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Acrylic over gloss... ?
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Message
Posted
I'm involved in a mural project at the local primary school, and their contractors have just painted the four panels next in line with gloss paint. Eek. I had suggested emulsion.
Does anyone know if acrylic is likely to stick to this surface?
My husband thinks it'll be okay if they used water based gloss, and that sanding won't make alot of difference either way.
I'm probably going to test it in an unobtrusive corner, but any advice would be appreciated.
Posted
Look at this demonstration of modelling paste, which is similar to texture paste:
http://www.youtube.com/watch?v=spHwxNvBVGAa
Texture past is usually white, you mix it with the paint you are using and spread it on the canvas.
There are various thicknesses of texture paste, depending on what sort of effect you are aiming at.
Posted
Each to his own, but I don't personally like anything that adds texture to paint, because the paint itself is capable of doing the job more convincingly. In oil particularly, when oil paint can be used with impasto strokes, laid on with a knife, applied thickly with a brush, a) there's no need for added textures, and b) they're not always going to be compatible with the paint surface anyway; all sorts of things can complicate the drying of oil paint. Texture is best added, other than with the brush, by laying it on the canvas first and glazing over it. <div>
</div><div>With acrylic, the case is different; I still don't use any texturing myself, but many do - and there are many alternatives; some manufacturers make a whole range of materials, eg, glass beads; you can add washed, clean sand to your paintings; you can, again, glaze or even paint thickly over texture paste, or PVA adhesive; you can embed objects, to a certain extent, in the paint - running some risk of future degradation if they're at all heavy, but cloth, papers, tissues, leaves, twigs can all be glued to the board, and pained over. Some people use eggshells, glued to the board with PVA or acrylic medium or varnish, and then painted over. </div><div>
</div><div>It's my own view - but then I can be somewhat conservative - that the big problem with these techniques is that they're nearly always extraordinarily obvious: and why paint, eg, an old wall by sticking egg-shells to the board and colouring over it, when you could, well - just paint it? </div><div>
</div><div>However, that's because my range of subject matter doesn't need these additions and I wouldn't be seeking to do what I see you're trying to do. So probably, acrylic is the safer medium for added texture such as this. If you use oil - which is going to be riskier in itself - use an inflexible support, NOT stretched canvas; in fact, I should hesitate to use stretched canvas for acrylic painting with this sort of texturing as well. </div>
Posted
Just mix an acrylic paint into acrylic modelling paste...and paint!
Apply with a well-worn short flat brush...or knife...
This mixture sticks to canvas but better still a canvas board...
IF the colour when dry is too pale paint over it!
Modelling paste & mineral textured gel [sand!] make painting a beach foreground a doodle!
Posted
Actually Phillipo1 In my experience its a case of when one door closes another one shuts!!!!. <div>I am also a bit anti textiley additions. In fact my query is almost the opposite. How many times can I scrape down re gesso and paint over a canvas? Probably till it almost falls to bits. But I do have plenty of paintings with amazing texture , lumps, bumps, swirls and whirls... So maybe that's the way to go , just keep on using a lousy painting covered it over again and again. </div><div>
</div>
Posted
In acrylic? Just about as often as you want to - canvas being flexible is a bit more chancy than a rigid support, but you can paint over and over with acrylic, and would be very unlucky if any disaster supervened. <div>
</div><div>In oil - well - in theory, the less scraping off and starting again the better, because there's a danger of leaving some oil-fat paint in the lower layers; and cracking could well be a problem on a flexible support. But in fact - all the old lads did it, as X-rays of their paintings show; canvas was expensive, and still is, and it was used again and again. I would take more care with removing old paint, wash it off with spirits, probably oil out the surface before starting to paint again - but it'll probably work with few problems. </div><div>
</div><div>There was a painter - I forget now who it was - who regularly scrapped painting, but left the residue to provide patches of colour and texture in the overpainting. The lad who paints, mostly, cows, in Griffin alkyd - forgotten his name too, but he's in LP now and then - does much the same. Provided the first coats aren't slick with Linseed oil (or worse, Poppy oil) the risk often pays off. </div>
Posted
You're telling me .... watercolour is the really difficult one to pull round, because once you've put a staining pigment on the paper it stays there; even there though, I've sometimes either washed as much off as will shift, or just left it and applied a very dilute acrylic, Chromacolour being the best I've tried for this sort of thing, over the top. Arches paper takes it beautifully, but so will Bockingford.