By Nancy Reyner
50 amazing techniques...for paintings that shines above the remaining!
From the writer of the best-selling books Acrylic Revolution and Acrylic Innovation, this ebook blazes new artistic territory with 50 options that harness the creative energy of sunshine. starting from sophisticated glazing on steel leaf, to pearly sheens, to boldly coloured optical results and shiny surfboard finishes, those ways symbolize the main asked points of Nancy Reyner's well known workshops. 50 crowd pleasing suggestions characteristic steel leaf, reflective paints, pouring, fluorescent and phosphorescent paints, refractive layering and optical colour results. percentages are vividly illustrated with diversified paintings from forty four artists. A "Crash path on Acrylic" bankruptcy deals an outline of ways to exploit those flexible paints and items to their fullest strength. This hands-on consultant offers transparent step by step instructions to effectively execute those new and fascinating thoughts. discover matte epidermis development, sheen moving, embedding gadgets, patinas and polished stone results. Use those techniques for natural, summary or real looking styles...as backgrounds, best layers, or accents layered in between...combine, scan, and permit your work shine.
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Extra info for Acrylic Illuminations: Reflective and Luminous Acrylic Painting Techniques
The outer petals, nearly all violet; the inner, white with violet centres, like crocus. The interior, white; and the rose-like stamens, golden. But the violet itself is a most mysterious tone; made first by the finest possible granulate powdering of purple on the white ground—then over this, at the base of the petal, minutest granulation of purple-black; and all this seen through a mist of close-set amianthoidal down, palest fox-colour at base, passing up into silver-grey so delicate that it only makes the colour dim, seen in front, and its real depth and even existence are only manifest in the leaf profile.
Rose-Star. I must find some lovely name for this—gathered by Hugh Allen yesterday and brought down with us from high Simplon. The aim of the plant is not grace, but a quaint order of leaves apparently independent and going in all INTRODUCTION xxxvii directions, as if a company of ants had suddenly been turned into leaves; or a number of people in a crowd incapable of getting into order by position had fitted themselves in with friendly inlaying of elbows, looking all the while this way and that.
He describes the swallow as "an owl that has been trained by the Graces. It is a bat that loves the morning light. It is the aerial reflection of a dolphin. "8 The only question that is apposite is whether they are 1 See the beginning of his Kirkcudbright Catalogue iu Vol. XXVI. See Vol. XXII. p. 519. 3 4 W. G. Collingwood's Life and Work of John Ruskin, 1900, p. 302. See Vol. XXI. p. 227; other drawings by the same artist are in the Ruskin Museum at Sheffield. 6 See below, p. 57. 0 Vol. XIX. p.