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Carder method WITH ACRYLIC

Hello, I am an acrylic artist and am saving up the money for Geneva paint and my other oil supplies, while also planning a way to let my paintings dry without my 2 year old “reworking” them for me (ironically the fast drying time is the thing I find most difficult about psi ting acrylics, but also one of the reasons I use them) I’m wondering if anyone here uses acrylics for marks method?i use golden heavy body, and use both golden retarder, and golden gloss glazing liquid to control the drying time. I did my first still life the other day using a limited pallet of quinacridone crimson, cadmium yellow medium, ultramarine blue, burnt umber, and titanium white, and was happily surprised with my result, but know that I have a very long way to go in order to reach my goal. I had to mix my colors on the fly and couldn’t truly follow his technique, but was greatly informed by his wisdom and method and would welcome anyone’s ideas on how to premix all colors and have a set of value piles without them all drying up, but am mainly hoping someone can share their own experience painting in the carder method using acrylics. Also I color my gesso the same tint of burnt umber, and pencil in with yellow using a proportional divider. I think it would be cool to continue working in acrylics as I move I to oils and eventually work in both mediums, I welcome all thoughts and especially any personal experience. Thank you all!

Comments

  • dencaldencal -
    edited November 14
    ConnorDios

    Storage: Stock color (bu,um,cy,pac,tw, black) mixed directly into 75 ml snap caps with SDM. Lasts two years.
    Value strings mixed on the palette and dropped off palette knife into 10 ml snap caps. Lasts four to six weeks. Dependent on temperature,  humidity and lid open time. Air (oxygen) can be displaced with a glass marble. Half tones and temperature adjustment mixed on the palette. Cheap, reusable, disposable, durable, paint economy. Remainders avail for touch ups and redos. Left overs great for toning next canvas or two.

    This works well for W&N Artists Oils with SDM or with water miscible oils with SDM. Should work with acrylics but I don’t know how long they will be useable.

    Aside from the fast dry problem my gripe is the flat, cartoon style result with acrylics.
    ‘I use acrylics as an under painting with oils as a top coat.



    Denis
    tassieguyMayeoliConnorDios
  • I have used Acrylics and oils with a DMP style method. The fast drying of Acrylics means it would be impossible to do a DMP step-by-step painting and then blend. If you don't want to do blending at all, then just using a lot of colour strings with acrylics will work perfectly well. Just mix and store them in little snap caps with enough moisture present that they don't dry out rather than on a dry or wet palette.

    If you do want to be able to blend then you have to work very fast. You could try retarders. I have Golden OPEN paints which stay blendable for some time, but you also then have a lower pigment load then you have for artist level acrylics. As this is already lower in acrylics than oils this means I find I need two coats even with opaque colours like Iron Oxides with I paint with Golden OPEN.

    I've just done a portrait with blending using Golden OPEN so it can work very well if you work within the limitations.

    As with everything to do with painting it depends on your style and how you paint as to what works best for you.
    ConnorDios
  • @Richard_P @dencal hello and thank you both for your insightful and helpful advice! I have spent quiste a bit of time trying to blend, and while I do still want to employ a certain small degree of blending, i am actually aiming toward a very loose stroke with the unblended quality of realism one would see in a Sargent painting and so I have been trying to block in values and then if I really want to soften something, scumbling  and dry brushing with a very minimal brush-load to soften edges (wet-in-dry)  I use the golden heavy body paint without medium and find the pigment load to be among the highest available in acrylic and have avoided the flat look through mixing “dirty colors” and working in successive layers. I currently do use golden drying retarder and also a glazing liquid with slow dry medium mixed into it for successive layering techniques and have been successful extending my window oro blend to about an hour, maybe more depending on the pigment. I am going to be going to the art store today and getting a bunch of 10ml snap caps and will paint a self portrait tonight using the DMP method and might post the results if I feel like it haha. Thank you again, you have given me some great ideas! I am very grateful to this community here at DMP 
  • Sounds a good plan! Looking forward to seeing what you come up with. :)
    ConnorDios
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