Sunday, February 17, 2013

February 17, 2013

I'm still exploring the acrylics, and mixing it up with some oil/alkyds too.  I don't mean that I'm mixing alkyd/oil and acrylic... I mean I'm painting with them all at different times!  I've had some great comments on the previous post and plan to reply to those soon.  My brushes have been smoking from the friction of painting so much.

Here are a couple of the latest pieces... One oil that I painted wanting it to dry fast so that I could add some milky glazes and over painting.  So I used some alkyds, in addition to my normal mixing of Griffon Alkyd white with my Utrecht Titanium white in a 50/50 mix to aid in drying.  But it still took two days to dry enough to be able to do what I wanted to do to it... hence the acrylics that I posted in the previous post.  I could use all alkyd paints and I'm sure it would dry right up.  But I only have a few, and alkyd white by itself, is weak in it's pigment strength.  The only way for me to get enough opacity from it is to mix it with my normal titanium, as mentioned above.  And then it doesn't dry fast enough!

It finally did dry, and yesterday I finished it up.  Then I decided to do a little larger acrylic, the painting below, a 12x16.  This is painted on a SourceTek panel with Claessens 12TS acrylic primed cotton.  I really like the weave of this cotton compared to most cotton canvas.  I coated the factory prime with a coat of Golden Matte Medium, to help cut the absorbency and to help keep the paint on the panel wet longer.  Seemed to work pretty well.  Once again, the only negative in working with this acrylic, is the flattening out of the paint as it dries.  I take great pains to build a painting from thin to thick... and love that contrast of dimensional quality when the painting is on the wall.  With the acrylics... that's a moot point.  I even tried using some Golden heavy body White, and some molding paste.  On the weave of the cotton, I still can't get the effect that I'm looking for.  On primed board, it's better.

With that, I'll post these latest two... thanks for looking.

On The Front - oil on linen/bd - 8x8 ©2013 Marc R. Hanson

No Goats! - acrylic on canvas/bd - 12x16 ©2013 Marc R. Hanson


SamArtDog said...

It's great to have you painting here on common ground, and to be able to watch your progress with acrylics is a treat. I'm looking forward to more posts about them. I love seeing the oils and acrylics side by side.

As for making acrylics behave more like oil paint? They're margarine and butter. When you get to the part where you can"t believe it's not butter, patent it!

P.S. Have you tried Winsor & Newton acrylics yet? If necessary, I mix with WN retarder. Very true wet-to-dry colors. Best pigments. I don't know about body-building with mediums... ahem, sounds like a strange hobby.

Susan Williamson said...

Thank you for sharing the advice of experience with these different mediums...especially valuable for people who have little or no background in oils or acrylics.

Bruce Trewin said...

Donald Jurney once wrote, in response to questions on materials, a blog entry saying he would rather have a Rembrant painted with a touthbrush and Kiwi shoe polish than .... well whatever painted with whatever...the point being that we should not get too hung up on materials and focus more of our energy on painting and observing what we are painting. Keep it simple and spend more time painting. (But I do find your info both interesting and useful!)

Concetta Flore said...

glorious colours and thanks for the precious info you generously share!

Indra said...

You might want to check out Chromacolour artist paints, especially if you want to do impasto.

These paints have to be imported, but they're worth it. They do everything.

From the UK you can get the 50ml tubes which are gel and a lot like oil paints, which I prefer

These dry slightly slower than normal acrylics, but Chromacolour Retarder that will double the drying time if you need it.

They are the same color wet or dry. They have great color and lightfastness. The will mix with any other acrylic paint.

Gel Thickner will make your Chromacolour like oil paint (without effecting the color) so it can be used in thick layers or impasto .

Gloss medium makes it perfect for transparent glazing. Extender makes colors less opaque without losing viscosity. There's even a Chromacolour Varnish now.

Anyway, it's an option if Golden Heavy Body Acrylics or Liquithick don't fit the bill.

Unknown said...

Marc, I think I've found a great new "art source" in your writings and examples of your work. I recently did a big 24 X 30 inch painting and to get enough texture in it, I acrylic gelled down crumpled tissue paper scraps here and there, then I slopped on quite a lot of actylic molding paste and just mooshed it like flattened plaster randomly. I did a detailed underpainting in acrylic and ended up almost completely covering that with water miscible oil for the top coats. I thought it worked great.
Thanks for your great ideas.

Charles Flaum said...

I love seeing the oils and acrylics side by side. Lighting For Artwork