By Lee Hammond
Lee Hammond is helping you get your acrylic work previous that preliminary “awkward stage” with nice information and tips for attaining real looking effects.
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Extra resources for Acrylic Basics for Beginners
Mix it up a bit. Start with Still, brushwork is important. Thick, textural brights to block in, then go to filberts and maybe brushwork will come forward; thinner, quieter finish with a few soft sables. brushwork will recede. It is important to understand Also be aware that the direction of stroke can how the brush type influences brushwork. change the apparent value of the color. This is most ° A bright (square-cut) brush will give a chiseled look noticeable when values are close together, whether to the brushwork.
Too much repetition, though, becomes monotonous. HARMONY. Harmony is a bridge. Common attributes, similar colors, gradations and transitions enable repetition and contrast to live together. Evening Patterns at Nankoweap 20" × 20" (51cm × 51cm) Painting is opposites: light and dark, warm and cool, rational and emotional. indd 54 6/29/06 12:41:40 PM A COMPOSITIONAL DEVICE Catalina Rooftops I easily could have omitted the telephone pole and wires in this scene. Instead, I used them as a strong vertical and spatial divider.
Indd 35 6/27/06 9:50:21 AM SEEING VISUAL REL ATIONSHIPS There are two ways of seeing: subjective and objective. The artist must be able to distinguish them and use both at appropriate times. SUBJECTIVE SEEING We see what we know. Typically, we see as much with our minds as with our eyes, classifying what we see according to memories and editing, embellishing or exaggerating what we see in order to portray our personal response to the subject. This is subjective seeing. It involves emotions, preconceptions and prejudices.
Acrylic Basics for Beginners by Lee Hammond