By Nancy Reyner
50 outstanding techniques...for paintings that shines above the remainder!
From the writer of the best-selling books Acrylic Revolution and Acrylic Innovation, this ebook blazes new artistic territory with 50 innovations that harness the inventive strength of sunshine. starting from refined glazing on steel leaf, to pearly sheens, to boldly coloured optical results and shiny surfboard finishes, those ways signify the main asked points of Nancy Reyner's well known workshops. 50 crowd pleasing recommendations function steel leaf, reflective paints, pouring, fluorescent and phosphorescent paints, refractive layering and optical colour results. chances are vividly illustrated with varied paintings from forty four artists. A "Crash direction on Acrylic" bankruptcy bargains an summary of the way to take advantage of those flexible paints and items to their fullest strength. This hands-on advisor offers transparent step by step instructions to effectively execute those new and intriguing strategies. discover matte epidermis building, sheen transferring, embedding gadgets, patinas and polished stone results. Use those ways for natural, summary or lifelike styles...as backgrounds, best layers, or accents layered in between...combine, test, and enable your work shine.
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Extra info for Acrylic Illuminations: Reflective and Luminous Acrylic Painting Techniques
And the laws of this convergence are the true content of his art. Or so it seems. But in fact how could this be possible? A painting is not a treatise. The logic of its measuring is different. Science in the second half of the fifteenth century lacked many concepts and much information which we now find necessary. So how is it that Piero remained convincing, whilst his contemporary astronomers have not? Look again at Piero’s faces, the ones that watch us. Nothing corresponds to their eyes. Their eyes are separate and unique.
As the pieces in this book were not written to be read as they are presented here, the combined effect is something like the famous opening scene of Ways of Seeing, in which Berger cuts out what looks to be Venus’s head from Botticelli’s Venus and Mars, and announces a kind of Situationist détournement: ‘Reproduction isolates a detail of a painting from the whole. The detail is transformed. ’ Having established the principles of selection, I was left with the issue of organisation. David Sylvester is one roughly contemporary example; when he edited his own About Modern Art: Selected Essays 1948–2000, he settled on a thematic structure, and compared it to a retrospective exhibition.
Why? This is the riddle. The short answer might be that they were a hybrid, totally bastard art-form, and that this heterogeneity corresponds with something in our present situation. Yet to make this answer comprehensible we have to proceed slowly. They are painted on wood – often linden – and some are painted on linen. In scale the faces are a little smaller than life. A number are painted in tempera; the medium used for the majority is encaustic, that is to say, colours mixed with beeswax, applied hot if the wax is pure, and cold if it has been emulsified.
Acrylic Illuminations: Reflective and Luminous Acrylic Painting Techniques by Nancy Reyner