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Acrylic WIP
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Message
Posted
I've just started this, and it's not really fit to be seen at the moment, but I thought it might interest those thinking about surfaces for acrylics (or oils, come to that). It's an Ampersand board - I've used one for an oil, which I thought worked well even though it has no texture at all (didn't matter, the paint provided all the texture I needed) and have just begun with this one and noticed a) that the paint dried quickly (which I like, I'm not keen on 'open' acrylics) b) that with acrylic, working on a pale orange ground, it offers numerous possibilities which are much less obvious when you start a painting on canvas or paper.
Jacksons sell Ampersand board now - you might want to give them a try; they're of high archival quality too.
PS, the rather nasty whitish mark is where I realized I had a shadow in the wrong place for my design, so I made an opaque mark there to remind me.
http://www.isleofwightlandscapes.net
http://www.wightpaint.blogspot.co.uk
Posted
I look forward to seeing how it proceeds/turns out, too! This is the easy stage, there's a lot of work ahead of me to get it to completion but I shall certainly show its progress. Or what I hope will be progress.
Alan, you disparage yourself I'm sure, but get some Ampersand boards and have a go with them. They're absorbent, but don't suck all the life out of your paint - I've never come across a surface like this before; you can draw with the brush, and just a little water (or thinner) and apply colour thinly but densely; it's not like painting on canvas or MDF, it's perhaps a little like painting on the highest quality watercolour paper.
http://www.isleofwightlandscapes.net
http://www.wightpaint.blogspot.co.uk
Posted
I was going to give it a try the last time you mentioned it Robert but the amount of paintings that I get through made me think again after looking at the price of this stuff.
Your WIP is shaping up nicely, I can see the enjoyment in those rather splendid painterly brush strokes and the composition is spot on also.
Posted
Quick one - they are a bit expensive, I agree; and when I last looked, there wasn't the range of sizes we're used to in other boards and canvases; this may change - they're imported from the USA and with any luck the price will come down and the range will increase as more of us try them and encourage the suppliers to lay in bigger stocks and achieve discounts from the wholesalers. So you see my cunning plan is revealed in all its devilishness - the more of you buy them, the cheaper my supplies might get to be.
I do think they're a really interesting surface though, and I like the archival quality (I do sometimes wonder why I worry about work lasting for over 100 years: after all, I'm not going to; and maybe the world itself won't be around, or we won't be around to inhabit it in a century or so.... but still; there it is, I do look for the best surface I can get for my work as a means of rewarding all the effort I put into it, perhaps).
http://www.isleofwightlandscapes.net
http://www.wightpaint.blogspot.co.uk
Posted
How do, Alan... normally, I give the canvas/board a thin coat of Burnt Sienna; in this particular case though, I used a mix of Cadmium Red and Yellow Ochre, and sketched with Burnt Umber plus a bit of Ultramarine. I like a warm tone, usually. And now and then, I use the plain white of the canvas - I think I may do that more often, because it does help create a greater luminosity when using transparent colours. But then, of course Burnt Sienna is transparent .... so it's a bit of a compromise.
Because I started out by painting in oil, and only later moved to acrylic and then to watercolour, I got used to working on a very thin stain of colour and I've basically used the same technique with acrylic.
http://www.isleofwightlandscapes.net
http://www.wightpaint.blogspot.co.uk
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