By Sandra Duran Wilson
Mixed-media powerhouse duo Darlene Olivia McElroy and Sandra Duran Wilson, authors of the best-selling books photograph move Workshop, floor remedy Workshop and combined Media Revolution, blaze new inventive territory with greater than a hundred thoughts for engaged on greater than 35 special surfaces during this, their jam-packed fourth book!
You'll locate whatever new and fascinating on each page:
More than 35 substitute surfaces, together with galvanized tin, mica, rawhide, nylon, unsanded grout, slate, spray foam and more
More than a hundred strategies for portray, sculpting, developing textures, encasing, carving, printing, shifting and more
More than a hundred twenty five information for troubleshooting, getting ready your surfaces, completing and mounting your paintings, and taking your paintings to the subsequent level
More than 50 inspiring complete items of paintings showcasing the surfaces and methods
Read Online or Download Alternative Art Surfaces: Mixed-Media Techniques for Painting on More Than 35 Different Surfaces PDF
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Additional info for Alternative Art Surfaces: Mixed-Media Techniques for Painting on More Than 35 Different Surfaces
Backruns are more likely to occur on smooth papers than on absorbent or lodges some of the paint particles beneath, and these particles collect at the edge of the wash as it dries, creat- rough-textured papers. quite deliberately to create textures Apply the first wash and allow it to dry a little. When the second is applied, the first should be damp and rather than wet; ing a dark, irregular line. Backruns can, however, be used effects that are difficult to obtain too wet, the will brush into the damp wash.
These colours so that the white of the paper shines through them. Hold the 25mm (1 in) flat brush tints of at a low angle to the paper and use the square end of the brush to block in the colours. 61 4£ Glazing Mix a range of blues on a palette for the sky. Moving across from right, left to the artist has used the following mixtures: ultramarine, and Antwerp and a touch of Payne's grey; cerulean and a touch of Payne's grey; and ultramarine, purple and a touch of Payne's grey. Apply the colours thinly, in separate "blocks" as shown.
Kay Gallwey Mr Bill Asleep 38 x 58cm (15 x 23in) 31 to Using Rags Working on a large sheet of paper with a rag dipped in watercolour an empty foreground. And by smearing the paint on you can create est to erating experience. soft marks suitable for painting skies and water, flowers or animal fur. Rags and sponges are also useful sensitive tools, for the rapid application of paint paint and then finger or wrapped around your crumpled into a wad is a lib- The fingers are and because they are more or less in direct contact with the paper, you will find yourself working more boldly and intuitively, making fluid and decisive marks.