By Lee Hammond
Lee Hammond is helping you get your acrylic work earlier that preliminary “awkward stage” with nice guidance and tips for reaching practical effects.
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Extra resources for Acrylic Basics for Beginners
How do you want to put your paint on? Are you going to use a broken color rendering, or strong fluid brushwork, or something else? Do you intend a thickly painted rendering or thin? Where are you going to shovel the paint on, and where do you want to keep it thin? ) 8. Where are the strong simple areas, and where do you have to be especially careful? 9. Are there any drawing problems? Is there foreshortening to contend with? Are there perspective distortions, or areas of ambiguity or confusion?
Zorn and Sargent were notably fussy about how they put the paint on, and delighted in cocky flourishes-so much so that their dexterity is often the first thing noticed. However, they did it with such consummate skill that we delight in their bravado. Painters like Serov, Henri, and Twachtman simply didn't care about surface technique, and (to me) their work is somewhat stronger for that. The whole point of Direct painting is to depict faithfully what is seen, not to demonstrate cleverness with a brush or knife.
For one reason or another, it occasionally doesn't work out exactly that way, but at least that's what I shoot for, and the results in most cases fall reasonably within my hopes. Errors happen, of course. In my case, mainly from working too fast-trying to get too much on my canvas all at once. That causes carelessness in measuring for the drawing-making the little shapes of color the wrong shape. Usually I mess up when I'm trying to show off, so I have no good excuse (only the consequences of cockiness).