I have the book How To Paint Like The Old Masters by Joseph Sheppard. Haven't started on one of the lessons yet though, could be I am scared to try;) Do have a question though. I need to extend the 'working time' on my paints. What brand of 'slow drying time' media do you use? Checked on products through Dick Blick dot com and am wondering which one to try first.
Golden has a few types but according to their labels they make the paint glossy or satin when dry and I don't want that to effect the final varnish or final look of the painting. The reason I want to slow the drying time is because the lessons require you to do a lot of blending. I've studied the pictures of the finished paintings and they look very much like I want to be able to paint. I see a lot of Boris and other fantasy artists in the brushwork and the skin is just beautiful!! Plus I LOVE Ivory Black and use black in my artwork though I have read several posts that oppose that color. Well, I like it and if the old masters used it it is good enough for me.
Even if they didn't I'd still love it. Mars Black is cool too but Ivory is my favorite. It is alive like the darkest blackness of space and when I look at it it just makes me feel good and peaceful. A few paintings in this book, the ones I want to learn from, use Ivory Black. All the other colors just come to life and are much richer because of that.
Or that might just be my preference and the way the photography made the pictures look. Well, now my rambling is over. Would like to know if you have any thoughts on what medium to use. Thanks muchly:D.
Thank you for this question about medium, because I also have the same question. I haven't found one that I like. I did want to comment on your use of Ivory black. I also have spent years trying to avoid black in my paintings, all my formal training has frowned upon it. It certainly is useful to learn how NOT to use black, to get your darks using other colors, but the best lesson I have learned in painting is NOT to put any rules or limits on what you want to do. Don't get caught up in too many rules and just have fun.
Brushwork Essentials by Mark Christopher Weber. Brushwork Essentials shows.
Thalo- I have that same book and have tried at least twice to copy one of the paintings using acrylics, without success. The medium I use is Golden Acrylic Glazing Liquid. It only leaves the paint open about 10 to 15 minutes, less on a hot or dry day. What I did was apply the color and blend w/ a fan blender. It seemed to work OK, but I couldn't get the richness of the photos in the book. I am now in the underpainting stage of an attempt in oils, which are incredibly slow compared to acrylics.
Btw, the AGL doesn't leave a matte or gloss effect unless you use it in several layers and then it gets slightly glossy. I use Utrecht gel extender, mixing in about 15% before I add my medium. I use heavy body acrylics, and the gel is about the same texture. If I need to glaze, I then thin further with Golden glazing medium. To help keep the paints open for a longer time, I place a damp heavy duty paper towel (the blue shop towels by Scot are great) under a disposable palette sheet and spritz the mixed paints with water periodically. It keeps the paint open for my usual 3 hours long session.
It doesn't much matter if you use gloss or matte medium. I actually got tired of checking to see if I'd grabbed the matte or gloss bottle, so I mixed them together to create a satin medium. If I want it more glossy or matte in the end, I end with a layer of the appropriate finish. Regarding acrylic underpainting with oil, I've heard that they have recently been finding some adhesion issues with this. I think it is when the acrylic underlayer is too thick. As far as I know, this should not be a problem if the underlayer is very thin. I got an email reply from Liquitex that said their drying time extender mediums don't change the color of the paint so I guess I'll try them first.
I will try several just to get a product that I can make work best for me. I did try Clear Blend by Grumbacher, or however you spell it, and it was nice for blending but only as much as using water. It really didn't make the paint stay any wetter any longer than what I thought was normal work time. I might try their Slow Blend though. Jo Sonja makes a neat gloss varnish that I love, might have to check if they make slow drying mediums. They are more craft paint oriented though. Well, I have made the choice of what painting from the book to try!
Now alls I gots to do is get a canvas ready! We should have a nervous, sweating smiley to go here.:D. Nervous, sweating smiley, smiling with gritted teeth!! Ahhh new challenges. Now how do I get dried acrylic off of stainless steel sink??
Smiling thru gritted teeth at husband but it's no use, he's on to my foibles. I started using Acrylics @ end of summer - 80 deg.
F., very low humidity, windy. I started using the glazing liquid but quit as weather became cooler & more humid. Last week I was using Acrylics for plein aire painting in the fog & the paints wouldn't dry!! The sun finally came out & I could get some work done. I bought 'retarder' to keep things open... I find that blending this in, along with keeping a mister bottle handy keeps most of the paints ready to go & I'm getting better w/ mixing & judging quantities to mix. Now that weather is cooler there's less stress w/ the timing of things.
I found that using a plexiglas palette a waste of time. I found that a 'stay-wet' palette works really great w/ any type of disposable paper palette - just wet the sponge, place the paper palette on sponge, seal it & it's good to go for up to 6 to 7 days. Yes, I am excited about trying this new technique. But the problem isn't the paints staying wet on the pallet it is the paints drying too fast on the canvas.
According to the book I have to paint everything in black and white and then put on such and such a color and then reinstate features and then put on a lighter color and then blend the two with a stiff bristle brush that is dry. Well, that might work great in oils but my acrylics dry almost as soon as they are painted on the canvas.
I can't paint too thick of a layer because then you have the problem of paint blending out of bounds and you have to restate the edges. I use 'tuuperware' type of 'tubs' as palletes. This keeps the paints useable for as long as needed.:D.
I got an email from the author himself Joseph Sheppard and he said acrylics wouldn't work. Wellllll, I am still going to try it anyway:D I know I will get some knowledge out of it and I might could get a similar result or be able to make up a technique to get the same kind of result. I am looking for more roundness and more realism in my persons. It doesn't matter much to me what techniques I use to get there. If nothing else I will have to make drybrushing work better than it does now.
Gta Vice City Game Free Download For Pc Full Version Game. But I know that acrylics can give me the effects I am looking for. I am not certain I can explain or others are understanding what it is about the Old Masters paintings that I like and want to do in my own paintings. There is just no way I am using oils and smelly solvents that will make me sick for days. I already know I am allergic so oils are a complete NO unless water soluables, or whatever the proper term is, are like acrylics in their clean up, ease of use, and are as non toxic and safe as acrylics. Now on to my new adventure!!:D. I have found that water soluble oils are a good compromise between quick drying acrylics and the smell of oil paints.
I've bought some Artisan and MAX2 and they seem to handle about the same for me. Dying time, without a medium, has been about a day. I haven't found anything that extends acrylics' drying time on the canvas long enough for blending on canvas. There are a number of mediums for use with water soluble paints which should change how the paint handles and dries, but I haven't got that far yet. I did purchase the books 'Painting With Water Soluble Oils by Sean Dye ' which was useful and Brushwork Essentials: How to Render Expressive Form and Texture With Every Stroke by Mark Christopher Weber which deals with water soluble paint and is very helpful on many levels. I would definitely recommend this one. I have found that water soluble oils are a good compromise between quick drying acrylics and the smell of oil paints.
I've bought some Artisan and MAX2 and they seem to handle about the same for me. Dying time, without a medium, has been about a day. I haven't found anything that extends acrylics' drying time on the canvas long enough for blending on canvas. There are a number of mediums for use with water soluble paints which should change how the paint handles and dries, but I haven't got that far yet. I did purchase the books 'Painting With Water Soluble Oils by Sean Dye ' which was useful and Brushwork Essentials: How to Render Expressive Form and Texture With Every Stroke by Mark Christopher Weber which deals with water soluble paint and is very helpful on many levels. I would definitely recommend this one.
Hi Was reading this and thought you folks might want to check this site out. Dennis does a layer technique of sorts and he uses acrylics for underpaintings. Then switches to Watersoluble oils. I really like the idea of the acrylic underpainting myself as it allows for faster drying before the next layer. There is some short video samples of his videos he has for sale. You can download with a Save-as and look at them off lineif you wish. Just another avenue to be explored.
Might be of some use. THought this might interest someone. I am going to purchase a couple of his videos after Xmas is over. Anyway check it out.
It might possibly show your a direction that might work for you all. Thanks for the information. Let me know either here or by PM what you thought of the videos once you get them. I really hope there will be someone out there who could get me some information on how to use acrylics to paint more realistically. That is all I am looking for at this point and then I might have a better understanding if there is something else I am wanting from my acrylics.
Right now my paintings, while improved a lot, still have people looking rather pie faced like when you first start to draw and everything looks flat and stretched out with no dimension. Well, my paintings are better but still have sort of a flat look to me. It could be because of the way I paint from photographs.
I know I know people will reply that I should paint from life, but I must tell you that I am not a people person and have little if any patients with humans. Are water soluables as safe as acrylics if you don't get the cadmiums and other harmful colors? Are there safer mediums on the market for them now too? All in all I'd rather use my acrylics since I have sort of gotten used to judging the colors and all that.
Just would be nice if they'd stay bright without the use of a gloss varnish that is heck to photograph! Happy Thanksgiving! I will say thanks for this forums section at Wetcanvas.:D Nature Supremist. I enjoy using acrylics, too. But I can't approach them as I do oils.
Where I can blend with oils, in acrylics I need to use dry brush or scumbling techniques to achieve a smiliar blending effect. Oils and acrylics are different mediums, and I found I can't use one as though I'm using the other.
Wendon Blake has some great books like 'Acrylic Painting' which demonstrate these techniques. The only way I have found to blend on the canvas is to use a mister to wet the area I am working on the paint wet-into-wet before the water dries. You can't work on the entire canvas this way, but it does work on isolated areas. As for the H2O oils, I don't know how they compare chemically to regular oils. This is a link to their specs at grumbacher.
I do know that I don't have the same allergic-type reaction to them or their mediums as I do with oils. One thing to consider in acrylics: first, paint your basic middle shade of skin (for instance). This will be your overall tone.
From there, using water to really thin your paint, create many slight tone build ups of that middle tone and applythem with this thin 'wash' paint. It will take tons of layers, but, if done right, you wont need to blend wet acrylics and you will build tones and shadows without obvious lines/blocks.
Next, do the exact opposite with yellow/white highlight tones building up. This is basically the only way around your problem, and it is the same technique most of the realists that use acrylics use. It takes forever, i know, but it is the only way. The more and more you try to use acrylics like oil, the further you get from the point of acylics and the further away youll get from achieving wot you want.
This is, of course, my opinion. This is also the same technique people like Robert Baitman (shudders) use. Honestly, no offense meant, a lot of it comes down to skill.
I dont doubt your brush skills, but maybe it will still take some time mastering your tone skills? I dont mean to come off as sounding condescending or snobbish. For a long time, I, too, looked for 'the answer'.
The more I looked, the more I found as I stated above seems the real true 'Answer'. Hope to help! I probably do need work on my tones skills. It is hard for me to judge a middle tone to start the whole face with since when I look at a photograph I see many many colors all over not just one block of mid tone here blending into a shadow there. Even in the largest portion of a block of mid tone I see all sorts of different colors swirling around. This might just be me, the effect of photography or, when looking at other people's paintings, an effect that they did on purpose to get the 'life' in the skin. I've even started seeing people on television in paint.
I say oh that looks like a bit of sienna or some sort of yellow. I already do the many many layers of drybrushing. Sometimes I mix more mud than flesh.
And it really agravates me when the color dries a different color or darkens into a scar rather than a subtle line shadow. That is another thing I hate about acrylics. I used to paint in black and white. Colors are harder because I am uncertain what to use to darken and lighten them without going too pink or too red. That is another reason for trying the Old Masters book: to learn more colors for flesh. I will make it work somehow.
All it will require is a lot of practice.:D. [QUOTE]Originally posted by PthaloBlueGirl [B]Guess what?
I got an email from the author himself Joseph Sheppard and he said acrylics wouldn't work. Wellllll, I am still going to try it anyway:D Actually, you can blend as well as oil if you are very patient. The problem I ran into with acrylics was winter.
Where I live it is cold, damp and dark (inside) and acrrylics wouldn't work. I changed to Alkyds, which are a synthetic paint medium like acrylics. Unlike acrylics, depending on what the temperature of your room is, they will remain workable for anything fro 12 to 48 hours. They arre like fast drying oils.
Also, you don't have to use solvents with them, as you can thin with alkyd medium. Paint brushes clean up perfectly well in salad oil. Maybe alkyds are wwhat you arre really looking for. I do more oils now in an alla prima plein air impasto painterly realism direction.but for near 20 years my focus was wildlife art, building and keeping a reputation and using acrylics. Black WAS on my palette.but is no more. I painted in a more classical direction often, influenced in my early years by the Dutch Baroque stage lighting drama appearance.
Here is one painting I did of a snowy owl with Hungarian partridge and closeups.all using Atelier acrylics. One- second- third and last- My methods for doing this was to paint in the bird's mass or an area dark.or that value that was darkest just above mid value. My method was to paint from dark to light, adding just a bit more white with each semi-transparent layer added. I used a small synthetic round #2 or #3.and used the tip like a colored pencil, drawing line hatched marks and cross hatch, slowly bringing each layer lighter and lighter to match what I was seeing. Water was my only medium, and I'd dip the tip into a bit of water each time going back to the palette (styrofoam plate usually or freezer wrap paper taped down shiny side up), to get a bit of color.
I'd mix to the side to get the consistency I wanted and then applied another layer of strokes. The wing above of the partridge has roughly 30 layers of such strokes per feather. The softness of the owl's long feathers on the foot have many layers. If I needed to add more shadowing.I'd add my darker colors (and I used black on my palette back in those days, but not today).build a layer to render form better, then again follow up with lighter and lighter over layers to soften and render/blend. I can't over emphasize that softness is a realistic detail in and of itself that many artists fail to duplicate in their zeal to apply detail, so you can thereby imagine that blending was very important to me. The average painting of this nature took between 200-300 hours start to completion.
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Powered by Frooition.com All Items See our eBay store for more great items >>Shop Categories Slow Cooker Recipes Cookbook: Easy, Healthy and Delicious Recipes by Clark Weber Item. Powered by Frooition.com All Items See our eBay store for more great items >>Shop Categories Slow Cooker Recipes Cookbook: Easy, Healthy and Delicious Recipes by Clark Weber Item Description Paperback: 279 pages Publisher: Indepe ndently published (January 27, 2017) Language: English ISBN- 10: ISBN-13: 978- Slow Cooker Recipes Cookbook. My name is Clark Weber. I am a Chef in New York. These are the Slow Cooker recipes that I like most. I learned some of the recipes in this cookbook from different friends and relatives. I tried all of them myself and the results were fabulous.
I would also like to mention that I included in this cookbook only those slow cooker recipes which are fairly easy to cook, even though I have to admit that most of them will be ready in more than a couple of hours. This is because slow cooked meals need more cooking time compared to classic meals.
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