobecoloredwithacidpatinasthenenhancedwithacrylicpaintandafinalclearcoat.URBANLANDSCAPEVDestinyAllisonAcidandacryliconsteel

36"×36"(91cm×91cm)

TECHNIQUE12

DrawingonLeafDrawingwithmaterialssuchaspastel,conte,pencil,markersorcharcoalpresentanexcitingopportunitytocontrasttheglowofametalleafbackground.SeeTechnique43foranothermetallicdrawingsurface.

Mostdrawingmaterialssuchascharcoal,graphitepencilsandchalkpastel,needagrittyortoothysurfacecreatedbysandinginStep1andareotherwiseunabletoleavetheirmarkonglossymetalleaf.Somedrawingmaterials,suchasmarkersandoilpastels,willworkfineontheleafsurfacewithoutsanding.Beforesanding,testyourdrawingmaterialsonthesurfacetoseeifitisnecessary.

MaterialsListSubstrateAsurfacepreparedwithmetalleafandsealed(seeTechnique1)ToolsAnypreferreddrawingmaterials,paintbrush,ragorpapertowels,spraybottleProductsWaterproofsandpaper220grit,acrylic(polymer)glossmediumOtherWater,watercontainer

STEP1SandtheSurfacetoAddToothTheleafshouldbesealedwithasolvent-basedclearglossacrylic(Step7,Technique1).Addadditionalprotectionforsandingbybrushapplyingtwoormorecoatsofacrylicglossmedium.Letfullydry(atleast6hoursormore).

Addwatertothesurfacewithawatersprayerorbrush.Startwithafinegrit(220)waterproofsandpaper,dipitinwater,andsandthesurfaceusingcircularmotionswithfirmpressure,continuallyaddingwatersoitstayswetbetweensandpaperandsurface.Thiskeepsdrysandedacrylicparticlesfrombecomingairborneandthereforetoxic.Frequentlywipeawaythewetsandedmaterialwitharagorpapertoweluntiltheentiresurfacehasbeenworked.Avoidsandingtoodeeplyintotheleaflayer.ThesandedsurfaceturnsmattebutwillregainitsglossysheenaftersealinginStep3.

STEP2DrawOntotheSurfaceDrawyourimageordesignusingavarietyofdrawingmaterialstocreatedifferentlinequalities.Avoidcoveringuptheleafsurfaceentirelysoitshowsthroughforaninterestingcontrast.

STEP3SealtheDrawingPouracrylic(polymer)glossmediumovertheentiredrawing.Gentlypullthewidepartofaknifeacrossthesurfacetosmooththepolymerwithouttouchingthedrawingsurface.Applymorepolymerasneededtocover.Letdry.Asanalternativetothisstep,spraywithasolvent-basedclearglossacrylic.

FinishedExample

ThevarietyofdrawingmaterialsusedonthisgoldleafsurfaceshowupboldlywiththeaddedtoothcreatedbysandinginTechnique12.Inaddition,theuseofstrongdarks,lightsandbrightcolorsworkwellwiththegold.GOLDMAGICIANNancyReynerAcrylic,charcoal,pencilandgoldleafonpanel10"×10"(25cm×25cm)

Chalkpastelisusedhereaddinganinterestingsoft,powderytactilequalitytocontrasttheshinyglossofthegoldleafsurface.GOLDENBLESSINGOFTHESUNSaraNovensonPastelandgoldleafonpanel8"×10"(20cm×25cm)

TECHNIQUE13

GlitterandMetalFlakesReflectivematerials,suchasglitterandmetalflakes,guaranteeaneye-catchingexperience,creatinginterestingbackgroundsorunusualabstractpaintings.

Therearetwowaysofcombiningreflectedmaterialssuchasglitterandmetalflakesintoapainting:eitherpurchaseready-madeacrylicproductsthatarereflective,ormakeyourown.Ready-madeonescombinereflectivematerialswithanacrylicbinder.Thereareawidevarietyoftheseavailableatartsupplystores.Tomakeyourown,addrawreflectivematerials,(suchasglitter,piecesofglassormica)toaglossacrylic(polymer)mediumorgelinacontainerandmixwell.Anotheroptionistofirstapplyathicklayerofacrylicglossgelontoapaintingorsurface,andwhilewet,sprinkletherawmaterialsontop.Letdryasisorpushthemdeeperintothegelwithaknife.

MaterialsListPaintPaintcolorsareoptionalSubstrateAnyprimedpaintingsurfaceToolsPaintingknifeorotherapplicationandtexturaltoolsProductsOneormorereflectiveacrylicgelsorpastesForCleanupWater,watercontainer,papertowelsorrags

ReflectiveMaterialsAsamplerofseveralready-madereflectiveacrylicproducts,eachappliedthicklyandthinlywithaknifeovercoloredpaint.

VermiculiteCoarse

GoldMicaFlake(large)

CoarseAlumina

GlassBeadGel

GoldMicaFlake(small)

BlackMicaFlake(small)

BlackSiliconeCarbidePaste

RawVermiculite

STEP1ApplyProductsUsingapaintingknifeorotherapplicationtool,applyproductsdirectlyontoaplainpaintingsurface,oronethatisprepaintedwithacolororimage.Varyapplicationsboththickandthinforavarietyofeffects.Note,theproductsappearlighterandnonreflectivewhenwet.

STEP2SubtractOutDesigns(Optional)Scrapethroughthewetproductswithtexturaltoolstoaddlinearanddesigneffects.Thisfinishedexampleusesalltheproductsfromthesampler.Aknifeandothertexturaltoolsscrapedbacktheproductswhilewettorevealthewhitebackground.Keepasafinishedpieceorcontinueapplyingmoreproducts,coloredglazes,orcollagedimagesuntilsatisfied.

Piecesofcolored,recycledglassareembeddedinglossgel.IridescentCopperandIridescentPearlaremixedwithcoloredpainttocreatethebackground,andvariegatedleaf(Technique2)addsametallicaccentinthecentertophalf.ROCKYROAD2PatriciaForbesAcrylic,paper,metalleafandglassonpanel9"×9"(23cmx23cm)

TECHNIQUE14

MetalPaintIridescentpaint(alsoknownasmetallicormetalpaint)comesinawidevariety,offeringbeautifulreflectiveoptionsforpainting.Customizethemwiththesetipsandtechniques.FormoreinformationoniridescentpaintsseeSection3:EssentialTipsforReflectivePaints.

MaterialsListPaintOneormoreacrylicmodernpaintcolors,severaliridescentpaintsSubstrateAnyprimedpaintingsurfaceToolsPaletteknivesorothermixingandapplicationtool,paintbrush,mixingpaletteProducts(Optional)Slow-dryingacrylicglossmediumorglossgelForCleanupWater,watercontainer,papertowelsorrags

STEP1MakeIridescentColorMixturesOnapaletteormixingplate,applysomeofeachofavarietyofiridescentpaintcolorsformingasemicirclealongtheoutsiderimofthepalette,leavingthecenterspacefreeformixing.Toextendtheopentime,addupto30%slow-dryingmediumorglossgeltoeachquantityofiridescentpaintonthepalette.Createnewcolormixturesinthepalette’scenterbymixingcombinationsoftwoormore.HereIridescentSilverismixedwithIridescentBronzetogetaninterestingnewmetalliccolor.Keepmixturescondensedintosmall,highpilesinsteadofspreadingoutthinlysotheystaywetlonger.Mixasmanycombinationsasyoulike.

STEP2AddPaintColorMakenewpilesonthepalettebymixingafewdropsofmodernpaintcolors(moreinformationonmodernsinSection1)intooneiridescentorcombinationofiridescents.HerePhthaloBlueismixedintoIridescentStainlessSteeltocreateacoolercolorversionofsteel.

STEP3ApplyMixturesontotheSurfaceThepaletteshouldnowhaveawiderangeofchoices.Usingabrush,knifeorragapplythesetoanunpaintedsurfaceorasurfaceprepaintedwithcolororanimage.Varyapplicationsthinlyandthicklytogetavarietyoftonalqualities.

IridescentSilvervisuallyheightensthewhitegroundunderlyingstrongyellowandblackgesturalelements.WHILETURNINGJillMoserOilandacryliconcanvas55"×56"(140cm×142cm)Photocredit:KevinNoble

IridescentBronzepaintaddsastrikingcontrastwithblueandblackpaintcolors.SHEDDINGMYSKIN

BonnieTeitelbaumAcryliconpanel48"×36"(122cm×91cm)

IdeasFormoreexperimenting,tryusingatwo-partpatinasolutionfoundinartstoresandonline.Theseuseiridescentsthatcontainrealmetalwithacompatiblepatinasolution.Followtheinstructionsonthelabelforapplyingpaintandpatinasolutions.

SECTION3

PrismaticEffects

WATERABSTRACTIONBarbaraKempCowlinAcryliconcanvas24"×56"(61cm×142cm)

DetailIt’sgoodtorememberthatsubtlecanstillbeeyecatching.Ifyoulikeveiled,soft,waxyorZenmoodeffects,thenthisisyoursection.Thissectionusescolorshiftslikethosefoundonanoilslickinarainpuddle,orthepearlyinsidesofanabaloneseashell.Layering,surfaceenhancing,refractiontricksandinterferencecolorscombinetocreateawidevarietyofseductivetechniques.Thefollowingtechniques,inparticular,offerlight-catchingandtactilequalitiesthatarestrikingwhenviewedinperson,yetoftenaretoosubtletodetectinaphotograph.You’lljusthavetotrythemouttoseeforyourself.

FLOWBarbaraJacksonAcryliconcanvas60"×144"(152cm×366cm)CollectionofVITASCorporation

EssentialTipsforReflectivePaints

AwidevarietyofiridescentpaintcolorsincludingIridescentCopper,PearlandGoldareincludedinthisreflectivemetallicpainting.SKY’STHELIMITPatriciaForbesAcrylicandpapercollageonpanel16"×16"(41cm×41cm)

Washcolors(paintdilutedwithwater)areaccentedwithIridescentPearlpigment.Alcoholisaddedintothewetlayercreatingtheorganicpatterning.ENCHANTEDFORESTElizabethSmarzAcrylicandpigmentoncanvas24"×30"(61cm×76cm)Techniquesinthissectionfocusontwogroupsofreflectivepaints:iridescentandinterference.Thenamesaredeceivinglyalike,yetofferverydifferentresults.Reflectivepaintscreateinterestingunderpaintings,groundsandsurfaces,orcanjustsimplybeusedaspaint.Bothtypesofpaintrequirelighttobereflective,soavoidaddingtoomuchpaintcolortotheminmixtures.Useonlyaboutonedropoffluidpaintforeach4ouncesofiridescentorinterferencepaintandtesttheresultsbeforeaddingmore.Ingeneral,choosemodernpaintsfortinting,insteadofmineraloropaquecolorssuchasTitaniumWhiteandCadmiums.Alsoavoidaddingmattemediumsormattegels,oroverpaintingwithmattevarnish,asthemattingagent’swhitepowderwillblockthelightneededforreflectivequalities.Pleasenotethatthesetechniquesinparticularproducespecialeffectsandsheensnotalwaysvisibleinphotographs,soyourresultswillbeevenmoreexcitingthanwhatyouseehere.

IRIDESCENTPAINTIridescentpaints(ormetallicpaints)fallintotwocategories.Somecontainrealmetal(i.e.IridescentStainlessSteel,MicaceousIronOxide)whileothersuseacombinationofmicachipsandcolortosimulatemetals(i.e.IridescentBronze,IridescentGold).SeeTechnique14forcustomizingiridescentpaintcolor.

Theiridescentpaintsthatsimulatemetalcreateunusualvariegatedpatternswhenheavilydilutedwithwater.IridescentBronze,inparticular,producesverydramaticresults,asitseparatesintoitscomponentsofpigmentandmica.(SeeTechniques11and34.)INTERFERENCEPAINTInterferencepaintscreateunusualcolor-flipeffectswhenusedinspecificwaysandarekeyingredientsinthelastfourtechniquesofthissection.Interferencearefairlynewpaintinventions,availableinartstoresinavarietyofcolors.Asyouwalkpastapaintingusingthese,thecolorsshiftandchange,creatingsomewhatofaholographiceffect.Interferencepaintsaremadeofmicaplateletscontainingaluminumsilicate.Theseplateletsarecoatedwithathinlayeroftitaniumdioxide.Dependingonthecoating’sthickness,thepaintrefractsdifferentportionsoftheavailablelight’scolorspectrum.Thismeanstheydonotcontaincoloredpigmenttocreatethe“color,”andrequiredifferenthandlingthannormalpaintcolors.Herearesometipsforgettingthemostoutoftheinterferencepaints:

•Interferencecolorsareverytransparent(unlessappliedverythickly)andwillchangeappearancesovercolorsorsurfacesonwhichtheyareapplied.Overawhiteorlightcoloredbackgroundtheylooksubtlypearlescent,translucentandcolorflipwhenseenatdifferentanglesbetweentheirpairofcomplementarycolors.Forexample,InterferenceGreenonalightsurfacewillflipbetweengreenandred,whileInterferenceBlueflipsfrombluetoorange,andInterferenceVioletfromviolettoyellow.Theintensityoftheir“undertonecolor”appearsmoredramaticwhenappliedthinlyoveradarkorblackbackground.ForexampleInterferenceVioletbecomesahighlyilluminatedrefractivevioletwhenappliedthinlyoverblack.

•Mixasmallamountofblackpaintintoaninterferencetomakeitmoreopaqueandfurtherenhancetheundertonecoloring.

•Useinterferenceastoplayersorfinalpaintlayersallowingthemostlighttoreachthem.Mixglossgelsandglossmediumsintointerferencepaintstoincreasetherefractionandeffects.

•Addacrylicpaintcolorsinsmallamountstointerferenceforunusualeffects.Theaddedcolorappearsasthemasstonewhiletheinterferenceundertonecolorisstillvisible.

InterferenceGoldwashesareappliedoveradarkandlightunderpainting,creatingamesmerizinggoldcolorflipwhenseeninperson.Thedark-lightunderpaintingiscreatedbyapplyingdarkcoloredwashesoveratexturedsurfaceusingmoldingpasteandglossgels.Thedarkwashesresistoverglossshowingasthewhiteareasintheunderpainting,whilepuddlingupoverthemoldingpasteareastocreatethedarks.Forasimilarwash,seeTechnique34.GALACTICBarbaraJacksonAcryliconcanvas48"×60"(122cm×152cm)CollectionofDr.KellyWirfelandDr.JohnHolcomb

TECHNIQUE15

MulticolorImprintThisexcitingprintmakingtechniquewasinspiredbyfriendandcolleagueJuliaSantosSolomonandhermasterprinter,JulioValdez,whoworkwithaprocesscalledsilkaquatint.Thetechniquedescribedhereisavariation,moresimilartoacollagraph.Gelsandpastesareappliedtoasurfacetocreatea“printingplate,”enablingtransferofanimagetocanvasorpaper.TonaleffectsandvibrantcolorsareobtainedcreatingJulioValdez’sphrase“painterlygraphics.”

MaterialsListPaintAvarietyofmoderncolors(seeSection1)SubstrateOnerigidsupport,suchaswoodorpanel;oneflexibleunprimedabsorbentsurface,suchaspaper,canvasorfabric,slightlylargerinsizethantherigidsupport(ifusingrawcanvasyoumayneedtopre-washittoremoveanycoatings)ToolsPaintingknifeandotherapplicationandtexturaltools,afewfavoritepaintbrushes,pencil,spraybottleProductsAnabsorbentacrylicgelorpaste,anon-absorbentacrylicgelorpasteOtherPapertowelsorrag,water,watercontainer

STEP1CreateaPrintingPlate

Drawoutadesignusingpencilormarkeronarigidsupport.Applyanabsorbentproductoverthesurfacethatdriestoamattefinishoristextural,suchastheFinePumiceGelusedhere.Overthissurface,eitherwetordry,brushorknifeapplyagenerousamountofnonabsorbentproductforthemainformssotheyarehigherinreliefthanthebackground.HereMoldingPasteandRegularGelGlosswereusedforthevase.Addasmanydifferentproductsasyoulikeanywhereonthesurface,suchasGlassBeadGelusedintheforeground.Letthisdryfully.Notethewhiteareasshownherewilldryclear.

STEP2AddPaintUsingmoderncolorsforbestresults,addabout10%watertoseveralfluidmodernpaintcolors.Usemorewaterforheavy-bodiedpaint.Brushapplythecolorsontotheprintingplate.Usearagtowipeawaypainttocreateanyhighlightsforthetransferredimage.

STEP3TransfertheImageLightlydampenthetransfersurfacewithwaterfromaspraybottle.Placedampsidedownovertheprintingplatestillwetwithpaintcolors.Usingfirmpressure,rubyourhandoverthebackofthetransfersurfacetoallowthepaintcolortotransfer.Abrayerorotherpressingtoolmaybeused.Afteraminuteofrubbing,gentlypeelthetransfersurfaceofftheplateandsetdowntodry.Rinsetheplatewithwatertoreuse.

FinishedExample

IdeasTransfermultipleplatesontothesameimage.Usetheplatebyitselfasapainting.Cutupthetransferredimagesandusethemascollageitems.

Interestingtonalareasarecreatedinthesetwopaintingsusingsilkaquatint,aprocesssimilartothetechniquedemonstratedhere.CARIBBEANTROUTJuliaSantosSolomonSilkaquatintonpaper15"×22"(38cm×56cm)

PROFILEWITHTHORNSJulioValdezSilkaquatintonpaper(Editionof10)31"×25"(79cm×63cm)

TECHNIQUE16

VeilingLayerswithPastesVeiling,ortranslucentoverlays,giveafoggy,whitishorcloudyappearanceandenhancetheillusionofspace.Thistechniqueusesthinlayersofpastetosuggestdepth.ForothertranslucentoverlaysusinggelsseeTechniques17and20.

MaterialsListPaintSeveralpreferredpaintcolorsindarkandbrighthuesSubstrateAnyprimedpaintingsurfaceToolsPaintbrush,paintingknifeorotherspreadingtoolProductsAwhiteacrylicpasteForCleanupWater,watercontainer,papertowelsorrags

STEP1MakeanUnderpainting

Createavibrantanddarktonedunderpaintingusingbrightanddarkcolors,sotheywillstillbevisibleafterveiling.

STEP2ApplyPasteThinlyApplyawhiteacrylicpasteverythinly,usingaspreadingtoolsuchasaspatula,plasterknifeorpieceofstiffcardboard.Donotdilutethepastewithwatertothin,butinsteadapplybyusingsomepressurewiththespreadingtool.Thethickerthepasteisapplied,themoreopaqueitwillbe.It’sbettertoapplyseveralthincoatstoachievesatisfactoryresultsthanoverkillwithaheavyapplication.Whilewet,thepasteappearsmoreopaquethanitwillwhendry.

FinishedExampleThepaste,appliedinasweepthroughthecenterofthepainting,hasdriedfromopaquetotranslucentallowingtheunderpaintingtoshowthrough.

PastesappliedthinlyveilanunderpaintingusingIridescentBronzeandotherpaintcolors.REDRIBBON

HelenMcKeownAcryliconpanel10"×8"(25cm×20cm)CollectionofMaryBalzer

Thinlayersofpasteaddtranslucency,thefeelingofdepth,andasurfacequalitysimilartoencausticorwax.Theunderpaintingusesacrylicpaint,metallicinks,iridescentpastes,handmadepaper,stampingandcarbontransfer.SURFACINGCateGoedertAcrylicandmixedmediaonpanel16"×16"(41cm×41cm)

TECHNIQUE17

MatteSkinsConstructionAnevocativeandsubtledepth,likelookingthroughpearlycloudsorfog,isobtainedusingseveralseparatelayersofpaintedmattegel.Mattegelscontainafinewhitepowder(amattingagent)anddonotdryfullytransparent.Instead,theytakeonabeautifultranslucent,orveiled,appearance.

Beforestartingthistechnique,determinethesizeofyourfinalpaintinganduseasurfacethatacrylicwillnotstickto,suchasHDPEplexi.Thisnonsticksurfaceshouldbeatleastthreetimesthesizeofyourfinalpainting.Forexample,tomakean8"×10"(20cm×25cm)painting,a24"×30"(61cm×75cm)pieceofHDPEplexiwillmakefourskinsthatsize.(Askinisapieceofacrylicwithnobacking.)

MaterialsListPaintOneormoreacrylicpaintcolorsSubstrateAsurfacewithwhichacrylicwillnotadhere(i.e.HDPEplexi,plasticreportcovers,freezerpaperorgarbagebag)ToolsPaintingknifeorotherspreadingtool,paintbrushProductsAnacrylicmattegel,anacrylicglossgelForCleanupWater,watercontainer,papertowelsorrags

STEP1CreateMatteSkinsApplyagenerousamountofmattegel,suchastheHeavyGelMatteusedhere,ontoanonsticksurfaceandspreadevenly,keepingthicknessatleast ⁄ -inch.Thethickertheskins,themoreveilingeachwillhave.Eachskincreatesonelayer,somakeatleasttwoormoreskins.Letitdryovernightorwhentheskingoesfromwhitetocloudy.

1 8

STEP2PainttheSkinsWhendry,theskinseasilypeeloffthesurface.Onesideoftheskinwillhavetexturefromapplyingthegel,whiletheothersidewillbesmoother.Paintoneithersidewithanypaintcolorsyouprefer.Leaveatleasthalfofeachskinunpainted.Iftheentireskingetsaccidentallycoveredwithpaint,removeitbywetsanding(seeTechnique4).

STEP3ArrangeandGlueAssembletheskinsinanyorder.Skinsarereversiblesoeithersideisusable.Whensatisfiedwithanarrangement,gluethemtogetherbyknifeorbrushapplyingathinlayerofglossgel(undiluted)ononeorbothskinsandimmediatelyreassemblethem.Letitdry.

FinishedExampleWhenallskinshavebeengluedtogether,theycreateonethickgelslab.

IdeasSkinscanbestoredoncleanplasticsheetsandsavedforlateruse.Cutskinsintosmallersizesandshapeswithscissors,andglueontoapaintedbackgroundorplainsubstratelikecanvasorpanel.

REGALIASERIES:LABYRINTHPattiBradyAcryliconpaper29"×27"(63cm×69cm)

Matteskinsarepainted,thengluedtogetherforthesevibrantpaintings.REGALIASERIES:DISROBINGIPattiBradyAcryliconpaper30"×30"(76xm×76cm)

TECHNIQUE18

SoftMeltedEffectsTransformhardedgesintosoftedgesbyembeddingthemtexturallyintowetgel.Softedgesmakeblurredforms,offeringtheillusionofrecedingformsinspace.SeeTechnique24foranalternatemethodusinginterferencepaints.

MaterialsListPaintOneormoreacrylicpaintcolorsSubstrateAnyprimedpaintingsurfaceToolsPaintbrush,paintingknifeorotherspreadingtoolProductsAmatteorglossacrylicgelForCleanupWater,watercontainer,papertowelsorrags

STEP1RoughOutanUnderpainting

Onasurface,createanunderpaintingusinganystyleortechnique.ThisicecreamconeonavioletbackgroundusesCobaltTurquoise,BurntSienna,VatOrange,RawUmber,CarbonBlack,TitaniumWhiteandHansaYellowLight.

STEP2ApplyGelThicklySelectanacrylicgel.Glossdriestransparentwhileamattegelappearsveiledorcloudy.Usingaknifeorotherspreadingtool,suchasaspatula,heavilyapplygelalloverthesurfaceatleast⁄ -inch(0.6cm)indepth.HereHeavyGelGlossisapplied.Continuetothenextstepwhilethe

surfaceisstillwet.1 4

STEP3PaintIntotheWetGelUsingabrushorknife,applypaintcoloronthewetgel.Heaviergelsallowsmootherapplicationsofpaint,whilesoftergelsrecordtheapplicationtexturally.Gelappearswhitewhenwet,temporarilyhidingtheunderpainting.Ifyouneedtocontrolwherethepaintisapplied,useaknifetoscrapeawaysmallareasofthegelatatimethenpushthegelbackintoplace.

STEP4EmbedEdgesUsingacleanknife,glideovertheedgespushingthecolordownintothedepthsofthegellayer.Movethepaintaroundtosoftenandbluruntilsatisfied.Whenthegelisdry,theunderpainting

andoverpaintingwillvisuallymergeasseenhere.

Thisstrikingimagetakesfulladvantageofpaint/gelcombinations.Gelsincreasecolorvibrancy,addtextureandembedpaintcreatingavarietyofhardandsoftedges.MUSETTEJimWaid

Acryliconcanvas48"×42"(122cm×107cm)

TECHNIQUE19

MultipleLayeringWhentechniquesarecombined,layeringeachoneoveranother,thepossibilitiesmultiplycreatingsurprisesinyourartworkandprocess.Multiplelayeringcanaddsensuousphysicalitytothesurfacealongwithluminosityanddepth.Almosteverypaintinginthisbookusesmultiplelayeringtosomeextent.Thisdemonstrationusesseveraltechniquesfromthebook,yetisonlyoneofaninfinitearrayofpossiblecombinations.

Pickseveralacrylicpaintingtechniquesofyourchoicefromthisbook,otheracrylictechniquebooks,oryourowninvention.Thesecanbelayeredinanyorderyouchoose.Alayer,simplydefined,iswhenonewetapplicationofpaintorproductsisappliedoveradryone.Forthisdemonstrationthreetechniquesfromthisbookareselected:22,26and33.

MaterialsListPaintOneormoreacrylicpaintcolorsSubstrateAnyprimedpaintingsurfaceToolsPaintingknifeorotherapplicationtool,paintbrushProductsAnacrylicmedium,pasteorgelOtherAdditionalmaterialsasrequiredforothertechniquesselectedforlayeringForCleanupWater,watercontainer,papertowelsorrags

STEP1AddWashPours,Technique33FollowwashpouringSteps1and2fromTechnique33.HereLightMoldingPasteisappliedovertheentiresurface,andwhendryIridescentwashesofBronze,GoldDeep(Fine),CopperandBrightGoldareapplied.Letitdry.

STEP2AddOverglowSheens,Technique22TheOverglowSheenstechniqueisusedtoapplyglazesovertheupperandlowerthirdsofthepainting.AglazemixtureofInterferenceGreen,CobaltTealandCarbonBlackisusedfortheupperpart,whilethebottomusesInterferenceRed,QuinacridoneBurntOrangeandCarbonBlack.Letitdry.

STEP3AddaDirty-MixPour,Technique26ADirtyMixpourisappliedoverthebottomthird,addingfocalinterestandnewforms.PaintcolorsofCarbonBlack,IridescentDeepGold(Fine),GreenGold,andairbrushinkcolorsTitaniumWhiteandQuinacridoneMagentaareusedinthepour.

TipsEachapplicationlayerortechniquedoesnotneedtocoveranentiresurface,butcaninsteadbeappliedtoselectedareas.Leteachlayerfullydrybeforeoverlayingthenext,unlessthetechniquespecificallycallsforawetlayerapplication.Almostanytechniquecanbeappliedunderoroveranother,becauseacryliclovestosticktoitself.Asyouoverlaytrytoallowsomeofthelayersunderneathtoshowthrough.Afinalsurfacecanappearcrustyandoverlydensewhentechniquesareappliedtooheavilyortooopaquelyhidingunderneathlayers.

Multipletechniquesareusedtocreatesurprisinglayers,includingcracklemediums,transfers,texturalgelsandacrylicpaint.FRACTALFUN

SandraDuranWilsonAcrylicandmixedmediaonpanelwithpouredresin10"×8"(25cm×20cm)

Multiplelayerscreateatactileandvisuallyexcitingsurfaceonthispainting,includingMoldingPastetosmoothcanvastexture,CracklePastefortexturalinterest,washesforwatercoloreffects,skinsforpalmtrees,squeezebottledrawingwithfluidpaints,andamattemediumfinish.UNDERTHECANOPYBonnieCuttsAcryliconcanvas26"×36"(66cm×91cm)Photocredit:EdBockCollection:Jim&RhondaBoyette

TECHNIQUE20

FakeWaxEncaustic,orwax,isabeautifulmediumwhoseuseinartcanbedatedtoearlyEgypt.Wax,whenusedinpainting,impartsamagicalsheen,sensualwarmrefraction,andtactilesurfacewithsubtletranslucentqualities.Therearesomedownsidestoworkingwithwax.Waxcanposeachallengefortransportandstoragewithitsdelicatesurface.Acrylic,however,caneasilyreplicatewaxeffectswhileremainingnontoxicandofferingmorestablesurfaces.Thistechniqueoffersthesimplestfakingmethod:usinglayersofmattegel,withsuggestionsforenhancementsattheend.

MaterialsListPaintOneormoreacrylicpaintcolorsSubstrateAnyprimedpaintingsurfaceToolsPaintingknifeorotherspreadingtool,paintbrushProductsAnacrylicmattegelForclean-upWater,watercontainer,papertowelsorrags

STEP1CreateanUnderpaintingUsingoneormorepaintcolors,createanunderpaintingusingdarkandbrightcolors,sincetheywilleventuallybemuted,lightenedorveiledwithsubsequentlayers.

STEP2ApplyMatteGelApplymattegelgenerously,usingaknife,spatulaorotherapplicationtool.Covertheentiresurfaceorapplyittospecificareas.Applythickerformoreveilingorthinnerformoretransparency.Sinceitisdifficulttoascertainthegel’stransparencywhilewet,optionallytesttheapplicationonascrappaintingwithsimilarcolorstoyourunderpainting,lettingitdryfullyforaccurateresults.Youcaneithersmoothoutthegelorincreasetexturewiththeknife.Useheaviergelsforeaseinsmootherapplications,whilesoftergelsofferabutteryquality.

FinishedExampleHeremattegelisappliedtoselectedareas,showingascloudyortranslucent,leavingpartsoftheunderpaintinguncovered.Optionallycontinuepaintingand/orrepeatanothermattegellayer.Alternatepaintandgellayersuntilsatisfied.

IdeasHeavilydilutepaintcolorwithwatertocreateawash.Applyoverthemattegellayerwhileeitherwetordry.ManipulatethecolorintothewetgelforsofteredgesasshowninTechnique18.SeeTechnique16foranotherfakewaxeffectusingthinlayersofpaste,orthefinalexampleinTechnique30usingadeeppour.Foracustomformulatryaddingtheseotheringredientstothemattegel:1)Mixinglossgelformoretransparency.2)AddInterferenceBluetoenhancerefraction.3)AddsmallamountsofInterferenceGold,IridescentGold,orQuinacridoneNickelAzoGoldtomimictheyellow-goldcolorofnaturalwax.4)Addmediumorwatertodecreasetextureorworkwiththinnerlayers.

AfakeencausticeffectisobtainedherebyalternatingthinlayersofpolymermediumglosswiththinlayersofFinePumiceGel,whilepaintanddrawingmaterialswereappliedinbetween.THEGREATESTLIMITATION,ONCEACCEPTED,CANBECOMEANOPENINGDonnaBaekAcrylic,pastel,charcoalandgraphiteonpanel30"×30"(76cm×76cm)

TECHNIQUE21

UnderglowEffectsCombinethetraditionaloldmaster’smethodofunderpaintingcalledagrisaillewiththeunusualcolorflipofinterferencepaintsforacontemporarytwist.Imageswithhighcontrast(strongareasofdarksandlights)workbestforthistechnique.Forotherinterferencepaintideasseethenextthreetechniques.Foranalternategrisailleusingiridescentpaints,seeTechnique42.

MaterialsListPaintOneormoreinterferenceacrylicpaintcolors,CarbonBlackSubstrateAnypaintingsurfaceprimedwithgessoorpre-paintedwithwhiteToolsPaintbrush(orotherpaintapplicationtool),paintingormixingknife,mixingpaletteProductsSlow-dryingacrylicglossmediumorglossgelForCleanupWater,watercontainer,papertowelsorrags

STEP1MakeDarkandLightInterferenceMixturesOnamixingpaletteplaceoneormoreinterferencecolors.Divideeachinterferencecolorintotwohalves.Addasmallamountofblackpainttooneofthehalvesofeachinterferencecolor,leavingtheotherhalfplainandunmixed.HereInterferenceBluewithtwodropsofCarbonBlackcreatesadarkmixture.Optionally,createlightermixturesusinglessblacktocreatemidtones.Addabout20%slow-dryingmediumorglossgeltomixturestokeepthemwetlonger.

STEP2ApplyMixturesUsingaknife,brushorrag,applythedarkinterferencemixtureintheareasonyourpaintingyouwantdark.Thicklyapplytheunmixedplaininterferenceintheareasyouwantlight.Addsomewatertothemixturesforthinapplicationsandmorevariedtones.Avoidpaintingtheareasofyourimageyouwantthelightestsothewhitesurfaceshowsthroughashighlights.Applyunmixedplaininterferencethinorthickoverthedarkareasforinterestinghighlights.OptionallyapplyTitaniumWhitetocorrectlightareasthataccidentallygotpainteddark.

FinishedExample

Afinishedgrisailleistraditionallyusedasanunderpainting.Continuepaintingoverthedriedgrisailleusingcoloredglazes.Tomakeaglaze,mixanypaintcolorwithaslow-dryingacrylicglossmediumina1:5ratioandthinlybrushoverthegrisaille.Considerusingthegrisailleasisforafinishedcontemporarypaintingwithoutglazing.

SeveralinterferencepaintcolorsincludingInterferenceGold,InterferenceRed,InterferenceBlueandInterferenceVioletarewellilluminatedonablackgessobackground.Glossmediumovertheblackcreatesthesheenshiftingdarkblacktrailingtentacles(Technique41).JELLYFISH1:LUMINESCENTJELLIESSERIESYENNYCOCQAcryliconmasonitepanel12"×12"(30cm×30cm)

Herethesameimageisphotographedfromadifferentangle.Interferencecolorsaretrickytophotographsincetheviewingexperienceconstantlychanges.Astheviewinganglechanges,thecolorflips.

TECHNIQUE22

OverglowSheensIntensifycolororaddsubtlecolorshiftswithinterferenceglazes,tocreateunusualrefractivecoloringandsurfaces.

MaterialsListPaintOneormoreacrylicpaintcolors,oneormoreinterferencecolorsSubstrateAnyprimedpaintingsurfaceToolsPaintingknifeorothermixingtool,mixingpaletteorcups,softflatpaintbrushProductsSlowdryingacrylicglossmediumForCleanupPapertowelsorrags,water,watercontainer

STEP1CreateanUnderpaintingBrushapplypaintcolorssmoothlyonapaintingsurfacetocreateanunderpainting.Asimplelandscapeisusedforthisdemonstrationbutanyunderpaintedimagewillwork.Letitdry.

STEP2MakeInterferenceGlazesMixupseveralglazecolorsthatrelatetotheunderlyingcolorsintheunderpainting.Forexample,thisblueinterferenceglazewillbeusedtoenhancethebluesky.

Startyourglazemixturewithagenerousamountofaslow-dryingacrylicglossmediumonamixingpaletteorcontainer.Tothisaddanequalamountofaninterferencepaint.Addasmallamountofpaintcolor(1:10paint-to-mixtureratio)selectingasimilarbutdarkerversionoftheinterferencecolor.Forinstance,thismixtureconsistsof1ounceInterferenceBlue(Fine),1ounceslow-dryingacrylicglossmedium,andonedropoffluidAnthraquinoneBlue.Mixwell.Repeatformoremixturesofglazecolors.

STEP3ApplyGlazesBrushapplyeachglazecolorovertheselectedarea,keepingtheglazeapplicationsmoothbyfrequentlyremovingexcesspaintontoaragorpapertowelandcontinuingtospreadouttheglazeintoathinapplication.Whenworkingwithglazes,itisbettertofirstapplyaglazethatisnotasintenseasyoulikethanonethatistooheavy.Youcanalwaysapplyadditionallayerswhendrytobuilduptothedesiredintensity.

IdeasToaddtexturetothistechnique,makeatexturedunderpaintingbyapplyingheavybodiedpaintswithaknife.Then,inStep2substituteaglossgelfortheglossmediumtomixglazes,andknifeapplythicklyovertheunderpainting.Theseglazescanalsobeusedinopposingfashiontocontrast(i.e.choosingaredinterferenceglazetogoovertheblueskyinsteadwouldshifttheskytoanunusualvioletcolor).

FinishedExampleInadditiontotheInterferenceBlueglazeoverthesky,aglazeofInterferenceRed(Fine)withatouchofQuinacridoneCrimsonoverlaysthemountains,andaglazeofInterferenceGreenwithatouchofJenkinsGreenoverlaysthebottomgreenfoliage.

Onaredbackground,theribbonshapesarepaintedfirstinblack,thenglazedwithInterferenceGold.Theunderlyingblackenhancestheinterferencecolor.RAMBLEBarbaraJacksonAcryliconpanel10"×12"(25cm×30cm)

TECHNIQUE23

PrismaticLayeringTwoshimmeringcategoriesofpaint,iridescentandinterference,areusedinlayersoneovertheother,resultinginunusualrainbowpearlescenteffects.SeemorevariationsusinginterferencepaintsinTechniques21,22and24.Helpfultipsontheseexcitingpaintscanbefoundinthebeginningofthissection.

MaterialsListPaintAvarietyofinterferenceandiridescentacrylicpaintcolors,blackpaintSubstrateAnyprimedpaintingsurfaceToolsMixingpaletteorcups,paintingormixingknife,paintbrush(optionalmaskingtape)ForCleanupWater,watercontainer,papertowelsorrags

STEP1CreateanIridescentUnderpaintingUseanydesign.Heremaskingtapeisusedtomaskoffvariousstripesoverawhitesurface.Avarietyofiridescentacrylicpaintswasthenusedtocreatethishard-edgeddesign.

Alternatively,feelfreetocreateanyunderpaintingyouprefer,usingatleastseveraldifferentiridescentpaintsappliedwithbrush,knifeorrag.Letitdry.

STEP2CreateanAdditionalDesignCreateasecondlayerdesign.Hereagainmaskingtapeisusedforhard-edgedstripes,nowgoinghorizontally.

STEP3ApplyInterferencePaintsBrushapplyinterferencepaintcolorsovertheiridescentunderpainting.Insomeareasapplythinlytoallowtheunderlyingiridescenttoshifttheinterference.Inotherareas,applythicklyforapearlyopaqueeffect.Mixinasmallamountofblackwithsomeinterferencecolorstocreateamoreintenseandopaquecolor.

FinishedExampleUsingastripedgridpatternshowsoffthevarietyofeffectsobtainableusinginterferenceoveriridescents.Continueaddingnewlayersandnewmixturesaspreferred.Eachlayershouldbedrytothetouchbeforeapplyingthenext.

InterferenceVioletisappliedoverIridescentGoldforasoftlyilluminatedbackgroundwithcollagedpapersindecorativedesigns.INDIGENOUSDREAMSPatriciaForbesAcrylicandpapercollageonpaper16"×16"(41cm×41cm)

InterferenceVioletandInterferenceBlueareappliedthicklytocreateashimmeringwhitedress.Bronzeandsilverpaintareusedinthebackground.Goldleafisusedforthedressdecorationsandinthebackground’supperleftcorner.INCUBATIONOFPOSSIBILITYCatherineMollandAcrylic,oil,mixedmediaandgoldleafoncanvas24"×36"(61cm×91cm)

TECHNIQUE24

EmbeddedPearlizedColorInterferencecolorscreateunusualcolor-flipeffectswhenusedinspecificways.Therearemultiplewaystoincorporatethemintopaintingmixtures,techniquesandproductstoproduceshimmeringcolorshifts.Hereisawildonesuretoyieldmanypossibilities,suggestingthemagicalsheenofabaloneshellorinsectwings.SeeTechnique18forasimilarmethodsimulatingwaxeffects.

MaterialsListPaint1ormoreinterferencepaintcolors,severalfluidmodernpaintcolorsSubstrateAnyprimedpaintingsurface(sturdyandrigidisrecommended)ToolsPaintingknife,texturalorotherapplicationtool,cupormixingpaletteProductsAnacrylicglossgelForCleanupWater,watercontainer,papertowelsorrags

STEP1ApplyaBaseMixtureInacuporonamixingpalettecombineaninterferencepaintcolor,intoglossgelina1:3ratio.HereisInterferenceRed(Coarse)inRegularGelGloss.Mixwellwithaknife,thenapplyontothesurfaceatleast ⁄ -inch(0.6cm)thick.1 4

STEP2SwirlColorintoWetGelAddafewdropsofpaintcolorintothewetgel.Gentlymovethecolorsaroundinthegelusingaknife,brush,orotherapplicationtool,pushingthecolorintothedepthsofthegelandswirlingthemontop.Usecolorsparingly.Here,onedropeachofQuinacridoneMagenta,PhthaloTurquoise,PhthaloGreen(YellowShade)andQuinacridoneBurntOrangeareused.Addmorebasemixtureifnecessarytoadequatelycoveryoursurface.Letitdry.

STEP3AddaNewLayerwithTextureRepeatSteps1and2withadifferentinterferenceandgelmixture.HereamixtureofInterferenceGoldwithRegularGelGlossisapplied,thendropsofthefollowingcolorswereaddedontothewetgel:GreenGold,PhthaloBlue(GreenShade),IridescentGoldDeep(Fine),IridescentBrightGold(Fine).Afterswirlingthecolorintothegel,useaknifeorcombtoremoveandaddtexturetothegel.Letitdry.

TheInitialLayerThefirstlayerofgelandcolorshavedried,revealingapearlyeffect.

FinishedExampleThepearlyeffectisvisiblyenhancedwithasecondlayerandtexture.Ifdesired,continuerepeatinglayerstoaddmoreeffects.

ThepaintingcontinuesfromTechnique24withanotherlayerofglossgel.ThissmoothsthetopsurfaceallowingthebutterflytobeeasilypaintedontopusingInterferenceBlue,IridescentSilver,QuinacridoneBurntOrange,CarbonBlackandIridescentCopper.BLUEWINGSNancyReynerAcryliconpanel8"×10"(20cm×25cm)

Thepearlizedpurple-bluebandsnearbottomandmiddlearecreatedusingTechnique24butsubstituteIridescentPearlforinterferenceandmadeseparatelyasskins(Technique39)thengluedinplacewithgelontothepainting.Othercollage

elementsareaddedforplayfuleffect.FOURFURRYFRIENDSLauraCasasAcrylicandcollageoncanvaspanel14"×11"(36cm×28cm)

SECTIONFOUR

SecretTrickstoPouring

MONSOONRHAPSODYMingFranzAcryliconpaper16"×26"(41cm×66cm)Contemporarypaintingsarenotoriousforshowcasingawidevarietyofspecialeffects,especiallywhentheimageryisabstract.Manyoftheseeffectsareobtainedbypouring.ThinkofJacksonPollock,MorrisLouisandHelenFrankenthaler.Pouringisactuallyasimpleconcept.It’sawayofapplyingpaintwithoutusingbrushes,knives,handsorotherapplicationtools.Openacontainerofanyfluidorpourableacrylicandturnitupsidedownontoapaintingsurface.Theacrylicpoursontothesurfacecreatingafluidshapeorlayer.Furthereffectscanbeobtainedbymanipulatingthepourdirectlyoutofthecontainerbyflinging,drippinganddrizzling,orbytiltingthesurfacesothewetpourcanmovearound.Pouringisagreatwaytoaddsomefunintoyourpaintingprocess,smoothoutunwantedtextureonyoursurface,getmarbleizedeffectsandrichcoloredglazes.Techniquesinthissectionincludeasmoothglossyfinishoftencalledasurfboardfinish,evenlyappliedcoloredoverlaysorglazes,embeddingandcanvasstaining.Pouringmaybesimple,butnotalwayseasy.Readfurtherforhelpfultipstocircumventcommonpouringproblems.

COSMICCOLLISIONJaneCallisterAcryliconcanvas36"×48"(91cm×122cm)

EssentialTipsforPouring

CoatedPouringProblemsCrevicingformswhenlayersaretoodeeporiflefttodryonanunevensurface.Avoidbypouringthinly.Spreadthemediumoutthinlywhilewet,oraddsmallamountsofwatertothepouringmediumtoeasethinnerapplications.Pourseveralthinlayers,allowingeachlayertodrybeforeapplyingthenextlayer.

Ripplingiscausedbytryingtorushthedryingtimewithablowdryerorplacingittodryoutsideindirectheat.Toavoidbubbles,pourgentlyfromalowheightandsoftangle,andlightlyspraywithalcoholfromaspraybottleimmediatelyafterpouring.Therearetwocategoriesofpouring,eachrequiringdifferentprocessesandproducedifferenteffects.Acoatedpourusespaintorcombinationsofpaintandmediumwithlittleornowateradded,whileawashpourusesheavydilutionsofwaterwithpaintcolor.Themorewateradded,themorethebinderisdiminished,encouragingthedilutedpainttosinkintothesurfaceratherthansitontopasacoatinglayer.Ingeneralagoodruletofollowisthatifyouwantapourtositontopofthesurface(asinJacksonPollack’slayereddripsorhighglossfinishes),useapourablemediumandkeepwateradditionstounder40%.Ifyouwantapourtosinkintothesurface,(asinHelenFrankenthaler’sstainedcanvaseffects),addlittleornomediums,insteadheavilydilutingthepaintwithwater(atleast1:1paint-to-waterratio).Acoatedpourcanresembleoilpaintandwillintensifycolorssinceglossybindersrefractlight.Awashpourcanresemblewatercolorandmutescolorssincetheglossybinderisdilutedwithwater.Inthissection,Techniques25–32involvecoatedpourswhileTechniques33–37arewashpours.Technique38combinesbothcoatedandwashpours.TIPSFORCOATEDPOURSCoatedpoursarebestobtainedbystartingwithamediumorpaintthatisalreadypourable.Fluidacrylicsarepourableandsoaremanymediumsandgels.Ifitnaturallypoursoutofacontainerwhenturnedupsidedown,itwillprobablybefineforthepouringtechniquesinthissection.Poursareveryfinickywithoutcomesvaryingwidelydependingonclimate,typeofacrylicproductused,surfaceabsorbencyandapplication.Testaproductbypouringitonascrapsurfaceandletitdry.Comparefinalresultswiththosepicturedhereforimprovementtips.

Pouringmediumscomeinthickorthinviscosities.Thinpouringmediumsarenotdilutedversionsofthethick.Instead,eachisformulatedspecificallyandwillproducedifferentresultswhenusedinapouring

technique.Fordeterminingpouringquantities,planonabout2ouncesofthinpouringmediumtocoveran8"×10"square(20cm×25cm)or3ouncesforthickerpouringmediums.Avoidhaphazardlyaddingwatertothinpouringmediums.Insteadexperimentwiththepouringmediumonitsownfirsttodetermineifyouneedtoaddwater.Considertheseadditionaltipsforcoatedpours:

•Setup.Allowexcessmediumtospilloverthesidesbyproppingupthesurfacewithcontainersorblocksatallfourcorners.Usealevelingdevicetoensurethesurfacewillbelevelwhiledrying.Tolevel,addsmallbitsofpaperunderproppedcornersuntileven.

•Surfaces.Usearigidsubstratetopreventbucklingwhilethepourdries.Stretchedcanvasesneedtohavethecenterproppeduptokeepitfromsinking.Beforepouringapplyastainsealer,thenprimewithgessotodiminishstainscomingthroughthesurfaceintothepouredlayer(seeSection1:ArchivalMethodsandMaterials).

•ColororClear?Addingcolortoapouringmediumisalwaysanoption.Experimentbymixingcolorandmediuminacontainerhomogeneouslyforanevencoloredpour(Technique29),addcolorintothecontainerbutdon’tmixorstirforadirty-mixpour(Technique26),oraddcolorafterpouringdirectlyintowetmedium(Technique27).Experimentwithavarietyofpaintslikefluidsandverythinpaintslikeairbrushcolors,highflow,oracrylicinks.

•PouringMethods.Formosttechniquesapourcanentirelycoverasurface,partofthesurfaceasapuddleorshape,orinadrizzlecreatinglinearshapes.

AWell-ExecutedCoatedPourAperfectpour,fullydrywithnocrevicingorbubbles.

TIPSFORWASHPOURSFluidpaintsoffermorecolorintensityformakingcolorwashesthanheavybodypaints.Substituteacrylicinks,highflowandairbrushcolorsinmostwashtechniquesforalternateeffects.

•Water.Addenoughwatertocreatetheappropriatedilutionforeachwashtechnique.Formosttechniquesfindingtheidealratioofpainttowatergivesbestresults.ForadditionalinformationondilutingpaintwithwaterseeSection1:WaterVersusMediums.

•ConsiderSurfaceAbsorbency.Mosttechniquesrequireaspecificsurfaceabsorbencytoproducebestresults.Washpoursonaglossysurfacebreakapartintointerestingvariegations,whileonmatteorabsorbentsurfaces,suchaswatercolorpaperandrawcanvas,soakintothesurfaceproducinganeven-coloredstain.Easilychangesurfaceabsorbencybyapplyingtheappropriate(matteorgloss)acrylicpasteorgelbeforepainting,asinTechniques33and34.

•MinimizeHandling.Letthepaintandwatermovearoundontheirownwhiledrying.Interestingeffectswithwashesaremoreoftencreatedwithhappyaccidents.Onceawashisapplieditisoftenbesttoleaveitaloneundisturbedonalevelsurface.

Avarietyofsoftandhard-edgeformsarecreatedwithwashpoursoncanvas.Moderncolorsareusedforthewashes,keepingthecolorintensitybright.BIGYELLOWMaryMorrisonAcryliconcanvas42"×46"(107cm×117cm)

TECHNIQUE25

SurfboardFinishHowdoyougetthatsurfboardfinishsopopularoncontemporarypaintings?Youknow,thatsuperclear,glossy,smoothtopcoat.Thiscanbeobtainedusingcommercialresins,whichcomeintwoparts;aresinandhardener.Resinsareverytoxic,though,sohereisawaytogetasimilarfinishwithnohealthhazards.Addingaglass-likesmoothlayerenhancescolorsandcanbeaddedasatopcoat,orinbetweenpaintinglayerstoenhancerefraction.

MaterialsListSubstrateAnyprimedpaintingsurfaceToolsApaintingknife,spatulaorotherspreadingtoolProductsApourableacrylicglossmediumofyourchoice(seeSection4:TipsforCoatedPours),spraybottlewithisopropylalcoholForCleanupWater,watercontainer,papertowelsorrags

STEP1CreateanUnderpainting

Startwithanysurface.ThissurfaceispaintedwithPermanentGreenLightheavybodypaint.Thebrushstrokeshaveavisibletexturethatwilldisappearafterpouring.

STEP2PourandSpreadMediumPropupthesurfacefromthetableorfloor.(FormoreinformationonsetupseeSection4:TipsforCoatedPours.)Selectapourableacrylicmediumandgentlypouroverthesurface.Useaspatulaorknifetospreadtheacrylicevenlysoitisnottoothick.Immediatelyspraylightlywithalcoholtoremovebubbles.Letdryundisturbedonalevelsurface.

FinishedExampleThissurfboardfinishsportsaclearglossysmoothlayer.

Asurfboardfinishonthisquintetpaintingintegratesthefiveseparatepanelsandcreatesaninterestingcontrastbetweenthetexturalvisualeffectsandthefinalsmoothglossysurface.ODETOAROADTRIP#9BonnieTeitelbaumAcryliconfivepanelsEachpanel48"×12"(122cm×30cm)

TECHNIQUE26

Dirty-MixPoursAddcolortopouringmediumsandallowthemediumtomoveandswirlthecolorsonitsown,creatingunusualmarbleizedrainbow-likevisualeffects.

MaterialsListPaintSeveralacrylicpaintcolorsSubstrateAnyprimedpaintingsurfaceToolsApaintingknifeorothermixingtool,spatulaorotherspreadingtoolProductsApourableacrylicmediumofyourchoice(seeSection4:TipsforCoatedPours),spraybottlewithisopropylalcoholForCleanupWater,watercontainer,papertowelsorrags

STEP1PreparePouringMixtureAddenoughpouringmediumtoacontainertocoveryoursurface.Addonedropeachoftwoorthreecolorsto2ouncesofmedium.Thissmallamountofpaintcolorstillallowsforpartofthepouringmediumtoremainuncoloredandtransparent.Increasetheamountofcolorformoreopacity.HereisonedropeachofDiarylideYellowandCobaltTeal.Stirminimallyornotatall.

STEP2PourOntotheSurface

Propupthesurfacefromthetable.(FormoreinformationonsetupseeSection4:TipsforCoatedPours.)Pourthemixtureontothesurface.HeretheslightlystirredmixtureispouredoveradrysurfaceprepaintedwithCarbonBlack.Forthinpouringmediumstiltthesurfaceinalldirectionstohelpthepourspreadoverthesurfaceevenly.Forthickerpouringmediumsgentlymovethepourwithaknifetospreadevenly.Asyoumovethepour,bytiltingorwithaknife,theunmixedpaintcolorsmovearound,overandundereachothercreatingafeelingofdepth.Lightlyspraywithalcoholtoremovebubbles.Letitdryundisturbedonalevelsurface.

FinishedExampleThepouringmediumhasclearednowthatitisdry.Adramaticeffectiscreatedwithverylittlepaint.Theblackbackgroundsetsofftheselightandbrightcolors.Insteadofblack,considerpaintingthesurfacewithadifferentcolororimage.

Aglossypourwasappliedoveracoloredunderpaintingandwhilewet,blackacrylicinkwasaddedtocreatewateryshapes.

NEPTUNE’SREALMBonnieTeitelbaumAcryliconpanel48"×36"(122cm×91cm)

Adirty-mixpourisusedforthefirstlayer.ColorisenhancedusingTechnique29,andwashesofinterferenceandblack(Technique34)addafinalaccent.BURNISHED(DETAIL)SandyKellerAcryliconpanel48"×16"(122cm×41cm)

TECHNIQUE27

TheSupremePourThistechniquestartswithadirty-mixpour(Technique26)andtakesittoanotherlevelwithintensifiedcolorandamorecomplexmarbleizedeffect.Forbestresultshaveallmaterialsready,includingmixturespre-madebeforestarting,asthistechniqueshouldbecompletedallinonesessionwhilewet.

MaterialsListPaintSeveralfluidacrylicpaintcolors,severalthinacrylicpaintcolors(airbrushcolors,highfloworacrylicinks)SubstrateAnyprimedpaintingsurface(brightestresultsareobtainedwithawhitesurface)ToolsApaintingknifeorothermixingandspreadingtool,atexturaltoolofyourchoice(seeTechnique3),mixingcontainersProductsApourableacrylicmediumofyourchoice(seeSection4:TipsforCoatedPours),spraybottlewithisopropylalcoholForCleanupWater,watercontainer,papertowelsorrags

STEP1PourWetonWetPlanapproximately1ouncepouringmediumfor40squareinches(102cm²)ofsurface.Dividethemediumintotwocups.Intoonecupadd1droppaintcolor(here,QuinacridoneBurntOrange)per1ouncemedium(here,GAC800),mixingthoroughlywithaknife,tocreateanopaque,uniformlymixedcolor.Intheothercup,prepareadirty-mixpour(Step1,Technique26)yieldingatransparentmulti-coloredmixture(hereusingGreenGoldandTeal).Pourbothmixturesontothesurfacechoosingtooverlap,keepseparate,ordrizzlearoundeachother,aspicturedhere.

STEP2AddThinAcrylicDripsomeairbrushcolorsoracrylicink(ordilutefluidpaintwithwater1:1)directlyontothewetpour.

STEP3MergeColorsLiftthesurfaceupandtiltforafewsecondsindifferentanglessothecolorsandmediumsmove.

STEP4ContinueWithMoreEffectsContinueaddingmorecolorifdesired.HeredropsofHansaYellowMediumairbrushcolorareaddedintothewetmedium.Gentlycomborrakethewetpourusingaknifeorothertexturaltooltoallowmoreblendingandmarbleizingofcolors.Spraylightlywithalcoholtocreateinterestingcolorseparationeffects,andremoveanybubbles.Spraybeforethepourstartstosetorthealcoholcancreatepits.Letdryonalevelsurface.

FinishedExampleWhendrytheresultisdramaticallydifferentfromitswetstage.

Severalcoatedpouringmixtureswerepre-madeusingcolorandmediuminseparatecupsthenpouredwhileallwerestillwet,allowingcolorstooverlap.DRAGONBREATHBonnieTeitelbaumAcryliconpanel22"×22"(56cm×56cm)

TECHNIQUE28

SmoothingPoursPouringacrylicmediumoveratexturedsurfacecansmoothoreliminatethetexturealtogether.Thiscanbeusedattheendasafinalsmoothingcoatorbetweenlayers.Thissmoothingpourcanalsobeusedtoprotectandreinforceadelicateorunevensurfacethatcontainsmixedmediaorcollage.

MaterialsListSubstrateAnytexturedpaintingsurfaceinneedofsmoothingProductsApourableacrylicmediumofyourchoice(seeSection4:TipsforCoatedPours),spraybottlewithisopropylalcoholForCleanupWater,watercontainer,papertowelsorrags

STEP1StartWithaTexturedSurfaceHereCoarsePumiceGelisapplied,allowedtodry,thenpaintedoverusingwashpoursasinTechniques33,34and38.Theadvantageofstartingwithatexturedsurfacesuchasthisallowsforsoftblendededgesandmutedtones.

STEP2PourtoSmoothAtexturedsurfaceconveysaphysicalitythatleftalonecanbequitepleasing,easilyfinishedwithafinalcoatofsprayvarnish.If,however,youwanttooverpaintthetexturedsurfacewithimagery,applyasmoothglazetoanarea,draw,oranyothertechniquethatneedscontrol,smoothingthetexturewillmakeiteasier.PouraclearacrylicmediumoverthedrysurfacefollowingthestepsinTechnique25.Lightlyspraywithalcoholtoremovebubblesandletdryonalevelsurface.Thetextureissomewhatsmoother,butstillvisible.Repeatpoursforfurthersmoothinguntilsatisfied.

SmoothingPoursReinforceDelicateSurfaces

HereCracklePastewasappliedasasurfaceground,thenpaintedusingwashpours.CracklePasteoftenneedsreinforcementtokeepfromflakingoffwithroughhandlingorifusedonaflexiblesupportlikecanvas.GAC800waspouredontopandisthinenoughtosinkintothecracks,reinforcingthesurface.Alternativelyuseathickerpouringmediumdilutedwithupto40%watertothin.

Aclearpourwasappliedovermultiplelayersthatincludedacrylicpaint,iridescentpastes,handmadepapercollage,carbontransferandstamping.TexturefromthecollageandCracklePastewassmoothedbythepourallowingcontinuedlayerswithtransfers.Anoverallveiledencausticlookisobtainedwithtranslucentmattegels(seeTechnique20).INITIATIONCateGoedertAcrylicandmixedmediaonpanel12"×12"(30cm×30cm)

TECHNIQUE29

PouredGlazingGlazescanintensifyandshiftunderlyingcolor.Whenglazesarepoured,however,thecolorisilluminatedandintensifiedevenmorewhilesmoothingthesurfaceatthesametime.SeeTechnique44forfakestainedglasseffectsusingpouredglazingovermetalleaf.

MaterialsListPaintOneormoreacrylicpaintcolorsSubstrateAnyprimedpaintingsurfaceToolsPaintingknifeorothermixingtool,spatulaorotherspreadingtool,mixingcontainerProductsAnacrylicpouringmediumofyourchoice(seeSection4:TipsforCoatedPours),spraybottlewithisopropylalcoholForclean-upWater,watercontainer,papertowelsorrags

STEP1CreateanUnderpaintingStartbycreatinganunderpaintingusingabstractorrepresentationalimagery.Keeptheimagelightandbrightassubsequentglazingcanoftendarkenordeepencolors.Letdry.

STEP2MixaPouringGlazethenPourDecidewhatareaofthepaintingyouwishtoshiftincolorortone(ordecidetoshifttheentiresurface).Addenoughpouringmediumtocoverthedesiredareaintoamixingcontainer.Addonlyoneortwodropsofcolorper2ouncesofmediumtokeepittransparent.Stirwell.

Propupthesurfacefromthetable.Pourthemixtureontothesurface.Spreadtheacrylicoutinthedesiredthicknessoverthesurfaceevenlywithaknifeorotherspreadingtool.Immediatelyspraylightlywithalcoholtoremovebubbles.Letdryundisturbedonalevelsurface.HereisonedropofGreenGoldaddedto2ouncesofpouringmedium.

FinishedExampleThepouredglazetransformedtheoverallcolorpalettetoayellow-gold.

TipThetransparencyandcolorintensityvariesdependingonhowthickthepourwillbe.Testthemixturebymakingextraamountsofthepourmixtureandapplyingitonascrapsurfaceinthesamedepthastheactualpour.Waituntildrytodeterminetheresults,thenchangetheratioofpainttomediumtomakethepourmixturemoreorlesstransparent.

Colorisintensifiedbyapplyingpaintonbothsidesofclearvinyl.Pouredglazesaremixedwithclearresin.Interferencepaintcolorsarealsousedtoaddrefractivequalities.

EARTHLYDELIGHTSSandraDuranWilsonMixedmediawithpouredresinonvinyl12"×6"(30cm×15cm)

TECHNIQUE30

DeepPouringAddathickglossylayeroverapaintingwithoutusingtoxicresins.Herearethreeoptionsfordeeppouring:

1.Pourmultiplethinlayersseparatelyforacrystalclearandsmoothdeeppour.Choosetoaddducttapewallsaroundpaintingedges,otherwiseallowthemediumtospilloverthesides.Pourglosspouringmediumandletitdry.Repeattheprocessuntilyou’veobtainedthedesiredthickness.Thismethodcanbeusedwithmostpouringmediumswithoutcrevicingorcracking.

2.Fakewaxeffectwithadeeppour(demonstratedbelow,usingGolden’sGAC800).3.Jump-startthedeeppourwithgelsusingTechnique31(skippingtheembeddedobjectinStep2).This

producesaclearthicklayerthatlookslikeadeeppour,butusesgelsforthedepth,sincegelsdonotcreviceorcrack.Visiblebubbleswilloccurinthegellayer,creatinganinterestingtexturalelement.

MaterialsListSubstrateAsturdyrigidprimedpaintingsurfacecradledorwithsidesandpaintedwithanimageorcolorToolsPaintbrushorotherapplicationtool,ducttapeProductsApourableacrylicmediumofyourchoice(seeSection4:TipsforCoatedPours),glossgel,spraybottlewithisopropylalcoholForCleanupWater,watercontainer,papertowelsorrags

STEP1CreateanUnderpaintingUsearigidsturdysurfacepre-paintedwithcolororanimageyouwishtoaddathickclearoverlayer.(Ifusingaflexiblesurfacesuchasstretchedcanvaspropupthecanvaswithsupportsunderneathtokeepitfromdippinginthecenterwiththeweightoftheacrylic.Itwillneedtostayinplaceuntilfullydry.)

STEP2ApplyDuctTapeWallsApplyducttapealongallfoursidesofthepaintingsopartofthetapewidth(atleast ⁄ -inch[1.3cm])adherestothesideswhiletheotherpartofthetapeextendsupwardscreatingwallstructuresforthedepthyouwishtocreateinyourpour.Forverydeeppours,propupthetape“walls”withextrasupportbytapingcardboardontotheoutsideoftheducttape.

NoncrazingPouringMediumsforDeepPoursAtthetimeofthisbook’spublication,thereisonlyonenon-toxicpouringmediumthatcanbepoureddeeplyallatoncewithoutcrevicingorcracking:Golden’sGAC800.Newpouringmediumsarecurrentlybeingdeveloped,butasofrightnow,mostmediumscannotbepouredthickerthan ⁄ inch(0.6cm)withoutcrevicing.Experimentonasmallpieceofscrapworktotestamedium,lettingitdryfullytoseeifresultsaresatisfactory.AlthoughGAC800doesnotcreviceitdoesdrycloudyandyellow,presentingagreatwaytoimitatewaxorencausticeffects.ForadeeppourthatiscrystalcleardoOptionAorC,orresearchtoseeifnewpouringmediumsareavailablethatcanbepoureddeeplyinonepour,remainingclearwhendry,withoutcrevicing.

1 2

1 4

STEP3SealGapsandPourSealtheplacewheretapemeetsthesurfaceontheinsideofthetapedareawithglossgelandabrushorrubbershapertool.Thiscanremainwetorallowedtodrybeforecontinuingtothenextstep.

UsingGAC800,pourasmuchandasdeeplyasyoulikewithinthetapedoffarea.Immediatelyspraylightlywithalcoholtoremovebubbles.Leaveonalevelsurfaceundisturbeduntilfullydry.Removethetape.Ifusingotherpouringmediumsthatcrevice,donotpourmorethan ⁄ -inchthickallatonce.Instead,pourinmultiplethinlayersasinOptionA.

1 8

FinishedExampleGolden’sGAC800driestranslucent,yellowandcloudyinthisdeeppour(about ⁄ "depthwhenwet,reducingto ⁄ "whendry),offeringtheappearanceofwaxorencaustic.Foranotherfakewaxeffect(seeTechnique20).

5 16 316

ExampleofaDeeperPourAdeeperpouroftheGAC800(about ⁄ "depthwhenwet,reducingto ⁄ "whendry)almostcompletelyveilstheunderlyingpainting.

58 38

RemovingExcessBuildupWhendry,ifpouredwallshaverisenuphigheralongsidewheretheducttapewas,shaveofftheexcessusingasingleedgerazorblade.

EmbeddingObjectsHereGAC800ispouredoveranothersurfacewiththesameunderpaintingverythinlyfollowingTechnique25,sothecloudiness/yellowingislesspronounced.Apartiallyembeddedobject,ajeweledbutterfly,isaddedwhilethepourisstillwet.FormoreideasonembeddingobjectsseeTechnique31.

TECHNIQUE31

EmbeddingObjectsEmbedobjectsintoacrylicforaplayfulapproach,toaddrelieftextureortocreateasurprisefocus.

MaterialsListSubstrateAsturdyrigidprimedpaintingsurfacepaintedwithanimageorcolorToolsPaintingknifeorotherspreadingtoolProductsHeavyorthickacrylicglossgel,softorregularacrylicglossgel,apourableacrylicmediumofyourchoice(seeSection4:TipsforCoatedPours),spraybottlewithisopropylalcoholOtherObjectstoembedForCleanupWater,watercontainer,papertowelsorrags

STEP1PrepareSurfaceandObjectsStartwitharigidsturdysurfaceprepaintedwithcolororanimage.Ifyou’reusingaflexiblesurface,propupthecanvaswithsupportsunderneathtokeepitfromdippinginthecenter.Keepthesurfaceonthesupportsuntilfullydry.Iftheobjectsarefromnatureorhaveafragilecoloring,likerosepetals,thinlybrushapplyglossacrylicmediumalloverandletdrybeforeembedding.

STEP2GlueanObjectGlueobjectintoplaceusingasmallamountofaheavyacrylicglossgel,aspicturedherewithashell.Thegeldoesnotneedtodrybeforeproceedingtothenextstep.

STEP3EmbedtheObjectinGelKnifeapplyasoftorregularacrylicglossgelovertheentiresurface,oronlyinselectedareas.Sincethegelwillreduceindepthbyaboutone-thirdwhendry,applyitsubstantiallyabovethe

object’sheightifitistobefullyembedded.Applylessiftheobjectwillonlybepartiallysubmerged.

STEP4SmoothSmoothwithaknifeasbestaspossible.Letdry,whichmaytakeanywherefromaweektoamonthdependingonthicknessandclimate.Optionally,pourathinlayerofapourableacrylicmediumoverthetoptosmoothoutanygelapplicationtexturefollowingTechniques25or28.Letsitonalevelsurfaceundisturbeduntildry.

FinishedExampleTheshellisdeeplyembeddedinthegel.Bubblestrappedinthegellayerarevisibleoverdarkcolors,addingatexturalelement.

Twineandnewspaperareembeddedindrip-likeshapesusinggel.ThispaintingalsoincludesStringGel,GlassBeadGel,InterferenceBlue,InterferenceOrange,IridescentBrightGoldandIridescentBronze.ALPINESUNRISEMarlaRobbAcrylicandmixedmediaoncanvas11"×14"(28cm×36cm)

Thecopperleafbackgroundcontrastswiththelandscapeimageryusingtransparentandopaquepaintapplications.Embeddedshreddedpaperforthetreetrunksaddsatexturalelement.POPLARSAshaMenghrajaniAcrylic,copperleafandmixedmediaoncanvas60"×60"(152cm×152cm)Privatecollection

TECHNIQUE32

PouringVeiledEffectsPourapearlytranslucentlayer,addingawhitishcloudy“veil”overpaintedareas,enhancingtheillusionofdepth.SeeTechnique45foranotherveilingideaovermetalleaf.

MaterialsListPaintZincWhite,IridescentPearlSubstrateAnyprimedpaintingsurfaceToolsPaintbrush,paintingknifeorothermixingtool,mixingpaletteorcups,spatulaorotherspreadingtoolProductsApourableacrylicmediumofyourchoice(seeSection4:TipsforCoatedPours),spraybottlewithisopropylalcoholForCleanupWater,watercontainer,papertowelsorrags

STEP1CreateanUnderpainting

Sinceaveiledlayeristranslucentandmeanttoshiftandchangeapaintinglayerunderneath,startbycreatinganunderpaintingusingabstractorrepresentationalimagery.Keepcolorsslightlydarkerandbrighterastheveilinglayerwilllightenandmutecolors.Letdry.

STEP2MakeVeilingMixtureandPourAddpouringmediumintoamixingcontainer,planningonapproximately2–3ouncesofmediumtocoveranarea80squareinches(203cm²),i.e.8"×10"(20cm×25cm).AddeitherZincWhiteorIridescentPearl(oruseboth)toapouringmediumstartingwitharatioof1:4,painttomedium.Stirwell.Testonascrapsurfaceallowingittodryfullytodetermineifitistranslucentenoughfortheunderlyinglayertoshowthrough.Thetransparencyvariesdependingonhowthickthepourwillbe.Ifitistooopaque,addmoremedium.Ifitistoosubtle,addmoreofthewhiteand/orpearltothemixture.

Propupthesurfacefromthetable.Choosetoveiltheentiresurfaceoraselectedarea.Pourmixtureontothesurface.Spreadtothedesiredthicknessoverthesurfaceorselectedareaevenlywithaknifeorotherspreadingtool.Immediatelyspraylightlywithalcoholtoremovebubbles.Letdryundisturbedonalevelsurface.

FinishedExampleApouringmediumwithbothZincWhiteandIridescentPearlwaspouredoverthetophalfofthepainting,givingtheillusionofdepth.ThispaintingwillbenefitfromanadditionalclearpourovertheentiresurfacefollowingTechnique25to

eliminatethereliefedgewherethepourendsalongthehorizonline.

Visibleintheupperrightquadrantisamutedvioletveilingresemblinganairbrusheffect,producedbyrubbingcolorontothesurfacewitharag.Thisisanalternativewaytogetaveiledeffectwithoutusingpours.Otherareasofthepaintingusedwet-in-wetcoatedpours(seeTechnique44).FIREONSKUNKMOUNTAINJaneCallisterAcryliconcanvas,48"×60"(122cm×152cm)CourtesyRoyaleProjects

Veilingoversilverandgoldleafisachievedherewithbrush-appliedglazes,creatingarecedingbackground,accentuatingthevaseandflowers.REDSPICEAshaMenghrajaniAcrylic,copperleafandmixedmediaoncanvas24"×24"(61cm×61cm)Privatecollection

TECHNIQUE33

HaloStainingColoredhalosarecreatedinthistechniqueusingwetpaintdropsonawetwashysurface.Agreattechniqueforevocativebackgrounds,translucentcolorfieldsorabstractpaintings.

MaterialsListPaintSeveralfluidacrylicpaintcolorsSubstrateAnyprimedpaintingsurfaceToolsPaintingknifeorotherspreadingtool,asoftflatpaintbrush,palette,spraybottleProductsAnabsorbentacrylicpasteOtherWater,watercontainer,papertowelsorrags

STEP1ApplyPastetotheSurfaceUsingaknife,spatulaorotherspreadingtoolapplyanabsorbentacrylicpastethinlyoverentiresurface.Themoreabsorbentthepastethegreaterthebleedandhaloeffects.Here,AcrylicGroundforPastelisappliedfairlysmoothlyonapanelprimedwithgesso.Letdry.

STEP2ApplyBackgroundWashesOnapalette,diluteacrylicpaintcolorsseparatelyina1:3ratioofpainttowatertocreateseveralcoloredwashes.Wetthesurfacewithwaterusingaspraybottleorbrush,thenbrushapplyorpourwashesontothewetsurfacetocreateablendedbackground.HeretwocoloredwashesareappliedinseparateareasusingPermanentGreenLightandPhthaloBlue(GreenShade)naturallybleedingtogetherinplaces.Whilestillwet,continuetothenextstep.

STEP3AddDropsofFluidPaintApplydropsoffluidpaint,directlyontothewetbackgroundwashes.Asanalternativetousingfluidpaints,mixheavybodypaintswithwaterinaratioof3:1watertopaint.Experimentwithwater-to-paintratiosforbothbackgroundwashesandhalocolorstofindyourpreference.

FinishedExampleFluidpaintcolorsweredroppedontothewetwashusingAnthraquinoneBlue,HansaYellowMedium,YellowOchreandCobaltTeal.

Absorbentpastesaregrittyandnaturallytextural,andwhenappliedasasurfaceorground,allowpainttoabsorbintoitslayers,offeringthemostcontrolforthehalo-stainingtechnique.Foralternateeffectsusenonabsorbent(orglossy)surfaces,whichenablecolorwashestoseparate,creatingvariegatedeffectsaspicturedinthisexample,usingglossgelinsteadofthepasteinStep1,Technique33.Foranotherexample,seeTechnique34.ROCKCLIFFSNancyReynerAcryliconpanel8"×10"(20cm×25cm)

TECHNIQUE34

MetallicRainbowStunningrainboweffectsarecreatedwithcoloredpaintwashesonnonabsorbentsurfaces.Eachpaint’spigmenthasitsownparticularweight.Inawashypuddlewithlotsofwater,multiplecolorswillseparatefromeachother,creatingavariegationorrainboweffect.Therainboweffectvariesgreatlyaccordingtothepaintingsurfaceaswellasthepaintcolorsselected.FormoreideaswithcoloredwashesseeSection4:TipsforWashPours,Techniques33,36and37.

MaterialsListPaintVariousacrylicpaintcolors,includingatleastonemineral,onemodern,aninterference,aniridescentandCarbonBlack.SubstrateAnyprimedpaintingsupportToolsPaintingknifeorothermixingtool,texturalorotherapplicationtool,flatwidebristlepaintbrush,mixingpaletteorcups,waterandwatercontainer,papertowelsorragsProductsAsemi-glossorglossgel,orsemi-glosspastesuchasMoldingPaste

STEP1CreateaCustomSurfaceHere,adarktexturednonabsorbentsurfaceismadewith2oz.MoldingPastemixedwith1tspCarbonBlack(about30dropsoffluidpaint).Varyratiostoyourpreference.Makemoreofthemixtureforlargersurfaces.Mixwellwithaknife,thenknifeapplythickly,atleast ⁄ -inch(0.3cm)depthtoallowarelieftexture.Letitdryatleastsixhoursoruntilfullydrytothetouch.

STEP2ApplyaWashSelectatleastonepaintcolorfromeachoffourdifferentcategories:modern,mineral,interferenceandiridescent.Addsmallamountsofallcolorsintoenoughwatertocreateasinglemuddywash.Brushapplyapuddleofplainwaterontotheentiresurfaceorinselectareas.Addthecoloredwashwithabrushorpourdirectlyontothewetsurface.Drizzlesmalldropsofundilutedpainttoaddmorevariety.Don’toverworkit.Letsitlevelandundisturbeduntilfullydry.

1 4

FinishedExample

DetailofExample

Arainboweffectisusedtwicehere.Whitewavesatthebottomarecreatedwithwhitepaintwashesoverglossblack.ThedistantmountainsbelowtheskyusecoloredwashesoverGlassBeadGel.

NIGHTLIGHTSNancyReynerAcryliconpanel48"×35"(122cm×89cm)

TECHNIQUE35

ColorFieldStainingObtainanevenstainofcoloronrawcanvas,orblendcolorssosubtletytheyappearasthoughairbrushed.Greatforabstractcolorfieldsorintensifiedareasofcolor,thistechniquecanbeusedforanunderpaintingorsoftlyblurredrepresentationalimagery.

MaterialsListPaintOneormoreacrylicpaintcolorsinyourchoiceoffluid,heavybody,airbrushcolors,highfloworinksSubstrateRaw(unprimed)cottoncanvas(12oz.orheavier)ToolsMaskingtape,staplesandstaplegun,flatheadscrewdriver,householdsponge,wideflatpaintbrush,mixingpaletteorcontainersOtherParticleboardwithdimensionsinexcessofcanvassize,water,watercontainer,papertowels

STEP1PreparetheSurfaceRiporcutthecanvastothesizeyouwish.Centeritontheparticleboard,staplinginplaceeveryfewinchesalongallsides,pullingtautwhilestapling.Applymaskingtapealongallsidesoverthe

staplestoeasetheirlaterremoval.Saturatecanvaswellwithwaterusingahouseholdspongeandapplyingpressuretopushthewaterintothecanvas.Continuetonextstepwhilewet.

STEP2ApplyPaintPlaceoneormoreacrylicpaintcolorsonamixingpalette.Ifusingheavybodypaints,addasmallamountofwatertoslightlyloosen(here,undilutedNaphtholRedLightfluidpaint).Whilethecanvasisstillwet,applycolorswithaspongeforanevencolorapplicationorbrushapplyformorevariation.Mistthecanvaswithwaterwhileworkingifitstartstodry.Continuetothenextstepwhilestillwet.

STEP3OverlapWashesContinueaddingcolorsuntilsatisfied.Here,TitaniumWhiteandHansaYellowMediumareappliedcentrallyovertheredtolighten.Ifcolorsaretoodarkorintense,applycleanwatertothemandbrushoutorblotwithrags.Ifcolorsaretoopale,addmorecolor.

FinishedExampleBrushandspongewerebothusedtoapplypaint,creatingasubtlyvariedstain,includingCarbonBlackalongtheedges.Whendryremovethetapeanduseaflatheadscrewdrivertopulloutstaples.Ifdesired,adherethecanvastopanelwithawetlayerofgelorstretchontostretcherbars.

TipIfplanningtolaterstretchthecanvasontostretcherbars,measurewithatleasta3-inch(8cm)excessmarginoneachsideofthecanvasforStep1.SubstituteflowreleaseforwaterinStep1whenwettingthesurface.Thisreducesbleedingoutwardswhileincreasingsaturationofcolorintothedepthsofthecanvasmakingcolorsbleedtothereverseside.

MaryMorrisondevelopedthespecificsforthiscolor-field-stainingtechnique,usingittoperfectioninthispiece.CANNAMaryMorrisonAcryliconcanvas34"×30"(86cm×76cm)

Red,blue,yellowandwhitecolorwashesareappliedontoabsorbentwatercolorpaperinonewet-on-wetsession.Saltisaddedtothewetwashescreatingsometexturaleffects.

ORCHIDSMingFranzAcryliconpaper20"×16"(51cm×41cm)

TECHNIQUE36

MarbleizingColorFieldsTakingadvantageoftheflexibilityofunstretchedcanvas,coloredwashespuddleupandmergeindeepwrinklestoproduceamarbleizedeffect.

MaterialsListPaintOneormorefluidacrylicpaints(oracrylicinks,highfloworairbrushcolors)SubstrateRaw(unprimed)canvasinmediumorheavyweightToolsPaintbrush,mixingpalettesorcontainers,spraybottle,iron,bucketProductsAgoodqualitygessooranabsorbentpasteorgelOtherWater,watercontainer,papertowelsorrags,clothtowel

STEP1PreparetheSurfaceRiporcutthecanvastothesizeyouwish.Ifplanningtolaterstretchitontostretcherbarsaddatleasta3-inch(7.7cm)marginoneachside.Usinganabsorbentpaste(oragoodqualitygesso)applyseveralthincoatsuntilthecanvasfabrictextureisbarelyvisibleandthesurfaceisverymatte.Letdry.Wetthecoatedcanvaswithwaterbysoakingitinasinkorbucket.Removethecanvasandwringoutwaterbyscrunchingitupintoatightball.Unrollgentlywithoutfullysmoothingthewrinkles.

STEP2AddColorWashesDilutefluidacrylicpaintswithwaterina1:1ratioofpainttowater.Keepinksandotherthinacrylicsundiluted.Pourorbrushapplyeachcolorinseparateareas,thenslightlymovethecolorswithabrushorbytiltingthesurfacetoassistthecolorsinmerging.Avoidoverworkingtokeepthecolorsfromgettingmuddy.Letdry.Placethecanvasfacedownonatowel,spraythebacklightlywithwaterandironusinghighheattosmoothoutthewrinkles.

FinishedExampleDiarylideYellow,CobaltTurquoise,TitaniumWhite,CarbonBlackandChromiumOxideGreenwereusedtocreatethecompletedexample.

Thismarbleizedeffectusesadifferentsurfacethandescribed.Insteadofcrinklingwetcanvas,atexturedsurfaceiscreatedbyapplyingMoldingPasteontoapanel.Whilethepastewaswet,itwassculptedwithavarietyofunusualtoolsincludingmetallicfoilwithholesinit,plasticcork,threadspool,adhesivespreader,carpetnetting,onionnetting,plasticdoilyandmosquitonetting.PuddledwashesofIridescentCopperLightareappliedoverthepastewhilestillwet.Afterdrying,anadditionalwashwasappliedusingCeruleanBlueDeepandIridescentStainlessSteel.ARCHEOLOGICALREMNANTSIITeyjahMcArenAcryliconboard6.5"×7.5"(17cm×19cm)

Washesofred,blue,yellowandwhiteareappliedontoflatabsorbentwatercolorpaper.Themarbleizedtextureiscreatedbydroppingsalt,alcoholandliquiddetergentontothewetcolorwashes.JEMEZFROMABOVEMingFranzAcryliconpaper14"×28"(36cm×71cm)

TipBestresultsareobtainedusingcanvascoatedwithanabsorbentproduct.Canvasisnaturallyabsorbentbutwithoutacoatingwillsoakuppaintinstainingeffects(seeTechnique35)insteadofthemarbleizing.Commerciallyprimedcanvasesareoftencoatedwithgessothatisnotabsorbentenoughforthistechnique.Thesecanstillbeusedaslongasseveraladditionalcoatsofanabsorbentproductorgoodqualitygessoareappliedaswell.

TECHNIQUE37

ShapedEdgeWashesCombinechaoswithcontrolusingwashpoursforwildcolorblendingeffectsandamethodtomaintainhardedgedshapes.SeeTechnique38foranotherwaytocombinehardandsoftedgeswithpouring.

MaterialsListPaintOneormoreacrylicpaintcolors(oracrylicinks,highfloworairbrushcolors)SubstrateAnyprimedpaintingsurfaceToolsPaintbrushoreyedroppers,mixingpaletteorcontainersProductsAcrylicgessoForCleanupWater,watercontainer,papertowelsorrags

STEP1PreparetheSurfaceAsatinorsemi-absorbentsurfaceworksthebestforthistechniqueobtainedwithonecoatofagoodqualitygesso,orusingapre-primedsurface.Ifyoursurfaceisglossy,applyathincoatofmattemediumoracrylicgesso.Letdry.

Dipabrushinwater,thenapplyontothesurfacethinlyinareasandshapeswhereveryouwillwantcolor.Herealetterisbeingpaintedontothesurfacewithwater.Immediatelyproceedtothenextstepwhilewet.

STEP2AddColorSelectafewpaintcolorsanddilutewithwaterina1:1ratioforfluidpaints,morewaterforheavybodied,andnowaterforinksorotherthinacrylics.Dipabrushintothecoloredwashesorsuctionintoaneyedropperandapplycolorinoneormoreplacesinthewetareasonthesurface.Thecolorimmediatelymovesoutwardonitsown,fillinginthewetshape.Ifthewateredshapeonthesurfacedriesbeforeyougetthechancetoaddcolor,reapplywater.Bestresultsareobtainedbylettingthepaintandwaterdoitsownthingwithoutoverworking.Letdry.

FinishedExample

Coatedpourscreatethebackgroundwhileshapededgewashescreatethehorse.NIGHTRAIN(DETAIL)

SandyKellerAcryliconpanel42"×12"(107cm×30cm)

Adirty-mixpour(Technique26)createsaninterestingglossybackground.IridescentCopperandSilverwashpoursusingshapededgewashescreatethehorseshapeandhighlight.CATCHAFALLINGSTAR(DETAIL)SandyKellerAcryliconpanel20”×20”(51cm×51cm)

TECHNIQUE38

HardandSoftEdgePouringWashpoursandcoatedpourswhenusedtogetherinthesamepaintingcancreatearangeofhardandsoftedgedforms.Ingeneral,washpourscreatesoftedges,whilecoatedpourscreatehardedges.Ahardedgeissimplydefinedasaclearvisibleboundarybetweentwoareasofcolororbetweenacolorandbackground.Asoftedgeiswhenonecolorblendssosoftlyintoanotherthatitisnotalwayseasytodiscernwhereoneendsandtheotherbegins.Avarietyofedgescanenhancetheillusionofdepthinapaintingforbothabstractorrepresentationalworks.

MaterialsListPaintSeveralacrylicpaintcolorsSubstrateAnyprimedpaintingsurfaceToolsPaintingknifeorothermixingtool,aspatulaorotherspreadingtool,paintbrush,severalmixingcontainersProductsAnabsorbentacrylicpaste,apourableacrylicmediumofyourchoice(seeSection4:TipsforCoatedPours),spraybottlewithisopropylalcoholOtherWater,watercontainer,papertowelsorrags

STEP1StartwithWashPoursFollowSteps1and2inTechnique33forapplyingwashesofcoloroveranabsorbentsurface.HereAcrylicGroundforPastelisappliedthinlyontoapanelsurface.WhendryitislightlysprayedwithwaterthencoloredwashesofPhthaloTurquoise,QuinacridoneRedandGreenGoldarebrushappliedandpouredoverthesurfacewhileit’swet.Letdry.

SoftEdgesWashescreatefluidsoftedgedshapes.

STEP2AddCoatedPoursforHardEdgesAddpouringmediumintoamixingcontainer.Addoneortwodropsofpaintcolorper2ouncesofmediumforatransparentcolor,oraddmorepaintforanopaquecolor.Stirwell.Pourthecolormixtureontothesurface,orspreaditouttothedesiredshapewithaknifeorotherspreadingtool.Immediatelyspraylightlywithalcoholtoremovebubbles.Letdryundisturbedonalevelsurface.HerepouringmediumismixedwithVioletOxideinanopaquepour.

FinishedExampleAnothercoatedpourusingCobaltBlueisadded.Thehardedgeshapescomeforward,whilethesoftedgeformsfromwashesrecedeintothebackground.

Thispaintingusesacombinationofwashpourswithcoatedpours,creatingavarietyofedgesandspatialdepth.RECKLESSBonnieTeitelbaumAcryliconpanel40"×40"(102cm×102cm)

SECTION5

Optical&LuminousEffects

1976METALFLAKEJJ.E.NewmanAcryliconMasonite12"×24"×2"(30cm×61cm×5cm)Thisbookcouldeasilyberetitled“LuminousPainting.”Luminosityisawordusedinastronomytomeasurethebrightnessofastar,andinPhotometryastheresponseofthehumaneyetolight.Inart,itcanbeunofficiallyusedtodescribeartworkthatglows,refracts,emanatesorsomehowseducestheviewer’seye.Previoussectionsinthisbookcoveredluminouseffectsusingmetalleaf,reflectivepaints,prismaticeffectsandpouring.Thissectioncontinueswithadditionalluminouseffectsandmaterialsincludingfluorescentandphosphorescentpaints,refractivelayeringandopticalcoloreffects.Alsoincludedarecombinationsoftechniques.Infinitepossibilitiesaboundwhencombinationsareconsidered,andtheseveraldemonstratedhere,likecombininggoldleafwithpouring,willhopefullyinspireevenmorecombinations,experimentingandinventing.

MAGICLETTERSXIIIElizaM.Schmid

Acrylic,goldpaintandinkoncanvas62"×26"(157cm×66cm)

EssentialTipsforOpticalandLuminousEffectsHereisasummaryofthetechniquesinthissectionwithtermsdefined.REFRACTIVEPeerintoariverortheoceantoseegleamingandglowingpebblesandseashells.Takethemhomeandwhendrytheircolorfulglowdisappointinglyturnstogray.Thewateraddedrefraction,intensifyingcolors.Acoatofglossacryliclayeredoverpaintwilldothesamething.Multiplecoatsofclearacrylicappliedbetweenlayersofcolorwillenhancetheeffectevenmore.Pouringglosslayersaddsathickercoatofferingmorerefraction.(SeeTechniques5,25–31,41,44,46and47.)VEILINGHowwouldtheworldappearviewedthroughaveil?Cloudy,foggy,muted,blurred,withformsrecedingfartherintothedistancethaninreality.Veilingdescribesaprocessthatmutesorblursunderlyingcolorstocreatethisvisualillusion.Veilingcanbeassimpleaslightlyrubbingordrybrushingasmallamountofwhitepaintoverothercolors.Veilingisalsoaccomplishedbyaddingacloudyoverlay.Itisalsousedtoreplicatewaxorencausticeffectsusingacrylicpastesandmattegels.(SeeTechniques16,17,20,24,32and45.)WHITEThenaturalglowofwhitepaint,especiallywhenpolishedsmoothcanbeusedtoeye-catchingeffectinpaintings.Whitepastesandthickapplicationsofinterferencepaintscanalsoglimmerwhileaddingspecialeffects.Justlikepaintingonhighqualitywhitepaper,colorsareenhanced.(SeeTechniques21,24,40,42and50.)REFLECTIVEANDLUMINOUSPAINTSPaintbyitselfwithitsglossybinderwillgleamandglow(seeTechnique39).Modernpaintcolorshaveadifferentratioofpigmenttoglossybinderthanmineralcolors(seeSection1formoreonpigmenttypes)andbeingnaturallyglossy,refractdifferentlythanthemoremattemineralcolors.Somepaintssuchasiridescent,interference,fluorescentandphosphorescentpaintshavebuilt-inluminosity,seeTechniques13,14,21–24,34,42,43,48and49.REFLECTIVEANDLUMINOUSMATERIALSGoldandmetalleaf,glassandplexicanallbeusedassurfacesorincorporatedintoartworktoaddreflectivequalities.(SeeTechniques1–12and44–47.)

GlazesofIridescentSilverarelayeredforapearlyreflectiveeffect.Blackinkisaddedtowetacrylicmediumandmovedaroundtocreateorganicformsandshapes.GHOSTSINTHEMACHINEBonnieTeitelbaumAcrylicontwopanels40"×36"(102cm×91cm)

Theshapedpanelontherightusesadarkglazeoveratexturedmoldingpastesurfacealongwithiridescentpaints(seeTechnique3).Adirty-mixpour(seeTechnique26)isusedontheleftpanel.Inperson,thesurfaceisquiteeye-catching,texturalandreflective.COPPERCONUNDRUMSandyKellerAcryliconpanel22”×20”(56cm×51cm)

TECHNIQUE39

ThePaintasItselfPainthasabeautyallonitsown,gleamingseductivelyasit’ssqueezedoutofthetubeorpouredfromabottle.Ifyouareeverinthemoodtoplaywithpaintwithouthavingtothinkaboutmakingapainting,trymakingpaintskinsandstoringthemforlateruse.What’saskin?It’saseparatepieceofacrylicwithoutanybackingorsupport.Anyacrylicproductwhenappliedtoanonsticksurfaceandlefttodry,canbepeeledoff,producingapieceofacrylicwithnobacking.Thispieceofacrylic,orskin,canbeusedasacollageiteminapainting,orasanentirepaintinglayer.

NonsticksurfacesincludeHDPE(HighDensityPolyethylene)soldasplasticpaintingdropclothsathomeimprovementstores.Thickerrigidsheetsareavailableatplasticandglasssupplystores.HDPEisalsousedformostplasticgarbagebags.Othernonsticksurfacesarefreezerpaperfoundingrocerystores(nottobeconfusedwithwaxpaper),plasticwrap(notwithextracling)andprotectivereportcoversfoundinofficesupplystores.Applyamoldreleaseorreleasesprayontoglassforanothernon-sticksurfaceidea.Pleasenotethatacrylicwillsticktomostotherformsofplexisurfaces.

MaterialsListPaintOneormoreacrylicpaintcolorsSubstrateAsurfacewithwhichacrylicwillnotadhere(ie.HDPEplexi,plasticreportcovers,freezerpaperorgarbagebag)ToolsPaintingknifeorotherapplicationtoolProductsAnyacrylicproduct(paint,medium,gelorpaste)ForCleanupWater,watercontainer,papertowelsorrags

STEP1ApplyAcryliconaNonstickSurfaceHereacrylicpaintisappliedtoareportcover.

STEP2RemoveFromtheSurfaceRemoveskinwhendryorkeeponsurfaceandstoreforlateruse,stackingthemtogetherwithnon-sticksurfacesinbetween.Ifit’snotfullydrythenitwillnoteasilyrelease.

FinishedExample

FourIdeasWithAcrylicSkins1. Roll.Rollskinsintoshapesandgluethemontoapaintingtoaddathree-dimensionalreliefontothe

paintingsurface.2. Collage.Cutskinsintoshapeswithscissorsandgluethemontoanacrylicpaintingusingany

acrylicgelasglue.3. Save.Makeavarietyofskinsandstorethemforlateruse.4. Layer.Createlargesheetsoftranslucentskinsbyusingmattegels,orthinlayersofpaste,and

adhereoverapaintingtocreatetheillusionofdepth.Ordothesamethingwithclearskins,paintsomethingdifferentoneachone,andplaywiththeirarrangementaslayersinapainting(seeTechnique17).

Paintskinsarecoiledandsculptedtocreateanunusualtexturedandvibrantspiralortargetdesign.MOVINGTARGET:AFURROWSERIESJ.E.NewmanAcryliconcanvaslaminatedtoplywood25”×25”×2”(64cm×64cm×5cm)

Detail

Thissculpturalpaintingcontainsmultiplepiecesofthickpaintskinsassembledandgluedtogether.VIEWINGSTONE13-11

MarkPackAcryliconlinen18”×24”(46cm×61cm)Photocredit:HadleyFruits

Detail

TECHNIQUE40

Polished“Stone”EffectsSandedlayersofpurepaintcreateseductivesurfacesresemblingmarbleorpolishedstone.Thisbeautifulsurfacecanbeapaintingallonitsownorusedasanunusualbackgroundforanabstractorrepresentationalimage.

MaterialsListPaintOneormoreheavybodyacrylicpaintcolorsSubstrateAnyrigidpaintingsurface(suchaspanelorwood)primedwithgessoToolsPaintingknifeorotherapplicationtool,optionalelectricsanderProductsMoldingpaste(optional),waterproofsandpaperForCleanupWater,spraybottle,watercontainer,papertowelsorrags

STEP1ApplyPainttotheSurfaceKnifeapplyoneormoreheavybodyacrylicpaintcolorsontoaprimedsurface.Avoiddilutingpaintwithwater.Insteadkeepthepaintthicksothereisenoughtosandlater.Anotheroptionistomixfluidorheavybodypaintswithmoldingpasteinanyratiotothickenandextendpaints.

Includeiridescentpaintstoaddsparkle.Insteadofthebrightandboldcolorshere,substituteneutralcolorstoappearlikenaturalrock.

FirstLayerofPaintWhenDry

STEP2AddLayersApplyadditionallayersofanycolor(s)sothefinaldepthisatleast ⁄ -inchthick.Heregraypaintcoverstheentiresurface.Applyasmanylayersaspreferredusingdifferentcolorseachtime,allowingeachlayerunderneathtodrybeforeapplyingthenext.

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STEP3SandWetthesurfacewithwater,thensandsurfacebyhandorwithanelectricsanderusingwaterproofsandpaperuntilsmooth.Periodicallywashoffthesurfacewithwaterandaragtoseetheprogressasdifferentcolorsfromdifferentlayersemerge.Stopatanytimeyouaresatisfiedwithresults.

FinishedExample

SandingAcrylicSurfacesStartwitharoughgritof120,especiallyifyoursurfacehasahighrelieftexture,thenprogresstofinergritssuchas220,320or400.Alwayskeepenoughwaterbetweenthesandpaperandthesurfacetokeepfineparticlesfrombecomingairborne.Ifchoosingtosandwithoutwater(notrecommended)weararespiratororprotectivemaskforsafety.

HALITEWITHBLUEANDBLACKSPOTSMarkPackAcryliconpaper36"×48"(91cm×122cm)Photocredit:HadleyFruits

Sandingthicklayersofpaintcreatedthesesurfacesresemblingmarbleorstone.SUCHNESS

MarkPackAcryliconpanel24"×18"(61cm×46cm)Photocredit:HadleyFruits

TECHNIQUE41

SheenShiftingAnintriguingvisualflipiscreatedbyalternatingmatteandglosssheens.Thiseye-catchingsurfacequalitycanbeaddedtoapaintingalreadyfinishedorinprocessandforadditionalinteresttoaminimalabstractcolorfield.Sheenshiftingqualitiesarevisuallyattractiveinperson,yetremainsubtleinaphotograph.

MaterialsListPaintOneormoreacrylicpaintcolorsSubstrateAnypaintingsurfaceToolsPaintbrush,paintingknife,mixingpaletteorcontainersProductsAcrylic(polymer)glossmedium,acrylicmattemediumForCleanupWater,watercontainer,papertowelsorrags

STEP1MixaColorinGlossandMatteByusingbothmatteandglosspaintcolors,asurfacewilltakeonasheenshift,creatingvisualappeal.Hereisamixedblue-grayofTitaniumWhite,PhthaloBlueandCarbonBlackdividedintotwohalves.Onehalfismixedwithglossmediumina3:1painttomediumratio.Similarly,theotherhalfismixedwithmattemedium.Bestresultsareobtainedbyusingopaquecolorsormixtureswhichcanbeappliedevenly,encouragingtheviewertofocusonthesheen.Ifusingatransparentcolor,addsomeTitaniumWhitetomakeitopaque.

STEP2ApplyBothSheensinPatternsBrushapplythetwomixturesinseparateplacesinanypattern,designorimage.Herethemattemixtureisappliedovertheentiresurface,thentheglossymixtureisbrushappliedinstripesontop.

AShiftingPatternGlossandmattestripescreateasubtlesheenshift.

FinishedExample

Usingitasbackground,hereablackvaseispaintedontop.Glossmediumisthenappliedovermatteblackgessoinplaces.Theflowersusematteandglosscolorsaswell.

IdeasUsetwodifferentcolorswhereonecolorisnaturallyglossy(moderns)andtheothermatte(minerals).Pairaniridescentwitharegularpaintcolor.Applyglossandmattemediumsdirectlyontoafinishedpaintingtovarysheens.Applyglossoveranentirepaintingthensandinplacestocreatematteareas.

Graphiteappliedwithpressureindifferentdirectionalpatchescreatessheenshiftsthataddelegantpatterningandgeometricformstoaminimalpalette.

MEASURE2(AFTER“THREEPRISONS”)JeneneNagyGraphiteonpaper75"×37"(190cm×94cm)

DetailAdetailfromanotherofNagy’spaintingsshowsgraphite’smetallicqualityinthisapplication.

AglossybackgroundusingMicaceousIronOxide(areflectiveiridescentpaint)setsoffmattepaintedformsusingmattefluidCarbonBlack.BLACKSTAIRCASEAdriaArchAcryliconcanvas120"×120"(305cm×305cm),installationof6canvaseseach40"×40"(102cm×102cm)PhotoCredit:WillHowcroft

TECHNIQUE42

SubtractiveMetallicGrisailleIridescentpaintscanaddsparkletounderpaintings,underlayersandbackgrounds.Createawiderangeofeffectsfromgraphicandboldtosubtletonalareasthatcanbeusedasacontemporaryversionofagrisaille(anOldMaster’stechniqueoftonalunderpaintingthatisglazedoverwithtransparentcolorlayers).SeeTechnique21foranotherunusualgrisailleusinginterferencecolors.

MaterialsListPaintMicaceousIronOxide(orotherIridescentacrylicpaintsandCarbonBlack)SubstrateAnypaintingsurfaceprimedwithgessoorpaintedwhiteToolsPaintbrush,ragorotherpaintapplicationtool,paintingormixingknife,mixingpalette,texturaltools(seeTechnique3)ProductsAcrylic(polymer)glossmedium

STEP1PreparetheSurfaceandApplyPaintEitherstartwithaprimedwhitesurfaceorapplywhitepaint.Letdry.Brushapplyonecoatofanacrylicglossmediumandletdry.IfusingMicaceousIronOxide,picturedhere,brushorknifeapplyontothesurface.Forallotheriridescents(i.e.bronze,copperorgold)firstputthepaintsonapalettetomakeseveralmixtures,addingvariousamountsofCarbonBlackpainttocreateavarietyoftones.Thenapplythesetothesurface.ContinuetoStep2whilestillwet.

STEP2CreateLighterToneswithaRagUsingarag,wipeoffsomepaintwhilethesurfaceisstillwet.Varythepressurewhilewipingtocreateavarietyoflightertonalvalues.

STEP3SubtractLinesandShapesWhilethepaintisstillwet,useaknifeortexturaltooltoscrapebackwithpressuretoremovepaintaltogetherfromsomeareas,wipingexcessontoapapertowelorrag.Allowthewhitebackgroundtoberevealedinlinesandshapes.

FinishedGrisailleMicaceousIronOxidedriesawarmblack-brown.Hereitisappliedinvaryingapplicationsfromthintothick,offeringafullrangeoftonalvalueswithnocolorsorothermetallicpaintsadded.Thisgrisaillecannowbeoverlaidwithcoloredglazes(seeSection1:GlazingTips).

MicaceousIronOxideisappliedthicklyandthinly,wipedawayandscratchedthroughwhilewet,tocreateatonalunderpaintingorgrisaille,thenoverpaintedwithglazesofpaintcolor,InterferenceRedandInterferenceGreen(see

Techniques22and23).Thecentersportsadrippedanddrizzledinterferencecirculardesign.BUBBLESUPHelenMcKeownAcryliconpanel10"×8"(25cm×20cm)CollectionofJosephSnooks

TECHNIQUE43

MetallicDrawingSurfacesMetallicpowderscombinedwithacrylicgroundscreatebeautifulsoftlyreflectivefinegritdrawingsurfaces.SeeTechnique12foranalternativedrawingsurfaceongoldormetalleaf.

MaterialsListSubstrateAnypaintingordrawingsurfaceToolsPaintingormixingknife,paintbrush,anypreferreddrawingmaterialsProductsDrymetallicpowder/pigmentoriridescentacrylicpaint,acrylicmattemediumOtherMixingpaletteorcontainerForCleanupWater,watercontainer,papertowelsorrags

STEP1MakeMetallicMixtureMixonepartofeithermetallicpowderoriridescentpaintwithonepartmattemediuminacontaineroronapalette,mixingwellwithaknife.Whenmixingdrypigmentorpowderavoidinhalingairborneparticlesbywearinganappropriaterespiratorormask.HereMetallicCopperpowderismixedwithmattemediumina1:1ratio.

STEP2ApplyMixtureApplyathincoatevenlytothesurfacewithaknife,brushorrag.Letdry.

STEP3DrawOvertheGroundUseanydrawingmaterialsonthesurfacesuchascharcoal,conté,pastel,pencil,markerorcrayontocreateanimage.Ifthegroundhasnotfullydried,itwillgumupthedrawingmaterials.Ifunabletomakemarksandthedrawingmaterialssliponthesurface,repeatStep1usingagrittiermixturebyaddingmorepowder.Ifusinganiridescentpaint,addmoremattemedium.

IdeasAddasmallamountofwatertothemixtureinStep1toeaseapplications.Addmorewatertobrushapplyasathinwash.Considerusingagrittiergelorpaste,suchasFinePumiceGel,CoarseMoldingPasteandAcrylicGroundforPastelinsteadofthemattemediuminStep1.Thesewillincreasethegritandaddasubtletexture.

Thehandandpartialfigureisdrawnoveragoldleafpanelpre-paintedwithatoothedsurfaceusingamixtureofmetallicpowderandmedium.BENTWITHTHEWEIGHTOFPERMANENCE(DETAIL)PamelaFrankelFiedlerOilandacrylicgroundwithmetallicpowdersoncanvas24"×18"(61cm×46cm)

TECHNIQUE44

StainedGlassEffectColoredglazespouredoversilverleafcreateanunusualreflectivesurfacethatlookslikestainedglass.Experimentusingthistechniquewithavarietyofothermetalleafsuchasbronze,goldandcopperandcombinewithavarietyofcoloredglazestoincreasepossibilities.

MaterialsListPaintOneormoreacrylicpaintcolorsSubstrateAnypaintingsurfaceleafedandsealed(seeTechnique1)ToolsPaintingknifeorothermixingtool,spatulaorotherspreadingtool,severalmixingcontainersProductsApourableacrylicglossmediumofyourchoice(seeSection4:TipsforCoatedPours),spraybottlewithisopropylalcoholForCleanupWater,watercontainer,papertowelsorrags

STEP1PrepareSurfaceandPouringMixtures

FollowstepsinTechnique1toobtainaleafedandsealedsurface.Addpouringmediumintoseveralmixingcontainers,(asmanycontainersascolorsyouarepouring)withenoughmediumintotaltocoverthesurface.Toeachcontaineraddsmallamountsofcolor,aboutoneortwodropsofcolorper2ouncesofmedium.Thetransparencyandcolorintensityvariesdependingonhowthickthepourwillbeapplied.Stirmixtureswell.Hereisasurfaceleafedwithsilverandfourpreparedpouringmixtures:QuinacridoneCrimson,PermanentGreenLight,NickelAzoYellowandPhthaloBlue.

STEP2PourGlazePropupthesurfacefromthetable(seeSection4:TipsforCoatedPours).Pouroneofthecoloredpouringmixturesontothesurfaceindesiredshapes,orspreadoutevenlywithaknifeorotherspreadingtool.Repeatwithothercolors.Overlapwhilewetforsoftedgesandsomeblendedareasorwaituntileachcolordriesbeforeapplyingthenextformorecontrolledshapes,cleaneredgesandevencolorapplications.Onceoneormorecolorsareappliedandreadyfordrying,spraylightlywithalcoholtoremovebubbles.Letdryundisturbedonalevelsurface.

FinishedExampleThecolorsaremoreintensewhendry,andbeingtransparent,allowthesilverleaftoshowthroughaddinganexcitingmetallicquality.Formorecolorintensity,repeatusingthesameglazecolorsinasecondlayerdirectlyoverthedryfirstlayer.

Goldleafinthebottomthirdofthispaintingisglazedwithcolorthenablacktransferisapplied.Collagecreatesthemid-sectionwhilethetopusestexturalpastes,embossingandglazes.InterferenceandIridescentpaintsareusedthroughout.Apouredresinfinishingcoataddsaglossysheenoverall.MYMOUNTAINSSandraDuranWilsonAcrylic,goldleaf,collageandresinonpanel8"×8"(20cm×20cm)

TECHNIQUE45

VeilingMetalLeafContrastthebrilliantshineonmetalleafwithmatteortranslucentdesigns.Metalleaf’sbeautifulhighshinewhenusedinapaintingcansometimesoutshineanddistract.Bysubduingsomeoftheleafwithveiled,matteorcloudyeffects,thecontrastaddsevenmoreseductiveappeal.Thereareseveralwaystoaccomplishtranslucentoverlays.Oneofthesemethods,brushapplyingmattemedium,isdemonstratedhereusingapatterndesign.Moreveilingoptionsarelistedbelow.

MaterialsListSubstrateAleafedandsealedsurface(seeTechnique1)ToolsPaintbrush,pencilProductsPaperortracingpaper,acrylicmattemediumForCleanupWater,watercontainer,papertowelsorrags

STEP1CreateaDesignStartwithaleafedandsealedsurfacefollowingTechnique1.Decideonastrategyordesignthatallowssomeareasoftheleaftoremainunpainted.Herecirclesarepenciledinfreehandonpaperoverasilverleafedsurface,leavingaslightindentontheleaf.Formoreintricatedesignsortracingfromapremadedrawing,usecarbonortracingpaper.

STEP2ApplyMatteMediuminSpecifiedAreasUsingtheindenttoindicatethepatternordesign,brushapplyathinlayerofmattemediumindesignareasontheleaf.Thiswillveilanddecreasetheglosssheenofthemetalleafcreatingcontrast.Letdry.Ifthecontrastistoosubtle,applyanothercoatofmattemedium.Repeatwithasmanycoatsasdesired.

FinishedExample

AdditionalVeilingMethodsIridescentSilverwaspaintedoversomeofthecircles.FluidIridescentPearlandIridescentSilverpaintsarepoureddirectlyfromthebottleinlineardesigns.

IdeasSubstituteoneofthefollowingideasforthemattemediuminStep2.

Usethinlayersofwhiteacrylicpasteformorepronouncedveiling.Useaniridescentpaintinthesamemetalliccolorastheleaf.Forexample,useIridescentGoldpaintinareasovergoldleaf.Thereflectivequalitiesofleafaremuchhigherthanthoseiniridescentpaintssothepaintedareaslookmatteincontrastwiththeleaf.Drybrushpaintcolorthinlyoverleafedareas,usingastiffbristlebrushtoapplysmallamountsofundilutedthickpaint.Collagetransparenttissueoverpartsoftheleaf.Tocollage,applyundilutedgelthinlyoverareastobeglued,thenplacetissueoverthewetgel.Lightlysandareasofthesealedleafsurfaceusingahigh-gritwaterproofsandpaper(seeTechnique12).

Severalmethodsareemployedhereovermetalleaftoachievethesoftveiledareasincludingtissuepapercollage,applicationsofthinlayersofpaste,andscumblingordrybrushingpaintcolorsoftlyovertheleaf.BLUESAFFRONAshaMenghrajaniAcrylic,goldleafandmixedmediaoncanvas48"×48"(122cm×122cm)

TECHNIQUE46

GlassRefractionCreateapaintingusingmultiplesheetsofglassorplexiforaluminousglow,alsoknownasreversepaintingonglass.

MaterialsListPaintOneormoreacrylicpaintcolorsSubstrateThreeormoreplates, ⁄ thinchthick(Usestandardsizesforeaseinframingandhaveglassedgessandedwhencuttoavoidhandlingdangeroussharpedges.)ToolsPaintbrush,ducttape,woodormetalframetofitthesizeoftheplatesProductsGlasscleaner(forglass)orwateroralcohol(forplexi)ForCleanupWater,watercontainer,papertowelsorrags

1 8

STEP1ApplyPaintCleanbothsidesofglassorplexiplatesusingglasscleanerforglass(usewateroralcoholforplexi).Handleplexiwithcareasitscratcheseasily.Paintoneitherorbothsidesoftheplates.Avoidaddingtoomuchwatertopaintcolors,insteadaddmediumsforadditionaltransparency.Avoidpaintingovertheplatesentirely,keepingsomeareastransparentorunpainted,allowingvisibilitythrougheachplatetotheunderlyingones.Letdry.

STEP2AssemblethePlatesAssembletheplatesinanyorderyouprefer,placingoneovertheother,rearranginguntilsatisfied.Remembertheyarereversiblesoeithersidecanbeconsidered.Thefinaltopplateshouldbereversedwiththepaintedsidedownsothatthefinaloutersurfaceofunpaintedglasswillprotectthepaint.

STEP3AttachPlatesTogetherWhensatisfiedwiththearrangement,stackthemtogetherliningupalltheedges.Applyducttapealongthesidestotemporarilyholdthemtogether,orinsertthemintoapre-madewoodenormetalframethatoverlapstheplatesinthefrontandholdstheminplacewithaframingmechanismintheback.

Glossacrylicwaspouredinbetweenlayersofpaint.Multiplelayersofglossaddtheillusionofdepthasifpeeringdownintoatidalpool.EARTHDAYBonnieTeitelbaumAcryliconpanel24"×24"(61cm×61cm)

ThispaintingwaspaintedonbothsidesofPLEXIGLAS,addinganintriguingviewingexperiencethatparallelsthemysterioussubjectmatter.GLANCEDarleneOliviaMcElroyAcrylicandmixedmediaonPLEXIGLAS12"×12"(30cm×30cm)

TECHNIQUE47

PouringEmbeddedLeafPiecesofleafareaddedtoaclearacrylicglosspour,highlyilluminatingthemetal,creatingareflectivepattern.

MaterialsListPaintOneormoreacrylicpaintcolorsSubstrateAnyprimedpaintingsurfaceToolsPaintingknifeorothermixingtool,spatulaorotherspreadingtool,mixingcontainerProductsApourableacrylicglossmedium(seeSection4:TipsforCoatedPours),piecesofmetalleaf,spraybottlewithisopropylalcoholForCleanupWater,watercontainer,papertowelsorrags

STEP1PreparetheSurfaceandPouringMixturePaintthesurfacewithacolororimage.Letdry.

Addpouringmediumintoamixingcontainer,planningonapproximately2–3ouncesofmediumtocoveranareameasuring8"×10"(20cm×25cm).Thickerpouringmediumswillfullyembedtheleafpieces,whileathinnermediumallowsleafpiecestoemergefromthesurfaceinrelief.Ripapartsomemetalleafintosmallpiecesorpurchaseprecutpieces.Addthedesiredquantityintothepouringmedium.Stirwell.

STEP2PourtheLeafMixturePropupthesurfacefromthetable(seeSection4:TipsforCoatedPours).Pourthemixtureontothesurfaceandevenlyspreadtothedesiredthicknesswithaknife,spatulaorotherspreadingtool.Ifmoreleafpiecesneedtobeadded,sprinkleasmanyasyoulikeontothewetpourandfoldthemintothemediumwiththeknifewhilespreading.Immediatelyspraylightlywithalcoholtoremovebubbles.Letdryundisturbedonalevelsurface.Sincetheleafpiecesarenotsealed

theymaytarnishwhilethepourdriesorslightlydarkenthepouringmediumaroundthem,addinganinterestingelement.

FinishedExample

IdeasFormorecontrolovertheplacementofleaffragments,skipmixingtheleafintomediuminStep1.Instead,pourclearmediumoverthesurfaceandwhilewetsprinkleleafonlyindesiredareas.Gentlyfoldpiecesintothemediumwithaknife.

Thispaintingusesthreedifferenttechniques,eachoneinaseparatelayer(seeTechnique19formultiplelayering).ThepanelisfirstpaintedusingamixtureofIridescentBronzeandCopper.Overthismetallicbackgroundafauxleafpatina

(Technique11)isappliedonthelowerhalfwithLightMoldingPasteandIridescentBronzewashes.ThetopbandofblueisappliedusingTechnique7withaManganeseBlueHueglaze.Lastly,Technique47(pouringembeddedleaf),isappliedovertheentiresurface,addingtexturalinterestandasmoothhighlyreflectiveandglossyfinish.METALLICSNOWNancyReynerAcrylicwithgoldleafpiecesonpanel10"×8"(25cm×20cm)

TECHNIQUE48

FluorescentandPhosphorescentPaintsAmust-includeforaneye-catchingpaintingtechniquebookisadescriptionoffluorescentandphosphorescentpaints.Herearewaysthesetwoluminouspaintsdifferfromeachotherandtipsforuse.

FluorescentpaintscomeinawiderangeofcolorsthatglowwhenexposedtoUVlightfoundinsunlightandsomeartificiallights.Oftencalledblacklightpaints,theylookevenmoreluminousunderablacklight.Fluorescentpaintsaremadeofdye-basedmaterialandwillnotlastverylong,oftenturningquicklytoagray-brownastheyfade.ApplyingUVprotectionisnotrecommendedbecauseitwillalsoinhibitthespecificlightneededtomakethemglow.Onesolutionistolimittheartwork’sexposuretolight.AmericanModernistFrankStellausedthesepaintsinsomeofhisminimalistworks,whichstilllookgoodexposedtothelowlightofmuseumsettings.Usedforartists’books,theywilllastlongerasexposuretolightisalsolimitedinabook.

Therearetwotypesoffluorescentpaints:visibleandinvisible.Thevisiblearebrightinthelightandmorebrilliantunderblacklights.Invisibleonesarealmosttransparentinlight,andonlyglowunderUVlight.Thesearemorelimitedincolorchoices.

Phosphorescentpaintsareglow-in-the-darkpaints,oftenusedasstarsappliedtoceilingsandwalls.Theyarefairlyinvisibleinthelight,yetglowluminescentinthedark.Thegreenphosphorescentpaintmaybetheeasiest(andonly)coloravailableinphosphorescence.Theabilitytoglowinthedarkwilllastforuptotwelvehoursafterbeingexposedtolight.Thistrait,though,willnotlastlong.Forpainters,therefore,thesepaintsshouldbeusedasanextrasubtleelement.Ifpaintedthinlyandinminororperipheralimagery,thepaintingwillstillbecompleteindaylight,whilethephosphorescentimageryisinvisible(aswellasafterthephosphorescencehasfaded).Asavailablelightdimsandgoesdark,thepaintingtransformswhenthephosphorescentimagerymagicallyglows.Applythinlysoitisinvisibleinlight,yetwillstillappearluminousinthedark.

Phosphorescentpaintswillcontinuetoproducealuminousqualityforalongertimethanfluorescentpaintsanddonotturnagraybrownlikefluorescentpaintsastheystarttofade.

BackgroundMattersMatteblackpaintsurroundsthefluorescentcolorsandbringsouttheirglowmorethanthewhitebackground.Fluorescentpaintsareperfectforblack-boxentertainmentenvironmentssuchastheaters,barsandshrines.Outsideinnaturallighttheeffectisoftendulled.

CompensatingforFadingMixafluorescentpaintwitharegularpaintinasimilarcolor.Forinstance,mixfluorescentorange-yellowwithC.P.CadmiumOrangepaint.Asthefluorescentfades,theCadmiumOrangepaintwillstillbevisibleintheartwork.

Anotheroptionistofirstpaintalayerofregularpaintcolor.Whendry,overlaywiththematchingfluorescentcoloreitherthicklyorthinlyasaglaze.Herefluorescentorange-yellowispaintedoveradrylayerofC.P.CadmiumOrangepaint.

Ablackbackgroundrichlyilluminatesfluorescent(orneon)greensandyellows.NIGHTVISION

DonnaWetterstrandAcryliconcanvas30"×24"(76cm×61cm)

Pinkfluorescentpaintaddsstrikingvisualelementsinthisabstraction.HELENOFTROY

JuanaOlgaBarriosAcrylicwithgraphiteandfluorescentpaintonboard10"×8"(25cm×20cm)

TECHNIQUE49

VibratingOpticalEffectsComplementarypairsofcolorsareessentialtoolsinpainting.Theyarealsocalledcoloroppositesbecausetheysitoppositeeachotheronthecolorwheel.Oureyesandmindareattractedtothesethreeparticularcolorpairs:red/green,blue/orangeandyellow/violet.Whenweseegreenwedesiretoseered,andsimilarlyfortheothertwopairsofopposites.Whenacolorpairofshapescloselytouchattheiredges,oureyesgobackandforthsoquicklyitcreatesavisualvibrationoftenformingillusionarypatternsoroptics.Popularinthe1960sforOpArt(OpticalArtMovement)withartistssuchasJosefAlbers,itisstillusedincontemporarywork.OpArtalsousedaminimalpaletteofjustblackandwhiteforopticaleffects(seeTechnique50).Thefollowingillustrationsusethegreen/redpair,yetareallequallyvalidfortheothertwocolorpairings:yellow/violetandblue/orange.

Edge-to-EdgeWhenapairofcolorsareattheirbrightestandtouch,itproducesthemostvibratingoptics.ThegreenismadewithPhthaloGreen(YellowShade)whiletheredusesNaphtholRedMedium.BotharemixedwithasmallamountofTitaniumWhiteandHansaYellowLight.

FormandGroundOneofthecolorsisenvelopedbyorsitsinsideitsopposite.

VaryingQuantitiesOneofthecolorsisusedinadifferentquantitythanitscomplement.Herestrongdirectionalfocusiscreatedastheeyemovesquicklytowardsredwhichissurroundedbylargeamountsofgreen.

NeutralSurroundingWhenacolorpairissurroundedwithneutralsormoremutedtonesitemphasizestheirrelationshipevenmore,creatingnaturaleyemovementandfocus.

VaryingIntensityComplementarypairswillalwayscreateeyemovementwhenusedtogetherinanimage,regardlessofwhetherbothhavethesamevalueorcolorintensity.Heretheredisdarkandmutedandthegreenislighter.

Twocomplementarypairsusedinasymmetricalplacements,green/redandblue/orange,createvibratingcolorcombinations.NEUTRINOBLOSSOMPARTY3PatriciaForbesAcrylicandpapercollageonpanel16"×16"(41cm×41cm)

Sheetcopperisgildedandpaintedwithink,powderedpigmentsandacrylicpaint,thenwoventocreatethisinnovativereliefpainting.Inperson,thevisualvibrationfromcomplementarycolorsredandgreenisenhancedwiththereflectivecoppermaterial.SUMMERDREAMSSuzanneDonazettiPaintedandwovencopper16"×16"(41cm×41cm)PhotoCredit:MikeMcKee

TECHNIQUE50

HighContrastAbookabouteye-catchingimagerycannotbecompletewithouthighcontrast.Oureyesarenaturallyattractedtodarksandlights.Likethegleaminsomeone’seye,richblacksnexttosparklingwhitesgetattention.TheOpArtMovementinthe1960sproducedartwithopticalillusionsandvibratingvisuals.Thiswasaccomplishedtwoways:withstronggraphicblack-and-whitepatternsandwithpairsofcomplementarycolors(Technique49).Herearesomeideasusingdarksandlightstoaddfocusandinteresttoapainting.

MaterialsListPaintOneormoreacrylicpaintcolors,CarbonBlack,TitaniumWhiteSubstrateAnypaintingsurfaceToolsPaintbrushorotherapplicationtoolForCleanupWater,watercontainer,papertowelsorrags

BlackandWhiteIsEye-CatchingHereCarbonBlackandTitaniumWhitetouchedgesonagraybackground.Anopticalvisualvibrationoccursastheeyemovesbackandforthbetweenthemattheedge.Whenseparatedtheeyemovementstillexistsbutwithlessopticalvibrationastheyarespreadfartherapart.Thebigvisualstepattheedgebetweenthetwomakesthisahigh-contrastpair.

CreateaPairofHigh-ContrastColorsColor,notjustblackandwhite,cantranslateintodarkandlight.Thispairofdarkred(AlizarinCrimsonHuewithasmallamountofAnthraquinoneBlue)andlightblue(asmallamountofUltramarineBluewithTitaniumWhite)arehighcontrast.

CreateaPairofLow-ContrastColorsAddblackandwhite(amixedgray)intomostcolorsandtheybecomemutedincolor,withlowerchroma,orintensity.Thispairofcolorshasasmallvisualstepattheedgebetweenthetwocolors,makingitalow-contrastpair.Thecolorontheleftconsistsofthesameredmixtureusedinthepreviousexample,mixedwithCarbonBlackandTitaniumWhite.ThecolorontherightisthesamelightbluecolorfromthepreviousexamplewithCarbonBlackadded(italreadycontainedwhite).

CombineHighandLowContrastsApplybothhigh-contrastandlow-contrastpairsofcolorsinapaintingtomagnifythepushandpullofformstosuggestdepth.Herealowcontrastbackgroundemphasizestheforwardmovementorattention-gettinghighcontrastimageofan

eyeandgeometriccross.

Afulltonalrangeispresentedhereincludingrichblacksandbrighthighlights.

LETTINGGO(DETAIL)PamelaFrankelFiedlerPastelandacrylicgroundonpaper24"×28"(61cm×46cm)

Bleachonblacklinencreatesthisstrikingcontrastingimagery.Thelinen’snaturaltexturecreatesanappealingdialoguewiththevisualtextureofthewrinkleddress.

SHROUDSERIESNO.1MaryMorrisonBleachonlinen40"×22"(102cm×56cm)

ContributingArtistsDestinyAllisonPages33and45destinyallison.comAdriaArchPage117adriaarch.comJuanaOlgaBarriosPage131juanaolgabarrios.comDonnaBaekPage67thebaeksemail@gmail.comMichaelBergtPage35mbergt.comPattiBradyPage61pattibrady.comJaneCallisterPages10,15,77and95artslant.com/global/artists/show/48-jane-callisterLauraCasasPage75thebucolicbutterfly.blogspot.comArleneCisnerosSenaPage39YennyCocqPage69yennycocq.comBonnieCuttsPage65bonniecutts.comDavidL.DeVaryPages4and37

daviddevary-santafe.comSuzanneDonazettiPages21and133freefalldesigns.comSandraDuranWilsonPages11,65,89and123sandraduranwilson.comPatriciaForbesPages29,49,54,73and133patriciaforbesart.comPamelaFrankelFiedlerFrontcover,pages43,121and135frankelfiedler.comMingFranzPages76,101and103mingfranzstudio.comCateGoedertPages59and87categoedert.comGailHendersonPage45gailhendersonart.comBarbaraJacksonPages53,55and71barbarajacksonartist.comSandyKellerFrontcover,pages83,105and111sandykellerart.comBarbaraKempCowlinPage52barbarbakempcowlin.comSherryLoehrPages20and35sherryloehr.comMayaMalioutina

Page29mayamalioutina.comTeyjahMcArenPage103moderncavepaintings.comDarleneOliviaMcElroyPages127and137darleneoliviamcelroy.comHelenMcKeownPages59and119hmckeown123@gmail.comAshaMenghrajaniBackcover,pages93,95and125shecreates.comCatherineMollandPage73catherinemolland.comMaryMorrisonPages79,101and135marymorrison.infoJillMoserPage51jillmoser.netJeneneNagyPage117jenenenagy.comJ.E.NewmanFrontcover,pages108and113jenewman.comSaraNovensonPage47novenson.comMarkPackPages113and115www.markpackart.commarkpackart@gmail.com

AletaPippinPage31aletapippin.comMarlaRobbPage93society6.com/marlarobbJuliaSantosSolomonPage57juliasantossolomon.comElizaSchmidPage109elizamschmid.comElizabethSmarzPages5and54elizabethsmarz.moonfruit.comBonnieTeitelbaumBackcover,pages16,27,51,81,83,85,107,110and127bonnieteitelbaum.comJulioValdezPage57juliovaldez.comJimWaidPages13and63jimwaidart.comDonnaWetterstrandPage131xillionideas.com

AbouttheAuthor

BornandraisedontheeastcoastintheUSA,NancyreceivedaBFAfromtheRhodeIslandSchoolofDesignandanMFAfromColumbiaUniversity.FromcreatingcostumesandsetsfortheaterandfilmtocoordinatingpublicartsprogramsforthestateofNewYork,shehashadawide-rangingcareerinthearts,allofwhichinformherwork.ShenowlivesinSantaFe,NewMexico,andhasbeenpaintingformorethan30years,exhibitingandteachingbothnationallyandinternationally.Nancy’sDVDsandpreviousbooks,AcrylicRevolutionandAcrylicInnovationofferamultitudeoftechniquesandideaswiththeintenttoaddinspirationtoartistseverywhere.VisitherwebsiteatNancyReyner.comtoviewhercurrentwork,paintingblog,workshops,DVDsandgalleryrepresentation.

DedicationToartistseverywherewhocontinuetocreatewithpassionandcommitment.

AcknowledgmentsThankyoutomyfamily,friendsandcolleaguesforinspirationandsupport,withspecialacknowledgementtomysonJacobCohen,andtoJimOHara,Mary&AlexRoss,GwynnNelson,JeannetteArnon,LauraMcClure,SaraNovenson,DestinyAllison,PattiBrady,BruceCodyandtoBonnieTeitelbaumforassistanceinpreparingtechniqueimagesandideabrainstorming.ThankstoCynthiaMachadoforyourbeautifulhandsinthephotographs.ThankyouLoriBrodyandmyballetbuddiesformakinglifeevenmorefabulousthanitalreadyis.MuchappreciationgoestoDanaBrownandAmpersandArtSupplyforthepaintingpanels.ThankyoutoMarkandBarbaraGolden,andthestaffatGoldenArtistColorsforthewonderfulpaintinventions,productsandsupport,withspecialthankstothetechnicaldepartment.IappreciateF+WandtheNorthLightBooksstaff,withextrathankstoJamieMarkleandmyeditorsKellyMesserlyandChristinaRichards.

GLYPHS&AQUAMARINENancyReynerAcrylicandgoldleafonpanel24"×36"(61cm×91cm)

AcrylicIlluminations.Copyright©2013byNancyReyner.Allrightsreserved.NopartofthiseBookmaybereproducedinanyformorbyanyelectronicormechanicalmeansincludinginformationstorageandretrievalsystemswithoutpermissioninwritingfromthepublisher,exceptbyareviewerwhomayquotebriefpassagesinareview.PublishedbyNorthLightBooks(IMPACTBooks),animprintofF+WMedia,Inc.,10151CarverRoad,Suite200,BlueAsh,OH45242.(800)289-0963.FirstEdition.OtherfineNorthLightproductsareavailablefromyourlocalbookstore,artsupplystoreoronlinesupplier.Visitourwebsiteatfwmedia.com.eISBN:97814403271171440327114Thise-bookedition:February2014(v.1.0)