In acrylic, happiness comes a bit faster. Robert Genn
I will be teaching a class at the Richmond Art Center on Jan 11, “Acrylic Bag of Tricks.” In February, I will begin teaching a series of two workshops about painting acrylic still lives at the Frank Bette Center (Feb 24 and Mar 23). So I can rightfully say I will start the year with acrylics.
But did you know that I did not start using acrylics until 2005? I did not receive instruction in it when I was in art school in the 1980s. Some instructors used acrylics back then, but they treated it like a lesser medium. If, as painter Andrew Hamilton says, “acrylic is the only painting medium that can be all mediums – it can act like watercolor, it can act like oils, and it has its own innate properties,” none of this was demonstrated in the classes I paid for. Instead, the few instructors or colleagues that used acrylic complained of the loud colors, or the quick drying time, and of the fact that it ruined brushes faster than oils. After I left art school, the stigma persisted. So I did not touch acrylics. I did not hate them, I just did not know what was possible.
Fast forward twenty years. I took a figure painting class and met my friend Karen Zullo Sherr, a feisty lady who used nothing else. She explained it was “all in the additives.” Intrigued, I began reading and trying out acrylic “recipes” I found in books, and sometimes on video. I began experimenting with thickening agents and eventually graduated to image transfers. Along the way, I figured out how to take advantage of its many features in plein air and studio situations.
Over the years, I realized not everyone will like or use acrylic. To find out if you are cut out for it, take my quiz:
1. My level of experience is ___________.
a. beginner b. I have taken some classes c. I use a different medium for most of my work
2. I do most of my work ___________.
a. indoors b. outdoors c. both
3. This word can be used to describe most of my paintings:
a. experimental b. abstract c. traditional
4. I am _________ to solvents
a. very sensitive b. neither sensitive or insensitive c. not sensitive
Give yourself two points for every “a” response, one point for every “b” response and zero points for any “c” response.
If you scored 6-8 points, acrylic is in the charts! You are too neat for oils, too sensitive to thinner, you work where a faster drying time is not an issue, and you “seize the moment” as an artist. If you are a beginner, this water soluble medium is definitely for you.
Those who scored 3-5 points could give this medium a chance but first they would have to set themselves up for success. Using additives that mimic the qualities of oils, using retardants to delay drying time and taking the time to learn about the medium’s attributes will let you see what you’ve been missing!
Even if you scored less than 3 points, that does not mean you should write acrylics off. You may be very experienced with other media and thus ready for a change of pace. Your health might change later on and you might have to switch, or you might be getting ready to do different work. One never nows so why not check it out?
Acrylic is possibly the most versatile and forgiving medium. This day is structured so that beginners as well as more experienced painters can take a tour of its exciting possibilities while painting the still life. We’ll cover the uses of several additives and how to mix acrylic colors.
Register here, at the Frank Bette Center’s site. The FBC has a list of materials available once you register.
The workshop runs from 9-4 pm. It costs $80 for members and $100 for non-members. Here is the agenda for the day:
You will be able to receive instruction and create one or more still lives during this workshop. Each student will be given the choice of trying out a new effect with an acrylic additive. You will be able to receive as much or as little support as you specify. So that we can all be in the same page, during the first hour we will go through the basic steps in the development of an acrylic piece.
Here is the agenda for the day:
Introductions, purpose and goals for the class.
Survey of acrylic pigments and additives. The role of quality in acrylic supplies. How to prime cardboard.
Demo of the basic steps in starting a traditional acrylic painting.
How to prepare your own impasto or “fresco” textures.
Still life #1
12:00 – 12:30
Lunch (bring your own)
12:30 – 1:00
Demo: how to make acrylic behave like oils. Retardant, gel medium and acrylic glazes
1:00 – 3:00
Still life #2
Debrief or critique of the work done today. Evaluation an.d cleanup
How to begin a landscape painting part 2.
Event Location Changed! – Directions to Hoffman Marsh
There is a plant sale at the Tilden Botanical Garden. No parking and too many people around for us to paint comfortably.
How to begin a landscape painting part 2. Safer painting practices.
Directions to Miller Knox Park
Take 580 in the direction of San Rafael. Get off at the Point Richmond/Canal Blvd exit. Make a left at the ramp in order to get on Canal, then make a right on Cutting Ave. Continue on Cutting until you hit Garrard, then make a left and go through the tunnel. When you get to the other side, you´ll be on Dornan Dr and will see Keller Beach to your right. Pass the Golden Gate Railroad Museum at 900 Dornan Dr to your left, and enter the last of a couple of Miller Knox park entrances to your right. If you find yourself at the Ferry Point Trailhead, you’ve gone too far.