David Hockney pointed out that the great advantage of acrylic paints, and an ideal use to which they could be put, lies in the historical and present practice of glazing. Because acrylics dry so fast, whereas with oil you have to wait a while, acrylics can take glaze after glaze, with hardly any time between coats at all.
And so it has proved for our hero (c'est moi). A Cobalt Blue glaze over an otherwise over-dominant bright red will cool it down beautifully without turning the colour into purple (unless you really want it to). A bright red glaze over a strong opaque white can indicate the sheen on fabric subtly, without worrying overmuch about blending.
And even an opaque colour, eg Cadmium Red, can be used as a glaze over a strong light - especially opaque white or yellow - just don't lather it on, apply it gently over the light colour/tone. I'm not at all sure that acrylic can ever really match the blending characteristics and subtlety of oil paint, and it may be unrealistic to expect it to. But rejoice in its difference - glaze after glaze can be applied, without muddying the colour, or, if you tried this in watercolour, lifting the previous colour and mixing into it. I'm a very, very slow painter, especially when I have other things on hand - but waiting for oil paint to dry before applying a glaze; and then waiting for that to dry before applying another .... well, it makes you realize why alla prima is so popular. Who has the time?
Acrylic can seem harsh and dry by comparison with oil, and hard and unsympathetic compared to watercolour. But what it can offer is impact - and the glazing possibilities can soften the harsher elements. So if you've avoided it because it seems unsympathetic to your approach, which I can understand: keep trying with it - push its potential; just don't mistake it for oil or watercolour, because it's a medium in its own right: and if pursued with that in mind, not as some second-rate substitute for the traditional media, it offers its own rewards.
White pen didn’t work. Scalpel marginally better.
The good thing about Bristol board, with coloured pencils is that you car remove any guide marks in graphite really easily with the touch of a putty rubber, while leaving the coloured pencil virtually untouched.
The last photo was taken in the golden hour, so the colours are not quite right, but the final version is in the gallery.
Hi Matt just looking at your first picture good start with no tuition. i tell my class for every minute painting you nee 5 minutes looking . see how the grass is not an area of green its lots of tufts each individual in shape and colour, the sea is horizontal lines of green and blue all varying in shade. never give up on a painting put it to one side were you can see it and start another....enjoy..
The sponge was made as insulation for space craft and found to be excellent for cleaning without any cleaning products just water...and works on watercolour and inktens without damaging the paper at a £1 a box cheaper than gin....
If all else fails after G& T and magic sponge .
Leave till Christmas time ,add some glitz , cut into short strips, punch hole in top add ribbon and heyho you have your Chrissy labels . Finish off the Gin.