Learn to Paint in Acrylics with 50 Small Paintings: Pick up the skills * Put on the paint * Hang up your art

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Learn to Paint in Acrylics with 50 Small Paintings: Pick up the skills * Put on the paint * Hang up your art

Introduction to materials and techniques

Before getting started on the 50 paintings, it is important to explore the options for materials as well as to consider essential principles about color and design. This chapter will introduce you to the basics of acrylic paint, brushes, surfaces, and the equipment you will need to complete the projects illustrated in this book.

Getting to know acrylics

In this chapter, you will be introduced to the primary techniques needed to paint in acrylics through a series of progressively challenging projects. You will start with basic paint application exercises and slowly add new skills with each project. By the end of this chapter, you will have acquired the fundamentals necessary for painting in acrylics.

Beyond the basics

Now that you have a grasp on the fundamentals of acrylic painting, it is time to move on to more advanced projects. In this chapter you will be introduced to a series of design principles and brushstroke techniques as well as techniques for creating more expressive paintings.

Rendering surface and form

The projects in this chapter will advance your skills in the rendering of a variety of surfaces and objects. You will learn to paint the effects of glass, metal, wood, marble, paper, flesh, and more.

Projects from the book:

Creating contrast with temperature: Sunflowers

When referring to color, the term “temperature” is used to describe its relative warmth or coolness. For example, orange is a “warm” color and blue is a “cool” color. These terms can also be applied to the relative temperature of a color when compared to another similar color. You may find a “warm green” and a “cool green” in the same painting. This exercise will focus on using contrasting temperatures to create dramatic effect.

Warm light, cool shadow: Gift box

In most cases, when painting objects, the color temperature of the light is warm, as it originates from a light bulb or the sun, and the color temperature of the shadow is cool, reflecting the surroundings. This exercise is similar to project 8 (pages 50–51), however, here you will be adding color to the box, a ribbon, and a cast shadow. You will notice that the gift box is essentially just a simple cube with a bow tied around it. In this painting, the light is coming from the right.

Portrait in the classical style: Bearded man

Before the 19th century, the selection of colors available to the painter was rather limited. They essentially consisted of earth tones (Venetian Red, Yellow Ochre, Umbers, and Siennas) and a few vibrant blues and greens, which were very expensive. Because the artists of the time had access only to this limited palette, there is a common color-cast to all of the works from this period. For this exercise, you will be painting a portrait in the classical style, using a limited palette similar to that used by the Old Masters.

Simple reflections: Sailboat

The ability to convincingly paint the illusion of a reflection on water is a useful skill for any artist to learn. Rendering a reflection accurately in a painting imparts a sense of wonder to the viewer, often inviting the question, “How did you do that?” This project will break down the elements of a simple reflection; you will encounter more challenging approaches later in this book. In order to achieve the illusion, keep in mind that the water will mirror the colors and shapes above it.



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