A r t i s t ’ s L i b r a r y S e r i e s

Acrylic Painting
Step by Step
by Tom Swimm

Walter Foster Publishing, Inc.

3 Wrigley, Suite A
Irvine, CA 92618
www.walterfoster.com
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Tools and Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Color Theory and Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Acrylic Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Lesson 1: Beginning with an Underpainting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Lesson 2: Focusing on a Single Subject . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Lesson 3: Painting Reflections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Lesson 4: Glazing to Build Warmth and Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Lesson 5: Working with Translucent Washes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Lesson 6: Depicting Light and Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Lesson 7: Setting Up a Still Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Lesson 8: Applying Linear Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Lesson 9: Using Multiple References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Lesson 10: Choosing a Viewpoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Lesson 11: Simplifying a Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Lesson 12: Creating Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

2
Introduction
Since the late 1940s, interest in acrylic has gained popularity in an art world dominated by
watercolor and oil paints. Acrylic paints can produce a wide range of painterly effects—
from thin but vibrant washes to thick, impasto strokes. And this versatility has increased
the demand for acrylic as a fine-art tool, delivering the medium from the realm of commer-
cial art alone. But acrylic’s versatility isn’t the only reason for its growing popularity. This
medium also holds a number of advantages over oil and watercolor; for example, it doesn’t
yellow or crack over time, and it doesn’t bleed under protective varnishes. Acrylic does dry
quickly, though, which allows painters to apply new layers of paint or rework underlying
layers without muddying the colors. In addition, acrylic paints are relatively inexpensive
when compared to oil paints, and they clean up easily with plain soap and water. For these
reasons and more, acrylic is an ideal medium for beginners, as well as for artists interested
in exploring and experimenting with a wide array of techniques.

In this book, I will demonstrate my own approach to painting in acrylic with 12 diverse
step-by-step lessons, from an intimate doorway to a grand seascape. And, accompanying
each lesson, you’ll find all the information you need to follow along and re-create these
beautiful scenes. I will also explain how to build realistic form and shape as I explore the
fascinating contrasts between light and shadow. Plus I will provide plenty of inspiration for
choosing your own subjects and creating your own masterpieces in acrylic!

3
Tools and Materials
To get started with acrylic, you need only a few basic tools: paints, brushes, supports, and
water. When you buy your acrylic supplies, remember to purchase the best you can afford at
the time, as better-quality materials are more manageable and produce longer-lasting works.

Selecting Paints
Acrylic paints come in jars, cans, and tubes.
Choosing Your Colors
Most artists prefer tubes, as they make it A good beginner’s palette of colors
easy to squeeze out the appropriate amount consists of one warm and one cool
of paint onto your palette. There are two version of each of the primary col-
types of acrylic paints: “student grade” and ors: yellow, red, and blue. (For more
“artist grade.” Artist-grade paints contain about warm and cool colors, see
more pigment and less filler, so they are “Exploring Color ‘Temperature’” on
more vibrant and produce richer mixes. page 6.) You’ll also want to include
white, black, and a few browns, such
Buying Brushes as burnt sienna or raw umber. From
these basics, you should be able to
Acrylic paintbrushes are categorized by hair mix just about any color you’ll need.
type (soft or stiff and natural or synthetic), My basic palette consists of the 17
style (filbert, flat, or round), and size. For colors listed below.
the projects in this book, I recommend
small, medium, and large sizes of both sable
(soft) and bristle (stiff) brushes. Synthetic-
hair paintbrushes work well with acrylic, as
the bristles are soft but springy enough to
return to their original form. In addition to
buying brushes, you’ll also want to purchase
a palette knife or painting knife for mixing
colors on your palette and experimenting
with textural effects on your canvas.
My Basic Palette From the top moving left
Flats to right: alizarin crimson, burnt sienna, yellow
Filberts
ochre, Naples yellow, pink (or flesh), dioxazine
purple, cadmium red light, cadmium yellow light,
Rounds unbleached titanium, titanium white, sap green,
emerald green, Prussian blue, phthalocyanine
(abbreviated phthalo) blue, Payne’s gray, light blue
(or cerulean blue), and light blue-violet.
NOTE: For the projects in this book, you’ll also
need the following colors: bright orange, brilliant
blue, bronze yellow, cadmium orange, cadmium
yellow medium, chromium oxide green, deep
magenta, Indian red, light portrait pink, medium
magenta, phthalo green, phthalo violet, raw sienna,
and yellow oxide.

4
 Creating a Studio
I have a very easy commute
to my studio—it’s located in
my garage! With the garage
door open, my work­space gets
plenty of natural northern
light. I also have an overhead
array of track lighting so that
I can work at night. Next to
my easel, I have a multi-level
taboret that keeps my tools
close at hand. On the wall,
I have pegboard for hanging
works in progress as they dry.

Selecting a Support Primed hardwood panel

(rough side)
Primed hardwood panel
(smooth side)
Acrylic can be applied to almost any
sur­face that has first been primed with
gesso—a water-based mixture of a chalk-
like substance and glue that applies like
paint and makes the surface less absor-
bent. This ma­terial also bonds well with Illustration board Canvas
the paint. Many artists choose to paint on
primed canvases or canvas boards, which
provide a fine-fabric surface with a slight
grain. Primed pressed-wood panels offer
a smoother alternative to canvas, as they
have a fine-grained, less coarse surface. For Surface Textures The surface on which you paint
the projects that call for a thin watercolor determines the textures of your strokes and washes. In
the examples above, you can see how thick (left) and
effect, you can use acid-free 140-lb cold- thin (right) applications of paint appear on the various
press watercolor paper or canvas paper. supports.

Purchasing a Palette Gathering the Basics

Palettes for acrylic paints are available in To get started, you’ll want to have a few
many different materials—from wood and household materials on hand. You’ll need
ceramic to metal and glass. Plastic palettes two jars of water: one for adding to your
are inexpensive, and they can be cleaned with paint mixes and one for rinsing out your
soap and water. Disposable paper palette pads brushes. A spray bottle will help keep the
are also very convenient; instead of wash- paints and mixes on your palette moist, and
ing away the remains of your paint, you can paper towels or rags will help with cleanup.
simply tear off the top sheet to reveal a fresh I also like to use a permanent (waterproof)
surface beneath. felt-tip marker for sketching onto my canvas.
5
Color Theory and Mixing
Before you begin painting with acrylic, it’s important to get to know the basic principles of
color theory. Color plays a huge role in the overall mood or “feel” of a painting, as colors
and combinations of colors have the power to elicit various emotions from the viewer. On
these pages, you’ll learn some of the basic color terms referred to throughout the lessons in
this book. And you’ll also discover how colors affect one another, which will help you make
successful color choices in your own paintings.

Learning the Basics Warm

yellow
Cool
yellow
The color wheel is a circular spectrum of
colors that demonstrates color relation- Secondary: Secondary:
ships. Yellow, red, and blue are the three Orange Green
main colors of the wheel; called “primary”
colors, they are the basis for all other colors
on the wheel. When two primary colors are Tertiary:
Warm red Blue-green
combined, they produce a sec­ondary color
(green, orange, or purple). And when a Cool blue
secondary and primary color are mixed, Cool red
Warm blue
they produce a tertiary color (such as
blue-green or red-orange). Colors that lie Secondary:
Purple
directly opposite one another on the wheel
are called “complements,” and groups of
The Color Wheel This handy color reference makes it
colors that are adjacent on the color wheel easy to spot complementary and analogous colors, making it
are referred to as “analogous.” a useful visual aid when creating color schemes.

Exploring Color “Temperature”

The colors on the color wheel are
divided into two categories: warm
(reds, oranges, and yellows) and
cool (blues, greens, and purples).
Warm colors tend to pop forward
in a painting, making them good for
rendering objects in the foreground;
cool colors tend to recede, making
them best for distant objects. Warm
colors convey excitement and energy,
and cool colors are considered sooth-
ing and calm. Color temperature
also communicates time of day or
season: warm corresponds with after- Seeing the Difference in Temperature Above are two
similar scenes—one painted with a warm palette (left), and
noons and summer, and cool conveys one painted with a cool palette (right). The subtle difference in
winter and early mornings. temperature changes the mood: The scene at left is lively and
upbeat; at right, the mood is peaceful.
6
Using Color
Complements
Selecting your palette based
on a pair of complementary
colors can add a vibrancy to
a painting that’s difficult to
attain with other color com­
binations. When placed next
to each other, complemen­tary Applying Complementary Color Schemes The paintings above
colors (such as green and demon­strate two different complementary color schemes. The boat image
red) make one another appear (left) utilizes a blue and orange scheme that makes the sand appear to glow
beneath the sun. The vase and roses (right) have a yellow and purple color
brighter and dynamic because scheme, causing the flowers to radiate with intensity—even in the soft light
they seem to vibrate visually. from the window.

Mixing Neutrals
Neutral colors (browns and grays) are formed either by mixing two complementary colors
or by mixing the three primaries together. By altering the quantity of each color in your
mix or by using different shades of primaries, you can create a wide range of neutrals for
your palette. These slightly muted colors are more subtle than those straight from the tube,
making them closer to colors found in natural landscapes. Below are a few possibilities for
neutral mixes using the colors of a basic palette.

Prussian blue + alizarin Phthalo blue + cadmium red Light blue-violet + burnt
crimson + Naples yellow light + cadmium yellow light sienna + yellow ochre

Understanding Value
Value is the lightness or darkness of a color or of black, and values are used to create the
illusion of depth and form in two-dimensional artwork. With acrylic paints, artists generally
lighten paint mixes with lighter paint, such as white or Naples yellow. However, acrylic can
also be applied in thin washes like watercolor, in which case the white of the paper beneath
the paint acts as the lightener. Creating a value scale like the one below will help you deter-
mine how the lightness or darkness of a color is altered by the amount of water added.

Value Scale Creating value scales like the ones above will help you get a feel for the range of lights and darks you can
create with washes of color. Apply pure pigment at the left; then gradually add more water for successively lighter values.

7
Acrylic Techniques
There are an endless number of ways to apply and manipulate acrylic paint. The next four
pages share some of the most common techniques and special effects—from drybrushing to
spattering. Once you get the basics down, you’ll be able to decide which techniques work
best for each of your subjects. And remember that, as you paint, it’s a good idea to get in the
habit of spicing up your art with multiple techniques, which will help keep your painting
process from becoming too repetitive or formulaic.

Flat Wash A wash is a thin mixture of paint that has Graded Wash With a graded wash, the color transitions
been diluted with water. The most common type of down the page from dark to light, creating a gradation
wash—a flat wash—is used to quickly cover large areas of that’s perfect for skies or water. Tilt the canvas and paint
a canvas with solid color. First load a large flat brush with horizontal strokes across the top in the same manner as for
your mix of paint and water; then tilt the paper as you a flat wash. But this time, add more water to your mix with
lightly sweep overlapping, horizontal strokes across the each suc­cessive stroke of the brush. The color will gradually
page. Gravity will help pull and blend the strokes together. fade out as you move down the painting.

Wet-into-Wet For this technique, apply a color next to Thick on Thin To produce color variances that have
another that is still wet. Blend the colors by stroking them texture, apply a thin wash of color for the base and then
together where they meet, and use your brush to soften paint thickly on top. Allow some of the underpainting to
the edges to produce smooth transitions. This technique show through in places; this will create visible strokes,
is ideal for painting sunset skies, where subtle blends and producing a texture perfect for rendering rough or worn
gradations are used to suggest depth. painted surfaces, such as old buildings or walls.

8
Drybrushing To create coarse, Dabbing For soft dabs of built-up Sponging To produce a mottled
irregular strokes, load your brush and color, load the tips of your brushes texture, use a sponge to apply the
wipe off excess paint with a paper with paint and dot on color in a jabbing paint. First dab the sponge in the
towel; then lightly drag the brush over motion. Layering several different paint; then lightly dab your canvas.
the support. This is good for creating shades of green and yellow will give The resulting texture is perfect for
rough, natural textures, like wood. fullness and dimension to foliage. rendering sand, rocks, or clouds.

Scraping Also called “sgraffito,” Spattering Speckle your canvas Impasto To create a buttery
scraping removes wet paint from with fine dots of color with this texture, apply very thick strokes of
the canvas to reveal lighter values technique. Just load your paintbrush paint to your canvas with either your
beneath. Use a pointed tool or your with diluted paint and run your paintbrush or your palette knife. This
brush handle to “draw” lines in the thumb against your brush’s bristles. adds dimension to the paint itself,
paint, such as those for the veins of This can be used for depicting flower making it perfect for rendering the
leaves. fields or to produce a grainy texture. foamy white crests of waves.

Drawing with the Brush Use the round tip of your Double-Loading the Brush For this technique, dip
brush to produce long, thin lines, or use a flat brush to a loaded brush into a second color. As you stroke, both
produce thicker lines. “Drawing” with the paint makes it colors will appear side by side. This technique produces
easy to add crisp edges and small details to your paintings, interesting, two-toned shapes that are perfect for rendering
such as flowers, leaves, and stems. leaves, flower petals, or distant trees.

9
 Glazing
Glazes are thin mixes of paint and water or acrylic medium (see the box below) applied
over a layer of existing dry color. An important technique in acrylic painting, glazing can
be used to darken, lighten, or change the hue
of areas of a painting. Glazes are transparent,
so the previous color shows through to cre-
ate rich blends. They can be used to accent
or mute the base color, add the appearance of
sunlight or mist, or even alter the perceived
color temperature of the painting.

When you start glazing, create a mix of about

15 parts water and 1 part paint. It’s better to
begin with glazes that are too weak than ones Glazing Grid These glazes (secondary colors orange,
green, and purple) affect the appearance of the underlying
that are too overpowering, as you can always colors (primaries red, blue, and yellow), and the colors
add more glazes after the paint dries. blend visually where they overlap.

Experimenting with Mediums

There are a variety of acrylic mediums available that let you change the consistency
of the paint. Some increase the flow of the paint, some act as a varnish, and some
affect the paint’s drying time. As you gain experience with the various mediums,
you’ll soon be able to choose the one that’s appropriate for your painting subject.
The three mediums used in this book are featured in the pictures below, but it’s
important to know the other options that are available.

• Matte medium thins the paint and creates a soft satin sheen when dry.
•T  exture medium thickens the paint to a moldable paste capable of creating
ridges and patterns.
• Retarding medium slows the drying speed of the paint, allowing you time to
produce soft blends.
•F  low improver medium helps the paint flow easily and is a safe alternative to
diluting it with water, which can break up the pigments.

Gloss medium thins the paint Glazing medium thins the Gel medium adds body to the
and gives it a shiny, lustrous finish paint and helps to achieve vibrant paint without affecting the final
when dry. glazes. color of the dried paint.

10
Applying an Underpainting
An underpainting is a wash or combination of washes applied to the canvas at the begin-
ning of the painting process. An underpainting can be used to simply tone the support
with a wash of color to help maintain the desired temperature (cool or warm) of your
final painting (see pages 12–15), or it can be used as a base color that will “marry with”
subsequent colors to create a unified color scheme. You can also use an underpainting to
create a visual color and value “map,” giving you a guideline for applying future layers.
No matter what you intend with an underpainting, it will give your paintings harmony
and depth. I generally use a wash of magenta, burnt sienna, purple, or phthalo violet to
prepare the canvas surface for painting. These colors work best with my palette of colors,
as they have a luminous quality that shows through the layers to produce warm light.

Magenta Burnt sienna Purple Phthalo violet

F Underpainting for
Temperature In the
example at left, the flower
has been painted over two
different underpaintings:
magenta (left) and light
blue (right). Although I’ve
used the same colors to
render the final flower, the
underpainting color greatly
affects the later layers.
Notice that the left half of
the flower is significantly
warmer in temperature,
whereas the right half has
a cool blue undertone.

Using Frisket
Frisket is a material used to preserve the
white of your paper as you paint. Applying
frisket over the areas you want to remain
white allows you to paint freely because
Types of Frisket Liquid frisket, or masking fluid, is the frisket will resist subsequent layers of
a latex-based substance that you can apply with an old
paintbrush. Paper frisket is a clear adhesive that you
paint. When you’re done painting, you can
can cut to fit the area you want to protect from paint. rub it off with your finger or an eraser.

11
Beginning with an Underpainting
When you want to produce a painting with a particular mood, remember that the first
applications of acrylic paint will influence the “temperature” and feeling of the completed
painting. So begin by applying a warm or cool base coat to the canvas before defining any
ob-jects in the composition. Unless applied extremely thickly, acrylic paint is not an opaque
medium. Therefore this base coat—or underpainting—will show through and interact with
the subsequent layers of paint, unifying the painting with an even sense of temperature. For
the bright, sun-drenched shore in this painting, I choose a warm, medium magenta for the
underpainting—a rich color that glows through even the final layers of the painting, result-
ing in a warm, tropical feel.

Color Palette
burnt sienna, cadmium red light, cadmium yellow medium, dioxazine purple, flesh, light blue, light
blue-violet, medium magenta, Naples yellow, Payne’s gray, phthalo blue, phthalo green, raw sienna,
titanium white, unbleached titanium, and yellow ochre

Step One First I work

out my sketch, using both
a pencil and a permanent
marker to make a rough
drawing. I define the basic
shapes of the boats, as
well as the outline of the
clouds and the shadows
on the beach. Then I use
a large brush and cover
the surface with a warm,
water-thinned, tran­sparent
layer of medium magenta.

WATER CLOUD SHADOWS TREE SHADOWS CLOUD HIGHLIGHTS

Phthalo blue + Magenta + Dioxazine purple + burnt Naples yellow + white
light blue-violet light blue-violet sienna + Payne’s gray
12
Step Two I begin blocking in color
using a large flat brush and paint
thinned with acrylic gloss medium
and water. I apply light blue mixed
with phthalo blue for the sky and
water, using raw sienna for the boats
and beach. I also add a little of the
blue mix to the inside of the boat on
the left to represent reflected light.
And I define the shadow areas using
Payne’s gray for the underside of the
clouds and dioxazine purple for the
shadows in the foreground and on
the boats.

Step Three I apply color more

thickly at this stage, using light blue
for the sky between the clouds and
phthalo blue for the water. I also
paint around the hulls of the boats,
adding dioxazine purple and Payne’s
gray to the shadows. Then I darken
the shadows with burnt sienna, and I
add a layer of raw sienna to the boats
and the beach. Finally I add details to
the foreground boat, using light blue-
violet mixed with Payne’s gray for the
hull and burnt sienna for the stripe.

Step Four Now I darken the un­

der­side of the clouds using Payne’s
gray mixed with light blue-violet. I
mix phthalo blue, phthalo green, and
white with an acrylic gloss medium
to keep the paint wet and help it
blend smoothly; then I apply a graded
wash (see page 8) to the water with
a medium flat sable brush, starting at
the horizon line. I also apply this mix
inside the boat on the left. Next I add
another layer of color to the boat
hulls and the beach, using the same
mixes from step two.

13
 5

Step Five I paint the tops of the clouds, boat canopy, and hull highlights with a thick mix of unbleached titanium, Naples
yellow, and flesh. Then I define the shadows with a grayish brown mix of dioxazine purple, Payne’s gray, and burnt sienna, and I
define the edges and seats with light blue. For the hull of the boat on the right, I apply a mix of cadmium red, burnt sienna, and
raw sienna; for the boat hull on the left, I apply a mix of cadmium red light and yellow ochre. Next I brighten the highlights with
a mix of cadmium yellow medium and cadmium red light. For the boat on the right, I mix cadmium red light with burnt sienna
for the hull, also adding a few accents to the underside. Finally I drybrush darker shadows in the foreground and apply highlights
using Payne’s gray mixed with light blue-violet.

F Boat Detail To add highlights to the boats, I apply

etail

just a few strokes of drybrushing using unbleached

titanium. As I brush lightly over the grain of the canvas,
D

the bristles create a coarse, wood texture that mimics the

surface of the boat.
etail
D

E Clouds
Need text Detail I finish the clouds by highlighting them
with a light mix of Naples yellow and white. I squiggle a
few areas of color over the lightest parts of the clouds to
show where the sunlight hits the most strongly.

14
 6

Step Six To finish, I mix several paint colors for the beach using cadmium yellow medium, raw sienna, Naples yellow,
flesh, and white. To add contrast and interest in this area, I create several mixes, using varying proportions of each color.
With a large flat sable brush and a thicker mix of these colors, I apply highlights on the beach, varying the direction of the
brushstrokes. I continue to build up the colors overall, finishing with the final details to the clouds, boat hull, and support
posts. I also finish the far boat by drybrushing a few strokes for the highlight.

E Canopy Detail Painting a white object doesn’t mean

etail

applying only white paint; in fact, white subjects can be

very colorful since they reflect surrounding colors. To keep
D

the canopy warm, I let the underpainting show through

the strokes. I add warm, light yellow highlights with a mix
of white, Naples yellow, and unbleached titanium, and I
tint the shadows with raw sienna.
etail
D

F Shadow Detail To create greater contrast between

the sunlit and shadowed areas of sand, I drybrush a dark
brown mix for the shadows and highlight the holes with
a mix of cadmium yellow medium, raw sienna, and white.
This shadow pattern—created by an overhanging tree
outside the composition—adds interest and leads the
eye toward the two boats.

15
Focusing on a Single Subject
The subjects of your paintings don’t always have to be grand landscapes or carefully assem-
bled still lifes. By zooming in on one object, you can often create an appealing composition
that gives the viewer a sense of intimacy with the subject. And flowers are an ideal subject
for a simple, close-up composition; their bright colors and delicate curves can fill your can-
vas with richness and interesting shapes. You can also heighten the drama by focusing on
the foreground blossoms, contrasting their vibrant hues and crisp edges with a neutral, less
detailed background, as I do in this painting of a simple iris bloom.

Color Palette
bronze yellow, cadmium red light, cadmium yellow light, chromium oxide green, dioxazine purple,
me­dium magenta, Payne’s gray, phthalo green, raw sienna, sap green, and titanium white

Step One Using

a photograph as a
refer­ence, I create a
fairly detailed pencil
drawing of the iris. I
choose pencil over
waterproof ink be­
cause I intend to
paint translucently.
I am also careful to
outline the areas of
the lightest highlights
because I will be
“saving” these white
areas from paint.
After attaching my
paper to a drawing
board with masking
tape to keep it flat,
I paint the outlined
highlight areas with
liquid frisket. (See
page 11.)

16
 Step Two As I will be using my
acrylic paints thinly, like water­
color paints, I begin by applying
the lightest color first; in this case,
I apply a light wash of raw sienna.
Using a large flat brush, I thin the
paint with water and apply it in
quick, wet strokes. I use the edge
of the brush to work around the
drawing, but I’m not too con­
cerned with “staying inside the
lines”; I can always tighten the
outlines at a later stage if they are
too unwieldy. Ultimately I want
to achieve a loose, free feeling.
Next I apply thinned dioxazine
purple to the iris petals in the
same manner, varying the color
intensity to add a sense of
dimension.

Step Three I continue to

apply the paint thinly, giving these
be­ginning stages a “watercolor
feel.” I add sap green to the
back­ground, stroking roughly
without worrying about the
details or about perfect edges.
At this point, the painting looks a
bit messy—but, believe it or not,
the hardest work is done. Now
that the basic colors have been
established, I can bring the iris
to life with thicker, richer layers
of paint.

17
 4 5

Step Four I use the edge of a medium flat sable brush to Step Five Now I add the dark background colors (see the
define the edges of the flower and the stem, adding acrylic gel detail below) and then the highlights, applying neutral colors
medium to the paint to give it opacity. I clarify the lights and muted with cool glazes and quick, blurred brushstrokes. In
shadows of the petals by applying various values of dioxazine contrast, the detail and brighter colors of the flower will com-
purple, thinning the paint with gloss medium for the lighter mand more attention.When the paint dries, I re­move the
areas. For the stem, I mix sap green with raw sienna and a frisket with rubber cement pickup, revealing the white, un­
little Payne’s gray. At this stage, my brushstrokes are more touched canvas. Then I darken the background with a glaze
refined and deliberate, but I’m careful not to overwork any of Payne’s gray and acrylic gel medium, and I add a thin layer
area. Then I apply dioxazine purple to the petals. of medium magenta to the tops and undersides of the petals.
etail

etail
D

Background Detail I apply thick strokes of dioxazine pur­ Petal Detail I mix yellow ochre with cadmium yellow
ple, chromium oxide green, sap green, and bronze yellow to light and apply a swoop to the interior of the flower petals,
the background. And, since it is meant to be abstract and out following the curvature of their form. Then I load a small
of focus, I apply the paint randomly with strokes of vary­ing brush with cadmium red light and stroke from the center
thicknesses and directions. of the leaf toward the base, gradually lifting the brush.

18
 6

Step Six Next I add warmth and harmonize the composition by glazing a layer of phthalo green over the background.
After it dries, I apply highlights to the background with cadmium yellow light and raw sienna; I also brighten the colors in
the stem using these same three colors. I apply yellow and red to the interior of the petals (see petal detail), and I highlight
the stem with a mix of yellow ochre and white. At this point, I step back and look at the overall painting to avoid over­
working the details. When I’m satisfied, I put down the brush and celebrate my achievement!

19
Painting Reflections
Incorporating a body of water into your composition will add a sense of drama and interest.
Water echoes the shades and shapes surrounding it, filling it with color and dynamic forms.
And the state of the water contributes greatly to the energy and mood of a painting; smooth,
glasslike reflections painted with fluid strokes convey a sense of calm and quiet, whereas
choppy reflections painted with short strokes and blurred edges communicate commotion
and activity. In this painting, I chose to render the reflections between the extremes, balanc-
ing the serenity and solitude of a lone boat with the gentle, rhythmic rippling of the water.

Color Palette
brilliant blue, bronze yellow, burnt sienna,
cadmium red light, dioxazine purple, light blue-
violet, light portrait pink, Naples yellow, Payne’s
gray, phthalo green, raw sienna, sap green,
titanium white, and yellow ochre

E Using Artistic License Artistic license allows

you to take liberties with subject matter and alter the
composition or color scheme of a painting. Because the
idea of capturing the solitude of a boat in the midst of
a peaceful lake was appealing to me, I used my artistic
license to remove the distant boat on the left.

Step One First I sketch the

boat scene on the canvas using a
permanent marker. (Unlike pen­
cil, a water­proof marker will still
show through the first layers of
paint, making it easy to follow
the composition in the beginning
stages.) I limit the drawing to its
basic shapes since I will paint the
details later. When the drawing is
complete, I block in some color
to establish the darkest values.
Using a large flat brush, I apply
thin layers of dioxazine purple,
sap green, and burnt sienna. Then
I simulate the reflections in the
water with vertical brushstrokes,
placing the darkest values within
the foliage reflections and im­
mediately beneath the boat. 1

20
 Step Two Now I add more vibrant
layers of color to the canvas. For the
sky, I use a mixture of light blue-violet
and Payne’s gray, adding brilliant blue
to the mix to paint the water. Then I
block in the shoreline and the trim
on the boat with a mix of raw sienna
and cadmium red. To build up the
medium values, I add acrylic glazing
medium to the paint, keeping it thin
and trans­parent so that I can work
slowly and deliberately.

Step Three Next I complete the sky by applying a mix of light blue-violet, bronze yellow, and a bit of Payne’s gray. I
load the brush with thick paint and apply opaque strokes over the sky. As I paint, I vary the color values across the sky to
add depth. Then I add another layer of color to the water, still allowing the initial dark areas of the reflections to show
through. I also lightly stroke the water color over the edges of the reflection and inside to indicate subtle ripples in the
water.

21
 Step Four Because I am working
from dark to light, I start building up
thicker, richer layers of darks in the
trees, rocks, reflections, and boat
with mixes of sap green, burnt sienna,
and Payne’s gray. Using a medium
flat sable brush, I render the shape
of the rocks on the right with one
single brushstroke and a mix of burnt
si­enna and raw sienna. I also use this
brush to paint the boat trim with
burnt sienna (plus flesh for the lighter
areas) and to drybrush some reflec­
tions on the water with dioxazine
purple and Payne’s gray. This gives
them a choppy, blurry appearance.
(See detail on page 23. Also see page
9 for more on drybrushing.)
4

Step Five Now I apply paint for the foliage and trees in the background. (See detail on page 15). I also add highlights to
the beach and sand with a mixture of Naples yellow, light portrait pink, and titanium white. Then I add more white to this
mixture to paint the boat’s hull, softening the shadows with light blue-violet. I apply highlights to the rocks with raw sienna,
and I apply highlights to the water reflections with mixes of light blue-violet, dioxazine purple, and white. I also add a red
trim to the boat and block in the buoy with cadmium red light.

22
 etail

etail
D

D
Reflection Detail I create movement in the water by Foliage Detail To create convincing foliage, I use mixes
blurring the edges of the reflections. I do this by breaking of cadmium red light, yellow ochre, and phthalo green. I
up the outline of the boat’s reflection with short, choppy, work from dark to light, applying several layers of “dabbing”
horizontal strokes. The rougher the water, the more dis­ strokes. (See page 9.) In order to make these bushes and
jointed the reflections will appear. trees seem distant, I keep my strokes loose and leave out
the details.

Step Six I add a few more highlights to the background for contrast, and I apply one more transparent glaze of light
blue-violet to the water to unify the colors already applied to the canvas. Then I bring up the highlights on the boat with
a mixture of Naples yellow and titanium white. With the thin edge of a flat brush, I add mixes of dioxazine purple, light
blue-violet, flesh, and Payne’s gray to the reflections with horizontal brushstrokes. I also use the edge of the brush to draw
the line to the buoy with a mix of dioxazine purple and cerulean blue. To complete the painting, I highlight the top edge
of the rope and the buoy with the mixture used for the boat highlights.

23
Glazing to Build Warmth and Texture
One of the most exciting features of acrylic paint is that you can apply it in quick-drying
glazes, just as you do with watercolor. These thin layers of paint are perfect for building
up colors within large areas, such as textured walls or rippling bodies of water. The grainy
surface of the canvas or board “catches” the color of the glaze to give the areas a subtle
variation and texture, preventing them from appearing flat and two-dimensional. In addi-
tion, glazing give you a lot of control over the color shade; you can alter the temperature or
hue of the color slowly and deliberately, instead of immediately covering the area with one-
toned, thick mixtures of paint. In this painting, I begin with cool pinks and purples; then
I transform the porch into a rich, luminous scene using several layers of warm glazes. The
result is a painting full of texture and mottled with color!

Color Palette
burnt sienna, cadmium red light, cadmium yellow light, cerulean blue, deep magenta, dioxazine purple,
emerald green, light blue-violet, Naples yellow, Payne’s gray, phthalo green, raw sienna, and titanium white

1 2

Step One Using a photo as a reference, I create my Step Two I dip a medium flat sable brush into acrylic
sketch by outlining the most important shapes on my can­ glazing medium and load it with paint thinned with water.
vas with a permanent marker. Because I will be unifying the I use dioxazine purple, burnt sienna, raw sienna, deep
painting with several layers of glazes, I decide there is no magenta, and light blue-violet to fill in each shape with color.
need for a solid underpainting. As I work, I blend the paint hues into one another for soft
edges.

24
 Step Three Acrylic dries quickly, so
I don’t have to wait long before I can
begin applying glazes. I add another
layer of deep magenta to the walls,
some raw sienna to the flower pot,
and a mixture of burnt sienna and
Payne’s gray to the stairwell and the
window. With each successive layer,
I bring out more details and intensify
the color.

Step Four Now I build up the

shadows by continuing to glaze with
thicker paint. I concentrate on using
warmer earth tones here to contrast
with the cooler shades of purple. I
darken and add a little definition to
the doorway, adding shadows with
a warm, rich burnt sienna glaze. I do
the same for the bottom of the steps
and the left side of the wall.

25
 Step Five To harmonize the
com­position, I add a thin glaze of
raw sienna mixed with cadmium
red light to the wall on the right. I
blend the color into the underlying
layer, varying the direction of the
brushstrokes for interest and texture.
Then I lighten the banister and base
of the wall with a mixture of light
blue-violet and raw sienna. I also use
this mixture to dry­brush the tops
of the stairs and to outline accents.
Next I add color to the flowers using
various mixtures of phthalo green,
emerald green, cad­mium red light,
and Naples yellow. Then I begin to
define the foliage on the left with the
flat side of the brush.

Step Six With a mix of cadmium

red light and raw sienna, I glaze the
top of the right wall, blending down
into a darker mixture of dioxazine
purple, light blue-violet, and deep
magenta. Next I mix a few variations
of greens and blues for the foliage
along the left side and apply it in
quick dabs. I create several mixes
to paint the flowers, using varied
pro­portions of cadmium red light,
ma­genta, and Naples yellow. Then I
apply a layer of highlights to the walls
and banister with Naples yellow,
using thicker paint and adding some
areas of drybrush to create a light,
impres­sionistic feeling.

26
 7

Step Seven At this stage, I apply the thickest layers of paint and the final embellishments. I sharpen the details on the
doorway, window, and flower pot, and I add a dioxazine purple glaze to the upper-left corner to dull the area so that
it doesn’t compete with the visual focus of the flowers. Then I add the brightest highlights in the flowers with a mix of
white, cadmium yellow light, and Naples yellow. A few random dabs of color complete the composition, and then I
name my finished piece “Home at Last.”

27
Working with Translucent Washes
The transparent properties of thinned acrylic paint are perfect for depicting delicate and
yet colorful subjects, such as the clear and reflective surfaces of glass and the fragile, soft
curves of flower petals. As with watercolor, you can lighten the value of an acrylic wash by
adding more water to the pigment, which in turn allows more of the white support to show
through the color. This gives the paint a luminous quality. You can also use acrylic washes
to build up rich color, layer by layer. Because acrylic is waterproof when dry, you can layer
new washes over previous ones without lifting or changing the initial pigment. As a result,
you can achieve the airy quality of watercolor with a greater degree of control over your
washes, as I have achieved in this light-filled painting of a vase of roses.

Color Palette
burnt sienna, cadmium yellow light, dioxazine purple, emerald green, Indian red, light blue-violet,
Payne’s gray, phthalo green, raw sienna, and titanium white

1 2

Step One Because I will be painting only with thinned Step Two I decide to leave some highlighted areas free
acrylic paints, I choose a sheet of 140-lb watercolor paper. of any paint so the white of the paper can serve as the
Using a photograph for reference, I draw the scene lightly highlights. I secure the paper on all sides to a drawing
with pencil so it won’t show through the final washes. I am board with masking tape and apply liquid frisket over all
careful to outline the most important shapes and details, future highlights. Then I can paint freely, knowing the mask
such as the highlights and curves within the petals. is “saving” the whites.
28
 Step Three To maintain the
look of watercolor, I use only
water to make the paint flow,
and I build up transparent layers
from light to dark. I begin by
applying a thin wash of color to
the roses using a medium flat
sable brush loaded with cadmium
yellow light. After rinsing out
the brush, I apply a wash of light
blue-violet to the tablecloth,
vase, and lower-right portion of
the background.

Step Four Next I paint the

dark purple areas in the flowers
and vase with dioxazine purple
and light blue-violet. Using a thin
wash of raw sienna and burnt
sienna, I define the shapes of the
window frame and music box. To
add depth, I apply another layer
of color in the shadow areas of
the tablecloth and the roses with
raw sienna thinned with water.

29
 Step Five Now I introduce
green to the painting. I use pure
phthalo green for the stems;
then I mix a bit of raw sienna
and cadmium yellow light with
em­erald green for the leaves and
the highlights in the stems. At this
point, each color that I add brings
a greater sense of depth and
dimension to the painting.

Step Six Since the focus of

this painting is the foreground
objects, I am not too concerned
with detail in the background. I
apply purple dioxazine to the top
of the background.Then I move
down into a mix of em­erald
green and phthalo green with a
touch of dioxazine purple and
white, muting the colors with a
little Payne’s gray. I keep the paint
loose and transparent for a softer
effect, and I achieve a watercolor
look by pulling the colors into
one another while still wet. With
the largest areas of color estab­
lished, I let the paint dry and then
remove the frisket from the high­
lights with rubber cement pickup.
(You can also use a kneaded
eraser or your finger.)

30
 7

Step Seven I fill in the darkest areas of the stems using a small flat sable brush loaded with a thicker mix of Payne’s gray
and phthalo green, drybrushing the edges of the strokes for a soft, feathery effect. Next I darken the window frame with a
layer of burnt sienna, and I add contrast to the music box and rosebuds with Indian red. I continue to darken and define a
few of the petal edges using the side of the brush, and I accent a few of the highlights with a mix of cadmium yellow light and
white. Then I add a few transparent layers of color to deepen the shadows, such as a wash of dioxazine purple and light blue-
violet over the lower-left corner. Finally I remove the masking tape from the board and paper to view the results!

31
Depicting Light and Shadow
Even the simplest subject and composition can be made exciting with the addition of the
intriguing play of light and shadow. For example, sunlight filtered through leaves forms a
variety of fascinating shapes that engage the viewer’s interest. And sometimes the patterns of
light and shadow can be so compelling that they become the subject of the painting, rather
than the physical elements of the scene. In this painting, I use a simple, linear composition
of mainly horizontal and vertical lines. But, to successfully bring this quaint cottage window
to life, I contrast these lines with irregular patches of sun that seem to dance off the canvas.

Color Palette
alizarin crimson, brilliant blue, burnt sienna, cadmium red light, cadmium orange, cadmium yellow
light, dioxazine purple, emerald green, light blue-violet, medium magenta, Naples yellow, Payne’s gray,
phthalo green, raw sienna, titanium white, and yellow ochre

Step One I was inspired by the intimacy of the single-window composition, as well as the intensity of color and filter
of light through the tree branches onto the cottage. Before painting, I roughly sketch the scene on canvas with perma­
nent marker, making sure to outline each pocket of light and indicate the various types of foliage in the foreground. Then
I cover the surface with a thin coat of medium magenta to provide a warm underpainting, which will ultimately give
warmth to the final painting.

32
 Step Two With a
large flat brush, I es­
tablish the different
values using washes
thinned with acrylic
glazing medium and
water. I wash brilliant
blue for the shutters
and rooftop, and then
I mix alizarin crimson
with a bit of Payne’s
gray for the side of the
cottage. To block in the
windows, I use dioxazine
purple for the darkest
areas and raw sienna for
window frame definition.
Then I mix phthalo
green with emerald
green, applying a thin
wash over the foliage.
2

Step Three Now I block in the window interiors and outline the roof tiles using Payne’s gray and a small flat brush,
“drawing” with the paint. Then I add shadows to the underside of the roof, window, and flower box. I mix alizarin crim­­
son, burnt sienna, dioxazine purple, and glazing medium to apply broad strokes of color to the walls. And I fill in some of
the gaps with raw sienna, suggesting areas of light. Finally I outline the window frames with a mixture of raw sienna and
light blue-violet, and I block in the flower box with a mixture of brilliant blue, dioxazine purple, and Payne’s gray.

33
 Step Four At this
stage, I develop the
areas of cool color
and bring up some
high­lights. First I apply
brilliant blue to the
shutters, roof tiles, and
window box with thick
paint, drybrushing to
blend one area into the
next. For the brightest
highlights on these
objects, I apply light
blue-violet. Because I
am working from dark
to light, I think of the
areas of light as holes
to be filled with color.

Step Five Now I apply the warm highlights on the buildings with pure cadmium red light. I use the drawing as a guide
to fill in the pockets of light, and I make each spot an abstract shape by varying the size and direction of my brushstrokes.
Next I load a small flat brush with a thick mix of emerald green and phthalo green and paint the foliage. For the vertical
stems, I use long strokes with the edge of the brush; for the smaller leaves, I apply the paint with quick dabs.

34
 Step Six I add another
layer of color to the
win­dow casing with
yellow ochre mixed
with Payne’s gray. I apply
the paint in thick, single
strokes, dry­brushing the
edges. Next I brighten up
the foliage with medium
highlights, applying a mix
of yellow ochre, phthalo
green, and emerald green
in loose strokes. I do the
same for the flowers,
this time using a mix of
cadmium red light and
alizarin crimson. Then I
suggest the fuse box with
cad­mium red and brilliant
blue, and I paint the
birdhouse with Naples
6 yellow and raw sienna.

Step Seven In this final step, I apply one more layer of highlights. For the roof and shutters, I use a mix of white and
brilliant blue. For the side of the cottage, I use a mixture of white, cadmium orange, and Naples yellow. Then I add some
final highlights to the foliage with a mix of white, emerald green, and the yellows on my palette. I soften the edges of each
stroke by drybrushing, which allows some of the warm underpainting to show through.

35
Setting Up a Still Life
Working from a still life setup allows you to have full control over the arrangement
and lighting—and, unless you move the objects, they will always stay in the same place.
When designing the composition (or the placement of objects within the borders of your
support), arrange objects in a balanced and interesting manner. Avoid clumping the
objects together in the center or to one side, and don’t line up
all the objects in a straight row; these setups will either stop
the viewer’s eye or lead it right out of the painting. Use diago-
nal lines instead to move the viewer’s eye around the painting.
In this still life, I use diagonals to guide the viewer’s eye
toward the focal point of the piece: the wine bottle.

Color Palette E Taking Photos

alizarin crimson, burnt sienna, cadmium red You don’t have
light, cadmium yellow light, dioxazine purple, to paint your still
emerald green, Naples yellow, Payne’s gray, life setups from
life; in fact, taking
phthalo green, Prussian blue, raw sienna, tita- several photos of your
nium white, and unbleached titanium arrangement can help you frame your composition
and choose the most effective angle.

1 2

Step One First I sketch the scene on the canvas with a Step Two Now I define the largest shapes with layers of
permanent marker, taking care to make the shapes and thin color. I use raw sienna for the background and wine
perspective accurate. I use a thin wash of dioxazine purple label, dioxazine purple for the bottle, and alizarin crimson for
for the underpainting, since this color will complement the the bottle’s neck. I apply alizarin crimson and burnt sienna
bright yellows I plan to add later. to the fruit, tabletop, and wine, and I use Payne’s gray for
shadows.
36
 Step Three Now I paint the dark­
est colors of the wine bottle, glass,
and shadows, using a mixture of Prus­
sian blue and alizarin crimson. I avoid
the left side of the bottle, saving this
area for highlights. I also use this mix
to define the details of the basket and
the tabletop shadows. Then I use a
mixture of burnt sienna and Payne’s
gray to sketch in a few reflections on
the stem of the wine goblet.

Step Four At this point, I add color

and dimension to the fruit. I use aliz­
arin crimson mixed with cadmium
red light to fill in the apples and
out­line the pear. For the highlights, I
apply a mix of cadmium yellow light
and raw sienna. Then I add emerald
green to the mixture to paint the
leaves. Next, using burnt sienna and
alizarin crimson, I bring up some of
the de­tails in the neck of the wine
bottle and on the label.

37
 Step Five Now it’s time to “light
up” the composition. Mixing Naples
yellow with cadmium yellow light and
white, I paint the background, allow­
ing some of the underpainting to
show through for texture. I use the
same mixture to highlight the wine
in the glass and to add sparkle to the
stem. And I also drybrush the color
onto light areas of the wine label.
Then I thin the mixture to make it
more transparent and add the high­
lights on the left side of the bottle
and on the glass.

Step Six Using a small flat sable

brush, I continue to refine smaller
details on the fruit, basket, and neck
of the bottle. Then I unify the colors
within the painting by adding a layer
of burnt sienna to the shadows on
the wall.

38
 7

Step Seven To neutralize the background wall, I apply a thick glaze of unbleached titanium mixed with flesh and a small
amount of cadmium yellow light. To create interesting textural effects, I vary the direction of the brushstrokes and paint
thicknesses. Then I drybrush a few highlights onto the fruit, tabletop, and wine stem. For the highlight on the left side of
the bottle, I use a mixture of phthalo green and Payne’s gray. Finally I apply tiny light sparkles to the bottle, apples, and
wine glass with white mixed with cadmium yellow.

39
Applying Linear Perspective
Employing linear perspective is a method of creating the illusion of three dimensions using
receding lines. Because all the parallel lines of every object in a scene converge to one point
in the distance (see page 42 for more on one-point perspective), the viewer’s eye is drawn in
from the edges of the painting toward the center of interest. In the following scene, I use the
converging lines of the side of a building and walkway to lead the eye toward the warm,
in­terior, sunlit courtyard.

Color Palette
bright orange, brilliant blue, burnt sienna, cadmium red light,
cadmium yellow light, dioxazine purple, light blue-violet,
Payne’s gray, raw sienna, sap green, titanium white, yellow
ochre, and yellow oxide

F Following a Reference I know I need to follow this reference

closely to make sure I re-create the perspective accurately, or my painting
won’t be convincing. I am happy with this photo’s glowing feel and striking
contrasts between the light and shadow, so I don’t intend to make many
changes to the color or composition.

1 2

Step One Keeping the photo close by for reference, I Step Two Now I establish a “map” of the various values
create a careful and complete sketch directly onto my can­­ in the scene. Using a large flat brush, I apply thin washes of
vas with a permanent marker. The only slight adjustment yellow ochre and dioxazine purple to the largest areas of
I make is to show a bit more of the top of the arch. light and dark.
40
 Step Three Keeping the paint thin,
I fill in the arch and shadowed interior
with burnt sienna, and I also darken
the tree trunk with dioxazine purple.
I apply these washes to areas of the
far courtyard as well. Then I outline
the darkest areas of the foreground
with the edge of a small flat sable
brush and a mix of acrylic glazing me­
dium, dioxazine purple, and Payne’s
gray. I also add sap green to the fo­­
liage, mix­ing in some Payne’s gray to
tone down some areas and create a
little variation.

Step Four Next I strengthen the

darks of the underpainting to clarify
some of the shapes in the fore­
ground. I use a mixture of Payne’s
gray, dioxazine purple, and burnt
sienna to apply thicker layers of paint,
drybrushing the edges for a soft look.
Then I add a glaze of burnt sienna to
the tree trunk in the courtyard. At
this stage, I have a clear separation
between light and shadow, as well as
a good sense of the detailed areas.

41
 Step Five Next I create
mixes of light blue-violet and
brilliant blue, adding burnt
sienna and Payne’s gray for
variation. I apply these colors
to the brightest areas in the
archway, softening the edges
with a bit of drybrushing. To
unify the background and
the foreground, I apply these
mixes to areas of the court­
yard, such as the tree trunk
and flower pot shadows. Then
I start to further develop the
fence, flower pots, and tiles
without worrying about cre­
ating photo-perfect details—
although I want the scene to
look convincing, the goal for
this painting is to capture the
atmosphere and mood of the
setting as well.

One-Point Perspective
Horizon line VP The illusion of three dimensions on a two-dimen-
sional surface is called “perspective.” The simplest
form, called “one-point perspective,” requires that
you pick out one point on the horizon (called the
“vanishing point”) and make all the parallel lines
in your painting recede to this point. This tech-
Suggesting Depth First draw a hori­
zontal line across your picture to represent nique is important for drawing realistic scenes with
eye level, and then place a point on this a sense of depth. Employ one-point perspective
horizon line for the vanishing point (VP). when drawing street scenes, hallways, or roads that
Then draw light lines from your subject to
the vanishing point, and make the lines of recede into the distance. For more on perspective,
your subject follow these guidelines. see Perspective, also in the Artist’s Library Series.

42
 6

Step Six I decide that the architectural shape by the tree branch is confusing, so I paint over it and cover the sky with tita­
nium white mixed with brilliant blue. Then I apply a mix of titanium white and yellow oxide to the sunlit areas of the court­
yard. I warm up the foreground with a mix of raw sienna and acrylic glazing medium, applying a transparent layer to the arch,
hallway, and floor tiles. I also mix yellow ochre and sap green to add highlights to the foliage, adding some cadmium red light
for the flowers. Finally I outline the underside of the archway with a mix of cadmium yellow light, bright orange, and white.

43
Using Multiple References
When searching for the perfect subject to paint, don’t feel as though you need to restrict
yourself to copying a single source. Not only can you use artistic license to alter a scene—
changing colors or subtracting unwanted elements—you can also combine elements of
various references, merging multiple photos to enhance your “found” compositions. For
the painting below, I taped together sections of two different photographs, each bearing
aspects that I wanted to include in my landscape. Although the scene looks very realistic,
it doesn’t actually exist!

Color Palette
brilliant blue, bronze yellow, burnt sienna,
cadmium orange, cadmium red light, cad-
mium yellow light, chromium oxide green,
dioxazine purple, light blue-violet, light
portrait pink, medium ma­genta, Payne’s
gray, raw sienna, sap green, un­bleached
titanium, and yellow ochre

E Overlapping Photos To create this scene, I

attached a shadowed road from one photo to the
foreground of an­other, providing a visual path into
the painting. The result is a compo­sition with a cool
and inviting path that guides the viewer to the warm,
glowing fields and sunlit buildings.

Step One I begin with a rough

sketch, drawing directly onto the
canvas with a permanent marker.
Then, with a large flat brush, I
block in large areas of the base
colors, using medium magenta
for the sky, dioxazine purple for
the hills and the foreground, and
raw sienna for the buildings and
the areas that are in direct sun­
light. I mix in water and acrylic
gloss medium to get the paint to
flow thinly and loosely.

44
 Step Two For the
next stage, I mix my
paints with acrylic
glazing medium to
create more trans-
parent colors. First I
apply a thin layer of
light blue-violet to
the sky and a mix of
sap green and brilliant
blue to the hills. Next
I add var-ious mixes
of chrom­ium oxide
green, sap green,
and Payne’s gray to
the trees and the
foreground. Then I
strengthen the color
in the shadows with
a mix of Payne’s gray
and dioxazine purple.
2

Step Three Now I mix acrylic gel extender with the paint for thicker, more opaque colors. I let my initial sketch guide
me as I block in distant shadows with a medium flat brush and a mix of sap green and dioxazine purple. Then I use Payne’s
gray mixed with sap green for trees and foreground shadows. Finally I add another layer of more opaque color to the
road and shadows using a mix of Payne’s gray and brilliant blue.
45
 Step Four Next I
ap­ply large blocks of high­
lights using bronze yellow
mixed with light blue-
violet for the left side of
the hills and switching
to bril­liant blue mixed
with chromium oxide
green for reflected light
in the shadows. I also add
touches of burnt sienna
and raw sienna to the
rooftops and light blue-
violet and brilliant blue
to the shadows. In the
fore­ground, I mix raw
sienna and light blue-
violet with Payne’s gray
for the shack, and I use
sap green, Payne’s gray,
and light blue-violet for
the vines at left and the
tree on the right. 4

Step Five Now I apply a thick, opaque mix of light portrait pink, light blue-violet, and unbleached titanium to the sky,
varying the direction of the brushstrokes to create texture. Next I mix cadmium red light, sap green, and raw sienna to
block in the middle values of the trees, adding a little dioxazine purple to separate the shadows. Then I add color to the
sunlit areas with a mix of bronze yellow, yellow ochre, and sap green.

46
 Step Six To add more
warmth to the painting,
I start with a mix of
medium magenta and
bronze yellow, applying
the brightest highlights
to the background hills.
For harmony and bal­
ance, I add medium
magenta to the sunlit
field, this time mixed
with yellow ochre and
cadmium orange. Then
I brush on a medium
ma­genta glaze over the
foreground shadows. I
also detail the vines and
foliage by drybrushing
layers of light blue-violet
mixed with chromium
oxide green.

Step Seven To apply highlights to the buildings, I use the same mix that I created for the sky, but I switch to a medium
flat sable brush—perfect for “drawing” and creating sharp, crisp edges. Then I bring up the details in the foreground,
adding highlights to the trees with a mix of cadmium yellow light, cadmium orange, and sap green. Finally I brighten some
of the foreground shadows with light blue-violet and dioxazine purple.

47
Choosing a Viewpoint
One way to add drama or dynamism to a landscape painting is to view the scene from an
interesting angle that highlights the focal point. Where you place the horizon line (the line
at which the sky meets the land) determines which area of the painting will attract the most
attention; a low horizon brings focus to the sky, but a high horizon draws the eye to the
foreground. And the viewpoint doesn’t need to be an extreme “bird’s eye” or “worm’s eye”
view to be effective; even a slightly high or low viewpoint can focus on shapes and features
you wouldn’t notice at eye level. The slightly elevated viewpoint in this high-horizon paint-
ing brings the viewer’s eye from the foamy foreground to the buildings, where crisp edges
and a compelling play of light and shadow serve as the focal point of the painting.

Color Palette
brilliant blue, burnt sienna, cadmium red light, dioxazine
purple, light blue, light blue-violet, light portrait pink, Payne’s
gray, phthalo green, Prussian blue, raw sienna, sap green,
titanium white, yellow ochre, and yellow oxide

G Taking an Elevated Viewpoint

I took this photo from a location higher
than the ocean and beach, which elon­
gated the foreground area to include a
winding shoreline that entices the viewer
into the painting.

Step One Because of the architectural

aspects of the subject, I first want to make
sure my drawing is accurate in perspective
and proportion. Then I enlarge it and
project the image onto my canvas, where
I trace it with a permanent marker. Of
course, you don’t have to use this tech­
nique to transfer the image—you may
prefer to draw it freehand or use the
“grid” method of transferring the image
to your canvas. Whichever method you
use, be sure to indicate the shapes that
define the separations of light and shadow. 1

48
 Step Two Next I break up the
components into their basic colors
and values. Using a large flat brush,
I thin the paint with water to keep
it free-flowing and transparent. For
the sky, hills, and water, I apply
brilliant blue; for the shadows and
foreground, I use dioxazine purple;
and for the sunlit areas of the
buildings, I stroke on yellow oxide. I
also add dioxazine purple to the hills
and water.

Step Three Now I apply a layer

of intense color to the scene to
further define the value differences
and es­tablish a sense of depth. I
mix a bit of acrylic glazing medium
with the paint to make it flow easily.
Then, be­ginning with the hills in the
background, I ap­ply mixes of Prussian
blue, Payne’s gray, brilliant blue, and
phthalo green. For the light portions
of the buildings, I apply raw sienna,
using yellow ochre for the highlights.
Then I apply phthalo green mixed
with Prussian blue to the water, using
lighter shades as I move down. For
the building shad­ows, the rocks, and
the beach, I use a mix of dioxazine
purple and burnt sienna.

49
 4

Step Four At this point, I block in the darkest colors of the buildings and the waterfront with a medium flat sable
brush, which allows me to “draw” the details with crisp, controlled edges. I load the brush with a thick mix of Payne’s
gray and dioxazine purple, filling in the shadows and architectural details, such as the windows and clock towers. Then
I use the same purple-gray mix to cover the rocks and beach. When this layer dries, I glaze the shadows with burnt
sienna mixed with dioxazine purple.

50
 5

Step Five Now I paint the sky all in one step, keeping the paint wet as I go so that I can blend and gradate the colors.
Work­ing from dark to light, I start at the top with a mix of titanium white, light blue-violet, and light portrait pink. As I move
down, I work in more white and pink. I paint the water with a darker blue mix using varying stokes to shape the wavy surface.
For the breaking surf, I load the brush with white and light portrait pink and pull the color from right to left. After the paint
dries a bit, I drybrush the edges to soften them. For the buildings’ reflections, I add a bit of raw sienna to the water.

51
 6

Step Six Next I mix sap green with brilliant blue and paint the hills with random, drybrush strokes. Then I use the same
technique with light-blue violet, raw sienna, and a bit of white to suggest buildings in the background. Next I mix light blue-
violet, cadmium red, and raw sienna for the rocks and parts of the buildings, using the edge of the brush to de­­fine them
with simple blocks of color. I also use a gray mix to separate some of the details in the clock tower. With a mix of yellow
oxide and white, I add another layer of color to the highlighted areas; then I further brighten the rooftops with pure white.
Finally, with mixes of brilliant blue, light blue-violet, and white, I add details to the windows, clock tower, and shoreline.

52
 7

Step Seven Now I mix raw sienna with acrylic glazing medium and apply a thin layer of color to the buildings’ shadows
and the shoreline, also adding highlights to the rocks and the walkway using raw sienna mixed with light blue. To create
the final highlights in the white surf and the blue water, I load the edge of my palette knife with white and light portrait
pink and pull the color across the canvas. I also add a little raw sienna to the water for the building reflections. I make sure
to not get carried away with any more detail—remember that when you step back from the painting, your eyes will fill in
the details for you!

53
Simplifying a Scene
Landscapes and street scenes can be challenging subjects for beginners because they often
involve many elements and details, such as people, buildings, greenery, and walkways. To
make these subjects more approachable, apply some basic rules of simplification. Decide
what you want the focus of the painting to be, and choose just a few other elements of
in­terest. Don’t try to duplicate everything you see in a photo reference, as too many ele-
ments will make the painting busy and divert the viewer from your focal point. Here I sim-
plify the image of a Mediterranean café by removing a number of distracting elements.

Color Palette
brilliant blue, burnt sienna, cadmium red light,
cadmium yellow light, dioxazine purple, light
blue-violet, light portrait pink, medium magen-
ta, Payne’s gray, Prussian blue, raw sienna, tita-
nium white, and yellow ochre

E Eliminating Elements My goal in simplifying this

photograph is to establish a clean path for the eye, toward
the charming sunlit umbrellas. To unclutter the scene, I re­­
move the vertical posts on the right, as well as the trash can
and the foreground shadow.

Step One I use a per­

manent marker to make
a rough sketch of my
simplified café directly on
the canvas. Then I cover
the canvas with a thin
underpainting of medium
magenta, making sure
that the sketch is still
visible beneath.

54
 Step Two Now I apply thin washes
of preliminary colors to help separate
and simplify the visual elements. Using
a large flat brush and paint thinned
with water and acrylic gel medium, I
apply the paint with quick strokes. For
the sky, hills, water, and shadows, I use
brilliant blue, Prussian blue, and dioxa­
zine purple. For the warm light on the
buildings, umbrellas, and walkway, I
ap­ply raw sienna.

Step Three At this stage, I create more contrast in the values and continue breaking down the composition into basic
shapes. I thicken the paint with opaque acrylic gel to intensifying the underpainting colors. I apply a deep mixture of dioxa­
zine purple, Payne’s gray, light blue-violet, and raw sienna to the shadowed areas and light blue-violet to the sky. Then I
mix Prussian blue with brilliant blue and dioxazine purple, adding this mix to the sky and water. I also add a thin glaze of
cad­mium red light and cadmium yellow light to the buildings, tables, and sidewalk. I begin to add some rough details in the
chairs, tables, and boats with strokes of Payne’s gray, light blue-violet, and burnt sienna. Then I block in an underpainting
for the reflected light using a mix of Payne’s gray, light blue-violet, and raw sienna.

55
 Step Four Now I harmonize
the colors and unify the elements
by applying a thin layer of raw
sienna, cadmium yellow light, and
acrylic glazing medium to all the
highlighted areas. Next I apply
a mix of light blue-violet and
Payne’s gray to the sky, blending
in subtle highlights of light portrait
pink in the clouds. Then I add a
lighter value of the previous blue
mix to the hills and apply mid-
range tones to the water with
thin, loose strokes, pulling some
paint away to allow the under­
painting to show through. Finally
I add definition to the buildings
with cadmium red light, cadmium
yellow light, and light blue-violet,
and I apply a mix of Payne’s gray
and brilliant blue to the windows. 4

Step Five Next I mix cadmium yellow light with titanium white and apply a thick layer of this color to the umbrella tops
and boat highlights, further enhancing the contrast between light and shadow. Then I add a touch of Payne’s gray to the
mixture to bring up the highlights on the sidewalk. I also apply more detail to the chairs, tabletop, and umbrella shadows,
working loosely and adjusting the colors along the way, always maintaining a feeling of spontaneity.

56
 6

Step Six At this point, I decide that “less is more”—I’m careful not to focus too much on small details; instead I keep my
brushstrokes bold and confident. I add some highlights to the hills and water with mixes of light blue-violet, light portrait pink,
yellow ochre, and brilliant blue using the edge of a flat brush, blending the color by drybrushing. Using the same technique, I
add highlights to the figures, tables, and chairs. I paint the final highlights on the umbrellas with a mix of light portrait pink and
white, and I finish the painting by applying a thin layer of yellow ochre to the sidewalk.

F Table Detail
il

When encountering
a
et

a busy area of a
D

painting, I keep my
brushstrokes unrefined
and don’t worry about
painstakingly rendering
each item. To suggest
the napkins, plates, and
glasses on the table, I
apply various mixes of
white, brilliant blue, light
blue-violet, cadmium red,
and cadmium yellow light
with loose, impression­
istic strokes and dashes.

57
Creating Depth
There are a few tricks to creating the illusion of depth on a one-dimensional canvas. In addi-
tion to following the rules of linear perspective (discussed on pages 40 and 42), you can also
apply atmos­pheric perspective to successfully suggest three-dimensional space. This principle
refers to the fact that objects in the distance appear less distinct and bluer in color than nearer
objects do; this is because particles (such as moisture and dust) in the air block out certain
wavelengths of light. As a result, objects in the foreground appear brighter in color and have
more detail, whereas objects farther away are more muted and less detailed. When you apply
this basic principle to your painting, you can effectively achieve the impression of distance, as
I do in this painting of Lake Como in northern Italy.

Color Palette
alizarin crimson, brilliant blue, burnt sienna, cadmium orange, cadmium red light, cadmium yellow
light, dioxazine purple, emerald green, light blue, light blue-violet, light portrait pink, Naples yellow,
Payne’s gray, phthalo violet, Prussian blue, raw sienna, sap green, titanium white, unbleached titanium,
and yellow ochre

E Choosing a Photo For a painting that shows Step One I sketch the scene on the canvas with a thin
a lot of depth and dimension, it’s important to work permanent marker, drawing only enough detail to establish
with good references. Take photos that include the basic shapes of the buildings and surrounding foliage. I do
elements in the foreground (like flowers or fence the same with the foreground, and then I indicate the dark
posts) to bring distant objects into perspective. values in the water with several quick, overlapping strokes.

58
 Step Two I begin painting by
washing a thin coat of dioxazine
purple over the sketch, allowing the
paint to dry completely. Next I block
in the sky with a mix of brilliant blue
and light blue-violet. Then I blend a bit
of Payne’s gray into this mixture and
apply it to the water. For the reflec­
tions in the water, I add Prussian blue
and sap green to the mix, along with
a bit of acrylic gloss medium for trans­
parency. I apply this mix to the water
with vertical brushstrokes of varying
lengths.

Step Three Now I block in the

cool base for the foliage, adding the
darkest colors first. I use mixes of
brilliant blue, light blue-violet, Payne’s
gray, Prussian blue, and sap green.
I also take care to paint around the
clusters of pink flowers in the fore­
ground foliage.

59
 Step Four Next I use burnt sienna
mixed with raw sienna to block in the
rooftops. Then I apply alizarin crimson
to the flowers in the fore­ground (see
details on page 61), and I paint a layer
of light blue-violet mixed with Payne’s
gray over the buildings to give them
shape. I make my brush­strokes loose
and spon­taneous to keep from over­
working the painting. At this point, I
can already detect a sense of depth
and atmosphere!

Step Five Now I begin to build up

the forms of the buildings. (See detail
on page 61.) Then I darken the water
closest to shore with the same shades
used in step two, gradually pulling
down the color by drybrushing. To
add more color and definition to the
foliage, I apply a mix of sap green and
emerald green. I also brighten the
values in the sky and water with a
mix of white, light portrait pink, and
light blue, thickened with acrylic gel
me­dium. Then I add another layer of
color to the buildings with variations
of brilliant blue, light blue-violet, and
dioxazine purple.

60
 il

il
a

a
et

et
D

Flower Detail 1 I begin painting the flower clusters with Flower Detail 2 Next I mix variations of phthalo violet,
an uneven layer of alizarin crimson over the dioxazine pur­ cadmium red light, cadmium yellow light, and white, apply­
ple underpainting. Then I paint the water around the flower ing the paint with thick, opaque strokes. I finish the cluster
cluster; I am not afraid to lose the edges of the flower, as I by adding warm highlights with a few strokes of white
will re-establish the petals later with opaque strokes. mixed with cadmium yellow light.
il
a
et
D

Building Detail To estab­lish the dark areas of the build­ings, such as the windows and doors, I use the edge of a me­
dium flat sable brush loaded with Payne’s gray to “draw” the details. In this preliminary step, I also create a soft lavender
base for the buildings by creating several mixes of the blues and purples on my palette (using various proportions of
brilliant blue, light blue-violet, phthalo violet, and Prussian blue). I apply the paint with vertical strokes, drybrushing for
variation so that the areas don’t appear flat. These cool lavender strokes will serve as the shadowed areas of the building,
contrasting with the warm tones of the foreground flowers and pushing back the buildings to suggest distance.

61
 6

Step Six To balance the rooftops with the lightness of the sky, I add brighter values. I mix several variations of white,
unbleached titanium, cadmium orange, cadmium red light, and cadmium yellow light. For the areas that are in direct sun­
light, I stroke on a mixture of white and Naples yellow. Then I apply these variations to the rooftops with thick strokes,
keeping each roof distinct from its neighbor’s.

62
 7

Step Seven Now I add a few final details to the buildings to strengthen the contrast of light and shadow. I bring up the
highlights in the foliage with a light green mixed from cadmium yellow light and yellow ochre. Then I add bold strokes of
color to the foreground flowers with the mixes of alizarin crimson, cadmium red light, phthalo violet, cadmium orange,
1light portrait pink, and white already on my palette. (See details on page 61.) Finally I add a few dabs of a pink mix of light
portrait pink and cadmium orange to the water to unify the colors.

63
 Conclusion
Throughout this book, I’ve introduced you to a number of subjects, painting techniques,
and approaches for working with acrylic. Now that you have experimented with them all,
take what works best for you and continue to cultivate your newfound skills as you develop
your own personal style. And remember that there are always new things to discover about
acrylic, so don’t be afraid to experiment. Take on new challenges and test out techniques—
you never know what imagination and practice will produce!

64
© 2005, 2011 Walter Foster Publishing, Inc. All rights reserved. Artwork © 2005, 2011 Tom Swimm.
Walter Foster is a registered trademark.
This book has been produced to aid the aspiring artist. Reproduction of the work for study or finished art is
permissible. Any art produced or photomechanically reproduced from this publication for commercial purposes
is forbidden without written consent from the publisher, Walter Foster Publishing, Inc.

Digital edition: 978-1-61059-836-1 Softcover edition: 978-1-56010-858-0