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By Nancy Reyner

ISBN-10: 1440327033

ISBN-13: 9781440327032

From the writer of the best-selling books Acrylic Revolution and Acrylic Innovation, this booklet blazes new artistic territory with 50 ideas that harness the creative strength of sunshine. starting from refined glazing on steel leaf, to pearly sheens, to boldly coloured optical results and shiny surfboard finishes, those methods signify the main asked features of Nancy Reyner's renowned workshops.

50 crowd pleasing ideas function steel leaf, reflective paints, pouring, fluorescent and phosphorescent paints, refractive layering and optical colour effects.
Possibilities are vividly illustrated with varied paintings from forty four artists.
A "Crash direction on Acrylic" bankruptcy bargains an summary of ways to exploit those flexible paints and items to their fullest potential.
This hands-on consultant offers transparent step by step instructions to effectively execute those new and intriguing concepts. discover matte epidermis development, sheen moving, embedding items, patinas and polished stone results. Use those techniques for natural, summary or sensible styles...as backgrounds, most sensible layers, or accents layered in between...combine, scan, and enable your work shine.

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Additional resources for Acrylic Illuminations: Reflective and Luminous Acrylic Painting Techniques

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The saints were sisters and potters from Seville. They lived in the time of the Roman occupation and were martyred for refusing to sell their wares to a priest for use in pagan rites. They hold their attributes, the pots of their trade, and their martyrs’ palms. Fragments of a broken pagan statue lie at Justa’s feet as a symbol of the triumph of Christianity over paganism. To the right is the tower of the Cathedral of Seville, which the sisters saved from an earthquake in 1504 by descending from heaven to clasp the tower in their arms, preventing its collapse.

30 Mrs Marshall Field Collection, New York. 5 cm, Museum of Fine Arts, Santander. The Marquesa de la Solana, 17941795, oil on canvas, 183 x 124 cm, The Louvre Museum, Paris. 32 33 34 The only time that Ferdinand VII actually sat for Goya was immediately after his succession in 1808, just before the Napoleonic invasion. However, following the king’s return to Madrid after the abdication of Napoleon in 1814, Goya painted several portraits of him based on the earlier one. 32) was commissioned by the city council of Santander for their town hall.

In 1819, the fathers of the Escuelas Pias in Madrid commissioned an altarpiece for their chapel. 57) was completed in four months, in time for the saint’s feast day on 27 August. Saints Justa and Rufina, 1817, oil on canvas, 309 x 177 cm, Like Goya, St Joseph was originally from Aragón. He had started a free school in a poor district in Rome known as the Escuelas Pias. The system of education spread rapidly; schools were established in Spain, Bohemia and Poland, and Goya himself had attended the Escuelas Pias de San Antón in Saragossa.

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Acrylic Illuminations: Reflective and Luminous Acrylic Painting Techniques by Nancy Reyner


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