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Methods of Application
Drawing over acrylic
MASKING
Julius Gomez
Alcohol dissolve
Translucent color fields
Plastic wrap
Line applications
Fast drying
Creating a “smooth” surface
Blending to create a gradient
Using retarder
Transparent on absorbent surface
Acrylic wash
Opaque on canvas
underpainting This is the basic sketch for the canvas When you apply paint as an underpainting, don't use medium. Thin the pigment with 
     pure distilled Turpentine. As you paint over in subsequent layers, this will lift off a
     bit and blend seamlessly with the other layers. If you have an area that you KNOW will remain exposed, it's best to first do a very
     light tonal ground  to get rid of the stark white canvas. Then apply the under
     paint with fresh medium and a brush dampened with turpentine. This will bind the 
     pigment adequately. If you use a lot of medium in the first layers of a painting; you risk the outer layers 
     cracking and peeling off as it ages. (read about binding in the Scumbling section).
Cool transparent purplish- hues are good for warm over-painted layers; Great for  the shadows in flowers, landscapes, and lonely emotions This color is made from  Alizarin Crimson and Ultramarine Blue.  A better color is a wine-red purple made from 1/2 yellow ochre and 1/4 each    
    Alizarin Crimson and Ultramarine Blue. If you add some white to that it makes subtle 
     Mauve and Rose hues that are very different from the Sienna rose tones. You will notice from mixing that Cadmium Red really does not make any kind of
     a good purple. Cerulian Blue also tends to desaturate and grey the color out to a hue 
     that's really flat. Blue tonal under paintings look very cold, of course.
This is straight Yellow Ochre. Yellow as an underpainting makes the  climate look hot. Ochre is preferable in under layers because it has superior binding properties. Yellow under-paintings also look phenomenal for pottery and other still-lifes.  
You can create different tonal areas (this is not color blocking; where the color  matches the local object) Using contrasting colors makes the composition dramatic and often edgy. Using analogous colors heightens the presence of objects, but  appears more stable.
This is basically a color-blocked underpainting, where the colors match the  local objects. It's a quick way to rough out the composition and basic color scheme; if you find you don't like the hue you can wipe off an offending color  with a turpentine rag and replace it.
This was under-painted with Raw Umber which is one of the best colors for foliage backgrounds due to it's subtle green-brown hue.  Some local color was painted in a second layer on top.
Acrylic glazing
Methods of Application

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Methods of Application

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  • 25. Blending to create a gradient
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  • 52. underpainting This is the basic sketch for the canvas When you apply paint as an underpainting, don't use medium. Thin the pigment with 
     pure distilled Turpentine. As you paint over in subsequent layers, this will lift off a
     bit and blend seamlessly with the other layers. If you have an area that you KNOW will remain exposed, it's best to first do a very
     light tonal ground  to get rid of the stark white canvas. Then apply the under
     paint with fresh medium and a brush dampened with turpentine. This will bind the 
     pigment adequately. If you use a lot of medium in the first layers of a painting; you risk the outer layers 
     cracking and peeling off as it ages. (read about binding in the Scumbling section).
  • 53. Cool transparent purplish- hues are good for warm over-painted layers; Great for  the shadows in flowers, landscapes, and lonely emotions This color is made from  Alizarin Crimson and Ultramarine Blue.  A better color is a wine-red purple made from 1/2 yellow ochre and 1/4 each    
    Alizarin Crimson and Ultramarine Blue. If you add some white to that it makes subtle 
     Mauve and Rose hues that are very different from the Sienna rose tones. You will notice from mixing that Cadmium Red really does not make any kind of
     a good purple. Cerulian Blue also tends to desaturate and grey the color out to a hue 
     that's really flat. Blue tonal under paintings look very cold, of course.
  • 54. This is straight Yellow Ochre. Yellow as an underpainting makes the  climate look hot. Ochre is preferable in under layers because it has superior binding properties. Yellow under-paintings also look phenomenal for pottery and other still-lifes.  
  • 55. You can create different tonal areas (this is not color blocking; where the color  matches the local object) Using contrasting colors makes the composition dramatic and often edgy. Using analogous colors heightens the presence of objects, but  appears more stable.
  • 56. This is basically a color-blocked underpainting, where the colors match the  local objects. It's a quick way to rough out the composition and basic color scheme; if you find you don't like the hue you can wipe off an offending color  with a turpentine rag and replace it.
  • 57. This was under-painted with Raw Umber which is one of the best colors for foliage backgrounds due to it's subtle green-brown hue.  Some local color was painted in a second layer on top.
  • 58.