INTRODUCTION
Have you ever been in a moment and felt the In this book, we’ll explore everything you
desire to capture it? I don’t mean just a quick need to know to get started in acrylic
photo to freeze what it looks like; I mean painting, whether you’re brand new to art
you want to capture the feeling of it all: the or an experienced artist who just wants
warmth of sand beneath your feet on your to explore a new medium. We’ll go over
first trip to the beach after a long winter, the the basic tools and materials, how to
wind blowing through your car window as handle brushes to achieve certain strokes
your drive through the mountains, the silence and textures, how to use color to express
in a single, fragile flower. This is painting. yourself, and so much more.
Painting is about seeing and feeling, and
pushing all those emotions onto a canvas. After you’ve learned these basics, dive into
the easy-to-follow step-by-step tutorials,
Acrylic paints are versatile and can mimic which cover a wide range of subject matter.
other paints easily, without the hassle You can follow along with my projects
of special products. They are tough and exactly, or you can put your own personal
permanent and will hold true to their color spin on things by choosing a different color
for years. They don’t have any odor and are palette, tweaking the subject matter, or
safe for all ages. You can water down acrylic simply painting it in your own style—there’s
paint and layer washes of color over and no wrong way!
over to build up opaque shades to create
new colors. You can lay acrylic paint thickly Acrylic paint is simple to work with and has a
on a panel—it will dry quickly—and then breadth of uses. Allow your creativity to flow,
paint on top of that color without the two and keep an open mind while you let the
mixing and getting muddy. paint do its thing!
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SUPPLIES
It’s important to prep your space and materials before you begin painting. This way, once you dive in, you
can really get creative without trying to find all the things you might need. First clear the space where you
will be painting. Put away anything that may get paint on it, and lay down a drop cloth to protect the area.
You can work on an easel, a wall, or a flat surface. Think through the way you work best and set it all up.
Do you need snacks? Ice water? Comfy clothes? Music? Set a great environment that enables you to be
creative yet focused.
Brushes
You’ll want to grab a big cup of water for your dirty brushes, and then lay them out. Many types of brushes can be
used for different paint strokes. Shown here are the brushes I use most. Synthetic-hair brushes are best for acrylics,
because the strong filaments can withstand the caustic nature of the paint.
WIDE Wide brushes cover large spaces and are great for
blocking in colors; they can also be used to apply washes of
color with watered-down paint.
PALE T T E K NIFE This tool creates thick layers of paint in a
smooth texture.
LARG E RO U ND Round brushes are good for sketching,
outlining, detailed work, and controlled washes. You can create
thick or thin lines, depending on the pressure you apply.
MO P This brush holds a lot of liquid and is great to wash
colors over each other with watered-down paint.
FLAT Flat brushes are ideal for creating straight edges and
uniform strokes.
FILB E RT A flat brush with a rounded tip, a filbert can make
a variety of marks and works well for blending.
RIG G E R This long, skinny brush is perfect for fluid line work,
fine lines, and details.
S MALL RO U ND A small round brush is essential for details.
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Paints
Paint varies in cost by grade and brand, but even reasonably priced paints offer sufficient quality—
especially for beginners. Very inexpensive paint may lack consistency and affect your results, but buying
the costliest paint may limit you. Find a happy medium. For the projects in this book, basic acrylic paints
will be perfect, but you might want to explore some of these other options as well.
B AS I C ACRYLICS
The most common acrylic for fine artists has
less body than oil paint but much more than
watercolor washes. The gel-like consistency
forms soft peaks and offers a great middle
ground for artists who desire more control Heavy-body acrylics
than fluid paints allow but without the bulk of form higher peaks
thick, heavy paints. than regular acrylics,
allowing for more
textured surfaces.
H E AVY-B O DY ACRYLICS
This thick, buttery paint with a high viscosity
retains brushstrokes and allows artists to form
stiffer peaks of paint. It is a great choice for
highly textured work that uses painting knives,
coarse brushwork, and impasto techniques.
F LU I D ACRYLICS
Fluid paints are
Fluid paint has a low viscosity with a consis-
pourable and flow into
tency that lies between ink and basic acrylic
each other beautifully.
paint. Fluids settle to a smooth finish and do
Here I used a toothpick
not retain brushstrokes or peaks. You can
to pull one color into
achieve wonderful flowing, drippy effects and
the next.
expressive spattering with this paint.
AC RYLIC INKS
Also called “liquid acrylics,” these extremely
fluid inks are the thinnest acrylics available.
They work well with watercolor techniques
such as spattering and glazing. Because they
are waterproof, you don’t have to worry about
disturbing previous layers of paint once dry.
They can also be used with an airbrush.
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Palettes
There are pros and cons to the different types
of palettes available. I’ve tried them all, and
sometimes I use different ones depending on
the project I am working on!
G L ASS I mainly use a glass palette because of
its smooth surface for mixing colors, and it’s easily
cleaned by scraping off the paint with a razor. It’s
important that the surface beneath the glass be
white, so you can accurately mix the colors. A dark or
colored surface will cause the colors to look different
on your palette than they do in your painting.
WO O D Wood is usually sturdy and light; if you
like to hold your palette while painting, it is the
perfect fit. A wood palette can be difficult to clean,
however, if you let the colors dry on the palette
over long periods of time. I usually prefer a glossy
finish on the wood, rather than raw, as it provides a
better surface for mixing.
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PLASTIC Plastic is
also smooth, like glass,
but you can’t clean it by
scraping off the paint.
This is another sturdy, but
light, option for holding or
setting on a table.
Disposable
Palettes
Most art-supply
stores carry pads of
disposable palettes.
The thin paper has
a wax finish on top
for holding your
paints and mixing.
Once you are done,
you rip it off, throw
it away, and use the
next sheet. I use
this type of palette
when I am working
on projects where
the colors need
to be very clean
and separated.
Sometimes I even
cut it into pieces, so
each color has its
own palette.
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Supports
A support is simply the surface on which you paint your artwork. Sometimes when I set up to paint, I
have an idea of the direction I am going in. I might be working from a sketch and have colors in mind
that I want to use. Other times, I get set up, and just begin to work and see where I end up!
Usually, when I have a specific outcome in mind, I consider the three surface options described here.
PA P E R The best type of paper
for painting is heavyweight
watercolor paper, cold- or hot-
pressed. This kind of paper works
really well for mixed media projects,
can handle a few of layers of paint,
and is easy to frame under glass
once dry.
WATE RCOLOR PAPER T E XT U R E S
H OT-PRE SS E D PAPE R This paper has been pressed with
heat, which creates a smooth surface. Hot-pressed paper is
ideal for fine detail, even washes, and a controlled style. This
paper is not especially absorbent, which results in bright colors.
CO LD-PRE SS E D PAPE R Also referred to as “not” or
“medium” paper, cold-pressed sheets are not treated with heat,
leaving an irregular surface. This versatile paper is ideal for
granular textures and a more painterly style.
RO U G H PAPE R This paper is even rougher than a cold-
pressed surface. The deep tooth can leave quite a bit of the
paper showing along the edges and within each stroke. It
complements an expressive style and drybrushing techniques
(see page 17).
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C A N VAS For an all-paint piece,
canvas is a perfect surface. The cloth
gives with the brush, so you get a
nice, fluid look. Canvas is very sturdy,
and you can apply layers and layers
of heavy paint without warping.
However, if you want to incorporate
pencil, pastel, or crayon into your Drawing
piece, I don’t recommend canvas, as
the cloth may break or pucker.
Tools
You’ll want to have some
drawing paper, pencils, and
erasers on hand for making
sketches before you start
your paintings. I also like
to incorporate pastels into
WO O D PANE L Wood panels are my go-to for acrylic paintings. They my work sometimes, either
can handle layers of paint, while the hard surface is great for mixing in sharp in the sketch or on top of
pencil lines and other materials. Wood panels tend to be on the heavier side, the dried paint. This is a
in terms of hanging on a wall, but they are very durable. Like canvases, you fun way to combine media
can purchase them with a deep or thin depth. You can often purchase them
and experiment with mark-
already prepped with a layer of gesso, or you can use them raw. Shown here
making and texture.
are several popular types of wood panels that you can find at hardware and
art-supply stores.
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PA I N T I N G
BASICS
Because acrylic paint is water-based, it dries quickly. You can use this to your benefit by adding many
layers to one piece in a short amount of time, without the colors mixing and getting muddy.
Another benefit of acrylic paint is that it doesn’t require any chemical liquids to dilute—you just use water!
You can take the thick paint that comes out of the tube and create any consistency between that and a
watercolor-like paint, just based on the amount of water you add.
Here I’ve demonstrated a few different painting techniques that you can practice before you dive in!
WASHE S Using a mop brush,
water down some paint and
practice creating washes of color.
I usually dip the entire brush in my
water glass first, and then mix that
into the color. This will give you a
watercolor-like consistency, with
nice variation in color throughout
the brushstroke, so you can see
exactly how your brush moves.
The faster you paint, the lighter the
brushstroke; the slower, the more
saturated the stroke will be.
ST I P P LI N G Stippling is a
creative painting technique for
creating texture or shading,
as well as giving your piece an
impressionistic look. You’ll want to
use a round brush, but choose the
size based on how big you want
your dots to be. Moving rapidly,
create a bunch of little dots with
the tip of your paintbrush. Allow
the paintbrush to create subtle
differences in the dots’ sizes.
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DRYB RU S H I often use this
technique with contrasting colors.
First lay down a thin layer of paint,
or a wash of color. Allow that to dry,
and then grab your flat paintbrush.
Use a rag or paper towel to dry the
bristles, and then load up the paint.
Slowly drag the brush on top of
the thin layer of paint, allowing the
color beneath to peek through.
PALE T T E KNIVES Palette
knives are fun tools to play with.
They create a thick yet smooth
texture, unlike any other painting
tool. You can even create full
artworks with a palette knife! This
gives the piece a very loose look,
because you generally have less
control than with a paintbrush.
Play with letting layers dry before
adding more, or mixing colors on
your canvas instead of your palette.
SC RATC H I N G Another
technique I often use in my
paintings is scratching. When
layering colors, use the handle of
your paintbrush to scratch into
the wet paint, revealing the color
beneath.
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ADDITIONAL TECHNIQUES
There are myriad ways you can work with this versatile medium!
Here are several other techniques you might want to explore.
BL E N D I NG To create a gradual blend of one color
into another, stroke the two different colors onto the
canvas horizontally, leaving a gap between them.
Continue to stroke horizontally, moving down with
each stroke to pull one color into the next. Retrace
your strokes where necessary to create a smooth blend
between colors.
DA BBI N G Load your brush with thick paint, and
then use press-and-lift motions to apply irregular dabs
of paint to your surface. For more depth, apply several
layers of dabbing, working from dark to light. Dabbing is
great for suggesting foliage and flowers.
SC UM B L I N G This technique refers to a light,
irregular layer of paint. Load a brush with a bit of slightly
thinned paint, and use a scrubbing motion to push paint
over your surface. When applying opaque pigments
over transparents, this technique creates depth.
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