Tuesday, October 21, 2014

Standard frame sizes - is there a such thing?

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So What are the standard frame sizes?

Interestingly enough there should be no such concept as Standard Frame Sizes since the standards are not really applicable to frames.


I'll explain why and will also talk about recommended sizes and tips on selecting the right frame and show some examples.


Lets start with why the standards can not be applied to frames:

  • Well for one - frames are made to hold objects and for simplicity I'll only talk about pictures and art (paintings, drawings, watercolor...) here. So its really the object size that determines which frame you want.

  • Then the frames are made to enhance the presentation of an object such as painting and different manufactures that produce frames have thousands of designs and styles based on their understanding of the common trends and demand - and if the inside frame dimensions will most likely be set in such way that an object with a standard size (pictures or art) will fit inside of it the outside dimensions can vary drastically.
So there you have it is the pictures and art that have standard (commonly used) sizes frames do not. When people talk about frame sizes they really talking about the size of an object that can fit in it but not the actual frame size.

So what is the best way to select a picture size or an art size where pre-made frames will be readily available - thus a custom (more expensive) frame can be avoided?

  • With pictures it is very easy since they follow more stricter guidelines as far as the picture size. You will hardly ever find a picture that was custom made and is not a one of the commonly used sizes. Thus, you can simply visit a store where you print your pictures or a store where you plan to buy a picture frame - all the frames you will find are created for standard pictures sizes so you just pick one that you like. 
         Here is what I believe are the standard picture sizes:
         The rating is simply based on how many frame choices you most likely will find at a store for a given pictures size. As always this is my personal opinion based on my experience so use it wisely (sizes are in inches): 

* - one or two frames, ** - less than a dozen, *** - few dozen, **** - A LOT 

        2 x 3           -  *
        2.5 x 3.5     -  *
        3 x 3           -  *
        3.25 x 4.5   -  **
        4 x 4           -  **
        4 x 6           -  **** - most common size you most likely find hundreds of frames 
        5 x 7           -  **** - second most common 
        6 x 8           -  *
        8 x 10         -  *** - third most common
        8.5 x 11      -  **
        10 x 26       -  *
        11 x 14       -  **
        11 x 17       -  *     
        12 x 12       -  **
        Anything larger and we are talking about customer orders, canvas prints from a photograph and other things that actually fit into the 'standard' frames for art category below. 
  • With art things are a bit more complicated. Artist are mostly poor and it was very common for them to create a frame for a canvas from whatever materials they had available so many canvas sizes early on, and sometimes even today, do not follow the standards. To make things more complicated European standards are different simply because they use centimeters instead of inches. However, recently affordable stretched canvas become widely available so it become easier to talk about standard canvas sizes. I recommend reading my articles that cover standard canvas sizes (frames will go along with that) as well as European standards, tips on selecting right size and much more:
     Here is the post that covers standard canvas sizes and pictures sizes.

     And this post covers European standards and has some other useful information.

The tips on selecting a right frame:

  • Well first thing first - take a look at what decor you have where the painting/picture will be hung. Obviously you will most likely need a frame that will fit well with the surroundings - e.g. most of the time classic frame will not go well with modern decor.
  • Then, how big is the space (wall) relative to the painting/picture size - even if the painting is not very large you can use wide frame (wide mat) to make it appear much bigger - see example below - a slimmer frame will make it appear smaller. Assuming the wall is large, your art is small and its a single peace of art on the wall - you want as wide of a frame as possible to make it appear larger. However, I recommend to keep the frame width to no more than 1/5 of the longest dimension of the painting. E.G. if you painting is 16 by 20 inches then the frame should not be more than 4 inches wide from the edge of the painting to the edge of the frame. 
  • Then check how deep the frame is. Some frames are not deep enough to handle stretched canvas - the inner frame for the canvas can be for example half  or full inch - you need to make sure the frame dept is the same.  And for canvas board or picture it will need to be very shallow.  
  • If you have a standard size painting (or picture) you can find very nice frame for a fraction of a cost at a garage or estate sale. Simply replace the painting that is already there with your painting.
  • A golden heavy frame (wide, lost of details, used to be common in palaces) usually associated with classic style and royalty- a slick black thin metal frame (half an inch for example) with modern style. 
In the end my advise is: You see a frame you like - buy it, this is all that is to it.

A PLUS ONE is always appreciated: 


And don't forget to leave a comment.


A few examples of what a frame can look like for the exact same painting size:

You can easily see that the last frame is much wider than the first two and the painting inside appears to be larger but it is the same size painting in all thee frames. Also in third frame the white boarder makes painting stand out more. So frames are all about presentations.

Sample standard frame with small mat
Small Mat
Sample standard frame with no mat
No Mat
Sample standard frame with wide mat
Wide Mat


Sunday, October 12, 2014

Standard Canvas Sizes Graphs, Ratings, Proportions

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In my previous post What are the standard canvas sizes? I talked about different sizes, pros and cons of using one vs another, size ratings based on popularity, availability and usability and much more. 

However, I have been asked many times (in comments and in person) to put together a graph(picture) of the standard canvas sizes along with the rating and other information. 

So below I have the comparison chart, color coded proportions and rating table (See original post for the detail explanation of each rating). As a bonus I added a paragraph about french standard painting sizes with conversion to inches and some notations.


I guess picture worth a thousand words so here it is: 
Canvas Size Comparison Chart

Canvas Size Comparison Chart

Color codes for proportions for graph above

Color Codes for Canvas Size Proportions

Canvas sizes ratings

Rating Table

See original post ("What are the standard canvas sizes?") 
for the detail explanation of each rating.
http://blog.artprintsetc.com/2010/03/what-are-standard-canvas-sizes.html

A PLUS ONE is always appreciated: 






And here is some information on European standards.

Please read comments before the table as probably none of this is applicable in USA (or anyplace where inches are used instead of centimeters). This information is provided as an interesting fact only. 
French standard sizes for oil paintings refers to a series of different sized canvases for use by artists. The sizes were fixed in the 19th century. Most artists, not only French, used this standard, as it was and still is supported by the main suppliers of artist materials.
The main separation from size 0 to size 120 is divided in separate runs for figures, landscapes and marines which more or less keeps them diagonal. Thus a 0 figure corresponds in height with landscape 1 and marine 2.
Please Note:  
  • All conversions to inches are rounded up to a whole number ( all canvases manufactured in USA have sizes in whole inches and only custom made canvases can have sizes with fraction of the inch).
  • I have never seen canvases in sizes 7 x 4 or 7 x 5 for example so this table is for reference only do not think that you can actually find all these sizes in stores. 
  • One interesting thing is that specific sizes are considered appropriate for Figure vs Landscape vs Marine paintings - in USA there is no hard division between sizes for different painting types - for the most part it is up to the artist what size canvas to use - however usability and frame availability should be always considered as mentioned in the prior post.


French standard painting sizes and conversion to inches

French Standard sizes for painting and conversion to inches.

Thursday, October 9, 2014

Printmaking - Techniques, Lithography, Woodcut, Etching, Mezzotint, Aquatint, Digital

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Printmaking is the process of making artworks by printing, normally on paper. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each piece is not a copy but an original since it is not a reproduction of another work of art and is technically known as an impression. Painting or drawing, on the other hand, create a unique original piece of artwork. Prints are created from a single original surface, known technically as a matrix. Common types of matrices include: plates of metal, usually copper or zinc for engraving or etching; stone, used for lithography; blocks of wood for woodcuts, linoleum for linocuts and fabric plates for screen-printing. But there are many other kinds, discussed below. Works printed from a single plate create an edition, in modern times usually each signed and numbered to form a limited edition. Prints may also be published in book form, as artist's books. A single print could be the product of one or multiple techniques.


Techniques -
Overview Printmaking techniques can be divided into the following basic families or categories:
relief printing, where the ink goes on the original surface of the matrix. Relief techniques include: woodcut or woodblock as the Asian forms are usually known, wood engraving, linocut and metalcut;
intaglio, where the ink goes beneath the original surface of the matrix. Intaglio techniques include: engraving, etching, mezzotint, aquatint, chine-collé and drypoint;
planographic, where the matrix retains its entire surface, but some parts are treated to make the image. Planographic techniques include: lithography, monotyping, and digital techniques.
stencil, including: screen-printing and pochoir
Viscosity printing

Other types of printmaking techniques outside these groups include collography and foil imaging. Collography is a technique used in printmaking where any textured found material is adhered to the printing plate. This texture is captured on the paper after the print is created. Modern printing technology may be included such as Digital printers, photographic mediums and combination of both digital process and conventional processes.

Many of these techniques can also be combined, especially within the same family. For example Rembrandt's prints are usually referred to as "etchings" for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all.


Woodcut -a type of relief print, is the earliest printmaking technique, and the only one traditionally used in the Far East. It was probably first developed as a means of printing patterns on cloth, and by the 5th century was used in China for printing text and images on paper. Woodcuts of images on paper developed around 1400 in Europe, and slightly later in Japan. These are the two areas where woodcut has been most extensively used purely as a process for making images without text.

The artist draws a sketch either on a plank of wood, or on paper which is transferred to the wood. Traditionally the artist then handed the work to a specialist cutter, who then uses sharp tools to carve away the parts of the block that he/she does not want to receive the ink. The raised parts of the block are inked with a brayer, then a sheet of paper, perhaps slightly damp, is placed over the block. The block is then rubbed with a baren or spoon, or is run through a press. If in color, separate blocks can be used for each color, or a technique called reduction printing can be used.

Reduction printing is a name used to describe the process of using one block to print several layers of color on one print. This usually involves cutting a small amount of the block away, and then printing the block many times over on different sheets before washing the block, cutting more away and printing the next color on top. This allows the previous color to show through. This process can be repeated many times over. The advantages of this process is that only one block is needed, and that different components of an introcate design will line up perfectly. The disadvantage is that once the artist moves on to the next layer, no more prints can be made.

Another variation of woodcut printmaking is the cukil technique, made famous by the Taring Padi underground community in Java, Indonesia. Taring Padi Posters usually resemble intricately printed cartoon posters embedded with political messages. Images--usually resembling a visually complex scenario--are carved unto a wooden surface called cukilan, then smothered with printer's ink before pressing it unto media such as paper or canvas.


Engraving - The process was developed in Germany in the 1430s from the engraving used by goldsmiths to decorate metalwork. Engravers use a hardened steel tool called a burin to cut the design into the surface of a metal plate, traditionally made of copper. Engraving using a burin is generally a difficult skill to learn.

Gravers come in a variety of shapes and sizes that yield different line types. The burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. Other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects.

To make a print, the engraved plate is inked all over, then the ink is wiped off the surface, leaving only ink in the engraved lines. The plate is then put through a high-pressure printing press together with a sheet of paper (often moistened to soften it). The paper picks up the ink from the engraved lines, making a print. The process can be repeated many times; typically several hundred impressions (copies) could be printed before the printing plate shows much sign of wear.

In the 20th century, copper-plate engraving was revived as a serious art form by Josef Hecht and Stanley William Hayter.


Etching - is part of the intaglio family (along with engraving, dry-point, mezzotint, and aquatint.) The process is believed to have been invented by Daniel Hopfer (circa 1470-1536) of Augsburg, Germany, who decorated armour in this way, and applied the method to printmaking. Etching soon came to challenge engraving as the most popular printmaking medium. Its great advantage was that, unlike engraving which requires special skill in metalworking, etching is relatively easy to learn for an artist trained in drawing.

The Three Crosses, etching by Rembrandt Etching prints are generally linear and often contain fine detail and contours. Lines can vary from smooth to sketchy. An etching is opposite of a woodcut in that the raised portions of an etching remain blank while the crevices hold ink. In pure etching, a metal (usually copper, zinc or steel) plate is covered with a waxy ground. The artist then scratches off the ground with a pointed etching needle where he wants a line to appear in the finished piece, so exposing the bare metal. The plate is then dipped in a bath of acid, or has acid washed over it. The acid "bites" into the metal, where it is exposed, leaving behind lines to the plate. The remaining ground is then cleaned off the plate, and the printing process is then just the same as for engraving.


Mezzotint - An intaglio variant of engraving where the plate first is roughened evenly all over; the image is then brought out by scraping smooth the surface, creating the image by working from dark to light. It is possible to create the image by only roughening the plate selectively, so working from light to dark.

Mezzotint is known for the luxurious quality of its tones: first, because an evenly, finely roughened surface holds a lot of ink, allowing deep solid colors to be printed; secondly because the process of smoothing the texture with burin, burnisher and scraper allows fine gradations in tone to be developed.

The mezzotint printmaking method was invented by Ludwig von Siegen (1609-1680). The process was especially widely used in England from the mid-eighteenth century, to reproduce portraits and other paintings.


Aquatint - A technique used in Intaglio etchings. Like etching, aquatint technique involves the application of acid to make marks in a metal plate. Where the etching technique uses a needle to make lines that retain ink, aquatint relies on powdered rosin which is acid resistant in the ground to create a tonal effect. The rosin is applied in a light dusting by a fan booth, the rosin is then cooked until set on the plate. At this time the rosin can be burnished or scratched out to affect its tonal qualities. The tonal variation is controlled by the level of acid exposure over large areas, and thus the image is shaped by large sections at a time.

Goya used aquatint for most of his prints.


Drypoint - A variant of engraving, done with a sharp point, rather than a v-shaped burin. While engraved lines are very smooth and hard-edged, drypoint scratching leaves a rough burr at the edges of each line. This burr gives drypoint prints a characteristically soft, and sometimes blurry, line quality. Because the pressure of printing quickly destroys the burr, drypoint is useful only for very small editions; as few as ten or twenty impressions. To counter this, and allow for longer print runs, electro-plating (here called steelfacing) has been used since the nineteenth century to harden the surface of a plate.

The technique appears to have been invented by the Housebook Master, a south German fifteenth century artist, all of whose prints are in drypoint only. Among the most famous artists of the old master print: Albrecht Dürer produced 3 drypoints before abandoning the technique; Rembrandt used it frequently, but usually in conjunction with etching and engraving.


Lithography - is a technique invented in 1798 by Alois Senefelder and based on the chemical repulsion of oil and water. A porous surface, normally limestone, is used; the image is drawn on the limestone with a greasy medium. Acid is applied, transferring the grease to the limestone, leaving the image 'burned' into the surface. Gum arabic, a water soluble substance, is then applied, sealing the surface of the stone not covered with the drawing medium. The stone is wetted, with water staying only on the surface not covered in grease-based residue of the drawing; the stone is then 'rolled up', meaning oil ink is applied with a roller covering the entire surface; since water repels the oil in the ink, the ink adheres only to the greasy parts, perfectly inking the image. A sheet of dry paper is placed on the surface, and the image is transferred to the paper by the pressure of the printing press. Lithography is known for its ability to capture fine gradations in shading and very small detail.

A variant is photo-lithography, in which the image is captured by photographic processes on metal plates; printing is carried out in the same way.


Screen-printing - also known as "screenprinting", "silk-screening", or "serigraphy") creates bold color using a stencil technique. Stencil printing is arguably the oldest form of graphic arts.

The first time man placed his hand against a cave wall and blew ash and dried blood against it was the first time a stencil was used. Around 500 BC in Japan, artists were gluing human hair between pieces of paper to create floral stencils which were used with brushes to tamp color. The hair was later replaced with a silk mesh (hence the name "silk screen"). Stencils were even used to print the bold red crosses on the shields and cuirasses of the crusading knights, but it wasn't until the turn of the century that silk screen printing became industrialized and was used in the printing of fabrics and textiles throughout the western world. After that, it was only a matter of time before artists such as Roy Lichtenstein, Robert Rauschenberg, and Andy Warhol began experimenting with the technique for artistic purposes.

In screen printing, the artist draws or paints an image on a piece of paper or plastic (film can also be used). The image is cut out creating a stencil (keep in mind that the pieces which are cut away are the areas that will let ink through). A screen is made of a piece of fabric (originally silk) stretched over a wood or aluminium frame. The stencil is fixed to the screen.

Modern technology uses direct and indirect photo emulsions which are UV sensitive. This means that the artist's renderings on transparent film can be exactly reproduced on the nylon screen coated with light sensitive (UV) emulsion. The light sensitive emulsion fills in the entire screen, the transparent film upon which the artist has drawn is laid upon the screen and both are placed in the exposure unit. Where the light passes through the transparent film, the emulsion is exposed and hardens. Where the artist's markings on the film stop the light, the emulsion is NOT exposed and releases upon washing, creating a stencil on the screen that exactly reproduces the artist's markings to the finest detail.

The screen is then placed on top of almost any substrate, paper, glass, fabric, golf balls, etc. Ink is then placed across the top length of the screen. A squeegee (rubber blade) is used to spread the ink across the screen, over the stencil, and through the open mesh onto the paper/fabric below. The screen is lifted once the image has been transferred onto the paper/fabric, which is replaced with the next, unprinted, substrate. Colors are added layer by layer and each color requires a separate stencil on a separate screen. The screen can be re-used after cleaning.


Digital prints - Digital prints refers to editions of images created with a computer using drawings, other prints, photographs, light pen and tablet, and so on. These images can be printed to a variety of substrates including paper and cloth or plastic canvas. Accurate color reproduction is key to distinguishing high quality from low quality digital prints. Metallics (silvers, golds) are particularly difficult to reproduce accurately because they reflect light back to digital scanners. High quality digital prints typically are reproduced with very high-resolution data files with very high-precision printers. The substrate used has an effect on the final colors and cannot be ignored when selecting a color palette. The term Giclee is sometimes used to describe the process of making fine art prints from a digital source using ink-jet printing.

Digital images can be printed on standard desktop-printer paper and then transferred to traditional art papers (Velin Arch or Stonehenge 200gsm, for example). One way to transfer an image is to place the printout face down upon the art paper and rub Wintergreen oil upon the back of the print, and pass it through a press.

Digital prints that are stored and sold electronically are problematic when it comes to authorship of the print and the protection of pecuniary interests. Adobe Systems tried to overcome the digital edition problem with their Adobe Reader application.

Electronic images are truly multiple originals as they rely upon code to produce the image and every copy is actually the writing of code upon a disk or reproduction of code. Prints produced via any other medium are copies and not truly original unless a process of manual editing of the final result or plate is applied.

Sociologist Jean Baudrillard has had a large influence upon digital printmaking with theories expounded on in Simulacra and Simulation.


Foil imaging - In art, foil imaging is a printmaking technique made using the Iowa Foil Printer, developed by Virginia A. Myers from the commercial foil stamping process. This uses gold leaf and acrylic foil in the printmaking process.


Color - Printmakers apply color to their prints in many different ways. Often color in printmaking that involves etching, screenprinting, woodcut, or linocut is applied by either using separate plates, blocks or screens or by using a reductionist approach. In multiple plate color techniques, a number of plates, screens or blocks are produced, each providing a different color. Each separate plate, screen, or block will be inked up in a different color and applied in a particular sequence to produce the entire picture. On average about 3 to 4 plates are produced, but there are occasions where a printmaker may use up to seven plates. Every application of another plate of color will interact with the color already applied to the paper, and this must be kept in mind when producing the separation of colors. The lightest colors are often applied first, and then darker colors successively until the darkest.

The reductionist approach to producing color is to start with a lino or wood block that is either blank or with a simple etching. Upon each printing of color the printmaker will then further cut into the lino or woodblock removing more material and then apply another color and reprint. Each successive removal of lino or wood from the block will expose the already printed color to the viewer of the print.

With some printing techniques like chine-collé or monotyping the printmaker may sometimes just paint into the colors they want like a painter would and then print.

The subtractive color concept is also used in offset or digital print and is present in bitmap or vectorial software in CMYK or other color spaces.

Protective printmaking equipment - Protective clothing is very important for printmakers who engage in etching and lithography (closed toed shoes and long pants). In the past, many printmakers did not live far past 35 to 40 years of age because of their exposure to various acids, solvents, particles, and vapors inherent in the printmaking process.

Whereas in the past printmakers put their plates in and out of acid baths with their bare hands, today printmakers use rubber gloves. They also wear industrial respirators for protection from caustic vapors. Most acid baths are built with ventilation hoods above them.

Often, an emergency cold shower or eye wash station is nearby in case of acid spillages, as well as soda ash- which neutralizes most acids. Some printmakers wear goggles when dealing with acid.

Protective respirators and masks should have particle filters, particularly for aquatinting. As a part of the aquatinting process, a printmaker is often exposed to rosin powder. Rosin is a serious health hazard, especially to printmakers who, in the past, simply used to hold their breath using an aquatinting booth.

Barrier cream is often used upon a printmaker's hands both when putting them inside the protective gloves and if using their hands to wipe plates (wipe ink into the grooves of the plate and remove excess).

Sterile plasters and bandages should always be available to treat cuts and scrapes. For example, zinc plates can be extremely sharp when their edges are not beveled.


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Tuesday, October 7, 2014

Acrylic Paint techniques and tips

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Acrylic paint is a fast-drying paint containing pigment suspension in acrylic polymer emulsion. Acrylic paints are water soluble, but become water-resistant when dry. It can be used on practically any surface - canvas, board, concrete, paper, etc...

Because Acrylic paint is soluble in water and can be modified with acrylic gels, pastel or media it is very versatile and  the finished painting can resemble watercolor or oil painting, or look completely unique, unlike like any other paint.

Tips and techniques for using acrylic paint:

Preventing paint from drying out:
Acrylics are often preferred because they dry faster on canvas than oil paints. However, in some circumstances, there may be a need to keep the paint moist longer. One way to keep paints from drying out is to spray a light mist of water over them occasionally.

Creating fluid paints:
Fluid paints can be used like watercolors, or for glazing and washes. Add water to the paint to create a more fluid texture. The ratio of paint to water depends on how thick the glaze is expected to be. The more paint there is than water the more solid the color would be and as more water is added the texture becomes smoother.  Make sure that after mixing the paints, allow time for the air bubbles to rise to the surface.

Painting glazes:
Acrylic paint glazes are often used to create more depth in an image. These types of paints are light enough to show the underlying layers on canvas. Light colored glazes can also be used to provide softening effects when painted over dark or bright images.

Remember to wait for each layer to dry thoroughly before applying another coat. This will prevent the paint from smearing or leaving unwanted smudge marks. After the application of several layers, apply rubbing alcohol to reveal colors from earlier layers.

Pouring paints:
Pour painting is a new trend in using acrylic paints to create art. The paint is simply poured directly onto the surface and the canvas tilted to move the paint around. It allows colors to blend naturally as they come in contact with each other and this can be done with one or multiple colors at a time. Keep in mind that when pain is mixed using this technique some subtle effects/colors can be partially lost when the painting drys out.


Varieties of the acrylic pain - this is not a complete list there are also Fluorescent acrylic paint and other varieties:

Craft acrylics can be used on surfaces besides canvas, such as wood, metal, fabrics, and ceramics. They are used in decorative painting techniques and flux finishes, often to decorate objects of ordinary life. Although colors can be mixed, pigments are often not specified. Each color line is formulated instead to achieve a wide range of pre-mixed colors. Craft paints usually employ vinyl or PVA resins to increase adhesion and lower cost.

Heavy body acrylics are typically found in the Artist and Student Grade paints, they are the best choice for impasto or heavier paint applications. Heavy Body refers to the viscosity or thickness of the paint. They will hold a brush or knife stroke and even a medium stiff peak. Gel Mediums "pigment-less paint" are also available in various viscosity and used to thicken or thin paints, as well as extend and add transparency.

Interactive acrylics are all purpose acrylic artist colors which have the characteristic fast drying nature of artists acrylics, but are formulated to allow artists to delay drying when they need more working time, or re-wet their work when they want to do more wet blending.

Open acrylics were created to address the one major difference between oil and acrylic paints, the shortened time it takes acrylic paint to dry. Designed by Golden Artist Colors, Inc. with a hydroponic acrylic resin, these paints can take anywhere from a few hours to a few days, or even a few weeks to dry completely depending on paint thickness, support characteristics, temperature and humidity.

Fluid acrylics, or flow, soft body acrylics, have a lower viscosity but generally have the same heavy pigmentation of the heavy body acrylics. Available in either Artist quality or Craft quality, there is a fluid acrylic for every level of art and budget. These paints are good for watercolor techniques, airbrush application, or when smooth coverage is desired. Mix the fluid acrylics with any of the mediums to thicken them for impasto work or thin them for glazing applications.

Iridescent, pearl and interference acrylic colors combine conventional pigments with powdered mica (aluminium silicate) or powdered bronze to achieve complex effects. Colors have shimmering or reflective characteristics, depending on the coarseness or fineness of the powder. Iridescent colors are used in both fine arts and crafts.

Acrylic gouache is like traditional gouache in that dries to a matte finish and is opaque. However, unlike traditional gouache, the acrylic binder in the acrylic gouache makes it water resistant once dry. Like craft acrylics, it will stick to a variety of surfaces other than canvas and paper. This paint is typically used by watercolorists, cartoonists, illustrators, and for decorative or folk art applications.

Exterior acrylics are paints that can withstand outdoor conditions. Like craft acrylics, they adhere to many surfaces. They are more resistant to both water and ultraviolet light. This makes them the acrylic of choice for architectural murals, outdoor signs, and many flux finishing techniques.

Sample Acrylic Painting on Canvas Board

Sample Acrylic Painting


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