Acrylic paint is probably the most versatile paint medium of them all: fluid or heavy bodied, it can be used in a wide variety of ways on a whole range of paint surfaces. In this lesson, I comment on finishing glazes and suggest ways in which you might expand and experiment with use of acrylic paints.

Finishing glazes

Once your painting is finished, you might well notice some differences in surface texture – between areas where you’ve worked the surface and perhaps areas where your initial application persists. In this video, I comment on evening up the surface finish with the application of a transparent glaze or varnish:

For additional details on glazing, refer back to Lesson 5 – Gels, mediums and glazing

Further exploring your world of acrylics

This course has focused on some mainstream painting methods on a gessoed (canvas) surface. That’s just the beginning and acrylics on paper, board, plastic – you name it, all will probably work well with easy water clean-up for any messy processes!

Here is a selection of ideas for your studio:

Acrylic on paper

Acrylic paints work superbly on paper. It’s best to use a robust thick paper in order to reduce buckling. I personally prefer to use watercolour paper. The great thing with watercolour paper is that, thinned with water, acrylic paint behaves in a quite similar manner to watercolour and dowsing wet colours one into another – wet on wet – works well. When dry, acrylics are of course fixed (unlike watercolour), so as the paint builds up, the acrylic then behaves more like a gessoed surface – essentially because the surface is now sealed by the dry paint.

Acrylic in conjunction with other materials

Likewise acrylics generally work well in conjunction with a wide range of other art materials. The main constraint is the old adage: “oil and water don’t mix”. You can certainly use acrylics under oil – but not visa versa. Acrylics are however, easy to use in conjunction with most dry media (maybe not oil pastels, although I have not tried it). Acrylics can also be used with other water-based paints: watercolour and gouache. When applied over either of these the wet acrylic will start to lift the underlying paint, so it’s important not to overly work the acrylic at this stage.

Modelling pastes and gels

These are typically acrylic-based and can be used under, over and with acrylic pigment. The only real constraint is that for large topographical build-ups it’s best have a rigid support (board rather than stretched canvas). Work in layers, letting each layer dry before applying the next.

I’ve not heard of any problems with non-acrylic water-based modelling pastes (Modge Podge comes to mind) however, as with all new techniques, it’s best to test and practice beforehand.

Special effect acrylics

By now, you may have noticed ranges of acrylics with metallic, iridescent, pearl and other light bending effects. These can be used to electrifying effect and perhaps sometimes over used. There are few technical limitations with these products, however as with most special effects there needs to be a context and purpose to the application – oftentimes less is more. Speaking of sparkling effects, dry glitter can of course be added to paint, sprinkled onto the wet paint surface or mixed with a clear acrylic medium – effectively making your own glitter-paint!

Acrylic medium as a glue

Acrylic medium is a most acceptable glue for mounting loose canvas, paper and other surfaces to backing board. A mid-consistency general purpose medium works best and as with all new processes, practice and perhaps check out some “how to” websites.

As a backing adhesive, medium is fine however I would not use it to repair the family china!

Non-brush techniques

Wiping, smattering, sponging, scraping, spaying not to mention using a palette knife, all work well with acrylic. It’s difficult to find a technique that has not been tried to good effect and a little research on the Internet will yield a lot of information.

Re-using canvas

I consistently re-use my old acrylic canvases. Re-preparation is a breeze as the new acrylic paint will readily bond with the old. Firstly I make sure that the surface is clean. Then, with a mid-value tone, somewhat similar to the predominant tone of the old painting, plus a good dollop of titanium white for covering power, on goes my new base, with a fairly large dryish brush. Aim to reak up old lines, crossing them at angles as well as evening out tonal variations. Rather than aim for a completely even tone, I prefer to start my new painting with some vestiges of the old:  The juxtaposition with ghosts of images past seems to resonate!

 

Exercise

• The field is wide open, try acrylics with a new type of support, with a modeling paste, adding a new dry material, or just put away your brushes and try a new application approach. Let’s keep our acrylics fresh!