Map of the World Art Dark Blue and Gold Fred Meyer
Stare in Wonder at More Than Two Dozen Inspiring Acrylic Paintings
If you desire to talk about a modern-day art medium success story, await no farther than the nearest brush loaded with acrylic pigment. It was the medium called by famous 20th-century artists similar Andy Warhol and Mark Rothko. It has put thousands (and counting!) of gimmicky artists on the path to excellence.
AcrylicWorks 6: Creative Energy , a book worthy of pride of place, showcases that excellence by featuring the winning acrylic paintings from the 6th competition volume in the AcrylicWorks series.
Savour 25 acrylic paintings from 25 meridian artist-entrants whose works span subject matter and manner, simply all consistently deliver "best-in-prove" ability.
#ane Letting Go by Randy L. Honerlah
One sees what comes to listen . . . an abstraction of copse reaching for the heavens and releasing their leaves, or a courageous awakening to look up, exhale deep and expand on your awareness. We can learn from the nature of trees, staying grounded regardless of life's obstacles.
The value play of light and night colors helps to represent these concepts. The breakdown of shapes, adjacent colors and values in this piece of work reveals these ideas and keeps it fresh and uplifting.
#2 Lanterns by April M. Rimpo
What seems at first glance to be black is really layers of purple, Phthalo Bluish and other dark pigments to gradually build the darkest areas. The lighter grays were likewise mixed using Cobalt Blue, Quinacridone Coral and Quinacridone Gold.
Rimpo creates her ain grays and blacks by mixing colors. The result is much richer than using tube blacks or grays.
#iii Fancy Feathers past Cher Anderson
Fancy Feathers was the issue of hours of waiting to capture the perfect moment when the flamingo opened his wing and displayed the spectrum of values from light, soft pinkish to deep black and every color in between. His head arched and his dark bill preening created a dramatic issue and displayed a beauty seldom seen.
Painting with acrylics allows the liberty of layering very sparse washes of color and slowly building the shape and form for a smooth transition from calorie-free to nighttime. It too gives opacity and intensity to colour, needed to bring the subject to life realistically.
#iv Nib by Michael Wagner
There is a lot of color and texture in the skin tones of nearly portraits. Wagner finds when he applies it loosely it appears more realistic and lush.
He painted Beak with a total range of colour values, and used texture and colour to achieve a photorealistic appeal. The detail apparent in the wrinkles, folds and features interested the artist.
#5 Artificial Nature by Jingyi Wang
To Wang, cacti represent all creatures in nature. Through the strong and independent characteristics that the cacti stand for, the creative person hopes to limited the affect that human activity has on nature. The cast shadow in the background is actually a carve up movie and represents that the cactus is growing in an unrealistic, unnatural surrounding.
#6 Mellow Yellow #1 by Scott Ramsay
High-key value is very important in setting the mood of this piece. Before the painting was even envisioned, Ramsay made a decision to use dominant, brilliant yellow values.
The artist wanted to use warm inviting yellows to pull the viewer in. Conversely, he used neutral to absurd values in the shadows to punctuate the details.
#7 Butterfly Effect by Yelena York
Butterfly Event is created freehand from the artist's own imagination. Every design has been developed during the process. Null was sketched before starting the slice.
The piece of work is done with acrylic paints, sometimes mixed with unlike mediums to create vibrant and translucent effects on the wings.
#8 Utility Pole by Jim Martinez
Martinez wanted to incorporate a little humour and requite the subject an electric feel. The apply of bold values was disquisitional in that information technology brings attention to an object that was not designed to be aesthetically pleasing. However, when it's looked at through another lens, it becomes pretty interesting.
#9 Crystal Blue Persuasion by Deborah B. Leonard
A partially frozen brook was Leonard's inspiration for this work. The varying levels of ice crystals, snowfall and dark-moving water all had to exist captured.
She used several different brushes equally she constructed the combination of swift-moving and partially static areas. The varying shades of blue — from deep to almost pure white — convey the coldness. The warmer tones give a nod to the decaying leaves and pino needles that were on the shallow banks.
#x Forest 1 by Ellen Fuller
This painting is part of a series Fuller is currently working on. It was based on photographs she took of wooden barricades in Canyonlands National Park in Utah.
The creative person decided to use but black and white acrylic pigment because she felt color might weaken the dramatic consequence of the wood'south nuanced surfaces. By taking away colour, she was able to concentrate on the minute details, composition and brushstrokes, which gave her a consummate understanding of the bark's fascinating textures.
#11 Oaxaca Series #5 by Robert Merrill Sweeny
Sweeny's Oaxaca series is the product of a group of photographs that were taken while the artist was on holiday in Oaxaca, Mexico. He has always felt an affinity for the print arts, which are very popular in Oaxaca to the point that they spill out into the streets in the form of graffiti.
In this piece, Sweeny was fatigued to the rich blacks of the affiche in combination with the wonderful deep shadows cast by the curled paper and peeling paint.
#12 Frances (Portrait Series #v) past Katia Zhukova
The artist works with heavy body acrylics. The fast drying nature of acrylics is perfect for her technique, which uses many quick textured layers applied with palette knives and brushes.
#13 Unknown by Marney-Rose Edge
Texture is in the foundation of the piece of work. Border used molding paste in the nest surface area and Clear Tar Gel drizzled over the sail before pigment was applied. Golden and silver foil is scattered throughout the background amidst the layers of paint.
The creative person used heavy body acrylics for coverage, so progressed to fluid acrylics for the ethereal feel in the background and acrylic inks for glazing the eggs.
#14 The Morning Later the Snowstorm by Ray Hassard
The artist practical a bright orangish
#15 Evening Snowfall in England by Dale Yard. Wolf
A snowy evening falls quietly upon a "conceptual" English town. The mood drives the values captured in the painting: muted tones beyond the rooftops fix off boldly past the gathering snow — orange, greenish and yellowish — nether the gray-blueish sky just earlier night settles in.
#16 Harbor Brotherhood past Jerry Smith
Although Smith uses various tools, textures and detailing marks, he'southward institute that no amount of item can overcome a weak value plan. He starts with big shapes, works in layers and adds textures and details as he proceeds.
In addition to regular acrylic brushes, he frequently use various scraping tools, stamping objects, paper-thin, a Ritmo charcoal pencil and rigger brushes for linework.
#17 Storm by Yael Maimon
The dramatic mood of the scene, full of energy and excitement, was set through subject, color and value. The artist manipulated the tonal range of light, medium and dark values for maximum consequence.
The use of bold values, abrupt edges and potent contrasts contributed to the sense of violence, rage and danger (of the oncoming tempest) in the painting and created an overall powerful and dynamic feeling.
#xviii Sacramento River #3 past Timothy Mulligan
Knowing that light contains all of the colors of a prism and that the eye sees simply the color non absorbed by an object, it only makes sense to Mulligan that objects are more colorful than what one might expect. Or that the eye tin can be trained to perceive more colors.
Shadows are splendid examples of where subtle yet circuitous color structures can be found. Using these principles, the artist often includes colorful lines to assistance split up objects within a painting and help portray depth.
#19 Keep Moving Forward by Darien Bogart
Communicating values of a brilliant noonday dominicus is as challenging as the experience of hiking it. Applying the tools of contrast, shape and texture allows Bogart to express the integrity and rugged beauty of this space.
Keep Moving Forward not only becomes a mantra for navigating the outdoors but besides Bogart'south artistic journey.
#20 Frozen Ford Fairlane by Fred Schollmeyer
The creative person uses heavy body colors thinned with h2o. Much of the pigment was applied with an Iwata Custom Micron airbrush. The heaven, tree line and snow were painted using freehand airbrush.
Frisket film was used equally a stencil material to paint the automobile. Some of the details were painted using a small conventional brush and Schollmeyer uses a palette of 15 colors when creating his acrylic paintings.
#21 Pouring Peppermint past Angela Bandurka
Values are the cornerstone of any painting. For wet or glossy objects, good values are essential! Bandurka started with a thumbnail sketch to program the design of the piece based on three values: black, gray and white.
Those shadows and highlights are important elements to the design, and getting them correct requires working from life as the eye can run across many more levels of value than the camera.
#22 Le Rouge Et Le Noir (Diptych) by Lilianne Milgrom
Milgrom takes great pains to ensure that a limerick's silhouette is as striking as the execution of the subject matter itself in her acrylic paintings.
Her diptych, Le Rouge et le Noir, highlights the highly-seasoned coastline of these young women's profiles and their upswept chignons. Information technology also focuses on the nuances of the human face and its subtle shifts in tonal value.
#23 Shop eleven Shipfitters past Ron Craig
Sunlight streams in through dirty windows bringing life to the otherwise gloomy space. It piques the creative person's curiosity nigh the stories that have played out over the shop's 100 years of continuous use.
Capturing the factory'due south scale, light and shadow required the artist to travel the full spectrum of hue. All colors were tinged with historic period and filth. To match them, Craig mixed paint to the very edge of mud. The architecture necessitated not only fine attention to vanishing points, but also a subtle gradation of color to suggest peak and depth.
#24 Girl on the Couch by Diana Madaras
When Madaras was halfway through this painting, she felt information technology was too tight, so she "messed" information technology up. The terminate result was a combination of abstraction and realism that created a much more exciting composition.
#25 Jack of Diamonds by Kenneth Hershenson
Hershenson uses stark unproblematic images with bold values to evoke hyperrealism in his acrylic paintings. He chose lighting that creates stiff shadows to give objects depth and a feeling that the viewer can grab the objects right off the sheet.
The vivid departure between the simple deep cherry-red groundwork and the shiny objects makes the jack and diamonds pop. The interplay of prominent values in the construct of the diamonds and the jacks gives an about liquid clarity.
3 More than Acclaimed Acrylic Artists
Gimmicky artists who use acrylics are in many means leading the pack in terms of painters doing infrequent, unusual work. Take a look into the lives and studio practices of three more notable artists making acrylic paintings in various ways. Nosotros can't await to meet what they do adjacent.
Source: https://www.artistsnetwork.com/art-mediums/acrylic/25-acrylic-paintings-25-top-artists/
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