Original Acrylics

In the past year, in addition to my watercolors, I have been exploring the medium of acrylic. Many have asked me “why the change?” In fact, I really haven’t made a change, but am now just adding another challenge to my watercolor repertoire, and I have come to find out it really isn’t all that much of a departure.

In acrylics as well as watercolor, the principles of classical design still hold true. Simply put, cohesive organization of patterns is paramount. Secondarily, any technique used is up to the artist’s personal preference. In my case, I use my watercolor technique when mixing acrylics. The loose, spontaneous brush technique that has become a trademark of my watercolors translates easily into acrylics. In both mediums I load up the brush with several colors stacked on top of each other, followed by very little mixing on the palette or on the canvas. This creates exciting broken color, the juxtaposition of which creates a scintillating effect.

So, if the technique is so similar, why do acrylics? It is because the thick, viscous paint is such a departure from the transparent washes of watercolor. The opposing brush feel of the two mediums feeds into each other: after a little acrylic painting I am anxious to get back to my watercolors and vice versa. (Watercolor fans – yes, I still enjoy doing my watercolors and plan to continue doing them).

Click an image for a larger view.

^ Eva R., Nahcotta # 2805 20" x 24" Executed plein air (on site), this painting of an old wooden relic, the Eva R., expresses my personal delight in painting marine scenes. Halfway through my painting it started to rain, and the image started to wash off, so I was required to resurrect it back in the studio.	^ The Rose-Marie # 2840 20" x 24" These old wooden boats are becoming scarce. This old girl is up for repair and is a double-ender: pointed in the front and back, a real beauty.
^ Nahcotta Backlight # 2859 24" x 30" I have many fond memories as a youth leaving the port early in the morning to work the oyster beds. The pattern of early morning light on the boats is breathtaking.	^ Cobalt Shadows, Italy # 2873 24" x 30" The gnarled olive trees in Italy provide an opportunity for expressive brushwork. Van Gogh would appreciate this.
^ Roses # 2870 24" x 30" I always love bold brushwork and the power of suggestion. Flowers, with all the varied patterns presented, offer this opportunity.	^ Willapa Bay # 2763 16" x 20"
^ Nahcotta Dredge # 2694 22" x 30"	^ Gas Pump & Smokehouse # 2778 16" x 20" As we live in a temperate climate, rarely do we have snow. However, last January afforded this plein-air study in acrylics.
^ Ocean Park Sunset # 2779 16" x 20" The last remaining snowbank is represented on the far right side, tucked in the cool shadow. The rest of the painting is bathed in the warm evening light of a sunset.	^ Venice # 2781 22" x 30" Venice is right out of a movie set. The visual plethora of subject matter, especially for a marine painter as myself, offers a painting at every turn. This was done just at sunrise, just down from our hotel.