Thank you for your report!
We have received your report and it is currently under investigation by a forum moderator.
Work in Progress - Having a bash at Acrylic painting.
Welcome to the forum.
Here you can discuss all things art with like-minded artists, join regular painting challenges, ask questions, buy and sell art materials and much more.
Make sure you sign in or register to join the discussions.
Hang on Studio Wall
This is a Studio member-only feature!
Join our Studio membership and save your favourite Painters Online content, from gallery artwork to step-by-step guides, to your own online mood boards. Create your go-to place for inspiration and learning. Plus, members can also enjoy a range of exciting features including monthly art videos and a digital magazine library.
If you are already a Studio member, simply login to your account.
Not a Studio member? Why not try our free 30-day trial - no commitment, no credit card required
Message
Posted
Steady lad! Oh, be careful .... a cup of Horlicks, and a firework out in the garden: let that be your limit. Abjure the painted jade, hitch your braces high - adopt the steely gaze of indifference to rannygazoo and general laxity: this is the way to serene old age. Oh yes; moderation, Lew: caution: propriety: let these be our watchwords!
Posted
Sure he will, Denise - and yes, he certainly should - all the best artists here think their work isn't fit to be shown on the gallery, because it's not always perfectly realized: but - that's what most of us want to see, surely? Our first impressions - the final perfections, assuming we can achieve them, are of little help to aspiring artists who look at the Gallery: they want to see how it was done ... I think that's so much more useful. Then show your final version. Show where you can go, if you persist. I know I've looked long and hard at brilliant works and wondered how on earth I could ever achieve the same - well that's where preliminary sketches come in: they give you a clue, whereas highly polished work is just there, glaring at you, defying you to emulate it.
Posted
That's a natty little picture, Lewis. Top-drawer. The expressions are perfect. And there's nothing wrong with the brush work.
It reminds me of the short story by John Keir Cross, The Glass Eye---which was turned into an excellent little teleplay by Stirling Silliphant in the Alfred Hitchcock Presents series.
Edited
by Tom Henshaw
Posted
Thanks Sandra. I’ll do my best. I like gardening too, can’t wait to get out there and start pottering. Too wet at the moment, I’m on heavy clay, it’ll look like the Somme if I start clodhopping out there now. I think gardening is a little bit like art, a kind of future thing…what do I paint next…when can I start planting? Forward thinking.
Posted
I think the best thing about WIP is that any mistakes, worries and the need to change anything is there for everyone to see . Even better when we explain the issues the we are facing and show how we overcome them. So much learning not only for us but those looking on and feel they have gained from the experience. Keeps me on my toes as well as getting me to complete the tasks.
This post has been removed as it violates our forum rules and guidelines.
Posted
I wasn't going to add anymore to this, but at the last knockings Robert came up with some things I'd like to try, so I'll show how I get on here.
I wanted to give glazing another go, made a mess last time being unsure how thin I could go with the glazes. The idea of starting with a monochrome still appeals, so I'll begin with that. Here's the monochrome...
...the head and shoulders are painted in white, grey and black acrylic. It's more contrasty than I'd do if the end result here was a monochrome. My brief try with underpainting in the last pic suggested more contrast might be better...I'll find out. This is painted on Langton 300 gsm watercolour paper. No gesso. Andrew says he doesn't gesso paper, and I think George doesn't always gesso the paper. I must say the paint went on really well, or maybe it's because I'm familiar with the paper. It's remained perfectly flat and it seemed easier and took less time. All good.
What I'll do next is acrylic colour glazing, then I'll try watercolour and see how that goes. I could of course just make marks on a piece of paper to try all this, but I prefer to try it doing the sort of things I paint and draw.
Win, lose or draw, I'll show you what happens.
...the head and shoulders are painted in white, grey and black acrylic. It's more contrasty than I'd do if the end result here was a monochrome. My brief try with underpainting in the last pic suggested more contrast might be better...I'll find out. This is painted on Langton 300 gsm watercolour paper. No gesso. Andrew says he doesn't gesso paper, and I think George doesn't always gesso the paper. I must say the paint went on really well, or maybe it's because I'm familiar with the paper. It's remained perfectly flat and it seemed easier and took less time. All good.
What I'll do next is acrylic colour glazing, then I'll try watercolour and see how that goes. I could of course just make marks on a piece of paper to try all this, but I prefer to try it doing the sort of things I paint and draw.
Win, lose or draw, I'll show you what happens.
Posted
Andrew says he doesn't gesso paper, and I think George doesn't always gesso the paper. I must say the paint went on really well, or maybe it's because I'm familiar with the paper. It's remained perfectly flat and it seemed easier and took less time. All good.
I was at my art group this morning and my friend, a respected local artist was putting acrylic gesso on the paper he was using..... horses for courses obviously. I must give it a try. LOL . Good luck with the glazes Lew.
Edited
by Andrew Roles