Texture In Acrylics And Use Of Palette Knives

This video fills the gap left when you move from oils to acrylic and still wish to use a palette knife and create impasto effects in your paintings. This demonstrates the use of additives which allow the prolonged use of the acrylic paint without rapid drying and it shows the use of body product which can build up the paint to a texture more akin to the oil paints.

We have put this video on the site to expressly answer a question from an artist, Elizabeth Webb, on another art site (PaintingsILove)  which we think worthy of note and even use to present some of your own works.

You can find some additional information here http://www.artistterms.com/acrylictexturepaste.htm

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    1. Cool! I really want those knifes for my paintings ! It saves a lot of time and it has beautiful patterns!!! Thank you so much !! I will buy them right away!! And do you have more products for art??? Well thanks again and i love the mustache!!! πŸ˜€ πŸ˜€ πŸ˜€ πŸ˜€ πŸ˜€ πŸ˜€

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    2. Hi,thank you for your paper, I enjoyed reinadg it and it would be interested discussing it further my research is also following similar objectives.I appreciated the fact that you are trying to investigate social media without being necessarily against their use, even criticizing their limits and contradictions especially regarding privacy and enclosure.I also believe that the challenge will be to analyze web2 platforms as sites of creative public practices, while trying to stress the problematic these practices will contribute to express. As you pointed out, the production and dissemination of publicly accessible applications that make use of and produce public data is a key area in the consideration of a hybrid public art practice .I wander what is your position on Wikileaks, as a problematic example of dissemination of information and citizen visualization , to use your words. Would you consider it as an example of hybrid public art practice?Another observation concerns the notion of marginal utility. I do not see the work of Les Liens Invisibles outside that methodological pattern. Even if the artists encouraged users to commit a virtual suicide in Facebook and, doing so, to re-appropriate data and friends, their were not expressing a refuse to communicate.I believe instead that they wanted to demonstrate the impossibility of committing suicide in Facebook, due to the permanent storage of our data on the company’s server. The difference with the suicide machine project, which culminated in erasing our password, was the possibility to come back to life in Facebook, making the all operation a meta-comment of user participation. Seppukoo showed the hidden rules of social networking and evidenced the strategical importance of our data for the company. They got sued by Facebook because the company does not allow building external applications exporting users data even if they demonstrated that committing suicide was an individual choice freely made by the user.In this perspective, I would see Seepukoo perfectly fitting with the Kluge’s concept of marginal utility, crawling under the fence while investigating the boundaries of social media.Best!Tatiana

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